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Cultural Appropriation and Orientalism: Elvis Presley vs. The Beatles

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Cultural Appropriation and

Orientalism: Elvis Presley vs. The
Beatles
Throughout the 1950’s and 1960’s music experienced a cultural shift as Western artists became

influenced by African and Indian sounds resulting from immigration and the fall of the British

Empire. Both Elvis Presley and The Beatles are prime examples of this cultural infusion within music

both producing music that mimicked the styles of ethnic minorities. This essay will compare the

extents to which Elvis and The Beatles exhibited cultural appropriation in the creation of their music.

Cultural appropriation is an ambiguous term but for this analysis it will be defined as the exploitation

and domination of minority cultural group through the seizure of cultural property without a given

authority1. To begin with an introduction into the racial argument of surrounding Elvis Presley and

the 1950’s will be explored. Furthermore, the opinions of black artists on Elvis will shed light on the

extent to which the black community felt exploited by his songs and dance. Then The Beatles will be

analysed in terms of cultural appropriation exploring the 1960’s Orientalist perspective, LSD and

psychedelic cultural associations in the songs “Tomorrow Never Knows” and “Within You Without

You”.

Music of the 1950’s demonstrated a cultural shift between the racially segregated culture of

southern America and music became a key cultural signifier used to define individuals and groups

within this divided culture2. Rock ‘n’ Roll was a musical fusion of black and white working class

genres taking influences from country, pop and rhythm and blues in the formulation of a new

musical genre headed by Elvis Presley3. However, the question to whether the popularisation of

1
Ziff, B. H., & Rao, P. V. (1997). Borrowed Power: Essays on Cultural Appropriation. New Jersey: Rutgers
University Press, p. 8-9
2
Levine, L. W. (1988). Highbrow/Lowbrow: The Influence of Cultural Hierachy in America. Cambridge: Harvard
University Press, p. 31
3
Ford, L. (1971). Geographic factors in the origin, evolution, and diffusion of rock and roll music. Journal of
Geography , 203-214, p. 210

Callum Burke B019430 The Beatles and the 1960s

 2

Rock ‘n’ Roll under Elvis Presley exists as an example of cultural appropriation is a contentious one.

The root of argument of Elvis’s cultural exploitation exists as a modern rejection of integration on

both sides of the racial argument. There exists a belief within the white community that the

amalgamation of race music within white music as an appalling misappropriation and additionally,

within the black independence movement there are attempts to retain black music solely within the

black community. Elvis was well known for the covering and popularisation of African American

music and is outspoken about his African American influences, yet Elvis’s work has been seen by

some as a negative encroachment and exploitation of black culture in the 1950’s. Elvis had

embraced a style and form of music un-embraced by the wider mainstream of white society

introducing and popularising Rhythm and Blues or Rock ‘n’ Roll to the white masses. Elvis had

credited that much of his influence and sound had come from the pioneering work of black gospel

and Rhythm and Blues musicians that he had experienced growing up in a poor southern

community. When interviewed in 1957 on his discovery of Rock ‘n’ Roll Elvis detailed this cultural

development stating, “I explored [Rock ‘n’ roll]. It existed long before I did. It was called rhythm and

blues. I just tried a new interpretation.”4

However, Elvis had been accused of stealing much of the credit and money away from the black

artists he initially imitated and a feeling of resentment among the black community emerged and

still persists to this day. Obvious resentment grew against Elvis and competing black artist who felt

Elvis had ripped off their culture and repackaged their music for whites and for profit5. Elvis was

viewed as an imposter by Wynonie Harris who stood on the shoulders of black music, while Elvis’s

‘trademark’ dance moves have also been claimed as imitations of other black musicians stage

performances such as guitarist Calvin Newborn6. The credit and monetary disparity of performances

and record sales also infuriated black musicians. Black musicians that had been producing similar

4
Presley, E. (1957, November 11). "Love Him Tender Like a Tiger" Who's News with Cobey Black. (C. Black,
Interviewer) Honolulu Star-Bulletin
5
Washington, R. E. (2001). The Ideologies of African American Literature: From the Harlem Renaissance to the
Black Nationalist Revolt. Maryland: Rowman & Littlefield Publishers, p. 322
6
Bertrand, M. T. (2000). Race, Rock and Elvis. Chicargo: University of Illinois Press, p. 201-202

Callum Burke B019430 The Beatles and the 1960s

 3

work before and during Elvis’s rise to stardom but, had only managed to secure a limited proportion

of the recognition due to the condemnation of ‘race music’ in America. These frustrations are

exemplified by Little Richard’s quote on this annoyance, “I believe that if Elvis had been black, he

wouldn’t have been as big as he was...A lot of things they would do for Elvis...they wouldn’t do for

me.”7 These examples are mere disputes of influence, imitation and popularisation but they are

examples of Elvis cultural appropriation. Where Elvis has shamelessly distorted the cultural of an

artist’s material is in his cover of Hound Dog by Big Mama Thornton. Thornton’s soulful rendition of

a scorned lover’s revenge is worlds away from the Bellboys reworking of the song and later Elvis’s

cover. The alteration of an intrinsically African American soul performance has been regurgitated

into a tongue and cheek pop number lacking the lyrical and cultural meaning of the original8.

However, ‘Hound Dog’ would become one of Elvis’s most famous show closers but Thornton would

receive little credit later expressing to Jet Magazine, “That song sold over two million records. I got

one check for $500 and never saw another.”9 Nevertheless, it needs to be noted that the

songwriters themselves were the white Jewish pairing of Jerry Leiber and Mike Stoller. However,

Thornton claimed in the Hound Dog royalty court case, "[Leiber and Stoller] were just a couple of

kids, and they had this song written on the back of a paper bag."10 Thornton expressed how she

transformed the song through her own interpretation and authentic sound11.

The accusations of cultural appropriation however can be fully justified when examined under the

contradiction within 1950’s society. Elvis would begin a history of white musicians influenced by

black music experimenting with new exotic sounds but in a racially accepted package12. Rhythm and

Blues that pre dated Rock ‘n’ Roll sung by black artists was condemned by the white community

despite the fact that Elvis Presley’s interpretation flourished because of his marketable skin.

7
Penniman, R. W. (1990, April 19). Rolling Stone. (P. Putterbaugh, Interviewer)
8
Fink, R. (1998). Elvis Everywhere: Musicology and Popular Music Studies at the Twilight of the Canon.
American Music, Vol 16, No 2 , 135-179, p. 168-169
9
Smith, J. C. (1996). Notable Black American Women, Book II. Farmington Hills: Thomson Gale, p. 642
10
Hombach, J.-P. (2012). Elvis Presley: The King of Rock and Roll. Berlin: Epubli p. 86
11
Bertrand, M. T. 2000, p. 190
12
Ibid, p. 196

Callum Burke B019430 The Beatles and the 1960s

 4

Nevertheless, this accusation of cultural appropriation is however directed towards the institution of

Elvis Presley and the white music industry whose guilt is best illustrated by the Sam Phillips quote, “If

I could find a white man who had the Negro sound and the Negro feel, I could make a million

dollars.”13 The charge of cultural appropriation cannot be made against Elvis himself who was

brought up within black culture and in fact often shared the persecution towards his music through

press and media bans14. The revolution of Rock ’n’ Roll inspired by Elvis was not so revolutionary

and in fact appropriated from black artists and culture that were excluded from the mainstream and

neglected by racism in the 50’s.

Like Elvis’s musical and lifestyle influences from African Americans in Southern America in the

1950’s, The Beatles became heavily influenced by Indian culture in the mid 1960’s. After the

collapse of the British Empire in the 1950’s a flood of Indian immigration to Britain began influencing

and changing British culture and society15. This influx of Indian culture became representative in

British music, advertising and films such as Help!. Ravi Shankar and Indian musician would be the

first introduce the classical North Indian sound to the West and British public in 1956, through his

sitar playing tour. However, the North Indian sound would be popularised by The Beatles in 1966

who began to experiment with Indian sounds through their music from 196416. This production of

Indian sounds on Beatles records accompanied a time of increased experimentation with

psychedelic drugs amongst the youth and Beatles themselves who wrote songs to accompany this

psychedelic experience. Additionally literature associating the east with psychedelic drugs became

published and was widely available. Books such as Confessions of an English Opium Eater and

13
Choron, S., & Oskam, B. (1991). Elvis! The Last Word. New Jersy: Carol Publishing Group, p. 7
14
Bertrand M. T. 2000, p. 162
15
Thompson, G. (2008). Please Please Me: Sixties British Pop, Inside Out. New York: Oxford University Press, p.
33
16
Lavezzoli, P. (2007). The Dawn of Indian Music in the West. New York: The Continuum International
Publishing Group Inc, p. 219

Callum Burke B019430 The Beatles and the 1960s

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particularly The Psychedelic Experience by Timothy Leary would later become a key influence upon

George Harrison’s John Lennon’s Orientalism and cultural appropriation17.

The 1960’s in both Britain and America heralded a time of associating India with a post colonial

Orientalist view. The western observer saw India as a mystical and psychedelic land where young

hippies sought liberation through the wisdom of Indian gurus to escape the western bourgeois

system. Some Westerners had humbled themselves to Indian culture becoming dedicated followers

of Eastern practice and techniques however, Western capitalism soon absorbed Eastern culture

degenerating it into commercial enterprise18. The introduction and experimentation with classical

North Indian musical styles and instruments fed directly in the young hippie counter culture awaking

in the Western hemisphere with the proliferation of appropriated Eastern spirituality19. With this

understanding of India came the association with drugs and tantric sexual fantasy which was largely

resented by Indians themselves20. From 1964to 1967 The Beatles began experimenting with Indian

cultural influences in their music, fashion style, lifestyle and LSD after their time of the set of Help!21.

The Beatles intertwined their music with Indian instruments and the imagery of psychedelic India to

create ‘raga’ or psychedelic rock as a western adaptation of the Eastern musical style. The songs

Tomorrow Never Knows, Norwegian Wood, Across the Universe, Within You Without You, Love You

To, The Inner Sky and Lucy In The Sky With Diamonds all demonstrate Indian musical influences

through lyrics, instruments and composition. The Beatles were heavily influenced by their LSD

experiences though this musical and cultural experimentation, especially those of George Harrison

and John Lennon22. By 1966 the Beatles had begun their initial push towards adopting Indian culture

17
Macdonald, I. (2008). Revolution in the Head: The Beatles’ Records and the Sixties. London: Vintage Books, p.
188
18
Lavezzoli, 2007, p. 6
19
Hall, S. (1968). The Hippies: An American Moment. Birmingham: University of Birmingham Press, p. 8
20
Stockill, Z. F. (2011). "WHO WANTS TRADITION IN THE BEATLE GENERATION?" RAVI SHANKAR, THE INDIAN
PRESS, AND THE CULTURAL POLITICS OF RECEPTION, 1966-68. Vancouver: The University of British Columbia,
p. 22-23
21
Everett, W. (2001). The Beatles as Musicians: The Quarry Men through Rubber Soul. New York: Oxford
University Press, p. 307
22
Spitz, B. (2005). The Beatles: The Biography. New York: Little, Brown and CO, p. 600, 644

Callum Burke B019430 The Beatles and the 1960s

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with George Harrison enrolling in the tutelage of Ravi Shankar23. This appropriation of Indian sounds

associated with psychedelic drug use enforced Indian Orientalism in America and the UK. A closer

look at two of The Beatles tracks produced during the mid sixties demonstrates themes of cultural

appropriation and post colonial hegemony.

By 1966 The Beatles had released the revolver album including the song “Tomorrow Never Knows”.

The Beatles mixed the sounds of Indian instruments to produce the droning background sound of a

drug induced state. This raga rock track clearly draws the association between ancient Indian

spiritual philosophy and psychedelic drugs to audience24. The beat and harmony of Tomorrow Never

Knows is largely altered from the traditional steady drum set and guitar harmony of classic Rock ‘n’

Roll. The song is better understood as John Lennon’s attempt to create an alternative listening

aware of an increasingly drug using culture whilst using the image of Indian mysticism as a frame of

reference. Tomorrow Never Knows is therefore Lennon capturing and defining an experience that

embodies an LSD trip through psychedelic rock25. There are definitive cues of racial appropriation

and othering with the presence of the tambura at the beginning and throughout the song26.

Additionally, the use of the table drum beat throughout adds little to the melody of the song as is

merely rhythmic texture added for its sense of exoticism exhibiting further cultural appropriation27.

The classical Indian sound is then associated with the psychedelic experience of the disorientating

avant garde looped tape samples embodying a drug experience clearly demonstrating cultural

appropriation28.

After George Harrison’s initial experimentation with Indian culture and musical tradition his cultural

relationship had begun to mature. Harrison enrolled under the direct tutelage by Shankar at his

23
Ibid p. 645
24
Macdonald, 2008, p. 190
25
DeRogatis, J. (2003). Turn On Your Mind: Four Decades of Great Psychedelic Rock. Milwaukee: Hal Leonard
Corporation, p. 12
26
Macdonald, 2008, p. 191
27
Farrell, G. (1988). Reflecting Surfaces: The Use of Elements from Indian Music in Popular Music. Popular
Music 7, no. 2 , 189-205, p. 186
28
Macdonald, 2008, p. 190

Callum Burke B019430 The Beatles and the 1960s

 7

Indian home in the summer of 196629. Ravi Shankar was an authentic Indian musician and

introduced Harrison to understand the spiritual side of Hinduism and Indian music, aside from the

technical tuition30. Although embracing meditation and yoga and spiritual literature, Harrison was

still an avid user of LSD as a method of reaching the mysticisms of India and escaping the confines of

Beatlemania back home31. Although Harrison’s production of the song “Within You Without You”

displays greater cultural appreciation the song was still heavily influenced by a sense of drug infused

mystical Orientalism and cultural appropriation. Unlike “Tomorrow Never Knows” however the

Indian music is not subordinated as a sample but is the body of the track. A Hindustani orchestra is

put on full display to the audience; nevertheless through the use of distortion within the melody the

psychedelic depiction of India is retained. Similar to “Tomorrow Never Knows” the tambura drone

and introduction of the dilruba signifies the psychedelic departure from traditional Rock ‘n’ Roll,

while the tabla continues to provide a limited function within the melodic flow32. Although Harrison

and the Beatles by this time had began to leave LSD behind in favour for traditional eastern spiritual

practice, the groups continued to reference Indian culture through an Orientalist drug infused

perception. Harrison stated that the adoption of Indian spirituality over LSD had “enabled people to

see a bit more, but when you really get hip, you don’t need it.”33 Likewise McCartney described his

adoption of Indian spirituality as a drug substitute explaining “We think we’re finding other ways of

getting there.”34

In conclusion, both Elvis Presley and The Beatles had to some extent, intentionally or

unintentionally, appropriated the culture of another towards white Western culture. Elvis had been

brought up around African American culture as a child, having participated in coloured fairs,

29
Spitz, 2005, p. 645
30
Shankar, R. (1968). My Music, My Life. New York: Simon and Schuster, p. 101
31
Spitz, 2005, p. 565
32
Farrell, 1988, p. 186-7
33
Whiteley, S. (1992). The Space Between the Notes: Rock and the Counter-Culture. London: Routledge, p. 50
34
Bellman, J. (1997). Indian Resonances in the British Invasion, 1975-1968. Journal of Musicology 15 , 116-136,
p. 167

Callum Burke B019430 The Beatles and the 1960s

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churches and concerts within his community35. The man himself was the first to recognise his debt

to the African American musicians who had inspired his talent and gifted him his musical sound he

so willingly embraced36. Conversely The Beatles had been brought up at the end of the British

Empire with pre-existing post colonial ties to the India culture they appropriated. While Elvis

admired African American musicians and immersed himself in their communities and societies, The

Beatles embraced India from an Orientalist perspective subordinating Indian culture through their

exploitation of Indian music and cultural practice. Nevertheless, Elvis’s infusion of Rhythm and

blues, covering of African American artist’s songs as well as the mimicry of dance moves were all

marketed as a commercial product of white America. The promotion sought to appropriate the

popularity of African American music coveted by the youth of White America by marketing it

through Elvis as white Rock ‘n’ Roll. As aforementioned this aspect of his music career was best

illustrated by the covering of Hound dog and demonstrated in the remarks Wynonie Harris and Little

Richard. The accusation of theft and cultural appropriation was and to some extent still is the

primary cause of animosity between Elvis and the black community. As Elvis’s popularity and

commercial success took over the Western music scene, Elvis took much of the credit away from the

black artists that had initiated Rock ‘n’ Roll and his career. However, it is Elvis as a product of a

commercial and racist institution that can be held largely accountable for the oppression and

appropriation of African American culture37. In the case of The Beatles however accusations of

cultural appropriation are rife with post colonialism and subordination not integration. Although

popularising a relatively exotic sound as Elvis did through Rhythm and blues economically benefiting

from new a new musical sound, The Beatles cheapened Indian culture through drug association in

their songs and lifestyles. The Beatles utilised and exploited Indian culture to attain a new ‘high’

through their experimentation with LSD removing the cultural context of Eastern spirituality. Elvis

himself could not alter the widespread and deeply embedded racism of 1950’s America but he did

35
Bertrand M. T. 2000, p. 197
36
Presley, E. (1957, August 1). The Pelvis' Gives His Views on Vicious Anti-Negro Slur. (L. Robinson, Interviewer)
37
Ward, B. (1998). Just My Soul Responding: Rhythm and Blues, Black Consciousness, and Race Relations. Los
Angeles: University of Califonia Press, p. 5

Callum Burke B019430 The Beatles and the 1960s

 9

start a revolution of racial integration amongst the youth of America and the West. Elvis challenged

the racist establishment of the 1950’s transcending racial barriers and opening African American

culture to the wider mainstream. Although accused of taking limelight away of African American

artists, Elvis opened the doors for many African American artists as integration became increasingly

accepted and racial barriers were lowered assisting the civil rights movement. Whereas The Beatles

cultural infusion with North Indian music also opened doors for Indian artists in the West through

raga rock and the promotion of Ravi Shankar they further entrenched a cultural Orientalism. The

Beatles adopted an Indian mask in order to transcend the bourgeois empire of the West asserting

power of an assumed subordinate culture. Through the psychedelic alteration of Indian music India

became celebrated not for its ancient wisdom and traditions but for its mind altering mystic

apparent in hippy counterculture popularised by records such as “Tomorrow Never Knows”. This

affirmed the apparent colonial power structure of subordination still in place within Western

culture.

Word Count: 2683

Callum Burke B019430 The Beatles and the 1960s

 10

Bibliography
Bellman, J. (1997). Indian Resonances in the British Invasion, 1975-1968. Journal of Musicology 15 ,
116-136.

Bertrand, M. T. (2000). Race, Rock and Elvis. Chicargo: University of Illinois Press.

Choron, S., & Oskam, B. (1991). Elvis! The Last Word. New Jersy: Carol Publishing Group.

DeRogatis, J. (2003). Turn On Your Mind: Four Decades of Great Psychedelic Rock. Milwaukee: Hal
Leonard Corporation.

Everett, W. (2001). The Beatles as Musicians: The Quarry Men through Rubber Soul. New York:
Oxford University Press.

Farrell, G. (1988). Reflecting Surfaces: The Use of Elements from Indian Music in Popular Music.
Popular Music 7, no. 2 , 189-205.

Fink, R. (1998). Elvis Everywhere: Musicology and Popular Music Studies at the Twilight of the Canon.
American Music, Vol 16, No 2 , 135-179.

Ford, L. (1971). Geographic factors in the origin, evolution, and diffusion of rock and roll music.
Journal of Geography , 203-214.

Hall, S. (1968). The Hippies: An American Moment. Birmingham: University of Birmingham Press.

Hombach, J.-P. (2012). Elvis Presley: The King of Rock and Roll. Berlin: Epubli.

Lavezzoli, P. (2007). The Dawn of Indian Music in the West. New York: The Continuum International
Publishing Group Inc.

Levine, L. W. (1988). Highbrow/Lowbrow: The Influence of Cultural Hierachy in America. Cambridge:

Harvard University Press.

Macdonald, I. (2008). Revolution in the Head: The Beatles’ Records and the Sixties. London: Vintage
Books.

Penniman, R. W. (1990, April 19). Rolling Stone. (P. Putterbaugh, Interviewer)

Presley, E. (1957, November 11). "Love Him Tender Like a Tiger" Who's News with Cobey Black. (C.
Black, Interviewer) Honolulu Star-Bulletin.

Presley, E. (1957, August 1). The Pelvis' Gives His Views on Vicious Anti-Negro Slur. (L. Robinson,
Interviewer)

Shankar, R. (1968). My Music, My Life. New York: Simon and Schuster.

Smith, J. C. (1996). Notable Black American Women, Book II. Farmington Hills: Thomson Gale.

Spitz, B. (2005). The Beatles: The Biography. New York: Little, Brown and CO.

Callum Burke B019430 The Beatles and the 1960s

 11

Stockill, Z. F. (2011). "WHO WANTS TRADITION IN THE BEATLE GENERATION?" RAVI SHANKAR, THE
INDIAN PRESS, AND THE CULTURAL POLITICS OF RECEPTION, 1966-68. Vancouver: The University of
British Columbia.

Thompson, G. (2008). Please Please Me: Sixties British Pop, Inside Out. New York: Oxford University
Press.

Ward, B. (1998). Just My Soul Responding: Rhythm and Blues, Black Consciousness, and Race
Relations. Los Angeles: University of Califonia Press.

Washington, R. E. (2001). The Ideologies of African American Literature: From the Harlem
Renaissance to the Black Nationalist Revolt. Maryland: Rowman & Littlefield Publishers.

Whiteley, S. (1992). The Space Between the Notes: Rock and the Counter-Culture. London: Routledge.

Ziff, B. H., & Rao, P. V. (1997). Borrowed Power: Essays on Cultural Appropriation. New Jersey:
Rutgers University Press.

Callum Burke B019430 The Beatles and the 1960s

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