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Callum Burke B019430 The Beatles and the 1960s
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
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Callum Burke B019430 The Beatles and the 1960s
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
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Callum Burke B019430 The Beatles and the 1960s
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
11Bertrand, M. T. 2000, p. 190
12 Ibid, p. 196
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Callum Burke B019430 The Beatles and the 1960s
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
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Callum Burke B019430 The Beatles and the 1960s
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
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Callum Burke B019430 The Beatles and the 1960s
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
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Callum Burke B019430 The Beatles and the 1960s
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
33Whiteley, S. (1992). The Space Between the Notes: Rock and the Counter-Culture. London: Routledge, p. 50
34Bellman, J. (1997). Indian Resonances in the British Invasion, 1975-1968. Journal of Musicology 15 , 116-136,
p. 167
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Callum Burke B019430 The Beatles and the 1960s
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
9
Callum Burke B019430 The Beatles and the 1960s
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
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Callum Burke B019430 The Beatles and the 1960s
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.
11
Callum Burke B019430 The Beatles and the 1960s
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.
