Baz Luhrmann's splashy “Elvis” biopic attempts to make the King relevant to a new generation. But 50 years after Presley's last Top 10 hit, is it too late?
,” a tribute to comedian Andy Kaufman’s Presley parody, may have been the last time Presley registered as cool. That was 1992.
Ross adds that the term “oldies” itself is antiquated within the radio industry. Instead, this format is called “classic hits” and is “mostly focused on the ’80s and is starting to push into the ’90s and beyond. At this point,” says Ross, “classic hits stations have been living without Elvis since at least the mid-’10s.”
“Elvis” can be seen as the culmination of a process that the two companies set in place roughly a decade ago. Back then, CKX — a company whose biggest asset was “American Idol” — offloaded the estate to a private equity firm, believing it to be in a state of decline.
It’s enough activity for Weinshanker to state, “The largest revenue year in Elvis Presley Enterprises history is 2022,” a figure that’s still in flux as much of the year is yet to come and, with it, not just the “Elvis” movie but also Elvis Week at Graceland. Describing “Elvis,” he says, “This is a frenetic, thousand-miles-an hour, by-the-seat-of-your-pants way of storytelling that I think resonates and connects most with teens.”
Chuck D later clarified his lyric: “I never personally had something against Elvis. But the American way of putting him up as the King and the great icon is disturbing. You can’t ignore Black history. Now they’ve trained people to ignore all other history — they come over with this homogenized crap. So Elvis was just the fall guy in my lyrics for all that.
Martinez points out, “There are other white males that continue to reverberate with people. Young people are still listening to the Beatles or David Bowie or Johnny Cash.”
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