Elvis’ Gospel Music: Between the Secular and the Spiritual?

Mark Duffett

doi:10.3390/rel6010182

Abstract

Do fans sanctify their heroes? In the past, I have argued that Elvis fandom is not a neo-religious practice but that attention to a modified version of Durkheim’s theory of religion can, nevertheless, help to explain it as a form of social interaction. I take that argument further here, first by revealing the ethical and analytical advantages of neo-Durkheimian theory, then by pitting this theory against three aspects of Elvis’ sincere engagement with gospel music. Elvis Presley won three Grammy awards for his gospel albums and was the musician who did most to bring the gospel quartet tradition to the mainstream. His eclectic personal ties to spirituality and religion have become a focus of debate within his fan culture. They offer a set of discursive resources through which to explain the emotional impact and social influence of his music. If star musicians are positioned as centres of attention, what happens when they use their privileged position in the spotlight to offer a “spiritual” message?

Highlights

Is music fandom a realm of spiritual practice? Do fans use their connections with heroes to adopt practices like veneration, sanctification or idolatry? While appearing to be magical and important social figures, stars are not necessarily deified
The third part explores three limit cases that begin to challenge a secular, neo-Durkheimian reading. These cases do not suggest that fans directly worship Elvis, but they do contest the notion that Elvis fandom is a secular process by showing—at least upon first inspection—how the singer and his fans have engaged in acts of Christian worship
I am not suggesting that popular music in general, or Elvis’ music in particular, has nothing to do with sacredness or religiosity

Summary

Introduction

Is music fandom a realm of spiritual practice? Do fans use their connections with heroes to adopt practices like veneration, sanctification or idolatry? While appearing to be magical and important social figures, stars are not necessarily deified. In his book Sacred Matters: Celebrity Worship, Sexual Ecstacies, The Living Dead and Other Signs of Religious Life in the United States, for example, Professor Gary Laderman claims that the Presley phenomenon is “seemingly secular but abundant with religious meanings” and its star “saves...the masses” [2] His work takes it as self-evident that Elvis is positioned as a deity by fans. The third part explores three limit cases that begin to challenge a secular, neo-Durkheimian reading These cases do not suggest that fans directly worship Elvis (as in Richards’ vision of idolatry), but they do contest the notion that Elvis fandom is a secular process by showing—at least upon first inspection—how the singer and his fans have engaged in acts of Christian worship

Secular Music Audience Practice

The Limits of Neo-Religiosity Scholarship

Beyond the Stereotypes

Conclusions