In 1954, Presley began his career as one of the first performers of rockabilly, an uptempo fusion of country and rhythm and blues with a strong back beat. His novel versions of existing songs, mixing "black" and "white" sounds, made him popular—and controversial[4][5][6]—as did his uninhibited stage and television performances.
Many of his future recordings were inspired by local African American composers and recording artists, including Arthur Crudup, Rufus Thomas and B.B. King.[46]
At the time, Sun Records boss Sam Phillips was on the lookout for someone who could deliver a blend of black blues and boogie-woogie music; he thought it would be very popular among white people.[50]
When "That's All Right" was played, many listeners were sure Presley must be black, prompting white disc-jockeys to ignore his Sun singles. However, black disc-jockeys did not want anything to do with any record they knew was made by a white man.[100] To many black adults, Presley had undoubtedly "stolen" or at least "derived his style from the Negro rhythm-and-blues performers of the late 1940s",[101] though such criticism ignored Presley's use of "white" musical styles. Some black entertainers, notably Jackie Wilson, argued: "A lot of people have accused Elvis of stealing the black man’s music, when in fact, almost every black solo entertainer copied his stage mannerisms from Elvis."[102]c
Despite this, and unlike Pat Boone, Presley's early music and live performances are credited with helping to lay a commercial foundation which allowed established African American acts of the 1950s to receive due recognition. Performers like Fats Domino, Chuck Berry and Little Richard, came to national prominence after Presley's mix of musical styles was accepted among White American teenagers.[255] Rather than Presley being seen as a white man who 'stole black music', Little Richard argued: "He was an integrator, Elvis was a blessing. They wouldn't let black music through. He opened the door for black music."[258] Al Green agreed, saying; "He broke the ice for all of us."[258] It has also been claimed that Presley's sound and persona helped to relax the rigid color line and thereby fed the fires of the civil rights movement.[259]
