Elvis Presley remains one of the most influential musical icons of all time, celebrated not only for his extraordinary singing voice and electrifying stage presence but also for his genuine compassion and commitment to equality, qualities that changed everything for the singers who worked with him.
In 1970, as he prepared to perform at the legendary Houston Astrodome—a massive, multi-purpose venue originally opened in 1965—Elvis faced an unexpected challenge that would forever impact his career and the lives of those who accompanied him on stage. His enigmatic manager, Colonel Parker, had selected the Astrodome as the first venue for Elvis to perform outside of Las Vegas, and it was at this historic event that
The Sweet Inspirations, a groundbreaking African-American female vocal group known for their soulful harmonies and powerful performances, made their debut outside of Las Vegas, marking a significant turning point in their careers. Formed in the 1960s, The Sweet Inspirations had been approached in 1969 with the incredible opportunity to tour with Elvis, an offer that initially left them in disbelief. As Myrna Smith, one of the group’s members, recalled in a 1974 interview, “I said, ‘Elvis Presley! What does he want us for?'” because they were uncertain if their rhythm and blues style would blend with the country and rock influences associated with the Mississippi-born entertainer, who had predominantly appealed to a white audience. However, any doubts vanished the moment they met Elvis in Las Vegas during rehearsals for their 1969 engagement;
he arrived wearing a striking chocolate-colored suit and a perfect tan, and greeted them warmly by introducing himself with a simple, “Hi, I’m Elvis Presley,” followed by a heartfelt kiss that instantly established a connection. Despite this warm introduction, controversy soon arose when Elvis made his debut in Texas at the Astrodome; rumors circulated that he had been advised to leave his African-American backing group at home—a claim that fueled unfounded allegations of racism stemming from a false statement published in 1957.
When officials from the Houston Livestock Show and Rodeo, which was hosting the concert, requested that he exclude his black female singers due to racial biases, Elvis responded firmly with the words, “Well if they don’t come, I don’t come,” demonstrating his refusal to let prejudice dictate his performance and proving that for him, his backup singers were more than just performers—they were family.
Myrna Smith later recounted how, despite a perplexing incident involving a young blonde woman in a convertible—who turned out to be Elvis’s daughter tasked with driving the group around—he made sure they were treated with the respect they deserved, a gesture that resonated deeply with the group and affirmed their place by his side.
Throughout the concert, the members of The Sweet Inspirations were both surprised and touched by the warm reception they received, a testament to Elvis’s commitment to fairness and unity. After the show, Elvis held a press conference at Astroworld, expressing his immense thrill at performing in the Astrodome, and when he left, he did so in style—sporting a blue, Easy Rider-inspired suede jacket with black trousers, carrying 20 suitcases and three guitars, and walking away $1.2 million richer than he had been just three days earlier.
One of the most cherished memories shared by Myrna Smith was from their very first meeting in 1969, when Elvis invited the group to his penthouse, where the relaxed atmosphere was filled with laughter, soft music from 45s playing in the background, and a gentle invitation for Myrna to dance that made her feel an immediate kinship with him. Although Myrna, who contributed to Elvis’s 1976 Graceland recordings and toured with him until 1977, passed away in 2010 at age 69, her recollections of that day continue to highlight Elvis’s ability to break barriers and foster connection, proving that his legacy extends beyond his achievements, a commitment to equality and the well-being of those he considered family.
