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Elvis is called The King at one time or another by nearly everyone in the film. His shadow falls over the nighttime streets. His ghost appears in one of the hotel rooms. There is every reason to believe this is a real ghost. He does what most ghosts do: He manifests his presence. Making him visible is the least Jarmusch can do. Elvis's legend permeates Memphis and everyone in the film. Many of the black rhythm and blues artists whose music he learned from were also here in Memphis, and in a sense they also appear as ghosts, as the camera pans past the boarded-up studio of Stax Records. No pilgrims there. The pool hall is in a black neighborhood, which the Buscemi character he uneasily aware of. Although there's no overt danger, watch his body language as he tries not to bump into anyone. There is other history in Memphis than rock and roll, and everybody knows it except possibly the Japanese.
Several times in the film, Jarmusch shows trains roaring through town. With the exception of the ones boarded by characters, none of them stop. One in particular roars close above a scene of great desperation. But the movie isn't an embrace of misery. It's more a evocation of how the personal styles of the characters help them cope with life, or not. Jun, Luisa and Will Robinson will survive. The others in one way or another are shaping their fates.