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It was the imposed calm of mediocrity within a stormy life.The mid-century American musical scene saw the emergence of Chuck Berry, Bo Diddley, and Fats Domino; and Little Richard Penniman, sometimes referred to as the quasar of rook, other times as its king and its queen, a man whose influences included, among others, Marion Williams, Louis Jordan, Esquerita, and Earl King, was a musician whose sound and style no one had seen before.Little Richard was connected to the chameleon impulse, the possibility of transformation and transgression, which must have been of special value to a poor and queer boy in a town of music, community, religion, sex, and rage, the violently racist town that was Macon, Georgia, where black males were lynched by whites and black kids mocked Richard for his limp, which seemed feminine.

Little Richard had a girlfriend named Angel who was a devilish sex vixen who became the practicing bisexual man’s friend, lover, and tool, as much of a freak as he was: “I loved Angel because she was pretty and the fellers enjoyed having sex with her.

She could draw a lot of handsome guys to me” (thus the libertine is quoted in 1984’s oral history of Little Richard’s life and career, The Life and Times of Little Richard by Charles White, originally published by Harmony Books in 1984, then Da Capo Press in 1994, and republished by Omnibus Press, 2003; page 73).

Like many African-American artists, Richard Penniman would feel himself torn between the sensual and the spiritual.

His music had given Richard Penniman a new life too.

In “Slippin’ and Slidin’,” a song about romantic and sexual disillusion, Little Richard’s tone is softer.

Yet, his is not ever the sound of refinement or repression. ” surprises for being about an encounter with the justice system, with police, court, and judge, but that narrated experience makes sense for this kind of voice. Americans of African and European descent were drawn to Little Richard’s music: that is, the music of a minority artist was embraced by a majority audience. A man who wears glass suits would not throw stones, but he sure can throw light and plenty of shade.

Many of Little Richard’s songs were about desires and pleasures considered profane: and they were received as liberations.

Little Richard would be featured on television programs and in films such as The Girl Can’t Help It (1956) on to Down and Out in Beverly Hills (1986) and more, but his most pointed film appearance is with Chuck Berry and Bo Diddley discussing record company contracts, in which the musicians received only a half-penny for each record single sale, in the documentary Chuck Berry: Hail! Money and sex as well as the salvation of souls were, with music, among Little Richard’s lasting interests: they offered ecstasy, power, and transcendence.

“We were pretty but we were poor,” Little Richard is quoting as saying of himself and his siblings, in David Kirby’s autobiographical musical study Little Richard: The Birth of Rock ‘n’ Roll (Continuum, 2009; page 30).

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