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When the performer Buddy Holly walked into a backstage dressing room in which Little Richard and Angel were engaging in sex, Holly quickly joined them.Following new religious devotion, Richard Penniman for a time would be married to a woman, Ernestine Campbell, who was satisfied with their married and sexual life but not with his renewal of show business obligations, leading her to seek a divorce.

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.

“Who wants to spend your life in a place in which every single moment of your existence has to do with race? Mc Leod Bryan, who got out of Macon in 1956 (quoted by Kirby in Little Richard; 58).

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.

Quotations from The Life and Times of Little Richard (Omnibus Press, 2003): “Homosexuality is contagious. It’s contagious…The gay thing really came from me being with a guy called Bro Boy, who was a grocery boy. It started with them and it growed.” —Little Richard, page 11 “We used to have a group called the Penniman Singers—all of us, the whole family.

We used to go around and sing in all the churches, and we used to sing in contests with other family groups, like the Brown Singers, in what they called the Battle of the Gospels.” —Little Richard, page 16 “There was this lady by the name of Fanny.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.Various artists inspired Little Richard toward exuberance and theatricality, the impression and power of wild expression—but his final incarnation, an expression of an explosively sensual spirit, was his own.“One more thing about Esquerita is that, by word and deed, he suggested to Little Richard the slipperiness of boundaries: how, for example, it might be advantageous to be a man at one moment and a woman the next,” wrote David Kirby in the analytical, celebratory, and chatty Little Richard: The Birth of Rock ‘n’ Roll (page 42).He is the son of a loving and loyal mother, Leva Mae Penniman, and a handsome, demanding father, Charles Penniman, called Bud, who was a preacher, club owner, a moonshiner, who thought his son was only half a boy, a father who would see the early days of his son’s success but not its full flowering.

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