Little Richard represented what happens to unspeakable desires after they've been dug out of the dirt where society buried them, critic annkpowers writes.
on Saturday, May 9, 2020 in Tullahoma, Tenn. at the age of 87. This essay was originally published as part of the book, written by NPR Music's critic and correspondent Ann Powers and published by Dey Street Books in 2017.
Elvis's two greatest contemporaries were Little Richard and Buddy Holly, each standing at either end of the spectrum upon which nonsense flourished.
Unsurprisingly given the company he was keeping, Richard developed a wild act on the road and made a bunch of relatively successful rhythm and blues sides for labels like Peacock and RCA-Victor. But by the autumn of 1955 he was still mostly a Deep South sensation, and when he entered Cosimo Matassa's famous J&M Studios in New Orleans with producer Bumps Blackwell nothing was working. Richard felt uptight. He couldn't get noisy enough.
But the song was obscene – all about"good booty" and what people did with it. Blackwell enlisted an ambitious young songwriter, Dorothy LaBostrie, to sub in some lyrics thin enough that Little Richard could saturate them with libidinal chaos while not breaking any censors' rules. What Little Richard did on"Tutti Frutti," as the song was called, was to eliminate the double entendres and make matters much more direct.
And depraved Richard was, by his own estimation. In his biography – which mostly consists of outrageous stories he told Charles White – he revealed himself as an omnisexual voyeur especially fond of dressing-room encounters.
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