By Steve Rhodes
“Wild and outrageous don’t begin to describe Little Richard. He hit American pop like a fireball in the mid-1950s, a hopped-up emissary from cultures that mainstream America barely knew, drawing on the sacred and the profane, the spiritual and the carnal. He had deep experience in the sanctified church and in the chitlin’ circuit of African-American clubs and theaters, along with drag shows, strip joints and, even in the 20th century, minstrel shows,” Jon Pareles writes for the New York Times.
“He had a voice that could match the grit of any soul shouter ever, along with an androgynous, exultant falsetto scream that pushed it into overdrive. He plowed across the piano with a titanic gospel-and-boogie left hand and a right hand that hammered giant chords and then gleefully splintered them.
“He had the stage savvy of a longtime trouper, built by a decade of performing before he recorded ‘Tutti Frutti.’ He had a spectacular presence in every public appearance: eye-popping outfits, hip-shaking bawdiness, sly banter and a wild-eyed unpredictability that was fully under his control. He invented a larger-than-life role for himself and inhabited it whenever a camera or audience could see him.”
He was, as many have recounted, one of the architects of rock ‘n’ roll, along with Chuck Berry and Fats Domino.
Little Richard made a handful of appearances in the Beachwood over the last decade – none of them performing per se, and sometimes in sideways references, but those appearances demonstrate his wide and deep influence. Let’s take a look.
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Posted on May 11, 2020