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Little Richard: Sex and the Duality of the King and Queen of Rock ‘N’ Roll · DISGRACELAND

0:00
Speaker 1: Disgraceland is a production of Double Elvis. Hey Heads Up, Guys.
0:07
Speaker 1: This episode, more than any other Disgraceland episode, is about sex,
0:10
Speaker 1: casual sex, predatory sex, sex crime, sexual glory, sexual confusion,
0:15
Speaker 1: and finally, backward attitudes towards sexuality. If sex and depictions
0:20
Speaker 1: of sex aren't your bag or trigger you in some way,
0:23
Speaker 1: then feel free to skip ahead. And if, on the
0:25
Speaker 1: other hand, you're a freak, then buckle up, you pervert.
0:28
Speaker 1: God save Little Richard, Draw, Mellow Draw. The stories about
0:47
Speaker 1: Little Richard are insane. As a rock star, he was
0:51
Speaker 1: fueled by angel dust and cocaine. The party was as
0:55
Speaker 1: endless as his manic energy. Backstage orgies were the norm
0:59
Speaker 1: for Little Richard's sex was as formative in his early
1:02
Speaker 1: years as music was. Before becoming famous, he drove the
1:05
Speaker 1: streets of his hometown, Making Georgia with a woman in
1:08
Speaker 1: the back seat of his car, soliciting sex from random men.
1:12
Speaker 1: He orchestrated group sex and motels dressing rooms wherever, not
1:16
Speaker 1: so he could directly engage, but so he could sit
1:19
Speaker 1: back and watch. And he always kept the Bible close
1:22
Speaker 1: by in case his conscience got the better of him.
1:25
Speaker 1: His conscience fueled his relationship with God, a relationship that would,
1:30
Speaker 1: at different times in his life, mean more to him
1:32
Speaker 1: than sex, drugs, rock and roll, or any of them combined.
1:36
Speaker 1: And when it came to rock and roll, Little Richard
1:39
Speaker 1: was both the king and the queen. During his reign,
1:42
Speaker 1: he made great music, some of the greatest music of
1:45
Speaker 1: all time, earth shattering, norm rattling, genre bending, fence mending,
1:50
Speaker 1: soul sending, sweet saving, great rock and roll music. And
1:54
Speaker 1: that music you heard at the top of the show
1:56
Speaker 1: that wasn't great music. That was a preset loop from
2:00
Speaker 1: my melotron called come on, Diane, Sam was only kidding. MK. Two.
2:06
Speaker 1: I played you that loop because I can't afford the
2:08
Speaker 1: rights to Honeycomb by Jimmy Rodgers. And why would I
2:12
Speaker 1: play you that specific slice of wannab Elvis Cheese? Could
2:16
Speaker 1: I afford it? Because that was the number one song
2:19
Speaker 1: in America on October fourth, nineteen fifty seven, And that
2:24
Speaker 1: was the day that Little Richard, moved by a fiery
2:27
Speaker 1: ball streaking across the sky, threw his eight thousand dollars
2:30
Speaker 1: ring into the ocean, an abandoned rock and roll, forsaking
2:34
Speaker 1: it for his Lord and savior. Jesus Christ. On this episode,
2:39
Speaker 1: backstage Orgies, prowling peep shows, fiery signs from God in
2:44
Speaker 1: Little Richard. I'm Jake Brennan, and this is Disgraceland. When
3:13
Speaker 1: Little Richard burst onto the charts in nineteen fifty five,
3:16
Speaker 1: it seemed to happen overnight, out of nowhere. One day
3:20
Speaker 1: he was nobody, and the next he was known by everybody.
3:24
Speaker 1: He sounded like an overnight sensation, urgent, sudden, imfetially confident.
3:30
Speaker 1: But it wasn't overnight. It took him a while years, actually,
3:33
Speaker 1: and he carefully crafted his image in unique style, in
3:36
Speaker 1: true Frankenstinian fashion. From the church. He got the urge
3:42
Speaker 1: to testify and the guts to stand up in front
3:44
Speaker 1: of a large crowd eager to receive the good word.
3:47
Speaker 1: Little Richard's rock and roll shows were sermons. He stood
3:51
Speaker 1: up at the piano, He wailed on the piano. He
3:53
Speaker 1: lifted his leg up on the stool and climbed on
3:56
Speaker 1: top of the piano, all the while that steep pompadoor
3:59
Speaker 1: deuce stood rock solids supported by the toothy grin beneath it,
4:03
Speaker 1: his press suit bone dry, his face wet with ecstasy,
4:07
Speaker 1: his gravelly yaz, followed by breathless ooze, buoyant, weightless. His
4:13
Speaker 1: body went up the piano, his voice went up the scale.
4:15
Speaker 1: Everything was up, up, up. It was ecstatic, and it
4:19
Speaker 1: was repeated again and again for good measure. Whatever he
4:23
Speaker 1: needed to do to keep the crowd engaged, to take
4:25
Speaker 1: them there, to get them off to that communal plateau
4:28
Speaker 1: of mind, body, and spirit. Yogi's call it consciousness, Squares
4:33
Speaker 1: call it church. However you describe it. Little Richard was
4:36
Speaker 1: a hyper sexualized holy Trinity, and he knew it. He
4:40
Speaker 1: knew he could sing, he knew he could entertain, and
4:43
Speaker 1: within seconds his audiences knew it too. They felt it
4:47
Speaker 1: deep down in their soul. Didn't matter if they were
4:50
Speaker 1: white or black. It was pure transcendence and you could
4:54
Speaker 1: dance to it. From the traveling medicine shows in vaudeville stages,
4:59
Speaker 1: he learned to unchange his inner queen and embraced his
5:01
Speaker 1: own idiosyncrasies. It didn't matter what anyone else thought. Little
5:05
Speaker 1: Richard didn't give a fuck. Little Richard was camp in carnate.
5:11
Speaker 1: The music wasn't the only thing that was amplified. His
5:14
Speaker 1: hair was bigger, his rings were gaudier. His perfect pencil
5:17
Speaker 1: mustache and mathematically cultivated eyebrows were as orchestrated as his
5:21
Speaker 1: song arrangements on stage. He was handsome and he was beautiful,
5:26
Speaker 1: all at the same time. He was masculine. He was feminine. Capes, headbands, frills, tassels,
5:32
Speaker 1: shirts adorned with tiny reflective mirrors, sleeves with dramatic flowery cuffs, ascots,
5:38
Speaker 1: featherhead dresses, leather ge strings. The crowd allowed him to
5:42
Speaker 1: be flamboyant, to be over the top, because he owned it.
5:45
Speaker 1: It was an inextricable part of him. His outfit was
5:48
Speaker 1: as shocking as his voice. Pink shirt, leopard print lapel's
5:52
Speaker 1: big rings. The man was iconic from the jump and
5:55
Speaker 1: the rest he learned from Escarita nineteen fifty Macon, Georgia.
6:02
Speaker 1: The Greyhound bus station off Route eighty. Truckers on overnight
6:06
Speaker 1: shifts breaking from dodging way stations, transients taking shelter from
6:11
Speaker 1: the gnaw of the night, perverts, prowling hustlers hustling the
6:15
Speaker 1: bus station has long been a safe house for clandestine
6:19
Speaker 1: encounters for those looking for some sort of sexual experience
6:22
Speaker 1: that deviated from what society at large deemed acceptable, and
6:26
Speaker 1: in nineteen fifty, there was a lot that society deemed unacceptable.
6:32
Speaker 1: Despite his conservative upbringing, little Richard was looking for the unacceptable.
6:37
Speaker 1: He was nineteen. He'd grown up in Macon's church community.
6:40
Speaker 1: He sang at prayer meetings, old folks homes, and church
6:43
Speaker 1: retreats with the Tiny Tots. He was a born performer.
6:47
Speaker 1: He spent a lot of his formative years looking in
6:49
Speaker 1: a mirror. He sang loud, wanted to impress, wanted to
6:52
Speaker 1: reach people. But there was more to performing than singing
6:56
Speaker 1: spirituals for gray haireds and rocking chairs. As a teen,
7:00
Speaker 1: he got a taste to the flip side of the
7:01
Speaker 1: performing lifestyle when he joined traveling shows like The Tidy
7:05
Speaker 1: Jolly Steppers and the Broadway Follies. He wanted more than
7:09
Speaker 1: what Macon had to offer. He knew he had more
7:11
Speaker 1: than Macon could handle. On the road, he sang secular songs,
7:15
Speaker 1: even dressed in drag, and as exciting as it all was,
7:18
Speaker 1: as much as it allowed him to scratch that no
7:20
Speaker 1: holds barred performing itch that he had, he felt guilt,
7:24
Speaker 1: felt that what he was doing, what he wanted to do,
7:27
Speaker 1: was wrong. He was straying far from God, far from
7:31
Speaker 1: the Church. In times of spiritual and psychological crisis, he
7:36
Speaker 1: relied on the voice of Angel in his head, a
7:38
Speaker 1: benevolent voice. Angel moved him closer to redemption, closer to cleanliness,
7:43
Speaker 1: away from the temptations that could pervert him, temptations that
7:47
Speaker 1: a life traveling and singing on the road and juke
7:49
Speaker 1: joints in R and B clubs would lay bare. Angel's
7:53
Speaker 1: voice was the opposite of the voice of Evil, a freaky, funky,
7:57
Speaker 1: far out contradiction. Evil was a maloe levolent voice that
8:00
Speaker 1: led Richard down the path of selfish pleasure, a voice
8:04
Speaker 1: in his head that said, if it feels good, do it.
8:07
Speaker 1: He had the rest of his life to get right
8:09
Speaker 1: with God. Evil said, right now, he owed it to
8:12
Speaker 1: himself to live the lifestyle that he wanted, the one
8:14
Speaker 1: that felt good, the life that felt right. Richard was torn,
8:19
Speaker 1: conflicted from birth. He embodied both the desire to do
8:22
Speaker 1: what was expected of him, as well as he urged
8:25
Speaker 1: to follow his instincts and the way he talked, the
8:27
Speaker 1: way he dressed, the strange things that turned him on.
8:31
Speaker 1: As a teen, he lacked confidence, not the confidence to
8:34
Speaker 1: join up with a traveling show and wear a dress,
8:37
Speaker 1: but the confidence to stay there and make it and
8:39
Speaker 1: be like the rest, like the squares. So he took
8:43
Speaker 1: a job at the Macon Greyhound bus station, where all
8:46
Speaker 1: those conflicted feelings of what was supposed to be right
8:49
Speaker 1: and what felt right clashed and co mingled in the
8:52
Speaker 1: bathroom stalls. On a nightly basis, he washed dishes in
8:56
Speaker 1: the greasy spoon kitchen and saying under his breath as
8:59
Speaker 1: theos and pants banged out a makeshift rhythm in the sinks.
9:04
Speaker 1: After his shift, he would linger in the men's room
9:06
Speaker 1: for a while, so long even that he would lose
9:08
Speaker 1: track of how long he'd been in there, looking for
9:11
Speaker 1: feed underneath the stalls, looking over his shoulder toward the
9:14
Speaker 1: guy next to him at the urinal, looking for a
9:17
Speaker 1: subtle acknowledgment, a knowing nod, for an invitation to engage
9:21
Speaker 1: in the type of men's room encounter he yearned for
9:23
Speaker 1: but could never speak of. And then off the bus stepped.
9:29
Speaker 1: Escarrita Esquarta was a piano playing team three years Richard's junior,
9:36
Speaker 1: touring with a traveling preacher and snake oil saleswoman named
9:39
Speaker 1: Sister Rosa. At this point, Escurta was still going by
9:44
Speaker 1: his given name ESQ Reader. When Richard first sam he
9:48
Speaker 1: was struck a thunderbolt. He couldn't believe what he was seeing.
9:52
Speaker 1: All that sex, all that confidence, those blurred gender lines,
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Speaker 1: one part Amazon, one part pin up six feet tall,
10:00
Speaker 1: that mouth, it stretched out wide, an effortless smile from
10:04
Speaker 1: ear to ear, assassin specks, black, beautiful, chic, cool sex
10:09
Speaker 1: on fuego, sent from the fiery depths of hell. Richard's
10:13
Speaker 1: jaw dropped, his heart pounded. He dropped the dish hees
10:16
Speaker 1: racing off into the sink. It crashed, waters splattered up
10:20
Speaker 1: onto little Richard's pretty dumb struck face. Richard stared out
10:23
Speaker 1: of the kitchen window at Escarita as he walked slowly
10:27
Speaker 1: down the steps of the bus and short paraded with
10:30
Speaker 1: ultimate sass into the restaurant, passed the seats at the counter,
10:34
Speaker 1: straight into the kitchen, right up to the pretty little
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Speaker 1: thing working the dirty little dish rag, and slapped little
10:39
Speaker 1: Richard clean across the face. Escarita then pivoted abruptly on
10:44
Speaker 1: his cuban heels and waltzed out of the kitchen. Little
10:48
Speaker 1: Richard was in love in Escarita. Richard recognized a kindred spirit.
10:54
Speaker 1: Escarita red Devil's workshop, Vaudeville, Chitlan Carnie. Richard didn't know where,
10:59
Speaker 1: but he knew what Escarita was in business, the business
11:03
Speaker 1: of show showbiz, in black, young and somehow experienced in
11:08
Speaker 1: gay to boot. Obviously, Richard knew it was destined. Knew
11:12
Speaker 1: they were supposed to cross paths. Angel or evil had
11:16
Speaker 1: put Escarita on that bus, and it was Richard's duty
11:19
Speaker 1: to receive him. And they talked, they bonded. Richard noticed
11:23
Speaker 1: Escarida's huge hands, His mind wandered. Escarita put them on
11:27
Speaker 1: a piano. Richard was lifted. Escarita began to sing. He
11:31
Speaker 1: wiggled his head as he did it, and Richard saw
11:34
Speaker 1: and Escarida an aspirational reflection of himself, what he could become.
11:38
Speaker 1: He saw his future in Escarita's raptureus face. He saw
11:41
Speaker 1: himself back on the road, a traveling man, singing that
11:45
Speaker 1: ass shaking music, unlike anyone else, Ironically, just like Escarita.
11:50
Speaker 1: He now knew what he'd looked like, what he'd sound like.
11:53
Speaker 1: Even though Escarita was a few years younger, Richard had
11:56
Speaker 1: found his rock and roll teacher. He received a crash,
12:00
Speaker 1: a crash course in piano playing, but also a crash
12:03
Speaker 1: course in how to become himself. Evil was in his head.
12:07
Speaker 1: She was loud, and she agreed. Evil was taking a
12:10
Speaker 1: ride on the pendulum, the one gaging Richard's conscience. Evil
12:14
Speaker 1: was straddling it like a young girl straddles a tire swing.
12:17
Speaker 1: Evil swung on that pendulum, far away from the right
12:20
Speaker 1: side of God, far away from Angel, and far away
12:23
Speaker 1: from what was deemed acceptable and polite making society. Richard
12:27
Speaker 1: didn't care. He swung too, swung right out of town
12:31
Speaker 1: and into the big time, into the business of show,
12:33
Speaker 1: just like Escarita or he knew he could behave however
12:37
Speaker 1: the fuck he wanted to. People were always singing and making.
12:59
Speaker 1: Georgia music was everywhere. The town was alive with it,
13:04
Speaker 1: on paved streets, on dirt roads, on porches some of
13:07
Speaker 1: the tongues of residence in Macon's churches. Music was in
13:10
Speaker 1: the air in the morning when the sun rose, promising
13:13
Speaker 1: another sweltering day, and at dusk, when the gnats would
13:16
Speaker 1: come out and get caught up in the kudzu. Born
13:18
Speaker 1: in nineteen thirty two. Richard Pennaman grew up where the
13:21
Speaker 1: black and white neighborhoods overlapped in making. His father, Bud
13:25
Speaker 1: ran a juke joint called the tip in In. He
13:28
Speaker 1: also ran moonshine and the Penamin household. Bud and Leave
13:31
Speaker 1: of May and their dozen kids didn't want for much.
13:35
Speaker 1: As a young boy, Richard was different in more waste
13:38
Speaker 1: than one. He was picked on mercilessly. He was born
13:42
Speaker 1: with one leg shorter than the other and thus ridiculed
13:44
Speaker 1: for the way he walked long strides twisted up with
13:47
Speaker 1: short ones. He was born with one eye bigger than
13:50
Speaker 1: the other. It was a giant head that bobbled atop
13:53
Speaker 1: his small frame. Kids teased them for that too. He
13:56
Speaker 1: was effeminate, and he talked more like a girl than
13:58
Speaker 1: a boy, or fodder for the bullies. He powdered and
14:02
Speaker 1: perfumed his face in the bathroom mirror, and his classmates
14:05
Speaker 1: had a field day with that one too. They called
14:08
Speaker 1: him names, called him big head, freak, sissy fitt. Richard's
14:12
Speaker 1: dad wasn't a fan of his son's effeminate ways. You're
14:15
Speaker 1: only half a son, he told Richard. My dad he
14:17
Speaker 1: had seven sons, and I wanted seven sons, but you
14:19
Speaker 1: fucked up that real good just by being born. Richard
14:23
Speaker 1: had already done something wrong. And then there were the
14:27
Speaker 1: people in Macon who didn't ridicule Richard for the way
14:29
Speaker 1: he looked or the way he walked, and the fact
14:31
Speaker 1: that he wasn't as manly as the next guy. Instead,
14:35
Speaker 1: they saw an impressionable young boy aching to fit in,
14:38
Speaker 1: and they saw Mark a vulnerable boy, a boy who
14:42
Speaker 1: would be easily persuaded. Richard was propositioned at an early
14:46
Speaker 1: age by older women from around Macon, and they'd ask
14:49
Speaker 1: him prying questions, sexual questions. He'd tell them whatever he
14:53
Speaker 1: thought they wanted to hear, and then it would be
14:54
Speaker 1: on sex. At the age of sixteen with older adult women.
15:00
Speaker 1: It wasn't just women. Men white men would pick Richard
15:03
Speaker 1: up along with other boys's age, on the side of
15:05
Speaker 1: the road, drive them out into the woods, and force
15:08
Speaker 1: them to perform oral sex. The scene was entirely fucked
15:12
Speaker 1: up and completely dangerous. Richard was one of many who
15:16
Speaker 1: would get stopped by a couple of older men the
15:18
Speaker 1: locals called Madam Oop and sis Henry. If you dilly
15:22
Speaker 1: dallied long enough. On your way home from school, Madam
15:24
Speaker 1: Oop or sis Henry would catch up to you, waltzing
15:27
Speaker 1: through the streets, singing songs the way most making residents would,
15:31
Speaker 1: minding their own business. Madam Oop would pop out of
15:33
Speaker 1: the shadows, ask you what you were doing, ask you
15:35
Speaker 1: where you were going, tell you how nice he looked.
15:38
Speaker 1: Ask you if you wanted to make a little money,
15:39
Speaker 1: wanted some quick cash, All you got to do is
15:42
Speaker 1: follow Oop right over there, into the bushes, into the
15:44
Speaker 1: woods behind the gas station wherever. Richard didn't like what
15:47
Speaker 1: came next, but money was hard to come by, and
15:50
Speaker 1: make it, he'd go through the motions. Madam Oop pulled
15:54
Speaker 1: his shirt out out of his pants and then slowly
15:56
Speaker 1: lifted it up to show Richard the claws to me
15:58
Speaker 1: bag on his side. Too much had destroyed his turned
16:03
Speaker 1: his thought into what Oop explained with something more akin
16:06
Speaker 1: to a floppy old than a working functioning. Biologically, it
16:11
Speaker 1: was useless, thus the colostomy bag. But sexually well, the
16:16
Speaker 1: Lord taketh, but he do giveth too. Oop may have
16:20
Speaker 1: no longer had with, but he did now have with.
16:26
Speaker 1: It was gross insane. Even the sex scene in Macon
16:30
Speaker 1: and Richard wanted out of the freak show. He was
16:32
Speaker 1: failing in school and falling in with the wrong crowds.
16:35
Speaker 1: Scavenged by the likes of Madame Oop. He wanted to
16:38
Speaker 1: do right by God, get on the right side of Satan,
16:41
Speaker 1: be good, but feel good too. He felt pulled by
16:44
Speaker 1: the evil, felt the whispers from evil blow against his ear.
16:47
Speaker 1: The only thing he enjoyed was singing with gospel groups
16:50
Speaker 1: in town. Richard loved singing. He sang a prayer meeting,
16:53
Speaker 1: sang on people's doorsteps, sang everywhere someone else wasn't already singing.
16:59
Speaker 1: So when Doctor Hudson's Medicine Show came through Macon in
17:02
Speaker 1: nineteen forty eight, selling snail oil and singing secular tunes,
17:06
Speaker 1: Richard saw an opportunity and jumped on board, joined the
17:10
Speaker 1: circus as it were, even if the real circus, in
17:13
Speaker 1: Richard's eyes, was making he had to get away, and
17:15
Speaker 1: he was just sixteen. He played with the Medicine Show,
17:22
Speaker 1: got hooked up and sang with others B. Brown and
17:24
Speaker 1: his orchestra, The Tidy Jolly Steppers, the LJ. Heath Show,
17:27
Speaker 1: the Broadway Follies. He joined a vaudeville show called Sugarfoot
17:31
Speaker 1: Sam from Alabama, put on a dress and heels and
17:34
Speaker 1: performed as his alter ego, Princess Levaughn. His performances soon
17:38
Speaker 1: led to attention from R and B DJs, and in
17:41
Speaker 1: nineteen fifty one, at eighteen years old, he found himself
17:44
Speaker 1: in the studio for the first time. His single Taxi
17:48
Speaker 1: Blues with Every Hour on the Flip Side, did well
17:51
Speaker 1: in both Macon and Atlanta. Locally, he was making a
17:54
Speaker 1: name for himself, but the brakes were pumped when Richard's
17:58
Speaker 1: father was shot and killed street gunned down outside the
18:03
Speaker 1: tip in In by Frank Tanner after an argument. Bud
18:06
Speaker 1: called Frank out on some bullshit, told him to take
18:08
Speaker 1: his big mouth outside. Bud didn't take any shit. Anyone
18:12
Speaker 1: can tell you that, especially his half son Richard. Bud
18:15
Speaker 1: followed Frank outside and Bud was packing like he and
18:18
Speaker 1: many residents of Makeing often were like Frank Tanner was.
18:22
Speaker 1: Frank turned around and shot Bud dead some real wild
18:25
Speaker 1: West shit. Bud didn't even make it to the hospital.
18:29
Speaker 1: The rest of the details were fuzzy and there was
18:31
Speaker 1: no real investigation. Frank didn't serve much time in the
18:37
Speaker 1: wake of his father's death, Richard looked to the Lord
18:39
Speaker 1: for guidance, but the Lord must have been busy. In
18:42
Speaker 1: the absence of any spiritual advice, Richard felt the poll
18:46
Speaker 1: of rhythm and blues. The music he had heard and
18:48
Speaker 1: sang on the road resonated in his head, and the
18:51
Speaker 1: absence of the Lord in his life created a void,
18:54
Speaker 1: and Richard filled it with the desire to make the
18:56
Speaker 1: kind of music that made people jump around, you know,
18:59
Speaker 1: Devil's music. Richard was also filled with another desire, the
19:03
Speaker 1: kind of desire that goes hand in hand with that hot,
19:06
Speaker 1: sweaty kernel music. A desire for flesh, a desire for
19:10
Speaker 1: the things he knew were wrong but that made his
19:12
Speaker 1: head spin, so called evil things. And Fanny, Richard's new friend,
19:18
Speaker 1: knew of such things. Richard was back in Macon, off
19:22
Speaker 1: the road to bury his father. Fanny was Richard's local
19:25
Speaker 1: partner in crime, his partner in kink, and Fanny knew
19:28
Speaker 1: what Richard liked. He'd liked to watch and Fanny liked sex.
19:33
Speaker 1: A partnership was born. Richard talked about peeking and hiding
19:36
Speaker 1: and ducking back in the alley, some real under the
19:39
Speaker 1: radar shit. He had a car he'd drive around town,
19:42
Speaker 1: find guys who were ready and willing, and Fanny could
19:44
Speaker 1: freak with them in the back seat. Richard Richard would
19:48
Speaker 1: just watch they cruised, make it slow. In the early
19:56
Speaker 1: nineteen fifties at night, on the sidewalks in street corners.
20:00
Speaker 1: If he knew what you were looking for, it was
20:02
Speaker 1: easy to spot strange men looking for late night, strange
20:06
Speaker 1: looking for something they weren't going to get at home,
20:08
Speaker 1: and Richard had what they wanted right in the back
20:11
Speaker 1: seat of his car. Richard was shift into neutral and
20:14
Speaker 1: coast over to the side of the road. The night
20:17
Speaker 1: so black and dead, all you could hear from blocks
20:19
Speaker 1: was the wind, blowing insects, humming, trains whistling. Richard would
20:24
Speaker 1: pull over, slow creep, catch the man on the corner's
20:27
Speaker 1: eye through the passenger window, make a gesture with his
20:30
Speaker 1: head towards the back seat, and the man would then
20:33
Speaker 1: walk to the rear passenger door, open it, and there
20:36
Speaker 1: laying on the back seat was Fanny, legs spread no
20:40
Speaker 1: panties on underneath their dress. The man would jump in
20:44
Speaker 1: scramble to undo his belt, while Fanny would reach up
20:47
Speaker 1: pull a zipper down and the car would lurch from
20:49
Speaker 1: side to side, parked and idling on the side of
20:52
Speaker 1: the road while Fanny and the man got to know
20:54
Speaker 1: each other biblically and Richard Richard would just watch one
20:58
Speaker 1: hand on the wheel and the other well doing the
21:00
Speaker 1: devil's business. His neck craned to fully observe the action
21:04
Speaker 1: in the back seat of his own chauffeur fuckmobile. No
21:08
Speaker 1: money was exchanged. Fanny screwed strange men because little Richard
21:12
Speaker 1: told her to. Richard had that swag, he got cocky,
21:17
Speaker 1: wanted to double down. He drove the car to a
21:19
Speaker 1: gas station, did his thing and caught the attention of
21:22
Speaker 1: a man standing outside, made the gesture the back seat,
21:26
Speaker 1: and the man beat a bee lineer Richard's car. But
21:29
Speaker 1: Richard didn't notice that the gesture also caught the attention
21:32
Speaker 1: of the gas station clerk, who couldn't help but watch.
21:35
Speaker 1: He saw Richard's look, saw the back door open, saw
21:38
Speaker 1: Fanny on the back seat, legs spread wide, and the
21:41
Speaker 1: man climbed in on top of her and shut the
21:43
Speaker 1: door behind him. The clerk slowly walked from the gas
21:47
Speaker 1: station like he was in a trance. He got closer
21:50
Speaker 1: and stole a glance through the back window, and the
21:52
Speaker 1: guy was going to town on top of the girl.
21:55
Speaker 1: Richard was watching from the front seat. The car idled,
21:58
Speaker 1: it shook, and the clerk snapped too. His titillation gave
22:01
Speaker 1: way to shock, to a muffled gasp, to the need
22:04
Speaker 1: to do his civic duty and report what was surely
22:06
Speaker 1: all kinds of broken laws, not to mention a blatant
22:09
Speaker 1: affront to God himself. He ran back inside the gas
22:12
Speaker 1: station and picked up the phone, and the car was
22:14
Speaker 1: still idling, still rocking, when the blue lights flickered on
22:16
Speaker 1: behind Richard. The lights startled him, pulled him out of
22:20
Speaker 1: a self contained world of sin, and the cop wrapped
22:22
Speaker 1: his nightstick on the window and startled Richard even more.
22:25
Speaker 1: Fanny and the man in the back seat jumped, and
22:27
Speaker 1: the guy popped the back door open, fell out of
22:30
Speaker 1: the car, and struggled to pull his pants on. Richard
22:33
Speaker 1: was out, hands up, turned himself around to face the vehicle,
22:36
Speaker 1: and got the pat down. He was going to jail
22:42
Speaker 1: after a few days behind bars. They told him to
22:45
Speaker 1: leave town. Just as Richard had felt the need to
22:48
Speaker 1: get out of making making it felt the need to
22:51
Speaker 1: get Richard out of their community and the feeling was mutual.
22:54
Speaker 1: Richard was cast out and there was no going back.
22:58
Speaker 1: We'll be right back after this word word were. Lloyd
23:04
Speaker 1: Price patted the ridges of his perfectly coffed hair and
23:07
Speaker 1: told little Richard that Specialty Records was where it was at,
23:12
Speaker 1: specially needed someone like Little Richard, a cat who was
23:15
Speaker 1: cut above the norm, a cat who stood out and
23:17
Speaker 1: turned heads. Lloyd told Richard to send his demo straight
23:21
Speaker 1: to Art Roup in Los Angeles. Tell him Lloyd sent him.
23:25
Speaker 1: He patted his hair again, partly to make sure it
23:27
Speaker 1: was still as pretty as it was five minutes ago,
23:30
Speaker 1: partly to reinforce his star time image. Lloyd Price was
23:33
Speaker 1: a motherfucker of a musician, recording artists for Specialty Records,
23:38
Speaker 1: the voice behind the number one song Lottie, Miss Claudie,
23:41
Speaker 1: and he would daintily adjust his hair anytime he damn
23:44
Speaker 1: well pleased, so you wouldn't forget it. Richard wasn't thinking
23:47
Speaker 1: of Lloyd's hair. He had his own hair to think of.
23:50
Speaker 1: His hair would turn even more heads, but he was
23:54
Speaker 1: mostly thinking of Lloyd's recommendation. Richard was desperate to get
23:57
Speaker 1: on Specialty's roster, like a hungry dog. That had grabbed
24:00
Speaker 1: hold of a big slab of meat and wouldn't let
24:02
Speaker 1: go until he could drag it away into a corner
24:04
Speaker 1: on his own. He wanted some. He knew that Specialty
24:08
Speaker 1: would want him to. Richard was used to being wanted.
24:13
Speaker 1: They had been grinding it out, playing his excitable R
24:15
Speaker 1: and B music to paying crowds all over the South,
24:18
Speaker 1: and made some sporadic recordings for RCA, Victor and Peacock Records.
24:22
Speaker 1: He opened for Sister Rosetta Tharp and Little Johnny Taylor.
24:25
Speaker 1: He cut sides with Johnny Otis. Johnny otis attraction was
24:29
Speaker 1: limited when Lloyd Price played Macon and ran into the
24:33
Speaker 1: Little Richard performance juggernaut. Lloyd saw the greatness and Richard
24:36
Speaker 1: played his day. He saw the Frankenstein pieces coalesced into one,
24:41
Speaker 1: the Church Zello, the Traveling Medicine Show, Free, the escarita
24:44
Speaker 1: inspired virtuoso. Richard took Lloyd's advice and sent his demo
24:49
Speaker 1: up to Specialty. For days, he didn't hear anything, and
24:52
Speaker 1: then weeks he called and they weren't interested. He waited
24:56
Speaker 1: some more, called again, still nothing. It wasn't until he
25:00
Speaker 1: got desperate until they started to realize that they needed
25:02
Speaker 1: to compete with Atlantic Records and Ray Cheryls for a
25:05
Speaker 1: bigger slice of the R and B pile. That they
25:07
Speaker 1: decided to give the Making Kid a chance, and they
25:10
Speaker 1: returned Richard's calls, and from there it was a blur.
25:15
Speaker 1: The label sent Richard to New Orleans. The guys from
25:17
Speaker 1: Fats Domino's band waited in the studio, a tiny room
25:21
Speaker 1: in the back of Jane an amusement service, a jukebox
25:24
Speaker 1: operation in the French quarter, sixteen by eighteen feet. Richard
25:28
Speaker 1: and the others packed like Sardine's and a ten, playing
25:31
Speaker 1: like they were trying to bust out of the room,
25:32
Speaker 1: tear its walls down, blow its roof off. They cut
25:35
Speaker 1: track after track after take after take. The room was hot, sweltering.
25:41
Speaker 1: Richard played and sang like he was making out for
25:43
Speaker 1: lost time, like he had to get the music out
25:45
Speaker 1: the ideas down, had the secret code to reinvent the wheel,
25:48
Speaker 1: and he was going to bring a room full of
25:50
Speaker 1: tempered New Orleans session men along with him, whether they
25:52
Speaker 1: liked it or not. And Tooty Freddy was released first.
25:55
Speaker 1: It was a smash, peaked at number two on the
25:58
Speaker 1: R and B charts. Crossed over to the pop charts,
26:00
Speaker 1: where it made it to number twenty one. The song
26:03
Speaker 1: sounded like an explosion. It had energy to spare. It
26:07
Speaker 1: all hinged on a line of lyrical nonsense that somehow
26:09
Speaker 1: made total sense, a wop baba lubab a wop bamboom.
26:16
Speaker 1: Like most of Richard's songs, it was coded. It was
26:19
Speaker 1: a sex romp. He wrote what he knew, and it
26:22
Speaker 1: sold a million copies. Richard's live show was just as
26:26
Speaker 1: explosive as his recordings. With his band, The Upsetters, he
26:29
Speaker 1: did the upsetting. He stood up, moving, played the piano,
26:33
Speaker 1: but wouldn't be bound to it through his clothes at
26:35
Speaker 1: the audience, and women threw their panties right back at him.
26:38
Speaker 1: He played seven nights a week with The Upsetters, sometimes
26:40
Speaker 1: up to three shows in one night. He had everyone's attention,
26:44
Speaker 1: sometimes too much attention. In Texas, the police stopped the
26:48
Speaker 1: show and arrested him on the spot. He had two strikes,
26:51
Speaker 1: long hair and the way he danced. The cops weren't
26:54
Speaker 1: going to wait to see what the third strike was.
26:58
Speaker 1: As he dove deeper into rock and roll. It wasn't
27:01
Speaker 1: just the way he performed on stage to gut him
27:03
Speaker 1: in trouble. Backstage behind closed dressing room doors, Richard surrendered
27:08
Speaker 1: to the temptations of the flesh and the kinky, or
27:10
Speaker 1: the setup, the deeper, the thrill. Before a show at
27:14
Speaker 1: the Brooklyn Paramount, Buddy Holly could smell the sex backstage
27:17
Speaker 1: before he even reached the dressing room. Richard had invited
27:20
Speaker 1: Buddy to visit before his set that night. We had
27:23
Speaker 1: to have some fun tonight, Richard had promised. Richard said
27:26
Speaker 1: his girl Angel would be there. That was all Buddy
27:29
Speaker 1: needed to hear. Buddy thought of her other worldly dimensions,
27:32
Speaker 1: that breathy voice, thought of all the things Angel would
27:35
Speaker 1: do for Richard on a moment's notice. And oh boy,
27:37
Speaker 1: Buddy Holly was ready teddy. And when he threw the
27:40
Speaker 1: dressing room door open, the three half naked bodies were
27:43
Speaker 1: knotted up in such a way that Buddy couldn't tell
27:45
Speaker 1: where one body began and the other ended. Richard Angel
27:49
Speaker 1: and Larry Williams Specialty's latest self proclaimed bad boy, Angel
27:54
Speaker 1: was living up to a reputation, at least the reputation
27:57
Speaker 1: Little Richard was hanging her name on. Her full name
28:00
Speaker 1: was Lee Angel, but everyone just called her Angel, an
28:05
Speaker 1: exotic dancer. Angel had first caught Richard's eye because of
28:08
Speaker 1: her cartoonish build. He bragged about her fifty inch bust
28:11
Speaker 1: an eighteen inch waist, curvy in all the right places
28:15
Speaker 1: made his big toe shoot up in his boot. And
28:18
Speaker 1: she was still in high school when Richard met her,
28:20
Speaker 1: and he was twenty four. Angel would do whatever Richard
28:23
Speaker 1: asked her to. She'd have sex with other men while
28:25
Speaker 1: Richard watched. She'd have sex with other women while Richard watched.
28:29
Speaker 1: Sometimes Richard would get involved, other times he'd just sit
28:32
Speaker 1: in the corner, lurk in the shadows eyes Why dick
28:35
Speaker 1: Hard Richard the watcher? But right now he wasn't just
28:39
Speaker 1: a watcher. He was an active participant. The Pancake thirty
28:43
Speaker 1: one makeup ran down his flushed face while a pair
28:47
Speaker 1: of hands ran up his thighs whose hands, Buddy couldn't tell.
28:52
Speaker 1: Larry Williams tagged out and Buddy Holly tagged in. He
28:54
Speaker 1: wasn't gonna let a red hot threesome pass him by
28:56
Speaker 1: before he was called to the stage. In these moments
29:00
Speaker 1: of sexual ecstasy, Richard would feel God pulling on him,
29:04
Speaker 1: pulling him out of the filthy pit of depravity. He
29:07
Speaker 1: was so drawn to and away from, the carnal axe
29:09
Speaker 1: he felt compelled to perform and receive. From an early age,
29:13
Speaker 1: he heard the familiar voice in his head and knew
29:16
Speaker 1: it was angel. Not the angel who was sucking on
29:18
Speaker 1: his nipple in the dressing room, not earth angel, but
29:21
Speaker 1: another angel, a heavenly angel, an angel who spoke to
29:25
Speaker 1: him in his times of spiritual and psychological crisis, an
29:28
Speaker 1: angel who motioned him closer to redemption. But the voice
29:32
Speaker 1: of evil chimed in too, and reminded him why he
29:35
Speaker 1: deserved to be twisted up with two other sweaty naked
29:38
Speaker 1: bodies on the floor backstage at the Paramount. Little Richard
29:42
Speaker 1: is the greatest evil tot him. Little Richard is the
29:44
Speaker 1: king of rock and roll, the Queen of rock and roll.
29:47
Speaker 1: And he was the holiest, the godliest, the freakiest, the deakiest.
29:52
Speaker 1: The voice of Angel wouldn't be deterred. Richard had all
29:55
Speaker 1: but abandoned God, traded in a truly pious life for
29:58
Speaker 1: rough and tumbled music in rough, tumbling sex. But Richard's
30:02
Speaker 1: angel wasn't deterred. She'd find another way to get through,
30:06
Speaker 1: and so it was while headlining a tour of Australia
30:09
Speaker 1: with Eddie Cochrane and Geene Vincent, that little Richard stood
30:12
Speaker 1: at his piano at an outdoor show in Sydney and
30:15
Speaker 1: arched his neck towards the night sky. He saw a
30:19
Speaker 1: red streak burn through the air far above where he stood,
30:22
Speaker 1: knees bent and fingers hammering. The ivory. Angel was out
30:26
Speaker 1: of his head now and was sending a harrowing message
30:28
Speaker 1: of death and destruction straight towards him. It would set
30:31
Speaker 1: fire to Sydney into him, and it would all be
30:34
Speaker 1: his fault. That struck the piano so hard with his hands,
30:37
Speaker 1: he wondered if his rings would shatter. He hit the
30:39
Speaker 1: piano harder to distract himself from the terror he felt,
30:42
Speaker 1: to the imminted danger he knew he was in. He'd
30:45
Speaker 1: hurt himself just to make it all go away, but
30:47
Speaker 1: it wasn't going anywhere. He had to go somewhere, and
30:51
Speaker 1: that was it. He was done. He walked off that
30:55
Speaker 1: stage and he wouldn't go back. He asked Angel to
30:58
Speaker 1: tell God that this was it, this was the last show,
31:01
Speaker 1: and begged her to stop sending him flaming balls of
31:03
Speaker 1: chaos and disorder, he'd nned it. Tonight to prove himself,
31:09
Speaker 1: he ran to the Sydney Harbor and threw his eight
31:11
Speaker 1: thousand dollars ring in the water. Left the tour with
31:14
Speaker 1: ten days of shows, remaining half a million in canceled bookings, lawsuits, anger, outrage.
31:21
Speaker 1: He went back home, locked himself in a room with
31:23
Speaker 1: a Bible and didn't talk to anyone. And the flaming
31:28
Speaker 1: red ball of fire that he saw burn up the
31:30
Speaker 1: night sky in Australia wasn't a sign from God. It
31:34
Speaker 1: was Sputnik, the Soviet satellite that had just been launched
31:37
Speaker 1: into space. But even if you told Little Richard the
31:40
Speaker 1: truth in the moment, he wouldn't have believed you, because
31:43
Speaker 1: he had been sent a message. He was reminded of
31:45
Speaker 1: the awesomeness of God and the vengefulness of God. Should
31:49
Speaker 1: Richard give in to the earthly evil path made possible
31:53
Speaker 1: through rock and roll, they said he was dead, that
32:11
Speaker 1: he had taken his own life. Some said he had
32:13
Speaker 1: been committed forced into the looney bin. And the rumors
32:17
Speaker 1: weren't true. But the ones where Little Richard got married
32:20
Speaker 1: to a woman and traveled the country preaching the word
32:22
Speaker 1: of God. Those rumors were dead on five years, that's
32:27
Speaker 1: how long Little Richard lasted without rock and roll. He
32:30
Speaker 1: did the revival tenthon Seminary Circuit, recorded gospel albums with
32:34
Speaker 1: Quincy Jones, But to cut rock and roll out of
32:36
Speaker 1: his life completely, that was a bit much everything a moderation,
32:41
Speaker 1: Wasn't that the phrase the true words to live by
32:44
Speaker 1: little by little. In the mid nineteen sixties, he came
32:46
Speaker 1: back back to his throne, toward his own songs, hired
32:49
Speaker 1: and then fired Jimmy Hendrix by the end of the sixties,
32:53
Speaker 1: Inspired partly by Jimmy's fashion and style, he wanted to
32:56
Speaker 1: break the cycle of being his own touring impersonator. Little
33:00
Speaker 1: Richard wasn't no rehash of the same old shit. He
33:03
Speaker 1: was the real thing, brother, and he was going to
33:04
Speaker 1: get deeper into that rock and roll. And so in
33:07
Speaker 1: nineteen sixty nine, at the Atlantic City Racetrack in May's Landing,
33:11
Speaker 1: New Jersey, just weeks before Woodstock defined a generation, audience
33:16
Speaker 1: has witnessed the rebirth of the rock and roll savior,
33:19
Speaker 1: Little Richard. He told the crowd at the Atlantic City
33:22
Speaker 1: Pop Festival that he was the best thing to come
33:24
Speaker 1: out of making Forget about Otis Redding, forget about James Brown,
33:27
Speaker 1: and there was only one King, and then he proved it.
33:32
Speaker 1: He closed the festival like the royal supernova that he
33:35
Speaker 1: was zero residual. Nineteen fifties Kitch, two drummers in a
33:39
Speaker 1: horn section sent songs like Lucille into the jam band stratosphere.
33:43
Speaker 1: Tempos were furious, the interplay between musicians inspired, and Richard
33:48
Speaker 1: jumped from the top of the piano, ripped his mirrored
33:50
Speaker 1: shirt from his sweaty body, fell to his knees to
33:53
Speaker 1: testify he was back, baby with a return to that
33:58
Speaker 1: rock and roll lifestyle meant to turn to temptation, occupational hazards.
34:03
Speaker 1: Rock and roll meant sex, lots and lots of sex,
34:07
Speaker 1: and now on a second pass through the music business.
34:10
Speaker 1: In the late sixties and seventies, rock and roll also
34:13
Speaker 1: meant drugs, not just weed, PCP, heroin, cocaine. Richard was
34:20
Speaker 1: way beyond bad and didn't even realize it. He was
34:23
Speaker 1: singing and screwing at a feverish pace or concerning than
34:27
Speaker 1: the sex was his drug habit. Most days he was
34:31
Speaker 1: so messed up he couldn't feel anything, couldn't feel his
34:33
Speaker 1: bare feet on the shag carpet, couldn't feel his hands
34:36
Speaker 1: running down a naked thigh, couldn't feel enough to get hard.
34:40
Speaker 1: He was draining one thousand dollars a day on his
34:43
Speaker 1: drug habit. He went through money so fast that he
34:45
Speaker 1: had to borrow it. He hit up his friend Larry Williams,
34:48
Speaker 1: the singer songwriter that specialty had brought in when Richard
34:50
Speaker 1: threw his ring in the Sydney Harbor. Larry was just
34:53
Speaker 1: out of the slammer, having done time for drug dealing.
34:56
Speaker 1: It was working on a musical comeback of his own.
34:59
Speaker 1: Larry lo and Richard a pretty penny. It wasn't just
35:01
Speaker 1: a drop in the bucket, It's the whole bucket. Larry
35:05
Speaker 1: came around to Richard's place looking for a general idea
35:07
Speaker 1: of when he could get repaid. He didn't get any answers.
35:10
Speaker 1: He oi found a disoriented Richard wasted on his cash.
35:14
Speaker 1: Larry was fed up. He wanted answers. More importantly, he
35:18
Speaker 1: wanted his money back. Where's my fucking money? Richard? Richard
35:22
Speaker 1: said nothing. Zocked, Larry pulled a thirty eight stubnose revolver
35:26
Speaker 1: from his jacket and pointed it directly at Richard's bare chest.
35:30
Speaker 1: Richard put his hands up, shook where he stood. The
35:33
Speaker 1: sweat beat it around his exquisite mustache, his pompa door
35:36
Speaker 1: once a thing of wind sweat beauty, flopped over his
35:38
Speaker 1: forehead like a deflated wig. I swear to God, Richard,
35:42
Speaker 1: you sober your ass up and find me my goddamn money.
35:45
Speaker 1: Larry Williams was thundering now. He cocked the pistol for
35:48
Speaker 1: good measure. Richard heard the hammer pull back and fell
35:51
Speaker 1: to his knees. He Little Richard, the originator of the
35:54
Speaker 1: King the Queen. He wrote the damn rules of rock
35:57
Speaker 1: and roll, and yet he had no money to show
35:58
Speaker 1: for it. On the drugs. Blame it on the bad contracts.
36:02
Speaker 1: Blame it on the lawsuits. Blame it on the first
36:03
Speaker 1: time he walked away from it all at the height
36:05
Speaker 1: of his success. Blame it on the times. Nobody was
36:07
Speaker 1: interested in Little Richard anymore. Even the voices of angel
36:10
Speaker 1: and evil had gone silent. He was coked up, alone, broke,
36:14
Speaker 1: and damn near close to getting his head shot off
36:16
Speaker 1: by Larry Williams. Richard was sure Larry would pull the trigger.
36:20
Speaker 1: Larry was fucking crazy. He had that look in his eyes.
36:24
Speaker 1: Richard had seen that look before, seen it in the
36:27
Speaker 1: eyes of the men skulking for kicks on the streets
36:29
Speaker 1: of making, and the eyes of the women backstage who
36:32
Speaker 1: needed a thrill. Seen it in the eyes of Buddy Hawlly,
36:34
Speaker 1: another angel. Dusted orgy goer is desperate, sweaty, horned up.
36:39
Speaker 1: Larry Williams would pull the trigger, blow Richard's head wide open.
36:43
Speaker 1: Richard squeezed his eyes shut and waited for the shot,
36:45
Speaker 1: waited for the fatal clang of the pistol's hammer to
36:48
Speaker 1: deliver him from evil. A womp bob alu bob, A
36:51
Speaker 1: womp bamp. Richard opened his eyes. Larry Williams, lowering the
36:55
Speaker 1: pistol to his side, Get me my money, Richard, next
36:59
Speaker 1: time one of us walks out here. The voice of
37:03
Speaker 1: Angel may have stopped talking to Richard, but she was
37:06
Speaker 1: showing him, showing him what would happen. Richard knew how
37:10
Speaker 1: close to death he was. Knew Larry Williams wasn't fucking around.
37:14
Speaker 1: Richard pulled the scratch together and repaid his debt, and
37:17
Speaker 1: then once again denounced rock and roll as the Devil's
37:20
Speaker 1: music said it was demonic said it descended from voodoo,
37:24
Speaker 1: said that it was voodoo pure evil. He called homosexuality
37:28
Speaker 1: a sickness, a sickness that he had suffered with from
37:31
Speaker 1: an early age, a disease that he had to cure.
37:34
Speaker 1: There was no balancing the duality for Richard. He couldn't
37:37
Speaker 1: be gay and be godly. He couldn't sing two dy
37:40
Speaker 1: Fruity on a Saturday night and then sing church hymns
37:43
Speaker 1: on a Sunday morning. It was one or the other,
37:45
Speaker 1: black or white, good or bad, angel or evil. The
37:49
Speaker 1: little Richard does to sing the devil music no more,
37:52
Speaker 1: and that is a disgrace. I'm Jake Brennan in This
37:58
Speaker 1: is Disgrace, Lad. Disgraceland was created by Yours Truly and
38:15
Speaker 1: is produced in partnership with Double Elvis. Credits for this
38:18
Speaker 1: episode can be found on the show notes page at
38:21
Speaker 1: disgracelampod dot com. If you're listening as a Disgraceland All
38:25
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39:03
Speaker 1: a Rolla. He's a bad bad man, h