Little Richard’s Influence on Rock ‘N’ Roll History Essay

Rock and roll music emerged as a part of American teen culture during the notably conservative time period in the country’s history which shortly followed the traumatic events of World War II. Being that the genre’s target audience was white teenagers, many Americans- already overwhelmed and on-edge due to the anti-communist movement inspired by the Cold War- were apprehensive about the influence that this up-and-coming style of music might have on their country’s future. America’s youth openly accepted rock and roll’s racially integrated culture of performers and embraced the relatively lewd nature of many songs and performances associated with the genre, much to the dismay of their elders. Richard Wayne Penniman (better known by his stage name, Little Richard) had an important influence on the history of rock and roll music because of his unconventional stage presence and explicit sexuality. Artists such as Little Richard aggressively pushed the envelope, defied social norms and generated controversy. Richard, along with a few fellow pioneers, helped to define rock and roll in its early years, and paved the way for rock and rollers of future generations. Penniman’s work left an everlasting impression on the musical genre and culture that is rock and roll. Considering the time in America’s history during which Little Richard appeared on the rock and roll scene, it is completely appropriate to attribute much of his fame and influence to his unconventional stage presence. The rising popularity of television during the 1950’s fundamentally changed the music industry by presenting artists with an entirely new way to market themselves (or be marketed). Being televised meant that the overall look and presence of an artist played a more crucial role in stimulating audiences; the focus of listeners was no longer solely the sound of the music being produced. Prior to T. V. , music fans were only able to enjoy the sounds of their favorite artist by way of radio and the purchasing of records. In many cases, this meant that if a fan had never seen a live performance or record-jacket photo of a particular artist, it’s possible that they had never seen said artist at all and possessed only a general idea (if any) of what that artist looked like. As television sets became an increasingly popular household item for middle-class American families, â€Å"live performances assumed a new importance for performers of rock ‘n’ roll music, and individual artists and vocal roups sought to cultivate visual characteristics or mannerisms that would set them apart from others and encourage listeners to remember them†¦ but no performer in the early years of rock ‘n’ roll was as visually flamboyant as Little Richard,† (Schloss, Starr, and Waterman 1-75). A fan’s perception of an artist or group became subject to their opinion of the overall image of the performance. At this point in time, listening to the music of a completely respectable, clean cut, well dressed African-American was still considered inappropriate by a sizeable portion of white American society- particularly those living in the South and those beyond their teenage years. Many of these people were hesitant to accept racial integration, and tended to proceed cautiously when (or, more appropriately, if) they chose to do so. These are the same people that were unrightfully, but understandably, so frightened by performers like Little Richard. In order to differentiate himself from other rockers of the time, Richard usually wore heavy make-up and sported his famous pompadour hair style. As a former drag queen, Richard was fully aware of the type of reaction his look would draw from audiences; it’s the reaction he hoped to receive. Though, at the time, society as a whole was unsure of how to react to the statement his image made, â€Å"the†¦ ambiguity of Little Richard’s sexual identity†¦ paved the way for the image of performers such as David Bowie, Elton John, and Prince,† (Schloss, Starr, and Waterman 1-75). Just in case his eccentric outward appearance was not enough to gain the disapproval of parents across the nation, Little Richard put on an absolutely wild stage performance which included dramatic eye rolling and his simultaneous hip gyrating and piano playing. In order to dance and play piano at the same time, Little Richard stood (not sat) in front of the instrument- yet another feature of his performance that was specific to him. Little Richard aimed to gain the attention of his fans by creating an entirely original and exciting performance act. In order to do so, Richard created an image that was totally outside of society’s definition of normal, respectable, and safe. His image was only half of his act, though. It’s unlikely that there were many ‘respectable’ white, American parents around in the 1950’s that were comfortable with the idea of Little Richard having any type of influence over the generation deemed the ‘future’ of their country, much less over their specific children. If there had been anyone left straddling that fence, however, contemplating just how harmful a 24-year-old performer with a whacky haircut and face full of make up could really be, it would be safe to assume that they had never actually heard the man sing. The lewd, scandalous lyrics that completed Little Richard’s unorthodox self-presentation would have provided the final push that landed the aforementioned fence straddler on the opposite side of Richard’s performance, and confirmed the popular idea that â€Å"rock’s musical characteristics indicated a general decline in American taste,† (Schloss, Starr, and Waterman 1-75). While teenagers danced to the sounds of the modified twelve-bar blues accompanying Richard’s shouting vocal style and countertenor whoops, parents instinctively cringed in disapproval of the blatantly suggestive lyrics. Hit songs by Little Richard such as â€Å"Tutti-Frutti,† (Penniman, 1955) and â€Å"Long Tall Sally,† (Penniman, 1956) contained lyrics that were generally non-specific, but overall relatively sexual for the time. Richard’s scandalous appearance, behavior, and song lyrics embodied a sexual tension that managed to both intrigue teenage audiences, and inspire fellow performers. It is this same sexual tension that made society at large not only generally uncomfortable, but also concerned about what other ludicrous notions rock and roll would try to impose upon American culture in the future. Little Richard used rock and roll as a platform to rattle the cages of the music industry, and change society’s concept of what was acceptable, what was normal, and most of all what was popular. It was Richard’s unique image and abrasive song content that simultaneously intrigued and shocked American society in the early 1950s. American teenagers of this time appreciated the power of Little Richard’s performance and embraced Little Richard as the new spirit of rock and roll. Unfortunately, â€Å"in 1957 Richard denounced his work and joined the church†¦clos[ing] his most creative period,† (Oxford University Press). Although the momentum of his influence eventually slowed, it never quite stopped. Rock and roll performers such as Jerry Lee Lewis, the Beatles, and the American Creedence Clearwater Revival all provide examples of music inspired by the work of Little Richard, proving the power of his influence and solidifying the lasting impression that he left on rock and roll.