Little Richard, the screaming, preening, scene-stealing wild man of early rock 'n' roll with hits like "Tutti Frutti" and "Long Tall Sally," died Saturday at 87, Dick Alen, his former agent, confirmed to CNN.
Alen said Little Richard died in Nashville with his brother and son by his side, and the cause of death is related to bone cancer.
He called the star "one of the legends, the originators" and said Little Richard had "been ill for a good while."
He was a rocker like no other
The pioneer would have stood out in any era. But in the 1950s, when Little Richard came to prominence, he was like no other: a flamboyant, makeup-wearing, piano-playing black man who personified the "devil's music" to establishment guardians.
Elvis Presley was one thing, but for all his pelvic thrusts and slicked-back, juvenile-delinquent hair, he was at heart a polite Southern boy who loved his daddy. Little Richard, though ... well, he may have come from a big Southern family himself, but he represented something else.
"Richard opened the door. He brought the races together," said arranger H.B. Barnum in Charles White's 1984 biography "The Life and Times of Little Richard."
"When I first went on the road, there were many segregated audiences. With Richard, although they still had the audiences segregated in the building, they were there TOGETHER. And most times before the end of the night, they would all be mixed together."
Rolling Stones frontman Mick Jagger, no onstage slouch, was an admirer as well.
"There's no single phrase to describe his hold on the audience. I couldn't believe the power of Little Richard on stage. He was amazing," Jagger said, according to White's book.
Little Richard knew his power. "They saw me as something like a deliverer, a way out," he once said. "My means of expression, my music, was a way in which a lot of people wished they could express themselves and couldn't."
He also made no bones about his status. LIttle Richard bristled when he was overlooked in favor of other early rock figures, telling SFGate.com in 2003, "I created rock 'n' roll! I'm the innovator! I'm the emancipator! I'm the architect! I am the originator! I'm the one that started it!"
He had made those boasts 15 years earlier, going off script while giving out the best new artist award at the 1988 Grammys.
Five years later the Grammys finally recognized him with a Lifetime Achievement Award.
'Rocking and rolling' in its original form
It's hard to argue with Little Richard's stance. "Rock 'n' roll" was originally a euphemism for sex, and in his energy, his falsetto "woohs!" and pounding piano, Little Richard personified the life force.
A-wop-bop-a-loo-bop-a-wop-bam-boom, OK?
His songs were about many things -- ripping it up, ready teddies, girls who couldn't help it -- but above all, they were about "rocking and rolling" in its original, unexpurgated form.
"Long Tall Sally, she's built for speed / She got everything that Uncle John need," he belted in "Long Tall Sally," a song rife with such obvious innuendo there was barely a need to read between the lines.
"Good golly, Miss Molly / Sure like to ball," went "Good Golly, Miss Molly," leaving even less to the imagination.
"Spinnin', spinnin', spinnin', spinnin' like a spinnin' top / Crazy little partner, you ought to see us reel and rock," he sang in "Jenny, Jenny."
The songs -- thanks to Little Richard's raucous performances -- created fearsome visions of teenage abandon in the minds of parents and censors.
"With Little Richard, the rock 'n' roll audience got the aggressive extrovert to enact their wilder fantasies, and his stage performances set precedents for anyone who followed him," Charlie Gillett wrote in his classic, "The Sound of the City."
Sometimes that wildness kept Little Richard one step removed from the mainstream: "Tutti Frutti," his breakthrough hit, was originally supposed...