Big Mama Thornton, Little Richard, and the Queer Roots of Rock ‘n’ Roll
Tyina Steptoe
June 1, 2025
Dr. Tyina Steptoe is an Associate History Professor at the University of Arizona. Her presentation was titled “Big Mama Thornton, Little Richard, and the Queer Roots of Rock ‘n’ Roll.” (Note: sometimes written as “Rock and Roll,” but mine is the correct orthography.)
Steptoe started with a nod to the Great Migration of southern Blacks moving north, invoking a “Second Great Migration” toward the west. Her story really begins in Houston, whose Bronze Peacock night club spawned the Peacock Records company around 1950, technological advances making it easier and cheaper to produce mass-market records.
Willie Mae Thornton (1926-84), later known as “Big Mama,” started singing in bars in her native Alabama at a very tender age, then joined a traveling “theater group” with motley performers and thereby wound up in Houston and connected with Peacock. Her metier was “Rhythm & Blues,” a largely Black thing, later bleached as “Rock ‘n’ Roll” for wider audiences. Thus her first hit song in 1953, “Hound Dog,” became a much bigger hit in 1956 when Elvis Presley (1935-1977) did it.
Steptoe’s interest was kindled by finding a family photo of her grandfather with Big Mama. A rare one showing her in male garb, which she actually favored; most of her pics have her in dresses, which she normally performed in. She never married; lesbianism is inferred. Steptoe played a recording of her singing, described as “low register,” in other words, sounding very male.
A counterpoint to Mama’s bigness was the littleness of Richard Penniman (1932-2020). Little Richard’s gayness was more flamboyant, though not publicly acknowledged for decades. His early drag-like persona onstage was called “female impersonation” and was a fairly common shtick, with homosexuality anathematized in those 1950s. Even associated with hated Communism. Thus the Civil Rights movement tried to steer clear of anything smacking of queerness.
Steptoe noted that some Little Richard hit songs were redone by Pat Boone (1934 – ), made even bigger hits, though Boone’s renditions were pretty weak tea compared with Richard’s electric performances. But Boone was white and straight. A signature Little Richard song was “Tutti-Frutti;” Steptoe played an excerpt, noting that the hit version’s lyrics were sanitized of the original’s overtly sexual content (“good booty” etc).
Prepared by Frank Robinson (1947 – )
