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Thornton's recording of "Hound Dog" is credited with "helping to spur the evolution of black R&B into rock music". [9] Brandeis University professor Stephen J. Whitfield, in his 2001 book In Search of American Jewish Culture, regards "Hound Dog" as a marker of "the success of race-mixing in music a year before the desegregation of public schools was mandated" in Brown v.
Willie Mae "Big Mama" Thornton (December 11, 1926 – July 25, 1984), [1] was an American singer and songwriter of blues and R&B.. The Encyclopedia of Pop, Rock and Soul described Thornton, saying: "Her booming voice, sometimes 200-pound frame, and exuberant stage manner had audiences stomping their feet and shouting encouragement in R&B theaters from coast to coast from the early 1950s on".
The only real controversy about the authorship of "Hound Dog" was over Johnny Otis' credit, and that was resolved before Valjo Music Publ. Corp. v. Elvis Presley Music, as evidenced by the facts that the credit had been changed by 1954 and that Otis signed a letter declaring himself not to be a writer in early 1956. The outcome of the court ...
The song, which interpolates Big Mama Thornton’s 1952 foundational rock and roll song “Hound Dog,” was the first taste of Elvis Original Motion Picture Soundtrack, which also features songs ...
In 2009, Simon & Schuster published Hound Dog: The Leiber and Stoller Autobiography, written by Leiber and Stoller with David Ritz. [21] As of 2007, their songs are managed by Sony/ATV Music Publishing. [22] With collaborator Artie Butler, Stoller wrote the music to the musical The People in the Picture, with book and lyrics by Iris Rainer Dart.
In 1955, they made their first recordings for the Teen Records label, including an adaption of Leiber and Stoller's "Hound Dog" (first recorded by Big Mama Thornton). [1] Freddie and the Bellboys' 1955 recording of "Hound Dog" would notably modify the lyrics of Big Mama's Thornton's version to make it so the song's subject was literally a dog ...
The song's lyrics refer to a man who was an "underwhelming lover" [3] whom Doja Cat feels "never deserved her attention". [4] Produced by Rogét Chahayed and Yeti Beats, it samples Shonka Dukureh's recording of the song "Hound Dog", which was written by Jerry Leiber and Mike Stoller, first recorded by Big Mama Thornton (who Dukureh plays in the film) in 1952 and notably covered by Presley.
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