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“Hound Dog,” Take One: Big Mama Thornton

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Chapter Three: “Hound Dog,” Take One: Big Mama Thornton. Big Mama Thornton, Black Alabama blues singer of what we these days call female masculinity, recorded “Hound Dog,” written by white Jewish songwriters, with a band led by a Greek-American who considered himself Black, for release on a Black-owned record label whose boss took the profits. This chapter considers the idea that Thornton nonetheless authored “Hound Dog”; her performance style inflected it, not through raw power but as literary, auteurist musicking. The challenge is to see in Thornton's rocking a model for Bob Dylan and Elvis Presley, too; for later Thornton coverer Janis Joplin; and most recently for Doja Cat, whose “Vegas” in the film Elvis has Thornton sampled in the background, proving once again that there is no Elvis without her.
Duke University Press
Title: “Hound Dog,” Take One: Big Mama Thornton
Description:
Chapter Three: “Hound Dog,” Take One: Big Mama Thornton.
Big Mama Thornton, Black Alabama blues singer of what we these days call female masculinity, recorded “Hound Dog,” written by white Jewish songwriters, with a band led by a Greek-American who considered himself Black, for release on a Black-owned record label whose boss took the profits.
This chapter considers the idea that Thornton nonetheless authored “Hound Dog”; her performance style inflected it, not through raw power but as literary, auteurist musicking.
The challenge is to see in Thornton's rocking a model for Bob Dylan and Elvis Presley, too; for later Thornton coverer Janis Joplin; and most recently for Doja Cat, whose “Vegas” in the film Elvis has Thornton sampled in the background, proving once again that there is no Elvis without her.

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