By Samuel Juarez-Solis
I found “Big Mama” Thornton’s story of limited success and thefts of style and the song called Hound Dog by Elvis Presley to be very troubling. Mahon notes Thornton was very frustrated “at being a stepping stone to [Elvis’s] success while struggling to establish a viable career of her own” (9). I feel like Thornton never got to properly voice her frustrations with Elvis. Mahon mentions that Thornton never published an autobiography which I think would have been an amazing platform to alleviate her frustrations (3). Similarly, I feel that the WWR Digital Oral History Archive project is also an amazing platform to voice frustrations and for individuals “to preserve and tell different stories about their work and lives” (Habell-Pallán 6). The WWR project allows for the “vantages, voices, queries and findings of African American women and other women of color” to be crystallized and can serve as evidence towards any future music industry injustice (Habell-Pallán 12). Furthermore, I found it inspiring that Thornton gave Janice Joplin the “right and the permission to make ‘Ball and Chain,’” even after the uncredited theft of Hound Dog (Mahon 13). Thornton was very proud of Joplin’s rendition of her song and I’m happy that Joplin gave due credit to Thornton and even “invited Thornton to open for her on a couple of dates” (Mahon 13).
The relationship between Joplin and Thornton reminds me of the relationship between the bands Queen and Metallica. Queen made a riveting fast pace song called Stone Cold Crazy (https://www.youtube.com/watch?v=S0kTkxhyWNo). Metallica would later receive acceptance from Queen to cover the song and they made an even edgier version that was able to cinch a coveted Grammy award (https://www.youtube.com/watch?v=j89-cyVEYD4). Similar to Joplin, Metallica would give credit to Queen and both bands would perform the song together at concerts.
Music covers or samples can be a great thing as long as the original creators are given credit and (if allowable) can give permission.
Works Cited:
Mahon, Maureen. “Listening for Willie Mae “Big Mama” Thornton’s Voice: The Sound of Race and Gender Transgressions in Rock and Roll,” Women and Music,15, 2011, 1-17. (PDF)
Habell-Pallán, Michelle et al. “Notes on Women Who Rock: Making Scenes, Building Communities: Participatory Research, Community Engagement, and Archival Practice.” NANO(New American Notes Online) special issue, “Digital Humanities, Public Humanities.” July 2014. (PDF)
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