record charts

Nice to Meet You

Summary: An Sam x reader a/b/o fic. The reader moves to a new town and changes careers, but those aren’t the only major life changes she’s faced with. (An AU where both Sam and the reader work at a high school.)

Warning: a/b/o dynamics, knotting and claiming, smut

Word Count: 5,000ish

A/N: I had fun writing his one. Hope y’all enjoy it, too! Feedback appreciated!! XOXO

Originally posted by samwinchesterappreciation

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170216 Why BTS' 'Spring Day' Is the Perfect Move for the K-Pop Boy Band -- Both Artistically & Professionally

If there’s a K-pop act that is navigating the global music scene best, BTS is arguably the top choice. Since their 2013 debut, the boy band has broken records on the Billboard 200 – becoming the Korean act to land the most albums on the chart and net the biggest first-week opening – in addition to being a constant presence on charts like Billboard’s Social 50, World Albums and World Digital Song Sales tallies. Yet, it’s only with their latest release “Spring Day” that a BTS single seems most likely to break the group into new chart territory and that’s thanks to smart artistic and professional decisions.

Undoubtedly, BTS has found the major enthusiasm for their LPs thanks to the deeper social and personal topics the band discusses with past album tracks touching on bullying, mental health and the dark sides of adolescence. Meanwhile, past singles like “Run” and “Blood, Sweat & Tears” and their accompanying videos stood out for exploring deep devotion, but ultimately only explored that one topic. “Spring Day” takes things a step farther by getting more into the journey one takes during a tough time or break up.

On the single, the members sing and rap about an internal winter inside them due to missing someone and, at first, there does not seem to be an end to the heartache – likely a commentary on depression and mental health, topics the band had discussed in past album tracks and mixtapes. Yet by the end of “Spring Day,” there is a change and the boys describe how there is a light and warmness that inevitably comes with Jungkook declaring, “No darkness, no season, is forever.”

The guys are still pining for their lost love, but they aren’t staying in a one-track mindset. Instead, they use the weather and seasonal metaphors to describe how things get better – a lesson many of their young fans can find comfort in when dealing with relationships, or school, friends, family, their careers or beyond. While it’s all done over hard-hitting beats, buttery vocals and punchy rap verses – as one would expect from any BTS release – it’s this newfound maturity and enlightenment that makes the single stand out so much.

Not only was “Spring Day” a smart artistic move, but it was extremely savvy for BTS and their Korean label BigHit Entertainment to focus on one single for the repackaged deluxe version of their hit album Wings titled You Never Walk Alone.

Wings already broke – and continues to break – multiple chart records, including when it became the first K-pop album to spend multiple weeks on the Billboard 200 and also as it celebrates a remarkable 18th week on World Albums this week. By leading a re-ignited excitement over You Never Walk Alone with one single, fans are more than ever collectively focused on this one song.

That focus was seen when “Spring Day” flew into the the Top 10 of the Top Overall Songs chart on U.S. iTunes after its release on Sunday and remained high even as tracks from the 2017 Grammys began racing up the rankings. No K-pop group has sent a song as high on the iTunes singles chart, with only PSY being the other Korean act to land a song as high when “Gangnam Style” topped the ranking in 2012. A tweet from BigHit’s CEO Bang Sihyuk even commented on the accomplishment on Twitter.

The hype for “Spring Day” is particularly high in America as the band gears up for three arena concerts in America, a major indication of the fans ready to support, buy, stream and watch the music video for this single and not be as distracted by a full-length album’s worth of material. (Though, one should not disregard the new tracks including ultra-fierce “Not Today,” the long-awaited thumper “Outro: Wings,” or the introspective “A Supplemental Story: You Never Walk Alone.”)

There are hurdles BTS will need to jump over to have their single be a chart hit in America, including releasing the song two days after the charting period started on Friday and major competition from songs associated with the Grammys. But if the numbers end up in BTS’ favor and they chart a single on the Billboard Hot 100 – or even the Bubbling Under Hot 100 chart, which counts the 25 singles just below the top 100 – it will be a major accomplishment, but not one unearned. By continuing to progress as artists, the band’s business- and chart-savvy moves only make their releases able to be that much more celebrated.

© Billboard

pop queens aka ariana grande and little mix are getting snubbed at music awards when they’re out here making pop perfection albums and breaking records and smashing the charts with their songs…….. both artists are extremely talented in terms of vocals and artistry, they both put on amazing performances that are high in production that even includes choreography while singing their lungs out…….. justice for ariana and little mix im so done with ppl sleeping on talent 

Harry Styles: The Rockstar Nobody Expected (And How That Will Help Him)
— 

Just over a week ago, one-time One Direction singer Harry Styles finally ventured out on his own musically with his debut single as a solo act, “Sign Of The Times,” and the track wasted no time in immediately certifying the British musician as a smashing success. The song kicked off its charting life in the singer’s home country at No. 1, knocking Ed Sheeran’s “Shape Of You” out of the top spot after an incredible 13-week run. Here in the States, the track also performed well upon arrival, starting at No. 4, and there is the possibility it could continue to rise.

While Styles had plenty going for him before anybody even heard what he had to offer—a famous name, a dedicated fan base, a powerful record label with massive resources and a level of anticipation which is rarely seen in the music industry—there is one thing about “Sign” that is also helping him succeed: the song’s genre.

It would have been incredibly easy for Styles to pair up with serious pop hitmakers like Max Martin and his crew and secure a No. 1 smash worldwide, but instead, he opted to go another route and take a risk. “Sign” sounds like it belongs more appropriately in the 1970’s than in 2017, and while that might not work for many acts, it’s helping Styles rise to the top of charts everywhere. Who else has the power to try to push glam psych-rock in an electro-pop world but somebody who has already proven themselves to be one of the most successful musicians in history by the age of 23?

“Sign Of The Times’ was greeted first with surprise, and then with almost unanimous acclaim. Critics everywhere loved not only the chance Styles took in going down this rock-y road, but many applauded the song itself, and the majority of media outlets suggested readers give the cut a try. Skeptics and those expecting more boy band-esque fodder were forced to immediately reconsider the man not just as a bestseller, but now as a true artist. One Direction may have taken over the world with their music, but they were never true critical favorites. Where he stands in the eyes of critics and music journalists everywhere may change now that Styles has shown what he can do when left to create with the right talents and some freedom. “Sign” elevates him to a place few singers reach after leaving the group that made them stars.

Perhaps most importantly, everything about his first single out of the gate as a standalone act separates him noticeably from his former bandmates, all of whom are also attempting to make it as solo artists. Zayn, the first One Direction member to leave the band, has already achieved global success, and he is now attempting to do so again with a second album, which is expected later this summer. Other 1D singers like Niall Horan and Louis Tomlinson have only dropped one proper single, but they are also off to a good start. Each man has chosen a different lane to operate in, and he and his team were smart enough to know that if they were going to succeed, they needed to differentiate the British boybander from the crowd…and it’s working.

In fact, nobody in the top 40 world is rocking out like Styles seems prepared to do with his upcoming self-titled album, and that will work in his favor. It’s incredibly difficult to out-pop Katy Perry or Lady Gaga, or to beat Calvin Harris or The Chainsmokers when it comes to EDM, but without a serious, famous challenger in the rock arena, Styles can claim charting records and shoot up the charts and grab plenty of attention and new fans doing so.

These are still early days for Harry’s fledgling solo career, but with a serious smash hit already to his credit, a slew of public appearances currently taking place and an album scheduled for less than a month from now, an era of rock and roll from an unlikely candidate may already be upon us.

https://www.forbes.com/sites/hughmcintyre/2017/04/21/harry-styles-the-rockstar-nobody-expected-and-how-that-will-help-him/#6cf94cb87164

  • a fandom: exo are flops because they dont get that validation in the west, and like no one reacts to them on youtube.
  • exo-l: aaah yeah, exo has sold out tokyo dome that can hold 55k people... five times... they sold out seoul olympic stadium that can hold 72k people... they've got ads everywhere, spread all over asia (their demographic), they're breaking records, they own the charts in their home country... and 3 million chinese fans is registered on their fan cafe anand 3,9 million fans on the exo-l site,, but you know because they dont got as many western fans or some dude never reacted to them on youtube.... i guess you're right, they're irrelevant :/

[…] For the first time in more than 51 years, there are two cast recordings in the top 20 of the Billboard 200 chart. The original Broadway cast recording of Dear Evan Hansen debuts at No. 8 with 29,000 equivalent album units earned in the week ending Feb. 9, while still-hot Hamilton: An American Musical, moves from No. 12 to No. 13 (25,000 units; down 1 percent). The chart last housed a pair of top 20-charting cast albums way back in 1965, when the Broadway cast recordings of Hello, Dolly! and Fiddler on the Roof both occupied the region for 11 consecutive weeks, between Jan. 16 and March 27, 1965. Hello, Dolly! topped the chart for one week in 1964, while Fiddler On the Roof peaked at No. 7 in January of 1965. Both albums were particularly strong performers on the list, with Hello, Dolly! spending 90 weeks on the tally, and Fiddler charting 206 frames on the list.


As previously reported, Dear Evan Hansen’s bow at No. 8 is the highest debut for a cast recording on the chart since 1961, and marks just the fourth cast recording to reach the top 10 of the Billboard 200 in the last 50 years. In that span of time, the only previous cast albums to visit the region were: Hamilton (No. 3 in 2016), The Book of Mormon (No. 3 in 2011) and Hair (No. 1 for 13 weeks in 1969). […]

5

Migos’ “Bad and Boujee” just hit No. 1 on the charts

  • Donald Glover thanked Migos for making “Bad and Boujee” in his Golden Globes speech — a day later the song is skyrocketing.
  • Migos is No. 1 on the pop charts, its very first chart-topping record, an accolade it has deserved to occupy for years. Astoundingly, it’s also legendary producer Metro Boomin’s first No. 1 as well. 
  • Both artists have had to watch handfuls of other artists rise, using some of the innovations they helped introduce into hip-hop’s current wave. 
  • Raindrop. Drop top. Justice has been served on the pop charts. Read more

follow @the-movemnt

Meanwhile on  YouTube;

German youtuber BibisBeautyPalace is literally rushing the dislike-toplist like a fucking pro. Her song was released yesterday, and she received 1 million dislikes (more than most of Justin Bieber’s songs) in only one day, although she only has 4 million subscribers and only has a german fanbase.

Some reasons why people think the song is so unpopular are;

-The song simply sucks

–She didn’t make the lyrics, which are terrible enough on their own.

–She didn’t mix the music

–She didn’t create the beat

–Her voice was altered a lot.

(–It sounds like a tune from that could be from a TV-commercial as well, but that is just my opinion)

-Many people criticize her for starting to cash in at the music market too, since she already created several beauty products that saw widespread release and fantastic sales, making her more of a marketing figure. Why is this bad? Germany hates marketing YouTubers, because being a sellout for advertisement is against the sort of YouTube-honor-code Germany upholds.

-She promoted the song about a week before it was released and made pre-orders for 4,99€, while the song only costs 1,29€ today.

-She started using english text out of nowhere so she could get more views internationally which only makes her even more sellout than she already is.

–She made horrible mistakes in her description due to this. For example, she forgot to translate Austria and kept it at the german name “Österreich”, although everything else was english.

-Some people also argued that she tried to get more male audience, because she is wearing extraordinarily sexy clothes that aren’t really what she wears regularly, and because she is supposedly not wearing clothes in some shots.

At the moment, she is around the Top 11 most disliked YouTube videos of all time, beating videos like the Pokemon GO song or the YouTube Heroes announcement in just 24 hours.

MONSTA X Tops Various Korean And International Charts With Their First Studio Album

MONSTA X new album is definitely feeling the love!

On March 22, Starship Entertainment revealed, “MONSTA X’s first studio album ‘The Clan Part 2.5 The Final Chapter’ has topped various domestic album charts like the Hanteo Charts and Synnara Record Charts, as well as the iTunes U.S. charts and K-pop charts in Japan. We can concur that anticipation and interest are high for the group’s comeback.”

MONSTA X held their “MONSTA X BEAUTIFUL Comeback Show” broadcast on Naver V-App on March 21, and performed their title track “BEAUTIFUL” and “I’ll Be There,” a track the members wrote for their fans. They received over 54 million hearts during the live performances, breaking their own record for the most amount of hearts gathered in the shortest amount of time.

The group’s first studio album features 10 new tracks. Their title track has the energetic sound that has become a trademark of MONSTA X’s music as its base, with an elegant melody that goes perfectly with the overall hip-hop feel of the song. The album is set to be a hit amongst global music fans, especially because it also includes compositions by members Jooheon and Wonho.

Starship Entertainment stated, “We would like to sincerely thank everyone for their interest in MONSTA X’s first studio album, and we will do our best to create a great performance for you. We hope you will continue to give MONSTA X your love and support.”

Forbes

Just over a week ago, one-time One Direction singer Harry Styles finally ventured out on his own musically with his debut single as a solo act, “Sign Of The Times,” and the track wasted no time in immediately certifying the British musician as a smashing success. The song kicked off its charting life in the singer’s home country at No. 1, knocking Ed Sheeran’s “Shape Of You” out of the top spot after an incredible 13-week run. Here in the States, the track also performed well upon arrival, starting at No. 4, and there is the possibility it could continue to rise.

While Styles had plenty going for him before anybody even heard what he had to offer—a famous name, a dedicated fan base, a powerful record label with massive resources and a level of anticipation which is rarely seen in the music industry—there is one thing about “Sign” that is also helping him succeed: the song’s genre.

It would have been incredibly easy for Styles to pair up with serious pop hitmakers like Max Martin and his crew and secure a No. 1 smash worldwide, but instead, he opted to go another route and take a risk. “Sign” sounds like it belongs more appropriately in the 1970’s than in 2017, and while that might not work for many acts, it’s helping Styles rise to the top of charts everywhere. Who else has the power to try to push glam psych-rock in an electro-pop world but somebody who has already proven themselves to be one of the most successful musicians in history by the age of 23?

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BTS BBMAS (Rant)

The artist who is really leaving an impact in 2017 Billboard Awards is BTS.. I mean before the boys got nominated a lot of people didn’t know who they even were. 

Originally posted by jungkookpresent

 They’ve already broken chart records AND scored third-most weeks at no. 1 on social 50 chart. They’ve already passed miley cyrus and rihanna. They’ve stayed at 22 weeks.. they broke one directions record. ONE DIRECTION!!

Originally posted by yovibeispretty

This is HUGE news and not just to kpop but also the music industry altogether. Our boys have broken records because of their talents and yet us army’s are getting told off for cheating on the voting?

Originally posted by bishesgonnahate

Okay the people saying and thinking that, listen here and listen good. Like are you guys serious right now? Just stop with saying that to our fandom. 

Originally posted by apgujeon

if you think about it, America is all about the music and celebrities. They do all the massive award shows, they have big artists like Justin Bieber and Beyonce. to a lot of the countries that’s their music world (not talking about army fans, love you guys!) anyway..What I’m trying to say is that, the fact that a kpop group got noticed and nominated for an award that is HUGE in america. 

The reason a lot of other people are annoyed at us armys and the boys, is because a group that isn’t american or English at that matter is beating really famous English artists. BTS is getting noticed and its not an artist or group that speaks English. I’m not hating on people, but I’ve actually had someone talk to me about all of this and it just triggered me into doing a long rant on the discussion.

Other countries are finding out what kpop is, It’s different to anything else in the music industry and so yeah it’s gonna leave an impact and surprise a lot of people. BTS are talented, hard working young men and they deserve to win that award and continue getting recognition. 

Us fans DID NOT cheat, we typed and voted away to our hearts content. We’re loyal and dedicated fans to BTS, we wanna see them happy, at their best and winning all they can.

I’m not saying that their the most dominating artist of the year. BUT keep in mind, they are the artist group a lot of people are talking about and now listening to.

Sorry for the really long rant! 

Originally posted by ksjknj

4

Willie Mae “Big Mamma” Thornton (December 11, 1926-July 25, 1984) -was an American rhythm-and-blues singer and songwriter. She was the first to record Leiber and Stoller’sHound Dog”, in 1952,[1] which became her biggest hit, staying seven weeks at number one on the Billboard R&B chart in 1953[2] and selling almost two million copies.[3] However, her success was overshadowed three years later, when Elvis Presley recorded his more popular rendition of “Hound Dog”.[4] Similarly, Thornton’s “Ball ‘n’ Chain” (written in 1961 but not released until 1968) had a bigger impact when performed and recorded by Janis Joplin in the late 1960s.

Thornton’s performances were characterized by her deep, powerful voice and strong sense of self. She tapped into a liberated black feminist persona, through which she freed herself from many of the expectations of musical, lyrical, and physical practice for black women.[5] She was given her nickname, “Big Mama,” by Frank Schiffman, the manager of Harlem’s Apollo Theater, because of her strong voice, size, and personality. Thornton used her voice to its full potential, once stating that she was louder than any microphone and didn’t want a microphone to ever be as loud as she was. She was known for her strong voice.[6] Joplin’s biographer Alice Echols said that Thornton could sing in a “pretty voice” but did not want to. Thornton said, “My singing comes from my experience.…My own experience. I never had no one teach me nothin’. I never went to school for music or nothin’. I taught myself to sing and to blow harmonica and even to play drums by watchin’ other people! I can’t read music, but I know what I’m singing! I don’t sing like nobody but myself.”[7]

Her style was heavily influenced by gospel music, which she grew up listening to at the home of a preacher, though her genre could be described as blues.[5] Thornton was quoted in a 1980 article in the New York TImes: “when I was comin’ up, listening to Bessie Smith and all, they sung from their heart and soul and expressed themselves. That’s why when I do a song by Jimmy Reed or somebody, I have my own way of singing it. Because I don’t want to be Jimmy Reed, I want to be me. I like to put myself into whatever I’m doin’ so I can feel it”.[8]

Thornton was famous for her transgressive gender expression. She often dressed as a man in her performances, wearing work shirts and slacks. She did not care about the opinions of others and “was openly gay and performed risque songs unabashedly.”[9] Improvisation was a notable part of her performance. She often entered call-and-response exchanges with her band, inserting confident and subversive remarks. Her play with gender and sexuality set the stage for later rock-and-roll artists’ plays with sexuality.[5]

Scholars such as Maureen Mahon have praised Thornton for subverting traditional roles of African-American women.[5] She added a female voice to a field that was dominated by white males, and her strong personality transgressed stereotypes of what an African-American woman should be. This transgression was an integral part of her performance and stage persona.[10] Elvis Presley and Janis Joplin admired her unique style of singing and incorporated elements of it in their own work. Her vocal sound and style of delivery are key parts of her style and are recognizable in Presley’s and Joplin’s work.[7]

Thornton’s birth certificate states that she was born in Ariton, Alabama,[11] but in an interview with Chris Strachwitz she claimed Montgomery, Alabama, as her birthplace, probably because Montgomery was better known than Ariton.[12] She was introduced to music in a Baptist church, where her father was a minister and her mother a singer. She and her six siblings began to sing at early ages.[13] Her mother died young, and Willlie Mae left school and got a job washing and cleaning spittoons in a local tavern. In 1940 she left home and, with the help of Diamond Teeth Mary, joined Sammy Greens Hot Harlem Revue and was soon billed as the “New Bessie Smith”.[12] Her musical education started in the church but continued through her observation of the rhythm-and-blues singers Bessie Smith and Memphis Minnie, whom she deeply admired.[14]

Thornton’s career began to take off when she moved to Houston in 1948. “A new kind of popular blues was coming out of the clubs in Texas and Los Angeles, full of brass horns, jumpy rhythms, and wisecracking lyrics.”[15] She signed a recording contract with Peacock Records in 1951 and performed at the Apollo Theater in 1952. Also in 1952, she recorded “Hound Dog” while working with another Peacock artist, Johnny Otis. The songwriters, Jerry Leiber and Mike Stoller,[4] were present at the recording, with Leiber demonstrating the song in the vocal style they had envisioned.[16][17] The record was produced by Leiber and Stoller. Otis played drums after the original drummer was unable to play an adequate part. It was the first recording produced by Leiber and Stoller. The record went to number one on the R&B chart.[18] The record made her a star, but she saw little of the profits.[19] On Christmas Day 1954 in a Houston, Texas theatre she witnessed fellow performer Johnny Ace, also signed to Duke and Peacock record labels, accidentally shoot and kill himself while playing with a .22 pistol.[8] Thornton continued to record for Peacock until 1957 and performed in R&B package tours with Junior Parker and Esther Phillips. Thornton originally recorded her song “Ball ‘n’ Chain” for Bay-Tone Records in the early 1960s, “and though the label chose not to release the song…they did hold on to the copyright—which meant that Thornton missed out on the publishing royalties when Janis Joplin recorded the song later in the decade.”[14] 

As her career began to fade in the late 1950s and early 1960s,[1] she left Houston and relocated to the San Francisco Bay area, “playing clubs in San Francisco and L.A. and recording for a succession of labels”,[14] notably the Berkeley-based Arhoolie Records. In 1965, she toured with the American Folk Blues Festival in Europe,[20] where her success was notable “because very few female blues singers at that time had ever enjoyed success across the Atlantic.”[21] While in England that year, she recorded her first album for Arhoolie, Big Mama Thornton – In Europe. It featured backing by blues veterans Buddy Guy (guitar), Fred Below (drums), Eddie Boyd (keyboards), Jimmy Lee Robinson (bass), and Walter “Shakey” Horton (harmonica), except for three songs on which Fred McDowell provided acoustic slide guitar.

In 1966, Thornton recorded her second album for Arhoolie, Big Mama Thornton with the Muddy Waters Blues Band – 1966, with Muddy Waters (guitar), Sammy Lawhorn (guitar), James Cotton (harmonica), Otis Spann (piano), Luther Johnson (bass guitar), and Francis Clay (drums). She performed at the Monterey Jazz Festival in 1966 and 1968. Her last album for Arhoolie, Ball n’ Chain, was released in 1968. It was made up of tracks from her two previous albums, plus her composition “Ball and Chain” and the standard “Wade in the Water”. A small combo including her frequent guitarist Edward “Bee” Houston provided backup for the two songs. Janis Joplin and Big Brother and the Holding Company’s performance of “Ball 'n’ Chain” at the Monterey Pop Festival in 1967 and the release of the song on their number one album Cheap Thrills renewed interest in Thornton’s career.[5]

By 1969, Thornton had signed with Mercury Records, which released her most successful album, Stronger Than Dirt, which reached number 198 in the Billboard Top 200 record chart. Thornton had now signed a contract with Pentagram Records and could finally fulfill one of her biggest dreams. A blues woman and the daughter of a preacher, Thornton loved the blues and what she called the “good singing” of gospel artists like the Dixie Hummingbirds and Mahalia Jackson. She had always wanted to record a gospel record, and with the album Saved (PE 10005), she achieved that longtime goal. The album includes the gospel classics “Oh, Happy Day,” “Down By The Riverside,” “Glory, Glory Hallelujah,” “He’s Got the Whole World in His Hands,” “Lord Save Me,” “Swing Low, Sweet Chariot,” “One More River” and “Go Down Moses”.[12]

By then the American blues revival had come to an end. While the original blues acts like Thornton mostly played smaller venues, younger people played their versions of blues in massive arenas for big money. Since the blues had seeped into other genres of music, the blues musician no longer needed impoverishment or geography for substantiation; the style was enough. While at home the offers became fewer and smaller, things changed for good in 1972, when Thornton was asked to rejoin the American Folk Blues Festival tour. She thought of Europe as a good place for her, and, with the lack of engagements in the United States, she agreed happily. The tour, beginning on March 2. brought Thornton to Germany, France, Switzerland, Austria, Italy, the Netherlands, Denmark, Norway, Finland, and Sweden, where it ended on March 27 in Stockholm. With her on the bill were Eddie Boyd, Big Joe Williams, Robert Pete Williams, T- Bone Walker, Paul Lenart, Hartley Severns, Edward Taylor and Vinton Johnson. As in 1965, they garnered recognition and respect from other musicians who wanted to see them.[12]

In the 1970s, years of heavy drinking began to damage Thornton’s health. She was in a serious auto accident but recovered to perform at the 1973 Newport Jazz Festival with Muddy Waters, B.B. King, and Eddie “Cleanhead” Vinson (a recording of this performance, The Blues—A Real Summit Meeting, was released by Buddha Records). Thornton’s last albums were Jail and Sassy Mama for Vanguard Records in 1975. Other songs from the recording session were released in 2000 on Big Mama Swings. Jail captured her performances during mid-1970s concerts at two prisons in the northwestern United States.[12] She was backed by a blues ensemble that featured sustained jams by George “Harmonica” Smith and included the guitarists Doug Macleod, Bee Houston and Steve Wachsman; the drummer Todd Nelson; the saxophonist Bill Potter; the bassist Bruce Sieverson; and the pianist J. D. Nicholson. She toured intensively through the United States and Canada, played at the Juneteenth Blues Fest in Houston and shared the bill with John Lee Hooker.[12] She performed at the San Francisco Blues Festival in 1979 and the Newport Jazz Festival in 1980. In the early 1970s, Thornton’s sexual proclivities became a question among blues fans.[15] Big Mama also performed in the “Blues Is a Woman” concert that year, alongside classic blues legend Sippie Wallace, sporting a man’s three-piece suit, straw hat, and gold watch. She sat at stage center and played pieces she wanted to play, which were not on the program.[22] Thornton took part in the Tribal Stomp at Monterey Fairgrounds, the Third Annual Sacramento Blues Festival, the Los Angeles Bicentennial Blues with BB King and Muddy Waters. She was a guest on an ABC-TV special hosted by the actor Hal Holbrook joined by Aretha Franklin and toured through the club scene. She was also part of the award-winning PBS television special Three Generations of the blues with Sippie Wallace and Jeannie Cheatham.[12]

Thornton was found dead at age 57 by medical personnel in a Los Angeles boarding house[23] on July 25, 1984. She died of heart and liver disorders due to her longstanding alcohol abuse. She had lost 255 pounds (116 kg) in a short time as a result of illness, her weight dropping from 350 to 95 pounds (159–43 kg).[14]

Literature: Spörke, Michael: Big Mama Thornton - The Life And Music. Jefferson: McFarland, 2014. ISBN 978-0-7864-7759-3 

During her career, Thornton was nominated for the Blues Music Awards six times.[5] In 1984, she was inducted into the Blues Hall of Fame. In addition to “Ball 'n’ Chain” and “They Call Me Big Mama,” Thornton wrote twenty other blues songs. Her “Ball 'n’ Chain” is included in the Rock and Roll Hall of Fame list of the “500 Songs That Shaped Rock and Roll”.[18]

It wasn’t until Janis Joplin covered Thornton’s “Ball 'n’ Chain” that it became a huge hit. Thornton did not receive compensation for her song, but Joplin gave her the recognition she deserved by having Thornton open for her. Joplin found her singing voice through Thornton, who praised Joplin’s version of “Ball 'n’ Chain”, saying, “That girl feels like I do.”[24]

Thornton subsequently received greater recognition for her popular songs, but she is still underappreciated for her influence on the blues and soul music.[25] Thornton’s music was also influential in shaping American popular music. The lack of appreciation she received for “Hound Dog” and “Ball 'n’ Chain” as they became popular hits is representative of the lack of recognition she received during her career as a whole.[26]

Many critics argue that Thornton’s lack of recognition in the music industry is a reflection of an era of racial segregation in the United States, both physically and in the music industry.[5][26] Scholars suggest that Thornton’s lack of access to broader audiences (both white and black), may have been a barrier to her commercial success as both a vocalist and a composer.[5][26]

The first full-length biography of Thornton, Big Mama Thornton: The Life and Music, by Michael Spörke, was published in 2014.[12]

In 2004, the nonprofit Willie Mae Rock Camp for Girls, named for Thornton, was founded to offer a musical education to girls from ages eight to eighteen.[5]


Source: https://en.wikipedia.org/wiki/Big_Mama_Thornton