Question: Benjamin Lee Whorf (; April 24, 1897 - July 26, 1941) was an American linguist and fire prevention engineer. Whorf is widely known as an advocate for the idea that differences between the structures of different languages shape how their speakers perceive and conceptualize the world. This principle has frequently been called the "Sapir-Whorf hypothesis", after him and his mentor Edward Sapir, but Whorf called it the principle of linguistic relativity, because he saw the idea as having implications similar to Einstein's principle of physical relativity. Throughout his life Whorf was a chemical engineer by profession, but as a young man he took up an interest in linguistics.

Whorf's distinction between "overt" (phenotypical) and "covert" (cryptotypical) grammatical categories has become widely influential in linguistics and anthropology. British linguist Michael Halliday wrote about Whorf's notion of the "cryptotype", and the conception of "how grammar models reality", that it would "eventually turn out to be among the major contributions of twentieth century linguistics".  Furthermore, Whorf introduced the concept of the allophone, a word that describes positional phonetic variants of a single superordinate phoneme; in doing so he placed a cornerstone in consolidating early phoneme theory. The term was popularized by G. L. Trager and Bernard Bloch in a 1941 paper on English phonology and went on to become part of standard usage within the American structuralist tradition. Whorf considered allophones to be another example of linguistic relativity. The principle of allophony describes how acoustically different sounds can be treated as reflections of a single phoneme in a language. This sometimes makes the different sound appear similar to native speakers of the language, even to the point that they are unable to distinguish them auditorily without special training. Whorf wrote that: "[allophones] are also relativistic. Objectively, acoustically, and physiologically the allophones of [a] phoneme may be extremely unlike, hence the impossibility of determining what is what. You always have to keep the observer in the picture. What linguistic pattern makes like is like, and what it makes unlike is unlike".(Whorf, 1940)  Central to Whorf's inquiries was the approach later described as metalinguistics by G. L. Trager, who in 1950 published four of Whorf's essays as "Four articles on Metalinguistics". Whorf was crucially interested in the ways in which speakers come to be aware of the language that they use, and become able to describe and analyze language using language itself to do so. Whorf saw that the ability to arrive at progressively more accurate descriptions of the world hinged partly on the ability to construct a metalanguage to describe how language affects experience, and thus to have the ability to calibrate different conceptual schemes. Whorf's endeavors have since been taken up in the development of the study of metalinguistics and metalinguistic awareness, first by Michael Silverstein who published a radical and influential rereading of Whorf in 1979 and subsequently in the field of linguistic anthropology.

Using a quote from the above article, answer the following question: What languages and cultures did he helped with?
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Problem: "Hound Dog" is a twelve-bar blues song written by Jerry Leiber and Mike Stoller. Recorded originally by Willie Mae "Big Mama" Thornton on August 13, 1952, in Los Angeles and released by Peacock Records in late February 1953, "Hound Dog" was Thornton's only hit record, selling over 500,000 copies, spending 14 weeks in the R&B charts, including seven weeks at number one. Thornton's recording of "Hound Dog" is listed as one of the Rock and Roll Hall of Fame's "500 Songs That Shaped Rock and Roll", and was inducted into the Grammy Hall of Fame in February 2013. "Hound Dog" has been recorded more than 250 times. The best-known version is the July 1956 recording by Elvis Presley, which is ranked number 19 on Rolling Stone magazine's list of the 500 Greatest Songs of All Time; it is also one of the best-selling singles of all time.

Two records were released that were neither cover versions of nor answers to Thornton's release, yet used a similar melody without any attribution to Leiber and Stoller. The first was Smiley Lewis's "Play Girl", credited to D. Bartholomew and released by the Imperial Records label (Imperial 45-5234) by the end of March 1953. Described as a "stomping uptempo boogie rocker", it began: "You ain't nothin' but a Play Girl / Staying out all night long". In April 1955, female impersonator Jesse "Big 'Tiny'" Kennedy recorded "Country Boy" accompanied by His Orchestra that was released by RCA's Groove Records (Groove 4G-0106) by May 21. While credited solely to Kennedy, this song has a similar melody to "Hound Dog": "'Country Boy' has a deceptively slouching flip on the 'Hound Dog' motif - this time with Tiny proclaiming proudly that he 'ain't nothing but a country boy'".  In the early 1970s Robert Loers, owner of Dutch label Redita Records, found a song with the same melody as "Hound Dog" called "(You Ain't Nuttin' But a) Juicehead" on an anonymous acetate at Select-o-Hits, the Memphis distributorship owned by Sam Phillips' brother, Tom, where Sun artifacts were stored.  When Juice Head first appeared on a Redita Records LP [in 1974], it was credited to Rosco Gordon. But it's not Rosco. It simply is not him. Really. Even Rosco confirmed that. It might not even be a Memphis Recording Service demo. Just substitute the words "Hound Dog" for "Juice Head" and what have you got? Of course the inspiration for this song came from Big Mama Thornton's "Hound Dog" or perhaps even from Rufus Thomas' "Bear Cat". But the song's other parent is Eddie Vinson's slowed down "Juicehead Blues" which harks to the previous decade...If indeed this originated from Sam Phillips' studio, it was nothing that Phillips needed to touch because it was another lawsuit waiting to happen."  Philip H. Ennis sees "Two Hound Dogs", which was recorded on May 10, 1955, by Bill Haley & His Comets (Decca 29552), as a response to Thornton's recording. While not an answer record in the traditional sense, the lyric characterized "Rhythm" and "Blues" as the titular "Two Hound Dogs," an apparent testament to the stature of "Hound Dog."

Did this song chart or get popular?

Answer with quotes:
an apparent testament to the stature of "Hound Dog."