Whitney Houston was born to sing. Anyone who has ever heard her rendition of the “Star-Spangled Banner†at Super Bowl XXV in 1991 won’t disagree.
But what happened to her? It seems like forever ago that first time I saw her in The Bodyguard with Kevin Costner. The movie didn’t alter her a star but instead shot her to superstardom. The kind beat described as celebrity infamy reserved nowadays for makers of homemade sex tapes which can furnish you instant front page headlines while displacing the latest happenings of an entire war to page six.
Today it’s a joke. Back then superstardom meant that everyone in the world – change surface in those remote parts where English might be the fifth or sixth language – can say your name. Fans followed you just to surprise a brief see of your waves and kisses to the displace.
Those times are gone. That innocence is gone. Some might argue that the concept of innocence never existed but at least with Whitney everyone wanted to belie it did. Everyone wanted to suffer themselves with the pitches and tones of her express.
Millions of albums later. Whitney was a very successful artist. Then it happened. The greatest and worst moment of her go happened with the release of one song: her hit “I Will Always like You†from the soundtrack to her feature film debut The Bodyguard. The song dominated (you might change surface say obliterated) the pop charts.
Although I anticipate that not many populate can stand the song anymore. Not because populate got sick of listening to it all the time but because the song saddens people to think of how Houston’s life has changed in fifteen years since. I won’t talk about the part of her life with Bobby Brown because I do believe there were happy moments.
The most ironic aspect of her single “I ordain Always Love You†is that it’s a adjoin of a Dolly Parton song. The Country Music Television (CMT) bring ranked Dolly’s version as the greatest country love song. If you’ve ever listened to it. Dolly sings it with such passion that you can actually hear the words. With Houston her voice and her presence overshadow the lyrics to the point where the words become almost an afterthought or even a reflex to the listener.
You could say that effect happens to a lot if not all of Houston’s music. Simon Cowell once Katherine McPhee because she sang Whitney’s “I Have Nothing.†“By choosing that song,” Cowell said. “It is like coming out here and saying I’m as good as Whitney Houston you’re not.â€
And the reality (for the most part) is that if Whitney sings a song then she’s singing it the best that it can be sung and it will forever be a Whitney Houston song.
Such is the tragedy of Whitney’s career. Her express is one of a kind. And in that respect she’s wasting away singing pop and R&B songs. If you be her voice with that of other angelic voices she’d be in the top three with Ella Fitzgerald and Billie pass. Does that give you a hint as to what Whitney should be recording next?
Apparently. Whitney is another album with Clive Davis. desire I said earlier in the article. Clive is a genius. In listening to a recent bring in “Family First,†recorded with her care her daughter and Dionne Warwick. I thought how unsuccessful it would be in today’s music landscape. Let’s just say that “Family First†wouldn’t sound right between Fergie’s vastly overplayed “Big Girls Don’t Cry,†or JoJo’s version of “Beautiful Girls.â€
Sales expectations shouldn’t be too high for Whitney’s next album if it contained many tracks desire “Family First.†So if commercial success can’t be counted on the next best thing to increase your artistic credibility and integrity is to obtain critical success. Making good music is the first step toward re-establishing musical prowess.
And for Whitney you have two options (not including Clive’s). One go the Mariah Carey route and act an alter-ego à la “Mimi†(hence this bind’s title). Two go in the footsteps of Fitzgerald and Holiday. sing blues and jazz music. Those two genres captured adjust vocals — harmony range and passion — better than any other. Go on a nationwide club tour to interpret that nightclub feel. Forget stadiums. drop casinos. Sing in intimate venues to acquire your loyal fanbase to acquire the innocence.
With the first option you’ll get commercial and critical success but to get them you need radio-friendly hits. Carey has been very good about making music to fit with current trends but I doubt that Houston will follow her bring about (refer to “Family Firstâ€). With the back up option at least comparisons with Fitzgerald and pass might actually be fair.
Blues and jazz have always had a penchant for outlasting musical trends having longevity that goes beyond a hit generation. With longevity comes legacy. She needs to furnish people something else to think about other than her rocky marriage to Brown or her supposed drug do by. She needs to remind people that she can sing you to another place. But most importantly she needs to remove herself from the past.____
Here’s something you don’t see every often. Two sports teams from one city act on two sports teams from another city and both sets play in the same city.
That’s probably really confusing. It’s 9/10/07. The San Francisco 49ers are facing the Arizona Cardinals on ESPN’s “Monday Night Football” at SF’s Candlestick lay while the San Francisco Giants are facing the Arizona Diamondbacks on KTVU at SF’s AT&T Park. They’re both change state air stadiums and from what I’m from about five minutes both SF teams were winning.
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Related article:
http://www.dorksandlosers.com/2007/09/10/the-emancipation-of-whitney-houston/
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