Angela
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Posts posted by Angela
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So Madonna's cute 24-year old boy-toy/boyfriend has proposed, supposedly.
I'm of the opinion of do whatever the bleep ya want but don't forget to get a pre-nup before each and every future marriage. Heh.
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It's kind of early in the process but it's not like Oprah's forcing the kid to do an interview. Nor do I think Oprah would pay for an interview although OWN is a sinking ship.
Can't fault any news personality for wanting these types of interviews as soon as they can get it either.
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Not loving either single released so far. Nothing memorable so far.
A review from the UK from a magazine that got their hands on the album: http://www.attitude....VER+MDNA+REVIEW
Late-night You-tubeing again. I had never seen the Pepsi commerical before for obvious reasons (detailed write-up on the controversy: http://eightiesclub....d.com/id135.htm). I hadn't seen Whitney's Coke one either. I'd seen Michael Jackson's Pepsi ones.
Madonna:
The original:
http://www.youtube.com/watch?v=h8qtsUaoVak
Love the music in the remix (posted by the Pepsi company on YouTube, ironically):
Michael:
Whitney:
George:
http://www.youtube.com/watch?v=ysTNEGu0FCg
I love Coca-Cola taste waste over Pepsi, but Pepsi definitely puts more effort into their commercials.
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Oprah Scores (an interview with Whitney's daughter that is)...
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The following is an excerpt of the Whitney Houston cover story in the March 15th, 2012 issue of Rolling Stone, on stands March 2nd.
Diligent professional one moment, wild child the next: Those were the opposing sides of Houston in her last days – and, it turns out, much of her life. Blessed with a peerless combination of bravura lung power, model-perfect looks, and an image that was both warm and regal, Houston was that pop rarity: a genuine crossover star, juggling music and film, audiences young and old, black and white. "Because of her cousin Dionne [Warwick], she understood all those pretty-ass melodies from Burt Bacharach," says Narada Michael Walden, one of Houston's many producers. "But because she was young and from the era of Michael Jackson, Prince and Madonna, she had soul in her too – those rhythms. She had both sides. Plus, she was so damn gorgeous. You couldn't say no to her."
But after she peaked with her 1991 version of "The Star-Spangled Banner" and 1992's The Bodyguard, her fans watched as, year by year, Houston's demons were revealed to the world: Her voice grew huskier, her looks hardened. Her records, when they appeared, didn't sell as well as they once had; her live performances revealed a performer physically and vocally rusty.
People who worked with her still find it hard to comprehend her dark side. "A lot of us talked about that, and no one could come up with an answer," says Gerry Griffith, the A&R man who brought Houston to Clive Davis' attention around 1982. "Where is that rebellion coming from? It didn't come out for a while." When it did, it came out in force, nearly destroying her personal life, career and music.
From the start, Whitney Houston was a child of both the church and the charts. Her mother, Cissy, was a Newark, New Jersey-born soprano powerhouse who sang backup on classic records by Franklin ("Ain't No Way," "Chain of Fools") and Van Morrison ("Brown Eyed Girl"), and toured with Elvis Presley (when she was a member of the Sweet Inspirations). Her cousin Warwick had crossed over to pop in the Sixties and Seventies with hits like "Walk On By" and "Do You Know the Way to San Jose?" Whitney, born in 1963, inherited her voice from her mother, and her elegant good looks and strong will from her father, John Houston, who worked variously as a truck driver and for the city of Newark, and who would later manage his daughter's career.
When Whitney was four, her parents moved her and her two brothers to suburban East Orange, New Jersey, where many black families relocated after the Newark riots. Houston was a shy kid; her grade-school principal recalls Houston standing in line, tightly holding her classmates' hands, her head down. When Houston's godmother, singer Darlene Love, would stay at the family's home while on tour, she shared a bed with "Nippy," as Whitney was called. "I was pregnant at the time and she'd go, 'What do you want, what do you want?' " Love recalls. "There was a store on the corner where she'd run down the street and buy fruit for me. So charming from Day One."
To read the rest of this cover story, pick up the March 15th, 2012 issue of Rolling Stone, available on stands and in Rolling Stone All Access March 2nd.
http://www.rollingstone.com/music/news/cover-story-excerpt-whitney-houston-20120229
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I feel that last moment was unneccesary. There's no way she could susrvive that accident so it's not even a cliffhanger.
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Is TMZ everywhere? I guess people send them footage as well. Extra picking up on a TMZ story (footage of Whitney watching the SuperBowl/SB half-time show with friends)...
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If they're indeed doing that now I do believe the stories that Whitney was pretty close to broke at the end.
Couldn't they have found another way to make some cash? That's kind of creepy. It's her funeral.
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Any discrepencies aside, is there any particular reason the British media is so venomous towards her OR is that just the British sense of humor? Still mad about her former fake British accent? (Shouldn't Americans be mad about that? lol) They act as if the 114 million watching the Super Bowl were watching it in Britain. That's despite the fact that I don't think anybody in Britain would be caught dead watching football over soccer.
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That letter really got me choked up. It's heartbreaking, beautiful and indeed chilling all in one.
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http://www.youtube.com/watch?v=Avtj8tdpr5Y
I'm a little ashamed to say I'm totally shaking my stuff to this right now. I loved the dance music in the late 80s, early 90s. I remember when I was maybe 7 or 8 a lot of the big dance names (like George Lamond) were performing at Flushing Meadow Park in Queens. Me and my sister watched politely from a distance while my cousin ran to front of the stage and got herself autographs.
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It was 4 hours, cut some slack
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With Kevin Costner back in the news today, and mentioning "that white singer," here's the infamous "neat" clip from the Truth or Dare documentay. She starts on her "Rude Beeyatch: The Celebrity Edition" conniption around the 11 minute mark:
http://www.youtube.com/watch?v=Nhex3ClS5KY
An apology followed about 15 years later. Costner in 2007:
Kevin Costner has forgiven Madonna for making fun of him in her 1991 documentary Truth or Dare.In the film, Costner visits Madonna backstage after a concert and describes the performance as "neat." After he leaves, Madonna pretends to stick her finger down her throat and says, "Anybody who says my show is 'neat' has to go."
"Yeah, I was embarrassed by it and kind of hurt by it," Costner, 52, tells the L.A Times. "I just went back there because I was asked to go back. And I found the best word that I could. I never called her on it or whatever."
A decade later, Madonna, to Costner's surprise, made things right. "She did a really beautiful thing," he says. "She was performing [in L.A.] about three or four years ago, so I decided to take my daughters to see her. I just thought this is somebody they should see. I didn't call anybody for tickets, I just got tickets and we went down.
"And about the third song in, the lights were down, and she said, 'I want to apologize to someone.' And all of a sudden my face starts to get hot. ... She says, 'I want to apologize to Kevin Costner.' She just said it very simply. Ninety-eight percent of that audience didn't know what she was talking about. But I really respected that, and it showed me the power of just keeping your own counsel for a long time. ...
"Whatever possessed her, whatever was inside her, she came to her own decision. And a bigger thing came out of some kind of humiliation. I never wrote her to say thank you, but I appreciate it from the bottom of my heart, and that meant more to me than you could ever know."
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It's flopping in the United Kingdom. It's doing fine in the United States, #10 on the Hot 100.
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I'm in love with the Atlantic City venue. It's small enough that there will be an adequate view almost anywhere. Stadium view is on the suckish side no matter where you are but it would be more of an experience, and not to mention easier, to do this event in New York. Hmm, choices...
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This is a video of the funeral with permission from the family:
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Landon had issues with Whitney that they may or may not have worked out. He didn't feel she loved him. He told the Enquirer a few years back he felt she treated him like staff and she didn't want him to hang around with Bobbi.
This is a video (or two) of Whitney singing at Bobby's mothers funeral earlier this month:
http://www.youtube.com/watch?v=6bP2Luz33MI
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These are the 5, that's Bobbi (soon to be 19) with one of the three before Whitney, LaPrincia (21).
This is LaPrincia's brother from the same mama, Bobby Brown Jr (20). The baby is Bobby's child with his current fiance.
This is Bobby's oldest, Landon (26).
February 1, 2011
Whitney Houston sang at the funeral service for Bobby Brown’s mother Carole Brown who was buried yesterday in Boston, Massachusetts. According to TMZ, Whitney reached out to Bobby and asked to be a part of the funeral spoke a few words at the service and said she would always consider Carole her mother-in-law.
Whitney performed twice at the service, first singing “Precious Lord Take My Hand” and then later joining in with Johnny Gill and New Edition to sing Never Would Have Made It.
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The family decided against a stadium funeral - a la Michael Jackson - and agreed to allow an Associated Press camera in for the public to share in the funeral from a distance.
ETA:
Weren't many of those from relationships he had during their marriage? Or is this something else? Either way I can see why her family objected, but if Bobbi Kristina wanted him there, and they agree, they should have just let him sit where he wanted.He had two kids before meeting her, I think. During their relationship, I'm not sure. He had one after their marriage ended. From reports I've heard she loved his other children as she was their step-mother.
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CNN starts out okay with a story and then they go OTT before you can count to ten. It becomes a redundant one-note mess.
ETA:
From last Sunday's New York Times...
A Voice of Triumph, the Queen of PainWhitney Houston died as a cautionary tale, but the most painful cautionary tales are about people who were heroes once.
That is how she arrived in the mid-1980s, a flawless vocalist singing impeccable songs and singlehandedly inserting gospel and classic soul theatrics into mainstream pop. She was a sunbeam — radiant, perspective altering, impossible to touch.
When her greatest years were behind her, she remained in the public eye as something thornier — a drug addict and a casualty of the tabloid and reality-television era, ill-equipped for ever-increasing levels of scrutiny. Ms. Houston’s fall attracted so much notice because she had so far to go, down from the clouds into the abyss.
The bottom finally came on Saturday, when Ms. Houston, 48, was found in her room at the Beverly Hilton, in Beverly Hills, Calif., a few hours before the annual pre-Grammy gala held at the hotel by Clive Davis, the Arista Records founder who discovered and helped mold her into one of the pre-eminent pop stars of the last 30 years.
Ms. Houston was R&B’s great modernizer, slowly but surely reconciling the ambition and praise of the church with the movements and needs of the body and the glow of the mainstream. Her voice was clean and strong, with barely any grit, well suited to the songs of love and aspiration that were the breakthrough hits from her first two albums, “Whitney Houston” and “Whitney,” the post-quiet-storm ballads “You Give Good Love” and “Saving All My Love for You”; and the naïve, bopping, flush-of-love dance tracks “I Wanna Dance With Somebody (Who Loves Me)” and “So Emotional.” Only a few of her 1980s hits — “Didn’t We Almost Have It All” and “Where Do Broken Hearts Go” chief among them — explored love’s dark side.
Hers was a voice of triumph and achievement, and it made for any number of stunning, time-stopping vocal performances: her version of Dolly Parton’s “I Will Always Love You,” from the soundtrack to “The Bodyguard,” which topped the Billboard singles chart for 14 weeks; her dazzling “Star-Spangled Banner,” sung before the 1991 Super Bowl; and huge, authoritative songs like “Greatest Love of All” and “One Moment in Time,” which sounded as if they could have been national anthems too.
Ms. Houston’s signature was to let her Brobdingnagian voice soar unfettered. From a lesser vocalist that would have been a gimmick, but from her it was par for the course, just a freakishly gifted athlete leapfrogging everyone around her.
She was, alongside Michael Jackson and Madonna, one of the crucial figures to hybridize pop in the 1980s, though her strategy was far less radical than that of her peers. Jackson and Madonna were by turns lascivious and brutish and, crucially, willing to let their production speak more loudly than their voices, an option Ms. Houston never went for.
Also, she was less prolific than either of them, achieving most of her renown on the strength of her first three solo albums and one soundtrack, released from 1985 to 1992. If she was less influential than they were in the years since, it was only because her gift was so rare, so impossible to mimic. Jackson and Madonna built worldviews around their voices; Ms. Houston’s voice was the worldview. She was someone more to be admired, like a museum piece, than to be emulated.
She also had a stiff backbone, barely conceding to the changing times. She didn’t much bother with hip-hop, even as it usurped soul music’s place at the core of black pop and as everyone around her adapted: singers like Mariah Carey, one of her few vocal equals, who became a willing hip-hop co-conspirator; or Mary J. Blige, who had it in her DNA from the start of her career.
Instead, Ms. Houston’s 1998 comeback album “My Love Is Your Love” — late-period Houston was forever in a comeback; this was just the first — was modern only in incremental ways. Ms. Houston’s real progress on this album was mood: for the first time, she was testy, aggrieved, lashing out. “Heartbreak Hotel” and “It’s Not Right but It’s Okay” saw her access a viciousness that had been all but absent to that point, whether because of Mr. Davis’s polishing influence, or because of the polite side of the gospel sound she inherited.
Maybe its emergence had something to do with the volatility of her personal life. In 1992 she married the R&B bad boy and former New Edition front man Bobby Brown, and later, after they divorced, she painted the marriage as a chaotic one. It certainly read as a study in opposites, both in demeanor and ideas about R&B: Ms. Houston austere and regal, Mr. Brown louche and sweaty.
They lasted 15 years as a married couple, a period that coincided with declines in the quality and frequency of Ms. Houston’s music. But she remained a star, even as the meaning of that role changed. Her meltdowns garnered as much attention as her hits once did. This was the period in which Whitney Houston, the voice, was eclipsed by Whitney Houston, the sound bite.
There was her memorable and rambunctious acknowledgment of Mr. Brown from the stage of the 2000 Grammy Awards as “the original king of R&B.” The reality show “Being Bobby Brown,” which was on Bravo for one tumultuous season in 2005, showed the two sharing a love that was affectionate, tough, complex and sometimes outright ugly. It also spawned a catch phrase for Ms. Houston, “hell to the no,” an emphatic and disjointed way of expressing displeasure.
It made her an easy punch line. That show was the public’s longest sustained exposure to Ms. Houston in almost a decade, and the changes in her were striking. She looked not just lean but gaunt, and she was both a robust and erratic presence. It was the sort of reality that rarely makes it to reality television.
TV had been unkind to her before. Asked about her drug habit by Diane Sawyer in a 2002 interview, she was evasive, uncomfortably intense and sloppy: “I want to see the receipts,” she said impertinently. By the time she sat with Oprah Winfrey in 2009, her divorce from Mr. Brown complete, she was more forthcoming and self-aware, but still not quite steady. (In the mid-2000s Ms. Houston went to rehab at least twice, and she was in rehab again as recently as last year.)
Coming from someone who was once pure music royalty, these flashes of public instability were true jolts, completely at odds with her early vivacity. Maybe, beneath that old sheen, she was always so messy. But strangely her troubled later life finally gave her a title that her music never could: Whitney Houston, queen of pain, another throne no one could deny her.
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I don't know why my heart goes straight to her when BK lost her mom.
Yeah, no parents expects to outlive their kid and on top of that Cissy probably did spend much of the past 20 or more years fearing just that - that she'd ultimately lose her kid to her demons. I wasn't really thinking about the toll this would take on her until that moment today. Her looking so fragile behing her daughters casket. I think she'll pull through for her granddaughter if nothing else. Hopefully Bobbi doesn't give in to her parents demons and put more of a burden on this woman.
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Meh, CNN sucks. So far, this entire situation is making me not dislike Bobby Brown as much as I used too.
Reuters
Brown, who's currently on tour with his group New Edition, vacated the New Hope Baptist Church in Newark, N.J., after he was told that the church couldn't accommodate him and his entourage.
Also read: Whitney Houston Funeral: Stevie Wonder, R. Kelly Perform; Kevin Costner Speaks
The Rev. Jesse Jackson, who was in attendance at Houston's funeral, told CNN that Brown and his entourage of "four or five people" took seats in the front row, but were told that the row was reserved for family only. They were asked to move, Jackson said, but there wasn't room at the invitation-only service to seat them elsewhere.
"That was a very difficult moment for all of us; we wanted him to stay," Jackson said. "It seems they could have accommodated him better than they did."
The Rev. Al Sharpton, also in attendance, tweeted from the site that he attempted to keep the peace during the dispute.
Also read: Bobby Brown on Ex-Wife Whitney Houston: "You Have to Move On"
"I am at Whitney's funeral. I spoke with Bobby Brown trying to calm him down and not distract from the services," Sharpton wrote. "Today is about Whitney!"
Sharpton softened his stance in a tweet following the funeral.
"We are out of the service," Sharpton wrote. "I don't want anyone distorting Bobby Brown. He has shown love and respect today. Stop hatin'."
Sharpton reiterated his support for Brown to CNN after the funeral, saying, "Bobby did nothing but show love and respect for the memory of Whitney and his daughter ... I spoke to Bobby, he said all he wanted to do was show respect and love."
In a statement, Brown said that he was asked to move on three separate occasions, and prevented him from seeing his daughter, Bobbi Kristina, at the funeral.
"I doubt Whitney would have wanted this to occur," Brown's statement reads, according to CNN. "I will continue to pay my respects to my ex-wife the best way I know how."
Brown's tour takes him to Uncasville, Ct., on Saturday night. Coincidentally, the tour will bring Brown back to Newark on Sunday.
Cissy being ushered out of the church behind her daughter's casket is an image I won't soon forget.Yeah, IWALY blasting with the mother being assisted out the church behing the casket
If I hadn't watched the last hour recorded instead of live, that probably would have made me cry.CeCe, he's amazing, and R. Kelly's singing were other moments that almost made me tear up.
OTOH, the sister in law's Mother Teresa comparison was just way OTT.
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Kudos to 20/20, this special is pretty close to fantastic. They're showing the bad, the good, the ugly and just letting the story speak for itself. Well done.
We're on to the ugly part. The looks Whitney is giving Diane in that old interview, heh.
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Thanks for the thoughts, gentlemen. I've been struggling with this. Almost everybody I've talked to has told me not to do the VIP and it was mostly a bad experience for them. I'm only 5'2 (on a good day). Even from the 25th row, I'm going to have issues.
I've been looking at videos on Youtube, and I love this seat here. I'd get the $275 VIP w/o a pause if they guaranteed me this seat on either side of the stadium. They don't tell you your seat, argh. I asked the person who posted the video what seat it is, hopefully they'll reply by Monday. I have 5 tickets already, 3 on the floor, at least one for each day. Most of them are going up for sale for close to face value since I no longer intend to use a seat that costs more than 300.00. Section 132 Row 18, which is a ticket I have, may be somewhere around this view but on the other side of the stadium. I'd say this video shows a Row 1-5 view too.
ETA:
I was watching the VH1 special. I had no idea Kylie did that Locomotion song, lol. Awesome.
Note to Madonna: People, in general, like your older songs more because THEY WERE BETTER than say Gang Bang. That's why you've had less Top 10s and #1s in the past decade.
I kind of like this type of performance, hopefully she goes more this way and less cheerleader-gladiator-MDNA.
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If I hadn't watched the last hour recorded instead of live, that probably would have made me cry.
The Madonna Thread
in Music & Movies
Posted
You never know. Sometimes love makes you really stupid. Well, she does have at least 100 million good reasons not to forget one the next time (if there is a next time).
Thanks for the heads up on biased critics. So, I'll definitely wait to hear what Billboard, Entertainment Weekly and the Daily News says before I get my hopes up for at least a couple of good songs on the album. GGW, single No. 2, sounds like something a music company could have gotten out of a drunk and high B. Spears after connecting her to a few machines.