sexta-feira, julho 10, 2009


Mariah Carey By Stevie Wonder Article ToolsPrintEmailSphereAddThisRSSYahoo! Buzz I could never describe or measure the level of respect and love I have for Mariah Carey in just 300 words, but you know, I'll do my best. I've met only three people who had a truly wonderful voice and spirit to match: my first wife Syreeta, Minnie Riperton and Mariah. Obviously she is talented and has a great voice, but when a person has the opportunity to be heard and seen, at the end of the day she will also be felt. I think Mariah has enjoyed such success at 38 because she's a good person; her heart is good. I love her spirit. When I lost my mother, she was one of the first people to reach out to me. She was away, but she still found a way to call me up and say a prayer with me. It's easy to be friends when the lights are bright, but how is your love when there's none of that? I know how Mariah's is. She has the ability to be sexy, but not so much that you think it's getting too crazy. It's a sexy classiness. The whole thing with her song Touch My Body is that she keeps it acceptable and has fun with it. And Mariah didn't break all those sales records just because she's beautiful. She has perseverance and consistency. You need the two: the ability to keep going and the ability to keep doing the right thing. She once said that every time she makes a new record, she feels as if she's brand-new again, like a young person looking at a computer for the first time. By doing it and not thinking about it, she lets the magic come. When people talk about the great influential singers, they talk about Aretha, Whitney and Mariah. That's a testament to her talent. Her range is that amazing. I look forward to the time the two of us can do a song together. I'm rewriting a song for her. It's going to be a tribute to my mother. Legendary singer-songwriter Wonder's most recent album is A Time 2 Love.,28804,1733748_1733752_1735744,00.html

SIGN IN TO RECOMMEND Mariah Carey Updated: July 7, 2009 The veteran pop star Mariah Carey distinguishes herself as a hit songwriter as well as a diva with a compelling five-octave range. Her 1990 hit single, "Vision of Love," was the beginning of her rise, which has resulted in more top singles than Elvis Presley. Ms. Carey is one of three children of Patricia Carey, a vocal coach who used to sing with the New York City Opera. Her mother is Irish-American; her father, Alfred Roy Carey, an engineer, was half Venezuelan and half African-American. He died in 2002. Her parents divorced when she was 3. In 1987, she graduated from Harborfields High School in Huntington, L.I., and quickly moved to New York City to break into the music business. Although she was exposed to opera while growing up, Ms. Carey said she was never drawn to it, preferring ''freer music.'' Her influences included her mother's Billie Holiday records and her brother and sister's Al Green, Gladys Knight and Stevie Wonder albums. Above all, she has been drawn to the gospel of Aretha Franklin, the Clark Sisters, the Edwin Hawkins Singers and Shirley Caesar. Ms. Carey said she had wanted to be a professional singer since she was 4. She began working with musicians when she was 13, and at 16 she started writing songs with Ben Margulies, a young composer who collaborated with her on six of the 11 songs on "Maria Carey" (Columbia, 1990). Her big break came in November 1988 when Brenda K. Starr, a dance-pop vocalist with whom she had worked in clubs, took her to a party to celebrate the inauguration of WTG Records, a CBS-affiliated label run by Jerry Greenberg. ''Brenda walked up to Jerry, introduced me and said, 'This is my friend Mariah, she's 18 and writes her own music,' '' Ms. Carey recalled. ''Tommy Mottola was there, and when Brenda handed my tape to Jerry, Tommy grabbed it away from him. When Brenda told me who he was, I was really nervous. I just said hi and walked away. He went out to his car and put it on and listened to the first two songs and turned around and came back to find me, but I was gone. There was no phone number on the tape. That Monday, he contacted Brenda's manager, and Brenda called me to tell me he had heard it. The next day I went up to CBS with my mom, and we talked he said he wanted to give me a record deal and put me on Columbia.'' Her dream of fame and fortune was pretty ordinary, but her voice wasn't. After Mr. Mottola signed her to Columbia Records, they began dating. Read More... By 1993, when the couple married, Ms. Carey had already released a series of smash hit albums, and by the time they split up, a few years later, the failed relationship had become a central element in the myth of Mariah: she called her 1997 album ''Butterfly,'' and fans were welcome to assume that her now sexier image was a sign of newfound freedom. The split with Mr. Mottola gave Ms. Carey's music an added narrative power: ''Honey,'' a collaboration with Sean Combs and Ma$e, wasn't just a beguiling hip-hop song -- it was a declaration of independence. Without her Svengali, however, Ms. Carey was left to figure out the industry on her own and suffered a career slump and a personal crisis. In July 2001, Ms. Carey was admitted to a hospital after an emotional breakdown, which included a semi-striptease on MTV's ''TRL,'' a dish-flinging episode at a downtown Manhattan hotel that left her hands bloody and bizarre entries about exhaustion that she posted on her Web site. Later that year, her foray into acting, the semi-autographical film, ''Glitter,'' bombed, as did the accompanying album of the same name. Virgin/EMI, her label at the time, paid her $28 million to get out of the contract. Of the movie, Ms. Carey said in an interview, ''It was doomed from the beginning.'' Of the album, she said, ''I don't care if it was the best one of my life, anything released the week of 9/11/2001 was not going to work.'' In 2003, Lyor Cohen, then the chief executive of Ms. Carey's new label, Def Jam, vowed that he would engineer her comeback. He returned Ms. Carey to her big-ballad roots with ''Through the Rain,'' a schmaltz-heavy track about triumph over adversity, from her album ''Charmbracelet.'' In magazines and on television, Ms. Carey rehashed the details of her breakdown and fervently denied speculation that she was mentally unstable. At the time it appeared that she hoped to translate her personal tragedy into sales. ''But,'' Ms. Carey said, ''it's what the label wanted me to do. I really just wanted to move on.'' Though ''Charmbracelet'' has sold more than 1 million copies since its release, according to Nielsen SoundScan, it fell woefully short of re-establishing Ms. Carey as a must-watch artist. Ms. Carey is known for her voice, of course: she can hit high notes that barely sound human, and few singers leap around the octaves as gracefully as she does. Her greatest weapon may be her versatility: Ms. Carey also knows how to make a hip-hop hit by holding back and letting the beat shine. One of the things that makes her music appealing -- and sometimes infuriating -- is her commitment to frivolity. She has a whim of iron, an almost perverse attraction to sentimentality in its most risible forms. Even hardcore fans probably have trouble taking some of her album titles seriously: ''Butterfly,'' ''Rainbow,'' ''Glitter,'' ''Charmbracelet.'' The imagery doesn't seem to fit her music, which can be sublime, or her voice, which is invariably astonishing, or her approach to her career, which is decidedly unsentimental.

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