Consideration, Respect, Moderation, Whitney.
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Whitney Houston Hit: “I Have Nothing”Sampled in: French Montana “Bend You Over”Maybe it’s not the most loving tribute to Houston but it sure goes hard. This 2014 French Montana track samples Houston’s 1992 hit from her landmark soundtrack to The Bodyguard. Weaving in bits of "I Have Nothing," "Bend You Over" skews crass ("Can I? Oh, come over and bend you over? We could do it all night, we could do it all night," raps French) but gets a touch of class from the Whitney sample.Whitney Houston Hit: "I Wanna Dance With Somebody (Who Loves Me)"Sampled in: Natalie La Rose and Jeremih “Somebody”One of the most radio-friendly smashes to ever borrow from from Houston’s immense catalog, Natalie La Rose and Jeremih’s hip-pop track “Somebody” is an energetic ode to the icon's 1987 hit yet holds its own as a fresh dance-floor jam. While the original was a No. 1 hit on the Hot 100 in 1987 (and won a Grammy for Best Female Pop Vocal Performance to boot), Natalie and Jeremih’s pop opus peaked at No. 10.Whitney Houston Hit: “I Will Always Love You”Sampled in: Theophilus London “Love Always”The original will not only go down as Whitney Houston’s brightest musical moment, but as one of the most impressive vocal performances of all time. Rapper Theophilus London tries to channel the track’s magic for "Love Always" off his 2009 set dubbed This Charming Mixtape. Blending Houston’s smooth vocals, a pulsating beat, and London’s spitfire rhymes, the song pleases fans of pop, hip-hop and house.Whitney Houston Hit: “I Have Nothing”Sampled in: Drake “Tuscan Leather” Drizzy’s spin on Houston’s "I Have Nothing" for the Nothing Was The Same cut was produced by longtime collaborator Noah "40" Shebib, and features October’s Very Own’s spitting: "This is nothin' for the radio, but they'll still play it though." In 1993, the powerhouse original peaked at No. 4 on the Hot 100.Whitney Houston Hit: "All the Man That I Need"Sampled in: G Money “Nothing But the Truth”One of the more obscure entries on this list, Houston’s pipes can be heard assisting this 2012 underground G Money jam. Houston’s original version "All the Man That I Need" was a No. 1 hit on the charts upon its 1990 release, as part of her album I’m Your Baby Tonight, and was in fact a cover of a 1982 track by Linda Clifford.Whitney Houston Hit: “I Will Always Love You”Sampled in: Estelle "Freak" Feat. Kardinal OffishallPerhaps best known for her Kanye West-assisted hit "American Boy," Estelle collaborated with rapper Kardinall Offishall for "Freak," a wild romp that also features a trippy beat and elements from Soul II Soul's "Back to Life." Even more mind-bending is the track's space-y video. Whitney Houston Hit: "You Give Good Love"Sampled in: The Game "Life"Peaking at No. 5 in 1985, "You Give Good Love" is featured on The Game's Documentary 2.5 album in the form of a sample on the hard-hitting "Life." Here, Jayceon Taylor also gives Houston a shout out, rapping, "We gon' get up out this motherf--ker/ Same way that Venus did, Serena did, we them kids/ Whitney was talking 'bout that's how it was/ Before my brother caught them slugs and I watched coroners."
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Arlene Phillips thought Whitney Houston was "amazing."
The 73-year-old choreographer worked with the late singer - who drowned in a bathtub in 2012 at the age of 48 - on a number of her music videos and she will never forget how quiet and "shy" the iconic performer was on set and will always think highly of her incredible voice.
She explained: "I have done a lot of music videos. I worked a lot with Whitney Houston. She was just amazing. I worked with her on her early music videos and she was so sweet, so shy but just there was vibrancy about her and standing close and hearing her voice, I had goose bumps."
The former 'Strictly Come Dancing' judge - who left the show in 2009 - choreographed videos for some of her hits like 'I Wanna Dance With Somebody' and 'How Will I know' and, despite all the fabulous memories she has of the legendary singer, she previously admitted she'll never forget Whitney's body hang up.
She said: "The funniest memory I'll take away is how she hated her feet. She thought they were too big! It was always about what shoes she was going to wear and how I was going to make her walk. I was constantly
telling her how gorgeous her legs and feet were and how to use them."
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[TV viewers heard Houston singing] plus her live voice, plus the audience reaction. She sang the melody and words the same way (as the studio version), but she sang her heart out.”
Jim Steef was, for over 25 years, in charge of the Super Bowl for the NFL. Four years ago, he recalled the lead-up to XXV’s opening ceremonies for SportsBusinessDaily.com: “In early January … our coordinator of Super Bowl pregame activities Bob Best … produced a recording of the Florida Orchestra for national anthem producer Rickey Minor. … A week later, Minor flew to Los Angeles to have Whitney record the vocal track. Amazingly … it was done in one take.”Yes — Whitney Houston’s version of “The Star-Spangled Banner” was prerecorded. “There’s no way to rehearse the sound of the crowd … coming at you,” Minor said years later. “You don’t know where the first note begins.”The NFL had no qualms about the song being prerecorded, even if Houston would be criticized for it.
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“…I knew the song was incredible. I knew I had sung the shit out of it. But I had no idea that that record would sell so much, so fast.”
“Listen, I always move on,” she says. “Nothing can stop me from movin’. What didn’t kill me made me stronger, sweetie. [Laughs] People still don’t believe me. I did another interview today and after an hour and a half of talking to him, [the reporter] said, ‘I still don’t know you.’ I think he was looking for something he didn’t find, trying to understand if I was a jeans girl or a gowns girl. Is she R&B, or is she pop? I am me.”
“I know from whence my help cometh. I do know that. And I know that it’s strong within me. If ever I get low, I get weak, I know where I can turn to. I love the spirit of God so much that I’m not willing to trade that for anything. I’m not trading that for nothing. For nothing. Because I feel joy that I can’t even speak about. And peace that passes all understanding.”
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Thursday, February 16, 2017 12:45pm
Fireworks explode over Tampa Stadium during Whitney Houston's performance at Rockfest.
TIMES | Evan R. Steinhauser
This story appeared in the pages of the
St. Petersburg Times on July 5, 1987. What follows is the text of the
original story, interspersed with photos of the event taken by Times
staff photographer Evan R. Steinhauser.
By Eric Snider, Times Staff Writer
A thin veil of high clouds kept Tampa Stadium from turning into an
oven Saturday. Rain threatened the Super Fourth Rockfest early, but
never came. Later, with a bright orange sunset, a beautiful day
magically evolved into a gorgeous, balmy night. As a result, the
six-hour concert, featuring pop diva Whitney Houston, the rock band
Starship and fun-in-the-sun veterans the Beach Boys was relaxing,
comfortable and, for the most part, entertaining.
TIMES | Evan R. Steinhauser
The concert nicely mixed tradition with the latest hits. The only
major hitch was that the show went way past what was originally a
tightly timed schedule. Miss Houston, the final performer who was slated
to take the stage at 8:45 p.m. did not take the stage until 10.
The leggy former model looked stunning; her smile lit up the
stadium. Although not overtly showy, she had a confident stage presence.
Her voice was a wonderful combination of silkiness and power.
TIMES | Evan R. Steinhauser
She improvised considerably more than on her two tightly produced
studio albums - reaching for the heavens with her falsetto; soul
shouting on her opening song, "How Will I Know"; cooing luxuriantly on
her first ballad, "You Give Good Love."
Miss Houston mixed hit material from her hugely successful debut
album with not-yet-popular tunes from the new LP, Whitney. "Love is a
Contact Sport" was a bouncy slice of Motown-inspired pop. On "I'm Saving
All My Love For You," she stretched the phrases, adding more drama. At
one point, she held a long note and drew enthusiastic applause from the
crowd of more than 50,000.
She did not sound particularly good, however, singing quick, dabbling
versions of Janet Jackson's "Control" or Anita Baker's "Sweet Love."
Miss Houston's recorded work reflects a very strong hit-making approach. Her live set had a much more impromptu, human quality.
The concert ended up running late, but not because of the Beach Boys.
The band started promptly at 5 p.m., as scheduled, and finished exactly
at the appointed 6:15.
The Beach Boys is the band most associated with the Fourth of July.
It played a spirited, energetic collection of timeless oldies. The
band's one-time creative leader, Brian Wilson, who plays only occasional
live dates, sounded strong singing lead on "Don't Worry Baby" and
Overall, the California group's trademark harmonies, which in the
past have been known to sound a bit ragged, were right on the money.
With nary a stop, the Beach Boys played nostalgic hit after hit: the
opener, "California Girls", "Fun, Fun, Fun", "I Get Around", "Good
Vibrations" and easily more than a dozen more.
The day's only down note was Starship. Besides blowing an amplifier
and setting the event back 50 minutes, the group played a shortened set
that was mostly dismal. The middle-of-the-road rock was tight and
melodic, flawlessly executed and thoroughly lackluster.
The band opened with the a cappella strains of "We Built This City."
And it finished with a reprise of that same lame anthem ("We built this
city on rock and roll") that the group peddles from town to town,
pandering to the local citizenry.
In between, Starship did bland versions of "Sara," "Find Your Way
Back" and others. A hard-rock version of "Somebody to Love," sung by
Grace Slick - the last remaining member from Jefferson Airplane, from
which Starship evolved - was bloated and perfunctory.
Starship's set provided no surprises and little inspiration. It was rock 'n' roll by numbers.
To order reprints, license or download any image from this gallery, please visit the Times image archive.
Contact Jeremy King at [email protected]
Looking Back: Whitney Houston and The Beach Boys rocked the Super Fourth Rockfest (July 4, 1987) 02/16/17
[Last modified: Thursday, February 16, 2017 1:27pm]
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