H. Drew Blackburn: What the new Whitney Houston biopic tells us about artists like Lizzo and Doja Cat - NBCNewsTHINK
, she was met with the same reception. Both instances were not unanimously derisive; you can hear some applause, but when are jeers not the loudest vibrations inside an artist’s head?In “Whitney: Can I Be Me,” a 2017 documentary on the singer’s life, Houston’s longtime saxophonist Kirk Whalum recalls the event as ““ for her. “I don’t think [she] ever recovered from it.
Reynolds said. Even with this knowledge, the public humiliation she faced at the Soul Train Awards seems gratuitous.in which Houston had been forced to defend the music she made. A disc jockey asks what she thinks of the accusations she’s a sellout who isn’t aIt’s a beat in the film that perfectly sums up the absurdity of this claim that surrounded her career.
To wit: Whitney Houston was a Black woman — ate Black, slept Black, lived Black, cried Black, walked Black and died Black. It’s a wonder how Houston could do anything other than sing Black too. Houston appealed to so-called mainstream audiences because she was The Voice. The “girl-next-door” image crafted by Davis, Reynolds, and the Arista team was built to usher her into a wider variety of homes, but Houston’s singular talent was the chief agent of her success.
Houston was a pop princess, but the charge that such a thing made her inherently a non-Black star is peculiar for a number of reasons. While funk was never really her thing , R&B was an ever-present force in her music from Day One and in the thick of the days when she was called an “oreo” and “
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