Whitney Houston, Dead

Message recieved loud and clear. Mate.

SO UMMMMMMMMMM

What's the difference between Whitney Houston and my piece of shit car?

  On 2/12/2012 at 9:49 PM, sneaksta303 said:

SO UMMMMMMMMMM

 

What's the difference between Whitney Houston and my piece of shit car?

 

 

  Reveal hidden contents

At least my piece of shit car can hit 50...

 

before i clicked on this thread i knew

A.i would regret it

B.there would be 3-4 11 year olds masquerading as young adults saying really dumb thoughtless shit and proving how fucking douched they really are

in for lock i'm sure you cuntz

i dont know about you guys but if i was planning on taking a full dose of valium or any sleeping pill i probably wouldn't decide to take a bath

  On 2/13/2012 at 2:35 AM, yikes said:

B.there would be 3-4 11 year olds masquerading as young adults saying really dumb thoughtless shit and proving how fucking douched they really are

in for lock i'm sure you cuntz

well the crocodile hunter thing i posted is 100% accurate, but i assure you i am no 11 year old, i am 45 years old

and also the thing Kaini posted is top tier, don't be a HATER BRO

Getting this chain e-mail from people ..

"One death is a tragedy; one million is a statistic." - Stalin.

is she in the 2nd photo too?

  On 2/13/2012 at 2:39 AM, Awepittance said:

i dont know about you guys but if i was planning on taking a full dose of valium or any sleeping pill i probably wouldn't decide to take a bath

 

  On 2/13/2012 at 2:35 AM, yikes said:

B.there would be 3-4 11 year olds masquerading as young adults saying really dumb thoughtless shit and proving how fucking douched they really are

in for lock i'm sure you cuntz

 

well the crocodile hunter thing i posted is 100% accurate, but i assure you i am no 11 year old, i am 45 years old

Yeah I remember showing this to my brother, who as a kid really liked Steve Irwin but even he was like "aww...hah, well that is true." He was loling pretty hard by the end of the video.

  On 2/13/2012 at 4:48 AM, Lindrum Larry Cocopipe said:

is she in the 2nd photo too?

lol u silly thoze r her ilegitim8 childrenz

Since this thread bloomed into a beautiful turd muffin I will just add that I think saying "RIP" on a forum is pretty classless, unless you have insight into a contraption which injects ghosts into the internet, which is a fear that haunts me to the core and gives me terrible night sweats on a daily basis.

RIP

RIP

RIP

RIP

  On 2/12/2012 at 9:27 AM, feltcher said:

she must have made a lot of money for dolly parton with that bodyguard song.

lol so it took her death for me to realize that her biggest hit was only a cover lol

osc beat me to it...

Whitney Houston burst onto the music scene in 1985 with her self-titled LP which had four number one singles on it, including "The Greatest Love Of All," "You Give Good Love," and "Saving All My Love For You," plus it won a Grammy Award for best pop vocal performance by a female and two American Music Awards, one for best rhythm and blues single and another for best rhythm and blues video. She was also cited as best new artist of the year by Billboard and by Rolling Stone magazine. With all this hype one might expect the album to be an anticlimactic, lackluster affair, but the surprise is that "Whitney Houston(ARISTA)" is one of the warmest, and most complex and altogether satisfying rythm and blues records of the decade and Whitney herself has a voice that defies belief. From the elegant, beautiful photo of her on the cover of the album (in a gown by Giovanne De Maura) and its fairly sexy counterpart on the back (in a bathing suit by Norma Kamali) one knows that this isn't going to be a blandly professional affiar; the record IS smooth but intense and Whitney's voice leaps across so many boundaries and is so versatile (though she's mainly a JAZZ singer) that it's hard to take in the album on a first listening. But you won't want to. You'll want to savor it over many.

It opens with "You Give Good Love" and "Thinking About You," both produced and arranged by Kashif, and they emanate warm, lush jazz arrangements but with a contemporary synthesized beat and though they're both really good songs, the album doesn't get kicking until "Someone For Me" which was produced by Jermaine Jackson, where Whitney sings longingly against a jazz-disco background and the difference between her longing and the sprightliness of the song is very moving. The ballad "Saving All My Love For You" is the sexiest, most romantic song on the record. It also has a killer saxaphone solo by Tom Scott and one can hear the influences of sixties girl-group pop in it (it was cowritten by Gerry Goffin) but the sixties girl groups were never this emotional or sexy (or as well produced) as this song is. "Nobody Loves Me Like You Do" is a glorious duet with Jermaine Jackson (who also produced it) and just one example of how sophisticated lyrically this album is. The last thing it suffers from is a paucity of decent lyrics which is what usually happens when a singer doesn't write her own material and has to have her producer choose it. But Whitney and company have picked well here.

The dance single "How Will I Know" (my vote for best dance song of the 1980s) is a joyous ode to a girl's nervousness about whether another guy is interested in her. It's got a great keyboard riff and it's the only track on the album produced by wunderkind producer Narada Michael Walden. My own personal favorite ballad (aside from "The Greatest Love of All"-her crowning achievement) is "All At Once" which is about how a young woman realizes all at once her lover is fading away from her and it's accompanied by a gorgeous string arrangement. Even though nothing on the album sounds like filler, the only track that might come close is "Take Good Care of My Heart," another duet with Jermaine Jackson. The problem is that it strays from the album's jazz roots and seems too influenced by 1980s dance music.

But Whitney's talent is restored with the overwhelming "The Greatest Love of All," one of the best, most powerful songs ever written about self-preservation and dignity. From the first line (Michael Masser and Linda Creed are credited as the writers) to the last, it's a state-of-the-art ballad about believing in yourself. It's a powerful statement and one that Whitney sings with a grandeur that approaches the sublime. Its universal message crosses all boundaries and instills one with the hope that it's not too late for us to better ourselves, to act kinder. Since it's impossible in the world we live in to empathize with others, we can always empathize with ourselves. It's an important message, crucial really, and it's beautifully stated on this album.

Her second effort, "Whitney" (ARISTA;1987), had four number one singles, "I Wanna Dance with Somebody," "So Emotional," "Didn't We Almost Have It All?" and "Where Do Broken Hearts Go?" and was mostly produced by Narada Michael Walden and though it's not as serious an effort as "Whitney Houston" it's hardly a victim of Sophomore Slump. It starts off with the bouncy, danceable "I Wanna Dance With Somebody (Who Loves Me)" which is in the same vein as the last album's irrepressible "How Will I Know." This is followed by the sensuous "Just The Lonely Talking Again" and it reflects the serious jazz influence that permeated the first album and one can also sense a newfound artistic maturity in Whitney's voice-she did all the vocal arrangements on this album-and this is all very evident on "Love Will Save The Day" which is the most ambitious song Whitney's yet performed. It was produced by Jellybean Benitez and it pulsates with an uptempo intensity and like most of the songs on this album it reflects a grownup's awareness of the world we all live in. She sings and we believe it. This is quite a change from the softer, little-girl-lost image that was so appealing on the first album.

She projects an even more adult image on the Michael Masser-produced "Didn't We Almost Have It All," a song about meeting up with a long-lost lover and letting him know your feelings about the past affair, and it's Whitney at her most poetic. And as on most of the ballads there's a gorgeous string arrangement. "So Emotional" is in the same vein as "How Will I Know" and "I Wanna Dance With Somebody" but it's even more rock-influenced and, like all the songs on "Whitney," played by a terrific backup studio band with Narada on drum machine, Wolter Afanasieff on the synthesizer and synth bass, Corrado Rustici on synth guitar, and someone listed as Bongo Bob on percussion programming and drum sampling. "Where You Are" is the only song on the album produced by Kashif and it bears his incredible imprint of professionalism-it has a smooth, gleaming sound and sheen to it with a funky sax solo by Vincent Henry. It sounded like a hit single to me (but then all the songs on the album do) and I wondered why it wasn't released as one.

"Love Is A Contact Sport" is the album's real surprise-a big-sounding, bold, sexy number that, in terms of production, is the album's centerpiece, and it has great lyrics along with a good beat. It's one of my favorites. On "You're Still My Man" you can hear how clearly Whitney's voice is like an instrument-a flawless, warm machine that almost overpowers the sentiment of her music, but the lyrics and the melodies are too distinctive, too strong to let any singer, even one of Whitney's caliber, overshadow them. "For the Love of You" shows off modern feel harks back not only to purveyors of modern jazz like Michael Jackson and Sade but also to other artists, like Miles Davis, Paul Butterfield and Bobby McFerrin.

"Where Do Broken Hearts Go" is the album's most powerful emotional statement of innocence lost and trying to regain safety of childhood. Her voice is as lovely and controlled as it ever has been and it leads up to "I Know Him So Well," the most moving moment on the record because it's first and foremost a duet with her mother, Cissy. It's a ballad about...who?-a lover shared? a long-lost father?-with a combination of longing, regret, determination and beauty that ends the album on a graceful, perfect note. We can expect new things from Whitney (she made a stunning gift to the 1988 Olympics with the ballad "One Moment In Time") but even if we didn't, she would remain the most exciting and original black jazz voice of her generation.

lol, sneaksta is on fire in this thread. I really hope when I die there are at least a few tasty gems like that uttered from those who knew/knew of me. watmm death threads are the best.

I had a great time singing I Will Always Love You at a kareoke club about 3 weeks ago, and I thank her for that.

I thought she was great, really. I also empathized with her because I know how addiction can fuck up a life. She had a great voice. People getting bent out of shape over some jokes need to gain some perspective methinks.

  On 2/13/2012 at 8:52 PM, theSun said:

osc beat me to it...

 

Whitney Houston burst onto the music scene in 1985 with her self-titled LP which had four number one singles on it, including "The Greatest Love Of All," "You Give Good Love," and "Saving All My Love For You," plus it won a Grammy Award for best pop vocal performance by a female and two American Music Awards, one for best rhythm and blues single and another for best rhythm and blues video. She was also cited as best new artist of the year by Billboard and by Rolling Stone magazine. With all this hype one might expect the album to be an anticlimactic, lackluster affair, but the surprise is that "Whitney Houston(ARISTA)" is one of the warmest, and most complex and altogether satisfying rythm and blues records of the decade and Whitney herself has a voice that defies belief. From the elegant, beautiful photo of her on the cover of the album (in a gown by Giovanne De Maura) and its fairly sexy counterpart on the back (in a bathing suit by Norma Kamali) one knows that this isn't going to be a blandly professional affiar; the record IS smooth but intense and Whitney's voice leaps across so many boundaries and is so versatile (though she's mainly a JAZZ singer) that it's hard to take in the album on a first listening. But you won't want to. You'll want to savor it over many.

 

It opens with "You Give Good Love" and "Thinking About You," both produced and arranged by Kashif, and they emanate warm, lush jazz arrangements but with a contemporary synthesized beat and though they're both really good songs, the album doesn't get kicking until "Someone For Me" which was produced by Jermaine Jackson, where Whitney sings longingly against a jazz-disco background and the difference between her longing and the sprightliness of the song is very moving. The ballad "Saving All My Love For You" is the sexiest, most romantic song on the record. It also has a killer saxaphone solo by Tom Scott and one can hear the influences of sixties girl-group pop in it (it was cowritten by Gerry Goffin) but the sixties girl groups were never this emotional or sexy (or as well produced) as this song is. "Nobody Loves Me Like You Do" is a glorious duet with Jermaine Jackson (who also produced it) and just one example of how sophisticated lyrically this album is. The last thing it suffers from is a paucity of decent lyrics which is what usually happens when a singer doesn't write her own material and has to have her producer choose it. But Whitney and company have picked well here.

 

The dance single "How Will I Know" (my vote for best dance song of the 1980s) is a joyous ode to a girl's nervousness about whether another guy is interested in her. It's got a great keyboard riff and it's the only track on the album produced by wunderkind producer Narada Michael Walden. My own personal favorite ballad (aside from "The Greatest Love of All"-her crowning achievement) is "All At Once" which is about how a young woman realizes all at once her lover is fading away from her and it's accompanied by a gorgeous string arrangement. Even though nothing on the album sounds like filler, the only track that might come close is "Take Good Care of My Heart," another duet with Jermaine Jackson. The problem is that it strays from the album's jazz roots and seems too influenced by 1980s dance music.

 

But Whitney's talent is restored with the overwhelming "The Greatest Love of All," one of the best, most powerful songs ever written about self-preservation and dignity. From the first line (Michael Masser and Linda Creed are credited as the writers) to the last, it's a state-of-the-art ballad about believing in yourself. It's a powerful statement and one that Whitney sings with a grandeur that approaches the sublime. Its universal message crosses all boundaries and instills one with the hope that it's not too late for us to better ourselves, to act kinder. Since it's impossible in the world we live in to empathize with others, we can always empathize with ourselves. It's an important message, crucial really, and it's beautifully stated on this album.

 

Her second effort, "Whitney" (ARISTA;1987), had four number one singles, "I Wanna Dance with Somebody," "So Emotional," "Didn't We Almost Have It All?" and "Where Do Broken Hearts Go?" and was mostly produced by Narada Michael Walden and though it's not as serious an effort as "Whitney Houston" it's hardly a victim of Sophomore Slump. It starts off with the bouncy, danceable "I Wanna Dance With Somebody (Who Loves Me)" which is in the same vein as the last album's irrepressible "How Will I Know." This is followed by the sensuous "Just The Lonely Talking Again" and it reflects the serious jazz influence that permeated the first album and one can also sense a newfound artistic maturity in Whitney's voice-she did all the vocal arrangements on this album-and this is all very evident on "Love Will Save The Day" which is the most ambitious song Whitney's yet performed. It was produced by Jellybean Benitez and it pulsates with an uptempo intensity and like most of the songs on this album it reflects a grownup's awareness of the world we all live in. She sings and we believe it. This is quite a change from the softer, little-girl-lost image that was so appealing on the first album.

 

She projects an even more adult image on the Michael Masser-produced "Didn't We Almost Have It All," a song about meeting up with a long-lost lover and letting him know your feelings about the past affair, and it's Whitney at her most poetic. And as on most of the ballads there's a gorgeous string arrangement. "So Emotional" is in the same vein as "How Will I Know" and "I Wanna Dance With Somebody" but it's even more rock-influenced and, like all the songs on "Whitney," played by a terrific backup studio band with Narada on drum machine, Wolter Afanasieff on the synthesizer and synth bass, Corrado Rustici on synth guitar, and someone listed as Bongo Bob on percussion programming and drum sampling. "Where You Are" is the only song on the album produced by Kashif and it bears his incredible imprint of professionalism-it has a smooth, gleaming sound and sheen to it with a funky sax solo by Vincent Henry. It sounded like a hit single to me (but then all the songs on the album do) and I wondered why it wasn't released as one.

 

"Love Is A Contact Sport" is the album's real surprise-a big-sounding, bold, sexy number that, in terms of production, is the album's centerpiece, and it has great lyrics along with a good beat. It's one of my favorites. On "You're Still My Man" you can hear how clearly Whitney's voice is like an instrument-a flawless, warm machine that almost overpowers the sentiment of her music, but the lyrics and the melodies are too distinctive, too strong to let any singer, even one of Whitney's caliber, overshadow them. "For the Love of You" shows off modern feel harks back not only to purveyors of modern jazz like Michael Jackson and Sade but also to other artists, like Miles Davis, Paul Butterfield and Bobby McFerrin.

 

"Where Do Broken Hearts Go" is the album's most powerful emotional statement of innocence lost and trying to regain safety of childhood. Her voice is as lovely and controlled as it ever has been and it leads up to "I Know Him So Well," the most moving moment on the record because it's first and foremost a duet with her mother, Cissy. It's a ballad about...who?-a lover shared? a long-lost father?-with a combination of longing, regret, determination and beauty that ends the album on a graceful, perfect note. We can expect new things from Whitney (she made a stunning gift to the 1988 Olympics with the ballad "One Moment In Time") but even if we didn't, she would remain the most exciting and original black jazz voice of her generation.

did you just write a fan fiction monologue that the main character of American Psycho would have had with one of his murder victims? or did you just quote the book? ( i havent read it)

i don't care she's dead, but Scully that was the best song in the first post i agree.

It's just sad to see people who earned million's of dollars die like a crackhead junk while millions are fighting to survive each day

...meh