I am so tired of the whole Whitney vs. Mariah thing. The Whitney hater philosophy goes as: If she sounds bad it means she's a crack head, and if she sounds good its a relief she wasn't high.
The Mariah hater philosophy goes as:
If she sounds bad it means she can't sing anymore and if she sounds good it means she was lipsynching. Are any of you morons certain for sure that Whitney is still on drugs or that Mariah lipsynchs all the time? NO
Are any of you on Mariah's technical crew or Whitney's drug supplier? NO
No one can do it like Mariah, and nobody can ever or will ever do it like Whitney. Fact! Accept it! Own it!
Paste this on your channel if you love Christmas!
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¨¨¨¨¨\_________/¨¨¨ MERRY CHRISTMAS
I am so tired of the whole Whitney vs. Mariah thing. The Whitney hater philosophy goes as: If she sounds bad it means she's a crack head, and if she sounds good its a relief she wasn't high.
A boy who loves Jesus and enjoys good music. A description of my top two favorite singers: Whitney Houston's vocals possess a clarity that commands attention whether or not she is softly caressing a word or belting out a gospel flourish. She can clearly generate stunning volume, but her power derives from the definition and authority of her emotive phrasing and virtuosic shading, as she shifts effortlessly from a soft whisper to an unbridled wail, from melancholy reserve to joyful abandon, from anguished insecurity to bold resolve (written by Monte of Whitney-Fan). Mariah Carey's vocals possess a texture that colors each word and differently accentuate every phrase, whether straight or melismatic. She too can produce much volume, but it is her range that gives her a unique soul and ability. Her coloratura notes range from a gentle reed-like breeze to a rich, full-bodied high octave cry, each serving a purpose in her interpretation, be it distraught anxiety or pleasant impulse. Her husky contralto highlights this astonishing range with a timbre that so sharply contrasts to her whistle register, but accompanies and blends better than a bird and wings. Both women unleash a force of nature of impassioned transcendence, and when employing restraint, they subtly shape notes with multi-colored nuance; their registers from contralto to mezzo to soprano to coloratura, marvels of incomparable crystal purity, inimitable texture and full-bodied tonal roundness have grown less dewy, but nonetheless convey rich texture and sinuous sweetness. While their technical superiority has been the highlight of their vocals, they only serve as a support for their unparalleled phrasing and interpretive ability. Each colored word and phrase imprints itself so deeply in the song, that there is no other way to sing it. This is why these women are the two most influential singers of the modern decades: not because of their superior virtuosity or their vocal power or ability, but because of their peerless ability to define a song.
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