Whitney Houston: Tragic Diva the Epic Life and Shocking Death of Whitney Houston: The Epic Life and Shocking Death of Whitney Houston (2 page)

“You Give Good Love” was the album’s first major U.S. hit, peaking in the Top 5 at Number 3 on the U.S. Billboard Hot 100 Chart, and pushed even further on the Hot R&B chart, reaching Number 1. The success of this song caused the album’s popularity to skyrocket.

Also, increased promotion and both live and televised performances by Whitney propelled the album even further. “Saving All My Love For You,” the second release from the album, became Houston’s first Number 1 single, followed closely by “How Will I Know?” and “Greatest Love Of All,” both of which also hit Number 1 and gave Whitney Houston the distinction of being the first album produced by a female singer ever to produce three Number 1 hits. The album also garnered Houston her first Grammy for Best Pop Vocal Performance by a Female for “Saving All My Love For You,” an Emmy award for her performance of the same song at that Grammy Awards ceremony, Billboard’s Artist Of The Year for 1986, and spawned her worldwide “The Greatest Love” tour.

From this moment on, it was a definitive fact -- this was no “one hit wonder” or “flash in the pan” -- Whitney Houston was here to stay.

Chapter Four - “Queen Of The Night”

With the wild success of her debut album, three Number 1 singles, one Emmy, one Grammy and two more nominations, an Artist of the Year award, and a standing-room-only World Tour already to her credit before her 25th birthday, there was no doubt that Whitney Houston was well on her way to superstardom.

In 1987, “Greatest Love Of All” was again nominated, this time for a Record of the Year award by the National Academy of Recording Arts and Sciences, which only added momentum to her rise and excitement to her long-anticipated second album, Whitney, which was releaseed in June of that year. Whitney included no less than four consecutive Number 1 hits: “I Wanna Dance With Somebody,” “Didn’t We Almost Have It All,” “So Emotional,” and “Where Do Broken Hearts Go?” This feat (along with her previous three Number 1 releases) combined to produce seven back to back Number 1 singles and broke the all time record for number of consecutive Number 1 hits -- until that time a title jointly shared by The Bees Gees and The Beatles with records of six each, respectively. Whitney also led Houston to be the first female recording artist ever to debut at Number 1 in the Billboard Top 200 Chart, as well as the first female artist ever to produce four Number 1 hits on a single album. While some critics were slightly cooler to this release, there was no arguing its massive commercial success. After the release of Whitney, she launched out on her hugely successful “Moment Of Truth” World Tour.

Houston was also nominated three more times at the Grammy Awards of 1988, winning again for Best Pop Vocal Performance by a Female, for “I Wanna Dance WIth Somebody (Who Loves Me).”

Once again, Whitney Houston’s enormous talent and great success would not be denied. In a few short years she had gone from “exciting newcomer” to bona-fide international star. She was everywhere -- on the radio, music videos, television interview programs, concerts, and live performances.

She truly was “The Queen Of The Night.”

Chapter Five - “All The Man That I Need”

With all that Whitney Houston had already achieved in such a short span of time, it was hard to know where to turn next with her mega-watt stardom. At 25, she was already the highest-earning African-American woman in the country and the 8th highest-earning entertainer overall. She had already conquered humble beginnings, the print world, and the monster that is the music industry. She was a model for what was possible across all lines of race and gender.

Yet, there were some who were concerned with Whitney’s prosperity. There emerged a small body of voices in the African-American community who were openly critical of Whitney, feeling that she had sold out some of her more urban roots in favor of an easy rise to the top. This hurt and disturbed Houston and she rejected the criticism, responding in the best way she knew how -- through her music.

Her third album, “I’m Your Baby Tonight,” released in November of 1990, is a clear answer to those critics, taking a decided step with a more urban tone. Whitney produced the album herself in collaboration with artists such as Stevie Wonder, Babyface, and Luther Vandross. While not a critical success, the album did reach Number 3 on the U.S. Billboard 200 Chart and produced two Number 1 hits with the title track, “I’m Your Baby Tonight,” and “All The Man I Need.” Two other releases from this album, “Miracle” and “My Name Is Not Susan,” made the Billboard Top 20.

Around this same period, possibly disillusioned by the unexpected conflict with her community and the negativity of her critics, Whitney began to look for satisfaction a little closer to home. Tawdry, unsubstantiated rumors had circulated for years about Whitney’s close relationship with her longtime friend, Robin Crawford, which Houston strongly denied. She also had brief trysts with other notable celebrities such as actor Eddie Murphy and Eagles football player Randall Cunningham. But for all the love songs that Whitney Houston soulfully shared with us, she never seemed to have a love of her own.

That is, until 1989 at the Soul Train Music Awards, when she met a young R&B singer by the name of Bobby Brown.

Brown himself was already somewhat of a star on his own merits and had risen to prominence as a member of the 1980s R&B boy band New Edition, followed by a mildly successful solo career.

The two began dating.

While the combination of Whitney’s good-girl image and Bobby’s bad-boy persona could not have seemed like a more unlikely pair, it was clear to friends that the two shared a bond. Some surmise that it grew out of a common background of tough urban upbringing followed by an iconic rise in a common industry. Whatever the origins, there was no denying that the chemistry between the two was strong, real, and lasting.

Sadly, it may also have ultimately been toxic.

Her mother, her close friends, and even Clive Davis seemed to express concerns about Whitney’s puzzling relationship with Bobby. But smitten with her new love, Houston would no longer be told what to do or how to act. She was fully making her own decisions now, perhaps emboldened by the new strength she felt with Bobby. It is thought that Brown may even have been somewhat influential in Whitney’s urban renaissance on the “I’m Your Baby Tonight” album.

Whatever the case, the new “Musical Power-Couple” dated for three years and was married on July 18, 1992 on the grounds of her mansion in Newark, New Jersey. Less than nine months later on March 4, 1993, their daughter Bobbi Kristina Houston Brown was born. Though he would always be a major source of turmoil, upheaval, addiction, and unrest in Whitney’s life, it was clear that, for good or ill, she had found her man in Bobby Brown and, at least to her, he was all the man that she needed.

Chapter Six - “Takin’ A Chance”

To her long list of career and life accomplishments, Whitney could now add “wife” and “mother.” She was also a fervent anti-apartheid activist and a philanthropist, raising thousands of dollars for The United Negro College Fund and starting her own humanitarian effort, The Whitney Houston Foundation for Children, in 1989.

In addition, Whitney recorded the Top 5 hit “One Moment In Time” for the 1988 Summer Olympics and a universally acclaimed Top 20 version of “The Star Spangled Banner,” which she had sung at the 1991 Superbowl XXV, and donated all the proceeds to The American Red Cross to aid veterans of the Gulf War.

But despite her achievements in many art forms, there was one that she had yet to master and one claim to fame she had not yet won:

Movie Star.

Following the success she had already seen, there was certainly no dearth of offers, but Whitney had not yet found the project she felt comfortable to take the leap with. In some ways, the project found her.

Hollywood actor and power-player Kevin Costner, who did not know Houston but had seen her electrifying performances and knew of her wide appeal, felt he had the right fit: a script called “The Bodyguard,” an unlikely love story between a superstar being stalked and the bodyguard she hires to protect her. The film would include a soundtrack by Houston (which Costner no doubt knew would be a hit) and would be a perfect vehicle for Whitney to make the transition to film.

Though Whitney was hesitant, and at first even turned the part down, Costner was doggedly persistent and convinced she was perfect for the role. He was right. The film was a blockbuster success, making more than $121 million in the U.S. alone. The soundtrack to the film did equally well and produced Houston’s biggest hit ever, and what would come to be her trademark song, “I Will Always Love You.” The song hit Number 1 on Billboard’s Top 100 and remained there, breaking all records, for a staggering fourteen weeks. It also hit Number 1 in many other countries and became one of the highest selling releases of all time. It is widely regarded as the song that pushed Whitney Houston over the edge--from pop superstar to legendary music icon.

But she was also now a respected Film Actress.

Three years after her debut in “The Bodyguard,” Houston was approached by director Forest Whitaker and author Terry McMillan to star in “Waiting to Exhale,” a film based on a book of the same title about four African-American women, their lives, and their struggles in relationships. Although once again resistant at first due to her personal concerns about the depth and believability of her acting skills, Whitney ultimately embraced the project, seeing it as an important breakthrough for black women, portraying them as successful and loving women and mothers. She realized it was a message she wanted to be a part of.

“Waiting to Exhale” opened at the Box Office at Number 1 and made $67 million in the U.S. alone. The soundtrack, produced by Whitney and Babyface, among others, featured a number of prominent female African-American artists, including Mary J. Blige, Brandy, Toni Braxton and even godmother Aretha Franklin. As expected from Houston’s off-the-charts track record, the release debuted at Number 1 on the Billboard 200 Albums Chart and stayed there for five weeks. And the single “Exhale (Shoop Shoop),” briefly hit Number 1, then stayed at Number 2 for a record breaking eleven weeks.

Having starred already in two extremely successful films, one would think that Whitney Houston would have found confidence in her acting abilities. Yet despite her success, she still remained somewhat ambivalent about making more movies, seeing herself more as an interpreter of music rather than an interpreter of words.

Box office celebrity Denzel Washington, however, disagreed. He had signed on to star in a film called “The Preacher’s Wife,” a modern version of the 1948 Cary Grant Christmas Classic, and believed that Whitney was exactly the right actress to play the title role.

Like Costner before him, Washington had to work a bit to persuade the singer to take on the part. They had been friends for several years, but had never worked together. Though Julia Roberts had also been mentioned for the role, Washington was convinced that Whitney’s strong spiritual background and church-going upbringing would infuse the character with a deeper soulfulness. It was clear how much he wanted her to do it, but still, Houston held on the script for a year before she finally said yes.

It was a good decision. While the film itself garnered only average commercial success, Whitney’s acting received its highest critical praise yet and netted her an NAACP Image Award for Outstanding Actress in a Motion Picture. Adding to the achievement, her gospel-infused soundtrack for the film sold an astounding six million copies worldwide--making it the most successful gospel album in music history. “Nippy” was again breaking records everywhere.

Clearly at the top of her game, and encouraged by her film success, the entertainer set her sights on her next project: a made-for-television, multiracial musical version of “Rodgers and Hammerstein’s Cinderella.” It would be the first venture for Houston’s newly reorganized production company, BrownHouse Productions, whose stated mission was to advance the way African-Americans were represented in television and film.

It was a project that had been several years in the making. Four years earlier, in 1993, Houston had actually been approached to play the title character, but due to scheduling conflicts and other focuses, that incarnation never materialized. But Whitney believed in the project and its positive message and made it happen; not only by producing it, but also by playing the Fairy Godmother, with friend and rising starlet Brandy portraying Cinderella. Ultimately, “Rodgers & Hammerstein’s Cinderella” drew an enthusiastic sixty million viewers, received seven Emmy nominations, and won an Emmy in Outstanding Art Direction in a Variety, Musical, or Comedy Special. Like the song she sang as the Fairy Godmother in the production itself, Whitney showed everyone, without a doubt, “It’s Possible.”

Whitney Houston had now boldly and unquestionably conquered the industries of television and film, but in spite of her massive success, it was clear she felt that it was never really what she was literally born to do.

That, of course, was making music.

And it would not be long before the mega-talent superstar would make a triumphant return to the recording studio.

Chapter Seven - “Like I Never Left”

After several years of making movies and releasing soundtrack albums, the world wondered if Whitney still had what it took to be a hit studio-recording artist. But in November of 1998, after only six short weeks in the studio, she answered those questions definitively. She effortlessly stepped back onto the music scene with the release of her album, “My Love Is Your Love,” which debuted at Number 13 on the Billboard 200 chart and quickly went platinum.

The pop diva was back, and better than ever. The album, her first studio release in over 8 years, included a surprising survey of urban, reggae, R&B, and ballad-style offerings. Whitney also sang with more bite, which impressed critics and won over fans. For the next two years, several singles from the album became international hits -- including “When You Believe,” “Heartbreak Hotel,” “It’s Not Right But It’s Okay (which won the singer her sixth Grammy award),” “My Love Is Your Love,” and “I Learned From the Best.”