A gospel is an account, often written, that describes the life of Jesus of Nazareth. In a more general sense the term "gospel" may refer to the Good News message of the New Testament. It is primarily used in reference to the four canonical gospels of Matthew, Mark, Luke, and John. However, the term is also used to refer to the Apocryphal gospels, the Non-canonical gospels, the Jewish gospels and the Gnostic gospels.

Etymology

The word ''gospel'' derives from the Old English ''gōd-spell'' (rarely ''godspel''), meaning "good news" or "glad tidings". It is a calque (word-for-word translation) of the Greek word , ''euangelion'' (''eu-'' "good", ''-angelion'' "message"). The Greek word ''"euangelion"'' is also the source (via Latinised "evangelium") of the terms "evangelist" and "evangelism" in English. The authors of the four canonical Christian gospels are known as the four evangelists.

Originally, the gospel was the good news of redemption through the propitiatory offering of Jesus Christ for one's sins, the central Christian message. Note: John 3:16. Before the first gospel was written (Mark, ''c'' 65-70), Paul the Apostle used the term gospel when he reminded the people of the church at Corinth "of the gospel I preached to you" (1 Corinthians 15.1). Paul averred that they were being saved by the gospel, and he characterized it in the simplest terms, emphasizing Christ's appearances after the Resurrection (15.3 – 8):

The earliest extant use of gospel to denote a particular genre of writing dates to the 2nd century. Justin Martyr (''c'' 155) in 1 Apology 66 wrote: "...the apostles, in the memoirs composed by them, which are called Gospels".

Henry Barclay Swete's ''Introduction to the Old Testament in Greek'', pages 456-457 states: : in the LXX occurs only in the plural, and perhaps only in the classical sense of 'a reward for good tidings' ( [also , , , ]); in the N.T. it is from the first appropriated to the Messianic good tidings (, ), probably deriving this new meaning from the use of in , , , .

In the New Testament, evangelism meant the proclamation of God's saving activity in Jesus of Nazareth, or the agape message proclaimed by Jesus of Nazareth. This is the original New Testament usage (for example or ; see also Strong's G2098). The peculiar situation in the English language of an obsolete translation persisting into current usage harks back to John Wycliffe who already had gospel, and whose usage was adopted into the King James Version. The short ''o'' in the modern word gospel is due to mistaken association with the word god. Old English gōd-spell had a long vowel and would have become good-spell in modern English.

The first accounts

Critical scholars generally agree on several early sayings collections and accounts preceding the "canonical" Gospels. The dedicatory preface of the Gospel of Luke testifies already to the existence of several "accounts" of the life of Jesus by the time of its composition. The term Luke uses (διήγησις ''diēgēsis'') is a term used in classical Greek for any historical narrative. The term "Gospel" is not used in the New Testament text for any of the canonical Gospels, though in later centuries a traditional reading of 2 Corinthians 8:18 "the brother whose praise is the Gospel" was to sometimes identify this with Luke, and consequently Gospel of Luke.

Synoptic gospels

The synoptic gospels are the source of many popular stories, parables, and sermons, such as Jesus' humble birth in Bethlehem, the Sermon on the Mount, the Beatitudes, the Last Supper, and the Great Commission. John provides a theological description of Jesus as the eternal Word, the unique savior of humanity. All four attest to his Sonship, miraculous power, crucifixion, and resurrection. Portions of the gospels are traditionally read aloud during church services as a formal part of the liturgy.

The fourth gospel, the Gospel of John, presents a very different picture of Jesus and his ministry from the synoptics. In differentiating history from invention, historians interpret the gospel accounts skeptically but generally regard the synoptic gospels as including significant amounts of historically reliable information about Jesus.

More generally, gospels compose a genre of early Christian literature. Gospels that did not become canonical also circulated in Early Christianity. Some, such as the work known today as Gospel of Thomas, lack the narrative framework typical of a gospel. These gospels almost certainly appeared much later than the canonical gospels, with the Gospel of Thomas being a likely exception.

Historicity of the canonical gospels

The historicity of the gospels refers to the reliability and historic character of the four New Testament gospels as historical documents. Historians subject the gospels to critical analysis, attempting to differentiate authentic, reliable information from what they judge to be inventions, exaggerations, and alterations.

Biblical scholars consider the synoptic gospels to contain much reliable historical information about the historical Jesus as a Galilean teacher and of the religious movement he founded, but not everything contained in the gospels is considered to be historically reliable.

The baptism of Jesus, his preaching, and the crucifixion of Jesus are deemed to be historically authentic. Elements whose historical authenticity is disputed include the two accounts of the nativity of Jesus, as well as certain details about the crucifixion and the resurrection. The fourth gospel, John, includes a number of historically reliable details, but it differs greatly from the first three gospels, and historians largely discount it. The canonical gospels, overall, are considered to have more historically authentic content than the various non-canonical gospels.

On one extreme, some Christian scholars maintain that the gospels are inerrant descriptions of the life of Jesus. On the other extreme, some scholars have concluded that the gospels provide no historical information about Jesus life since the first gospel accounts (Mark) only appeared 40 years after Jesus's death.

Canonical gospels

Of the many gospels written in antiquity, only four gospels came to be accepted as part of the New Testament, or canonical. An insistence upon there being a canon of four gospels, and no others, was a central theme of Irenaeus of Lyons, c. 185. In his central work, ''Adversus Haereses'' Irenaeus denounced various early Christian groups that used only one gospel, such as Marcionism which used only Marcion's version of Luke, or the Ebionites which seem to have used an Aramaic version of Matthew as well as groups that embraced the texts of newer revelations, such as the Valentinians (''A.H.'' 1.11). Irenaeus declared that the four he espoused were the four "Pillars of the Church": "it is not possible that there can be either more or fewer than four" he stated, presenting as logic the analogy of the four corners of the earth and the four winds (3.11.8). His image, taken from ''Ezekiel'' 1, or Revelation 4:6-10, of God's throne borne by four creatures with four faces—"the four had the face of a man, and the face of a lion, on the right side: and the four had the face of an ox on the left side; they four also had the face of an eagle"—equivalent to the "four-formed" gospel, is the origin of the conventional symbols of the Evangelists: lion, bull, eagle, man. Irenaeus was ultimately successful in declaring that the four gospels collectively, and exclusively these four, contained the truth. By reading each gospel in light of the others, Irenaeus made of ''John'' a lens through which to read ''Matthew'', ''Mark'' and ''Luke''.

By the turn of the 5th century, the Catholic Church in the west, under Pope Innocent I, recognized a biblical canon including the four gospels of Matthew, Mark, Luke, and John, which had been previously established at a number of regional Synods, namely the Council of Rome (382), the Synod of Hippo (393), and two Synods of Carthage (397 and 419). This canon, which corresponds to the modern Catholic canon, was used in the Vulgate, an early 5th century translation of the Bible made by Jerome under the commission of Pope Damasus I in 382.

Gospel according to Matthew

Gospel according to Mark

Gospel according to Luke

Gospel according to John

There was also another order, the "western order of the Gospels", so called because it is typical for the manuscripts which are usually a representative of the Western text-type.

Gospel according to Matthew

Gospel according to John

Gospel according to Luke

Gospel according to Mark

This order is found in the following manuscripts: Bezae, Monacensis, Washingtonianus, Tischendorfianus IV, Uncial 0234.

Medieval copies of the four canonical gospels are known as Gospel Books or also simply as Gospels (in Greek as ''Tetraevangelia''). Notable examples include the Lindisfarne Gospels (''c'' 700), the Barberini Gospels, Lichfield Gospels and the Vienna Coronation Gospels (8th century), the Book of Kells and the Ada Gospels (c. 800) or the Ebbo Gospels (9th century).

Origin of the canonical gospels

The majority view today is that Mark is the first Gospel, with Matthew and Luke borrowing passages both from that Gospel and from at least one other common source, lost to history, termed by scholars 'Q' (from , meaning "source"). This view is known as the "two-source hypothesis". The two-gospel hypothesis, in contrast, says that Matthew was written first (by Matthew the Apostle), and then Luke the Evangelist wrote his gospel (using Matthew as his main source) before Mark the Evangelist wrote his gospel (using Peter's testimony). John was written last and shares little with the synoptic gospels.

The gospels were apparently composed in stages. Mark's traditional ending (Mark 16:9-20, see Mark 16) was most likely composed early in the 2nd century and appended to Mark in the middle of that century. The birth and infancy narratives apparently developed late in the tradition. Luke and Matthew may have originally appeared without their first two chapters.

The consensus among biblical scholars is that all four canonical gospels were originally written in Greek, the lingua franca of the Roman Orient.

Dating

Estimates for the dates when the canonical gospel accounts were written vary significantly; and the evidence for any of the dates is scanty. Because the earliest surviving complete copies of the gospels date to the 4th century and because only fragments and quotations exist before that, scholars use higher criticism to propose likely ranges of dates for the original gospel autographs. Scholars variously assess the majority (though not the consensus ) view as follows:

Mark: c. 68–73, ''c'' 65-70 Matthew: c. 70–100. ''c'' 80-85. Luke: c. 80–100, with most arguing for somewhere around 85, ''c'' 80-85 John: ''c'' 90-100, c. 90–110, The majority view is that it was written in stages, so there was no one date of composition.

Traditional Christian scholarship has generally preferred to assign earlier dates. Some historians interpret the end of the book of Acts as indicative, or at least suggestive, of its date; as Acts does not mention the death of Paul, generally accepted as the author of many of the Epistles, who was later put to death by the Romans c. 65. Acts is attributed to the author of the Gospel of Luke, which is believed to have been written before Acts, and therefore would shift the chronology of authorship back, putting Mark as early as the mid 50s. Here are the dates given in the modern NIV Study Bible (''for a fuller discussion see Augustinian hypothesis''):

Matthew: c. 50 to 70s

Mark: c. 50s to early 60s, or late 60s

Luke: c. 59 to 63, or 70s to 80s

John: c. 85 to near 100, or 50s to 70

Such early dates are not limited to conservative scholars. In ''Redating the New Testament'' John A. T. Robinson, a prominent liberal theologian and bishop, makes a case for composition dates before the fall of Jerusalem.

Location

Matthew was probably written in Syria, perhaps in Antioch, an ancient Christian center. Mark has traditionally been associated with Peter's preaching in Rome, and it is well-suited to a Roman audience. Various cities have been proposed for the origin of Luke, but there is no consensus on the matter. Ephesus, in Western Anatolia, is a popular scholarly choice for the place of origin for the Gospel of John.

Following Raymond Brown's postulation of a Johannine community having been responsible for John's gospel and letters, other scholars have identified localized communities behind each of the other gospels and Q. This assumes the relative isolation of early Christian communities in which distinctive traditions concerning Jesus thrived. Other scholars have questioned this hypothesis and have stressed the constant communication between early Christian communities.

Oral tradition

The oral traditions that the evangelists drew on were transmitted by word of mouth for decades. This oral tradition consisted of several distinct components. Parables and aphorisms are the "bedrock of the tradition." Pronouncement stories, scenes that culminate with a saying of Jesus, are more plausible historically than other kinds of stories about Jesus. Other sorts of stories include controversy stories, in which Jesus is in conflict with religious authorities; miracles stories, including healings, exorcisms, and nature wonders; call and commissioning stories; and legends.

One of the most important concerns in accurately accounting for the oral Jesus tradition is the model of transmission used. Form criticism (''Formgeschichte'') was developed primarily by the German scholars Karl Ludwig Schmidt, Martin Dibelius, and Rudolf Bultmann. The oral model developed by the form critics drew heavily on contemporary theory of folkloric transmission of oral material, and partly as a result of this form criticism posited that the Jesus tradition was transmitted informally, added to freely, and was uncontrolled. However, "Today it is no exaggeration to claim that a whole spectrum of main assumptions underlying Bultmann's ''Synoptic Tradition'' must be considered suspect. " A number of other models have been proposed which posit greater control over the tradition, to varying degrees. For example, largely in response to form critical scholarship, Professor Birger Gerhardsson examined oral transmission in early rabbinic circles, and proposed that a more controlled and formal model of orality would more accurately reflect the transmission of the Jesus tradition in early Christian circles, and therefore that the oral traditions present in the gospels have been fairly reliably and faithfully transmitted. Professor Kenneth Bailey, after spending a great deal of time in remote and illiterate villages in the Middle East, used his experience with orality in such places to formulate a similar model of controlled transmission within the early Christian communities, but posited an informal mechanism of control. Controlled models of the Jesus tradition, and with them an evaluation of the gospels as possessing greater historical reliability, have been accepted by several scholars in recent years. However Thomas R. Yoder Neufeld adds that the early followers of Jesus were not interested in simply preserving the past but were also interested in fitting the narratives to suit urgent information, audience interest and creativity in communication and believed that they were in direct communication with Jesus though the Holy Spirit, thus making it still difficult for historians to assess the historical reliability of the oral tradition. With regards to Bailey's studies, Maurice Casey writes that they cannot be applied to first century Jews as they were about a different culture at a different time.

Content of the gospels

The four gospels present different narratives, reflecting different intents on the parts of their authors.

All four gospels portray Jesus as leading a group of disciples, performing miracles, preaching in Jerusalem, being crucified, and rising from the dead.

The synoptic gospels represent Jesus as an exorcist and healer who preached in parables about the coming Kingdom of God. He preached first in Galilee and later in Jerusalem, where he cleansed the temple. He states that he offers no sign as proof (Mark) or only the sign of Jonah (Matthew and Luke). In Mark, apparently written with a Roman audience in mind, Jesus is a heroic man of action, given to powerful emotions, including agony. In Matthew, apparently written for a Jewish audience, Jesus is repeatedly called out as the fulfillment of Hebrew prophecy. In Luke, apparently written for gentiles, Jesus is especially concerned with the poor. Luke emphasizes the importance of prayer and the action of the Holy Spirit in Jesus' life and in the Christian community. Jesus appears as a stoic supernatural being, unmoved even by his own crucifixion. Like Matthew, Luke insists that salvation offered by Christ is for all, and not the Jews only.

The Gospel of John represents Jesus as an incarnation of the eternal Word (Logos), who spoke no parables, talked extensively about himself, and did not explicitly refer to a Second Coming. Jesus preaches in Jerusalem, launching his ministry with the cleansing of the temple. He performs several miracles as signs, most of them not found in the synoptics. The Gospel of John ends:(21:25) ''"And there are also many other things which Jesus did, the which, if they should be written every one, I suppose that even the world itself could not contain the books that should be written. Amen."''

Gospel Genre

One important aspect of the study of the gospels is the genre under which they fall. Genre "is a key convention guiding both the composition and the interpretation of writings. " Whether the Gospel authors set out to write novels, myths, histories, or biographies has a tremendous impact on how they ought to be interpreted. If, for example, Rudolf Bultmann was correct, and the Gospel authors had no interest in history or in a historical Jesus, Although not without critics, the position that the Gospels are a type of ancient biography is the consensus among scholars today.

Non-canonical gospels

In addition to the four canonical gospels, early Christians wrote other gospels that were not accepted into the canon, some of which are discussed below.

Jewish-Christian Gospels

Epiphanius, Jerome and other early church fathers preserve in their writings citations from one or more Jewish-Christian Gospels, versions of Matthew used by Ebionites and Nazarenes. Most modern critical scholars consider that the extant citations suggest at least two and probably three distinct Jewish-Christian versions of Matthew, and that the source language of these is probably Greek. A minority of scholars, including Edward Nicholson (1879) and James R. Edwards (2009) have suggested that the surviving citations are all from one Gospel, which is, as Jerome himself records that the Nazarenes claimed, the original, and Hebrew, Gospel of Matthew.

According to Eusebius, Origen said the first Gospel was written by Matthew (''Church History'' 6.25.4). Jerome reports that the Nazarenes believed that this Gospel was composed in Hebrew near Jerusalem for Hebrew Christians and Jerome claimed to have translated parts of it into Greek, but if so any the Greek translation has not survived. Jerome reports that the Nazarenes' Hebrew original was kept at the Library of Caesarea and that the Nazarene Community transcribed a copy for him which he used in his work (''On Illustrious Men'' 3:7) Jerome refers to this gospel sometimes as the ''Gospel according to the Hebrews'' (3.7) and sometimes as the ''Gospel of the Apostles'' (''Against Pelagius'' 3.2).

Gospel of Thomas

The gospel attributed to Thomas is mostly wisdom without narrating Jesus's life. A few scholars argue that its first edition was written ''c'' 50-60, but that the surviving edition was written in the first half of the second century. This would mean that its first edition was contemporary with the earliest letters of Paul the Apostle. The Oxford Dictionary of the Christian Church says that the original may date from ''c.'' 150. It may represent a tradition independent from the canonical gospels, but that developed over a long time and was influenced by Matthew and Luke. It had been lost but was discovered, in a Coptic version dating from ''c.'' 350, at Nag Hammadi in 1945-6, and three papyri, dated to ''c.'' 200, which contain fragments of a Greek text similar to but not identical with that in the Coptic language, have also been found. It seems to be largely legendary, hostile toward Jews, and including docetic elements. It had been lost but was rediscovered in the 19th century.

Gospel of Judas

The Gospel of Judas is another controversial and ancient text that purports to tell the story of the gospel from the perspective of Judas, the disciple who is usually said to have betrayed Jesus in most versions of the Bible. It paints an unusual picture of the relationship between Jesus and Judas, in that appears to interpret Judas's act not as betrayal, but rather as an act of obedience to the instructions of Jesus. The text was recovered from a cave in Egypt by a thief and thereafter sold on the black market until it was finally discovered by a collector who, with the help of academics from Yale and Princeton, was able to verify its authenticity. The document itself does not claim to have been authored by Judas (it is, rather, a Gospel about Judas), and dates no earlier than the 2nd century.

The Sayings Collection 'Q'

According to scholars proposing the existence of a hypothetical sayings-source, a ''Redensquelle'', 'Q' (following the terminology of Johannes Weiss) at some time there existed a document comprised mostly sayings of Jesus with little narrative. It is presumed the source for many of Jesus' sayings in Matthew and Luke, and accordingly must have preceded these gospels. It is believed that the earliest form of the sayings were written circa 50-60. However Mark Goodacre and other scholars have questioned the existence of a Q document.

Infancy gospels

A genre of "Infancy gospels" (Greek: ''protoevangelion'') arose in the 2nd century, such as the ''Gospel of James'', which introduces the concept of the Perpetual Virginity of Mary, and the ''Infancy Gospel of Thomas'' (not to be confused with the absolutely different sayings ''Gospel of Thomas''), both of which related many miraculous incidents from the life of Mary and the childhood of Jesus that are not included in the canonical gospels.

Harmonies

Another genre is that of gospel harmonies, in which the four canonical gospels were selectively recast as a single narrative to present a consistent text. Very few fragments of harmonies have survived. The ''Diatessaron'' was such a harmonization, compiled by Tatian around 175. It was popular for at least two centuries in Syria, but eventually it fell into disuse. More recently, in 2006, UOG Press published ''ONE'' as a modern gospel harmony of the four Canonical Gospels; ''ONE'' contains a 2,992 numbering reference system which tracks the textual harmonization process to the extant works for analysis and citation.

Marcion's Gospel of Luke

Marcion of Sinope, c. 150, had a version of the gospel of Luke which differed substantially from that which has now become the standard text. Marcion's version was far less Jewish than the now canonical text, and his critics alleged that he had edited out the portions he didn't like from the canonical version, though Marcion argued that his text was the more genuinely original one. Marcion also rejected all the other gospels, including Matthew, Mark and especially John, which he alleged had been forged by Irenaeus.

See also

List of Gospels

Toledoth Yeshu - an anti-gospel

Agrapha are the collection of religious sayings attributed to Jesus Christ that are not found in the canonical gospels.

Godspell is a musical based on the gospels of Jesus Christ. The word "Gódspell" is Anglo Saxon (ca 1000 AD) for Gospel.

Good news (Christianity) concerning the content of the Bible's message about Jesus Christ

Gospel harmony

Gospel (liturgy)

Gilyonim

Injil

Four evangelists

Bodmer Papyri

Acts of the Apostles (genre)

Apocalyptic literature

Christianity

Evangelism

Bible

Theology

Jesusism

References

Further references

McGrath, A. 2001. ''In the Beginning the Story of the King James Bible and how it changed a Nation, a Language and a Culture.'' Hodder & Stoughton. ISBN 0 340 78585 3.

External links

BibleGateway.com has the text of the New Testament gospels in various translations and versions

A detailed discussion of the textual variants in the gospels — covering about 1200 variants on 2000 pages.

Greek New Testament — the Greek text of the New Testament: specifically the Westcott-Hort text from 1881, combined with the NA26/27 variants.

Introduction to ''The Complete Gospels'' — an excerpt and information about this compilation of canonical and non-canonical gospels in translation.

Tessarôn Euaggeliôn Sumphônia - The Greek harmony of the Gospels

Quattuor Evangeliorum Consonantia - The Latin harmony of the Gospels (1)

Quattuor Evangeliorum Consonantia - The Latin harmony of the Gospels (2)

The Case against Q collects resources for considering the Q hypothesis and evidence that Luke used Matthew

Parallel Gospels in Harmony Online version of the public domain book ''Parallel Gospels in Harmony — with Study Guide''

Synoptic Parallels A web tool for finding corresponding passages in the Gospels

Category:Doctrines and teachings of Jesus Category:Christian genres Category:Canonical Gospels Category:Christian terms

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Coordinates	42°56′14″N114°42′49″N
birth name	Whitney Elizabeth Houston
background	solo_singer
born	August 09, 1963Newark, New Jersey, U.S.
origin	East Orange, New Jersey
instrument	Vocals, piano
genre	R&B;, pop, dance, soul, gospel
occupation	Singer, actress, model, film producer, record producer, songwriter
years active	1977–present
label	Arista/Sony Music
associated acts	Cissy Houston, Dionne Warwick, Aretha Franklin, Stevie Wonder, Bobby Brown, Kim Burrell, CeCe Winans, Mariah Carey, Luther Vandross, Jermaine Jackson
website	}}

Whitney Elizabeth Houston (born August 9, 1963) is an American R&B;/pop singer, actress, and former fashion model. Houston is the most awarded female act of all time, according to Guinness World Records, and her list of awards include 2 Emmy Awards, 6 Grammy Awards, 30 Billboard Music Awards, 22 American Music Awards, among a total of 415 career awards as of 2010. Houston is also one of the world's best-selling music artists, having sold over 170 million albums and singles worldwide on relatively few releases.

Inspired by several prominent soul singers in her extended family, including mother Cissy Houston and cousins Dionne Warwick and Dee Dee Warwick, as well as her godmother, Aretha Franklin, Houston began singing with New Jersey church's junior gospel choir at age 11. After she began performing alongside her mother in night clubs in the New York City area, she was discovered by Arista Records label head Clive Davis. As of 2011, Houston has released seven studio albums and three movie soundtrack albums, all of which have diamond, multi-platinum, platinum, or gold certification.

Houston's 1985 debut album, ''Whitney Houston'', became the best-selling debut album by a female act at the time of its release. Her second studio album, ''Whitney'' (1987), became the first album by a female artist to debut at number one on the ''Billboard'' 200 albums chart. Houston's crossover appeal on the popular music charts as well as her prominence on MTV, starting with her video for "How Will I Know", enabled several African-American female artists to follow in her success.

Houston's first acting role was as the star of the feature film ''The Bodyguard'' (1992). The movie's original soundtrack won the 1994 Grammy Award for Album of the Year. Its lead single, "I Will Always Love You", became the best-selling single by a female artist in music history. The album makes her the only female act ranked in the list of the top-10 best-selling albums, at number four. Houston continued to star in movies and contribute to soundtracks, including with the films ''Waiting to Exhale'' (1995) and ''The Preacher's Wife'' (1996). Three years after the release of her fourth studio album, ''My Love Is Your Love'' (1998), she renewed her recording contract with Arista Records. She released her fifth studio album, ''Just Whitney'', in 2002, and the Christmas-themed ''One Wish: The Holiday Album'' in 2003. Amid widespread media coverage of personal and professional turmoil, Houston ended her 14-year marriage to singer Bobby Brown in 2006. In 2009, Houston released her seventh studio album, ''I Look To You''.

Biography

1963–76: Early life

Whitney Houston was born in what was then a middle-income neighbourhood of Newark, New Jersey, the third and youngest child of John and gospel singer Cissy Houston. She is mostly African-American, with some Native-American and Dutch ancestry. Her mother, along with cousins Dionne Warwick and the late Dee Dee Warwick and godmother Aretha Franklin were all notable figures in the gospel, rhythm and blues, pop, and soul genres. Houston was raised a Baptist, but was also exposed to the Pentecostal church. After the 1967 Newark riots, the family moved to a middle class area in East Orange, New Jersey when she was four.

At the age of eleven, Houston began to follow in her mother's footsteps and started performing as a soloist in the junior gospel choir at the New Hope Baptist Church in Newark, where she also learned to play the piano. Her first solo performance in the church was "Guide Me, O Thou Great Jehovah".

When Houston was a teenager, she attended a Catholic girls high school, Mount Saint Dominic Academy, where she met her best friend Robyn Crawford, whom she describes as the "sister she never had." While Houston was still in school, her mother continued to teach her how to sing. In addition to her mother, Franklin, and Warwick, Houston was also exposed to the music of Chaka Khan, Gladys Knight, and Roberta Flack, most of whom would have an impact on her as a singer and performer.

1977–84: Early career

Houston spent some of her teenage years touring nightclubs where her mother Cissy was performing, and she would occasionally get on stage and perform with her. In 1977, at age 14, she was a backup singer on the Michael Zager Band's single "Life's a Party". Zager subsequently offered to obtain a recording contract for the young singer, but Cissy declined, wanting her young daughter to finish school first. Then in 1978, at age 15, Houston sang background vocals on Chaka Khan's hit single "I'm Every Woman", a song she would later turn into a larger hit for herself on her monster-selling ''The Bodyguard'' soundtrack album. She also sang back-up on albums by Lou Rawls and Jermaine Jackson. In the early 1980s, Houston started working as a fashion model after a photographer saw her at Carnegie Hall singing with her mother. She appeared as a lead vocalist on a Paul Jabara album, entitled ''Paul Jabara and Friends'', released by Columbia Records in 1983. She appeared in ''Seventeen'' and became one of the first women of color to grace the cover of the magazine. She was also featured in layouts in the pages ''Glamour'', ''Cosmopolitan'', ''Young Miss'' and appeared in a Canada Dry soft drink TV commercial. Her striking looks and girl-next-door charm made her one of the most sought after teen models of that time. While modeling, she continued her burgeoning recording career by working with producers Ben Dover, Bill Laswell and Martin Bisi on an album they were spearheading called ''One Down'', which was credited to the group Material. For that project, Houston contributed the ballad "Memories". Robert Christgau of ''The Village Voice'' called her contribution "one of the most gorgeous ballads you've ever heard."

Houston had previously been offered several recording agencies (Michael Zager in 1980 and Elektra Records in 1981). In 1983, Gerry Griffith, an A&R; representative from Arista Records saw her performing with her mother in a New York City nightclub and was impressed. He convinced Arista's head Clive Davis to make time to see Houston perform. Davis too was impressed and offered a worldwide recording contract which Houston signed. Later that year, she made her national televised debut alongside Davis on ''The Merv Griffin Show''.

Houston signed with Arista in 1983 but did not begin work on her album immediately. The label wanted to make sure no other label signed the singer away. Davis wanted to ensure he had the right material and producers for Houston's debut album. Some producers had to pass on the project due to prior commitments. Houston first recorded a duet with Teddy Pendergrass entitled "Hold Me" which appeared on his album, ''Love Language''. The single was released in 1984 and gave Houston her first taste of success, becoming a Top 5 R&B; hit. It would also appear on her debut album in 1985.

1985–86: Rise to prominence

With production from Michael Masser, Kashif, Jermaine Jackson and Narada Michael Walden, Houston's self-titled debut album was released in February 1985. ''Rolling Stone'' magazine praised the new talent, calling her "one of the most exciting new voices in years" while ''The New York Times'' called the album "an impressive, musically conservative showcase for an exceptional vocal talent." The first single, the dance-funk "Someone For Me", failed to chart in the US and UK. The next single, "Thinking About You", reached the top ten of the US R&B; Chart, as the album sold modestly. The release of the next single, the soulful ballad "You Give Good Love", peaked at #3 on the U.S. Billboard Hot 100, and went to #1 on the R&B; Charts. As a result, the album began to sell strongly, and Houston continued promoting the album by touring nightclubs in the US. She also began performing on late-night television talk shows, which was not usually accessible to black acts. The jazzy ballad "Saving All My Love for You" was released next and it would become Houston's first #1 hit single in both the US and the UK. She was now an opening act for singer Jeffrey Osborne on his nationwide tour. At the time, MTV had received harsh criticism for not playing enough videos by African-American artists while favoring rock acts. The next single, "How Will I Know", peaked at #1 and introduced Houston to the MTV audience thanks to its video. This would make the singer the second African-American female artist to receive heavy rotation on the network(Donna Summer was the first with "She Works Hard For The Money"). By 1986, a year after its initial release, ''Whitney Houston'' topped the Billboard 200 album chart and stayed there for 14 non-consecutive weeks. The final single, "Greatest Love of All", became Houston's biggest hit at the time after peaking #1 and remaining there for three weeks. At the time, Houston released the best-selling debut album by a female artist. Houston then embarked on her world tour, ''Greatest Love Tour''. The album had become an international success, and was certified 13x Platinum (diamond) in the United States alone, and has sold a total of 25 million copies worldwide.

At the 1986 Grammy Awards, Houston was nominated for three awards including ''Album of the Year''. She was ineligible for the ''Best New Artist'' category due to her previous duet recording with Teddy Pendergrass in 1984. She won her first Grammy award for 'Best Pop Vocal Performance, Female' for "Saving All My Love for You". At the same award show, she performed that Grammy-winning hit; that performance later winning her an Emmy Award for Outstanding Individual Performance in a Variety or Music Program. Houston won seven American Music Awards in total in 1986 and 1987, and an MTV Video Music Award. The album's popularity would also carry over to the 1987 Grammy Awards when "Greatest Love of All" would receive a ''Record of the Year'' nomination. Houston's debut album is currently listed as one of ''Rolling Stone's'' 500 Greatest Albums of All Time and on The Rock & Roll Hall Of Fame's Definitive 200 list. Whitney Houston's grand entrance into the music industry is considered one of the 25 musical milestones of the last 25 years, according to ''USA Today''. Following Houston's breakthrough, doors were opened for other African-American female artists such as Janet Jackson and Anita Baker to find notable success in popular music and on MTV.

1987–91: ''Whitney'', ''I'm Your Baby Tonight'' and "The Star Spangled Banner"

Houston’s second album, ''Whitney'', was released in June 1987. The album again featured production from Masser, Kashif and Walden as well as Jellybean Benitez. Many critics complained that the material was too similar to her previous album. ''Rolling Stone'' said, "the narrow channel through which this talent has been directed is frustrating." Still, the album enjoyed commercial success. Houston became the first female artist in music history to debut at number one on the US and UK album chart while also hitting number one or top ten in dozens of other countries around the world. The album's first four singles, "I Wanna Dance With Somebody (Who Loves Me)," "Didn't We Almost Have It All," "So Emotional," and "Where Do Broken Hearts Go" all peaked at number one on the US Hot 100, which gave her a total of seven consecutive number one hits, breaking the record of six previously shared by The Beatles and The Bee Gees. ''Whitney'' has been certified 9× Platinum in the US for shipments of over 9 million copies, and has sold a total of 20 million copies worldwide.

At the Grammy Awards in 1988, Houston was nominated for three awards, including ''Album of the Year'', winning her second Grammy for ''Best Female Pop Vocal Performance'' for "I Wanna Dance With Somebody (Who Loves Me)". Houston also won two American Music Awards in 1988 and 1989 respectively. Following the release of the album, Houston embarked on the ''Moment of Truth World Tour'' which was one of the ten highest grossing concert tours of 1987. The success of the tour and her albums ranked Houston #8 for the highest earning entertainers list according to ''Forbes Magazine''. She was the highest earning African-American woman and the third highest entertainer after Bill Cosby and Eddie Murphy. The list included her concert grosses during 1986 and 1987.

Houston was a supporter of Nelson Mandela and the anti-apartheid movement. During her modeling days, the singer refused to work with any agencies who did business with the then-apartheid South Africa. In June 1988, during the European leg of her tour, Houston joined other musicians to perform a set at Wembley Stadium in London to celebrate a then-imprisoned Nelson Mandela's 70th birthday. Over 72,000 people attended Wembley Stadium, and over a billion people tuned in worldwide as the rock concert raised over $1 million for charities while bringing awareness to apartheid. Houston then flew back to the US for a concert at Madison Square Garden in New York City in August. The show was a benefit concert that raised a quarter of a million dollars for the United Negro College Fund. In the same year, she recorded a song for NBC's coverage of the 1988 Summer Olympics, "One Moment in Time", which became a Top 5 hit in the US, while reaching number one in the UK and Germany. With her current world tour continuing overseas, Houston was still one of the top 20 highest earning entertainers for 1987–1988 according to ''Forbes'' magazine.

In 1989, Houston formed The Whitney Houston Foundation For Children, a non-profit organization that has raised funds for the needs of children around the world. The organization cares for homelessness, children with cancer or AIDS, and other issues of self-empowerment. With the success of her first two albums, Houston was undoubtedly an international crossover superstar, the most prominent since Michael Jackson, appealing to all demographics. However, some black critics believed she was "selling out". They felt her singing on record lacked the soul that was present during her live concerts. At the 1989 Soul Train Music Awards, when Houston's name was called out for a nomination, a few in the audience jeered. Houston defended herself against the criticism, stating, "If you're gonna have a long career, there's a certain way to do it, and I did it that way. I'm not ashamed of it." Houston took a more urban direction with her third studio album, ''I'm Your Baby Tonight'', released in November 1990. She produced and chose producers for this album and as a result, it featured production and collaborations with L.A. Reid and Babyface, Luther Vandross, and Stevie Wonder. The album showed Houston's versatility on a new batch of tough rhythmic grooves, soulful ballads and up-tempo dance tracks. Reviews were mixed. ''Rolling Stone'' felt it was her "best and most integrated album". while ''Entertainment Weekly'', at the time thought Houston's shift towards an urban direction was "superficial". The album peaked at number three on the Billboard 200 and went on to be certified four times platinum in America while selling twelve million total worldwide. Two of the singles released from the album reached number one in the US.

With America at war, Houston performed "The Star Spangled Banner" at Super Bowl XXV in January 1991. VH1 listed the performance as the 12th greatest moment that rocked TV. Her recording of the song was released as a commercial single, and reached the Top 20 on the US Hot 100, making her the only act to turn the national anthem into a pop hit of that magnitude (Jose Feliciano's version reached #50 in November 1968). Houston donated all her share of the proceeds to the Red Cross. As a result, the singer was named to the Red Cross Board of Governors. Later that year, Houston put together her ''Welcome Home Heroes'' concert with HBO for the soldiers fighting in the Gulf War and their families. The free concert took place at Naval Station Norfolk in Norfolk, Virginia in front of 3,500 servicemen and women. HBO descrambled the concert so that it was free for everyone to watch. Houston's concert gave HBO its highest ratings ever. She then embarked on the I'm Your Baby Tonight World Tour.

1992–94: Marriage to Bobby Brown and ''The Bodyguard''

Throughout the 1980s, Houston was romantically linked to American football star Randall Cunningham and actor Eddie Murphy, whom she dated. She then met R&B; singer Bobby Brown at the 1989 Soul Train Music Awards. After a three year courtship, the two were married on July 18, 1992. Nearly a year later, Houston gave birth to their daughter Bobbi Kristina Houston Brown, her first and only child, his fourth. Brown would go on to have several run-ins with the law, including some jail time.

With the commercial success of her albums, movie offers poured in, including offers to work with Robert De Niro, Quincy Jones, and Spike Lee; but Houston felt the time wasn't right. Houston’s first film role was in ''The Bodyguard'', released in 1992 and co-starring Kevin Costner. Houston played Rachel Marron, a star who is stalked by a crazed fan and hires a bodyguard to protect her. ''USA Today'' listed it as one of the 25 most memorable movie moments of the last 25 years. The movie is also notable for not mentioning or needing to explain its interracial aspect. Houston's mainstream appeal allowed people to look at the movie color-blind. Still, controversy arose as some felt the film's ads intentionally hid Houston's face to hide the film's interracial aspect. In an interview with ''Rolling Stone Magazine'' in 1993, the singer commented that "people know who Whitney Houston is—I'm black. You can't hide that fact." Houston received a Razzie Award nomination for Worst Actress. ''The Washington Post'' said Houston is "doing nothing more than playing Houston, comes out largely unscathed if that is possible in so cockamamie an undertaking", and ''The New York Times'' said she lacked passion with her co-star. Despite the film's mixed reviews, it was hugely successful at the box office, grossing more than $121 million in the U.S. and $410 million worldwide, making it one of the top 100 grossing films in film history at its time of release, though it is no longer in the top 100.

The film's soundtrack also enjoyed success. Houston executive produced and contributed six songs for the motion picture's adjoining soundtrack album. ''Rolling Stone'' said it is "nothing more than pleasant, tasteful and urbane". The soundtrack's lead single was "I Will Always Love You", written and originally recorded by Dolly Parton in 1974. The single peaked at number one on the ''Billboard'' Hot 100 for a then-record-breaking 14 weeks, number one on the R&B; chart for a then-record-breaking 11 weeks, and number one on the Adult Contemporary charts for five weeks, thus becoming the first single to top those three charts simultaneously for five weeks. The song also hit number-one in many other countries. The soundtrack debuted at #1 and remained there for twenty non-consecutive weeks and became one of the fastest selling albums ever. At one point the soundtrack sold over a million copies within a week, becoming the first album to do so. With the follow-up singles "I'm Every Woman", a Chaka Khan cover, and "I Have Nothing" both peaking in the top five, Houston became the first female artist to ever have three singles in the Top 20 simultaneously. The album was certified 17× platinum in the United States with worldwide sales of 42 million, making ''The Bodyguard'' the only album by a female act on the list of the world's Top 10 best-selling albums. Houston won three Grammys for the album, including two of the Academy's highest honors, Album of the Year and Record of the Year. In addition, she won eight American Music Awards at that year's ceremony, including the Award of Merit, and a BRIT award. Following the success of the project, Houston embarked on another expansive global tour in 1993 and 1994. Her concerts, movie, and recording grosses made her the third highest earning female entertainer of 1993–1994, just behind Oprah Winfrey and Barbra Streisand according to ''Forbes Magazine''. Houston placed in the top five of ''Entertainment Weekly's'' annual "Entertainer of the Year" ranking and was labeled by ''Premier Magazine'' as one of the 100 most powerful people in Hollywood.

In October 1994, Houston attended and performed at a state dinner in the White House honoring newly elected South African president Nelson Mandela. At the end of her world tour, Houston performed three concerts in South Africa to honor President Mandela, playing to over 200,000 people. This would make the singer the first major musician to visit the newly unified and apartheid free nation following Mandela's winning election. The concert was broadcast live on HBO with funds of the concerts being donated to various charities in South Africa. The event was considered the nation's "biggest media event since the inauguration of Nelson Mandela."

1995–97: ''Waiting to Exhale'', ''The Preacher's Wife'' and ''Cinderella''

In 1995, Houston starred alongside Angela Bassett, Loretta Devine, and Lela Rochon in her second film ''Waiting to Exhale'', a motion picture about four African-American women struggling with relationships. Houston plays the lead character Savannah Jackson, a TV producer in love with a married man. She chose the role because she saw the film as "a breakthrough for the image of black women because it presents them both as professionals and as caring mothers". After opening at number one and grossing $67 million in the US at the box office and $81 million worldwide, it proved that a movie primarily targeting a black audience can cross over to success, while paving the way for other all-black movies such as ''How Stella Got Her Groove Back'' and the Tyler Perry movies that have become popular in the 2000s. The film is also notable for its portrayal of black women as strong middle class citizens as opposed to stereotypes. The reviews were mainly positive for the ensemble cast. ''The New York Times'' said "Ms. Houston has shed the defensive hauteur that made her portrayal of a pop star in 'The Bodyguard' seem so distant." Houston was nominated for an NAACP Image Award for "Outstanding Actress In A Motion Picture," but lost to her co-star Bassett.

The film's accompanying soundtrack, ''Waiting to Exhale: Original Soundtrack Album'', was produced by Houston and Babyface. Though Babyface originally wanted Houston to record the entire album, she declined. Instead, she "wanted it to be an album of women with vocal distinction", and thus gathered several African-American female artists for the soundtrack, to go along with the film's strong women message. As a result, the album featured a range of contemporary R&B; female recording artists along with Houston, such as Mary J Blige, Aretha Franklin, Toni Braxton, Patti Labelle, and Brandy. Houston's "Exhale (Shoop Shoop)" peaked at #1, and then spent a record eleven weeks at the #2 spot and eight weeks on top of the R&B; Charts. "Count On Me", a duet with CeCe Winans, hit the US Top 10; and Houston's third contribution, "Why Does It Hurt So Bad", made the Top 30. The album debuted at #1, and was certified 7× Platinum in the United States, denoting shipments of seven million copies. The soundtrack received strong reviews as ''Entertainment Weekly'' said "the album goes down easy, just as you'd expect from a package framed by Whitney Houston tracks.... the soundtrack waits to exhale, hovering in sensuous suspense" and has since ranked it as one of the 100 Best Movie Soundtracks. ''Newsday'' called it "the most significant R&B; record of the decade." Later that year, Houston's children's charity organization was awarded a VH1 Honor for all the charitable work

In 1996, Houston starred in the holiday comedy ''The Preacher's Wife'', with Denzel Washington. She plays a gospel-singing wife of a pastor (Courtney B. Vance). Houston earned $10 million for the role, making her one of the highest paid actress in Hollywood at the time and the highest earning African American actress in Hollywood. The movie, with its all African-American cast, was a moderate success, earning approximately $50 million at the U.S. box offices. The movie gave Houston her strongest reviews so far. ''The San Francisco Chronicle'' said Houston "is rather angelic herself, displaying a divine talent for being virtuous and flirtatious at the same time" and that she "exudes gentle yet spirited warmth, especially when praising the Lord in her gorgeous singing voice." Houston was again nominated for an NAACP Image Award and won for Outstanding Actress In A Motion Picture.

Houston recorded and co-produced, with Mervyn Warren, the film's accompanying gospel soundtrack. ''The Preacher's Wife: Original Soundtrack Album'' included six gospel songs with Georgia Mass Choir that were recorded at the Great Star Rising Baptist Church in Atlanta. Houston also duetted with gospel legend Shirley Caesar. The album sold six million copies worldwide and scored hit singles with "I Believe in You and Me" and "Step by Step", becoming the largest selling gospel album of all time. The album received mainly positive reviews. Some critics, such as that of ''USA Today'', noted the presence of her emotional depth, while ''The UK Times'' said "To hear Houston going at full throttle with the 35 piece Georgia Mass Choir struggling to keep up is to realise what her phenomenal voice was made for."

In 1997, Houston's production company changed its name to BrownHouse Productions and was joined by Debra Martin Chase. Their goal was "to show aspects of the lives of African-Americans that have not been brought to the screen before" while improving how African-Americans are portrayed in film and television. Their first project was a made-for-television remake of Rodgers & Hammerstein's ''Cinderella''. In addition to co-producing, Houston starred in the movie as the Fairy Godmother along with Brandy, Jason Alexander, Whoopi Goldberg, and Bernadette Peters. Houston was initially offered the role of Cinderella in 1993, but other projects intervened. The film is notable for its multi-racial cast and nonstereotypical message. An estimated 60 million viewers tuned into the special giving ABC its highest TV ratings in 16 years. The movie received seven Emmy nominations including Outstanding Variety, Musical or Comedy, while winning Outstanding Art Direction in a Variety, Musical or Comedy Special.

Houston and Chase then obtained the rights to the story of Dorothy Dandridge. Houston was to play Dandridge, who was the first African American actress to be nominated for an Oscar. She wanted the story told with dignity and honor. However, Halle Berry also had rights to the project and she got her version going first. Later that year, Houston paid tribute to her idols such as Aretha Franklin, Diana Ross, and Dionne Warwick by performing their hits during the three-night HBO Concert ''Classic Whitney'', live from Washington, D.C. The special raised over $300,000 for the Children's Defense Fund.

1998–2000: ''My Love Is Your Love'' and ''Whitney: The Greatest Hits''

After spending much of the early and mid 1990s working on motion pictures and their adjacent soundtrack albums, Houston's first studio album in eight years, the critically acclaimed ''My Love Is Your Love'', was released in November 1998. Though originally slated to be a greatest hits album with a handful of new songs, recording sessions were so fruitful that a new full-length studio album was released. Recorded and mixed in only six weeks, it featured production from Rodney Jerkins, Wyclef Jean and Missy Elliott. The album debuted at number thirteen in the US. It had a funkier and edgier sound than past releases and saw Houston handling urban dance, hip hop, mid-tempo R&B;, reggae, torch songs, and ballads all with great dexterity. The album featured several hit singles: "When You Believe" (US #15, UK #4), a duet with Mariah Carey for 1998s The Prince of Egypt soundtrack, it also became an international hit as it peaked in the Top 10 in several countries and won an Academy Award; "Heartbreak Hotel" (US #2, UK# 25) featured Faith Evans and Kelly Price, and number one on the US R&B; chart for seven weeks; "It's Not Right But It's Okay" (US #4, UK #3) won Houston her sixth Grammy Award; "My Love Is Your Love" (US #4, UK #2); and "I Learned from the Best" (US #27, UK #19). These singles became international hits as well, and all the singles, except "When You Believe", became number one hits on the U.S. Dance/Clubplay Chart. The album sold four million copies in America (4× platinum) and a total of eleven million worldwide. The album gave Houston some of her strongest reviews ever. ''Rolling Stone'' said Houston was singing "with a bite in her voice" and ''The Village Voice'' called it "Whitney's sharpest and most satisfying so far". In 1999, Houston participated in ''VH-1's Divas’ Live '99'', alongside Mary J. Blige, Tina Turner, and Cher. The same year, Houston hit the road with her 70 date ''My Love Is Your Love'' worldwide tour. The European leg was Europe's highest grossing arena tour of the year.

In May 2000, ''Whitney: The Greatest Hits'' was released. The double disc set peaked at number five in the United States and reached number one in the United Kingdom. While ballad songs were left unchanged, the album is notable for featuring house/club remixes of many of Houston's up-tempo hits, in place of their original version. Also included on the album were four new songs: "Could I Have This Kiss Forever" (a duet with Enrique Iglesias), "Same Script, Different Cast" (a duet with Deborah Cox), "If I Told You That" (a duet with George Michael), and "Fine". Along with the album, an accompanying DVD was released featuring the music videos to Houston's greatest hits. The greatest hits album was certified triple platinum in the US, with worldwide sales of ten million. Houston and Chase, along with Warner Brothers, were then set to produce a remake of the 1976 film Sparkle about a 1960s singing group of three sisters in Harlem. Aaliyah, who was to star in the remake, was killed in a plane crash in 2001 before production began.

2000–05: ''Just Whitney'', drug allegations and personal struggles

Though Houston was seen as a "good girl" with a perfect image in the '80s and early '90s, by the late '90s, her behavior changed. She was often hours late for interviews, photo shoots and rehearsals, and canceling concerts and talk-show appearances. With the missed performances and weight loss, rumors about Houston using drugs with her husband circulated. On January 11, 2000, airport security guards discovered marijuana in both Houston's and husband Bobby Brown's luggage at a Hawaii airport, but the two boarded the plane and departed before authorities could arrive. Charges were later dropped against her and Brown, but rumors of drug usage between the couple would continue to surface. Two months later, Clive Davis was inducted into the Rock & Roll Hall of Fame. Houston had been scheduled to perform at the event, but did not attend. Shortly thereafter, Houston was scheduled to perform at the Academy Awards but was fired from the event by musical director and long time friend Burt Bacharach. Her publicist cited throat problems as the reason for the cancellation. In his book ''The Big Show: High Times and Dirty Dealings Backstage at the Academy Awards'', author Steve Pond revealed that "Houston's voice was shaky, she seemed distracted and jittery, and her attitude was casual, almost defiant," and that while Houston was to sing "Over the Rainbow", she would start singing a different song. Houston later admitted to having been fired. Later that year, Houston's long-time executive assistant and friend, Robyn Crawford, resigned from Houston's management company.

In August 2001, Houston signed the biggest record deal in music history with Arista/BMG. She renewed her contract for $100 million to deliver six new albums, on which she would also earn royalties. She later made an appearance on ''Michael Jackson: 30th Anniversary Special''. Her extremely thin frame further spurred rumors of drug use. Houston's publicist said, "Whitney has been under stress due to family matters, and when she is under stress she doesn't eat." The singer was scheduled for a second performance the following night but canceled. Within weeks, Houston's rendition of "The Star Spangled Banner" would be re-released after the terrorist attacks of September 11. The song peaked at #6 this time on the US Hot 100, topping its previous position. Houston donated her portion of the proceeds.

In 2002, Houston became involved in a legal dispute with John Houston Enterprise. Although the company was started by her father to manage her career, it was now actually run by company president Kevin Skinner. Skinner filed a breach-of-contract lawsuit and sued for $100 million (but lost), stating that Houston owed the company previously unpaid compensation for helping to negotiate her $100 million contract with Arista Records and for sorting out legal matters. Houston stated that her 81-year-old father had nothing to do with the lawsuit. Although Skinner tried to claim otherwise, John Houston never appeared in court. Houston's father later died in February 2003. The lawsuit was dismissed on April 5, 2004, and Skinner was awarded nothing.

Also in 2002, Houston did an interview with Diane Sawyer to promote her then-upcoming album. The interview was the highest-rated television interview in history. During the prime-time special, Houston spoke on topics including rumored drug use and marriage. She was asked about the ongoing drug rumors and replied, "First of all, let's get one thing straight. Crack is cheap. I make too much money to ever smoke crack. Let's get that straight. Okay? We don't do crack. We don't do that. Crack is wack." The line would become infamous. Houston did, however, admit to using other substances at times.

In December 2002, Houston released her fifth studio album, ''Just Whitney...''. The album included productions from then-husband Bobby Brown, as well as Missy Elliott and Babyface, and marked the first time Houston did not produce with Clive Davis as Davis had been released by top management at BMG. Upon its release, ''Just Whitney...'' received mixed reviews. The album debuted at number 9 on the ''Billboard'' 200 chart and it had the highest first week sales of any album Houston had ever released. The four singles released from the album, didn't fare well on the ''Billboard'' Hot 100, but became Hot Dance Club Play hits. ''Just Whitney...'' was certified platinum in the United States, and sold approximately three million worldwide.

In late 2003, Houston released her first Christmas album ''One Wish: The Holiday Album'', with a song listing of traditional holiday songs. Houston produced the album with Mervyn Warren and Gordon Chambers. A single titled "One Wish (for Christmas)" reached the Top 20 on the Adult Contemporary chart, and the album was certified gold in the US. Having always been a touring artist, Houston spent most of 2004 touring and performing in Europe, the Middle East, Asia, and Russia. In September 2004, she gave a surprise performance at the World Music Awards, in tribute to long time friend Clive Davis. After the show, Davis and Houston announced plans to go into studio to work on her new album.

In early 2004, husband Bobby Brown starred in his own reality TV program, ''Being Bobby Brown'' (on the Bravo network), which provided a view into the domestic goings-on in the Brown household. Though it was Brown's vehicle, Houston was a prominent figure throughout the show, receiving as much screen time as Brown. The series aired in 2005 and featured Houston in, what some would say, not her most flattering moments. The ''Hollywood Reporter'' said it was "undoubtedly the most disgusting and execrable series ever to ooze its way onto television." Despite the perceived train-wreck nature of the show, the series gave Bravo its highest ratings in its time slot and continued Houston's successful forays into film and television. The show was not renewed for a second season after Houston stated she would no longer appear in it, and Brown and Bravo could not come to an agreement for another season.

2006–present: Return to music, ''I Look to You'' and tour

After years of controversy and turmoil, Houston separated from Bobby Brown in September 2006, filing for divorce the next month. On February 1, 2007, Houston asked the court to fast track their divorce. The divorce was finalized on April 24, 2007, with Houston granted custody of the couple's daughter. Less than a month later, Brown sued Houston in Orange County, California court in an attempt to change the terms of their custody agreement. Brown also sought child and spousal support from Houston. In the lawsuit, Brown claimed that financial and emotional problems prevented him from properly responding to Houston's divorce petition. Brown lost at his court hearing as the judge dismissed his appeal to overrule the custody terms, leaving Houston with full custody and Brown with no spousal support. In March 2007, Clive Davis of Arista Records announced that Houston would begin recording a new album. In October 2007, Arista released another compilation ''The Ultimate Collection'' outside the United States. Houston released her new album, ''I Look to You'', on August 2009. The album's first two singles are "I Look to You" and "Million Dollar Bill". The album entered the Billboard 200 at #1, with Houston's best opening-week sales of 305,000 copies, marking Houston's first number one album since '' The Bodyguard '', and Houston's first studio album to reach number one since 1987's ''Whitney''. Houston gave her first interview in seven years, appearing on Oprah Winfrey's season premiere on September 2009. The interview was billed as "the most anticipated music interview of the decade". The interview was so candid that Whitney admitted using drugs with former husband Bobby Brown describing to Oprah that she "laced marijuana with rock cocaine". Houston has also appeared on European television programs to promote the album. She performed the song "I Look to You" on the German television show ''Wetten Dass.'' Three days later, she performed the worldwide first single from I Look To You, Million Dollar Bill, on the French television show Le Grand Journal. Houston appeared as guest mentor on ''The X Factor'' in the United Kingdom. She performed "Million Dollar Bill" on the following day's results show, completing the song even as a strap in the back of her dress popped open two minutes into the performance. She later commented that she "sang [herself] out of [her] clothes". 200px|thumb|left|Whitney Houston at the [[The O2 Arena (London)|O2 Arena, April 28, 2010, as part of her Nothing but Love World Tour]] The performance was poorly received by the British media, and was variously described as "weird" and "ungracious", "shambolic" and a "flop". Despite this reception, "Million Dollar Bill" jumped to its peak from 14 to number 5 (her first UK top 5 for over a decade), and three weeks after release "I Look to You" went gold. Houston appeared on the Italian version of X Factor, performing the same song "Million Dollar Bill" to good reviews. She was awarded the Gold Certificate for achieving over 50,000 CD sales of "I Look To You" in Italy. In November, Houston performed "I Didn't Know My Own Strength" at the 2009 American Music Awards in Los Angeles, California. Two days later, Houston performed both songs on the Dancing With The Stars season 9 finale. As of December 2009, "I Look to You" has been certified platinum by the RIAA for sales of more than one million copies in the United States. On January 26, 2010, her debut album, was re-released in a special edition entitled ''Whitney Houston – The Deluxe Anniversary Edition''.

Houston later embarked on a world tour, entitled the Nothing But Love Tour. It was her first world tour in over ten years and was announced as a triumphant comeback. However, some poor reviews and rescheduled concerts brought some negative media attention. Houston canceled some concerts due to illness and received widespread negative reviews from fans who were disappointed in the quality of her voice and performance. Some fans reportedly walked out of her concerts.

In January 2010, Houston was nominated for two NAACP Image Awards, one for Best Female Artist and one for Best Music Video. She won the award for Best Music Video for her single "I Look to You." On January 16, she received the BET Honors Award for Entertainer citing her lifetime achievements spanning over 25 years in the industry. The 2010 BET Honors was held at the Warner Theatre in Washington, DC and aired February 1, 2010. Jennifer Hudson and Kim Burrell performed in honor of her, garnering positive reviews. Houston also received a nomination from the Echo Awards, Germany's version of the Grammys, for Best International Artist. In April 2010, the UK newspaper ''The Mirror'' reported that Houston was thinking about recording her eighth studio album and would like to collaborate with will.i.am (of The Black Eyed Peas), her first choice for a collaboration. Houston also performed the song "I Look to You," on the 2011 BET ''Celebration of Gospel'', with gospel–jazz singer Kim Burrell, held at the Staple Center, Los Angeles. The performance aired on January 30, 2011. Early in 2011, she gave an uneven performance in tribute to cousin Dionne Warwick at music mogul Clive Davis' annual pre-Grammy gala. In May 2011, Houston enrolled in rehabilitation center again, as an out-patient, citing drug and alcohol problems. A representative for Houston said that it was a part of Houston's "longstanding recovery process."

Legacy

Voice

Houston is a mezzo-soprano. Her vocal range extends from G below middle C (G₃) to high B-flat (B₅); she can belt out to treble F (F₅). She came in third on MTV's 22 Greatest Voices, and sixth on ''Online Magazine COVE''s list of the 100 Best Pop Vocalists with a score of 48.5/50. In 2008, ''Rolling Stone'' listed Houston as the thirty-fourth of the 100 greatest singers of all time, stating "Her voice is a mammoth, coruscating cry: Few vocalists could get away with opening a song with 45 unaccompanied seconds of singing, but Houston's powerhouse version of Dolly Parton's "I Will Always Love You" is a tour de force." Describing Houston's voice, Mariah Carey states "[She] has a really rich, strong mid-belt that very few people have. She sounds really good, really strong." While in her review of ''I Look To You'', music critic Ann Powers of ''Los Angeles Times'' writes, "[Houston's voice] stands like monuments upon the landscape of 20th century pop, defining the architecture of their times, sheltering the dreams of millions and inspiring the climbing careers of countless imitators," adding "When she was at her best, nothing could match her huge, clean, cool mezzo-soprano."

Houston's vocal stylings have had a significant impact on the music industry. She has been called the "Queen of Pop" for her influence during the 1990s, commercially rivaling Celine Dion and Mariah Carey. Stephen Holden from ''The New York Times'', in his review of Houston's Radio City Music Hall concert on July 20, 1993, praised her attitude as a singer highly, writing "Whitney Houston is one of the few contemporary pop stars of whom it might be said: the voice suffices. While almost every performer whose albums sell in the millions calls upon an entertainer's bag of tricks, from telling jokes to dancing to circus pyrotechnics, Ms. Houston would rather just stand there and sing." He added the comments on her singing style: "Her [Houston's] stylistic trademarks―shivery melismas that ripple up in the middle of a song, twirling embellishments at the ends of phrases that suggest an almost breathless exhilaration―infuse her interpretations with flashes of musical and emotional lightning." Elysa Gardner of ''Los Angeles Times'' in her review for ''The Preacher's Wife Soundtrack'' praised highly for Houston's vocal ability, commenting "She is first and foremost a pop diva―at that, the best one we have. No other female pop star―not Mariah Carey, not Celine Dion, not Barbra Streisand―quite rivals Houston in her exquisite vocal fluidity and purity of tone, and her ability to infuse a lyric with mesmerizing melodrama." Houston is commonly referred to as "The Voice", in reference to her exceptional vocal talent.

Influence

During the 1980s, MTV was coming into its own and received harsh criticism for not playing enough videos by black artists. With Michael Jackson breaking down the color barrier for black male artists, Houston did the same for black female artists. She became one of the few black female artists to receive heavy rotation on the network following the success of the "How Will I Know" video. Following Houston's breakthrough, other African-American female artists, such as Janet Jackson and Anita Baker, were successful in popular music. Baker commented that "Because of what Whitney and Sade did, there was an opening for me... For radio stations, black women singers aren't taboo anymore." Allmusic also noted her contribution to success of black artists on the pop scene, commenting "Houston was able to handle big adult contemporary ballads, effervescent, stylish dance-pop, and slick urban contemporary soul with equal dexterity; the result was an across-the-board appeal that was matched by scant few artists of her era, and helped her become one of the first black artists to find success on MTV in Michael Jackson's wake." ''The New York Times'' stated that "Houston was a major catalyst for a movement within black music that recognized the continuity of soul, pop, jazz and gospel vocal traditions". Richard Corliss of ''TIME'' magazine commented about her first success breaking various barriers as follows; "Of her first album's ten cuts, six were ballads. This chanteuse [Houston] had to fight for air play with hard rockers. The young lady had to stand uncowed in the locker room of macho rock. The soul strutter had to seduce a music audience that anointed few black artists with superstardom. [...] She was a phenomenon waiting to happen, a canny tapping of the listener's yen for a return to the musical middle. And because every new star creates her own genre, her success has helped other blacks, other women, other smooth singers find an avid reception in the pop marketplace." Mary J. Blige said that Houston's inviting her onstage during VH1's ''Divas Live'' show in 1999 "opened doors for [her] all over the world."

According to ''The New York Times'', Houston has "revitalized the tradition of strong gospel-oriented pop-soul singing". Ann Powers of the ''Los Angeles Times'' referred to the singer as a "national treasure". She is what many consider to be a "singer's singer" who has influenced countless other vocalists, both female and male. Similarly, Steve Huey from Allmusic wrote that the shadow of Houston's prodigious technique still looms large over nearly every pop diva and smooth urban soul singer - male or female - in her wake, and spawned a legion of imitators. ''Rolling Stone,'' on her biography, stated that Houston "redefined the image of a female soul icon and inspired singers ranging from Mariah Carey to Rihanna." ''Essence'' ranked Houston the fifth on their list of 50 Most Influential R&B; Stars of all time, calling her "the diva to end all divas."

A number of artists have acknowledged Houston as an influence. Mariah Carey, who was often compared to Houston, said, "Houston has been a big influence on me." She later told ''USA Today'' that "none of us would sound the same if Aretha Franklin hadn't ever put out a record, or Whitney Houston hadn't." Brandy stated "The first Whitney Houston CD was genius. That CD introduced the world to her angelic yet powerful voice. Without Whitney half of this generation of singers wouldn't be singing," picking Houston's first album as a work of inspired. Oscar winner Jennifer Hudson cites Houston as her biggest musical influence. She told ''Newsday'' that she learned from Houston the "difference between being able to sing and knowing how to sing". Leona Lewis, who has been called the New Whitney Houston, also cites her as an influence. Lewis stated that she idolized her as a little girl. Kelly Rowland, in an ''Ebony'''s feature articles for celebrationg black music in June 2006, recalled that "[I] wanted to be a singer after I saw Whitney Houston on TV singing 'Greatest Love of All'. I wanted to sing like Whitney Houston in that red dress." She added that "And I have never, ever forgotten that song[Greatest Love of All]. I learned it backward, forward, sideways. The video still brings chills to me. When you wish and pray for something as a kid, you never know what blessings God will give you." Beyoncé Knowles told the ''Globe and Mail'' that Houston "inspired [her] to get up there and do what [she] did." Alicia Keys, in the interview on her new studio album with the ''Billboard'' magazine, also said "Whitney is an artist who inspired me from [the time I was] a little girl." American recording artist Lady Gaga said that Houston has been one of her "vocal idols" for years. In an interview with IBN Live Gaga revealed that she used to listen Houston's version of The Star Spangled Banner over and over again. At the 2011 Grammys, Gaga gave a shout-out to Houston, and said that she wrote the song "Born This Way" thinking about Houston's vocals.

Celine Dion, Toni Braxton, Christina Aguilera, Kelly Clarkson, Britney Spears, Ciara, P!nk, Robin Thicke, Jennifer Hudson, Amerie, Destiny's Child, Regine Velasquez, Lady Gaga, and Charice have all cited Houston as a musical inspiration.

Awards and achievements

Houston is the most awarded female artist of all time, according to Guinness World Records, with 2 Emmy Awards, 6 Grammy Awards, 29 Billboard Music Awards, 22 American Music Awards, among a total of 415 career awards as of 2010. She holds the all-time record for the most AMAs of any female artist and shares the record with Michael Jackson for the most AMAs ever won in a single year (1994) with 8 wins. Houston won a record 11 Billboard Music Awards at its 4th ceremony in 1993. She also has the record for the most WMAs won in a single year, winning five Awards at the 6th World Music Awards in 1994. In May 2003, Houston placed at number three on VH1's list of "50 Greatest Women of the Video Era," behind Madonna and Janet Jackson. She was also ranked at number 116 on their list of the "200 Greatest Pop Culture Icons of All Time." In 2008, ''Billboard'' magazine released a list of the Hot 100 All-Time Top Artists to celebrate the US singles chart's fiftieth anniversary, ranking Houston at number nine. Similarly, she is ranked as one of the Top 100 Greatest Artists of All Time by VH1 in September 2010. In November 2010, ''Billboard'' released its "Top 50 R&B; / Hip-Hop Artists of the Past 25 Years" list and ranked Houston at number three whom not only went on to earn eight No. 1 singles on the R&B;/Hip-Hop Songs chart, but also landed five No. 1s on R&B;/Hip-Hop Albums.

Houston's debut is currently listed as one of the 500 Greatest Albums of All Time by ''Rolling Stone'' magazine and is on Rock and Roll Hall of Fame's Definitive 200 list. In 2004, ''Billboard'' picked the success of her first release on the charts as one of 110 Musical Milestones in its history. Houston's entrance into the music industry is considered one of the 25 musical milestones of the last 25 years, according to ''USA Today'' in 2007. It stated that she paved the way for Mariah Carey’s chart-topping vocal gymnastics. In 1997, the Franklin School in East Orange, New Jersey was renamed to The Whitney E. Houston Academy School of Creative and Performing Arts. In 2001, Houston was the first artist ever to be given a BET Lifetime Achievement Award.

Houston is also one of the world's best-selling music artists, having sold over 170 million albums and singles worldwide. Although she has released relatively few albums, she is ranked as the fourth best-selling female artist in the United States by the Recording Industry Association of America, with 55 million certified albums sold in the US alone.

She holds an Honorary Doctorate in Humanities from Grambling State University, Louisiana.

Discography

''Whitney Houston'' (1985)

''Whitney'' (1987)

''I'm Your Baby Tonight'' (1990)

''My Love Is Your Love'' (1998)

''Just Whitney'' (2002)

''One Wish: The Holiday Album'' (2003)

''I Look to You'' (2009)

Filmography

Film
Year	Title	Role	Notes and awards
1992	''The Bodyguard''	Rachel Marron(Main role)	Nominated — 1993 MTV Movie Award for Best Female PerformanceNominated — 1993 MTV Movie Award for Best Breakthrough PerformanceNominated — 1993 MTV Movie Award for Best On-Screen Duo with co-star Kevin CostnerNominated — 1992 Golden Raspberry Award for Worst Actress
1995	''Waiting to Exhale''	Savannah Jackson(Main role)
1996	''The Preacher's Wife''	Julia Biggs(Main role)	Won — 1997 NAACP Image Award for
Television
Year	Title	Network	Role	Notes
	''[[Gimme a Break!">NAACP Image Award for Outstanding Actress in a Motion Picture

Television
Year	Title	Network	Role	Notes
	''[[Gimme a Break!''	NBC	Rita	"Katie's College" (Season 3, Episode 20)
	''Silver Spoons''	NBC	As herself	"Head Over Heels" (Season 4, Episode 1, Air date: September 15, 1985)She performed the edit version of "Saving All My Love for You," changing some of the words—"making love the whole night through" was changed to "holding each other the whole night through"—for the censors on the episode.
			Fairy Godmother
	''Boston Public''	Fox	As herself	She performed her current hit Try it On My Own from the 2002 studio album, Just Whitney.

TV Commercial
Year	Company	Promoting	Country	Notes
	''Dr Pepper/Seven Up''	Canada Dry(soft drink beverage)	United States		* Houston appeared in this commercial before debut as a professional singer and sang the praises of sugar free Canada Dry Ginger Ale.
	''Coca-Cola''	Diet Coke(soft drink beverage)	United States		* Houston sang the Diet Coke theme song, "Just for the taste of it." (see the commercial)
	''Coca-Cola''	Diet Coke(soft drink beverage)	United States		* Houston sang the other version of the Diet Coke advertising slogan at the time, "Just for the taste of it." (see the commercial)	* Outside the United States, the second version of advertising was released, in which "Greatest Love of All" was used as background music. (see the commercial)	1989 MTV Video Music Awards#Video of the Year>Video of the Year winning "This Note's for You" by Neil Young, parodied parts of this advertising to criticize pop/rock stars who make commercial endorsements, most notably Michael Jackson for Pepsi and Houston for Diet Coke, using look-alike for them.
		Electronics(the stereo, TV)	Japan		Keith Thomas (producer)>Keith Thomas. It was released as a CD single in Japan and included in Japanese edition of ''I'm Your Baby Tonight.''
	''AT&T;''	Telephone services	United States		* Houston sang its theme song, "True Voice." (see the commercial)

Production
Year	Title	Director	Notes and awards
1997		Robert Iscove	Executive producerNominated — 50th Primetime Emmy Awards
2001		[[Garry Marshall	ProducerWon — 2002 Young Artist Award for Best Family Feature Film - ComedyNominated — 2002 Broadcast Film Critics Association Award for Best Family Film (Live Action) Nominated — 2002 Phoenix Film Critics Society Award for Best Family FilmNominated — 2002 Teen Choice Award for Film - Choice Movie, Comedy
2003		Oz Scott	Producer
2004	''The Princess Diaries 2: Royal Engagement''	Garry Marshall	Producer
2006		Kenny Ortega	Co-executive producer

Tours and concerts

;World tours

''Greatest Love World Tour'' (1986)

''Moment of Truth World Tour'' (1987–88)

''I'm Your Baby Tonight World Tour'' (1991)

''The Bodyguard World Tour'' (1993–94)

''My Love Is Your Love World Tour'' (1999)

''Nothing But Love World Tour'' (2010)

;Regional tours

''Feels So Right Tour'' (1990)

''The Pacific Rim Tour'' (1997)

''The European Tour'' (1998)

''Soul Divas Tour'' (2004)

;Notable concerts

''Nelson Mandela 70th Birthday Tribute'' 1988

''Welcome Home Heroes with Whitney Houston'' 1991

''Super Bowl XXV'' 1991

''The Concert for a New South Africa'' 1994

''Classic Whitney Live from Washington, D.C.'' 1997

Further reading

See also

Whitney Houston chart records and achievements

Grammy nominations for Whitney Houston

American Music Award nominations for Whitney Houston

List of best-selling music artists

List of artists who reached number one in the United States

List of artists who reached number one on the U.S. Dance chart

Honorific nicknames in popular music

Melisma

References

External links

Whitney Houston at ''Whitney Info''

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Coordinates	42°56′14″N114°42′49″N
name	CeCe Winans
background	solo_singer
birth name	Priscilla Marie Winans Love
birth date	October 08, 1964
birth place	Detroit, Michigan, United States
genre	Gospel, contemporary Christian, R&B;, worship, contemporary gospel
occupation	Singer, songwriter, philanthropist, actress, talk show host, speaker, & author
years active	1984–present
label	Sparrow, PMG/Atlantic, PureSprings Gospel (aka WellSpring Gospel)
associated acts	BeBe & CeCe Winans, BeBe Winans, The Winans, Winans Family, Whitney Houston
website	CeCeWinans.com
past members	}}

Priscilla "CeCe" Marie Winans Love (born October 8, 1964) is an American Gospel singer, who has won numerous Grammy and Stellar Awards.

Early life

CeCe Winans was born in Detroit, Michigan, to David and Delores ("Mom" and "Pop") Winans, on October 8, 1964. She's the eighth of ten children, and the eldest of three girls.

Solo career

CeCe began her solo career with the Platinum certified album ''Alone in His Presence''. It was released in 1995 and earned her a Grammy Award and 2 Dove Awards including the Female Vocalist of the Year, an award she earned again in 1997. Winans' next release, the Gold certified ''Everlasting Love'' was released in 1998 and featured Winans biggest Billboard charting singles to date "Well Alright" & "Slippin". The song "On That Day" from the album was written and produced by R&B; singer Lauryn Hill. Later that year, Winans released ''His Gift'' a holiday album.

In 1999, Winans started her own recording company, "PureSprings Gospel". Her first album on the label was ''Alabaster Box'' in 1999. Some production of the disc was done by Gospel singer and musician, Fred Hammond. It included a guest appearance by Take 6. In 2000 Cece released a concert VHS titled ''Live At The Lambs Theater in New York''. The concert contained songs from her previous albums. Winans released her next album, the self titled ''CeCe Winans'', in 2001. The single "Anybody Wanna Pray" included a guest appearance by GRITS. The second single, "Say A Prayer" crossed over into the CCM market.

Winans took a two year break from releasing albums and returned in 2003 with ''Throne Room''. The first 1,000 copies were issued with a bonus CD that contained exclusive interviews with the artist, the making of the CD, some touring footage, and the music video "More Than What I Wanted" (which came from the 2001 release). In 2004, the 25 city tour ''Throne Room'' featured free admission and was followed with a DVD release of the concert recorded in Tennessee near CeCe's place of residence. ''Live In the Throne Room'' contained tracks from all of Winans' albums. Around September 2004, Winans experienced what she thought was a flu but turned out to be a serious stomach infection and was hospitalized immediately for surgery. Due to the extended recovery time, the second half of the ''Throne Room Tour'' was postponed to early 2005.

Winans' 7th album ''Purified'' was released in 2005. Producers on board for the project were longtime BeBe & CeCe collaborator Keith Thomas, and CeCe's nephew Mario Winans. Winans' son Alvin III also co-writes several songs on the album and younger sisters Angie and Debbie Winans make an appearance as well.

CeCe's collection of Top Ten R&B; radio hits include "Count on Me", her duet with Whitney Houston, from the Waiting to Exhale soundtrack. The single was certified Gold in the U.S. and reached #8 on the Billboard Hot 100, #4 on the Adult Contemporary chart and #8 on the Billboard R&B; Singles charts. She has also released her 8th Album Thy Kingdom Come on April 1, to feature the single "Waging War."[5][1] The first single released from the album "Thy Will Be Done," was released digitally on iTunes on April 1, 2008. Cece Winans together with Bebe Winans & Mary Mary featuring the West Angeles Choir performed on The Tonight Show With Jay Leno

Upcoming releases

It was confirmed on her website that a reunion album with BeBe was planned and scheduled for release in early 2009. The album was released with the name 'Still ' and is the 9th album released by the famous brother / sister duo; the album was released under Malaco Records and features collaborations with Marvin Winans and Gospel Contemporary sisters duo Mary Mary. In early 2006, Winans stated that she would follow ''Purified'' with a holiday album. However this later was changed when "Thy Kingdom Come" a gospel album became the successor in her discography.

Books

CeCe has authored three books: ''On A Positive Note'', a collection of her memoirs released August 1, 2000; and ''Throne Room: Ushered Into the Presence of God'', a devotional released January 1, 2004 and co-authored with Claire Cloninger. ''Always Sisters: Becoming the Princess You Were Created to Be'', released on July 17, 2007 and co-written with Claudia Mair Burney.

In 2009, CeCe announced her support for a multicultural Christian education curriculum from Abingdon Press, entitled "On the Move: God's Grace from Place to Place."

Personal life

CeCe now resides in Forest Hills, Tennessee (a suburb of Nashville) with her husband Alvin Love and two children, Ashley and Alvin III. CeCe's children were featured in the BeBe & CeCe Winans music video "If Anything Ever Happened to You". Alvin III also appeared in the music video for "Well, Alright." They attend Born Again Church in Nashville, where CeCe is on the worship team and her kids are involved in the drama ministry. CeCe is a good friend of Whitney Houston as well as godmother to her only child, she is also the godmother to Deron Cozart Sr as well as best friends with Co-Pastor of New Light Christian Center (Houston, Austin, Beaumont, Texas) Dr. Bridget E. Hilliard.

In Pop Culture

In the Disney Channel's animated television series ''The Proud Family'', the baby twins are named "BeBe & CeCe."

Discography

;Albums with BeBe Winans :''See BeBe & CeCe Winans Discography'' ;Solo albums

{{infobox discography | type	studio | Name Alone In His Presence | Other info | from Album | Released October 10, 1995 | Format | Label Sparrow Records | Writer | Producer | Director | Chart position Billboard 200 #124 | Sales | Certification | Tracks | Bonus tracks | Singles "Every Time" }}

{{infobox discography | type	studio | Name Everlasting Love | Other info | from Album | Released March 17, 1998 | Format | Label Pioneer Music Group/Atlantic Records | Writer | Producer | Director | Chart position Billboard R&B; #35, Billboard 200 #107 | Sales | Certification | Tracks | Bonus tracks | Singles "Well Alright" (Billboard R&B; #47), "What About You", "Slippin", "I Am" }}

{{infobox discography | type	studio | Name His Gift | Other info | from Album | Released September 15, 1998 | Format | Label Pioneer Music Group/Atlantic Records | Writer | Producer | Director | Chart position | Sales | Certification | Tracks | Bonus tracks | Singles }}

{{infobox discography | type	studio | Name Alabaster Box | Other info | from Album | Released October 19, 1999 | Format | Label WellSpring Gospel | Writer | Producer | Director | Chart position Billboard R&B; #55, Billboard 200 #129 | Sales | Certification | Tracks | Bonus tracks | Singles "It Wasn't Easy", "King Of Kings (He's A Wonder)", "Alabastar Box" }}

{{infobox discography | type	studio | Name CeCe Winans | Other info | from Album | Released June 19, 2001 | Format | Label WellSpring Gospel | Writer | Producer | Director | Chart position Billboard R&B; #48, Billboard 200 #116 | Sales | Certification | Tracks | Bonus tracks | Singles "More Than What I Wanted" (Billboard R&B; #65), "Say A Prayer", "For Love Alone" }}

{{infobox discography | type	studio | Name Throne Room | Other info | from Album | Released September 9, 2003 | Format | Label PureSprings Gospel | Writer | Producer | Director | Chart position Billboard R&B; #21, Billboard 200 #32 | Sales | Certification | Tracks | Bonus tracks | Singles "Hallelujah Praise" }}

{{infobox discography | type	studio | Name Purified | Other info | from Album | Released September 13, 2005 | Format | Label PureSprings Gospel/INO/Epic/Sony | Writer | Producer | Director | Chart position Billboard R&B; #12, Billboard 200 #41 | Sales | Certification | Tracks | Bonus tracks | Singles "All That I Need", "Pray", "Let Everything That Hath Breath" (Billboard Dance #8), "He's Concerned" }}

{{infobox discography | type	studio | Name Thy Kingdom Come | Other info | from Album | Released April 1, 2008 | Format CD | Label PureSprings Gospel | Writer | Producer | Director | Chart position | Sales | Certification | Tracks | Bonus tracks | Singles "Thy Will Be Done," "Waging War," "It Aint Over" }}

;Other Albums

{{infobox discography | type	studio | Name CeCe Winans Presents The Born Again Church Choir | Other info | from Album | Released 2003 | Format | Label | Writer | Producer | Director | Chart position | Sales | Certification | Tracks | Bonus tracks | Singles }}

{{infobox discography | type	studio | Name CeCe Winans Presents Pure Worship | Other info | from Album | Released October 28, 2008 | Format | Label EMI Gospel | Writer | Producer | Director | Chart position | Sales | Certification | Tracks | Bonus tracks | Singles }}

{{infobox discography | type	studio | Name CeCe Winans Presents Kingdom Kidz | Other info | from Album | Released August 28, 2007 | Format | Label | Writer | Producer | Director | Chart position | Sales | Certification | Tracks | Bonus tracks | Singles }}

---- ;Guest appearances & Soundtracks

BeBe & CeCe Winans with Vince Gill and Wynonna Judd: "Right Now (We Need Another)" (Zomba Recording, 2008)

Patti LaBelle: "Walking Away (featuring CeCe Winans)" (Umbrella, 2006)

CeCe Winans: "He Set My Life To Music" ''She Was Country When Country Wasn't Cool'' (BNA, 2006)

BeBe Winans: "Tonight Tonight (featuring CeCe Winans)" (Motown, 2000)

Various Artists: "Humanity" ''The Prince of Egypt Soundtrack'' (DreamWorks, 1998)

CeCe Winans: "The River" ''The Prince Of Egypt: Inspirational'' (DreamWorks, 1998)

CeCe Winans: "All Is Well Tonight" ''God With Us: A Celebration Of Christmas Carols...'' (Sparrow, 1997)

CeCe Winans: "Take Me Back" ''Tribute: The Songs Of Andrae Crouch'' (Warner Alliance, 1996)

CeCe Winans & Whitney Houston: "Count on Me" (Arista, 1996)

CeCe Winans: "Rest In Me" ''Coram Deo II: People Of Praise'' (Sparrow, 1994)

Videography

;Concerts

{{infobox discography | type	video | Name Live At The Lambs Theater in New York | Other info Recorded At: Lambs Theater in New York City | from Album | Released 2000 | Format VHS | Label | Writer | Producer | Director | Chart position | Sales | Certification | Tracks | Bonus tracks | Singles }}

{{infobox discography | type	video | Name Live In The Throne Room | Other info Recorded At: Cornerstone Church in Brentwood, TN | from Album | Released 2004 | Format DVD | Label | Writer | Producer | Director | Chart position | Sales | Certification | Tracks | Bonus tracks | Singles "Close to you" -- Bebe Winans }}

---- ;Music Videos

"Count on Me" (Whitney Houston & CeCe Winans) (1996)

"Well Alright" (1998)

"More Than What I Wanted" (2001)

"Purified" (2006)

;Television Appearances :''List includes acting appearances only, not interviews and/or performances''

CeCe's Place (aired on the Odyssey Channel)

7th Heaven Touched By an Angel

Living Single

Doc

Martin

;Other

{{infobox discography | type	video | Name Journeys In Black: CeCe Winans | Other info BET documentary of Cece Winans' life | from Album | Released 2002 | Format DVD | Label | Writer | Producer | Director | Chart position | Sales | Certification | Tracks | Bonus tracks | Singles }}

----

Awards

CeCe has received 11 Grammy Awards, 21 Grammy Award nominations, 20 Dove Awards and seven Stellar Awards (as well as numerous nominations).

See also

:Category:CeCe Winans albums

:Category:BeBe & CeCe Winans albums

The Winans Family

References

;Other References:

Winans, CeCe: ''On A Positive Note'' (August 1, 2000)

External links

www.cecewinans.com - Official CeCe Winans Internet site

Cece Winans - Interview (August 2008) on BlackGospel.com

CeCe Winans discusses On the Move curriculum

Accomplished gospel singer Cece Winans showered with 11 nominations for 2011 Stellar Awards including special honor at trumpet awards prayer breakfast - Fusemix.com

Category:1964 births Category:Living people Category:American gospel singers Category:Atlantic Records artists Category:Gospel artists from Detroit, Michigan Category:Grammy Award winners Category:Musicians from Michigan Category:Urban contemporary gospel musicians

cs:CeCe Winans de:CeCe Winans ru:Си-Си Вайнанс

Coordinates

42°56′14″N114°42′49″N

Bgcolor

sienna |colorwhite |nameGospel music |stylistic_originsChristian hymnsNegro spirituals |cultural_originsFirst quarter of 20th century: USA |instrumentsVocals, piano, Hammond organ, guitar, horns, drums, and bass guitar |popularity1900s - Present, mostly among Christians |derivativesCountry, Rhythm and Blues, Soul |subgenrelist |subgenresUrban contemporary gospel,Southern gospel |fusiongenresChristian country music |regional_scenes |other_topics }}

Gospel music is music that is written to express either personal, spiritual or a communal belief regarding Christian life, as well as (in terms of the varying music styles) to give a Christian alternative to mainstream secular music.

Like other forms of Christian music, the creation, performance, significance, and even the definition of gospel music varies according to culture and social context. Gospel music is composed and performed for many purposes, including aesthetic pleasure, religious or ceremonial purposes, and as an entertainment product for the marketplace. However, a theme of gospel music is praise, worship or thanks to God, Christ, or the Holy Spirit.

Style

Gospel music in general is characterized by dominant vocals (often with strong use of harmony) referencing lyrics of a religious nature, particularly Christian. Subgenres include contemporary gospel, urban contemporary gospel (sometimes referred to as "black gospel"), Southern gospel, and modern gospel music (now more commonly known as praise and worship music or contemporary Christian music). Several forms of gospel music utilize choirs, use piano and/or Hammond organ, drums, bass guitar and, increasingly, electric guitar. In comparison with hymns, which are generally of a statelier measure, the ''gospel song'' is expected to have a refrain and often a more syncopated rhythm.

Many attempts have been made to describe the style of late 19th and early 20th century gospel songs in general. Christ-Janer, et al. said "the music was tuneful and easy to grasp . . . rudimentary harmonies . . . use of the chorus . . . varied metric schemes . . . motor rhythms were characteristic. . . . The device of letting the lower parts echo rhythmically a motive announced by the sopranos became a mannerism . . ." Patrick and Sydnor emphasize the notion that gospel music is "sentimental", quoting Sankey as saying, "Before I sing I must feel", and they call attention to the comparison of the original version of Rowley’s "I Will Sing the Wondrous Story" with Sankey's version. Gold said, "Essentially the gospel songs are songs of testimony, persuasion, religious exhortation, or warning. Usually the chorus or refrain technique is found."

History

One can pursue the roots of gospel music through the academic discipline of ethno-musicology (going back to Europe and Africa), through a study of the 2,000-year history of church music, and through a study of rural folk music traditions, but for practical purposes, gospel music as we know it can be traced to the 18th century. Coming out of an oral tradition, gospel music typically utilizes a great deal of repetition. This is a carryover from the time when many post-Reconstruction blacks were unable to read. The repetition of the words allowed those who could not read the opportunity to participate in worship. During the time, hymns were lined and repeated in a call and response fashion and the Negro spirituals and work songs emerged. Due to the enslaved Africans attended their masters’ worship services, the seventeenth-century influences on Negro spirituals and work songs were traditional hymns the enslaved Africans heard in worship services. Worship services served several purposes; not only were they a means by which the Africans could be monitored, but they also served as a reinforcement of the slavery indoctrination. Quite often readings were from St. Paul, and outlined being good servants and loving, obeying, and trusting one’s master. At this time it was also illegal for more than a handful of blacks to congregate without supervision. This meant that the blacks were not free to worship on their own they had to attend worship services with their master. At these services they would grow closer in their understanding of Christian doctrine and role that music played in that experience. The worship music (hymns) of the whites masters became the backdrop for the music the enslaved Africans would use at their eventual worship meetings.

Most of the churches didn’t have musical instruments to use. There would be guitars and tambourines to use every now and then but not frequently. There weren’t regular church choirs that existed at this time and they didn’t use the piano that often either. Most of the music that was performed was done a cappella.

Gospel also lends some of its more modern roots to the mass revival movement (starting with Dwight L. Moody, whose musician was Ira D. Sankey) and the Holiness-Pentecostal movement. Prior to the meeting of Moody and Sankey in 1870, there was an American rural/frontier history of revival and camp meeting songs, but the gospel hymn was of a different character, and it served the needs of mass revivals in the great cities.

The revival movement employed popular singers and song leaders (starting with Ira Sankey) who used songs by writers such as George F. Root, P. P. Bliss, Charles H. Gabriel, William Howard Doane, and Fanny Crosby. The first published use of the term “gospel” to describe this kind of music was apparently in the 1870s. In 1874, P. P. Bliss edited a collection titled ''Gospel Songs'', and in 1875 P. P. Bliss and Ira Sankey issued ''Gospel Hymns, no’s. 1 to 6'', an extension of the 1874 ''Gospel Songs.'' Sankey and Bliss’s collection can be found in many libraries today.

The popularity of revival singers and the openness of rural churches to this type of music (in spite of its initial use in city revivals) led to the late 19th and early 20th century establishment of gospel music publishing houses such as those of Homer Rodeheaver, E. O. Excell, Charlie Tillman, and Charles Tindley. These publishers were in the market for large quantities of new music, providing an outlet for the creative work of many songwriters and composers

The holiness-Pentecostal movement, or sanctified movement, appealed to people who were not attuned to sophisticated church music, and holiness worship has used any type of instrumentation that congregation members might bring in, from tambourines to electric guitars. Pentecostal churches readily adopted and contributed to the gospel music publications of the early 20th century. Late 20th century musicians such as Elvis Presley, Jerry Lee Lewis, Mahalia Jackson, Andrae Crouch, and the Blackwood Brothers either were raised in a Pentecostal environment, or have acknowledged the influence of that tradition.

The advent of radio in the 1920s greatly increased the audience for gospel music, and James D. Vaughan used radio as an integral part of his business model, which also included traveling quartets to publicize the gospel music books he published several times a year. Virgil O. Stamps and Jesse R. Baxter studied Vaughan’s business model and by the late 1920s were running a heavy competition for Vaughan. The 1920s also saw the marketing of gospel records by groups such as the Carter Family.

The first person to introduce the ragtime influence to gospel accompaniment as well as to play the piano on a gospel recording was Ms. Arizona Dranes.

In African-American music, gospel quartets developed an a cappella style following the earlier success of the Fisk Jubilee Singers. The 1930s saw the Fairfield Four, the Dixie Hummingbirds, the Five Blind Boys, the Swan Silvertones, the Charioteers, and the Golden Gate Quartet. Racism divided the nation, and these groups were best known in the African-American community, but some in the white community began to follow them. In addition to these high profile quartets, there were many black gospel musicians performing in the 1920s and 30s.

In the 1930s, in Chicago, Thomas A. Dorsey (best known as author of the song, "Precious Lord, Take My Hand"), who had spent the 1920s writing secular music, turned full time to gospel music, established a publishing house, and invented the black gospel style of piano music. He had many trials in his life that he overcame concerning his health and his wife died. He dedicated all of his musical talent to the service of the LORD. Thomas gained knowledge of his religion from his father who was a Baptist minister and took up on piano from his mother who was his teacher. He started working with lack blues pianist when they moved to Atlanta. It has been said that 1930 was the year when modern gospel music began, because the National Baptist Convention first publicly endorsed the music at its 1930 meeting. Dorsey was responsible for developing the musical careers of many African-American artists, such as Mahalia Jackson.

Meanwhile, the radio continued to develop an audience for gospel music, a fact that was commemorated in Albert E. Brumley's 1937 song, "Turn Your Radio On" (which is still being published in gospel song books). In 1972, a recording of "Turn Your Radio On" by the Lewis Family was nominated for "Gospel Song of the Year" in the Gospel Music Association's Dove Awards.

Following the Second World War, gospel music moved into major auditoriums, and gospel music concerts became quite elaborate. In 1950, black gospel was featured at Carnegie Hall when Joe Bostic produced the Negro Gospel and Religious Music Festival. He repeated it the next year with an expanded list of performing artists, and in 1959 moved to Madison Square Garden. Today, black gospel and white gospel are distinct genres, with distinct audiences. In white gospel, there is a large Gospel Music Association and a Gospel Music Hall of Fame, which includes a few black artists, such as Mahalia Jackson, but which ignores most black artists. In the black community, James Cleveland established the Gospel Music Workshop of America in 1969.

Gospel music genres and subgenres

Urban contemporary gospel

Urban contemporary gospel (sometimes still marketed as "Black gospel" to help distinguish it from other forms of Christian music) is a subgenre of contemporary gospel music.

Gospel blues

Gospel blues is a blues-based form of gospel music (a combination of blues guitar and evangelistic lyrics).

Southern gospel

Southern gospel, is sometimes called "quartet music" by fans due to the original all male, tenor-lead-baritone-bass quartet make-up. This type of music deals with the everyday problems of life and how God answers those problems. Southern gospel depends on strong harmonies, often with extremely wide ranges (i.e. extremely low bass, falsetto tenor.) Flavors in Southern gospel range from ultra-traditional early quartet music (i.e. the Statesmen Quartet, circa 1940-50) to very cutting edge sounds (i.e. current Signature Sound quartet discography).

Progressive Southern gospel

Progressive Southern gospel is an American music genre that has grown out of Southern gospel over the past couple of decades.

Christian country music

Christian country music, sometimes referred to as country gospel music, is a subgenre of gospel music with a country flair, is also known as inspirational country. Christian country over the years has progressed into a mainstream country sound with inspirational or positive country lyrics. In the middle 1990s, Christian country hit its highest popularity. So much so that mainstream artists like Larry Gatlin, Charlie Daniels and Barbara Mandrell, just to name a few, began recording music that had this positive Christian country flair. These mainstream artists have now become award winners in this genre.

Bluegrass gospel

Bluegrass gospel music is rooted in American mountain music.

Celtic gospel

Celtic gospel music infuses gospel music with a Celtic flair, and is quite popular in countries such as Ireland; the Dublin Gospel Choir has had over 10 years' success with Celtic gospel music.

Controversies

Some proponents of "standard" hymns generally dislike gospel music of the late 19th and early 20th centuries. For example, Patrick and Syndor complain that commercial success led to a proliferation of such music, and "deterioration, even in a standard which to begin with was not high, resulted." They went on to say, "there is no doubt that a deterioration in taste follows the use of this type of hymn and tune; it fosters an attachment to the trivial and sensational which dulls and often destroys sense of the dignity and beauty which best befit the song that is used in the service of God."

Gold reviewed the issue in 1958, and collected a number of quotations similar to the complaints of Patrick and Syndor. However, he also provided this quotation: "Gospel hymnody has the distinction of being America's most typical contribution to Christian song. As such, it is valid in its inspiration and in its employment." (Robert Stevenson, ''Religion in Life'', Winter, 1950-51.)

Today, with historical distance, there is a greater acceptance of such gospel songs into official denominational hymnals. For example, the United Methodist Church made this acceptance explicit in ''The Faith We Sing'', a supplement to the official denominational hymnal. In the preface, the editors say, "Experience has shown that some older treasures were missed when the current hymnals were compiled," a diplomatic way of saying, "It's all right to sing these songs in church."

Further reading

{|align=right | A selection of gospel music collectedby the Library of Congress in 1943 |}

Blackwell, Lois. ''The Wings of a Dove: The Story of Gospel Music in America.'' Norfolk: Donning, 1978.

Boyer, Horace Clarence, ''How Sweet the Sound: The Golden Age of Gospel'' Elliott and Clark, 1995, ISBN 0-252-06877-7.

Broughton, Viv, ''Too Close To Heaven - The Illustrated History Of Gospel Music'', Midnight Books, 1996, ISBN 1-900516-00-4

Albert E Brumley & Sons, ''The Best of Albert E Brumley,'' Gospel Songs, 1966, ISBN na-paperback Amazing Grace

Cleall, Charles. ''Sixty Songs From Sankey''. London: Marshall, Morgan and Scott, Ltd., 1960.

Darden, Robert, ''People Get Ready: A New History of Black Gospel Music'' Continuum International Publishing Group, 2005, ISBN 0-8264-1752-3.

Downey, James C. ''The Gospel Hymn 1875-1930''. University of Southern Mississippi, MA, 1963.

Eskew, Harry. “Gospel Music, I” in ''The New Grove Dictionary of Music and Musicians'' (1980), VII, 549-554.

Goff, James R. “The Rise of Southern Gospel Music,” ''Church History'', v. 67, no. 4, Dec. 1998, pp. 722ff.

Hanson, Kenneth, ''The Hymnody and Hymnals of the Restoration Movement''. Butler University, BD, 1951.

Heilbut, Tony, ''The Gospel Sound: Good News and Bad Times'' Limelight Editions, 1997, ISBN 0-87910-034-6.

McNeil, W. K., Ed. ''Encyclopedia of American Gospel Music.'' Routledge, 2005. ISBN 0415941792.

Stevenson, Arthur L. ''The Story of Southern Hymnology.'' Roanoke, VA: Stone Printing and Manufacturing, 1931.

Zolten, Jerry, ''Great God A' Mighty!:The Dixie Hummingbirds - Celebrating The Rise Of Soul Gospel Music,'' Oxford University Press, 2003, ISBN 0-19-515272-7.

Professional organizations

: Firebird Arts Alliance - Encourages all races and religions to join : Gospel Music Association - Acknowledges all forms of Gospel Music : Gospel News Today - Primarily Gospel News : Gospel Viu - Gospel Without Borders : Gospel Wire - Primarily urban contemporary gospel : Pacific Gospel Music Association - Known for Southern Gospel : Southern Gospel Music Association - Known for Southern Gospel

Media outlets

: Black Family Channel : Bobby Jones Gospel : Gospel Music Channel : The Inspirational Network : Christian Broadcasting Network : Trinity Broadcasting Network

See also

Gospel Music Hall of Fame

Gospel music WikiProject

List of gospel musicians

Museum of African American Music

Soul music

Stellar Awards

References

Category:Religious music Category:Christian music genres Category:African American music

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Paul David Washer (born 1961) is the Founder/Director & Missions Coordinator of HeartCry Missionary Society which supports indigenous missionary work. He is also a Southern Baptist itinerant preacher. Washer's sermons tend to have an evangelistic focus on the gospel and the doctrine of the assurance of salvation, and he frequently speaks against practices such as the sinner's prayer, and a focus on numerical church growth.

Washer's sermons often focus on how a person is saved from hell. According to Washer, a person is saved through faith alone, but the evidence of a person's faith is his or her works. Washer claims that most people who profess a belief in Christianity aren't truly saved. Washer blames preachers, as he claims many preachers often say a person is saved without looking for evidence of repentance in that person's life.

Washer cites RC Sproul, John F. Macarthur, George Muller, John Piper, Jonathan Edwards, George Whitefield, Charles Spurgeon, Leonard Ravenhill, John Wesley, A.W. Tozer and Martyn Lloyd-Jones among others, as influences. He has frequently appeared on Christian radio to discuss how people are saved.

Washer had a born again experience while studying to become an oil and gas lawyer at the University of Texas. Upon graduation, he attended Southwestern Baptist Theological Seminary and achieved a Master of Divinity degree. He then moved to Peru to become a missionary for 10 years, after which he returned to the United States. Washer resides in Radford, Virginia, where he lives with his wife and three children.

Books written

References

External links

HeartCry Missionary Organization Official site of Washer's organization.

Shocking Message Transcript: http://www.scribd.com/doc/789/The-Truth-About-Christianity

Regeneration vs. Idolatry of Decisional Evangelism: http://adidab.wordpress.com/2009/05/05/paul-washer-transcript-01-regeneration-v-the-idolatry-of-decisional-evangelism/

Ten indictments video & transcript: http://adidab.wordpress.com/2009/05/05/paul-washer-transcript-03-ten-indictments/

Truth About Man Workbook: http://www.heartcrymissionary.com/resources/online_books

Brief Washer Biography: http://www.hcmissions.org/about/staff/2

Paul Washer Bible Study Video Series Studies: http://www.youtube.com/view_play_list?p=8872D3C0103E8568

Paul Washer Biography on Theopedia: http://www.theopedia.com/Paul_Washer

Paul Washer en Español: http://salvacioneterna.com/pwasher.html

Category:American clergy Category:American people of Croatian descent Category:Southern Baptists Category:Southwestern Baptist Theological Seminary alumni Category:1961 births Category:Living people

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