American singer Harry Belafonte in 1954.

Singing is the act of producing musical sounds with the voice, and augments regular speech by the use of both tonality and rhythm. One who sings is called a singer or vocalist. Singers perform music known as songs that can be sung either with or without accompaniment by musical instruments. Singing is often done in a group of other musicians, such as in a choir of singers with different voice ranges, or in an ensemble with instrumentalists, such as a rock group or baroque ensemble. As in many respects human song is a form of sustained speech, nearly anyone able to speak can also sing. Singing can be formal or informal, arranged or improvised. It may be done for pleasure, comfort, ritual, education, or profit. Excellence in singing requires time, dedication, instruction, and regular practice.^[1] Professional singers usually build their careers around one specific musical genre, such as classical or rock. They typically take voice training provided by voice teachers or vocal coaches throughout their careers.

The human voice[link]

A labeled anatomical diagram of the vocal folds or cords.

In its physical aspect, singing has a well-defined technique that depends on the use of the lungs, which act as an air supply, or bellows; on the larynx, which acts as a reed or vibrator; on the chest and head cavities, which have the function of an amplifier, as the tube in a wind instrument; and on the tongue, which together with the palate, teeth, and lips articulate and impose consonants and vowels on the amplified sound. Though these four mechanisms function independently, they are nevertheless coordinated in the establishment of a vocal technique and are made to interact upon one another.^[2] During passive breathing, air is inhaled with the diaphragm while exhalation occurs without any effort. Exhalation may be aided by the abdominal, internal intercostal and lower pelvic muscles. Inhalation is aided by use of external intercostals, scalenes and sternocleidomastoid muscles. The pitch is altered with the vocal cords. With the lips closed, this is called humming.

The sound of each individual's singing voice is entirely unique not only because of the actual shape and size of an individual's vocal cords but also due to the size and shape of the rest of that person's body. Humans have vocal folds which can loosen, tighten, or change their thickness, and over which breath can be transferred at varying pressures. The shape of the chest and neck, the position of the tongue, and the tightness of otherwise unrelated muscles can be altered. Any one of these actions results in a change in pitch, volume (loudness), timbre, or tone of the sound produced. Sound also resonates within different parts of the body, and an individual's size and bone structure can affect the sound produced by an individual.

Singers can also learn to project sound in certain ways so that it resonates better within their vocal tract. This is known as vocal resonation. Another major influence on vocal sound and production is the function of the larynx which people can manipulate in different ways to produce different sounds. These different kinds of laryngeal function are described as different kinds of vocal registers.^[3] The primary method for singers to accomplish this is through the use of the Singer's Formant; which has been shown to match particularly well to the most sensitive part of the ear's frequency range.^[4][5]

Vocal registration[link]

Vocal registration refers to the system of vocal registers within the human voice. A register in the human voice is a particular series of tones, produced in the same vibratory pattern of the vocal folds, and possessing the same quality. Registers originate in laryngeal function. They occur because the vocal folds are capable of producing several different vibratory patterns. Each of these vibratory patterns appears within a particular range of pitches and produces certain characteristic sounds.^[6] The term "register" can be somewhat confusing as it encompasses several aspects of the human voice. The term register can be used to refer to any of the following:^[7]

• A particular part of the vocal range such as the upper, middle, or lower registers.
• A resonance area such as chest voice or head voice.
• A phonatory process (phonation is the process of producing vocal sound by the vibration of the vocal folds that is in turn modified by the resonance of the vocal tract)
• A certain vocal timbre or vocal "colour"
• A region of the voice which is defined or delimited by vocal breaks.

In linguistics, a register language is a language which combines tone and vowel phonation into a single phonological system. Within speech pathology the term vocal register has three constituent elements: a certain vibratory pattern of the vocal folds, a certain series of pitches, and a certain type of sound. Speech pathologists identify four vocal registers based on the physiology of laryngeal function: the vocal fry register, the modal register, the falsetto register, and the whistle register. This view is also adopted by many vocal pedagogists.^[7]

Vocal resonation[link]

Vocal resonation is the process by which the basic product of phonation is enhanced in timbre and/or intensity by the air-filled cavities through which it passes on its way to the outside air. Various terms related to the resonation process include amplification, enrichment, enlargement, improvement, intensification, and prolongation, although in strictly scientific usage acoustic authorities would question most of them. The main point to be drawn from these terms by a singer or speaker is that the end result of resonation is, or should be, to make a better sound.^[7] There are seven areas that may be listed as possible vocal resonators. In sequence from the lowest within the body to the highest, these areas are the chest, the tracheal tree, the larynx itself, the pharynx, the oral cavity, the nasal cavity, and the sinuses.^[8]

Chest voice and head voice[link]

Chest voice and head voice are terms used within vocal music. The use of these terms varies widely within vocal pedagogical circles and there is currently no one consistent opinion among vocal music professionals in regards to these terms. Chest voice can be used in relation to a particular part of the vocal range or type of vocal register; a vocal resonance area; or a specific vocal timbre.^[7] Head voice can be used in relation to a particular part of the vocal range or type of vocal register or a vocal resonance area.^[7]

History and development[link]

The first recorded mention of the terms chest voice and head voice was around the 13th century, when it was distinguished from the "throat voice" (pectoris, guttoris, capitis—at this time it is likely that head voice referred to the falsetto register) by the writers Johannes de Garlandia and Jerome of Moravia.^[9] The terms were later adopted within bel canto, the Italian opera singing method, where chest voice was identified as the lowest and head voice the highest of three vocal registers: the chest, passagio and head registers.^[10] This approach is still taught by some vocal pedagogists today. Another current popular approach that is based on the bel canto model is to divide both men and women's voices into three registers. Men's voices are divided into "chest register", "head register", and "falsetto register" and woman's voices into "chest register", "middle register", and "head register". Such pedagogists teach that the head register is a vocal technique used in singing to describe the resonance felt in the singer's head.^[11]

However as knowledge of human physiology has increased over the past two hundred years, so has the understanding of the physical process of singing and vocal production. As a result, many vocal pedagogists, such as Ralph Appelman at Indiana University and William Vennard at the University of Southern California, have redefined or even abandoned the use of the terms chest voice and head voice.^[10] In particular, the use of the terms chest register and head register have become controversial since vocal registration is more commonly seen today as a product of laryngeal function that is unrelated to the physiology of the chest, lungs, and head. For this reason, many vocal pedagogists argue that it is meaningless to speak of registers being produced in the chest or head. They argue that the vibratory sensations which are felt in these areas are resonance phenomena and should be described in terms related to vocal resonance, not to registers. These vocal pedagogists prefer the terms chest voice and head voice over the term register. This view believes that the problems which people identify as register problems are really problems of resonance adjustment. This view is also in alignment with the views of other academic fields that study vocal registration including: speech pathology, phonetics, and linguistics. Although both methods are still in use, current vocal pedagogical practice tends to adopt the newer more scientific view. Also, some vocal pedagogists take ideas from both viewpoints.^[7]

The contemporary use of the term chest voice often refers to a specific kind of vocal coloration or vocal timbre. In classical singing, its use is limited entirely to the lower part of the modal register or normal voice. Within other forms of singing, chest voice is often applied throughout the modal register. Chest timbre can add a wonderful array of sounds to a singer's vocal interpretive palette.^[12] However, the use of overly strong chest voice in the higher registers in an attempt to hit higher notes in the chest can lead to forcing. Forcing can lead consequently to vocal deterioration.^[13]

Classifying singing voices[link]

In European classical music and opera, voices are treated like musical instruments. Composers who write vocal music must have an understanding of the skills, talents, and vocal properties of singers. Voice classification is the process by which human singing voices are evaluated and are thereby designated into voice types. These qualities include but are not limited to: vocal range, vocal weight, vocal tessitura, vocal timbre, and vocal transition points such as breaks and lifts within the voice. Other considerations are physical characteristics, speech level, scientific testing, and vocal registration.^[14] The science behind voice classification developed within European classical music has been slow in adapting to more modern forms of singing. Voice classification is often used within opera to associate possible roles with potential voices. There are currently several different systems in use within classical music including: the German Fach system and the choral music system among many others. No system is universally applied or accepted.^[10]

However, most classical music systems acknowledge seven different major voice categories. Women are typically divided into three groups: soprano, mezzo-soprano, and contralto. Men are usually divided into four groups: countertenor, tenor, baritone, and bass. When considering voices of pre-pubescent children an eighth term, treble, can be applied. Within each of these major categories there are several sub-categories that identify specific vocal qualities like coloratura facility and vocal weight to differentiate between voices.^[7]

It should be noted that within choral music, singers' voices are divided solely on the basis of vocal range. Choral music most commonly divides vocal parts into high and low voices within each sex (SATB, or soprano, alto, tenor, and bass). As a result, the typical choral situation affords many opportunities for misclassification to occur.^[7] Since most people have medium voices, they must be assigned to a part that is either too high or too low for them; the mezzo-soprano must sing soprano or alto and the baritone must sing tenor or bass. Either option can present problems for the singer, but for most singers there are fewer dangers in singing too low than in singing too high.^[15]

Within contemporary forms of music (sometimes referred to as Contemporary Commercial Music), singers are classified by the style of music they sing, such as jazz, pop, blues, soul, country, folk, and rock styles. There is currently no authoritative voice classification system within non-classical music. Attempts have been made to adopt classical voice type terms to other forms of singing but such attempts have been met with controversy.^[16] The development of voice categorizations were made with the understanding that the singer would be using classical vocal technique within a specified range using unamplified (no microphones) vocal production. Since contemporary musicians use different vocal techniques, microphones, and are not forced to fit into a specific vocal role, applying such terms as soprano, tenor, baritone, etc. can be misleading or even inaccurate.^[17]

Vocal pedagogy[link]

Ercole de' Roberti: Concert, c. 1490

Vocal pedagogy is the study of the teaching of singing. The art and science of vocal pedagogy has a long history that began in Ancient Greece^{[citation needed]} and continues to develop and change today. Professions that practice the art and science of vocal pedagogy include vocal coaches, choral directors, vocal music educators, opera directors, and other teachers of singing.

Vocal pedagogy concepts are a part of developing proper vocal technique. Typical areas of study include the following:^[18][19]

• Human anatomy and physiology as it relates to the physical process of singing
  • Vocal health and voice disorders related to singing
  • Breathing and air support for singing
  • Phonation
  • Vocal resonation or Voice projection
  • Vocal registration: a particular series of tones, produced in the same vibratory pattern of the vocal folds, and possessing the same quality, which originate in laryngeal function, because each of these vibratory patterns appears within a particular range of pitches and produces certain characteristic sounds.
  • Voice classification

• Vocal styles: for Classical singers, this includes styles ranging from Lieder to opera; for pop singers, styles can include "belted out" a blues ballads; for jazz singers,styles can include Swing ballads and scatting.
  • Techniques used in styles such as sostenuto and legato, range extension, tone quality, vibrato, and coloratura

Vocal technique[link]

Singing when done with proper vocal technique is an integrated and coordinated act that effectively coordinates the physical processes of singing. There are four physical processes involved in producing vocal sound: respiration, phonation, resonation, and articulation. These processes occur in the following sequence:

1. Breath is taken
2. Sound is initiated in the larynx
3. The vocal resonators receive the sound and influence it
4. The articulators shape the sound into recognizable units

Although these four processes are often considered separately when studied, in actual practice they merge into one coordinated function. With an effective singer or speaker, one should rarely be reminded of the process involved as their mind and body are so coordinated that one only perceives the resulting unified function. Many vocal problems result from a lack of coordination within this process.^[17]

Since singing is a coordinated act, it is difficult to discuss any of the individual technical areas and processes without relating them to the others. For example, phonation only comes into perspective when it is connected with respiration; the articulators affect resonance; the resonators affect the vocal folds; the vocal folds affect breath control; and so forth. Vocal problems are often a result of a breakdown in one part of this coordinated process which causes voice teachers to frequently focus in intensively on one area of the process with their student until that issue is resolved. However, some areas of the art of singing are so much the result of coordinated functions that it is hard to discuss them under a traditional heading like phonation, resonation, articulation, or respiration.

Once the voice student has become aware of the physical processes that make up the act of singing and of how those processes function, the student begins the task of trying to coordinate them. Inevitably, students and teachers will become more concerned with one area of the technique than another. The various processes may progress at different rates, with a resulting imbalance or lack of coordination. The areas of vocal technique which seem to depend most strongly on the student's ability to coordinate various functions are:^[7]

1. Extending the vocal range to its maximum potential
2. Developing consistent vocal production with a consistent tone quality
3. Developing flexibility and agility
4. Achieving a balanced vibrato

Developing the singing voice[link]

Singing is a skill that requires highly developed muscle reflexes. Singing does not require much muscle strength but it does require a high degree of muscle coordination. Individuals can develop their voices further through the careful and systematic practice of both songs and vocal exercises. Vocal pedagogists instruct their students to exercise their voices in an intelligent manner. Singers should be thinking constantly about the kind of sound they are making and the kind of sensations they are feeling while they are singing.^[17] Vocal exercises have several purposes, including^[7] warming up the voice; extending the vocal range; "lining up" the voice horizontally and vertically; and acquiring vocal techniques such as legato, staccato, control of dynamics, rapid figurations, learning to sing wide intervals comfortably, singing trills, singing melismas and correcting vocal faults.

Extending vocal range[link]

An important goal of vocal development is to learn to sing to the natural limits of one's vocal range without any obvious or distracting changes of quality or technique. Vocal pedagogists teach that a singer can only achieve this goal when all of the physical processes involved in singing (such as laryngeal action, breath support, resonance adjustment, and articulatory movement) are effectively working together. Most vocal pedagogists believe in coordinating these processes by (1) establishing good vocal habits in the most comfortable tessitura of the voice, and then (2) slowly expanding the range.^[3]

There are three factors that significantly affect the ability to sing higher or lower:

1. The energy factor – "energy" has several connotations. It refers to the total response of the body to the making of sound; to a dynamic relationship between the breathing-in muscles and the breathing-out muscles known as the breath support mechanism; to the amount of breath pressure delivered to the vocal folds and their resistance to that pressure; and to the dynamic level of the sound.
2. The space factor – "space" refers to the size of the inside of the mouth and the position of the palate and larynx. Generally speaking, a singer's mouth should be opened wider the higher he or she sings. The internal space or position of the soft palate and larynx can be widened by relaxing the throat. Vocal pedagogists describe this as feeling like the "beginning of a yawn".
3. The depth factor – "depth" has two connotations. It refers to the actual physical sensations of depth in the body and vocal mechanism, and to mental concepts of depth that are related to tone quality.

McKinney says, "These three factors can be expressed in three basic rules: (1) As you sing higher, you must use more energy; as you sing lower, you must use less. (2) As you sing higher, you must use more space; as you sing lower, you must use less. (3) As you sing higher, you must use more depth; as you sing lower, you must use less."^[7]

Posture[link]

The singing process functions best when certain physical conditions of the body exist. The ability to move air in and out of the body freely and to obtain the needed quantity of air can be seriously affected by the posture of the various parts of the breathing mechanism. A sunken chest position will limit the capacity of the lungs, and a tense abdominal wall will inhibit the downward travel of the diaphragm. Good posture allows the breathing mechanism to fulfill its basic function efficiently without any undue expenditure of energy. Good posture also makes it easier to initiate phonation and to tune the resonators as proper alignment prevents unnecessary tension in the body. Vocal pedagogists have also noted that when singers assume good posture it often provides them with a greater sense of self assurance and poise while performing. Audiences also tend to respond better to singers with good posture. Habitual good posture also ultimately improves the overall health of the body by enabling better blood circulation and preventing fatigue and stress on the body.^[3]

There are eight components of the ideal singing posture:

1. Feet slightly apart
2. Legs straight but knees unlocked
3. Hips facing straight forward
4. Spine aligned
5. Abdomen flat
6. Chest comfortably forward
7. Shoulders down and back
8. Head facing straight forward

Breathing and breath support[link]

Natural breathing has three stages: a breathing-in period, a breathing out period, and a resting or recovery period; these stages are not usually consciously controlled. Within singing there are four stages of breathing: a breathing-in period (inhalation); a setting up controls period (suspension);a controlled exhalation period (phonation); and a recovery period.

These stages must be under conscious control by the singer until they become conditioned reflexes. Many singers abandon conscious controls before their reflexes are fully conditioned which ultimately leads to chronic vocal problems.^[20]

Vibrato[link]

Vibrato is used by singers in which a sustained note wavers very quickly and consistently between a higher and a lower pitch, giving the note a slight quaver. Vibrato is the pulse or wave in a sustained tone. Vibrato occurs naturally, and is the result of proper breath support and a relaxed vocal apparatus.^[21] Some singers use vibrato as a means of expression. Many successful artists have built a career on deep, rich vibrato.

Vocal music[link]

Vocal music is music performed by one or more singers, with or without instrumental accompaniment, in which singing provides the main focus of the piece. Vocal music is probably the oldest form of music, since it does not require any instrument besides the human voice. All musical cultures have some form of vocal music and there are many long standing singing traditions throughout the world's cultures.

Music which employs singing but does not feature it prominently is generally considered as instrumental music. For example, some blues rock songs may have a simple call-and-response chorus, but the emphasis in the song is on the instrumental melodies and improvisation. Vocal music typically features sung words called lyrics, although there are notable examples of vocal music that are performed using non-linguistic syllables or noises, sometimes as musical onomatopoeia. A short piece of vocal music with lyrics is broadly termed a song.

Genres of vocal music[link]

Rock singer Ian Gillan performing live with Deep Purple in Montreux in 2006.

Vocal music is written in many different forms and styles which are often labeled within a particular genre of music. These genres include: Art music, Popular music, Traditional music, regional and national music, and fusions of those genres. Within these larger genres are many sub-genres. For example, popular music would encompass blues, jazz, country music, easy listening, hip hop, rock music, and several other genres. There may also be a sub-genre within a sub-genre such as vocalese and scat singing in jazz.

Popular and traditional music[link]

In many modern pop musical groups, a lead singer performs the primary vocals or melody of a song, as opposed to a backing singer who sings backup vocals or the harmony of a song. Backing vocalists sing some, but usually not all, parts of the song often singing only in a song's refrain or humming in the background. An exception is five-part gospel a cappella music, where the lead is the highest of the five voices and sings a descant, and not the melody. Some artists may sing both the lead and backing vocals on audio recordings by overlapping recorded vocal tracks.

Popular music includes a range of vocal styles. Hip-hop uses rapping, the rhythmic delivery of rhymes in a rhythmic speech over a beat or without accompaniment. Some types of rapping consist mostly or entirely of speech and chanting, like the Jamaican "toasting". In some types of rapping, the performers may interpolate short sung or half-sung passages. Blues singing is based on the use of the blue notes–notes sung at a slightly lower pitch than that of the major scale for expressive purposes. In heavy metal and hardcore punk subgenres, vocal styles can include techniques such as screams, shouts, and unusual sounds such as the "death growl".

Rapper Busta Rhymes performs in Las Vegas.

One difference between live performances in the popular and Classical genres is that whereas Classical performers often sing without amplification in small- to mid-size halls, in popular music, a microphone and PA system (amplifier and speakers) are used in almost all performance venues, even a small coffee house. The use of the microphone has had several impacts on popular music. For one, it facilitated the development of intimate, expressive singing styles such as "crooning" which would not have enough projection and volume if done without a microphone. As well, pop singers who use microphones can do a range of other vocal styles that would not project without amplification, such as making whispering sounds, humming, and mixing half-sung and sung tones. As well, some performers use the microphone's response patterns to create effects, such as bringing the mic very close to the mouth to get an enhanced bass response, or, in the case of hip-hop beatboxers, doing plosive "p" and "b" sounds into the mic to create percussive effects.

While some bands use backup singers who only sing when they are onstage, it is common for backup singers in popular music to have other roles. In many rock and metal bands, the musicians doing backup vocals also play instruments, such as rhythm guitar, electric bass, or drums. In Latin or Afro-Cuban groups, backup singers may play percussion instruments or shakers while singing. In some pop and hip-hop groups and in musical theater, the backup singers may be required to perform elaborately choreographed dance routines while they sing through headset microphones.

Careers in singing[link]

The salaries and working conditions for vocalists vary a great deal. While jobs in other music fields such as music education tend to be based on full-time, salaried positions, singing jobs tend to be based on contracts for individual shows or performances, or for a sequence of shows (e.g., a two-week series of performances of an opera or musical theater show). Since income from singing jobs can be unsteady, singers often supplement their performing income with other singing-related jobs, such as vocal coaching, voice lessons, or as working as a choral director in a church. Due to the large number of aspiring vocalists, it can be very competitive to get jobs in singing.

Maria Callas during her final tour in Amsterdam in 1973.

Church choir soloists can make from $30 to $500 per performance (all figures in US dollars). Performers in a community choral group can earn from $200–$3,000 yearly; members of a professional concert choral group can make $80 and up per performance. Singers who perform on radio or TV shows can make $75 and up per show on a local station and $125 and up per national network show (e.g., CBS or NBC). Jazz or pop singers who perform with dance bands or nightclub show groups can make $225 and up per week. Professional opera chorus singers can make from $350–$750 per week. Opera soloists, for which the number of job openings is very limited, can make from $350 to $20,000 per performance for the most elite performers. Classical concert soloists, for which the number of job openings is very limited, have approximate earnings of $350 per performance and up.^[22]

Aspiring singers and vocalists must have musical talent and skill, an excellent voice, the ability to work with people, and a sense of showmanship and drama. Additionally, singers need to have the ambition and drive to continually study and improve,^[22] because the process of studying singing does not end after an initial diploma or degree is finished-even decades after finishing their initial training, professional singers continue to seek out vocal coaching to hone their skills, extend their range, and learn new styles. As well, aspiring singers need to gain specialized skills in the vocal techniques used to interpret songs, learn about the vocal literature from their chosen style of music, and gain skills in choral music techniques, sight singing and memorizing songs, and basic skills at the piano, to aid in learning new songs and in ear training or vocal exercises. In Classical singing and in some other genres, a knowledge of foreign languages such as French, Italian, German, or other languages, is needed. Prior to college or university training, aspiring singers should learn to read music, study basic piano, and gain experience with singing, both in choirs and in solo settings.

College or university degrees are "not always required but the equivalent training is usually necessary".^[22] Post-secondary training in singing is available for both Classical and non-Classical singers. In the Classical stream, singing can be studied at conservatories and university music programs; credentials that are available range from diplomas and Bachelor's degrees to Master's degrees and the Doctor of Musical Arts. In popular and jazz styles, college and university degrees are also available, though there are fewer programs.

Once aspiring vocalists have completed their professional training, they must then take steps to market themselves to buyers of vocal talent, by doing auditions in front of an opera director, choirmaster, or conductor. Depending on the style of vocal music that a person has trained in, the "talent buyers" that they seek out may be record company A&R representatives, opera or musical theater directors, choir directors, nightclub managers, or concert promoters. In addition preparing a resume or CV listing their training and performance experience, singers typically prepare a promotional kit that includes professionally taken photographs (head shots); a CD or DVD with excerpts of vocal performances; and copies of reviews from music critics or journalists. Some singers hire an agent or manager to help them to seek out engagements and other performance opportunities; the agent or manager is often paid by receiving a percentage of the fees that the singer gets from performing onstage.

Health benefits[link]

Scientific studies suggest that singing can have positive effects on people's health. A preliminary study based on self-reported data from a survey of students participating in choral singing found perceived benefits including increased lung capacity, improved mood, stress reduction, as well as perceived social and spiritual benefits.^[23] However, one much older study of lung capacity compared those with professional vocal training to those without, and failed to back up the claims of increased lung capacity.^[24] Singing may positively influence the immune system through the reduction of stress. One study found that both singing and listening to choral music reduces the level of stress hormones and increases immune function.^[25] A multinational collaboration to study the connection between singing and health was established in 2009, called Advancing Interdisciplinary Research in Singing (AIRS).^[26]

Singing in non-human species[link]

Scholars agree that singing is strongly present in many non-human species.^[27][28] Wide dispersal of singing behavior among very different animal species (like birds, gibbons, whales, and humans) strongly suggests that singing appeared independently in different species. Currently there are about 5400 species of animals that can sing. At least some singing species demonstrate the ability to learn their songs, to improvise and even to compose new melodies.^[29] In some animal species singing is a group activity (see, for example, singing in gibbon families.^[30])

Singing in different natural environments[link]

Joseph Jordania suggested that singing behavior is very unevenly distributed among animal species, living in different environments (on the ground, in the water, in trees).^[31] Most of the singing species live on the trees (like many bird species, or gibbons), some live in the water (whales, dolphins, seals, sea lions), and there are no animal species who live on the ground and sing^[32] except for humans. This uneven distribution of singing can be crucial for our understanding of the origins of the singing behavior in animals and humans. Jordania explains this fact as the result of the pressure from natural selection. Singing is a very costly behavior, not only because of the energy to produce sounds, but primarily for the security reasons, as all the possible predators can easily learn the whereabouts of a singing animal. Singing species that live on the trees are in a much more favourable situation, as trees allow different species to live according to their body weight. So different animals with different body weight live on different "levels" of the tree branches. For example, a 50 kilo leopard can see and hear the sounds produced by a 15 kilo monkey, but as a lighter monkey can live much higher on the tree branches, it is out of reach of a heavier leopard. Therefore tree living (or arboreal) species feel quite secure to sing or to communicate with a wide range of vocal signals. On the other hand, all the ground living (or terrestrial) animal species, despite the huge weight differences between them (ranging from rabbits to lions and elephants) live on the same "ground level", and maintaining silence is crucially important for them. Even most of the birds, the most ardent singers, stop singing and producing other sounds when they sit on the ground.^[33] Therefore, predator threat might be a primary reason why tree living species are generally much noisier than ground living species.^[34]

See also[link]

Art music[link]

Popular music[link]

• Beat boxing
• Belt (music)
• Death growl
• Humming
• Lead vocalist
• Rapping
• Screaming (music)
• Vocoder

References[link]

External links[link]

Wikiquote has a collection of quotations related to: Singing

Look up vocal or singing in Wiktionary, the free dictionary.

Wikibooks has more on the topic of Singing

• A Brief History of Singing
• Singing and Health: A systematic mapping and review of non-clinical research

Whitney Houston
Whitney Houston performing at Good Morning America in Central Park on September 1, 2009
Background information
Birth name	Whitney Elizabeth Houston
Born	(1963-08-09)August 9, 1963 Newark, New Jersey, U.S.
Died	February 11, 2012(2012-02-11) (aged 48) Beverly Hills, California, U.S.
Genres	R&B, soul, pop, dance, gospel
Occupations	Singer, actress, model, film producer, record producer, songwriter
Instruments	Vocals, piano
Years active	1977–2012
Labels	Arista, RCA
Associated acts	Cissy Houston, Dionne Warwick, Dee Dee Warwick, Aretha Franklin, Jermaine Jackson, Mariah Carey, Enrique Iglesias, Bobby Brown
Website	Official website Whitney Houston's autograph

Whitney Elizabeth Houston (August 9, 1963 – February 11, 2012) was an American recording artist, actress, producer, and model. In 2009, the Guinness World Records cited her as the most-awarded female act of all-time.^[1] Houston was one of the world's best-selling music artists, having sold over 170 million albums, singles and videos worldwide.^[2][3] She released seven studio albums and three movie soundtrack albums, all of which have diamond, multi-platinum, platinum or gold certification. 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",^[4] influenced several African American female artists to follow in her footsteps.^[5][6]

Houston is the only artist to chart seven consecutive No. 1 Billboard Hot 100 hits.^[7] She is the second artist behind Elton John and the only female artist to have two number-one Billboard 200 Album awards (formerly "Top Pop Album") on the Billboard magazine year-end charts.^[8] Houston's 1985 debut album Whitney Houston became the best-selling debut album by a female act at the time of its release. The album was named Rolling Stone's best album of 1986, and was ranked at number 254 on Rolling Stone's list of the 500 Greatest Albums of All Time.^[9] 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.^[9]

Houston's first acting role was as the star of the feature film The Bodyguard (1992). The film'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. With the album, Houston became the first act (solo or group, male or female) to sell more than a million copies of an album within a single week period under Nielsen SoundScan system.^[9] The album makes her the top female act in the top 10 list of the best-selling albums of all time, at number four. Houston continued to star in movies and contribute to their soundtracks, including the films Waiting to Exhale (1995) and The Preacher's Wife (1996). The Preacher's Wife soundtrack became the best-selling gospel album in history.^[10]

Life and career[link]

1963–1976: Early life[link]

Whitney Houston was born in what was then a middle-income neighborhood in Newark, New Jersey, the second child of Army serviceman and entertainment executive John Russell Houston, Jr. (September 13, 1920 – February 2, 2003), and gospel singer Cissy Houston (née Emily Drinkard).^[11] She was of African American, Native American and Dutch descent.^[12] Her mother, along with cousins Dionne Warwick and Dee Dee Warwick, godmother Darlene Love^[13] and honorary aunt Aretha Franklin^[14] were all notable figures in the gospel, rhythm and blues, pop, and soul genres.^[15] She met her honorary aunt at age 8, or 9, when her mother took her to a recording studio.^[16] 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.^[17]

At the age of 11, 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.^[18] Her first solo performance in the church was "Guide Me, O Thou Great Jehovah".^[19] When Houston was a teenager, she attended Mount Saint Dominic Academy, a Catholic girls' high school in Caldwell, New Jersey, where she met her best friend Robyn Crawford, whom she described as the "sister she never had".^[20] While Houston was still in school, her mother continued to teach her how to sing.^[5] 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.^[21]

1977–1984: Early career[link]

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 became a backup singer on the Michael Zager Band's single "Life's a Party".^[22] 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.^[23][24] She also sang back-up on albums by Lou Rawls and Jermaine Jackson.^[23]

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 in Seventeen^[25] and became one of the first women of color to grace the cover of the magazine.^[26] She was also featured in layouts in the pages of Glamour, Cosmopolitan, Young Miss, and appeared in a Canada Dry soft drink TV commercial.^[27] Her striking looks and girl-next-door charm made her one of the most sought after teen models of that time.^[27] While modeling, she continued her burgeoning recording career by working with producers Michael Beinhorn, 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", a cover of a song by Hugh Hopper of Soft Machine. Robert Christgau of The Village Voice called her contribution "one of the most gorgeous ballads you've ever heard".^[28] She also appeared as a lead vocalist on one track on a Paul Jabara album, entitled Paul Jabara and Friends, released by Columbia Records in 1983.^[29]

Houston had previously been offered several recording agencies (Michael Zager in 1980, and Elektra Records in 1981), however her mother declined the offers stating her daughter must first complete high school.^[22][30] 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.^[31]

Houston signed with Arista in 1983, but did not begin work on her album immediately.^[1] 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.^[32] Houston first recorded a duet with Teddy Pendergrass entitled "Hold Me" which appeared on his album, Love Language.^[33] The single was released in 1984 and gave Houston her first taste of success, becoming a Top 5 R&B hit.^[34] It would also appear on her debut album in 1985.

1985–1986: Rise to international prominence[link]

With production from Michael Masser, Kashif, Jermaine Jackson, and Narada Michael Walden, Houston's debut album Whitney Houston was released in February 1985. Rolling Stone magazine praised Houston, 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".^[35][36] Arista Records promoted Houston's album with three different singles from the album in the US, UK and other European countries. In the UK, the dance-funk "Someone for Me", which failed to chart in the country, was the first single while "All at Once" was in such European countries as the Netherlands and Belgium, where the song reached the top 5 on the singles charts, respectively.^[37]

In the US, the soulful ballad "You Give Good Love" was chosen as the lead single from Houston's debut to establish her in the black marketplace first.^[38] Outside the US, the song failed to get enough attention to become a hit, but in the US, it gave the album its first major hit as it peaked at No. 3 on the US Billboard Hot 100 chart, and No. 1 on the Hot R&B chart.^[32] As a result, the album began to sell strongly, and Houston continued promotion by touring nightclubs in the US. She also began performing on late-night television talk shows, which were not usually accessible to unestablished black acts. The jazzy ballad "Saving All My Love for You" was released next and it would become Houston's first No. 1 single in both the US and the UK. She was then an opening act for singer Jeffrey Osborne on his nationwide tour. "Thinking About You" was released as the promo single only to R&B-oriented radio stations, which peaked at number ten on the US R&B Chart. At the time, MTV had received harsh criticism for not playing enough videos by black, Latino, and other racial minorities while favoring white acts.^[39] The third US single, "How Will I Know", peaked at No. 1 and introduced Houston to the MTV audience thanks to its video. Houston's subsequent singles from this, and future albums, would make her the first African-American female artist to receive consistent heavy rotation on MTV.^[26]

By 1986, a year after its initial release, Whitney Houston topped the Billboard 200 albums chart and stayed there for 14 non-consecutive weeks.^[40] The final single, "Greatest Love of All", became Houston's biggest hit at the time after peaking No. 1 and remaining there for three weeks on the Hot 100 chart, which made her debut the first album by a female artist to yield three No. 1 hits. Houston was No. 1 artist of the year and Whitney Houston was the No. 1 album of the year on the 1986 Billboard year-end charts, making her the first female artist to earn that distinction.^[40] At the time, Houston released the best-selling debut album by a solo artist.^[41] Houston then embarked on her world tour, Greatest Love Tour. The album had become an international success, and was certified 13× platinum (diamond) in the United States alone, and has sold a total of 25 million copies worldwide.^[42]

At the 1986 Grammy Awards, Houston was nominated for three awards including Album of the Year.^[43] She was not eligible for the Best New Artist category due to her previous hit R&B duet recording with Teddy Pendergrass in 1984.^[44] She won her first Grammy award for Best Pop Vocal Performance, Female for "Saving All My Love for You".^[45] Houston's performance of the song during the Grammy telecast later earned her an Emmy Award for Outstanding Individual Performance in a Variety or Music Program.^[46]

Houston won seven American Music Awards in total in 1986 and 1987, and an MTV Video Music Award.^[47][48] 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 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.^[49][50] 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.^[51] 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.^[52][53]

[edit] 1987–1991: Whitney, I'm Your Baby Tonight and "The Star Spangled Banner"

With many expectations, 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".^[54] Still, the album enjoyed commercial success. Houston became the first female artist in music history to debut at number one on the Billboard 200 albums chart, and the first artist to enter the albums chart at number one in both the US and UK, while also hitting number one or top ten in dozens of other countries around the world. The album's first single, "I Wanna Dance With Somebody (Who Loves Me)", was also a massive hit worldwide, peaking at No. 1 on the Billboard Hot 100 chart and topping the singles chart in many countries such as Australia, Germany and the UK. The next three singles, "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 chart, 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.^[55][56] Houston became the first female artist to generate four number-one singles from one album. 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.^[57]

At the 30th 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)".^[58][59] Houston also won two American Music Awards in 1988 and 1989, respectively, and a Soul Train Music Award.^[60][61][62] 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.^[63] The success of the tours during 1986–87 and her two studio albums ranked Houston No. 8 for the highest earning entertainers list according to Forbes magazine.^[64] She was the highest earning African-American woman overall and the third highest entertainer after Bill Cosby and Eddie Murphy.^[64]

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.^[65][66] On June 11, 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.^[65] 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.^[67] 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.^[68] 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.^[69][70][71] With her world tour continuing overseas, Houston was still one of the top 20 highest earning entertainers for 1987–88 according to Forbes magazine.^[72][73]

Houston performing "Saving All My Love for You" on the Welcome Home Heroes concert in 1991

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.^[74] 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".^[6] They felt her singing on record lacked the soul that was present during her live concerts.^[25]

At the 1989 Soul Train Music Awards, when Houston's name was called out for a nomination, a few in the audience jeered.^[75][76] 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".^[25] 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".^[77] while Entertainment Weekly, at the time thought Houston's shift towards an urban direction was "superficial".^[78]

The album contained several hits: the first two singles, "I'm Your Baby Tonight" and "All the Man That I Need" peaked at number one on the Billboard Hot 100 chart; "Miracle" peaked at number nine; "My Name Is Not Susan" peaked in the top twenty; "I Belong to You" reached the top ten of the US R&B chart and garnered Houston a Grammy nomination; and the sixth single, the Stevie Wonder duet "We Didn't Know", reached the R&B top twenty. The album peaked at number three on the Billboard 200 and went on to be certified 4× platinum in the US while selling twelve million total worldwide.

In 1990, Houston was the spokesperson for a youth leadership conference hosted in Washington, D.C. She had a private audience with President George H. W. Bush in the Oval Office to discuss the associated challenges.

With America entangled in the Persian Gulf War, Houston performed "The Star Spangled Banner" at Super Bowl XXV at Tampa Stadium on January 27, 1991.^[79] Due to overwhelming response to her rendition, it was released as a commercial single and video of her performance, 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 No. 50 in November 1968).^[80][81] Houston donated all her share of the proceeds to the American Red Cross Gulf Crisis Fund. As a result, the singer was named to the Red Cross Board of Governors.^[79][82][83]

Her rendition was considered the benchmark for singers and critically acclaimed.^[84] Rolling Stone commented that "her singing stirs such strong patriotism. Unforgettable", and the performance ranked No. 1 on the 25 most memorable music moments in NFL history list. VH1 listed the performance as one of the greatest moments that rocked TV.^[85][86] Following the attacks on 9/11, it was released again by Arista Records, all profits going towards the firefighters and victims of the attacks. This time it peaked at No. 6 in the Hot 100 and was certified platinum by the Recording Industry Association of America.^[87]

Later in 1991, Houston put together her Welcome Home Heroes concert with HBO for the soldiers fighting in the Persian 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.^[88] Houston's concert gave HBO its highest ratings ever.^[89] She then embarked on the I'm Your Baby Tonight World Tour.

[edit] 1992–1994: 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.^[90] 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.^[91] On March 4, 1993, Houston gave birth to their daughter Bobbi Kristina Houston Brown, her only child, and his fourth. Brown would go on to have several run-ins with the law, including some jail time.^[91]

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.^[90] 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 in 2007.^[92] Houston's mainstream appeal allowed people to look at the movie color-blind.^[93]

Still, controversy arose as some felt the film's advertising intentionally hid Houston's face to hide the film's interracial relationship. In an interview with Rolling Stone in 1993, the singer commented that "people know who Whitney Houston is – I'm black. You can't hide that fact."^[21] 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",^[94] and The New York Times commented that she lacked passion with her co-star.^[95] 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 due to rising ticket prices since the time the film was released.^[96]

The film's soundtrack also enjoyed big 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".^[97] The soundtrack's lead single was "I Will Always Love You", written and originally recorded by Dolly Parton in 1974. Houston's version of the song was acclaimed by many critics, regarding it as her "signature song" or "iconic performance". Rolling Stone and USA Today called her rendition "the tour-de-force".^[98][99] 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.^[100]

The single was certified 4× platinum by the RIAA, making Houston the first female artist with a single to reach that level in the RIAA history and becoming the best-selling single by a female artist in the US.^{[101][102][103]} The song also became a global success, hitting number-one in almost all countries, and one of the best-selling singles of all time with 12 million copies sold.^[104] The soundtrack topped the Billboard 200 chart and remained there for 20 non-consecutive weeks, the longest tenure by any album on the chart in the Nielsen SoundScan era, and became one of the fastest selling albums ever.^[105] During Christmas week of 1992, the soundtrack sold over a million copies within a week, becoming the first album to achieve that feat under Nielsen SoundScan system.^[106][107] With the follow-up singles "I'm Every Woman", a Chaka Khan cover, and "I Have Nothing" both reaching the top five, Houston became the first female artist to ever have three singles in the Top 11 simultaneously.^{[108][109][110]} The album was certified 17× platinum in the US alone,^[111] with worldwide sales of 44 million,^[112] making The Bodyguard the biggest-selling album by a female act on the list of the world's Top 10 best-selling albums, topping Shania Twain's 40 million sold for Come On Over.^[113]

Houston won three Grammys for the album in 1994, including two of the Academy's highest honors, Album of the Year and Record of the Year. In addition, she won a record 8 American Music Awards at that year's ceremony including the Award of Merit,^[114] 11 Billboard Music Awards, 3 Soul Train Music Awards in 1993–94 including Sammy Davis, Jr. Award as Entertainer of the Year,^[115] 5 NAACP Image Awards including Entertainer of the Year,^{[116][117][118]} a record 5 World Music Awards,^[119] and a BRIT award.^[120] Following the success of the project, Houston embarked on another expansive global tour, The Bodyguard World Tour, in 1993–94. Her concerts, movie, and recording grosses made her the third highest earning female entertainer of 1993–94, just behind Oprah Winfrey and Barbra Streisand according to Forbes magazine.^[121] Houston placed in the top five of Entertainment Weekly's annual "Entertainer of the Year" ranking^[122] and was labeled by Premiere magazine as one of the 100 most powerful people in Hollywood.^[123]

In October 1994, Houston attended and performed at a state dinner in the White House honoring newly elected South African president Nelson Mandela.^[124][125] 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.^[126] 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".^[127]

[edit] 1995–1997: 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 played 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".^[128] After opening at number one and grossing $67 million in the US at the box office and $81 million worldwide,^[129] 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.^{[130][131][132]} The film is also notable for its portrayal of black women as strong middle class citizens as opposed to stereotypes.^[133] 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."^[134] 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.^[128] 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 No. 1, and then spent a record eleven weeks at the No. 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 No. 1, and was certified 7× Platinum in the United States, denoting shipments of seven million copies.^[57] 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"^[135] and has since ranked it as one of the 100 Best Movie Soundtracks.^[136] Later that year, Houston's children's charity organization was awarded a VH1 Honor for all the charitable work.^[137]

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). It was largely an updated remake of the 1948 film "The Bishop's Wife" which starred Loretta Young, David Niven and Cary Grant. Houston earned $10 million for the role, making her one of the highest-paid actresses in Hollywood at the time and the highest earning African American actress in Hollywood.^[138] The movie, with its all African-American cast, was a moderate success, earning approximately $50 million at the U.S. box offices.^[139] 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".^[140] 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,^[141] while The 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".^[142]

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.^[143] 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.^[144] The film is notable for its multi-racial cast and nonstereotypical message.^[145] An estimated 60 million viewers tuned into the special giving ABC its highest TV ratings in 16 years.^[146] The movie received seven Emmy nominations including Outstanding Variety, Musical or Comedy, while winning Outstanding Art Direction in a Variety, Musical or Comedy Special.^[147]

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.^[143] However, Halle Berry also had rights to the project and she got her version going first.^[148] 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.^[149] Houston received The Quincy Jones Award for outstanding career achievements in the field of entertainment at the 12th Soul Train Music Awards.^[150][151]

[edit] 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 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, its peak position, on the Billboard 200 chart.^[152] 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.^[153]

From late 1998 to early 2000, the album spawned several hit singles: "When You Believe" (US No. 15, UK No. 4), a duet with Mariah Carey for 1998's The Prince of Egypt soundtrack, which also became an international hit as it peaked in the Top 10 in several countries and won an Academy Award for Best Original Song;^[154] "Heartbreak Hotel" (US No. 2, UK No. 25) featured Faith Evans and Kelly Price, received a 1999 MTV VMA nomination for Best R&B Video,^[155] and number one on the US R&B chart for seven weeks; "It's Not Right But It's Okay" (US No. 4, UK No. 3) won Houston her sixth Grammy Award for Best Female R&B Vocal Performance;^[156] "My Love Is Your Love" (US No. 4, UK No. 2) with 3 million copies sold worldwide;^[157] and "I Learned from the Best" (US No. 27, UK No. 19).^[158][159] These singles became international hits as well, and all the singles, except "When You Believe", became number one hits on the Billboard Hot Dance/Club Play chart. The album sold four million copies in America, making it certified 4× platinum, and a total of eleven million copies worldwide.^[42]

The album gave Houston some of her strongest reviews ever. Rolling Stone said Houston was singing "with a bite in her voice"^[160] and The Village Voice called it "Whitney's sharpest and most satisfying so far".^[161] In 1999, Houston participated in VH-1's Divas Live '99, alongside Brandy, Mary J. Blige, Tina Turner, and Cher. The same year, Houston hit the road with her 70 date My Love Is Your Love World Tour. The European leg of the tour was Europe's highest grossing arena tour of the year.^[162] In November 1999, Houston was named Top-selling R&B Female Artist of the Century with certified US sales of 51 million copies at the time and The Bodyguard Soundtrack was named the Top-selling Soundtrack Album of the Century by the Recording Industry Association of America (RIAA).^[163] She also won The Artist of the Decade, Female award for extraordinary artistic contributions during the 1990s at the 14th Soul Train Music Awards, and an MTV Europe Music Award for Best R&B.^{[164][165][166][167][168]}

In May 2000, Whitney: The Greatest Hits was released worldwide. The double disc set peaked at number five in the United States, reaching number one in the United Kingdom.^[159][169] In addition, the album reached the Top 10 in many other countries.^[170] While ballad songs were left unchanged, the album features house/club remixes of many of Houston's up-tempo hits. 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", and three hits that had never appeared on a Houston album: "One Moment in Time", "The Star Spangled Banner", and "If You Say My Eyes Are Beautiful", a duet with Jermaine Jackson from his 1986 Precious Moments album.^[171] Along with the album, an accompanying VHS and DVD was released featuring the music videos to Houston's greatest hits, as well as several hard-to-find live performances including her 1983 debut on The Merv Griffin Show, and interviews.^[172] The greatest hits album was certified 3× platinum in the US, with worldwide sales of 10 million.^[173][174]

[edit] 2000–2005: Just Whitney, and personal struggles

Though Houston was seen as a "good girl" with a perfect image in the 1980s and early 1990s, by the late 1990s, her behavior changed. She was often hours late for interviews, photo shoots and rehearsals, and canceling concerts and talk-show appearances.^[175][176] 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 them,^[177] 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 failed to show up.^[178]

Shortly thereafter, Houston was scheduled to perform at the Academy Awards but was fired from the event by musical director and longtime 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.^[179] Houston later admitted to having been fired.^[180] Later that year, Houston's long-time executive assistant and friend, Robyn Crawford, resigned from Houston's management company.^[178]

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.^{[181][182][183]} 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."^[184] The singer was scheduled for a second performance the following night but canceled.^[185] Within weeks, Houston's rendition of "The Star Spangled Banner" would be re-released after the September 11 attacks, with the proceeds donated to the New York Firefighters 9/11 Disaster Relief Fund and the New York Fraternal Order of Police.^[186] The song peaked at No. 6 this time on the US Hot 100, topping its previous position.^[158]

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 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.^[187] 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.^[188] Houston's father later died in February 2003.^[189] The lawsuit was dismissed on April 5, 2004, and Skinner was awarded nothing.^[190]

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.^{[citation needed]} 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."^[180] The line was from Keith Haring's mural which was painted in 1986 on the handball court at 128th Street and 2nd Avenue.^[191] Houston did, however, admit to using other substances at times, including cocaine.^[180]

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 that 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.^[192] 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.^[193] 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.^[194]

On a June 2003 trip to Israel, Houston said of her visit, "I've never felt like this in any other country. I feel at home, I feel wonderful."^[195]

In late 2003, Houston released her first Christmas album One Wish: The Holiday Album, with a collection 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 a 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.^[196]

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."^[197] 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.^[198] The show was not renewed for a second season after Houston stated that she would no longer appear in it, and Brown and Bravo could not come to an agreement for another season.^[199]

[edit] 2006–2012: Return to music, I Look to You, tour and film comeback

After years of controversy and turmoil, Houston separated from Bobby Brown in September 2006, filing for divorce the following month.^[200] On February 1, 2007, Houston asked the court to fast track their divorce.^[201] The divorce was finalized on April 24, 2007, with Houston granted custody of the couple's daughter.^[202] On May 4, Houston sold the suburban Atlanta home featured in Being Bobby Brown for $1.19 million.^[203] A few days 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.^[204] 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.^[205] In March 2007, Clive Davis of Arista Records announced that Houston would begin recording a new album.^[206] In October 2007, Arista released another compilation The Ultimate Collection outside the United States.^[207]

Houston performing "My Love Is Your Love" with her daughter Bobbi Kristina Brown on Good Morning America, September 1, 2009

Houston gave her first interview in seven years in September 2009, appearing on Oprah Winfrey's season premiere. The interview was billed as "the most anticipated music interview of the decade".^[208] Whitney admitted on the show to using drugs with former husband Bobby Brown, who "laced marijuana with rock cocaine".^[209] By 1996, she told Oprah, "[doing drugs] was an everyday thing... I wasn't happy by that point in time. I was losing myself."^[210]

Houston released her new album, I Look to You, in August 2009.^[211] The album's first two singles are "I Look to You" and "Million Dollar Bill". The album entered the Billboard 200 at No. 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 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".

The performance was poorly received by the British media, and was variously described as "weird" and "ungracious",^[212] "shambolic"^[213] 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 The X Factor, performing the same song "Million Dollar Bill" to excellent reviews.^[214] She was awarded the Gold Certificate for achieving over 50,000 CD sales of "I Look To You" in Italy.^[215] 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.^[216] On January 26, 2010, her debut album was re-released in a special edition entitled Whitney Houston – The Deluxe Anniversary Edition.^[217]

Whitney Houston at the O2 Arena, April 28, 2010, as part of her Nothing but Love World Tour

Houston later embarked on a world tour, entitled the Nothing but Love World 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.^[218][219] 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.^[220]

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 award was held at the Warner Theatre in Washington, D.C. and aired on 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 wanted to collaborate with will.i.am (of The Black Eyed Peas), her first choice for a collaboration.^[221]

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 Staples 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 a 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".^[222]

In September 2011, The Hollywood Reporter announced that Houston would produce and star alongside Jordin Sparks and Mike Epps in the remake of the 1976 film Sparkle. In the film, Houston portrays Sparks' "not-so encouraging mother". Houston would have executive producer credits on top of acting credits according to Debra Martin Chase, producer of Sparkle. She stated that Houston deserved the title considering she had been there from the beginning in 2001, when Houston obtained Sparkle production rights. R&B singer Aaliyah – originally tapped to star as Sparkle – died in a 2001 plane crash. Her death derailed production, which would have begun in 2002.^{[223][224][225]} Houston's remake of Sparkle was filmed in the fall of 2011,^[226] and is set for release by TriStar Pictures in August 2012.^[227]

Death[link]

The Beverly Hilton Hotel, where Houston's body was found

Wikinews has related news: American pop star Whitney Houston dies at 48

On February 9, 2012, Houston visited singers Brandy and Monica, together with Clive Davis, at their rehearsals for Davis' pre-Grammy Awards party at the Beverly Hilton Hotel in Beverly Hills.^[228][229] That same day, she made her last public performance, when she joined Kelly Price on stage in Hollywood, California, and sang "Jesus Loves Me".^[230][231]

On February 11, 2012, Houston was found dead in suite 434 at the Beverly Hilton Hotel, submerged in the bathtub.^[232][233] The cause of death was not immediately known.^[234][235] It was later ruled by the coroner to have been an "accidental drowning".^[236] Beverly Hills paramedics arrived at approximately 3:30 p.m. and found the singer unresponsive and performed CPR. Houston was pronounced dead at 3:55 p.m. PST.^[234][237] Local police said there were "no obvious signs of criminal intent."^[238] On March 22, 2012, the Los Angeles County coroner's office reported the cause of Houston's death was drowning and the "effects of atherosclerotic heart disease and cocaine use".^[239] The office stated the amount of cocaine found in Houston's body indicated that she used the substance shortly before her death.^[240] Toxicology results revealed additional drugs in her system: Benadryl, Xanax, marijuana and Flexiril.^[241] The manner of death was listed as an "accident".^[242]