diva (n): A distinguished1 and celebrated2 female singer; a woman ofoutstanding talent in the world of opera (usually soprano) and byextension in theater, cinema, and popular music.
My definition of diva is the classic one.
Aretha Franklin is my high bar and North Star, a masterful musician and mind-bogglinglygifted singer who wouldn’t let one genre3 confine or define her. I listened to and learnedfrom all of her. When she was in her late teens she moved from singing gospel to jazz—orrather, she added jazz to her repertoire4, because she never moved from gospel. (One of myfavorite albums of hers is still gospel: One Lord, One Faith, One Baptism.) And when shesang standards, there was nothing at all standard about her delivery. She brought asoulfulness to everything that was all her own.
Aretha had a bigger vision for herself. Her debut5 album had “I Never Loved a Man(The Way I Love You),” “Do Right Woman, Do Right Man,” and “Respect,” placing heron top of the R & B and pop charts. There was a great Aretha song in every era of my life.
I still believe most people don’t understand how amazing she was as a pianist andarranger. I think if you are a woman, with an incredible voice, your musicianship alwaysgets underplayed. I had the distinct honor of working with Big Jim Wright as a producerand musical director. Big Jim had worked with Aretha Franklin, and he told me, whenAretha felt the spirit, she would tap him on the shoulder, and that would be his cue to getup from the piano, where she would sit down and commence to play.
The first time I met Ms. Franklin was at the Grammys—my first year, when I wasnominated for five awards. What wrecked6 my nerves was not that I’d only been in thebusiness for about six months, and I was performing at the Grammys for millions ofviewers on live TV, and every big music star was in the audience: I was most concernedabout the fact that I had to sing in front of her. The one who I thought was the one, Ms.
Aretha Franklin. I had to sing “Vision of Love” with Aretha Franklin sitting in the frontrow. Many times I had visualized7 a dream of singing at big awards shows, but I neverimagined I would have to do so in front of my idol8 on my first go-round. I couldn’t evensleep the night before. The day of rehearsal9, I summoned the courage to go up to her. Shewas quietly sitting in the front row, on the left- hand side. I knelt down by her seat(because that’s what one does in the presence).
“Ms. Franklin, I just wanted to say thank you. My name is Mariah,” I said. Humbly10, Iwent on, “I just wanted to say thank you, from all of the singers that you’ve inspired.
Thank you. It’s an honor to meet you.”
Years later, she said to me, “Mariah, you’ve always had good manners, and that’s thething that most of these young girls are lacking. It’s the manners. They don’t have them.” Icouldn’t imagine doing any less for someone who gave the world so much. I got throughthe performance of “Vision of Love” and won Best New Artist and Best Pop VocalPerformance. Later, I totally scrutinized12 my performance at the Grammys that night, and Iheard every nuance13 I missed. But I sang before the Queen.
My next great encounter with her was in 1998, when I was asked to perform for VH1’sDivas Live show, for which they were going to do an Aretha Franklin tribute. Of course Isaid yes, because it was Aretha, and when you are summoned to pay homage14 to theQueen, you jump, jump, jump to it. When I arrived the day before the show for rehearsal,Aretha was giving the producer something he could feel. Ken15 Ehrlich is a giant in theindustry. He has produced countless16 honors and awards shows, including more than thirtyGrammys (and my #1 to Infinity17 show at The Colosseum, in Vegas). He and Aretha hadhistory. Good: he produced her operatic debut on the Grammys. Not So Good: theyseemed to have had power struggles, like an old married couple. The other “diva” singersselected for the show were Céline Dion, Shania Twain, Gloria Estefan, and Carole King(because of her having written the amazing “[You Make Me Feel Like a] NaturalWoman,” which Aretha loved and made a classic). Ken told me that on several occasionsAretha said, “Mariah’s the only girl that I’ll be singing with this evening.” Which is why Iwas the only one to do a duet with her on the show.
Temperatures were rising between Ken and Ms. Franklin because the air-conditioningwas on and she doesn’t sing with air-conditioning (or outside in the freezing cold).
Luther Vandross was the first artist to warn me of the risks of singing in the cold. Hetold me that I needed to care for the fragile physical place that holds the muscles, thetendons, and the sensitive strings18 that vibrate and allow my voice to come through. Listen,if being in the cold can make fingers go numb19, imagine what it can do to delicate vocalcords! There’s a certain performance of mine in the bitter cold wearing a sheer bedazzledleotard and eight-inch Louboutins at the world’s busiest intersection20, in intimate proximityto stinking21, putrid22 garbage that everyone seems to want to remember, and that I, quitehonestly, often forget. To me, it’s as if I was a child playing in the sandbox and I got sandin my eye, wept theatrically23, and caused a scene—then arrived twenty years later at myclass reunion, after haven24 gotten a PhD and become a celebrated scholar only to have myclassmates ask, “Oh, but how’s your eye?”
I was a lot of things in that fleeting25 moment in the cold, but I knew one thing Icertainly was not. I was not broken. Not even close. I had been through so much worse.
All debacles are not created equal, dahhhhling.
But the Queen of Soul, of course, knew better than to sing in the cold. When I arrivedfor our rehearsal, I was so excited and nervous. Aretha greeted me with, “Mariah, they’replaying games. And I’m not having the games. So we won’t be rehearsing this evening,”
she said, matter-of-factly.
Wait. Who the fuck is playing games? I wanted to scream. It’s enough that I’m goingto sing with Aretha Franklin, and now I can’t rehearse with her?! I could see Ken pacingaround, sweating, losing hair, and freaking out. “She’s doing what she always does,” hesputtered. I don’t know what the two of them always did, but this was the first time I wasgoing to sing with arguably the greatest singer on the planet, my idol, and I couldn’t get arehearsal! Why couldn’t they just turn the fucking air off? I was dying.
The night of no rehearsal was a nightmare, except that it was the time she told me shereally liked “Dreamlover” and suggested we sing it together. I died again. I was just blownaway that she even knew my song, let alone wanted to perform it. Years later, she did singsome of my songs, like “Hero” for Jesse Jackson’s birthday and “Touch My Body” ontour, where she ad-libbed all the frisky26 bits. She said, “Tell Mariah I’m a churchgoingwoman, and I can’t sing that stuff, now” and the audience sang along with the hook. It wasincredible.
But back to Divas Live. I humbly asked her if we could please do one of her songs. Ididn’t think my heart could take Aretha singing one of my songs on this occasion. Isuggested “Chain of Fools” instead. Mercifully, she agreed. Show day came, and I wasbrought to her trailer, where she was sitting with a keyboard, so we could go over the songtogether. We talked for a bit and worked on the song a little bit, but honestly I felt like Iwas in a bit of a blackout, because it was such an amazing and intimidating27 experiencehaving that intimacy28 with her, and the anticipation29 of performing with her with so littlepreparation—and for her to trust that I would carry on.
The time for our first number in the show came. She told the audience that she and“my newest girlfriend didn’t get to rehearse, but she’s going to come out and join me.”
The band began “Chain of Fools,” and I walked out on the stage. Her energy was sopowerful, I just kept my focus on her and sang when she told me to sing, and we did thesong. I ended with a bow and “All hail to the Queen!” How else do you exit a moment likethat? And she gestured to me and said, “Miss Carey.” That was enough for my soul.
At every tribute there’s always a big finale with a “We Are the World” moment whenall the artists sing some big song together (we love everybody, but I don’t love this part ofthe show ever, but here we go). All the other divas were on the stage, set to go out with“(You Make Me Feel Like a) Natural Woman,” a natural choice. Everyone knew her part,but we all knew that it was Aretha’s song. Well, almost all of us knew. Look, if Arethawas going to riff or ad-lib anywhere, that was her prerogative30 as Queen, but you do not—repeat, do not—take it as a challenge. One of the divas didn’t understand the culture of thecourt and tried to come for the Queen a little bit during the song. It was fine. I wouldn’thave ever done that. To quote Ms. Franklin, “Something was askew31.”
But at the very end, Aretha decided32 to take us to church and started to sing gospel. Shecame and put her arm around me, and I blew out a few big “Jesus!”es because she invitedme to. It’s like jazz: she was the bandleader; you followed her. So the dueling33 diva hadgone too far before (in my humble34 opinion) and appeared to try and outsing Aretha. That.
Happened. I couldn’t believe anyone would try to upstage Aretha Franklin on her tribute,while singing about Jesus, no less. Maybe it was a big culture gap, but it seemed like sheerlunacy to me, and I wanted no part of it. As it was happening, my body began toinvoluntarily back up out of the Diva lineup and I headed back to join the backup singers,most of whom I knew. It seemed like blasphemy35 to me, and I wanted to be out of strikingdistance should the lightning come.
I was mortified36, but of course Aretha didn’t care. She had more skills, soul, and naturaltalent than all of us combined and then multiplied. She had so much fun that night and toreit down.
Later I told the story to Patti LaBelle—Godmother, as I call her. (One day she juststarted calling herself my godmother, after I had the sublime37 honor of singing “Got to BeReal” with her on her TV special Live! One Night Only. She truly is one of the realestsingers ever.) She has given me good, seasoned advice and has literally38 held my handthrough some tough situations. So when I called her and told her about the scene, she said,“Mariah, if you would’ve participated in that hoedown, I would’ve had to come slap youin the face.”
Hopefully the one lesson we all learned on that stage was: R-E-S-P-E-C-T.
Aretha Franklin will always have not only respect from me, but also an ocean ofgratitude that will water me forever.
The year following the “hoedown,” VH1 Divas Live called me back to do a Diana Rosstribute. The Boss, Donna Summer, and I were supposed to do a Supremes kind of amoment. Of course I lived for the idea, because?… Ms. Ross! However, it would be a bitof a stretch for me, because while I was very familiar with both Ms. Ross and Ms.
Summer’s iconic disco-diva periods—I grew up with their dance hits—the Supremes erawould require research. I loved Ms. Ross’s eighties dance anthems41 like “I’m Coming Out”
and big ballads42 like “Endless Love” (which I so loved remaking with Luther); I couldcapture that feeling. Of course I knew some Supremes classics, like “Stop! In the Name ofLove,” but I didn’t really know their specific performance styles and qualities, or all of thelyrics.
To prepare, I turned to my friend Trey for the Ms. Ross background and backstory. That’swhen I put it together that Ms. Ross and I were born within the same week in March, a dayapart from each other. (Aretha too—when I was with Ms. Franklin in her trailer, trying tolearn “Chain of Fools” in a flash, I made some snarky comment (respectfully, of course),and she said, “Like the sense of humor. Typical Aries.” And Chaka Khan and BillieHoliday have birthdays in that week too!) As much as I loved Diana Ross growing up,Trey is the biggest Diana Ross fan there ever was. He lives for her.
Trey and I became friends before my first album came out. I was working in a studio,and he was doing backgrounds next door. I heard this voice going all up in thestratosphere, and I had to find out from whom that glorious sound was coming. It was aninstant click with us, not only because of his dynamic vocal11 abilities that were socomplementary to mine but because his spirit was light and full. We also got each other’shumor — particularly when it came to impersonating retro film and music stars andparodying great musical moments. And Ms. Ross was an endless reservoir of inspiration; alot of our sayings—our “-isms”—were derivative43 of the Boss. Trey was an expert when itcame to her mannerisms, her ad-libs, things he learned watching vintage Motown andSupremes clips, or little gems44 he picked up from movies and tapes. He just adoredeverything about her. The way I am with Marilyn, Trey is with Ms. Ross.
Once I was in London, where Ms. Ross and I were both doing the Top of the Pops TVshow. At the time, and for a very long time, Top of the Pops was the most important showto debut a song and make it an international hit record. Your performance of the song onthe show could literally make or break it. It wasn’t an awards show, it was a televisedshowcase, and after an appearance, a song could make it to the top of the pop charts.
Almost all of the UK and most of Europe would watch. There really is no Americanequivalent. It was one of the very few places where you could pass superstars like Princeor the Rolling Stones in the hallway.
Ms. Ross was so wonderful to me on set, telling me, “I love you; my kids love you.”
She was beyond lovely. She even came into my dressing45 room just to hang out! Instantly Ithought, I’m here casually46 with Diana Ross; I gotta call Trey! I did, and she left him areally sweet message in that high-pitched but low-volume singsongy voice: “Oh, this is forTrey? This is for Trey. Happy birthday, Trey.”
When he heard it, he just about died, right on his birthday. He saved that voicemessage forever. He probably still has it to this day.
To prepare for the Divas Live Ms. Ross / Supremes tribute, Trey was schooling47 me onall these Motown moments, and I was getting into her feeling, but how to integrate withDonna Summer was not as clear. I have such a tender memory connected with DonnaSummer. I was quite young and at a publicly funded New York City summer sleepawaycamp for kids. Let’s just say, it was not the most organized, and the staff were practicallykids themselves. It was predominately Black, and I was one of the very few mixed orlight-skinned children there, and the only blondish one. But I most certainly was nothaving more fun. Rather, I was a flash point for animosity. None of the girls liked me.
Why are they mad at me? I wondered. I didn’t understand, then. It wasn’t just the lightskin and blondish hair—if that weren’t enough, Khalil liked me. Khalil was the cutest boyin the whole camp. He had dark, curly brown hair, caramel skin, and greenish eyes. I wasalso taller than he was, so I think the girls also thought I was too old for him (even thoughwe were the same age).
At any rate, the dreamiest boy at the nightmare camp thought I was cute. There was aclosing-day dance, and just as the first bird-twinkling-flute sound with soaring strings andthe melodic48 ooohs began, Khalil walked over to me. He took my hand, and “Last dance,last chance for love” slowly started to fill the room. We went out to the dance floor, andour little selves moved in a waltzlike sway until the song broke out into the bright andhappy up-tempo part; then we jumped around in our own disco-ball world, letting jealousgirls made mean by harsh environments melt away.
I carried that less-than-ideal experience of being at a public camp with me. It inspiredme to conceive Camp Mariah, a summer camp focused on career awareness49. I intimatelyunderstood there were countless children who didn’t have access to resources at theirhands, space under their feet, and sky above their heads. The first fundraiser was aChristmas concert at the Cathedral of Saint John the Divine in Harlem in 1994, where Iperformed “All I Want for Christmas Is You” live for the first time. It stood as one of thelargest fundraisers ever for the Fresh Air Fund, Camp Mariah’s amazing partner. TheFresh Air Fund’s Camp Mariah allowed me to create what I didn’t have for thousands ofdeserving children. It has been not only fulfilling but healing.
So for me, Ms. Summer’s classic hit was the soundtrack to “Camp Khalil,” thatinnocent childhood moment (and there weren’t many). I had never met her. Divas Live is alive concert, but it’s taped in front of an audience at Radio City Music Hall. There werecrew and people bustling50 all about. Everyone was excited about the arrival of the icon40,Ms. Ross, and I was having my own current big pop-culture moment celebrating Rainbow,my seventh consecutive51 album to produce number-one hits on the Billboard52 Hot 100—“Heartbreaker” was my fourteenth. We were doing a walk-through of the staging andpreparing for a run-through of the Supremes medley53 (without Ms. Ross). Donna Summerquietly came up, appearing shy and uncomfortable. No one said much as she went off tothe side to have a conversation, I think about the teleprompter, which was scrolling54 lyricsto “Baby Love.” Then someone came and held up three hideous55 green sequined gowns.
They were cheap costume types, nowhere near couture. Putrid.
Who do they think is wearing that? I thought. ’Cause I’m not wearing that. I was sure Ms.
Ross would find them distasteful (to say the least) too. The next thing I knew, someonecame over and told me Ms. Summer wouldn’t be doing the performance with us. And sheleft. Oh, okay. There was no time to find a Cindy Birdsong (she replaced Florence Ballardin the Supremes). I don’t know what made Ms. Summer bow out (if it was the dresses, Icertainly don’t blame her), but it looked like this year’s Divas Live was going to beanother wild ride.
So now I was adjusting to the notion of doing a duet with Ms. Ross. Of course that wasexciting, but the green abominations? No ma’am. I would not be foiled by bad fashion onthat particular night—not in front of Ms. Ross, who is a well-documented internationalfashion icon.
Growing up, I so vividly56 recall seeing giant black-and-white posters of Diana Ross allover New York City. She was wearing a white T-shirt with rolled-up sleeves and worn-injeans; her hair was imperfectly perfectly57 slicked back and tucked behind her ear, and shewas in minimal58 makeup59. It was très chic—she was so beautiful. My eye couldn’t help butfocus on her gaze. The poster simply had her first name—“Diana”—written in largelowercase letters off to the side. I pasted that image on my inner inspiration board andsubsequently pulled it out for my #1’s cover. The composition was different, but I wasinspired by the poster’s simplicity60 and intensity61. From the beginning I sought to maketimeless, not trendy, images, and Ms. Ross is a trailblazer in creating modern, classic high-glamour iconography.
I made it known that I would not be wearing the shiny green horror. I don’t ever leave thehouse without my own wardrobe possibilities, because in this business you never reallyknow what might happen—and something very tacky was happening this night. I had aplan. Since Donna Summer had backed out, I offered this to Ms. Ross:
“Well, I have a dress. I actually have two dresses that are the same, if you wanted tolook at them.”
Donatella Versace had made me two fine metallic62-mesh-link mini toga-style numbers—one gold and one silver—and I had brought them both with me. (What a perfect night tohave options!)
“Yeah, let me see the dress,” Diana said.
This was a woman who had been in countless gorgeous dresses, made fashionstatements in every language, and I was humbly offering my dress (fabulous as it was) toher. Needless to say, I was nervous. I presented the tiny, backless dresses to her, and shetook the silver one. Yes.
“I promise not to bend over.” Those were her first words as she tiptoed out on thestage like a diva nymph with an Afro in the mini metallic silver sheath. She made it herown. I joined her in the gold version, and we stopped! in the name of love for the people.
The memory of having her teaching me the hand choreography for the song is sitting inmy treasure box of all-time precious moments. I felt a Love Supreme39.
Recently, I’ve been reflecting on something Ms. Ross said to me that time in London. Ihad sold tens of millions of records, and I was rolling deep, with a big team—makeupartist, hairstylist, wardrobe stylist, publicist, manager, and various assistants. As she wasflawlessly putting on her own makeup (she went to beauty school too!), she said, “Mariah,someday, you’re not gonna want to have all these people around you.”
I believe that “someday” is not far away.
One final “diva” moment. For the 1998 MTV VMAs, Whitney and I were opening theshow and presenting the Best Male Video award. It was supposed to be a whole staged“Clash of the Divas” stunt63 where we would enter from opposite sides of the stage andmeet in the middle, only to discover we had on the same dress—a chocolate Vera Wangslip-style gown. We did some cute banter64: “Nice dress,” and “They told me it was a one ofa kind.” Then I said something like, “It’s a good thing I come prepared,” and reachedbehind me to detach the long skirt portion of the dress, revealing an asymmetrical65 mini asI declared, “Try it on me!”
Then Whitney said, “I can do better” and also ripped away the long piece of her dress,showing a new and different shape. We had a great laugh about it, but the gag is themoment that almost didn’t happen. When I showed up at the venue66, my dress had notarrived. Because the whole opening revolved67 around the dresses, it wasn’t like I or anyonecould just whip out a replacement68. There was a panic! Apparently69 the dress was still at theshowroom, and so production arranged for a police escort for the dress, clearing the streetsto get it up to the theater on time.
That day, the police saved my one-of-a-kind-dress moment. If only someone couldhave saved our once-in-a-lifetime Whitney Houston.
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distinguished
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celebrated
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genre
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| n.(文学、艺术等的)类型，体裁，风格 | |
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repertoire
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| n.(准备好演出的)节目，保留剧目；(计算机的)指令表，指令系统， <美>(某个人的)全部技能；清单，指令表 | |
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debut
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wrecked
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visualized
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idol
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rehearsal
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humbly
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vocal
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scrutinized
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nuance
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homage
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ken
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countless
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infinity
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humble
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| n.偶像，崇拜的对象，画像 | |
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41
anthems
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| n.赞美诗( anthem的名词复数 )；圣歌；赞歌；颂歌 | |
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ballads
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| 民歌，民谣，特别指叙述故事的歌( ballad的名词复数 )； 讴 | |
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derivative
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| n.派(衍)生物；adj.非独创性的，模仿他人的 | |
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gems
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| growth； economy； management； and customer satisfaction 增长 | |
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dressing
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| n.(食物)调料；包扎伤口的用品，敷料 | |
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casually
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| adv.漠不关心地，无动于衷地，不负责任地 | |
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schooling
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| n.教育；正规学校教育 | |
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melodic
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| adj.有旋律的，调子美妙的 | |
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awareness
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| n.意识，觉悟，懂事，明智 | |
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bustling
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| adj.喧闹的 | |
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51
consecutive
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| adj.连续的，联贯的，始终一贯的 | |
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billboard
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| n.布告板，揭示栏，广告牌 | |
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53
medley
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| n.混合 | |
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54
scrolling
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| n.卷[滚]动法，上下换行v.（电脑屏幕上）从上到下移动（资料等），卷页( scroll的现在分词 )；（似卷轴般）卷起；（像展开卷轴般地）将文字显示于屏幕 | |
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hideous
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| adj.丑陋的，可憎的，可怕的，恐怖的 | |
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vividly
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| adv.清楚地，鲜明地，生动地 | |
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perfectly
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| adv.完美地，无可非议地，彻底地 | |
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minimal
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| adj.尽可能少的，最小的 | |
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makeup
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| n.组织；性格；化装品 | |
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simplicity
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| n.简单，简易；朴素；直率，单纯 | |
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intensity
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| n.强烈，剧烈；强度；烈度 | |
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metallic
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| adj.金属的；金属制的；含金属的；产金属的；像金属的 | |
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63
stunt
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| n.惊人表演，绝技，特技；vt.阻碍...发育，妨碍...生长 | |
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banter
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| n.嘲弄，戏谑；v.取笑，逗弄，开玩笑 | |
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asymmetrical
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| adj.不均匀的，不对称的 | |
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venue
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| n.犯罪地点，审判地，管辖地，发生地点，集合地点 | |
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revolved
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| v.（使）旋转( revolve的过去式和过去分词 )；细想 | |
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replacement
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| n.取代，替换，交换；替代品，代用品 | |
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apparently
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| adv.显然地；表面上，似乎 | |
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