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♥ MARIAH"mimi"CAREY ♥The Best-Selling Female Music Artist Of All Time♥LAMBS 8 &#98








  • :wave:

    Buena mano! :lol:
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    The best-selling female artist of all time - whose seventeen #1 singles rival all but Elvis Presley and The Beatles - Mariah Carey has made an indelible impact on the global music industry and audiences everywhere. Blessed with a stunning five-octave range and signature vocal abilities, the singularly talented superstar continues to reach new heights of artistic growth and popularity. As a singer and songwriter, she has been recognized with five Grammy Awards, nine American Music Awards, Billboard's "Artist of the Decade" Award and the World Music Award for "World's Best Selling Female Artist of the Millennium," to name but a few honors.

    Carey's most recent album is also her most intimate, a frank portrayal of both the challenges and successes experienced throughout her rise to fame. Released in April 2005, The Emancipation of Mimi (Island Def Jam) strongly resonated with audiences, becoming that year's best-selling album in the U.S. and selling more than eight million units worldwide to date. While capturing three Grammys for Best Contemporary R&B Album, Best Female R&B Vocal Performance and Best R&B Song, Carey broke milestones with the album's three singles. "We Belong Together" (which spent an astonishing fourteen weeks at #1) and "Shake It Off" made her the only female artist ever to occupy the Billboard Hot 100's #1 and #2 spots in the same week. Her subsequent stand-alone single "Don't Forget About Us" became the biggest American radio hit of the year.

    With a mother who shared both talent and a love of music, Mariah Carey was named after "They Call the Wind Mariah," a song from the popular Lerner and Loewe musical Paint Your Wagon. She began singing at the age of four, and her extraordinary and innate talent quickly progressed. As a young teenager she began honing her songwriting skills; upon high school graduation, Carey headed straight to New York to pursue a musical career. A luminous talent, her vocals were immediately in demand. Her major break came while singing backup for Brenda K. Starr, who gave her demo tape to then-Sony Music Entertainment Chief Tommy Mottola. Soon after, Mottola signed Carey to her first recording contract with Columbia Records.

    With an angelic allure and a vocal intensity never heard before, Mariah Carey exploded upon the scene with the debut of her self-titled album in 1990. Mariah Carey was an immense hit, spawning an extraordinary four #1 singles: "Vision of Love," "Love Takes Time," "Someday" and "I Don't Wanna Cry." It also brought two Grammy Awards for Best New Artist and Best Female Pop Vocal Performance ("Vision of Love"). Carey continued her early success with a series of singles from her subsequent Emotions (1991) and MTV Unplugged (1992) albums that consistently placed her at the top of the charts.

    With the 1993 release of Music Box, which included the chart-topping hit singles "Dreamlover" and "Hero," Mariah Carey produced her most commercially successful album to date, selling an astounding 30 million units. She hit a new milestone with a holiday album, Merry Christmas (1994), which contained the instant classic "All I Want for Christmas is You." The next year, with the release of Daydream (1995), its single "Fantasy" debuted at #1, making Mariah Carey the second artist in history and the first female performer to accomplish that feat. The album's other single, "One Sweet Day," recorded with Boyz II Men, stayed at the top of the charts for a mind-blowing sixteen weeks. She followed with the hip-hop and R&B-infused Butterfly, which introduced a new chapter in her career, teaming her with the hottest names in the music business including Sean Combs and Missy Elliott.

    In 1998, eight years after her debut, Carey released #1's, a compilation of her chart-topping hits. The album also included a new song, "When You Believe" (from the film The Prince of Egypt), a duet with Whitney Houston that paired two of the most successful female recording artists in pop history. Rainbow followed in 1999 with startling success. With the album's first single, the popular "Heartbeaker," Carey became "the first artist to top the charts in each year of the 1990s; the record also pushed her ahead of The Beatles as the artist with the most cumulative weeks spent atop the Hot 100 singles chart," as affirmed by AllMusic.com. Mariah Carey subsequently sparked the interest of Universal Music Group's Island Def Jam Records, which signed her to an exclusive recording contract in May 2002. Later that year she made her label debut with the release of the multi-platinum Charmbracelet.

    Evoking a nickname used by those closest to her, The Emancipation of Mimi marked Mariah Carey's tenth studio album with its release in April 2005. Entirely written and co-produced by Carey, and executive produced by Island Def Jam Music Group Chairman Antonio Reid, Mimi revealed an evolved musical sensibility in its tracks and a sophisticated new look on its cover. The album earned three Grammys from eight nominations across multiple categories, following a string of wins at the Vibe Awards, the American Music Awards and Billboard Music Awards.

    Apart from her musical achievements, Mariah Carey has generously donated her time and energy to a range of philanthropic causes near to her heart. They include Save the Music, The National Adoption Center and The Make-A-Wish Foundation, which recently bestowed its 2006 Wish Icon Award upon her, permanently rechristening it the Mariah Carey Wish Icon Award. Her active involvement with the Fresh Air Fund resulted in Camp Mariah, the Fund's first camp named in honor of an individual. Through this prism, Mariah Carey's legacy transcends the music industry to leave an indelible imprint upon the world at large.

    Source: MariahCarey.com
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    Soul Train Music Awards (3)
    Best R&B/Urban Contemporary Album of The Year - Female ("Mariah Carey")
    Best R&B/Urban Contemporary Single - Female ("Vision of Love")
    Best R&B/Urban Contemporary New Artist

    American Music Awards (1)
    Favorite Soul/R&B Female Artist

    Billboard Music Awards (5)
    Hot 100 Singles Artist 1991
    Top Female Album Artist ("Mariah Carey")
    Top Female Single Artist ("Vision Of Love")
    Top Adult Contemporary Artist
    Top Pop Album Artist

    BMI Pop Awards (5)
    Song of the Year ("Love Takes Time")
    Songwriter Award ("Love Takes Time")
    Songwriter Award ("Vision of Love")
    Songwriter Award ("Someday")
    Songwriter Award ("I Don't Wanna Cry")

    Grammy Awards (2)
    Best Pop Vocal Performance Female ("Vision of Love")
    Best New Artist

    Rolling Stone Magazine's Readers Pick Awards (1)
    Best New Female Artist

    New York City Music Awards (1)
    Best Female Pop Vocalist

    American Music Awards (1)
    Favorite Soul/R&B Female Artist

    Billboard Music Awards (2)
    Top Female Album Artist ("Emotions")
    Top Female Single Artist

    BMI Pop Awards (1)
    Songwriter of The Year

    American Music Awards (January 26) (3)
    Pop/Rock Female Artist
    Top Contemporary Album ("MTV Unplugged")
    Special Award for Worldwide Sales of over 55 million

    BMI Pop Awards (3)
    Songwriter Award ("Emotions")
    Songwriter Award ("Can't Let Go")
    Songwriter Award ("Make It Happen")

    ASCAP Pop Music Awards (1)
    Songwriter Award ("Can't Let Go")

    ARIA Music Awards (Australia) (3)
    Most Popular International Album of the Year ("Music Box")
    Most Popular International Solo Female Artist
    Take 40 Australia Best Chart Album Performance ("Music Box")

    Billboard Music Awards (1)
    Female Artist of The Year

    MTV European Music Awards (1)
    Favorite Female Artist

    Rockefellar Center Awards (2)
    Worldwide Sales of over 20 million copies ("Music Box")
    Worldwide Sales of over 55 Million since 1990

    BMI Pop Awards (1)
    Songwriter Award ("Dreamlover")

    Bravo Magazine Awards (Germany) (1)
    Golden Otto Award - Best Female Artist

    Smash Hits Magazine Awards (UK) (1)
    Best Female Solo Artist

    ASCAP Rhythm & Soul Music Awards (1)
    Songwriter Award ("Hero")

    American Music Awards (1)
    Favorite Pop/Rock Female Artist

    Blockbuster Entertainment Awards (1)
    Top Pop Female

    Bravo Magazine Awards (Germany) (1)
    Silberner Otto Award - Second Best Female Artist

    Smash Hits Magazine Awards (UK) (1)
    Best Female Solo Artist

    Echo-Preis Awards (Germany) (1)
    Beste International Künstlerin (Best International Artist)

    World Music Awards (3)
    Best Selling American Recording Artist
    Best Selling World Recording Artist
    Best Selling Pop Artist

    BMI Pop Awards (3)
    Songwriter Award ("Hero")
    Songwriter Award ("Dreamlover") - Second Award
    Songwriter Award ("Anytime You Need A Friend")

    ASCAP Pop Music Awards (3)
    Songwriter Award ("Hero")
    Songwriter Award ("Dreamlover")
    Songwriter Award ("Anytime You Need A Friend")

    ASCAP Rhythm & Soul Music Awards (1)
    Songwriter Award ("Hero") - Second Award

    American Music Awards (2)
    Favorite Pop/Rock Female Artist
    Favorite Soul/R&B Female Artist

    Billboard Music Awards (4)
    Hot 100 Singles Artist of The Year
    Hot 100 Airplay
    Hot Adult Contemporary Artist of The Year
    Special Hot 100 Billboard Award - Record 16 weeks at #1 ("One Sweet Day")

    Blockbuster Entertainment Awards (2)
    Favorite Single ("Fantasy")
    Favorite Adult Contemporary Single Female ("One Sweet Day")

    World Music Awards (4)
    World's Best Selling Female R&B Artist
    World's Best Selling Overall Female Recording Artist
    World's Best Selling Female Pop Artist
    Best Selling American Female Recording Artist

    Bravo Magazine Awards (Germany) (1)
    Bronzener Otto Award: For Third Best Female Artist

    Winter Music National Dance Awards (2)
    Dance Record Of The Year ("Fantasy")
    Dance Artist Of The Year

    BMI Pop Awards (1)
    Songwriter Award ("Anytime You Need A Friend") - Second Award

    Gold Disc Awards (Japan) (2)
    International Artist Of The Year
    International Pop Album Of The Year ("Daydream")

    TMF Awards (Holland) (1)
    Best International Female Singer

    VH1 Viewers Poll Awards (1)
    Artist of The Year

    BMI Pop Awards (5)
    Song of the Year ("One Sweet Day")
    Songwriter Award ("One Sweet Day")
    Songwriter Award ("Fantasy")
    Songwriter Award ("Always Be My Baby")
    Songwriter Award ("Forever")

    ASCAP Pop Music Awards (3)
    Songwriter Award ("One Sweet Day")
    Songwriter Award ("Fantasy")
    Songwriter Award ("Forever")

    ASCAP Rhythm & Soul Music Awards(1)
    Songwriter Award ("One Sweet Day")
    Bravo Magazine Awards (Germany) (1)
    Silberner Otto Award - Second Best Female Artist

    American Music Awards(1)
    Favorite Soul/R&B Female Artist

    Blockbuster Entertainment Awards (1)
    Favorite Female - Pop ("Butterfly")

    Billboard Music Awards (1)
    Special Billboard Hot 100 Award - Most #1 singles by a female solo artist (13)

    World Music Awards (2)
    World's Best Selling Female Soul/R&B Artist
    Legend Award - World's Best Selling Artist of the 90's

    Soul Train Lady of Soul Awards (1)
    The Aretha Franklin Award - Female Entertainer of The Year

    International Achievement In Arts Awards (1)
    Entertainer of The Year

    Long Island Music Awards (1)
    Best Female Singer

    BMI Pop Awards (1)
    Songwriter Award ("Always Be My Baby") - Second Award

    Blockbuster Entertainment Awards (1)
    Favorite Pop Female

    Billboard Music Awards (1)
    Artist of The Decade

    BMI Pop Awards (4)
    Songwriter Of The Year
    Songwriter Award ("Butterfly")
    Songwriter Award ("Honeyl")
    Songwriter Award ("My All")

    Critics Choice Awards (1)
    Best Song ("When You Believe")

    ASCAP Pop Music Awards (1)
    Songwriter Award ("Honeyl")

    NAACP Image Awards
    Outstanding Duo or Group (Mariah Carey and Whitney Houston for "When You Believe")

    Congressional Awards (1)
    Horizon Award For Founding Fresh Air Fund's Camp Mariah

    NABOB Awards (1)
    Entertainer of The Year

    Bravo Magazine Awards (Germany) (1)
    Silberner Otto Award - Second Best Female Artist

    BFCA Award (1)
    Best Film Song ("When You Believe")

    American Music Awards (1)
    Lifetime Of Achievement Award

    Blockbuster Entertainment Awards (1)
    Favorite Female Artist R&B

    World Music Awards (2)
    World's Best Selling R&B Female
    World's Best Selling Female Artist of the Millennium

    DMX Music Awards (1)
    Ultimative Diva

    NRJ Radio Music Awards (France) (1)
    Best International Artist

    BMI Urban Awards (1)
    Songwriter Award ("Thank God I Found You")

    The Make-A-Wish Foundation's Chris Greicius Awards (1)
    Celebrity Wish Granter of the Year

    Radio Music Awards (1)
    Most Requested Artist

    Billboard R&B/Hip-Hop Awards (1)
    Top R&B/Hip-Hop Single Sales ("Loverboy")

    The Fresh Air Fund's Salute to American Heroes Awards (1)
    The American Hero Award - Ongoing contributions to the Fresh Air Fund

    MTV's Total Request Live Awards (1)
    The Free Ride Award - Best Vehicle Hook-Up ("Loverboy" Hot Rod)

    RIAA Certification Awards (1)
    Commemorative Award - Blue Diamond Award For 100th RIAA Certification

    Soul Train Awards (1)
    Quincy Jones Award - Outstanding Career Achievements in Entertainment, Female

    NRJ Radio Music Awards (Sweden) (1)
    Most Played Artist (1993-2003)

    Z100 New York Achievement in Music Awards (1)
    Achievement Award - Musical and Philanthropic contributions to New York City

    World Music Awards (1)
    Diamond Award - For over 100 million album sales worldwide

    MTV Asia Awards (1)
    Lifetime Achievement Award

    GrooveVolt Music & Fashion Awards (4)
    Best Female Pop Album ("Charmbracelet")
    Best Female Pop Song Performance ("Through The Rain")
    Best Unreleased Pop Album Track ("My Saving Grace")
    Best Hip-Hop Collaboration ("I Know What You Want")

    MTV Japan Video Music Awards (1)
    International Video Icon Award

    Capital Awards 2005 (1)
    Outstanding Contribution to Music

    World Music Awards (4)
    World's Best Selling Pop Female Artist
    World's Best Selling R&B Artist
    Female Entertainer of the Year
    Most Played Single ("We Belong Together")

    Teen Choice Awards (2)
    Choice Music: R&B Artist
    Choice Love Song ("We Belong Together")

    Lady of Soul Awards (2)
    Best R&B/Soul Album, Solo ("The Emancipation of Mimi")
    Best R&B/Soul Single, Solo ("We Belong Together")

    Kiss Awards (UK) (1)
    Best Female Artist

    VIBE Awards (4)
    Artist of the Year
    Album of the Year ("The Emancipation of Mimi")
    Best R&B Song ("We Belong Together")
    R&B Voice of the Year

    American Music Awards (1)
    Favorite Soul/R&B Female Artist

    Bambi Awards (Germany) (1)
    Pop International Artist

    Billboard Music Awards (5)
    Female Billboard 200 Album Artist of the Year
    Female R&B/Hip-Hop Artist of the Year
    Hot 100 Song of the Year ("We Belong Together")
    Hot 100 Airplay of the Year ("We Belong Together")
    Rhythmic Top 40 Title of the Year ("We Belong Together")

    Recording Academy (NY Chapter) Honor (1)
    Honored for outstanding achievements

    XM Nation Music Awards (1)
    On the Rebound - Best Comeback of the Year

    Radio Music Awards (4)
    Artist of the Year - Urban and Rhythmic Radio
    Song of the Year - Mainstream Hit Radio ("We Belong Together")
    Song of the Year - Urban and Rhythmic Radio ("We Belong Together")
    Radio Legend Award

    GrooveVolt Music & Fashion Awards (6)
    Album of the Year ("The Emancipation of Mimi")
    Song of the Year ("We Belong Together")
    Best Female Pop Album ("The Emancipation of Mimi")
    Best Female Pop Song Performance ("We Belong Together")
    Best Unreleased Pop Album Track ("Circles")
    Best Female R&B Song Performance ("We Belong Together")

    Grammy Awards (3)
    Best Contemporary R&B Album ("The Emancipation of Mimi")
    Best R&B Song ("We Belong Together")
    Best Female R&B Vocal Performance ("We Belong Together")

    Total Request Live Awards (1)
    First Lady of TRL

    NAACP Image Award (1)
    Best Album ("The Emancipation of Mimi")

    Soul Train Awards (2)
    Best Female R&B-Soul Album ("The Emancipation of Mimi")
    Best Female R&B-Soul Song ("We Belong Together")

    BMI Urban Awards (6)
    Song of the Year ("We Belong Together")
    Songwriter of the Year
    #1 Billboard Song ("We Belong Together")
    Most Performed Song ("We Belong Together")
    Most Performed Song ("Shake It Off")
    Most Performed Song ("Don't Forget About Us")

    Billboard R&B/Hip-Hop Awards (5)
    Top R&B/Hip-Hop Album ("The Emancipation of Mimi")
    Top R&B/Hip Hop Artist- Female
    Top R&B/Hip-Hop Artist
    Hot R&B/Hip-Hop Songs Artist
    Hot R&B/Hip-Hop Albums Artist

    Wish Night 2006 Awards (1)
    Wish Icon Award (for generosity/contributions to Make-A-Wish)

    BMI Pop Awards (2)
    Most Performed Song ("Shake It Off")
    Most Performed Song ("Don't Forget About Us")

    VH1 Save The Music Foundation Award (1)
    Honored for her contribution to the VH1 Save The Music Foundation

    Choice FM Awards
    Hall of Fame Award

    Basenotes Award
    Best Celebrity Women's Fragrance for M by Mariah Carey

    TIME Magazine
    Named one of the "100 Most Influential People In The World"

    MTV Video Music Awards Japan
    Video Vanguard

    BET Awards
    Beautiful Healthy Smile

    Long Island Music Hall of Fame

    20th Annual World Music Awards
    Special Achievement Award

    2008 American Music Awards
    Honorary Award (in recognition of being the solo artist with the most number one hits of all time, and more weeks at number one than any other artist in the history of recorded music)

    Source: Mariah Daily Journal
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    1.Vision of Love
    2.Love Takes Time
    4.I Don't Wanna Cry
    6.I'll Be There
    10.One Sweet Day
    11.Always Be My Baby
    13.My All
    15.Thank God I Found You
    16.We Belong Together
    17.Don't Forget About Us
    18. Touch My Body

    Mariah Carey was born March 22, 1970, in New York City. Her mother Patricia named her after the song "They Call The Wind Mariah" from the Lerner and Loewe music Paint Your Wagon. It's unlikely her mother was aware that on the day Mariah was born, the number one song in Britain was "Wand'rin Star" by Lee Marvin - from Paint Your Wagon.

    Mariah began singing early, when she was four years old. By six, she was writing poetry. Patricia was a vocal coach, a jazz vocalist and a singer with the New York City Opera, and Mariah's older brother and sister allowed their youngest sibling to listen to their Stevie Wonder, Gladys Knight and Aretha Franklin 45s.

    When Mariah was 16, her brother paid for her to make a 24-track demo tape at a Manhattan studio. "We needed someone to play the keyboards for a song I had written with a guy named Gavin Christopher," Mariah remembers. "We called someone and he couldn't come, so by accident we stumbled upon Ben (Marguiles). Ben came to the session, and he can't really play keyboards very well - he's really more of a drummer - but after that day, we kept in touch, and we just sort of clicked as writers."

    Marguiles had a studio set up at Bedworks, his father's cabinet factory in Chelsea. Mariah was still a high school student when she got together with Ben and wrote their first song, "Here We Go Round Again." "It was this real Motown thing," Ben remembers. "She wrote all the verses out. We were very excited because she sounded incredible. That was the beginning of the collaborating."

    Mariah and Ben worked together for a couple of years, as she graduated from high school and supported herself with jobs like waiting tables and checking coats. "The music kept us going," Marguiles explains. "I didn't have much equipment, but we had a way of making demos sound incredible."

    A friend of Mariah's who played drums for Brenda K Starr mentioned that a back-up singer had quit, and suggested Mariah audition for the job. "I really didn't want to do it, but I said it's gotta be better than what I'm doing now," Mariah recalls. "So I went to the audition, and Brenda was such a great person." She was not only hired, she became close friends with Brenda.

    Back in New York during a break in her tour, Brenda invited Mariah to attend a party thrown by CBS Records. Brenda handed Mariah's demo tape to CBS Records Group president Tommy Mottola, who listened to it in his limo on the way home. After hearing the first two songs, he went back to the party to find the singer. She had already left, and there was no phone number on the tape. Tommy spent the weekend trying to track down Mariah, but Brenda's managers didn't know who she was and he had to wait until Monday. "I got this message that he had called and they wanted me to come to CBS Records, and I was so excited," says Mariah.

    Rhett Lawrence, who had produced CBS artists like Johnny Kemp and Earth, Wind, & Fire, was asked to fly to New York and listen to the demo tape. "They described her as a girl who was 18 and had the most incredible voice you've ever heard," Lawrence reports. "I literally got goosebumps on my arms when I heard her sing. I couldn't believe the power and maturity in her voice."

    Carey went to Los Angeles to work with Lawrence. He heard a rough version of "Vision of Love," a song Mariah and Ben wrote after she signed with Columbia. Described by Mariah as not so much a love song but a celebration of her life at the time, the demo sounded very different from what would be the finished product; according to Lawrence, "it was a different tempo at the time... a '50s sort of shuffle." Working with Ben and Mariah in the studio, Lawrence changed the tempo and used Mariah's vocals from the demo as a second vocal tag of the song. Released as Mariah's debut single, "Vision of Love" debuted on the Hot 100 the week of June 2, 1990, and was number one nine weeks later.

    Columbia Records literally stopped the presses for Mariah Carey's "Love Takes Time."

    Mariah's debut album for the label was completed and being mastered when she wrote the song with Ben Marguiles. "It was sort of a gospelish thing I was improvising, then we began working on it," Marguiles relates. "It was on a work tape that we had...and we recorded a very quick demo. It was just a piano vocal demo - I played live piano, and she sang it."

    Mariah was on a mini-tour of 10 states, playing acoustically with a piano player and three back-up singers. While on a company plane, she played the demo of "Love Takes Time" for Columbia Records president Don Ienner. "All the important guys were on the plane," Marguiles recalls. "(Tommy) Mottola, Ienner, and Bobby Colomby." Mariah was told the song was a "career-maker," and that it had to go on the first album. Mariah protested - her album was already being mastered, and she intended this ballad for her next release.

    The demo was sent to producer Walter Afanasieff. Born in Sao Paulo, Brazil, in 1958, Afanasieff grew up in San Fancisco. He met producer Narada Michael Walden there in 1981, and first worked with him in the studio on Aretha Franklin's Who's Zoomin' Who album. When Mariah flew west to work with Narada on some tracks for her first album,Tommy Mottola and Don Ienner were impressed with Afanasieff's work and gave him an executive staff producer job with the label.

    "I guess to see if he made the right choice, (Tommy) called me up one day," remember Afanasieff. "He said, 'We've got this Mariah Carey album done, but there's a song that she and Ben Marguiles wrote that is phenomenal, and I want to try everything we can to put it on the album.' I said, 'What do you want me to do?' and he said. 'You only have a couple of days, but are you ready to cut it?' I couldn't believe the opportunity that it was. I'd never produced anything by myself up until that time."

    The demo was very close to what Mottola wanted the finished produce to be, according to Afanasieff. "We cut the song and the music and the basics in about a day - and the only reason is this deadlinel. It was do it or we were gonna miss out on the whole thing. We got the tape and recorded everything and we got on the plane and went to New York (and) did her vocals. She did all the backgrounds, practically sang all night...We came back to the studio that afternoon, and we had to fix one line very quickly, and then (engineer) Dana (Jon Chapelle) and I got back on the plane with the tape, went back to the studio in Sausalito, and mixed it. So it was a three-day process: a day and a half for music, kind of like a day for vocals, and a day for mixing."

    Afanasieff heard from Columbia executives as soon as they received the mix. They wanted Mariah's vocal a little louder, so a remix was quickly completed. The producer asked if the song would still make the debut album, and was told, "We're going to do our best."

    When the album was released, "Love Takes Time" was not listed on the cassette or compact disc. "(On) some of the original first copies of the record, they didn't have time to print the name of the song," Marguiles laughs. "And so the song's on there, but it doesn't say that it's on there. It was a song that actually was strong enough to stop the pressing...I don't know if they had to throw away a few hundred copies."

    After "Vision Of Love" had a four-week run at the top of the Billboard Hot 100, Columbia released "Love Takes Time" as a single. It debuted at number 73 (the same position that "Vision Of Love" entered) the week of September 15, 1990, and became Mariah's second consecutive number one hit eight weeks later.

    3. SOMEDAY
    "Someday" was the third single released from Mariah Carey's debut album, and the third single to go to number one. "That started out as a bass line, sort of a drum-machine, almost hip-hop type groove," says co-writer Ben Marguiles. "Now people call is new jack swing, but that stuff was going on before all these terms came about. It evolved out of an improvisational track with some very strong changes and a very harmonic structure. Mariah has an ability to improvise vocally and come up with great melody lines, great hooks. We generally work on a chorus first, but she would sing melody ideas through the verse sections and it came about that way."

    Marguiles explains how fast Mariah came up with the words: "In the amount of time I would be playing around with the arrangement and coming up with some new change or something like that, she'd be sitting there writing out lyrics, then we'd demo it. I mean, we'd start turning the tape machine on, turning the computers on, and just start doing it."

    "Someday" was one of four songs that Marguiles and Carey included on the singer's demo tape. "All the demos that ended up going to CBS were very elaborate arrangements," Ben notes. "They were very close to what's on the albums, if not almost exactly."

    Tommy Mottola of CBS Records asked Anglo-American producer Ric Wake, who had been working with Arista artist Taylor Dayne, to listen to Mariah Carey's demo. "It was obvious that she was great - she was amazing," says Wake, who met with Mottola on a Wednesday. The CBS Records Group president asked Wake if he could start working with Mariah in Thursday. "Mariah came over to my house the next day, we wrote 'There's Got To Be A Way,' and it went from there - we did four songs together."

    One of the tracks that Wake produced was "Someday." "I loved that song right from the beginning," he acknowledges. "Tommy gave me a tape of 12 songs, and at the time, I think someone else was going to do it. It was up in the air, and Mariah called me up one day and said, 'I'd love you to do it if you want to do it.' It was great - I'm glad she called me.

    "I remember the way that demo was; I wasn't sure how she wanted to do it...We did it in about two, three hours."

    Marguiles liked the final version of their song "because it came off really simple and clean, and the point came across. Nothing was covered up. The original arrangement and production were very simple and funky. It had a simplicity to it that kind of drew you into it. To take it and make it too much of a production would have ruined the vibe of the song."

    When she was first signed to Columbia, Mariah wanted to produce the album herself with Marguiles. "I wasn't open to working with a superstar producer," she said in Rolling Stone. Ben elaborates: "You have your ideas and your creations, and sometimes it's difficult. You're seeing your songs come to fruition, but at the same time, you want to have a say in how your babies turn out. These things start out like the nucleus of the embry of an idea. You sit down and start playing, improvising, and it comes to the point where it turns into a good demo; then you want to hear it. If you're a strong musician, or you're inclined to produce and arrange all that stuff, sometimes it's hard to hand over your creations like that. But it's inevitably what always happens, and you hope that people handle them with care."

    "Someday" entered the Billboard Hot 100 at number 37 on January 19, 1991. Seven weeks later, Mariah Carey knocked Whitney Houston's "All The Man That I Need" off the top of the chart and moved in for a two-week stay.

    When "I Don't Wanna Cry" went to number one, Mariah Carey became the first artist since the Jackson Five to have her first four chart singles top the Billboard Hot 100.

    "I Don't Wanna Cry" was produced and co-written by Narada Michael Walden, who had already produced number one hits for Whitney Houston, Starship and Aretha Franklin and George Michael. The producer first heard about Mariah when he received a phone call from CBS Records Group president Tommy Mottola. "I promised when I was in New York, I would sit down and meet with her," says Walden, "and I did. She was very shy, and I asked her what she liked. She said she liked George Michael, so I got an idea of where she was coming from. Then we set up a day to actually go and write."

    At this point, Narada had not heard Mariah's vocals. "The first time I heard her sing was in a writing session at the Hit Factory, where we wrote some songs. After working on three or four songs, I wanted us to slow the tempo down. A big part of my raising asa kid are songs like (those recorded) by Chuck Jackson…'I Don't Want To Cry,' 'Any Day Now,' those kind of really dramatic ballads, or 'When A Man Loves A Woman' by Percy Sledge, those 'crying' kind of ballads. I kind of pulled it down from the sky and started singing this thing to her, and she got into it."

    Having worked with both Mariah Carey and Whitney Houston, Narada is in a unique position to compare the two singers who have been compared so often in the press. "Both are tremendous singers. Whitney comes more from being raised and singing in church – I mean, first-hand experience with her aunts and nieces, from her influence from Aretha as a little kid, from Dionne Warwick, and from her mother, the great Cissy Houston. She had all that to draw on. On Mariah's side, I know she's a great listener. She took to heart Aretha and a lot of great singers, from Gladys Knight on down.

    "It's like the difference between, say, Carl Lewis and Ben Johnson, or Tommy Hearns and Sugar Ray Leonard. Both great track stars, both great boxers – and I'm honored to be able to work with both of them.

    "Mariah is very astute in the studio, very picky. I don't mean to make it sound like a negative; for her, it's a positive, because she knows she wants to hear herself sound a certain way. For example, there's a lick on 'I Don't Wanna Cry' that I was really happy with, and I think at first she was, too. But after she lived with it, she wanted us to fix it. I don't even know if we fixed it two or three times, but I had to fly the tape back to her in New York. She went in the studio, fixed that lick, and added other stuff onto it. I called her back and said, 'Look, I used your new lick on that one thing because you like it, but the other stuff you're adding on, you really don't need.' Then she gave in.

    "I think a lot of that is what you experience when you're making your first album. You gotta remember, Mariah was 19, 20 years old, making her first album. She really wanted it to be special."

    Narada found working with Mariah very similar to his experience with George Michael. "With George Michael, I actually had to have him stop singing, because he had me erase good vocals. He wanted me to keep going, and I said no, because I knew in my heart I already had it. The same thing with Mariah – I knew I had it. She feels if she sings more, maybe she'll go beyond it. And you know what? God bless her, in some cases, she does."

    "I Don't Wanna Cry" jumped onto the Hot 100 at number 50 the week of April 6, 1991, just as "Someday" fell out of the top 10. Seven weeks later, Mariah returned to the top of the chart.

    Mariah Carey made chart history when "Emotions" went to number one on the Billboard Hot 100. She became the first artist to have her first five singles all make number one, breaking the record of four established by the Jackson Five 21 years earlier.

    "Emotions," the title track from her second album, was one of four songs on the disc co-produced by the team of David Cole and Robert Clivilles, who had recently visited the top of the chart on their own as C & C Music Factory.

    Cole credited CBS Records Group president Tommy Mottola for suggesting the collaboration with Mariah. "Working with Mariah was, first of all, fun," he exclaimed. "Robert and I bounced off ideas. We came up with a whole bunch of grooves. If this worked, cool, if this doesn't work, next. And that's how we did the whole project. We would all come together and decide on what worked and what didn't.

    "What was funny was both Robert and Mariah came up with the 'Emotions' groove separately. She had an idea for it and so did Robert. They both had mentioned doing something similar to the (group) Emotions. I mean, the Emotions were an inspiration for the song 'Emotions,' there's no way to deny that or get around it. It definitely has the feeling from the Emotions, but we're not dumb enough to go and steal the damn record."

    According to Cole, it was Mariah who came up with the song's title. "We thought maybe that's a bit much. And we all decided, 'No, why not?' There's nothing wrong with calling it 'Emotions'...it's a great name for a song."

    The first song Cole and Clivilles worked on with Carey was "You're So Cold," which was being considered for the album's first single until they came up with "Emotions."

    Cole talked about Mariah's octave range. "The high stuff? Oh, that's what she's known for. We had to include it, but as we started working, we decided we didn't want to use it as much as we could have. We didn't want it to become a gimmick instead of the fact that she could sing. But it's amazing. Listen to the very end of the song: she's hitting this very low note, and you compare that to the high note she hits. She's got an incredible range."

    "Emotions" was Mariah's highest debut yet, leaping on to the Hot 100 at number 35 the week of August 31, 1991. Six weeks later, it was number one, where it remained for three weeks. For a follow-up, Columbia released "Can't Let Go," written and produced by Mariah and Walter Afanasieff.

    "Mariah and I started writing together for the album a few months before starting to record," says Afanasieff. "I was doing Michael Bolton's album. And during the time that Michael would do a small little tour or take a break over the holidays, I would have the opportunity to write with Mariah." Soon they had a large collection of songs which they played for Columbia executives to see which ones should be recorded. "Can't Let Go," one of the first songs they had written, made the cut.

    6. I'LL BE THERE
    When MTV asked Mariah Carey to star in one of their "Unplugged" shows, she had little experience performing live. "She was very young and very shy," confirms producer Walter Afanasieff. "So we put together a very easy show because of the rules of 'MTV Unplugged.' You can't do anything electric."

    Two days before the taping of the show, Carey added one remake of an old hit to her repertoire. "I've been listening to Michael [Jackson] since I was a baby," she told Edna Gunderson of USA Today. "When he was a little boy, his singing was so angelic. It was unbelievable that such a voice could come from a child. He was a big influence on me." Carey chose the biggest Jackson 5 hit, "I'll Be There," as the oldie she would perform on "Unplugged." She could have chosen almost anything, according to Afanasieff. "She actually knows every song ever written," he claims. "She's a walking encyclopedia of songs, from every Stevie Wonder song all the way to every Police record ever made. She carries around this 'hard disk' full of songs. And there's nothing she can't sing."

    There were special advantages in selecting "I'll Be There," says Afanasieff. "Having the young Michael Jackson be in the same sort of key as a female singer made it easy. Also making it easy was the fact that the Jackson 5 had one of the older brothers singing the almost-duet. It fell into place because here's Trey Lorenz standing next to her." Lorenz, from Florence, South Carolina, was a close friend and backing singer for Carey, and got his big break by joining her on "I'll Be There." That collaboration led to his own solo album on Columbia, with Carey producing six tracks. Her work on "Unplugged" helped her become a better producer, Carey told Melinda Newman in Billboard. "'Unplugged' taught me a lot about myself because I tend to nitpick everything I do and make it a little too perfect because I'm a perfectionist. I also learned a lot from working with Trey because when you're working with another singer and the singer's going, 'Oh, I hate that, that sounds horrible,' and you're going, 'No, it's great,' that's what everyone always does to me. I'll always go over the real raw stuff and now I've gotten to the point where I understand that the raw stuff is usually better."

    Carey's "I'll Be There," sounding very close to the original version by the Jackson 5, was issued as a single by Columbia. That surprised Afanasieff. "We were thinking studio albums were the way for Mariah. And all of a sudden [the label] said, 'We've decided to release "I'll Be There" as a single,' and everyone said, 'This is going to postpone a new studio album,' which we were already starting to write and produce. But it was a pleasant departure. Once in awhile it's really a joy to break away from the norm."

    "I'll Be There" had been a milestone in the career of the Jackson 5. It was their fourth consecutive number one single, and made them the first act to reach the top of the Hot 100 with its first four releases. Ironically, Carey was the one to break that record when "Emotions" became her fifth consecutive number one. Out of her first 10 chart singles, only "Can't Let Go" and "Make It Happen" didn't reach the summit.

    "I'll Be There" was the eigth song in the rock era to be number one by two different artists, following "Go Away Little Girl," "The Loco-Motion," "Please Mr. Postman," "Venus," "Lean On Me," "You Keep Me Hangin' On," and "When A Man Loves A Woman."

    Mariah Carey had six number one hits to her credit when she went to work on her fourth album, Music Box. Her search for hot producers led to Dave Hall, a Mount Vernon, New York, native who had just finished a project with Mary J Blige. "I loved what Dave was doing at the time," says Carey. "I wanted to do something that had a happy feeling, and that's really not Dave. It's very anti what he's about. So he said, 'Oh, you want to do that happy stuff? All right, all right.' He was not into doing it. Then we listened to a lot of loops and we used the 'Blind Alley' loop and I started singing the melody over it."

    Carey explains what the "Blind Alley" loop is: "It's from an old record. That's very low in the mix - you really can't even hear it. It was used on a rap record called 'Ain't No Half-Steppin' by Big Daddy Kane and probably a lot of other things. But it never had this kind of a song over it. We built the song from there and I wrote the lyrics and the melody and Dave ended up liking it."

    Hall also liked working with Carey. "My experience with Mariah was a good one. Some artists don't arrive on time and you sit in the studio waiting. But Mariah was always on time, very on point. She's a perfectionist. She knew exactly what she wanted to do when we got in the studio. We would lay down some ideas in the morning and she would go home with it that evening, until the next evening. We would get the hook down that night. She's pretty quick on that."

    Hall explains that Carey did not have the title "Dreamlover" when they began working on the song. "The way I usually work is we do an untitled song. We'll grab the hook and we'll use that as the title," he says. Carey adds, "I wrote the verses first. I always do the melody first. Sometimes I'll have an idea for a lyric. If I'm collaborating with someone, I'll direct them in the direction I'm going chordwise, because I get all these melody ideas and then I lose them if I don't have someone really good on keyboards right there with me. That's why I tend to collaborate because I lose the ideas by the time I figure out the chords. All these melody ideas just go."

    Tommy Mottola, head of Sony Music Entertainment, as well as Carey's fiance at the time, heard Hall and Carey's take on "Dreamlover" and approached producer Walter Afanasieff about collaborating on the track. "Mariah and Dave did this loop thing and it was new to use pop producers at the time," says Afanasieff. "Their version of 'Dreamlover' was missing a lot of stuff. The spirit of the song was up but it wasn't hitting hard enough." Afanasieff reworked the drums, organ and keyboards. "The organ part and the hi-hat that I changed made it a little bit more swinging and a little bit more driving," says Afanasieff. "It out a whole different shade of colors to it."

    "Dreamlover" proved to be Carey's biggest hit to date, topping the Hot 100 for eight weeks. "I love being able to make songs that a lot of people can relate to and a lot of people can sing along to, because tha's what I do," says the artist. "I never go anywhere without the radio on. So I'm glad to be able to do this for a living."

    8. HERO
    If "Hero" sounds like it was meant to be heard over the end credits of a film, there's a good reason. Dustin Hoffman and Geena Davis starred in a movie for Columbia Pictures called Hero. Producer Walter Afanasieff recalls, "The people over at Epic Records were going to do the soundtrack for the film. They wanted to have Mariah sing the theme to it, but they didn't really think they could because at that time you couldn't get near Mariah to do anything film-wise. So they wanted to try the next best thing, which was to have us write something."

    The film was screened for Afanasieff in Los Angeles and he was told that Gloria Estefan would probably be asked to sing a title theme. At the time, the producer was working with Carey on her Music Box album. "I went to New York and we were in the studio and came to a break. I was sitting at the piano and told Mariah about this movie. Within two hours, we had this incredible seed for this song, 'Hero.' It was never meant for Mariah to sing. In her mind, we were writing a song for Gloria Estefan for this movie. And we went into an area that Mariah didn't really go into - in her words, it was a little bit too schmaltzy or too pop ballady or too old-fashioned as far as melody and lyrics."

    The pair was almost finished writing the song when Tommy Mottola, president and COO of Sony Music Entertainment and Carey's fiance (later her husband), walked into the studio. Hearing the song they were working on, he asked them what it was, and Carey replied, "This is a song for the film Hero." Afanasieff recalls Mottola responding, "Are you kidding me? You can't give this song to this movie. This is too good. Mariah, you have to take this song. You have to do it."

    Initially, Carey was guided by the subject of the film, but Afanasieff acknowledges that the artist made it a very personal song. After she decided not to give the song away, she completed the lyric and made it her own. The producer went back to the soundtrack people and told them, "You know what? I didn't come up with anything." Estefan never heard the tune originally meant for her, and the song that ended up in the soundtrack was "Heart Of A Hero," written, produced and recorded by Luther Vandross.

    Afanasieff and Carey came up with a couple of different versions of "Hero" in the studio. "There was a simpler performance on tape and a more difficult one, with Mariah singing out more, with more licks. But we chose a happy medium. The song really calls for not anything really fancy. But she's always fighting the forces inside of her because she's her own devil's advocate. She wants to do something that's so over the top and use her talents and the voice she has. But she also knows she has to restrain herself and do what the music really calls for.

    Before the song hit number one on the Hot 100, Carey announced that she was donating the proceeds from the sale of the single to the families of the victims of a December 7 shooting rampage on the Long Island Rail Road. Three days after the tragedy, Carey was on stage at Madison Square Garden when she dedicated "Hero" to the three men who subdued the gunman. Carey, who had been a frequent passenger on the LIRR rush-hour ride out of the Penn Station, had been shocked by the senseless brutality of the incident. Afanasieff remembers the audience reaction: "We started playing the song, and there was a guy standing in the aisle and the light from the stage hit him. He was a grown man and he had tears streaming down his face. And I looked out and saw so many people crying and realized the power of the song."

    9. FANTASY
    I had the melody idea for 'Fantasy' and then I was listening to the radio and heard 'Genius of Love,' and I hadn't heard it in a long time," recalls Mariah Carey. "It reminded me of growing up and listening to the radio and the feeling that song gave me seemed to go with the melody and the basic idea I had for 'Fantasy.' I initially told Dave Hall about the idea and we did it." Issued as a single in 1982, "Genius of Love" by Talking Heads spin-off group Tom Tom Club peaked at number 32 on the Hot 100. "We called up the Tom Tom Club and they were really into it," says Mariah of her first single off the Daydream album.

    Dave Hall, who also collaborated with Carey on "Dreamlover," recalls that "Fantasy" was "a fun song to do. Mariah brought me 'Genius of Love' and I laid some strings on it and put it to a groove that I felt would really fit her. And that song didn't take us but a minute to do, because she really busted that out within two days. We did a rough copy and let (Sony Music Entertainment CEO) Tommy Mottola hear it and he loved it, so all we had to do was bring it back in and mix it down."

    The Daydream album reflected Mariah's love of hip-hop music. She took that influence one step further with "Fantasy," asking Sean "Puffy" Combs to helm a remix that emphasized the bass line more than the original pop version. Carey also invited Ol' Dirty ******* from the Wu-**** Clan to add some rap to the track.

    "Fantasy" was an important step in Carey's career, and not just because the single was the second ever to debut at number one on the Hot 100, following Michael Jackson's "You Are Not Alone," and the first by a female artist. The video for "Fantasy" marked Carey's debut as a video director. "I've done a lot of videos and wasn't always a hundred percent thrilled," she explains. "For the most part, I was never thrilled with the results, so I figured I would give it a shot." Carey earned high marks for this end result, which featured her Rollerblading in tight shorts, and a clown tied to a pole.

    Three weeks after "Fantasy" entered the Hot 100 in pole position, the Daydream album repeated that feat on the Billboard 200. It was the first time that an artist had debuted at number one with an album and that album's first single. But more importantly for Carey, the experience of recording her sixth album was far different from making the first one. "I feel it's a lot easier now," she says. "When I think back to the first album, I wasn't used to the process of working with other people and producers, and I had a different role to play. I was like the guest of the producer in the studio, a kid that had a deal and was hoping to have some success. And now I feel more confident and more in control, because I am. I go in and do what I want. I sing by myself and if the co-producer chooses to come in at the end and give me some critique, that's fine and I'm really open to that. But I feel more free doing it the way I've been doing it for the past couple of albums."

    Superstar teamings are irresistable to radio programmers hungry for hits. It was inevitable that the pairing of Diana Ross and Lionel Richie would produce a number one song, just as there was no doubt that Paul McCartney and Stevie Wonder would capture the top spot, or that George Michael and Elton John would achieve pole position. So how could anyone doubt that Mariah Carey and Boyz II Men would achieve similar success? In fact, they surpassed all other previous superstar match-ups, first by entering the Hot 100 at number one, and then by remaining there a record-shattering 16 weeks.

    Carey says the idea for "One Sweet Day" was not inspired by the loss of one specific person in her life, but by several people she knew. "I told Walter [Afanasieff] the idea and started the usual process of me directing him as to what I'm hearing in my head and taking it from there - the two of us going to the bridge and developing the song. I had the first verse before I even sang it for Walter and the chorus was basically there. If I don't have the hook off the top of my head, it usually takes me a long time to get it, but that was really there. And then I stopped, because I wanted to finish writing it with Boyz II Men."

    Afansieff elaborates, "At the time, Boyz II Men were the biggest thing out there. Through managers, we landed a meeting with the four guys to see if they would be interested. They loved the song. Mariah was in the studio singing it as the track was playing. She was singing the melody and one of the guys starting singing the counter melody."

    Nathan Morris of Boyz II Men was surprised at what he heard. "Mariah sang the verse she had already written. The lyrics and the idea and [a song I had written] coincided. Which was awkward, because I didn't know she was writing a song that pertained to what I was writing as well. I told her I had a song I had written two months earlier which was in the same vein." Afanasieff recalls what happened next: "We merged the two songs together lyrically, and a bit melodically, and that's why they're writers on the song."

    The actual recording session was chaotic, the producer notes. "It was crazy! They had film crews and videos guys. I'm at the board trying to produce. (Boyz II Men) are the busiest guys in the world. Their managers and bodyguards are in the waiting room and it's 4:30 and they have until 7 o'clock. You've got four guys and you haven't even worked out their parts yet. So I was sweating. And these guys are running around having a ball, because Mariah and them are laughing and screaming and they're being interviewed. And I'm tapping people on the shoulder. 'We've got to get to the microphone!' They're gone in a couple of hours, so I recorded everything they did, praying that it was enough. After going home to my studio, I put the tracks together and did a rough blend of the four guys. And then Mariah went in and did some more vocals to fill in a little bit, because it sounded like it's all Boyz II Men and there wasn't enough Mariah Carey on it."

    Carey watchers all over the world had their eyes on the Hot 100 as "One Sweet Day" broke the 14-week record for remaining number one. "I didn't even focus on it until the very, very end," says Carey. "It's just not good. I don't think it's the right vibe to have. But it's definitely a blessing and I'm very grateful for it."

    With "Always Be My Baby," the third single from Daydream, Mariah Carey achieved her 11th number one hit, putting her in a three-way tie with Madonna and Whitney Houston as the solo female artist with the most number one hits to this date. "Always Be My Baby" also made Carey three for three, with all the singles from her fifth full-length studio album hitting the top of the Hot 100. There would be no more singles from the album after "Always Be My Baby," although "Forever" would become an airplay hit.

    In search to find producers to work with on Daydream, one of the people Carey turned to was Jermaine Dupri. She knew she wanted to collaborate with the Atlanta-based musician ever since she heard his production of "Jump" for Kris Kross. He had also achieved success writing and producing for the female quintet Xscape on his own So So Def label. "He's got a very distinct vibe," says Carey. "Jermaine, Manuel (Seal), and I sat down and Jermaine programmed the drums. I told him the feel that I wanted and Manuel put his hands on the keyboards and I started singing the melody. We went back and forth with the bridge and the B-section. I had the outline of the lyrics and started singing 'Always be my baby' off the top of my head."

    Like other producers before him, Dupri was impressed with Carey's vocal abilities. "She can pretty much do anything with her voice," he says. "She's really strong vocally." Carey's talents extend to her backing vocals as well. On "Always Be My Baby," like many of her other songs, the backing vocals take on some of the burden that instruments do in other artists' songs. "The background vocals are an important part of the whole picture for me," she explains. "That's why I like to do them myself a lot of the time, or at least initially I'll lay down the tracks. I'll double my voice or do a couple of tracks of my own voice. It's easy for me to match my voice. And then if I'm going to use other background singers, I'll let them go on top of mine. To me, on those kinds of records, the hook is really important. And I tend to do a lot of ad-libs, so it can get lost."

    Less than a year after "Always Be My Baby" hit number one, Carey was back on the Hot 100 - not as an artist, but as the head of her own label, Crave. The first single to be distributed by Crave to chart was "Head Over Heels" by the female R&B group Allure. "I've always wanted to help get new artists signed and I feel there's so much talent out there," says Carey. "I remember how it felt not knowing anybody, not knowing where to turn, and waiting to get noticed or signed. So Crave is a dream of mine. I'm trying to work with any of the artists who want my input or want help or want to collaborate. And it's cool for them because I'm a peer. I reached success at an early age and it's easy to relate to me as a friend, not just a record company person."

    As for the name of the label, Carey isn't ready to reveal its true origin. "It came from a song I wrote that no one's ever heard. It's a secret. One day I'll talk about it."

    12. HONEY
    Mariah Carey is a huge fan of hip-hop, according to Sean "Puffy" Combs, founder of Bad Boy Entertainment, who was asked by the artist to produce a couple of tracks for her Butterfly album. "She and [rapper] Q-Tip [of A Tribe Called Quest] had an idea and they asked me to come in and produce the record," says Combs. But his need for excellence kept him out of the one place you'd expect to find him. "A lot of people feel I'm overbearing, so I wasn't allowed in the studio when she did her vocals," he reveals. "I'm trying to work on that. I'm such a perfectionist, sometimes I don't give people the chance to breathe. So I've been banned from a lot of studios. Mariah [recorded "Honey"] until she thought it was perfect, like a hundred times. She gave me a hundred tracks to choose from."

    Released as the first single from Butterfly, "Honey" was an instant hit, debuting at number one on the Hot 100. It was the sixth single to do so, and the third by Carey after "Fantasy" and "One Sweet Day." No other artist at this point in time had had even two singles debut at the top of the chart. "Honey" was also the single that broke Carey away from the pack. After "Always Be My Baby," she was in a three-way tie with Madonna and Whitney Houston as the solo female artist with the most number one singles on the Hot 100. All three women had collected 11 chart-topping hits, but "Honey" put Carey out in front with 12. It also put her in a tie for fourth place with the Supremes among all artists for the most number one singles, behind the Beatles (20), Elvis Presley (17), and Michael Jackson (13). And it made her label, Columbia, the first to amass 80 number one hits in the rock era.

    "Honey" also added impressive chart statistics to Combs' resume. Along with Stevie J., it was his third consecutive number one on the Hot 100. It was only the third time in the rock era that a producer or production team had three chart-toppers in a row. George Martin gave the Beatles a hat trick in 1964 with "I Want To Hold Your Hand," "She Loves You," and "Can't Buy Me Love." And in 1978, Barry Gibb, Andy Galuten and Karl Richardson were the producers of "Stayin' Alive" by the Bee Gees, "(Love Is) Thicker Than Water" by Andy Gibb and "Night Fever" by the Bee Gees. Sean and Stevie were responsible for producing "I'll Be Missing You," "Mo' Money Mo' Problems" and "Honey." The trio of hits gave the producers another first: they were number one for the whole summer of 1997. No other producer or producers had ever been responsible for the top song on the Hot 100 for an entire season of the year.

    On a more personal note, "Honey" was Carey's first single after the June, 1997 separation from her husband Tommy Mottola, the president and CEO of Sony Music Entertainment. The track, like the rest of Butterfly, revealed a more confident, mature and openly sensual woman than had been heard on previous albums. "I've come into my own as an artist," Carey told Elysa Garder in the Los Angeles Times. "At this point I feel free enough to express what I'm really feeling, without using a smoke screen...It's definitely an evolution for me." That evolution included a change of manager and attorney, and an exploration into acting in films and television for the 27-year-old superstar.

    13. MY ALL
    Mariah Carey approached the making of Butterfly the same way she had begun her previous albums. "The corporate world said it's time to go in and make another album," she explains. But it was not business as usual. "My personal life started taking a different turn and the songs reflected that. It was also the first time I was able to experiment with different types of producers who had inspired me, like Puffy and Stevie J. I was working with Walter Afanasieff again, but I was dictating a little bit more in terms of production. I was saying this has to be a little more sparse, we need to tone it down here. It was like the real me coming out."

    One of the last tracks produced by Afanasieff for Carey was "My All." Carey recalls, "I had gone to Puerto Rico and was influenced by Latin music at that moment. When I came back, the melody was in my head. It was at a melancholy point in my life and the song reflects the yearning that was going on in me. It was like being in a situation but you want to break free and you can't, so you're confined yet you're releasing those emotions through the lyrics and the actual act of singing. That's why I think a lot of people felt very strongly about that song, because the emotion is clear when you listen to it.

    Although Carey ultimately recorded "My All" in Afanasieff's San Francisco studio, they wrote the song in the studio in Carey's mansion in upstate New York. "It was one of the finest studios I've ever seen in anyone's home," says Afanasieff. "It's no longer there. I remember being in the back part of the studio where my keyboards were set up and we were sitting there late at night, writing." "There was a new keyboard that had come out, the Trinity, and I was strolling through some sounds and came upon a particular sound from a steel acoustic guitar. I played these really beautiful chord changes that eventually led to 'My All.' She started singing and I started playing and we came up with the basis of the song. I put a little drum groove down and it was one of the easier songs to write with her."

    The Spanish guitar sound on "My All" tapped into Carey and Afanasieff's roots, although Carey doesn't remember listening to a lot of Latin music when she was growing up. "I didn't spend much time with my paternal grandfather, who is the one who has Spanish in him, but I'm sure when I went to Queens to visit him, I would hear that music and subconsciously it was in me." Afanasieff was born in Brazil, but comes from a Russian background. "Hearing Russian music and Latin and Brazilian music my whole life, I went into an old-fashioned sort of Russian, Latin-Spanish chord progression melody, which was hardly being done."

    Rainbow was Mariah Carey's final studio album of original material for Columbia, her label home since her debut in 1990. "In all honesty, it was like I have one more album here and I want to move on, because my personal life had changed. It was difficult for me to still be in the system, but it was a great outlet for me to be ablt to go into the studio and write a song like 'Petals,' which is one of my most personal songs and remains one of my favorites. I think [it has the most] honest lyrics I've ever written."

    "'Petals' wasn't a single." The label led with "Heartbreaker," produced by Carey with a friend she met through mutual acquaintences, DJ Clue. "He came up with the Stacey Lattisaw 'Attack of the Name Game' loop because he felt it was very much in my vein, like those happy kind of records. And when he came up with the 'It Ain't No Fun,' the remix, that's when I knew it was over. That's when I said this is the hottest record I've ever done, in terms of a club record. That and 'Fantasy' with Ol' Dirty *******, because you can still go to clubs and hear them play that 'Heartbreaker' remix with Missy [Elliott] and [Da] Brat. I love collaborating with Clue." Carey is also effusive about her "Heartbreaker" partner, Jay-Z. "It's fun when you find people you can relate to and that you respect. Jay-Z is someone I so admire as a writer and as an artist. We could be sitting in the studio and he could freestyle a rhyme that would be incredible just off the top of his head. He doesn't need pen and paper. I equate that to a singer who can pick up the mike and riff and ad-lib over a song and take you to a totally new place."

    Carey recounts her inspiration for the "Heartbreaker" lyrics: "It was from the standpoint of girls who keep going back to that same guy and they can't help themselves. They know they're going to get hurt. I've been one of those girls, so I know there's a lot of them out there."

    Providing backing vocals on "Heartbreaker" was someone Carey had known for a long time. Trey Lorenz was the male voice on her remake of the Jackson 5's "I'll Be There." "He's an amazing writer and singer," says Carey. "He's so influenced by old school stuff, yet he's so current. He's known me since before my first album, and he's a great, loyal friend."

    There's a party atmosphere on the original version of "Heartbreaker" on the Rainbow album. But there wasn't a big crowd in the studio. "It's me, Clue, and Jay-Z, and whatever other producer things Clue put in," says Carey. "Being a DJ, he has a lot of different ideas for making atmospheric stuff on mix tapes."

    "Heartbreaker" was Carey's 14th number one on the Hot 100, a total run up in just over nine years. With "Heartbreaker," she sailed past Michael Jackson's 13 chart-toppers to claim third place among artists with the most number ones. Only the Beatles (with 20) and Elvis Presley (with 17) had more than Carey, and she wasn't finished with the pole position.

    What impressed producers Jimmy Jam and Terry Lewis most when they worked with Mariah Carey for the first time was that she knew exactly what she wanted, and she had intimate knowledge of their previous work. "She knew our catalog upside down," says Jimmy Jam. "She knew everything about us and what we'd done. She had written a song with Diane Warren called 'Can't Take That Away,' and she said, 'You know how on the song "Again" you did the strings that sound like this and on "On Bended Knee" you did a drum program that sounded like this.' She could paint a total picture for us as to what she wanted the finished record to sound like."

    Jam and Lewis didn't have a pre-conceived notion of what they wanted from Carey. "It wasn't like Janet [Jackson], where we all grew up together. Mariah had done her own thing and had been very involved with the arranging and production of her records, so we respected that and said, 'What can we do for you?' She would fly into town for five or six hours. We'd crank out a couple of songs. She'd get on a plane and fly to whatever was the next thing she was doing."

    One night Jam and Lewis were at a Timberwolves game when they received a call from Carey's assistant, who told them she had an idea for a song and was arriving in Minneapolis at midnight. They met her at the studio at the appointed time. "She's got 'Thank God I found you' and that's about as much as she's got," Jam remembers. "She sang the melody. We usually have Big Jim Wright sit in on those kind of sessions to work out chords. He wasn't there so I had to work out the chords myself. So I'm playing and there was a part where I said, 'Man, what chord am I supposed to do here?' and Mariah has such a good ear, she sang me the chord."

    Carey has a similar memory of that midnight session. "We just like sitting in a studio vibing off each other. 'Thank God I Found You' was a love song inspired by a relationship I was in at the time. I sang it to Jimmy and Terry and we put the song together from there. They have been so inspirational to me throughout my life. Growing up, I listened to so many songs they have written which are classics."

    At that late-night session, Jam and Lewis knew Mariah wanted male singers to join her on the track. "Our first choice when we wrote the song was K-Ci and JoJo. They were on a different record label and there were a lot of problems getting clearance for them to do it. We booked studio time and kept saying to them, 'Just come in and sing it. You could nail it in an hour. We'll worry about the politics later.'" It never happened. "So we thought about voices that would work with the song. Joe was a known entity in R&B but nowhere near the star he is now. From what we knew about Joe, he was a nice guy who would be there for the video and performances. That becomes important when you do duets, and his label was willing." Joe was flattered to be asked. "When she called me to come to the studio," says Joe, "I had no idea I would record at that moment, but I couldn't let the opportunity slip away. She sat in the control room while I was singing in the booth and it was amazing to have her sit there and watch her smile and be in her zone."

    Jam and Lewis also wanted male harmonies on the track, and recruited the four members of 98 Degrees. "They had to do their part quickly and to this day the guys say, 'Sorry about the vocal.' But they came in and killed it. And Joe killed it. We always thought he had so much talent and should be bigger than he is. It was really a stepping stone for him to go and do what he's done."

    Sessions that produced 'We Belong Together' - Mariah's 16th #1 single - almost didn't happen.

    Mariah needed a miracle.

    In November 2004 she was still mired in a deep slump that was on the verge of killing her career ("Glitter," anyone?). But she had a full album's worth of hot new material in the can that she was sure would rocket her.

    However, Mariah's label boss, L.A. Reid, thought she needed a little insurance, and suggested she try just one more session to sprinkle some final fairy dust on her emancipation proclamation, The Emancipation of Mimi. "L.A. was like, 'You and Jermaine Dupri make magic together, why aren't you in the studio with him?' " Carey recalled. "I said, 'I love Jermaine, is he free? I know he's doing a million things, Usher and this and that.' But Jermaine said, 'Come on down.' "

    Dupri, of course, is one of the biggest hitmakers of the past 20 years, having crafted hits for Usher, TLC, Alicia Keys, Jay-Z, Nelly, Aaliyah, Kris Kross and many others in addition to Mariah. When she arrived at Dupri's studio in Atlanta the next day, the two of them worked nonstop, popping off two songs in two days: "Get Your Number" and "Shake It Off."

    Up to that point, Carey and Reid had planned to make "Say Somethin'," a collaboration with Snoop Dogg and Pharrell Williams, her new album's first single. But once Reid heard the Dupri-helmed songs, Carey recalled, "He was like, 'Oh no! Now we've got to change the single, make these singles one and two.' "

    Carey agreed. "Nobody could tell me that 'Shake It Off' wasn't going to be my first single. It was my favorite song, just from the demo."

    Dupri had quickly sized up what he felt the album needed. "The records that I made are very melodic records, regardless of their hip-hop influence," Dupri said. "I think that's what she was missing."

    And since he and Mariah had come up with those two songs in two days, why stop? "Then it was like, 'You want to go back down to Atlanta again?' " she said. So the pair teamed up again, coming up with "It's Like That" and "We Belong Together" — the first two songs in the album's final sequence — in two days. "We said, OK, we love 'Shake It Off,' " Carey recalled. "We don't know how we're going to top that, but let's just try.' It turned out that 'It's Like That' was the right fire-starter, and 'We Belong Together' was the bigger record." "We Belong Together" became Carey's sweet 16: her 16th #1 hit, the most ever by a female artist.

    Dupri may deserve as much credit for what he got Mariah not to do. For someone so associated with multi-octave vocal gymnastics (look up "melisma" in the dictionary and you'll see a picture of Mariah), Carey is a model of restraint on "We Belong Together": She doesn't even raise her voice until the song is near its end. She sings the chorus as if she actually were resigned to not having what she wants, and that understated approach makes the song far more powerful than it would have been if she'd belted it.

    "People have to learn the art of subtlety," she said. "We realized that once we did it, it was an inspiration in terms of how I was singing it. It was obvious that if it was touching us, it was going reach other people too."

    Carey also reversed her usual technique of singing as many notes per syllable as she possibly can, and her comparatively spare, hip-hop-inspired delivery is what pushes the song forward (the instrumental backing is primarily a beat and just a few simple piano chords).

    "We just went back and forth with concepts for the beat and melodic ideas, which I didn't expect from Jermaine, because usually I'm the one that dictates the entire melody," Carey said. "But he had some really great ideas."

    The rest of the song is classic heartbreak. For the second verse, Mariah said she and Jermaine "had a pow-wow," trying to figure out what it makes certain songs so special, how they "just hit you, and you're like, 'Oh, man!' You know?"

    They came up with Bobby Womack's "If You Think You're Lonely Now" and Babyface's "Two Occasions," which Carey quotes in "We Belong Together" as she flips across a radio dial: "I gotta change the station/ So I turn the dial, tryin' to catch a break/ And then I hear Babyface/ I only think of you and it's breaking my heart/ I'm trying to keep it together but I'm falling apart."

    Carey reverses the melancholy at the end with vocal lifts that imply she's bound to get her heart's desire anyway, through sheer determination.

    Kind of like the way she's revived her career.

    "It's like, damn, two years ago she was the craziest person in the funny farm, and that [image] don't even exist no more," Dupri said. "And she never got nominated this many times when she was the Mariah of old. It felt like the rebirth of the person you know as Mariah Carey." "I am so grateful I went to Atlanta," Carey said. "And I have to say, we wrote some of my favorite songs on the album. I'm so proud of Jermaine - he's so focused, and he knew what had to be done.

    "You can never write off talent," she added. Especially not her own.

    17. DON'T FORGET ABOUT US - currently not available.

    18. Touch My Body

    · The Billboard Book of Number 1 Hits 2003, 5th Edition, Fred Bronson
    · Jason
    · MTV News
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    The Emancipation of Mimi
    Merry Christmas
    Music Box
    MTV Unplugged
    Mariah Carey


    After Tonight
    Against All Odds
    Ain't No Mountain High Enough
    All In Your Mind
    All I've Ever Wanted
    All I Want For Christmas Is You
    All My Life
    All I Want For Christmas Is You (So So Def Remix)
    All My Life
    All To Myself
    Alone In Love
    Always Be My Baby
    Always Be My Baby (Groove-A-Capella)
    Always Be My Baby (Mr. Dupri Mix)
    Always In Love
    America The Beautiful
    And You Don't Remember
    Anytime You Need A Friend
    Anytime You Need A Friend (C&C Club)
    Anytime You Need A Friend (Soul Convention Remix)

    Boy (I Need You)
    Breakdown (The Mo' Thugs Remix)
    Bringin' On The Heartbreak
    Bye Bye

    Can't Let Go
    Can't Take That Away
    Can't Take That Away (Revival Triumphant Mix)
    Chain Of Fools
    Christmas (Baby Please Come Home)
    Close My Eyes
    Cruise Control

    Did I Do That
    Didn't Mean To Turn You On
    Don't Forget About Us
    Don't Forget About Us (So So Def Remix)
    Don't Forget About Us (Ralph Rosario & Craig J Mix)
    Don't Play That Song
    Don't Stop (Funkin' 4 Jamaica)
    Do You Know Where You're Going To
    Do You Think Of Me
    Dreamlover (Def Club Mix)

    El Amor Que Soñe (Open Arms Spanish)
    Emotions (12" Club Mix)
    Endless Love
    Endless Love (Mariah Only)
    Everything Fades Away
    Everytime I Close My Eyes

    Fantasy (Def Club Mix)
    Fantasy Remix
    Fly Like a Bird
    For The Record
    Fourth Of July

    Get Your Number
    God Rest Ye Merry Gentlemen
    Got To Be Real
    Gotta Thing For U

    Hark! The Herald Angels Sing/Gloria (In Excelsis Deo)
    Head Over Heels
    Head Over Heels f/ Nas
    Head Over Heels Remix Heartbreaker
    Heartbreaker/If You Should Ever Be Lonely
    Heartbreaker Remix
    Hey Jude
    Honey (Bad Boy Remix)
    Honey (Classic Club Mix)
    Honey (So So Def Remix)
    Hopelessly Devoted To You
    How Much

    I Am Free
    I Don't Wanna Cry
    I Stay In Love
    I Feel It
    If It's Over
    If Only You Knew/Somewhere Over The Rainbow
    If We
    I Know What You Want
    I'll Be Lovin' U Long Time
    I'll Be There
    I'm That Chick
    I Only Wanted
    I Wish You Well
    I Still Believe
    I Still Believe/Pure Imagination
    I Still Believe (Stevie J. Remix)
    It's Like That
    It's Like That (Morales Mix)
    It's Like That (Scott Storch Remix)
    I've Been Thinking About You
    I Wish You Knew

    Jesus Born On This Day
    Jesus Oh What A Wonderful Child
    Joy To The World
    Joy To The World (Celebratory Mix)
    Just Be Good To Me
    Just To Hold You Once Again
    Last Chance
    Last Kiss
    Last Night A DJ Saved My Life
    Lead The Way
    Lil L.O.V.E.
    Long Ago
    Looking In
    Love Hangover/Heartbreaker
    Love Story
    Love Takes Time
    Loverboy (MJ Cole Remix)
    Loverboy Remix

    Make It Happen
    Melt Away
    Mi Todo
    Mine Again
    Miss You
    Miss You Most (At Christmas Time)
    Misty Moon
    Music Box
    My All
    My All (Morales 'My' Club Mix)
    My All/Stay Awhile
    My Saving Grace

    Natural Woman
    Never Forget You
    Never Too Far
    Never Too Far/Hero Medley
    Now That I Know

    O Holy Night
    Once In A Lifetime
    One Sweet Day
    One Sweet Day (A Capella)
    Open Arms


    Rainbow Interlude
    Reflections (Care Enough)
    Right To Dream

    Santa Claus Is Comin' To Town
    Say Somethin'
    Say Somethin' (Morales Stereo Anthem)
    Secret Love
    Sent From Up Above
    Shake It Off
    Shake It Off Remix
    Side Effects
    Silent Night
    Slipping Away
    So Blessed
    So Lonely
    Someday (Rhythm Stick Remix)
    Stay The Night
    Subtle Invitation
    Sunflowers For Alfred Roy
    Sweetheart (Lil' Jon Remix)
    Sweetheart (The Story)

    Thank God I Found You
    Thank God I Found You/Make It Last
    Thanx 4 Nothin'
    The Beautiful Ones
    The One
    The One (So So Def Mix)
    The Roof
    The Roof (Mobb Deep Mix)
    The Star-Spangled Banner
    The Waited Too Long Blues
    The Wind
    There's Got To Be A Way
    There For Me
    There Goes My Heart
    Things That You Do
    Through The Rain
    Through The Rain Remix
    Till The End Of Time
    Time Of Your Life
    To Be Around You
    To The Floor
    Touch My Body

    U Make Me Wanna
    Underneath The Stars
    Underneath The Stars (Drifting Remix)

    Vision Of Love

    Want You
    We Belong Together
    We Belong Together (Atlantic Soul Vocal)
    We Belong Together (Desert Storm Remix)
    When I Saw You
    When You Believe
    Whenever You Call
    Where Are You Christmas
    With You I'm Born Again
    Without You


    You And I
    You Got Me
    You Had Your Chance
    You Need Me
    You're So Cold
    Your Girl
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    MUSIC BOX Us Tour 1993

    The Music Box Tour was Mariah's first tour ever. It only included six dates in the United States during the pre-Christmas season. All venues were sold out, but Mariah's first real concert in Miami (Florida) was slammed by the critics. The reason was her lack of touring experience and the bad stage presence. However, her voice didn't leave the critics and audience disappointed.

    During this tour, she sang the SOS Band cover "Just Be Good To Me" for the first time, which she adapted for the Daydream tour three years later.

    No DVD or homevideo was released for this tour. However, "Here Is Mariah Carey" was released in 1994 and includes footage of the NBC Thankgiving Concert Special that was recorded in 1993.


    DAYDREAM World Tour 1996

    After the somehow disappointing tour experience in 1993, Mariah was ready for a world tour in 1996. Also this one wasn't too extended - it contained four dates in Europe and three at the Tokyo Dome in Japan. The shows in Japan sold out 150,000 tickets in just two hours. Also the European dates sold out in record time.

    The show showcased mostly songs from the album "Daydream," including one of Mariah's favorites, "Underneath The Stars." In Japan, she also performed a stunning version of "All I Want For Christmas Is You," which was her biggest hit there ever.

    The Daydream tour was never released on Home Video or DVD, even though the shows in Japan were filmed. However, the release was replaced by "Mariah Carey: Live at Madison Square Garden," which included a concert in New York from the Thanksgiving Special in 1995. A bootleg album for the Tokyo shows was released, which is very popular among fans.


    BUTTERFLY World Tour 1998

    On January 11, 1998, Mariah Carey kicked-off her Butterfly Tour at the Tokyo Dome - a 50,000-capacity venue where two years earlier, three concerts had sold out within minutes. This time, Mariah even topped herself, selling out four dates in the same time frame.

    After her first and only concert in Taiwan, Mariah and her crew proceeded to Australia which marks the only time she visited Downunder ever. None of the following tours included stops in Australia. One of the tour highlights was a performance of "Hopelessly Devoted To You" with Olivia Newton John in Melbourne, where also the final Australian concert was cancelled due to illness, and was never rescheduled.

    Honolulu (Hawaii) was the only show during the tour that was performed on US-territory. Originally, this concert was planned to be the first stop of an extended US Tour which was cancelled due to the filming of "Double-O-Soul," a movie that never saw the light of the day.

    The Butterfly Tour was the only tour whose footage was included in an official home video and DVD. "Around The World" shows selected songs from the tour, focusing on the show in Hawaii.


    RAINBOW World Tour 2000

    With 19 tourstops on three continents, the Rainbow Tour was Mariah's longest up to that point. The kick-off took place in Antwerp, Belgium on Valentine's Day. Three days later, Thank God I Found You became Mariah's 15th number one single.

    All venues were sold out - including two shows at Tokyo Dome. The US leg of the tour gained over 7 Million $ - for only 9 dates! It was Mariah's first US tour after 8 years.

    Interesting fact: In Atlanta (Georgia), Mariah had food poisoning after eating bad oysters. The last three shows in New York, Boston and Toronto had to be postponed.

    The Toronto show was filmed and supposed to be released on DVD, but also this one never saw the light of the day.


    CHARMBRACELET World Tour 2003

    The Charmbracelet World Tour 2003/2004 was Mariah's biggest world tour ever. With over 70 concerts, she gave her fans in Asia, North America, Europe and the Middle East a night to remember.

    It all started with an announcement of a big 25-city North America arena tour, which was later downsized to smaller theatres. In Europe and Asia, the dates at big stadiums and arenas stayed as scheduled.

    For the first time ever, Mariah visited countries like Russia, the Philippines, Thailand, China and Dubai.

    The Charmbracelet Tour was not just another tour in Mariah's career. It helped her regain the status of being "The Voice", which also had a big effect to the 2005 mega-seller "The Emancipation of Mimi".

    Random Tour Facts:

    - Some radical Islamic parties wanted to ban and cancel the concerts in Malaysia and Indonesia due to her "skimpy" stage outfits. Mariah didn't cancel the shows, but decided to wear "less sexy" clothes.

    - During the tour, Louise McNally's (Mariah's former manager) son and Mariah's uncle Bob died. She dedicated "Through The Rain" to the McNally family in Seoul and "Can't Take That Away" to her uncle in London.

    - Fans could go the official website and vote for one out of 4 songs they wanted to hear at the concert. Most times, "Can't Take That Away" won. In Europe, the audience could decide which song they wanted to hear. Mariah and the fans changed the setlist almost every night.

    - The biggest audience was in Manila where 30,000 people attended the concert. The smallest audience was 2,500 in Tampa, Florida.

    - Due to SARS, some concerts in Asia had to be cancelled in June 2003 (Singapore, Thailand, China). Some of the concerts were rescheduled in November 2003 or February 2004.

    - In Osaka, Mariah's shoe broke and fell off her foot during the "Honey" performance. She then threw it into the audience.


    THE ADVENTURES OF MIMI The Voice The Hits The Tour 2006

    Mariah tells USA Today that she is keen that her Adventures bring her closer to the audience, "I know that my fans already understand who I am. Sometimes I think they get me more than I get myself. But I want everyone who sees these shows to get a better understanding of me, my personal side, by the time they leave. I want there to be intimate moments - not a woe-is-me thing, but a chance for people to recognize that we've all been through things, and we can connect through music."

    Having re-established herself at the top of the pop heap in 2005 with her six-times-platinum "The Emancipation of Mimi," Mariah Carey launched her first U.S. tour since 2003. Called "The Adventures of Mimi: the Voice, the Hits, the Tour," Mariah embarked on a concert tour with 32 stops in North America, kicking off in Miami, Florida on August 5th and ending in Phoenix, Arizona on October 10th. Six more dates followed in Japan (previously scheduled show in Hong Kong was cancelled due to disagreement with the promoter) Her 'preview' shows in a two-night mini concert in Tunis, Tunisia (July 22 & 24), and at Pepsi Smash Live in Los Angeles on July 29, promised a great spectacle of 'The Voice,' and as we later found out, she did not disappoint.
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    GLITTER (2001)

    This was Mariah's first movie in which she played a leading role. The idea for it came up in 1997, but the movie wasn't finalized until 2001. The movie, as well as its sountrack, haven't been as successful as expected. Nonetheless, this movie will always be remembered as a classic moment in Mariah's career - among fans AND non-lambs.


    WISE GIRLS (2002)

    WiseGirls" is Mariah's second movie after "Glitter", in which she played one of the leading roles. A character-based comedy that paired Mariah Carey with Mira Sorvino and earned good notices and a standing ovation at the 2002 Sundance Film Festival, "WiseGirls" landed on cable television rather than gaining wide distribution in theaters.


    TENNESSEE (2007)

    Mariah plays Krystal, an aspiring country singer in this new film by producer Lee Daniels (of Monster's Ball fame). Currently filming in Albuquerque, New Mexico (January 22 - February 13).
  • Where can I download her full discography (1990-2008)?
    Tatlo pa lang ang albums ko ni MC eh...
  • glitter_202.gifd099eea661553ea5a88f5c236dc62294.gifglitter_202.gif

    "This is for all of you out there tonight, reaching for a dream, don't ever give up. Never, never listen to anybody, when they try to discourage you; 'cause they do that, believe me!" [Fantasy: Mariah Carey at Madison Square Garden (1995)]

    "When I was driving myself into the ground, I lost sight of the fact that God is in control. Now I know that He brought me to that point so I could get closer to Him." [Essence, April 2005]

    "And I moved around with my mother, like, 13 times. I didn't have a sense of stability. So I said to myself as a child, 'When I grow up, I'm going to be successful. I'm going to work as hard as I can so I never end up in this place again.'" [Us, December 16, 2002]

    "I never thought it would get to the point where tabloids make up crazy stuff, but I thought I was gonna sing and have a career and I wanted to be famous, but I didn't know what that meant. But I am grateful because you know what? I could be scrubbing floors. And be singing along with the radio, miserable." [The Guardian, April 2005]

    "Forget the image, forget the ensemble, forget the rumours, forget the short skirts, the big hair, whatever! I owe this to the fans and I will never forget you so I want to accept this award on behalf of all of you. We've come a long way and I feel like I'm just getting started. Because as an artist, and most importantly as a person, I am genuinely happy to finally be free to be who I am. Thank you." [1999 Billboard Music Awards]

    "It's hard to be someone that people talk about and write about, you know? They don't know me."

    "Someone said I never paid any dues.I feel my whole life was struggling, because we were poor. We were alone, we had nothing--no security. I feel I have paid my dues. I've been paying my dues all my life."

    "Even from the beginning, I said, 'If you want to put me with people to write with and collaborate, that's fine, but don't try to force me to record someone else's song.' I'm not saying I'm friggin' William Shakespeare. But even writing a melody, it's a release. And I really have a need to express myself." [Rolling Stone, February 2006]

    "Music was my main source of peace and happiness. If there was something messed up going on in my house, turmoil and things that were unsettling to me, I would walk and sing to myself. It grounded me emotionally. I would sleep with the radio underneath the covers at 4 a.m. and just sing along. The feeling I had was, I need to sing, I need to make a big melody, I need to express myself." [Cosmo Girl! November 2005]

    "I think I am a romantic and that's why I can write love songs that people relate to. It might even be a memory from eighth grade. I haven't lost that side of who I am." [Cosmo Girl! November 2005]

    "One person could say 'Hero' is a schmaltzy piece of garbage, but another person can write me a letter and say, 'I've considered commiting suicide every day of my life for the last ten years until I heard that song and I realized after all I can be my own hero.' And that, that's an unexplainable feeling, like I've done something with my life, ya know?"

    "In the beginning, I wanted to be taken seriously. I didn't want to be taken as a teen act. But as I evolved...I think a lot of people don't want the girl who can sing the long notes to be sensual. I know I've gone over the top with it sometimes, but because of my voice, and for what's palatable in Middle America, I'm not supposed to be sexy." [america, 2005]

    "A lot of the time they (the media) form the idea in listeners' minds. Calling me a 'pop diva' without listening to my work so when I come out with an urban song it's like, 'Pop diva goes black.' I mean, pur-lease." [Hip Hop magazine]

    "I prayed very hard for this to happen and it happened. I don't even think about what I've achieved, I haven't focused on it and I wish I had, because I really want to enjoy it, and I don't know if I am enjoying it, because I am going through my life like a bulldozer. I still haven't marveled at it. I don't mind being compared to Whitney, there are people miles worse to be compared to, but if you really listen there's a difference."

    "People all of a sudden just see me and hear me having hit records and it seems to have come out of the blue. But really I have been working towards this my whole life, and this is what I say when people say I haven't paid my dues."

    "What I write is all from my imagination. Fact is, I haven't had time to experience all that, but that doesn't mean to say that I don't write from the heart, because I do. I put myself in other women's shoes, I can feel their pain and joy when I think about it. It's all the same, we're all women."

    "There's never been anything else in my life that inspired me at all. It's crazy, but I've always loved music and I've always known this was what I wanted to do. I can't remember a time when I didn't want to be a singer."

    "No, I don't want to be like, 'woe it's me' but I mean, there's a certain stigma sort of attached with this whole 'diva' thing like what everybody likes to use now and most people who are technically divas don't write their songs, don't produce and don't spend the time in the studio and that's nothing against them but usually when someone has a big voice, you know, you don't really have to do that but writing is like 50% of what I love about making music and I can't just write a song and leave the studios. I think if I had a guitar in my hand, strumming the whole time, people would be like, 'okay, singer-songwriter' but because I stand there looking, I guess, 'diva-esque,' they don't really, I don't think people think about it but whatever. I'd rather be a girl so... (laughs) [On not getting credit as a songwriter, MTV Presents UK, Jan. 15, 2003]

    "I write the music first and the lyrics second, almost always. Melody comes to me really, really quickly - sometimes when I don't want it to - like when I'm trying to sleep and I have to get up and record a melody so I don't forget it. I keep a tape recorder by my bed for this. If I'm cowriting a song, we'll sit at the piano and I'll say, 'This is a chord progression I'm working on' and we'll work it out. We'll bounce ideas off each other, and I'll take it home and whatever the music makes me feel, that's what I write about." [YM, April 2002]

    "I don't know. I've never measured it. I'm always experimenting. My mom gets scared, she'll be like, 'You can't be hitting that, that's off the piano!' She goes crazy, because she's a traditionalist." [On the highest note she can sing, YM, April 2002]

    "I love ballads. I grew up listening to Barbra Streisand and Olivia Newton-John." [Mariah's Musical Memories, Cosmo Girl! October 2001]

    "One of my favorite songs is Cherrelle's version of 'I Didn't Mean To Turn You On.' That's the one I was, like, living for when I was growing up." [Mariah's Musical Memories, Cosmo Girl! October 2001]

    "In high school, I was obsessed with Bon Jovi - we had the same hair!" [Mariah's Musical Memories, Cosmo Girl! October 2001]

    "The most annoying thing is when people exaggerate a situation. Like, this talk show hosted by a woman - I won't say who, an older woman - had this guy on who said I wouldn't give someone an autograph who was fixing my TV. I give. I do anything because I feel that if people respect your music and care about you enough to ask, then you should oblige them. I go out of my way to be nice and generous to fans. It bothers me when people make things up just to have a bite of gossip. And who cares? You know? Wow, big earth-shattering news, even if I did do that!" [YM, April 2002]

    "What I saw as a kid...growing up, I saw what promiscuity could do to you. I saw some people use sex as a way to feel wanted and loved. And I saw the lifelong commitment that came with a child." [america, 2005]

    "My mother gets very upset when I say we were poor but, then again, we had a conversation the other day, and she was recalling that she worked three jobs at one point. And I don't think that's something to be ashamed of. She really worked hard to keep us afloat." [Rolling Stone, February 1998]

    "...and my father said: 'There will be no singing at the table!' So I got up from the table, and I went into the living room, and I got up on the coffee table and continued singing at the top of my lungs. I guess that was an early indication of who I was going to be." [Rolling Stone, February 1998]

    "Growing up, if someone would ask me if I wanted to be famous or rich, I would always say famous. I thought it would validate my existence." [america, 2005]

    On parent's divorce: "They went through some very hard times before I was born. They had their dogs poisoned, their cars set on fire and blown up. It put a strain on their relationship that never quit. There was always this tension. They just fought all the time."

    "And maybe there are some people out there who think a quarter Venezuelan is not a lot... Well, I may be only one quarter, but it's a strong quarter."

    "...'abusive' and one that 'purposely preyed on every insecurity I have.' " [On her marriage to Tommy Mattola, Rolling Stone, February 2006]

    "There was a time when all I was allowed to do was go to gay clubs, because my quote-unquote husband was so afraid of me being around straight people."

    "I can count on one hand the amount of men I've been with in my life." [Touch, 2003]

    "I just said hi and then had to go back in. He said, 'Bye Mariah,' "Ahhhh, It could have been perfect." [On Tupac Shakur, america, 2005]

    "There is a light at the end of the tunnel...hopefully it's not a freight train!"

    "I like to think my dancing is like my cooking. It might not look right but I try." [In answer to Mary J. Blige's question if she could cook]

    "I decided to make my own ski-wear range after I found there were no fashion outfits for me to wear on the piste."
  • Wow! new thread before the new year! :)
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    Below is a compilation of opinions and comments from famous celebrities about Mariah - the person, the music, the influence.


    Derek Jeter: "I was intrigued with Mariah because we had a lot of similarities. Like me, she has a mixed heritage. She has White Irish mother and an African-American Venezuelan Father. Like me, she had a dream in life that she zealously pursued. She knew she wanted to be a singer, and made that her mission. Like me, she still works extremely hard at her profession. she's a beautiful woman, on the inside and outside, and I had a deep respect for her and the way she handled herself. she started out with nothing but a dream that she would be a BIG STAR, and to this day, she still works hard at fulfilling that dream. She's constantly writing, she's constantly in the studio, she's constantly trying to get better. She's someone a lot of people can learn from. I know I did. Whether you like her music or you think it's terrible, you could learn a lot of the way she pursued her goal." (Excerpts from "The Life You Imagine: Life Lessons For Achieving Your Dreams" Book)

    Anastacia: "Just after her individual performance, I met Mariah. She actually came up to me, it was so weird. I had no idea that she even knew I existed. She came and told me that she loves my voice and she loved my "Not That Kind" album. I freaked out, haha! I couldn't believe how nice she was, I never expected it from all the rumours I hear. But she's extremely kind and down-to-earth and you know what? We chatted for a while and she told me to sing at the front with her at the end when we performed "What More Can I Give." It was an honour." (Australia's Dope Music Magazine, 2002)

    Janet Jackson: "I have met [Carey] before and she's really cool and so funny. Everyone has been given the wrong impression of her, and maybe it is her doing. But you have to remember that celebrities are always in the spotlight and are sometimes forced to conduct them selves in a different way than they normally do. That?s how it is in the business. I have met artists who are real divas, but Mariah Carey is not one of them. She is a very sweet person, and what nobody sees off camera is the real person she is on the inside." (Music Beat)

    Damizza: "They say all these negative things about her like she dates rappers or about the way she dresses. If anybody were to meet her, they'd know she's Mary Poppins. She doesn't smoke, she hardly drinks, she doesn't do drugs. She's got a very sensitive voice so that if she walks into a room with smoke she can't sing for three days, or she can't talk. It's funny to be her friend and read all these things about her. Tabloids are always saying she's off on holiday but she's the hardest working person I've ever met in my life. She works 23 hours a day, literally, she never sleeps and she takes care of everybody. When I hear someone say something about her I usually get offended because she gave me my shot, she gave Shade his shot, she gave us all our shots. She gave ODB his first light of day past Wu **** Clan, and she invented the whole pop-rap collaboration. Nobody would have done a song with ODB at that level - this is a lady who'd sold a 100 million records at that point. She did not have to do that record, she wasn't trying to get street credibility. When we did 'Cry Baby' for her album a long time ago, I called Snoop and said what we wanted to do and he said "'Vision of Love' is my favourite record of all time." Everybody has a soft spot for Mariah. She's the greatest in the world."

    Diane Warren: "She works really hard. No matter what she's done, there's a hunger there. She doesn't have to prove herself, but she feels like she does."

    Jamie Theakson: "Mariah Carey is the perfect modern celebrity - larger than life, glamorous and totally over the top. I think some women disagree with her diva-like behaviour, but without her, the world of entertainment would be a much duller place.

    I first met her in 1997 when she was promoting her album Butterfly and we hit it off immediately. With everything that had been written about her I had no idea what to expect, but she was smart, warm and very funny. She's a lot of fun to be around and unlike a lot of celebrities, can really laugh at herself. When she performed on Top Of The Pops we started a rumour she'd demanded puppies in her dressing room and it became instant Mariah folklore. But she loved it because it was all harmless fun, and that's what she's all about." (Glamour UK)

    Shania Twain: Mariah is very grounded, a smart and level-headed person. I don't understand why people criticize her intelligence when she can do something as miraculous as recover from a physical and exhaustion breakdown, a record label buy-out, a film flop, and a soundtrack whose sales has proven to have received little to no recognition and absolutely no promotion. She can't be that simple if she can make a come back the way she did. She hasn't been given enough credit in my opinion. She has to be some sort of a genius actually just to have focused on becoming a stronger person and not letting people like the media destroy her completely. There are some people out there that can't handle the pressure of being a celebrity and the criticism and knowing that besides success there is always failure that you have to lean to recover from, and Mariah has proven to be the type of person who doesn't let anyone or anything break her down. She knows how to keep her life on track and if that isn't intelligence then I don't know what is."

    Whitney Houston: "We've never met or talked before. It was our first time working together. In the studio, we were laughing a lot and talking in between a song, we had a great time together. She's a vivid minded girl, she's a smart lady. I really like Mariah."

    Jimmy "Jam" Harris: "From a personal stand point, Mariah's kindness stood out the most. She's a very caring person. We know from listening to her records how talented she is, but we didn't really know how talented she really is until we work with her in the studio. After working with Mariah, I can say, she's part of our family now. She's workaholic and definitely the mother of her career."

    Max Beesley, co-star in "Glitter": "She was lovely. I actually kidnapped her one night! I wanted to take her out for a meal to thank her for taking such good care of us all for four months. So I took her out into New York, and told her that the night was on me, and we just going to relax. But she said, 'Well I'll get the wine then.' So I just picked out any bottle, and she ordered three of it. I was downing them like a proper Manc - like it was a pint of beer - when the bill arrived and she started laughing. 900 dollars each! I was really embarrassed!" (BBC1 Interview)

    Missy Elliott: "MC is a funny girl and always makes me laugh no matter what. I love her!"

    Shade Shiest: "I don't think it's because she's Mariah Carey, I don't think she's being singled out. It's because anyone successful is always going to be the target of negativity. She's a wonderful person, she's like a big sister to both of us and I have never seen her act any different from her normal self which is just like any other person. She's talented and she's just a regular person."

    Sharlee Jeter: "She's a very nice person and I love her to death. But what happened to them [Mariah & Derek] is between them."

    Kelly Clarkson: "Mariah is an excellent writer and singer. I believe she doesn't receive the credit she deserves." (The Straits Times)

    Mary J. Blige: I love Mariah Carey. Mariah Carey's music saved little ghetto children's lives. Songs like "Visions of Love" gave us hope and we would sing those songs and try to hit every note like Mariah -- which we can't. I don't think she knows what a big part she plays in Mary J. Blige's life. And then to meet her... she's such a beautiful person that you can't do anything but defend her when [the media] starts acting stupid on her. She doesn't deserve that. (Barnes and Noble interview)

    Mary J. also said in her acceptance speech at the 2005 Vibe Awards where Mariah was in the audience, "Mariah I love you, and I'm so happy for you. (Talking about Mariah's success with "The Emancipation of Mimi")

    Busta Rhymes: "One of the best singers in the game, hands down..." (Blender)

    Aretha Franklin: "[Erykah] Badu is a very good vocalist. I like her wit. She's kind of a cross between Diana Ross and Billie Holiday. Mariah Carey has done some things I like. Her vocals and production have a very tight quality." (Time)

    Walter Afanasieff: "She actually knows every song ever written. She's a walking encyclopedia of songs, from every Stevie Wonder song all the way to every Police record ever made. She carries around this 'hard disk' full of songs. And there's nothing she can't sing." (Fred Bronson's The Billboard Book of Number 1 Hits)

    Whitney Houston: When asked if she remembered first hearing Mariah's music, Whitney replied by singing a line from "Vision of Love" and said, "Yep, I remember it. It was like, kinda, my tone, not quite me. Who is she?" (MTV interview with John Norris)

    David Foster: "Working with Mariah was an extraordinary opportunity for me. It goes without saying that she's one of the world's greatest singers, but it was her musicianship that stunned me. She thinks like a record producer and lays her vocals down like a virtouso guitarist. Singer, Songwriter, Producer Mariah is a triple treat. Working with her was a wonderful experience from beginning to end."

    Ben Folds: "She's got the most amazing voice. Although the production on her new album, "The Emancipation of Mimi," may turn some off, I find the sheer talent involved reason enough to listen. I love classic soul ballads like "Mine Again" and "Fly Like a Bird." I also like that she's using her voice on this album more like a male singer might, like Prince. She could show off and belt, but she's evolving and doesn't seem to need to prove herself every bar, so you get the interpretation of an amazing singer." (The New York Times)

    Patti LaBelle: Has often complimented Mariah ("She has a great voice. I don't know, I love her talent!") and has even called her, her god-daughter. She introduced her at the 1999 Billboard Awards and has duetted with Mariah. She also gave a standing ovation to her when Mariah performed a medley of "If Only You Knew/Somewhere Over The Rainbow" "Mariah has an amazing gift from God that has no color, no boundaries and no limitations. You hear the passion and honesty within her music."

    Jessica Simpson: "Oh, my Gosh! Can you imagine they're comparing me to her...I mean she's the biggest selling artist of the decade, and I admire her too."

    "I'm a huge fan of Mariah Carey. I admired her music for so long. It's hard to follow on her footstep. She's so successful. Mariah's Mariah. To be compared to her is a huge compliment."

    Jessica said that "My All" was her favorite song of 1998, and also said that she used to warm up by singing "Hero."

    Nelly: "Mariah Carey, she's possibly the best singer I've heard. And you watch someone such as Mariah, who went from the highest of the high to the lowest of the low, and come back like she never missed a beat, and stand up and smack everybody in the face like, 'I'm still here; matter of fact I'm better” that gives you inspiration. That keeps me going."

    P!nk: "I love her style, I love especially her covers and samples. I think 'Glitter' is great. It´s a shame that the press never understood how honest this movie is."

    Toni Braxton: "I really admire Mariah Carey. I think she's a underrated, because she's a great producer, a wonderful writer, and no one gives her props for that. They always say 'Oh look, did you see what she had on?' And this and that. I'm like she's 30 years old, she's not 70 with breast hanging like chickens. She's young, she's beautiful, she has a great body. I just think she's wonderful, and I think people beat her up a lil' too much.

    Especially Mariah's 'One Sweet Day' - the one she did with Boyz II Men. Oh my God, that really helped me through a rough time."

    Probably Ella Fitzgerald, that's past, but if you're talking currently, I really like Mariah Carey. She's wonderful, she's a writer, and a producer, and I don't think people give her credit as she should.

    "I like the things that Irv Gotti is doing with hip-hop tracks and R&B with Ashanti. To be honest, Mariah Carey really pioneered that. All people wanted to talk about was her shorty-short shorts, but forget the chances she took. "Mariah with ODB...what was she thinking?" When I heard it, I said, "I get it, Mariah. Hands up, girl!" (Network Magazine, Nov. 2002)

    Joe Elliott, lead singer - Def Leppard: "Mariah Carey has also covered it...and about bloody time! It took 21 years for someone to do a proper cover of one of our songs. Apparently she was listening to Vault when she decided to get back in the studio and add it to her own already finished album. Because 'Bringin' On The Heartbreak' is the final track it suggests she listened right through to the end. That makes it hard not to say, 'God bless ya, girl.'" (In the liner notes of "Rock of Ages" album)

    "I think she's done a very good job [with "Bringin' On The Heartbreak"]. It's faithful to the arrangement, but not done like a rock song. Some astonishing vocal gymnastics toward the end that make Minnie Riperton sound like Tom Waits." (Las Vegas Sun)

    Phil Collen, guitarist - Def Leppard: Praised Mariah's cover of "Bringin' On The Heartbreak" as a "genuine version of our song" and defended it from Def Leppard's more critical fans: "The fans really get it wrong sometimes. She's on our side and it's an honour she's done it. Really, that's the only way we're getting played. One of the best singers in the game, hands down..." (Rolling Stone)

    "She's an icon. She's one of the most influential singers of the last decade. I mean, someone like Christina Aguilera is trying to imitate what Mariah did." (Calgary Herald)

    John Mayer: "There's something about Mariah Carey. She's super hot and people don't realize how much influence she's had." (Blender)

    Cameron Diaz: Diaz has reportedly said that her idea of torture is to be locked in a room and made to listen to Mariah Carey records.

    Rhett Lawrence, Producer: "I literally got goosebumps on my arms when I heard her sing. I couldn't believe the power and maturity of her voice. It was obvious that she was great - she was amazing."

    Shawn Stockman, Boyz II Men: "Of course. Mariah is talented, and you can't denounce her talent. Yeah, she's gone through a couple of personal things, but that didn't change the quality and the texture of her voice. It was only a matter of time before she would rise again and be on top."

    Thalia: "She has a voice that started a new era in music in the 90s. I used to listen to her songs. She's accomplished so much in her career with her numerous number one songs."

    Mark Feehilly, Westlife:"You know the way you see people's names on the credits, and it's like, I wonder if she actually really did that or are they just getting their name on there [because they're] such a big artist?" vocalist Mark Feehilly asks. "I always wondered that about Mariah Carey, and I was so happy to find out that she actually sat there at the desk, pushing up and down the buttons. She actually does produce her own songs and she writes her own songs, too. So, as a big fan, it made me respect her even more." (Rolling Stone, July 2000)

    Nelly Furtado: "All that rap and R&B I listened to as a kid made an impression on me; I used to write R&B songs in my bedroom that sounded like Mariah Carey songs." (Billboard)

    "The first singer I really got into was Mariah Carey when I was about 12. She kind of taught me how to sing 'cause, you know, couldn't really afford singing lessons. So, I would just listen to Mariah Carey's CD over and over again, and learn all her lyrics."

    Kelly Clarkson: Often cites Mariah as a source of inspiration and frequently covers her songs live such as "Love Takes Time" when she was in American Idol, she couldn't sing Mariah songs but got around it by singing the same covers as her such as "Without You," "Open Arms" and "Don't Play That Song."

    "I grew up listening to her and I love her and I love her new CD ["The Emancipation of Mimi"]."

    In reply to the question, "Everyone has posters on their bedroom walls growing up, who was on your bedroom wall?" Kelly said, "Oh, I had Mariah Carey, Reba McEntire, Aerosmith, Guns N' Roses, had a bunch. I had a lot of Mariah Carey though." (Total Request Live interview)

    At Zootopia 2003 Concert where they were both performing, Randy Jackson shoved her into a room with Mariah against her will (Kelly was too nervous). And Kelly told Mariah (accidentally) "Oh my God, I think I'm going to throw up!" She said Mariah laughed at her and was nice about it. Evidently, Kelly really vividly remembers that meeting, because she tells that story every time Mariah is brought up. (Interview with Ryan Seacrest, KISS 102.7)

    Beyonce Knowles: "'Vision of Love,' when I first heard that song, I knew it, my mind was made up - I had to be a singer."

    Kelly Rowland: "Mariah Carey is another hero of mine. I remember meeting her and how nice she was, and how I recently saw her, and she was telling me about stole and how she loved the video. And I literally, my mouth was open! I'm 22 years old and I mean at some point you just can't help but get a little star struck, and Mariah is just so incredible! I remember listening to "Dreamlover" when it first came out, and me trying to cut my shorts like hers, and have little plat shirts and show some belly like her! And oh my gosh, I love her! Love her!! She is a very incredible human being!! Listening to her voice just made me want to try even more with my vocals, cos she can do anything with her voice. Her voice is just like the ultimate instrument! She can hit high notes and her bottom voice is just so big and it's beautiful! There's no singer on this earth that can do what Mariah does!!!"

    Nivea: "Mariah Carey. She has been my main inspiration." (Teen Scene Magazine)

    "I was watching 'The Arsenio Hall Show,' and Mariah was performing 'Vision of Love,'" the singer recalls. "The way she projected her voice, she just had so much power. I knew then that I wanted to make people feel the way she made me feel. I bought all her albums and learned all the songs. That's all I would do all day long sing Mariah Carey songs..." (Yahoo! Music Interview)

    Melody Thorton, Pussycat Dolls: "My first album was Mariah Carey's "MTV Unplugged" and I still listen to it on a regular, to this day. (And you played it the other day. Over and over.) All the time. I met Mariah and she was great and I really, really, like it's amazing when you meet someone with that much like (charisma), yeah. She's done this before. She's like blah-blah-blah talking to me and then I was like just couldn't talk and when she left us I was like crying for an hour. It was crazy. It was great! She said, 'Don't mess up my body make-up.' That's what she said!" (AOL Music Sessions)

    "Some girls have said, 'It's my dream to be in a pop group,' and I'm like, 'OK, because I want to be Mariah Carey.'" (Blender)

    Lucie Silvas: "I was obsessed. I remember the moment I first heard Vision of Love, then I saw this white girl with a black voice on television, and everything about her bowled me over. You could relate to her and yet she was a magical icon, and throughout my school days all I dreamed of was being like Mariah Carey. She sang with a gospel choir around her, which was always my dream. I just wanted to be her." (Guardian Unlimited)

    Britney Spears: "Mariah Carey and Whitney Houston were my biggest influences. Madonna and Janet were too. I love their style (Mariah & Whitney) and the way their voices electrify you."

    "When I was little Whitney Houston, Mariah Carey, and I love listening to Michael Jackson...Yeah, I've always loved Mariah Carey, I guess because she writes her music, most of her music, and because she comes up with the BEST melodies. Her range is just from here to there, and she's probably my role model."

    Anastacia: "From her very first album till now her voice has been absolutely glorious to listen to. I am affected by every note she hits, which is practically every note on the keyboard."

    "You know later in life I was inspired to sing and that would've been Aretha, Chaka Khan, Mariah - the typical divas were the inspiration. I've always enjoyed all those singers."

    Singer Anastacia told Dope Music Magazine in Sydney that one of the most intimidating performances of her career was at the United We Stand concert in 2002, with Michael Jackson and Mariah: "Before it, I was so nervous. I was sweating like a pig, seriously. The thought of singing with Michael Jackson and Mariah Carey at the same time was indescribable. I never imagined singing with my life time idols".

    Christina Aguilera: In the early stages of her career, Aguilera often cited Mariah as a source of inspiration. "I discovered Mariah in my room one day listening to the radio, and as soon as 'Vision of Love' came on, I ran downstairs going, 'Mommy, Mommy' - I just found the greatest person in the world! I just heard the greatest new voice!

    Jessica Simpson: Jessica has cited Mariah as a source of inspiration, and after seeing her perform "We Belong Together" at the 2005 MTV Movie Awards, she can be seen mouthing "I love her!"

    Mya: "Wow! That rings a bell - 'Mya and Mariah' that would be nice, she's one of my influences as well. Anything is possible. She has a beautiful voice."

    Bethany Joy Galeotti ("One Tree Hill"): "I wrote my first song when I was maybe like four years old. I was always wandering around the house making things up. Back then, I learned a lot about singing from listening to Mariah Carey. I would sing to her [albums] and try and get all her riffs and stuff. I would be in my room for hours until I could get it right, it helps being an only child because I didn't have anything else to do!" (IMDb)

    Celine Dion: Despite rumors of rivalry between the two around the time of Divas Live in 1998, Celine has reportedly commented on Mariah when asked if she would ever duet with her and said something along the lines of "If Mariah was to ask me to duet with her, I will travel immediately 20000 km in order to sing with her for sure!"

    Christina Aguilera: "I'm presenting actually, right after she performs. So we were getting, we just did the rehearsal for it, and she just walked by me. I'm like OMG! it's her! I don't think I get starstruck with anyone the way I do with Mariah. I'm still waiting to meet her. I hope...When you interview her, tell her Christina Aguilera thinks she's amazing. She looks amazing..." (Interview with Chris Connelly of MTV News)

    Gloria Estefan: Gloria once commented on Mariah saying that it was okay she was cut out of the press photo for Divas Live, because they "had to make room for Mariah's hair."

    Keisha Cole: "At the end of the day, I feel blessed to be named with the names in my category, like Mariah."

    Missy Elliot: "Mariah, she listens to RAP. She's just straight up cool."

    "I remember, when my manager asked me to work with Mariah. I thought I would faint immediately. I mean, the legendary Mariah Carey wanted me to rap on her CD? I was shocked, excited, honored and happy."
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    Record Sales
    Mariah Carey sold more than any female artist in the 1990's, selling over 150 million albums and singles worldwide (115M albums + ~ over 35M singles).

    Mariah Carey is the best selling female artist of the Soundscan era (US sales since 1991).

    Mariah Carey is the only female artist to have 8 albums sell 5 million (5x Platinum) or more in the US.

    Mariah Carey is the only female artist to have 9 consecutive albums sell 3 million (3x Platinum) or more in the US.

    Mariah Carey is the fastest selling female artist in the US of all time, selling over 63 million albums in the US in 16 years.

    Mariah is one of three women (Madonna and Barbra Striesand are the others) to sell in excess of 60 million albums in the US.

    Mariah Carey is the best selling (non Japanese) artist of all time in Japan, selling over 17 million albums. She's sold more than twice as much as any other non-Japanese female artist (Madonna, Celine Dion and Whitney Houston are in order the 2nd, 3rd and the 4th best selling non-Japanese female artists in Japan).

    Mariah Carey is the only (non-Japanese) artist to sell 1 million copies of an album in a single week, with '#1's'

    Mariah Carey is one of the two (non-Korean) women (Whitney Houston is the other) to have a million seller in Korea, with 'Music Box'.

    Mariah Carey is one of the five women (Madonna, Shania Twain, Delta Goodrem, Alanis Morissette are the others) to have an album sell in excess of 700,000 copies in Australia (10x Platinum).

    'Music Box' is the best selling studio album by a R&B female artist of all time.

    'Music Box' was the best selling album of 1994 in Australia.

    'Music Box' is one of the two (non-Dutch) female albums (Celine Dion's Falling Into You is the other) to sell in excess of 600,000 copies (6x Platinum) in the Netherlands.

    Mariah Carey has more #1 singles (18) on the Billboard Hot 100 than any female or active artist ever.

    Mariah Carey's #1 singles have cumulatively spent 77 weeks at #1 on the Hot 100, more than any female artist and only 2 weeks short of surpassing Elvis Presley.

    Mariah Carey is the only artist to have her first five singles reach #1 on the Billboard Hot 100.

    Mariah Carey is the only artist to have a #1 single for every year of a single decade.

    Mariah Carey has more #1 airplay hits (13) than any artist.

    Mariah Carey has the #1 and #2 longest running #1 singles of all time, spending 16 and 14 weeks at #1, respectively, with 'One Sweet Day' and 'We Belong Together.'

    Mariah Carey is the only artist to have 3 singles debut at #1 on the Billboard Hot 100.

    Mariah Carey has the longest running #1 airplay hit by a solo artist spending 16 consecutive weeks on top, with 'We Belong Together'.

    Mariah Carey holds the record for the most heard single in radio history getting more than 200 million listeners in a single week, with 'We Belong Together'.

    Mariah Carey is the only artist to hit #1 on four formats (Pop, Urban, Rhythmic and Adult Urban) simultaniously, with 'We Belong Together'.

    Mariah Carey was the first female artist to have a single debut at #1 with 'Fantasy'.

    Mariah Carey is the first artist to have a seasonal ringtone certified by the RIAA with All I Want For Christmas Is You going Gold (500,000).

    Mariah Carey is the only female to simultaneously top the Billboard 200 and Pop Catalog chart, with 'Daydream' and 'Merry Christmas'.

    Mariah Carey is the only female artist to have her singles from one album spent over 25 weeks at #1.

    Mariah Carey is the only female artist to occupy the #1 and #2 position on the Billboard Hot 100 in week with 'We Belong Together' at #1 and 'Shake It Off' at #2.

    Mariah Carey is tied with Janet Jackson for the most #2 singles for a R&B female artist.

    Mariah Carey has more #1 singles on the New Zealand singles chart than any female artist ever with seven.

    Mariah Carey is the only (non-Japanese) to have 6 albums debut and reach #1 on the Overall Japanese Charts.

    Mariah Carey has more World Music Awards (16) than any artist.

    Lambs im not sure kung updated ba ito from Mariah Daily journal:D
  • Mariah Carey has the #1 and #2 longest running #1 singles of all time, spending 16 and 14 weeks at #1, respectively, with 'One Sweet Day' and 'We Belong Together.'

    Is this for real?!
  • Mariah Carey has the #1 and #2 longest running #1 singles of all time, spending 16 and 14 weeks at #1, respectively, with 'One Sweet Day' and 'We Belong Together.'

    Is this for real?!

    :wave:Hello po lahat po ng information na posted ko po are all from Mariah Daily Journal*okay*
  • butterfly.gif:wave:Lambs sleep napo ako at maaga pa ang pasok bukas sana ok lang yung pag kagawa ko ng new butterfly field natin:lol:butterfly.gif
  • sheppard01sheppard01 PEx Influencer ⭐⭐⭐
    new house for the ultimate Diva!:wave:
  • new thread na!!
  • :wave:Hello po lahat po ng information na posted ko po are all from Mariah Daily Journal*okay*

    No.. I mean, ngayon ko lang to nalaman :eek:
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