The glorification of Mariah

Sasha Frere-Jones' essay on Mariah Carey in the latest New Yorker, "On Top," is the printed equivalent of an American Music Award -- a pat on a back that's been patted so much, it's practically caving in at this point. It's a press release for a career that's once again going swimmingly. It's promo for a year-old comeback album that has sold almost 6 million copies in the U.S. It is a list of achievements that only would have been more accessible if it were a series of bulleted points (though that's not meant to take away anything from Frere-Jones enviably crystalline writing style)

By the end of Frere-Jones' second paragraph, here's what we know about Carey:

• She's 36
• She has 17 No. 1 singles under her belt
• She's released 10 albums
• Her latest, The Emancipation of Mimi, has sold 5.5 million copies in the U.S.
• Mimi has spawned two No. 1 hits
• One, "We Belong Together" stayed at the top spot for 14 weeks
• She has two new singles out
• Three of her studio albums have sold more than 8 million copies (a record for a female)
• She co-wrote 16 of her No. 1 hits

Numbers, numbers, numbers. They've always come before Mariah's music. The straight-A status that defined the first part of her career (you could call this period B.H., or Before Hoochie) made her such a reviled goody-goody in the first place. Mariah's seeming infallibility is a big reason why the public voraciously tore into Glitter and then held a grudge for three and a half years. Before Mariah Carey even had an image, before she could even attempt to craft a persona, she was nothing but a bland, hit-making machine, cranking out album after album, occasionally altering her bangs and changing into new high-waisted shorts. Ladies and gentlemen, here is the subject of your article, only now Little Miss Perfect is in revealing gowns (which Frere-Jones doesn't even take note of).

The numbers are the boring part of Mariah Carey, and why Frere-Jones uses them up front to sell Carey is either a sly indictment of Carey's commercialism trumping everything else about her career, or it's just a idealism that a column of numbers should seduce someone into reading more about the subject he's presenting (note that Frere-Jones' intended audience has no prior knowledge of Mariah, one of pop music's least avoidable stars for the past 16 years, which is probably not even giving the readership of The New Yorker enough credit). It's probably the latter scenario, the idealism, as the piece goes on to read as not a barb, but a defense of Carey. Frere-Jones, for example, skims past Glitter with the finesse of a veteran publicist, even though it was via that failed vanity project and the similarly unappreciated follow-up album, Charmbracelet, that the butterfly-obsessed Mariah emerged completely from her cocoon to reveal an actual human being capable of actual failure. Watching her flail, seeing her trying so hard and not get it (Charmbracelet could be subtitled How To Almost Write a Hit) was to take in the most fascinating show she ever put on (if you need proof, check her face in the pictures above, courtesy of Mariah Daily, taken at a pre-breakdown signing of "Loverboy" in 2001).

It almost makes sense that the public missed out on the spectacle (they didn't deserve to see it, anyway), though there's no excuse for Frere-Jones to proclaim The Emancipation of Mimi "Carey’s most thoroughly R&B record," in a time when R&B has become virtually synonymous with "pop." There's nothing really resolute about Mimi's effective commercialism, and though part of his point is that she's no longer quite as prone to showboating, she started to give that up almost 10 years ago. Butterfly put slow groove before everything, even catchiness. It was the album that only could have been made when it was -- in 1997, after the 10-times-platinum Daydream, when Mariah was daring and maybe a little foolish enough to think that the public would eat up whatever she served. Barring its No. 1s, "Honey" and "My All," Butterfly houses the kind of music that only shows up on quiet-storm playlists, too defiantly R&B to cross over.

See, when Frere-Jones isn't just compiling facts that are obvious to anyone who cares about pop music, and readily available to everyone else, he's often just wrong (I should note here that his descriptions/critiques of "Vision of Love" and "Fantasy" are great and as close to having a purpose as "On Top" comes). He claims Mariah's trusted vocal technique melisma (described as "the act of taking one syllable of a lyric and stretching it over several notes") was popularized by Whitney Houston and made urban-radio law by Carey (he goes on to note the influence Beyoncé has attributed to "Vision of Love" as support). Yes, indeed, plenty of young singers emulate those they heard growing up, but once upon a time, Mariah and Whitney were the youngins who sang like their predecessors including Aretha Franklin, Patti LaBelle, Minnie Ripperton, Teena Marie and, like, every disco diva ever. None of those were strangers to melisma. Yeah, a lot of girls tend to ape Mariah's particular overuse of melisma, but that she's got a na-ay-uh-ay-ay-ayyyeeeee-tion of kids wagging their fingers and jazzing their hands along does not make her a great American inventor.

Nor does her "idea" (that's the word Frere-Jones uses) that R&B/pop should include guest rappers. Disciples of Mariah like to paint her as a pioneer for asking ODB to spit on Diddy's remix of "Fantasy." Sure, it was an unexpected move from someone whom, up to that point, you could listen to with your mom. But mostly, it was just a realization of hip-hop's inevitable saturation and takeover of pop music. All this on top of the fact that it wasn't even the first of such pairings. For example, in 1989, Jody Watley teamed up with Rakim for "Friends". Watley was almost the same sort of boundary-dodging diva as Mariah (except the kind of pop that Watley intertwined with R&B wasn't showy balladry, but the watered-down boogie of dance-pop). The ODB-Mariah collabo resulted in a great record, perhaps Carey's finest, but the fantasizing is best left to her.

Instead of paying lip service to her supposed trailblazing, it'd be more productive to give Mariah props for something she really was among the first to do, namely, the fast slow jam with double-time singing that's sort of inescapable if you turn on R&B radio today (I think "Say My Name" first brought it to No. 1 and a track like T-Pain and Akon's "I'm N Luv (Wit a Stripper)" is helping preserve the legacy). "Breakdown", a 1997 collaboration with Krayzie Bone and Wish Bone of Bone Thugs-N-Harmony helped kick off the craze (I can think of only one record that did it earlier – Aaliyah's "One in a Million," although with that one it was much easier to get lost in the futurism of the production than to pay attention the songwriting and vocal arrangement). "Breakdown," was, in fact, so seminal that almost 10 years later, Carey's still replicating its template and releasing the results as singles. "We Belong Together," "Shake It Off" and "Don't Forget About Us" are the commercial realization of the greatness of "Breakdown." Now everyone's caught up.

It's understandable that critics are finally finding Mariah worth praising – "rockism" is a dirty word and for the past few years, there's been a conscious movement among those supposedly in the know to embrace pop music for what it is, without a trace of irony. And so, pieces like "On Top" read like acts of discovery – Frere-Jones is saying "Hey, did you know…?" because he didn't. But his dry approach and exaggerations fit for a diva are a disservice to his colorful and eccentric subject. Frere-Jones nails the freakshow quality of Mariah's voice that's key to her appeal, but fails to mention that same quality of her personality that makes her so intriguing. Say what you will about keeping writing pure and focusing on the music, but Frere-Jones' deliberate skirting of Carey's persona is an oversight (there's just a single mention of her self-appointed status as an "eternal 12-year-old"). This is pop music we're talking, and the art is the whole package.

It's almost as though Frere-Jones is falling into the fanboy trap of taking the object of his admiration entirely too seriously. For whatever reason, he's not fessing up to the inherent humor or ridiculousness that Mariah exhibits repeatedly throughout her music (can you say "Calgon commercial?"). And then there are the interviews, dahling. Listen to Carey talk and she'll inevitably claim she can count the number of men she's slept with on one hand, or mention that her her dog, Jack, has three fan sites or brag that she recorded the vocal of "We Belong Together" in one take or even rattle off a few of her career stats (sometimes incorrectly). See, Mariah can talk numbers, too, and hers tend to be a lot more entertaining than those that Frere-Jones has to offer.

Comments

[Radha]

Dayum! You're good! Do you write for music mags cause you sure nuff should...from this thorough Frere-up-Mairahs-butt fry to your Prince review...to your Remy review, rant and reveal of some serious sis emcees (Jean Grae being my fav) its all so thought provoking and honest...we need folk like you at the major mags...a refreshing, learned voice amongst all the ass-kissing and smug-know-it-allness (my own word) and how the hell did you even know to reference Lo-Key 'I Got A Thang Fo Ya'?!?! And Stevie B!?!? LMAO! Keep up the good bruh!

PS I don't know what I'd do without your ANTM & Project Runway recaps!

[Foxy]

Isn't the "Breakdown"/"We Belong Together"/"Say My Name" double time vocals over slow jam tempos just a reaction to the rap ballad? The eternal 12 year old breaking out her old LL Cool J rap ballad mixtapes and paying homage...

[Law Diva 1908]

Okay seriously you should try to freelance for music magazines, think Toure'...on another note can't wait for your to comment on Duh Gina yesterday!

[JerriBlank]

I'm glad someone else recognizes how great the song Breakdown was/is. When it first came out, I was really surprised at how coldly it was received by pop radio. Do you remember the extreme fish-eye lens in the video? I love you Rich.

god, i hate sascha frere-jones. he always has at least two inaccuracies in his articles and acts like he discovered bands like the clash.

[Claire Keaveney]

Another great post! I just read the Mariah Carey profile in the New Yorker last night. Beats those three-part profiles of obscure midwestern archbishops the New Yorker used to do back in the day. I kind of miss those rambling, pointless, impeccably well written pieces, though.

Rich, I am dying to know -- do you write professionally? are/were you an academic? or are you just a prodigiously talented amateur with way too much free time?

Love,
Claire

[Noah]

I'm so glad you brought up Breakdown. Butterfly was Mariah at her best; she really sounds like she is having fun. By fat [ha! i wrote "fat" instead of "far" accidentally] the most creative thing she has released, its worth the price just for that 3 minute Butterfly reprise insanity.

[Erica]

I dont't agree with this potion of the article.....

"Nor does her "idea" (that's the word Frere-Jones uses) that R&B/pop should include guest rappers. Disciples of Mariah like to paint her as a pioneer for asking ODB to spit on Diddy's remix of "Fantasy." Sure, it was an unexpected move from someone whom, up to that point, you could listen to with your mom. But mostly, it was just a realization of hip-hop's inevitable saturation and takeover of pop music. All this on top of the fact that it wasn't even the first of such pairings. For example, in 1989, Jody Watley teamed up with Rakim for "Friends". Watley was almost the same sort of boundary-dodging diva as Mariah (except the kind of pop that Watley intertwined with R&B wasn't showy balladry, but the watered-down boogie of dance-pop). The ODB-Mariah collabo resulted in a great record, perhaps Carey's finest, but the fantasizing is best left to her."

*While Mariah was not the first to do that, she was the first to do it and make it a world-wide smash hit, and then intergrate into her music from then on. Most of the pop artist who did this b-4 her did it once for the novelty factor, they didnt do it wanting to make it a part of there music on a regular basis.

[Penny Woods]

All I have to add is that I love this post, dahling.

[Kasey]

All I know is that I went to fat camp with Tommy Mattola's son back when they were togther, and she refused to visit because "all the fat kids depressed her."

I think she might have been frightened of something that hit a little close to home. Good times.

[Johnny Chicago]

Q & A with the blog reporters:

WHO LISTENS TO HER, ANYWAY?

What, THIS RAVING BITCH??? Only chicks and queers, that's who...

WHY?

Because they would both suck a dirty cock a mile long on their knees for some drama. And shoes.

THEN WHY ARE YOU HERE ON THIS BLOG READING THIS AND MAKING THESE STUPID COMMENTS???

uh... uh... I think... uh...

CASE DISMISSED, JOHNNY. LEAVE NOW. AND SHUT THE FUCK UP ON YOUR WAY OUT.

OK.

< < < end of interview > > >

[Keisha]

LMAO. By God Rich, I think...I think I'm N LUV WIT YOU! (But not because you're a stripper - that's 2nd). My mom would love you too bc NOBODY mentions Minnie Ripperton when they mention MC's predecessors. My mom is really DYING for her to redo a Minnie song...although w/ her voice going to hell, who knows if that'll ever happen. *Cough Whitney w/o the crack cough* But omg Rich...this is f'ing amazing sir. Hats off to you!

Secondly, lmao @ MC for being depressed @ fat camp. Whoever said that was right, I think it DOES hit a little close to home for her...that or Tommy Mottola would have been quick to send her to keep her in top shape!

Can't wait for an ANTM recap...

[anon]

I don't think that I've ever heard the aesthetic of "One In A Million" described as "futurism." One of the samples is actually the "empty mailbox" sound on Macs, no?

I guess Missy Elliott's "The Rain" ( 1997 ) exudes the futurism character. How would Madonna's "Bedtime Stories" ( 1994 ) or Portishead's "Humming" ( 1997 ) filter into / live next to this idea?

[Mary]

Dear Rich,
I love you and I love, love, love fourfour! I love how smart you are. I love how knowledgable you are about pop culture and music. I love the way you know when stuff is crazy bullshit but you love it anyway for the crazy bullshit that it is (paging Basic Instinct II - every time I see Sharon Stone schilling for the upcoming trainwreck I think of you and think "oh. my. god. I hope to God Rich writes about this.")
All the previous posts are right - if you are not already a professional writer you should be. You are a rare combination of intelligent, TOTALLY down wit it, audacious, the perfect amount of reverent and irreverent, thoughtful (in the truest sense of the word), warm-hearted, SHARP and mother-fucking funny.
LONG LIVE CHUNK
All my love,
-Mary

[Joshua]

I love The New Yorker jumping on the bandwagon of OMG THIS IS MARIAH'S ERA OF GREATNESS 4EVA!!! like a day late and a dollar short. Figures.

[Cocoa Girl]

Yes, I agree with the comment that you should write music (if ya don't already).

We need someone great and fabulous to dethrone that [fill in the blank] named Toure.

You are an amazing writer wow

[Julie]

I agree that "Breakdown" was the first R&B song which made use of the fast singing that is inspired by hip hop music. Specifically, it is inspired by old Jay-Z and Bone Thugs...I wouldn't say it is a result of all rap music. Mariah has obviously revolutionized this style. Destiny's Child's entire sound is based on it. What's fascinating is that Mariah still uses this sound and has improved on it. Just listen to the special edition Mimi album. The track "So Lonely" is comparable to "Breakdown" in the sense that Mariah mimics Twista's style. And I was wondering when they would finally pair up.

Also, I have to disagree about the Fantasy Remix pairing of R&B and hip hop. Like Erica stated, this song was so influential to pop music in general. It turned the whole R&B genre around, and popularized the hip hop R&B combo. However, I would also add that artists like Mary J. Blige and TLC also contributed to this. ("Waterfalls" followed "Fantasy" though, I recall, and was very influential as well).

wheres the antm update.

[Honey]

Rich you are f'ing terrific...I think Mariah's first cd and Butterfly were her best joints...The Emanicipation of Mimi is pretty damn good too....

Mariah certaintly wasn't the first to pair R&B/Hip Hop...when she was locked down at Tommy's house, you had Mary J. and Grand Puba together; SWV (anything remix); let's not dig out the hits of the G-funk era (i.e. Above the Rim, Warren G, Snoop)

Shoot even MC Hammer had B Angie B.... Oaktown's 357...

man don't take me back to the late 80s early 90s...that New Jack Swing....

Remember Heavy D and Silk (Got Me Waiting Remix); Al B. Sure and Heavy D (Love Me For Me); Toni Tony Tone w/ Mercedes (Feels Good)

[david]

wor.ship.you.

[Brian]

I remember hearing "Shake It Off" and thinking, "Oh wow, that sounds just like 'Breakdown'." I loved "Breakdown", I mean who can beat a portrayal of a casino whore blowing on someone's dice with a scary looking drag queen in the background? Heeeey.

[lala]

love it love it love it

[Brandon]

I'm am completely indifferent to Mariah and her music, but I just read two articles about her because a.) I love your writing, and b.) I had to read this F-J dude's thing after yours.

[jess]

sasha frere jones and kalefa sanneh are both shitty journalists and obviously didn't grow up listening to the music they write about all the time now.