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Apollos
Daily Stormer
May 14, 2017
I thought this meme would be funnier if it looked really shitty (that’s my story and I’m sticking to it).
A probable AIDs fag writing for the Huffington Post by the name of Matthew Jacobs (couldn’t find out if he was Jewish) is claiming that Whitney Houston’s appeal to white people “contributed to her downfall.”
He begins his analysis by contrasting two different Whitney Houston documentaries that recently came out.
Five years after Whitney Houston’s untimely death, two new documentaries have evaluated her role as a black pop star packaged for white audiences. Coupled, they present conflicting perspectives on an artist whose personal trials eclipsed her professional triumphs.
One, Showtime’s “Whitney: Can I Be Me,” centers on Houston herself, who experienced a meteoric rise to fame at the untaught age of 22. The other, “Clive Davis: The Soundtrack of Our Lives,” intersperses the singer’s biography throughout its hagiographic account of the titular record executive’s career. Both premiered at the recently wrapped Tribeca Film Festival, where it was jarring to see the documentaries’ clashing viewpoints within days of each other.
Whereas “Whitney: Can I Be Me” is critical of the way industry moguls engineered Houston’s image, “Clive Davis: The Soundtrack of Our Lives” presents a fawning portrait of its subject as the foreman of Houston’s success.
“Can I Be Me” touts Houston as the first black woman to debut atop the pop charts. Read critically, that’s a euphemism for the effort by Davis and his Arista Records team to make her palatable for white America.
Everybody knows pop music is super white and racist:
This meme looks better because I didn’t make it.
By the way, here is what the probable AIDs patient who wrote this crap looks like:
Yeah, he’s even worse than you expected, isn’t he?
Davis gave her songs like “Greatest Love of All,” “I Wanna Dance with Somebody (Who Loves Me)” and “How Will I Know” ― polite bangers that targeted mainstream Top 40 over the less lucrative R&B market. Even though Houston’s hits saw significant airtime on R&B radio, her manicured image angered a portion of the black community, as evidenced by the 1989 Soul Train Awards crowd booing Houston during the presentation of Best R&B/Urban Contemporary Single.
“You’re not black enough for them,” the seven-time Grammy winner later said in an interview, recounting her detractors’ complaints. “You’re not R&B enough. You’re very pop. The white audience has taken you away from them.”
Notice that this freak says that only “a portion of the black community” (Soul Train’s live audience) were alienated from Whitney rather than saying “the black community” as a whole. That’s because Whitney Houston’s pop music was selling to both white audiences and the R&B market. The faggot himself says that Houston’s “hits saw significant airtime on R&B radio.” But because some activist Negroes at the Soul Train awards booed her, this proves that black people were lashing out at her for not doing the type of crap music other blacks were doing.
The Soul Train Awards episode became a turning point for Houston, who decided she wanted her next record to be edgier. “That moment was devastating,” saxophonist and collaborator Kirk Whalum says in the film. “I don’t think she ever recovered. When the boxes are ticked on why she perished, that was a big one.”
White people killed Whitney Houston y’all.
In “Soundtrack of Our Lives,” Davis, who signed Houston when she was 19, purports to have encouraged the transition she sought. Davis claims an integral role in her rebranding, recognizing that hip-hop was infiltrating music in the early ‘90s. For his part, Davis was hip to the trend, acquiring Babyface and L.A. Reid’s LaFace Records (which housed TLC, Usher and Goodie Mob) in 1989 and Puff Daddy’s Bad Boys Records (Notorious B.I.G., Mase, Faith Evans) in 1993.
…
The title track on “I’m Your Baby Tonight,” while still tame, had a certain bite to it, and the music video featured a leather-jacket-clad Houston riding a motorcycle. Ostensibly proving Davis’ point that so-called urban records didn’t sell as well, “Tonight” failed to match the success of Houston’s first two albums. Despite producing two major pop hits (”I’m Your Baby Tonight” and “All the Man That I Need”), it peaked at No. 3, unable to knock Vanilla Ice’s debut from the top spot. Houston didn’t release another studio album for eight years, instead focusing on a movie career.
So what really happened is that Whitney Houston tried to appeal to the colored hordes and then her career tanked.
AKA Pepsi vs. Coke.
Also, LOL that the whigger Neo-Nazi White Supremacist Vanilla Ice beat Whitney Houston’s black-orientated music by rapping while dancing around with a bunch of chimps.
When it comes down to it, Whitney Houston killed herself by getting involved with hardcore drugs. She wasn’t bad in the movies and coming down to number 3 isn’t the worst thing you can do in the music charts. I mean, I don’t think there was anyone who could have beaten THIS:
Word to your mother!
The truth is that white people are better at black music than the actual blacks (and blacks sell more albums by performing white music instead of performing jungle beats). The fag who wrote this Huff Puff piece just doesn’t understand that WHITE SUPREMACY isn’t just a slogan, it’s reality.
