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About this_is_qhm from the Philippines: I love the intricate vocal harmonies only Mariah can make.

Mariah's image (45,441) by this_is_qhm from the Philippines Mariah's image through the years has alternated between skyscraping highs and rock-bottom lows, and some rare instances floating between the two. From her debut to '92, she was this fresh, exotic ingenue. From the first wedding up to '96, she was seen as this girl who was lucky enough to know the right people and live a fairytale. Post-divorce until '00, she was this liberated, confident woman at the top of her game, shaping up to be a sex symbol. After Glitter up until 2004, she was the ultimate poster child for mighty stars that have fallen from their pedestals. From '05 to '07, she was this comeback kid who could once again do no wrong. '08 kicked in and since then she was progressively known as this larger than life diva. In 2012 up to now, she's most known as an aging has-been with cuckoo tendencies who can no longer sing live. She's a great mom. Sadly that's not enough to outweigh the negative press. She's got more on her plate now, but it's still possible for her to pull a 180. She should start with her clothing. A great stylist can help her with that. Kylie Minogue is a good example of someone her age who dresses in a timeless, age-appropriate, casual yet classy way without having to resort to gowns/long dresses all the time. One must never underestimate the power of appearance. Before she even opens her mouth, it's how she dresses that people base their judgment on whether or not they should take her seriously. When that's settled, then she can work on rambling less. (Saturday 19 July 2014; 2:24)

About the whispery vocals (45,389) by this_is_qhm from the Philippines (Ok, I'm no vocal expert. This is a mere opinion of someone who has been singing most of his life based on an observation of Mariah's voice through the years.) Now it's when you try to inject musical tone in your whisper, producing a breathy, airy, feathery, raspy if slightly metallic-sounding coo, which is deceptively difficult to do. Be just as, if not more tiring than non-stop belting, and doing it often can take its toll on your voice in the long run. While it isn't harmful to everyone, to most people, it puts a lot of stress on their vocal chords, and I feel like Mariah is part of the majority. I think that aside from the excessive partying habit she's adapted after her divorce, she also progressively whispered more, which is a pretty damaging combination in itself, but turns even worse when added to a habit of working yourself to the ground. Another example (not the best singer at all, but a similar case) is Britney, who lost a good deal of the considerable vocal dexterity she had in her first 3 albums after she was advised to whisper-sing on her 4th album because "it sounded sexy", which she did, as it was what she needed to further sex up her image in a transitional stage at that point in her career. She hasn't recovered since. Don't get me wrong, I love Mariah's voice now (for all the grit it has and stories it tells on its own), but if we were going to pinpoint a vocal technique that may have really started the vocal decline, it'd be the whisper-singing. Through time, her "whisper register" has also evolved. From quite full and smooth in Butterfly, it became noticeably more breathy and rough on Rainbow and Glitter, then airy and thin on Charmbracelet. By TEOM to E=MC2, the deterioration was clearly irreversible. But it has then acquired a slightly thicker, more leathery texture apparent on MOAIA up until now. Now there's nothing wrong with whispering - hers has always sounded sexy and brilliantly evocative when done sparingly and effectively. But it has also made her voice more of an acquired taste than it's been before. I know quite many people who are put off by her whispering just as much as they are of her oversinging tendencies. Just read customer reviews of Charmbracelet or MOAIA on Amazon and you'll see a number of disappointed fans, although to be fair, most of them are very inconsiderate and obviously don't comprehend the ravages Mimi's voice has survived over the years. But that only serves as a testament to her talent and skill, because as a longtime fan I have tried mimicking her whisper-singing and I can honestly say you don't even have to be female (I'm a tenor) to realize just how difficult it is to whisper through most of a song, let alone a chunk of an album. She's that awesome. (Monday 14 July 2014; 11:37)

(When) I Feel It and TEOM tracklisting (45,386) by this_is_qhm from the Philippines This song gives me 70s soul vibe by way of Earth, Wind & Fire and The 5th Dimension, which is always a good thing. It's a shame legal shenanigans kept it from being released, because it's just a great, classy song. I read somewhere that it was replaced by Joy Ride, which I also like. For some reason, they had to stick to 14 tracks, and I'd rather have this replace To The Floor instead, which I don't think by any means is bad, but is just the weakest track on the album, especially melodically. As for the bonus tracks, I can see why they were relegated to such status, again, not because they're bad (they're actually both cute), but because to me Sprung probably has the most strained vocals I've ever heard from Mariah, while Secret Love has one of the most annoyingly repetitive chorus she's come up with since You Got Me and Boy (I Need You) (the latter I actually like, although it does get a lot of hate around here). I don't care so much for the Platinum Edition add-ons, save for Don't Forget About Us and So Lonely, which I think is better than One And Only and is one of the finest non-remix club tracks she has ever done. But it's (When) I Feel It that's the real waste here. I hope she'll be able to include it in one of her future albums. (Monday 14 July 2014; 3:14)

A bit torn (45,372) by this_is_qhm from the Philippines While I'm upset that Mariah has so far seemingly given up on her new release, I can't be happier for her every time she shares pics of her family. She seems genuinely fulfilled. She never planned on having kids, but you can see it in her eyes that she wouldn't have it any other way than it is now. This also may be the best way for her to deal with the media, because if she was out there promoting her ass off, she'd probably be deemed an unfit mother (even if Beyoncé, Britney, and J. Lo seem to be managing the balancing act well). True, MIAMTEC is too good an album to slack on, but I'm finally (gradually) accepting that this may be her graceful way of bowing out, although we all know she won't quit something that runs in her blood, so this may be the first sign of her slowing down a bit, especially since the music buying public isn't that welcoming of her anymore, even more now that there's a whole new school of younger artists to fill their needs. Mariah has been on top for a period even longer than most singers could only dream of. It's gonna take some getting used to not seeing her burn up the charts, but this was bound to happen sometime, and that started when she hit 40. Good news is that it allows her complete creative freedom, to do whatever she wants, whether that's to update her sound or to stay stuck in the past, because she's no longer that much concerned about sales. I feel like she'll just make even better music from now on, and we'll still be there to enjoy it. (Sunday 13 July 2014; 9:07)

Here we go again (45,369) by this_is_qhm from the Philippines I rarely address or refer to ther fans here, but I'm with Marissa on this one. I re-read her recent posts and there's nothing wrong about them. This is what's wrong with us here on this board. It's almost always as if anything other than rainbows and butterflies (pun intended, but I digress) is posted here, some people are already out sharpening their pitchforks. Constructive criticism, especially if it's valid and as long as it's not overdone, is healthy. We can't be "yes"-fans all the time. The webmaster allows us to post almost everything, for better or worse, in the name of free speech. Difference in opinion is expected, hence some disagreements, but I don't see why those need or seem to always inadvertently resurrect the tired "loyal fans" vs. "real fans" debate. Ugh, like seriously, please just stop. If you see something you don't like or agree with, just post about something else entirely, such as anything you love about Mariah's music. It's what I do, and it takes my mind off the negativity while introducing other topics that may spark another discussion. (I personally love reading music-related posts from other fans that go into detail on what they like/dislike about a song, album, collaboration, etc.) Everyone has a inner troll inside, so I know trolling when I see it, and Marissa's posts definitely aren't. (Sunday 13 July 2014; 6:01)

Glittering disaster (45,266) by this_is_qhm from the Philippines I guess a part of me will always be upset that Glitter wasn't even given a fighting chance. It's not perfec, it contains some of Mariah's most ill-advised collaborations (LNADJSML, Loverboy (Remix)), some of her finest vocal performances (LTW, NTF, Twister), and her only upbeat cover (DMTTYO). Yes, it may not be her most consistent release, but I've listened to a lot of 80s throwback records and the songs on this album are some of the most successful attempts to recreate that synth-filled time-stamped sound. Of course the use of actual 80s production equipment helped the cause. It's authentically nostalgic from beginning to end. Concept throwback albums are hard to create let alone pull off. Glitter was unfortunately buried under all the negative press back then. It was also lead by a weak single, and both the critics and the public weren't having another product of Mariah's sampling formula which already was considered tired by the time Heartbreaker was released. Perhaps 2001 was too soon to recapture the 80s. Glitter was way ahead of its time. Even Kylie's great Body Language album wasn't that successful in 2003. Had this been released post 2005 as a standalone album and not as a soundtrack to a relatively bad movie, it would have garnered more appreciation and less of unwarranted scathing reviews. It's probably the worst musical case of bad luck coupled by even worse timing. Major ouch. But at least it paved the way for one of the most glorious comebacks in history. (Tuesday 8 July 2014; 9:50)

4th of July ritual (45,215) by this_is_qhm from the Philippines We Filipinos don't recognize July 4 as any special day, but what the heck - happy 4th of July. For the past 5 years, every time this day arrives, it's been a tradition for me to play my favorite song off Butterfly, Fourth Of July. I know, literal much? Haha. I'm corny that way. Recently, though, I've added a few of her songs that share the same dream-like, fantasy feel production and vibe-wise as a lead-in to the "main event". My mini 4th of July playlist goes like this: Bliss Yours Supernatural (newly added) Underneath The Stars Fourth Of July They all sound so great in such sequence. Mostly subdued vocals floating on clouds of vocal harmonies. Heaven. (Friday 4 July 2014; 16:15)

Okay... (45,202) by this_is_qhm from the Philippines It's true - Mariah just can't win in any way now, especially critically. Whatever she does or doesn't do, people will always find or even make up faults or stories to tear her apart. So while some see mass bullying on this board, I personally see tough love, and there's a clear difference between the two. For me, I make sure that for every "negative" opinion I post, I post about 1-2 "positive/neutral" ones (mostly about her music, because that's what it's ultimately all about) that aren't related to the current hot-button topics on this board to balance things out and break the ice a bit. I hope other fans rest assured that our criticism comes from a good place and not let that take away from the fact that we, like everyone here, love Mariah like a family member. We get hurt too when she gets trashed publicly especially for reasons that are petty or even worse, untrue. And while I agree that it's a great decision for her not to address most of this, as doing so would only make her seem defensive and even more insecure, what we mean when we suggest she should "change her ways" is for her to peek out of her protective bubble more and try to listen to what people are saying and examine herself based on those observations, as some of those are bound to be true, and she could take them as opportunities for growth. Right now, the only other thing other than great new music that's keeping her relatable is her focus on her family life which she generously shares through social media. (Thursday 3 July 2014; 10:15)

MOAIA and Rainbow (45,201) by this_is_qhm from the Philippines Mariah intended Memoirs Of An Imperfect Angel to be Butterfly 2.0, which obviously didn't turn out to be the case. I remember a reviewer saying that it's a lot more like Rainbow instead. I do get his point. Even though released a decade apart, they do share several similarities: both albums were rushed, are underrated, have some painfully obvious filler (X-Girlfriend and More Than Just Friends), contain questionable interludes (Vulnerability and The Impossible (Reprise)), as well as interludes that should've been fleshed out as full songs (Rainbow, Languishing), includes covers of 80s #1 hits, feature a couple of deeply personal songs, and have songs that swipe people she doesn't like. Rainbow is often overlooked despite vital Mimi material (Heartbreaker, Can't Take That Away, Bliss, Crybaby, Petals, Thank God I Found You). MOAIA can't seem to shake off its association with its underwhelming performance despite great tracks (Betcha Gon' Know, H.A.T.E.U., Ribbon, Standing O, It's A Wrap, Angels Cry). Both albums are also sequenced perfectly to narrate great stories of love and heartbreak, although Rainbow ends happily while MOAIA finishes on a sad yet hopeful note. Personally, I like the former for its urban feel and high hit ratio while I also appreciate the latter's cohesiveness and R&B overload. Has anyone else also drawn such parallels between the two? (Thursday 3 July 2014; 9:32)

I've gushed about MILG and Faded, so… (45,154) by this_is_qhm from the Philippines If there was a Mariah song that trumps all of her hip-hop collaborations possibly since the Fantasy remix, it's Dedicated. A fan has shared on Facebook her clear vision of what the video should look like should it ever be released (please): a party with Mariah and Nas reminiscing about the golden era of R&B and hip-hop, paying respect to those who have passed away (Tupac Shakur, ODB, Aaliyah, etc.) as other 90s R&B/hip-hop/urban acts make cameo appearances as party guests (Mary J. Blige, Jay-Z, Diddy, TLC, R. Kelly, Bone Thugs 'N' Harmony, Missy Elliott, Boyz II Men, Brandy, etc.). That would just be heaven (especially for 90s babies like me), and probably would be a hit on Vevo as well, with fans watching if only "just for the nostalgia". Please make it happen. So the song may not have the usual balls-out-I'm-effing-Mariah chorus that we've come to expect from her, but it still makes one hell of a groove. That perfectly chosen sample. Them synths melting into each other in the background. Nas. Mimi's appropriately restrained vocals. That relaxed summer vibe. That unexpected yet welcome Fantasy throwback. And although we all know (and hate) how Mariah loves a good bubbly, who'd ever think she'd take it to the studio and go as far as letting "the elusive drunk chanteuse" moment make the final mix of one of her songs? Rarely has she put out a track that doesn't take itself too seriously and is proudly so. Hip-hop has never been this classy. "Carry like Mariah" indeed. (Saturday 28 June 2014; 23:48)

Last Chance and Head Over Heels (45,142) by this_is_qhm from the Philippines Any hardcore fan would know that these were two songs Mariah gave to Allure, the girl group under her own (first) label back in the 90s. Head Over Heels served as the moderately successful lead single and featured Mimi herself on background vocals. Sonically, it's the lovechild of the Fantasy remix and Honey. The entire song structure screams hip-hop Mariah. I love how she layered 2 separate hooks into one chorus (if someone knows the exact musical term for it, please enlighten me, thanks), which she's done several times particularly on the post-chorus of Fantasy, the pre-chorus of Loverboy, and even 3 in the final chorus of Heartbreaker and again, Fantasy. I think it would've been a great addition to Butterfly, as I've always wished that masterpiece had more mid/up-tempo cuts. Last Chance, on the other hand, (if I'm not mistaken) is an outtake from the Music Box era. It's a straightforward pop-R&B song that follows the template of her earlier balladry. It does get saccharine at times, mostly because of the production, but it still gets me gooey inside. It surprisingly gets considerable airplay here in the Philippines especially late-night radio shows and in fact has inspired a few cover versions from local artists here as well. This could've fit well in Music Box or Daydream, as I've always felt those albums were a bit too short and sweet. Does anyone else wish that Mariah kept these songs too? (Saturday 28 June 2014; 14:30)

Random observations (45,135) by this_is_qhm from the Philippines 1) Cry. and Camouflage are great, but are practically interchangeable on first listen. 2) Thirsty is in need of more signature Mariah moments. For some reason, the smooth harmonies and the wail seconds before the end just don't seem enough. 3) Despite great vocals during the climaxes, it's songs like YM(E) and Supernatural that weigh down the album lyrically. I'd count #Beautiful in there as well if it weren't saved by the throwback production. 4) Meteorite may sound "cheap" to some, but compared to the electronic mess on the radio today, it's gold. There's something aptly "celestial" and dreamy about the production that distracts from the fact that it's actually a sad commentary on the harsh reality of stardom. 5) M ($*/. . . ) is catchy, but gets a bit too repetitive as it plays. Love the insistent horn blares, though. 6) Correct me if I'm wrong: Mimi has only had 3 tracks (that aren't remixes) on the standard editions of all her albums that exceed 6 minutes: TBO (Butterfly), LNADJSML (Glitter), and OMT (MIAMTEC). All of which happen to be covers of 80s songs. Interesting. Trivia alert. Haha. Not surprising, though, as Mariah is very much an 80s baby, even more so musically. 7) IAW fits more with the album's overall sound so I can live with that, but I would rather have the "remix" of Ribbon replace BGK just because it's the only MOAIA rehash that employed the most changes (which is still not saying much). 8) TAOLG should've made the final tracklist. Most critics agree as well. Plus, moving on has never been so verbose and multisyllabic. 9) Love that JD has grown as a producer and at least varied his execution of the annoyingly relentless signature clapping beat that plagued a lot of his work especially during the 00s (E=MC2, Janet's 20 Y.O., and TEOM, though his input in the latter was inspired). I mean Pharrell did somehow outgrow the thumping sonics of his Neptunes days, and I'm glad JD was able to catch up, especially since it seems he'll be Mariah's go-to producer for a long time. 10) This is the first album that Mariah sounds like a veteran artist looking back at what made her what she is today with wisdom and candor. (P.S. Thanks a lot webmaster for always allowing my messages to be posted, no matter how tedious they always are. Obviously I'm not exactly laconic. More power.) (Saturday 28 June 2014; 2:48)

Mariah's attitude problem (J.Lo-free version) (45,081) by this_is_qhm from the Philippines We all know Mariah's just as good a person as all of us here, and like us, has some flaws as well. Normally I'd think it'd be unfair to nitpick her faults because she can't do the same to us, but I'm with all the rants about her diva-tude on this board because it has reached a point where she's already tarnishing her legacy as a person. I'm sure she's carved her place in history for her talent, but she's more than just a singer. Truth be told, there's a difference between being "real" and acting like a stuck-up bitch with serious issues. She has this bad habit of publicly badmouthing or at the very least, shading people she dislikes or who have crossed her to some extent. Except a few instances when it was reasonable, most of the time not even her having insecurities is enough reason to justify her passive-aggressive tendencies. Don't get me wrong, I love me some Mimi shade as long as it's valid and rare, but recently it's been even embarrassing at times for us fans when she plays ice queen or makes a snide remark or talks about herself incessantly on mundane matters irrelevant to what's asked of her. I'm sorry, but maybe unless you're Madonna who's been ruthless from the start but can still sell at least 2M of her releases worldwide, not even career longevity or prodigious talent can warrant you such entitled behavior, especially if you worked your way to the top with such humility. I hope she realizes this soon, as I feel some of the damage to her image is now irreparable. (Tuesday 24 June 2014; 12:06)

I've been effusive of my obsession with MILG, so now… (45,079) by this_is_qhm from the Philippines I think Faded is one of the best tracks on the album. I really feel like it was originally titled "Echo" until Mariah realized "faded" was mentioned more times in the song. It borders on overproduction, which is probably a good thing because it's what makes it sound lush. By feel, it's the most opulent-sounding joint on the record. I love how the keyboard notes are simply repeated throughout the song, with bass added in only during the choruses - it almost seems as if the whole track was built around them. Plus they function as the cut's best hook, since no particular part of the song (not even the chorus) really stands out on its own. Like YM(E), it has an background atmospheric, but not as airy or dated. Even though there's quite a lot going on particularly towards the ending, there's a certain rawness to Mariah's delivery that breaks through and emphasizes the heartbreak that drives the song. The diary-writing intro adds a nice touch. Overall, it's just a really pretty song that's quite special, because as it would fit nicely in MOAIA, it also has a somber vibe and vocal performance that to me, wouldn't make it sound out of place on Butterfly, if only the production was less modern. And although I'm generally not a fan of producers leaving their audio signatures in the tracks they create, I barely mind MikeWillMadeIt's stamp here - that's how good the song is to me. It would make a great fall-winter release. (Tuesday 24 June 2014; 9:55)

Dem rumors (45,074) by this_is_qhm from the Philippines Shortly after MIAMTEC dropped, I remember there were several posts here that voiced out concerns regarding the current state of Mariah and Nick's relationship. Probably due to various negative rumors circulating, Mimi being vague when asked about Nick in interviews, and the theme of some cuts on the new album such as Faded, Thirsty and Camouflage, some wondered if there really was trouble in paradise. Well the recent advanced father's day family pic Mariah posted was proof that all is well at least for now - unless it was just part of some act, which is doubtful. Now since rumors are exactly just that unless proven true and Mimi's recent evasion of relationship questions may just be a newfound way of safeguarding her marriage and family, I guess my take on the other factor left is that we should just not read too much into her lyrics. While she can be notoriously personal when composing stuff (something she ironically denies as she apparently wants her songs to be more relatable which we all call b.s.), I don't think these new heartbreak songs are really directed towards Nick, at least not entirely. It's possible that she may have been inspired by some instances she's experienced, but as she was completing the song, added some details that may not have necessarily happened to her but are in keeping with the theme/narrative of the track. I mean 2008-2009 basically was Mariah and Nick's honeymoon phase, but we still got MOAIA which essentially is a break-up album. (Tuesday 24 June 2014; 2:42)

Betcha Gon' Know and It's A Wrap "remixes" (45,071) by this_is_qhm from the Philippines I don't mind repeating myself - these are not remixes. They're disappointing duets lazily copy-pasted together with zero resung vocals from Mimi. Apparently the woman who has brought us the excellent Fantasy and TGIFY remixes suddenly forgot what "remix" means. And though the vocal contributions from both guest artists are good, sadly, Mariah's lack of involvement makes them sound like they're just phoned in. Both rehashes ended up as poor attempts to mask the fact that they weren't in the studio with Mimi. But then I guess these would sound fine to new listeners oblivious to the existence of MOAIA. 1) When I first heard MJB's spoken intro on IAW, I cringed, then was like, to semi-quote her own terrible words, "You better than that. And you're Mary J. Blige, remember?" It's a shame, because she sings the sassy hell out of that second verse. 2) Am I the only one who actually thinks R. Kelly's verse on BGK made sense? Adding his part turned the grack into some he said/she said scenario, like the confrontation that follows after the cheating incident Mariah witnessed. I still hate that they cut the "lalalalalalaugh" bit instead of extending the song a bit to accommodate R. Kelly's contribution, but overall, to me this is slightly more successful than the IAW one because a) at least there was new material added, and b) it feels a wee bit more like a duet, though that might be just because of thematic cohesion and R. Kelly's ad-libs towards the end. (Tuesday 24 June 2014; 0:24)

My stray observations on MIAMTEC (44,893) by this_is_qhm from the Philippines 1) This album is unapologetically and unabashedly nostalgic. The Dedicated intro says it all. 2) Madonna once said, "If I'm gonna rip someone off, why not my own material?" which Mimi seems to agree with. Love the following nods to her past songs, intentional or not: the retention of the Can't Let Go-esque intro from the original version of OMT; the descending keyboard chord before the final chorus of Cry. reminiscent of Twister; the interpolation of Fantasy on Dedicated. 3) Lowlights: Mary's horribly clichéd spoken intro on IAW; the omission of the "lalalalalalaugh" part on BGK; copy-paste editing and no resung vocals on both "remixes"; too much giggling on Supernatural; lack of emotional connection and cheesy beat in OMT; the overpowering drum track on H(CGUN/NWT). 4) Highlights: the match-lighting transition to YM(E); how Mariah jokingly sings "Oh you a G now?" on Thirsty; the almost GaGa-aping delivery of the Warhol quote and the use of "turnt-up" on Meteorite; her over-enunciation of the B in the word "boy" on the YDKWTD intro, plus the interesting way the song glides like Estelle's American Boy; Stevie's harmonica and the use of "gooder" on MILG; Dembabies talking and Mimi belting like it's '95 again on the climax of Supernatural; how she repeatedly sings "goodbye" in OMT; Mary's sassy, nuanced take on the second verse of IAW; the catchy staccato keyboard work on Faded; the drunken banter in Dedicated, plus how the song's laid-back vibe reminds me of Beyonce's "Party". (Thursday 19 June 2014; 10:04)

J.Lo (44,889) by this_is_qhm from the Philippines It seems like every lamb is expected to hate everyone who wronged Mariah in any way, but I actually like J. Lo (please don't hate me). She's probably the only exception. Even if she basically built pretty much her entire music career around stealing other artists' material or ideas, but I like her earlier material (or mock my taste), as in her first 5 albums, when she stayed true to her Latin roots and ventured into R&B and hip-hop. It's less about her music, though, and rather more about her overall appeal and business acumen. In some ways, she's like Mariah - exotically gorgeous, just as good/bad an actress, plus an above-average dancing ability, minus a whole universe of vocal talent. The other similarities are creepier though: they're of the same age, have worked with a lot of the same people, and both have boy-girl twins. But the truth is, even with her new release flopping, that woman currently has a better public image than Mariah now. She's surrounded by better people and seems to have a better attitude towards things, which makes a world of difference and presents her as someone more likable. And as far as I have observed through the years, she has always been respectful to Mariah. If this era won't be salvaged, I hope Mimi does a total housecleaning of her team and instead hires people who positively challenge her and put her in her place when she starts to revert to diva mode - not just those who indulge her every whim. That may bring her back to earth. (Thursday 19 June 2014; 3:48)

Just wanna share (44,884) by this_is_qhm from the Philippines Eclectic Kiwi singer Kimbra (yes, Gotye's duet partner) held a live chat session on Facebook sometime last week where she answered a lot of fan questions about her upcoming sophomore album. Apparently, she's a 90s baby (like me) who is now paying homage to the music of that decade with her lead single, "90s Music". Now the song is the definition of acquired taste - seriously one of the weirdest, most polarizing, least commercial-sounding records you'll ever hear and doesn't really sound so 90s except for the inclusion of sonic effects that were considered futuristic at that time (bleeps, clinks, sped-up/distorted vocals). However, if you listen closely you'll be able to hear Mariah's influence on her on some of her vocal harmonizing/layering, which also happens to be present on several of her other songs. So it wasn't a surprise for me when she said that her favorite Mariah song was "Fantasy", one of Mimi's first songs to feature her complex harmonizing style. Plus, Kimbra added the song on the 90s-themed Spotify playlist she created as well. It's always a great thing to see how Mimi's creativity also influences other artists. If you haven't checked out some her stuff yet other than "Somebody That I Used To Know", I recommend you to. She's one of those few artists nowadays who actually have legit talent (creative vision and formidable pipes) - she's like this generation's Bjork. (Thursday 19 June 2014; 0:18)

Just in case we needed some reminding... (44,867) by this_is_qhm from the Philippines We tend to be too critical of Mariah's voice and how she ruined it through the years, even comparing it to some of her peers like Celine. I think such comparisons aren't that valid due to a big factor: personal differences. Not every singer sings with the same amount of ease. There are some who simply take less effort to produce and carry a tune, and there are those who, by nature, have to put in more work. (Differences may be slight, but the effects may be more obvious in the long run.) She seems to be one of the latter; though sure, she could've slowed down in the 90s-early 00s, adapted healthier singing/breathing techniques, rested her vocals more, taken far less "splashes", etc. Add that to aging and the nodules and we have a recipe for hastened decline. She'll never sound as flawless live as she did back then, but she still has it. She is a perfectionist in the studio which is a double-edged sword, but she works hard and makes the most of what she has (shorter yet craftier runs, staccato form of composition and delivery; belts only when needed, tries more vocal textures). Gone is the young, full, supple, buttery tone she had then; now we have a drier, harder, yet grittier, more soulful and versatile tone that comes from a woman who can't belt as much anymore but can still scale through octaves like no other and can back up whatever she sings with more confidence and conviction than ever - a result of having weathered storms that would've rendered any other artist done. (Wednesday 18 June 2014; 16:22)

Top 5 songs (44,866) by this_is_qhm from the Philippines 5) Supernatural - If they weren't dedicated to her children, I'd consider the lyrics (along with You're Mine) as some of the most banal in the album. However, Dembabies are cute, and the belted vocals are probably the best on the album. That climax? Chills. 4) You Don't Know What To Do - Hands down the album's smartest and ultimate earworm moment. Minus Wale's highly questionable feature and the wonderful intro, every part of the song is a hook. Best bet for a hit. 3) Faded - Slightly overproduced, but it's Mariah's best attempt at recreating We Belong Together without sounding so much like it. Only ballad on the album that's fit for release in today's sonic landscape. 2) Dedicated - Best hip-hop collaboration Mimi has done since the Thank God I Found You remix thanks to the earnest, laid back vibe. Perfect soundtrack for get-togethers/gatherings. 1) Make It Look Good - The album's sexiest song. While it's hardly original and is sorely missing a verse from Stevie, it's the best retro-themed/sounding track she has ever made. Time magazine definitely got it right. (Wednesday 18 June 2014; 15:16)

Current state of the music business (44,748) by this_is_qhm from the Philippines Times really have changed. We're in an era where even next-in-line veterans like Alicia, Beyoncé, Britney, and Christina are already struggling to get hits. It just shows how much the industry has changed these past few years. Everything seems to be of the "go big (contoversial stunts and spectacles, where gimmicky or tacky is the bar) or go home" mantra. This is a generation whose mentality is "here and now", therefore, people don't care about your history, as long as you're making hits. Even great material doesn't speak for itself anymore. Never has the train been faster and more unforgiving than it is today. And runaway blockbuster successes of epic proportions such as Adele's are really just that rare. As if that weren't hard enough, God forbid you're a woman in your mid-40s who's currently widely regarded as a has-been trying to get back in the game. And if you're as scatter-minded as 2014 Mariah, you're pretty much done. Even Madonna had to feature current artists in the lead tracks of her past 2 albums to speak to a younger audience. Both landed in the top 10, but all succeeding singles barely even made a blip. Today's industry can be summarized in 3 simple but harsh realities: 1) if you're old, you have to work 10x harder than the younger ones do to stay relevant, which most likely entails desperate measures; 2) if you're not out there, then why even bother?; and 3) if you're not charting, it's not that you're not doing enough - you're just not doing anything, period. (Saturday 14 June 2014; 9:43)

What on earth is going on? (44,746) by this_is_qhm from the Philippines Clearly, the reason why everyone is flipping out on this new drink is because it just seems to have come out of nowhere. And it's not even a health drink for that matter. It's probably the worst product yet that she has put her stamp on. Fans have been in the dark for so long, leaving them with no other option than to come up with wildly imaginative theories (that unfortunately may very well be true) just to explain the biggest mess yet in her professional life. A stint on a terrible show, an epic feud, a bunch of questionable performances, and a string of generally bad interviews definitely won't help save an image that's been tainted since 2008. A great album flops really hard and all promotion seems to have stopped, except some occasional reminders on Facebook or Twitter which clearly isn't enough. And then a product not anyone has ever even thought Mariah would endorse let alone co-create suddenly pops up at a time when she should be promoting her latest release that's most likely gonna be out of the charts worldwide before the end of the month. Minus the breakdown, this is shaping up even worse than the Glitter era. You know something's horribly wrong when your current album barely outsells your last holiday album and even worse, sells half of what is widely considered the nadir of your career. Even more so if you started out as, made it big as, and are still best known as a singer. (Saturday 14 June 2014; 8:33)

Is she stuck? (44,742) by this_is_qhm from the Philippines Just read probably the most unfavorable review for MIAMTEC so far. Forgot the source, but it's not a blog. It was given a C-. The reviewer praised Mariah's vocal ability, but also deemed the music not bad by any measure, but not really very good either. He explained how pop culture in music has evolved in the past 5 years at a pace faster than it has decades before, and that the problem is that Mimi seems to refuse to catch it. I was disappointed by the low score, but I kinda agreed with him on some points. At first I was like, "She's great at what she does, even if she essentially repeats herself every album except for few genre-flirts here and a few tweaks there - but she shouldn't change her style for anyone or follow any trend." Not saying he's right, but further thought got me realizing that maybe it won't hurt her to be more wildly experimental, as innovation is the game these days. She can still do R&B and hip-hop, but in bolder ways like post-1993 Mariah who popularized the use of samples and 1995 Mariah who created the thug love duet. Not necessarily coming up with something new, but coming up with something different (who thought Royals/Blurred Lines/Drunk In Love would be hits?), or at least going against what people already expect from her. A career like hers warrants her the right to do anything creatively, even at the risk of alienating some fans, which she has already done to some extent anyway. I fear that if she doesn't, the game will just leave her behind. (Saturday 14 June 2014; 5:18)

Couldn't have put it better myself, webmaster (44,738) by this_is_qhm from the Philippines I know this is a few days late, but this "oh, she's had more than enough success in the past so this time it's all about the music" philosophy is not just tired - it's unrealistic. I get the concern of those who think sales/success-focused fans can come off as people who treat Mariah as a machine that churns out products but please rest assured that all of this neurotic behavior comes from a good place. We all want her to be successful. And the harsh truth is, at the end of the day, the music industry has always been a business. Brutally so. Obviously, artists can't use their art as currency; they have to sell a considerable amount to prove they're bankable. Worldwide sales of over 100k by the second week isn't just embarrassing - it's worrying. If these were the numbers despite heavy promotion, then there'd be not so much ranting about it, but this isn't the case. Last time I checked, rapidly plummeting sales has never been a sign of a healthy career. It's all about promotion and marketing. Heck, if MJ can (posthumously, mind you) hit #1 in over 50 countries with a compilation of demos, I don't see why a living artist like Mariah can't with original material. (Saturday 14 June 2014; 3:55)

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