It was about ten years ago during my own personal summer of love in 1995. I’d just come out that March, graduated from high school in June, and experienced something of a rebirth. I’d started taking creative writing classes for gay youth at the Gay and Lesbian center. We would hang out afterwards at one of the local cafes, and in the process, I met a brand new group of colorful people who took me to my first club.
Well, we didn’t quite make it inside the club, most of us being about 17, but I’ll never forget the car ride there. Speeding along the San Diego freeway on an alive summer night, front window down with cold wind blowing while my endorphins kept me warm. And then it suddenly came on the radio: the gentle cooing, lilting intro, then pounding in with the Tom Tom Club sample and multi-layered background vocals. It was Mariah Carey’s "Fantasy", and I think of that amazing night everytime I hear that beautiful song.
I’d tried to hate Mariah when she first came out, I really did. She looked like this girl on my block whom I disliked, and her caustic crowing at canine-only audible levels on songs like "Emotions" made her easy to loathe. I would only admit to a very close friend that I liked "Dreamlover" when it came out, though once while listening to it when she hit the high note on, "Baby, come and take me awaay…" I got goose bumps.
But "Fantasy" really broke the lock that pushed open the great steel door that led to my secret lurve of Mariakah.
My freshman year of college, the same year it came out, I stowed away downtown one day, crept into a record store, and bought her first three albums used. That night, listening to "Love Takes Time" in my room alone, I was straight up bawlin’, y’all.
Getting me to cry is hardly a badge of quality, however, but I am only moved to tears by those things artfully achieved. Take a listen to Mariah’s first single, "Vision of Love", and forget that it’s her singing for a moment. That timeless Motown melody, those soaring vocals, that wicked climax and sudden drop at the end. It’s a fine piece of music. And while the former Mrs. Mottola may not get props for being all that new and creative with each record she releases, her faith in the formula works because a catchy tune and a spectacular singing voice never get old.
So, like most jiggas, I was pretty disappointed when "Glitter" came out. I didn’t think it was anything worse than all the other trite mainstream American films on the market, but the album was pretty piteous. Then we had the ennui-inducing effort that was "Charmbracelet", with "After the Rain" being merely a glimmer of her former greatness. And now the big huzzah over "The Emancipation of Mimi".
Perhaps it’s the more hip hop-oriented sound purveyed by producer Jermaine Dupree. I think it could have at least stood a few collaborative efforts with her former songwriter Walter Afansief, who coined many of her previous songs. Simply put, none of the new stuff pops as much as MC’s new inflated tits do now and her old hits did then. I miss the old Mariah, and wish she’d get back to the "Music Box" to make some better "Honey" for our ears.