The companion of Whitney Houston discloses her covert lesbian relationship with…
While on tour in the UK, Whitney Houston is entertaining throngs of adoring fans with renditions of her hit songs, including I Will Always Love You (1992), It’s Not Right But It’s Okay (1998), and Million Dollar Bill (2009). Houston was a superstar, as we all knew. Since she passed away eight years ago, that was quite an accomplishment even for her. The Whitney Houston Hologram Tour, a 25-date digital reimagining presently touring Europe, is honoring Whitney Houston’s memory and legacy following her particularly tragic 2012 death in the bathtub at the Beverly Hilton hotel in Los Angeles.
This on-stage, ghost-in-the-machine production is the most recent triumphant postmortem performance for a deceased legend. Last month, late hip-hop pioneer Tupac Shakur made an apparition in a Supreme advertisement. Big-voiced balladeer Roy Orbison also gave “live” performances at parties from the beyond. Concurrently, since its introduction in 2018, a contentious holographic tour featuring Amy Winehouse has been planned but has not yet come to fruition. However, Hatsune Miku, a 16-year-old Japanese music sensation, is neither alive nor dead. Since her explosion in 2007, she has existed solely virtually, having been born as a hologram. However, how does it feel to be inside a concert tour when the main attraction is only a trick of the light? Timothy Snell is aware. The famous costumer and stylist
Timothy Snell, a celebrity stylist and costumier, is in charge of the iconic Houston looks that “she” is “wearing” on the holo-production. She’s wearing updated versions of her iconic looks from the past, like in one sequence she’s wearing a ’80s leather jacket, white vest, and blue pedal-pusher jeans; in another, she’s wearing a gold, floor-length gown fit for a diva who sings five octaves; and in a third, she’s accessorized with gaudy glitter. Apparently, even death can’t stop a diva’s numerous costume changes.
Which raises the question of what his family member would think of him helping to create an exploitative post-mortem career over which she had no control. And isn’t it just a little strange? The man responds, “I looked at it as creating an art experience, an art installation, if you will. She’s no longer with us and we can’t bring her back.” Snell talks about the “experience” a lot. Giving fans another chance to hear from and see Houston “perform” was, in his opinion, the ultimate goal. Naturally, money is not discussed. The whole thing is a work of art as opposed to a hand-rubbing business venture.
