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Samuel Diaz
Samuel Diaz

I Have Always Loved You



Several times (long before Whitney Houston recorded the song), Dolly Parton suggested to singer Patti LaBelle that she record "I Will Always Love You" because she felt LaBelle could have sung it so well. However, LaBelle admitted she kept putting off the opportunity to do so and later deeply regretted it after she heard Whitney Houston's rendition.[23]




I Have Always Loved You



Cashbox also reviewed the single favorably, saying that "hoisted over a building arrangement, Parton's vocals have never been more convincing or moving. The single choice from her Hollywood flick, The Best Little Whorehouse in Texas, the tune is sentiment wrapped in an appropriate package replete with strings, oboe and harp in addition to a delicate rhythm section."[33]


Houston's single sold approximately 400,000 copies in its second week at the top of the charts, making it the best-selling song in a single week surpassing Bryan Adams' "(Everything I Do) I Do It for You". It broke its own record in the following three weeks, peaking at 632,000 copies in the week ending on December 27, 1992. The January 9, 1993, issue of Billboard reported it had broken its own record for most copies sold in a single week for any song in the Nielsen SoundScan era. This record was broken by Elton John's "Candle in the Wind 1997/Something About the Way You Look Tonight", which sold 3.4 million in the final week of September 1997.[92] "I Will Always Love You" was certified four times Platinum in the U.S. for shipments of over 4 million copies by the Recording Industry Association of America (RIAA) on January 12, 1993, making Houston the first female artist with a single to reach that level in RIAA history.[4][93] According to Nielsen SoundScan, as of 2009, the single had sold 4,591,000 copies, and had become the second best-selling physical single in the US.[6][94] On January 12, 2022, the single was certified Diamond by the RIAA for selling 10 million equivalent sales units from sales and streams, becoming the second-eldest song in history to do so after Queen's "Bohemian Rhapsody" and the third song overall in the 20th century to do so, preceded by "Bohemian Rhapsody" and Mariah Carey's 1994 Christmas single, "All I Want for Christmas is You".[95] With this accomplishment, Houston became only the third female artist to have a diamond single and album after Carey and Taylor Swift.[95]


Mine is only one of the millions of hearts broken over the death of Whitney Houston. I will always be grateful and in awe of the wonderful performance she did on my song and I can truly say from the bottom of my heart, 'Whitney, I will always love you. You will be missed.'[124]


Since Houston's death in 2012, many other artists have performed tributes to the late singer's version of the song, including on February 12, 2012, when Hudson performed the song as a tribute during the 54th Annual Grammy Awards, the day after Houston's death, alongside images of musicians who had died in 2011 and 2012, including Amy Winehouse and Etta James. The song was played at Houston's funeral as her casket was brought out of the church. Parton complimented Hudson on her performance, saying,


I was brought to tears again last night, as I'm sure many were, when Jennifer Hudson sang "I Will Always Love You" on the Grammys in memory of Whitney. Like everybody else, I am still in shock. But I know that Whitney will live forever in all the great music that she left behind. I will always have a very special piece of her in the song we shared together and had the good fortune to share with the world. Rest in peace, Whitney. Again, we will always love you.[229][230]


Chenoweth reflected on recording "I Will Always Love You" with ET Online, saying "it is a song I've loved since I was a child." She went on to say, "I used to think, 'One day I'm gonna sing that song.' Little did I know that I'd get to sing it with the queen herself."[253]


I have loved you, saith the Lord Which appeared of old, by choosing them, above all people upon the face of the earth, to be his special and peculiar people; by bestowing peculiar favours and blessings upon them, both temporal and spiritual; by continuing them a people, through a variety of changes and revolutions; and by lately bringing them out of the Babylonish captivity, restoring their land unto them, and the pure worship of God among them: Yet ye say, wherein hast thou loved us? the Targum renders it, "and if ye should say"; and so Kimchi and Ben Melech; which intimates, that though they might not have expressed themselves in so many words, yet they seemed disposed to say so; they thought it, if they said it not; and therefore, to prevent such an objection, as well as to show their ingratitude, it is put in this form; and an instance of his love is demanded, which is very surprising, when they had so many; and shows great stupidity and unthankfulness. Abarbinel renders the words, "wherefore hast thou loved us?" that is, is there not a reason to be given for loving us? which he supposes was the love of Abraham to God; and therefore his love to them was not free, but by way of reward to Abraham's love; and consequently they were not so much obliged to him for it: to which is replied, [was] not Esau Jacob's brother? saith the Lord; Jacob and Esau were brethren; they had one and the same father and mother, Isaac and Rebekah, and equally descended from Abraham; so that if one was loved for the sake of Abraham, as suggested, according to Abarbinel's sense, the other had an equal claim to it; they lay in the same womb together; they were twins; and if any could be thought to have the advantage by birth, Esau had it, being born first: but before they were born, and before they had done good or evil, what is afterwards said of them was in the heart of God towards them; which shows that the love of God to his people is free, sovereign, and distinguishing, ( Genesis 25:23 ) ( Romans 9:11-13 ) : yet I loved Jacob; personally considered; not only by giving him the temporal birthright and blessing, and the advantages arising from thence; but by choosing him to everlasting life, bestowing his grace upon him, revealing Christ unto him, and making him a partaker of eternal happiness; and also his posterity, as appears by the above instances mentioned; and likewise mystically considered, for all the elect, redeemed, and called, go by the name of Jacob and Israel in Scripture frequently; for what is here said of Jacob is true of all the individuals of God's people; for which purpose the apostle refers to this passage in ( Romans 9:13 ) , to prove the sovereignty and distinction of the love of God in their election and salvation: and this is indeed a clear proof that the love of God to his people is entirely free from all motives and conditions in them, being before they had done either good or evil; and therefore did not arise from any goodness in them, nor from their love to him nor from any good works done by them: the choice of persons to everlasting life, the fruit of this love, is denied to be of works, and is ascribed to grace; it passed before any were wrought; and what are done by the best of men are the effects of it; and the persons chosen or passed by were in an equal state when both were done; which appears by this instance: and by which also it is manifest that the love of God to men is distinguishing; it is not alike to all men; there is a peculiar favour he bears to own people; which is evident by the choice of some, and not others; by the redemption of them out of every kindred, tongue, people, and nation; by the effectual calling of them out of the world; by the application of the blessings of grace unto them; and by bestowing eternal life on them: and it may be further observed, that the objects of God's love have not always the knowledge of it; indeed they have no knowledge of it before conversion, which is the open time of love; and after conversion they have not always distinct and appropriating views of it; only when God is pleased to come and manifest it unto them.


I Always Loved You is Robin Oliveira's beautifully-written historical novel about Mary Cassatt, an American Impressionist artist living in Paris in the late 19th century. After a brief prologue set in 1926, with Mary in her 80s and losing her eyesight, the main part of the novel begins in 1877. Mary is 33, and her paintings have been rejected by the Salon, the officially-sanctioned exhibition of academic art. She feels dejected and thinks her art isn't any good. Her father keeps trying to get her to move back home to Philadelphia so he can marry her off before it's too late for her to have children. Her sister Lydia suffers from an illness the doctors have not been able to cure. Mary wonders if she should give up on her art and go home, when an encounter with Edgar Degas, who is, of course, best known for his paintings of ballet dancers, changes her life.


Degas convinces Mary to forget the Salon and to exhibit with the Impressionists instead. Her early work was in a more traditional, academic style, but at the time the novel takes place, she has begun to paint in the style of the Impressionists. The first year after her meeting with Degas is an extraordinarily productive one for her, and she is thrilled about the exhibition--only to have Degas cancel it, saying it will conflict with the World's Fair in Paris. The next year, the exhibition takes place, but Mary's paintings receive devastating reviews from the critics. This leads to a long period of self-doubt, but in the end, Mary continues to paint and to exhibit her paintings with the Impressionists.


Eventually Mary's paintings gain recognition, but her personal life is not very happy. Her sister Lydia dies, and her relationship with Degas goes through a series of ups and downs, mostly because of thoughtless, selfish acts on his part. His cancelation of her first exhibition is one of many examples. Every time Mary and Degas come close to declaring their love for each other, he makes a cruel remark to spoil things. At one time, they both become interested in printmaking and decide to start a journal together, but at the last minute Degas decides not to publish it. Meanwhile, Mary had spent a whole year working on the prints for the journal, when she could have painted, so she has nothing to show for her year of hard work. She and Degas decide to go their separate ways, even though they never lose their admiration for each other's work. Oliveira suggests that perhaps they are too similar to have a lasting relationship. They both suffer from self-doubt, and, tragically, both eventually lose their eyesight, even though it happens much earlier with Degas. This is certainly a part of what makes him so difficult and short-tempered. 041b061a72


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