When Whitney Houston died I felt great sadness. My sadness of course was about our collective loss - when you listened to this nightingale sing your body would drop into a chair your head would tilt up a small smile would creep across your face and inside you knew that there was a higher power somewhere: gifted beautiful spiritual.

America has a relationship with Bobby and Whitney.

What Whitney Houston has accomplished will never be accomplished. She's the most famous person on the planet as far as vocaling and her songs. So I'm very happy that I can sit here and say I had a chance to know her. And I'm still dazed that she's gone. But she lives because her music is so powerful.

Although becoming a singer was my plan A after first hearing Whitney Houston when I was 17 I started off with plan B by going to the teacher-training college that my dad went to. It was a slow coming of age.

I'm very proud of my love for Whitney Houston. She really changed my life. She made my life a better life. She was so beautiful in her love for God her love for her family and her love for music. She truly loved her music. She could do everything! She had flawless rhythm flawless pitch flawless feeling and flawless beauty.

'Summer of Love: Art of the Psychedelic Era ' the Whitney Museum's 40th-anniversary trip down counterculture memory lane provides moments of buzzy fun but it'll leave you only comfortably numb. For starters it may be the whitest straightest most conservative show seen in a New York museum since psychedelia was new.

I'm noticing a new approach to art making in recent museum and gallery shows. It flickered into focus at the New Museum's 'Younger Than Jesus' last year and ran through the Whitney Biennial and I'm seeing it blossom and bear fruit at 'Greater New York ' MoMA P.S. 1's twice-a-decade extravaganza of emerging local talent.