Mariah Carey’s ‘All I Want For Christmas Is You’ Broke Three Records In One Day

With 2020 just around the corner, it seems that the reigning Queen of Christmas — otherwise known as Mariah Carey — will retain her title through the turn of the decade.

That’s right! After Carey’s concert at The Colosseum in Las Vegas on Monday night (November 25), the singer was joined on stage by a representative from the Guinness World Records organization. It was then that she was presented with a grand total of three world records for her hit holiday song “All I Want For Christmas Is You,” which will all be included in next year’s book.

Per Carey’s Instagram post, the singer now holds the record for the highest-charting holiday song on the Hot 100 by a solo artist, as well as the record for the female artist with the most streamed track on Spotify in a 24 hours (last December, the track was streamed 10.8 million times in one day). Last, but certainly not least, the holiday bop spent the most weeks in the UK singles Top 10 chart for a Christmas song — so yeah, the song is still crushing it.

Along with a series of photos of Carey celebrating her world record wins with her kids, the singer thanked the organization for recognizing the song and all of its success. “Thank you so much Guinness World Records for honoring me with three records in the 2020 book!” she wrote. “Michael from @guinnessworldrecords presented me with a certificate on stage, so naturally, I asked him to join us for the #AllIWantForChristmasIsYou finale!”

Clearly, “All I Want For Christmas Is You” has solidified its place as a holiday staple over the years, and these world records are just more proof of that. Since its 1994 release, the song has charted every holiday season since. And if we, the fans, have anything to do with it, we expect that the same will happen this time around, as well.

Normani Wanted ‘Motivation’ To Be ‘As Black As Possible’

The video for “Motivation” will give you that nostalgic shudder you get when thinking of the turn of the century, when baggy jeans, headbands, and denim dresses were all the rage. Normani glides around the old school set like a young Beyoncé, her moisturized skin commanding your eyes to follow her every move as she woos. The basketball trick may be the highlight, but the entire visual isn’t just a homage to the past; it’s a knowing nod to black culture that she grew up a part of. In a new cover story with CosmopolitanNormani revealed that this culture was important to express in the video. And it’s all the better for it.

Normani knew exactly how she wanted “Motivation” to look. Everything from the brief appearance of 106 & Park to the bedazzled hoops and belt. She set out to make sure that her vision of pop reflected the community that she’s a part of. “I told the director, ‘I want this to be as black as possible,'” she said. “I was like, let’s show black culture. Why does pop music have to be so white? Why don’t we make it a little bit more me?”

Elsewhere in the interview, Normani also revealed how happy she is for the other former members of Fifth Harmony (Camila Cabello, Ally Brooke, Dinah Jane, and Lauren Jauregui) who are experiencing success, even if there were rumors of a rocky breakup. “I’m happy everyone has an opportunity ’cause we worked our asses off,” she said. “We do our own things. We’re good.”

Earlier this month, Normani became the first brand ambassador for Rihanna‘s Savage x Fenty lingerie line. Normani also appeared on “Bad To You” with Ariana Grande and Nicki Minaj for the soundtrack to Charlie’s Angels

Check out the full interview in the link up above.

Camila Cabello’s Divine ‘Living Proof’ Video Left Shawn Mendes With Just One Question

It may be the dead of winter (or close to it), but Camila Cabello‘s world is all sunshine, flowery fields, and pretty pastels. Following the double release of “Liar” and “Shameless,” the pop princess has shared the latest visual from her Romance era, for the loved-up “Living Proof.”

In the Alan Ferguson​-directed video, Cabello models flowing dresses while dancing through various dreamscapes and sitting on a grass-covered throne. She’s surrounded by a squad of equally ethereal dancers, but one sticks out from the rest: a shirtless, muscly dude who is most certainly not Shawn Mendes. Upon the vid’s release, Cabello’s real-life boyfriend jokingly tweeted, “Wait who’s this guy?!” And cn you even blame him for being jealous?!

Upon the release of “Living Proof,” Cabello wrote, “I loved pretending I was a little fairy nymph cuz that’s all I wanna be.” She also shared a behind-the-scenes clip from the set of the Alan Ferguson-directed video, saying, “The overall concept of the video is a very surrealistic, dreamy, ethereal, sensual, soft landscape. It really is just images that capture, to me, this very divine energy.”

She added in the clip, “The song is really about just being intimate with the person you’re in love with and how beautiful and divine and otherworldly that can feel.”

Cabello is coming off quite the beautiful weekend herself — on Sunday (November 24), she hit the stage a whopping three times at the American Music Awards. First, she duetted with Mendes on “Señorita,” then she brought her latest video to life with a “Living Proof” performance, and then she joined Taylor Swift for “Shake It Off.” Not to mention, she and Mendes took home the prize for favorite collaboration.

Up next, Cabello is readying the release of her hotly anticipated second album, Romance, arriving on December 6. Can we get a “hallelujah”?!

Carly Rae Jepsen’s Tiny Desk Concert Is Probably The Most Joyous One Ever

There aren’t too many sources of joy on super-sucky Monday mornings when the weekend is more than 100 hours away and you won’t see your bed until after your evening commute home from the office. So to start the work week off on its best foot, you should probably check out Carly Rae Jepsen‘s joyous new Tiny Desk Concert performance that will leave you grinning from ear-to-ear – just as Jepsen herself does throughout the show.

Bringing three songs from her fourth studio album, Dedicatedthat dropped in May, Jepsen increases the peace and makes your day just a tad brighter. The sun will shine before you know it.

Jepsen started things off with “Now That I Found You” in vibrant spirits. Her extremely happy and stripped-back rendition felt like making it to work early and finding out that you actually have the day off. Jepsen smiled as she looked around the room and to her supporting instrumentalists, gauging their excitement in comparison to hers. Her energy was infectious as she began to really feel the song, dancing like she had no care in the world. These are definitely some moves that you’ll want to break out on the dance floor.

“Want You in My Room” began with a wide-eyed body roll, courtesy of Jepsen who couldn’t help but let loose. The lively number was the perfect opportunity to turn the entire group’s warm smiles into wide grins. After stopping for a spell to take off her jacket and get a sip of water, she settled in for a relaxing number, “The Sound.” The wild dances continued, but slightly more reserved and muted. By the end, she was practically out of breath, having given her all to the show. It’s safe to say that everyone involved left with a smile on their face.

Watch Jepsen’s awesomely happy Tiny Desk Concert performance up above.

Ally Brooke Knows You’re ‘No Good’ For Her On Energetic New Single

Ally Brooke‘s schedule has been jam-packed in recent weeks, primarily because she’s been busy putting all of her time and energy into competing on the current season of Dancing With the Stars. But tonight (November 25), the dance competition officially comes to an end. And mirror ball trophy winner or not, the former Fifth Harmony member is celebrating with a brand new bop called “No Good.”

The new track, which simply demands to be danced to, is about knowing that someone isn’t good for you but wanting them anyway. “Make a promise that I’m leaving / But my heart only wants what it wants,” she sings on the pre-chorus. “In the madness, what a feeling / I’m hung up, should be hanging it up.” If nothing else, the lyrics perfectly express the all-too-familiar battle we often feel between the head and the heart.

Soon, Ally comes to her senses, realizing that despite the clear attraction, she’s better off on her own. “Woah, you’re no good for me / I don’t need nobody,” she sings on the vibrant, uptempo chorus. And despite being “perfectly bad” for each other, with one of them being poison while the other is ivy, she knows the relationship would bring on more heartbreak than it’s truly worth.

Although the upbeat dance track is, at its core, about leaving a toxic relationship, it’s hard not to be excited about a pop track with that level of energy. And this morning, Ally took to social media to share how just how thrilled she is about its release. IT’S HERE!!” she wrote. “My NEW SINGLE #NoGood is now available everywhere!! This is my favorite single so far and I am SO HAPPY the world can finally hear it! Hope you guys love it as much as I do.”

Considering we’ve had it on repeat all morning, it’s safe to say that, yes, we do love it as much as she does. Thanks for the bop, Ally!

Taylor Swift Made AMAs History And Gave Two Stirring Speeches About Her Fans

At the 2019 American Music Awards on Sunday night (November 24), Taylor Swift won the entire ceremony. Not just because she snagged the trophies for the five awards that she was nominated in, which surpassed Michael Jackson‘s record-setting total of 24 (Swift now has an almost unreal number of 29), but also because her emotional and powerful acceptance speeches for Artist of the Decade and Artist of the Year told her story in authentic ways.

And given all the behindthescenes drama that led up to her appearance onstage at the show, the speeches felt like positive punctuation on a saga that could’ve very easily gone another way.

Swift beamed as she took the stage to receive the Artist of the Decade honor from Carole King. She recounted her parents’ experiences with King’s seminal Tapestry album and contextualized them with her finding her love for music, setting the admirable tone of a student of music who has now become a professor herself. “All any of the artists, or really anyone in this room, wants is to create something that will last, whatever it is in life,” she said. “And the fact that this is an award that celebrates a decade of hard work and of art and of fun and memories — all that matters to me is the memories that I have had with you guys, with you, the fans, over the years.”

Swift dedicated the remainder of her speech to hers, folding them into the umbrella of a family. “Guys, we’ve had fun, incredible, exhilarating, extraordinary times together, and may it continue,” she said. “Thank you for being the reason why I am on this stage, from the very first day of my career until tonight. I love you with all of my heart.”

Later, accepting Artist of the Year, Swift took time to talk about the last year’s trials and tribulations: from the creation and release of her recent studio album Lover and the controversy surrounding her feud with music manager Scooter Braun and former label Big Machine. But Swift kept her speech positive. “Just the fact that the last year of my life has had some of the most amazing times and also some of just the hardest things I’ve gone through in my life, and not a lot of them are things that haven’t been public,” she said, “and I wanted to thank you for so much for being the thing that has been a constant in my life.”

Earlier in the night, Swift took the audience on a ride, performing a career-spanning set that, at one point in the lead-up to the show, seemed like it might not happen at all. But when it did, it really did — and even featured guest appearances by pals Camila Cabello and Halsey. She played songs like “Shake It Off,” “Love Story,” “I Knew You Were Trouble,” and more.

Take a look at her speeches and performance up above.

Tinashe Is A Noir Goddess In Her Glam ‘So Much Better’ Video With G-Eazy

Tinashe is on fire this week. Yesterday, the triple threat dropped her stellar fourth album, Songs For You, which marks her first independent release. Riding that high, the 26-year-old now unveils the video for one of that project’s standout tracks: the sexy, G-Eazy featuring “So Much Better.”

From the very first scenes, it’s clear ‘Nashe and director Mynxii White spared no cinematic detail. It opens on T modeling a glamorous red gown and cooing, “Bad bitch, I don’t give a fuck about your ex thing.” From there, she examines a Dobermann’s sharp teeth, wraps a slithering snake around her fingers, and sets some red roses on fire. G-Eazy shows up behind the wheel of a Ferrari to deliver his R-rated verse, and Tinashe dances seductively in the car’s headlights, serving up nocturnal noir vibes.

Throughout the visual, Japanese and English subtitles pop up to illustrate Tinashe’s late-night feelings: “I miss the taste of poison on your tongue,” one reads, leading into the equally intoxicating, “Let me swallow your pain whole.”

Just before releasing her new video, Tinashe took to Twitter to share a heartfelt message thanking fans for supporting Songs For You. She gushed, “This project is my cathartic release, a new beginning, a new era, a new decade!!! I wouldn’t change a thing. I’ve grown up, and I am so incredible thankful to have done so through this music. Thank you, thank you so so so much.” Read her full note below.

Hannah Diamond’s Debut Album Reflections Explores Heartbreak In High Definition

By Erica Russell

A breakup can send even the strongest person into mournful exile, but on Hannah Diamond’s Reflections, the British pop artist refuses to recede into the shadows of heartache. She instead exposes her broken heart in bright, glossy high definition for all the world to see.

The long-awaited debut album from one of underground pop’s most quietly influential artists, Reflections, which releases today, projects the raw pain and insecurities of heartbreak through the lens of celebrity and perfectionism. Beneath its futuristic-nostalgic, cyber-Y2K aesthetic and pristinely synthetic production, the album brims with all the inherent imperfections and messiness of a relationship (or two, or three) unraveled, capturing the impossible sound of a diamond shattering in the process.

“The standoff between perfection and imperfection on the album [reflects] my real life,” the self-described “overly self-critical, ultra-perfectionist” musician and photographer tells MTV News. There are two sides to Diamond: “One side is the photographer and image-maker, which deals with super-detailed retouching and visual output, and the other is my personal life, which is highly imperfect and full of chaos. I feel like my music is where these two energies meet up and combine.”

No song better encapsulates the relationship between these two opposing worlds than “Invisible,” the bittersweet lead single off Reflections. The shimmering techno-pop track captures the devastation of seeing your ex with their new lover for the first time, as well as the eventual strength that comes with realizing you’ll probably be just fine on your own. (“I was born on my own and I’ll dance on my own,” Diamond sings.)

Long before she peered inward on Reflections, Diamond ventured into experimental territory as a part of electronic music collective PC Music. “At the start it was basically a group of friends. We did lots of stuff together, did lots of shows, went all over the world,” Diamond shares of her origins with the group, members of which, including Danny L Harle, have since worked with pop stars like Charli XCX, Clairo, and Carly Rae Jepsen and inspired countless emerging artists.

But Reflections is firmly a Diamond document, tackling the crumbled romances of her past. The breakups Diamond has been through haven’t made her bitter, though — they’ve made her stronger: “You have to learn to love yourself and reprioritize the other things you love so they take up more space in your life,” she says. “I don’t know if heartbreak ever goes away. I think your life just gets bigger around it, making it feel smaller or harder to see as it gets further away. That growth is beautiful.”

Inspired by the sleek visuals for Jennifer Lopez’s 1999 single “If You Had My Love” as well as the 2002 film S1M0NE about a virtual computer-generated actress-turned-pop star, the retro-futuristic music video for “Invisible” represents an immersive “hyperreal reflection” of the singer’s life. In it, the artist is presented as a high-tech celebrity doomed to infinite self-imposed loneliness and uncertainty while simultaneously confronted with idealized images of herself everywhere. This hyper-visibility is at paradoxical odds with how Diamond feels “totally invisible to the one person who I really wish would notice me.”

“It mirrors aspects of my day to day, like the multi-screen editing suite where I work on my images and my lonely tube journey across London,” Diamond explains. “It explores the process of constructing my own image as I work to completely digitize myself into this pixel-perfect version. I guess the hope is that I will be remembered virtually forever — that the things I do and the time I spend here on Earth will mean something.”

As a child, Diamond was always “drawing and dancing and making stuff.” Growing up amid the lustrous advertorials of the early 2000s, preteen Diamond found herself drawn to the art of high fashion commercial advertising. When she was about 11 years old, she began poring over high-gloss fashion magazines, entranced by the celebrity-modeled promos for designer Gucci handbags and department store perfumes from Dior and Chanel.

“I think that must have been a really formative age, because I always return to the tear sheets I collected back then for inspiration,” Diamond says. “I was always more interested in the advertising than the editorials, especially perfume adverts. I think those are most inspiring for me because to create an image or visual representation of a smell, you have to really get into semiotics and associations to trigger those clues about what the smell is like. It’s really similar to making music imagery — creating a world around something invisible.”

Diamond’s preoccupation with commercial imagery, particularly the work of famed fashion photographers like Nick Knight, David LaChapelle, and Inez & Vinoodh, sparked an interest in photography and fashion, the latter of which she later studied at Middlesex University after moving to London when she was 19. While majoring in fashion design, styling, and promotion, she made ends meet by working various retail jobs, all while building her photography portfolio on the side.

It was also in London, during an internship at SUPERSUPER! magazine, where she met producer and PC Music founder A. G. Cook. The two began collaborating on songs like 2013’s “Pink and Blue,” a sticky bubblegum-pop of a debut that juxtaposed baby-coo vocals and star-twinkle production with diaristic lyrics about unrequited love; and 2014’s “Attachment,” a moody, high-pitched ballad about obsession. The tracks were critical hits, proving that PC Music, and Diamond, had successfully tapped into the vein of a burgeoning new age for pop, one marked by digital hyperreality.

Today, Diamond shares, PC Music is “a bit more intangible” now that its members are mostly dispersed across the globe. “It feels like so much has been inspired by [PC Music] and the stuff we put out back in 2014 and 2015,” she adds. “I think everyone’s output has become more visual-focused, too. But I can’t tell if the world was heading in this direction anyway and we were just ahead of the curve, or if we inspired people making pop to get a bit weirder and a bit more experimental.”

Over the years, releases like 2016’s icy “Make Believe” and melancholic “Fade Away” submerged fans deeper into Diamond’s pure poptimistic fantasy, allowing the artist a space to ruminate on the surreal intersection of music, fame, fashion, and the internet. “There are so many levels to what celebrity means. I’ve realized that all fame is performance. It’s something that can happen on its own, but mostly it’s a constructed image,” Diamond says, revealing that she makes all the promotional photos, artwork, and visuals for her music releases.

Indeed, Diamond’s own “constructed image,” the fragile yet resilient digital-age pop star, is plastered across Reflections like the polished advertorials she obsessed over in her youth. It’s there on the album cover — a surreal, cosmic image of Diamond poised atop a crescent moon bearing her own facial profile — and it’s there embedded in the A. G. Cook-produced music: 10 glassy, luminescent tracks about self-doubt and self-esteem (“Reflections”), life after love (“Shy”), and moving on (“Love Goes On”).

While there may be a multitude of complex concepts at play, Reflections is, at its core, an emotional breakup album. Beneath the shiny facade, it seems Diamond is just like anybody who’s ever picked up the pieces following a string of sour relationships.

“Patterns in my life were repeating, and the whole world around me was becoming a hall of mirrors that was reflecting my energy and the way I was reacting to things,” Diamond says of the experiences that formed the record’s soul-baring narrative. “I learned that relationships can become mirrors. I lost my sense of self in someone else and then I lost them. I had to learn to be fine on my own again.”

Little Mix Are Christmas Angels On New Song ‘One I’ve Been Missing’

Little Mix turned the Christmas season into Mixmas season on Friday (November 22) with the release of their first original holiday tune. And as you might expect from the veteran UK group, it’s a festive bop that showcases the girls’ heavenly harmonies and penchant for old-school flair.

On “One I’ve Been Missing,” the foursome break out those ’50s-inspired doo-wop harmonies they do so well (see: “Love Me Like You” and “Oops”). Here, they channel that sweetness into a love song about coming home for the holidays and curling up by the fireplace with someone they love. “Is it the lights in your eyes? / They never shone so bright / I’ve waited all year to be near to the one I’ve been missing,” they sing, before declaring, “‘Cause I need to show you just how much I love you this Christmas.” The girls even get animated in the accompanying, elf-inspired lyric video, which only dials up the cuteness.

“One I’ve Been Missing” was co-written by the group’s own Leigh-Anne Pinnock, who said in a statement, “We absolutely love Christmas, it’s our favourite time of the year. We’ve always wanted to write and release a Christmas song, we were just waiting for the right moment! The minute I finished writing ‘One I’ve Been Missing’ I couldn’t wait to play it to the other three girls.”

It’s exactly the sort of gem Mixers need to tide them over until the girls unwrap more bops and bangers on the forthcoming LM6. Hopefully those are coming soon, but in the meantime, check out their latest release above. And if you absolutely need more Mixmas-inspired tunes in your life, revisit the group’s 2014 cover of “Christmas (Baby Please Come Home)” below.

Bop Shop: Songs From Soccer Mommy, Casey Veggies, Molly Burch, And More

A few weeks after allowing us into the minds of those struggling with depression on “Now I’m In It,” the Haim sisters returned with a heartfelt and spiritual ballad that anyone who’s suffered a loss will certainly hold dear. “Hallelujah,” Alana revealed, is about “family, love, loss, and being thankful for it all.” It’s also a tribute to a friend she lost at just 20 years old in a tragic car accident.

In the first verse, Danielle sings about easing fears and tears drying in time. Here, the sisters aren’t dwelling on hardships, but instead trying to heal from them. And although they’ve lost someone dear in the physical world, they’ve gained both an angel and perspective. “Give me direction when it is hard to fight,” Este sings before bursting into a bone-chilling harmony with Danielle on the chorus. “Three roads, one light.” Then, Alana addresses the loss directly. “I had a best friend but she has come to pass,” she sings. And though her friend is no longer with us, her spirit is omnipresent. “Everywhere, you’ve been with me all along,” Alana sings before she and her sisters harmonize over one final “hallelujah.” Together, they can get through anything. —Jordyn Tilchen