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    Mariah Performs 'All I Want For Christmas Is You'; Holidays Officially Begin

    mariah-carey-divas.jpg

    From that Christmas forward, and for every one after, God claimed one thing to be true: the holidays would not begin until Mariah Carey sang 'All I Want For Christmas Is You'. - (Corinthians, 16:2)

    It wasn't her all time best performance of the classic - she was clearly struggling to hit some of the higher notes, even with a prominent backing track which she harmonised with during her infamous falsetto moment in the final chorus - but Mariah Carey's performance still achieved it's yearly goal of bringing Christmas cheer to the masses when she performed it on the VH1 special Divas: An Unsilent Night recently. 

    After opening the show Mariah was happy to share the spotlight, and let some other girls do the dirty work of entertaining the crowd for her. Professional flops JoJo, Bebe Rexha and Serayah realised that they couldn't book a solo gig and so instead teamed up to perform a Motown-inspired cover of Darlene Love's 1993 'All Alone on Christmas', made famous internationally by the classic holiday film Love Actually. JoJo breezed through the track in a low-cut gown while Bebe and Serayah let their nerves get the best of them and struggled to sing their solos, only just managing to turn out for the harmonies.

    Fresh off her star turn in JoJo's newest single 'FAB.', Remy Ma turned out for a brief but fun performance of Run-DMC's 'Christmas in Hollis'...

    While elsewhere, Grammy-award winner Patti Labelle made a grand entrance in orange singing her festive hit 'When You've Been Blessed'.

    And for a grand finale, a gothic-styled Chaka Khan performed her timeless hits 'Ain't Nobody' and 'Natural Woman', before bringing out a selection of the other ladies - Labelle, JoJo, Rexha, Taylor and more - to back up Labelle during a soulful chorus of 'I'm Every Woman'.

    Sadly, Mariah had a pair of sparkly red Louboutins that needed polishing and was unable to make time for her godmother Labelle's spot.

    mariah-sorry.gif 

    Which was your favourite Divas performance of the night? Did Mariah steal the show with her impressive direction, or did Patti upstage her with those incredible vocals? Let us know your thoughts in the comments below!



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    5 hours ago, Third Eye said:

    SO SHOOK, SLAY ME QUEEN OF XMAS, SHE CREATED THIS HOLIDAY BLESS HER

    I can't wait until we get to December 25th so we can celebrate Mariah's birthday once and for all! :hail: 

    • YAAASSS 2

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    41 minutes ago, Countess said:

    I can't wait until we get to December 25th so we can celebrate Mariah's birthday once and for all! :hail: 

    She's slaying me sooo hard

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    7 hours ago, milanimiani said:

    Mess. She sounded terrible in the beginning and the rest was pretty much just backing track. 

    Mariah is just a mess. Ever since Ariana Grande came up AND showed that she's a lot more humble (and the bitch licked a damn donut) it's like she got al the life forced sucked out of her. I love it.

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    On 12/7/2016 at 3:50 PM, Kevinn Edu said:

    Mariah is just a mess. Ever since Ariana Grande came up AND showed that she's a lot more humble (and the bitch licked a damn donut) it's like she got al the life forced sucked out of her. I love it.

    4b09c520-cf2d-0132-45c2-0ebc4eccb42f.gif

    Call me back when the Underage Chanteuse Ariana has 18 #1 singles to her name! 

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      'Fly Like A Bird' was released as the sixth single from The Emancipation of Mimi in February of 2006, but it was only sent to radio in March of that year, less than twenty days before seventh single 'Say Somethin''. While 'Say Somethin'' was serviced to mainstream pop radio stations, 'Fly Like A Bird' received a more limited release and was only sent to adult contemporary and gospel stations, even with critics like Billboard's Tom Ferguson stating that the song was a "classic" and the superior track.
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      12. Say Somethin' (Feat. Snoop Dogg & Pharrell)
      'Say Somethin'' had several false starts as a single before it was ultimately released as the album's seventh in April of 2006. At one point, the track was planned to be released in November of 2004 as the lead single from Emancipation, with planning already having begun on a music video. However, after being postponed to January of 2005, the song leaked around it's original release date of November, and ultimately the entire release was cancelled.
      Later, 'Say Somethin'' was scheduled to be released as the fourth single from the album. Like 'It's Like That' and 'We Belong Together', it was meant to be shot alongside third single 'Shake It Off' as a double video directed by Brett Ratner. However, Mariah replaced Ratner with Jake Nava for 'Shake It Off' shortly after planning begun, coming up with a concept for the track which involved her leaving Voicemail messages to a cheating lover in front of futuristic, stylised visuals. A treatment for 'Say Somethin'' was also developed, with Mariah saying that the two videos included some "really technical" but "cool concepts". Before shooting began, Mariah also confirmed that like the album's first two singles, these music videos would be linked in some way; and that while she was hoping for a "cohesive narrative storyline", she predicted that the videos might end up "having a 'slight' link that only comes across on a subliminal level".
      Ultimately, however, the release of 'Say Somethin'' as the fourth single was scrapped. When it was later released as the album's seventh single a year later, the music video was directed by Paul Hunter, and predominantly featured Mariah seducing duet partner Pharrell in different locations throughout Paris, before he ultimately takes her back to his room. While it's possible that this was one of the "double video" treatments Mariah developed alongside 'Shake It Off', the lack of any real "subliminal" connection between these two videos suggests that this was a new concept entirely. It's currently unknown what any of the other three 'Say Somethin'' music videos could have looked like.
      13. #Beautiful (Remix) (Feat. Miguel & Young Jeezy)

      Mariah Carey wearing a cast after her rib and shoulder injury at the premiere of The Butler
      While it's not uncommon for many of the videos on this list to feature two versions, '#Beautiful' is one of the rare exceptions which has three. The original and most well-known music video for the track was directed by Joseph Kahn on April 21st and 22nd, 2013, and debuted the next month on the Carey-judged American Idol. In June, a totally different music video was filmed for the Spanglish version of the song, which features Mariah and Miguel rollicking around Capri, Italy.
      The third and most "elusive" of the '#Beautiful' videos was intended to be for the "urban" remix of the track featuring Young Jeezy. Again shot a month later by Carey's husband Nick Cannon, the music video was filmed at Avenue and Artichoke Pizza in Chelsea, New York. Midway through the shoot, Carey suffered an injury which put production of the clip temporarily on hold. "She was in this nice, beautiful gown, heels on and everything, and was kind of on this platform and reached and slipped and fell on her whole side," said Cannon later. "It was pretty serious. Not only did she dislocate her shoulder, she actually cracked a rib, and chipped her shoulder bone". Despite the injury, Mariah continued to shoot the music video.; and even after eventually going to hospital to have her shoulder realigned, she returned to the set early the next morning to complete filming.
      Despite all the hard work and suffering that went into completing the music video, however, no clip was ever released for the '#Beautiful' remix. Mariah confirmed on the 23rd of July that editing on the video had been completed, so it's likely that a final cut does exist; but there has been no word on the video ever being released, or on why it was scrapped in the first place.
      Which scrapped music video would you most like to see from Mariah? Let us know in the comments section down below!
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      Carey and Mottola at their $500 000 wedding ceremony in 2003
      Sadly, the marriage was not to be a happy one. Carey suffered from non-stop reports of favouritism, with more than one reporter suggesting that she had married Mottola only for his connections. Even more troubling was the fact that Carey, who had never been in a serious relationship prior to Mottola, was facing emotional abuse almost daily by her husband that left her "miserable, crying, and alone" and dreaming that someone would "kidnap" her. Carey would later recount that she was forced to remain "sequestered" from the outside world by Mottola, and that she had to "get permission to leave" the house. “He didn't even know why I always had my bag with me,” she would say years later. “But in my mind I thought, 'If something jumps off...I'm ready.'”
      Although Carey finally managed to escape her marriage to Mottola in 1997, that wouldn’t be the end of their relationship. After all, Mottola was head of Sony Records, and still wielded great power over her career. After some conflict over the direction Carey's career would take, Butterfly was released in late 1997, introducing the sexy image and breathy vocals that would become her signature in later years. But by the time Rainbow - the last album Carey would record for Sony - was released in 1999, her relationship with the label had completely deteriorated. The label wanted a big pop song to be released as the third single to heat up the lukewarm radio play for the album, but fittingly Mariah wanted 'Can't Take That Away (Mariah's Theme)' - a ballad about finding your inner strength based on her seperation from Mottola - to be released instead. She told her fans about the dispute and instructed they request the song on radio to force Sony into an official release, which they eventually did only half heartedly and with a limited promotional budget.
      Carey would soon sign a record-breaking $100 million contract with EMI, but money couldn’t buy her happiness. By 2001, Carey had begun work on a semi-autobiographical film called Glitter, and the film and it’s accompanying soundtrack had created a workload that she couldn’t sustain. After breaking up with her boyfriend of three years Luis Miguel, Carey began posting disturbing voice messages on her official website announcing that she would quit music. An erratic appearance on Total Request Live in which Carey handed out ice cream and performed a striptease for Carson Daly did nothing to help her public image. And meanwhile, Mottola back at Sony was doing everything he could to destroy her.
      Mottola had first discovered Jennifer Lopez in 1997, when she was fresh off the heels of her star turn in Selena and sending Spanish-language demos to various record labels. By this point, Mottola had recently separated from Carey, and it seemed his self-proclaimed “obsession” with her had been transferred to Lopez. Mottola sent J. Lo to the top of the charts with On the 6 and the international smash hit 'Waiting for Tonight', but he wasn’t done yet.
      Lopez’s sophomore album J. Lo was released in 2001, and it featured a song entitled ‘I’m Real’. The song sampled Yellow Magic Orchestra’s ‘Firecracker’ - a song which strangely hadn’t been requested for sample at all up until three weeks before it's recording, when Mariah Carey had requested to use it for her song ‘Loverboy’.
      This was a deliberate ploy by Tommy Mottola to sabotage Carey’s ‘Loverboy’ release, which was already scheduled to be the first single from the Glitter soundtrack and an instrumental part of the film itself. Unable to reshoot the scenes containing 'Loverboy', Mariah scrambled to find a new sample to base it on, settling on Cameo’s ‘Candy’. However, she would go on to release a single remix of 'Loverboy' with Da Brat which utilised ‘Firecracker’ in the melody, with Da Brat rapping, “Hate on me much as you want to/You can't do what the fuck I do/Bitches be emulating me daily.”
      This wasn’t the only way in which Mottola undercut Mariah’s Glitter campaign. Mariah had recorded a track called ‘If We’ for the project with Ja Rule, which was his first foray into R&B. Irv Gotti would later recall that shortly after the record was finished, he was contacted by Mottola “obscenely early” in the morning and instructed to make a collaboration for Jennifer and Ja Rule "in the same style" of 'If We'.
      “He calls me because he found out that me and [Ja] Rule cut a record with Mariah Carey,” Gotti would later say. “And at the time he hated Mariah Carey. So he was pumping Jennifer Lopez to compete.” Mottola even loaned Gotti the company jet to ensure that Ja Rule, who was on tour at the time, would be able to film scenes for the music video for this collaboration. Gotti worked with Ashanti and Ja Rule to craft ‘I’m Real (Murder Remix)’, which was released shortly after to huge success and which sounded more than a little similar to ‘If We’.
      While J. Lo topped charts, Mariah began a downward spiral which started with the lukewarm reception to ‘Loverboy’ and only continued when the Glitter soundtrack was released on September 11th, 2001 (yes, that September 11). Matters only got worse when her father, who she had had little contact with since childhood, died of cancer, and she was bought out of her contract with EMI for $50 million.
      Despite this, Carey didn’t speak about the situation between her, Mottola and Lopez publicly until some time later. Speaking to MTV about the ‘Firecracker’ fiasco in 2002, Carey stated “Let's just say they did me a favor. And they know who they are. And thank you, sweetie. And your friend who did it with you!" The infamous “I don’t know her” remark wasn’t uttered until an interview on the shoot of 'Bringin' on the Heartbreak' in 2003, when Carey had clearly moved from sadness onto pettiness; and since then it’s been reiterated many times in many different ways.

      Which leaves us wondering: will this story ever have a happy ending for Carey and Lopez? Carey’s annoyance towards her manipulative ex-husband’s new plaything was understandable at the time, but this many years on it seems obvious that Lopez was only a pawn in Mottola’s game, and that he was the only one to blame for her career downfall. Lopez, who for her part has alternated between supportive and shady when asked about Mariah, is still on top years later, and we’re sure that Mariah could use some girl power to help her image recover from that New Year’s Eve fiasco. Here’s hoping that in the age of #MeToo and #TimesUp, the two will someday put this feud to rest and come out with an anti-Mottola duet of their own. ‘I Never Knew Him’, perhaps?
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