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27 Dec 2022

Kim Kardashian Cries Talking About Co-Parenting With Kanye West

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Kim Kardashian | Angie Martinez IRL Podcast

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In a sit-down with radio icon Angie Martinez for her IRL Podcast, style maven and reality TV star Kim Kardashian shared the challenges of co-parenting with her ex-husband Ye—formerly known as Kanye West. 

“Co-parenting is hard,” Kardashian said. She added, “It’s really f**king hard.” 

The couple shares four children North, 9, Saint, 7, Chicago, 4, and Psalm, 3. 

Kardashian said, “I had the best dad, and I had the best memories and the greatest experience and that’s all I want for my kids as long as they can have that.” She shared tears as she spoke about her late father, Robert Kardashian. 

“That’s what I would want for them,” she continued. “If they don’t know the things that are being said or what’s happening in the world, why would I ever bring that energy to them? That’s really heavy grown-up s–t that they’re not ready to deal with.”

She noted that she does her best to protect her children from their father’s online antics including his anti-Semitic rants and antagonizing social media posts. 

Kardashian also said that she is “prepared” to answer questions when her children inevitably ask her about their dad’s behavior. She also says that despite all of the discord, she does not speak ill of West to them. 

The entrepreneur said that it is getting harder to “protect” her children from the “outside world” 

“I know I’m so close to that not happening. While that’s still happening, I will protect that to the ends of the earth as long as I can.”

One day my kids will thank me for sitting here and not bashing their dad when I could,” she told Martinez. “All the crazy s–t. They’ll thank me and I’ll privately answer anything that they want to know. It’s not my place anymore to jump in.”

The couple divorced in February 2021 after a seven-year marriage. Per reports, West pays Kardashian $200,000 a month in child support and they have “equal access” as part of their custody agreement, but Kardashian has the children as much as 80% of the time. 



27 Dec 2022

Chris Rock To Headline 1st Netflix Live Global Comedy Event

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Chris Rock x Netflix

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Comedian Chris Rock will be making comedy history as his next special with Netflix will be streamed live to a global audience.

According to a press release from the streaming platform, the new special, Chris Rock: Selective Outrage, will air on March 4th, 2023. The new stand-up special will take place in Baltimore, Maryland, airing at 10 P.M. ET/ 7 P.M. PT. It will also be the first comedy event to be streamed live across the globe to Netflix viewers. The venue for the special has not been announced, and there is no word on when tickets for the show will be available.

“Chris Rock is one of the most iconic and important comedic voices of our generation,” said Robbie Praw, Netflix Vice President of Stand-up and Comedy Formats in a statement issued last month. “We’re thrilled the entire world will be able to experience a live Chris Rock comedy event and be a part of Netflix history. This will be an unforgettable moment and we’re so honored that Chris is carrying this torch.” The special follows up Netflix’s ambitious path to being at the forefront of live comedy. Their Netflix is a Joke: The Festival was a massive event that featured over 330 comedians performing at 35 venues across Los Angeles, California in the spring of 2022. This also included the first-ever stand-up comedy show done at Dodger Stadium.

For Rock, whose first stand-up special Tambourine premiered on Netflix in 2018, it marks a return to Baltimore almost a year after appearing in the city in April 2022. The 57-year-old has been active on the road in the wake of the infamous moment at the Oscars earlier this year where he was slapped onstage by actor Will Smith. The situation occurred after Rock had made a joke about the hair of Jada Pinkett-Smith, the actor’s wife during a segment before presenting an award. It was later reiterated to the press that Pinkett-Smith suffers from alopecia, a disease that inflicts hair loss. Smith has apologized for his actions.



27 Dec 2022

Pusha T & DJ Drama To Drop A ‘Gangsta Grillz’ In 2023

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In 2022 DJ Drama’s Gangsta Grillz mixtape series experienced a sort of rebirth in popularity as artists like Yeezy, J. Cole, and Snoop Dogg dropped projects with the Atlanta mixtape DJ.

Now Pusha T is the latest big-name artist to confirm that he and DJ Drama will be adding to the illustrious Gangsta Grillz library in 2023 and we for one can’t wait to see what the two cook up when they both get in the kitchen. The news broke when King Push had a conversation with Rap Radar’s B. Dot on Twitter Spaces and revealed that the project would be hitting the block sometime in 2023. Needless to say the Hip-Hop world was elated with the news and made their feelings known online.

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This will be Pusha’s first project to drop since the release of his fourth studio album, It’s Almost Dry, which dropped in April of this year. Should be interesting to see if he addresses Kanye West’s MAGA-ish meltdown at any point of the project? Will he take any subliminal shots at Drake and rekindle their long-standing feud? Will his brother, Malice make any contributions to the mixtape? We’ll just have to wait and see come next year.

Do y’all have high expectations for the Pusha T and DJ Drama Gangsta Grillz mixtape in 2023? Let us know in the comments section below.

27 Dec 2022

adidas Is Pausing All Balenciaga Releases As They “Re-Evaluate” Partnership

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adidas x Balenciaga Capsule Collection

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It seems one of fashion’s most well received collaborations might never see the light of day. adidas has paused all Balenciaga releases.

As spotted on Sneaker Freaker, the Herzogenaurach, Germany based brand is now also reconsidering their professional relationship with Balenciaga. Last week customers were taken by surprise when some received a notification stating that their adidas x Balenciaga capsule purchases were put on hold. “We have taken the time to re-evaluate our partnership with Balenciaga and we have decided to pause all product launches until further notice,” the message read. Unfortunately, therefore, we will be unable to fulfil your pre-order of the Balenciaga/adidas Stan Smith.”

Balenciaga’s customer response was less direct saying “we’re reaching out to inform you that the BALENCIAGA / adidas Stan Smith Worn Out Trainers will be delayed in shipment. We will notify you again when the item is shipped. Please kindly ignore the previous email notification with the UPS tracking number inside.” This pause in production seems to be a direct response to the recent luxury label’s disturbing bondage commercial.

Originally executives pointed the blame at the production company who shot the visuals but dropped all legal action shortly after. Their CEO, Cédric Charbit, also issued a formal apology for their creepy approach. “Balenciaga takes the following the following actions with the objective to learn from our mistakes as an organization. On the internal side, we nominate with immediate effect an image board responsible for evaluating the nature of out content from concept to final assets, including legal, sustainability, and diverse expertise” the message read. Demna, their Creative Director, also issued an apology.

adidas has yet to comment further on the matter.

Photo: Joshua Bright

27 Dec 2022

adidas Has More Than A Half A Billion Dollars Worth Of Yeezy Sneakers Stocked Up

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Street Style - LFW September 2022

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A few months ago adidas decided to cancel their partnership with Kanye “Alt-Right” West due to his antisemitic tweets and statements and in the process recalled all their Yeezy related products from Foot Lockers and other participating stores across the board.

Now TMZ is reporting that adidas has hoarded a half a billion dollars worth of Yeezys in their warehouses and no clear idea on what to do with them going forward. Though adidas has made it known that they’ll continue to release all OG Yeezy sneakers and silhouettes without the Yeezy brand on them, it looks like they’ll be sitting on a ton of Yeezy products for the time being.

Per the report, the inventory the company has amounts to about $530 million … and Adidas is apparently eager to hawk them to avoid taking an even bigger hit than what it’s publicly disclosed thus far — which was already looking quite grim for end-of-year numbers.On top of the staggering amount of shoes it has to move — which Adidas is reportedly scrambling to figure out how to do it — the FT story goes into some detail about how deeply tied it was to Yeezys and to what extent Adidas was hinging its success on it.
Though many thought that the resale value of Yeezy sneakers would skyrocket due to adidas cutting ties with the controversial rapper, the value of said sneakers only has only jumped up a few dollars in the weeks following the dissolving of the Kanye and adidas partnership. Still, adidas can resale their inventory on the low and the secondary market if they want to recoup that money and then some, but they can’t be public about it as the backlash will be swift and merciless. Just sayin.’
It will be interesting to see how sneakerheads react to the release of the first unofficial “Yeezy” sneaker dubbed the Adidas 350 V2 “Granite” when it drops in January for $230 ($10 cheaper than the average Yeezy). Without the Yeezy branding, many sneaker aficionados feel like the 350 V2 Boosts aren’t anything more than a $150 pair of kicks. What do y’all think adidas should do with the remaining pairs of Yeezys they have in their possession? Should they resell them? Destroy them? Give them away? Let us know your thoughts in the comments section below.

27 Dec 2022

Feid’s ‘Normal,’ Rosalía’s ‘Saoko’ & More: Vote for the Best Latin Song of 2022

The songs that soundtracked our year were genre-blurring, empowering, hooky and game-changers in their own way. As the year comes to an end, Billboard unveiled the staff picks for the best 25 Latin songs of 2022. Now, it’s time to vote for your favorite song.

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The wide-ranging list includes obvious hits such as Bad Bunny‘s “Titi Me Preguntó,” Manuel Turizo‘s “La Bachata” and Grupo Frontera‘s “No Se Va,” but it also includes songs that weren’t outright hits but are truly great songs deserving of a mention on the year-end round-up.

Such was the case with Alex Anwandter‘s unapologetic disco-pop anthem “Maricoteca.” The Chilean singer-songwriter presented a risky NSFW statement, where spectators witness the singer-producer fortifying his identity politics with a side of mischief — an alluring, provocative queer artist with an unmatched talent for glimmering dance music.

There was also Kany García and Alejandro Sanz‘s poignant “Muero,” which further cements the Puerto Rican singer-songwriter as a master at retelling other people’s love stories and anguish in a way that makes them our own. In “Muero,” she and Sanz give voice to two people whose unspoken love will doom them to never experience it.

There was also Caloncho’s “Post Química,” Babasonicos’ “Bye Bye” and Natanael Cano‘s unapologetic “Que Me Importa” with newcomer Victor Cibrian. To wrap up the year, vote for the track that (in your opinion) was the best Latin song of the year.

Read Billboard’s 25 Best Latin Songs of 2022 list here.

27 Dec 2022

Rep.-elect George Santos Admits To Lying On His Résumé

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George Santos, a Long Island, N.Y. Republican who was recently elected to a U.S. House of Representatives seat, essentially admitted to lying on his résumé among other alleged falsehoods. Santos framed the omission of truth regarding his biography as “embellishment” and is intent on taking his seat in Congress at the top of 2023.

George Santos, 34, first found himself under scrutiny after the New York Times published a piece questioning the validity of the fanciful story of Santos’ early life and his becoming the first openly gay Republican elected as a non-incumbent to a House seat. The article called into question Santos’ claims of advancing himself from college en route to a successful Wall Street career. Santos also claimed he operated a pet rescue charity along with a sizeable real estate portfolio, and also claimed to be of Jewish heritage.

As seen in a newer article from the Times, several of Santos’ claims were debunked. The outlet adds that Santos attempted to explain himself via a series of interviews on Monday (Dec. 26), most notably telling The New York Post that, “my sins here are embellishing my résumé.”

Democratic Party House members are calling for the expulsion of Santos before he officially takes office. Rep. Ted Lieu, the soon-to-be vice chair of the House Democratic caucus, tweeted, “GOP Congressman-elect George Santos, who has now admitted his whopping lies, should resign. If he does not, then @GOPLeader should call for a vote to expel @Santos4Congress.”

On Twitter, the reactions to George Santos and the alleged misrepresentation of his experience is coming under fire. We’ve got those reactions listed out below.

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Photo: WADE VANDERVORT / Getty

27 Dec 2022

Lava La Rue’s Big Year: How the U.K. Indie Upstart Rendered Their Artistic Vision in ‘Hi-Fidelity’

As 2022 draws to a close, Billboard Pride is taking a look back at some of the queer indie artists who saw their stars rise over the last 12 months. Below, U.K. genre-bender Lava La Rue breaks down their big year.

It’s the end of a busy trip to New York for Lava La Rue. The buzzy, much talked-about indie artist from West London has been in and out of studio sessions and supporting their partner’s gigs around the city, but as they log onto a Zoom call from a Brooklyn hotel room, they look mildly bummed.

“It’s super rainy and gross,” they say, swiveling their camera around to show a cloud-choked skyline just outside their window. “Normally I get this very cute view of everything corny, like the Empire State. Now, it’s just kind of looking like Gotham.” But La Rue acknowledges the weather pattern is just a transitional phase. “It’s been lovely all week, just not today,” they say with a shrug. “It’ll pass.”

La Rue would know what a transitional phase looks like, considering they’ve been actively in one for the last year — throughout 2022, La Rue underwent a shift that brought about a new sound, curated a new audience, and even found the singer a new home for their musical universe. “I think because I started in music fairly young, like in my late teens, some people have been like, “Wow, you’ve been around for quite a long time now,’” they say. “No, I literally feel like I was reborn this year. It feels like starting over almost.”

At the outset of their career in 2018, La Rue was known for their chilled-out, bedroom-rap releases, where the then-19-year-old would effortlessly let their bars flow about everything from cheating lovers to self-criticism on songs like “Widdit” and “F–ked it Up.” But as their career progressed, so did their sound — slick rap verses gave way to groovier, dreamier bedroom-pop tracks, until eventually the singer was in their “lo-fi bedroom” funk-pop era with the 2021 EP Butter-Fly.

La Rue is proud of the music they were able to make for the first three years of their career, especially given their limited access to the necessary tools to make projects like Butter-Fly. But the singer-songwriter quickly points out that their limitations in budget meant a limitation to their sound.

“Before, I had to compromise with the kind of music that I made, and when you have to compromise, you become a ‘lo-fi bedroom’ artist because that’s all you have access to,” they say. “I felt pretty boxed into that label … though I really don’t mind, I have nothing against the genre. It just felt really limiting in that approach — I wanted things to sound bigger and more cinematic.”

So, when it came time to craft their next project, it felt fitting to strip that label away with the title. Hi-Fidelity, La Rue’s third and most ambitious EP yet, saw the young artist plugging in — La Rue credits extended time in the studio to hone a cleaner, sharper sound as the key factor in the transformed sound of their latest project. Put simply, “This was the first time I was making music that sounds like the music I want to listen to,” they say.

Part of what makes Hi-Fidelity such a fascinating listen is that much like the rest of La Rue’s discography, it refuses to be pinned to a singular genre. The star’s signature buttery rap bars remain intact, while they also employ elements of funk, disco, pop-punk and R&B all throughout the EP’s five tracks.

La Rue is unsurprised that genre-fluidity has become a defining factor in what their audience looks for from their music. “There is so much cross-pollination of streaming and finding new music online,” they explain. “Now, a song will just have an inescapable viral moment, and you have people who would not normally listen to Steve Lacy suddenly listening to Steve Lacy. Or people who wouldn’t normally listen to pop-punk or Paramore — if one of their songs pops off on TikTok, suddenly they’re listening to a drill remix of a Paramore single.”

But the fluidity is also the point for La Rue — the 23-year-old artist doesn’t want to be labeled by any particular genre, and instead aims to have people search for music that sounds like Lava La Rue. “I think there’s a playlist on Spotify called ‘Planet Rave,’ and it literally just came from PinkPanthress doing a whole jungle/drum-and-bass revival. I started seeing people making music like PinkPanthress to be on that PinkPanthress-inspired playlist,” they explain. “That is the goal; I’ve always strived to have the level of artistry where what I do is recognizable as a person. Like, it is first and foremost Lava. So no matter what genre you apply it on, you recognize the voice and you recognize what I’m trying to say.”

Achieving an artistry on that level requires new audiences — and luckily for La Rue, they got just that this autumn. Following the release of their EP in July, La Rue joined fellow U.K. indie-rock darlings Wet Leg on their European tour, opening for 8 dates in November across the EU.

With a new, fuller sound, and a big spot on a hotly-anticipated tour, La Rue says they got to learn how to perform with a full band in real time while on the road with Wet Leg. “The live performance now is full-on showmanship — we’ve got an acoustic drum kit, big guitar solos, huge bass riffs, two synthesizers, I’m playing guitar as well,” they explain. “When I first did Glastonbury, it was me and a DJ, and I was singing my cute little songs and rapping and jumping into the moshpit, just me being an MC with the track backing me up. I really had to test my musicality when I couldn’t just hide behind the track.”

But the tour also worked for La Rue in a way they didn’t anticipate — it turns out that getting to perform music you’ve been working on for captive audiences of 4,000 people every few nights is excellent market research. “I almost wasn’t going to do the Wet Leg support tour, because in that time, I was supposed to be going into making my new project,” they say. “But seeing how it feels in a room of people has been so inspiring in the creative process for me. It’s changed the levels in my performance style, even in the way I’m recording things in the vocal booth now.”

When it comes to their new project, La Rue is ready for a full-on rebirth. After completing a two-EP deal with Marathon Artists in 2022, the singer says they’ve just signed on as the newest member of the Dirty Hit roster.

“Dirty Hit made so much sense to me — they’re based in West London, they’re an indie, and they’ve got a lot of artists who I grew up listening to and am obsessed with. It all just fit,” they say, a grin crossing their face. “If you look at the artists on their roster, they all lead with so much creativity, whether it’s The 1975 or Rina Sawayama. It’s also ambitious enough to say, ‘No, let’s make this pop off, too.’ It’s nice to feel like you can be ambitious, but still have creative control.”

So, with a new record deal under their belt and a debut album in the works, what comes next for La Rue? The answer, much like their sound, contains multitudes. “I literally feel like I’m at the beginning of my journey, and my whole goal is to just make everything bigger and brighter and more cinematic,” they explain. “It’s gonna be a whole world-building experience — there’s simply so much to be done.”

27 Dec 2022

Mariah Carey’s ‘All I Want for Christmas Is You’ Keeps at No. 1 on Billboard Global Charts

Mariah Carey’s “All I Want for Christmas Is You” holds at the (north) pole position on both the Billboard Global 200 and Billboard Global Excl. U.S. charts. The carol adds a 12th total week at No. 1 on the former and a seventh week atop the latter, dating to the charts’ inceptions two years ago.

Plus, holiday hits by José Feliciano and Ariana Grande, among others, make further worldwide gains, while SZA’s “Kill Bill” surges in its second week on the surveys.

The two global charts, which began in September 2020, rank songs based on streaming and sales activity culled from more than 200 territories around the world, as compiled by Luminate. The Billboard Global 200 is inclusive of worldwide data and the Billboard Global Excl. U.S. chart comprises data from territories excluding the U.S.

Chart ranks are based on a weighted formula incorporating official-only streams on both subscription and ad-supported tiers of audio and video music services, as well as download sales, the latter of which reflect purchases from full-service digital music retailers from around the world, with sales from direct-to-consumer (D2C) sites excluded from the charts’ calculations.

‘Christmas’ Crowns Global 200, ‘Feliz’ Returns to Top 10

Mariah Carey’s “All I Want for Christmas Is You” holds at No. 1 on the Billboard Global 200 with 108.1 million streams (up 16%) and 17,000 sold (up 6%) worldwide in the Dec. 16-22 tracking week. The modern holiday classic, released in 1994, adds a 12th week at the summit, and fourth this holiday season, after it led for four weeks each over the 2020 and 2021 holidays.

With 12 weeks atop the Global 200, Carey’s “Christmas” passes The Kid LAROI and Justin Bieber’s “Stay” (11, 2021) for the sole second-longest reign since the chart began, trailing only Harry Styles’ “As It Was” (15, beginning this April).

Wham!’s “Last Christmas,” originally released in 1984, rebounds to its No. 2 Global 200 high, from No. 3; Brenda Lee’s “Rockin’ Around the Christmas Tree,” from 1958, dips to No. 3 from its No. 2 best; the late Bobby Helms’ “Jingle Bell Rock,” from 1957, holds at its No. 4 high; and SZA’s “Kill Bill” spends a second week on the chart at No. 5, as parent album SOS logs a second frame at No. 1 on the U.S.-based Billboard 200 chart.

Elsewhere in the Global 200’s top 10, José Feliciano’s 1970 carol “Feliz Navidad” dashes 13-10 (50 million streams, up 22%; 5,000 sold, up 18%, worldwide); it hit a No. 9 high in the 2020 holiday season.

Carey Rules Global Excl. U.S., Grande, SZA Soar

Mariah Carey’s “All I Want for Christmas Is You” continues atop the Billboard Global Excl. U.S. chart, with 65.1 million streams (up 14%) and 6,000 downloads sold (up 11%) in territories outside the U.S. Dec. 16-22. The song adds a seventh total week at No. 1, and third this Yuletide season, after it ruled for a week during the 2020 holidays and for three frames over last year’s holiday season.

Wham!’s “Last Christmas” holds at its No. 2 Global Excl. U.S. high; Brenda Lee’s “Rockin’ Around the Christmas Tree” dances merrily to a new No. 3 best, from No. 5; Sam Smith and Kim Petras’ “Unholy” slips 3-4 after eight nonconsecutive weeks on top beginning in October; and Rema and Selena Gomez’s “Calm Down” descends to No. 5 from its No. 4 high.

Also in the Global Excl. U.S. top 10, Ariana Grande’s “Santa Tell Me,” from 2014, jumps 11-8 (32.4 million streams, up 16%; 2,000 sold, up 52%, outside the U.S.); it hit a No. 7 best over the 2020 holidays. Plus, SZA’s “Kill Bill” blasts 26-10, powered by a 62% gain to 34 million streams outside the U.S., becoming her second top 10 on the tally and her first in a lead role, after Doja Cat’s “Kiss Me More,” featuring SZA, hit No. 5 in May 2021.

The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated Dec. 31, 2022) will update on Billboard.com tomorrow (Dec. 28, a day later than usual due to the Christmas holiday). For both charts, the top 100 titles are available to all readers on Billboard.com, while the complete 200-title rankings are visible on Billboard Pro, Billboard‘s subscription-based service. For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.

27 Dec 2022

Mariah Carey’s ‘All I Want for Christmas Is You’ Holds Atop Hot 100, Wham!’s ‘Last Christmas’ Hits Top Five

Mariah Carey’s “All I Want for Christmas Is You” hangs atop the Billboard Hot 100’s highest bough for an 11th total week. It leads for a third week this holiday season, as it has topped the chart over the holidays each year since December 2019.

Plus, Wham!’s fellow Yuletide classic “Last Christmas” reaches the Hot 100’s top five for the first time, rising from No. 6 to No. 5, and Taylor Swift’s former leader “Anti-Hero,” at No. 9 on the latest Hot 100, becomes the most-heard song on U.S. airwaves, ascending to the top of the Radio Songs chart, where Swift becomes the first artist to have reigned in the 2000s, ’10s and ’20s.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Dec. 31) will update on Billboard.com tomorrow (Dec. 28, a day later than usual due to the Christmas holiday). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“Christmas,” on Columbia Records/Legacy Recordings, was first released on Carey’s album Merry Christmas in 1994 and, as streaming has grown and holiday music has become more prominent on streaming services’ playlists, it first reached the Hot 100’s top 10 in December 2017 and first hit the top five in the 2018 holiday season, before dominating over the holidays in 2019 (for three weeks), 2020 (two), 2021 (three) and now 2022 (three to-date).

Streams, airplay & sales: “Christmas” drew 48.7 million streams (up 18%) and 39.5 million radio airplay audience impressions (up 19%) and sold 11,000 downloads (up 3%) in the U.S. in the Dec. 16-22 tracking week, according to Luminate. Adding to the song’s momentum, Carey’s two-hour holiday special Merry Christmas to All! premiered Dec. 20 on CBS.

The song adds a fourth total week at No. 1, and second in a row, on the Digital Song Sales chart, following frames on top in 2005 and 2019; rebounds 2-1 for an 18th week atop Streaming Songs; and jingles 14-11 for a new high on Radio Songs, where it reached a previous No. 12 best over the 1994 holidays and has returned to the top 15 in each of the last four holiday seasons.

Third No. 1 of at 11 weeks or more: Carey becomes the second artist, and first woman, with three songs that have topped the Hot 100 for 11 or more weeks each. She joins Boyz II Men for the honor – with Carey and the group having teamed for one song contributing to the feat:

Mariah Carey:
16 weeks, “One Sweet Day,” with Boyz II Men, 1995-96
14 weeks, “We Belong Together,” 2005
11 weeks (to-date), “All I Want for Christmas Is You,” 2019-22

Boyz II Men:
13 weeks, “End of the Road,” 1992
14 weeks, “I’ll Make Love to You,” 1994
16 weeks, “One Sweet Day,” with Carey, 1995-96

“Christmas” is the 28th title to command the Hot 100 for 11 or more weeks, a run that under just 2% of all 1,144 No. 1s have achieved. (Carey and Boyz II Men’s “One Sweet Day” solely held the record for the chart’s longest reign for over 21 years, until Luis Fonsi and Daddy Yankee’s “Despacito,” featuring Justin Bieber, matched it with 16 weeks on top in 2017. The songs now share the second-longest No. 1 stay, after Lil Nas X’s “Old Town Road,” featuring Billy Ray Cyrus, ruled for 19 weeks in 2019.)

Longest span atop the Hot 100: Carey’s “Christmas” extends the longest span from a song’s first week at No. 1 on the Hot 100 to its latest, to over three years and a week (Dec. 21, 2019-Dec. 31, 2022).

Plus, the latest week atop the Hot 100 for “Christmas” extends Carey’s record for the longest span of an artist ranking at No. 1 on the chart: 32 years and nearly five months, dating to her first week at No. 1 on the list dated Aug. 4, 1990, with her debut single “Vision of Love.”

Carey’s record 90th week atop Hot 100: With “Christmas,” Carey adds her record-extending 90th week at No. 1 on the Hot 100, dating to the chart’s Aug. 4, 1958 inception.

Most Weeks at No. 1 on Hot 100:
90, Mariah Carey
60, Rihanna
59, The Beatles
54, Drake
50, Boyz II Men
47, Usher
43, Beyoncé
37, Michael Jackson
34, Adele
34, Elton John
34, Bruno Mars

“Christmas” became Carey’s 19th Hot 100 No. 1, the most among soloists and one away from The Beatles’ overall record 20. It also made Carey the first artist to have ranked at No. 1 on the chart in four distinct decades, dating to her first week at the summit with “Vision of Love.” The song is additionally the only title to have led in four separate runs on the survey.

Most weeks at No. 1 for a holiday hit: Carey’s “Christmas” expands its record for the most time atop the Hot 100 for a holiday song. The only other seasonal single to lead, “The Chipmunk Song,” by David Seville & the Chipmunks, spent four weeks at No. 1 beginning in December 1958.

No. 1 on Holiday 100: Carey’s “Christmas” concurrently crowns the multi-metric Holiday 100 chart for a 56th week, of the chart’s 61 total weeks since the list originated in 2011. It has topped the tally for 41 consecutive weeks, dating to the start of the 2015-16 holiday season, and rules as the top title on the Greatest of All Time Holiday 100 Songs chart.

Brenda Lee’s “Rockin’ Around the Christmas Tree,” originally released in 1958, keeps at its No. 2 Hot 100 high (for an eighth total week since it first reached the rank in December 2019), with 48.5 million streams (up 19%), 29.4 million in radio airplay audience (up 10%) and 5,000 sold (down 2%).

The late Bobby Helms’ “Jingle Bell Rock,” from 1957, and the late Burl Ives’ “A Holly Jolly Christmas,” from 1964, rebound 4-3 and 5-4, respectively, on the Hot 100, each returning to their respective highs achieved in each of the last four holiday seasons.

Wham!’s “Last Christmas” dashes to a new best Hot 100 rank, rising 6-5, after the 1984 release first reached the top 10 during the 2020 holidays and, until this holiday season, hit a prior No. 7 high over last year’s holidays. It ascends with 43.7 million streams (up 51%), 24.2 million in radio reach (up 5%) and 3,000 sold (up 11%).

The duo of George Michael (who died in 2016, on Christmas Day) and Andrew Ridgeley adds its sixth top five Hot 100 hit, among seven top 10s, after charting its first six top 10s in 1984-86: the No. 1s “Wake Me Up Before You Go-Go,” “Careless Whisper” and “Everything She Wants”; the No. 3 hits “Freedom” and “I’m Your Man”; and the No. 10-peaking “The Edge of Heaven.”

Wham! appears in the Hot 100’s top five for the first time since the Feb. 8, 1986-dated chart (the last week in the top five for “Man”); Michael subsequently notched nine solo top five hits, including seven No. 1s, among 14 solo top 10s, through 1996; he last ranked in the top five as a soloist on the Feb. 15, 1992, list with former leader “Don’t Let the Sun Go Down on Me,” with Elton John. Meanwhile, a song written by Michael places in the top five for the first time since former No. 1 “Praying for Time” ranked at No. 3 on the Oct. 20, 1990, chart.

Andy Williams’ 1963 chestnut “It’s the Most Wonderful Time of the Year” pushes 8-6 on the Hot 100; it hit a No. 5 high during the 2020 holidays. The song’s latest week in the top 10 extends the late singer’s record for the longest span of an act appearing in the tier to 63 years, two months and three weeks, dating to his first week in the top 10 with “Lonely Street,” in October 1959.

Notably, holiday hits decorate the Hot 100’s top six spots for a second time, following a frame over the 2020 holidays (also the only other week in which the entire top five consisted of carols).

SZA’s “Kill Bill” slips to No. 7 on the Hot 100 a week after it debuted at No. 3, as it tops Hot R&B/Hip-Hop Songs and Hot R&B Songs, which use the same methodology as the Hot 100, for a second week each. The track is from her album SOS, which logs a second week at No. 1 on the Billboard 200.

José Feliciano’s “Feliz Navidad,” from 1970, jumps 11-8 on the Hot 100. It hit a No. 6 best over the 2020 holidays.

Taylor Swift’s “Anti-Hero” descends 7-9 after spending its first six weeks on the Hot 100 at No. 1 starting in November. It concurrently crowns Radio Songs, rising from No. 2, with 79.4 million in audience (up 3%). Swift scores her seventh Radio Songs leader, tying Maroon 5, Katy Perry and Usher for the fourth-most No. 1s dating to the chart’s December 1990 start; Rihanna leads with 13, followed by Carey (11) and Bruno Mars (nine).

Here’s a recap of Swift’s seven Radio Songs No. 1s:

Title, Weeks at No. 1, Year(s)
“You Belong With Me,” two, 2009
“I Knew You Were Trouble.,” four, 2013
“Shake It Off,” four, 2014
“Blank Space,” six, 2014-15
“Bad Blood” (feat. Kendrick Lamar), five, 2015
“Wildest Dreams,” two, 2015
“Anti-Hero,” one (to-date), 2022

With Radio Songs No. 1s in the 2000s, ’10s and ’20s, Swift becomes the first artist with leaders on the chart in each of the three decades – and the only artist with No. 1s as a lead act in any three distinct decades. Christina Aguilera is the only other artist with No. 1s in each of three decades, with one each as a lead in the 1990s (“Genie in a Bottle,” 1999) and ’00s (“Lady Marmalade,” with Lil’ Kim, Mya and P!nk, 2001) and one as featured in the ’10s (on Maroon 5’s “Moves Like Jagger,” 2011).

Rounding out the Hot 100’s top 10, Sam Smith and Kim Petras’ “Unholy” dips 9-10, after it led the Oct. 29-dated chart.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Dec. 31), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Dec. 28).

Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.