all i want for Christmas is you
More than nine months after Mariah Carey was again sued for allegedly stealing her perennial holiday classic âAll I Want for Christmas is Youâ from an earlier song, her attorneys have filed a motion to dismiss the lawsuit by arguing that the songs share nothing but commonplace musical building blocks.
In November, songwriter Vince Vance (real name Andy Stone) filed a second lawsuit against Carey accusing her of copyright infringement, arguing that her 1994 smash âwas a greater than 50% cloneâŚin both lyric choice and chord expressionsâ of his 1989 song of the same name, which was performed by his group Vince Vance and the Valiants (a similar lawsuit Vance filed in 2022 was subsequently dropped without prejudice, meaning he was allowed to refile). He was joined in the November action by Troy Plaintiff, who claims to have co-written the song with Vance.
But in documents filed in Los Angeles federal court on Monday (Aug. 12), attorneys for Carey and her co-defendants, including âAll I Wantâ co-writer Walter Afanasieff, contend that Vanceâs claims fail the Ninth Circuit Court of Appealâs âextrinsic test for substantial similarity in protectable expressionâ â essentially arguing that any similarities between the two songs are coincidental.
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âPlaintiffsâ claimed similarities between Vance and Carey are unprotectableâŚbecause they are, among other things, fragmentary and commonplace building blocks of expression that Vance and Carey use differently in their overall different lyrics and music,â the filing reads.
In the November lawsuit, Vance and Powers argued that the two songs share a âunique linguistic structureâ and musical elements that Carey allegedly copied for her mega-hit, which has reached No. 1 on the Billboard Hot 100 during the holiday season for five years running. They also claimed that despite how common it is today, the phrase âall I want for Christmas is youâ was a âdistinctiveâ one back when Vance and Powersâ song was released.
But Carey and her co-defendants argue that the plaintiffs âlack competent evidence that the songs share any protectable expression.â They add that reports produced by two musicologists Vance and Powers retained to bolster their case âlist isolated, fragmentary similarities in Vance and Carey, while omitting differences and the context in which the claimed similarities occur,â making their conclusions âinherently subjectiveâ and âirrelevant to the objective extrinsic test.â
âThe claimed similarities are an unprotectable jumble of elements: a title and hook phrase used by many earlier Christmas songs, other commonplace words, phrases, and Christmas tropes like âSanta Clausâ and âmistletoe,â and a few unprotectable pitches and chords randomly scattered throughout these completely different songs,â the lawyers write.
A representative for Vance and Powers did not immediately respond to Billboardâs request for comment.
A songwriter named Vince Vance is once again suing Mariah Carey over accusations that she stole her perennially-chart-topping âAll I Want for Christmas is Youâ from his earlier song, a year after he dropped a previous lawsuit making the same allegations.
In a complaint filed Wednesday (Nov. 1) in Los Angeles federal court, Vance (real name Andy Stone) made the same basic accusations as he did in his last lawsuit: that Careyâs 1994 holiday blockbuster infringed the copyrights to his 1989 song of the exact same name. Thatâs no small claim: Careyâs âAll I Wantâ has reached No. 1 on the Billboard Hot 100 during each of the past four holiday seasons.
But the new case includes far more detailed â and far more personal â allegations against Carey, including that she made up the story of how she wrote the song, and that her own co-writer, Walter Afanasieff, has disputed that story.
âCarey has without licensing, palmed off these works with her incredulous origin story, as if those works were her own,â Vanceâs new lawyers wrote in the re-filed complaint. âHer hubris knowing no bounds, even her co-credited songwriter doesnât believe the story she has spun. This is simply a case of actionable infringement.â
Notably, Vance is now represented by Gerard P. Fox, the same attorney who represented two songwriters who accused Taylor Swift of stealing the lyrics to âShake It Off.â That case went on for more than five years of litigation before it ended in December 2022 with a confidential settlement.
Just like his first lawsuit, Vanceâs new complaint claims his own âAll I Want for Christmas is Youâ was recorded by his Vince Vance and the Valiants in 1989 and had received âextensive airplayâ during the 1993 holiday season â a year before Carey released her better-known song under the same name.
But his new lawsuit includes new details about the success of his earlier song, calling it a âa country music hitâ that peaked at No. 31 on Billboardâs Hot Country Songs chart and later reached No. 23 on the Hot 100 Airplay chart (re-named the Radio Songs chart in 2014.) Heâs also now joined as a plaintiff by Troy Powers, who claims to have co-written the earlier song.
The new version of the lawsuit also makes more detailed allegations about the similarities between the two songs, delving into the âunique linguistic structureâ and musical elements that Carey allegedly copied in her song.
âThe phrase âall I want for Christmas is youâ may seem like a common parlance today, in 1988 it was, in context, distinctive,â Vanceâs new lawyers write. âMoreover, the combination of the specific chord progression in the melody paired with the verbatim hook was a greater than 50% clone of Vanceâs original work, in both lyric choice and chord expressions.â
Notably, the new complaint lawsuit also mentions Love Actually, the 2003 Christmas movie that skyrocketed Careyâs song even further into the holiday canon. The lawsuit notes that Careyâs song appears in âa featured performance scene in the penultimate act in the mega hit film.â
A rep for Carey did not immediately return a request for comment on Wednesday evening.
Mariah Careyâs holiday classic, âAll I Want for Christmas Is You,â is the gift that keeps on giving for its writers and label. In 2021, the master recording of Careyâs version of her song, co-written with Walter Afanasieff, generated 1.747 million song consumption units in the U.S., according to Luminate. Of that, 48,000 were from track downloads, 200 million came from on-demand audio streams, 52.5 million came from video on-demand streams and 24 million from programmed streams.
Combined, those plays and downloads generated $1.36 million for Carey and her label, Sony Music, Billboard estimates.
Meanwhile, the songâs publishing, including mechanicals for the track from the physical sales of five Carey albums it appears on brought in another $378,000 last year.
However, the U.S. only accounted for 51% of download sales and 30.7% of on-demand streaming, so when you look at the song globally and take into account a total of 94,000 song downloads and 823 million streams, Billboard estimates that in 2021 the Carey master recording version of the song brought in almost $4.5 million, while its publishing royalties generated another $1.66 million. Combined, that comes to $6.16 million in global revenue and publishing royalties.
Of the master recording revenue, Billboard estimates Careyâs royalties at $1.55 million, which would leave Sony with $2.95 million.
As for publishing, she is one of two songwriters credited on the song âAfanasieff being the other â so if they each wrote 50%, that means that Careyâs share of the publishing would be $830,000. If she owns her publishing, after a 10% administration fee her take home pay would be $747,000. If she has a 75/25 co-publishing deal, her share would be just over $622,000; and if she doesnât own the publishing on that song, her publishing royalties would be about $415,000.
This estimate excludes cover versions of the song and the revenue from whatever financial arrangements were struck for Christmas TV specials and soundtracks from those television shows.
According to Songview, the joint ASCAP and BMI song database system, the publishers for Careyâs holiday staple are Beyondidoliztion and Universal Music Corp, both administered by Universal Music Corp., which probably means Universal Music Publishing Group; Sony/ATV Tunes Inc. and Tavla Vista Music, both administered by Sony Music Publishing; and Higpnosis SFH I Ltd, administered by Kobalt.
Thereâs no place like the Billboard charts for the holiday music season, and as always, our Holiday 100 is back and keeping track of the biggest seasonal hits of each week through the New Year.
This year, itâs once again the usual suspects looking to steal the Christmas No. 1 â Mariah Careyâs âAll I Want for Christmas Is Youâ is on top this week (chart dated Dec. 10), followed by Brenda Leeâs âRockinâ Around the Christmas Treeâ and Bobby Helmsâ âJingle Bell Rock.â Theyâre also the three highest of the six holiday songs in the top 10 of this weekâs Billboard Hot 100, though none of them have yet captured pole position, which still belongs to Taylor Swiftâs secular smash âAnti-Hero.â
When, if at all, will one of the holiday perennials take over on the Hot 100? And why do newer songs never seem to be able to grow in momentum on the chart? Billboard staffers answer these questions and more below.
1. As it always does this time of year, âAll I Want for Christmas Is Youâ is knocking on the door of the Hot 100âs top spot, moving from No. 5 to No. 2 on the chart this week. But it has a formidable hit blocking its path this time, with Taylor Swiftâs six-week No. 1, âAnti-Hero.â Do you think it will depose âAnti-Heroâ next week? If not, how long do you think it will take â if it does so at all?
Katie Atkinson: Oh, itâs going back to No. 1, dahling, and I think next week is the week. The current tracking period is the first full week of December, and Christmas music listeners have made the full transition. Time to get out the garland and ornaments for the Hot 100, because its most treasured Christmas star is about to be placed back on top.
Jason Lipshutz: Yeah, next week feels like the week â and thatâs an unscientific read on the situation, but the âAnti-Heroâ/âAll I Want for Christmas Is Youâ battle reminds me of last yearâs showdown between Mariah Careyâs holiday juggernaut and Adeleâs multi-week chart-topper âEasy on Me.â âChristmasâ took a few weeks into December to dislodge âEasyâ during its run, and Iâd surmise that it will do the same to âAnti-Heroâ starting next week.
Glenn Rowley: âAnti-Heroâ might be able to hold onto the crown for one more week but judging by her songâs massive gains this week, itâs clear Mariah just wants the No. 1 for her own (again). And as Christmas gets closer, the festive fervor will only go from high-pitched to full-blown whistle tone. Though I admit thereâs an alternate reality in my daydreaming where Taylorâs Midnights smash holds off â All I Want for Christmas Is Youâ by becoming the definitive anthem to soundtrack a Newsies-style antitrust revolution by the Swifties, a la âSeize the Day.âÂ
Andrew Unterberger: Mariah Carey is certainly looming, but I wouldnât count out some last-minute sales/discounts/remixes emerging from Swift late in the week to help get her the edge she needs here. Sheâs done it successfully a couple times during the âAnti-Heroâ run already, and sheâs likely extra motivated this week, as the song is just one week away from tying âBlank Spaceâ as her longest-running Hot 100 No. 1 to date. Once Mariah grabs the top spot, it might be close to a month before she gives it back â and who knows what else will emerge as competition in the meantime â so Swift is gonna want every week she can get for âAnti-Heroâ before then. But within 2-3 weeks, itâll be out of her hands, and Careyâs reign will commence regardless.
Christine Werthman: Swiftâs hit has staying power, but Careyâs is coming like a freight train â or perhaps the Polar Express. âAnti-Heroâ has been the No. 1 for the last six weeks, but it is dropping in streams, while âChristmasâ is on the rise. In fact, Careyâs juggernaut is currently the most-streamed song in the U.S., and as the days tick by to Dec. 25, Careyâs smash will continue to climb, bludgeoning all that stand in its way with a stocking full of holiday cheer. It will be No. 1 soon enough.Â
2. While Mariah leads on the Holiday 100, the usual challengers appear just below her in Brenda Leeâs âRockinâ Around the Christmas Treeâ and Bobby Helmsâ âJingle Bell Rock.â If you had to bet on this top three either being the same for each of the next five holiday seasons, or being disrupted at some point â either by an order switch or a different song â which way would you wager?
Katie Atkinson: Iâve always wanted âRockinâ Around the Christmas Treeâ to score even one week at No. 1 on the Hot 100, where itâs so far peaked at No. 2, but Mariahâs merry monster is a hard one to overcome. Lee recorded the song at just 13 years old and is a spry 77 today, and it would be so sweet for her to get her poinsettias while sheâs still with us. But as a betting woman, I think that top three will remain in the same order for the next five yuletide seasons.
Jason Lipshutz: Iâd guess that some time in the next half-decade, one of the two golden oldies (more likely âJingle Bell Rockâ) gets swapped out with something more recent, while the others persist as part of the big three. Thatâs not to say that either one will fall off entirely, but betting on âRockinâ Around the Christmas Treeâ and âJingle Bell Rockâ to stay this locked into the big three, when thereâs so much competition for those spots, seems improbable. Of course, âAll I Want for Christmas Is Youâ isnât going anywhere â thatâs going to remain one of the three highest-charting holiday songs each year for the next decade, if not just stay at No. 1 that whole time.
Glenn Rowley: The short answer is a holly jolly nope. At this point, the Holiday 100 feels a bit more like Groundhogâs Day than anything else, and the longer these three tracks dominate the season, the more entrenched they seem to become.Â
Andrew Unterberger: Betting on stasis with the Holiday 100 is usually the smart play, so Iâll say yes, thatâs the top three for the next half-decade. That said, you never know what can pop from out of nowhere these days â and even if a new song isnât yet powerful enough to run with the big reindeer on an annual basis, it can post a big-enough debut to at least elbow its way in with them temporarily, like Ariana Grandeâs âSanta Tell Meâ did last decade.
Christine Werthman: Carey will remain No. 1 for the next five holiday seasons. Looking back on this week from 2017 until now, Brenda Lee held the No. 2 spot five out of six times, bumped to No. 3 only once by Andy Williams in 2018. Bobby Helms could be the wild card, as he was absent from the top three in 2018 and 2019. Iâd bet that Carey and Lee will hold fast but that the third spot will be up for grabs for a new old song over the next few years.Â
3. Though Mariahâs Christmas classic will be celebrating its 30th birthday in a couple years, there are still only three songs newer than it in the top 40 of this weekâs Holiday 100 â Kelly Clarksonâs âUnderneath the Treeâ (#10), Ariana Grandeâs âSanta Tell Meâ (#14) and Justin Bieberâs âMistletoeâ (#40). Why do you think it remains so hard for newer songs â even ânewerâ songs that are now a decade or two old themselves â to break into the Christmas canon? Do you see it getting easier anytime in the near or even distant future?
Katie Atkinson: There are a lot of people who assume âAll I Wantâ is a Christmas standard, the way it recalls Phil Spectorâs 1960s hits for The Ronettes or Darlene Love, and I think that classic sound is what people are yearning for in their holiday listening. The next-closest new song, âUnderneath the Tree,â plays the exact same card. So while a few contemporary Christmas songs will break through here and there (*NSYNCâs âMerry Christmas, Happy Holidaysâ comes to mind as one that burned bright and then fizzled out with the boy-band era), the ones that have longevity are the ones that bring the most Noel nostalgia.
Jason Lipshutz: The magic of holiday songs is in their familiarity â the way we trot them out for a few weeks each year, recognize the time-honored melodies and associate them with a special season. Understandably, that canon is difficult to change, or even increase with new material. Thereâs no doubt that some new holiday songs will eventually earn that nostalgic glow as more years pass â âUnderneath the Treeâ feels like a likely candidate to keep growing each year â but the process is slow for a reason, and I doubt itâs one that radically evolves in the coming years.
Glenn Rowley: Itâs crazy to think that all three of those ânewerâ songs are 8-10 years old at this point. I mean, Kellyâs even given us a second (stellar!) Christmas album since she released âUnderneath the Tree.â Much like a too-rich cup of cocoa, the biggest obstacle to storming the modern Christmas songbook could be over-saturation. Because from the moment Mariah declares, âItâs time,â thereâs a limited number of days to cram in all the holiday music you can handle. And would you rather go for something cozy and familiar or something new?
Andrew Unterberger: My working theory with this is that music fans donât really ever seek out their own holiday music when theyâre young â itâs just something thatâs passively in their background of their lives for 1-2 months a year, with selections usually made by folks decades their senior. So everyone just grows up with their parentsâ holiday music, and they never really even think twice about it â and when, decades later, itâs their own turn to decide what holiday music is going to get played, thatâs still what they sentimentally default to. It takes a truly extraordinary new Christmas song to be as satisfying as that type of nostalgia, and thatâs why you only get a handful a decade that prove to have any real staying power.
Christine Werthman: Christmas is a season for nostalgia. Itâs not like Halloween, where costumes fluctuate depending on the hottest movie or meme of the moment. In fact, if Christmas were a Halloween costume, it would be a ghost â every single year. Familiarity is key for Christmas success, and I suspect the old guard will be holding down the prime slots on the Holiday 100 for many years to come.Â
4. We often talk about the possibility of newer songs rising on the Holiday 100, but in truth, it seems like older songs have as good a chance of catching a second wind â particularly in 2022, when new hits can come from any time. Is there a song on this weekâs chart from earlier than Mariah Careyâs âChristmasâ that you might be looking at as a contender to rise in the holiday rankings in the years to come?
Katie Atkinson: Jose Felicianoâs âFeliz Navidadâ peaked at No. 3 on the Holiday 100 back in 2012, but it hasnât cracked that top three in a while. I think it should rightfully work its way back up, just as Bad Bunny is also bringing Spanish-language hits to the top of our charts. I also think one of my personal favorites, The Ronettesâ âSleigh Ride,â should finally crack the Holiday 100 top five for the first time (itâs so far peaked at No. 8) because itâs just so fun and festive. Climb aboard the sleigh, people!
Jason Lipshutz: Maybe Wham!âs âLast Christmasâ never grows to chart-dominating stature, but I could see that song getting bigger each year, as a holiday song thatâs fiercely loved and also ripe for some sort of viral revival. As the years wear on, I could see âLast Christmasâ usurping âRockinâ Around The Christmas Treeâ or âJingle Bell Rockâ as one of the three biggest holiday songs of the year, and creating a sort of balance in the sound and thematic scope of the primary holiday trio.
Glenn Rowley: Iâm always a proponent of Wham!âs âLast Christmasâ getting a second or third (or, you know, thirty-eighth) wind during the month of December. Last year, it reached a new peak of No. 7 on the Hot 100 and this week itâs already sitting at No. 6 on the Holiday tally. Maybe the right sync or TikTok trend can push it even higher in Christmases to come.
Andrew Unterberger: Gonna go with âLinus and Lucy.â Itâs maybe not the radio-friendliest of the Holiday perennials, with its lack of lyrics and jarring mid-song shifts in tempo and melody, but itâs beloved by every new generation since A Charlie Brown Christmasâ 1965 debut, and its association with that classic holiday special gives it extra meme potential. Also, the Vince Guaraldi Trioâs entire soundtrack rises higher on the Billboard 200 albums chart each year â it hit the top 10 for the first time last year â so that momentum might carry over to the Hot 100 before too long.
Christine Werthman: Wham!âs âLast Christmasâ is currently No. 6, but it was in the top three around this time in 2019. Iâd put my chips on that one to sneak its way up the chart in the future, especially if it gets featured in a holiday movie, a la the âAll I Want for Christmas Is Youâ moment in Love Actually.Â
5. Letâs say Adele, Taylor Swift, BeyoncĂŠ, Bad Bunny and Drake each released a brand-new solo Christmas song on Friday. Which one do you think would be the biggest front-runner for the Holiday 100 No. 1?
Katie Atkinson: Iâm going Adele, 100%. Just like her bombastic vocals were a no-brainer for a James Bond theme song 10 years ago, her warm, rich delivery would be tailor-made for a Christmas classic. Iâm thinking something more in the understated, bittersweet vein of Judy Garlandâs âHave Yourself a Merry Little Christmasâ or Nat King Coleâs âThe Christmas Songâ than the poppy Mariah route â though a jingly redo of âRumour Has Itâ all about Santa Claus could be cute too.
Jason Lipshutz: Give the edge to Adele here â sheâs not as prolific as Bad Bunny or Drake, is more of a reliable Hot 100 chart-topper than BeyoncĂŠ, and unlike Taylor Swift, has never released a Christmas song. An Adele Christmas single would be a special release from a chart superstar⌠who also happens to have the type of overwhelming vocal power that a holiday song typically requires. However it sounds, it would have a great shot at No. 1.
Glenn Rowley: Regardless of the song, thereâs no stopping Adele the moment she decides to drop an original holiday tune (an eggnog-fueled follow-up to âI Drink Wine,â perhaps?).
Andrew Unterberger: Itâs probably Adele â but donât count out Bad Bunnyâs ability to surprise, or Taylor Swiftâs will to win.
Christine Werthman: Adele all the way. She has a timeless voice, she transcends generations, and she would likely make something that is contemporary enough for young listeners but classic enough for an older audience to throw into the rotation of holiday standards. As far as knocking out âAll I Want for Christmas Is Youâ from the top spot, though, Iâd still give Mariah 70/30 odds to win the No. 1.
Welcome to Billboard Proâs Trending Up newsletter, where we take a closer look at the songs, artists, curiosities and trends that have caught the music industryâs attention. Some have come out of nowhere, others have taken months to catch on, and all of them could become ubiquitous in the blink of a TikTok clip.  This week: Drake and 21 Savageâs Her Loss album spurs gains for its sample sources, pop radio embraces TikTok hits with ever-accelerating velocity, and Christmas season is officially underway on streaming.
âHer Lossâ is Daft Punkâs Gain
collaborative album Her Loss has already proven a streaming juggernaut, even by the standards of the two hip-hop superstars. The 16 songs on Her Loss â a return to form for Drake, following his dance detour Honestly, Nevermind earlier this year â still make up the entire top 16 of the current iTunes songs chart this Wednesday (Nov. 9), and every song is in the top 25 of the daily Spotify tally. The set (released via OVO/Republic/Slaughter Gang/Epic) is doing so well, in fact, that its success is even rolling over to its samples.
Tracks like The Isley Brothersâ âBallad For the Fallen Soldier,â The Diplomatsâ âReal Nâasâ and Ginuwineâs âLonely Dazeâ are all sampled on Her Loss, but the standout lift is of Daft Punkâs eternal dance floor classic âOne More Time,â which gets slowed down and paired with percolating percussion on âCirco Loco.â The sample has caused some listeners to seek out Daft Punkâs 2000 original â and as a result, daily U.S. on-demand streams of âOne More Timeâ increased 55% (from 117,000 to 182,000, according to Luminate) upon the Her Loss release, and stayed relatively high throughout the following weekend. Daft Punk may have officially broken up early last year, but itâll be cause for celebration to have Thomas Bangalter and Guy-Manuel de Homem-Christoâs names appear as songwriters again on the Hot 100 soon enough. â JASON LIPSHUTZ
Is Pop Radio Adopting TikTok Hits More Quickly?
The Sam SmithâKim Petras collaboration âUnholyâ reaching the top five of Billboardâs Pop Airplay chart shouldnât be a surprise: the Capitol/EMI team-up has been a smash since its September release and last month becoming both artistsâ first career Hot 100 chart-topper. Smith has been a top 40 fixture for years, and âUnholyâ is built around a tenaciously catchy hook thatâs ripe for the format. Yet âUnholyâ â which climbs four spots to No. 5 on the Pop Airplay chart in the week ending Nov. 6 after a 17% gain in plays at U.S. monitored top 40 stations, according to Luminate â started off squarely in the TikTok-hit range, with Smith and Petras teasing the track weeks ahead of its official release; the fact that itâs already a top five Pop Airplay hit, in only its sixth week on the chart, suggests that the format is starting to react to and adopt these sort of viral singles more rapidly than ever before.
Smith may have been a proven commodity at pop radio â albeit mostly with songs significantly more stately than the cacophonous and sexed-up âUnholyâ â but Steve Lacy certainly wasnât, and his âBad Habitâ has become a top 40 smash for RCA after growing on TikTok and streaming, up one spot to No. 2 on Pop Airplay. Meanwhile, The Weekndâs âDie for You,â a song from his 2016 Republic release Starboy that has recently been revived online, reaches a new high of No. 10 on Pop Airplay this week, taking 11 weeks for programmers to switch attention away from more recent Weeknd fare and toward the resurrected fan favorite. Other songs with TikTok origins, from Stephen Sanchezâs âUntil I Found Youâ to Jaxâs âVictoriaâs Secretâ to Rosa Linnâs âSnap,â are also making waves on pop radio, sitting comfortably on the chart alongside new A-list radio singles from artists like Taylor Swift and Rihanna.
TikTokâs influence on popular music has been common knowledge for years, but the current Pop Airplay chart nods to the fact that viral hits no longer require multiple months to cross over to radio listeners. Expect that pipeline to keep speeding up, and more songs like âUnholyâ to make that leap in a matter of weeks. â J.L.
Eminemâs âMockingbirdâ Flies Again
Just when you thought TikTokâs predilection for sped-up versions of distinctly low-energy older songs couldnât get any stranger, here comes Eminemâs âMockingbird.â The dolorous 2005 single (from the rapperâs fourth Aftermath/Interscope LP Encore), written as an ode to daughter Hailie, has picked up steam on the service thanks to multiple faster versions of the track making the rounds â inspiring everything from sing-along challenges to clips of teens taking care of their younger siblings. Whatever the logic behind the trend, the song has subsequently soared on streaming, going from 1.5 million official on-demand U.S. streams the week ending Oct. 6 to over 3.1 million streams four weeks later â a gain of 104%, according to Luminate. â ANDREW UNTERBERGER
20-Something Singer-Songwriterâs âQUARTER LIFE CRISISâ Strikes a Viral ChordÂ
As All Time Low, Wheatus and countless other acts have discovered over the past couple years, there are few more proven recipes for TikTok success than a song that allows users to flash back to past photos â often providing contrasting juxtaposition with their more adult current look and life. Taylor Bickett is the latest artist to benefit from this. The unsigned Nashville singer-songwriterâs post-adolescent lament âQUARTER LIFE CRISISâ has inspired countless such clips with its âI swear sixteen was yesterday/ But now Iâm closer to twenty-eightâ lyrics. The 23-year-oldâs clever track has already spiked 158% to nearly a million official on-demand U.S. streams for the week ending Nov. 6, according to Luminate â presumably making Bickettâs mid-20s look a lot brighter than they might have seemed when she wrote the song. â A.U.
Seasonâs Gainings: The Christmas Season Kicks Off Right on Time
If you had any doubt that the end of Halloween is now officially the start of pop musicâs holiday season, the numbers this year make the trend pretty unmistakable. As we waved goodbye to Michael Jackson, Ray Parker Jr. and Bobby âBorisâ Pickett this Nov. 1, holiday perennials from Brenda Lee, Bobby Helms and (of course) Mariah Carey all exploded with triple-digit percentage gains in official on-demand U.S. streams: âRockinâ Around the Christmas Treeâ was up 176% to 615,000, âJingle Bell Rockâ up 185% to 602,000, and âAll I Want for Christmas Is Youâ up a whopping 236% to nearly 1.3 million streams. In other words, if youâre getting dirty looks from your neighbor for already putting up your Christmas decorations this week, point them to the Spotify or Apple Music charts and let them know that youâre not starting early â theyâre just already late. â A.U.
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