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Mariah Carey

“The way this song was born is probably contrary to what everyone thinks,” Muni Long says with a laugh of her R&B hit “Made for Me.” That’s because the compassionate ballad — which arrived in 2023 before catching fire on TikTok, followed by a Mariah Carey remix this year — was inspired by a different kind of love story.
As Muni Long recalls, it was November 2022 and she had given birth to her son two months prior (all of which she kept private until this August, when she performed with him on her hip during her opening set touring with Chris Brown). She says she was “getting the itch to write,” so she had a studio put in her house. One day, the Grammy Award winner began listening again to a piano chord progression she had sent a while back to her friend, producer Jordan XL. “I just started literally doing what the song says,” Muni Long adds, “looking around this room, seeing baby toys. And I write this song about my baby because he’s right next door.”

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Still not satisfied with the track after performing it live a couple of times, Muni Long questioned what was missing — “Does it need drums?” she wondered. At her A&R executive’s suggestion, she booked a session with producers Jermaine Dupri and Bryan-Michael Cox. While working on other songs with the pair, she played the track she had become obsessed with. “They were polite, but nobody had a crazy reaction,” she recalls. Two weeks later, they sent her a new version — complete with drums.

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Yet Muni Long was still unsure: “ ‘Maybe it is just a piano vocal,’ ” she thought. “I toyed with it for a couple of months, asking others, ‘Is this good? Am I tripping?’ Then Tunji [Balogun, Def Jam Recordings chairman/CEO] said, ‘This is the song we’re going with.’ I’m like, ‘If you’re willing to stand behind this, then do it.’ ”

In January, the catchy track with its emotional chorus gained traction on TikTok thanks to a challenge tied to a lyric: “Twin, where have you been?” The boost helped “Made for Me” hit a No. 8 peak on Billboard’s Hot R&B/Hip-Hop Songs chart and No. 20 on the Hot 100 in March. In May, Muni Long sustained momentum with her Carey remix. And now, her hot streak continues with “Make Me Forget,” her first No. 1 on Adult R&B Airplay. Both hits appear on her newly released second album, Revenge.

This story appears in the Aug. 31, 2024, issue of Billboard.

Anyone who’s read Mariah Carey‘s bestselling 2020 memoir, “The Meaning of Mariah Carey,” will know that the singer has often described her life as a “rollercoaster.” It’s a term that came up again Saturday (April 13) on the second night of Carey’s “The Celebration of Mimi” residency in Las Vegas, though unlike her at-times tumultuous career, this was one ride that you never wanted to end.

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Taking place at Dolby Live inside the Park MGM Hotel, the 16-date residency is billed as a celebration in advance of the upcoming 20th anniversary of Carey’s critically-acclaimed album, The Emancipation of Mimi, though the festive affair felt more like a career-spanning retrospective of hits.

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Indeed, after a brief voiceover intro that referenced her “rollercoaster” life, Carey descended upon the stage to open with “Vision of Love,” her Billboard No. 1 debut single from 1990. What followed was a nostalgic journey through some of Carey’s biggest hits, each in chronological order of when they were released, and many accompanied by a story or quip about how the song came to be.

Introducing “Dreamlover,” Carey reminisced about rehearsing with Aretha Franklin at 1998’s Divas Live concert, where Franklin remarked that she “loved” the song, and playfully suggested that the two perform the track instead of their scheduled duet instead. While the Divas Live setlist went ahead as scheduled — sans “Dreamlover” — Carey said she couldn’t believe the song got the Queen of Soul’s approval. “I was like ‘Oh my god,’” Carey squeaked in mock surprise on stage. “Ms Franklin was talking to me!“

Backed by a four-piece band, eight dancers and three background vocalists (including Trey Lorenz who duets with Carey on “I’ll Be There”), the songs are interspersed with old interview clips from each album cycle and motivational quotes on screen narrated by Carey herself.

Because the concert went through Carey’s catalog in chronological order, crowd-pleaser “Hero” was performed early on in the show rather than as her usual encore. But the revised setlist offered other surprises as well, like Carey’s memorable cover of Badfinger’s “Without You,” which the singer typically only performs internationally, and “Looking In,” the poignant Daydream album closer that Carey last performed in 2013.

The loudest cheers were saved for the Butterfly era, which Carey has called her “favorite” and “most personal” album. Perched on a pink and lavender couch elevated high above the stage, the singer ran through a medley of the album’s R&B cuts, including “Babydoll,” “Breakdown” and “The Roof,” which Carey recently remade for her MasterClass course. After an uptempo mashup of “Honey” and “Heartbreaker” (from the Rainbow album) it was time for the main event.

Denise Truscello

When The Emancipation of Mimi was released in 2005, critics hailed it as Carey’s “comeback album,” following muted reactions to 2002’s Charmbracelet, and her movie soundtrack Glitter, which was released on September 11 (neither of those albums were performed at the residency, though Carey’s dancers break out some moves during a Glitter/Charmbracelet interlude that serves as a set change). Mimi though, was an immediate hit with fans, spawning two number-one singles on the Billboard Hot 100, while sending Carey across a world tour that took her as far as Tunisia and Japan.

Here in Vegas, the album was showcased in all its glory, with Carey rising from the stage in a glamorous gold gown to the refrains of “I Wish You Knew,” an old-school soul ballad with a spoken-word bridge that’s a favorite among the singer’s lambily. That was followed by a one-two punch of “It’s Like That” and “Say Something,” which kept the already buoyant crowd on its feet.

Getty Images for Live Nation

Though Mimi was released in 2005, the songs sounded just as fresh and relevant as they did (almost) 20 years ago. Case in point: Carey opened “Shake It Off” with an interpolation of Bryson Tiller’s “Don’t,” which samples the track in its second verse. Carey has said she wanted to create something “timeless” with The Emancipation of Mimi, and the residency proves she has more than succeeded.

Though Carey is known for sprinkling some “diva” moments into her shows, she largely eschews the antics this time around in favor of letting the music speak for itself. The singer has been known to be wheeled or carried off-stage by dancers, but this time she walks(!) in heels(!) by herself(!) in between costume changes (of which there were five on the night). Carey walking herself backstage is a small detail of course, but in a way, it perfectly incapsulates the feeling of the show.

While Carey has performed in Vegas before, she has never sounded or looked better. And while other artists of her caliber would rest on familiar songs or arrangements, Carey continues to push herself with musical director Daniel Moore, to offer deep cuts for the fans, while reinventing her hits in new and novel ways.

And then there’s the walking thing.

Closing the show in a nude mesh Swarovski gown, Carey capped the triumphant night with The Emancipation of Mimi’s signature songs, “We Belong Together” and “Fly Like a Bird,” before the curtains began to slowly close on the star-lit stage. Standing solo before the sold-out crowd, the superstar waved farewell, then picked up her dress and shuffled her stilettos offstage, unaccompanied — and unfazed.

If The Emancipation of Mimi was about freeing Carey from her past, the “Celebration of Mimi” residency is about seeing her legacy forward. No one has ever doubted the singer and songwriter’s talent, but two decades removed from her landmark album, Mariah Carey is proving that she can still do it all on her own — and on her own terms — high heels and all.

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The Rock & Roll Hall of Fame released its list of nominees for the year, featuring high-profile women artists like Mariah Carey and Sade.
On Saturday (Feb. 10), the Rock & Roll Hall of Fame announced their full list of nominees for 2024. Fans and observers noted that women artists made up a significant amount of the nominees list, with Mariah Carey, Cher, Sade and Sinead O’Connor being included among the inductees for the first time. Mary J. Blige was also among the inductees after being nominated previously.

The rest of the list includes A Tribe Called Quest (who were nominated last year as well), Dave Matthews Band, Eric B. & Rakim, Foreigner, Peter Frampton, Jane’s Addiction, Kool & the Gang, Lenny Kravitz, Oasis and Ozzy Osbourne. In order to be considered, nominees have to have released their first commercial recording at least 25 years before the year they are selected for nomination. The final list of inductees, which are voted on by over 1,000 figures from the music industry along with artists and historians, will be announced in April. The 2024 induction ceremony will take place at the Rock & Roll Hall of Fame Museum in Cleveland, Ohio.
The addition of these notable women musicians to the nominees’ list is a definitive response to criticism of the Hall’s past decisions. “It is something that has come up in the past,” said Rock & Roll Hall of Fame President and CEO Greg Harris during an interview. “And quite frankly, in recent years, the nominating committee and the voting body have definitely been electing more diverse members.”

“We continue to work to recognize and honor the impact and influence of female artists by inducting more into the Rock & Roll Hall of Fame,” the Hall of Fame wrote in the press release about the nominees. “As our past three inductee classes have shown, we are committed to making a difference in this area.” According to data released by the institution, from the inception of the Hall in 1986 to 2020, 13% of inductees were women and 37% of them were people of color. From 2021 to 2023, those numbers rose – 33% of inductees were women, and 48% were comprised of people of color. 

Mitski’s ‘My Love Mine All Mine’ remains at No. 1 on the TikTok Billboard Top 50, while Mariah Carey’s ‘All I Want for Christmas Is You’ comes close to the top, and more! Alyssa Caverley:Mitski’s “My Love Mine All Mine” continues its reign at No. 1, while Mariah Carey’s Christmas classic breaks into the top […]

Kelly Clarkson is always celebrating her fellow female powerhouses, and in a new interview with Apple Music 1’s Zane Lowe, she shared her love for Mariah Carey‘s songwriting skills.

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“People don’t give her enough credit,” Clarkson said. “People give her credit as, like, a singer. I don’t think people give her credit as a writer. I don’t think people realize. She wrote all that s—. Financially, she’s rocking it because of what she’s done. I think people think of her as a songbird and they don’t think of her as the writer that she is. We talk about Carole King, we talk about James Taylor — those are all amazing people, yes, but I’m just saying.”

Clarkson is gearing up to release her tenth studio album, Chemistry, on June 23 via Atlantic Records, which she described as a “relationship album,” not just an album about divorce following her split from ex-husband Brandon Blackstock. “It was very thought out and very much on purpose to have the album not just be a divorce or breakup album. It was more of a relationship album… Chemistry,” she explained. “With ‘Magic,’ it’s like, OK, it’s hard, relationships are hard. This is worth it. I’m willing to get beat up for this. If you can do it, and I’ll do it, if we do this together, I can do it.”

She continued, “It was important to me because I think it’s a waste when somebody says that they jump in and they wash it all off. It’s like, I don’t want to wash it all off. My whole thing is like, yes, there’s parts that you let go of, dreams or hope or things like that, but there is a very big part of that relationship that I never thought I’d experience love like that. I never thought I would ever have that. People are fortunate to have that, to at least experience it. It didn’t work out, but that doesn’t mean it was all bad. It just means it didn’t end well.”

Chemistry features previously released track “Favorite Kind of High” as well as double singles “Mine” and “Me.” Watch the full Apple Music interview with Kelly Clarkson below.

Mariah Angeliq caught up with Billboard News to discuss the criticisms that inspired her latest single “Ricota,” running away from home to pursue music and how she thrives as a woman in reggaeton.

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“I [grew up] listening to music because of my mom. She has a love for music and named me Mariah because Mariah Carey was her favorite artist,” she explains. “When I was like 9, I realized yeah, I wanna be on the screen. That could be me.” 

The Miami native has seen much success in a short time, including her breakout single “Perreito,” which she performed at Billboard’s 2022 Latin Music Week and later with the chart-topping “EL MAKINON” alongside Colombian star Karol G. 

Mariah recalled meeting producer Nely “El Arma Secreta” at age 16 and was motivated by the Luny Tunes hitmaker to begin singing in Spanish. “For all my teenage years, I was singing in English and thinking to myself that I was going to be like the next fire R&B American artist,“ she tells Billboard. 

Around that time, Mariah ran away from home to fully immerse herself in the pursuit of music, something she says her family didn’t take seriously early on. Despite the lack of enthusiasm from her loved ones, she pressed forward. “We always know as artists that we’re going to make it,” she says. “I always believed in myself, and in my music.” 

Her most recent single, “Ricota,” came in response to Internet “haters” hurling insults at the 23-year-old singer regarding her weight. “They started saying I was fat and I’m not here looking for validation. I think what that’s what the message of the song is,” Mariah explains. “Society has such a distorted perspective of beauty. But while I was getting all those negative comments, I received a DM saying that I was ‘bien ricota,’ so I got inspired.”

When it comes to navigating reggaeton, which for most of its history has been male-dominated, she draws on inspirations like Ivy Queen and her own “boss” energy. “I feel like I’ve navigated or learned to navigate through it really well because of my attitude and my strong character. You just gotta learn to speak up for yourself and have a voice.” 

Mariah will embark on a European tour this summer, and possibly a U.S. tour to follow.

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The long-running Pride festival in Los Angeles, California will have two superstar headliners this year – Megan Thee Stallion and Mariah Carey.
The organizers of Pride In The Park announced on Tuesday (March 28th) that the R&B legend and the Hip-Hop star will be the featured headliners for the flagship event for Southern California’s LGBTQ+ community.

Carey shared the flyer for the festival on her Twitter account with fans, writing: “I’m thrilled and honored to be a part of LA Pride 2023! I am happy to be back in person celebrating with the LGBTQIA+ community here in Southern California and throughout all of the lands!!! Let’s come together to celebrate love, inclusion, and Pride.”

“I can’t wait to headline LA Pride in the Park and celebrate the phenomenal LGBTQIA+ community,” Megan Thee Stallion said when contacted by the press. “This incredible event advocates for diversity, inclusivity, and equality, so I’m honored to perform and have a blast with all of the Hotties in attendance.”
“Having two women of color headline the event was very intentional,” said Gerald Garth, the board president of L.A. Pride. “Both have been groundbreaking in their own rights by centering women’s empowerment. Mariah’s been a fan favorite among the LGBT community for decades, and she’s been a great friend and supporter, and Megan is the same.” Other performers at the festival have yet to be announced.
The festival will take place in Los Angeles State Historic Park in the Chinatown neighborhood from June 9th to June 11th with Megan Thee Stallion as the headliner for the 9th, and Carey as the headliner on the 10th. The festival precedes the annual Los Angeles Pride Parade that will take place in Hollywood on the 11th, which is a Sunday. 
It returns after a bit of turbulence, with the 50th-anniversary edition of the festival having to be postponed due to the COVID-19 pandemic. Questions about the commitment to racial and gender inclusiveness by the Christopher Street West Association, L.A. Pride’s parent group, also led to two separate festivals being held last year – one in West Hollywood and the other in Chinatown.

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Lady Gaga originally released “Bloody Mary” way back in 2011, but it only cracked the Hot 100 for the first time this January. The revival was due in part to a sped-up remix that careened around TikTok, soundtracking videos of users pairing up the track with an eccentric dance sequence from Wednesday, Netflix’s hit Addams Family update. 
The surprise success of “Bloody Mary” in altered form presented Matt Kelly, operations manager and on-air personality for WVAQ in Morgantown, West Virginia, with a dilemma. “What version do we play?” he asks.

“The original is 100 beats per minute — so slow, relative to the new version that people are more familiar with,” he explains. “The sped-up is 130 bpm, but I hated that it sounded like Alvin and the Chipmunks.”

So Kelly split the difference by making his own 120-bpm edit to play on the air. “It appeases the ear like it’s the sped-up version,” he says, “but I kept the pitch correction — so it sounds like Gaga, not Alvin.”   

Homemade remixes, often sped-up or slowed-down, have been a hallmark of the TikTok era. In recent months, they’ve helped rejuvenate years-old songs from Lady Gaga and Miguel and driven swarms of listeners to newer releases from Lizzy McAlpine and Raye. In some ways, the music industry has adapted — it’s become common to see artists release official tempo-shifted versions of songs that have started to bubble back up, for example. Streaming platforms, including Spotify and Apple Music, have playlists dedicated to these releases; SiriusXM launched TikTok Radio, which program director Marie Steinbock envisions as “completely reflective of exactly what is trending on TikTok.”

But much remains the same: Even if a sped-up remix is ubiquitous on TikTok, the original version of the track tends to get most of the exposure. There are no sped-up remixes in Today’s Top Hits, the most followed playlist on Spotify, for example. And even when labels decide to promote revived songs to radio, they push the original, so that’s usually what saturates the airwaves. The Weeknd’s “Die For You” topped Billboard’s Radio Songs chart in February, more than six years after its release, with the normal-speed version earned the overwhelming majority of its plays.

Can sped-up renditions thrive in the wild, or do they function primarily within the confines of TikTok? Homemade remixes will only become more prevalent in years to come, thanks to platforms that make it so easy to futz with audio. (Meng Ru Kuok, CEO of music technology company BandLab, is fond of saying that they “think everyone is a creator, including fans.”) In this environment, will the industry continue to prioritize originals?

Right now, the dominant school of thought in the music industry is that the sped-up versions are effective… as a conduit to drive listeners back to the version the artist released. “The sped-up versions are more attached to the medium in which people are consuming them than they are the actual song itself,” one senior label executive says. Listeners “are discovering a song through the sped-up version, but they’re consuming the original.”

And even as more acts put out sped-up and slowed-down reworks, there’s still a sense that the original version remains the truest reflection of artists’ intentions. “That’s their art and their creativity — that’s what they want the world to hear,” says Rich McLaughlin, program director at WFUV and a former executive at Amazon Music. “I’m focused on what the artists want to release to the world. That’s what interests me.” 

That said, McLaughlin continues, “From a radio programming perspective, I want to be open to playing songs that our listeners want to hear. If there’s a version of a song that comes out that adds a dimension to the original that’s unique and something that I think our listeners are going to like, of course I would be open to playing that.”

Some radio stations are already experimenting with playing alternate versions. Josh “Bru” Brubaker, a TikToker (4.5 million followers) and radio personality for Audacy, often plays a mix stitching together songs that are trending on TikTok after his Today’s Top 10 countdown. The in-house DJs adjust the tempos to nod to the version that’s being incorporated into short video clips. 

Kelly has been evaluating songs for WVAQ on a case-by-case basis. While he sped up “Bloody Mary,” he prefers to play the original version of Raye’s “Escapism,” not the faster rendition popular on TikTok. “I think that one loses some of what makes it a great song when it’s the sped-up version,” he says. 

What about Miguel’s “Sure Thing”? Originally a hit for the R&B singer in 2011, it returned to the Hot 100 earlier this year after a sped-up remix took off on TikTok and has now climbed to a new peak of No. 28. “That’s one where I might gravitate towards the sped-up version if we needed it, because listeners are going to recognize that from TikTok,” Kelly says. “I could see making an edit where we can keep the timbre of his voice, what makes Miguel Miguel, but speed it up.”

It’s likely that no one is playing more sped-up remixes on the air than SiriusXM’s TikTok Radio, which launched in 2021. Steinbock currently has around a dozen uptempo reworks in rotation. “This has been my life lately: A song will trend on TikTok, and it’s sped-up,” she says. “And then I have to wait and see if the label is going to put out an official version or not.”

In some situations — she points to Justine Skye’s “Collide” and SZA’s “Kill Bill” — “people are consuming both [versions] at kind of the same rate,” so she can play the original without fear of alienating listeners. But when it came to The Weeknd’s “Die For You” and Mariah Carey’s “It’s a Wrap,” she waited until the artists released official sped-up remixes. “It’s kind of a dance,” she says. “Is the audience going to recognize it when it’s not that TikTok remix?”

The current iteration of remixes — the sped-up and slowed-down versions that can serve as rocket fuel for TikTok trends — is unlikely to be the last one. Ebonie Smith, in-house engineer at Atlantic Records, thinks fan-made remixing is only going to become more sophisticated and widespread in the years to come. Young listeners are “already changing expectations around what is normal to hear,” she says, pointing to the popularity of sped-up songs. But “once young people are able to parse out each element of a song, and that becomes somewhat gamified, we’re going to see remixing like we’ve never seen before.”

Jessica Powell, CEO and co-founder of AudioShake, an A.I. music software company, expresses a similar sentiment.  “We’re going to see the same shifts in audio that have happened in video and image,” she explains. “There will continue to be really professional uses of tools like Photoshop, but you also have the other end of it — me turning myself into a fish on Snapchat. That’s all coming to audio.”

If this proves to be the case, it’s likely that streaming services and radio stations will have to change their relationship with tempo-shifted remixes, or whatever else young listeners decide sounds good a few years from now. Steinbock will be ready. She recently made room in her rotation for McAlpine’s “Ceilings,” a love-drunk acoustic ballad. It came out roughly a year ago but exploded recently on TikTok thanks to a high-speed rework. 

“We’re playing the normal one just because it’s so big,” she says. But “I’m just waiting for an official sped-up version.”

A Mariah Carey track more than a decade old makes its debut on Billboard’s Hot R&B Songs chart, as “It’s a Wrap” arrives at No. 24 on the list dated March 4. The track, first released in 2009, earns its debut after the song became the latest viral hit on TikTok, leading to increased streams and sales. (Activity directly on the TikTok platform does not currently count toward the Billboard charts.)

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“Wrap” earned 3.6 million official U.S. streams in the week ending Feb. 23, according to Luminate, a 4% jump from the week prior. The tune also sold 1,000 downloads in the same period, though a 60% drop from the week before. One week ago, the cut entered the R&B/Hip-Hop Digital Song Sales chart at No. 22.

With “Wrap,” Carey achieves her 12th visit to the Hot R&B Songs chart, which launched in 2012, well into the superstar’s recording career. On the Hot R&B/Hip-Hop Songs chart, which encompasses Carey’s entire career, she claims 60 appearances since her 1990 debut, including 10 No. 1 hits.

“Wrap” first appeared on Carey’s 2009 album, Memoirs of an Imperfect Angel, and surfaced again in a remix form with Mary J. Blige on the deluxe edition of Carey’s 2014 set, Me…I Am Mariah: The Elusive Chanteuse, though it was never released as a single. The song generated attention earlier this year on TikTok, particularly through a sped-up version, that became a common soundtrack on many users’ posts on the social media app. Carey herself has joined the trend, posting a clip of herself and Kim Kardashian, and their daughters, North and Monroe, lip-syncing to the track.

Carey’s newest success is the latest example of an older song finding a new audience and streaming gains thanks to TikTok. It has plenty of company on the Hot R&B Songs chart: The Weeknd’s 2016 track “Die for You” sits at No. 3 on the current ranking, Chris Brown’s 2019 track “Under the Influence,” ranks at No. 5, after peaking at No. 2 last November, and Miguel’s “Sure Thing,” a 2011 release is at No. 6. Due to the viral streaming support and fan engagement, “Die for You” and “Sure Thing” were re-promoted to radio stations as official singles, while “Influence” was sent out for the first time. Plus, Justine Skye’s 2014 single “Collide,” featuring Ty Dolla $ign, in its own revival on the app, debuted at No. 25 two weeks ago on Hot R&B Songs thanks to its social traction.

The wealth extends to other genres too. Songs outside the R&B realm also enjoying a TikTok-fueled rise include Lady Gaga’s 2011 pop cut “Bloody Mary,” at No. 47 on this week’s all-genre Billboard Hot 100 chart and rock band Arctic Monkeys’ “505” from their 2007 album, Favourite Worst Nightmare, which climbs one spot to No. 14 on the Hot Rock & Alternative Songs chart after having reached a No. 12 best last month.

Let her take a breath and regain her composure. Mariah Carey is feeling the love after seeing the flood of reactions to her “It’s a Wrap” challenge from the Lambily.

The Elusive Chanteuse initially launched the TikTok challenge on Jan. 15 by lip-syncing her way through a sped-up version of the Memoirs of an Imperfect Angel fan favorite while flanked by a bevy of backup dancers in the snow, inspiring Lambs across the globe to join in on the fun.

“Battery about to die.. just watched hundreds of videos of IT’S A WRAP ON TIKTOK!!! I can’t even know what to say!!!” she tweeted Thursday in reaction to the outpouring, later adding, “”Lambs serving justice..it’s a WRAP!” while retweeting one fan’s recreation of her lip sync.

One fan page in particular tweeted that after the challenge, “It’s a Wrap” notched its “biggest update ever on Spotify yesterday, gaining a massive 243 THOUSAND streams.” While Mimi originally included the kiss-off on her 12th studio album in 2009, she later collaborated with Mary J. Blige on a duet version of the song, which appeared as a bonus track on the deluxe version of 2014’s Me. I Am Mariah…The Elusive Chanteuse.

The living legend’s revisiting of “It’s a Wrap” comes on the heels of yet another iconic Christmas season, which saw “All I Want for Christmas Is You” return to No. 1 on the Hot 100 for the fourth year in a row.

Next up, Carey is set to headline the 2023 edition of Lovers & Friends in Las Vegas along with Missy Elliott, Pitbull, Usher, Christina Aguilera and more.

Check out Mariah’s original “It’s a Wrap” challenge as well as some of her best reactions to the Lambs below.

Battery about to die.. just watched hundreds of videos of IT’S A WRAP ON TIKTOK!!! I can’t even know what to say!!! 🤯🤯🤯 https://t.co/KfYDhPZlrr— Mariah Carey (@MariahCarey) January 26, 2023