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Mariah Carey’s ‘All I Want for Christmas Is You’ Makes Billboard Hot 100 History

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Mariah Carey

It’s the holiday season, and Mariah Carey’s perennial “All I Want for Christmas Is You” is not only No. 1 on the Billboard Hot 100 yet again — it’s made history: It is now the first song in the chart’s history to have led in three distinct runs on the ranking.

While the song was first released on Carey’s “Merry Christmas” album in 1994, its popularity has actually grown as the years have gone by: It reached the Hot 100’s top 10 for the first time in December 2017; No. 1 for the first time in December 2019 (for three weeks) and December 2020 (two), and now this year.

As “Christmas” rules the latest, Dec. 25, 2021-dated chart, it claims its sixth total week at No. 1 in its third seasonal run at the summit, becoming the first song in the Hot 100’s 63-year history to lead in three distinct chart runs. As Billboard notes, Carey’s “Christmas” has made four interrupted climbs to the top of the Hot 100, on charts dated Dec. 21, 2019, Dec. 19, 2020, Jan. 2, 2021, and now Dec. 25, 2021, tying 24kGoldn’s “Mood,” featuring Iann Dior, beginning in October 2020, and Drake’s “Nice for What,” in 2018, as the only songs with four separate ascents to No. 1 — however, unlike “Christmas,” the latter two tracks logged their four distinct rises to No. 1 over unbroken chart stays.

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Not surprisingly, the chart is loaded with holiday songs, including six in the top 10: Brenda Lee’s “Rockin’ Around the Christmas Tree” replaces Carey at No. 2, Bobby Helms’ “Jingle Bell Rock” rises to No. 4, Burl Ives’ “A Holly Jolly Christmas” holds at No. 5, Andy Williams’ “The Most Wonderful Time of the Year” and Wham!’s “Last Christmas” reach No. 6 and No. 9, respectively.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data — see the full chart here.

In non-holiday-song news, Adele’s “Easy on Me” slips to No. 3 on the Hot 100, after seven nonconsecutive weeks at No. 1, the Kid Laroi and Justin Bieber’s “Stay” slides 4-6 on the Hot 100, after seven weeks at No. 1. Glass Animals’ “Heat Waves” climbs to No. 8 and Lil Nas X and Jack Harlow’s “Industry Baby” slips to No. 10.

Meanwhile, on the Billboard 200 Albums chart, Adele’s “30” is at No. 1 for a fourth consecutive week with 183,000 equivalent album units, while Juice WRLD’s second posthumous album, “Fighting Demons,” debuts at No. 2 with 119,000. Following are Taylor Swift’s second re-recorded album, “Red (Taylor’s Version),” which slips 2-3 in its fifth week, while Michael Bublé’s “Christmas” holds at No. 4 with 64,000 equivalent album units. Olivia Rodrigo’s “Sour” remains at No. 5 with 60,000 units.

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See the full albums chart here.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album.

 

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Metallica, the Strokes, Foo Fighters to Headline Boston Calling 2022 Festival; Rage Against the Machine Pull Out

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Boston Calling 2022 admat

Boston Calling, the  three-day festival scheduled to return to Allston, Mass. Over Memorial Day Weekend, May 27 – 29, 2022, has unveiled its full lineup. One previously announced headliner, Rage Against the Machine, is off the bill, but Metallica and the Strokes join Foo Fighters as headlining acts, and more than 50 artists are slated to perform, including Haim, Rüfüs Du Sol, Weezer, Run the Jewels, Glass Animals, King Gizzard & The Lizard Wizard, Avril Lavigne, Modest Mouse and more. Rage, who have pushed back their entire 2022 tour to the summer, and the Foo Fighters were scheduled to headline ...poned 2020 festival; the full 2020 lineup is below.

“We are so thrilled to bring Boston Calling back, and we cannot thank our loyal fans enough for supporting us as we navigated the pandemic. This year’s lineup is particularly special for us,” said Boston Calling c-fgounder/CEO Brian Appel. “It not only signifies a return to the things we love, but it also celebrates some of the world’s most renowned acts, exciting up-and-comers, and Boston’s talented music scene. Knowing how much Boston musicians endured during the pandemic, it was very important to us that Boston Calling 2022 shine a spotlight on local and regional artists more than ever before. We are really looking forward to seeing everyone come together on Memorial Day Weekend.”

The announcement also notes that 18 acts with New England ties will be performing throughout the weekend, including Van Buren Records, Cam Meekins, Born Without Bones, Avenue, Ali McGuirk, Crooked Coast, Aaron and the Lord, Miranda Rae, Coral Moons, Paper Tigers, Dutch Tulips, The Chelsea Curve, Frances Forever, Oompa, Julie Rhodes, Charlotte Sands, Pom Pom Squad and Cliff Notez.

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The 2022 festival will expand its offerings in the VIP and Platinum tiers, with a VIP lounge, enhanced viewing areas within the VIP and Platinum sections, including a new double-decker VIP experience with views of both the Red Stage and Green Stage, and an expanded viewing deck within the Platinum section. Platinum pass holders will also have access to a full specially priced bar featuring premium beer, fine wine and craft cocktails, a daily gifting suite with complimentary products, and a daily complimentary parking pass (3-day passholders only).

A limited number of 3-Day General Admission tickets ($369.99), 3-Day VIP tickets ($999.99), and 3-Day Platinum tickets ($1,999.99) are on sale now at www.bostoncalling.com. A special limited 2-pack of 3-Day GA tickets ($699.99) is also available.

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Courtesy Boston Calling

2022 Boston Calling Lineup:

Foo Fighters

Rüfüs Du Sol

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HAIM

Avril Lavigne

Cheap Trick

Oliver Tree

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The Struts

Paris Jackson

The Backseat Lovers

Grandson

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Paris Texas

Mob Rich

Pom Pom Squad

Born Without Bones

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Avenue

Miranda Rae

The Chelsea Curve

 

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Saturday, May 28, 2022

The Strokes

Run The Jewels

King Gizzard & The Lizard Wizard

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Black Pumas
EARTHGANG

Orville Peck

KennyHoopla

Sudan Archives

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Celisse
Hinds

Frances Forever

Charlotte Sands

Julie Rhodes

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Van Buren Records

Ali McGuirk

Coral Moons

Dutch Tulips

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Sunday, May 29, 2022

Metallica

Weezer

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Glass Animals

Modest Mouse

Goose
Ripe

Japanese Breakfast

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Cults

Peach Tree Rascals

Horsegirl

Djo

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Cam Meekins

Oompa

Cliff Notez

Crooked Coast

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Aaron and the Lord

Paper Tigers

Boston Calling is produced by Boston Calling Events LLC (BCE), which is owned by Crash Line Productions and Madison Square Garden Entertainment Corp. Its 2022 sponsors are Delta Air Lines, Samuel Adams, Miller Lite, Chase, Shopkick, Thomas Tew Rum, Subaru of New England, Tivoli Audio, Jack Daniels, and Happy Valley.

 

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Slamdance Keeps Its Edge With Buzzy Titles and Crypto Tech

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Winter Insect Slamdance

Like its Park City counterpart, the Slamdance Film Festival has pivoted to an all-virtual affair this year, but it will now get underway Jan. 27, one week after Sundance, its proudly DIY spirit intact. The 28th edition of Slamdance boasts 23 premieres — 13 world, six North American and four U.S. debuts — and sections such as Department of Anarchy and Experimental Shorts, along with Blockchain Fairy Tales, a collaborative storytelling experiment.

“On one hand you can say it’s bad and disappointing when we cannot gather in Park City, but we see the good — the opportunity to reenvision what a festival can be, what Slamdance can be,” says Peter Baxter, Slamdance president and co-founder. “Our new Slamdance Channel, which will host the festival this year, fits into the bigger picture of a decentralized media future.”

Buzzy titles include Clay Tatum’s comedy “The Civil Dead” and Kristen Abate and Steven Tanenbaum’s existential drama “Straighten Up and Fly Right,” which is screening in the new Unstoppable Features category. Per usual for the festival, founded in 1995, films in competition are feature-length directorial debuts without U.S. distribution, crafted on budgets of less than $1 million. Festival alumni select the lineup, this year choosing the slate from 8,168 submissions.

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Tatum’s film, which he co-wrote with Whitmer Thomas, involves a misanthropic struggling photographer who just wants to watch TV and eat candy while his wife is out of town. When a desperate old pal resurfaces, his plans are thwarted, with spooky consequences.

“Debuting at Slamdance is just cool. Whit and I view it like this: Our band gets to have our first show in the back of some DIY record store rather than at a high school talent show that’s sponsored by Acura,” Tatum says.

Filmmaker Mark Pellington will premiere “The Severing,” an experimental dance performance created in collaboration with choreographer Nina McNeely and Dutch cinematographer Evelin van Rei.

“I’d been making independent films in Hollywood for 20 years, and traditional narrative film was not the right vessel to share the story of loss I’d experienced and needed to express,” says Pellington, whose credits include the 1999 movie “Arlington Road.” Inspired by Wim Wenders’ “Pina,” Pellington was interested in conveying feelings through “a story of movement and text, rather than plot, capturing emotion and physicality on an experiential, nonlinear, entirely visceral level.”

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The fledgling Unstoppable program, which debuted last year with a focus on short films by or about individuals with visible and non-visible disabilities, has been expanded to include feature films. Selected by members of that community, it’s intended to help eliminate the prejudices that have historically kept people with disabilities from being represented in the industry.

The Blockchain Fairy Tales program, a cutting-edge offering presented by Columbia University’s Digital Storytelling Lab, promises an immersive experience in which participants contribute elements to a broader narrative and can verify their work digitally.

“Blockchain Fairy Tales is exploring shifts in the ownership and authorship of stories,” says Lance Weiler, the lab’s founding director, who says decentralized technologies that run on blockchains can be leveraged to aid “the co-creation, funding and distribution of a story world made and owned by many.”

Additionally, festival alumni Anthony and Joe Russo (“Avengers: Infinity War”) will once again dispense their AGBO Fellowship, which provides a $25,000 cash prize, office space and mentorship from the Russos and their team. Angela Russo-Otstot, president of creative at AGBO, notes that AGBO and Slamdance are both artist-led organizations, which enables them to be allies and partners within the film business.

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Notes Russo-Otstot: “AGBO wouldn’t exist if it weren’t for the unique platform and community that Slamdance provided the Russo brothers as they were finding their voice as filmmakers.”

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