logo
Here's What Mariah Carey Really Thinks About the Billboard Charts

Here's What Mariah Carey Really Thinks About the Billboard Charts

Yahoo7 hours ago
Mariah Carey just shared how she honestly feels about Billboard's charts.
In a game of 'Over/Under' with Pitchfork posted Thursday (Aug. 14), Mimi talked about whether she thinks the song and album charts — many of which she's dominated at different points throughout her career — are over- or underrated. 'Well, they matter to me a lot,' she began.
More from Billboard
Was Mariah Carey's 2005 the Greatest Comeback Year for a Pop Star This Century?
Mariah Carey Announces Release Date for 16th Studio Album, 'Here For It All'
Mariah Carey Just Learned Katy Perry Went to Space Months Ago & Has the Perfect Response
'So, I'm going to say they're underrated, because not everybody is in that world,' Carey continued. 'Sometimes the songs are, like, literally underrated, because people don't know them, and they're album cuts. And then sometimes it's like [Billboard Hot 100 chart-topper] 'All I Want for Christmas Is You' — not sometimes, one time.'
Carey is a record holder for most No. 1 hits on the Hot 100 as a solo artist with 19, just one less than The Beatles' record 20. She's also the only artist to have a No. 1 on the chart in 20 distinct years, and in 2019, she became the first artist to have had a Hot 100 No. 1 in four different decades.
And of course, Carey annually ascends to the top of Billboard's holiday charts with evergreen hit 'All I Want for Christmas Is You,' which has collected 18 weeks at No. 1 on the Hot 100 since its release in 1994. When asked about her mind-boggling chart successes last year in an interview with Billboard, Carey said that it was 'astonishing.'
'To have 19 No. 1 singles and be one away from The Beatles … I don't know how I can't acknowledge that,' she added at the time. 'One away from The Beatles … that's a lot. I think it's a little hard to wrap my head around.'
Elsewhere in the Pitchfork video, Carey shared her thoughts on everything from Love Island — in her words: 'Ugh' — to Labubus, which she said are 'so cute.' As for another decades-old music industry institution, the Songbird Supreme stated, 'I think the Grammys are overrated … But we love everybody.'
Watch Carey share her thoughts on the Billboard charts and more above.
Best of Billboard
Chart Rewind: In 1989, New Kids on the Block Were 'Hangin' Tough' at No. 1
Janet Jackson's Biggest Billboard Hot 100 Hits
H.E.R. & Chris Brown 'Come Through' to No. 1 on Adult R&B Airplay Chart
Solve the daily Crossword
Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Lil Yachty apologizes to Stephen Jackson over 'demeaning' George Floyd lyric
Lil Yachty apologizes to Stephen Jackson over 'demeaning' George Floyd lyric

USA Today

timean hour ago

  • USA Today

Lil Yachty apologizes to Stephen Jackson over 'demeaning' George Floyd lyric

Stephen Jackson and Lil Yachty are seemingly on good terms after the former NBA star called out the rapper for mentioning the late George Floyd in an unreleased track. Lil Yachty, whose real name is Miles McCollum, shared a snippet of a track during a recent Twitch livestream, according to Rolling Stone and Billboard. The song reportedly featured a lyric about Floyd, a 46-year-old black man who died in May 2020 after a white Minneapolis police officer Derek Chauvin knelt on his head and neck for nearly 10 minutes while arresting him. 'Put my knee up on her neck, I went George Floyd,' Yachty rapped on the song, per Billboard. Jackson condemned the 'One Night' rapper in a now-deleted Instagram post, calling the lyric 'demeaning' and writing, 'Don't ever say his name, bro. None of y'all knew G. Nothing about him.' The San Antonio Spurs alum has long been open about the loss of his friend Floyd, revealing in 2020 that the pair grew up in the same Houston, Texas neighborhood. USA TODAY has reached out to Lil Yachty's representatives for comment. Jackson says Yachty apologized for distasteful lyric In an Aug. 14 Instagram story, the 'All the Smoke' podcast host later revealed that he is no longer upset with Yachty after the musician reached out and apologized. 'I took my post down about Yachty because I'm emotional about George. I apologized to him. We spoke and he apologized as well,' Jackson said. 'I salute him. Not a lot of people like to own up to when they [expletive] up.' Jackson added that he agreed a public apology was unnecessary after the two worked things out, and as Yachty understands the frustration caused by the lyrics. He added that he never had an issue with Yachty directly, but rather the idea of it being okay for people to demean the dead. He later added in an Aug. 15 Instagram post that he won't be discussing the situation in interviews, adding that 'he's a smart young man' and 'We move on from it.'

The Science of Why Humans are Obsessed with Stadium Concerts
The Science of Why Humans are Obsessed with Stadium Concerts

Time​ Magazine

time2 hours ago

  • Time​ Magazine

The Science of Why Humans are Obsessed with Stadium Concerts

August 15, 2025 marks the 60th anniversary of a pivotal moment in live music history: The Beatles' infamous performance at Shea Stadium. What began as an unprecedented attempt to accommodate the Fab Four's overwhelming popularity has evolved into a touchstone of pop culture—the modern stadium tour. Today's stadium concerts are more than just supersized live shows; they have become cultural phenomena and socio-economic markers. Perhaps most intriguingly—at least to me—they are also neuroscientific experiments in mass synchronization. In 1965, pop music's demographic was dominated by teenagers with disposable income and a desire to break the self-imposed boundaries of their post-Depression-era parents. The Beatles' audience at Shea was overwhelmingly young, predominantly female, and distinctly American. In the decades since, stadium audiences have expanded in every conceivable way. Through the '80s and '90s artists like U2, Madonna, and Michael Jackson drew increasingly global, multi-generational crowds. Today, truly global music acts like BLACKPINK and Bad Bunny play to stadium audiences worldwide, reflecting the increasing multicultural appeal of contemporary music. And touring artists like Bruce Springsteen, Paul McCartney, Cyndi Lauper, and The Rolling Stones now draw in new followers aside lifelong fans, with three generations of family members often attending together. Fandom itself has transformed. Where fans once relied on the vagaries of radio play and magazine spreads to engage with their favorite artists, today's fans form tightknit communities on social media platforms like TikTok and Discord. Through these digital spaces, enthusiasts exchange theories, share memes, decode Easter eggs, and coordinate elaborate travel plans and ticket-buying strategies months in advance. The shift from passive consumption to active participation has transformed how fans engage with pop music, turning concerts into global events that have expanded well beyond geography and generations. Yet this evolution has created new challenges, chief among them, the skyrocketing cost of being part of the experience. We've gone from $5.10 to see the Beatles at Shea Stadium to Eras Tour tickets with face values ranging from $49 to $449 reselling for up to $20,000 on StubHub and SeatGeek. When my mother wanted to surprise me with tickets to Bryan Adams' Waking Up The Neighbours Tour in 1992, she lined up at the physical box office hours before opening with other eager fans. She forked over $42.50 for two, side-view seats in the lower bowl. Compare that to last year when I battled bots and refreshed my browser every few milliseconds in the hope of scoring four tickets to Olivia Rodrigo's GUTS World Tour before they soared to mortgage-level proportions. By some miracle, I was able to take my three teenage daughters to their first arena show for a relatively low $600. They're now saving their babysitting money and diligently tracking price trends for Benson Boone's American Heart Tour while I'm (half) considering dipping into their college fund to see Bryan Adams again this fall. At what point does the price of admission outweigh the joy of participation? When it came to the Eras Tour, like many other disappointed Swifties, we had to settle for movie screenings and grainy live feeds. Swift didn't stop in our hometown of Montreal. We considered travelling to Toronto, Boston, New York, or Philadelphia. When calculating the costs—tickets, travel, accommodations, meals—our cheapest option turned out to be Lisbon, Portugal. That three-day excursion would have set us back about $6,000 CAD. While that was substantially less than the resale tickets in any nearby city, the financial cost and complicated logistics of participation were too great. Economists often argue that high ticket prices are simply a reflection of market forces—artists, and resellers, can charge more because demand far outstrips supply. Sociologists counter that this trend deepens cultural divides, turning concerts into exclusive experiences for the financially privileged. Despite the costs, stadiums continue to sell out at record speed, raising the question: what is it about live music that makes us willing to pay such a premium? Is it the music itself, the sense of community, or something even more basic? For 30 years, our lab has been exploring why music moves us—literally and figuratively. Many of our studies focus on memory for music, demonstrating that people have a remarkable ability to recall melodies, pitch, tempo, and loudness with surprising accuracy, even without formal music training, suggesting that musical memory operates differently from other forms of memory. We conducted some of the first neuroimaging studies to map the brain's response to music—showing how it lights up the brain, engaging areas responsible for hearing, memory, movement, and emotion all at once. This is why a song can transport you back to a specific moment in time, evoking vivid memories and emotions. Our studies show that when people listen to music they love, it activates brain regions associated with pleasure and reward, helping to explain why a favorite song can feel as satisfying as a good meal or a warm hug. Music's ability to give you chills and make you feel euphoric is tied to the release of natural opioids in the brain, the same chemicals that help relieve pain. Years ago, our lab showed in brain scans that listening to the same piece of music caused people's brain waves to synchronize. Recent studies conducted in real-time, in concert halls, demonstrate that people enjoy music more when the performance is live and experienced as part of a group. Live music triggers stronger emotional responses than recorded music due to the dynamic relationship between the audience and the performers. The visual cues, collective energy, and real-time responsiveness of live music engage more sensory and emotional systems than listening alone, deepening our visceral connection to the experience. Attending a concert is associated with increases in oxytocin, a bonding hormone, enhancing our sense of social connection. When we move together to music—clapping, swaying, or singing in sync—we engage neural circuits involved in motor coordination, empathy, and social prediction, reinforcing our sense of being part of a group. We're literally on the same brainwave! What ties all this together is the simple but profound idea that music is more than just entertainment. From the joy of discovering a new banger to the comfort of an old, familiar tune, music may well be a biological necessity, a fundamental part of being human, wired into our brains and bodies in ways that shape how we think, feel, and connect with one another. Our innate desire for connection might also, in part, explain why a friendship bracelet exchange (inspired by Swift's You're On Your Own Kid) is trending at modern stadium shows: the simple act of swapping beaded bracelets cultivates a microcosm of human connection within a macro-scale experience. It's a ritual that transforms a crowd of thousands into an intimate community, where strangers become momentary friends, bound by shared enthusiasm and a tangible token of group membership. It's a small, tactile gesture that taps into our deep-seated need to bond, to feel seen, and to belong. In a world where digital interactions often replace physical ones, these trinkets are a reminder of the power of touch, of giving, and of creating memories that extend beyond the concert itself. Music has always been a social glue, a way for humans to synchronize their emotions and movements, whether around a Neanderthal campfire or in a packed stadium. And in an era of increasing isolation, these moments of connection feel more vital than ever. Making friendship bracelets to share with your fellow Swifties may be part of the solution. But today's stadium shows aren't just about emotional connection or even entirely about the music—it's also a masterclass in sensory stimulation. The Beatles may have pioneered the stadium format, but their setup was quaint by today's standards. Early stadium shows featured little more than musicians standing in front of a static backdrop, struggling to project their sound through subpar sound systems designed for sports announcers, not music. By the 1980s, technological advancements had changed the game. Pink Floyd's The Wall Tour in 1980 set a new standard for large-scale stage production, with elaborate sets, visual projections, and theatrical storytelling. U2's Zoo TV Tour in 1992 introduced multimedia screens that transformed the stage into a digital playground. More recently, Taylor Swift's Eras Tour involved 70,000 wristbands pulsing in unison, and stage sets transforming from slithering snakes to whimsical fairy-tale forests to cinematic cityscapes. And Beyoncé's 2023 Renaissance Tour incorporated cutting-edge robotics and high-fashion couture, proving that stadium concerts can be as much about visual effects as they are about the music. While many fans view these advances as improvements, others argue that the intimacy and simplicity of early stadium shows have faded, and been replaced by a commercialized, high-stakes industry. The Outlaws Roadshow stadium tour in 2012 left me feeling as though I had overpaid for a lights and lasers show that happened to include the Counting Crows phoning it in somewhere in the background. In the pursuit of grandeur, has some of the raw, unfiltered magic of live music been diluted? And what does all this mean for the future of live music? If the past 60 years of stadium shows (and tens of thousands of years of human music-making) have taught us anything, it's that music, at its core, is about shared experience. We crave the pulse of the bass beneath our feet, the collective chant of a catchy chorus or killer bridge, the unspoken understanding between strangers who, for just one night, are part of something bigger than themselves. As technology continues to evolve and fan communities grow more interconnected, one thing is certain: the stadium concert will remain a space where we come together, not just to listen, but to belong.

‘Love Island' alum's costars call him out after messy split: ‘A narcissist and a racist'
‘Love Island' alum's costars call him out after messy split: ‘A narcissist and a racist'

Yahoo

time4 hours ago

  • Yahoo

‘Love Island' alum's costars call him out after messy split: ‘A narcissist and a racist'

'Love Island USA' season 6 alums JaNa Craig and Kenny Rodriguez have called it quits — and the breakup has been far from amicable. JaNa, 28, took to her Instagram Story on Tuesday, July 29, to confirm that she and Kenny, 24, are 'no longer together.' She also shared a cryptic message about his alleged behavior leading up to their split. 'Please know that I have seen all the breakup theories and none have matched up to how terrible, disgusting and disappointing it truly is,' she wrote. 'Discovering that someone you loved isn't who you thought they were and that the relationship you thought you were building hasn't been genuine since day one has been truly devastating.' In a statement of his own, Kenny made no mention of the drama that JaNa hinted at. 'The past few days have been incredibly difficult. I've been quietly sitting with a lot of emotions and doing my best to process everything privately. Breakups are never easy, especially in the public eye,' he wrote via his Instagram Story. 'Sometimes, despite how deeply you care for someone, you come to the hard truth that the relationship was not something that could last long-term. I'll always be grateful for the time we shared and the memories we created. I release this chapter with no ill will, only a hope that JaNa's path forward brings her nothing but happiness.' Kenny seemed ready to gloss over any bad blood with his ex, but JaNa and her fellow season 6 alums were having none of it. '@Kennyrodriguez stfu you manipulative liar. You not taking accountability and telling people the type of person you really are is insane to me,' JaNa wrote via Instagram after Kenny shared his statement. 'My first statement was me being nice. Do not piss me off.' Serena Page called Kenny 'a narcissist and a racist' in a social media comment, while Kaylor Martin dubbed him 'a poor excuse for a man.' Leah Kateb implied that Kenny's statement was phony. 'Kenny, put a sock in it ChatGPT headass. Tell the truth for once,' Leah wrote via her Instagram Story on Wednesday, July 30. 'Racist, clout/money hungry and a scammer since DAY 1!!!! Tryna make it seem like it's something it's not. [Don't worry], our Nay is blessed & highly favored.' Liv Walker also took aim at Kenny via Instagram, writing, 'Your pathetic excuse for a story is laughable. I can't even put into words how good of a person naynay is and how hard it is to watch her go through something like this. @kennydrodriguez I hope this gives you the clout you always wanted you f—ing loser.' READ MORE: Reality TV star addresses racist post that got her kicked off popular show One of JaNa's friends named Charmaine Smith hinted at what Kenny did to JaNa in a since-deleted Instagram Story. 'My advice for women in relationships: if you have access – go thru [sic] your man's phone TODAY. Search keywords like 'I don't like black women, I thought I would get more money from this, I'm faking this relationship, going on the show would be for clout, I can't wait to be done w this so I can f— hella b—-es,'' Charmaine wrote, per Us Weekly. Kenny has not yet responded to the backlash from his costars. Kenny and JaNa met filming season 6 of 'Love Island USA,' which aired last summer. They placed third on the show. The pair were also featured on 'Beyond the Villa,' which aired earlier this month, but raised eyebrows with the reveal that they were living separately. 'Love Island USA' is available to stream on Peacock. Our journalism needs your support. Please subscribe today to Have a tip? Tell us at Solve the daily Crossword

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store