Posts tagged ‘Rihanna’

March 7, 2016

7 Momen Bathtub Terbaik dalam Sejarah Video Musik

Demi Lovato baru saja merilis video untuk lagu super balladnya yang bertajuk Stone Cold, di mana dia tampil begitu emosional dalam sebuah bathtub, karena memang terbukti oleh musisi pendahulunya bahwa adegan penuh penjiwaan bisa terjadi saat berendam badan, terutama tentu saja bagi para penyanyi wanita agar terasa lebih menyentuh dengan lagu yang dibawakan, seperti 7 video di bawah ini.

Cosmopolitan merangkum 7 video dengan adegan bathtub paling terbaik, satu di antaranya adalah Shake It Off dari Mariah Carey.

Sembilan tahun yang lalu sebelum Taylor Swift merilis album 1989, Shake It Off telah lebih dulu digunakan sebagai judul lagu inspirasional dari Mariah Carey. Lagu yang stuck di posisi runner up Billboard Hot 100 karena We Belong Together enggan turun takhta ini diambil dari album terlaris tahun 2005, The Emancipation of Mimi.

Video klip Shake It Off menampilkan Mimi dalam sebuah bathtub bartabur penuh mawar merah. Mengawali lirik lagu dengan bait perpisahan untuk sang kekasih, menggandeng brand ternama Louis Vuitton sampai mengakhiri scene dengan melepas pakaian seolah terbebas dari beban hidup percintaan yang penuh drama.

 

teks: Endang Suryana
sumber: Cosmopolitan

 

7 Great Moments in Bathtub Music Video History

Demi Lovato recently released the music video for her power ballad “Stone Cold,” which finds her crooning about lost love in a Revenant-like polar landscape. But a good chunk of the video also includes a sweater-clad Demi submerged in a bathtub, because as many other music videos have proved, the most hardcore emoting must be done underwater. What is it that makes a bath the perfect location for pop divas’ most intense emotional moments? Is it the comforting embrace of a porcelain basin, or all that soapy water perfect for masking your mascara-streaked tears? Below, seven more music videos that make excellent use of the tub as a vessel for renewal, reflection, and mental breakdowns.

1. Me, Myself & I by Beyoncé

“Me, Myself, and I” is an underrated Beyoncé classic, featured on 2003’s Dangerously in Love. The video tells the tale of a cheating lover’s ridiculous actions (WHO CHEATS ON BEYONCÉ?), with Bey ultimately figuring out that she’s gotta be a grown woman and send him to the left, to the left. Of course she learns this lesson in the bath, surrounded by suds that function as both a comfort and a metaphor for rebirth. When she emerges, she is strong and self-assured, ready to become the independent Beyoncé she is today: “Me, myself and I, that’s all I got in the end / That’s what I found out and there ain’t no need to cry / I took a vow that from now on I’m gon’ be my own best friend.”

2. Hands to Myself by Selena Gomez

Demi’s on-again, off-again BFF and Barney & Friends comrade Selena Gomez is the definition of #TreatYoself in her video for “Hands to Myself,” from 2015’s Revival. Donning a silk robe and high-waisted underwear, Selena traipses through the house of an actor she’s obsessed with, taking pit stops along the way to revel in luxurious sheets, try on men’s button-downs, and of course, hop in the bath for a quick soak. I don’t recommend doing this in anyone’s house but your own, but you do you, Selena.

3. Everytime by Britney Spears

Britney’s “Everytime,” released in 2009, is in many ways a sequel to 2000’s “Lucky,” the story of a lonely girl bound by Hollywood superficiality. “Everytime” is a tragedy set against a twinkling melody — Britney stumbles intoxicatedly through crowds of paparazzi and crazed fans, fighting with her man and finally taking comfort in a large whirlpool tub. She doesn’t have too much time to relax, however, as she soon discovers she’s bleeding and passes out. Her beloved finds her too late, and the video cuts to Britmey running through brightly lit hospital hallways, presumably to some sort of heaven. The lesson: Don’t get in the bath if you have a head injury.

4. Stay by Rihanna feat. Mikky Ekko

This gorgeous ballad is one of the greatest RiRi songs ever, and perhaps not coincidentally takes place almost exclusively in a bathtub. Rihanna fits herself into an astounding number of positions while in the tub, going through all the stages of end-of-relationship grief. By the end of the video, she looks slightly less dazed but still very broken up (killer half-buzz cut though). Is that a lone tear or a rogue water droplet in the last shot? There’s no way to know, which is the beauty of the emotional bath at work.

5. Fuckin’ Perfect by Pink

Another one of Pink’s angsty coming-of-age music videos, “Fuckin’ Perfect” stars Napoleon Dynamite’s Tina Majorino as Angel, a struggling young woman who feels depressed and out of place. The video takes on a number of hot-button issues: bullying, anxiety, mental illness, self-harm, eating disorders. Eventually Angel finds herself in the bath with a blade, cutting the word “perfect” into her arm, but she ultimately gets out of the water, turns her life around, and devotes herself to art and raising an empowered little girl of her own.

6. Shake It Off by Mariah Carey

Nine years before Taylor Swift would release 1989, “Shake It Off” was the name of an inspirational Mariah Carey song. Essentially a more upbeat version of “Me, Myself and I,” Carey starts off in a rose petal–filled bathtub, singing about the end of a relationship and how she’s going to recover. She does, of course, and that process includes packing up her Louis Vuitton, sliding on some blue eye shadow, and waving good-bye to the haters in a red convertible.

7. Marry the Night by Lady Gaga

Contemporary music video queen Lady Gaga is no stranger to the bathtub (they also appear in “Bad Romance” and “Yoü and I”), and here she uses it to great, almost baptismal effect. In the nearly 14-minute video, Gaga is receiving treatment in a high-fashion clinic, an autobiographical representation of her rise to stardom. Anxiety mounts, catalyzed by strenuous ballet rehearsals, and Gaga breaks — enter the bathtub. She lounges while dying her hair turquoise and comes out of the water a whole new Gaga, bedazzled and bright. “I’m gonna be a star,” Gaga says tearfully. “You know why? Because I have nothing left to lose.” And also because she has a bathtub.

April 17, 2015

Rihanna Akui Tiru Gaya Mariah Carey

 

Rihanna masuk dalam deretan penyanyi top Hollywood sejak lagu Umbrella yang dirilis 2007 silam melejit. Meski sukses, Rihanna mengakui dirinya memiliki sosok idola yang membuatnya tak berhenti belajar. Salah satu sosok yang membuatnya kagum ternyata adalah Mariah Carey.

Menurut Rihanna, dirinya memang berharap menjadi penyanyi setelah mendengarkan Mariah Carey bernyanyi saat dirinya masih kecil. Ia pun berusaha memiliki suara yang indah.

“Saya selalu menyukai musik dan menyanyi. Sejak berusia 8 tahun, saya sangat menginginkan hal itu,” ujar Rihanna, dilansir dari Us Magazine, Minggu (22/3/2015).

“Saya menyukai Mariah Carey. Saya bisa menyaksikan penampilannya di televisi seharian. Selain Mariah Carey, saya juga jatuh cinta dengan Celine Dion dan Bob Marley.”

“Saya mulai menirukan semua hal yang saya dengar, termasuk suara Mariah Carey. Saya ingin membuat musik yang akan terkenal di dunia, termasuk di wilayah yang belum pernah saya datangi.”

Setelah mengikuti gaya Mariah Craey, Rihanna pun mulai menemukan jati dirinya sendiri. Rihanna akhirnya bisa menyanyi dengan menunjukkan ciri khasnya sebagai seorang penyanyi.

Liputan6

December 4, 2014

Kaki Lebih Berharga Daripada Suara Bagi Mariah Carey?

Memiliki lekuk tubuh yang indah memang salah satu anugerah luar biasa. Namun, dari kecantikan tersebut, setiap orang cenderung memiliki bagian tubuh yang paling disayanginya.

Kecintaan terhadap bagian tubuh bahkan membuat beberapa selebriti ternama di dunia mengasuransikannya. Salah satunya adalah Mariah Carey yang mengasuransikan kakinya senilai US$ 1 miliar atau Rp 12,28 triliun. (kurs: Rp 12.280/US$)

Pada 2006, Mariah Carey melakukan aksi tersebut setelah dia menjadi ikon kampanye `Legs of Goddess`. Total asuransi untuk kakinya tersebut berhasi mendongkrak popularitasnya kala itu.

Tentu saja aksinya tak berjalan mulus dan masih menuai kritik dari sejumlah pihak. Berikut ulasan singkat mengenai asuransi bagian tubuh termahal dunia yang dilakukan selebriti seperti dikutip dariThe Richest, Cracked.com, slate.com dan sejumlah sumber lain, Senin (1/12/2014):

Kaki lebih berharga daripada suara bagi Mariah Carey

Penyanyi superstar setara Mariah Carey tentu sangat populer karena suaranya. Alih-alih mengasuransikan pita suaranya, Carey justru memutuskan kakinya lebih berharga.

Pada 2006, dia mengasuransikan sepasang kakinya senilai US$ 1 miliar setelah menjadi model perusahaan pencukur Gillette. Beberapa sumber terpercaya menyebutkan, jumlah tersebut setara dengan popularitasnya.

Dalam tur keliling Amerika Serikat, Carey dituntut sangat hati-hati dalam merawat kakinya. Demi menghargai kampanye `Legs of Goddess` tersebut, patung replika kaki Carey setinggi 16 kaki dibangun di Radio City Music Hall.

Perusahaan asuransi yang dipilih Carey

Asuransi kaki Mariah Carey ditangani oleh Lloyd di London, Inggris. Itu merupakan perusahaan asuransi paling terkenal karena banyak menangani asuransi para selebriti ternama.

Beberapa pelanggan Lloyd adalah David Beckham, Heidi Klum dan banyak lainnya.Meski asuransinya bersandingan dan juga pernah dilakukan banyak selebriti lain, aksi Carey tetap menuai kritik.

Asuransi kaki tersebut tampak aneh mengingat Carey merupakan seorang penyanyi yang sebaiknya mengasuransikan pita suara.

Selain itu, harganya terlalu tinggi dan tidak ada standar yang menentukan jumlah US$ 1 miliar sebagai harga yang layak untuk kaki Carey.

Artis lain yang ikut asuransikan kakinya

Tak hanya Carey, beberapa artis lain juga pernah mengasuransikan sepasang kakinya. Asuransi senilai US$ 1 juta juga dipasang untuk kaki penyanyi papan atas Rihanna.

Sementara aktris legendaris Marilyn Monroe dilaporkan mengasuransikan kakinya senilai US$ 10 ribu pada 1950-an. Dengan inflasi, jumlah tersebut bernilai sekitar miliaran zaman sekarang.

Bagi Carey, asuransi kakinya merupakan bagian dari perusahaan untuk mejual barangnya ke pasaran. Sejauh ini, Carey merupakan aktris dengan bayaran asuransi kaki termahal di dunia.

[LIPUTAN 6]

September 18, 2014

Mariah Carey Penyanyi Paling Konsisten di Dunia

Mariah Carey The Ultimate Pop StarDetik

Mungkin nama Mariah Carey tak semeriah 10 tahun lalu. Namun, Mariah tetap bisa mempertahankan eksistensinya di industri musik.

Bahkan Majalah TIME menyebut bahwa Mariah Carey adalah penyanyi pop paling konsisten di dunia. Hal tersebut terlihat dari lagu-lagu hits yang terus menggema.

Meski namanya kian jarang terdengar, tapi lagu-lagu hits selalu menghiasi industri musik di seluruh penjuru dunia. Satu tingkat di bawahnya adalah penyanyi Rihanna.

Meski tergolong masih muda, namun penyanyi asal Barbados sudah sukses mencuri perhatian penikmat musik dunia. Nama-nama lain secara berurutan adalah Usher, The Beatles dan Madonna.

Selain itu, penilaian TIME sendiri juga mengacu kepada tangga lagu Billboard top 10 sejak 1969. Nama Mariah pun yang paling sering memuncaki tangga lagu Billboard top 10.

May 10, 2014

Where Do I Start With Mariah Carey?

Took a lil walk through Times SquareSlate

Musically, Mariah Carey’s had a tough run of late. Her long-delayed upcoming album, now titled Me. I Am Mariah… The Elusive Chanteuse, was slated to come out last spring before being pushed back several times. With one exception, its would-be lead singles failed to make a significant dent on the charts. Just a few weeks ago it sounded like Carey might pull a “Beyonce”, and spring the album on us unawares, judging from a confusing interview she gave to Billboard.

Then last week, the album’s release date, May 27, was finally confirmed by a teaser that is as strange and rambling as the album’s title. The announcement has been called “weird”, “insane”, “bizarre”, and “ridiculous”, descriptors that are rarely far away when Carey comes up these days. If you’re not a long-time fan, or are only familiar with Carey’s current public persona, it’s easy to see how such an awkward promotional move would elicit little more than an eye roll.

And we should chuckle at her weirdness, to be sure. But Carey deserves to be taken seriously as an artist as well, and, unfortunately, she hasn’t always gotten her due in that regard. Carey’s popular accomplishments – she has the second-most No. 1 songs of any pop artist, for instance, behind only the Beatles (and possibly tied with Elvis, depending whom you ask)- are often downplayed by critics who don’t take her influence on the music world seriously, as Jody Rosen pointed out in Slate several years ago. She’s long been credited – or blamed – for spawning a breed of “over singers”. (Rosen called her “the most influential vocal stylist of the last two decades”.) Her vocal acrobatics are frequently dismissed as “passionless”, her songs scorned as fluff.

But don’t blame Mimi for the diminishing returns represented by her impersonators. She’s better than all of them. Not only has she co-written the overwhelming majority of her hits since her career began almost 25 years ago, she’s also proven capable of switching up musical styles effortlessly. After taking creative control of her career, she went from a pop singer with a big voice to sultry diva who sang with Ol’ Dirty Bastard (on the excellent, Puff Daddy-produced “Fantasy (Remix)”), Bone Thugs ‘n’ Harmony (the slow-jam deep cut “Breakdown”), and Jermaine Dupri (her smash hit “We Belong Together”, among several others). Her label assumed this would be career suicide. But she was a pioneer for the hip hop-pop hybrid that is now inescapable, paving the way for Rihanna, Beyonce, Katy Perry and others to embrace a more hip-hop sound.

But back, for a minute, to her weirdness. One of the things that makes Carey so endearing to fans is that she wholeheartedly embraces her idiosyncracies. She’s not afraid to get goofy with her lyrics (“If we were two Lego blocks even the Harvard University graduating class of 2010 couldn’t put us back together again“) or her music videos, signaling to everyone that while she may take her work seriously, she’s not afraid to poke fun of herself.

There’s much more to Carey than her feuds with rap stars and her heavily Instagrammed marriage to Nick Cannon. In fact, a remarkable number of her songs hold up beautifully.

UOMF Nurse

May 3, 2014

Mariah Carey’s ‘You’re Mine’ Crowns Dance Club Songs Chart

YME 17thBillboard

Mariah Carey collects her 17th No. 1 on Billboard’s Dance Club Songs chart, as “You’re Mine (Eternal)” rises 2-1.

Carey first crowned the chart on her first try, with “Someday” in 1991. She’d tallied her most recent leader with her last charted title, “Triumphant (Get ‘Em),” in October 2012.

“Mine” reached the Dance Club Songs summit via assistance from remixers Fedde Le Grand, Chus and Ceballos, Gregor Salto and Funkin Matt, and Riddler, among others.

The new leader previews Carey’s forthcoming first studio album in five years. Carey, the soloist with the most No. 1s (18) in the Billboard Hot 100’s history, says in the current Billboard cover story that she “wanted [the new set] to be something I could be proud of, whether it’s like, ‘Yay, No. 1 song!,’ and this and that. However things end up happening, we’ve all worked so hard. The true lambily [her family of hardcore fans] have all worked so hard to break all these Billboard records, and to have this incredible experience with me, that I want them to have this almost as a gift.”

Dating to the Dance Club Songs chart’s Aug. 28, 1976, inception as a national survey, Carey moves up among the artists with the most No. 1s. Here’s an updated look at the acts with the list’s most leaders:

43 – Madonna
22 – Rihanna
19 – Beyonce
19 – Janet Jackson
17 – Mariah Carey
16 – Kristine W
15 – Donna Summer
14 – Jennifer Lopez
13 – Lady Gaga
13 – Whitney Houston
13 – Katy Perry
12 – Enrique Iglesias

April 30, 2014

Mariah Carey’s Journey to a New Album: The Billboard Cover Story

Billboard Cover StoryBillboard

After waiting five years between albums, Mariah explains the struggle behind her next release: “This is my life since we last left off. Just picture a dot dot dot, and then here’s the album”

Mariah Carey is having a Case of the Mondays.

It’s the day after Easter, and she’s nursing a kick to the face from her nearly 3-year-old son Moroccan after a long day of egg hunting. “We were sort of winding down the day, removing his shoes, and he was having his own moment of not wanting the night to end and he ended up getting me square in the nose while the shoe was still on,” says Carey, 44, on the phone from her apart- ment in New York. Though her nose has a “tiny bump” that Carey has been treating with ice and milk, the incident has still apparently swollen her face enough that she has had to cancel a planned photo shoot and in-person sitdown with Billboard. “I think it’s OK. It’s still really red. I could’ve covered it up and tried to look decent, but shouldn’t my “Billboard” cover be a little less about that and more about the music?” (The cover photo is an outtake from her album shoot.)

If you’ve followed the headlines around Carey in the years since 2009’s “Memoirs of an Imperfect Angel,” you would know it hasn’t always been about the music. Since the birth of her twins Moroccan and Monroe in April 2011, she has weathered a rocky stint as a judge on American Idol in 2013, for which she was paid $18 million, according to People, as well as an accident on a music video set that led to a dislocated shoulder and cracked ribs. The injury preceded the latest in a series of delays for her planned 14th album, which at one point was earmarked for early 2013. Though her Miguel duet “#Beautiful” was a decent-sized hit last summer, peaking at No. 15 on the Billboard Hot 100 with sales of 1.2 million (according to Nielsen SoundScan), a trio of other singles failed to catch fire, most recently February’s “You’re Mine (Eternal),” which spent a week on the Hot 100 at No. 88 and has sold only 56,000 copies.

But in late May, Carey hopes she can silence her naysayers and super-serve her patient fans with the much-anticipated release of her 14th album, which at one point was intended as a digital-first, all-at-once release a la “Beyoncé.” Though her label Def Jam now says an official pre-order is expected for later this week, announcing the album’s title, cover and tracklist, it’s clear from talking to Carey that she misses the good old days of the ’90s. The time when you could deliver an album the old-fashioned way, when you had to go to the store to see the song names and the cover art. “I have to be the one that announces this, especially the title,” says Carey, noting the album takes its name from a “personal possession of mine that’s part of an entity that I’ve had almost all my life.”

The “Beyoncé” parallels would have made even more sense when you consider that Beyonce was coming off an underperforming album (2011’s “4”) before going the surprise route, much like Carey’s “Memoirs” produced just one top 10 hit (“Obsessed”) and sold a disappointing 549,000 copies, low enough to cancel a planned remix album.

Carey will cop to a few of the prerelease singles not doing particularly well, pausing to note that 2013’s Stargate-produced “Almost Home” was intended for the “Oz, Great and Powerful” soundtrack. “It was never about, ‘This is my album,’ but I wasn’t fully connected to that song. I was in the middle of that other situation in my life, which we will erase and pretend it never happened.” (That “situation” being Idol, which we’ll get to later.) “You would think I would be all about the singles-driven situation, and I am in a way, but with this particular album I want my fans to hear it as a body of work,” she says. “This is my life since we last left off. Just picture a dot dot dot, and then here’s the album.”

“Life happens, and that added to the making of this album,” songwriter-producer Bryan-Michael Cox told “Billboard” in February. “Over the past couple years we’ve added songs, scratched songs, slow-baking this record like a honey-baked ham. And when you take a bite of that ham — people will be extremely and pleasantly surprised.”

Carey’s label group Island Def Jam is probably best described as cautiously optimistic about the album, declining to respond to multiple fact-checking and interview requests for this story.

In terms of fans, anticipation for a new Carey album hasn’t been this high since her mid-2000s comeback, which saw 2005’s “The Emancipation of Mimi” go quadruple-platinum and turn “We Belong Together” into the biggest radio hit of her career, spending 14 weeks atop the Hot 100 and becoming Billboard’s top song of the 2000s. But in addition to the reteaming with Jermaine Dupri (“We Belong Together,” “Always Be My Baby”) on two tracks for the new album, she has assembled a team of collaborators that shows she has paid attention to the hip-hop and R&B charts in recent years. There’s tracks from of-the-moment producers like Hit-Boy (Kanye West and Jay Z’s “N***** In Paris”) and Mike Will Made It (Rihanna’s “Pour It Up”); guest features from Wale, Nas and Trey Songz; and even c ontributions from veeran arranger Larry Gold and the Love Unlimited Orchestra and a “special guest that I’m not allowed to reveal.”

Talk to Carey about the album, and you’ll get lengthy if cryptically worded explanations about the material, making liberal use of favorite words like “journey” (“If I use that word one more time I’ll have to start an ’80s rock band”), “festive” (her time on Idol, she says, “was not festive”) and “moment” (“I just need a moment to finish this track listing”). She’ll call you “dahhhling,” with a Zsa Zsa Gabor affectation, and grill you on your “lambily” status (that’s Mariah speak for hardcore fans, or “lambs”). “There’s no way I’ll be able to quite relive the splendor of certain moments — name that tune, lambily!” she says at one point, asking if you’ve spotted her lyrical reference to “The Roof ” from 1997’s “Butterfly.”

As Carey began work in earnest on the project in 2012, a friend compiled an exhaustive, 1,000- track playlist of all of Carey’s catalog and remixes, dubbed “The Ultimate MC Audio Collection.” Through revisiting her own 24-year career, Carey reminisced about forgotten remixes from the ’90s with producers like the late David Cole and her early experiments with genre-fusing. “I will always lean toward R&B in general, but I do think that merging hip-hop and R&B was one of the best things that happened for me as a fan of music. There’s this whole pop and hip-hop mixing together thing now — first of all, it’s not new, and second of all, why are we acting like it is?”

The album will also showcase Carey’s intro-spective, “morose” side, which certain lambily have treasured through the years from deeply personal cuts like “Looking In” (from 1995’s “Daydream”), “Close My Eyes” (from “Butterfly”) and “Petals” (from 1999’s “Rainbow”) — songs that offer an intimate glimpse into the person behind all the diva behavior. “It’s so good to hear people say they grew up with me as the soundtrack to their life, even though I was making it, so that was the soundtrack to my life as well,” she says.

It was Carey’s reconnection with “Looking In” that shaped the final phase of the current album. She performed the song live for the first time with the New York Philharmonic in Central Park last July, just one week after her shoulder injury, clad in a faux-fur sling that matched her white ballgown. The song’s lyrics were inspired by her unhappy marriage from 1993 to 1998 to Tommy Mottola, and found her singing in the third person about a girl who “dreams of all/ That she can never be/She wades in insecu- rity, yeah/And she hides herself inside of me.” Carey broke down in tears at one point during the song, cautioning the audience beforehand that it “requires a bit more stability than I have right now. I kind of got in trouble for writing this song so I’m going to try.”

After the show, Carey revisited the songs she had already earmarked for the ballad-heavy album and decided she needed a change of pace. That’s where two of the three Hit-Boy tracks came in, as well as a fresh collab with Dupri, who became her latest manager thereafter. (Carey’s management underwent several changes in 2012 and 2013, including parting ways with former Idol co-star Randy Jackson after many years together and a brief stint with Coran Capshaw’s Red Light Management.) “There were certain parts of the album where I needed to be lifted up again. I needed something uplifting.” (That’s a “Dreamlover” reference, lambily.)

That Carey is taking even more of a hands-on approach to her music these days is no surprise from a woman who co-wrote all her No. 1 singles, and has also taken more aspects of her career in her own hands amid her various management shifts and other endeavors. After being “bamboozled” by the Idol experience when footage of her feud with fellow judge Nicki Minaj leaked, for example, Carey says she would like to executive-produce her next reality-competition venture. “I have another project that I’m so very excited about that’s finally coming to fruition. I would want to do something that was authentic. And I did feel that there were some truly talented singers on there this year, last year, whenever that was. It’s a blur, it has all been a blur, all of it, dahhhling.”

But she’s also in a rarefied class of superstars in their third decade of fame who can still compete in the big leagues. Madonna, Cher and Celine Dion continue to rank among Billboard’s top-earning artists more for their exhaustive touring work, not because they’re still getting the massive radio play and album sales of their respective heydays. Carey, meanwhile, has never been much of a roadhorse (she didn’t even tour until 1993, when she played 10 theaters in support of her third album, “Music Box”) and still considers herself more of “a studio rat” at heart.

“I love being in the studio, making Wall of Sound background vocals. That’s when I’m most at home, other than being with ‘dem babies’ now. I love being onstage and connecting with the lambily most importantly, but it’s just that now nothing’s just an experience with your fans and your fans alone. It’s on YouTube immediately, not ‘Oh, that was an amazing moment I just experienced.'” So until she’s willing to do a global arena tour or a Las Vegas residency, Carey will need to keep churning out hits to extend her living legacy.

Dupri seems weary of the expectations that come with official “comeback singles,” which is why one of his first items of business as Carey’s manager last fall was releasing the ballad “The Art of Letting Go” as a teaser track on Carey’s Facebook page to set the tone for the album, rather than the typical event strategy. Though “Letting Go” will appear on the album along with “#Beautiful” and “You’re Mine,” the hope is that the fans’ response will democratize the typical album process from here.

“The challenge with Mariah has always been if I like one record and she likes another, you can never pick a single that satisfies everybody,” says Dupri. “If you just did what Beyonce did, she just gave you 17 singles and you picked which record you like.”

Even though Carey’s latest album marks the longest gap between albums, it certainly won’t be her last, despite a recent interview with Bravo’s Andy Cohen on “Watch What Happens Live” where she indicated she might be treating it as such. Still, it signifies something of a make- or-break moment at this phase in her storied career as Billboard’s second-most-decorated Hot 100 chart-topper, next to The Beatles.

“I will always make music. When I said [this album] could be my last, that’s because tomorrow’s not promised to anyone. When I release anything, it’s difficult — it could be a performance that you don’t love and it’s like, ‘Great, everybody’s going to pick this apart,’ and that’s it. What I’m trying to say is I wanted this to be something I could be proud of, whether it’s like, ‘Yay, No. 1 song!,’ and this and that. However things end up happening, we’ve all worked so hard. The true lambily have all worked so hard to break all these Billboard records and to have this incredible experience with me that I want them to have this almost as a gift.”

April 27, 2014

Billboard All Time Top 100 Songs