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      Why the Queen of Christmas Refuses to Leave Battery Park City

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      Home is important to Elizabeth Chan: “Every Christmas song I’ve written has been written here.”Elizabeth Chan is very clear on the matter: Christmas is not a competition.“You can love whatever you want about it as much as you want,” Ms. Chan, 42, said. “It’s how much it fills you with joy, and everybody has different levels of joy in their heart. But that doesn’t mean one way of being is better than another.”These are all very reasonable points. Very gracious, too. But there is no altering the fact that Ms. Chan wins Christmas. Hands down. Game, set and match.It is not because she named her daughters Noelle and Eva (for Christmas Eve). Or because the palette of her apartment in Lower Manhattan tilts toward a rich dark red and celadon green. Or because she has half a dozen Advent calendars in heavy rotation. Or even because the fragrance of the liquid hand soap in her kitchen and bathrooms is generally limited to gingerbread, peppermint, pine fir and such. (Ms. Chan stocks up when the holidays are over and everyone else has moved on from spiced plum and winterberry.)“My goal when I write Christmas music is to inspire thoughts of love, family and home to anyone who listens,” said Elizabeth Chan, who lives with her family in a two-bedroom rental in Battery Park City.Andrea Mohin/The New York TimesElizabeth Chan, 42Occupation: Composer and performer of Christmas songsA new perspective: “When I became a mother, my music changed immediately, because suddenly the story of the birth of Jesus and the story of trying to find a place for the baby became very relatable.”It’s because of this: Since leaving her job as a marketing executive a decade ago for what, at the time, seemed like a quixotic pursuit, Ms. Chan has written more than 1,000 Christmas songs (she stopped counting at 1,200) in assorted genres — pop, jazz, disco, electronic, you name it — and recorded 12 albums of her holiday-themed compositions. Some have turned up on Billboard’s adult contemporary and holiday charts. She also ghostwrites Christmas songs for performers who need a Santa’s helper.Like its predecessors, her latest collection, “12 Months of Christmas,” released in October, plays around the country in malls and stores like Walmart, Ikea, Pottery Barn and Williams Sonoma, providing Ms. Chan with an annual income that she says is in the high six figures — there’s no business like Ho-Ho-Ho business — and prompting some in the industry to refer to her as the Queen of Christmas. (Last year, when Mariah Carey, she of “All I Want for Christmas Is You,” filed an application through her company to trademark the phrase “Queen of Christmas” for future use on products like music, perfume, sunglasses and even coconut milk, Ms. Chan opposed the registration, believing that no one should have exclusive and permanents rights to the title. Ultimately, she prevailed.)Ms. Chan’s office, two floors down from the family home, is perennially decked out for Christmas.Andrea Mohin/The New York TimesCreatively and fiscally, Ms. Chan has gone far. Geographically, it’s a different story. She grew up in Battery Park City and has remained there even after 9/11 caused many, including her traumatized parents, to relocate.“I couldn’t think of anywhere else to go,” said Ms. Chan, who found a one-bedroom rental blocks away from her childhood apartment. “I thought it was going to be temporary. I think I’ve stayed because every Christmas song I’ve written has been written here.”When Ms. Chan married 13 years ago, her husband, Andy Fraley, who designed her website and also designs her album covers, joined her in the apartment. And when she decided to ditch corporate life and become a struggling artist, the couple stayed put, although it meant making room for six keyboards, three guitars, a ukulele, a Chinese stringed instrument called a gu zheng, speakers and then, eventually, their first child, Noelle, now 5, and the attendant baby paraphernalia. Oh, and did we mention the dog?Four years ago, through a local mothers’ group, Ms. Chan learned that a family in the building was moving to New Jersey and was hoping to find someone to take over their two-bedroom apartment.“My husband went to look at it, and things were in a crazy state of affairs,” Ms. Chan recalled. “There were crayon and magic-marker marks on every wall, and he said, ‘We’ll take it.’ He knew I was never going to leave the neighborhood — that I was never going to leave the building — because it’s home.”Shelves have been stripped of books to make space to display a Lego Christmas Village scene.Andrea Mohin/The New York TimesMs. Chan puts a heavy emphasis and great value on home. Many of her songs have the word “home” in the title or the lyrics. Home frequently figures in conversations with her. Dilating on the topic, she gets unapologetically weepy.Even though the family has settled fully into the more spacious apartment — their numbers now include Eva, 2 — Ms. Chan clings to the other space because that, too, is her home. It’s easily identified by the sleigh bell-encrusted Christmas wreath.“In the way you walk into your house and it smells familiar — that’s this place, for me,” she said.There she wraps and hides her children’s Christmas presents, writes songs, does business Zoom calls and records promos for the radio stations that play her music. Ms. Chan gets inspiration from the fully decorated artificial Christmas tree that, like the wreath, remains in place year-round; from the decorative holiday pillows, of which there are many; and from a photo of her maternal grandmother presiding over a Christmas pageant in her village in the Philippines. “She taught me what matters,” Ms. Chan said.“I usually take January off and start writing Christmas songs again in February,” Ms. Chan said.Andrea Mohin/The New York TimesOn a Friday morning in early December, the holiday spirit was ascendant two floors up, in the family quarters. The bookshelves had been given over to displays of Lego Christmas Village scenes and a Fisher-Price Little People Nativity set. Red stockings were hung with care over the red-painted wood console. A “Santa Stop Here” tree-topper was ready to be put in place, and the marble-topped dining table where Ms. Chan sat, a decade ago, to map out her business, had been cleared off to make room for a gingerbread house or two.“This is what Christmas looks like to me,” she said, gazing around the living room. “I wouldn’t feel comfortable living anywhere else. Since my songs are focused on love and family and home, uprooting would affect my music.”For weekly email updates on residential real estate news, sign up here. More

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      Mariah Carey’s ‘All I Want for Christmas Is You’ Returns to No. 1

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      The singer’s holiday anthem, first released in 1994, ends Taylor Swift’s six-week run atop the Hot 100 singles chart.Back in 1994, Mariah Carey released the album “Merry Christmas,” with an anchor track, “All I Want for Christmas Is You,” that mixed the R&B production style of the era with nostalgic touches reminiscent of Phil Spector. The song did well at radio, and the album reached No. 3 on Billboard’s chart, behind LPs from Kenny G and Boyz II Men.Flash forward a couple of decades and Carey’s song had become a modern classic, but chart domination had long eluded it. After a yearslong promotional push that included a concert residency at the Beacon Theater in New York, an animated film and a new music video — as well as the song’s annual ubiquity on streaming playlists — “All I Want” finally made it to No. 1 on Billboard’s Hot 100 chart in 2019, and repeated the feat in 2020 and 2021.Now Carey’s seasonal blockbuster has returned to No. 1 yet again, ending the six-week reign of Taylor Swift’s “Anti-Hero.” Buoyed by streaming, “All I Want” leads a new Top 10 dominated by decades-old holiday hits, including Brenda Lee’s “Rockin’ Around the Christmas Tree” (1958) at No. 2, Bobby Helms’s “Jingle Bell Rock” (1957) at No. 3 and Burl Ives’s “A Holly Jolly Christmas” (1964) at No. 4.On the album chart, “Heroes & Villains,” the new LP by the rap super-producer Metro Boomin, opens at No. 1 with the equivalent of 185,000 sales in the United States, including 233 million streams, according to the tracking service Luminate. Metro Boomin, whose real name is Leland Wayne, has produced hits for artists like Migos, Future, Gucci Mane and Post Malone, but “Heroes & Villains” is his third time at No. 1 with an album of his own.The release features a deep bench of guest stars, like the Weeknd, 21 Savage, Travis Scott, Future and Takeoff from Migos, who was shot and killed six weeks ago. The 85-year-old actor Morgan Freeman also contributed his familiar voice-of-God narration to a promotional short film and parts of the album, as he did on a joint LP by Metro Boomin and 21 Savage two years ago.Swift’s LP “Midnights” falls to second place in its seventh week out, five of those at No. 1. Drake and 21 Savage’s “Her Loss” is No. 3, Bad Bunny’s “Un Verano Sin Ti” is in fourth place and Michael Bublé’s 11-year-old holiday favorite “Christmas” falls one spot to No. 5.Carey’s “Merry Christmas,” from 1994, lands at No. 10 on the album list. More

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      How to Mint a Holiday Hit

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      Grabbing a piece of the lucrative holiday market requires planning, luck and the occasional battle with a seasoned superstar like Mariah Carey.Last December, while the popular a cappella group Pentatonix was on tour with its fifth holiday album, the ensemble’s five members gathered backstage around a whiteboard to brainstorm ideas for 2022.High on the list: a sixth Christmas album.“Holidays Around the World,” Pentatonix’s latest, joins a holiday release wave that gets more crowded every year. Alicia Keys, Sam Smith, Lizzo, the Backstreet Boys and the duos of Dolly Parton-Jimmy Fallon and David Foster-Katharine McPhee are all out with new seasonal albums or singles, vying for radio time and the most coveted real estate of all: plum placement on the streaming services’ big playlists.Holiday music has long been a big business; back in 2018, Billboard estimated it at $177 million in the United States alone, and since then the overall recorded music business has grown by well over 50 percent.But streaming has supercharged it. Listeners now have easy access to decades’ worth of material, leaving contemporary artists to compete against not just each other but also all the hits of the past, by Nat King Cole, Elvis Presley or Mariah Carey. This week, streaming helped send Carey’s 28-year-old “All I Want for Christmas Is You” to No. 2 on Billboard’s Hot 100 singles chart, beaten only by Taylor Swift’s latest.A vast audience awaits the victors: In the week leading up to Christmas last year, holiday songs accounted for 10 percent of all music streams in the United States, according to the tracking service Luminate. And on Christmas Eve, Amazon Music received 35 million voice requests around the world for holiday songs through devices like the company’s Alexa-enabled smart speakers.The a cappella group Pentatonix has made holiday music a core part of its identity and business.Jason Szenes/EPA, via ShutterstockSome of the standard strategies of pop streaming can help get an edge, music executives and marketers say. Front-load a song’s hook to deter skips. Tee up plenty of “features” — track-by-track collaborators, the more famous the better — to invite fan cults.Pentatonix’s new album, for example, includes Meghan Trainor, the classical pianist Lang Lang and Lea Salonga, who has been the singing voice for Disney princesses, alongside guests less known by mainstream American audiences, like the eclectic Los Angeles group La Santa Cecilia and the Indian vocalist Shreya Ghoshal. The group said it created a detailed spreadsheet to track all the cultures, songs and artists it wanted to include.Media tie-ins also help. Last week, Disney Plus released “Pentatonix: Around the World for the Holidays,” a special in which the group pokes gentle fun at its specialty. In the show, the members find themselves stumped in a recording studio, having already done every Christmas song in the book. So, while locked in a magical break room with candy cane décor (hey, it’s Disney), they sift through fan mail from around the planet and arrive at their concept: a multicultural holiday album with far-flung collaborators.“There’s a sense of spirituality in Christmas music,” Mitch Grassi, one of the Pentatonix singers, said in a recent interview. “It creates an atmosphere of togetherness and community, acceptance and warmth.”Yet holiday music can also be the most unforgivingly conformist side of the industry, in which old songs and styles dominate the market and anything new or unorthodox risks being buried under decades of tinsel.In an interview, Foster, the golden-touch pop producer who has worked on hit Christmas albums by Celine Dion, Michael Bublé and Josh Groban, relayed what he has learned as the three rules of the game.No. 1: The public prefers the old classics, and isn’t too interested in new songs.No. 2: Singers shouldn’t wander too far from the melody.No. 3: “You can’t be too corny at Christmas. You totally get a free pass.”Foster stressed the importance of the first rule, noting that violating it could sink any holiday album. “In general, people want to hear the old songs,” he said. “They don’t want to hear a songwriter like me write a song about sitting by the fireplace, Santa’s coming down the chimney, there’s snow outside.…” He trailed off.“Christmas Songs,” Foster’s seven-track mini-album with McPhee, his wife, is an illustration of this approach, featuring swinging pop-jazz takes on “Jingle Bell Rock,” “Rudolph the Red-Nosed Reindeer” and others (though it does have one original, “My Grown-Up Christmas List”).To capture attention on streaming playlists, record labels start their work early. Lyn Koppe, the executive vice president of global catalog at Sony Music, said the company begins marketing songs in the summer, seeding search engines and prepping their own playlists. During the holiday season, Sony — whose thick portfolio of evergreens includes Presley’s “Blue Christmas,” Gene Autry’s “Here Comes Santa Claus (Right Down Santa Claus Lane)” and Carey’s “All I Want for Christmas Is You” — runs a global data dashboard tracking songs’ performance.David Foster, left, and Katharine McPhee released a mini album called “Christmas Songs.”Paul Archuleta/Getty Images“It’s not like we just wake up and go, ‘Oh, it’s Christmas,’” Koppe said. “We’ve been thinking for many, many months.”For current artists, the biggest challenge is turning a new song into a classic. In the old days, that meant having a catchy music video, pushing the song at radio and hoping that it stuck. Now the process can still take years, but it involves TikTok virality, perhaps a movie usage and, most important of all, user attention on streaming playlists, which can translate into return appearances year after year.“Getting on key algorithmic stations is really everything,” said Andrew Woloz of the music company Concord, who pointed to the version of “Carol of the Bells” by the crossover violinist Lindsey Stirling, which was released five years ago but has stuck around on TikTok, giving it an edge on current playlists.Relatively few new songs from the streaming era have become anything like classics. One of them is Ariana Grande’s “Santa Tell Me,” from 2014, which Karen Pettyjohn, the principal music programmer for Amazon Music, added to its giant Holiday Favorites station last year — which sprinkles some new tracks in with the old chestnuts — and saw it “cut through” very well.“Ariana’s fans are aging with her,” Pettyjohn said. “It becomes a classic to them.”Grande’s song gets a small boost on TikTok, where it has been used in 371,000 videos — peanuts compared to Carey’s smash, which has been used on TikTok 12 million times and racked up more than 1.2 billion streams on Spotify alone.The enduring popularity of Carey’s song is one of the great phenomena of the contemporary music business. In 2019, after a yearslong push by Carey and her label that involved a children’s book, a new music video and numerous live Christmas shows, “All I Want” finally made it to No. 1 on the Billboard Hot 100 singles chart, 25 years after its initial release. (It topped that chart again in 2020 and 2021, and has a good shot of doing so again this year.)But Carey’s dominance in another arena became the subject of a legal fight this year, after she attempted to trademark the term “Queen of Christmas,” not only for music but also for fragrances, clothing, dog collars, hot chocolate and dozens of other products.Her only challenger was Elizabeth Chan, who a decade ago gave up a marketing job at Condé Nast to devote herself to writing holiday music, and who has called herself — and titled one of her albums — the Queen of Christmas.In a recent interview at her small home office in Lower Manhattan, which she keeps decorated for Christmas year-round, Chan said the trademark was a threat to her livelihood. While strictly D.I.Y., Chan has built a full-time business making holiday music, releasing 12 albums to date, including her latest, “12 Months of Christmas.” She would no longer be able to use the term “Queen of Christmas” if Carey’s application was approved.The costs of litigating a trademark can be huge, but Chan’s attorney, Louis W. Tompros, said his firm, WilmerHale, took the case pro bono because they viewed Carey’s application as an example of “classic trademark bullying.” Carey never responded to Chan’s opposition, and on Nov. 15, the Trademark Office’s trial and appeal board issued a judgment by default, denying Carey the trademark. Chan, and anyone else, is free to call themselves Queen of Christmas.Chris Chambers, a representative of Carey, said in a statement that the “world at large” began calling her “Queen of Christmas,” and added, “Ms. Carey wishes everyone a Merry Christmas and says anyone who wants to call themselves a queen can freely do so, anything else is petty and unfestive.” (Had her application been successful, other performers, like Chan, would not have been able to.)Chan said she had no choice but to fight the trademark, but still framed the result as suited to the holiday.“Everyone in this business wants to tell you what’s not possible because they don’t know what’s possible,” she said.“Not only do I want to leave a great Christmas song behind, I want to leave that lesson behind,” Chan added. “That’s Christmas too — the season of perpetual hope.” More

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      Taylor Swift Holds at No. 1 as Christmas Music Returns to the Charts

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      “Midnights” and “Anti-Hero” top the Billboard 200 and Hot 100, but nostalgic favorites are starting to arrive in force.Taylor Swift holds the top spots on the Billboard album and singles charts this week, as a wave of holiday music arrives with help from streaming playlists.Swift’s “Midnights” reigns atop the Billboard 200 album chart for a fifth time, with the equivalent of 151,000 sales in the United States, according to the tracking service Luminate. Her single “Anti-Hero” notches its sixth No. 1 on the Hot 100, with 21 million streams and 69 million “airplay audience impressions,” a measurement of the song’s popularity on radio.Otherwise, it’s beginning to look a lot like Christmas — particularly on the singles chart, where six nostalgic favorites reach the Top 10. Mariah Carey’s 28-year-old “All I Want for Christmas Is You” is No. 2, and Brenda Lee’s “Rockin’ Around the Christmas Tree” (1958) is No. 3, sending Sam Smith and Kim Petras’s recent dark pop hit “Unholy” to fourth place. Bobby Helms’s “Jingle Bell Rock” (1957), at No. 5, and Burl Ives’s “A Holly Jolly Christmas” (1964), at No. 6, beat out the latest from Drake and 21 Savage, whose “Rich Flex” lands at No. 7.Also in the Top 10: Andy Williams’s “It’s the Most Wonderful Time of the Year” (1963) is No. 9, and Wham!’s “Last Christmas” (1984) is No. 10.On the album chart, Drake and 21 Savage’s “Her Loss” holds at No. 2 and Bad Bunny’s “Un Verano Sin Ti” is No. 3. (Along with “Midnights,” those positions have held firm for three weeks.) From there, the Christmas brigade begins. Michael Bublé’s “Christmas” (2011) is No. 4, bumping Lil Baby’s “It’s Only Me” to fifth place.Nat King Cole’s “The Christmas Song” (a version of an LP that dates to 1960) is No. 8 and the Vince Guaraldi Trio’s “A Charlie Brown Christmas” (1965) is No. 10. More

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      How to Choose a Karaoke Song

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      Choose something in your range. Avoid cold drinks to save your throat. “Don’t sing ‘I Will Always Love You’ if you cannot hit those notes,” says Garvaundo Hamilton, 33, who won the Karaoke World Championships in 2020. Just because you like a song does not mean you should sing it. Many classic songs should probably be avoided unless you’re a trained vocalist with an expansive range — including all of Whitney Houston, Mariah Carey, Celine Dion, Journey and Queen, particularly “Bohemian Rhapsody.” If you want to sound good, he also suggests caution when attempting “rap that’s really too fast for you.” Hamilton, a general manager at a print shop in Seattle, goes out to karaoke nearly every night of the week. He spends at least four hours a day singing to himself in the car, in the shower, at his desk and anywhere else he can. Use a karaoke app on your phone to practice. Hamilton keeps a list of go-to songs on his phone divided into different categories, including up-tempo, ballads and duets. His favorite is Alexandra Burke’s version of Leonard Cohen’s “Hallelujah.” For karaoke, you don’t need to have all the lyrics memorized, but it helps to have practiced a song until you can sing it confidently. Given the choice, Hamilton avoids private karaoke rooms, opting instead for the bar-style public ones where your audience includes strangers. If you’re shy or planning to sing something new, alcohol can sometimes ease nerves. Don’t overdo it, and choose a room-temperature drink. “Cold beverages aren’t good for your throat,” Hamilton says. You don’t have to be a great vocalist, but your skill level should be a consideration when choosing what to sing. An upbeat party song that prompts a singalong can be a good option for so-so singers who might struggle to carry a song alone.Karaoke varies by geography. Hamilton first started as a teenager in Jamaica, where, in his experience, audiences tolerated only accomplished singers. “They’ll boo you, they’ll stop you, they’ll kick you off the stage,” he says. Hamilton has found that some cities have more skillful singers (New York, Atlanta) and some lean more toward tone-deaf drunks (Los Angeles, Chicago). For the most part though, your fellow karaoke-goers are looking for joy and release; expect to be supported so long as you’re making a heartfelt effort. “Most people are there to sing and not to be judgmental,” Hamilton says. More

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      Mariah Carey Urges Britney Spears to 'Stay Strong' on Twitter

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      As Britney Spears made an anguished speech in court about the control exerted over her life for years, fans, observers and fellow pop stars responded with shock to the details that trickled out from the hearing in Los Angeles, sending messages of support and solidarity.In the hearing, Ms. Spears said she believed that the conservatorship — a legal arrangement that controls her personal life and finances — was “abusive” and that she had not been able to live a full life. Midway through Wednesday’s hearing, after Ms. Spears had finished her prepared testimony, the singer Mariah Carey urged her to “stay strong.”We love you Britney!!! Stay strong ❤️❤️❤️— Mariah Carey (@MariahCarey) June 23, 2021
      Devoted fans on social media who have long suspected that Ms. Spears was not happy with the arrangement commended Ms. Spears for speaking up and reacted with disgust to parts of her account.Ms. Spears also received supportive words on social media from the singers Brandy, Tinashe and Liz Phair, who wrote that declaring a woman “mad” to gain control of her assets was the “oldest trick in the playbook of the patriarchy.” The singer Halsey wrote on Twitter that she admired Ms. Spears’s courage in speaking up and hoped that she would be freed from the “abusive system.” More

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      Mariah! Dolly! Carrie! 2020 Can’t Quarantine This Cheer

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      #masthead-section-label, #masthead-bar-one { display: none }The Best of 2020Best ComedyBest TV ShowsBest BooksBest MoviesBest AlbumsAdvertisementContinue reading the main storySupported byContinue reading the main storycritic’s notebookMariah! Dolly! Carrie! 2020 Can’t Quarantine This CheerPop stars try to pull off a Christmas spectacular in tough times, with three sparkly but heartfelt specials now on streaming services.Pop divas in holiday sparkle: from left, Carrie Underwood, Mariah Carey and Dolly Parton.Credit…From left: Anne Marie Fox/HBO Max, Apple TV Plus, CBSDec. 18, 2020, 9:00 a.m. ETWith the C.D.C. advising against faithful friends who are dear to us gathering anywhere near to us, it’s understandable that we all might need some extra assistance getting into the holiday spirit this year. One of the few bright spots of the season, though, is the abundance of new Christmastime musical specials, helmed by some of our most beloved and benevolent divas. Thank the streaming wars, in part: HBO Max, Apple TV+ and CBS All Access have all jockeyed to get a different A-list angel atop their trees, perhaps in hopes that they’ll persuade you to subscribe to one of their services before your long winter hibernation (or at least forget to cancel before your free trial is over.) Whether gaudy, glorious excess or down-home simplicity, each offers a different take on a perplexing question: How do you stage a Christmas spectacular in decidedly unspectacular times?First up is Carrie Underwood, whose “My Gift: A Christmas Special From Carrie Underwood” is streaming on HBO Max. A companion piece to her recent first holiday album, the stately and reverent “My Gift,” Underwood’s special finds her fronting an orchestra led by the former “Tonight Show” bandleader Rickey Minor. Featuring duets with John Legend and, adorably, her 5-year-old son Isaiah (whose pa-rum-pa-pum-pums are impressively on point), “My Gift” is relatively light on pizazz — save for the eight (!) increasingly dramatic costume changes. As Underwood’s stylists told “People” magazine in an article devoted entirely to all of her different “My Gift” outfits, the fact that the country powerhouse wouldn’t be moving around the stage much gave them an opportunity to “break out these giant confections of tulle and sequins that would never really be appropriate for any other event.” The most memorable is a crimson-tinged Diana Couture dress-and-cape number that suggests a cross between a bridal cake-topper and Jude Law on “The Young Pope.”A scene from “Mariah Carey’s Magical Christmas Special,” which features guests like Jennifer Hudson and Ariana Grande.Credit…Apple TV PlusThe splendor and stirring purity of Underwood’s voice is powerful enough that even a plunging ball gown adorned with literal angel wings cannot overshadow it. Underwood’s most sublime belting, though, doesn’t come until the penultimate set of songs, when she absolutely blows the roof off “O Come All Ye Faithful” and “O Holy Night.” It’s enough to make the relative restraint of the rest of the show pale in comparison. “We really wanted this special and my album to be something that people would return to year after year and not feel dated,” she told “People” and, accordingly, there’s nary a nod to 2020 in sight. It’s a safe choice in a production so full of them that, despite its ample cheer, ends up feeling a little hermetic and snoozy.An offering not as worried about time-stamping itself is “Mariah Carey’s Magical Christmas Special,” a star-studded entry from Apple TV+ in the Yuletide streaming wars. It’s certainly the most plot-heavy of the bunch (a neurotic elf played by Billy Eichner must restore Christmas cheer to a world low on tidings by booking an impromptu Mariah concert, or something), and the one with a wardrobe that most frequently luxuriates in the lack of F.C.C. oversight of streaming content. Perhaps when she wrote “All I Want For Christmas Is You” she was singing to double-sided tape.Though a tad convoluted, Carey’s special is full of one-liners and knowing winks; when the elf has trouble tracking her down, she informs him, “It’s called elusive, darling.” Woodstock makes a brief, animated cameo (perhaps to remind us that Apple owns the streaming rights to the “Peanuts” specials, too), which provides a segue into Carey’s gorgeous, sultry rendition of “Christmastime Is Here.” A lot happens throughout these overstuffed 43 minutes, and the special could have done without some of the bells and whistles. The whistle notes, however, are another story.The most diva-licious moment of the whole affair comes when Carey is joined by two very special guests, Jennifer Hudson and Ariana Grande — who she stages behind her, so that they end up looking like the Supremes to her Diana Ross. Classic elusive chanteuse. By the song’s finale, though, she’s invited them both to stand beside her and riff. It provides the opportunity for something the world has been waiting for ever since a young Grande earned the nickname “Baby Mariah”: They look at each other respectfully, inhale deeply, and harmonize their whistle notes. This must be the exact sound heard when the Covid-19 vaccine enters one’s bloodstream.In “A Holly Dolly Christmas,” Dolly Parton offers the crackling warmth of a hearth.Credit…CBSA woman who might know is Dolly Parton, generous Moderna vaccine trial donor and star of the heartwarming CBS special “A Holly Dolly Christmas.” An hourlong show originally made for Sunday-night broadcast on CBS (and now streaming on CBS All Access), hers is the most traditional of the bunch, and hardly the flashiest: “It’s not a big Hollywood production show, as I’m sure you’ve noticed,” Parton says, gesturing around a set meant to look like a homey church. But she also specifies, “We have managed to do this show safely …. testing, wearing masks and social distancing.”Parton is such a charismatic presence that she doesn’t need guest stars, plot twists, or costume changes to keep this a transfixing show. Whether she’s hamming it up during “I Saw Mommy Kissing Santa Claus” or filling the spiritual “Mary, Did You Know?” with empathic emotion, her special offers the crackling warmth of a hearth. Before singing her classic “Coat of Many Colors,” she tells a moving story about her late mother’s selflessness, her painted eyes brimming full of tears the entire time. Just try not to cry along with her.Earlier in the fall, Stephen Colbert showed just how tall an order that is, when he was reduced to tears after Parton burst into a ballad a cappella during their televised interview. “Like a lot of Americans,” he explained, “I’m under a lot of stress right now, Dolly!” It’s nothing to be ashamed of, though: Plenty believe there’s something deeply cathartic about Parton’s voice and her overall demeanor. As Lydia R. Hamessley writes in her recent book “Unlikely Angel: The Songs of Dolly Parton,” “For many listeners, the restorative effect of Dolly’s music seems to flow to them directly from Dolly herself, so they often experience her as a healer.” Which sounds like something we could all use right about now. As Parton spins yarns about her humble beginnings and sings songs of enduring faith in the face of despair, “A Holly Dolly Christmas” might, actually, be an effective cure for the 2020 holiday blues.AdvertisementContinue reading the main story More