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Mariah Carey Offered Front-Row Tickets For Her Christmas Concert To A Fan With A Sprained Foot

Though Mariah Carey may not legally be able to call herself the Queen of Christmas, the “All I Want For Christmas Is You” hitmaker is till in the spirit of giving this holiday season. Ahead of her show tonight (December 16) at Madison Square Garden in New York City, Carey treated a fan with a very special gift.

Earlier in the week, a fan of hers took to Twitter, explaining their dedication to seeing the icon, despite dealing with an injury.

“Having a sprained foot is not going to stop me from seeing @MariahCarey on friday! i will crawl in MSG,” they said.

Carey caught wind of the tweet, and decided to treat the fan to the ultimate Christmas gift.

“I wouldn’t want you to crawl!!,” said Carey. “Maybe instead you can sit in the front row for tomorrow’s show???”

Of course, the fan was elated to receive such good news.

“GUYS IM SHAKING LOL,” said the fan.

Needless to say, we’ll be staying tuned for updates from the fan.

Tonight marks the last night of Carey’s “Merry Christmas to All” concert series at Madison Square Garden. The concert will air in a special presentation on Tuesday, December 20, at 8 p.m. EST on CBS.

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SZA’s ‘SOS’ Behind-The-Scenes Video Reveals It Almost Featured Frank Ocean, Billie Eilish, And Many More

While SZA’s new sophomore album, SOS, features collabs from Phoebe Bridgers, Travis Scott, Don Toliver, and Ol’ Dirty Bastard, she recently revealed that she had way more in mind.

“Sometimes people turn in their verses and sometimes they don’t,” she said during an interview on Hot 97 via NME. “And a lot of people just like did not turn in their verses, but I’m grateful for who did.”

In a new youTube video titled “SOS Where The Hell Have You Been ?”, fans spotted a whiteboard in the behind-the-scenes footage of the album’s creation. And on it are the names of some major artists that could have been on the album.

Bad Bunny, Billie Eilish, Doja Cat, Drake, Finneas, Frank Ocean, Halsey, Harry Styles, Kacey Musgraves, Kendrick Lamar, Olivia Rodrigo, Rosalía, Tyler, The Creator, and more are the big musicians that have been made out so far. And what a wild album that would’ve been… Or could be, in the future.

The whiteboard also has a section labeled Benchmarks where it lists RNB and Grunge (specifically, The Cardigans). You can also make out the words “murder them” which might be a reference to songs like “Kill Bill.” It also has the phrase “guard down.”

Watch SZA’s behind-the-scenes of SOS video above.

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Kid Cudi’s Breakout Song ‘Pursuit of Happiness’ Earned Diamond Status, Rapper Reflected On The Journey

Lil Wayne isn’t the only rapper to cross a significant milestone this week. Former G.O.O.D. Music artist Kid Cudi’s breakout single, “Pursuit of Happiness (Nightmares),” is now R.I.A.A. certified diamond. The track, off from his album, Man on the Moon: The End of Day, quickly solidified his footing in the rap game back in 2009.

As Kid Cudi prepares for retirement from music due to toxic online users, he can add one more musical notch to his belt before he begins working on his rumored memoir. To commemorate the moment, the rapper took to Twitter to write, “‘Pursuit of Happiness’ is certified diamond. Thank you to everyone who connected with this song and played it over and over all these years. I love you all!”

With the accomplishment still lingering in his mind, Kid Cudi jumped online today to add, “I was in rehab when the frequency video came out. I shot it, then went on a 2-week cocaine run,” later edited the tweet to include, “The video sneaking into the bathroom to do bumps. Then, I woke up one day and said, “Ima die if things don’t change. So, I made sure things changed.”

He ended the thread with, “Sometimes, you gotta fight for your life because it’s the greatest gift we all have.”

Read our review of his latest album, Entergalactic, here.

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Cecily Strong Gives Lizzo And Austin Butler A Booming Christmas Gift In A New ‘SNL’ Promo

This week’s Saturday Night Live has a promising set of guests. Hosting the night’s show is Elvis actor Austin Butler, who has garnered much buzz this year for playing Elvis Presley in his biopic. Lizzo, who released her critically-acclaimed sophomore album Special this year, is also having a great year. In fact, this is actually her second time performing on SNL this year. This past April, Lizzo served as both the musical guest and the host on an episode of SNL.

In a new promo for this week’s SNL, Lizzo and Butler appear alongside SNL actress Cecily Strong. Austin introduces himself and Lizzo, the latter of who proceeds to ask Strong, “Did you see the presents we left in your room, Cecily?”

Strong, taken by surprise, replies “You guys got me a present?,” to which Butler answers, “Yeah, you didn’t get anything for us?”

Strong then answers, “Yes, I did,” then proceeds to pull a boom microphone from offscreen. The two are elated upon receiving their new gadget.

“Santa came early, thank you Cecily!,” Lizzo exclaims.

“It’s just what we wanted,” says Butler.

Austin Butler and Lizzo’s episode of Saturday Night Live airs this Saturday, December 17, at 11:30 p.m. EST on NBC, and streams live on Peacock.

Check out the promo above.

Lizzo is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.

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Miley Cyrus Appears To Be Teasing Music For The ‘New Year’ As Fans Spot Her Cryptic Global Posters

Miley Cyrus fans might be in for a special holiday treat, as the pop star appears to be teasing some music in the new year. A picture of new posters in Los Angeles went viral on Twitter, bearing the phrase “New year, new Miley.” Other fans have added spotting them in major cities like Copenhagen, so whatever is coming appears to be major.

“queen of rock is coming,” one fan replied. “we haven’t recovered from the collapse that plastic hearts was we really aren’t ready,” another wrote.

Cyrus appeared in Rae Sremmurd’s Instagram post with her former Bangerz era producer, Mike Will Made It. Many fans have speculated that she might be returning to the roots of the iconic 2013 album, which is regarded as a favorite. “EAR DRUMMERS & HEAD BANGERZ!” Sremmurd wrote.

Adding to the seemingly-confirmed theories, People Magazine reported that Sremmurd also posted “2023” on his Instagram story — coinciding with Cyrus’ timeline on the posters.

Earlier this year, she dropped the Attention live album that included her viral covers of Joan Jett, Madonna, and many more. Cyrus is also set to co-host her annual Miley’s New Year’s Eve Party alongside Dolly Parton, which will air live on December 31 on NBC and Peacock.

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The Most Impactful Photograph of 2022, Picked By Unsplash

There’s something truly special about open-source platforms. From video to coding to photography, these platforms allow humanity to share, connect, and improve the billions of ideas combusting all around us. A major pioneer of the open photography movement, Unsplash has contributed to the creation of what’s become known as “Stock Photos.” Acquired by Getty Images in 2021, it’s now one of the world’s leading sites for free images and a perfect launchpad for aspiring photographers.

Each year, to find the most impactful photo, Unsplash invites artists from around the globe to send in their pics for categories ranging from Athletics to Experimental to Current Events. Finalists are then selected by industry professionals representing iconic brands like Vogue, National Geographic, and Nike. While only one photo can earn the coveted Photo of The Year, this is the perfect place to get one’s name out into the upper echelons of the business.

From a collection of captivating finalists, the community selected Leandra Rieger’s isolated house under a full moon as the most impactful photo of 2022. Panelist and professional Architecture Photographer Simone Hutsch noted “The composition has a supernatural feeling, it creates a moment of calm and peacefulness in this world of chaos that we’re living in right now.”

Check out the winner, as well as the other worthy finalists down below.

Street Photography: Jerrin James — Toronto, Canada — Fujifilm X-T30 II

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Food & Drink: Юлія Вівчарик — Kiev, Ukraine

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Nature: Zetong Li

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Film: Bryan P.M

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People: Marcos Paulo Prado — Rio de Janeiro, Brazil — Canon, EOS 6D

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Experimental: Nantu DAS

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Current Events: Y S — San Jose, United States — Sony A7 III

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Athletics: Mark McNeill — Lancashire, England — Nikon Z7

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Fashion & Beauty: Simeon Asenov — Canon EOS 700D

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3D: Alex Shuper — Liepaja, Latvia — Blender 3.2

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Architecture & Interior: Yifei Wong — Shanghai, China — Fuji SP-3000

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Community Photo of the Year: Leandra Rieger — Germany

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A Christmas Lights Show In Houston Went Viral For Syncing Its Display To Songs By Bad Bunny And Lil Jon

If your several plays of Mariah Carey’s “All I Want For Christmas Is You” have worn out your stereo, a Houston homeowner has come up with a creative way to crunk up the holidays. A man by the name of Frank To-ong, better known as H-Town Frankie is returning with his perfectly synced Christmas lights for the ninth year in a row.

While it’s not unusual for homeowners to sync their Christmas lights to traditional holiday carols, Frankie likes to sync his lights to blink and display to some big bangers.

In one TikTok clip, some of Frankie’s lights are seen blinking to Lil Jon & The Eastside Boyz’s “Get Low,” with the lyrics on display on the closed garage door.

Another clip sees the lights putting on a show to one of this year’s biggest hits, “Titi Me Pregunto” by Bad Bunny.

It appears that Frankie likes to get in the Christmas spirit beginning in November. In one clip, the lights are seen dancing to the viral trap remix of Shirley Caesar’s “Beans, Greens, Tomatoes,” song which recirculates every Thanksgiving season.

@htown_frankie

Thanksgiving week … Queue the Anthem! I fry turkeys. What’s your go to dish? #htown_frankie #christmas2022 #fyp

♬ original sound – Frankie To-ong

In an interview with Secret Houston, Frankie expressed pride in his hometown, as well as the lights’ global impact.

“When people know that the creator of this content is from Houston, that makes me proud,” said Frankie. “That is the coolest thing ever. This is my town. This is my city.”

Check out some of the Christmas light syncs above.

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What’s Wrong With The Timberwolves’ Offense, And Is It Fixable?

Over the final 33 games of last year, the Minnesota Timberwolves closed the regular season at 22-11. They ranked second in offense and fifth in net rating in that stretch. Expand to the full season and they were still seventh offensively.

This season, after drastically reshaping their roster by acquiring All-NBA center Rudy Gobert, they’re 18th. Through the 20 games Karl-Anthony Towns started and finished before a calf strain sidelined him, they were 19th. Through a quarter of the year, Minnesota’s grand experiment wasn’t working. Without Towns for the past eight games, they’re 21st offensively. The conclusion remains the same.

So, what’s gone wrong for the Timberwolves? Why have they failed to be the prolific offense that fueled their joyful 2021-22 playoff run? Is anything salvageable or are they doomed until changes get made to the roster?

The culprits behind these failures are widespread. Gobert’s shortcomings are a factor. Lead ball-handlers in Anthony Edwards and D’Angelo Russell carry responsibility. The roster construction is at odds, and Towns isn’t free of blame.

Let’s start with Gobert, the three-time All-Star who established himself as an excellent ball-screen partner in Utah’s expansive, well-spaced offenses over the last half-decade. Gobert’s presence in those well-oiled Jazz attacks was a symbiotic relationship. They surrounded him with a slew of ball-handlers and shooting, while his roll gravity and lob threat freed up shooters and offered a release valve inside.

Minnesota is not that. Whereas Utah was top 10 in both three-point frequency and accuracy each year between 2018-19 and 2020-21, the Timberwolves are 20th in frequency and 25th in accuracy. Last season, the Timberwolves were third in three-point rate and 13th in accuracy, but Tauren Prince’s absence, Towns’ down year (32.5 percent from deep) affect the outlook, and Jaylen Nowell dropping off from a 39.4 percent shooter to 30.1 percent this year have not helped the situation.

On top of some internal regression, their rotation boasts fewer quality shooters overall. Gone are Malik Beasley and Patrick Beverley (who hit 34.3 percent from deep last year), and now guys like Kyle Anderson, Jordan McLaughlin, Jaden McDaniels, and, currently, Austin Rivers have stepped in, none of whom defenses typically respect beyond the arc. As a result, opponents are more willing to aggressively sag off and complicate Gobert’s finishing angles.

That’s an issue. Gobert’s touch, flexibility, and capacity to finish through contact are poor. He’s a premier lob threat, but lacks the versatility to convert in a plethora of ways. He can’t usually beat switches or contort himself around timely rotations. For all the qualms about his playoff defense, his rigidity as an interior scorer was a much more glaring problem.

It’s persisted in Minnesota, an offensive context much less conducive to success than Utah’s. According to Cleaning The Glass, his 72 percent mark at the rim places him in the 55th percentile among bigs, his lowest ranking since 2015-16.

Minnesota’s primary decision-making trio of Edwards, Russell, and Towns is not sufficient to navigate this precarious situation. It was part of their downfall against the Memphis Grizzlies in the playoffs and has translated to their slow start this year. Anderson assuming a significant ball-handling role speaks to his heady decision-making but also underlines the concerning state of the rotation. He’s very good at prioritizing reads to Gobert, but he’s also a substantially limited on-ball creator and all-around scorer. A high-level offense ideally treats him as a connector, not an initiator. Minnesota aims to be a high-level offense, yet is forced to rely on him as the latter because of surrounding problems.

In general, those designed to feed Gobert are not equipped like those in Utah were. He’s also given them some reasons for doubt when they do feed him, fumbling passes and botching point-blank attempts. Trust is earned and it simply might not yet exist among all the new faces.

Edwards brings downhill juice as a scorer, but is not an adept passer, especially on the interior. Russell is a talented, albeit flawed playmaker, who struggles to regularly turn the corner. Guys like Donovan Mitchell, Mike Conley Jr., and Joe Ingles merged both aspects. The latter two’s chemistry with Gobert was preternatural by the end of his Jazz tenure. Edwards and Russell were already incomplete creators, and they don’t tout the synergy with the big fella at the moment to compensate.

Russell is 26 years old and in his eighth season. He’s averaging 16-6-3 on 57 percent true shooting. His first month was frigid, but he’s come around the last month and fostered some rapport with Gobert. His 31 assists to him are a team-high. He’s playing fairly well and is likely not remedying his insufficient burst at this juncture.

Edwards, meanwhile, is 21 and in his third season; maturation should be expected and is imperative for this club to approach its lofty aspirations. His raw numbers are eerily similar to last year (22-5-4, 56 percent true shooting). The tape is as well, spotlighting clear weak points that haven’t been remedied.

He fails to sync his pacing alongside Gobert’s rolls and will routinely force laborious shots rather than find his roll man for laydown passes or lobs. Despite sharing the floor with Gobert more than anyone else and leading Minnesota in usage rate (27 percent), his 12 assists to the Frenchman are fourth on the team.

His maneuvering in ball-screens doesn’t tend to adapt based on what’s happening around him. He marries a decision early and tethers himself to it. The process is flawed and hampers many possessions for himself and others. According to Synergy, he’s below the 45th percentile as a pick-and-roll scorer and passer.

Signs of progress are manifesting, though. Eight of Edwards’ 12 assists have come throughout their last 318 minutes together. He recorded just four during their initial 331 minutes. His emphasis to set up Gobert more commonly is apparent, even if not always prosperous.

This is a long-term pairing anyway. The 2022-23 season is two months old. Gobert is under contract through at least 2024-25. Minnesota can keep Edwards for a while. Edwards is trying to adjust, and that matters — he’s even remarked that this is the first time he’s ever played with a center that only rolls to the rim at any level of basketball.

Slowly developing cohesion between Gobert and ball-handlers is a microcosm of a team-wide ailment. This squad is not cohesive. They’re not precise with some of their screening and off-ball motion. Imperfect screens, cuts, and positioning all work against them to create clunky possessions.

Every game is good for at least a few turnovers stemming from inaccurate passes, confusion, and/or illegal picks. An attention detail feels fleeting instead of the norm. The Timberwolves are 10th in true shooting percentage, but just 20th in points per 100 possessions. Their 27th-ranked turnover rate is to blame for that dichotomy. Unfamiliarity amid a different offensive environment with a revamped rotation produces gaffes like these.

The hope, for their sake, is that time breeds comfort. Some of those errors can easily be corrected as everyone assimilates to a novel context. Some of it, though, shouldn’t exist whatsoever. Purposefulness escapes this group far too frequently and is the sort of pitfall that is altogether avoidable.

The final major flaw: the Timberwolves can’t score when their star duo shares the hardwood. With Towns and Gobert, they’re generating 107.2 points per 100 possessions and hold a net rating of minus-1.0 When Towns plays without Gobert, the offense flourishes (119.5 offensive rating), while the defense craters (119.5 defensive rating). When Gobert plays without Towns, the offense wilts (107.9), while the defense thrives (110.0). None of the three realities are panning out thus far.

Towns’ allure as a preeminent offensive big man is his multifaceted nature. He stretches the court, launches threes on the move, can roll to the rim, will drive off the catch, is a viable passer (with glaring holes), and is adept in the mid-post. As the centerpiece of Minnesota’s offense last year, his success toggling across those duties all over the floor proved vital.

This year, though, Gobert’s arrival demands a more meticulous deployment of Towns, which hasn’t always occurred during their minutes together. The opposition will ignore Gobert to disrupt Towns’ drives, rolls, or post-ups. Last season’s standard operating procedure cannot be the same as this season. Defenses load the paint and funnel passes to whichever shaky shooter(s) is (are) stationed along the perimeter.

Towns has to act as more of a floor-spacer alongside Gobert, which is a troubling existence because he’s the Timberwolves’ best offensive cog. Reducing him to a spot-up 4 role while Russell or Edwards and Gobert run pick-and-rolls on a cramped court will yield diminished returns. However, Towns is wired to attack closeouts and has teamed up with Gobert for numerous buckets. His 27 assists to the three-time Defensive Player of the Year are second-most on the team.

The Timberwolves have drawn up some actions that incorporate Towns’ dynamic offense and shooting gravity with Gobert’s screening and rolling. Double Drag comes to mind, as does Horns Flare. Utilizing Gobert as a weakside screener during Towns’ interior touches has been flashed from head coach Chris Finch and Co. There are pathways for this to succeed, they’re just more narrow than how this offense excelled a year ago.

The hefty price of the Gobert acquisition smashed the accelerator into win-now mode for the Timberwolves. That “now” is here for them, yet the winning has lagged behind. Injuries contribute to some degree, though they’re hardly the only team afflicted by those developments. Hope is by no means a relic already confined to the offseason. They must be patient and amenable.

Staggering Edwards or Russell with Towns or Gobert as the other two rest could be beneficial. Those four possible iterations have only logged a combined 658 possessions out of a total 2,790 Timberwolves possessions. Leaning less on the bench-heavy units may help when the full roster is available.

Avenues for this atypical duo to drive a top-10 offense on a very good team are available. Discovering them warrants improvement throughout the organization. Players must grow, while schemes and rotations should be tweaked.

The season hasn’t even reached 30 games. Minnesota, for all its ugly sequences and outcomes, is only 3.5 games behind the No. 4 seed. Through 28 games last year, 13-15 was also its record. There is time to fix this, but time alone won’t be an antidote. If this unorthodox offense shall ever blossom, recognizing that is imperative.

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Olivia Rodrigo Shared An Adorable New Holiday Song ‘The Bels’ To Her Fan Discord And You Have To Hear It

This year was another dominating one for pop music. Without a doubt, the Billboard Hot 100 charts were run by recording artists Beyoncé, Bad Bunny, Harry Styles, Lizzo, and Taylor Swift. However, as the new year approaches, fans of the genre patiently await the return of a few pop singers. At the top of that list is Grammy-award winner Olivia Rodrigo.

After experiencing a breakout year in 2021, following the success of her debut album, Sour, Rodrigo laid pretty low musical this year. However, with the project’s one-year anniversary now behind us, Olivia Rodrigo has begun to hint that new music may be on the way sooner than we think. In the singer’s official Discord channel, she dug deep into her archives to give supporters something to hold them until the new year.

Uploaded exclusively to her Discord, Rodrigo shared a new song title, “The Bels,” shortened for sleighbells. On the holiday track, you hear a young Rodrigo’s Christmas spirit.

Over a bass-heavy instrumental, Rodrigo sings, “Red and green is a Christmas queen / Make the holidays special to me / Oh, see the dancin’ gingerbread dance in your head / Wait, wait, wait for the bells ring there / Now, let me hear it out loud / Santa’s coming to town /Ho, ho, ho, ho / Wait for the bells,” with sass.

If the “Good 4 U” singer could mastermind these lyrics as goober, there’s no wonder her career has been as successful as it has been.

To listen to Olivia Rodrigo’s song, “The Bels,” click here to be redirected to her official Discord server.

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Jessie Reyez And 6lack Reminisce On Romantic Memories In The Music Video For ‘Forever’

Jessie Reyez released a new music video for her collaboration with 6lack, “Forever,” as a Facebook exclusive today. The track appears on her recent album, Yessie, finds Reyez reminiscing about someone who isn’t in her life anymore.

“‘Cause sometimes somebody loves somebody / But that body don’t love ’em back / And it’s easy to say that you didn’t know / You didn’t know what you had,” she sings.

6lack enters on the chorus, as the duo’s vocals blend perfectly together. He then gets his own verse while Reyez lip-syncs his lines in the background. “I want you to stay, save the moment / Gotta put it on the camcorder,” he notes. “You could be happy, you should be happy / Long as you here with me.”

Directed by Dane Collison, Reyez and 6lack dance around in a car as old-school recorded camcorder footage (as fittingly mentioned in the lyric) is spliced in of each of them in the woods, adding to the chill vibes of it all. They also appear in matching baseball caps, which is pretty fun.

“You ever meet someone and just know they’re going to be in your life forever?…” Reyez captioned the video on a Facebook post.

Watch the music video for Jessie Reyez and 6lack’s “Forever” here.