The Christmas tree at Rockefeller Center tonight became illuminated, and as per usual, the occasion couldn't pass without a little fanfare. Scotty McCreery, Mariah Carey, Victoria Justice and more brought music to thousands of people for thousands of little lights in New York, and live on television.
Below are some stand-outs, for all the various reasons entertainers stand out.
Mariah Carey does not do long sleeves. She does fur stoles, and if not, then evening gloves with sequined short sleeves. And she goes in twice, in a pre-taped segment for her classic "All I Want For Christmas" (gorgeous) and for "Christmas Time Is In The Air Again" (ah, that old relic). She is forever fabulous.
Aside from the unintended hilarity calling CeeLo's holiday song "All I Need Is Love" an “original,” checking the Muppets sing "Mahna Mahna" always feels so right. Furthermore, as the "rap" verse ascends, so does a creature from Green's nethers: Pepe the King Prawn delivers in more than one, awkward way.
In case you were wondering if writers ever sat at their desk at the TV company, wrote the words “taking the world by storm” for copy and then gave it to someone to say on-air, they do, and Al Roker executed. Il Volo is a small collection of Gap Italia models and they delivered an affected "It's the Most Wonderful Time of the Year," biting their lips, whooshing hair, dipping their face in order to excrete designer eyewear and cosmetic dental work. And then I passed out, I don't remember anything else.
"The Voice" singer has the Spirit. "I'll Be Home For Christmas" is simple and pure, with no need for gold trimmings.
As a distraction from Rod using the mic stand as a crutch during "Let It Snow," here is a mind-blowing photo of him and CeeLo together.
There's a skinny tie under there. Johnny Lydon is somewhere, upset.
Santa Claus Is Coming to Town, and he looks like Tony Bennett. This charming pre-taped segment was a gentle reminder that, to Tony Bennett, all of life must be a comedy. He’s got that jolly look, and grins like an old dog, and he’s like “I’m comin’ to town, yeah!” and you're like "Yeah!"
If trace Adkins ran toward me at a high velocity wearing that fur and that scowl on his face, I’d run for the nearest treeline. But the magic of "We Three Kings" is the equal parts scary and mysterious and uplifting and heaven-toward. Adkins' appearance is a metaphorical representation of the song itself (muse the enigma of pedal steel with nobody sitting at it).