jax taylor stealing sunglasses
Vanderpump Rules' resident stud / villain, Jax Taylor has been caught on camera stealing a pair of glasses from a Sunglass Hut.
Jax, who has a long history of lying and cheating, and if you have ever watched him will know is the very definition of sociopath**, was arrested on Friday for allegedly stealing a pair of $300 sunglasses in Honolulu, Hawaii.
PumpRules—Sex And Drugs And Getting Jax’d—Oh My!
TMZ has the security footage which is pretty damning—he is seen selecting the sunglasses, admiring himself out in the mirror (of course), then passing behind the sales terminal and kinda sticking a foot out (checking for an alarm perhaps?) before scooting out of sight.
According to TMZ he was arrested at a hotel a block away and charged with a felony, because $300 is the minimum amount for felony theft in Hawaii.
Vanderpump Rules Cast Makes HOW MUCH An Episode???
Part time model and full time bartender at Sur, Jax ("call me Jax the name I selected for myself") has been posting on Instagram this week from the island where he was celebrating his 36th birthday.
Jax was ringing in another year with his Vanderpump Rules castmates and new girlfriend Brittany Cartwright (has she never seen the show?).
Vanderpump Rules Star Stassi Schroeder—Yes, I Have A Sex Tape!
The Bravo cameras were also in attendance so it will be interesting to see if the aftermath of his arrest is alluded to in the upcoming season four .
**Not wanting to throw the sociopath word out there lightly, we took an online test on his behalf and the results were conclusive—"You are (scarily) an out and out sociopath, get a lot of therapy and quick!"
Film Features
Stop Turning Exclusively to White Movies for Comfort
Breaking down the bias of comfort films.
07.14.2020
With the constant onslaught of complicated news that 2020 has brought, sometimes you just want to be able to shut off your brain, relax, and feel happy.
Enter comfort films. These are the feel-good movies that feel like a warm hug when you finish them, the ones that allow you to escape for a short while. We often turn to these types of films in times of trouble or extreme stress, and when we're not sure what films of this nature we should watch, we turn to the Internet for options.
<p>And the Internet delivers. <a href="https://www.washingtonpost.com/arts-entertainment/2020/05/14/comfort-movies-streaming-quarantine/" target="_blank">Numerous lists</a> of <a href="https://www.bbc.com/culture/article/20200319-covid-19-comforting-films-to-watch-in-isolation" target="_blank">comforting films to watch</a> have been published across almost every major website since the <a href="https://www.theguardian.com/film/2020/mar/12/comfort-films-to-watch-while-self-isolating-coronavirus-ranked" target="_blank">start of the March</a>. These lists often include old classics like <em>Roman Holiday</em>, new classics like <em>13 Going On 30</em>, and soon-to-be classics like<em> About Time</em>. While the films featured on these types of lists vary across genres and time periods, there is one thing that all of these lists have in common: They are almost exclusively white, heteronormative films. </p><p><div id="ezoic-pub-ad-placeholder-632"></div>
<!-- End Ezoic - undersecond12 - under_second_paragraph --></p><p>That is not to say that there is not any diversity. Gina Prince-Bythewood's directorial debut <em>Love and Basketball</em>, Alice Wu's recent Tribeca Film Festival award-winning film <em>The Half of It</em>, and Gurinder Chadha's star-making film <em>Bend it Like Beckham</em> make appearances on several lists. But by far, the majority of the films on these lists fall into a very specific bracket. </p><p><div id="ezoic-pub-ad-placeholder-633"> </div>
<!-- End Ezoic - incontent1 - mid_content --></p><p><br></p><p class="shortcode-media shortcode-media-rebelmouse-image">
<img type="lazy-image" data-runner-src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yMzQ0OTQxMS9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTYxMTQyMDE3OX0.9MXv_NuK2Sa_6CXEdUZXXu0srpuaHgAw8wum1Z0SEfc/img.jpg?width=980" id="c7dff" class="rm-shortcode" data-rm-shortcode-id="c8ac42836b2ff35650e815c1e8bd6477" data-rm-shortcode-name="rebelmouse-image" alt="Parminder Nagra and Jonathan Rhys Meyers in Bend It Like Beckham">
</p><p>But with the <a href="https://socialsciences.ucla.edu/hollywood-diversity-report-2020/" target="_blank">landscape of Hollywood changing</a> and the <a href="https://www.npr.org/sections/live-updates-protests-for-racial-justice/2020/07/01/886025141/the-academy-of-motion-picture-arts-and-sciences-invites-more-women-minorities" target="_blank">Academy becoming more diverse</a>, does it really matter if a curated list of popular movies from the past reflects a history that we're already aware has some issues?<br></p><p>The answer is: Yes, very much so. </p><p>When curators, critics, and list makers hold up a largely white, heteronormative selection of films as definitive of any aspect of pop culture, their blind spot helps to maintain the inequitable status quo that currently exists in the film industry. If when a person wants to feel comforted, the sole type of content that they're encouraged to watch is one from a specific racial background or sexual identity, they will internalize that. These lists are curated for joy, and if joy is constantly centered on whiteness, on heteronormativity, on a very limited sense of identity, we are ignoring entire swaths of human beings and their experiences. </p><p><div id="ezoic-pub-ad-placeholder-635"> </div>
<!-- End Ezoic - incontent2 - long_content --></p><p>Changing the dynamics of our media and, by extension, our society is not simply about recognizing the trauma of oppression on-screen. It is about seeing these communities' joy expressed through the medium as well. This is why <a href="https://nerdist.com/article/black-joy-movies-tv-shows/" target="_blank">lists of films that center black joy</a> are being created as additional material to engage with when learning how to be anti-racist. It is why there is a <a href="https://www.themarysue.com/subversive-power-lgbtq-happy-ending/" target="_blank">push for more happy endings in queer media</a>. We change the status quo not simply by telling new stories or by telling stories of oppression, but also by seeking out narratives of joy from communities whose voices have rarely been centered. </p><p><div id="ezoic-pub-ad-placeholder-636"> </div>
<!-- End Ezoic - incontent22 - long_content --></p><p>The limited scope of so many Internet lists also implies that comforting content centering these communities does not exist, and that is simply not true. When films that feature marginalized communities only end up on lists for marginalized communities, it's clear that these identities are still considered an "other". By ignoring these films—films like <em>Coming to America, The</em> <em>Birdcage, </em>and <em>Hunt for Wilderpeople, </em>films that made people feel seen, films that inspired the media and the creators we rave about—these lists are just reproducing the same problematic paradigms of the past and erasing the value of important works of art. Creating better media systems requires reckoning with how we look at past content, too.</p><p><div id="ezoic-pub-ad-placeholder-637"> </div>
<!-- End Ezoic - incontent3 - longer_content --></p><p class="shortcode-media shortcode-media-rebelmouse-image">
<img type="lazy-image" data-runner-src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yMzQ0OTQ0MC9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTYzNzk0ODAxNX0.dUxYR5pvdzTLtbFrZF4n6QCVVB_x5yl51gSwHFoPUg4/img.jpg?width=980" id="8e330" class="rm-shortcode" data-rm-shortcode-id="727114542c442f743d81a897b4deb780" data-rm-shortcode-name="rebelmouse-image" alt="Julian Dennison in the woods in the film Hunt for the Wilderpeople">
</p><p><br></p><p>This does not mean you need to throw away these lists or stop watching <em>You've Got Mail</em>. But it does mean that you should reflect on what type of films you watch that center marginalized communities, and whether that encompasses what you watch when you want to feel good. Are you only watching Black trauma narratives or are you also watching romantic comedies starring Black protagonists when you've had a bad day? </p><p><div id="ezoic-pub-ad-placeholder-638"> </div>
<!-- End Ezoic - incontent33 - longer_content --></p><h2></h2><h2></h2><h2></h2><p>It also means that curators, critics, and creators of lists should move beyond their personal comfort zones and learn to seek out films that speak to experiences other than their own. Because, as it turns out, a lot of those films spark joy, too.</p>
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Music Features
How Mariah Carey Paved the Way for Hip-Hop’s Reign Over Pop
25 years ago, pop stars and rappers were were expected to stay in their respective lanes. But Mariah Carey proved that hip-hop and pop were a match made in heaven—changing popular music as we know it.
09.21.2020
Gifycat
Hip-Hop is pop—not in sound, but rather in terms of influence and authority.
Certainly pure pop—pasteurized and whipped into its ultimate peak in the early 2010s—is still breathing, though despite its name, the genre's reign as the chieftain of popular music has ended.
Drake and Bad Bunny are as much of pop stars in 2020 as Carly Rae Jepsen and Kesha were in 2012. Spotify reports that, at this very moment, Cardi B and Megan Thee Stallion's "WAP" is the most-streamed song in the United States. Immediately following that is trap-pop cut "Mood," a TikTok-famous summer bop by 24kGoldn and Iann Dior, two of many rising zoomer rappers who have embraced Hip-Hop's guidance in most melodic forms, like trap-pop, emo rap, alternative hip-hop, and pop-rap. And if that's not enough to give Hip-Hop a throne, Nielsen Music has confirmed that eight of the top 10 artists of 2020 so far are, of course, rappers.
<p>But Hip-Hop's supremacy in pop isn't exclusive to the last couple of years. Instead, this past decade's biggest pop smashes owe much of their success to the bars and badinage of heavyweight rappers. Katy Perry's "Dark Horse" would be forgettable without Juicy J's southern twang. Without A$AP Rocky, Selena Gomez's "Good For You" would be mediocre at best. And while Ariana Grande is a powerhouse on her own, I would be remiss to downplay the influence of Mac Miller and Big Sean in the promotional push of her acclaimed debut seven years ago. </p><p><div id="ezoic-pub-ad-placeholder-633"> </div>
<!-- End Ezoic - incontent1 - mid_content --></p><p>In fact, Grande's <em>Yours Truly</em> made an impressive pop entrance that's often compared to the vocal stylings of another, more distinguished musician who has masterfully operated in not only pop, but R&B and Hip-Hop for three decades now: Mariah Carey–who, in the late 1990s, demonstrated that Hip-Hop and radio pop could prosper in harmony, taking both to lofty, new heights.</p><p>Today, it's common sense that hip-hop and pop complement each other. In the mid- and late-'90s, however, the idea of a diamond-certified pop icon like MC abandoning her calculable sonic sensibilities in favor of "urban" music was absurd, especially as Carey was listed in the adult contemporary ranks alongside Celine Dion and Whitney Houston. By 1993, just four years into her flourishing career, the songstress was prolific; with speed and skill, she delivered a string of madly successful albums, all of which spawned chart-topping singles, and all of which were the creative confections of Sony executive Tommy Mottola, who had guided Carey's career since day one.</p><p><div id="ezoic-pub-ad-placeholder-635"> </div>
<!-- End Ezoic - incontent2 - long_content --></p><p>But suffering at the hands of Carey and Mottola's working relationship-turned-marriage were Carey's own artistic inclinations. <em>Music Box</em> was the climax of Mottola's heavy hand in the singer-songwriter's creative vision; it also was, and continues to be, Carey's best-selling album ever, with over 28 million copies sold worldwide. Nevertheless, the well-performing record was a continuation of a sound that Carey wanted to stray away from: contemporary love ballads and pop-oriented numbers that leaned ever so slightly into urban inspirations without fully committing to a contemporary R&B or hip-hop identity. Sure, <em>Music Box</em> was powerful, as all Carey offerings were—but it wasn't reflective of the artist or her roots.</p><p><div id="ezoic-pub-ad-placeholder-637"> </div>
<!-- End Ezoic - incontent3 - longer_content --></p><p>So as the 1993 release was the conclusion of Mottola's control over the singer-songwriter's career, the two truly "urban contemporary" albums that followed were explosive and purely Mariah Carey. <em>Daydream</em> was the dénouement of the old Mimi, while <em>Butterfly</em>—considered to be a magnum opus by the artist herself—was a reawakening. And it was <em>Butterfly </em>that finally solidified Carey's title as an R&B great and promising hip-hop collaborator rather than girl-next-door pop pedant; hence, after its drop in 1997 (which was also the year of Carey and Mottola's separation), there was no flying back. </p><p><div id="ezoic-pub-ad-placeholder-638"> </div>
<!-- End Ezoic - incontent33 - longer_content --></p><p>A lot changed for Carey in the wake of her rebirth. She finally divorced Mottola—who she alleged was emotionally abusive and increasingly controlling—and adopted the sexier public image many are familiar with today, donning teeny bikinis in music videos (re: the visual for <em>Butterfly</em>'s lead single "Honey," her first release post-divorce) and tiny, second-skin cocktail dresses on copious awards ceremony stages.</p><p class="shortcode-media shortcode-media-youtube">
<span style="display:block;position:relative;padding-top:56.25%;" class="rm-shortcode" data-rm-shortcode-id="69833b36c67cddb45c513132d6522c5b"><iframe type="lazy-iframe" data-runner-src="https://www.youtube.com/embed/w3KOowB4k_k?rel=0" width="100%" height="auto" frameborder="0" scrolling="no" style="position:absolute;top:0;left:0;width:100%;height:100%;"></iframe></span>
<small class="image-media media-caption" placeholder="Add Photo Caption...">Mariah Carey - Honey (Official Video)</small>
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<a href="https://www.youtube.com/watch?v=w3KOowB4k_k" target="_blank">www.youtube.com</a>
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</p><p>More importantly, her sound changed. The average listener perhaps still attached the "pop singer" label to MC's household name, but the music itself represented the nascent of a pop exodus, beginning with <em>Daydream</em>'s lead single "Fantasy" and its remix with Wu-Tang's Ol' Dirty Bastard—a collaboration that was Carey's first unconcealed effort to permeate hip-hop. </p><p><div id="ezoic-pub-ad-placeholder-639"> </div>
<!-- End Ezoic - incontent4 - longest_content --></p><p class="shortcode-media shortcode-media-youtube">
<span style="display:block;position:relative;padding-top:56.25%;" class="rm-shortcode" data-rm-shortcode-id="959a3562f907a96b1fad4f159ae46547"><iframe type="lazy-iframe" data-runner-src="https://www.youtube.com/embed/qq09UkPRdFY?rel=0" width="100%" height="auto" frameborder="0" scrolling="no" style="position:absolute;top:0;left:0;width:100%;height:100%;"></iframe></span>
<small class="image-media media-caption" placeholder="Add Photo Caption...">Mariah Carey - Fantasy (Official Music Video)</small>
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<a href="https://www.youtube.com/watch?v=qq09UkPRdFY" target="_blank">www.youtube.com</a>
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</p><p>And though <em>Daydream</em>'s track list was still flecked with Carey's signature balladry, best exemplified on her cover of Journey's "Open Arms" and the old-fashioned waltz of "Forever," such compositions seemed strategically positioned between the bumping beats of cuts like "Long Ago" and "Melt Away" (written alongside Jermaine Dupri and Babyface), or the soulful, Ripperton-esque resonance of "Underneath the Stars." It was almost as if MC imagined <em>Daydream </em>as a limbo between past and present: it was traditionalist enough to appease her soon-to-be-ex-husband and most conservative listeners, but novel enough to foretell an imminent shift. And such a shift landed as <em>Butterfly</em> in 1997.<br></p><p>The album, Carey's sixth studio record, was her first full-length work created with full artistic autonomy, and obviously so. Whereas its precedent caressed the sounds of hip-hop and soul rather clandestinely—say, "Fantasy" swaggered of straight rap, but only in the form of its non-album single remix—listeners were made aware of <em>Butterfly</em>'s black musicality well before they even snapped the CD into their Walkmans. Bone Thugs-N-Harmony affiliates Krayzie Bone and Wish Bone's name appeared smack-dab in the middle of the record's track list, while hip-hop soul newcomers Dru Hill were granted a duet on <em>Butterfly</em>'s penultimate inclusion, a cover of Prince's "The Beautiful Ones." </p><p><div id="ezoic-pub-ad-placeholder-640"> </div>
<!-- End Ezoic - incontent44 - longest_content --></p><p class="shortcode-media shortcode-media-youtube">
<span style="display:block;position:relative;padding-top:56.25%;" class="rm-shortcode" data-rm-shortcode-id="51f35b224ca729e20217da31f8c3e0e9"><iframe type="lazy-iframe" data-runner-src="https://www.youtube.com/embed/Hopx_EUcyFo?rel=0" width="100%" height="auto" frameborder="0" scrolling="no" style="position:absolute;top:0;left:0;width:100%;height:100%;"></iframe></span>
<small class="image-media media-caption" placeholder="Add Photo Caption...">The Beautiful Ones (Feat. Dru Hill)</small>
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<a href="https://www.youtube.com/watch?v=Hopx_EUcyFo" target="_blank">www.youtube.com</a>
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</p><p>And beyond its features, the LP revealed its heavy hip-hop influence not just loud and clear, but in advance with its lead single, "Honey." Produced by rap heavyweights P. Diddy, Q-Tip and Stevie J, the lauded opening track dripped of a fresh sensuality, one ushered in by record scratches, ad-libs a lá The Lox's Styles P, and MC's own sultry contralto; the single also paid dues to old-skool hip-hop prototypes via samples of "Hey DJ" by the World's Famous Supreme Team and "The Body Rock" by Sugar Hill's Treacherous Three. But <em>Butterfly </em>wasn't hip-hop for show. "The Roof (Back in Time)" and "Breakdown," both now widely regarded as MC deep cuts, were hip-hop soul at its finest execution, with the former boldly sampling Mobb Deep's "Shook Ones (Part II)." <br></p><p>And when the album's production wasn't beholden to hardcore beats or Bone Thugs steeze, it sashayed through decades of timeless rhythm and blues: "Fourth of July" blushed by like an early-1980s sex jam; Missy Elliot collab "Babydoll" sauntered with the same scratches and lowkey serenade of "Honey"; and the tender gospel of "Outside" transported listeners to church as the record flutters to a close.</p><p><div id="ezoic-pub-ad-placeholder-641"> </div>
<!-- End Ezoic - bottomofpage - bottom_of_page --></p><p><script async="" src="//pagead2.googlesyndication.com/pagead/js/adsbygoogle.js"></script>
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</script></p><p>Twenty-three years after the release of <em>Butterfly</em>, Carey is understood to be a lot of things: a pop vocal prodigy, a prima donna who <a href="https://www.youtube.com/watch?v=DRFX6PEVsDw" rel="noopener noreferrer" target="_blank">refuses</a> to let the public see the "bad" side of her face, and a chart-topper who holds the record for the most number-one singles by a solo artist, a female songwriter, and a female producer. But for longtime lovers of contemporary black music, she's also rightfully won her title of R&B dignitary and esteemed rap collaborator. </p><p><em>Butterfly </em>marked the start of MC as we know her: the soulful Songbird Supreme who's had plentiful rap features on nearly all eight of the albums she's recorded and written since her magnum opus dropped in 1997 (two exceptions being her second Christmas album, <em>Merry Christmas II You</em>, and 2009's <em>Memoirs of an Imperfect Angel</em>, which, entirely co-produced by The-Dream and Christopher "Tricky" Stewart, were fundamentally hip-hop even without front-facing collaborations—and everyone knows Mimi had bars to personally chuck at Eminem on "Obsessed," anyhow).</p><p><div id="ezoic-pub-ad-placeholder-645"> </div>
<!-- End Ezoic - incontent_4 645 - longest_content --></p><p>Yet, even as <em>Butterfly </em>was her foremost creative triumph, not all were as content with the album as Carey; basically, homegirl had haters. Still in conflict with Sony over her desire to dive deep into hip-hop, MC's rap-indebted singles such as "Breakdown" and "The Roof (Back in Time)" weren't commercially released in the U.S. and thus underperformed. And though most music critics praised her dexterous and mature approach to hip-hop and R&B's horizons—so much that the record became one of her most critically lauded—others questioned whether her interest in rap was legitimate, or simply the result of yet another pop artist hopping on the urban genre's effervescing bandwagon.</p><p class="shortcode-media shortcode-media-youtube">
<span style="display:block;position:relative;padding-top:56.25%;" class="rm-shortcode" data-rm-shortcode-id="27e4fd6e684215989bd5c3871e9f2f83"><iframe type="lazy-iframe" data-runner-src="https://www.youtube.com/embed/qi5oxzttjgo?rel=0" width="100%" height="auto" frameborder="0" scrolling="no" style="position:absolute;top:0;left:0;width:100%;height:100%;"></iframe></span>
<small class="image-media media-caption" placeholder="Add Photo Caption...">Mariah Carey - The Roof</small>
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<a href="https://www.youtube.com/watch?v=qi5oxzttjgo" target="_blank">www.youtube.com</a>
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</p><p>Sure, the late-1990s signaled the beginning of hip-hop's major commercialization, and of course, eventual mainstream dominance; however, when MC made hip-hop, it was the exact opposite of fronting. "[My critics] don't understand that I'm someone who grew up with this music," she told <a href="https://www.newsweek.com/mariah-fire-164590" rel="noopener noreferrer" target="_blank"><em>Newsweek</em></a> upon the album's release. And, quite frankly, it should have been expected that she had, particularly as Carey was, at the time, a twenty-something mixed black woman born and raised in '70s and '80s New York, the native territory of hip-hop culture.<br></p><p><div id="ezoic-pub-ad-placeholder-646"> </div>
<!-- End Ezoic - incontent_9 646 - incontent_9 --></p><p>By her critics' flawed logic, Carey's mega-successful pursuit of pop, rather than "street" music, could have been interpreted as equally superficial—but <em>Butterfly </em>was actually the artist at her most authentic self. And the truth of the matter remained: no one was forcing her to make "blacker" music, especially as Carey had been selling more records <em>before</em> transitioning to hip-hop and R&B. The palpable pop qualities of <em>Music Box</em> and <em>Daydream</em> prompted both albums' diamond certifications; in contrast, <em>Butterfly</em>'s street cred wasn't strong enough to take the record past platinum. </p><p>And though the urban contemporary radio format was on the rise in the late '90s, music was still segregated, and pure pop preserved its position as king. (Plus, let's keep it one-hundred: Carey also had the privilege of crossing over sonic landscapes rather than being closeted in the less-prioritized urban contemporary genre, as many black artists were and still are; undeniably, she is light-skinned enough to pass as a white girl to the most oblivious of melanin-deficient folks.)</p><p>Fast-forward to Y2K, the age in which a snowballing number of pop talents (particularly young ones who had enduring careers ahead of them, e.g. Britney Spears, Justin Timberlake, and Christina Aguilera), grew increasingly smitten with the charms of contemporary R&B. And, in the same breath, bling hip-hop (the era of rap iced up in video vixens and blinding VVS visuals) spawned radio-ready flows by the likes of Nelly and Fabolous, along with suave production and shrewd sampling courtesy of brains like Timbaland and The Neptunes. Indeed, the start of the millennium was the perfect moment for pop and hip-hop to merge—but that's something that a sage like Mariah Carey could have told everyone a half-decade before as they dialed in their local top 40 radio station to request the O.D.B. "Fantasy" remix back in 1995.</p><p>On Sept. 29, a little under two weeks from now, Carey's highly anticipated memoir, <a href="https://themeaningofmariahcarey.com/the-meaning-of-mariah-carey.html" rel="noopener noreferrer" target="_blank"><em>The Meaning of Mariah Carey</em></a>, will be released. Days after that (Oct. 2), she'll drop <a href="https://www.billboard.com/articles/columns/pop/9446943/mariah-carey-tracklist-the-rarities" rel="noopener noreferrer" target="_blank"><em>The Rarities</em></a>, a compilation album featuring unreleased recordings. For casual MC fans, the double-feature is more than enough to satiate, but for hardcore stans, surely there's a curious and childish giddiness surrounding the delivery of both the memoir and record. </p><p>Will Mariah's narrative explicitly remind the world of how she blazed a trail for today's rap-inspired radio stars? Will she write that her voice was the one that risked it all, daring to strut in tandem with hip-hop <em>before</em> it went pop—before Fergie and Gwen Stefani, Nelly Furtado and J.Lo, or Ariana Grande, Justin Bieber, and Camilla Cabello? Perhaps. If the self-proclaimed diva chooses such a route of self-indulgence, it will be because she's earned it.</p><h2></h2><p>But knowing Carey—a somewhat elusive lyricist who's always let her music resonate louder than tabloid gossip or even her own speaking voice—she'll choose subtlety over candor, even with the delivery of a tell-all memoir. So perhaps <em>The Rarities</em>, an album of enigmatic deep cuts and live recordings, will be an adequate aide-mémoire of not merely Carey's heyday, but her hand in popular music as we know it.</p><p></p><div class="OUTBRAIN" data-src="DROP_PERMALINK_HERE" data-widget-id="AR_10"></div><p></p>
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