Question: Who said in 2006 that "All I Want for Christmas" was one of Carey's biggest accomplishments?
About the article "All I Want for Christmas Is You", section "Critical reception".

Candidate passages:
Critical reception.
"All I Want for Christmas Is You" was very well received by music critics.
Parisien called the song "well-crafted", complimenting its instrumentation and melody.
Steve Morse, editor of "The Boston Globe", wrote that Carey sang with a lot of soul.
According to Barry Schwarz from Stylus Magazine, "to say this song is an instant classic somehow doesn't capture its amazingicity; it's a modern standard: joyous, exhilarating, loud, with even a hint of longing."
Schwartz praised the song's lyrics as well, describing them as "beautifully phrased," and calling Carey's voice "gorgeous" and "sincere."
Bill Lamb from About.com called it a "contemporary classic."
Kyle Anderson from MTV labeled the track "a majestic anthem full of chimes, sleigh bells, doo-wop flourishes, sweeping strings and one of the most dynamic and clean vocal performances of Carey's career".
While reviewing the 2009 remix version, Becky Bain from Idolator called the song a "timeless classic" and wrote, "We love the original song to pieces—we blast it while decorating our Christmas tree and lighting our Menorah."
In his review for Carey's "Merry Christmas II You", Thomas Connor from the "Chicago Sun-Times" called the song "a simple, well-crafted chestnut and one of the last great additions to the Christmas pop canon".
Shona Craven of Scotland's "The Herald", said, "[it's] a song of optimism and joy that maybe, just maybe, hints at the real meaning of Christmas."
Additionally, she felt the main reason it was so successful is the subject "you" in the lyrics, explaining, "Perhaps what makes the song such a huge hit is the fact that it's for absolutely everyone."
Craven opened her review with a bold statement: "Bing Crosby may well be turning in his grave, but no child of the 1980s will be surprised to see Mariah Carey's sublime All I Want For Christmas Is You bounding up the charts after being named the nation's top festive song."
In a 2006 retrospective look at Carey's career, Sasha Frere-Jones of "The New Yorker" said, the "charming" song was one of Carey's biggest accomplishments, calling it "one of the few worthy modern additions to the holiday canon".
Dan Hancox, editor of "The National", quoted and agreed with Jones' statement, calling the song "perfection".
In 2010, "Rolling Stone" ranked "All I Want for Christmas Is You" fourth on its Greatest Rock and Roll Christmas Songs list, calling it a "holiday standard."
Critical reception.
"Oh Santa!"
received mixed to positive reviews from music critics, who praised the musicality of the song, but felt that it was substandard to Carey's famous Christmas song "All I Want For Christmas Is You".
Bill Lamb of About.com gave the song 4/5 stars, praising Carey's vocal performance, "perky cheerleader chant" and "jazzy, upbeat feel".
AOL music said "Mariah Carey's newest song, 'Oh Santa!,' will have people thinking about Christmas even if it's only October."
Caryn Ganz of "Rolling Stone" and Mike DIver of BBC Music both commented on the beat of the song, with Ganz writing "Mariah bops to a schoolyard-chant beat on 'Oh Santa!," however, even though Diver praised the songs beat, he felt that it was not as good as Carey's signature christmas song "All I Want For Christmas Is You," writing "Oh Santa!
is a boisterous RnB bopper that makes perfect sense as this set’s lead single – it’s not in the same league as All I Want…, but it’s sure to warrant revisiting 12 months down the line."
A reviewer from Idolator likened "Oh Santa!"
to Avril Lavignes song "Girfriend" (2007) writing, "Presumably, not every track will sound like a North Pole version of Avril Lavigne’s 'Girlfriend' as the boppy “Oh Santa!” does."
Sean Fennessey of "The Washington Post" listed "Oh Santa!"
as one of the recommended tracks on the album, along with "Charlie Brown Christmas", as well as writing "There are noble gestures ...'Oh Santa!,' Carey's hyperkinetic, stomping team-up with onetime career-saver Jermaine Dupri and the underrated modern soul maestro Bryan-Michael Cox."
Carey's vocal style and singing ability have significantly impacted popular and contemporary music.
As music critic G. Brown from "The Denver Post" wrote, "For better or worse, Mariah Carey's five-octave range and melismatic style have influenced a generation of pop singers."
According to "Rolling Stone", "Her mastery of melisma, the fluttering strings of notes that decorate songs like "Vision of Love", inspired the entire "American Idol" vocal school, for better or worse, and virtually every other female R&B singer since the Nineties."
Jody Rosen of "Slate Magazine" wrote of Carey's influence in modern music, calling her the most influential vocal stylist of the last two decades, the person who made rococo melismatic singing.
Rosen further exemplified Carey's influence by drawing parallel with American Idol, which to her, "often played out as a clash of melisma-mad Mariah wannabes.
And, today, nearly 20 years after Carey's debut, major labels continue to bet the farm on young stars such as the winner of Britain's X Factor show, Leona Lewis, with her Generation Next gloss on Mariah's big voice and big hair."
Sean Daly of "St. Petersburg Times" wrote, "Depending on how you feel about public humiliation, the best/worst parts of American Idol are the audition shows, which normally break down into three distinct parts:(1) The Talented Kids.
(2) The Weird Kids.
(3) The Mariahs."
Daly further commented, "The Mariahs are the hardest ones to watch, mainly because most of them think they're reeeaaally good.
The poor, disillusioned hopefuls plant themselves in front of judges Simon Cowell, Paula Abdul and Randy Jackson – then proceed to stretch, break and mutilate every note of a song, often Mariah's Hero, a tune that has ruined more throats than smoker's cough."
"New York Magazine's" editor Roger Deckker said that in regarding Carey as an influential artist in music, he commented that "Whitney Houston may have introduced melisma (the vocally acrobatic style of lending a word an extra syllable or twenty) to the charts, but it was Mariah—with her jaw-dropping range—who made it into America's default sound."
Deckker also added that "Every time you turn on American Idol, you are watching her children".
Despite her vocal prowess, Carey's vocal technique particularly with the use of melisma and belting, has been subject to public scrutiny mainly because of young singers such as from talent shows have been overly imitating her singing technique in which critics commented "Mariah Carey is, without a doubt, the worst thing to happen to amateur singing since the karaoke machine".
As Professor Katherine L. Meizel noted in her book, "The Mediation of Identity Politics in American Idol", "Carey's influence not just stops in the emulation of melisma or her singing amongst the wannabe's, it's also her persona, her diva, her stardom which inspires them... a pre-fame conic look.
"Carey's influence is notable in numerous hip hop, pop and R&B artists, including Ariana Grande, Britney Spears, Beyoncé, Christina Aguilera, Jessica Simpson, Rihanna, Kelly Clarkson, Nelly Furtado, Leona Lewis, Brandy Norwood, Pink, Mary J. Blige, and Missy Elliott, among others.
Knowles credits Carey's singing and her song "Vision of Love" as influencing her to begin practicing vocal "runs" as a child, as well as helping her pursue a career as a musician.
Rihanna has stated that Carey is one of her major influences and idol.
Christina Aguilera said in the early stages of her career that Carey was a big influence in her singing career and one of her idols.
According to Pier Dominguez, author of "Christina Aguilera: A star is made", Aguilera has stated how she loved listening to Whitney Houston, but it was Carey who had the biggest influence on her vocal styling.
Carey's carefully choreographed image of a grown woman struck a chord with Aguilera.
Her influence on Aguilera also grew from the fact that both are of mixed heritage.
Philip Brasor, editor of "The Japan Times", expressed how Carey's vocal and melismatic style even influenced Asian singers.
He wrote that Japanese singer Utada Hikaru "sang what she heard, from the diaphragm and with her own take on the kind of melisma that became de rigueur in American pop after the ascendance of Mariah Carey.
"In an article titled "Out With Mariah's Melisma, In With Kesha's Kick", writer David Browne of "The New York Times" discusses how the once ubiquitous melisma pop style suddenly lost in favor of the now ubiquitous autotune in which the former was heavily popularized by the likes of Mariah Carey and Whitney Houston.
Browne had commented "But beginning two decades ago, melisma overtook pop in a way it hadn't before.
Mariah Carey's debut hit from 1990, "Vision of Love," followed two years later by Whitney Houston's version of "I Will Always Love You," set the bar insanely high for notes stretched louder, longer and knottier than most pop fans had ever heard."
Browne further added "A subsequent generation of singers, including Ms. Aguilera, Jennifer Hudson and Beyoncé, built their careers around melisma.
(Men like Brian McKnight and Tyrese also indulged in it, but women tended to dominate the form.
)"Carey is also credited for introducing R&B and hip hop into mainstream pop culture, and for popularizing rap as a featuring act through her post-1995 songs.
Sasha Frere-Jones, editor of "The New Yorker" commented, "It became standard for R&B/hip-hop stars like Missy Elliott and Beyoncé, to combine melodies with rapped verses.
And young white pop stars—including Britney Spears, Jessica Simpson, Christina Aguilera, and 'N Sync—have spent much of the past ten years making pop music that is unmistakably R&B."
Moreover Jones concludes that "[Carey's] idea of pairing a female songbird with the leading male MCs of hip-hop changed R&B and, eventually, all of pop.
Although now anyone is free to use this idea, the success of "The Emancipation of Mimi" suggests that it still belongs to Carey."
Judnick Mayard, writer of "The Fader", wrote that in regarding of R&B and hip hop collaboration, "The champion of this movement is Mariah Carey."
Mayard also expressed that "To this day ODB and Mariah may still be the best and most random hip hop collaboration of all time", citing that due to the record "Fantasy", "R&B and Hip Hop were the best of step siblings.
"Kelfa Sanneh of "The New York Times" wrote, "In the mid-1990s Ms. Carey pioneered a subgenre that some people call the thug-love duet.
Nowadays clean-cut pop stars are expected to collaborate with roughneck rappers, but when Ms. Carey teamed up with Ol' Dirty Bastard, of the Wu-Tang Clan, for the 1995 hit "Fantasy (Remix)", it was a surprise, and a smash."
Aside from her pop culture and musical influence, Carey is credited for releasing a classic Christmas song called "All I Want for Christmas Is You".
In a retrospective look at Carey's career, Sasha Frere-Jones of "The New Yorker" said, the "charming" song was one of Carey's biggest accomplishments, calling it "one of the few worthy modern additions to the holiday canon".
"Rolling Stone" ranked "All I Want for Christmas Is You" fourth on its Greatest Rock and Roll Christmas Songs list, calling it a "holiday standard."
In a review of her "Greatest Hits" album, Devon Powers of PopMatters writes that "She has influenced countless female vocalists after her.
At 32, she is already a living legend—even if she never sings another note."
While reviewing a concert of Carey in Sydney, Elise Vout of "MTV Australia" wrote that "it's not amazing choreography or high production value you're going to see, it's the larger than life personality, unique voice, and legend that is Mariah Carey."
"My Only Wish" received mixed reviews from music critics.
It has been compared to "All I Want for Christmas is You" by Mariah Carey.
Grace Cicciotti of iphone.funweek, commented, the two items in question, in fact, closely resemble, perhaps too much.
"My only wish", written by "The-Dream" has the same melody of "All I Want for Christmas is You ', the same high note and even the same meaning: not change much between all the phrase 'All I want for Christmas is you baby "and" My only wish for Christmas is you'.
In summary, it appears that much of Jessica suffers a lack of inspiration ... MTV said, we know that Mariah Carey has returned to the yuletide jam with her Merry Christmas II You.
And now we get some Christmas spirit from Jessica Simpson, with the jaunty, playful "My Only Wish."
Not unlike Mariah Carey's "All I Want for Christmas Is You", Simpson's track covers up some heartache with a buoyant and peppy track, complete with Salvation Army Christmas bells and fireside pianos.
GAWKER commented, "Is Jessica Simpson's New Christmas Song a Complete Mariah Carey Rip Off?".
Jessica Simpson debuted the first single from her upcoming Christmas album, called, "My Only Wish (For Christmas Is You)."
One problem: it's a total rip off of Mariah Carey's "All I Want For Christmas Is You."
"Underneath the Tree" has received critical acclaim from various music critics on its release, who lauded it as main highlight of "Wrapped in Red" and a prospective Christmas standard.
"Billboard"s Marisa Fox called it as the album's "biggest surprise", and described it as an optimistic tune that has Clarkson powering through Darlene Love-style vocals.
While Mikael Wood of the "Los Angeles Times"s described it as a remarkably cheery single.
In her review, Christina Vinson of Taste of Country remarked that the track has everything a Christmas song could want: a jazzy, big band sound, saxophone and bells ringing, all bottled up in an optimistic and catchy holiday track and said that Clarkson shines as her strong vocals are needed to offset the snazzy production and chorus.
In his review, Idolator's Carl Williott wrote that the song "sounds instantly familiar — sleigh bells, laments about a lonely Christmas day, a sax solo — but with a tightly coiled hook and Clarkson’s transcendent voice, the whole thing is kind of invigorating."
Sarah Rodman of "The Boston Globe" called it as bouncy, cooing number tailor-made to soundtrack sleigh rides, and named it as the best track on the album.
Critics also approvingly compared it to Mariah Carey's modern Christmas classic "All I Want for Christmas Is You" (1994), a track that RCA chief executive Peter Edge described as the song's inspiration.
Williot added that "Underneath the Tree" is strong enough that it could enter the pantheon of modern Christmas staples like Carey's "All I Want For Christmas Is You" and 'N Sync's "Merry Christmas, Happy Holidays".
Amy Sciarretto of PopCrush wrote, "It’s an upbeat, jingle-and-sleigh-bell-fueled jam, complete with some saxophone.
It reminds us a bit of Carey's modern classic "All I Want for Christmas Is You", with a dose of girl group harmonizing."
MTV's Jenna Hally Rubenstein remarked, "if we may be so bold, it is definitely on par with other impeccable Christmas originals — namely Carey's "All I Want For Christmas Is You"."
Sal Cinquemani of Slant Magazine noted the similar themes of two songs, and that "Underneath the Tree" is likely to become Clarkson's very own contemporary standard.
Melinda Newman of HitFix wrote, "It's a finger-popping, bell-ringing pleaser that could achieve that rare feat of becoming a new Christmas standard.
That hasn't happened since Carey's "All I Want For Christmas" in 1994;" while "The Independent"s Hugh Montgomery applauded it as having a sass, jingle and a sax solo, saying that it is "a winner on all fronts."