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Your Resolution Is to Add These Songs to Your New Year’s Eve Playlist on December 30, 2023 at 3:00 pm Us Weekly

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Who needs “Auld Lang Syne” when you’ve got Mariah Carey, ’NSync, and Taylor Swift?

December 31 is still awash in the echoes of Christmas music, but there are plenty of New Year’s Eve songs to blast as the final seconds of the year whittle down. Yes, there’s old standby “Auld Lang Syne” — a song written by Scottish poet Robert Burns in 1788 — but there are more contemporary New Year’s Eve songs to play as you pop champagne while rocking those novelty 2024 glasses.

There are classic tracks from Ella Fitzgerald, Nat “King” Cole, Otis Redding and Carla Thomas. Death Cab for Cutie has a fuzz-drenched anthem for the broke and brokenhearted. There’s even an excellent ska track from Montreal’s The Planet Smashers, something to play ahead of Carey’s club banger. There are even some slow tracks from Abba and Barry Manilow for those quieter moments.

In addition to the following suggestions for your NYE playlist, there are plenty of songs unrelated to the holiday that you could include. Prince’s “Kiss” always makes for a good song to blast when the clock strikes midnight and you’re supposed to kiss someone for good luck. Europe’s “The Final Countdown” is good if you’re in a hair-metal mood. R.E.M’s “It’s the End of the World as We Know It (And I Feel Fine)” began as an ironic song for New Year’s Eve, but in recent times of political and environmental upheaval, the 1987 track is more appropriate than ever.

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However grim the future may be, New Year’s Eve is a time to celebrate the potential that lies before us all. So, to get you in the mood, here are a few songs to put on before the Times Square ball drops — and one to blast after it’s all said and done:

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Taylor Swift, “New Year’s Day”

Swift has seemingly confirmed that her 2017 album, Reputation, will be the next entry in the Taylor’s Version series. This means Swift’s self-described “goth-punk moment” will be the penultimate release before she completes the rerecording series with a new edition of her 2006 self-titled album. So, with Reputation (Taylor’s Version) on tap for 2024, Swifties can play “New Year’s Day,” a somber and reflective cut from the album, in eager anticipation — and in celebration of the monster year that saw now-billionaire Swift conquer the world.

Taylor Swift Buda Mendes/TAS23/Getty Images for TAS Rights Management

Mariah Carey, “Auld Lang Syne (The New Year’s Anthem)”

Every December, Carey rules the world’s minds, hearts and charts with “All I Want for Christmas Is You.” But the iconic singer doubled down on her role as Queen of Christmas in 2010 with the release of her second holiday album, Merry Christmas II You. The album of mostly Christmas classics ends with her performing “Auld Lang Syne (The New Year’s Anthem).” She, of course, put her own spin on it, turning the song into a club banger.

Ella Fitzgerald, “What Are You Doing New Year’s Eve”

The timeless song from Fitzgerald is perfect for any cocktail hour before the full party. Or, if you’re throwing a classy soirée, this jazzy, romantic song is vital for your playlist — and if you’re scrambling for a way to ask your crush out on a date, this is a great icebreaker. “Ah, but in case I stand one little chance,” she sings. “Here comes the jackpot question in advance / What are you doing New Year’s / New Year’s Eve?”

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Snoop Dogg featuring Marty James, “New Year’s Eve”

Every season has a Snoop Dogg, including “New Year’s Eve.” On this holiday track, the “Doggfather” romances his boo (“On New Year’s Eve, and I do believe / On New Year’s Eve, we can live forever”) while counting down the seconds to a new year. Helping the rap icon out is singer-songwriter/producer Marty James (who cowrote the Justin Bieber and Daddy Yankee–powered remix of Luis Fonsi’s “Despacito”). It’s a track full of charm, confidence and cool that only Snoop Dogg can bring.

Snoop Dogg MARCEL KRIJGSMAN/ANP/AFP via Getty Images

Barry Manilow, “It’s Just Another New Year’s Eve”

Manilow’s “It’s Just Another New Year’s Eve” is a must if you plan to keep it mellow while greeting 2024. With a downtrodden piano melody and Manilow’s crooning, the song guides listeners to the other side of this holiday. “It’s just another New Year’s Eve / It’s just another Auld Lang Syne / But when we’re through this New Year / You’ll see we’ll be just fine,” he sings.

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Death Cab for Cutie, “The New Year”

“So this is the new year / And I don’t feel any different / The clanking of crystal / Explosions off in the distance,” sings Benjamin Gibbard of Death Cab for Cutie on “The New Year,” the opening track to the band’s critically acclaimed 2003 album, Transatlanticism. With its fuzzed-out guitars and pining vocals equally full of wonder and melancholy, it’s a good song for those entering January with mixed feelings.

‘NSync, “Kiss Me at Midnight”

While it is a bit on the nose, ‘NSync’s “Kiss Me at Midnight” — from Home for Christmas, the band’s 1998 holiday album — should scratch the itch for those who want to celebrate the new year with boy-band goodness. Starting with a countdown, the song kicks into that pre-millennium pop that will make you nostalgic for frosted tips and TRL (which is appropriate since NYE is all about remembering the good times).

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Lance Bass, Joey Fatone, JC Chasez, Chris Kirkpatrick and Justin Timberlake of NSYNC Kevin Mazur/Getty Images for MTV

Otis Redding and Carla Thomas, “New Year’s Resolution”

If you want something to help you keep your resolution this year, play this song by Redding and Thomas. “New Year’s Resolution” makes turning over a new leaf seem plausible. The song is a duet about two lovers acknowledging their faults. “Oh, let’s try it again,” Redding and Thomas sing in the chorus. “Just you and me / And, baby, let’s see how happy honey / That we can be / And call it a New Year’s resolution.”

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Nat King Cole, “Happy New Year”

Forget the When We Were Young festival: Nat King Cole got emo on New Year’s Eve in 1966. While heartbroken and bitter about losing his love, Cole bitterly curses “the gay ones [who] don their silly paper hats / And blow their stupid little horns” while he’s sitting alone by the fire with a glass of wine in his hand.

From there, he sings, “I wish you a Happy New Year, darling / May your new love be bright and fair / I hope he’ll do those special things for you / That I would do if I were there.” While this might be a buzzkill for some, this is the song for you if you’re in a similar boat as Cole was.

The Planet Smashers, “Happy New Year’s”

With a jovial beat and tongues firmly in their cheeks, ska-punk legends The Planet Smashers show that “new year, new me” doesn’t apply to everyone. “Happy New Year’s, baby,” croons lead singer Matt Collyer. “Too bad this year I’m gonna make you crazy / I already messed up, and it’s minutes past midnight.” If you’re partying this New Year’s Eve with people who think resolutions are a joke, this is the tune to play.

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Abba, “Happy New Year”

What makes New Year’s Eve a special holiday is that it can be so depressing — and it’s perfectly fine to celebrate this sad part of the night. If the prior 12 months have gone sideways and you’re ending the year worse for wear, celebrating can be a drag.

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It even got joyous disco darlings Abba down in 1980. “No more champagne / And the fireworks are through / Here we are, me and you / Feeling lost and feeling blue,” sings Agnetha Fältskog. “It’s the end of the party / And the morning seems so gray / So unlike yesterday / Now’s the time for us to say.”

“Happy new year, happy new year,” Fältskog and Anni-Frid Lyngstad sing on the chorus. “May we all have our hopes, our will to try / If we don’t, we might as well lay down and die / You and I.”

ABBA Gus Stewart/Redferns

Judas Priest, “Living After Midnight”

There are plenty of songs to play after the clock strikes 12, ushering in January 1. Pink’s “Raise Your Glass,” Prince’s “1999” or Journey’s “Don’t Stop Believing” might be good ways to kick off the actual New Year. But if you want to celebrate the spirit of appreciating the moment before it’s gone and how limited our time on this planet is, go with Judas Priest’s “Living After Midnight.”

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“Living after midnight / Rocking to the dawn / Loving till the morning / Then I’m gone, I’m gone,” sings Rob Halford, a.k.a. The Metal God. The heavy metal anthem will keep your party going well into the early hours. Isn’t that the best way to start the new year anyway?

Who needs “Auld Lang Syne” when you’ve got Mariah Carey, ’NSync, and Taylor Swift? December 31 is still awash in the echoes of Christmas music, but there are plenty of New Year’s Eve songs to blast as the final seconds of the year whittle down. Yes, there’s old standby “Auld Lang Syne” — a song 

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What We Can Learn Inside 50 Cent’s Explosive Diddy Documentary: 5 Reasons You Should Watch

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50 Cent’s new Netflix docuseries about Sean “Diddy” Combs is more than a headline-grabbing exposé; it is a meticulous breakdown of how power, celebrity, and silence can collide in the entertainment industry.

Across its episodes, the series traces Diddy’s rise, the allegations that followed him for years, and the shocking footage and testimonies now forcing a wider cultural reckoning.

For viewers, it offers not just drama, but lessons about media literacy, accountability, and how society treats survivors when a superstar is involved.

Rapper 50 Cent pictured in Tup Tup Palace night club with owners James Jukes and Matt LoveDough, Newcastle, UK, 7th November 2015

1. It Chronicles Diddy’s Rise and Fall – And How Power Warps Reality

The docuseries follows Combs from hitmaker and business icon to a figure facing serious criminal conviction and public disgrace, mapping out decades of influence, branding, and behind-the-scenes behavior. Watching that arc shows how money, fame, and industry relationships can shield someone from scrutiny and delay accountability, even as disturbing accusations accumulate.

Rapper 50 Cent pictured in Tup Tup Palace night club with owners James Jukes and Matt LoveDough, Newcastle, UK, 7th November 2015

2. Never-Before-Seen Footage Shows How Narratives Are Managed

Exclusive footage of Diddy in private settings and in the tense days around his legal troubles reveals how carefully celebrity narratives are shaped, even in crisis.

Viewers can learn to question polished statements and recognize that what looks spontaneous in public is often the result of strategy, damage control, and legal calculation.

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3. Survivors’ Stories Highlight Patterns of Abuse and Silence

Interviews with alleged victims, former staff, and industry insiders describe patterns of control, fear, and emotional or physical harm that were long whispered about but rarely aired in this detail. Their stories underline how difficult it is to speak out against a powerful figure, teaching viewers why many survivors delay disclosure and why consistent patterns across multiple accounts matter.

4. 50 Cent’s Approach Shows Storytelling as a Tool for Accountability

As executive producer, 50 Cent uses his reputation and platform to push a project that leans into uncomfortable truths rather than protecting industry relationships. The series demonstrates how documentary storytelling can challenge established power structures, elevate marginalized voices, and pressure institutions to respond when traditional systems have failed.

5. The Cultural Backlash Reveals How Society Handles Celebrity Accountability

Reactions to the doc—ranging from people calling it necessary and brave to others dismissing it as a vendetta or smear campaign—expose how emotionally invested audiences can be in defending or condemning a famous figure. Watching that debate unfold helps viewers see how fandom, nostalgia, and bias influence who is believed, and why conversations about “cancel culture” often mask deeper questions about justice and who is considered too powerful to fall.

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South Park’s Christmas Episode Delivers the Antichrist

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A new Christmas-themed episode of South Park is scheduled to air with a central plot in which Satan is depicted as preparing for the birth of an Antichrist figure. The premise extends a season-long narrative arc that has involved Satan, Donald Trump, and apocalyptic rhetoric, positioning this holiday episode as a culmination of those storylines rather than a stand‑alone concept.

Episode premise and season context

According to published synopses and entertainment coverage, the episode frames the Antichrist as part of a fictional storyline that blends religious symbolism with commentary on politics, media, and cultural fear. This follows earlier Season 28 episodes that introduced ideas about Trump fathering an Antichrist child and tech billionaire Peter Thiel obsessing over prophecy and end‑times narratives. The Christmas setting is presented as a contrast to the darker themes, reflecting the series’ pattern of pairing holiday imagery with controversial subject matter.

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Public and political reactions

Coverage notes that some figures connected to Donald Trump’s political orbit have criticized the season’s portrayal of Trump and his allies, describing the show as relying on shock tactics rather than substantive critique. Commentators highlight that these objections are directed more at the depiction of real political figures and the show’s tone than at the specific theology of the Antichrist storyline.

At the time of reporting, there have not been widely reported, detailed statements from major religious leaders focused solely on this Christmas episode, though religion-focused criticism of South Park in general has a long history.

Media and cultural commentary

Entertainment outlets such as The Hollywood Reporter, Entertainment Weekly, Forbes, Slate, and USA Today describe the Antichrist arc as part of South Park’s ongoing use of Trump-era and tech-world politics as material for satire.

These reports emphasize that the show’s treatment of the Antichrist, Satan, and prophecy is designed as exaggerated commentary rather than doctrinal argument, while also acknowledging that many viewers may see the storyline as offensive or excessive.

Viewer guidance and content advisory

South Park is rated TV‑MA and is intended for adult audiences due to strong language, explicit themes, and frequent use of religious and political satire. Viewers who are sensitive to depictions of Satan, the Antichrist, or parodies involving real political figures may find this episode particularly objectionable, while others may view it as consistent with the show’s long‑running approach to controversial topics. As with previous episodes, individual responses are likely to vary widely, and the episode is best understood as part of an ongoing satirical series rather than a factual or theological statement.

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Sydney Sweeney Finally Confronts the Plastic Surgery Rumors

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Sydney Sweeney has decided she is finished watching strangers on the internet treat her face like a forensic project. After years of side‑by‑side screenshots, “then vs now” TikToks, and long comment threads wondering what work she has supposedly had done, the actor is now addressing the plastic surgery rumors directly—and using them to say something larger about how women are looked at in Hollywood and online.

Sweeney at the 2025 Toronto International Film Festival red carpet premiere of Christy

Growing Up on Camera vs. “Before and After” Culture

Sweeney points out that people are often mistaking normal changes for procedures: she grew up on camera, her roles now come with big‑budget glam teams, and her body has shifted as she has trained, aged, and worked nonstop. Yet every new red‑carpet photo gets folded into a narrative that assumes surgeons, not time, are responsible. Rather than walking through a checklist of what is “real,” she emphasizes how bizarre it is that internet detectives comb through pores, noses, and jawlines as if they are owed an explanation for every contour of a woman’s face.

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The Real Problem Isn’t Her Face

By speaking up, Sweeney is redirecting the conversation away from her features and toward the culture that obsesses over them.

She argues that the real issue isn’t whether an actress has had work done, but why audiences feel so entitled to dissect her body as public property in the first place.

For her, the constant speculation is less about curiosity and more about control—another way to tell women what they should look like and punish them when they do not fit. In calling out that dynamic, Sweeney isn’t just defending herself; she is forcing fans and followers to ask why tearing apart someone else’s appearance has become such a popular form of entertainment.


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