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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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Christian Keyes Announces ‘All the Queen’s Men’ Departure from BET+

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A Major Shift for the Hit Series

Christian Keyes, the creator and star of the popular drama series “All the Queen’s Men, has officially announced that the show will be leaving BET and BET+. This decision marks a significant turning point for the series, which has garnered a dedicated fanbase since its debut.

Credit: Christian Keyes Facebook

Keyes’ Frustrations with BET+

Keyes took to social media to share his reasons for the departure, citing ongoing frustrations with the network. He revealed that he often learned about major show updates, such as premiere dates and trailers, through the internet rather than directly from BET+. This lack of communication left him feeling sidelined from the very project he created.

“It is continuously disappointing to find out that your show is coming back on the internet instead of finding out from the network,” Keyes stated, describing the treatment as “dismissive and disrespectful.”

He also disclosed that his “Created By” credit was removed in the show’s second season, forcing him to involve the Writers Guild of America to have his credit restored. Keyes emphasized that he conceived the series 15 years ago and remains deeply protective of its legacy.

No More BET+ Projects

Keyes confirmed that he will not be developing any prequels, spinoffs, or future projects related to “All the Queen’s Men” for BET or BET+. He is currently in negotiations with other streaming platforms to find a new home for the series, though no official announcement has been made regarding its next destination.

What’s Next for the Franchise?

Table: Key Developments

DevelopmentDetails
Leaving BET/BET+Confirmed by Christian Keyes
Reason for DepartureLack of communication, loss of creator credit, unprofessional conduct
New PlatformNegotiations ongoing, not yet announced
Prequels/SpinoffsWill not be produced for BET/BET+
Stage PlayPlanned for Las Vegas and touring
Season 4B PremiereJuly 24 (still on BET+)

The Future of “All the Queen’s Men”

While the next chapter for “All the Queen’s Men” remains uncertain, Christian Keyes’ commitment to the series and its fans is unwavering. As he seeks a new platform, viewers can expect the universe he created to continue evolving—just not under the BET+ banner.

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How to Be an Industry Puppet (The Sabrina Carpenter Way)

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Sabrina Carpenter’s rise to stardom was no overnight sensation. It was a meticulously crafted journey, marked by strategic reinvention, artistic growth, and a relentless pursuit of her identity as a performer. The Sabrina Carpenter we see today is the result of years of evolution—musically, visually, and personally.

Early Beginnings: A Star in the MakingBorn on May 11, 1999, in Quakertown, Pennsylvania, Sabrina Annlane Carpenter showed an early passion for music. So much so that her father built a soundproof booth in their basement to keep her singing from disturbing the neighbors. By age 10, she was already uploading cover songs to YouTube, signaling the start of her public journey.

Her early exposure to the industry came through an online talent contest linked to Miley Cyrus’s fan club, where she placed third. This modest win caught the attention of casting directors, leading to small acting roles, including a guest spot on Law & Order: SVU. Her big break came in 2014 when she landed the role of Maya Hart, the wisecracking best friend on Disney Channel’s Girl Meets World.The Disney Era: Building a FoundationThough not the lead, Sabrina’s role on Girl Meets World gave her a platform. Disney also recognized her singing talent, releasing her debut single, Can’t Blame a Girl for Trying. Between 2015 and 2019, she released four albums—Eyes Wide Open, EvolutionSingular: Act I, and Singular: Act II. These projects earned respectable chart positions and built a loyal fan base, but she had yet to break into mainstream pop stardom.

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By the end of the decade, Sabrina was a familiar face with a solid resume but still seen by many as a Disney alum rather than a major pop artist. It was clear that a transformation was necessary.

The Turning Point: Reinvention and Industry Realities.

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Sabrina’s journey reflects a common narrative for child stars transitioning to adult artists. She has spoken candidly about signing her first contract at 12, not fully understanding the implications, and navigating the pressures of the music industry. She faced the challenge of maintaining her identity while meeting industry expectations, including the unspoken rule to “sexify” her image to reach the next level.

Her transition was not just about image but also about artistic growth. The industry’s artist development process, sometimes involving vocal and dance training, stylistic changes, and even physical alterations, played a role in reshaping her brand.

New Beginnings with Island Records

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In early 2021, Sabrina’s Disney contract ended, and she signed with Island Records. Her first single under the new label, Skin, sparked controversy and media attention, rumored to be a diss track aimed at Olivia Rodrigo. Whether intentional or not, it marked a new chapter, accompanied by noticeable changes in her appearance and style.

Her album Emails I Can’t Send (2022) showcased a more mature sound and personal songwriting, earning critical praise and fan admiration. The album’s success was bolstered by collaborations with top producers and songwriters, including Jack Antonoff, Ian Kirkpatrick, and Amy Allen, who helped craft a fresh, ‘80s-inspired pop sound with emotional depth.

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Breaking Through: The Short and Sweet Era

Sabrina’s momentum continued with the release of Short and Sweet in 2024. The album debuted at number one on the Billboard charts and went platinum, signaling her arrival as a bona fide pop star. Her single Espresso reached number seven on the Hot 100 and topped the UK charts, cementing her global appeal.

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Her live performances evolved into carefully choreographed shows blending soft ‘80s synth-pop with old Hollywood glam aesthetics. Brand partnerships with Rihanna’s Savage Fenty and Kim Kardashian’s Skims further elevated her profile, aligning her with powerful, fashion-forward female brands.

Controversy and Cultural Conversations

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With fame came scrutiny. Sabrina’s increasingly provocative performances and imagery sparked debate, especially given her Disney roots and young fanbase. Videos of sexually suggestive stage acts and album cover art depicting submissive poses ignited discussions about feminism, sexual freedom, and the boundaries of artistic expression.

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Critics accused her of glamorizing regressive gender roles, while supporters defended her right to explore sexuality on her terms. Sabrina herself acknowledged the complexity, emphasizing her normalcy and playful approach to performance.

The Artist Behind the Brand

Despite accusations of being an “industry plant,” Sabrina’s decade-long career and artistic involvement tell a different story. She is deeply involved in songwriting and creative decisions, dispelling myths that she is merely a manufactured product.

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Her candid reflections reveal the toll of constant touring and the pressures of maintaining a public persona. Yet, she remains committed to her craft and evolving identity.What’s Next for Sabrina Carpenter?

Sabrina Carpenter’s story is far from over. Her latest album, Man’s Best Friend, has already sparked intense cultural debates, highlighting her ability to provoke thought and conversation. Whether loved or criticized, she commands attention and continues to push boundaries.

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Credit: Heute.at

Her journey from a singing child in Pennsylvania to a global pop icon is a testament to perseverance, reinvention, and the complex machinery behind modern stardom. Sabrina Carpenter wasn’t just made overnight—she was made over years of hard work, strategic evolution, and fearless self-expression. The world is watching, and she’s just getting started.

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Juror 25’s Behavior Sparks Debate Over Fairness in High-Profile Diddy Trial

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As the federal trial of Sean “Diddy” Combs unfolds under intense national scrutiny, an unexpected figure has taken center stage—not a witness or attorney, but Juror 25. His conduct in the jury room has ignited a heated debate over the integrity and fairness of the proceedings in one of the year’s most closely watched cases.

Juror 25: The Unlikely Focal Point

Juror 25, a 51-year-old Manhattan scientist with a Ph.D. in molecular biology and neuroscience, lives with his partner and is known for his love of opera and nature documentaries. During jury selection, he disclosed having seen video evidence related to the case, a detail that already set him apart from his peers.

Tensions in the Jury Room

Shortly after deliberations began, the jury sent a note to Judge Arun Subramanian expressing concern: Juror 25 “cannot follow your honor’s instructions.” This rare move immediately raised questions about whether the juror was struggling to grasp legal concepts or was simply challenging the group’s consensus. The judge, after careful consideration, instructed the panel to continue and report any further issues.

A Divided Jury—and Public

The situation has sparked a broader debate:

  • Robust Deliberation or Disruption? Some argue that Juror 25’s insistence on thorough discussion is vital for justice, ensuring no detail is overlooked. Others worry that his approach could derail the process and threaten a fair verdict.
  • Judicial Dilemma: The judge’s decision not to remove Juror 25 reflects the delicate balance between respecting juror independence and maintaining order.
  • Media Spotlight: With every development dissected in real time, public opinion is sharply divided—some see Juror 25 as a conscientious holdout, others as an obstacle to justice.

What’s at Stake

This controversy highlights the challenges of jury selection in high-profile cases and the pressures jurors face under the national spotlight. It also raises fundamental questions about what fairness means in the American justice system: Is it about consensus, or about ensuring every voice is heard—even if it complicates the path to a verdict?

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