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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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This scene almost broke him. And changed his career.

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As Sinners surges into the cultural conversation, it’s impossible to ignore the force of Christian Robinson’s performance. His “let me in” door scene has become one of the film’s defining moments—raw, desperate, and unforgettable. But the power of that scene makes the most sense when you understand the journey that brought him there.

From church play to breakout roles

Christian’s path didn’t begin on a Hollywood set. It started in a Brooklyn church, when a woman named Miss Val kept asking him to be in a play.

“I told her no countless times,” he remembers. “Every time she saw me, she asked me and she wouldn’t stop asking me.”

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He finally said yes—and everything changed.

“I did it once and I fell in love,” he says. That one performance pushed him into deep research on the craft, a move to Atlanta, and years of unglamorous work: training, auditioning, stacking small wins until he booked his first roles and then Netflix’s Burning Sands, where many met him as Big Country.

By the time Sinners came along, he wasn’t a newcomer hoping to get lucky. He was an actor who had quietly built the muscles to carry something bigger.

The door scene: life or death

On The Roselyn Omaka Show, Christian shared the directing note Ryan Coogler gave him before filming the door scene:

“He explained to me, ‘I need you to bang on this door as if your life depended on it. Like it’s a matter of life and death.’”

Christian didn’t just turn up the volume; he reached deeper.

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“This film speaks a lot about our ancestors,” he told Roselyn Omaka. “So I tried to give a glimpse of what our ancestors would’ve experienced if someone or something that could bring ultimate destruction was after them. How hard would they bang? How loud would they scream to try to get into a place safely? That’s what I intended to convey in that moment.”

That inner picture—life or death, ancestors, ultimate destruction—is why the scene hits like more than a plot beat. It feels like generational memory breaking through a single frame.

Living through a “history” moment in real time

When Roselyn asks what he’s processing as Sinners takes off, Christian admits he’s still inside the wave.

“I’ve never experienced a project with this level of reception and energy and momentum,” he says. “People having their theories and breaking it down and doing reenactments… it’s never been a time like this in my career.”

He’s careful not to over‑define something that’s still unfolding: “There’s no way to give an accurate description of what I’m experiencing while I’m still experiencing it.” He knows he’ll need distance to name it fully.

But he can name one thing: “If I could gather any adjective to describe it, it would be gratefulness. I’m grateful.”

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He also feels the weight of what this film might mean long-term:

“To know that I was there for a large amount of the time it was being brought to life, and a part of what the internet is saying will be history… this is something that I’m inspired by—to shoot for the stars in whatever passion rooted in creativity that you possess.”

Music, joy, and the man behind the moment

Christian talks about the music of Sinners as another force that shaped him. The score wasn’t playing nonstop; it showed up in key moments.

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“The music was played when it was necessary to be played. But when it was played, it resonated,” he says. Hearing Miles Caton’s songs early, before the world did, he remembers thinking, “This is going to be magical… This is one of the ones right here.”

For all the heaviness of the story, he also brought levity. He laughs about being the jokester on set—singing Juvenile and Lil Wayne in the New Orleans hair and makeup trailer, trying to make everyone smile during Essence Fest weekend. “I’m a fun guy,” he says. “I love to see people laugh and have a good time.”

PATHS for us and opening doors

What might be most revealing is how seriously Christian takes his responsibility off screen. In 2015, sitting in his apartment outside Atlanta, he felt God tell him to start a nonprofit called PATHS.

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“I heard from God and he told me to start a nonprofit called PATHS,” he recalls. At first, he and his peers went into schools and inner‑city communities to teach young people “the many different paths to entering the entertainment industry”—not just the craft, but “the practical steps and establishing yourself, like the business of an actor… a stunt person, hair and makeup, etc.”

When the pandemic hit and school visits stopped, he pivoted to a podcast and digital platform: “Fine, I’ll do it,” he laughs. Now PATHS for us lets “anyone anywhere that desires to be in entertainment hear from credible entertainment industry professionals on how they got to where they are and how you can do the same.”

Working on Sinners confirmed that he should go all in: “It just gave me exactly what I needed to know that I should pour my all into it.”

Honoring a history-making moment

As Sinners takes off, Christian keeps coming back to one word: gratefulness—for the film, for the collaborators, for the chance to be part of something people are calling historic.

At Bolanle Media, we see more than a viral scene. We see an artist whose craft is rooted in faith, ancestors, and hard-earned discipline; whose joy lifts the rooms he works in; and whose platform is opening real paths for others.

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This scene almost broke him. And changed his career.
Now, as the world catches up, Christian Robinson is using that breakthrough not just to walk through new doors—but to help the next generation find theirs.

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7 Filmmaking Lessons From Michael B. Jordan’s Oscar Moment

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Michael B. Jordan’s first Oscar win for Sinners isn’t just a milestone for his career — it’s a masterclass for filmmakers watching from the edit bay, the writing desk, or the no‑budget set.

For years, Jordan has been building toward this moment: from early TV roles to his breakout in Fruitvale Station, the cultural shockwave of Black Panther, and his evolution into a producer and director. His Sinners performance and awards run crystallize a set of habits, choices, and values that rising filmmakers can actually use.


1. “Find Your Coogler”: The Power of Long-Term Collaboration

Jordan’s professional story is inseparable from his collaboration with Ryan Coogler. They’ve moved together from intimate indie drama to franchise-level spectacle, and now to awards-season dominance with Sinners.


“Find your people and grow with them, not just next to them.”

For filmmakers, the takeaway is simple:

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  • Stop thinking in “one‑off” crews.
  • Start identifying the producers, DPs, editors, writers, and actors you want to build years of work with.

That kind of trust lets you move faster, go deeper, and take bigger risks together.


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2. Preparation That Lets You Jump Off the Cliff

Jordan has talked in interviews about preparing so thoroughly that he can “let go” when the cameras roll. The homework — script work, character study, physical training, emotional research — is what makes the risk possible.

You can translate that directly into a filmmaking workflow:

  • Do the table read.
  • Break down the script scene by scene.
  • Build visual references and emotional maps.

The more you handle before you’re on set, the more you can afford to explore, improvise, and discover in real time.


“Preparation buys you freedom on set.”


3. Take the “Bad Idea” Swing

A key pattern in Jordan’s choices is betting on material that doesn’t always look safe or obvious on paper. Roles and projects that feel intense, specific, or risky are often the ones that end up resonating the most.

For filmmakers, that means:

  • Stop sandpapering your scripts into something generic.
  • Start protecting the sharp edges — the personal details, the uncomfortable moments, the cultural specifics.

The project that scares you a little might be the one that actually breaks you out.


“If it feels too safe, it’s probably not big enough.”


4. One Hat at a Time (On Purpose)

Jordan is a modern multi-hyphenate — actor, producer, director — but he’s also strategic about when he wears which hat. On some projects, he leans fully into performance and trusts his team with everything else; on others, like Creed III, he steps behind the camera and takes on the entire vision.

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Filmmakers can learn from that restraint:

  • It’s okay to not direct, shoot, edit, and produce every single project.
  • Choosing one primary role per project can sharpen the overall result.

Ask yourself on each film: “What’s the one role where I add the most value here?” Then structure the team accordingly.

“You don’t have to do everything on every film.”


This image released by Warner Bros Pictures shows Michael B. Jordan portraying two characters in a scene from “Sinners.” (Warner Bros. Pictures via AP)

5. Build an Ecosystem, Not Just a Résumé

Through his company and slate, Jordan is doing more than collecting credits. He’s building an ecosystem where the stories he cares about have a home — a pipeline for voices, genres, and perspectives that might not get space elsewhere.

That’s a roadmap for independent filmmakers and media founders:

  • Create recurring spaces (a series, a channel, a festival, a label) where your sensibility is the default.
  • Think beyond the single film; think in seasons, slates, and communities.

Your “ecosystem” might start as a simple recurring short-film series on your site, or a curated block at a festival. Over time, it becomes infrastructure.

“Don’t just book jobs. Build a world.”


6. Honor the Lineage You Stand On

When he accepted his Oscar, Jordan made a point to acknowledge the Black artists and legends who paved the way before him. That posture matters. It keeps ego in check and places today’s wins inside a longer lineage of struggle and progress.

Filmmakers can mirror that by:

  • Citing their influences openly.
  • Educating themselves on the history of the craft, especially in their own communities.
  • Using their platforms to shine a light on peers and predecessors.

This isn’t just about being gracious; it’s about knowing you’re part of a story bigger than one awards season.


“Your win is a chapter, not the whole book.”


7. Let the Win Raise Your Standards

The most powerful thing about this moment is that it doesn’t feel like a finish line. Jordan’s energy reads as: this is motivation, not retirement. The recognition becomes pressure to work smarter, deeper, and more intentionally.

Filmmakers can turn every “win” — whether it’s an Oscar, a festival laurel, a viral clip, or a private email from someone impacted by your work — into fuel for the next draft and the next shoot.

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Ask:

  • What did I do well here that I can codify into my process?
  • Where did I get lucky, and how can I replace luck with craft next time?


“Treat every win as a new baseline, not a peak.”


Why This Matters for Our Community

At Bolane Media, we see Michael B. Jordan’s Oscar moment not just as a celebrity headline, but as a roadmap for emerging storytellers — especially those building from underrepresented communities and independent spaces.

If you’re a filmmaker reading this:

  • Identify one of these seven lessons.
  • Apply it to your next project, not the hypothetical big one five years from now.

Then share your work with us. We want to see what you build.


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Advice

How to Find Your Voice as a Filmmaker

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Every filmmaker aspires to create projects that are not only memorable but also uniquely their own. Finding your creative voice is a journey that requires self-reflection, bold choices, and an unwavering commitment to your vision. Here’s how to uncover your style, take risks, and craft original work that stands out.

1. Discovering Your Voice: Understanding Your Influences

Your unique voice begins with recognizing what inspires you.

  • Step 1: Reflect on the themes, genres, or emotions that consistently draw your interest. Are you inspired by human resilience, surreal worlds, or untold histories?
  • Step 2: Study the work of filmmakers you admire. Analyze what resonates with you—their use of color, pacing, or narrative techniques.

Tip: Combine what you love with your personal experiences to create a lens that only you can offer.

Example: Wes Anderson’s whimsical, symmetrical worlds stem from his love of classic storytelling and his unique visual style.

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Takeaway: Start with what moves you, then add your personal touch.

2. Taking Creative Risks: Experiment and Evolve

To stand out, you must be willing to challenge conventions and explore new territory.

Example: Jordan Peele blended horror with social commentary in Get Out, creating a genre-defying film that captivated audiences.

Takeaway: Risks are an opportunity for growth, even if they don’t always succeed.

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3. Telling Original Stories: Start with Authenticity

Original projects resonate when they stem from a place of truth.

  • Draw from Experience: Incorporate elements of your own life, culture, or worldview into your stories.
  • Explore the “Why”: Ask yourself why this story matters to you and how it connects with your audience.
  • Avoid Trends: Focus on timeless narratives rather than chasing current fads.

Example: Greta Gerwig’s Lady Bird was deeply personal, based on her experiences growing up in Sacramento. The film’s authenticity made it universally relatable.

Takeaway: The more personal the story, the more it resonates.

4. Developing Your Style: Consistency Meets Creativity

Style is not just about visuals—it’s how you tell a story across all elements of filmmaking.

  • Visual Language: Experiment with colors, lighting, and framing to create a distinct aesthetic.
  • Narrative Voice: Develop consistent themes or motifs across your projects.
  • Sound Design: Use music, sound effects, and silence to evoke specific emotions.

Example: Quentin Tarantino’s use of dialogue, pop culture references, and bold music choices makes his work instantly recognizable.

Takeaway: Your style should be intentional, evolving as you grow but always recognizable as yours.

5. Staying True to Yourself: Building Confidence in Your Vision

The filmmaking process is full of challenges, but staying true to your voice is essential.

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  • Stay Authentic: Trust your instincts, even if your ideas seem unconventional.
  • Adapt Without Compromise: Be open to feedback but maintain your core vision.
  • Celebrate Your Growth: View every project, successful or not, as a stepping stone in your creative journey.

Example: Ava DuVernay shifted from public relations to filmmaking, staying true to her voice in films like Selma and 13th, which focus on social justice.

Takeaway: Your voice evolves with every project, so embrace the process.

Conclusion: From Idea to Screen, Your Voice is Your Superpower

Finding your voice as a filmmaker takes time, courage, and commitment. By exploring your influences, taking risks, and staying true to your perspective, you’ll craft stories that not only stand out but also resonate deeply with your audience.

Bolanle Media is excited to announce our partnership with The Newbie Film Academy to offer comprehensive courses designed specifically for aspiring screenwriters. Whether you’re just starting out or looking to enhance your skills, our resources will provide you with the tools and knowledge needed to succeed in the competitive world of screenwriting. Join us today to unlock your creative potential and take your first steps toward crafting compelling stories that resonate with audiences. Let’s turn your ideas into impactful scripts together!

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