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New Year Party Song 2018 Download

The 50 Songs to Ensure Your New Year's Eve Party Starts 2020 Off Right. You can listen to the whole New Year's Eve 2018 playlist on Spotify, too. View Gallery 50 Photos 1 of 50. Manchester Utd v Crystal Palace: English Premier League Match, Team News,Goal Scorers and Stats - 61 Delegates From Different African Countries Arrive Abuja To Battle For Miss Africa Pageant - 'Tonto Dikeh Is Not Human She is a Spiritual Being' - Popular Prophetess Declares - I'm Scared To Live Inside My New Mansion - Tacha Finally Reveals Weeks After Flaunting It - Woman Beats Her Daughter. 35 Party Songs for the Ultimate Shindig. You'll have to kick out your guests at the end of the night. Newsletter (Image credit: Artem Varnitsin / EyeEm) By The Editors 2021-11-11T16:28:00Z.

For all Bhojpuri music fans, here is the list of top 10 Bhojpuri party songs for your New Year celebrations. Recently, a latest song Happy New Year was dropped by Khesari Lal Yadav produced by Sonu Kumar Pandey. The song was composed by Ashish Verma and penned by Pyare Lal Yadav, Azad Singh and Ashish Verma. Apart from this, Bhojpuri sensation Akshra Singh dropped another single Darling Tu Time Pe Aa Jana for the New Year 2019 party. Here is the list of top 10 Bhojpuri songs to play at Happy New Year 2019 party.

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In 2018, music videos can still be the most powerful way for an artist to introduce us to their creative world, unveil a new aesthetic, or offer an emotional short story. This year saw newcomers like Tierra Whack and Rosalía astound with their ambitious visions. Beyoncé, JAY-Z, and Childish Gambino used videos to make bold political statements that instantly went viral. And LCD Soundsystem and Hurray for the Riff Raff gave us beautifully shot and acted mini-movies. These bursts of sound and image are readily accessible, mercifully brief, and, at their best, a lot more fulfilling than mindlessly scrolling through Instagram. Here are our 25 favorites from this year.

25. A$AP Rocky and Tyler, the Creator: “POTATO SALAD”
Director: AWGE

In this infectiously fun video, Rocky and Tyler casually stunt in front of a fog covered Eiffel Tower on a gloomy day in Paris. At Tyler’s side, Rocky is loose, never forgetting to flex his Chanel bag and heavy horde of chains. Toward the end, as Rocky’s gold teeth beam and Tyler moseys around on a miniature red bike, Jaden Smith appears from the ether. The cameo adds a surreal final touch to this abbreviated travelogue of rappers and friends simply living their best lives. –Alphonse Pierre

24. Ariana Grande: “thank u, next”
Director: Hannah Lux Davis

After a tumultuous year in the tabloids, Ariana Grande takes the high road in “thank u, next,” a compassionate ode to her exes that reveals hard-won wisdom. For the video, she and director Hannah Lux Davis pay sugar-spun homage to classic romantic comedies of the past two decades. Grande is formidable as Mean Girls’ Regina George, scribbling in a Burn Book and pushing poor, awestruck Troye Sivan into a locker. But she really hits her stride as Elle Woods from Legally Blonde, giggling through BDE innuendos with co-star Jennifer Coolidge and remixing the bend-and-snap. It’s a delightful callback to the formative flicks of her youth, for a song that proves how far she’s come. –Stacey Anderson

23. Bully: “Guess There”
Directors: Aleia Murawski and Samuel Copeland

The snail is an allegorical icon of our harried times: a creature that slows existence down. Bully’s “Guess There” video stars a snail. The little shelled animal leads a hushed, lonely life here, playing video games and skateboarding, eating leftovers and crawling around amid an ordinary suburb. You feel for the solitary snail, and yet, sometimes we all want to be him—simple, ambivalent, finding comfort in the mundane. –Jenn Pelly

22. Prince: “Mary Don’t You Weep”
Director: Salomon Ligthelm

The elegiac visual for Prince’s posthumously released piano spiritual combats the cold, statistical treatment of gun violence in America, offering intimate scenes of grief instead. Throughout the clip, a bereaved mother mourns the loss of her son, who haunts the world he used to inhabit. Here, everyday objects become rubble: a sneaker lies lopsided on the floor, as if kicked off just before bed; the mother collects her son’s dirty cups and plates, and siphons the last familiar sent from a worn T-shirt. It’s a stirring reminder that each life lost is much more than a number. –Madison Bloom

21. Pink Siifu: “Stay Sane”
Director: Mortis Studio

This video is all about Black joy and love; several lingering messages pop up throughout the grainy clip, like, “Black woman is God,” “Blackness is the light,” and “Protect black bodies.” Pink Siifu’s face is blended into the busy background, with only his moving lips and squinty eyes visible, as the video cuts from scene to scene, like television stations being flipped. At one point, a confederate flag gets burned, then there’s a viral social media post of black kids celebrating in a school lunchroom. It ends with a cheerful video of local cops getting clowned by the neighborhood when unable to arrest a man—the dream. –Alphonse Pierre

20. St. Vincent: “Fast Slow Disco”
Director: Zev Deans

So many of Annie Clark’s recent music videos saw her occupying the frame by herself, suggesting solitude. It happened in “Los Ageless”; it happened in “New York.” By contrast, the clip that accompanies the clubby rework of her Masseduction track “Slow Disco” is nothing but bodies. Clark is drenched in sweat, beaming on a dancefloor that's stuffed shoulder-to-shoulder with bearded hunks—a scene that the singer called a “gay disco dream.” The elated mass of sweat, hair, leather, and flesh ultimately underscores Clark’s final words: “Don’t it beat a slow dance to death?” And yeah, this looks like more fun than that. –Evan Minsker

19. Vince Staples: “FUN!”
Director: Calmatic

Vince Staples’ latest album FM! is a nuanced portrait of his hometown of Long Beach, and the video for “FUN!” offers a particularly zoomed-in perspective. It depicts local kids running down the block and jumping rope, gentrification, and police brutality. But the real genius of the video comes in the last few seconds, when we realize everything is coming from the point of view of a white boy using Google Earth on his bedroom computer. Staples is acutely aware of how his world is misinterpreted by people whose lived experiences are vastly different from his; by turning the camera on the way white people often voyeuristically look at black experiences, he makes sure he has the last word. –Vrinda Jagota

18. Kali Uchis: “After the Storm” [ft. Tyler, the Creator and Bootsy Collins]
Director: Nadia Lee Cohen

Directed by surrealist, Americana-inspired photographer Nadia Lee Cohen, this video gives us an outlandish take on 1950s conformity. Though it finds Kali Uchis casually going about her routine as a dutiful homemaker, the details of her domesticity quickly morph from idyllic to kooky: the animated, Bootsy Collins-themed processed foods, her blow dryer-lined vanity mirror, the Tyler, the Creator plant that pops out of her perfectly manicured lawn. It’s the picket-fence dream, with a psychedelic bent. –Braudie Blais-Billie

17. Kendrick Lamar, Jay Rock, and Future: “King’s Dead”
Directors: Dave Free (the little homies) and Jack Begert

The spectacle that is “King’s Dead” unravels with awe-inspiring velocity. From the frantic, Wolf of Wall Street-style imagery of Kendrick, Future, and Jay Rock in their boisterous rap boiler room to the vertigo-inducing zooms into and out of absurdly tall palm trees and adjacent skyscrapers, the sequences aren’t just eye-popping, they’re spasmodic. The motion of the camera’s eye is countered by the otherworldly chill its stars radiate in its sight; wherever they are, they perform as if idling in a static space. Things crescendo with a scene where Kendrick Lamar dodges traffic, and then directs it. –Sheldon Pearce

16. CupcakKe: “Duck Duck Goose”
Director: Brandon Holmes

CupcakKe is supremely talented at articulating exactly what she wants. The Chicago rapper’s song “Duck Duck Goose” celebrates her “high-self-esteem pussy” while gleefully detailing a sexual escapade, and the video leans into its raunchy assertiveness: At one point, she literally plays duck duck goose with an array of dildos. Fitting for a song that flexes CupcakKe’s singular sexual prowess, no one else is seen in the video, because no one else is needed. –Vrinda Jagota

15. Travis Scott: “SICKO MODE” [ft. Drake]
Directors: Dave Meyers and Travis Scott

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Travis Scott does it big because it’s the only way he knows how. The rapper and producer has now supplanted his mentor Kanye West as hip-hop’s foremost maximalist, and everything he does has to make a cannonball-sized splash. The video for his three-part mega hit “SICKO MODE” is no exception. For the clip, Scott enlists director Dave Meyers, a seasoned music video veteran who once helped make the peculiarities of Missy Elliott’s music look larger than life. Together, Scott and Meyers create a Houston where trill turns surreal: Drake walks a dog in the darkness of a giant solar eclipse; Scott’s parking lot pimpin’ is reflected in a funhouse mirror; and we get hyper literal interpretations of lyrics that imagine Scott as shiny shirt-wearing R&B group leader and as a spectacled professor solving some impossible equation. If it all sounds like a fever dream that’s because it’s supposed to. –Timmhotep Aku

14. Janelle Monáe: “Make Me Feel”
Director: Alan Ferguson

When this video hit in February, Janelle Monáe hadn’t formally come out as pansexual yet. But she was dropping big hints about her queerness with the colorful, campy-as-hell clip, in which she attends a party of David Bowie look-alikes while oozing the confidence of Prince. Then there’s the part where she literally runs back and forth between Tessa Thompson and a male actor, as if she can’t decide which one to dance with. It’s not a problem, though: She ends up partying with both. –Michelle Kim

13. Standing on the Corner: “SahBabii / Now, Nation End, 38:15”
Directors: Mortis Studio and Standing on the Corner

Here is a three-minute glimpse into the ambition, breadth, and organized chaos of the New York art ensemble Standing on the Corner’s standout 2017 release Red Burns. The visual blends animation with film footage, constantly moving and shifting to match the song's restlessness. As the cartoon band members amble across the screen, things look surreal at first—pig cops bursting through a newspaper; flames lining a subway station—but the stylization serves as framing for the group’s righteous political messaging about racism in America. Equal parts funny and militant, the video reflects the bizarre trip that Standing on the Corner take through life every single day. –Matthew Strauss

12. Troye Sivan: “My My My!”
Director: Grant Singer

Decked out in a leather jacket, tank top, and heeled boots, Troye Sivan swaggers into his role as a generation’s leading gay pop star with style and a sneer in the “My My My!” video. Sivan visually invokes the ghosts of *NSYNC and George Michael in his boyish performance, but gilds his vision with an unmistakably queer sensibility: He casts gay porn stars as video boys, gives bedroom eyes to the camera on silk sheets, and struts around an empty warehouse with arms akimbo. With this video, Sivan pointedly leaves behind the soft-focus pastel shades of his youth for something neon, sexy, and real. –Eric Torres

11. Mitski: “Nobody”
Director: Christopher Good

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You know the feeling of being alone too long? Getting too comfortable talking to yourself, losing track of time, forgetting how to interact with other people? Mitski knows it too. And for all the Michel Gondry-indebted visual metaphors in her whimsical video for “Nobody,” it’s the singer’s own facial expressions that relate the sensation most vividly: She looks alternately bewildered, hopeful, terrified, and awestruck. There are other bodies around her—that is, disembodied arms, torsos with heads just out of frame. But the only eyes we can look to for answers belong to the narrator herself. As the song glitters onward, she looks just as confused and lonely as any of us. –Sam Sodomsky

10. Japanese Breakfast: “Boyish”
Director: Michelle Zauner

Indie rock polymath Michelle Zauner, aka Japanese Breakfast, imagines a prom dance with a twist in her self-directed video for “Boyish.” The clip’s star shoots a glance towards a conventionally attractive boy in the dance hall—before proceeding to forget about him altogether. By the time she takes up a guitar on the football field, flanked by a cadre of cheerleaders, any conceivable heartbreak or melodrama is long gone, replaced by nothing but dream-pop ecstasy. –Noah Yoo

9. The 1975: “TOOTIMETOOTIMETOOTIME”
Directors: Adam Powell and Matty Healy

More often than not, music videos featuring fans come off as pop propaganda, with the diehards’ awkward glee tapped as a cutesy marketing ploy to sell an artist as approachable. But the 1975’s clip for “TOOTIMETOOTIMETOOTIME” avoids any inklings of opportunistic performativity. Though frontman Matty Healy flits in and out of the frame, flossing and fooling around, the video focuses on a diverse array of fans who boogie in front of brightly colored backdrops, like a Neil Winokur portrait. While most smile eagerly and pantomime the lyrics, others mug solemnly. Together, the motley crew bob their heads in unison, announcing themselves as the future. –Quinn Moreland

8. Sheck Wes: “Mo Bamba”
Directors: Tyler Ross, Nick Walker, and Sheck Wes

A motorized wheelchair and a leg cast don’t stop Sheck Wes from causing a ruckus. This black-and-white video for “Mo Bamba” captures everything there is to love about the rapper’s high-energy personality, as he brings his reckless abandon to the middle of a Harlem basketball court. After some swishing cutaways, he hops around on one leg in an all-white Jordan sweatsuit that makes him look like a rap star who will also give you buckets on the court at a moment’s notice. –Alphonse Pierre

7. Hurray for the Riff Raff: “Pa’lante”
Director: Kristian Mercado Figueroa

The video for Alynda Lee Segarra’s “Pa’lante”—the emotional peak of her 2017 album The Navigator—is a striking short film about injustice and perseverance in the aftermath of Hurricane Maria. The heartbreaking realism of Segarra’s song is recast on screen, becoming a moving visual narrative of imperfect family life. Director Kristian Mercado Figueroa follows a single Puerto Rican mother, her ex-partner, and their young children—underscoring the song’s theme that “no matter how bad things get, you can move forward.” This is cinematic protest art—an expansion of what a music video can be. –Jenn Pelly

6. LCD Soundsystem: “oh baby”
Director: Rian Johnson

Through the eyes of Star Wars: The Last Jedi director Rian Johnson, James Murphy and his mellow synthesizers soundtrack a science-fiction romance starring David Strathairn and Sissy Spacek. In the heart-wrenching clip, the couple work to build a DIY time traveling device in their garage. Everything goes right—and then, in the blink of an eye, everything goes wrong. –Noah Yoo

5. Drake: “Nice for What”
Director: Karena Evans

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In perhaps his wisest move of the year, Drake entrusted several of his music videos to 22-year-old director Karena Evans. With “Nice for What,” Evans turns the camera’s gaze onto a bevy of powerful women celebrating their worth, including ballerina Misty Copeland en pointe in a nightclub and The Florida Project’s Bria Vinaite zipping around in a bumper car. Her shots of these women simply doing their thing add a degree of sincerity to Drake’s female empowerment bop. –Quinn Moreland

4. Childish Gambino: “This Is America”
Director: Hiro Murai

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Carefully shot and choreographed, Childish Gambino’s chilling “This Is America” video was strategically designed to elicit visceral responses. There is no line between dancing and death here; both are American pastimes. So we see Donald Glover do the shoot dance only seconds after gunning down a black church choir, while kids record the whole procession with cell phones from on high. Violence and celebration and dread and joy are crammed into the frame together. It’s disorienting. It’s beautiful. It’s terrifying.

The video possesses a breathless, almost taxing quality that the song—which is mostly about the celebrity worship of rap artists, their complicity, and American finesse culture at large—does not. And if the images on display aren’t an indictment of how the entertainment industrial complex capitalizes on black trauma, they’re at least critical of the ways we consume it. James Baldwin said, “I love America more than any other country in this world, and, exactly for this reason, I insist on the right to criticize her perpetually.” The “This Is America” video works through a similar friction. –Sheldon Pearce

3. The Carters: “APESHIT”
Director: Ricky Saiz

Beyoncé and Jay shut the Louvre down like a high-end boutique. They stand inches away from the Mona Lisa; Beyoncé thrashes at the base of the Winged Victory of Samothrace like The Exorcist’s Linda Blair. The overt message—about blackness and its relationship to Western colonialism, about black capitalism as act of radical subversion—is about as subtle, as, well, renting out the Louvre. The video unrolls one eyeball-searingly perfect image after another, and the choreography and direction, by Sidi Larbi Cherkaoui and Ricky Saiz, respectively, tease us with enough rhyming gestures to inspire furious art history Twitter rabbit-holing. –Jayson Greene

2. Tierra Whack: Whack World
Directors: Thibaut Duverneix and Mathieu Léger

Whack World is a beautiful delirium of ideas: a hip-hop audiovisual project of 15 tracks in 15 minutes, each song stuffed with hooks and each video a surreal, languid immersion. Philly native Tierra Whack leaps, as quickly as her synapses fire, from one super-saturated planet to the next: first she narrates entirely via a hyper-detailed manicure; then croons amid flying fur as she grooms some sort of unfathomable, bedazzled sheep-unicorn-type creature; then she drawls out trap entreaties on a party bus and plays patty-cake with a wall. It all defies explanation; it must be seen. –Stacey Anderson

1. Rosalía: “MALAMENTE (Cap.1: Augurio)”
Directors: CANADA

To complement the dizzying hybrid of flamenco, pop, and hip-hop at work behind Rosalía’s “MALAMENTE,” the Catalan singer crafted a modern visual masterpiece. The mashup of imagery splices new and old Spanish traditions while running through reams of instantly memorable shots: a bullfighter baits Rosalía on her motorcycle in a freeze frame; penitents in purple robes fly by on skateboards; Rosalía struts in a furry yellow jacket in the open back of a fast-moving box truck. Clipped to a tight square aspect ratio, the vivid clip makes an effort to fuse the global zeitgeist with the specificities of Rosalía's culture so tightly that they transform into something entirely new. –Eric Torres

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