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President Joe Biden signed the Respect for Marriage Act into law on the South Lawn of the White House on Tuesday (Dec. 13), protecting same-sex and interracial marriages across the country.
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In a video shared to Twitter from the event, Lady Gaga‘s “Born This Way” begins to play through the speakers once Biden signed the bill. “I’m beautiful in my way, ’cause God makes no mistakes / I’m on the right track, baby, I was born this way,” Gaga’s anthemic chorus is heard as the president stands up to hug his wife, Dr. Jill Biden, and the rest of his team in celebration.
Gaga’s “Born This Way,” off her 2011 album of the same name, has been a powerful LGBTQIA+ anthem since its release. “Born This Way, my song and album, were inspired by Carl Bean, a gay black religious activist who preached, sung and wrote about being ‘Born This Way,’” Gaga wrote in an Instagram post in 2021. “Notably his early work was in 1975, 11 years before I was born. Thank you for decades of relentless love, bravery, and a reason to sing. So we can all feel joy, because we deserve joy. Because we deserve the right to inspire tolerance, acceptance, and freedom for all.”
The new law signed today was passed in the House of Representatives with a vote of 258-169, and 61-36 in the Senate. At the ceremony, Cyndi Lauper sang her iconic hit, “True Colors,” while Sam Smith took the stage to perform their breakthrough 2014 ballad, “Stay With Me.”
President Joe Biden signed the historic Respect for Marriage Act into law on Tuesday (Dec. 13), protecting same-sex and interracial marriages across the country.
The new law also protects against a situation in which the Supreme Court were to overturn the 2015 Obergefell v. Hodges decision, which legalized same-sex marriages in the U.S, as Associate Justice Clarence Thomas suggested in June. The bill was passed in the House of Representatives with a vote of 258-169, and 61-36 in the Senate.
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“Today, America takes a vital step toward equality, toward liberty and justice, not just for some, but for everyone,” Biden said at the ceremony on the South Lawn of the White House. “Toward creating a nation where decency, dignity, and love are recognized, honored and protected.”
At the ceremony, Cyndi Lauper sang her iconic hit, “True Colors,” while Sam Smith took the stage to perform their breakthrough 2014 ballad, “Stay With Me.”
Lauper also gave a speech in the White House briefing room to commemorate the signing of the Respect for Marriage Act. “I came here because I wanted to say thank you to President Biden, Speaker [Nancy] Pelosi, Vice President [Kamala] Harris and all the advocates on his team. For once, our families — mine and a lot of my friends and people you know, sometimes your neighbors — we can rest easy tonight because our families are validated.”
She concluded, “Now, we’re allowed to love who we love, which sounds odd to say, but Americans can now love who we love. Bless Joe Biden and all the people that worked on this for allowing people not to worry and their children not to worry about their future.”
See via Twitter below.
Lauper: We can rest easy tonight because our families are validated and because now we’re now allowed to love who we love which sounds odd to say but Americans can love who we love pic.twitter.com/BRDOo80nrs— Acyn (@Acyn) December 13, 2022
This year brought an endless supply of memorable music in TV and film — both through original creations and already-existent works. Disney’s Encanto led the Billboard 200 for nine nonconsecutive weeks, fueled by its Billboard Hot 100-topping hit, “We Don’t Talk About Bruno,” while films including Top Gun: Maverick and Elvis also spawned top 10-charting hits. Synch placements yielded similar massive and pop culture-defining moments — with the two most notable coming from the same show. The fourth season of Netflix’s Stranger Things, broken up into two volumes, first led to the revitalization of both Kate Bush’s 1985 classic “Running Up That Hill (A Deal With God)” and then Metallica’s 1986 single “Master of Puppets.” Following their appearances in the show, the former reached a No. 3 peak on the Hot 100 — a career-best for Bush — and the latter led to the group’s first No. 1 on Billboard‘s Hot Hard Rock Songs chart in its illustrious history.
Behind the placements is music supervisor Nora Felder, who in addition to her work on Stranger Things has previously worked on series including FX’s What We Do in the Shadows and Showtime’s Ray Donovan, and will contribute to the second season of Yellowjackets (also on Showtime). And though she tells Billboard “it’s literally impossible to keep up with the surge of music that comes in on a daily basis,” she’s found a knack for picking the perfect musical accompaniments to a show’s most pivotal moments, time and again.
Below, Felder reflects on why she thinks the synchs in season four struck such a resonant chord with viewers, what goes into landing a successful placement and more.
Nora Felder, winner of the Outstanding Music Supervision award for “Stranger Things,” attends the 2022 Creative Arts Emmys at Microsoft Theater on September 04, 2022 in Los Angeles, California.
Amy Sussman/GI
The reaction to Stranger Things‘ season four soundtrack — specifically “Running Up That Hill” and “Master of Puppets” — was massive. Looking back, how did that feel for you?
I’m not sure I have fully processed it yet. When I run into friends or associates that I don’t see on a regular basis, it seems everyone is still blown away by it because, inevitably, it’s one of the first things they want to talk about.
In the first season of Stranger Things, we had used The Clash’s song, “Should I Stay or Should I Go” across several episodes. Similar to Kate Bush’s “Running Up That Hill,” the multiple uses of both songs became, in part, a bridge for forging bonds between our key characters, while also helping save [them] from malevolent forces in precarious life-threatening moments. After season one aired, The Clash’s song experienced a bit of a resurgence, so we definitely anticipated and hoped for a similar reaction to Kate Bush’s song. However, after “Running Up That Hill” aired and the reaction to it unfolded in real time, we were staggered and humbled by this beyond-next-level response. To think that a song which was released 36 years ago could outrun some of the top artists of today really felt like a true lightning-in-a-bottle moment that was a privilege to be a part of.
With the subsequent airing of “Master of Puppets,” we were a little more prepared and anticipated that the needle would move in a big way. Metallica’s song was hugely connected to our beloved new character, Eddie. In my mind, to love Eddie was to love “Master of Puppets” as its lyrics really spoke to the core of Eddie’s being. But to now see that the metal community has a budding new audience makes me personally very happy. Metal music has been misunderstood as “angry music” for decades. I’m thrilled that people are really listening now and frankly getting into it on a deeper level.
Do you have a favorite memory from working on this season?
Off the cuff, three moments stand out in my mind. First, watching Rob Simonsen conduct The London City Orchestra in real time — adding an overlay to the original recording of “Running Up That Hill,” which fans got to hear in completion during the monumental Max moment in episode four — was simply breathtaking.
Second, sitting in a small Netflix theater stage with my Stranger Things team working on a weekend, and watching Eddie’s monumental scene with “Master of Puppets” for the first time. The few of us who were in the intimate setting of that room felt as if we each were at the greatest rock concert in the world — and had front row seats.
Third, I’ve had many people reaching out through my socials or website sending videos of festivals and concerts around the world with young and old [people] dancing and singing, or performing “Running Up That Hill” and “Master of Puppets.” One that particularly touched me was from a teacher of a 6th grade class in Florida. She sent a video of her students swaying together and singing “Running Up That Hill” and congratulating me on my Emmy win. That profoundly touched my heart. The power of a great song is endless and can be ageless.
Why did the synch placements in this season of Stranger Things resonate so strongly?
I suspect that Stranger Things‘ loyal fan base of all ages just might feel that a piece of themselves is represented in these characters, as well as the story that unfolded this season. In recent years, I believe that for many there had been an overall sense of uncertainty and fear — as if there have been invisible dangers and monsters, if you will — looming over us. With that in mind, it makes sense that the Stranger Things songs — which evocatively amplify the plights and unique internal landscapes and circumstances of our characters — would resonate around the world just as strongly as the characters and stories themselves.
Why was 2022 such a big year for music in TV and film to make an impact on the charts and in pop culture?
I have been inclined to think that following the impact of the worldwide pandemic, many people have become more accustomed to staying home more often than not. Getting lost in and binging on visual media, and listening to music has been at its heights. It could then make sense that through one’s favorite and relatable shows or movies (particularly those that are music driven), audiences would come to rely on such outlets as a source for the discovery of music.
What determines if a song will land a memorable synch placement?
When I’m reviewing songs against picture, my selections for my filmmakers emerge solely from my feeling, intuition and understanding. I know no other way to explain it. I usually test drive quite a few options, and I select the ones that my gut tells me could bring one closer to the character and to the emotions that I think my filmmakers are trying to get across in a scene or a character’s performance. A song must enhance a scene or its character, not the other way around. The more memorable a cinematic moment is, the more likely it is that a song that was used to enhance that moment will become iconically memorable as well.
What can synch placements in TV and film can add to a character’s arc or a scene that dialogue — or visual media — may not be able to otherwise?
Adding a music element behind a character or story can help elevate a message in a way that words can’t. Adding a musicality and lyrics to tip an emotion sparks one’s senses in a very unique way. That’s the power of music. That’s not to say that music, whether it be score or a needle drop, is needed for every scene or story. Some scenes are impactful on their own and adding a musical element would be distracting.
What kind of lasting impact will the success of synch placements in season four be?
We generally strive to look at where we came from in order to form a better understanding of where we are going. Through the power of the Stranger Things story, fans latched on to “Running Up That Hill” [and] “Master of Puppets” and others and allowed these songs — decades after their release — to become a source of validation and strength today. I hope the lasting impact of this historical moment in music will be that people will remain open to all genres of music, no matter if the a song came out last week or centuries ago.
A version of this story originally appeared in the Dec. 10, 2022, issue of Billboard.
In January, the success story of Encanto and its hit single “We Don’t Talk About Bruno” kicked off a banner year for music from movies: Five songs written for films reached the top 10 of the Billboard Hot 100 in 2022 — the most since 2018, when four original songs from movies reached the upper echelon.
Encanto was a true phenomenon, becoming the first soundtrack with a corresponding song (“Bruno”) to simultaneously top the Billboard 200 and Hot 100 for at least four weeks in 29 years since The Bodyguard and Whitney Houston’s version of “I Will Always Love You.” “Bruno” spent five weeks at No. 1, the most for any song from a Disney movie in the chart’s history. The animated film’s “Surface Pressure,” sung by Jessica Darrow, reached No. 8.
“Part of the reason you’re seeing music in film generally do better is because it’s used in a more integral way to the story,” says Disney Music Group president Ken Bunt. “If the song is used in a more meaningful way, it tends to do better. And I think that’s something that got lost for a while.”
Other 2022 feats include Rihanna’s “Lift Me Up” from Black Panther: Wakanda Forever, which debuted at No. 2 on the Hot 100, giving the superstar her first top 10 since 2017; OneRepublic’s “I Ain’t Worried” from Top Gun: Maverick, which hit No. 6, the band’s first top 10 since 2014; and Doja Cat’s “Vegas” from Elvis, which reached No. 10.
“When you can put a great song in a movie and then have radio make it a hit song, it not only makes the movie more popular, it elevates the artist singing the song,” says Jim Ryan, vp of programming for the Audacy radio chain.
In the case of “Bruno,” Ryan is first to admit he was skeptical. “I said, ‘This can’t be a radio song,’ ” he recalls. “But we had really good success with it. I think that came from young parents that are certainly in the demographic that we try to reach with our radio stations. Parents watch movies with their kids. I thought it was going to be a spike song for a couple of weeks, but we got a lot of mileage out of it.”
Not only did “Bruno” take off without a star name attached as the performer, it also persisted following a delayed start. After the song debuted on the Hot 100 at No. 50, Bunt credits the film hitting Disney+ last December, a month after its theatrical release, for the music’s sudden and sustained climb. “That’s when things really started to explode,” he says. “More people had access to it because not everybody was comfortable going into a theater.”
By the time Top Gun: Maverick opened in May, theaters were more crowded as COVID-19 numbers declined. And the soundtrack, released by Interscope, had the added benefit of star power. Lady Gaga co-wrote and performed the end-title power ballad “Hold My Hand,” and OneRepublic’s whistle-hook pop track “I Ain’t Worried” (which interpolates “Young Folks” by Peter, Bjorn and John) got a pivotal placement during a beach touch-football scene.
“Hold My Hand” reached No. 9 on Billboard’s Adult Contemporary Songs chart. As for OneRepublic, Interscope was already promoting the band’s “West Coast” to radio when — given Top Gun: Maverick’s box-office success — it yanked that song for “I Ain’t Worried” to capitalize on the momentum.
And according to Interscope vice chairman Steve Berman, the film also had the benefit of building on the 1986 original blockbuster, whose “Take My Breath Away” by Berlin took home the Oscar for best original song. It’s why, he says, the label’s initial conversations with Paramount’s president of motion picture music Randy Spendlove centered on, “How do you be respectful to the importance of a film like Top Gun and how do you carry it forward? Because music was so instrumental in the original film.” (It’s also why, he says, Lady Gaga worked so closely with star Tom Cruise, composer Hans Zimmer and director Joseph Kosinski.)
“Theaters were clawing back, and Top Gun was this explosion that happened of people seeing a film together. That film was such a global force,” Berman continues. “When you combine that with social media platforms, the power of the culture of the film and the scene in which [“I Ain’t Worried”] was played, it felt like it was unstoppable.”
Placement in a pivotal scene and use of a familiar hook similarly helped propel Doja Cat’s “Vegas,” which includes a sample of rock classic “Hound Dog” sung by the song’s original performer, Big Mama Thornton. Helmed by Doja Cat’s longtime producer, Yeti Beats, “Vegas” was “an opportunity to hear Doja rap again, which she hadn’t done as much of the last couple of tracks,” says Karen Lamberton, executive vp of soundtracks and film/TV licensing for RCA, which released the soundtrack. “Fans were hungry for that.”
In addition to “Vegas” hitting the top 10 on six Billboard charts, six other songs from the movie appeared on various charts, including “The King and I” by Eminem featuring Cee Lo Green, which reached No. 12 on R&B/Hip-Hop Digital Song Sales.
Integral to the songs’ success was director Baz Luhrmann’s involvement in “absolutely every note of every track,” Lamberton says, which leads to an emotional connection that the listeners can sense. “There’s a joy and appreciation for bringing all kinds of art together in one place,” she continues. “When artists are inspired by other artists, you end up with great results.”
A version of this story originally appeared in the Dec. 10, 2022 issue of Billboard.
If RuPaul’s Drag Race were an actual, real-life drag race, then its latest announcement would rival the Grand Prix itself.
On Monday (Dec. 12), the long-running franchise announced a “global expansion” of the Drag Race brand, which includes a new deal that will see the flagship show move over from VH1 (its home for the last six years) to MTV for its long-awaited 15th season. On Tuesday (Dec. 13), the franchise unveiled the full cast for season 15, revealing the most queens on one season of the main series than ever before.
In alphabetical order, season 15 of RuPaul’s Drag Race will see Amethyst, Anetra, Aura Mayari, Irene Dubois, Jax, Loosey LaDuca, Luxx Noir London, Malaysia Babydoll Foxx, Marcia Marcia Marcia, Mistress Isabelle Brooks, Princess Poppy, Robin Fierce, Salina EsTitties, Sugar and Spice all compete for the title of America’s Next Drag Superstar — as well as a newly increased cash prize of $200,000.
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RuPaul’s Drag Race isn’t the only show benefitting from the franchise’s new development. As part of the expansion, MTV also announced three brand new Drag Race spin-off shows that will be arriving in Brazil, Germany and Mexico via MTV and Paramount+. All of this will also culminate in the first-ever season of Drag Race Global All Stars, in which fan-favorite queens from many of the different Drag Race franchises will come together for a head-to-head battle on Paramount+.
RuPaul’s Drag Race season 15 will premiere with two back-to-back episodes on Friday, Jan. 6, at 8 p.m. ET. Check out the official “meet the queens” livestream below:
The Voice is down to its final contestants ahead of tonight’s live finale. During the Monday (Dec. 12) episode, Bodie dialed up the soul for his rendition of Harry Styles‘ “Late Night Talking” and turned the hit into a sultry pop track that fit his unique style.
Bodie kicked off the performance on The Voice stage solo with trilling piano notes to accompany him, and started by singing the track’s chorus, and then going into the first verse. The singer injected the lyrics with several immaculately placed vocals runs before upping the ante — and the tempo — halfway through the showcase, when dancers clad in monochrome blue and orange suits, much like Styles’ fashion.
“We’ve been doin’ all this late night talkin’/ ‘Bout anything you want until the mornin’/ Now you’re in my life/ I can’t get you off my mind,” Bodie sang, clad in a gray suit decorated with sequined stars.
“Late Night Talking” was released as the second single from Styles’ third album, Harry’s House, on June 21. The track peaked at No. 3 on the Billboard Hot 100 in September, and spent a total of 24 weeks on the chart.
Bodie is on Team Blake, and is currently up against contestants Morgan Myles, Brayden Lape, Bryce Leatherwood and Omar Jose Cardona. On Tuesday’s finale of The Voice, the singer will perform a duet with Blake Shelton and will see if he becomes the season 22 champion.
Watch Bodie’s performance in the video above.
Trying to capture what a “queer song” sounds like in 2022 is a lot like trying to explain what the color yellow is — all in all, it’s not possible. That’s because, simply put, songs by queer artists released throughout 2022 run the gamut of popular music, from thundering electro-pop, to sultry R&B, to funkwave, hip-hop, Latin, indie rock, disco and much more. Gone are the days where openly-LGBTQ people — both artists and listeners — were siloed off into one stereotypical genre landscape, now replaced by an audience who are listening to a vast array of musical genres, and a bevy of artists ready to show off their skills in nearly every musical field.
The result of that evolution is not only a diverse landscape of music created by queer artists, but a new frontier of pathways toward success. Along with showing off the musical flexibility of a community trying to survive amidst less-than-ideal circumstances, 2022 also proved that massive mainstream success is not exclusive to a single queer artist at a time. Whether it’s topping the Billboard Hot 100, charting for the very first time as a solo artist, or even successfully reinventing your sound, 2022 was a year defined by queer artists pushing their limits to discover new avenues toward the promised land of “making it” in the music industry.
But which of these songs managed to stand out from the rest this year? Below, check out Billboard‘s picks for the 25 best songs released by LGBTQ artists in 2022 (listed in alphabetical order).
Pop-rock superstar Adam Lambert knows his way around a good cover. And on Tuesday (Dec. 13), the singer continued the trend with his latest ode to some ’80s rock icons.
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Lambert unveiled his cover of Duran Duran‘s 1993 hit single “Ordinary World,” in which the American Idol alum slows the track down to create am almost eerie version of the grief-stricken original track. Backed up by a smooth piano and some orchestral strings, Lambert carefully croons out the aching lyrics of the track, never going as far as emulating Simon Le Bon’s signature vocal, but paying homage all the same. Lambert is set to debut his live rendition of the song on Wednesday’s season 22 finale of The Voice.
The singer also announced that the new track was just a taste of what fans could expect off of his forthcoming sixth studio album, High Drama. Due out on Feb. 24 via BMG, the album is set to show off Lambert’s skillset as a cover artist, as he delivers his own versions of songs such as Bonnie Tyler’s “Holding Out for a Hero,” Sia’s “Chandelier,” Billie Eilish’s “Getting Older” and many more.
This is not the first song off of the upcoming project that Lambert has shared. Back in October, he released his rendition of the Noël Coward classic “Mad About the Boy” in tandem with a new documentary about the famed playwright and director, Mad About the Boy — The Noël Coward Story. Lambert’s version will appear as the final track on his new album.
Check out the video for Lambert’s “Ordinary World” cover above, and pre-order his new album High Drama here.
The winner of The Voice 2022 is in plain sight, but the coronation must wait a little longer.
On the penultimate episode of NBC’s popular singing competition, each of the remaining contestants got their chance to sing twice for America’s vote.
One, an up-tempo number. The other, something from the heart.
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Bodie (Team Blake) went out and hit Harry Styles’ “Late Night Talking” and Brandon Lake’s “Gratitude”; Morgan Myles (Team Camila) sang Bonnie Tyler’s “Total Eclipse of the Heart” and Little Big Town’s “Girl Crush”; Brayden Lape (Team Blake) sang Corey Kent’s “Wild As Her” and Tim McGraw’s “Humble and Kind”; Bryce Leatherwood (Team Blake) tackled Travis Tritt’s ““T-R-O-U-B-L-E” and Keith Whitley’s “Don’t Close Your Eyes”; and Omar José Cardona (Team Legend) went with Michael Jackson’s “The Way You Make Me Feel” and Queen’s “Somebody to Love”.
All of them will fancy their chances. Some pundits are calling it for Leatherwood, others are moved by Myles.
The season-long frontrunner Bodie did his chances no harm with a fun cover of Styles’ poppy number, despite being thrust into the opening spot of the night. He followed up with a dramatic rendition of “Gratitude” that had everyone waving their hands in the air.
Earlier in the competition, the California native impressed with his take on a modern classic, JVKE’s 2022 release “Golden Hour”; he won through in a battle with Jaeden Luke on Justin Bieber‘s “As Long as You Love Me”; and got a four-chair turn during the blind auditions with a performance of The Fray’s “You Found Me”.
All will be revealed soon.
The reality show’s live two-day finale wraps with results at 9 p.m. ET on Tuesday (Dec. 13). For the lucky winner, Christmas will come early. The winner’s spoils include a recording contract with Universal Music Group and $100,000.
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Elvis snagged three Golden Globe nominations on Monday (Dec. 12), including a best actor nod for the film’s star, Austin Butler.
The Baz Lurhmann-directed biopic received Golden Globe nominations for best picture and best director as well. The 80th annual Golden Globe Awards are scheduled to air Jan. 10, 2023, at 8 p.m. ET on NBC.
Elvis Presley’s story will head back to the big screen in a forthcoming Sofia Coppola-directed biopic centered on his wife Priscilla Presley, with Jacob Elordi taking on the role of the King of Rock and Roll.
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Talk of the upcoming film sparked Twitter comparisons to Butler’s role in Elvis, which is now streaming on HBO Max and other platforms. Elvis has became the second-highest-grossing musical biopic at the global box office (third domestically) and director Baz Lurhmann’s top-grossing film in the U.S. and Canada.
The film was released on Blu-ray and DVD in September, so if you’re looking for a gift idea, you can order a copy now, and have it delivered before Christmas.
Butler stars alongside Tom Hanks, Olivia DeJonge, Dacre Montgomery and David Wenham in the film chronicling Presley’s story as told through the eyes of a complex relationship with his manager, Colonel Tom Parker (Hanks).
Presley died one day before he was slated to start a new tour. The 42-year-old singer was found unresponsive on the bathroom floor of his Graceland mansion on Aug. 16, 1977. This year marked the 45th anniversary of Presley’s death.
Aside from the complicated dynamic between Presley (Butler) and Parker, Elvis explores the rock legend’s rise from poverty to unprecedented stardom “against the backdrop of the evolving cultural landscape and loss of innocence in America.”
Elvis debuted in theaters in June and has grossed over $280 million worldwide. It was later released digitally on Prime Video, Vudu, Google Play and other platforms for $19.99.
But if you’re an HBO Max subscriber, you get to stream Elvis at no additional cost. Not subscribed? Monthly packages start at $9.99 a month and if you join HBO Max through Prime Video you’ll get a 7-day free trial. Find more HBO Max promo deals here.
HBO Max $from $9.99/month
From must-watch movies and documentaries to kids shows and sports content, HBO Max offers viewers thousands of hours of binge-worthy content. Stream Elvis, Dune and The Batman and other movies, in addition to a range of exclusive shows, which includes Emmy-nominated series such as The White Lotus, Succession, Euphoria, Hacks, Insecure and Barry. The Game of Thrones prequel House of the Dragon, is streaming on HBO Max, in addition to Westworld, Gossip Girl, The Rehearsal, Pretty Little Liars: Original Sin, Rap Sh!t, Starstruck, and more.
Meanwhile, Elvis looks to extend its box-office winning streak into Blu-ray and DVD sales. The film topped Amazon’s list of best-sellers in movies and TV, coming in ahead of 1888: A Yellowstone Origin Story, Where the Crawdads Sing, Top Gun: Maverick and Jurassic World Dominion. Fans can purchase a copy of Elvis at major retailers including Amazon, Walmart, Target and Best Buy.
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BUY NOW: $14.99 $39.98 63% OFF
The Blu-ray/DVD release comes with a digital copy of the film, and retails for $24.99. The DVD by itself is on sale for $9.99, and the 4K HD edition is discounted to $17.99.
Special features include Bigger Than Life: The Story of Elvis, Rock ‘n’ Roll: Royalty: The Music and Artists Behind Elvis, Fit for a King: The Style of Elvis, Viva Australia: Recreating Iconic Locations for Elvis and a lyric video for Presley’s song, “Trouble.”