Music

The 15 Best Oscar-Winning Songs of All Time

Since 1934, the Academy of Motion Picture Arts and Sciences (AMPAS) has handed out an Oscar for best original song, and many of those now-iconic tunes have more than lived up to that golden title. It’s impossible to think of The Wizard of Oz without hearing “Over the Rainbow”; Dirty Dancing without singing “(I’ve Had) The Time of my Life”; or Pinocchio without humming “When You Wish Upon a Star.”

With musical heavy-hitters like Rihanna, David Byrne, Mitski and previous Oscar-winner Lady Gaga all in the running for best original song in 2023, whoever wins will be in awfully good company. (And, who knows? Maybe this will be the year that long-time nominee Diane Warren finally gets her flowers.) 

Whether it’s Billie Eilish becoming James Bond musical royalty in 2021 with “No Time to Die,” Eminem putting hip-hop on the Oscar map in 2002 with “Lose Yourself,” Bruce Springsteen bringing us all to tears in 1993 with the “Streets of Philadelphia,” Isaac Hayes making Oscar history as the first African-American to win the best original song category in 1971 for “Theme from Shaft” or Irving Berlin creating a perennial holiday classic in 1942 with “White Christmas,” these Academy Award winners have spanned generations — and made for one incredible, albeit wildly eclectic, soundtrack. 

In no particular order, here are the 15 greatest Oscar-winning songs of all-time. And if you don’t see your personal favorite listed here, well, no disrespect is intended. Unless, of course, that song landed on our list of the 15 worst Oscar-winning songs of all time. In that case, well, sorry.

Linkin Park Is No. 1 on Mainstream Rock Airplay for First Time Since 2014

Linkin Park is back at No. 1 on Billboard’s Mainstream Rock Airplay chart for the first time in eight and a half years, as “Lost” lifts from No. 2 to the top of the March 18-dated survey.

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“Lost” is Linkin Park’s ninth No. 1 on Mainstream Rock Airplay and first since “Until It’s Gone” ruled for a week in September 2014.

The band first led with “Somewhere I Belong” in 2003.

As it tops Mainstream Rock Airplay in just its fourth week, “Lost” ties “What I’ve Done” in 2007 for the band’s quickest climb to No. 1.

“Lost” is a posthumous No. 1 for vocalist Chester Bennington, who died in 2017. The song was recorded during the sessions for 2003’s Meteora and is part of the 20th anniversary reissue of the LP, due April 7. The last song to lead Mainstream Rock Airplay by a deceased singer was Chris Cornell’s “Promise” in October 2020.

Concurrently, “Lost” leads the all-rock-format, audience-based Rock & Alternative Airplay list for a fourth week, after launching at No. 1, with 9.2 million audience impressions, up 4%, March 3-9, according to Luminate. It ranks at its No. 2 high on Alternative Airplay for a second straight frame.

On the most recently published, March 11-dated Hot Hard Rock Songs chart, “Lost” ranked at No. 1 on the strength of 3.4 million official U.S. streams and 2,000 downloads sold in addition to its radio airplay.

Meteora ruled the Billboard 200 for two weeks in April 2003. It has earned 8.5 million equivalent album units to date, including 6.5 million in album sales.

All March 18-dated Billboard charts will update on Billboard.com Tuesday, March 14.

Miley Cyrus, TWICE & More: What’s Your Favorite New Music Release of the Week? Vote!

This week’s new music Friday is filled with brand new albums from Miley Cyrus and TWICE, a long awaited collaboration between dance powerhouse duo Calvin Harris and Ellie Goulding, and more.

Cyrus has returned with Endless Summer Vacation, which sees her expanding and diving into elements from her multifaceted sound of past album eras, all while delivering danceable — and infectious — pop hits. Buoyed by lead single “Flowers,” Cyrus’ first Billboard Hot 100 chart topper in nearly a decade, the star gives fans a love letter to Los Angeles and a solid look at what’s ahead for her musically.

Women in Music Breakthrough Artist award winners TWICE are back with 12th mini album Ready to Be. The K-pop stars have supported the release through U.S. television performances, and are embarking on a world tour in April, which will allow ONCEs to hear the pop hits and strong hooks on the new EP. “Set Me Free” and “Blame It On Me” serve as clear standouts from the new set, while the previously released single, “Moonlight Sunrise,” continues to be a fresh, infectious listen.

Past collaborators Calvin Harris and Ellie Goulding reunite on “Miracle,” the third from the pair since “I Need Your Love” in 2012 and “Outside” in 2014. The track is a clear showcase of trance sensibilities, with Goulding’s vocals serving as a warm vehicle to accompany the song’s instrumentals.

Lauren Daigle and Fever Ray also return with new material this week. With so much to choose from, we want to know: Which release is your favorite? Vote in our poll below.

Lil Nas X Cozies Up to Elton John, Miley Cyrus & More at Star-Studded Versace Show

Lil Nas X took to social media on Thursday (March 9) to show off his star-studded day at the latest Versace fashion show in West Hollywood.

“I [heart] donatella,” the “Industry Baby” rapper captioned his slideshow from the event for the label’s fall/winter 2023 collection, which showed him decked out in a glittery fringed top, black skirt, boots and Versace underwear as he hung out with the likes of Elton John, Miley Cyrus, Dua Lipa and Anne Hathaway.

In one pic, he even got a big hug from Donatella Versace herself, who returned the love in the comments of his post, writing, “And I love you!!!!!!” Ice Spice also hyped up her fellow rapper, simply commenting, “stunning” on the high-fashion photos.

Of course, Lil Nas X already has connections to both Sir Elton (who joined him on Montero album cut “One of Me”) and Cyrus (who collaborated on album closer “Am I Dreaming”; her famous dad was also featured on X’s 2018 breakout hit “Old Town Road (Remix)”).

In February, the Grammy winner used a Twitter Q&A with fans to tease the possibility that the hotly awaited follow-up to his debut album could arrive as soon as this summer. “It’s mostly planning now. i could easily just release music but i have to build moments around this s–t. i have to go bigger than before!” he promised at the time.

Next, LNX is set to play the 2023 NCAA March Madness Music Festival later this month with fellow headliners Tim McGraw, Keith Urban and Little Big Town.

Check out Lil Nas rubbing elbows with all his famous pals at the Versace show on his Instagram post.

The 15 Worst Oscar-Winning Songs of All Time

For every time the Oscars gets something so very right (i.e. Parasite winning best picture in 2019), the Academy Awards can also get other things so very wrong (remember when Crash triumphed over Brokeback Mountain or how they were so transparently skewed they generated the hashtag #OscarsSoWhite?).

The best original song category is no stranger to some regrettable follies. After all, this is a category that has nominated living legend Diane Warren 14 times and sent her home empty handed every single time. (“I Don’t Want to Miss a Thing,” “Because You Loved Me,” and “‘Til It Happens To You” sure seemed like locks at the time, and then, nadda.) It’s also the same category that controversially nominated a track from an obscure Christian flick back in 2014, only to have to revoke it later.

Of course, some of the most egregious Oscar moments have come from giving an Academy Award to confounding song selections. From forgettable Disney ditties to treacly disaster flick ballads (the only thing worse than perishing in The Towering Inferno or The Poseidon Adventure was the music accompanying them), there have been more than a few times when the Academy of Motion Picture Arts and Sciences (AMPAS) showed that they can be utterly tone deaf. (Apologies in advance to talented icons Phil Collins, Barbra Streisand, Elton John and repeat offender Randy Newman.)

In no particular order, these are one critic’s picks for the 15 worst Oscar-winning songs of all-time. Hey, you can’t get them all right.

Chris Brown Scores 18th Mainstream R&B/Hip-Hop Airplay No. 1

Chris Brown earns his 18th No. 1 on Billboard’s Mainstream R&B/Hip-Hop Airplay chart, as “Under the Influence” lifts 2-1 on the March 11-dated list.

“Influence” becomes Brown’s first leader since “Go Crazy,” a co-billed track with Young Thug, led for six weeks in 2020.

With 18 No. 1s, Brown maintains the third-most rulers in chart history since the list launched in 1993. Drake leads all acts with 44 toppers.

Most No. 1s, Mainstream R&B/Hip-Hop Airplay:

  • 44, Drake
  • 20, Lil Wayne
  • 18, Chris Brown
  • 16, Usher
  • 12, Beyonce
  • 11, R. Kelly
  • 10, Cardi B
  • 10, Jay-Z
  • 10, Rihanna

Brown first led the survey in 2006 as a featured artist on Bow Wow’s “Shortie Like Mine” alongside Johnta Austin. He earned his first as a lead act the next year with “Kiss Kiss,” featuring T-Pain.

The reign of “Influence” on Mainstream R&B/Hip-Hop Airplay follows a lead for the song on Rhythmic Airplay for six weeks beginning last year.

“Influence” concurrently rises 4-2 on R&B/Hip-Hop Airplay, 15-13 on Pop Airplay and debuts at No. 28 on Adult R&B Airplay.

On the all-format Radio Songs tally, “Influence” jumps back into the top 10 (11-9) with 53.1 million audience impressions, according to Luminate.

“Influence” bullets at No. 18, after rising as high as No. 12 in January, on the multi-metric Billboard Hot 100 while also appearing at No. 5 on Hot R&B Songs and at No. 7 on Hot R&B/Hip-Hop Songs. In addition to its radio airplay, the song earned 10 million official U.S. streams and 1,000 downloads in the Feb. 24-March 2 tracking week.

Originally released in 2019 via Brown’s album Indigo, “Influence” caught a second wind in 2022 thanks to virality on shortform video platforms such as TikTok, leading to the song being worked to radio formats for the first time.

Parent album Indigo has earned 2.7 million equivalent album units since its release.

15 Female Rap Anthems to Get You Amped During Women’s History Month

What better way to celebrate women than by chanting along to some of their greatest girl-power hits? For Women’s History Month, we’ve gathered some of our favorite anthems by women rappers — and a few singers who dipped into the genre — who range from certified legends to burgeoning stars.

According to a recent Spotify-funded study from the USC Annenberg Inclusion Initiative, less than 25% of the artists on Billboard’s Hot 100 Year-End chart for 2021 were women–something that has gone virtually unimproved over the last decade. When it comes to songwriters, the numbers are even more alarming, with women comprising 12.7% within the last ten years. It’s hard to believe, with so many certified hits from women across genres, which is all the more reason to keep these uplifting tracks in your rotation.

The round-up spans three decades (beginning with Queen Latifah and ending with Ice Spice) and includes widely-acclaimed hits like Lizzo’s chart-topping single girl anthem, “Truth Hurts” to unforgettable Y2K favorites like “Bossy” by Kelis, all the while keeping you prepared to dominate whatever is to come, regardless of your gender. Some artists on the list even sampled songs from artists who came before them, for example Lizzo sampling Lauryn Hill’s “Doo-Wop (That Thing)” on her 2022 album cut, “Break Up Twice.”

Some cuts motivate us to demand the respect we deserve while others simply get us in the mood to pop out with our baddie friends. While we could’ve listed about a hundred more, here are 15 ear-worm anthems to get you started.

Jason Mraz to Kick Off Grammy Museum’s ‘Sunday Brunch With…’ Series

Jason Mraz will kick off The Grammy Museum’s “Sunday Brunch With…” series, a fundraiser for the museum’s Grammy in the Schools education programs.

The inaugural event will be held on Sunday April 2 at VERSE LA, a restaurant in Los Angeles’ Toluca Lake neighborhood. Guests will eat a three-course brunch while listening to music performed by a jazz trio assembled by a Grammy in the Schools education program alumni. Following the meal, Mraz will perform for 45 minutes. The brunch begins at noon, Mraz’s performance begins at 1:30 p.m.

Tickets, priced at $350, include open bar and three-course brunch (vegetarian, vegan, gluten free and dairy free options available) and complimentary valet parking. Tickets are tax deductible.

This inaugural event is presented by Union Bank and supported by VERSE LA, which is owned by long-time Grammy Museum supporter and 11-time Grammy-winning mixer, Manny Marroquin.

Marroquin won a Grammy for record of the year on Feb. 5 for his work on Lizzo’s “About Damn Time.” He won album of the year last year for his work on Jon Batiste’s We Are. He has won two awards each for work with Lizzo and Alicia Keys and one award each for work with Mary Mary, Kanye West, John Legend, John Mayer, Bruno Mars, Rihanna and Batiste.

Mraz is a two-time Grammy winner. He won both awards on the 2010 telecast – best male pop vocal performance for “Make It Mine” and best pop collaboration with vocals for “Lucky,” a collab with Colbie Caillat.

The Grammy Museum’s music education programs annually impact more than 35,000 K-12 students and teachers across the U.S.

VERSE L.A. is located at 4212 Lankershim Blvd, Toluca Lake, CA 91602. Tickets and more info here.

Megan Thee Stallion Will Return to Houston For First Concert of 2023

Megan Thee Stallion is returning to the stage. The “Sweetest Pie” rapper will be headlining AT&T Block Party as part of the 2023 NCAA March Madness Music Festival. Slated to take place in Megan’s hometown of Houston, the three-day weekend will begin March 31 during NCAA Men’s Final Four and continue until April 2, with Megan’s headlining performance leading the way.

Held at Houston’s Discovery Green Park, AT&T will use its Samsung Galaxy S23 Ultra smartphones to film the concert through multiple camera angles. Fans can register for the show and live-stream the event here. “There’s no place I’d rather be for my first performance of the year than my hometown of Houston,” Megan said in a statement. “The AT&T Block Party Concert is gonna be such a vibe, and I can’t wait to get back on stage in the city where it all began. I’m looking forward to seeing my Hotties and putting on an unforgettable show for them.”

The rest of the weekend will include more superstar performances — day two will feature Lil Nas X and Maggie Rogers while day three will offer Tim McGraw, Keith Urban, Little Big Town and Mickey Guyton.

December 2022 served as the conclusion to the Megan Thee Stallion-Tory Lanez saga, when the Canadian rapper was found guilty on three charges from a July 2020 shooting in Los Angeles. The jury convicted Lanez on the following charges: assault with a semiautomatic firearm, carrying a loaded unregistered firearm in a vehicle and discharge of a firearm with gross negligence.

deadmau5 Expects to Retire the mau5head by the Time He’s 50

Time flies when you’re headlining global mainstages. Fifteen years after releasing their collaborative classic “I Remember,” deadmau5 and Kaskade have come back together as Kx5.

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Ahead of their debut album coming next Friday (March 17) and their performance at Billboard Presents The Stage at SXSW on March 18, the pair sat down for our latest cover story to talk about life as two of EDM’s elder statesmen.

In the piece, deadmau5 shares that “I don’t think I’m going to be f–king donning a mau5head in my 50s,” referring to his signature helmet and his plans to retire it in the next decade. (deadmau5 is 42, while Kaskade is 51.) deadmau5 adds that he’s considering managing acts from his indie label, mau5trap, as he gets older and tours less.

Noting that he and Kaskade broke through “right at the turning point” when EDM was the world’s most lucrative genre, deadmau5 says their respective businesses have developed so that most of their revenue is currently “in ancillary goods — tangible items [like merchandise], appearances, shows, production.”

Kaskade’s manager Ryan Henderson also notes that the pair put major money into Kx5 live performances, with their record-setting show last December at the Los Angeles Memorial Coliseum costing “almost seven figures to design and over seven figures to execute.”

But while such investments affect the Kx5 bottom line, so too does the pairing feed each artist’s residual revenue streams, with Henderson adding that Kaskade just signed a three-year, eight-figure Las Vegas residency deal. “I’m not saying the Kx5 brand contributed to that,” Henderson notes, “but it definitely didn’t hurt it.”

And with the pair having influenced the next generation of dance artists, the story also reveals that current scene phenom John Summit, who opened for Kx5 at the Coliseum show, will release the first-ever official remix of “I Remember” later this year.