Unveiling the Impact of Sync Licensing in Modern Media
In the ever-evolving world of entertainment, the power of music to transcend time and genre is vividly illustrated by the resurgence of Kate Bush’s iconic song, “Running Up That Hill (Make a Deal with God).” First released in 1985, this track experienced a phenomenal revival thanks to its pivotal inclusion in the Netflix series “Stranger Things.” This article delves into the journey of “Running Up That Hill” from an 80s hit to a 21st-century cultural phenomenon, exploring the intricacies of sync licensing and the strategic decisions behind its remarkable comeback.
A Deep Dive into “Running Up That Hill” and Its Timeless Appeal
“Running Up That Hill,” part of Kate Bush’s acclaimed album “Hounds of Love,” was a significant hit upon its initial release. Characterized by its avant-garde style, the song blends a synthesizer-driven melody with Bush’s ethereal vocals, creating an atmospheric and emotive sound. The lyrics explore themes of human understanding and empathy, encapsulating the struggles and desires to swap places with another to understand their experiences better.
The Strategic Revival through “Stranger Things”
In 2022, “Running Up That Hill” experienced an unexpected revival. The song was featured as a central element in the storyline of “Stranger Things” Season 4, associated with the character Max, portrayed by Sadie Sink. Max’s emotional journey, dealing with grief and vulnerability, resonates deeply with the song’s themes. This thoughtful alignment of music and narrative demonstrates the profound impact of sync licensing in modern media.
The Role of Sync Licensing in Music and Media
Sync licensing refers to the process of incorporating a piece of music into a film, TV show, commercial, or other visual media. This approach allows for a symbiotic relationship between music and visual storytelling, often leading to a revitalized interest in the licensed track. In the case of “Running Up That Hill,” the sync placement was not just about featuring a song in a series; it was about integrating the music into the narrative, making it a character in its own right.
The Creative Process Behind the Placement
Nora Felder, the music supervisor for “Stranger Things,” played a critical role in selecting “Running Up That Hill” for the series. The Duffer Brothers, creators of the show, tasked Felder with finding a song that encapsulated Max’s complex emotional state. Felder’s intuitive and strategic selection of Bush’s song, coupled with detailed scene descriptions provided to Bush’s team, ensured a successful sync placement.
The Cultural and Commercial Impact
The inclusion of “Running Up That Hill” in “Stranger Things” led to a remarkable surge in the song’s popularity. It soared to the top of various music charts, reaching new audiences and reintroducing Kate Bush’s work to a younger generation. This resurgence is a testament to the enduring power of music and its ability to connect with audiences across different eras and cultural contexts.
Chart-Topping Success and New Audiences
Following its feature in “Stranger Things,” “Running Up That Hill” topped the Apple Music chart in the U.S. and entered the top 10 in 34 countries. This surge in popularity highlights the song’s universal appeal and the impact of strategic media placements in reviving classic hits.
Conclusion: The Symbiosis of Music and Visual Media
The story of “Running Up That Hill” in “Stranger Things” is a prime example of how sync licensing can breathe new life into classic songs, creating a cultural moment that transcends the original context of the music. It underscores the collaborative nature of music and visual media, where each element enhances the other, leading to a richer, more immersive experience for audiences.
.AND PLEASE DON’T MISS THIS ONE IF YOU HAVE NEVER HEARD IT!!
This is a duet she did back in the 80’s with Peter Gabriel very “à propos,” for the times we live in.
Blessings,
