{"id":53166,"date":"2022-08-22T20:57:27","date_gmt":"2022-08-22T20:57:27","guid":{"rendered":"https:\/\/harchi90.com\/kate-bushs-deal-with-netflix-the-hollywood-reporter\/"},"modified":"2022-08-22T20:57:27","modified_gmt":"2022-08-22T20:57:27","slug":"kate-bushs-deal-with-netflix-the-hollywood-reporter","status":"publish","type":"post","link":"https:\/\/harchi90.com\/kate-bushs-deal-with-netflix-the-hollywood-reporter\/","title":{"rendered":"Kate Bush’s Deal With Netflix \u2013 The Hollywood Reporter"},"content":{"rendered":"
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\tKate Bush’s 1985 single \u201cRunning Up That Hill\u201d has been given \u201ca whole new lease of life\u201d with its starring role in a crucial scene of season four of Netflix’s Stranger Things<\/em>, the music star said in June. Soon after, the song topped charts in multiple countries, setting records in the process.<\/p>\n \n \tThe success of the integration has put a renewed spotlight on sync (or synchronization) deals, which place music into TV series, films, video games or other content, and which have been energized by, among other things, the growth of streaming video services . (In 2021, sync royalties for licensing songs in media including TV shows and movies totaled $302.9 million, up 14 percent from $265.2 million a year earlier.)<\/p>\n \n \t\u201cTV in general has exploded in the last three or four years, because of Netflix, Amazon Prime, Disney and because everybody else is trying to get into this space,\u201d Tim Miles, senior vp sync, UK and Europe, at Warner Music Group tells The Hollywood Reporter<\/em>. \u201cBut we have never seen anything like this in terms of getting a number one record,\u201d adds Tom Gallacher, senior director, digital & marketing at Rhino, Warner Music’s catalog arm. Warner Music and Rhino distribute music from Bush’s label, Noble and Brite.<\/p>\n \n \tBehind the success was a lot of hard work, as sync deals traditionally don’t happen overnight. \u201cIt’s not like advertising where we get a very quick ‘Can we use this song?’ and we have to work out if we can and if they can afford it,\u201d explains Miles. \u201cTV has a very long timeline. And because the music was so crucial to this scene, they had to know whether the song could be used. And it took about two years to really talk through with Kate and her team what this was going to be. This is probably the <\/strong>longest TV negotiation I have ever seen, because they had to get it right. The song is obviously so powerful. They must have had some backups, but I’m sure this was their absolute favorite.\u201d<\/p>\n \n \tAs is often the case when older songs go viral these days, the interest in \u201cRunning Up That Hill\u201d has led consumers to searching for additional music from the artist, too. \u201cThere has been a big lift across all the catalog,\u201d including the likes of \u201cBabooshka\u201d and \u201cWuthering Heights.\u201d \u201cSo people have been going and exploring the rest, which is great,\u201d highlights Gallacher. \u201cAnd we are working with DSPs [Digital Service Providers], the likes of Amazon, Apple and Spotify, to encourage their editorial teams to promote curated playlists spanning Kate’s incredible wider catalogue. Kate is always very careful with what she does, and she takes time to look after her catalog and wants to make sure that it is presented in the right away. \u201d<\/p>\n