Tag: movie

Blake Lively Reveals the ‘Entire Sonic Universe’ of Music That Inspired ‘It Ends With Us’

August 9, 2024

Humans are complex creatures, capable of experiencing joy, sorrow, and everything in between. It Ends With Us, the first Colleen Hoover novel brought to life on the big screen, captures that kaleidoscope of emotions, weaving a tale of love, resilience, and the choices we make.

The movie, which hit U.S. theaters on Friday, stars Blake Lively as protagonist Lily Bloom, a woman who overcomes a traumatic childhood to begin a new life in Boston and pursue her dream of opening a business. She falls for charming neurosurgeon Ryle Kincaid (Justin Baldoni) but soon begins to see sides of him that remind her of her parents’ relationship. When Lily’s childhood love Atlas Corrigan (Brandon Sklenar) reappears in her life, her relationship with Ryle is upended, leaving her with an impossible choice.

Adapted for the screen by Christy Hall, the film has sparked a fresh wave of interest in the 2016 novel. The day after the official trailer dropped, the audiobook reached its biggest listening numbers ever on Spotify, while searches for “It Ends With Us” shot up nearly 600% throughout the week.

Now, fans can experience the romantic drama in a whole new light—and music plays a crucial part in the adaptation. It’s also a huge source of inspiration and creativity for Blake, who helped pick the songs that make up the movie’s soundtrack. But to truly capture the full extent of artists, songs, and genres that define It Ends With Us, the actress also created a special (6.5-hour-long!) Spotify playlist.

For the Record sat down with Blake and her costar Isabela Ferrer, who plays young Lily, to discuss their creative processes, the vastness of the human experience, and the power of music.

Blake, you curated a Spotify playlist for It Ends With Us. What was your approach?

I was asked to include a few songs—I included 100. One hundred songs. I was lucky to get to select the music in this movie with our music supervisor, Season Kent, and one of our editors, Shane Reid. And the music in this movie is everything. Lily’s story, what she’s feeling, comes through in the music—sometimes she can’t express it in words, but you can feel it in songs. So, these are songs that are not only in the film, but also songs that I listened to while making the film, songs that were in early cuts of the movie, and songs that inspired the score. This really is the entire sonic universe that we all lived and breathed while making this film.

If you could pick one anthem for Lily, what would it be?

Blake: Lily is so multifaceted. She’s somebody who is like a contradiction of herself at all times, yet it makes perfect sense for her, and it’s totally harmonious. That’s why I have a 100-song playlist. My anthem is 100 songs long. Enjoy!

Isabela: I would pick “God Turn Me Into a Flower” by Weyes Blood. That song is the most atmospheric, most beautiful. It feels like the movie The Tree of Life but in a song. Every time I would listen to it, it just felt like what I feel Lily’s inner life is like—just the fullest, most expansive thing. It’s one of my favorite songs.

Blake: Will you send me a playlist? Because I love all the music you’re talking about, and I want to hear it.

Isabela: Yeah, I’ll send it to you! I love Weyes Blood so much. Her voice—there’s something so angelic and emotional [about her music] and I feel like it just keeps me in touch with myself.

On that note, how does music play into your creative process? Does it help you get into character?

Isabela: I feel like you can build a world around music. At least for me, what I listen to really affects my day. If I’m walking somewhere through the streets of New York and I’m listening to something upbeat, that gets me in the mood. Or if I’m feeling really sad and just need to cry, I’ll put on Jeff Buckley. And I feel like that’s such a cool part of playing these types of roles, where you actually get to ask yourself: What would they listen to? You get to world-build. You get to really invest more in that character with music.

Blake: For me, the older I’ve gotten, the more I’ve gotten involved in the filmmaking and storytelling outside of my character. Music is storytelling. I never look at it as character specific, I look at it through moments in the story. Are we trying to underscore something, are we trying to juxtapose the moment with a song, are we trying to lean into it, are we trying to bring back nostalgia? That’s why Dashboard Confessional is in [It Ends With Us]—that’s something that sounds like high school, where you’re like, “Oh my gosh, I forgot how much I felt and how much I loved!” Music can really transport you. So, I look at it less through the character of Lily and more through what we want the audience to be feeling at that moment.

And my husband and I both help each other so much with music. We’re like uncredited music supervisors on each other’s movies. I mean, you see that all over Deadpool & Wolverine, all that millennial girl music. He loves Avril Lavigne—fellow Canadian—but he was not feeling the feels, in his car in middle school, screaming “it’s a damn cold night” [from “I’m with You”]. So, both of our loves are all over each other’s work, and I think that’s really special.

Can you describe It Ends With Us in three words?

Blake: No! I choose one word: No. Because I cannot describe it in three words. I think that this is a movie about feeling. It’s a movie about feeling with other people, whether it’s a loved one or a friend or strangers. You go to the theater, where you’re surrounded by a bunch of strangers, to laugh with a group of people, to cry with a group of people, to be afraid, to be excited, to feel nostalgic, to feel passionate about the future, or to feel someone’s dreams come to fruition. Feeling the whole messiness of the human experience with others and that connectivity that you feel in a theater, there’s nothing like it. We watched this movie with 3,000 fans in Dallas and it was just so beautiful and so cool to experience that. So, I hope people come and feel. I hope they come and feel all of it. It’s a whole roller coaster.

Hit play on Blake’s playlist to hop on the roller coaster of emotions.

‘Space Cadet’ Star Emma Roberts and Filmmaker Liz W. Garcia Reveal Their Top Tracks for Getting Motivated

July 3, 2024

When the going gets tough, the tough get going. Just ask Emma Roberts, star of the new comedy Space Cadet. In the movie, streaming July 4 on Prime Video, Emma plays Tiffany “Rex” Simpson, a woman determined to become an astronaut against all odds.

Rex has always dreamed of going to space, but life isn’t unfolding quite as planned. Hoping to turn things around, she sets her sights on NASA’s highly competitive astronaut training program. With a few embellishments courtesy of her best friend Nadine (Poppy Liu), her application is accepted—and thus begins the journey of the unlikeliest NASA recruit ever.

In over her head, Rex relies on quick wits and some serious moxie to get to the top of her class. One thing that helps spur motivation? Music. During a workout in the film, Rex turns to a playlist called Brains & Butts, both of which must be in tip-top shape in order for her to get through training without blowing her cover. Curated by Emma and Space Cadet writer, director, and executive producer Liz W. Garcia, the playlist features the ultimate collection of upbeat, inspiring music, from Beyoncé to Outkast. And just in time for the movie’s release, you can stream it on Spotify.

For the Record sat down with Liz and Emma (who is also an executive producer on the film) to discuss their creative processes, the power of a good movie soundtrack, and what it means to shoot for the stars.

How does music play into your creative process?

Emma: Music absolutely helps me get into character. Rex is an outgoing, positive party girl who exudes confidence and kindness. Music that I think Rex would have loved really helped me channel my inner Florida girl.

Liz: Music plays such an important role when I’m writing a movie. I often make a playlist that can act as my personal soundtrack and get me into the vibe when writing. At a certain point when the writing process feels tough, I’ll often zero in on one song that has great pace. And like a maniac, I’ll play it over and over just to push me through the end of the draft.

What was your approach to the playlist you created for Rex?

Emma: I thought about Rex’s personality and motivations. The songs are a mix of karaoke bangers and deep cuts that represent Rex’s journey to chase her dreams of being an astronaut.

Liz: The playlist is designed to make you feel how Rex feels when she’s chasing her dreams at NASA. These are songs that put you in a motivated mindset, pull you out of a tough mood, and get you on your feet and moving.

If you could pick one anthem for Rex, what would it be?

Emma: “Stronger” by Kelly Clarkson. Period.

How does the Space Cadet soundtrack help express some of the movie’s main themes?

Liz: Space Cadet is a fun movie about a fun, determined heroine. Often, days of writing don’t feel so fun, and that’s where the soundtrack—the songs I listened to and the ones provided by our music supervisor, Brienne Rose—came in. Music can completely change your mood and transport you, and in the process of creating, you need that vibe shift sometimes.

What three words would you use to describe Space Cadet?

Emma: Fun, aspirational, moxie.

Space Cadet is a story about being true to yourself and following your dreams. Liz, how has your experience as a female filmmaker shaped your perspective on this?

I absolutely love being a writer and director, but as a woman, making that leap seemed crazy at times. I’m here now, though, and I’m doing what I love. The idea that there are talented people who don’t pursue their dreams because they don’t have support at home or in school—or they haven’t seen people like them achieve something similar—really breaks my heart. I hate that privilege and chance play any role in who gets to realize their personal dreams.

Space Cadet is meant as an encouraging call to arms to audiences to bet on themselves and not turn their back on their dreams. It’s also my fantasy about how the world should work—that the best candidate should win, regardless of pedigree or resume.

What are some of your favorite movie soundtracks of all time?

Emma: I know this seems so spot on, but Legally Blonde just totally encapsulates how that movie makes audiences feel (and I hope Space Cadet can do the same!). Another fun favorite is Practical Magic. Has there ever been a better music cue than “This Kiss” by Faith Hill? And any movie with a Stevie Nicks song is undeniably good.

Liz: Love & Basketball is pretty much perfect; that sexy, aching groove. Rushmore and The Royal Tenenbaums are both so eclectic and surprising—only Wes Anderson would have The Clash and the Charlie Brown Christmas score on the same soundtrack. The score to The Piano will put you in the mood to sit down and write and feel emo any old day. Morphine did the entire Spanking the Monkey soundtrack, and that captivated me back in the late ’90s when I was first falling in love with film.

Stream Emma and Liz’s playlist to get pumped before Space Cadet premieres July 4 on Prime Video.

Writer Diablo Cody and Filmmaker Zelda Williams Talk the Tunes That Help Score ‘Lisa Frankenstein’

February 8, 2024

The ’80s. A teenage crush. High school drama. And, of course, a corpse. Maybe not what you’d expect for a traditional coming-of-age tale, but all elements that make the new movie Lisa Frankenstein come alive in a fun, twisted way. The film, written by Diablo Cody and directed by Zelda Williams, follows the story of Lisa (Kathryn Newton) as she falls in love with The Creature (Cole Sprouse), a dead body brought back to life in a freak accident.

Much went into the movie’s development and creation, and music was a big source of inspiration. It enhanced Diablo’s creative writing process, and Zelda said that listening to her ’80s favorites put her in the right mindset. To help listeners cultivate the perfect mood, the two created a Spotify playlist that highlights some of their favorite tracks during this period.

For the Record sat down with Diablo and Zelda to dig deeper into their vision and how music created the perfect vibe for bringing the characters to life, or, back from the dead.

Diablo, what made you interested in reimagining Frankenstein?

There’s just something about that Frankenstein mythos that is so irresistible—and it’s not just me. So many filmmakers have gone back to that well, and I think just the idea of doing a Frankenstein story from a female perspective and as this madcap rom-com, it was just something that I hadn’t really seen before, so I thought, “Why not?”

Zelda, what attracted you to the script?

Even as an actor, I very rarely was given comedy scripts, let alone things for young women, that reminded me of the movies that I grew up loving. And so getting to read something that reminded me of a female version of Weird Science or Encino Man or Beetlejuice was just genuinely a joyful thing.

What three words would you use to describe the vibe of Lisa Frankenstein?

Zelda Williams and Diablo Cody on the set of Lisa Frankenstein. Photo Credit: Mason Novick

Diablo: Nostalgic, romantic, and goth.

Zelda: A little violent, wacky, and very fun.

How did you approach picking music for the soundtrack?

Diablo: Well, the movie takes place in 1989, so a lot of it was directly pulled from that late-’80s pop goth vibe of the era. And there were certain songs that I think are just so perfect, like the Pixies’ “Wave Of Mutilation” and Galaxie 500’s “Strange,” which appears in the movie a couple of times. They both have a mystique to them that really suits the narrative. Music and filmmaking are both so emotional, so you just try to kind of capture a vibe [with the two].

Zelda: I was lucky because in the script, there were already songs in there. So even when there were songs we couldn’t end up using, it became its own playlist that was a great jumping-off point for me to deep dive into various artists and find like-minded songs that we did use. “Up the Down Escalator” by The Chameleons was a song I’d always really liked, but to have been able to place it in the movie was really fun. And I didn’t originally intend to use REO Speedwagon in the soundtrack either. That ended up being a place that we found our way to. So it was really great. That exploration was an adventure in and of itself after we finished filming.

If you could pick anthems for the main characters, Lisa and The Creature, what would they be?

Diablo: I think The Creature is a romantic, so I’m going to give him REO Speedwagon’s “Can’t Fight This Feeling,” which memorably plays in the movie in a scene beautifully directed by Zelda. And Lisa is a person who is very quiet but has the stirrings of rage inside of her. So I’m going to give her “Bela Lugosi’s Dead” by Bauhaus. Just that ominous rumble.

Zelda: I’m torn between two songs that are more representative of them as a couple. I’m one of the biggest Prince fans ever, so “I Would Die 4 U” feels like a very fitting song for the two of them. I put it on my playlist. And then I really love the Fine Young Cannibals and I think “She Drives Me Crazy” is a really funny one for the two of them too.

You both selected songs for a new Spotify playlist. What was your approach?

Diablo: Well, for me, the songs that I chose were music that I listened to while I was writing. So I got really specific with it in terms of it being a direct reflection of my creative process. There’s industrial stuff on there, there’s Ministry, there’s B.F.G., there’s The Stone Roses’ “I Wanna Be Adored.” I love that song. And to me, that really captures the feeling of the time. So yeah, it was that kind of stuff that put me in the mood to write this movie.

Zelda: I wanted to stay pretty era-specific at the same time. And for me, the biggest test of any playlist is if I could play it without skips while cooking a long meal. So I tested this one out while cooking curry the other day. And I was a ska kid, believe it or not, so I leaned more into kind of goofy, upbeat. I love a lot of wacky instrumentation, so that’s why stuff like the Fun Boy Three is on mine. I added When In Rome, who we managed to get on our soundtrack, too, which I love. And then it has a little bit of my favorites from Whitney Houston and Chaka Khan because I could listen to them all day, every day. But era-specific cooking night is where I went with the vibe.

What are some of your favorite soundtracks of all time?

Diablo: Sofia Coppola crushes it every time. Lost in Translation and Marie Antoinette. Those soundtracks are immaculate. And then of course I would be remiss if I didn’t bring up Pulp Fiction because I know I beat that soundtrack to death in the ’90s. So that one’s a classic.

Zelda: Pretty in Pink is one of my favorites. And The Lost Boys album is wonderful, like so much of a mood. And then this one might come out of left field, but Curtis Mayfield’s Superfly is genuinely a no-skip album.

What did you enjoy about making this playlist?

Zelda: Obviously, a playlist and music is incredibly important to cinema, but I love that music actually has a life of its own, as well, separate from a movie. That’s one of the lovely things about it: They’re not necessarily always attached to one another. So if nothing else, if people find their way to this music before or even without finding their way to the movie, I think that’s a really beautiful testament to the fact that these things can exist with their own blood flow and their own organs—to be back in the zombie world. They have their own life and I think that’s really beautiful. To be getting to make a Spotify playlist when we made a movie is really wild.

Channel the vision of Diablo and Zelda by tuning into their playlist.

Watch the trailer for Lisa Frankenstein and catch the movie in local theaters.

Olivia Rodrigo Shares the Story Behind Her Original Song for the New ‘Hunger Games’ Movie

November 17, 2023

Since the novel Hunger Games first landed on bookshelves in 2008, Suzanne Collins’ dystopian series has sold more than 100 million copies and ignited the imaginations of readers worldwide. Her most recent novel, The Ballad of Songbirds and Snakes serves as a prequel—64 years before Katniss Everdeen volunteered as tribute, and decades before Coriolanus Snow became the tyrannical President of Panem. (Feel like you may have missed a chapter along the way? Our Hunger Games Audiobooks Shelf has listeners in the U.S., U.K., Ireland, Australia, and New Zealand covered).

The books spawned the creation of four Hunger Games films from Lionsgate, which, in addition to bringing the action and drama of the series from page to screen, have featured soundtracks with original music from the likes of Taylor Swift and Lorde.

On November 17, Lionsgate’s highly anticipated movie adaption of The Hunger Games: The Ballad of Songbirds & Snakes, comes to the big screen. And its soundtrack spotlights a creator who’s also a longtime Hunger Games fan: Olivia Rodrigo.

For the Record had the opportunity to ask Olivia about her original song, “Can’t Catch Me Now,” which provides the stirring and memorable ballad heard during the closing credits ion the movie.

When did you first become drawn to the Hunger Games series?

I read the Hunger Games novels when I was 13 or so. I’m a huge fan of the series, so it was so much fun to write a song for a franchise I grew up so closely with.

What was your reaction to being asked to write and record an original song for the new film?

This is the first time I have written for a feature film. It was such an honor and a little daunting because I am so used to writing from my own experience. It was a fun challenge to watch the film and try to write something that tells someone else’s story.

Does your creative process change when creating a song for a film rather than a personal album?

Writing a song for a film definitely enabled me to stretch new songwriting muscles. The songs I wrote for SOUR and GUTS tend to be more diaristic and confessional. After watching the movie I felt really inspired by the character of Lucy Gray, and it was a fun challenge to channel her into the song.

Can you tell us about your song? How did the story play a role in the development of it?

After watching the film, I was fascinated with the mystery of what happened to Lucy Gray. I wanted to write a song that gave voice to her strength and power while also addressing the unanswered questions surrounding her life after the games.

What aspect of the new movie are you most excited for viewers to see?

I think it will be exciting for fans to learn about the origin of the characters that we’re all familiar with. There are so many nods to the previous films.

Catch Olivia’s new song on The Hunger Games Official Playlist below, or head to our Sounds From Panem destination filled with music inspired by the new film.

Netflix Hit ‘Heartstopper’ Showcases Several LGBTQIA+ Artists in Its Official Playlist for Season 2

August 3, 2023

In 2022 Netflix released Heartstopper, a British television series that follows high schooler Charlie Spring, who falls in love with his classmate Nick Nelson. The coming-of-age show, based on the hit graphic novel, includes doses of drama, comedy, and romance as Charlie and his group of close-knit friends navigate the trials and tribulations of teenagedom.

The show features a captivating score from Adiescar Chase and a perfect parallel playlist from Spotify, Heartstopper: Official Playlist. It’s now back for a second season.

For Season 1, the official playlist featured 36 songs, many of which are by both established and emerging LGBTQIA+ artists. A track from Norwegian indie-pop star girl in red appeared alongside a song from Irish singer-songwriter Ezra Williams, giving users the opportunity to listen to their favorite artists while also discovering new ones. Fans can find the playlist within our Netflix hub, as well as our GLOW hub, a dedicated space on Spotify that highlights music and podcasts of LGBTQIA+ voices for queer listeners and allies.

To celebrate the release of Season 2, Spotify is updating the official Heartstopper playlist with a new batch of tracks, including ones from Baby Queen and Tegan and Sara. Devoted fans listening to Spotify on their phones will also quickly spot an Easter egg: animated leaves floating across the screen in a nod to the illustrated visual elements depicted in the show. And as a little extra love, visuals from the series will also be depicted on select tracks in the playlist through Spotify Canvas.

Listeners looking for more can also dive into the character-driven playlists for Nick and Charlie, Tara and Darcy, and Elle and Tao. Music is a critical component of the series, and each character has music that uniquely defines them. When For the Record asked Yasmin Finney, who plays Elle Argent on the show, which song she thinks best represents her character, she said, “‘Dog Days Are Over’ by Florence + The Machine,” because it sort of represents new beginnings. “The dog days are over, the hiding is over,” she explained. “Elle gets to step into herself, and we all see that—and she’s a boss. That song, to me, resonates with her a lot.”

In advance of Season 2, For the Record caught up with Patrick Walters*, executive producer for the show, to learn more about the integral role music plays in Heartstopper, and what artists and music fans should look forward to hearing this season.

Of all the songs on ***Heartstopper’*s official playlist, roughly half are by queer artists. How did you discover some of the emerging talent?**

Alice and I had been developing Season 1 during the pandemic, and lockdowns meant Alice had a whole year to write all eight episodes before we could get into production. Across that time, we would send songs back and forth to each other to our favorite tracks for particular moments, like Nick and Charlie’s first kiss, Charlie running in the rain, Nick typing “am I gay?” into Google, etc. The songs and artists we found were just what we were listening to at the time. Alice had found “Why Am I Like This?” by Orla Gartland around that time, and as soon as we discussed it as a potential song for Nick’s internet search, we became pretty sure it was the one. That was long before we started filming. I remember listening to “Internet Religion” by Baby Queen from a playlist on Spotify and thinking it could be a good song for Tara in Season 1. That ultimately didn’t work, but we found Baby Queen’s other tracks, and she ended up having more music than any other artist in the series! It was a very organic process.

Many of the artists on the playlist are bedroom pop stars with effervescent sounds that match perfectly with the light hues and illustrations that accompany the show. Why was it important for you to keep the music in this style?

There’s something raw and emotional in the music made by young artists independently. They wear their hearts on their sleeves, just like the characters in Heartstopper. Our music syncs work best when the emotion of the scene is underlined by the lyrics and swagger of the song and artist. We wanted the songs in the mixtape to feel like the characters’ favorite songs. “Bedroom pop” is perfect for us because we spend a lot of time in the bedrooms of our characters, where they can most freely express themselves and feel safe.

What can we look forward to musically in the new season?

We wanted to remain consistent with Season 1 while also broadening the musical palette to be slightly more mature and in line with the characters’ journeys. There are more commercial tracks in Season 2. We spent a long time clearing some key tracks that felt important to us. “seven” by Taylor Swift initially reflects Tara and Darcy’s relationship breakthrough in Episode 8, but we then decided to keep it over the montage of all of the friends spending time together after prom. We also have “ur so pretty” by Wasia Project, Will Gao’s own band, as the final song of the season. Both of these tracks were vital for us because they show a maturity and an intimacy we hadn’t really conjured yet in Season 1. Season 2’s music tracks also nod more to different worlds and nostalgia—a reference to the characters stepping into adulthood. When we are in Paris, we have some French songs to reflect their new surroundings. And at the prom in Episode 8, Baby Queen makes a cameo to sing her own version of The Cure’s song “Just Like Heaven.” It’s an 80s throwback she expertly brings into the world and style of the show.

If you were creating a playlist for the graphic novel, how much would change?

A playlist for the graphic novel might have more variety. When we choose the music for the show it has to have a really clear identity that sits alongside the score by Adiescar Chase. We go back to a lot of the same artists again and again for this reason. For example, in the graphic novel, “Everywhere” by Fleetwood Mac is Nick and Charlie’s song, and would definitely be on the playlist. But for the show, this would sit so outside of our signature style; it would really take the audience out of the drama to suddenly have such a recognizable song from a different era. Maybe Baby Queen can cover it for Season 3 though . . .

If you had to pick a theme song for each of the four main characters, what would they be?

This is so tough! For Season 2 Charlie, I’d say “Shatter” by Maggie Rogers. For Nick, maybe “How Can I Make It OK?” by Wolf Alice. There’s a really great one for Tao we wanted to use but didn’t manage to get in this season: “The Most Beautiful Thing” by Thomas Headon. Elle’s would definitely be “mona lisa” by mxmtoon.

In addition to Patrick, Alice Oseman, the writer and creator of Heartstopper, revealed what songs she thinks best represent each character. Her picks did not disappoint:

Charlie: “Boyfriend” by Best Coast
Nick: “Everywhere” by Fleetwood Mac
Tao: “Bros” by Wolf Alice
Elle: “Apple Cider” by beabadoobee
Tara: “Silk Chiffon” by MUNA, Phoebe Bridgers
Darcy: “Tongue Tied” by GROUPLOVE
Isaac: “Television Romance” by Pale Waves

Whether you’re planning to binge-watch Season 2 today or you’re saving it for a later date, get your heart pumping in anticipation with the Heartstopper: Official Playlist now.

*Interview content captured prior to July 13, 2023.

Spotify Is Getting a Hot-Pink Makeover To Celebrate the New ‘Barbie’ Movie

July 21, 2023

The world premiere of the highly anticipated Barbie movie, directed by Little Women writer-director Greta Gerwig and starring Margot Robbie as the world’s most popular doll, is here. To celebrate the massive cultural moment that is Barbie, listeners will notice that things have gotten a little more pink on Spotify, starting with a refresh of the exclusive Barbie Official Playlist and a special Barbie-pink play bar.

Featuring an all-star cast that includes Ryan Gosling as “Ken,” as well as appearances by America Ferrera, Issa Rae, Simu Liu, Will Ferrell, and Kate McKinnon, every new trailer or clip that has been released since the first few images came out last year has ramped up excitement for the film. There’s been a rise in pink clothing sales, food vendors are introducing Barbie-themed menu items, and a real-life pink Malibu DreamHouse was built.

Even Spotify listeners have been hyped about the upcoming premiere, with more than 620,000 Barbie-related user-generated playlists on the platform. Playlist creation spiked nearly 270% on May 26 after the Barbie film trailer was released, and it has continued to increase in the weeks since. On these playlists, some of the most added tracks include “California Gurls” by Katy Perry and Snoop Dogg, “Barbie Tingz” by Nicki Minaj, “Toxic” and “Oops!…I Did It Again” by Britney Spears, “Wannabe” by Spice Girls, “Girls Just Want to Have Fun” by Cyndi Lauper, and—of course—the 1997 Aqua hit single “Barbie Girl.”

The newly updated Barbie Official Playlist brings in new music from Atlantic Records to celebrate all the Barbies and Kens (and Allans) out there. For example, Dua Lipa’s “Dance The Night,” Billie Eilish’s “What Was I Made For?” and the Nicki Minaj and Ice Spice banger “Barbie World (with Aqua)” make the cut. The playlist will also feature Spotify Canvas on selected tracks, which features film footage that gives fans an immersive experience. The score for the movie, composed by Mark Ronson and Andrew Wyatt, will be released on August 4 and will be featured on the official playlist.

Listeners will also find a Living in a Barbie World destination that features the Barbie Official Playlist and other playlists to get you ready for your Barbie summer including Summer Pop and our new Hot Pink playlist that will give listeners a personalized Barbie-inspired vibe.

Barbie has long been a source of joy, nostalgia, and humor for so many. And following Friday’s premiere of Barbie, there was an increase in streams of Barbie-themed tracks amongst Spotify users globally on July 22.*

Global streams of Spotify’s Barbie Official Playlist increased by nearly 1,560%.
Global streams of “Spice Up Your Life” by Spice Girls increased by more than 150%.
Global streams of “WATATI (feat. Aldo Ranks) [From Barbie The Album]” by KAROL G and Aldo Ranks increased by more than 120%.
Global streams of “Barbie World (with Aqua) [From Barbie The Album]” by Nicki Minaj, Ice Spice, and Aqua increased by nearly 100%.
Barbie The Album was the number one most-streamed newly released album globally on Spotify from July 21-July 23, with “I’m Just Ken” by Ryan Gosling (#8) and “Man I Am” by Sam Smith (#10) both in the top ten of the weekend’s Top Songs Debut Global chart.

*Compared to average number of streams from June 24- July 21, 2023

There’s more Barbie-inspired fun to be had on Spotify. Don’t forget your rollerblades!

How Wes Anderson and Randall Poster Immerse Audiences in the Folk-Western World of ‘Asteroid City’

June 19, 2023

Wes Anderson’s movies are beloved for their saturated palettes, abundant cast of characters, scene-setting, one-dimensional shots, and wide-ranging discussions about life, mortality, and art. His attention to the tiniest details of script, set, and story allow him to create truly immersive worlds that are made whole by the musical selections.

Wes’s 18th film, Asteroid City, takes place in the 1950s in an Arizona desert town—population 87—during a youth astronomical innovation contest. There, an unlikely combination of brainiac teens and their art-inclined parents are quarantined among scientists, cowboys, and schoolchildren following an alien encounter. It’s set to country western tracks tinged with swing, bluegrass, and skiffle—all carefully researched and selected by Randall Poster, the movie’s music supervisor.

Wes Anderson on the set of “Asteroid City”

Randall was first introduced to Wes as the director was putting the finishing touches on the 1996 dramedy Bottle Rocket. The two met up in LA to talk movies and music, and they instantly clicked. Immediately afterward, they began work on 1998’s Rushmore, and in the 25 years since, Randall has served as Music Supervisor for all of Wes’s films, including The Royal Tenenbaums and The French Dispatch.

Ahead of Asteroid City’s debut in New York and LA on June 16 and across the U.S. on June 23, Randall offered his musical insights and a few thoughts about the meaning of the movie’s meta storyline, too, in conversation with For the Record.

You and Wes are in constant communication before, during, and after production. Where did you begin with Asteroid City?

Randall Poster. Photocredit: Taylor Hill

The most important work that Wes and I do together is in between the movies. I’m generally in conversation with him as the story is evolving and as the script is coming together. We get in there, very actively, as the films are taking shape. So for the most part, we have some clues to pursue in putting together the musical component of the movie.

For Asteroid City, we’d talked about the film as he was writing. In a lot of the other work we’ve done, there are songs that have come into play first. “Last Train to San Fernando” was something we identified—almost immediately—that would be for the movie. And that led us to explore the reaches of western swing and skiffle and all the various musical characters that played that music in that 1950s period.

So I listened to a lot of Bob Wills. We had used Burl Ives in Fantastic Mr. Fox. Roy Rogers is in the movie, and Tennessee Ernie Ford, and some great, legendary, perhaps lost for a moment musical characters. At one point we said, Let’s really hit these western swing/country western cowboy songs, and let’s hit them hard.

I kind of lived in the period country western charts for a little bit trying to select what I thought were great songs and important voices to present to Wes, and then slowly but surely, he found places for various songs.

How do you discover the music that’s used in the movie?

In researching, I try to be pretty exhaustive. Oftentimes, the research is trying to find the person or people who are the experts in that genre or era to tap into. I also do research that’s beyond lists, so you see what might have been a particularly poignant musical piece from that era to help also render time. In this instance, it also affected the place—Arizona.

Asteroid City features a cowboy band whose performances enhance the story—even accompanying the students in their rendition of “Dear Alien.” Can you talk about the music behind it?

The music was written by Jarvis Cocker (Pulp frontman) and Richard Halwey, who’s a renowned English player and producer and old, old friend of Jarvis’s. They played live, on camera, in this irregular band featuring Jarvis; a banjo player named Jean-Yves Lozac’h who was also in The French Dispatch; Seu Jorge, who was featured heavily in The Life Aquatic; and Rupert Friend, who is really an actor, but was game to play a little bit of guitar, and he plays on the track. It’s a ragtag group of cowboys who come together, but they’re all basically guys who’ve been with us in other movies, doing musical things.

There is something really symmetrical about an “irregular” band coming together for the movie, considering how the rest of the characters come together too.

Yeah—it’s actually a lot of bands of people. There’s the band itself. And then there’s the band of geniuses. And then there’s the band of little kids, the band of sisters, scientists . . . and that’s another detail that I appreciate. There’s so much creativity in every moment. I see something new every time I watch it.

There’s those games that the genius kids play together, there’s the way they’re making up art projects, they’re making games, songs, dances up. It’s really a treat within the movie. I’m happy that I can be both within it and then also have the opportunity to stand outside of it and just admire it because it’s kind of a perfect thing.

With Wes, least of all, you always know that it’s exactly the way that he wants it to be.

What are some of the other ways that working with Wes is different from working with other directors that you’ve done music supervision for?

I’m fortunate to have this kind of relationship with a couple of directors, but I just really appreciate the continuity and the commitment to the work. And again, this really relentless pursuit of capturing the spirit.

Working with Wes, oftentimes, the music that we’ve pursued is just so rare, right? So whether I’m looking for cowboy songs, or Indian film scores or French pop music or balalaika recordings or orchestras, there’s this incredible variety in the musical landscapes that he imagines or intuits.

The music is consistent throughout the movie except in two scenes: where the alien drops in, and where the wife/actress speaks from the balcony. How did the team score those moments?

We’ve been working with Alexandre Desplat for a long time, and Wes is very hands on in constructing the score and putting the elements together. If there’s a thematic connection, it’s his decision and creative impulse.

It’s a tricky business because it’s a movie that’s really a play that’s also a movie that’s, at times, maybe a book, maybe being written at the moment—it’s so intricate, yet it’s presented so matter-of-factly. That’s sort of the miracle of Asteroid City.

Wes Anderson directing Jason Schwartzman and Tom Hanks

The line of dialogue that prompts the movie’s finale is, “To wake up, you have to fall asleep first.” What does that mean to you?

I’m still trying to figure it out. It sounds so good and it sounds so logical, but I’m not exactly sure. I think it’s sort of a form of poetic meditation that, within the context of the movie, these method actors are using to find their characters. It’s also kind of surreal and absurd and comic in the way that it finds its way into the movie.

Listen to more of Randall’s inspiration in his Asteroid City playlist.

‘Elvis’ Director Baz Luhrmann and Actor Austin Butler Talk Movie Soundtrack and Song Inspiration

March 6, 2023

Baz Luhrmann and Austin Butler talking on the set of the movie "Elvis"

The star power that Elvis Presley brought to the stage is undeniable. With a shake of the hips and the strum of a guitar, the Memphis performer dazzled fans and captivated the world.

But there are so many other elements, relationships, and more that defined the rock star’s life offstage. Director, screenwriter, and producer Baz Luhrmann’s 2022 film Elvis brings that side to light—with the show-stopping and dazzling flair the Australian director is known for. Austin Butler stepped into the role of Elvis, spending years homing in on every aspect of the King of Rock and Roll’s persona.

Photo credit: Eric Charbonneau

The film was a hit, quickly cementing itself as one of the biggest movies of the year and one of the highest-grossing music biopics of all time. Elvis has already received multiple awards—and eight nominations for the 2023 Academy Awards, including one for Best Picture and Best Actor.

And the film prompted fans to flock to Spotify as well.

In a film that follows a musician as prominent as Elvis, it’s critical to get the music right. With their new, exclusive playlist on Spotify, Baz and Austin are giving fans a behind-the-scenes look at the music that influenced the movie.

“One of the things that really motivated us to do the story of Elvis was the simple fact that ‘Without Black music, there’d be no Elvis’ and the direct influence that music had on him,” Baz told For the Record. “In particular, his genuine friendship with B.B. King came to light in some of our research, and his mother, Gladys, was a huge Sister Rosetta Tharpe fan—she used to play her music all the time. This playlist has just a smattering of these artists.”

The award-winning director and actor pair recently sat down together to talk about the film, their playlist, and how music played a role both on and off the set.

Baz Luhrmann: So Austin, how did you go about preparing for the role of Elvis, specifically in regards to music and singing?

Austin Butler: Well, I never sang in front of anybody before this role, so I had to find my way into his humanity. I worked with a number of different singing coaches for the year and a half leading up to filming. The thing you quickly realize is that Elvis’s voice changed a lot over the course of his career. Not only his speaking voice, but also his singing voice. So I had to figure out how to lock into the different vocal mannerisms of those different time periods in his life. It was an immense amount of research and work, and involved me following my own curiosity and finding how he’s saying a specific word. And I just worked on that as much as I could.

Baz: I remember you used to walk around listening to Elvis. How many of his songs do you reckon you had on your playlist?

Austin: First, I just listened to every one of his songs chronologically so that I could see and hear the journey that he went on throughout his entire career. You hear over time how his influences affected the way he sings. I also started to curate playlists for each time period, because we were filming out of sequence. Then the night before, I would listen to the time period that corresponded to whatever we were shooting the next day. I was even listening to those key recordings in makeup and hair as I was getting ready. So I have many, many Elvis playlists.

austin butler playing elvis and receiving direction on set from baz luhrmann

Photo Courtesy of Warner Bros. Pictures.

Baz: We also had access to a lot of Elvis content that other people haven’t heard. Were there pieces or recordings that inspired you?

Austin: Yeah. For me, it was those recordings—whether they were songs, or as we’ve talked about before, Anita Wood recording him on the phone when he didn’t know it—that reveal these moments of intimacy and give a glimpse into the unguarded version of Elvis.

One of those is when he’s singing, “Are You Lonesome Tonight?” As a way to amuse himself and to amuse the audience, he would often sing these lines that people weren’t expecting. So, in this version of “Are You Lonesome Tonight?” he says, “Do you gaze at your bald head and wish you had hair?” and the story is that this man in the front row stood up and took off his toupee and waved it around, and Elvis just burst out laughing. Then, as he’s laughing, you can hear I think Cissy Houston in the background, who’s singing the high note. And she keeps singing, and at one point he can’t help but laugh, and he goes, “You singing baby or something?” I just love that moment.

Baz: One of the things we decided was to make sure we weren’t just endlessly playing Elvis songs on set as we were rehearsing. We wanted to have a contemporary mood and feel, so that when we did shoot, we could use the other songs and it felt fresh and emotional. One of the tasks we set ourselves was what kind of songs might suit certain scenes. Is that the way you remember it?

Austin: Yeah, there were times where we were listening to Elvis and there were other times we were listening to those artists that have influenced Elvis, and then there were times where, as you’ve said, it was about the feeling.

Photo Courtesy of Warner Bros. Pictures.

Baz: I’m gonna ask you why you think we used “Anarchy in the U.K.” by the Sex Pistols as a kind of gear-up before we then went to you singing for that scene?

Austin: I think it was the feeling of anarchy and the feeling of rebellion. The fact that Elvis was the original punk rocker. So it was giving the energy to the audience and the entire crew of what that felt like at the time. Because sometimes you’ll hear those recordings and especially because of the way that they were recorded, you can’t fully grasp what that felt like in the room.

Baz: In a way, we say he’s the original punk, but really, the other point is that punk was trying to get back to being Elvis. It’s worth holding up the original Elvis Presley album from 1956 and The Clash‘s London Calling. Just to see that what punk was trying to do was a reaction to how sappy music had become, and they were trying to get back to the raw energy that was Elvis Presley.

And the other song that comes to mind vibe-wise is David Essex‘s “Rock On.” I think we played that when Elvis gets out of the truck and he’s walking into Lauderdale Courts. And do you know why we played this? It’s because I think in Elvis’s head he was playing the coolest country and western guy around. He didn’t care what they thought, he was rolling.

Austin: And he says “blue suede shoes” in the song, which is great, and “James Dean” as well. There are a lot of influences in this song. You know, I’d never heard the song before that day, and so as I was getting out of the truck, that was the first time I heard this David Essex track, and you can’t help but walk a certain way when you hear it. It gives you swagger.

Another song that always tugs at the sorrow in my heart is Max Richter’s “On the Nature of Daylight.” Before we were going to do the scene in the closet after Gladys passed away, you guys asked what song I want to be playing, just around the set, and this is the first song that came to my mind. So that was what was playing leading up to when action was called. It just has a way of cutting through any of my conscious mind and getting right to the sorrow in my heart.

Baz: It’s very interesting because that was your choice, but I allowed the camera and the mood of the set to be very influenced by that music.

Listen to all the songs that inspired Baz and Austin during the making of Elvis, including the tracks mentioned in their chat, in their curated playlist below.

Main Photo Courtesy of Warner Bros. Pictures.

How ‘Encanto’ Composer Germaine Franco Brought the Magic and Sounds of Colombia to Listeners Around the World

February 3, 2022

Every so often, a movie is released with an accompanying soundtrack that fans can’t get out of their heads. Such is the case with Encanto, which premiered on Disney streaming services in November and has since inducted people all over the world into the Madrigal family.

The story of Maribel Madrigal and her magically gifted mother, aunt, uncle, sisters, and cousins takes place in Colombia and is supported by a cast of Latinx actors, singers, and producers, including composer Germaine Franco, songwriter Lin-Manuel Miranda, and singer-songwriter Sebastian Yatra. But the film’s message—about obligation to family, legacies of trauma, and pressure to conform—is universal, which may be why the soundtrack has been streamed abundantly in over 20 languages and has reached number one on the top albums streamed on Spotify in 2022.*

So far, the Encanto soundtrack has over 494 million all-time plays globally,** and the countries streaming at the highest rates include Colombia, the United States, the Philippines, Panama, Iceland, and the U.K. Part of what’s bringing so many people back to Encanto are the multiple standout hits, like “Dos Oruguitas,” which earned Sebastian Yatra his first top-20 single, and “We Don’t Talk About Bruno,” an ensemble-driven salsa son montuno (mountain sound) that features a majority of the cast.

“Bruno” became Lin-Manuel’s first global number one song on Spotify in the U.S. in early January and now has more than 100 million streams on Spotify.*** It has also been dominating across international charts, securing the number one spot on Spotify’s U.K. Top 50 songs list and U.K. Weekly, along with topping the U.K.’s Official Singles Chart for the last two weeks. Three other songs from the soundtrack have made it to the top 10 on the U.S. Songs Consumption chart, including “Surface Pressure,” “The Family Madrigal,” and “What Else Can I Do?”

“Knowing that ‘We Don’t Talk About Bruno’ has touched so many hearts of so many different generations in an organic way is very big, and being in the Top 50 on the music charts on Spotify is huge,” said Carolina Gaitan – La Gaita, who plays Mirabel’s Tía Pepa and leads the vocals on “Bruno” on the English and Spanish soundtracks of Encanto. “I think it has been a surprise for everyone, but without a doubt it has been the most beautiful surprise of my life.”

The making of Encanto is perhaps as magical as the story itself. Encanto’s audio signature can be largely attributed to Mexican-American composer Germaine Franco, who had previously worked with Disney and Disney Animation as a songwriter, music producer, and orchestrator. This was the first time Germaine took the role of lead composer for a Disney film, however, making her the first woman to hold this position at the company. After working with Lin-Manuel and Tom MacDougall, President of Disney Music, on a previous Disney animated feature, Germaine was asked by the pair to join the project and collaborate with Lin-Manuel on orchestral arrangements, orchestration, and additional production on his songs.

For the Record spoke with Germaine about composing for Encanto, including the homework she did to bring Colombian music to life on screen.

How did you prepare for this project?

For each score that I create, I like to dive deep into the culture of the protagonists and the regions specific to the location of the storytelling. I spent many hours listening to and studying the structures, instrumentation, performance styles, harmonies, melodies, and rhythms of traditional Colombian music. I felt that the Colombian instruments would provide me with inspiration, which they did—especially the arpa llanera (Colombian harp) and the marimba de chonta (Afro-Colombian marimba), and I knew that the score would be much richer if we were able to hear the authentic voices of Colombian musicians and singers.

How did you bring elements from “magical realism”—a prominent literary theme among famous Latin American/Colombian authors—to life in the score?

When I first got the call, I went back to the heart of magical realism by reading Gabriel García Márquez in Spanish. I also read historical texts about Colombian history, music, and literature. I watched documentaries and videos about Colombian culture. I wanted to connect to that world beyond the “reality” of what is seen. I imagined myself in that world. I kept thinking, “What is the sound of magical realism?” as I worked.

One key element of magical realism in the score is the female voice. I imagined that the voices of women would be representative of this world. I connected deeply to the tradition of the cantadora style of singing present in the Afro-Colombian regions of Colombia. And later, we recorded a live choir from Colombia featuring Isa Mosquera, one of the backing vocalists in Carlos Vives’ band, and a 22-piece choir here in Los Angeles.

Another aspect of the sound of magical realism I constructed comes from the sound of many flutes made of natural wood—bamboo—played by the exquisite Pedro Eustache. Pedro’s voice can be heard throughout the score. If you listen, you will hear the gaita, a traditional flute from Colombia and one of my favorite instruments on the score.

What does your involvement in this film mean to you and for other women or Latinx composers?

When I was first called to work on the film, I was elated to be able to work with Lin-Manuel and the filmmakers. I didn’t think too much about “firsts.” My main goal was to create the best possible score for this beautiful film. I wanted to succeed as an artist and to give the music an authentic Latinx sound. Encanto is a milestone for Walt Disney Animation Studios because it’s their 60th feature film, so I felt that it was an important responsibility on my part to bring a strong Latina voice to the main characters, Mirabel and Abuela, through the music.

I’m very grateful to have this opportunity to open the door for other women and people of color. It’s important to me that we see more equity both in front of and behind the camera, and it’s notable that I am only one of many Latinx creatives on the film. We had Lin-Manuel Miranda, an entirely Latinx cast, producer Yvett Merino, co-director and screenwriter Charise Castro-Smith, song producer Mike Elizondo, Sebastián Yatra, and Carlos Vives. This film is an example of the power of authentic voices in film and music collaborating to inspire our world. It is a sign that the industry is changing, albeit slowly. I celebrate the fact that millions of families from all countries, women, and people of color are seeing themselves on screen and enjoying the soundtrack!

The soundtrack to Encanto is already seeing immense success commercially, hitting number two on the Spotify Global Album chart and number one on the Spotify U.S. Album chart in 2021. What are your hopes for the music beyond the film?

I hope Encanto touches the hearts of millions and inspires many to go out and get their first instrument and learn to play. I am so thankful to all of the fans of the film around the world who take time out of their busy lives to take part in the cinematic experience we’ve spent years creating for them. It means a lot. When I see some of the reactions to the film on social media, it warms my heart to know that the entire creative team and I have had the privilege to be a part of their lives in some small way. I truly think that music has the power to unite people across the world. Thanks so much to all of the fans of Encanto worldwide! ¡Que se diviertan!

Ready to talk about Bruno? Stream the Encanto soundtrack for a full immersion into the story of the Familia Madrigal.

*As of January 27, 2022

**As of February 1, 2022

***As of January 20, 2022

Celebrity Trainer and Fitness Podcast Host Don Saladino Spills His Favorite Workout Songs, Podcasts, and Tips

January 7, 2020

If you’ve seen any of the Captain America, Avengers, or Wolverine movies, you’ve likely noticed Don Saladino’s handiwork. The celebrity trainer and entrepreneur works on strength, conditioning, and overall wellness with television and movie stars—from Ryan Reynolds to Blake Lively and Emily Blunt—to help them improve their performance physiques.

Don was a fitness trainer for more than twenty years, but since 2000 he’s been a business owner, brand strategist, and entrepreneur as well. At this point, training is the easy part. He also hosts two fitness podcasts and is a self-proclaimed music buff who tailors what’s playing to his clientele. For example, he knows to blast Pearl Jam when John Krasinski comes in for a workout, and recommends Led Zeppelin for actor Billy Crudup’s reps. For Don’s own workouts, he likes to stream Metallica albums from beginning to end. (He also says one can’t go wrong with ’90s grunge.)

We asked Don (between reps) to make a podcast playlist for us and grabbed a few music and workout tips from him as well—just in time to help you stick with your New Year’s fitness resolution.

How have you seen music help people during workouts?

I’ve educated myself in the last 20 years on fitness, anatomy, and kinesiology (the study of body movement) from the best doctors and coaches. But part of what I do, as important as that is, is play good music. Music’s a big driving force to a workout. Not everyone comes in having a good day, but music is the one thing you can throw at someone where, no matter how bad their day is, you can almost hit that reset button and get them to put a smile on their face, get into a little bit of a groove, and develop a little bit of a rhythm. Once a person starts picking up that energy and momentum, you can really accomplish something.

This year, Spotify’s data showed that health and fitness podcast listening increased 145% in the past year on our platform. Why do you think people are turning to podcasts to get information about health and fitness?

First off, I think listening to podcasts is a great way to fill time. I have an hour commute every morning on the train, and podcasts are an educational, entertaining way to be able to fill that. It’s so easy now with our phones and wireless headphones to just connect anywhere and become a smarter person. We’re also more aware of time management. If I’m on the train two hours a day, man, that’s 10 hours a week where I can listen to a different author or a different podcast or get educated on a different area. That’s really doing a lot of good self-help stuff for me.

Plus, we’re in a much more health-conscious society now. I mean, it is amazing. Twenty, 30 years ago, we weren’t paying attention to organic farming. We weren’t paying attention to how crops were being made or how important the purity of olive oil is—everyone just thought olive oil was healthy. (The other day I listened to a great podcast about olive oil, so it’s on my mind.) So the combination of downtime and connectivity, wanting to be educated, and the move towards health-consciousness all factor in.

**Tell us about the podcasts you host—Reps for Muscle and Fitness and D&D Fitness Radio Podcast—what can listeners get out of these? What sort of episodes did you include on your podcast playlist?**

Muscle and Fitness magazine brought me in to help elevate the educational platform for their listeners. We really wanted to go out there and not only just get fitness people talking about sets and reps, but we wanted to get the best nutritionists, the best doctors, talking about wellness as well. There are so many skeptics out there about gluten free or about intermittent fasting or about the ketogenic tide.

When you listen to the full podcast playlist, you’ll get points of view from well-educated experts like nutritionists, doctors, and trainers, as well as a level of entertainment from celebrities like Randy Couture, Zach Levi, and Liev Schreiber.

What are three wellness tips that anyone at any fitness level can incorporate into their New Year’s wellness resolution?

Sleep is number one. When we don’t fall into that realm of that seven to nine hours of good quality sleep at night, it impacts our entire body, including hormone function. If your hormone function is off, you’re not going to have a high level of energy, and you’re also not going to be able to burn an appropriate amount of fat. Your strength level is not going to be optimal and everything with your training’s going to drop.

Hydration is number two. Drink half your body weight in ounces of water. That’s going to set you up for proper digestion, better hormone function, better sleep, better energy, and a better way to metabolize foods.

Then, I think from an exercise standpoint, stop thinking that you need to spend 60 to 90 minutes a day at the gym. If you’re someone who hates the gym, but you can get in there for 15 minutes, just aim to break a sweat for 10-15 minutes a day. That is enough.

One bonus tip is to always fact-check—whether you’re listening to a fitness podcast or hiring a new coach, make sure the credentials are good and you’re getting accurate information about your health and workout.

Finally—for a question that takes us out of the gym—what is your go-to karaoke song?

“Faithfully” by Journey. I think it’s the hardest karaoke song to sing on the planet. My son’s a very good singer and I challenged him to sing it. He’s got a much better voice than I do and he’s almost nailing it right now. He’s 11. I’m trying to see if he can do a much better job than I did. We’ve been having a great time with it. I challenge anyone—if you can hit that song on all notes, you’ve got it together.

Take a listen to Don’s fitness-filled podcast playlist below for expert takes on wellness and working out.

Music Brings Elio and Oliver Together in Andre Aciman’s ‘Call Me By Your Name’ Sequel, ‘Find Me’

October 24, 2019

Classical music aficionados know to look forward to the cadenza—an often-improvised ornamental solo found in concerti performances or compositions. Often unmetered, written in a “free” rhythmic style, and completely unique, the cadenza is also at the heart of André Aciman’s new book, Find Me. The sequel to his 2007 novel, Call Me By Your Name, Find Me re-introduces two beloved characters, Elio and Oliver, and reestablishes the importance of music—cadenzas included—in their world and ours.

To celebrate the release of Find Me on October 29, Aciman created his own Find Me Spotify playlist, which reflects the soundtrack to the 2017 Call Me By Your Name movie directed by Luca Guadagnino.

Aciman’s Call Me By Your Name centers on a 17-year-old pianist named Elio and 24-year-old grad student named Oliver, two young men who come together unexpectedly for one romantic, bliss-filled summer in Italy. Aciman’s much-anticipated sequel, Find Me, revisits the men 10, 15, and 20 years later, when Elio has become a professional musician in Paris and Oliver is a tenured professor in New England. Aciman explains that part of the plot involves a cadenza that was performed—and supposedly lost—during the Holocaust that is passed down as a gift and expression of love from one man to another.

Both the movie soundtrack and Aciman’s playlist combine classical sonatas and Bach compositions with original songs from singer-songwriter Sufjan Stevens, as well as ’80s rock. “Elio . . . is, after all, a kid, and he should be interested in rock and roll and contemporary music,” Aciman explained in an exclusive For The Record interview. “But he’s also a kid who’s grown up with traditional music. The classical, mature music of the film represents both Oliver’s older age and the family’s long classical tradition.”

This musical taste reflects Aciman’s own. “By the time I was 10 years old, I was already very interested in classical music,” he said. “I was a big fan of The Rolling Stones, The Yardbirds, and The Beatles when I was young. I loved that stuff, but it was always classical music that I would sort of lean to in the end.” The multilingual Aciman noted that he also listens to French, Italian, and British rock.

With ‘Black Panther’ and ‘Captain Marvel,’ Superhero Movie Concept Albums Take Flight

April 23, 2019

Cape or no cape, team player or lone ranger, most superheroes have at least one thing in common: an epic theme song. Often, there’s a movie-length soundtrack to match as well—and, these days, maybe even two.

A new trend in superhero films began in the past year with two of the biggest Marvel Cinematic Universe (MCU) movies, Black Panther and Captain Marvel. These films changed the superhero-soundtrack landscape with the addition of a secondary, companion album or playlist. According to our US data, these new storytelling vehicles are a powerful way to broaden a film’s reach.

Black Panther Concept Album Wins with Fans

Fans embraced these albums fervently—Black Panther’s in particular. The movie broke all types of box office records, and its instrumental original movie soundtrack, composed by Ludwig Goransson, even won Best Original Score at both the Grammys and the Oscars. Yet when it came to streaming, it was the concept album—a rap and hip-hop work of art curated by Kendrick Lamar and featuring SZA, Swae Lee, Khalid, Jorja Smith, and many more—that hit home with listeners. On the day of its release, the album, which builds on the movie’s poignant exploration of “what it means to be African,” hit over 19 million plays on Spotify. Critically, it wasn’t just how many people were listening, but who.

The listeners were close to equal in gender representation, and the bulk of the plays came from 18- to 24-year-olds, followed by 25- to 29-year-olds. By contrast, listeners of the actual soundtracks for both Black Panther and Avengers: Infinity War in those age groups lean far more male. In other words, a supplemental soundtrack represents a unique opportunity for the studio to attract new audiences, particularly adult women who don’t traditionally go out of their way to see superhero movies.

Captain Marvel Makes Her Mark through Music

Captain Marvel built on this paradigm with unabashed girl power. It was impossible to walk away from the film, released this past March, without music in mind—either due to Pinar Toprak’s original score or the largely female hit-driven ’90s pop-grunge sounds, like “Only Happy When It Rains” by Shirley Mason-fronted Garbage and Gwen Stefani-led No Doubt’s “Just a Girl” blasting during the final fight scene. These songs, found on Marvel’s Captain Marvel Soundtrack Official Playlist, helped build out the essence of Carol Danvers’ empowered protagonist.

And the first female superhero to get a major motion picture in the MCU struck a resounding chord with female fans: Women ages 18-44 streamed the playlist more than any men within that same age bracket. Toprak’s official soundtrack, which also featured gems of ’90s music inspiration and was the first in the MCU to be conducted by a woman, was streamed most by men ages 18-24 and 34-55, but saw 18- to 24-year-old women ranked close behind—fairly high for the genre.

Though the playlist doesn’t have the streaming volume of the orchestral Captain Marvel soundtrack, nor that of Kendrick Lamar’s Black Panther-inspired album, the trend is clear. The streaming popularity of superhero concept albums points to their power in attracting enthusiasm in a way that traditional instrumental superhero movie soundtracks do not.

Sure, surges in orchestral volume add emotion, suspense, and gravity to a monumental moment in superhero adventure movies. But the addition of lyric-driven, thematically relevant pop or rap songs leaves the audience with a memory of the film that goes far beyond the fight scenes, one that speaks to what it means to be human—or in some cases, superhuman.

Searching for something super? Stream Marvel’s official Marvel Music playlist below.