Why There Are Only Two Songs Up for “Best Song” At This Year’s Oscars

There are many reasons why I absolutely HATE the Academy Awards, this just confirmed by opinion that the people involved in staging and promoting this pointless TV program are idiots.

If you’re confused and bewildered by how the National Academy of Motion Picture Arts and Sciences comes up with their nominations for the Oscars, join the club.

How many Best Picture noms this year?  Ten?  And how many Best Original Song nominations?  Just two? TWO?  WTF?

This came as something of a surprise.  But it can be conveniently explained away.

In 2006, the Academy institued a rule whereby original songs from movies (i.e. songs written specifically for the film) could only be eligible if the song appeared in the body of the film.  No background music and–and I don’t understand this–no music played under the closing credits.

To make it even weirder, Academy members only few the portion of the film where the song is featured.  

Then they vote.  Songs are assigned a score from 1 to 10 with a final average score of 8.25 being the threshold.  Any song that doesn’t score that high is tossed out. 

Apparently, then, only two original songs from all the movies released in the last year scored 8.25 or higher.  That means no Zooey Deschanel (her song from Winnie the Pooh), no Pink (whatever she did for Happy Feet 2) and no Elton John for (Gnomeo and Juliet).  And even though she won a Golden Globe just a few weeks ago, Madonna’s “Transmission” from W.E. was also ruled ineligible. Stupid.

I’m sure there’s more, but you get the point.  

The good news is that Bret McKenzie of Flight of the Conchords has a 50-50 chance of picking up an Oscar fro writing “Man or Muppet” from the Muppets movie.

Alan Cross

is an internationally known broadcaster, interviewer, writer, consultant, blogger and speaker. In his 30+ years in the music business, Alan has interviewed the biggest names in rock, from David Bowie and U2 to Pearl Jam and the Foo Fighters. He’s also known as a musicologist and documentarian through programs like The Ongoing History of New Music.

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