April 12, 2021 at 11:15 pm #1204197335
Hear My Voice won the music guild
I don’t know what to do here, I’m stuck.
They’re winners since the guild introduced the category in 2015
2015: “See You Again”
2016: “City of Stars”
2017: “Mystery of Love”
2019: “One Little Soldier”
The only time that an eventual Oscar winner nominated lost in this category to another nominee was “Remember Me” and “Mystery of Love”.
Since none of the other Oscar nominees were nominated at this Guild, it’s just solidifies the theory that any of the five can take it.April 12, 2021 at 11:50 pm #1204197363
According to Deadline:
Word is all the nominated songs will be performed for the first time on the pre-show.
Jesus. This reeks of Soderbergh BS.April 13, 2021 at 12:03 am #1204197368
It’s a sh!tty thing to do but also kinda their own fault since the music branch is mostly lacks taste, (seriously, listen to all five back-to-back and try to hum them afterwards), especially when they had other great options.April 14, 2021 at 6:49 pm #1204201083
“Husavik” for the win!
"The Good Fight", "The Other Two" and "Station Eleven" in all categories, Sarah Lancashire ("Julia"), William Jackson Harper ("Love Life") and Luke Kirby ("The Marvelous Mrs. Maisel")April 16, 2021 at 7:19 am #1204203590
After listening to all of the songs, “Husavik” is the only one I go back to again and again. I played it for my white male partner and he said it was too “soppy” (the disappointment).
I have it in second at the moment, I don’t trust the Academy to make the right decision.April 16, 2021 at 7:50 am #1204203633
I’m speaking with several Oscar voters right now secretly. In asking about the song category, I have been surprised how many are bringing up Eurovision. Some have said it’s their choice because it actually is used in the movie and is not just stuck into the end credits. When I interviewed Lin-Manuel Miranda a few years ago, he had just joined the Academy and said he would never vote for an end credits song not used in the film. And now he will probably do it anyway for Odom, but his philosophy is definitely held by several or many members. It’s a very tough category to figure out.
Leslie Odom Jr. is a rising star. He wrote the song and is a double nominee. He was the best part of the film. And he’s been making the rounds. I think he’s going to squeak through.April 16, 2021 at 8:15 am #1204203656
Enjoy our new photo gallery ranking the best Oscar nominated songs that lost:April 16, 2021 at 8:51 am #1204203716
Enjoy our new photo gallery ranking the best Oscar nominated songs that lost: https://www.goldderby.com/feature/best-songs-lost-oscar-ranked-photos-1204200306/
“Lost Stars” (Begin Again) should have been on the list.
FYC 2022 Emmys:
Best Actress in a Drama Series: Sandra Oh in "Killing Eve"
Best Actress in a Comedy Series: Sandra Oh in "The Chair"
Best Supporting Actress in a Drama Series: Kim Joo-ryoung in "Squid Game"April 16, 2021 at 3:43 pm #1204204449
Husavik has a lot of momentum growing, and it has a lot of passion, I might change it until the center closes.
Netflix is doing a hell of a campaign for the song as well.
"Succession" and "Severance" in all Drama categories;
"Ted Lasso" and "The Great" in all Comedy categories;
"Station Eleven" and "The White Lotus" in all Limited categories + Ethan Hawke for "Moon Knight".
Kaley Cuoco ("The Flight Attendant"), Janelle James ("Abbott Elementary"), Mandy Moore ("This is Us"), Colin Firth ("The Staircase"), Christine Baranski ("The Good Fight"), Katja Herbers ("Evil").April 19, 2021 at 2:59 am #1204208767
Here’s my take on the nominees, Casey Kasem-style:
5. “Hear My Voice” from The Trial of the Chicago 7: Only here because the film is a contender for top awards. Celeste is reportedly a great singer — her Wikipedia article contains multiple references comparing her to Amy Winehouse, Billie Holiday *and* Adele — but she phoned it in here.
4. “Husavik” from Eurovision Song Contest: The Story of Fire Saga: I know a lot of people love this one, but there’s just two things I can’t get over: (a) As performed in the film it’s Molly Sandén (aka My Marianne) dubbing Rachel McAdams, which always reminds me of the brouhaha over Marni Nixon dubbing Audrey Hepburn in My Fair Lady (even though Nixon did the same for all but one of Rita Moreno’s songs in West Side Story); I’m shocked that got past the Music Branch. (At least Sandén will perform it in the Oscar pre-show — apparently recorded in Húsavík, Iceland of course, while the other nominees will be recorded at the Academy Museum.) (b) And an “original” song about the hometown of Iceland’s Eurovision entry subbed for their planned song, thus disqualifying them from the contest yet winning the audience’s heart? Puhleeze. Woulda made more sense if it (with all English lyrics, of course) were the song they used to win American Idol (already in Oscar lore thanks to Jennifer Hudson), The Voice, etc. Was almost dead last in my ranking until I remembered how Celeste phoned in her song.
3. “Speak Now” from One Night in Miami…: Leslie Odom Jr. may have killed it in Hamilton — *both* as Aaron Burr killing Alexander Hamilton *and* beating Lin-Manuel Miranda as Hamilton at the Tonys — but this song, despite being the frontrunner at GoldDerby, is a miss for me in spite of its social justice message (shared in one way or another with all the nominees this year). He’s trying to bring his Sam Cooke role into the present a la Elton John last year, but the song is missing any real connection to the past unlike the retro-Elton vibe of “(I’m Gonna) Love Me Again” (or Bernie Taupin’s songwriting credit — others have said Taupin nailed the Oscar with his Globe acceptance speech, and he was royally screwed by the Grammys over the years so his Oscar was payback). End credit songs usually don’t win BOS anymore; “(I’m Gonna) Love Me Again” was the exception that proved the rule.
2. “Fight For You” from Judas and the Black Messiah: This is the nominee I’ve been feeling most in the last few days — an authentic neo-soul track about Black liberation, sounds like the era of the film (unlike “Speak Now”) but with rhymes reminiscent of Lauryn Hill. The same songwriting trio (H.E.R., D’Mile & Tiara Thomas) just won the Song of the Year Grammy for “I Can’t Breathe”, though that song is obviously more rooted in today than yesterday. H.E.R. & Thomas would be only the second duo of female songwriters ever to win this award, after Annie Lennox & Fran Walsh for “Into the West” from The Lord of the Rings: The Return of the King — and obviously the first Black female duo. Indeed, H.E.R. & Thomas would also assure (as would Celeste) three consecutive years that a Black woman has won a competitive non-acting Oscar — after Karen Rupert Toliver for “Hair Love” last year and Ruth Carter & Hannah Beachler for Black Panther two years ago — after only ONE such win in the previous 90 years combined, in THIS category (Irene Cara for “Flashdance… What a Feeling” from Flashdance). ALMOST my pick, but…
1. “Io sì (Seen)” from The Life Ahead: Look, we all know Diane Warren is as desperate to win this Oscar as Susan Lucci was to win her Daytime Emmy years ago. (It’s one of two Warren compositions to make the shortlist, and I’m almost certain she submitted even more.) I predicted she would finally win (barring a surge by Jingle Jangle‘s “Make It Work” out of the shortlist into the noms, which didn’t happen) after posting the YouTube videos of the shortlisted songs here earlier. Still, after listening to the nominees again on Apple Music I was drifting towards “Fight for You”.
But then I did two things that reminded me of the song’s theme of social justice towards women: First, I listened to Laura Pausini’s English version of the song right after her Italian version, which brought back memories of the film’s whole social justice angle — The Life Ahead stars Sophia Loren (an early Best Actress contender this year) as a former prostitute helping modern-day sex workers. Second, I watched the official music video featuring multiple women (presumably those modern-day sex workers) lip-syncing Pausini’s Italian lyrics, with the last line lip-synced by Loren herself. That reminded me that this is Warren’s consolation prize for her most baffling loss of all, “Til it Happens to You” from The Hunting Ground (with Lady Gaga, now herself a BOS winner) losing to “Writing’s on the Wall” from Spectre, which would have been an atrocity as the first Oscar-winning Bond theme if Adele hadn’t claimed that title for “Skyfall” on Daniel Craig’s previous outing. (Sam Smith may have wrote it — and as a trans woman I embrace Smith as non-binary — but IMO Cassandra Coleman’s performance on Idol last night should have been used in Spectre instead of Smith’s. Coleman’s performance was Bond theme-worthy; Smith’s wasn’t.)
Bonus points: Pausini, a superstar in both her native Italian and Spanish but never breaking thru into the English-language market, wins an Oscar for translating Warren’s original English lyrics into Italian — which would have been even more ironic if it had happened before the era of Roma and Parasite. And it just so happens that the very first non-English song performance to win BOS was ALSO of a song written in English but translated to Italian for the film: “Mona Lisa” from Captain Carey, U.S.A. way back in 1950, which was also the very first non-musical film to win BOS. Sources vary as to who actually performed it in the film (perhaps Nat King Cole’s famous English version made everyone forget about that part), but its first performance in the film was by a lookout for Alan Ladd’s OSS team singing it in Italian to warn the team that the enemy was near. All in all, a fitting end to Warren’s long quest for that little golden guy; even Lucci eventually won her Daytime Emmy.April 19, 2021 at 6:50 am #1204209025
If Husavik wins, I’ll be thrilled.April 19, 2021 at 10:12 am #1204209423
I think Husavik wins. It’s crazy how ’90s Disney tune-ish it sounds, and we all know how crazy voters used to go over those songs.Not now
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