Trumpeteer

On episode 63 of The Best Song Podcast, I discuss the stories behind the creation of the five songs nominated for the 1995 Original Song Oscar. That includes "Moonlight" from the remake of Sabrina, a song written by John Williams and Alan & Marilyn Bergman. For all three of them, this would be their final Oscar nominations in the original song category. I covered this film in episode 77 of The Baton, but it would be great for you to hear the song stacked up with its Oscar competition, and celebrate John Williams' final original song nomination.
 
Competition was tough for this Oscar, though Disney went all-in for Alan Menken's chance to win a fourth Oscar for original song with "Colors of the Wind," and Bryan Adams had a #1 hit song with "Have You Ever Really Loved a Woman." While the five nominees are great, you'll hear some songs that failed to get nominated, including a very popular song by Whitney Houston.

 

On episode 63 of The Best Song Podcast, I discuss the stories behind the creation of the five songs nominated for the 1995 Original Song Oscar. That includes "Moonlight" from the remake of Sabrina, a song written by John Williams and Alan & Marilyn Bergman. For all three of them, this would be their final Oscar nominations in the original song category. I covered this film in episode 77 of The Baton, but it would be great for you to hear the song stacked up with its Oscar competition, and celebrate John Williams' final original song nomination.
 
Competition was tough for this Oscar, though Disney went all-in for Alan Menken's chance to win a fourth Oscar for original song with "Colors of the Wind," and Bryan Adams had a #1 hit song with "Have You Ever Really Loved a Woman." While the five nominees are great, you'll hear some songs that failed to get nominated, including a very popular song by Whitney Houston.

 

On episode 63 of The Best Song Podcast, I discuss the stories behind the creation of the five songs nominated for the 1995 Original Song Oscar. That includes "Moonlight" from the remake of Sabrina, a song written by John Williams and Alan & Marilyn Bergman. For all three of them, this would be their final Oscar nominations in the original song category. I covered this film in episode 77 of The Baton, but it would be great for you to hear the song stacked up with its Oscar competition, and celebrate John Williams' final original song nomination.
 
Competition was tough for this Oscar, though Disney went all-in for Alan Menken's chance to win a fourth Oscar for original song with "Colors of the Wind," and Bryan Adams had a #1 hit song with "Have You Ever Really Loved a Woman." While the five nominees are great, you'll hear some songs that failed to get nominated, including a very popular song by Whitney Houston.

 

On episode 63 of The Best Song Podcast, I discuss the stories behind the creation of the five songs nominated for the 1995 Original Song Oscar. That includes "Moonlight" from the remake of Sabrina, a song written by John Williams and Alan & Marilyn Bergman. For all three of them, this would be their final Oscar nominations in the original song category. I covered this film in episode 77 of The Baton, but it would be great for you to hear the song stacked up with its Oscar competition, and celebrate John Williams' final original song nomination.
 
Competition was tough for this Oscar, though Disney went all-in for Alan Menken's chance to win a fourth Oscar for original song with "Colors of the Wind," and Bryan Adams had a #1 hit song with "Have You Ever Really Loved a Woman." While the five nominees are great, you'll hear some songs that failed to get nominated, including a very popular song by Whitney Houston.

 

On episode 63 of The Best Song Podcast, I discuss the stories behind the creation of the five songs nominated for the 1995 Original Song Oscar. That includes "Moonlight" from the remake of Sabrina, a song written by John Williams and Alan & Marilyn Bergman. For all three of them, this would be their final Oscar nominations in the original song category. I covered this film in episode 77 of The Baton, but it would be great for you to hear the song stacked up with its Oscar competition, and celebrate John Williams' final original song nomination.
 
Competition was tough for this Oscar, though Disney went all-in for Alan Menken's chance to win a fourth Oscar for original song with "Colors of the Wind," and Bryan Adams had a #1 hit song with "Have You Ever Really Loved a Woman." While the five nominees are great, you'll hear some songs that failed to get nominated, including a very popular song by Whitney Houston.

 

On episode 63 of The Best Song Podcast, I discuss the stories behind the creation of the five songs nominated for the 1995 Original Song Oscar. That includes "Moonlight" from the remake of Sabrina, a song written by John Williams and Alan & Marilyn Bergman. For all three of them, this would be their final Oscar nominations in the original song category. I covered this film in episode 77 of The Baton, but it would be great for you to hear the song stacked up with its Oscar competition, and celebrate John Williams' final original song nomination.
 
Competition was tough for this Oscar, though Disney went all-in for Alan Menken's chance to win a fourth Oscar for original song with "Colors of the Wind," and Bryan Adams had a #1 hit song with "Have You Ever Really Loved a Woman." While the five nominees are great, you'll hear some songs that failed to get nominated, including a very popular song by Whitney Houston.

 

On episode 63 of The Best Song Podcast, I discuss the stories behind the creation of the five songs nominated for the 1995 Original Song Oscar. That includes "Moonlight" from the remake of Sabrina, a song written by John Williams and Alan & Marilyn Bergman. For all three of them, this would be their final Oscar nominations in the original song category. I covered this film in episode 77 of The Baton, but it would be great for you to hear the song stacked up with its Oscar competition, and celebrate John Williams' final original song nomination.
 
Competition was tough for this Oscar, though Disney went all-in for Alan Menken's chance to win a fourth Oscar for original song with "Colors of the Wind," and Bryan Adams had a #1 hit song with "Have You Ever Really Loved a Woman." While the five nominees are great, you'll hear some songs that failed to get nominated, including a very popular song by Whitney Houston.

 

On episode 63 of The Best Song Podcast, I discuss the stories behind the creation of the five songs nominated for the 1995 Original Song Oscar. That includes "Moonlight" from the remake of Sabrina, a song written by John Williams and Alan & Marilyn Bergman. For all three of them, this would be their final Oscar nominations in the original song category. I covered this film in episode 77 of The Baton, but it would be great for you to hear the song stacked up with its Oscar competition, and celebrate John Williams' final original song nomination.
 
Competition was tough for this Oscar, though Disney went all-in for Alan Menken's chance to win a fourth Oscar for original song with "Colors of the Wind," and Bryan Adams had a #1 hit song with "Have You Ever Really Loved a Woman." While the five nominees are great, you'll hear some songs that failed to get nominated, including a very popular song by Whitney Houston.

 

On episode 63 of The Best Song Podcast, I discuss the stories behind the creation of the five songs nominated for the 1995 Original Song Oscar. That includes "Moonlight" from the remake of Sabrina, a song written by John Williams and Alan & Marilyn Bergman. For all three of them, this would be their final Oscar nominations in the original song category. I covered this film in episode 77 of The Baton, but it would be great for you to hear the song stacked up with its Oscar competition, and celebrate John Williams' final original song nomination.
 
Competition was tough for this Oscar, though Disney went all-in for Alan Menken's chance to win a fourth Oscar for original song with "Colors of the Wind," and Bryan Adams had a #1 hit song with "Have You Ever Really Loved a Woman." While the five nominees are great, you'll hear some songs that failed to get nominated, including a very popular song by Whitney Houston.

 

On episode 63 of The Best Song Podcast, I discuss the stories behind the creation of the five songs nominated for the 1995 Original Song Oscar. That includes "Moonlight" from the remake of Sabrina, a song written by John Williams and Alan & Marilyn Bergman. For all three of them, this would be their final Oscar nominations in the original song category. I covered this film in episode 77 of The Baton, but it would be great for you to hear the song stacked up with its Oscar competition, and celebrate John Williams' final original song nomination.
 
Competition was tough for this Oscar, though Disney went all-in for Alan Menken's chance to win a fourth Oscar for original song with "Colors of the Wind," and Bryan Adams had a #1 hit song with "Have You Ever Really Loved a Woman." While the five nominees are great, you'll hear some songs that failed to get nominated, including a very popular song by Whitney Houston.

 

Happy birthday, young man. I've heard one or two of your works and they arw promising.
 

 
Karol

This is going to be a day full of John Williams music. Wait, that's every day!
 
The newest episode of my podcast features the song "Somewhere In My Memory" from Home Alone, which was pitted against some banger tunes for the Original Song Oscar.

 
Happy birthday, Maestro!

This is going to be a day full of John Williams music. Wait, that's every day!
 
The newest episode of my podcast features the song "Somewhere In My Memory" from Home Alone, which was pitted against some banger tunes for the Original Song Oscar.

 
Happy birthday, Maestro!

This is going to be a day full of John Williams music. Wait, that's every day!
 
The newest episode of my podcast features the song "Somewhere In My Memory" from Home Alone, which was pitted against some banger tunes for the Original Song Oscar.

 
Happy birthday, Maestro!

One of the big tragedies for John Williams fans has been the selection of Michael Gore as the recipient of the Original Score Oscar of 1980 for Fame over John Williams' work on The Empire Strikes Back. It definitely remains one of the biggest upsets and surprises in Oscar history.
 
In the newest episode of my show The Best Song Podcast, I offer up the reason behind Fame being included in the list of original score nominees in the first place (especially since there is less than 10 minutes of non-song original music in the movie). I won't tell you here; you'll have to listen to episode 48 of the show to find out. And, I offer up my explanation in the first five minutes of the show, so you don't have to wait long.
 
Does this help to ease the pain of Williams' Oscar loss? Or does it sting even more?
 
I hope you'll listen to the rest of the episode, which features an interview with Dean Pitchford, the lyricist for the song "Fame," and an analysis of the other four Oscar-nominated songs and a brief listen to other songs that were left off the list. Enjoy the show!
 

All great opinions about the win for Fame's score. But, the issue I bring up in my podcast is that the Academy allowed the score to be nominated alongside traditional underscores, which hadn't been allowed for about 30 years. Never mind that the Academy at large voted for Fame. The music branch voted to allow song scores to be eligible for Original Score alongside underscores. Song scores had their own category for many, many years and in 1980 the decision was made to specifically combine the two genres.
 
I try to keep a lot of opinions out of my podcast, as I simply want to tell the stories and let listeners make up their minds about whether a song should have been nominated for an Oscar, or win the Oscar. But I'll let you know here that the Academy should never have allowed song scores to be nominated alongside underscores, especially a musical like Fame, where there is almost no underscore. Alan Menken's wins were influenced by the songs, but there was a considerable amount of underscore in all four of his score wins.
 
I could have gone into more depth about this in the podcast, but the show is about the Original Song Oscar, not the Original Score Oscar. As I was researching for this particular episode, I found the rule change and immediately thought of my JWFan clan. I've been waiting for months to share it with you.

All great opinions about the win for Fame's score. But, the issue I bring up in my podcast is that the Academy allowed the score to be nominated alongside traditional underscores, which hadn't been allowed for about 30 years. Never mind that the Academy at large voted for Fame. The music branch voted to allow song scores to be eligible for Original Score alongside underscores. Song scores had their own category for many, many years and in 1980 the decision was made to specifically combine the two genres.
 
I try to keep a lot of opinions out of my podcast, as I simply want to tell the stories and let listeners make up their minds about whether a song should have been nominated for an Oscar, or win the Oscar. But I'll let you know here that the Academy should never have allowed song scores to be nominated alongside underscores, especially a musical like Fame, where there is almost no underscore. Alan Menken's wins were influenced by the songs, but there was a considerable amount of underscore in all four of his score wins.
 
I could have gone into more depth about this in the podcast, but the show is about the Original Song Oscar, not the Original Score Oscar. As I was researching for this particular episode, I found the rule change and immediately thought of my JWFan clan. I've been waiting for months to share it with you.

All great opinions about the win for Fame's score. But, the issue I bring up in my podcast is that the Academy allowed the score to be nominated alongside traditional underscores, which hadn't been allowed for about 30 years. Never mind that the Academy at large voted for Fame. The music branch voted to allow song scores to be eligible for Original Score alongside underscores. Song scores had their own category for many, many years and in 1980 the decision was made to specifically combine the two genres.
 
I try to keep a lot of opinions out of my podcast, as I simply want to tell the stories and let listeners make up their minds about whether a song should have been nominated for an Oscar, or win the Oscar. But I'll let you know here that the Academy should never have allowed song scores to be nominated alongside underscores, especially a musical like Fame, where there is almost no underscore. Alan Menken's wins were influenced by the songs, but there was a considerable amount of underscore in all four of his score wins.
 
I could have gone into more depth about this in the podcast, but the show is about the Original Song Oscar, not the Original Score Oscar. As I was researching for this particular episode, I found the rule change and immediately thought of my JWFan clan. I've been waiting for months to share it with you.

One of the big tragedies for John Williams fans has been the selection of Michael Gore as the recipient of the Original Score Oscar of 1980 for Fame over John Williams' work on The Empire Strikes Back. It definitely remains one of the biggest upsets and surprises in Oscar history.
 
In the newest episode of my show The Best Song Podcast, I offer up the reason behind Fame being included in the list of original score nominees in the first place (especially since there is less than 10 minutes of non-song original music in the movie). I won't tell you here; you'll have to listen to episode 48 of the show to find out. And, I offer up my explanation in the first five minutes of the show, so you don't have to wait long.
 
Does this help to ease the pain of Williams' Oscar loss? Or does it sting even more?
 
I hope you'll listen to the rest of the episode, which features an interview with Dean Pitchford, the lyricist for the song "Fame," and an analysis of the other four Oscar-nominated songs and a brief listen to other songs that were left off the list. Enjoy the show!
 

One of the big tragedies for John Williams fans has been the selection of Michael Gore as the recipient of the Original Score Oscar of 1980 for Fame over John Williams' work on The Empire Strikes Back. It definitely remains one of the biggest upsets and surprises in Oscar history.
 
In the newest episode of my show The Best Song Podcast, I offer up the reason behind Fame being included in the list of original score nominees in the first place (especially since there is less than 10 minutes of non-song original music in the movie). I won't tell you here; you'll have to listen to episode 48 of the show to find out. And, I offer up my explanation in the first five minutes of the show, so you don't have to wait long.
 
Does this help to ease the pain of Williams' Oscar loss? Or does it sting even more?
 
I hope you'll listen to the rest of the episode, which features an interview with Dean Pitchford, the lyricist for the song "Fame," and an analysis of the other four Oscar-nominated songs and a brief listen to other songs that were left off the list. Enjoy the show!
 

One of the big tragedies for John Williams fans has been the selection of Michael Gore as the recipient of the Original Score Oscar of 1980 for Fame over John Williams' work on The Empire Strikes Back. It definitely remains one of the biggest upsets and surprises in Oscar history.
 
In the newest episode of my show The Best Song Podcast, I offer up the reason behind Fame being included in the list of original score nominees in the first place (especially since there is less than 10 minutes of non-song original music in the movie). I won't tell you here; you'll have to listen to episode 48 of the show to find out. And, I offer up my explanation in the first five minutes of the show, so you don't have to wait long.
 
Does this help to ease the pain of Williams' Oscar loss? Or does it sting even more?
 
I hope you'll listen to the rest of the episode, which features an interview with Dean Pitchford, the lyricist for the song "Fame," and an analysis of the other four Oscar-nominated songs and a brief listen to other songs that were left off the list. Enjoy the show!
 

One of the big tragedies for John Williams fans has been the selection of Michael Gore as the recipient of the Original Score Oscar of 1980 for Fame over John Williams' work on The Empire Strikes Back. It definitely remains one of the biggest upsets and surprises in Oscar history.
 
In the newest episode of my show The Best Song Podcast, I offer up the reason behind Fame being included in the list of original score nominees in the first place (especially since there is less than 10 minutes of non-song original music in the movie). I won't tell you here; you'll have to listen to episode 48 of the show to find out. And, I offer up my explanation in the first five minutes of the show, so you don't have to wait long.
 
Does this help to ease the pain of Williams' Oscar loss? Or does it sting even more?
 
I hope you'll listen to the rest of the episode, which features an interview with Dean Pitchford, the lyricist for the song "Fame," and an analysis of the other four Oscar-nominated songs and a brief listen to other songs that were left off the list. Enjoy the show!
 

One of the big tragedies for John Williams fans has been the selection of Michael Gore as the recipient of the Original Score Oscar of 1980 for Fame over John Williams' work on The Empire Strikes Back. It definitely remains one of the biggest upsets and surprises in Oscar history.
 
In the newest episode of my show The Best Song Podcast, I offer up the reason behind Fame being included in the list of original score nominees in the first place (especially since there is less than 10 minutes of non-song original music in the movie). I won't tell you here; you'll have to listen to episode 48 of the show to find out. And, I offer up my explanation in the first five minutes of the show, so you don't have to wait long.
 
Does this help to ease the pain of Williams' Oscar loss? Or does it sting even more?
 
I hope you'll listen to the rest of the episode, which features an interview with Dean Pitchford, the lyricist for the song "Fame," and an analysis of the other four Oscar-nominated songs and a brief listen to other songs that were left off the list. Enjoy the show!
 

Folks,
 
Happy New Year! If you have not had the chance to listen to the new episode of The Baton  featuring a discussion of the score to The Fabelmans, you can watch it in the player below. It was fun returning to the show after a two-year hiatus.

 
Also, I'm also starting a new podcast that will take us through the first 90 years of the Academy Award for Best Original Song. That podcast, called The Best Song Podcast, will mention John Williams at various points when he earns Oscar nominations for songwriting. Until then, I hope you'll enjoy the episodes, which will be found at this website and on the Podbean app beginning tomorrow (January 2) until it's approved for other podcast platforms.

Hello, again! Episode 113 of The Best Song Podcast is now available This episode covers the score for Indiana Jones and the Dial of Destiny, which brings Williams full circle through five Indy films. I also detail the un-retirement announcement that Williams made earlier this year, and what it means for his future in film scoring.
 
Enjoy!