Oscars 2023
Boosted by its high-energy performance on the Academy Awards (March 12), best original song winner “Naatu Naatu” scored a 260% increase in on-demand official streams in the United States, according to initial reports to data tracking firm Luminate (whose information powers Billboard’s weekly charts).
On March 12 and 13 combined, “Naatu Naatu,” performed by vocalists Rahul Sipligunj and Kaala Bhairava, garnered 176,000 official on-demand streams in the U.S. – up 260% from the 49,000 that the track collected in the two previous days (March 10 and 11).
In terms of digital song sales, the song sold a little over 1,000 on March 12-13 – up from a negligible sum in the two days prior.
The best original song Oscar is awarded to the writers of the song. “Naatu Naatu” was written by M.M. Keeravaani and Chandrabose, who both accepted the Oscar onstage during the live ABC-TV broadcast.
“Naatu Naatu” had the third-most streams of the five nominees for original song, all of which were performed on the Oscars, which aired live on ABC. Here’s a recap of the other four nominees and their streams on March 12-13, versus March 10-11: Rihanna’s “Lift Me Up” (1.447 million vs. 1.446 million; up less than 1%), Lady Gaga’s “Hold My Hand” (580,000 vs. 389,000; up 49%), “This Is a Life” (84,000 vs. 38,000; up 121%) and Sofia Carson’s “Applause” (37,000 vs. 5,000; up 593%).
In addition, Lenny Kravitz’s “Calling All Angels,” which he performed for the In Memoriam portion of the broadcast, collected 35,000 streams on March 12-13 – a gain of 3,449% compared to the 1,000 streams that it garnered on March 10-11.
Collectively, the six performances helped generate 2.359 million on-demand official streams in the U.S. on March 12-13 – a gain of 22% compared to the 1.929 million on March 10-11.
News of further significant streaming and sales gains will be reported in the coming days on Billboard.com. Streaming, sales and airplay activity generated in the week ending March 16 will be reflected on the weekly Billboard charts dated March 25.
Composer Volker Bertelmann won the Academy Award for best score at the 2023 Oscars, for his musical accompaniment to the war film remake All Quiet on the Western Front.
Bertelmann’s win marks the second consecutive year that the award has gone to a German composer, following Hans Zimmer’s 2022 win for Dune. Movie and TV stars John Cho and Mindy Kaling presented the award, prompting the house orchestra in performing musical illustrations of some of the emotions from the five nominees.
“Thanks to the Academy for this huge recognition,” Bertelmann began his acceptance speech. “When I was working on the film, I was thinking a couple of times of my mom, because she was telling me every now and then — when you want to change humanity and empathy in the world, you have to start by yourself and your own surroundings. Because you learn by that, and you can show actually… how we all can live together. So by working on a film like that, you always are deeply touched.”
Bertelmann then went on to thank his wife, his kids, his collaborators and his fellow nominees, and “last but not least… all of you for this wonderful evening.”
All Quiet on the Western Front is nominated for nine Academy Awards at the 2023 ceremonies, including best picture, best visual effects and best adapted screenplay. The win for best score was already the film’s fourth on the evening, following earlier victories in the best international film, best cinematography and best production design categories.
Son Lux, Stephanie Hsu and David Byrne performed best song nominee “This Is a Life,” from the acclaimed Everyone Everywhere All at Once, at the 2023 Oscars in Los Angeles on Sunday night (March 12).
Dressed in all white — along with a throng of similarly costumed backing dancers — the performers delivered a deliberately choreographed version of the soundtrack song, in front of a backing band and video clips of the film’s Raccacoonie character. It ended with Hsu and Byrne at center stage, Byrne showing off his elongated fingers — a la the hot dog fingers displayed in one of the film’s many alternate universes.
Acclaimed indie rock singer-songwriter Mitski co-performed the original “This Is a Life” with Talking Heads frontman Byrne, but was not present for the performance. Hsu, who pulled double acting duty in Everyone Everywhere All at Once as daughter Joy Wong and villain Jobu Tapaki, filled in for Mitski for the brief “Life” rendition.
David Byrne is a prior Oscar winner, having co-composed the score for 1988 best picture winner The Last Emperor along with Ryuichi Sakamoto and Cong Su. Hsu was nominated for best supporting actress at this year’s awards, but lost to Jamie Lee Curtis for her performance in the same movie. Everyone Everywhere All at Once is the most-nominated movie on the evening, with 11 total nods, including for best picture.
“This Is a Life” faces stiff competition in the best original song category from the starry likes of Lady Gaga (for Top Gun: Maverick) and Rihanna (for Black Panther: Wakanda Forever), as well as frequent nominee Dianne Warren.
Since the Academy Awards handed out their first statuettes for best original song in 1935, almost two-thirds of the winners have been writing duos, including such legendary twosomes as Richard Rodgers and Oscar Hammerstein, Burt Bacharach and Hal David, and Alan Menken and Howard Ashman.
Now, 87 years after composer Con Conrad and Herb Magidson won the inaugural trophies for penning “The Continental” from the 1934 film The Gay Divorcee, some observers say the Oscars need to update their rules to better reflect how songs are now created.
Current academy rules favor fewer songwriters at a time when the number of writers per song is increasing. So far this year, the average number of songwriters credited on a Billboard Hot 100 No. 1 is 6.4, compared with 4.77 over a decade ago in 2009.
Yet the academy considers any combination of more than two writers for a best original song contender an exception. According to the rules, if there are three or four songwriters, “a third statuette may be awarded when there are essentially equal writers of a song. The Music Branch Executive Committee has the right, in what it alone determines to be a very rare and extraordinary circumstance, to award a fourth statuette.”
If there are five or more credited songwriters, only one statuette is awarded to the collective, and the rules state “each songwriter must agree to the single ‘group statuette’ option by signing and returning a Group Award form prior to the submission deadline.” (Though a handful of other categories limit the number of eligible nominees, only best original song and best original score have the group statuette option.)
To deny all eligible songwriters their own statuette, regardless of the number, is “antiquated thinking,” says a senior A&R executive at a major label who has worked on Oscar-nominated songs. “The creation of art evolves over time. And as an organization that represents art — whether it’s visual media art or recorded art — you have to adapt and evolve.”
The academy (which declined to respond to the anonymous opinions in this piece) is clinging to a tradition “going back decades, that the way a song got written was essentially by two people, a composer and lyricist,” says the head of music at a movie studio. “They’re out of touch.”
Only two best original song winners have had four songwriters (“Arthur’s Theme” in 1982 and “Shallow” in 2019), and no Oscar has gone to five or more songwriters. Only once have more than five writers been nominated, when all seven members of Counting Crows earned a nod for “Accidentally in Love” from Shrek 2 in 2004. The next year, the limitation on the number of statuettes was introduced.
As a result, when there are more than four songwriters, it’s often up to them to make a hard decision. In January 2019, “All the Stars,” from Black Panther, received a best original song nod, but only four of the five songwriters — Kendrick Lamar, SZA, Sounwave and Anthony Tiffith — were credited. Fifth collaborator Alexander Shuckburgh (aka Al Shux) was not listed, even though a month earlier, when “All the Stars” received a Grammy nod for song of the year, his name was. (Shux did not respond for a request for comment.)
“Because of the constraints of the rules, we’ve had to have really uncomfortable conversations with songwriters to say, ‘Hey, you guys, go away and figure this out,’ ” says the movie studio executive, adding that in some cases, the writers have come back with participating songwriters left off to cull their total to four. “It’s hurtful and unfair.”
At least two tracks that could potentially make the shortlist of 15 songs to be announced Dec. 21 have five or more songwriters. “Lift Your Wings” from Netflix’s My Father’s Dragon has five credited songwriters. It was entered as a group submission so all writers would be recognized. The title track to My Mind & Me, Apple Original Films’ documentary about Selena Gomez, has six songwriters.
The group submission form requests a detailed explanation of the creative process, and songwriters may be deemed ineligible at the Music Branch committee’s discretion.
“I understand from the perspective of the academy that they want to keep it special and not be perceived as handing [awards] out like a participation prize,” says another label executive, “but some of the best songs of the past 20 years have been written by an army of collaborators, [and] we’ve seen an evolution of thought in terms of how those songs are regarded.”
The head of music at another movie studio sees the issue as more nuanced and, while not necessarily agreeing with the limitations on the hardware handed out, appreciates the seriousness of the academy’s deliberations when there are several songwriters.
“Each song can be a unique situation, and you have to be able to consider that,” the executive says. “You do have to look at who has done the majority of the work. It’s really important that you have music that was determinately created from scratch for that project. You have to put guardrails somewhere.”
This story will appear in the Nov. 19, 2022, issue of Billboard.
The 94th annual Academy Awards telecast in March got off to a strong start, with Beyoncé singing her best original song contender, “Be Alive,” from King Richard on the tennis courts where Venus and Serena Williams practiced as children. Depending on how the 2023 Oscar nominations shake out, the producers of next year’s telecast just might be able to book an opening number with comparable star power.
When the Academy of Motion Picture Arts and Sciences reveals its shortlists of 15 contenders for best original song and best original score (as well as 10 other categories) on Dec. 21, Rihanna is a strong contender for “Lift Me Up,” which she co-wrote for Black Panther: Wakanda Forever. So are Doja Cat for “Vegas” (Elvis), Taylor Swift for “Carolina” (Where the Crawdads Sing) and Lady Gaga for “Hold My Hand” — the last of which could be in contention along with fellow Top Gun: Maverick song “I Ain’t Worried” by OneRepublic. If Gaga’s power ballad and OneRepublic’s joy bomb both make the shortlist, it will mark the first time that two songs from the same film have done so since 2019, when two tracks from the reboot of The Lion King made the cut.
Nominations-round voting is open Jan. 12-17, 2023. Nominations will be announced Jan. 24. Final-round voting is open March 2-7. The awards will air March 12 on ABC. Expect the shortlists for best original song and best original score to look something like this.
“Lift Me Up”Ryan Coogler, Ludwig Göransson, Rihanna, TemsBlack Panther: Wakanda Forever, Marvel
“All the Stars” from the original Black Panther was nominated in this category four years ago. Coogler directed and co-wrote both Black Panther and this sequel. The four co-writers could hardly be more international: Coogler was born in the United States, Göransson in Sweden, Rihanna in Barbados and Tems in Nigeria.
“Vegas”Rogét Chahayed, Doja Cat, David SprecherElvis, Warner Bros.
The academy’s music committee will determine whether this song, which borrows heavily from the 1950s classic “Hound Dog” is eligible. (Jerry Leiber and Mike Stoller, who wrote the Elvis Presley hit, would not be.) Incredibly, no song from a movie Presley starred in was ever nominated for best original song.
“This Is a Life”David Byrne, Ryan Lott, MitskiEverything Everywhere All at Once, A24
Byrne won an Oscar 35 years ago for best original score for The Last Emperor. Lott is a member of the trio Son Lux, which performs this song, with backing by Byrne and Mitski. This would be the first Oscar nod for both Lott and Mitski.
“Turn Up the Sunshine”Jack Antonoff, Patrik Berger, Sam Dew, Kevin ParkerMinions: The Rise of Gru, Illumination/Universal Pictures
This would be the first Oscar nomination for all four songwriters. The Antonoff-produced soundtrack consists mostly of contemporary artists covering ’60s and ’70s songs. It also includes new tunes such as this one, recorded by Diana Ross and featuring the Parker-led Tame Impala.
“Naatu Naatu”M. M. KeeravaniRRR, Variance Films
This Indian Telugu-language song would be the first foreign-language track to win this category since “Jai Ho,” the festive Hindi song from Slumdog Millionaire that took the prize 14 years ago. The scene in which it appears was filmed at the Ukraine Presidential Palace in Kyiv a few months before the Russian invasion.
“My Mind & Me”Amy Allen, Jonathan Bellion, Selena Gomez, Jordan K. Johnson, Stefan Johnson, Michael PollackSelena Gomez: My Mind & Me, Apple Original Films
This documentary was directed by Alek Keshishian, who also directed Madonna: Truth or Dare, as well as such music videos as Gomez’s “Hands to Myself.” The film follows Gomez on a six-year journey that has included both health challenges and professional successes, among them her first Emmy and Grammy nods.
“Do a Little Good”Benj Pasek, Justin PaulSpirited, Apple Original Films
Pasek and Paul have been nominated three times in this category, with two songs from La La Land and one from The Greatest Showman. They have no shortage of contenders this year — this song and “Good Afternoon” from Spirited, as well as two others from Lyle, Lyle Crocodile.
“Applause”Diane WarrenTell It Like a Woman, Samuel Goldwyn Films
With this song, Warren vies for her 14th nomination in this category. She would be the first songwriter or songwriting team to be nominated six years running since Marilyn and Alan Bergman’s 1968-73 streak. Warren will receive a Governors Award from the academy on Nov. 19.
“Stand Up”Dernst “D’Mile” Emile II, Jazmine SullivanTill, Orion/United Artists Releasing
D’Mile won in this category two years ago with “Fight for You” from Judas and the Black Messiah. If he triumphs again, he would become the first Black songwriter to win this award twice. Sullivan won her first two Grammys in April, for best R&B album and best R&B performance.
“Hold My Hand”BloodPop (Michael Tucker), Lady GagaTop Gun: Maverick, Paramount Pictures
This would be Gaga’s third nod in this category following “Til It Happens to You” from The Hunting Ground (2015) and “Shallow” from A Star Is Born (2018), which took the award. “Take My Breath Away” from the original Top Gun won the 1986 award in this category.
“I Ain’t Worried”Ryan Tedder, Brent Kutzle, Tyler Spry, John ErikssonTop Gun: Maverick, Paramount Pictures
The Oscars’ music committee will determine whether this is eligible. “I Ain’t Worried” borrows elements from “Young Folks” by Peter Bjorn and John. The writers of that 2006 song (Björn Yttling and Peter Morén) would not be eligible.
“Nobody Like U”Billie Eilish, Finneas O’ConnellTurning Red, Pixar
The siblings are the reigning champs in this category for the title song from No Time To Die. “Nobody Like U” is performed in the animated Turning Red by the fictional boy band 4*Town, which O’Connell helped voice. The film was written, directed and produced entirely by women.
“Dust & Ash”J. RalphThe Voice of Dust and Ash, Matilda Productions
This would be Ralph’s fourth nod in this category following “Before My Time” from Chasing Ice (2012), “Manta Ray” from Racing Extinction (2015) and “The Empty Chair” from Jim: The James Foley Story (2016). Ralph and Norah Jones sing this song on the soundtrack to the documentary.
“Carolina”Taylor SwiftWhere the Crawdads Sing, Sony Pictures
This Appalachian folk-style ballad could result in Swift’s first Oscar nomination. She has received three Golden Globe nods (for “Safe & Sound” from The Hunger Games, “Sweeter Than Fiction” from One Chance and “Beautiful Ghosts” from Cats).
“New Body Rhumba”Pat Mahoney, James Murphy, Nancy WhangWhite Noise, Netflix
LCD Soundsystem recorded this song for the soundtrack of the Noah Baumbach film. Mahoney, Murphy and Whang all belong to the Brooklyn-based band, which won the best dance recording Grammy five years ago for “Tonite.” The film stars Adam Driver, Greta Gerwig and Don Cheadle.
Babylon (Paramount Pictures)Justin Hurwitz
Babylon is the fifth film directed by Oscar winner Damien Chazelle. Hurwitz has scored all five, including most famously La La Land, for which he won in this category six years ago. Babylon’s cast includes Brad Pitt, Margot Robbie and Jean Smart.
The Banshees of Inisherin (Searchlight Pictures)Carter Burwell
This would be Burwell’s third nomination in this category following Carol (2015) and Three Billboards Outside Ebbing, Missouri (2017). The Banshees of Inisherin is a black comedy-drama written and directed by Martin McDonagh, who also did the honors on Three Billboards. It stars Colin Farrell and Brendan Gleeson.
The Batman (Warner Bros.)Michael Giacchino
This would be Giacchino’s third nomination in this category following Ratatouille (2007) and Up (2009, for which he won). The Batman, a reboot of the Batman film franchise, stars Robert Pattinson as Bruce Wayne/Batman alongside Zoë Kravitz.
Black Panther: Wakanda Forever (Marvel)Ludwig Göransson
Göransson won this honor four years ago for the original Black Panther. Should he do so for this sequel, he’ll become the second composer to win for two installments of the same franchise. Howard Shore did the same for two films in the Lord of the Rings franchise.
Empire of Light (Searchlight Pictures)Trent Reznor, Atticus Ross
Reznor and Ross are two-time category winners for The Social Network (2010) and Soul (2020, which they won in tandem with Jon Batiste). Should they win again, they’ll become the first composer or composing team to win three scoring Oscars in this century.
Everything Everywhere All at Once (A24)Son Lux
The band, consisting of Rafiq Bhatia, Ian Chang and Ryan Lott, composed the music for the science fiction/action film that was written and directed by Daniel Kwan and Daniel Scheinert. They produced it with siblings Anthony and Joseph Russo.
The Fabelmans (Universal Pictures)John Williams
This would be Williams’ record-extending 48th nomination in a scoring category. Moreover, it would give him scoring nods in seven consecutive decades. If he wins, Williams, 90, would surpass James Ivory as the oldest Oscar honoree — Ivory was 89 when he won best adapted screenplay for Call Me by Your Name.
Guillermo del Toro’s Pinocchio (Netflix)Alexandre Desplat
Desplat won for The Grand Budapest Hotel (2014) and The Shape of Water (2017). Should he win again, he’ll tie the late Maurice Jarre as the Frenchman with the most scoring Oscars. Jarre won for Lawrence of Arabia, Doctor Zhivago and A Passage to India.
Clockwise: Michelle Yeoh in Everything Everywhere All at Once, Pattinson and Kravitz (left) in The Batman, Pinocchio (voiced by Gregory Mann) and Geppetto (voiced by David Bradley) in Pinocchio and Letitia Wright in Black Panther: Wakanda Forever.
Illustration by Elena Scotti
A Man Named Otto (Sony Pictures)Thomas Newman
Newman is vying for his 15th nomination in a scoring category. He’s tied with the late Alex North for the most nods in this category without a competitive win. If Newman is nominated again and loses, he’ll hold the record outright.
The Son (Sony Pictures Classics)Hans Zimmer
Zimmer is the reigning category champ, having won in March for Dune. Should he win for The Son, he’ll become the first composer to take home back-to-back scoring awards since Gustavo Santaolalla, who won with Brokeback Mountain (2005) and Babel (2006). Hugh Jackman and Laura Dern star.
Strange World (Walt Disney Animation)Henry Jackman
This film marked Jackman’s third collaboration with director Don Hall, following Winnie the Pooh and Big Hero 6, and his fifth feature-length score for Walt Disney Animation. The film features the voices of Jake Gyllenhaal, Dennis Quaid, Gabrielle Union and Lucy Liu.
TÁR (Focus Features)Hildur Guðnadóttir
This would be the second scoring nod for Hildur, who won three years ago for Joker. The Icelandic composer would become just the third woman to receive multiple nominations in this category following the late Angela Morley (who had two nods) and Rachel Portman (who has had three).
White Noise (Netflix)Danny Elfman
This would be Elfman’s fifth nomination in a scoring category following Good Will Hunting and Men in Black (both in 1997), Big Fish (2003) and Milk (2008). White Noise is a black comedy written and directed by Noah Baumbach, adapted from the 1985 novel of the same name by Don DeLillo.
The Woman King (Sony Pictures)Terence Blanchard
This would be Blanchard’s third nomination in this category, which would tie Quincy Jones for the most scoring nods ever by a Black composer. Jones was nominated for In Cold Blood, The Wiz and The Color Purple — he has yet to win.
Women Talking (MGM/United Artists Releasing)Hildur Guðnadóttir
Hildur is vying to become the sixth composer to have two films on the shortlist in this category since 2018, when the academy began making its shortlists public. She would follow Alan Silvestri (2018), Nicholas Britell (2018), Trent Reznor and Atticus Ross (2020), Hans Zimmer (2021) and Jonny Greenwood (2021).
This story will appear in the Nov. 19, 2022, issue of Billboard.
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