An amazing day!

I want to remember days like Oct. 8, 2009. Despite heavy rains that wreaked havoc with everything, I woke up to find two new online pieces about my song, including a terrific column by Joe Williams responding to the Pond piece stating that I was disqualified for Oscar contention because my song wasn't "written specifically for the film." Bummer, but also kind of a relief. Robynn wrote something amazing about why this was unfair, and I feel like it deserves to be posted here; I hope she won't mind. So here it is:

My personal opinion is that especially in this day and age in the music business, a rule that the song must be "written for the movie" is ridiculous.  First - it is more possible than ever to discover unknown artists with unknown songs that have never been produced or released in the marketplace, and these artists and songs should be given a chance to revel in the original glory of their "first official showing."  If they cannot be considered, you keep the whole Oscar concept completely out of reach for the unconnected, uncommissioned musician, which means a huge body of work or potentially exceptional music is immediately disqualified from the running, just because the songwriters aren't already connected in the Hollywood circuit.  (And people wonder why there are so few quality Oscar nominated songs each year!)  Secondly, it is impossible to draw an accurate line to regulate the requirement that songs be "original" and "written specifically for the motion picture."  Any songwriter would tell you that this is a seriously amorphous line.  Even songs portending to be specifically written for specific use are most likely developed from at least some pre-existing song fragment, lyrical idea, or song hook or "nugget" if you will -- existing before the specific use (i.e. movie, in this case).   Must we then get into what percentage of the song existed before the movie?  Or are we talking about the specific moment of completion of the song - i.e. when the song is fully fleshed out and truly "finished" or "finalized"?  If so, does this mean that even if the lyrics were only slightly tweaked to "specifically" fit the movie, it would then qualify?   Any attempt to police this rule would be ludicrous.   So how should we regulate whether a song qualifies as a candidate for an OSCAR and is "original" to the movie?  I think the only way to draw a line is to go back to the rule (like ASCAP and BMI's qualifier) basing eligibility on whether the song has ever been published.

That is truly brilliant, and I hope alot of people read it and comment. Especially YOU, Academy rulemakers! The truly pivotal event today was my second rehearsal with the Keysor School kids. We continued practicing my song "Read a Book," and it was just magical. These four kids, probably around 8 or 9 years old, were completely receptive, engaged in the process, and even forthcoming with their own suggestions. Gretchen and I had a marvelous time working with them, and their teacher told us they were all very excited to be part of this. So am I! It was a magical experience for me, and I want to savor every minute. Later in the day, I confirmed with Cliff at the St. Louis International Film Festival that UITA is indeed screening on Nov.  14, and Cliff asked if I'd want to perform a short set at the Tivoli before the movie. Like, wow! Things are sure getting interesting with this adventure!