Adam Sandler (no not that one) writing in Variety's Eye on the Oscars: Song and Score feature issue talked to a few people in the game to assess the slow but sure obsolescence of the ending credits, star-driven track.

It has been a pretty fortunate turn of events in recent years that the Academy has given its attention to a song's usage in a film and bearing on the stor rather than simply closing their eyes and chalking up this closing track or that as a nominee.  That little rule shift is probably the reason "It's Hard Out Here for a Pimp" from "Hustle & Flow" made it into contention (on the way to a win" back in 2005, and is certainly the reason the tunes of "Brokeback Mountain" didn't make the ultimate cut.  Regardless, it's good to finally see a story like this one out there.

Here's a quick look:

This creatively cautious sensitivity to not always having an end-titles song is a lingering backlash to the once ubiquitous, overwrought ballads that for years graced every studio's tentpole pic. These songs were often more a marketing ploy than a tune evocative of the film's story.

It is also part of the new fiscal reality: Songs from big artists can be expensive and prohibitive given the current state of shrinking film and music budgets. And without a robust music industry, fat soundtrack deals are scarce and a hit song is no longer the foolproof marketing tool it once was. [Variety]

There's plenty more stories in the issue for all you film music lovers out there.  Jon Burlingame has the lede with a story calling 2007 a "banner year" for music-driven films.  He also does a nice job of rounding up the constant rule changes in "Oscar's most tinkered-with category."

Sandler, meanwhile, is back with ways studios are attempting to target the music branch voters, such as YouTube videos, live concerts (like the Glen Hansard/Marketa Irglova show here at the Wiltern a few months back) and CD inserts in trade magazines (Paramount Vantage jumped on this early with "Into the Wild" supplements).

Anthony D'Alessandro wraps things up by pondering Oscar telecast performances and their effect on the longevity of "film-dwelling hits."