Where in the Actual Hell Is Randy Newman? And Other Questions Raised by the New York Times’ Greatest Living American Songwriters List

“Who’s Madeline?” remains the most pressing pop-music riddle of the year. Yet hot on its heels comes another burning query: why on earth was Randy Newman omitted from the New York Times’ list of the 30 greatest living American songwriters? Readers can easily substitute their own snubbed favorites—Tom Waits, Patti Smith, Billy Joel, Jimmy Webb, Jackson Browne, Stephen Schwartz, Beyoncé, or James Taylor. Several theories explain this. One suggests such lists are engineered as rage-bait, whether intentionally or not. (Here at Variety, we are seasoned list-makers, well-acquainted with backlash.) Another posits that representation matters, and without care, these compilations can drift toward the opposite of recency bias—an overcorrection that favors newer voices over legendary figures. A list dominated by 1970s veterans would rightly draw more criticism than this one does. So, if sacrificing a few white men over 70 makes room for a Bad Bunny or Mariah Carey, so be it. But Randy Newman? The mind reels. The spirit falters. Faith in humanity crumbles—a sentiment Newman, a noted skeptic of human nature, might appreciate. Newman, known for his wry, cinematic storytelling in songs like “Short People” and his Oscar-winning scores for Pixar films, is a towering figure in American music.

There is a less frustrating answer to “Where’s Randy Newman?” He appears extensively on the lists submitted to the Times by his songwriting peers, alongside other names that fans lament. Experts like Aimee Mann, Berry Gordy, David Byrne, Justin Tranter, and Justin Vernon offered their suggestions, which were then considered—or not—by the Times’ in-house panel of five who made the final selections. This doesn’t diminish the NYT’s ultimate list; it’s a decent effort, provided one accepts that head-scratchers are part of the conversation-starting design. (Any list including Valerie Simpson is inherently worthwhile.) The real joy, however, lies in examining the 36 ballots from music insiders, published by the Times. Counting reveals how revered songwriters garnered peer support yet still missed the final cut. For instance, Newman was named on nine of those ballots—a full quarter—and ranked No. 1 by Bonnie Raitt and David Byrne. Tom Waits led the snubbed with 10 votes, while Jimmy Webb tied Newman at nine. Billy Joel received seven, Patti Smith and James Taylor six each, and Stevie Nicks, Gillian Welch, Phoebe Bridgers, David Byrne, and Jackson Browne earned five apiece. This suggests that peer recognition often diverges from critical consensus, a dynamic that has fueled debates about artistic canon for decades.

Among those who made the Times’ list, Carole King dominated with 18 votes from surveyed songwriters. Bob Dylan followed with 17, Stevie Wonder with 16, Paul Simon with 14, Dolly Parton with 13, Kendrick Lamar and Smokey Robinson with nine each, and Bruce Springsteen with eight. These shared favorites hint at possible agreement on a pantheon. Yet the Times’ panel also took risks, including Lana Del Rey and Fiona Apple—each with only two peer votes—alongside Stephin Merritt (one vote), Bad Bunny, The-Dream, Young Thug, and Romeo Santos (none). This isn’t to say critics erred; rather, it underscores their role in balancing representation across demographics and eras. The Times spent over a year on this project, so accusations of insufficient diligence are unfounded—even if one wishes for more “aesthetic common sense,” as with Newman’s exclusion. Notably, some voters submitted short lists: Dua Lipa picked only Patti Smith, while Natalie Merchant offered 38. Artists occasionally voted for collaborators or themselves—Rickie Lee Jones, Jermaine Dupri, and Jeff Tweedy did the latter. David Byrne even voted for Olivia Rodrigo, reflecting recent connections. Theater songwriters were largely absent; Lin-Manuel Miranda, creator of “Hamilton,” appeared only on Merchant’s list, though he contributed his own ballot featuring Dolly Parton, Nas, and John Kander.

The list has sparked valuable thinkpieces. Questions arise about co-writing in modern pop: how to verify key contributors, and where songwriting ends and producing begins. Jay-Z, a top 30 pick, praised his wife Beyoncé’s producing skills, hinting it might be a higher aspiration. These lines will only blur further if the Times revisits this topic in 2076. Many take this list personally because the Times rarely indulges in such rankings, unlike Rolling Stone’s recurring 500-greatest lists. The Grey Lady’s imprimatur carries unexpected weight, whether aimed at elevating songwriting or securing an interview with elusive Taylor Swift. Regardless, the effort reflects careful thought—even if, as with Newman, one wishes balance included more common sense. And one final question lingers: why the “Schoolhouse Rock” typeface?