Here are all of the artists -- male and female -- who have introduced two or more Oscar winners for best song.
Astaire danced with Ginger Rogers while she sang the stylish "The Continental" in 1934's The Gay Divorcee. Two years later, he sang the "The Way You Look To-night" in Swing Time. That timeless classic is one of the best film songs ever written.
The superstar introduced four best song winners, more than anyone else. He sang "Sweet Leilani" in Waikiki Wedding (1937), "White Christmas" in Holiday Inn (1942), "Swinging on a Star" in Going My Way (1944) and "In the Cool, Cool, Cool of the Evening" in Here Comes the Groom (1951). Crosby teamed with Marjorie Reynolds to sing "White Christmas"; with Jane Wyman to sing "In the Cool…" Wyman was an Oscar-winning actress and the first wife of Ronald Reagan.
The great star sang the immortal "Over the Rainbow" in The Wizard of Oz (1939) and fronted a spirited ensemble to sing "On the Atchison, Topeka and the Santa Fe" in The Harvey Girls (1946).
Though remembered almost entirely as a comedian, Hope introduced "Thanks for the Memory" in The Big Broadcast of 1938 (1938) and "Buttons and Bows" in The Paleface (1948). He teamed with Shirley Ross to sing the former song.
Day sang "Secret Love" in Calamity Jane (1953) and "Whatever Will Be, Will Be (Que Sera, Sera)" in The Man Who Knew Too Much (1956).
The legendary singer introduced three best song winners: "Three Coins in the Fountain" in the film of the same name (1954), "All the Way" in The Joker Is Wild (1957) and "High Hopes" in A Hole in the Head (1959). Sinatra is the only artist to introduce three best song winners from films released in the same decade. Sinatra teamed with 12-year-old Eddie Hodges to sing "High Hopes," which became the theme song of John F. Kennedy's winning 1960 presidential campaign.
Audrey Hepburn famously introduced "Moon River" in Breakfast at Tiffany's (1961), but the film also includes an instrumental version by the song's composer, Henry Mancini. He also introduced the following year's winner, "The Days of Wine and Roses" from the film of the same name. He co-wrote both songs with lyricist Johnny Mercer.
Streisand introduced "The Way We Were" in the film of the same name (1973) and "Evergreen" in A Star Is Born (1976). She composed the latter song, which was the first best song winner that was written or co-written by someone who starred in the film.
Ask somebody who is the only woman to introduce three Oscar winners for best song. Very few will come with the right answer. It's Warnes, who sang "It Goes Like it Goes" in Norma Rae (1979), "Up Where We Belong" in An Officer and a Gentleman (1982) and "(I've Had) the Time of My Life" in Dirty Dancing (1987). Warnes teamed with Joe Cocker on the second song; Bill Medley on the third.
Cara introduced "Fame" in the film of same name (1980) and "Flashdance…What a Feeling" in Flashdance (1983). She co-wrote the lyric on the latter song with Keith Forsey.
Madonna introduced "Sooner or Later" in Dick Tracy (1990) and "You Must Love Me" in Evita (1996).
Bryson sang the end-credits versions of "Beauty and the Beast" in the film of the same name (1991) and "A Whole New World" in Aladdin (1992). He teamed with Celine Dion on the first; Regina Belle on the second.
Dion sang the end-credits version of "Beauty and the Beast" in the film of the same name (1991). Six years later, she introduced the film song of the decade, "My Heart Will Go On" in Titanic (1997).
Sally Who? The behind-the-scenes singer in animated films was among the pros who sang the original versions of "Can You Feel the Love Tonight" in The Lion King (1994) and "When You Believe" in The Prince of Egypt (1998). The better known end-credits versions were performed by Elton John and Mariah Carey/Whitney Houston, respectively.
John Goodman and Billy Crystal introduced "I Didn't Have You" in Monsters, Inc. (2001), but composer Newman's version is the closing track on the film soundtrack. Newman also introduced "We Belong Together" in Toy Story 3 (2010).