Not only did a mere two out of five possible slots get nominated for Best Original Song this morning when the 2012 Oscar nominations dropped, but Best Original Score noms stayed entirely outside the realm of contemporary musicians-turned film scorers, i.e., the most glaring example – which we already knew – being Trent Reznor and Atticus Ross for their work on this year’s renegade thriller, The Girl With the Dragon Tattoo. Back to the Original Song category, though, the two that did get nom slots were Flight of the Conchords‘ Bret McKenzie for his “Man or Muppet” ballad from The Muppets and Brazilian pair Sergio Mendes and Carlinhos Brown for Rio‘s use of the cacophonous “Real in Rio.” Not that they don’t deserve their slots. But wtf, Academy voters, out of the 39 songs shortlisted, you not only snubbed the other 37 by not filling the other three eligible nomination slots, but a handful of those 37 were entirely worthy, including The National‘s “Think You Can Wait” from WIn Win, Jonsi‘s We Bought a Zoo contribution “Gathering Stories” and Elvis Costello‘s folk-hymn “Sparkling Day” from One Day. In music nerd retaliation, let us collectively remember Elliott Smith circa ’98 in a white Prada suit singing Good Will Hunting’s backbone “Miss Misery,” who also got snubbed in favor of Celine Dion’s tear-forcer from Titanic.
In the ongoing piracy saga of Megaupload vs. the world, today brings us to chapter II, in which “GOD” license-plate owner and Megaupload kingpin Kim Dotcom drops an album while still detained by U.S. authorities. MTV Hive is reporting that the team behind the “Megaupload Mega Song” that featured staged cameo-branding fillers from everyone from Kanye West to P Diddy and Alicia Keys is readying a “history in the making” album, according to production team Beets & Produce VP Joseph “Papo” Besson. “It is a phenomenal project,” Besson explained via email. “Printz Board is producing this project with Kim. I am coordinating the logistics of the release, as well as consulting on the artwork. Printz Board is executing the vision that Kim has for this project to the letter. Kim is also pushing the limits with this project. He has some huge surprises for everyone.” Meanwhile, Kim still faces accusations of “costing copyright holders more than $500 million in lost revenue.”
Gutter-pop starlet Ke$ha made it to The Flaming Lips studio, per the psych-rock Okies ongoing counter-collaboration series that has involved artists from Yoko Ono to Neon Indian. Ringleader Wayne Coyne has tweeted and social media-blasted all sorts of goodies from what they hath wrought so far, from faux-cocaine lines – Ke$ha claims they’re Tums – to finger-dips in gold glitter to the ambient wail of The Beatles “Cold Turkey.” Oh yeah, Ke$ha sings a note or two, as well, which Idolator did a fine job of amassing in one spot, including this perfectly cryptic lyric: “The end is near/I have no fear.”
Brooklyn noise-pop duo Sleigh Bells have cut a video for “Comeback Kid” the latest single from their forthcoming sophomore effort, Reign of Terror (February 21; Mom+Pop). Derek Miller half has said he wanted some “Massive Deaf Leopard-influenced guitar sound,” which we all were blessed with the accuracy of back in December when the song was a free download. Now, feast your eyes via MTV on the Miller and Gregory Kohn-directed clip, complete with rifles, rhinestone-studded leather and air punching. Also, the supermarket-mustard flip is brilliant.
NASA’s Opportunity rover landed on Mars on this day in 2004, continuing the pervasive attempt to understand the infamous Milky Way alumn, and of course, figure out once and for all if it can foster life. To that effect, we cue David Bowie‘s 1971 Hunky Dory piece of space-rock opera “LIfe on Mars?,” in all its surreal glory, Bowie lyrically painting the sing-song chorus, “Sailors fighting in the dance hall/Oh man look at those cavemen go/It’s the freakiest show.”