![]() The award marks the first time since 1987 (David Byrne, Ryuichi Sakamoto, and Cong Su for “The Last Emperor”) that the winner of the category was a score credited to more than two composers. Like Thomas Newman last year, James Newton Howard and Terence Blanchard are multi-time nominees with acclaimed careers whose time to take home Oscar gold will have to wait a little bit longer. The “Minari” music from Emile Mosseri (who also delivered one of 2020’s most memorable scores in the world of TV) became part of that film’s strong last-minute momentum within the Oscar season. “Soul” faced a formidable slate of Best Original Score contenders. But through its sparse melodies (as also found in Hildur Guðnadóttir’s score for “Joker”) and the blending of artistic influences found in their more mainstream work (as was the case for Ludwig Göransson and his “Black Panther” score), the music of that film doesn’t connect to just “Soul,” but the category’s two winners preceding it too. The pair’s 2011 win for “The Social Network” (like “Mank,” a David Fincher film) was far from the first for a score to build its sound around a primarily electronic feel. Hopefully, this won't happen a third time, because the band's record label since has been Reznor's self-owned label, The Null Corporation, and Reznor publicly calling himself out would be weird.The Academy Tightens Oscar Campaign and International Submission Rules The band's relationship with Interscope actually lasted much longer, about 15 years, but after the release of 2007's "Year Zero," Reznor grew angry about international pricing of his albums (specifically in Australia) and once again publicly trashed his label, according to Rolling Stone, which he left shortly after. Naturally, the EP's lyrics are basically a big middle finger to his old label. In a June 13 Instagram post, Love slams Grohl and Krist Novoselic former Nirvana bandmates of her late husband, Kurt Cobain implying that they took advantage. He eventually recorded 1992's "Broken" EP in secret and worked out a deal with a second label, Interscope, to release it in 1992 with TVT under a partnership. Courtney Love has once again slammed Dave Grohl (Foo Fighters) and Trent Reznor (Nine Inch Nails), leveling particularly damning allegations of abuse against the latter musician. Reznor wasn't interested, however, and balked, but TVT wouldn't relent, according to She Knows. "Pretty Hate Machine" was their first really big success, and with the band's second album, they wanted more of the same. Nine Inch Nail's first label, TVT Records, mostly released compilations of TV theme songs and novelty albums. It surely wasn't the easiest or most exciting way to break into the industry, but it paid off when the demos started attracting record labels. "When that guy waxed the floor, it looked great." Waxing floors by day and recording demos by night, Reznor soon had a set of demos for his new project, which he called Nine Inch Nails (so-named because it abbreviated nicely to NIN and Reznor just liked the sound of it, contrary to numerous urban legends about how he came up with the band's name). "He is so focused in everything he does," Koster once told People. The pay was presumably not fantastic, but Reznor and owner Bart Koster had a deal: Reznor could use the studio to record demos whenever no other bands had booked it, according to AllMusic. ![]() Reznor got a job as a maintenance man at Cleveland's own Right Track Studio. So he took a pretty weird and risky path to get there. But in the late '80s, Reznor wasn't happy. ![]() It had a respectable number of bands, though, and Reznor had played keyboard in a few of them, such as Exotic Birds.
0 Comments
Leave a Reply. |