As for “Capital G” — I haven’t listened to music on the radio for a while, but this track was one of the few standouts for me on Year Zero. I think the radio love is for the same reason as for “Closer” and “Only” — it’s got that steady beat that makes you “break ya neck”, but it’s got enough angst that the meatheads can convince themselves that it’s not dance music (see “Paralyzer”). Combine that with TR’s already described cred, and the tremendous “I’m not dead” success of his last album and tour, and I think he may do fine as a self-distributed artists.

“Capital G” spent 18 weeks on Modern Rock, versus just 13 weeks for “Survivalism.” That latter number is particularly anemic for Modern Rock: a total chart run of about three months. No. 1 hit or no, “Survivalism” was a quick-burn hit for rock radio, and it’s clear they moved onto “Capital G” quickly — it was already in its third week on the chart when “Survivalism” spent its last week on the list.

There’s also a lot of known unknowns, as Mr. Rumsfeld might say, about which we can only speculate. Simply put, not all weeks are created equal. The springtime chart run of “Survivalism” might’ve been during a weak period for modern-rock radio in general; whereas “Capital G” spent its four-plus months on the chart at the height of summer, when ratings were likely higher (the midyear boosting of Arbitrons for the modern-rock format might also be a factor here). This would explain both the No. 6 peak — tougher summer competition — and the higher position at year-end, with each of its peak weeks fatter than those of its brother single.

Put it this way: just look at what kept “Capital G” from the top. In its peak week, it was behind Linkin Park, Smashing Pumpkins (a short-lived comeback, but still — big airplay for the first single), White Stripes, that massive Plain White T’s ballad and your (and my) beloved Finger Eleven. The first and last on that list ended up being the Nos. 1 and 2 Modern Rock hits of the entire year — stiff competition. Meanwhile, the week Trent went to No. 1 with “Survivalism,” it defeated the likes of 30 Seconds to Mars and Breaking Benjamin – - fat hits, sure, but clearly easier to surpass.

Incubus’s mainstream popularity peaked in the early 00′s; not the late 90′s. Their first radio hit, “Pardon Me,” debuted on the Modern Rock chart in late ’99, and didn’t pick until the next spring; “Stellar,” “Drive,” and “Wish You Were Here” followed suit. The distinction seems trivial, until you consider the vast sea change modern rock radio experienced in 1999, beginning the year with Sugar Ray and Goo Goo Dolls domination, and ending it awash in Limp Bizkit and Korn.

“Only”, too.

Could it be that Trent Reznor’s “Carry On” singing, “Jackson”/disco-esque baseline, and “Monty Python” tongue-in-cheek lyrics have served up such a sumptuous dish of the absurd that we can’t help ourselves but swing our hips, stomp our glitter platforms and jump on the carnival float?

None of which particularly cries out “ROCK”. But, who knows what rock is anymore?

Alright, I’m not crazy.

The other day I grilled a friend who’s an obsessive NIN fan about the mysterious “Capital G” triumph and he was as surprised as I was. I hope somebody here has a possible explanation!