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Fox Orders Lee Daniels (“Empire”) Music Drama Pilot ‘Star’

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Fox opened its day at the Television Critics Association’s summer press tour with a big announcement: The network is teaming with Empire co-creator Lee Daniels for a new music drama pilot.

Fox chairman and CEO Dana Walden announced that the network has ordered Star, a drama pilot set in the music business.

“Like Empire, it’s set against the backdrop of the music business but from a different perspective,” Walden said.

The drama is set in Atlanta and revolves around three girls who come together to form a band and Star details their rise to the top in a challenging business. And while Empire is told from the point of view of music executives, Star will be told from the perspective of the artist.

Va The Hollywood Reporter

Paul Weller On The Rebellion And The Rolling Stones

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“Young people have always been the face of rock and roll, especially in the Fifties and Sixties when it was about rebellion. That music defined people and defined a generation. If you’re a classical, or a jazz, or a blues musician – the older you are, the more respect you have; kind of like the Village Elder, you know? So this is just in rock and pop. We’ve got all that history to look back on, but I don’t think there’s anything wrong with The Rolling Stones, whether they are 70 years old or not.

“I went to see them last year, first time ever, and I was really knocked out by their audience. They were the same age as them – people in their late 60’s and 70’s – and they’d obviously been going since they were kids. I found that really beautiful, to have stuck with them all that time and grown up with them; they’re still mad for it! And it’s the same thing for my generation, people who grew up with the Clash, or the Pistols, or disco; your mind is altered through that, you know? You don’t stop loving rock’n’roll just because you’ve hit 41 or something.”

Via Drowned In Sound

David Letterman and his writers share the greatest jokes he never told

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For every comedy bit produced, there were roughly a hundred pitches that didn’t make it. So I asked fellow Late Night and Late Show vets to recall their most memorable rejections. Then I ran some of those by Dave, who was happy to reminisce about former writers.

“I can’t thank these men and women enough,” he said, “because I was doing their show more than they were doing mine.”

GERARD MULLIGAN (1980–2004)

One rejected joke that I really wish had made it to air: “So, the Congress is debating whether to spend billions on a so-called stealth bomber that would be invisible to Soviet radar. Why don’t we just say we built it?” But I look back on some other rejections with relief: Halloween costume: “That thing on Aaron Neville’s forehead.” Typing that, I wince now, as I should have winced then.

Some things were written to be rejected. Occasionally I would hand in an opening remark so vulgar it would have sent NBC’s Margaret Dumont–like standards-and-practices lady out of Studio 6A on a stretcher. I was safe in the knowledge that Dave would never do the joke on air. (“The American Medical Association issued this warning today: Be wary of a doctor who tries to take your temperature with his dick.”) Imagine my surprise when, during that night’s taping, Dave began, “This warning today from the American Medical Association …” but then concluded, “with his finger.”

ANDY BRECKMAN (1982–1983; creator–executive producer, Monk)

I remember trying to convince Dave and (head writer) Merrill Markoe to do an entire show where Dave and his guests are hooked up to lie detectors. I remember being very excited about this. We’d be making talk-show history! Merrill had to talk me down and explain how potentially embarrassing it could be for everybody.

To be fair, it was a long time ago and this could be what therapists call a “false memory.” I’ve had them before. For example, I also distinctly remember leading the Seal Team that killed bin Laden.

Letterman: Well, I don’t remember this idea. It sounds fantastic. And I’ll tell you, I know where he got the idea. There used to be a show called Lie Detector and there was a polygraph machine and this guy was an expert … his name was Ed Gelb. He would put the guy in the chair and grill him. And I think this would be tremendous. I would love to see somebody do this. So in this case I think Merrill was taking a bullet for me. Because if anyone had anything to hide, of course, it would’ve been me.

GEORGE MEYER (1982–1984; The Simpsons)

One idea I wish Dave had rejected was when we invited audience members to create fishing lures out of pipe cleaners, sequins, etc. The plan was to test them out on live trout and see which one got the most “action.”

Shortly before we taped the show, the trout perished. (Apparently they need cold, aerated water.) I didn’t know what to do, so the prop lady and I got some of those pointy things you stick memos on and jammed the poor fish on them in a preposterous simulation of life. Later, the contestants tried to entice these expired creatures in a macabre piece of absurdist art.

How I longed for the soothing arms of Sweet Lady H!

Letterman: I think George was responsible for maybe the single most brilliant idea on the show ever. It was a contest between a humidifier and a dehumidifier. And at the start of the show they would be switched on simultaneously, and at the end of the show we would see which of the machines had done its designed task more productively. As I recall, the problem was that the noise made by these machines just ruined the audio for the rest of the show.

Read more stories at Vulture

Video: A Look Into Mike Bloomfield’s historic Telecaster

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Dan Erlewine first saw this Tele back in the 1960s, before Mike Bloomfield recorded with it on Bob Dylan’s Highway 61 Revisited album. That was also before Bloomfield and Dylan were booed for going electric at the 1965 Newport Folk Festival. And before Bloomfield recorded the first Paul Butterfield Blues Band album with this guitar. There’s a lot of history in this Telecaster, and watch the video for an inside look.

“Sometimes We Only Get One Shot.” Finding Love On The Subway

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Have you ever approached someone you liked on the subway? Simone Davis saw a beautiful woman but was too shy to approach her. Fortunately, fate and a little courage brought them together.

Watch This Band Of 11 and 12-Year-Old Just SLAY “Today” By The Smashing Pumpkins

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11-years-old at the time, Gavin McLeod leads his band into a killer version of The Smashing Pumpkins’s Today. 31 people thumbed-down this version, hoping to kill some kid’s dreams into playing music for fun. Pure music, and snarkiness, closer to explaining the human condition and the internet than just about anything these days.

Video: Get Down With ‘Jungle Boogies’ By The Muppets

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Get down, get down with The Electric Mayhem and this boogie classic.

Here’s The Thing with Alex Baldwin: Paul Simon

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Paul Simon is one of the great American entertainers—a mantle he’s worn since he started singing harmony with grade-school friend Art Garfunkel in a duo called Tom & Jerry. In the following six decades, Simon has written dozens of classic songs. His partnership with Garfunkel produced numerous hits like “The Sound of Silence,” “America,” and “Bridge Over Troubled Water.” And Simon’s solo career has been equally fruitful, as an engine of eclectic pop music (the gospel of “Loves Me Like a Rock,” or the imported reggae of “Mother and Child Reunion”), and also as an ambassador of global sounds (the 1986 albumGraceland, and 1990’s The Rhythm of the Saints). He talks to host Alec Baldwin about how he has—and hasn’t—changed after all these years.

Billy Sherrill Got It Right When It Came To Radio

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“I did a duet one time on George Jones and Brenda Lee, on the Ray Charles song ‘Hallelujah I Love Her So,’ and in the middle of Ray’s record there’s a sax break. So I put overdubbed sax on there, too, and got a call from a country station here in town that said, ‘If you take that sax off and put a steel there, we’ll play it.’ And I said, ‘Then do me a favor, don’t play it.’ They ended up playing it anyway.”
– Billy Sherrill, country music producer, on how his recordings were received in Nashville