A regionally famous rock band may reunite in Pawnee, and its singer will be portrayed by… Jeff Tweedy. READ FULL STORY
Tag: Music (1-10 of 35)
'Bob's Burgers' animates The National singing Thanksgiving song in boatloads of gravy -- EXCLUSIVE VIDEO
Fans of The National, Bob’s Burgers and, well, gravy, you are in for a treat: The Fox comedy has animated the Brooklyn indie rockers singing “Sailors in Your Mouth,” the wistful ode to the savory sauce that was heard in Sunday’s Thanksgiving episode. That wasn’t the first time that the band and Bob’s Burgers bonded: The National contributed a rendition of “Kill Your Turkey” to last year’s Thanksgiving episode, and Bob’s Burgers writer Scott Jacobson directed the video for The National’s “Conversation 16,” which stars… Bob’s voice actor Kristen Schaal.
Press play for a trippy, drippy journey into Bob’s mouth and beyond. READ FULL STORY
If Bonnie & Clyde had to have a theme song, chances are “Bang Bang” would be an apt title to sum up the doomed duo, who are being revived once more for A&E’s miniseries event this winter.
The four-hour, two-part series (set to air Dec. 8 and 9 on A&E, Lifetime and History) stars Emile Hirsch and Holliday Grainger as the notorious pair of Depression-era outlaws. In anticipation of the movie event, A&E has just released this video of rockers Nico Vega re-interpreting the classic Nancy Sinatra melancholia “Bang Bang (My Baby Shot Me Down),” which was itself a cover of a hit for Cher.
Though the song has been used in film multiple times since Sinatra’s 1966 recording (notably in the opening credits of Kill Bill), Nico Vega’s uniquely rock-tinged cover (available on iTunes) is certifiably haunting. Check out the exclusive video below to get a look behind the scenes as Nico Vega lays down the track, interspersed with some premiere clips of Bonnie and Clyde. It’s bloody fantastic!
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If you’re still recovering from the Oct. 27 episode of CBS’ The Good Wife, appropriately titled “Hitting the Fan,” you’re not alone. It will be remembered as one of the series’ best — a perfect storm of pitch-perfect writing/directing, acting, and score. You could feel it from the opening moments, when Will (Josh Charles) set the firing of Alicia (Julianna Margulies) in motion after learning she planned to leave the law firm and everyone started scrambling to steal clients or keep them. The mood was tense but fun as the actors reveled in the machinations scripted by exec producers Robert and Michelle King as much as their characters. And the music captured it. Watch a clip below.
Film composer David Buckley, who’s scored the show since midway through its first season, said one challenge was not letting the music get ahead of the drama. “An episode like this one, more than ever, the music has a sort of identity that can rise up and then fall back down,” he says. Another challenge: The different tones. “This cue, more than any in any episode — probably, in fact, more than anything I’ve ever done before — was trying to navigate that intricate path of drama and comedy. It was serious. There was energy. There was propulsion. But it could also find nods and winks to the lighter parts of the scene,” he says. “The scripts are so clever, the story lines are so intricate, that really quite swiftly you can be moving from something emotional and personal and perhaps sad to someone with a twinkle in their eye.” READ FULL STORY
'Arrested Development,' 'Elementary,' 'Da Vinci's Demons,' and more: The making of this year's Emmy-nominated music
The Primetime Creative Arts Emmys celebrated behind-the-scenes artists on Sunday — including composers recognized for their work on shows like Elementary, House of Cards, and The Borgias. The characters in the series they work on play more than a small role in shaping the shows’ sounds, as EW learned in talking to the nominees in the music score categories on the carpet ahead of the ceremony, which will air on FXX this Saturday.
Starz’s Da Vinci’s Demons won the award for Outstanding Original Main Title Theme Music, while Downton Abbey won for Outstanding Music Composition for a Series, and ReelzChannel’s World Without End snagged the award for Outstanding Music Composition for a Miniseries, Movie, or Special.
Read on to learn more about the making of the music for five shows.
If you want to hear about the latest Katy Perry song or find out when Miley Cyrus’ sure-to-offend new album comes out, all you have to do is open the page of any magazine, check out the homepage of any (and every) blog, or just head on over to your favorite form of social media and see what’s buzzing. But how do you discover smaller indie bands anymore? If they’re not creating chaos at an awards show or topping the Billboard charts, it’s not always as obvious as music fans would like it to be. Enter Chris Mollere, music supervisor for hit shows The Vampire Diaries and Pretty Little Liars.
Mollere recently spoke to Rolling Stone about how he sees his job as an opportunity to feature great bands, both known and unknown, on a possibly unexpected (but rather large) platform — television — a trend that he credits to the 2003 hit show The O.C.
“The O.C. was where music really jumped out at me on TV,” Mollere said. “Easy Rider was one of the first movies to have a song soundtrack, but The O.C. was the show that changed that format on television and showed that you could do things like have a song with lyrics play during a scene with dialogue. Before The O.C., that was not an accepted thing. The O.C. also broke bands like Death Cab and the Killers. A placement on that show took bands to another level.”
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At Comic-Con this week in San Diego, Bear McCreary will be introduced as the composer for the ABC pilot for Marvel’s Agents of S.H.I.E.L.D., which aims to bring the Marvel Universe into primetime television with a mythology that is tethered somewhat to the silver screen exploits of the Avengers and S.H.I.E.L.D., the government agency that answers a world with thunder gods and gamma-green monsters.
McCreary’s new post will surprise exactly no one in San Diego. The classically trained pianist and graduate of USC’s Thornton School of Music has been in the ear of discerning genre fans in a big way the past decade as the composer of some truly distinctive themes — among them the unsettling strings that open AMC’s record-setting hit The Walking Dead and the dark tribal exhilaration of the drums that ushered in episodes of the Peabody Award-winning series Battlestar Galactica.
Jeph Loeb, the head of television for Marvel, said McCreary is a collaborator with boundless energy and a gift for finding the “emotional vibrancy” of moments and music and message. We caught up with the 34-year-old McCreary for a quick chat about music, heroes, Joss Whedon, and an old television show about an intergalactic garbage hauler.
ENTERTAINMENT WEEKLY: With a project like this there are so many questions from the get-go but is there a place you typically start that investigation? Do you start with pinning down facts or finding feelings?
BEAR MCCREARY: I like to bring something unique to every project I take on, something that can immediately hook the audience and tell them what show or film they’re watching, or game they’re playing. The furious tremolo strings at the beginning of The Walking Dead main title, or the heavy percussion of Battlestar Galactica are great examples. At first glance, I was nervous that Marvel’s Agents of S.H.I.E.L.D. would be difficult to approach. … It ties together a cinematic universe that spans years of characters, storylines and scores by talented composers. The instant I saw the pilot, I connected immediately with the characters.
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Apparently, what a girl wants is an NBC homecoming. Original Voice judge Christina Aguilera will return for the fifth season of the peacock’s reality hit, sources confirm to EW. (TheWrap first reported the news.)
Aguilera and fellow original judge Cee Lo Green exited the series last winter at the end of season 3 to focus on their own music careers. Aguilera has been promoting her Lotus album and tour, while Green is working on his solo album Girl Power, as well as a reality show for TBS. They were replaced by Usher and Shakira for The Voice‘s spring edition, though NBC always expected both musicians to be back for the fall of 2013. And though Green has yet to sign a contract, he is reportedly also nearing a deal to return to the singing competition.
Sources say that Aguilera’s own contract is for about $12 million, a number exceeded by the paydays given to one-season wonders such as American Idol‘s Mariah Carey (widely reported to be $18 million) and The X Factor‘s Britney Spears ($15 million).
Make no mistake: Beyoncé Giselle Knowles-Carter is powerful. More powerful than her mind can even digest and understand. But even so, the superstar singer sometimes feels insecure. “I’m a human being,” she reveals in this new trailer for her upcoming HBO documentary. “I cry. I get scared. I get nervous.” Say it ain’t so, Bey!
Thankfully, the trailer also proves that doc will be more than a two-hour therapy session. It looks like there’ll be plenty of behind-the-scenes footage in the film, as well as a subplot about Beyoncé struggling to keep her pregnancy under wraps while on tour. The artist’s plans for world domination may also be revealed — as Bey says at one point, “Power’s not given to you. You have to take it.”
Viva la Beyoncé, and check out the new trailer here:
Due to a scheduling change, Phillip Phillips will no longer be playing Fox’s New Year’s Eve Live!, but the network has added two names to the show: Marlon Wayans will host the 90-minute special broadcast from Las Vegas’ Mandalay Bay Resort & Casino, and Tate Stevens, winner of The X Factor, will join previously announced performers Lifehouse and Carmen Electra. Fox’s cameras will also cut to the ball drop in New York City’s Times Square at midnight.
Wayans’ new film, A Haunted House, hits theaters Jan. 11. He’s performing with his brother Shawn Wayans at The Orleans Showroom in Vegas on Dec. 29 and Dec. 30.
SiriusXM to air live New Year’s Eve concerts nationwide: Willie Nelson, the Lumineers, and more
Taylor Swift, Carly Rae Jepsen to play New Year’s Rockin’ Eve
Snooki and Jwoww to ring in MTV’s New Year
New Year’s Eve style inspired by ‘Mad Men’
As the music supervisor for shows like Grey’s Anatomy and Private Practice, music supervisor Alexandra Patsavas has long been TV’s musical rainmaker. Pinpointing emergent, primetime-ready tunes for those shows is one challenge, but for her work on Scandal, another drama from Grey’s creator Shonda Rhimes, Patsavas faced another one — breathing new life into old-school R&B classics. Below, Patsavas discusses how she takes a well-worn track like Kool & the Gang’s “Jungle Boogie” and gives it new meaning, plus her one major exception in Scandal‘s soulful set list.
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