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Music stardom are fuzzier than ever–a fact best exemplified by reality-TV shows such as idol and the crossover celebrities they create. On-air adapts itself to this world with a mix of personality interviews (Donald trump, Reba Mcentire), in-studio performances (Missy Elliott, Enrique Iglesias) and celeb gossip. It’s like total request live but older, or entertainment tonight but with more screaming fans. Granted, nobody asked for either one, and on-air was shaky in its first week. Seacrest may be better suited to the more controlled idol than to unpredictable live variety. When Richie brought a pair of goats with her to plug her rural reality show, one of the beasts did what well-fed goats do, all over the stage. Another talk host might have improvised a zinger out of the barnyard blooper; Seacrest just seemed icked out.

For most of the 20th century it was believed that real success in music was only possible if somehow you were able to sign a recording or publishing contract with a major music company. To even have a decent shot at such a possibility, aspiring artists were encouraged to move to one of the three main “music cities” — la, new york or Nashville — where it would be possible to develop relationships with music industry insiders who could then “get you a deal. From the days of tin pan alley — up to the early eighties — this was typically the way success was achieved. Musical innovators in every genre were on the lookout for the next talented writer or musician.