Of course the music industry is rife with competition, top of the charts is where it's at - the common conceptual image of prestige and success. That said, pressure and emphasis levied on the American Idol success stories seem amplified, magnified, a more oppressive force than found for artists who find their way to stardom outside the show. The contestants on American Idol are locked into a perpetuating cycle revolving around comparisons against one another. Is American Idol on its way to shooting itself in the foot by the very concept it is founded upon - competition? It is looking increasingly as the seasons pass that the contestants are contracted into an infinite circling competition, thrust into a rivalrous miasma trapping them inside that pulsing blue virtual hamster wheel of contention against their fellow contestants. Profiteers to this situation, the producers, 19E and of course, Simon Cowell.
In this recent article from People Magazine titled, "Simon Trashes Jennifer Hudson and Taylor Hicks", Simon says,
- "As for Taylor Hicks, who won season 5's competition, "They (Paula Abdul and Randy Jackson) loved him. I couldn't stand him. I didn't get it," Cowell snapped, adding that "at the end of the day you have to find a bona fide recording artist. Just because you win the show doesn't mean you will sell a lot of records. Chris (Daughtry) is the one who sold the albums, not Taylor."
This People Magazine article emphasizes a continuing prime news making example, Mr. Cowell continues to link Chris Daughtry and Taylor Hicks, and in this piece, in the same sentence. Apt commentary regarding Chris Daughtry's sales and success, would be more in-line to compare his CD, Daughtry and how it is selling against Nickelback's All the Right Reasons. (Daughtry is currently at number 2 on the top 200, All the Right Reasons at number 15.) By meshing and comparing apples with oranges, Simon keeps the in-house competition alive, and the American Idol wheel turning.
Bo Bice and Taylor Hicks certainly played their part in opening up the Idol cage to a wider field of aspiring artists, gaining acceptability outside the tried and true Pop star image originally in the show's prospectus. This season I'm seeing several of these new contestants monkeying Idols that have come before. Imitation is the sincerest form of flattery, but too much of 'seen that, heard that', becomes a bore. One example I'm talking about is this season's popular contestant, Chris Sligh. He enters the show bringing attention to his curly afro, and in his own blog had said his fan base should be named the 'Fro Patro' (no that is not a typo). He mentions in first audition to the judges that his goal on the show was to make Hasselhof cry. This in reference, of course to David Hasselhof's tears, he was in attendance, when Taylor Hicks was crowned winner in the finale. Second week of competition, Mr. Sligh performs one of the songs that was a stand out hit for Taylor Hicks, Ray LaMontagne's "Trouble". He's being obvious in his attempts to travel ground already trodden, to jump the Hicks' train to attract viewers. His saving grace, the guy's got a great sense of humor.
Watching Simon Cowell I can tell he already has a sweet spot for at least one of the contestants. He also seems a little more acid tongued this year as do Randy and Paula. That may lie in wake of the really limited standout performances we've seen so far from this year's crop of Idol Wanna-Be's. Might this shed any light over the condition we are seeing with this season? More attention is being garnered by one of the girls in the show becoming a household name by racy on-line pictures being submitted by past pals, and a disgruntled former boyfriend over some of the girls with superior singing skills like Melinda Doolittle. One of the guys in the competition, through no real action of his, has become known for being supported by Vote For the Worst, a site that proclaims they are dedicated to revealing the truth as they see it behind Idol. My point, the singing this season is being eclipsed by the behind the scenes machinations and negotiations. Yes, truly this show is looking increasingly like Big Brother or Survivor with on-line participants 'virtually' included in the show (VFTW). Last year this time we were reeling from the singing performances, this year the show is becoming steeped in manipulations and alliances.
Last season's fourth place finisher, Chris Daughtry is discovering first-hand it's not as easy to shed the Idol chain as it is to switch his wallet chain. In an interesting article written by Michael Endelman of EW.com he interviews Daughtry while the singer visited Children's Hospital of New York-Presbyterian. Shockingly Mr. Endelman writes that Chris Daughtry canceled the Question and Answer session that had been planned, then proceeds to critique a collage of snapshots from American Idol designated for the hospital scrapbook. He winds up signing it, commenting, "How did they get all these cheesy photos?" (Nice commentary.) According to Mr. Endelman, following an introduction by the hospital administrator as 'Chris Daughtry from American Idol',
- 'the tightly wound singer snaps. He turns discreetly to a member of his entourage and whispers, "Are they even going to mention the album? Are they even going to talk about the band? It's just Idol," saying the last word with special disdain.'
Simon Cowell's jabs at Hicks being outsold by Daughtry have legs only when spoken within the top 40 Nickelback rock boundaries. Chris Daughtry's sound is in a more popular genre. What Taylor Hicks proved successfully last season (along with his fans), is that the coercion techniques that Simon Cowell, the King (apparent) of Opinions That Matter can be defeated. The Idol cage could be infiltrated by one other than the 'chosen' or should I say, ideal contestant. His obvious manipulations to influence the show's outcome can be overturned. Simon Cowell with his ego will never forget that.
What has also been seen and proven in the media, and in the marketing of the Idols is win or lose, American Idol runs somewhat like in The Wizard of OZ, the contestants and viewers are are subject to the 'man behind the curtain'. Should viewers get too wise to the man behind the curtain, this juggernaut hit could be on its unwitting way to creating a self-consuming monster.
The Soulman's CD when it comes to numbers of units sold, doesn't carry an assessment of the fan base Taylor Hicks has developed. Taylor Hicks, in his, let's say natural state, no I'm not referring to him in the buff, rather I'm talking about him being sans the overproduction trappings cast into his CD by the producers, i.e. Matt Serletic. Hicks carries naturally that throwback vibe, he is not Pop mainstream, nor does he want to be. Regarding his fan base; I don't think it is a matter of it diminishing, I do think that many who became fans enjoyed Taylor Hicks the natural musician. The man thought to have distinctive choices in music. The man possessed of a growly, raw vocal sound. The man who delivered Ray Charles' "Georgia" heard on-line last year, in a manner that would have made Ray proud. By Serletic selling Hicks on the concept of broadening his fanbase, it weakened the potential of the product. One thing Taylor Hicks need remember, that Idol wheel may keep on spinning, but sometimes the hamster has to jump off. Bo Bice has picked up on that, and eventually so will The Soulman. Now if we can just get the keys away from that man behind the curtain.