The Success of American Idol - Term Paper Example

n Evaluation 2 An Evaluation of the Idol Series World-Wide Introduction In 2008, Brad Pitt walked onto the American Idol stage in order to introduce a film segment about Chris Daughtry’s trip to Uganda for the now yearly event, Idol Gives Back (Rizzo & Dreben 2008). A film star of the caliber of Brad Pitt lending his presence to the show is a tribute to the meteoric success that the Idol phenomenon has achieved. This event gives one week of filming over to promoting projects for support from the audience and from the cast members and staff. A television show that was based on giving opportunities to a few hopefuls in order to launch singing careers now spends a portion of its time and efforts on supporting charitable causes. From humble beginnings as a television show in the U.K. which was then spun off to an American audience, Pop Idol began a reality television show sensation that is now one of the most successfully produced reality television programs at a world wide level. American Idol launched on American television in 2002 after Pop Idol, which began in 2001, was a hit in the U. K. The idol franchise has expanded to include Australia, France, Germany, Sweden, Poland, Iceland, Kazakhstan, Russia, the Pan-Arabic regions, South Africa, India, and Singapore (Hill 2007, 9). A competition was designed to capitalize on the many nations in which an Idol program exists. The show, called World Idol, allowed for winning contestants from all over the world to come and compete. The show was made to be more fair by allowing a total of ten points to come from each voting nation so that no one nation could outvote another by virtue of a more dense population (Hay 2003, 84). By using the hopes and dreams of a world wide audience the Idol franchise is able capitalize on a multi-level system of An Evaluation 3 marketing opportunities. The Packaging of Hope The success of the program was such that the 20 million or more responses they were getting each week to vote for the viewers’ favorite singers are credited by the phone companies with helping to launch the technology of text messaging because as of 2001 this method of communication had not taken off in the United States the way it had in Asia and northern Europe (Murray & Ouellette 2009, 343). The program is used as a vehicle for consumer driven marketing with product placement and advertisements that are designed specifically to exploit the emotional connection that viewers make with their favorite contestants to generate branding based marketing power. Every aspect of the show that can be exploited is used to generate a product that is designed to sell. The core of the Idol concept is to package and sell the rise of a singer. By encouraging the public to become emotionally involved with the contestants, an assured fan base is created for the winners of the show. While this does not guarantee long term success, it does provide a base of fans for the short term which generates revenue from ticket sales and purchases of recorded material. The economic core of the reality series genre is that it operates on the quantification of viewer response. The program must be able to find a way to quantify desire, to measure connections and to commodity commitments (Murray & Ouellette 2009, 345). In other words, the show creators must be able to find a way to measure the response of the public. When this is accomplished, the producers have tangible proof to show advertisers as to the effectiveness of their programming. According to Jagodzinski (2005), the Idol series, and particularly the American Idol An Evaluation 4 version, is designed to exemplify the “fantasy of neoliberalist capitalism at work in all its spectacular glory” (163). In describing the nature of the television program, the American Idol is described by Jagodzinski (2005) as having a “pseudo-democracy built into the process, it promises the American dream of success and wealth based on hard work and talent, it reconfirms “healthy” competition and it verifies that even the poor have a chance to be winners” (163). Of course, the irony of this description is that it was invented in the U.K. with the originators of the program being British. However, the exploitive process is in place and the hope that it promotes is shared through the experience that gives every viewer a chance to voice an opinion through the power of a vote. By promoting the a dream that is almost universally shared, and by involving the viewers in an emotional and personal way, the Idol series has touched upon a successful method of production that is still going strong after ten years of programming. The Statistics The theory behind the Idol phenomenon in the way in which it is produced is based on a relatively new concept in television. Sales of reality TV formats are made by format and production houses so that they can be sold to companies on an international level so that they can be produced locally. According to Hill (2007), this type of production formatting is constructed as “a unique intersection of new technologies of transmission and reception, new forms of financing, and new forms of content”. FremantleMedia owns the rights to Idol and have produced the format sales and sold them to over 30 territories. FremantleMedia, an innovator in format sales has also packaged The Apprentice, Jaime’s School Dinners, and X Factor (9). In the U.K. the original Pop Idol gained a 14 million viewer share during its first year in production which reflected a 57% overall share of the viewing public, but a 72% share of the age An Evaluation 5 16 to 34 demographic which is targeted for the marketing within the show. In Singapore in 2004, their version of Idol showed a 60% overall share of the viewing public and ten million viewer votes were tabulated in South Africa in 2004. (Hill 2007, 9). Branding, Marketing, and What you Might Miss Fig 1. The judges with prominently displayed Coke cups Capitalizing on the American Idol phenomenon has allowed for a great many products to be endorsed both through blatant exploitation as well as subtle reinforcement. The Coke company provides cups that the judges display prominently, but what a viewer might not notice is that the red of the stage and set is the color of the brand Coke, reinforcing the message that this is the drink to associate with American Idol (Murray & Ouellette 2008, 356). As well, there is a short film that the contestants do that constitutes a lengthened product endorsement, most usually a car advertisement, that shows during the program. This uses the emotional attachment that the An Evaluation 6 viewers have to the contestants to promote product associations (Hill 2007, 9). Fig. 2 The color of Coke behind Jordan Sparks on the Idol set According to Chipps (2007), the marketing and merchandising opportunities for American Idol really start after the show has concluded and the winner has been chosen. A great example of this is the American Idol tour that happens with the top ten contestants. Chipps (2007) says that in 2006 over 60 dates were played and more than 600,000 tickets were sold with most shows selling out very quickly (48). One of the innovations to capitalize on the show is a camp designed for children that offers a ten day stay for 2,900.00 where Idol celebrities and associated people are provided for workshops, performing arts classes, and performances where industry people are also available for would-be child stars to meet. The Stars An Evaluation 7 The branding of the Idol market creates a multi-level resource for creating network of income streams from which a great industry has been created. At the center of that stream is not the singers who are discovered and promoted, but the judges who are the consistent force within the production. Simon Cowell, reported as a creator of the Idol concept, is a sardonic, sometimes cruel and sarcastic judge of the would-be talents (Walker 2008, 24). The American public has devoured his straight forward commentary as he says what some people would like the ability to say: you are just not good enough. In a world that has embraced the political correct behavior, every child is the best and deserves to win, and where a sense of responsibility has been religiously diverted within a waning set of ethics, Simon Cowell points his finger and states very clearly why a contestant will not make it and holds them responsible for this failure. Fig. 3. Capitalizing on the personas of the judges in a publicity shot An Evaluation 8 This does not always create a positive feedback because some contestants then go on to get the sympathy vote. Paula Abdul, on the other hand, rarely says a bad word about any contestant, providing a balance to Cowell’s cruelty. Cowell predicted early in the production of the first American Idol that Abdul would walk off the production, but she stayed with the show helping to provide her sweet charm to the judges table where Cowell has been heckled and chided for his delivery of his opinion (Walker 2008, 29). Randy Jackson, a former Columbia Records executive and a musician who played bass for the band Journey, provides a balanced critique based on his experience. Along with the emcee, Ryan Seacrest, the core and consistency of the program is based on these performers as the rolling list of contestants change each season. The first season of idol had two hosts for the show. Ryan Seacrest was joined by Brian Dunkleman who reportedly left after the first season because he was unhappy about the cruelty of Cowell toward the young hopefuls (Dehnhart 2010). There are also rumors that it was a contract dispute, not an act of honor that had Dunkleman leave after the first season. Whether or not it was ethics or his wallet, Dunkleman has suffered from the lack of exposure that has put Seacrest in the forefront of a powerful television show. Seacrest has reaped the rewards in terms of more opportunities which include a radio show and television programming (Walker 2008, 31). Doing Good In 2007 the very first Idol Gives Back program was developed in order to support children’s charities focused on hunger and malaria. The program raised $70 million dollars in relief funds through the exposure that was provided by the star studded program, making pop history as it used its marketing power to promote for a positive cause (Brainard & Chollet 2008, 159). According to Frank (2010), more than 140 million dollars have been raised by the yearly An Evaluation 9 event that hosts an increasing number of support from celebrity participation. Realizing the marketing potential for the fund raising event, Apple formed a relationship with American Idol in order to capitalize on the event, on the charitable good will the association would bring, and on the association to the event and to American Idol retains the youth oriented culture of Apple users that their marketing promotes (Schwarz 2010, 143). Fig. 4. Idol Gives Back promotional photo A potential that can be seen in the development of positive programming is in the possibility of providing positive role modeling for children. Strasburger, Wilson, and Jordan (2009) use the Idol Gives Back program as an example for potential study where the encouragement of philanthropic behavior in children is concerned. They discuss the aspect of prosocial programming that might counterbalance the antisocial programming that has shown an effect on the behavior of children (124). Therefore, while there is no doubt that every moment of the American Idol program is geared toward exploiting resources in order to encourage profit, the Idol Gives Back program has the potential to not only create a large resource of donations for good causes, but to provide a source of positive social role modeling for children. Making Careers An Evaluation 10 The bottom line purpose of the show is, of course, to turn a profit for all of the interested parties in its production. However, the reason it appeals to the public and the reason that hundreds of thousands of would-be contestants stand in lines in order to audition is for the chance to glimpse fame up close and personal as the potential for a career of a singer is dangled in front of the salivating crowd. The hope that thousands of people will fill a stadium in order to hear one’s own voice is a dream that brushes across the mind of most people who were born in the era of pop music culture. This dream is the driving force behind the success of the American Idol phenomenon. Kelly Clarkson was the first winner of the American Idol contest. She won a recording contract that led to receiving two Grammy awards. She has had a successful career since that time, although she did change management and has gone out on her own away from the American Idol group. The runner-up that year, however, did not do as well even though other runner-ups have managed to build careers from the exposure. Justin Guarini did not gain the popularity of his peers who were in similar situations as his debut album sold only 135,000 copies and he was soon dropped from his label. Even a film with Clarkson did nothing to save his career (Muir 2005, 211). Pop music has not been the only genre that has gained stars from the American Idol winners. Carrie Underwood won the competition in 2005 and entered the world of country music. Her success has been noteworthy and she has developed the kind of career that the hopefuls on the program seek when entering the contest (LaBella 2008, 31). While others have won but not found a spotlight in which to shine, Underwood has worked hard and found a great success in a way that was different than any past or post winner. An Evaluation 11 Conclusion The American Idol prize for the winner is a recording contract and the opportunity for fame and fortune. The expectations of the current culture have become more and more based on instant gratification and courting the big win, rather than the hard work that goes into being talented and developing that talent. Although the entertainment factor of the program has a proven track record, the effect on the music industry might diminish the work that truly gifted and hard working artists must give in order to create well crafted music, and consequently careers. In winning this prize, the public sees a catapult to fame without experiencing the hard work that is required to truly have success. However, the marketing and branding of American Idol, and the world wide duplication of its format, is a success story. As an innovation in television, the selling of pre-formatted reality shows that can then be tailored to the hosting community allows for high profits with low costs. The upsurge of the reality television show industry has been based on lowered overhead with higher returns (Hill 2007). Therefore, it is unlikely that the reality show will fade, but be remade into innovative concepts that will sell to a public that is socialized to be interested in the lives of others. As the concept of branding has become a natural part of the consumerist culture and has infiltrated most of the world, the branding and sale of hope so that it supports and encourages the activities of the consumer in regard to buying associated products does not feel exploitive, but rather natural to the entertainment industry. The art of television is now even more concerned with the sales of its associated products than ever before as exampled in the Idol franchise. The impact on pop culture for the Idol franchise has not only created branding opportunities, but created additional celebrities around whom further branding and expansion is An Evaluation 12 experienced. Stars like Kelly Clarkson and Carrie Underwood may not have had the opportunities that they have at this time were it not for the program. As well, the rise of popularity for the host and judges of the show can be attributed to its success. As well, the Idol Gives Back program has affected the lives of those who have benefited from the charitable contributions. The overall effect of the Idol phenomenon has had an impact on culture that is at a global level, from its effective marketing, in its contributions to the music industry, and in the dollars raised for charitable resources. An Evaluation 13 List of Illustrations Fig. 1. Available at http://images.google.com/imgres?imgurl=http://cyberaxis.files.word press.com/2009/05/american-idol.jpg&imgrefurl=http://cyberaxis.wordpress.com/ 2009/05/ &usg=__A5imD_cVsgD0F_-BRY7ZR2pRfSk=&h=369&w= 533&sz=52&hl=en&s tart=15&um=1&itbs=1&tbnid=t2FtPZZdbIAhgM:&tbnh= 91&tbnw=132&prev=/images%3Fq%3Damerican%2Bidol%26um%3D1%26hl%3Den% 26client%3Dfirefox-a%26sa%3DG%26rls%3Dorg.mozilla:en-US:official%26 tbs%3Disch:1 Fig. 2. Available at http://images.google.com/imgres?imgurl=http://www.indiantvtoday.com/wp- content/uploads/2009/05/american-idol-jordin-sparks.jpg&imgrefurl=http://ww w.indiantvtoday.com/american-idol/2009/05/14/&usg=__CyNX8a8qiNMHSXauW- pcRA1rV0Q=&h=400&w=400&sz=38&hl=en&start=39&um=1&itbs=1&tbnid=RNG91 XtSkWQSMM:&tbnh=124&tbnw=124&prev=/images%3Fq%3Damerican%2Bidol%26s tart%3D36%26um%3D1%26hl%3Den%26client%3Dfirefox- a%26sa%3DN%26rls%3Dorg.mozilla:en-US:official%26ndsp%3D18%26tbs%3Disch:1 Fig. 3. Available at http://images.google.com/imgres?imgurl=http://brandireland.files.wordpress .com/2010/03/american-idol.jpg&imgrefurl=http://brandireland.wordpress.com/ page/2/&usg=__i8qu386HuU1hZCjIgxx7aVE_JMo=&h=768&w=1024&sz=109&hl=en &start=2&um=1&itbs=1&tbnid=dRCdRZaGjtHxAM:&tbnh=113&tbnw=150&prev=/im ages%3Fq%3Damerican%2Bidol%26um%3D1%26hl%3Den%26client%3Dfirefox- a%26sa%3DG%26rls%3Dorg.mozilla:en-US:official%26tbs%3Disch:1 Fig. 4. Available at http://www.foxnews.com/images/279499/0_63_idol07_gives_back.jpg An Evaluation 14 References Brainard, Lael, and Derek H. Chollet. 2008. Global development 2.0: can philanthropists, the public, and the poor make poverty history? Washington, D.C.: Brookings Institution Press. Castleman, Harry, and Walter J. Podrazik. 2003. Watching TV: six decades of American television. Syracuse, NY: Syracuse Univ. Press. Chipps, W. 24 March 2007. After Party. Billboard. Retrieved on 18 April 2010 from http://books.google.com/books?id=bhMEAAAAMBAJ&pg=PA48&dq=sponsors+of+A merican+Idol+television&cd=2#v=onepage&q=sponsors%20of%20American%20Idol%2 0television&f=false Dehnhart, A. 2010. Brian Dunkleman: Seacrest’s joke “was pretty tame” ; he would act crazy to get attention. IMDB. Retrieved on 19 April 2010 from http://www.imdb.com/ name/nm0242352/news#ni2137750 Frank, Mary Kate. 2010. Carrie Underwood. Pleasantville, N.Y.: Gareth Stevens Pub. Hay, C. 28 June 2003. Simon Says. Billboard. 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Retrieved on 18 April 2010 from http://tvwatch.people.com/2008/04/07/brad- pitt-gets-a-hands-on-welcome-at-american-idol/ An Evaluation 15 Schwarz, Jason. 2010. The alpha hunter: profiting from option LEAPS. New York: McGraw- Hill. Strasburger, Victor C., Barbara J. Wilson, and Amy B. Jordan. 2009. Children, adolescents, and the media. Los Angeles: Sage. Walker, Mike. 2008. Get real!: the untold story-- sexy, scary, scandalous world of reality TV! Beverly Hills, CA: Phoenix Books. Read More