American Idol, Perverting Dreams

American Idol, a much publicized and viewed "reality" show, gives the impression that ordinary individuals who win the show will become overnight successes and all their problems will be solved with an affirming decision from the judges. As with most "reality" television, this is not really the case. There is something sinister behind the glitz and glamour.

American Idol is not a benevolent "rich uncle" that gives talented yet obscure individuals a deserved opportunity to become well paid recording artists who live in multimillion dollar homes, have their own limo and reap the benefits of residual income. American Idol is a cold calculated business and as with all businesses, it is in the business of making a profit. There is no philanthropy involved. It is all about the money. Every discussion of the entertainment industry eventually leads back to the money, money for the producers, money for the sponsors and some money for the performer, professional or amateur.

The general public rarely understands the full implications associated with "winning" on television programs. The details of the "win" are rarely advertised or discussed and in some cases, the winners may actually be enjoined from revealing these details. In the case of American Idol, contestants may be held liable for five million dollars, if they give out information with regard to their experience. Any information provided in interviews or public statements must be approved by those holding the contract.

Winners of American Idol competitions receive a recording contract from 19 Entertainment, owned by founder of the American Idol show Simon Fuller. Simon Cowell, one of the judges for the show, stated in an interview with Copley News Service in February of 2004, "I own the recording rights - the winners and other contestants sign with my label" (Friedman, 2003). 19 Entertainment not only controls their recording contracts, but every other aspect of their careers including merchandising touring, sponsorship and movie deals (Olsen, 2004a).

The limitations placed on the contestants are great. They are locked into non-negotiable contracts with 19 Entertainment and BMG music. An actual excerpt from the contract reads:

"I hereby grant the Producer the unconditional right throughout the universe in perpetuity to use, simulate, or portray my name, likeness, voice, singing voice, personality, personal identification or personal experiences, my life story, biographical data, incidents, situations, events which heretofore occurred or hereafter occur..."

The construction of this contract may remind one of Faust. The exchange rate seems to be a bit lopsided. Beyond the "relinquishing of the soul," the contract gives the promoters permission to tell lies about the individual signing the contract as evidenced by the following excerpt.

"Other parties...may reveal and/or relate information about me of personal, private, intimate, surprising, defamatory, disparaging, embarrassing or unfavorable nature that may be factual and/or fictional."

If they can't promote the signer by credible means, they will simply make things up to sell or otherwise sensationalize the "property" into a position of value. That sounds real, doesn't it? There is a good solid all American value to teach our young people, "it is OK to lie as long as you're making money, after all, it's not really lying…it is just entertainment."

There are those who argue that American Idol has value, offers the contestant an opportunity. One could argue that, for the contestants, American Idol is an education more than an opportunity-an education on how the entertainment industry really works and how the "game" is played. American Idol's Ruben Stoddard said: "Without the show, we wouldn't be recording artists. But we did a lot of commercials, dawg…It just taught us a lot about the business. American Idol is what we like to call a crash course on the entertainment industry" (Hearn, 2004). Since contestants are contractually not permitted to speak candidly about their experiences, it would be difficult to present their true perspective positive or negative. All we can go by is what they say during interviews, which is most likely scripted or otherwise "approved."

While questioning individuals completing applications for a chance to be on reality shows, Alison Hearn found that the majority of individuals were there simply for the opportunity to be on television, in search of their 15 minutes of fame (Hearn, 2004). Our society has become so image and media conscious that individuals will do anything for their "moment in the sun," including signing away their rights. After all, the contestants are in it for the money as well. They want to create the saleable image-commodity for themselves. Even losers may benefit from the exposure, especially if something "sensational" happens-good or bad. It is still about the money or the promise of it.

Have you ever seen anyone over twenty-four on the show? No, and you won't unless they change their entry rules. American Idol strategically targets young adults as contestants (Olsen, 2004b). Every contestant must be between sixteen and twenty-eight years of age. These individuals are vulnerable, trusting and "hungry" for success. They make perfect "prey." It is disconcerting to think that these as yet "green" and impressionable individuals are being so indoctrinated with the idea of "image" and the money derived from it that they may develop a singularly narrow focus about life. This stilted perspective may predispose them to unrealistic ideas of life and unrealistic objectives. When they fall short of those ideals or objectives will they be able to recover and move on or will they simply wither and die because for them there is nothing else?

American Idol does not offer the American Dream of success. Under the guise of benefactor, it offers to exploit young, unsophisticated men and women who believe in their ability, with the express purpose of making money from their ability or lack thereof by whatever means they deem expedient.

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