Popular Culture Review
Understanding that musical inclinations are subjective unfortunately
does not allow the dismissal of music that is clearly lacking in certain
departments that require effort and talent in order to sustain enjoyable content,
e.g. correct pitch, melodic continuity, and rhythmic organization. Frith notes
that there are three types of tracks that feature such a disregard for these
necessary components: 1) Tracks which are clearly incompetent musically
2) Tracks organized around “misplaced sentiments or emotions” (18) and 3)
Tracks involving genre confusion. To say that American Idol is responsible
for some of the “bad” music thriving today is not to relate the series to the
contribute songs to the music communities that are musically competent. But
many awkwardly sentimental songs, as well as multi-genre songs, have been
released by artists who have found success through the talent-based show.
For example, Clay Aiken, who on May 21, 2003, was runner-up at the
end of Idol’s second season and went on to be that season’s highest selling
artist (Barnes), represents Frith’s second and third distinctions. In his 2006
release, “A Thousand Days,” Aiken sings, “...if I gave you the moon, would you
notice that I’m right beside you?” and “You’re the sun that shines and lights
up the evening skies.” While certainly a sentimental simile, Aiken’s iterations
are not necessarily unique (Thanki). His use of familiar literary devices does
not negate his vocal talent, nor does it imply that the larger body of his lyrical
content is as equally conventional; but it does exemplify the argument that
links Idol to the homogeneity of music today and Frith’s argument against
“misplaced sentiments.”
American Idol
Forman states that, for musicians, an appearance on television was not
simply an outlet for musical expression; it was a pathway to greater success
in the entertainment industry. This is to say that, although talent is displayed
during the competition, many viewers do not watch the show just to increase
their musical aptitude or to discover fresh and creative musicianship. Stahl
implies that many viewers tune in because they resonate with the contestant’s
dreams of success, and they want to provide their voting support. Stahl
suggests, as does Gamson, that true stardom (fame that is legitimately
earned) involves a “complex and paradoxical relationship with the target
audience: aspiring idols must demonstrate both specialness and ordinariness,
distance and closeness, similarity and difference, particularly regarding social
position” (217). Stahl further concedes that Idol’s narratives promote this
authentic humility among the contestants, helping to cultivate the relationships
resonant need with viewers, but as Barton recognizes, we “watch them sing
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