Karaoke Idol

The clear global phenomenon that is Idol seems far past its used by date, yet continues to go from strength to strength having recently finished its sixth season in the United States, and is up to season three in New Zealand. One can only hope that we are spared a further season. The economics premise of Idol is clear with television, tours and CDs all churning out the dollars while the stars sing more or less for free. In my opinion the Idol series always peaks after around the third show, and once you’ve had your fill of watching others get humiliated, there is nothing left to cover up the mundane of glorified karaoke. It is mind boggling to think that the status of New Zealand Idol is nothing in comparison to how it’s done in the United States, where its presence is seemingly inescapable.

Where early incarnations of shows such as Survivor were interesting for the backstabbing and the inhumane challenges, all to a picturesque backdrop, Idol is just sad. Its not the concept of a manufactured pop star, which is nothing new, it’s the fact that they take themselves so seriously. There has always been something special in worshiping a musical group or individual because of their obvious talent. The reason I am such a fan of various artists is because they have something that nobody else has, a talent all their own. So how then, does this equate when watching a mediocre nobody whose only ability has to be developed over twelve weeks of intensive performance and judgment. Clearly this cheapens the ‘real’ artists out there.

This is an obviously pessimistic view, which many I’m sure, will undoubtedly share. While the ratings of such programming may indicate greater relevance abroad, yet closer to home the Idol concept seems more bizarre. Where there is little discernable market for manufactured domestic pop idols, the money spent in following the trends should clearly be reallocated to the musicians that really need it. It’s a frustrating practice, which will hopefully burn itself out over time.