You know, I would LOVE to have a thread started talking about the "rules" to the show... about the contracts that sign before coming on the show, to winning, etc...
:::>^..^<::: ~*~The Journey is more important than the end or the start~*~ :::>^..^<:::
Found a quick article regarding the AI contract...doesnt say much, but it gives an idea for the people that didnt win.
'Idol' Quitter Taps Aiken's Lawyer
Mar 17, 5:03 PM EST
The Associated Press
NEW YORK -- Mario Vazquez is no longer contending for the "American Idol" crown, but he's following in the footsteps of one of its most famous alumni — Clay Aiken.
Vazquez has hired Aiken's lawyer, Jess L. Rosen — the man who sprung Aiken from the contract binding him to 19 Entertainment, the management company owned by "American Idol" creator Simon Fuller.
19 Entertainment oversees not just the recording deals for "American Idol" stars, but also merchandising, touring, sponsorship and movie deals. The "Idol" contracts are considered among the more restrictive in the industry.
Aiken is now managed by leading management group The Firm.
Neither Vazquez nor Rosen was available for comment Thursday, according to Vazquez's publicist, Matt Shelton. But Shelton did tell The Associated Press that Vazquez hired Rosen before he quit "American Idol" last Sunday.
Vazquez, a 27-year-old New York City native, stunned "Idol" watchers when he bolted from the show last week for reasons he would only describe as "personal." A fan favorite, he was considered a top contender for the show's crown.
Of course thats just my opinion....I could be wrong. (Dennis Miller)
"You might be the toughest little whacker. . .but in my world, you're about as worrisome as a cloudy day." (Dutch Dooley)
The Svengali behind 'American Idol'
Simon Fuller controls careers of newly minted pop stars
Wednesday, January 21, 2004 Posted: 4:14 PM EST (2114 GMT)
LOS ANGELES, California (AP) -- Simon Fuller is no professional singer. He does not dance and he doesn't play an instrument. Yet there he is -- collecting a fortune at the top of the pop charts.
As creator of the "American Idol" franchise, Fuller manages every aspect of the careers of Clay Aiken, Ruben Studdard, Kelly Clarkson and all other instant "Idol" celebrities.
But Fuller earns far more than the typical 15 to 20 percent that most managers keep from their clients' gross earnings. As the "American Idol" phenomenon begins its third season Monday on Fox, Fuller's franchise is raising questions about exploitation and the price of fame.
Fuller says that as the primary imaginative force behind these artists, and the one with the connections to transform Clarkson from struggling Texas waitress to pop diva, he deserves a larger percentage of their earnings.
"If you think of Andrew Lloyd Webber, if he creates 'Phantom of the Opera' he owns it. He hires Michael Crawford to take the lead. Crawford doesn't get a cut of 'Phantom of the Opera,' and no one questions that," Fuller said. "My deals are the best in the world. I create 'Phantom of the Opera' and then say to Michael Crawford, 'Let's be 50-50 partners, or 60-40 -- whatever the deal is.' "
Fuller, a 43-year-old British music mogul, is the longtime manager of Annie Lennox and former manager of the Spice Girls, whose world-conquering "girl power" image he takes credit for creating. Fuller first started the "Idol" concept in Britain, where it was known as "Pop Idol," and then transformed the franchise into a worldwide phenomenon.
In an interview last summer, he described many of his "Idol" relationships as "partnerships" in which he receives from 25 to 50 percent of all earnings. The Sunday Times of London estimated that Fuller earned about $44 million in 2002 and $60 million in 2003.
It's unclear how much the "American Idol" stars have taken home for their work. But in 2002, the first "Pop Idol" winner, Will Young, collected an estimated $750,000, according to the Sunday Times.
Fuller's company, 19 Entertainment, oversees not just the recording deal for "American Idol" stars, but also controls merchandising, touring, sponsorship and movie deals.
'One-stop shopping'
Fuller promises top "American Idol" contestants a management contract with 19 Entertainment and a prearranged recording contract: with RCA Records in the case of Clarkson and Aiken, and J Records for Studdard. Both RCA and J are Bertelsmann Music Group companies run by Clive Davis, an industry legend who engineered the creation of Whitney Houston, the Grammy-winning comeback of Santana and the breakthrough of Alicia Keys, among others.
"Most artists working on the old-fashioned model, how do you keep track of your publisher, your record company, your merchandise, your sponsorship agent, your touring agent? There could be 10 different people dealing with different areas of your life," Fuller said. "This is one-stop shopping."
But Gary Fine, a Los Angeles-based entertainment attorney, advised one client not to participate in the first "Idol" series after examining the contestant's contract. Fine does not condemn Fuller's deals, but said he would not recommend them for everyone.
"If I had an artist whose music was quirky and might take time to develop, then Simon's organization is not the one I would recommend getting involved with," he said. "On the other hand, if I have a client whose primary interest is fame and fortune, then Simon's organization is certainly worth considering."
The deal Fine saw also required "Idol" winners to participate against their international counterparts in the "World Idol" show -- for $1,400.
Another section of the "American Idol" contract Fine disclosed described the aggressive image manipulation the performers must agree to, stating that the show "may reveal and/or relate information about me of a personal, private, intimate, surprising, defamatory, disparaging, embarrassing or unfavorable nature, that may be factual and/or fictional."
More independent-minded performers might balk at the way Fuller fashions a performer's image (such as Aiken's metamorphosis from geeky gawker to slim slickster). Fuller also tells them what to perform and where, like Clarkson's and "Idol" runner-up Justin Guarini's movie flop, "From Justin to Kelly." (That film, like 1997's "Spice World," was written by Fuller's brother Kim.)
And stardom is not guaranteed: Guarini's album sold poorly, and he was subsequently dropped by RCA.
The final contracts between Fuller and his current batch of "Idol" stars have not been disclosed, and Fuller refused to discuss specific details of the arrangements. He said performers are free to hire their own lawyers to oversee the deals.
Fine isn't sure that would make much difference. The contract he saw was non-negotiable and "gave so much power and control to Simon and his organizations that there would be little a lawyer could do to prevent certain things from happening."
Is there a way for the performers to get better deals? Maybe. They could work their way up through small clubs, make contact with talent scouts and spend years trying to get the attention of managers who have far less clout than Fuller.
Signing the deal
Yet when a manager takes such a huge piece of a novice performer's earnings, it's hard for some not to view that deal with skepticism.
"It unfortunately takes two for exploitation," said Jayne Wallace, spokeswoman for the American Federation of Television and Radio Artists. "And in the U.S. music business, people are so desperate to get in they're willing to sign everything away."
She would not comment specifically on Fuller's practices, but said generally "most artists would sign a bad deal to get the break."
When it came to the Spice Girls, Fuller sees himself as the one holding the short end of the stick, insisting that his work made them a success.
The Spice Girls broke in 1996 after being recruited by an audition ad that read, "No singing or dancing experience necessary." Fuller was fired in late 1997 amid a power struggle with the singers. Six months later, the group fell apart.
"I'd be lying if I didn't say there was an element of satisfaction about it," Fuller says now. He has made peace, however, with Emma "Baby Spice" Bunton and Victoria "Posh Spice" Beckham, who have rejoined with his management firm for their solo careers.
"With the Spice Girls, I was the partner, I was the sixth member of the group," he said. "More than that, I was the leading light in the group, but it was never reflected contractually because I was just the manager."
The "partnerships" he forges with talent now, he said, prevent him from being dumped.
Ruben Studdard told The Associated Press last summer that he had no complaints with Fuller, and described him a helpful career-shaping force who watched out for his well-being.
In an interview with Rolling Stone, however, Studdard wondered if "American Idol" had taken advantage of the contestants, citing commercials they filmed for free as part of the broadcast.
"Without the show, we wouldn't be recording artists," he said. "But we did a lot of commercials, dawg. ... We were exploited but not exploited. It just taught us a lot about the business. 'American Idol' is what we like to call a crash course on the entertainment industry."
Of course thats just my opinion....I could be wrong. (Dennis Miller)
"You might be the toughest little whacker. . .but in my world, you're about as worrisome as a cloudy day." (Dutch Dooley)
A look at some fine print in the actual contract for those that need to sign BEFORE getting on the show:
In the February "Pop Idol" finale between Gareth Gates and Will Young, almost 9 million people voted, and Young, a 23-year-old student from Hungerford, was anointed as Britain's newest superstar. "American Idol's" Sept. 4 finale, matching Clarkson against the preternaturally cheerful Justin Guarini, drew 22.5 million viewers and delivered Fox's highest rated nonsports night ever among young adults.
So Clarkson is on top of the world with a record deal, management contract, public performances and nothing but blue skies ahead, right? Perhaps. But let's have a look at some of the more exciting fine print in the "American Idol" contestant contract, which was posted on the "Pho" e-mail group by Los Angeles music attorney Gary Fine.
Fine came into possession of the contract when the mother of a young man who was interested in being on the show brought it in for his perusal. The contract had been presented on a "take it or leave it" basis and the man had been given a couple of hours to make a decision. Fine told him not to sign.
"1. I hereby consent to Producer's filming, taping and/or recording of me for use in and in connection with the Series ... I acknowledge and agree that Producer will be the sole and exclusive owner of all rights and material filmed, taped, and/or recorded pursuant to this Agreement.
"... I hereby grant to Producer the unconditional right throughout the universe in perpetuity to use, simulate or portray (and to authorize others to do so) or to refrain from using, simulating or portraying, my name, likeness (whether photographic or otherwise), voice, singing voice, personality, personal identification or personal experiences, my life story, biographical data, incidents, situations and events which heretofore occurred or hereafter occur, including without limitation the right to use, or to authorize others to use any of the foregoing in or in connection with the Series ...
"... I understand that, in and in connection with the Series, I may reveal and/or relate, and other parties ... may reveal and/or relate information about me of a personal, private, intimate, surprising, defamatory, disparaging, embarrassing or unfavorable nature, that may be factual and/or fictional."
In other words, the producers can record any and all behavior of the contestant "in and in connection with the series" and use the contestant's likeness, voice and any or all biographical material, any way they want to. The producers own all this material forever and "throughout the universe."
"2. Confidentiality/Disclosures: Any and all information disclosed to or obtained by me concerning or relating to the Series, the contestants, the events contained in the Series, the outcome of the Series and/or contest, Producer, the Network and the terms and conditions of this Agreement shall be strictly confidential.
" ... I acknowledge that any disclosure of such information will constitute a material breach of this Agreement and will cause Producer and the Network substantial and irreparable Injury and will cause substantial damages in excess of Five Million Dollars ($5,000,000), entitling Producer (and/or the Network, as a third party beneficiary of this provision) to, among other things: (a) injunctive or other equitable relief, without posting any bond, to prevent and/or cure any breach or threatened breach of this paragraph by me; (b) recovery or disgorgement of the monies and other consideration, if any, I received in connection with such disclosure; (c) forfeiture of any and all cash and prizes that I may have been entitled to for participating in the Series; and (d) recovery of the Producer's and/or the Network's damages, including but not limited to, lost profits and other consequential damages, to the extent permitted by law, and attorneys' fees and court costs incurred to enforce this paragraph."
Absolutely all information regarding the show and this contract is confidential. If the contestant breaches this confidentiality it will cause damages assumed to be in excess of $5 million. The producers can recover such damages, anything gained by the contestant from such a disclosure, the contestant's winnings from the show and any actual additional damages caused by the disclosure.
"5. Future Agreements: Notwithstanding the other provisions of this Section C, I understand and agree that in the event I am one of the final ten (10) contestants in the Competition, I will be required to enter into the following agreements: (a) an agreement with 19 Recordings Ltd. (or an affiliated company) for my exclusive services as a recording artist; (b) an agreement with 19 Merchandising Ltd. for the use of my name, likeness biography in connection with advertising, endorsement, merchandising and sponsorship; and (c) an agreement with 19 Management Ltd. for the management of my career as an artist. I understand and agree that, unless I am the individual selected as the winner of the Competition, such agreements shall become fully effective only at the election of 19 Recordings Ltd., 19 Merchandising Ltd. and/or 19 Management Ltd."
Each of the 10 finalists was required to enter into agreements exclusively with 19 Recordings as recording artist; 19 Merchandising for advertising, endorsements, sponsorships and merchandising; and 19 Management for the management of his or her career. All this was entirely at the option of the 19 companies, save for the winner, who was guaranteed this result.
"6. 'World Idol': I acknowledge and agree that, should I win the Competition and subject to my availability at the time of the Producer's request, I shall participate in a 'World Idol' program where winners/contestants from the 'Pop Idol' and/or 'American Idol' competition in other countries or other versions of the Series shall compete against each other and, provided that I appear on the 'World Idol' program, I agree to accept a total fee of One Thousand Four Hundred Dollars ($1,400.00) in full and final consideration for my appearance in such program and the grant of all rights in relation thereto on the same terms and conditions set out hereunder."
This one's amazing. Basically, if I win "American Idol," I promise to appear on the "World Idol" show -- for a total fee of $1,400! All the provisions of this contract will apply to that show as well.
Of course thats just my opinion....I could be wrong. (Dennis Miller)
"You might be the toughest little whacker. . .but in my world, you're about as worrisome as a cloudy day." (Dutch Dooley)
When I was reading something that Sherry sent me, it basically said that Simon Fuller owns these people, forever. He's working his contracts so that they can't find a way out of them, and that's all there is to it. I happen to think that SUCKS!
And now, I'm glad that Chris was eliminated from AI, before he was locked in to something like that.
:::>^..^<::: ~*~The Journey is more important than the end or the start~*~ :::>^..^<:::
Lawless said this in post #6 : When I was reading something that Sherry sent me, it basically said that Simon Fuller owns these people, forever. He's working his contracts so that they can't find a way out of them, and that's all there is to it. I happen to think that SUCKS!
And now, I'm glad that Chris was eliminated from AI, before he was locked in to something like that.
The problem is that he is locked into something.....
Like I posted before, Mario V. had to hire Clay's atty to get out of the contract...and Mario didnt win...so he was locked into something. I imagine Chris is as well.
I was watching the New York Fox News tonight (satellite channel)...people were writing in left and right over how Chris should have never left. They offered the e-mail address and 40 minutes later, they had almost 1300 e-mail about how Chris got shafted!
The news spent 15 minutes talking about how Chris shouldnt have left and it was a shock!
Something really stinks in Suburbia!!!
Of course thats just my opinion....I could be wrong. (Dennis Miller)
"You might be the toughest little whacker. . .but in my world, you're about as worrisome as a cloudy day." (Dutch Dooley)
I would like to find out EXACTLY what they are locked into... meaning, anyone who's on AI, that get's slapped with some sort of contract. I would think that each season, the contract would change, in some way... for the better of Simon Fuller, and 19.
:::>^..^<::: ~*~The Journey is more important than the end or the start~*~ :::>^..^<:::
Lawless said this in post #8 : I would like to find out EXACTLY what they are locked into... meaning, anyone who's on AI, that get's slapped with some sort of contract. I would think that each season, the contract would change, in some way... for the better of Simon Fuller, and 19.
Well, I have pieces of that contract bolded a few posts above, which was given to some guy who had to sign it before he got on the show...at least thats what they said.
Of course thats just my opinion....I could be wrong. (Dennis Miller)
"You might be the toughest little whacker. . .but in my world, you're about as worrisome as a cloudy day." (Dutch Dooley)
This is why Mario Vazquez dropped out the competition last year, it gave him more control over his music career. I know he's signed with J Records, just no word on an album.
I don't know the key to success, but the key to failure is trying to please everybody.
- Bill Cosby
The guy who takes a chance, who walks the line between the known and unknown, who is unafraid of failure, will succeed.
- Gordon Parks
Another thing in their contracts. When they are in the final 10, it's decided which song will be on the AI cd. One you leave AI, you can ONLY sing that song, until you make it through the tour, when you appear anywhere except for on AI, or the tour. That's it. Any tv appearances, any things in your town, etc... they must be cleared, and that is the only song you can sing.
:::>^..^<::: ~*~The Journey is more important than the end or the start~*~ :::>^..^<:::
05-11-2006 02:53 AM
Im very happy for her!
