V I D E O • A G E DE C E M B E R 2 0 1 1 8 Since it first hit America’s TV airwaves in 2002, FOX’s American Idol, an adaptation of FremantleMedia’s Pop Idol in the U.K., established itself as an empire, currently attracting an average of 25.2 million U.S. viewers per episode. Reporter Richard Rushfield, who covered the reality singing competition show for the Los Angeles Times for three years, and continues to write about Idol for The Daily Beast, explores the phenomenon of American Idol in his new book from Hyperion, American Idol: The Untold Story (267 pages, $24.99). Rushfield starts at the very beginning of theIdol story by providing background on creator Simon Fuller, a talent manager and TV producer. He then offers an overview of each of the seasons, reminds readers of the many amusing singerturned-judge Paula Abdul incidents and describes life in the “Bubble” for Idol contestants who are cut off from family, friends and the rest of the world during their Idol runs. Naturally, quintessential “nasty judge” and co-producer Simon Cowell, a record executive, is a topic of discussion. Rushfield also dedicates an entire chapter titled The Exile to former co-host, Brian Dunkleman, who caused a stir after leaving a show as popular as Idol. Plus, Rushfield explores Idol’s so-called public enemy number one, Dave Della Terza, who launched the “Vote for the Worst” website, which encourages Idol ’s detractors to vote for contestants the website deems to be the least talented, and perhaps the strangest. The author sets about telling the “untold story” by sharing comments from former Idol contestants, illustrating his involvement with the show and its participants. In the book’s more fiery moments, the reader learns firsthand from contestants what it felt like to be critiqued by Cowell, who once told a singer, “‘You’re a beautiful girl, but you’re ugly when you perform.’” Season two competitor Kimberley Locke recalls that it was vital for contestants to learn “‘how to compartmentalize Simon because…if you don’t learn how to compartmentalize him it will freak you out.’” The reader also gets the inside story from those involved with Idol behind the scenes. For instance, stage manager Debbie Williams divulges that season five winner Taylor Hicks “‘would come to me secretly sometimes’” with special routines he wanted to use in the show, but didn’t want to give away during rehearsal. This information is intriguing to true Idol fans, as it’s something they likely wouldn’t have known if not for Rushfield’s book. At times, Rushfield inserts himself into the narrative, further emphasizing his proximity to Idol. Toward the end of the book, he reveals that when Abdul’s contract was up for renewal in 2009, he himself was contacted by David Sonenberg, the head of Abdul’s management team, who called to express frustration with the fact that Abdul’s salary remained miniscule compared to that of Cowell. Any doubts about Rushfield’s Idol knowledge and clout are erased at this moment. Abdul’s team would never have leaked this story to Rushfield if he weren’t considered a key chronicler of Idol happenings. Further demonstrating his familiarity with the show and the news surrounding it, Rushfield cites reputed general news and entertainment news sources throughout the book, proving that he is well read on the topic, and dedicated to the news surrounding it. His use of quotes and headlines from newspapers and magazines reawakens the urgency of particular events for the reader, who might remember what it was like when Tamyra Gray, season one’s frontrunner, was unexpectedly eliminated. Recreating the controversy, Rushfield reprints the New York Post headline, “New Idol Boot a Shocker,” and an excerpt from the Toronto Star’s story about “‘outraged cries for vengeful boycotts and petitions’” against Gray’s elimination. However, despite the fact that the author includes quotes from those involved in the show and claims to be telling the “untold story,” the reader should question whether Rushfield is actually telling the “untold story” or whether he is, throughout most of the book, merely recounting what many devoted Idol fans already know — especially since he often quotes stories that have already been covered by the media. For instance, Rushfield quotes an article fromUS Weekly stating that Idol was considering singer Jessica Simpson and others as possible replacements for Abdul. This is not news tomanyIdol fans. It’s also hard to believe that no one knew about the “What is Paula on?” drama that resulted from her disorganized critiques of the Idol performers and other offstage incidents — such as contestant Corey Clark’s claim that he and Abdul were involved in a romantic relationship — or the detailed accounts Rushfield provides about each season of the show. On the front cover, the book is billed as one that tells the story of Idol through “the stars in their own words,” but even though Rushfield includes quotes from various Idol contestants, he fails to include the insights of Idol ’s more well known contestants (i.e. the winners or other popular contestants), which would have made the book far more interesting. In fact, Rushfield misleads the reader into thinking he’ll share the views of Idol ’s biggest stars within the body of his work by including a quote from season four winner Carrie Underwood in the book’s epigraph. This is the last the reader sees of Underwood’s direct words. One of the book’s strengths lies in Rushfield’s dedication to the topic, American Idol, which becomes clear immediately in the Acknowledgements section, when Rushfield calls working with the show his “rendezvous with destiny.” As could be expected from Rushfield’s enthusiasm, he explores the Idol gossip and drama in a serious manner that could only be appreciated by a true fan of the show. Indeed, the cover boasts that the book deals with “the rivalries, the meltdowns, and the departures,” playing into the drama associated with Idol, and drawing the attention of its viewers. However, his fan status is also a detrimental weakness. While the author’s enthusiastic tone underscores his devotion to American Idol, it is also, at times, far too sentimental for a book about a reality television singing competition. He writes that the fact that Jennifer Hudson (who finished eighth in season three) won an Academy Award, and that other finalists have made successful albums, is proof that, “all the contenders who took part in this annual adventure had won a place in the nation’s heart.” He implies that Idol viewers — and apparently even non-Idol viewers — are so enamored with the competition and its contestants that they’ll embrace those who did not win. Even the last paragraph of the book is dripping with sentimentality, with its hopeful look toward the future: “Somewhere in one of those crowds [of people waiting to audition for Idol], lined up into the distance before sunrise, there may have stood the person who would change the show…and keep the dream alive for yet another generation of dreamers.” Perhaps the most shocking depiction of the author’s overzealous tone is when he describes Idol as “The country’s most beloved pastime.” In making such a bold statement, Rushfield gives the show too much gravitas and asks too much of the reader: it’s difficult to swallow the idea that a singing competition could hold this title, which, historically, belongs to the national pastime, baseball. When Richard Rushfield sat down to write this book, he was, undoubtedly, writing for American Idol fans much like himself. While the book is lively and informs readers about the show, it’s unlikely to hold the interest of anyone but the most devoted fans. Nevertheless, for fans looking to relive past moments, and for those who don’t watch the show but want to see what they’ve missed, Rushfield’s book is a good place to turn. SA The Secrets Of American Idol: Gossip Is An Added Bonus B o o k R e v i e w
RkJQdWJsaXNoZXIy MTI4OTA5