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The changing tune of singing competitions

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The changing tune of singing competitions

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THE CHANGING TUNE OF SINGING COMPETITIONS

by

Stefanie Marie Martinez

A Thesis Presented to the
FACULTY OF THE USC GRADUATE SCHOOL
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the Degree
MASTER OF ARTS
(SPECIALIZED JOURNALISM: THE ARTS)

August 2014

Copyright 2014 Stefanie Marie Martinez

2
TABLE OF CONTENTS
Acknowledgements 3
Abstract 4
The Changing Tune of Singing Competitions 5
References 29

3
Acknowledgements
First and foremost, I would like to thank my committee for their help with this topic: Tim Page,
for making me a better writer than I ever thought possible; Mary Murphy, for helping me
understand more of the entertainment world, and Jon Burlingame for introducing me to the
history of music on television. Without you, this would not have been remotely possible. Also
thank you to the USC MSJs for changing my perspective on the arts. To my parents and
family—thank you for bearing with me as I chase this crazy idea of being a writer

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Abstract
The singing competition has been around since the 1940s and shows no sign of stopping anytime
soon. It promises the discovery of a superstar, but has also become a program that captivates
viewers with stories of contestants that show a rise from the small town to the big city. Shows
like American Idol, The Voice, and The Sing Off have changed the format of the singing
competition through format, audition process, and judging style. Even after a drop in ratings,
lack of success on the winners’ part, and criticisms from the media on the lifespan of the genre, it
shows no signs of stopping anytime soon.
The Changing Tune of Singing Competitions
5
Reality television captivated the nation. It’s changed what it means to be famous. We avoid the
Jersey Shore’s fist pumping and spray tan obsession. We bask in the upper class, alcohol-fueled
drama that is the Real Housewives of Whichever-City-Is-Airing. We are glued to television
screens for sports championships, spelling bee finals, and awards shows. We get invested into
the competition and its competitors.
Singing competitions are the chance for singers to “make it.” To move away from the small
town gigs and churches to a bigger stage and recording contracts. The winners of shows like
American Idol and The Voice are the epitome of the American Dream. The existence of the
competition series has been around for decades on radio and television, but it wasn’t until the last
fifteen years that it has morphed into the idea it is now. It’s an evolving phenomenon with
numerous shows that still crown multiple winners each year.
The idea is simple—search the nation for the best singer. They perform and America votes. The
concept has taken on its own life and now comes with storylines, image branding, and attempts
at creating a flood of superstars.
It started with The Original Amateur Hour. Adapted from a radio show and hosted by Ted
Mack, the program aired from 1948 until 1960 in primetime, then moved to Sunday afternoons
until 1970.
1
These weekly shows allowed people to take the stage and show off their talents—
singing, acting, juggling, but it was also one of the first interactive programs on air. Audiences
tuned in and cast their ballots by postcard. We can balk at sending a written ballot now, but at
the time it was a revolutionary concept. It’s slightly outdated now, but the concept still works
because public voting is still an integral part of the competitions.

1
Alex McNeil, Total Television: A Comprehensive Guide To Programming From 1948 To The Present
(New York: Penguin Books, 1991), 747.

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There were a number of musical programs on television, like The Ed Sullivan Show, but few
were competitions. These shows had no voting process, nor were there winners, but they
entertained the masses. Everyone tuned in when The Beatles and Elvis took to Sullivan’s stage.
Requests to join the studio audience were way over capacity and the nation watched in record
numbers. Other variety programs like American Bandstand (1957-1987), The Danny Kaye Show
(1963-1967), and The Dean Martin Show (1965-1974) soon followed and the audiences wanted
more. To not cater to this audience would have been foolish, but to turn it into a competition
was genius.
Prior to the Idol generation, we had Star Search in 1983. Hosted by Ed McMahon, the
permanent couch sidekick of Johnny Carson on The Tonight Show with Johnny Carson, it was
one of the first successful reinventions of the competition series. Various contestants competed
for the chance to win in fields such as singers, models, adult and child performers, bands,
dancers, and stand-up comedians. It was the stage to find talent. Unlike Amateur Hour, the
viewers had no say in voting. A panel of experts from various fields decided who had the most
star potential. The experts were show business types—label executives, actors, casting agents—
who decided the winners in a bracket system for each season. Winners moved on to the finals to
vie for the top spot in each category.
The Shows
The largest wave of competition shows has come in the last fifteen or so years. Shows like
American Idol (2002, Fox), America’s Got Talent (2006, NBC), The Sing Off (2009, Fox), The X
Factor (2011, Fox), The Voice (2011, NBC), and Rising Star (2014, ABC) have each brought
something new to the table in terms of how the competition runs. This is the changing tune of

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the competition format. Thanks to another British invasion, though, the singing competition
would never be the same.
Idol’s premiere in 2002 on the Fox network gave the voting power back to the viewers. There
was only one category to be won: Idol. Adapted from the British show, Pop Idol, the concept
was simple: sing and get votes from the viewing audience. It also brought with it the blunt
observations of one snarky Englishman—Simon Cowell.
Auditioning was simple, but getting in front of the audience and onstage was a little more
complicated. There are four stages of auditions: the initial audition, the Hollywood rounds,
semi-finals, and the live shows. The initial audition was strictly for a trio of judges—one song
with no backing music. If at least two judges say “yes,” then the contestant moves on to
Hollywood. “Hollywood” is actually Pasadena, CA, but like all things on television, nothing is
exactly as it seems.
The Hollywood stage narrows contestants down from open auditions to the top 30. The semi-
final round is the first time voting is opened up to the audience. Contestants compete in a
smaller lounge setting with musical accompaniment, audience, and only have 90 seconds. The
judges each chime in with their thoughts and America’s vote chooses the finalists for the live
shows. The singer with the least amount of votes is sent home every week during the live shows
until one is crowed the Idol.
The first few episodes of each season showcase the touring auditions—it’s a different city each
week with its own crop of talent (or lack thereof). If deemed worthy by the trio of judges, the
contestant was given a golden ticket to “Hollywood.”

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Shows like America’s Got Talent and The X Factor followed the format: singers performed in
front of a live audience with a phone number attached to their name that viewers would call. The
X Factor, which aired on Fox, found its final competitors by separating solo (male and female
categories) and group singers. America’s Got Talent follows the Star Search format with open
audience voting. It is essentially a variety competition program with the final act winning a
headlining show in Las Vegas.
NBC changed the competition format with the introduction of its two singing competitions: The
Sing Off (2009) and The Voice (2011). Both shows followed the Idol format: contestants could
win a recording contract or cash prize, but their approach was different.
The Sing Off looked for a cappella groups. There was no playback of music for performances or
help from a live band. Groups were created their own musical arrangements of songs and
medleys based on the theme of the week. The audition process was never aired and there was no
voting from the viewing audience at any point during the season. Instead, the panel of experts
decided who would go home each week and who would win.
NBC’s second competition show, The Voice, had a hook for the audience: a large rotating chair
and red button. The panel of judges sits with their backs to the stage as the contestant walks out
in front of the studio audience. With a signal to the backing band, the music starts and the
audition begins. If the judges like what they hear, they hit their button to turn the chair and see
the auditioner for the first time. If more than one judge hits their button, then the auditioner has
the power to choose which team to join.
The newest of the bunch has yet to premiere. ABC has remained quiet with singing programs
but is bringing its own variation to air this summer. Rising Star alters the concept of the
spinning chairs while fast tracking the voting process. The window for voting has been twenty-

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four hours, but now is only ninety seconds per audition. Auditioners sing from behind a large
wall and must gain a 70% approval from the viewing audience and judges to lift the wall and
move on in the series. The audience votes in real-time through an app on their phones or tablets.
Over the years, a number of programs have placed their own spin on the Amateur Hour’s format.
For each program, you get a different set of judges and a different set of rounds. We’ll take
closer looks at Idol, the NBC shows (The Voice and Sing Off), and the upcoming Rising Star in
terms of what is successful and how the shows work. The complete list of competition programs
is significantly longer, but the pool will be limited solely to the competitions that are singing
specific and not merely talent and variety competitions.
Ratings
The longest running of the recent shows, American Idol, also pulls in the highest ratings. The
audience numbers are certainly nothing to balk at. There is a reason this show is the most
successful of the bunch. The finale of the first season recorded 22.8 million viewers tuning in to
see Kelly Clarkson win the first title.
2
In the years following, the show has failed to
continuously deliver these same numbers but it has maintained most of its audience. Each
season finale has held at least 10 million viewers, but the season finale of Idol’s thirteenth season
recorded the lowest ratings with 10.14 million.
3

2
Rick Porter, “’American Idol’ ratings lowest since Season 1.” Zap2It (blog), May 25, 2010,
http://www.zap2it.com/blogs/american_idol_finale_ratings_lowest_since_season_1-2010-05.
3
David Hinckley, “‘American Idol’ finale ratings top 10 million viewers, but sharply down from previous
seasons.” New York Daily News, May 22, 2014, accessed May 26, 2014,
http://www.nydailynews.com/entertainment/tv/american-idol-finale-ratings-top-10-million-viewers-
sharply-previous-seasons-article-1.1802103.

10
The Sing Off premiered as a winter series with a shorter season of episodes. The first episode of
season one posted just under 7 million viewers and only continued to fall in the ratings.
4
In
2011, following the third season, the show was largely understood as cancelled but an official
statement was never made by NBC. Two years later, it was brought back for a fourth season but
the current state of the show is still unknown.
5

The Sing Off has never been able to find a large audience to consistently tune in nor has it
retained an audience on a weekly basis. The Voice, however, has become one of the biggest
rivals for Idol. During a small portion of its season, The Voice actually airs opposite Idol. The
2014 seasons (Idol’s thirteenth and The Voice’s seventh) aired their finales only one week apart.
Eleven million viewers tuned in to watch signer Josh Kaufman win The Voice. Compared the
season before, there was a 25% drop in viewers.
6
Compared to The Sing Off, the more popular
show on NBC is obvious.
New York Magazine’s entertainment blog, Vulture, recently published infographics depicting the
change in ratings for all series in the 2013-2014 television season from the previous year. Of
every network and series (including scripted comedies and dramas), only sixteen shows broke
even or had a gain in viewers while sixty others showed declines.
7
The Voice and Idol posted a

4
Tim Stack, “Ratings: ‘Sing-Off’ does not hit a high note.” InsideTV (blog), Entertainment Weekly,
December 15, 2009, accessed May 23, 2014, http://insidetv.ew.com/2009/12/15/ratings-sing-off-does-
not-hit-a-high-note/.
5
Grady Smith, “'The Sing-Off' coming back to NBC for Season 4.” InsideTV (blog), Entertainment
Weekly, March 13, 2013, accessed May 28, 2014, http://insidetv.ew.com/2013/03/13/the-sing-off-
renewed/.
6
David Hinckley, “'The Voice' Season 6 finale hits low note with disappointing ratings.” New York Daily
News, May 21, 2014, accessed May 28, 2014, http://www.nydailynews.com/entertainment/tv/voice-
season-6-finale-hits-note-disappointing-ratings-article-1.1801182.
7
Josef Adalian and Marisa Woocher, “The 2013-14 TV Season in One Really, Really Depressing Chart.”
Vulture (blog), New York Magazine, June 12, 2014, accessed June 16, 2014,
http://www.vulture.com/2014/06/2013-14-nielsen-tv-ratings-depressing-chart.html.

11
drop of at least 11% in viewers aged 18-49, a key demographic in Nielsen ratings for all
programs.
It should be noted that Idol and The Voice also air more than one episode per week— two
audition episodes and two Hollywood episodes in the earliest weeks of the season, then a
performance episode and a results episode during the later weeks. Results episodes fared better
than the performance episodes, but the figures still speak for themselves. Vulture’s 2012-2013
season chart showed a similar decline from the previous year (2011-2012) in all competition
series, but the numbers were slightly higher.
8

Judges
Singing for enjoyment is one thing; singing for a judge is another. It’s one shot to prove that you
deserve at least one more chance to be heard. In the beginning, none would prove to be more
powerful than Idol’s Simon Cowell, but as the shows progressed, so did the judges’ role. No
longer a sounding board, the judge now molds the competitors into superstars and the final say
lies with the audience.
Star Search worked because it had experts in various fields as judges. It gave a sense of
credibility to the winners when a top record label executive thinks you have potential as a singer.
The judges watch the performances and give the competition credibility that separates it from a
middle school talent show. Without it, why bother?
Each show has at least three judges. The current shows feature a mix of celebrities and experts
as opposed to only experts. It doesn’t necessarily translate into a source of good advice, but it
does have some weight behind it.

8
Josef Adalian and Marisa Woocher, “The 2012-13 TV Season in One Really Depressing Chart.” Vulture
(blog), New York Magazine, May 23, 2013, accessed June 16, 2014,
http://www.vulture.com/2013/05/201213-tv-season-in-one-depressing-chart.html.

12
Nonetheless, the Idol panel tested the waters with celebrities as judges. The initial season
featured a panel of three: A&R music executive Simon Cowell, 80s pop singer Paula Abdul, and
record producer Randy Jackson. The judges had some name recognition, such as Abdul, but they
were mostly forgotten in the music world.
When the show started, Cowell immediately became known as the jerk of the panel—no filter,
sharp tongue, and brutally honest (and rude). Most auditions were littered with comments about
weight and body image or singing abilities (and the lack thereof). Some of his more hurtful
comments included “I think you just killed my favorite song of all time” and “You’re too fat.
You really need to lose twenty pounds.”
9
In one season, a rejected contestant threw a glass of
water on Cowell for his remarks and was escorted out of the room by security.
Abdul and Jackson argued with Cowell about the quality of his negative comments, but it never
mattered. Cowell was the most truthful of the three. Jackson and Abdul merely showed up for
the ride. Abdul was spacey and optimistic in most of her comments, but Jackson was known
more for his grasp on the English language (“You my dawg!” or “Yo, dawg.”) than his judging
abilities. His resume was impressive. He previously worked with singers like Whitney Houston,
Mariah Carey, and rock band Journey, but he never learned how to translate those experiences to
his duties as a judge.
In season twelve of Idol, Jackson was the only original panel member still working with the
show. Taking a page from The Voice’s success with mentoring, the Fox show invited artists to
come in once a week to help contestants. Singer Harry Connick, Jr. appeared to coach the
singers on the American Songbook. The advice he offered was simple: hold back notes and

9
Tim Brooks and Earl Marsh, The Complete Directory to Prime Time Network and Cable TV Shows
(New York: Ballentine, 2003), 47.

13
vocal runs, connect to the song emotionally and make the audience believe your words. One
contestant was asked what the song “My Funny Valentine” meant to her. She could not give an
answer and was asked to look up the lyrics and the story as part of her preparation for the live
show. Connick, Jr. found all of his advice had fallen upon deaf ears at the live show. He
decided to speak up about the performances from his seat in the audience and Jackson defended
the singers’ choices to ignore Connick, Jr.’s comments from the mentoring session.
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Cowell’s exit from the show wasn’t a bad thing, but it showed how much power he actually held
on the panel. Since then, judges have rotated in and out and mentors have been introduced to
help out during the season, but there hasn’t been anyone like him on the show since.
The Voice panel consist of four judges who create Teams. All are singers, but in varying genres
of music: lead singer of pop/rock group Maroon 5, Adam Levine; pop diva Christina Aguilera;
R&B/hip-hop singer Cee-Lo Green; and country singer Blake Shelton held seats in the first
seasons. Aguilera and Green rotate in and out of the panel with Latin singer Shakira and R&B
vocalist Usher.
The Voice is the most hands-on with its contestants in terms of judges and mentors. Not only do
the judges pick their team, but they also make the decision of who goes through to the live
shows. Blind auditions and battle rounds are not open to public voting. As the auditions
continue, the judges give their comments on voice quality, arrangements, and vocal potential. In
the battle rounds, the judge brings in a mentor and both work one-on-one with contestants. This
is all in cooperation with the musical director of the show, but this programs marks the first time
the audience gets to see this much of the preparation process.

10
Jeff Dodge, “Why Harry Connick, Jr. Would Make A Good ‘American Idol’ Judge.” BuddyTV, May 3,
2013, accessed May 29, 2014, http://www.buddytv.com/articles/american-idol/american-idol-harry-
connick-jr-50016.aspx.

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The Sing Off judges do not help the acts prior to the on-air performances, but instead give out
constructive criticism afterwards. There are no fast quips or verbal burns for the contestants, but
admiration and acknowledgement of various musical aspects and talent. The original panel of
experts was comprised of Shawn Stockman, member of R&B quartet Boyz II Men,
singer/songwriter Ben Folds, and singer Nicole Scherzinger. Stockman and Folds both had
previous experience with a cappella, but Scherzinger did not.
There are three judging styles here: Idol’s colorful criticism and spectacle with little to no
constructive musical input from the judges; The Voice’s hands-on judge and mentor style, and
The Sing Off’s constructive criticism. In terms of ratings, which are critical for television
programs, Idol’s route garners more viewers. Constructive criticism from The Sing Off may be
helpful for its competitors but it has failed to attract the same amount of viewers as the other
programs.
Storylines
This is the part where the line of reality show and competition begins to blur. The competition is
the event—it has winners and losers. A reality show tells stories in a documentary setting.
Camera crews and sound guys have all access to a subject’s life and a story is edited together and
controlled by writers and producers.
These two show concepts are different, but blending the two makes for a great television series.
Contestants must project a certain image that factors into their overall success. All singing
competitions are made up of the same parts: the auditions, performances, contestants’ backstory,
and results. The difference between the three shows so far is the amount of time per season
dedicated to the four aspects.

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Idol didn’t create the idea of using narratives for contestants, but it has perfected it. Throughout
all thirteen seasons, singers have fallen within the same stereotypes. There’s always a country
boy or girl like Carrie Underwood (season four) or Josh Gracin (season two), the rocker like
Nikki McKibbin (season one) and Adam Lambert (season eight), and the gospel/soul singers like
Melinda Doolittle (season six) or Fantasia Barrino (season three). These storylines don’t
translate to immediate success, but it gives the audience something to watch and root for.
Viewers become invested in the people who chase their singing dreams and want to see them
succeed. The storyline also doesn’t factor into the level of talent for each contestant, but it holds
weight if told correctly. The competition maybe attempt to be as unbiased as possible, but it
certainly doesn’t hurt a contestant to have a sympathy vote make up for a shortcoming of talent.
The storyline is a formula that Idol has always relied on, and still uses in its current seasons. The
NBC shows may follow a similar competition setup, but dedicating equal time to narratives and
performances is strictly an Idol characteristic.
The Sing-Off drastically cuts the amount of narratives for performance time, but it doesn’t cut it
completely. It’s all about the performance. Large group numbers open each show, contestants
are allowed longer times for arrangements and performances. The judges’ remarks share a
decent amount of screen time, but are mostly an afterthought.
The first appearance of season two contestants, Committed, clocks is eight minutes of
introduction (roughly one minute and thirty seconds), performance (two minutes), and judging
(three minutes).
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The group takes the stage with an arrangement of Maroon 5’s pop/rock hit
“This Love” occurs. The bulk of the time is dedicated to the performance and judging as

11
“The Sing Off Season 2 Episode 1 Committed,” YouTube video, 7:52, from a performance televised by
NBC on December 6, 2010, posted by “thaoriginal562,” December 9, 2010,
https://www.youtube.com/watch?v=xYmTwhciFy4.

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opposed to the introduction and story of the group. Each performance on the show follows a
similar timing. As the competition reaches the final four acts, the contestants give at least two
performances to make up the time.
The Voice is a little more complicated in its episodic setup. The first episodes are the blind
auditions, or the blinds. This is where contestants try to get chairs to turn around for a spot on a
team to head into the next stage, the battle rounds. Battle rounds are head-to-head performances
within the teams as designated by the judge. Judges and an assigned mentor work with both
singers to prepare a duet. The winner of the battle moves on to join the Team and the loser can
be stolen by another judge. Those who make it through the battle rounds secure a spot on one of
the four teams and perform on the live shows. The blinds episodes vary in length and only air a
handful of the performers that go through. When the show hits the battle rounds, it follows a
timed pattern more precisely.
For season six, judge Adam Levine enlisted R&B singer Aloe Blacc as his team’s mentor.
Levine paired two male singers in the second night of the battles: Caleb Elder and Delvin
Choice. The time breakdown (minus commercials) is roughly thirteen minutes from preparation
to final decision.
12
The first six minutes include the mentor introduction, a quick recap of Elder
and Choice at their blind auditions, reveals the song choice, and follows the rehearsal process.
The next two minutes feature the battle itself—both singers take the stage with Aloe Blacc’s
R&B single “The Man.” As the song comes to a close, four minutes are devoted to Levine
thinking over his decision while the other judges comment on the performance. Choice is
declared the winner by Levine and moves on to the live show. The final minute has Elder’s final

12
“The Battles Premiere, Part 2,” NBC video, 1:00:00, televised by NBC on March 18, 2014,
http://www.nbc.com/the-voice/episode-guide/season-6/the-battles-premiere-part-2/609.

17
thoughts about the experience, but also acts as a stealing period for the other judges. In this case,
all decide to pass on the steal and Elder leaves the stage.
Idol focuses on the storylines of the contestants. During the final episodes of each season, the
top three are given the chance to go back home and revisit with their families. Contracts with
various shows require the contestants to be immersed in the world of the show, which means
they are usually uprooted from their homes and families. The visit home for the final three
makes the audience feel for them. The pride on parents’ faces and hope that this is the best
decision they could make resonates with viewers. This is also where the pageantry becomes
more obvious. Season 13 finalist Jena Irene prepares to head home, but first receives news of the
theme of the week: judge’s choice.
13
The opening of the video features judge Harry Connick, Jr.
recapping the previous week’s performance (45 seconds). Irene heads home, and surrounded by
her family and friends, she finally opens the envelope for the camera to reveal the judges’ song
choice: pop singer Demi Lovato’s “Heart Attack” (another 45 seconds). With her family and
friends supporting her, she heads back to Hollywood and begins her performance (roughly two
minutes). The audience and judges erupt into applause as she hits her final notes and the song
ends.
14
The judges’ remarks, as well as host Ryan Seacrest’s script, follow for another two
minutes. In the end, the final package lasts roughly seven minutes.
The hands-on approach takes more time overall, but the performances and judges remarks on all
shows take roughly the same time. Performances never last more than two minutes, but the

13
“Jena Irene Asciutto – Heart Attack – American Idol Season XIII 2014,” YouTube video, 3:40, from a
performance televised by Fox on May 14, 2014, posted by “Luís Labrador,” May 15, 2014,
http://www.youtube.com/watch?v=iLan6FCf7_U.
14
“Jena Irene – Heart Attack – American Idol 13 (Top 3),” YouTube video, 4:16, from a performance
televised by Fox on May 14, 2014, posted by “IdolxMuzic2,” May 14, 2014,
http://www.youtube.com/watch?v=qYR7kXu7CzE.

18
amount of story shown from each program varies. If ratings are the sign of success, then Idol’s
use of them proves what audiences like best, but it doesn’t explain the decline in numbers.
Niche/Gimmicks
With so many competitions, there has to be some variation. Every singing program has singers
and performances, but it still needs to stand out. Viewers enjoy the music but want to see what
else can be brought to the table in terms of competition, judging, and voting.
When it first aired, Idol reeled people in with the entire concept of the “Idol.” Viewers could see
the auditions, including the bad ones, and follow the contestants throughout the weeks. There’s
always going to be a hook—a gimmick of sorts that gets people watching. Idol perfected the art
of the bad audition. The best of the worst was always included in the broadcast because the level
of delusion among contestants was as mind-boggling as it was entertaining.
Season five contestant Rhonetta Johnson appeared in front of the trio of judges knowing she was
the best and, based on her outfit, the brightest contestant.
15
Her long blonde hair, silver sequined
tube top, white mini-skirt, and white platform boots, were hard to miss as she walked into the
room with the full-on diva attitude. During the pre-audition, host Ryan Seacrest asked if she
could compete with the artists on the charts. Her response, with complete arrogance, was that
she could easily compete. The audition came with at least four different song choices, but none
of them were the actual audition because she wasn’t ready. Abdul’s interaction with Johnson not
only showcases Johnson’s arrogance, but also Cowell’s love for commenting on body image:
Jackson: And how old are you, Rhonetta?

15
“Angry American Idol Reject,” YouTube video, 6:55, from a performance televised by Fox on January
24, 2006, posted by “Christopher Vargas,” December 4, 2007,
https://www.youtube.com/watch?v=sLSLFflLbk4.

19
Johnson: I just turned 24.
Jackson: And you believe you are, without a doubt, the next American Idol?
Johnson: Yeah, I’m good. I’m good.
Abdul: Well, it says that you think you can be bigger than J.Lo [singer and actress
Jennifer Lopez] and Janet [Jackson].
Johnson: I can be.
Abdul: Yeah?
Cowell: Well, in a way, she is.
Jackson: Ugh, Simon.
She auditioned with a number of songs because she didn’t like her attempts. Blaming a dry
throat and being nervous did nothing to gain the sympathy of the panel. All judges agreed that
she would not move on. With a noticeable attitude shift, Johnson left the audition room. Once
outside, her throat was no longer dry and she made her own remarks.
Johnson: Yeah, they turned down a superstar. They turned down a superstar. They said
I’m a nice girl, but I have a horrible voice. And Paula Abdul ain’t got sh*t on me. So,
um. I don’t know who she was starin’ her nose up to. It doesn’t even matter cause I’m
still gon’ make it.
Johnson’s rant was cut and edited together into three minutes worth of trash talk and attitude but
it was obviously longer when recorded. The ridiculousness of the audition made audiences want
to watch. She was far from a great singer, but she became a great joke instead.

20
Bad auditions are found at Idol. A large spinning chair is found at The Voice. It shouldn’t be as
appealing as it sounds—a large red chair with a red button spins around and lights up “I WANT
YOU!” on the floor in front of the judge who deems you worthy of their team. Four chairs
turned around is the highest achievement the contestant can receive. The real badge of honor,
and a fighting point among judges, is how fast the chairs turn.
Season five contestant Matthew Schuler took the stage with alternative rock group Young the
Giant’s hit single, “Cough Syrup.”
16
He opens the performance a cappella with a few lines of the
chorus (“If I could find a way / to see this straight I’d run away”). Audiences knew there was
something special in the way he was singing—you could feel him in the song. Eleven seconds
later, Adam Levine hit his button, immediately followed by the rest of the panel. Within thirteen
seconds, all chairs are completely rotated and the judges see whom they’re dealing with. By the
time the music joins in, the soulful performance has already caught the audience and judges.
Schuler holds back nothing as he embellishes the vocals and delivers a memorable performance.
The fastest chair turn in Voice history should be enough, but the judges immediately start
climbing their chairs, heading to the stage to give him hugs, and applauding like there is no
tomorrow. As the remarks begin, the judges quite literally beg for Schuler to join their team.
Green: Well, hot damn. Who the hell are ya?
Schuler: My name is Matthew Schuler.
Aguilera: I am the coach for you.
Levine: No, I am.

16
“Matthew Schuler: “Cough Syrup” – The Voice Highlight,” YouTube video, 5:30, from a performance
televised by NBC on September 23, 2013, posted by “The Voice,” September 23, 2013,
https://www.youtube.com/watch?v=y9l4Aek15HU.

21
Shelton: My wife and I sit at home and watch the blind auditions and when she sees you,
she is going to love you. And if she sees you pick me, that night... you see what I’m
sayin’? That could really be helping a guy out!
Green: I gotta say man, your voice is beautiful. It’s beautiful.
Schuler: Thank you.
Green: Blake has a winning formula here at The Voice, but you gotta ask yourself—do
you want to be member of a team? Or do you want to be an owner of the team? I can
help you own yourself.
Schuler: That’s a very interesting proposition, Cee-Lo.
Levine: Okay. I’m (stammers and slaps the podium in thought). (jumps on his seat and
back down) Um. I just jumped for joy. You know, we all turned around right away, and
to see the joy and the passion with which you sing, dude, like that’s the best part. Man, I
don’t have eight hundred victories like that dude over there [Shelton], who’s due for a
loss (audience disagrees). Hey! After three, you gotta lose one. But I will tell you, man.
I know for a fact that we can win this together. I know we can do it. This is a big one.
This is the big one that I have to get. Have to get it. Have to get you.
Schuler: Thank you so much, man.
Even after Levine’s spiel, Schuler joins Team Christina (Aguilera). He would not go on to win,
but the teaser for the season was this audition. Audiences wanted to see the fastest four-chair
turn, why the judges were begging, and whose team Schuler actually joined.
On the other side of NBC, a cappella became the hook. Stereotypically, it seems like an outdated
genre—it’s the absence of music from instruments. Devoting an entire competition to the

22
musical style seemed like a risk, but once the groups performed, audiences enjoyed the update on
the classic.
The contestants took the stage and oozed love of what they were doing—some groups were older
contestants who dedicated decades of their lives to singing. Other contestants were groups of
younger men and women who connect Top 40 radio hits with a cappella arrangements.
Season two competitors, Committed, appeared in the first episode dressed in red cardigans, ties,
slacks, and looked very prep.
17
The gospel group from Alabama took the stage with Maroon 5’s
“This Love.” The groups performing on the stage usually take liberties with the songs and
morph the arrangements into their favorites genres. The original rock/pop sound now included a
funky gospel backbone. As the group went into the last chorus (“This love has taken its hold on
me / she said goodbye / too many times before”), they imitated bell tones (as one judge called it)
on the last syllable. Even as the performance came to a close and the music finished, Committed
ended with one last chord progression that showed just how on point they were.
Stockton jokingly collapsed on his judge’s table as the audience and competitors continued their
enthusiastic applause. Host Nick Lachey attempted to get comments from the judges who were
quite obviously rendered speechless.
Lachey: Thank you very much, Committed. (audience applause grows and finally dies
down) Great job. Why don’t we hear what our judges thought – I think I know the
answer to this already, but. Shawn. Were you feelin’ it?
Stockton: (shakes his head in disbelief)
Lachey: Are you still feeling it?

17
“The Sing Off Season 2 Episode 1 Committed,” YouTube video, 7:52.

23
Stockton: Alright, let me—let me break it down real quick. Sing Off is the best show
(pause as audience applauds) as far as a display of pure, raw, unadulterated talent. D.J.,
you mentioned about, you know, not diving into, you know, the secular music too much,
but I think that you’ve realized, by doing this, is that it’s not much of a stretch. You still
gotta come from your heart and your soul with it. That’s the tie that binds it all. And you
guys did that with a Maroon 5 song. Like, Therry, dude, your voice is so… buttah
[butter]. (audience laughs) Like, your tone, your vibrato, it’s so—aw, man. Alright, I’ma
pass it on. Man. Y’all know. Y’all know what’s up.
Lachey: Alright. Nicole, your thoughts?
Scherzinger: You know, boys, it’s just a shame that people don’t like you, you know?
(audience laughs) I’m just jokin’. I mean, Shawn over here was havin’ a musical orgasm.
I don’t know if I’m allowed to say that on Sing Off. But that’s a good thing.
Stockton: Y’all are crazy, son! Y’all are crazy! That was so crazy! I’m sorry, I’m sorry.
Scherzinger: I love the name of your group. And what it stands for. And God is good
and He shines His light through your voices and your talent. Just stay committed cause
He’s gonna keep you shining His light on all of us.
Stockton: I’m so happy!
Scherzinger: I told you—musical orgasm.
Stockton: I’m excited! I’m sorry! Go, Ben. Talk.
Lachey: Ben. Take it away.
Folds: Okay. Um, actually. This is what I’ve been waiting for on the show, um, because
things come together for you guys that I haven’t quite heard come together yet. And

24
when you’re backing up your name, totally, which is the most important part. But as
outsiders, you’re coming in and taking a different perspective on the music that’s really
unlocking it. The way you guys made it all work together, the arrangement was really
artful. The bell tones were killin’. Those bell tones were just so neat. Thank you for
being on the show.
Committed was marked as the early favorite, and would go on to win the second season. The
first performance was the hook that made it so successful. A cappella now included a modern
and updated vision that mixed genres such as gospel with the dirty lyrics of a pop/rock song like
“This Love.” It helps that the arrangement and the group was actually good.
ABC’s Rising Star is set to begin this summer and features a panel of “experts” in varying genres
(country singer Brad Paisley, rapper Ludacris, pop singer Kesha, and pop/classical crossover
singer Josh Groban acts as host) who put the elimination in the hands of the audience with a real-
time phone app. The auditioner sings from behind a wall and must gain at least 70% approval
from the viewing audience to move on. Votes are tallied immediately during the performance
instead of over a 24-hour period.
This gimmick could also be the downfall as questions arise in regards to time zones. It is also
one of the first programs to capitalize on the use of social media as the sole voting experience.
The promo features a singer behind a wall that is lifted based on the interest of the judging
panel—in this case, the viewing audience—through a real-time app and voting process.
18

18
Nellie Andreeva, “ABC Nabs ‘Rising Star’ Singing Competition Series From Keshet DCP For
Summer: Video.” Deadline Hollywood, November 18, 2013, accessed March 28, 2014,
http://www.deadline.com/2013/11/abc-rising-star-singing-competition-series-the-voice-keshet-dcp-
summer-2014/.

25
Host Josh Groban and the panel of experts have made promotional rounds to demonstrate and
explain exactly how this is going to work.
19
The Hollywood Reporter even broke news of the
show’s use of mathematicians to overcome the time zone difference.
20
Producers Ken Warwick
and Nicolle Yaron didn’t explain exactly how the mathematicians were consulted (algorithms,
percentage problems), but said the “[t]he chances of there being a big difference [between the
coasts] is apparently very small.” The show isn’t aired live across the country, but instead, will
be updated should the west coast viewing audience approve a singer the east coast rejected.
Critics and Longevity
Thirteen seasons of Idol, numerous cancellations on various networks, and lackluster sales
figures for winners of all shows—we can ask if the genre will last but the wave of shows still on
the air answers the question for us.
Yes, it can last. Is it outstaying its welcome? Definitely. Tim Molloy, TV editor for
TheWrap.com, questions the staying power—and he’s not the only one.
21
The steep decline in
ratings for Idol, the flagship show of the genre, doesn’t necessarily make others nervous, but
does suggest that it is time to pass the crown along to another show.
Judge Simon Cowell relinquished his seat as a judge on American Idol after its ninth season to
start judging on The X Factor. Still on the Fox network, Cowell hoped to recreate the same
success on X Factor, but that didn’t happen. Vulture’s infographic showed the results episode

19
Ashley Lee, “'Rising Star': Josh Groban Explains Delayed West Coast Airing, Demonstrates App
(Video).” The Live Feed (blog), The Hollywood Reporter, June 12, 2014, accessed June 13, 2014,
http://www.hollywoodreporter.com/live-feed/video-josh-groban-explains-rising-711349.
20
Michael O’Connell, “'Rising Star' Producers Consulted Mathematicians Over Time Zone Dilemma.”
The Live Feed (blog), The Hollywood Reporter, May 29, 2014, accessed June 2, 2014,
http://www.hollywoodreporter.com/live-feed/rising-star-producers-consulted-mathematicians-707878.
21
Tim Molloy, “As ‘Voice’ Wraps, Can Singing Competitions Soar Again?” The Wrap: Covering
Hollywood, June 18, 2013, accessed May 28, 2014, http://www.thewrap.com/tv/article/music-
competition-shows-slide-what-does-it-take-make-hit-97881/.

26
declined 42% in the 2013-2014 season. Almost half of the viewers just weren’t watching the
show anymore. After three seasons, it was cancelled and Cowell is now off the air.
Maybe it’s also the number of episodes each series airs per week. Idol airs audition episodes
twice a week to speed up the multiple city search, then airs the performance and results episodes
in the timeslots. There may be group or special guest performances in a results show, but it’s
mostly a recap of the night before.
It could also be the use of the gimmick. The Voice and Sing Off kept things relatively tame.
ABC’s Rising Star touts one of the ultimate gimmicks: instant gratification.
22
In a way, it’s
taking every single gimmick from the aforementioned shows (minus the a cappella) and created
one single competition.
Numerous articles have been published regarding the state of the singing competition. Music
critic Ann Powers, in a blog written for NPR, points out her boredom with the show, but also
reminisces on the things the show gave us: the successes of winners Kelly Clarkson (season 1)
and Carrie Underwood (season 4), and non-winners like Chris Daughtry (lead singer of rock
band Daughtry and season 4 alum) and Adam Lambert (pop singer and season 8 runner-up), plus
introducing a new generation to the American Songbook.
23
It also marked the end of the, as
Powers puts it, “talent-show façade.” It was more about the journey than the end result.

22
Andreeva, “ABC Nabs ‘Rising Star,’” http://www.deadline.com/2013/11/abc-rising-star-singing-
competition-series-the-voice-keshet-dcp-summer-2014/.
23
Ann Powers, “The End Of ‘Idol’: There Are No More Songs Left To Be Sung.” The Record (blog),
NPR, May 23, 2012, accessed May 27, 2014,
http://www.npr.org/blogs/therecord/2012/05/23/153316590/the-end-of-idol-there-are-no-more-songs-left-
to-be-sung.

27
Viewers didn’t really care if the Idol could sing, but loved watching the road they took to get
there. The Voice does the same thing but with preparation. It’s the behind the scenes look at
what makes a star. The star, though, doesn’t necessarily last.
Idol’s thirteenth finale was the lowest-rated since the show started in 2002. The shows aren’t
producing the talent they used to. USA Today’s Bill Keveney ranked the winners and non-
winners by sales.
24
Idol had the most successful contestants: Clarkson and Underwood have sold
a total of roughly 26 million albums, singer Chris Daughtry has sold around 7 million albums,
and singer Jennifer Hudson found an Oscar instead of chart success. The Voice hasn’t returned
any best-selling contestants, but judge Adam Levine has stated that producing the superstar isn’t
the intention of the show.
The term in many articles is “oversaturated.” Shows will stick around, but the hit-and-miss
attempts by networks to find the viewers can be problematic. David Hinckley notes the small
changes in format: shifts to summer schedules and shorter runs for competitions like America’s
Got Talent and The Sing Off are prime examples that the shows might be overstaying their
welcome.
25

If we’re measuring success from Idol, then the other competitions still have time to find their
star. Thirteen seasons, millions of digital downloads, and millions more albums sold are the
standards Idol will leave behind. The Voice, Rising Star, and The Sing Off all have time to meet
and break that standard, but there’s really no rush to do so. As Idol’s star fades with declining

24
Bill Keveney, “TV singing shows fail to create stars.” USA Today, January 14, 2014, accessed March
24, 2014, http://www.usatoday.com/story/life/tv/2014/01/14/tv-singing-shows-stars-story/4478095/.
25
David Hinckley, “Ratings dips for ‘American Idol’ and ‘The Voice’ indicate the end of singing shows’
glory days.” New York Daily News, May 18, 2014, accessed May 25, 2014,
http://www.nydailynews.com/entertainment/tv/swan-song-singing-competitions-dominance-article-
1.1792312.

28
ratings, it could be time to pass the baton. The success of the competition winners has shown us
that a breakout star has been absent for a few years.
The programs always bring something new to the table and constantly change their tune.
Performances, judges, and voting styles—it’s always changing. There is no demand to find the
next superstar from a TV show, but sometimes it’s just fun to watch. The shows will continue
their search and people will still be watching.
Will a star will be found is one question. Whether they should find it is another.

29
References
Adalian, Josef and Marisa Woocher, “The 2012-13 TV Season in One Really Depressing Chart,”
Vulture (blog), New York Magazine, May 23, 2013, accessed June 16, 2014,
http://www.vulture.com/2013/05/201213-tv-season-in-one-depressing-chart.html.
Adalian, Josef and Marisa Woocher, “The 2013-14 TV Season in One Really, Really Depressing
Chart,” Vulture (blog), New York Magazine, June 12, 2014, accessed June 16, 2014,
http://www.vulture.com/2014/06/2013-14-nielsen-tv-ratings-depressing-chart.html.
Andreeva, Nellie, “ABC Nabs ‘Rising Star’ Singing Competition Series From Keshet DCP For
Summer: Video,” Deadline Hollywood, November 18, 2013, accessed March 28, 2014,
http://www.deadline.com/2013/11/abc-rising-star-singing-competition-series-the-voice-
keshet-dcp-summer-2014/.
“Angry American Idol Reject,” YouTube video, 6:55. December 4, 2007.
https://www.youtube.com/watch?v=sLSLFflLbk4.
Brooks, Time and Earl Marsh, The Complete Directory to Prime Time Network and Cable TV
Shows. New York: Ballentine, 2003.
Dodge, Jeff, “Why Harry Connick, Jr. Would Make A Good ‘American Idol’ Judge,” BuddyTV,
May 3, 2013, accessed May 29, 2014, http://www.buddytv.com/articles/american-
idol/american-idol-harry-connick-jr-50016.aspx.
Hinckley, David, “Ratings dips for ‘American Idol’ and ‘The Voice’ indicate the end of singing
shows’ glory days.” New York Daily News, May 18, 2014, accessed May 25, 2014,
http://www.nydailynews.com/entertainment/tv/swan-song-singing-competitions-
dominance-article-1.1792312.
Hinckley, David, “'The Voice' Season 6 finale hits low note with disappointing ratings,” New
York Daily News, May 21, 2014, accessed May 28, 2014,
http://www.nydailynews.com/entertainment/tv/voice-season-6-finale-hits-note-
disappointing-ratings-article-1.1801182.
Hinckley, David, “‘American Idol’ finale ratings top 10 million viewers, but sharply down from
previous seasons,” New York Daily News, May 22, 2014, accessed May 26, 2014,
http://www.nydailynews.com/entertainment/tv/american-idol-finale-ratings-top-10-
million-viewers-sharply-previous-seasons-article-1.1802103.
“Jena Irene – Heart Attack – American Idol 13 (Top 3),” YouTube video, 4:16. May 14, 2014.
http://www.youtube.com/watch?v=qYR7kXu7CzE.
“Jena Irene Asciutto – Heart Attack – American Idol Season XIII 2014,” YouTube video, 3:40.
May 15, 2014. http://www.youtube.com/watch?v=iLan6FCf7_U.
Keveney, Bill, “TV singing shows fail to create stars,” USA Today, January 14, 2014, accessed
March 24, 2014, http://www.usatoday.com/story/life/tv/2014/01/14/tv-singing-shows-
stars-story/4478095/.

30
Lee, Ashley, “'Rising Star': Josh Groban Explains Delayed West Coast Airing, Demonstrates
App (Video),” The Live Feed (blog), The Hollywood Reporter, June 12, 2014, accessed
June 13, 2014, http://www.hollywoodreporter.com/live-feed/video-josh-groban-explains-
rising-711349.
“Matthew Schuler: “Cough Syrup” – The Voice Highlight,” YouTube video, 5:30. September
23, 2013. https://www.youtube.com/watch?v=y9l4Aek15HU.
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Present. New York: Penguin Books, 1991.
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Hollywood, June 18, 2013, accessed May 28, 2014,
http://www.thewrap.com/tv/article/music-competition-shows-slide-what-does-it-take-
make-hit-97881/.
O’Connell, Michael, “'Rising Star' Producers Consulted Mathematicians Over Time Zone
Dilemma,” The Live Feed (blog), The Hollywood Reporter, May 29, 2014, accessed June
2, 2014, http://www.hollywoodreporter.com/live-feed/rising-star-producers-consulted-
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https://www.youtube.com/watch?v=xYmTwhciFy4.

Abstract (if available)

Abstract The singing competition has been around since the 1940s and shows no sign of stopping anytime soon. It promises the discovery of a superstar, but has also become a program that captivates viewers with stories of contestants that show a rise from the small town to the big city. Shows like American Idol, The Voice, and The Sing Off have changed the format of the singing competition through format, audition process, and judging style. Even after a drop in ratings, lack of success on the winners’ part, and criticisms from the media on the lifespan of the genre, it shows no signs of stopping anytime soon.

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Asset Metadata

Creator Martinez, Stefanie Marie (author)

Core Title The changing tune of singing competitions

School Annenberg School for Communication

Degree Master of Arts

Degree Program Specialized Journalism (The Arts)

Publication Date 07/16/2014

Defense Date 07/15/2014

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag American Idol,OAI-PMH Harvest,reality show,singing competition,The Sing‐off,The Voice

Format application/pdf (imt)

Language English

Contributor Electronically uploaded by the author (provenance)

Advisor Page, Tim (committee chair), Burlingame, Jon (committee member), Murphy, Mary (committee member)

Creator Email martinez.stefanie@gmail.com,stefanmm@usc.edu

Permanent Link (DOI) https://doi.org/10.25549/usctheses-c3-444393

Unique identifier UC11287099

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Legacy Identifier etd-MartinezSt-2712.pdf

Dmrecord 444393

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Rights Martinez, Stefanie Marie

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Source University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

Access Conditions The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the a...

Repository Name University of Southern California Digital Library

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