Regarding questions about security, the show is at Television City in Hollywood (I still always think of game shows when I hear that expression :), and there are studio gates and lots of security because so many celebrities work there (Dancing With The Stars is next door). And I imagine the “Idol Mansion” is fortified (it’s possible security is one of the reasons they moved back to the communal living environment rather than nearby apartments). So there are a lot of ways to secure Artists. (When Brad Pitt recently visited the Capitol, a LOT of staffers came out of their offices to see him, even John Kerry’s office manager had a sign begging him to take a photo with her which was really funny; Speaker Pelosi slipped him out the back entrance of the Capitol.) One last thought… of course the Producers would never put anyone in danger, but having some excitement and screaming fans is great for the press and on camera.

Regarding Diane Warren, I knew about but didn’t see Diane’s work on the show, but imagine she was hanging back because the show is so set personality and format wise, and as she’s a composer she might be working with some of the Artists (that’s just a guess). In person she’s an amazing storyteller (no surprise there) and I’ve found her funny and charming (I’m also in awe of her talent).

Licensing/merchandising is often the most lucrative part of an Artist’s business. I’m oversimplifying here, but generally the way it works is that manufacturers pay the licensor a license fee against royalties (usually a company the Artist engages for this purpose, 19 is of course in this business, and one of the other top companies with whom I’ve worked is Signatures; Dell Furano was the genius behind Madonna, Streisand, NSYNC, Britney etc). Once things are “open for business,” based on popularity licenses start flying through the doors. Usually we’ll have limited exemptions (no x-rated material, generally no alcohol or tobacco though that depends on age (as I recall the Sinatra wine license did very well), and, importantly, exclusivity for a product and/or category after a deal is signed (I remember three companies bidding on the rights to coasters like you put a soda on with a superstar, that was pretty funny). Other than the exemptions, it’s pretty much “take the money” because a) it’s money and b) you never know how long the iron will be hot. While some of the products can be strange, believe me companies wouldn’t pay guarantees if they didn’t think there wasn’t a market and people would buy them. I don’t think merchandising reflects badly on an artist (or as you say, knock down credibility) unless it’s really egregious; basically if people don’t like a product they just won’t buy it and the license will expire. These are not non-profit organizations :)

With respect to truly fan magazines, you let them do anything they want period. You grant access no matter what because they “give good press”! There’s enough critical media out there, so having fun, upbeat, positive coverage is an important balance. This is all just part of the business, publicity and merchandising is something you actively want to happen because that’s how you make money. That’s why everyone tries to find artists who are marketable. And looking at the range for Adam, from the really cool “Teen Glamberts” thread to “Grannies for Adam Lambert,” looks like Adam’s a winner!

With respect to how songs end up on albums and why some Artists seem to have “better” material, it really depends on the Artist. Sometimes the song is the hook because it’s so catchy and it isn’t as important who’s singing it. Sometimes the Artist doesn’t have the strongest voice (but a great personality and fan base) so you focus on the positive and let the instrumentals, atmosphere and backup vocalists carry the weight. But it’s not just the label or management, often each song has a producer and they make decisions about how the track is going to sound. (Many of the greatest producers have a sound that transcends individual artists… fastest to come to mind was Phil Spector with his “wall of sound” mixes.) So I wouldn’t generalize, there are a lot of interested parties and voices in the mix all looking for the same goal, sell sell sell!

And of course not only do you have to make a CD that consumers want to buy, but also something that radio stations want to play; that’s vitally important. So if radio is focusing at the moment on a certain sound, tracks need to be in that groove. I can’t tell you how many artists that were talented but we couldn’t figure out where they’d get radio play, and without that the train never leaves the station. I realize with the scattering of audiences and the decline of traditional radio this is changing, but for the time being it’s still critical.

As an Artist, part of Adam’s uniqueness is that he has a lot of technical training, experience and confidence in his image (that’s one reason AI raised the age range of contestants) and I’m confident that his team will work with his many strengths. So don’t worry… vote!

Best, Michael

Posted in: Industry Perspective by nymichael / Tags: Adam Lambert