In my last message, I talked about how exciting it’s been that Adam has been embraced by the top of not only RCA, but also of Sony — Michael Jackson’s “This Is It” is a Sony motion picture (they also have MJJ’s recordings, but acquisition of the rights to the film was a separate matter; it’s been reported they bid $60 million against other studios for the distribution rights and it was a great deal. That’s one of the reasons I started a Business of MJJ thread in this forum… I knew Sony/RCA was the probable label for Adam so I wanted to explain more about MJJ as a precursor to Adam). With Adam’s trailer preceding the film worldwide, cool how this has all tied in, isn’t it?

Marketing is very much a two way street… fan interest creates media interest and if everything goes well (depending on your point of view) it snowballs. (Balloon Boy was also a snowball and that’s an example of how not every snowball is, well, white :). Frank Rich of the NY Times has an interesting piece about the rise of “instafame” http://www.nytimes.com/2009/10/25/opinion/25rich.html?em: “Richard Heene is the inevitable product of this reigning culture, where “news,” “reality” television and reality itself are hopelessly scrambled and the warp-speed imperatives of cable-Internet competition allow no time for fact checking.” (I’m not taking any political position here, it’s just illustrative of the cultural circumstances going on.)

Someone involved in the online research industry posted here a while back and I wrote a detailed reply about online social networking, the history and challenges of internet music downloads and the changes in promotion and marketing; I think that answers a lot of the questions but overall, we’re in the middle of a seismic shift in consumer marketing and interaction and Adam is in the right place and the right time and that’s awesome. (That’s one of the reasons I mentioned I sincerely believe Adam’s trajectory is as exciting in many ways as Britney’s introduction in 2000 from a marketing, press and fan standpoint).

Adam’s uniqueness and, yes, Star Power, captivated the imagination of people worldwide and as you’ve been here from the beginning I’m sure you’re not surprised to see how it’s grown and blossomed. As I’ve mentioned throughout the journey, the biggest part of course is Adam himself — being true to his creative instincts, having a unique style and presentation, knowing his “character” and, thanks to God and his parents, extraordinary talent. But his management and record company were and are equally important. Clearly Adam became a priority to Sony (and that’s not to take away from any other Artist, I respect and admire anyone who gets a recording contract because that’s so difficult in this day and age) and as a result Adam was given access to the finest people in the industry (which of course he made the most of… introductions only work if there’s chemistry and mutual respect). So if Luck can be defined as “where opportunity meets preparation,” I think Adam is Lucky to the 10th power.

Because there’s such fan/consumer demand for Adam (using the definition of Black Swan is fine, but sounds like an online researcher, I’d just call it tremendous, focused, multi demo interest), media follows (and that includes radio stations). I’ve read about people saying not to contact radio stations etc… while in general it’s true that pestering station managers can lead to taking tracks out of rotation, in this case Adam is a tsunami and I don’t think it’s going to matter: if the music is good (and every indication is it is) it’s going to be played relentlessly. This keeps feeding into the fans (and please keep in mind controversy sells, we’ve discussed that often, so that’s OK too), which feeds into the media and there’s your snowball.

Because the music industry has been in such dire straits, when Sony locked in to Adam I believe that the highest levels of power were directly involved because, ultimately and frankly, they believe he’ll make them a lot of money. And considering everything, I imagine you all would agree he was worth taking the risk/gamble on :). That’s how we’ve gotten to where we are; decisions were made to prioritize Adam and plans that were put in place that are unfolding exactly as we’ve been discussing.

Again, because Adam’s not concerned about it, I’d imagine it’s fun for the label and management to have all these somewhat controversial events: the Details photos, the album cover, etc. Fun because it’s provoking reactions, getting attention and generating reactions. So many talent teams (that includes the Artist, management, agents, lawyers and their media partners) are trying to be “politically correct” that it’s, well, boring. And who wants to talk about that? Give people juice and they’ll be talking even if it’s just razzle dazzle with no substance (see Levi Johnston, by the way good for him, he’s made a big Alaskan snowball up there and like it or not you’re talking about him). The best part though is when the juice delivers — that turns Mr. Warhol’s overused “15 minutes of fame” into a lifetime of accomplishments. Adam keeps delivering and the media spigot (which we discussed needed to be closed a bit to prevent overexposure which was the right move) is opening — as Disney says at Splash Mountain, “Prepare to get wet!”

Happy Friday and here’s to a fun Halloween weekend! Best, Michael

I’m in the midst of conversations with RCA and others to help answer some of your questions, especially with respect to the different configurations of bonus tracks; as we’ve talked about, the music industry’s been changing so quickly that the traditional CD versus digital download revenue models are constantly being changed so history is not the best guide in this case. One announcement Apple made recently is that there will be “deluxe editions” on iTunes; the idea is to provide additional value with behind the scenes footage, cover art and other “value adds” that will enable record companies to charge more for their digital product. Whether Adam’s “Special Deluxe Edition” will be digital as well as traditional will be interesting to follow; but you can be sure that this project has the full and complete attention of Sony (RCA’s parent company) so I would expect amazing software and hardware opportunities.

From what I’m hearing, RCA is planning a hot dance track that will chart on Top 40 radio as Adam’s first single which will make it complementary with the 2012 track which is more in the Adult Contemporary category. Covering as many areas as possible is vital during the holidays since there is so much competition. I’ve heard he’s booked for Saturday Night Live, and recommend watching some of the Lady Gaga press track for clues on strategy (will he fight Madonna too? ;).

Adam has amazing collaborators; Rob Cavallo, who’s been working on Adam’s album, was just named Chief Creative Officer of the Warner Music Group. One of the most exciting parts of this journey is that Adam is such a unique and versatile artist that in addition to the primary focus of his debut CD, opportunities in television, film and other media are already on the radar and I’d expect to hear more about those around release time.

With respect to other 19 artists and the AI 8 family, it’s clear to see that the group is truly a family. I think it’s a tremendous testament to Adam’s artistic integrity that he’s doing so much to help other artists, and believing in karma I think he will be repaid in abundance. I also think that he is exceptionally smart, and at age 27 extremely knowledgeable about the entertainment industry and there is absolutely no doubt in my mind that he is fully in control of his career and is dedicated and focused on his personal success. For Adam to look out for 16 year old Allison Iraheta is as admirable as the incredible $229,000 Adam’s fans raised for donorschoose.org… there’s so much positive energy that I think this fall and winter will exceed all of our expectations. Go Adam!

Hope you’re having a wonderful Sunday and Happy Thanksgiving to our friends in Canada tomorrow!

Best, Michael

Thanks Julie for the background on AI CD releases; release dates and single drops are a combination of what the finished product contains and what other labels are releasing (like the way movies are scheduled — if a big action film is opening other action films will move out of the way but an adult drama may be “counterprogrammed”. If the Black Friday date is accurate (and I’m just seeing the information, we’ll be in contact with RCA) it’s a sign that they’re really happy with the progress and Adam’s potential. Keep in mind that the US release may not be day and date with international… Black Friday is somewhat of a US phenomenon but as we’ve discussed having these CD’s in stores for the holiday season is the top priority for 19 Entertainment. We’ll definitely take a look at the November release schedule and what other product is coming out, but I think it’s fair to say that RCA wouldn’t go with that date unless they had promo commitments from big retailers to support the release.

They haven’t started updating the website yet (thankfully :) but http://bfads.net/ is an excellent website that for several years has been “leaking” Black Friday ads well in advance. Originally the retailers went crazy, but now they realize how effective it is and most are very cooperative. It’s a terrific site to plan your holiday shopping and I guess it will provide some clues as time gets closer how the retailers plan to promote Adam’s album.

Looking forward to reading the messages and writing over the weekend, in the meantime thank you all so much for your kind comments and I hope you had a great Summer!

Best, Michael

I’ll be back on the 26th of August and certainly will get into more detail about your posts which as always are great. I think that with respect to Adam’s sexiness, it happens with most stars that some fans overlook the artistry so that’s to be expected. As far as Adam’s performance style, as mentioned in the review post he only had a short period of time on stage, so I don’t think it will reflect what he does when everything is under his control. Because this is a one shot tour, I think it’s too early to think about whether he’s being too sexy or whatever; he continues to get tremendous media attention and from everything I’m hearing the new album is going to be sensational. I think we can be confident that Adam will continue to “push the envelope” and the music industry really needs that right now.

Suffice it to say that Denmark is hearing a lot of Adam Lambert :) and I hope this messages finds everyone happy and enjoying this last bits of Summer!

Best, Michael

Stunning news about Paula; it’s disappointing they couldn’t work it out but that’s the nature of the business. As we talked about last month, on the one hand, Paula genuinely has been an important part of eight years of the show and she’ll be missed. But on the other hand, American Idol is bigger than any individual (that’s evident from all the international versions of the show). Here’s Nigel Lythgoe’s take:

Now to the Tour: I agree with everyone’s comments about seeing Adam live; it really does go back to the first message that started the whole topic, “Adam’s Star Power from an industry perspective.” From an industry perspective, in some ways it’s not fair to compare Adam with the rest of the group because he has so much theatrical experience. As on the show, his presence is in another dimension; but I do pay tribute to Allison for really showing tremendous growth and range. They’re such a big difference between being 27 years old and 16 years old and while during the series Allison’s age became an old joke, she really is remarkably impressive. While I wasn’t crazy about “Hey Jude” as the final song (both because it didn’t showcase his voice, and the song is pretty overdone), I’ve always liked Kris and thought he had a strong set. His “groove” is smaller than Adam’s, but he makes the most of it with his unique interpretations, friendliness and likability. I’m looking forward to all three of their albums in the fall.

It was my first Idol tour performance, and it was basically what I expected; I would have enjoyed seeing more interaction between the finalists, more creativity on the scenic design and direction (while I wouldn’t expect them to go as far as Britney’s flying rigging, since everyone’s there to get close to the cast, having a runway into the audience or bringing them in from the back of the stadium at points would have been cool), and, since the show is so fan driven, more interaction with the audience (either bringing some fans up on stage, or at least showing some of the fan artwork — my vote would be for St. Adam’s Shrine & Grotto :).

Adam’s set was outstanding and hearing him those notes live was thrilling. I did think the set was a bit ambitious considering he had such a limited amount of stage time; specifically, because Adam is such a unique artist I’m not sure if devoting so much time to David Bowie was as effective building the arc as he did during the series. I would have liked to see a bit of controversy — a “Ring of Fire” element that would generate heat. I could more easily see the Bowie medley in a full Adam concert than in a 15 minute block. But that being said (and there are a lot of cooks in the Idol tour kitchen), I continue to be confident that with the right material, production team, and promotion, Adam will be a global force for many years to come. It was well worth the time to go see the performance; just as we said on the American Idol message board and here, it’s been truly exciting to witness the beginning of a new superstar. In concert, Adam continued to reinforce why he generates such electricity and passion. Go Adam!

Best, Michael

With respect to music clearances, as you may have seen in my referenced blog post Adam Lambert’s Star Power from an industry perspective 4 any musical material that is broadcast requires clearance. It’s also true that any visual likeness or copyright references need to be cleared (that’s why you’ll see in the rules that contestants when they audition may not wear T-shirts with celebrity photos and/or corporate logos; that’s also why you’ll see brand names blacked out). Obtaining clearances can be somewhat complex and time-consuming, so my expectation is that because of the number of contestants there are preapproved song lists all along the way. With eight years of history, 19 Entertainment has a pretty clear idea of material that may present an issue (like “One” — you’ve all heard the story about Bono). American Idol is such a powerful brand that most publishers are delighted to participate because of the enormous exposure their material will receive, but there are exceptions. Because the production schedule is so tight, if the contestants can select a song that’s preapproved, it’s one less action item for the AI team.

Welcome to our new members for joining us! Your questions are fascinating, and as a company in the nexus of technology and entertainment perhaps I can provide a bit of insight. My answer is bifurcated because there’s a difference between audio presentation and audio/visual presentation (which is addressed in the previous blog post).

With respect to straight audio, the music industry faced very complex challenges when consumers were first able to copy and distribute music electronically. Two precedents that were invoked were the original Betamax ruling, and the “common carrier” rules. The Betamax ruling (http://en.wikipedia.org/wiki/Sony_Corp._of_America_v._Universal_City_Studios,_Inc.) basically acknowledged the right of consumers to copy intellectual property for their personal use. As modem speeds and technology improved and increased (and we’re talking mid-90s at this point), there was a great concern as to what rights and remedies the music industry had. Simultaneously, online services like AOL, Prodigy, CompuServe and others operated under what’s known as “common carrier” which basically claims that a network is not responsible for individual content as long as there is no arbitrary moderation. This is the stance of, say, AT&T, with respect to 900 services. This concept is integrated into what’s known as “Safe Harbor” and the Digital Millennium Copyright Act (DMCA), which continues to be the basis upon which online services/providers disclaim responsibility (until they are notified as you’ll see in most websites’ terms and conditions, including here at nymichael.com).

At the same time, remember that because the Internet was so new many of the executives in the music industry were not online. Many of the senior officers were older individuals who were steeped in the traditional music industry. I can’t tell you how many times I was told “we wish it will just go away.” But of course it didn’t, and then the bell began to ring that not only was there a important promotional platform, but also revenue potential. The Betamax issue still presented a challenge, so the industry utilized technologies called DRM, or Digital Rights Management, to protect individual files from duplication. Unfortunately, with so many different types of hardware and software, often DRM created more of a burden than a benefit. The result was the proliferation of services like Napster, which using peer-to-peer technology facilitated unauthorized duplication of music. So the question became, “Is it better to receive something or nothing?”

Then along came Apple with iTunes. For the first time, there was a meaningful way to sell musical content in a proprietary environment, allowing control and revenue. This was an astonishing breakthrough that set the stage for the transformation of the music industry. But because of the continuing concern over duplication, iTunes initially was restricted to including DRM on all tracks; this created the same problem of portability and consumer choice (if you buy a song, it makes sense that you should be able to hear it anywhere you want). So now we’re seeing the removal of DRM on musical tracks (on iTunes, Amazon.com and other services). I mention all of this to provide a perspective that this is a moving target — technology improves, download speeds increase, and business models change. What record companies are seeing is that the sale of traditional CDs has been greatly diminished because consumers can cherry pick individual tracks. But as with everything in new media, the Genie does not go back in the bottle, so they’ll need to find creative and innovative ways to supplement revenue. At the moment, revenue derived from the sale of digital tracks is less than the drop in traditional sales, which is why there’s such worry in the industry.

So we’re still dealing with the business model issues of individual digital tracks. But along the way came part two… increasing hardware storage capacity and bandwidth speeds began to allow video to be downloaded and shared in a short amount of time. On the one hand, media conglomerates knew this was coming, but on the other there was (and is) no clear-cut business model that replaces traditional television advertising revenue. As you’ll see if you search for news on last week’s Sun Valley conference, this issue is paramount in the minds of media companies. Truly, their survival as we know it is at stake. Until there’s a way to induce consumers to pay for content, earnings will be severely impacted, and some companies may not survive (Sony’s Sir Howard Stinger and Fox’s Rupert Murdoch discuss this complex scenario).

Sorry this is so lengthy but it’s the prelude to the question. Because of the complexities of music clearance for broadcast (including, importantly, international clearance — with the internet’s global availability, as has been discussed in several blog entries, straight music tracks are often not available on iTunes America for international listeners), and the lack of a profitable business model, there isn’t enough of an incentive yet. As you’ve seen, most music videos are made available on YouTube and other official channels; but only now are ads beginning to be delivered within and around program content. Until there is a clear path to financial benefit, media companies are going to be hesitant to spend dwindling resources on the creation of digital content.

The final complication in your question is that live performances add yet another layer of complexity, because now you need to deal with the unions that are producing the physical production (as well as the music clearance rights as well as the broadcast rights). Some very cool developments are happening in this area — – for example, an innovative company is producing on-the-fly performances of superstars like Elton John, where you can buy video and audio of that night’s performance before you leave the stadium. We’re moving in that direction, but ever so cautiously, because if you can buy Elton John’s concert, it’s unclear whether you’ll still buy a ticket to the live show. Does that make sense?

I’m totally in agreement with you that there’s an important need to utilize new media more comprehensively in the promotion and sale of audio and visual content. As you mention, the proliferation of new hardware (handheld devices, connectors between PC’s and TVs, remote access to stored content like Slingbox) and convergence present great new opportunities. But the question is, how do you make money? That billion-dollar question is what marketing and production people like yourself need to and are considering. Looking at it from a promotional standpoint, I think we’re seeing a lot of forward motion in the sophistication of new media marketing; but when it comes to that “magic moment” where money changes hands, it’s still elusive, and therefore not at the highest level of priority.

(There’s a great line in the musical “You’re a Good Man, Charlie Brown” — after a long, complex soliloquy by another character, Patty pauses, reflects, and then replies, “We had spaghetti at our house three times this week!” :) My point is I understand this is more complex than many of you are interested in, and as you can imagine it took some time to prepare, but I feel that that’s the mission of this project, and I hope this is of some interest and benefit.

The last point I’d like to make is that I truly believe that Adam presents one of the best possible and most marketable new media opportunities. Between the vast demographic fan base he has, and the global popularity he’s demonstrated, there is huge potential to create and promote exciting and innovative new projects online. I’m eagerly looking forward to watching his online world unfold, and really appreciate everyone’s contributions here in keeping us all posted on new developments.

Congratulations again Adam and everyone on his team for making this so fun and exciting!

Best, Michael

The Beck/Smith Hollywood website is always fascinating (http://becksmithhollywood.com) because of the archives and exclusive stories (they recently posted a 1976 interview with Farrah that’s really interesting. You’ll see Marilyn and Stacy’s columns throughout the world through Creators Syndicate in newspapers and at http://www.creators.com/lifestylefeatures/fashion-and-entertainment/hollywood-exclusive.html.

Hope you’ll join me in a warm round of thanks to Stacy for her insight and taking the time to provide thoughtful answers. The original question thread is now “Talk about Stacy Jenel Smith’s Answers to your Questions” for your thoughts and comments.

Best, Michael

Re: Ask Stacy Jenel Smith Your Questions through July 10!
Posted: Mon Jul 06, 2009 5:10 pm
by stellagirl

Thanks again Michael for giving us this opportunity!

Hello Stacy,

I have a few questions about Adam Lambert for you, so here goes:

It’s been suggested that Adam should be more careful about granting too many interviews, that there should be an “aura of mystery” about him to keep the public and the media intrigued and desperate for any bit of news we can get. What do you think of this?

In the same vein, there are those in the industry who are thrilled that Adam is open about being gay, and others that say he should not have talked about his sexuality, that it may hurt his career. What’s your take on this?

Many of Adam’s fans are females over 40 (myself included), and I’ve read a number of articles that wonder why this is so. (I think it’s because us older gals have incredibly good taste, and that due to our life experience we know a good thing when we see it!) What do you think is the reason for Adam’s popularity with older women?

And finally, given the kind of music that Adam performed on American Idol, and that he’s going for a multi-genre style with his first album, do you think he’s going to be a huge success no matter what he chooses to sing? Or should he be very careful to not be too over the top with his first CD, keep it somewhat toned down and give his style of music a chance to grow on us all?

Thank you so much for taking the time to answer our questions, it’s really wonderful of you to do this just for us!

Sincerely, Stella

Hi, Stella – Thanks for the thoughtful questions. Certainly, he’s in a position now where he can and should be picky about who he grants interviews. It bespeaks his status. That said, one of the refreshing things about this young man is his openness and honesty. I like his cock of the walk attitude – a great trait for a rock/pop star. He gives off such a sense of knowing who he is – and that appears not to be one to try to create mystery for mystery’s sake. As far as talking about his sexuality, as I wrote in our column the other day, I was disappointed in Gene Simmons for saying Adam was wrecking his career by coming out as gay, that now everyone would forget about his music and focus on his sexuality. Sure, like that happened to Melissa Etheridge, Freddie Mercury and Elton John, right? I think that was Gene trying to get attention more than anything else. I don’t think it will hurt his career – especially considering how many advancements have been made by gay performers and the gay community in general in the last couple of decades.

Curious, this thing about older women being Adam fans. That is interesting. We appreciate someone who’s immensely talented and chock full of charisma, I guess. My mother, who is 79, and my daughter, who is 17, were actually on the Lambert bandwagon before I ever started paying attention. Mom said “Now there’s a force to be reckoned with” — and that he reminds her of Tyrone Power.

As far as the album, he says it’s going to be pop-rock with an electronic edge, and also says he wants it to be “something new.” I hope there is some room for that something new, although it would be surprising if he went very far out on a limb with this first one.

Posted: Tue Jul 07, 2009 11:29 am
by 80sMom

Hi. Thanks so much for agreeing to participate in Michael’s outstanding forum.

I am interested in your opinion of where the line should be drawn in terms of what should be appropriate coverage by ‘paparazzi’. I think much of what I see out there is appropriate as regards Adam, but there were two incidents where I felt a line was crossed where it should not have been.

One of these was a ‘chase’ of his limo, where the driver was clearly distressed and was forced to drive erratically while attempting to dodge photographers. The other was a ‘hidden camera’ episode that caught Adam at dinner with someone important to him. He was unaware of being on camera. I felt bad after watching that one. It was so intrusive to the ‘person’ of Adam Lambert. For me, it seems reasonable for the press to pursue a celeb during his ‘public’ hours, as long as he is aware of being photographed. The line is drawn when it becomes an intrusion into the ‘non-public’ hours of the celeb’s life, particularly when they are caught unawares (i.e. the old ‘peeking through the hedges at the swimming pool’ routine).

Things seem to have gotten out of control as it seems many in the media now believe we have a RIGHT to know every aspect of a star’s personal life, as opposed to being satisfied with covering the public life that the celeb wishes to project.

As a big fan, I feel somewhat responsible. Without us, there would be no reason for paparazzi to push the envelope all the time. Without us, there would be no market for this kind of intrusion of privacy. I try to be a responsible fan by not giving viewership to those media outlets that ‘go over the line’ (there are a few that come to mind that I personally will not patronize with viewership or clicks). But where do you think THEIR responsibility should begin? Where is the line drawn? I know this is a question that relates to all public personas, but it seems particularly apropos to the Adam situation right now.

Thanks.

I completely agree and very well said, 80s Mom. We’ve written extensively about this scourge, and I’m discouraged that so many efforts to curb such dangerous practices have done nothing to help – this, 12 years after Princess Diana died in a paparazzi pursuit automobile crash…and four years after Gov. Arnold Schwarzenegger (himself a victim of overly-aggressive celebrity photographers) signed a “get tough” bill that tripled the amount of damages celebrities could seek from paparazzi if assaulted during a shoot. It also blocked photos from making profits from shots taken during altercations with the famed. But it continues…I applaud your integrity. It’s true that if there weren’t such demand for these pictures, they wouldn’t fetch the outlandish sums that perpetuate this insanity.

by pippy18

Hello Stacy - and thank you very much for appearing here!

I’ve been thinking lately about our celebrity obsessed culture and how that’s going to affect Adam’s ability to have a private life. Is it not the job of a publicist to sort of act as a screen between the client and the rest of the world? I actually don’t know what a publicist does and if you could shed some light on that I would appreciate it.

I read an offhand remark from Adam about his inability to “filter” himself. Being a very private person I cannot imagine giving up some of the info that Adam has (for instance the Kris/crush), but on the other hand, he’s probably just alot more open and well-adjusted than I am! However, I do feel that he could do himself a favor a learn to filter a little bit more. Any thoughts?

Personally, I love those unfiltered stars! They’re great interviews. Marilyn and I love to get them before they clam up – which they usually do after something they say gets someone angry or hurts a deal or scandalizes the public. Even better is when they continue to be unfiltered even after going through some backlashes and should know better. For some reason, Rod Stewart pops into my mind with his various zingers, like his comments about Sting (“…The sun shines out his arse…Mr. Serious who helps the Indians”). Bless them, I say. I live for that stuff. As far as celebrity publicists, they play a variety of roles, including gatekeeper — or screen as you put it — spin control point person, guide and image keeper. (One demonstration of their power: You may recall Tom Cruise famously went through his year of media meltdown after letting go his long-time publicist, Pat Kingsley.) I remember the late Christopher Reeve saying that it takes a year to adjust to fame. Adam is in the throes of that enormous adjustment. Having/creating/protecting his private life is something that’s going to be part of the learning process as he gets his feet under him in this new life as a star.

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Re: Ask Stacy Jenel Smith Your Questions through July 10!
Posted: Wed Jul 08, 2009 10:34 am
by Julie821

Pippy, what you just asked leads me to a question. (Thank you Ms. Smith for answering our questions!) But Adam never, at any time, ever said he had a crush on Kris. Ever. In fact when he was asked why the media blew it up from saying he thought Kris was attractive when he first met him, to suddenly saying he has a crush, Adam shook his head at it and said, that’s just what they do sometimes for viewer-/reader-ship. Why does that happen so much? (Not just with that, of course, but virtually anything with anyone). Why aren’t the articles factually written rather than with a slant added to it by choice by the writer and/or the editor? Why the, I don’t know, sensationalism, I guess? I know this has been going on for…well forever, but why is that?

Sometimes things are just twisted, like what Adam really said was twisted. Than other times, down right lies are written. Not just like in the Enquirer about being married to an alien and silliness like that, but what is considered a more “legit” mag or paper will say things that are completely false and they know it. I don’t understand why that happens, can you shed light on that?

Thank you!

It’s a meaner and more desperate and less conscientious world in the media than it was even ten years ago, Julie821. Recent times have seen colossal changes, as you know. Traditional print outlets are either out of business completely or cut back drastically. There’ve also been audience drops and cutbacks in network news. So you have a shrinking pool of entities governed by journalistic rules against misrepresentation of facts, distortion of quotes and so forth. With fewer reporters and resources, they’re unable to provide the kind of coverage they used to. At the same time, the number of new entities vying to get web traffic has increased exponentially — and there are a lot of them who don’t seem to know or care about the rules. And hey, there’s a big market for gotcha journalism, as evidenced by the success stories of Bonnie Fuller with Star and then Us Weekly, Harvey Levin with TMZ, and Perez Hilton with his hater website.

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Re: Ask Stacy Jenel Smith Your Questions through July 10!
Posted: Thu Jul 09, 2009 5:31 pm
by AdamBestEver
Stacy,

Thanks for coming on here to answer our questions, and thanks to NYMichael for setting this up.

I’m hearing from many non-Adam fans that Adam will fail as a recording artist because he is not current. Frankly, I disagree because even tho Adam likes 60s, 70s and even 80s music, he knows how to make it current. Also, the non-fans say that only Adam’s AI fans will buy his music, which encompasses a small percentage of the totality of the music buying public. With that said, what would happen if Adam’s debut CD has a mediocre response? What would his next game plan be?

Does anyone know yet if Adam may collaborate with either Lady Gaga or Madonna? I’m wondering if it is a clue that Adam brings up Madonna’s name in many of his interviews. There have been no leaks or rumors, so I’m thinking it’s more likely Adam wants it out there to get Madonna to think about it.

Thanks again for answering our questions.

ETA: Oops, was supposed ask question(s) from press/journalism perspective. Sorry.

There’s certainly a lot of talk about Adam teaming up with one or both of these ladies, but so far nothing concrete – beyond his working with Lady GaGa’s producer, RedOne. I don’t think he’ll need a fallback plan. He’s already logged hit singles, is The Star Everyone Wants on the tour, and has generated big time excitement in the music industry. They know.

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Re: Ask Stacy Jenel Smith Your Questions through July 10!
Posted: Fri Jul 10, 2009 2:25 am
by Kyuu
Hi Stacy,

Some of Adam’s detractors claim that Adam’s buzz is media-based only and does not actually exist among “the people” or consumers. Since he’s started working on his album and a number of impressive producers and writers have stepped up to work with him, we’ve seen that Adam’s industry-based interest is real. Can you give us an idea of idea of the grassroots-based interest in Adam? (And I don’t mean grassroots as in middle America , but as in everyday people who would just buy and enjoy his music.)

Similarly, these detractors claim that while Adam interest may be exist, it will not translate into CD sales and people are more fascinated with his personal life than his music. Do you agree with this opinion, or do you think Adam’s buzz is the demand for the Adam Lambert product as a whole, personal life included?

And on a topic that’s only tangentially related to Adam, he has gotten a lot of media-coverage since he’s been on Idol. In what way does a member of the media decide what is worthy of being covered? In other words, a chicken and the egg type of question - is coverage given to someone who “the people” are interested in or does the media deem someone newsworthy, report about them and thereby generate interest… or is it a gradient of something between the two? I know at least that MTV had a lot of Adam coverage because he generated a massive amount of hits to their website. I hope this isn’t veering too much into philosophical territory for you to answer.

Thanks for your time and expertise.

That’s an astute deduction – that there is a gradient between public and media interest driving coverage of any personality. It really does vary from personality to personality. But in the case of Adam Lambert, it’s the public clamor for coverage in the wake of his captivating performances on “AI” that’s accountable for all the media interest. He’s already delivered hits. The nay-sayers’ predictions really won’t matter if he comes through with an undeniable album, which I think he will.

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Re: Ask Stacy Jenel Smith Your Questions through July 10!
Posted: Fri Jul 10, 2009 11:48 am
by sdmama

I wonder about the value of not giving out too much information to maintain the mystique about the celebrity. When do you think things become over exposure and over sharing? What do you think is the most effective amount of access that somebody like Adam should give to journalist and media?

What do you think about the latest trend of Tweeting? It may be necessary to create an account so that poser won’t send out false information, but I do not think it is reasonable to expect a celebrity to be constantly broadcasting what they are up to.

To Tweet or not to Tweet? To me, it’s just fun. People don’t have to give up the details of their intimate lives, or even Tweet at all, obviously. Should we be surprised that Paris Hilton and Heidi Montag are Tweeting all the time – they who love to live in the spotlight 24/7? Many celebs are using as yet another promotional tool. Others just like to share people-places-things they enjoy. It’s probably a good thing for Adam that he’s in the controlled environment of the tour right now. His exposure is being handled by a crack team. There’s a tour press conference at L.A.’ s Staples Center tomorrow that he’ll be part of – that’s a great, effective setting for him at this time. But a lot of the media attention he’s getting is out of anyone’s control at the moment, since he is so hugely hot.

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Re: Ask Stacy Jenel Smith Your Questions through July 10!
Posted: Fri Jul 10, 2009 3:29 pm
by abbey260

Hello Stacy and thank you for taking the time to answer our questions.

I am sure you have read some reviews of the AI concerts so far. Apparently Adam is a big hit and getting the loudest and most positive reception to his set from the crowd.

He has also been receiving a lot of news and magazine coverage. There seems to be so much more interest in him all over the world than the other contestants (including the winner).

The question I am hoping you can answer involves the perception that the AI voting system needs to change. Do you think the media has the ability to help facilitate this change? Many of Adam’s fans believe Adam lost due to a flawed voting system. The press reported about this, but dropped the story after AI and AT&T issued their responses. Kris is a talented singer and a really nice person, but Adam definitely outshines him. Even though Adam will have a successful career and he is comfortable without the title I wish the media would stay on top of this story and help lobby American Idol to perhaps change the voting to 1 (or 5) calls per phone line, and limit the text messaging.

I have another question regarding his popularity with the media. My assumption is, he is being written about because there is a lot of interest in “all things Adam.” Is the media following or leading this interest, and is this attention helping him?

Thank you for your time (and thank you Michael for this opportunity).

Hi, there. I think I covered some of this already as far as what is driving media coverage of Adam. As far as the voting – of course you’re aware of the school of thought that Danny Gokey’s mainstream-loving followers went over to Kris – the fact that there are still so many complaints shows that they need to streamline the system. Again.

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Re: Ask Stacy Jenel Smith Your Questions through July 10!
Posted: Fri Jul 10, 2009 4:18 pm
by wink7619

Michael, thank you once again for this incredible opportunity.

Hi Stacy,

Thank you for taking the time to share your expertise with us on Michael’s forum.
I have two questions.

1. If you could sit down for a long thorough interview with any five singers in today’s “hot” music industry… who would they be? (And if you have time… why?)

I’ve had the pleasure of interviewing some of the current crop of hot names – the Jonas Bros., Kelly Clarkson, Pete Wentz (such a thoughtful and interesting person), Miley Cyrus, Hilary Duff and Joel Madden come to mind – and obviously, I’m looking forward to talking to Adam Lambert! Because I admire their music and am confounded by their troubled personal lives, I would really like to get the chance to interview Rihanna and Amy Winehouse.

2. If you were to interview Adam what would you explore that would differentiate your interview from others that have been done to date? What are some of the questions you would ask?

First, I’d ask the questions I think readers/fans would want answered. You know, the obvious newsy things such as whether he is actually going to work with Madonna. Have to. Then I might ask whether there was a particular person in his life, outside of his family, who helped him or impacted his life in a significant way, and to talk about that. I’d look for turning points and first times in his past that led to his being the person he is. I’d ask about what ticks him off and what turns him on. Has he experienced loss and disappointment and how that’s affected him and made him grow. I’d ask what he learned from his grandparents. Things like that might bring out a telling anecdote or point of view.

OK, one more question. (OK…”set” of questions. )

3. It seems the media/public interest in Adam is really intense, but I have to admit… I don’t have the best objectivity when it comes to anything Adam. From your perspective would you compare the media/public interest in Adam to any other previous Idol, or other rising star? And if so, whom?

I would not compare him to any other previous Idol or other current rising star. We just might have an original on our hands here, and that’s what makes him so exciting.

________________________________________
The original message from Mon Jul 06, 2009 12:29 am:

Hi everybody!

I’m happy to let you know legendary award winning columnist Stacy Jenel Smith has kindly agreed to take your questions about the industry and answer them here at nymichael.com!

Stacy and Marilyn Beck’s website is at http://becksmithhollywood.com/ and you’ll find her biography below. You’ve all had many great questions about press, interviews and how celebrities are covered, and I thought Stacy would be a great guest because not only has she been covering entertainment for decades, but also she is an important part of the “pulse” of the media.

Another unique and impressive part of Stacy and Marilyn’s background is that they are respected journalists. With the rise of paparazzi and shock journalism, Beck/Smith is a platinum organization that does not sensationalize or gossip; their reports are fair, sourced and highly respected throughout the industry.

So please say hello to Stacy and if you have questions about the industry from the press/journalism perspective please post them (and please let your friends know). While Stacy may not be able to reply to every question I’m sure she’ll do her best and it’s a unique opportunity to have a behind the scenes look at the industry. Importantly, Stacy is visiting to discuss entertainment media and coverage so please don’t post specific interview questions for Adam, this Q&A is about entertainment reporting and journalism in the broader sense.

Best, Michael

Marilyn Beck and Stacy Jenel Smith are among America ’s leading columnists. They’ve covered the Hollywood beat for decades — Elvis and “Easy Rider” through the Jonas Bros. and “The Dark Knight” and all the stars and their triumphs and scandals in-between. Their Creators Syndicate column, Beck/Smith Hollywood Exclusive, is a source of top celebrity interviews and entertainment news in newspapers across the country as well as online - with special reports and features exclusively for CompuServe/Netscape and AOL. Additionally, they write This Just In, their television column seen weekly in the New York Daily News’ VUE.

Stacy Jenel (pronounced “Janelle”) Smith has also authored the weekly, syndicated Ask Stacy column for more than two decades, in addition to writing for publications including the Los Angeles Times, Reader’s Digest, USA Today, TV Guide, People, and US magazines. She has appeared on numerous television and radio shows and as a guest lecturer for professionals’ groups and university classes. Stacy served as a regular correspondent on E! Entertainment Television’s “The Gossip Show” for five years, and for two years appeared daily on the Internet’s Alternative Entertainment Network (AENTV.com). Twice nominated for the prestigious ICG Publicists Guild Press Award, Stacy is a native Angelino, a graduate of the University of Redlands . She has partnered with Beck since 1990. Stacy resides in the San Fernando Valley with her daughter, Darcy, who was born in 1991. She’s a runner and recently completed the Pasadena Marathon.

http://www.nypost.com/seven/06302009/tv/enormous_money_176757.htm

“Cowell, who reportedly made $36 million last year for judging the hit competition show, has been offered three or four times that amount — between $100 million and $144 million per year — by co-producers Fox and 19 Entertainment to stick with “Idol” when his contract expires next May, according to The Guardian, a London newpaper. … While $36 million may seem like a lot of money for five months worth of snarky comments and eye-rolls, it’s only a fraction of the estimated $900 million that “Idol” rakes in a year. As the lynchpin of the show — without him there would be no one to hate and no dramatic tension with Paula Abdul — Cowell believes he’s due for a raise.”

By the way, Paramount picked up his project, a movie about the life of Paul Potts, the amazing cell phone salesman who won Britain’s Got Talent (http://www.guardian.co.uk/film/2008/jun/24/news.culture).

Best, Michael

This follow-up post is from July 1, 2009 at 2:18 pm:

With respect to musical compositions, once songs are registered with the performing rights agencies (most commonly ASCAP or BMI, for example Michael Jackson’s song are BMI) anyone can record them, no permission is specifically needed as long as the record company pays for a “mechanical license.” The procedure is generally to simply request a license at a mechanical rate which is affordable. The rate today is 9.5 cents up from 9.2 and it’s not unusual to request a ¾ rate for all audio uses of the recording (that requires permission, paying a reduced “statutory rate”). That means that when a track is sold, the publisher receives 9.5 cents from the sale of the track. Search for Dina LaPolt in blog post 35 on the home page for more about iTunes royalties breakdowns. Most of the larger publishers are represented by Harry Fox Agency and they require that you use their form of mechanical license.

What that means is that Sony or anyone else can record published compositions by Adam, they just need to pay the mechanical rate (and other rights, including live performances, new media, etc… I’m trying to answer as simply as possible :). So there wouldn’t be a restriction about performing compositions, Sony wouldn’t even need approval as long unless they want a discount from the “statutory rate.” Not to dwell on Michael Jackson, but this is what caused the rift with Paul McCartney - Michael outbid Sir Paul on the ATV catalog. As Sir Paul put it, “You know what doesn’t feel very good,” McCartney said as recently as 2006, “is going on tour and paying to sing all my songs. Every time I sing ‘Hey Jude,’ I’ve got to pay someone.” Here’s a recent ABC News story about this matter: http://abcnews.go.com/print?id=7952215

If you have an interest in the music industry, by far the best resource is called “This Business of Music” http://www.amazon.com/gp/product/0823077233/ref=pd_lpo_k2_dp_sr_1?pf_rd_p=304485901&pf_rd_s=lpo-top-stripe-1&pf_rd_t=201&pf_rd_i=0823077284&pf_rd_m=ATVPDKIKX0DER&pf_rd_r=1AC5DMJMT6RA8B8NGJXN - it’s the definitive guide to the recording industry and while technical it’s a must read for anyone interested in the industry.

Have a great day! Best, Michael

This follow-up post is from July 3, 2009 at 2:06 am:

A mechanical royalty is for recordings, a different set of rights/permissions are involved for television. (Please see my Blog post 4, http://nymichael.com/2009/03/27/adam-lamberts-star-power-from-an-industry-perspective-4-music-clearances-publishing-rights-show-production-entertainment/, I cover the five rights of copyright and provide some specifics from AI — the Blog search feature is so helpful and I can’t thank the team enough! :) Basically, 19 clears compositions for broadcast (that’s why you read about lists of songs that have been cleared that the contestants need to pick from). Releases of live recordings from the TV show are with the broadcast licenses (plus mechanical), the “studio only” tracks are straight mechanicals.

Publishing is the most lucrative, and most complex, part of the industry. Now Artists are more savvy, but the recording companies have huge leverage. In the past, Artists had to sign away their publishing to get a deal — that’s why you’ll see so many people who didn’t really write songs being credited as writers (many Motown Artists among others were affected). With respect to the publishing history of the Beatles, my understanding is this is basically correct: http://ask.yahoo.com/20031210.html.

An overview of publishing and its importance is in this week’s Time Magazine http://www.time.com/time/arts/article/0,8599,1908185,00.html; that’s why I’ve been tying Michael Jackson into the discussion here — Sony is also Lady Gaga’s publisher and most likely will have Adam’s catalog as well.

Hope this is helpful.

]]> http://nymichael.com/2009/06/30/adam-lambert%e2%80%99s-star-power-from-an-industry-perspective-56-simon-cowell-publishing-mechanical-royalties/feed/ http://nymichael.com/2009/06/26/adam-lambert%e2%80%99s-star-power-from-an-industry-perspective-55-on-with-the-show-new-cd-ai-rules-and-release-form-monte-pittman-crawl-thru-fire-look-to-the-future/ http://nymichael.com/2009/06/26/adam-lambert%e2%80%99s-star-power-from-an-industry-perspective-55-on-with-the-show-new-cd-ai-rules-and-release-form-monte-pittman-crawl-thru-fire-look-to-the-future/#comments Fri, 26 Jun 2009 18:57:07 +0000 nymichael http://nymichael.com/?p=180 Your questions and Tom O’Neil’s answers were great, and we’ll have more special guests coming soon. This month has been a blur with multiple international deadlines but there’s light at the end of the tunnel. I can only imagine what Adam’s month has been like :) I’ve been following and reading your thoughtful messages and am so happy to see people participating.

The untimely passing of Michael Jackson is such a seminal event in music history that I’m going to post a separate topic to discuss a bit about the business of Michael Jackson. I imagine you’ve all read that he was preparing for a 50 concert series in London; the tragedy extends to everyone involved with the production… video on the Michael Jackson tour website: http://tinyurl.com/oc5etk - Dancer’s Auditions, heartbreaking to see them in this context. http://tinyurl.com/mcqaxw - Kenny Ortega and AEG CEO discuss the changes to the tour schedule, Michael’s health and the creative process. Yesterday the O2 concert venue in London had its second anniversary, http://tinyurl.com/nq6pf7 - such sad timing. What a day. There was no bigger business in entertainment than Michael Jackson and while it’s off topic Michael’s career and business decisions are epic. I’ll post this paragraph and add to it over the weekend.

Now back to our regularly scheduled program.

Let’s talk about “On With The Show” and put it in context. As we’ve discussed here and I’ve mentioned on the blog, recording contracts are intended to be exclusive and labels pay upfront signing bonuses, which they then recoup (along with every other expense under the sun) prior to paying Artist royalties. Sony/RCA/19 and Adam have invested a great deal of time, energy and money to present Adam’s dream. Nothing is going to stop that… EW just reported that http://tinyurl.com/mr4jxu “…a source close to the singer revealed exclusively to EW.com that Lambert recently met with acclaimed producer Linda Perry (Christina Aguilera, Pink, James Blunt); had writing sessions with Idol judge and in-demand songwriter Kara DioGuardi and Grammy nominated Sam Sparro (Black and Gold); and hit the studio with One Republic’s Ryan Tedder, the white-hot tunesmith behind Leona Lewis’ Bleeding Love, Beyonce’s Halo, and Jordin Sparks’ latest single Battlefield. It was previously reported that Lambert laid down some tracks with Lady Gaga producer RedOne.” Go Adam!

So things are going along incredibly well with the new CD. One reason I’ve never worried about this process is that Adam is prepared and savvy. That was infinitely clear during American Idol… if you look at Miles Siggins’ blog on AI.com (which is great, http://www.americanidol.com/style/fashion/adam_lambert_top_2), back at “Ring of Fire” he wrote, “I think, out of all the contestants so far, Adam really has had his image nailed down from the get-go.” Adam knows his look, his groove, and his image, and that makes things very easy for songwriters, producers and management. This goes back to his statements that five years ago that he probably wasn’t ready; he’s had time to develop as an Artist and that’s critical for both short and long term success.

Of course while Artists are developing they make demos, record songs, network and anything else they can think of to succeed. That’s why AI’s Rules and Release Form (which I’ve posted in a separate topic) state: “I understand that if I am asked to audition for one (1) or more of the semi-final rounds of the competition (currently scheduled for January 2010), I will be required to demonstrate to the satisfaction of Producer prior to such participation that I am not a party to any agreement with a talent agent or manager; a music recording contract (either alone or as a member of a group); an agreement relating to the use of my name, voice and/or likeness; an exclusive acting contract; or any other contractual arrangement (written or oral) that, in Producer’s sole discretion, would prohibit me from participating fully in the show and/or entering into any contracts required by Producer, including an exclusive management contract, recording contract and merchandising contract. In addition, I will be required to represent and warrant to Producer that I will not enter into any such agreement(s) during the Election Period, without Producer’s prior written consent. I acknowledge that Producer may require me to sign further documents as a condition of my participation in the Program.”

While “On With The Show” is a hassle, it does not contradict the terms and conditions of American Idol participation and therefore it’s just something that needs to be dealt with by all the parties involved. There’s a fine line to walk with these kinds of situations, because official statements will inflame attention and publicity (note the difference in the Vatican’s response to “Angels & Demons” vs. “The da Vinci Code”). Frankly, I think this is already gone too far; if Sony had a basis to obtain an injunction against the release it would have happened already and/or Apple would not have released it on iTunes (they have no interest in damaging their relationship with Sony over a few tracks).

What makes this a bit more complex is that we don’t know the full history of these tracks. MTV.com has an important story http://www.mtv.com/news/articles/1613649/20090610/madonna.jhtml about Adam and Monte Pittman: “Months before being introduced to the nation on “Idol,” Lambert had met Madonna guitarist Monte Pittman and the two collaborated on some original songs last year for the Los Angeles performance revue “The Zodiac Show.” Zodiac co-creator and director Lee Cherry told MTV News earlier this year that the two hit it off and came up with some mind-blowing music, including the viral-video glam-rock hit “Crawl Thru Fire.” Cherry said the very first night the two met they wrote an original song, and they quickly established a close partnership.”

It’s excellent that Adam broke through and became friends with Monte and met Madonna and collaborated together if that’s what happened! And if they wrote and recorded some tracks that are being released, well, it’s not ideal because of the new Sony relationship, but it is really immaterial to what Adam is creating to dazzle the world later this year. As many of you have mentioned, you’ve heard these tracks already, they haven’t been a secret. As a recording artist, Adam has created a body of work before American Idol, and it’s no surprise that this material will become more widely available. In the past few days, it appears that the releasing label intends to pay publishing to the authors of the tracks. That’s good if it’s true but I’d like to see clarification.

So with respect to the variations of the question “Should I boycott this CD?” I think that if you’re interested in all things Adam, once (if) it’s clear he’s getting paid, it’s better to buy the tracks legitimately vs. just downloading them for free. But these and other tracks that are likely to be released are the past; it’s the future that counts. From all accounts, Adam continues on his superstar trajectory. We should all be so proud of his courage, determination and creativity and think we should downplay distractions from the goal.

Thanks again for being part of this adventure, it’s been a great first act and here comes the Tour!

Best, Michael

Best, Michael

Re: Tom O’Neil answers your questions!
Posted: Wed Jun 10, 2009 9:55 am

by poohclark

Michael, thank you for setting this up with Mr. O’Neil, it adds another asset to this great message board.

Mr. O’Neil

I would like to know your opinion on Adam cover on Rolling Stone. There have been some very positive writings from the press, what about from the entertainment business, like 19-E? And in general, what has been your observation from the industry on Adam?

How important and essential is it for Adam to keep news worthy all the time?

Thanks.

Luv the RS cover. That’s just the image he needs to project — the young edgy bohemian rocker — to offset the temptation to eye him as another gay Broadway wannabe bellowing power ballads. Industry regards Adam as a sky-high superstar right now. He should NOT remain news worthy all the time. Being aloof adds to one’s Cool Factor and mystique. The mistake Tom Cruise made in recent years is letting us get to know the real Tom Cruise. The biggest star in the film world today is Will Smith, largely because he’s cool and a bit elusive. Rarely does he grant interviews.

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Re: Tom O’Neil answers your questions!
Posted: Wed Jun 10, 2009 11:52 am

by pippy18

Hi Tom-
I would like to know what are the responsibilities off a manager and a publicist?
Will RCA “assign” one or both of these to Adam?
I know some artists forgo these two altogether and employ an attorney instead- what is your take on what is best for Adam?
Do you think he revealed too much in the RS interview? (I hate to see anything he said there used as ammo against him by the religious wackos and homophobes, but I fear that will happen).
Great to have you on board!
-pip

Adam needs to hire a manager and a publicist — on his own, not let anyone else do that because those people must have Adam as their allegiance, not “Idol.” Dunno what to think of Adam’s coming out. Theoretically — all recent showbiz history has shown us — that it’s a career killer for someone positioning himself as a romantic idol. Female fans can’t think he’s attainable in their fantasies. But how much of Adam’s appeal is romantic? How much is the fact that this dude is just oh-so-damn-kewl and a helluva talent? We’re about to find out.

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Re: Tom O’Neil answers your questions!
Posted: Wed Jun 10, 2009 1:06 pm

by 80sMom

I like to think that in a few years Adam will be on the big screen. Do you see this happening? If so, we know he wouldn’t be the character actor on the sidelines, but will instead be a leading man type. But is America ready for an openly gay leading man? There is no way this dude does not have at least some minimal acting abilities, based on what I’ve seen.

Any idiot can act. Talent has nothing to do with anything. On average filmmakers shoot about 60 to 80 takes of every scene so there are always a few cuts that are good, whoever’s doing the mugging. No, Adam’s not a leading-man film star. He’ll pop up in film and TV roles, but that’s not his place on the pop-culture stage. Look how hard it is for music artists to cross over. Madonna: Ouch. Britney: Ouch, ouch.

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Re: Tom O’Neil answers your questions!
Posted: Wed Jun 10, 2009 1:23 pm

by geulis09

Hi Tom,

Thank you for giving us some times of your busy schedule.

1. I want to add to poohclark questions i.e. Rolling Stone cover, from the industry perspective, do you think it’s wise for Adam to open himself up so soon to the world now. Will it cost him to do that? I mean he hasn’t launched his career yet, the album he wants to make is still on the drawing board. I read that when Elton John coming out years ago as bi-, it cost him lots of fans and his career pretty much. It’s 2009 now, but is it still the same for Adam from industry point of view?
2. I’m also still hearing that Adam’s career will end up in Broadway, because that’s where his nitch is. I know Broadway is not a bad thing and it could be a great thing, since we see lots of big movie stars are going there now. However, I think for me Broadway / theater is too small audience for Adam. Not many people watching or even interesting to come to theater and see a play, unlike music concert. So I would like to know what and how the entertainment industry sees Adam’s future.
3. I heard on YHA interview that Adam’s a free agent artist. I thought he’s under 19E Management, don’t know it’s the same thing or not. The free agent thing, is that a good thing or a bad thing for a young artist in the business. I meant he’s young and new in this real entertainment industry, doesn’t he need someone experience that knows about the tricks in the business? He’s like a small fish in a big pond full of sharks, barracudas, etc.

Thank you,
Ria

1.) Adam may be the first openly gay artist, currently hot on the pop scene, who can pull off having a lavender life on the side thanks to a growing belief in America (hallelujah) that being gay is actually cool. That wave is building fast and Adam will get to ride it. But how far? I have a hunch his sexual orientation is going to turn out to be a huge plus for his career. We’re all looking for role model — a place to put our cheers that the right-wing nuts are wrong on this issue. Besides, being gay is behind bohemian and that’s always been hot.

2.) Adam should stay as far away from Broadway as possible. His stage should be the concert stage and he must blaze a career as the star of the hottest music videos on the tube.

3.) Adam needs tough, seasoned management. This industry is a corrupt, incestuous biz and you benefit from that by being on the inside.

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Re: Tom O’Neil answers your questions!
Posted: Wed Jun 10, 2009 4:47 pm

by HeIsRemarkable

I’m not sure whether this is an area that you can address, but thought I’d give it a shot. I’m really curious how 19/RCA will handle Adam’s publicity over the next 6-12 months. I ask because of the comment from Brian May expressing that he is comfortable with Idol as a launching point for the careers of rock singers. Simon Fuller also comments that American Idol was the platform for the world to discover this brilliant young man. Is there any drawback from an industry perspective to have the American Idol association?

At first there was a drawback to being an “Idol” star — those first few years. Now many of the most-played music videos feature “Idol” finalists. This week’s VH1 Top 20 features several “Idol” stars like Jordan Sparks, Daughtry and Elliot Yamin

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Re: Tom O’Neil answers your questions!
Posted: Thu Jun 11, 2009 12:46 am

by wink7619

Michael, thank you for providing this wonderful opportunity for us to hear from another industry expert. You’re the best!

Mr. O’Neil,
I would love to see Adam involved in recording a song for a movie track… and potentially an Academy Award nominated song. Can you give a little insight as to whether you think this would be a good move for Adam, and how likely it would be? Do you think there will be (or is already) interest in having Adam attached to such a project?

Also, what would the timeframe be for something like this? If it is something you could see in his future…. could it be his NEAR future? Are artists for soundtracks selected so far in advance that it would be later rather than sooner that we might see/hear something?

Thanks so much for your time and expertise!

Anna

P.S. I’m a big goldderby fan!

Thanks for the goldderby shout-out, wink! I’m sure Disney and Dreamworks have Adam on spin-dial right now trying to hustle him to croon underscore for their next toon. They’d be fools not to. The problem that animated films have is that they often don’t seem hip. Adam, right now at least, is the Webster definition.

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Re: Tom O’Neil answers your questions!
Posted: Thu Jun 11, 2009 10:16 pm

by stellagirl

Thank you Michael for this wonderful opportunity, you’re the best!

Dear Mr. O’Neil, or do you prefer Tom?,

Thank you for being so gracious with your time to answer questions from us, and especially from a fantard like myself.

Adam has shown how versatile he is as a singer. In my opinion he can do whatever he sets his mind to, he just has an incredible voice and even more incredible ability to re-invent himself with different genres.

If my brain cells are not all dead like I often find they are, I think Adam has said that he wants to put out a CD that is a multi-genre album, calling it a “rock-pop-electronic-dance thing”. (OK, I cheated, I wikipediaed Adam to get what he said he would do with the first CD.) If he chooses to present this multi-genre version, is there a huge risk to losing the fans who love his “Mad World” and “Brigadoon” type of music? I realize you can’t please all of the people all of the time, but there are those who claim Adam is going to lose most of his fan base if he doesn’t give us more American Idol type music.

I’m cool with whatever he chooses to do, I love his voice and his charisma. He’s infinitely fascinating to me. But what do you think? If you were Adam, what direction would you take with that first all-important album? Or, rather, considering your expertise, what kind of album should Adam focus on to increase the likelihood of being nominated for and possibly winning a Grammy or two? Is it possible to have that as a goal when making an album? Do people in the entertainment business think like that when undertaking a film project or producing an album? Or is it always a huge, shocking, completely out-of-left-field surprise for the nominees/winners?

Thanks again,
Stella

Multi-genre disc is a great idea. This peacock needs flash all his colors. He’s about to strut himself, and define himself, on the world stage, positioning his career for future.

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Re: Tom O’Neil answers your questions!
Posted: Fri Jun 12, 2009 11:21 pm

by geulis09

Hi Tom,

I’m back.. with another questions..

The thought just came to me… do you think Adam get compensation from RS for his story? I mean you know all the celebrities they sell stories about their newborn babies for millions and millions of $$$$, I would think RS would at least compensate him something, since his story is so HOT and guarantee the Adam Lambert’s issue will be sold out in very short time. If he did get something I wonder if he have to split with 19E, since he’s still under contract with them, and the same thing with his interview with 20/20… I don’t know how the television work whether they also pay him for that special first television interview about his sexuality.

I read an article with this title “Adam Lambert: Will he collaborate with Bruce Springsteen?” in the examiner.com

I don’t know if it’s a good thing for Adam or not but reading some the comments, I got the feeling it’s not a good one. I mean all these great group bands from different generations than Adam they want to work with him. I bet they have to admit that they’re not current anymore. It’s almost like desperate (I said almost) for them to use Adam’s popularity and “Fresh Air” Star Power to be able to stay in. (I used fresh air star power, to stated that these great names have their star power but not current anymore). I have to admit, as much as I respect and love Brian May and Roger Taylor from Queen a lot, but they’re also from 2 decades ago and in a need of a great lead singer and could use Adam to get into his market segment. If this collaboration with Bruce is true:

Why do you think these great names wants to work with Adam?, and if this collaboration is just a rumors or not true, then
What does the people in the industry (producers, singers, group bands) actually see in Adam and
What do they think of him, his talent and his charisma?

Thank you Tom…

Ria

No, RS and other top mags don’t pay interviewees. The tabloids do sometimes. When the biggies pay a star is not for the interview, but, ahem, technically for photographs, which the star controls — like baby photos. Yeah, Adam needs to collaborate with the likes of Bruce and other music gods, showing us that he’s one of them by hanging with them. But he needs to pair off with rap hotties, too, not the thug type, but the Jay-Z ilk.
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Re: Tom O’Neil answers your questions!
Posted: Sun Jun 14, 2009 6:07 pm

by 24HRdreamer

Mr. O’Neil,

I had asked this similar question to Michael awhile back, but I am curious what your views are on this.

How much marketing is too much?….Like everywhere you see Adam’s face on everything from pillows to bubble gum packaging…lol I know its a huge money maker…think Hanah Montana products, and etc.

Or is it different for an artist that is older like Adam…where they are already past the “teeny bopper” stage, but still have those products out there for their younger fans. I wonder if some marketing can prevent an artist from being taken seriously….with the critics?

I personally think he is highly marketable. He has a very cool style that will suit many types of merchandise.
I know allot of money can be made off of anything he has his name or face on, but I remember a response from Joey Mc Intyre from New Kids On the Block say that things got a little weird, when they saw their faces on “marbles”…that the merch got bigger than them…as artists. I do know it is a great way to get more people to know them…by seeing their faces or names on products. I am not against this type of marketing…I just don’t want it to affect them getting taken seriously in the business.

I am hoping, because Adam is VERY vocally talented….that he will rightfully get recognition for his artist ability…no matter how things play out commercially in the marketing department.

Thanks!

Vickie

(just now realized days later…should have geared my questions to the Grammy’s…etc.that was mentioned)

Mass marketing is great — more the better. But Adam shouldn’t do too many interviews. We can’t get to know him personally too well. Familiarity breeds contempt. The biggest winner of Academy Awards was once Hollywood’s biggest star: Katharine Hepburn. And it’s second biggest winners — with three awards — were the reclusive Ingrid Bergman and Jack Nicholson. That’s not a coincidence.

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Re: Tom O’Neil answers your questions!
Posted: Tue Jun 16, 2009 1:30 am

by PANDORA 60

Tom:
Your thoughts on the Rolling Stone article. This amazing young man had allot to get off his chest. He has been to hell and back, seeking his identity since HS. Do you think skirting the gay issue was wise during the competition? Adam needed to pick his time and place to express his true feelings. Do you feel his take charge personality, apparent in his vocals, stage presence, lighting and costuming on AI, also drew fans to the RS article?
Months ago I saw both sides of Adam on U-tube. I understood why he always said he had nothing to hide. He has always been out. The gay Adam is the creative force that propels the performances, and leaves straight women panting. Tom, now that this extra baggage is unpacked, can Adam get on with his career as a singer, (a great one at that)? The man just wants to sing, and we all want to hear his phenom voice. Did he do the right thing for his career? I can not remember watching Simon Cowell so enamored with a contestant, proclaiming him an international star. I am a sixty year old cougar, left wondering why I care so much about Adam the person. The RS article cemented my respect for him.

Good word, “respect.” Adam handled that interview so well that he generated enormous respect as a result. Now, shut up, Adam. Be the grand marshall of the gay parade on Pride Day, that’s OK, just don’t go all queeny on us blah-blah-blahing to all media. I can’t stress enough how important it is for him to be tough to get to for interviews. That’ll drive the media nuts, making them chase him all the more.

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Re: Tom O’Neil answers your questions!
Posted: Tue Jun 16, 2009 1:25 pm

by Glamberteena

Hello Tom,

Adam has shown the ability to perform visually during AI — his music videos are top sellers on iTunes — not only can he sing, but he can literally take on a new persona with his acting ability, his makeup, and his costumes that is appropriate to the mood/genre of the song he happens to be performing. As he mentioned in the Rolling Stone article, AI gave him the opportunity to show that his range is from the guy in the suit all the way to the guy in the glitter wings and leather.

But so far, with the possible exception of his television appearances on AI, Adam’s acting experience has been solely in the musical theater area — if he does wish to eventually pursue an acting career in film and/or television, what sort of preparation will he need to reach this goal? Right now, he is obviously concentrating on writing/recording his debut album — but if he does wish to expand beyond the music industry into film/television, are there things he should be thinking about doing in the near future in order to make this goal a possibility?

And 80smom asked a question above: is America ready for an openly gay leading man? If Adam does eventually wish to pursue an acting career, in television and/or film, do you think that America is ready to accept an openly gay man playing a straight man, for instance? (Sean Penn, a straight man, just won the Oscar for portraying a gay man — wondering if the reverse could happen? BTW: I really enjoyed your conversation with Michael Musto!)

Although the media has portrayed Kris Allen’s win over Adam as being representative of America not being ready for an openly gay American Idol, I reject that proposition for many reasons which I won’t go into here. Basically, I would be interested in knowing your opinion as to whether Adam has a possible future in the film/television industry as an actor, and not just as a singer/songwriter?

I don’t think America is ready for an openly gay leading man in film. For some kooky reason, that’s different from all other media. Music and TV are different. Kris beat Adam because more voters wanted to pork him. You’re right, he won because he’s straight and Adam lost because he’s gay. But Adam got to the runner-up spot, with millions of devotees — passionate devotees who’ll carry him forward. Kris is screwed over the long haul ahead. He’s not COOL, hip, trend-setting. Adam is — he’s a leader like that and people will follow. Don’t worry.

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Re: Tom O’Neil answers your questions!
Posted: Tue Jun 16, 2009 1:38 pm

by poohclark

Mr. O’neil

Mr. Michael has indicated your specialization is in Grammy’s, Emmy’s, award shows and the integration of the industries. I have a few questions on the subject:

1. What is the practical difference on Grammy and Emmy? I heard someone mentioned that the Grammys can win Emmys, but not vice versa.

2. Do you think the “gay” thing will work for or against Adam in the industry? or truly a null?

3. It appears that Adam is the one of the (maybe the only) current new singers that has cornered the “cougar” market segment. How would he be able to take full mileage of this unique fan base? A fan base that is consistence, loyal, not subject to fashionable music and most importantly, able to buy as wish. For example, will RCA consider to produce a “remix” of Elvis Parsley? That it may only appeal to certain fan base? I think SONY has purchased the Parsley song rights.

4. What would your advice be to Adam for opportunity in Grammy and Emmy?

Many thanks for spending your valuable time with us in nymichael.com.

The only award that’s excluded from winning another award is the Emmy — its own show can’t win Emmys. The Grammys, Tonys, Oscars telecasts win Emmys all the time. I think Adam has strong Grammy potential, but only a few “Idol” stars have won that award so far: Carrie Underwood, Kelly Clarkson, Jennifer Hudson. It’s funny about Adam’s cougar appeal. Don’t know what THAT is all about, sorry.

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Re: Tom O’Neil answers your questions!
Posted: Sat Jun 20, 2009 5:46 pm

by pippy18

And 80smom asked a question above: is America ready for an openly gay leading man?

Glamberteena, just as an aside- I recently read that Neil Patrick Harris (openly out) has been signed to play in a major film where he is cast as part of a heterosexual, married couple. Neil also has has a recurring role in one of the funniest, raunchiest comedy franchises in recent history - the “Harold and Kumar” movies. Neil played a bizarro fictionalized version of himself- and absolutely nothing in either of the two films was mentioned or even alluded to in terms of his sexual orientation. He was just flat out crazy funny.

My feeling here is, if Neil can do it, Adam absolutely can. You’re right. This won’t hurt. Adam needs to release lots of stuff now that he’s hot. As long as this recording is aces, it’ll only showcase his aristry all the more — it’s a good thing.