COMMENTARY

Clarkson's latest tangles with 'Idol' factor

In pop music it's all about the dollar signs

By Joe Gross
AMERICAN-STATESMAN
Monday, June 25, 2007

Kelly Clarkson's new album "My December" hits stores today; the next few days and weeks will tell us whether it hits with a bang or a whimper. (Judging from the tepid response to the first single, "Never Again," it's not looking good.)

Not as much launched as dribbled out by Clarkson's record company, RCA — which is headed by Sony BMG chief Clive Davis — "My December" comes with an avalanche of sketchy press, controversy and bad feeling on both sides, not to mention a recently canceled summer arena tour, which would have been Clarkson's first.

To make a long story short: Clarkson, who made her bones as the winner of the first "American Idol," cranked out two pop blockbusters, 2003's "Thankful" and 2004's "Breakaway," written almost entirely by seasoned popsmiths. This time, she wrote the songs. Davis wasn't wild about the final product and asked her to replace some songs with fare more in line with her earlier hits, songs that he would select. Clarkson declined and asked that the album date be moved up to June 26 from mid-July so it would be in stores prior to the tour. Then she fired her manager. Then the tour was canceled because of weak ticket sales.

Frankly, she probably should have seen this coming, and the reason is "American Idol."

Clarkson won "American Idol" because of her atom bomb of a voice — which is powerful, expressive and an ideal vehicle for state-of-the-art pop songcraft — and whatever charisma that came with it. She won the chance to become a song-delivery device designed to make as much money as possible for the label that signed her.

Which she did, in spades. In fact, a mess of "Idol" veterans did. Clarkson's albums sold 11 million copies. Season 4 winner Carrie Underwood's country debut sold more than 6 million. Season 2 runner-up Clay Aiken's debut sold more than 3 million. These are serious numbers in an arid pop climate. "American Idol" has become the single most important piece of pop music marketing around.

This makes the stakes of "American Idol" ever higher for labels. The public may hear voices, but rest assured that record companies are seeing little but the potential for very large dollar signs.

When you watch "American Idol," you are watching money, or at least its potential. Clarkson, bless her, seems to have forgotten that. (Which doesn't mean she doesn't have a right to express herself; RCA also has a right not to care.)

Contrast this with the under-performing, "American Idol"-esque program "So You Think You Can Dance?," now in its third season on Fox.

Dancers, many of them seasoned professionals, come from all over the world for the chance to compete for, well, what exactly? It's not fame. How many living dancers can you name? Take away retirees and Russians. Not too many.

Nor is it money, not the kind Clive Davis is sweating over. The top prize this year is a mere $250,000. Last year's winner, the amazing Benji Schwimmer, won a car, a one-year contract to perform in Celine Dion's Las Vegas show and $100,000. (He turned down the Dion contract in favor of other opportunities.)

Professional dancers are background players with the professional lifespan of athletes — becoming the Kelly Clarkson of dance is a market impossibility. With lowered stakes comes a much more enjoyable, much more relaxing show. Everyone dances their hearts out, delivering ephemeral pop thrills that "Idol" has become too important for, knowing full well that if they're really lucky, a director or choreographer might remember them. The public sure won't and that's fine.

The point is that the culture of "American Idol" demands financial performance above everything else. The stakes have become far too high for anything else. No wonder Clarkson sounds as if she isn't having any fun.

jgross@statesman.com; 912-5926