Stan Walker. Still riding high as an X Factor judge – and unscathed by the mess engulfing two of his co-judges. Here he is basking in fandom frenzy at the NZ Music Awards late last year. Photo: Hannah Peters/Getty Images
The trouble with most music reality shows is that they have little to do with the music and even less to do with reality. It’s all to do with TV ratings. A controversy prompts media coverage, and the publicity pulls in more viewers, which increases ratings, satisfies advertisers and promotes music sales.
Ching, ching.
X Factor NZ is a SYCO-owned format co-produced by MediaWorks and FremantleMedia Australia. It was conceived by Simon Cowell, who himself was accused of ripping off the Idol format by its owner Simon Fuller. After a legal tussle, Simon and Simon reached a deal. X Factor is in the Arab World, Albania, Kosovo and everywhere in between.
Light entertainment shows like these aim to plug talent quest winners into a particular part of the pop music industry. Producers want people who will fit in, not stand out. They will scold and mould them, primp then pimp them. That’s the nature of the beast.
There’s a bible, a script and a formula. Judges praise then criticise each contestant, with one individual playing “Nasty Judge.” Meanwhile, the presenter promotes the idea that viewers have the final say. It’s hugely manipulative and therefore addictive, hooking audiences in to root for an individual or a team – night after night, week after week.
As with all reality shows, producers look for acts with an interesting back-story that will draw viewers in. This can backfire as it did on X Factor NZ with the lack of care shown to the ex-convict with the great voice – but more particularly, to the whanau of the man who’d died as a result of the attack.
Sob stories are like diamonds. Tears and tantrums are key elements.
“How much do you want it? How do you feel?” They are two questions asked so often, it could feel like a form of water torture for the contestants. It must be a bit of a hoha for producers that New Zealand performers are often so easy-going or grounded that they generally take criticism in their stride. Even Joe the Crooner smiled blankly at the Nasty (married couple) Judges who thought they’d pull his wings off and stamp on him.
The biggest battering this week was in Vanuatu yet the social media set about putting the pressure on the producers until the odd couple was kicked off for being too nasty and New Zealand patted itself on the back for not tolerating bullying. But, if you head to Natalia Kills’ Facebook page, you’ll find disturbing abuse against her. Meanwhile, the hunt began for new judges – and the show rolled on. And, lookee here, the ratings have shot up …
Make no mistake, the current crop of finalists – all of them desperate for attention and opportunity – will already be tied up in massive contracts that lock in creative control, management, distribution, publishing, restraint of trade and non-disclosure clauses. They are contracts that will dictate their lives and creativity for years to come, whether they win or not.
There are bucket-loads of talent in Aotearoa, both on the show but more particularly off it. Mentoring is going on constantly and informally, where experienced artists encourage and share their stories with the newbies, pull them up on stage to perform with them, tour with them – and talk, talk, talk to them about the reality of life as a musician and composer.
The most important thing for any artist is to truly understand who they are, to develop their own unique sound, to write their own songs – and not to be primped into suits, gowns, false fricken eyelashes, be accompanied on stage by bloody flames, UFOs or whatever.
I’m not knocking the judges. (I’m a big fan of Stan Walker.) I’m definitely not knocking the contestants. It’s hugely tempting for people to think there’s a quicker path to success. But, if you want a sustainable career in the music industry, the first thing you need to do is figure out your own definition of success.
My biggest sales came at the start of my career, going gold with a cover called “Black Pearl.” Was that my proudest moment? Hell, no. Co-writing and releasing my first song AEIOU was far more exciting. White-listed from radio for being “in a foreign language,” AEIOU was the very first NZ On Air funded video, a fact that was acknowledged at Parliament this week. I received an award for “First Cab off the Rank.” Nice. And yet, since that success, I’ve been declined so many times by NZ On Air for video funding that I’ve almost given up.
Making a music video? No. Being a muso? Hardly.
What do you do when your guitarist isn’t talking to your drummer? Or your relationship falls apart because of the pressure of touring? Or when only 12 people turn up to your gig? Or you’re trapped in a foreign country with a band and no income?
What about when you’re expected to suck up to industry powerbrokers who are total wankers? What about the PR types who airbrush your photos without consent, record companies that turn out to be useless, music critics who bag you, or promoters who run off with the takings?
How do you handle the dreaded writer’s block? What’s your response when your producer/manager/record company/partner moves on to the next newest young thing?
What happens when your precious album doesn’t sell? Or when there’s pressure to deliver bland pop tracks because people only like what they’re regularly fed? Or when you’re fielding endless requests to sing for free … and there’s racism, sexism, ageism and elitism at every turn?
You see, the test isn’t how quickly you can shoot to the top.
It’s how long you can hang around.
MORE INFORMATION
AEIOU (Moana & the Moahunters)
First NZ on Air funded video, 1991 (Director Kerry Brown)
See anyone there you know?
http://www.nzonscreen.com/title/aeiou-1991
Thank you for reading E-Tangata. If you like our focus on Māori and Pasifika stories, interviews, and commentary, we need your help. Our content takes skill, long hours and hard work. But we're a small team and not-for-profit, so we need the support of our readers to keep going.
If you support our kaupapa and want to see us continue, please consider making a one-off donation or contributing $5 or $10 a month.
It’s a tame version of The
It’s a tame version of The Hunger Games…
It is the undoubted truth of
It is the undoubted truth of the matter. The music industry is dying slowly, being poisoned from within. Creativity is not supposed to be bound, restrained or packaged. It is one of the many aspects that defines a person as an individual rather then a product of the music industry. Shows like this these days are sadly about image popularity, and people pleasing. The world needs more pioneers and unique artists that bring a new sound and new perspective to the music industry. Too many have come and gone for being too different or not mainstream.
This is only one of two
This is only one of two articles I have read since logging onto E-Tangata and I have been really impressed. Thanks for sharing Moana and Dale. Great stories and insights.
Kia ora Moana
Kia ora Moana
As some of my Aussie friends might say,’you are not wrong’.
I was attempting to explain the same point to some of my mokos recently and all I got was blank or weird looks,ie.’poor old koro ,he just doesn’t understand’.
The really big question is, what can be done about it ??
Most of the young people I know think that Xfactor and other similar shows are just about the epitomisation of ‘cool’ altho that’s not how it’expressed these days is it ?
Hang in there Maam,it’s about all that we can do.
Amazing article Moana very
Amazing article Moana very well observed and to the point!
Kia Ora. This needs to be
Kia Ora. This needs to be said over and over again. Life is not a 60 second coke commercial, there is no short cut to success but there is joy in remaining true to your self and your own vision. Xfactor is not reality tv but u reality telly
A great article, as always,
A great article, as always, Moana!
I think what disturbs me most about this musical reality TV format is that it’s really the only mainstream TV exposure for music that exists here in NZ.
For the majority of people who watch it, it forms the basis of their opinions about what being a musician means and what the nature of talent is. It doesn’t show the brutal, uncompromising and constant strive for artistry that people like you, Stan Walker, Ria Hall, Tama Waipara, Maisey Rika etc. engage in for years (decades). It doesn’t embrace or illuminate the creative process or artistic culture in any way. There is no attention whatsoever paid to the songwriter’s craft – or, as you say – to any of the challenges of fostering and maintaining a career that doesn’t depend on instant discovery and an easily distracted audience.
I think that the fixation with this format – and the lack of any real alternative perspective in the media here – is essentially robbing people of their ability to appreciate music meaningfully. It’s lowering audience expectations, eroding their understanding, appreciation and empathy for the people who try to make music and – ultimately – altering their perception of music’s value, by presenting the musician’s craft as an easy-come easy go, corporate Karaoke circus.
Vee, you are an example of
Vee, you are an example of one of our truly great creatives, who has much respect in the music industry but is relatively unknown to TV audiences because viewers are taught to favour vocal ability over all other attributes that make up the reality of a practicing recording & performing artist. Funnily enough, I’m running a series of mentoring workshops this year (pulling in some of the names you mentioned too). I banged into a lovely producer friend of mine who asked what I was up to and upon hearing about this project, suggested filming it. I declined saying there would be no drama, or happy telly ending or excitement or guarantees – so it was unlikely to make riveting telly. It was then suggested that ‘we can create drama.’ And there we are….back to the start of my article!