(05-12-2014, 11:56 AM)riley Wrote: I bet Haley would love to preform more. It is a tough business and I am sure very political. I am not sure about touring that is really expensive other than small venues that Casey is able to get might be good. But we also know writing is another passion of hers - Ryan Tedder lead singer for the band One Republic, also writes and produces hits songs for other artists, last year earning an estimated $2.5 million from his extracurricular songwriting alone. So maybe working on both is not such a bad thing for her. I would like to hear more new music from here sooner rather than later but if she is doing what is best for her than so be it. I will always be a fan.

(05-12-2014, 10:28 AM)NUG Wrote: Maybe it'll help your frame of mind to not expect anything new from Haley. Tell yourself there is nothing new coming out, that way when it does you'll be happy and surprised. Imagine how flipped out happy you'll be to see that video or hear updates when you're not sitting there watching the pot waiting for it to boil.

(05-12-2014, 05:46 PM)Swansteel Wrote:

(05-12-2014, 10:28 AM)NUG Wrote: Maybe it'll help your frame of mind to not expect anything new from Haley. Tell yourself there is nothing new coming out, that way when it does you'll be happy and surprised. Imagine how flipped out happy you'll be to see that video or hear updates when you're not sitting there watching the pot waiting for it to boil.

I agree with you, NUG. It is so much easier to lower expectations than to get frustrated over an indeterminate wait time for new material. When it comes it comes; no reason to sweat it. (In the mean time I'm enjoying following the new journey just beginning for Jena Irene--who I think will win Idol this season.)

Quote:Since 19 and Fox have declined to respond to questions about their contract with Clarkson and the other finalists, or the extent to which they control their careers, perhaps the best place to look is the public record.

Before the Sept. 11 anniversary, the New York Times reported that Clarkson wanted to withdraw from a scheduled appearance singing “The Star-Spangled Banner” at a commemoration held at the Lincoln Memorial in Washington. Friends and critics had reportedly questioned turning a somber occasion of national mourning into a promotional opportunity. Clarkson was quoted as saying, “I think it is a bad idea … If anybody thinks I’m trying to market anything, well, that’s awful … I am not going to do it.”

In the same Times story, Tom Ennis of 19 Management said that “he would allay Ms. Clarkson’s concerns and that she would sing the anthem on Sept. 11.” She sang.

...If contestants reveal anything to anyone about the workings of the show or the contract they signed, they’re liable for damages “in excess of $5 million.” Their recording, management and merchandising companies, needless to say, are all owned by 19 Group — a fundamental conflict of interest familiar to anyone who has studied the machinations of the music biz.

...Kenneth Freundlich, a prominent Los Angeles entertainment lawyer who has examined the 14-page contract that was presumably signed by all the “American Idol” contestants, says, however, that Clarkson and her fellow finalists are “surrounded by what appears to be the worst rendition of the industry, after being voted on by a public with no knowledge of the story within the story.” How many of the millions of viewers who voted for Clarkson or any other contestant, he wonders, would willingly have signed their own sons and daughters up for such a career of music-industry servitude?

…If exposure is the be-all and end-all, Poe is undoubtedly right. But what if Clarkson, Garlick, Guarini or any of these other young artists have other goals, including some input into the direction of their careers?

“The artist-manager relationship is the most important one in connection with the artist’s career,” says Gary Fine. “The artist needs someone fighting for them with regard to certain career decisions. The cozy relationship between 19 Management Ltd. and 19 Recordings Ltd. would create serious conflicts, and almost certainly remove any real ability for 19 Management to support tough decisions on behalf of their artists if the sister record company is opposed to them.

...“There is a place for a show like this to reap benefit from its winners,” Freundlich continues. “But the artist’s career should be pure free agency from the start. These kids, like most artists, will get one shot at it. It should be the best shot that their independent representatives can find and negotiate, not one thrust at them by the show.”

Quote:"Currently, I am in the middle of renegotiating my contract with 19 Management, which also produces 'American Idol' and the 'American Idol' specials," (Justin) Guarini said in a statement. "Because of several unresolved issues, I elected not to host the 'American Idol' christmas special on Fox despite being asked to do so by them. I am grateful for all that 'American Idol' has done for me and look forward to resolving my differences with 19 Management and again being part of the 'American Idol' family."

Quote:Not long ago I say one of those Reality TV Secrets TV shows. Nicole Tieri and Falling Kristin Holt talking about their contract restrictions. Kristin was crying about how many opportunities she had to turn down. Nicole Tieri said she was forced to turn down a role in a Broadway show and an endorsement gig with Razor Scooters.

Quote:Fuller earns far more than the typical 15 to 20 percent that most managers keep from their clients' gross earnings. As the "American Idol" phenomenon begins its third season Monday on Fox, Fuller's franchise is raising questions about exploitation and the price of fame.

Fuller says that as the primary imaginative force behind these artists, and the one with the connections to transform Clarkson from struggling Texas waitress to pop diva, he deserves a larger percentage of their earnings.

"If you think of Andrew Lloyd Webber, if he creates 'Phantom of the Opera' he owns it. He hires Michael Crawford to take the lead. Crawford doesn't get a cut of 'Phantom of the Opera,' and no one questions that," Fuller said. "My deals are the best in the world. I create 'Phantom of the Opera' and then say to Michael Crawford, 'Let's be 50-50 partners, or 60-40 -- whatever the deal is.' "

...In an interview last summer, he described many of his "Idol" relationships as "partnerships" in which he receives from 25 to 50 percent of all earnings.

..."Most artists working on the old-fashioned model, how do you keep track of your publisher, your record company, your merchandise, your sponsorship agent, your touring agent? There could be 10 different people dealing with different areas of your life," Fuller said. "This is one-stop shopping."

...The final contracts between Fuller and his current batch of "Idol" stars have not been disclosed, and Fuller refused to discuss specific details of the arrangements. He said performers are free to hire their own lawyers to oversee the deals.

Fine isn't sure that would make much difference. The contract he saw was non-negotiable and "gave so much power and control to Simon and his organizations that there would be little a lawyer could do to prevent certain things from happening."