by Emma Willibey

A half-minute of singing Aretha Franklin led to sold-out shows, an Academy Award, a Grammy and millions of admirers. Without the show, she would have plunged into a career that satisfied her passion for singing, but denied her cultural impact. Each red-carpet event, award nomination and Twitter follower traces to the decision of traveling from Chicago, Ill. to Atlanta, Ga. for a shot at stardom.

“‘American Idol’ changed the face of television,” singer Jennifer Hudson said. “It’s always been a phenomenon.”

Spinoffs like NBC’s “The Voice” and ABC’s “The Sing-Off” prove that Fox’s “Idol” has created its own species of television programs. But does Idol produce contestants who impact the music industry at the same level that the show impacted TV? Representing platinum-selling Hudson as the typical Idol alum would overlook long-lost winners like Taylor Hicks and Kris Allen. With a record deal and the fan base that led them to victory, how could these artists not make a dent in the music world?

American Idol maintains high ratings in its twelfth season, averaging millions of viewers each night. However, the track record of Idol ratings is much stronger than that of contestants’ album sales. After critic Simon Cowell departed from Idol, the show’s judges panel became a hot spot for one-off celebrity visits, hosting stars like Ellen DeGeneres and Jennifer Lopez. This year’s addition of singer Mariah Carey and her supposed nemesis, rapper Nicki Minaj, confirms that Idol strives for its judges to be a prime source of entertainment. The program’s ever-changing judges panel distracts from its true stars—the participants, who shone in the classic Simon Cowell, Paula Abdul and Randy Jackson lineup.

With the entertainment Idol presents in all directions, from bickering judges to guest performers, its audience is more interested in the show than in contestants’ music. In other words, if an especially talented Top 10 graces the Idol stage, viewers will tune in next season in the hopes of an equally dynamic group, but will not purchase the singers’ albums once they depart.  I know as a Season 11 follower that despite voting 50 times for finalist Phillip Phillips, I paid little attention to him after his triumph.

Considering his single “Home” exploded on pop radio, Phillips may not yet be a valid example of post-Idol failure. However, his path is familiar—craft a huge hit or two, then fade into obscurity (David Archuleta, anyone?). As the alum quietly releases albums, a tiny collection of diehard fans attend shows and write iTunes reviews while the majority of Idol fans turn to a new batch of performers.

Contestants may also credit their fate to Idol’s declining cultural prevalence—although popular, the competition struggles to reach the height of its heyday. When megastars Kelly Clarkson and Carrie Underwood stepped off the Idol stage and into multiplatinum status, Idol not only enraptured millions of viewers, but the music industry. In grade school, Idol’s finale day incited classroom debates and predictions of the winner on chalkboards. I do not attribute the frenzy to youth, but to the knowledge that whoever Ryan Seacrest declared champion would secure superstardom. Five years later, winners’ odds consist of a slim shot at fame or a career of 69-cent iTunes singles.

But would musicians not face identical odds without Idol? Granting an upstart a record deal places him or her one leap ahead of peers. Idol’s major TV status ensures that most Top 10 finishers will commit to record labels, bringing with them a slew of celebrity coaches’ advice. Even if they meet little reception, contestants have the Idol badge to wave in front of potential album-buyers.

Is the “Idol alum” identity positive, though? Since participants already received a stab at fame, it is unlikely that a music industry executive will elevate them from weak careers. Doing so would require the belief that the musician could develop a following, which should have occurred after Idol.  In terms of acquiring fans, the artist’s chances are similarly bleak—graduating from Idol does not improve one’s credibility, especially since its squabbling judges draw more interest than do competitors.

Which is not to say Idol does not offer benefits—Season 4’s Constantine Maroulis, though not in Clarkson or Underwood’s company, paved an award-winning Broadway career.  However, the varied outcomes of contestants evidence the slippery slope that one enters by auditioning for Idol. As a watcher of six seasons, I do not accuse the show of disadvantaging viewers. But next time you find a Clay Aiken CD in the $1 rack, you’ll know why.