From Holland’s Got Talent to Het Beste Idee van Nederland, whenever you turn on a TV in the Netherlands it seems that shows starring amateurs are getting more common. Ordinary people fight each other tooth and nail in talent contests. Consumed by passion, they do whatever it takes to make the best possible impression in the hope of winning over the jury of experts and, most of all, the audience. In the span of a few weeks recently, Dutch audiences watched a shy adolescent girl metamorphose into a soul diva (X Factor), saw twelve budding fashion designers fight to make a name for themselves in the world of style (Project Catwalk), and empathised with ten amateur inventors as they puzzled and plodded away in their efforts to come up with ‘the best idea in the Netherlands’. Amateurs are more popular than ever on TV. Roel Klaassen talked about the phenomenon with Raul ter Linden, creative director of the production company Blue Circle and the man responsible for several of these shows.
Masses of Talent
Diamonds in the rough
'In principle, anyone can be on these programmes', Ter Linden says. 'The only requirement is that you be an amateur.' And yet each of these unschooled singers and inventors, however disarming, is ultimately expected to deliver a professional performance. Where exactly does the boundary between amateur and professional lie? 'Well, that’s not always clear', Ter Linden admits. 'I think if you earn your living with your talent, you’re a professional. That’s not to say professionals are more talented than amateurs. And that’s why we make these shows. I’m certain there’s plenty of valuable talent out there in all kinds of areas – diamonds in the rough who can become extremely successful professionals with the right guidance.'
The people who make it to the finals of the programmes vary wildly. What types does Ter Linden look for when he’s scouting for candidates for his shows? 'We’re interested in people who can do something and have an authentic value', he says. 'Amateur singers who look exactly like Anouk don’t cut it. We want people with qualities of their own. In Britain, Pop Idol became successful after a guy with a bad stutter came and auditioned. The jury gave him a chance and saw his talent. He got through to the next round, and the next day everyone was talking about it. That guy ultimately came in second.'
And the story of Paul Potts, a mobile phone salesman and amateur opera singer who went on Britain’s Got Talent, is world-famous. The slightly overweight man with bad teeth and a sweet face – ‘a million miles away from showbiz’, according to the voiceover – performed an aria and made a deep impression on the jury. He went on to the finals and won the £100,000 prize and a £1 million recording contract . 'The talent was there', says Ter Linden, 'but the give-him-a-chance factor was there too. Potts had a story. And the audience went crazy'. It’s no accident, Ter Linden says, that the same thing happened a second time in the same country to Susan Boyle. She certainly doesn’t look like a superstar, but her amazing voice quickly made her the audience favourite. 'In the beginning, reality shows were very pure', says Ter Linden. 'People didn’t know what the consequences of appearing on a TV show would be. By now, everyone’s well trained. Susan Boyle knew exactly what the audience wanted.'
The consumers have risen
Like Ter Linden, we at Premsela are keeping a close eye on amateurs with our People’s Republic of Design programme. We’re interested not only in amateurs who hope to become professionals but in all the other people who are designing their own interiors, making their own clothes, and using digital cameras. Why? Because they have an enriching influence on the field of design, and that’s something Premsela heartily applauds.
The professionals, though, aren’t always cheering. All around them, amateurs are being given a forum where they can 'do their thing'. If everyone’s a singer, photographer and fashion designer, where does that leave professionals? 'I can understand it', says Ter Linden. 'You’re not expecting competition – least of all from people without diplomas, after you’ve spent four years getting a proper education. However, having a diploma is becoming less important. You can become a skilled professional without a piece of paper. I think the number of self-taught people, as well as acceptance of them, is growing. After all, why would you hire an expensive professional when your neighbour can build your website or play at your wedding with his band? As the market is being widened by amateurs, more power is coming to lie with the consumer. I think this is a really interesting development. Who sends a demo to a record label any more? You just put your music online, where a lot more people will hear it. If you’re good, your talent will rise to the top of its own accord.
'The Internet has made consumers conscious of their power', he continues. 'If a company sells you a product that isn’t any good, you don’t have to take it lying down. Sites like Unitedconsumers.com call on people to join together to bring down petrol prices and things like that. You’re stronger as a group. Thanks to this realisation, the power of industry has shifted to consumers, and I believe this development will take unexpected forms. Industry is still important – famous people and brands exude authority – but authenticity lies with individuals.'
If the shift continues, what role will arts colleges play? Will the next Viktor & Rolf come from the Arnhem academy or be discovered on TV? Will the Rockacademie become obsolete once everyone takes their musical talent online? Ter Linden says it’s a fair question. 'Not only that', he says, “the megatalents who were discovered the ‘old-fashioned’ way are realising they have to adapt to these recent changes. Robbie Williams is appearing next season as a coach on Britain’s Got Talent'. A clever move, Ter Linden says: 'He’s involving himself in the platform to stay connected to a young audience. He understands that they’re the ones who hold the power, and will for some time.'
'In principle, anyone can be on these programmes', Ter Linden says. 'The only requirement is that you be an amateur.' And yet each of these unschooled singers and inventors, however disarming, is ultimately expected to deliver a professional performance. Where exactly does the boundary between amateur and professional lie? 'Well, that’s not always clear', Ter Linden admits. 'I think if you earn your living with your talent, you’re a professional. That’s not to say professionals are more talented than amateurs. And that’s why we make these shows. I’m certain there’s plenty of valuable talent out there in all kinds of areas – diamonds in the rough who can become extremely successful professionals with the right guidance.'
The people who make it to the finals of the programmes vary wildly. What types does Ter Linden look for when he’s scouting for candidates for his shows? 'We’re interested in people who can do something and have an authentic value', he says. 'Amateur singers who look exactly like Anouk don’t cut it. We want people with qualities of their own. In Britain, Pop Idol became successful after a guy with a bad stutter came and auditioned. The jury gave him a chance and saw his talent. He got through to the next round, and the next day everyone was talking about it. That guy ultimately came in second.'
And the story of Paul Potts, a mobile phone salesman and amateur opera singer who went on Britain’s Got Talent, is world-famous. The slightly overweight man with bad teeth and a sweet face – ‘a million miles away from showbiz’, according to the voiceover – performed an aria and made a deep impression on the jury. He went on to the finals and won the £100,000 prize and a £1 million recording contract . 'The talent was there', says Ter Linden, 'but the give-him-a-chance factor was there too. Potts had a story. And the audience went crazy'. It’s no accident, Ter Linden says, that the same thing happened a second time in the same country to Susan Boyle. She certainly doesn’t look like a superstar, but her amazing voice quickly made her the audience favourite. 'In the beginning, reality shows were very pure', says Ter Linden. 'People didn’t know what the consequences of appearing on a TV show would be. By now, everyone’s well trained. Susan Boyle knew exactly what the audience wanted.'
The consumers have risen
Like Ter Linden, we at Premsela are keeping a close eye on amateurs with our People’s Republic of Design programme. We’re interested not only in amateurs who hope to become professionals but in all the other people who are designing their own interiors, making their own clothes, and using digital cameras. Why? Because they have an enriching influence on the field of design, and that’s something Premsela heartily applauds.
The professionals, though, aren’t always cheering. All around them, amateurs are being given a forum where they can 'do their thing'. If everyone’s a singer, photographer and fashion designer, where does that leave professionals? 'I can understand it', says Ter Linden. 'You’re not expecting competition – least of all from people without diplomas, after you’ve spent four years getting a proper education. However, having a diploma is becoming less important. You can become a skilled professional without a piece of paper. I think the number of self-taught people, as well as acceptance of them, is growing. After all, why would you hire an expensive professional when your neighbour can build your website or play at your wedding with his band? As the market is being widened by amateurs, more power is coming to lie with the consumer. I think this is a really interesting development. Who sends a demo to a record label any more? You just put your music online, where a lot more people will hear it. If you’re good, your talent will rise to the top of its own accord.
'The Internet has made consumers conscious of their power', he continues. 'If a company sells you a product that isn’t any good, you don’t have to take it lying down. Sites like Unitedconsumers.com call on people to join together to bring down petrol prices and things like that. You’re stronger as a group. Thanks to this realisation, the power of industry has shifted to consumers, and I believe this development will take unexpected forms. Industry is still important – famous people and brands exude authority – but authenticity lies with individuals.'
If the shift continues, what role will arts colleges play? Will the next Viktor & Rolf come from the Arnhem academy or be discovered on TV? Will the Rockacademie become obsolete once everyone takes their musical talent online? Ter Linden says it’s a fair question. 'Not only that', he says, “the megatalents who were discovered the ‘old-fashioned’ way are realising they have to adapt to these recent changes. Robbie Williams is appearing next season as a coach on Britain’s Got Talent'. A clever move, Ter Linden says: 'He’s involving himself in the platform to stay connected to a young audience. He understands that they’re the ones who hold the power, and will for some time.'
