Radar earlier today.) The tome won’t only cover DioGuardi’s two-season stint on Idol, but also “her life and career as a producer, songwriter and artist,” according to an It Books publicist. Fair enough. But as a relentless critic of DioGuardi’s performance during Idol‘s eighth season who grew to rather appreciate her during season 9, here are five topics I’m hoping she’ll address:She won’t be on your TV screens when American Idol returns for its tenth season in January, but Kara DioGuardi will be coming to bookstores everywhere shortly thereafter. A spokesperson for It Books (a division of HarperCollins) confirms with EW that the songwriter/TV personality’s memoir, A Helluva High Note, will hit shelves on April 26, 2011. (The news was first reported by
* Her American Idol gaffes: DioGuardi’s first Idol season was punctuated with cringe-inducing zingers — referring to “I Don’t Want to Miss a Thing” as “early Aerosmith”; mislabeling Studio 54 as “Studio 57”; harping incessantly about “package artists” — and if she’s game (and self-deprecating) enough to tackle her worst moments on the show, then Helluva High Note might just be worth reading.
* The “No Boundaries” debacle: Kara had a chance to help the show get past the “magic rainbows” and “flying without wings” ridiculata and concoct a winner’s anthem that had a chance at radio, but instead, she had poor Kris Allen and Adam Lambert singing about weathering hurricanes and climbing mountains. An explanation is required!
* How exactly she got the Idol stint back in 2009, and more importantly, how exactly she left it earlier this year.
* How much (or how little) Idol producers try to influence the judging panel: Every season, I get the sense that there are moments where the judges are more effusive with their praise of some contestants’ performances (and less so with others) than how they are actually feeling. I’d love it if Kara gave us a peek behind the curtain to see how much of a pre-ordained script Idol‘s producers try to carry out each season, and how much power the judges have to go off said script.
* The real dish on how much (or how little) talent today’s crop of hit-makers has. Kara has famously worked on everything from Ashlee Simpson’s “Pieces of Me” to Pink’s “Sober.” So which of her collaborators have true talent, and who simply has a good publicity machine? I’d also love to hear Kara talk about the most talented artists she’s worked with who have failed to achieve success, and get her thoughts on how and why such travesties are all too common in today’s music biz.
What do you think? Are you at all excited for a Kara DioGuardi memoir? And if you were her publisher, what other topics would you want her to cover? Sound off below, and for all my Idol-related news and views, follow me on Twitter @EWMichaelSlezak.