By Kara DioGuardi
Through the years, award-winning hitmaker, savvy checklist executive, winning song writer and previous American Idol judge Kara DioGuardi has labored with the best. Her songs were recorded via such superstars as crimson, Carrie Underwood, Britney Spears, Christina Aguilera, Kelly Clarkson, Gwen Stefani, Santana, Steven Tyler, Celine Dion and so on. yet good fortune wouldn’t have occurred for this songwriter, artist and manufacturer with out the darker instances of defeat. Now, during this daringly sincere memoir, DioGuardi finds every little thing she’s realized approximately dwelling, growing, loving, stumbling, selecting herself up back and finally succeeding. And, after all, she hares behind-the-scenes tales from her years on American Idol, together with the true fact approximately her departure from the show. Passionate, huge and humorous, A Helluva excessive observe inspires readers to discover, boost and keep on with their very own actual voice.
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Additional info for A Helluva High Note: Surviving Life, Love, and American Idol
Truth is, I was a “hyphenate” even back then—a creative and businessperson all in one. I knew it at an early age, so why the hell did I let others convince me differently? Ah, hindsight is always 20/20—I wish I’d bought shares in that little company named after a fruit a lot sooner too. I don’t even remember when I first realized I could sing, or more importantly, when my father first realized I could. It was probably in church. I was raised as a Catholic and Catholics are unfortunately forced to sing way too high at mass every Sunday.
I walked around my college campus like a zombie with just enough strength to pull myself together for class and not ruin my chances of getting into a decent grad school—the next rung on the ladder of success I’d set out for myself to climb. I was not the person then that I am today. I was lost; I was sick and I very much wanted to disappear. I let no one into this darkness. I just wallowed in it until finally I realized that I had to figure out what was going on inside of me, or what was the point of living?
My way of storytelling is truer to the art of songwriting than it is to penning memoirs because that’s what I know and do best. When you sit with the page—or with your collaborators, in the case of songwriting—you never really know what piece of your past, present, or future is going to surface. But it’s good to leave yourself open to the surprise. What will you tap into this time? An unresolved feeling about a parent? A letter you wish you had sent to a lost love but didn’t? Or a fear you thought was long dormant until it reawoke with a vengeance?