The EEN has been producing contests throughout the country for the past 7 years. Our feeling is that contests are good for many ETA's for several reasons:
1. They allow new ETA's to perform for a large audience they would not be able to draw on their own,
2. They give the new ETA's a chance to watch experienced ETA's close up,
3. They allow all the contestants to come together and enjoy the camaraderie that is unavailable at small shows,
4. They allow experienced ETA's to "tune-up" their tribute,
5. They point out weak and strong points in an ETA's tribute.
I always tell the contestants to skip a contest for a paying gig; however, if they have nothing going, it's a great way to gain fans whether you win or not. I have a specific memory of an ETA that did not place in a contest. After the contest, an entertainment director of a casino came to me to hire this "loser" who ended up making 3 times what the winner received.
When we began to produce contests, Jerome Marion and I sat down and designed a judging sheet. That original sheet served as a basis for our present sheet. Each year, with input from fans, judges, and ETA's, we make changes. Irv Cass and Ronny Craig have given me valuable input to help make our judging criteria as fair as possible.
I might add that we do not use any judges more than twice at a venue. We feel that the ETA's deserve a chance to be judged by different people and get the benefit of many opinions. Our judges come from all walks of life - music teachers, fans, drama coaches. As a group, Ronny, Irv, Jerome and I go over all results after the awards have been given. If we find a judge that we feel is way "off-base," we simply do not ask that person to judge again. I might add here that judging is hard work and it is not made easy by the contestants who complain loudly after the fact. The judges have to have thick skin on top of their other attributes.
Here is the Judges' Handbook that we give to all our judges prior to them arriving at one of our events. We ask them to view as many videos as possible before judging and reacquaint themselves with Elvis' performances. After reviewing this Handbook and our judging sheet, please feel free to email me with questions and / or comments. We welcome your opinion.....
2. They give the new ETA's a chance to watch experienced ETA's close up,
3. They allow all the contestants to come together and enjoy the camaraderie that is unavailable at small shows,
4. They allow experienced ETA's to "tune-
5. They point out weak and strong points in an ETA's tribute.
I always tell the contestants to skip a contest for a paying gig; however, if they have nothing going, it's a great way to gain fans whether you win or not. I have a specific memory of an ETA that did not place in a contest. After the contest, an entertainment director of a casino came to me to hire this "loser" who ended up making 3 times what the winner received.
When we began to produce contests, Jerome Marion and I sat down and designed a judging sheet. That original sheet served as a basis for our present sheet. Each year, with input from fans, judges, and ETA's, we make changes. Irv Cass and Ronny Craig have given me valuable input to help make our judging criteria as fair as possible.
I might add that we do not use any judges more than twice at a venue. We feel that the ETA's deserve a chance to be judged by different people and get the benefit of many opinions. Our judges come from all walks of life -
Here is the Judges' Handbook that we give to all our judges prior to them arriving at one of our events. We ask them to view as many videos as possible before judging and reacquaint themselves with Elvis' performances. After reviewing this Handbook and our judging sheet, please feel free to email me with questions and / or comments. We welcome your opinion.....
Judges' Handbook
This handbook is NOT intended to influence your opinions in any way. It is merely an explanation of the different categories contained in our scoring sheet. If you have any questions during the contest, please feel free to consult with the contest promoter for either a clarification or a point of fact. Your judging time should be enjoyable and, perhaps, even a learning experience.
General Guidelines
The ETA's (Elvis* Tribute Artist) you will be judging have spent hundreds of hours trying to perfect their craft and thousands of dollars on costuming and travel to bring them here today. Please give them the respect they deserve by paying attention to each performer during his ENTIRE performance. We will try to give you sufficient breaks to be comfortable - but - if at all possible, do not leave during any contestant's performance.
We all have favorites and, after viewing the contestants, you probably will too. Please give the same amount of applause to each performer and do not ask to pose for pictures with any ETA.
Do NOT put your name on any score sheet. The score sheets will be given to the contestants after they are totaled and we do not want you to be bothered by any contestant questioning an individual score.
In each area of the country, each ETA has many fans. Because this contest is being held in an area where a particular ETA has fans, do NOT allow this to color your scoring. If we moved the contest, another ETA might have as many or more fans.
Please be VERY sparing in giving any perfect scores. In giving a perfect score, you are declaring that the contestant is an exact duplicate of Elvis*. Does a duplicate even exist?
Appearance
Costume - Fit and Authenticity - If this is a costume that Elvis* wore OR, a costume in the style that Elvis* wore, this category is an easy 5. It is intended to separate the "Halloween" outfits from the professionally constructed costumes. Please check out the fit of the costumes - Elvis'* costumes were fitted - not skin tight.
Resemblance to Elvis* - This is your personal opinion.
Body Proportion Related to Era - We all know that Elvis* was heavier in his later years. Compare the ETA's body type to the era he portrays.
Hair Style Related to Era - Elvis*' hairstyles ranged from a dark blond slicked back pompadour to almost shoulder-length jet black hair with huge sideburns. Be sure the ETA has chosen a hairstyle that is appropriate to the era he portrays.
Songs within Costume Era - The songs and costume the ETA has chooses must be from the same era of Elvis*' life. Songs from the concert years should be considered proper in any jumpsuit as it would be impossible to match each song to a particular jumpsuit. What you are looking for is the ETA in a 50's outfit singing "My Way" for example - out of era. If a contestant is singing movie tunes, one of his songs must come from the movie his costume represents.
Cleanliness and Neatness - Elvis* was meticulous in his grooming. Look for dirty costumes, scuffed shoes or boots, unkept nails, etc.
Accessories - This category brings in colors, jewelry, boots, etc. Make sure the accessories are in keeping with the era and costume the ETA portrays.
Performance
Movements & Choreography - Elvis* was superbly graceful whether he was moving to a song or simply walking across the stage. Are the movements the ETA makes ones that Elvis* used? Does the ETA move smoothly from one movement to another? Judge this critically against your memories.
Gestures & Mannerisms - Elvis* had many gestures and mannerisms that defined his performances. Please pay close attention to the ETA's hands, feet, facial expressions, and posture for authenticity.
Charisma & Showmanship - Elvis* had charisma in abundance. Judge each ETA's charisma and the way he appeals to the audience. The charisma should be natural and not forced.
Audience Interaction - Elvis* made eye contact with his fans and brought them into his performances. Watch for this ability in the ETA.
Audience Reaction - Watch for widespread reaction to the ETA. Small pockets of noise and/or clapping may signal a group of personal fans.
Vocals
Range related to Era - Range is the lowest note to the highest note that an individual can comfortably sing with correct control. The contestant should be judged on his ability to reach the range in the era he has selected to perform.
On Key - Being "on key" is hitting each note correctly and not being sharp or flat if not called for - being on pitch - in tune.
Memorization of songs - Elvis* was the ONLY one who could change the words of his songs. In a contest, the ETA's should sing the songs as Elvis* did them. If the contestant does not change the words or forget them, this is an easy 5.
Rhythm & Timing - Does the contestant have the same wonderful sense of timing as Elvis* did? Does he lag behind the music or, hurry his words
Sounds like Elvis* - Close your eyes and listen.
Entire "Package"
This is the overall impression you received from the contestant. During his performance, did you get a sense of Elvis*?
Finishing Your Scoring
Please do not take the time to add up your scores. We will take care of that. Be sure ALL the boxes are filled.
We thank you very much for your time and care!
Our convention in Chicagoland - Ronny Craig, Jerome Marion, Doug Church, and Irv Cass presenting me with a plaque.
The EEN group in Branson: Nance, Kathy Hood, Ronny Craig and Marie White
Elvis Tribute Artists Radio
Ladyluckmusic.com
The finals in Marquette, Iowa: Johnny Loos, Jerome Marion (Change of Habit Tribute Band), Aaron Moriarity, Dwight Icenhower, Ben Kline, Matt King, and Justin Edwards
