Another season of American Idol has come to a close, and I was thoroughly satisfied with this season’s winner, Taylor Hicks. It came as no shock to regular viewers of the show that he would win (he’s the first Idol never to have been in the bottom three), but it was a little surprising that Kat was his finale partner, barely edging out the more talented (in my opinion) but less polished Elliott Yamin.
I’ve been a regular junkie since Season One, and unlike with other shows, where my interest may wane after the first season or two, I’ve been hooked from the start. I’ve always been a fan of talent shows—like Star Search, back in the day—but this is different. So I started to breakdown the reasons for why the show seems to appeal to so many people. In a very big nutshell, here’s my top five reasons for why American Idol rules:
1) Karaoke is getting more popular. And what is Idol but glorified karaoke, except with a your own makeover and more Burt Bacharach songs than you can shake a stick at?
2) It appeals to old fogies and young fogies. It’s one of the few remaining wholesome family shows that both a crotchety old Grandpa and his punk, snot-nosed grandkids can watch together, and they can engage in family debate over whom to root for. The contestants, for the most part, are on the young side, but they sing those classics that your parents like.
3) Whether you love or hate the show, you still watch it. Even people who claim to hate the show still know the contestants and watch it to see how craptastic it can get. I know it’s really their guilty pleasure. And even the biggest of the big stars admit to being fans, as judged by their appearances in the audience, while the snottiest of anti-sellout stars must kowtow to the marketing muscle of Idol. (Where else would you find David Hasselhoff and Prince in the same building, ever?)
4) The show doesn’t take itself seriously. This is especially apparent in the opening rounds, when they show those first-round, tone-deaf hopefuls who are only one nervous breakdown away from a mental hospital. And I know an evil genius is behind making the Idols sing and dance on stage to cheesy 80s songs with fake plastic smiles plastered on their faces. Those bad song-and-dance numbers, cheesy Ford commercials, and vomit-inducing Idol power ballads are all proof that the show never puts forward the pretense of trying to nurture “artists who just want to express themselves.” It’s as if the producers are saying:
“If you want that hippie, commie pinko crap go to the Coachella music festival or cavort in the mosh pit with the ‘I’m not a lesbian or a gypsy, I just look like one,’ Vagina-Monologued, Lillith fair fans. This is American Idol, with the emphasis on Idol. We aren’t afraid of mass commercialization and the commoditization of society. Just look at the freakin’ Ford logos and Coca-Cola signs branded on the hides of our poor singers’ souls.”
And finally, the fifth reason, and the main reason why I like AI:
5) America, in the end, likes a good underdog story. And really, Idol is the epitome of the American Dream, a land where the impossible seems possible. Even when a polished, refined, and trained-from-birth star gets into the finals, America usually roots for the underdog, who is still talented but just rough around the edges. They see the diamond in the rough. In season one, they turned a cocktail waitress with bad skin into the most successful Idol ever (Kelly Clarkson is my hero. She survived the atrocious “From Justin to Kelly,” after all). In season two, the final two were a soul singer on the verge of a heart attack and a closeted Mad magazine character look-alike. In season three, the winner was a near-illiterate teenage mother. In season four, the cute but never-left-the-farm country girl got her Nashville dream. And this year, America chose not the porcelain-skinned, voluptuous, vocally trained, stage-mothered Kat—but the whiskey-tenored, prematurely greying, slightly paunched, spastically dancing, criminally record-ed (for pot possession), Tourette’s-like “Soul Patrol” screaming, and aging (by Idol standards) Taylor. A single tear is falling from my eye.
On top of all that, where else can someone like William Hung get a record contract? Nowhere but on American Idol!
So, American Idol, the New York Times may call you a
“monster-size celebration of mediocrity,” (as far as I could tell, the Idols were outsinging all the “real” stars on the show, i.e, the heaving Meatloaf, the breathy Toni Braxton, and the warbly Dionne Warwick—even Mary J. Blige seemed to think screaming could pass for singing), and the Washington Post may call your contestants
“Captain Kangaroo,” but I, for one, pledge my allegiance to your hidden brilliance.