SIMON COWELL
Interview conducted by Patrick J.D. Kennedy

Simon Cowell recently became the first producer to simultaneously have the No.1 program in the United Kingdom and United States as "Britain's Got Talent" and "America's Got Talent" topped the TV charts in the same week. Cowell also is the creator and executive producer of "American Inventor" and "America's Got Talent" and serves as a celebrity judge on "American Idol," "Pop Idol," "The X Factor" and "Britain's Got Talent."



FRANK: How did the concept of "American Idol" come about?

SIMON COWELL: There was a show about the development of a pop group, called "Pop Stars," which came from Australia and hit the United Kingdom about six years ago. In fact, it showed in America as well, but there was a flaw in the format insomuch as there was no ending. It didn't take long to realize that a singing competition which actually had an ending, i.e., one person winning, would be a better show. The concept was sold about two months after "Pop Stars" hit the air.

FRANK: How would you describe the evolution of "Idol" since its inception in 2002?

SC: In terms of the show's spirit, I don't think it's changed that much. We initially tried to sell it as an American dream show, where one minute you could be a cocktail waitress and four months later you could end up the most famous person in America. So even though more people watch it now, "Idol" has stayed consistent throughout the years.

FRANK: Following up, how does one attain the American dream, given your experiences with "Idol"?

SC: The American dream is a fantastic thing. It's what makes your country so great. At the same time, [laughs] any dream is based on reality. On "Idol," we show that you can have a dream, provided that you're talented and prepared to work hard. So I think "Idol" shows the American dream in quite an accurate way: anything's possible, but you've got to have talent to do it.

FRANK: Why does "Idol" connect with so many people in the American public?

SC: Well, I still believe it's one of the only "real" reality shows on television today, because a lot of the so-called reality shows aren't real. "Idol" is a very basic reality show. We allow the viewer to look through the keyhole and see the audition process as it happens, which has never been done before. And when it comes to the latter stages of the show, you can't cheat what you're doing. That's one of the reasons why the show is still so successful. And I think it's politically incorrect, which is a good thing. I've learned that normal people don't like political correctness.

FRANK: Do you think that "Idol" having a strong democratic component, in allowing people to vote for the winner, adds to the show's success?

SC: Yeah, definitely. I think it's absolutely correct that we hand over the show to the American public. Part of the fun of "Idol" is that voting makes the result(s) unpredictable. Even though we get strange results some weeks, and it isn't always the judges' choice, I think it adds to the excitement of the show.

FRANK: Some truly awful singers have prospered in years past because of "Idol," the most famous being the (University of California) Berkeley student, William Hung. What allows someone with absolutely no singing talent, like William Hung, to become famous?

SC: Well, he did well for 15 minutes. There was a charm to William at the beginning, because he had a naiveté to him. And then suddenly you reached a point where he started to believe it, and that's when it all went wrong. But in America and Great Britain, we love an underdog story. But to this day, I don't know why anybody would have bought his record, because the whole point of music is enjoyment, and [laughs] there would be none from listening to his record.

FRANK: It seems that politicians, public servants and academicians can learn something from "Idol" and its ability to market itself to a broader audience. Given your experience in star development, if you were in charge of marketing a political candidate, how would you go about this?

SC: Let me say straight away, I would never go into politics. It can be very annoying when other people in my business go into politics. Having said that, what I've learned from being on "Idol" is that most people, whether in Great Britain or America, do not think in a politically correct way-thank God. I just talk in a normal language so that people at home understand what I'm saying, which is important in politics as well.

FRANK: What can a person running for office learn from how "Idol" connects to the "average" American?

SC: My advice for anyone in politics is to tell the truth and don't set yourself up to be a perfect human being. We all have our faults and weaknesses, but it's amazing how quickly an audience will accept you if you're honest. They will accept your faults as well. Sometimes when I listen to politicians speak, I think, why don't you talk to me like a human being, because then I'll understand you.

FRANK: Do you think there's a kind of cultural epidemic of over-politeness/tolerance in this country (U.S.)?

SC: Yes. I think political correctness right now is becoming an epidemic, and it's a problem. There are increasingly more rules coming into society, and if you create one rule, you then have to create another. The average person doesn't understand that, because it's basically somebody saying you must behave in a particular way, which is wrong.

FRANK: You certainly have the reputation of someone who is direct, apolitical and someone who people love to hate. Do you see yourself as you're depicted in the media?

SC: Well, I learned very early that you can't really complain when somebody writes something bad about you in the media, because we rely on the media to make our show successful. So we have to take the rough with the smooth, because you can't have it both ways. There's nothing worse than a whiny celebrity complaining about loss of privacy, when they've used the media to get successful to begin with. I find the whole thing crazy. In terms of how I'm depicted, I didn't go into this to be a television personality. I went in to be a judge on a talent show and to say on the show what I would in real life.

FRANK: There's been much debate on why the media is spending so much time covering Paris Hilton and Lindsay Lohan while neglecting more important world events. Who's ultimately to blame: the entertainers, the media or the viewers?

SC: The truth is we secretly love it. There's nothing more entertaining than seeing a successful [laughs] actress or singer having a public meltdown. It's like when you see a car crash on a freeway, and for some weird reason you always want to slow down and have a look. I don't know why, but we all do. That's why we use the expression "car-crash television." So when you see one of these people having a meltdown, it's fascinating to watch.

FRANK: Musicians at one time, like Bob Dylan or Chuck D from Public Enemy, were considered social activists. Does the music industry and musicians -as artists-still have a role to play in uncovering social realities?

SC: Yes, provided they're sincere. Bob Dylan is a very good example of someone who is incredibly passionate about what he believes. Unfortunately, today we've got so many instances where you have these massive concerts and pop stars preaching for social or political causes. But you wonder whether they're using it for publicity or whether they really believe it. I think the public is bored of pop stars en masse not practicing what they preach.

FRANK: How much do you contribute the success of rap artist Eminem to speaking about "deeper" social truths, or is it a matter of shock appeal?

SC: I think Eminem is fundamentally talented-super-talented. And I think he's got star-quality charisma. You're going to remember his records in 10 years' time. You can only create that kind of platform if your music's popular, and that's why he had that platform. Star quality first; social message later.

FRANK: Could you, or would you, take a politician who has a certain star power and market them through a record deal or a reality television show?

SC: Well, I heard Bill Clinton play the saxophone once. I'm not sure either they or I would want to do anything like that. I think they've got enough to keep them busy. Having said that, look, if you've got charisma, anything is possible. Now mind you, who did I see dancing recently and rapping?

FRANK: Was it Karl Rove?

SC: Karl Rove. Brilliant.

FRANK: I believe he called himself "MC Rove."

SC: "MC Rove." And people loved that. I really liked him for doing that. He showed himself to be a human being. Good luck to him.

FRANK: Simon, do you feel a moral obligation to produce something with more substance and intellectual vigor, since so many people watch your show every week?

SC: None whatsoever. My only obligation is to make the show entertaining for people who enjoy it. And I absolutely hate cultural snobbery. If people enjoy a type of show like ours, (that's) fantastic. If they prefer something which might be a bit more deep and artistic, they can find it somewhere else. The audience controls our show. That's it.

FRANK: How do you keep up with the trends of the music industry, given the fast-paced global marketplace today?

SC: These days, kids in particular talk more sense than adults, so you have to listen to them. You don't talk down to them. You literally listen. And that's one of the most important things you have to do when you're in my business, because teenagers today are more aware of things than I am. We draw a lot of our ideas from what we hear.

FRANK: Are there any music trends on the horizon that we should look for?

SC: No. And to be honest with you, it's very dangerous to predict trends. I think trends develop themselves, and then you can catch up with them.

FRANK: You've been in the music industry for a long time. As musical interests change, what are some of the characteristics of your industry that remain constant?

SC: Well, the music business is in decline at the moment, because there aren't as many good stars today as there were 30 to 40 years ago. There's no Elvis Presley today, no Frank Sinatra. But if they were around today, or their equivalent, they'd still be selling tons of records. So this business depends, as always, on quality. There's no one today who can touch Presley and Sinatra. So I don't think trends have changed that much. It's just that musicians aren't as good today as they once were.

FRANK: You faced bankruptcy, like many Americans, when you were 30 years old and were forced to live with your parents. How were you able to come back?

SC: Well, I came unstuck at a time when it was the trend to borrow money, and a lot of people, like myself, believed we owned things when in fact we didn't-we just owed a lot of money on them. Once I unburdened myself with my house, my car and other possessions, I didn't miss them. I've learned that debt literally traps you-it owns you. That's one of the largest problems today; people are in too much debt. I had to roll up my sleeves and gave myself 10 years of working very, very long hours. That's how I got it all back. I'm glad it happened to me, because it taught me a lesson.

FRANK: After "Idol" is finished, how will you continue to challenge yourself both personally and professionally?

SC: Well, publicly I'd never say what's next, but I still have to enjoy what I'm doing, and I still have to be competitive. I always want to be more successful this year than last-even if it's 10 percent more successful, I'm winning. I don't want to be in a position where I'm accepting a decline each year, because once I reach that point it's time to give up.

FRANK: As we prepare for another season of "Idol," what advice can you give future contestants?

SC: Confidence and originality are the two most important criteria. And obviously because of the numbers that attend, you've got to stand out in the crowd to be noticed by the producers. And then it's down to your talent. I can't give you any more advice than that.

FRANK: If I try out, will you take it easy on me?

SC: Oh, yeah. I'll take it easy.

FRANK: Yeah, it would be scary.

SC: I'm sure it would be, so please don't.