And “Idol,” like that early programming, was intended to be “appointment television,” bringing families together at the same time every week. The show’s conspicuous commercialization recalls the earliest days of television, when programs were owned and produced by advertisers. There is something distinctly American about contestants standing in a Ford-sponsored spotlight, judges sipping from Coca-Cola glasses, and viewers sitting in front of television screens texting their votes on AT&T phones. In fact, British entertainment executives Simon Fuller and Simon Cowell – who shepherded in a 21st-century version of the “British Invasion” – fashioned their juggernaut show as a new take on old business models. In one sense, “American Idol”’s format was nothing new. “American Idol” has also served as a course in American music history, featuring discrete genres like Southern soul and Southern rock, together with newer, blurrier categories like pop-country and pop-punk.
For others, such as William Hung, their televised rejection brought fame and opportunity anyway.įor contestant William Hung, fame blossomed out of failure. Many singers needed to audition year after year before they earned their chance to compete. The show has celebrated failure as both a necessary stumbling block and a launchpad to fame. Meanwhile, the many “Idol Gives Back” specials remind us of American philanthropic values. Meanwhile, it served as a stage for patriotic passion, broadcasting two performances of Lee Greenwood’s “God Bless the U.S.A.” when the United States entered Iraq in 2003.
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It has demonstrated how to rely on faith in the face of hardship, exemplified by Fantasia Barrino’s victory song, “I Believe,” performed with a gospel choir. The show has shown us archetypes of immigrant narratives, like when Season Three contestant Leah Labelle spoke of her Bulgarian family’s defection to North America during Communist rule. Indeed, decades before host Ryan Seacrest handed out his first golden ticket to the first golden-throated farm girl waiting tables while waiting to be “discovered,” we’d been going to Hollywood in our dreams and on screen.
Then there was the American Dream catchphrase – first coined in 1931 by James Truslow Adams in his book The Epic of America – that promoted an ideal of economic mobility during the hopeless years of the Depression. This national narrative includes the dime-novel, rags-to-riches fairy tales of Horatio Alger, which were intended to uplift Americans struggling to get by after the Civil War.
“American Idol”‘s premise – the idea that an ordinary person might be recognized as extraordinary – is firmly rooted in a national myth of meritocracy. The timing was significant, because since its premiere on June 11, 2002, the show has become an integral part of the country’s coping strategy – a kind of guidebook for our difficult entry into the 21st century.īy carefully curating a distinctly American mix tape of music, personal narratives and cultural doctrine, “American Idol” has painted a portrait of who we think we are, especially in the aftermath of tragedy, war and economic turmoil.Īs the show concludes after 15 seasons, it’s worth looking at how the past and present collided to create a cultural phenomenon – and how we’re seeing shades of the show’s influence in today’s chaotic presidential race. “American Idol” was “born” exactly nine months after 9/11.
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