Are you ready for some "Idol?"

So as Cowell’s old show returns to FOX for its season opener, one wonders (well, at least this one does) whether it can keep its own ratings excitement going this year, without some new twists. (I would like to propose Exile Island, where they exile JLo and keep her there until she can stop self-promoting and give a daggone straight criticism after Hollywood Week.) But as far as I know, it’s status quo, with the same judges, same host and same Clown Town auditions – for you newbies to my “Idol” blogs, that’s my name for the early city auditions when idiots show up dressed as kung fu chickens or what have you. I find it awful filler, and I don’t love watching delusional idiots with over-indulgent parents losing their crap on TV. I can see that in the food court in the Boca Mall.

Also, I wonder what the fact of “The Voice” will do to “Idol” – I love the former show because they’ve already narrowed the field to the people who can legitimately sing and those who sing even better. We don’t have to deal with the idiots. I know some people like that because it works for “Idol.” But “The Voice” and its success has shown that some also like just focusing on the excitement of weeding the most talented from the talent pool.

So … what do you guys think? You watching it this year?

UPDATE: Questionable reality on ‘X Factor’: Simon Cowell insults local mom on video

Well, you gotta hand it to Fox – they’ve spared no promotional expense trying to convince the world that the American version of Simon Cowell’s “The X Factor” was the second coming of entertainment, that it’s a superior product to every other talent-stravaganza because of its focus on the entire star-making package.

And so far, it seems that the package is sorta phony baloney, over-hyped, melodramatic to an extent that would embarrass a telenovela, and, at least in one case, meanly misleading in its editing. I am refering to Dreamgirlz, a mother-daughter duo from Broward County who was seen singing Heart’s “Barracuda” in a choppy segment that showed about three seconds of the song from their Miami audition. All we saw was the judges saying that they didn’t think the act would sell, the dignified reaction of the ladies, and the undignified freakout of one of their family members, who got the usual bleeped-out tirade treatment as he stormed off.

The thing is, I kinda feel him that the whole deal was rigged, because if the Dreamgirlz sounded anything like they have when I’ve personally heard them, they weren’t rejected because of their singing. I’m gonna go out on a limb and say it – they were rejected because they’re both overweight and not cookie-cutter.

BECAUSE THEY’RE AWESOME.

I ran into them twice this summer at the Seminole Hard Rock in Hollywood, where I competed against the mom in the “Rock Out” talent show that ran for weeks over a series of Mondays. Neither of us won, but I remember her because  we were initially singing the same song, Journey’s “Separate Ways.” (I switched to Counting Crows’ “Rain King” because it’s the only other track I had on me because she got there first). And she was pretty amazing and powerful. But before the competition started, they let her daughter sing – she was too young to compete, but she was hoping audition for “American Idol” and her mother was trying to win so she could pay for the trip.

She, like her mother, was a powerful singer – every note was brilliant, and I remember being glad she wasn’t my competition. Of course, there’s no telling whether the two were just as good at their “X Factor” audition – nerves, sickness and just bad timing happen even to the best of us. But I suspect that wasn’t the case, because the show went out of its way not to really show them singing. There was the big opening note, one sentence in unison and then the patented Simon Cowell “No way” face. They didn’t want you to know how good they are, because it sells the story better that they’re just one more group of delusional people who don’t fit the prescribed view of what sells records, whose relatives can’t handle the truth.

It was tacky, Show. I know that those singers can do, but the world will never know. And yeah, they signed the same agreement everyone else did saying, I’m sure, that the producers can do anything they want to with your footage. But today they’re listed on a lot of blogs as terrible, and they aren’t.

Phooey.

A commenter on this very Web site had a funny response to the wire story we posted about Kara DioGuardi’s departure from the “American Idol” judges panel – “This show went the way of the buffalo the minute it went from talent to drama.”

What’s interesting is that this is the only comment, because there was a time where just typing the words “American Idol” on a blog netted you at leaat 10 immediate comments – five “I love what happened!” three “I hate what happened,” one “Who cares about this show?” and one yelling at the guy who says he didn’t care about caring enough to comment in the first place.

But now, in the middle of media-hyped speculation about who will replace former judges Simon Cowell and Ellen DeGeneres, the news that yet another judge has shuffled off this “Idol” coil rates one very “meh” response about why, essentially, everyone’s “meh” about this show.

And that’s OK – what show can maintain anywhere near the hype that “Idol” has for eight years? Very, very few. The commenter is right that the show’s taken a downward turn because in trying to shake things up, it’s focused on drama and head games (“Which of these kids is safe? We’ll find out…AFTER THE BREAK!”), dubious auditions and even more dubious casting choices rather than say “Can this person sing?”

Kara, a noted songwriter and producer who happened to write one of my favorite songs, “Taking Chances,” was supposed to help turn that around – she had unimpeachable credentials that would make her a good judge of talent. And I was thrilled that she was going to be an authoritative voice, like Simon, who had something Simon lacks – experience as a performer (I always thought that if he had ever had that experience of nakedly standing in front of a crowd being judged, he’d have a different perspective).

But Kara on paper didn’t really translate to the show – she came off snotty, like when she’d say “Look, we thought you were gonna suck but you didn’t!” or completely focused on whether she could sell the person rather than if they could sing (Her critiques often used the word “commercial” but didn’t explain what the singer could do to, you know, sound better). Her attempts to be warm came off insincere, which might not be her fault – sometimes you can’t help how you come across. But I’m not sorry to see her go.

To me, Kara’s biggest problem was that she wasn’t sure who she was supposed to be, which is, again, between her and the producers. She’s not Paula Abdul with her sparkly sunshine and clear contestant advocacy, and I think that when she tried to be cuddly it didn’t work. I wish she hadn’t tried, because nobody expects the male judges to be. Her credentials weren’t about holding hands. But her advice seemed to contradict itself, like Randy Jackson’s often does – they would complain that a singer needed to be more flexible, and  the next week complain that they weren’t staying true to who they were. While Randy’s way ot saying this was usually just matter-of-fact, Kara seemed often annoyed that the singers weren’t getting it. Just like a producer might do. But there’s a reason every producer isn’t also a TV star. Impatience isn’t fun to watch. There were no clear advocates on that panel last year, even though Ellen tried. And that’s not Kara’s fault. But I think she got blamed for it.

All in all, I just don’t know if Kara was ever a good choice for on-air punditry, because something in her, on camera, diminished her very real credentials. I think back to her first audition year, when Kara was confronted with Bikini Girl, a passable singer with a stank attitude who had more faith in her abs than in her vocal ability. When Kara tried to demonstrate why Bikini Girl’s version of “Vision of Love” wasn’t quote right, by singing it herself, it was an immediate wake-up call to the viewer that “Wait! The new girl can sing!” She risked coming off like a show-off, but I kind of liked it – she was saying to this girl, and to the viewers “I’m a pro, and I know what I am talking about.”

But at the finale, when Bikini Girl, who apparently had learned nothing, showed up in her bikini to sing again, Kara showed up looking better in her bikini and outsinging her, it was just awkward. And embarrassing – for Kara. This little goofy girl apparently didn’t have the self-awareness to know that she’s become a joke, and this adult woman who was supposed to be the professional came off looking needy, like she had to show up a younger woman to feel better about herself. What an ugly moment.

I have no idea who is gonna join the panel, and, like the commenter, don’t care as much as I used to. But I hope that it’s someone who is confident enough in their credentials and clear enough in their delivery to answer more questions than they create. And I wish Kara luck – this experience could translate into a great song, no?

People began lining up for wristbands outside early Thursday morning. By 9 a.m., supervising producer Patrick Lynn estimated there were upward of 10,000 people waiting in the nearly 90-degree heat.

Contestants are mixed on Cowell’s departure. Some are relieved they won’t have to face him; others wish they could get his critique.

Wristbands will be handed out Thursday and Friday, with auditions beginning Saturday.

There’s another difference this year — the minimum age for contestants has been lowered from to 15 from 16. Lynn says the success of tween sensation Justin Bieber is part of the reason.

Simon Cowell’s going-away party and the crowning of Lee DeWyze as the new “American Idol” brought more than 24 million viewers to Fox last week.

That was down nearly 5 million viewers from the audience for last year’s finale, the Nielsen Co. said Wednesday.

Cowell is leaving the show on which he was the defining character for a decade, although he will participate in a new game show with Fox in 2011.

The “Idol” conclusion and the increasingly popular “Glee” led Fox to win the week’s ratings race. The network averaged 9.7 million viewers in prime time (5.6, 10). CBS dropped to second with an 8 million average (5.1. 9), ABC had 6.4 million, NBC had 4.7 million (2.9, 5), and the CW and ION Television both had 1 million viewers (0.7, 1).

Among the Spanish-language networks, Univision led with 3.3 million viewers (1.6, 3), Telemundo (0.6 rating, 1 share) and TeleFutura (0.5, 1) had 1 million each, Estrella had 200,000, and Azteca had 160,000 (both 0.1, 0).

NBC’s “Nightly News” topped the evening newscasts with an average of 7.6 million viewers (5.1, 11). ABC’s “World News” was second with 7 million (4.7, 10) and the “CBS Evening News” had 5.3 million viewers (3.6, 8).

A ratings point represents 1,149,000 households, or 1 percent of the nation’s estimated 114.9 million TV homes. The share is the percentage of in-use televisions tuned to a given show.

For the week of June 24-30, the top 10 shows, their networks and viewerships: “American Idol” (Wednesday), Fox, 24.22 million; “American Idol” (Tuesday), Fox, 20.07 million; “Dancing With the Stars,” ABC, 19.36 million; “Dancing With the Stars Results,” ABC, 18.4 million; “NCIS,” CBS, 16.3; “Two and a Half Men,” CBS, 15.46 million; “The Big Bang Theory,” CBS, 15.02 million; “NCIS: Los Angeles,” CBS, 13.23 million; “Criminal Minds,” CBS, 12.97 million; “CSI: Miami,” CBS, 12.38 million.

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ABC is owned by The Walt Disney Co. CBS is owned by CBS Corp. CW is a joint venture of Warner Bros. Entertainment and CBS Corp. Fox and My Network TV are units of News Corp. NBC and Telemundo are owned by General Electric Co. ION Television is owned by ION Media Networks. TeleFutura is a division of Univision. Azteca America is a wholly owned subsidiary of TV Azteca S.A. de C.V.

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Online:

http://www.nielsenmedia.com

Fuller created the “Idol” franchise but sold his company to CKX Inc. in 2005.

CKX says it is evaluating the proposal and other strategic alternatives, but did say how much Fuller’s group is offering to pay. The company also owns the rights to the name, image and likeness of Elvis Presley and Muhammad Ali.

Fuller’s bid comes after a seven-year run for “American Idol,” which said goodbye to its famously caustic judge Simon Cowell on Wednesday.

While “Idol” remains the nation’s favorite show, it has seen audience erosion this season.

As Simon Cowell leaves the reality-show judge’s chair, his old foil, Paula Abdul, is coming back.

CBS said Monday that Abdul will be a judge on “Got to Dance,” a competition expected to make it on the air sometime next season. She’ll also be an executive producer for the series, which is based on a successful competition that airs in Britain.

Cowell is leaving “American Idol” after this season, concentrating on another show he’ll import from England. He had a love-hate relationship with Abdul, who left Fox’s top-rated game before the current season when she couldn’t reach a deal on a new contract. She’s been fielding other offers since then.

There’s no immediate word on when “Got to Dance,” which will feature various forms of dancing, will go on the air.

During a teleconference Friday, the tall, sweet-smiling Texan said he likes to think his appeal goes beyond what DioGuardi has described as his core demographic of women and girls.

James says he doesn’t regret taking his shirt off at DioGuardi’s request during his first tryout with the judges. He says it may have put him in the contest and he was then able to prove his talent.

The 27-year-old musician from Fort Worth made it to the top three before he was eliminated by the voting audience this week.

And given the general low-energy, low-stakes, “Yeah, whatever” attitude of this season, I guess it’s the right two.

I guess.

Is this over yet?

The fact that the pleasantly uninspiring Casey James made it within shouting distance of winning “American Idol” tells me that this thing needs an overhaul. The top three performances, which are usually exciting, were so “Meh.” They were like the high school rehearsal for the “American Idol” Top Three. When we’re this far along and we get impressed by people singing most of their notes correctly, there’s something wrong.

So we’re down to Crystal Bowersox, the soulfully resolute acoustic mama who bristles at criticism but can spin a love song as sweet and pure as cotton candy, and Lee DeWyze, the gruff and tumble kid with the bar crooner’s rasp, a million dollar smile and a penchant for surprisingly showy flourishes (brass bands, bagpipers).

I like them both. They’re the most consistent singers in the competition, the one’s most likely to deliver a performance that made you say “Wow!” Actually, they were usually the only ones, and when you can’t rely on your Top Ten to mostly be great, if not brilliant…well, it’s not good.

So, go Lee and Crystal. I’m pulling for Lee, mostly because he’s been the singer whose most given me chills with his arrangements, and the only one whose songs I’ve gone looking for on ITunes (the studio version of Shania Twain’s “Still The One?” I get goosebumps when he hits the key change.)

And “Idol”? Go do something about yourself. Really examine your contestant selecion, and ponder whether the current obsession with rubber stamping a commercial singer has sucked the excitement and artistic growth right out of the show. Ask yourself if some of the most interesting singers, even if they didn’t fit your desired demographics, weren’t jettisoned in the beginning by the judges, before America even had a chance to vote.

And consider whether any of the current judges are competent and compassionate enough to do the job without Simon Cowell balancing them out next year. He was the best thing about the panel, and he looked like Grandpa, bored, doing a crossword puzzle and waiting for his waffles half the time.

I’ll be watching the finale, of course. But I’m not confident that it’s gonna be exciting.

SPOILER. SPOILER. SPOILER. SPOILER.

This is the first week in quite a while, America, where I think your elimination voting actually reflected how the eliminated would=be Idols sang the night before, and not, presumably, how cute or popular they are and how much they remind someone of their grandkids or whatever.

Because, honestly, there are few people cuter and granddaughterly (?) than bootee Katie Stevens, a seemingly sweet youngster with a gorgeous, deep, rich voice and an ailing grandma that she dedicated her Idol pursuits to. The problem is that Katie, as talented as she is, was just never consistent from week to week. She never seemed to find who she was as a singer – I blame this partially on her youth (last year’s rock pixie Allison Iraheta was one of the few solid teen singers on this show, since she’d been singing at a department store since she was a zygote). I also blame the judges, who kept confusing her with their opinions about who they thought she was – “You’re a country singer! You’re a young, fresh pop singer! You’re a German torch singer in the style of the 1930s who focuses on folk tunes about cabbage!” Geezy biscuits, y’all. My favorite girl, Siobhan, earnestly told the judges on Tuesday that if she didn’t feel the need to pinpoint exactly what kind of singer she was, why did they?

The answer, of course, is the issue of Kara’s favorite word – “Commercial” – because they wanna market these singerlings like tin cans of shiny, and they want them thinking about that. But that also sometimes confuses them and, as Simon told other bootee Andrew Garcia, our other departed singer, can suck the cool right out of them.

Then why won’t you stop doing that, Show?

Andrew, in retrospect, may not have been as cool as we thought he was (yes, that hurts to even type. Oww. Oww. Fingers.) Like Katie, he had a great backstory – he’s a young husband and father, and his parents are former gang members who raised him for something better – and he had a “Wow” moment early with his funky acoustic take on Paula Abdul’s “Straight Up.”

So the judges sat back, waiting to be wowed again. All they got was “Woah,” “Wha?” and “Would you please not do that anymore?” And although I hope for better for Andrew in the future, his elimination was not only way past timely, but a sign that this show is working the way it’s supposed to. When it’s working, it starts with 12 really strong singers of different backgrounds and specialties, and eventually starts whittling away the ones who have a bad week, or bad weeks, or turn out to just be not ready for this kind of thing. That’s what happens in auditions for non-televised productions – sometimes the sure thing has a bad day, and some upstart shows up and takes the whole thing. And that, Show, is why it’s exciting. It’s no fun when you declare the winner on the very first show – it makes the audience feel like pawns and it can’t make the other singers feel very encouraged or talented. Better to let the weaker ones fall away on their own merit.

And sadly, Andrew was one of the weaker ones. I still think there are two other folks up there who had uncharacteristically good performances for them (Hi, Aaron! Hey, there, Bobby Sherman Urban!) who, if they aren’t careful, might start sucking up the joint again. Maybe last week was a turning point. I don’t think so. But if those guys turned it around and actually started earning their votes with their singing and not their youthful cuteness, that would be exciting, wouldn’t it?

SPOILERS. SPOILERS OF THE RESULT OF SOME RIDICULOUS VOTING.

Really?

Andrew Garcia is a better singer than Michael Lynche?

Tim Jonas Efron Urban is a better singer than Michael Lynche?

AARON KELLY? Great unholy harpies, that’s wrong.

Here’s the thing…taste and musical preference are subjective, so if you, the American voters value what those singers do more than what Mike does, then that’s your right. I don’t vote because I write about the show and feel that would be a weird line to cross. But I do have my opinion, and that opinion is that those singers are talented but in a shallow, limited sense. Michael Lynche has shown that he’s got a deep musical sense, that he can use his basic, strong voice and presence to tackle a variety of genres. Well. With, yes, some hambone-ness. But he’s awesome.

Well, I think he’s awesome. You might not. But why would you get rid of him, even if his style is not yours, in favor of people who just sometimes kinda sorta get it right? I was hoping that Simon and them might save him, and they did. But the scary thing is that they can only do it once. And if he goes before Aaron Kelly, or Andrew, and then the finale sucks and you’re like “Well, this was a mistake,” then that’s your fault.

If it’s the show you want, and it makes you happy, then that’s OK, too.

Hey, “American Idol” fans! When you buy tickets for this summer’s “American Idols Live!” tour, these are the singers you’re going to spend the evening with! Hope you like ‘em!

Usher is our R&B mentor as the Idols bring soul to the stage. Umm…I’m not sure how that’s gonna work with some of these people, but I got nothing but time, blog space and kosher wine (Happy Passover!), so bring it. He promises to be critical, and warns the singerlings that he might hurt their feelings a little if it means getting to the truth. I wonder if anyone’s gonna cry. Or punch him in the face and break his sunglasses. Guy, Corey Hart left the building 26 years ago. You can take the sunglasses off now.

Ryan takes some time to actually interview Usher about his album, live, and I wonder why everyone doesn’t get this sort of treatment. Interviewer Seacrest is the best Seacrest. This will be the best he gets all night.

Siobhan: Usher tells her he never would have thought she’d have that wonderful voice with which she is belting Chaka Khan’s “Through The Fire.” He also tells her, politely, to stop rocking Pippi Longstocking at the Coffee House. So instead, she’s here, live, channeling the cast of “Rome” at Lilith Fair. She doesn’t come close to hitting all of the notes, but she does something that most singers will tell you is harder than the money notes – she can sustain looooong notes, flawlessly, and digs into her gut and gives it. The judges tell her as much, and you can tell that Simon is so over this show. He’s had it with the booing, with Seacrest snapping back at him. He just wants to do his job, which is tell the kids what he thinks is gonna help them or hurt them, and then have them get out of his face and just let him drink his darned Coke, because what do you people want from him? Maybe a little more compassion? Whatever, Simon seems to be saying. That’s what Ellen’s for.

Casey: The blues are about soul, so Ponytail should have something interesting. And he does – Sam and Dave’s “Hold On, I’m Coming.” Usher’s impressed, and so am I, but then again, this is firmly in Casey’s wheelhouse. You know he’s known how to play this song since he was, like 17, so rather than come into this going “Holy Hecuba, what do I pull out of my butt?” he’s just perfecting it. He better blow this thing sky high…and he sort of does. I wanted it to be more urgent, more pumping, like the original. The guy is singing “Don’t worry about the crisis erupting in your life, because I’m there to save you.” This oughta be surging. And by the end, it is. Ellen thinks it’s a little safe, though, but I think she’s crazy. This is what he does. He’s not gonna pick an old blues song, just to prove that he can do something else? He’s old blues guy! It’s like inviting Babe Ruth to a home run derby and asking him to bunt, just to keep it fresh. Simon’s right – it’s one of his strongest weeks.

Big Mike: Here’s a zig-when-you-expect-a-zag moment, because you’d think that Big Mike would pull another Percy Sledge moment, but instead he’s doing india.arie’s “Ready For Love,” which is more on the Philly neo soul tip. It’s a gorgeous, understated song, and he brings all the control, maturity and calm to it that he wouldn’t appear to have when he’s being a big old showboat. He’s got what Siobhan has, with the perfect control, but even more sure. That was a performance you’d pay to see, that you’d buy on iTunes. He’s ready. Simon says it best – he’s demonstrated the difference between “having a moment and being a silly little karaoke singer.” Oh, I hope Simon’s driver is keeping the car running, because the minute this show is over, he’s grabbing that Coke cup and fleeing. I’d get out the way if I were in the aisle, because he’s not stopping. Sorry, Grandma.

Didi: Didn’t love her “What Becomes Of The Broken Hearted,” because she never felt sure of the notes. I got the searching and the loneliness, but it never connected. She got emotional with Usher during her mentoring, and he seemed to be thinking “Calm down, little one. It’s not a tragedy.” Simon says it’s old-fashioned, off-melody and just wrong. He’s a little harsh, but it’s nothing like the outright Barbara Walters Special-style flogging Seacrest gives her when he tries to get her to explain why the song moves her so much. She tries to sidestep it, to just say that she loves it and did what she could with it, but Seacrest won’t let it go. He finally says that she sang it to someone significant at some point, and that he’ll leave it at that. But it’s clear he doesn’t want to leave it at that, and he doesn’t sound benevolent and discreet when he says that – he just sounds like he backed her into a corner with a steamroller and is just resigned that he’s not gonna get anything else out of her. And then he does the most cowardly thing after the break – he notes that she’s all emotional, but doesn’t acknowledge that he practically poked her with a stick. Ugh.

Tim: He’s looking particular Zac Efron-ish today, as he lays his version of Anita Baker’s “Sweet Love” on Usher. Usher basically tells him that if he was singing to a woman, she’d throw up her hands and walk out because it wasn’t believable. To be helpful, Usher offers up himself as a fake lady to sing to. Tim’s not feeling that, and it’s clear by the time he sings that he hasn’t found another lady to sing to. Because man, is it bad. It’s so bad. It’s Bad’s big brother, come to the playground to pick a fight with anyone who messes with his bro. Simon has, perhaps, the night’s best criticism, that in cases like Tim’s, criticism means nothing. Tim’s gonna pick any weird song he wants, no matter what the suggestions are, and the folks who dig his fresh-faced self are gonna vote for him anyway. This is good for Tim. But not for music. We should not be giving “At least you were mostly on pitch” as a compliment at this stage in the game. There’s a national tour on the line, Son. Being on pitch should be one of the basic requirements of even getting in the door. Fail.

Andrew: Uh-oh. Chris Brown’s “Forever.” I can not tell you how many people suggested I have my wedding party boogie down the aisle to this, YouTube style, and how many of them seemed insulted when I was like “That’s the worst idea I ever heard.” Would I feel differently if it was just from a tape one co-worker had shown me from their cousin’s wedding in Boston and not a big Internet sensation, which instantly makes it insincere and cheesy if I copied it? Maybe. But that was still never gonna happen. Andrew, however, is not resting on cliche – he makes it his acoustic own. Good for him. But not good on Ryan, still heady from having made Didi cry, who tries to start a fight between Simon and Andrew’s mother, who Ryan calls “Mamacita.” Oh…and now we’re on to the ethnic stereotypes. Seacrest, you’re on a roll…down a hill where some angry people are waiting to bank you in the parking lot, as we used to say.

Katie: I am not looking forward to her “Chain Of Fools,” because almost no one does this song well on this show. But I am pleasantly surprised by her power, control and ability to make this more than a karaoke run through. She hits all the notes. She takes a running leap up that hill and lands on the moon. I liked it. Ellen likes her Snooki poof. Kara thinks she’s an R&B pop star but needs to keep it commercial. Simon thinks that’s ridiculous. I think it’s confusing to advise teenagers to be commercial, because that might seem to conflict with the advice they get to be authentic. Those two things don’t always go together, you know?

Lee: He’s doing “Treat Her Like A Lady” by the Cornelius Brothers. I wish he’d do some Blood Sweat and Tears, because he’s got that voice. I think it’s amazing, with a fluid, bluesy edge. But I’m steeled to hear that the judges just didn’t get it, because that’s sometimes what happens to Lee. He’ll sing his heart out, and Simon will go “Oh, Lee. You sing like you don’t like yourself and you have no personality and might as well be named Milk Q. Toast.” But…they agree with me? What’s going on with that? Simon says that when he watches it back, he’ll realize that this is the night his life changed forever. I don’t know – you recall that sometimes Simon comes back on Wednesday and says “I watched your performance back last night, and I was completely wrong. You weren’t all that.”

Crystal: Usher and Crystal are on the same page – she should put the guitar down and play the piano on “Midnight Train To Georgia,” which is my favorite song ever and something that the girls on this show usually get wrong. They’re just singing words in a song, and Gladys is ripping her heart out. Crystal, of course, can make an oldie seem like something she penned in her tear-stained journal on a bumpy box car ten minutes ago. She looks so sweet, young and vulnerable when she gets up from the piano, and so very classic and pretty. She’s proven it, ladies and gents. She’s proven that she’s not just Lilith. She’s an artist. This may be my favorite thing she’s ever done. Simon’s only issue is that the process and the advice she gets might suck her personality away. She promises that won’t happen, and she’s secure enough as an artist that she can probably make that happen.

Aaron: He’s doing “Ain’t No Sunshine.” Usher wants him to nail the “I know, I know, I know” part, because that’s when the singer is saying “I am aware that this is probably a bad idea, but this person is my whole world, so save your advice, because it’s too late.” I’m not crazy about the first couple of notes – it’s a little unsure. But he get better. Not much better. But some. Meh. That’s the sort of song you shouldn’t try unless you can nail it and he didn’t.

I would send Aaron or Tim home, but for some reason I’m worried about Andrew, even though he was great this week. What do you think?

…although it might have helped if she’d sung that well when it counted.

Yes, Paige Miles, whose tragic “Against All Odds” astounded everyone with the depths of its suckitude, was let go from “American Idol,” meaning that she won’t be in the Top 10, or on the tour. At this point, do you even care who’s on the tour? There’s little evidence that more than five of them are going to be worth watching for more than one song. It’s depressing.

And BTW…can we just admit that the judges made a horrible choice in the Top 24? That there were more mature singers that may not have hit their chosen demographics of young and swoony, but that could have been counted on to be professional and solid, and they were overlooked in favor of folks like Paige? Simon couldn’t even bring himself to pretend they were going to try to save her, because she knew they weren’t.

And the thing is – her sing-out to “All Right Now” was everything she hadn’t been in the last two weeks, which is fun, on-key, perky and engaged. I like that they can choose their swan song, so at least any scouts in the audience have something good to remember them by. But I wonder if she was thinking “Why didn’t I do something like this last night?”

We’ll never know. But when is this gonna get better? Can it?

This is gonna be a short one, because  the outcome is simple – Little Lacey Brown, let go because America apparently wasn’t thrilled with her version of “Ruby Tuesday.” For she did not change with every new day, and they’re not going to miss you.

I love when the theme provides you with a nifty way to sing people off the show.

I’m not all that sorry Lacey’s gone, although I thought that Andrew was gonna feel the fierce bump of the boot first. If he doesn’t get better, he’ll be following soon enough. I will note that I loved Simon’s trying to get serious with Seacrest about the weird uncomfortable moment between them Tuesday night when Seacrest got in Simon’s face about his criticism of Big Mike. Simon was totally right – it was uncalled for, crossed the line between host and judge, made the poor kid uncomfortable, and just ate up all the air time.

Then again, they’ve been pulling that crap for years, so why Simon suddenly tired of it now and started acting like he’s never been a party to any of these little squabbles is beyond me. Don’t get all superior now, Captain Judgery. I mean, you’re right. But changing the game and trying to shame Seacrest when he doesn’t appear to have gotten the memo is odd. I hope it ends here, because we’ve got 11 more people to get rid of, and it’s gonna be a looooong season if this keeps up.

BTW: Psst, kids. That guy David Cook who won two years ago? You see him do ”Jumping Jack Flash?” That’s how you do a cover – confident, fun, engaged and in tune. That’s what you wanna shoot for. Thing is, he was that good while he was a contestant, and almost none of you are. That’s a problem.

It was Rolling Stones night, but for some reason I couldn’t get Barry Manilow’s “Ready To Take A Chance Again” out of my head – “It’s all very nice, but not very good.”

Even though Kara kept referring to the Stones in the past tense, like they were dead people from olde Vaudeville times, Mick and the boys are still incredibly energetic performers, even with the health problems and addictions and shenanigans that should have killed them 40 years ago (and, perhaps, did – you can still not convince me that Keith Richards isn’t pulled together by fairie dust, bionics, and the engineers that do the figures at the Hall of Presidents at Disney).

So you would expect that relative zygotes on Idol would be a little more perky, bringing a little more oomph to the proceedings, but as Barry might say, a lot of it was just OK. Can you imagine what Adam Lambert would have done to Stones Week? There would be fire! I mean, Adam would be lighting things on fire. With a bazooka attached to the spikes on his shoulders.

The week benefited from the strength of the songs, which are some of the best ever written. But you need to bring it, children. And it has not been brought. It’s been driven over and kinda placed on the corner where somebody might stumble on it and bring it home if they have the right address. But not brought.

I have noticed, at least, that Simon Cowell seems a little more into it than he did in the beginning of the season, which for me means that he’s really serious about his critiques for the kids’ sakes and not into fostering reindeer games with Ryan, who got in his face about what he’d said about Michael Lynche’s performance. I wonder if he went to Seacrest after and said “Sorry, not playing with you today.”

Anyway, here’s how it shaped up:

Michael: People get so weird about him and the supposed pimpage of the situation with his wife giving birth while he was auditioning, and refer to it as being Gokey’d (Remember how Danny Gokey was accused of using his dead wife to score points last year?) You can’t prove that, and you can’t prove that Mike is doing it either. It’s what’s happening in his life – he didn’t force her to give birth that day. Deal with it.

Anyway, his “Miss You” is bluesy and soulful but never quite takes off like it should. I’m sorta underwhelmed this week, but he’s such a pro that he’s still enjoyable.

Didi: She’s wonderful, but her moves from “Playing With Fire” are nervous and a wee choreographed to the point where you can tell they are, you know? I dig her voice, and her interpretation, though.

Casey: Again, with the underwhelming. The choice to blues it up was wise, and he has that confident, strong voice. But it just seemed like he was singing at a coffee house rather than competing. Wake up, y’all! Kara’s awake, and she already has a job!

Lacey: See, “Ruby Tuesday” is one of my favorite Stones sogs, even though there’s a certain lethargy to the melody that can trip you if you don’t just invest in it. It was pretty and old-timey but missing something. I’m not happy.

Andrew: Aaack! It’s time for him to go home – The Rolling Stones should not be boring, kid. It was lethargic, quiet and dull. I guess “Straight Up” was all he had in his creative bag o’ tricks, huh? He’s sorta trying, But sorta is not good enough. Anyone notice that his mom kinda looked asleep in the video, too?

Katie: I desperately wanted her to go home last week, but “Wild Horses” may have granted her a reprieve. I forget how strong her voice is, and how well she does when she takes the reins of a song and commits to it.

Tim: OK, so reggae “Under My Thumb” was weird, but I liked it. He was trying something and he committed to it. The backup singers even seemed to be having a good time. Good on him.

Siobhan: Girl, I was all set to hate this, because “Paint It Black” is all pounding intensity, and she started it like Natalie Merchant trilling at Lilith Fair. But when it picked up, it was awesome. I like this girl so much. Dark horse, anyone?

Lee: He made “Beast of Burden” laid-back like “Waiting On A Friend,” which I love! As my sister pointed out, this song is crazy sexy, but since Lee is a grown up who owned it, that sexiness was organic. I dunno. The judges were meh. But I think he’s great. And his voice is butter fried butter.

Paige: “Honkey Tonk Woman” was better than I thought, which is to say that it wasn’t horrific. Didn’t we all secretly think it would be? She has a beautiful voice, and although some of the notes went way off the cliff like the mountain climber on “Price Is Right,” she was trying. And she was having voice issues, so that’s impressive.

Aaron: Color me stunned – “Angie” worked. He’s another one I’ve been advocating for dismissal, because he just hasn’t seemed to have earned his spot. Still, this was OK. His voice, again, is strong. They can all sing. But it needs more.

Crystal: She’s so good, so effortless, that it’s starting to be a little like Melinda Doolittle – there’s no excitement in perfection, in that much polish. I love how humble she is, that she’s said “Look, I know I’m good but I don’t think this is mine yet.” I look forward to her every week. And that’s saying something.

Overall, it was just OK. What say you?

On `Idol,’ Bowersox shines, 3 sink in judges’ eyes

“Newsday”‘s Verne Gay did a story recently (that re-ran in the Palm Beach Post, BTW) about how “American Idol” has lost its way a little this season, largely because it doesn’t seem to have a lot of heart anymore. And he placed some of the blame on what he considers Kara DioGuardi’s disingenuous judging style, where you don’t quite believe her when she tries to be supportive or sweet. Not to pile on, but after catching her act Tuesday, I think it’s more than not believing her niceness – it’s that I don’t believe her because she’s so dang wishy-washy. Last week she flipped on Michelle Delamor from one day to the next, and Tuesday, she praised Siobhan Magnus but then, when Simon didn’t like the song 15 second later, piled on.

It’s baffling. Seriously baffling. The whole point of Kara, I thought, was to add some credibility and some current hitmaking savvy to the panel, and she has some moments of clarity. But how credible is she when she’s waffling all the livelong day? Also, she’s still doing that maddening thing she started during the auditions where she says “When I found out you were singing this song I wanted you clapped in leg irons and locked under Space Mountain so you couldn’t murder music like you do, ’cause girl, you know you do. But after hearing you sing and realizing I still had the use of my hearing, I didn’t want to kill myself, so good for you!” When Simon leaves next year, I want him to take her with him. Never in a million years did I think I’d be pining for the succinct clarity of Randy Jackson.

Sigh. Anyway, we’re at the Top 16, with the ladies singing first. My sister, who watches this show every week like I do, reminded me of how sometimes the early structure requiring an equal number of men and women doesn’t do some singers justice, like in 2009, when the women were so much weaker. Still, there had to be the same number of men booted as women up until the Top 12. This year, the ladies appear to be stronger than the guys, and as Simon pointed out, there was no room to suck, even a little bit. Not that a few of them didn’t anyway.

Katie Stevens, “Breakaway”- Oh dear. She has such a pretty voice, but it was, as Randy noted, kinda karaoke and certainly boring. The chorus had some nice notes, but it didn’t soar, and the rest of it dragged, like she was following the backup singers rather than leading them. I don’t know how much longer she’s gonna be around.

Siobhan Magnus, “House of the Rising Sun” - Her voice is so pure. You just want to hear her sing, to see what she’s going to do with these words you’ve heard a zillion times. And she seemed to get what the song was about. Randy says nothing that makes any sense but “It’s hot!” Ellen was “captivated”. Kara tells her that she’s doing well “for someone who’s an unlikely character” which is that “You don’t suck like I thought you would” speak and makes me want to pour Coke on her head from the product placement cups. And then, after Simon wasn’t feeling it, Kara jumped in with “I don’t know what artist she is!” Wait, Waffle-O Joe. Didn’t you just say, in a backhanded sort of way, that you liked it? Crazypants.

Lacey Brown, “The Story” – I love her voice. I would buy this.

Katelyn Epperly, “I Feel The Earth Move” - Boring. Boring. Boring. Simon is right on – “It’s like request night.” At an airport hotel bar.

Didi Benami, “Rhiannon” - I loved that. The guitar plucking makes you really hear the words, including some I never heard distinguished with Stevie Nicks’ singing. It’s hard to make a song so identified with the original singer your own. But she’s done it. Bravo.

Paige Miles, “Smile” – Ooh. This was the most uncomfortable performance I remember on this show since Kevin Covais’ “Part Time Lover.” That one, at least, had a “WTF! I’m bring punked, right?” feel to it. This was just a case of a song emotionally and musically overwhelming a good singer who was way, way in over her head. This did not make me want to smile, though my heart was breaking.

Crystal Bowersox, “Give Me One Reason” – I normally cringe when I hear contestants sing this, because it’s not a very dynamic song, musically, and doesn’t give a lot of chances to show off ones voice if you’re not fantastic. And she is. The problem is that this is the first time I’ve seen her that I wasn’t blown away. She needs that “Wow!” moment, all the time. But she’s still the front-runner.

Lilly Scott, “I Fall To Pieces” – Dunno. Didn’t love it. I think she’s adorable and different. But just like with Crystal Bowersox, she’s gotta be careful that her quirk doesn’t become tired and tortured.

So…what say you?

Technically, this telephone press conference with Simon Cowell is a preview of the ninth season of “American Idol,” whose first live performances Tuesday start the season in earnest. But instead of focusing on beginnings, the acerbic Brit finds himself fielding questions about endings – specifically the end of Cowell’s tenure as the show’s go-to, no-nonsense judge of record.

“I want to go out on a high,” Cowell says. “This is my last season, and I want to be successful. We will do everything we can to make it happen.”

When “American Idol” began in 2002, singer Paula Abdul was the most well-known person on the judge’s panel, which also included Cowell and producer/musician Randy Jackson. A successful record producer in Great Britain who was virtually unknown in the United States,  Cowell became the judge whose opinion seemed to matter most to the contestants and to the audience.

Usually the last one to offer his opinion — “It’s always easy to be the last one rather than the first one” — he got the reputation early on of being the mean one, but eventually proved that most of the time, his stern demeanor was about telling the truth, because somebody needed to. And although subsequent reality shows have tried to copy Cowell, down to his Britishness, he’s proved hard to duplicate as he leaves to produce an American version of “The X Factor,” the world-wide phenomenon that launched singer Leona Lewis.

“You see this on a lot of shows, (where) people are put in to play a certain role,” he explains. “And it becomes quite tiresome. You have to find someone who can actually make confident (criticism) to the contestants, be honest and occassionally blunt, and not be gratuitously rude.”

Whether or not Cowell’s bluntness is just occassional is a matter of opinion, but he’s certainly not holding back on his thoughts about what producers should look for in his replacement. He dismisses the notion that a big star like Madonna would work, because she simply couldn’t be available as much as she would need to be, although he approved the suggestion of gossip blogger Perez Hilton, because “he has good taste in music.”

He acknowledges that shock jock Howard Stern “obviously wants the job,” but says that as far as he knows “there hasn’t been an approach for Howard to do the show,” no matter what the rumors say. And even if Stern had gotten an offer, Cowell explains, he doesn’t meet the requirements.

“(Musical experience) is really important. When we first started, (the judges) were a producer, an artist and an A&R man. That covered everything you need to do,” he says. “In simplistic terms, if you’re judging ice skating in the Olympics, if you’re gonna give a score, you need to know what you’re talking about … Howard doesn’t seem to fit any of those criteria — he’s played records, so maybe that’s a qualification. Good luck to him.”

Of course, it takes a reporter about two seconds to point out that Ellen DeGeneres, the newest judge, doesn’t exactly match those requirements either, which Cowell good-naturedly acknowledges: “I’ll tell you why she was a good choice. She is very responsible for (choosing) the people who perform on her show – and I’ve experienced that as a producer. She’s been an artist. I was talking about (the requirements) for my replacement. My role on the panel was as someone who has run a successful record label. (They’ve) got to know what they’re talking about rather than guessing. You can’t just criticize. You have to offer constructive criticism as well.”

Cowell also denies that he and DeGeneres have some feud brewing, which allegedly began when he was an hour late for Ellen’s first taping. Not only isn’t that true — he says he was running about 15 minutes behind due to an earlier interview – but “there was no fallout. I was trying to guide her through her first week … I wouldn’t say we didn’t get on well. I don’t know Ellen well, and it’s a difficult position for her. She started at Hollywood Week (after the other three judges).”

So that explains why he and DeGeneres have not, as of yet, developed the rapport he had with Abdul, who became not just a colleague but “my friend. We used to argue, but she was someone I got very close to. I always thought she was funny. But it’s like not having a friend on the show anymore. I do miss her.”

Just because Cowell is leaving doesn’t mean he’s phoning in this season. He says he’d like the show to be relevant, naming Lady Gaga as the mentor he’d most like to see this year, and says he wants the contestants to reflect that relevance — “I would love to find a Taylor Swift” — and to be memorable rather than just attractive.

“One season, every blond girl we had looked identical – you couldn’t tell them apart!,” he says. “It’s good we’ve got a mixed bag this year…It’s about remembering people. The problem is, most of the people you can’t remember. If you can, that’s a good place to start.”

One of the season’s most memorable performers was “General” Larry Platt, otherwise known as the “Pants On The Ground” guy from the Atlanta auditions. Cowell says that Platt, who is decades over the show’s age cap, demonstrates why he’s so excited about “The X Factor,” which has no such cap.

“There are a lot of older contestants that are really funny and interesting, somebody like him or Susan Boyle,” he says. “I’m thrilled for him. He needed a break, and it’s worked out well.”

How Season 9 of “American idol” works out remains to be seen, but Cowell promises that he’s still dedicated to making it as memorable and relevant as possible. And even after the end of the season, no one should miss him too much.

“I’ll still be around,” he says.

Paula – I take it all back.

Remember how everybody used to accuse the former “American Idol” judge (but forever your girl) of getting a little overly familiar with the male auditioners and contestants? That she flirted a little too much, and in some cases picked her tiny self up and flung herself over her product placement Coke cup right into their very young arms?

Well, as wacky as Sister used to get, I don’t ever remember her asking a hopeful to take his shirt off. But that’s what Kara did in last night’s Denver episode, raising her inappropriateness with the Bikini Girl rivalry right into hideousness. It was supposed to be funny, when she and Posh Spice asked this kid with a blusey voice and a ponytail to take his hair down. But saying “Take your shirt off?” Sleazy. If Simon and Randy had said to some girl “Take your jacket off and let’s see the goods”….well, even if they wanted to they wouldn’t do that. Harrassment knows no gender, y’all. I…well…it was sorta gross.

And that’s too bad considering that Denver had been shaping up to be my favorite audition city, because there were so many great singers that we got to see. I clarify it with “got to see,” because you know they hide the winners sometimes if there’s clowning to be had. Again, I felt sorry for the judges, because they get hit with so much garbage, vocally, that they don’t know until a singer opens their mouth whether they’re serious or, as Posh said, “wasting our time.”

And did I mention how much I love her? Because if anyone knows about packaging, it’s her – the Spice Girls were marketed down to their minis, and she’s a fashion icon and such, so she knows what to look for. Also, she just seems compassionate. She doesn’t suffer fools lightly – but she’s not a jerk about it. She and I seemed to have the same favorite singer in Denver – The kid who sang “Tempted” and attempted to explain his complicated childhood custodial situation. It was awkward, but I loved his voice, his song choice and how he just put himself out there.

Another straight-shooter – the lovely karaoke hostess, who sang “I’m The Only One” like her life depended on it. It was vulnerable and brave – quite like her. Hope she doesn’t fall apart.

Other highlights -

— When Mario with the weird laugh said “There’s always next year,” and you’re like, not for you, dude!

— Kimberly, with the sweet Ingrid Michaelson number.

— How Kenny, the “male Mary J. Blige,” just could not take no for an answer. What is it this year with these kids who are told no and keep singing, as if they must have heard the judges wrong? The thing about Kenny is that there’s a nice voice in there somewhere, but his failure to control his pitch, understand the concept of key and that awful tendency to go into melisma just sunk him. Also, he just doesn’t seem to have a good grasp on reality. Some vocal training and a bit of humilty might do him good. The only problem is that he’s so far up his own butt that he’d never think he needed it.

I’ve rather enjoyed this round of auditions. Must be the guest judges. Or the editing. But this is over soon, right?

LONDON (AP) — A British newspaper says singing sensation Susan Boyle was surprised by an intruder as she returned from recording a charity single for Haiti.

The Sun tabloid says Boyle, who shot to stardom on the back of her appearance on “Britain’s Got Talent” last spring, ran into the man as she returned to her home in the small Scottish village of Blackburn.

Local police did not directly confirm the report, but when asked about Boyle they said that they were called to Blackburn Tuesday night “following reports of a disturbance.”

Police said Wednesday that the unidentified man was detained and but has since been released. A representative for the singer could not immediately be reached.

And I loved Posh Spice – very composed, very sweet and wouldn’t take any guff from Simon.

Tonight…Mary J. Blige freaks out the ATL with her awesomeness. Can you handle it?

Cowell’s decision is the biggest threat yet to what has been the country’s most popular TV program and a true cultural force. This season, original host Paula Abdul has been replaced by Ellen DeGeneres.

But Cowell, with his caustic commentary, has long been seen as the big star of “Idol.”

He said it would have been difficult for him to do both shows. While he makes a reported $36 million a year to be on “American Idol,” he owns “The X Factor” and could make much more if the show takes off.

Cowell and top Fox executives made the announcement to reporters in Pasadena at a meeting of the Television Critics Association, saying they had reached an agreement only a few hours before.

“I was offered a lot of money to stay on,” Cowell said. “But that wasn’t the reason behind it. I wanted to do something different. I wanted a new challenge.”

Peter Price, chairman of the Fox Broadcasting Co., would not speculate on possible replacements for Cowell.

“We have to take our time on that,” Price said. “We have to make sure the chemistry of the judges is as good as it can be.”

Cowell said he didn’t want to leave “American Idol” at a time when it was fading in the ratings.

“You want to leave on a high,” he said. “I’m very proud of what the show has achieved.”

That is, until the next question.

“I know there are a lot of questions about Ellen, and the guest judges,” the male reporter asked. “But I think there’s also some contestants and some singing?”

Which cracked “The Dawg” right up.

“I like you!” said Jackson, one of the original judges of FOX’s entertainment-palooza. “…People get a little sidetracked…There are contestants, and this is a singing competition. It’s like ‘Wait a minute! Let’s focus on what we’re judging, which is about finding the next superstar talent!’”

It’s not surprising that so much of the interest was about the hype surrounding “Idol” and not the singing, as FOX spends a lot of time focused on that hype to advertise its still mega-popular show. It’s sometimes hard to remember that at the center of it all is the dangled carrot of worldwide musical stardom, and that lives are about to be changed.

But Randy apparently hasn’t, and even though he was happy to answer questions about the nuances of Joe Jonas’ judging style (Randy was impressed) or how auditioners reacted to being judged by the powerful, seriously talented Mary J. Blige (Randy says they were a little intimidated), he seemed most enthusiastic about the questions about, you know, the contestants and the singing.

“This is (shaping up to be) a unique cast. We have some singers who have some good bonafides, good stand-in-your-shoes singers without all the props and the affectations,” says Jackson, who, if anyone remembers, was a well-known producer, musician and one-time touring member of Journey before his “Idol” fame.

“It’s gonna be different, to see how it pans out once (the auditioners) get on the show,” he continues. “Once the show gets running, sometimes they crumble under nerves and everything. There are really some good singers this season.”

One of the things that surprised Randy, he says, is that there weren’t more auditioners who were either glam rock belters, like Adam Lambert, or earnest singer/songwriter types like winner Kris Allen — “Usually, whoever comes in one or two (in the finals), you have a lot of those types of people auditioning, like it’s a signal to everyone at home like ‘Now it’s time to try out for ‘American Idol.’”

What there was this year were enough talented female winners to perhaps net “Idol” its first female winner since Jordin Sparks won in 2007, he says – “I sat there last season like ‘Where are the girls?’”

And indeed, during last season, the finalists were overwhelmingly male. By the Top 8, there were only two female contestants left. Hopefully, Randy says, things will be a little more even this year.

I have to say out pleasantly surprised to find how much Randy seems to be about the music and the show and not about the fluffiness surrounding it, since his judging is often full of nonsense hyperbole (“Dude, dawg, that was molten lava Dominos pizza cheese hawt!”) or, even worse, seemingly about the show’s agenda rather than what he’d just heard (he would gush about apparent producer favorite Danny Gokey on nights when everyone else on the panel and in the blogosphere knew he was just, as Randy says, “A-ight.”)

And he spends far too much time booing Simon, which is ridiculous and juvenile. All of this is annoying and hasn’t a thing to do with the singers (and all that time wasted antagonizing Simon when there’s a kid standing up there having sung their heart out, is pretty disrespectful of that kid), and so I was happy to find that Randy, at least in interviews, is friendly and serious about what the contestants are going through.

For instance, someone asked Randy if he was ever annoyed at the number of time-wasting auditioners who show up each year knowing that they can’t sing.

“I am growing a little impatient. I mean, they’ve watched the show for, what is it now, eight years? And somebody great always wins the show, the Top Ten are all usually great singers,” he says. “What are they seeing that I’m not seeing? We’re not on the same page here.”

He also had some interesting observations about Ellen, who replaces original judge Paula Abdul, “who’s always near and dear to my heart,” he says.

“It’s gonna be a funny, interesting season, a lot of laughs,” Randy says. “(Paula’s absence) is gonna take a little getting used to, but we’re welcoming Ellen into the fold. It’s a good look. She’s funny, charismatic, and my home girl from Louisiana…It’s been talked about a bunch, but there’s her just being a die-hard music fan, and a performer and entertainer as well. She knows about that – that’s how she’s made her career. She brings the expertise of being a hugely successful person (who can) give the layperson at home’s view, give the at-home viewer a real voice.”

How successful that is remains to be seen, because I think the at-home viewer already has a voice, and since that voice has said “We like Sanjaya,” I’m not all that impressed with them sometimes. But Randy’s got a point. I’m excited to see how this all plays out. And how often he says “Dawg” and if he goes back to wasting time, booing Simon.

Simon Cowell’s brother says the next season of “American Idol” will be the judge’s last.

Tony Cowell said in his weekly podcast, “The Cowell Factor,” that a press statement was being prepared that would confirm that the acerbic British judge was leaving the popular Fox competition at the end of 2010.

Tony Cowell said his brother will concentrate on bringing his popular U.K. talent show “The X Factor” to the U.S. next year. The podcast has since been removed.

A Fox spokeswoman had no comment about the report. Messages left for Cowell’s spokesman were not immediately returned.

Simon Cowell's protege was beaten out for the top spot on the U.K. pop charts by Rage Against the Machine and the vocals of rapper Zack de la Rocha. (Getty Images file)

The people have spoken! And they won’t do what you tell them.

This week, Rage Against The Machine holds down the number-one spot on the British pop charts with their incendiary 1992 song “Killing In The Name”, beating out the debut song by Joe McElderry, the winner of this year’s X Factor.

Rage’s ascent to the top of the pops came as a direct result of a grass-roots campaign by a Facebook group, whose goal was to keep this year’s X Factor winner from taking the No. 1 spot during Christmas week, as has happened during the last three years. For those unfamiliar with X Factor, it’s the U.K. equivalent to American Idol — masterminded by the same guy, Simon Cowell.

This is actually the second year such a “coup” has been attempted – last year, the same Facebook group tried to keep X Factor winner Alexandra Burke from reaching the top spot by pitting Rick Astley’s “Never Gonna Give You Up” against her. They failed.

But with Rage’s more pointed lyrics – many of which can’t be printed here, but include “I won’t do you what you tell me” – the awareness of the worldwide media and the backing of some major artists (including Sir Paul McCartney), the Facebook offensive paid off.

Joe McElderry, the winner of 'The X Factor'. (Getty Images)

“Killing In The Name” sold 500,000 copies while McElderry’s cover of Miley Cyrus’ “The Climb” sold 450,000, according to New York Times blogger Dave Itzkoff.

According to the band’s Web site, Tom Morrello, Rage’s guitarist, wrote that if the single reached No. 1, the band will play a “huge free concert in the UK to celebrate the victory of this historic people’s campaign!”

Itzkoff writes that the band released a statement: “This is a huge victory by and for fans of real music and we extend our heartfelt thanks to every fan and freedom fighter who helped make our anthem of defiance and rebellion the Anarchy Christmas Miracle of 2009.”

'X Factor' winner Joe McElderry released his cover of 'The Climb earlier this week. (Ian Gavan / Getty Images)

Singer Joe McElderry won the 2009 version of Britain’s The X Factor — basically the U.K.’s version of American Idol.

McElderry became the sixth winner in the show’s history on Sunday, edging out Olly Murs for the title.

The most famous winner of X Factor is Leona Lewis, who has had worldwide success since the show. Other winners haven’t been nearly as fortunate so far outside the U.K.

Usually, the winners of X Factor see their first single become the top single in Britain the week following the season finale — Christmas week.

However, a campaign against McElderry’s single, a cover of Miley Cyrus’ hit “The Climb”, has been mounted by a group on Facebook. They are encouraging British music buyers to purchase “Killing in the Name” by U.S. rap-metal act Rage Against The Machine.

(For those unfamiliar with the song, one of the lyrics includes an unprintable expletive, followed by “I won’t do what you tell me.”)

X Factor creator Simon Cowell called the campaign “stupid.”

“I think it’s quite a cynical campaign geared at me that is actually going to spoil the party for these three (X Factor finalists),” Cowell told The Guardian before the final aired.

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