It worries me that young singers think you can shortcut the training and go straight to fame and fortune, and programmes like Pop Idol have encouraged that.
Being on stage is a seductive lifestyle. My advice to aspiring actors is think twice. People sometimes go into acting for the wrong reasons - as a shortcut to fame and fortune. If these goals are not attained, they feel a bitter disappointment.
For me, I've written and produced for pop singers, but, like, female pop - I love that. I think it's putting me in the game that I love girl pop. All my writing is inspired by it.
I recognise a lot of myself in these kids who enter shows like Pop Idol. It's very hard to get into the music industry and you have to take every opportunity that you can. Something like Pop Idol is a great opportunity but unfortunately, I think it's tainted by the people that make these shows.
I feel like a lot of pop singers hurt themselves if they don't have the proper training.
Since we launched the original 'Pop Idol' in England, I've remained close with Simon Fuller. Working as executive producer on 'American idol' for its first seven years not only was an inspirational journey into the heart of American pop culture, it opened my eyes to the untapped potential of the incredibly dynamic young people in this world.
I used to do Korean classical music and started training to join an idol group after someone set me up an interview with my current agency. The common thing between Korean classical music and becoming a singer is that I get to go on stage which why I decided to get professional training for K-pop music without holding any bias.
Even after you've won fame and fortune, every time you write you've got to write, there's no shortcut, you have to start your career all over again.
It is strange, but nobody is shocked when pop singers make a fortune in the space of two years.
A lot of the new people they choose on shows like 'American Idol' and things like that - I don't ever hear lead singers. They always seem to choose to pick people that are great singers, fabulous singers, but they've never got the voice that makes a great lead singer.
As a girl, I remember looking up to pop singers, and they all had long, straight weaves and light skin. And I thought, 'That's what I have to look like if I'm going to be fierce and sexy and all those things.'
My mum lives in Boston; she's famous for teaching wushu and t'ai chi. So from when I was young, my mum and aunt were like: 'You're training; you're not playing baseball or football.' Training every day was normal. Later, when I was almost a teenager, Bruce Lee became my idol.
Society, magazines, posters, music videos, investment bankers. A lot of times, in my past anyway, looking within wasn't overly encouraged. Pretty much everybody proclaimed that fame would give me power and fortune.
We did the original 'Pop Idol,' so I don't think we could go back to do a singing show.
I had four or five years in school training as a soprano. I fell into pop singing because of economics. I got out of high school and had to go work, and they weren't hiring opera singers.
It's not that I'm not grateful for all this attention. It's just that fame and fortune ought to add up to more than fame and fortune.
Pop Idol, X Factor, Fame Academy, there's so much talent out there. It's great to see people getting the chance to show their potential