Costumes are created for each song in their promotion cycle, as well as graduation events, and some groups have their own in-house costume designer. Idols generally perform in elaborate costumes for specific performances. Outfits AKB48 (pictured 2010) popularized stylized school uniforms as costumes. Common restrictions include not being allowed to smoke or drink in public, or pursue romantic relationships. Idols are seen as role models to the public, and their personal lives and image can sometimes be tightly controlled by their talent agencies. Another example is the leader, usually relegated to the oldest or most experienced member in the group, who acts as an intermediary for the members and the staff. One example of a role is the center, who occupies the center position in the group's choreography and thus receives the most focus. Within each idol group, the members are sometimes given distinct roles.
Many idol singers find success as groups rather than individually. Music from idol singers is generally categorized under J-pop, though talent agencies may label them under the sub-genre "idol pop" for further distinction. Likewise, many young Japanese artists pursuing careers in acting or music reject the idol label in their bid to be seen as professionals. Because of their manufactured image, idols are generally not regarded as authentic artists. Despite being trained in multiple roles in entertainment, idols in Japan are not expected to meet the high standards of performances that professionals in their fields do. Some talent agencies do not rigorously train their idols and market them as amateurs who will gain experience over the course of their careers and with support from their fans. Idols often spend time isolated from family and friends while enduring busy work schedules, with some agencies withholding job assignments from their talents and notifying them of work on short notice to prevent them from taking time off. This style of recruiting and training was pioneered by Johnny Kitagawa, the founder of Johnny & Associates, and has since been used in other pop idol industries such as Korean idols in K-pop. Idols are predominantly singers, but are also often trained in acting, dancing, and modeling. : 6–7 An idol's main objective is to "sell dreams", offering fans a form of escapism from the troubles of daily life. Idols are marketed for their image, attractiveness, and personalities. Talent agencies commercialize idols by recruiting preteens and teenagers with little or no experience in the entertainment industry, and market them as aspiring stars. Sub-categories of idols include gravure idols, junior idols, net idols, idol voice actors, virtual idols, AV idols, alternative idols, underground idols, Akiba-kei idols, local idols, bandols, and Japanese-Korean idols.ĭefinition Roles and training Īn idol is a type of entertainer whose image is manufactured to cultivate a dedicated consumer fan following. Japan's idol industry has been used as a model for other pop idol industries, such as K-pop. As more niche markets began to appear in the late 2000s and early 2010s, it led to a significant growth in the industry known as the "Idol Warring Period." Today, over 10,000 teenage girls in Japan are idols, with over 3,000 groups active. During the 1980s, regarded as the "Golden Age of Idols", idols drew in commercial interest and began appearing in commercials and television dramas. Japan's idol industry first emerged in the 1960s and became prominent in the 1970s and 1980s due to television. Idols are commercialized through merchandise and endorsements by talent agencies, while maintaining a parasocial relationship with a financially loyal consumer fan base. Idols are primarily singers with training in other performance skills such as acting, dancing, and modeling. Babymetal (pictured 2014), whose third studio album, Metal Galaxy, is the highest charting Japanese-language album on the US Billboard 200 chart.Īn idol ( アイドル, aidoru) is a type of entertainer marketed for image, attractiveness, and personality in Japanese pop culture.
0 kommentar(er)
