Japanese idol
Template:Short description Template:Good article Template:Use dmy dates Template:Multiple image An Template:Nihongo is a type of entertainer marketed for image, attractiveness, and personality in Japanese pop culture. Idols are primarily singers with training in other performance skills such as acting, dancing, and modeling. Idols are commercialized through merchandise and endorsements by talent agencies, while maintaining a parasocial relationship with a financially loyal consumer fan base.
Japan's idol industry first emerged in the 1960s and became prominent in the 1970s and 1980s due to television. During the 1980s, regarded as the "Golden Age of Idols", idols drew in commercial interest and began appearing in commercials and television dramas. 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. Japan's idol industry has been used as a model for other pop idol industries, such as K-pop.
Sub-categories of idols include gravure idols, junior idols, net idols, idol voice actors, virtual idols, AV idols, alternative idols, underground idols, Template:Transliteration idols, local idols, bandols, and Japanese-South Korean idols.
DefinitionEdit
Roles and trainingEdit
An idol is a type of entertainer whose appeal centers not only on performance but also on emotional accessibility and growth. In Japan, idol careers often begin in adolescence, with many young people entering the industry through public auditions, local performance circuits, or school-based activities. While some are scouted by talent agencies, others self-produce or join independent groups known as "underground idols."<ref name="Kazuki2014">Template:Cite book</ref> Rather than focusing solely on technical proficiency, idol culture emphasizes attributes such as effort, sincerity, and the emotional connection between performers and fans. According to sociologist Ryuji Inamasa, Japanese idols constitute "a uniquely developed media culture phenomenon" grounded in postwar youth identity and collective media consumption.<ref name="Inamasa1999">Template:Cite book</ref> Cultural critic Shūhei Kaneko defines an idol as "a person who shares their growth process with fans, and whose presence itself is a source of value and inspiration."<ref name="Kaneko2015">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
Idols undergo years of training in singing, dancing, or acting.<ref name="Galbraith2012">Template:Cite book</ref> These careers are often seen not only as entry points into entertainment, but also as important avenues for self-expression, discipline, and character development within Japanese popular culture.<ref name="Kazuki2014" /><ref name="Kaneko2015" /> While idols may offer fans inspiration or emotional support, particularly through the idea of "selling dreams", this concept in Japanese culture often conveys themes of hope, growth, and perseverance, rather than simple escapism.<ref name="Galbraith2012">Template:Cite book</ref> Idols are predominantly singers, but are also often trained in acting, dancing, and modeling.<ref name="cnn 2012-05-03">Template:Cite news</ref><ref>Template:Cite book</ref><ref>Template:Cite book</ref><ref>Template:Cite book</ref><ref name="Japan at the Millennium">Template:Cite book</ref><ref name="Historical Dictionary of Postwar Japan">Template:Cite book</ref><ref name="japantimes 2009-08-25">Template:Cite news</ref> 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.<ref>Template:Cite news</ref><ref name="japantimes 2019-07-10"/>
Anime News Network described the idol industry as highly demanding, with busy schedules that can limit time for personal life or family connections.<ref name="ann 2018-09-03">Template:Cite news</ref> Certain talent agencies have been criticized for withholding job assignments or notifying talents of work on short notice to discourage time off.<ref name="gq 2019-03-05"/> Additionally, some agencies intentionally recruit individuals with limited experience and market them as relatable or "unfinished" figures, encouraging fans to support them as they grow.<ref name="koreatimes 2018-07-03">Template:Cite news</ref><ref name="Japan Pop!"/><ref name="japantimes 2016-01-26"/> Idols are often not expected to meet the same performance standards as other professionals in their respective fields of entertainment,<ref name="koreatimes 2018-07-03"/> but they are appreciated by fans for qualities such as sincerity, effort, and emotional expression rather than for perfection.<ref name="Galbraith2012"/>
Music from idol singers is generally categorized under J-pop,<ref name="ru-emb-japan-pop">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> though talent agencies may label them under the sub-genre "idol pop" for further distinction.<ref name="Japan Pop!">Template:Cite book</ref><ref name="avclub 2014-07-18">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Many idol singers find success as groups rather than individually.<ref name="bbc 2017-06-30"/> Within each idol group, the members are sometimes given distinct roles. One example of a role is the center, who occupies the center position in the group's choreography and thus receives the most focus.<ref>Template:Cite news</ref> 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.<ref>Template:Cite news</ref>
Public imageEdit
Idols are often promoted based on their personality, charm, and relatability, with a strong emphasis in Japanese culture on emotional sincerity, perseverance, and visible growth.<ref name="Kazuki2014" /><ref name="Inamasa1999" /><ref name="Kaneko2015" /> Some talent agencies set behavioral guidelines for their performers, such as discouraging smoking or public romantic relationships, as part of sustaining an image that symbolizes hope, personal growth, and the trust-based connection idols often share with their fans.<ref name="Kazuki2014" /<ref name="Tajima2022">Template:Cite book</ref> Some idol groups have colors assigned to their members to distinguish them to the public, a practice that was drawn from the Super Sentai series.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
OutfitsEdit
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Idols generally perform in elaborate costumes for specific performances.<ref name="buzzfeed 2017-04-05">Template:Cite news</ref> 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.<ref name="buzzfeed 2017-04-05"/> AKB48, in particular, has had over 1,102 costumes created for the group since 2017.<ref name="buzzfeed 2017-04-05"/> The outfits worn by female idols are generally described as "cute",<ref>Template:Cite news</ref> while outfits worn by male idols are described as "cool."<ref>Template:Cite news</ref>
Among many idol groups, school uniforms have been used as a standard costume.<ref name="ntm 2017-08-29">Template:Cite news</ref> The integration of school uniforms in the idol industry originated from Onyanko Club, who debuted in 1985 with a concept based on school.<ref name="ntm 2017-08-29"/> Following their disbandment in 1987, other groups began adopting school uniforms as costumes, such as CoCo and Ribbon, two groups put together by Fuji TV's audition programs, followed by Template:Ill in 1992 and Morning Musume in the early 2000s.<ref name="ntm 2017-08-29"/> When AKB48 debuted in 2006, the group used a school concept and the members have performed in various stylized costumes based on school uniforms.<ref name="ntm 2017-08-29"/> Since then, other groups have used stylized school uniforms as costumes, such as AKB48's sister groups, Sakura Gakuin, and Sakurazaka46, with some modifications to suit the groups' image and choreography.<ref name="ntm 2017-08-29"/>
In 2017, Nihon Tarento Meikan noted that stylized school uniforms being used as costumes gained popularity through AKB48 due to their unique designs, the short skirts, and the neatness of the uniform.<ref name="ntm 2017-08-29"/> The uniforms found popularity with men, as they represent their "eternal longing" and nostalgia for high school, while only gaining popularity with women in the 2010s through anime.<ref name="ntm 2017-08-29"/>
GraduationEdit
In Japanese idol culture, the term "graduation" (卒業, sotsugyō) refers to an idol's planned and often ceremonial departure from a group. Unlike terms such as "retirement" or "withdrawal," which may carry negative or abrupt implications, graduation is widely recognized as a positive rite of passage and part of the expected life cycle of idol activities.<ref name="oricon2016">Template:Cite news</ref>
Graduation ceremonies often include farewell concerts, commemorative merchandise, or personalized send-offs organized by the group or agency. The concept gained cultural visibility in the 1980s with groups such as Onyanko Club, where the school-themed branding inspired the use of "graduation" for members leaving the group. It was later popularized again in the 1990s and 2000s by producer Tsunku for the group Morning Musume, whose rotating membership structure embraced the idea of members "graduating" to pursue other aspirations.<ref name="oricon2016" />
Although some idol departures may still be sudden or tied to scandal, the term "graduation" is typically reserved for departures that are celebrated or announced in advance. Media commentators have noted that graduation is often seen more favorably by fans and industry professionals than contract termination or quiet withdrawal, which can carry connotations of disapproval or unfinished business.<ref>Template:Cite news</ref>
Sub-category marketsEdit
The diversity of Japan's idol industry has created several sub-category markets, each with a specific concept appealing to certain audiences.<ref name="chuokoron 2015">Template:Cite magazine</ref>
- Template:Nihongo: AV (adult video) idols generally refer to pornographic actresses and models, with the industry first emerging in the 1980s.<ref name="AshcraftUeda2014">Template:Cite book</ref>
- Template:Nihongo: Bandols are idol groups that play instruments and perform as bands. The term first emerged in the 2000s as a shortening of the phrase, Template:Nihongo, which was used to describe the marketing concept of the band Zone.<ref>Template:Cite news</ref><ref>Template:Cite news</ref><ref>Template:Cite news</ref>
- Template:Nihongo: Gravure idols are models who pose in provocative swimsuit and lingerie photographs in magazines and photo books marketed towards men, similar to pin-up models.<ref name="ann 2018-01-17"/> In the 1970s, Agnes Lum, who rose to fame in Japan, is considered the first gravure idol despite the term not existing at the time.<ref name="oda 2011-04-20">Template:Cite book</ref> Other notable swimsuit models were Template:Ill, Template:Ill, and Fumie Hosokawa.<ref name="oda 2011-04-20"/> After Akiko Hinagata became a rising star in 1995, the term "gravure idol" was coined to describe her.<ref name="oda 2011-04-20"/> In the 2000s, there was a significant growth in the gravure idol industry,<ref name="oricon 2018-04-22"/><ref name="natalie 2020-05-26"/> with many women of different body types modeling.<ref name="oda 2011-04-20"/> This led to sub-category markets in the gravure idol industry to describe their aesthetic and body types, which included Template:Nihongo, Template:Nihongo, Template:Nihongo, Template:Nihongo, and Template:Nihongo.<ref name="oda 2011-04-20"/> The gravure idol industry faced a decline in 2010 due to the popularity of AKB48, as some of their members also did gravure modeling; as a result, the demand for newer talents was reduced.<ref name="oda 2011-04-20"/>
- Template:Nihongo: Since the 1970s, several voice actors of anime and video games also held successful singing careers in addition to voice acting.<ref name="tokyo school of anime 2019-01-04">{{#invoke:citation/CS1|citation
|CitationClass=web }}</ref><ref name="oricon 2008-07-02">Template:Cite news</ref> Early examples of voice actors who had an idol-like presence were Mobile Suit Gundam voice actors Toshio Furukawa and Toru Furuya in the 1970s, who gained a sizeable female following after forming their band, Slapstick.<ref name="tokyo school of anime 2019-01-04"/> In the 1980s, idol singer Noriko Hidaka eventually became a voice actress after gaining recognition for playing lead in Touch.<ref name="tokyo school of anime 2019-01-04"/> Beginning in the 1990s, several voice actors held successful concurrent singing careers alongside of voice acting, such as Hekiru Shiina, Mariko Kouda, and Megumi Hayashibara.<ref name="tokyo school of anime 2019-01-04"/> As the anime industry began producing more late-night series in the 2000s, the term "idol voice actor" was popularized when more voice actors with a cultivated fan following began appearing on television.<ref name="tokyo school of anime 2019-01-04"/> While previous examples involved voice actors who incidentally drew in fans through their singing careers or former idol singers who turned to voice acting, Yui Horie, Yukari Tamura, and Nana Mizuki were intentionally produced and marketed as idol voice actors by their record labels.<ref name="tokyo school of anime 2019-01-04"/><ref name="oricon 2008-07-02"/> Around the time when the Idol Warring Period was occurring during the mid-to-late 2000s, there was a significant boom in idols voice acting in anime, with Oricon naming Aya Hirano and Koharu Kusumi as examples, as both of them were established actresses and singers in mainstream Japanese entertainment before entering voice acting.<ref name="oricon 2008-07-02"/> Hirano, in particular, was strongly marketed as an idol at the height of her voice acting career, from the late 2000s to the early 2010s.<ref>Template:Cite news</ref> While character song tie-ins were already common in the film industry by then, some voice actors also began making crossover television, stage, and concert appearances as their characters as well, leading them to be closely associated with one another.<ref>Template:Cite news</ref>
- Template:Nihongo: While Japan and South Korea agencies have created collaborative idol groups in the past, with Route 0 in 2002,<ref name="aera 2019-02-21">Template:Cite news</ref> during the third Korean wave in the mid-to-late 2010s, the term saw usage again to refer to collaborative idol groups promoting primarily in Japan, but with music, styling, marketing, and presentation produced in the K-pop industry.<ref>Template:Cite news</ref><ref>Template:Cite news</ref> The earliest example is Iz*One in 2018, followed by JO1 in 2019 and NiziU in 2020.<ref name="yonhap 2020-07-13"/>
- Template:Nihongo: Male idols contracted to Johnny & Associates are nicknamed "Johnny's idols" by the media and include groups such as SMAP and Arashi, who have led strong careers both individually and as a group.<ref name="japantimes 2009-04-14"/> Since the company was founded in 1962 by Johnny Kitagawa, who is credited for pioneering the idol trainee system and popularizing the performance aspect of modern idols, the company has held a monopoly over the male idol industry in Japan, with Kitagawa pressuring the media to reduce coverage on male idols from other companies until his death in 2019.<ref name="japantimes 2019-07-10"/><ref name="variety 2019-07-18">Template:Cite news</ref> Johnny's idols also rarely get negative press such as scandals due to Kitagawa's influence on the media.<ref name="nytimes 2000-01-30">Template:Cite news</ref>
- Template:Nihongo: Junior idols are singers and gravure models who generally are 15 years old and younger. Junior models first grew in popularity in 1995, when child magazine models became popular for their youthfulness and innocence, beginning with the elementary school girls featured in the covers of the magazine Panja.<ref name="saito 2021-06-20">Template:Cite news</ref> In addition, in 1997, the magazine Nicola was launched, featuring elementary and middle school girls as their core demographic.<ref name="saito 2021-06-20"/> At the center of the phenomenon's popularity were Sayaka Yoshino and Yuka Nomura, child actresses and models who became popular in Japanese media.<ref name="saito 2021-06-20"/> In the following years, it led to what the media named the Template:Nihongo, with the term "chidol" (a combination of the words "child" and "idol") coined by journalist Akio Nakamori in the magazine Weekly Spa! in 1999.<ref name="itmedia 1999">Template:Cite news</ref> In the 2000s, "chidol" saw fewer usage, and it was eventually replaced by the term "junior idol" to legitimize them as part of the idol industry as well as removing the focus on their age.<ref name="metropolis 2009-07-08"/> While the industry is still considered legal in Japan,<ref name="japantimes 2007-05-03"/> it has been criticized for sexual exploitation of minors.<ref name="nytimes 2011-02-09"/><ref name="thejakartapost 2018-01-27"/> Many junior idol distributors closed after possession of child pornography was outlawed in Japan in 2014.<ref name="tokyosports 2015-02-07"/>
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- Template:Nihongo: Also written as Template:Nihongo and Template:Nihongo or shortened as Template:Nihongo, local idols primarily promote in rural areas in their specific communities, where accessibility to celebrities is limited.<ref name="natalie 2021-02-04">Template:Cite news</ref> The emergence of local idols was traced back to the early 2000s with Perfume and Negicco.<ref name="natalie 2021-02-04"/> The "Idol Warring Period" in the 2010s led to an increase in the number of local idols, with the 2013 television drama Amachan inspiring an accelerated growth.<ref name="natalie 2021-02-04"/> Journalist Mamoru Onoda estimates there are approximately 2,000 local idols active as of 2021.<ref name="natalie 2021-02-04"/> Most of the local idol groups are independently managed, relying on popularity through word-of-mouth.<ref name="natalie 2021-02-04"/> Several local idol groups who have crossed into mainstream media in the 2010s are Rev. from DVL and Dorothy Little Happy, the former after a photo of then-member Kanna Hashimoto went viral on the Internet.<ref name="oricon 2014-03-08">Template:Cite news</ref>
- Template:Nihongo: Net idols are Internet celebrities who emerged with the accessibility of the Internet in the 1990s, using self-made websites and blogs to discuss their daily lives.<ref>Template:Cite news</ref> Net idols currently conduct the majority of their activities through video streaming websites and social media beginning in the 2000s. Around March 2007, dance covers (known as Template:Nihongo) became popular on video-sharing websites such as Niconico, which in turn led people into performing choreographed dances from anime series and idol groups.<ref name="gadget 2010-01-23">Template:Cite news</ref> Notable creators of dance covers, known as Template:Nihongo, who later debuted as idols include Template:Ill from Danceroid and Dempagumi.inc,<ref>Template:Cite news</ref> Beckii Cruel,<ref>Template:Cite news</ref> and Keekihime.<ref name="ascii 2013-04-25">{{#invoke:citation/CS1|citation
|CitationClass=web }}</ref>
- Template:Nihongo: Virtual idols are digital avatars representing a fictional character or persona. The first fictional idol gaining mainstream crossover was Lynn Minmay from Macross in the 1980s.<ref name="kotaku 2012-09-07">Template:Cite news</ref> In 1997, Kyoko Date was created as the first virtual idol.<ref name="japantimes 1997-01-02">Template:Cite news</ref><ref>Template:Cite magazine</ref> In 2007, Crypton Future Media released Hatsune Miku as its latest addition to the Vocaloid software,<ref name="japantimes 2017-08-24">Template:Cite news</ref> who subsequently saw positive reception from amateur songwriters, with her character and music based on user-generated content.<ref>Template:Cite news</ref> Virtual online streamer Kizuna AI, who first appeared in 2016, led to a boom of Virtual YouTubers who similarly conduct their activities through a digital avatar on YouTube and other streaming websites.<ref>Template:Cite news</ref>
- Template:Nihongo: Underground idols are independently managed idols who perform at small venues.<ref name="japantimes 2018-12-21"/> They are also known as Template:Nihongo or Template:Nihongo.<ref name="msn 2008-03-16">Template:Cite news</ref> Underground idols first emerged in the 1990s when idol groups with large numbers of members began appearing after the popularity of Onyanko Club.<ref name="msn 2008-03-16"/> Tama Himeno and Kamen Joshi member Tomoka Igari, both underground idols, describe them as being different from mainstream idols (nicknamed Template:Nihongo) in that underground idols are active through live performances rather than through exposure from mass media or CD releases through major record labels, thus making them more accessible to fans in comparison to mainstream idols.<ref>Template:Cite news</ref><ref name="igari 2020-08-12">Template:Cite news</ref> An example Igari used to describe close relationships that underground idols have with their fans is that underground idols will hold handshake events and take instant camera photos (known as Template:Nihongo) with fans after every live performance.<ref name="igari 2020-08-12"/>
- Template:Nihongo: Template:Transliteration idols are type of underground idol based in the Akihabara district of Tokyo, drawing influences from its Template:Transliteration culture.<ref name="natalie 2020-08-12">Template:Cite news</ref> Music from Template:Transliteration idols are generally sold as self-published CDs at Comiket or promoted through Niconico.<ref name="natalie 2020-08-12"/> Template:Ill is a dedicated venue where they perform.<ref name="natalie 2020-08-12"/> While Template:Transliteration idols are niche, Haruko Momoi and Dempagumi.inc are cited as an examples of an Template:Transliteration idols crossing over to mainstream media.<ref name="natalie 2020-08-12"/><ref>Template:Cite news</ref> Dempagumi.inc's music producer, Maiko Fukushima, describes the music from Template:Transliteration idols as distinct from anime songs, with most composers being "amateurs" and its organic music culture facing a state of the Galapagos syndrome, as they had no direct creative input from J-pop or other music genres.<ref name="natalie 2020-08-12"/> However, Fukushima noted that songs from R-18 games were also key components of Template:Transliteration music.<ref name="natalie 2020-08-12"/> In 2007, Vocaloid greatly influenced the growth of Template:Transliteration music and idol culture.<ref name="natalie 2020-08-12"/> AKB48, one of Japan's most recognized idol groups nationwide, originated from Akihabara, but it is not considered an Template:Transliteration group.<ref name="natalie 2020-08-12"/>
- Alternative idols: Alternative idols, also known as alt-idols or anti-idols, is a term coined by English-speaking communities to describe idol singers that have an image concept and music different from what is considered mainstream, such as having darker images and alternative rock. The alternative idol scene was pioneered by Bis and Seiko Oomori and made popular by Bis' successor Bish.<ref name="alt idol"/>
HistoryEdit
1960–1980: Post-war era and idol beginningsEdit
The popularity of young female singers can be traced back to Sayuri Yoshinaga in the 1960s, as well as the Takarazuka Revue and theater shows from the Meiji era.<ref name="chuokoron 2015"/> In 1962, Johnny Kitagawa founded Johnny & Associates and created the group Johnnys, which is retroactively considered the first idol group in Japan.<ref name="japantimes 2009-04-14">Template:Cite news</ref> He is also credited with pioneering the idol trainee system, where talents would be accepted in the agency at a young age and train not only in singing, but also dancing and acting, until they were ready for debut.<ref name="japantimes 2019-07-10">Template:Cite news</ref> However, the concept of an idol was not defined by mainstream Japanese media until in November 1964, when the 1963 French film Cherchez l'idole was released in Japan under the title Template:Nihongo.<ref name="japantimes 2019-02-03 simone">Template:Cite news</ref> Many Japanese audiences took interest in Sylvie Vartan, whose song "La plus belle pour aller danser" from the film sold more than a million copies in Japan.<ref name="japantimes 2019-02-03 simone"/> Vartan was heralded for her youthful, adorable looks and musical talent, leading the Japanese entertainment industry to assign the word "idol" to singers who shared a similar aesthetic.<ref name="japantimes 2019-02-03 simone"/>
Television greatly impacted the popularity of the idol phenomenon, as beginning in the 1970s, many idols were recruited through audition programs.<ref name="iwabuchi 2002-11-08 p 100 star search">Template:Cite book</ref><ref name="japantimes 2006-07-06">Template:Cite news</ref> In addition, the availability of having home television sets gave audiences greater accessibility of seeing idols at any time compared to going to theaters.<ref name="boeu 2016-03-15">Template:Cite journal</ref>Template:Rp Momoe Yamaguchi,<ref name="nytimes 2010-10-07">Template:Cite news</ref> Junko Sakurada,<ref name="japantimes 2011-05-26">Template:Cite news</ref> Saori Minami, and Mari Amachi, some of the idols recruited through television, were some of the more popular figures of this era,<ref name="japantimes 2006-07-06"/> along with groups such as Candies and Pink Lady.<ref name="japantimes 2011-05-26"/> Saori Minami, who debuted in 1971, was noted by scholar Masayoshi Sakai to be the turning point of when teenage stars became popular in mainstream media.<ref name="chuokoron 2015"/> Music was produced by a shared climate of songwriters and art directors seeking a step towards a depoliticized youth culture.<ref name="japantimes 2011-05-26"/> Idols grew in popularity over the 1970s, as they offered audiences escapism from political violence and radical student movements.<ref name="japantimes 2006-07-06"/>
Idols at the time were seen as ephemeral because of how short-lived their careers were, and how they would disappear from the public after retirement.<ref name="boeu 2016-03-15"/>Template:Rp In public, idols took steps to play a distinct character and uphold an illusion of perfection, such as maintaining a virginal image.<ref name="boeu 2016-03-15"/>Template:Rp Other examples include being told not to use restrooms in public and answering interview questions about their favorite food with feminine-sounding answers such as "strawberries" and "shortcake."<ref name="boeu 2016-03-15"/>Template:Rp
1980–1990: Golden Age of IdolsEdit
The influence idols had on television led the 1980s to be known as the "Golden Age of Idols",<ref name="nytimes 2010-10-07"/> in part due to Japan's economic bubble and growing commercial interest in them.<ref name="chuokoron 2015"/> Several figures who defined the Golden Age of Idols are Seiko Matsuda,<ref name="nytimes 2010-10-07"/> Akina Nakamori, Kyōko Koizumi, and Onyanko Club.<ref name="japantimes 2009-08-25"/> Television programs in which idols appeared often enjoyed high viewer ratings.<ref name="japantimes 2009-08-25"/> Dentsu also created the "CM idol" business model, where idols were able to gain fame by singing and appearing in commercials.<ref name="japantimes 2011-05-26"/>
Onyanko Club, in particular, shifted public perception of idols from professional stars to ordinary schoolgirls who would gain experience throughout their career.<ref name="chuokoron 2015"/> They were also the first group to introduce a "graduation system", where older members would eventually leave the group while newer inexperienced members would join,<ref name="chuokoron 2015"/> with the system being named such as the group drew similarities to a school club.<ref name="oricon 2016-02-03"/> Onyanko Club also led to idols becoming closely associated with television due to the popularity of their variety show, as the visual component became important to the overall enjoyment of their music.<ref name="japantimes 2011-05-26"/>
At the same time, male idols gained popularity, with acts from Johnny & Associates normalizing idols singing and dancing at the same time.<ref name="japantimes 2019-07-10"/> However, fewer male idol acts from other companies achieved the same success as Johnny's idols due to the company's CEO, Johnny Kitagawa, controlling the media and pressuring certain programs not to invite male idols from competing agencies, as he would continue to until his death in 2019.<ref name="japantimes 2019-07-10"/><ref name="nytimes 2000-01-30"/>
1990–2000: Idol Winter Period and Chidol BoomEdit
Around 1985, idols soon became unpopular after the public became disillusioned with the idol system.<ref name="japantimes 2006-07-06"/> By the 1990s, public interest in idols began to wane,<ref name="ann 2018-09-03"/> as audiences lost interest in singing and audition programs,<ref name="japantimes 2009-08-25"/> particularly due to a shift in attitudes caused by Japan's economic collapse.<ref name="chuokoron 2015"/> The media coined the term Template:Nihongo to describe the stagnation of the idol industry beginning in 1990.<ref>Template:Cite news</ref>
More young people yielded aspirations to be defined as an artist instead of an idol.<ref name="japantimes 2009-08-25"/> During this decline, public perception of idols again shifted from inexperienced amateurs to strong, independent women, in part due to a rehaul in Seiko Matsuda's public image.<ref name="chuokoron 2015"/> Namie Amuro, who gained fame as the lead singer of Super Monkey's, found popularity among young girls who emulated her appearance.<ref name="japantimes 2009-08-25"/> At the same time, Speed also found a fan following.<ref name="chuokoron 2015"/> However, neither Amuro nor Speed referred to themselves under the idol label.<ref name="chuokoron 2015"/> While idols appeared less in mainstream media, the popularity of Onyanko Club from the 1980s led to an increase of idol groups with large numbers of members debuting in the 1990s, performing under independent record labels.<ref name="msn 2008-03-16"/> These idols became known as underground idols.<ref name="msn 2008-03-16"/> Because of the lack of publicity over idols on television, many turned to the Internet.<ref name="japantimes 2009-08-25"/>
Johnny & Associates observed the popularity of former Shibugakitai member Hirohide Yakumaru's success as an MC on variety shows, which prompted them to develop and market their current acts with distinct public personalities.<ref name="japantimes 2014-05-10">Template:Cite news</ref> Groups from the company began gaining more attention, drawing in fans from Hong Kong and Taiwan,<ref name="japantimes 2009-08-25"/> and their marketing success led to many other idols doing the same.<ref name="japantimes 2014-05-10"/>
In the mid-1990s, there was an increase in young idols in the elementary school age, which the media described as the "Chidol (child idol) Boom."<ref name="oricon 2018-04-22">Template:Cite news</ref><ref>Template:Cite news</ref> The term "chidol" was coined by journalist Akio Nakamori in the magazine Weekly Spa!<ref name="itmedia 1999"/> In the 2000s, "chidol" saw fewer usage, and it was eventually replaced by the term "junior idol" to legitimize them as part of the idol industry as well as removing the focus on their age.<ref name="metropolis 2009-07-08"/>
2000–present: Media crossovers and Idol Warring PeriodEdit
The 2000s saw the rise in popularity of idol groups again after Morning Musume's debut in 1997 and the formation of their musical collective, Hello! Project.<ref name="chuokoron 2015"/><ref name="natalie 2020-05-26">Template:Cite news</ref> Around the same time, there was an increase in gravure idols, who competed in magazine and photo book sales.<ref name="oricon 2018-04-22"/><ref name="natalie 2020-05-26"/> In addition, anime voice actors, such as Yui Horie, Nana Mizuki, and Yukari Tamura, were also marketed as idols to promote both their activities and singing careers.<ref name="tokyo school of anime 2019-01-04"/><ref name="oricon 2008-07-02"/>
While idols briefly experienced another decline after 2002, AKB48 debuted in 2005 and later became known as nation's idol group.<ref name="natalie 2020-05-26"/> The public image of idols had diversified, with each idol group having a specific concept appealing to different audiences.<ref name="chuokoron 2015"/> To celebrate the diversity of idols, AKB48, Shoko Nakagawa, and Leah Dizon performed a medley called "Special Medley: Latest Japan Proud Culture" at the 58th Kohaku Uta Gassen in 2007, introduced as "Template:Transliteration idols" with each act described as a different sub-genre of idols.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
The idol industry experienced a rapid growth in the beginning of the 2010s, and the media coined the nickname Template:Nihongo to describe the phenomenon.<ref name="ann 2018-09-03"/><ref name="natalie 2020-05-26"/> Lawyer Kunitaka Kasai cited the Internet as a reason for the rapid growth of idols, as anyone can upload videos onto websites, and AKB48's business model encouraged this even further through creating more opportunities for fan interactivity.<ref name="mainichi 2018-11-18"/> The 2013 television drama Amachan also inspired more idol groups to appear, the majority of them being "local idols" who performed in specific rural communities.<ref name="natalie 2021-02-04"/><ref name="chuokoron 2015"/> Several independent idol groups also crossed over into mainstream, such as Dempagumi.inc,<ref name="natalie 2020-08-12"/> Dorothy Little Happy,<ref name="natalie 2021-02-04"/> and Rev. from DVL, the latter of which gained mainstream popularity after a photo of then-member Kanna Hashimoto went viral.<ref name="oricon 2014-03-08"/>
Since 2010, the biggest idol concert festival, Tokyo Idol Festival, has taken place.<ref name="ann 2018-09-03"/> More than 200 idol groups and about 1500 idols performed, attracting more than 80,000 spectators in 2017.<ref name="ann 2018-09-03"/> During 2014, about 486,000 people attended AKB48 and Momoiro Clover Z's live concerts, which was the highest record of all female musicians in Japan.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Momoiro Clover Z has been ranked as the most popular female idol group from 2013 to 2017 according to surveys by The Nikkei,<ref name="ももクロ、初のAKB超え タレントパワーランキング"/> There were more than 10,000 teenage girls who performed as idols in Japan in 2017.<ref name="bbc 2017-06-30"/> In 2019, there were over 3,000 female idol groups.<ref name="nikkansports gonobe 2019-01-28">Template:Cite news</ref>
From 2013 to 2018, boy band Arashi was ranked as the most popular artist overall in Japan according to Oricon polls of 20,000 people.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Other male idols also found success as underground idols, as well as anime media mix projects and 2.5D musicals.<ref>Template:Cite news</ref>
In the early 2010s, the diversification of the idol industry led to several acts mixing pop music with other musical genres such as alternative rock and heavy metal; this was pioneered by Bis and Seiko Oomori and was given the sub-category "alternative idol" by English-speaking publications.<ref name="alt idol">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> They have also been known for utilising shock value to gain public and media attention and making use of a darker image than that of the idol scene norm.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
Beginning in the mid-to-late 2010s, the Japanese idol industry crossed over with K-pop with the third Korean wave in Japan, which was sparked partially from positive reception of the Japanese members of the South Korean group Twice.<ref>Template:Cite news</ref><ref>Template:Cite news</ref> In the years that followed, several Japanese and South Korean companies collaborated to form K-pop influenced groups for a global consumer base, such as Iz*One,<ref>Template:Cite news</ref> JO1,<ref>Template:Cite news</ref> and NiziU.<ref name="yonhap 2020-07-13">Template:Cite news</ref><ref>Template:Cite news</ref>
Cultural significanceEdit
In Japan, idols are often seen not only as entertainers but also as figures of encouragement, hope, and shared emotional experience. Idol culture emphasizes values such as sincerity, perseverance, and visible personal growth, which resonate with fans across age groups and backgrounds. Unlike some Western models of celebrity that emphasize polished glamour or pre-established star quality, Japanese idols are appreciated for their journey — striving earnestly and growing publicly, often in close connection with their fans.<ref name="Kazuki2014" />
Media scholar Takanori Kazuki notes that the appeal of idols lies in their openness to change and the effort they demonstrate through performance.<ref name="Kazuki2014" /> Similarly, sociologist Ryuji Inamasa describes idol culture as a uniquely Japanese media phenomenon that has evolved through shared imagination and participatory engagement.<ref name="Inamasa1999" />
According to media theorist Yukirai Tajima, idols build trust with fans by performing sincerity in a ritualized and emotionally meaningful way, reinforcing a sense of connection and shared support.<ref name="Tajima2022" />
This “growth you can witness” is central to the fan experience. Writer Shūhei Kaneko has argued that idols are valued not solely for perfection, but for their willingness to improve, grow, and persevere with the support of their fans.<ref name="Kaneko2015" />
Cultural journalist Tomoka Igari highlights that idols inspire not through appearance or marketing alone, but through emotional transparency, humility, and effort. She describes idol culture as a "cheering society" (応援社会), where fans and performers affirm each other’s aspirations and growth.<ref name="Igari2020">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
Other scholars describe idols as symbolic or affective figures who help fans navigate emotional experience and self-expression. Noboru Saijō argues that idols exist in both real and imagined spaces, resonating with the hopes and creativity of their audiences.<ref name="Saijo2016">Template:Cite journal</ref>
For many fans, supporting idols provides emotional fulfillment, a sense of participation, and belonging within a shared community. Live performances, fan events, and online interaction are often seen as mutual acts of encouragement and appreciation.<ref name="Kaneko2015" /><ref name="Igari2020" /> Idols, in turn, frequently express gratitude toward their fans, acknowledging them as essential partners in achieving their goals.<ref name="Kazuki2014" /><ref name="Tajima2022" /> Scholars have noted that this dynamic of shared growth and emotional reciprocity is one of the defining features of idol culture, offering fans a space for symbolic identification, empathy, and affirmation.<ref name="Saijo2016" />
Fan cultureEdit
Fan activitiesEdit
Passionate male fans of idols are colloquially referred to as Template:Nihongo, derived from the word "Template:Transliteration."<ref>Template:Cite news</ref> Beginning in the 1980s, they formed cheering groups known as Template:Nihongo to support idols at concerts and public appearances.<ref name="japantimes 2009-08-25"/> During these events, the Template:Transliteration perform Template:Transliteration, an organized sequence of fan chants and dancing to show appreciation for the idols.<ref>Template:Cite news</ref> Fan chants where an idol's name is called after each bar is sung was popularized by Mari Amachi's fans in the 1970s.<ref name="boeu 2016-03-15"/>Template:Rp
Because mainstream Japanese media exercises self-censorship over taboo, controversial subjects,<ref name="bbc 2016-01-26"/> fans are influential in circulating under-reported news through social media.<ref>Template:Cite news</ref>
Idol fan culture has introduced several slang terms into the Japanese public, including:<ref name="icu 2016">Template:Cite journal</ref>Template:Rp
- DD, an abbreviation for Template:Nihongo, applying to people who do not have a favorite member or group.<ref name="icu 2016"/>Template:Rp The term has negative connotations.<ref>Template:Cite news</ref> Writer Riyan suggests that while there are fans with no favorite members or groups, they are not likely to identify themselves as DD.<ref>Template:Cite news</ref> A variation of DD is the word Template:Nihongo, which indicates support for an idol group.<ref>Template:Cite news</ref>
- Template:Nihongo, also shortened to Template:Nihongo, is a favorite member or group<ref name="icu 2016"/>Template:Rp
Fan interactionsEdit
A notable trait of idols that sets them apart from typical celebrities is their relationship with fans, and they are marketed intentionally by talent agencies to have a high emotional connection with their consumer fan base. Fans are built as active supporters into the narrative of the idol's journey to become a professional entertainer,<ref name="japantimes 2016-01-26"/> not only to appearance or performance but to the sense of shared journey and personal development that idols embody.<ref name="Kazuki2014" /><ref name="Inamasa1999" /><ref name="Kaneko2015" /> Fans may view them as siblings, daughters/sons, or girl/boy next door types due to how easily they can relate to the public.<ref name="cnn 2019-01-16"/><ref name="Historical Dictionary of Postwar Japan"/><ref>Template:Cite book</ref> One documented example are fans of female idols, typically consisting of men from 30 to 40 years of age, who seek interactions with them as a way of having a long-term relationship without the prospect of supporting a family or dealing with awkwardness outside of a controlled environment.<ref>Template:Cite news</ref> The idol fan culture idealizes the idea of Template:Transliteration, where vulnerability is seen as an attractive trait.<ref name="japantimes 2016-01-26"/>
Using idols from Johnny & Associates as an example, male idols appeal to female fans by representing a pseudo-romantic ideal for them.<ref name="boeu 2016-03-15"/>Template:Rp However, there are some female fans, particularly in Japan, who prefer to put themselves in the role of an external observer.<ref name="boeu 2016-03-15"/>Template:Rp For them, the absence of other women is a way of watching the male idols interact with one another and imagining their interactions to be similar to Template:Transliteration.<ref name="boeu 2016-03-15"/>Template:Rp
Fans spend money on merchandise and endorsed products to directly support their favorites, comparing it to spending money on "loved ones"; some express feeling happy that they were able to make someone they admired happy.<ref name="huffington 2018-01-17">Template:Cite news</ref> Dedicated fans may give up their careers and devote their life savings to supporting and following their favorite members.<ref name="bbc 2017-06-30"/> To foster a closeness between idols and fans, some talent agencies offer meet-and-greets in the form of handshake events, where fans have the opportunity to shake hands, take a photograph, and speak briefly with the idols.<ref name="bbc 2017-06-30"/><ref name="cnn 2019-01-16"/> AKB48's business model created more opportunities for fan interactions with their "idols you can meet" concept.<ref name="mainichi 2018-11-18"/> An example of this are their elections, where fans can vote for their favorite member, thereby including the fans directly into the members' individual success.<ref name="chuokoron 2015"/> Because idols share an intimate relationship with their fans, fans may feel "betrayed" if idols reveal unfavorable parts of their personal lives that are different from the image they present, or break the illusion that they are there exclusively for fans.<ref name="ann 2018-09-03"/>
ImpactEdit
EconomicEdit
Idols often appear in advertising, with 50–70% of commercials in Japan featuring an idol.<ref name=":1">Template:Cite book</ref> The "CM idol" business model, conceptualized by advertising agency Dentsu in the 1980s, uses idols' public image as a marketing asset.<ref name="japantimes 2011-05-26"/> As the career of idols are dependent on their image, contracting offices create their image based upon trends in the market and with the intent of generating as much revenue as possible.<ref name=":0">Template:Cite book</ref><ref name="japantimes 2006-07-06"/> Along with promoting products, commercials are also a cross-platform to promote idols at the same time by keeping both brand and idol product in the forefront of the consumers' minds.<ref name="japantimes 2011-05-26"/> Pitches for commercials are often made with a specific idol who matches the company's image in mind. Idols contracted to particular brands are expected to uphold the brand's image and may not work for competing brands or networks; the agreement extends to magazine advertisements, online videos, and appearances in dramas.<ref name=":1"/> Idols may also provide the music or jingle for commercials.<ref name="The Mirror of Idols and Celebrity">Template:Cite book</ref>Template:Rp The idol industry makes approximately $1 billion a year.<ref name="bbc 2017-06-30"/>
MediaEdit
Beginning in the 1980s, companies would compete to secure contracts for idols in dramas, which led to the current four-season television cour in Japan. Variety, talk, and music shows also became popular, in part for featuring idols as guests or the stars of the show.<ref name="The Mirror of Idols and Celebrity"/>Template:Rp
Anime and video gamesEdit
The idol industry has crossed over to anime and video games. Using a media mix strategy, various multimedia projects have used fictional idols to market Japanese pop culture and Template:Transliteration music.<ref>Template:Cite news</ref> The series Creamy Mami, the Magic Angel was the first notable anime series to use a media mix marketing strategy, where Takako Ōta would provide the voice to the main character and portray her at music events; the series was used as a vehicle to launch her singing career.<ref>Template:Cite news</ref> The first fictional idol to cross over to mainstream media is Lynn Minmay from Macross, whose 1984 single, "Ai Oboete Imasu ka", charted at #7 on the Oricon Weekly Singles Chart.<ref name="kotaku 2012-09-07"/> In the late 2000s, Vocaloid software Hatsune Miku was received positively among amateur music producers, who used her as an avatar to perform their compositions,<ref name="japantimes 2017-08-24"/> influencing Template:Transliteration music.<ref name="natalie 2020-08-12"/>
In the early 2010s, idol-themed multimedia projects, such as Love Live!, The Idolmaster, and Uta no Prince-sama, became popular.<ref name="oricon 2015-02-15">Template:Cite news</ref><ref>Template:Cite news</ref> Professor Marc Steinberg suggested that the popularity of idol-related media mix projects may stem from the managerial aspect found in life simulation games, with The Idolmaster being the first notable idol franchise to include this.<ref name="steinberg 2020-04-20">Template:Cite book</ref> These franchises set the fans in the active contributing role of the "producer" and regularly involved interactivity, as input made by the players were crucial to the idols' success.<ref name="steinberg 2020-04-20"/> The growth of idol-related media mix projects in anime and video games was also seen as an attempt from the Japanese government to market Japanese pop culture overseas through the Cool Japan initiative.<ref name="steinberg 2020-04-20"/> Music produced by voice actor idols and fictional idols have crossed over to mainstream music charts,<ref>Template:Cite news</ref> with Billboard Japan launching the Billboard Japan Hot Animation Chart on December 1, 2010, exclusively for anime and video game music releases.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Fictional idols have been treated like real-life celebrities.<ref name="huffington 2018-01-17"/> Idol-themed anime and video game series have been compared to the sports genre in anime due to a similar competitive nature and team-building the characters face, as well as being linked to the Odagiri effect for featuring attractive people of the same gender interacting with each other.<ref>Template:Cite news</ref>
The idol fan culture is heavily tied to anime and manga, and most fans of anime are also fans of idols.<ref name="huffington 2018-01-17"/><ref name="japantimes 2016-01-26"/> The idea of "Template:Transliteration", which was popularized by anime, can be projected onto both idols and fictional characters, linking the two.<ref name="huffington 2018-01-17"/><ref name="japantimes 2016-01-26"/> Some may prefer fictional idols due to them never disbanding, leaving groups, or getting into scandals.<ref name="huffington 2018-01-17"/> A 2005 study by the Nomura Research Institute revealed that idol fans were the third largest group of Template:Transliteration interests, following comics and anime.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
In the late-2010s, the idol agency influenced the business model of VTuber agencies such as Hololive and Nijisanji—which focus on a mix of video game livestreaming, entertainment, and music.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name=":2">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
CriticismEdit
Working conditionsEdit
The idol system has been criticized for its strict rules, intense work schedules, and offering idols little control over their personal lives.<ref name="bbc 2016-01-26">Template:Cite news</ref><ref name="bbc 2017-06-30">Template:Cite news</ref><ref name="japantimes 2016-01-26">Template:Cite news</ref> The system has been likened to salarymen in Japan who are unable to disobey their employers.<ref name="bbc 2016-01-26"/> Labor rights activist Shohei Sakagura stated that idols get very little revenue and are ill-prepared for the work force after leaving their groups, as many of them spend their academic years learning poor job skills.<ref>Template:Cite news</ref> In addition to this, Rob Schwartz from Billboard addressed that Japanese mainstream media outlets rarely bring attention to controversies and allegations of power harassment due to self-censorship on what they are allowed to write.<ref name="bbc 2016-01-26"/> Sasetsu Takeda of GQ Japan wrote that talent agencies dismiss idols regardless of their popularity, sometimes intentionally blocking job offers in order to pressure them to leave, all while declaring that they are "resting from illness" to the public.<ref name="gq 2019-03-05">Template:Cite news</ref> Independently managed idol groups offer even less protection, with idols given ambiguously worded contracts that keep them in their companies for years, while offering almost no pay and compensation for transportation and costuming fees.<ref name="japantimes 2018-12-21">Template:Cite news</ref><ref name="mainichi 2018-11-18"/> Lawyer Kunitaka Kasai stated management may be poor, especially among independent idol groups, because they were established by people with a lack of experience to fill a demand for idols over the industry's growth.<ref name="mainichi 2018-11-18"/>
Work schedules for idols have been criticized for being excessive, as idols are expected to work even when sick.<ref name="nikkansports gonobe 2019-01-28"/> Miki Gonobe from Nikkan Sports noted that idols generally do not have a labor union and agencies see no need for one, as they view idol activities akin to extracurricular activities at school. She voiced concerns about young girls becoming idols at an early age, especially elementary school students.<ref name="nikkansports gonobe 2019-01-28"/> In addition, Sasetsu Takeda of GQ Japan criticized some idol managements for intentionally preventing their talents from taking time off, mentioning it "strange" that idols are only notified of their assignments the night before.<ref name="gq 2019-03-05"/> He also condemned the idol industry for not providing talents access to better mental health resources, as idols are often suspended or dismissed for publicly showing they are stressed out of concern that they may cause fans to feel worried or upset.<ref name="gq 2019-03-05"/>
In March 2018, Enoha Girls member Honoka Omoto died by suicide, with her family launching a lawsuit against her talent agency in October 2018.<ref name="mainichi 2018-11-18">Template:Cite news</ref> Allegedly, Omoto was working 10 hours a day at the expense of her studies and when she had asked to leave the group, a staff member threatened her with violence while Takahiro Sasaki, the head of her managing company, told her she would have to pay a penalty fee of Template:JPY.<ref>Template:Cite news</ref> In June 2018, a former member of Niji no Conquistador filed a lawsuit against Pixiv representative director, Hiroaki Nagata, and the group's management companies for voyeurism and sexual harassment during her time with the group,<ref>Template:Cite news</ref> and Nagata filed a counter lawsuit for libel and resigned several days later.<ref>Template:Cite news</ref> On February 10, 2020, the Tokyo District Court dismissed his claims and ordered him to pay Template:JPY to the woman in damages.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
Dating banEdit
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Most idols are not allowed to form romantic relationships or must obtain permission from their agencies to get married.<ref name="answerman 2015">Template:Cite news</ref><ref name="bbc 2017-06-30"/><ref name="bbc 2016-01-26"/> Yasushi Akimoto, the producer of AKB48, likened the group's dating ban to similar dating bans for baseball teams competing at the Template:Transliteration, where dating is seen as a distraction from preparing for tournaments.<ref>Template:Cite news</ref> On the other hand, critics have suggested a dating ban is implemented in order to sell a fantasy of idols being accessible to their fans and disagreed with them for being inhumane.<ref name="japantimes 2016-01-26"/> The Japan Times noted that aside from talent agencies, idol fan culture has contributed to this, especially with male fans of female idols; male fans buy into the idea of "Template:Transliteration", which fetishizes weakness and submissiveness while asserting "complete control" over the girls' sexual independence.<ref name="japantimes 2016-01-26"/>
Several idols who were confirmed to have been dismissed, suspended, demoted, or forced to leave their groups following reports of them dating or having sexual relations include Mari Yaguchi,<ref name="nikkan 2017-10-24">Template:Cite news</ref> Ai Kago,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Aya Hirano,<ref>Template:Cite news</ref> Rino Sashihara,<ref>Template:Cite news</ref><ref>Template:Cite news</ref> and Minami Minegishi.<ref name="japantimes 2016-01-26"/><ref>Template:Cite magazine</ref> Minegishi, in particular, caught international media attention after her apology video went viral, causing international criticism over the management of her group, AKB48, as well as the Japanese idol industry.<ref name="japantimes 2016-01-26"/> A talent agency filed a lawsuit against a 17-year-old former idol singer for accepting an invitation to a hotel room from two male fans, which had caused her group to disband within the first 3 months of their debut.<ref name="ann 2015-09-20">Template:Cite news</ref> In September 2015, Judge Akitomo Kojima, along with the Tokyo District Court, ruled in favor of the talent agency and fined the woman to pay Template:JPY, stating that the dating ban was necessary for idols to "win the support of male fans."<ref name="ann 2015-09-20"/> In January 2016, a similar lawsuit filed with the Tokyo District Court ruled in favor of a 23-year-old former idol, with Judge Kazuya Hara stating that the dating ban "significantly restricts the freedom to pursue happiness."<ref>Template:Cite news</ref>
Since handshake and other related events allow fans to be in close proximity with idols, critics also believe that marketing the idols' accessibility may cause fans to be unable to distinguish between fantasy and real life.<ref name="cnn 2019-01-16"/> Talent agencies have also been criticized over offering inadequate protection towards idols after several incidents of violent attacks on female idols such as the saw attack on Anna Iriyama and Rina Kawaei, the stabbing of Mayu Tomita, and the assault of Maho Yamaguchi.<ref name="cnn 2019-01-16">Template:Cite news</ref>
SexualizationEdit
Idols are often sexualized, especially female idols,<ref name="japantimes 2016-01-26"/><ref name="mainichi 2018-11-18"/> some of whom also work as gravure idols and have suggestive swimsuit photo shoots that are published in magazines targeted towards adults.<ref name="nytimes 2011-02-09">Template:Cite news</ref><ref name="ann 2018-01-17">Template:Cite news</ref><ref name="japantimes 2007-05-03">Template:Cite news</ref> With the idol system commodifying youth, the industry is criticized for putting minors at risk, most particularly junior idols, who are aged 15 years and younger.<ref name="japantimes 2007-05-03"/><ref name="thejakartapost 2018-01-27">Template:Cite news</ref><ref name="unreported world s39e1">Template:Cite news</ref><ref name="nytimes 2014-06-18">Template:Cite news</ref><ref>Template:Cite news</ref> Idol swimsuit photo books are often sold in the same sections as pornographic titles.<ref name="japantimes 2007-05-03"/> In 1999, Japan banned production and distribution of sexually explicit depictions of minors, which outlawed photo books depicting nude junior idols.<ref name="nytimes 2011-02-09"/> Multiple junior idol distributors closed after possession of child pornography was made illegal in Japan in 2014.<ref name="tokyosports 2015-02-07">Template:Cite news</ref> However, junior idol content currently stands on legally ambiguous ground due to open interpretations of child pornography laws in Japan.<ref name="japantimes 2007-05-03"/><ref name="metropolis 2009-07-08">Template:Cite magazine</ref>
In 2017, through a survey conducted by the Japanese government, 53 out of 197 women contracted with talent agencies stated that they had been asked to take part in pornographic photo or video shoots of which were not previously disclosed nor included in their contracts. 17 of the women stated that they had performed the request anyway.<ref>Template:Cite news</ref>