ABSTRACT
When examining contemporary Japan, one cannot help but be struck by the prevalence of “idols” (aidoru) (Galbraith and Karlin 2012). Idols are men and women, typically in their teens and twenties, who appeal directly to fans for support. They are often presented as flawed and trying hard to improve, which endears them to audiences; flaws also make them more relatable and approachable (Aoyagi 2000: 310–313; Lukács 2010a: 46). Idols make themselves accessible to fans through live performances, small venues and special events where contact and communication are possible. The relationship between idols and fans is characterized by intimacy; fans get to know more, and come to care more, about idols. Personality and social skills are key to the success of idols, which has led to their reputation as pretty faces without much talent (Schilling 1997: 230–231), but this is not an entirely fair assessment. Idols work hard to develop and perfect personality and social skills and must be consummate professionals to reach the top of their field. Although they sing, dance, act and model, an idol’s talent lies not in singing, dancing, acting or modeling per se, but rather in “idoling”, or being an idol for fans. Idols capture and hold the attention of audiences, build and maintain relationships and move fans to make purchases of CDs, tickets, products and more.
