Shizuko Kasagi? Hibari Misora?　Who really are Japan’s “original idols”? A look at idols before Saori Minami

The Essence of Idol is with Human Culture

In “Ukigumo” by Futabatei Shimei, who is credited with establishing the novels of the Meiji era (1887-1990), the following line appears: “No matter how beautiful you see it, you will not be distracted.

＜I do not care what beautiful things I see. I have one idol.

！！！！！

Not only is the word “idol” used in this passage, but also the word “principal image” indicates that it is used as an object of worship. This is the essence of “idols” as we know them today, and the very psychology behind “idol promotion” that is no different from that of today’s idol fans. Idols had already appeared in novels written in the Meiji era (1868-1912), long before the advent of “Waiting for Tomorrow” and “Judy Garland.

It may sound too grandiose, but idols, as idols in their original sense, may have been a part of the history of human culture.

The calling of idols’ names on stage, the waving of penlights, and even the more recent “Tiger!　Fire! and the unique “wotagei” movements that have emerged among fans of live idols and underground idols in recent years may be seen as a kind of “festival” or “ritual,” depending on how you look at it.

On New Year’s Eve 2011, YOASOBI, together with the contestants in the idol category, performed “Idols” at the “NHK Kohaku Uta Gassen”, bringing out the best of each of them and uniting them into a single performance. Through this spectacular performance, YOASOBI presented the fact that the existence of idols now transcends the boundaries of country, era, generation, and gender, and the persuasive power of this presentation attracted a great deal of attention.

The term “guess” or “guess” has become a popular expression of support for idols, and as long as the essence of the 50- or even 100-year history of idols in Japan remains unchanged, new objects of worship and idols will be born and continue to make history.