Right now—in the 2020s—it’s K-Pop. Before that—at least in Asia—it was J-Pop. While there might be superficial similarities to manufactured pop stars and boy- and girl-bands in North America and Europe, the term Idol has particular significance when applied to the star system in Korea and Japan. These stars are not only trained in music and dance performance, but cultivate an image of accessibility and even connection—an intentional para-social relationship that is based on the idea that the Idol is just like you, they are your avatar in the world of superstardom, and that they rely on you to support and protect them. That probably isn’t true of every Idol and Idol group, nor is it necessarily intentional, but it kind of helps identify and categorize a particular approach and style.
And this is definitely not intended to denigrate the Idols. They are amazing performers—singers, dancers, and actors all in one. They work insanely hard and undergo incredible stress in pursuit of their art. Maybe they are doing it for the money or the adulation, but aren’t we all? Pick any singer-songwriter of note. They could have stayed in the coffeeshop or the club but they instead sought the limelight. We want to share our art with the world (man, can I relate to that!) and maybe bring some joy. I would expect that most Idols are no different. Money is how the world shows it cares.
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