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Music
Today, idol has gained universal popularity and is attracting attention as a genre with a variety of styles and possibilities. At the same time, however, we cannot overlook the fact that it has a lot of difficulties. The implicit "no love" rule and the heterosexuality behind it, the ageism that appears in "age-tinkering" and the custom of "graduation" at a certain age, the glickism that is clearly visible, and the personality that is sold all the time through SNS … The genre of idol continues to have structural problems that impose oppression on people who live as a idol. Whenever scandals and troubles arise and the old-fashioned "common sense" of the idol world is called old-fashioned, is brought to light, there are repeated arguments among fans that there is no answer. On the other hand, the practices of idol who stand on the stage while searching for their own expressions, and sometimes try to achieve their goals by joining together with other performers, are empowering people. And among the fans, there is an increasing number of people who have a tendency to "favor" (consume), which is both a front and a back, as well as to impose selfish desires and norms on idol himself. This book does not distract from the problems of the genre because of "favor", but instead ignores the existence of idol who continues to be active on a daily basis and accuses "idol" itself as "bad culture." Instead, it aims to reconcile "favor of idol" with a critical review of the problems. From the reviews of concrete idol practices such as Nogizaka46, AKB48, Hello! Project, and 2-chome no Kai coming-out, a discussion on reexamining the merits and demerits of the act of "favor" with a critical review of the "girl crash" concept, which is a "women's longing image" popular in recent K-pop idol scenes, it highlights the possibility of "talking about idol while being conflicted" from various perspectives.