UlasanAnime.com – In a concentrated period of roughly six weeks, New York City was graced by the presence of five distinct idol acts: Cheeky Parade, Morning Musume 14, Miku, Babymetal, and most recently, Perfume. This lineup effectively covers the spectrum of Japan’s visible idol scene today, extending beyond the indie circuit. It’s plausible that other independent Japanese idols may have also visited NYC during this timeframe without my knowledge. I even opted out of Cheeky Parade’s free performance at BCGC due to the sheer “effort” required.
I believe this point is significant. Japanese idols, particularly the post-1999 iteration, are often misunderstood, even if they are a foreign concept. It’s tempting to draw parallels with Western boy or girl groups, and indeed, they share superficial similarities. However, this comparison overlooks the fundamental essence of what makes idols the driving force of Japan’s entertainment industry today. A considerable number of geeks, nerds, and “otaku” (in the US sense) tend to dismiss them. I’m uncertain about the reasons behind American resistance to Japanese idols, but this perception certainly exists.
In an effort to bring the “Sharon Apple joke-making” types into the 21st century, I’ve compiled a non-serious chart. Perhaps this can compensate for the recent lack of blog posts? Unlikely.
Google Doc: here
Allow me to elaborate on the list. The most crucial asterisk I must add pertains to the “anime” aspect. While I have images that could be linked, I am too apathetic to do so. The other significant disclaimer is that I am ranking a concert I did not attend, relying solely on photographic evidence. I am confident that Cheeky Parade’s performance was great (and based on their YouTube presence, they appear quite decent – this video offers a glimpse, and this one seems to be a PV based on their trip), but it’s a subjective assessment.
The chart features blue cells to denote a “leader” within a specific category. As mentioned, I’ve awarded one point to each group for their respective shows, even to those whose performances I missed, as it felt equitable. If you were to count quickly, you’d notice that both Morning Musume 14 and Perfume have 13 blue cells, making them, “objectively,” my top picks from the idol onslaught Japan unleashed upon New York this autumn.
Babymetal delivered a fantastic show that the blue boxes fail to fully capture. It was exceptionally cool. However, it was a performance that required a certain predisposition to enjoy. The same can be said for the many nerds who were overcome with ecstasy at Miku’s appearance. While pleasant and otaku-friendly, those polygonal jaggies will inevitably become a point of contention. I suppose she has come a long way, but our favorite synth mascot still has room for improvement. And Miku will continue to evolve, even when measured against Japan’s top idol acts. Considering Morning Musume and Perfume, how much better can one realistically get, at least from this perspective?
The remaining aspects are cultural nuances that a simple live event cannot entirely export. In that regard, I left many rows blank as there were no clear winners. Or, perhaps more accurately, I emerged as the winner for having attended most of these events on my home turf. Idols represent the future, so let’s embrace it already and welcome more, please?
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