One thing I particularly liked about Morning Musume was, in its golden days, the way the girls all seemed like sisters. I realize that a lot of this could have been scripted, but I don’t think all of it was. They were a small group, I think thirteen or fifteen at most, and they worked closely together. As girls cycled in and out, it was clear that they took care of each other and looked after each other (for the most part). This was a dynamic that impressed me. After one of the graduations – I think Niigaki Risa’s, they went backstage with the girls, and if they were faking that, they were some of the best actors that have never been given credit for it. They were utterly heartbroken.
It was sincerely touching. They loved each other (for the most part).
So many other groups were created to try to capitalize on the “idol” craze. One of the most popular were AKB48. It is a group that has something around 140 members and its own theater, separated into different “teams”. They even had a variety show, something like “Hello Morning”, where different members played games and sometimes had batsu games.
It just wasn’t the same. They didn’t have the chemistry.
No, it’s true that there were some members that were more notable than others. Takahashi Minami was one of them. But they were in an environment that was far rougher. The MCs were very hard on them in a comic fashion, insulting them and calling them names. Their shortcomings were paraded about as if they were in a circus, and perhaps they were. Even the songs they did were more racy and less playful. It’s as if the producer of that group took all of the wrong lessons from the popularity of Morning Musume.
Which, I suppose, is to be expected when there’s that much money on the line and that many girls to undergo varying degrees of exploitation.
There’s a reason they called the early days of Morning Musume the golden era. And if you want to see why, contrast them with how the idols are presented now. It’s really no contest.
And it’s quite sad. The Japanese culture is not immune to cultural rot.