Eikyu Wrote:Well, it's not clear to me what he's referencing exactly. Seems like he's talking about otaku culture in general and AKB is part of that. Though the girls are a bit older from what I understand.
In that particular quote, he's referencing 萌え anime, a subculture of anime that is booming within otaku in Japan.
Like I've stated earlier, ヲタ are different from オタク and they often fight a lot online for some reason. They're kinda related but they're kinda not.
In the article he talks about how they've reached the top of the charts and have invaded Japanese culture, and it's hard for them to export it because they would have to change their appeal to more universal ones.
I've argued the following:
-K-Pop and other Korean cultural exports are powered by government so they can't be easily compared
-AKB's chart topping is illusory based on Oricon's outdated sales methods and AKB's handshake tickets
-There are things in AKB that have universal appeal and aren't creepy
-They are, in fact, trying to export themselves
Quote:I also liked this article on AKB, it's a good introduction to the topic: http://online.wsj.com/article/SB10001424...61496.html
It kind of confirms that it was primarily targeted at Otaku men: "From a core fan base of adult men, the group is broadening its appeal to include younger girls."
It doesn't really say anything about them being the creepy old men stereotype though. They interviewed a 21 year old, who is a fan of Kasai Tomomi, also a 20 year old.
Quote:"Mr. Akimoto says he chose to base the group in Akiba, as it is known for short, in order to tap into growing interest in escapist products like comics, anime films and videogames that have come to represent Japan's pop culture overseas."
I'm sure that's not the only reason. If we were gonna go to high foot traffic areas in Tokyo where a theater like that can be promoted, what would that leave? Roppongi, Shibuya, Shinjuku, and Ikebukuro? It goes without saying that the subgroups all perform in theatres located in super high foot traffic areas: Downtown Namba, Sakae, and Fukuoka.
For the first AKB theatre show they only had like 3 or 4 people who were unrelated to staff or the members themselves. They built themselves from the ground up. Even the first few years were difficult, as they would see the same people in the theatre, it wouldn't be packed, and they had to go out and perform an encore even when no one was chanting for one.
In order to build themselves up they needed to get out on the streets and advertise themselves. I don't know many neighborhoods where they can do that and draw people from the streets.
Quote:"At the AKB48 show, members perform a revue of simply choreographed routines in front of a roughly 95% male audience."
There's nothing indicative of this being the creepy old men stereotype. Just like I can write how Justin Beiber performs for a roughly 95% female audience. How come you don't think it's 95% old ladies and broken down divorced homemakers?
On top of that, the theater is substantially different now. It's not a high priority anymore and the top members often have other work like modeling, acting, etc. The ones more likely to appear at the theater are those in training. The top members have a lot more fans than the lower ranked members and probably draw in a different crowd as well.
It's not like AKB's not trying to draw in women, they can get in for 1000 yen less:
http://www.akb48.co.jp/theater/ticket.php
Here's some footage from a handshake event. This was before the boom in middle/late 2010, and it takes place in early 2010, when you would expect to see more of the older ヲタ type: