Introduced to the US as a TV cartoon in September 1998, Pokemon generated an estimated 700 million dollars in retail sales in the following year. The weekly cartoon became the top-rated kid's TV show and the video 'Pokemon: Seaside Pikachu' topped the bestsellers list. Sociologists engage in serious debate about the educational value of kids' obsession with Pokemon cards. The logistics, tactics and pure arithmetic involved in pitting the various monsters, each with their own strengths and weaknesses, against each other certainly make kids use their brains. And the fact that the monsters don't die as a result of their battles - they just faint - is a welcome change from the usual cartoon carnage. But stories of schoolyard fights over cards and the kind of money changing hands - some cards are traded at over 100 dollars apiece - also cause concern.

Ai Shinozaki - Japanese Hot Idol

Although the first home-grown movies appeared before the end of the last century, it wasn't until after World War I that they became something more than adaptations of stage plays and kabuki. The Nikkatsu and Shochiku film companies started at this time. From about 1920, Japanese film was divided into two main categories: Jidai-geki, or period films and Gendai-geki, or films with modern settings. The jidai-geki usually centered around a lone swordsman, who struggled to reconcile the conflict between his obligations (giri), and his true feelings (ninjo). This theme later became central to the gangster, or yakuza genre, originated by the Toei comapny in the 1960's. Gendai-geki reflected social changes of the day and individual director's views on life and society.

Censorship by the increasingly militaristic government continued through the 1930's and World War II, although its guidelines were largely ignored. The US occupation temporarily banned pre-1945 films and clamped down on the sword-wielding jidai-geki. But after control of the movie industry was handed over to the independent Motion Picture Code Committee in 1949, they soon came back in force.

Sayaka Ando - Japanese Hot Idol

In the 1970s, idols had an aura of mystique that left much of their lifestyles secret. Their public and "private" lives were carefully orchestrated—they always appeared perfect in all situations and seemed to enjoy a lavish lifestyle that most Japanese could only dream about. In reality, however, they were placed under continuous surveillance by their promoters and were unable to enjoy the private lives invented for them. Their pay was surprisingly low. They were often overworked and even if their songs sold well most of the money went to the musicians and writers. Fans had few opportunities to see them beyond a few minutes on TV or radio and it was difficult to share their interests. Magazines were the best source for information and many idols had an official fan club that periodically mailed what little information could be released.

The culture of Japanese idols has changed over the years and it is questionable whether past idols would have the same amount of success if given the same opportunity today. Most of those called idols have sung songs that would fit J-Pop and they are generally pretty, cute, or fresh-faced, if not beautiful. However, there are exceptions to the norm.