i wonder if its just a huge inside joke at this point or something, because some of them are SO BAD it must be intentional…
Shinrabanshow, I’m looking at you…
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If you have such a lack of sense and lack of efforts to the point that you are doing session gigs then you are def lacking the sense to actually make a decent flier haha. Those fliers make me cringe sooo hard!
Younger Japanese men too were raised very pampered and are super prideful, even when ive offered to help some bands they go into 逆ギレ mode. 
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Honestly I think some of them just dont care, if they can play their pretend rockstar menhera fantasy out, hey good on em, its their life so.
Some little session shit came in acting like a rockstar or something to backstage recently and I was like 
this lil clown.
Its always the broke ass, no talent ass, mafakas
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This is why i dig through tanuki threads to find bandmember history…it’s so fun to see the difference between someone’s official twitter presence and reports about their actual behavior to see who’s legit and who’s not.
Tanuki is full of insanity and wild rumors, but there’s always a grain of truth to be found.
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Tanuki can either be insane lies or complete truth
Recently I saw someone said “they cant sell” while im sitting in ma pajamas at home chillin while the postee prob out being a prostitute angry I turned them down haha
If you dont do manslut things you get the rumors even harder from the jaded hoes:joy:
But yah, lots of fake people putting up a front for that cheki or even mitsuge money
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Yah finding anyone legit who dares to enter the dead tumbleweed of pain that is vk is rare these days. 
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I gotta point out Sena also LISTENS a lot to advice given because hi’s egyo and marketing ability a couple of years ago was awful. So, like @ghostpepper said, know how to market yourself to your niche and focus on that.
Their manager is also very smart and widely respected even among other bands/their fans. Like, I’ve seen him being brought up on Tanuki as a good example when people diss on other bands’ management
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I wonder if I would be considered a netogya by my favorite Japanese rocker, TK from Ling tosite sigure?
It has crossed my mind that I might be seen as useless to Toru-san. I mean I buy all his expensive music CD releases, merch (band t-shirts, keychains, etc.). And yes, I am very vocal on IG the only social media I have but I wonder if I am as good as his domestic Japanese fans.
I mean. I am even part of his official fan club, Kalappo Lab. I don’t think just any regular fan joins a music artist’s fan club.
But I just don’t go to live shows. It isn’t personal I can’t stand concerts, movie theaters, parties, or church. I would rather do so many other things than those activities. Like Netflix and Chill or read a good book.
Plus, I know a lot of the Japanese superfans of TK are extremely wealthy I see them updating their IG a lot but even if I wanted to travel to Japan for his concerts that would not be possible for me. It is too expensive and out of my budget. I do not understand how some of them can go to so many of his concerts, some of them seem to never want to miss any one of his shows. That’s crazy to me. If I had the money and liked that kind of thing I would still only want to go to one of his live shows once or twice, every 2 years or so. Once I have seen him a few times I feel like I would have seen him enough. I rather get new studio recorded music I can listen to on my earbuds. No offense.
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Many great replies!
How much would you guess for example Kyo is cashing in every month (one of the most famous and active people in japanese rock today), like 5grand? Of course its hard to guess but I just wonder what level we are talking about.
It’s not a question of “if” you’d be considered a netogya. What you described IS the definition of netogya. Netogya=internet fan: a fan that only supports you online. Even if you buy tons of merch, if you never attend concerts and are only present in their online space, that’s a netogya. That’s for Visual Kei though, most of these fan categorizations are. This band you’re talking about doesn’t seem to be visual kei. So maybe you’re not a netogya by the semantics that they’re not visual kei. Someone who’s familiar with the general hard rock scene would have to fill you in on that one.
The other type of fan you’re talking about (who goes to every show and spend tons of money at the merch table) are called jouren fans (the regulars). And yeah, they’re hardcore. It requires extreme devotion. Your life has to basically revolve around that band.
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Earning money is hard. Not everyone has a family they can leech of from when their head gets stuck in between, that being said a country like japan where every misguided youth wants something to be special to them only I feel it isn’t too hard especially since even the most obscure underground idols get die hard fans who spends their minimum wage on the most menial and half assed merch. As always I’m a beacon of hope!
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so then how do bands make enough money to stay afloat, especially with personal living for the members? i imagine a part time job but thatd be hard to do, yes?
In the most cases, band is a hobby, and like 99% of bandomen are full time workers.
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Konbini by day, bandomen by night
A lot of them work as hosts where they find sugar mommas or just play the high baller mitsu sustained life.
Either way, if you ain’t talented (like 99% aren’t) in this scene to make money by either ghost writing or producing you make your living through some form of prostitution 
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If you go past the VK scene you can get stuff like this:
Let me add to that, Junpei from Victim of Deception his family owns a gardening company, Tomoki from the grindcore band Kandarivas is a general thoracic surgeon, and if i have the right info Kneeya (ovEnola, Kandarivas) works as a dentist.
The thing here is also that it depends on the band, the amount of activity etc etc
The VK bandomen = Works as Host i guess comes mainly from them having in store events during the day (and then work as host at night) and the fact that VK has a higher percentage of people who didn’t finish school or broke it off
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I want to stress as an active bandman and former host,
“alot of them work as hosts” is an exaggeration, former host is very common! since the old late 80s days even you have ex.hosts in vkei bands.
Active host? that is rare! ex.bandman returning to host work? common!
The subset of Vkei that would have active hosts is the Session Bands scene, but those are not really bands themselves and their fanbase is already the types that are hostclub goers/dirty h03s.
To be an active host would very hard as a bandman, generally to make host job worthwhile you need to be a regular, not part time, if you take days off you will get fined, plus the average time of “ichi-bu/night host” is around 17:00~ you get into work and prepare the club and then you work until 1am. not good for scheduling lives or rehearsals. “ni-bu/morning hosts” would probably be more likely for an active bandman to work at but again, that would be a rarity.
Bar jobs are more likely due to the fact that you will not get fined or your hourly payscale changed due to not being full time.
It seems people mix up mitsu culture with host clubs and think they are both as common in vkei:
being an active hosts while being active in a band is a rarity->mitsu would be the smart thing anyways beyond all the schedule stuff as club takes up to over 50% of your cut at times. Mitsu while being host like in nature does not equal “that bandman is a host”
Hope my stupid yoda knowledge clears that misconception up 
<3
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Thanks for your input!
Your first hand knowledge is much appreciated 
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Earning money in the Japanese rock and visual kei music scene can indeed be challenging, and it varies significantly from band to band. The music industry in Japan has its own unique characteristics, and it can be different from the Western music industry in several ways.
Many J-rock and visual kei bands rely heavily on their fanbase for income. This includes revenue from album sales, concert tickets, and merchandise sales. Some bands have dedicated fan clubs and fan events to boost their income.
Crowdfunding campaigns have become a common way for bands to raise funds for albums, music videos, or tours. However, as you mentioned with Deviloof, there have been cases of scams or mismanagement, which can harm a band’s reputation and trust with fans.
Some bands have successfully expanded their fan base internationally, which can provide additional income through overseas tours and merchandise sales. Bands that actively engage with their international fans and promote their music online have a better chance of earning money from a global audience.
Live performances are crucial for many J-rock and visual kei bands. They often perform in small venues, and the income generated from these shows can be a significant portion of their earnings. Some bands may also participate in music festivals to gain exposure.
Bands may sign with record labels, which can provide financial support and promotional efforts. However, label deals vary, and some bands may have more favorable arrangements than others.
Just like in the West, streaming and digital sales are becoming increasingly important in Japan’s music industry. Bands can earn royalties from streaming platforms and digital downloads.
The way income is distributed within a band can vary. Band members may receive a share of the income based on their roles, such as songwriting or vocal performance.
Making a sustainable income in the J-rock and visual kei scene often requires persistence and a long-term commitment. Bands that continuously release music, tour, and engage with fans have a better chance of financial stability.
Regarding specific artists like Kyo from Dir en Grey, it’s challenging to provide exact figures as income can vary greatly. Top-tier artists in Japan can earn substantial amounts, but it’s unlikely to reach the same levels as some top Western artists due to the differences in market size and revenue streams.
As for the perception that some bands give up and work as hosts or in other fields, it’s true that the music industry can be tough, and not all bands achieve long-term success. Some members may need to find alternative sources of income to make a living.
In summary, earning money in the J-rock and visual kei scene is a complex and variable process. Success depends on factors like fanbase, marketing efforts, management, and international reach. While some bands do well, many others struggle to make a significant income, and it often requires hard work, dedication, and creative strategies to succeed.
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