Ask John: Is a J-pop Breakthrough Imminent?

Question:
Since the success of PSY’s “Gangnam Style” put K-Pop on the American mainstream, is there any chance for J-Pop to achieve similar success here?

Answer:
Korean artist PSY’s pop song “Gangnam Style” has certainly gone viral internationally, generating a wave of American awareness of Korean pop that certainly didn’t exist only two weeks ago, but I’m not convinced that this new American recognition is either lasting nor positive. “Gangnam Style” certainly hasn’t been outright ridiculed, for example, as would-be diva Rebecca Black’s “Friday” was, but I distinctly perceive the popularity of “Gangnam Style” as a novel kitsch rather than an actual curious interest in Korean pop music. Americans have been drawn to the song and its video because of its wacky foreign-ness rather than because they actually enjoy the song and want to hear more, similar Korean music. I’m reminded a bit of the 2001 Japanese novelty pop song “Yatta” by Happa-tai, which briefly exploded with international interest before vanishing, generating no lasting American interest in Japanese pop music. Personally, while I’m not a huge follower of any variety of popular music, I am inclined to say that I’d prefer to see Korean or Japanese contemporary pop become popular in America because of the integrity and appeal of the music, not because it’s a passing joke.

I think that the possibility does exist. Hikaru Utada has been American educated, speaks fluent English, and has pop songs familiar to American listeners. Vocalist Adele gained virtual overnight smash success based on the power of her voice and songwriting. I’d argue that Japanese vocalists like Chihiro Onitsuka are equally talented and captivating. X Japan is highly respected within America’s rock and metal music profession. I’d like to believe that the group’s debut American album could generate some mainstream American interest, if the album ever actually gets completed and released. A joke one-hit wonder like “Gangnam Style” creates a sudden surge in awareness of Asian pop music. But the surge isn’t sustained, and it’s not based on respect or genuine interest in the music, which ultimately provides no benefit to serious music fans or Asian musicians. A legitimate, sustained rise of awareness and interest in Japanese pop music has to be launched by an American recognition that Japanese pop music isn’t just a disposable viral video novelty. That sort of breakout international success will have to be instigated by a talented and striking Japanese vocalist capable of making occidental Americans sit up and take notice, and unfortunately right now there don’t seem to be any performers with that capacity in Japan.