Abstract
The phrase ‘big in Japan’ has become a popular cliché, used to describe acts which are meant to be enjoying Japanese success: anyone from Kylie Minogue to Primal Scream; from Dead or Alive to Blur. It seems that even the most unregarded artists can make it in Japan. Even Spinal Tap – the fictional, washed-up heavy metal band from Rob Reiner's film of the same name – were finally able to find success in Japan. The implication seems to be that the Japanese hunger for Western culture is so strong that even bands who have failed in their own countries can succeed in the Japanese market. Indeed, an expressed belief that Japanese listeners could not get enough of Western music was the usual reaction when I told acquaintances that I was studying the Japanese pop music market. This belief is perpetuated by music magazines, which regularly print stories detailing bizarre acts of devotion by Japanese fans.
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