For decades, certain songs morph into urban legends, their true origins obscured by popular misconceptions. A classic example is the persistent myth surrounding Millie’s 1964 hit, “My Boy Lollipop.” Ask the average music enthusiast who played the harmonica on it, and you’ll likely hear “Rod Stewart.” However, music aficionados know the actual player was Pete Hogman. Similarly, The Vapors’ 1980 hit, “Turning Japanese,” has been shrouded in misinterpretation for years. Many journalists and trivia buffs have propagated the idea that the song is about masturbation, based on the crude interpretation of “turning Japanese” referring to a supposed facial expression during climax. But, this widely circulated “fact” is completely inaccurate.
The rumor mill also churned out theories about band members being fascinated with Japanese culture. This, too, is unfounded. The song’s connection to the East is subtle and purely musical, residing in the distinctive guitar riff that opens the track. This recurring riff, known as the “oriental riff,” is a common musical trope used by Western bands to evoke a vaguely Far Eastern sound. Think of other songs employing this riff, like Carl Douglas’ “Kung Fu Fighting” or Siouxsie and the Banshees’ “Hong Kong Garden,” and you’ll recognize the sonic association.
The Vapors emerged from the pub-rock scene in Guildford, Surrey. The band was formed by singer David Fenton, guitarist Edward Bazalgette, bassist Steve Smith, and drummer Howard Smith. Initially named The Vapours, they strategically dropped the ‘u’ to cultivate an American image. Their big break came when Bruce Foxton of The Jam discovered them and, along with Paul Weller’s father, John, became their co-manager. This connection led to The Vapors supporting The Jam on their “Setting Sons” tour, significantly boosting their exposure.
In an interview, Dave Fenton himself clarified the song’s title and meaning: “It could have been Portuguese or Lebanese or anything that fitted with that phrase, it’s nothing to do with the Japanese. It’s actually a love song about someone who had lost their girlfriend and was going crazy over it. The title is just all the cliché’s about angst and youth and about turning into something you didn’t expect to.” Rob Kemp, an early guitarist who left before their success, reinforced this, stating, “A lot of David’s lyrics were about failed relationships.” Fenton elaborated on the lyrical imagery, describing “this boy sitting in his room with just a photograph of the girl that had just left him and feeling very empty.” The intense emotions of heartbreak and loss are so overwhelming that the person feels like they are transforming, “turning into a different person.” This extreme emotional state is depicted through the slightly exaggerated lyric about wanting not just a photograph but also an X-ray, a desire to see inside the departed loved one. Fenton acknowledges the slightly over-the-top nature of the lyric but emphasizes that such irrational thoughts are common in the throes of heartbreak.
While “Turning Japanese” achieved significant success, topping the Australian charts for two weeks, their subsequent singles, “News at Ten” in 1980 and “Jimmie Jones” in 1981, both peaked at number 44. Curiously, their album “New Clear Days” also reached number 44. By the end of 1981, The Vapors disbanded. Post-Vapors, Fenton transitioned from music creation to media law, working for the Musicians Union. Bazalgette became a successful television producer at the BBC. Steve Smith continues his music career as a session bassist, and Howard Smith found a career at the Performing Rights Society, resolving royalty disputes. Howard Smith reflected on his music career with contentment: “I don’t miss the playing. When I started in the business I wanted to make a record, have a hit, be on Top of the Pops and tour the US and I’ve done all that now.”
Interestingly, “Turning Japanese” was only a minor hit in Japan, perhaps ironically or due to cultural nuances. However, the song found considerable popularity in America, featuring in commercials for Dr. Pepper and KFC, with the KFC ad using a karaoke version. Furthermore, it gained cinematic recognition with appearances in the films “Romy And Michele’s High School Reunion” (1997) and “Charlie’s Angels” (2000), cementing its place in popular culture.
In a more recent highlight, David Fenton made a guest appearance at St George’s School in Harpenden in January of this year. He performed “Turning Japanese” as part of a Top of the Pops event organized by one of the school houses to raise money for charity. The school’s fundraising efforts across various events, including the Top of the Pops show and a Woodstock festival restaging, successfully raised a total of £4,746 for good causes.
In conclusion, “Turning Japanese” is not the sexually suggestive anthem many believe it to be. It’s a song about the intense disorientation and emotional upheaval of heartbreak, using the somewhat ambiguous title as a metaphor for feeling transformed by overwhelming emotions. The song’s enduring appeal lies not in a misinterpreted meaning, but in its catchy melody, energetic performance, and relatable theme of youthful angst and lost love, proving that sometimes the most enduring stories are the ones that need to be corrected.
