‘Once More, With Irony’: Karaoke and Social Class

Karaoke’s mimetic character can provide a conduit for personal growth and interpersonal empathy. Yet karaoke is not always understood this way, and one factor determining how it is understood is social class. Karaoke’s class markers have been clear, though very different, in Eastern and Western cultures. Whereas in Japan karaoke first became popular among the upper‐middle class, in the US it was popularized by the working and lower‐middle classes. As karaoke gained a following among working‐class Americans it was often shunned by the urban middle class. Yet by the late 1990s an alternative aesthetic of karaoke, characterized by an ironic performance style, developed among middle‐class urbanites. This essay attempts to describe these opposing styles of mimetic and ironic performance, to explain the motives behind them, and to consider what happens when they come into contact.