Photographer Alvin Kean Wong’s Roller Zoku series can trace its roots all the way back to 1955. That year, rockabilly music touched down in Japan with a cover of Bill Haley and His Comets’s Rock Around the Clock by Japanese artist Chiemi Eri. Eri’s cover not only topped the charts but also popularized the rockabilly sound and aesthetic throughout the country, inspiring everything from motorcycle gangs (kaminari zoku) to the iconic greased-back hair paired with a leather jacket.
Rockabilly subculture has long fascinated Wong, who was raised in Singapore and is now based in New York. By 2019, the photographer sought out Japan’s contemporary rockabillies, immersing himself within and capturing the subculture for five years.
The resulting black-and-white photographs teem with energy, depicting rockabillies sporting sleek jackets and pointed shoes, dancing across slick sidewalks, and, with a striking mixture of defiance and intimacy, meeting the camera’s gaze. No matter their subject, each composition is an indistinguishable ode to a subculture that, according to Wong, once dominated Japan in far greater numbers.
Though smaller, this dynamic community nevertheless remains as vibrant and as rebellious as it did decades ago. It’s this fact that Wong has strived to portray throughout Roller Zoku, a motivation that has only deepened since meeting Johnny Diago, the most prominent figure within Japan’s rockabilly scene. Over the years, Wong has traveled with Diago’s band across the United States and Canada, memorializing their “camaraderie, freedom, and raw passion,” according to Wong’s artist statement.
This past February, the series was showcased at Cafe Studio in New York City during a special weekend exhibition titled Roller Zoku: A Photographic Journey Into Tokyo’s Rock-and-Roll Tribe. Wong’s photographs wrapped around the Soho gallery space, offering a seamless connection to the surrounding neighborhood and its history as a district for subcultural fashion and expression.
“Japanese rockabillies really are the coolest because there’s still a misconception in many Western societies that Asians don’t have an edge,” Wong explains. “It’s always inspiring how individuals that go against the grain and embrace their greatness to be different give us courage to follow our hearts.”
My Modern Met had the chance to speak with Alvin Kean Wong about Roller Zoku, his photographic inspirations, and his recent exhibition at Cafe Studio. Read on for our exclusive interview with the photographer.
What drew you to photography as your preferred medium, and how did you develop your personal style?
I was first fascinated with the mechanics of the camera. I remember playing with my father’s camera when I was about six years old, and I jammed the shutter and had to take it apart to fix it before I got into trouble. Upon taking it apart, I was so intrigued by the thousands of small parts in the camera, each working to make a photo. It was pure magic to me.
Photography has always been my preferred medium, and it is still magical to me. The unplanned moments, the unexpected moments, the imperfections are often the best. I use photography as a pen to write stories.
I also don’t think in style since I try to take pictures that are simply interesting. Others told me my style is documentary. I would think I have developed this style through making many mistakes and just taking a lot of photos.
I used to be a gear head, however it didn’t have any style as I was just studying and copying what others were doing. I didn’t like my photos then—I think they’re unremarkable. Some years back, I had the opportunity to work on many projects, traveling alone and with little to no equipment and almost no time for preparation. I learned to trust the camera, see lighting, and connect and share real moments with people that were rare and fleeting.
Every shoot is unique in that way, and every time is fresh and special. I always regard any opportunity as my last, so I try to be as present as possible for my sitter instead of geeking out on every little other aspect that isn’t necessary. Overall, I think a good photo is a moment that I can’t recreate.
How would you describe Japanese rockabillies to those who are unfamiliar with the scene, and when did you first encounter them?
The Japanese rockabilly is one of the most interesting cultures I have encountered to date. It’s not common to see them, and even Japanese people have limited information about them. Unless you’re in this subculture, it’s not easy to gain access.
Japanese rockabillies are a group of rock-and-roll enthusiasts trying to keep rock-and-roll alive. It started in the ’50s when Japanese performers were learning and performing for the American GIs stationed in Japan. Since then, it’s been through many ups and downs. Sadly, contrary to what we see trending on social media, there are fewer people interested in this culture currently. In the ’80s and ’90s, there used to be thousands of rockabilly gatherings in Yoyogi Park and Harajuku on Sundays. Today, on a good Sunday, you’ll get a handful of them. There are also fewer people interested in rock-and-roll.
My first personal encounter with Japanese rockabillies was in 2019, but I’ve always known them since growing up in the ’90s. Even then, in all my years traveling to Japan, I never took it upon myself to explicitly seek them out until 2019.
What compels you about this specific subculture, and why did it feel important to document it?
Japanese rockabillies are really the coolest because there’s still a misconception in many Western societies that Asians don’t have an edge. In the end, we are all humans, and we are all attracted to different things regardless of color.
This project is important for me as I love showing the character of just one of the many cool cultures in Asia, which I actually realized while working on this project. It wasn’t planned this way, but it just happened as I got more involved in this culture.
It’s always inspiring how individuals that go against the grain and embrace their greatness to be different give us courage to follow our hearts. Plus, they’re one of the coolest groups of people I have met, and I hope that, through my work, I can support and keep this culture alive.
What was the process of photographing the images included in Roller Zoku, and what was it like to work with these rockabillies?
Rock-and-roll always has an image of recklessness and irresponsibility. However, Japanese rockabillies are the most loyal, disciplined, and trustworthy people I have met. If a Roller has given you their word, they will definitely honor it. We call this Samurai rock-and-roll.
There is honor and pride in this subculture. Of course, they have attitudes because it’s still rock-and-roll, so never disrespect them, their tribe, or country. You get respect when you give respect.
Exhibition view from “Roller Zoku” at Cafe Studio, New York, NY.
Exhibition view from “Roller Zoku” at Cafe Studio, New York, NY.
What are some of your favorite aspects of Japanese rockabillies?
Their cool style, the nostalgia, the music, the denim, the leather, the vintage motorcycles and cars, and the camaraderie. It is a world I can live in.
Exhibition view from “Roller Zoku” at Cafe Studio, New York, NY.
What do you hope people will take away from Roller Zoku?
I hope that people will go out to do new things, meet people, be around people, and experience life. With all the amazing information and connection we are given from social media and the web, we should seek out adventures.
I’ve learned so much from doing this project, and even after the exhibition at Cafe Studio, I’m learning from people who have met the Roller Zoku. They shared their stories with the Rollers, their shared interest in music, fashion, cars, motorcycles, tattoos… I feel blessed to meet all these magical people.
Exhibition view from “Roller Zoku” at Cafe Studio, New York, NY.
Do you have any exciting projects coming up in the near future?
Honestly, the thing I would love is to go back to Japan and spend some time building on the Roller Zoku project. What I have shown at the Roller Zoku exhibition at Cafe Studio is just scratching the surface.
There’s so much more to this subculture that I would like to explore in and outside of Tokyo. Hopefully, we can get some patrons of arts or book publishers or even other commercial clients for a potential collaboration so we can keep this project going and share more of this subculture.