This paper examines crossing and crossers between Korea and Japan in the domain of pop music. Crossing of semiotic products such as music between the two countries, in both a ''linguistic'' and ''physical'' sense, presents a sociolinguistic case in which renegotiation of positions of ex-colonizer (Japan) and ex-colonizee (Korea) is promising. The turbulent cultural and linguistic dynamics between the two countries have undergone stages of oppression, contestation, and collaboration over the years. Pop culture, including music and TV shows, is a sociolinguistic venue that has recently experienced a noticeable change in the power dynamics between Korea and Japan.

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