In Cold War Ruins Lisa Yoneyama argues that the efforts intensifying since the 1990s to bring justice to the victims of Japanese military and colonial violence have generated what she calls a "transborder redress culture." A product of failed post-World War II transitional justice that left many colonial legacies intact; this culture both contests and reiterates the complex transwar and transpacific entanglements that have sustained the Cold War unredressability and illegibility of certain violences. By linking justice to the effects of American geopolitical hegemony; and by deploying a conjunctive cultural critique—of "comfort women" redress efforts; state-sponsored apologies and amnesties; Asian American involvement in redress cases; the ongoing effects of the U.S. occupation of Japan and Okinawa; Japanese atrocities in China; and battles over WWII memories—Yoneyama helps illuminate how redress culture across Asia and the Pacific has the potential to bring powerful new and challenging perspectives on American exceptionalism; militarized security; justice; sovereignty; forgiveness; and decolonization.
#80406 in Books Tim Lawrence 2004-02-02 2004-02-02Original language:EnglishPDF # 1 9.25 x 1.31 x 6.13l; 1.64 #File Name: 0822331985528 pages70-plus imagesover 300 interviews w/ DJs; producers; party goes; and more20 special discographiesauthor also penned Life and Death on the New York Dance Floor 1980 - 1983
Review
1 of 1 people found the following review helpful. A must for any historian of the eraBy JustMikeWhat a great find; this book is like a college text of the disco era; from the early radio and club DJ's and record clubs to Salsoul; Disco-45's; and Casablanca Redcords. It also covers David Mancuso's house parties; early DJ's such as Francis Grasso; Nicky Siano; Walter Murphy; Robbie Leslie; Larry Levan and others; and the rise of private clubs on Broadway below Houston; including Odyssey; the Flamingo; the clubs like USA and Xenon; and downtown clubs like Paradise Garage and Mudd Club in later years. The book traces the origin of the dance movement to its origins in Africa and Europe and is New York-centric to some extent; but it does credit the influence of Philadelphia and Chicago and covers the scenes in those cities to some extent. It also devotes considerable attention to the music and brilliantly presents how the music; DJ's; clubs and socio-economic factors of the time coalesced into a pivotal time in music history. The material is meticulously curated and retold here in detail. Especially enjoyed the attention given to Mancuso;s selection of speakers. The book reads more like a textbook than a novel; and some readers may be put off by its clinical tone; but I appreciated its academic approach and anyone interested in the historical aspects of dance culture will find it informative.1 of 1 people found the following review helpful. did save the day indeed !By azélieThis book is very tempting : I mean; I read it months ago and at that time; wished that it would never end (I'm dedicated to pleasure; I'm afraid);but it did.So; now again; I grab it try to get more substance from it; be it the souvenir of the thrills I once got; at night; in bed.I learned and connected lots of things from this era; I dived into 70's high-class disco sounds head-first because of Arthur Russell and this book; the story of David Mancuso; Nicky Siano; Larry Levan; the magnificent Walter Gibbons; Bob Blank (wizzard) and oh ! all the ItaloAmericans who dedicated their talent and enthusiasm to giving pleasure vibes to people on improvised dancefloors; the love vibes; the sensual surroundings of it all; the nonstop motion which motor was love; party; get high; love again ! Reading; I was completely taken by that part of contemporary social/musical history. Said Robert Fripp about disco music : "now people are going to vote with their feet". So thanks Tim Lawrence; bless you.0 of 0 people found the following review helpful. Dry; But ValuableBy A. J. McgheeMy only complain with the book is that it's dry; historical focus robs it of much of the cultural criticism and readings that it could contain; although there are moments--e.g. "the interpretation of [Donna] Summer's oooh and aahs" and its relation to the liberation of female sexuality in comparison to songs like Gainsbourg's "Je T'aime...Moi Non Plus" on p173-174; or the explication of the cultural import of Saturday Night Fever on p307.
