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...financial crisis have changed the landscape in which Japan and the U.S. find themselves. Hatoyama said that Japan had been "buffeted by the winds of market fundamentalism in a U.S.-led movement that is usually called globalization," and criticized a "way of thinking based on the idea that American-style free-market economics represents a universal and ideal economic order." "The influence of the U.S. is declining," Hatoyama wrote, in a "new era of multipolarity," and he went so far as to propose something like a European Union - with a single currency, no less - in East Asia. It is enough...
...passion for all things American. In truth, it is hard to think of any industrial society that in its essentials is less like the U.S. than Japan. Yes, Japan plays baseball. But Japan is a nation with very deep cultural roots and habits - in everything from food, art and style to religion and the expected roles of women and children - few of which have any point of contact with modern American mores. Since the bursting of Japan's financial bubble 20 years ago, moreover, many observers have noted that Japanese society has become more "Japanese," cherishing tradition and homegrown values...
Narcotecture n.--The architectural style favored by Afghan drug lords...
...retains a deep affection for the genre even now. Similarly, his novels have always dabbled heavily in references to the pulp novel’s cultural siblings—rock music and monster movies—so, despite the seeming retreat into genre fiction, he maintains a continuity of style, if his substantive fingerprints are still conspicuously absent.Unfortunately, the rigid pacing and logical arc of the conventional detective story don’t quite jive with Pynchon’s classic (one might say, inherent) psychedelia. The novel really does feel shaggy and baggy, because the normally lean detective genre...
...contains some interesting elements, but Kroeber’s drums almost disappear into the background wash of noise. Throughout the album, sterile tones fill what would have been silences in their earlier work. Keaton’s addition heralds a fuller and admittedly more echoey version of their previous style, but it detracts from the band’s originally interesting simplicity. The added effects attempt, and fail, to hide fairly shoddy song writing. “Time to Die” is not as tuneful as “Visiter” and their new sonic elements, though adventurous...