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The movie Out of This World: Occupation Forces Clubs (Kono yo no soto e – Kurabu shinchūgun, 2004) brought to a general Japanese audience the hitherto largely unknown story of the jazz musicians who played in occupation-era American military base clubs. A year later, researcher Tōya Mamoru’s book From Clubs to Kayokyoku: Dawn of Japanese Popular Music after the War (Shinchugun Kurabu Kara Kyokyoku e sengo nihon popura ongaku no reimiki, 2005) brought this world into Japanese academia by exploring how these bases became a nurturing ground for almost all of the musicians, singers, and entertainment figures who would go on to remake postwar Japan’s entire show business infrastructure. This article brings Tōya’s work to an English audience and also broadens it by examining the role of young Japanese women, whether as dance companions of soldiers at base club dances or as vocalists fronting jazz bands, in making the military base camp an incubator for the careers of legendary vocalists and movie stars Eri Chiemi (1937–82) and Yukimura Izumi (b. 1937). The early lives of these important singers and their experience of the military bases is examined as part of a deeper probe into the complex cultural crucible that allowed them so effectively to embrace the rhythm and romance of American jazz music.

Recent high-profile publications such as Jon Savage's (2016) book on the pop cultural explosion of 1966, Stuart Cosgrove's book Detroit 1967 (2016), which explores the social and political conflicts in soul city, and a new 2018 musical biopic dedicated to Dusty Springfield (written by Jonathan Harvey), demonstrate the persistent interest in this most celebrated and scrutinized decade. The case studies are North American and European and therefore a future collection exploring similar themes in terms of young women in non-western contexts would be a welcome area of research. For women, as theorists such as Lisa Adkins (1999) have explained, women's apparent move towards equality and female empowerment is often met with conflicting responses about what is 'appropriate femininity'. [...]women often remain judged, constrained and discriminated against, which calls in to question the popular notion that from the 1960s onwards women incrementally experienced more equality and freedom as time passed by. [...]Katie Milestone's paper, 'Swinging regions:

Once I read a serious, painful poem to a group of writers in which I was the only stranger and instead of the attentiveness I expected they laughed, the laughter escalating, as I read, from giggles to near-hysteria.

Grace Paley I bought a low-cut purple dress for my daughter's graduation from college and surprised my ex-husband by kissing him on the mouth.