Kraftwerk’s Seductive Post-Human
The power in Kraftwerk’s music lies in how they persuade us that the human – sweaty, inefficient, psychologically noisy – is the least necessary component of the future.
Mike Cormack
Perhaps best known as the author of 'Everything Under the Sun: The Complete Guide to Pink Floyd', I've also written extensively on Chinese, US,
and UK politics, as well as music from Kraftwerk to the Beatles.
Capitalism’s Moral Rot in Three New York-Centered Films
Capitalism’s moral rot is tracked in three NYC films: from heroin dealers who risk arrest to insider traders who risk indictment to men in masks who risk nothing at all.
The ‘Shōgun’ Series Is Like a Beautiful Car with No Engine
James Clavell’s Shōgun is about profound transformation through understanding, but FX’s Shōgun is just a spectacle of surfaces with no meaningful drive.
‘The Shining’ and the Power of Murderous Narratives
The Shining endures because it conveys all horror, real and imagined: Stephen King’s horror of the collapse of Man, and Stanley Kubrick’s collapse of History.
Adrian Mole’s Very English Portrait of Male Anguish
In Sue Townsend’s hands, comedy doesn’t soften despair; it sharpens it. Her creation, Adrian Mole, is a most perfectly flawed portrait of loneliness and failure.
Manic Street Preachers’ Holy Hell
Manic Street Preachers’ The Holy Bible is fastidious in its religious intensity, but rather than giving moral uplift, it is rock music’s deepest dive into the human abyss.
Bad Wisdom’s Artful Offensiveness
Bad Wisdom is a brilliantly savagely offensive, gleeful parody of the rock ’n’ roll messiah complex, the seeker-narrative, and the entire tradition of male spiritual self-aggrandisement.
British Identity Interrogated in Three Films
Where Roddam’s Quadrophenia asks of British identity, “Who am I?” and Anderson’s If…. asks “Can I be myself?”, Cammell and Roeg’s Performance declares, “There is no self.”
The Art of ‘Cruising’
Cruising, once denounced as homophobic pulp, is now being reassessed as a daring exploration of performance, identity, and the psychic costs of repression.
How Nirvana Destroyed Rock’s Toxic Masculinity
Nirvana’s Kurt Cobain despised rock music’s posturing machismo, mocked its fundamental assumptions, and then utterly destroyed the genre.
Guns N’ Roses’ Dragged High Art Through Primal Sleaze for ‘Appetite for Destruction’
The coiled intelligence and emotional impact of Guns N’ Roses’ Appetite for Destruction insists that humanity’s ugly reality is better than hypocrisy or quiescence.