Despite an initially lukewarm critical reception, Sum 41’s All Killer No Filler enjoys a place in the pop-punk pantheon as it hits its 20th birthday.
By identifying King Lear with the ancient Japanese warlord Hidetora, whose violations emerge from a breach of publicly identified self-hood, Akira Kurosawa plays with the quintessentially Shakespearean focus on individual personality.
Filmmaker Boaz Yakin talks with PopMatters about the liberating experience of forsaking tone and not caring if he makes a cent on his gender-swapping, story-told-through-dance, not-from-Hollywood film, Aviva.
These films represented Akira Kurosawa’s ascendance to greater international acclaim, while he struggled to find financing in Japan, where the movie industry was shriveling.
Peter Stanfield’s ‘A Band With Built-In Hate’ highlights redundancy, aggression, obsolescence, and ambiguity in Townshend’s lyrical stance and the Who’s performing methods.
Jazzie Young’s Blood Ties Help Connect Past to Present With Her Moving Debut EP (interview + premiere)
Indie pop’s Jazzie Young appreciates her fabled father’s musical legacy and his sage career advice, but wants to make a name for herself, and the upcoming release of Grown Up & Grown Apart serves as a proper introduction to a brave new world.
There are striking differences between Kurosawa’s earlier and later films, including in the different ways people have responded to these two groups of films.
Folkie Will Stratton is releasing a new LP, The Changing Wilderness, this week. We speak with him about his music, love of alternate tunings, and economic justice for musicians.
These three Kurosawa films represent the end of one phase of his career and the beginning of another. High and Low is a police procedural that is regarded as one of his greatest films, while Red Beard represented the end of his so-called “Creative Period”.