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Akiko Wada is Japanese with Korean ethnicity. She was born Kim Bok-ja, but when she took Japanese citizenship, her name became Akiko Wada. At age 17, she dropped out of school and performed in clubs. She was signed to the Horipro entertainment agency and released her debut single, “Hoshizora no Kodoku” in 1968 and had her first hit the next year with “Doshaburi no Ame no Naka de”. She performed on Kōhaku Uta Gassen, a music show broadcast live every New Year’s Eve, in 1970 and has performed over 30 times on the show since then. She received the award for Best Song at the 1972 Japan Record Awards for “Ano Kane wo Narasu no wa Anata”. She played the voice of as Bowser in Super Mario Bros.: Peach-Hime Kyushutsu Dai Sakusen!.She has also voiced Marge Simpson in the Japanese version of The Simpsons Movie. She also performed with the music group M-Flo on the song “Hey!
- 3/20/2021
- by Panos Kotzathanasis
- AsianMoviePulse
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After the success of “Delinquent Girl Boss”, Nikkatsu released the sequel only three months later, a decision that took its toll on the film, since Fujita barely had time to shoot it, much less writing it, which resulted in a script that hardly holds itself together.
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The story revolves around a group of delinquents, namely C-ko, Taki, Gani-shin and Jiro, who hang around mostly riding around in a buggy playing pranks to people, with no particular purpose. Another member however, Debo, who seems half-mad, spends most of his time digging holes during the nights in a school yard obsessively, to the point that his “work” eventually is even featured in the papers. Meanwhile, a gang of rich youths who spend the time much like the protagonists, provide an arch-enemy, with the feud eventually escalating to violence.
Two events change the story however. The appearance of Asako, a...
Buy This Title
The story revolves around a group of delinquents, namely C-ko, Taki, Gani-shin and Jiro, who hang around mostly riding around in a buggy playing pranks to people, with no particular purpose. Another member however, Debo, who seems half-mad, spends most of his time digging holes during the nights in a school yard obsessively, to the point that his “work” eventually is even featured in the papers. Meanwhile, a gang of rich youths who spend the time much like the protagonists, provide an arch-enemy, with the feud eventually escalating to violence.
Two events change the story however. The appearance of Asako, a...
- 3/14/2021
- by Panos Kotzathanasis
- AsianMoviePulse
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The “Stray Cat Rock”-series was designed by Nikkatsu to compete with Toei’s “Delinquent Boss”-series, in an effort of the company at the time, to attract more youth audiences to its movies, an approach that also included the appearances of pop idols and rock bands, as either themselves or playing supporting character. The first film of the series, “Delinquent Girl Boss”, was co-produced by talent agency Horipro, that also represented the protagonist, pop singer Akiko Wada. However, the one who truly shined in the film was Meiko Kaji, who became the protagonist of the remaining four films of the series.
Mei is the hard-nosed leader of an all girls gang, the Stray Cats, who, as the film begins, are about to have a fight with similar group. Mei, who has just before met girl biker Ako, emerges victorious, even slashing the opponents’ leader with her knife,...
Mei is the hard-nosed leader of an all girls gang, the Stray Cats, who, as the film begins, are about to have a fight with similar group. Mei, who has just before met girl biker Ako, emerges victorious, even slashing the opponents’ leader with her knife,...
- 3/3/2021
- by Panos Kotzathanasis
- AsianMoviePulse
Mubi is showing the Stray Cat Rock series in the United States from August 29 - October 23, 2016High on snorted glue and really, really pissed off, the Stray Cat Rock series takes a switchblade to the Japanese Old Guard. Released in five parts during 1970 and 1971, the series, with its unabashed feminist, anti-colonialist and anti-militaristic politics, is a surprisingly detailed and sprawling account of both the radical spirit that intoxicated the air and the racist, sexist and nationalist sentiments that were planning a coup in Japan around the same time. Packaged in a consumable genre form, as ubiquitous as the films’ reoccurring Coke bottles, the series is an effective bait-and-switch, a “fuck you” from inside the system.As Japanese studios were falling apart and Hollywood imperialism was claiming more and more of the box-office pie chart, the ruling class welcomed its own critique, commodifying the anti-establishment sentiments that had crossed the Pacific.
- 8/29/2016
- MUBI
When dealing with exploitation cinema of the 1970s in the post-Tarantino era, there’s something of a heightened balance between “the thing” and “what the thing looks like.” The dichotomy was always there – the posters typically promised a good deal more than could be delivered on small budgets and quick schedules – but has since become even more grotesque now that celebrating such films has become an industry unto itself. Arrow Video has become a key player in this with their dozens (nearing hundreds) of Blu-ray editions celebrating the best, and a good deal of some of the lesser, genre films from decades past. Their new collection rounding up the films in the Stray Cat Rock series offers a little of each end of the spectrum. None are the sort of hyper-charged, riotous, nonstop-sex-and-carnage onslaughts that modern imitators revel in, but at its best, the series is a rather potent drug...
- 9/23/2015
- by Scott Nye
- CriterionCast
Before Toshiya Fujita shot the icon making Lady Snowblood films and Yasuharu Hasebe lensed Female Prisoner Scorpion: #701’s Grudge Son, each staring their ice cold action muse Meiko Kaji, they all teamed up at the famed Nikkatsu Studios just prior to its increased interest in the sexualized pink films on a quintet of psychedelic pop infused series of films produced under the banner title Stray Cat Rock. Bathed in pop tunes and shot, cut and performed with hyper-stylized fervor over the course of just two years from 1970-1971, the series, loosely connected by cast, crew and aesthetics alone, thrives in the clubbing circuit of underground street gangs while dabbling in every pop genre imaginable, from heist film to jailbreak picture with varying results.
Kicking off the series with wild-eyed ambition, Hasebe’s Delinquent Girl Boss sets the tone for the series with a complex yarn of girl power infused gang...
Kicking off the series with wild-eyed ambition, Hasebe’s Delinquent Girl Boss sets the tone for the series with a complex yarn of girl power infused gang...
- 8/18/2015
- by Jordan M. Smith
- IONCINEMA.com
Tokyo — Leaving San Francisco, singer Chris Hart has made himself at home in "J-pop."
His album of cover versions of Japanese pop tunes is rising on the charts. And the crooner is scoring on this nation's equivalent of "American Idol," being billed as a genius who understands the musical soul of Japan.
His success highlights a music industry that's still booming, and increasingly eager to internationalize. It's even ready to eclipse the U.S. music world, where CD sales have plunged with the arrival of digital technology.
Hart, 29, says he is living his dream. And he doesn't mind a bit that his fame has come so far from home.
"I am a part of the J-pop world now," he said in a recent interview, using the term for pop music in the world's third-biggest economy.
Hart has won over Japan by focusing on adaptations of local hits such as "Home,...
His album of cover versions of Japanese pop tunes is rising on the charts. And the crooner is scoring on this nation's equivalent of "American Idol," being billed as a genius who understands the musical soul of Japan.
His success highlights a music industry that's still booming, and increasingly eager to internationalize. It's even ready to eclipse the U.S. music world, where CD sales have plunged with the arrival of digital technology.
Hart, 29, says he is living his dream. And he doesn't mind a bit that his fame has come so far from home.
"I am a part of the J-pop world now," he said in a recent interview, using the term for pop music in the world's third-biggest economy.
Hart has won over Japan by focusing on adaptations of local hits such as "Home,...
- 9/3/2013
- by AP
- Huffington Post
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