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In these interviews, David Ensminger goes beyond questions of biography and discography to explore some of these artists’ more unlikely influences and their philosophies on not just punk, but life.
“The Heat” plays with clichés from a long line of mismatched buddy cop comedies, and it’s as good as any in the genre’s pantheon.
“Say Goodnight Gracie” revels in familiarity and age. It travels on creaky wheels of recognition rather than on rockets of revelation.
As for new independent films, producer Christine Vachon noted that each generation requires fresh stories and comparisons with a ‘golden’ age of filmmaking are irrelevant.
Dan Kennedy could have written a book that extols the “Huffington Post,” WGBH, or Patch as the future of serious community journalism. He doesn’t, which means that he is on the side of the angels rather than the corner-cutting devils.
Poet José Ángel Valente deeply considered what kind of lyricism remains legitimate; that is, truthful, not deceptive; a song that moves us to truth, not a Siren’s song.
In terms of composition, the songs on “Kveikur” are structured more straightforwardly than those on “Valtari,” but Sigur Rós remains determined to deny the listener the grand post-rock climaxes.
The crowd emptied into the humid Boston night having bridged the past and the present, thanks to the incredible talent of the city’s local music scene, reunited in tribute to a club that hosted many such moments over its 11-year history.
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