So, you wanna go to The Avett Brothers’ New Year’s Eve show? Maybe you’ve already got tickets. Maybe the car is loaded, the note written. Maybe you’re still thinking about it. Maybe you can’t get to Raleigh this year but you’re thinking of doing so in the future. Wherever
I got back from spending the weekend at the National Home Funeral Alliance national conference, steeped in discussions of mortality (I study and write about funeral and cemetery law), so I had to straighten up the house this morning before going to work. I was listening to some Conor Oberst
The week of MerleFest, I reached out to Jim Avett and asked him if I could talk to him for 15 minutes about the family’s new gospel album, For His Children and Ours. Jim gave me nearly 90 minutes. As I hope my new article in The Huffington Post makes
Happy anniversary Emotionalism! It is hard for us not to view the album now through the lens of the last ten years, including the work that The Avett Brothers have produced in that time period. So for the final installment of “The Tenth Anniversary of Emotionalism” blog posts, we take
I respond to visual art in the same way I respond to music—work either grabs me or it doesn’t. If it does, I’m hooked. The first piece of art that really connected with me was this very large acrylic painting of hay bales by Randall Scott Harden. I bought that
The new documentary directed by Judd Apatow and Michael Bonfiglio premiered at the South by the 2017 Southwest Festival (SXSW) and has been acquired by HBO. The following is a partial list of the reviews of the film and its premiere.
Matt B. Redmond has a beautiful post on his Echoes and Stars blog about True Sadness. Here’s an excerpt:
This article originally appeared in The Huffington Post on March 20, 2017.