Recently by Matt Hanson:

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At first glance, Bull Durham doesn’t seem like the kind of movie that would get the Criterion Collection treatment. A cinephile’s delight, Criterion is usually associated with more esoteric films: their staggeringly comprehensive editions of the works of Ingmar Bergman and Josef Von Sternberg are alluring indeed, but not what you’d call mainstream fare. Kudos to Criterion for being open-minded enough to notice how progressive, subversive, and worldly-wise Bull Durham really is. Brilliantly written by former minor leaguer Ron Shelton, the film shows authentic affection and respect for America’s pastime but doesn’t shy away from the deeper questions that go beyond calling balls and strikes. Bull Durham is a thinking person’s sports movie, containing a deep, unapologetically intelligent and mature understanding of the world both inside and outside the ballpark.

We follow the The Durham Bulls, a very minor league baseball team based in North Carolina. Most of the players know that they aren’t destined to be superstars, nor are they meant to be, which is mostly just fine by them. They’re in it purely for the love of the game, enjoying the laid-back camaraderie of athletes, content to horse around beneath the bright lights on warm summer evenings. Choosing to focus on this often-ignored aspect of the sporting life is particularly pointed, since the mid ’80s was a time just before baseball (and sports culture at large) got a metaphorical (and, it must be said, quite literal) shot in the arm, causing salaries and egos to run amok. The amiable Durham Bulls aren’t obsessively driven to be champions, which flips the implicit triumphalism of most sports movies on its head right off the bat, so to speak. More… “All-Star Flirtation”

Matt Hanson lives in Boston and writes for The Arts Fuse,  Boston’s online independent arts and culture magazine.  His work has also appeared in The Baffler, The Millions, and 3 Quarks Daily, and other places.  He can usually be found in the nearest available used bookstore.

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If you ask me, there were quite a few cringe-worthy moments in the movie La La Land but one moment especially hit home. Early in the story, Emma Stone’s character, Mia, apprehensively confesses to Ryan Gosling’s idealistic jazz pianist that she “hates” jazz. It’s probably intended to show Mia’s relatability for the audience, but this viewer at least winced with recognition. The fact that Mia eventually discovers that she likes jazz after all is less about digging the music than about giving the viewer the Hollywood ending they want. She’s not alone in her defensiveness when it comes to America’s music — believe me, plenty of people tend to give us jazz fans the side-eye whenever the topic comes up.

The sad truth is that all too often jazz suffers the same kind of casual dismissal that hip-hop, country, and EDM used to get before they took over the mainstream. Granted, this might be something only a jazz lover would notice but since at least the ’70s, jazz has become something of a niche market, to put it mildly. In terms of yearly record sales, jazz usually sells as much as classical music does, one of the many things the two genres have in common. Far too often jazz comes off as dated or quaint; it’s your granddad’s make out music. Worse, there’s an implied snobbishness often projected onto loving jazz — it’s a little like explaining that you prefer to spend your Saturday nights translating Hegel or making artisanal cheese. More… “Giant Steps”

Matt Hanson lives in Boston and writes for The Arts Fuse,  Boston’s online independent arts and culture magazine.  His work has also appeared in The Baffler, The Millions, and 3 Quarks Daily, and other places.  He can usually be found in the nearest available used bookstore.

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Blue donkey in red bubble, blue house in blue bubble
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In the wake of the 2016 election, journalists and political commentators have been falling all over themselves to report on the plight of the so-called “white working class.” I hate to use the scare quotes, but the term is much less distinctive than it once was. We are all proletarians now: economic instability is keenly felt all over the country, at all levels of society, and not just among white people, either. Recent bestsellers like Arlie Hochschild’s Strangers in Their Own Land and J.D. Vance’s Hillbilly Elegy prove that there is a considerable market for books addressing the economic, political, and cultural gaps between city and country, between left and right. The latest of these is Ken Stern’s Republican Like Me: How I Left the Liberal Bubble and Learned to Love the Right.

Stern, the former CEO of NPR and a lifelong Democrat, was inspired to write the book after realizing that while his posh Washington D.C. neighborhood celebrated diversity of all kinds, he didn’t personally know any conservatives or even know anybody who did. He decided to take a year-long trip through red states to better understand the ways of the right. Stern’s approach is well-intentioned but essentially flawed — just because he happens to live in a liberal neighborhood doesn’t mean that he’s the only one living in a bubble. More… “Republican Like Who?”

Matt Hanson lives in Boston and writes for The Arts Fuse,  Boston’s online independent arts and culture magazine.  His work has also appeared in The Baffler, The Millions, and 3 Quarks Daily, and other places.  He can usually be found in the nearest available used bookstore.

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