New Interviews Elsewhere

I’ll try to use this site in part to share some of my other projects.

First, I got the chance to interview the inestimable John Oates – otherwise known as one half of the best selling duo in the history of music – over at Jambase.

Second, I started contributing to one of my favorite off the beaten path blogs Post Trash run by Dan Goldin (founder/cult hero of Exploding in Sound records). My first feature was an interview with the powerful rising stars from Boston, Kal Marks. Huge thanks to Carl Shane who spent multiple hours chatting with me. I managed to lose the entire recording the first time we spoke, so he was kind enough to do the entire thing twice.

The First Music I Felt Like Writing About in 2018: Jeff Rosenstock’s POST-

Jeff Rosenstock is kinda trendy already, which I find slightly annoying as I just listened to the music for the first time and hoped to be a bit ahead of curve.

His new album POST- is worthy of the attention though, so I shall rise above my societal annoyances of the internet. I’ve been around blogs long enough to know that with music especially, the writers generally aren’t that knowledgeable about instrumental music and there is a whole lot of group-think out there – but I will admit, when the hype comes, it’s almost never wrong. Maybe only wrong in the sense that they are missing so much else because it didn’t come via a hip publicist.

POST- is endorphined-up enough for DIY-scene approval, yet listenable for the rest of us, which is a tough act to balance. With POST-, I can sit here and listen to all of it without fighting the urge to do something, anything else. It started out being enjoyable and it just never stopped. It’s calming yet rocks hard, and that’s a special type of art that calms someone down. Think about that. It actually made someone’s body feel physically better than it did before it heard the music.

So I have this brewing love/hate affair with the DIY world. I  dont go to the shows really, but I lurk, and I really like a lot of the bands. The music is sophisticated and instrumentally challenging, so for that alone I love it. People are out there in the world trying to understand music that doesn’t easily please their ears in the scientific or formulaic way they are used to, asking themselves why it is doing what it is doing – which is usually breaking a music rule to play a note or chord that isn’t quite right – but isn’t quite wrong either.

And this music scene support each other’s art and lifestyles and puts on shows or opens venues in weird places. They share. Most of them hate jambands, but we’re very much the same. They are us 15 years ago, before we got lost and our bands started to suck.


I am an outsider to this world, but I have a pseudo-record label that loses money, I’ve made an album on vinyl, I love writing for blogs for free rather than getting paid and having an editor who cares about traffic, and I love counterculture in how it defines generations. I crave knowing about other people with hobbies like these. This is the kind of stuff POST- got me thinking about. The music feels like you want to socialize with people who understand your deepest cut favorites and your random Gary Numan references. It’s inviting and snobby, like a venue doesn’t just say, “no thanks” to a band looking for gig there. It’s snobby like the venue that replies, “we won’t be having any shows by your band ever.”

It’s really the only thing going today that resembles a counterculture or underground music scene, and that’s more than I can say for the jam scene. We the jam crowd became media-craving mainstream music playing by the rules. And we have kids and good jobs and most of us lived past 35. We’re not as rock n roll as we thought.

Anyway, sorry Jeff Rosenstock. It’s so annoying to get a review that’s really just a writer stroking his or her ego and not giving the music its due, but I hope the stream of conscious describes the music. I like how you play your chords, which I believe is a good way to know if you can get along with someone. So I trust you and I like you. This album is edgy enough to be cool, but doesn’t care enough that it allows itself to be fun. Great job on a great album.

I’d love to catch up for an interview at some point. Be safe out there Jeff. The world is a tough place, so surround yourself with nice people who aren’t no gig ever pretentious.

Jeff Rosenstock’s POST- is the first album I like this year and will always be the first music discussed on this blog.

Dunkirk and Darkest Hour: How a Happy Accident Became the Best Thing to Happen to Hollywood in 2017

Crippled by a perfect storm of new channels for film distribution, secular headwinds dissuading people away from the movie theater experience, a television renaissance, and conservative creative Hollywood decision-making where comic book movies and comic book movie sequels are about as exciting as it gets: it’s fair to generalize that Hollywood has been playing it overly safe as of late. Adventurous high-risk projects that employ unestablished plot formulas or untested screenwriters and/or directors are a rarity.

Yet a strange coincidence in 2017 may have offered up just the evidence we need to see that taking chances can pay off – even if it was a complete accident. Two movies about the exact same World War II battle told from completely different vantage points may have reinvigorated the stale as a crouton state of Hollywood film-making.

Earlier this year, Christopher Nolan released a time-skipping, all-too-real front-lines look at the Battle of Dunkirk, a critical early World War II battle, whereby the British forces backed themselves into a proverbial corner* whereby had the Germans proceeded as aggressors, the Axis forces could have won the war back in 1940. Nolan’s film, Dunkirk, focuses almost entirely on the action on the French beaches of Dunkirk via three vantage points: land, air, and sea with varying speeds and freneticism depending on the mode of transport.

The film grossed $545 million dollars, which in and of itself is a big win for movie fans desperately hoping for more risks or at the very least some headier thematic content – yes, a war movie is considered daring in today’s movie industry – but the real optimism is in the seemingly coincidental accident that later in the year, as the very same battle is told from the Halls of the British Parliament from the perspective of the British politicians making the decisions behind the scenes, via Joe Wright’s Darkest Hour.

Darkest Hour feels like a well-placed collaborative sister film that rolled out in theaters just as Dunkirk hit Cable On-Demand and Streaming sites. It’s almost like watching a different character’s interpretation of the very same events not unlike an episode of The Affair on Showtime. You’re watching the exact same time-period unfold with all the fear and intensity, but from entirely different character viewpoints.

While Dunkirk has the action of the war and Christopher Nolan’s trademark mind-bending of time and space which makes for a more accessible war film – in a brief exchange with the lead Film Editor for the San Francisco Chronicle, Mick LaSalle, he said he thought Dunkirk was the more likely of the two to take home the Oscar for Best Picture – yet Darkest Hour was his favorite. Darkest Hour is gripping in its own right despite nary a sign of a gunshot. It’s entirely focused on Winston Churchill’s blind-drunk big-hearted approach to navigating a seemingly lose-lose scenario, but by following his nationalistic gut instincts to fight for their country., the extraction of over 300,000 British soldiers from Dunkirk succeeds.

In researching the timing of the two films, there exists to my knowledge no evidence that suggests that the movies were rolled out as an intentional collaboration, but it’s this type of creative riffing that could bring a new level of excitement back to film. This was the first time I felt a complete surprise and instantly wanted more of the story upon leaving the the theater in longer than I can remember.

Mick LaSalle, the aforementioned Film Editor for the SF Chronicle offered this on the potential of an intentional collaboration, “I don’t think they were coordinated, though they may have been intentionally released in a way as to avoid each other.”

In other words, the two films were hardly an intentional cross-promotion, but rather they stayed out of each other’s way at best. Ironically, I view this as a potentially new mechanism for the safety-first Hollywood enterprise  – one that clutches on to its formulas like Shake Weights – to embark on more adventurous material in within a potentially lower risk financial framework. For instance, following the success of Dunkirk and Darkest Hour, we could theoretically now have the stage set for additional deep dives into why the US held out so long in entering the war; how did Britain rally back after Dunkirk; or dare I say, a do-over of a Pearl Harbor picture. The new formula becomes the all-in onslaught on a topic of deep cultural relevance or historic significance but told through the eye various auteurs and in a variety of styles – some accessible, some challenging – from year to year.

NPR wrote an article highlighting the strange coincidence of the two films, albeit in the context of the accident being potentially threatening to the two films. I don’t see it this way at all. They are both better because the other one exists. In fact, Dunkirk might win the Oscar for Best Picture while Gary Oldman’s Winston Churchill is a lock for best actor. This coincidence feels like a truly unique experience to be savored. Go see these movies back to back, or in consecutive days. You’ll have fun at the movie theater again.

Oldman’s Speech

Churchill’s Speech

*I figure if I’m going to lazily use the saying “backed into a proverbial corner,” I should at least pick a proverb to go with it. So, I picked two: “ Failing to plan is planning to fail” and “Eat breakfast as a king, lunch as a merchant and supper as a beggar.”

All the Things that Really Matter

Welcome to The Safety First. This is a self-deprecating, satirical, fearless, and joy-filled blog about the things that really matter. Like is Lost the best show ever made for TV? Yes. By far. Can I rank the top 25 Harry Hoods every played by Phish in order off the top of my head? Yes. What is the greatest decade in movie history? The 1980s. What is the best era for television? Right now.  Pop music? The 1980s, but right now is actually not bad and I’ll defend Katy Perry and Miley Cyrus to the death. Best Rock band ever? Stones or Beattles? Fuck that, it’s Taking Heads. This the kind of direction we want to go on this blog.

The founders are a duo of two cousins who grew up two blocks apart from one another and grew up furiously collecting baseball cards, playing Goonies and Maniac Mansion for NES, getting arrested for stealing 40s of Colt 45, playing Fight for Your Right at a high school dance, and both losing our younger brothers to mental illness. So, we’re here to make you laugh and cry and hopefully escape in our words. It’s nice and quiet in here.


Ryan has extensive blog writing experience spanning AOL Fanhouse, Sports Illustrated, Hidden Track (Glide Magazine), Relix, No Depression, Post-Trash, and Jambase, while Kevin has a long list of self-produced and directed successful comic shorts floating around the interwebs.

So, effectively we are an entertainment blog. We’ll have long-form features with Image result for kevin dembinsky and ryan dembinskyinterviews, lists, satirical nonsense, movies, tv, music, and book commentary (reviews, I don’t know, who likes reviews anyway?), and a lot of just goofy stream of consciousness about cryptocurrencies and bond math. Anyway, we believe you are in for a treat.

Please come back regularly – like maybe twice a week or so. We’ll be here and our job is to entertain. You can bash us, love us, not really care about us, or anything in between, but we’ll try our asses off to make you laugh and think and share the things that we enjoy. You’ll get recommendations up the ass up in here. In summary, we’re the shit; let’s get on with it.