Talk:Grant Hart

LGBT?

Nothing in the article indicates Hart is LGBT - does anyone have a reliable source that states anything about his sexuality? -- SatyrTN (talk | contribs) 20:11, 12 September 2007 (UTC)

Indeed. It's a strange omission from both Husker Du and this article. Here's a relevant quote from Our Band Could Be Your Life p. 179 (which I've cited in the LGBT list):

“ By the mid-Eighties rumors had begun to circulate that someone in the band was gay. Most thought it must be Norton - after all, he had the handlebar mustache. [...] But both Hart and Mould had male lovers, [...] ”

I'll try and add this info to the article soon. CloudNine 20:58, 12 September 2007 (UTC)

During the collaboration I was trying to find a place to insert that information, but I couldn't find a way to work it in that didn't come off as "Oh, yeah, and he's gay." WesleyDodds 00:49, 13 September 2007 (UTC)

Grant discussed his (and Bob's) sexuality at length in an AV club interview. http://www.avclub.com/content/node/22843 76.176.175.185 (talk) 05:56, 24 August 2008 (UTC)

Go shove some dildos up your fucking asses and quit worrying about getting LGBT "representation".

Asia

So I was just ripping my copy of Asia, _Aqua_ and I noticed two songs credited to Geoffrey Downes, et. al., ..................... and Grant Hart! Anyone with a foot in both post-punk whateverrock with integrity, and ubermanufactured hair pop-metal (personally I think both these genres are great!) , know if it is the same GH? 68.122.75.88 (talk) 04:53, 21 April 2008 (UTC)

• I looked this up in the ASCAP and BMI databases. Grant Vernon Hart is represented by BMI. The song "Lay down your arms" is represented by ASCAP, and the songwriter with the surname Hart listed is Gregory Nigel Hart. The other song, "A Far Cry" does not come up in either database. No other songwriting credits are listed for Gregory Nigel Hart. This leads me to believe that the song is not written by Grant Hart.--Larrybob (talk) 19:25, 10 November 2008 (UTC)

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excess discussion of the film

I removed the following:

In Tiny Mix Tapes, Paul Bower wrote, "Grant Hart is weird because he kind of gets how important he was for rock & roll and at the same time he doesn’t understand what all the fuss is about. While it’s a cliche to even bring it up, he has a definite Minnesota Nice quality in regard to discussing what he’s done with his artistic career and how much what he’s done might have influenced the world of modern Western music. Parts of Every Everything are frustrating, but they’re frustrating because the film’s subject himself is quintessentially frustrating. Bechard has done that rare thing in documentary filmmaking. He’s fully allowed his subject to dictate the tone of the film. As an audience, we’re better off because of it." While in PopShifter, Chelsea Spear said, "Throughout Every Everything, Bechard paints a very human portrait of Grant Hart, who comes off as self-aware and clear-eyed after a series of setbacks and bad decisions. Ultimately, the film could illustrate another truism: 'living well is the best revenge.'"

It's great stuff, really, but has less to do with Grant Hart than with Every Everything: The Music, Life & Times of Grant Hart.
Weeb Dingle (talk) 21:30, 14 September 2017 (UTC)

References

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