Of my time at Amherst I will say this: when I met anybody who worked in the campus post office, they would say, “YOU’RE Lukas Kendall? You get so much mail!” I graduated as a music major, despite having virtually no aptitude in music performance or composition, because I thought it responsible, if I was writing music criticism, to learn about the subject matter. I think that was honorable and even my dad agrees, although he had to pay for it.knowmad's friend Daniel Schweiger gets mentioned as someone who helped Kendall get to Los Angeles, where he's lived since '96. Very few degrees of separation there, and knowmad and I didn't know that until a year ago...
I was part of FSM's mid-Nineties era: I started reading in 1994, and contributed from '95 through '97. I'm proud of my writing for it (though I could've been a better interviewer when I talked with GNP Crescendo Records' co-head Mark Banning; he was far more professional than me). The entire print run of FSM (it's now an internet-only publication) is now archived. There are PDFs on that site with my name on them, literally. Good thing I'm proud of that writing!
Lukas Kendall is a good guy, and the piece is worth sharing, including this philosophy moment:
In FSM #30/31 (Feb./Mar. 1993), we published an interview with composer Christopher Young that has stuck with me. This was not about his own work per se, but about film music criticism and the future of film music. Chris said: “Two hundred years from now, musicologists researching one of Jerry Goldsmith’s scores for a thesis or book will want to see how that particular score was received at the time of the film’s release. They’ll go back to the trade papers and they’ll find a couple sentences, which won’t do any good. They’ll turn to Film Score Monthly, Soundtrack! and whatever handful of others exist throughout the world, and that might be their only sources of criticism.”
I took those words to heart.