Fast forward to October 2024, and Schmidt’s voice has only become sharper, more necessary, and more impactful. The media landscape has evolved, but the thirst for accountability, wisdom, and humor remains the same
After many years from the first viewing, I just watched Milos Forman’s Amadeus (Director’s Cut) last night. I mainly wanted to confirm my initial impression of Tom Hulce, Mozart’s performance as more than helium laugh farcical. In contrast, actors F. Murray Abraham, Solieri, and Tom Hulce’s Mozart are readily apparent. Was this contrast more indication of acting understanding or lack thereof or prescribed by the screenplay, director, and Mr. Hulce’s full-throttle performance as the ribald, entitled spoiled prodigy, Amadeus Mozart?
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Why resurrect and revitalize a Kate Bush article from 2016 on 12/19/18? KATE Bush warrants a Durham Cool celebration. The Enduring, Incandescent Power of Kate Bush article in today’s online New Yorker by Margaret Talbot was a notable inspiration. This time an even deeper dive for so many of our new readers to discover. While we celebrate the up and coming British pop notables it is wise to look back on the singer/songwriter groundbreakers of British music. Kate Bush was the first UK # 1 with own penned song, Wuthering Heights (referencing the Bronte novel of the same name).
But Merritt’s Southern roots extend even deeper. Born to a family with ties to Smyrna, Texas, she carried with her a sense of wanderlust and a love for storytelling, both of which would later define her music. In Raleigh, she grew up listening to a broad mix of sounds—from the folk harmonies her father taught her to the rebellious pulse of punk and indie rock she gravitated toward in her teenage years. Despite this eclectic musical palette, it was roots music that captured her heart after she first heard Emmylou Harris’ Quarter Moon in a Ten Cent Town