Here is one of my favorite cues I wrote from (the sadly canceled) show MOONLIGHT.
Its called “Saving Josh”, and its one Im pretty proud of.
Gorgeous. Layer after layer of it. I’m a sucker for a nice triadic ostinato anyway, but as each layer is introduced—strings, first harmonic, then solo, and then the drum with its quiet accents…well, I guess what I’m trying to say is: it’s pretty.
Book reviews roundup: Servants: A Downstairs View of Twentieth-century Britain and Heartbreak Hotel | Books | The Guardian
Lethbridge’s book charts the ‘halting escape of women from servitude’. Photograph: Hulton Archive/Getty Images
“Money might not buy happiness but it certainly sponsors battiness. Waldorf Astor only liked milk from his own herd, so whenever the Astors went to Scotland, one of their cows would travel with them on the train.” Craig Brown in the Mail on Sunday praised Lucy Lethbridge’s Servants: A Downstairs View of Twentieth-century Britain as “exhaustively researched and delightfully well-written”. “There are plenty of … tales of pointless etiquette and jaw-dropping extravagance … Up until his death in 1940, the Duke of Bedford employed 60 indoor servants just to look after him and his wife, along with eight chauffeurs.”
Expression of emotion in books declined during 20th century, study finds – News releases – News – The University of Sheffield
We report here trends in the usage of “mood” words, that is, words carrying emotional content, in 20th century English language books, using the data set provided by Google that includes word frequencies in roughly 4% of all books published up to the year 2008. We find evidence for distinct historical periods of positive and negative moods, underlain by a general decrease in the use of emotion-related words through time. Finally, we show that, in books, American English has become decidedly more “emotional” than British English in the last half-century, as a part of a more general increase of the stylistic divergence between the two variants of English language.
Beyond Bodice-Rippers: How Romance Novels Came to Embrace Feminism – Jessica Luther – The Atlantic
Beyond Bodice-Rippers: How Romance Novels Came to Embrace Feminism
The genre is known for promoting traditional gender roles, but a new generation of writers is challenging these conventions.
In A Lady Awakened, the heroine uses the hero for sex (Bantam)
“Bodice-rippers,” the most famous term associated with the romance genre are, according to the book Beyond Heaving Bosoms: “”typically set in the past, and the hero is a great deal older, more brutal, and more rapetastic than the heroine.” The heroines were young, virginal women whose purity was of paramount importance to their worth. The rapist-turned-true-love hero was a standard character.
Bodice-rippers and their contemporary counterparts were popular during the 1970s, occupying the same cultural space as the feminist movement but seeming to represent its polar opposite. As feminists were fighting patriarchy, romance novels were propping it up. Despite a major shift in the genre in the late 1980s and early 1990s that saw the near-disappearance of rape and the emergence of much stronger, more modern heroines, the idea remains that feminists and romance readers exist on opposite ends of the spectrum. This is not the case.