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In New York Times bestselling author Diana Palmer’s fan-favorite tale of unexpected passion, opposites attract when a wealthy mogul falls for his beautiful, secretive employee. When Ivory Keene landed a job at a prestigious fashion house in New York, she could never have anticipated the challenges and excitement her new position would provide. Chief among them is her exasperatingly sexy boss, Curry Kells. The older, experienced executive can’t help but be drawn to Ivory by a desire neither can resist. He sees only a talented young woman whose fresh, exciting designs might just make them both millions. But he soon discovers that Ivory is keeping secrets. Now, just as Ivory’s wildest dreams are within her grasp, she’s tempted by the intimacies of a forbidden affair. But is achieving fame and wealth worth sacrificing Curry’s love?
For a decimated post-war West Germany, the electronic music studio at the WDR radio in Cologne was a beacon of hope. Jennifer Iverson's Electronic Inspirations: Technologies of the Cold War Musical Avant-Garde traces the reclamation and repurposing of wartime machines, spaces, and discourses into the new sounds of the mid-century studio. In the 1950s, when technologies were plentiful and the need for reconstruction was great, West Germany began to rebuild its cultural prestige via aesthetic and technical advances. The studio's composers, collaborating with scientists and technicians, coaxed music from sine-tone oscillators, noise generators, band-pass filters, and magnetic tape. Together, they applied core tenets from information theory and phonetics, reclaiming military communication technologies as well as fascist propaganda broadcasting spaces. The electronic studio nurtured a revolutionary synthesis of science, technology, politics, and aesthetics. Its esoteric sounds transformed mid-century music and continue to reverberate today. Electronic music--echoing both cultural anxiety and promise--is a quintessential Cold War innovation.
The Choreography of Antony Tudor: Focus on Four Ballets presents both an analytical overview of the ballets created for the stage by Antony Tudor and an in-depth critical analysis of four key works: Jardin aux Lilas (1936), Dark Elegies (1937), Pillar of Fire (1942), and The Leaves Are Fading (1975). Tudor was a British choreographer who spent a large part of his working life in the United States, and although he was not prolific in his output, his works include several masterpieces of twentieth-century ballet repertoire. Characteristic of his work is an exceptionally creative and sensitive relationship of choreography with music, a relationship different from that developed by his equally musical contemporary, George Balanchine, in that it privileges subtle layers of dramatic, often psychological, exposition as well as complex mythmical structures. Tudor's ballets invariably involve a psychological human dimension, even when there is no story as such, and it is these two strands - the musical and the dramatic - that the choreographer exploits with consummate skill in the best of his work.
Describes how English designers of the eighteenth century were inspired by the classicism of the Italian architectect Palladio.

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