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t his age, Holmes would logically seem to have entered the public domain. But not only is the character still under copyright in the United States, for nearly 80 years he has also been caught in a web of ownership issues so tangled that Professor Moriarty wouldn’t have wished them upon him.
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Since, like, the 60s, and definitely since Clueless, one word has been, like, everywhere. Hitchens examines the, like, unstoppable onslaught of “like.”
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These visualizations are part of an extensive study of the music of the Beatles. Many of the diagrams and charts are based on secondary sources, including but not limited to sales statistics, biographies, recording sesion notes, sheet music, and raw audio readings.
