An account of Elektra Records in the Jac Holzman years, from 1950 to 1973, Becoming Elektra tells the story of the label's growth from a small folk label to a major hit-making concern. Jac Holzman's role in founding and running the company is central to the story, and his capacity for the lateral thinking that led to innovations such as the first-ever sampler album and a million-selling series of sound effects records is a recurring theme. Opening with the moment that Holzman discovered The Doors, the story then goes back to the '50s, when the label brought folk music to a wide audience through artists such as Jean Ritchie, Josh White, Theodore Bikel, and Bob Gibson. Moving into the '60s and '70s, the story covers artists that read like an inventory of musical innovation: Love, Judy Collins, Tim Buckley, Fred Neil, David Ackles, Phil Ochs, Bread, Queen, Mickey Newbury, The Incredible String Band, Carly Simon, The Stooges and The MC5.

A spellbinding reimagining of the story of Elektra, one of Greek mythology’s most infamous heroines, from Jennifer Saint, the author of the beloved international bestseller, Ariadne. Three women, tangled in an ancient curse. When Clytemnestra marries Agamemnon, she ignores the insidious whispers about his family line, the House of Atreus. But when, on the eve of the Trojan War, Agamemnon betrays Clytemnestra in the most unimaginable way, she must confront the curse that has long ravaged their family. In Troy, Princess Cassandra has the gift of prophecy, but carries a curse of her own: no one will ever believe what she sees. When she is shown what will happen to her beloved city when Agamemnon and his army arrives, she is powerless to stop the tragedy from unfolding. Elektra, Clytemnestra and Agamemnon’s youngest daughter, wants only for her beloved father to return home from war. But can she escape her family’s bloody history, or is her destiny bound by violence, too?

The founder and 23-year president of Elektra Records captures pivotal scenes of pop culture from 1950-1973, from what happened backstage when Bob Dylan went electric to Jim Morrison's legendary shenanigans.

"Sisters," continued Eve, "on this bright, spring morning, we do great good. Today, we launch a thousand starships into space, each headed for a solar system we know to be inhabited by intelligent life. We go to spread the word of the Mother throughout the Milky Way. We journey forth to spread her words of love and of peace. Soon, a new day shall dawn across our galaxy." ... or not. Discover how no good deed goes unpunished.

One of the fundamental topics within graphic design, format represents the physical point of contact with the user. Basics Design 01: Format examines established format standards and demonstrates how a creative approach to format selection and presentation space can produce dramatic results in both print and digital media. New material in this edition includes a new chapter, focusing on on-screen, online and moving image, and much of the content has been updated and restructured.

I've Always Kept a Unicorn tells the story of Sandy Denny, one of the greatest British singers of her time and the first female singer-songwriter to produce a substantial and enduring body of original songs. Sandy Denny laid down the marker for folk-rock when she joined Fairport Convention in 1968, but her music went far beyond this during the seventies. After leaving Fairport she formed Fotheringay, whose influential eponymous album was released in 1970, before collaborating on a historic one-off recording with Led Zeppelin - the only other vocalist to record with Zeppelin in their entire career - and releasing four solo albums across the course of the decade. Her tragic and untimely death came in 1978. Sandy emerged from the folk scene of the sixties - a world of larger-than-life characters such as Alex Campbell, Jackson C. Frank, Anne Briggs and Australian singer Trevor Lucas, whom she married in 1973. Their story is at the core of Sandy's later life and work, and is told with the assistance of more than sixty of her friends, fellow musicians and contemporaries, one of whom, to paraphrase McCartney on Lennon, observed that she sang like an angel but was no angel.

"Of the many composers in the Western classical tradition who celebrated the marriage between psyche and sound, those explored in this book followed the lines diverging from Wagner in philosophizing the nature of desire in music. This books offers two new theories of tonal functionality in the music of the first half of the twentieth century that seek to explain its psychological complexities. First, the book further develops Riemann's three diatonic chord functions, extending them to account from chromatic chord progression and substitution. The three functions (Tonic, Subdominant, Dominant) are compared to Jacques Lacan's twin-concepts of metaphor and metonymy which drive the human desiring apparatus. Second, the book develops a technique for analysing the "drives" that pull chromatic music in multiple directions simultaneously, creating a libidinal surface that mirrors the tensions of the psyche found in Schopenhauer, Freud and post-Freudians-Lacan, Lyotard, and Deleuze.The harmonic models are tested in psychologically challenging pieces of music by post-Wagnerian composers. From the obsession with death and mourning in Josef Suk's Asrael Symphony to an exploration of "perversion" in Richard Strauss's Elektra; from the post-Kantian transcendentalism of Charles Ives' Concord Sonata to the "Accelerationism" of Skryabin's late piano works; from the Sufi mysticism of Szymanowski's Song of the Night to the failed fantasy of the American dream in Aaron Copland's The Tender Land, the book cuts a path through the dense forests of chromatic complexity, and digs deep into the psychological make-up of post-Wagnerian psychodynamic music"--