Black Nikki doesn't think her dad is a racist ... He just cares deeply about his community ... But when a Zimbabwean family move in over the road, the dog won't stop barking ... The local kids start lobbing stones ... And her dad starts laying down the law. Black is a hard-hitting play about racial tensions in the UK today She's Leaving Home At 15, Kelsey has her whole life in front of her and feels that she has everything she wants: good mates, a supportive family and big ambitions. But as the years roll by she slowly realises that leaving home to fulfill her dreams isn't as easy as she first imagined. She's Leaving Home was commissioned by Culture Liverpool as part of the 50th Anniversary of the Beatles seminal album Sgt. Pepper's Lonely Hearts Club Band. With bracing insight into the worlds of two young women with very different struggles, Keith Saha's Black and She's Leaving Home force the issues of modern Britain to take centre stage. This edition was published to coincide with 20 Stories High's national tour of Black in 2018.

London, 1968: The body of a teenage girl is found just steps away from the Beatles' Abbey Road recording studio. The police are called to a residential street in St John's Wood where an unidentified young woman has been strangled. Detective Sergeant Cathal Breen believes she may be one of the many Beatles fans who regularly camp outside Abbey Road Studios. With his reputation tarnished by an inexplicable act of cowardice, this is Breen's last chance to prove he's up to the job. Breen is of the generation for whom reaching adulthood meant turning into one's parents and accepting one's place in the world. But the world around him is changing beyond recognition. Nothing illustrates the shift more than Helen Tozer, a brazen and rambunctious young policewoman assisting him with the case. Together they navigate a world on edge, where conservative tradition gives way to frightening new freedoms -- and troubling new crimes.

Helen Majinsky is sixteen, Jewish and confused. She is also in love - like every Merseyside schoolgirl - with four mop-topped young men, seduced by the Cavern Club and the exciting sound of 1963. In the year The Beatles have the world at their feet, Helen dreams secretly of reaching university and leaving Liverpool. Her Liverpool. Her world. For a grammar school girl to even consider a future outside the city is to break taboos stronger than the Mersey undertow, and as the prospect of a place at Oxbridge shimmers into view, Helen knows she is restrained by the very forces of stability she longs to escape. But when love intervenes - with Michael Levison, a locally stationed US serviceman - Helen finds the means to break the chains of the old life, and her guide through the hidden dangers of the new...

Each year, more than 1.5 million American families see their children off to their first year in college. It's a momentous day in the lives of high school graduates and their parents, and during this transitional time, parents' emotions include everything from anxiety to hope, guilt to pride, fear to relief. In She's Leaving Home, author Connie Jones chronicles two years in her own life, from the days when her daughter, Cary, fielded bids from more than a hundred colleges to her first year as a student at Smith College in Massachusetts. A story of spiritual journey and growth, the intimate, journal-like essays perfectly capture one mother's love and letting go of a daughter as she transforms into an adult. She's Leaving Home is a personal memoir that parents will relate to in the same way readers responded to Anne Lamott's Operating Instructions: A Journal of My Son's First Year.

Focusing on contemporary English theatre, this book asks a series of questions: How has theatre contributed to understandings of the North-South divide? What have theatrical treatments of riots offered to wider debates about their causes and consequences? Has theatre been able to intervene in the social unease around Gypsy and Traveller communities? How has theatre challenged white privilege and the persistent denigration of black citizens? In approaching these questions, this book argues that the nation is blighted by a number of internal rifts that pit people against each other in ways that cast particular groups as threats to the nation, as unruly or demeaned citizens – as ‘social abjects’. It interrogates how those divisions are generated and circulated in public discourse and how theatre offers up counter-hegemonic and resistant practices that question and challenge negative stigmatization, but also how theatre can contribute to the recirculation of problematic cultural imaginaries.

This book applies Heidegger’s writings to experimental fictions and film genres in order to study a being-there that performs itself beyond liveness and a future that is already here. Theatrical mise-en-scène is analyzed as a way of modeling the Heideggerian ontological-existential, exchanging a deeper presencing for the fictional “now” of liveness. The book is organized around ostensible objects that are in fact things-as-such and performs its theme via time-traveling, interruptions, decompositions, incompleteness, failure, geometric patterning, and above all black pages first cited in Tristram Shandy. This is a nuanced, original work that combines unexpected sources with even more unexpected writing, imagery, and correspondences. It is part of Golub’s ongoing project of lyrically reimagining philosophy and the mise-en-scène of theatrical performance (a presence-room of consciousness) in light of one another.

The essays contained in this volume address some of the most visible, durable and influential of African American musical styles as they developed from the mid-1960s into the 21st-century. Soul, funk, pop, R&B and hip hop practices are explored both singly and in their many convergences, and in writings that have often become regarded as landmarks in black musical scholarship. These works employ a wide range of methodologies, and taken together they show the themes and concerns of academic black musical study developing over three decades. While much of the writing here is focused on music and musicians in the United States, the book also documents important and emergent trends in the study of these styles as they have spread across the world. The volume maintains the original publication format and pagination of each essay, making for easy and accurate cross-reference and citation. Tom Perchards introduction gives a detailed overview of the book‘s contents, and of the field as a whole, situating the present essays in a longer and wider tradition of African American music studies. In bringing together and contextualising works that are always valuable but sometimes difficult to access, the volume forms an excellent introductory resource for university music students and researchers.