In the '60s and '70s, America's music scene was marked by raucous excess, reflected in the tragic overdoses of young superstars such as Jimi Hendrix and Janis Joplin. At the same time, the uplifting harmonies and sunny lyrics that propelled Karen Carpenter and her brother, Richard, to international fame belied a different sort of tragedy—the underconsumption that led to Karen's death at age thirty-two from the effects of an eating disorder. In Why Karen Carpenter Matters, Karen Tongson (whose Filipino musician parents named her after the pop icon) interweaves the story of the singer’s rise to fame with her own trans-Pacific journey between the Philippines—where imitations of American pop styles flourished—and Karen Carpenter’s home ground of Southern California. Tongson reveals why the Carpenters' chart-topping, seemingly whitewashed musical fantasies of "normal love" can now have profound significance for her—as well as for other people of color, LGBT+ communities, and anyone outside the mainstream culture usually associated with Karen Carpenter’s legacy. This hybrid of memoir and biography excavates the destructive perfectionism at the root of the Carpenters’ sound, while finding the beauty in the singer's all too brief life.

Looking at contemporary film and television, this book explores how popular genres frame our understanding of on-screen performance. Previous studies of screen performance have tended to fix upon star actors, directors, or programme makers, or they have concentrated upon particular training and acting styles. Moving outside of these confines, this book provides a truly interdisciplinary account of performance in film and television and examines a much neglected area in our understanding of how popular genres and performance intersect on screen. Each chapter concentrates upon a particular genre or draws upon generic case studies in examining the significance of screen performance. Individual chapters examine contemporary film noir, horror, the biopic, drama-documentary, the western, science fiction, comedy performance in ‘spoof news’ programmes and the television ‘sit com’ and popular Bollywood films.

London 2014. Holly Smith has never fitted in. Adopted when just a few months old, she's always felt she was someone with no history, the girl who just appeared. All she has is the address of where she was born - 32B Gambier Terrace, Liverpool. By a bizarre twist of fate Holly discovers that the flat is available to rent. She travels north and moves in. When she finds a biscuit tin full of yellowing papers under the floorboards, she wonders if this might hold the secret to her past. Liverpool 1981. Fifteen-year-old Darren negotiates life with his errant mother and the younger brother he is bringing up. When the Toxteth Riots explode around him Darren finds himself with a moral dilemma that will have consequences for the rest of his life. Flitting between the present and the past, we discover how Darren and Holly's lives become intertwined. Will Holly uncover the secrets of her past? Or will she always feel like the girl who just appeared?

A lyric novel about the play of grief, empathy, new and old love, and the quest to overcome blindness in human relations. Caught in the cross-currents of a fraught divorce and a new love, the death of her mother, and a global pandemic, a writer plunges into an obsession with the work of 1960s French philosopher Roland Barthes. Her struggles to make sense of his work and life—and of what can happen to a woman's settled life in a single harrowing year—result in an engrossing, funny, earthy, and innovative lyric work. The quest for authenticity in motherhood, sexuality, and tenancy on the earth and in the home, as well as the unusual lyric form, make the novel unified in spirit yet transdisciplinary in approach.

THE STORY: Jamie and Ste (short for Steve) are teenage neighbors in a working-class housing project in London. Jamie is bookish and shy while Ste is more athletic. Neither one has an ideal home life: Jamie's mother Sandra is bitter over her financi

"Having the same name as a 70s pop star was just the start of her troubles..." Hello. There are two things you should know about me: 1) My name is Karen Carpenter. 2) Just before Christmas my boyfriend left me. I'm not THE Karen Carpenter. I just have the most embarrassing name in Christendom. Particularly as I'm no skinny minny and don't play the drums. I can't even sing. I'm tone deaf. I work in a school in the East End. (Where I came third in a "Teacher we'd most like to sleep with" competition amongst the Year 11 boys) My Mum's driving me mad. She's come to stay and is obsessed with Scandi crime shows and Zumba. Oh yeah. The boyfriend. After eleven "happy" years he left me. No explanation just a post it on the kettle when I got in from work. I think I'm handling it really well. I don't think I'm confused at all. What was my name again?

Remarkable and Reassuring Stories from the Spirit World. Written by spiritual medium Jenny Crawford, Spirit of Love is filled with messages of love that will help heal the hearts of those grieving the loss of a loved one. This collection presents true accounts of soul rescue work, guardian angels, and spirit sense of humor. It tells how the spirit world orchestrates meetings between those on both sides of the veil, and how we can all receive spirit communications just by opening our minds and hearts. A question and answer chapter covers everything from animal communication to free will to dream visits from those who have crossed over. Heartwarming and hopeful, these stories will help you gain an understanding of the other side, and enhance your own healing and spiritual growth.