And Teresa Swanborough (TS) Interviewed by Kate Hall (KH) and Nick Wood (NW) Date
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BTN6916 LMW NORTHERN SOUL ENTS GUIDE SK.Indd
22-25 SEPT 2017 20-23 SEPT 2019 SKEGNESS RESORT GLORIACELEBRATING 60 YEARS JONES OF MOTOWN BOBBY BROOKS WILSON BRENDA HOLLOWAY EDDIE HOLMAN CHRIS CLARK THE FLIRTATIONS TOMMY HUNT THE SIGNATURES FT. STEFAN TAYLOR PAUL STUART DAVIES•JOHNNY BOY PLUS MANY MORE WELCOME TO THE HIGHLIGHTS As well as incredible headliners and legendary DJs, there are loads WORLD’S BIGGEST AND more soulful events to get involved in: BEST NORTHERN SOUL ★ Dance competition with Russ Winstanley and Sharon Sullivan ★ Artist meet and greets SURVIVORS WEEKENDER ★ Shhhh... Battle of the DJs Silent Disco ★ Tune in to Northern Soul BBC – Butlin’s Broadcasting Company Original Wigan Casino jock and founder of the Soul Survivors Weekender, with Russ! Russ Winstanley, has curated another jam-packed few days for you. It’s an ★ incredible line-up with soul legends fl own in from around the world plus a Northern Soul Awards and Dance Competition host of your favourite soul spinners. We’re celebrating Motown Records 60th Anniversary in 2019. To mark this special occasion we have some of the original Motown ladies gracing the stage to celebrate this milestone birthday. SATURDAY 14.00 REDS Meet and Greet with Eddie Holman, Bobby Brooks Wilson, Tommy Hunt Brenda Holloway, Chris Clark and Gloria Jones will also be joining us for a Q&A session, together with Motown afi cionado, Sharon Davies, on Sunday afternoon in Reds. Not to be missed!! SUNDAY 14.00 REDS Don’t miss the Northern Soul dance classes, DJ Battles, Northern Soul Q&A with Brenda Holloway, Chris Clark, Gloria Jones and Sharon Davis awards and dance competitions across the weekend and be sure to look Hosted by Russ Winstanley and Ian Levine, followed by a meet and greet out for limited edition, souvenir vinyl and merch in the Skyline record stall. -
Clarky List 50 31/07/2012 13:06 Page 1
Clarky List 51_Clarky List 50 31/07/2012 13:06 Page 1 JULY 2012 PHONE RESERVATIONS ESSENTIAL : 8am – 9pm OVERSEAS ORDERS PLEASE WRITE FIRST. Postage & Packing Rates (all recorded delivery): LP’s/12"s: £6.00 for the first, £1.00 each thereafter 45’s: £2.50 for the first, 50p each thereafter Special Delivery on 45s – £7.50 to be paid on all orders over £30 ALL BIDS MUST BE IN WRITING All Mint/VG+ unless indicated otherwise. Discs held for 7 days. Any returns within 7 days. No responsibility for Post Office mis han dling The Coach House, Cromer Road, North Walsham, Norfolk, NR28 0HA, England Tel: 01692 403158 / ianclarkmusic.com 24 HOUR AUTO FAX! Fax in your requests - just let the phone ring! (same number as above) NORTHERN SOUL US ORIGINALS 1) Jackie Ross I Got the Skill Chess £8 2) Jackie Wilson Sweetest Feeling/Nothing But Heartaches Brunswick (DJ) £30 3) Jackie Wilson I Don’t Want to Lose/Just Be Sincere Brunswick (DJ £35 4) Jackie Wilson Who Who Song Brunswick (DJ) £30 Three rare promos of these soul classics 5) Young Holt Unlimited California Montage Brunswick (DJ) £25 6) Linda Lloyd Breakaway (swol) Columbia (WDJ) £175 7) James Carr A Losing Game Goldwax £25 8) Icemen How Can I Get Over? (brilliant) ABC £40 9) Volumes You Got it Baby/A Way to Love Inferno (WDJ) £40 10) Chessmen Why Can’t I Be Your Man? Chess (WDJ) £50 11) Jimmy Norman Love Sick Raystar £20 12) Nancy Wilcox Coming On Strong RCA (WDJ) (SWOL) £70 13) Herb Ward Honest to Goodness RCA (DJ) £200 14) Johnny Bartel If This Isn’t Love (WDJ) Solid State VG++ £100 15) Twilights -
Did Wigan Have a Northern Soul?
Did Wigan have a Northern Soul? Introduction The town of Wigan in Lancashire, England, will forever be associated with the Northern Soul scene because of the existence of the Casino Club, which operated in the town between 1973 and 1981. By contrast, Liverpool just 22 miles west, with the ‘the most intensely aware soul music Black Community in the country’, (Cohen, 2007, p.31 quoting from Melody Maker, 24 July 1976) remained immune to the attractions of Northern Soul and its associated scene, music, subculture and mythology. Similarly, the city of Manchester has been more broadly associated with punk and post-punk. Wigan was and remains indelibly connected to the Northern Soul scene with the Casino representing a symbolic location for reading the geographical, class and occupational basis of the scene’s practitioners. The club is etched into the history, iconography, and mythology of Northern Soul appearing in the academic and more general literature, television documentaries, memoirs, autobiographies and feature films. This chapter seeks to explore the relationship between history, place, class, industrialisation, mythology and nostalgia in terms of Wigan, the Casino Club and the Northern Soul scene. It asks the question: did Wigan have a northern soul? This is explored through the industrial and working-class history of the town and the place of soul music in its post-war popular culture. More broadly, it complements the historical literature on regional identity identifying how Northern Soul both complemented and challenged orthodox readings of Wigan as a town built on coal and cotton that by the 1970s was entering a process of deindustrialisation. -
White+Paper+Music+10.Pdf
In partnership with COPYRIGHT INFORMATION This white paper is written for you. Wherever you live, whatever you do, music is a tool to create connections, develop relationships and make the world a little bit smaller. We hope you use this as a tool to recognise the value in bringing music and tourism together. Copyright: © 2018, Sound Diplomacy and ProColombia Music is the New Gastronomy: White Paper on Music and Tourism – Your Guide to Connecting Music and Tourism, and Making the Most Out of It Printed in Colombia. Published by ProColombia. First printing: November 2018 All rights reserved. No reproduction or copying of this work is permitted without written consent of the authors. With the kind support of the World Tourism Organization (UNWTO). The opinions expressed in this publication are those of the authors. They do not purport to reflect the opinions or views of the UNWTO or its members. The designations employed and the presentation of material in this publication do not imply the expression of any opinions whatsoever on the part of the Secretariat of the World Tourism Organization concerning the legal status of any country, territory, city or area, or of its authorities or concerning the delimitation of its frontiers or boundaries. Address Sound Diplomacy Mindspace Aldgate, 114 Whitechapel High St, London E1 7PT Address ProColombia Calle 28 # 13a - 15, piso 35 - 36 Bogotá, Colombia 2 In partnership with CONTENT MESSAGE SECRETARY-GENERAL, UNWTO FOREWORD EXECUTIVE SUMMARY 1. INTRODUCING MUSIC TOURISM 1.1. Why Music? 1.2. Music as a Means of Communication 1.3. Introducing the Music and Tourism Industries 1.3.1. -
Club Cultures Music, Media and Subcultural Capital SARAH THORNTON Polity
Club Cultures Music, Media and Subcultural Capital SARAH THORNTON Polity 2 Copyright © Sarah Thornton 1995 The right of Sarah Thornton to be identified as author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988. First published in 1995 by Polity Press in association with Blackwell Publishers Ltd. Reprinted 1996, 1997, 2001 Transferred to digital print 2003 Editorial office: Polity Press 65 Bridge Street Cambridge CB2 1UR, UK Marketing and production: Blackwell Publishers Ltd 108 Cowley Road Oxford OX4 1JF, UK All rights reserved. Except for the quotation of short passages for the purposes of criticism and review, no part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publisher. Except in the United States of America, this book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out, or otherwise circulated without the publisher’s prior consent in any 3 form of binding or cover other than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser. ISBN: 978-0-7456-6880-2 (Multi-user ebook) A CIP catalogue record for this book is available from the British Library. Typeset in 10.5 on 12.5 pt Palatino by Best-set Typesetter Ltd, Hong Kong Printed and bound in Great Britain by Marston Lindsay Ross International -
Diggin' You Like Those Ol' Soul Records: Meshell Ndegeocello and the Expanding Definition of Funk in Postsoul America
Diggin’ You Like Those Ol’ Soul Records 181 Diggin’ You Like Those Ol’ Soul Records: Meshell Ndegeocello and the Expanding Definition of Funk in Postsoul America Tammy L. Kernodle Today’s absolutist varieties of Black Nationalism have run into trouble when faced with the need to make sense of the increasingly distinct forms of black culture produced from various diaspora populations. The unashamedly hybrid character of these black cultures continually confounds any simplistic (essentialist or antiessentialist) understanding of the relationship between racial identity and racial nonidentity, between folk cultural authenticity and pop cultural betrayal. Paul Gilroy1 Funk, from its beginnings as terminology used to describe a specific genre of black music, has been equated with the following things: blackness, mascu- linity, personal and collective freedom, and the groove. Even as the genre and terminology gave way to new forms of expression, the performance aesthetic developed by myriad bands throughout the 1960s and 1970s remained an im- portant part of post-1970s black popular culture. In the early 1990s, rhythm and blues (R&B) splintered into a new substyle that reached back to the live instru- mentation and infectious grooves of funk but also reflected a new racial and social consciousness that was rooted in the experiences of the postsoul genera- tion. One of the pivotal albums advancing this style was Meshell Ndegeocello’s Plantation Lullabies (1993). Ndegeocello’s sound was an amalgamation of 0026-3079/2013/5204-181$2.50/0 American Studies, 52:4 (2013): 181-204 181 182 Tammy L. Kernodle several things. She was one part Bootsy Collins, inspiring listeners to dance to her infectious bass lines; one part Nina Simone, schooling one about life, love, hardship, and struggle in post–Civil Rights Movement America; and one part Sarah Vaughn, experimenting with the numerous timbral colors of her voice. -
Sooloos Collections: Advanced Guide
Sooloos Collections: Advanced Guide Sooloos Collectiions: Advanced Guide Contents Introduction ...........................................................................................................................................................3 Organising and Using a Sooloos Collection ...........................................................................................................4 Working with Sets ..................................................................................................................................................5 Organising through Naming ..................................................................................................................................7 Album Detail ....................................................................................................................................................... 11 Finding Content .................................................................................................................................................. 12 Explore ............................................................................................................................................................ 12 Search ............................................................................................................................................................. 14 Focus .............................................................................................................................................................. -
LEADERSHIP-2017: a Conflict of Interest?
THE MICHIGAN REVIEW Volume 16, Number 2 The Campus Affairs Journal of the University of Michigan October 8, 1997 LEADERSHIP-2017: A Conflict of Interest? BY EvAN KNOTT AND lEE BocKHORN VERY SUMMER, THE University of Michigan spon E sors and facilitates Leader ship 2017, a highly selective summer internship program for students in volved in top positions of select stu dent organizations on campus. In tended to foster a unique collabora tive experience for the campus's most involved students to interact with Uni versity staff, administrators, and other student organizations, most stu dents at U-M know little about the program, its selection process, or how it has affected the University commu nityas a whole since its inception in 1994. While administration officials boast about the numerous campus oriented services and projects per formed during and after each year's sll1tlmer program, a critical analysis of 'the program reveals numerous questionable attributes inherent in CAMPUS Leadership 2017's structure and poli- , ', . Jr . ' "INTEGRITY "_,i, •• , . mea.'.. .... Leadership2017 originated dul-~ . ing a public forum of student leaders in the 1993-94 academic year. The program, under the direction of As sistant to the Vice-President of Stu dent Affairs Debra Moriarty and ~\\~ DEPT Associate Vice-President and Dean A of Students Royster Harper, is pro S'rU " vided as one of the programs ofMichi gan Leadership Initiatives (MLI). MLI's Board of Directors, which gives 2017 the "seal of approval" each year, 2017 consists roughly of 22 members, com prised in halfby students and in half by faculty, staff, and alumni. -
Northern Soul Also by Ron Silliman
Northern Soul Also by Ron Silliman Poetry Revelator (being degree 1 of Universe) The Alphabet The Age of Huts (compleat) Tjanting Memoirs & Collaborations The Grand Piano Under Albany Leningrad Criticism The New Sentence (editor) In the American Tree Ron Silliman Northern Soul being degree 10 of Universe Shearsman Books First published in the United Kingdom in 2014 by Shearsman Books 50 Westons Hill Drive Emersons Green BRISTOL BS16 7DF Shearsman Books Ltd Registered Office 30–31 St. James Place, Mangotsfield, Bristol BS16 9JB (this address not for correspondence) www.shearsman.com ISBN 978-1-84861-319-5 Copyright © Ron Silliman, 2014. The right of Ron Silliman to be identified as the author of this work has been asserted by him in accordance with the Copyrights, Designs and Patents Act of 1988. All rights reserved. Northern Soul For Barney Up Quay St to Deansgate then over to Victoria Station, Northern Rail West to Liverpool grey clouds pillowing the sky No height in these fields yet whatever they’re growing Hedge row as fencing An older station at Newton-le-Willows brick office padlocked but the chairs on the platform bright yellow vinyl then the backsides of row housing with thin slivers of yards School fields without baseball diamonds Magpies mistaken for mockingbirds Blood pudding salad full of rocket planespotter in an antiaircraft 9 unit, learning first to drive a tank over the Egyptian desert then determining never to leave England again Sharp shadow over the page writing into the dark Notice is hereby given that it is proposed -
Record Dreams Catalog
RECORD DREAMS 50 Hallucinations and Visions of Rare and Strange Vinyl Vinyl, to: vb. A neologism that describes the process of immersing yourself in an antique playback format, often to the point of obsession - i.e. I’m going to vinyl at Utrecht, I may be gone a long time. Or: I vinyled so hard that my bank balance has gone up the wazoo. The end result of vinyling is a record collection, which is defned as a bad idea (hoarding, duplicating, upgrading) often turned into a good idea (a saleable archive). If you’re reading this, you’ve gone down the rabbit hole like the rest of us. What is record collecting? Is it a doomed yet psychologically powerful wish to recapture that frst thrill of adolescent recognition or is it a quite understandable impulse to preserve and enjoy totemic artefacts from the frst - perhaps the only - great age of a truly mass art form, a mass youth culture? Fingering a particularly juicy 45 by the Stooges, Sweet or Sylvester, you could be forgiven for answering: fuck it, let’s boogie! But, you know, you’re here and so are we so, to quote Double Dee and Steinski, what does it all mean? Are you looking for - to take a few possibles - Kate Bush picture discs, early 80s Japanese synth on the Vanity label, European Led Zeppelin 45’s (because of course they did not deign to release singles in the UK), or vastly overpriced and not so good druggy LPs from the psychedelic fatso’s stall (Rainbow Ffolly, we salute you)? Or are you just drifting, browsing, going where the mood and the vinyl takes you? That’s where Utrecht scores. -
Timepieces Four Seasons Stories from the Past
Timepieces Four Seasons Stories from the past ‘The Four Seasons & Motown - A One Way Street or Not? – By Kingsley Abbott and Ken Charmer & “Received wisdom has always had it that, with the growth and huge chart success of Motown records from 1963/4 onwards, The Four Seasons skillfully developed their sound around 1965 onwards to include a Motown-ish edge. There was no blatant copying or re-working of riffs like the guitar line from ‘My Girl’ or the bass line from ‘I Can't Help Myself’ that virtually every soul label indulged in, in bucket-loads. But instead there was a recognisable move towards utilisation of more danceable feels for the backing tracks. ‘Let's Hang On’, ‘Opus 17’ et al showed that Bob’s Crewe and Gaudio were well aware of the elements that made Motown sell so well, and this clever aiming towards such radio-friendly tracks proved a boon for us all and helped to sub- tly lift the group to a new level following the Vee Jay years and the early Philips period. It was a most effective gear change. Was the Motown to Seasons route a one way street? Motown had been formed and developed by Berry Gordy, who from the earliest days was a songwriter who had an intrinsic appreciation of the elements that built a hit song, and there is little doubt that he would have imbued other writers and producers around him with a similar outlook. If you listen to the first of the excellent ‘Complete Singles’ CD sets, you can easily pick up on many examples of Motown trying a wide variety of different hit styles. -
LIST #801 MONDAY 16Th AUGUST 2021
ANGLO AMERICAN TEL: 01706 818604 PO BOX 4 , TODMORDEN Email : [email protected] LANCS, OL14 6DA. PayPal: [email protected] UNITED KINGDOM Website:www.raresoulvinyl.co.uk SALES LIST #801 MONDAY 16th AUGUST 2021 NEW FORTNIGHTLY RARE SOUL AUCTION ! Auction ends THURSDAY 26th AUGUST at 6.00pm (18.00) Welcome to our new situation which offers two auctions per month (of which this is the 2nd). Usual circumstances apply – no extensions, no drop-downs. Offered price at the finishing time is the price payable. Hope that is clear. Some interesting items as usual, and many thanks for your attention. MIN. BID AUGUST RARE SOUL AUCTION #2 A DOTY ROY YOU GOT MY BOY PIC 1 124 D VG++ 400 One of many Huey Meaux labels (Jetstream, Tribe, Crazy Cajun, etc.), not too much black music on this one but the few releases of that genre seem to be scarce – as is the case with this 1966 female mover from a singer who only recorded one other time as far as we can tell. B THE EBONY’S I CAN’T HELP BUT LOVE YOU AVIS 1001 VG++ 300 It is difficult not to believe that this is not the group that had tremendous seventies releases on Philadelphia International but various sources do not recognise this as the group’s first effort in 1966. We absolutely believe it to be them. Two great sides are produced by Ray Sharp and Roland Chambers whatever the group’s identity. The storming ‘I Can’t Help’ is backed by a very neat midtempo item which points heavily towards their future sound.