Dear Soul Source subscribers,

I am working on a research project on the impact of soul music in Britain from the 1960s to the late 1970s. I am interested in collecting and analysing the experiences of women who were involved in the scene. If you are interested in the sharing your memories, I wold be grateful if you could return the attached questionnaire. Alternatively, you can email to me: keith.gildart@wlv.ac.uk or post to: Professor Keith Gildart, Department of History, Politics and War Studies, University of Wolverhampton, Wulfruna Street, Wolverhampton, WV1 1SB

Soul Questions 2016-17.docx

Wow.....you ask a lot of questions, happy to help, but I hope there isn't a time frame on this!! 

x

Shame that you seem to be finishing your studies with the close of the Casino , there's an awful lot of water under the bridge since then ... 35 years worth in which the scene has happily continued to thrive without Wigan ( 37th Anniversary of the 100 Club All-nighters this weekend says more than a little ... )

If the title of your latest monograph is to be "Keeping the Faith : A History of Northern Soul" then it should surely cover the years since 1981 as well , or it must surely end up as a completely inaccurate study. 

I'm guessing you'll be able to get a degree in Northern Soul at Wolverhampton Uni very soon ... 

Edited September 13, 20168 yr by WoodButcher

6 hours ago, crazylegs said:

Wow.....you ask a lot of questions, happy to help, but I hope there isn't a time frame on this!! 

x

Longest chat up line ever me thinks!!!!!

Wow......is that actually your leg? (said in a Stewie Griffin type voice ).

Regards.

Drew.

9 hours ago, WoodButcher said:

Shame that you seem to be finishing your studies with the close of the Casino ,

 

18 hours ago, keith gildart said:

Dear Soul Source subscribers,

I am working on a research project on the impact of soul music in Britain from the 1960s to the late 1970s.

I think the man has set his timescale in the first line, plus he says "soul music" and not specifically "Northern Soul" which didn't have a name til 1971/72. It's a common error on the scene, that it's always been about was is now called "Northern", when in actual fact it was originally any soul music, fast, slow or mid-tempo. Plus if you go further back into the Mod scene of the early/mid sixties, where the roots really lie, all sorts of music was played.

36 minutes ago, Kegsy said:

 

I think the man has set his timescale in the first line, plus he says "soul music" and not specifically "Northern Soul" which didn't have a name til 1971/72. It's a common error on the scene, that it's always been about was is now called "Northern", when in actual fact it was originally any soul music, fast, slow or mid-tempo. Plus if you go further back into the Mod scene of the early/mid sixties, where the roots really lie, all sorts of music was played.

Think you'll find he's set his timeline out quite clearly in the title of his project and in the questions asked actually sir ... 

 

Keeping the Faith: A History of Northern Soul

 

General Questionnaire

 

Biographical

 

1.    Where were you born and when (DOB)?

 

 

2.    Where were you brought up? Employment of parents? Class background?

 

3.    What did you do when you left school?

General Questions relating to Soul/Northern Soul Music

 

4.    What was your first introduction to soul music?

 

5.    What was the soul scene like where you lived?

 

6.    What did the music mean to you?

 

7.    What clubs did you attend?

 

8.    What is Northern Soul in your opinion?

 

9.    How did the Northern Soul Scene develop for you?

 

10.  How important was the music, clubs, fashions etc

 

11.  Why do you think it was particularly strong in the north of England and Midlands?

 

12.  Why did the scene begin to fragment during the mid/late 1970s and could you point to a date or particular year which marked this trend?

 

Questions specifically about Wigan Casino

 

13.  Over what period or periods did you attend Wigan?

 

14.  What were your first impressions?

 

15.  What were your lasting impressions?

 

16.  What was best about Wigan?

 

17.  What was worst about Wigan?

 

18.  Thinking about Mr M’s how would you characterise the difference in music policy? Was there any discernible difference between fans in Ms and the main room or did fans enjoy both?  

 

19.  What do you recall of the live mainstream soul acts at Wigan and the reaction of dancers/participants to them?

 

20.  How would you characterise Wigan’s reception of or interaction with the ‘mod’ revival of the late 1970s?

 

21.  Thinking about where fans came from to the Casino can you recall whether any specific geographical areas appeared to stand out more than others?

 

22.  Would you say that there was a significant percentage of ‘locals’ at Wigan, say those from up to a 10 miles radius of the town?

 

23.  What are your recollections of groups of fans who travelled down from Scotland/Wales?

 

24.  Can you recall any large numbers from Merseyside or the North East of England?

 

25.  How would you describe participants at Wigan in terms of class, gender, and ethnicity?

 

26.  Were you aware of any generational differences and changes of fans during the 1973-1981 periods in terms of age; music preferences; fashion and general outlook? For example was there a definitely 60s crowd at the beginning who were not there at the end? Alternatively, were you aware of a newer generation on the scene during this time?

 

27.  Without going into detail what were your impressions of illegal drug abuse at Wigan?

 

28.  Would you say the drug abuse issue got worse, improved or stayed broadly unchanged throughout the 1973-1981 period?

Other Venues

 

29.  What other Northern Soul venues did you attend during the 1970s/80s and what were your impressions?

 

30.   With regard to Question 29, above, did you attend Blackpool Mecca Highland Room and if so what are your thoughts on any differences or similarities with those who attended the Casino?

31. Were there any differences between men and women in terms of what they contributed to      the scene and what they got out of it?

32. How did Northern Soul shape your identity?

33. What is the legacy of northern soul?

34. How important was it in terms of your social and cultural life?

35. What are your thoughts on how the scene has been remembered by film makers, writers, and participants?

36. Is there anything you would like to add that might not have been covered by the questions?

37. Can you describe a typical experience of a soul night in the 1970s? Getting ready, clothes, travel, conversation, companionship, music, dancing, journey home and aftermath.

6 minutes ago, WoodButcher said:

Think you'll find he's set his timeline out quite clearly in the title of his project and in the questions asked actually sir ... 

 

Keeping the Faith: A History of Northern Soul

 

Good point, young fella me lad, I missed that bit, perhaps the terms of reference need more clarification. A "History of Northern Soul" and "the impact of soul music in Britain from the 1960s to the late 1970s." are two totally different kettles of fish.

I for one wish the learned gentlemen every success in his endeavours.  Will the resultant findings be available to the general public?

8 hours ago, Drew3 said:

Longest chat up line ever me thinks!!!!!

Wow......is that actually your leg? (said in a Stewie Griffin type voice ).

Regards.

Drew.

 

These are my actual legs, but I didn't want all the perv's drooling............... (Said in a Head Mistress type of voice!)

x

Edited September 14, 20168 yr by crazylegs

3 minutes ago, crazylegs said:

 

These are my actual legs, but I didn't want all the perv's drooling............... (Said in a Head Mistress type of voice!)

x

Too late for that love.  

Edited September 14, 20168 yr by Kegsy

The questions I've picked out below are written from the viewpoint that Northern Soul is a thing of the past. Or possibly are given with the view that anything "Northern Soul" today is nothing but a nostalgic reflection of that past. 

 

32. How did Northern Soul shape your identity?

 

33. What is the legacy of northern soul?

 

34. How important was it in terms of your social and cultural life?

 

35. What are your thoughts on how the scene has been remembered by film makers, writers, and participants?

 

I do feel that some clarification about these questions would be useful. Likewise, an outline of the premise of the proposed 'history' would enable Soul Sourcers to ascertain the value of the project, and specifically whether they will be contributing towards something that accurately reflects the development, history, and current status of a scene that has survived unbroken for decades.

If Northern Soul is to be written about as a cultural movement of the past, that would be fatally flawed from the outset. Likewise, if the scene today is presented as a nostalgia-based one, that too would be fatally flawed (even though some aspects of the scene in more recent years have become nostalgia-driven).

Prof. Gildart..?

 

 

The research is fundamentally flawed. It is unclear if the professor is referring to Soul music or Northern Soul as he states and gives a timeline for the former but bases his questions and phraseology on the latter.

Why state " from the 1960's to the late 1970's" and then ask a question about the 1970/80's? In fact why mention the 1960's at all when the largest section of questions (16 out of a total 37 questions) are specifically about Wigan Casino? I'm sure that many that attended Wigan will answer enthusiastically, but those that didn't attend will feel alienated by those questions and will be unlikely to respond. Add to that a couple of leading questions and Russell Gilbert's observation that the given view is that Northern Soul is a thing of the past and all does not bode well for an accurate piece of research.

Is the University of Wolverhampton's department of History, Politics and War Studies, really about to re-write the history books?

- Kev

Dear All,

Just some clarification. The project is on the impact of soul music on the UK since the 1960s. Part of the broader project is a proposed book on Northern Soul that will examine the interplay between class, gender, race and locality on the scene. Having already ploughed through copies of Blues and Soul, Black Music, Echoes and the contemporary local press, it seemed that the peak of the scene (in terms of numbers of clubs, participation, impact) was around 1976 (but I'm happy to be corrected on this). I've extended the planned chronology to 1981 to take in the end of the Casino given its prominence in the mythology of the scene. I'm primarily working with primary sources from the period, but felt that oral testimony would add further colour and depth to the project. The reason I developed the questionnaire was to begin the oral history side of the project which will hopefully challenge existing interpretations/narratives etc. As with other types of research there will be contested chronologies, events, and meanings hence the title 'A History' as opposed to 'The history'. I'm particular interested in the voices and experiences of women as the existing histories of the scene seem to be written by men.

19 minutes ago, keith gildart said:

Dear All,

Just some clarification. The project is on the impact of soul music on the UK since the 1960s. Part of the broader project is a proposed book on Northern Soul that will examine the interplay between class, gender, race and locality on the scene. Having already ploughed through copies of Blues and Soul, Black Music, Echoes and the contemporary local press, it seemed that the peak of the scene (in terms of numbers of clubs, participation, impact) was around 1976 (but I'm happy to be corrected on this). I've extended the planned chronology to 1981 to take in the end of the Casino given its prominence in the mythology of the scene. I'm primarily working with primary sources from the period, but felt that oral testimony would add further colour and depth to the project. The reason I developed the questionnaire was to begin the oral history side of the project which will hopefully challenge existing interpretations/narratives etc. As with other types of research there will be contested chronologies, events, and meanings hence the title 'A History' as opposed to 'The history'. I'm particular interested in the voices and experiences of women as the existing histories of the scene seem to be written by men.

You may already be aware of this, but if not here goes. The "soul music scene" existed long before the "northern soul scene", plus the soul scene continued alongside the northern scene with clubs playing more disco, funky soul music, that was unlikely to be played on the Northern Scene. As I said you may be aware of this, but its important to understand the distinction. Many people would attend both types of venue, whereas some wouldn't be seen dead at the their non preferred format. I suppose what I'm trying to say is, that the northern scene grew out of the original soul scene but did NOT supercede or replace it.

If you compare the events guide inside the back pages of those copies of Echoes from 1976 to the events listing here on Soul Source you might pull that peak date forward 40 years ... ?

But who are we to comment on such things as opposed to 'primary sources from the period' ? 

No doubt the finished work will be way above the heads of most that are involved in the 'scene' , either then or now , and I suspect that the vast majority will never read it either as it will likely be locked away from those without access to the select academic journals.

Nevertheless I'll say good luck with the project ... 

4 hours ago, keith gildart said:

it seemed that the peak of the scene (in terms of numbers of clubs, participation, impact) was around 1976 (but I'm happy to be corrected on this).

In terms of numbers I think you may well be correct and may have been a direct result of the commercialisation that was taking place around this time. Clothes that had been made to measure only were now available off the shelf in High Street shops, Top of the Pops, Wigans Chosen Few, coach loads of people arriving at Wigan Casino eager to satisfy their curiosity, TV cameras etc. The effect of this was to disaffect many individuals who had previously been part of an 'underground' scene to the extent that they stopped going. In their eyes the 'scene' had lost it's integrity. It may have had more attendees in 76 but it was a different 'scene', a 'scene' which many felt had lost it's way. This feeling wasn't new. My understanding was that many who had attended the Wheel, Torch and Mecca never set foot in Wigan Casino for similar reasons. The music and the patrons were constantly evolving and have continued to do so right up until today.

Having met Keith (Prof Gildart) he seems to be making a concerted effort to produce a worthwhile study of the subject. By using primary source material I assume this is the accepted method for social history research. People's memories of events fifty years ago are not always the most reliable but are valuable as oral history so I'm sure he'd welcome articles or magazines from the early sixties. He has had all the Blues and Soul and most of Black Music and Black Echoes from way back . Maybe someone has some of the very early fanzines that he could borrow.

If we want to see a thorough and true telling of soul in the UK why not support him now instead of moaning when it's too late.

When the study is published it won't be locked away as ,I believe, academics have to allow the results to be available on request or on line if not published in book form.

If like me you think of university professors as  ancient men in tweed jackets and half round specs, Keith is nothing like that and is very approachable.

Rick

On 14 September 2016 at 11:57, crazylegs said:

 

These are my actual legs, but I didn't want all the perv's drooling............... (Said in a Head Mistress type of voice!)

x

Phwoaaaarrrrrrrrrrrrr !!!

22 hours ago, keith gildart said:

Dear All,

I'm primarily working with primary sources from the period,

Hi Keith

May I ask that you double check & cross reference all information from Primary Sources from the period.  If it is the usual suspects, they have a vested interest in 'their' version of events, which is sometimes not as many would have rembered.

Russ

 

 

On 14September, 2016 at 15:47, keith gildart said:

I've extended the planned chronology to 1981 to take in the end of the Casino given its prominence in the mythology of the scene.

Now there's the thing. Why stop with the end of the Wigan Casino? Northern Soul didn't suddenly disappear when the Casino shut its doors for the last time. In fact, the early 80s marks a new chapter for the scene as a whole as a new generation - many hearing the music through the 2nd generation Mod scene of that time (that's certainly from where my first introductions to Northern Soul came) – developed a passion for the music.

I went to my first allnighter in 1983 (Hinckley) and in the ensuing years travelled from Kent (and later London) to go to packed events all over the country (Bradford, Peterborough, Chesterfield, Blackburn, Hinckley, Sheffield, Leighton Buzzard, for example).

The early 80s also saw a powerful shift in the music played at many Northern Soul venues. In fact, what were termed "60s newies" changed the direction of the scene tremendously. My point is that the closing of the Wigan Casino isn't "the day the music died" for Northern Soul. Far from it. Look at Northern Soul today and you'll see that it's become a global movement. I, for example - and as my signature shows - am co-promoter of a small Northern Soul night in Amsterdam. I also run a Facebook group called the European Soul Club Network, the purpose of which is to provide soulies with a calendar of events taking place in continental Europe - and there are loads of them. Northern Soul is worldwide.

To sum up, finishing a history at 1981 ignores 35 thriving years of the scene - a period of time considerably longer than from the late 60s to when Wigan closed its doors.

Edited September 15, 20168 yr by Russell Gilbert
Clarity

19 hours ago, Rick Cooper said:

If like me you think of university professors as  ancient men in tweed jackets and half round specs, Keith is nothing like that and is very approachable.

Rick

He probably is. Just that you're ancient too so don't notice.

Never caught yourself gazing at an OAP with a shopping trolley and thinking it might come in handy.