Subtitle Northern Soul High Quality

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subtitle Northern Soul

The liner notes of this excellent 21-song collection (never mind the subtitle) define bubblegum soul as "the sound of a million transistor radios between 1968 and 1973, the sound of summer, the sound of ebony and ivory living together in harmony!" In essence, we're talking breezy crossover soul bereft of the radical political content and psychedelicized production dominant in much of the black popular music of era; which is not to suggest, however, that the music doesn't still hold up. Far from it: the Foundations' "Build Me Up, Buttercup" is still the best record Motown never released, and the Chairmen of the Board's "Give Me Just a Little More Time" isn't far behind. Some of the songs don't really fit the disc's parameters -- P.P. Arnold's brilliant "The First Cut Is the Deepest" certainly transcends the "popcorn soul-pop" tag -- but it's tough to quibble with a set this consistently entertaining.

News for the Northern Soul fans : "Cap Nord" ("Heading North"), an underground french film filled with dancing, Soul lyrics and Soul music, is now out on DVD, including english subtitles. It goes with the CD, all Northern Soul tracks, among them great classics like Maxine Brown, JJ Barnes, Melvin Davis, The Flirtations, The Precisions and many more. It's not about the NS scene nor history, it's about love, music and soul. Check it out, mates, many thanks & Keep The Faith !

1974. Amidst power cuts, strikes and boot-boy aggro on the football terraces, Joe McCain is bored of a life that's going nowhere. Enter hair-dresser Jane: blonde, beautiful, and moving to the beat of a whole new world of sound, movement and all-nighter dancing at The Wigan Casino - the home of Northern Soul. Swept along on this tide of pulsating dance and lust, Joe becomes embroiled in the darker side of soul scene that will put his friendship to the test.

SOUL KITCHEN film centers on a likable but hopelessly disorganized restauranteur, Zinos, whose cafe is second home to a motley crew of lovable eccentrics. When his girlfriend Nadine up and moves to Shanghai, a love-sick Zinos decides to fly after her, leaving his restaurant in the hands of his unreliable ex-con brother Illias. Both decisions turn out disastrous: Illias gambles away the restaurant to a shady real estate agent, and Zinos finds Nadine with a new lover. If the brothers can stop arguing and get it together, the Soul Kitchen might still have one last chance at staying in business. The mayhem that follows is a hilariously entertaining story of self-realization, set to an irresistibly soulful soundtrack.

Ngọ was born in Hanoi in 1931.[2] Her father, Trịnh Định Kính, was a successful businessman who owned the largest glass factory in French Indochina.[3] She later stated that she grew eager to learn English because of her desire to watch her favorite films such as Gone with the Wind without subtitles. Her family provided her with private lessons in English. In 1955, when she was 24 years old, she joined the Voice of Vietnam radio station and was chosen to read the English language newscast aimed at listeners in Asia's English-speaking countries.[3][4] One of her tutors and mentors at the station was Australian journalist Wilfred Burchett.[3] At this time, she adopted the alias Thu Hương, meaning "autumn fragrance", as it was easier and shorter for her non-Vietnamese listeners.[4]

I was quite disappointed at the general appearance of things in New Bedford. The impression which I had received respecting the character and condition of the people of the north, I found to be singularly erroneous, I had very strangely supposed, while in slavery, that few of the comforts, and scarcely any of the luxuries, of life were enjoyed at the north, compared with what were enjoyed by the slaveholders of the south. I probably came to this conclusion from the fact that northern people owned no slaves. I supposed that they were about upon a level with the non-slaveholding population of the south. I knew they were exceedingly poor, and I had been accustomed to regard their poverty as the necessary consequence of their being non-slaveholders. I had somehow imbibed the opinion that, in the absence of slaves, there could be no wealth, and very little refinement. And upon coming to the north, I expected to meet with a rough, hard-handed, and uncultivated population, living in the most Spartan-like simplicity, knowing nothing of the ease, luxury, pomp, and grandeur of southern slaveholders. Such being my conjectures, any one acquainted with the appearance of New Bedford may very readily infer how palpably I must have seen my mistake.

Jacob's Shipwreck is an important contribution to our understanding of Latin Christendom as home to both Christians and Jews. Examining a group of post-biblical Jewish texts that scholars of both religions translated, adapted and eventually anthologized during the Central Middle Ages, Ruth Nisse deepens our understanding and stimulates new questions. The already broad subtitle--Jewish and Christian views of the Jewish diaspora, the various definitions of translation illustrated by these texts, and the changing quality of Christian-Jewish interactions--does not reflect the book's richness. Nisse also places the texts in particular political moments, addressing the written cultural trends in historiography, romance, and science, and identity formation by members of both religions. Her discussion especially demonstrates how some northern Jewish scholars were part of the renovatio of pan-European culture, highlighting subtle indications of Jewish acculturation in works reiterating their differences. While this is a densely argued work, the actual text is only 153 pages. The vast array of scholarship obvious in the sixty-five pages of notes and bibliography will interest medievalists of many disciplines.

Chapter 2 turns to the renewed popularity of the Aeneid and its story of Rome's founding. Multiple versions were written in newer genres and various vernaculars, including the Anglo-Norman Roman d'Enéas. Geoffrey of Monmouth clearly connected the story to England's founding by Brutus in The History of the Kings of Britain. The entry for Anglo-Jews was a brief version of the story in the Sefer Yossipon. For twelfth-century Anglo-Jews, Nisse argues, "the Hebrew text undermines the basis of Rome and the linear ideal of European 'translations of empire' through diasporic geography and the fictional recovery of a 'lost' Rome in Jewish texts" (15). It is "a subversive geneology" (17) of Empire, at the moment that the new Edomites, the Angevins, are building upon imperial legacies. This also is an appropriation of the story because the Hebrew recension erases Troy. Aeneas/Agneus is a North African who returns there with his Latin wife and son, transforming the story from a Roman/Edomite triumph into one of the Jewish diaspora. She also argues that Anglo-Jews embraced the historical fictional literature of the Christians. Most scholars of northern European Jewish culture use the rabbinic exhortations that Jews avoid secular literature as a contrast to the intercultural opportunities and interests of southern European Jews. Nisse makes a convincing argument that in the creative, multicultural and multilingual twelfth century, Anglo-Jews used extra-biblical literature creatively and to participate in its culture.

Nisse particularly develops the theme of Jewish-Christian cultural interaction in England the chapter about two twelfth-century Hebrew texts translated from Latin and French, and adapted by Berekhiah ha-Nakdan, "a prolific Anglo-Norman rabbinic scholar" (75). The first is a translation of Adelard of Bath's Latin Natural Questions into the Hebrew Uncle and Nephew. The adaptation reflect the author's theological differences but also a wide knowledge of philosophy and science. One point of disagreement is over whether animals have souls. Here language itself is key, as Berekhiah uses Abraham ibn Ezra's discussion of two Hebrew words for soul to distinguish between animals and humans. Nisse presents Berekhiah's interplay of language as an example of conflict experienced by diaspora Jews who viewed Latin as the oppressor language needing mediation and purification, but had an interest in it, and probably some intellectual interaction with it. In the 1190s, Berekhiah wrote another cross-cultural work, Fox Fables. In his prologue, he says he drew on fables from all languages, and scholars have identified classical Aesop, French texts including Marie de France's Fables, and Hebrew ones from the Talmud. While he often relates the translator's need to purify them, Berekhiah displayed a sophisticated knowledge of linguistic subtleties, genre, and content. In the decades between these two works, however, Anglo-Jews experienced the first signs of problems in their relationship to the king. Richard I's 1189 coronation was the scene of the first major violence against Jews, which continued after Richard left on Crusade, culminating in massacres and the mass suicide in York. Nisse characterizes Berekhiah's prologue as a prophetic exhortation towards the Jews, saying they not only had failed to recognize their king was not a friend but had collaborated with him, and warning that the wheel of fortune was about to turn (91). Nisse also argues that Berekhiah "translates" the meaning of the Talmudic fable of the fox and fish. Told by Rabbi Akiva to explain why he was willing to die at the hands of the Romans, Berekhiah tells it as "a tale of hypocrisy," highlighting the trope of Jewish infighting (97). In doing so, Berekhiah rejects the praise of martyrdom in a growing body of Hebrew literature. 041b061a72