Rockheim scene torsdag 22.mars kl 19.00.
Foredraget er et samarbeid mellom Rockheim og NTNU, Institutt for musikk.
Foredraget holdes på engelsk.
Motown International: Selling African-American Pop to Scandinavia and beyond
Many American independent R&B companies reached into international markets during the early 1960s. Among the most successful of these was Detroit-based Motown Records. Beginning in late 1963, Motown established distribution agreements to sell records in the UK, and many British musicians became Motown fans and recorded versions of the company’s songs, creating instances of transatlantic dialogue. After focusing on Britain during 1964 and 1965, Motown extended its focus to a wide variety of international locations. For example, Motown reception was also prominent in Scandinavia, with a vast number of records released on the Stateside label, a notable visit by the Supremes in early 1968, and many local artists recording versions of Motown songs. This talk centrally explores both of these Northern European markets for Motown soul. During this period, the company established many local distribution agreements to sell recordings and sent artists on international tours, and a number of Motown acts created foreign-language versions of their hits. Local reception of Motown varied in these places, which was evident in the dozens of non-American artists who recorded new versions of Motown material in other wide-ranging locales beyond the UK and the Nordic countries, including Australia, Germany, Jamaica, Yugoslavia, and many others.
Andrew Flory is Associate Professor of Music at Carleton College in Northfield, Minnesota (USA). He has written extensively about American rhythm and blues and is author of the book I Hear a Symphony: Motown and Crossover R&B (University of Michigan Press, 2017). Working directly with Universal Records, Andrew has served as consultant for several Motown reissues, including an expanded edition of Marvin Gaye’s Trouble Man. He is also co-author of the history of rock textbook What’s that Sound (W.W. Norton).
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