Transatlantic Drift

Katie Milestone (Author) Katie Milestone is an academic and co-lead of the Music and Sonic Studies Research Group at Manchester Metropolitan University, teaching and researching youth subcultures, music and identity. Her books include Gender and Popular Culture (2nd edn, 2020).Simon A. Morrison (Author) Simon A. Morrison is a writer, academic and Programme Leader for Music Journalism at the University of Chester. He has published widely on global music culture, and his books include Dancefloor-Driven Literature: The Rave Scene in Fiction (2020).

• Preface:Mix InTrack One  KatieMilestone       1          The quest for a new kindof dancefloor in post-war Britain2          The emergence of youthnightclub spaces in the uk3          The late 1960s demise ofuk mod nightclubs and rise of a new dance underground4          Rave before rave: The ukin the late 1970s to the mid-1980sTrack Two SimonA. Morrison5          Uptown and DowntownManhattan in the latter 1970s6          New York, Chicago andDetroit in late-1980s (ish) usa7          The beat travels back overthe pond: uk and continental Europe, 1985–908          TransEurope Express:Europe . . . and the usa . . . to the Millennium  Epilogue: Mix Out  Chronology ReferencesKey Figures Dance Playlist and Key TracksFurther Reading AcknowledgementsPhoto Acknowledgements Index

Sociologist Katie Milestone and music journalism lecturer Simon A. Morrison divide between them the period from the birth of rock’n’roll in the late 1950s to the modern day. Their scope is ambitious: where people danced, how they danced and the music that made them move. It’s a golden era that takes in the rise of the mod, the birth of Northern Soul, the disco boom and rave culture . . . There is an evanescent quality to the world the book inhabits. Underground scenes form, enter the mainstream, fade away. - Financial TimesThrough its carefully considered form, authorial team and consciously drifting contents, Transatlantic Drift is dedicated to transatlantic musical interchange and, indeed, to the exchange of scholarly and critical ideas concerning not only music but the ways in which we remember and make meaningful. This excellent book unravels the oftentimes knotty and contested musical happenings, people and places through an approach that embraces an open understanding of music histories in the plural. And in sidestepping common pitfalls in popular music scholarship – by attesting to regions as well as capital cities, for example – Katie Milestone and Simon A. Morrison have created an essential resource for all those interested in transatlantic popular music and subcultural histories. - Sarah Raine, Research Fellow, School of Music, UCD, and author of Authenticity and Belonging in the Northern Soul Scene