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February Locations Choose City. Information Wheelchair patrons are most easily accommodated in the Sawtelle Room at designated table Please enter through our front entrance on Route 2A for ramp access. Sarah Grace was on the entire last season of The Voice at age 15 bringing soul and blues music to the national stage. Each episode aired for about 8 million people. From mid to now she grew by 60K social media followers 37K on Instagram , debuted on 4 Billboard charts, her single debuted at 1 on iTunes Blues, and her YouTube videos attracted millions of views.

Sarah Grace plays trumpet, keys, Hammond, and has a truly great voice, especially for someone who is years-old. Sarah Grace was the first contestant on The Voice to play trumpet and the first to play an organ. Hammond has since endorsed her. The Northern Soul scene is a dance-based music culture that originated in the English North and Midlands in the early s. It still thrives today with a mix of forty-year-olds and new converts, and its celebration of s Soul has an international following.

Centred on the detail of the dance techniques, and musical and cultural context, the analysis presented here is developed from an ethnographic study. The importance of solidarity, senses of identity through gender, place and ethnicity, and the relationship of the scene with African American culture are explored. The study draws conclusions about the way that dance can be theorised and analysed, and argues that a full analysis requires an exploration of the relationship of physical movement to space, music and senses of identity.

Nicola Watchman Smith. Derek B. Scott, Ashgate , discusses the suitability of the post-subcultural paradigm as a potential means to consider aging participation and music scene longevity. This chapter questions the master narrative of youth evident in popular music research, and, by theorizing music as pleasure and as an aspect of everyday life, it argues that the appeal of participation is not dependent upon age, nor does it derive solely from a desire for community or resistance, but is rather tied to identity formation and reflexive engagement. Musical Bookmark 2 Portrait of Sean Chapman Chapter 5 Acquiring Rights and Righting Wrongs?

Ady Croasdell. Ace Records. Ady Croasdell researches the history of Black American soul music.

As a CD compiler for the Kent label, part of Ace Records, of 33 years experience, he has had access to many original participants and documents. He has written approximately booklets of 4, words or more to accompany compilations, each in terms of the musical history of particular record labels, artists, producers or genres. Having been involved in the Northern and rare soul scene since , he has a unique overview of the impact the music has had in Europe and the UK in particular.

It is the longest running such event, now in its 23rd year. Ady has lectured at the Victoria and Albert museum and Salford University. Time was when a reissue or bootleg would kill the demand for the particular recording, necessitating top DJs and their exclusive playlists having to champion new finds to keep their sets desirable. In terms of musical economies, the relationship between the London music industry and the primarily northern UK based bootlegging will be also examined, including the successes of the companies who did things by-the-book and the personal reactions of the creative people affected by the co-existence of these two oppositional yet infinitely interconnected record economies.

Northern soul is a British music culture centred upon the direct acquisition of American soul music. Thus, when the heyday northern soul scene produced a recognisable British culture and consequent identities for its UK participants, an interesting dynamic was created in terms of the link between place and popular music. This chapter will discuss the role of American soul music in the synthesis of an initially northern cultural identity in relation to two factors.

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Firstly, in acknowledgment of the fact that northern soul is so named because of a perceived distinction between northerners preferred style of soul music, compared to other British consumers of soul. When a specific strand of borrowed American soul music became re labelled as a reflection of the tastes of northern English youths the notion of authenticity, ownership and locality as an origin of identity became muddied.

Therefore, secondly, the significance of the separation between the American home of this soul music and the UK locality in which this music is primarily enjoyed will also be discussed. Musical Bookmark 3 Portrait of Emily Jane Joe Street. Northumbria University. His research concentrates on the nexus between politics and culture in the twentieth century, with a particular focus on African American radicalism in the s and s and the San Francisco Bay Area after World War Two.

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He loves soul music but cannot dance to save his life. Dave Godin was the single most influential individual involved in popularising African American popular music in the United Kingdom during the s and s. As such he needs no introduction.

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This chapter examines two closely related aspects of his thought about the meaning of soul music and the responsibilities of soul fans. Godin wrote extensively about his experiences as a fan and of his conviction that the music was closely related to the historic African American struggle for freedom and dignity. He argued throughout his life that a close relationship existed between supporting the music and supporting this struggle. He also firmly believed that, by buying their records, the British soul community helped to support African American artists, a position that stemmed from his understanding of the political economy of soul music production.

It argues that for Godin, the soul community was an inclusive and supportive community for the artists as well as the fans, and the fans had a duty to the artists that went far beyond mere appreciation of their music. Sarah Raine , Tim Wall.

Many of these mediated histories are stories produced for an insider audience by authors and media producers who themselves have personal experience of the scene. We see this as part of an extensive process of self-documentation which has become a central cultural practice of the northern soul scene. In this chapter, the authors seek to explore how the story of the northern soul scene is told through a range of media and how they relate to processes of scene self-documentation.

They tease out the differences between self-documenting media texts and the more mainstream ways in which the scene is represented. And they argue that the myths of northern soul represent a shared narrative; held as a common point of reference, widely distributed and used as a locus for personal identity. Above all, these stories are testaments to an insider identity: a sense of what it is to be a member of the scene and, by contrast, what lies outside.

This chapter explores some of the self-documented histories of the scene, drawing out core myths, exploring how they operate over a range of media as a key part in the mythologizing process of self-documentation, and identify the ways in which they act as a stabilising and legitimising force. Musical Bookmark 4 Portrait of John Manship John Barrett. John Barrett has been documenting the UK soul scene with the aim of capturing the personal identities and obsessions of this endearing sub-culture. My intention as an artist and photographer is always to impart some form of narrative about what I am observing.

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  • The notion of the photographer as storyteller and narrator engenders creative encounters and challenges that in turn provide a structuring theme. The process for the accumulating photographs of the northern soul scene naturally assimilated the stories and memories of those involved. The photographic project aimed to represent the energetic experience and compulsive behaviour of soul fans. I was fascinated by the intertwining of a bond of friendship that linked the soul fraternity both in the UK and abroad. This record of the soul scene was undertaken through my experiences, knowledge and memory of the subjects I was trying to capture.

    I had been going to soul events intermittently throughout my life, but had lost touch with the scene. The warm acceptance of my project was due to my enthusiasm for the music, fashion and identity of the scenes participants. As I already knew the music and dance, I could predict the movement on the dance floor to capture the decisive moment of the dancers. For those that I have photographed within the scene, I believe that they came to trust my judgement to capture the spirit of the scene. Andrew Wilson.

    Nottingham Trent University. After he was released his journey on the northern scene began at the Torch all-nighter in Stoke-on-Trent. His involvement included attending the many of the soul clubs across England, promoting clubs in his hometown, occasionally DJing. He was perhaps better known for his involvement in the drug trade, specifically burglary of chemist shops in pursuit of amphetamines.


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    Casual observation of the northern soul scene may give the impression of continuity. It is a deceptive image that masks the tensions and changes that reveal the dynamic process that the mod inspired dance culture went through on its journey to a soul scene to northern to the rare soul scene. This chapter is informed by my personal involvement in the scene from to and the research I carried out with 55 former participants of the scene. I did, however, have a well-earned reputation for burgling chemist shops. It is the consequences of that activity that I draw on for this chapter.

    I previously argued Wilson that commercial exploitation and growth in popularity led to the dilution of culture of the scene. This essay takes a closer look at the significance of amphetamine use, though more significantly, the authorities response to drug use, in shaping the underground attributes of the scene.

    This is used to ask whether the erosion of the drug culture has shredded the underground image by making its practices, whether dancing or collecting records, acceptable middle-of-the road hobbies. Katie Milestone. The chapter draws on data from interviews with four British women who were teenagers or in their early twenties from the mid s through to the mid s.


    Each of these women were regular attenders of Soul events at night clubs in Manchester and the North West and Midlands of England. All four women attended a range of venues dedicated to Soul music during this period.

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    We explore the freedom from traditional gender constraints that participation in Soul fandom offered these young women and the impact these experience had on their identities and personal trajectories. Musical Bookmark 5 Portrait of Sammy Dee Dani Herranz. Music Promoter and DJ. The roots of Spanish Soul scene come from the Mids, where a young generation of Mods discovered the Kent compilations, and decided that rare soul was the best music ever. Since then, Dani Herranz has been involved in promotion, travelling and DJing, living for a couple of years in London, where he was a Club and Capitol Soul Club regular.

    This chapter, first published in Ruta 66 a popular Rock magazine in Spain in , places the Spanish scene within a wider history of the northern soul scene, from the Twisted Wheel in the s to the contemporary global and multigenerational scene. The editors have included both the original piece and an English translation, offering the reader access to the insider traditions of documenting the northern soul scene, bringing together photographs, record labels, key places and people, and the language of the scene, as part of a Spanish history of soul fandom. Bethany Kane.

    Concentrating on the lives people lead, Bethany Kane aims to reveal their narrative through photography by highlighting details within the personal and public environments central to their processes of identity construction. Her practice builds upon the knowledge and understanding she gains through her own personal experience, using retrospective photographic processes to produce a unique insight into these rarely documented subjects.

    Currently the Northern Soul scene is receiving great exposure through film, media and clothing brands, giving this once very secretive scene a wider recognition. Subsequently, dedicated soulies are escaping to more underground clubs and are becoming more selective in the events they choose to attend.

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    This body of work concentrates on the younger generation and the spaces within which they construct and perform a northern soul identity. The current Soul scene is continuously growing whilst attracting a strong young crowd. Through visuals and fan voice, I explore the passion and dedication these individuals have towards their scene and the certain elements that continuously encourages their participation.