This volume examines the location of memories and histories of popular music and its multiple pasts, exploring the different ‘places’ in which popular music can be situated, including the local physical site, the museum storeroom and exhibition space, and the digitized archive and display space made possible by the internet. Contributors from a broad range of disciplines such as archive studies, popular music studies, media and cultural studies, leisure and tourism, sociology, museum studies, communication studies, cultural geography, and social anthropology visit the specialized locus of popular music histories and heritage, offering diverse set of approaches. Popular music studies has increasingly engaged with popular music histories, exploring memory processes and considering identity, collective and cultural memory, and notions of popular culture’s heritage values, yet few accounts have spatially located such trends to focus on the spaces and places where we encounter and engender our relationship with popular music’s history and legacies. This book offers a timely re-evaluation of such sites, reinserting them into the narratives of popular music and offering new perspectives on their function and significance within the production of popular music heritage. Bringing together recent research based on extensive fieldwork from scholars of popular music studies, cultural sociology, and museum studies, alongside the new insights of practice-based considerations of current practitioners within the field of popular music heritage, this is the first collection to address the interdisciplinary interest in situating popular music histories, heritages, and pasts. The book will therefore appeal to a wide and growing academic readership focused on issues of heritage, cultural memory, and popular music, and provide a timely intervention in a field of study that is engaging scholars from across a broad spectrum of disciplinary backgrounds and theoretical perspectives.
Introduction Sara Cohen, Robert Knifton, Marion Leonard, and Les Roberts Part 1: Problematizing Popular Music Heritage 1. Locating Popular Music Heritage Sara Cohen, Robert Knifton, Marion Leonard, and Les Roberts 2. Popular Music and the ‘Problem’ of Heritage Andy Bennett 3. The Heritage Obsession: The History of Rock and Challenges of ‘Museum Mummification’. A French Perspective Philippe Le Guern Part 2: Mapping, Music, and Memory 4. Mapping the Politics of ‘Race’, Place and Memory in Liverpool’s Popular Music Heritage Brett Lashua 5. "Still here?": A Geospatial Survey of Welsh-language Popular Music Craig Owen Jones Part 3: Archives and Virtual Sites of Memory 6. ‘Fillin’ in Any Blanks I Can’: Online Archival Practice and Virtual Sites of Musical Memory Jez Collins and Paul Long 7. Locating the "Bristol Sound": Archiving Music as Everyday Life Michelle Henning and Rehan Hyder 8. Saving ‘Rubbish’: Preserving Popular Music’s Material Culture in Amateur Archives and Museums Alison Huber and Sarah Baker 9. Intangible Cultural Heritage and the Women’s Liberation Music Archive Deborah Withers Part 4: Nostalgia and Heritage Practices 10. "You Had To Be There": Memories of the Glasgow Apollo Audience Kenneth Forbes 11. Engaging Nostalgia: Popular Music and Memory in Museums Marion Leonard and Rob Knifton 12. The Remembering: Heritage-Work at US Progressive-Rock Festivals, 1983 to 2012 Tim Dowd Part 5: Pilgrimage and Sacred Sites 13. Pilgrimage, Place, and Preservation: The Real and Imagined Geography of the Grateful Dead in Song, on Tour, and in Cyberspace John V. Ward 14. Putting the Psycho in Psycho-geography: Tom Vague's Musical Mapping of Notting Hill Alex Lawrey 15. Unveiling Memory: Blue Plaques as (In)tangible Markers of Popular Music Heritage Les Roberts and Sara Cohen 16. Why I Didn’t 'Go Down to the Delta': The Cultural Politics of Blues Tourism Mark Duffett
"All in all, Sites of Popular Music Heritage purveys a many-sided profile of musical heritage work and its operational environment. As is the case with all edited volumes, some of the chapters are more analytical and some more descriptive, but I found even the most casual ones in the collection entertaining."
- Antti-Ville Kärjä, Music Archive Finland