Sarah Baker is Professor of Cultural Sociology at Griffith University, Australia. Her books include Community Custodians of Popular Music’s Past: A DIY Approach to Heritage (2017) and Preserving Popular Music Heritage: Do-it-yourself, Do-it-together (2015).Catherine Strong is a Senior Lecturer in the Music Industry program at RMIT in Melbourne, Australia. Among her publications are Grunge: Popular Music and Memory (2011), and Death and the Rock Star (2015, edited with Barbara Lebrun). Her research deals with various aspects of memory, nostalgia and gender in rock music, popular culture and the media. She is currently Chair of IASPM-ANZ and co-editor of Popular Music History journal.Lauren Istvandity is a Postdoctoral Research Fellow at Queensland Conservatorium at Griffith University. She has expertise in the fields of music heritage and memory studies, and is currently writing a monograph titled The Lifetime Soundtrack: Music and Autobiographical Memory.Zelmarie Cantillon is an Adjunct Postdoctoral Research Fellow in the Griffith Centre for Social and Cultural Research at Griffith University, Australia. She has contributed book chapters to edited collections including Youth Cultures and Subcultures: Australian Perspectives (2015) and New and Emerging Challenges to Heritage and Well-being (forthcoming), and published articles in Journal of Urban Cultural Studies (2015) and Australian Feminist Studies (2017). Her current research focuses on spatiality, tourism and heritage.

This book thus fulfills the objective it has set for itself to make comprehensible and accessible the "fundamental and progressive" ideas which run through the studies currently flourishing in the four corners of the world concerning the history and the heritage of popular music...and the balance between theoretical and empirical contributions contributes to the relevance of the whole.Christophe Levaux for Volume!translated from the French.

• List of figures, tables and boxesNotes on contributorsAcknowledgements1 Framing the field of popular music history and heritage studiesZelmarie Cantillon, Catherine Strong, Lauren Istvandity and Sarah BakerPART 1History and historiography2 Problematising popular music history in the context of heritage and memoryBruce Johnson3 Gendered narratives of popular music history and heritageRosa Reitsamer4 Racialising music’s past and the media archive Nabeel Zuberi5 Sounding out popular music history: a musicological approachRichard Elliott6 Reconstructing the past: popular music and historiographySteve Waksman7 Cultural consecration and the creation of canonsVaughn Schmutz8 What we did was secret: (one version of) the writing of popular music’s historiesJon Dale9 Music magazines and the first draft of historyDave Laing and Catherine Strong10 Screening popular music’s past: music documentary and biopicsTim Wall and Nicolas Pillai11 Historiography and the role of the archiveAntti-Ville KärjäPART 2Heritage12 What is popular music cultural heritage?Paul Long13 The politics of popular music heritageHenry Johnson14 Local and global intersections of popular music history and heritageRobert Knifton15 Popular music heritage and tourismBrett D. Lashua 16 DIY preservationism and recorded music – saving lost soundsAndy Bennett17 ‘Knowledge of Beatles songs and McCartney parts essential’: tribute acts, the music industries and the value of heritageShane Homan18 Burning punk and bulldozing clubs: the role of destruction and loss in popular music heritageCatherine StrongPART 3Memory19 Popular music and the memory spectrumMichael Pickering20 Popular music and autobiographical memory: intimate connections over the life courseLauren Istvandity21 Popular music in mediated and collective memoryBen Green22 ‘Do you remember rock ‘n’ roll radio?’ How audiences talk about music-related personal memories, preferences, and localitiesAmanda Brandellero, Marc Verboord and Susanne Janssen23 Popular music and commemorative ritual: a material approachIrene Stengs24 Songs that resonate: the uses of popular music nostalgiaArno van der Hoeven25 Citizen archiving and virtual sites of musical memory in online communitiesJez CollinsPART 4Institutions26 Representing popular music histories and heritage in museumsMarion Leonard27 Sound archives, ethnography and sonic heritageNoel Lobley28 Popular music halls of fame as institutions of cultural heritageRaphaël Nowak and Sarah Baker29 DIY institutions and amateur heritage makingD-M Withers30 Reissue programmes: framing the past as projectElodie A. RoyPART 5Case studies31 Rethinking Indigenous popular music heritage as Australian heritageÅse Ottosson32 ‘Koile, ‘Te Hua’ and the Reggae-fication of cultural heritageDan Bendrups, Pip Laufiso and Hiliako Iaheto33 Bollywood: its histories in India, and beyondJayson Beaster-Jones34 Preserving popular music heritage in HungaryEmília Barna35 The history and heritage of popular Afrikaans musicSchalk van der Merwe36 Sound archives in West AfricaGraeme Counsel37 Palestinian popular music: how popular music becomes heritageMoslih Kanaaneh38 Phillips’ Sound Recording Services: the studio that tourism forgotMike BrockenIndex

Sarah Baker is Professor of Cultural Sociology at Griffith University, Australia. Her books include Community Custodians of Popular Music’s Past: A DIY Approach to Heritage (2017) and Preserving Popular Music Heritage: Do-it-yourself, Do-it-together (2015).Catherine Strong is a Senior Lecturer in the Music Industry program at RMIT in Melbourne, Australia. Among her publications are Grunge: Popular Music and Memory (2011), and Death and the Rock Star (2015, edited with Barbara Lebrun). Her research deals with various aspects of memory, nostalgia and gender in rock music, popular culture and the media. She is currently Chair of IASPM-ANZ and co-editor of Popular Music History journal.Lauren Istvandity is a Postdoctoral Research Fellow at Queensland Conservatorium at Griffith University. She has expertise in the fields of music heritage and memory studies, and is currently writing a monograph titled The Lifetime Soundtrack: Music and Autobiographical Memory.Zelmarie Cantillon is an Adjunct Postdoctoral Research Fellow in the Griffith Centre for Social and Cultural Research at Griffith University, Australia. She has contributed book chapters to edited collections including Youth Cultures and Subcultures: Australian Perspectives (2015) and New and Emerging Challenges to Heritage and Well-being (forthcoming), and published articles in Journal of Urban Cultural Studies (2015) and Australian Feminist Studies (2017). Her current research focuses on spatiality, tourism and heritage.

This book thus fulfills the objective it has set for itself to make comprehensible and accessible the "fundamental and progressive" ideas which run through the studies currently flourishing in the four corners of the world concerning the history and the heritage of popular music...and the balance between theoretical and empirical contributions contributes to the relevance of the whole.Christophe Levaux for Volume!translated from the French.

• List of figures, tables and boxesNotes on contributorsAcknowledgements1 Framing the field of popular music history and heritage studiesZelmarie Cantillon, Catherine Strong, Lauren Istvandity and Sarah BakerPART 1History and historiography2 Problematising popular music history in the context of heritage and memoryBruce Johnson3 Gendered narratives of popular music history and heritageRosa Reitsamer4 Racialising music’s past and the media archive Nabeel Zuberi5 Sounding out popular music history: a musicological approachRichard Elliott6 Reconstructing the past: popular music and historiographySteve Waksman7 Cultural consecration and the creation of canonsVaughn Schmutz8 What we did was secret: (one version of) the writing of popular music’s historiesJon Dale9 Music magazines and the first draft of historyDave Laing and Catherine Strong10 Screening popular music’s past: music documentary and biopicsTim Wall and Nicolas Pillai11 Historiography and the role of the archiveAntti-Ville KärjäPART 2Heritage12 What is popular music cultural heritage?Paul Long13 The politics of popular music heritageHenry Johnson14 Local and global intersections of popular music history and heritageRobert Knifton15 Popular music heritage and tourismBrett D. Lashua 16 DIY preservationism and recorded music – saving lost soundsAndy Bennett17 ‘Knowledge of Beatles songs and McCartney parts essential’: tribute acts, the music industries and the value of heritageShane Homan18 Burning punk and bulldozing clubs: the role of destruction and loss in popular music heritageCatherine StrongPART 3Memory19 Popular music and the memory spectrumMichael Pickering20 Popular music and autobiographical memory: intimate connections over the life courseLauren Istvandity21 Popular music in mediated and collective memoryBen Green22 ‘Do you remember rock ‘n’ roll radio?’ How audiences talk about music-related personal memories, preferences, and localitiesAmanda Brandellero, Marc Verboord and Susanne Janssen23 Popular music and commemorative ritual: a material approachIrene Stengs24 Songs that resonate: the uses of popular music nostalgiaArno van der Hoeven25 Citizen archiving and virtual sites of musical memory in online communitiesJez CollinsPART 4Institutions26 Representing popular music histories and heritage in museumsMarion Leonard27 Sound archives, ethnography and sonic heritageNoel Lobley28 Popular music halls of fame as institutions of cultural heritageRaphaël Nowak and Sarah Baker29 DIY institutions and amateur heritage makingD-M Withers30 Reissue programmes: framing the past as projectElodie A. RoyPART 5Case studies31 Rethinking Indigenous popular music heritage as Australian heritageÅse Ottosson32 ‘Koile, ‘Te Hua’ and the Reggae-fication of cultural heritageDan Bendrups, Pip Laufiso and Hiliako Iaheto33 Bollywood: its histories in India, and beyondJayson Beaster-Jones34 Preserving popular music heritage in HungaryEmília Barna35 The history and heritage of popular Afrikaans musicSchalk van der Merwe36 Sound archives in West AfricaGraeme Counsel37 Palestinian popular music: how popular music becomes heritageMoslih Kanaaneh38 Phillips’ Sound Recording Services: the studio that tourism forgotMike BrockenIndex

Sarah Baker is Professor of Cultural Sociology at Griffith University, Australia. Her books include Community Custodians of Popular Music’s Past: A DIY Approach to Heritage (2017) and Preserving Popular Music Heritage: Do-it-yourself, Do-it-together (2015).Catherine Strong is a Senior Lecturer in the Music Industry program at RMIT in Melbourne, Australia. Among her publications are Grunge: Popular Music and Memory (2011), and Death and the Rock Star (2015, edited with Barbara Lebrun). Her research deals with various aspects of memory, nostalgia and gender in rock music, popular culture and the media. She is currently Chair of IASPM-ANZ and co-editor of Popular Music History journal.Lauren Istvandity is a Postdoctoral Research Fellow at Queensland Conservatorium at Griffith University. She has expertise in the fields of music heritage and memory studies, and is currently writing a monograph titled The Lifetime Soundtrack: Music and Autobiographical Memory.Zelmarie Cantillon is an Adjunct Postdoctoral Research Fellow in the Griffith Centre for Social and Cultural Research at Griffith University, Australia. She has contributed book chapters to edited collections including Youth Cultures and Subcultures: Australian Perspectives (2015) and New and Emerging Challenges to Heritage and Well-being (forthcoming), and published articles in Journal of Urban Cultural Studies (2015) and Australian Feminist Studies (2017). Her current research focuses on spatiality, tourism and heritage.

This book thus fulfills the objective it has set for itself to make comprehensible and accessible the "fundamental and progressive" ideas which run through the studies currently flourishing in the four corners of the world concerning the history and the heritage of popular music...and the balance between theoretical and empirical contributions contributes to the relevance of the whole.Christophe Levaux for Volume!translated from the French.

• List of figures, tables and boxesNotes on contributorsAcknowledgements1 Framing the field of popular music history and heritage studiesZelmarie Cantillon, Catherine Strong, Lauren Istvandity and Sarah BakerPART 1History and historiography2 Problematising popular music history in the context of heritage and memoryBruce Johnson3 Gendered narratives of popular music history and heritageRosa Reitsamer4 Racialising music’s past and the media archive Nabeel Zuberi5 Sounding out popular music history: a musicological approachRichard Elliott6 Reconstructing the past: popular music and historiographySteve Waksman7 Cultural consecration and the creation of canonsVaughn Schmutz8 What we did was secret: (one version of) the writing of popular music’s historiesJon Dale9 Music magazines and the first draft of historyDave Laing and Catherine Strong10 Screening popular music’s past: music documentary and biopicsTim Wall and Nicolas Pillai11 Historiography and the role of the archiveAntti-Ville KärjäPART 2Heritage12 What is popular music cultural heritage?Paul Long13 The politics of popular music heritageHenry Johnson14 Local and global intersections of popular music history and heritageRobert Knifton15 Popular music heritage and tourismBrett D. Lashua 16 DIY preservationism and recorded music – saving lost soundsAndy Bennett17 ‘Knowledge of Beatles songs and McCartney parts essential’: tribute acts, the music industries and the value of heritageShane Homan18 Burning punk and bulldozing clubs: the role of destruction and loss in popular music heritageCatherine StrongPART 3Memory19 Popular music and the memory spectrumMichael Pickering20 Popular music and autobiographical memory: intimate connections over the life courseLauren Istvandity21 Popular music in mediated and collective memoryBen Green22 ‘Do you remember rock ‘n’ roll radio?’ How audiences talk about music-related personal memories, preferences, and localitiesAmanda Brandellero, Marc Verboord and Susanne Janssen23 Popular music and commemorative ritual: a material approachIrene Stengs24 Songs that resonate: the uses of popular music nostalgiaArno van der Hoeven25 Citizen archiving and virtual sites of musical memory in online communitiesJez CollinsPART 4Institutions26 Representing popular music histories and heritage in museumsMarion Leonard27 Sound archives, ethnography and sonic heritageNoel Lobley28 Popular music halls of fame as institutions of cultural heritageRaphaël Nowak and Sarah Baker29 DIY institutions and amateur heritage makingD-M Withers30 Reissue programmes: framing the past as projectElodie A. RoyPART 5Case studies31 Rethinking Indigenous popular music heritage as Australian heritageÅse Ottosson32 ‘Koile, ‘Te Hua’ and the Reggae-fication of cultural heritageDan Bendrups, Pip Laufiso and Hiliako Iaheto33 Bollywood: its histories in India, and beyondJayson Beaster-Jones34 Preserving popular music heritage in HungaryEmília Barna35 The history and heritage of popular Afrikaans musicSchalk van der Merwe36 Sound archives in West AfricaGraeme Counsel37 Palestinian popular music: how popular music becomes heritageMoslih Kanaaneh38 Phillips’ Sound Recording Services: the studio that tourism forgotMike BrockenIndex