Curating Pop

Sarah Baker is Professor in Cultural Sociology at Griffith University in Queensland, Australia. She is the author of Creative Labour: Media Work in Three Cultural Industries (2011), Teaching Youth Studies Through Popular Culture (2014), Community Custodians of Popular Music's Past: A DIY Approach to Heritage (2017) and the editor of Redefining Mainstream Popular Music (2013), Youth Cultures and Subcultures: Australian Perspectives (2015), Preserving Popular Music Heritage: Do-it-Yourself, Do-It-Together (2015), The Routledge Companion to Popular Music History and Heritage (2018) and Remembering Popular Music's Past: Memory-Heritage-History (2019).Lauren Istvandity is a Postdoctoral Research Fellow at Queensland Conservatorium Research Centre, Griffith University, Australia. She has published across popular music, heritage, and cultural studies platforms, and has two books forthcoming: The Lifetime Soundtrack: Music and Autobiographical Memory, and the co-edited collection Routledge Handbook to Popular Music History and Heritage.Raphaël Nowak is a Postdoctoral Research Fellow at the Griffith University Centre for Social and Cultural Research, Australia. He is a cultural sociologist and has expertise on music consumption, digital technologies, popular music heritage practices, and systems of classifications in culture. He is the author of Consuming Music in the Digital Age: Technologies, Roles, and Everyday Life (2015) and co-editor of Networked Music Cultures: Contemporary Approaches, Emerging Issues (2016).

[Contributes] to an ongoing body of academic knowledge, in generating typologies that would be useful for further research.

• List of figures and tablesAcknowledgments1. Curatorial practice in popular music museums: an introduction2. Canonic representations: the celebration of dominant (and hidden) histories3. Selling the museum experience: curation, economies, and visitor experience4. Popular music and place: local, national and global stories5. Treating objects like art: curating material culture6. Telling stories: narratives of popular music’s past7. Curator subjectivity: influence and bias in popular music exhibitions8. Living history: nostalgia as affective curatorial practice9. Managing the music: Sound in the popular music museum10. Beyond the typology: concluding thoughtsReferencesIndexMuseums covered: Country Music Hall of Fame and Museum (Nashville, United States)Arts Centre Melbourne (Melbourne, Australia)KD’s Elvis Presley Museum (Hawera, North Island, New Zealand)Powerhouse Museum (Sydney, Australia)Australian Country Music Hall of Fame (Tamworth, Australia)Rock and Roll Hall of Fame and Museum (Cleveland, United States)Georgia Music Hall of Fame (Macon, United States)Experience Music Project (EMP) (Seattle, United States)Heart of Texas Country Music Museum (Brady, United States)PopMuseum (Prague, Czech Republic)Hector Country Music Museum (Hector, South Island, New Zealand)Museum RockArt (Hoek van Holland, the Netherlands)Reykjanes Museum of Heritage (Reykjanes Peninsula, Iceland)Ramones Museum (Berlin, Germany)Nederlands Instituut voor Beeld en Geluid (Hilversum, the Netherlands)The Grammy Museum (Los Angeles, United States)British Music Experience (BME) (London, United Kingdom)Tónlistarsafn Íslands (Kópavogur, Iceland)National Museum of African American Music (Nashville, United States)