Remembering Popular Musics Past

Description

A study of the role of memory and history in the transformation of popular music into heritage

‘Remembering Popular Music’s Past’ capitalises on the growing interest, globally, in the preservation of popular music’s material past and on scholarly explorations of the ways in which popular music, as heritage, is produced, legitimised and conferred cultural and historical significance. The chapters in this collection consider the spaces, practices and representations that constitute popular music heritage in order to elucidate how popular music’s past is lived in the present. Thus the focus is on the transformation of popular music into heritage, and the role of history and memory in this transformation. The collection is particularly interested in the ways in which popular music’s past becomes enacted in the present.

The chapters discuss a diverse array of topics but are unified by inquiry into the construction, curation, display, negotiation and perception of popular music’s past. The collection presents a critical perspective on academics’ involvement in ‘historian’s’ work of ‘reconstruction’ of the past through archival and analytical research. The cultural studies framework adopted in the collection encompasses unique approaches to popular music historiography, sociology, film analysis, and archival and museal work. Broadly ‘Remembering Popular Music’s Past’ deals with issues of precarity in popular music heritage, history and memory. The collection is a timely addition to a subfield of popular music studies and critical heritage studies that has grown exponentially in the past ten years.

List of Figures; Acknowledgements; 1. The Precarity of Memory, Heritage and History in Remembering Popular Music’s Past, Lauren Istvandity and Zelmarie Cantillon; MEMORY; 2. Consuming Popular Music Heritage, Paul Long; 3. ‘Back in the Day’: Experiencing and Retelling the Past as a Claim to Belong in the Current Northern Soul Scene, Sarah Raine; 4. Resilience and Change: Popular Folk Songs in a Cultural Landscape, Ashton Sinamai and John Schofield; 5. Remembering the Independent Record Shop: The Ordinary Affects of Leedin Records, Adele Pavlidis; 6. ‘Mean Streets’ as Heritage Object: Music, Nostalgia and the Museumification of Martin Scorsese, Amanda Howell; HERITAGE; 7. Mark II: Re-working the Heritage B(r)and, Shane Homan; 8. The Continually Precarious State of the Musical Object, Charles Fairchild; 9. Showing Off: Taking Popular Music Research into the Museum, Peter Doyle; 10. Preserving Icelandic Popular Music Heritage: Issues of Collection, Access and Representation, Zelmarie Cantillon, Bob Buttigieg and Sarah Baker; 11. Questioning the Future of Popular Music Heritage in the Age of Platform Capitalism, Raphaël Nowak; HISTORY; 12. Jim Jarmusch’s ‘Mystery Train’ (1989): Representing the Memphis Music Legacy on Film, Adriano Tedde and David Baker; 13. Phenomenology of the Surf Ballroom’s Winter Dance Party: Affect and Community at a Popular Music Heritage Tourism Event, Sheryl Davis, Sherry Davis and Zelmarie Cantillon; 14. Disappearing History: Two Case Studies on the Precarity of Music Writing, Ian Rogers; 15. Great Albums, Greedy Collectors and Gritty Sounds? A View from ‘Snobbish Connoisseurs’ on the Canonization and Archivalism of Korean Pop-Rock, Hyunjoon Shin and Keewoong Lee; 16. Towards a Feminist History of Popular Music: Re-examining Writing on Musicians and Domestic Violence in the Wake of #metoo, Catherine Strong; List of Contributors; Index.

Sujets

• MUSIC
• Popular culture
• Multiple signal classification
• Social sciences

Informations

• Publié par: Anthem Press
• Date de parution: 15 juin 2019
• Nombre de lectures: 0
• EAN13: 9781783089710
• Langue: English

Extrait

Remembering Popular Music’s Past
Remembering Popular Music’s Past
Memory–Heritage–History
Edited by
Lauren Istvandity, Sarah Baker and Zelmarie Cantillon
Anthem Press
An imprint of Wimbledon Publishing Company
www.anthempress.com
This edition first published in UK and USA 2019
by ANTHEM PRESS
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or PO Box 9779, London SW19 7ZG, UK
and
244 Madison Ave #116, New York, NY 10016, USA
© 2019 Lauren Istvandity, Sarah Baker and Zelmarie Cantillon editorial matter and selection; individual chapters © individual contributors
The moral right of the authors has been asserted.
All rights reserved. Without limiting the rights under copyright reserved above, no part of this publication may be reproduced, stored or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise), without the prior written permission of both the copyright owner and the above publisher of this book.
British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British Library.
Library of Congress Cataloging-in-Publication Data
Names: Istvandity, Lauren. | Baker, Sarah, 1977– | Cantillon, Zelmarie.
Title: Remembering popular music’s past : memory–heritage–history / edited by Lauren Istvandity, Sarah Baker and Zelmarie Cantillon.
Description: London, UK; New York, NY: Anthem Press, 2019. | Includes index.
Identifiers: LCCN 2019020671 | ISBN 9781783089697 (hardback)
Subjects: LCSH: Popular music – Historiography. | Popular music – Exhibitions. | Popular music archives. | Music museums.
Classification: LCC ML3470.R47 2019 | DDC 781.64072/2–dc23
LC record available at https://lccn.loc.gov/2019020
ISBN-13: 978-1-78308-969-7 (Hbk)
ISBN-10: 1-78308-969-5 (Hbk)
This title is also available as an e-book.
CONTENTS
List of Figures
Acknowledgements
Chapter 1. The Precarity of Memory, Heritage and History in Remembering Popular Music’s Past
Lauren Istvandity and Zelmarie Cantillon
Part I.
MEMORY
Chapter 2. Consuming Popular Music Heritage
Paul Long
Chapter 3. ‘Back in the Day’: Experiencing and Retelling the Past as a Claim to Belong in the Current Northern Soul Scene
Sarah Raine
Chapter 4. Resilience and Change: Popular Folk Songs in a Cultural Landscape
Ashton Sinamai and John Schofield
Chapter 5. Remembering the Independent Record Shop: The Ordinary Affects of Leedin Records
Adele Pavlidis
Chapter 6. Mean Streets as Heritage Object: Music, Nostalgia and the Museumification of Martin Scorsese
Amanda Howell
Part II.
HERITAGE
Chapter 7. Mark II: Reworking the Heritage B(r)and
Shane Homan
Chapter 8. The Continually Precarious State of the Musical Object
Charles Fairchild
Chapter 9. Showing Off: Taking Popular Music Research into the Museum
Peter Doyle
Chapter 10. Preserving Icelandic Popular Music Heritage: Issues of Collection, Access and Representation
Zelmarie Cantillon, Bob Buttigieg and Sarah Baker
Chapter 11. Questioning the Future of Popular Music Heritage in the Age of Platform Capitalism
Raphaël Nowak
Part III.
HISTORY
Chapter 12. Jim Jarmusch’s Mystery Train (1989): Representing the Memphis Music Legacy on Film
Adriano Tedde and David Baker
Chapter 13. Phenomenology of the Surf Ballroom’s Winter Dance Party: Affect and Community at a Popular Music Heritage Tourism Event
Sheryl Davis, Sherry Davis and Zelmarie Cantillon
Chapter 14. Disappearing History: Two Case Studies on the Precarity of Music Writing
Ian Rogers
Chapter 15. Great Albums, Greedy Collectors and Gritty Sounds? A View from ‘Snobbish Connoisseurs’ on the Canonization and Archivalism of Korean Pop-Rock
Hyunjoon Shin and Keewoong Lee
Chapter 16. Towards a Feminist History of Popular Music: Re-examining Writing on Musicians and Domestic Violence in the Wake of #MeToo
Catherine Strong
List of Contributors
Index
FIGURES
2.1 Looking down on the exhibition space
2.2 Original Click Clubbers in front of a wall of fly-posters advertising original gigs at the venue
5.1 My mother, Cristina Pavlidis, standing outside Leedin Records, Footscray, Melbourne, Australia
5.2 Left to right, Sonia Tasev, Kylie Minogue, Frank Vella, Glenn Forsyth
8.1 Outside wall. Tina Turner Museum at Flagg Grove School
8.2 Interior display 1. Tina Turner Museum at Flagg Grove School
8.3 Interior display 2. Tina Turner Museum at Flagg Grove School
13.1 Official logo for The Surf Speaks
ACKNOWLEDGEMENTS
We extend our thanks to the contributors to this volume for their efforts and for their continued work in the field of music heritage.
We wish to acknowledge the editorial team at Anthem Press for their guidance, and recognize the backing of the Griffith Centre for Social and Cultural Research, the Queensland Conservatorium Research Centre, and the School of Humanities, Languages and Social Science at Griffith University.
Chapter 1
THE PRECARITY OF MEMORY, HERITAGE AND HISTORY IN REMEMBERING POPULAR MUSIC’S PAST
Lauren Istvandity and Zelmarie Cantillon
Introduction
The growing interest, globally, in the preservation of popular music’s material past is beginning to yield a substantial range of scholarly explorations into how popular music, as heritage, is produced and legitimized (Brandellero et al. 2014 ) in ways that confer ‘critical acclaim, historical importance and cultural value’ (Bennett 2009 , 478). The chapters in this collection all have as their starting point Les Roberts’s ( 2014 , 276–77) assertion that we must ‘break[] down music heritage discourses into the spaces, practices and “acts of transfer” that play performative host to the cultures of popular music pasts’ in order to ‘gain a better understanding of how these pasts […] are lived in the present’. Hence, the focus here is on the transformation of popular music into heritage, and the role of history and memory in this process. The collection is particularly interested in the ways in which popular music’s past becomes enacted in the present, and explores the condition of this heritage. Despite the overwhelming permeation of popular music into everyday life, the ephemeral nature of both tangible and intangible aspects of popular music’s past foreshadows the reality that the items for preservation – and preservation practices themselves – are in danger of partial or complete loss. What were once considered the disposable by-products of popular music and culture – ticket stubs, posters, photographs, limited issue records, personal stories – have now become the target of enthusiast and expert efforts to preserve the artefacts, music and oral histories of our recent past. Such items are often located in ambiguous places – hidden under the bed, boxed in the garage, forgotten in the attic. Some of these objects eventually make their way into the collections of museums, archives and halls of fame, but many, once discovered lurking in those out-of-sight, out-of-mind places, become designated as ‘rubbish’ and end up as landfill (Baker and Huber 2015 ).
In this collection, we emphasize the interrelated nature of memory, heritage and history, which work alongside one another, particularly in the context of the recent past, where heritage and history of popular music is both lived and remembered by communities, subcultures and societies. The following chapters focus on a diverse array of topics but are unified by inquiry into the construction, curation, display, negotiation and perception of popular music’s past. The collection presents a critical perspective on academics’ involvement in historians’ work of reconstruction of the past through archival and analytical research. The cultural studies framework adopted in the collection encompasses unique approaches to popular music historiography, sociology, film analysis and archival and museal work. The breadth of popular music’s influence is recognized in the range of formats and mediums that serve as chapter topics. From physical and built heritage – photographs, objects and buildings – to the intangible – soundtracks, online writing, tributes and commemorations – this collection underscores the rich origins of popular music heritage. Other chapters traverse the theoretical, looking to both the past and the future to understand possibilities in construction and preservation of popular music’s past.
The Precarity of Popular Music Heritage
This collection centres on the notion that popular music heritage is precarious , by which we mean it is at risk, fragile and insecure, in its tangible and intangible forms. The state of heritage as needing protection is widely recognized, including through major conventions and guidelines released by the United Nations Educational, Scientific and Cultural Organization (UNESCO), for example. The idea of heritage as precarious has been drawn upon in other academic work, such as the intersection of tourism and heritage, where popular physical heritage sites are at risk of damage due to not only foot traffic and adjacent architectural development but also the stories and myths that are perpetuated about these places (e.g. Dines 2018 ;