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.

• List of figures, tables and boxes Notes on contributors Acknowledgements 1 Framing the field of popular music history and heritage studiesZelmarie Cantillon, Catherine Strong, Lauren Istvandity and Sarah Baker PART 1History and historiography 2 Problematising popular music history in the context of heritage and memoryBruce Johnson 3 Gendered narratives of popular music history and heritageRosa Reitsamer 4 Racialising music’s past and the media archive Nabeel Zuberi 5 Sounding out popular music history: a musicological approachRichard Elliott 6 Reconstructing the past: popular music and historiographySteve Waksman 7 Cultural consecration and the creation of canonsVaughn Schmutz 8 What we did was secret: (one version of)the writing of popular music’s historiesJon Dale 9 Music magazines and the first draft of historyDave Laing and Catherine Strong 10 Screening popular music’s past: music documentary and biopicsTim Wall and Nicolas Pillai 11 Historiography and the role of the archiveAntti-Ville Kärjä PART 2Heritage 12 What is popular music cultural heritage?Paul Long 13 The politics of popular music heritageHenry Johnson 14 Local and global intersections of popular music history and heritageRobert Knifton 15 Popular music heritage and tourismBrett D. Lashua 16 DIY preservationism and recorded music – saving lost soundsAndy Bennett 17 ‘Knowledge of Beatles songs and McCartney parts essential’: tribute acts, the music industries and the value of heritageShane Homan 18 Burning punk and bulldozing clubs: the role of destruction and loss in popular music heritageCa

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.

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.

• List of figures, tables and boxes Notes on contributors Acknowledgements 1 Framing the field of popular music history and heritage studiesZelmarie Cantillon, Catherine Strong, Lauren Istvandity and Sarah Baker PART 1History and historiography 2 Problematising popular music history in the context of heritage and memoryBruce Johnson 3 Gendered narratives of popular music history and heritageRosa Reitsamer 4 Racialising music’s past and the media archive Nabeel Zuberi 5 Sounding out popular music history: a musicological approachRichard Elliott 6 Reconstructing the past: popular music and historiographySteve Waksman 7 Cultural consecration and the creation of canonsVaughn Schmutz 8 What we did was secret: (one version of)the writing of popular music’s historiesJon Dale 9 Music magazines and the first draft of historyDave Laing and Catherine Strong 10 Screening popular music’s past: music documentary and biopicsTim Wall and Nicolas Pillai 11 Historiography and the role of the archiveAntti-Ville Kärjä PART 2Heritage 12 What is popular music cultural heritage?Paul Long 13 The politics of popular music heritageHenry Johnson 14 Local and global intersections of popular music history and heritageRobert Knifton 15 Popular music heritage and tourismBrett D. Lashua 16 DIY preservationism and recorded music – saving lost soundsAndy Bennett 17 ‘Knowledge of Beatles songs and McCartney parts essential’: tribute acts, the music industries and the value of heritageShane Homan 18 Burning punk and bulldozing clubs: the role of destruction and loss in popular music heritageCa

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.

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.

• List of figures, tables and boxes Notes on contributors Acknowledgements 1 Framing the field of popular music history and heritage studiesZelmarie Cantillon, Catherine Strong, Lauren Istvandity and Sarah Baker PART 1History and historiography 2 Problematising popular music history in the context of heritage and memoryBruce Johnson 3 Gendered narratives of popular music history and heritageRosa Reitsamer 4 Racialising music’s past and the media archive Nabeel Zuberi 5 Sounding out popular music history: a musicological approachRichard Elliott 6 Reconstructing the past: popular music and historiographySteve Waksman 7 Cultural consecration and the creation of canonsVaughn Schmutz 8 What we did was secret: (one version of)the writing of popular music’s historiesJon Dale 9 Music magazines and the first draft of historyDave Laing and Catherine Strong 10 Screening popular music’s past: music documentary and biopicsTim Wall and Nicolas Pillai 11 Historiography and the role of the archiveAntti-Ville Kärjä PART 2Heritage 12 What is popular music cultural heritage?Paul Long 13 The politics of popular music heritageHenry Johnson 14 Local and global intersections of popular music history and heritageRobert Knifton 15 Popular music heritage and tourismBrett D. Lashua 16 DIY preservationism and recorded music – saving lost soundsAndy Bennett 17 ‘Knowledge of Beatles songs and McCartney parts essential’: tribute acts, the music industries and the value of heritageShane Homan 18 Burning punk and bulldozing clubs: the role of destruction and loss in popular music heritageCa

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.