Popular Music and Materiality: Memorabilia and Memory Traces

Bennett, Andy; Rogers, Ian

doi:10.1080/03007766.2015.1061339

Cited by 38 publications

(19 citation statements)

References 15 publications

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“…The literature often notes the trend for popular music curation to have inherited practices deriving directly from the art museum world, such as opting for collecting and exhibiting outstanding and highly valued objects that take on a sibylline aura (Cortez ; Fairchild ; Leonard ) in seeking to raise popular music to the state of high culture (Cortez , ). There is also a body of literature specifically discussing collections and collecting processes, whether for material culture (Bennett and Rogers ; Rhys , 35–44,) or for immaterial culture (Collins ; Collins and Long ; Lobley ; Maguire et al ).…”

Section: Literature Reviewmentioning

confidence: 99%

Performatively Driven: A Genre for Signifying in Popular Music Exhibitions

Cortez¹

2019

Curator The Museum Journal

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This article explores a relatively novel field of practice, or genre, emerging in the context of museums and exhibitions of popular music and what I will refer to as performatively driven, here discussed and illustrated with examples drawn from particular international exhibitions that I have visited. This genre is comprised of a myriad of strategies used by curators to give substance to their exhibiting narratives that tends to cluster into four essential types – (i) exhibiting sound and music; (ii) dramatic strategies (for current purposes, the example of contrast is considered); (iii) enveloping strategies, and (iv) sound epistemologies – and all of which draw on combinations of multifarious exhibits (material and immaterial). In terms of their signifying potential, my analysis points to these strategies, each of them focused on imparting meaning in an experiential rather than a purely rational sense, as achieving the following ends: conveying notions of popular music as object and artifact; eliciting emotional responses and prompting engagement; valuing museumgoers’ individualities, while also locating them as part of a community (e.g., of music fans, of followers of a particular musical artist, of a particular generation); providing re‐enactment (both by reconstructing scenarios from the past or from live concerts and by activating memories offered of popular music); and conveying knowledge. As these signifying strategies dissolve into the aforementioned meanings in an experiential rather than in a more rational sense, I would suggest they are correspondingly rooted in the concept of performance and therefore propose adding this concept to the typology of concepts presented by Baker et al. (2018).

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Section: Literature Reviewmentioning

confidence: 99%

Performatively Driven: A Genre for Signifying in Popular Music Exhibitions

Cortez¹

2019

Curator The Museum Journal

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“…The current resurgence is driven not only by nostalgia and fetishism but also by consumers discovering or rediscovering vinyl's material qualities and the ritual experience of finding, opening, feeling, looking at, listening to, and displaying vinyl records (Bartmanski and Woodward, 2015b;Hayes, 2006;Hendricks, 2015;Sonnichsen, 2016). Indeed, Bennett and Rogers (2016) argue that vinyl records have acquired aesthetic discourses of authenticity and coolness due to their sound, feel, and packaging. As one respondent argued, Vinyl sales are going up because people are tired with streaming.…”

Section: Music Retailing In the Digital Age: The Rise Of Streamingmentioning

confidence: 99%

“…Illegal downloading and, more recently, streaming of music have restructured the lucrative nature of music retailing and put thousands of chain and independent record shops out of business in Europe and North America since the late 1990s (Hracs, 2012;Leyshon, 2014). However, despite the apparent obsolescence of physical formats and retail spaces, the demand for vinyl records is increasing and some independent record shops remain attractive spaces of consumption (Bennett and Rogers, 2016;Hendricks, 2015;Magaudda, 2011;Sonnichsen, 2016).…”

Section: Introductionmentioning

confidence: 99%

Death by streaming or vinyl revival? Exploring the spatial dynamics and value-creating strategies of independent record shops in Stockholm

Hracs

Jansson

2017

Journal of Consumer Culture

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The contemporary retail landscape is in flux and there is a growing perception that shopping at bricks and mortar stores is more expensive and time-consuming than shopping online. For music, illegal downloading and streaming have restructured the retail landscape and put thousands of record shops out of business. Yet, some retailers remain attractive consumption spaces. Drawing on a qualitative case study of independent record shops in Stockholm, this paper considers three value-creating strategies that sustain these physical retailers in the digital age: cultivating in-store consumer experiences, creating value through curation and tapping into global markets by going online.

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“…al. 2015;Roberts and Cohen, 2014;Brandellero and Janssen, 2014;Bennett, 2009;Bennett and Rogers, 2016;Leonard, 2010;Leonard, 2007;Gibson and Connell, 2007;Cohen, 2007). There have also been general works on the relationship between museums and popular culture and essays analyzing specific one-off exhibitions, usually in more generalist institutions (Moore, 1997;Brabazon and Mallinder, 2006;Reising, 2001;Forman, 2002;Suisman, 2000;Bergengren, 1999;Moore, 1995;Kalata et.…”

Section: Introductionmentioning

confidence: 99%

Understanding the Exhibitionary Characteristics of Popular Music Museums

Fairchild¹

2017

Mus. Soc.

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The literature on the popular music museum has primarily focused on the study of heritage and cultural memory with a secondary focus on tourism. Given the unprecedented expansion of the museum sector worldwide in recent decades, which has produced an increasing number of major museums dedicated to popular music, it is an opportune time to expand this range of analytical concerns. Specifically, the development of popular music museums has not yet been closely examined within the broader historical trajectory of the so-called ‘new museum.’ This article seeks to outline the range of exhibitionary types commonly used in a range of high-profile popular music museums in pursuit of this line of inquiry. The goal is not simply to produce a generic survey or typology of displays, but to place the use of different forms of museum display within the specific historical trajectory that has produced steadily larger numbers of these kinds of museums in recent years. I organize these exhibitionary types into two broad streams of museum exhibition practice implied in the historical survey presented here: a populist-vernacular stream of museum display and an institutional-educational one. I seek to place the exhibitionary practices of contemporary popular music museums in a broader and longer trajectory of similar practices in order to get a more grounded sense of the more important characteristics of these kinds of museums.

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Popular Music and Materiality: Memorabilia and Memory Traces

Cited by 38 publications

References 15 publications

Performatively Driven: A Genre for Signifying in Popular Music Exhibitions

Performatively Driven: A Genre for Signifying in Popular Music Exhibitions

Death by streaming or vinyl revival? Exploring the spatial dynamics and value-creating strategies of independent record shops in Stockholm

Understanding the Exhibitionary Characteristics of Popular Music Museums

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