Purpose This paper discusses how vinyl records become souvenirs of musical tourism. The record-as-souvenir dynamic is particularly relevant in the discussion about punk culture in cities like Washington, DC, and other scenes which defy encapsulation as touristic landscapes. Arguing a fluid perspective on musical tourism, the purpose of this paper is to present the argument that vinyl functions as de facto souvenirs of underground musical landscapes. Design/methodology/approach This paper incorporates literature on souvenirs within tourism studies, market research, and empirical data. It also builds upon research on emotional geographies and the resurgence of the vinyl record industry. Findings In many cases, musical recordings (particularly those on vinyl, for tactile and fetishist reasons), while not designed for the function of being souvenirs, come to signify counter-narrative definitions of place. Research limitations/implications This work focuses on the context of vinyl as souvenirs with findings derived from the intersection of tourism, critical geography, and music marketing. In offering this contextual account, there is no claim toward generalization but rather the work is put forward as a depth of insight on a phenomenon long in the making yet neglected by researchers. However, a more comprehensive approach to provide further insight on vinyl as souvenirs might include consumer interviews. Practical implications This paper expands the conversation about souvenirs further into the era of modern, underground tourism. It argues for the inclusion of music consumption, especially vinyl, as prototypical and unintentional souvenirs as decided by the consumer rather than the producer. It also expands the discourse on counter-narratives of places like Washington, DC, in conversations about place-based music marketing and tourism. Social implications This paper frames musical souvenirs in terms of the consumer deciding their value and role in the cultivation of sense of place, rather than the producer. Additionally, music retailers provide a valuable role in their city’s cultivated image, but even this is a collaboration between the retailers and consumers. Originality/value This paper addresses the function of vinyl records within the purview of tourism studies and positions as an original contribution connecting music consumption and tourism practices.

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Though punk scholars, fans and critics have increasingly embraced France’s role in punk history, the Parisian hardcore era remains largely ignored. When hardcore arrived in Paris in the 1980s with the groups Kromozom 4 and Heimat-Los, a scene struggled to coalesce both because of suppressing factors and despite some ostensibly supportive ones. The city’s constricted urban geography prevented the growth and development of loud, noisy or otherwise outsider music scenes. Concurrently, escalating blight and street violence kept the hardcore scene from retaining membership and performance spaces. As this article argues, oral histories and collectivized accounts of the Parisian hardcore scene of the 1980s offer a powerful counternarrative to commonly accepted imaginaries of the city. It also posits Paris’ landscape as a potent actor in the hardcore scene’s landmark successes and failures.