Talkin bout my generation: popular music and the culture of heritage

Roberts, Les

doi:10.1080/13527258.2012.740497

Cited by 40 publications

(23 citation statements)

References 29 publications

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“…web 2.0, social media) and are emerging in many European cities. Although most discussions of DIY preservationism focus on its role in narrating and preserving local music histories and identities (Cohen 2013, Roberts 2014, Brandellero and Janssen 2014, such activities also offer opportunities to chart musical exchanges and connections between countries. As a translocal medium, the internet enables fans and music enthusiasts to explore Europe's popular music heritage and present particular music histories that are overlooked by established media.…”

Section: Mediamentioning

confidence: 98%

Remembering the 1960s: popular music and memory in Europe

Hoeven

2014

International Journal of Cultural Policy

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Following the increasing attention paid to popular music in heritage discourses, this article explores how the popular music culture from the 1960s is remembered in Europe. I discuss the role of heritage organizations, media and the cultural policy of the EU in the construction of a popular music heritage of this period. Furthermore, I examine the ways in which attachments to local, national and European identities are negotiated. To this end, I draw upon interviews with representatives of museums, websites and archives. The article reveals a recurring tension between transnational and local experiences of the 1960s. It is found that media and heritage institutions like museums and archives predominantly have a national and local orientation, although narratives with a European vantage point are now emerging on the internet.

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Section: Mediamentioning

confidence: 98%

Remembering the 1960s: popular music and memory in Europe

Hoeven

2014

International Journal of Cultural Policy

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“…Discussions of this remit have largely been of a conceptual nature and have held the merit of assisting the broader field with facing the challenges posed by heritagization processes. Globally, the literature has largely demonstrated how heritage both has the power to include and to exclude, the ability to enshrine, revamp and reweigh the value of persons, places, economies and practices while bearing implications for the musical industry, tourism, national ideologies and for individual, regional and national identities (Bennett , ; Brandellero and Janssen ; Burgoyne ; Hoeven and Brandellero ; Long ; Roberts ).…”

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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“…(O'Brien 2004, 16) Popular music culture is increasingly being presented as heritage (Bennett 2009;Brandellero and Janssen 2014;Roberts 2014;Roberts and Cohen 2014). This is manifested in the recent proliferation of museums of pop/rock music around the world.…”

Section: Introductionmentioning

confidence: 97%

The sound of yesteryear on display: a rethinking of nostalgia as a strategy for exhibiting pop/rock heritage

Mortensen

Madsen²

2014

International Journal of Heritage Studies

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The increasing presentation of popular music culture as heritage is manifested in the recent proliferation of museums of pop/rock culture. This calls for an examination of the current practices of disseminating pop/rock heritage through exhibitions. Two trends have been identified and criticised by previous commentators: first, the prominence of nostalgia in exhibition narratives and second, that exhibitions of popular music tend to display ancillary objects rather than music itself. This article offers a rethinking of nostalgia as a strategy for disseminating pop/ rock heritage and explores the potential of music as a trigger for nostalgic experiences in exhibitions. While agreeing with much of the critique levelled at the nostalgic approach to pop/rock culture, we suggest that with a more nuanced conception of reflective nostalgia, the affective appeal of the nostalgic approach can be harnessed without giving in to glamourised oversimplifications of the past. Further, we suggest that mediated memories can form the basis of nostalgic feelings and thus enable the nostalgic approach to span the generational gap and engage visitors who do not have a lived experience of pop/rock heritage. We will illustrate this by contrasting our approach to that taken at ABBA The Museum.

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Talkin bout my generation: popular music and the culture of heritage

Cited by 40 publications

References 29 publications

Remembering the 1960s: popular music and memory in Europe

Remembering the 1960s: popular music and memory in Europe

Performatively Driven: A Genre for Signifying in Popular Music Exhibitions

The sound of yesteryear on display: a rethinking of nostalgia as a strategy for exhibiting pop/rock heritage

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