Vinyl tourism: records as souvenirs of underground musical landscapes

Abstract

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.

Conceptualizing curation in the age of abundance: The case of recorded music

“…Indeed, while selling vinyl may be a smart commercial strategy, it also helps to 'preserve' and promote a traditional or ritualized way of listening to music associated with materiality, symbolic value and intangible experiences (Bartmanski and Woodward, 2015;Sonnichsen, 2017).…”

“…Trust may be generated through repeat visits and positive experiences over time or conferred by reputation and notoriety (Lange and Bu¨rkner, 2013). As Sonnichsen (2017) notes, specific record shops, recording studios and music venues can achieve legendary status and symbolic value within music communities which encourage forms of music-related tourism and consumption. Yet, historical and contemporary music scenes embedded within specific neighborhoods or entire cities can also act as quality stamps (Barna, 2017).…”

“…Likewise, as independent businesses, many record shops endeavor to contribute to locally embedded cultural scenes and wider trans-local movements. Indeed, while selling vinyl may be a smart commercial strategy, it also helps to 'preserve' and promote a traditional or ritualized way of listening to music associated with materiality, symbolic value and intangible experiences (Bartmanski and Woodward, 2015;Sonnichsen, 2017).…”

“…So S€ odermalm is the place for records'. As Sonnichsen (2017) argues, however, the ways in which consumers manifest their emotional attachments to places can be concrete or more imagined. Thus, alongside physical pilgrimages to shops, landmarks and scenes, curation and products may also be consumed from a distance through virtual channels and this allows some record shops to join and succeed in global markets.…”