Popular Music Scenes and Cultural Memory PDF
Preview Popular Music Scenes and Cultural Memory
Popular Music Scenes and Cultural Memory Andy Bennett and Ian Rogers Pop Music, Culture and Identity Pop Music, Culture and Identity Series Editors Steve Clark Graduate School Humanities and Sociology University of Tokyo Bunkyo-ku , Tokyo, Japan Tristanne Connolly Department of English St Jerome’s University Waterloo , Ontario, Canada Jason Whittaker School of English & Journalism University of Lincoln Lincoln , Lincolnshire, U nited Kingdom Pop music lasts. A form all too often assumed to be transient, commer- cial and mass-cultural has proved itself durable, tenacious and continually evolving. As such, it has become a crucial component in defi ning various forms of identity (individual and collective) as infl uenced by nation, class, gender and historical period. Pop Music, Culture and Identity investigates how this enhanced status shapes the iconography of celebrity, provides an ever-expanding archive for generational memory and accelerates the impact of new technologies on performing, packaging and global market- ing. The series gives particular emphasis to interdisciplinary approaches that go beyond musicology and seeks to validate the informed testimony of the fan alongside academic methodologies. More information about this series at http://www.springer.com/series/14537 Andy Bennett • Ian Rogers Popular Music Scenes and Cultural Memory Andy Bennett Ian Rogers Gold Coast Campus Media and Communication Griffi th University, RMIT University Media and School of Humanities Communication Gold Coast Campus Melbourne, Australia Brisbane, Australia Pop Music, Culture and Identity ISBN 978-1-137-40203-5 ISBN 978-1-137-40204-2 (eBook) DOI 10.1057/978-1-137-40204-2 Library of Congress Control Number: 2016956495 © The Editor(s) (if applicable) and The Author(s) 2 016 The author(s) has/have asserted their right(s) to be identifi ed as the author(s) of this work in accordance with the Copyright, Designs and Patents Act 1988. This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifi cally the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfi lms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specifi c statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. Cover image © fStop Images GmbH/Alamy Stock Photo Printed on acid-free paper This Palgrave Macmillan imprint is published by Springer Nature The registered company is Macmillan Publishers Ltd. The registered company is The Campus, 4 Crinan Street, London, N1 9XW, United Kingdom This book is for Monika, Daniel, Clare and Ginger. A CKNOWLEDGEMENTS The research for this book was funded through an Australian Research Council (ARC) Discovery Project award (DP1092910). We are grateful to the ARC for supporting our work. The material presented in the book is centrally reliant on interview material collected across seven Australian cities between 2011 and 2014. We express our sincere thanks to all the people who so generously gave of their time to be interviewed and who provided much insight regarding the importance of cultural memory for our understanding of music scenes. We would also like to express our thanks for the ongoing support of the Griffi th Centre for Social and Cultural Research (formerly the Griffi th Centre for Cultural Research) during the life of the project. Finally, we would like to acknowledge the love and support of our families, to whom this book is dedicated. vii C ONTENTS 1 Introduction: Scenes and Memory 1 Part I Concepts 9 2 Scene ‘Theory’: History, Usage and Infl uence 11 3 Music, Memory, Space and Place 3 7 Part II Case Studies 6 1 4 The Origins of Taste and Precursors of Scenes 63 5 Scenes, Memory and the Spaces of Music Consumption 91 6 Spaces of Local Music Production 115 7 Virtuality: Images and the Local Archive 139 ix x CONTENTS 8 The Distance from an Unknown Centre: The Discourses of Periphery and Edge in Music Scenes 163 References 185 Index 1 97 CHAPTER 1 Introduction: Scenes and Memory Since the early 1990s, the concept of scene has gathered critical momen- tum as a means of studying the intersection of music and everyday life. A centrally important feature of scene theory has been its rejection of purely structural accounts of musical taste and a move away from associated con- ceptual frameworks such as ‘subculture’ and ‘community’. In its concep- tual transgression, scene has also contributed to the recasting of collective musical participation as something that can transcend the physical param- eters of space and place to take on more affective and trans-local qualities (Straw 1 991 ; Bennett and Peterson 2 004 ). Similarly, with the emergence and increasing sophistication of digital media, there has been a growing acknowledgement in academic work on scenes of the potential for ‘virtual’ forms of scene activity, either as distinctive practices or interlaced with more traditional forms of face-to-face interaction (Bennett 2 002 ; Lee and Peterson 2 004 ). The focus on scenes in the present has ultimately led to a broadening of the scenes perspective to consider the historical and trans-temporal dimensions of music scenes. Important points of depar- ture here have been emergent literatures on music and ageing (see, for example, Bennett 2 013 ) and music and heritage (see, for example, Cohen et al. 2015 ). Between them, these literatures have illustrated the extent to which the popular music culture of the last 60 years has shaped genera- tional identity and memory. The focus on memory in academic scholarship has its own long and established tradition, including work that examines memory as a collec- © The Author(s) 2016 1 A. Bennett, I. Rogers, Popular Music Scenes and Cultural Memory, DOI 10.1057/978-1-137-40204-2_1
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