Chapter Thirteen. Popular Music, Cultural Memory And Everyday Aesthetics

2016 ◽  
Vol 20 (5) ◽  
pp. 476-491 ◽  
Author(s):  
Sarah Baker ◽  
Jez Collins

This article identifies the challenges community archives of popular music face in achieving medium- to long-term sustainability. The artefacts and vernacular knowledge to be found in community archives, both physical and online, are at risk of being lost ‘to the tip’ and, consequently, to ‘cultural memory’, due to a lack of resources and technological change. The authors offer case studies of the British Archive of Country Music, a physical archive, and an online Facebook group Upstairs at the Mermaid, to exemplify how and why such groups must strategize their practices in order to remain sustainable. By including both online and physical community archiving in the scope of this research, the authors find that despite key differences in practice, both archival communities face similar threats of closure. The article concludes with an overview of the general outlook for community archives, and possible solutions to this ongoing issue of sustainable practices and processes for this sector.


Author(s):  
Philip Beidler

Fifty years on, the American experience of the Vietnam War seems suspended between ancient history and rapidly fading cultural memory; or perhaps consigned to the vicissitudes of that habit of negotiating between history (what happened) and memory (how it is retrospectively mythologized). This chapter considers Vietnam War writings, including Michael Herr’s Dispatches (1977), and Tim O’Brien’s The Things They Carried (1990), as well as popular music and films such as Oliver Stone’s Platoon (1986) and Robert Zemeckis’ Forrest Gump (1994), in relation to the cultural lineage of those negotiations between history and memory. It considers literary engagements with more recent wars—such as Kevin Powers’ Iraq war novel Yellow Birds (2012)—that hark back to the Vietnam War. In discussing the war’s mythologizations and commemorations across history, the chapter explores the extent to which the Vietnam War has been seen to involve sacrifices that are politically and culturally redemptive.


2017 ◽  
Vol 15 (1) ◽  
pp. 87-99 ◽  
Author(s):  
Charles Fairchild

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.


2013 ◽  
Vol 20 (3) ◽  
pp. 219-223 ◽  
Author(s):  
Amanda Brandellero ◽  
Susanne Janssen ◽  
Sara Cohen ◽  
Les Roberts

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