Citations (32)
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Benjamin Halligan. (2021) Sway of the sea: Kathryn Bigelow’s imperial eco-eschatology. New Review of Film and Television Studies 19:3, pages 295-310.
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Benjamin Klement & Simone Strambach. (2019) Innovation in Creative Industries: Does (Related) Variety Matter for the Creativity of Urban Music Scenes?. Economic Geography 95:4, pages 385-417.
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George Revill & John R. Gold. (2018) “Far Back in American Time”: Culture, Region, Nation, Appalachia, and the Geography of Voice. Annals of the American Association of Geographers 108:5, pages 1406-1421.
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Hannah C. Gunderman & John Patrick Harty. (2017) “The music never stopped”: naming businesses as a method for remembering the Grateful Dead. Journal of Cultural Geography 34:3, pages 373-395.
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Adam Trainer. (2015) Sleepy township: Perth indie rock in the 1990s. Continuum 29:4, pages 650-662.
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Jeremy Thackray. (2015) In Search of Nirvana: Why Nirvana: The True Story Could Never Be “True”. Popular Music and Society 38:2, pages 194-207.
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Ola Johansson & Thomas L. Bell. (2014) Touring Circuits and the Geography of Rock Music Performance. Popular Music and Society 37:3, pages 313-337.
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Elizabeth Currid & James Connolly. (2008) Patterns of Knowledge: The Geography of Advanced Services and the Case of Art and Culture. Annals of the Association of American Geographers 98:2, pages 414-434.
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Brett Lashua. 2019. Popular Music, Popular Myth and Cultural Heritage in Cleveland: The Moondog, The Buzzard, and the Battle for the Rock and Roll Hall of Fame. Popular Music, Popular Myth and Cultural Heritage in Cleveland: The Moondog, The Buzzard, and the Battle for the Rock and Roll Hall of Fame
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Claire Guiu. (2006) Géographie et musiques : état des lieuxGeography and music: the state of the question. Géographie et cultures:59, pages 7-26.
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Chris Gibson & John Connell. (2003) ‘Bongo Fury’: tourism, music and cultural economy at Byron Bay, Australia. Tijdschrift voor economische en sociale geografie 94:2, pages 164-187.
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