1,307
Views
2
CrossRef citations to date
0
Altmetric
Articles

The “Toilet Circuit”: Cultural Production, Fandom and Heritage in England's Small Music Venues

&

References

  • AHRC. 2013 Arts and Humanities Research Council, Cultural Value Project. AHRC Website. http://www.ahrc.ac.uk/Funded-Research/Funded-themes-and-programmes/Cultural-Value-Project/Pages/default.aspx, accessed July 15, 2015.
  • Alderman, D. H. 2002 Writing on the Graceland Wall: On the Importance of Authorship in Pilgrimage Landscapes. Tourism Recreation Research 27(2):27–33. doi: 10.1080/02508281.2002.11081217
  • Allen, M. P., and A. E. Lincoln 2004 Critical Discourse and the Cultural Consecration of American Films. Social Forces 82:871–94. doi: 10.1353/sof.2004.0030
  • Appadurai, A. 1990 Disjuncture and Difference in the Global Culture Economy. Public Culture 2(1):1–24. doi: 10.1215/08992363-2-2-1
  • Appadurai, A. 1996 Modernity at Large: Cultural Dimensions of Globalization — Volume 1. University of Minnesota Press, Minnesota.
  • Arkette, S. 2004 Sounds Like City. Theory, Culture & Society 21(1):159–68. doi: 10.1177/0263276404040486
  • Auslander, P. 2002 Live from Cyberspace. PAJ: A Journal of Performance and Art 24:16–21.
  • Auslander, P. 2006 Liveness. Performance and the Anxiety of Simulation. In The Popular Music Studies Reader, edited by A. Bennett, B. Shank, and J. Toynbee, pp. 85–91. Routledge, London.
  • Baade, C., and P. Aitken 2008 Still “In the Mood”: The Nostalgia Aesthetic in a Digital World. Journal of Popular Music Studies 20(4):353–77. doi: 10.1111/j.1533-1598.2008.00169.x
  • Behr, A., M. Brennan, and M. Cloonan 2014a The Cultural Value of Live Music from the Pub to the Stadium: Getting Beyond the Numbers. University of Edinburgh & University of Glasgow, Glasgow.
  • Behr, A., M. Brennan, and M. Cloonan 2014b Cultural Value and Cultural Policy: Some Evidence from the World of Live Music. International Journal of Cultural Policy 22(3), 1–16.
  • Belfiore, E., and O. Bennett 2007 Determinants of Impact: Towards a Better Understanding of Encounters with the Arts. Cultural Trends 16(3):225–75. doi: 10.1080/09548960701479417
  • Bennett, A. 2000 Popular Music and Youth Culture: Music, Identity and Place. Macmillan, London.
  • Bennett, A. 2002 Music, Media and Urban Mythscapes: A Study of the Canterbury Sound. Media, Culture & Society 24(1):87–100. doi: 10.1177/016344370202400105
  • Bennett, A. 2004 Music, Space and Place. In Music, Space and Place: Popular Music and Cultural Identity, edited by S. Whiteley, A. Bennett, and S. Hawkins, pp. 2–8. Ashgate, Aldershot.
  • Bennett, A. 2006 Punk's Not Dead: The Significance of Punk Rock for an Older Generation of Fans. Sociology 40(1):219–35. doi: 10.1177/0038038506062030
  • Bennett, A. 2008 Popular Music, Media and the Narrativisation of Place. In Sonic Synergies: Music, Technology, Community, Identity, edited by G. Bloustien, M. Peters, and S. Luckman, pp. 69–78. Ashgate, Aldershot.
  • Bennett, A. 2009 “Heritage Rock”: Rock Music, Representation and Heritage Discourse. Poetics 37(5):474–89. doi: 10.1016/j.poetic.2009.09.006
  • Bennett, A. 2015 Popular Music and the “Problem of Heritage.” In Sites of Popular Music Heritage: Memories, Histories, Places, edited by S. Cohen, R. Knifton, M. Leonard, and L. Roberts, pp. 15–27. Routledge, London.
  • Bennett, A., and R. A. Peterson (editors) 2004 Music Scenes: Local, Translocal and Virtual. Nashville: Vanderbilt University Press.
  • Beth, J. 2014 Show Us the Money: How the Music Industry can Save the UK's Small Venues. The Guardian 18 December 2014. http://www.theguardian.com/music/musicblog/2014/dec/18/how-musicindustry-can-save-uk-small-music-venues, accessed August 10, 2015.
  • Bloustien, G., M. Peters, and S. Luckman 2008 Introduction: “Be Not Afeard; the Isle Is Full of Noises”: Reflections on the Synergies of Music in the Creative Knowledge Economy. In Sonic Synergies: Music, Technology, Community, Identity, edited by G. Bloustien, M. Peters, and S. Luckman, pp. i–xxv. Ashgate, Aldershot.
  • Bradley, A., and T. Hall 2006 Festivals, Events and the Promotion of Small Urban Areas. In Small Cities: Urban Experience Beyond the Metropolis, edited by D. Bell and M. Jayne, pp. 78–90. Routledge, London.
  • Brunner, C. 2013 The Sound Culture of Dubstep in London. In Musical Performance and the Changing City: Post-Industrial Contexts in Europe and the United States, edited by F. Holt and C. Wergin, pp. 256–71. Routledge, London.
  • Burnett, R. 1996 The Global Jukebox: The International Music Industry. Routledge, London.
  • Carrington, B., and B. Wilson 2004 Dance Nations: Rethinking Youth Subcultural Theory. In After Subculture: Critical Studies in Contemporary Youth Culture, edited by A. Bennett and K. Kahn-Harris, pp. 65–78. Palgrave Macmillan, Basingstoke.
  • Chaney, D. 2002 Cultural Change and Everyday Life. Palgrave Macmillan, Basingstoke.
  • Clark, K. (editor) 2006 Capturing the Public Value of Heritage: The Proceedings of the London Conference, 25–26 January 2006. English Heritage, Swindon.
  • Clark, N. 2012 Tunbridge Wells Forum scores NME Top Music Venue Award. The Independent 8 May 2012. http://www.independent.co.uk/news/uk/home-news/tunbridgewells-forum-scores-nme-top-music-venue-award-7720505.html, accessed 20 July 2015.
  • ClubFandango 2013. ‘Bull & Gate to close as live music venue on Saturday 4th May. http://clubfandango.co.uk/news.php?id=688&big=Y (Date accessed 31 July 2013).
  • Cohen, S. 1991 Rock Culture in Liverpool: Popular Music in the Making. Clarendon Press, Oxford.
  • Cohen, S. 1994 Mapping the Sound: Identity, Place and the Liverpool Sound. In Ethnicity, Identity and Music: The Musical Construction of Place, edited by M. Stokes, pp. 117–34. Berg, Oxford.
  • Cohen, S. 1995 Sounding out the City: Music and the Sensuous Production of Place. Transactions of the Institute of British Geographers 20(4):434–46. doi: 10.2307/622974
  • Cohen, S. 2005 Country at the Heart of the City: Music, Heritage, and Regeneration in Liverpool. Ethnomusicology 49(1):25–48. doi: 10.2307/20174352
  • Cohen, S. 2007 Decline, Renewal and the City in Popular Music Culture: Beyond the Beatles. Ashgate, Aldershot.
  • Cohen, S. 2013 Musical Memory, Heritage and Local Identity: Remembering the Popular Music Past in a European Capital of Culture. International Journal of Cultural Policy 19(5):576–94. doi: 10.1080/10286632.2012.676641
  • Cohen, S., R. Knifton, M. Leonard, and L. Roberts 2015 Locating Popular Music Heritage. In Sites of Popular Music Heritage: Memories, Histories, Places, edited by S. Cohen, R. Knifton, M. Leonard, and L. Roberts, pp. 1–11. Routledge, London.
  • ColdplayChronology 2008 Coldplay — Bull & Gate gig (1st April 1999). Youtube. https://www.youtube.com/watch?v=043l7uni3°c, accessed August 1, 2015.
  • Connell, J., and C. Gibson 2003 Sound Tracks: Popular Music Identity and Place. Routledge, London.
  • Council of Europe 2005 The European Framework Convention on the Value of Heritage for Society. Council of Europe, Strasbourg.
  • Crang, M. 1994 On the Heritage Trail: Maps of and Journeys to Olde Englande. Environment and Planning D: Society and Space 12, 341–55. doi: 10.1068/d120341
  • Crooke, E. 2010 The Politics of Community Heritage: Motivations, Authority and Control. International Journal of Heritage Studies 16(1–2):16–29. doi: 10.1080/13527250903441705
  • DeNora, T. 2000 Music in Everyday Life. Cambridge University Press, New York.
  • DeNora, T. 2006 Music and Self-Identity. In The Popular Music Studies Reader, edited by A. Bennett, B. Shank, and J. Toynbee, pp. 141–48. Routledge, London.
  • Digance, J. 2003 Pilgrimage at Contested Sites. Annals of Tourism Research 30(1):143–59. doi: 10.1016/S0160-7383(02)00028-2
  • Doward, J 2015 Final Encore for UK's Live Music Venues as Noise Rules Lead to Closures. The Guardian 5 September 2015. http://www.theguardian.com/music/2015/sep/05/sheffield-boardwalk-uk-live-music-venues-shut-developers, accessed March 17, 2016.
  • Duffett, M. 2015 Why I Didn't go Down to the Delta: The Cultural Politics of Blues Tourism. In Sites of Popular Music Heritage: Memories, Histories, Places, edited by S. Cohen, R. Knifton, M. Leonard, and L. Roberts, pp. 239–57. Routledge, London.
  • English Heritage 2008 Conservation Principles: Policies and Guidance for the Sustainable Management of the Historic Environment. English Heritage, London.
  • English Heritage 2011 Understanding Place: Conservation Area Designation, Appraisal and Management. English Heritage, London.
  • Finnegan, R. 1989 The Hidden Musicians: Music Making in an English Town. Cambridge University Press, Cambridge.
  • Fock, E. 1999 With the Background in the Foreground — Music among Young Danes with Immigrant Backgrounds. Young 7(2):62–77. doi: 10.1177/110330889900700205
  • Fonarow, W. 1995 The Spatial Organisation of the Indie Music Gig. In The Subcultures Reader, edited by K. Gelder and S. Thornton, pp. 360–69. Routledge, London.
  • Fonarow, W. 2006 Empire of Dirt: The Aesthetics and Rituals of British Indie Music. Wesleyan University Press, Middletown.
  • Forbes, K. 2015 You Had to Be There — Memories of the Glasgow Apollo Audience. In Sites of Popular Music Heritage: Memories, Histories, Places, edited by S. Cohen, R. Knifton, M. Leonard, and L. Roberts, pp. 143–59. Routledge, London.
  • Frith, S. 1986 Art Versus Technology: The Strange Case of Popular Music. Media Culture and Society 8, 263–79. doi: 10.1177/016344386008003002
  • Frith, S. 1987 Towards an Aesthetic of Popular Music. In Music and Society: The Politics of Composition, Performance and Reception, edited by R. Leppert and S. McClary, pp. 133–49. Cambridge University Press, Cambridge.
  • Garcia, L. 2013 Crowd Solidarity on the Dance Floor in Paris and Berlin. In Musical Performance and the Changing City: Post-Industrial Contexts in Europe and the United States, edited by F. Holt and C. Wergin, pp. 227–55. Routledge, London.
  • Garton-Smith, J. 1999 Learning from Popular Culture: Interpretation, Visitors and Critique. International Journal of Heritage Studies 5(3–4):135–48. doi: 10.1080/13527259908722260
  • Gendron, B. 2006 The Downtown Music Scene. In The Downtown Book: The New York Art Scene 1974–1984, edited by M. J. Taylor, pp. 41–65. Princeton University Press, Princeton.
  • Gibson, C., and J. Connell 2005 Music and Tourism: On the Road Again. Channel View, Clevedon.
  • Gibson, C., and S. Homan 2004 Urban Redevelopment, Live Music and Public Space: Cultural Performance and the Re-making of Marrickville. International Journal of Cultural Policy 10(1):67–84. doi: 10.1080/1028663042000212337
  • Gibson, L., and J. Pendlebury 2009 Introduction. In Valuing Historic Environments, edited by L. Gibson and J. Pendlebury, pp. 1–16. Ashgate, Aldershot.
  • Goldhanger, K. 2013 The Bull & Gate in London is the Latest Classic Venue to Close an Obituary. Louderthanwar 15 February 2013. http://louderthanwar.com/the-bull-andgate-in-london-is-the-latest-classic-venue-to-close-an-obituary/, accessed August 1, 2015.
  • Gordon, A. 2012 Building Recording Studios While Bradford Burned: DIY Punk Ethics in a Field of Force. In Punkademics: The Basement Show in the Ivory Tower, edited by Z. Furness, pp. 104–24. Minor Compositions, New York.
  • Grainge, P. 2000 Nostalgia and Style in Retro America: Moods, Modes and Media Recycling. Journal of American & Comparative Cultures 23(1):27–34. doi: 10.1111/j.1537-4726.2000.2301_27.x
  • Graves-Brown, P. 2010 Nowhere Man: Urban Life and the Virtualisation of Popular Music. Popular Music History 4(2):220–41. doi: 10.1558/pomh.v4i2.220
  • Graves-Brown, P., and J. Schofield 2011 The Filth and the Fury: 6 Denmark Street (London) and the Sex Pistols. Antiquity 85(330):1385–401. doi: 10.1017/S0003598X00062128
  • Grazian, D. 2013 Digital Underground: Musical Spaces and Microscenes in the Postindustrial City. In Musical Performance and the Changing City: Post-Industrial Contexts in Europe and the United States, edited by F. Holt and C. Wergin, pp. 127–53. Routledge, London.
  • Gulick, J. 1989. The humanity of cities: An introduction to urban society. Bergin and Garvey, Granby.
  • Halbwachs, M. 1992 On Collective Memory. The University of Chicago Press, Chicago.
  • Hall, S. 1989 The Meaning of New Times. In New Times: The Changing Face of Politics in the 1990s, edited by S. Hall and M. Jacques, pp. 116–36. Verso, London.
  • Hall, S., and T. Jefferson (editors) 1975 Resistance Through Rituals: Youth Subcultures in Postwar Britain. Routledge, London.
  • Hann, M. 2011 Is it Goodbye to One of London's Legendary Venues? The Guardian 15 November 2011. http://www.theguardian.com/music/musicblog/2011/nov/16/bull-gatelegendary-london-venue, accessed August 1, 2015.
  • Hann, M. 2014 Don't Flush Our Toilet Venues Away! The Guardian 29 May 2014. http://www.theguardian.com/music/musicblog/2014/may/29/small-venues-live-music-petition, accessed August 17, 2015.
  • Harris, J. 2013 Can the UK's “Toilet Circuit” of Small Music Venues Survive? The Guardian 22 February 2013. http://www.theguardian.com/music/2013/feb/22/toilet-circuit-venues-johnharris, accessed July 2, 2015.
  • Haslam, D. 2015 Life After Dark. A History of British Nightclubs and Music Venues. Simon and Schuster, London.
  • Hayden, D. 1997 The Power of Place: Urban Landscapes as Public History. MIT Press, Massachusetts.
  • Hebdige, D. 1979 Subculture: The Meaning of Style. Routledge, London.
  • Henning, M., and R. Hyder 2015 Locating the Bristol Sound: Archiving Music as Everyday Life. In Sites of Popular Music Heritage: Memories, Histories, Places, edited by S. Cohen, R. Knifton, M. Leonard, and L. Roberts, pp. 97–111. Routledge, London.
  • Herman, A., T. Swiss, and J. Sloop 1998 Mapping the Beat: Spaces of Noise and Places of Music. In Mapping the Beat: Popular Music and Contemporary Theory, edited by T. Swiss, J. M. Sloop, and A. Herman, pp. 3–31. Blackwell, Oxford.
  • Hesmondhalgh, D. 2005 Subcultures, Scenes or Tribes? None of the Above. Journal of Youth Studies 8(1):21–40. doi: 10.1080/13676260500063652
  • Hewison, R., and J. Holden 2006 Public Value as a Framework for Analysing the Value of Heritage: The Ideas. In Capturing the Public Value of Heritage: Proceedings of the London Conference, edited by K. Clark, pp. 14–18. English Heritage, London.
  • Historic England n.d. Advice on Conservation Principles. Historic England Website. https://historicengland.org.uk/advice/constructive-conservation/conservation-principles/, accessed August 1, 2015.
  • Hoban, P. 2004 Basuait: A Quick Killing in Art. Penguin, New York.
  • Holt, F. 2011 Is Music Becoming More Visual? Online Video Content in the Music Industry. Visual Studies 26(1):50–61. doi: 10.1080/1472586X.2011.548489
  • Holt, F., and C. Wergin 2013 Introduction. In Musical Performance and the Changing City: Post-Industrial Contexts in Europe and the United States, edited by F. Holt and C. Wergin, pp. 1–27. Routledge, London.
  • Homan, S. 2008 A Portrait of the Politician as a Young Pub Rocker: Live Music Venue Reform in Australia. Popular Music 27(2):243–56. doi: 10.1017/S0261143008004030
  • Hudson, R. 2006 Regions and Place: Music, Identity and Place. Progress in Human Geography 30(5):626–34. doi: 10.1177/0309132506070177
  • Huefe, E. 2003 Music Geography Across the Borderline: Musical Iconography, Mythic Themes, and North American Place Perception of the United States-Mexico Borderlands. In The Sounds of People and Places, edited by G. Carney, pp. 51–78. Rowman & Littlefield, Lanham.
  • Huq, R. 2006 Beyond Subculture: Pop, Youth and Identity in a Postcolonial World. Routledge, London.
  • Hyslop, F. 2013 Past, Present & Future: Culture & Heritage in an Independent Scotland. Speech at the Talbot Rice Gallery Edinburgh. The Scotsman Website 5 June 2013. http://www.scotsman.com/lifestyle/arts/news/full-speech-fiona-hyslop-on-scottishculture-1-2955236, accessed June 30, 2015.
  • Inglis, A. 2014 Toilet Venues: British Treasure or a Bit of a Stink? The Guardian 24 January 2014. http://www.theguardian.com/music/2014/jan/24/independent-venue-week, accessed August 2, 2015.
  • Jonze, T. 2006 Review of “Whatever People Say I Am, That's What I'm Not” by Arctic Monkeys. NME (Online) Available at: http://www.nme.com/reviews/arctic-monkeys/7837, accessed March 19, 2015.
  • Keeffe, G. 2010 Compost City: Underground Music, Collapsoscapes and Urban Regeneration. Popular Music History 4(2):145–59.
  • Kirschner, T. 1998 Studying Rock: Towards a Materialist Ethnography. In Mapping the Beat: Popular Music and Contemporary Theory, edited by T. Swiss, J. Sloop, and A. Herman, pp. 247–68. Blackwell, Oxford.
  • Kiszely, P. 2013 From Place to Space to Scene: The Roxy Room and the Emergence of Manchester's Alternative Pop Culture Identity. Punk & Post-Punk 2(1):27–42. doi: 10.1386/punk.2.1.27_1
  • Krim, A. 2003 Get Your Kicks on Route 66! A Song Map of Postwar Migration. In The Sounds of People and Places, edited by G. Carney, pp. 137–48. Rowman & Littlefield, Lansham.
  • Kronenburg, R. 2013 Live Architecture: Venues, Stages and Arenas for Popular Music. Routledge, London.
  • Laing, D. 2010 Gigographies: Where Popular Musicians Play. Popular Music History 4(2):196–219. doi: 10.1558/pomh.v4i2.196
  • Lamont, T. 2012 Powered by Pure Passion: The Music Venues that Run on Love Alone. The Guardian 25 November 2012. http://www.theguardian.com/music/2012/nov/25/smallvenues-survive-forum-tunbridge-feature, accessed July 20, 2015.
  • Lange, P. 2011 Video-Mediated Nostalgia and the Aesthetics of Technical Competencies. Visual Communication 10(1):25–44. doi: 10.1177/1470357210389533
  • Lashua, B., S. Cohen, and J. Schofield 2010 Popular Music, Mapping, and the Characterization of Liverpool. Popular Music History 4(2):126–44. doi: 10.1558/pomh.v4i2.126
  • Lawrey, A. 2015 Putting the Psycho in Psychogeography, Tom Vague's Musical Mapping of Notting Hill. In Sites of Popular Music Heritage: Memories, Histories, Places, edited by S. Cohen, R. Knifton, M. Leonard, and L. Roberts, pp. 207–21. Routledge, London.
  • Leadbetter, R. 1995 You Don't Have to be in Harlem. Mainstream, Edinburgh.
  • Lena, J. C. 2012 Banding Together: How Communities Create Genres in Popular Music. Princeton University Press, Princeton.
  • Lewis, G. H. 1992b. Who Do You Love?: The Dimensions of Musical Taste. In Popular Music and Communication, edited by J. Lull, 2nd ed., pp. 134–51. Sage, London.
  • MacLeod, A. 2013 Bull & Gate to Close as Live Music Venue on Saturday 4th May. ClubFandango. http://www.clubfandango.co.uk/news.php?id=688&big=Y, accessed July 31, 2013.
  • Mason, R. 2002 Assessing Values in Conservation Planning: Methodological Issues and Choices. In Assessing the Values of Cultural Heritage, edited by M. De la Torre, pp. 5–30. Getty Conservation Institute, Los Angeles.
  • Mayor of London's Music Venue Task Force 2015 London's Grassroots Music Venues: Rescue Plan. Greater London Authority, London.
  • McMahon, J. 2010 Punks, What's Your Problem? The 100 Club was Past Its Prime. The Guardian 27 September 2010. http://www.theguardian.com/music/musicblog/2010/sep/27/100-club-closure-punk, accessed August 4, 2015.
  • Morra, I. 2013 Britishness, Popular Music, and National Identity: The Making of Modern Britain. Routledge, London.
  • MVT 2015 Understanding Small Music Venues. Music Venue Trust Website. http://www.musicvenuetrust.com/wp-content/uploads/2015/03/music_venue_trust_Report_V5-1.pdf, accessed July 15, 2015.
  • NME 2012 NME's Search for Britain's Best Small Venue in Association with JD Roots: Shortlist Revealed. NME Website 1 May 2012. http://www.nme.com/news/jack-rocks/63552, accessed August 1, 2015.
  • NME 2013 London Music Venue The Bull & Gate to Close in May. NME Website 7 February 2013. http://www.nme.com/news/various-artists/68594, accessed August 1, 2015.
  • NPPF 2012 National Planning Policy Framework. Department for Communities and Local Government, London.
  • Nuttall, P. 2008 Thank you for the Music? The Role and Significance of Music for Adolescents. Young Consumers 9(2):104–11. doi: 10.1108/17473610810879675
  • O'Meara, C., and E. M. Tretter 2013 Sounding Austin: Live Music, Race, and the Selling of a City. In Musical Performance and the Changing City: Postindustrial Contexts in Europe and the United States, edited by F. Holt and C. Wergin, 52–76. Routledge, London.
  • Palmer, R. 2008 Preface. In Heritage and Beyond, edited by Council of Europe, pp. 7–8. Council of Europe, Strasbourg.
  • Perkin, C. 2010 Beyond the Rhetoric: Negotiating the Politics and Realising the Potential of Community-Driven Heritage Engagement. International Journal of Heritage Studies 16(1–2):107–22. doi: 10.1080/13527250903441812
  • Petridis, A. 2005 Get Real. The Guardian 29 July 2005. http://www.theguardian.com/music/2005/jul/29/popandrock, accessed August 1, 2015.
  • Pickering, M., and E. Keightley 2007 Echoes and Reverberations. Media History 13(2):273–88. doi: 10.1080/13688800701608676
  • Pollock, D 2015 The Slow Death of Music Venues in Cities. The Guardian 9 September 2015. http://www.theguardian.com/cities/2015/sep/09/the-slow-death-of-music-venues-in-cities, accessed March 17, 2016.
  • Regev, M. 2006 Introduction. Popular Music: Special Issue on Canonisation. Popular Music 25(1):1–2. doi: 10.1017/S0261143005000681
  • Reinartz, J. 2010 Top Tours 2010 Pollstar Website. www.pollstar.com/blogs/news/archive/2010/12/29/751701, accessed April 24, 2015.
  • Reynolds, S. 2011 Retromania: Pop Culture's Addiction to Its Own Past. Macmillan, London.
  • Roberts, L., and S. Cohen 2014 Unauthorizing Popular Music Heritage: Outline of a Critical Framework. International Journal of Heritage Studies 20(3):241–61. doi: 10.1080/13527258.2012.750619
  • Roberts, L., and S. Cohen 2015 Unveiling Memory: Blue Plaques as in/Tangible Markers of Popular Music Heritage. In Sites of Popular Music Heritage: Memories, Histories, Places, edited by S. Cohen, R. Knifton, M. Leonard, and L. Roberts, pp. 221–39. Routledge, London.
  • Savage, M. 2016 Is YouTube Killing the UK's Live Music Scene? BBC News 27 January 2016. http://www.bbc.co.uk/news/entertainment-arts-35399194, accessed March 17, 2016.
  • Schmutz, V. 2005 Retrospective Cultural Consecration in Popular Music. American Behavioural Scientist 48(11):1510–23. doi: 10.1177/0002764205276617
  • Schofield, J., and L. Rellensmann 2015 Underground Heritage: Berlin Techno and the Changing City. Heritage & Society 8(2):111–38. doi: 10.1080/2159032X.2015.1126132
  • SecretLeeds.Com 2007 Forum about the Duchess of York. SecretLeeds. http://secretleeds.com/viewtopic.php?t=275, accessed August 5, 2015.
  • Shank, B. 2006 Punk Rock at Raul's: The Performance of Contradiction. In The Popular Music Studies Reader, edited by A. Bennett, B. Shank, and J. Toynbee, pp. 114–21. Routledge, London.
  • Shepherd, J. 1991 Music as Social Text. Blackwell, Malden.
  • Sherwin, A. 2014 Fears for Music's “Toilet Circuit”: Small Venues that Nurtured Big Stars are Increasingly at Risk of Closure. The Independent 30 November 2014. http://www.independent.co.uk/arts-entertainment/music/news/fears-for-musics-toilet-circuitsmall-venues-that-nurtured-big-stars-are-increasingly-at-risk-of-closure-9893213.html, accessed August 10, 2015.
  • Simpson, D. 2000 Last Encores Please. The Guardian 9 February 2000. http://www.theguardian.com/culture/2000/feb/09/artsfeatures, accessed August 12, 2015.
  • Simpson, D. 2009 In Remembrance of Venues Lost. The Guardian 17 Feburary 2009. http://www.theguardian.com/music/musicblog/2009/feb/16/remembering-lost-music-venues, accessed August 15, 2015.
  • Smith, L., and N. Akagawa (editors) 2008 Intangible Heritage. Routledge, London.
  • Smith, G. D., and A. Gillett 2015 Creativities, Innovation and Networks in Garage Punk Rock: A Case Study of the Eruptors. Artivate: A Journal of Entrepreneurship in the Arts 4(1):9–24.
  • Stanley-Niaah, S. N. 2010 Dancehall: From Slave Ship to Ghetto. University of Ottawa Press, Ottawa.
  • Stokes, M. 1994 Place, Exchange and Meaning. In Ethnicity, Identity and Music, edited by M. Stokes, pp. 97–116. Berg, Oxford.
  • Storr, A. 1992 Music and the Mind. Harper Collins, London.
  • Straw, W. 1991 Systems of Articulation, Logics of Change: Continuities and Scenes in Popular Music. Cultural Studies 5(3):368–88. doi: 10.1080/09502389100490311
  • Thornton, S. 1995 Club Cultures: Music, Media and Subcultural Capital. Polity Press, Cambridge.
  • Toynbee, J. 2000 Making Popular Music. Musicians, Creativity and Institutions. Arnold, London.
  • Toynbee, J., and B. Dueck (editors) 2011 Migrating Music. New York: Routledge.
  • Tsitsos, W. 2006 Rules of Rebellion: Slamdancing, Moshing and the American Alternative Scene. In The Popular Music Studies Reader, edited by A. Bennett, B. Shank, and J. Toynbee, pp. 121–28. Routledge, London.
  • Turner, V. 1969 The Ritual Process: Structure and Anti-Structure. Aldine, Chicago.
  • UK Music. 2014 Measuring Music 2014 UK Music Website. http://www.ukmusic.org/research/measuring-music/, accessed August 20, 2015.
  • Van Dijck, J. 2009 Remembering Songs Through Telling Stories: Pop Music as a Resource for Memory. In Sound Souvenirs, edited by K. Bijsterveld and J. Van Dijck, pp. 107–19. University of Amsterdam Press, Amsterdam.
  • Ward, J. V. 2015 Pilgrimage, Place and Preservation: The Real and Imagined Geography of the Grateful Dead in Song, on Tour and in Cyberspace. In Sites of Popular Music Heritage: Memories, Histories, Places, edited by S. Cohen, R. Knifton, M. Leonard, and L. Roberts, pp. 93–207. Routledge, London.
  • Weinstein, D. 1998 The History of Rock's Past Through Rock Covers. In Mapping the Beat: Popular Music and Contemporary Theory, edited by T. Swiss, J. M. Sloop, and A. Herman, pp. 137–53. Blackwell, Oxford.
  • Weinstein, D. 2014 Birmingham's Postindustrial Metal. In Sounds and the City: Popular Music, Place and Globalization, edited by B. Lashua, K. Spracklen, and S. Wagg, pp. 38–55. Palgrave Macmillan, Basingstoke.
  • Wergin, C. 2013 Destination “Three Days Awake”: Cultural Urbanism at a Popular Music Festival Outside the City. In Musical Performance and the Changing City: Post-Industrial Contexts in Europe and the United States, edited by F. Holt and C. Wergin, pp. 102–27. Routledge, London.
  • Whiteley, S. 2005 Too Much Too Young: Popular Music and Gender. Routledge, London.
  • Whiteley, S., A. Bennett, and S. Hawkins 2005 Music, Space and Place: Popular Music and Cultural Identity. Ashgate, Aldershot.
  • Williams, R. 1965 The Long Revolution. Pelican, London.
  • Wright, L. 2014 Save the Indie Disco! With Small Venues Closing Across the Country, It's Not Just Live Music That's Suffering. NME. http://www.nme.com/blogs/nme-blogs/save-theindie-disco-with small-venues-closing-across-the-country-its-not-just-live-music-thatssuffKIUeE0EGz30zQT2y.99, accessed July 25, 2015.
  • Wylie, I. 2016 From Berlin's Warehouses to London's Estates: How Cities Shape Music Scenes. The Guardian 3 February 2016 Available at: http://www.theguardian.com/cities/2016/feb/03/music-scenes-berlin-london-seattle-new-york, accessed March 17, 2016.
  • Zukin, S. 2010 Naked City: The Death and Life of Authentic Urban Places. Oxford University Press, New York.

Media bibliography

Reprints and Corporate Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

To request a reprint or corporate permissions for this article, please click on the relevant link below:

Academic Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

Obtain permissions instantly via Rightslink by clicking on the button below:

If you are unable to obtain permissions via Rightslink, please complete and submit this Permissions form. For more information, please visit our Permissions help page.