Vol. 13 No. 1-2 (2020): Special Issue: Popular Music and Curation

Guest editor: Holly Tessler

Published: 2021-02-05

Introduction

Introduction Why is everything curated these days? Examining the work of popular music curation

Holly Tessler

5-17
- PDF

Articles

Scene and heard Collecting the Dunedin Sound

Amanda Patricia Mills

18-37
- Requires Subscription or Fee PDF (GBP 23)
Continuity and change in popular music curation Exhibiting the musical past in Liverpool

Sara Cohen

38-57
- Requires Subscription or Fee PDF (GBP 23)
Negotiating the co-curation of an online community popular music archive

Beate Peter

58-76
- Requires Subscription or Fee PDF (GBP 23)
Supplementing a typology of curation Learning from George Harrison and Indian music

Michael Lewis Jones

77-94
- Requires Subscription or Fee PDF (GBP 23)
Pick out the jams Curation and independent record shops

Lee Ann Fullington

95-112
- Requires Subscription or Fee PDF (GBP 23)
Right time, right place The British Library’s Punk 1976–78 exhibition

J. Mark Percival

113-125
- Requires Subscription or Fee PDF (GBP 23)
Curating exhausted commodities A case study of We Buy White Albums

Iain A. Taylor

126-146
- Requires Subscription or Fee PDF (GBP 23)
Ektoplazm.com Psychedelic trance, internet curation and free music distribution

Christopher David Charles

147-167
- Requires Subscription or Fee PDF (GBP 23)
Billboard’s ‘Hot Country Songs’ chart and the curation of country music culture

Jada Watson

168-190
- Requires Subscription or Fee PDF (GBP 23)
(Re-)valuing rock music Curatorship in the production of garage rock reissue compilation albums

José Vicente Neglia

191-208
- Requires Subscription or Fee PDF (GBP 23)