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‘We love the bands and we want to keep them on the walls’: gig posters as heritage-as-praxis in music venues
16 references·5 citing·29 second hop
‘We love the bands and we want to keep them on the walls’: gig posters as heritage-as-praxis in music venues (2017)‘We love the bands and we want to keep th…Uses of Heritage (2014)Uses of HeritageUnauthorising popular music heritage: outline of a critical framework (2013)Unauthorising popular music h…Whose Urban Renaissance? An International Comparison of Urban Regeneration Strategies (2009)Whose Urban Renaissance? An I…Uses of Heritage (2006)Uses of HeritageNew Museum Theory and Practice (2006)New Museum Theory and PracticeMusic Scenes: Local, Translocal, and Virtual. (2006)Music Scenes: Local, Transloc…URBAN REDEVELOPMENT, LIVE MUSIC AND PUBLIC SPACE (2004)URBAN REDEVELOPMENT, LIVE MUS…Introducing Music Scenes (2004)Introducing Music ScenesCultural quarters as mechanisms for urban regeneration. Part 2: a review of four cultural quarters in the UK, Ireland and Australia (2004)Cultural quarters as mechanis…The rise of the creative class: and how it's transforming work, leisure, community and everyday life (2002)The rise of the creative clas…Music, media and urban mythscapes: a study of the ‘Canterbury Sound’ (2002)Music, media and urban mythsc…The creative city: A toolkit for urban innovators (2001)The creative city: A toolkit …Dissonant Identities: The Rock'n'Roll Scene in Austin, Texas (1996)Dissonant Identities: The Roc…Night Cultures, Night Economies (1995)Night Cultures, Night Economi…The Hidden Musicians: Music-Making in an English Town. (1990)The Hidden Musicians: Music-M…The Hidden Musicians: Music-Making in an English Town (1989)The Hidden Musicians: Music-M…Negotiating underground status through hybrid visibilities: WeChat event promotion in Shanghai music and performance scenes (2025)Negotiating underground statu…La plateforme et le patrimoine : une enquête sur les valeurs des vidéos de concerts sur YouTube (2022)La plateforme et le patrimoin…La captation et ses paradoxes. Réflexions sur la mise en vidéo des concerts à l’ère de la plateformisation de la musique (2022)La captation et ses paradoxes…Engaging With Objects and Feelings: The Making of Live Music Space in Shanghai’s Livehouses (2022)Engaging With Objects and Fee…Original live music venues in hyper-commercialised nightlife precincts: exploring how venue owners and managers navigate cultural, commercial and regulatory forces (2020)Original live music venues in…Consolidating the music scenes perspective (2004)‘Insider Research’ in the Study of Youth Cultures (2005)3.2. MARXISM AND LITERATURE (2006)Punk’s Not Dead: The Continuing Significance of Punk Rock for an Older Generation of Fans (2006)Popular Culture in Early Modern Europe (2017)Heritage Pasts and Heritage Presents: temporality, meaning and the scope of heritage studies (2001)Heritage diplomacy (2015)Digitisation, digital interaction and social media: embedded barriers to democratic heritage (2016)Experiencing the Digital World: The Cultural Value of Digital Engagement with Heritage (2016)The Production of Culture Perspective (2004)From exclusive to inclusive elitists and further: Twenty years of omnivorousness and cultural diversity in arts participation in the USA (2005)Heavy Genealogy: Mapping the Currents, Contraflows and Conflicts of the Emergent Field of Metal Studies, 1978-2010 (2011)Cities and the Creative Class (2005)Struggling with the Creative Class (2005)In the Social Factory? (2008)Developing creativity in tourist experiences: A solution to the serial reproduction of culture? (2005)Urban Development and the Politics of a Creative Class: Evidence from a Study of Artists (2006)The hospitable city: social relations in commercial spaces (2007)Beyond night-time economy: Affective atmospheres of the urban night (2013)Introduction: Geographies of the urban night (2014)Club cultures: music, media and subcultural capital (1996)Places around us: embodied lay geographies in leisure and tourism (2000)Mutual Learning and Democratic Action in Instrumental Music Education (2003)Backpacking experiences (2002)Gangs and gangsta rap in Chicago: A microscenes perspective (2013)Market practices in countercultural market emergence (2015)Negotiating Authentic Objects and Authentic Selves (2010)The recognition and misrecognition of community heritage (2010)Clarifying the critical in critical heritage studies (2012)
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References

  • 2002The rise of the creative class: and how it's transforming work, leisure, community and everyday life6,488 cited
  • 2006Uses of Heritage4,077 cited
  • 2001The creative city: A toolkit for urban innovators1,465 cited
  • 1989The Hidden Musicians: Music-Making in an English Town455 cited
  • 1990The Hidden Musicians: Music-Making in an English Town.387 cited
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  • 1996Dissonant Identities: The Rock'n'Roll Scene in Austin, Texas241 cited
  • 2014Uses of Heritage218 cited
  • 1995Night Cultures, Night Economies206 cited
  • 2004Introducing Music Scenes194 cited
  • 2009Whose Urban Renaissance? An International Comparison of Urban Regeneration Strategies186 cited
  • 2006New Museum Theory and Practice156 cited
  • 2013Unauthorising popular music heritage: outline of a critical framework111 cited
  • 2002Music, media and urban mythscapes: a study of the ‘Canterbury Sound’107 cited
  • 2004Cultural quarters as mechanisms for urban regeneration. Part 2: a review of four cultural quarters in the UK, Ireland and Australia103 cited
  • 2004

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URBAN REDEVELOPMENT, LIVE MUSIC AND PUBLIC SPACE
85 cited

Cited by

  • 2020Original live music venues in hyper-commercialised nightlife precincts: exploring how venue owners and managers navigate cultural, commercial and regulatory forces21 cited
  • 2022La captation et ses paradoxes. Réflexions sur la mise en vidéo des concerts à l’ère de la plateformisation de la musique4 cited
  • 2022La plateforme et le patrimoine : une enquête sur les valeurs des vidéos de concerts sur YouTube4 cited
  • 2022Engaging With Objects and Feelings: The Making of Live Music Space in Shanghai’s Livehouses3 cited
  • 2025Negotiating underground status through hybrid visibilities: WeChat event promotion in Shanghai music and performance scenes3 cited