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Introduction
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Introduction (2020)IntroductionRe-Rewind: Heritage, Representation and Music City Aspiration in Southampton (2020)Re-Rewind: Heritage, Represen…Beyond Nostalgic Havana: Music and Identity in the Fábrica de Arte Cubano (2020)Beyond Nostalgic Havana: Musi…The Great Music City (2019)The Great Music CityA state of constant prodding: live music, precarity and regulation (2018)A state of constant prodding:…Decline, Renewal and the City in Popular Music Culture: Beyond the Beatles (2017)Decline, Renewal and the City…‘Lockout’ laws or ‘rock out’ laws? Governing Sydney’s night-time economy and implications for the ‘music city’ (2017)‘Lockout’ laws or ‘rock out’ …Music Scenes and Self Branding (Nashville and Austin) (2016)Music Scenes and Self Brandin…Popular Music Industries and the State: Policy Notes (2015)Popular Music Industries and …Liveability and creativity: The case for Melbourne music precincts (2014)Liveability and creativity: T…Why get involved? Finding reasons for municipal interventions in the Canadian music industry (2013)Why get involved? Finding rea…Musical Performance and the Changing City (2013)Musical Performance and the C…The Politics of Urban Cultural Policy (2012)The Politics of Urban Cultura…Getting Creative with the ‘Creative City’? Towards New Perspectives on Creativity in Urban Policy (2012)Getting Creative with the ‘Cr…Sound society and the geography of popular music (2011)Sound society and the geograp…The economy of live music in the digital age (2010)The economy of live music in …Creative cities: the cultural industries and the creative class (2008)Creative cities: the cultural…A Pure Theory of Local Expenditures (1956)From Managerialism to Entrepreneurialism: The Transformation in Urban Governance in Late Capitalism (1989)The Global City (2001)In the Social Factory? (2008)Creativity and tourism (2011)The rise of coworking spaces: a literature review (2015)Neoliberalizing Space (2002)Cities and the Creative Class (2005)Struggling with the Creative Class (2005)Understanding culture-led local development: A critique of alternative theoretical explanations (2013)Place quality in innovation clusters: An empirical analysis of global best practices from Singapore, Helsinki, New York, and Sydney (2017)Cultural and Creative Industries and Urban (Re)Development in China (2020)Clusters and the new economics of competition. (1999)The Rise of the Creative Class (2002)Clusters and the New Economics of Competition (2014)Evaluating place quality in innovation districts: A Delphic hierarchy process approach (2018)A cultural justice approach to popular music heritage in deindustrialising cities (2020)The structural transformation of the public sphere: an inquiry into a category of bourgeois society (1990)Club cultures: music, media and subcultural capital (1996)Destination culture: tourism, museums, and heritage (1999)The Firm Foundation of Organizational Flexibility: The 360 Contract in the Digitalizing Music Industry (2012)Why go to pop concerts? The motivations behind live music attendance (2016)The ‘lonely raver’: music livestreams during COVID-19 as a hotline to collective consciousness? (2020)Risk Society, Towards a New Modernity (1994)Moral Panics: The Social Construction of Deviance. (1997)Folk Devils and Moral Panics (2011)Displacements of gender: Research on alcohol, violence and the night-time economy (2020)Original live music venues in hyper-commercialised nightlife precincts: exploring how venue owners and managers navigate cultural, commercial and regulatory forces (2020)The Managers, the Managed, and the Unmanageable: Negotiating Values at the Buenos Aires International Music Fair (2010)Musical memory, heritage and local identity: remembering the popular music past in a European Capital of Culture (2012)The academisation of popular music in higher music education: the case of Norway (2016)Guest Editorial—Creative Geographies: tales from the ‘margins’ (2010)Popular music, psychogeography, place identity and tourism: The case of Sheffield (2013)The Dixie Chicks’ “Lubbock or Leave It”: Negotiating Identity and Place in Country Song (2014)Rock Clubs and Gentrification in New York City: The Case of the Bowery Presents (2014)Reimagining collaboration through the lens of the posthuman: Uncovering embodied learning in noise music (2020)The aesthetic pedagogies of DIY music (2020)#metoo 2.0 to #meNOmore: Analysing Western Reporting About Sexual Violence in the Music Industry (2019)Embracing the Future: Creative Industries for Environment and Advanced Society 5.0 in a Post-Pandemic Era (2022)The “music city” paradigm and its policy side: a focus on Brisbane and Melbourne (2022)The cultural economy in recession: Examining the US experience (2012)Creative placemaking and the NEA: unpacking a multi-level governance (2016)Preventing the displacement of small businesses through commercial gentrification: are affordable workspace policies the solution? (2016)
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References

  • 2008Creative cities: the cultural industries and the creative class680 cited
  • 2010The economy of live music in the digital age167 cited
  • 2012Getting Creative with the ‘Creative City’? Towards New Perspectives on Creativity in Urban Policy143 cited
  • 2017Decline, Renewal and the City in Popular Music Culture: Beyond the Beatles98 cited
  • 2011Sound society and the geography of popular music76 cited
  • 2012The Politics of Urban Cultural Policy65 cited
  • 2017‘Lockout’ laws or ‘rock out’ laws? Governing Sydney’s night-time economy and implications for the ‘music city’33 cited
  • 2014Liveability and creativity: The case for Melbourne music precincts33 cited
  • 2013Musical Performance and the Changing City32 cited
  • 2019The Great Music City30 cited
  • 2018A state of constant prodding: live music, precarity and regulation27 cited
  • 2016Music Scenes and Self Branding (Nashville and Austin)23 cited
  • 2015Popular Music Industries and the State: Policy Notes16 cited
  • 2020Beyond Nostalgic Havana: Music and Identity in the Fábrica de Arte Cubano15 cited
  • 2013Why get involved? Finding reasons for municipal interventions in the Canadian music industry12 cited

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  • 2020Re-Rewind: Heritage, Representation and Music City Aspiration in Southampton10 cited
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