On June 27, 2019, Bloomsbury Academic will publish a book called Curating Pop: Exhibiting Popular Music in the Museum. The authors of the book, Sarah Baker, Lauren Istvandity and Raphaël Nowak, all at Griffith University, Australia, write this in the introduction:
«Much of the scholarship on popular music museums has emerged from the field of popular music studies. The most prolific scholar to have contributed to a greater understanding of the place of popular music in exhibitions and museums is Marion Leonard, whose work has become a touchstone for studies of popular music display and visitor engagement.»
Leonard is Senior Lecturer in the Department of Music and member of the Institute of Popular Music at the University in Liverpool. She is author of the book Gender in the Music Industry. Rock, Discourse and Girl Power (Ashgate, 2007), she was co-editor of the book Sites of Popular Music Heritage: Memories, Histories, Places (Routledge, 2014), and she contributes in The Routledge Companion to Popular Music History and Heritage, published in 2018, just to mention a few.
Her early work on popular music museums emerged from her experiences curating The Beat Goes On, an exhibition about Merseyside's popular music history which opened at World Museum Liverpool July 2008.
The last 25 years, Santelli has been co-creating and managing some of the biggest popular music museums in the world.
In her chapter “Representing popular music histories and heritage in museums” in The Routledge Companion to Popular Music History and Heritage, Leonard writes: “Perhaps the most well-known institution collecting and exhibiting popular music materials is the Rock and Roll Hall of Fame and Museum which opened in 1995 in Cleveland, Ohio. This visitor attraction, developing from and re-establishing a canonic way of valuing music, promotes itself as “the world´s foremost museum devoted to the celebration and preservation of rock & roll music”.
Several music museums, including Rockheim, have been inspired by the work done at the pioneering Rock and Roll Hall of Fame. Santelli were amongst the founders of the institution. Since then he has been the CEO at the Experience Music Project in Seattle (now Museum of Pop Culture). He was a key resource in the development of the British Music Experience, which opned in the O2 arena in London in 2009, and is now the Founding Executive Director at the Grammy Museum in LA.
Andy Bennetts list of publications at the Griffith University website reads 102 titles at the moment. Amongs them are 53 book chapters, 27 refereed journal articles and 14 edited books. Amongst the edited books are the famous anthology The Popular Music Studies Reader from 2006. His main areas of expertise are youth culture and popular music. He has been studying glam rock, britpop, festivals, local, translocal and virtual music scenes, hip hop, dance tourism at Ibiza, and Woodstock nostalgia and memories, to name some themes. At last, but not least, in 2009 he wrote an article on «Heritage Rock. Rock music, representation and heritage discourse», which I guess will especially interest this conference. In 2015 the article «Popular music and the «Problem» of Heritage» was published. In this he writes:
«Popular music heritage then is at one significant level a self-serving exercise, committed among other things to the uncritical reproduction of a heritage canon inextricably bound up with white, middle class baby-boomer understanding of musical authenticity – in which issues of generation, genre, production, art and culture are forged together into dominant narratives that threaten to expunge vast tracts of musical production, performance and reception from popular memory.»
Bennett is Professor of Cultural Sociology at Griffith University in Queensland, Australia. Prior to his appointment at Griffith, he held posts at Brock University (Canada) and the Universities of Surrey, Kent, Glasgow, and Durham (UK). He has also spent two years in Germany working as a music teacher with the Frankfurt Rockmobil project.
Andy Linehan is curator of popular music collections at the British Library Sound Archive. He has written and broadcast on many aspects of pop music and for nearly ten years taught popular music history at the Royal Academy of Music. Publications include the pop music periodicals index POMPIand Aural History – Essays on Recorded Sound. He is the resources editor of the journal Popular Music Historyand has curated several exhibitions on popular music at the Britsh Library.
According to the library´s website, British Library Sounds presents 50.000 recordings and their associated documentation from the library’s extensive collections of unique sound recording which come from all over the world and cover the entire range of recorded sound: music, drama and literature, oral history, wildlife and environmental sounds. The collection at the department of popular music is devided into three main areas: «oral history of jazz in Britain», «skiffle recordings» and «all the broadcasts from all the pioneering british radio stations». They collect, research and give access to the always changing history of popular music. Linehan has been a curator there for thirty years.