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Guest editor: Holly Tessler
Table of Contents
Introduction
| Introduction: Why is everything curated these days? Examining the work of popular music curation |
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| Holly Tessler | 5-17 |
Articles
| Scene and heard: Collecting the Dunedin Sound |
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| Amanda Patricia Mills | 18-37 |
| Continuity and change in popular music curation: Exhibiting the musical past in Liverpool |
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| Sara Cohen | 38-57 |
| Negotiating the co-curation of an online community popular music archive |
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| Beate Peter | 58-76 |
| Supplementing a typology of curation: Learning from George Harrison and Indian music |
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| Michael Lewis Jones | 77-94 |
| Pick out the jams: Curation and independent record shops |
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| Lee Ann Fullington | 95-112 |
| Right time, right place: The British Library’s Punk 1976–78 exhibition |
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| J. Mark Percival | 113-125 |
| Curating exhausted commodities: A case study of We Buy White Albums |
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| Iain A. Taylor | 126-146 |
| Ektoplazm.com: Psychedelic trance, internet curation and free music distribution |
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| Christopher David Charles | 147-167 |
| Billboard’s ‘Hot Country Songs’ chart and the curation of country music culture |
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| Jada Watson | 168-190 |
| (Re-)valuing rock music: Curatorship in the production of garage rock reissue compilation albums |
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| José Vicente Neglia | 191-208 |
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