Introduction
Prologue: The Record Store That Saved My Life
Mark Trehus, Independent Scholar/Record Store Owner, USA
Part 1: Record Stores as Community
1 “We ‘Bout it ‘Bout it”: The Independent Record Store in
Post-Katrina New Orleans
Jay Jolles, College of William and Mary, USA
2 Firecorner: The Importance of Reggae Record Shops in Black London
and the Cultural Confluence of West Indian Music
Kenny Monrose, Cambridge University, UK
3 Journey of a Girl in a Plaid Skirt and Knee Socks
Holly Gleason, Independent Scholar, USA
4 The Cult of the Record Bar
Stephen Shearon, Middle Tennessee State University, USA
5 Magic in Here: Brisbane’s Alternative Record Stores From the
1970s to the Digital Age
Ben Green, Griffith University, Australia
6 High Fidelity Across Twenty-Five Years: Record Shops, Taste, and
Streaming
Jon Stratton, University of South Australia, Australia
7 Reflections from the Girls Behind the Counter: Women and
Independent Record Stores
Lee Ann Fullington, Brooklyn College CUNY, USA
Part 2: Cultural Geography of Record Stores
8 “Ways of living”: Touristification and Gentrification in Spanish
and Portuguese Record Shops
Fernán Del Val, Universidad Nacional de Educación a Distancia,
Spain
9 Living Popular Music in “high fidelity:” Portugal’s Independent
Record Stores 1998–2020
Paula Guerra, University of Porto, Portugal
10 Music on the Turntables When the Tables are Turning: A History
of Record Stores in Romania from Late Socialism to the Present
Claudiu Oancea, New Europe College, Romania
11 Jazzhole: How a Record Store Became the Lone Priest of Nigerian
Oldies’ Pop Culture
Eromo Egbejule, Malmö University, Sweden
12 The Influence of Imported Records and their Stores on the
History of Popular Music in Japan
Ken Kato, Osaka University, Japan
13 Recording the Irish Experience: The Record Shop and Fair as
Archive
Paul Tarpey, Limerick School of Art and Design, Ireland
14 The Revolution Will Not Be Televised, It Will Be Taped: Popular
Music Acquisition in Pre- and Post-Revolution Tehran
Lily Moayeri, Independent Scholar, USA
Part 3: Sites for Fandom and Performance of Subcultural
Capital
15 Making Indie Noises in the Corporate Outlet: Beating Capitalism
at Its Own Game
Roy Montgomery, Lincoln University, New Zealand
16 Rip Off Records (Hamburg) and the Microhistory of Capitalism
Karl Siebengartner, Independent Scholar, Germany
17 Soul Bowl: Rare Soul Uncovered
Christopher Spinks, University of East Anglia, UK
18 Lucky Records – Music Makes the People Come Together
Mariana Lins, Federal University of Pernambuco, Brazil
19 Rough Trade Paris (1992-1999): The History of a Scene
Jean Foubert, LARCA Université Paris-Cité, France
20 Musicians in the Record Store: Celebrity Encounters Through
Amoeba Music’s What’s in My Bag?
Christine Feldman-Barrett, Griffith University, Australia
21 “Contents Expected to Speak for Themselves:” A Preliminary
Understanding of North American Self Service Record Retail
Tim J. Anderson, Old Dominion University, USA
22 Lost in the Booth: British Record Store Listening Booths as
Atmospheric Sites of Intimacy
Peter Jachimiak, University of South Wales, UK
Contributors
Index
The first academic, book-length, global look at the record store.
Gina Arnold is an author, music journalist, and adjunct
professor at the University of San Francisco, USA. She has been a
writer for Rolling Stone, Spin, the Village Voice and many other
publications, and is author of Liz Phair’s Exile in Guyville
(Bloomsbury, 2014), Half a Million Strong: Crowds and Power from
Woodstock to Coachella (2018), and co-editor of Music/Video
(Bloomsbury, 2017).
John Dougan is Professor in the Department of Recording
Industry at Middle Tennessee State University, USA. He has
published essays and reviews in Rolling Stone, Spin, All Music
Guide, American Music, Journal of Popular Music Studies, Popular
Music and Society, Salon, and Perfect Sound Forever. He is the
author of The Who Sell Out (Bloomsbury, 2006), and The Mistakes of
Yesterday, The Hopes of Tomorrow: The Story of the Prisonaires
(University of Massachusetts Press, 2013).
Christine Feldman-Barrett is Senior Lecturer in the School
of Humanities, Languages and Social Science at Griffith University,
Australia. A youth cultural historian, she is author of “We are the
Mods”: A Transnational History of a Youth Subculture (2009) and A
Women’s History of the Beatles (Bloomsbury, 2021). She is also
editor of Lost Histories of Youth Culture (2015).
Matthew Worley is Professor of modern history at the University
of Reading, UK. His more recent work has concentrated on the
relationship between youth culture and politics in Britain,
primarily in the 1970s and 1980s. He is the author of No Future:
Punk, Politics and British Youth Culture, 1976-1984 (2017) and
co-founder of the Subcultures Network.
A great, authoritative deep dive into the global social history of
establishments which its editors ... describe as “subcultural
space... clubhouses for music fanatics... [and] genre-specific
sanctuaries for ‘outsider communities'”. ... You can almost smell
the racks as you read.
*Record Collector*
Record stores have been my support group, downfall, family room,
grad school, sociological experiment, clubhouse, bank, ashram,
ashtray and alibi for over fifty years—apart from playing music,
it’s all I know. This book is right up my alley and likely yours as
well.
*Peter Holsapple, Continental Drifters/The dB’s*
The next best thing to going to a record store is reading about
them. This is a fascinating study and I particularly enjoyed its
international aspect from Christchurch to Teheran. We are all
united by this unique subculture.
*Geoff Travis, Founder of Rough Trade Records, UK*
Mixing memoir, history, and sociology, The Life, Death, and
Afterlife of the Record Store is an unparalleled paean to the
record store as a vital community resource that links local
listeners to global flows of music, culture, and capital. Required
reading for discophiles of all stripes.
*Steve Waksman, Author of Live Music in America: A History from
Jenny Lind to Beyoncé, Elsie Irwin Sweeney Professor of Music,
Smith College, USA*
This fascinating anthology proves that record stores have long been
so much more than places to buy records. Essays document their
important role as cultural actors who call communities and genres
into being, play important roles in politics and national musical
cultures, promote tourism, spread music around the globe, and
continue through dark times. Viva la Record Store!
*Norma Coates, Associate Professor, Western University, Canada, and
President, US Branch, International Association for the Study of
Popular Music*
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