However cartographies of music are constructed, they invariably suggest some authentic relationship between particular sites of vernacular musical creativity and a social and economic context that has contributed to a certain distinctiveness. Thus, the literature is replete with accounts of supposedly distinctive Mersey and Otago sounds, New Orleans jazz or Nashville country, and the ‘mutually generative relations of music and space’ (Leyshon et al., 1995, p. 424). In the conventional narrative, styles are generally deemed to have originated from particular individual and collective scenes associated with key musicians and bands, and talked up as a means of promoting these styles and places. Local ties engender credibility as expressions of local identity and distinctiveness, and ‘credible places invest music with commodity value’ (Connell and Gibson, 2003, p. 116). However, music creation and reception are more often little to do with place, and yet music still gains some degree of success even in circumstances where it would seem to oppose any notion of a link to locality. A particularly extreme and unusual example of this is the association between Elvis Presley and the small Australian country town of Parkes. This chapter examines how that particular and peculiar relationship emerged, and how it has been sustained and nurtured.1 In the process, we challenge notions of creativity and its role in local development.
Unable to display preview. Download preview PDF.
- Connell, J. and McManus, P. (2011) Rural Revival? Place Marketing, Tree Change and Regional Migration in Australia (Farnham: Ashgate).Google Scholar
- Connelly, C. (2009) In Search of Elvis (London: Abacus).Google Scholar
- Gibson, C. (ed.) (2012) Creativity in Peripheral Places: Redefining the Creative Industries (London: Routledge).Google Scholar
- Gibson, C. (2014) ‘Rural Place Marketing, Tourism and Creativity: Entering the Post-Productivist Countryside’, in R. Dufty-Jones and J. Connell (eds) Rural Change in Australia. Population, Economy and Environment (Famham: Ashgate), pp. 197–210.Google Scholar
- Gibson, C. and Connell, J. (2005) Music and Tourism (Clevedon: Channel View).Google Scholar
- Gibson, C. and Connell, J. (2012) Music Festivals and Regional Development in Australia (Farnham: Ashgate).Google Scholar
- Ironfest (2013) http://www.ironfest.net/, date accessed 12 June 2013.
- King, C. (1994) ‘His Truth Goes Marching on: Elvis Presley and the Pilgrimage to Graceland’, in I. Reader and T. Walker (eds) Pilgrimage in Popular Culture (Macmillan, London), 92–104.Google Scholar
- Ruting, B. and Li, J. (2011) ‘Tartans, Kilts and Bagpipes: Cultural Identity and Community Creation at the Bundanoon Is Brigadoon Cultural Festival’, in C. Gibson and J. Connell (eds) Festival Places: Revitalising Rural Australia (Bristol: Channel View), 265–279.Google Scholar
- Taylor, T. (1997) Global Pop: World Music, World Markets (Routledge, London).Google Scholar