Abstract
There are currently few examples of popular music being officially celebrated as heritage in Australia. Interest in this area is growing, however, and this paper examines how Melbourne, the capital of the state of Victoria, has recently named three laneways after rock artists, namely, AC/DC Lane, Amphlett Lane and Rowland S. Howard Lane. Using interview and observational data collected at the laneways, we demonstrate that these spaces respectively reflect aesthetic cosmopolitan heritage (AC/DC Lane), national heritage (Amphlett Lane), and sub-national heritage (Rowland S. Howard Lane). The number of visitors to these laneways varies greatly across the sites, and reflects the national and international success of the artist commemorated. The laneways’ success as commemorative sites is also related to intersections of globally circulating ideas about what constitutes ‘rock’, what urban spaces should look or feel like, and how heritage is expected to be enacted (especially for tourists). Within this field, there are specifics relating to the Australian music industry that appear to find clear reflection in the sites chosen and their level of success as memorial spaces.
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