Abstract
One of the things that distinguishes music from other forms of popular culture is that its consumption is accompanied by so much comment. Neither TV nor film, for instance, has accrued the volume, diversity or specialisation of the books and magazines devoted to music and read by people without a professional investment. This literature poses particular problems for historians of rock'n'roll, rock and pop. What are its main methods of ordering the popular past? Which musics and events does it privilege? How should scholars read the music press as sources? How can the pop histories contained in New Musical Express, Billboard or The Face be interpreted for histories of pop? This article is derived from work-in-progress concerning the history of discotheques and club cultures from the late 1950s until the present day. As such, it offers no tidy solutions or complete narratives, but rehearses a few dilemmas relevant to writing about popular culture.
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