Abstract
The relationship between popular memory and popular music has had little attention and yet long standing artists such as Madonna, while celebrated for reinvention and innovation, have been left unanalysed for how they are able to continually rearticulate their pop music archive and move old ideas in new ways. Drawing upon Paul Grainge's (2002) work on nostalgia as a consumable mode or a collective mood, I will explore the possibility of Madonna as a ‘heritage industry’ who, now in her 50s, is offering a mediated space for collective and personal nostalgia, communal reminiscence, fan articulation of personal memory and ageing, and public debate over what should be the contents of her pop music archive.
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