01847nas a2200229   4500000000100000000000100001008004100002653002200043653001900065653002400084653001100108653001400119653001800133653001100151100001600162245007300178856015300251300001200404490000700416520117400423022002001597                                       d10acultural heritage10aHeritagisation10aintangible heritage10aMemory10aNostalgia10apopular music10aPraxis1 aLes Roberts00aTalkin bout my generation: popular music and the culture of heritage  uhttps://www.scopus.com/inward/record.uri?eid=2-s2.0-84897583019&doi=10.1080%2f13527258.2012.740497&partnerID=40&md5=80fa810611a5a76bf9df7ec5028a64cd  a262-2800 v203 aRaymond Williams once remarked that Culture is one of the two or three most complicated words in the English language (1983). He never said what the other ones were but had he been writing today, one of these might well have been heritage. Indeed, the imbrications of culture and heritage, and the vexed nature of their relationship, particularly with regard to popular music, are such that each has come to serve as a synonym for the other in the wider sociocultural imaginary. This paper casts a critical spotlight on discourses of cultural heritage in the UK by questioning what makes popular music culture heritage and considering the extent to which the UK popular music has become increasingly heritagised. Relating the specific example of popular music to wider debates on cultural heritage and heritagisation, the paper calls for greater problematising of discourses of popular music as cultural heritage, and considers, by way of conclusion, how a critical focus on the lived, performative and hauntological dynamics of music heritage practices can illuminate understandings of the way cultures of music and memory are negotiated and transacted in the present.  a13527258 (ISSN)