As part of Amplify: Story, Resistance, Radio, Liz Taylor of This Must be the Place interviews Paul Long, Professor in Creative and Cultural Industries and a recent arrival from one music city (Birmingham) to another (Melbourne). Birmingham in the UK is known for its connections to diverse genres of music - heavy metal, conscious reggae, grime, bhangra, dance. “Brum” is branded as the birthplace of Black Sabbath and heavy metal, as well as of such ubiquitous bands as UB40, Duran Duran and (previously unbeknownst to Liz) ELO. Birmingham has also been home to a widespread unlicensed radio scene. Particularly during the 1980s and 1990s, unlicensed or ‘pirate’ radio served as voices (albeit periodically raided by police) for geographically and culturally specific groups such as Caribbean migrants, and as entry points for micro-genres and local scenes – broadcasting, for example, mobile phone numbers for dance party tickets. Here Paul reflects on the challenges of documenting and curating music cultures which are largely ephemeral, in places home to diverse communities and narratives, and in contexts where government intervention can be a virtue or its opposite –how “a place can take on these challenging narratives”. As both listener and historian Paul describes “going in search of radio”, “trying to find traces and put them back together”, and how different technologies and places interact over time. As well as contrasting the radio and audio landscapes of Birmingham and Melbourne, the discussion covers trade-offs between amateur and professional programming, national and local content, and between celebrating past hits and continuing in the present. As is often the case for musicians “the longer you go on, the more you’re burdened with your own standards, your own repertoire”, and “the same happens to places”. Documenting music heritage in a music city like Birmingham involves, on the one hand, exhibitions and mythologies around famous bands. On the other are the more fleeting places, moments, and sounds which are nonetheless important to memory and identity – the value of “recognising not just the big names, but the also-rans, the never-rans, the thank god they never succeeded types - and thinking about what this means to people”. In the age of streaming and digital radio, Paul argues for tracing the origins of relatively recent music genres still matters - “learning about where this stuff came from, and preserving stuff that might otherwise disappear”. Links – Amplify - https://amplifies.blog/2023/09/27/pirate-radio-schedule/ https://podcasts.apple.com/us/podcast/amplify-story-resistance-radio/id1704273057 Paul Long, Monash University – Professor in Creative and Cultural Industries and Director, Monash Migration and Inclusion Centre - https://research.monash.edu/en/persons/paul-long Birmingham Music Archive - https://www.birminghammusicarchive.com/ Paul Long’s RRR Brum-a gems playlist - https://open.spotify.com/playlist/6pnFpV208Ve3LKqV4K4zO0?si=cddd34c664be4f81&nd=1