gramophone records. Such estimates of music venues reflect, to some extent, the accumulation of production infrastructures, the raw number of active musicians, and the continuous recording of a relatively dense cast; in other cases, such associations are created as part of media campaigns and local marketing strategies, "invented traditions" (Hobsbawm, 1983) that have become central to the tourism industry and the music economy (Atkinson, 1997; Cohen, 1997; Gibson and Connell 200
) . Sometimes visual and audio texts combine to represent places in a particular way, such as in music videos and film soundtracks – or in festivals where music is combined with stage performances, dance, room design and decoration, and other visual elements. Country music has also been closely tied to American national identity, seen as "our peculiar art, [whose] inspiration comes from the heart of the nation" (Peterson, 1997, p. . However, music festivals have become by far the most common, from the annual East CoastBlues and Sweden Festival of Byron Bay to the Elvis Revival Festival in Parkes, NSW; From the Port Fairy Folk Festival (Victoria) to many country music festivals in Gympie (Queensland), Mildura (New South Wales), Port Pirie (South Australia) and Tamworth (see Aldskogius, 1993; Derrett et al. , pistols, horses, and guns. 187) and a place where an older social order prevailed. From the 1930s to the 1950s, these styles of music—bluegrass, hillbilly music, cowboy songs, and folk—began to be more widely marketed using new technologies—recording studios, electric instruments—and at a time when the production and transmission infrastructure was centralized. , wagon tracks, tough men, hats.
