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
) . In some cases, the connections between music and place coalesce into a definable "sound", such as the output of the music industry at different times in New Orleans, Seattle, Liverpool, Detroit and San Francisco. and Beef Week, Casino, both in NSW) are also popular in Australia (see also Bessiere, 1998). The naming of the music was part of the institutionalization of the genre, while the marketing of other country music, such as the blues, differed racially. ). in Nashville, Tennessee. 167). , wagon tracks, tough men, hats. 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. In line with such goals, various levels of government have incorporated special events into cultural planning, emphasizing their potential for location and capacity building, as well as economic benefit (Dowling, 1997; see also Australia Council, 1998; Department of Communications, Information Technology).
