Palmer, Landon2018-10-052018-10-052016The Portable Recording Studio: Documentary Filmmaking and Live Album Recording, 1967-1969, 2016, 6:2. Journal of the International Association for the Study of Popular Music2079-3871http://hdl.handle.net/20.500.11868/575http://www.iaspmjournal.net/index.php/IASPM_Journal/article/view/778This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License.Final Published VersionWhile live performance and rock authenticity are topics widely investigated across popular music studies, cultural studies, and performance studies, the particular media practices that constitute “liveness” in rock music have been treated without rigorous historical specificity. Utilizing the concept of “fidelity” as it has developed within sound media scholarship as a means for historicizing the technological and cultural practices of sound recording, this article examines the construction of liveness through media objects produced via intersecting practices of documentary filmmaking and live album recording. By exploring the operations of filmmaking and sound recording in four live albums produced from North American rock music festivals between 1967 and 1969, this article not only highlights an overlooked history of the relationship between cinema and popular music recording, but also demonstrates how liveness as an experiential category is constituted through media practices not always exclusive to the conventional parameters of popular music industries.en-USThis work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License.Live musicPerformanceSound recordingDocumentary cinemaFidelityArticlehttps://doi.org/10.5429/2079-3871(2016)v6i2.4en