ABSTRACT
The popular image of contemporary record collectors is of obsessive males, whose 'trainspotting' passion for collecting is often a substitute for 'real' social relationships. The middle-class/professional location of these collectors raises questions as to their typicality. For male collectors, the social role of collecting appears to be a significant part of masculinity. Love of music extends beyond collecting and listening to recordings, with collectors demonstrating a strong interest in live music. The view of collectors as individuals characterized by obsessive-compulsive behaviour is a major component of popular conceptions, which can draw on a fair amount of support from academic studies. Discussions of collecting frequently work to distinguish 'accumulation' from collecting, stressing discrimination as a defining element of the collecting process. Completism was part of collecting practices during the 78 era, and continues to be identified as characteristic of record collectors. Collecting is a significant part of identity construction, and an important dimension of collectors' lives.
