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Edward II: his last months and his monument

beneficial collaboration between independent archives and their more formal, mainstream counterparts. Marion Leonard’s chapter describes how the histories that UK museums tell have been enhanced and deepened by engaging with independent heritage projects. Most of the chapters here recount efforts to capture and preserve hidden or potentially forgotten histories but also relate the on-going challenges to preserve, make accessible and sustain the physical and digital places that hold these collections into the future. It is perhaps in these challenges, again similar to many other community-based archives, that the most fruitful space for collaboration with mainstream professionals might lie. Whilst DIY collectors and archivists can bring unparalleled subject knowledge and expertise (not to mention significant and often rare collections), mainstream organizations can offer support and guidance on appropriate approaches to longer term sustainability. Anyone interested in DIY popular music archives or community-based archives in general from an academic, professional practice or archival activist perspective will find much in this book which will interest, stimulate and hopefully illuminate.