The previous case study chapters have drawn upon particular examples of memory being articulated through the broadcast media of radio and television as well as post-broadcast media platforms such as YouTube. The emphasis has been on the mediation (van Dijck 2007) and mediatisation (Livingstone 2008) of history and memory in terms of local, national and international events or persons. As each chapter has progressed, so too has the consideration of the level and extent of audience involvement in the construction of making mediated memories. It would be very easy for any book on media and memory to get stuck in the field of ‘representation’ only by examining how specific events in cultural and political history are mediated and remediated. Chapter 5 covered production cultures but it would be remiss not to consider fans and their memories. In fact, Wulf Kansteiner (2002) argued in his critique of the methodologies of memory studies that the danger of a memory research boom is that ‘audiences’ would be ignored in favour of textual/object/subject analyses and observational approaches to memory discourses, forms and practices. As a response, this chapter considers popular music fans and on one figure in particular: Madonna.