By Shane Homan
ISBN-10: 0335216900
ISBN-13: 9780335216901
From Björn back to the unlawful Eagles, from Black Stabbath to the Essex Pistols and the Bootleg Beatles, tribute bands contain an important zone of many nationwide tune scenes. Access All Eras is the 1st booklet to envision the tribute and canopy band phenomenon and its position in the international renowned song undefined. the power of tributes to augment or problem the very concept of stardom is explored via reviews of imitations of assorted iconic pop and rock performers, together with Elvis, the Beatles, Jimi Hendrix, ABBA and the seashore Boys. research of such tribute acts can let us know a lot approximately how the meanings of performers and function flow globally, and are resisted or accommodated by means of neighborhood song cultures within the commercialisation of dwell and recorded stories.
The booklet additionally appears to be like at tune attitudes in the direction of imitation, together with copyright concerns and using multimedia functionality concepts to bring the ‘authentic’ tribute event. It deals an perception into how understandings of nostalgia and superstar move inside of modern society and are hooked up with different media and relaxation industries.
Access All Eras is essential analyzing for college students in well known song, media reports, cultural experiences, arts, track, sociology, appearing arts and pop culture experiences.
Read or Download Access All Eras: Tribute Bands and Global Pop Culture PDF
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Extra resources for Access All Eras: Tribute Bands and Global Pop Culture
Example text
It has been argued that from a sociological perspective many of the features of the tribute band phenomenon align closely with particular characteristics associated with postmodernity. In particular, the tribute band’s aim of achieving a near perfect simulacrum as possible of the tributed act corresponds with the reproduction and simulation often associated with postmodern affect. Similarly, in using their creative licence to recreate aspects of a tributed act’s performing history, tribute bands exemplify the process identified by Redhead (1990) whereby popular music, as a quintessentially postmodern cultural form, subverts the linear progression of time associated with modernity and replaces this with ‘circular’ pop time.
Deprived of an immediate past of their own to plunder, cable and pay television networks have invested heavily in older film, television drama and sitcom stocks to attract viewers. Music television has been an important part of this process. Both free-toair and pay networks offer programmes that relive pop and rock’s history. This is achieved through the presentation of a ‘past-iche’ of iconic social/ generational/music moments, evident in VH-1 and MTV strategies (Burns 1996: 132). A favourite is the ‘instant nostalgia show’ (Frith 2002: 227) that compiles endless lists of the ‘greatest’ bands/songs/decades/videos.
The most popular tributes have bypassed the pubs in favour of theatres, which provide a more comfortable setting, as explained by Bjo ¨ rn Again co-founder, Rod Leissle: You can’t go into a grand scale [in the pubs], but the theatre circuit is great, it allows for a better show. The other Abba bands can’t play at this level – the costs are massive. Our current theme for this tour is ‘Home Swede Home’, with a backdrop of a house, fjords in the background, a grand piano and candelabra. (Leissle interview 2004) For the top tier of tribute acts with established credentials like Bjo ¨ rn Again, theatres are their ‘natural’ home in both an economic and conceptual sense.
Access All Eras: Tribute Bands and Global Pop Culture by Shane Homan
by Charles
4.4