By Shane Homan
From Björn back to the unlawful Eagles, from Black Stabbath to the Essex Pistols and the Bootleg Beatles, tribute bands include an important area of many nationwide song scenes. Access All Eras is the 1st publication to envision the tribute and canopy band phenomenon and its position in the worldwide well known track undefined. the facility of tributes to enhance or problem the very inspiration of stardom is explored via reviews of imitations of varied 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 stream globally, and are resisted or accommodated by way of neighborhood song cultures within the commercialisation of dwell and recorded thoughts.
The booklet additionally seems to be at track attitudes in the direction of imitation, together with copyright matters and using multimedia functionality innovations to bring the ‘authentic’ tribute event. It bargains an perception into how understandings of nostalgia and star movement inside of modern society and are hooked up with different media and rest industries.
Access All Eras is vital examining for college kids in renowned tune, media stories, cultural reviews, arts, tune, sociology, acting arts and pop culture experiences.
Read Online or Download Access All Eras: Tribute Bands and Global Pop Culture PDF
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Additional info for Access All Eras: Tribute Bands and Global Pop Culture
Tribute bands fit easily within media markets that perform a careful balancing act between affecting a contemporary superiority about the past, and the reaffirmation of ‘unarguably great’ performers. 1). The steady growth in stage versions of ‘classic’ (musical, film, television, book) texts such as Saturday Night Fever, Titanic: the Musical and Mary Poppins the Musical has produced a bewildering number of shifts between ‘definitive’ portrayals and performative moments. For example, Saturday Night Fever (the musical) invites audiences to simultaneously incorporate both the film and the Bee Gees/RSO recording as reference points, and the various personal contexts in which they previously heard these songs (radio, television reruns, concert performances).
Since the 1980s, radio, and particularly film and television, have looked to ‘the vault’ of archival material that reveals particularly cynical discourses of pop culture history, media markets and contemporary youth. Reconnecting ageing ‘baby boomer’ audiences with their audio-visual ‘YOU’VE GOT TO CARRY THAT WEIGHT’ 33 memories has become a key survival strategy for a range of media. Yet the very different contexts, and more significantly, the different audiences granted access to this form of programming means that it offers not just recycling, but reinterpretations of the past.
I have also noted how a major part of the tribute band’s success rests on the willingness of the audience to go along with the ‘trick of illusion’ that the tribute band performs. At the same time, however, tribute bands bring their own particular performative conventions to the live concert experience as a means of drawing the audience into the event, which I will now consider. Small is beautiful While the level of success achieved by some tribute bands is such that they now attract a considerable audience and thus play primarily in larger venues, many tribute bands continue to play in small clubs and bars.