By Shane Homan
From Björn back to the unlawful Eagles, from Black Stabbath to the Essex Pistols and the Bootleg Beatles, tribute bands contain an important region of many nationwide song scenes. Access All Eras is the 1st booklet to ascertain 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 thought of stardom is explored via reports 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 circulation globally, and are resisted or accommodated by means of neighborhood track cultures within the commercialisation of dwell and recorded stories.
The publication additionally seems at track attitudes in the direction of imitation, together with copyright concerns and using multimedia functionality ideas to carry the ‘authentic’ tribute event. It bargains an perception into how understandings of nostalgia and megastar stream inside of modern society and are attached with different media and relaxation industries.
Access All Eras is essential interpreting for college kids in well known track, media reports, cultural stories, arts, tune, sociology, appearing arts and pop culture experiences.
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Extra info for Access All Eras: Tribute Bands and Global Pop Culture
Replicating the series of Rolling Stones’ line-up changes over the course of a two hour stage performance, with one band member periodically changing identity, would disrupt the flow of the performance both temporally and visually. However, the omnipresence of Bryon Jones also works at an aesthetic level. For many Rolling Stones fans, the line-up featuring Brian Jones marks a time when the group released their best songs, and were at their best musically. 3 Thus far, I have been concerned to address those qualities of the tribute band phenomenon that most closely align with alleged characteristics of postmodern affect.
Bands tributing a variety of artists from each era of post-Second World War popular music history can now be found in major cities around the world. As previously stated, for Baudrillard (1983) a key manifestation of postmodernism’s representational affect is the ever intensifying global flow of images, with the image taking priority over the original artefact. For example, although a minority of people may have visited the Taj Mahal, or the pyramids of Egypt, through their appropriation by the media the images of these buildings have come to be known and instantly recognizable throughout the world.
Arguably, the appeal of the tribute band formula has everything to do with the way audiences respond to popular music and tribute bands’ understanding of this response. As a primary form of ‘youth’ leisure and entertainment during the 1950s, popular music was initially the most systematically commodified form of mass produced, post-war popular culture. Certainly, with the progression of time, popular music has given rise to its own taste cultures whose canonical discourses are often at least as elaborate, in terms of their justification for consuming particular objects and artefacts, as those used by connoisseurs of ‘high’ culture (Frith 1996).
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