Download Access All Eras: Tribute Bands and Global Pop Culture by Shane Homan PDF

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 zone of many nationwide track scenes. Access All Eras is the 1st publication to envision the tribute and canopy band phenomenon and its position in the international well known tune undefined. the power of tributes to enhance or problem the very suggestion 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 movement globally, and are resisted or accommodated by way of neighborhood track cultures within the commercialisation of stay and recorded thoughts.

The e-book additionally appears to be like at song attitudes in the direction of imitation, together with copyright matters and using multimedia functionality suggestions to convey the ‘authentic’ tribute adventure. It bargains an perception into how understandings of nostalgia and megastar move inside modern society and are attached with different media and rest industries.

Access All Eras is essential analyzing for college kids in renowned song, media reviews, cultural reviews, 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

Sample text

Frith, S. (1988) Music for Pleasure: Essays in the Sociology of Pop. Oxford: Polity Press. Frith, S. (1996) Performing Rites: On the Value of Popular Music. Oxford: Oxford University Press. Frith, S. and Horne, H. (1987) Art into Pop. London: Methuen. Giuliano, G. (1992) The Beatles: A Celebration, 2nd edn. London: Sunburst Books. Laing, D. (1985) One Chord Wonders: Power and Meaning in Punk Rock. Milton Keynes: Open University Press. Lash, S. (1990) Sociology of Postmodernism. London: Routledge.

Pop time, argues Redhead, is ‘circular’, a feature that is most readily observed through the continuous re-emergence of music and related styles of clothing in a continuous cycle of pop-revivalism. Tribute bands add a significant new dimension to this process. In the course of tribute band performances, dead rock stars are brought back to life, defunct bands are reassembled, and classic live performances of yesteryear are accurately reproduced again and again. Moreover, in revisiting a tributed group or artist’s recording and performing history, tribute bands are in the privileged position of being able to creatively play around with that history and will often do so to present an idealized version of events.

On the one hand they have a distinctly postmodern character, the ultimate goal of the tribute band being to produce a perfect simulacrum of the tributed act. On the other hand, through their reworking of performances by groups who are either long since defunct, or who tour infrequently and generally perform only in large auditoriums, tribute bands respond to a range of mundane, everyday desires exhibited by audiences: to relive a particular moment in their youth; to experience again their personal icons in a live 20 INDUSTRIES AND AUDIENCES setting (and perhaps take their children along too); to engage in the rapport between performer and audience deemed integral to the communicative quality of popular music.

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