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 ebook to check the tribute and canopy band phenomenon and its position in the worldwide renowned tune undefined. the power of tributes to augment or problem the very suggestion of stardom is explored via experiences 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 stream globally, and are resisted or accommodated via neighborhood song cultures within the commercialisation of reside and recorded stories.

The publication additionally appears to be like at tune attitudes in the direction of imitation, together with copyright matters and using multimedia functionality concepts to carry the ‘authentic’ tribute event. It bargains an perception into how understandings of nostalgia and star stream inside modern society and are hooked up with different media and relaxation industries.

Access All Eras is vital analyzing for college students in renowned track, media experiences, cultural reviews, arts, song, sociology, acting arts and pop culture reports.

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Additional resources for Access All Eras: Tribute Bands and Global Pop Culture

Sample text

Creativity and copyright In the absence of access to the original songs, tributes have also been useful for performing various types of copying. The Bootleg Beatles have provided soundtracks for television and films, ranging from direct copies to Beatleesque sounds and riffs. The Cavern Beatles provided voices and sounds for software company Music Playground, as part of its Beatles content in 2001 (Cavern Beatles 2004). Tributes challenge the music industry’s desire to protect artists as both ‘original’ and brand.

Like all ‘good forgers’ of historic art works, the tribute musicians ‘often have an extraordinary knowledge of the work of an artist, and of what [pop] history has to say about him’ (Benhamou and Ginsburgh 2002: 39). This forms part of the basis for counter arguments put by tribute musicians: that, done well, the imitation contributes further to the value of the original artist. Bjo ¨ rn Again’s management believe there are direct economic benefits for Abba in the international success of the tribute: I think [Abba] acknowledge the role we’ve had in their re-emergence.

Bennett, A. (2001) Plug in and play! UK Indie guitar culture, in A. Bennett and K. Dawe (eds) Guitar Cultures. Oxford: Berg. Best, S. and Kellner, D. (1997) The Postmodern Turn. London: The Guildford Press. Cohen, S. (1991) Rock Culture in Liverpool: Popular Music in the Making. Oxford: Clarendon Press. Eco, U. (1987) Travels in Hyperreality. London: Picador. 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.

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