New PDF release: Access All Eras: Tribute Bands and Global Pop Culture

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 region of many nationwide track scenes. Access All Eras is the 1st publication to check the tribute and canopy band phenomenon and its position in the worldwide renowned tune undefined. the facility of tributes to enhance or problem the very inspiration of stardom is explored via stories 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 movement globally, and are resisted or accommodated via neighborhood song cultures within the commercialisation of reside and recorded stories.

The e-book additionally seems to be at tune attitudes in the direction of imitation, together with copyright concerns and using multimedia functionality recommendations to carry the ‘authentic’ tribute adventure. It bargains an perception into how understandings of nostalgia and megastar flow inside of modern society and are attached with different media and rest industries.

Access All Eras is vital interpreting for college kids in well known song, media stories, cultural reports, arts, tune, sociology, acting arts and pop culture reports.

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

Example text

After playing George Harrison in the film Backbeat (Channel Four 1994), Chris O’Neill formed the Backbeat Beatles in Britain in the early 1990s. Lance Strauss, the Australian ‘Elton Jack’, had first performed in Lennon the Musical in Sydney in 1986. Before establishing the Bootleg Beatles, Neil Harrison was a cast member of the US show Beatlemania in 1979 (Harrison interview 2004). Creativity and copyright In the absence of access to the original songs, tributes have also been useful for performing various types of copying.

Bennett 2000: 191). Although musically very proficient, much of the success generated by the Benwell Floyd undoubtedly revolved around their ability to engage at a local level with their audience in this way. The use of a strong local dialect by the group’s frontman, his ability to name-check local places and his knowledge about the region’s local culture, were all crucial to the rapport he shared with the audience and made his tongue in cheek references to issues such as the rivalry between Newcastle and Sunderland acceptable; lacking such local knowledge, a person from outside the region would almost certainly have failed to achieve the same level of rapport with the audience.

But when they start doing a tribute to a current Australian band in the Australian marketplace where we were making our money, it was a bit off. There would be an element of people going, ‘Oh, I’ve already seen a band play the songs, so I don’t really want to see The Angels play’. (Angels’ manager and drummer Brent Eccles cited in Benedictus 2004) The Angels example brings us back to the harsher economic principle of ‘free riding’: tributes have the capacity to trade upon the original band and its many years of visibility in the marketplace.

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

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