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 include an important zone of many nationwide tune scenes. Access All Eras is the 1st booklet to check the tribute and canopy band phenomenon and its position in the worldwide well known track undefined. the power of tributes to enhance or problem the very notion of stardom is explored via reports 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 circulation globally, and are resisted or accommodated by means of neighborhood track cultures within the commercialisation of stay and recorded stories.

The e-book additionally seems to be at tune attitudes in the direction of imitation, together with copyright matters and using multimedia functionality suggestions to carry the ‘authentic’ tribute adventure. It deals an perception into how understandings of nostalgia and famous person movement inside of modern society and are hooked up with different media and relaxation industries.

Access All Eras is essential interpreting for college students in well known track, media reviews, cultural reports, arts, track, sociology, appearing arts and pop culture reviews.

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Tribute bands now cover the spectrum of post-Second World War popular music, with tributed acts ranging from the Beatles, the Rolling Stones and the Doors, through Genesis, Pink Floyd, Abba and the Eagles to more recent acts such as Oasis and Nirvana. There is also a growing trend towards solo tribute acts, both for contemporary popular music artists, such as Elvis Presley, Rod Stewart and Neil Diamond, and those from earlier periods, for example, Frank Sinatra and Dean Martin. g. Bennett 2000) others are major touring concerns, their shows featuring lighting rigs, special effects, large PA (public address) systems and all the other trappings that one associates with a headline rock or pop act.

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. As Grainge (2000: 31) has argued, ‘the content and meaning of nostalgia is in many respects secondary to strategies of production and consumption’. Popular music remains a central component of the ‘contemporary past’ derived from changing media and entertainment environments. Television – a medium that has always been sensitive to its own histories and immediate past – has recycled older programmes in various forms.

Cohen (1991) and Bennett (2000) have each noted the significance of popular music in parent–children relationships, with children often inheriting tastes in music directly from their parents. Moreover, such shared musical tastes may form the basis for other aspects of kin relations, with parents and children listening to music together and collectively discussing the meaning of lyrics, and so on. Such discussions may in turn lead to parents sharing particular music-related stories with their children, for example, seeing Jimi Hendrix perform at the 1970 Isle of Wight Festival, or queuing for hours to buy tickets for a Led Zeppelin concert.

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