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 area of many nationwide song scenes. Access All Eras is the 1st ebook to envision the tribute and canopy band phenomenon and its position in the international well known track undefined. the facility of tributes to enhance or problem the very notion 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 flow globally, and are resisted or accommodated through neighborhood track cultures within the commercialisation of stay and recorded thoughts.
The booklet additionally appears to be like at track attitudes in the direction of imitation, together with copyright matters and using multimedia functionality options to carry the ‘authentic’ tribute adventure. It deals an perception into how understandings of nostalgia and famous person movement inside modern society and are attached with different media and rest industries.
Access All Eras is vital interpreting for college students in well known tune, media reviews, cultural stories, arts, tune, sociology, appearing arts and pop culture stories.
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Extra info for Access All Eras: Tribute Bands and Global Pop Culture
Well, you’d hardly think the Beatles are playing St Albans or Watford Coliseum. But you have to kind of salute and say ‘Yes, we’ll change that immediately’ . . and [lawyers representing Apple] made us change the dropped ‘t’ in the Beatles logo. (Harrison interview 2004) National copyright laws make a distinction between recordings of live performance, and attempts to recreate them. As Auslander (1999: 140–1) has explained in the context of US law, while he is prohibited ‘from making a video of a Rolling Stones concert without their permission, it would not prohibit me from recreating their concert as a live performance’.
These representations come to constitute a very great proportion of our perceived reality. And/or our perception of reality comes to be increasingly by means of these representations’. Lash’s comments have a distinct resonance with certain qualities associated with the tribute band. The art of the tribute band involves creating as perfect as possible a representation of the tributed act. Many tribute bands go to great lengths to achieve this, both musically and visually. In some cases this involves seeking out vintage guitars, amplifiers and electronic effects, or having them specially built in order to capture the ‘authentic’ sound of the tributed act.
Hoping to reflect their own unique qualities, the contestants must first display their abilities as ciphers of the past. The British programme Starstruck eliminates the veneer of individualism, instead explicitly seeking to confer stardom upon the best tribute. Television advertising exploits older hits for a wide variety of products, consumers and televisual contexts. As a medium ‘organised around an aesthetic of immediacy (rather than reflection)’ (Frith 2002b: 280) the disjuncture between personal memories of hits, and their use on television as contemporary commodity, is more keenly felt.