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 song scenes. Access All Eras is the 1st e-book to ascertain the tribute and canopy band phenomenon and its position in the worldwide well known tune undefined. the facility of tributes to augment or problem the very inspiration 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 movement globally, and are resisted or accommodated by means of neighborhood song cultures within the commercialisation of dwell and recorded stories.
The publication additionally seems at song attitudes in the direction of imitation, together with copyright concerns and using multimedia functionality thoughts to convey the ‘authentic’ tribute adventure. It deals an perception into how understandings of nostalgia and big name movement inside modern society and are hooked up with different media and relaxation industries.
Access All Eras is vital interpreting for college students in well known track, media reviews, cultural stories, arts, song, sociology, appearing arts and pop culture studies.
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Extra resources for Access All Eras: Tribute Bands and Global Pop Culture (UK Higher Education OUP Humanities & Social Sciences Media, Film & Cultural Studies)
Opportunities for the use of humour also exist where both the tribute band and its audience are from a particular place or region and share the same local knowledge and experience. During my research on the Benwell Floyd, I would often note how the group’s frontman made use of local dialect and injokes common to the North East region of England as a means of generating a rapport with the audience. On one occasion the frontman emerged onto the stage for the group’s second set of the evening wearing a Newcastle United football shirt, knowing full well that many members of the audience were Sunderland supporters, the intense local rivalry that exists between Newcastle and the nearby town of Sunderland being echoed in the support for their local football teams.
In Australia, ‘heritage rock’ (Potts 1992) has also been a staple of commercial music radio since the 1980s, to the extent that ‘the audience originally targeted in the 1980s (eighteen to thirty year olds) has largely remained with these stations – they are now in their forties’ (Cupitt et al. 1996: 21). The popularity of ‘Classic Hits’/‘Gold’ formats stretches to both AOR (album-oriented rock) and ‘contemporary hits’ stations. Responding to complaints that these stations were fulfilling their 25 per cent local content quota with recycled ‘classic’ Australian hits, the Australian Broadcasting Authority introduced a new requirement in 1999 – that at least 25 per cent of the quota be Australian music released in the past year.
The global popularity of Queen tribute bands, for example, cannot be disassociated from Queen’s ‘eternal presence’ in classic hit radio formats; ‘Bohemian Rhapsody’’s ironic (and iconic) status in the film Wayne’s World (Paramount 1993); the British televisual moment of lead guitarist Brian May opening the Queen’s Jubilee celebrations in 2002 on the roof of Buckingham Palace; or Freddie Mercury songs chosen by contestants in television vehicles such as Pop Idol or Starstruck in 2005. Performance contexts As a further layer of historical and performative interpretation, the tribute raises other questions about how it is produced and consumed within particular performance settings.