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 track scenes. Access All Eras is the 1st booklet to check the tribute and canopy band phenomenon and its position in the international well known track undefined. the power of tributes to augment or problem the very proposal 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 circulation globally, and are resisted or accommodated via neighborhood song cultures within the commercialisation of dwell and recorded thoughts.
The e-book additionally appears to be like at song attitudes in the direction of imitation, together with copyright matters and using multimedia functionality innovations to carry the ‘authentic’ tribute adventure. It deals an perception into how understandings of nostalgia and superstar circulation inside of modern society and are attached with different media and rest industries.
Access All Eras is vital examining for college students in renowned song, media stories, cultural stories, 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
The success of the tribute band in achieving this aim is of course also highly dependent upon the willingness of the audience to buy into and go along with the ‘trick of illusion’ that the tribute band attempts to stage. The issue of audience reception also needs to be set in context. As noted above, tribute bands have assumed their place in a world where the replication and reproduction of objects and images is increasingly taken for granted and largely perceived as ‘normal’. This is particularly striking in the case of popular music where, in addition to tribute bands, a range of television shows, such as Pop Idol and Stars In Their Eyes, feed an apparently inexhaustive desire on the part of audiences for rock and pop impersonators.
This is particularly striking in the case of popular music where, in addition to tribute bands, a range of television shows, such as Pop Idol and Stars In Their Eyes, feed an apparently inexhaustive desire on the part of audiences for rock and pop impersonators. However, a question might be asked as to why it is specifically popular music that has become the object of tribute acts. Certainly, other aspects of contemporary popular culture, notably sport, are now the focus of a ‘lookalike’ culture, demonstrated by the growing industry for imitators of sports personalities such as David Beckham at parties, weddings and other social functions.
Bands tributing a variety of artists from each era of post-Second World War popular music history can now be found in major cities around the world. As previously stated, for Baudrillard (1983) a key manifestation of postmodernism’s representational affect is the ever intensifying global flow of images, with the image taking priority over the original artefact. For example, although a minority of people may have visited the Taj Mahal, or the pyramids of Egypt, through their appropriation by the media the images of these buildings have come to be known and instantly recognizable throughout the world.