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 area of many nationwide track scenes. Access All Eras is the 1st publication to envision the tribute and canopy band phenomenon and its position in the international renowned track undefined. the facility of tributes to enhance or problem the very concept of stardom is explored via experiences 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 move globally, and are resisted or accommodated via neighborhood tune cultures within the commercialisation of reside and recorded stories.
The e-book additionally seems to be at song attitudes in the direction of imitation, together with copyright matters and using multimedia functionality innovations to convey the ‘authentic’ tribute event. It bargains an perception into how understandings of nostalgia and famous person circulation inside of modern society and are hooked up with different media and rest industries.
Access All Eras is vital studying for college kids in well known song, media reports, cultural experiences, arts, tune, sociology, acting arts and pop culture experiences.
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Additional resources for Access All Eras: Tribute Bands and Global Pop Culture
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3 The significant number of tribute musicians who began their imitations in stage shows reinforces the tributes’ claim to theatre as their ideological ‘home’. 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).
The 2004 release of Starsky & Hutch (Warner Brothers) serves to illustrate the template as a parody of the US television crime show that aired from 1975 to 1979. The film’s central characters remain secondary to smug reminiscing of the 1970s, while appropriating scenes from both Saturday Night Fever (Paramount/RSO 1977) and Easy Rider (Columbia 1969) (Byrnes 2004: 19). Radio has also played its part in exploiting rock and pop archives, although by different means. ‘Hits and memories’ radio, like its televisual equivalents, is effective in capturing older audience groups.