By Shane Homan
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Additional resources for Access All Eras
From a sociological point of view, tribute bands are a highly interesting phenomenon. On the one hand they have a distinctly postmodern character, the ultimate goal of the tribute band being to produce a perfect simulacrum of the tributed act. On the other hand, through their reworking of performances by groups who are either long since defunct, or who tour infrequently and generally perform only in large auditoriums, tribute bands respond to a range of mundane, everyday desires exhibited by audiences: to relive a particular moment in their youth; to experience again their personal icons in a live 20 INDUSTRIES AND AUDIENCES setting (and perhaps take their children along too); to engage in the rapport between performer and audience deemed integral to the communicative quality of popular music.
From the outset, musicians are embedded in a culture of copying, and have to be attentive to distinctions between genres and artists, whether ‘producing an exact copy’ or in ‘the adaptation of stylistically suitable components from one song or one stylistic context to another’ (Green 2002: 29). 5 Secondly, sampling practices have shattered, or at least questioned, the notion of the ‘distinctive’ and unique musical work; rather, all pop derives from a combination of reheated riffs, lyrics and themes.
Playing with time One further aspect of the tribute band phenomenon with a distinctly ‘postmodern’ edge is the often evident ‘disrespect’ displayed by tribute bands for chronological continuity. According to Redhead (1990), popular music is, by its very nature, a postmodern form due to its disruption of linear time. Pop time, argues Redhead, is ‘circular’, a feature that is most readily observed through the continuous re-emergence of music and related styles of clothing in a continuous cycle of pop-revivalism.
Access All Eras by Shane Homan