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Extra resources for Access All Eras
1) captures the ‘Australian invasion’ of tribute acts in Britain in the early 1990s, with a useful summary of arguments about their popularity, delivered with a distinctive ‘indie’ press understanding of relationships between core (UK) and marginal (Australian) sites of music production. Within the mixture of musician and booking agency rationales offered for their success, the tribute phenomenon is ultimately dismissed as the product of a range of industrial changes: the lack of innovation from original acts; ageing live music audiences; genre shifts; and a return to ‘entertainment’ (Joy 1992: 45).
Benjamin, W. (1973) Illuminations / Walter Benjamin, edited with an introduction by H. Arendt, trans. H. Zohn. London: Fontana. Bennett, A. (2000) Popular Music and Youth Culture: Music, Identity and Place. Basingstoke: Macmillan. Bennett, A. (2001) Plug in and play! UK Indie guitar culture, in A. Bennett and K. Dawe (eds) Guitar Cultures. Oxford: Berg. Best, S. and Kellner, D. (1997) The Postmodern Turn. London: The Guildford Press. Cohen, S. (1991) Rock Culture in Liverpool: Popular Music in the Making.
1985) One Chord Wonders: Power and Meaning in Punk Rock. Milton Keynes: Open University Press. Lash, S. (1990) Sociology of Postmodernism. London: Routledge. MacCannell, D. and MacCannell, J. (1993) Social class in postmodernity: simulacrum or return of the real? in C. S. Turner (eds) Forget Baudrillard? London: Routledge. Martin, G. and Hornsby, J. (1979) All You Need Is Ears. London: Macmillan. F. (1993) Rock: The Primary Text – Developing a Musicology of Rock. Buckingham: Open University Press.