Mark II: Re-working the Heritage B(r)and

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The “rock-heritage industry” (Reynolds 2011: 25) is a multi-faceted one. The tribute/cover band industries have been well documented as a sector of live performance (Gregory 2012; Homan 2006). A range of media platforms, from Classic Albums to Q magazine to The X Factor to Glastonbury, further consecrates the rock canon (Bennett 2009). In addition, ‘heritage’ has entered into governmental discourse, with heritage walk programs, and various means to preserve built environments connected to rock heritage.

A striking feature of the contemporary music industries is the ability of past eras and musicians to maintain currency through a variety of ‘presences’ (Couldry 2012) across music-media soundscapes and platforms. This paper examines the discourses and practices of committed musicians from original bands that have chosen to re-create the original act (albeit with modifications). Drawing on both famous and lesser known acts, it investigates the arguments proposed by musicians and fans in the maintenance (and claims) to canonical status; and their role in judgements of contemporary cultural value. The case studies will range across the performative, legal and historical contexts of ‘Mark II’ bands attempting to engage with contemporary audiences. Distinct from the original bands (and their copies), this paper examines how Mark II versions simultaneously challenge and reinforce understandings and practices of rock heritage.
Original languageEnglish
Title of host publicationRemembering Popular Music's Past
Subtitle of host publicationMemory, Heritage, History
EditorsLauren Istvandity, Sarah Baker, Zelmarie Cantillon
Place of PublicationLondon UK
PublisherAnthem Press
Number of pages15
ISBN (Electronic)9781783089710
ISBN (Print)9781783089697, 1783089695
Publication statusPublished - 1 Jun 2019


  • popular music
  • history
  • heritage

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