Abstract
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.
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 language | English |
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Title of host publication | Remembering Popular Music's Past |
Subtitle of host publication | Memory, Heritage, History |
Editors | Lauren Istvandity, Sarah Baker, Zelmarie Cantillon |
Place of Publication | London UK |
Publisher | Anthem Press |
Chapter | 7 |
Pages | 85-100 |
Number of pages | 15 |
Edition | 1 |
ISBN (Electronic) | 9781783089710 |
ISBN (Print) | 9781783089697, 1783089695 |
Publication status | Published - 1 Jun 2019 |
Keywords
- popular music
- history
- heritage