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It is equally important to consider the role of other media forms and economies, and how they represent, recycle and ‘sell’ the past to particular audiences. Popular music is not alone in its ability to exploit nostalgia to specific economic and representational ends. Successful British and Australian tributes to the Beatles and Abba are examined to reveal casespecific understandings of authenticity and creativity, and how such bands, to borrow from the Beatles’ 1970 Abbey Road album, ‘Carry That Weight’ of performing music history.

In more recent years, this desire to imitate has taken on a significant new dimension in the form of the ‘tribute band’. Unlike cover bands, tribute bands often go to great lengths to capture the ‘authentic’ sound and, in many cases, visual image of the tributed band or artist. Tribute bands now cover the spectrum of post-Second World War popular music, with tributed acts ranging from the Beatles, the Rolling Stones and the Doors, through Genesis, Pink Floyd, Abba and the Eagles to more recent acts such as Oasis and Nirvana.

I thought that would be fantastic, but at that point we weren’t making any money . . our logo, if you see the reflection on our logo, it is ‘ABBA’, and our lawyer told us that we were using the exact trademark, but we still use that trademark today. , they didn’t want us advertising the ‘ABBA’ logo just down the road [from them]. But it was OK if our ad was 25 per cent smaller than the theatre one. (Leissle interview 2004) Graceland/Elvis Presley Enterprises have provided a template for zealous protection of the music brand.

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