Abstract
This article explores how The Band's complicated relationship to divergent notions of authenticity has grounded the means by which Robbie Robertson is marked off from the rest of the group across the history of their star discourse. The author also considers the recent resurgence of The Last Waltz by examining the ways in which the film's performances, and texts about them, engage with what Andrew Wernick has called “promotional culture,” ultimately suggesting that it is the profound tension between the group's and Robertson's conflicting styles of authenticity that is a source of The Band's persisting popularity.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callSimilar Papers
Disclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
