02092    a2200313   4500001001100000005001700011008003900028020001800067037003600085040000700121041000800128072001600136072001400152072001500166072001500181072001400196072001200210072002100222072002100243072002100264072002500285100002000310245009300330250000600423260003200429300001000461520129200471999001501763131701291720250317111642.0250312042016GB                   eng    a9781317012917  bTaylor & FranciscGBP 42.99fBB  a01  aeng7 aAVLP2thema7 aGL2thema7 a6PB2bisac7 a6RF2bisac7 aAVGP2bic7 aGL2bic7 aMUS0350002bisac7 aART0590002bisac7 aMUS0000002bisac7 a782.4216609222bisac1 aMichael Brocken10aTwenty-First-Century Legacy of the BeatlesbLiverpool and Popular Music Heritage Tourism  a1  aOxfordbRoutledgec20160303  a244 p  bIt has taken Liverpool almost half a century to come to terms with the musical, cultural and now economic legacy of the Beatles and popular music. At times the group was negatively associated with sex and drugs images surrounding rock music: deemed unacceptable by the city fathers, and unworthy of their support. Liverpudlian musicians believe that the musical legacy of the Beatles can be a burden, especially when the British music industry continues to brand the latest (white) male group to emerge from Liverpool as ’the next Beatles’. Furthermore, Liverpudlians of perhaps differing ethnicities find images of ’four white boys with guitars and drums’ not only problematic in a ’musical roots’ sense, but for them culturally devoid of meaning and musically generic. The musical and cultural legacy of the Beatles remains complex. In a post-industrial setting in which both popular and traditional heritage tourism have emerged as providers of regular employment on Merseyside, major players in what might be described as a Beatles music tourism industry have constructed new interpretations of the past and placed these in such an order as to re-confirm, re-create and re-work the city as a symbolic place that both authentically and contextually represents the Beatles.  c7681d7681