The Winner Takes It All: Transmedia Influence On The Afterlife Of Abba

In an entertainment industry saturated with competing texts, media scholar Henry Jenkins maintains transmedia storytelling as an economic imperative. From ABBA’s inception in the 1970s to its contemporary revivals, the band’s irresistible pop anthems have achieved a level of international staying power comparable only to that of the Beatles, due in large part to the music’s multimedia presence. ABBA, with its kitsch fashion and distinctive melodies, emerged from an era that was captivated by the British Invasion and was prone to “disco demolitions.” Yet over the years it has managed to find a way into the narratives of movies, musicals, and drag performances alike. How does this mass, cultural co-opting contribute to ABBA’s enduring fame? Further, can the band’s unique business acumen—a trait responsible for an ever-expanding fandom by way of museums, musicals, video games, and virtual concerts—serve as a model for modern immersive music experiences?Sociocultural analysis provides reasoning for the band’s early reception (and rejection) by international audiences, while historical research may clarify a precedent for finding success out of the Swedish music industry. Additionally, this paper interprets both qualitative and quantitative data from music magazines such as Creem and Melody Maker, industry sales charts, and a variety of art and entertainment critiques. By using these sources and methods, I clarify both the particular factors that contributed to ABBA’s popularity and those cultural and social sentiments that detracted from it. I also attempt to determine to what degree the band’s several revivals and business savvy have solidified their position in the popular music canon.