You're with Stupid: kranky, Chicago, and the Reinvention of Indie Music
In the 1990s, Chicago was at the center of indie rock, propelling bands like the Smashing Pumpkins and Liz Phair to the national stage. The musical ecosystem from which these bands emerged, though, was expansive and diverse. Grunge players comingled with the electronic, jazz, psychedelic, and ambien...
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| 1. Verfasser: | |
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| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
Austin
University of Texas Press
[2022]
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| Schriftenreihe: | American Music Series
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| Schlagworte: | |
| Online-Zugang: | FHA01 URL des Erstveröffentlichers |
| Zusammenfassung: | In the 1990s, Chicago was at the center of indie rock, propelling bands like the Smashing Pumpkins and Liz Phair to the national stage. The musical ecosystem from which these bands emerged, though, was expansive and diverse. Grunge players comingled with the electronic, jazz, psychedelic, and ambient music communities, and an inventive, collaborative group of local labels-kranky, Drag City, and Thrill Jockey, among others-embraced the new, evolving sound of indie "rock." Bruce Adams, co-founder of kranky records, was there to bear witness. In You're with Stupid, Adams offers an insider's look at the role Chicago's underground music industry played in the transformation of indie rock. Chicago labels, as Adams explains, used the attention brought by national acts to launch bands that drew on influences outside the Nirvana-inspired sound then dominating pop. The bands themselves-Labradford, Godspeed You! Black Emperor, Low-were not necessarily based in Chicago, but it was Chicago labels like kranky that had the ears and the infrastructure to do something with this new music. In this way, Chicago-shaped sounds reached the wider world, presaging the genre-blending music of the twenty-first century. From an author who helped create the scene and launched some of its best music, You're with Stupid is a fascinating and entertaining read |
| Beschreibung: | Description based on online resource; title from PDF title page (publisher's Web site, viewed 01. Dez 2022) |
| Beschreibung: | 1 Online-Ressource (288 Seiten) 21 b&w photos |
| ISBN: | 9781477326169 |
| DOI: | 10.7560/321201 |
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| institution | BVB |
| isbn | 9781477326169 |
| language | English |
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| publisher | University of Texas Press |
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| spelling | Adams, Bruce Verfasser aut You're with Stupid kranky, Chicago, and the Reinvention of Indie Music Bruce Adams Austin University of Texas Press [2022] © 2022 1 Online-Ressource (288 Seiten) 21 b&w photos txt rdacontent c rdamedia cr rdacarrier American Music Series Description based on online resource; title from PDF title page (publisher's Web site, viewed 01. Dez 2022) In the 1990s, Chicago was at the center of indie rock, propelling bands like the Smashing Pumpkins and Liz Phair to the national stage. The musical ecosystem from which these bands emerged, though, was expansive and diverse. Grunge players comingled with the electronic, jazz, psychedelic, and ambient music communities, and an inventive, collaborative group of local labels-kranky, Drag City, and Thrill Jockey, among others-embraced the new, evolving sound of indie "rock." Bruce Adams, co-founder of kranky records, was there to bear witness. In You're with Stupid, Adams offers an insider's look at the role Chicago's underground music industry played in the transformation of indie rock. Chicago labels, as Adams explains, used the attention brought by national acts to launch bands that drew on influences outside the Nirvana-inspired sound then dominating pop. The bands themselves-Labradford, Godspeed You! Black Emperor, Low-were not necessarily based in Chicago, but it was Chicago labels like kranky that had the ears and the infrastructure to do something with this new music. In this way, Chicago-shaped sounds reached the wider world, presaging the genre-blending music of the twenty-first century. From an author who helped create the scene and launched some of its best music, You're with Stupid is a fascinating and entertaining read In English MUSIC / General bisacsh Alternative rock music Illinois Chicago History and critcism Alternative rock music Illinois Chicago History and criticism Record labels Illinois Chicago History Underground music Illinois Chicago History and criticism https://doi.org/10.7560/321201 Verlag URL des Erstveröffentlichers Volltext |
| spellingShingle | Adams, Bruce You're with Stupid kranky, Chicago, and the Reinvention of Indie Music MUSIC / General bisacsh Alternative rock music Illinois Chicago History and critcism Alternative rock music Illinois Chicago History and criticism Record labels Illinois Chicago History Underground music Illinois Chicago History and criticism |
| title | You're with Stupid kranky, Chicago, and the Reinvention of Indie Music |
| title_auth | You're with Stupid kranky, Chicago, and the Reinvention of Indie Music |
| title_exact_search | You're with Stupid kranky, Chicago, and the Reinvention of Indie Music |
| title_exact_search_txtP | You're with Stupid kranky, Chicago, and the Reinvention of Indie Music |
| title_full | You're with Stupid kranky, Chicago, and the Reinvention of Indie Music Bruce Adams |
| title_fullStr | You're with Stupid kranky, Chicago, and the Reinvention of Indie Music Bruce Adams |
| title_full_unstemmed | You're with Stupid kranky, Chicago, and the Reinvention of Indie Music Bruce Adams |
| title_short | You're with Stupid |
| title_sort | you re with stupid kranky chicago and the reinvention of indie music |
| title_sub | kranky, Chicago, and the Reinvention of Indie Music |
| topic | MUSIC / General bisacsh Alternative rock music Illinois Chicago History and critcism Alternative rock music Illinois Chicago History and criticism Record labels Illinois Chicago History Underground music Illinois Chicago History and criticism |
| topic_facet | MUSIC / General Alternative rock music Illinois Chicago History and critcism Alternative rock music Illinois Chicago History and criticism Record labels Illinois Chicago History Underground music Illinois Chicago History and criticism |
| url | https://doi.org/10.7560/321201 |
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