. . . for a book update, so here we go:
As of late, I've been working almost exclusively on the Get Up Kids and Jimmy Eat World chapters. I interviewed former Get Up Kids drummer Ryan Pope on Monday and the conversation went really well. We touched on a lot of things that I've always wondered about the band. Now I'm trying to think of what else I could ask his brother, Rob, when I interview him. I'm sure I will leave no stone unturned.
The spot in the Jimmy Eat World chapter that I'm currently on is just after they signed with Capitol Records and were about to record Static Prevails. These were some different times back in 1995/96 and I hope that comes across. Due to the fact that Christie Front Drive is often talked about but never really described in other places, I figured the Jimmy Eat World chapter was the best place to bring them up.
Along those lines, I feel it's safe to come out and say that each chapter is not completely focused on the band/label it's named after. Case in point, the Get Up Kids chapter contains some substantial coverage on Vagrant Records, Weezer and Dashboard Confessional in addition to the story of the GUKs. So, here's a little chapter rundown (with rough synopses too):
A Starting Point - this is for setting up ideas that will be explored throughout the book just like a normal intro chapter would, but it's not like a 30-second intro on a rap album.
Dischord Records, Washington DC - devoted to the influential label that had an effect on all of the following chapters, with spotlights on bands like Rites of Spring, Dag Nasty and Embrace, the '90s alternative rock explosion and Fugazi. Though this is still in the outline phase, probably the biggest part of the whole chapter is Ian MacKaye's ideas and philosophies.
Jawbox, Washington DC - spotlighting the first Dischord band that went to a major label along with some coverage on Shudder to Think, DeSoto Records and radio station, WHFS.
Jawbreaker, San Francisco, CA - spotlights the "pop with a distortion pedal" trio along with touching on the pop-punk boom in the mid-'90s.
Sunny Day Real Estate, Seattle, WA - sheds more light on the Seattle-based band that was just a melancholy rock band on Sub Pop that was later pegged as emo godfathers. Also profiles Sub Pop, Mineral and Pedro the Lion.
Braid, Champaign, IL - first profiled band from the Midwest that toured like crazy and produced an incredible number of recordings in only six years. Also profiles Elizabeth Elmore and Polyvinyl Records.
The Promise Ring, Milwaukee, WI - another Midwest-based band that toured like crazy and generated some interest from major labels. Also covers Cap'n Jazz, Jade Tree, graphic design and Epitaph Records.
Hot Water Music, Gainesville, FL - technically, the flow of the chapters would be offset by talking about this band, but they are too important to leave out. This chapter is still in the outline stage, but I plan on to touch on Avail and No Idea Records too.
The Get Up Kids, Olathe, KS - showcases a band that tasted some mainstream exposure, but never really got any more. A pivotal, turning point chapter. Also spotlights late-90s wide meaning of hardcore, Vagrant Records, Weezer and Dashboard Confessional.
At the Drive-In, El Paso, TX - sheds more light on the band that almost became as important as Nirvana was in the early 1990s (in the mainstream's mind). Touches on OffTime Records and the desire for real rock in the mainstream circa the late-1990s/early-2000s.
Jimmy Eat World, Mesa, AZ - focuses on the band that experienced mainstream visibility, a platinum record and retained credibility all along the way. Also touches on Christie Front Drive, Deep Elm Records and the younger audience that embraced the mainstream identity of emo.
Pause - an epilogue touching on the good and the bad of emo being a mainstream identity.
This is all subject to change, but this is the outline I've been working on since March 2004. Stay tuned . . .