Indie pop is a genre of alternative rock music that originated in the United Kingdom in the mid-1980s, with its roots in Scottish post-punk bands on the Postcard Records label in the early '80s (Josef K and Orange Juice) and the dominant UK independent band of the mid-'80s, The Smiths. Indie pop was inspired by punk's DIY ethic and related ideologies, and it generated a thriving fanzine, label, and club and gig circuit. Indie pop differs from indie rock to the extent that it is more melodic, less abrasive, and relatively angst-free.^[1]

The term "indie" had been used for some time to describe artists on independent labels (and the labels themselves), but the key moment in the naming of "indie pop" as a genre was the release of NME's C86 tape in 1986.^[2] The compilation featured, among other artists, Primal Scream, The Pastels, and The Wedding Present, and "indie" quickly became shorthand for a genre whose defining conventions were identified as jangling guitars, a love of '60s pop, and melodic power pop song structures (the genre was initially dubbed "C86" after the tape itself).

In the mid to late '80s, indie pop was criticized for its associations with so-called "shambling" (a John Peel-coined description celebrating the self-conscious primitive approach of some of the music^[3]) and underachievement, but the C86 indie pop scene is now recognized as a pivotal moment for independent music in the UK,^[4] as is recognized in the subtitle of that compilation's 2006 extended reissue: CD86: 48 Tracks from the Birth of Indie Pop. Indie pop continues to have a strong following and inspire musicians, not just in the UK but around the world, with new bands, labels and clubs devoted to the sound.

Roots[link]

The birth of indie pop can be traced back to the post-punk explosion in limited-circulation photocopied fanzines, and small shop-based record labels such as London's Rough Trade Records and Glasgow's Postcard Records. The publication in Record Business magazine of the first weekly indie singles and album charts (for the week ending 19 January 1980) and the adoption of such charts in the UK music press stimulated activity. In order to reflect this, the British musical weekly New Musical Express released an era-defining compilation cassette called C81. This cassette featured a wide range of groups, reflecting the different approaches of the immediate post-punk era.

History[link]

NME followed up C81 with C86. Similarly designed to reflect the new music scene of the time in the UK, it is now seen as the birth of indie pop in the UK (the 2006 extended reissue CD86 is subtitled 48 Tracks from the Birth of Indie Pop). The UK music press was, in 1986, highly competitive, with four weekly papers documenting new bands and trends. The grouping of bands, often artificially, with an overarching label to heighten interest or sell copies, was commonplace. NME journalists of the period now agree that C86 was an example of this, but also a by-product of NME's "hip hop wars",^[5] a schism in the paper (and among readers) between enthusiasts of contemporary progressive black music (for example, by Public Enemy and Mantronix), and fans of guitar-based music, as represented on C86. C86 featured key early bands of the genre such as Primal Scream and The Pastels, but also included tracks by several more abrasive, "shambling" bands from the Ron Johnson label, who were atypical of the perceived C86 jangle pop aesthetic.

A link between C86 and unifying genre is commonly disputed by critics and the bands actually on the original compilation. Everett True, a writer for NME in the '80s under the name "The Legend!",^[6] has argued that "C86 didn't actually exist as a sound, or style. I find it weird, bordering on surreal, that people are starting to use it as a description again".^[7] Geoff Taylor, a member of the band Age of Chance, agreed: "We never considered ourselves part of any scene. I’m not sure that the public at large did either, to be honest. We were just an independent band around at that same time as the others."^[8] Bob Stanley, a Melody Maker journalist in the late 1980s and founding member of pop band Saint Etienne, acknowledges that participants at the time reacted against lazy labelling, but insists they shared an approach:

Of course the "scene", like any scene, barely existed. Like squabbling Marxist factions, groups who had much in common built up petty rivalries. The June Brides and the Jasmine Minks were the biggest names at Alan McGee's Living Room Club and couldn't stand the sight of each other. Only when the The Jesus and Mary Chain exploded and stole their two-headed crown did they realise they were basically soulmates.^[9]

Manic Street Preachers bassist Nicky Wire remembers that it was the bands' very independence that gave the scene coherence: "People were doing everything themselves - making their own records, doing the artwork, gluing the sleeves together, releasing them and sending them out, writing fanzines because the music press lost interest really quickly."^[10]

Many of the actual C86 bands distanced themselves from the scene cultivated around them by the UK music press - in its time, C86 became a pejorative term for its associations with so-called "shambling" (a John Peel-coined description celebrating the self-conscious primitive approach of some of the music^[11]) and underachievement.

In 2004 the UK-focused Rough Trade Shops compilation Indiepop Vol. 1 effectively documented the history of the sound acknowledging that it pre- and post-dated 1986.

Influences[link]

In his book Time Travel, pop historian Jon Savage traced the musical origins of C86 and indie pop to the Velvet Underground's eponymous third album. Power pop was a significant influence, as was punk and post-punk. Catchy power pop melodies made the Ramones and the Buzzcocks the most identifiable punk influences. Before the last and main influence on C86 and indie pop - The Smiths - the bands of Glasgow's post-punk independent Postcard label had some influence: Josef K and Orange Juice (along with contemporaries The Fire Engines). Other possible musical antecedents included The Television Personalities and the Swell Maps.

The inspiration of punk's DIY ethic manifested itself, too, in fanzines from the period. Significant titles from the period were: Kevin Pearce's Hungry Beat!, John Robb and Mark Tilton's Rox, and Everett True's The Legend! Other titles included: Pure Popcorn, Baby Honey, Simply Thrilled and Are You Scared To Get Happy? The fanzines often featured flexi discs of bands associated with C86.

The jangle pop indie sensibility with which C86 became synonymous began to be applied to bands who had not appeared on the tape. Some influenced by the compilation and later associated with it had yet to emerge in 1986, such as Talulah Gosh and Razorcuts. The UK label Sarah Records, which released its first record in 1987, embraced the perceived jangly indie pop sensibility in such a way that it - and its most popular bands, The Field Mice and Heavenly - could be seen as typical proponents.

The movement continued to hold sway into the 1990s. Scenes developed in the United States, particularly around labels such as K Records and Slumberland Records. Bands of the US riot grrrl movement acknowledged a debt to C86, and Scottish band Belle and Sebastian recognized its influence.

In the United States, the terms "twee",^[12] "twee pop" and "cutie" (all pejorative terms in the UK) have been adopted retrospectively to describe some examples of indie pop, owing to what has been called the genre's "revolt into childhood".^[13]

In the mid-2000s, London clubs such as How Does it Feel to be Loved?^[14] continue to air tracks from C86, and Sweden has increased its export of indie pop through Labrador Records.^[15]

See also[link]

• List of indie pop artists
• Indie rock
• DIY ethic
• John Peel
• Fanzine

References[link]

Further reading[link]

• Abebe, Nitsuh [1], Pitchfork Media, 24 October 2005
• Bladh, Krister Everything went Pop!, C86 and more, A wave and its rise and wake (pdf) 2005
• "Fire Escape Talking","Anoraky in the UK,C86, the punk that refuses to die" ("Fire Escape Talking blog", 7 July 2006)
• Fitchett, Alastair, C86 (Tangents Blog, 25 July 2005)
• Hann, Michael Fey City Rollers (The Guardian, 13 October 2004)
• Pearce, Kevin A Different Story; The Ballad of the June Brides(Tangents, March 2001)
• Reynolds, Simon Rip It Up and Start Again: Post Punk 1978-1984 (Faber and Faber, 2005) ISBN 0-571-21569-6
• Reynolds, Simon The C86 Indie Scene is back (Time Out, 23 Oct 2006)
• Rogers, Jude Smells like Indie Spirit (The Observer, 8 July 2007)
• Stanley, Bob, Where were you in C86? (The Times 20 October 2006)
• True, Everett C86 Q&A(Plan B Blog 22 July 2005)
• Wire, Nicky The Birth of Uncool(The Guardian, 25 October 2006)

External links[link]

• TweeNet - Indiepop Reference Web site

Look up Indie or indie in Wiktionary, the free dictionary.

Indie is a shortform of "independence" or "independent"; it may refer to:

• Indie art, fine arts made by artists independent of commercial fine arts establishments
• Independent circuit, professional wrestling independent promotions
• Independent church (disambiguation), a church unaffiliated with a denominational organization
• Indie design, for handmade products by independent artisans
• Independent film, a low budget film by a small studio
• Indie comics
• Indie literature, a book published outside of mainstream publishing
• Small press, a book or magazine publisher whose publications appeal to small, niche audiences, and are typically not distributed widely
• Independent soda, made by small privately run companies

Games[link]

• Indie role-playing game, a role-playing game published outside of traditional, "mainstream" means
• Indie RPG Awards, annual, creator-based awards for Indie role-playing game products
• Indie game, a video game published outside mainstream means
• Independent video game development, video games created without financial backing from large companies
• Indie Fund, an organization created by several independent game developers to help fund budding indie video game development
• Indie Game Jam, an effort to rapidly prototype video game designs and inject new ideas into the game industry

Music[link]

• Independent record label, operates without major corporate funding
• Independent music, subculture music that is independent of major producers
  • Indie dance, a type of dance music rooted on indie rock and indie pop
  • Indie electronic
  • Indie folk, a music genre that arose in the 1990s from singer/songwriters in the indie rock community showing heavy influences from folk music scenes of the 50s, 60s and early 70s, country music, and indie rock
  • Indie hip hop, hip hop music that primarily exists in the independent music scene
  • Indie pop a genre of alternative pop music
  • Indie rock, a genre of alternative rock music
• Indie Recordings, a Norwegian independent record label specialising in heavy metal

Television[link]

• How to Be Indie, Canadian preteen/teen TV series
• Indie porn

See also[link]

• Indi (disambiguation)
• Indies (disambiguation)
• Indy (disambiguation)
• List of independent radio stations
• The Independent (disambiguation)

This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

Look up pop in Wiktionary, the free dictionary.

Pop may refer to:

Music and dance[link]

• Pop music, a musical genre
• Pop!, a UK pop group
• Pop! featuring Angie Hart, an Australian band
• PoP!, the fictional band in Music and Lyrics
• Pop (U2 album)
• Pop (Mao Abe album)
• Pop (Gas album)
• Pop (Same Difference album)
• Pop (Joachim Witt album)
• "Pop" (song), by 'N Sync
• Popping, a style of dance

People[link]

• Iggy Pop, musician
• Iulian Pop, Romanian mayor of Cluj
• Gregg Popovich, National Basketball Association head coach
• Pop Chalee, also known as Merina Lujan (1906–1993), American painter, muralist, performer and singer
• Pop Corkhill (1858-1921), American Major League Baseball (MLB) player
• Pop Dillon (1873-1931), American MLB player
• Pop Foster (1878-1944), American MLB player
• Pop Gates (1917-1999), American basketball player and Harlem Globetrotters coach
• Pop Ivy (1916-2003), American football player and coach
• Pop Levi, English singer, musician, record producer and filmmaker
• Pop Robson (born 1945), English footballer
• Pop Schriver (1865-1932), American MLB catcher
• Pop Smith (1856-1927), Canadian MLB player
• Pop Snyder (1854-1924), American MLB player, manager and umpire
• Pop Tate (baseball) (1860-1932), American MLB player
• Glenn Scobey Warner (1871-1954), American football player and coach better known as Pop Warner
• Pop Williams (1874-1959), American MLB pitcher

Sports and games[link]

• Pop (professional wrestling)
• Pop (video game)
• Pokémon Organized Play, a trading card and figure organization
• Prince of Persia

Computing and technology[link]

• Package on package, a circuit packaging technique
• Parallel Ocean Program, an ocean circulation model
• Partial-order planning, an algorithm
• Point of Presence, a demarcation point between communications entities
• Post Office Protocol, an Internet e-mail protocol
• An operation of a stack data structure

Media and publications[link]

• Pop (UK TV channel), a UK channel
• Pop (fashion magazine), a British fashion magazine
• Pop Magazine (Australia), a sports magazine
• Pop (Swedish magazine)
• POP TV, a Slovenian television network
• Physical & Occupational Therapy in Pediatrics, a medical journal

Places[link]

• Pop River (Jijia), Romania
• Pop River (Sadu), Romania
• Puerto Plata Airport, IATA code POP
• Poppleton railway station, station code POP
• Pacific Ocean Park, an amusement park

Other uses[link]

• Eton Society, an organization at Eton College, nicknamed "Pop"
• Pay on production
• Plaster of Paris
• Persistent organic pollutant, an organic compound resistant to degradation
• Pop art, a visual art movement
• Pop culture, the mainstream phenomena of a society
• Pop, another term for soft drinks
• Population, the collection of humans or organisms in a given area
• Probability of precipitation, a weather forecasting measure
• Problem-oriented policing, a policing strategy
• Process Oriented Psychology
• Progestogen only pill, a contraceptive
• Point of Purchase used often in retail
• Proof-of-payment, a fare collection approach

See also[link]

• Pops (disambiguation)
• PoP (disambiguation)
• Popping (disambiguation)

This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

The Bird and the Bee
The Bird and the Bee performing at The Bell House in Brooklyn, New York City on March 6, 2009. Greg Kurstin (left) and Inara George (right)
Background information
Origin	Los Angeles, California, United States
Genres	Indie pop, synthpop, psychedelic pop, shoegaze
Years active	2006–present
Labels	Metro Blue, Blue Note
Associated acts	Geggy Tah
Website	www.thebirdandthebee.com
Members
Greg Kurstin Inara George

The Bird and the Bee is an American indie pop musical duo from Los Angeles, California, consisting of musicians Inara George ("the bird") and Greg Kurstin ("the bee"). Kurstin, a producer and keyboardist who has worked with artists such as Lily Allen, Kylie Minogue, Little Boots, Ladyhawke, Sophie Ellis-Bextor, Beck, Barenaked Ladies, The Flaming Lips and Red Hot Chili Peppers, is also a member of the band Geggy Tah. George and Kurstin met while the two were working on her debut album and they decided to collaborate on a jazz-influenced electropop project. Their debut EP, Again and Again and Again and Again, was released on October 31, 2006, followed by their self-titled debut album on January 23, 2007.

History[link]

According to their Myspace page, "Greg and Inara met a few years ago. Discovered a common love of jazz standards... nerded out for a couple of hours playing every song they knew... and then wrote and recorded a record together."^[1] That record was the four-track EP Again and Again and Again and Again, released on October 31, 2006 by Blue Note Records.^[2] The EP includes the single "Fucking Boyfriend", which topped the Billboard Hot Dance Club Play chart on the issue dated December 2, 2006.^[3]

The duo's self-titled debut studio album, The Bird And The Bee was released on January 23, 2007^[2] to positive reviews; Allmusic described it as "irresistible" and "charming and delightful at every turn".^[4]

Summer of 2007 saw the band touring as the opening act for English singer Lily Allen,^[5] while their music was heard twice that year in the ABC drama series Grey's Anatomy, with "Again & Again" featured in the April 26 episode titled "Desire", and "Polite Dance Song" featured in the October 25 episode "Haunt You Every Day";^[6] the former was also included on the third volume of the show's soundtrack.^[7] With the holiday season came additional exposure for the group, when Apple Inc.'s iTunes Store chose "Carol of the Bells" to be the featured "Free Single of the Week" for the week of November 27.

In 2008 the duo's third EP One Too Many Hearts was released exclusively in digital format on February 12, 2008 to coincide with Valentine's Day. The four-song collection featured a rendition of the 1920s standard "Tonight You Belong to Me".^[8]

The Bird and the Bee appeared repeatedly on TV and in films during 2008, with "Fucking Boyfriend" appearing in the film Forgetting Sarah Marshall and "How Deep Is Your Love" included in the film adaptation of Sex and the City and VH1 promos for their reality show lineup.^[9] On July 8 a performance recorded at Pearl Concert Theater in Las Vegas was released as a digital EP titled Live from Las Vegas at the Palms, including live versions of "Again & Again" (Bossa Nova Version), "Fucking Boyfriend", "Autumn Leaves", "Man", and "Preparedness".^[2]

In 2009 the Bird and the Bee marked the release of their second studio album, Ray Guns Are Not Just the Future, with two national television appearances: January 26 on NBC's The Tonight Show and February 4 on ABC's Jimmy Kimmel Live!.^[10] Following its January 27 release, the album debuted atop Billboard's Top Heatseekers chart on sales of 5,000 copies.^[11] In support of the album, the duo embarked on a ten-date US tour, which kicked off at The Casbah in San Diego on February 5, 2009 and ended at Carnegie Hall in New York City on March 7.^[10] On March 14, The Bird and the Bee performed at the Tricot Showroom in Los Angeles as part of a FMLY show.^[12]

On March 23, 2010, the band released Interpreting the Masters Volume 1: A Tribute to Daryl Hall and John Oates, an album of Hall & Oates cover songs.^[13]

"What's in the Middle" was featured in the thirteenth episode of the fifth season of Bones. "4th of July" was featured in the Tim and Eric Awesome Show, Great Job! episode titled "Larry". Their song "Diamond Dave" appeared in Judd Apatow's 2009 film Funny People.

The Bird and the Bee announced on their official Facebook page on September 26, 2011 that they were no longer signed to Blue Note Records. They also stated, "We don't have an exact release date for the album yet, but it'll most likely be early 2012."^[14] On November 18, 2011, the duo released a digital-only Christmas single titled "Wishes" through their website.^[15]

Discography[link]

Studio albums[link]

Extended plays[link]

Singles[link]

Other charted songs[link]

Other appearances[link]

References[link]

External links[link]

• Official website
• Photo feature in Spin
• Interview in Spin