What is an emo?

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    Apr 24, 2009 11:23 AM GMT
    I just came across it in the skinny jeans thread. Please enlighten a brother. Images welcome. Thank you.
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    Apr 24, 2009 11:41 AM GMT
    Are there any emo people in the tropics? (Trinidad and Tobago.)

    I wouldn't think so, too sunny for the most part.

    Here are your images:
    http://images.google.com/images?q=emo&oe=utf-8&rls=org.mozilla:en-USicon_surprised.giffficial&client=firefox-a&um=1&ie=UTF-8&sa=N&hl=en&tab=wi
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    Apr 24, 2009 11:46 AM GMT
    ugh, I feel like an idiot for taking emo seriously enough to type this.

    In the early 90s emo was an offshoot of punk music. Unlike grunge, Emo bands are characterized by more VERY raw music melody and "sad" riffs/lyrics Examples include: Shotmaker, 1000 travels of Jawaharlal, Song of Zarathustra, etc. Today, Emo describes bands that sound like My Chemical Romance and The Used and pretty much any "punk" band that gets played on Muchmusic/MTV.

    The skinny jeans thing comes from music that was called "fashioncore" in the late 90s and early 2000s because it was guys with dyed hair and ultra tight girl's jeans sticking out from the crowd. These kids used to get made fun of for "dressing like queers" at shows. Now it's just a hipster phenomenon that's taking the world by storm... ugh.

    I'm sorry I even typed that...
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    Apr 24, 2009 12:26 PM GMT
    Fountains saidugh, I feel like an idiot for taking emo seriously enough to type this.

    In the early 90s emo was an offshoot of punk music. Unlike grunge, Emo bands are characterized by more VERY raw music melody and "sad" riffs/lyrics Examples include: Shotmaker, 1000 travels of Jawaharlal, Song of Zarathustra, etc. Today, Emo describes bands that sound like My Chemical Romance and The Used and pretty much any "punk" band that gets played on Muchmusic/MTV.

    The skinny jeans thing comes from music that was called "fashioncore" in the late 90s and early 2000s because it was guys with dyed hair and ultra tight girl's jeans sticking out from the crowd. These kids used to get made fun of for "dressing like queers" at shows. Now it's just a hipster phenomenon that's taking the world by storm... ugh.

    I'm sorry I even typed that...


    Too late.
    U R now the RJ authority on all things emo.


    icon_wink.gif
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    Apr 24, 2009 3:27 PM GMT
    Would never had guessed this. I must be getting really old icon_biggrin.gif
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    Apr 24, 2009 3:54 PM GMT
    Fountains saidugh, I feel like an idiot for taking emo seriously enough to type this.

    In the early 90s emo was an offshoot of punk music. Unlike grunge, Emo bands are characterized by more VERY raw music melody and "sad" riffs/lyrics Examples include: Shotmaker, 1000 travels of Jawaharlal, Song of Zarathustra, etc. Today, Emo describes bands that sound like My Chemical Romance and The Used and pretty much any "punk" band that gets played on Muchmusic/MTV.

    The skinny jeans thing comes from music that was called "fashioncore" in the late 90s and early 2000s because it was guys with dyed hair and ultra tight girl's jeans sticking out from the crowd. These kids used to get made fun of for "dressing like queers" at shows. Now it's just a hipster phenomenon that's taking the world by storm... ugh.

    I'm sorry I even typed that...


    the fact that you even know any of this at 21 is impressive. but really, emo is a type of an ostrich, yumm
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    Apr 24, 2009 4:41 PM GMT
    carabin said...but really, emo is a type of an ostrich, yumm

    I think you mean EMU.
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    Apr 24, 2009 4:48 PM GMT
    emo lawn Pictures, Images and Photos
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    Apr 24, 2009 4:52 PM GMT
  • vindog

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    Apr 24, 2009 4:58 PM GMT



    EMO = EMOTIONAL
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    Apr 24, 2009 5:17 PM GMT
    I thought it was a muppet. icon_confused.gif
  • auryn

    Posts: 2061

    Apr 24, 2009 5:17 PM GMT
    elmoemo.jpg


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    Apr 24, 2009 5:27 PM GMT
    Depress-A-Me Street Emo is hilarious! Thanks for posting that!
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    Apr 24, 2009 5:30 PM GMT
    emo is emotional, which is a state of mind. Not a style of clothes or a group of people. Some people are just retards and should be smacked around a bit. Everytime i have a slight mood swing someone say's oh are you gonna be emo and wear black and tight clothes and act all girly, then i give them a dead shoulder and say now you emo because your emotional. Go cut yourself emo bitch.icon_evil.gif
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    Apr 24, 2009 5:36 PM GMT
    humorous pictures
    see more Lolcats and funny pictures
  • bijockmuscle

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    Apr 24, 2009 6:00 PM GMT
    Emo emerged from the hardcore punk scene of early-1980s Washington, D.C., both as a reaction to the increased violence within the scene and as an extension of the personal politics espoused by Ian MacKaye of Minor Threat, who had turned the focus of the music from the community back towards the individual.[1][2] Minor Threat fan Guy Picciotto formed Rites of Spring in 1984, breaking free of hardcore's self-imposed boundaries in favor of melodic guitars, varied rhythms, and deeply personal, impassioned lyrics.[3] Many of the band's themes would become familiar tropes in later generations of emo music, including nostalgia, romantic bitterness, and poetic desperation.[4] Their performances became public emotional purges where audience members would sometimes weep.[5] MacKaye became a huge Rites of Spring fan, recording their only album and serving as their roadie on tour, and soon formed a new band of his own called Embrace which explored similar themes of self-searching and emotional release.[6] Similar bands soon followed in connection with the "Revolution Summer" of 1985, a deliberate attempt by members of the Washington, D.C. scene to break from the rigid constraints of hardcore in favor of a renewed spirit of creativity.[2] Bands such as Gray Matter, Beefeater, Fire Party, Dag Nasty, Lunchmeat, and Kingface were connected to this movement.[2][6]

    The exact origins of the term "emo" are uncertain, but date back to at least 1985. According to Andy Greenwald, author of Nothing Feels Good: Punk Rock, Teenagers, and Emo, "The origins of the term 'emo' are shrouded in mystery [...] but it first came into common practice in 1985. If Minor Threat was hardcore, then Rites of Spring, with its altered focus, was emotional hardcore or emocore."[6] Michael Azerrad, author of Our Band Could Be Your Life, also traces the word's origins to this time: "The style was soon dubbed 'emo-core,' a term everyone involved bitterly detested, although the term and the approach thrived for at least another fifteen years, spawning countless bands."[7] MacKaye also traces it to 1985, attributing it to an article in Thrasher magazine referring to Embrace and other Washington, D.C. bands as "emo-core", which he called "the stupidest fucking thing I’ve ever heard in my entire life."[8] Other accounts attribute the term to an audience member at an Embrace show, who yelled that the band was "emocore" as an insult.[9][10] Others contend that MacKaye coined the term when he used it self-mockingly in a magazine, or that it originated with Rites of Spring.[10] The Oxford English Dictionary, however, dates the earliest usage of "emo-core" to 1992 and "emo" to 1993, with "emo" first appearing in print media in New Musical Express in 1995.[11][12]

    The "emocore" label quickly spread around the Washington, D.C. punk scene and became attached to many of the bands associated with MacKaye's Dischord Records label.[9] Although many of these bands simultaneously rejected the term, it stuck nonetheless. Scene veteran Jenny Toomey has recalled that "The only people who used it at first were the ones that were jealous over how big and fanatical a scene it was. [Rites of Spring] existed well before the term did and they hated it. But there was this weird moment, like when people started calling music 'grunge,' where you were using the term even though you hated it."[13]

    The Washington, D.C. emo scene lasted only a few years. By 1986 most of the major bands of the movement—including Rites of Spring, Embrace, Gray Matter, and Beefeater—had broken up.[14] Even so, the ideas and aesthetics originating from the scene spread quickly across the country via a network of homemade zines, vinyl records, and hearsay.[15] According to Greenwald, the Washington, D.C. scene laid the groundwork for all subsequent incarnations of emo:

    What had happened in D.C. in the mid-eighties—the shift from anger to action, from extroverted rage to internal turmoil, from an individualized mass to a mass of individuals—was in many ways a test case for the transformation of the national punk scene over the next two decades. The imagery, the power of the music, the way people responded to it, and the way the bands burned out instead of fading away—all have their origins in those first few performances by Rites of Spring. The roots of emo were laid, however unintentionally, by fifty or so people in the nation's capital. And in some ways, it was never as good and surely never as pure again. Certainly, the Washington scene was the only time "emocore" had any consensus definition as a genre.[16]

    MacKaye and Piccioto, along with Rites of Spring drummer Brendan Canty, went on to form the highly influential Fugazi who, despite sometimes being connected with the term "emo", are not commonly recognized as an emo band.[17]


    Reinvention: Early 1990s
    As the ideals of the Washington, D.C. emo movement spread across the United States, many bands in numerous local scenes began to emulate the sound as a way to marry the intensity of hardcore with the complex emotions associated with growing older.[18] The style combined the fatalism, theatricality, and outsiderness of The Smiths with the uncompromising and dramatic worldview of hardcore.[18] Although the bands were numerous and the locales varied, the aesthetics of emocore in the late 1980s remained more or less the same: "over-the-top lyrics about feelings wedded to dramatic but decidedly punk music."[18] However, in the early 1990s, several new bands reinvented the emo style and carried its core characteristic, the intimacy between bands and fans, into the new decade.[19] Chief among these were Jawbreaker and Sunny Day Real Estate, both of whom fostered cult followings, recontextualized the word "emo", and brought it a step closer to the mainstream.[19] According to Andy Greenwald:

    Sunny Day Real Estate was emo's head and Jawbreaker its busted gut—the two overlapped in the heart, then broke up before they made it big. Each had a lasting impact on the world of independent music. The bands shared little else but fans, and yet somehow the combination of the two lays down a fairly effective blueprint for everything that was labeled emo for the next decade.[19]

    In the wake of the 1991 success of Nirvana's Nevermind, underground music and subcultures in the United States became big business. New distribution networks emerged, touring routes were codified, and regional and independent acts were able to access the national stage.[19] Teenagers across the country declared themselves fans of independent music, and being punk became mainstream.[19] In this new musical climate, the aesthetics of emo expanded into the mainstream and altered the way the music was perceived: "Punk rock no-nos like the cult of personality and artistic abstraction suddenly become de rigueur", says Greenwald. "If one definition of emo has always been music that felt like a secret, Jawbreaker and Sunny Day Real Estate were cast in the rolls of the biggest gossips of all, reigning as the largest influences on every emo band that came after them."[20]

    "Kiss the Bottle" by Jawbreaker

    "'Kiss the Bottle,' more than any other song, captures the sensitive boy machismo that drew (and continues to draw) male listeners to the altar of Schwarzenbach."[21]

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    Jawbreaker has been referred to as "the Rosetta Stone of contemporary emo".[20] Emerging from the San Francisco punk rock scene of the late 1980s and early 1990s, their songwriting combined the heft of hardcore with pop punk sensibilities and the tortured artistry of mid-1980s emocore.[20] Singer/guitarist Blake Schwarzenbach focused his lyrics on topics that were personal, immediate, and lived, often lifting them directly from his journal.[22] Though they were often obscure and cloaked in metaphors, their specifici
  • bijockmuscle

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    specificity to Schwarzenbach's own concerns gave the words a bitterness and frustration that made them universal and magnetic to audiences.[23] Schwarzenbach became emo's first idol as listeners related to the singer more than the songs themselves.[23] Jawbreaker's 1994 album 24 Hour Revenge Therapy became their most-loved amongst fans and is a touchstone of mid-1990s emo.[24] The band signed to major label Geffen Records and released Dear You in 1995, touring with Nirvana and Green Day, but the album sold poorly and they broke up soon after, with Schwarzenbach later forming Jets to Brazil.[25] Their influence lived on, however, through later successful emo and pop punk bands openly indebted to Jawbreaker's sound.[26]

    "Seven" by Sunny Day Real Estate

    Sunny Day Real Estate's epic sound challenged other bands to reach further with their own music. "Seven" helped bring emo towards the mainstream when it received airplay on MTV.

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    Sunny Day Real Estate formed in Seattle during the height of the early-1990s grunge boom.[27] In contrast to Jawbreaker, its members were accomplished musicians with high-quality gear, lofty musical ambitions, intricate songwriting, and a sweeping, epic sound.[27] Frontman Jeremy Enigk sang desperately, in a falsetto register, about losing himself and subsuming himself in something greater, often using haphazard lyrics and made-up words.[28] The band's debut album Diary (1994) was over-the-top and romantic, and the music video for "Seven" received airplay on MTV.[29] The band's ambitious sound challenged other bands to reach further with their own music in sentiment, instrumentation, and metaphor, and represented a generational shift between grunge and emo.[30] Other emo-leaning punk bands soon followed suit, and the word "emo" began to shift from being vague and undefined to referring to a specific type of emotionally overbearing music that was romantic but distanced from the political nature of punk rock.[31] Sunny Day Real Estate fell apart after Diary, as Enigk became a born-again Christian and launched a solo career while the other members drifted into new projects such as the Foo Fighters. They released three more albums through a series of breakups and occasional reunions, but are remembered primarily for the promise of their debut and the shift it engendered in the tastes of underground rock fans.[32]

    Underground popularity: Mid 1990s
    In the mid-1990s the American punk and indie rock movements, which had been largely underground since the early 1980s, became part of mainstream culture. After Nirvana's success, major record labels capitalized on the popularity of alternative rock and other underground music by signing numerous independent bands and spending large amounts of capital promoting them.[33] In 1994, the same year that Jawbreaker's 24 Hour Revenge Therapy and Sunny Day Real Estate's Diary were released, pop punk acts Green Day and The Offspring had mutiplatinum successes with their respective albums Dookie and Smash. In the wake of the underground going mainstream, over the next several years emo as a genre retreated, reformed, and morphed into a national subculture, then eventually something more.[33] Drawing inspiration from bands like Jawbreaker, Drive Like Jehu, and Fugazi, the new sound of emo was a mixture of hardcore's passion and indie rock's intelligence, bearing the anthemic power of punk rock and its do-it-yourself work ethic but with smoother songs, sloppier melodies, and yearning vocals.[34] Many of the new emo bands originated from the Midwestern and Central United States, such as Braid from Champagne-Urbana, Illinois, Christie Front Drive from Denver, Colorado, Mineral from Austin, Texas, Jimmy Eat World from Mesa, Arizona, The Get Up Kids from Kansas City, Missouri, and The Promise Ring from Milwaukee, Wisconsin.[35] According to Andy Greenwald, "This was the period when emo earned many, if not all, of the stereotypes that have lasted to this day: boy-driven, glasses-wearing, overly sensitive, overly brainy, chiming-guitar-driven college music."[34]

    "If It's Here When We Get Back It's Ours" by Texas Is the Reason

    Texas Is the Reason bridged indie rock and emo by blending melody with punk musicianship and singing directly to the listener.

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    "Knives, Bats, New Tats" by Lifetime

    Lifetime's brand of melodic hardcore with introspective lyrics inspired numerous later New Jersey and Long Island emo bands.

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    On the east coast, New York City-based Texas Is the Reason bridged the gap between indie rock and emo in their brief three-year lifespan by melding the melodies of Sunny Day Real Estate to churning punk musicianship and singing directly to the listener.[36] In New Jersey, Lifetime gained a reputation as a melodic hardcore act, playing shows in fans' basements.[37] Their 1995 album Hello Bastards on rising independent label Jade Tree Records fused hardcore with emo's tunefulness, turning its back on cynicism and irony in favor of love songs.[37] The album sold tens of thousands of copies[38] and the band inspired a number of later New Jersey and Long Island emo acts such as Brand New, Glassjaw, Midtown,[39] The Movielife, My Chemical Romance,[39] Saves the Day,[39][40] Senses Fail,[39] Taking Back Sunday,[38][39] and Thursday.[39][41]

    The Promise Ring were one of the premier bands of the new emo style. Their music took a slower, smoother, pop punk approach to hardcore riffs, blending them with singer Davey von Bohlen's goofy, picturesque lyrics delivered with a froggy croon and pronounced lisp, and they played shows in basements and VFW halls[42] Jade Tree released their debut 30° Everywhere in 1996 and it sold tens of thousands of copies, a blockbuster by independent standards.[43] Greenwald describes the effect of the album as "like being hit in the head with cotton candy."[44] Other bands such as Karate, The Van Pelt, Joan of Arc, and The Shyness Clinic incorporated elements of post-rock and noise rock into the emo sound.[45] The common lyrical thread between these bands was "applying big questions to small scenarios."[45]

    "El Scorcho" by Weezer

    Pinkerton's abrasive sound and confessional lyrics led to critical and commercial failure in the short term, but in retrospect it is regarded as the most important emo album of the 1990s.

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    A cornerstone of mid-1990s emo was Weezer's 1996 album Pinkerton.[46] Following the success of their mutiplatinum debut, Pinkerton turned from their power pop sound to a much darker, more abrasive character.[47][48] Frontman Rivers Cuomo's songs were obsessed with messy, manipulative sex and his own insecurities of dealing with celebrity.[48] A critical and commercial failure,[48][49] it was ranked by Rolling Stone as the second-worst album of the year.[50] Cuomo retreated from the public eye,[48] later referring to the album as "hideous" and "a hugely painful mistake".[51] However, Pinkerton found enduring appeal with teenagers just discovering alternative rock, who were drawn to its confessional lyrics and themes of rejection and came to believe that it was directed at them.[52] Sales grew steadily as word of the album passed between fans, over online messageboards, and via Napster.[52] "Although no one was paying attention", says Greenwald, "perhaps because no one was paying attention—Pinkerton became the most important emo album of the decade."[52] When Weezer returned in 2000, however, they did so with a decidedly pop sou
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    sound. Cuomo refused to play songs from Pinkerton, dismissing it as "ugly" and "embarrassing".[53] Nevertheless, the album held its appeal and eventually achieved both high sales and critical praise, and is noted for introducing emo to larger and more mainstream audiences.[54]

    "If I Could" by Mineral

    Andy Greenwald calls "If I Could" "the ultimate expression of mid-nineties emo."

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    The emo aesthetic of the mid-1990s was embodied in Mineral, whose albums The Power of Failing (1997) and EndSerenading (199icon_cool.gif encapsulated the emo tropes of somber music accompanied by a shy narrator singing seriously about mundane problems.[55] Greenwald calls their song "If I Could" "the ultimate expression of mid-nineties emo. The song's short synopsis—she is beautiful, I am weak, dumb, and shy; I am alone but am surprisingly poetic when left alone—sums up everything that emo's adherents admired and its detractors detested."[55] Another significant band of the era was Braid, whose 1998 album Frame and Canvas and B-side song "Forever Got Shorter" blurred the lines between band and listener, as the group was a mirror-image of its own audience in passion and sentiment and sang in the voice of their fans.[56]

    "Why Did We Ever Meet" by The Promise Ring

    The Promise Ring's Nothing Feels Good was the most commercially successful emo album of the mid-1990s due to its effective blend of pop and punk.

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    Though the emo style of the mid-1990s had thousands of young fans, it never broke into the national consciousness.[57] A few bands were offered contracts with major record labels, but most broke up before they could capitalize on the opportunity.[58] Jimmy Eat World signed to Capitol Records in 1995 and built a following among the emo community with their album Static Prevails, but did not break into the mainstream despite their major-label association as their music was mostly lost amongst the popular ska movement of the period.[59] The Promise Ring were the most commercially successful emo band of the time, with sales of their 1997 album Nothing Feels Good topping out in the mid-five figures.[57] Greenwald calls the album "the pinnacle of its generation of emo: a convergence of pop and punk, of resignation and celebration, of the lure of girlfriends and the pull of friends, bandmates, and the road."[60] He refers to mid-1990s emo as "the last subculture made of vinyl and paper instead of plastic and megabytes."[61]

    Independent success: Late 1990s and early 2000s
    Beginning in the late 1990s emo had a surge of popularity in the realm of independent music, as a number of notable acts and record labels experienced successes that would lay the foundation for the style's later mainstream breakthrough. As emo gained a larger fanbase the music business began see its marketing potential, and as big business entered the picture many of the acts previously associated with the term intentionally distanced themselves from it:

    As the '90s wore to a close, the music that was being labeled emo was making a connection with a larger and larger group of people. the aspects of it that were the most contagious—the sensitivity, hooks, and average-guy appeal—were also the easiest to latch onto, replicate, and mass market. As with any phenomenon—exactly like what happened with Sunny Day [Real Estate]—when business enters into a high-stakes, highly personal sphere, things tend to go awry very quickly [...] As fans threatened to storm the emo bandwagon, the groups couldn't jump off of it fast enough. The popularity and bankability of the word—if not the music—transformed an affiliation with the mid-nineties version of emo into an albatross.[62]

    In 1997 Deep Elm Records launched a series of compilation albums entitled The Emo Diaries, which continued until 2007 with eleven installments.[63] Featuring mostly unreleased music from unsigned bands, the series included acts such as Jimmy Eat World, Further Seems Forever, Samiam, and The Movielife.[63] The diversity of bands and musical styles made the case for emo as more of a shared aesthetic than a genre, and the series helped to codify the term "emo" and spread it throughout the community of underground music.[62]

    "Lucky Denver Mint" by Jimmy Eat World

    Clarity was an underground hit for Jimmy Eat World even though it was not a commercial success, despite the promotion of "Lucky Denver Mint".

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    Jimmy Eat World's 1999 album Clarity was one of the most significant emo albums of the late 1990s and became a touchstone for later emo bands.[64] Writing in 2003, Andy Greenwald called it "one of the most fiercely beloved rock 'n' roll records of the last decade. It is name-checked by every single contemporary emo band as their favorite album, as a mind-bending milemarker that proved that punk rock could be tuneful, emotional, wide-ranging, and ambitious."[64] However, despite warm critical reception and promotion of the single "Lucky Denver Mint" in the Drew Barrymore comedy film Never Been Kissed, Clarity was commercially unsuccessful in a musical climate dominated by teen pop, and the band left major label Capitol Records the following year.[65][66] Nevertheless, the album gained steady popularity via word-of-mouth and was treasured by fans, eventually selling over 70,000 copies.[67] Jimmy Eat World self-financed the recording of their next album Bleed American (2001) before signing to Dreamworks Records. The album sold 30,000 copies in its first week and went gold shortly after. In 2002 it went platinum as emo broke into the mainstream.[68]

    Drive-Thru Records, founded in 1996, steadily built up a roster of primarily pop punk bands with emo characteristics such as Midtown, The Starting Line, The Movielife, and Something Corporate.[69] Drive-Thru's partnership with major label MCA enabled their brand of emo-inflected pop to reach wider audiences.[70] The label's biggest early success was New Found Glory,[70] whose 2000 eponymous album reached #107 on the Billboard 200[71] with the single "Hit or Miss" reaching #15 on Modern Rock Tracks.[72] Drive-Thru's unabashedly populist and capitalist approach to music allowed its bands' albums and merchandise to sell heavily through popular outlets such as Hot Topic:[73]

    In a world where cars are advertised as punk, Green Day members are platinum rock stars, and getting pierced and tatted up is as natural as a sweet-sixteen party, everyone is free to come up with their own definition of punk—and everyone is ready to embrace it. Emo had always connected with young people—it had just never aggressively marketed itself to them.[74]

    "Action & Action" by The Get Up Kids

    The Get Up Kids' Something to Write Home About helped Vagrant Records expand into a much larger label and sign numerous other emo acts.

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    Independent label Vagrant Records was behind several successful emo acts of the late 1990s and early 2000s. The Get Up Kids had sold over 15,000 copies of their debut album Four Minute Mile (1997) before signing to Vagrant, who promoted the band aggressively and put them on tours opening for big-name acts like Green Day and Weezer.[75] Their 1999 album Something to Write Home About was an independent success, reaching #31 on Billboard's Top Heatseekers chart.[76] Vagrant signed and released albums by a number of other emo and emo-related acts over the next two
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    , including The Anniversary, Reggie and the Full Effect, The New Amsterdams, Alkaline Trio, Saves the Day, Dashboard Confessional, Hey Mercedes, and Hot Rod Circuit.[77] Saves the Day had built a large following on the east coast and sold almost 50,000 copies of their second album Through Being Cool (1999)[40] before signing to Vagrant and releasing Stay What You Are (2001), which sold 15,000 copies in its first week,[78] reached #100 on the Billboard 200,[79] and went on to sell over 200,000 copies.[80] In the summer of 2001 Vagrant organized a national tour featuring every band on the label, sponsored by corporations such as Microsoft and Coca-Cola. This populist approach and the use of the internet as a marketing tool helped Vagrant become one of the country's most successful independent labels and also helped to popularize the term "emo".[81] According Greenwald, "More than any other event, it was Vagrant America that defined emo to masses—mainly because it had the gumption to hit the road and bring it to them."[78]

    Mainstream popularity: 2000s
    "Screaming Infidelities" by Dashboard Confessional

    "Screaming Infidelities" helped Dashboard Confessional reach #5 on the Top Independent Albums chart in 2002.

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    "The Middle" by Jimmy Eat World

    The Middle reached #1 on Billboard's Modern Rock Tracks chart and helped Bleed American reach platinum sales.

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    Emo broke into the mainstream media in the summer of 2002 with a number of notable events:[82] Jimmy Eat World's Bleed American album went platinum on the strength of "The Middle", which reached #1 on Billboard's Modern Rock Tracks chart.[82][83][84] Dashboard Confessional reached #22 on the same chart with "Screaming Infidelities"[85] from their Vagrant Records debut The Places You Have Come to Fear the Most, which was #5 on Top Independent Albums,[86] and became the first non-platinum-selling artist to record an episode of MTV Unplugged[82] (the resultant live album itself was a #1 Independent Album in 2003 and quickly went platinum).[86][87] New Found Glory's album Sticks and Stones debuted at #4 on the Billboard 200.[82][88] Saves the Day toured with Green Day, Blink-182, and Weezer, playing large arenas such as Madison Square Garden,[89] and by the end of the year had performed on Late Night with Conan O'Brien, appeared on the cover of Alternative Press, and had music videos for "At Your Funeral" and "Freakish" in heavy rotation on MTV2.[78][80] Articles on Vagrant Records were published in Time and Newsweek,[90] while the word "emo" began appearing on numerous magazine covers and became a catchall term for any music outside of mainstream pop.[91] Andy Greenwald attributes emo's sudden explosion into the mainstream to media outlets looking for the "next big thing" in the wake of the September 11 attacks:

    The media business, so desperate for its self-obsessed, post-9/11 predictions of a return to austerity and the death of irony to come true, had found its next big thing. But it was barely a "thing," because no one had heard of it, and those who had couldn't define it. Despite the fact that the hedonistic, materialistic hip-hop of Nelly was still dominating the charts, magazine readers in the summer of '02 were informed that the nation was deep in an introverted healing process, and the way it was healing was by wearing thick black glasses and vintage striped shirts. Emo, we were told, would heal us all through fashion.[92]

    In the wake of this success, many emo bands were signed to major record labels and the style became a marketable product.[93] Dreamworks Records senior A&R representative Luke Wood remarked that "The industry really does look at emo as the new raprock, or the new grunge. I don't think that anyone is listening to the music that's being made—they're thinking of how they're going to take advantage of the sound's popularity at retail."[94] The depoliticized nature of emo, coupled with its catchy music and accessible themes, gave it a broad appeal to young mainstream audiences.[95]

    While Jimmy Eat World had played emocore-style music early in their career, by the time of the release of their 2001 album Bleed American, the band had downplayed its emo influences, releasing more pop-oriented singles such as "The Middle" and "Sweetness". Newer bands that sounded like Jimmy Eat World (and, in some cases, like the more melodic emo bands of the late 90s) were soon included in the genre.[96]

    2003 saw the success of Chris Carrabba, the former singer of emo band Further Seems Forever, and his project Dashboard Confessional. Carraba found himself part of the emerging "popular" emo scene. Carrabba's music featured lyrics founded in deep diary-like outpourings of emotion. While certainly emotional, the new "emo" had a far greater appeal amongst adolescents than its earlier incarnations.[97]

    At the same time, use of the term "emo" expanded beyond the musical genre, which added to the confusion surrounding the term. The word "emo" became associated with open displays of strong emotion. Common fashion styles and attitudes that were becoming idiomatic of fans of similar "emo" bands also began to be referred to as "emo." As a result, bands that were loosely associated with "emo" trends or simply demonstrated emotion began to be referred to as emo.[98]

    In a strange twist, screamo, a more aggressive sub-genre of emo that began in the early 90s, also had a reformulation of sound and has found greater popularity in recent years through bands such as Glassjaw.[99]


    Fashion and stereotype
    Today emo is commonly tied to both music and fashion as well as an inspiration toward the emo subculture,[100] and the term "emo" is sometimes stereotyped with tight jeans on males and females alike, long fringe (bangs) brushed to one side of the face or over one or both eyes, dyed black, straight hair, tight t-shirts (usually short-sleeved) which often bear the names of emo bands (or other designer shirts), studded belts, belt buckles, canvas sneakers or skate shoes or other black shoes and thick, black horn-rimmed glasses.[101][102][103] This fashion has at times been characterized as a fad.[104] Early on, emo fashion was associated with a clean cut look[105] but as the style spread to younger teenagers, the style has become darker, with long bangs and emphasis on the colour black replacing sweater vest. In recent years the popular media have associated emo with a stereotype that includes being emotional, sensitive, shy, introverted, or angst-ridden.[106][107][108] It is also associated with depression, self-injury, and suicide.[109][110]


    Criticism and controversy

    Misogyny
    Emo has been criticized for its male-centric focus and the tendency of most emo bands to relegate women to the role of muse or heartbreaker in their lyrics.[111] Andy Greenwald notes that there are very few women in emo bands, and that even those few do not typically have an active voice in the songs' subject matter: "Though emo—and to a certain degree, punk—has always been a typically male province, the monotony of the labels' gender perspective can be overwhelming."[112] The triumph of the "lonely boy's aesthetic" in emo, coupled with the style's popularity, has led to a litany of one-sided songs in which males vent their fury at the women who have wronged them:[112]

    The way typical emo bands sing about women is a volatile mixture of Ian MacKaye's strident puritanism—as in sex equals fear, failure, weakness—and self-obsessed sexist solipsism. If mid-nineties emo was mostly about not meeting girls or running away from them, emo's national generation dumbed it down and amped it up. Now emo songwriters were one-sided victims of heartbreak, utterly wronged and ready to sing about
  • bijockmuscle

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    Apr 24, 2009 6:05 PM GMT
    it, with the women having no chance to respond.[112]

    Many emo songs both admit sadness and revel in it, exhibiting a phobia of women that seems to celebrate a perpetual adolescence:[113] "The singers may pretend to hang themselves out to dry by copping to crying and being sad at night, but in the heightened emo environment, where broken hearts are badges of honor, it's a hollow boast. Their scars are a sign of pride—you're the one onstage bragging about how upset you are—but there's no attempt at actual conversation or relationship building."[114] Some emo bands' lyrics go so far as to disguise violent anti-women sentiments in a veneer of pop music.[114] Greenwald cites Chris Conley of Saves the Day, whose metaphors of bodily pain are sometimes used to describe bitter revenge fantasies directed at mistreating females,[114] and Glassjaw's Daryl Palumbo, whose has sometimes used explictly violent fantasies in his lyrics.[115] However, despite emo's frequent portrayal of women as powerless victims, fans of the style are almost evenly split between genders and some acts have even greater popularity with women than with men.[116] One explanation for this is that the unifying appeal of emo, its expression of emotional devastation, can be appreciated equally by both sexes regardless of the songs' specific subjects.[117]

    In his BBC chart blog, Fraser McApline criticised Paramore singer, Hayley Williams for the lyrics to her song Misery Business naming her "one of the worst offenders."[118]

    Pete Wentz of Fall Out Boy questioned why girls sing along to their songs at concerts when the lyrics are often derogatory to women.[118]


    Backlash
    Warped Tour founder, Kevin Lyman stated that he believes there is an emo backlash saying that he sees "I hate emo" t-shirts and that there was hostility among bands on the tour towards emo groups.[119]

    In 2008, Time Magazine reported that "anti-emo" groups attacked teenagers in Mexico City, Querétaro, and Tijuana.[120][121] One of Mexico's foremost critics of emo was Kristoff, a music presenter on the popular TV channel Telehit.

    In Russia, a law has been presented at the Duma to regulate emo websites and forbid emo style at schools and government buildings, for fears of emo being a "dangerous teen trend" promoting anti-social behaviour, depression, social withdrawal and even suicide.[122][123]


    Criticism
    Gerard Way, the lead singer of My Chemical Romance stated in an interview "emo is a pile of shit", and that his "band was never emo".[124][125] Panic at the Disco also stated in an interview with NME: "emo is bullshit."[126] These two bands, however, tend to be classified as emo.[who?]

    Fans of emo are criticized for purported displays of emotion common in the scene. Complaints claimed that emotions were expressed in an histrionic manner.[127]

    Justin Jacobs has criticised emo music of the early 2000s, arguing it became boring and generic.[128]


    Hannah Bond suicide
    Emo music has been blamed for the suicide by hanging of Hannah Bond by both the coroner at the inquest into her death and her mother, Heather Bond, after it was claimed that emo music glamorized suicide and her apparent obsession with My Chemical Romance was said to be linked to her suicide. The inquest heard that she was part of an Internet "emo" cult [129] and her Bebo page contained an image of an 'emo girl' with bloody wrists.[130] It also heard that she had discussed the "glamour" of hanging online[129] and had explained to her parents that her self harming was an "emo initiation ceremony".[130] Heather Bond criticised emo fashion, saying: "There are 'emo' websites that show pink teddies hanging themselves." After the verdict was reported in NME, fans of emo music contacted the magazine to defend against accusations that it promotes self harm and suicide.[131]

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    Apr 24, 2009 6:11 PM GMT
    emo_sucks.jpg
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    Apr 24, 2009 6:13 PM GMT
    GuerrillaSodomite saidhumorous pictures
    see more Lolcats and funny pictures


    icon_lol.gificon_lol.gificon_lol.gifI laughed so hard at that one that I practically fell out of my chair.
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    Apr 24, 2009 11:12 PM GMT
    Thanks for the info, gentlemen. Why, Emo's an incubus of ugliness! Why would any gay man want that or to be that!? Is Robert Smith then considered as such? I'd rather depict him as his own character. Like, say, Bjork perhaps?
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    Apr 25, 2009 3:46 AM GMT
    solemate saidThanks for the info, gentlemen. Why, Emo's an incubus of ugliness! Why would any gay man want that or to be that!? Is Robert Smith then considered as such? I'd rather depict him as his own character. Like, say, Bjork perhaps?


    people tend to conflate goth culture and emo culture. admittedly they're looking more and more the same, but still.

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    Apr 25, 2009 3:48 AM GMT
    http://lmgtfy.com/?q=emo