What is Emo? Article review

Wikipedia describes what Emo is about exactly: Emo (music) - Taken from Wikipedia, the free encyclopedia

1. Stylistic origins: hardcore punk, indie rock
2. Cultural origins: mid 1980s Washington, DC
3. Typical instruments: Guitar - Bass - Drums
4. Mainstream popularity: Sporadically through the 1980s and '90s, growing in the early 2000s
5. Subgenres: Emocore - Hardcore emo - Emo violence - Screamo
6. Fusion genres: Post-hardcore
7. Regional scenes: Midwestern emo
8. Other topics: List of emo groups - Timeline of alternative rock

Here is what Wikipedia's definition of the genre:

Emo is a subgenre of hardcore punk music. Since its inception, emo has come to
describe several independent variations, linked loosely but with common
ancestry. As such, use of the term (and which musicians should be so
classified)
has been the subject of much debate.

It's origins and original meanings:

In its original incarnation, the term emo was used to describe the music of the mid-1980s Washington, DC scene and its associated bands. In later years, the term emocore, short for "emotional hardcore", was also used to describe the DC scene and some of the regional scenes that spawned from it.

The term emo was derived from the fact that, on occasion, members of a band would become spontaneously and strongly emotional during performances. The most recognizable names of the period included Rites of Spring, Embrace, One Last Wish, Beefeater, Gray Matter, Fire Party, and, slightly later, Moss Icon.

Where it all began:

The first wave of emo began to fade after the breakups of most of the involved
bands in the early 1990s. Starting in the mid-1990s, the term emo began to
reflect the indie scene that followed the influences of Fugazi, which itself was
an offshoot of the first wave of emo. Bands including Sunny Day Real Estate and
Texas Is the Reason put forth a more indie rock style of emo, more melodic and
less chaotic in nature than its predecessor. The so-called "indie emo" scene
survived until the late 1990s, as many of the bands either disbanded or shifted
to mainstream styles.

As the genre grew more popular:

As the remaining indie emo bands entered the mainstream, newer bands began to emulate the more mainstream style, creating a style of music that has now earned the moniker emo within popular culture. Whereas, even in the past, the term emo was used to identify a wide variety of bands, the breadth of bands listed under today's emo is even more vast, leaving the term "emo" as more of a loose identifier than as a specific genre of music.

And has become a term which has been used to 'label' different bands which have nothing to do with the genre (eg metal - especially power metal; punk; hardcore; and - especially - goth).

History (I won't bore you too much with the details, but it is best to refer to the Wikipedia link if you want to know)


The first wave (1985–1994)

Early emo's influence

Again, a bit boring so I cut it out.

The second wave (1994–2000)

Have again cut more out but basically, the genre has split between two 'schisms':

However, when pressed to explain "emo", many fans split the genre into two
brands: the "hardcore emo" practiced in the early days and the newer "indie
emo".

What happened when grunge and 'indie' were confused with 'emo':

Strangely, as "indie emo" became more widespread, a number of acts who otherwise would not have been considered part of the "indie emo" scene had their albums referred to as emo because of their similarity to the sound.

An example:

The hallmark example was Weezer's 1996 album Pinkerton, which, in later years, was considered one of the defining "emo" records of the 90s.

Even though Weezer were much too humourous to be considered as emo.

By the end of the decade, the word emo cropped up in mainstream circles. In the
summer of 1998, Teen People magazine ran an article declaring "emo" the newest
"hip" style of music, with The Promise Ring a band worth watching. Even though I
remember little (if any) bands being called 'emo' back in the late '90s

While "indie emo" almost completely ceased to exist by the end of the decade, many bands still subscribe to the Fugazi / Hüsker Dü model, including Thursday, The Juliana Theory, and Sparta.

Fugazi and Husker Du were too bands I did remember, though I didn't remember the others

The third wave (2000–Present) - when I first remember hearing about it on the radio (mostly 'Short, Fast and Loud', the punk programme on Triple J on Wednesday nights)

At the end of the 1990s, the underground emo scene had almost entirely disappeared. However, the term emo was still being bandied about in mainstream media, almost always attached to the few remaining 90s emo acts, including Jimmy Eat World.

While certainly emotional, the new "emo" had a far greater appeal amongst teenagers experiencing love for the first time, who found insight and solace in Carrabba's words and music.

Well, at least they didn't find it through Celine Dion or Whitney Houston.

With Dashboard Confessional and Jimmy Eat World's success, major labels began
seeking out similar sounding bands. Just as Nirvana, Pearl Jam, and the other
Seattle scene bands of the early 1990s were unwillingly lumped into the genre
"grunge", some record labels wanted to be able to market a new sound under the
word emo. Which sound that was didn't particularly matter.While bands don't like
to think they belong under any label or category, labelling and categorizing
bands makes it easy for fans to identify with which type of rock music they
like, and what scene they feel they belong to.

At the same time, use of the term "emo" expanded beyond simply the musical
genre, which added to the confusion surrounding the term. The word "emo" became
associated with feelings of unashamed emotion. Common fashion styles and
attitudes that were becoming idiomatic of fans of similar "emo" bands also began
to be referred to as "emo". (For further discussion, see Emo (slang).) As a
result, bands that were loosely associated with "emo" trends or simply
demonstrated emotion began to be referred to as emo.

The problem is that many bands we have come to know as 'emo' have unfortunately 'hijacked' many of the styles of fashion and singing from many other genres, like tight jeans and gym boots (punks and thrash artists), black hair (goths), or wearing dark clothes.

In an even more expanded way than in the 90s, emo has come to encompass an
extremely wide variety of bands, many of whom have very little in common.

The term has become so wide-ranging that it has become nearly impossible to describe what exactly qualifies as "emo".For all I know, both the early stuff by Queen and Judas Priest (particularly some of their 'slow' or more 'tender' stuff) could be emo in the making. After all both Freddy Mercury and Rob Halford were not only openly 'gay' later on in their careers, but also unashamedly emotional when they did put out their more emotional 'power ballads'.

Correctly or not, emo has often been used to describe such bands as AFI, Angels And Airwaves, Alexisonfire, A Static Lullaby, Brand New, Coheed and Cambria, Fall Out Boy, Finch, From Autumn To Ashes, From First To Last, Funeral for a Friend, Hawthorne Heights, Matchbook Romance, My Chemical Romance, Silverstein, Something Corporate, The Starting Line, Taking Back Sunday, The Used, Thrice, and Thursday.

Fans of several of these bands have recoiled at the use of the "emo" tag, and have gone to great lengths to explain why they don't qualify as "emo". In many cases, the term has simply been attached to them because of musical similarites, a common fashion sense, or because of the band's popularity within the "emo" scene, not because the band adheres to emo as a music genre. (The revulsion of some bands from the term emo is not unlike the retreat from the genre by the bands in the indie emo scene near the end of the 90s.)

Most probably because they project a similar image to emo, and have to justify themselves because emo had gotten such a bad name in recend years.

As a result of the continuing shift of "emo" over the years, a serious schism
has emerged between those who relate to particular eras of "emo". Those who were
closely attached to the hardcore origins recoil when another type of music is
called "emo". Many involved in the independent nature of both 80s and 90s emo
are upset at the perceived hijacking of the word emo to sell a new generation of
major label music. Regardless, popular culture appears to have embraced the
terms of "emo" far beyond its original intentions, out of the control of the
independent-minded.I guess you can't stop some 'trends' from happening.

In a strange twist, screamo, a sub-genre of the new emo, has found greater
popularity in recent years through bands such as Thrice and Glassjaw. (As a
reference, see Jim DeRogatis' November 2002 article about Screamo.) The term
screamo, however, was used to describe an entirely different genre in the early
1990s, and the new screamo bands more resemble the emo of the early 1990s.
Complicating matters further is that several small scenes devoted to
original screamo still exist in the underground. However, the new use of
"screamo" demonstrates how the shift in terms connected to "emo" has made the
varying genres difficult to categorize.

Or maybe people just confuse the two.

Even still, the difficulty in defining "emo" as a genre may have started at the
very beginning. In a 2003 interview by Mark Prindle, Guy Picciotto of Fugazi and
Rites of Spring was asked how he felt about "being the creator of the emo
genre". He responded: "I don't recognize that attribution. I've never recognized
'emo' as a genre of music. I always thought it was the most retarded term ever.
I know there is this generic commonplace that every band that gets labeled with
that term hates it. They feel scandalized by it. But honestly, I just thought
that all the bands I played in were punk rock bands. The reason I think it's so
stupid is that - what, like the Bad Brains weren't emotional? What - they were
robots or something? It just doesn't make any sense to me."

As far as I'm concerned, nearly all types of music are emotional (except, perhaps, Krafwerk )

Backlash

As the chorus of detractors increased, emo became more and more a target of derision. As certain fashion trends and attitudes began to be associated with "emo", stereotypes emerged that created a specific target for criticism.

In the early years of the "third wave", the derision was relatively light-hearted and self-effacing. In September of 2002, web developer Jason Oda put forth Emogame. The game poked fun at numerous emo stereotypes and musicians, but in a manner that could be appreciated by fans and detractors alike.

As the my Chemical Romance song goes: 'cheer up boys, your make up is running' (noone says that to girls though, interestingly enough). In other words, there are probably some people you wouldn't think have a sense of humour, actually have one.

In ensuing years, the derision increased dramatically. Male fans of emo found
themselves hit with homosexual slurs, largely a reflection of the style of dress
popular within the "emo scene" and the displays of emotion common in the
scene.

Though that is true of any rock scene whereby the menfolk either project a flamboyant (or feminine) image or look like they are out of the 'act like a man' box (see Rosalind Wiseman's 'Queen Bees and Wannabees' for more details).

Complaints pointed to the histrionic manner in which the emotions were often expressed, not necessarily to the emotions themselves.

In other words, to some people (including myself) they tend to sound like whiny little boys when they sing (or at least try to).

In October of 2003, Punk Planet contributor Jessica Hopper levelled the charge that the "third wave" era of emo was sexist. In her opinion, it was all too common for emo bands to write songs from a male perspective that castigated women for causing emotional damage. The collective result was that women were being demonized, and in a wholly generic manner, given that the songs didn't appear to be about a particular female.

The only 'emo' song I know of that is sexist is that one by Panic at the Disco (you know, that really lame one they play on Triple M).

The problem was enhanced by the seeming lack of balance in emo, given the apparent absence of females participating in emo music. Hopper believed that the sexism was unique to the new version of emo, as "indie emo" era bands such as Sunny Day Real Estate seemed to provide depth to the female characters portrayed in their songs.

In other words, why should just men have all the GOOD music (whether they are gay or not)?

Collective reaction to Hopper's article was mixed, and many dismissed the charge outright, noting that rock music as a genre had a long history of issues with sexism; the problem wasn't unique to emo music or directly related. By comparison to a genre like 1980s hair metal, in which popular songs (such as Warrant's "Cherry Pie") often objectified women, the perceived sexism in emo was more of an intellectual argument than something that could be specifically cited in the music.

Absolutely!!! Couldn't agree more, though I actually think that some grindcore (like death metal, but less melodic and more chaotic) and most 'gangsta' rap tunes are worse (especially rap because I have also witnessed the way they treat women and haven't been treated really well by 'rappers' and similar people - like chavs, wiggers, ravers and revheads - myself).

Critics of modern emo also point to the increasingly generic nature of the music. As popular bands have attempted to flee the "emo" tag (some have adopted the "post-hardcore" tag), the remaining bands appear to fit the genre solely because of their similarity to other so-called "emo" bands. Critics note a slow homogenization of the genre, with newer bands adhering to a stereotypical style rather than redefining it, not unlike the waning years of grunge music in the 1990s.

Or the 'hair bands' of the 80's

At the same time, the persistent criticism and negative stereotypes have led to an increasing perception of modern emo as the new "guilty pleasure". Despite the criticism, the modern version of emo has maintained mainstream popularity.

In other words, alot of people are reluctant to openly admit to being 'emo', for fear of being tarred with the same brush as the ones who slit their wrists, cry in public etc. Much like some people don't always openly admit to liking heavy metal because of the bad rap it had gotten over the years also.

However, given the disfavor of the term "emo", the question of whether new bands will openly associate with "emo" leaves the future unclear.

Or perhaps they don't want to be categorized and thus, tarred with the same brush. And it is really embarrassing for metalheads, goths, punks etc to be labelled in the same way because most certainly, alot of my friends who happen to belong to those scenes neither project that image, nor do they have such personality traits that indicate liking this genre.

But ending my 'rant' however, I have also known alot of people who don't fit any 'alternative' subculture' (like goths or emos) who also act really 'sooky lala' in public (or at least witnessed it) - and yet, they like dance music; or alternatively, seen an increasing number of young people who choose 'emo' or goth fashions (eg tight jeans, long fringes, dark clothes) who are appear to be the most well adapted people I've known.

So, in a nutshell, looks can be extremely decieving!!!

Sources

• DeRogatis, Jim. Screamo. Guitar World. URL accessed on August 24, 2005.
• Heller, Greg. Bands Seek Emotional Rescue: Young postpunk stars sick of 'Emo-core' label. San Francisco Chronicle. URL accessed on September 10, 2000.
• Radin, Andy. What the heck *is* emo, anyway?. URL accessed on July 17, 2005.
• Andersen, Mark (2001). Dance Of Days, Two Decades of Punk In The Nations Capitol. Soft Skull Press. ISBN 1-887-128-49-2.
• Greenwald, Andy (2003). Nothing Feels Good. St. Martin's Griffin. ISBN 0-31-230863-9.
• Hopper, Jessica (October 2003). "Emo: Where the Girls Aren't". Punk Planet.
• Prindle, Mark. Guy Picciotto Interview. URL accessed on April 19, 2006.
  

External links

• Emo-ology – an attempt to create an Emo discography.
• Viva La Vinyl! – a site with a strong Emo community.
• A!E.com's Emo Guide
• Fourfa.com – a site about (mostly older) diy/underground emo.

Retrieved from "http://en.wikipedia.org/wiki/Emo_%28music%29"

Categories: Emo: Hardcore punk; Punk; Punk genres; Washington, D.C. culture

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