EMO/SCREAMO

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
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"'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 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 toured with Nirvana and Green Day, but their 1995 album Dear You 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
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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 Champaign-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
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Texas Is the Reason bridged indie rock and emo by blending melody with punk musicianship and singing directly to the listener.
"Knives, Bats, New Tats" by Lifetime
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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
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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 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
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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 (1998) 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
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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
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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
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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 years, 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
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"Screaming Infidelities" helped Dashboard Confessional reach #5 on the Top Independent Albums chart in 2002.
"The Middle" by Jimmy Eat World
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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]

At the same time, a darker, more aggressive offshoot of emo gained popularity. New Jersey–based Thursday signed a multi-million-dollar, multialbum contract with Island Def Jam on the strength of their 2001 album Full Collapse, which reached #178 on the Billboard 200.[96] Their music differed from the prominent emo bands of the time in that it was more politicized and lacked dominant pop hooks and anthems, drawing influence from more maudlin bands such as The Smiths, Joy Division, and The Cure. However, the band's accessibility, openness, basement-show roots, and touring alongside bands like Saves the Day made them part of the emo movement.[97]
Fashion and stereotype

Today emo is commonly tied to both music and fashion as well as the emo subculture.[98] Usually among teens, the term "emo" is stereotyped with wearing skinny jeans, sometimes in bright colors, and tight t-shirts (usually short-sleeved) which often bear the names of emo bands. Studded belts and black wristbands are common accessories in emo fashion. Black Converse sneakers and skate shoes, such as Vans, are popularly worn among people of the emo fashion. Some males also wear thick, black horn-rimmed glasses.[99][100][101]

The emo fashion is also recognized for its hairstyles. Popular looks include long side-swept bangs, sometimes covering one or both eyes. Also popular is hair that is straightened and dyed black. Bright colors, such as blue, pink, red, or bleached blond, are also typical as highlights in emo hairstyles. Short, choppy layers of hair are also common. This fashion has at times been characterized as a fad.[102] In the early 2000s, emo fashion was associated with a clean cut look[103] but as the style spread to younger teenagers, the style has become darker, with long bangs and emphasis on the color black replacing sweater vests.

Emo has been associated with a stereotype that includes being particularly emotional, sensitive, shy, introverted, or angst-ridden.[104][105][106] It has also been associated with depression, self-injury, and suicide.









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Emo muncul dari genre hardcore punk pada awal 1980-an di Washington, D.C. sebagai reaksi meningkatnya kekerasan di komunitas hardcore punk dan rasa ketidaksenangan terhadap Ian MacKaye dari Minor Threat yang mengubah fokus musiknya dari komunitas menjadi kepentingan politik individual.[4][5] Penggemar Minor Threat bernama Guy Picciotto mendirikan Rites of Spring pada tahun 1984 karena berkeinginan melepaskan diri dari batasan-batasan hardcore yang mengekang, dan menggantinya dengan gitar yang melodius, ritme yang bervariasi, dan lirik yang sangat penuh luapan emosi pribadi.[6] Sebagian dari lirik lagu-lagu Rites of Spring telah menjadi metafora bagi pemusik emo dari generasi berikutnya, termasuk di antaranya tema-tema seperti nostalgia, kepahitan yang romantis, dan putus asa yang puitis.[7] Konser-konser Rites of Spring menjadi arena luapan emosi publik, para penonton sering kali menangis tersedu-sedu.[8] Ian MacKaye berubah menjadi penggemar berat Rites of Spring, membantu rekaman satu-satunya album Rites of Spring, dan bekerja sebagai roadie dalam konser keliling. MacKaye lalu mendirikan band sendiri bernama Embrace yang mengeksplorasi tema-tema serupa mengenai pencarian diri dan pelepasan emosi.[9] Grup-grup musik serupa bermunculan setelah adanya Revolusi Musim Panas 1985 di kalangan hardcore punk Washington, D.C..[5] Gray Matter, Beefeater, Fire Party, Dag Nasty, Lunchmeat, dan Kingface adalah beberapa grup musik yang berperan penting waktu itu.[5][9]

Asal usul dari istilah emo tidaklah begitu pasti, namun paling tidak sudah dikenal sejak tahun 1985. Menurut Andy Greenwald penulis buku Nothing Feels Good: Punk Rock, Teenagers, and Emo, "Asal usul istilah emo diselubungi misteri [...] tapi pertama kali muncul sebagai kebiasaan umum pada 1985. Kalau Minor Threat dianggap hardcore, maka Rites of Spring dengan fokus yang berbeda, bisa disebut emotional hardcore atau emocore.[9] Michael Azerrad pengarang Our Band Could Be Your Life juga melacak asal usul kata emo: "Gaya bermusik seperti itu segera disebut 'emo-core', istilah yang dibenci oleh semua orang yang terlibat di dalamnya, walaupun istilah dan pendekatan itu berkembang paling sedikit lima belas tahun kemudian, dan melahirkan band-band yang tidak terhitung jumlahnya."[10] MacKaye juga mengenang kembali tahun 1985, dan mengingat ada sebuah artikel di majalah Thrasher yang menyebut Embrace dan grup-grup musik lain di Washington, D.C. sebagai "emo-core". Ketika itu, ia menganggapnya "istilah paling bodoh yang pernah aku dengar seumur hidupku."[11] Teori lain mengatakan istilah emo berasal dari penonton konser Embrace. Mereka meneriakkan kata "emocore" yang dimaksudkan sebagai ejekan bagi Embrace.[12][13] Penggemar emo mengklaim bahwa MacKaye yang menciptakan istilah emo untuk mengejek dirinya sendiri di majalah, atau istilah tersebut berasal dari ciptaan Rites of Spring.[13] Walapun demikian, Oxford English Dictionary mencatat bahwa istilah emo-core pertama kali digunakan tahun 1992, sementara istilah emo mulai dikenal pada tahun 1993. Kata emo pertama kali muncul di media cetak pada tahun 1995 di majalah New Musical Express.[14][15]

Perusahaan rekaman spesialis emocore dengan segera bermunculan di sekitar kalangan punk Washington, D.C., dan identik dengan grup-grup musik yang bernaung di bawah label Dischord Records milik MacKaye.[12] Walaupun sebagian besar dari grup-grup tersebut enggan disebut band emo, mereka menerimanya dengan terpaksa. Veteran punk Jenny Toomey mengenang "Orang yang menggunakan [istilah emo] hanyalah orang-orang yang cemburu terhadap begitu besar dan fanatiknya penggemar pada waktu itu. [Rites of Spring] sudah ada sebelum istilah emo tercipta, dan mereka membencinya. Namun terjadilah keanehan, seperti ketika orang-orang mulai menyebut musik mereka 'grunge', Anda juga mulai ikut-ikutan memakai istilah itu, walaupun mulanya Anda membencinya."[16]

Kegemilangan emo di Washington, D.C. hanya bertahan beberapa tahun. Pada 1986, sebagian besar band-band utama, termasuk Rites of Spring, Embrace, Gray Matter, dan Beefeater sudah membubarkan diri.[17] Walaupun demikian, ide dan estetika yang berasal dari mereka dengan cepat menyebar ke seluruh Amerika Serikat lewat majalah penggemar (zine), rekaman piringan hitam, dan kabar burung.[18] Menurut Greenwald, kalangan emo di Washington, D.C. meletakkan fondasi bagi inkarnasi grup-grup emo generasi berikutnya:

Apa yang terjadi di Washington, D.C. pada pertengahan delapan puluhan, pergeseran kemarahan menjadi aksi, dari kemarahan terpendam menjadi ketidakpastian internal, dari massa yang terindividualisasikan menjadi massa yang individual, semuanya dalam beberapa hal merupakan studi kasus bagi transformasi dunia punk nasional untuk dua dekade berikutnya. Penggambaran ide dan situasi, kekuatan musik, dan cara orang bereaksi terhadaobtam dab cara band-band menjadi jenuh dan bukan memudar, semuanya berawal dari beberapa pertunjukan pertama Rites of Spring. Fondasi emo telah diletakkan, namun secara tidak sengaja, oleh lima puluh orang atau lebih di ibu kota negara. Dan dalam beberapa hal, emo tidak akan pernah sebaik dulu dan pastinya tidak akan pernah murni lagi. Pastinya, dunia emo di Washington menerima emocore secara konsensus sebagai suatu genre.[19]








----------------------EMO/SCREAMO--------------------------

Diawal tahun 2005,saya mengenal suatu musik yang oleh kebanyakan orang disebut EMO/SCREAMO. Dari situ saya mulai tertarik untuk cari tau, Tanya sana-sini, cari Mp3 nya, teruz APA SEBENARNYA “EMO” ITU & SIAPA SAJA BAND-BAND YANG MEMAINKAN MUSIK EMO!!! Jujur,pertama kali saya (Dan kebanyakan orang tentunya) mengira band-band Emo Tuh Seperti :

• THE USED
• FINCH
• STORY OF THE YEAR
• MY CHEMICAL ROMANCE
• TAKiNG BACK SUNDAY
• FROM FIRST TO LAST
• FALL OUT BOY
• DASHBOARD CONFESSIONAL
• SAOSIN
• FUNERAL FOR A FRIEND
• HAWTHORNE HEIGHTS
• MATCHBOX ROMANCE
• SILVERSTEIN
• UNDEROATH
• ALESANA
• CHIODOS
• ALEX IS ON FIRE
• ATREYU
• 36 CRAZY FISTS
• A STATIC LULLABY
• AIDEN
• A CHANGE OF PACE
• and another shitty band like those band ;p

Rasa pengen tau tentang EMO gak berhenti sampai disitu aja,saya terus dan terus menggali lebih dalam tentang emo, setelah browsing sana-sini… ikut berbagai macam forum diskusi, sharing dengan banyak teman, akhirnya gw nemuin MUTIARA!!! Thankz God

jadi Kesimpulannya adalah, EMO itu…Sub-genre dari Hardcore-Punk Musik, muncul pertama kali diawal tahun 1980 an, tepatnya di scene DC Hardcore Punk !!! Band yang mengawali “Gelombang Emo” saat itu adalah : RITES OF SPRING Trus di “populerkan” oleh MOSS ICON, THE HATED, JULIA, UNION OF URANUS,INDIAN SUMMER dll. Emo sendiri udah “mati” di pertengahan tahun 1990 dan emo gak akan pernah jadi SUB-CULTURE…Karena emo TIDAK MEMPUNYAI suatu “Movement / Pergerakan” yg akan mereka perjuangkan, Tidak Seperti PUNK dan HARDCORE (Tapi skrg udah banyak band-band Emo yang mengangkat tema POLITIK dll. Seperti LA QUIETE, AMANDA WOODWARD, etc)

Jadi, NGGAK ADA yang namanya Emo-Pop, Emo-Punk, Emo-Metal, Emo-Goth, Emo-core, Emo-rock, Emo-Coustic (ada sebagian orang menyebut ini sebagai sub-genre or Evolusi dari Emo) , and another shitty things !!! Karna apa??? Karna, Emo itu Sudah menjadi AKAR (sub-genre) dari Hardcore Punk musik, gw ulangin, dari Hardcore Punk musik!!! Gak ada kan “akar” dari suatu “akar”?!!? Gampangnya gini, PUNK—HARDCORE—EMO…Emo dari Hardcore, dan Hardcore dari Punk. Jelas???

Cuma SCREAMO yang bisa jadi Sub-category dari EMO itu sendiri. Pada dasarnya,Emo dan Screamo sama aja, sama2 berunsur CATHARSIS (Menyenangkan orang yg mendengarkan) dan masih mempunyai Hardcore ETHIC, itu unsur yg harus dijaga oleh band-band emo,karena mereka berasal dari Hardcore. Hanya saja, klo kita lihat dari segi sound nya, Screamo lebih Chaotic + Lebih banyak Scream nya jika dibandingkan ama band-band emo kebanyakan (Coba dengerin INDIAN SUMMER, truz dengerin ORCHID / P.99), dari situ kalian bakalan tau apa BEDA antara musik EMO dan SCREAMO Wink Lirik juga kebanyakan tentang “kemarahan” dibungkus dalam suatu Epic dan sesekali tentang cinta (Tapi TIDAK cengeng), seperti “Venus & Bacchus” nya SAETIA), karna band-band Screamo seperti :

• 1905
• 49 MORPHINES
• 1000 TRAVEL OF JAWAHARLAL
• AMPERE
• ANGER IS BEAUTIFUL
• AGHAST
• AFTER SCHOOL KNIFE FIGHT
• A FINE BOAT, THAT COFFIN!
• A DAYS REFRAIN
• A DAY IN BLACK AND WHITE
• ARCHITECTS
• AMANDA WOODWARD
• ANGORA STATIC
• ANTIOCH ARROW
• ANGEL HAIR
• BEAR GARDEN
• BALBOA
• BELLE EPOQUE
• CIRCLE TAKES THE SQUARE
• CITY OF CATERPILLAR
• CAPULETTE
• CAITLYN BAILEY
• CEASE UPON THE CAPITOL
• CATENA COLLAPSE
• DAITRO
• DIPLEG
• DEAR DIARY I SEEMS TO BE DEAD
• DIE, EMPEROR DIE!
• D’AMORE
• EMBRACE
• ENVY
• ENOCH ARDON
• FUNERAL DINER
• FORMAT MASA DEPAN
• FINGER PRINT
• FLASHBULB MEMORY
• HASSAN I SABBAH
• HOT CROSS
• HIRETSUKAN
• HEROIN
• INDIAN SUMMER
• I, ROBOT
• I WOULD SET MYSELF ON FIRE FOR YOU
• I WROTE HAIKUS ABOUT CANNIBALISM IN YOUR YEAR BOOK
• IN THE NERVOUS LIGHT OF SUNDAY
• JOSHUA FIT FOR BATTLE
• JEROME’S DREAM
• JULIA
• KAOSPILOT
• KIAS FANSURI
• LOUISE CHYPRE
• LA QUIETE
• LOVE LOST BUT NOT FORGOTTEN
• LOVE LIKE…ELECTROCUTION
• LIFE AT THESE SPEEDS
• MOSS ICON
• MINERAL
• MANHATTAN SKYLINE
• NEIL PERRY
• ORCHID
• ORBIT CINTA BENJAMIN
• PAGE NINETYNINE (PAGE.99 / P.99)
• PALATKA
• PORTRAIT OF PAST
• PHOENIX BODIES
• PLEASE INFORM THE CAPTAIN, THIS IS A HIJACK
• RITES OF SPRING
• RAEIN
• REVERSAL OF MAN
• SAETIA
• SINALOA
• SUIS LA LUNE
• STOP IT!
• SHIKARI
• THE KODAN ARMADA
• THE RISE OF FUCKIN CICADA
• TIGERS ARE OUT, BEARS ARE IN
• THE APLOPEXY TWIST ORCHESTRA
• THE BIRDS ARE SPIES, THEY REPORT TO TREES
• USURP SYNAPSE
• VIVISICK
• WELCOME THE PLAGUE YEAR
• WOW, OWLS!
• YAPHET KOTTO
• DLL....

Ter influence dari Sounds Hardcore Punk + Grindcore (Grindcore kan juga termasuk salah satu sub-genre dari Hardcore).
Emo itu Sendiri Kependekan dari EMOTIVE HARDCORE !!! BUKAN EMOTION / EMOTIONAL HARDCORE !!! Disini Telah terjadi kesalahpahaman, Emotional (Dari segi Lirik) yang SEHARUSNYA berarti LUAPAN KEMARAHAN akan SUATU KETIDAK ADILAN malah di artikan sebagai RENGEKAN CENGENG DEPRESI DIRI karena PUTUS CINTA, atau sesuatu yang berhungan dengan MENYIKSA DIRI SENDIRI dan berakhir dengan BUNUH DIRI!!! SESUATU HAL YANG MENYEDIHKAN DAN TIDAK BERGUNA SAMA SEKALI!!! jika kalian menganggap itu sebagai emo, Lebih baik kalian buat band POP aja!!! Seperti KANGEN band, Tapi vokalnya teriak2 kayak FINCH dll. Hahaha

Disini, for Basically, Kita harus mengerti klo emo tuh Sub-Genre dari Hardcore Punk (Kapan yah gw capek ingetin ini???)… Emo/Screamo tetap menganut filosofi DIY (Do It Yourself ) dari Punk itu sendiri. Jadi, emo TIDAK BISA menjadi “sesuatu” yang MAINSTREAM, Tetapi band – band emo yang seperti sudah di sebutin di atas itu BISA POPULER seperti hal nya band-band MAINSTREAM lainnya!!! Thankz to God for leading me to the Truth

Jika kalian mengerti Akar dari Emo dan apa itu arti emo sebenarnya, maka kalian akan paham suatu hal, Memang sudah seharusnya TIDAK ADA ISTILAH “emo kid”,Dan juga kalian akan paham bahwa emo tidak ada hubungannya dengan Sexual gender seperti GAY, LESBI, or BISEX!!! Coz EMO/SCREAMO IS JUZT SUB-GENRE from HARDCORE .

Oke, gw udah share sebagian yang gw tau tentang “what the heck is emo???”…gw harap temen-temen yg ada di grup (dan baca tulisan ini) jadi mengerti apa itu emo yang sebenarnya, dan mulai BISA BERHENTI untuk bilang kalo THE USED, FINCH, ALESANA, dll itu adalah band-band emo/screamo (itu sangat2 memalukan)!!! Karena gw bakal seneng liat anak2 muda Indonesia mengerti apa itu emo, tidak Cuma sekedar ikut2an trend yang lagi IN (sudah saatnya Indonesia “sembuh” dari penyakit FALSE EMO, FASHIONCORE, TEARSCORE, dll.) seperti yang diciptakan oleh MTV bangsat dan MEDIA-MEDIA lain yang ngawur dan gak tau apa2 tentang Emo!!!
So, keep educating yourself guys!!! DIY or DIE !!! Cari sesuatu dari sumber yang jelas, pelajari, dengarkan dan pahamin apa yang kamu percaya (musik maksud gw), diskusikan dengan teman2 kalian, trus sebarkan apa yang kalian tau!!!



Jadi orang “keras kepala” itu bukanlah suatu kejahatan, kalo bisa jadilah orang yang “keras kepala” tapi TAU apa yang kamu pertahanin!!! Jangan Jadi orang yang “keras kepala” tapi tidak tau apa2!!! C’mon guys, itu suatu kebodohan tingkat tinggi!!!seperti…(gak perlu gw sebutin disini nama orangnya, gak etis) Hahaha
(yg pasti sebagian orang udah pada tau kan)






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