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==History==
===The first wave (1985-1994)===
In 1985 in [[Washington, D.C.]], [[Ian MacKaye]] and [[Guy Picciotto]], veterans of the DC hardcore music scene, decided to shift away from what they saw as the constraints of the basic style of hardcore and the escalating violence within the scene. They took their music in a more personal direction with a far greater sense of experimentation, bringing forth MacKaye's [[Embrace (U.S. band)|Embrace]] and Picciotto's [[Rites of Spring]]. The style of music developed by Embrace and Rites of Spring soon became its own sound. ([[Hüsker Dü]]'s 1984 album ''[[Zen Arcade]]'' is often cited as a major influence for the new sound.) As a result of the renewed spirit of experimentation and musical innovation that developed the new scene, the summer of 1985 soon came to be known in the scene as "Revolution Summer".<ref>[http://www.southern.com/southern/band/EMBRC/biog.html Embrace, Official Biography], Southern Records.</ref><ref>[http://www.fourfa.com/history.htm "History"] by Andy Radin, What the heck *is* emo, anyway?</ref>
Where the term ''emo'' actually originated is uncertain, but members of [[Rites of Spring]] mentioned in a 1985 interview in [[Flipside Magazine]] that some of their fans had started using the term to describe their music. By the early 90s, it was not uncommon for the early DC scene to be referred to as ''emo-core'', though it's unclear when the term shifted.
Within a short time, the D.C. emo sound began to influence other bands such as [[Moss Icon]], [[Nation of Ulysses]],<ref>[http://www.fourfa.com/topten/emo.htm Fourfa: Emo Top Ten]</ref> [[Dag Nasty]], [[Soulside]], [[Shudder To Think]], [[Fire Party]], Marginal Man, and [[Gray Matter (band)|Gray Matter]], many of which were released on MacKaye's [[Dischord Records]]. The original wave of DC emo finally ended in late 1994 with the collapse of [[Hoover (band)|Hoover]].
As the D.C. scene expanded, other scenes began to develop with a similar sound and [[DIY]] ethic. In [[San Diego]] in the early 1990s, [[Gravity Records (US)|Gravity Records]] released a number of records in the hardcore emo style. Bands of the period included [[Heroin (band)|Heroin]], [[Indian Summer (band)|Indian Summer]], [[Drive Like Jehu]], [[Angel Hair (band)|Angel Hair]], [[Antioch Arrow]], [[Universal Order of Armageddon]], [[Swing Kids (band)|Swing Kids]], and [[Mohinder (band)|Mohinder]]. Also in California, [[Ebullition Records]] released records by bands of the same vein, such as [[Still Life (US band)|Still Life]] and [[Portraits of Past]], as well as more traditional [[hardcore punk]] bands, all having various social and political themes in common.
===Early emo's influence===▼
At the same time, in the [[New York]]/[[New Jersey]] area, bands such as [[Native Nod]], [[Merel]], [[1.6 Band]], [[Policy of 3]], [[Rye Coalition]], [[Iconoclast (band)|Iconoclast]],<ref>[http://www.fourfa.com/styles/hcemo.htm Fourfa: Hardcore Emo]</ref> and [[Quicksand (band)|Quicksand]]<ref>[http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:8zamqj7uojaa AllMusic.com: ''Manic Compression'']</ref> were feeling the same impulse. Many of these bands were involved with the [[ABC No Rio]] club scene in New York, itself a response to the violence and stagnation in the scene and with the bands that played at [[CBGB]]s, the only other small venue for hardcore in New York at the time. Much of this wave of emo, particularly the San Diego scene, began to shift towards a more chaotic and aggressive form of emo, nicknamed ''[[screamo]]''.
By and large, the more hardcore style of emo began to fade as many of the early era groups disbanded. However, aspects of the sound remained in bands such as [[Four Hundred Years]] and [[Yaphet Kotto (band)|Yaphet Kotto]]. Also, a handful of modern bands continue to reflect emo's hardcore origins, including [[Circle Takes the Square]], [[Hot Cross]], [[City of Caterpillar]], [[Funeral Diner]], and [[A Day in Black and White]].
Following the disbanding of Embrace in 1986, MacKaye established the influential group [[Fugazi (band)|Fugazi]], and was soon joined by Picciotto. While Fugazi itself is not typically categorized as emo, the band's music is cited as an influence by popular second-wave bands such as [[Sunny Day Real Estate]],<ref> [http://www.westword.com/Issues/2006-07-27/music/roughmixes.html "Shine On: Jeremy Enigk's Sunny days may be over, but his music is as bright as ever"], by Dave Herrera, Denver Westword, July 27 2006</ref> [[Braid (band)|Braid]],<ref> [http://www.theeagleonline.com/media/storage/paper666/news/2004/06/21/TheScene/Braid.Singer.Speaks.On.Roots.Of.Emo-688593.shtml?norewrite200608142033&sourcedomain=www.theeagleonline.com "Braid singer speaks on roots of emo"] by Emily Zemler, The Eagle Online, June 21 2004</ref> and [[Jimmy Eat World]].<ref> [http://bbs.jimmyeatworld.com/faq.php?faq=the_band "Jimmy Eat World Message Board - FAQ: The Band"]</ref>
▲===Early emo's influence===
In California - particularly in the [[Bay Area]] - bands such as [[Jawbreaker (band)|Jawbreaker]] and [[Samiam]] began to incorporate influences from the "D.C. sound" into a poppier framework; The former's music was described by Andy Greenwald as "a sonic shot-gun marriage between the bristly heft of hardcore, the song-writing sensibility of Cali pop-punk, and the tortured artistry of D.C. emo".<ref name="greenwald">Greenwald, Andy (2003). Nothing Feels Good, pp 20. New York: St. Martin's Griffin.</ref> Other bands soon reflected the same sense of rough melody, including Still Life and Long Island's [[Garden Variety (band)|Garden Variety]].
Also in the early 90s, bands like [[Lifetime (band)|Lifetime]] reacted in their own way to the demise of [[youth crew]] styled straight-edge hardcore and desired to seek out a new direction. While their music was often classified as emo, it was also considered to be [[melodic hardcore]]. In response to the more metal direction their hardcore peers were taking, Lifetime initially decided to slow down and soften their music, adding more personal lyrics. The band later added a blend of speed, aggression, and melody that defined their sound. Lifetime's sound, lyrics, and style were a virtual blueprint for later bands, including [[Saves the Day]], [[Taking Back Sunday]], and [[The Movielife]].
===The second wave (1994–2000)===
As Fugazi and the Dischord Records scene became more and more popular in the indie underground of the early 1990s, new bands began to spring up. Combining Fugazi with the [[post-punk]] influences of [[Mission of Burma]] and [[Hüsker Dü]], a new genre of emo emerged.
Perhaps the key moment was the release of the album ''[[Diary (album)|Diary]]'' by [[Sunny Day Real Estate]] in 1994. Given [[Sub Pop]]'s then-recent success with [[Nirvana (band)|Nirvana]] and [[Soundgarden]], the label was able to bring much wider attention to the release than the typical indie release, including major advertisements in [[Rolling Stone]]. The heavier label support allowed the band to secure performances on TV shows, including ''[[The Jon Stewart Show]]''. <!-- THIS IS NOT THE DAILY SHOW. Jon Stewart had his own syndicated late night show in the early 90s. --> As a result, the album received widespread national attention.
As more and more people learned about the band, particularly via the fledgling [[World Wide Web]], the band was given the tag ''emo''. Even where Fugazi had not been considered emo, the new generation of fans shifted the tag from the earlier hardcore style to this more [[indie rock]] style of emo. It was not uncommon for Sunny Day and its peers to be labeled with the full "emo-core". 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".
In the years that followed, several major regions of "indie emo" emerged. The most significant appeared in the Midwest in the mid-90s. Many of the bands were influenced by the same sources, but with an even more tempered sound. This brand of emo was often referred to as "Midwestern emo" given the geographic location of the bands, with several of the best-known bands hailing from the areas around [[Chicago]], [[Kansas City, Missouri|Kansas City]], [[Omaha, Nebraska|Omaha]] and [[Milwaukee, Wisconsin|Milwaukee]]. The initial bands in this category included [[Boy's Life (band)|Boy's Life]] and [[Cap'n Jazz]]. In ensuing years, bands such as [[The Promise Ring]], [[Braid (band)|Braid]], [[Elliott (band)|Elliott]], [[Cursive (band)|Cursive]], and [[The Get Up Kids]] emerged from the same scene and gained national attention.
The area around [[Phoenix, Arizona]] became another major scene for emo. Inspired by Fugazi and Sunny Day Real Estate, former punk rockers [[Jimmy Eat World]] began stirring emo influences into their music, eventually releasing the album ''[[Static Prevails]]'' in 1996. The album was arguably the first emo record released by a major label, as the band had signed with [[Capitol Records]] in 1995.
Other bands that followed the "indie emo" model included Colorado's [[Christie Front Drive]], New York's [[Texas Is the Reason]] and [[Rainer Maria]], California's [[Knapsack (band)|Knapsack]] and [[Sense Field]], Baltimore's [[Cross My Heart]], Austin's [[Mineral (band)|Mineral]], and Boston's [[Piebald (band)|Piebald]] and [[Jejune (band)|Jejune]].
Strangely, as "indie emo" became more widespread, a number of acts who otherwise would not have been considered part of the "indie emo" scene began to be referred to as ''emo'' because of their similarity to the sound. The hallmark example was [[Weezer]]'s 1996 album ''[[Pinkerton (album)|Pinkerton]]'', which, years later, was considered one of the defining "emo" records of the 90s.<ref>Edwards, Gavin. [http://www.rollingstone.com/artists/weezer/albums/album/301487/review/6635729/pinkerton "Weezer: Pinkerton"] ''RollingStone.com''. December 9, 2004.</ref>
As the wide range of emo bands began to attract notoriety on a national scale, a number of indie labels attempted to document the scene. Many emo bands of the late 90s signed to indie labels including [[Jade Tree Records]], [[Saddle Creek]], and [[Big Wheel Recreation]]. In 1997, California's [[Crank! Records]] released a compilation titled ''(Don't Forget to) Breathe'', which featured tracks by notable indie emo bands such as [[The Promise Ring]], Christie Front Drive, Mineral, Knapsack, and Arizona's [[Seven Storey Mountain (band)|Seven Storey Mountain]]. In 1998, [[Deep Elm Records]] released the first installment in a series of compilations called ''Emo Diaries'', featuring tracks from Jimmy Eat World, [[Samiam]], and Jejune. In 1999, famed 70s compilation label [[K-tel]] released an emo compilation titled ''Nowcore: The Punk Rock Evolution'', which included tracks by Texas Is the Reason, Mineral, The Promise Ring, Knapsack, [[Braid (band)|Braid]], [[At the Drive-In]], and [[Jawbox]], among others.
With the late-90s emo scene being more national than regional, major labels began to turn their attention toward signing emo bands with the hopes of capitalizing on the genre's popularity. Many bands resisted the lure, citing their loyalty to the independent mentality of the scene. Several bands cited what they saw as mistreatment of bands such as Jawbox and Jawbreaker while they were signed to majors as a reason to stay away. The conflict felt within many of the courted emo bands resulted in their break-ups, including Texas Is the Reason and Mineral.
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. The independent nature of the emo scene recoiled at mainstream attention, and many emo bands shifted their sound in an attempt to isolate themselves from the genre. In the years that followed, Sunny Day Real Estate opted to shift to a more prog-rock direction, Jejune aimed for happy pop-rock, and The Get Up Kids and The Promise Ring released lite-rock albums.
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 (band)|Thursday]], [[The Juliana Theory]], and [[Sparta (band)|Sparta]].
===The third wave (2000-present)===
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]].
However, towards the end of the 1990s, [[Jimmy Eat World]] had begun to shift in a more mainstream direction. Where 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 (song)|Sweetness]]". As the public had become aware of the word ''emo'' and knew that Jimmy Eat World was associated with it, the band continued to be referred to as an "emo" band, despite their objections. 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.<ref>DeRogatis, Jim. [http://www.jimdero.com/OtherWritings/Other%20emo.htm "Emo (The Genre That Dare Not Speak Its Name)"].</ref>
2003 saw the success of [[Chris Carrabba]], the former singer of emo band [[Further Seems Forever]], and his project [[Dashboard Confessional]]. Despite musically being more aligned to the singer songwriter school, 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. <ref>DeRogatis, Jim. [http://www.jimdero.com/News2003/Oct3LiveDashboard.htm "True Confessional?"]. October 3, 2003.</ref>
With Dashboard Confessional and Jimmy Eat World's success, major labels began seeking out similar sounding bands. Just as many bands of the early-to-mid 1990s were unwillingly lumped under the umbrella of "[[grunge music|grunge]]", some record labels wanted to be able to market a new sound under the word ''emo''.
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". (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''.<ref>Popkin, Helen A.S. [http://www.msnbc.msn.com/id/11720603/ "What exactly is 'emo', anyway?"] MSNBC.com. March 26, 2006</ref>
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 broad that it has become nearly impossible to describe what exactly qualifies as "emo".
Appropriately or not, ''emo'' has been used to describe such bands as
<!--
PLEASE NOTE: Bands listed here are regularly referred to as "emo" in popular culture, regardless of whether they are actually "emo" bands. The point here isn't to label bands or to "harm" them, it's to accurately reflect modern usage of the term, and, to some degree, the meaningless nature of the term. This paragraph should not be altered with the addition or removal of a band simply because a fan believes a band isn't "emo". All of these bands have at one point or another been referred to by verifiable sources as "emo", even if the usage could be seen as incorrect. This list is also not intended to be complete. Please discuss any changes to the list on the Talk page first to see if there is a general consensus amongst editors about your change.
=================DO NOT CHANGE THIS LIST WITHOUT DISCUSSING ON THE TALK PAGE FIRST================
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[[AFI (band)|AFI]], [[Alexisonfire]], [[Brand New]], [[Bright Eyes (band)|Bright Eyes]], [[Coheed and Cambria]], [[Death Cab for Cutie]], [[Fall Out Boy]], [[From First to Last]], [[Funeral for a Friend]], [[Hawthorne Heights]], [[My Chemical Romance]], [[Panic! at the Disco]], [[Senses Fail]], [[Something Corporate]], [[The Starting Line]], [[Story of the Year]], [[Taking Back Sunday]], [[Thursday (band)|Thursday]], [[The Used]], and [[Underoath]].<ref>Community site last.fm tags all bands listed as emo [http://www.last.fm/tag/emo] or screamo [http://www.last.fm/tag/screamo].
<!--
=================DO NOT CHANGE THIS LIST WITHOUT DISCUSSING ON THE TALK PAGE FIRST================
PLEASE NOTE: Bands listed here are regularly referred to as "emo" in popular culture, regardless of whether they are actually "emo" bands. The point here isn't to label bands or to "harm" them, it's to accurately reflect modern usage of the term, and, to some degree, the meaningless nature of the term. This paragraph should not be altered with the addition or removal of a band simply because a fan believes a band isn't "emo". All of these bands have at one point or another been referred to by verifiable sources as "emo", even if the usage could be seen as incorrect. This list is also not intended to be complete. Please discuss any changes to the list on the Talk page first to see if there is a general consensus amongst editors about your change.
-->
Silverstein [http://www.myspace.com/silverstein] categorizes themselves as emo on their MySpace page. Many of the other bands listed such as Taking Back Sunday [http://www.vh1.com/artists/interview/1490565/08262004/taking_back_sunday.jhtml] and My Chemical Romance [http://designermagazine.tripod.com/MyChemicalRomanceINT1.html] reject the emo label.</ref> The classification of bands as "emo" is often controversial. Fans of several of the listed 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 similarities, a common fashion sense, or because of the band's popularity within the [[Emo (slang)|"emo" scene]], not because the band adheres to emo as a music genre.
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.
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]].<ref>[http://www.jimdero.com/OtherWritings/OtherScreamoGW.htm "Screamo"], by [[Jim DeRogatis]], [[Guitar World Magazine]], November 2002</ref> 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.
The difficulty in defining "emo" as a genre may have started at the very beginning. In a 2003 interview by [[Mark Prindle]],<ref>[http://www.markprindle.com/picciotto-i.htm "Interview with Guy Picciotto"] by [[Mark Prindle]], MarkPrindle.com, 2003.</ref> [[Guy Picciotto]] of [[Fugazi (band)|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."
==Backlash==
{{main|Emo (slang)}}
As the music increased in popularity, 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 criticism 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 was appreciated by at least one of its targets. Chris Carrabba of Dashboard Confessional told [[Alternative Press]], "I love it! I think it's hysterical. ... If you can't laugh at yourself, then there's no point being around, you know? I don't think it was mean-spirited."<ref>"Interview: Chris Carrabba". ''[[Alternative Press]]''. September 2003.</ref>
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. Complaints pointed to the [[histrionic]] manner in which the emotions were often expressed, not necessarily to the emotions themselves.<ref>Peotto, Tom. "The relentless force of 'emo'". ''e.Peak''. February 27, 2006.</ref>
In October of 2003, ''[[Punk Planet]]'' contributor [[Jessica Hopper]] leveled the charge that the "third wave" era of emo was sexist. Hopper argued that where bands such as Jawbox, Jawbreaker and Sunny Day Real Estate had characterized women in such a way that they were not "exclusively defined by their absence or lensed through romantic-specter",<ref>Hopper, Jessica (2003), "Emo: Where The Girls Aren't", [[Punk Planet]], Issue 56.</ref> contemporary bands approached relationship issues by "damning the girl on the other side ... its woman-induced misery has gone from being descriptive to being prescriptive". Regarding the position of women listening to emo, Hopper went on to note that the music had become "just another forum where women were locked in a stasis of outside observation, observing ourselves through the eyes of others".
Critics of modern emo have argued that there is a tendency toward increasingly generic and homogenized style.<ref>Jacobs, Justin. [http://media.www.pittnews.com/media/storage/paper879/news/2006/04/19/AE/Emo-Not.Fatally.Wounded-1860525.shtml "Emo Not Fatally Wounded"]. ''Pitt News''. April 19, 2006.</ref> Many popular bands have attempted to disassociate themselves with the "emo" tag; some have adopted the genre designation [[post-hardcore]]. Despite the criticism, the modern version of emo has maintained mainstream popularity. However, given the disfavor of the term "emo", the question of whether new bands will openly associate with "emo" leaves the future unclear.
==See also==
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