I have alot of preps and tarts at my school i'm emo/goth?

everone thinks i werid and i dress different because i talk about death how do i become a tart or prep i want to make friends my mom and dad see i'm mesribaly and sad how do i talk prep and dress prep ideas on my hair and makeup the way to look prepish how to be a yong lady my nails what shampoo to use what to i say when i approcah the preps how do i get my lips like anglelina jolie. how to make my hair stragth i have emo hair

I have alot of preps and tarts at my school i'm emo/goth?

WHY DO YOU HAVE TO BE EITHER ONE, JUST BE YOURSELF YOU'LL FIND IT CAUSES YOU LESS STRESS IN LIFE.

I have alot of preps and tarts at my school i'm emo/goth?

dont change urself for other that is what will really make u misrable i have been there and done that! u can email me if u want at amelia_0707@yahoo.com if u need to just vent to someone that helps! also i live by these words now "dont make it happen, let it" my friend said that to me once and ever since it has really made a difference on my life! good luck and maybe find ppl outside of ur school who are more ur type.

I have alot of preps and tarts at my school i'm emo/goth?

first get rid of the clothes. thn the black nails and lipstick.. get some polos nd jeans. tht fit you...and go to a salon nd get ur hair straightend..and tlk about guys nd stuff like tht...

I have alot of preps and tarts at my school i'm emo/goth?

first get rid of the clothes. thn the black nails and lipstick.. get some polos nd jeans. tht fit you...and go to a salon nd get ur hair straightend..and tlk about guys nd stuff like tht...

if u can dont change but being happy is wot u want

I have alot of preps and tarts at my school i'm emo/goth?

FIRST OF ALL, IF YOU'RE THINKING ABOUT GETTING A NEW LOOK YOU'RE NOT REALLY A GOTH. YOU'RE A TEENAGER THAT'S MAYBE A LITTLE CONFUSED, THAT'S ALL. THE FACT THAT YOU LIKE GOTHIC ROCK DOESN'T MEAN THAT YOU HAVE TO DREES LIKE A GOTH. BEING A GOTH IS A WAY OF SEING LIFE, A PHILOSOPHY, NOT ONLY A MUSIC STYLE.

IF YOU WANT A NEW LOOK, JUST WATCH HOW THE GIRLS IN YOUR SCHOOL DRESS OR GO TO THE MALL AND SEE WHAT'S HOT THIS SEASON. YOU SAY YOU DON'T HAVE ANY FRIENDS, BUT MAYBE YOU CAN ASK YOUR SISTER (IF YOU HAVE ONE), A COUSIN OR YOUR MOM CAN HELP YOU OUT.

GOOD LUCK!

I have alot of preps and tarts at my school i'm emo/goth?

Loose the goth persona. It is a sign of a self destructive lifestyle. That doesn't mean that you must become just like everyone else either. Just dress in what you like. I haven't a clue what "emo hair" is, but I wouldn't be overly drastic with your hair, make up and all that isn't all that important, just be natural.

When you allow your natural beauty show, you'll be amazed at how people will respond. Don't worry, and God Bless You !

Happy Thanks Giving !

I have alot of preps and tarts at my school i'm emo/goth?

You don't sound goth or emo at all. You sound like a confused young person. Why do you want to comform and be like everybody else there? My answer is: don't. Wear what you like and listen to music you enjoy. Nobody can make you be what you aren't except for you. Also: 'tart' is usually an insult, and Angelina Jolie has fish lips. Thank you for listening.

I have alot of preps and tarts at my school i'm emo/goth?

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 has been the subject of much debate.

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. 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 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.

Contents

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1 History

1.1 The first wave (1985-1994)

1.2 Early emo's influence

1.3 The second wave (1994鈥?000)

1.4 The third wave (2000鈥揚resent)

2 Backlash

3 References

4 Bibliography

5 External links

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[edit]

History

[edit]

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 and Picciotto's Rites of Spring. The style of music developed by Embrace and Rites of Spring soon became its own sound. (H眉sker D眉'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".[1] [2]

Within a short time, the D.C. emo sound began to influence other bands such as Moss Icon, Nation of Ulysses, Dag Nasty, Soulside, Shudder To Think, Fire Party, Marginal Man, and 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.

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.

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 released a number of records in the hardcore emo style. Bands of the period included Heroin, Indian Summer, Angel Hair, Antioch Arrow, Universal Order of Armageddon, Swing Kids, and Mohinder. Also in California, Ebullition Records released records by bands of the same vein, such as Still Life and Portraits of Past, as well as more traditional hardcore punk bands, all having various social and political themes in common.

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 and Rorschach 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 CBGBs, 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. 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 formed the influential group Fugazi, and was soon joined by former bandmate Guy 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, [3] Braid, [4] and Jimmy Eat World. [5]

[edit]

Early emo's influence

In California - particularly in the Bay Area - bands such as 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".[6] Other bands soon reflected the same sense of rough melody, including Still Life and Long Island's Garden Variety.

Also in the early 90s, bands like 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 and The Movielife.

Similarly, bands such as Converge, heavily influential on modern metalcore, drew inspiration from East Coast emo bands and added a sense of catharsis and atypically introspective lyrics.

[edit]

The second wave (1994鈥?000)

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 H眉sker D眉, a new genre of emo emerged.

Perhaps the key moment was the release of the album Diary by Sunny Day Real Estate in 1994. Given Sub Pop's then-recent success with 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. 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 wasn't 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, and Milwaukee. The initial bands in this category included Boy's Life and Cap'n Jazz. In ensuing years, bands such as The Promise Ring, Braid, Elliott, 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 in 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 and Sense Field, Baltimore's Cross My Heart, Austin's Mineral, and Boston's Piebald and 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 is Weezer's 1996 album Pinkerton, which, years later, is still considered one of the records that helped shape the "emo" movement. [7]

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. 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, 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 / H眉sker D眉 model, including Thursday, The Juliana Theory, and Sparta.

[edit]

The third wave (2000鈥揚resent)

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 almost completely removed its emo influences. 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. 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.

2003 saw the success of Chris Carrabba, the former singer of Further Seems Forever, and his project Dashboard Confessional. Carrabba's music featured lyrics founded in deep diary-like outpourings of emotion. Where earlier emo had featured lyrics of a more dark and painful direction, Carrabba's featured a greater focus on love won and lost and the inability to cope. While certainly emotional, the new "emo" had a far greater appeal amongst adolescents than its earlier incarnations.

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", 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.

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".

Correctly or not, emo has often been used to describe such bands as AFI, Alexisonfire, Brand New, 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, Thrice, Thursday, The Used, and Underoath.[8] 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 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.)

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. [9] 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.

Even still, the difficulty in defining "emo" as a genre may have started at the very beginning. In a 2003 interview by Mark Prindle,[10] 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."

[edit]

Backlash

Main article: 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 could be appreciated by fans and detractors alike.

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.

In October of 2003, Punk Planet contributor Jessica Hopper levelled 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 characterised women in such a way that they were not "exclusively defined by their absence or lensed through romantic-spectre"[11], 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".

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.

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.

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

ID SAY GET OVER AN ERA THAT HAPPENED BEFORE YOUR TIME!!!

I have alot of preps and tarts at my school i'm emo/goth?

well u cant just turn prep overnight.......they'll think ur a poser......im totally completely prep and u gotta shop at stores like hollister, abercrombie %26amp; fitch, etc.......u gotta wear light/happy colors, not black or dark colors,.......get ur nails and hair done often and b nice to everyone then u will become popular like most preps r........but always b urself and the rest will come gradually

I have alot of preps and tarts at my school i'm emo/goth?

First off, if you have to turn yourself into something you're not to make friends, I'd say you're better off doing your time as it stands. You'll make friends in college, guaranteed. The clique thing pretty much evaporates after highschool.

I found out in my last year of highschool, having spent my entire HS career alone and miserable- that i was a respected loner, and that a lot of people wanted to get to know me because I was so unusual, but they didn't know how to approach me. Maybe you have some people in your school who feel that way about you? If you turn yourself around you'll be selling yourself short, and perhaps disenchanting some admirers. I'd say stay true to yourself, but stand tall. Go ahead and approach some of the people you think seem nice. You might be surprised. If that doesn't work, you might seek outside school for friends- you could join some clubs in your area. I wish I could be more specific, but I can't since I don't know where you are.

Now as for being fashionable: no need to change major things, but if you want to look a certain way. . . avon makes a nourishing, plumping lipcolor for the whole angelina jolie look. If you put a dab of gloss in the bottom of your lower lip, they'll look even poutier. If you want to do your nails, I reccommend the brand Savvy- available from Sally beauty supply. The stuff lasts for weeks, i swear, and you don't sound like the kind of girl who wants to spend hours on this. A nice look that transcends cliques is to put a cream coat with a topcoat of glitter. It just looks trendy no matter who you are. As for your clothes- just wear what you like. If you follow trends too closely you always just look silly in pictures later on. As for your hair, go ahead and get a leave in cream conditioner to smooth it, and you should be good.

Anyway not to sound trite- seriously, just get through this. Once you're out, everything will be better.

I actually reccommend taking advice from this lady- she has some good things to say for people your age.

http://www.gothic-charm-school.com/