Emo

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Modèle:Sprotect2 Modèle:Citations missing Modèle:This Modèle:Emo Modèle:Wiktionary Emo (Modèle:PronEng) is a style of rock music which describes several independent variations of music with common stylistic roots. As such, use of the term has been the subject of much debate. In the mid-1980s, the term emo described a subgenre of hardcore punk which originated in the Washington, DC music scene. In later years, the term emocore, short for "emotional hardcore", was also used to describe the emotional performances of bands in the Washington DC scene and some of the offshoot regional scenes such as Rites of Spring, Embrace, One Last Wish, Beefeater, Gray Matter, Fire Party, and later, Moss Icon. (In more recent years, the term "emotive hardcore" entered the lexicon to describe the period.)

Starting in the mid-1990s, the term emo began to refer to 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 had a more indie rock style of emo, more melodic and less chaotic. 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 mainstream style. As a result, the term "emo" became a vaguely defined identifier rather than a specific genre of music.

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History

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First wave (1985-1994)

www.southern.com/southern/band/EMBRC/biog.html Embrace, Official Biography], Southern Records.</ref>//www.southern.com/southern/band/EMBRC/biog.html Embrace, Official Biography], Southern Records.</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, 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.

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.

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 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.//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 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.

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,<ref> "Braid singer speaks on roots of emo" by Emily Zemler, The Eagle Online, June 21 2004</ref> and Jimmy Eat World.<ref> "Jimmy Eat World Message Board - FAQ: The Band"</ref>//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,<ref> "Braid singer speaks on roots of emo" by Emily Zemler, The Eagle Online, June 21 2004</ref> and Jimmy Eat World.<ref> "Jimmy Eat World Message Board - FAQ: The Band"</ref>

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Early 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".<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.

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, Taking Back Sunday, and The Movielife.

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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 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 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, Omaha 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, 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 and Sense Field, Baltimore's Cross My Heart, Austin's Mineral, and Boston's Piebald and Jejune.

www.rollingstone.com/artists/weezer/albums/album/301487/review/6635729/pinkerton "Weezer: Pinkerton"] RollingStone.com. December 9, 2004.</ref>//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. 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 and At the Drive-In 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, The Juliana Theory, and Sparta.

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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.

www.jimdero.com/OtherWritings/Other%20emo.htm "Emo (The Genre That Dare Not Speak Its Name)"].</ref>//www.jimdero.com/OtherWritings/Other%20emo.htm "Emo (The Genre That Dare Not Speak Its Name)"].</ref>

www.jimdero.com/News2003/Oct3LiveDashboard.htm "True Confessional?"]. October 3, 2003.</ref>//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", some record labels wanted to be able to market a new sound under the word emo.

www.msnbc.msn.com/id/11720603/ "What exactly is 'emo', anyway?"] MSNBC.com. March 26, 2006</ref>//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 www.last.fm/tag/emo] or screamo [1].//www.last.fm/tag/emo] or screamo [2].

www.myspace.com/silverstein] categorizes themselves as emo on their MySpace page. Many of the other bands listed such as Taking Back Sunday [3] and My Chemical Romance [4] 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" scene, not because the band adheres to emo as a music genre.//www.myspace.com/silverstein] categorizes themselves as emo on their MySpace page. Many of the other bands listed such as Taking Back Sunday [5] and My Chemical Romance [6] 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" 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.

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.//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.

www.markprindle.com/picciotto-i.htm "Interview with Guy Picciotto"] by Mark Prindle, MarkPrindle.com, 2003.</ref> 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."//www.markprindle.com/picciotto-i.htm "Interview with Guy Picciotto"] by Mark Prindle, MarkPrindle.com, 2003.</ref> 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."

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Fashion and stereotype

www.knotmag.com/?article=885 Knot Magazine - "In Defense of Emo"]</ref><ref name="incendiary magazine">Incendiary Magazine - "EMO: What Is It?"</ref><ref name="gurl magazine"> Label it. .. emo

. gURL
. iVillage Inc

. Retrieved on 2007-03-11. </ref> Emo fashion has changed with time. Early trends included straight, unparted hair (similar to that of Romulans and Vulcans in Star Trek), tightly fitting sweaters, button-down shirts, and work jackets.^{[citation needed]} This fashion has at times been characterized as a fad.<ref name="fairfield"> Poretta , JP

     (March 03, 2007)
   
.    Cheer up Emo Kid, It's a Brand New Day 
. The Fairfield Mirror

. Retrieved on 2007-03-08. </ref>//www.knotmag.com/?article=885 Knot Magazine - "In Defense of Emo"]</ref><ref name="incendiary magazine">Incendiary Magazine - "EMO: What Is It?"</ref><ref name="gurl magazine"> Label it. .. emo

. gURL
. iVillage Inc

     (March 03, 2007)
   
.    Cheer up Emo Kid, It's a Brand New Day 
. The Fairfield Mirror

. Retrieved on 2007-03-08. </ref>

www.nytimes.com/2005/08/14/nyregion/nyregionspecial2/14njCOVER.html?pagewanted=1 | accessdate=2007-10-20 }}</ref><ref> Bunning , Shane

     (2006-06-08)
   
.    The attack of the clones: an emo-lution in the fashion industry 
. Newspace, University of Queensland, School of Journalism and Communication.

. Retrieved on 2007-10-20. </ref><ref> Stiernberg , Bonnie

     (2007-03-13)
   
.    What is emo? 
. The Daily illini

. Retrieved on 2007-10-20. </ref> It is also associated with depression, self-injury, and suicide.<ref name="daily mail"> Sands , Sarah

     (August 16, 2006)
   
.    EMO cult warning for parents 
. The Daily Mail

. Retrieved on 2007-03-11. </ref><ref> Walsh , Jeremy

     (2007-10-18)
   
.    Bayside takes Manhattan 
. Queens Time Ledger

. Retrieved on 2007-10-20. </ref>//www.nytimes.com/2005/08/14/nyregion/nyregionspecial2/14njCOVER.html?pagewanted=1 | accessdate=2007-10-20 }}</ref><ref> Bunning , Shane

     (2006-06-08)
   
.    The attack of the clones: an emo-lution in the fashion industry 
. Newspace, University of Queensland, School of Journalism and Communication.

. Retrieved on 2007-10-20. </ref><ref> Stiernberg , Bonnie

     (2007-03-13)
   
.    What is emo? 
. The Daily illini

. Retrieved on 2007-10-20. </ref> It is also associated with depression, self-injury, and suicide.<ref name="daily mail"> Sands , Sarah

     (August 16, 2006)
   
.    EMO cult warning for parents 
. The Daily Mail

. Retrieved on 2007-03-11. </ref><ref> Walsh , Jeremy

     (2007-10-18)
   
.    Bayside takes Manhattan 
. Queens Time Ledger

. Retrieved on 2007-10-20. </ref>

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Criticism

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 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 purported displays of emotion common in the scene. Complaints pointed to the histrionic manner in which the emotions were expressed.<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".

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 future of the genre remains unclear.//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 future of the genre remains unclear.

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References

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Bibliography

www.fourfa.com | accessdate=July 17 | accessyear=2005 }}//www.fourfa.com | accessdate=July 17 | accessyear=2005 }}

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External links

www.fourfa.com/ Fourfa.com] – a site about (mostly older) diy/underground emo.//www.fourfa.com/ Fourfa.com] – a site about (mostly older) diy/underground emo.

Modèle:Hardcorepunk Modèle:Punk af:Emo ca:Emo cs:Emo da:Emo de:Emo et:Emo es:Emo fr:Emo hr:Emo ia:Emo it:Emo he:אימו lt:Emo hu:Emo (zene) nl:Emocore (origineel) ja:エモーショナル・ハードコア no:Emo nn:Emo uz:Emo pl:Emo pt:Emo ru:Эмо simple:Emo sk:Emo sl:Emo sr:Emo fi:Emo (nuorisokulttuuri) sv:Emo th:อีโม uk:Емо zh:情感核

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Emo

Un article de Vev.

Version actuelle

Sommaire

History

First wave (1985-1994)

Early influence

Second wave (1994–2000)

Third wave (2000-present)

Fashion and stereotype

Criticism

See also

References

Bibliography

External links

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-{{musique Rock}}
+{{sprotect2}}
-Le '''emo''' (prononciation : /imo/) est un sous-genre du [[punk hardcore|hardcore]]. Depuis l'apparition du terme, ''emo'' a fini par définir différentes variantes indépendantes, aux liens de parenté assez lâches, mais ayant une origine commune. Son utilisation (notamment en ce qui concerne le fait de savoir quels groupes peuvent recevoir ce qualificatif) est sujette à beaucoup de controverses.
+{{Citations missing|date=August 2007}}
+{{This|the style of music|Emo (disambiguation)}}
+{{Emo}}
+{{wiktionary|emo}}
+'''Emo''' ({{pronEng|ˈiːmoʊ}}) is a style of [[rock music]] which describes several independent variations of music with common stylistic roots. As such, use of the term has been the subject of much debate. In the mid-1980s, the term ''emo'' described a subgenre of [[hardcore punk]] which originated in the [[Music of Washington, DC|Washington, DC music scene]]. In later years, the term ''emocore'', short for "emotional hardcore", was also used to describe the emotional performances of bands in the [[Washington DC]] scene and some of the offshoot regional scenes such as [[Rites of Spring]], [[Embrace (U.S. band)|Embrace]], [[One Last Wish]], [[Beefeater (band)|Beefeater]], [[Gray Matter (band)|Gray Matter]], [[Fire Party]], and later, [[Moss Icon]].  (In more recent years, the term "emotive hardcore" entered the lexicon to describe the period.)
-À l'origine, l'appellation ''emo'' était utilisée pour décrire la musique issue de la scène hardcore de [[Washington (District de Columbia)|Washington, D.C.]] au milieu des [[années 1980]]. Plus tard, le terme ''emocore'', abréviation d'« ''emotional hardcore'' », fut également appliquée à la scène de Washington et à certaines des scènes régionales (aux États-Unis) qu'elle a engendrées. Les groupes les plus notoirement associés à l'''emo'' à cette période comprennent [[Rites of Spring]], [[Embrace (U.S. band)|Embrace]], [[One Last Wish]], [[Beefeater (band)|Beefeater]], [[Gray Matter]], [[Fire Party]] et, un peu plus tard, [[Moss Icon]]. Le déclin de la première vague emo a débuté après la séparation de la majorité des groupes qui la composaient, au début des années [[1990]].
+Starting in the mid-1990s, the term ''emo'' began to refer to the [[Indie (culture)|indie scene]] that followed the influences of [[Fugazi (band)|Fugazi]], which itself was an offshoot of the first wave of emo.  Bands including [[Sunny Day Real Estate]] and [[Texas Is the Reason]] had a more [[indie rock]] style of emo, more melodic and less chaotic.  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 mainstream style.  As a result, the term "emo" became a vaguely defined identifier rather than a specific genre of music.
-À partir du milieu des années [[1990]], l'''emo'' a commencé à refléter la scène [[indie]] influencée par le nouveau groupe de Ian MacKaye, [[Fugazi]], lui-même un dérivé de la première vague emo. Des groupes comme [[Sunny Day Real Estate]] et [[Texas Is The Reason]] ont proposé un style emo plus proche de l'[[indie rock]], plus mélodique et moins chaotique que son prédécesseur. Cette scène ''indie-emo'' a survécu jusque tard dans les années [[1990]], quand ses groupes-phares se sont séparés ou ont emprunté une voie plus grand public (''mainstream'').
+==History==
+===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>
-De nouveaux groupes ont alors commencé à imiter ce son plus grand public, créant le genre de musique aujourd'hui connu sous le nom d'''emo'' dans la culture populaire. Cette appellation était utilisée dès ses origines pour qualifier une large variété de groupes, et le spectre couvert par les groupes classés aujourd'hui comme emo, dans son sens moderne, est encore plus vaste, faisant de ce terme un qualificatif imprécis plutôt qu'un genre de musique spécifique.
+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.
-==Histoire==
+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 (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]].
-===La première vague (1985-1994)===
-En [[1985]] à Washington, D.C., [[Ian MacKaye]], le chanteur charismatique de [[Minor Threat]] et [[Guy Picciotto]] ont décidé de prendre leurs distances du hardcore basique et d'injecter une plus grande dose d'expérimentation dans leur musique à travers leurs nouveaux groupes respectifs, [[Embrace]] et [[Rites of Spring]], qui ont développé leur propre son, même si ''Zen Arcade'', l'album de [[Hüsker Dü]] sorti en [[1984]] a souvent été cité comme une de leurs influences majeures. Marqué par ce souffle nouveau, l'été 1985 a été très vite surnommé ''Revolution Summer'' au sein de la scène.
-En peu de temps, d'autres groupes ont été influencés par ce nouveau son emo né à Washington : [[Moss Icon]], [[Nation of Ulysses]], [[Dag Nasty]], [[Shudder To Think]], [[Fire Party]], [[Marginal Man]] et [[Gray Matter (band)|Gray Matter]]. Plusieurs d'entre eux étaient d'ailleurs signés sur [[Dischord Records]], le label de Ian MacKaye. La séparation de [[Hoover]] à la fin [[1994]] marque la disparition de la première vague emo de Washington.
+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]], [[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.
-L'origine exacte du terme ''emo'' demeure incertaine, mais d'après une interview de membres de [[Rites of Spring]] dans ''[[Flipside Magazine]]'' en 1985, certains de leurs fans ont commencé à utiliser cette expression pour définir leur musique. La naissance de la variante ''emocore'' n'est pas non plus datée exactement, mais le terme était déjà d'un usage assez courant au début des [[années 1990]].
+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]] 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]]''.
-La croissance de la scène de Washington a permis à d'autres scènes locales de voir le jour avec un son et une éthique [[DIY]] similaires. Au début des années 1990, le label de [[San Diego]] [[Gravity Records]] sortait un nombre important de disques de hardcore emo. Parmi les groupes célèbres à l'époque, l'on peut compter : [[Heroin (band)|Heroin]], [[Indian Summer (band)|Indian Summer]], [[Angel Hair]], [[Antioch Arrow]], [[Universal Order of Armageddon]], [[Swing Kids (band)|Swing Kids]] ou encore [[Mohinder]]. Toujours en [[Californie]], [[Ebullition Records]] sortait des albums de [[Still Life (groupe)|Still Life]] et [[Portraits of Past]], ainsi que d'autres groupes de hardcore plus traditionnels, ayant des thèmes sociaux et politiques communs.
+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]].
-Dans le même temps, à [[New York]] et dans le [[New Jersey]], d'autres groupes tels [[Native Nod]], [[Merel]], [[1.6 Band]], [[Policy of 3]], [[Rye Coalition]] et [[Rorschach (band)|Rorschach]] adoptaient la même voie. Plusieurs parmi ces groupes jouaient régulièrement à l'[http://en.wikipedia.org/wiki/ABC_No_Rio ABC No Rio], un centre social qui se voulait une réponse à la violence désormais courante lors des concerts au [[CBGB]], seule autre salle pour les concerts de hardcore à New York à l'époque.
+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>
-Une partie appréciable de ces groupes, notamment ceux issus de la scène de San Diego, se sont progressivement tournés vers une forme plus chaotique et agressive d'emo, surnommée ''[[screamo]]''.
+===Early 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]].
-Les groupes précurseurs de l'emo finissant par se séparer, la veine hardcore de l'emo s'est peu à peu tarie, même si certains groupes essaient de maintenir en vie le son originel de l'emo, comme [[Circle Takes the Square]], [[Hot Cross]], [[City of Caterpillar]], [[Funeral Diner]] et [[A Day in Black and White]].
+===Second wave (1994&ndash;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.
-À Washington, à la suite de la séparation d'Embrace et de Rites of Spring, MacKaye et Picciotto ont décidé de joindre leurs forces et ont fondé ensemble [[Fugazi]]. Même si, pour être exact, ce groupe n'entre pas dans la catégorie emo, son influence sur la seconde vague emo fut déterminante.
+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.
-===Influences et postérité de la première vague emo===
+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".
-En Californie, et plus particulièrement dans la [[baie de San Francisco]], des groupes comme [[Jawbreaker]] et [[Samiam]] ont commencé à mélanger l'influence du hardcore de Washington, D.C., avec le [[pop punk]], pour aboutir à leur propre variante du son issu de la scène emo de Washington. Sur l'album ''Bivouac'', de Jawbreaker, la voix de [[Blake Schwarzenbach]] évolue vers un chant plus mélodique, laissant percer davantage de tristesse que le chant de Ian MacKaye, plus désespéré. D'autres groupes ont adopté cette sorte de mélodie brute, engendrant un style dont les ramifications se prolongent jusque dans les années 2000, grâce aux Virginiens d'[[Avail]] ou à des groupes comme [[Hot Water Music]].
-Par ailleurs, au début des années 1990, certains groupes, comme [[Lifetime]] ont réagi à leur façon au dépérissement du hardcore [[Straight edge|straight-edge]] [[youth crew]]. Leur musique a été souvent qualifiée d'emo, mais aussi de hardcore mélodique. En réponse aux sonorités proches du métal empruntées par de nombreux groupes de hardcore à l'époque, Lifetime choisit la voie de l'adoucissement des mélodies, tout en conservant un mélange de vitesse d'exécution et d'une certaine agressivité, en plus de textes assez personnels et introspectifs. Plus tard, le genre défini par Lifetime servit pratiquement de patron à des groupes comme [[Saves The Day]] ou [[The Movielife]].
+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.
-De la même manière, un groupe comme [[Converge]], qui a influencé le [[metalcore]] actuel, a pu s'inspirer des groupes emo de la côte est.
+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.
-===La deuxième vague (1994-2000)===
+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]].
-Avec la popularité croissante de Fugazi et de [[Dischord Records]] au sein de l'''underground'' indie du début des années 1990, de nouveaux groupes ont surgi, qui combinaient les influences de Fugazi avec celles, [[post-punk]], de [[Mission of Burma]] et [[Hüsker Dü]], permettant à un nouvel avatar de l'emo de voir le jour.
-Le moment-clef de cette évolution est peut-être la sortie de l'album ''Diary'' de [[Sunny Day Real Estate]] en 1994.  Étant donné alors les succès récents de [[Sub Pop]] avec [[Nirvana (groupe)|Nirvana]] et [[Soundgarden]], ce label a eu l'opportunité d'attirer autour de cet album l'attention d'un public plus vaste que pour un disque ''indie'' typique, notamment des encarts publicitaires dans [[Rolling Stone]] et le groupe a eu l'occasion de passer jouer dans certaines émissions télévisées.
+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>
-De plus en plus de gens entendant parler de Sunny Day Real Estate, en particulier par l'intermédiaire d'internet déjà en plein essor, le groupe a reçu l'étiquette ''emo''. La nouvelle génération de fans déplaçait cette appellation depuis le hardcore originel vers ce genre d'emo plus proche de l'[[indie rock]]. Il n'était même pas rare de voire Sunny Day Real Estate et ses semblables classés comme ''emocore'', avant qu'une distinction ne s'opère petit à petit entre l'emo hardcore et le nouvel emo ''indie''.
+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]] and [[At the Drive-In]] among others.
-Dans les années qui ont suivi, plusieurs scènes régionales majeures d'''indie emo'' ont émergé. La plus importante est apparue dans le [[Midwest]] au milieu des années quatre-vingt-dix. Beaucoup de groupes tenaient leurs influences des mêmes sources, mais avec un son plus posé. Il était souvent fait référence à cette sorte d'emo comme au "''Midwestern emo''" au vu de la localisation des groupes, autour de [[Chicago]], [[Kansas City (Missouri)|Kansas City]] et [[Milwaukee]]. Parmi les groupes précurseurs dans cette catégorie se trouvent [[Boy's Life]] et [[Cap'n Jazz]].  Les années suivantes, des groupes comme [[The Promise Ring]], [[Braid]], [[Elliott (groupe)|Elliott]], Cursive et [[The Get Up Kids]] ont émergé de la même scène et reçu une attention nationale aux États-Unis.
+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.
-La région de [[Phoenix (Arizona)|Phoenix]], dans l'[[Arizona]] devint à son tour l'une des scènes majeures de l'emo. Inspiré par Fugazi et Sunny Day Real Estate, le groupe punk [[Jimmy Eat World]] a commencé à injecter des éléments emo dans sa musique, ce qui conduit à la sortie de l'album ''[[Static Prevails]]'' en 1996, qui fut sans doute le premier album d'emo sorti sur une ''[[Liste des majors du disque|major]]'', le groupe ayant signé avec [[Capitol Records]] en 1995.
+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.
-L'''indie emo'' inclut aussi des groupes comme [[Christie Front Drive]], originaire du [[Colorado]], [[Texas Is The Reason]] et [[Rainer Maria]], de [[New York]], [[Knapsack]] et [[Sense Field]], de [[Californie]], [[Mineral (groupe)|Mineral]], d'[[Austin (Texas)|Austin]] au [[Texas]], et [[Piebald]] et [[Jejune]] de [[Boston]].
+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]].
-Étonnamment, la popularisation de l'''indie emo'' a entraîné la classification parmi ce genre de groupes qui ne l'auraient pas été autrement, à cause des ressemblances au niveau du son : l'exemple le plus célèbre est l'album ''[[Pinkerton]]'' de [[Weezer]], sorti en [[1996]], devenu par la suite un jalon dans la définition de l'emo des années 1990.
+===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]].
-De nombreux groupes d'emo dès la fin des années 1990 ont signé chez des labels indépendants, notamment [[Jade Tree Records]], [[Saddle Creek]] et [[Big Wheel Recreation]].  À la même époque, des labels comme [[Crank Records]] et [[Deep Elm Records]] (avec la série des ''Emo Diaries'') ont commencé à sortir des compilations faisant l'état des lieux de la scène à un moment donné, rassemblant des groupes comme The Promise Ring, Christie Front Drive, Mineral, Knapsack, [[Seven Storey Mountain]], [[Jimmy Eat World]], Samiam, Jejune, Texas Is the Reason, Braid, [[At the drive-in]] ou [[Jawbox]].
+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>
-La scène emo de cette période devenant progressivement plus nationale que régionale aux États-Unis, les majors ont commencé à y prêter attention et à chercher à signer des groupes d'emo, afin de gagner de l'argent grâce à cette tendance. Alors que de nombreux groupes ont refusé au nom de leur fidélité à la scène indépendante, d'autres ont avancé les exemples des déboires de Jawbreaker ou Jawbox lors de leur passage sur des majors pour justifier leur refus, et les tensions engendrées par la cour assidue des majors a entraîné la séparation de certains groupes, comme Texas Is the Reason ou Mineral.
+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>
-À la fin de la décennie quatre-vingt-dix, le terme ''emo'' avait fait son apparition dans la culture populaire ''mainstream''. À l'été 1998, le magazine ''Teen People'' publiait un article annonçant que l'emo était le nouveau genre branché de musique. Cette attention accrue a poussé une partie des groupes de l'époque à changer leur son pour prendre leurs distances vis-à-vis du genre et conserver ainsi leur individualité, Sunny Day Real Estate évoluant par exemple vers des sonorités plus proches du rock progressif.
+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''.
-Bien que l'''indie emo'' ait complètement cessé d'exister au moment du changement de décennie, de nombreux groupes continuent à souscrire au modèle hérité de Fugazi et Hüsker Dü, parmi lesquels [[Thursday (groupe)|Thursday]], [[The Juliana Theory]] et [[Sparta (groupe)|Sparta]].
+At the same time, use of the term "emo" expanded beyond the musical genre, which added to the confusion surrounding the term.  The word "emo" became associated with open displays of strong emotion.  Common fashion styles and attitudes that were becoming idiomatic of fans of similar "emo" bands also began to be referred to as "emo". As a result, bands that were loosely associated with "emo" trends or simply demonstrated emotion began to be referred to as ''emo''.<ref>Popkin, Helen A.S. [http://www.msnbc.msn.com/id/11720603/ "What exactly is 'emo', anyway?"] MSNBC.com.  March 26, 2006</ref>
-===La troisième vague (2000 à nos jours)===
+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".
-À la fin des années 1990, la scène emo ''underground'' avait presque entièrement disparu. Toutefois, le terme ''emo'' survivait dans les médias, pour qualifier les rares groupes encore en activité comme Jimmy Eat World.
-Mais à cette époque, Jimmy Eat World avait commencé à emprunter une voie plus accessible au grand public. Au moment de la sortie de leur album ''[[Bleed American]]'' en [[2001]], le groupe avait pratiquement liquidé toutes ses influences emo, mais demeurait catalogué ainsi. Les nouveaux groupes dont le son était alors proche de celui de Jimmy Eat World ont donc été inclus à leur tour parmi l'emo.
+Appropriately or not, ''emo'' has been used to describe such bands as
+<!--
-En [[2003]], Chris Carraba, l'ancien chanteur de [[Further Seems Forever]] a rencontré le succès avec son nouveau projet, [[Dashboard Confessional]]. Les paroles écrites par Carraba avaient des résonances de journal intime, surchargées d'émotions personnelles. Là où plus tôt, l'emo favorisait des paroles parcourant un chemin plus obscur et douloureux, Carraba se concentrait avant tout sur l'amour trouvé ou perdu, et la difficulté de faire face. Ce nouvel avatar de l'emo a rapidement gagné en popularité parmi les adolescents faisant l'expérience des relations amoureuses pour la première fois qui trouvaient des réponses et du réconfort dans les paroles et la musique de Carraba.
+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================
+-->
+[[AFI (band)|AFI]], [[Alexisonfire]], [[Brand New]], [[Coheed and Cambria]], [[Fall Out Boy]], [[From First to Last]], [[Funeral for a Friend]], [[Hawthorne Heights]], [[My Chemical Romance]], [[Panic! at the Disco]], [[The Red Jumpsuit Apparatus]], [[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.
-À la même époque, le terme ''emo'' commença à ne plus seulement faire référence à la musique, ce qui ajouta de la confusion à son sujet. Il devint associé avec l'expression d'émotion sans retenue. Certaines attitudes et une certaine mode vestimentaire devenues typiques parmi les fans de certains groupes furent qualifiées d'''emo''. Et, en conséquence, les groupes plus ou moins associés à ces modes ou faisant simplement une grande part à l'émotion furent à leur tour appelés ''emo''.
+-->
-Encore plus que dans les années 1990, le terme ''emo'' en est venu à qualifier une variété extrêmement large de groupes, ayant pour nombre d'entre eux, peu en commun. Il est devenu alors presque impossible de décrire ce qui peut être exactement considéré comme de l'''emo''.
+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" scene, not because the band adheres to emo as a music genre.
-À tort ou à raison, ''emo'' a souvent été utilisé pour décrire des groupes comme <!--
+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.
-NOTE: Les groupes cités ici sont souvent cités comme étant ''emo'' dans la culture populaire, que l'on considère qu'ils soient vraiment ''emo'' ou pas.
+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.
--->[[AFI (groupe)|AFI]],  [[A Static Lullaby]], [[Brand New]], [[Coheed and Cambria]], [[Finch]], <!--
+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."
-NOTE: L'objectif n'est pas ici de cataloguer ou "déprécier" des groupes, mais de refléter l'usage actuel du terme ''emo'', et à un certain point, d'en montrer le caractère fourre-tout.
+==Fashion and stereotype==
+[[Image:Emo.svg|thumb|left|60px|Emo caricature]][[Image:fringe.jpg|thumb|right|100px|Long [[Fringe (hair)|fringe]] (bangs) brushed to one side]]Emo is also sometimes associated with a certain fashion. The term "emo" is sometimes stereotyped with tight [[jeans]] on males and females alike, long [[Fringe (hair)|fringe]] (bangs) brushed to one side of the face or over one or both eyes, dyed black, straight hair, tight [[t-shirt]]s which often bear the names of [[rock band]]s (or other designed shirts), studded [[belt (clothing)|belts]], belt buckles, canvas sneakers or [[skate shoes]] or other black shoes (often old and beaten up) and thick, black [[horn-rimmed glasses]].<ref name="knot magazine">[http://www.knotmag.com/?article=885 Knot Magazine - "In Defense of Emo"]</ref><ref name="incendiary magazine">[http://www.incendiarymag.com/modules.php?name=News&file=article&sid=43 Incendiary Magazine - "EMO: What Is It?"]</ref><ref name="gurl magazine">{{cite web | first="Marni" | title=Label it. .. emo | work=gURL | publisher=iVillage Inc | url=http://www.gurl.com/findout/label/pages/0,,673303,00.html | accessdate=2007-03-11}}</ref> Emo fashion has changed with time. Early trends included straight, unparted hair (similar to that of [[Romulans#Fashion|Romulans]] and [[Vulcan (Star Trek)|Vulcans]] in [[Star Trek]]), tightly fitting sweaters, button-down shirts, and work jackets.{{fact|date=October 2007}} This fashion has at times been characterized as a [[Fads and trends|fad]].<ref name="fairfield">{{cite web | last=Poretta | first=JP | date=March 03, 2007 | title=Cheer up Emo Kid, It's a Brand New Day | work=The Fairfield Mirror | url=http://media.www.fairfieldmirror.com/media/storage/paper148/news/2007/03/08/Entertainment/Cheer.Up.Emo.Kid.Its.A.Brand.New.Day-2762635.shtml | accessdate=2007-03-08}}</ref>
--->[[From Autumn to Ashes]], [[From First to Last]], [[Funeral for a fiend (groupe)|Funeral For A Friend]], [[Hawthorne Heights]], [[Atreyu]] <!--
+In recent years, emo, in the popular media, has been associated with a stereotype that includes being emotional, sensitive, shy, introverted, or angsty.<ref name="findingemo">{{cite web | last=La Gorce | first=Tammy  | date=2007-08-14 | title=Finding Emo | work=[[The New York Times]] | url=http://www.nytimes.com/2005/08/14/nyregion/nyregionspecial2/14njCOVER.html?pagewanted=1 | accessdate=2007-10-20 }}</ref><ref>{{cite web | last=Bunning | first=Shane | date=2006-06-08 | title=The attack of the clones: an emo-lution in the fashion industry | work=[http://www.uq.edu.au/journ-comm/index.html?page=35069&pid= Newspace, University of Queensland, School of Journalism and Communication.] | url=http://www.newspace.uq.edu.au/modules.php?op=modload&name=News&file=article&sid=288 | accessdate=2007-10-20 }}</ref><ref>{{cite web | last=Stiernberg  | first=Bonnie | date=2007-03-13 | title=What is emo? | work=[http://www.dailyillini.com/ The Daily illini] | url=http://media.www.dailyillini.com/media/storage/paper736/news/2007/03/13/Diversions/What-Is.Emo-2773568.shtml | accessdate=2007-10-20 }}</ref> It is also associated with [[depression (mood)|depression]], [[self-injury]], and [[suicide]].<ref name="daily mail">{{cite web | last=Sands | first=Sarah | date=[[August 16]], [[2006]] | title=EMO cult warning for parents | work=[[The Daily Mail]] | url=http://www.dailymail.co.uk/pages/live/articles/news/news.html?in_article_id=400953&in_page_id=1770 | accessdate=2007-03-11}}</ref><ref>{{cite web | last=Walsh | first=Jeremy | date=2007-10-18 | title=Bayside takes Manhattan | work=[http://TimesLedger.com Queens Time Ledger] | url=http://www.timesledger.com/site/news.cfm?newsid=18931360&BRD=2676&PAG=461&dept_id=542408&rfi=6 | accessdate=2007-10-20 }}</ref>
-NOTE: Ce paragraphe ne doit pas être édité, que ce soit à travers l'ajout ou le retrait d'un groupe simplement parce qu'un fan pense que tel groupe est ou n'est pas ''emo''. Il a été fait référence à tous ces groupes à un point ou à un autre dans des sources vérifiables comme ''emo'', même si l'on peut juger cet usage incorrect.
+==Criticism==
+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 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 purported displays of emotion common in the scene.  Complaints pointed to the [[histrionic]] manner in which the emotions were expressed.<ref>Peotto, Tom.  "The relentless force of 'emo'".  ''e.Peak''.  February 27, 2006.</ref>
--->, [[Silverstein]], [[My Chemical Romance]], [[Taking Back Sunday]], [[Bullet For My Valentine]], [[The Used]], [[Thrice]] et [[Thursday (groupe)|Thursday]] <!--
+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".
-NOTE: Cette liste n'a pas vocation à être exhaustive. Merci de soumettre tout changement à la discussion sur la page de discussion avant de l'éditer, afin de vérifier qu'il y ait un consensus à son sujet parmi les contributeurs.
+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 future of the genre remains unclear.
--->.  Les fans de plusieurs de ces groupes ont fait la grimace face à l'usage du qualificatif d'''emo'' et se sont engagés dans de longs débats et discussions pour expliquer en quoi tel groupe ne peut pas être considéré comme ''emo''. À de nombreuses occasions, le terme leur a simplement été accolé en raison de similarités musicales, d'un style vestimentaire semblable ou de la popularité d'un groupe au sein de la scène ''emo'' telle qu'elle est perçue dans la culture populaire, et non pas parce que le groupe se considère comme faisant partie d'un genre musical portant ce nom. (Le dégoût manifesté par certains groupes vis-à-vis de ce genre ne manque pas de similitude avec le changement d'orientation musicale des groupes de la scène de l'emo ''indie'' de la fin des années 1990.)
+==See also==
+*[[Screamo]]
+*[[Straight edge]]
+*[[Emo rap]]
-Le résultat du changement de sens du terme ''emo'' au fil des ans est une fracture visible entre les personnes qui s'identifient avec une période particulière de l'''emo''. Ceux qui sont attachés à sa période hardcore originelle se récrient quand un autre genre de musique est appelé ''emo''. Beaucoup de gens impliqués dans les scènes emo indépendantes des années 1980 et 1990 sont contrariés par ce qu'ils perçoivent comme le détournement du mot ''emo'' servant à commercialiser une nouvelle génération de musique par les majors. Quoi qu'il en soit, la culture populaire semble avoir intégré le terme ''emo'' avec des sens très éloignés des intentions originelles des membres des scènes indépendantes et hors de leur contrôle.
+==References==
+{{reflist}}
-Ironie du destin, le [[screamo]], un sous-genre du nouvel emo, a gagné en popularité ces dernières années grâce à des groupes comme [[Thrice]] et [[Glassjaw]], [http://www.jimdero.com/OtherWritings/OtherScreamoGW.htm ainsi que l'a écrit Jim DeRogatis en novembre 2002]. Le terme ''screamo'' était en fait utilisé au début des années 1990 pour décrire un genre musical totalement différent, et le nouveau screamo ressemble davantage à l'emo du début des années 1990. Afin de compliquer les choses, de petites scènes locales consacrées au screamo originel existent toujours au sein des milieux ''underground''. Cependant, le nouvel usage du terme ''screamo'' est significatif de la difficulté à décrire les genres multiples liés à l'''emo''.
+==Bibliography==
-Malgré cela, il se peut que la difficulté même de définir l'''emo'' date de ses origines. Dans [http://www.markprindle.com/picciotto-i.htm une interview datée de 2003],Guy Picciotto de Fugazi et Rites of Spring était interrogé par Mark Prindle sur son sentiment par rapport au fait d'être «''the creator of the emo genre'' ». Picciotto répondit : « ''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.'' »
+*{{cite web | author=Radin, Andy | title=What the heck *is* emo, anyway? | url=http://www.fourfa.com | accessdate=July 17 | accessyear=2005 }}
+*{{cite book | author=Andersen, Mark | title=Dance Of Days, Two Decades of Punk In The Nations Capitol | publisher=Soft Skull Press | year=2001 | id=ISBN 1-887128-49-2}}
+*{{cite book | author=Greenwald, Andy | title=Nothing Feels Good | publisher=St. Martin's Griffin | year=2003 | id=ISBN 0-312-30863-9}}
-De même, dans une interview récente avec [http://pastepunk.com/features.php?v=182 pastepunk.com], [[Dan Yemin]], chanteur du groupe de [[Rock hardcore|hardcore]] [[Paint It Black (groupe)|Paint It Black]], connu pour avoir été également le guitariste de [[Lifetime]] et figure éminente et respectée de la scène [[punk]]/[[Rock hardcore|hardcore]], revenait sur cette nouvelle vague emo — dont certains groupes, à l'instar de [[Taking Back Sunday]], citent Lifetime comme leur influence majeure — et la jugeait sévèrement : « ''I don’t know what “emo” is. “Emo” was RITES OF SPRING and EMBRACE, and everything after that is… I don’t know what it is. But it’s not eyeliner and it isn’t faux-melodrama, and it’s not like, ‘I want to be buried in your back yard.’'' »
+==External links==
+* [http://www.fourfa.com/ Fourfa.com] &ndash; a site about (mostly older) diy/underground emo.
-==Contrecoup==
+{{Hardcorepunk}}
-Au fur et à mesure que la popularité de la musique s'est accrue, l'emo est devenu de plus en plus un objet de dérision, en particulier certaines modes et attitudes associées à l'''emo'', et des stéréotypes ont surgi qui ont facilité les critiques et en ont fait une cible facile.
+{{Punk}}
-Dans les premières années de la « troisième vague », la critique était relativement légère, amusée, voire parfois de l'autodérision. En septembre 2002, Jason Oda lança l'[http://www.emogame.com/ Emogame], qui se moquait des nombreux stéréotypes emo et des musiciens du genre, mais d'une manière qui pouvait être appréciée également des fans et des détracteurs du genre.
+[[Category:Emo|*]]
+[[Category:Hardcore punk]]
-Les années suivantes les moqueries ont augmenté de façon exponentielle. Les fans masculins d'emo ont commencé à recevoir des injures sur leur orientation sexuelle supposée, reflet de la mode propre à la « scène » (notamment l'utilisation d'eyeliner et de [[maquillage]]), le port de vêtements plus ajustés, parfois même destinés aux filles, et de l'expression des émotions. Les critiques portaient toutefois d'abord sur l'exagération dramatique des émotions et non pas nécessairement sur les émotions en elles-mêmes.
+[[Category:Indie rock]]
+[[Category:Punk]]
-En octobre 2003, Jessica Hopper de ''Punk Planet'' a accusé la « troisième vague » emo d'être sexiste. D'après elle, il est trop commun pour les groupes emo d'écrire des chansons selon un point de vue masculin qui réduit les femmes à être la cause de blessures émotionnelles, le résultat étant alors que les femmes sont diabolisées d'une façon collective, les chansons ne portant pas sur une personne en particulier. À cela venait s'ajouter l'apparente disproportion au sein de la scène entre garçons et filles, en faveur des premiers. Pour Hopper ce sexisme est un problème uniquement lié au nouvel emo, les groupes d'''indie emo'' comme Sunny Day Real Estate donnant semble-t-il plus de profondeur aux personnages féminins décrits dans leurs chansons.
+[[Category:Punk genres]]
+[[Category:Music of Washington, D.C.]]
-Les réactions à cet article furent contrastées. Certaines personnes notèrent que le rock a une longue histoire de problèmes sexistes, que ce n'était pas une particularité du nouvel emo : le glam metal des années 1980 par exemple a produit de nombreuses chansons réifiant les femmes.
-Les critiques de l'emo moderne se concentrent aussi autour de la nature de plus en plus générique de la musique créée. De nombreux groupes ayant fui le qualificatif (en adoptant parfois celui de [[post-hardcore]]), les groupes restants ne correspondent au genre qu'en raison des similarités affichées avec les autres groupes dits ''emo''. Les observateurs critiques remarquent une homogénéisation lente du genre, les nouveaux groupes recopiant un style caricatural plutôt que de le redéfinir, un peu comme cela s'était passé lors du déclin du grunge dans les années 1990.
-Ces critiques persistantes et ces stéréotypes négatifs ont accru la perception de l'emo actuel sous la forme d'un nouveau péché mignon. Malgré les critiques, la version moderne de l'emo connaît un succès qui ne se dément pas au sein des sphères ''mainstream''. Toutefois, au vu de la disgrâce dans laquelle le terme ''emo'' est tombé, la question de savoir si de nouveaux groupes se revendiqueront comme tels reste ouverte.
-==Dans la culture populaire==
-===Mode et pratiques===
-[[Image:Emo2.jpg|thumb|right|Look Emo à [[Melbourne]]]]
-[[Image:Emo fashion kid.png|thumb|150px|right|Stéréotype du look emo]]
-Deux formes de modes vestimentaires populaires sont généralement considérées comme ''emo''. La première est issue de la scène d'emo ''indie'' des [[années 1990]] et n'est pas sans rapport avec l'''indie rock'' et le punk. Elle inclut davantage de vêtements ''[http://en.wikipedia.org/wiki/Vintage_clothing vintage]'' et glanés aux [[Marché aux puces|puces]] qui offrent un aspect usé. Typiquement, les [[t-shirts]] sont plutôt étriqués et présentent des motifs très divers, parfois venus tout droit des années 1980. Les sacs sont souvent décorés de patchs et de badges de groupes.
-L'autre style tend davantage vers les couleurs foncées. Classiquement les cheveux sont teints, le plus souvent en noir de jais (mais parfois aussi avec des mèches rouges, violettes ou platine, par exemple) et ont une mèche devant les yeux, les garçons portent des [[jeans]] « cigarette », aussi appelés « allumettes » (très étroits) ou « slims », garçons et filles affichent de nombreux piercings (à la lèvre, labrets) et du [[maquillage]] sombre (essentiellement de l'eyeliner noir), les lunettes à montures épaisses (et souvent noires) sont également très populaires (et parfois portées par des personnes n'ayant pas besoin de verres de correction) ; les accessoires emos sont souvent à motifs en damier.
-Les [[Chuck Taylor All-Stars]] sont communes aux deux styles, de même que les [[Vans (marque)|Vans]] (souvent des modèles ''slip-on'').
-Un stéréotype répandu associe également l'''emo'' à des pratiques d'automutilation, notoirement se taillader les poignets. Cela est en partie dû à certaines paroles de groupes ''emo'' dans lesquelles il est question d'autodestruction. Il n'existe toutefois aucune preuve sérieuse qu'il s'agisse d'une pratique plus répandue parmi les milieux ''emo'' qu'ailleurs.
-===Autres utilisations du terme===
-Le terme ''emo'' est utilisé depuis les début des [[années 2000]] sur [[Internet]], en particulier dans le monde anglophone, comme une forme d'insulte envers les personnes qui évoquent sur les forums, les [[Chat (informatique)|salons de discussion]] publics ou les serveurs de jeux vidéo, leurs problèmes personnels, ou qui affichent un comportement émotionnellement instable. Il n'est pas nécessairement utilisé dans son sens strict et est plutôt une insulte vague. Cela a donné naissance à certaines expressions sarcastiques toutes faites comme « ''Cheer up, emo kid!'' », ou encore à « ''Admin emo'' » qui peut parfois être utilisée pour qualifier les administrateurs, modérateurs de forums internet ou de serveurs de jeux vidéo réagissant de manière impulsive.
-==Sources==
-*{{ Lien web | url=http://www.jimdero.com/OtherWritings/OtherScreamoGW.htm | titre=Screamo | auteur=DeROGATIS, Jim | série=Guitar World | consulté le=24 août 2005 }}
-*{{ Lien web | url=http://www.sfgate.com/cgi-bin/article.cgi?file=/chronicle/archive/2000/09/10/PK92338.DTL&type=music | titre=Bands Seek Emotional Rescue: Young postpunk stars sick of 'Emo-core' label | auteur=HELLER, Greg | série=San Francisco Chronicle | consulté le=10 septembre 2000 }}
-*{{ Lien web | url=http://www.fourfa.com | titre=What the heck *is* emo, anyway? | auteur=RADIN, Andy | consulté le=17 juillet 2005 }}
-*{{ Lien web | url=http://www.markprindle.com/picciotto-i.htm | titre=Interview de Guy Picciotto | auteur=PRINDLE, Mark | consulté le=19 avril 2006 }}
-==Liens externes==
-*{{fr}} [http://www.emonest.com/emoguide.html L'EmoGuide]
-*{{en}} [http://www.fourfa.com/ « ''What the heck *is* emo, anyway?'' »]
-*{{en}} [http://www.urbandictionary.com/define.php?term=emo Définitions d'« emo » sur urbandictionary.com]
-*{{en}} [http://www.dobi.nu/emo/ How to Dress Emo]
-{{Emo}}
-{{Genre punk}}
-{{Multi bandeau|portail punk|portail rock}}
-[[Catégorie:Genre de punk]]
-[[Catégorie:Genre de rock]]
-[[Catégorie:Sous-culture]]
+[[af:Emo]]
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