Step aside posers, there's more to "being emo" than black eyeliner

An opinion piece that critically analyses how the left-wing and anti-mainstream attitudes of the punk movement has bled into the subcultural identity of emotional rock lovers

One of the biggest misconceptions of goths, emos, punks, and all those who reside underneath the alternative or non-conformist umbrella is that they are either just thugs or suicidal teenagers covered head to toe in gear from Hot Topic. While a lot of emo-identifying people, like myself, may exhibit behaviours of this stereotype, my collage argues that the subculture extends beyond dressing gloomy. There are themes, political beliefs, and attitudes associated with the subculture which stipulate their follower’s predominately left-wing views, media consumption, and their central, non-conformist identity and behaviours. These guidelines serve as a prime example of what Soukup and Foust (2023) describe as an "equipment for living” - or the resources conveyed in media products that help audiences make sense of reality.  

Straight away, the first three middle photos leave my emo identity bare for all to see, as my stereotypical black clothing, heavy eyeliner, and wolf cut act as markers of the subculture’s eccentric and deviant style.

But how did I end up here? Why do I present myself this way? 

Growing up, I was incredibly socially anxious and felt like I never fit in anywhere, which severely impacted my mental health and self-confidence. When I was about 15, I discovered the metalcore and alt-rock bands plastered on the top of this collage such as Pierce the Veil, Weezer, Gorillaz, Korn, Jimmy Eat World, and of course, My Chemical Romance. I was immediately drawn to their grungy sound and exploration of themes like self-loathing, heartbreak, and mental health issues as they made me feel heard and validated my enormous emotions that felt far from normal.

I consumed their music as an "equipment for living”, as their lyrics often act as nuggets of wisdom that encourage fans to reflect on their emotions and experiences through art, as a process of self-healing. The emotional dependency I have on it also relates to Soukup and Foust (2023)’s uses and gratifications model of pop culture consumption, which assumes that individuals and groups of consumers seek out media that fulfils some purpose, typically psychological needs.  

According to Hesmondhalgh 2013, music is both core to the self-identity and collective identity of any social group, as its special link to emotion and feeling create a powerful site for tying private and public experiences together. Apart from providing safe spaces to talk about mental health issues, emo music has created a ground for myself as an emo and other members to fuel our collective resistance against capitalism and mainstream culture. The top centre of the collage above demonstrates that the genre inherently portrays left-wing or socialist beliefs and attitudes, as it stemmed from the punk era.

The punk movement, which emerged in the mid-70s, was characterised by their anti-establishment, mutual-aid, and anti-capitalist views, rejection of mainstream mass culture, and their non-conformist dress codes. Punks utilised fashion, visual art, music, literature and other media to express their ideologies, which often led to run-ins with the authorities. Remnants of their rebellious behaviour are still visible in the emo genre that splintered off it, with hit music videos such as My Chemical Romance’s Na Na Na and Sing providing radical commentary and stark visuals in retaliation against capitalist and mindless, consumerist culture. These songs have opened their follower’s eyes to global corruption and the mainstream media’s brainwashing tactics, pushing them to fight against it. This confirms Soukup and Foust (2023)’s assertion that popular culture both represents subcultural identity and shapes its reality.  

Point three of the collage reflects upon my initial discovery of my emo identity, as I started to dress like the subculture’s idols I saw on YouTube to signify my membership within the group. Taking heavy inspiration from Gorillaz band member Noodles and Hayley Williams from Paramore, my wardrobe became full of ripped, spider webby tights, little black dresses, huge boots and belts. I purchased most of my outfits from Dollskill or Dangerfield, brands that have repackaged, sanitized, and sold the subculture’s rebellious and deviant style through their eccentric clothes, merchandise, and accessories. Whilst this style helped me feel like I visually fit in, it did not fully confirm my emo identity. Kidder (2018) reveals that style is more than just clothes – argot, demeanour, and image all equally contribute to the essence of the subculture’s style. Back then, all I had to show was my music and “mall emo” dress sense. Undoubtedly, I felt like a poser due to my little subcultural capital, which Thornton 1995 explains is, “a network crucial to the definition and distribution of cultural knowledge.” 

To gain more subcultural capital, (and to feel a little less poser-y) I started obtaining hobbies and adapting my interests to what the subculture would consider “good” taste.

Point 4 of the collage shows that I started thrifting at second-hand alternative stores such as Underworld to communicate my non-conformity and hatred towards conspicuous consumption and attended AM//PM emo nights and the annual Good Things Festival to further my connection with the community. I even started embroidering as a way to process complex emotions. I also volunteer as a journalist for 4ZZZ Radio, an alternative radio station. Through my role, I am able to combat the mainstream media’s commercialized stories by promoting the power of the local community. Whether that be producing authentic stories about them, or airing music created by underground artists to give them more exposure. Technical affordances provided by streaming services like Netflix and Prime Video have also allowed me to tailor my taste and align it with what the subculture would consider “high culture”. Through their crowdsourcing-based recommendations and rating system, I am able to locate and consume quality, emocore films, such as Heathers, the Lost Boys, and the Studio Ghibli franchise, which further heightens my cultural capital. 

It is clear that the inherent “want” for more subcultural capital gain, as well as the political ideologies and attitudes tied with the emo subculture, has framed the whole person I am today.  

References  

Nelligan, K. (2015). Why Music Matters (David Hesmondhalgh). Dancecult, 7(1), 136–138. https://doi.org/10.12801/1947-5403.2015.07.01.10 

Soukup, C., & Foust, C. R. (2023). Popular culture in everyday life: A critical introduction. Taylor & Francis Group. 

Thornton, S. Club Cultures: Music, Media, and Subcultural Capital. Polity Press.  

Williams, J. P. (2011). Style (Jeffrey L. Kidder). Subcultural theory: Traditions and concepts. Polity Press.