Editing Emo (section)

===1994–1997: Underground popularity===
The American [[punk rock|punk]] and [[indie rock]] movements, which had been largely underground since the early 1980s, became part of mainstream culture during the mid-1990s. With [[Nirvana (band)|Nirvana]]'s success, major record labels capitalized on the popularity of [[alternative rock]] and other underground music by signing and promoting independent bands.{{sfn|Greenwald|2003|p=33}} In 1994, the same year that Jawbreaker's ''24 Hour Revenge Therapy'' and Sunny Day Real Estate's ''Diary'' were released, punk rock bands [[Green Day]] and [[the Offspring]] broke into the mainstream with diamond album ''[[Dookie (album)|Dookie]]''{{Certification Cite Ref|title=Dookie|artist=Green Day|region=United States|type=album}} and multi-platinum album ''[[Smash (The Offspring album)|Smash]]'',{{Certification Cite Ref|title=Smash|artist=Offspring|region=United States|type=album}} respectively. After underground music went mainstream, emo retreated and reformed as a national subculture over the next few years.{{sfn|Greenwald|2003|p=33}} Inspired by Jawbreaker, [[Drive Like Jehu]] and [[Fugazi]], 1990s emo abandoned the elements of [[hardcore punk]] and used elements of indie rock, with [[punk rock]]'s [[Do it yourself|do-it-yourself]] work ethic but smoother songs and emotional vocals.{{sfn|Greenwald|2003|pp=34–35}} According to Theo Cateforis of ''[[The New Grove Dictionary of Music and Musicians|Grove Music Dictionary]]'': "These groups portrayed a sense of emotional [[Volatility (chemistry)|volatility]] in their music by using extended [[Song structure|song forms]] that oscillated between straight and [[Half-time (music)|double time]] and clean guitar [[Timbre|timbres]] and bursts of [[Distortion (music)|distortion]]. Vocalists deliberately avoided punk’s shouted style and sang melodic lines in a breathy [[head voice]], often straining at the top of their [[Vocal range|range]], which contributed to the music’s sense of emotional urgency."<ref>{{Cite web |title=The Wikipedia Library |url=https://wikipedialibrary.wmflabs.org/?next_url=/ezproxy/r/ezp.2aHR0cHM6Ly93d3cub3hmb3JkbXVzaWNvbmxpbmUuY29tL2dyb3ZlbXVzaWMvZGlzcGxheS8xMC4xMDkzL2dtby85NzgxNTYxNTkyNjMwLjAwMS4wMDAxL29tby05NzgxNTYxNTkyNjMwLWUtMTAwMjI0MDgwMw-- |access-date=2025-05-01 |website=wikipedialibrary.wmflabs.org | date=2013 |language=en |doi=10.1093/gmo/9781561592630.article.A2240803 | last1=Cateforis | first1=Theo }}</ref>

[[File:Capn-jazz.jpg|thumb|left|200px|alt=Cap'n Jazz onstage|Cap'n Jazz live in 2010]]

Many 1990s emo bands, such as [[Cap'n Jazz]], [[Braid (band)|Braid]], [[Christie Front Drive]], [[Mineral (band)|Mineral]], Jimmy Eat World, [[the Get Up Kids]] and [[the Promise Ring]], originated in the central U.S.{{sfn|Greenwald|2003|p=34}} Many of the bands had a distinct vocal style and guitar melodies, which was later called [[Midwest emo]].<ref name="reader-1">{{Cite web |last=Galil |first=Leor |date=August 5, 2013 |title=Midwestern emo catches its second wind |url=https://www.chicagoreader.com/chicago/emo-twiabp-topshelf-swerp-capn-jazz-midwestern-braid-reflex/Content?oid=10550897 |access-date=July 5, 2017 |website=[[The Chicago Reader]] |archive-date=August 10, 2017 |archive-url=https://web.archive.org/web/20170810183206/https://www.chicagoreader.com/chicago/emo-twiabp-topshelf-swerp-capn-jazz-midwestern-braid-reflex/Content?oid=10550897 |url-status=live }}</ref> According to Andy Greenwald, "this was the period when emo earned many, if not all, of the stereotypes that have lasted to this day: boy-driven, glasses-wearing, overly sensitive, overly brainy, chiming-guitar-driven college music."{{sfn|Greenwald|2003|pp=34–35}} Emo band [[Texas Is the Reason]] bridged the gap between [[indie rock]] and emo in their three-year lifespan on the East Coast, melding Sunny Day Real Estate's melodies and punk musicianship and singing directly to the listener.{{sfn|Greenwald|2003|pp=38–39}} In [[New Jersey]], the band [[Lifetime (band)|Lifetime]] played shows in fans' basements.{{sfn|Greenwald|2003|pp=121–122}} Lifetime's 1995 album, ''[[Hello Bastards]]'' on [[Jade Tree Records]], fused hardcore punk with emo and eschewed cynicism and irony in favor of love songs.{{sfn|Greenwald|2003|pp=121–122}} The album sold tens of thousands of copies,{{sfn|Greenwald|2003|p=122}} and Lifetime paved the way for New Jersey and [[Long Island]] emo bands [[Brand New (band)|Brand New]], [[Midtown (band)|Midtown]],<ref name="Rashbaum">{{Cite web |last=Rashbaum |first=Alyssa |date=March 24, 2006 |title=A Lifetime of Rock |url=https://www.spin.com/2006/03/lifetime-rock/ |access-date=March 28, 2009 |website=[[Spin (magazine)|Spin]] |archive-date=August 11, 2018 |archive-url=https://web.archive.org/web/20180811032804/https://www.spin.com/2006/03/lifetime-rock/ |url-status=live }}</ref> [[The Movielife]], [[My Chemical Romance]],<ref name="Rashbaum" /> [[Saves the Day]],<ref name="Rashbaum" />{{sfn|Greenwald|2003|p=80}} [[Senses Fail]],<ref name="Rashbaum" /> [[Taking Back Sunday]]{{sfn|Greenwald|2003|p=122}}<ref name="Rashbaum" /> and [[Thursday (band)|Thursday]].<ref name="Rashbaum" />{{sfn|Greenwald|2003|p=152}}

[[File:Weezer.jpg|thumb|right|200px|alt=Four men together at the front of a stage|The band Weezer (''pictured'') released the album ''Pinkerton'', an album that was originally a critical and commercial failure. Nonetheless, ''Pinkerton'' is considered one of the most important 1990s emo albums.{{sfn|Greenwald|2003|p=51}}]]

[[The Promise Ring]]'s music took a slower, smoother, [[pop punk]] approach to riffs, blending them with singer [[Davey von Bohlen]]'s [[Imagism|imagist]] lyrics delivered in a froggy croon and pronounced [[lisp]] and playing shows in basements and [[Veterans of Foreign Wars|VFW]] halls.{{sfn|Greenwald|2003|pp=35–36}} Jade Tree released their debut album, ''[[30° Everywhere]]'', in 1996; it sold tens of thousands of copies and was successful by independent standards.{{sfn|Greenwald|2003|p=36}} Greenwald describes the album as "like being hit in the head with cotton candy."{{sfn|Greenwald|2003|p=37}} Other bands, such as [[Karate (band)|Karate]], [[the Van Pelt]], [[Joan of Arc (band)|Joan of Arc]] and the Shyness Clinic, played emo music with [[post-rock]] and [[noise rock]] influences.{{sfn|Greenwald|2003|p=40}} Their common lyrical thread was "applying big questions to small scenarios."{{sfn|Greenwald|2003|p=40}} A cornerstone of mid-1990s emo was [[Weezer]]'s 1996 album, ''[[Pinkerton (album)|Pinkerton]]''.<ref>{{Cite magazine |last=Edwards |first=Gavin |date=December 9, 2001 |title=Review: ''Pinkerton'' |url=https://www.rollingstone.com/artists/weezer/albums/album/301487/review/6635729/pinkerton |url-status=dead |archive-url=https://web.archive.org/web/20061005045759/http://www.rollingstone.com/artists/weezer/albums/album/301487/review/6635729/pinkerton |archive-date=October 5, 2006 |access-date=March 23, 2009 |magazine=Rolling Stone}}</ref> After the mainstream success of Weezer's [[Weezer (1994 album)|self-titled debut album]], ''Pinkerton'' showed a more dark and abrasive style.<ref>{{Cite web |last=Erlewine |first=Stephen |title=Allmusic: Pinkerton: Overview |url={{AllMusic|class=album|id=r241030|pure_url=yes}} |access-date=September 21, 2007 |website=[[AllMusic]]}}</ref>{{sfn|Greenwald|2003|p=50}} Frontman [[Rivers Cuomo]]'s songs focused on messy, manipulative sex and his insecurity about dealing with celebrity.{{sfn|Greenwald|2003|p=50}} A critical and commercial failure,{{sfn|Greenwald|2003|p=50}}{{sfn|Luerssen|2004|p=206}} ''[[Rolling Stone]]'' called it the third-worst album of the year.{{sfn|Luerssen|2004|p=137}} Cuomo retreated from the public eye,{{sfn|Greenwald|2003|p=50}} later referring to the album as "hideous" and "a hugely painful mistake".{{sfn|Luerssen|2004|p=348}} However, ''Pinkerton'' found enduring appeal with young people who were discovering [[alternative rock]] and identified with its confessional lyrics and theme of rejection.{{sfn|Greenwald|2003|p=51}} Sales grew steadily due to word of mouth, online message boards and [[Napster]].{{sfn|Greenwald|2003|p=51}} "Although no one was paying attention", writes Greenwald, "perhaps ''because'' no one was paying attention—''Pinkerton'' became the most important emo album of the decade."{{sfn|Greenwald|2003|p=51}} In 2004, James Montgomery of [[MTV]] described Weezer as "the most important band of the last 10 years".<ref>{{Cite web |last=Montgomery |first=James |date=October 25, 2004 |title=The Argument: Weezer Are the Most Important Band of the Last 10 Years |url=http://www.mtv.com/bands/w/weezer/news_feature_102504/ |access-date=March 23, 2009 |publisher=[[MTV]] |archive-date=February 3, 2006 |archive-url=https://web.archive.org/web/20060203092814/http://www.mtv.com/bands/w/weezer/news_feature_102504/ |url-status=dead }}</ref> ''Pinkerton''{{'s}} success grew very gradually, being certified gold by the RIAA in July 2001 and eventually being certified platinum by the RIAA in September 2016.{{Certification Cite Ref|title=Pinkerton|artist=Weezer|type=album|region=United States}}

{{Listen
| filename     = Mineral - If I Could.ogg
| title        = "If I Could" by Mineral (1997)
| description  = [[Andy Greenwald]] calls "If I Could" "the ultimate expression" of 1990s emo.{{sfn|Greenwald|2003|p=41}}
}}

Mid-1990s emo was embodied by Mineral, whose ''[[The Power of Failing]]'' (1997) and ''[[EndSerenading]]'' (1998) encapsulated emo tropes: somber music, accompanied by a shy narrator singing seriously about mundane problems.{{sfn|Greenwald|2003|p=41}} Greenwald calls "If I Could" "the ultimate expression" of 1990s emo, writing that "the song's short synopsis—she is beautiful, I am weak, dumb, and shy; I am alone but am surprisingly poetic when left alone — sums up everything that emo's adherents admired and its detractors detested."{{sfn|Greenwald|2003|p=41}} Another significant band was Braid, whose 1998 album ''[[Frame and Canvas]]'' and [[A-side and B-side|B-side]] song "Forever Got Shorter" blurred the line between band and listener; the group mirrored their audience in passion and sentiment, and sang in their fans' voice.{{sfn|Greenwald|2003|pp=46–48}}

{{Listen
| filename     = The Promise Ring - Why Did We Ever Meet.ogg
| title        = "Why Did We Ever Meet" by The Promise Ring (1997)
| description  = [[The Promise Ring]]'s ''[[Nothing Feels Good]]'' achieved wide success with an effective blend of pop and punk.<ref>Greenwald, pp.&nbsp;42–44.</ref>
}}

Although mid-1990s emo had thousands of young fans, it did not enter the national consciousness.{{sfn|Greenwald|2003|p=42}} A few bands were offered contracts with major record labels, but most broke up before they could capitalize on the opportunity.{{sfn|Greenwald|2003|pp=45–46}} Jimmy Eat World signed to [[Capitol Records]] in 1995 and developed a following with their album, ''[[Static Prevails]]'', but did not break into the mainstream yet.{{sfn|Greenwald|2003|pp=99–101}} The Promise Ring were the most commercially successful emo band of the time, with sales of their 1997 album ''[[Nothing Feels Good]]'' reaching the mid-five figures.{{sfn|Greenwald|2003|p=42}} Greenwald calls the album "the pinnacle of its generation of emo: a convergence of pop and punk, of resignation and celebration, of the lure of girlfriends and the pull of friends, bandmates, and the road";{{sfn|Greenwald|2003|p=44}} mid-1990s emo was "the last subculture made of vinyl and paper instead of plastic and megabytes."{{sfn|Greenwald|2003|p=48}}