Emo Angst, Masochism, and Masculinity in Crisis

Abstract

Emo, a subculture consisting of white heterosexual boys, acts as a locale to challenge hegemonic masculinist identities. Emo masculinity crosses the boundaries of heteronormative masculinity, as the boys appropriate normatively feminine characteristics (such as emotional earnestness) and perform homosexual acts (for example, same-sex kissing). In this sense, the subculture confronts the limiting boundaries of gender and sexuality and can be quite empowering. At the same time, analyses of emo lyrics and online posts from emos in chat rooms suggest emo is a white male utopia where subculturalists nurture one another, while claiming victimization at the hands of girls. This work argues that emo privileges a masked hegemonic masculinity in which a fluid gender performance only serves heteronormative ends.

Keywords:

• Emo
• Masculinity
• Subculture
• Sadomasochism
• Popular music

Acknowledgments

She wishes to thank the two anonymous reviewers for their generous feedback. She is also grateful to Sharon Mazzarella, in whose class this exploration began. A previous version of this manuscript was recognized as a Top Paper at the 2010 Southern States Communication Association Conference in Memphis, TN.

Notes

1. For the purposes of this study, I am interested in emos who self-define as heterosexual. For an examination of the gay emo boy, see Peters's exploration of, specifically, gay boys in the subculture.

2. The designation of Weezer as emo is contested by some; however, Greenwald explains that Weezer's 1996 album Pinkerton was the most important emo album of the decade in that it “reduced emo to its contemporary, most popular, and. . . profitable definition: the toe-tapping sound of sensitive, self-questioning boys complaining” (54).

Additional information

Notes on contributors

Emily Ryalls

Emily Ryalls is a Visiting Assistant Professor in the Department of Communication at the University of South Florida