Emo Culture

Your Longing for death but your not willing to leave life happiness left with out saying good bye but don't cry emo girl wipe your little tears save them for another turn you've survived all these years stirring in the night not being able to sleep wondering with a fight "why did it have to be me?" and in your waking hour you still have the same mine set the feeling creeping over like a tower "I wasn't ready to let him go yet" but don't cry emo girl wipe your little tears save them for another turn you've survived all these years your parents fight every chance they get but it happens to a lot of us please don't forget don't cry emo girl you will make it threw don't lie anymore we all know the truth quit going home and crying at night and screw

(Simond 2007) These are set behaviours and the people who fit themselves to this new classification of emo adopt these, illustrating as dynamic nominalism proposes, “people spontaneously come to fit their categories”. (Hacking 2002:100) We then see the manufactured society and the people within it working together, fulfilling their new role of expressing emotions showing “classifications and our classes conspire to emerge hand in hand, each egging the other on”(Hacking 2002:106) As will be shown next classifications are not stagnant and through life individuals may choose to affiliate with another label.

This reference shows how music lays a foundation of teenage values beyond school or parental teaching. A musical artist can influence a young mind by the chosen lyrics with greater effectiveness than formal education. Music can control or enhance moods. A good mood can get better or a bad mood can be worked through with the choice of music. A bad mood can also be enhanced by lyrics about suicide or violent behavior. Teens can also use music to gain information about the adult world, to withdraw from social contact, facilitate friendships and social settings, or to help them create a personal identity. (O'Toole, 1997)

For as long as mankind has walked on this earth, music has been an important part of our culture and lifestyles. Each walk of life beats to a different drum. Different cultures use music for many aspects of their lives; for religious purposes, for celebrations, for comfort, for sorrow, for relaxation, for sports, for dances, for energy, for learning, for sleeping, and for sexual experiences. Everyone uses music for something. Music connects with people and reaches them in ways that words simply cannot. Music is a representation of what feelings sound like. It expresses emotion and brings that characteristic out from within us; it tells us a story. Every generation has its’ own sound and different music styles have emerged and become

What is music? Denotatively speaking, music is sounds combined in such a way to produce beauty of form, harmony, and expression of emotion. Music to me is something that I rely on to get me through everything, it is the thing that has shaped me into the person I am today. But, if I asked you how many symphonies Beethoven had written, could you tell me? To be blunt, probably not. Not only is this a problem with people today, it is a recurring problem with our youth. In Daniel Felsenfeld’s essay “Rebel Music,” he explains the fault in our youth when it comes to being musically cultured. Throughout his essay he acknowledges how he was a stereotypical teenager who just listened to whatever was on KROQ. However, he also talks about how he changed and cultured himself, unlike all of his peers. In his essay, Felsenfeld proves his message that younger generations are musically uncultured through his use of allusions, connotative diction, and critical tone.

Popular music is often one of the best lenses we have through which to view our own cultural orientation. Many of the artistic and experimental shifts in popular music have mirrored changes in our own society. For instance, the emergence of Elvis Presley as a public figure would signal the start of a sexual revolution and the growth in visibility of a rebellious youth culture. Similarly, the folk and psychedelic music of the 1960s was closely entangled with the Civil Rights, anti-war and social protest movements. In this regard, we can view popular music as an artifact through which to better understand the time and place in which it is produced. In light of this, the state of popular music today may suggest troubling things about our society.

Thesis: By entering the world of music, you can be able to express yourself universally and as well

There are 14.8 million American adults between the ages of 15 to 44 who experience depression in some point and time throughout their life(“Depression”). Although depression is a word that is commonly misused 14.8 million people have experienced some form of depression, weather It may be major depression or mild depression. Often more than not, individuals confuse the days of unhappiness and the lack of desire to function with the rest of the world with major depression. When analyzing the poem Marks by Linda Pastan and the poem Myth by Natasha Tretheway I notice key features of a depressed individual. Pastan and Tretheway portray each of their characters as a depressed individual; because they focus so keenly on their unhappiness with their lives, and even suicide. Many people will argue that poetry and writing does not help with the effects of depression, but I disagree and I will explain why and how each author may be battling with their own form of depression as well as how writing these poems has empowered them and also given them the ability to handle depression.

The group members often get tattoos with their “Juggalo names” and other Juggalo tattoos. They also wear face paint to look like scary clowns, usually black and white to emulate the Insane Clown posse’s style. Their

According to researchers Christenson and Roberts, “American adolescents spend…between four and five hours a day listening to music…[which is] at least as much time as they spend watching standard television fare and more than they spend with their friends outside of school” (8). Music media influences the lives of adolescents in a number of ways. It “…alters and intensifies their moods, furnishes much of their slang [and] provides models for how they act…” (Christenson and Roberts 8). Music plays an important role in the lives of adolescents. They spend as much time, if not more, listening to music as they spend watching television, and therefore, music deserves additional scholarly attention.

The authorities might feel threatened their hegemony, therefore they make an objection to confrontational topics and promote their own interests through media that has usually right-wing political nature. The subculture’s creativity involves polemics that try to oppose to traditional moral values; and these creative artists are often comes from young generation who wants to sell their work through provocative themes otherwise a project would not be able to sell itself. Music, for example, Emo- hard-core punk provides example of the criminalisation of culture. It is a youth movement based around clothing, music, and characterize a dark a view of the world. Members of this group adhere to a conventional cult in lifestyle with melancholy and emotions. Emo emerged in mid 1980s as post-hard-core style. Schoolgirl performed suicide because she wanted to impress other people from the emo movement (Alleyne, 2008). In the Daily Telegraph, Alleyne suggests that the authorities blame emo culture for ‘a self-harming youth cult which glamorises death’. The printed media try to associate Emo subculture with something controversial that has an image of a violent result and can lead to anarchy. In this case, the authorities try to make a link between the girl and a music band with its lyrics that might inspire her to commit a

Subculture refers to a minority of individuals who adhere to different rules, dress codes and lifestyle choices from mainstream culture. Throughout this essay the traditional definitions of subcultures, that mainly concentrate on class and style as their main features, will be looked at and explained. It will then be demonstrated how these ways of thinking are no longer relevant to the 21st century therefore the term 'subculture ' needs to be rethought for it to be an applicable category in the 21st century.

Many young people seek to use music to help themselves be more accepted in the world, so that they can be easily categorisable in the mainstream. Many girls of ages 9 – 13 may have an interest in a popular ‘boy band' of the time. This is an example of how, though a girl's identity could be partly influenced by such a band, ultimately, their music and appeal is limited in scope because after four or five years the band is likely to have split up. The media promotes such a band because it targets girls who are seeking to find an identity and because these years

The popular culture of music has changed dramatically over the course of sixty five years. Since this time, new genres of music have been introduced, existing genres have changed, and fixed stereotypes have been associated with certain genres of music. Music has become a major part of popular culture, and is portrayed almost everywhere in first world societies, including on television, radio, at shopping centers, sporting events and in every area of popular culture. Music has become a major part of popular culture, and continues to strive and develop into more and diverse areas of culture.

The punk subculture was one of the influential revolutions on the 20th century, which originated in in the 1970s and spread across countries that included the United Kingdom, the United States of America and Australia. This subculture was based on a loud, aggressive genre of music called punk rock, and it intended to gain individual freedom for the working class. This essay explains the journey from the evolution and widespread of the punk subculture in the UK in 1980s. As the title suggests, punk fashion has been ruptured, tweaked and re interpreted by individuals and fashion designers over and over again, and its style has been re adapted to juxtapose on contemporary trends.