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Fall Out Boy were front-and-centre of the emo scene of the mid-2000s, gaining a devoted following with their infectious brand of pop-punk. After a tumultuous decade, the band are now stronger than ever and winning new fans across the globe. Formed in 2001, Fall Out Boy were regarded as the 'next big thing' by critics who praised their ability to entertain audiences with energetic performances and an appealing melody. Their debut Take This to Your Grave was cited as a framework of pop-punk music and they achieved worldwide fame as the emo scene exploded. However, after a stream of hits, internal fighting, health issues and the eventual backlash against the emo scene threatened to destroy the band, leading to a temporary hiatus. Confounding the critics, they came back stronger, with a new sound and an even wider fanbase. Their latest album American Beauty/American Psycho, released in 2015, has sold over 1 million units in the US and their worldwide merchandise sales are enormous. They remain a huge commercial force. This is the first biography on the band and an in-depth account of their story, from its beginnings in Chicago, to worldwide fame, addictions and disillusionment with the music industry to their recent resurgence.
For many, the word “emo” calls to mind angsty teenagers, shaggy black haircuts, and skinny jeans. A popular music phenomenon in the early 2000s, emo is short for “emotional hardcore,” and refers to both a music genre and a youth scene notable for its androgynous style. Judith May Fathallah pushes beyond the stereotypes and social stigma to explore how online fandom has shaped the definition of emo, with significant implications both for millennial constructs of gender and for contemporary fan studies. First laying out the debate over what emo is, Fathallah walks superfans and newcomers through the culture surrounding thegenre’s major bands, including the emo holy trinity: My Chemical Romance, Fall Out Boy, and Panic! At the Disco. Next she examines fans’ main mode of participation in the emo subculture—online communities such as LiveJournal, Tumblr, MySpace, and band websites. Taking a hard look at the gender politics that dominated those spaces, she unearths a subculture that simultaneously defines itself by its sensitivity and resistance to traditional forms of masculinity, yet ruthlessly enforces homophobic and sexist standards. Fathallah demonstrates fandom’s key role in defining emo as a concept and genre after 2001, with probing insight into its implications for gender constructions through popular music.
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