Summary: Your parents, fed up with your attitude, kicked you out of the house. Not wanting to go back to them, you decided to live on your own but ended up in the streets for a while. Jughead finds you one night and does his best to take care of you, giving you a place to stay.
“Then you can get out!” Your mother screamed as she pointed to the door. The rage that filled her body from head-to-toe was made apparent by the redness of her face and the shrill pitch of her tone.
You stood at the bottom of the steps, shaken to your core after hearing those words. Could the woman who spent years nurturing you, bathing you, feeding you, caring for you, and possibly loving you actually kick you out? The thought raced through your mind for only a second before you could really contemplate the question. Instead of thinking about it, you raced up the steps to quickly pack your things.
A half hour later everything that had sentimental value to you was in your bag. You slung the strap over your shoulder and made your way out of the house, detaching yourself from any relation to your parents. They stopped caring about you so why should you care about them?
what bands are True Emo? bc when i think of emo i think of lo-fi but i'm pretty sure that's bc i'm 18 so i wasnt around for the Real Emo Tunes :(
i’mma answer this publicly because i needed the excuse to be entirely self indulgent, k?
wait. hold on.
*puts on grad school hat*
so my answer/view on what counts as “emo” is really heavily influenced by this book, Nothing Feels Good, its been years now since i’ve read it, but it includes (may be wholly?) a history of the development of emo as a genre, as well as profiles on some really well known bands. what’s super cool about it is that it was very of the moment. it was published in 2003, which is when emo was gaining mainstream notoriety amongst rock circles, but was nowhere near the cultural zeitgeist it became.
so if you ask me, i’d argue, as andy greenwald identifies in Nothing Feels Good that “true emo” bands would include the likes of Rites of Spring, Sunny Day Real Estate, Jets to Brazil, Mineral, American Football etc*. There’s a really interesting idea that Dan kept kind of bumping up against but didn’t really articulate–that late 00′s emo and the indie music that was fucking exploding around that same time (so, your Death Cab for Cuties, Minus the Bear, Yeah Yeah Yeahs, etc) actually have a common ancestor in the early 00s emo that was coming out of places like DC and further Northeast (as far North East as…New Jersey, eh? eh?). But Dan says some bullshit about the indie guys not liking the emo guys, not exactly? Like sometimes indie guy and the emo guy were the same dude.
And that dude was a dude who was into the hardcore scene/punk, but who wanted to sing about his feelings and heartbreak, and mental health issues, things that were seen as more feminine and less aligned with the more masculine, more politically charged punk/hardcore scene.
And so you have bunch of dudes doing this, with differing levels of alignment with the hardcore scene. On one end of the spectrum you’ve got your Thrices, your Alkaline Trios and on the other end you’ve got your Sunny Day Real Estates, or even further, your Dashboard Confessionals where he’s not even using an electric guitar.
This, btw, is part of why you’ve got both Death Cab for Cutie and AFI on the same list of bands that are “emo” on wikipedia. The whole emo genre was actually super fucking prolific and because the genre qualifications were so vauge (its “emotional” “rock” music. that’s a lot of musical space to play in) a lot of different sounds were able out of early 00s emo.
Mix emo with hardcore? You get Thrice.
Mix emo with goth? AFI and Hawthorne Heights
Mix is with metal? You get Coheed and Cambria, I guess??
Mix it with rap? Dear god you get Brokencyde, undo undo.
And if you mix it with pop? Well shit, you just built a Fall Out Boy.
So, Dann, you say, I didn’t need any of this.
I mean that’s fair, but I’m sure you’re also wondering where the fuck My Chem, P!atD and FOB come in.
Each song on this running playlist clocks in at 145 beats per minute, helping you stay on track for a 10:30 minute mile. This particular mix is made up of a balance between rock, alternative and pop songs:
"(I Can’t Get No) Satisfaction" by The Rolling Stones
“Use It” by The New Pornographers
“That’s Not My Name” by The Ting Tings
“Rehab” by Amy Winehouse
“Fantasy” by MS MR
“Ooh La La” by Goldtrapp
“My Life Would Suck Without You” by Kelly Clarkson
“James, I know it’s foolish, I’m not saying otherwise. It’s just… it’s silly, but I’d had those things since I was three, and… they were all I had after the fire. For a long time after, they were the only things that were mine.”
A/N: This was supposed to be a 3 paragraph, 200 words length drabble for the “100 ways to say I love you” challenge (Let’s omit the fact that the last time I did that challenge the fic died in the second chap). It somehow spiraled down to this. I’m still doing the challenge but most definitely NOT over 300 words per prompt (I mean I can’t write 100k of coai fanfiction, can I?). Also I’ll probably post in a non-chronological order.
“What are you doing here?” Shiho glares at the man leaning on her doorway, and a pair of squinted blue eyes stare back at her in a most judgmental fashion
Shinichi’s lips purse into something between a grimace and a pout. Rolling his shoulders, he doesn’t wait for an invitation to come in, instead kicks his shoes off and follows her inside before closing the door behind them.
“It’s my birthday, damn you. At least try to be nice to me just for today.”
She checks her watch, unfazed. “Sorry to break it out to you but your birthday was eighteen minutes ago.”