genre malfunction

i’ve debated addressing the “emocore” article for some time now. this article only upset me because it gave the older brother a feeling of triumph. i’ll be breif–i don’t want to be too critical–i’m not going to be the kid who writes a letter to the editor with phrases like “how dare you criticize the only ones who understand me,” “emo saved my life,” and “those lyrics aren’t mopey, they’re poetic.” but my wall is home to a collection of death cab for cutie stickers and memoirs, so i feel as if i have an obligation.
jimmy eat world’s pop-like sound was never something i was a particularly big fan of. i appreciated the lyrics to a few of their songs…mostly those found on their earlier albums…but after they landed a spot on KDWB’s playlist?? that, of course, is not reason enough to write them off…but i guess i always expected their sound to be accepted by that audience. jimmy eat world’s lead singer, jim adkins, says that “[His] band plays guitar-based, melodic rock.” they, like many other bands, don’t want to be labled emo and deny any association with the genre.
but if jimmy eat world isn’t emo, what is? i guess not the stuff i listen to, what i call emo…well, except for death cab for cutie, none of the other bands in my collection were mentioned in the article; however, many of the ones that were mentioned are all on compilations with artists like damien jurado and pedro the lion: saves the day, promise ring, etc. wait, my mistake, the ABC’s of emo article lists pedro the lion as up and coming.
i guess i won’t worry about it. i listen to what i like. i call it what i want. i’m still an emo kid. even if what i listen to is closer to folk or indie rock than what chris riemenschneider considers emo. who cares, anyway? it’s all music. drink it up.
goodnight you.
love anna