Black People in 'Alt' Music Subcultures by Francesca Sobande

Black life in / and “Alt” Music Subcultures

Chris Lau Manson

Francesca Sobande

Written by

Illustrated by

With thanks to everyone who makes music with heart.

WhatFollows

R&B,RockandRoll,andBlackWomen NuMetal,NewMedia,andBlackness BeyondtheRapVersusMetalBinary Re-meme-beringNuMetal BaddiecoreandBlackWomen

AltR&B,IndieRap,andEmoRap DigitalCulture,Humour,andSub-Genres InternetSpeak,“BlackAltness”,andAcrossGenres

AaliyahandQueenoftheDamned'sHip-Hop/NuMetalHeart MoreThan“Seen,NotHeard” MemorialisingBlackWomeninMusic

(Post-)HardcoreisLocal (Post-)HardcoreisLiberationist (Post-)HardcoreisDIY (Post-)HardcoreisEmotion (Post-)HardcoreisDiverse

Overview

In collaboration with the Museum of Youth Culture, this project explored the cultural memory and archived experiences of Black people in “alternative” (“alt”) music subcultures (UK and US). It looked at the recent history, naming, and perceptions of (sub-)genres, such as “alt” R&B, PBR&B, and baddiecore. Additionally, it considered the lore of other types of music, including rap and yacht rock.

The research focused on the recollections and representation of Black people in / on emo, hardcore punk, nu metal, post-hardcore, and screamo. As part of this, (sub-)genre overlaps and origins were discussed. The work also addressed different ideas of what archives are and can be, while tackling the digital politics of popular concepts of “cringe” and “cool”.

All of that led to this free (fan)zine. Some writing from it is available at the Museum of Youth Culture’s website. I visited the DC Punk Archive in April 2025, so insights from their collections feature here too Such work shaped my “Letters to America” piece, “She Burns: The Heat of Black Women in Blues and Punk”, for Shuddhashar FreeVoice, as well as my essay, “Echoes: Soft Space and Solidarity in the Legacy of Hardcore Punk”, for Folding Rock. Thanks for checking this out!

Francesca Sobande is a writer + reader in digital media studies (Cardiff University) in Cymru (Wales). Her books include The Digital Lives of Black Women in Britain (2020), Consuming Crisis: Commodifying Care and COVID-19 (2022), and Big Brands Are Watching You: Marketing Social Justice and Digital Culture (2024). She is co-author of the Black Oot Here book (2022) and graphic novel (2023), and Look, Don’t Touch: Reflections on the Freedom to Feel (2025).

Chris Lau Manson is a mixed Scottish-Hakka Chinese artist based near Glasgow. Originally from Hong Kong, he uses his twin heritages to tell speculative fiction stories laced with magical realism that speak to how traditions can help strengthen us, while traditionalism can hold us back.

BlacknessandMetal:From NuMetaltoBaddiecore

“Numb”bybelovedbandLinkinPark includesthememorableopeninglyric: “I’mtiredofbeingwhatyouwantmeto be” Thesong’ssentimentssignalnu metal’simage:capturingthepainand powerofformsofdisconnectionand disillusionment,pairedwithasearchfor thefreedomtofeelandthefeelingof freedom Numetalcreatedanoutlet throughwhichpeoplecanexpressangst andotheremotionsviamusicthatdraws ondiversesonicstyles–fromfunk, grunge,andhip-hoptometal,R&B,rap, andmore.Somediscussionand documentationofnumetal’shistory acknowledgestheinfluenceofBlack cultureandcreativity–namely,rap(àla “rap-rock”) However,asaddressedinthe researchandwritingofLainaDawes, rarelyistheworkofBlackwomen focusedoninnarrativesaboutmetal.

Previously,Iresearchedthedigitallivesof BlackwomeninBritain Thisincluded reflectionsontherelationshipbetween music,media,theinternet,andnostalgia. Whilethinkingaboutmyonline experiencesasateenager,Iwroteabout “miningXangaforthelatest‘noughties’ emoandposthardcoremusicdemos,

in-betweenwistfullybrowsingFueledby RamenbandmerchandisewhenFallOut Boyhadjuststartedtogracethecoverof Kerrang!magazine” Thosememories mirrormylongstandinginterestindigital andpopcultureportrayalsof“alternative (alt)”rock.Buildingonthat,inthispiece Iturnmyattentiontonumetalandits offshoots(eg,baddiecore)

R&B,RockandRoll,andBlackWomen

Beforereflectingonthenatureofnu metal,it’simportanttorememberthat rock’srootsareinrhythm&blues(R&B) Statingthisisstillsometimestreatedas controversial Itcansparkcritical responsesthatwhitewashrockandtryto positionitas“post-racial”–freeofany connectiontoracialpoliticsandracism, despitethewell-established“Rock AgainstRacism”and“Love(Rock)Music, HateRacism”movements

AviewfromthecrowdofAntiNazi LeagueplacardsandbannersasPoly StyreneofXRaySpexperformsonstage attheRockAgainstRacismfestivalin VictoriaPark,London,UK30April1978 (PhotobyDavidCorio/Redferns)

Asspotlightedbytheinsightfulresearch ofMaureenMahononBlackDiamond Queens:AfricanAmericanWomenand RockandRoll,throughouthistory

dynamicsofraceandgenderplayedout inarecordingindustryorganized accordingtoanothersetofboundaries: genrecategories” HBO’s2024Yacht Rock:ADockumentarypicksuponthis point:theindustryoftenframesBlack women ’smusicasR&Bbydefault, regardlessofanartist’ssignaturesound andself-definition.Althoughthemusic industrytendstotreatgenrecategories asthoughtheyarefixed,clearly,theyare shiftingandsymbolisepowerstruggles, suchashowsomemusic(eg,R&B)is reframed(asrock)byandforthe(white) mainstream.

AgainasMahon’sworknotes,thereare many “ differentwaysthatartists,bands, musicians,andfansdo(anddon’t) embracecertaingenrelabels ” Indeed, “thevocallaborofAfricanAmerican womenpropelledrockduringwhatis nowcalledthe‘classicrockera’through cross-racial,cross-genderexchanges thathavebeenlittleremarkeduponin historiesofrock”

whichtacklesinequalitiesintheindustry –theintersectionsofracism,sexism,and misogyny(asMoyaBaileypoignantly termedit,misogynoir)andtheirimpact onthecareersanderasuresfacedby Blackwomensingers Focusingonthis inrelationtonumetalandadjacent genrescandeepenunderstandingof suchmusic’sracialandgenderpolitics.

NuMetal,NewMedia,andBlackness AsaddressedinLainaDawes’vitalbook, WhatAreYouDoingHere?:ABlack Woman'sLifeandLiberationinHeavy Metal,musichasaprofoundimpacton people Itcreatesemotional connectionstogenresandthe messagesandcommunitiesattheir heart.Numetalisnoexceptiontothis. However,likemanygenres,numetalis bothridiculedandcherished–yielding funnymemes,earnestonline commentaries,andeverythingin between Embracingboththespiritof humourandsincerity,hereIdiscuss dynamicsbetweenblackness,digital culture,numetal,andmetalcore.

Alignedwithrecentmediaand marketingnostalgiaforthe2000s,the historyandloreofnumetalhasreceived renewedattentioninthe2020s Unlike whenthegenreemergedneartheend ofthe20thcenturyandthestartofthe 21st,numetalnowexistsinaworld wheresocialmediameansmuchmore thanbloggingandthelikesofMySpace Inotherwords,thenoiseandnoveltyof numetaltodayincludesdigitalcontent acrosssitesandplatformssuchas Discord,Instagram,TikTok,X(formerly, Twitter),YouTube,andmuchmore.

Thisisalsohighlightedinthe2013 documentaryfilm20FeetfromStardom

Thismeansthatnumetalmustgrapple withitsrelatively“new”nostalgicstatus andasocialmediasaturatedsociety Additionally,numetalmustmakesense ofthepoliticsofitspastandpresent, includinghowinterconnected oppressionsimpactthat Fromits embraceofgutturalvocalstoits articulationoffearsand“fightorflight” feelings,numetalbecametiedto

expressionsofattitudeanddisaffection Theseincludedystopianand technology-infusedimagesandideas thatmarkedtheturnofthethird millennium(think,themythofthe millenniumbug) Numetalisnotthe onlytypeofmusictodealwithsuch emotionsandenergies,includingthe harmsofnumbnessanddesirestobe freeofit.Butnumetalisquiteuniquein expressingthisatthecrossroadsofone century’sendandanother’sbeginning, whilebouncingbackandforthbetween genreboundariesandhowtheyhave beenraciallyconstructedandgendered

Inmanyways,blacknessisatthecore ofmetal,whichhasitsrootsinrock (akaR&B) Associatedwithaesthetics basedonshadesofblack,metalmusic andsubculturesareoftenthoughtof as“dark”,whilealsobeingsomewhere thatdark-skinnedpeopleexperience racism,colourism,xenophobia,and otheroppressions.Therearemany examplesofwhitesupremacist strongholdswithintheworldofmetal, buttherearealsomanyexamplesof howthecontributionsandcultureof Blackpeoplehaveshapedmetaland itscountlessinnovativedirections.

Theblacknessofmetalisaboutalot morethanthemonochromaticoutfits andstagingsetupsthatareoftenpartof it.Fittingly,theMuseumofYouth Culture’sArchivesincludememorable imagesofBlackpeopleinmetalspaces inthe2000s Thesechallengecertain stereotypicalperceptionsofnumetal andwhoitappealsto,whiledepicting itspredominantlywhiteaudienceinthe UK.Amongthesearevividphotographs of“NuMetalMoshing”inBrighton(2001) byRebeccaLewis,capturingnumetal’s “newmillennium”identityandsomeof theearly(ish)daysofsuchmusic

BeyondtheRapVersusMetalBinary

AsMattKarpeputsitinthebook,Nu Metal:ADefinitiveGuide:

[a]formofalternativemetal,theterm ‘aggrometal’wasalsoassociatedwiththis intriguingnewmovementwhichquickly becameknownas‘NuMetal’ Combining elementsofheavymetal,alternativerock, funk,grungeandhip-hoptocreateasonic soundscapeofrawpowerandemotion, numetalwasprimarilybasedonguitar riffswheredown-tunedandoftenseven stringguitarsbecamecommonplaceinan attempttocreateamuchheaviersound

Basically,themusicalbricksfromwhich numetalwasbuiltincludethecreations ofBlackpeopleacrossnumerous genres,suchasthepowerhousepunk andspeed-metalmusicoftheband BadBrains

Tothisday,therearecommentaries aboutthe“crossover”appealofmusic thatreceivesinterestfromgroupsof peopleusuallydeemedtobedisparate, oftenduetotheirvariousracialand culturalidentities Attimes,theconcept of“crossover”pushesideasaboutmusic basedonsimplisticassumptionsabout raceandgenres,suchasreductive perceptionsofwhois(not)metal To returnoncemoretoNuMetal:A DefinitiveGuide,Karpestatesthat“[u]ntil AerosmithcollaboratedwithRunDMC andAnthraxteamedupwithPublic Enemy,itwasunheardofthathip-hop andheavymusiccouldevercome together”

LANDMVRKS(aFrenchmetalcoreband thatincludesrap),joinedbyMatWelsh fromWhileSheSleeps,atSlamDunk FestivalinHatfield,England,May24, 2025.FlorentSalfatiiswearingaSlipknot t-shirt.(PhotobyFrancescaSobande)

Frequently,theimpactofnotonlyrap andhip-hop,butofBlackcreativity,cool, andaestheticsingeneral,isdownplayed inconversationsaboutnumetalandits branches.Infact,therehavebeenmany timeswhenhip-hopandraphavebeen treatedasbeinginoppositiontometal and“alt”rock Butboththehistoryof metalandthewiderrockspherethat madeittelladifferentstory.Ratherthan viewinghip-hopandrapassimply pepperingthemealthatisnumetal,Isee themastheblueprintfornumetal’s newness,edginess,andoverallappeal Theymakethedish,notsimplyseasonit

Re-meme-beringNuMetal

Digitalculturehasalwaysbeenpartofnu metal,particularlyasthismusicpopped upwhenopportunitiesto(i)legally downloadmusicbegantoblowup (Limewireknows).

Numetalisnowinfluencedbymany moretechnologiesandthe temperamentsofalgorithmsand onlineusersthatanimateoragitate them AsJenessaWilliamswritesina MuseumofYouthCulturepieceon “TracingMusicFandomPractice ThroughTheInternet”:“Asthe2000s becamethe2010s,aboominmusical socialmediausecontinued Fan-led tastemakingwasbecomingmore prominentinthegenerationof‘viral’ hits,butsowasartistengagement, abletoreplytofanmessagesor distributeblogpostswithmoreease andcreativitythanpreviouslypossible”.

Sincethen,andasJoyWhiteaffirmsin LikeLockdownNeverHappened: MusicandCultureDuringCovid,the internetandmusichavebecomeeven moreentwined.Thishasresultedina delugeofdiscussionsanddescriptions ofmusicthatstemfromthepowerof digitalremixculture,suchasmemes, GIFs,andfancamedits It’sinthis digitalworldthatsocialmediaprofiles andpostsaboutnumetalmerge referencestoandfromotherdigital/ popcultureplaces.So,numetalmight become“verydemure,verymindful”, atleastforamomentwhennumetal fansandsitespickupontheviral mediaofdynamiccontentcreator JoolsLebron.

Putdifferently,theinternetisatthe centreoftheculturalmemoryand contemporaryrepresentationofnu metal,suchasengagingsocialmedia postsandoverallworkbyTheNuMetal Agenda.InthewordsofAndyBennett onsubculturesandyouth,“bytheearly 1970s,thereisclearevidencethat youthcultureitselfwasbecoming quiteconsciouslyself-referential” More than50yearslater,self-referential expressionsofyouthculturearethe backboneofmuchdigitalculture, whereachorusofin-the-knowcontent combinesirony,levity,andsocial commentaryconnectedto experiencesofyouth–thenandnow

What’soldisnewagain,andthis includesnumetal.

Havingreallygrownasagenreand subcultureatthecuspofthe2000s,nu metalisaswellknownforitsrelationship withthenoughtiesasitisknownforits beatswhichconnecttomusicfrom before Maybethismakesthecruxofnu metalafeelingofDuality(anodto Slipknot’s2004song)–countingdown towardsanewerawhilealsobeing impactedbythemagneticpullofthe past So,wewitnesssocialmediatrends suchaspeoplecomicallypairingLinkin Park’s2007“WhatI’veDone”(theclosing musictothe2007Transformersfilm) withthefinalscenesofothers,including, insomecases,iconiconesthatare canonicallyBlackfilms Essentially,nu metalisalotlesssiloedthanitoncewas Digitalculture’sdevelopmentmeans thatmuchonlinecontentcannotbe containedbytheconventionsofasingle generation,musicscene,site,or subculture.Inthiscollagelikedigital space,new(sub-)genrelabelssprout:cue baddiecore

BaddiecoreandBlackWomen

IntheresonantwordsofRosemaryLucy HillonGender,MetalandtheMedia, “[m]usicisagenderedexperience” To oncemorebringinthepivotalworksof DawesandMahon,itisaraced experiencetoo.AsI’vereflectedonin earlierwritingonBlackartistsinmetal and“alt”music,“Blackalternativemusic isundoubtedlypartofblackhistory,but thegenre[of“alt”music]continuestobe associatedwithwhiteness Black women,inparticular,arerarely recognisedfortheirworkinthisgenre, duetothedominanceofwhiteandallmalebandsinmainstreamalternative musicscenes” Despite,orperhaps preciselybecauseofthis,recent iterationsofmetalincludethetongue-in cheeksub-genredescriptor“baddiecore –spurredonbysocialmediaposts,such asatweetbyStrayfromthePath’s drummerCraigReynolds,who namechecksBadOmens,SleepToken, andSpiritboxasbeingamongthebands framedasbaddiecore SleepToken’s afrobeats-ishtrack“Caramel”(including whatitsnameinvokes)epitomisesthe sortofmusicthatislabelledbaddiecore.

Ofteninjest,theterm“baddiecore”is intendedtodescribeformsofmetalcorethatareperceivedashaving strongsexappeal,oranoverallsound and/oraestheticthatisthoughtofas hypersexualised(aka“thirsty”)

AsIdiscussinLook,Don’tTouch: ReflectionsontheFreedomtoFeel, co-authoredwithlayla-roxannehill, baddiecoreisatermthattypifiesparts oftheracial,gender,andsexual politicsofmetal,includingits engagementwith,anderasureof,the musicofBlackwomen.Inpractice, thelabel“baddiecore”isusedin responsetometalcorethathasa soundwhichcallsbacktothedulcet tonesanddemureyetdramatic demeanourofstrandsofR&Bandhiphopwhichwaspreviouslyreferredto as“bedroom”music.Basically, “baddiecore”kindoffeelslikeawayof saying“black-ish”metalcore,while overlookinghowblacknesshas shapedrock,metal,andtheideaof beingabaddie.

Theterm“baddie”(aderivativeof “badbitch”)isassociatedwithBlack Americanculturalexpressionsandis especiallyusedinreferencetoBlack womenwhoareperceivedasselfpossessedandembracingastrong senseofself-regard.

MoonchildSanelly(whohasfeatured onMTVAfrica’s#BaddiesAfterDark)at ClwbIforBachinCardiff,Wales, March17,2025.(PhotobyFrancesca Sobande)

Thesignificanceoftheconnectionbetweentheterm“baddie”andBlackwomen isapparentwhenrecallingthat,asDawesnotes,“[e]speciallyforblackwomen, whoareoftentoldfromanearlyagethatwehavetobemoreawareofhowothers perceiveus,howweappearinsocietyisoftenmoreimportantthanassertingour individuality” Thismeanstheabilitytoembodybeinga“baddie”ishardfoughtfor byBlackwomen,whofacestiflingsocietalprojectionsoftheir/ourpresumed strengthandstoicism(asMeganTheeStallionincisivelysingsonthetrack “Anxiety”,“badbitcheshavebaddaystoo…”).

Whenaccountingforthis,andthefactthatthelabelof“baddiecore”ismainly usedinrelationtopredominantlywhiteand/ormalemetalcorebands,itmakes theveryconceptof“baddiecore”seemlikeyetanotherthatsymbolisesthe unacknowledgedracial,gender,andsexualpoliticsofmetaland“alt”rock.Insum, itsignalsthewaysthatBlackcultureandcreativity,especiallythatofBlack women,continuestobebothhyper-visibleandinvisibilisedinsuchmusic.

WhatisbaddiecorewithoutbaddiesBlackwomen?

Assub-genrelabelsincluding“baddiecore”andotherskeepcroppingup,being memed,andaremulledover,continuingtoteaseoutandtacklethepoliticsofall thingsmetalremainscrucial.Thenagain,toharkbacktoLinkinParklyrics,andto rephrasethemasaclosingquestion:intheend,doesitreallymatter?

Bibliography

Bailey,Moya(2010)Theyaren’ttalkingaboutme TheCrunkFeministCollective, 14March

Bennett,Andy(2020)Hebdige,PunkandthePost-subculturalMeaningofStyle.In HebdigeandSubcultureintheTwenty-FirstCentury:ThroughtheSubcultural Lens,edstheSubculturesNetwork,Cham:PalgraveMacmillan,11–27.

Dawes,Laina(2012)WhatAreYouDoingHere?:ABlackWoman'sLifeand LiberationinHeavyMetal NewYork:BazillionPoints

hill,layla-roxanneandSobande,Francesca(2025)Look,Don’tTouch:Reflections ontheFreedomtoFeel.Edinburgh:404Ink.

Hill,RosemaryLucy(2016)Gender,MetalandtheMedia:WomenFansandthe GenderedExperienceofMusic Basingstoke:PalgraveMacmillan

Karpe,Matt(2021)Nu-Metal:ADefinitiveGuide Gloucestershire:Sonicbond Publishing.

Sobande,Francesca(2022)Blackartistsdon’tjustmakehiphop–whyrecognition ofmetal,punk,rockandemobyMoboislongoverdue TheConversation,29 November

Sobande,Francesca(2020)TheDigitalLivesofBlackWomeninBritain Cham: PalgraveMacmillan.

TheNuMetalAgenda[website].

White,Joy(2024)LikeLockdownNeverHappened:MusicandCultureDuring Covid London:RepeaterBooks

Williams,Jenessa(2023)TracingMusicFandomPracticeThroughTheInternet. MuseumofYouthCulture,1September.

“BlackAlt”,SocialMedia, andMusicSub-Genres

Irememberthemomentwhen“Novacane”by FrankOceandroppedin2011.Itwaslikea breathoffreshairandatallglassofwaterona hotsummer’sday Iwasjustbeginningto navigatemytwentiesandfeelingadrift,when thedebutsinglecutthroughthebackground soundoflifeandconnectedtome.Itstilldoes.

ReleasedfromhismixtapeNostalgia,ULTRA, “Novacane”establishedFrankOceanasanartist whoexpressesaconstellationofemotions,a stirringsound,andastrikingspirit Thesingersongwriter’screativitycan’tbecontainedbythe musicindustry’sconstrainingconventionsand constantdemandformoreandmoremusic. SparkingheadlinessuchasVibe’s“10EmoLines FromFrankOcean’s‘ChannelOrange’ForAMan orWoman”,Oceaniswellknownforhismoving andplayfullyricsonthemesrangingfromlove, tragedy,isolationandambivalence,toregret, thepoignancyofmemories,andtheeuphoria ofintimacy.Hisworkispowerful(including thebreath-takingbeatswitchin“Nights”).

AltR&B,IndieRap,andEmoRap

AlthoughOceanhasn’tofficially releasednewmusicsince2020, itsongoingingenuityand impactisclear FrankOceanhas beencreditedforpavingthe pathforwhatwouldbecome knownas“altR&B”(hereceived thefirstGrammyAwardfor “BestProgressiveR&BAlbum”in 2013) Thismusicsub-genre(“alt R&B”/“progressiveR&B”)brings togetherexperimental arrangements,eclecticenergies, dreamydeliveries,and subversivethemesthatmove beyondthosemostassociated withmainstreamR&B Italso includestheinimitableworkof peoplesuchasGrammynominatedsinger,songwriter, andvisionaryartistDurand Bernarr,aswellasGrammywinningsinger-songwriter, guitaristandrecordproducer SteveLacy

FrankOceanperformsatthe2017PanoramaMusic FestivalonRandall'sIslandinNewYorkonJuly28, 2017.(PhotobyAngelaWeiss/AFPviaGettyImages)

DurandBernarratTheklain Bristol,England,October30,2025 (PhotobyFrancescaSobande)

Butit’simportanttoremember thatR&Bhasalwaysbeen diverseandfar-ranging,defying discriminatoryportrayalsofitas beingone-note Amongthe otherartists,musicians,and singerswhoseworkhasbeen referredtoas“altR&Band/or rap ”areTyler,theCreator,the Weeknd,Solange,SZA,and more.

While“altrap”ismorecommonlyused,similar labelssuchas“hipsterrap”,“indierap”,and “ emorap”havealsofeaturedincertainonline andmediadescriptionsoftheirwork.These termstendtobethoughtofasrelatively recent,buttheconceptof“indierap”existed beforetheturnofthe21stcentury

DurandBernarratTheklainBristol,England, October30,2025.(PhotobyFrancescaSobande)

Forexample,“indierap”cropped upinthemusicjournalismand writingofDeleFadeleon“Curve: BendOfAnEra”forNewMusical Express(akaNME)inMay1991 In thatpiece,Fadeledescribes Curve’smusicasfeaturing “savagerapoverguitarsbyturns sadisticandmuted,they’d createdanewgenre,‘indie-rap’ (soundscrass,Iknow)” So,unlike itscontemporarycounterparts suchas“emorap”,theterm “indierap”didn’ttakerootin waysspurredonbysocialmedia. Instead,thatexpressionfirst cametobeatapointintime whenrapandrockriffing togetherwasstill“new” During theyearsafter“indierap”began tobeuttered,termssuchas “ emorap ”eventuallyfollowed, whichhasbeenusedtodescribe artisticandinventiveworkbyKid BookieandKennyHoopla

KidBookieatSlamDunkFestivalinHatfield, England,May24,2025.(PhotobyFrancesca Sobande)

KennyHooplaperformsduringthe2023Ohio IsForLoversFestivalatRiverbendMusicCenter onSeptember09,2023inCincinnati,Ohio (PhotobyDanielBoczarski/GettyImages)

AsdiscussedbyYasmine SummaninanarticleforRock Soundon“CelebratingEmoRap AsHipHopTurns50”,“Emorap, alsoknownas‘SoundcloudRap’ andcommonlygroupedinwith trapmetal,isassociatedwiththe explosionofartistsfusinghiphop orrapwithemoandalternative genres,usingSoundCloud.com asahomefortheirwork”.Asthe bookFliptheScript:How WomenCametoRuleHipHop byArusaQureshiemphasises, women ’sworkinhip-hop, includingasrappers,iskeyto suchmusicanditsimpact. Despitethis,rarelyisthelabelof “ emorap ”usedtodescribethe workofwomen

Additionally,astheextensive researchandwritingofJenessa Williamsspotlights,“differing conventionsofrace,genderand respectabilitypolitics”are implicatedindistinctlydifferent publicperceptionsofemo,rap, hip-hop,andthe(imagined) peoplewhoarepartofthese genres.

Beneaththesurfaceofconstructed andcontestedsub-genretermssuch as “altR&B”and“emorap”lieknotted class,gender,racial,andsexualpolitics. Afterall,asTriciaRosenotesinthe essentialbook,BlackNoise:RapMusic andBlackCultureinContemporary America,“ popularformscontain significantculturaltraditionsand cannotbefullyseveredfromthe sociohistoricalmomentinwhichthey takeplace”.Meaningthatwho,what, andwhensomethingorsomeone becomesregardedas“alt”tellsus aboutsocietalnorms,including,what Rosedescribesasbeing“thedeeply contradictoryandmultilayeredvoices andthemesexpressedinpopular culture”.

“Emorap”isatermusedtodescribe rapwithnoticeablyemotional messages,andsometimes, accompanyingsoundsthatevoke “emotional/emotivehardcore(aka emocore/emo)”music.But“emorap” isatermthatcanalsopromote problematicperceptionsofrapas normallyemotionlessandabrasive ThisrevealsmuchaboutwhatTricia Roseoutlinesasbeing“thesocial contextwithinwhichrapmusictakes place”–acontextmarkedbythefact thatmuch“mediaattentiononrap musichasbeenbasedonextremist tendencieswithinrap,ratherthanthe day-to-dayculturalforcesthatenter intohiphop’svastdialogue”.

SZAatPrincipalityStadiuminCardiff, Wales,July19,2025. (PhotobyFrancescaSobande)

Inotherwords,certainframingsof emorapreinforceverybinaryand racistideasofrapasnothingbut aggressiveandemotionallyinsensitive, andinstarkcontrasttotheframingof genressuchasemowhichismore associatedwithwhiteness(whitemen, specifically).Thisreflectsracialisedand genderedassumptionsaboutwhocan anddoesexperienceandemotively expresssoftnessandsadness–sonically,lyrically,andotherwise

Rap,R&B,andhip-hopdon’tneedto beprefacedwithotherwordsto articulatetheirabilitytosensitively conveydifferentemotions

KendrickLamaratPrincipality StadiuminCardiff,Wales,July19, 2025 (PhotobyFrancescaSobande)

Theyhavealwaysbeenoutletsthrough whichmuchemotionisexpressed, includingmusicandsongssuchas LEMFRECK’s“AVoicenote:SadBoysClub”, “Free”byLittleSimz,“Desoleil(Brilliant Corners)”byLoyleCarner(featuring Sampha),“HeartStatus-Freestyle”by Deyah,SZA’s“BrokenClocks”,and KendrickLamar’s“SingAboutMe,I'm DyingofThirst”.It’sunderstandablethat peopledistinguishbetweendifferenttypes ofrapmusic Still,intheprocessofdoing so,caremustbetakentoavoidreinforcing oppressiveideasaboutBlackmusic,art, creativity,andlife

There’salonghistoryofsub-genres emergingandbeing(re)named,soit’sno surprisethat“new”musiccategorieskeep appearing AsJoyWhitenotedinan illuminatingtalkon“Sayingsomething? Rap,grimeandUKdrillasamodeofsocial commentary”,“artistsmoveinand betweengenres,andmaynotseethese categoriesinthesamewaysthatwedo”. Mindfulofthat,whenreflectingon (sub-)genretermsusedtodescribeartists andmusicians,howthey’recategorisedby othersshouldn’tbeconfusedwithhow theydefinethemselves.Inthiswritten piece,I’minterestedintherelationship betweensocialmediaandsub-genre labelsconcerningBlackcreativityand “altness” So,Ifocusontermsthatusually are(eg,“altrap”)andaren’t(eg, “baddiecore”)usedtodescribeBlack people’swork.

Anothermusicsub-genrelabelthat’s circulatedamidcommentariesabout “altR&B”is“PBR&B”(“PB”jokinglyrefers to“PabstBlueRibbon”,abeerbrand associatedwithhipsters).AsEricHarvey reflectedoninaPitchforkpiecetitled,“I StartedaJoke:‘PBR&B;’andWhat GenresMeanNow”:

I“coined”itforthesimplereason thatit’sapun,andIlovepuns ButI didn'texactlycoinittodescribe themusicitself (Itsgrandfather genre,‘RhythmandBlues’,is anotherstory Thatwascoinedby AtlanticRecordsexecutiveJerry Wexlerin1949,toreplace“Race Records”,theoffensivename ofachartusedatthetimetorank thepopularityofmusicmadeby AfricanAmericans)Instead,it’sone ofthosegenresthatdescribesan imaginedfanbase.

Whenengagingwiththese reflectionsandthefactthatitwasa Twitter(nowknownasX)postby Harveythatledtothegenreconcept of“PBR&B”,comparisonscanbe madebetweenthecreationofthis sub-genretermandthoseof “baddiecore”and“yachtrock” Each labelanditsambivalentuptakeis testamenttotherelationship betweendigitalculture,internet humour,andmusicsub-genres.

Thesetermsandtheirusecanalso reflectwhatTriciaRosereferstoas being“thehiddenpoliticsofpopular pleasure”–again,theimpactofhow thepoliticsofrace,gender,sexuality, class,andtechnologycollideinand throughmusic.Unlikedecadesago whenthemusicindustryhadatopdownandbehindcloseddoors controloverthegenrecategorising ofmusic,nowadays,whatpeople say,do,andshareonsocialmedia shapesit.

Theexamplesof“PBR&B”and “baddiecore”tellussomething aboutthemorebottom-up,orat least,side-to-side,waysthatsubgenretermsarecreatedinour contemporarysociety.

ButastheworkofLizPellyalso remindsus,“[b]ythemid-2010s, digitalmediaplatformsmore broadlyhadbeenconflating themselveswithdemocracyand self-expressionforyears, disingenuousclaimscomprisinga definingpropagandaprojectofthe Web2.0era”.

Socautionmustbetakenwhen stakingclaimsthatsocialmedia canaidmoredemocratic approachestomaking,sharing,and experiencingmusic,including naming(sub-)genres.AsPelly pointsoutintheenlighteningbook MoodMachine:TheRiseofSpotify andtheCostsofthePerfectPlaylist, “platformsarenotpublicsquares; they’recorporatedigitalenclosures whereyoureverymoveistracked”.

Asmentioned,anotherexampleof thewaysthatdigitalcultureand humourcontributetothe constructionofsub-genre categoriesisthecaseof“yachtrock” –atermthathasbeenusedto describeavarietyofstylesofmusic linkedtosoftrock,smoothsoul, R&B,disco,andjazz

Havingbecomehigh-profileand receivedcommercialsuccessfrom themid-1970stomid-1980s,the musicassociatedwiththe expression“yachtrock”only becamereferredtothatwayfrom around2005onwards,aftera popularonlinemockumentarystyle videoseries,“YachtRock”(2005–2010).

HBO’sYachtRock:A Dockumentary(2024)detailssome ofthedefiningmomentsinsuch music’shistory,whilealso ponderingoverthepartthatdigital culturehasplayedinit.Thesubgenredescriptionsof“PBR&B”, “baddiecore”,and“yachtrock”all differ,butthey’reconnectedbythe intenselydigitallymediatedsociety thattheyspringfrom–asociety wherejestingonlinecancontour howmusicislabelled.

InternetSpeak,“BlackAltness”,and AcrossGenres

Lifetodayispunctuatedbysocial media’spowerfulpresence Words popularisedbyviralvideos,remixed memes,andtrendinghashtagsmakeit tothepagesofupdateddictionariesand annuallistsofthemostsearched internetqueries Suchactivityisoften associatedwiththecontentiousconcept of“internetspeak” Whileitmightinitially seemlikeastraightforwardwayto describetheinternet’srolein contemporarycommunications, “internetspeak”isanineffective expression Essentially,itcanerasethe longerhistoryofwords,theirmeanings, andtheirshiftingculturalsignificance

“Internetspeak”isalabeloftenappliedin waysthatglossoverinequalitiesandthe originsoftermsthatareframedas “newly”popular.Manywordsand phrasesreferredtoas“internetspeak” (eg,“bet”,“it’sgiving ” , “slay”,“woke”) originatefromthecommunication styles,culturalcodes,andexpressionsof oppressedpeople(e.g.,Blackand LGBTQIA+communities).Whensuch terms(e.g.,“baddie”)arereducedtosocalled“internetspeak”,they’retakenout ofcontext Thisoverlookstheinnovations ofpeopleimpactedbyinjusticesand history’swhitewashing.

“Blackalt”–anabbreviationof“Black alternative(ness)”–isnotaphrasethat simplygrewfromtheinternet However, it’sgainedpopularityinwaysinfluenced bydigitaldiscourse,socialmedia,and theculturalimpactofBlackpeople online(includingBlackTwitter).This meansthatperceptions

and(re)presentationsofwhoandwhatis“Black alt”areentangledwiththeinternet’sintricacies andimaginaries–thewaysthatblacknessishypervisible,obscured,andimaginedonline.Inrecent years,“Blackalt”hasattractedtheinterestof brandsandadvertisers Itisanexpressionthat oftenservesasasocialmediahashtagand descriptionofart,fashion,music,andoverall“alt” aestheticsembodiedbyBlackpeopleatthe fringesofwider“alt”scenesandsubcultures.

Undeniably,thereismorethanonewayto embody,embrace,andexpressasenseof“Black altness”,includinginwaysthatmaylookand soundverydifferenttowhathasbecomemost linkedtoitinmarketplace,mass-media,and musicindustryspheres.Thatsaid,stapleelements ofprominentideasandimagesconnectedtothe conceptof“Blackalt”are:(1)avividandeclectic personalsenseofstyle(evenifitmaysometimes mostlybemonochromatic),(2)anexperimental approachtomusic-makingthatmovesacross, betweenandbeyondgenrecategories,and(3)an attitudethatsurpassesstiflingassumptionsand expectationsrelatedtoBlackart,creativity,andlife.

2025BritAwards;ALTBLK ERA(sistersNyrobi Beckett-Messamand ChayaBeckett-Messam), whose2025debutalbum RaveImmortalreached numberoneoftheUK Rock&Metalchart,and whowonthe2025MOBO awardfor“BestAlternative MusicAct”;BobVylan,who wonthefirstever“Best AlternativeMusicAct” awardattheMOBOsin 2022,andSPIDER (JenniferOsakpolorIrabor), whoseKerrang!interview withAliyaChaudhry includesanencouraging callfor“moreBlack womeninalternative music”,andwhowas joinedbySafesp8ceand Bukkyforadebut headlineshowinLondon.

WillowSmithperformsonstageatthe2023Coachella ValleyMusicandArtsFestivalonApril23,2023in Indio,California.(PhotobyPresleyAnn/GettyImages forCoachella)

Artistsandmusicianswhosemeaningfulworkhas influencedcontemporaryconversationsabout Black“alt(ness)”include,butaren’tlimitedto:duo NovaTwins(AmyLoveandGeorgiaSouth)who won“BestUKBreakthroughBand”atthe2020 HeavyMusicAwards;RachelChinouriri,whose musicinfluencesareindie,electronic/alternative andpop,andwasnominatedinthecategoriesof “ArtistoftheYear”and“BestNewArtist”forthe

RachelChinouririatThe GlobeinCardiff,Wales, November8,2024.(Photo byFrancescaSobande)

Relatedly,intheworldof digitalculture,creator Aliyahhasbeen highlightedinpieceson,as GaelLaguerreputsit,“The BlackAltResurgence”, “Aliyahcore”,and“Black alternativefashion baddies”.

Elsewhere,andparticularlyasitreceives moreattentionwithinpopularculture,a senseofspectaclecansurroundcertain ideasabout“Blackalt(ness)”.Thiswasthe casewithimagesof“altBlack”peoplethat weregeneratedby“artificialintelligence(AI)” in2022

UncannyAI-generateddepictionsofBlack peoplewerecreatedusingMidjourney(a generativeAIsoftwareprogramme)and sharedonsocialmedia Thisresultedin onlinecritiquesthatcalledoutthe creepinessoftheimages,whilealso amplifyingtheworkandexperiencesofreal Blackpeoplein“alt”musicscenes(e.g.,Tina Bell–deemed“TheBlackGodmotherof Grunge”,theBlackfeministpunkbandBig Joanie,JadaPinkettSmith’sbandWicked Wisdom,andthemusicofPinkettSmith’s daughterWILLOW–akaWillowSmith)

ButbeingBlackandperceivedas being“alt”–beitemo,indie,punk, goth,ormore,transcendsthe boundariesofanysinglegenre To returntotheprescientwordsof TriciaRose,muchcanbegained from“understandingthe processesofculturemakingina capitalistandfullycommodified society”,suchasbyconsidering “[h]owdoesnewtechnology changethenatureofblack culturalproduction”?Attempting toaddressthisquestiontoday involvesthinkingaboutthe dynamicsbetweensocialmedia andsub-genres–fromthe labellingofR&B,rap,andtheidea ofbeing“Blackalt”tothe patchworkofdifferent perceptionsofmusicandmedia madebyBlackpeople.

IncollaborationwithJenessaWilliams,my recentworkhasincludedourco-authored journalarticle,“Notetoscene:Gender,race androse-tintednostalgiainemo”,whereour discussionofemonostalgiaandmusic festivalsinvolvedthinkingabout“’Thnksfr themmrs’:‘classic’lineupsandBlackalt absences”.Asforegroundedinthecollection BlackPunkNow:Fiction,Non-Fiction,and Comics,editedbyJamesSpoonerandChris L Terry,punkandaltrockgenresand subculturesarepartofBlackhistory BobVylanatCardiffUniversity’sStudent’sUnion inCardiff,Wales,October27,2024.(Photoby FrancescaSobande)

Black“alt”creativityandwaysof livingwillnodoubtcontinueto grow,thankfully Ultimately,being Blackand“alt”isanexpansive experience.Itisn’taboutasingle song,style,statement,orsymbol. It’saboutimaginingandbeing “otherwise”–livingboldly,and dareIsay,embracingtenderness, inaworldthatoftenseeksto suppress.

Bibliography

Chaudhry,Aliya(2024)SPIDER:“I wanttheretobemoreBlack womeninalternativemusic…That definitelydrivesme”.Kerrang!,18 June

Fadele,Dele(1991)Curve:BendOf AnEra NewMusicalExpress,18 May.

Harvey,Eric(2013)IStartedaJoke: “PBR&B;”andWhatGenresMean Now Pitchfork,7October

hill,layla-roxanneandSobande, Francesca(2025)Look,Don’t Touch:Reflectionsonthe FreedomtoFeel.Edinburgh:404 Ink

JGRAY(2012)10EmoLinesFromFrankOcean’s ‘ChannelOrange’ForAManorWoman Vibe,13 July.

Laguerre,Gael(2023)Aliyahcore:TheBlackAlt Resurgence Strike,16February

Pelly,Liz(2025)MoodMachine:TheRiseofSpo andtheCostsofthePerfectPlaylist NewYork: Hodder&Stoughton.

Qureshi,Arusa(2021)FliptheScript:HowWom CametoRuleHipHop Edinburgh:404Ink

Rose,Tricia(1994)BlackNoise:RapMusicand BlackCultureinContemporaryAmerica Middletown:WesleyanUniversityPress.

Sobande,Francesca(2022)Blackartistsdon’tjust makehiphop–whyrecognitionofmetal,punk, rockandemobyMoboislongoverdue The Conversation,29November

Spooner,JamesandTerry,ChrisL.(eds)(2023) BlackPunkNow:Fiction,Non-Fiction,and Comics.NewYork:SoftSkullPress.

Summan,Yasmine(2023)CelebratingEmoRap AsHipHopTurns50 RockSound,17October

White,Joy(2024)Sayingsomething?Rap,grime andUKdrillasamodeofsocialcommentary.Talk atDrillRap,SocialJusticeandFreedom,Cardiff University,6December

Williams,JenessaNicole(2024)MusicFan theAgeof#MeToo:MoralityCrowdsourc RacialisedCancellationandComplicated ListeningHabitsinOnlineHip-HopandIn AlternativeCommunities[PhDThesis,Un ofLeeds]

Williams,JenessaNicoleandSobande,Fr (2025)Notetoscene:Gender,raceandro tintednostalgiainemo.EuropeanJourna CulturalStudies.

AlloysiousMassaquoiand KayusBankoleofYoung FathersatLiverpool InternationalMusicFestival, SeftonParkinLiverpool, England,July22,2018. (PhotobyFrancesca Sobande)

B(l)ackintheArchive andOntheBeat

Asthetitleofthispiecesuggests,hereIconsider differentperceptionsofwhatarchives“lack”and thespecificsofBlackarchives.By“lack”,Imean whoandwhattendstobeperceivedas“lacking” archivingskills.I’malsoreferringtowhoisusually regardedas“missing”fromarchives Discussing allthat,IfocusonthevibranceofBlacklife

Whatis(in)anArchive?

Timespentinarchivescaninvolveamixof emotionsandexperiences Theseincludewhen lookingattheeyesofsomeonegazingbackfrom aphotographthatserendipitouslysurfaces On otheroccasions,“sidenotes”inthemarginsofa worn-outpagemightstiryou,describing memoriesofsomeoneorsomewhere“unknown”, butmomentarilyfamiliar.Apartfrombeinga (web)sitethatstorescollectionsofrecords, archivesarefilledwithfeelings–thoseheldand expressedthroughephemerathere,andthose feltandsharedbypeoplewhenencounteringit

Archivescanbeengagedinwaysthatinvolvea particularpaceortempo:choosingtospend hoursreadingthroughoneshorttextorstudying afewimages–carefullysensingtheirsubtleties andfindingyourgroovewithnote-making In somecases,timeslows Inothers,itflies This writingaccountsfortheseaspectsofarchives, whileforegroundingtherelationshipbetween archivingandthecreativeworkofBlackpeople “onthebeat”,asmusicians,photographers, writers,andmore Thisworkalsofocuseson archivingexperiencesofmusicandsubcultures

InStuartHall’sinfluential“Constitutingan Archive”,hewrotethatanarchive“occursatthe momentwhenarelativelyrandomcollectionof works,whosemovementappearssimplytobe propelledfromonecreativeproductiontothe next,isatthepointofbecomingsomethingmore orderedandconsidered:anobjectofreflection anddebate”.Additionally,asYelizZaifogluputsit in“AnArchivist’sDiary”:“[w]hetherthey’rethere bychance,outofresistance,orsimplyforthelove oforganization,therearemanyprofoundlessons tobelearnedinarchives,nottomentionthe teachingsofthearchiviststhemselves”

Idon’trememberwhenIfirst becameinterestedinarchives, butIdoremembermytimeat certainarchives.

AttheStuartHallArchivein Birmingham,Isiftedthrough publicationsonBlacklifein thepast,whilethinkingabout present-dayrealities.When lookingatmaterialfrom CardiffUniversity’sSpecial CollectionsandArchives,I learntabouthow“equalities” issueswere(un)addressedin Cardiffindecadesgoneby AttheMainReadingRoomat theLibraryofCongressandat theSmithsonianInstitution ArchivesinWashingtonDC,I pencillednotesaboutthe socialandpoliticalhistoryof advertising,includingthesubtextofoldphotosofall-male boardroommeetings.Ayearor solaterinDC,Isoakedupthe archivedwritingandimagesof Blackwomenphotographers attheNationalMuseumof WomenintheArts’library.A yearafterthat,andaftermuch excitementsincefirstlearning aboutit,IarrivedattheDC PunkArchive

Eachexperiencewasdifferent Linkingthem allwasthatwhatyousearchforandwhat makesitswaytoyouinanarchiveisaffected bydiverseand(un)controllablefactors–the kindsupportofotherpeople,howmuchtime youdo(not)havethere,andkismet Asasiteof absencesandpresences,aswellasmemories andmyths,archivesbothreflectandretract–theymirrorandmould Archivesarealwaysin flux.Theyarenotafixed“location”whereyou “discover”things–aconcept(“discovery”)that isoftentiedtocolonialideasof“possessing”. Instead,archivesareshiftingspacesand sourcesofdifferenttypesofreflections, resonance,and/orremembrance

LocatingandLearningfrom(Living) Archives

Archivestakedifferentforms Theycanbe temporarily(ormorepermanently)situatedin buildings Theycanalsobehomedonline,as digitalspacesthatareaccessedfromlotsof placesaroundtheworld.Somearchivesare seededandsustainedbyinstitutionalfunding andformalinfrastructures Othersarethe outcomeofgrassrootscommunityefforts–youthcentres,travellinglibraries,boxesof trinketsbetweenfriends,and,astheexhibition HomeisNotaPlacebyJohnyPittssuggested, theintergenerational/livingarchivesofBlack people’ssenseofhome(s).

AwindowoftheJohnyPitts:HomeisNotaPlace exhibition(March10–June10,2023)atStillsin Edinburgh,Scotland.(PhotobyFrancescaSobande)

Describingarchiving,YelizZaifogluremarks, “[e]verythinghasalife–whetherit’sthatsilly littlebadgethatyougotatagig,yourschool plannerthatyouforgotabout,orthecherished photosofyourfamily.Tocollectunconsciously istoarchive.Toreminisceandsharestories withfriendsisanactofsharingoralhistories,a formofarchiving”

Doorofthebuildingthatthe MuseumofYouthCulture ArchiveswereatinLondon, England,October14,2024. (PhotobyFrancescaSobande)

Nomatterwhatcultivatesan archive’screation,allarchives canobserveandobscure.Some maymoveyou.Othersmay makeitdifficulttograspthe particularitiesofprecisepoints inhistoryandthelives(and loves)ofthosewholivedthen Themoreyou“find”in anarchive,themorequestions thatmayarise AsQuestlove (drummerofTheRoots, producer,writer,filmmaker, andmore)affirmsinabookon hip-hop,“[h]istoryisnever simple It’slayersuponlayers” Althoughnoarchivecan articulateallofhistory’slayers, archivescanstillcreate informativeopportunitiesto learnandunderstandmore aboutthepastandthepresent Onewaythattheydothisis throughcollectionsthat documentthedetailsofdaily lifeandthebeautyofthebanal.

RenataCherlise’sbookBlack Archives:APhotographic CelebrationofBlackLife, embracesarchivingthe everyday Init,Cherlisenotes thesignificanceofsnapshots andthecaringintentionality behindkeepingarecordof momentsthatrangefrom mundanetocelebratory

Thebookconveyssomeofthenumerous waysthatBlackpeoplerecordandrecall history,buildingabundantarchivesinthe process Suchpracticesofdocumenting–betheyphotographic,music-oriented,or storytellingbroughttolifethroughspoken andwrittenword,contrastwithdominant societalnarrativeswhichpositionBlack peopleas“lacking”.Putdifferently,while Blackhistorymaynotalwaysbeapparent inpublicarchives,thisshouldnotbe mistakenfortherebeingalackofBlack archivesoralackofarchivedcollections madepossibleduetothework,andeven, thewhimsy,ofBlackpeople.Thisincludes music,suchasthatoftheuniqueUSband Death(formedin1971),whowere spotlightedinaPBSNewsHourpieceon “HowBlackmusicianshaveinfluenced punkmusic”.

AmericanProto-PunkmusicianBobby HackneySr,ofthegroupDeath,playsbass guitarasheperforms,duringFunFunFun Fest,onstageatWaterlooPark,Austin,Texas, November7,2009 (PhotobyJohn Anderson/TheAustinChronicle/GettyImages)

Dependingonyourviewpoint,youmay definearchivingasinvolvingaclear-cut setofprotocolsthatcan/shouldonlybe undertakenbypeoplewithprofessional qualificationsasarchivists.Alternatively, youmightthinkofarchivingmorefluidly–acknowledgingdifferencesbetweenthe approachesoftrainedarchivistsandthose ofpeoplewithouttrainingbutwhose dedicationtodocumentingstillinvolves momentousarchivalwork.Regardlessof yourthoughtsonwhatanarchiveisand whoarchivistsare,thefactremainsthatthe recordingofBlacklifeandhistoryincludes muchmorethanjustwhatissystematically cataloguedandcontainedbyandwithin publicarchives.Still,itisimportantto connectwithcollectionsaboutBlacklife andhistoryinsucharchivestoo.

TheMuseumofYouthCulture’s Archives

InthewordsofYelizZaifogluon “theweirdandwonderfulworldof archiving”attheMuseumofYouth Culture,“[g]ettingstuckintothe museum ’sarchiveiseasythanks totheendlessopportunitiesit presents WhethertheLosersMCC bikerjacket,‘90sraveflyers,Y2K schoolleavershirtsorthousandsof slides,thereissomuchtouncover everyweek”.Relatedly,asthetitle ofQuestlove’smostrecentbook states:HipHopisHistory.Such music’sinfluenceisevidentacross manygenresandindustries So, whenstartingthisworkon representationsandcultural memoriesofBlackpeopleinrock, metal,andinterlinkedsub-genres (e.g.,emo,post-hardcore,nu metal),Iknewthathip-hopwould bekeytoit

Thisprojectwasinformedbythe workofmanyotherpeoplewho haveilluminatedthemultitudesof Blackmusic,suchasAleemaGray onBeyondtheBassline:500Years ofBlackBritishMusic,JoyWhite onLikeLockdownNever Happened:MusicandCulture DuringCovid,andAnthony KwameHarrisononHipHop Underground:TheIntegrityand EthicsofRacialIdentification SuchresearchispartofBlack archiving,and,Ibelieve,ispartof beingBlackonthebeat–doing themulti-vocalandmeaningful workofrecordingtherhythmsof Blackexperiencesandhistoriesof /inmusic

Onthatnote,somearchiving approachesalignwiththeview that,asQuestloveasserts,“we don’twantadisposableBlack culture” Whencreatedwithcare, Blackarchivedcollectionscan helptoensurethatthelegacyof Blackcultureisrecordedforfuture generations(andforrightnow)in engaging,dynamic,and accessibleways.

InthedaysbeforevisitingtheMuseumof YouthCulture’sArchivesinLondon,during myteachingasaReaderinDigitalMedia Studies(CardiffUniversityinWales),Ispoke withstudentsaboutthearchivalworkof MarionStokes(1929–2012).ShewasaBlack Americanwomanwhoselifeincludeda dedicationtoarchivingtelevisioncoverage ofnewsandentertainmentmedia,long beforeonlinestreamingservicesandsocial mediaaswenowknowit Stokeskept “receipts”–acomprehensiverepositoryof recordings,enablingpeopletorevisitand eventuallydigitisemuchfootagethat otherwisewouldhavebecomeirretrievable.

Thosediscussionswithstudentsshortly beforemyvisittothearchivesalsoaddressed theimportanceoftheInternetArchive–aUS non-profitorganisationthatwasfoundedin 1996andisafreelyaccessibledigitallibrary. TheywerehackedinOctober2024,resulting inmajordisruptionstotheirworkand sparkingwiderconcernsaboutcontinued attacksonsuchinitiativesthatenablethe accessibilityofarchivedcollections Inother words,duringthetimeleadinguptovisiting theMuseumofYouthCulture’sArchives,I wasfocusingontherelationshipbetween knowledge,access,archives,power,the precariousnessofonlineplatforms,andthe recording,representation,andremixingof history

AfterwatchingRecorder:TheMarionStokes Project–adocumentaryaboutthelifeand workofStokes,Ifoundmyself(onceagain) thinkingabouttheindividualandcollective archivalworkofBlackpeople Thismeant,to drawonthewordsofStuartHall,thinking aboutthemany“livingarchives”thatarepart ofBlackhomesandhistorieswhicharerarely recognisedinmainstreameducation.AsHall explained,the“livingarchiveofthediaspora” is“present,on-going,continuing,unfinished, open-ended” Likemusic,it’sinmotion

WhenattheMuseumofYouthCulture’s ArchivesinOctober2024,andbeginningto browsebrilliantrecordsofmusic,personal style,groupidentity,andchangesin/tolifein Britain,ImadenotesonhowBlacklifeand cultureweredepicted Iwasdrawntothe boldnessoftheimagesofBlack photographerssuchasJennieBaptiste. HighlightingBaptiste’simpactfulworkinan

interviewwiththephotographer, EstaMaffrettwrote:“Jennie’slove formusichasalwaysinspiredher work Shootingthe90’skidsthat werelivinginapop-culture fueledworld,sheplatformed peopleinwaysthatwere differentfromwhatthefashion magswerereproducing” Asthe interviewalsoillustrates, Baptiste’sworkhasplayeda powerfulpartindocumenting hip-hopcultureandhas contributedtohowBlacklifeand historyinBritainisremembered.

Archivesareasensoryexperience There’sthespatiallayoutofa buildingorvehiclethatsheltersa physicalarchive.There’salsothe feelofthetextureofmaterials thatyouhold,andcountless archivedsights,sounds,andstyles whichyoumightlookatorlisten to TheMuseumofYouth Culture’sArchivesarearich sourceofthesemoments.

Filledwithanassortmentof artworks,filingcabinets, literature,photoprints, technology,gamingdevices, musicalinstruments,andtextiles, youcouldspenddays,weeks, months,orevenyearsinthe archive.It’snotonlysomewhere thatpresentsthechancetolearn moreaboutthehistoryofyouth culture It’salsosomewhere which,alongwiththeMuseumof YouthCulture’sonlineSubculture Archives,shedslightonmusic genres,surroundingscenes,and theirorigins

Whenlookingatdifferentmusic archivesandsearchingonlinefor materialconcerningBlack people’sexperiencesin“alt” musicspaces,Ienjoyedreading muchworkbyDeleFadele(1962–2018)–amusicjournalistwhose captivatingwritingintheBritish pressincludedpiecesforNME, TheQuietus,TheGuardian, ZigZag,andotherpublications.

AsoneofveryfewBlackpeopleinvolvedin UKmusicjournalismfromthe1980s–2010s, Fadele’swritingincludedastute commentariesonpowerstrugglesandthe musicindustry InFadele’swords,inwriting onEcho&TheBunnymenforZigZagin November1985,“Whowillputthisvampyric [sic]Industryoutifit’smisery?”.Havingbeen archivedinarangeofplaces,suchas rocksbackpagescomwhere191ofhisarticles areaccessible,Fadele’sunmatchedwriting encompassessomeofwhatitmeanstoexist attheedgesofmainstreammediaand music.Writtenbysomeonewhohimself mademusic,suchaswhenintheband WelfareHeroin(e)*,Fadele’swriting expressedaprofoundappreciationofmusic andanecessaryunwaveringcritiqueofit

Ina1987interviewwithMetallica,Fadele providescrucialcommentaryonthestateof metal,suchasitsdynamicswithmasculinity andblackness,whichalsolinktoFadele’s reflectionsonthefrequentlyoverlookedyet enduringimpactofBadBrains’speed-metal sound Standoutstatementsfromthat interviewalsoincludeFadelecommenting onwhenLarsUlrich(ofMetallica)“startsto extolthevirtuesoftheirfirstguitarist,one Jamaican‘whocouldplayanywhiteguyout theretoshame,especiallyinthesolo department’” Suchremarksdemonstrate howBlackjournalistshavefound‘show, don’tsimplytell’waystobringattentionto thepresenceandabsenceofblacknessin rockandtherecountingofitshistories.

Morerecently,theworkofwritersand journalistssuchasLavieaThomas,Jenessa Williams,andSophieKhaveconsiderably shapedcontemporaryandindustry conversationsaboutBlackpeople’s experiencesof“alt”musicinBritainand elsewhere.WritinginTheGuardianabout “howtheShotgunSeamstresszinemade spaceforBlackpunks”,Williamsbrought attentiontotheintersectionsofBlackDIY media,printculture,andmusic.Basedonan interviewwithOsaAtoewhocreatedthe significantpublicationShotgunSeamstress, thepiecebyWilliamsisoneofmanyfrom herbroadportfolio,andmuchofwhich upliftsthecreativityofBlackpeople

*Thebandnameappearsas“WelfareHeroin”in someplacesand“WelfareHeroine”inothers.

Inwide-rangingwrittenwork, suchasaninterviewwithband BigJoanieforTheQuietus, Thomashighlights“thediversity ofpunkmusic”andthatofBlack feminists ThroughKerrang! Radioandtheoriginalpodcast, OnWednesdaysWeWearBlack (withYasmineSumman,and previously,AlyxHolcombe),and viamanyotheroutlets,SophieK hassharedinsightsintohowthe intersectionsofraceandgender impactexperiencesof/inthe musicindustry.Thiszineis informedbytheworkofsuch people,aswellasmyown experiences Whilemyproject focusesondifferentdimensions ofblacknessandmusic,italso buildsoncollaborativeworkon beingBlackOotHere(andThere) BlackOotHere(andThere)

Graphicnovelartandcover designedbyChrisLauManson

Fornearly10yearsI’veworked withindependentwriter, researcher,organiserandcurator layla-roxannehill Ourprojects oftenfocusonbeingBlackOot HereinScotland,aswellasin WalessinceImovedtherein 2019,andwhichispartofmy familyhistoryandwhoIam.

Wedidn’tplantofocusonarchives, butwe’veendedupspeakingabout, visiting,and(re)imaginingarchivesand theirpossibilities.Havingspenttime togetheratGlasgowWomen’sLibrary, theBlackCulturalArchivesinLondon, andothers,we’vemulledoverthe contentofwell-keptaudiorecordings, flyers,letters,photoalbums,posters, meetingminutes,zines,andmore.In short,archivesandarchivinghave endedupbeingfocaltoourwork,but sotoohascreativityandthespaceto dreamanddothingsdifferently

Alongsideaccessingarchives,we’ve triedtobroadentherangeofpublicly availablearchivedmaterialonBlack Scottishhistory.Thishasmeant embracingdifferentwaysofcocreating,suchaswhenworkingwith otherpeopletomakemulti-media resourcestodowithbeingBlackin Scotland.Aspoetandwriter(and someonewhoQuestlovenamesas beingamongthe“forerunnersofhip hop”)NikkiGiovanniwrote,“Weneed poetry Weneeddreams” Wealso needmusic–arguably,thealchemyof both Thisisapparentinthelyricaland musicalmasteryofartists,bands,and rapperssuchasTupacShakur(aka 2Pac),Deyah,Doechii,Outkast, LEMFRECK,MeganTheeStallion, PublicEnemy,Salt-N-Pepa,Little Simz,QueenLatifah,CookieCrew,SZA –thelistgoeson,andthelistgoeshard

Whetherit’sthepowerandpoeticsof lyricsthatarealsoclarioncallstoaction, orthesupportivestoriesinsongsthat speaktoyoursoul–musiccancreate andconjureupasenseofconnection andfeelingsthatfuelmovestotransform theworld Aspartofoureffortsto recognisetheintergenerationalnature ofBlackScottishhistory,suchasthe needforchildrenandadultstohave accesstoarchivedmaterialsonBlacklife inScotland,we’veworkedwithillustrator /designerChrisLauManson,Scots translatorLesleyBenzie,ScottishGaelic translatorNaomiGessesse,feminist animationcollective,LeedsAnimation Workshop,andmusicianNathanSomevi, toco-createafreegraphicnoveland animation,BlackOotHere:DreamsOUs. Basedon“14year-oldOla’sthoughtsand dreamsinthisstoryaboutthe experiences,history,andlivesofBlack peopleinScotland”,thegraphicnovel includesspaceto“drawandscribble yourownthoughtsinpagesdedicated todreaminganddrawing”.

Ourhopeisthatthegraphicnoveland animationresonatewithpeopleand cansupportreflectionsandquestions suchas:(1)Howdowelearnaboutthe pastwhilelivinginthepresent?(2)Who createsarchivesandhowishistory made?(3)Whatisitliketodreamof BlackScottishhistory?,and(4)Whydo our(hi)storiesmatter?

Wedecidednottousespokenwordsin theanimationasit’snotjustwordsand imagesthatarepartofBlacklife,history, andarchives.NathanSomevi’sdreamy musicsoundtrackstheanimation,inthe hopeoffocusingonstorytellingthatmay beespeciallyfelt,notreadinadistanced anddetachedway GraphicnovelartbyChrisLauManson.

ThatworkbuiltonthebookBlackOot Here:BlackLivesinScotland,co-authored withlayla-roxannehill,andwhichfeatured photographythatincludedsomeofour ownandtheworkofNajmaHussein Abukar,aSomaliborn,Glasgowbased photographer,documentingculturaland immigrantexperiences.Morerecently, withotherBlackpeopleinand/orfrom ScotlandandWales(includingthe photographyofNajmaHusseinAbukar andthemusicofNathanSomevi),andin partnershipwithArtesMundi–an internationalartsorganisationinCardiff, weco-createdBlackOotHereandThere.

Ourexhibition“isnotdefinedbyasingle word,image,sound,sense,person,orpoint intime” Insteadit:

relatestodreaming,storytelling, otherworldliness,intimacy,family,love, remembering,holding,releasing,and more Butourapproachtothishasnot meantfocusingonaspecifictheme, question,topic,orprovocation.Instead, throughouttheprocessofgathering onlineandcommunicatingandcreating invariousways,wehavetriedtoembrace anopennessandthespiritofcwtch,as wecoorieintothespaceforexpressing whatevereachpersonorcollectivewas drawntoexpressing,andinawaythat theywantedtoexpressit.

InScotland,theworkofSandraGeorge (1957–2013)isamongthatofBlack photographerswhoinpreviousdecades documentedBlacklife,andlifeingeneral, (t)here.DuringtheGlasgowInternational FestivalofContemporaryArtin2024,and asthefestival’swebsitenotes,anexhibition ofGeorge’sworkshonealighton“[h]er perspectiveandinsightasaBlackfemale socialdocumentaryphotographerand artist”.Thesubjectsofherphotography ranged“fromBrailleclassesatRoyalBlind SchoolEdinburgh,tocapturingsessions withdisabledmusicians”,andmuchmore Mindfuloftheenduringpresenceofsuch workandthecareatitscore,when engagingwithandwritingaboutarchives today,wemustrememberthatwereitnot forthethoughtfulnessofthosewhocame before–photographers,musicians, archivists,writers,andtoturntothelyrics

ofSlyandTheFamilyStone,“everyday people”–therewouldbenoarchives.

TheFutureofBlackArchives AsCherlisedescribesitinBlack Archives:

Tomeditateonaname,aface,orthe soundofsomeone’slaughterisan intentionalactofremembering,oran attempttoresistforgetting. Remembering,orbeingremindedof, helpstoreworkourunderstandingof ouridentitybygivingusinsightintothe peopleandplacesthatshapeus. Throughphotography,particularly familypicturesandsnapshots,wegeta bettersenseofourpeople,ourhistories, andourstories–weareabletoaddto, orcultivate,alanguageforthepartsof ourlivesthatcannotbefullyknown, eveniffelt

Thosewordsspeaktothesignificance andeverydaynessofBlackarchives, suchasthewaythatintentionalityis threadedthroughoutthem

TheonlineexperiencesofBlackpeople alsoaidthearchivingofBlacklifeand history.Despitesuchexperiencesand theirtracessometimesbeingfleeting, theirwarmingfireandfruitfulforce shouldn’tbeunderestimated Black digitalarchivescanplayaprincipalrole inelementsofBlackculturalmemory. Indeed,asCherlisecommentsinBlack Archives,wearestillliving“duringa timewhentherearesomanypeople sharingmomentsfromthepastin digitalspaces”

Whilethisisnotabadthing,thereis alsoalwaysaneedformorematerial modesofarchivingandphysical spacesthatsupportthem Online platformsandsocialmediasitescan certainlycontributetotheproduction andmaintenanceofarchived collections,buttheycanalsobevery fragile,andinsomesituations,even functioninwaysthatobstruct archiving Wecannotsolelydependon digitaltechnology(tech)whenworking

topreserveaccountsofthepast–particularlyatapoint intimemarkedbythevolatilityofBigTechandits invasiveentanglementswithpoliticalpowersand policy HopefullythefutureofBlackarchives,andall formsofarchiving,fostersevenmoreintergenerational waysof(re)imagininghowhistoryisrecorded,along withmoremulti-lingualandmulti-mediaformsof creativitythatplaywiththeendlesspossibilitiesof analoguearchivingandthosepresented(butnot dictated)bydigitaltech

Bibliography

BlackOotHereandThere[exhibition](2024)Blackin Scotland,9December.

BritishLibrary[IntroducedbyAleemaGray] (2024) BeyondtheBassline:500YearsofBlackBritishMusic London:BritishLibrary

Cherlise,Renata(2023)BlackArchives:APhotographic CelebrationofBlackLife.NewYork:TenSpeedPress.

Fadele,Dele(1985)Echo&TheBunnymen:Warren Peace ZigZag,November

Fadele,Dele(1987)Metallica:MastersOfWhat?New MusicalExpress,21March.

GlasgowInternationalFestivalofContemporaryArt [exhibition](2024)SandraGeorge

Hall,Stuart(2001)Constitutinganarchive ThirdText, 15(54):89–92.

Harrison,AnthonyKwame(2009)HipHop Underground:TheIntegrityandEthicsofRacial Identification Philadelphia:TempleUniversityPress

Maffrett,Esta(2022)JennieBaptiste:FromRaggato raybans.MuseumofYouthCulture,25March.

Questlove(2024)HipHopisHistory.London:White RabbitBooks

Sobande,Francescaandhill,layla-roxanne(2023) BlackOotHere:DreamsOUs[graphicnovel] Blackin Scotland.

White,Joy(2024)LikeLockdownNeverHappened: MusicandCultureDuringCovid London:Repeater Books

Zaifoglu,Yeliz(2025)AnArchivist’sDiary Museumof YouthCulture,29January.

Acopyof“PYMCA:Amatter offact”,apublicationabout ThePhotographicYouth MusicCultureArchive (PYMCA).(Photoby FrancescaSobande)

MiwiLaLupaperformingat theBrightEyesandCursive gigatSaltShedinChicago, US,April5,2025.(Photoby FrancescaSobande)

KeleatTheklainBristol, England, February20, 2025 (PhotobyFrancesca Sobande)

FKATwigsatAviva StudiosinManchester, England,March18,2025. (PhotobyFrancesca Sobande)

BlackWomenBreakingOut ofGenreBoxes

AspartofmyresearchintoBlack womeninpopculture,I’velookedat therelationshipbetweenrace, gender,onscreenportrayalsof immortality,andnumetal.Numetal, popularisedintheearly2000s,is knownforcombiningthemoodof metalwithriffsandhuesofrapand hip-hop Aspreviouslymentioned,the genredrewonthecreativityofBlack artists,singersandmusiciansacross differentgenresandgenerations.

AaliyahandQueenoftheDamned's Hip-Hop/NuMetalHeart

Myresearchonthishasinvolved reflectingonthenumetal-themed filmQueenoftheDamned(2002), basedonAnneRice’senduring VampireChroniclesbooks Itisalsoa loosesequeltothefilmInterviewwith theVampire:TheVampireChronicles (1994)whichfeaturedBradPittasthe keycharacterLouisdePointeduLac, whoisturnedbythealluringvampire LestatdeLioncourt(playedbyTom Cruise)

QueenoftheDamnedstarredthe singerAaliyahasthepowerful vampire/“baddie”Akasha.Itwasher finalactingrolebeforeherdeathaged just22 Shortlybefore,shehadalso signedtoappearinthesequeltoThe Matrix,anothernumetalfranchise AaliyahiscentraltoQueenofthe Damned,assuggestedbyemphasis onherimageinitsmarketing.Witha 17%“tomatometer”scoreonRotten Tomatoesanda28starrankingon Letterboxd,QueenoftheDamnedis generallyseenasaflop

Butdespitethis,thefilmremains influential,particularlyduetoAaliyah’s

poisedpresenceasahip-hopstarina fictionalandvampiricnumetalworld ThecharacterofAkashacanbe criticisedforrepresentingstereotypical ideasofBlackwomenasbeing dangerouslyseductive.Still,Aaliyah’s portrayalmadeanimpression.In recentyearsthefilmhasreceived renewedattention,sparkedbythe resurgenceofnumetalandthe creationoftheAMCTVshowInterview withtheVampire(2022–present) Its muchanticipatedthirdseasonisdue toincludeAkasha.Thishasledtosome fanscallingforhertobeplayedbyhiph i M Th S lli (i

MeganTheeStallionisseenoutside GauravGuptaduringtheHauteCouture Spring-Summer2025aspartofParis FashionWeekonJanuary29,2025in Paris,France (PhotobyValentina Frugiuele/GettyImages)

Therapper(MeganTheeStallion)made aParisFashionWeekappearancein 2025inanoutfitthatsomesaidharked backtoAaliyahasAkasha.This demonstratesthatAaliyah’songoing impactincludesestablishingthe characterofAkashaascanonically connectedtohip-hop,despiteQueenof theDamned’sassociationwithnumetal

MoreThan‘Seen,NotHeard’

Onthematterofnumetal,inthebook Kerrang!LivingLoud:FourDecadeson theFrontlineofRock,Metal,Punk,and AlternativeMusic,NickRuskelldescribes numetalasfollows:

Mixingaggressiveriffswithhip-hop indebtedrhythms,thelow-tuned, baggy-trouseredbandswhowouldbe giventhetagoftenhadmorein commonwithPublicEnemyandNWA thantheydidRainboworIronMaiden

Expandingonthat,Ruskellreflectson howKerrang!changedwithnumetal:

Theriseofnu-metalhadbroughtwithit thequestionofwhererapandhip-hop stoodinKerrang!’sworld...Attheendof the90's,though,withtheworldsofhiphopandrockfarmorestrongly connectedthantheyhadpreviously been,Kerrang!’sremithadmoved.

Significantly,bySeptember21,1996,Skin (ofSkunkAnansie)hadfeaturedonher ownonaKerrang!cover,having previouslyappearedonaJuly22,1995 coverthatdepictedvariousbands.As musicandculturalcriticLainaDawes’ workhighlights,Blackwomen’s influenceonmetalandconnectedsubgenresisstilloftenoverlooked InSkin’s wordsinKerrang!LivingLoud:

Ifyoulookattherockscene,andyou lookatthemetalscene,youdon’treally seealotofbandsthatarefrontedbyme -IfeellikeI’mtheonlyone Sowhen theywantedustogoonthecover,I literallycouldn’tbelieveit,becauseno othermagazineswoulddoit Wewere toldoverandoveragain,wecan’thave blackpeopleonthecoverbecausethis magazinewon’tsell

Kerrang!interviewswithSkininthe90s arepartofhowthehistoryofBlack womenin/androckhasbeen representedandrecorded.Ina1995 interviewwiththemagazine,Skin spokeaboutSkunkAnansie’sstrong followingandthewaysthatpeople relateandrespondtotheband: There’salotofaggressionand weirdnesstoit,andIthinkbecauseof themakeupoftheband,y’know?

You’vegotablackwomanfrontinga bandthat’sheavy,alotof peopleidentifywithitbecausethey feellikethey’reontheoutsideof thingsinthesamewaythatwedo

AsSkinsingsonthe1996tracktitledas such,“YesIt’sFuckingPolitical”. Describedas“destinedtobe,quite possibly,thebiggestfemaleRock singersinceTinaTurner!”,the1995 Kerrang!interviewrightlyanticipated thatSkin(andSkunkAnansieasa whole)wouldgoontohaveabig impactonrock.Blackwomen’s influenceonmetaland“alt”rockis huge,and,arguably,includesAaliyah’s portrayalofthecharacterofAkashaina fictionalnumetalworld

Shedoesn’tsinginQueenofthe Damned(afilmthatDeijuvhsreferred toasbeingasourceofinspirationina 2025interviewwithRishiShahfor Kerrang!,andwhosaidthatDeijuvhs has“cementedhimselfasabreathof freshairamongstthenu-metalrevival”). Yet,Aaliyah’ship-hopstardomisstilla principalpartofthefilmanditsiconic statusacrosstheworldsofmusic, media,andnewmillenniumnostalgia

Aaliyahbeingforegroundedinanu metalfilm,pairedwiththelimited dialogueandplotdevelopmentofher character,reflectshowBlackwomenin “alt”/rockmusicandaccompanying mediaaresometimestreatedassimply theretobeseen,notheard Understandablyeclipsedbyherwider work,QueenoftheDamnedisnot care-fullyfocusedoninmanyways Aaliyahismemorialised.Statingthat Aaliyah’sroleinQueenoftheDamned isanoftenoverlookedpartofherlegacy

doesn’tdenythatithasbeencelebratedin certainspaces.Forexample,withinBlack “alt”scenesandtheVampireChronicles fandom,Aaliyah’sportrayalofAkashais fairlywidelyrecognisedandrespected Thenagain,narrativeswithintheVampire Chroniclesfandomdon’talwaysaddress therelationshipbetweenmisogynoirand theportrayalofAkasha,aswellasthe societaltreatmentofAaliyah Somepeople mightscoffattheideathatAaliyah’srolein QueenoftheDamnedhasnotreceiveddue attention,butherpartinthefilmandher impactonitsassociationwithdifferent typesofmusicisnotappreciatedbyall. EvenwhenAaliyah’spresenceinthefilmis praised,that’ssometimesinsurface-level waysthatbarelygobeyondcommenting onherlooks–diminishingAaliyah’s contributiontoQueenoftheDamned.

AsobservedbyVasilisGkogkidisina publicationonMusicEcosystems: Expandingtheideaofmusicscenes,“The lifecycleofasongstartswithmusicians usingwhatevermeanstheyprefer: instruments,theirvoice,foundobjectsor computerstocomposemusic.Theyarethe onesthatturntheirfeelingsintonotes, lyrics,melodies,rhythm”.Thelifecycleofa filmanditslegacyisinfluencedbymusic Songsbecomesynonymouswithkey scenesandnewsevents Singersand musicianswhostarinthefilmaffectits releaseandreceptiontoo.Thefilmtakeson newmeaningsastimepasses,genresage, andafterlivesare(not)anticipated.

Muchmusic/mediaindustry discourserarelyrecognisesthat Aaliyahbroughtasenseofhip-hop hearttothenumetal/gothicworld ofQueenoftheDamned Inturn, shehelpedthefilmtobe positionedinproximitytodifferent musicgenres,andnotjustthose deemed“alt”–resultinginQueenof theDamned’s“crossover”appealas afilmthatcouldparticularlyattract hip-hopand(nu-)metalheads, whilerecognisingthatoverlaps betweensuchfanshavelong existed.Forme,Aaliyah’s involvementinthefilmsymbolises howBlackwomen’screativityand coolnessisleveragedbymusic genresandtheirmediamarketing, includinginwaysthatcan strategicallybridgeperceivedgaps betweenR&B/hip-hopandmetal.

MemorialisingBlackWomenin Music

WhenrememberingAaliyah’s culturalinfluence,hermultifaceted roleinthenewmillenniumandnu metallandscapemustbemore effectivelyacknowledged,suchas byaccountingforhowshehelped QueenoftheDamnedtobenefit fromboththefireofhip-hopandits nodtonumetal.

Morethanthat,howallBlack womeninmusicarepublicly memorialisedmustinvolvemore careandrecognitionoftheir importantworkacross,between andbeyondgenres.

Whennewsspreadofthedeathof RobertaFlackinFebruary,herfans tooktosocialmediatomournher loss.Legend,musician,singer, teacher–thosewerejustsomeof themanywordsusedinonline postsrightlycelebratingherlife But aslayla-roxannehillandIhave discussed,memorialisingpeopleas “icons”sometimesreducesor reframeswhotheyweretolittle morethansymbolsandsoundbites.

ThereshouldbespacetonameBlackwomen’simpactonmusicandsociety,but inwaysthataffirmthemultitudesoftheirlives.Thisistouchedoninthe documentaryTLCForever(2023),asissociety’sdisregardforthegriefexperienced byBlackwomensuchasTLCmembersRozondaThomasandTionneWatkins FollowingthedeathoftheirfriendandbandmemberLisa“LeftEye”Lopesina buscrashaged30,theyfacedpressurestopushforwardwithreleasingmusic whilegrieving.

Asmentioned,20FeetfromStardom(2013)hasalsoilluminatedtheinequalities facedbyBlackwomensingers Theirsignaturesoundspropelthesuccessof manygenres,buttheyseldombenefitfromthisinsubstantialandsustained ways ThewaythetragicdeathofAaliyahwastreatedisacaseinpoint TheR&B andhip-hopsingerdiedinaplanecrashinAugust2001 Mediaheadlines includedcoveragethatreferredto“hermoviedebutlastyear”,butwhichdidnot discussthatroleorherbroaderactingwork.Itmaybeimpossibleforany memorialmessagetofullyexpressandappreciatesomeone’sessence.However, thewaysthatBlackwomenareremembered(andforgotten)insocietyare shapedbymisogynoir–theinterconnectedeffectsofracism,sexismand misogyny Blackwomenhavebrokenoutofgenreboxesthroughouthistory

InthewordsofBillieHolidayinhermemoir,LadySingstheBlues,“Before anybodycouldcomparemewithothersingers,theywerecomparingother singerswithme”.Suchaperspective,aswellasthoseofmanyothers,emphasise thatBlackwomenaresomuchmorethanthebinarynarrativesprojectedonto them–strongversussoft,youngversusold,singerversusactor,survivorversus victimandlivingversusdead AsthetitleofoneofAaliyah’sownsongsconveys, shewas“MoreThanaWoman”

Bibliography

Dawes,Laina(2012)WhatAreYouDoingHere?:ABlackWoman'sLifeand LiberationinHeavyMetal.NewYork:BazillionPoints.

Gkogkidis,Vasilis(2025)MusicEcosystems:Expandingtheideaofmusicscenes Thessaloniki:KakiousisDigitalPrinting

Holiday,Billie(1956)LadySingstheBlues NewYork:Doubleday

Ruskell,Nick(2024)Kerrang!LivingLoud:FourDecadesontheFrontlineofRock, Metal,Punk, andAlternativeMusic.London:DorlingKindersley.

Shah,Rishi(2025)HowDeijuvhsisbreakingthenu-metalmould Kerrang!,24 March

[ThispartofthezinedrawsonmypieceinTheConversation.Thanksto AnnaWalkerfortheeditorialsupportwiththatarticle]

(Post-)HardcorePunk’sPast, Present,andPulse

Thispieceshiftsgearsfromfocusingonnu metaltotheearliermusicofhardcoreand post-hardcorethatemergedfromit The term“(post-)hardcore”isusedhereto indicatethatI’mlookingatbothhardcoreand post-hardcore–recognisingtherelationship anddifferencesbetweenthetwo.Discussing thepast,present,andpulseof(post-)hardcore, thepagesthatfollowbringtogethermore thoughtssparkedbytheMuseumofYouth Culture’sArchivesinLondon(UK)andtheDC PunkArchive(US).Thanksagaintoallwho welcomedmethere!

Thispenultimatepartofthezineisalso informedbyotherpublishedaccountsof hardcore’shistoryandhorizons,suchasAll Ages:ReflectionsonStraightEdge.Thatbook, publishedin1997,wascompiledwithcareby BethLahickey,whowrote:“[m]yprimary attractiontotheundergroundmusicscene wasitsreverenceforindividuality”and“Ifellin lovewithhardcoreforthefreedomIfeltfrom others’expectations”.PublishedbyRevelation Books(thepublishingpartofindependent labelRevelationRecords),thebookAllAges notesthat“RevelationRecordssprungup, specializingincoloredwaxlimitededition7”s ofeveryone’sfavouritebands,corneringthe marketinitiallyandmakingrecordcollecting thescenester’snewfavouritepastime”.

Whengraspingthe connectionbetween hardcoreandsocial movementsit’simportantto discusstheactivismand impactofPositiveForce.As theirwebsitestates,the activistcollectivePositive Force“camefromthe1980s DCpunkandhardcorescene Weseekradicalsocialchange, personalgrowth,andyouth empowerment”.Theyareone ofmanyexamplesofthe politicsofhardcoreandpunk atlarge–music-centred communitiesthatstandfor somethingandactonthat too.

So,thissectionofthezine particularlyreflectsonthe relationshipbetween hardcoreandanti-imperialist, anti-racist,andanti-sexist efforts,includingsomeofthe workandsentimentsofBlack punk(s),whichIdiscuss elsewhereinaShuddhashar FreeVoicepiece,“SheBurns: TheHeatofBlackWomenin BluesandPunk”

Thispartofthezinealso recognisestheroleofregions andphysicalspacesinthe historyandhereandnowof (post-)hardcoreandhowitis archived Onthatnote,I’dlike tothankAndrewAppleton (Smash!Records,Washington DC),AmbroseNzams(Joint Custody,WashingtonDC)and folksatShugaRecordsin Chicagoforwelcomingmein thosestoresandfortakingan interestinmyworkwhenI askedtoshareversiononeof thiszine.

Smash!Recordsstoresignin WashingtonDCwithacopyofthefirst versionofthiszineontopofit,April4, 2025.(PhotobyFrancescaSobande)

JointCustody(WashingtonDC)sticker featuringadesignthatdepictsteeth, gums,alongtongue,andeyeballs. (PhotobyFrancescaSobande)

Atapointintime(still)rifewithstatesanctionedattemptstobanbooks andcensorauthors,editors,teachers, librarians,andlyricists,thenecessity andpowerofwritingshouldnotbe overlooked.Thismeansthatinsights fromIssue3(Spring2021)of DemystificationbyPaulaMartinez andAmbroseNzams,andfrom inspiringdisplaysonpunkatDC’s MartinLutherKingJr Memorial Library,encouragedmetobuildon versionone(April2025)ofmyzine.

“MakingZines+Connecting Communities”,partof“Upfromthe People:ProtestandChangeinD.C”–theMartinLutherKingJr.Memorial Library’spermanentexhibit,April4, 2025.(PhotobyFrancescaSobande)

AcopyofIssue3(Spring2021)of Demystification,withacoverthat featuresapaintingbyEmmy. (PhotobyFrancescaSobande)

Accountingforallthat,thispartofthe zineaffirmstheheart,sincerity,and softnessofhardcore Acknowledging thatitcreatedapathforwhatwould becomeknownaspost-hardcoreand emocore(akaemo),Iechoothers who’veemphasisedthathardcore’s embraceofemotion(s)isnotatodds withitsheaviness Aslayla-roxannehill andIaffirm,“[s]oftnessisnotalways easy,steady,cushionedorcute”. Indeed,softnesscanbehardtoo.

(Post-)HardcoreisLocal

Hardcore’soriginsandorientations havebeenoutlinedinin-depthwriting, documentedincandidvideosand photography,depictedindetailed drawingsandvisualart,andexpressed throughintimateaudiorecordingsand theinfinitelycreativecontentof hardcoremusicitself Sincethe1980s, hardcorehashadanestablished presence,andonewhichBlackpeople havealwaysbeenpartof.Inthewords ofSeanReveroninaCVLTNATION pieceon“LOUD&PROUD!BlackVoices In80sHardcore”,“fromtheveryfirst punkshowIwenttoatage13,Ifeltat home.Blackkidswerethere,andwe madeourpresenceknown”.

Aswellascreatingmusicthatwaspart ofthelifebloodofhardcore,asReveron states,“BlackPunksweresomuch morethanjustrecordingartists we werethefanzinecreators,promoters, bouncers,andjustfansoftheculture!”. Reveron’svibrantaccountof“Black Voicesin80sHardcore”emphasises that“TheBlackPunkexperienceduring the80swasbiggerthanjustoneband” Celebrating“boththevisibleandless visiblepunksthathadamajorimpact onourculture”,Reveron’swriting acknowledges“CarolfromDMR,an EastBayPunkgangthatnotonly promotedsomeofthesickestshowsin theBayArea,butalsoprotectedthe woman[sic]ofourscene” AsReveron’s writingindicates,hardcoreandpunk havealwaysrespondedtoand reflectedlocalenvironments.

OftenattributedtothedistinctlyDC attitudeandartistryofbandssuchas BadBrains(whoLahickeydescribesas being“oneofthegreatestbandsofthe time”)andMinorThreat,hardcorehas strongtiestothecity’sunmistakable culturalidentity–thegraftofgrassroots activism,theworkoflocalmusicians, bands,andcreatives,andthecollective energiesofthosewhosustain independentgigvenues,radiostations, andmediaandcommunityhubs.

Amongthenumerouspeople involvedinsomeofthatisBobby Sullivan(ofthebandSoulside–aka SoulSide),andasilluminatedby DavidEnsminger’sinterviewwith SullivanforRazorCake:

Forthirtyyears,BobbySullivanhas remainedanardentunderground messengerofpunkconscience. Inspiredpartlybytheprogressive playbookofDischordRecordsand action-orientedcommunitygroup PositiveForce,whosestreet demonstrationssweptthroughthe nation’scapitalfromthemid-‘80s onward,Sullivanbecamealeading lightofundergroundmusic.

StressingthesignificanceofDC’s musicscene,inaHeldLikeSound zinereviewofthe1998albumMakoto byEmpireStateGames,Christopher Porterwrote:“[b]eingapunkand alt.musicfaninthelate-‘80sand early-‘90sMichiganmeantlookingto WashingtonDC orChapelHillfora dailydoseofrock” Inotherpartsof theUS,hardcoreand“alt”musichas beenexpressedinwaysthatspeakto theparticulartraitsofthoseareas, includingclassdynamicsandpolitics there AsLahickeyputsit:

TheBostonscenewasverydifferent thantheNewYorksceneintermsof thatitwasasuburban,upper middle-classmovement As opposedtoNewYork,itseemedlike aLowerEastSide,workingclass, tough-kidkindofthing…LAwas kindoflikeanOrangeCountyrich kidsthing,whichwasdifferenttoo

Thelocalnatureofhowhardcorewas /isexperiencediscommunicatedina numberofdifferentways,suchas throughtermsusedtodescribe hardcoresoundsandstyles An exampleis“Boston-punch-trash”:an expressionthat’sbeenusedto describeastyleofdancingthat,in Lahickey’swords,“wasn’tsupposedto bedancingatall iftherewasacircle, you’dgoagainstit”

OutsideoftheUS,hardcoregrewin settingssuchasSweden,wherethe influentialbandRefusedcametogetherin 1991 AstrongsceneinSouthWalesalso developed MatthewDavies-Kreye(of FuneralforaFriend)wrote:

Kidscouldcometoshowsandseelocal bandslikeHondoMaclean,Midasunoand TheBlackoutholdtheirownagainst AmericanbandslikeSparta,Boysetsfire andTheJulianaTheory Thatmadealotof peoplerealisethatbandshereareactually presentingsomethinginthissceneof music;itwasuniqueandidentifiable.It wasabastardisationofothersoundsthat, forsomereason,madeittotally geographicallyWelshatthattime

Davies-KreyeopensthatpieceinVicewith anodtoLahickey’sbookAllAgesandits longlastingimpact Clearly,hardcoreand post-hardcorethriveinwayslinkedtolocal life,evenwhenshapedbythemore nationalandinternationalnatureofsuch music–whetherit’sintheUS,Sweden, Wales,orelsewheresuchasScotland(as capturedbyDecadeofGHC[Glasgow Hardcore]-AZine,andDespize’s powerhouse2024song“Scotland’s Hardcore”) Again,arelevantexample hereisPositiveForce,whoconnectlocal strugglestointernationalistsolidarities.

(Post-)HardcoreisLiberationist

AsFatimaBhuttoasksinamovingessay, SongsofExile,“Whatisitaboutsongthat threatensdictatorssomuch?’”.Discussing artistsandmusicianssuchasFelaKuti–“[v]eryfewwillrememberthenamesof themenwhojailedhim,butnoonewill forgetFelaKuti”,Bhutto

acknowledgestheirpoliticalimpact andtheliberatingpotentialsofmusic asawhole Aspreviouslymentioned, PositiveForceisanactivistcollectivein DCwho:

organizebenefitshows,freeconcerts, artshows,filmscreenings,protests, andeducationaleventswhilealso doingdirectworkwithpeoplein need.Webelieveinbuilding supportive,transformational community,wherefriendship,fun andmutualaidmixfreely.

PositiveForce’sFlickraccountprovides accesstoanassortmentofarchived materialrelatedtotheirwork

“Voteredifyouwanttoseewomen bled”sticker,WashingtonDC,US,June 26,2022.(PhotobyFrancescaSobande)

Theresourcesavailablethroughthe PositiveForceFlickraccountinclude digitiseddocumentationofthe“Your BodyIsaBattlegroundWomen’s RightsBooklet”(thesametitleas BarbaraKruger’s1989artworkwhich isdepictedinit) TheFlickraccount alsohostsotherinformative ephemeraonissuesrelatedto reproductivejustice.Inthe“Women’s RightsBooklet”isapiecetitled“No ShiningCityor1,000PointsofLight: REAGAN,BUSHANDWOMENOF COLOUR” Itemphasisesthatworkingclasswomen(especiallywomenof colour)arepredominantlytargetedby anti-abortioneffortsandacapitalist focusedhealthsystemthatisracist andsexisttoo.Onpage3ofthat publicationarestatementsabout concernsthat,sadly,stillapplyto societytoday:“[w]omenofcolourhold theirbreathwonderingwhichhealth orsocialprogramwillbedismantled ordrasticallyreduced”.

Havingbeencreatedlongbeforethe June2022overturningofRoev Wade (thelandmarkUSSupremeCourtcase in1973thatestablishedtherighttoan abortionforwomenintheUS),the “YourBodyisaBattlegroundWomen’s RightsBooklet”istestamenttothe longbattlethatorganisershavebeen fightingforreproductivejusticeforall Onapageinthebookletis informationabouta1992show (featuringbandsFugazi,L7,Scrawl, andBikiniKill)toraisemoneyforthe PlannedParenthood(DC)Justice Fund,WashingtonFreeClinic,and FundfortheFeministMajority That pageincludesthefollowingcallto action:

Tonightmustonlybethebeginningof oureffortstoprotectfreedominthis country Afteryearsofonslaughtfrom theReaganandBushAdministrations andanincreasinglyhostileSupreme Court,nowmorethanever,wemust struggletoreversetheconservative,anti choice,antifreedomtideinthiscountry andpressforagenuinerevolutioninour society

Inthebottomrightcornerofaposter/ flyerfortheshowarethewords:“FIGHT FORYOURRIGHTTOCHOOSE BEFOREIT’STOOLATE”.Inmore recentzinesrelatedtohardcore,the politicalpowerofitisalsoclear This includesthe“sincelasttime ”piecein Demystification(Issue3,Spring2021)

Inthatopeningpiece,whichinvolves “RevisitingTheUngovernableForcein anuprising”,AmbroseNzamsreflects onuprisingsthatrespondedtothe racistmurdersofGeorgeFloyd, BreonnaTaylor,andAhmaudArbery inthesummerof2020 Aspartofthat writing,Nzamsdiscussesthe revolutionarysentimentsofhardcore, suchas“thewaythat‘TheySaidThat’ [byConflict]confrontsindividualismas alifelongcontomaintainclassorder, andespeciallythewaythat‘Forceor Service’mocksandtearsdownthe policewithakindofderision,snark, andhumourthattheBritishexcelat”.

Highlightinghardcore’sresistant spirit,Nzamsremindsreadersofthe anti-oppressionstance,alongside humour,thatcanbeitsheart

Lahickey’s1997accountofstraight edgehardcoreincludesmany pointsrelatedtothepoliticsofthe scene Forexample,itaddresses strandsofhardcore’sliberationist supportofanimalrights,veganism, andanti-capitalism Inaninterview inthebookwithRichieBirkenhead (whowasthesingerfortheNew YorkbandUnderdogandwasin thebandIntoAnother,andYouth ofTodayforawhile),Birkenhead commentsontheselfrighteousnessthatcanbe associatedwithcertainpeoplein thestraightedgespace.

Pointingtowardstheracialand classpoliticsofvariouspositionson /instraightedge,Birkenheadstates:

I’malsoputoffbypeoplewhoare self-righteouslystraightedgeand havesuchanairofarroganceabout themandaresoelitistwhentheir knowledgeoftheworldandwhat goesoninitissolimited Mostof thekidsI’vemetwhoarelikethat comefromaffluentupper-middle classwhitefamiliesinall-white neighbourhoodsinthesuburbs

Assuchwordsseemtosuggest,the strengthofhardcoreandits community–straightedgeand otherwise–isfoundinitsdiversity. Thisisn’ttosuggestthatdiversityis activelyencouragedbyall,but hardcorehaslongbeenahometo peoplefrommanywalksoflife

Acrosshardcoreandpost-hardcore, lotsofbands,musicians,andartists conveyanti-oppressionmessages, upholdinganti-racismandantiimperialism Accordingly,in(the final)Issue8ofHeldLikeSound,ina reviewofThursday’saffecting2003 FullCollapsealbum,ScottIndrisek wrote:

“AutobiographyoftheNation,”lyrically,has tobeoneofthemosteffective“political” songsI’veheardinawhile,withits understatedandsubtledepictionsofall themanynicethingsthatourgreat country[US]hasdonearoundtheglobe inthepastyears I’msureThursdayisone ofthosebandsthatgetsmadifthey’re peggedwiththe‘emo’label,and rightfullyso –they’rebetterthanthat

Sure,somemusichasbeenthoughtof asstuckwith“theunfortunateemotag”, todrawonthewordsofJohnDavisin HeldLikeSoundzinein2000. Regardless,emohasastrongidentity andimpulseofitsown,evenifit’soften lessexplicitlypoliticalthanhardcore

GeoffRicklyatO2AcademyinBristol, England,June20,2019 (Photoby FrancescaSobande)

InthecaseofThursday,andaswith manybands,theirmusicalinfluences spanmanygenres.Anotherexample oftherelationshipbetweenrap, (post-)hardcoreandemocanbefound inGeoffRickly’sBrooklynVeganarticle onmajorinfluencesbehindThursday’s 2003“WarAllTheTime”album:

Thesong"WarAlltheTime"is somethingIwrotethelyricstoafter immersingmyselfinNas Heistheking ofsmalldetails Youcanbuilda cathedraloutofmatchbooksifyou’re carefulenoughabouthowyoulaythem down

IntheyearssinceIndrisekpraisedFull Collapse,andsincethereleaseof“War AllTheTime”,Thursdayhavecontinued toconveypoignantmessagesabout theviolenceofpoliticalpowersthataid andabetwarsandgenocides Emo, post-hardcore,orathirdotherthing, thebandkeepscallingoutoppression.

(Post-)HardcoreisDIY

Whilenowadaysyoumaybemore likelytohearfromandaboutsome bandsthroughsocialmedia,zines continuetobecrucialtohardcore, post-hardcore,emo,andtheir connections.InthewordsofNorman Brannon(ofTexasistheReason,New EndOriginal,andmorerecently, Thursday)inAnti-Matterzinewhichhe founded:“[f]anzineshavealwaysplayed anoutsizedroleinthewaywedefine andcreateourculture”.

Themoodandmakingof“alt”zines mirrorstheDIYdriveofthemusicand communitiesthattheyfocuson When lookingatarchivedmaterialonemo and(post-)hardcore,thesignificanceof zinesandtheirchartingofbands’ trajectoriesstandsout.Thisincludesa reviewofthe2000albumTheRising TidebySunnyDayRealEstateinan issueofTheBigTakeaway Inthat,Jack Rabidnotesthedevelopmentofboth thebandandemo:“Backwhenthe terms‘emo’or‘emocore’wereknown onlytofanzinebuyers,thispost-Nirvana WashingtonStatebuzzbandheralded anationalunderground ”

SunnyDayRealEstateatOutbreakFest, VictoriaParkinLondon,England,June13, 2025.(PhotobyFrancescaSobande)

Aswellasimmersingmyselfin publicationslikeHeldLikeSoundand TheBigTakeaway,whenattheDC PunkArchiveIreadtheeverrelevant zineOffCenterbyPositiveForce Communicatingthepassionand powerofmanybranchesofhardcore andpunk,OffCentercriticallytookon

topicssuchasUScapitalism,imperialism, colonialism,mentalhealth,andclimate justice,whilealsoraisingawarenessof PositiveForce’spublicmeetingsand actionsthatpeoplecouldjoinin solidarity

ThegalvanisingdocumentaryWeAre FugaziFromWashingtonD.C.,which featuresfootageofsomeoftheband’s longlistofbenefitgigs,includesonethat isintroducedtothecamerabyamember ofPositiveForce Asmentionedinthe documentary,Fugaziraisedmorethan $250,000throughtheirinvolvementin benefitshows.CarniKlirs’meticulous work,VisualisingtheHistoryofFugazi,is sharedthroughawebsitethatstates “Punkmusicistemporal&ephemeral It representsatime&place.Itexistswithin local&socialcontexts”.Thecontentof thatprojectwebsiteandprintedzine depictsFugazi’spastcommitmentto cultivatingfundsfortheWashington PeaceCenter,AnimalRightsGroup, LivingCenterAidsHospice,andthe Women’sCrisisCenter,tonamebutafew groupsandorganisationsthattheyhave supported.What’sstoredintheDCPunk Archiveisamarkerofthistoo.When visitingitIwasstruckbythenumberand detailsofposters,flyers,photos,andnotes onfundraisergigs

Thatarchivedmaterialprovidesawindow throughwhichtolearnmoreaboutnot onlypunkmusicanditsdevelopmentin DC,butalsothepoliticsandpeoplethat pieceittogetherandkeeppushingit forwards Aswellasplatformingthework ofFugaziandthosewholovingly documentedtheirgigs,WeAreFugazi FromWashingtonD.C.showcasessome oftheircontemporaries.Muchtomy delight,AmyPickering(oftheflamethat wasFireParty)appearsinthefilm Pickeringprovidesthepunchyvocalsfor “Suggestion”alongsideFugaziatagig wherePickering’sstagepresenceand vocalprowesspiercesthroughthescreen andhitsyouhardinthebestway

Throughoutthefilmandinbetween footageofFugaziinflow,are conversationswiththepeoplewho capturedthatovertheyearswith camerasandcandour.

Treatingviewerstoanaccountof Fugazithatfeelsintimateand inviting,WeAreFugaziFrom WashingtonDC portraysboththe preciousnessandpunchof (post-)hardcore Thedocumentary filmpaintsapictureofabandand scenewhotrulycare:aboutfans andfellowmusiciansandartists; aboutthestateoflocallifeand globalissues;abouttheaccessibility ofgigs,andaboutchallenging inequitiesandstrivingtowardsa betterworld.

InAllAges–abooktitlethat reiteratestheinclusivenessand intergenerationalnatureofgigsby bandssuchasFugazi–Lahickey notesthat“[i]n1983,acommon punkslogantopaintonyourjacket was‘NooneRules’”.Morerecently, themovesofthebandTurnstile reflecthowhardcorekeeps resistingsystemsofoppression, suchasstructuralhierarchiesthat leavesomepeopleunhousedand withoutaccesstocare.Turnstile’s May2025Baltimoregig,which involvedadebutperformanceof theirtrack“NeverEnough”(alsothe titleoftheirnewalbum)raised $35,000forBaltimore-based charityHealthCareForThe Homeless.Thatbenefitgigis anotherexampleofhardcore’s commitmenttoaddressing structuralstruggleslocally

TurnstileatOutbreakFest,Victoria ParkinLondon,England,June13, 2025.(PhotobyFrancescaSobande)

Ina2023interviewwithNorman BrannonforAnti-Matter,Richie Birkhenhead(ofbandssuchas Underdog,IntoAnother,andYouth ofToday)spokeaboutsomeofthe waysthatdigitalculturehas impactedhardcoreandlocal/ regionalscenes:

...whenwelastspoke[forAnti-Matter],it wasatthevery,veryembryonicstageof thedigitalage.Andwhatthatdidto regionalculture,Ithink,isabittragic.It killedregionalculture Theworldhas becomesohomogenizedthatyou almostcan’thavethenecessaryvacuum foraregionalculturetoform.Itstill happens,don’tgetmewrong;thereare definitelylittlepocketsofincredible magicgoingoninallsubcultures.Butin themainstream,it’saproblem.

Muchinhardcorehaschangedsincethe earlydaysofbandssuchasIntoAnotherand Fugazi,andsincetheemergenceofsocial mediaand21 centurydigitalculture.What seemstohavestayedconsistentishow hardcorealwaysfindsawaytolookupand outatwhoandwhatliesbeyondits immediatesurroundings–takingtheenergy thatisharnessedwithinhardcore,tryingto dosomethingtransformativewithit,and withpotentiallyfar-reachingrippleeffects.

DevontéHynesperforming“Alien LoveCall”withTurnstileat OutbreakFest,VictoriaParkin London,England,June13,2025. (PhotobyFrancescaSobande)

Aswithallgenresofmusic,theboundaries ofhardcorecontinuetobehotlydebated Turnstile’shardcorecredentialshavebeen questionedbysomepeople Thisisevident intheopeninglineof“Premature Evaluation:TurnstileNeverEnough”byEli EnisforStereogum:“Turnstilearebreaking boundaries They’remakinghardcorepurists angry ” AsNormanBrannonnotesina2024 Anti-MatterinterviewwithBrendanYatesof Turnstile:

Turnstileareverymuchpartofahardcore legacyofmusicalshapeshifterslikeBad Brains,urbanculturalistslikeLeeway,and PMAstreetpreacherslikeSupertouch Whattheydoisnotcompletely unprecedented ButthewayTurnstilehave managedtotranslatehardcoreidealism andculturetoabroaderaudienceis immenselyspecial.

Turnstile’smusichasincludedcollaborations withDevonté (Dev)Hynes(akaBlood Orange)andHayleyWilliams(whofronts Paramore),withtheirmostrecentalbum sometimesbeingdescribedasmorepop thanpunk.Nomatterthecritiqueslevelled atthem,Turnstile’spresenceinhardcoreis clear

Thedifferentdirectionsthat Turnstile’smusicseemstobe goinginneedn’tbethoughtof asunderminingtheirhardcore history Afterall,ifhardcoreisa spacethatsupportsmusical experimentationandgoing againstthegrain,thensurely makingmusicthatdifferstothe norm(eventhenormsof hardcore)issomethingto celebrate

ANewYorkerarticleon“How theMeanestGenreGotNice” referstohardcoreas“once brutishandinsular”,before asking:“HasTurnstilemadeit popular?” WrittenbyKelefa Sanneh,thearticleisan homagetotheimpactof Turnstileandsomeoftheways thathardcorehaschanged Buthardcorehasalwaysbeen morethanthebrashimageofit thattendstodominatehowit’s framedinmainstreammedia. Therearemanyplaceswhere someofthehistoryandcurrent worldofhardcorecanbe experienced Oneofthese placesisSmash!Records, establishedin1984and originallylocatedinDC’s Georgetown.

NowlocatedinAdamsMorgan(since 2006),theDCstoreishometotrovesof vinyl,videos,clothes,badges,stickers, patches,skateboardstuff,books,zines, andjustaboutanythingelsethatcomes tomindwhenthinkingaboutpunkand allthatitencompasses.Simplyput, Smash!Recordsispartofpunk’slifeand legacy AssuggestedbySmash!Records’ shelveswhicharebrimmingwith printedworks,publicationsandallsorts ofmediaarekeytohow(post-)hardcore anditshistoryarerememberedand experiencednow.

Smash!RecordsinWashingtonDC,US,April 4,2025.(PhotosbyFrancescaSobande)

Atthispointitisusefultoturntothe wordsofAngieLarrierwhokindlyagreed tospeaktome Angiecontributedtothe MuseumofYouthCulture’s“I'mNotOkay (AnEmoRetrospective)(2004–2009)” exhibitionwhichwasattheBarbican MusicLibraryinLondon(2024–2025). Duringourconversation,Angieshared aboutlearningofthepost-hardcore/emo bandFinchthroughalocallibrary Angie detailedtheDIYfeelingofsearchingfor andfindingmusicbeforetherecentyears ofsocialmedia:

It’scrazytothinkIfirstheardemowhen IwasinprimaryschoolwhenIwas10 I remembergoingtothelibraryand borrowingFinch’sfirstalbum Iwould borrowitweeklyforapounduntiltheyjust gaveittome IwouldputitonmyCDplayer andwasobsessedwiththesound,andalso IusedtowatchKerrang!,MTV2,Scuzz and thenonceIgotintohighschoolIsawthe emolookmoreasIbecameateenager, andthat’swhenIstartedtoexpress myselfandstartedtocutintomyhairand dyeitanddoallthatsortofstuff Thatwas morevisual butthemusiccamereallyearly forme.Thatwouldhavebeeninlike2002/ 2003

Listeningbacktomyconversationwith Angie,Iwasremindedofthe“What’sMore PunkThanThePublicLibrary”t-shirtsthat

FinchatTramshedinCardiff,Wales, November6,2023/FinchatSlamDunk FestivalinHatfield,England,May24, 2025.(PhotosbyFrancescaSobande) areavailableinsupportoflocalibrary programmingatMountPleasant LibraryinDC Theyfeatureadesign thatwasinspiredbytheDCPunk Archive,hostedbytheDCPublic Library.Angie’schildhoodmemory reflectsthatpubliclibrariesareplaces wherechildrenandyoungpeople (andofcourse,thosewhoareolder), canexperiencemusic,mediaand booksinencouragingwaysthatstay withthemfortherestoftheirlives.As Iwroteaboutinapieceonthe MuseumofYouthCulture’s“I'mNot Okay(AnEmoRetrospective)”:

Withinsuchretrospectivereflections arememoriesofyoungpeople’s experiencesofathirdplace Places thatarenothomeandnotaplaceof studyorwork,suchaspublicsquares, skateparksandclubnights,thathave increasinglydiminished,been unfunded,orbecomemorepoliced sincethe2000s Throughthese reflections,theshowexamineshow placesandspaces–bothonlineand offline–havechangedsincethe2000s, inwaysthatimpactyoungpeopleand musictoday.

Putplainly,collectivestrugglesto combatthedefundingand censorshipoflibraries(andother publicspaces)haveaplaceinpunk. Sodoesembracingemotion(s)and supportingsoftness.

incaseyouleaveatPiehouseCo-opinLondon, England,November29,2025.(Photoby FrancescaSobande)

(Post-)HardcoreisEmotion

Hardcorehasheart.That’scapturedbythe titleofShawnReynaldo’s2023Pitchfork article,“TheReturnofAnti-Matter,’90s Hardcore’sMostInfluential(andEmotional) Zine” Thepiecefocusesonanessential hardcorezinefoundedin1993byNorman Brannon,whosaid:“Idon’tknowifanybody evercalledAnti-Matter‘softcore,’butitwas certainlyintimated”.Connectinghardcoreto emoinaMuseumofYouthCulturepieceon “00sTeenAngst”,JakeHawkeswrote:

EmofirstdevelopedinWashingtonDCinthe 1980s,bornoutofthecity’shardcorepunk scene Thecrucialdifferencebetweenthetwo atfirstwasthelyricalcontent,withemo coveringintrospectivetopicsandemotionsina waythathardcorepunkatthetimewasn’t knownfor

Still,therehasalwaysbeenanemotional qualitytohardcoreandasincerityand softnessthatshouldnotbethoughtofas conflictingwithitsheaviness.AsTrevorKelley wroteaboutfor“.the1990s.”Issue6(Winter 2000)ofHeldLikeSoundzine,inareviewof SunnyDayRealEstate’s1994“Diary”(a definingemoalbum):“thereweresentiment inthesesongsthatmusiciansoneitherside ofthe‘core’movementcouldn’thelpbutget teary-eyedover”.Inotherwords,hardcore, post-hardcore,andemoareallspaceswhere tearsmaybeshedandemotionsmaybe shared Anti-Matterwasmemorablyknown forincludinginterviewsthatinvolved Brannonunapologeticallyaskingwhen someonelastcried.

Dynamicsbetweenhardcoreandemoaren’t alwaysasstraightforwardasissuggested However,thewordsofJoelBegleiteron

Egon’sself-released1999album DisillusionedLeftist,inthesame issueofHeldLikeSoundzine, capturesomeofthewaysthatemo andhardcorehavebeen distinguishedbetween:“Not screamingenoughtobehardcore andnotmelodicenoughtobe emo ”.ElsewhereinHeldLike Sound,writingaboutSunday’s Best’s“WhereYouAreNowCrank!” EP,Begleitershedslightonother traitsofemo:“Sunday’sBestisin thebusinessofwritingemo anthems,intheMidwestern tradition.Melodicandhaunting, melancholyandtriumphant…”.In writingaboutAmericanFootball, anotherbandcentraltoemo’s origins,JohnDavis(again,inthe sameissueofHeldLikeSound) stated:

“NeverMeant,”thealbum’s openingtrack,setsthestagewith thewovenguitarsandSteve Lamos’quietlyeffective drumming Lamosswitchesto trumpetfor“TheSummerEnds,”a sweet,sadsongthatdisplaysthe trio’spenchantforthemelancholy. “Honestly?”startswitha mesmerizingriffandcareensinto droningwavesofsound Thisisa fantasticrecord.

Emoisoftenassociatedwith melodicandmovingmusicthat attemptstomakesenseof melancholicexperiences,or,at least,expresstheminmeaningful waysthatconnecttopeopleand theirtenderheartsandhopes.But whoandwhatconstitutesemo continuestobecontested

AsAngiespokeaboutwhen discussingthepastandpresent landscapeofemo:

It’sinteresting someofthose [nostalgiamusic]festivals[now] someofthebandsIwouldn’t consideremobutthey’vebeenkind ofallmergedintoone They’reall theirownseparatething They’reall partofsomethingbutit’sallkindof beensquashedandneatlypackaged intosomethingthatcanbesold

Thepast,present,andpulseofhardcore, post-hardcore,emo,andadjacentmusic scenesareentangled,butasAngieimplied, thedistinctdifferencesbetweenthem shouldn’tbedenied Inmainstreammedia andmusicindustryspaces,eachtypeof musicoftenendsupbeingcomparedto another,ratherthantreatedasenoughin itself.Thistooispartofthepoliticsofmusic –theindustry’sobsessionwithcompetition, comparisonculture,andcategorising musicinconfiningwaysthatbetraythe messyhistoriesofhowgenrescometobe

Withingrassrootsandindependentspaces andscenes,heartfeltappreciation, understanding,andcreationofsuchmusic overflows Butwhenitcomestoconsumer culture,thecupofcreativityand communitycanbecontrastinglyempty. Manybrandshavebeenquicktojumpon the90sand00smusicnostalgiatrainin waysthattreathardcore,post-hardcore, andemoaslittlemorethanameansto capitalistends Themagicofsuchmusic hasneverbeenpursuitofprofit,butbands andmusiciansbenefitingmateriallyfrom theirworkshouldn’tbeseenaslimitingit either.ProtectingtheDIYspiritofmuch musicneednotinvolvefetishisingprecarity.

(Post-)HardcoreisDiverse

WhilevisitingtheDCPunkArchive,aswell asreadingreviewsofveryfamousbands,I learntmoreaboutlesserknownbut extremelyimpactfulones Here’stoyou, DChardcorepunkbandFireParty!

AsacknowledgedinAndyGreenwald’s 2003book,NothingFeelsGood:Punk Rock,Teenagers,andEmo,JennyToomey (musicianandco-founderoftherecord labelSimpleMachines)describedFire Partyasbeing"theworld'sfirstfemalefrontedemoband” Theyweretogether from1986–1990andthebandincluded NatalieAvery,AmyPickering,Kate Samworth,andNickyThomas.Attheir 1987debut,FirePartydedicatedthe performancetothelateToniYoung,who hadbeenaBlackwomaninthepunk sceneandwasamemberofthebands Dove,PeerPressure,andRedC.

Also,asNormanBrannonasksin abrilliantessayinAmyFleisher Madden’sNEGATIVES:A PhotographicArchiveofEmo (1996–2006):“Andifyoubelieve mostofthedocumentedhistories thattraceemo’soriginsbackto 1985,whenthepunkscenein WashingtonDC,declareda ‘RevolutionSummer,’thenwhy don’tweevertalkaboutAmy PickeringfromFireParty?” Buildingonthatpointand namingbandsandpeople, includingFireParty’sNicky Thomas,Brannongoesontoask:

Also,whydoweseemtoglossover thefactthattheentirefirstwaveof emothatcameforthfrom RevolutionSummerwasdecidedly multiracial?

Indeed,“whileamajorityofthemost popularandrecognizablevoicesin emoandpost-hardcoredoinfact belongtostraight,cis-gender,white men,thereisandalwayshasbeena pluralityofinvaluablecontributionsto thisscenefromwomen,BIPOC,and LGBTQ+folks”

Articulatedbyboththelyricsof theirsongsandtheresistant actionsthattheyparticipatedin, FirePartychallengedissuessuch asstructuralsexism,misogyny,and more Theliberationistethosof muchhardcorepunk–fromantiapartheidactivismtorousing responsestotheerosionof reproductiverights–hasbeen recordedinarangeofways.As discussed,thisincludesintheform ofzinesandtheirarchiving

“Oneofthegreataspectsofthestraightedge scenewasitsfanzines”,statesLahickeyinAll Ages But“[u]nfortunately,alltoooftenmost zinesenjoyedonlyafleetingexistence” So archivalworkisessential,suchaswhatisdone bytheDCPunkArchiveandtheMuseumof YouthCulture,andBrannon’sworktomake Anti-Matteraccessible(includingonline throughSubstackwhenitreturnedin2023–2024) Thissortofworkalsoincludestheliving archivesofpeopleandthecreationand documentingofevents,suchasDecolonise Fest,whichsinceits2017inceptionhasbeen “anannualLondon-based,volunteer-run,nonprofitDIYpunkfestivalcollectivelyorganised byandforpunxofcolour”

ThearchivingofBlackpeople’sexperiencesin /and“alt”musicsubculturesalsoincludes Pennycresszine.“Designedtocelebratethe often-unsungheroesinLeedscreative industriesandbeyond,localwriterJenessa WilliamspresentsPennycress,aprint anthologyofart,illustrationandwrittenwork createdexclusivelybyLeeds-basedPeopleof Colour”.Additionally,thegreatworkofthe BlackWomeninRockproject,“[a]n encyclopediaofblackwomeninrock.Solo project,activefrom2011-2024",ispartof importantformsofarchiving,asisOsa Atoe’smagnificantShotgunSeamstress:The CompleteZineCollection,whichincludesa strikingintroductionbymusicjournalist, authorofWhySolangeMatters,andmember ofthebandBigJoanie,StephaniePhillips.

Asiswellestablished,hardcorepunkhas alwaysincludedbandsthatactivelystand againstdifferenttypesofoppression Onthat subject,ChrisPayne’sbook,WhereAreYour BoysTonight?:TheOralHistoryofEmo's MainstreamExplosion1999-2008features writingonRacetraitorwhooriginallyhailed fromIllinois Theband,whofacedbacklashin responsetotheirnameandvocalanti-racist position,mademusicwithmessagesthat tackledwhitesupremacy.InaDIYConspiracy pieceon“Racetraitor:PoliticsAreStillPartof Hardcore’sFabric”,interviewerMittensXVX stressedthat“[a]ttheheightofthepoliticized hardcoresceneintheUS,Racetraitorworked tirelesslytobringuptopicsofraceandclassin waysthatfewbandsbeforethemeverhad, oftenattheexpenseofcontroversy”.

Thediversityofhardcorealso includesthewaysthatithasfed intoothertypesofmusic Hardcoreandemomaynot alwaysbefirmfriendsbutthere arelotsofcasesofthem connectingandcontributingto eachother Forexample,the hardcoreinflectionsofFallOut Boy,whosesongsincludea 2005coverof“StartToday”by hardcorebandGorillaBiscuits.

Inacaptivatinginterviewwith NormanBrannonforAntiMatterin2024,PeteWentz(of FallOutBoy)discussedhis hardcoredays(whichonce includedbeingamemberof Racetraitor).Aswellasdrawing attentiontothehardcore undertones(andsometimes, overtones)ofFallOutBoy,the interviewfeaturessome nuanceddiscussionofWentz’s experienceof“beingbiracial” and“thechildofanimmigrant”, inadditiontohisinvolvement inmakingzines Atheme woventhroughoutthe interviewishowhardcoreisa hometomanypeoplewhoare treatedasanoutsiderandare otheredinsociety.

PeteWentzperformingaspartof FallOutBoyatUtilitaArenain Cardiff,Wales,November4,2023. (PhotobyFrancescaSobande)

SincebookssuchasLahickey’s werewritten,muchhas changedinhardcore.

The“male-basedegocentricity”that Lahickeyobservedisnotacompletething ofthepast,andthesceneisnotfreeofthe impactsofracism,buthardcoremightbe thoughtofasmorediversetodaythanithas everbeen.Thatsaid,hardcore,andhowit drawsonandrespondstodifferenttypes ofmusicandthosewhomakeit,hasalways beenmoreeclecticthanmainstreammedia andmusicindustrycoveragesuggests

AsDeleFadelewroteina1987pieceforNew MusicalExpress(akaNME)on“LLCoolJ:Bad ManBitesBack”,rapis“somethingthatcan, givenhalfachance,easilyco-habitatewith othermusics,bothonthefringesaswellas thecentre” Also,asZackdelaRocha(of RageAgainsttheMachine)saidaboutrap andhardcoreina1993Anti-Matterinterview withNormanBrannon:“It’spureemotion. It’sjustthreeorfourorfivehumanbeings sheddingeverything,alltheirfears,and everything Ithinkthosetwomediumshave alotincommoninthatrespect”

Inthedecadessincethen,therealitythat rapandhardcoreinvolvecountlesscreative connectionshasbeenmorewidely accepted,ashasthesenseofheartand emotionalityatthebaseofboth Across othergenres,BlackmusicianssuchasApril Kaehavediscussedanddemonstratedthe waysthatindierock,R&B,andAmericana canconnect.Furtherback,theworkof singerandsongwriterSantigoldchallenged ideasaboutgenreboxes.Ashighlightedby BobbySullivaninDavidEnsminger’s interviewwithSullivanforRazorCake, connectionsbetweenpunkandother genresofmusicwiththeirrootsinBlack lifeandculturearestilloftenoverlooked:

Punkandreggaegrewuptogether, whichwashowitwasforme It’s strangenowtoseethedisconnect betweenthetwogenres.Even fansofbothseemtohavenoideaof theconnection

ThehistoryofBlackpunkand“altness”isone madeupofsomuchmorethanjustwhat endsuponthepagesofzinesandbooks.It isahistoryenactedandexpressedthrough everydayencountersandemotions,many ofwhicharen’tconventionallydocumented butareintenselyfelt Inspiredbymany people’sstellarwork,Ihopemyzineaids effortstoappreciateandarchivehow“alt”

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Brannon,Norman(2024)In Conversation:BrendanYatesof Turnstile Anti-Matter,4January

Brannon,Norman(2024)In Conversation:PeteWentzofFallOut Boy Anti-Matter,5December

Brannon,Norman(2023)In Conversation:RichieBirkenheadof IntoAnother.Anti-Matter,12October.

Brannon,Norman(2024)Origins:In PraiseofFanzines Anti-Matter,2July

Brannon,Norman(2023)TexasIsThe Reason/NewEndOriginal In NEGATIVES:APhotographicArchive ofEmo(1996–2006)byAmyFleisher Madden.SanFrancisco:Chronicle Books

Brannon,Norman(2007)TheAntiMatterAnthology:A1990sPost-Punk &HardcoreReader.Huntington Beach:RevelationRecords.

Davies-Kreye,Matthew(2015)South WalesWastheNewSeattle?Total Bollocks Vice,5June

DecoloniseFest(2025)Byandfor punxofcolour.DecoloniseFest.

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Ensminger,David(2015)AnInterview withSoulSide’sBobbySullivanby DavidEnsminger.RazorCake,9 November

Fadele,Dele(1987)LLCoolJ:Bad ManBitesBack NewMusical Express,30May.

Gleeson,SinéadandGordon,Kim(eds) (2023)ThisWoman’sWork:Essayson Music London:WhiteRabbit

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hill,layla-roxanneandSobande,Francesca (2025)Look,Don’tTouch:Reflectionson theFreedomtoFeel.Edinburgh:404Ink.

Lahickey,Beth(1997)AllAges:Reflections onStraightEdge HuntingtonBeach: RevelationBooks

Leslie,Jaleesa(2016)ToniYoung–Red-C. BlackWomeninRock:Encyclopedia,6 September.

Martinez,PaulaandNzams,Ambrose (2021)Demystification,Issue3(Spring 2021)

Payne,Chris(2023)WhereAreYourBoys Tonight?:TheOralHistoryofEmo's MainstreamExplosion1999-2008.New York:DeyStreetBooks

Reveron,Sean(2024)LOUD&PROUD! BlackVoicesIn80sHardcore.CVLT Nation,8November.

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Sobande,Francesca(2025a)OnHard TruthsandSoftHearts Shuddhashar,1 May

Sobande,Francesca(2025b)SheBurns: TheHeatofBlackWomeninBluesand Punk Shuddhashar,20August

Sobande,Francesca(2024)I’mNotOkay: emoisaliveandkickingatBarbican retrospective.TheConversation,28 October.

Williams,Jenessa(2019)Pennycress

AmericanProto-PunkmusicianBobbie Duncan,ofthegroupDeath,plays electricguitarasheperforms,during FunFunFunFest,onstageatWaterloo Park,Austin,Texas,November7,2009. (PhotobyJohnAnderson/TheAustin Chronicle/GettyImages)

FuneralforaFriendatO2Victoria WarehouseinManchester,England, October7,2023. (PhotobyFrancescaSobande)

AprilKaeperformingasthebassistof Fever333atUtilitaArenainCardiff, Wales,February16,2024 (Photoby FrancescaSobande)

TheFunnyBusiness,Fans,and Feeling(s)ofEmo,Screamo, and(Post-)Hardcore

Asdealtwithinthepreviouspartsof thiszine,differentfactorsimpactideas aboutwho,what,andwhere“alt” musicis.Aswasalsodetailed,these includeonlinehumour Otherfactors linkedtoimpressionsof“alt”musicare perceptionsofits“doityourself”(DIY) ethos,suchasthebedroomculture associatedwithscreamo–aka “skramz”musicsincethe1990s.How “alt”musicmovesthroughmainstream mediaimpactsinterpretationsofittoo

Forexample,backlashfolloweda performancebyhardcorepunkband KnockedLooseandsinger-songwriter Poppyon“JimmyKimmelLive!”in 2024.Itsparkedcriticismbysome viewerswhoclaimedthatthemusic distressedtheirchildren That highlightsthemoralpanicwhichstill surroundsaspectsof“alt”music.Italso demonstratesthatnomatterhow“alt” somemusicseems,itmaystillbe platformedbymainstreammedia

Here,itcanberelevanttooncemore recallthewordsofRichieBirkenhead InaninterviewwithBethLahickeyfor thebookAllAges,Birkenhead’s remarksabouthardcoretouchonthe relationshipbetweenideasconnected tocoolness,fear,andfun:

That’swhatmadehardcorecool You usedtohavetobebravetogetintothe pit Therewasatotaldifferentfeeling It usedtobethisreallycool,dark,scary feeling,andnowit’sjustlike‘funcore,’ whichisn’tnecessarilybad.That,tome,is themainelementthatwaslost thatit usedtoreallyfeellikeyouwereatotal outcastandatotalmisfitifyouwereinto hardcore.Itwascompletely underground

Movingawayfromoppositional ideasof“alt”versus“mainstream” and“subculture”versus“popular”,I digdeeperintothefunnybusiness ofemocore(akaemo),screamo(aka skramz),and(post-)hardcore Ialso continuetoconsiderhowtheracial andgenderpoliticsof(“alt”)music has(not)changed,whilediscussing itsconnectiontodigitalandyouth culture Additionally,Ioutlinehow someideasaboutemohavealtered sincetheterms“Emo-Core”and “EmotionalCore”firstfeaturedinthe January1986IssueofThrasher s

January1986IssueofThrasher. (PhotobyFrancescaSobande)

MyChemicalRomanceatStadium MKinMiltonKeynes,England,May 22,2022 (PhotobyFrancesca Sobande)

Mywritingonemolaterinthislast partofthezinealsopicksupona conversationaboutbeingBlack andemowithAngieLarrier,who contributedasubmissiontothe MuseumofYouthCulture’s exhibition,“I’mNotOkay:AnEmo Retrospective”.Whendiscussing blacknessandemo-nesshere,I buildonmypreviousreflections onthesignificanceofFrank Ocean’smusicandR&B,along withtheloreof“yachtrock”.

Iendthislastpiecefrommy projecton“TheCulturalMemory andArchivedExperiencesofBlack Peoplein‘Alternative’Music Subcultures”byfocusingonthe musicofBlackwomeninrapand hip-hoponthetopicofanxiety. Finally,Iclosewithsomehopesfor thefuture Butfirst,let’sthink aboutawkwardnessandthe conceptof“cringe”

(Not)EveryoneLovesaTryer?</3

Sexism,misogyny,homophobia, transphobia,andother inequalitiescontinuetobe pervasiveinsociety Thisimpacts musicscenes/subcultures, includingemo.However,there havealsobeensomesignificant societalchangesinthedecades sincethe2007bookEverybody Hurts:AnEssentialGuidetoEmo Cultureopenedbystating:“Forthe guyswhoweareyeliner–andthe girlswholovethem”.Thatline mirrorshowemohasoftenbeen dualisticallyframedasfrontedby menbutmajorlysupportedby girlsandwomenwhoare sometimesdismissivelyreferredto as“fangirls”.Archivedmusic writingonemoalludestothistoo.

Forinstance,inaHeldLikeSound zinereviewofDashboard Confessional’s2000album“The SwissArmyRomance”,Brian Pepplerwrote:“Notetoself:ifyou

wanttoappealtothefemale persuasion,trythesensitive approach You’rerequiredreading willbe‘ChickenSoupfortheSoul’ andChristopherEnderCarrabba’s DashboardConfessionalCD.In addition,poseinphotoshoots lookingoh,solonely,anddepressed”

ChrisCarrabbaofDashboard ConfessionalatO2Victoria WarehouseinManchester,England, October7,2023. (PhotobyFrancescaSobande)

AsscholarandjournalistJenessa Williamswritesinanarticleon “Screaming,Crying,WritingUp: LiteraryMusicJournalismBooksas aLegitimizationofContemporary FangirlPractices”,“fangirlsare attemptingnotablereclamationof theterm,fightingbackagainst misconceptionsoftheirsuperficial engagementwithpopularculture”. Essentially,ideasaboutmusic(ians) andtheirfansareoftenconveyedin verygenderedways Asaddressed inHannahEwens’bookFangirls: ScenesfromModernMusicCulture, “marginalizedfangroupsarenever givenappropriatecredit”.When accountingfortheintersectionsof inequalitiessuchasracism, misogyny,homophobia, transphobia,andableism,itis apparentthatsome“fangirls”are especiallydisregarded.

Associologist,culturaltheoristand politicalactivistStuartHallnotedin writingonRepresentation,many modernusesoftheterm“culture” involvereference“tothewidely distributedformsofpopularmusic, publishing,art,designandliterature,or theactivitiesofleisure-timeand entertainment,whichmakeupthe everydaylivesofthemajorityof ‘ordinarypeople’–whatiscalledthe ‘massculture’orthe‘popular[pop] culture’ofanage”

Manypopculturemessagesinclude mediathatpromoteanoppositional binaryof“cool”versus“cringe”.Insome instances,asWilliamscriticallypoints out,thisinvolvesdiscriminatory framingsofgirlsandwomenas nothingbutcringe“fangirls”whoare contrastedwiththeapparently“cool” meninanarrayofbands.

Frequently,“cringe”isusedtosuggest thatsomeoneorsomethingis embarrassinglyexcessive(eg,“too much”/“doless”/ “tryingtoohard”)or inadequate(e.g.,“notenough”/“do more”/“tryharder”).“Cringe”isuttered inwaysthatinvolveassortedintentions andimpacts,suchascomical sentimentsbetweenfriendsor scrutinisingasidesaboutstrangers Somepeoplemaybemortifiedatthe ideaofbeingviewedas“cringe”, whereasothersmaythinkofthelabel asnothingbutflippant,funny,and ironically,abit“cringe”

Inessence,theterm“cringe”often communicatesajudgement,evenif sometimessaidfondly.Morethan thatthough,“cringe”canbesaidas partofunderminingcommentsthat suggestsomething,orsomeone,is datedandbehindthecurrenttimes

“IamcringebutIamfree”loveheart androsestickerbykrystansaintcat. (PhotobyFrancescaSobande)

GettingOldas“Cringe”

“CRINGEFEST”writtenonPrincesStreet

Dependingonthecontext,“cringe” canstandinforsaying“old”.Some narrativesaboutwho/whatis “cringe”symbolisesocietalfearsof agingandbeingtreatedas irrelevant Assuch,EverybodyHurts: AnEssentialGuidetoEmoCulture byLeslieSimonandTrevorKelley includesachapteron“adulthood” andaspectsoftherelationship betweenage(ing),embarrassment (aka“cringe”),emomusic,clothing styles,and“expirationdates”

Intheopeningoftheirjokey-toned book,SimonandKelleybriefly defineemo:“So,whatexactlyis emo?Overtimeemohasbeen definedasatunefulstrainofpunk rockwithalyricalemphasison mattersoftheheart,butthesedays itmeansmuchmorethanthattoits manyfans.Emoisstillakindof music,sure,butmorethananything it’sastateofmind”

Theauthorssuggestthattwocore qualitiesofemoareits youthfulness(“[a]dultshavenever playedahugeroleintheemo community”)andconnectionto “tryingreallyhardtolooklikeyou don’treallycare”(seem“low-key”).

Atthetimethattheirbookwas written,thedigitalculturethatis partofsuchmusicwasina relativelyearly(ish)stage,butwas neverthelessimpactful:“[t]hese days,theInternethasbecome justasimportant–ifnotmore important–toemofansthanthe musicitself”(SimonandKelley 2007) AstheresearchofJudith Fathallahemphasises,emoisnot onlyagenreofmusic.Itisalsoa subculturedefinedbyfans.The bookEverybodyHurts:An EssentialGuidetoEmoCulture mainlyfocusesonthe experiencesofyoungfansofemo –understandablegiventhatthe genrehadbarelyturned20years oldthen.Decadeslater,emo’s closeconnectiontoyouthculture remains,butitsfanbaseincludes manymorepeoplewhoarefar frombeing“young”

Intheyearssinceemomovedon fromits“firstwave”(mid-1980s untiltheearly-ish1990s)towhat hasbeendubbeditsrecent“fifth wave ”,thetongue-in-cheekterm “elderemo”hasbeenpopularised Itnowappearsonalitanyof products,suchaspinbadges,tote bags,t-shirts,andtrinkets.As impliedintheworkofSimonand Kelley,therecanbeasenseof “cringe”attachedtobeingan adultperceivedasbeing passionateaboutmusicfromyour youth.Still,emonostalgiahas surged.Hence,musicfestivals suchasWhenWeWereYoung have(re)emergedinthe2020s andbecome(more)established, respondingtonostalgiathatis partofemo(anditsfans)ageing.

WhenWeWereYoungentranceatLas VegasFestivalGrounds,US,October23, 2022.(PhotobyFrancescaSobande)

Artby@TRAPXBOBonthesideofthe GooglestandareaatWhenWeWere Young,LasVegasFestivalGrounds,US, October23,2022.(PhotobyFrancesca Sobande)

Inemo’scase,thisalsoconnectstothe ironicandself-deprecatinghumour thatitisknownfor Inotherwords,as withmanygenres,emoinvolvesa mixtureofsillinessandsincerity,as expressedbyearnestdeep-divearticles aboutitandthatsometimes (un)comfortablysitalongside contrastinglyplayfulmemesthatpoke funatemoandassociatedaesthetics (e.g.,memesofJimmyButlerafterhis “ emo ”appearanceatapressjunket).

JimmyButler#22oftheMiamiHeatspeaks toreportersduringmediadayatKaseya CenteronOctober2,2023inMiami,Florida. (PhotobySamNavarro/GettyImages)

OnthetopicofonlineresponsestoButler’s emo-ness,JenessaWilliamsandIwrote:

Fordecades,emohasbeenvulnerabletotrend basedco-optionandcorporateattemptsto cashinon‘subculturalcapital’ However,asis indicatedbyButler’sforegroundingas‘Heat Wentz’inthe‘SoMuch(For)Stardust’video[by FallOutBoy],emoalsotapsintothecoolness associatedwithelsewhere,suchasthatof‘the televisualpolitics’ofBlacksportsfigures While furtherresearchneedstobedonesurrounding wavesofemoandtheirmainstream commodificationinthe2020s,theresponseto Butler’sseeminglysincereengagementwiththe genreopenedupvaluableconversationsabout theimportanceofdiverserepresentationin emo,andwideracknowledgementofBlackfans whocareaboutboth‘jock’sportsandmore introvertedformsofmusical/stylisticexpression.

Ourworktogethercontinuestolookatthe relationshipbetweenemo,race,andgender

MakingMusicinyourBedroom

Publicplaces(e.g.,bars,grassrootsgigvenues, libraries,nightclubs,parks,recordstores)are crucialtoexperiencesofmusic Butprivate anddomesticspacescanbejustascentralto makingandengagingwithmusicand surroundingcommunities AsDavid Hesmondhalgh’sparamountresearchhas addressed:

Whileradioandtelevisioncontinueto operateaskeysourcesofoldandnewmusic intheeverydaylivesofpeopleacrossthe

world,andrecordshopsstilloffer anoftentreasuredmeansforsome toencounterandpurchasemusic, themassivenewroleofMSPs [musicstreamingplatforms]in musicalconsumptionmeanthat theyincreasinglyoperateasthe coreofthemusicindustriesandof theeverydayexperienceof recordedmusic

InaMuseumofYouthCulture pieceon“Bedrooms,Youth& DigitalCultures:TheShifting BoundariesofTeenageSpace”, scholarSiânLincolnobserves:

[t]heteenagebedroomhaslong beenthoughtofasoneofthefirst spacesayoungpersoncallstheir own,aspaceinwhichemerging teenageidentitiesareformedand aspaceinwhichtospendtime alone,toexperimentandto explore

Whatarethoughtofasthenorms ofchildhood,andexpectationsof howmuchtimechildrenspend insideandathome,varyacross cultures So,whenthinkingabout bedroomculture(s)itiskeyto accountforculturalandmaterial differencesbetweenthe(lackof) spacemadeavailabletodifferent childrentobe(andplay)outside andelsewhere.

Discussinghow“youthcultures playoutinprivatespace”,while drawingonAngelaMcRobbie’s workon“bedroomculture”, Lincolncomments:“Ithoughtof myroomas ‘ myspace ’”.Such wordsarealsoresonantwhen thinkingabouthowsocialmedia tapintobedroomculture,suchas MySpace–especiallyinpast decades,andTikTok–more recentlyandduetotherapidrise ofdigitaldeviceswithbuiltin cameras Bringingthefocusback toemo,screamo,andposthardcore,inthewordsofJude Noelon“TheSofterSideof Skramz:BedroomPopand ScreamoCollide”:

Whenanemorenaissancecoincides withaglobalpandemic,thingsare boundtogetweird Themovement’s fifthwave,whichcrashedontheshores oflate2019hasproventobeapetri dishforgenrefusion

Suchmusicsometimescallsbacktothe daysofsongssuchas“Emily”(2004)by FromFirsttoLast–writtenbySonny Moore(akaSkrillex)asateenager,and whichincludesthehomelyandintimate backgroundsoundofadooropening nearthesong’send Othersongsby FromFirsttoLastinclude“Untitled HiddenTrack”(2004)whichinvolves somebriefrapping,demonstratinghow genressuchasscreamo,post-hardcore, andrapsometimesdovetail

MySpacewasoneofvarioussiteswhich FromFirsttoLast’smusicwas(andstillis) sharedthrough.Indeed,asLincoln writes,MySpacewas“asignificant platformforyoungaspiringmusicians and‘bedroomDJs’asviathesitethey couldsharetheirmusicforfree,be anonymousiftheywantedtobeandnot havetoperformlive AMySpaceprofile couldbeusedtoshareinformationon themusic-makingprocess,toadvertise gigsandtopromotenewmaterial”.

MorerecentbandssuchasYourArms AreMyCocoon–oftenreferredtoas “skramz”(aka“screamo”)–have continuedthehistoryofmusic-making inyouth,andoftenin/fromabedroom, withTylerOdomofthebanddebutinga 2020soloalbumthatwasmadewhilein highschool InNoel’spiecefor Bandcamp,YourArmsAreMyCocoon arereferredtoasbeingoneof“theartists craftinghardcoretunesforlanguishing comfortablybeneaththecovers”,yet anothersignofscreamo’sconnectionto bedroomculturethroughouttheyears AsNoelaffirms:

[t]heintenseandoftendissonant soundoflate‘90sscreamo (affectionatelydubbed“skramz”by devotees)isthesubjectofitsown kinder,gentlerrevivalbyageneration ofyoungadultswhoenteredthe undergroundthroughthemid2010s’sbedroompopboom

Suchmusicfusesmanyformsof emotionalvulnerability,including throughsongsthatdealwithgrief anddepression Thesoundofsomeof thismusicisupbeatandeffervescent, butitslyricalcontentpowerfully processestherealitiesofpainfuland distressingtimes,without romanticisingthem.Thatsaid,it’snot onlyemo/screamothathasalayered emotionalsensitivity,sonicsadness,or senseofsolace Forexample,manyof thesongsofPinkPantheressexpress thosesentimentstoo.Theseinclude “WhereYouAre”(2022)(producedby PinkPantheress,MuraMasa,and Skrillex)whichfeaturesWILLOW, samplesParamore’s“NeverLetThis Go”(2005),andbreezilyblends inflectionsofemo/pop-punkwith (bedroom)pop,garagebeats,anda feelofwhimsyamidfeelingsofangst.

SillinessandtheSoundsof Sincerity

Onthethemesofsadness,silliness, andsincerity,andasmentioned earlier,theHBOdocumentaryYacht Rock:ADockumentarydiscusseshow onlinehumourhelpedtheterm “yachtrock”gaintraction Thiswas duetothepopularityofaninitially niche12-episodeweb-series,Yacht Rock.Theweb-seriesestablishedthe conceptof“yachtrock”longafter suchmusicfirstbecame commerciallysuccessful Indoingso, italsointroducedthemusicknownas “yachtrock”tonewaudiences, includingthosewhoweren’talive whenitfirstbecamepopular.Asisthe casewithmanyironicorsatiricalwebseries,YachtRockconveyedasenseof endearmentwhilealsomakingfunof itssubjectmatter–themusic(ians) labelledthatway.

Createdatapointintimewhenthe “hipsterironicdetachmentmoment” seemedtoprevailinpopculture, YachtRockreflectshowdigital cultureandparticulartypesof humourimpactideasaboutmusic andtheirhistory.

Somepeoplemightview“yachtrock” asacringetermthatiscriticalofsuch music.Butothersthinkofitasjust anotherexampleofhowmusictakes ondifferentmeaningsandtitlesover time

Theweb-seriesYachtRockwasalso launched(2005)aroundaboutwhen theAmericancomedytrioLonely Island(akaAndySamberg,Jorma TacconeandAkivaSchaffer)becamea corepartofpopculture–knownfor theircomedicsketchesandsongs, manyofwhichfeaturedcommentary onthemusicandmediaindustry.This eventuallyculminatedinthe mockumentarymusicalcomedyfilm, Popstar:NeverStopStopping(2016), aboutthechaoticandfictionalpop rapstarConner“KidConner”andhis embarrassingattempttostayrelevant intheficklemusicbusiness.Allofthis meansthattheweb-seriesYachtRock isnotonlytheby-productofideas aboutmusic Italsotypifiestrending andgenerationaltypesofhumourin popcultureatthetimeitwasmade

InHBO’sYachtRock:ADockumentary, currentGQSeniorCultureEditorAlex Pappademasspeaksaboutthe sinceritythatyachtrockisalsoknown for:“Ithinkrockyachtbecameasafe spaceforacertainkindofmanto expressemotionsatatimewhenmen weremaybejuststartingtolearnhow todothat...therewassomethingabout nothavingtoputupamachofrontin quitethesameway”

Onasimilarnote,andperhapshinting athowsuchmusicwasabitofa precursorforwhatbecameknownas emo,Questloveremarks:“hardrockis supposedtobelikethemachismo,cisheteromaleaffirmativesoundtrack music and,youknow,yachtrockis kindofliketheoppositeofthatcause it'semo it'semotional ”

Whentalkingabouthowyachtrock touchesandmovespeople,journalist andpodcasterMollyLambertdescribes partofthemusic’slongevityasrelating tohow“thesesongsareabouttimeless issuesofwantingtoloveandbeloved, andthatnevergoesoutofstylecause that'sthehumanexperience”.Adding totheconversationaboutyachtrock, musiccriticRobTannenbaumstates: “youcoulddeclarenotjustyour sensitivity butyourtormentathow sensitiveyouare yoursenseofbeing ravagedbyhavingfeelings,whichI thinkisfairlyuniquetoyachtrock”.

Whetheritisintheformofemo, screamo,hardcore,post-hardcore, yachtrock,orthecreationsofother genres,manypeoplehavemademusic thatdirectlydealswithemotionsand alltheirmessiness.Indeed,aslaylaroxannehillandIhavereflectedonin ourwork,“musicispartofwhoand howwelove(andareloved),aswellas beingpartofwhoandhowweare”

Tobrieflydetourtofilmandliterary examples,in2017’scriticallyacclaimed filmCallMeByYourName,basedon AndréAciman’sbook(2007)ofthe sametitle,thetwomaincharacters (ElioandOliver)spendtimedancing aroundtheirstrongfeelingsforeach otherduringalanguidsummerinItaly. Inonescene,theaudienceis confrontedbytheprovocation:“isit bettertospeakortodie?”–questioning whetheritisbettertohideyourfeelings orembracevulnerabilitybyexpressing them,whileknowingthattheremaybe muchatstake(includingthepossibility ofheartbreak).Inareal-lifecontext, memoirist,poet,andactivistMaya Angeloumemorablysaidthat“thereis

nogreateragonythanbearingan untoldstoryinsideofyou” Toputit differently,whilethereisvulnerabilityin sincerelyexpressingyourself,deciding notto*may*beamuchmorepainful choiceinthelongrun.Whenthinking aboutthatwithlayla-roxannehill,we alsofoundourselveswritingabout “softness”:

Thereissoftnessinvulnerability–choosingtobeopenwithanothersoul: holdingandbeingheld,movingfrom longingtoloving Softnessistrulyfound inglimmersofstillness,connectionsand movementsthatarefarremovedfroma fixationonmoney,materialism,orthe constantcycleofbuzzymedia Softness canbefreeing.

Indeed,therecanbemuchsoftness andvulnerabilityinbeingsincereand openaboutwho/howyoureallyare–somethingthathasbeenalludedtoin mediacommentariesontheenduring powerofFrankOcean’smusic.This includesheadlinessuchas“WhyFrank Ocean’sVulnerabilityIssoRadical”by BrittJulious–justoneofmanypieces whichsignalsthatBlacksingersongwritersassociatedwithR&B,rap, andwhomovebeyondtheimagined boundariesofgenres,undoubtedlycan anddocreatemusicthatisintensely andinspirationallyemotionallyopen andexpressive Whetherit’stheworkof Ocean,orthatofRonnieSpector–whoseoneofakindvocalsarepartof thecommandingvulnerabilityof“Be MyBaby”(1973)byTheRonettes(which sheco-founded),themusicofBlack peopleisemotionallystriking But,as thewordsofSpectorontheearlydays ofTheRonettespointto,suchmusic isn’talwayssupported:“Wewerejust threemorerockandrollsingers,and kidsatthat.Andinthosedaysthat didn’tearnyoumuchrespect”.

Onthetopicofemotionalsincerity, music,andlife,DazedCultureEditor HalimaJibrilwroteapowerfulpieceon singer-songwriter“EthelCainsayswe areinanironyepidemic–issheright?”: “[i]nrecentyears,I’venoticedthat,asa culture,westruggletoengagesincerely withart–orwithlife(atleast,that’show itseemsonline)”

Tacklingsimilarthemesaspartofa boldpieceon“TheEndofSeriousness”, scholarandwriterLaurenMichele Jacksondescribesthecurrentstateof “thesocialinternet” Jacksondiscusses a “strainofhumour”that“isnottoo coolforschool;it’sdesperate.Itsays, LOLthat’scrazy,emphasisontheLOL, beforemovingalong.Thispostureof unseriousnesspervadesinstitutional andindividualchannelsalike”, distancingpeoplefromdealingwith theseverityofsocial,political,and planetaryissues.ToreturntoJibril’s piece:“[s]ometimes,thingsareserious. Noteverythingneedstobeturnedinto ajoke”–fromexpressingconcernor askingforhelp,tosaying,andreally meaning,“Imissyou” Inthewordsof KeleOkereke(ofBlocParty), “[t]endernessisimportant”.

“ALLISWELL!”and“IMISSYOU”graffiti inGlasgow,Scotland,February27,2025. (PhotobyFrancescaSobande)

Thephysicalactofcringingcanmean tobendyourheadortoangleyour bodyinapprehension,fear,disgust, unease,oradeferentialdisplayof respect.Tocringecanbetophysically recoil–moveawayfromsomethingor someonebecauseoffeelingsof distress,discomfort,orduty.As discussedearlieron,nowadays“cringe” iscommonlyusedtoimplythat someoneorsomethingis“notcool”

Commonusesoftheconceptsof “coolness”versus“cringe(y)”tellus muchabout(dis)connections betweensincerity,silliness,and self(consciousness)inourcurrent times Self-consciousnessandangst, whichcovermuchmorethanjustthe conceptof“cringe”,canbepartof manypeople’slives.

However,inequalitiesimpactwhoismost likelytonotjustbedismissedas“cringe” or “uncool”buttotrulybetreatedasan oppressedoutsiderwhoseemotionsare disregarded

DearDiary,My(Teenage)AngstHasa MySpaceAccount

Thefearofseeming“cringe”is foregroundedindigitalcultureandwider society’sobsessionwithvisibilityand image(s) Acaseinpointisthenormalised ideaofneedingtohavean“online presence ”,butalsonotbe“tooonline”, whichispushedbymanyindividualsand institutions

Onsocialmediasitesandplatformssuch asInstagram,TikTokandBeRealthereis contentthatpointstowardsthepressure tobeperceivedas“authentic”–apressure thattendstobecoupledwithimposing ideasaboutnotseeming“toointense”, “tooself-aware”,“tooself-assured”,“too keen”,and/or“tooserious” Basically, dependingonwho/howyouare,you mayfacetheprospectofbeingperceived asmore “performative”,“desperate”or uncomfortably“polished”,than“natural”, “chill”,andprettymuch,someversionof “cool”

TooncemorerevisitthewordsofJenessa Williams,“[i]ntheageofsocialmediaand self-consciousonlineself-representation”, manypeoplemaybeconcernedabout howtheyareperceived–bothonlineand offline Itmayseemglibtosimplysay “whocares”,butthemuchmemedimage ofGirls(2012–2017)actorJemimaKirke sayingassuchissometimesapplicable:“I thinkyouguysmightbethinkingabout yourselvestoomuch”.Thenagain,given thestrongfocusonpublicimageon socialmediaandinsociety,itisno wonderthatmanypeoplefeelcertain desiresandoverwhelmingpressuresto (not)beperceived.

Muchworkhastackledthetrappingsof theconceptof“authenticity” Inthebook TheInfluencerIndustry:TheQuestfor AuthenticityonSocialMedia,EmilyHund

suggeststhat“inanincreasingly fracturedandprofit-driven communicationsenvironment,the peoplewethinkofas‘real’aremerely thosewhohavelearnedtoexploitthe industry’sever-shiftingconstructions ofauthenticity” Longgonearethe earlydaysofbloggingsitessuchas LiveJournal,andatimewhen predominantlytext-basedonline forumswerethemainstayofsocial media

Now,digitalexperiencesinvolvean emphasisonbeing“seen”,butnottoo muchandnotfortoolong(e.g.,social mediafunctionsthataidseemingly short-livedcontent,suchasInstagram stories) So,asPellynotes,makingand listeningtomusictodayisoften stymiedbyacapitalistsystemwhere “artisconflatedwithcontent”,and musiciansareexpectedtobecontent creators(even,firstandforemost). WithAnamikSahaandDavid Hesmondhalgh,I’velookedatthis (andracism’sroleintypesofonline (in)visibility),aspartofresearchon “Black,BrownandAsiancultural workers,creativityandactivism:The ambivalenceofdigitalself-branding practices” Whilemusicianscanface troublingpressurestocreateand sharesocialmediacontent, sometimesusingsuchplatformsis helpfultotheirworkandexperiences ofcreativeself-expression.

ButasHundputsit:“[t]henotionthat rewardsawaitthosewhocraftan authentic-seemingpublicimagehas existedforcenturies,andithasbeen particularlysalientinAmerican entrepreneurialculture”. Intoday’sintenselydigitallymediated world,perceptionsof thealleged authenticityofaperson’s(online) imagearesometimesshapedby perceptionsoftheplatform(s)that theyrepresentthemselveson.Aclear exampleofthisisthebrandingof BeReal,whichevenhasanamethat marksitsintentiontobeinterpreted ashelpingpeopletocreateacandid capturingoftheirreality

So,whenthinkingabouttheideaof“cringe” andhowitisconstructedandcontested online,itisusefultorecognisethatsome strandsofsocialmediatendtobethought ofasbeingmore“cringe”thanothers.

UnlikeFacebookwhichissometimes spokenaboutasbeingaspaceforageing “normies”andneighboursreportingon locallife,TikTokistypicallytreatedastrendy /trendingandyouth-oriented,withmoreof afocusonaglobalreach.Furtherbackin thehistoryofsocialmedia,asLincoln observes,MySpace–oncesynonymouswith much“alt”music–“quicklybecamethe ‘cool’spaceforteenagerstobe,withBebo soonbeingregardedastheyoungersibling, akindof‘rehearsalspace’apre-teenwould engageinbeforeprogressingtothemore teenageMySpace”

Doechiiatthe36thAnnual GLAADMediaAwardsheldatThe BeverlyHiltononMarch27,2025 inLosAngeles,California.(Photo byChristopherPolk/Varietyvia GettyImages)

AstheworkofLeslieandKelleynotes, MySpaceisrememberedashaving“even haditsownrecordlabel,whichin2005 releaseditsfirstalbum:acollectionof–who’dathunkit?–mainstreamemobands” Detailingdimensionsofsocialmediaand bedroomculture,Lincolnstates:“MySpace didn’tholditscacheas‘thecoolspaceto be’forlong”.Facebook’s“coolness”would eventuallycrumbletoo.

Ineffect,dependingonwheresomeone postsaboutthemselvesonline,theremay beagreaterlikelihoodofthembeing thoughtofas“cringe”duetothe (fluctuating)reputationofaparticular platform,ratherthanjustdueto perceptionsofthatperson.Itcan sometimesbeeasytolaughoffhowideas about“cringe”circulateonline,buttheways thatpeopleexperienceanxiety,including, butnotlimitedto,thefearofhowtheyare perceivedbyotherpeople,canmajorlyand detrimentallyimpactthem.Attendingto suchmattersandmuchmore,CardiffbasedHeadsAboveTheWaves,“anot-forprofit”,dowork“thatraisesawarenessof depressionandself-harminyoungpeople”, andawarenessofexperiencesofpanic attacksandanxiety.

Intheworldofmusic,inMarch2025,rapper andsongwriterDoechiireleased“Anxiety”–asongoriginallyself-releasedin2019,but whichwasrereleasedfollowingsupport vocalisedonline

Aptlytitled,itaddressesthemes relatedtoanxietyandassociated feelings,suchasbeing overwhelmedbyacutelyintense pressuresandexpectationsof you,whiledealingwith debilitatingformsofself-scrutiny Sampling“SomebodyThatIUsed toKnow”(2011)byGotye,Anxiety (2025)mightbethoughtofas conjuringsomeofthesentiments ofthatprevioussong This includesamixofmoodsthatcan bedescribedascontemplative andmelancholicyetbolsteringin theirmelodicanddirect expressionofdifficultfeelingsof beingperceivedandpressured byothers Additionally,“Anxiety” (2025)tacklestoxicelementsof themusicandmediaindustry–wherethewords“quietonset” maytakeondifferentmeanings contouredbystructuralsilences, suchassilencesaboutabuse, harm,andculturesofconstant overwork

Withlyricsthatacknowledgethe tormentofhowanxietycreeps intodailylife,“Anxiety”(2025)is oneofseveralhigh-profilesongs onthistopicbyBlackwomenin recentyears Amongtheseisa 2022songofthesamenameby MeganTheeStallion

Thishasresultedinparallelsbeingmade betweenthetwosongs,whilealso affirmingtheimportanceandindividuality ofeach,andtheircollectiveimpactby centeringBlackwomen’sanxieties

AsEmma-LeeAmponsahandIwroteon thesubjectof“demands,displays,and dreamsof‘Blackjoy’”,andwhendrawing ontheworkofSamaraLintonandRianna WalcottonTheColourofMadness:“the concerns,angst,emotions,andmental healthandwell-beingofBlackpeopleare oftenstigmatised,ifnotoutright pathologisedandpoliced”.When acknowledgingthisandthatBlack people’sexperiencesarerarely foregroundedinsocietalconversations aboutanxiety,itissignificantthatboth DoechiiandMeganTheeStallionhave directlyaddressedthattopicthroughtheir creativework.Suchsongsandothersare alsotestamenttohowtheopenexpression ofemotionalvulnerability–sometimesalso referredtousingtheshorthand“emo”,even ifitdepartsfromthegenreitself–isfarfrom beingsolelyreservedtothecontentof musicdeemedpartofthe“emo”genre

“Wewerethereaswell”:Experiencing EmoandPost-Hardcore(ThenandNow)

Asmentionedthroughoutthiszine,Angie Larrier,whocontributedtotheMuseumof YouthCulture’sexhibition“I’mNotOkay: AnEmoRetrospective”,generouslyagreed tospeakwithme.Ourdiscussiontouched onthepast,present,andfutureofemo

InAngie’swordsaboutemointhe early2000s,“thattime…wewere thereaswell”.Duringour conversationAngiereflectedon Blackpeople’sexperiencesof emo,punk,and“alt-ness”,then andnow:“Inoticethatonsocial media[now],sayonTikTok,Istill seethesameracistcomments [frombackthen]towardskids, saying‘Blackpeoplecan’tbe goth,can’tbeemo’ thesame thingsarereiterated ”

Expandingonthedifferentways thatBlackpeoplein“alt”music spacesareperceived,including pressuresto(not)lookacertain way,Angiesaid:

whenIwas12/13 IwatchedAfro Punk(2003)thedocumentary andthatcompletelychangedmy perspective onescenethatsticks inmymindistherewasalady showingabook…aphotography bookofAfricanpeopleandthey hadstretchedearsandtattoos andshewassaying“I’mjustdoing whatactuallycomesnaturallyto me[whenhavingalooklikethat]”

WritingabouttheoriginsofAfroPunkintheEditors’Notesofthe bookBlackPunkNow:Fiction, Non-FictionandComics,ChrisL. Terrystates:

Afro-Punkgaveusamuchneededframeworkfor conversation.InthespiritofDIY,I usedthedocumentaryasa springboardtobuildaBlack communitywithinthescene.It wasworking.Foryearsinthemid ‘00s,Blackalternativekidsfrom allaroundthecountry[intheUS, andeventually,beyond]would eagerlyanticipateAfro-Punk events Thebandswerethefans andthefanswerethebands

AstherelatedreflectionsofAngie highlight,Blackpeoplearepartof emo ’spast,andother interconnected“alt”genressuch asscreamo,hardcore,andposthardcore.

Musiccanbeaspacetodwell,exhale, andfeelheld AsHeatherLeigh describesitinanintroductiontothe evocativeeditedcollection,This Woman’sWork:EssaysonMusic, “Musiccatchesyou”.Butbeingcaught bymusicdoesn’tmeanbeing acceptedbyeveryoneinitsscene

IntheincomparablebookTheyCan’t KillUsUntilTheyKillUs,Hanif Abdurraqibdetailssomeofthe (un)seenand(un)spokenabout momentsthatcanbepartofbeing Blackat/inpunkrock Inthatwork, Abdurraqibacknowledgednot remembering“thefirsttimeIhearda racistjokeatapunkrockshow”.Ina chaptertitled“Iwasn’there,Iwasborn: survivingpunkrocklongenoughto findafropunk”,andnaming oppressionwithinamusicgenreheld dear,theauthorwrote:“Butevenina genrethatpridesitselfonsimplicity, thecomplexitiesoferasureand invisibilityinpunkrockgodeep”. Abdurraqibgoesontodiscussthe meaningfulnessofAfropunkFestival, statingthatwhile“Afropunkbyitself isn’tgoingtosaveus,ordismantlea racistworld”,“[w]henIleftthelast AfropunkfestivalIwentto,I rememberedthatIwasn’talone”.

Thecreation,guardinganddefenseofthe boundariesofmusicgenrescanreinforce oppressiveideas,notonlyaboutmusic,but alsoaboutemotionsandpeople Additionally,asAngie’sremarkssuggest, despitehow‘thelook’of“alt”musicis sometimesframedaswhite,manyelements ofaestheticsandstylesassociatedwithit connecttoAfrican/Blackdiasporiccultures

AsAngiespokeabout,evenpartsofthe actualsoundofemo,post-hardcoreand metalmusicareinfluencedbygenresthat stemmedfromtheworkofBlackpeople: “SomethingthatIdonotthinkgetsspoken aboutisthatthere’salotofthoseposthardcorebandsthathadthatalmostR&B soundandthevocalswerelikegospelvocals, andthere’sacrossovertherestraightaway. Andobviouslynumetal,thecrossoverwas there”.Adifferentbutrelatedexampleisthe influenceofSade’smusiconChinoMoreno (ofDeftones) Beyondthat,manyhardcore andmetalcorebandsheavilydrawoncall andresponse(atraditionthatoriginatesin muchBlackmusicandinvokesaspiritual senseofcommunality)andbackingvocalists whoharmonicallyharkbacktoMotown.

StevieWonderwithsingersandfamily membersatBlackweirinCardiff,Wales,July 9,2025.(PhotobyFrancescaSobande)

Asamusicgenreandsubcultureassociated withdisaffectionwiththestatusquoandthe ideaofembracingbeinganoutsider,itis unsurprisingthatemoappealstomany differentpeoplewhohavebeen marginalisedinsociety,suchasdueto ableism,sexism,homophobia,transphobia, racism,classism,andxenophobia.Onthat topic,whenspeakingaboutBlackpeoplein emo,Angiesaid:“Ifeellikebecausewewere sodifferentalreadyandsointerestedin something…weweremorepassionateabout it”,leadingtothecontinuedcreationof engagingandhyper-focusedmediasuchas thepodcast“BlackPeopleLoveParamore”.

GraceJonesperformsonstage duringtheAfropunkFancyBallat CommodoreBarryParkonAugust 21,2015inBrooklyn,NewYork (PhotobyRogerKisby/GettyImages)

Emphasisingtheimportanceof acknowledgingthediverse experiencesofemofans,Angie commented:

Withthingsliketheexhibition[by MuseumofYouthCulture]it’snice toseepicturesofrealpeoplethat covermoreoflikearealistic experience causenoteverybody had‘thelook’youknow.People listenedtothemusic,theyenjoyed it,buttheydidn’t[all]look‘thatway’ andthatwasfine Itwasn’tallabout theperfecteyelinerandthatsortof stuff.

Onthecyclesofemobeing positionedas“cringe”versus“cool”, Angiesaid:

Ifeellikeitwillprobablyflipflop andflipflop[again] I’mnoticing thatgenerationallyaswell genz willsaythatmillennialsarecringe [laughs] I’mnoticingthatif millennialsorgenxareexcited aboutsomethingorreally enthusiasticaboutsomethinglike amusicfestival ontheflipside someoftheyoungergeneration tendtobelike‘that’scringe that’s nostalgia…youneedtogrowup’.

Aspointedoutbythatlight-hearted examplediscussedbyAngie,ideasabout “cringe”continuetobearticulatedin generationalwaysthataretiedtotheidea thatpeopleshouldgrowoutofcertain interests.Suchperspectivesarenotalways unreasonableorsimplyareflectionof rigidsocietalideasaboutageing.Yet sometimestheydoreinforcerestrictive ideasthatservetoupholdsimplistic notionsofgenerationsanddifferences betweenthem,playingintohow advertisersandmarketerstrytodefine,fix, andtargetdifferentdemographicsto pushproductsandmakeaprofit.

AsAngiespokeaboutduringour discussion,Blackpeople’sinvolvementin emoincludestheworkofartists, musicians,bandsandsingers,notonly fans(althoughsomepeoplemaybeall thosethings,andmore).Whenrecalling excitementwhenlearningaboutthe musicofFefeDobsonasanadult,Angie spokeabouthopingthatBlackchildren todaycanfindandexperiencethemusic andcreativeworkofmanyBlackpeople in“alt”spaces.

Undoubtedly,thereisnocompletely universalexperienceofanymusicgenre andsubculture,buttherearedominant and(often)discriminatorynarratives aboutwho/whatis(orisnot)partofit. Thefutureofemo,numetal,screamo, hardcore,post-hardcore,and“alt-ness” cannotbecompletelypredicted,butI echoAngie’shopesforBlackkidsfinding theirwaytoandthroughsuchmusicand theworldthatitispartof:

TheNONEatClwbIforBachin Cardiff,Wales,February14,2025. (PhotobyFrancescaSobande)

EdithVictoriaofMeetMeattheAltar performsatPineKnobMusicTheatre onAugust16,2023inClarkston, Michigan.(PhotobyScott Legato/GettyImages)

Ijusthopethatforthenextgeneration, thatsentimentaboutthemnotbeing whatever,goth,emo,punk…Ihopethat goesaway,atleasttothepointthatit’s notintheirTikTokcommentsor peoplebeingharassedandmadefun of.It’ssadtoseethat’snotreally disappearedmuch it’snicetoseethe nostalgiaandlookingbackandIhope thatpeoplepreservethatandnottwist whatthattimewasactuallylikeaswell, butI’malsoreallyexcitedtoseefuture bandsandthemusic,morethan ‘thelook’I’mexcitedtoseethe nextgeneration.

PolyStyreneofpunkbandX-Ray Spexperformsonstageatthe Roundhouse,London,England,on January15,1978.(PhotobyGus Stewart/Redferns)

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AllIWantedbyParamore,2009

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AmorousLovebyDevontéHynes,2020

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BackAndToTheLeftbyTexasistheReason,1996

BannedinD.C.byBadBrains,1982

BassbySoulside,1990

BeMyBabybyTheRonettes,1963

BenzobyBloodOrange,2019

BetterThanMebyBloodOrange,2016

BetweenWarsbyCro-Mags,2020

BirdSwimFishFlybyDrivel,2024

BirdsbyTurnstile,2025

BitebyFireParty,1996

BloodRedbyLandmvrks,2025

BlueLightbyBlocParty,2005

BlueLightbyHayleyWilliamsandKele(Paramore/BlocParty),2023

BrandNewColonybyThePostalService,2003

BrokenClocksbySZA,2017

CakebyFireParty,1996

CallousbyNVM,2021

CanwetalkaboutIsaac?byRachelChinouriri,2025

CaramelbySleepToken,2025

careless(featuringDanielCaesar)byFKATwigs,2022

CloserbyKele,2014

ComparedtoWhatbyRobertaFlack,1969

CompletedbyDurandBernarr,2025

ContinentalDriftbyImanigold,2021

CranesintheSkybySolange,2016

CreaturebyLANDMVRKS,2025

CrystalClearbyHayleyWilliams,2020

CutbySweetPill,2022

Desoleil(BrilliantCorners)byLoyleCarner(featuringSampha),2019

Don’tReachForMebyKnockedLoose,2024

DoYouKnowWhoYouAre?byTexasistheReason,1996

DoYou?//Tori’sBalladbyMarigold,2023

DogSongbySweetPill,2022

DonchanobySteveLacy,2020

DownYourBodybyFLAKE,2025

DreamNo9byBigJoanie,2014

DreamsbyInfinitySong, 2023

DualitybySlipknot, 2004

EasiertoRunbyLinkinPark,2003

EscapeArtistsNeverDiebyFuneralforaFriend,2003

EverydayPeoplebySlyandTheFamilyStone,1969

feelathomebyLoyleCarner,2025

FinebyLEMFRECK,2025

ForTheWorkforce,DrowningbyThursday,2003

ForgivenessbyL.S.Dunes,2025

FreebyLittleSimz,2025

F.U.B.U.(feat.TheDream&BJTheChicagoKid)bySolange,2016

GiftedEveryStrengthbyLoathe,2025

Girlby(ft.KAYTRANADA)byTheInternet,2015

GoodDaysbySZA,2020

GrandTheftAutumn/WhereIsYourBoybyFallOutBoy,2003

GuitarandVideoGamesbySunnyDayRealEstate,1998

HandsDownbyDashboardConfessional,2001

HeartStatus-FreestylebyDeyah,2021

HeavyIstheHeadThatFallswiththeWeightofaThousandThoughtsbyLoathe,2020

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HeroinebyFromFirsttoLast,2006

HighHopesbySweetPill,2022

HISSbyMeganTheeStallion,2024

HitDifferentxGoodDays(acoustic)bySZA,2020

Honestly?byAmericanFootball,1999

HopeKillsFearbyRacetraitor,1999

howwillirestinpeaceifi’mburiedbyahighway?byKennyHoopla,2020

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HushbyDeyah,2021

I’llTakeYouThere(encore)byMavisStaples,1995

ICanDreambySkunkAnansie,1995

ICarebyTurnstile,2025

ILetItInandItTookEverythingbyLoathe,2020

ILikeItILikeItbyMosesSumneyandHayleyWilliams,2025

IMissYoubyIncubus,1999

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InMyRoombyFrankOcean,2019

Interlude:TheGloryisinYoubySolange,2016

JesusFreakLighterbyBloodOrange,2022

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JustforMebyPinkPantheress,2021

JustLikeHeavenbyTheCure,1987

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Sailin’OnbyBadBrains,1982

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SecretlybySkunkAnansie,1999

SevenbySunnyDayRealEstate,1994

SetMeFreebyWickedWisdom,2006

SetYouFreebyFrightenedRabbit,2008

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ShowYouTheWay(feat.MichaelMcDonald&KennyLoggins)byThundercat,2017

SingAboutMe,I'mDyingOfThirstbyKendrickLamar,2012

SkydivebyPolyStyrene,1980

SoMyDarling(acoustic)byRachelChinouriri,2022

SomethingInsideOfMebyWickedWisdom,2006

SomewhereInBetweenbyBloodOrange,2025

SongAboutanAngelbySunnyDayRealEstate,1994

SonnybyFuneralforaFriend,2005

Soprano(LivewithNandiBushell)byNovaTwins,2025

SortedbyMavisPiggott,1998

SpareMebyAyeNako,2017

StayHomebyManchesterOrchestra,2024

StartTodaybyFallOutBoy,2005

straightouttheoven!bySPIDER,2024

StraightToHeartbyALTBLKERA,2025

StrangeFruitbyBillieHoliday,1939

StressedbyDoechii,2022

Sucks2SuckbyAlphaWolf(feat.Ice-T),2024

Suggestion(feat.AmyPickeringonvocals)byFugazi,1991

Sunday(Live/Acoustic)byBlocParty,2012

StuckinMyWays(feat.CoreyTaylor)byKidBookie,2021

TakeMeAway(FreakyFridayCover)byMeetMe@TheAltar,2023

TearItDownbyDrivel,2024

TenLittleGirlsbyCurve,1992

TERMS&CONDITIONSbyBadOmens,BobVylan,2024

TheDopeBeatRendition(feat.DanCampbell)byletlive,2013

TheFirstTimeEverISawYourFacebyRobertaFlack,1972

TheLoveWeMakebyPrince,1996

TheNextMovementbyTheRoots,1999

TheOneWiththeTambourine byAmericanFootball,1998

ThePresent(Live/Acoustic)byBlocParty,2005

TheRoseGoldHourbyincaseyouleave,2021

ThisistheBestDayEverbyMyChemicalRomance,2002

ThisLittleLightofMinebySisterRosettaTharpe,1960

ThisModernLovebyBlocParty,2005

ThisModernLove(Live/Acoustic)byBlocParty,2009

TheStrengthbyInferious,2024

TheSummerEnds(LiveAcoustic)byAmericanFootball,2015

ThotShitbyMeganTheeStallion,2021

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TodayWon’tGoDownInHistorybyEnterShikari,2007

Tonight(demoversion)byPinkPantheress,2025

ToybyYoungFathers,2018

TryAgainbyAaliyah,2000

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UnstoppablebySantigold,2008

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VisionofHeavenbyBlocParty,2024

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VsEverythingbyincaseyouleave,2021

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WarAlltheTimebyThursday,2003

WarriorinWoolworthsbyX-RaySpex,1978

WheneverbyMeganTheeStallion,2025

WhenTheBoughBreaksbySleepToken,2016

WhereDoYouGoToMyLovely?byWelfareHeroine,1992

WhereYouAre(feat.WILLOW)byPinkPantheress,2022

White(feat FrankOcean)byOddFuture,2012

WhiteLineRunawaysbyFefeDobson,2020

YesIt’sFuckingPoliticalbySkunkAnansie,1996

YouCanBeLowbyMavisPiggott,1995

You’llNeverWalkAlonebyArethaFranklin,1972