emo
Evolving out of hardcore punk as a more artistic variation on the genre, emo became an important influence on underground rock by the late ’90s, receiving praise from both modern punks and indie-rockers.
Some emo artists express a more progressive musical style, utilizing complex guitar work, unconventional song structures, avant-garde noise, and extreme dynamic shifts; while some emo leans much more toward pop-punk, while being a bit more detailed. Read Full BioEvolving out of hardcore punk as a more artistic variation on the genre, emo became an important influence on underground rock by the late ’90s, receiving praise from both modern punks and indie-rockers.
Some emo artists express a more progressive musical style, utilizing complex guitar work, unconventional song structures, avant-garde noise, and extreme dynamic shifts; while some emo leans much more toward pop-punk, while being a bit more detailed.
Emo lyrics are profoundly personal, and are most of the time either free-associative poetry or intimate confessionals. Though it’s far less aggressively masculine, emo directly birthed from hardcore and therefore also concerns itself with authenticity and anti-commercialism; the genre grew out of the idea that commercial music was too artificial and calculated to express any true emotion. Because emo values authentic and deep emotion that defies rationality, the music can be a bit overexaggerated in its search for ever grander statements. But at its best, emo has a colossal power that manages to be emotional, inspiring, and intimate all at the same time.
The groundwork for emo was laid by Hüsker Dü’s classic Zen Arcade, which expanded the possibilities of hardcore bands to deal with more personal subject matter and write more melodic and technically challenging songs. Emo arose from Washington, D.C. a short while after, among the remains of the hardcore scene that had spawned Minor Threat and Bad Brains.
The word emo (or as it sometimes is called, emocore) was in the beginning used to describe hardcore bands that had frontmen who sang more eloquently instead of the usual shouts and rants; the first true emo band was Rites of Spring, which was then followed by ex-Minor Threat frontman Ian MacKaye’s short-lived Embrace.
The MacKaye-founded label Dischord Records became the center for D.C.’s evolving emo scene, as it released records by Rites of Spring, Dag Nasty, Nation of Ulysses, and eventually Ian MacKaye’s new band formed together with members from Rites of Spring, Fugazi.
Fugazi became the definitive early emo band, as they appealed to alternative rock listeners and received attention for their strictly anti-commercial ethics. Aside from Dischord, emo was in the beginning deeply underground, recorded by extremely short-lived bands and released in small amounts by small labels; some of these band’s vocalists actually wept onstage during song climaxes, earning ridicule from hardcore purists.
Not counting Fugazi, emo didn’t truly break out until the mid-’90s due to Sunny Day Real Estate, whose early records practically defined the style for many listeners. Taking the intricate guitar work of Fugazi and combining it with Seattle grunge, genuine prog-rock, and softly sentimental vocals, Sunny Day Real Estate created an immense legacy influencing many who related to their dramatic melodies and inward-looking mysticism.
Some of these listeners connected equally to the ironic, geeky introspection and catchy pop-punk of Weezer’s Pinkerton album.
Several artists and bands contined to build on the groundwork laid by Fugazi (like Quicksand and Drive Like Jehu), but most ’90s bands took inspiration from some combination of Fugazi, Sunny Day Real Estate, and Weezer.
Bands like the Promise Ring, the Get Up Kids, Braid, Texas Is the Reason, Jimmy Eat World, Joan of Arc, and Jets to Brazil also greatly influenced the [indie rock scene, thereby making emo one of the more popular underground rock styles by the turn of the millennium.
Some emo artists express a more progressive musical style, utilizing complex guitar work, unconventional song structures, avant-garde noise, and extreme dynamic shifts; while some emo leans much more toward pop-punk, while being a bit more detailed. Read Full BioEvolving out of hardcore punk as a more artistic variation on the genre, emo became an important influence on underground rock by the late ’90s, receiving praise from both modern punks and indie-rockers.
Some emo artists express a more progressive musical style, utilizing complex guitar work, unconventional song structures, avant-garde noise, and extreme dynamic shifts; while some emo leans much more toward pop-punk, while being a bit more detailed.
Emo lyrics are profoundly personal, and are most of the time either free-associative poetry or intimate confessionals. Though it’s far less aggressively masculine, emo directly birthed from hardcore and therefore also concerns itself with authenticity and anti-commercialism; the genre grew out of the idea that commercial music was too artificial and calculated to express any true emotion. Because emo values authentic and deep emotion that defies rationality, the music can be a bit overexaggerated in its search for ever grander statements. But at its best, emo has a colossal power that manages to be emotional, inspiring, and intimate all at the same time.
The groundwork for emo was laid by Hüsker Dü’s classic Zen Arcade, which expanded the possibilities of hardcore bands to deal with more personal subject matter and write more melodic and technically challenging songs. Emo arose from Washington, D.C. a short while after, among the remains of the hardcore scene that had spawned Minor Threat and Bad Brains.
The word emo (or as it sometimes is called, emocore) was in the beginning used to describe hardcore bands that had frontmen who sang more eloquently instead of the usual shouts and rants; the first true emo band was Rites of Spring, which was then followed by ex-Minor Threat frontman Ian MacKaye’s short-lived Embrace.
The MacKaye-founded label Dischord Records became the center for D.C.’s evolving emo scene, as it released records by Rites of Spring, Dag Nasty, Nation of Ulysses, and eventually Ian MacKaye’s new band formed together with members from Rites of Spring, Fugazi.
Fugazi became the definitive early emo band, as they appealed to alternative rock listeners and received attention for their strictly anti-commercial ethics. Aside from Dischord, emo was in the beginning deeply underground, recorded by extremely short-lived bands and released in small amounts by small labels; some of these band’s vocalists actually wept onstage during song climaxes, earning ridicule from hardcore purists.
Not counting Fugazi, emo didn’t truly break out until the mid-’90s due to Sunny Day Real Estate, whose early records practically defined the style for many listeners. Taking the intricate guitar work of Fugazi and combining it with Seattle grunge, genuine prog-rock, and softly sentimental vocals, Sunny Day Real Estate created an immense legacy influencing many who related to their dramatic melodies and inward-looking mysticism.
Some of these listeners connected equally to the ironic, geeky introspection and catchy pop-punk of Weezer’s Pinkerton album.
Several artists and bands contined to build on the groundwork laid by Fugazi (like Quicksand and Drive Like Jehu), but most ’90s bands took inspiration from some combination of Fugazi, Sunny Day Real Estate, and Weezer.
Bands like the Promise Ring, the Get Up Kids, Braid, Texas Is the Reason, Jimmy Eat World, Joan of Arc, and Jets to Brazil also greatly influenced the [indie rock scene, thereby making emo one of the more popular underground rock styles by the turn of the millennium.
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Misery Business
Paramore Lyrics
Hit that, hit that snare
I'm in the business of misery, let's take it from the top
She's got a body like an hourglass, that's ticking like a clock
It's a matter of time before we all run out
When I thought he was mine, she caught him by the mouth
I waited eight long months
She finally set him free
I told him I couldn't lie, he was the only one for me
Two weeks and we had caught on fire
She's got it out for me, but I wear the biggest smile
Whoa, I never meant to brag
But I got him where I want him now
Whoa, it was never my intention to brag
To steal it all away from you now
But God, does it feel so good
'Cause I got him where I want him now
And if you could, then you know you would
'Cause God, it just feels so
It just feels so good
Second chances they don't ever matter, people never change
Once a whore, you're nothing more, I'm sorry that'll never change
And about forgiveness, we're both supposed to have exchanged
I'm sorry honey, but I passed it up, now look this way
Well, there's a million other girls who do it just like you
Looking as innocent as possible to get to who
They want and what they like, it's easy if you do it right
Well I refuse, I refuse, I refuse!
Whoa, I never meant to brag
But I got him where I want him now
Whoa, it was never my intention to brag
To steal it all away from you now
But God, does it feel so good
'Cause I got him where I want him right now
And if you could, then you know you would
'Cause God, it just feels so
It just feels so good
I watched his wildest dreams come true
And not one of them involving you
Just watch my wildest dreams come true
Not one of them involving
Whoa, well I never meant to brag
But I got him where I want him now
Whoa, I never meant to brag
But I got him where I want him now
Whoa, it was never my intention to brag
To steal it all away from you now
But God, does it feel so good
'Cause I got him where I want him now
And if you could, then you know you would
'Cause God, it just feels so
It just feels so good
Lyrics © Warner Chappell Music, Inc.
Written by: Joshua Neil Farro, Hayley Nichole Williams
Lyrics Licensed & Provided by LyricFind
To comment on specific lyrics, highlight them
Amber Dawn Steeves
I'm in the business of misery
Let's take it from the top
She's got a body like an hourglass, it's ticking like a clock
It's a matter of time before we all run out
When I thought he was mine, she caught him by the mouth
I waited eight long months, she finally set him free
I told him I couldn't lie, he was the only one for me
Two weeks and we had caught on fire
She's got it out for me, but I wear the biggest smile
Whoa, I never meant to brag
But I got him where I want him now
Whoa, it was never my intention to brag
To steal it all away from you now
But God, does it feel so good
'Cause I got him where I want him now
And if you could, then you know you would
'Cause God it just feels so
It just feels so good
Second chances they don't ever matter, people never change
Once a whore, you're nothing more
I'm sorry, that'll never change
And about forgiveness, we're both supposed to have exchanged
I'm sorry, honey, but I passed it up, now look this way
Well, there's a million other girls who do it just like you
Looking as innocent as possible to get to who
They want and what they want, it's easy if you do it right
Well I refuse, I refuse, I refuse
Whoa, I never meant to brag
But I got him where I want him now
Whoa, it was never my intention to brag
To steal it all away from you now
But God, does it feel so good
'Cause I got him where I want him right now
And if you could, then you know you would
'Cause God, it just feels so
It just feels so good.
💜💙💚💛🧡❤️🌍
TSYDNYK
Ok, confession time. I hated this song for a really long time, I was a metal head who studied music theory and looked down on “pop” music for its simplicity.
But then that Olivia what’s-her-face song comes out and I noticed she ripped off a melody from Misery Business. (This is where I become a hypocrite and realize the how good this song actually is.)
I inform my wife that this teen pop star ripped off Paramore, then (cynically) started listing the ways Paramore’s misery business is a superior song.
At this point I realized Paramore was actually a really good band with an original sound, clever lyrics, and had beautiful powerful vocals.
I realize now that I hated Paramore because of this music video. It gave me the impression that Hayley was just a more edgy version of Avril Lavigne, but now I see this is clearly not the case. If for some reason your still reading- take it from someone who listens to the most pretentious genres of music- this is a damn good song.
Adeline Pach
i miss this era
Leah Hembree
I was really big into Paramore in middle school. It definitely reminds me of my middle school days 😩
Leah Hembree
@Julie L. I'll be 26 this year! Lol! I remember being a little girl when this song came out and dancing around with my best friend in her living room while watching the music video over and over again 😂💛
Julie L.
@Leah Hembree just out of curiosity, how old are you? 😂 I still can’t believe this song came out 14 years ago
RM NaufalR
ya, me too
Joao Silva
Me too
Megs
I forgot how strong the "not like other girls" energy of this video was.
homekeys
@Ducc._ yeah so basically i said gamers r misogynists. are u trying to argue that u, someone who is unaffected by misogyny, didnt notice it therefore its not an issue? or are u misreading me
Ducc._
@homekeys “gamers aren’t girlhaty they’re just misogynists”
homekeys
@Ducc._ what? i wasnt implying that gamers arent misogynistic lol