Tsk Tsk LA Times. I’d already done away with (500) Days of Summer a handful of weeks ago, and this is merely another exaggerated interpretation of “emo culture.” So on the one hand, I’d like to dissect it. But, I think the words clearly speak for themselves:
“500 Days” is, as far as genres go, a hybrid picture, something of an emo version of a romantic comedy: It disdains machismo, futurism, violence and volume in favor of subtlety and heartfelt, if often mumbled, emotion.
The one time Tom really runs afoul of Summer’s feelings is when he throws a punch at a guy who’s been hassling her at a bar (downtown’s highly photogenic Broadway Bar, by the way). Tom is one of a number of emo leading men to emerge from Hollywood this year, joining sensitive types in “Adventureland” and “Away We Go,” among other pictures. As Gawker noted this week, the cineplex has been full of “gentle, sensitive, geeky male outsiders with a love of Lou Reed and snug hoodies.”
With its very particular aesthetic point of view and calibrated tone, “(500) Days” shares much cultural ground not just with indie bands but with emo culture broadly defined — with journals like McSweeney’s (whose founder, Dave Eggers, cowrote “Away We Go”), radio programs like “This American Life” (whose host, Ira Glass, is Tom with chunky black glasses and a decade or two older) and so on.
Well, I wouldn’t expect an architecture critic to have a complete understanding of a cultural enigma like emo, and Christopher Hawthorne certainly proves that idea. He is, in effect, confusing sometimes fluid state of emo fans and indie culture, though all his descriptions match that of indie culture. Most “emos” – be they the Revolution Summer folks in the 80s, Fugazi’s punk-for-one-and-one-for-punk calls to arms of the late 80s through the aughts, hell even My Chemical Romance – don’t match Hawthorne’s description. Even the stereotypes of “emos” today – depressed punk youths with a fetish for self-violence – doesn’t match that description. Hawthorne’s words are of indie through and through, from a love of McSweeny’s right down to the Morrissey fandom from this quick spec on the movie.
Among the many camps, Morrissey tends to be tossed into the indie one, and Regina Spektor without question as well. Emo is always, always land of the punk, even if it is an extremely watered down version of that.
To break it down a little further and call it a night, sensitive does not always equal emo culture. Everyone has feelings, every music has some sort of emotional depth behind it (even if it is a shallow pit, there are some feelings elicited towards how hollow a music can be). THAT is one of many reasons numerous emo musicians diss the term and a reason that so many confuse the two.