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suns and new orleans in semi-final of the playoffs

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WILD ABOUT GADGET(TOP GADGET FOR ME)

The Nokia N95 (N95-1, internally known as RM-159) is a flagship smartphone produced by Nokia. It is part of the company’s Nseries line of smartphones. The N95 runs on Symbian OS v9.2, with an S60 3rd Edition platform with Feature Pack 1. The phone uses a two-way slider to access either media playback buttons or a numeric keypad. Three newer versions have also been released: the upgraded N95 8GB (N95-2), the N95-3, which adds 3G support for North America, and the N95-4 which is an America-targeted version of the N95-2.

History

The phone was unveiled in September 2006 and was released at the end of March 2007. Nokia heavily promoted this phone using the tagline “It’s what computers have become”, along with similar lines such as “It’s what cameras have become”. They also used the slogan “There’s a thing in my pocket” in both television adverts and on the phone’s Nseries website.

On March 22, 2007 Nokia announced that the N95 had started shipping in key European, Asian and Middle Eastern markets.^[1]

On April 7, 2007, the N95 went on sale in the United States through Nokia’s Flagship stores in New York and Chicago and through Nokia’s nseries.com website. No US carriers are expected to offer this phone.

On August 29, 2007, two updated versions of the N95 were announced at a press event in London; first, the N95-3, specifically created for the North American market (thus being called N95 NAM, standing for “North American Model”) with support for AT&T Mobility’s 850/1900 MHz W-CDMA (3G/UMTS, 3.5G/HSDPA) bands instead of the original European/Asian 2100 MHz frequency; second, the N95 8GB, an updated version for the European/Asian markets with 8GB of onboard flash memory, slightly larger screen (up from 2.6 inches to 2.8 inches), and a black faceplate instead of the original silver. Both the new versions have additional changes, such as the removal of the sliding lens cover for the camera, improved battery life, and doubling of runtime memory (RAM) from 64 to 128 MB. ^{[2] [3] [4] [5]} The U.S. version started retailing without carrier branding or discounts in Nokia’s flagship stores in New York and Chicago on September 26, 2007^{[6] [7]}; however it is unclear whether this phone will eventually be carried by AT&T Mobility. Also, there is no word yet on a version for the T-Mobile U.S. 1700/2100 MHz W-CDMA bands.

Later, on January 7, 2008, Nokia announced the N95-4, which is the inevitable 8Gb version of the N95-3. The phone got its FCC approval in January 30, and is slated to be launched some time in February 2008.

Nokia N95 handsets supplied by Orange and Vodafone in the UK have the VoIP facility disabled from the phone by installing their own firmware and not using the Nokia generic software. Vodafone’s reason for removing the facility was that it “does not believe it’s a mature technology”^[8]. O2, T-Mobile & 3 allow VoIP to be used on their handsets, however data charges may apply when using the service.

[edit] Features

The Nokia N95 open

[edit] Integrated GPS

The N95 contains an integrated GPS receiver which is located below the 0 key on the keypad. The phone ships with Nokia Maps navigation software. Maps are free and can be downloaded either over the air (via a carrier’s data packet network) or through the phone’s built-in WiFi. Maps can also be downloaded via a PC using the Nokia MapLoader application. To use voice navigation within Nokia Maps a license needs to be purchased from Nokia. Individual city guides are also available for purchase. A-GPS was added later, which greatly improved the initial positioning time.

[edit] Multimedia abilities

The N95’s dedicated multimedia keys are accessed via the 2-way slider

The N95 is a music player. It supports MP3, WMA, RealAudio, SP-MIDI, AAC+, eAAC+, MIDI, AMR and M4A. Its two-way slider, when slid towards the keypad, allows access to its media playback buttons. A standard 3.5 mm jack is located on the left side of the phone and allows the user to connect any standard headphones to the unit; a user can also use Bluetooth for audio output using A2DP. The device features built-in stereo speakers. The N95 is also capable of playing videos through the included RealPlayer application. Videos can also be played through the TV-out feature. TV-out is a special graphics chip and companion utility that allows users to connect the smartphone using the supplied composite cable to any TV or audiovisual device. Its aim is to let you demo your photos and videos on a large screen, but internet, video games and music can also be used. The N95’s built in UPnP capabilites allow the user to share the phones’ digital media over a WLAN network. This provides easy access to the photos, music and videos stored on the phone and also enables media to be downloaded from other UPnP capable devices on the network.

[edit] Internet

The N95 has built-in Wi-Fi, with which it can access the Internet (through a 802.11b/g wireless network). The N95 can also connect to the Internet through a carrier packet data network such as UMTS, HSDPA, or EDGE. The web browser displays full web pages as opposed to simplified pages as on most other phones. Web pages may be viewed in portrait or landscape mode and automatic zooming is supported. The N95 also has Bluetooth built in and works with wireless earpieces that use Bluetooth 2.0 technology and for file transfer.

It should be noted that the original N95 does not support US based versions of UMTS/HSDPA; UMTS features in this version of this phone are disabled by default as sold in the US (but can be reactivated if needed). Likewise, the forthcoming N95 U.S. will only support AT&T’s 850/1900 MHz UMTS/HSDPA bands, not the 1700 MHz T-Mobile USA band or the 2100 MHz band used internationally.

The phone can also act as a WAN access point allowing a tethered PC access to a carrier’s packet data network. VoIP software and functionality is also included with the phone (though some carriers have opted to remove this feature).

[edit] Accelerometer

The N95 includes a built-in accelerometer. This was originally only used for video stabilization and photo orientation (to keep landscape or portrait shots oriented as taken).

Nokia Research Center has recently allowed an application interface directly to the accelerometer, allowing software to use the data from it. Nokia has released an application to demonstrate this.^{[9] [10]}

Third-party programs have already begun to appear, including RotateMe,^[11] which will automatically change the screen orientation when the phone is tilted^[12] and Lightsaber, which causes the phone to make the sounds of the Star Wars Lightsaber when waved through the air.^[13] Another third-party program which has also used the built-in accelerometer is Glogger VS2 ^[14], a camera application which can automatically detect camera shake and reduce the possibility of taking a blurry image. ^[15] Applications which use the Accelerometer include:

- RotateMe – Automatically rotates screen when phone is tilted (Landscape 180 only works on newest firmware)
- Glogger – Records a person’s entire life, taking pictures at the optimum times when camera shake is lowest.
- Nokmote – D-Pad interface when phone is tilted in D-Pad directions
- ShutUp – Silences phone when turned over. Also allows ending of calls by sliding down
- Inclinometer – Shows visual representation on screen of angles of tilt. Can be used in a car.
- Niime – Uses N95 Accelerometer to control movement of PC mouse.
- ShakeMe (Alpha 2) – Depending on its settings, it can lock the keypad, toggle bluetooth, turn on the backlight, and activate or deactivate the Silent Profile.
- ShakeLock – Locks phone when shaken (Only works on newest firmware)

[edit] Specification sheet

Feature	Specification
Form factor	Two-way slider
Operating System	Symbian OS v9.2, S60 3rd Edition, Feature Pack 1
Screen	QVGA Matrix, diagonal 2.6″, 16 million colours, 240×320 pixels (0.08 Megapixels)
CPU	2 x Texas Instruments OMAP 2420 (ARM architecture 11 based) – 332 MHz, PowerVR features (2D/3D accelerator) and High Speed Peripheral Interconnect.
Internal Dynamic Memory (RAM)	64 MB
Internal Flash Memory	160 MB
Camera	Frontal CIF video call & Main rear 5 Megapixel camera with auto-focus, Carl Zeiss optics
Video recording	Yes, MPEG-4 VGA (640×480) video capture of up to 30 fps
Graphics	Fully HW accelerated 3D (OpenGL ES 1.1, HW accelerated Java 3D)
Memory card slot	Yes, microSD/microSDHC
Bluetooth	Yes, 2.0 + EDR
Wi-Fi	Yes, with wireless LAN (802.11 b/g) and UPnP (Universal Plug and Play)
Infrared	Yes
Data cable support	Yes, USB 2.0 Full Speed via mini USB port
Email	Yes (ActiveSync, POP3, IMAP4 and SMTP, with SSL/TLS)
Music player	Yes, Stereo speakers with 3D audio
Radio	Yes, Stereo FM Radio and Visual Radio – headphones or hands-free required for aerial
Video Player	Yes
Polyphonic tones	Yes, 72 chords
Ringtones	Yes, MP3/AAC/AAC+/eAAC+/WMA/M4A, RealAudio
HF speakerphone	Yes, with 3.5 mm audio jack and A2DP wireless stereo headphone support
Offline mode	Yes
Battery	BL-5F (950 mAh)
Talk time	up to 160 min (WCDMA), up to 240 min (GSM)
Standby time	up to 215 hours

[edit] Variations

[edit] N95 8GB (N95-2)

The N95 8GB

A revision of the N95, called N95 8GB (N95-2, internally known as RM-320), was announced on August 29 2007 and began shipping on October 15 2007^[16].

The changes compared to the regular version are:

• 8 GB internal flash memory, up from 128 MB.
• Larger display (2.8″, up from 2.6″), same pixel count (320×240), lower resolution (142dpi vs 153dpi).
• MicroSD slot removed
• Demand paging (although the N95 supports this too, since firmware version 20.0.015^[17])
• 128 MB RAM, up from 64 MB
• 1200 mAh battery (BL-6F), up from 950 mAh
• Slider protecting camera lens removed to make room for the larger battery
• Cosmetic changes to media and front-panel buttons
• New model of handsfree/remote control, AD-54^[18] (as opposed to AD-43^[19] for previous N95 versions)
• New multimedia menu, with Nokia’s Ovi content integration
• Removal of built-in video editor (later added with the firmware upgrades)
• Mass: 128g, up 8g from 120g
• User Data Preservation (UDP) like in the Nokia N82 (since firmware version 20.0.016)
• Automatic Screen Rotation (ASR) without any third-party software like in the Nokia N82 (since firmware version 20.0.016)

[edit] N95 NAM (N95-3)

The Nokia N95-3 is a revision of the N95 designed specifically for the North American market (internally known as RM-160). It is also available in Australia.

The following was changed from the original version:

• 128 MB RAM, up from 64 MB.
• WCDMA (HSDPA) 850 and 1900 MHz , instead of 2100 MHz .
• 1200 mAh battery, up from 950 mAh.
• Talk time up to 190 min (WCDMA), up to 250 min (GSM).
• Slider protecting camera lens removed to make room for the larger battery.
• Cosmetic changes to media buttons.
• Height: 2.05 cm, down from 2.10 cm.
• Mass: 125 g, up from 120 g.
• White keyboard light instead blue for visibility improvement.

[edit] N95 8GB NAM (N95-4)

The Nokia N95-4 (internally known as RM-421) is the American 3G-compatible version of the N95-2.

[edit] Versions comparisons

This table lists only the specifications that differ between versions of the N95 models. (Most details in this table are from ^{[20] [21] [22]}.)

Feature	N95 (N95-1)	N95 8GB (N95-2)	N95 NAM (N95-3)	N95 8GB NAM (N95-4)
Release date	March 2007	August 2007	September 2007	Jan 2008
WCDMA frequencies	2100 MHz	2100 MHz	850/1900 MHz	850/1900 MHz
North / Latin America	no	no	yes	yes
Internal Dynamic Memory (RAM)	64 MB	128 MB	128 MB	128 MB
Internal Flash Memory	160 MB	8 GB	160 MB	8 GB
Memory card slot	micro SD	none	micro SD	none
Battery	950 mAh	1200 mAh	1200 mAh	1200 mAh
Talk time (GSM)	4 hr	5 hr	5 hr
Standby time (GSM)	9.3 days	11.6 days	10.4 days
Screen	diagonal 2.6″	diagonal 2.8″	diagonal 2.6″	diagonal 2.8″
Dimensions	99×53x21 mm	99×53x21 mm	99×53x20.5 mm
Mass	120 g	128 g	124 g
Camera lens cover	sliding	none	none	none

EMO FASHION(If you dont know the emo fashion)

Emo (pronounced /ˈiːmoʊ/) is a style of rock music which describes several independent variations of music with common stylistic roots. As such, use of the term has been the subject of much debate. In the mid-1980s, the term emo described a subgenre of hardcore punk which originated in the Washington, D.C. music scene. In later years, the term emocore, short for “emotional hardcore”, was also used to describe the emotional performances of bands in the Washington, D.C. scene and some of the offshoot regional scenes such as Rites of Spring, Embrace, One Last Wish, Beefeater, Gray Matter, Fire Party, and later, Moss Icon. (In more recent years, the term “emotive hardcore” entered the lexicon to describe the period.)

Starting in the mid-1990s, the term emo began to refer to the indie scene that followed the influences of Fugazi, which itself was an offshoot of the first wave of emo. Bands including Sunny Day Real Estate and Texas Is the Reason had a more indie rock style of emo, more melodic and less chaotic. The so-called “indie emo” scene survived until the late 1990s, as many of the bands either disbanded or shifted to mainstream styles. As the remaining indie emo bands entered the mainstream, newer bands began to emulate the mainstream style. As a result, the term “emo” became a vaguely defined identifier rather than a specific genre of music.

History

First wave (1985-1994)

In 1985 in Washington, D.C., Ian MacKaye and Guy Picciotto, veterans of the DC hardcore music scene, decided to shift away from what they saw as the constraints of the basic style of hardcore and the escalating violence within the scene. They took their music in a more personal direction with a far greater sense of experimentation, bringing forth MacKaye’s Embrace and Picciotto’s Rites of Spring. The style of music developed by Embrace and Rites of Spring soon became its own sound. (Hüsker Dü’s 1984 album Zen Arcade is often cited as a major influence for the new sound.) As a result of the renewed spirit of experimentation and musical innovation that developed the new scene, the summer of 1985 soon came to be known in the scene as “Revolution Summer”.^[1]

Where the term emo actually originated is uncertain, but members of Rites of Spring mentioned in a 1985 interview in Flipside Magazine that some of their fans had started using the term to describe their music. By the early 90s, it was not uncommon for the early DC scene to be referred to as emo-core, though it’s unclear when the term shifted.

Within a short time, the D.C. emo sound began to influence other bands such as Moss Icon, Nation of Ulysses, Dag Nasty, Soulside, Shudder to Think, Fire Party, Marginal Man, and Gray Matter, many of which were released on MacKaye’s Dischord Records. The original wave of DC emo finally ended in late 1994 with the collapse of Hoover.

As the D.C. scene expanded, other scenes began to develop with a similar sound and DIY ethic. In San Diego in the early 1990s, Gravity Records released a number of records in the hardcore emo style. Bands of the period included Heroin, Indian Summer, Angel Hair, Antioch Arrow, Universal Order of Armageddon, Swing Kids, and Mohinder. Also in California, Ebullition Records released records by bands of the same vein, such as Still Life and Portraits of Past, as well as more traditional hardcore punk bands, all having various social and political themes in common.

At the same time, in the New York/New Jersey area, bands such as Native Nod, Merel, 1.6 Band, Policy of 3, Rye Coalition, Iconoclast and Quicksand^[2] were feeling the same impulse. Many of these bands were involved with the ABC No Rio club scene in New York, itself a response to the violence and stagnation in the scene and with the bands that played at CBGBs, the only other small venue for hardcore in New York at the time. Much of this wave of emo, particularly the San Diego scene, began to shift towards a more chaotic and aggressive form of emo, nicknamed screamo.

By and large, the more hardcore style of emo began to fade as many of the early era groups disbanded. However, aspects of the sound remained in bands such as Four Hundred Years and Yaphet Kotto. Also, a handful of modern bands continue to reflect emo’s hardcore origins, including Circle Takes the Square, Hot Cross, City of Caterpillar, Funeral Diner, and A Day in Black and White.

Following the disbanding of Embrace in 1986, MacKaye established the influential group Fugazi, and was soon joined by Picciotto. While Fugazi itself is not typically categorized as emo, the band’s music is cited as an influence by popular second-wave bands such as Sunny Day Real Estate,^[3] Braid,^[4] and Jimmy Eat World.^[5]

Early influence

In California – particularly in the Bay Area – bands such as Jawbreaker and Samiam began to incorporate influences from the “D.C. sound” into a poppier framework; The former’s music was described by Andy Greenwald as “a sonic shot-gun marriage between the bristly heft of hardcore, the song-writing sensibility of Cali pop-punk, and the tortured artistry of D.C. emo”.^[6] Other bands soon reflected the same sense of rough melody, including Still Life and Long Island’s Garden Variety.

Also in the early 90s, bands like Lifetime reacted in their own way to the demise of youth crew styled straight-edge hardcore and desired to seek out a new direction. While their music was often classified as emo, it was also considered to be melodic hardcore. In response to the more metal direction their hardcore peers were taking, Lifetime initially decided to slow down and soften their music, adding more personal lyrics. The band later added a blend of speed, aggression, and melody that defined their sound. Lifetime’s sound, lyrics, and style were a virtual blueprint for later bands, including Saves the Day, Taking Back Sunday, and The Movielife.

Second wave (1994–2000)

As Fugazi and the Dischord Records scene became more and more popular in the indie underground of the early 1990s, new bands began to spring up. Combining Fugazi with the post-punk influences of Mission of Burma and Hüsker Dü, a new genre of emo emerged.

Perhaps the key moment was the release of the album Diary by Sunny Day Real Estate in 1994. Given Sub Pop’s then-recent success with Nirvana and Soundgarden, the label was able to bring much wider attention to the release than the typical indie release, including major advertisements in Rolling Stone. The heavier label support allowed the band to secure performances on TV shows, including The Jon Stewart Show. As a result, the album received widespread national attention.

As more and more people learned about the band, particularly via the fledgling World Wide Web, the band was given the tag emo. Even where Fugazi had not been considered emo, the new generation of fans shifted the tag from the earlier hardcore style to this more indie rock style of emo. It was not uncommon for Sunny Day and its peers to be labeled with the full “emo-core”. However, when pressed to explain “emo”, many fans split the genre into two brands: the “hardcore emo” practiced in the early days and the newer “indie emo”.

In the years that followed, several major regions of “indie emo” emerged. The most significant appeared in the Midwest in the mid-90s. Many of the bands were influenced by the same sources, but with an even more tempered sound. This brand of emo was often referred to as “Midwestern emo” given the geographic location of the bands, with several of the best-known bands hailing from the areas around Chicago, Kansas City, Omaha and Milwaukee. The initial bands in this category included Boy’s Life and Cap’n Jazz. In ensuing years, bands such as The Promise Ring, Braid, Elliott, Cursive, and The Get Up Kids emerged from the same scene and gained national attention.

The area around Phoenix, Arizona became another major scene for emo. Inspired by Fugazi and Sunny Day Real Estate, former punk rockers Jimmy Eat World began stirring emo influences into their music, eventually releasing the album Static Prevails in 1996. The album was arguably the first emo record released by a major label, as the band had signed with Capitol Records in 1995.

Other bands that followed the “indie emo” model included Colorado’s Christie Front Drive, New York’s Texas Is the Reason and Rainer Maria, California’s Knapsack and Sense Field, Baltimore’s Cross My Heart, Austin’s Mineral, and Boston’s Piebald and Jejune.

As “indie emo” became more widespread, a number of acts who otherwise would not have been considered part of the “indie emo” scene began to be referred to as emo because of their similarity to the sound. The hallmark example was Weezer’s 1996 album Pinkerton, which, years later, was considered one of the defining “emo” records of the 90s.^[7]

As the wide range of emo bands began to attract notoriety on a national scale, a number of indie labels attempted to document the scene. Many emo bands of the late 90s signed to indie labels including Jade Tree Records, Saddle Creek Records, and Big Wheel Recreation. In 1997, California’s Crank! Records released a compilation titled (Don’t Forget to) Breathe, which featured tracks by notable indie emo bands such as The Promise Ring, Christie Front Drive, Mineral, Knapsack, and Arizona’s Seven Storey Mountain. In 1998, Deep Elm Records released the first installment in a series of compilations called Emo Diaries, featuring tracks from Jimmy Eat World, Samiam, and Jejune. In 1999, famed 70s compilation label K-tel released an emo compilation titled Nowcore: The Punk Rock Evolution, which included tracks by Texas Is the Reason, Mineral, The Promise Ring, Knapsack, Braid and At the Drive-In among others.

With the late-90s emo scene being more national than regional, major labels began to turn their attention toward signing emo bands with the hopes of capitalizing on the genre’s popularity. Many bands resisted the lure, citing their loyalty to the independent mentality of the scene. Several bands cited what they saw as mistreatment of bands such as Jawbox and Jawbreaker while they were signed to majors as a reason to stay away. The conflict felt within many of the courted emo bands resulted in their break-ups, including Texas Is the Reason and Mineral.

By the end of the decade, the word emo cropped up in mainstream circles. In the summer of 1998, Teen People magazine ran an article declaring “emo” the newest “hip” style of music, with The Promise Ring a band worth watching. The independent nature of the emo scene recoiled at mainstream attention, and many emo bands shifted their sound in an attempt to isolate themselves from the genre. In the years that followed, Sunny Day Real Estate opted to shift to a more prog-rock direction, Jejune aimed for happy pop-rock, and The Get Up Kids and The Promise Ring released lite-rock albums.

While “indie emo” almost completely ceased to exist by the end of the decade, many bands still subscribe to the Fugazi / Hüsker Dü model, including Thursday, The Juliana Theory, and Sparta.

Third wave (2000-present)

At the end of the 1990s, the underground emo scene had almost entirely disappeared. However, the term emo was still being bandied about in mainstream media, almost always attached to the few remaining 90s emo acts, including Jimmy Eat World.

However, towards the end of the 1990s, Jimmy Eat World had begun to shift in a more mainstream direction. Where Jimmy Eat World had played emocore-style music early in their career, by the time of the release of their 2001 album Bleed American, the band had downplayed its emo influences, releasing more pop-oriented singles such as “The Middle” and “Sweetness“. As the public had become aware of the word emo and knew that Jimmy Eat World was associated with it, the band continued to be referred to as an “emo” band, despite their objections. Newer bands that sounded like Jimmy Eat World (and, in some cases, like the more melodic emo bands of the late 90s) were soon included in the genre.^[8]

2003 saw the success of Chris Carrabba, the former singer of emo band Further Seems Forever, and his project Dashboard Confessional. Despite musically being more aligned to the singer songwriter school, Carraba found himself part of the emerging “popular” emo scene. Carrabba’s music featured lyrics founded in deep diary-like outpourings of emotion. While certainly emotional, the new “emo” had a far greater appeal amongst adolescents than its earlier incarnations.^[9]

With Dashboard Confessional and Jimmy Eat World’s success, major labels began seeking out similar sounding bands. Just as many bands of the early-to-mid 1990s were unwillingly lumped under the umbrella of “grunge“, some record labels wanted to be able to market a new sound under the word emo.

At the same time, use of the term “emo” expanded beyond the musical genre, which added to the confusion surrounding the term. The word “emo” became associated with open displays of strong emotion. Common fashion styles and attitudes that were becoming idiomatic of fans of similar “emo” bands also began to be referred to as “emo”. As a result, bands that were loosely associated with “emo” trends or simply demonstrated emotion began to be referred to as emo.^[10]

In an even more expanded way than in the 90s, emo has come to encompass an extremely wide variety of bands, many of whom have very little in common. The term has become so broad that it has become nearly impossible to describe what exactly qualifies as “emo”.

The classification of bands as “emo” is often controversial. Fans of several of the listed bands have recoiled at the use of the “emo” tag, and have gone to great lengths to explain why they don’t qualify as “emo”. In many cases, the term has simply been attached to them because of musical similarities, a common fashion sense, or because of the band’s popularity within the “emo” scene, not because the band adheres to emo as a music genre.

As a result of the continuing shift of “emo” over the years, a serious schism has emerged between those who relate to particular eras of “emo”. Those who were closely attached to the hardcore origins recoil when another type of music is called “emo”. Many involved in the independent nature of both 80s and 90s emo are upset at the perceived hijacking of the word emo to sell a new generation of major label music. Regardless, popular culture appears to have embraced the terms of “emo” far beyond its original intentions.

In a strange twist, screamo, a sub-genre of the new emo, has found greater popularity in recent years through bands such as Thrice and Glassjaw.^[11] The term screamo, however, was used to describe an entirely different genre in the early 1990s, and the new screamo bands more resemble the emo of the early 1990s. Complicating matters further is that several small scenes devoted to original screamo still exist in the underground. However, the new use of “screamo” demonstrates how the shift in terms connected to “emo” has made the varying genres difficult to categorize.

The difficulty in defining “emo” as a genre may have started at the very beginning. In a 2003 interview by Mark Prindle,^[12] Guy Picciotto of Fugazi and Rites of Spring was asked how he felt about “being the creator of the emo genre”. He responded: “I don’t recognize that attribution. I’ve never recognized ‘emo’ as a genre of music. I always thought it was the most retarded term ever. I know there is this generic commonplace that every band that gets labeled with that term hates it. They feel scandalized by it. But honestly, I just thought that all the bands I played in were punk rock bands. The reason I think it’s so stupid is that – what, like the Bad Brains weren’t emotional? What – they were robots or something? It just doesn’t make any sense to me.”
See List of emo artists

Fashion and stereotype

Long fringe (bangs) brushed to one side

Emo is also often associated with a certain fashion. The term “emo” is sometimes stereotyped with tight jeans on males and females alike, long fringe (bangs) brushed to one side of the face or over one or both eyes, dyed black, straight hair, tight t-shirts (sometimes short sleeved) which often bear the names of rock bands (or other designed shirts), studded belts, belt buckles, canvas sneakers or skate shoes or Converse.Emo fashion has changed with time. Early trends included straight, unparted hair, tightly fitting sweaters, button-down shirts, and work jackets.^{[citation needed]} This fashion has at times been characterized as a fad.^[13]

Another example of hair characteristic of emo

In recent years the popular media has associated emo with a stereotype that includes being emotional, sensitive, shy, introverted, or angsty.^[14][15][16] It is also associated with depression, self-injury, and suicide.^[17][18]

Criticism

As certain fashion trends and attitudes began to be associated with “emo”, stereotypes emerged that created a specific target for criticism. In the early 2000s, the criticism was relatively light-hearted and self-effacing. In ensuing years, the derision increased dramatically. Male fans of emo found themselves hit with homosexual slurs, largely a reflection of the style of dress popular within the “emo scene” and the purported displays of emotion common in the scene. Complaints pointed to the histrionic manner in which the emotions were expressed.^[19]

In October of 2003, Punk Planet contributor Jessica Hopper leveled the charge that the current era of emo was sexist. Hopper argued that where bands such as Jawbox, Jawbreaker and Sunny Day Real Estate had characterized women in such a way that they were not “exclusively defined by their absence or lensed through romantic-specter”,^[20] contemporary bands approached relationship issues by “damning the girl on the other side … its woman-induced misery has gone from being descriptive to being prescriptive”. Regarding the position of women listening to emo, Hopper went on to note that the music had become “just another forum where women were locked in a stasis of outside observation, observing ourselves through the eyes of others”.

Critics of modern emo have argued that there is a tendency toward increasingly generic and homogenized style.^[21] Many popular bands have attempted to disassociate themselves with the “emo” tag; some have adopted the genre designation post-hardcore. Despite the criticism, the modern version of emo has maintained mainstream popularity. However, given the disfavor of the term “emo”, the future of the genre remains unclear.

In 2008, Time Magazine reported that “anti-emo” groups attacked teenagers in Mexico City, Santiago de Querétaro, and Tijuana.