started with Black folks and then [that recognition] all suddenly disappeared because of access and privilege,” says Lawson. “I think that emo was born of a lot of access and privilege and that’s why you saw so many white faces first. Getting a Les Paul [guitar] is expensive, renting a practice space, recording an album, having free time is expensive.
And emo’s “aesthetics of physical frailty matched with its [lyrical] vulnerability”, Lawson notes, so it valued “being super approachable and super cute and tied into white aesthetics for the most part”. White emo kids expressed themselves by straightening and dyeing their hair, but that wasn’t an option for Black teens unless they had the money to get their hair chemically straightened and grapple with changing an element of their identity.
Born in Jamaica, Queens, Lawson moved to New York’s Hudson Valley as a kid and started listening to emo music in middle school, in a town that was white and Republican. The genre has helped him with his own identity. “At least for men or male-presenting folks, there [was] a lot of transgressing against typical masculine presentation.” As a teen, he saw himself in the music. “It ran counter to traditional masculinity.
That emotional vulnerability also resonated with Odaga, who loudly cheered on the drag artists all night. “Joy is required,” he says of Bipoc Emo Night. Odaga, who calls himself a “chaotic elder bisexual” , credits the scene with helping him heal a strained relationship with his father. “Emo music lets you pull [emotion] out for even the briefest moment, like: ‘I have something I’m letting out in this mosh pit and I have nothing but love for everyone that’s in the pit.
Still, Lawson says, “even though emo ran counter to traditional masculinity, there was still a lot of misogyny and danger and harm that was still involved – queerbaiting or masking misogyny under the guise of vulnerability”.with guitars any more.” In the last few years, a new wave of emo bands fronted by people of color have bubbled up to the forefront of the scene. Artists such as WILLOW and Magnolia Park are leading emo into a new decade of inclusion.
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