EMO Girl

A cornerstone of mid-1990s emo was Weezer's 1996 album Pinkerton. Following the success of their mutiplatinum debut, Pinkerton turned from their power pop sound to a much darker, more abrasive character. Frontman Rivers Cuomo's songs were obsessed with messy, manipulative sex and his own insecurities of dealing with celebrity. A critical and commercial failure, it was ranked by Rolling Stone as the second-worst album of the year. Cuomo retreated from the public eye, later referring to the album as "hideous" and "a hugely painful mistake". However, Pinkerton found enduring appeal with teenagers just discovering alternative rock, who were drawn to its confessional lyrics and themes of rejection and came to believe that it was directed at them. Sales grew steadily as word of the album passed between fans, over online messageboards, and via Napster. "Although no one was paying attention", says Greenwald, "perhaps because no one was paying attention—Pinkerton became the most important emo album of the decade." When Weezer returned in 2000, however, they did so with a decidedly pop sound. Cuomo refused to play songs from Pinkerton, dismissing it as "ugly" and "embarrassing". Nevertheless, the album held its appeal and eventually achieved both high sales and critical praise, and is noted for introducing emo to larger and more mainstream audiences.
The emo aesthetic of the mid-1990s was embodied in Mineral, whose albums The Power of Failing (1997) and EndSerenading (1998) encapsulated the emo tropes of somber music accompanied by a shy narrator singing seriously about mundane problems. Greenwald calls their song "If I Could" "the ultimate expression of mid-nineties emo. The song's short synopsis—she is beautiful, I am weak, dumb, and shy; I am alone but am surprisingly poetic when left alone—sums up everything that emo's adherents admired and its detractors detested." Another significant band of the era was Braid, whose 1998 album Frame and Canvas and B-side song "Forever Got Shorter" blurred the lines between band and listener, as the group was a mirror-image of its own audience in passion and sentiment and sang in the voice of their fans.
Though the emo style of the mid-1990s had thousands of young fans, it never broke into the national consciousness. A few bands were offered contracts with major record labels, but most broke up before they could capitalize on the opportunity. Jimmy Eat World signed to Capitol Records in 1995 and built a following among the emo community with their album Static Prevails, but did not break into the mainstream despite their major-label association as their music was mostly lost amongst the popular ska movement of the period. The Promise Ring were the most commercially successful emo band of the time, with sales of their 1997 album Nothing Feels Good topping out in the mid-five figures. Greenwald calls the album "the pinnacle of its generation of emo: a convergence of pop and punk, of resignation and celebration, of the lure of girlfriends and the pull of friends, bandmates, and the road." He refers to mid-1990s emo as "the last subculture made of vinyl and paper instead of plastic and megabytes."
• Independent success: late 1990s and early 2000s