Taking a hard look at the gender politics that dominated those spaces, she unearths a subculture that simultaneously defines itself by its sensitivity and resistance to traditional forms of masculinity, yet ruthlessly enforces homophobic and sexist standards. Next she examines fans' main mode of participation in the emo subculture-online communities such as LiveJournal, Tumblr, MySpace, and band websites. First laying out the debate over what emo is, Fathallah walks superfans and newcomers through the culture surrounding thegenre's major bands, including the emo holy trinity: My Chemical Romance, Fall Out Boy, and Panic! At the Disco. Judith May Fathallah pushes beyond the stereotypes and social stigma to explore how online fandom has shaped the definition of emo, with significant implications both for millennial constructs of gender and for contemporary fan studies. A popular music phenomenon in the early 2000s, emo is short for "emotional hardcore," and refers to both a music genre and a youth scene notable for its androgynous style. For many, the word "emo" calls to mind angsty teenagers, shaggy black haircuts, and skinny jeans.
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