Can you speak on being considered pioneers of the emo genre?
Going back to Cap’n Jazz’s time, emo was a word for whether you liked bands from Washington, D.C. or not. Do you like Rites of Spring? Then you’re emo. It didn’t have this whole thing: You don’t have the haircut, you’re not wearing the right shirts or whatever the look was that everyone has. And we were always such a gang of misfits and so incredibly different that we would have never fit into any box no matter how big of a box you would have gotten. [Emo was] kind of a made up subculture that has now obviously become this huge subculture. And it’s been repackaged so many times.
I remember [emo] was always about D.C. — like “Revolution Summer,” in 1985, was sort of the inception of emo, all those bands that were together at that point, like Ignition and all those other D.C. bands that we heard. It was like, “Wow, this is totally interesting music, you know?” I think it’s a generational thing; wherever you fall is where you see it coming from. I have my own perspective on it, which is why I always bring it back to D.C. and Soul Side. To me, Soul Side is the most emo band I’ve ever heard. No one will ever top the emo-ness of that
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