xoaqwepo: heavy metal wallpapers

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The English term poseur is a loanword from French, in which it is used figuratively since the mid-19th century with the same meaning as in English to refer to people who "affect an attitude or pose". Etymonline, an online etymology dictionary, argues that since the "word is Eng.[English] poser in Fr.[French] garb", thus it "could itself be considered an affectation."

Dictionary.com says the word refers to "a person who habitually pretends to be something he is not." The Merriam-Webster dictionary notes that the term was also used to refer to a "person who pretends to be what he or she is not" or an "insincere person". The Encarta dictionary states that the term is used to describe a "pretentious person" or "somebody who tries to impress others by behaving in an affected way". The Cambridge Dictionary defines a "poseur" as "someone who pretends to be something they are not, or to have qualities that they do not have."

In a review of The Clash film Rude Boy, a critic argued that this "film was another sign of how The Clash had sold out – a messy, vain work of punk poseurs." US music journalist Lester Bangs praised punk pioneer Richard Hell for writing the "strongest, truest rock & roll I have heard in ages" without being an "arty poseur" of the "age of artifice" Another critic argues that by the late 1970s, "punk rock had already, at this early date, shown signs of devolving into pure pose, black leather jacket and short hair required." Please Kill Me includes interviews with punks in New York and Detroit who "rip their English counterparts as a bunch of sissified poseurs."

Dave Rimmer writes that with the revival of punk ideals of stripped-down music in the early 1990s, with "Cobain, and lots of kids like him, rock & roll ... threw down a dare: Can you be pure enough, day after day, year after year, to prove your authenticity, to live up to the music [and] live with being a poseur, a phony, a sellout?" Refused's Dennis Lyxzén and Bad Religion's Brett Gurewitz used the term to refer to early 2000s-era pop punk fans as "kids — more specifically the new wave of punk poseurs who came to the music via bands like Good Charlotte..." They argue that these young listeners want "not to have to think and [instead they] would rather use music as escapism [,] and too many bands seem willing to comply."