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Album Art With Gold and Diamond Pop Punk Post Hardcore

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Rock genre that combines punk rock with elements of pop music

Pop-punk
Other names
  • Punk-pop
  • popular punk
Stylistic origins
  • Punk rock
  • pop
  • ability pop
Cultural origins Belatedly 1970s, United states and United Kingdom
Derivative forms Emo rap
Subgenres
Neon pop-punk
Fusion genres
  • Easycore
  • emo popular
Other topics
Skate punk

Pop-punk (or punk-popular) is a rock music genre that combines elements of punk stone with pop or power pop. It is divers for its emphasis on classic popular songcraft, as well every bit adolescent and anti-suburbia themes, and is distinguished from other punk-variant genres by drawing more than heavily from 1960s bands such as the Beatles, the Kinks, and the Embankment Boys. The genre has evolved throughout its history, arresting elements from new wave, higher rock, ska, rap, emo, and male child bands. It is sometimes considered interchangeable with power pop and skate punk.

Pop-punk emerged in the tardily 1970s with groups such as the Ramones, the Undertones, and the Buzzcocks. 1980s punk bands like Bad Religion, Descendents and the Misfits were influential to pop punk, and pop punk expanded in the 1980s and early 1990s by a host of bands signed to Watch! Records, including Screeching Weasel, the Queers, and the Mr. T Experience. In the mid–belatedly 1990s, the genre saw a massive widespread popularity increase with bands like Green Day, the Offspring and Blink-182. The genre was farther popularized by the Warped Bout. Popular-punk's success continued in the early 2000s with artists such as Avril Lavigne, Sum 41, Adept Charlotte and New Constitute Glory.

In the mid–belatedly 2000s, pop-punk acts were largely indistinguishable from artists tagged equally "emo", to the extent that emo crossover acts such every bit Fall Out Male child and Paramore popularized a punk-pop style dubbed emo pop. By the 2010s, pop-punk'south mainstream popularity had waned, with rock bands and guitar-centric music becoming rare on dance-focused popular radio. In the early 2020s, pop-punk began experiencing a resurgence with diverse new acts such as Automobile Gun Kelly, KennyHoopla and Yungblud.

Definition and characteristics [edit]

Punk-pop is distinguished from other punk-variant genres by drawing more than heavily from 1960s bands such as the Beatles (pictured).

Pop-punk is variously described equally a punk subgenre,[i] [2] a variation of punk,[three] [4] [5] a form of pop music,[6] and a genre antonymous to punk in a similar way as post-punk.[5] It has evolved stylistically throughout its history, arresting elements from new wave, higher stone, ska, rap, emo, and boy bands.[4] Writers at The A.V. Club described pop-punk as a punk subgenre that has "essentially been around as long as punk itself" with roots in the "classic pop of the Beatles, the Kinks, and the Beach Boys, often pitting sweetness harmonies against bratty, rowdy riffs."[one] According to Ryan Cooper of Most.com, "pop punk is a style that owes more to The Beatles and '60s pop than other sub-genres of punk".[2]

There is considerable overlap between power pop and pop-punk, and the two styles are often conflated.[i] Web publication Revolver acknowledged that, while pop-punk and power pop are ofttimes presented interchangeably, "the core concept is uncomplicated — melodic songs packaged with a punk slant."[7] In Brian Cogan's The Encyclopedia of Punk Music and Culture (2006) pop-punk is characterized equally "a catchy, faster version of power pop."[eight] AllMusic defines "punk-pop" as "a postal service-grunge strand of culling stone" that combines the textures and fast tempos of punk rock with the "melodies and chord changes" of ability pop.[9] In the 1990s, in that location was overlap between pop-punk and skate punk.[10] Music announcer Ben Myers wrote that the two terms were synonymous.[xi]

Rock writer Greg Shaw, who wrote extensively about power pop and took credit for codifying the genre in the 1970s, originally defined power pop itself as a hybrid style of punk and popular.[12] Green Twenty-four hour period frontman Billie Joe Armstrong, who described ability pop as "the greatest music on Earth that no one likes",[13] opined that the pop-punk term was an oxymoron: "Y'all're either punk or you're not."[4] Writing in Shake Some Action: The Ultimate Guide to Ability Pop (2007), player Robbie Rist felt that much of the genre just consisted of popular bands who "add the 'punk' moniker so the kids will think they are pissing off their parents."[half dozen]

Even during its formative phase in 1978, pop-punk wasn't just a lighter, more palatable version of punk. Information technology was just equally rebellious, only information technology rebelled against punk itself: its nihilism, its bad-boy pose, its mockery of melody, it's belittling of sentimentality, and above all, its self-seriousness. In a manner, pop-punk became its own kind of post-punk...

—Vice author Jason Heller[5]

Rolling Stone, in an article about popular-punk, wrote that the term was a retroactive characterization for punk bands who had "always championed great songwriting aslope their anti-disciplinarian opinion. And punk'due south focus on speed, concision and three-chord simplicity is a natural fit with popular'south cadre values."[four] Vice 's Jason Heller described "an open up respect for the tradition and arts and crafts of pop songwriting" as a key characteristic of pop-punk.[5] Nib Lamb, too from About.com, writes that punk pop is a variant of punk music that features "a difficult and fast guitar and drums base but powered by pop melodies like much of '70s punk stone."[xiv] Alter the Printing! defines pop punk as "a genre that originates from mixing punk stone with popular sensibility".[3]

Lyrically, pop-punk oft addresses adolescent themes of lust, drugs, suburbia, and rebellion.[one] [15] Some pop punk lyrics focus on jokes and humor.[i] The New Yorker 'southward Amanda Petrush summarized that the "rawness" of punk pop "lies not in the music" but by conveying the "spectrum of human experience, all that longing and cocky-dubiety."[4]

History [edit]

Origins (1970s–1980s) [edit]

Punk rock has always shared sensibilities with pop music, especially since the tardily 1970s.[eleven] In his book Rock and Roll: A Social History (2018), author Paul Friedlander lists the following English artists equally representative of the "new wave of pop punk synthesis" that occurred in the late 1970s: Elvis Costello and the Attractions, the Police, the Jam, Billy Idol, Joe Jackson, the Pretenders, UB40, Madness, the Specials, the English Beat. Likewise, amongst American acts, Friedlander references Talking Heads, Blondie, the B-52s, the Motels, and Pere Ubu.[sixteen]

Buzzcocks are considered ane of the pioneers of pop punk.[17]

Heller said that the Ramones crafted a blueprint for pop punk with their 1976 debut album, merely 1978 was the year that the genre "came into its own".[5] He noted that some bands "were unmistakably pop punk bands by today's definition of the term, but in 1978, the distinction wasn't and then clear. Plenty of punk groups of the era threw a token pop tune or two into their set—sometimes for ironic result, other times earnestly."[five] Heller also acknowledged that many "burgeoning pop punk groups in 1978 bordered on power-pop, a parallel genre on the rise at the time. But ability-pop began earlier, and it was a more American phenomenon".[5] Among the influential pop punk bands of the late 1970s were the Buzzcocks.[18] An LA Weekly writer subsequently referred to the band's 1979 compilation album Singles Going Steady equally "the blueprint for punk rock bands preferring tuneful tales of lost love and longing to rage against the machine."[19] Cooper similarly cited the album equally 1 of punk'south most influential and added that Buzzcocks' "pop overtones [led] them to be a primary influence on today's pop punk bands.".[20] Heller referred to the Undertones as "the about subversive band" of the genre during this menstruum, peculiarly their 1978 unmarried "Teenage Kicks", "one of the nearly hit and definitive pop punk classics."[5]

The Descendents are considered a prominent ring of 1980s pop punk.[17]

Bad Faith, formed in 1979, helped to lay the groundwork for the pop punk fashion that emerged in the 1990s.[21] They and some of the other leading bands in Southern California'south hardcore punk scene emphasized a more than melodic approach than was typical of their peers. According to Myers, Bad Religion "layered their pissed off, politicized sound with the smoothest of harmonies". Myers added that another ring, the Descendents, "wrote almost surfy, Beach Boys-inspired songs about girls and food and being young(ish)".[11] Their positive yet sarcastic approach began to separate them from the more serious hardcore scene. The Descendents' 1982 debut LP Milo Goes to College provided the template for the The states' take on the more than melodic strains of beginning moving ridge punk.[19] Many pop punk bands, including Blink-182, cite the Descendents every bit a major influence. Descendents paved the style for future pop punk bands with their themes of hating parents, struggling to find a girlfriend, and social alienation. Horror punk ring The Misfits also influenced popular punk with their 1982 anthology Walk Among Us, which was a forerunner to afterward pop punk music with the album's vocal harmonies and pop-inspired melodies. The Misfits' gothic image inspired afterwards popular punk bands like Alkaline metal Trio and My Chemical Romance. Marginal Man was a Washington D.C. hardcore punk band who mixed hardcore punk with melodic chord progressions and clean, melodic singing, existence influenced by ability pop, jangle pop and new wave music.[22]

Underground expansion (late 1980s and early 1990s) [edit]

During the late 1980s and early 1990s, pop punk bands such as Green Day, the Queers, The Mr. T Experience and Screeching Weasel emerged from the record label Spotter! Records with a audio indebted to Buzzcocks, the Ramones, and the Undertones.[23] [24] [5] In August 1992, early 1990s California punk rock and pop punk was noticed by the magazine Spin when the magazine published a story chosen "California Screamin'", which is about the early 1990s underground punk rock scene in California, mentioning pop punk bands like Screeching Weasel and Green Day.[25] Screeching Weasel'south 1991 album My Brain Hurts influenced many subsequent pop punk bands,[26] with bands like Glimmer-182, Allister[27] and Element of group i Trio[28] citing them every bit an influence.[29] Punk band Social Baloney, known for playing genres similar pop punk and cowpunk, achieved moderate success starting in the early 1990s prior to the 1994 mainstream explosion of pop punk.[22] The band'southward cocky-titled anthology (1990) and Somewhere Between Sky and Hell (1992) both eventually were certified golden in the United states of america.[31]

Mainstream popularity (1994–2009) [edit]

Mainstream success (1994–1998) [edit]

In 1993, California's Green Day and Bad Religion were both signed to major labels, and past 1994, pop punk was quickly growing in mainstream popularity. Many punk stone and pop punk bands originated from the California punk scene of the tardily 1980s, and several of those bands, particularly Green Day and the Offspring, helped revive interest in punk stone in the 1990s.[32] Dark-green Twenty-four hour period arose from the 924 Gilman Street punk scene in Berkeley, California.[33] After building an cloak-and-dagger post-obit, the band signed to Reprise Records and released their major-label debut album, Dookie, in 1994. Dookie sold four million copies by the twelvemonth'south cease and spawned several radio singles that received all-encompassing MTV rotation, three of which peaked at number one on the Modernistic Stone Tracks nautical chart.[34] Green Day's enormous commercial success paved the style for other North American pop punk bands in the post-obit decade.[35] In 1999, Dookie was certified diamond by the Recording Manufacture Association of America (RIAA).[36] The Offspring also achieved mainstream success in 1994 with their album Smash being certified 6× platinum by the RIAA.[37]

MTV and radio stations such as Los Angeles' KROQ-FM played a major role in the genre's mainstream success.[38] The Warped Tour brought punk even further into the The states mainstream.[39] With punk rock's renewed visibility came concerns among some in the punk subculture that the music was existence co-opted by the mainstream.[38] Some punk stone fans criticized Green Day for "selling out" and rejected their music as too soft, pop-oriented and not legitimate punk rock.[34] [forty] [41] They argued that by signing to major labels and appearing on MTV, bands like Green Twenty-four hours were ownership into a organisation that punk was created to challenge.[42]

Continued mainstream success (1999–2004) [edit]

Glimmer-182 performing live in 2009

In 1999, Blink-182 achieved mainstream success with Enema of the State. In the clarification of announcer Matt Crane, the record initiated "a new wave of pop punk". He added, "At any given time in the late '90s/early on 2000s, it was not uncommon to come across Blink-182 and Sum 41 on MTV. You couldn't escape it. Popular punk was in, and it became the undisputed mainstream choice."[17] Lamb described second-wave pop punk bands, led past Blink-182, every bit having "a radio friendly sheen to their music, just even so maintaining much of the speed and mental attitude of archetype punk stone".[14] Enema of the State was certified five× platinum by the RIAA[43] and its song "All the Pocket-size Things" peaked at number six on the Billboard Hot 100.[44] Sum 41'south debut anthology All Killer No Filler was certified triple platinum in their home country of Canada.[45] Its song "Fat Lip" peaked at number one on the US Billboard alternative airplay chart[46] and number eight on the UK singles nautical chart.[47]

Around this time the genre saw the rise of the "Drive-Thru Records Era", where a number of bands that were signed to contained record labels gained mainstream attention, namely those on Drive-Thru Records. This included bands such equally New Found Celebrity, Allister, Fenix TX, the Early on Nov, Something Corporate, the Starting Line, Midtown, Hellogoodbye, Rx Bandits and the Movielife.[48] A 2017 article by Upset Magazine called New Found Glory "pop punk's almost consequent and influential bands for xx years"[49] and the Starting Line's song "All-time of Me" was cited past Culling Printing as i of the almost influential songs in the genre.[50]

Avril Lavigne is considered a key musician, since she delivered female-driven, punk-influenced pop music into the mainstream

Avril Lavigne's 2002 album Let Go gear up a precedent for the success of female-fronted punk popular acts. Journalist Nick Laugher wrote that it was "undeniable" that the record launched pop punk into the mainstream, "blurring the lines with it and straight-up popular music, and making it more of a cultural movement than a genre."[51] Other critics and publications noticed that because of Lavigne'southward punk-driven-popular anthems,[52] [53] [54] she has earned the reputation as the genre's "queen".[55] [56] For her part, Lavigne preferred to describe her music as "heavy pop stone", rather than punk.[57] [58] Other pop punk bands that achieved popularity include Expert Charlotte, Simple Plan and MxPx.[17] Good Charlotte's 2002 album The Young and the Hopeless went triple platinum.[59] Simple Plan'southward 2002 debut album No Pads, No Helmets...Just Balls was certified double platinum[60] and its 2004 follow-up Even so Non Getting Whatever... went platinum.[61]

In the Great britain, Busted and McFly gained notability through merging pop punk musicality with boy band aesthetics.[62] [63] Disrepair's 2002 cocky-titled debut album was certified 4× platinum[64] and their second album A Present for Everyone was certified 3× platinum.[65] McFly'due south 2004 debut album Room on the 3rd Floor peaked at number i on the Great britain albums nautical chart[66] and was certified 2× platinum.[67]

Mainstream breakthrough of emo pop and neon pop punk (2005–2009) [edit]

Autumn Out Boy performing in 2006

As emo popular's merger of pop punk and emo coalesced, the record characterization Fueled by Ramen became a eye of the motion, releasing platinum selling albums from bands like Autumn Out Boy, Panic! at the Disco and Paramore. Fall Out Boy's 2005 vocal "Saccharide, We're Goin Down" received heavy airplay, climbing to number eight on the U.South. Billboard Hot 100 music charts.[68] Plain White T's was another Illinois emo pop ring that received major mainstream success. Their album Every Second Counts (2006) went number ten on the Billboard 200 charts and featured their number one single "Hey There Delilah".[69] New Jersey ring My Chemical Romance was 1 of the faces of emo pop during the 2000s. MCR'southward albums 3 Thanks for Sweet Revenge (2004) and The Black Parade (2006) both sold more than 3 million copies in the US alone. The latter of the albums debuted at number 2 on the Billboard 200 charts. The anthology'southward lead unmarried "Welcome to the Black Parade" topped the US Alternative Songs chart and reached number 9 on the Billboard hot 100.[70] Taking Dorsum Sunday'southward 3rd album Louder Now (2006) debuted at number 2 on the Billboard 200 charts.[71]

Co-ordinate to Brooklyn Vegan 'due south Andrew Sacher, later the success of "hugely popular" 2000s bands such as Fall Out Boy, Paramore, and My Chemical Romance, "the line between pop punk and emo look[ed] close to nonexistent."[72] Several pop punk bands took different directions in the tardily 2000s, with Panic! at the Disco crafting the Beatles-inspired, baroque-styled record Pretty. Odd. (2008) and Fall Out Male child experimenting with glam rock, dejection rock and R&B on Folie a Deux (2008), both of which created fan confusion and backlash. Folie a Deux sold worse than their preceding albums, a representation of the backlash from their fanbase as the grouping experimented with a musical way differing from their pop punk background.[73] [74]

The late-2000s also saw the pioneering of neon pop punk, a style of pop punk that embraced more elements of pop and electronic music than was traditional in the genre.[75] Popular groups in the style at the time included All Fourth dimension Low, the Maine, the Cab,[75] Metro Station,[76] Boys Like Girls, Cobra Starship and Forever the Sickest Kids.[77] Metro Station's 2007 single "Shake Information technology" peaked at number ten on the Billboard Hot 100[78] and number six on the UK Singles Chart.[79] All Time Low'due south 2008 single "Dear Maria, Count Me In" is certified double platinum in the United states,[eighty] and their 2009 album Nil Personal peaked at number 3 on the Billboard Digital Albums chart.[81] The Maine's 2008 debut album Can't End Won't Cease peaked at number ix on the Billboard digital albums chart.[82] Cobra Starship'south 2009 anthology Hot Mess reached number iv on the Billboard 200.[83] Boys Similar Girls' 2009 second anthology Love Drunkard peaked at number 8 on the Billboard 200 chart.[84]

Decline in mainstream popularity (2010s) [edit]

Popular punk lost its mainstream popularity in the early 2010s, with stone bands and guitars becoming rare on dance-focused pop radio.[85] Some acts, such as New Found Glory, have seen concert attendance numbers decrease steadily.[86] Devon Maloney of MTV wrote that "Popular punk and emo bands don't headline Coachella or Bonnaroo; they rarely, if ever, are fifty-fifty billed on mainstream festival stages," and notes that it has similarly disappeared from the press. The only magazines that feature pop punk bands are niche publications like Culling Printing and the occasional teen mag, while influential pop punk magazine AMP ceased publication in 2013.[87] The decline in mainstream popularity for the genre, coupled with the closure of many mid-size venues associated with information technology, has resulted in many venues and labels returning to the DIY ethic that first spawned the punk motility.[88] [89] [ failed verification ]

By 2012, pop punk bands that had achieved minimal mainstream success had seen a render to grassroots form, "the micro-functioning style that yielded the results that caught the mainstream'southward attention in the starting time identify."[87] Chad Gilbert of New Found Celebrity wrote in an op-ed for Alternative Press entitled "Why Pop Punk'due south Not Dead—And Why It Still Matters Today": "This isn't a dead genre, and just because there isn't a song on the radio to clarify that shouldn't thing. ... Popular punk means something to a lot of people and to me, having success as a band in our genre is about longevity, touring a lot and staying true to your fans."[86]

Past the 2010s, many pop punk bands had folded; "once substantially child stars, their members are now adult musicians hoping to move beyond the teen trappings that gave them careers."[87] Autumn Out Male child and Paramore, 2 groups that accomplished mainstream success within the genre, had two number one albums—Save Rock and Roll and Paramore—adjacent on the Billboard 200. Fall Out Male child forth with other pop punk bands that peaked during the mid-2000s began experimenting with the more pop side of pop punk, in order to maintain their relevancy and keep the interest of their fanbase while gaining the appeal of the newer generations that may non relate as much to the punk themes of the 1970s.[90] Their popularity provoked conversations about the state of the genre; Maloney opined that these records could not be viewed equally popular punk.[87]

Underground revival (2012–2016) [edit]

Pop punk band The Wonder Years

In the early 2010s, a new moving ridge of pop punk groups emerged,[91] [92] fronted by the Wonder Years, Country Champs, Neck Deep, Real Friends and Knuckle Puck.[93] Dave Beech of Disharmonism noted that these groups were "[d]arker and more mature" than those previously, taking influence "and occasional indifference" from 1990s emo,[92] music commentator Finn McKenty also cited the influence from hardcore punk equally being prominent during this period.[93] On the Wonder Years' The Upsides (2010), vocalist Dan Campbell sung about "His early twenties soul-searching and tales of strife" which "resonated with a [new] generation, inspiring countless imitators in the process."[94] This pushed Campbell to "the forefront of a new wave", and the album influencing a new moving ridge of pop punk bands.[94] Rock Audio included The Wonder Years' The Greatest Generation on their all-time albums of 2013 list, calling it "the defining album of what may well have been the genre's best year for a decade."[95] Kerrang! said the album "ripped upwards the pop punk blueprint" pushing the genre to "new peaks of invention, both lyrically and musically."[96] The Story So Far's What Y'all Don't See (2013) "cemented their place at the top table of nu pop punk".[97] In early 2014, Welsh band Neck Deep released their debut album Wishful Thinking, which Rock Sound afterward called it "the greatest UK pop punk record of all time."[98] During this menses, Man Overboard's "Defend Pop Punk" shirt blueprint, which featured an AK-47, became a popular symbol of the scene,[99] to the extent that a number of publication accept posthumously described this menses every bit the "Defend Pop Punk Era".[100] [101] [102]

I think pop punk is a zombie. ... It hushful downwardly for a chip but then it got brought back to life in an nigh undead fashion. ... Back so it was mainstream, you would come across it on MTV and things like that. Now, information technology's different, it's got a fighting chance and information technology'south crawling its way support. It started out with a pretty selective crowd but at present it'southward opening up to more and more than people.[103]

– Kelen Capener of The Story And so Far, 2012

Australian band 5 Seconds of Summer's 2014 self titled album debuted at number 1 on the Billboard 200 chart and in many other countries,[104] and received what the Guardian journalist Harriet Gibsone described every bit "the kind of mania only always granted to a massive boyband".[105] However, the band's condition equally pop punk was controversial, Alternative Press described the ring every bit important to the marketing of the pop punk scene,[104] whereas in a Disharmonism mag interview with Terry Bezer, he described them every bit "non popular punk... [but] a valuable gateway for young kids to begin taking their first steps towards bands of... more substance."[106] Around this time, a number of other pop punk-influence pop artists gained mainstream attention, including Charli XCX[107] and Halsey.[108]

Several popular punk bands take embarked on ceremony tours in the early to mid-2010s, playing some of their about pop albums in total. While some members of these bands have had mixed feelings about these performances, quite often these tours sell equally well as or improve than the first time effectually.[87] Club promoters in the Uk have created nights based effectually lasting appreciation of the genre.[109] The Warped Tour still attracts hundreds of thousands of attendees each twelvemonth; the 2012 tour attracted 556,000 festival-goers, its third-best attendance.[87] Bobby Olivier of The Star-Ledger wrote: "The genre ... continues to reinvent itself and Warped is pop punk's prom."[110]

In 2016, Rolling Stone reported that pop punk was "yet one of the most predominant and pop stone genres". The magazine conducted a reader'southward poll for the "10 Best Popular Punk Albums of All Time" that ultimately included Green Twenty-four hours (Dookie, American Idiot, Nimrod), Blink-182 (Enema of the Country, Accept Off Your Pants and Jacket, Dude Ranch), the Ramones (Ramones), the Offspring (Smash), Jimmy Eat World (Bleed American), and Generation X (Valley of the Dolls).[111]

Revived mainstream involvement (2017–2019) [edit]

In the tardily 2010s, the genre was influential on the evolution of emo rap. Many emo rappers gained mainstream attending during this period. In particular, Lil Peep, Lil Uzi Vert, Juice WRLD and XXXTentacion were all song nearly their dearest for and influence from pop punk.[112] [113] Emo rapper Wicca Phase Springs Eternal was even a fellow member of the influential 2010s pop punk band Tigers Jaw.[114] This brought about a revived involvement in the genre in popular culture,[112] [113] leading to a number notable artists start to release pop punk songs towards the stop of the decade. Emo rapper Lil Aaron and pop singer Kim Petras released the pop punk song "Anymore" on September v, 2018.[115] On 13 February 2019, Yungblud and pop singer Halsey released the pop punk song "11 Minutes" featuring Travis Barker.[116] The song was certified aureate in the United states of america,[117] peaked at number one on the Billboard Bubbling under Top 100 chart[118] and was performed at the 2019 iHeartRadio Music Awards.[119] On June 7, 2019, Automobile Gun Kelly, who had been established as a rapper for over a decade, released the pop punk song "I Recall I'm Okay" featuring Yungblud and Travis Barker. His first release in the genre, the song was nominated at the 2019 Billboard Music Awards[120] and was certified platinum within a year.[121] On July 12, 2019, Cold Hart and Yawns of the influential emo rap commonage GothBoiClique, released the pop punk album Practiced Morning Cruel World [122] and on September 18, 2019, emo rapper Lil Tracy released the pop punk song "Beautiful Nightmare".[123]

An October 2019 article by Mic cited emo rap as bringing an interest to a new wave of pop punk groups similar Stand Atlantic, Doll Peel, Waterparks and rapper Vic Mensa'south band 93PUNX.[124] Alternative Press also cited English bands Trash Boat, Boston Manor and As It Is as making "significant contributions to the latest revival era".[125]

Mainstream resurgence (2020s) [edit]

In September 2020, Auto Gun Kelly released his fifth studio album Tickets To My Downfall, his first entirely pop punk album. The album debuted at number 1 on the Billboard 200 nautical chart, becoming the first rock anthology to elevation this chart since Tool'due south Fear Inoculum in September 2019.[126] The Evening Standard credited the album as "bridg[ing] the gap" between the modern pop punk scene and the mainstream interest that developed from the emo rap scene.[120] "My Ex's All-time Friend", a song from Tickets to My Downfall, has since peaked at number 21 on Billboard Hot 100. Because of this, a number of media outlets began crediting him with leading a pop punk revival.[127] [128] [129]

An article by Kerrang! credited Machine Gun Kelly as well as Yungblud as bringing the genre dorsum to mainstream attending. In improver to this, the publication cited the app TikTok as one of the key factors, as videos tagged #poppunk had received 400 one thousand thousand views by January 21, 2021. On the app, viral trends took place using tracks from popular punk bands like All Time Depression, Simple Plan and Paramore.[130] Some pop TikTok content creators even began releasing music in the genre around this time. Notably, TikToker Jxdn began releasing pop punk music in February 2020,[131] while LilHuddy did the same the post-obit year.[132] This led Polygon to term this new moving ridge of artists "TikTokcore".[133] Spin writer Al Shipley described pop punk and its new association with hip hop as 2020'due south "commercial juggernaut".[134]

Our Culture Mag cited KennyHoopla every bit a "key histrion in the [render] of the genre",[135] and Kerrang! called him the "leader of pop punk's new generation".[136] Olivia Rodrigo'southward 2021 pop-punk vocal "Skillful 4 U" peaked at number 1 on the Billboard singles chart,[137] which according to Slate magazine, made it "rock's starting time hot 100 number 1 in years".[138] Publications such as the Confront, the Independent and USA Today cited this wave as having an increased multifariousness of sexuality, race and gender when compared to prior eras.[139] [140] [141] A February 2021 article by Louder Sound cited artists like Meet Me at the Chantry, Yours Truly, Noah Finnce and Jxdn as "reinventing popular-punk for 2021".[142]

Offshoots and subgenres [edit]

Emo pop [edit]

Emo pop became popular in the mid-2000s, with record labels such equally Fueled past Ramen releasing platinum albums from bands including Fall Out Boy, Panic! at the Disco, Red One-piece Apparatus and Paramore.[143] Maloney wrote: "While many pop punk fans adamantly deny whatever association between their favorite acts and those labeled "emo," crossover bands who melded the two take gradually put both genres in the same scene-gunkhole."[87]

Easycore [edit]

Easycore (less commonly known as popcore, dudecore, softcore, happy hardcore, and EZ)[144] is a genre that merges popular punk with elements of metalcore.[145] It ofttimes makes use of breakdowns, unclean vocals,[146] major key progressions and riffs and synthesizers. The genre'due south roots come from early 2000s pop punk groups Sum 41 and New Found Glory. New Found Glory's self-titled and Stick and Stones albums and Sum 41'southward song "Fatty Lip" were some of the primeval and well-nigh influential released in the genre. The style's name originates from the 2008 "Easycore tour", which featured A Solar day to Retrieve, Iv Year Stiff and headliners New Plant Glory, which itself was a pun based on the name of "hardcore punk".[144]

Neon pop-punk [edit]

Neon pop-punk (also known as simply neon popular)[147] is a form of pop-punk that emphasizes synthesizers.[148] Culling Printing writer Tyler Sharp wrote that while this wasn't the first example that "a ring decided to put fuzzy keys over their chord progressions, but it was a time when that formula was perfected."[148] Kika Chatterjee of Alternative Press added that the tardily 2000s "brought in glowing synths and poppy melodies that shifted the entire definition of [pop punk]", giving it the "neon" moniker.[149] Sharp cited Forever the Sickest Kids' debut album Underdog Alma Mater (2008) as "a big moment" for the genre.[150]

Criticism [edit]

In a 2003 interview, Buzzcocks guitarist Steve Diggle would suggest that punk had become a "huge umbrella," stating, "And fair play to bands like Green Day and stuff, yous know, they've been inspired when they were actually young by us and the Clash and things, but it comes from a different well. When nosotros started, punk to me was the Clash, the [Sexual practice] Pistols, and the Buzzcocks over here [the United Kingdom], and in the [United] States it was the Dolls, Iggy, and the Ramones. We invented our manner, just like the Clash did and the Ramones did. Only the bands that have come after, some of them you see tend to but ape what went on earlier, where I'd rather them do their own thing a chip more than with information technology."[151]

Green Twenty-four hour period were accused of selling out since the release of Dookie for signing to a major characterization and condign mainstream.[152] John Lydon of the 1970s punk ring the Sex activity Pistols criticized Greenish Day and said that Green Day are non a punk band. Lydon said: "Don't endeavor and tell me Light-green Day are punk. They're not, they're plonk and they're bandwagoning on something they didn't come up up with themselves. I think they are phony."[153] Green Day guitarist and atomic number 82 vocaliser Billie Joe Armstrong said: "Sometimes I think we've become redundant because nosotros're this large band now; nosotros've made a lot of coin—nosotros're not punk stone anymore. Merely and then I think about it and just say, 'You tin can take the states out of a punk rock environment, but y'all tin't have the punk rock out of united states of america.'"[152]

Glimmer-182 also received a lot of criticism from punk rock fans, being defendant of selling out for their pop-music-inspired style of pop punk. Lydon called Blink-182 "bunch of silly boys ... an imitation of a one-act deed."[154] Former Glimmer-182 guitarist and singer Tom DeLonge responded to criticism, saying: "I honey all those criticisms, because fuck all those magazines! I hate with a passion Maximumrocknroll and all those zines that think they know what punk is supposed to be. I think information technology'due south then much more punk to piss people off than to conform to all those veganistic views."[155]

In a Nov 2004 interview, Sum 41 rhythm guitarist and atomic number 82 singer Deryck Whibley said: "Nosotros don't even consider ourselves punk. We're just a rock band. We want to do something different. Nosotros want to do our own affair. That's how music has always been to usa."[156] Sum 41's lead guitarist Dave Baksh reiterated Whibley's claims, stating "Nosotros merely call ourselves rock... It's easier to say than punk, especially around all these fuckin' kids that recollect they know what punk is. Something that was based on not having any rules has probably one of the strictest fucking dominion books in the earth."[157]

See too [edit]

  • Listing of pop punk albums
  • List of pop punk bands
  • Skate punk

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Bibliography

  • Bird, Ryan, ed. (June 2015). "The 200 Moments that Defined Our Lifetime". Rock Audio. London: Motorway Printing Inc. (200). ISSN 1465-0185.
  • Borack, John M. (2007). Shake Some Action: The Ultimate Power Pop Guide. Not Lame Recordings. ISBN978-0979771408.
  • Cogan, Brian (2006). Encyclopedia of Punk Music and Civilisation. Greenwood Press. ISBN9780313333408.
  • DeRogatis, Jim (2003). Milk It!: Collected Musings on the Alternative Music Explosion of the 90's . Cambridge: Da Capo Printing. ISBN0-306-81271-1.
  • Diehl, Matt (2013). My And so-Called Punk: Light-green Day, Autumn Out Boy, The Distillers, Bad Religion---How Neo-Punk Stage-Dived into the Mainstream. St. Martin's Publishing Group. ISBN978-1-4668-5306-5.
  • Myers, Ben (2006). Dark-green Day: American Idiots & The New Punk Explosion. Ruby-red Wheel Weiser. ISBN978-1-60925-898-half-dozen.

External links [edit]

  • Punk pop – article about popular punk music
  • The Buzzcocks, Founders of Pop Punk – commodity nearly the Buzzcock's office in developing the pop punk genre

Further reading [edit]

Magazines

  • Eliezer, Christie (September 28, 1996). "Trying to Accept Over the World". Billboard. ISSN 0006-2510.
  • Eliezer, Christie (December 27, 1997 – January 3, 1998). "The Yr in Australia: Parallel Worlds and Artistic Angles". Billboard. ISSN 0006-2510.

Web articles

  • "The 100 Best Popular Punk Bands of All Time". Issue of Sound. June v, 2019.
  • "Remember When Every 00s Film Had A Pop Punk Band In It?". Vice.
  • "Revisiting Josie and the Pussycats: The World's Greatest Fictional Pop-Punk Band". Vice.
  • "1994 rocketed Green Day and The Offspring from punks to superstar punks". The A.5. Club.
  • "Why the Hell Aren't The Buzzcocks in the Rock and Roll Hall of Fame?". Vice.
  • "Pop Punk Lyrics Can Mess With Kids' Heads As Much as Porn". Vice.
  • "15 '80s punk albums that shaped the '90s/'00s pop punk boom". Brooklyn Vegan.
  • Boas, Sammi (June 17, 2020). "Boas: Pop punk has a multifariousness problem". North by Northwestern.
  • "Hot Topic forever: How Gen Z revived early-2000s popular punk". Mic.
  • "How Four Chord Fest went from Blink to The Offspring". Pittsburgh Post-Gazette.
  • "Best pop-punk bands ever". NME. January xx, 2017.
  • "Pop punk's complicated relationship with indie rock, and the great new Wonder Years album". Brooklyn Vegan.
  • "Can Popular Punk Age Gracefully?". Vice.
  • "In Defense of the Aughts' Pop Punk Boom". PopMatters. Nov 12, 2013.
  • "Pop Punk Powerhouse". PopMatters. March 4, 2015.

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Source: https://en.wikipedia.org/wiki/Pop-punk

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