Jump to content

Pop-punk

From Wikipedia, the free encyclopedia

This is an old revision of this page, as edited by 64.231.197.54 (talk) at 01:08, 24 November 2013. The present address (URL) is a permanent link to this revision, which may differ significantly from the current revision.

Pop punk
Stylistic originsPunk rock, pop, surf rock, power pop, garage rock, new wave
Cultural originsMid-1970s United States, United Kingdom, Australia, Canada and other countries
Typical instrumentsVocals, electric guitar, bass, drums and occasional use of other instruments such as keyboards
Other topics
List of pop punk bands – Skate punk – Ska punk – Alternative rock – Melodic hardcore

Pop punk (also known as pop-punk, punk-pop or easycore) is a fusion music genre that combines elements of punk rock with pop music to varying degrees. Pop-influenced punk rock first emerged in the mid-1970s in multiple countries, and was stylistically similar to power pop. The Ramones are generally considered among the earliest bands to merge pop melodies with punk rock, and were followed by bands such as the Buzzcocks and Bad Religion. The music typically combines fast punk tempos, chord changes and loud guitars with pop-influenced melodies and lyrical themes.[1]

By the early 1980s, several groups—most notably the Descendents, Screeching Weasel and The Vandals—merged hardcore punk with pop to create a new, faster pop punk sound. Regionally, pop punk thrived in California where independent labels adopted a do it yourself (DIY) approach to releasing their music. In the mid 1990s, Green Day and The Offspring rapidly brought mainstream acceptance to the genre, selling millions of records and receiving extensive radio and television airplay. Ska punk, which shared many characteristics with pop punk, also gained popularity with notable bands Sublime and No Doubt.

A "second wave" of pop punk was spearheaded by Blink-182 in the late 1990s, who became a worldwide phenomenon by the turn of the century and represented the genre's mainstream peak. Other second wave acts such as New Found Glory, Sum 41 and Good Charlotte scored successful album chartings in the early 2000s. Fall Out Boy rose to the forefront of both emo pop and pop punk shortly thereafter, but the genre generally waned in popularity by the late 2000s. The genre still retains a smaller but dedicated following, and the Vans Warped Tour and the mall chain store Hot Topic are closely associated with the genre.

Characteristics

Allmusic describes the genre as a strand of alternative rock, which typically merges pop melodies with speedy punk tempos, chord changes and loud guitars.[1] About.com has described "second wave" pop punk bands as having "a radio friendly sheen to their music, but still maintaining much of the speed and attitude of classic punk rock".[2] Lyrically, the "true spirit" of the genre comprises songs "about expressions through friendship, love, hate, attitude, individuality and mind" according to webzine columnist Erik van Rheenen.[3]

History

Origins (1974–1989)

Further information: Punk rock

Protopunk and power pop bands of the late 1960s and early 1970s helped lay the groundwork for the pop punk sound, which emerged at the onset of punk rock around 1974 with the Ramones.[4] The Ramones' loud and fast melodic minimalism differentiated them from other bands in New York City's budding art rock scene, but pop punk was not considered a separate subgenre until later. With their love of the Beach Boys and late 1960s bubblegum pop, the Ramones paved the way to what became known as pop punk.[5] In the late 1970s, UK bands such as Buzzcocks and The Undertones combined pop-style tunes and lyrical themes with punk's speed and chaotic edge.[6][7] The Buzzcocks' compilation album Singles Going Steady (1979) has been called "the blueprint for punk rock bands preferring tuneful tales of lost love and longing to rage against the machine."[8]

The music of Generation X, 999, The Jam,[9] The Rezillos, The Lurkers, The Undertones,[10][11] The Shapes, and Toy Dolls featured poppy melodies as well as lyrics that sometimes dealt with relatively light themes such as teenage romance. The US band Bad Religion, who formed in 1979, were another band that helped to lay the groundwork for contemporary pop punk.[12][13][14] Many mod revival bands of the late 1970s and early 1980s also displayed pop punk leanings. It is not clear when the term pop punk was first used, but pop-influenced punk rock had been around since the mid- to late-1970s.[15] An early use of the term pop punk appeared in a 1977 New York Times article, "Cabaret: Tom Petty's Pop Punk Rock Evokes Sounds of 60s".[16]

By 1981, hardcore punk had emerged in the United States, with louder, faster music than punk bands. Vocal harmony, melodic instrumentation and 4/4 drumming were replaced with shouting, discordant instrumentation, and experimental rhythms, although hardcore bands like Husker Du and Bad Brains fused these traits while retaining a melodic approach to their sound. Some of the leading bands in Southern California's hardcore punk rock scene emphasized a more melodic approach than was typical of their peers. According to music journalist Ben Myers, Bad Religion "layered their pissed off, politicized sound with the smoothest of harmonies"; Descendents "wrote almost surfy, Beach Boys–inspired songs about girls and food and being young(ish)".[17] Their positive yet sarcastic approach began to separate them from the more serious hardcore scene. Milo Goes to College (1982), the band's debut LP, provided the template for America's take on the more melodic strains of first wave punk.[8] In the 1980s, the term pop punk was used in publications such as Maximum RocknRoll for bands similar to Social Distortion, Agent Orange, and T.S.O.L..[18] Bands such as The Vandals and Guttermouth developed a style blending pop melodies with humorous and offensive lyrics.

Pop punk in the United States underwent a resurgence in the early- to mid-1990s, although the genre was not commercially viable at that time. Many pop punk bands retained a do it yourself (DIY) approach to their music, and a number of independent record labels emerged during that period, often run by band members who wanted to release their own music and that of their friends. The independent labels SST/Cruz Records, Lookout! Records, Fat Wreck Chords and Epitaph Records, who grew out of this movement, later went on to achieve commercial success. Bands that fused punk with light-hearted pop melodies, such as The Queers and Screeching Weasel, began appearing around the country, in turn influencing bands like Green Day and The Offspring, who brought pop punk wide popularity and major record sales. Crimpshrine was a favorite of the 924 Gilman Street cognizanti; the band's lone studio album, Lame Gig Contest (1989), gained a manic following, despite being rejected by tastemaker label Lookout! Records.[8] "If Crimpshrine were the band documenting the feelings and obsessions of the '80s Gilman scene, Jawbreaker were pop punk's Velvet Underground, the band that spawned 1,000 bands," wrote Nicholas Pell.[8] Screeching Weasel, "probably the most divisive band on the scene this side of GG Allin and the Murder Junkies," traded in autobiographical tales, confessions of inadequacy, and pilloried punk's pretensions.[8]

Further information: Punk rock in California
File:Normal 180914 1994-XX-XX - Green Day Live .jpg
Green Day frontman Billie Joe Armstrong performing in 1994.

By 1994, pop-punk music was quickly growing in popularity and gaining mainstream acceptance. Many of these bands grew from the California punk scene of the 1980s, and several of those such bands — Green Day and The Offspring — helped revive interest in punk rock in the 1990s.[19]

Green Day rose from the strident tradition of the San Francisco Bay Area and the 924 Gilman Street scene.[20] After underground success, the band signed to Reprise Records and recorded their major-label debut, Dookie, which was released in 1994. The record produced several radio singles that would receive extensive MTV rotation - "Basket Case", "When I Come Around", and "Longview" - all of which peaked at number one on the Modern Rock Tracks chart and helped Dookie sell four million copies by the year's end.[21] Green Day were elevated to a national level, headlining Lollapalooza and Woodstock 1994 and becoming nominated for four Grammy Awards. Consequently, punk fans criticized the band for "selling out," finding Green Day's music too soft and pop-oriented.[21] To this day, many in the punk scene, including a number of pioneers,[22][23] object to the consideration of Green Day and similar bands as 'punk'.

The same year, The Offspring found similar success in the indie release Smash, which would go 6x Platinum in the US, and produced the hit singles "Come Out and Play" and "Self-Esteem". Like Green Day, The Offspring were criticized by others in the punk scene for their mainstream success, which they argue represents the antithesis of traditional punk aesthetic. In addition, Weezer's blue album (1994), despite being considered a power pop album, contains overtones largely inspired by the emerging pop punk scene at the time. By 1995, ska punk achieved commercial success in the United States and several other countries. Some ska punk music — by bands such as Reel Big Fish, The Mighty Mighty Bosstones, Goldfinger and Less Than Jake — shared many characteristics with pop punk, particularly in its accessibility, upbeat tone, and increased emphasis on melody in lieu of speed and aggression. The Long Beach band Sublime, in particular, was influential in reviving interest in the ska punk genre with their self-titled third record in 1996.[24] Another ska punk band, No Doubt, hailed from Anaheim in southern California and their 1995 album Tragic Kingdom performed overwhelmingly well on the charts in 1996.

Green Day eventually took a more "punk" path with Insomniac in 1995 and ended up selling over 7 million records. In the aftermath of the 1994 punk breakthrough, bands such as Rancid (a band formed from ska punk band Operation Ivy) and Face to Face were the subject of major-label bidding wars and lucrative deals.[21] Albums such as Dookie and Tragic Kingdom have been certified diamond for shipping over 10 million units in the United States alone.[20] The Offspring's Smash is the best-selling independent label album of all-time with over 12 million copies sold worldwide. In 1997, San Diego-based Blink-182's single "Dammit" found gradual success at rock radio and signaled a change in the status quo that would come full circle in the following two years. The Offspring returned in 1998 with Americana, which reached the top 10 worldwide and went multiplatinum with 9 million certified copies worldwide. The hit single "Pretty Fly (For a White Guy)" became an iconic song, and went 4x Platinum in Australia.

Second wave and mainstream peak (1999–2005)

Pop punk's "second wave" and commercial success generally peaked with the release of Blink-182's Enema of the State in 1999,[2] which sold 15 million copies worldwide receiving multi-platinum status in the United States, Canada, Australia, Italy, New Zealand and platinum status in Europe and the United Kingdom. Enema of the State is thought to have had a considerable effect on the second-wave pop-punk bands such as New Found Glory. The band's status was cemented by constant rotation on MTV. The band Lit enjoyed success with "My Own Worst Enemy", which spent 11 weeks on the top of the modern rock charts. New Found Glory gained popular exposure in 2000 with the release of their self-titled second album.

Blink-182 found continued success in 2001 with Take Off Your Pants and Jacket, which sold 14 million copies worldwide. The commercial success of the album secured Blink-182's status as one of the biggest bands of the genre and gave them a huge popularity in pop culture as well. Sum 41's major label debut, All Killer No Filler, went multi-platinum and spawned Total Request Live hits "Fat Lip" and "In Too Deep". New Found Glory's album Sticks and Stones debuted at No. 4 on the Billboard 200. 2002 saw Drive-Thru Records steadily build up a roster primarily of pop punk bands, such as Midtown, The Starting Line, Saves the Day, The Movielife, and Something Corporate. Simple Plan rose to the forefront in 2002 with No Pads, No Helmets...Just Balls, and Good Charlotte found similar success in The Young and the Hopeless. Bands such as MxPx, American Hi-Fi and Bowling for Soup also achieved relatively high-charting hits on industry charts in the early 2000s. Solo artist Avril Lavigne, who has been referred to as the "pop punk princess",[25][26] also found commercial success in 2002, with her punk-influenced pop sound.[27][28][29]

Radio hits in 2003 included The Ataris' cover of "The Boys of Summer" and Yellowcard's "Ocean Avenue", both commonplace on top 40 playlists. Blink-182's fifth studio album blink-182 sold millions and included singles like "Feeling This", "I Miss You" and "Down". Feeling This and I Miss You charted high. The album itslelf was a change of course for Blink-182 as their music had matured and darkened, that said the album was still a commercial and critical success. In 2004, Simple Plan's "Welcome to My Life" was a top ten hit on the pop charts, while New Found Glory's "All Downhill from Here" peaked similarly on the rock charts. Since their 1994 breakthrough, Green Day's fame was fading, mainly due to the popularity of acts such as Blink-182 and Sum 41, so the band retreated to the studio which resulted in worldwide success in 2004 with American Idiot, a politically charged rock opera that sold 14,000,000 records. They released singles that topped charts worldwide, such as "Holiday", "American Idiot", "Boulevard of Broken Dreams", "Wake Me Up When September Ends" and "Jesus of Suburbia".

Continued success (2005–2008)

Emo pop, a fusion genre combining emo and pop punk, became popular in the mid-2000s, with the record label Fueled by Ramen releasing platinum albums from bands including Fall Out Boy, Panic! at the Disco, Red Jumpsuit Apparatus and Paramore.[30] "While many pop punk fans adamantly deny any association between their favorite acts and those labeled “emo,” crossover bands who melded the two have gradually put both genres in the same scene-boat," said Devon Maloney of MTV News.[31] Fall Out Boy released their breakthrough record From Under the Cork Tree in 2005, spawning top ten singles "Sugar, We're Goin Down" and "Dance, Dance". The band had previously been a staple of the Chicago hardcore punk scene, where they mixed pop sensibilities with hardcore punk. Nevertheless, Fall Out Boy are widely considered a pop punk and emo pop act.[32][33]

Pete Wentz of Fall Out Boy signed Panic! at the Disco to his record label, Decaydance, and the band scored "I Write Sins, Not Tragedies" as a hit single, which popularized the band and won them an MTV Video Music Award for Video of the Year. The All-American Rejects found success with Move Along (2005), which inspired three top-15 singles: "Dirty Little Secret", "Move Along", and "It Ends Tonight". My Chemical Romance had similar chart success in 2006 with The Black Parade.[34] Avril Lavigne had similar success with the single "Girlfriend", which peaked at number one on the Billboard Hot 100 and became the top-selling song of 2007, making it the most successful pop punk single of the decade. Her platinum album The Best Damn Thing became the top-selling pop punk album of 2007, selling around 7 million copies worldwide, making it the second most successful pop punk album of the decade after Green Day's American Idiot.[35][36]

The All-American Rejects returned with "Gives You Hell" in 2008, which went four-times multi-platinum and charted highly. Several pop punk bands took different directions in the late 2000s, with Panic! at the Disco crafting the Beatles-inspired, baroque pop-styled record Pretty. Odd. (2008) and Fall Out Boy experimenting with glam rock and R&B on Folie a Deux (2008), both of which created fan confusion and backlash.[37][38]

All Time Low's third studio album Nothing Personal debuted at No. 4 on the Billboard 200 in 2009 and received some mainstream success, with singles like Weightless and Damned If I Do Ya (Damned If I Don't) gaining radio and television airplay.

Decline and Revival (2009-present)

A poster for the Pop Punks Not Dead Tour in 2011.

Pop punk generally waned in mainstream popularity by the end of the first decade of the 2000s. While Blink-182 and Green Day continue to headline arenas and sell out shows,[39][40] others, such as New Found Glory and Yellowcard, have seen attendance decrease steadily.[41] Devon Maloney of MTV News writes that "Pop punk and emo bands don’t headline Coachella or Bonnaroo; they rarely, if ever, are even 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 Alternative Press (AP) and the occasional teen magazine, while influential pop punk magazine AMP ceased publication in 2013.[31]

Many pop punk bands have embarked on anniversary tours, playing some of their most popular albums in full. While some members of these bands have had mixed feelings about these performances, quite often these tours sell as well as or better than the first time around.[31] Many pop punk bands have folded; "once essentially child stars, their members are now adult musicians hoping to move beyond the teen trappings that gave them careers."[31] However, the genre has experienced somewhat of a "minor renaissance."[42] Bands such as A Day to Remember, Four Year Strong, The Wonder Years and Set Your Goals have combined the pop punk sound with melodic hardcore.

In 2013, Fall Out Boy and Paramore, "two bands who rocketed into the mainstream at the height (or perhaps at the tail end) of emo and pop punk’s second wave," had two number one albums — Save Rock and Roll and Paramore — side by side on the Billboard 200.[43] Their popularity provoked conversations about the state of the genre; Maloney writes, however, that these records "could hardly be considered pop punk at this point."[31]

Club promoters in the United Kingdom have created nights based around lasting appreciation of the genre, including Pop Punk Ain't Dead in Brighton and Hello Bastards in Leeds. Say It Ain't So is a London party named after the Weezer song, and What's My Age Again?, a night celebrating "pop-punk, youthful abandon and teenage riot", is named after the Blink-182 song.[44]

Smaller-scale bands that achieved minimal mainstream success have seen a return to grassroots form, "the micro-operation style that yielded the results that caught the mainstream’s attention in the first place."[31] "I think pop-punk is a zombie," said Kelen Capener of The Story So Far, a group The Independent described as "poster boys" for the genre's most recent incarnation. "It hushed down for a bit but then it got brought back to life in an almost undead fashion. […] Back then it was mainstream, you would see it on MTV and things like that. Now, it’s different, it’s got a fighting chance and it’s crawling its way back up. It started out with a pretty selective crowd but now it’s opening up to more and more people."[45]

The Warped Tour still attracts hundreds of thousands each year; the 2012 tour attracted 556,000 festival-goers, its third-best attendance ever, in addition to the mounting success of Warped Tour UK and Warped Tour Australia.[31] "The genre, like an awkward high school kid, continues to reinvent itself and Warped is pop-punk’s prom," wrote Bobby Olivier of The Star-Ledger.[46]

New Found Glory continues to tour on the Warped Tour, and had their own Pop Punks Not Dead Tour, a reworking of an "old, defiant punk rock battle cry."[47] Chad Gilbert, the band's guitarist, wrote an op-ed for Alternative Press entitled "Why Pop-Punk’s 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 matter […] Pop-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. It's about us putting our lives on a plate for our fans to take what they want and not jeopardizing our integrity for any reason."[41] S

Jeff Klingman of The L Magazine wrote: "There's a new wave of bands emerging, young kids who've been deeply shaped by a formative love of late-90s pop-punk."[48] In 2013, The Village Voice columnist Maria Sherman wrote "There's a pretty obvious resurgence of pop-punk happening these days, those who were in their 20s playing music inspired by their teens: boy slackers Japandroids and intelligent songstress Waxahatchee come to mind, as well as indie couple Wavves and Best Coast."[49]

See also

Footnotes

  1. ^ a b Explore: Punk-Pop. AllMusic.
  2. ^ a b Lamb, Bill (March 10, 2011). "Punk Pop". About.com (IAC). Retrieved 2011-08-19.
  3. ^ van Rheenen, Erik (May 4, 2011). "Not Sad Anymore: How Pop-Punk Recaptured Its Spirit". Mind Equals Blown. Retrieved August 29, 2013. {{cite web}}: Italic or bold markup not allowed in: |publisher= (help)
  4. ^ "The Ramones – Classic US Punk – Discography – Albums". Punk77.co.uk. Retrieved 2011-08-19.
  5. ^ Besssman (1993), p. 16; Carson (1979), p. 114; Simpson (2003), p. 72; McNeil (1997), p. 206.
  6. ^ "The Buzzcocks, Pop Punk Pioneers". Punkmusic.about.com. Retrieved 2011-08-19.
  7. ^ Cooper, Ryan. "The Buzzcocks, Founders of Pop Punk". About.com. Retrieved on December 16, 2006.
  8. ^ a b c d e Nicholas Pell (July 9, 2013). "The 5 Best Pre-Dookie Pop-Punk Records". LA Weekly. Retrieved September 12, 2013. {{cite web}}: Italic or bold markup not allowed in: |publisher= (help)
  9. ^ allmusic ((( The Jam > Biography )))
  10. ^ The Undertones[dead link‍]
  11. ^ Undertones Get New Kicks : Rolling Stone[dead link‍]
  12. ^ [1][dead link‍]
  13. ^ "Bad Religion Biography: Contemporary Musicians". Enotes.com. Retrieved 2011-08-19.
  14. ^ Heller, Jason (April 11, 2002). "Bad Religion – The Process of Belief (Epitaph)". Westword. Retrieved 2011-08-19.
  15. ^ "The Modpoppunk Archives". Punkmodpop.free.fr. 2011-07-08. Retrieved 2011-08-19.
  16. ^ New York Times, "Cabaret: Tom Petty's Pop Punk Rock Evokes Sounds of 60s", John Rockwell, March 9, 1977, Page C22, [2]
  17. ^ Myers (2006), p. 52.
  18. ^ Maximum RocknRoll, "BLOODSPORT – cassette (music review)", Tim Yohannan, December 1984, Issue 20, Page 66.
  19. ^ DeRogatis, Jim. Milk It!: Collected Musings on the Alternative Music Explosion of the 90's. Cambridge: Da Capo, 2003. Pg. 357, ISBN 0-306-81271-1
  20. ^ a b Caramanica, Jon (September 25, 2012). "Pop-Punk Bands, Now Grown Up". The New York Times. New York City: The New York Times Company. ISSN 0362-4331. Retrieved October 4, 2012.
  21. ^ a b c Strauss, Neil (February 5, 1995). "POP VIEW; Has Success Spoiled Green Day?". The New York Times. New York City: The New York Times Company. ISSN 0362-4331. Retrieved October 4, 2012.
  22. ^ Post To:. "Sex Pistols' John Lydon Brands Green Day 'Punk Imitators' | Live4ever Ezine". Live4ever.uk.com. Retrieved 2013-02-26.{{cite web}}: CS1 maint: extra punctuation (link)
  23. ^ "Green Day Fail To Impress Punk Icon". Contactmusic.com. Retrieved 2013-02-26.
  24. ^ Luciano, Phil (July 14, 2011). "Sublime to perform with new singer". pjstar.com. Retrieved July 19, 2011.
  25. ^ Avril Lavigne: The Best Damn Tour – Live in Toronto (2008) – Trailers, Reviews, Synopsis, Showtimes and Cast – AllMovie
  26. ^ http://www.webcitation.org/query?url=http%3A%2F%2Fwww.washingtonpost.com%2Fwp-dyn%2Fcontent%2Farticle%2F2006%2F07%2F16%2FAR2006071600317.html
  27. ^ " It marked a return to the bratty, spunky punk-pop of Let Go..." Her first album released on 2002
  28. ^ "She was one of the most popular new pop punk artists of 2002, when she released her first album"
  29. ^ "Avril Lavigne Biography – Facts, Birthday, Life Story". Biography.com. 1984-09-27. Retrieved 2013-02-26.
  30. ^ http://www.allmusic.com/cg/amg.dll?p=amg&sql=77:2928
  31. ^ a b c d e f g Devon Maloney (April 24, 2013). "What Happened to Emo?". MTV News. Retrieved September 17, 2013.
  32. ^ Cripps, Charlotte (April 28, 2006). "Last year, Fall Out Boy's bassist Pete Wentz attempted suicide; now the band are punk-pop gods". The Independent. Independent Print Limited.
  33. ^ Associated Press (December 14, 2005). "Fall Out Boy takes pop route to rock success". MSNBC.com. Retrieved November 28, 2009.
  34. ^ http://www.nytimes.com/2006/10/22/arts/music/22mich.html?pagewanted=all&_r=0
  35. ^ http://www.ifpi.org/content/library/top-50-albums-2007.pdf
  36. ^ "The upbeat songs keep things especially exciting for her. "The Best Damn Thing" has sold nearly 7 million copies worldwide."
  37. ^ Perpetua, Matthew (February 29, 2012). "Patrick Stump: I'm a 27-Year-Old Has-Been". Rolling Stone. New York City: Wenner Media LLC. ISSN 0035-791X. Retrieved September 27, 2012.
  38. ^ Greene, Andy (March 18, 2011). "The 25 Boldest Career Moves in Rock History". Rolling Stone (1127). New York City: Wenner Media LLC. ISSN 0035-791X. Retrieved September 27, 2012.
  39. ^ Chris Payne (September 12, 2013). "Blink-182 Rock Brooklyn Club Gig: Live Review". Billboard. Retrieved September 12, 2013. {{cite web}}: Italic or bold markup not allowed in: |publisher= (help)
  40. ^ James Montgomery (February 26, 2013). "Green Day Announce Club Dates, Eye Return To Arenas". MTV News. Retrieved September 12, 2013. {{cite web}}: Italic or bold markup not allowed in: |publisher= (help)
  41. ^ a b Chad Gilbert (September 29, 2011). "Why Pop-Punk's Not Dead—And Why It Still Matters Today". Alternative Press. Retrieved September 17, 2013. {{cite news}}: Italic or bold markup not allowed in: |publisher= (help)
  42. ^ Ian Cohen (August 2, 2013). "The Forgotten Pop-Punk Records of Summer". Grantland.com. Retrieved September 12, 2013.
  43. ^ Mikael Wood (May 11, 2013). "Fall Out Boy and Paramore: Coming back on top". Los Angeles Times. Retrieved September 12, 2013. {{cite web}}: Italic or bold markup not allowed in: |publisher= (help)
  44. ^ Sian Rowe (August 20, 2011). "Say It Ain't So! Club nights reanimate the pop-punk sound of Blink-182". The Guardian. Retrieved September 17, 2013. {{cite news}}: Italic or bold markup not allowed in: |publisher= (help)
  45. ^ Ed Cooper (November 14, 2012). "The Story So Far: Pop-punk is a zombie". The Independent. Retrieved September 17, 2013. {{cite news}}: Italic or bold markup not allowed in: |publisher= (help)
  46. ^ Bobby Olivier (July 15, 2013). "What Jersey sounds like: The power of pop-punk". The Star-Ledger. Retrieved September 17, 2013. {{cite news}}: Italic or bold markup not allowed in: |publisher= (help)
  47. ^ Steve Appleford (June 25, 2012). "New Found Glory, Yellowcard Stand Up for 'Pop Punks' at Warped Tour". Rolling Stone. Retrieved September 17, 2013. {{cite news}}: Italic or bold markup not allowed in: |publisher= (help)
  48. ^ Jeff Klingman (September 17, 2013). "Pop-Punk, the Next Generation: Talking with Potty Mouth". The L Magazine. Retrieved September 17, 2013. {{cite web}}: Italic or bold markup not allowed in: |publisher= (help)
  49. ^ Maria Sherman (September 11, 2013). "I Was in an All-Girl Blink-182 Cover Band Called Dumpweed". The Village Voice. Retrieved September 12, 2013. {{cite web}}: Italic or bold markup not allowed in: |publisher= (help)
Retrieved from "https://en.wikipedia.org/enwiki/w/index.php?title=Pop-punk&oldid=583027083"