Pop punk

Pop punk (also known as punk-pop) is a subgenre of punk rock that combines the genre with elements of pop music. Prominent electric guitars with distortion, and power chord changes are typically played under pop-influenced melodies and vocal styles with lighthearted lyrical themes including boredom, rebellion and teenage romance.

Pop punk
Other names
  • Punk-pop
  • pop-punk
Stylistic origins
Cultural origins
Typical instruments
Fusion genres
Regional scenes
Other topics
Skate punk

The genre originated shortly after punk itself did, in the mid-1970s, propelled by bands such as The Ramones, The Buzzcocks and The Undertones. Several pop punk bands emerged in the 1980s and early 1990s, including Screeching Weasel, The Queers, and The Mr. T Experience, with many of these bands signed to Lookout! Records.

The genre began to rise in popularity in 1994 with the successful releases by bands like Green Day and The Offspring, and reached mainstream success by the late 1990s and early 2000s with bands like Blink-182, Good Charlotte and Sum 41. During the mid-2000s, the emo genre gained traction and influenced a pop punk subgenre called emo pop with the mainstream success of bands like Fall Out Boy and Paramore.

Pop punk's popularity decreased in the 2010s but it continued to have some fans with the emergence of bands like Neck Deep and The Story So Far.

Characteristics

Pop punk combines punk rock with elements of pop music by combining upbeat melodies and catchy choruses and hooks inspired by pop music with fast tempos, melodic vocals and power chords that are common in punk rock.[1][2][1][3] 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".[1] According to The A.V. Club, pop punk often pits "sweet harmonies against bratty, rowdy riffs".[3] Lyrical topics that are common in pop punk include love, lust, drunkenness, adolescence, cartoonish violence and drugs. Some pop punk lyrics focus on jokes and humor.[3] Some pop punk music features elements of alternative rock,[2] power pop,[3][2] emo[4] or skate punk.[5] According to Ryan Cooper of About.com, "pop punk is a style that owes more to The Beatles and '60s pop rock than other sub-genres of punk".[6]

History

Origins (1974–1979)
Further information: Punk rock
Buzzcocks are considered one of the pioneers of pop punk.[7]

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.[8] The Beatles, the Kinks and the Beach Boys all paved the way for pop punk.[3][9] With their love of the Beach Boys and late 1960s bubblegum pop, the Ramones are considered the pioneers of pop punk.[10] 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 sub-genre until later. 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".[11] In the late 1970s, English band Buzzcocks and Northern Irish bands The Undertones and Stiff Little Fingers combined pop-style tunes and lyrical themes with punk rock's speed and chaotic edge.[12][13] The Buzzcocks' 1979 compilation album Singles Going Steady has been called "the blueprint for punk rock bands preferring tuneful tales of lost love and longing to rage against the machine."[14] The music of other UK bands, such as Generation X, 999, The Vibrators and The Jam,[15] featured poppy melodies as well as lyrics that sometimes dealt with relatively light themes such as teenage romance.

Expansion (1979–1993)
The Descendents are considered a prominent band of 1980s pop punk.[7]

The American band Bad Religion, formed in 1979, also helped to lay the groundwork for contemporary pop punk.[16][17][18] Bad Religion and some of the other leading bands in Southern California's hardcore punk 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". Meyers wrote that Descendents "wrote almost surfy, Beach Boys-inspired songs about girls and food and being young(ish)".[19] 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 United States' take on the more melodic strains of first wave punk.[14]

In the 1980s, the term pop punk was used in publications such as Maximum RocknRoll to describe bands similar to Social Distortion, Agent Orange, The Nip Drivers and T.S.O.L..[20] Bands such as The Vandals and Guttermouth also contributed to the development of pop punk by creating a style that blended pop melodies with humorous and offensive lyrics.

Pop punk band The Queers in 2009

Pop punk in the United States began to grow in popularity in the late 1980s especially in California due to bands like Dag Nasty and All, but the genre was not yet considered commercially viable by major US record labels. Bands such as Bad Religion, Descendents, and The Vandals began to inspire the formation of bands like The Offspring and the more melodic Green Day. Many pop punk bands espoused a do it yourself (DIY) approach to their music, and a number of independent record labels emerged during this period, often run by band members who wanted to release their own music and that of their friends. During this period several independent labels were formed that would achieve much notoriety and commercial success in the 1990s, namely Epitaph Records (1980), Lookout! Records (1987), and Fat Wreck Chords (1990).

During the 1980s and early 1990s, pop punk bands such as The Queers,[7] The Mr. T Experience,[21] Jawbreaker[22] and Screeching Weasel[7] emerged. Some of these bands, including Screeching Weasel,[7] The Queers[7] and The Mr. T Experience,[21] were signed to the record label Lookout! Records, which also signed Green Day.[21] In August 1992, early 1990s California punk rock and pop punk was noticed by the magazine Spin when the magazine published a story called "California Screamin' ", which is about the early 1990s underground punk rock scene in California, mentioning pop punk bands like Screeching Weasel and Green Day.[23]

Mainstream success (1994–2009)

In 1993, California's Green Day and Bad Religion were both signed to major labels, and by 1994, pop punk was quickly growing in mainstream popularity. Many punk rock and pop punk bands originated from the California punk scene of the late 1980s, and several of those bands, especially Green Day and The Offspring, helped revive interest in punk rock in the 1990s.[24]

Pop punk band Green Day at the 2009 MTV Video Music Awards

Green Day arose from the 924 Gilman Street punk scene in Berkeley, California.[25] After building an underground following, the band signed to Reprise Records and released their major-label debut album, Dookie, in 1994. Dookie sold four million copies by the year's end and spawned several radio singles that received extensive MTV rotation, three of which peaked at number one on the Modern Rock Tracks chart.[26] Green Day headlined Lollapalooza and Woodstock 1994 and were nominated for four Grammy Awards and won in the category for Best Alternative Album. Green Day's enormous commercial success paved the way for other North American pop punk bands in the following decade.[27] Green Day's song "Longview" peaked at number 1 on the Modern Rock Tracks chart[28] and number 36 on the Radio Songs chart.[29] Green Day's song "Basket Case" peaked at number 16 on the Mainstream Top 40 chart.[30] Green Day's song "When I Come Around" peaked at number 6 on the Radio Songs chart[29] and number 2 on the Mainstream Top 40 chart.[30] Green Day's album Dookie was certified diamond by the Recording Industry Association of America in 1999.[31] The Offspring also achieved mainstream success in the mid-1990s; its album Smash was certified 6x platinum by the Recording Industry Association of America in 2000,[32] selling 6,300,000 copies in the United States.[33]

MTV and radio stations such as Los Angeles' KROQ-FM played a major role in the genre's mainstream success.[34] KROQ's steady airplay of a remix of Face to Face's song "Disconnected" led the band to re-record the track for their 1994 album Big Choice, which sold over 100,000 copies.[35][36] Meanwhile, Bad Religion's album Stranger Than Fiction (1994) was certified gold.[37] The Australian bands Frenzal Rhomb and Bodyjar established followings in Japan.[38] Goldfinger's song "Here in Your Bedroom" peaked at number 47 on the Radio Songs chart[39] and number 5 on the Modern Rock Tracks chart.[40]

The Warped Tour and the mall chain store Hot Topic brought punk even further into the United States mainstream.[41] With punk rock's renewed visibility came concerns among some in the punk subculture that the music was being co-opted by the mainstream.[34] Some punk rock fans criticized Green Day for "selling out" and rejected their music as too soft, pop-oriented and not legitimate punk rock.[26][42][43] They argued that by signing to major labels and appearing on MTV, bands like Green Day were buying into a system that punk was created to challenge.[44] Blink-182 broke into the mainstream with their 1997 album Dude Ranch. Dude Ranch was certified platinum by the Recording Industry Association of America in 1999.[45] Dude Ranch's song "Dammit" peaked at number 61 on the Radio Songs chart in February 1998.[46] Eve 6 released their self-titled debut album on RCA Records in April, which peaked at number one on the Top Heatseekers chart and number 33 on the Billboard 200 chart. The album's song "Inside Out" peaked at number 28 on the Billboard Hot 100.[47] In November 1998, Eve 6' self-titled debut album was certified platinum by the Recording Industry Association of America.[48] In November 1998, The Offspring's album Americana was released and was certified 5x platinum by the Recording Industry Association of America.[49] A bootleg MP3 of Americana's first single, "Pretty Fly (for a White Guy)", was uploaded to the Internet and was illegally downloaded 22,000,000 times.[50] "Pretty Fly (for a White Guy)" peaked at number 13 on the Mainstream Top 40 chart on January 30, 1999. Also, The Offspring's song "Why Don't You Get a Job?" peaked at number 21 on the Mainstream Top 40 chart on May 22, 1999.[51]

Pop punk band Blink-182 performing in Los Angeles, California in November 2013.

Although Blink-182 broke into the mainstream with the release of Dude Ranch, the band became much more popular with the release of the 1999 album Enema of the State.[1] Enema of the State was certified 5x platinum by the Recording Industry Association of America on February 26, 2001[52] and sold 15 million copies worldwide.[53] Enema of the State's song "What's My Age Again?" peaked at number 58 on the Billboard Hot 100 on October 23, 1999. Enema of the State's song "All the Small Things" peaked at number 6 on the Billboard Hot 100 on February 19, 2000.[54] Lit had also achieved commercial success. Lit's song "My Own Worst Enemy" peaked at number 51 on the Billboard Hot 100 chart on July 3, 1999[55] and number 1 on the Modern Rock Tracks chart on April 10, 1999.[56] "My Own Worst Enemy" was at number 1 on the Modern Rock Tracks chart for two months.[57] Lit's album A Place in the Sun was certified platinum by the RIAA.[58] In 2000, SR-71's song "Right Now" peaked at number 30 on the Mainstream Top 40 chart.[59] Jimmy Eat World gained commercial success with their breakthrough album Bleed American (2001), which was certified platinum by the Recording Industry Association of America in August 2002.[60] Bleed American's song "The Middle" peaked at number 5 on the Billboard Hot 100.[61] Blink-182 had continued success in 2001 with Take Off Your Pants and Jacket, which peaked at number 1 on the Billboard 200[62] and sold 350,000 copies in its first week of being released.[63] Take Off Your Pants and Jacket was certified 2x platinum by the Recording Industry Association of America in May 2002[64] and sold 14,000,000 copies worldwide.[65] "Stacy's Mom" by Fountains Of Wayne debuted on the Billboard Hot 100 the week of October 11, 2003, at number 59, making this their first song to appear on that chart.[66]

Sum 41 performing in Cleveland, Ohio in 2015

In 2001, Sum 41 achieved mainstream success. The band's song "Fat Lip" peaked at number 66 on the Billboard Hot 100 chart,[67] peaked at number 1 on the Modern Rock Tracks chart,[68] and was constantly at number 1 on MTV's Total Request Live.[69] Sum 41's album All Killer No Filler was certified platinum by the Recording Industry Association of America in August 2001.[70] In 2001, American Hi-Fi achieved mainstream success. On August 4, 2001, the band's song "Flavor of the Weak" peaked at number 41 on the Billboard Hot 100 chart.[71] On August 18, 2001, "Flavor of the Weak" by American Hi-Fi peaked at number 15 on the Mainstream Top 40 chart.[72] In 2002, New Found Glory's song "My Friends Over You" peaked at number 85 on the Billboard Hot 100.[73] The band's album Sticks and Stones was certified gold by the Recording Industry Association of America in September 2002.[74] Saves the Day's Through Being Cool (1999) would later pave the way for a new wave of pop punk, influencing bands such as Fall Out Boy, My Chemical Romance and Taking Back Sunday.[75]

Good Charlotte achieved mainstream success with its album The Young and the Hopeless, which was certified 3x platinum by the Recording Industry Association of America.[76] Good Charlotte's self-titled album was certified gold by the Recording Industry Association of America.[77] Good Charlotte's song "Lifestyles of the Rich and Famous" peaked at number 6 on the Mainstream Top 40 chart[78] and number 20 on the Billboard Hot 100 chart.[79] The band's "The Anthem" peaked at number 11 on the Mainstream Top 40 chart[78] and number 43 on the Billboard Hot 100 chart.[79] Good Charlotte's song "Girls & Boys" peaked at number 10 on the Mainstream Top 40 chart[78] and number 48 on the Billboard Hot 100 chart.[79]

Avril Lavigne performing in Toronto, Ontario, Canada in September 2002

Canadian solo artist Avril Lavigne, often referred by media and critics as the "Pop Punk Queen",[80] found commercial success in 2002, with her punk-influenced pop sound.[81][82][83] Lavigne's album Let Go was certified 6x platinum by the Recording Industry Association of America in April 2003,[84] the album is considered as a highlight in the pop-punk scene and paved the way for the success of female-driven punk-influenced pop rock music, such as Paramore, Skye Sweetnam, Fefe Dobson, Lillix, Kelly Osbourne, Krystal Meyers, Tonight Alive, Courage My Love, Hey Monday, among others as being a direct result.[85] Fellow Canadian artist Simple Plan experienced commercial success in 2003. Simple Plan's song "I'd Do Anything" peaked at number 16 on the Mainstream Top 40 chart in March 2003. The band's song "Addicted" peaked at number 11 on the Mainstream Top 40 chart in August 2003. Simple Plan's song "Perfect" peaked at number 5 on the Mainstream Top 40 chart in December 2003.[86]

The Ataris achieved mainstream success in 2003 with its cover of the song "The Boys of Summer". The Ataris' cover of "The Boys of Summer" peaked at number 20 on the Billboard Hot 100.[87] Yellowcard achieved mainstream success in 2004 with its song "Ocean Avenue". "Ocean Avenue" peaked at number 13 on the Mainstream Top 40 chart.[88] Yellowcard is also one of the only known bands of the genre who have successfully incorporated a Violin into their music. Blink-182's untitled fifth studio album[89] (2003), sold 2.2 million copies in the United States for a total 7 million worldwide. [90]

In 2004, Good Charlotte released its album The Chronicles of Life and Death, led by the lead single "Predictable". The album was certified platinum by the Recording Industry Association of America in December 2004.[91] "Predictable" by Good Charlotte peaked at number 20 on the Mainstream Top 40 chart.[78] The band Bowling for Soup achieved mainstream success in 2004. Bowling for Soup's song "1985" peaked at number 10 on the Mainstream Top 40 chart. Bowling for Soup's song "Girl All the Bad Guys Want" peaked at number 17 on the Mainstream Top 40 chart. The band's song "Almost" peaked at number 21 on the Mainstream Top 40 chart. Bowling for Soup's song "Ohio (Come Back to Texas)" peaked at number 35 on the Mainstream Top 40 chart.[92] Bowling for Soup's single "1985" was certified gold by the Recording Industry Association of America in November 2004. In January 2008, the single was certified platinum by the Recording Industry Association of America.[93] My Chemial Romance released their breakthrough album Three Cheers For Sweet Revenge which has sold over a million copies in the United States. In the mid-2000s, Green Day became mainstream again with its album American Idiot. The Green Day album American Idiot was certified 6x platinum by the Recording Industry Association of America.[94] Lavigne released her second album Under My Skin, which is considered one of the works that anticipated the emotional intensity and theatrical aesthetics of emo-pop music in the mainstream.[95] Under My Skin debuted at number one on the Canadian Albums Chart and on the US Billboard 200, selling more than 10 million copies worldwide.

Fall Out Boy performing in 2006

Emo pop, a fusion genre combining emo and pop punk, became popular in the mid-2000s, with record labels such as Fueled by Ramen releasing platinum albums from bands including Fall Out Boy, Panic! at the Disco, Red Jumpsuit Apparatus and Paramore.[96] Devon Maloney of MTV News wrote: "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."[97] Fall Out Boy achieved mainstream success with its 2005 album From Under the Cork Tree, which was certified 2× platinum by the Recoding Industry Association of America in January 2006.[98] During the mid–late 2000s, three Fall Out Boy songs were on the top ten of the Billboard Hot 100.[99] Although Fall Out Boy had been a staple of the Chicago hardcore scene, where they mixed pop sensibilities with hardcore punk, they are widely considered a pop punk and emo pop act.[100][101]

The All-American Rejects found success with Move Along (2005), which inspired three top 15 singles.[102] Panic! at the Disco scored a hit single, "I Write Sins, Not Tragedies", which peaked at number 7 on the Billboard Hot 100[103] and won the band a 2006 MTV Video Music Award for Video of the Year.[104] Avril Lavigne had success with the single "Girlfriend", which peaked at number one on the Billboard Hot 100 in May 2007 and sold over 10 million copies worldwide.[105] Her platinum album, The Best Damn Thing,[106] sold around 8 million copies worldwide, making it the top-selling pop punk album of 2007.[107][108] Paramore achieved mainstream success in the late 2000s. During the late 2000s, many Paramore songs were on the Billboard Hot 100. Paramore's song "Misery Business" peaked at number 26 on the Billboard Hot 100 in January 2008. Paramore's song "Crushcrushcrush" peaked at number 54 on the Billboard Hot 100 in January 2008 and the band's song "That's What You Get" peaked at number 66 on the Billboard Hot 100 in August 2008. Also, Paramore's song "Ignorance" peaked at number 67 on the Billboard Hot 100 in July 2009.[109] Paramore's song "Careful" peaked at number 78 on the Billboard Hot 100 in October 2009.[110] Paramore's album Riot! was certified 2x platinum by the Recording Industry Association of America.[111] On September 22, 2007, Boys Like Girls' song "The Great Escape" peaked at number 23 on the Billboard Hot 100.[112] On April 28, 2007, The Red Jumpsuit Apparatus' song "Face Down" peaked at number 24 on the Billboard Hot 100.[113]

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, blues rock and R&B on Folie a Deux (2008), both of which created fan confusion and backlash. As of 2013, Folie a Deux has sold approximately 500,000 copies in the United States, compared to their first hit album, From Under the Cork Tree, which has a total of 2.7 million record sales in the U.S. as of 2013, a representation of the backlash from their fanbase as the group experimented with a musical style differing from their pop punk background.[114][115] In 2009, pop punk's popularity continued with the continued success of Paramore, Green Day and Boys Like Girls. Green Day's album 21st Century Breakdown peaked at number 1 on the Billboard 200, selling 215,000 copies.[116] Boys Like Girls' song "Love Drunk peaked at number 22 on the Billboard Hot 100 on July 25, 2009.[112]

Decline in mainstream popularity (2010–present)

Pop punk lost its mainstream popularity in the early 2010s. The genre has fallen out of mainstream radio success, with rock bands and guitars becoming rare on dance-focused pop radio.[117] While Blink-182 and Green Day continue to headline arenas and sell out their concerts,[118][119] others, such as New Found Glory, have seen attendance decrease steadily.[120] Devon Maloney of MTV wrote 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 and the occasional teen magazine, while influential pop punk magazine AMP ceased publication in 2013.[97] The decline in mainstream popularity for the genre, coupled with the closure of many mid-size venues associated with it, has resulted in many venues and labels returning to the DIY ethic that first spawned the punk movement.[121][122][123] Pop punk bands that achieve 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."[97] Chad Gilbert of New Found Glory wrote in 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."[120]

I think pop-punk is a zombie. ... 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.[124]

– Kelen Capener of The Story So Far

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."[97] Fall Out Boy and Paramore, two groups that achieved mainstream success within the genre, had two number one albums—Save Rock and Roll and Paramore—side by side on the Billboard 200. Fall Out Boy along with other pop punk bands that peaked during the mid-2000s are now seen to be experimenting with the more pop side of the 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 not relate as much to the punk themes of the 1970s.[125] Their popularity provoked conversations about the state of the genre; Maloney writes that these records couldn't be viewed as pop punk.[97]

The genre has experienced a resurgence.[126] Several 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.[97] Club promoters in the United Kingdom have created nights based around lasting appreciation of the genre.[127] The Warped Tour still attracts hundreds of thousands of attendees each year; the 2012 tour attracted 556,000 festival-goers, its third-best attendance.[97] Bobby Olivier of The Star-Ledger wrote: "The genre ... continues to reinvent itself and Warped is pop-punk’s prom."[128]

Pop punk band The Wonder Years

A new wave of pop punk groups had sprung up sometime around 2010.[129] Dave Beech of Clash noted that these groups were "[d]arker and more mature" than those previously, taking influence "and occasional indifference" from 1990s emo.[129] 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."[130] This pushed Campbell to "the forefront of a new wave", and the album influencing a new wave of pop punk bands.[130] Rock Sound included The Wonder Years' The Greatest Generation on their best albums of 2013 list, calling it "the defining album of what may well have been the genre's best year for a decade."[131] Kerrang! said the album "ripped up the pop-punk blueprint" pushing the genre to "new peaks of invention, both lyrically and musically."[132] The Story So Far's What You Don't See (2013) "cemented their place at the top table of nu pop-punk".[133] In early 2014, Welsh band Neck Deep released their debut album Wishful Thinking, which Rock Sound later called it "the greatest UK pop-punk record of all time."[134] Also in 2014, Australian band 5 Seconds of Summer's self titled album debuted at number 1 on the Billboard 200 chart and in many other countries, prompting Alternative Press to describe the band as important to the marketing of the pop-punk scene.[135]

In 2015, All Time Low's Future Hearts brought the band a career best Billboard 200 number 2 charting with 75,000 copies sold.[136] Neck Deep's Life's Not out to Get You (2015) hit number 8 on the UK charts[137] and number 17 on the Billboard 200.[138] Blink-182's California debuted at number one on the Billboard 200, becoming their first number one since Take Off Your Pants and Jacket in 2001. The first single from the album, "Bored to Death", reached the number one spot on Alternative Songs chart.[139] Later in 2016, Green Day released Revolution Radio, debuting at number 1 on the Billboard 200.[140] In 2017, Neck Deep's The Peace and the Panic hit number 4 in both the US and the UK.[141][142]

Subgenres and fusion genres

Neon pop
Neon pop band Forever the Sickest Kids

Neon pop (or neon pop punk) is a subgenre of pop punk that makes notable use of synthesizers. Alternative Press writer Tyler Sharp wrote that by the late 2000s, pop punk had taken "on a new, synth-laden face."[143] While this wasn't the first instance that "a band decided to put fuzzy keys over their chord progressions, but it was a time when that formula was perfected."[143] Kika Chatterjee of Alternative Press added that the late 2000s "brought in glowing synths and poppy melodies that shifted the entire definition of [pop punk]", giving it the "neon" moniker.[144] Sharp listed songs by Cobra Starship, the Secret Handshake,[143] the Maine, and Forever the Sickest Kids, among others[145] as songs "from pop punk's neon era."[143] In addition, Chatterjee listed songs by the Cab, A Rocket to the Moon and Sing It Loud, among others.[144] Sharp noted that Forever the Sickest Kids' debut album Underdog Alma Mater (2008) was "a big moment" for the genre.[145] The subgenre is considered to have been a relatively short lived trend.[146]

Emo pop
Main article: Emo pop

Emo pop (or emo pop punk) is a subgenre of both emo and pop punk.[147] AllMusic describes emo pop as blending "youthful angst" with "slick production" and mainstream appeal, using "high-pitched melodies, rhythmic guitars, and lyrics concerning adolescence, relationships, and heartbreak."[148] The Guardian described emo pop as a cross between "saccharine boy-band pop" and emo.[149]

Weezer's Pinkerton (1996) was seen by Spin as "a groundbreaking record for all the emo-pop that would follow."[150] According to Nicole Keiper of CMJ, Sense Field's Building (1996) pushed the band "into the emo-pop camp with the likes of the Get Up Kids and Jejune".[151] As emo became commercially successful in the early 2000s, emo pop was popular with Jimmy Eat World's 2001 album Bleed American and the success of its single "The Middle".[148]

The Get Up Kids at the Bowery Ballroom in 2000

Emo pop developed during the 1990s. Jimmy Eat World,[148] the Get Up Kids[152] and The Promise Ring[153] were early emo-pop bands. The emo pop style of Jimmy Eat World's album, Clarity,[154] influenced later emo.[155]

Emo pop became successful during the late 1990s, with its popularity increasing in the early 2000s. The Get Up Kids sold over 15,000 copies of their debut album, Four Minute Mile (1997), before signing with Vagrant Records. The label promoted them, sending them on tours to open for Green Day and Weezer.[156] Their 1999 album, Something to Write Home About, reached number 31 on Billboard's Top Heatseekers chart.[157]

As emo pop coalesced, the Fueled by Ramen label became a center of the movement and signed Fall Out Boy, Panic! at the Disco, and Paramore (all of whom had been successful).[148] Two regional scenes developed. The Florida scene was created by Fueled by Ramen; midwest emo-pop was promoted by Pete Wentz, whose Fall Out Boy rose to the forefront of the style during the mid-2000s.[148][158][159] Cash Cash released Take It to the Floor (2008); according to AllMusic, it could be "the definitive statement of airheaded, glittery, and content-free emo-pop[160] ... the transformation of emo from the expression of intensely felt, ripped-from-the-throat feelings played by bands directly influenced by post-punk and hardcore to mall-friendly Day-Glo pop played by kids who look about as authentic as the "punks" on an old episode of Quincy did back in the '70s was made pretty much complete".[160] You Me at Six released their 2008 debut album, Take Off Your Colours, described by AllMusic's Jon O'Brien as "follow[ing] the 'emo-pop for dummies' handbook word-for-word."[161] The album was certified gold in the UK.[162]

A Day to Remember performing at Peace & Love in 2010

Easycore

Easycore (less commonly known as popcore, dudecore, softcore, happy hardcore, "bro" pop punk, and EZ)[163] is a fusion genre that mixes elements of pop punk and different forms of hardcore punk, particularly metalcore and post-hardcore. It is characterized by its use of melodies commonly found in pop punk fused with breakdowns found in post-hardcore and hardcore punk.[164] A number of groups also take influence from metal and make use of unclean vocals.[165] The genre's roots come from early 2000s pop punk with groups such as New Found Glory and Sum 41 being highly influential in its development (with the former naming the genre on a tour known as the "Easycore tour").[163] The easycore sound later emerged in the mid-to-late 2000s and early 2010s by bands such as Chunk! No, Captain Chunk!,[166] A Day to Remember, and Four Year Strong.[163]

Criticism

Pop punk, particularly mainstream pop punk, has been widely criticized by punk rock fans, with many punk rock fans refusing to consider the genre an actual sub-genre of punk because of the genre's pop-music influences and mainstream popularity.[167][168][169] Many mainstream pop punk bands have been considered "sellouts" and "posers" by punk fans. Green Day have been accused of selling out since the release of Dookie for signing to a major label and becoming mainstream.[170] John Lydon of the 1970s punk band The Sex Pistols criticized Green Day and said that Green Day are not a punk band. Lydon said: "Don't try and tell me Green Day are punk. They're not, they're plonk and they're bandwagoning on something they didn't come up with themselves. I think they are phony."[171] Green Day guitarist and lead singer Billie Joe Armstrong said: "Sometimes I think we've become redundant because we're this big band now; we've made a lot of money—we're not punk rock anymore. But then I think about it and just say, 'You can take us out of a punk rock environment, but you can't take the punk rock out of us.'"[170] Blink-182 also received a lot of criticism from punk rock fans, being accused of selling out for their pop-music-inspired style of pop punk. Lydon called Blink-182 "bunch of silly boys ... an imitation of a comedy act."[172] Former Blink-182 guitarist and singer Tom DeLonge responded to criticism, saying "I love 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 it's so much more punk to piss people off than to conform to all those veganistic views."[173] In a November 2004 interview, Sum 41 rhythm guitarist and lead singer Deryck Whibley said: "We don't even consider ourselves punk. We're just a rock band. We want to do something different. We want to do our own thing. That's how music has always been to us."[174] Sum 41's lead guitarist Dave Baksh reiterated Whibley's claims, stating "We just call ourselves rock... It's easier to say than punk, especially around all these fuckin' kids that think they know what punk is. Something that was based on not having any rules has probably one of the strictest fucking rule books in the world."[175]

gollark: Oh, it actually *does* recognize the words too? Neat.
gollark: Anyway, please feel free to randomly ping me for anything whatsoever which is not utterly stupid.
gollark: Generating speech and parsing it into words (phonemes?) isn't exactly the same problem.
gollark: That would make sense. A pi is probably also overkill there for anything but camera stuff.
gollark: Our robot is just using L293D things with the possibly very underpowered motors.

See also

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Sources
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