Pop punk

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Pop punk
Stylistic origins Punk rock, pop music, power pop, surf rock, garage rock, sunshine pop, bubblegum pop
Cultural origins Mid-1970s United States, United Kingdom, Australia, Canada and other countries
Typical instruments Vocals, 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 or punk-pop) is a fusion music genre that combines elements of punk rock with pop music to varying degrees. The music typically combines fast punk tempos, chord changes and loud guitars with pop-influenced melodies and lyrical themes.[3]

Pop-influenced punk rock emerged in the mid 1970s in multiple countries, and was stylistically similar to power pop. By the early 1980s, several bands merged hardcore punk with pop music to create a new, faster pop punk sound. Pop punk particularly thrived in California, where independent record labels adopted a do it yourself (DIY) approach to releasing music. In the mid 1990s, a few pop punk bands sold millions of records and received extensive radio and television airplay. A second wave of pop punk in the late 1990s represented the genre's mainstream peak, although some pop punk bands scored successful album chartings in the 2000s. The genre generally waned in popularity by the late 2000s, although it still retains a smaller but dedicated following.

Characteristics

Allmusic describes pop punk as a strand of alternative rock that typically merges pop melodies with speedy punk rock tempos, chord changes and loud guitars.[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".[4]

According to webzine columnist Erik van Rheenen, lyrically, the "true spirit" of pop punk comprises songs "about expressions through friendship, love, hate, attitude, individuality and mind".[5] The New York Times writes that the music of the pop punk band Green Day revolves around "classic pop problems like relationships and girl trouble and modern pop problems like alienation and confusion."[6] Steve Klein of the band New Found Glory said of the lyrics on his band's second album: "A lot of those songs pertained to my early relationships, my first love, that entire time period. I was seventeen years old. Every record that we had is a timetable to my life. My wife can now look back and listen to my diaries as a teenager."[7] Mark Hoppus of Blink-182 did not consider the songs on the band's fourth album, Take Off Your Pants and Jacket to be explicitly teenage-related songs. "The things that happen to you in high school are the same things that happen your entire life," said Hoppus. "You can fall in love at sixty; you can get rejected at eighty."[8][9]

History

Origins (1974–1989)

Further information: Punk rock
The Ramones performing in Norway in 1980.

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.[10] 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.[11] With their love of the Beach Boys and late 1960s bubblegum pop, the Ramones paved the way to what became known as pop punk.[12] 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. 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".[13]

In the late 1970s, UK bands such as Buzzcocks and The Undertones combined pop-style tunes and lyrical themes with punk rock's speed and chaotic edge.[14][15][16][17] 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."[18] The music of other UK bands, such as Generation X, 999 and The Jam,[19] featured poppy melodies as well as lyrics that sometimes dealt with relatively light themes such as teenage romance. Many UK mod revival bands of the late 1970s and early 1980s also displayed pop punk characteristics.

The Descendents "wrote almost surfy, Beach Boys–inspired songs about girls and food and being young(ish)".[1]

The US band Bad Religion, formed in 1979, also helped to lay the groundwork for contemporary pop punk.[20][21][22] 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)".[23] Their positive yet sarcastic approach began to separate them from the more serious hardcore scene. The band's 1982 debut LP Milo Goes to College provided the template for the United States' take on the more melodic strains of first wave punk.[18] In the 1980s, the term pop punk was used in publications such as Maximum RocknRoll to describe bands similar to Social Distortion, Agent Orange, and T.S.O.L..[24] 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 Lookout! Records, Fat Wreck Chords and Epitaph Records, which released many pop punk recordings, went on to achieve commercial success. Bands that fused punk rock with light-hearted pop melodies, such as The Queers and Screeching Weasel, began performing around the country, in turn influencing bands like Green Day and The Offspring, who brought widespread popularity and major record sales to the pop punk genre.

Popular acceptance (1994–1998)

Further information: Punk rock in California
Green Day frontman Billie Joe Armstrong performing in 1994.

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 pop punk bands originated from the California punk scene of the 1980s, and several of those bands, especially Green Day and The Offspring, helped revive interest in punk rock in the 1990s.[25]

Green Day arose from the San Francisco Bay Area and 924 Gilman Street punk scenes.[26] After building an underground following, the band signed to Reprise Records and released their major-label debut album, Dookie, in 1994. That June, Green Day's "Longview" reached number one on Billboard's Modern Rock Tracks chart and became a top 40 airplay hit, possibly the first American punk song to do so. One month later, The Offspring's "Come Out and Play" followed suit.

MTV and radio stations such as Los Angeles' KROQ-FM played a major role in the genre's mainstream success.[27] 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.[28][29] Meanwhile, Bad Religion's album Stranger Than Fiction was certified gold.[30] Other California punk bands on the independent label Epitaph Records, run by Bad Religion guitarist Brett Gurewitz, also began achieving mainstream popularity. In 1994, Epitaph released Let's Go by Rancid, Punk in Drublic by NOFX and Smash by The Offspring, each eventually certifying gold or better.

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.[31] Green Day headlined Lollapalooza and Woodstock 1994 and were nominated for four Grammy Awards. Green Day's enormous commercial success paved the way for other North American pop punk bands in the following decade.[32]

In the aftermath of the 1994 punk breakthrough, bands such as Rancid and Face to Face were the subject of major-label bidding wars and lucrative deals.[31] The Australian bands Frenzal Rhomb and Bodyjar established followings in Japan.[33]

Many ska punk bands in the third wave of ska fused ska with pop punk. Rancid's 1995 album ...And Out Come the Wolves, became the first record in this ska revival to be certified gold. Sublime's self-titled 1996 album was certified platinum early in 1997.[34]

The Warped Tour and the mall chain store Hot Topic brought punk even further into the US mainstream.[35] With punk rock's renewed visibility came concerns among some in the punk subculture that the music was being co-opted by the mainstream.[27] Some punk rock fans criticized Green Day for "selling out" and rejected their music as too soft, pop-oriented and not legitimate punk rock.[31][36][37] 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.[38]

By early 1998, the punk revival had commercially stalled,[39] but not for long. That November, The Offspring's Americana on the major label Columbia Records debuted at number two on the album chart. A bootleg MP3 of its first single, "Pretty Fly (for a White Guy)", was uploaded to the Internet and was illegally downloaded 22 million times.[40]

Mainstream peak (1999–2005)

Blink-182's Enema of the State (1999) "marked a complete shift in how music television, radio and the world at large viewed [pop punk]."[2]

Pop punk's commercial success generally peaked with the 1999 release of Blink-182's Enema of the State,[4] which sold 15 million copies worldwide. Blink-182's status was cemented by constant rotation on MTV. The band Lit enjoyed chart success with the single "My Own Worst Enemy", which spent 11 weeks on the top of the modern rock charts. New Found Glory gained commercial success with the 2000 release of their self-titled second album. Blink-182 had continued success in 2001 with Take Off Your Pants and Jacket, which sold 14 million copies worldwide. Sum 41's major label debut, All Killer No Filler, went multi-platinum. New Found Glory's album Sticks and Stones debuted at No. 4 on the Billboard 200.

Simple Plan experienced commercial success in 2002 with No Pads, No Helmets...Just Balls, and Good Charlotte found similar success with The Young and the Hopeless. Pop punk bands such as MxPx, American Hi-Fi and Bowling for Soup 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",[41][42] found commercial success in 2002, with her punk-influenced pop sound.[43][44][45]

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. 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. By then, 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.

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.[46] 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."[47] Fall Out Boy released their breakthrough record From Under the Cork Tree in 2005, spawning top two ten singles. Although the band 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.[48][49]

The All-American Rejects found success with Move Along (2005), which inspired three top 15 singles.[50] Pete Wentz of Fall Out Boy signed Panic! at the Disco to his record label, Decaydance, and the band scored a hit single, "I Write Sins, Not Tragedies", which won them a 2006 MTV Video Music Award for Video of the Year. Avril Lavigne had 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, sold around 7 million copies worldwide, making it the top-selling pop punk album of 2007 and the second most successful pop punk album of the decade after Green Day's American Idiot.[51][52] 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.[53][54]

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 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 their concerts,[55][56] others, such as New Found Glory and Yellowcard, have seen attendance decrease steadily.[57] 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.[47]

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.[47] 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."[47] However, the genre has experienced somewhat of a "minor renaissance."[58]

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.[59] Their popularity provoked conversations about the state of the genre; Maloney writes that these records "could hardly be considered pop punk at this point."[47]

Club promoters in the United Kingdom have created nights based around lasting appreciation of the genre, including Pop Punk Ain't Dead in Brighton, Hello Bastards in Leeds, Say It Ain't So in London and What's My Age Again?, a night celebrating "pop-punk, youthful abandon and teenage riot".[60]

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."[47] Kelen Capener of the band The Story So Far said

"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."[61]

The Warped Tour still attracts hundreds of thousands of attendees each year; the 2012 tour attracted 556,000 festival-goers, its third-best attendance.[47] Bobby Olivier of The Star-Ledger wrote: "The genre, like an awkward high school kid, continues to reinvent itself and Warped is pop-punk’s prom."[62]

New Found Glory has continued 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."[63] Chad Gilbert, the band's guitarist, 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. 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."[57]

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."[64] 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."[65]

See also

Footnotes

  1. ↑ Myers (2006), p. 52.
  2. ↑ Staff (4 July 2012). "Rock Sound's 101 Modern Classics: The Final Installment". Rock Sound (Freeway Press). Retrieved 11 July 2012. 
  3. ↑ 3.0 3.1 Explore: Punk-Pop. AllMusic.
  4. ↑ 4.0 4.1 Lamb, Bill (March 10, 2011). "Punk Pop". About.com (IAC). Retrieved 2011-08-19. 
  5. ↑ van Rheenen, Erik (May 4, 2011). "Not Sad Anymore: How Pop-Punk Recaptured Its Spirit". Mind Equals Blown. Retrieved August 29, 2013. 
  6. ↑ Strauss, Neil (1995-02-05). "POP VIEW; Has Success Spoiled Green Day?". New York Times. Retrieved 2007-07-21. 
  7. ↑ Manley, Brendan (March 2010), "2001-2005: The Oral History of New Found Glory", Alternative Press (260): 65, ISSN 1065-1667, retrieved 31 January 2010 
  8. ↑ Shooman, (2010) p. 85
  9. ↑ Everett, Jenny (Fall 2001). "Blink-182 Cordially Invites You To Take Them Seriously". MH-18 (Rodale Press): p.81. 
  10. ↑ "The Modpoppunk Archives". Punkmodpop.free.fr. 2011-07-08. Retrieved 2011-08-19. 
  11. ↑ "The Ramones – Classic US Punk – Discography – Albums". Punk77.co.uk. Retrieved 2011-08-19. 
  12. ↑ Besssman (1993), p. 16; Carson (1979), p. 114; Simpson (2003), p. 72; McNeil (1997), p. 206.
  13. ↑ New York Times, "Cabaret: Tom Petty's Pop Punk Rock Evokes Sounds of 60s", John Rockwell, March 9, 1977, Page C22,
  14. ↑ "The Buzzcocks, Pop Punk Pioneers". Punkmusic.about.com. Retrieved 2011-08-19. 
  15. ↑ Cooper, Ryan. "The Buzzcocks, Founders of Pop Punk". About.com. Retrieved on December 16, 2006.
  16. ↑ The Undertones
  17. ↑ Undertones Get New Kicks : Rolling Stone
  18. ↑ 18.0 18.1 Nicholas Pell (July 9, 2013). "The 5 Best Pre-Dookie Pop-Punk Records". LA Weekly. Retrieved September 12, 2013. 
  19. ↑ allmusic ((( The Jam > Biography )))
  20. ↑
  21. ↑ "Bad Religion Biography: Contemporary Musicians". Enotes.com. Retrieved 2011-08-19. 
  22. ↑ Heller, Jason (April 11, 2002). "Bad Religion – The Process of Belief (Epitaph)". Westword. Retrieved 2011-08-19. 
  23. ↑ Myers (2006), p. 52.
  24. ↑ Maximum RocknRoll, "BLOODSPORT – cassette (music review)", Tim Yohannan, December 1984, Issue 20, p. 66.
  25. ↑ DeRogatis, Jim. Milk It!: Collected Musings on the Alternative Music Explosion of the 90's (Cambridge: Da Capo, 2003). p. 357, ISBN 0-306-81271-1
  26. ↑ 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. 
  27. ↑ 27.0 27.1 Gold, Jonathan. "The Year Punk Broke." SPIN. November 1994.
  28. ↑ Frey, Tracey. "Review: Over It". allmusic.com. Allmusic. Retrieved 2008-10-26. 
  29. ↑ Shoot the Moon: The Essential Collection (CD liner notes). Westlake Village, California: Antagonist Records. 2005. ANT2941.
  30. ↑ Fucoco, Christina (November 1, 2000), "Punk Rock Politics Keep Trailing Bad Religion", liveDaily. Retrieved on September 1, 2008.
  31. ↑ 31.0 31.1 31.2 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. 
  32. ↑ D'Angelo, Joe, "How Green Day's Dookie Fertilized A Punk-Rock Revival", MTV.com, September 15, 2004. Retrieved on December 3, 2007.
  33. ↑ Eliezer, Christie. "Trying to Take Over the World". Billboard. September 28, 1996, p. 58; Eliezer, Christie. "The Year in Australia: Parallel Worlds and Artistic Angles". Billboard. December 27, 1997–January 3, 1998, p. YE-16.
  34. ↑ See, e.g., Searchable Database—Gold and Platinum, RIAA. Retrieved on December 2, 2007.
  35. ↑ Diehl (2007), pp. 2, 145, 227.
  36. ↑ Post To:. "Sex Pistols' John Lydon Brands Green Day 'Punk Imitators' | Live4ever Ezine". Live4ever.uk.com. Retrieved 2013-02-26. 
  37. ↑ "Green Day Fail To Impress Punk Icon". Contactmusic.com. Retrieved 2013-02-26. 
  38. ↑ Myers (2006), p. 120.
  39. ↑ Gross (2004), p. 677.
  40. ↑ Diehl (2003), p. 72.
  41. ↑ Avril Lavigne: The Best Damn Tour – Live in Toronto (2008) – Trailers, Reviews, Synopsis, Showtimes and Cast – AllMovie
  42. ↑ http://www.webcitation.org/query?url=http%3A%2F%2Fwww.washingtonpost.com%2Fwp-dyn%2Fcontent%2Farticle%2F2006%2F07%2F16%2FAR2006071600317.html
  43. ↑ " It marked a return to the bratty, spunky punk-pop of Let Go..." Her first album released on 2002
  44. ↑ "She was one of the most popular new pop punk artists of 2002, when she released her first album"
  45. ↑ "Avril Lavigne Biography – Facts, Birthday, Life Story". Biography.com. 1984-09-27. Retrieved 2013-02-26. 
  46. ↑ http://www.allmusic.com/cg/amg.dll?p=amg&sql=77:2928
  47. ↑ 47.0 47.1 47.2 47.3 47.4 47.5 47.6 Devon Maloney (April 24, 2013). "What Happened to Emo?". MTV News. Retrieved September 17, 2013. 
  48. ↑ 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). 
  49. ↑ Associated Press (December 14, 2005). "Fall Out Boy takes pop route to rock success". MSNBC.com. Retrieved November 28, 2009. 
  50. ↑ http://www.nytimes.com/2006/10/22/arts/music/22mich.html?pagewanted=all&_r=0
  51. ↑ http://www.ifpi.org/content/library/top-50-albums-2007.pdf
  52. ↑ "The upbeat songs keep things especially exciting for her. "The Best Damn Thing" has sold nearly 7 million copies worldwide."
  53. ↑ 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. 
  54. ↑ Greene, Andy (March 18, 2011). "The 25 Boldest Career Moves in Rock History". Rolling Stone (New York City: Wenner Media LLC) (1127). ISSN 0035-791X. Retrieved September 27, 2012. 
  55. ↑ Chris Payne (September 12, 2013). "Blink-182 Rock Brooklyn Club Gig: Live Review". Billboard. Retrieved September 12, 2013. 
  56. ↑ James Montgomery (February 26, 2013). "Green Day Announce Club Dates, Eye Return To Arenas". MTV News. Retrieved September 12, 2013. 
  57. ↑ 57.0 57.1 Chad Gilbert (September 29, 2011). "Why Pop-Punk's Not Dead—And Why It Still Matters Today". Alternative Press. Retrieved September 17, 2013. 
  58. ↑ Ian Cohen (August 2, 2013). "The Forgotten Pop-Punk Records of Summer". Grantland.com. Retrieved September 12, 2013. 
  59. ↑ Mikael Wood (May 11, 2013). "Fall Out Boy and Paramore: Coming back on top". Los Angeles Times. Retrieved September 12, 2013. 
  60. ↑ 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. 
  61. ↑ Ed Cooper (November 14, 2012). "The Story So Far: Pop-punk is a zombie". The Independent. Retrieved September 17, 2013. 
  62. ↑ Bobby Olivier (July 15, 2013). "What Jersey sounds like: The power of pop-punk". The Star-Ledger. Retrieved September 17, 2013. 
  63. ↑ Steve Appleford (June 25, 2012). "New Found Glory, Yellowcard Stand Up for 'Pop Punks' at Warped Tour". Rolling Stone. Retrieved September 17, 2013. 
  64. ↑ Jeff Klingman (September 17, 2013). "Pop-Punk, the Next Generation: Talking with Potty Mouth". The L Magazine. Retrieved September 17, 2013. 
  65. ↑ Maria Sherman (September 11, 2013). "I Was in an All-Girl Blink-182 Cover Band Called Dumpweed". The Village Voice. Retrieved September 12, 2013. 

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