Editing Punk rock (section)

== 1985–present: Legacy and revival ==

===Alternative rock===
{{Main|Alternative rock}}
[[File:Dave Grohl 1989.jpg|thumb|right|alt=A drummer, Dave Grohl, is playing drumkit. He is not wearing a shirt and his long hair is wet.|[[Dave Grohl]], later of [[Nirvana (band)|Nirvana]], in 1989]] 
The underground punk rock movement inspired countless bands that either evolved from a punk rock sound or brought its outsider spirit to very different kinds of music. The original punk explosion also had a long-term effect on the music industry, spurring the growth of the independent sector.<ref>Laing (1985), pp. 118, 128.</ref> During the early 1980s, British bands like [[New Order (band)|New Order]] and the Cure that straddled the lines of post-punk and new wave developed both new musical styles and a distinctive industrial niche. Though commercially successful over an extended period, they maintained an underground-style, [[subculture|subcultural]] identity.<ref>Goodlad and Bibby (2007), p. 16.</ref> In the United States, bands such as Hüsker Dü and their Minneapolis protégés [[The Replacements (band)|the Replacements]] bridged the gap between punk rock genres like hardcore and the more melodic, explorative realm of what was then called "[[college rock]]".<ref>Azerrad (2001), passim; for relationship of Hüsker Dü and the Replacements, see pp. 205–6.</ref>
 
In 1985, ''[[Rolling Stone]]'' declared that "Primal punk is passé. The best of the American punk rockers have moved on. They have learned how to play their instruments. They have discovered melody, guitar solos and lyrics that are more than shouted political slogans. Some of them have even discovered the [[Grateful Dead]]."<ref>[http://www.thirdav.com/zinestuff/rs452.html Goldberg, Michael, "Punk Lives"] {{Webarchive|url=https://web.archive.org/web/20080506143545/http://www.thirdav.com/zinestuff/rs452.html|date=May 6, 2008}}, ''Rolling Stone'', July 18 – August 1, 1985.</ref> By the mid-to-late 1980s, these bands, who had largely eclipsed their punk rock and post-punk forebears in popularity, were classified broadly as [[alternative rock]]. Alternative rock encompasses a diverse set of styles—including [[indie rock]], [[gothic rock]], [[dream pop]], [[shoegazing|shoegaze]], and [[grunge]], among others—unified by their debt to punk rock and their origins outside of the musical mainstream.<ref name="Erlewine">{{cite news |author=Erlewine, Stephen Thomas |date=September 23, 2011 |title=American Alternative Rock/Post-Punk |url=http://www.cnn.com/2011/09/23/showbiz/music/nirvana-nevermind/index.html |url-status=live |archive-url=https://web.archive.org/web/20131102005827/http://www.cnn.com/2011/09/23/showbiz/music/nirvana-nevermind/index.html |archive-date=November 2, 2013 |access-date=2011-11-07 |website=AllMusic}}</ref>

As American alternative bands like [[Sonic Youth]], which had grown out of the "no-wave" scene, and Boston's [[Pixies (band)|Pixies]] started to gain larger audiences, major labels sought to capitalize on the underground market.<ref>Friedlander and Miller (2006), pp. 256, 278.</ref> In 1991, [[Nirvana (band)|Nirvana]] emerged from Washington State's underground, DIY grunge scene; after recording their first album, ''[[Bleach (Nirvana album)|Bleach]]'' in 1989 for about $600, the band achieved huge (and unexpected) commercial success with its second album, ''[[Nevermind]]''. The band's members cited punk rock as a key influence on their style.<ref>[http://www.thebiographychannel.co.uk/biography_story/691:1872/1/Kurt_Donald_Cobain.htm "Kurt Donald Cobain"] {{webarchive|url=https://web.archive.org/web/20061112223901/http://www.thebiographychannel.co.uk/biography_story/691%3A1872/1/Kurt_Donald_Cobain.htm|date=November 12, 2006}}, Biography Channel. Retrieved on November 19, 2006.</ref> "Punk is musical freedom", wrote frontman [[Kurt Cobain]]. "It's saying, doing, and playing what you want."<ref>Quoted in St. Thomas (2004), p. 94.</ref> Nirvana's success opened the door to mainstream popularity for a wide range of other "left-of-the-dial" acts, such as [[Pearl Jam]] and [[Red Hot Chili Peppers]], and fueled the alternative rock boom of the early and mid-1990s.<ref name="Erlewine" /><ref>{{cite news |author=Morgenstein, Mark |date=September 23, 2011 |title='Nevermind,' Never Again? |url=http://www.cnn.com/2011/09/23/showbiz/music/nirvana-nevermind/index.html |url-status=live |archive-url=https://web.archive.org/web/20131102005827/http://www.cnn.com/2011/09/23/showbiz/music/nirvana-nevermind/index.html |archive-date=November 2, 2013 |access-date=2011-10-27 |publisher=CNN}}</ref>

=== Metal-rap-punk fusion ===
{{See also|Rage Against the Machine}}
During the early 1990s, new alternative forms of punk rock began to fuse with [[Heavy metal music|heavy metal]] and [[hip hop music]]. [[Rage Against the Machine]] released their eponymous debut studio album ''[[Rage Against the Machine (album)|Rage Against the Machine]]'' in November 1992, to commercial and critical acclaim. The band presented itself with politically themed, [[revolutionary]] lyrical content, accompanied by the aggressive vocal delivery of lead singer [[Zack de la Rocha]]. Rage Against the Machine would go on to achieve back-to-back number 1 debuts on the [[Billboard 200]], with their second studio album, ''[[Evil Empire (album)|Evil Empire]]'' (1996), and their third studio album, [[The Battle of Los Angeles (album)|''The Battle of Los Angeles'']] (1999).

In a 2016 interview with Audio Ink Radio, Rage Against the Machine bassist [[Tim Commerford]] was asked about the band's status as a punk band:<ref>{{Cite web |date=August 31, 2016 |title=Rage Against the Machine is a Punk Band, Says Tim Commerford |url=https://audioinkradio.com/2016/08/rage-against-the-machine-punk-band-tim-commerford/ |access-date=2022-06-12 |website=Audio Ink Radio |language=en-US}}</ref>

{{Blockquote|text=Rage is a punk band. We were a punk band and our ethics were punk. We didn't do anything that anyone wanted us to do. We only did what we wanted to do and that is the essence of punk rock.|author=Tim Commerford}}

===Queercore===
[[File:PansyDivision2016.jpg|thumb|right|Queercore band Pansy Division performing in 2016]]
{{Further|Queercore}}

In the 1990s, the queercore movement developed around a number of punk bands with gay, lesbian, bisexual, or genderqueer members such as [[God Is My Co-Pilot (band)|God Is My Co-Pilot]], [[Pansy Division]], [[Team Dresch]], and [[Sister George]]. Inspired by openly gay punk musicians of an earlier generation such as [[Jayne County]], [[Phranc]], and [[Randy Turner]], and bands like [[Nervous Gender]], [[the Screamers]], and [[Coil (band)|Coil]], queercore embraces a variety of punk and other alternative music styles. Queercore lyrics often treat the themes of prejudice, [[sexual identity]], [[gender identity]], and individual rights. The movement has continued into the 21st century, supported by festivals such as [[Queeruption]].<ref>Spencer (2005), pp. 279–89.</ref>

=== Riot grrrl ===
{{Further|Riot grrrl}}

[[File:Bratmobile.jpg|thumb|left|Riot grrrl band Bratmobile in 1994]]
The riot grrrl movement, a significant aspect in the formation of the Third Wave feminist movement, was organized by taking the values and rhetoric of punk and using it to convey feminist messages.<ref name="Garrison 141–170">{{cite journal |last=Garrison |first=Ednie Kaeh |date=Spring 2000 |title=U.S. Feminism-Grrrl Style! Youth (Sub)Cultures and the Technologics of the Third Wave |journal=[[Feminist Studies (journal)|Feminist Studies]] |volume=26 |issue=1 |pages=141–170 |doi=10.2307/3178596 |jstor=3178596|hdl=2027/spo.0499697.0026.108 |hdl-access=free }}</ref><ref name="EmilyWhite">{{cite journal |last=White |first=Emily |date=September 25, 1992 |title=Revolution Girl-Style Now!: Notes From the Teenage Feminist Rock 'n' Roll Underground |journal=The Chicago Reader}}</ref>

In 1991, a concert of female-led bands at the [[International Pop Underground Convention]] in [[Olympia, Washington]], heralded the emerging riot grrrl phenomenon. Billed as "Love Rock Revolution Girl Style Now", the concert's lineup included [[Bikini Kill]], [[Bratmobile]], [[Heavens to Betsy]], [[L7 (band)|L7]], and [[Mecca Normal]].<ref>Raha (2005), p. 154.</ref> The riot grrrl movement foregrounded feminist concerns and progressive politics in general; the DIY ethic and fanzines were also central elements of the scene.<ref>Jackson (2005), pp. 261–62.</ref> This movement relied on media and technology to spread their ideas and messages, creating a cultural-technological space for feminism to voice their concerns.<ref name="Garrison 141–170" /> They embodied the punk perspective, taking the anger and emotions and creating a separate culture from it. With riot grrrl, they were grounded in girl punk past but also rooted in modern feminism.<ref name="EmilyWhite" /> Tammy Rae Carbund, from [[Mr. Lady Records]], explains that without riot grrrl bands, "[women] would have all starved to death culturally."<ref>{{cite news |last=Loftus |first=Jamie |date=April 8, 2015 |title=A Brief History of the Riot Grrrl Movement in Honor of Boston's Riot Grrrl Day |url=http://www.bdcwire.com/a-brief-history-of-the-riot-grrrl-movement-in-honor-of-bostons-riot-grrrl-day/ |url-status=live |archive-url=https://web.archive.org/web/20180317102035/http://www.bdcwire.com/a-brief-history-of-the-riot-grrrl-movement-in-honor-of-bostons-riot-grrrl-day/ |archive-date=March 17, 2018 |access-date=March 16, 2018 |website=bdcwire}}</ref>

Singer-guitarists [[Corin Tucker]] of Heavens to Betsy and [[Carrie Brownstein]] of [[Excuse 17]], bands active in both the queercore and riot grrrl scenes, cofounded the indie/punk band [[Sleater-Kinney]] in 1994. Bikini Kill's lead singer, [[Kathleen Hanna]], the iconic figure of riot grrrl, moved on to form the [[art punk]] group [[Le Tigre]] in 1998.<ref>McGowen, Brice. [http://www.unc.edu/glbtsa/lambda/articles/28/3/letigre.htm "Eye of the Tiger"] {{webarchive|url=https://web.archive.org/web/20071205020338/http://www.unc.edu/glbtsa/lambda/articles/28/3/letigre.htm|date=December 5, 2007}}. ''Lamda'', February/March 2005. Retrieved on November 26, 2007.</ref>
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===Punk revival and mainstream success===
[[File:RiP2013 GreenDay Billie Joe Armstrong 0017.jpg|thumb|left|alt=Two members of rock band Green Day shown onstage at a concert. From left to right, singer/guitarist Billie Joe Armstrong and bass guitarist Mike Dirnt. Behind them are a row of large guitar speaker cabinets. Billie Joe gestures with both hands to the audience.|[[Green Day]] frontman [[Billie Joe Armstrong]], with bassist [[Mike Dirnt]] to the right. Green Day is credited with reviving mainstream interest in punk rock in the United States.|upright]]
[[File:NOFX2.jpg|thumb|[[NOFX]] in 2007]]
Late 1970s punk music was anti-conformity and anti-mainstream and achieved limited commercial success. By the 1990s, punk rock was sufficiently ingrained in Western culture that punk trappings were often used to market highly commercial bands as "rebels". Marketers capitalized on the style and hipness of punk rock to such an extent that a 1993 ad campaign for an automobile, the [[Subaru Impreza]], claimed that the car was "like punk rock".<ref>Klein (2000), p. 300.</ref>

In 1993, California's [[Green Day]] and [[Bad Religion]] were both signed to major labels. The next year, Green Day put out ''[[Dookie (album)|Dookie]],'' which sold nine million albums in the United States in just over two years.<ref name="RIAAD">See, e.g., [https://www.riaa.com/goldandplatinumdata.php?table=SEARCH Searchable Database—Gold and Platinum] {{webarchive|url=https://web.archive.org/web/20070626050454/http://www.riaa.com/goldandplatinumdata.php?table=SEARCH|date=June 26, 2007}}, RIAA. Retrieved on December 2, 2007.</ref> Bad Religion's ''[[Stranger than Fiction (Bad Religion album)|Stranger Than Fiction]]'' was certified [[RIAA certification|gold]].<ref>Fucoco, Christina (November 1, 2000), [http://www.livedaily.com/news/2098.html "Punk Rock Politics Keep Trailing Bad Religion"] {{webarchive|url=https://web.archive.org/web/20091015235600/http://www.livedaily.com/news/2098.html|date=October 15, 2009}}, liveDaily. Retrieved on September 1, 2008.</ref> Other California punk bands on the independent label [[Epitaph Records|Epitaph]], run by Bad Religion guitarist [[Brett Gurewitz]], also began achieving mainstream popularity. In 1994, Epitaph released ''[[Let's Go (Rancid album)|Let's Go]]'' by [[Rancid (band)|Rancid]], ''[[Punk in Drublic]]'' by [[NOFX]], and ''[[Smash (The Offspring album)|Smash]]'' by [[the Offspring]], each eventually certified gold or better. That June, Green Day's "[[Longview (song)|Longview]]" reached number one on ''Billboard''{{'}}s [[Alternative Songs|Modern Rock Tracks]] chart and became a top forty airplay hit, arguably the first ever American punk song to do so; just one month later, the Offspring's "[[Come Out and Play (The Offspring song)|Come Out and Play]]" followed suit. [[MTV]] and radio stations such as Los Angeles' [[KROQ-FM]] played a major role in these bands' crossover success, though NOFX refused to let MTV air its videos.<ref name="punkbroke">Gold, Jonathan. "The Year Punk Broke." ''SPIN''. November 1994.</ref>

Following the lead Boston's [[The Mighty Mighty Bosstones|Mighty Mighty Bosstones]] and Anaheim's [[No Doubt]], [[ska punk]] and ska-core became widely popular in the mid-1990s.<ref>Hebdige (1987), p. 111.</ref> ''[[...And Out Come the Wolves]]'', the 1995 album by Rancid became the first record in the ska revival to be certified gold;{{refn|group=nb|'' ... And Out Come the Wolves'' was certified gold in January 1996. ''Let's Go'', Rancid's previous album, received gold certification in July 2000.}} Sublime's [[Sublime (album)|self-titled 1996 album]] was certified platinum early in 1997.<ref name="RIAAD" /> In Australia, two popular groups, skatecore band [[Frenzal Rhomb]] and pop-punk act [[Bodyjar]], also established followings in Japan.<ref>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.</ref>

Green Day and ''Dookie''{{'}}s enormous sales paved the way for a host of bankable North American pop-punk bands in the following decade.<ref>D'Angelo, Joe, [http://www.mtv.com/news/articles/1491001/20040915/green_day.jhtml "How Green Day's ''Dookie'' Fertilized A Punk-Rock Revival"] {{Webarchive|url=https://web.archive.org/web/20080110163525/http://www.mtv.com/news/articles/1491001/20040915/green_day.jhtml|date=January 10, 2008}}, MTV.com, September 15, 2004. Retrieved on December 3, 2007.</ref> With punk rock's renewed visibility came concerns among some in the punk community that the music was being co-opted by the mainstream.<ref name="punkbroke" /> They argued that by signing to major labels and appearing on MTV, punk bands like Green Day were buying into a system that punk was created to challenge.<ref>Myers (2006), p. 120.</ref> Such controversies have been part of the punk culture since 1977 when the Clash were widely accused of "selling out" for signing with [[Columbia Records|CBS Records]].<ref>Knowles (2003), p. 44.</ref> The Vans [[Warped Tour]] and the mall chain store [[Hot Topic]] brought punk even further into the U.S. mainstream.<ref>Diehl (2007), pp. 2, 145, 227.</ref>

The Offspring's 1998 album ''[[Americana (The Offspring album)|Americana]]'', released by the major [[Columbia Records|Columbia]] label, debuted at number two on the album chart. A bootleg MP3 of ''Americana''{{'s}} first single, "[[Pretty Fly (for a White Guy)]]", made it onto the Internet and was downloaded a record 22 million times—illegally.<ref>Diehl (2003), p. 72.</ref> The following year, ''[[Enema of the State]]'', the first fully major-label release by pop-punk band [[Blink-182]], reached the top ten and sold four million copies in under twelve months.<ref name="RIAAD" /> On February 19, 2000, the album's second single, "[[All the Small Things]]", peaked at number 6 on the [[Billboard Hot 100|''Billboard'' Hot 100]]. While they were viewed as Green Day "acolytes",<ref name="Spitz144">Spitz (2006), p. 144.</ref> critics also found [[teen pop]] acts such as [[Britney Spears]], the [[Backstreet Boys]], and [['N Sync]] suitable points of comparison for Blink-182's sound and market niche.<ref>Blasengame, Bart. "Live: Blink-182". ''Spin''. September 2000, p. 80; Pappademas, Alex. "Blink-182: ''The Mark, Tom and Travis Show: The Enema Strikes Back''". ''Spin''. December 2000, p. 222.</ref> The band's ''[[Take Off Your Pants and Jacket]]'' (2001) and ''[[Blink-182 (album)|Untitled]]'' (2003) respectively rose to numbers one and three on the album chart. In November 2003, ''[[The New Yorker]]'' described how the "giddily puerile" act had "become massively popular with the mainstream audience, a demographic formerly considered untouchable by punk-rock purists."<ref>"Goings On About Town: Nightlife". ''The New Yorker''. November 10, 2003, p. 24.</ref>

Other new North American pop-punk bands, though often critically dismissed, also achieved major sales in the first decade of the 2000s. Ontario's [[Sum 41]] reached the Canadian top ten with its 2001 debut album, ''[[All Killer No Filler]]'', which eventually went platinum in the United States. The record included the number one U.S. Alternative hit "[[Fat Lip]]", which incorporated verses of what one critic called "brat rap".<ref>Sinagra (2004), p. 791.</ref> Elsewhere around the world, "[[psychobilly|punkabilly]]" band [[the Living End]] became major stars in Australia with their [[The Living End (The Living End album)|self-titled 1998 debut]].<ref>{{cite magazine |author=Aiese, Eric |date=February 27, 2001 |title=Living End 'Rolls On' with Aussie Punkabilly Sound |url=http://www.billboard.com/articles/news/80523/living-end-rolls-on-with-aussie-punkabilly-sound |url-status=live |archive-url=https://web.archive.org/web/20130523183637/http://www.billboard.com/articles/news/80523/living-end-rolls-on-with-aussie-punkabilly-sound |archive-date=May 23, 2013 |access-date=February 1, 2011 |magazine=Billboard}}</ref>

Additionally in the early 2000s, attention within punk circles was drawn to the [[Afro-punk]] movement and contributions of people of African descent to punk music. Much of this attention was derived from the [[Afro-Punk (film)|eponymous documentary]] released in 2003.<ref>{{Cite web |last=Maloney |first=Devon |date=August 21, 2013 |title=Afropunk Started With a Documentary. Ten Years, Two Websites, and Eight Festivals Later... |url=https://www.villagevoice.com/afropunk-started-with-a-documentary-ten-years-two-websites-and-eight-festivals-later/ |access-date=2024-10-03 |website=The Village Voice |language=en-US}}</ref>

The effect of commercialization on the music became an increasingly contentious issue. As observed by scholar Ross Haenfler, many punk fans "despise corporate punk rock", typified by bands Sum&nbsp;41 and Blink-182.<ref>Haenfler (2006), p. 12.</ref>