Editing Punk rock (section)

===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>