![]() Rock writer Greg Shaw, who wrote extensively about power pop and took credit for codifying the genre in the 1970s, originally defined power pop itself as a hybrid style of punk and pop. Music journalist Ben Myers wrote that the two terms were synonymous. In the 1990s, there was overlap between pop-punk and skate punk. Web publication Revolver acknowledged that, while pop-punk and power pop are often presented interchangeably, "the core concept is simple - melodic songs packaged with a punk slant." In Brian Cogan's The Encyclopedia of Punk Music and Culture (2006) pop-punk is characterized as "a catchy, faster version of power pop." AllMusic defines "punk-pop" as "a post-grunge strand of alternative rock" that combines the textures and fast tempos of punk rock with the "melodies and chord changes" of power pop. There is considerable overlap between power pop and pop-punk, and the two styles are often conflated. Club described pop-punk as a punk subgenre that has "essentially been around as long as punk itself" with roots in the "classic pop of the Beatles, the Kinks, and the Beach Boys, often pitting sweet harmonies against bratty, rowdy riffs." According to Ryan Cooper of, "pop punk is a style that owes more to The Beatles and '60s pop than other sub-genres of punk". It has evolved stylistically throughout its history, absorbing elements from new wave, college rock, ska, rap, emo, and boy bands. Pop-punk is variously described as a punk subgenre, a variation of punk, a form of pop music, and a genre antithetical to punk in a similar manner as post-punk. Punk-pop is distinguished from other punk-variant genres by drawing more heavily from 1960s bands such as the Beatles (pictured). In the early 2020s, pop-punk began experiencing a resurgence with various new acts such as Machine Gun Kelly, KennyHoopla and Yungblud. By the 2010s, pop-punk's mainstream popularity had waned, with rock bands and guitar-centric music becoming rare on dance-focused pop radio. In the mid–late 2000s, pop-punk acts were largely indistinguishable from artists tagged as "emo", to the extent that emo crossover acts such as Fall Out Boy and Paramore popularized a punk-pop style dubbed emo pop. Pop-punk's success continued in the early 2000s with artists such as Avril Lavigne, Sum 41, Good Charlotte and New Found Glory. The genre was further popularized by the Warped Tour. In the mid–late 1990s, the genre saw a massive widespread popularity increase with bands like Green Day, the Offspring and Blink-182. 1980s punk bands like Bad Religion, Descendents and the Misfits were influential to pop punk, and pop punk expanded in the 1980s and early 1990s by a host of bands signed to Lookout! Records, including Screeching Weasel, the Queers, and the Mr. Pop-punk emerged in the late 1970s with groups such as the Ramones, the Undertones, and the Buzzcocks. It is sometimes considered interchangeable with power pop and skate punk. The genre has evolved throughout its history, absorbing elements from new wave, college rock, ska, rap, emo, and boy bands. It is defined for its emphasis on classic pop songcraft, as well as adolescent and anti- suburbia themes, and is distinguished from other punk-variant genres by drawing more heavily from 1960s bands such as the Beatles, the Kinks, and the Beach Boys. Pop-punk (or punk-pop) is a rock music genre that combines elements of punk rock with power pop or pop.
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