This post is intended as supplemental material for the course “Sounds of Laughter: Musical Comedy in the United States”
This post summarizes artists mentioned in the section “Pop Goes the Punk” (Ellis 2008, 266-72).
Artists summarized in this section:
With their proud commitment to arrested adolescence…blink-182 reached deep into their collective id for blissfully stupid world not yet colonized by adult responsibilities…Yet, for all its infantilism, blink-182 served to perpetuate rock’s long-standing purpose of pissing parents off, the mission of its subversive youth humor since Chuck Berry and the Coasters released their generation gap anthems in the mid-1950s. (ibid, 271)
…the Offspring used brattiness and catchy hooks to broaden punk’s appeal to the (pre-adolescent) skate-punk crowd. Their biggest hit, “Pretty Fly (for a White Guy)” (1998), positioned the band’s humor somewhere between Green Day’s youth-fixated satire and “Weird Al” Yankovic’s “White and Nerdy” loser jokes. The song focuses on the Middle American, middle-class, white suburban (pre)teens of their fan base, only to skewer them as self-deluding black wannabes… (ibid, 270)
This dumb and dumber school has increasingly defined the pop-punk field…The Presidents’ 1994 hits, “Lump” and “Peaches” were fun(ny), absurdist, and well suited for MTV accommodation… (ibid, 271)
Week 3 (Sounds of Laughter)