This article is part of the In Defense of the Genre series. Previously, My Chemical Romance as armour in a world full of misery and cruelty.
It’s hard to believe now, but once upon a time it was quite a thing for a pop punk band to write a downbeat song about depression. Pop punk has always had a deep and abiding commitment to sincerity, but the genre’s early breakouts, especially Green Day, generally maintained a weird ironic distance from their feelings even as they exorcised them. “Basket Case” is a typical example: it’s not that it isn’t upfront about its subject matter – the sense of disorientation and purposelessness that is most definitive of Gen X alternative rock – but it’s delivered with a kind of self-deprecating, tongue-in-cheek, throwaway attitude that’s very hard to describe and very uniquely pop punk.
Partially that’s a product of the inherent irony of pop punk as a genre – the tension of sad lyrics over upbeat music – and partially it’s a product of the pervasiveness of irony in Gen X pop culture at large, from Kurt Cobain deadpanning positivity slogans to the relentless cynicism of Seinfeld, which is one reason the balance shifted heavily (but never completely) towards sincerity as this early wave of pop punk bands were succeeded by bands like My Chemical Romance, Paramore and Fall Out Boy in the noughties. Though mostly not millennials themselves (MCR’s Gerard Way is only five years younger than Green Day’s Billie Joe Armstrong), their fanbases are, and these bands were at the vanguard of millennial pop culture’s reaction to the excessive and counterproductive irony of much Gen X art, a reaction that came to include Green Day themselves with American Idiot (2004).
Several successful singles from the turn of the century played a big part in that reaction: “The Middle” by Jimmy Eat World, “Perfect” by Simple Plan, and the first and most devastating shot, “Adam’s Song” by Blink-182, one of the most perfect songs ever written.