Blink-182 (often stylized in all lowercase; pronounced "blink one-eighty-two") is an American rock band formed in Poway, California in 1992. Since 2015, the lineup of the band has consisted of bass guitarist and vocalist Mark Hoppus, drummer Travis Barker, and guitarist and vocalist Matt Skiba. Founded by Hoppus, guitarist and vocalist Tom DeLonge, and drummer Scott Raynor, the band emerged from the Southern California punk scene of the early 1990s and first gained notoriety for high-energy live shows and irreverent lyrical toilet humor.

Blink-182 performing in 2016. From left to right: Mark Hoppus, Travis Barker, and Matt Skiba.
Background information
Also known asBlink (1992–1995)
OriginPoway, California, U.S.
Years active
  • 1992–2005
  • 2009–present
Associated acts
Past members

In its early years, Blink-182 toured heavily behind the band's debut, Cheshire Cat (1995). The group signed with major label MCA Records to co-distribute its second album, Dude Ranch (1997). Raynor was fired midway through a 1998 tour and replaced by Barker. The group's next two releases, Enema of the State (1999) and Take Off Your Pants and Jacket (2001), were enormous successes on the strength of radio and MTV airplay. An Untitled[3] fifth record followed in 2003 and marked a stylistic shift for the group. DeLonge quit in 2005, sending the band into what was termed an "indefinite hiatus". They reunited in 2009, producing the trio's sixth album, Neighborhoods (2011). In 2015, DeLonge again exited and was replaced by Alkaline Trio frontman Matt Skiba, with their resulting seventh studio album, California, being released on July 1, 2016. Their most recent effort titled Nine, was released on September 20, 2019.

Blink-182 is considered a key group in the development of pop punk; the band's combination of pop music melodies with fast-paced punk rock featured a more radio-friendly accessibility than prior bands. The trio has sold over thirteen million albums in the United States,[4] and over 50 million albums worldwide.[5] In 2011, The New York Times asserted, "no punk band of the 1990s has been more influential than Blink-182", and even as the band receded after its 2005 split, "its sound and style could be heard in the muscular pop punk of Fall Out Boy or in the current wave of high-gloss Warped Tour punk bands, like All Time Low and The Maine."[6]


Formation and early years (1992–1994)

Blink-182 was formed in Poway, California, a suburb outside of San Diego, in August 1992. Guitarist Tom DeLonge was expelled from Poway High for attending a basketball game drunk and was forced to attend another local school for one semester. At Rancho Bernardo High School, DeLonge performed at a Battle of the Bands competition, where he was introduced to drummer Scott Raynor.[7][8] He also befriended Kerry Key, who too was interested in punk music. Key's girlfriend, Anne Hoppus, introduced her brother, bassist Mark Hoppus—who had recently moved from Ridgecrest to work at a record store and attend college—to DeLonge on August 1, 1992.[9] The two clicked instantly and played for hours in DeLonge's garage, exchanging lyrics and co-writing songs—one of which became "Carousel".[9] Hoppus, in trying to impress Delonge, managed to fall from a lamppost in front of DeLonge's garage and crack his ankles, an injury that put him in crutches for three weeks.[10]

"We had a lot of fuckin' fun. We were out all night skateboarding. We were out throwing food and drinks at security guards who were chasing us through malls, skateboarding at four in the morning, eating doughnuts at places making hot doughnuts near the beach, breaking into schools and finding skate spots in dark schools or slaloming down parking garages naked and shit in downtown San Diego."

—Tom DeLonge in 2013, reflecting on the band's foundation[11]

The trio began to practice together in Raynor's bedroom, spending hours together writing music, attending punk shows and movies, and playing practical jokes.[12] Hoppus and DeLonge would alternate singing vocal parts. The trio first operated under a variety of names, including Duck Tape and Figure 8, until DeLonge rechristened the band "Blink".[13] Hoppus' girlfriend was angered by her boyfriend's constant attention to the band, and demanded he make a choice between the band and her, which resulted in Hoppus leaving the band shortly after formation.[14] Shortly thereafter, DeLonge and Raynor borrowed a four-track recorder from friend and collaborator Cam Jones and were preparing to record a demo tape, with Jones on bass.[13] Hoppus promptly broke up with his girlfriend and returned to the band.[14] Flyswatter—a combination of original songs and punk covers—was recorded in Raynor's bedroom in May 1993.[15] Southern California had a large punk population in the early 1990s, aided by an avid surfing, skating, and snowboarding scene.[16] In contrast to East Coast punk music, the West Coast wave of groups, Blink included, typically introduced more melodic aspects to the group's music.[16] "New York is gloomy, dark and cold. It makes different music. The Californian middle-class suburbs have nothing to be that bummed about," said DeLonge.[16] San Diego at this time was "hardly a hotbed of [musical] activity", but the band's popularity grew as did California punk rock concurrently in the mainstream.[15] DeLonge called clubs constantly in San Diego asking for a spot to play, as well as calling up local high schools, convincing them that Blink was a "motivational band with a strong antidrug message" in hopes to play at an assembly or lunch.[17]

The band was on stage nearly every weekend, even at Elks Lodges and YMCA centers.[17] The band soon became part of a circuit that also included the likes of Ten Foot Pole and Unwritten Law, and the band found its way onto the bill as the opening band for local acts at Soma, a local all-ages venue located on Market Street which the band longed to headline.[16] Big-name acts such as NOFX and Green Day played on the main floor, while smaller acts were relegated to the basement, an area referred to as "the Dungeon".[17] The original location closed its doors and relocated before the band would be promoted to the main stage (which required a 100+ crowd to attend). "Soma was like home away from home. All the punk kids who didn’t give a fuck about football games and proms or whatever came to hang out at Soma," claimed Hoppus.[17] The band's first big show on the main floor took place on a Thursday, where the band opened for Face to Face.[17] Hoppus' manager at the record store, Patrick Secor, fronted him the money to properly record another demo at local studio Doubletime.[19] The result was Buddha (1994), which the members of the band viewed as the band's first legitimate release.[18][19] By this time, the group had branched out to venues such as the Soul Kitchen in El Cajon, but Raynor's family relocated to Reno, Nevada, and he was briefly replaced by musician Mike Krull.[20] The band saved money and began flying Raynor out to shows, but eventually Raynor moved in with Hoppus for a summer in which the band would record its first album and music video and gain even more exposure.[21]

Early releases and touring (1994–1998)

The heart of the local independent music scene was Cargo Records, which offered to sign the band on a "trial basis," with help from O, guitarist for local punk band Fluf, and Brahm Goodis, friend of the band whose father was president of the label.[22] Hoppus was the only member to sign the contract, as DeLonge was at work at the time and Raynor was still a minor.[23] The band recorded its debut album in three days at Westbeach Recorders in Los Angeles, fueled by both new songs and re-recordings of songs from previous demos.[24] Although Cheshire Cat, released in February 1995, made very little impact commercially, it is cited by fans and musicians as an iconic release.[25] "M+M's", the band's first single, garnered local radio airplay from 91X and Cargo offered the band a small budget to film a music video for it.[26] Meanwhile, the record also drew the attention of Irish band Blink. Unwilling to engage in a legal battle, the band agreed to change its name.[27] Cargo gave the band a week, but the trio put off the decision for more than two afterward. Eventually, Cargo called Blink-182, demanding that the band "change the name or [we'll] change it for you," after which the band decided on a random number, 182.[28][29]

The band soon had a manager, Rick DeVoe, who associated with larger bands such as NOFX, Pennywise and The Offspring.[27] In addition, the band crucially drew the attention of Rick and Jean Bonde of the Tahoe booking agency, who were responsible for "spreading the name of the band far and wide and getting the group as many gigs as humanly possible."[27][30] Surf film director Taylor Steele, friend of DeVoe, was preparing a national tour to promote his new surf video GoodTimes, and the band signed on for its first national tour, which extended as far as the East Coast. The band members purchased their own tour van and embarked on the GoodTimes tour with Unwritten Law, Sprung Monkey and 7 Seconds.[31] The GoodTimes tour continued and the band was whisked away to Australia, with Pennywise paying for the band's plane tickets.[32] Fletcher Dragge, guitarist of Pennywise, believed in the band strongly. He demanded Kevin Lyman, founder of the Warped Tour, sign the band for the 1996 festival, telling him that "they're gonna be gigantic."[33] Australia was very receptive to the band and its humorous stage shows and pranks gained them a reputation, but also made them ostracized and considered a joke.[6][25]

By March 1996, the trio began to accumulate a genuine buzz among major labels, resulting in a bidding war between Interscope, MCA and Epitaph.[34] MCA promised the group complete artistic freedom and eventually signed the band,[35] but Raynor held a great affinity for Epitaph and began to feel half-invested in the band when it passed over the label.[36] The group, who were wary of purists attempting to define "punk" and discouraged by Cargo's lack of distribution and faith in the group, had no qualms about signing to a major label but were fiercely criticized in the punk community.[34][37][38] After nonstop touring, the trio began recording their follow-up, Dude Ranch, over the period of a month in late 1996.[39] The record hit stores the following summer and the band headed out on the 1997 Warped Tour. "Dammit", the album's lead single, received heavy airplay on modern rock stations.[40] Dude Ranch shipped gold by 1998, but an exhaustive touring schedule brought tensions among the trio.[40] Raynor had been drinking heavily to offset personal issues, and he was fired by DeLonge and Hoppus in mid-1998 despite agreeing to attend rehab and quit drinking.[41][42] Travis Barker, drummer for tour-mate The Aquabats, filled in for Raynor, learning the 20-song setlist in 45 minutes before the first show.[43] By July, he joined the band full-time[42] and the band entered the studio with producer Jerry Finn later that year to begin work on their third album.[25]

Mainstream breakthrough and continued success (1999–2004)

With the release of the group's third album Enema of the State in June 1999, Blink-182 was catapulted to stardom and became the biggest pop punk act of the era.[25] Three singles were released from the record—"What's My Age Again?", "All the Small Things", and "Adam's Song"—which became major radio hits and MTV staples.[45] "All the Small Things" became a number-one hit on the Modern Rock Tracks chart, but also became a crossover hit and peaked at number 6 on the Billboard Hot 100 chart. Its video parodied boy bands and pop music videos and won Best Group Video at the 2000 MTV Video Music Awards.[29][46][47] Although the band was criticized as synthesized, manufactured pop only remotely resembling punk and pigeonholed as a joke act due to the puerile slant of its singles and associating music videos, Enema of the State was an enormous commercial success. The album has sold over 15 million copies worldwide and had a considerable effect on pop punk music, inspiring a "second wave" of the genre and numerous acolytes.[25][48]

After multi-platinum success, arena tours, and cameo appearances (American Pie), the band recorded Take Off Your Pants and Jacket (2001), which debuted at number one in the United States, Canada, and Germany. Hit singles "The Rock Show","Stay Together for the Kids" and "First Date" continued the band's mainstream success worldwide, with MTV cementing its image as video stars.[6] Finn returned to produce the record and was a key architect of the "polished" pop punk sound, and he served as an invaluable member of the band: part adviser, part impartial observer, he helped smooth out tensions and hone their sound.[49] Recording sessions were sometimes contentious, as DeLonge strove for heavier and dirtier guitar-driven rock.[50] With time off from touring, he felt an "itch to do something where he didn't feel locked in to what Blink was,"[51][52] and channeled his chronic back pain and resulting frustration into Box Car Racer (2002), a post-hardcore disc that further explores his Fugazi and Refused inspiration.[53][54] Refraining from paying for a studio drummer, he invited Barker to record drums on the project and Hoppus felt betrayed.[55] The event caused great division within the trio for some time and was an unresolved tension at the forefront of the band's later hiatus.[56] Barker also explored hip-hop influences and teamed up with Rancid's Tim Armstrong to form the rap rock band Transplants.[25]

The band regrouped in 2003 to record its fifth studio album, infusing experimentalist elements into its usual pop punk sound, inspired by lifestyle changes (the band members all became fathers before the album was released) and side projects. Blink's untitled fifth studio album[57] was released in the fall of 2003 through Geffen Records, which absorbed sister label MCA earlier that year.[58] The worldwide touring schedule, which saw the band travel to Japan and Australia, also found the three performing for troops stationed in the Persian Gulf.[59][60] Critics generally complimented the new, more "mature" direction taken for the album and its lead singles "Feeling This" and "I Miss You" charted high, with the latter becoming the group's second number one hit on the Billboard Modern Rock Tracks chart.[61] Fans, however, were split by the new direction, and tensions within the band—stemming from the grueling schedule and DeLonge's desire to spend more time with his family—started to become evident.[25]

Hiatus, side projects, and Barker's plane crash (2005–2008)

In February 2005, Geffen issued a press statement announcing the band's "indefinite hiatus."[62] The band had broken up after members' arguments regarding their future and recording process. DeLonge felt increasingly conflicted both about his creative freedom within the group and the toll touring was taking on his family life.[63] He eventually expressed his desire to take a half-year respite from touring in order to spend more time with family. Hoppus and Barker were dismayed by his decision, which they felt was an overly long break.[64] The band abruptly canceled a performance at a Music for Relief benefit show after rehearsals grew more contentious.[25] Further arguments had ensued during rehearsals, rooted in the band members' increasing paranoia and bitterness toward one another.[65] DeLonge considered his bandmates' priorities "mad, mad different," coming to the conclusion that the trio had simply grown apart as they aged, had families, and reached fame. The breakdown in communication led to heated exchanges, resulting in his exit from the group.[56]

In the interim, Hoppus and Barker continued playing music together in +44.[66] The group first began to lay down electronic demos in Barker's basement and Hoppus' dining room shortly after the breakup.[67] +44's debut, When Your Heart Stops Beating, was released the following year but stalled commercially and received mixed reviews.[68] Barker starred in the MTV reality series Meet the Barkers with his then-wife, former Miss USA Shanna Moakler. The couple's later split, reconciliation and subsequent breakup made them tabloid favorites.[69] Meanwhile, DeLonge disappeared from public eye, making no appearances, granting no interviews and remaining silent until September 2005, when he announced his new project, Angels & Airwaves, promising "the greatest rock and roll revolution for this generation."[70] He later revealed he was addicted to painkillers at the time, recalling "I was losing my mind, I was on thousands of painkillers, and I almost killed myself," and did not realize that his promise of revolution sounded highly ambitious.[71] The group released two albums in 2006 and 2007: We Don't Need to Whisper and I-Empire.[72] During the hiatus, Hoppus shifted his attention to producing albums (most notably Commit This to Memory by former tour-mate Motion City Soundtrack)[73] and hosting his podcast, HiMyNameisMark, while Barker launched a shoe line and worked on three other musical projects—the Transplants, +44, and TRV$DJAM, a collaboration with friend Adam Goldstein (DJ AM).[70]

The band members did not speak from their breakup until 2008.[74] That August, Jerry Finn suffered a cerebral hemorrhage and was taken off life support.[75] On September 19, Barker and Goldstein were involved in a plane crash that killed four people, leaving the two the only survivors.[76] Barker sustained second and third degree burns and developed posttraumatic stress disorder, and the accident resulted in sixteen surgeries and 48-hour blood transfusions.[77] Hoppus was alerted about Barker's accident by a phone call in the middle of the night and jumped on the next flight to the burn center.[77] DeLonge found out via the TV news at an airport while waiting to board a flight; within minutes, he was crying in his seat. "I thought he was going to die," says DeLonge, who quickly reached out to his former bandmate, mailing him a letter and photograph. "Instantly after the plane crash, I was like, 'Hey, I want to play music with him again.'"[68][77] The trio eventually met up in the hospital, laying the grounds for what was going to be the band's reunion.[78] Eventually, an arrangement was made for the trio to meet up at Hoppus and Barker's Los Angeles studio in October 2008. The three opened up, discussing the events of the hiatus and their break-up, and DeLonge was the first to approach the subject of reuniting.[78] Hoppus remembered: "I remember [Tom] said, 'So, what do you guys think? Where are your heads at?' And I said, 'I think we should continue with what we've been doing for the past 17 years. I think we should get back on the road and back in the studio and do what we love doing.'"[79][80]

Reformation and Neighborhoods (2009–2014)

Eventually, the band appeared for the first time on stage together in nearly five years as presenters at the February 2009 Grammy Awards, announcing their reunion.[81] The trio embarked on a reunion tour of North America from July to October 2009,[82] with a European trek following from August to September 2010.[83] The recording process for Neighborhoods, the band's sixth studio album, was stalled by its studio autonomy, tours, managers, and personal projects. DeLonge recorded at his studio in San Diego while Hoppus and Barker recorded in Los Angeles—an extension of their strained communication.[51][84] The self-produced album—their first without Jerry Finn since Enema of the State[49]—was released in September 2011 and peaked at number two on the Billboard 200.[85] Its singles—"Up All Night" and "After Midnight"—only attracted modest chart success, and label Interscope was reportedly disappointed with album sales.[86]

"Despite growing evidence of remaining friction between the members,"[87] the band continued to tour in the early 2010s. They headlined the 10th Annual Honda Civic Tour in North America from in 2011,[88] and toured Europe in 2012.[89] The band left Interscope Records that October,[90] and subsequently released Dogs Eating Dogs, an EP, in December 2012.[91] The trio toured Australia in 2013; Brooks Wackerman replaced Barker on drums as Barker was unwilling to fly after his plane crash.[92] These dates were followed with a small North American tour,[93] and a series of shows celebrating the tenth anniversary of the band's self-titled album that November.[94] The band played a European tour in August 2014, culminating in them headlining the Reading and Leeds Festivals; it was the band's fourth appearance at the festival and second headlining slot.[95] DeLonge's final performance with Blink-182 was at the Wine Amplified Festival in Las Vegas, Nevada on October 11, 2014.[96]

The reunion of the band has been characterized as dysfunctional by both Barker and DeLonge.[97][98] Hoppus commented on this era of the band in a later interview: "Everything was always very contentious. There was always just a strange vibe. [...] I knew there was something wrong."[98] In his memoir, Can I Say, Barker claims DeLonge's behavior on tour was "introverted" until "money started coming in," after which "he'd get excited about Blink." He states DeLonge abruptly quit sometime in mid-2014, and rejoined the following day.[99] The group planned to begin writing their seventh album in January 2015,[100] which had continually seen delays.[101] "I'd do interviews and I just felt awful for fans because they were promised albums for years and we couldn't do it," Barker later said.[98] A record deal was finalized and sessions were booked before DeLonge's manager informed the band he intended to spend more time on "non-musical activities" and indefinitely depart the group.[102] In his own statement, DeLonge remarked that he "Never planned on quitting, [I] just find it hard as hell to commit."[103] After these events, Barker summarized the band's reunion: "Why Blink even got back together in the first place is questionable."[102]

Lineup change and California (2015–2017)

Hoppus and Barker decided to continue on without DeLonge, and enlisted Alkaline Trio vocalist/guitarist Matt Skiba to "fill in" for three shows in March 2015.[104] Hoppus and Skiba had been wanting to work together musically for several years, so he was the first and only person considered for the role.[105] After legal battles with DeLonge were worked out, Skiba joined Blink-182 as an official member and began preparations for new music.[106] The resulting album, California, was produced by John Feldmann. He was the group's first new producer since longtime collaborator Jerry Finn.[107] California was recorded between January and March 2016. The band, as well as Feldmann, would regularly spend "18 hours" in the studio a day, aiming to start and complete multiple songs in that timeframe.[108] "We all wanted to write the best record that we could [...] It does feel like a new beginning. It feels like when we used to tour and sleep in the van because that's all we wanted to do is play rock music," said Hoppus.[109]

Upon its July 2016 release, California became the band's second number-one album on the Billboard 200, and first in 15 years;[110] it also reached the top for the first time in the United Kingdom.[111] Its lead single, "Bored to Death", became the group's first number one single in 12 years.[112] The band supported the album with a large headlining tour across North America between July and October 2016,[113] and a European leg in June and July 2017.[114] A deluxe edition of California—essentially a double album including songs left off the original album—was issued in 2017.[115][116] California earned the band their first nomination for Best Rock Album at the Grammy Awards.[117] Critical reviews of the album, however, were mixed; many considered Feldmann's input and the throwback nature of the songs as formulaic.[118][119]

Side projects, continued touring and Nine (2018present)

After the conclusion of the California tour, the band took time off and started to prepare to record their eighth studio album.[120] "Somehow, Blink has had this resurgence like we never expected," Hoppus told Kerrang! in July 2017. "I count myself lucky to have been [playing in the band] as long as I have."[121]

The band signed a 16-date residency deal with the Palms Casino Resort in Las Vegas. The shows, known as "Kings of the Weekend," were to take place on select weekends beginning May 26, 2018, and end on November 17, 2018.[122][123] The band had to reschedule several residency tour dates after Barker developed blood clots in his arms.[124] After Barker was cleared by his doctors, the band resumed the Vegas dates on October 26, 2018.[125]

The band collaborated with Steve Aoki (who previously remixed "Bored to Death") on the track "Why Are We So Broken", which is featured on Aoki's album Neon Future III.[126]

During the band's time off from touring, Hoppus developed severe depression from an unknown source. Many others, including his wife and manager, suggested that in order to counteract the depression, he should return to writing music. Hoppus originally wanted to create a project that featured numerous musicians, but after writing multiple songs with All Time Low's Alex Gaskarth, the duo decided to continue writing together.[127] In early 2019, they announced their new side project called Simple Creatures, along with multiple EPs and a small tour.[128]

Later that year, Blink-182 announced that they would be playing Enema of the State in its entirety at the 2019 Back to the Beach Festival to honor the album's 20th anniversary.[129] Not long after, they would announce a North American summer tour with American rapper Lil Wayne and Welsh pop punk band Neck Deep where they would continue to play all of Enema of the State.[130]

Beginning in May 2019, the band regularly released new songs while building up to the announcement of their next album titled Nine, which included "Blame It on My Youth", "Generational Divide", and "Happy Days". They had originally wanted the album to be released in early summer, but were forced to postpone due to prolonged production and writing.[131] The album was officially announced on July 25, 2019 with a release date of September 20, 2019 and another song called "Darkside" released on the next day.[132]

Musical style, lyrical themes, and influences

Blink-182's musical style is mainly considered pop punk,[29][135][136][137] a genre that combines influences of pop music with traditional punk rock. Throughout the band's career, though their sound has diversified, a large component of the band's music favors fast tempos, catchy melodies, prominent electric guitar with distortion, and power chord changes.[138] Earlier albums by the band have also been tagged with the label skate punk,[87][139][140][141] owing to the skater subculture that was important to their youth. In addition, the band has also been classified under the umbrella of alternative rock as a whole.[142][143][144] The band have claimed punk rock group the Descendents to be their greatest influence on a number of occasions.[51][145] They have also named the Beatles,[146] the Ramones,[147] the Cure,[148] U2,[145] Stiff Little Fingers,[145] All,[149] Dinosaur Jr.,[150] NOFX,[151] Bad Religion,[152] Refused,[54] Fugazi,[53] Screeching Weasel,[153] Pennywise, and Jimmy Eat World as inspirations.[154]

Common lyrical themes for the band involve relationships,[29] suburbia,[155] toilet humor,[156] and teen angst.[157] Hoppus and DeLonge, and later Skiba, split songwriting duty, and much of their lyrics tend toward autobiography.[158] According to Nitsuh Abebe, of New York, the band's biggest recurring topic is maturity—"more specifically, their lack of it, their attitude toward their lack of it, or their eventual wide-eyed exploration of it".[159] One of the band's biggest singles, "What's My Age Again?", specifically addresses the Peter Pan syndrome,[160] while "Dammit", the band's first mainstream hit single, contains the hook "Well, I guess this is growing up."[161] Albums such as Take Off Your Pants and Jacket near-exclusively deal in toilet humor and teen-centered lyrics, leading Rolling Stone to dub it a concept album chronicling adolescence.[162] For Hoppus, these themes were not exclusively adolescent: "The things that happen to you in high school are the same things that happen your entire life. You can fall in love at sixty; you can get rejected at eighty."[163] Mid-career albums, such as Neighborhoods (2011), explore darker territory, such as depression and loss.[164] More recent efforts, like California (2016), aim for universality[157] but also focus on miscommunication and loss of identity.[165]

Musically, the band's sound has progressed throughout their 25-year career. Tom DeLonge's guitar style, which trades solos for riffs,[166] is often down-stroked and power-chord heavy, with large amounts of palm muting. His later work guitar work heavily delves into effects,[166] exploring ambience and delay prominently.[167] Many Blink songs center on the I–V–vi–IV progression.[168] As a bassist, Hoppus is known for his well-defined midrange tone. Since the band is a trio, he approaches his role as a combination of being a rhythm guitarist and bassist.[169] Early albums, such as Cheshire Cat (1995) and Dude Ranch (1997), were recorded with original drummer Scott Raynor, and consist of fast-paced, double-time songs. Drummer Travis Barker diversified the band's sound rhythmically when he joined in 1998. Throughout their discography, Barker's drumming references a myriad of musical genres, including Afro-Cuban music,[170] bossa nova,[171] reggae,[172] and hip hop.[156] Barker grew up playing in marching band, and it still influences his drum fills and kit setup.[173]

Blink-182 was key in the development of pop punk in that they were considered more radio-friendly than their predecessors. Jon Caramanica of The New York Times writes that the band "[took] punk's already playful core and [gave] it a shiny, accessible polish."[6] Luke Lewis, writing for Total Guitar in 2003, summarized it aptly: "They wrote catchy songs, radio stations played them."[166] The band's biggest hit, "All the Small Things", was written partially because DeLonge figured the label might want a song for radio. "It was obvious from the beginning it would fit that format," he told Lewis. "There's nothing wrong with that. We don't want obstacles between us and our audience."[166] However, the band's conventional appeal, as well as partnerships with MTV, boardsport companies, and clothing brands, led to accusations that they were betraying the independent spirit of punk rock.[174] DeLonge commented on the band's mainstream appeal in an interview in 2014:

Punk rock was becoming polished. NOFX [was] a punk band we grew up listening to, and they had a record called Punk in Drublic, and it was awesome. It was game-changing; it sounded good. We wanted to take it to the next level. [...] There had never been a pop punk band that sounded like nursery rhymes on steroids, on the mainstream level at least. And that's what I used to have daydreams of. I used to think the radio could use that, could use a band that was really powerful and catchy and fast and youthful and angsty.[151]


"These three snot-nosed San Diego punks bottled suburban angst and distilled it into bright, shiny pop songs that might as well have been state-issued to every American teen. During their height, Blink permeated nearly every aspect of popular culture, making them arguably the most influential pop-punk band ever."

Alternative Press, 2015[175]

Blink-182 was one of the most popular bands at the turn of the millennium, and spearheaded the second wave of pop punk and its journey into the mainstream.[176] The glossy production instantly set Blink-182 apart from the other crossover punk acts of the era, such as Green Day.[6] Enema of the State catapulted the band to stardom, creating what New York's Abebe described as a "blanket immersion among America's twenty-some million teenagers."[159] At the band's commercial peak, albums such as Take Off Your Pants and Jacket and Enema of the State sold over 14 and 15 million copies worldwide, respectively.[25][177] According to Kelefa Sanneh of The New Yorker, Blink-182 "emerged as a touchstone, spawning more imitators than any American rock band since Nirvana. Their seeming ordinariness convinced a generation of goofy punks that maybe they, too, could turn out deceptively simple songs as well constructed as anything on the pop chart. And their prankish camaraderie made fans feel like members of their extended social circle."[178] Most Blink-182 songs are fairly straightforward and easy to play on guitar, making them perfect practice for beginner musicians. Lewis of Total Guitar notes that this was key in influencing a generation of kids to "pick up the guitar and form bands of their own."[166]

Despite this, the band never received particularly glowing reviews, with many reviewers dismissing them as a joke. British publication NME was particularly critical of the trio, with reviewer Steven Wells begging them to "fuck right off," comparing them to "that sanitised, castrated, shrink-wrapped 'new wave' crap that the major US record companies pumped out circa 1981 in their belated attempt to jump on the 'punk' bandwagon."[179] Nevertheless, subsequent reviews of the band's discography have been more positive. Andy Greenwald of Blender wrote, "the quick transformation from nudists to near geniuses is down-right astonishing."[180] James Montgomery of MTV said that "despite their maturation, Blink never took themselves particularly seriously, which was another reason they were so accessible."[25] However, the new generation of pop punk and alternative rock fans found the Blink sound "hugely influential," according to Nicole Frehsée of Rolling Stone.[181]

In 2011, Jon Caramanica of The New York Times asserted that "no punk band of the 1990s has been more influential than Blink-182," stating that even as the band receded after its 2005 split, "its sound and style could be heard in the muscular pop punk of Fall Out Boy or in the current wave of high-gloss Warped Tour punk bands, like All Time Low and The Maine."[6] Montgomery concurs: "...without them, there'd be no Fall Out Boy, no Paramore, or no Fueled by Ramen Records."[25] Maria Sherman of The Village Voice took this a step further, writing "Apart from the sound, Blink's ideology has been popularized [...] their presence is everywhere."[182] "When it comes to having inestimable influence, Blink-182 might well be contemporary punk's version of the Beatles", wrote Scott Heisel in a 2009 Alternative Press cover story on the band.[183] The same magazine later ranked Blink the fourth of the "30 Most Influential Bands of the Past 30 Years," just behind Radiohead, Fugazi, and Nirvana.[175] Bands such as Panic! at the Disco and All Time Low originated covering Blink-182 songs,[184] while You Me at Six, and 5 Seconds of Summer have also named the band as influences.[100]"Anyone in our genre would be lying if they said they weren't influenced by Blink-182," said Joel Madden of Good Charlotte.[185] The band's influence extends beyond pop punk groups as well: the band has been cited as an influence by Avril Lavigne,[186][187] Best Coast,[6] DIIV,[188] FIDLAR,[189] Grimes,[182] Male Bonding,[182] Mumford & Sons,[190] Owl City,[191] Charly Bliss,[192] Tucker Beathard,[193] Joyce Manor,[194] Wavves,[11] and the Chainsmokers;[195] the latter even mentioned the band in the lyrics of their number-one hit song "Closer".[195]




Awards and nominations

A song called "Blink 182" by American music duo Half an Orange released on September 3, 2019.[200] The song has been described as having themes of growing up, and references the band.[201]



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