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The keyword here is mature, something that The Offspring strayed further away from, with continuous attempts to capitalize on the success of “Pretty Fly (For A White Guy)” that resulted in later (horrid) singles, “Original Prankster” and “Hit That.” Even if 2003’s Splinter held some grit and punch, it was largely ignored commercially instead, pushing the band into recluse. Warning and American Idiot broke past any barriers that stopped them before, working off of a more mature sound that didn’t quite find success until the latter. When that didn’t play out as well as they’d hoped, the two bands decided to speak directly to their audience, writing in perspectives that didn’t quite match their age, with the high school angst in Americana and the teenage drama in Nimrod.
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Both of their follow ups, Insomniac and Ixnay on the Hombre respectively, embrace that dark side to the band, scaling back from the click n’ pop that made their breakthroughs so enjoyable (and successful). There’s an interesting parallel between the two pioneers, Green Day and The Offspring.
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The misnomer that was grunge rock was fading and with the rise of “gangsta rap” from the likes of Nas and Wu-Tang Clan, rock fans embraced this more mainstream punk rock approach. It didn’t take much convincing, especially since most of the fan base carried over after a certain someone was found in a certain green house. A long time ago, though not too far back, teenagers used to bash heads against one another, chanting mercifully, “Come out and play!” It was the summer of 1994 and along with Green Day’s breakout album Dookie, Smash convinced every teenager they were newfound punk rockers.