Adolescent Rebellion and the Taboo Music of Blink 182
“Those are the Kind of Words You Should Be Using at Home, Kids”[1]
-Tom DeLonge
In eighth grade I purchased Blink 182’s self-titled album; it was the first CD I bought with my own money. I remember seeing the Parental Advisory sticker on the front and feeling a rush when the cashier at Wherehouse Music did not ask for my age; I was getting away with my transgression. Soon I would rebel in the solitude of my room as words I was not supposed to hear poured out of my Walkman; and with headphones on, my parents—those fools—would never even know. In this paper, I will analyze the use of taboo words on Blink 182’s albums The Mark, Tom, and Travis Show (2000), and Take Off Your Pants and Jacket (2001) to show how the taboo content on these two albums served as the voice of their adolescent audience. Moreover, I will explore the power of the taboo, and why their utterance functions as an effective and satisfying form of rebellion against power structures present in the lives of many adolescents.
Blink 182 is a pop-punk trio from Southern California formed in 1992. They first achieved mainstream success with their 1999 album, Enema of the State. Credit for the group’s success has been attributed to their “uncanny ability to capture the mind-set of angst-ridden teens navigating the social minefields of adolescence.”[2] At the height of their fame, between 1999-2001, the three members of Blink 182, Mark Hoppus, Tom DeLonge, and Travis Barker would have been between ages 24 and 30 (Barker and DeLong born in 1975, Hoppus in 1972).
The peak of their success occurred at a time when a significant faction of American youth culture glorified obscenity and opposition to authority. In a ratings sample from fall 2001, the top shows for teenage boys included Jackass, South Park, The Simpsons, Celebrity Death Match, and WWF SmackDown, all of which featured taboo subject matter, or children getting the better of parents, teachers, and adults.[3]
The movie South Park: Bigger, Longer & Uncut was released the same year as Blink 182’s breakout album, Enema of the State. The plot of South Park: Bigger, Longer & Uncut was centered around a parental overreaction to children watching a movie containing taboo language. In the film, one of the main character’s mother “is the object of ridicule and resentment in South Park and is scathingly scorned in Cartman’s song ‘Kyle’s Mom is a Bitch (in D Minor).”[4] The film made such an impact on popular culture that the song “Blame Canada” earned Trey Parker and Marc Shaiman an Academy Award nomination for Best Original Song. In the Blink 182 live album The Mark, Tom, and Travis Show, the trio makes reference to this movie, quoting the South Park song “Uncle Fucka” before launching into the band’s closing number.
WWF Smack Down made its network premier just months after the release of Enema of the State in the summer of 1999 during World Wrestling Entertainment’s (WWE) Attitude Era.[5] WWE was enjoying the height of its success in the late 1990s and early 2000s due to the popularity of characters who flouted authority or basked in the joys of transgressions. “Stone Cold” Steve Austin rose to fame, becoming the face of the company by giving his boss the finger and drinking beer on the job. Shawn Michaels, Triple H and a host of other characters were part of a team called D-Generation X who made near-weekly references to their genitals and shouted catchphrases that included “if you’re not down with that, we’ve got two words for you – suck it” and performed their signature taunt, the crotch chop.[6]
These shows and movies indicate that the media many teens were consuming promoted a crass sense of rebellion, making ample use of taboo words, sexual references, and aggression towards authority figures. Blink 182 and the infantile sense of humor reflected in their music was a logical addition to this social landscape. The band was a welcomed and celebrated part of this subculture, leading to appearances on television and major motion pictures. In American Pie, a movie about a group of high school boys trying to lose their virginities before prom, Blink 182 plays a garage band that watches a live stream of the film’s protagonist trying to sleep with a girl from school. American Pie was the twentieth-highest grossing film of 1999 and was the subject of multiple academic writings on youth culture and sexuality in the early 2000s.[7] The band later appeared on an episode of the sketch comedy show Mad TV playing themselves in a Leave it to Beaver spoof called Leave it to Blink 182 which ends with “the Blink” getting a lecture from their dad, “Alright everybody listen up. Now Blink, part of growing up is having friends over for fellowship. But the idea that you boys would bring adult film stars, bikers, leather perverts—not to mention naked munchkins—into our home without inviting us is simply beyond the pale.”[8] These on-screen appearances show that, at the height of their fame, Blink 182 represented a youth culture that idolized juvenile debauchery.
Speaking for this youth culture, Blink 182 CDs came complete with a parental advisory sticker and included songs about trying to date, party, skip class, drink alcohol, and complain about adults. As Mark Hoppus said, “teens do not like what they sense they are supposed to like.”[9] By singing about doing the things parents and teachers tell kids not to do and using the words adults told them not to utter, they became the rebellious degenerative voice of their adolescent audience, giving teens an avenue to revel in the taboo.
A taboo is a prohibition imposed by social custom or as a protective measure. Taboo words have been defined as words that are “sanctioned or restricted on both institutional and individual levels under the assumption that some harm will occur if a taboo word is spoken.”[10] Taboo words represent “the lexicon of offensive emotional language,” and are often policed by some authoritative entity.[11] Taboo words are not uniformly categorized, and taboos on speech can be placed at various institutional levels. The scope of this study focuses on the taboos that broadly affect adolescents in their daily lives such as taboos placed by educational institutions and caretakers.
While there is no “one size fits all” approach to taboo words and cursing,[12] there are certain categories of words that are more often deemed inappropriate for general us:
Taboos in English are placed primarily on sexual references (blow job, cunt) and on those that are considered profane or blasphemous (goddamn, ,Jesus Christ). taboos extend to scatological referents and disgusting objects (shit, crap, douche bag); some animal names (bitch, pig, ass); ethnic-racial-gender slurs… insulting references to perceived psychological, physical, or social deviations; ancestral illusions (son of a bitch, bastard); standard vulgar terms (fart face…); and offensive slang (cluster fuck…).[13]
By categorizing these words as taboo, there is an implication that some form of punishment is associated with their use. For instance, some countries including Canada have hate speech laws to protect against the use of racial slurs; there are sexual harassment laws that protect from use of directed sexual references in the workplace. Most relevant to this study, students can get sent to detention for using any number of curse words, and parents often employ some sort of disciplinary measure for language deemed inappropriate in the home. A study by Jay, King, and Duncan concludes that by associating the use of curse words with punishments, the words carry more emotional weight, and the effectiveness of using those words is reinforced. They explain:
There are two reasons for this. First, an extreme reaction from a caregiver confirms that the word is not socially acceptable; it alerts the child to the strong emotional meaning of the taboo word. Second the cause of the cursing is not addressed at all. If the child cursed as a result of being under stress, the focus should be on reducing stress. Here we can say that the tabooness of the topic has perpetuated the tabooness of the words, as philosophers such as Foucault have predicted.[14]
Since taboo words carry the power that systems of authority place on them, they work as a powerful means of rebellious expression for those in the throes of adolescence, striving for greater autonomy from their parents or caretakers and figuring out their identity outside of their family unit.
During adolescence, the parent-child relationship evolves as the child develops. There are several theories that suggest “the greater autonomy and individuation lead to a temporary decrease in closeness, an increase in conflicts, and gradually more equal power.”[15] According to De Goede, et al, separation-individuation theory and autonomy-relatedness theory are both relevant in the course of increasing balance of power:
according to the separation-individuation theory, adolescents develop autonomy and become independent of parents, with parent-child conflicts stimulating the dissolution of ties to parents…the autonomy-relatedness perspective theorizes that adolescents develop more autonomy, which may create a temporary dip in parent-child connectedness, although connectedness to parents remains important...Both perspectives state that distance in relationships is needed to redefine relationships, although under conditions of relatedness.”[16]
As teenagers physically and mentally develop, it is natural to crave a greater sense of freedom. However, conflicts arise “as parents disagree with their children that physical development is an adequate reason to gain more autonomy.”[17] Domestic disagreements that arise between parents and their brood over the maturity of their teenage children can explain the complaint stereotypically attributed to teens that their parents do not understand what they are feeling. Adolescence is a time of massive physical and mental changes that is often “associated with intense and, at times, unmanageable emotional, behavioural and social needs.”[18] Simply put, adolescence is hard. The feelings of isolation and of being misunderstood can explain such widespread appeal for Blink 182’s catchy and angst-filled anthems. The use of strong language was necessary to describe such strong emotions.
Blink 182 used taboo language on two song types that frequently appeared on their albums at the start of the millennium: songs that subvert the authority of adults—primarily parents, and short ostensibly-joke songs that used an overabundance of curse words.
The music of Blink 182 resonated strongly with adolescents because several songs gave voice to the changing perceptions of parental power and the feelings of increased conflict described in the aforementioned study. In fact, separating from parental authority and the societal mainstream as a whole is a theme that appears throughout Take Off Your Pants and Jacket. The album’s opening track, “Anthem Part II,” sets the tone for the entire album. It is a song written in the voice of a young person blaming the society that reared them for any shortcomings they possess.
Corporate leaders, politicians
Kids can’t vote, adults elect them
Laws that rule the school and workplace
Signs that caution sixteen’s unsafe
Let this train wreck burn more slowly
Kids are victims in this story
Drown the youth with useless warnings
Teenage rules, they’re fucked and boring
We really need to see this through
We never wanted to be abused
We’ll never give up, it’s no use
If we’re fucked up, you’re to blame[19]
The first two stanzas of the lyrics relate to a feeling of hopelessness, absence of social and political advocacy, and vague objections to being controlled, saving the strongest language to aid in making their strongest point, “teenage rules, they’re fucked and boring.” The chorus of the song acts as the band’s thesis statement: teens are being abused, and if they are flawed, it is the fault of those in charge. Lyrics such as these perfectly reflect the changing perceptions of parental relationships. For children, it is typical to view adult caregivers as having all of the answers because they are seemingly making all of the decisions. During the power struggle of adolescence, the decision-making ability of those caretakers may come into question, especially if one feels as though they are being generally unacknowledged. This was clearly a message the band felt was important since it appears first on the album, and, more importantly, is being presented as an anthem to represent their audience.
Another song from Take Off Your Pants and Jacket, “Give Me One Good Reason,” relates to the feeling of being misunderstood and the conflict associated with shifting parent-child relationships. The first words, as clichéd as they may be, address the growing distance adolescents feel with their parents before offering examples of behavior typically seen in teenagers who are “acting out:”
Mom and Dad they quite don’t understand it
All the kids they laugh as if they planned it
Why do girls want to pierce their nose
And walk around in torn pantyhose [20]
The second stanza deals with the antimony of teenage desire to find a sense of individuality by conforming with an alternative group identity, driving home their points with taboo language.
I like the ones who say they listened to the punk rock
I like the kids who fight against how they were brought up
They hate the trends and think it's fucked to care
It's cool when they piss people off with what they wear [21]
The Mark, Tom, and Travis Show and Take Off Your Pants and Jacket both include several short songs that contain an overabundance of taboo words. Taken at face value these songs appear crass, tasteless, and juvenile. However, through their gratuitous use of taboo words and the targeting of parents and other family members these short songs function on their own as an expressive form of rebellion.
In pragmatics and speech act theory, speech-act performativity is reliant on what John Austin called felicity conditions, conditions and criteria that must be met for an utterance to count as an act. According the Concise Encyclopedia of Philosophy of Language, for an act to be felicitous, it must satisfy all relevant felicity conditions:
1. The sincerity condition establishes that a statement cannot be considered an act unless the speaker intends to carry out what it is they are saying.
2. A preparatory condition to establish whether or not the circumstances of the speech act and the participants in it are appropriate to it's being performed successfully
3. an executive condition to determine whether or not the speech act has been properly executed
4. a fulfillment condition determined by the perlocutionary effect of the speech act[22]
To illustrate, Luke Fleming and Michael Lempert explain “for a wedding to be successful, the individual who says ‘I now pronounce you man and wife' must be an ordained minister, the couple willing, and a witness present. Such Felicity conditions precede, condition, and otherwise constrain the performativity of language; without them the performative utterance wouldn't count as an act.”[23] Taboo words, however, play by a much simpler set of rules. In the book Beyond Bad Words, Fleming and Lempert note that “taboo utterances rest on few, if any, such conditions…these expressions seem to have their context coiled tight inside. Utter them, and they count as a social act irrespective of felicity conditions like the intentions of speech participants or the institutional authority of the speaker to engage in the act.”[24] The power and freedom of the profane to act alone as a performative protest can be heard in many of Blink 182’s songs.
For example, the lyrical content of their songs “Family Reunion” and “Blow Job” are exclusively taboo words and subject matter. “Family Reunion” repeatedly cycles through every single one of George Carlin’s “Seven Words You Can’t Say on Television” along with a few extra terms added.
“Family Reunion”
Shit, piss, fuck, cunt, cocksucker, motherfucker, tits, fart, turd, and twat
I fucked your mom
“Blow Job”
It would be nice to have a blow job
From your mom[25]
“Family Reunion” has been called their “most juvenile song”[26] by Rolling Stone, and when The Mark, Tom, and Travis Show came out, one reviewer denigrated the band by saying they “are still thrilled by the whole notion of swearing and remain more obsessed by bodily functions than the average seven-year-old.”[27] Looking at the lyrical content of several songs, one can see that Blink 182 is not just performing songs that use crass language. Many of these songs are targeted towards parents, and though they have no intent on following through on the messages of any of these songs, the utterances of these taboos alone can fulfill their objective of making parents feel attacked.
Reviewing the last line of “Family Reuinion” and “Blow Job” shows Blink 182’s fascination with sexualizing parents that is reminiscent of the Oedipus Complex. Sigmund Freud’s Oedipal Theory is based on the idea that during the Phallic stage of a boy’s psychosexual development, he becomes fascinated sexually by his mother, and treats his father like a sexual rival.[28] While Freud theorized that a boy’s fascination with both his mother and his genitalia occurs between the ages of three and six, Blink 182 showed a disturbing fascination with both through the music they produced in their late twenties and early thirties. Studying the lyrical content of seven short, crass songs (see Appendix A), reveals a deep parental-erotic obsession. Out of seven songs: six make reference to performing sex acts with somebody’s mother, two of which implies their own mother; three make reference to performing sex acts with someone’s father, one of which is the singer’s father; one makes reference to sex acts with a grandparent; and one makes reference to sex acts with an animal. There is little room to debate the juvenility of these types of songs. However, due to the deep level of taboo associated with acts of incest and bestiality, they do lend themselves as effected acts of defiance towards the institutions that dubbed the mention of those topics taboo.
The thematic prevalence of intercourse with the listener’s adult family makes it even more clear that this music was meant for the enjoyment of kids at the exclusion of their caretakers. At times it seems as though Blink 182 goes out of their way to write music that would upset parents, and would not be typically considered acceptable family listening, or public listening in classrooms. This brings me to my last point, the role of this music in identity formation.
In Jean Aitchison’s “Whassup? Slang and swearing among school children,” Aitchison points out the generational gap that begins to form when “at the pre-adolescent stage, we find the beginnings of a move from parent-oriented to peer-oriented networks.”[29] The connections between popular music, youth culture, and identity formation has been examined in the works of scholars from several disciplinary backgrounds including sociologists, psychologists, educators, ethnomusicologists, and musicologists.[30] Thomas Turino advocates framing definitions of identity, self, and culture through the concept of habits because “habits are both relatively stable and also dynamic and changeable.”[31] This framework makes sense when applied to the identity building of adolescence, as well as the music of Blink 182.[32] As teens drift from their parents, they begin to exhibit new habits to separate themselves from their parents. Perhaps they start asking for a different haircut, pick out more of their own clothing at stores, listen to different styles of music on the way to school, etc. When they return home, they may continue to perform these habits at home. Turino’s work begins with an anecdote that perfectly exemplifies musical habit and self-identity:
When my children were younger, the phrase my music echoed around our house…My children, like many people, identified themselves through musical style—sounds heard outside that represented how they felt and who they felt they were inside… controlling the Sonic space was a way to assert this individual identity and sense of self within the family ... controlling the Sonic space was literally one way to project oneself throughout the house.[33]
This sentiment relates to what O’Neill’s point that adolescents adopt “the music style or presentational style of popular musicians in constructing their sense of self and identifying with particular subcultures.”[34] Taking another look at the song “Give Me One Good Reason,” Blink 182 fixes the aim of their taboo language towards other subcultures, denigrating those who adhere to another fashion sense, “Hate the jocks, the hippie fucking scumbags / Heavy-metallers with their awful pussy hair bands.”[35] By belittling the members of another subculture, they reinforce a toxic sense of togetherness within their own subculture. Not only is this music for kids at the exclusion of their parents, but it is also for kids at the exclusion of peers with alternate taste.
In the late 1990s and early 2000s the music of Blink 182 was part of a subculture that was built around and marketed towards a collection of shared habits. The band took part on the annual Warped Tour, a travelling concert series that featured punk, ska, and other popular music genres. The tour also featured professional skateboarders and BMX bikers, eventually gaining sponsorship by Vans shoes.[36] This created a community of people identified by their collection of habits: listeners of punk music, skaters, people who wear Vans, watch South Park and American Pie, like D-Generation X, etc. Eventually Blink 182 realized the market appeal of these identities and each member started their own companies including Hoppus and DeLonge’s clothing line, Atticus and shoe line, Macbeth.[37] It is noteworthy that they would choose the literary references they did for their clothing lines since To Kill a Mockingbird and Macbeth were standard reading for grade school and high school students, most anybody with a high school diploma can relate to the reference.
By the time children reach around age fourteen, the generational gap that started in the pre-adolescence stage expands; vocabulary starts to include more slang and swearing becomes more present as they build an identity away from their parents. The taboo songs of Blink 182 can certainly provide a litany of new words for kids to add to their personal lexicons, but more importantly these songs and all their juvenile angst can help adolescents try on new personalities as they go through the years-long process of asking the questions: “who am I?” “Who am I not?” “What is and is not meaningful?” “What is funny?” “Who is my community?”
Blink 182 created a body of work that offered snappy melodies and apparent arrested development combined with a glut of taboo words and topics for no apparent greater purpose than to bask in immaturity. By doing so, the music served as a tool to help keep parents at arm’s length, allowing a sense of greater autonomy for teens clamoring for a sense of individuality as well as sense of community outside of the home. Transgressive pop punk bands like Blink 182 gave voice to an adolescent rebellion, allowing them to savor the transgression of listening to taboo utterances, broadening their vocabulary, and asking the important questions like “What’s My Age Again?”
[1] The Mark, Tom, and Travis Show (The Enema Strikes Back) (The Bill Graham Civic Auditorium and The Universal Amphitheater, 2000).
[2] Joshua Klein, "BLINK-182 Blink-182," The Washington Post (1974-Current File), (Nov 19,
[3] Jane D. Brown and Carol J. Pardun, “Little in Common: Racial and Gender Differences in Adolescents' Television Diets,” Journal of Broadcasting & Electronic Media 48, no. 2 (2004): pp. 266-278, https://doi.org/10.1207/s15506878jobem4802_6.
[4] Victoria Nagy, “Motherhood, Stereotypes, AndSouth Park,” Women's Studies 39, no. 1 (2009): pp. 1-17, https://doi.org/10.1080/00497870903368948, 9.
[5] At the time the company was named World Wrestling Federation (WWF).
Hau Chu, “Where Are They Now? WWE Attitude Era Superstars ,” nydailynews.com (New York Daily News, April 9, 2018), https://www.nydailynews.com/sports/more-sports/wwe-attitude-era-superstars-article-1.2470329.
[6] Matthew J Bernthal, “Marketing Professional Wrestling to Children: An Ethical Examination,” The SMART Journal V, no. I (2009): pp. 19-29, 21.
[7] Catherine Ashcraft, “Adolescent Ambiguities in American Pie,” Youth & Society 35, no. 1 (2003): pp. 37-70, https://doi.org/10.1177/0044118x03254558.
[8] “Episode 7,” Mad TV (Hollywood, CA: Fox Network, November 24, 2001).
[9] D.H. Freedman, “What Do Teens Want? ,” Inc, December 2000, pp. 98-105.
[10] Timothy Jay, “The Utility and Ubiquity of Taboo Words,” Perspectives on Psychological Science 4, no. 2 (2009): pp. 153-161, https://doi.org/10.1111/j.1745-6924.2009.01115.x, 153.
[11] Ibid, 153.
[12] Cursing (as defined by Jay, King, and Duncan - 2006), refers to the use of taboo, vulgar, profane, offensive, scatological, or obscene language. In this paper, “curse words” and “taboo words” will be used interchangeably.
[13] Timothy Jay, Krista King, and Tim Duncan, “Memories of Punishment for Cursing,” Sex Roles 55, no. 1-2 (May 2006): pp. 123-133, https://doi.org/10.1007/s11199-006-9064-5, 130.
[14] Ibid, 130
[15] Irene H. A. De Goede, Susan J. T. Branje, and Wim H. J. Meeus, “Developmental Changes in Adolescents’ Perceptions of Relationships with Their Parents,” Journal of Youth and Adolescence 38, no. 1 (2008): pp. 75-88, https://doi.org/10.1007/s10964-008-9286-7, 75.
[16] Ibid, 75.
[17] Ibid, 76
[18] Helen Payne, Julie Joseph, and Vickey Karkou, “Holding and Adolescent Angst,” in Essentials of Dance Movement Psychotherapy: International Perspectives on Theory, Research and Practice (London: Routledge, Taylor & Francis Group, 2017), pp. 201-222.
[19] Take Off Your Pants and Jacket (Signature Sound, 2001).
[20] Take Off Your Pants and Jacket (Signature Sound, 2001).
[21] Ibid
[22] Peter Lamarque and K Allan, “Felicity Conditions,” in Concise Encyclopedia of Philosophy of Language (Oxford: Pergamon, 1997), 397
[23] Luke Fleming and Michael Lempert, “Introduction: Beyond Bad Words,” Anthropological Quarterly 84, no. 1 (2011): pp. 5-13, 6.
[24] Ibid, 6.
[25] The Mark, Tom, and Travis Show (The Enema Strikes Back) (The Bill Graham Civic Auditorium and The Universal Amphitheater, 2000).
[26] Andy Greene, “Flashback: Is This Blink-182's Final Song With Tom DeLonge?,” Rolling Stone (Rolling Stone, June 25, 2018), https://www.rollingstone.com/music/music-news/flashback-is-this-blink-182s-final-performance-with-tom-delonge-61692/.
[27] NME, “The Mark, Tom & Travis Show: The Enema Strikes Back,” NME, September 12, 2005, https://www.nme.com/reviews/reviews-nme-3339-336613.
[28] Saul Mcleod, “Oedipal Complex,” Oedipus Complex | Simply Psychology, 2018, https://www.simplypsychology.org/oedipal-complex.html.
[29] Jean Aitchison, “Whassup? Slang and Swearing among School Children,” Education Review 19, no. 2 (October 2006): pp. 18-24.
[30] Works that have covered the role of popular music in identity formation include: Arnett, Jeffrey. “The Soundtrack of Recklessness.” Journal of Adolescent Research 7, no. 3 (1992): 313–31; Bennett, Andy. Popular Music and Youth Culture: Music, Identity and Place. Basingstoke: Palgrave Macmillan, 2008.; Bosacki, Sandra, Nancy Francis-Murray, Dawn E. Pollon, and Anne Elliott. “‘Sounds Good to Me’: Canadian Children's Perceptions of Popular Music.” Music Education Research 8, no. 3 (2006): 369–85.; Bosacki, Sandra, Nancy Francis-Murray, Dawn E. Pollon, and Anne Elliott. “‘Sounds Good to Me’: Canadian Children's Perceptions of Popular Music.” Music Education Research 8, no. 3 (2006): 369–85; O'Neill, Susan A., and Sandra Leanne Bosacki. “Youth Culture and Personal Identity in Adolescents: Implications for Music Learning.” Essay. In Personhood and Music Learning: Connecting Perspectives and Narratives, 153–64. Waterloo, Ont.: Canadian, 2012;
Turino, Thomas. Music as Social Life: the Politics of Participation, 93–121. Chicago, IL: University of Chicago Press, 2008.
[31] Thomas Turino, “Chapter 4: Habits of Self, Identity, and Culture,” in Music as Social Life: the Politics of Participation (Chicago, IL: University of Chicago Press, 2008), pp. 93-121.
[32] After the release of Take Off Your Pants and Jacket, the musical output by Blink 182 took a decidedly more serious tone. Available videos of Blink 182’s tour in 2004 show the band’s total departure from the habit of performing songs that allude to performing sex acts with parents. Compared to concerts filmed one year prior (during promotion of Take Off Your Pants and Jacket), the joking between songs, though still using taboo words, make far fewer graphic references to sex, incest, and bestiality.
[33] Ibid, 93
[34] Susan A. O'Neill and Sandra Leanne Bosacki, “Youth Culture and Personal Identity in Adolescents: Implications for Music Learning,” in Personhood and Music Learning: Connecting Perspectives and Narratives (Waterloo, Ont.: Canadian Music Educators' Association = Association canadienne des musiciens éducateurs, 2012), pp. 153-164, 155.
[35] Take Off Your Pants and Jacket (Signature Sound, 2001).
[36] Hilary George-Parkin, “How Warped Tour Led the Consumerist Music Festival Revolution,” Vox (Vox, July 23, 2019), https://www.vox.com/the-goods/2019/7/23/20704187/warped-tour-consumerist-music-festival-revolution.
[37] Bo Weber, “Is Tom DeLonge Crazy or Genius? From Rockstar To UFO Hunter,” Music In Minnesota, September 20, 2019, https://www.musicinminnesota.com/tom-delonge-to-the-stars-blink-182-crazy-genius-rockstar-ufo-hunter/.
