Cig lighter fuse in 2005 gmc sierra

I never understood why the windows only work with the key in RUN and want to change it. If you haven't done it, perhaps you can confirm I'm reading the electrical diagrams right (1999 SL2 btw).
blurry doodle
The squiggly line on that drawing would be the same wire I have the cig lighter connected to. Pretty sure, based on the circuit diagram on charm.li, that I'm right about the only fuse protecting the window circuit is the 30A "PWR CONVCE" maxifuse. That would mean the PPL wire could be repurposed for something else that uses up to 15A continuous, e.g. heated seats and/or the camera monitor.

Hello, I am looking for advise in getting a new to me 2002 GMC Sierra 1500 4.8L running. I picked up the truck from a rural county government at auction not running and that had been sitting for several years though I was told it ran when parked. The truck cranks but won’t start. Initially thought it was the fuel pump due to bad sounds when priming so that was replaced. Still won’t start so checked the fuel pressure which was non-existent even with the new pump. Then replaced fuel pressure regulator which fixed that issue and now have about 50-55 psi when cranking which bleeds down maybe 5-10 psi a minute (guesstimating). Pulled plugs which did not look great and the plug wires were also not great so I went ahead and replaced all 8 plugs and wires with ac Delco replacements. Still cranks without starting. I did a test with starter fluid (I know not ideal) in the intake and it ran for a few seconds so that confirms I have spark. I also checked for spark at each coil when cranking and I have spark on all 8. I checked all fuses and they are all good and switched around some relays with no change. I cleaned up a couple grounds on the body and checked all ground connections I could see and everything seems to have ground. I have rpm on the tachometer when cranking and my scan tool shows rpm when cranking. There are no codes showing. I also replaced the battery as it was dead as a doorAt this point I am stumped.
I have not done the crank, cam, o2 sensor, or MAF and I have not replaced any injectors but I don’t just want to throw more parts at it without a better idea of why it’s not starting.
Any ideas are welcome, thank you!

At my wits end here, any help is appreciated.
2008 GMC Sierra 2500 6.0 SLE 2
Had a reese tow power EVN brake controller installed, hard wired.Worked flawlessly for 2 years. Then, on morning 2 of a 3 day haul, output went haywire.
Manual override working correctly scaling up to max gain of 5.5, showing c for connection. Brake pedal input activating only to 0.1.
Tested all connections, wiggled the unit, tugged connections, traced wires back, nothing. Brake input with any pressure = 0.1 However, with the brake pedal held, tilting the unit up or down seems to randomly affect the gain up to max gain at flat - level to the ground.
Cleaned connections, re-did butt connectors to the unit. Checked all fuses, lights, chmsl, 30a stud 2, it all checks out so far.
Volt meter testing showing outputs are: Severed, Controller-side blue wire: -Override switch on unit: good scalable voltage -Brake pedal - constant voltage. Only moves up or down when unit is tilted.
-Red only activates when brake pedal activated. -White ground showing very close to 0ohm
Shook wires, checked all connections, very steady, only thing that changes gain and voltage is the angle of the controller.
Local truck & trailer place in Albuquerque ran diagnostics - said everything is fine, then showed them tilt - they decided it was a bad unit. Replaced with Curt discovery series. Said it all checked out now. I get it home, connected to the trailer.
Same. Exact. Behavior.
Set at gain 5.5, brake pedal input only gives 1.6, no matter how long the brakes are held.
To test, taken off the mount. Tilting the unit up or down is the only thing that changes gain output - flat, gain goes all the way to max 5.5. Totally independent of the amount of brake pedal input.
What is happening here, what can I test next?
I have a video if that would help.

At my wits end here, any help is appreciated.
2008 GMC Sierra 2500 6.0 SLE 2
Had a reese tow power EVN brake controller installed, hard wired.Worked flawlessly for 2 years. Then, on morning 2 of a 3 day haul, output went haywire.
Manual override working correctly scaling up to max gain of 5.5, showing c for connection. Brake pedal input activating only to 0.1.
Tested all connections, wiggled the unit, tugged connections, traced wires back, nothing. Brake input with any pressure = 0.1 However, with the brake pedal held, tilting the unit up or down seems to randomly affect the gain up to max gain at flat - level to the ground.
Cleaned connections, re-did butt connectors to the unit. Checked all fuses, lights, chmsl, 30a stud 2, it all checks out so far.
Volt meter testing showing outputs are: Severed, Controller-side blue wire: -Override switch on unit: good scalable voltage -Brake pedal - constant voltage. Only moves up or down when unit is tilted.
-Red only activates when brake pedal activated. -White ground showing very close to 0ohm
Shook wires, checked all connections, very steady, only thing that changes gain and voltage is the angle of the controller.
Local truck & trailer place in Albuquerque ran diagnostics - said everything is fine, then showed them tilt - they decided it was a bad unit. Replaced with Curt discovery series. Said it all checked out now. I get it home, connected to the trailer.
Same. Exact. Behavior.
Set at gain 5.5, brake pedal input only gives 1.6, no matter how long the brakes are held.
To test, taken off the mount. Tilting the unit up or down is the only thing that changes gain output - flat, gain goes all the way to max 5.5. Totally independent of the amount of brake pedal input.
What is happening here, what can I test next?
I have a video if that would help.

At my wits end here, any help is appreciated.
2008 GMC Sierra 2500 6.0 SLE 2
Had a reese tow power EVN brake controller installed, hard wired.Worked flawlessly for 2 years. Then, on morning 2 of a 3 day haul, output went haywire.
Manual override working correctly scaling up to max gain of 5.5, showing c for connection. Brake pedal input activating only to 0.1.
Tested all connections, wiggled the unit, tugged connections, traced wires back, nothing. Brake input with any pressure = 0.1 However, with the brake pedal held, tilting the unit up or down seems to randomly affect the gain up to max gain at flat - level to the ground.
Cleaned connections, re-did butt connectors to the unit. Checked all fuses, lights, chmsl, 30a stud 2, it all checks out so far.
Volt meter testing showing outputs are: Severed, Controller-side blue wire: -Override switch on unit: good scalable voltage -Brake pedal - constant voltage. Only moves up or down when unit is tilted.
-Red only activates when brake pedal activated. -White ground showing very close to 0ohm
Shook wires, checked all connections, very steady, only thing that changes gain and voltage is the angle of the controller.
Local truck & trailer place in Albuquerque ran diagnostics - said everything is fine, then showed them tilt - they decided it was a bad unit. Replaced with Curt discovery series. Said it all checked out now. I get it home, connected to the trailer.
Same. Exact. Behavior.
Set at gain 5.5, brake pedal input only gives 1.6, no matter how long the brakes are held.
To test, taken off the mount. Tilting the unit up or down is the only thing that changes gain output - flat, gain goes all the way to max 5.5. Totally independent of the amount of brake pedal input.
What is happening here, what can I test next?
I have a video if that would help.

So I installed a gauge overlay on my 350z (speedometer and gauge cluster). Instructions said to power them from the parking light wire, which makes total sense, but I can't find the wire on my car. I thought I had it based on a video I saw where the guy said it's a red/blue wire (down in the driver side wheel well fuse box area). Anyway I cut that wire, to solder the power wire from the overlay into it and the parking lights still worked, before I reconnected them, so that wire was not the parking lights. I found a black and red wire that I connected the overlays to and they work, BUT they are always on, so I hooked into a always hot wire, I think its the wire that goes to the cig lighter or whatever that is called now. There is a dimmer switch on the overlays that when all the way down there is no light at all, my question is if I leave it on that setting when the car is "off" will I be ok or will it drain my battery?

I have a 2000 GMC sierra 1500 5.3L 4wd, recently the fan quit blowing on 4. Well I replaced the resistor and the connector as it was burnt, but four still doesn’t work. I couldn’t find a short in the wires, I plugged in a different switch and it did the same thing also, the pins looked fine in that plug. The fuses are all good, the blower motor was replaced just a year or two ago. Any ideas?

Hi Everyone,
I’m looking to install a Blackvue DR970X-2CH and a Blackvue B-124X to my 2021 Lexus IS350 through hardwiring into the interior fuse panel. On Blackvue’s manual they say to tap into a fuse with at least 10A and throw in a 20A fuse into the secondary slot on the fuse tap which seems to contradict what I have read online. I feel pretty good about how to connect everything, but am concerned/uncertain about the potential power draw.
The 15A fuse I’m looking to tap into is just for the power outlets (1x12V Cig Lighter, 2xUSB-A to my knowledge). The cig lighter is currently connected to my radar detector which will be tapped into the rear view mirror in the next few days so this will not be an issue. The two USB-A ports are used to charge a phone on occasion and power my wireless carplay dongle daily. I’m assuming each USB port will draw 2.1A.
The B-124X charges at 9A but can peak at 13.5A. I’ve read on other forums about people tapping into 10A or 15A fuses without any issues but those have generally been empty fuses for options not included in their specific car. Given all of this, my questions are:

1. Is my understanding correct in that at its peak, the total current draw will be 17.7A (13.5A from the battery, 2.1A from each USB-A)? If so, this would be problematic for the fuse I’m looking to tap into, right?
2. Alternatively, can I set the B-124X to the cigarette mode which limits the power to 5-6.5A while still having it hardwired to the fuse panel? (my cig lighter is in the center console and not long enough to reach the glovebox where the battery will be stored unfortunately).

I apologize for the dumb questions. This is all new to me and I’ve seen quite a few contradicting posts online so I’m just trying to make sure I understand what I am doing before acting on anything.
Please let me know if I can clarify on anything further or if you need more information. Thank you all!

Hey there, (using my gfs acct) I'm having some electrical issues with my 84 Fiero, she would drive fine but had a very random ignition cut and die immediately but would come back a minute or two later, now she cut after getting gas and hasn't come back since (about 3 weeks). I have external lights and a beep when you put in the key but no gauge lights, gauges, radio, cig. lighter, fuel pump, crank, anything.

• battery is at 12.36v

-all grounds in the engine bay tested perfect
-the 4 fusible links are good as well
-took apart center console and all of the wiring looks fine and no bolts had tool marks either
edit- thanks for your comments, i ended up taking the starter off and putting it back in, then plugging in the 02 sensor she came back to life
ive been battling with this for around 7 months now also all fuses are good, fp works and is brand new. the distr. ,coil ,wires ,icm ,tps ,map ,alternator are all brand new and verified. she is also a very early 84, i dont have the connector next to the battery like my 86 gt does, hell even looking at an 84 in a junkyard my a/c lines are different lmao

Hey everyone! This is technically Part 2 of Part 3 of this series! I accidentally wrote WAY too much for this part so I had to split it up. If you'd like to read the previous entries in the series, they'll be linked below. I will also continue using the 🎩 and 💎 to rate albums as either top-tier amongst the wave or hidden gems, respectively.
Part 1 Part 2 Part 3 Part 1
Perhaps controversially, I’ve decided to cover Emo-Pop in this section. After all, much of the Emo-Pop movement is uniquely Third Wave, and many artists stayed relatively obscure. Besides, there’s no other part in the series that could reasonably contain this information, and Emo-Pop deserves its fair share of attention. Many artists on this list have incorporated elements of other genres into their music, including Pop Punk, Alternative, Indie Rock and Post-Hardcore, which speaks to the genre-invading nature of Third Wave Emo.
The very essence of this particular section may betray everything else I’m trying to do here, but I wanted to be comprehensive in my coverage of the genre. Besides, more Emo has never really been a bad thing, has it?

The Explosion of Emo-Pop

Northstar - Is This Thing Loaded? (2002)

Northstar - Is This Thing Loaded? (10/22/2002) Is This Thing Loaded? invokes that special early Vans Warped era, the time of Taking Back Sunday and Brand New starting to take over the industry. The youthful energy is captured in the rough production values with the guitar being a particular highlight. The very first song on the album is an instant classic, so even though the rest of the album fails to live up to those expectations, it’s still a super solid Emo-Pop album.
As a side note - Rigged and Ready supposedly really influenced TBS’s Cute Without the E, so perhaps we can at least partially attribute the immediate growth of Emo in the Third Wave to this band.

Newfound Interest in Connecticut - Less Is More or Less (2002)

Before compelling the world with their frigid take on the Post-Rock / Emo formula, Newfound Interest in Connecticut released a four-song EP in 2002. Unlike the brilliant soundscapes found on their LP, Less Is More or Less utilizies the Midwest Emo formula to craft Emo-Pop music. The vocals are more restrained and attempt poppier melodies, though the guitarwork and masterful drumming that the band would be known for is previewed on this EP quite nicely. If you’re looking for a Second Wave-esque Emo-Pop record or are just curious as to what the band used to sound like, look no further.

Moneen - Are We Really Happy With Who We Are Right Now? (2003) 💎

An adopter of the early Emo-Pop sound, Moneen as a band has a fascinating history as it relates to Third Wave Emo. The band came together in 1999, released a demo EP in 2000 and released their first full-length album in 2001. Perhaps this would mean they should be in the Second Wave section, but their forward-thinking Emo formula sounds fresh and “2000s,” for lack of a better term.
Emo-Pop influences on this album are subtle and mostly for the catchy verses and choruses. The production is reminiscent of a 90s Second Wave Emo record, giving Moneen a raw vibe on this album. Still, dynamic and time signature shifts occur regularly, showcasing the band’s penchant for writing a good Emo song. If you want to hear one of Canada’s very best Emo bands, please give this a listen.

The Movielife - Forty Hour Train Back to Penn (2003)

A fairly standard Pop-Punk / Emo-Pop combo from the fabled Long Island / New Jersey scene, The Movielife released music sparingly throughout the years but had only one release in the Third Wave officially. In the same vein as early Second Wave Emo artists, The Movielife consists of Hardcore kids who are trying to make non-Hardcore music but simply can’t escape their roots. This, of course, is only a huge positive as the spirit of Hardcore ensures this doesn’t become generic dreck. It’s a good album, but the bigger, faster songs tend to be the best on this record.

Breaking Pangaea - Phoenix (2003)

Breaking Pangaea is a little-known Emo band from Philly that came together at the turn of the century. After releasing their first LP in 2001, a traditional Midwest Emo affair, Phoenix would be the band’s final release. On this EP, Breaking Pangaea infused their sound with equal parts Emo-Pop, particularly in the guitar tone's crispness and the vocal melodies' poppiness. The results are infectious and feel distinctly 2000s.

Fresno - Quarto dos Libros (2003)

Simply put, Fresno is the biggest artist to come out of Brazil’s Emo scene. They’ve amassed 10 studio albums, numerous EPs, several live albums and tons of other recorded material. They are undoubtedly in that Jimmy Eat World position of playing Alternative after getting famous with Emo-Pop. Perhaps a band THIS BIG shouldn’t get coverage on this list, but even I’d never heard of Fresno before researching for this list, so I’d wager a lot of others need to know, too.
Their debut LP features a much rawer production sound than anything that came afterward, pairing their infectious Emo-Pop with Midwest Emo and Post-Hardcore elements. Notably, there was a dearth of Emo in Brazil when they formed and released this record, so it was groundbreaking in some ways. This is a rather auspicious start to a prolific career.

Hey Mercedes - Lose Control (2003)

From the ashes of legendary Midwest Emo band Braid comes Hey Mercedes, an Emo-Pop band that flirts with Power Pop. If you’re expecting Braid with catchier choruses, I’m sorry to disappoint. However, the melodic vocals will worm their way into your ears. Hey Mercedes’ second and final full-length album is a testament to the tortuous path Emo bands partake in; even with everything going for them, the band just never reached the heights they deserved.

Park - It Won't Snow Where you're Going (2003) 💎

Listening to Park in the context of Third Wave Emo is bittersweet; with their radio-ready melodies, combination of popular genres and high average song quality, they could have and should have reached mainstream popularity in the US. Fortunately, that doesn’t stop their existing music from kicking ass, and very few songs in their discography kick as much ass as the opening track to this LP.
This album takes the raw instrumental tones of Post-Hardcore and wraps them around a Pop-Punk skeleton with Emo as the connective tissue. Is that too artsy of a description? Maybe, but once you hear this album, you’ll understand where I’m coming from.

Halfway to Holland - Halfway to Holland (2003)

Peter Helmis and, to a slightly lesser extent, Joe Reinhart are absolute legends in Emo, not only for the sheer massive quantity of bands they’ve been a part of but for the consistently good quality each of their releases possesses. The two are primarily known for Algernon Cadwallader, The Cap’n Jazz of the Emo Revival, but have participated in numerous other excellent acts. The first of which, however, was Halfway to Holland, started all the way back in 2001!
After a demo LP, they came out with their self-titled album in 2003, mixing the youthful energy of Pop-Punk, the catchiness and structure of Emo-Pop and the rawness of Midwest Emo into a fairly straightforward package. Vocalist Peter Helmis sounds exactly as you’d think, though the guitarwork is more focused on quick chord progressions and easy leads rather than anything twinkly or mathy.

Northstar - Pollyanna (2004) 💎

After their heralded debut album, Northstar would release their second and final album in 2004 - Pollyanna. This album is likely legendary among Emo fans of this era, truly in a tier only below albums like Tell All Your Friends, Deja Entendu and …Is a Real Boy. Northstar took everything that worked on their first outing and made the entire album a consistently good journey. The Pop-Punk is balanced very well on this album, taking a backseat at times for softer songs.
Sadly, the band broke up after this album was released, depriving the world of more good jams.

Slingshot Dakota - Keener Sighs (2004)

Slingshot Dakota was founded by Carly Comando and two members of Emo-leaning Punkers Latterman in 2003 before releasing their debut album a year later. Keener Signs is heavily influenced by Rainer Maria’s take on the Indie and Emo combo, especially in the dual masculine/feminine vocals, though Emo-Pop is the dominant force on this record. Gorgeous piano riffing is accompanied by admirable drumming and a dynamic guitar that goes from chord progressions to Emo twinkles.
Following this album, the two former Latterman members left the band, leading to a fundamental change in the band’s sound. Their next album wouldn’t be released until 2008, though the Emo influence would diminish exponentially across each subsequent release.

The Kidcrash - New Ruins (2004)

New Ruins sees THE Kidcrash in an unrecognizable light compared to their other legendary LPs Jokes and Snacks. Prior to becoming a legend in the Screamo genre for their complex and technical music, The Kidcrash was another Emo-Pop hopeful reminiscent of bands like Underoath, but with a critical ear, you can suss out the subtle intricacy of the layered guitars and the mathy syncopation of the rhythm section. The vocals are admittedly underwhelming, especially when you know what the singer is capable of later in his career. Besides, these vocals were in vogue around the mid 00s, so it isn’t too unexpected.
If you want to hear the humble beginnings of a band that would go on to be legends in the scene, check out this artifact of Emo history.

Fresno - O rio, a cidade, a árvore (2004)

Brazil’s biggest Emo band continues their search for a core identity on this album, featuring significantly better production values and the slow shedding of their Midwest Emo and Post-Hardcore influences. While this is a fine album and the volume dynamics make this a great roadmap for Emo-Pop, it’s lacking that little something; their first album took advantage of the raw recordings and infused them with youthful energy. Their next album…well, let’s wait to talk about that one.

Fightstar - They Liked You Better When You Were Dead (2005)

Whilst Charlie Simpson was performing as one of the poster children for UK boy band Busted, he began to write some Post-Hardcore music to scratch his rock itch. However, he got REALLY involved and would leave Busted in 2005, a month before this debut EP was released. Prominently showcased is Simpson’s strong voice, showcasing an entirely different side than what fans of his were used to. Moody Post-Hardcore is the basis of the music, but most melodic elements are derived from Emo-Pop. If for nothing else than novelty, I’d suggest checking out this stellar debut EP and the LPs that would follow.

Gatsbys American Dream - Volcano (2005)

With more than their fair share of Pop Punk seeping from the album, Volcano is one of the slickest Emo-Pop albums around. Gatsbys American Dream has reached their final form on their third LP, eschewing the more frenzied Pop Punk concoction to forge the perfect Pop Punk / Emo-Pop mixture. The production values, particularly in the sleek guitar tones, are quite polished and allow for both distorted and clean moments to shine. With several other albums that all came out during this time period, I’d recommend you check these Seattle natives out, though be aware this is probably their truest Emo-Pop effort.

Fresno - Ciano (2006) 🎩

Fresno has never sounded so confident, so sure of themselves as songwriters and performers than on this third full-length album. Traces of Midwest Emo and Post-Hardcore remain, but only as over-the-shoulder guides that ensure Fresno doesn’t stray too far from the very ethos of the genre. The melodies on offer here will get stuck in anyone’s head, regardless of what language you speak. Each note of the singer’s voice seems meticulously crafted around the enormous anthemic music, yet confusion, loneliness and anger seep through the euphony.
Simply put, this is what Emo-Pop is all about: taking the emotional catharsis of Emo and blending it into a palatable product. Indeed, this album launched Fresno into Brazil’s stratosphere. Fresno would start incorporating more and more elements of Alternative Rock into their music, effectively making this their last pure Emo-Pop album. It sure is one Hell of a way to go out, though.

Park - Building A Better _____ (2006)

Park gives it one more go on their final studio album, flirting with experimentation along the way. This is perhaps their most varied album as a result, but also one that lacks the strength in identity as their other releases. Still, Park produces some of their very best songs on here.
Building a Better is a monument to the wonder of Emo, showcasing a band with all the talent, songwriting and opportunity to jump into superstardom, only for obscurity to be their fate ultimately. Bands like this are why I write about this amazing music scene.

Moneen - The Red Tree (2006)

Following up on two acclaimed LPs, an EP and a Split with Alexisonfire was never going to be an easy task for Moneen, but after signing with Vagrant Records, Moneen released a cohesive album that’s at least as good as their previous stuff. The beautiful combination of Emo, Emo-Pop and 90s-era Post-Hardcore remains a winner for Moneen, but the lack of a true standout track amongst a sea of really good ones does mean this album isn’t quite as memorable as it should be. Regardless, this is Canada’s best Emo band for a reason.

The Graduate - Anhedonia (2007)

When The Graduate was around, there were comparisons made to Jimmy Eat World - and rightfully so! The band oozes melody and catchiness like no other, especially in the earworm choruses. Their second and final LP, Only Every Time, was analogous to Bleed American, so does that make Anhedonia this band’s Clarity? Not quite, failing to capture the magic of Only Every Time, but as a debut album goes, The Graduate really swung for the fences. If you enjoy extraordinarily captivating vocal performances or Emo-Pop with Alternative and Pop Rock influences, check this one out! Be warned that there’s very little edge to be found on this record.

Counterfit - Super Amusement Machine for Your Exciting Heart (2007)

Early Emo-Pop from Connecticut, Counterfit only released one full-length album in 2002 after a few EPs before calling it quits in 2004. However, we should all be so grateful that they released anything at all! Simple and dirty Emo-Pop / Midwest Emo with just enough edge to capture the hearts of those fans of the early 00s era of Emo. There isn’t anything you haven’t heard before on here, but worthy of a listen nonetheless.

Johnny Foreigner - Waited Up ‘Til It Was Light (2008) 🎩

Exuberant, youthful, manic and catchy are just a few of the many descriptors that can be said about Johnny Foreigner’s exemplary debut LP. Three years after their first demo showcased the band’s Post-Rock writing chops, this release illustrates the band’s evolution into a premier Emo-Pop band. The dual male-female vocals greatly add to the diversity on display here with strong hints of Indie Rock, Pop Punk and even Math Rock. No two songs are alike, proving the songwriting in this band is exceptional.
Johnny Foreigner would go on to be one of the most prolific Emo / Indie artists in the UK, having released four more studio albums, numerous EPs and lots of other material. However, despite this legendary Emo-Pop output, the band would never quite reach the lofty heights of this debut LP. If you’re going to check out any Emo-Pop on this list, you should let it be this one.
Finally, I’ve reached the point where I’m all out of clever sections and cute titles. These last few releases are all Emo releases that defy categorization based on what I’ve already written about. Simply put, this final section of Part Three is entitled:

Other Uncategorized Emo

Desaparecidos - Read Music/Speak Spanish (2002) 💎

Many probably know the story of Bright Eyes’ frontman Conor Oberst’s OTHER band, but I’ll give you the quick and dirty if you don’t; Conor intended Desaparecidos to be his secondary band before Bright Eyes unexpectedly took off like crazy, dashing those plans. And it’s a shame since Read Music/Speak Spanish is cooler and more Emo than any of Conor’s other music. Emo with strong Punk leanings, Desaparacidos plays with anger pumping through their veins, to a level just below that of someone like Cursive.
Oberst’s vocal delivery carries strength and rage, highlighted by the frantic guitar riffs and active rhythm section. This doesn’t sound like a lot of other Emo music that came before it, even if it doesn’t do anything particularly innovative. If political-leaning Emo is your thing or you’re just pissed off about the United States, give this a listen.

Kickball - Huckleberry Eater (2003)

Kickball, a trio of Olympia natives, released their eclectic first album in 2003, combining docile Indie Rock with very subtle elements of Math Rock. The Emo influence on this one isn’t as pronounced as it is in future releases, but Huckleberry Eater radiates with awkwardness and depression from every corner. If you enjoy offbeat, slightly downer Emo with very little in the way of hard structure, check this out!

Bear vs Shark – Right Now, You’re in the Best of Hands. And If Something Isn’t Quite Right, Your Doctor Will Know in a Hurry (2003)

I know what you’re thinking: Bear vs. Shark isn’t an Emo band, they’re Post-Hardcore! Well, they are Post-HXC, but they infuse it with a generous heaping of Emo, reminiscent of 90s At the Drive-In. The messy, noisy Post-Hardcore moments are perfectly juxtaposed next to the cleaner, more melodic Emo-leaning sections.
Although Emo and Post-Hardcore was a popular combination during the Second Wave, this band eschewed tradition with this release and crafted something far more modern and 2000s-sounding, for lack of a better term. From the production to the songwriting choices, this album represents a tiny window in 2000s history.

Desert City Soundtrack - Funeral Car (2003) 💎

From the first few seconds of this album, you could be forgiven for thinking this was some generic piano-driven Indie Rock, but you’ll reward yourself for continuing to listen as Funeral Car is an unexpectedly unique slice of Emo history. The piano lulls the listener into a false state of peace, but the piano doesn’t define the music found here, it’s the other way around; the piano is merely a tool to emphasize the tone, tempo and volume dynamics at play in this eclectic combination of songs.
The softer, Indie-leaning sections often give way to frenetic Post-Hardcore sections comprised of screaming and total instrumental upheaval. Following this up may be a serene trumpet melody or subdued vocal passage. If you like this, they also have an EP from 2002 that is a tad heavier overall.

Purplene - Purplene (2004) 💎

Purplene’s self-titled LP is also their final one, but they prove themselves to be quintessential OzzEmo (I hope the Australians don’t kill me for that…). Somewhat reminiscent of The Jim Yoshii Pile-Up due to their combination of melancholy Midwest Emo and smooth Slowcore, Purplene also adds in elements of Math Rock with shifting time signatures and Post-Rock with extended instrumental passages. What’s left in the rubble is a uniquely-crafted work of Emo history.
If you like your Emo to be more on the bummer side of the spectrum and love really polished guitarwork, this is definitely one that you can’t miss.

Colossal - Welcome the Problems (2004) 🎩

To Chicago-area Midwest Emo fans, Colossal is the faint but familiar name of a legendary band that came and went during Midwest Emo’s lowest period. Comprised of Chicago Punk royalty, Colossal’s debut LP is an experience unlike any other. Some of the most virtuosic guitar playing in the entire genre of Emo can be found on this album, enough to make any Kinsella brother blush.
Speaking of Kinsella, Colossal sounds like American Football if they actually rocked out instead of sticking to the softer Indie Rock-influenced stuff. Pat’s singing voice is also quite distinct among Emo, showcasing a lower register than average. If you enjoy Midwest Emo, proficient instrumentals and incredible songwriting, this is a must-listen.

The Progress - Golden State (2004)

The original band for Chicago-based Emo legend Evan Weiss (of Into It. Over It., Their / They’re / There and Pet Symmetry fame), The Progress released one fairly rough s/t EP in 2001 before coming out with Golden State in 2004. Traditional Midwest Emo with noticeable Pop Punk influences, this EP is the evolution of Second Wave Emo, especially in the vein of bands like The Get Up Kids. Though it isn’t anything wholly original or an essential release, the volume dynamics and amazingly catchy vocal performances will ensure this stays with you for a while.

Shinobu - Herostratus vs Time (2004)

Shinobu is an interesting artifact of time; One of the founders, Matt Keegan, is a frequent friend and collaborator with Jeff Rosenstock, even having him on a Shinobu album at some point. They are also seen as a very influential band to artists like Joyce Manor and PUP, in no small part due to their debut album’s eclectic and somewhat depressing combination of Slacker Rock and Midwest Emo.
This LP never quite takes off to the races, but the constant bummer tempo, combined with the sunny facade that fails to convince the listener that anyone in this band is a happy person, ensures their place in Indie Punk history. Though Shinobu would release a fair few more albums, including another wonderful LP in 2006, the Emo influences would be hit or miss from that point onward.

Slingshot Around the Moon - This Is Who We Are (2004)

The importance of music preservation is often diminished, especially when it comes to niche, local or otherwise unknown stuff. However, I think that’s what’s so beautiful about it; take Slingshot Around the Moon as a prime example. For a long time, most of the very few listeners of this band assumed they’d only released five songs total. However, including demos, remixes and live performances, the band has over three hours of stuff!
This Is Who We Are is the cleanest, most complete release of everything discovered so far. Taking Midwest Emo and adding in bleak elements of Post-Hardcore, this album is as jumpy as it is brooding. If you prefer faster-paced chord-heavy Emo with a 2000s feel, check this EP out, as well as this band’s other material.

Eniac - All That's Left of Us (2005)

To most Emo fans, Eniac is an unknown, a band name in a nebulous sea of band names. To Emos of the early 2000s in Denton, Texas, Eniac are local legends. Though their first and only LP was released in 2005, they’d long been disbanded by then and the record had already been recorded years prior. The style and production owe quite a bit to Second Wave Emo, but there’s something a little more “modern” about them, for lack of a better term.
The lyrics might be a bit shallow, the instrumentation slightly simple. However, like any good Emo, you can always feel the passion emanating from their music. To those with special memories of Eniac playing under a starry Texas night, these songs will always hold a special place in their heart.

Meneguar - I Was Born AT Night (2005)

Formerly named Sheryl’s Magnetic Aura, a pretty standard Midwest Emo band, they changed their name in 2004 to Meneguar and never looked back. After a demo that same year, they released their first full-length LP - I Was Born At Night. Cohesively fusing mid-00s Indie Rock with twinkly Midwest Emo like the genres were long lost brothers, Meneguar perfect this combination. Dancey songs with beautiful Emo riffs and volume dynamics populate this 30-minute release.
Sadly for us, their Emo influence would fade significantly on subsequent releases, making this their best. However, I’d still highly recommend giving at least this album a listen and their future works if you’re into Indie Rock.

Million Dead - Harmony No Harmony (2005)

Before becoming a certified Folk legend, Frank Turner found himself in a UK-based Post-Hardcore band named Million Dead. After a noisy and chaotic first album that saw them dip their toes into Emo waters, Million Dead returned in 2005 with their second LP with significantly more Emo influence, I’d say 50/50 with Post-Hardcore. The boisterousness found on A Song to Ruin remains a fixture on this album, but the Emo influence allows for more contrast with moments of clean serenity.
Frank Turner does belt out some gnarly screams on this album, but his use of melody and bombast has significantly improved, previewing why he’s attained such a large cult following over the years. Check out both of these albums - they’re both worth it, even if their first is only questionably Emo.

The Progress - Merit (2005)

If you enjoyed Golden State by Chicago’s own The Progress, you’ll enjoy this one. The traditional Midwest Emo elements - mixed in excellently with Pop-Punk influence - are all written and performed beautifully. What Merit does as an album is showcase how you can have memorable melodies in a radio-friendly framework without dipping into the increasingly popular Emo-Pop well. If you’re looking for some really solid Emo to add to your collection, check this one out.

Desert City Soundtrack - Perfect Addiction (2005)

Perfect Addiction is a perfect example of what many in the Indie Rock scene would call “maturity.” The songwriting is generally softer and more focused, though at the loss of some truly unhinged musical moments. The piano is more prominent as ever, flaunting the Indie influences highly on this album. The batshit crazy stuff found on Desert City Soundtrack’s debut LP is mostly lost in translation, though some heaviness still remains. Overall, I’d say this isn’t as good as their first album, but more of something this unique is always a good thing.

Kickball - ABCDEFGHIJKickball (2005) 💎

After releasing their mellowed-out debut LP with questionable amounts of Emo influence, Kickball followed up with a Midwest Emo album that’s simultaneously more experimental and more straightforward than Huckleberry Eater. This album features more fun Emo riffs, intricate drum patterns and overall a more dynamic song structure. If you weren’t a fan of the more subdued first album, this one utilizes a more traditional approach to Emo songwriting.

The Vermicious Knid - Smalltown Devotion/Hometown Compulsion (2005)

Smalltown Devotion is the sole full-length album from The Vermicious Knid, offbeat Emos from Ontario, Canada. The band is named after an obscure species in the works of Roald Dahl, so you can expect that sort of wackiness in the music as well. With dual-male vocalists, relatively raw production and a dancey backbone, this album really has to be heard to be believed. The band also has an EP they released in 2002 that previews the weirdness to come.

8-Bit Revival - Under the Fairweather (2006)

Four years after their debut EP Up & Atom, which we covered in the first part of the series, 8-Bit Revival returns with their first full-length Under the Fairweather. While perhaps this could also have belonged in the same section, I found this to be a bit more unique and “2000s” so I’m putting it here. The dingy Post-Hardcore vibes remain but are accompanied by fresher songwriting and a generous use of synths.

Owen - At Home With Owen (2006) 🎩

I would be remiss if I didn’t mention one of the most important figures in Emo history in this section: Mike Kinsella. For those who don’t know, Mike Kinsella’s legacy is crucial to the development of the genre; he was the drummer for Cap’n Jazz, the lead singer and guitarist of American Football and is a featured member in bands like Joan of Arc and Their / They’re / There. However, his most prolific series of work is as a solo artist under the name Owen.
Now people can argue all they want about whether or not this music is truly Emo, Indie Rock, Indie Folk or anything else, but I’m an AcousticEmo believer and this release is its quintessential album. Mike’s jazzy approach to instrumentation creates interesting and dynamic interactions between multiple instruments. At Home With Owen is perhaps his best and most memorable work, but he’s also released countless other LPs, EPs, splits and compilations over the years, including in the Third Wave.

Dear and the Headlights - Small Steps Heavy Hooves (2007) 💎

Perhaps Equal Vision Records doesn’t count as “Underground,” but Dear and the Headlights might just be the biggest and best band that no one has heard of. Combining Midwest Emo with Indie Rock and Folkish elements proves to be a refreshing, original and poignant take on the Emo formula; the usual loud-quiet dynamics that characterize Emo are here with a vocalist that scales with them. Ian Metzger serenades the listener with soft vocals during the cleaner, lighter parts of the album while the crescendos showcase how powerful his voice can get.
The warm, bittersweet tones create a sense of longing, accompanied by lyrical content revolving around heartbreak. While not groundbreaking, it’s done with earnestness and passion, not to mention some quality melodies. If you wanna sing your post-breakup feelings with all of your heart, learning these songs is a must.

Dartz! - This Is My Ship (2007)

One thing before I start - has anyone seen Dartz! and Bloc Party in the same room? Or do all British Indie-Adjacent bands sound like “that?” Either way, Dartz! takes that British Indie Rock formula, mixes it with a healthy dose of Math Rock and produces unique Emo goodness. The Mathy riffs almost make this one feel like Proto-Revival stuff, but the Indie Rock structure and tone keep this from sounding too similar to other such UK acts. Much like Bloc Party, vocalist William Anderson injects his lyrics with tons of melody and catchiness. Overall, this is an interesting take on the Emo formula and is worth your time if you think it sounds good.

Kickball - Everything is a Miracle Nothing is a Miracle Everything Is (2007)

Is there a more idiosyncratic Third Wave Emo band than Kickball? Huckleberry Eater in 2003 was a soft-Indie Midwest Emo project and ABCD was a slightly off-kilter Emo release, so where does that leave this, their final album? Believe it or not, Everything is a Miracle balances the two dominant sounds quite well while radiating with more emotion than on either of their previous records. The eccentricity reaches new heights with experimental production techniques, oddball instrumental sections and an admirable carelessness that allows the songs to flow naturally together.
Kickball would cease releasing new music after this, right before the Emo Revival rolled around. The band existed entirely in Emo’s Third Wave, embracing the kind of sounds that would characterize some Fourth Wave bands. They missed their chance to be a hidden gem of the Emo Revival, but I hope that you listen to at least one of their albums.

Dear and the Headlights - Drunk Like Bible Times (2008)

Following up on Small Steps Heavy Hooves was never going to be easy - Emo bands LOVE coming out with an amazing first album before either dropping off the face of the Earth or create a poor, unmemorable follow-up album. Dear and the Headlights, however, does an admirable job staving away this stereotype with Drunk Like Bible Times, releasing only a year after their debut. Is it as Emo as their previous LP? Not quite for the album leans slightly more into its Indie Rock influences this time around. However, the passion and the emotion is present in spades on this record and that alone is worth a listen.
Unfortunately, the group would disband some time after this album, never releasing another record aside from their two legendary outings.

Kumarenino - Tren camino a casa, mis errores y el numero 7 (2008)

Hailing from Mexico, Kumarenino is an obscure Emo band that came about during Emo's rise to prominence in the 2000s. They play traditional Midwest Emo with generous infusions of Indietronica. Their experimentation with electronic elements could be tied to the Emo-Pop explosion in Emo's mainstream period, but they are played in a way that reminds me of Fifth Wave Emo or Brave Little Abacus. Give these experimental Emos a listen!
That's it for this one! It took me such a long time to finish this one because it was a double part. As always, please let me know if I missed anyone on this list. On the next and final installment, we'll see the transition from Third to Fourth Wave Emo.

Hey guys, this will be my first time diy-into my sub setup. Here are some items I was considering but if this is complete dog shit and you can help me find something better in my budget I’m all ears.
Budget build less than $900 total
Vehicle: GMC Sierra 1500 crew cab
Box: skar audio 2019-2024 Chevy Silverado & GMC Sierra Crew Cab Compatible Dual 10" Ported Subwoofer Enclosure
Subwoofers: Option A - 2x JL Audio 10W0v3-4 W0v3 Series 10" 4-ohm subwoofer peak power 500 watts
Link
Option B - Rockford Fosgate R2D4-10 Prime R2 Series 10" subwoofer with dual 4-ohm voice coils peak power 600 watts
Link
Amp: want a mono block amp either 1,000 or 1,200 watts
Considering the Skar audio RP-1200.1D 1,200 Watt Monoblock Car Amplifier
Link
Wiring kit: skar audio SKAR4ANL-CCA 4 Gauge - 1,200 Watt CCA Amplifier Wiring Kit
Link
Should I go 1/0 gauge?
Fuses and distribution blocks: can someone tell me what they would recommend for this? Best budget option

So well i have this Ford Fiesta mk1 from 83, i decided to wire some foglights and a cigarette lighter, i extended the button of the fog lights with normal crimping and a cable of the same dimension, and the cigarette lighter with a fuse, the cable of the fuse Is a Little bigger than the One from CIG lighter, connected the Red on the battery on positive and the black on the same spot on a screw, now they work, but the problem comes when i have the normal light on, the CIG lighter lose power, and the foglights wont turn on, if i turn off the normal lights, the foglights turn on, but as soon as i turn on the normal Ones the foglights lose Power and are less bright, i did all the wiring by myself, and dont know what Is wrong, It doesnt use the car fuse box, but spare Ones for both foglights and cigarette lighter PS Tnx in Advance if someone can help me, never done anything on a car other than this car, all restored by myself at home

Hey folks, I'm trying to track down an electrical fault in my 1987 golf, the cig lighter and stereo are not receiving power when they once were. The relevant fuse is fine so that isn't the issue. Looking for diagrams online is frustrating as hell so if anyone happens to have one available it would be much appreciated. Thanks.

Location: South Texas, United States
Price range: <= 10k
Lease or buy: Buy
Type of vehicle: Car
Must haves: Fuel efficient
Transmission: Automatic
Intended use: Daily driver
Vehicles considered: 2001-2005 Miata, Scion FR-S/Toyota 86/Subaru BRZ
First vehicle?: No
Warranty: Do not care
Able to do minor work?: Yes
Major work?: Yes
Additional notes: I’m currently in college and driving a 2008 GMC Sierra 1500. I’m needing something more fuel efficient and something I could work on easily. My current drive is about 20 miles or 30 minutes. I’ve thought about getting a Miata or one of the FT86 family cars. However, I don’t think that’s in the budget right now. I am rather tall (6’2”), so something I could fit in would be important. I would also prefer something that has a reliable engine and transmission.

2005 Honda Civic LX 141,XXX Miles. I live in a warm state (hawaii) all year round so no salt or cold. I live on an island so there is no long types of drives that I take (unless you count sitting in traffic). Mostly stock except for aftermarket radio, headlights are HID's with aftermarket headlight housing, K&N Intake, aftermarket muffler, no resonator, viper alarm, dash cam hard wired-in, and a couple of LED driving lights installed where my fog lights would have been. I have not moved or changed anything recently, and everything mentioned above has been on my car for at least 3 years. Usual maintenance is always done.
The other night I went to start my car and nothing. Lights on the dash came on, I have one of those cigarette lighter things where it shows the voltage and it was at like 12.4V but no turn over and just click once. I tried it a couple of times, then it started up. After it starts up, it runs fine and doesn't die out or anything.
Later that day, Sunday, I did the following:

• I have a car battery tester ( https://www.amazon.com/dp/B08MPXGSGN?psc=1&ref=ppx_yo2ov_dt_b_product_details ) and everything pulled a good on test reading. Battery, Charging and Crank.
• Checked to see if the ignition fuse (40 amp green in the box under the hood) was blown. Looked fine. Made sure the screws were tightened down and they were.
• I changed out the main relays that were under my glove box (they were 2 black ones) and I switched it from my two headlights since they were the same exact relays.

Now, switching those 2 relays appeared to have fixed my problem because my car started several times fine after.
Come today and now it started to do the same thing that it was doing on Saturday twice out of the 6 times I had to use my car. No matter if it was "cold" or after it was still warm.
I bought a starter since I thought maybe it was that, and I was going to return it since it appeared that I fixed it Sunday night but I'm glad I didn't return it yet.
But, I wanted to see if there could be another fuse/relay that could be the culprit? Or could it be the starter since I did change the relay and it seemed to work for a day or so, but now it's doing the intermittent not starting thing.
I attached a video of it doing it this morning. Well I tried but this place wont allow videos on my end. But I uploaded: https://streamable.com/4h0xf7

I have a 2020 GMC Sierra 3500 HD Dually
I had an aftermarket sound system put in by a dealer. Everything was good for two months or so then amplifier quit working. I took it into their shop they removed the amplifier. I drove about half a mile and my truck started throwing alarms. I since then got it into the local GM dealer.
They are telling me the injector connector pigtail was bad and also a blown fuse box from the amplifier.
I called the audio dealership he is telling me they are scamming me on the fuse box and no way the fuse box was damaged from him or his audio equipment.
Obviously I’m going to get it fixed just wondering your thoughts.

Pickup trucks are incredibly versatile vehicles, but if you need serious carrying and towing capacity, a 3/4 ton truck is where the real power begins. So, what exactly is a 3/4 ton truck https://truckreportgeeks.com/what-is-a-3-4-ton-truck/, and what makes it different from the lighter-duty options on the market?
Understanding the Terminology
The "3/4 ton" designation is a bit of a historical holdover. These trucks were once classified by their nominal payload capacity (1,500 pounds). Nowadays, they've far surpassed that limit, with modern 3/4 ton trucks handling much more weight. You'll see them labeled as "250" or "2500" models by various manufacturers.
Heavy-Duty Power
3/4 ton trucks are built on tougher foundations than their half-ton counterparts. Here's what you'll usually find under the hood and throughout the vehicle:

• Beefier Construction: Expect stronger frames, axles, suspensions, and other components built to handle more work.
• Powerful Engines: These trucks usually pack large gasoline engines or even heavy-duty diesel powerplants for extra low-end torque.
• Enhanced Braking: They'll feature more robust braking systems to safely control all that extra power and weight.

What are 3/4 Ton Trucks Used for?
If you find a standard half-ton pickup lacking in muscle, a 3/4 ton could be the solution. Here's where they shine:

• Towing Big Trailers: They're the ideal choice for pulling large campers, horse trailers, car haulers, and heavy equipment trailers.
• Hauling Heavy Payloads: Think landscaping supplies, construction materials, or hefty toolboxes - a 3/4 ton's truck bed can take it with ease.
• Workhorses: Businesses that rely on daily heavy-duty use, like contractors, farmers, or utility companies, often depend on these trucks.
• Tackling Tough Terrain: With available four-wheel-drive and often more durable construction, they can handle rougher off-road adventures.

Popular 3/4 Ton Trucks
The heavy-duty truck market is dominated by the "Big Three" American automakers:

• Ford F-250 Super Duty: A long-standing favorite for its capability and range of configurations.
• Chevrolet Silverado 2500HD / GMC Sierra 2500HD: General Motors twins with power and refinement.
• Ram 2500: Known for potent diesel engines and a comfortable ride.

Is a 3/4 Ton Truck Right for You?
Before making the jump to the heavy-duty segment, be aware:

• Higher Cost: 3/4 ton trucks command a premium in price over half-ton models.
• Reduced Fuel Efficiency: Those powerful engines get thirsty, so expect higher fuel costs.
• Stiffer Ride: The tradeoff for their workhorse nature is a stiffer ride than lighter-duty trucks, especially when not loaded.

If you consistently need the maximum hauling and towing capabilities, the investment in a 3/4 ton truck is often worthwhile. However, for lighter general use, a half-ton truck might be a more practical and fuel-efficient choice.

I burned out the electrical in a vehicle before using the 12v cig lighter.
Replacing fuses didn't solve the problem.
How safe are inverters with wall plugs to use without something similar or just bad in general happening?

Thanks for reading. I'm really hoping someone here can help me.
I just sold my 2015 Chevy Cruze 1.4l with 82k miles after it cost me $4500 in repairs in 28 months (not regular maintenance items like oil changes, tires, etc.) and recently a shop wanted $2500 for another repair... So I said, sorry Chevy you gotta go, and sold it for $5500.
So, with that information I'm now left with somewhat of a dilemma: Do I buy a beater or get into a newer car?
I'll give a little bit of insight into my situation.
My girlfriend and I had a miscarriage in February at 10 weeks. Turns out it was a little girl who had Trisomy 21. Obviously, we were very upset, it was very sad. But we decided to start trying again a few months later (present) and given that it worked the first try for us, I would expect within the next few months for her to be pregnant again. So if all goes well, we'd have our first child sometime early 2025.
I also lost my job in January 2024, only a few days after we found out about this first pregnancy. It was terrible timing, but I am someone who has savings and the unemployment pays all the bills, so we are financially stable. Luckily, right now I am currently in the final phase of an interview process for a job that would be great for our family. I was informed that it's 3 days remote a week, at least for now, they said that is subject to change but not sure when it would.
Getting to my point. So, my idea was to take just some of the $5500 and buy a beater car, like a $2000 'get to work and back' car. Save money from my job (if i get it) and then when the baby comes, purchase a newer car together with my girlfriend, let's call it the 'family vehicle' and split it 50/50.
One of the reasons I'm hesitant to buy new or newer is because I don't want to take on a car payment when I don't have a job. Honestly, even if I did have a job I wouldn't want a car payment because it's a lot of money. I could buy a new car outright with cash, but I don't want to use all my cash to purchase a depreciating liability when I am trying to bring a child into this world.
I've had terrible luck with cars and really need something that's going to last a long time. Every car I have had has cost me thousands and thousands of dollars in repairs. Maybe that's all of them? I wouldn't know any other way.
Here's a list I pulled from a Youtube video about reliable beaters (I think his name was Car Wizard?):
2001-2005 Buick LeSabre 1999-2006 Chevy Silverado or GMC Sierra 2004-2009 Lexus RX350 1999-2012 Ford Crown Victoria 4.6L Modular V8 1996-2000 Lexus LS400 2001-2007 Toyota Highlander
​
Let me know if any of those are worth it.
So, given my situation, If I were to buy new, used or a beater car, what type of car should I buy? Thanks so much for reading!