The Get Up Kids are an American rock band from Kansas City, Missouri. Formed in 1995, the band was a major player in the mid-1990s emo scene, otherwise known as the "second wave" of emo music. As they gained prominence, they began touring with bands such as Green Day and Weezer before becoming headliners themselves, eventually embarking on international tours of Japan and Europe. They founded Heroes & Villains Records, an imprint of the successful indie rock label Vagrant Records.

After signing to Doghouse, the band drove to Chicago to record their debut full-length album with producer Bob Weston of Shellac. The album was recorded in only two days, with the band leaving on Friday after Ryan Pope got out of school and finishing in the early hours of Sunday morning. Two months after recording the album, the band embarked on their first national tour with Braid and Ethel Meserve with the first date of the tour taking place the day after Ryan's high school graduation. It was on that tour that the band met James Dewees, the new drummer for Coalesce while the bands were playing together in Wilkes-Barre, Pennsylvania. After the show, the members of the two bands became close friends, eventually leading them to record a split 7-inch produced by Ed Rose entitled "The Get Up Kids / Coalesce". For the split, each band covered one of the other's songs in their own style. Coalesce did a post-hardcore cover of "Second Place", and The Get Up Kids recorded a power-pop rendition of "Harvest of Maturity". A few months later, the band released their debut full-length record Four Minute Mile, bringing a great deal of attention from critics, fans and labels alike. The band was invited to join Braid on their 1998 tour of Europe and the band rapidly created an overseas fanbase. While the band was receiving rapidly increasing national and international attention, they became unhappy with Doghouse Records' ability to keep up with the increasing popularity of the band. The Get Up Kids' announcement to leave Doghouse Records brought interest from prominent record labels including Sub Pop, Geffen and Mojo Records. The band made a decision to sign to Mojo, but before the contracts were signed, they began to have second thoughts. The main issue was over the label's insistence on owning merchandising rights, a large source of the band's income. Moreover, the band was insulted the label requested they re-record "Don't Hate Me" from Four Minute Mile for their next record, feeling that the label believed it was "the best that [they could] write". Before the deal with Mojo was official, the band met Rich Egan, founder of Los Angeles-based Vagrant Records. He convinced the band to sign to Vagrant instead, offering them $50,000 to record a second album, as well as their own imprint, Heroes & Villains Records. In 1998, James Dewees recorded his first solo album under the pseudonym Reggie and the Full Effect. While Dewees wrote the songs himself, he asked Matt Pryor and Rob Pope to help record some of the instrumentals. The resulting album, Greatest Hits 1984-1987 leaned heavily on the use of synthesizer keyboards for its sound. Their work together on the Reggie and the Full Effect album led Pryor to invite Dewees to collaborate with The Get Up Kids on Red Letter Day, a five-track EP produced by Ed Rose to fulfill their two-record deal with Doghouse. The cleaner, more focused sound of the EP provided the chance to experiment with the inclusion of keyboards and acts as a sonic bridge between the raw sound of Four Minute Mile and the more dynamic, produced style of their next studio album. After the release of Red Letter Day, Dewees became a full-time member as the band began recording their second studio album in Los Angeles in June 1999 with producer Alex Brahl. Before the album went into production, Vagrant Records co-owner John Cohen borrowed money from his parents, who had mortgaged their house in order to fund the production of the album. On September 21, 1999, the band released Something to Write Home About on Vagrant Records. The album's lyrics reflected the record label strife the band had experienced and their distance between friends and family back home after their move to Los Angeles. Something to Write Home About has been singled out as the band's only 'true' emo album, as the album's aesthetic fit more into the contemporary definition of the genre. Furthermore, the album single-handedly turned the struggling Vagrant label into one of the top indie labels in the country, selling over 140,000 copies after its release. Not only did the album make The Get Up Kids the poster children for emo, but it also launched the genre into a public consciousness broader than the scattered local scenes that had previously embraced it. The album gave Vagrant Records the financial backing to grow and sign a string of other bands. At the same time, the addition of keyboards alienated some fans who thought it moved the band away from the contemporary punk scene's DIY ethic. The Get Up Kids toured relentlessly for almost three years in promotion of the record. As well as touring Europe, Japan, and Australia, they shared bills with acts such as Green Day, The Anniversary, Koufax, Hot Rod Circuit, Jebediah, Weezer and Ozma. Their 2000 tour with The Anniversary and Koufax was sponsored by Napster. Their fanbase kept expanding through word of mouth. Venues booked months in advance could no longer hold the demand by the time the band arrived in town and fans were forced to stand outside to see them perform. To capitalize on anticipation for the band's next album, Vagrant Records released a rarities compilation Eudora in 2001. Eudora consisted of alternate takes, covers, and B-sides since the band's formation. Likewise, Doghouse released a re-mastered edition of Four Minute Mile and a compilation entitled The EPs: Woodson and Red Letter Day, combining the two Doghouse-owned EPs on one compact disc. In 2003 the band began recording their fourth studio album. The album would be the first recorded in Black Lodge Studios in Eudora, Kansas, a studio renovated and owned by the Pope brothers and producer Ed Rose. The writing process for the album was different from their past efforts, as most of the songs were written by only three of the band members. In the early stages of writing, Jim Suptic was on his honeymoon. James Dewees was involved in a difficult divorce, and much of his creative efforts inspired by those events went into the fourth Reggie and the Full Effect album Songs Not to Get Married To. While this led to a less collaborative effort than in the past, it gave the Pope brothers a more substantial role in writing than ever before. In an interview with Alternative Press, Pryor confirmed the song "Never Be Alone" was written by Rob Pope about his 2003 divorce from The Anniversary keyboardist Adrianne Verhoeven. This fractured approach to the writing process began to strain relationships in the band, at one point leading Suptic to consider quitting the band. Pryor drew lyrical inspiration from the lives of friends and people he knew, extracting stories of abuse, betrayal and guilt. The album's lyrics also delve into incidents of adultery ("Wouldn't Believe It", "How Long Is Too Long") and the album's first single "The One You Want" is said to be about a woman who Pryor says "Sucks the soul out of people". In March 2004, the band released their fourth studio album Guilt Show, produced by Ed Rose. Sonically, the album combined the more measured, sophisticated sound of On a Wire with the frenetic style of their earlier work. Guilt Show, which was titled after a misreading of a flier saying "Quilt show", was very well received both critically and commercially. The more pop-driven tone of the album reunited the band with many fans who were disenchanted after On a Wire, while also staying close enough to the evolution of the last album to interest newer fans and critics. However, their return was overshadowed by the booming popularity of other contemporary emo bands such as Dashboard Confessional, who invited the band to open for them on the 2004 Honda Civic Tour. CANNOTANSWER

Using a quote from the above article, answer the following question: How was this album taken by the public?

Not only did the album make The Get Up Kids the poster children for emo, but it also launched the genre into a public consciousness