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Bubblegum music

January 13, 2023

Bubblegum (also called bubblegum pop) is pop music in a catchy and upbeat style that is considered disposable, contrived, or marketed for children and adolescents.[13] The term also refers to a rock and pop subgenre,[14] originating in the United States in the late 1960s, that evolved from garage rock, novelty songs, and the Brill Building sound, and which was also defined by its target demographic of preteens and young teenagers. The Archies' 1969 hit "Sugar, Sugar" was a representative example that led to cartoon rock, a short-lived trend of Saturday-morning cartoon series that heavily featured pop rock songs in the bubblegum vein.

Producers Jerry Kasenetz and Jeffry Katz claimed credit for coining "bubblegum", saying that when they discussed their target audience, they decided it was "teenagers, the young kids. And at the time we used to be chewing bubblegum, and my partner and I used to look at it and laugh and say, 'Ah, this is like bubblegum music'."[3] The term was then popularized by their boss, Buddah Records label executive Neil Bogart.

Most bubblegum acts were one-hit wonders (notable exceptions included the Partridge Family and Tommy Roe) and the sound remained a significant commercial force until the early 1970s. Commentators often debate the scope of the genre and have variously argued for the exclusion or inclusion of dance-pop, disco, teen pop, boy bands, and especially the Monkees. During the 1970s, the original bubblegum sound was a formative influence on punk rock, new wave, and melodic metal.

Definitions

Occasionally invoked as a pejorative,[3] the "bubblegum" descriptor has several different applications.[13] The 2001 book Bubblegum Music Is the Naked Truth rules out teen pop or boy bands as inherently bubblegum and defines the term as:

  1. "the classic bubblegum era from 1967–1972"
  2. "disposable pop music"
  3. "pop music contrived and marketed to appeal to pre-teens"
  4. "pop music produced in an assembly-line process, driven by producers and using faceless singers"
  5. "pop music with that intangible, upbeat 'bubblegum' sound."[13]

The artists were typically singles acts, with songs commonly featuring sing-along choruses, seemingly childlike themes and a contrived innocence, occasionally combined with an undercurrent of sexual double entendre.[3] Comparing bubblegum to power pop, Mojo writer Dawn Eden said: "Power pop aims for your heart and your feet. Bubblegum aims for any part of your body it can get, as long as you buy the damn record."[3] Music critic Lester Bangs described the style as "the basic sound of rock 'n' roll – minus the rage, fear, violence and anomie".[15]

There is debate concerning which artists fit the genre, especially for cases such as the Monkees.[3] In the opinion of music historian Bill Pitzonka: "The whole thing that really makes a record bubblegum is just an inherently contrived innocence that somehow transcends that. [...] It has to sound like they mean it."[3] Music critic David Smay argued that disco is merely bubblegum by another name and that since bubblegum is "dance music for pre-teen girls", the genre's scope must therefore include dance-pop and such associated figures as Stock Aitken Waterman and Kylie Minogue, but "Not all dance-pop is aimed at kids and shouldn't be presumed to be disposable anymore than bubblegum."[7]

Precursors

According to music historian Carl Caferelli, "You could conceivably think of virtually every cute novelty hit, from pre-rock ditties like "How Much Is That Doggie In The Window" to transcendent rock-era staples like "Iko Iko," as a legitimate precursor to bubblegum's avowedly ephemeral themes."[3] He went on to list such "important antecedents" as "I'm Henry VIII, I Am" (Herman's Hermits, 1965), "Snoopy Vs. The Red Baron" (Royal Guardsmen, 1966), "Ding, Dong! The Witch is Dead" (The Fifth Estate, 1967), and "Green Tambourine" (Lemon Pipers, 1967).[3]

Original commercial peak (1968–1972)

"American bubblegum pop was often like garage rock's bouncy little brother: lacking the moodiness and sex appeal, but you could see the shared DNA. British bubblegum was born out of the same talent glut of session musicians and songwriters and shared a sweet tooth, but it was quite different in approach, owing rock almost nothing and rarely placing much of a premium on kid energy."

—Tom Ewing, Freaky Trigger[5]

Bubblegum is generally traced to the success of the 1968 songs "Simon Says" by the 1910 Fruitgum Company and "Yummy Yummy Yummy" by the Ohio Express.[3] Producers Jerry Kasenetz and Jeffry Katz have claimed credit for coining "bubblegum" for this music, saying that when they discussed their target audience, they decided it was "teenagers, the young kids. And at the time we used to be chewing bubblegum, and my partner and I used to look at it and laugh and say, 'Ah, this is like bubblegum music'."[3] The term was seized upon by Buddah Records label executive Neil Bogart, as Pitzonka added: "Kasenetz and Katz really crystallized [the scene] when they came up with the term themselves and that nice little analogy. And Neil Bogart, being the marketing person he was, just crammed it down the throats of people. That's really the point at which bubblegum took off."[3]

The Archies' "Sugar, Sugar" became the best-selling hit of 1969 and inspired a wave of artists to adopt the bubblegum style.[15] The song's success led to "cartoon rock", a short-lived trend of Saturday morning cartoon series that heavily featured pop-rock songs in the bubblegum vein. However, none of these songs had showings on the pop charts when released as singles, except for a record early in the year, The Banana Splits theme song "The Tra La La Song (One Banana, Two Banana)", which managed a number 96 peak on the Billboard Top 100.[3]

Robin Carmody of Freaky Trigger writes that British bubblegum from 1968-1972 was distinct from the "more worldly and sophisticated American equivalent" by being "simplistic, childish, over-excited, innocent, full of absolute certainties and safe knowledges", while noting that it "essentially bridged the gap between the poppier end of the mid-60s beat boom and glam rock".[6]

1970s hits and influence

Most bubblegum acts were one hit wonders (notable exceptions included the Partridge Family and Tommy Roe) and the genre remained a significant commercial force until the early 1970s.[16] Bubblegum failed to maintain its chart presence after the early 1970s due in part to changing trends in the industry. Producers such as Kasenetz and Katz subsequently pursued different musical avenues.[3] Writing in Bubblegum Music Is the Naked Truth, Chuck Eddy offered that bubblegum evolved to be "more an attitude than a genre" during the 1970s.[17] In the UK, bubblegum caught on in the early 1970s and fell out of popular favor by the end of the decade.[15] In 2010, author and musician Bob Stanley summarized:

While some more confrontational music would become popular with kids – some of the more colourful rave anthems, for example – kids' music became synonymous with novelty tie-ins like Bob the Builder and Mr Blobby until the explosion in kids' music, fuelled by the cross-promotional opportunities offered by the multiplicity of kids' TV channels, led by the Wiggles and the Disney stable.[15]

Many musicians who grew up with the genre later incorporated bubblegum influences in their work.[16] Although it is rarely acknowledged by music critics, who typically dismissed the genre, bubblegum's simple song structures, upbeat tempos, and catchy hooks were carried into punk rock.[18] The Ramones were the most prominent of the bubblegum-influenced punk bands, adopting cartoon personae and later covering two bubblegum standards "Little Bit O' Soul" and "Indian Giver".[15] Pitzonka stated of bubblegum's legacy:

Bubblegum really did lay a deeper foundation than anybody's willing to give it credit for. Yes, it is responsible for Take That and New Kids On The Block, but it's also responsible for The Ramones. A lot of the melodic metal comes out of that too. Bubblegum was based in melody; it was all about the song. It was all about getting the message across in two and a half minutes. [...] And it was the perfect antidote to everything that was going on [in the late 1960s].[3]

Bubblegum dance

The term "bubblegum dance" has sometimes been used to describe music that has characteristics of bubblegum pop and dance music, especially dance-pop. The 1971 Osmonds song "One Bad Apple" is an early example.[19][verification needed] Bubblegum dance also can refer to a Eurodance subgenre that emerged in the mid-90s.[20][better source needed]

See also

References

  1. ^ a b Clarke, Donald (1990). The Penguin Encyclopedia of Popular Music. Penguin Books. p. 173. ISBN 978-0-14-051147-5. from the original on 2021-05-01. Retrieved 2020-05-27.
  2. ^ a b Perone, James E. (2018). Listen to Pop! Exploring a Musical Genre. ABC-CLIO. p. 56. ISBN 978-1-4408-6377-6. from the original on 2021-04-15. Retrieved 2020-05-27.
  3. ^ a b c d e f g h i j k l m n o p Cafarelli, Carl (April 25, 1997). "An Informal History of Bubblegum Music". Goldmine #437. pp. 16–76. from the original on May 15, 2020. Retrieved May 31, 2020.
  4. ^ a b Cooper & Smay 2001, p. 3.
  5. ^ a b Ewing, Tom (September 27, 2006). "Edison Lighthouse - "Love Grows Where My Rosemary Goes"". Freaky Trigger. Retrieved November 20, 2022.
  6. ^ a b c Carmody, Robin (January 1, 2002). "The Cottage Industry of Moments". Freaky Trigger. p. 1. Retrieved November 20, 2022.
  7. ^ a b c Cooper & Smay 2001, p. 271.
  8. ^ "Glam Rock". AllMusic. from the original on 2021-01-09. Retrieved 2020-05-31.
  9. ^ Cooper & Smay 2001, p. 248.
  10. ^ Cooper & Smay 2001, p. 246.
  11. ^ "Twee Pop". AllMusic. from the original on 2017-03-25. Retrieved 2020-05-31.
  12. ^ Yalcinkaya, Gunseli (17 March 2021). "Hyperpop is the new sound for a post-pandemic world". Dazed. from the original on 15 April 2021. Retrieved 17 April 2021.
  13. ^ a b c Cooper & Smay 2001, p. 1.
  14. ^ Bubblegum pop music guide
  15. ^ a b c d e Stanley, Bob (December 2, 2010). "Bubblegum pop: all the young dudes". The Guardian. from the original on October 31, 2020. Retrieved May 27, 2020.
  16. ^ a b n.a. (n.d.). "Pop/Rock » Pop/Rock » Bubblegum". AllMusic. from the original on September 21, 2020. Retrieved May 27, 2020.
  17. ^ Cooper & Smay 2001, p. 252.
  18. ^ Cooper & Smay 2001, pp. 27, 165, 246.
  19. ^ Warner, Jay (2000). The Da Capo Book Of American Singing Groups. Da Capo Press. p. 501. ISBN 978-0306809231.
  20. ^ "Evolution of Eurodance – Recording Arts Canada". 28 January 2020.

Sources

External links

  • Billboard Kid Albums

January 13, 2023
bubblegum, music, bubblegum, also, called, bubblegum, music, catchy, upbeat, style, that, considered, disposable, contrived, marketed, children, adolescents, term, also, refers, rock, subgenre, originating, united, states, late, 1960s, that, evolved, from, gar. Bubblegum also called bubblegum pop is pop music in a catchy and upbeat style that is considered disposable contrived or marketed for children and adolescents 13 The term also refers to a rock and pop subgenre 14 originating in the United States in the late 1960s that evolved from garage rock novelty songs and the Brill Building sound and which was also defined by its target demographic of preteens and young teenagers The Archies 1969 hit Sugar Sugar was a representative example that led to cartoon rock a short lived trend of Saturday morning cartoon series that heavily featured pop rock songs in the bubblegum vein BubblegumOther namesBubblegum popStylistic originsPop 1 rock 2 novelty songs 2 3 garage rock 4 5 Brill Building 4 beat music 6 Cultural originsLate 1960s United States 1 Derivative formsDance pop 7 disco 7 glam rock 8 6 melodic metal 3 new wave 9 punk rock 10 twee pop 11 hyperpop 12 Other topicsBoy bands power pop Teen popProducers Jerry Kasenetz and Jeffry Katz claimed credit for coining bubblegum saying that when they discussed their target audience they decided it was teenagers the young kids And at the time we used to be chewing bubblegum and my partner and I used to look at it and laugh and say Ah this is like bubblegum music 3 The term was then popularized by their boss Buddah Records label executive Neil Bogart Most bubblegum acts were one hit wonders notable exceptions included the Partridge Family and Tommy Roe and the sound remained a significant commercial force until the early 1970s Commentators often debate the scope of the genre and have variously argued for the exclusion or inclusion of dance pop disco teen pop boy bands and especially the Monkees During the 1970s the original bubblegum sound was a formative influence on punk rock new wave and melodic metal Contents 1 Definitions 2 Precursors 3 Original commercial peak 1968 1972 4 1970s hits and influence 5 Bubblegum dance 6 See also 7 References 8 Sources 9 External linksDefinitions EditOccasionally invoked as a pejorative 3 the bubblegum descriptor has several different applications 13 The 2001 book Bubblegum Music Is the Naked Truth rules out teen pop or boy bands as inherently bubblegum and defines the term as the classic bubblegum era from 1967 1972 disposable pop music pop music contrived and marketed to appeal to pre teens pop music produced in an assembly line process driven by producers and using faceless singers pop music with that intangible upbeat bubblegum sound 13 The artists were typically singles acts with songs commonly featuring sing along choruses seemingly childlike themes and a contrived innocence occasionally combined with an undercurrent of sexual double entendre 3 Comparing bubblegum to power pop Mojo writer Dawn Eden said Power pop aims for your heart and your feet Bubblegum aims for any part of your body it can get as long as you buy the damn record 3 Music critic Lester Bangs described the style as the basic sound of rock n roll minus the rage fear violence and anomie 15 There is debate concerning which artists fit the genre especially for cases such as the Monkees 3 In the opinion of music historian Bill Pitzonka The whole thing that really makes a record bubblegum is just an inherently contrived innocence that somehow transcends that It has to sound like they mean it 3 Music critic David Smay argued that disco is merely bubblegum by another name and that since bubblegum is dance music for pre teen girls the genre s scope must therefore include dance pop and such associated figures as Stock Aitken Waterman and Kylie Minogue but Not all dance pop is aimed at kids and shouldn t be presumed to be disposable anymore than bubblegum 7 Precursors EditAccording to music historian Carl Caferelli You could conceivably think of virtually every cute novelty hit from pre rock ditties like How Much Is That Doggie In The Window to transcendent rock era staples like Iko Iko as a legitimate precursor to bubblegum s avowedly ephemeral themes 3 He went on to list such important antecedents as I m Henry VIII I Am Herman s Hermits 1965 Snoopy Vs The Red Baron Royal Guardsmen 1966 Ding Dong The Witch is Dead The Fifth Estate 1967 and Green Tambourine Lemon Pipers 1967 3 Original commercial peak 1968 1972 Edit American bubblegum pop was often like garage rock s bouncy little brother lacking the moodiness and sex appeal but you could see the shared DNA British bubblegum was born out of the same talent glut of session musicians and songwriters and shared a sweet tooth but it was quite different in approach owing rock almost nothing and rarely placing much of a premium on kid energy Tom Ewing Freaky Trigger 5 Bubblegum is generally traced to the success of the 1968 songs Simon Says by the 1910 Fruitgum Company and Yummy Yummy Yummy by the Ohio Express 3 Producers Jerry Kasenetz and Jeffry Katz have claimed credit for coining bubblegum for this music saying that when they discussed their target audience they decided it was teenagers the young kids And at the time we used to be chewing bubblegum and my partner and I used to look at it and laugh and say Ah this is like bubblegum music 3 The term was seized upon by Buddah Records label executive Neil Bogart as Pitzonka added Kasenetz and Katz really crystallized the scene when they came up with the term themselves and that nice little analogy And Neil Bogart being the marketing person he was just crammed it down the throats of people That s really the point at which bubblegum took off 3 The Archies Sugar Sugar became the best selling hit of 1969 and inspired a wave of artists to adopt the bubblegum style 15 The song s success led to cartoon rock a short lived trend of Saturday morning cartoon series that heavily featured pop rock songs in the bubblegum vein However none of these songs had showings on the pop charts when released as singles except for a record early in the year The Banana Splits theme song The Tra La La Song One Banana Two Banana which managed a number 96 peak on the Billboard Top 100 3 Robin Carmody of Freaky Trigger writes that British bubblegum from 1968 1972 was distinct from the more worldly and sophisticated American equivalent by being simplistic childish over excited innocent full of absolute certainties and safe knowledges while noting that it essentially bridged the gap between the poppier end of the mid 60s beat boom and glam rock 6 1970s hits and influence EditMost bubblegum acts were one hit wonders notable exceptions included the Partridge Family and Tommy Roe and the genre remained a significant commercial force until the early 1970s 16 Bubblegum failed to maintain its chart presence after the early 1970s due in part to changing trends in the industry Producers such as Kasenetz and Katz subsequently pursued different musical avenues 3 Writing in Bubblegum Music Is the Naked Truth Chuck Eddy offered that bubblegum evolved to be more an attitude than a genre during the 1970s 17 In the UK bubblegum caught on in the early 1970s and fell out of popular favor by the end of the decade 15 In 2010 author and musician Bob Stanley summarized While some more confrontational music would become popular with kids some of the more colourful rave anthems for example kids music became synonymous with novelty tie ins like Bob the Builder and Mr Blobby until the explosion in kids music fuelled by the cross promotional opportunities offered by the multiplicity of kids TV channels led by the Wiggles and the Disney stable 15 Many musicians who grew up with the genre later incorporated bubblegum influences in their work 16 Although it is rarely acknowledged by music critics who typically dismissed the genre bubblegum s simple song structures upbeat tempos and catchy hooks were carried into punk rock 18 The Ramones were the most prominent of the bubblegum influenced punk bands adopting cartoon personae and later covering two bubblegum standards Little Bit O Soul and Indian Giver 15 Pitzonka stated of bubblegum s legacy Bubblegum really did lay a deeper foundation than anybody s willing to give it credit for Yes it is responsible for Take That and New Kids On The Block but it s also responsible for The Ramones A lot of the melodic metal comes out of that too Bubblegum was based in melody it was all about the song It was all about getting the message across in two and a half minutes And it was the perfect antidote to everything that was going on in the late 1960s 3 Bubblegum dance EditThe term bubblegum dance has sometimes been used to describe music that has characteristics of bubblegum pop and dance music especially dance pop The 1971 Osmonds song One Bad Apple is an early example 19 verification needed Bubblegum dance also can refer to a Eurodance subgenre that emerged in the mid 90s 20 better source needed See also EditRockism and poptimism Buddah Records K pop Ye ye 1960s in music Cameo Parkway Records Pop rock Psychedelic pop Sunshine pop J popReferences Edit a b Clarke Donald 1990 The Penguin Encyclopedia of Popular Music Penguin Books p 173 ISBN 978 0 14 051147 5 Archived from the original on 2021 05 01 Retrieved 2020 05 27 a b Perone James E 2018 Listen to Pop Exploring a Musical Genre ABC CLIO p 56 ISBN 978 1 4408 6377 6 Archived from the original on 2021 04 15 Retrieved 2020 05 27 a b c d e f g h i j k l m n o p Cafarelli Carl April 25 1997 An Informal History of Bubblegum Music Goldmine 437 pp 16 76 Archived from the original on May 15 2020 Retrieved May 31 2020 a b Cooper amp Smay 2001 p 3 a b Ewing Tom September 27 2006 Edison Lighthouse Love Grows Where My Rosemary Goes Freaky Trigger Retrieved November 20 2022 a b c Carmody Robin January 1 2002 The Cottage Industry of Moments Freaky Trigger p 1 Retrieved November 20 2022 a b c Cooper amp Smay 2001 p 271 Glam Rock AllMusic Archived from the original on 2021 01 09 Retrieved 2020 05 31 Cooper amp Smay 2001 p 248 Cooper amp Smay 2001 p 246 Twee Pop AllMusic Archived from the original on 2017 03 25 Retrieved 2020 05 31 Yalcinkaya Gunseli 17 March 2021 Hyperpop is the new sound for a post pandemic world Dazed Archived from the original on 15 April 2021 Retrieved 17 April 2021 a b c Cooper amp Smay 2001 p 1 Bubblegum pop music guide a b c d e Stanley Bob December 2 2010 Bubblegum pop all the young dudes The Guardian Archived from the original on October 31 2020 Retrieved May 27 2020 a b n a n d Pop Rock Pop Rock Bubblegum AllMusic Archived from the original on September 21 2020 Retrieved May 27 2020 Cooper amp Smay 2001 p 252 Cooper amp Smay 2001 pp 27 165 246 Warner Jay 2000 The Da Capo Book Of American Singing Groups Da Capo Press p 501 ISBN 978 0306809231 Evolution of Eurodance Recording Arts Canada 28 January 2020 Sources EditCooper Kim Smay David eds 2001 Bubblegum Music is the Naked Truth Feral House ISBN 978 0 922915 69 9 External links EditBillboard Kid Albums Retrieved from https en wikipedia org w index php title Bubblegum music amp oldid 1132295590, wikipedia, wiki, book, books, library,

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