#REDIRECT Bubblegum_pop
#REDIRECT Talk:Bubblegum_pop
Bubblegum pop (bubblegum rock, bubblegum music) is a genre of popular music and rock and roll. The defining characteristics of bubblegum music include catchy or hummable melodies, simplistic three-chord structures, repetitive riffs or "hooks", and lightweight lyrics, deceptively simple at best or even only one step removed from nursery rhymes. ==Pre-History== As far as music production goes, bubblegum could not have existed without rock and roll, and the American musical forms that preceded and accompanied it, such as rhythm and blues and doo-wop. But bubblegum rock also found some part of its roots in pre-rock novelty songs such as "Abba Dabba Honeymoon" and "The Hut Sut Song," which hit the charts in the late 1940s and hipster foolishness like Slim Gaillard's "Cement Mixer (Puti Puti)". Seminal rock and roll numbers, like Little Richard's "Tutti Frutti", with its nonsense rhyming couplets (replacing the original vulgar lyrics), also placed their stamp on what would come later; the combination of R&B, Garage band rock, novelty songs and nursery rhymes that later surfaced in the Post-The Beatles era in songs like "Wooly Bully" by Sam the Sham & the Pharaohs 1964) with a hard-driving Tex-Mex beat and nonsensical lyrics. In spite of the criticism of being devoid of artistic merit, bubblegum music continued to thrive, generally only for brief periods, selling records primarily to young, often pre-teen audiences who were not yet desirous of the more thoughtful music from artists like Bob Dylan and, later in their career, the Beatles. ==1960s and 1970s== The first wave of pure bubblegum came with Jerry Kasenetz and Jeff Katz, music producers who formed a production company (Super K Productions) and gave the world "A Little Bit of Soul" by The Music Explosion in 1966. However, this was more on the R&B garage band tip, and missing the element of nursery rhyme/nonsense lyrics. About a year later they released "Yummy Yummy Yummy" by The Ohio Express. With its double entendre in the title and its peppy delivery, the song was a smash hit. The Ohio Express was a real, touring garage band in the midwest, under contract to K&K; their hit singles were recorded by session musicians fronted by singer-songwriter Joey Levine, whose distinctive nasal whine the band members had to learn to copy for live performances. Other hits from Kasenetz and Katz followed, including "Indian Giver" and "Simon Says" by the 1910 Fruitgum Company, "Green Tambourine" by The Lemon Pipers and such one-offs as "Quick Joey Small" by The Kasenetz-Katz Singing Orchestral Circus (another front for the same batch of Levine-fronted studio players). Others joined in, notably Don Kirshner and Jeff Barry with the Archies, whose "Sugar Sugar" was the best selling single of 1969, and was voiced by Ron Dante. Many critics describe the Monkees as bubblegum, others claim that they did not do any pure bubblegum until 1970's "Half-Monkees" LP ''Changes'', which was produced by Jeff Barry. Nonetheless, the Monkees always played light and cheerful rock and roll. The first era of bubblegum carried on for a few more years, as LPs were released by the Partridge Family, the Osmonds, the Jackson 5, the Brady Bunch, the Banana Splits and Josie and the Pussycats (music). Many of the acts of the first Glam Rock era, approximately 1971-1975, had bubblegum influences. These included Gary Glitter, T. Rex, The Sweet and Mud. These were British acts and had great success in the UK, Asia and Europe, charting many singles. British Glam Rock acts of this sort did not do too well in the USA, where the Glam Rock acts that attained the most success were those that were more serious in approach, such as David Bowie and Roxy Music. The last big act of the 1970s that had obvious bubblegum elements was the Bay City Rollers, who stopped having hits as the decade neared its end. The history and theory of bubblegum pop is discussed at length in the 2001 book [http://www.bubblegum-music.com Bubblegum Music is the Naked Truth]. ===The Ramones split the difference=== In the late 1970s, the Ramones began releasing punk music records. The band members actually referred to themselves as a "nouveau bubblegum band with teeth". Their songs were all simple, three-chord riffs with catchy choruses that occasionally made little sense (such as "Gabba Gabba Hey") and appeared on their album covers in cartoon form. Their name itself comes from Paul McCartney's alias, which he used to check into hotels anonymously during the height of the Beatles' popularity. Like the Osmonds or the Partridge Family, the band members all used the same last name, "Ramone" -- Joey Ramone (nee Jeff Hyman) even took his first name from Joey Levine, the singer of "Yummy Yummy Yummy". In spite of the similarities to many bubblegum acts, many critics do not classify the Ramones as a true bubblegum band for several reasons. Primarily, the Ramones were the brains behind their act, and not subject to the whims of a svengali-producer. The band had a longer career than any bubblegum group before or since. The Ramones' music was critically accepted and the group's fans were dissimilar from the classic bubblegum fan, a pre-adolescent experiencing the thrill of his or her first pocketfull of allowance money; they were working class adults and disaffected teens that constituted a prime social force of the late 1970s and beyond. Though the band covered "Indian Giver", a massive bubblegum hit, at one point, many critics would still not classify even that song as bubblegum because the purpose of such punk covers (many punk bands cover pop hits) is to deconstruct the original. It is meant to be an irreverent juxtaposition of pop and hardcore not-pop, and thus is not considered a bubblegum song. ==1980s== The 1980s saw few bubblegum acts in the US. In Britain in the late 1980s, the charts were dominated by Stock Aitken Waterman produced acts such as Kylie Minogue. In the US however there were some, like Teena Marie, New Edition and New Kids on the Block. Glam metal was the most popular genre of music at the time, and some of the bands, such as Poison (band) were less serious than most of the major hitmakers. In Latin America, bubblegum acts such as Menudo, Los Chicos, Las Cheris and Los Chamos became legendary groups. In 1985, Magneto (band), a group that would gain fame in the 1990s, was formed in Mexico. ==1990s== In the early 1990s, bubblegum remained scarce as first grunge music and then gangsta rap dominated the charts. In the later 1990s, however, bubblegum came back into vogue with the sudden explosion of popularity for British pop group the Spice Girls, followed by a series of boy bands like Backstreet Boys, *NSYNC, 98 Degrees, Boyzone & O-Town. Soon after the boy bands came a series of female bubblegum performers, including Britney Spears, Christina Aguilera, Mandy Moore & Jessica Simpson. In addition, several of the Latin American bubblegum groups attempted comebacks in the late 1990s, with Menudo's El Reencuentro being the most successful comeback among them. ---- : ''"Bubblegum (Mark Lanegan)" also is a record by Mark Lanegan.'' Pop music
I'm not knowledgeable enough about this subject to be able to integrate much more into this article, but there are a couple things that I think might be worth adding: * The Lemon Pipers. They were an example of a band that wanted to record psychedelic music, but they had no artistic control over their recordings and were more or less forced to record bubblegum music. * The discussion about the Ramones is interesting, and I seem to recall that some of the New Wave bands like the Cars and the Talking Heads were also influenced by 60s bubblegum. Who knows for sure? -- User:soulpatch The original article was utterly and ridiculously POV (and a rather small minority one at that, at least within critical circles), describing gangsta rap and grunge as a blight, implying that the entire New Wave genre was little more than colorful clothes and wacky hair, describing the Clash as party-poopers. Most contentious was the idea that the Ramones are a bubblegum band--I can see how someone who doesn't particularly understand punk music, deconstructionism and modern art might make that claim, but seriously... The Cars and the Talking Heads, and the Beatles and David Bowie and Depeche Mode and plenty of other acts are ''influenced'' by bubblegum, but that is a far cry from ''being'' bubblegum. Taking that to the logical extreme, Marilyn Manson plays the blues and Tupak sang doo-wop. Anyway, I know you didn't write the original, soulpatch, I'm not trying to blame you or anything. I'm just venting because it seriously irked me. I've never heard of the Lemon Pipes, but that situation is not unique. If I remember correctly, Tiffany (singer) was the same way and plenty of bands were pushed towards the mainstream by their record company, if not into outright bubblegum. Both of your comments could make an excellent addition to the article, though I'm not sure the Ramones bit applies to many bands besides the Ramones (maybe some of the later American hardcore punk). In any case, an in depth discussion of where bubblegum comes from, who makes it and who listens to it would be very interesting. User:Tokerboy 04:08 Nov 24, 2002 (UTC) :: The Lemon Pipers had one big hit, "Green Tambourine". They had a minor followup hit with "Rice is Nice". User:soulpatch :: Check out these liner notes on the Lemon Pipers that I found from Google: scroll down about halfway the page. http://www.scrammagazine.com/linernotes.html User:soulpatch :::Interesting--I think I have heard "Green Tambourine". The name sounds vaguely familiar. The liner notes are pretty interesting -- a "cohesive bubblegum album" -- time to see if I can download some. User:Tokerboy 04:37 Nov 24, 2002 (UTC) * The Talking Heads certainly were, especially by the band The 1910 Fruitgum Company. Compare "1, 2, 3, Red Light" to anything from Talking Heads: 77. You will understand what I am talking about. As for the Cars, I can't hear that influence in their music, although it might be there amongst the Velvet Underground and Suicide (band)-inspired music. -- User:Two halves ** 1960s "Bubblegum" was based on some of the British Invasion acts like The Dave Clark Five and, especially, The Troggs, whose records served as a blueprint for Kasenatz-Katz. Also, some UK glam rock like Gary Glitter and the early songs of Sweet (band), such as "Funny Funny", qualify as bubblegum, and are the missing link between The Ohio Express and The Ramones. ---- I removed: :Its original target audience has often been identified as the Baby Busters born roughly between the launch of Sputnik and the Apollo 11 moon landing, who would go on to embrace disco and, after that new wave music, in the late 1970s and 1980s. Because I'm not sure what the point of it is. The article already explains the target age demographic of bubblegum, and I have no idea what "original" means here... User:TUF-KAT 17:14, Feb 15, 2004 (UTC) ---- What is that "famous quote about pornography" (User:Nomeata 02:02, 28 Aug 2004 (UTC)) Anyone want to talk about the bubblegum pop present in The Misfit's singalong choruses? I think that would serve as an interestingly dark-yet-poppy counterpoint to the happy pop-punk of the Ramones. --- What's a "svengali-producer" and where does the term come from?--User:Theloniouszen 19:47, Apr 5, 2005 (UTC) It means a controlling producer who is the main creator of the record. In a pop-rock context it was first applied to Phil Spector. I would not consider Spector's records in his early to mid 1960s heyday to be bubblegum, even though some of them have bubblegum elements ( Bob B. Soxx and the Blue Jeans, and The Crystals' "Da Doo Ron Ron" would come to mind. ) Such elements were quite normal in pop music in the first half of the sixties, and they are merely a stylistic convention. Perhaps the article should mention how much early 1960s pop-rock did predate bubblegum, and how bubblegum in some ways was a return to the pre-Beatles status quo. Or how much of Elvis Presley's mid-1960s output - agreed universally upon as his creative nadir - would fall into the bubblegum category. Or how some British Invasion acts like Herman's Hermits and Freddie and the Dreamers were for all practical purposes bubblegum acts even though they preceded Kasenatz-Katz and the Monkees. Etc. etc. etc.
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Words begining with Bubblegum_Pop:
Bubblegum_Pop
Bubblegum_Pop
Bubblegum_pop
Bubblegum_pop
Bubblegum_Pop/Bubblegum_Rock
Bubblegum Pop
#REDIRECT Bubblegum_pop
Bubblegum Pop
#REDIRECT Talk:Bubblegum_pop
Bubblegum pop
Bubblegum pop (bubblegum rock, bubblegum music) is a genre of popular music and rock and roll. The defining characteristics of bubblegum music include catchy or hummable melodies, simplistic three-chord structures, repetitive riffs or "hooks", and lightweight lyrics, deceptively simple at best or even only one step removed from nursery rhymes. ==Pre-History== As far as music production goes, bubblegum could not have existed without rock and roll, and the American musical forms that preceded and accompanied it, such as rhythm and blues and doo-wop. But bubblegum rock also found some part of its roots in pre-rock novelty songs such as "Abba Dabba Honeymoon" and "The Hut Sut Song," which hit the charts in the late 1940s and hipster foolishness like Slim Gaillard's "Cement Mixer (Puti Puti)". Seminal rock and roll numbers, like Little Richard's "Tutti Frutti", with its nonsense rhyming couplets (replacing the original vulgar lyrics), also placed their stamp on what would come later; the combination of R&B, Garage band rock, novelty songs and nursery rhymes that later surfaced in the Post-The Beatles era in songs like "Wooly Bully" by Sam the Sham & the Pharaohs 1964) with a hard-driving Tex-Mex beat and nonsensical lyrics. In spite of the criticism of being devoid of artistic merit, bubblegum music continued to thrive, generally only for brief periods, selling records primarily to young, often pre-teen audiences who were not yet desirous of the more thoughtful music from artists like Bob Dylan and, later in their career, the Beatles. ==1960s and 1970s== The first wave of pure bubblegum came with Jerry Kasenetz and Jeff Katz, music producers who formed a production company (Super K Productions) and gave the world "A Little Bit of Soul" by The Music Explosion in 1966. However, this was more on the R&B garage band tip, and missing the element of nursery rhyme/nonsense lyrics. About a year later they released "Yummy Yummy Yummy" by The Ohio Express. With its double entendre in the title and its peppy delivery, the song was a smash hit. The Ohio Express was a real, touring garage band in the midwest, under contract to K&K; their hit singles were recorded by session musicians fronted by singer-songwriter Joey Levine, whose distinctive nasal whine the band members had to learn to copy for live performances. Other hits from Kasenetz and Katz followed, including "Indian Giver" and "Simon Says" by the 1910 Fruitgum Company, "Green Tambourine" by The Lemon Pipers and such one-offs as "Quick Joey Small" by The Kasenetz-Katz Singing Orchestral Circus (another front for the same batch of Levine-fronted studio players). Others joined in, notably Don Kirshner and Jeff Barry with the Archies, whose "Sugar Sugar" was the best selling single of 1969, and was voiced by Ron Dante. Many critics describe the Monkees as bubblegum, others claim that they did not do any pure bubblegum until 1970's "Half-Monkees" LP ''Changes'', which was produced by Jeff Barry. Nonetheless, the Monkees always played light and cheerful rock and roll. The first era of bubblegum carried on for a few more years, as LPs were released by the Partridge Family, the Osmonds, the Jackson 5, the Brady Bunch, the Banana Splits and Josie and the Pussycats (music). Many of the acts of the first Glam Rock era, approximately 1971-1975, had bubblegum influences. These included Gary Glitter, T. Rex, The Sweet and Mud. These were British acts and had great success in the UK, Asia and Europe, charting many singles. British Glam Rock acts of this sort did not do too well in the USA, where the Glam Rock acts that attained the most success were those that were more serious in approach, such as David Bowie and Roxy Music. The last big act of the 1970s that had obvious bubblegum elements was the Bay City Rollers, who stopped having hits as the decade neared its end. The history and theory of bubblegum pop is discussed at length in the 2001 book [http://www.bubblegum-music.com Bubblegum Music is the Naked Truth]. ===The Ramones split the difference=== In the late 1970s, the Ramones began releasing punk music records. The band members actually referred to themselves as a "nouveau bubblegum band with teeth". Their songs were all simple, three-chord riffs with catchy choruses that occasionally made little sense (such as "Gabba Gabba Hey") and appeared on their album covers in cartoon form. Their name itself comes from Paul McCartney's alias, which he used to check into hotels anonymously during the height of the Beatles' popularity. Like the Osmonds or the Partridge Family, the band members all used the same last name, "Ramone" -- Joey Ramone (nee Jeff Hyman) even took his first name from Joey Levine, the singer of "Yummy Yummy Yummy". In spite of the similarities to many bubblegum acts, many critics do not classify the Ramones as a true bubblegum band for several reasons. Primarily, the Ramones were the brains behind their act, and not subject to the whims of a svengali-producer. The band had a longer career than any bubblegum group before or since. The Ramones' music was critically accepted and the group's fans were dissimilar from the classic bubblegum fan, a pre-adolescent experiencing the thrill of his or her first pocketfull of allowance money; they were working class adults and disaffected teens that constituted a prime social force of the late 1970s and beyond. Though the band covered "Indian Giver", a massive bubblegum hit, at one point, many critics would still not classify even that song as bubblegum because the purpose of such punk covers (many punk bands cover pop hits) is to deconstruct the original. It is meant to be an irreverent juxtaposition of pop and hardcore not-pop, and thus is not considered a bubblegum song. ==1980s== The 1980s saw few bubblegum acts in the US. In Britain in the late 1980s, the charts were dominated by Stock Aitken Waterman produced acts such as Kylie Minogue. In the US however there were some, like Teena Marie, New Edition and New Kids on the Block. Glam metal was the most popular genre of music at the time, and some of the bands, such as Poison (band) were less serious than most of the major hitmakers. In Latin America, bubblegum acts such as Menudo, Los Chicos, Las Cheris and Los Chamos became legendary groups. In 1985, Magneto (band), a group that would gain fame in the 1990s, was formed in Mexico. ==1990s== In the early 1990s, bubblegum remained scarce as first grunge music and then gangsta rap dominated the charts. In the later 1990s, however, bubblegum came back into vogue with the sudden explosion of popularity for British pop group the Spice Girls, followed by a series of boy bands like Backstreet Boys, *NSYNC, 98 Degrees, Boyzone & O-Town. Soon after the boy bands came a series of female bubblegum performers, including Britney Spears, Christina Aguilera, Mandy Moore & Jessica Simpson. In addition, several of the Latin American bubblegum groups attempted comebacks in the late 1990s, with Menudo's El Reencuentro being the most successful comeback among them. ---- : ''"Bubblegum (Mark Lanegan)" also is a record by Mark Lanegan.'' Pop music
Bubblegum pop
I'm not knowledgeable enough about this subject to be able to integrate much more into this article, but there are a couple things that I think might be worth adding: * The Lemon Pipers. They were an example of a band that wanted to record psychedelic music, but they had no artistic control over their recordings and were more or less forced to record bubblegum music. * The discussion about the Ramones is interesting, and I seem to recall that some of the New Wave bands like the Cars and the Talking Heads were also influenced by 60s bubblegum. Who knows for sure? -- User:soulpatch The original article was utterly and ridiculously POV (and a rather small minority one at that, at least within critical circles), describing gangsta rap and grunge as a blight, implying that the entire New Wave genre was little more than colorful clothes and wacky hair, describing the Clash as party-poopers. Most contentious was the idea that the Ramones are a bubblegum band--I can see how someone who doesn't particularly understand punk music, deconstructionism and modern art might make that claim, but seriously... The Cars and the Talking Heads, and the Beatles and David Bowie and Depeche Mode and plenty of other acts are ''influenced'' by bubblegum, but that is a far cry from ''being'' bubblegum. Taking that to the logical extreme, Marilyn Manson plays the blues and Tupak sang doo-wop. Anyway, I know you didn't write the original, soulpatch, I'm not trying to blame you or anything. I'm just venting because it seriously irked me. I've never heard of the Lemon Pipes, but that situation is not unique. If I remember correctly, Tiffany (singer) was the same way and plenty of bands were pushed towards the mainstream by their record company, if not into outright bubblegum. Both of your comments could make an excellent addition to the article, though I'm not sure the Ramones bit applies to many bands besides the Ramones (maybe some of the later American hardcore punk). In any case, an in depth discussion of where bubblegum comes from, who makes it and who listens to it would be very interesting. User:Tokerboy 04:08 Nov 24, 2002 (UTC) :: The Lemon Pipers had one big hit, "Green Tambourine". They had a minor followup hit with "Rice is Nice". User:soulpatch :: Check out these liner notes on the Lemon Pipers that I found from Google: scroll down about halfway the page. http://www.scrammagazine.com/linernotes.html User:soulpatch :::Interesting--I think I have heard "Green Tambourine". The name sounds vaguely familiar. The liner notes are pretty interesting -- a "cohesive bubblegum album" -- time to see if I can download some. User:Tokerboy 04:37 Nov 24, 2002 (UTC) * The Talking Heads certainly were, especially by the band The 1910 Fruitgum Company. Compare "1, 2, 3, Red Light" to anything from Talking Heads: 77. You will understand what I am talking about. As for the Cars, I can't hear that influence in their music, although it might be there amongst the Velvet Underground and Suicide (band)-inspired music. -- User:Two halves ** 1960s "Bubblegum" was based on some of the British Invasion acts like The Dave Clark Five and, especially, The Troggs, whose records served as a blueprint for Kasenatz-Katz. Also, some UK glam rock like Gary Glitter and the early songs of Sweet (band), such as "Funny Funny", qualify as bubblegum, and are the missing link between The Ohio Express and The Ramones. ---- I removed: :Its original target audience has often been identified as the Baby Busters born roughly between the launch of Sputnik and the Apollo 11 moon landing, who would go on to embrace disco and, after that new wave music, in the late 1970s and 1980s. Because I'm not sure what the point of it is. The article already explains the target age demographic of bubblegum, and I have no idea what "original" means here... User:TUF-KAT 17:14, Feb 15, 2004 (UTC) ---- What is that "famous quote about pornography" (User:Nomeata 02:02, 28 Aug 2004 (UTC)) Anyone want to talk about the bubblegum pop present in The Misfit's singalong choruses? I think that would serve as an interestingly dark-yet-poppy counterpoint to the happy pop-punk of the Ramones. --- What's a "svengali-producer" and where does the term come from?--User:Theloniouszen 19:47, Apr 5, 2005 (UTC) It means a controlling producer who is the main creator of the record. In a pop-rock context it was first applied to Phil Spector. I would not consider Spector's records in his early to mid 1960s heyday to be bubblegum, even though some of them have bubblegum elements ( Bob B. Soxx and the Blue Jeans, and The Crystals' "Da Doo Ron Ron" would come to mind. ) Such elements were quite normal in pop music in the first half of the sixties, and they are merely a stylistic convention. Perhaps the article should mention how much early 1960s pop-rock did predate bubblegum, and how bubblegum in some ways was a return to the pre-Beatles status quo. Or how much of Elvis Presley's mid-1960s output - agreed universally upon as his creative nadir - would fall into the bubblegum category. Or how some British Invasion acts like Herman's Hermits and Freddie and the Dreamers were for all practical purposes bubblegum acts even though they preceded Kasenatz-Katz and the Monkees. Etc. etc. etc.
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