![]() It has to sound like they mean it." 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." Precursors Īccording 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." He went on to list such "important antecedents" as " I'm Henery the Eighth, I Am" ( Herman's Hermits, 1965), " Snoopy Vs. 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. ![]() There is debate concerning which artists fit the genre, especially for cases such as the Monkees. ![]() Bubblegum aims for any part of your body it can get, as long as you buy the damn record." Music critic Lester Bangs described the style as "the basic sound of rock 'n' roll – minus the rage, fear, violence and anomie". Comparing bubblegum to power pop, Mojo writer Dawn Eden said: "Power pop aims for your heart and your feet. 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.
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