Bubblegum music

Occasionally invoked as a pejorative, There is debate concerning which artists fit the genre, especially for cases such as the Monkees. 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." 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==

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." He went on to list such "important antecedents" as "I'm Henery the Eighth, 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). ==Original commercial peak (1968–1972)==

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. Robin Carmody of Freaky Trigger writes that British bubblegum from 1968 to 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". ==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. 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. 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. In the UK, bubblegum caught on in the early 1970s and fell out of popular favor by the end of the decade. In 2010, author and musician Bob Stanley summarized: Many musicians who grew up with the genre later incorporated bubblegum influences in their work. 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. 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". Pitzonka stated of bubblegum's legacy: ==Bubblegum dance==

The term "bubblegum dance" has sometimes been used to describe music. The 1971 Osmonds song "One Bad Apple" is a prototypical example, modeled after the style of the Jackson 5. Another example is Danish-based Eurodance being labeled as such, most notably "Barbie Girl" from Aqua. ==See also==