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. "pop music with that intangible, upbeat 'bubblegum' sound."."pop music produced in an assembly-line process, driven by producers and using faceless singers"."pop music contrived and marketed to appeal to pre-teens"."the classic bubblegum era from 1967–1972".The 2001 book Bubblegum Music Is the Naked Truth rules out teen pop or boy bands as inherently bubblegum and defines the term as: Occasionally invoked as a pejorative, the "bubblegum" descriptor has several different applications. During the 1970s, the original bubblegum sound was a formative influence on punk rock, new wave, and melodic metal. 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. 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. It became often used as a pejorative for pop music that is perceived to be disposable and contrived. 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'." The term was then popularized by their boss, Buddah Records label executive Neil Bogart. 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. 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. The term also refers to a more specific rock and pop subgenre, 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. Bubblegum (also called bubblegum pop) is rock and pop music in a catchy and upbeat style that is marketed for children and adolescents.
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