Bubblegum pop: “commercialized, computerized and easy to sing”


Commercialized, computerized and easy to sing, bubblegum pop is a nostalgic and trendy collection of hits that have been the voice of mainstream teens around the world for nearly six decades.

With over-simplified music, artificial lyrics, and fun music videos, bubblegum pop represents all of the best parts of being a teenager. endless summers, young love, contagious dances, sleepovers and, of course, chewing gum.

While bubblegum pop has had a massive influence over decades of pop culture, it has not remained independent as a genre. Its distinct strategy of aggressively marketing certain music to teenagers eventually became synonymous with pop music in general and the music industry itself.

Over the decades, definitions of bubblegum pop and generic pop have changed, forming dozens of subgenres, subcultures, and aesthetics in young people.

Bubblegum pop began as a distinctly American musical phenomenon, first appearing on radio in the early 1960s as a pop subgenre aimed at middle and high school students.

Not only was it one of the first genres to deliberately sell to tweens and teens, but the genre also spawned the iconic girl group and boy group movements, which would eventually dominate pop culture in the world. 1990s and 2000s.

60s and 70s

Baby boomers who reached adulthood in the mid-1960s probably remember the panting and dragging pace of bands like The Monkees and Beach boys.

Songs that cemented their place in history as part of the first wave of bubblegum pop include “Saturday night“by Bay City Rollers,”Sugar sugar“by the Archies and”indian lake“by the Cowsills.

The first wave of bubblegum pop was short-lived as it was sandwiched between the birth of several other iconic musical genres like disco, funk, and punk.


However, the young and bursting jewel of bubblegum pop was only temporarily lost in the wind, as the death of disco gave way to whimsical performers center stage.

Echoes of the sunny glory of 80s bubblegum pop can be heard in classic tracks like “Vacation“by the Go-Go’s,”Girls just wanna have fun“by Cyndi Lauper,”Children in America“By Kim Wilde and”Like a virgin“by Madonna.

The second wave of bubblegum pop came at a unique time when most of the top chart hits were produced by women, who dominated the genre and added a touch of eccentricity to the decade.

Not even rock icons like Elton john Where Freddie mercury might resist dabbling in the playful genre. Many rock groups began experimenting with drum machines and synthesizers during this time to match the commercial success of their pop competitors.

Bubblegum pop flourished in the ’80s, an impressive feat as the world of glam rock was exploding with commercial success at the same time.


Bubblegum pop began to take its modern form as a pop subgenre in the early 1990s, when it introduced boy groups like NSYNC and groups of girls like the Spice girls, which boasted a young and athletic aesthetic.

In a new social climate where the appearance and image of an artist preceded the importance of his talent, bubblegum pop has lost its innocent and childish charm.

Until the creation of MTV, sexuality in music was limited to words; artists of the 90s and 2000s had an abundance of videographic techniques to play with the literal and figurative implications of their songs.

The original innocence of bubblegum pop was gradually replaced by a youthful hypersexuality that was hammered into modern pop culture with hits like “… baby one more time“By Britney Spears and”Genie in a bottleBy Christina Aguilera.

Other musical genres of the 90s, like grunge, were disappearing, giving way to big names like Gwen Stefani and Paula Abdel to cycle through the music charts with catchy hooks, steamy music videos and memorable songs about love.

Understanding media and cultureexplains that the man-made and man-made nature of producing pop stars was the easiest way to appeal to teens and make money fast.

“In the late 1990s, mainstream tastes turned to pop music,” the book said.A plethora of boy groups, girl groups and pop starlets have emerged, sometimes evolving from gospel choir groups, but more often created by talent scouts. The bands were aggressively marketed to a teenage audience.

While bubblegum pop would eventually cease to exist as a modern and distinct genre, the idea of ​​creating pop stars to target a profitable audience is still used by music producers and talented TV shows like ” The X Factor “and” American Idol “.

2000s, Y2K

’90s bubblegum pop merged with something new and unknown in the early 2000s thanks to Y2K, an era that was once again dominated by attractive women and men making bold and contrived choices with their music. and their fashion.

In The Guardian, the high-tech crop of the year 2000 is described as a new era of limitless possibilities. According to the article, this distinct and short-lived moment “was characterized by a distinct aesthetic period, encapsulating fashion, material design, music and furnishings shining with technological optimism.”

It didn’t take long for music producers to turn to factory-like, mass production of music and music stars.

The tech boom of 2000 led to a faster, more connected world, and music had to keep pace; music videos and performances on MTV have become essential to the image and success of an artist.

While artists love Britney spears continued to soar, television spawned several cultural icons of today like Demi Lovato, Miley Cyrus, the Jonas brothers and Selena Gomez thanks to the continued desire of music industry leaders to tap into the younger generation.

The Y2K trend circulated in many European countries before returning to the United States to top the charts. Bands across the sea love Aqua makes waves with “Barbie girl,” while the A * Teens rocked the world with covers of Euro-pop beats and instrumentals.

The heritage of chewing gum

Computerized dubstep and an endless array of studio bells and whistles led to a wide range of pop hits in the 2010s, mixing and matching elements of bubblegum pop, pop rock, alternative pop, and even influences from music from all over the world.

As a result, bubblegum pop has become more of a sentiment or stylistic choice within pop music rather than a separate musical genre.

The legacy and spectacle of bubblegum pop has long traveled overseas, spawning genres like J-pop and K-pop. While many current Western pop groups have gone their separate ways to launch their own solo careers, the band’s format continues to dominate the charts and sold-out stages in Asia.

Music is an endless journey of evolution and experimentation. While it’s not clear where the bubblegum pop legacy will go by the end of the 2020s, its impact on the marketing and music strategies of the pop industry is indisputable.


About Dawn Valle

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