Sabrina Carpenter, the 25-year-old Californian pop star, crafts music that thrives in a world of saccharine melodies and the trials and tribulations of navigating romantic entanglements with less-than-ideal partners. Her lyrics, often laced with playful double and triple entendres, offer a glimpse into the complexities of modern relationships with a touch of wit and self-awareness, as exemplified by her album title ”emails i can’t send.” While her music might be categorized as bubblegum pop, it possesses an underlying cleverness that elevates it beyond mere frivolous entertainment. This ”smart dumb” quality, as the author describes it, distinguishes her work from other forms of simplistic humor, setting it apart from the outright silliness of slapstick or the contrived cleverness of certain cult classics. This intelligent frivolity forms the core of Carpenter’s appeal.
The author posits an intriguing connection between bubblegum pop and punk rock, arguing that bubblegum has always existed as a subgenre of punk, even predating punk’s emergence. From the playful flirtations of Eartha Kitt’s ”Santa Baby” to the cartoonish antics of Betty Boop, bubblegum pop has maintained a darkly infantile parallel world. This world, characterized by innocence and playful naiveté, offers a stark contrast to the aggressive rebellion of punk. Punk, with its loud, often violent, and easily commodified rebellion, became a spectacle easily absorbed by mainstream culture, its artistic expression quickly diluted into parody.
Meanwhile, bubblegum pop experienced a resurgence, embraced by bands that often appeared deliberately uncool, their music both quiet and seemingly amateurish. Groups like Bratmobile, Heavens to Betsy, Huggy Bear, and The Go Team all embody a certain bubblegum spirit. This time, the infantilism served as a form of protection against commercialization, shielding the music from mainstream appropriation. The Go Team’s debut album, ”Recorded Live at the Washington Center for the Performing Arts,” exemplifies this approach, its collection of construction-site noises defying any attempt at mainstream appeal. This intentional awkwardness acts as a shield, preserving the artistic integrity of the music.
However, the author acknowledges the inherent danger within bubblegum’s innocence, citing the notorious examples of Phil Spector and Joe Meek, whose productions, while commercially successful, were often marred by their abusive behaviors. This darker side of bubblegum pop makes Carpenter’s self-assured and empowered narratives all the more refreshing. She consistently positions herself as the dominant figure in her own stories, a contemporary Salome wielding a ponytail and lollipop instead of a severed head. This reclamation of agency within a genre historically associated with female vulnerability is a crucial aspect of Carpenter’s artistry.
While the author stops short of labeling Carpenter as punk, they suggest a certain kinship between her work and the punk ethos. This connection lies not in the sonic aggression or overt rebellion typically associated with punk, but rather in the subversive potential of embracing a genre often dismissed as frivolous. By injecting intelligence and self-awareness into bubblegum pop, Carpenter challenges conventional notions of femininity and artistic expression. Her music, though seemingly light and playful, carries a subtle undercurrent of defiance, a refusal to be confined by genre expectations.
Sabrina Carpenter’s music represents a nuanced and intriguing take on bubblegum pop. It embraces the genre’s inherent playfulness and innocence while simultaneously subverting its traditional tropes. Her clever lyrics, self-assured narratives, and deliberate embrace of ”smart dumb” humor create a unique artistic space that resonates with a contemporary audience. While not explicitly punk, her work shares a certain kinship with the genre’s rebellious spirit, challenging expectations and reclaiming agency within a historically marginalized space. Her music offers a refreshing alternative to both the overt aggression of traditional punk and the often vapid nature of mainstream pop, carving out a distinct and compelling niche in the contemporary musical landscape.
