Bubblegum Music is the Naked Truth Part II:
Interview with the Book editors, Kim Cooper and David Smay
By Ronnie

Intro:
BUBBLEGUM MUSIC IS THE NAKED TRUTH is the best rock 'n roll book I've read in many years. The great thing is that it serves as both a reference guide and an entertaining overview of this often misunderstood genre.

After reading BUBBLEGUM MUSIC IS THE NAKED TRUTH, I decided to try and interview the editors of this interesting, informative book. The editors, Kim & David, graciously took the time to answer my questions.


E.C.: How did the book come about? How did you decide the format and how did you choose the authors of each segment?

Kim: In Scram #5 (1995), I wrote an article (also titled "Bubblegum Music is the Naked Truth" and reprinted in the book) celebrating the bizarre lyrical excesses of the genre. I wanted to do more bubblegum research, and made some notes for a possible CD-ROM project, but became discouraged when I realized how hard it would be to get permission to use the music.

A couple of years later, Adam Parfrey from Feral House asked me if I'd like to edit a book on bubblegum that he'd commissioned. I called the author and discovered he was no longer interested in the project. Feral House still wanted to publish something on the subject, so I enlisted the aid of Scram contributor David Smay as co-editor, and we developed our own concept for the book.

There were some people that we knew should be involved; others heard about the book and contacted us with their suggestions. Ultimately we had a crack crew of more than forty people exploring their own areas of expertise. It wasn't hard to dole out chapter assignments, since many of the writers had already done extensive work on their subjects (i.e. James Porter's Kasenetz/Katz history for Roctober, Carl Cafarelli's genre overview in Goldmine). A list of the remaining available chapters were emailed to the group, and folks chimed in with what they wanted to cover. (This book would have been much harder to organize without the internet.) Those who came to the project late had less to choose from, but most seemed happy with their assignments.

We wanted it to be an episodic book, with detailed sections on the important artists,