Here are 5 reasons why my latest release At Your Service is important for women:
1. At Your Service breaks down ageist and sexist barriers that have allowed men to age, be adventurous, foxy, and paired with women 15-20 years younger while dismissing women over 40.
2. Portrays a strong, middle-aged female lead who is not an ageist stereotype or is typecast as a mother, wife, grandma, harpy, or crazy woman who lives in a van.
3. Portrays a middle-aged woman as intelligent, capable, attractive, sensual, and sexual.
4. Ageism is often overlooked as an issue of diversity. Young women will one day be older women. Positive, realistic representations of intelligent, capable, attractive, sensual, and sexual women over 40 create positive role models for younger women.
5. Sexism has rendered older women nearly invisible in all forms of media. The women over 40 in At Your Service get noticed.
Okay, so At Your Service is a romantic suspense cosy spy mystery thriller and how realistic is it to have a female butler join up with a British spy… Ah. Yes. You get it. Fiction. Content here creates the culture, the positive role model of a female butler, which is unusual role for a woman, AND the fact she’s middle-aged, intelligent, capable, attractive, sensual, and sexual IS the spin on the content and culture we’re SO used to seeing. Breaking down the barriers of sexism, ageism, stereotypes, and the sidelining of older women we’ve come to accept as the norm is not reality and it’s not fiction either.
The reality is, women over 40 are not invisible, but they have been miscast and have, for far too long, been left off screen and out of fiction. It’s my mission, so to speak, to challenge this, to change this, to give the world a positive portrayal of women over 40 and a role model for younger women AND men, one book at a time.
The Rembrandts, the 90s musical sensation, had a big hit with I’ll Be There For You, the theme song from the TV show Friends. Perhaps not quite as well-known is their song That’s Just The Way It Is, Baby. After reading another article about the invisibility of middle aged women, I have that song stuck in my head; it’s a persistent earworm that I am trying so very hard to kill.
Why is the lyric line “That’s just the way it is, baby” a block of concrete in my brain?
The Roundabout Theatre Company writes about the production of Skintight at The Harold and Miriam Steinberg Center for Theater/Laura Pels Theater in New York City. Skintight focuses on the repercussions of the cultural obsession with youth. The article itself discusses ageism and sexism, and being made to look ‘younger,’ being airbrushed to fit with the UNREAL world of the ideal image of beauty. The topic of middle aged women being I-N-V-I-S-I-B-L-E is mentioned. The article, Invisibility of Middle-Aged Women, says:
“Because media has traditionally been created by and for men, and women face gender discrimination behind the camera as well as in front of it.”
And there, the title of the article, the Invisibility part and the “traditionally” bit in that quote, that’s the reason for the bag of cement that’s solidified the Rembrandts’ That’s Just The Way It Is, Baby.
Airbrushed models, twenty-something female characters paired with fifty-something men on screen, in fiction, in advertising is the norm. Culture creates content, and content creates culture. The books you read, the movies you watch, the advertising you see matters; it shapes our identities, colours our view of the world. Girls and women seldom see realistic images of females in the media. Girls and women rarely see women over 40 portrayed in positive or realistic ways. Girls and women, boys and men are conditioned, socially programmed by the images they see–or don’t see. And what we don’t see often is middle aged women, except in stereotypes roles, sidelined roles, roles that diminish their value. That’s just the way it is, baby.
“While men gain status as they age, middle-aged (and older) women are considered less valuable than their younger counterparts. This devaluation effects how how women are hired, promoted, and paid; how they are (or aren’t) depicted in the media; and how they see themselves.”
We KNOW women are underrepresented in the media, but the underrepresentation hits middle aged and older women especially hard. Women over 40 fade away until they are invisible. That invisibility is something we’ve grown used to. It’s what we’ve been shown, what we come to expect, it threads its way through film and fiction. When we are presented with a female character outside the norm we are shocked. Some of us don’t realise we’ve blindly accepted the standard, or realise that the standard does NOT mirror reality becasue that’s just the way is is…
Are you humming the Rembrandts yet?
Sexism and diversity are issues vital to address within society, yet ageism is seldom highlighted as an issue that is sexist, and it is rarely included in discussions about diversity. Ageism is insidious. The perceptions about ageing treat a natural part of life as a disease to be battled. This anti-ageing crap has an impact on men and women, but it has a greater impact on women. Older men remain visible, while women … cue the Rembrandts.
If you always do what you’ve always done, then you’ll always get what you’ve always got. It’s beyond time to change what we’ve always done, to alter what we’ve blindly accepted to be just the way it is, baby, when the way it is isn’t true to life. We change the standard, change what we are used to seeing by being genuine, by tearing down the sexist and ageist attitudes in the media, in film and publishing industries that persist shoving the usual younger-is-better images down the throat of society. Film and fiction must stop treating older women with disdain, stop overlooking middle-aged women –a sizable portion of the population– who have money to spend if they can see themselves portrayed as they really are. We do this by writing stories that better include an array of age.
I’m doing it with every book I write. My latest, At Your Service, has a middle aged female butler. I put women over the age of 40 front and centre in narratives that portray them as whole as interesting, intelligent, capable, and attractive, sensual, sexual, and vibrant. That’s just the way it is, baby.
Yes, yes, things have changed a lot. Women are doctors, lawyers, and CEOs. It’s ‘you’ve come a long way baby’ and all that, but certain jobs continue to be viewed as traditionally female and male positions. For instance, when you see the word ‘nurse,’ do you imagine a man or a woman? What about ‘maid’ or ‘housekeeper?’ If I toss out the word ‘butler’ I’m sure your mind automatically conjures up Batman’s trusted man Alfred, Bertie Wooster’s Jeeves, Downton Abbey‘s Mr Carson, or Mr Stevens from Remains of the Day. And why wouldn’t you think of those men, of those chracters? The butler is a particular role dominated by males in fiction and film and real life. However, remember that ‘you’ve come a long way baby’ thing?
You know I’m all about changing stereotypes for women, particularly women over 40. Female protagonists of a ‘certain age’ (man, how I hate that expression) are all I write. Naturally, I’ve written another. This time my older, or seasoned –as many are calling protagonists over 40– doesn’t just challenge the usual ageist stereotypes that cast older women as (say it with me now) cougars, grannies, evil stepmothers, hot flashing menopausal harpies, crazy cat ladies, and sidelined supporting characters only there to offer ‘sage’ advice to younger characters. This time my heroine challenges what has been a traditionally male role. This time my heroine is the butler.
Yep, the butler. Not the housekeeper. NOT. THE. HOUSEKEEPER.
I know I’m not the first to present a female butler. Linda Howard did it in Dying to Please. Helen Mirren took on the role of Hobson the butler in the remake of the movie Arthur, a role previously played by Sir John Gielgud. I happily add Mae Valentine from my forthcoming release At Your Service to that short list of female butlers.
My butler is older than your standard romance heroine, older than your usual romantic suspense romance heroine, but there are expectations she meets. The butler for a retired Army officer, Mae is efficient, professional, loyal. In other words, Mae is like all those other ‘traditional’ butlers you know so well, the ones who go that extra distance for their employer, the ones whose age doesn’t matter because the age of men seldom matters. Simply put, At Your Service is tale of a butler, a spy and a toilet brush. It crosses a few genres, plays with a few genre archetypes, subverts certain images we have in mind when we see words like older woman, butler and spy… Call it a romantic suspense cosy spy-thriller-mystery with a dash of humour. It’s Charade meets Remains of the Day. It’s set to release this September. You can pre-order it now. Kindle or Kobo, Nook & more
For years, I’ve been writing for an overlooked audience. Now, finally, I’m writing for a slowly emerging market, one a few publishers are, after years of ignoring, only just beginning to cater to. Despite the presence of a target audience, that is readers over 40, two stumbling blocks remain when it comes to marketing romance fiction to readers over 40: WHAT to call this subgene, and HOW to market romance with older couples.
The WHAT: The front-running suggestions for this romance subgenre (Thank you, Laura Boon Russell for reminding me to mention that this is a subgenre), from those of us who write romance fiction with lead characters over 40, have been Adult Contemporary Romance, Seasoned Romance, Mature Romance (MatRom), and Silver Romance. The new category line from Entangled is called August, which is a charming moniker, but the line is limited to stories of characters 35-45. Now, here’s where you come in.Do you have any ideas of WHAT to call romance fiction with both lead characters who are over 40?
If you do, leave a comment.Better still leave a comment about the search terms you use when you go looking for romance tales where both characters have been around the block a time or two? You as a reader have the power to pick the name that REALLY sticks.
Groovy, say we come up with a consensus on a name for this subgenre, for Romance of a Certain Age, Granny Lit or Hag Lit, (Can we agree now NOT use any of those?), but what about the HOW?
HOW to market these books is fraught with the same issues Hollywood has when it comes to marketing any film featuring a woman over 40 as the lead. Artwork and advertising, which in the publishing world means book covers, can be tricky for a tale with younger leads. A book cover, like a movie poster, is supposed to be shorthand for the story presented. Marketing departments for Romance fiction have always found a way to work around finding cover art for troublesome novel, usually steering clear of the stereotypical clinch cover in favour of something benign, such as a pair of shoes, a dog, an empty Adirondack chair sitting on a beach. In Hollywood, the usual thinking is:
If the older woman appears on the advertising, be sure the image includes an object that obscures her age, such as a coffee cup in front of her face;
If the older woman appears on the movie poster, ensure only a small percentage of her body is shown, no full body shots;
Reduce the size of the woman’s image, place her in the background in a setting, such as on a dock, on a boat, behind Bruce Willis or Morgan Freeman. Seriously. Go look at this poster for Red, right now.
Obviously, in fiction and film there’s a similar workaround showing the ageing body, which is primarily horrifying because ageing and the bodies of older people are continually presented as ugly and something to fear. These images lead to an unconscious bias against older people, particularly older women, and that bias keeps women from appearing roles other than mother, granny, harpy, crone, or keeps them from appearing at all. ON book covers and movie posters.
The chief antidote to treating ageing as a disease is to present it as normal, as everyday, but creating a new standard and breaking down pervasive image stereotypes of age—or any stereotype—takes time. People need to ‘get used to’ something new. I understand starting small, put the aged female face behind that coffee cup a few times, or reduce the size of Mary-Lousie Parker and Helen Mirren on the poster for Red. Use those benign beach-front images that suggest peace, use the dog, the shoes. Then, slowly, because, people need time to adjust to change, get rid of the coffee cup, enlarge the size of the woman, move her to the foreground, right beside the acceptable male silver fox in that Adult Contemporary-Seasoned-Mature-Silver-August Romance.
The Pink Heart Society’s May newsletter discusses romance fiction with older heroines, and asks, as I do, if the romance genre thinks love has an age limit. The newsletter features interviews with Dee Ernst, Amanda Ward, Liz Flaherty, Morgan Malone and the Pink Heart Society’s (PHS) editor, Trish Wylie—all romance authors who place women of certain age front and centre of romance. It’s exciting to know I am not alone in being passionate in my desire to stamp out ageism and sexism.
Why is it exciting?
An Introduction (for you newbies)
Hi, I’m Sandra Antonelli. I write older romance heroines—silver foxy women over 40 as the lead characters, not as secondary characters, and not as protagonists in Women’s Fiction, but as the romantic leads. I represent this demographic of women and demographic of romance readers who want female heroines with all my heart, and I am passionate about continuing to do so.
If this is your first time reading one of my posts, and you don’t know, mature-aged romance heroines are my soapbox. Check out the Mature Content Stockpile tab for just how much soapboxing I do. There are many reports in the media discussing sexism and ageism in Hollywood, but there’s very little media dialogue on ageism and sexism in romance fiction. Strange, because there is such a parallel in the way women of a certain age are pigeon-holed in stereotyped roles (cougar, granny, witch, crazy cat lady) or rendered nearly invisible in both forms of entertainment. This really chaps my hide.
Years ago, before Harlequin’s NEXT line, which touted stories about women with a little more life experience, I went looking for older romance heroines and found next to nothing. So, I decided to write my own, thinking the world would catch up. I kept writing older protagonists in romance, and, like Liz Flaherty mentions in the PHS newsletter, I got curious about why there were only a handful to be found. I did a master’s degree and then a PhD on the subject to try to get to the core. The masters uncovered the demographic of reader looking for older romance heroines, the PhD examined why the demographic is overlooked. And in the mix of all that academic stuff, I kept on writing romance with older heroines AND heroes because no way was I going to be like Hollywood and let the hero be an older Bruce Willis-type while the heroine was 25 to 35-something. My books were published by Escape, a division of Harlequin Enterprises in ebook format—because ebooks are a little more open to taking a chance on something with a niche market, or outside the norm.
I have four books that sit outside the romance heroine age norm: A Basic Renovation, For Your Eyes Only, Driving in Neutral, and Next to You, as well as short stories Your Sterling Service, and Niagara Falls at Café Nix, in the anthology It All Happened at Café Nix. I have more on the way. You can find links to all my books here.
Knowing that there are other books outside the norm besides my own, that I’m not the only one writing older romance heroines, that Dee Ernst, Amanda Ward, Liz Flaherty, Morgan Malone, Karen Booth, Josie Kerr, Maggie Wells, Natasha Moore, and the Seasoned Romance Facebook page with over 600 members of authors (and readers) are also writing heroines with life experience and–gasp–wrinkles shows that older equals OH HELL YES!
Can You Predict the Future?
Yeah, you guessed it! I’ll write romance, blog, tweet, post on Facebook, and do academic-type stuff on women of a certain age in romance, and I’ll keep on championing until we’re not a stereotype of age, a niche market, or a trend.
I applaud you ballsy authors who, like me, want to show the entire world, not just the romance world or Hollywood, that foxy doesn’t end at forty.
If you have a psyche of a sensitive nature, one that detests off-colour language, you may want to look away now because I’m about to drop some f-bombs.
By now you’ve probably seen it, Amy Schumer’s Last Fuckable Day. If you haven’t here’s a link to it. Go watch it now.
If you don’t want to watch it, in a nutshell, the skit addresses the ageist and oh-so-sexist double standard in Hollywood. You know the ageist double standard I mean, don’t you? It’s that thing when an actress reaches an age and is suddenly put out to pasture, or only offered stereotyped roles like mother, cougar, knitting grandma, and crazy hag cat lady, because they’ve crossed The Line of 40 and are no longer considered ‘fuckable’— or bankable. It’s that thing that doesn’t happen to men in Hollywood.
It also that thing that doesn’t happen to heroes in Romance Fiction.
In Schumer’s Last Fuckable Day, Amy and her pals, Tina Fey, Julia Louis-Dreyfus, and Patricia Arquette point out a woman’s ‘use by’ or ‘best before’ date in Hollywood, the enduring stereotyped roles available to an actress of a certain age, and how their male counterparts fail to suffer the same fate when they cross The Line of 40. You see, Silver Foxes, like George Clooney, are welcome in Hollywood as much as they are in romance novels. And in romance novels silver fox heroes are a hot and sought after hero.
Like in Hollywood the silver fox romance hero is usually paired with a younger woman. Like in Hollywood the silver fox moniker applies only to men. There are those of us who are tired of this ageist and sexist double standard. There are those of us tired of being told, ‘Sorry, you’re over 40 and no one wants to fuck you onscreen or in the pages of a romance novel.‘ To that I say, bullshit, thereARE people who want to see those movies and read those books. There are those of us who have money we would spend to see those movies and read those books because there are those of us who think that, who know that, being over 40 doesn’t mean you’re done with love or sex or romance. There are those of us (in spite of how much we love Cary Grant and Audrey Hepburn in Charade) who’d like to see the silver foxy hero paired with a woman his own age. There are those of us who want to change things, who want silver fox to apply to women who have crossed The Line of 40.
Yes, I’m one of those who wants to change this because, goddamn it, I’m over 40 and I’m a silver fox, not a dumpy middle-aged hausfrau who’s dead from the waist down, and I’m tired of seeing women like me left out of movies and books. I’m so over seeing Daniel Craig’s late 40s SPECTRE James Bond get paired up with the then 20-something Lea Seydoux instead of 50-something Monica Bellucci.
Pardon my momentary rant. I still haven’t recovered from the missed opportunity of Bond getting the RIGHT GIRL.
I write romance fiction with silver foxy men AND silver foxy women. Yeah, no, I’m not going to call her a silver vixen because cougar is already pejorative enough and there isn’t a male equivalent besides ‘dirty old man,’ which is something more perverted than a screen hero paired with a woman half his age—which keeps getting rammed down society’s throat as normal.
Sorry…sorry, ranting again. Bond should have been with Bellucci.
There are those of us who believe we need a new normal, those of us who believe that if we saw silver foxy women on a regular basis, in advertising, on the big screen, on TV, in print that the double standard that keeps women over 40 trapped by stereotypes of age might change. That’s what I am doing, changing what I see by presenting real women in romance fiction who are not trapped by a stereotype of age, who are not cougars, grannies, or crazy cat ladies. In fact, I’m going against the Hollywood image completely.
My books, all of them, feature pairs of silver foxes in romance fiction, something we are lead to believe is a younger woman’s tale, which we know in real life is bullshit.
My latest release, Next to You, features a pair of silver foxes. It’s about a Bubblegum pop loving albino man named William Murphy and his new neighbor, Caroline, a woman who’s trying to grab life by the balls. Next to You comes on on Monday.
Here’s the question I’ve been asked the most about my upcoming release Next to You:
“Why an a hero with albinism, Sandra?”
My answer? Contact lenses and an old friend.
I wear hard contact lenses and I have a very fair-skinned dear friend who wore an eye patch when he was a kid. That’s him over there.
Yeah, yeah, how cute and all, but what’s that kid got to do with a hero with albinism?
Know how what you see isn’t always what you get, and how looks are deceiving, and that love is blind? I’m myopic (near sighted or shortsighted if you prefer). I also have astigmatism plus, being middle aged, presbyopia. Soft contacts won’t correct my crappy vision. A soft lens won’t sit properly because my astigmatism is too severe. Glasses don’t even give me great distance acuity. Rigid contacts, however, correct my vision quite nicely. Fortunately, rigid gas permeable contacts are a special order item that last a long time, Unfortunately they’re not cheap. The thing is, twelve years ago, when I wroteNext to You, which was then titled A Simple Overexposure (if you read the book you’ll pick where I got that title), I needed new contacts, and it was getting difficult to find an optometrist to fit them and keep the cost under $400.
Being such a tightwad back then, I went online to find companies that manufactured hard contacts, so I could purchase them directly—cheaper than I could from my $400 a pair optometrist. What happened during my search for cheaper is that I came across an article discussing hard contact lenses and vision correction in people with albinism. The article mentioned the use of an eye patch for amblyopia and strabismic amblyopia. Immediately, I thought of that fair-skinned, eye-patch-wearing kid up there, my dear friend, whose name happens to be Will—or The Dread Pirate Will, as he asked to be called in return for letting me use his photo in this post.
maikel_nai via StoolsFair / CC BY
After some fond memories of Will, ones that involved us fake sumo wrestling and going to Monty Python film festivals, I found myself nerding out, reading more about vision conditions like strabismus and nystagmus–eye conditions people with albinism often have.
Then, I nerded out even more and began reading more and more about albinism, about the myths, the stigmatisation, and the stereotypes so often associated with the condition. In a bizarre way the stigmatisation and stereotypes reminded me of the way women of a certain age are stigmatised and stereotyped. I thought how stereotypes are, at their very root, a vision problem that can’t be corrected with contacts or an eye patch.
Suddenly, I had this image of middle-aged man with albinism; it was William Murphy, the suit-wearing, bubble-gum pop-loving hero of Next to You, and I knew there was more to this Will than meets the eye.
Five minutes after seeing Will’s image, I saw Caroline, a middle-aged, introverted, movie-loving heroine who isn’t exactly what she seems—because what you see isn’t always what you get, looks are deceiving, and love is blind.
Kind of like me without my contacts or glasses.
Next to You is out 25 July. You can preorder it now, from all the usual places:
His milk chocolate eyes were a little on the buggy side. His ears were a tremendous feature, stuck up high on his little head, and he had a mole on his chin. A hair stuck out of that mole. I used to poke it with my fingertip. His hair was so soft.
From the start, he was there, when I first got into the writing scene, when it moved beyond keeping a sporadic journal, or writing letters. I would write and he was there, watching me, hoping at some point that I would get tired and peanut butter would eventuate. He liked to sit beside me, and by beside me I mean he got as close to the edge of the mattress as he could because my desk was right next to the bed. Later, when I moved the bed into another room and turned the front bedroom into my study, he’d hop up on the little couch and have a lie down, keeping his slightly buggy eyes on me as I hammered away at a story, hoping for peanut butter. Or a carrot, or cheese, but mostly for peanut butter.
My Little Buddy, my Budman was my companion for every book I have written. Every book. When I wrote him into Next to You he was 3. Caroline, the book’s heroine needed a companion, one who loved her unconditionally and fiercely. I gave her a Rat Terrier–my Rat Terrier. By the time I had three other books published, and Next to You was with my editor, Budman was almost 16, and he’d gone grey and blind. But he still sat beside me, his clouded, sightless eyes still set in my direction, hoping I’d break for peanut butter. He’s been gone since last August. I miss him, his warm little black and white body, his erect, bat-like ears, his slightly buggy brown eyes framed by a black mask that made him look like a canine version of Batman.
I didn’t realise that when I wrote him into Next to You, all those years ago, that I’d have such a bittersweet memorial to to my dog now. It’s weirdly fitting that Next to You deals with grief and the expectations that surround all that grief does or doesn’t entail, ideas of how one ought to behave when grieving, what’s considered appropriate, what’s considered crazy. Losing a companion animal, a dog, cat, ferret, whatever animal that was a loved part of your family hurts. A lot. The grief isn’t any different than losing a human family member. There is still an expectation of how one ought to behave when grieving, what’s considered appropriate, what’s considered crazy, yet there is also often an expectation that you only “lost a dog” and that you should “Get over it” or just “get another dog.”
Expectations blow as much as the asshats who tell you that you should be grateful that you only lost a dog.
Whether it’s for a human friend or a canine companion you lost, grief is different for everyone. It’s a mystery to why there are expectations around how to grieve and how to act when you grieve. I tried to show that as part of Caroline’s story. Part of her grieving process meant having Batman.
This post is part of my grieving process. It’s been nine months and it still hurts. I’m not ‘over’ losing my dog. I’m not done crying about it. I’m ready to get a another dog, but my husband isn’t. You know, in some way I’m grateful that my little peanut butter-loving dog lives on as Batman in Next to You.
I’ve immortalised him.
Next to YouComing July 25th.
A love of ‘70s Bubblegum pop music isn’t the only unusual thing about William Murphy—being a six-foot-three albino tends to make a man stand out. Will’s life is simple and he likes it that way. But when he meets his new next-door neighbor, complicated begins to look mighty attractive.
Caroline’s left the past behind and is trying to grab life by the balls, which means finding new friends besides her dog, Batman. Will offers her neighborly friendship, and as they bond over old movies, Caroline regains her confidence. Unexpected love blooms. But real life’s not like the movies.
Their cute romantic comedy goes all Fatal Attraction and Will learns that nothing about Caroline is quite the way it looks. His simple life turns more complicated than he could ever imagine.
A mix tape, a playlist, a soundtrack whatever you call it, why can’t books have soundtracks for sale like movies?
Because kids, compiling a soundtrack for a movie is something of a copyright, A&R big money nightmare. For books to have a companion soundtrack would be a copyright, A&R ginormous money acid trip hallucination beyond the comprehension of mortals.
Despite that, from the very first book I ever wrote (the one that will never see the light of day) to A Basic Renovation, For Your Eyes Only (originally titled And She Was–a title I think was better–but marketing didn’t think so and what do I know about marketing?) and Driving in Neutral, every book I write has a soundtrack. Most authors I know listen to music when they write. Music can be inspiring or set the mood for a scene. Characters might have their own theme song. Some characters might even have an entire theme soundtrack, which is the case with Next to You, my upcoming July release.
The music for Next to You is so vital to the story, to the character of William Murphy. Music, Bubblegum pop and Super Sounds of the Seventies is what makes Will Will, –just like movies are what makes his new next door neighbour Caroline Jones Caroline Jones, but more about Caroline in future posts.
In the words of Barry Manilow (yes, I am quoting Barry Manilow), I am music and I write the sooooooongs, but really I am writer and I write the characters who listen to the sooooooongs, and the character I wrote listens to the songs (although he doesn’t listen to Barry Manilow) that make him the man he is.
Here then is some of what William Murphy listens to. And seeing as all of these songs (and many more) are in my music library, you can be assured these are also songs I listen to. You can listen to the Next to You Soundtrack here on William Murphy’s YouTube Channel
Tell me, would you buy a book’s soundtrack the same way you’d buy a film soundtrack?
All it took was one song from my music library and there he was, big, very fair, naked, standing in the shower shaving–and singing The Partridge Family’s I Woke Up in Love This Morning.
I saw him so clearly. Everything I needed to know about William Murphy was contained in two minutes and 38 seconds of a well-crafted but manufactured sugar-sweet bit of Bubblegum pop genius.
That moment doesn’t explain William’s albinism except that’s how I saw him and his very essence came down to a love of expensive suits and hook-driven, upbeat, teenybopper tunes from the 60s and 70s. And I knew I had to set him against the backdrop of a romance. That romance is Next to You and it comes out in July.
You might ask ‘What is Bubblegum pop, Sandra?’ or say, ‘Wait, I thought you said you were all about Powerpop, Sandra.”
To answer the latter: I am all about Powerpop, which isn’t as sweet (or saccharine) as Bubblegum pop, but William Murphy is all about Bubblegum pop.
Yeah, okay, great. But what is Bubblegum pop?
Prepare for a music history lesson:
Intrinsically catchy, sunny, and targeted at a preteen audience –rather than middle aged men–Bubblegum Pop was simple and melodic, the music and lightweight lyrics often about happiness, love, and candy. With repetitive hooks, simple harmonies and simple chords, Bubblegum was often manufactured, created by record producers who hired session musicians—like Andy Kim and Ron Dante, to play and sing the songs.
Often considered to be contrived and production-driven, Bubblegum groups were often given fake names to present the illusion that they were a ‘real band’—The Partridge Family and the Archies, for example. Some groups like The Monkees were real musicians brought together by producers, but played as real band. Occasionally a single artist would provide vocals for several groups, such as Ron Dante’s lead vocals for The Archies (some of you might remember The Archies cartoon) and The Cuff Links. Other artists like David Cassidy (who went on to later solo fame) and Shirley Jones appeared on The Partridge Family television series, and provided vocals for the eponymous musical act, while supported by session musicians.
Most Bubblegum bands were one-hit wonders, however, Bubblegum has a left long legacy of songs reflect the upbeat, catchy simplicity of the music and memorable titles such as Sugar Sugar, Yummy Yummy Yummy, Hanky Panky, Dizzy, Mony Mony, I Think I love You, and memorable acts like The Ohio Express, Tommy James and the Shondells, The Partridge Family, The Monkees, The Osmonds, The Jackson 5, The Bay City Rollers, The Sweet and so many more.
William is simple, upbeat, sweet — naturally I have a playlist for Next to You–and it’s full of William Murphy’s beloved Bubblegum pop tunes.
I bet you’re dying to know what’s on it.
By the way, THIS is Ron Dante, who gave a marvellous voice to cartoon Archie Andrews’s lead vocals. And what a totally bitchin’ sunny and catchy song it is. I bet you’ll hum it all day.