It's to me clearly a major, and very understandable, part of Ramones World, but I feel that it was a feeling that was shared through The US in The Mid-Late 70's.

I have a feeling that it was mostly with Early Punk fans (or really just plain outsiders) in The States, especially in the Midwest and other areas where there was not so much support for it, and those who did not buy Album Rock (Sadly the worlds of Prog and the more Mainstream-driven Album Rock were clearly blurred) were finding it tough to find anything sharp sounding. So, sadly it was even to stuff like "Saturday Night" or "Sugar Sugar" to find some kicks. There was no difference between great Glam and Bubblegum (Usually equaling Power Pop by the Late 70's), listening to the kick of the songs was all that mattered in that excitement-barren time.

Not on the major Defense for The Rollers, the Express or any others of the Class of Bubblegum, but there was a point back in The Late 70's (and no other time in my opinion). The acceptance of Bubblegum was clearly a return back to the simplistic Three Chord Wonders that immediately hit the ears, especially in The States where Corporate Rock Radio turned seriously crap (If you survived any albums by Styx, Foghat, Bob Seger and the Silver Bullet Band, the Breakfast in America-era Supertramp, and the like, you will know how bland things got). In a way, most of the Rock that was making it in was clearly not fun to listen to if you were on the outside and that fun was certainly out of the picture, so the sounds (I'm sure if they knew the histories, they would not have been so big on them...so little was written about them then) were the thing, and it was time to bring back some of that excitement by digging through the used record collections or Oldies Radio (As most of the classic AM stations were either MOR or Disco if they were not Talk) and getting some inspiration there. Over in The States, things were getting desperate to the point where something calculated and fake was preferable to hearing "Slow Ride," or worse, on the hour every hour.

Sadly, the powers that be used that spark and decided to use it for the New Wave...and everything fell flat from there.

I usually give things in The US Four Years, or sometimes about Three if Pop Based. It's a bad attempt at an outline of a trend, or movement, but here it is...

This is mainly what I would call my High School Theory-or, is more "Alternative," Community College.

Year One - The rush of excitement that surrounds something that the Hip portion of the media catches and starts to Hot Trend it. This is usually the year that's called when things were for real during the movement's most popular time later on.

Year Two - The difficult Second Year, where all the major outlets get to find out just how this new trend works and see who is with the business. Many of the defining "First Hits" or at least best known songs are found here. The public takes notice.

Year Three - Here is where all of the major hits start to add up more and more. The public that usually waits for things to be big or when established stars pick up on some of the characteristics to look cool and not as out of date as their music still suggests. Either that or when bands who form the "acceptable" wave (In Punk's Case, Power Pop, the early form of New Wave in The States) start to get more notice. This is usually when all of the Avrils start to get their time in the spotlight.

Year Four - The feeling that a New Thing is now a part of history. About half of the older fans no longer look for new bands, unless they look for more Underground or more Serious scenes (This usually happens at College-Level, usually forming part of my Community College "Alternative Music Scene" theory), thinking their music has sold out and is now a part of the soundtrack of their lives...and this is where the search for a new thing (Usually a variation of what happened through the last four years in a new coat) happens. Many sad or interesting albums (or at least singles) by the once-new happen around this time.

Anyone surviving is either very lucky, has met up with the right Producers and Image-Makers..or have seriously considered music to be their calling and continue to gain respect with real music fans who just dig the sounds for what they are.

Time for revisionism of usually sneered at happenings...about 8 years to a decade, The "Oh yeah, I actually like that, I'll admit it" Time Smooths Most Things Theory.

I don't think trends ever really die especially if the fans keep it alive.

Especially through the last decade, I can see that more and more. Even though trends still come and go, in a way thanks to better exposure of music, "Movements" have not been as trendy with the exception of those based in Mainstream Pop, and then best of each (No matter if you like the music or not) usually sticks around.

movements don't die. they just lose topical relevance and speed to the youth of the day before being re-appropriated about 10-20 years later as a 'post-' version of its previous self.

very good post

I'm not even aware or conscious that the punk and hippie movement has died......

I'm still pretty much a hippie/punk hybrid

When a scene becomes too popular for the hipsters and they have to move on to new obscurities skulking amongst the underground. Others invariably follow.

This.