Teens Music Secs

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After the Swing Era and World War II, American social dancing cooled down in the late 1940s, in a shift from dance bands to concerts in night clubs. This was due to many factors — musician union fees that made big bands unaffordable, the undanceable aesthetics of bebop cool jazz, and a generation of post-war veterans with the new priority of settling down and raising a family.


But teenagers still liked to dance. Teens' dancing during the 1950s was widely varied in steps and styling. Most of it was still swing-based, but swing had been diverging into local styles and regional variations each decade for thirty years. In one high school it might be low and smooth; in another, wild and angular. In some areas it was constant swing moves, while in others it was dancing with steps in place, simply holding your partner's hand, with no swing moves. Other innovations are listed below.

One incentive for new variations was the rebelliousness of the time — teens didn't want to dance like their parents who were actively disapproving of their lifestyle, so they invented a wide range of step and style replacements. Another motivation for change was the music. Rock'n'roll simply called for different styles of dancing, some of which mirrored the strong backbeat of rock.

Terminology was just as varied as the dancing. This was called jitterbug, or swing, Lindy, the rock'n'roll, boogie-woogie or Bop. The word Bop was new then, so almost everything was called the Bop. But that word usually referred to a family of low swiveling Charleston-like steps danced in place, sometimes without a partner.

Some teens sought out African American sources for new steps and styles, sometimes from their black maids or from the cooks at a summer camp, and especially from black teens at high school and local dances.


Another source of new dance styles was from television. Daily soap operas were finished by 3pm, and local stations needed programming to fill the void until evening shows began. Since teenagers got home at that time, local stations hired radio DJs to play popular teenage music as cameras televised teens dancing. One of the first was Bandstand on Philadelphia's WFIL-TV (1952) hosted by former radio DJ Bob Horn. When he was fired after a drunk driving arrest in 1956, Dick Clark was selected as his replacement.


The increasingly wide regional diversification of dance styles reversed on August 5, 1957, when Clark convinced ABC to broadcast his show nationally, becoming American Bandstand. Suddenly teens from coast to coast were seeing and copying the way the kids in Philadelphia danced, and that regional style soon became a national dance style. Three years later, the same thing would happen with the Twist, and from then on, teenagers got most their dances from television.


Other dances: In addition to the many styles of swing, there was also the Stroll, the solo version of Bop, Chalypso (American Bandstand's name for teen cha-cha), the line dance Madison (soon followed by the Hully-Gully), the Bunny Hop, various kinds of slow dancing, and more. The dance later known as the Twist was also done by teens in the mid-fifties, years before Chubby Checker made it a hit in 1960. (Watch the 1957 film Rock Baby Rock It for a good example.)



As a reference point, the most common style of swing in the late 1940s was:

Counts 1-2: Take a step, to walk through a swing move.
Counts 3-4: Take another step, to finish the swing move.
Count 5: Facing partner, rock back, in place.
Count 6: Replace weight forward, in place.
   Timing is slow-slow-quick-quick, 6-count swing. Some began with the rock step.
   With slower music, the walking steps could be replaced by triple steps.


   Changes made by teens in the 1950s:

Change 1) The walking steps were replaced by a tap-step, matching the strong backbeat of rock music.

Change 2) Side-close-side triple steps were replaced by hook-replace-side triples, with the strong side step emphasizing the backbeat.

Change 3) The tradition of executing one swing move after another was replaced by mostly dancing in place, holding one or both hands, with fewer swing moves.


Change 4) Push off with one hand, drifting back away from partner on counts 1-4. Then walk forward to your partner on counts 5-6. (Shown at left.) This replaced the rock step with walking forward.

Change 5) Some teens danced in place on counts 1-4, then traveled forward through a swing move on 5-6, or 4-5-6. This turned the figure inside-out — stationary where it used to travel, then traveling where it used to rock-step in place.

1) Tap in place
2) Step to side
3) Tap 2nd foot in place
4-5-6) Walk forward through a swing move.

A fancier version, in triple-time, shown by several fifties teens:

1) Tap in place
2) Step to side, backing away from partner
3&4) Step back on 2nd foot, close back taking weight, step forward on the 2nd foot.
5-6) Continue walking forward 2 steps, through a swing move.

Note: The 1970s "Latin Hustle" is exactly this same step.

This also became Sugar Push in West Coast Swing. Today WCS dancers usually begin with the above 5-6, with the follow walking forward to him before the same 1950s push-off on the 1,2,3&4 above.

Change 6) While some rock and pop music continued the triple "swung" feeling of blues and big band music, teenagers also danced to straight 4/4 music (similar to cha-cha rhythm) — an innovation from the 1950s which continued into 1970s disco, and then 1980s+ West Coast Swing.



All six of these changes continued when 1950s teen swing became the Hustle during the 1970s. Some believe that the Latin Hustle was created by Hispanics, from Cuban and Puerto Rican dances. But it was the 1950s rock'n'roll teenagers who invented all of these changes. New York Latinos do deserve credit for keeping this teen swing tradition alive from 1960 to the 1970s, while adding some of their own style, until it was reignited by the Disco scene.

All of these changes also continue today in West Coast Swing. Contrary to claims on some WCS web pages, 1950s teenagers deserve the credit for many or most of the fundamental innovations that defined West Coast Swing thirty years later.


— Richard Powers


Teen pop is a subgenre of pop music that is created, marketed and oriented towards preteens and teenagers.[1][7] Teen pop incorporates different subgenres of pop music,[7] as well as R&B, dance, electronic, hip hop and rock,[1][2] while the music of girl groups, boybands and acts like Britney Spears, is sometimes referred to as pure pop.[8][9] Typical characteristics of teen pop music include autotuned vocals, choreographed dancing, emphasis on visual appeal (photogenic faces, unique body physiques, immaculate hair styles and fashion clothes),[4] lyrics focused on love, relationships,[4] dancing, partying, friendship, puppy love (also known as a "crush")[10] and repeated chorus lines.[10] Its lyrics also incorporate sexual innuendo.[10] Teen pop singers often cultivate an image of a girl next door/boy next door.[4]
According to AllMusic, teen pop "is essentially dance-pop, pop, and urban ballads" that are marketed to teens, and was conceived in its contemporary form during the late 1980s and 1990s, pointing out the late 1990s as "arguably the style's golden era."[1] About.com's Bill Lamb described teen pop sound as "a simple, straightforward, ultra-catchy melody line [...] The songs may incorporate elements of other pop music genres, but usually they will never be mistaken for anything but mainstream pop. The music is designed for maximum focus on the performer and a direct appeal to listeners."[7]
In Crazy About You: Reflections on the Meanings of Contemporary Teen Pop Music (2002), Phillip Vannini and Scott M. Myers write that teen pop songs "are targeted to youths presumably unaware and unconcerned with the problems of everyday society. Youths are symbolized as mainly in growing up while having a good time."[10] Some authors deemed teen pop music as "more disposable, less intellectually challenging, more feminine, simpler and more commercially focused than other musical forms."[4] In Music Scenes: Local, Translocal and Virtual, author Melanie Lowe wrote that teen pop "is marked by a clash of presumed innocence and overt sexuality, a conflict that mirrors the physical and emotional turmoil of its primary target audience and vital fan base: early-adolescent middle-and upper middle-class suburban girls."[11]
Teen-oriented popular music had become common by the end of the swing era, in the late 1940s, with Frank Sinatra being an early teen idol.[4] However, it was the early 1960s that became known as the "golden age" for pop teen idols, who included Paul Anka, Frankie Avalon, Fabian, Lulu and Ricky Nelson.[7] During the 1970s, one of the most popular preteen and teen-oriented acts was the Osmonds,[7] where family members Donny and Marie both enjoyed individual success as well as success as a duo apart from the main family (Donny also recorded with his brothers as the Osmonds).
The first major wave of teen pop after the counter-culture of the 1960s and 1970s occurred in the mid to late 1980s, with artists such as Menudo, New Edition, the Jets, Debbie Gibson, Tiffany, Martika, New Kids on the Block[1][7] and Kylie Minogue.[12] In the early 1990s, teen pop dominated the charts until grunge and gangsta rap crossed over into the mainstream in North America by late 1991. Teen pop remained popular in the United Kingdom with the boy band Take That during this period, until the mid-1990s when Britpop became the next major wave in the UK, eclipsing the style similar to how grunge did in North America.[1]
In 1996, British girl group Spice Girls released their debut single "Wannabe", which made them major pop stars in the UK, as well as in the US the following year. In their wake, other teen pop groups and singers rose to prominence, including Hanson, the Backstreet Boys, *NSYNC, Robyn, All Saints, S Club 7, Five, B*Witched, and Destiny's Child.[1][7] In 1999, the success of teenaged pop singers Britney Spears, Christina Aguilera, Jessica Simpson, and Mandy Moore marked the development of what AllMusic refers to as the "pop Lolita" trend,[1][7] sparking the short careers of upcoming pop singers such as Willa Ford, Brooke Allison, Samantha Mumba, Jamie-Lynn Sigler, Mikaila, Amanda, Nikki Cleary and Kaci Battaglia. In 2001, artists like Aaron Carter, Swedish group A-Teens, girl groups 3LW, Play, Eden's Crush and Dream and boy bands O-Town, B2K and Dream Street were teen pop artists who achieved success. In Latin America, successful singers and bands appealing to tweens and teens were Sandy & Junior,[13] RBD[14] and Rouge.[15]
According to Gayle Ward, the demise of this late 1990s teen pop was due to:
1990s and early 2000s teen pop artists eventually entered hiatuses and semi-retirements (*NSYNC, Dream, Destiny's Child) or changed their musical style, including the Backstreet Boys, Britney Spears, Christina Aguilera, Jessica Simpson, Mandy Moore, 3LW and Aaron Carter.[7] Many teen artists starting incorporating genres such as pop rock, contemporary R&B and hip-hop. B2K, a hip hop/pop/R&B group, consisting of four teenage black boys, so they were considered a boy band and was popular across the world, though they were only active from 2000 to 2004. Their style of music was very different than other teenage artists, sounding more mature than the typical boy band, though the members were all in their mid-teenage years as well.
In the early and mid-2000s, teenage singers such as Rihanna and Chris Brown achieved success, indicating new relevance of teen-oriented pop music.[7]
The introduction of Canadian singer Justin Bieber, a protégé of Usher, created a resurgence of interest in teen pop, especially of the traditional male teen idol. At the time of his debut album's release, Bieber set records as the only four songs in to the top forty of the Billboard Hot 100, the first artist to send all songs from an album in the Billboard Hot 100.[17]
In 2005, AKB48 was created to promote idol culture and Japanese pop nationwide and overseas followed by the expansion of sister groups and rival groups locally and internationally over the years. In 2016, SNH48, as AKB48's second international sister group, announced its local Chinese sister groups like BEJ48, GNZ48, SHY48 and CKG48 to integrate idol culture with a Chinese twist.
In 2010, the creation of Ark Music Factory helped contributed a new generation of teen pop artists via the internet, such as Rebecca Black and Jenna Rose, despite major criticism with these artists due to the excessive use of auto-tune. As for Japanese teen pop culture, the category of "idol" is playing an important role. Momoiro Clover Z is ranked as number one among female idol groups according to 2013–2017 surveys.[18]
By 2020, K-Pop has arguably dominated teen pop the world over, with groups such as Red Velvet and Mamamoo[19]
^ a b c d e f g h i j k Teen Pop Music Genre Overview AllMusic Staff. AllMusic. Retrieved June 23, 2018
^ a b c d e f g h Greene, Doyle (10 January 2014). Teens, TV and Tunes: The Manufacturing of American Adolescent Culture. ISBN 9780786489725.
^ Marshall, Britnee (October 24, 2012). "What is Synthpop?". KSJS. Retrieved June 10, 2018.
^ a b c d e f Pop Cult: Religion and Popular Music Till, Rupert (2010)
^ Frere-Jones, Sasha (April 6, 2006). "Mariah Carey's Record-Breaking Career". The New Yorker. Retrieved December 17, 2020. And young white pop stars—including Britney Spears, ’N Sync, and Christina Aguilera—have spent much of the past ten years making pop music that is unmistakably R&B.
^ "Britney Spears: Sexpot or virginal teen?". Entertainment Weekly. November 14, 2001.
^ a b c d e f g h i j Lamb, Bill. "Teen Pop". About.com. Retrieved January 28, 2007.
^ "'Britney Spears is a genius': Max Martin, the powerhouse of pure pop". the Guardian. October 25, 2019.
^ "Why bands are disappearing: 'Young people aren't excited by them'". the Guardian. March 18, 2021.
^ a b c d Vannini, Phillip; Myers, Scott M. (2002). "Crazy About You: Reflections on the Meanings of Contemporary Teen Pop Music". Cite journal requires |journal= (help)CS1 maint: multiple names: authors list (link)
^ Bennett, Andy; Peterson, Richard A. (April 7, 2004). "Music Scenes: Local, Translocal and Virtual". Vanderbilt University Press – via Google Books.
^ True, Chris. "Kylie Minogue Biography, Albums, Streaming Links". AllMusic. ...took her out of the stifling world of teen pop...
^ In their Brazilian homeland, dynamic teen siblings Sandy & Junior are a million-selling phenomenon. Billboard
^ RBD’s Life Is a Mexican Soap Opera in More Ways Than One The New York Times (July 17, 2006)
^ South America Loves it's 'Popstars' Billboard (via Google Books)
^ Wald, Gayle. "'I Want It That Way': Teenybopper Music and the Girling of Boy Bands" Archived 2002-08-10 at the Wayback Machine. Retrieved January 27, 2008.
^ "Official News: Good Morning America and My World Pt 2". Island DefJam. 2009-11-13. Archived from the original on 2010-05-18.
^ "ももクロ、初のAKB超え タレントパワーランキング". Nihon Keizai Shimbun (in Japanese). 24 June 2013. Retrieved 26 July 2013.
タレントパワーランキング トップ100. Nikkei Entertainment (in Japanese). Nikkei BP (June, 2013): 48–49. 2013-05-04.
タレントパワーランキング トップ100. Nikkei Entertainment (in Japanese). Nikkei BP (June, 2014). 2014-05-02.
タレントパワーランキング トップ100. Nikkei Entertainment (in Japanese). Nikkei BP (June, 2015). 2015-05-02.
タレントパワーランキング トップ100. Nikkei Entertainment (in Japanese). Nikkei BP (June, 2016). 2016-05-04.
タレントパワーランキング トップ100. Nikkei Entertainment (in Japanese). Nikkei BP (June, 2017). 2017-05-04.
^ Vogue, Teen. "The Best K-Pop Moments of 2020". Teen Vogue. Retrieved 2021-04-20.
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