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    Teen idols go on forever

    Over on the disco thread I made the point that back in the day, teen idol acts would fade away as their fans grew older, whereas now people like Justin Bieber just get recycled for new generations of pre- and barely-pubescents.

    Borracho suggesated a thread on it, noting that Westlife have been going for 15 years, whereas in the past they'd be past their sell-by date after three years.

    There is, of course, also the phenomenon whereby teen acts get refurbished as an adult act to appeal to their original audience once that audience is old enough to recall the past with nostalgic sentiments (cf. Take That).

    Past big teen idol acts had limited survival chances, even if they were quite good.

    Herman’s Hermits lasted a while -- six years before first and last UK Top 10 hit) -- but they were more like The Beatles: teens loved them, but older people, too.

    The Monkees were manufactured and lasted the allotted three years (less at the top).

    David Cassidy broke in 1970 with The Partridge Family, and extended his shelf-life by a couple of years. But by 1975, his career came to a halt.

    The Osmonds had a couple of years as Tiger Beat bait, before Donny and Marie became family primetime entertainment

    The Bay City Rollers cornered the teen hysteria market for two and-a-half years, from early 1974 to late 1976 (a little longer in Germany).

    Duran Duran had the teen market in hand from 1982 to mid-1985 (did they attract the teenies already with Girls On Film?).

    The Spice Girls had a run of four years, from 1996, though the bubble was already punctured by 1999. The Backstreet Boys had a similar timeframe of exciting young teens.

    However, some of Justin Bieber's first fans are now old enough to vote -- he's been having hits since 2009.

    #2
    Teen idols go on forever

    Am I wrong, or is the whole "Teen Idol" target demographic gotten younger?

    The Sinatra/Beatles "teens" were at least 16, and many were older, while your core Beleiber seems more likely to be a "tween".

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      #3
      Teen idols go on forever

      Quite a few early teen-idols had — and continue to have — lengthy careers.

      Paul Anka's still going strong I believe. Dion's lasted a couple of decades and Rick(y) Nelson's until his untimely death.

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        #4
        Teen idols go on forever

        ursus arctos wrote: Am I wrong, or is the whole "Teen Idol" target demographic gotten younger?

        The Sinatra/Beatles "teens" were at least 16, and many were older, while your core Beleiber seems more likely to be a "tween".
        I can testify that many of the Beatles early fans were a good deal younger than sixteen.

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          #5
          Teen idols go on forever

          Amor de Cosmos wrote: Quite a few early teen-idols had — and continue to have — lengthy careers.

          Paul Anka's still going strong I believe. Dion's lasted a couple of decades and Rick(y) Nelson's until his untimely death.
          They have longevity, but not at the top as teen-oriented stars.

          Anka pretty quickly reinvented himself as a easy listening singer. Bobby Darin also cut short his Splish Splash teen-targetted career, which he despised anyway, to sing with big bands and then became a folkie protest singer. Dion DiMucci dropped the pop act in 1965 after four or five years to become a serious blues musician.

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            #6
            Teen idols go on forever

            Yes but they didn't "fade away" as your opening sentence stated. They continued to have sustainable musical careers, with varying degrees of popularity.

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              #7
              Teen idols go on forever

              Amor, I was thinking more of their US period.

              You needed to be 16 to get into the Ed Sullivan Show, for example.

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                #8
                Teen idols go on forever

                That may be true. In the UK it certainly wasn't. I was fourteen when 'Love Me Do' was released, and going to the local dance-hall reasonably regularly. I was with girls my age, and there were a few from my school who I knew were a year or so younger.

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                  #9
                  Teen idols go on forever

                  Donny and Marie have been doing Vegas for 8 years.

                  She advertises some form of bullshit weight control thing, and he advertises furniture.

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                    #10
                    Teen idols go on forever

                    Amor de Cosmos wrote: Yes but they didn't "fade away" as your opening sentence stated. They continued to have sustainable musical careers, with varying degrees of popularity.
                    Fair enough. I ought to clarify then that I meant as teeny-bopper sensations. Though few who had a career after their teen-idol incarnation seamlessly segued into domain of older audiences. Elvis and The Beatles did, of course, as did Bobby Darin. Anka between 1963 and 1974 had no US top 20 hit, and no Top 100 entry 1964-68. So usually there was a "fading away" before the revival.

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                      #11
                      Teen idols go on forever

                      Early 60s White America was much more uptight about letting their daughters out of the house than was the case in the UK.

                      Which is a large part of the reason so many ran away a few years later.

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                        #12
                        Teen idols go on forever

                        Not sure it is fair to put groups up against individual artists. The forced nature of the boy/girl bands creates a different dynamic. Strangely some go on (Girls Aloud) and some follow the standard lose-a-member and split dynamic (One Direction).

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                          #13
                          Teen idols go on forever

                          Early 60s White America was much more uptight about letting their daughters out of the house than was the case in the UK.

                          Which is a large part of the reason so many ran away a few years later.


                          That's kind of interesting. I wonder if it had to do with proximity and community? The local dance hall, when I grew up, was regarded a bit like a youth centre. Somewhere close by — twenty minutes walk — where you'd meet friends, and knew most of those that weren't by reputation. I'm sure there were exceptions but certainly my parents never voiced any fears about it.

                          Having said that I was at a party with old friends last Summer. Gloria, recalled her first trip to the Mecca to see The Who when she was 14. Her mother said OK, provided she went with a friend and agreed to be picked up immediately afterwards. Gloria, being a big Who fan, like every Stevenage teenager, was desperate to get Keith Moon's autograph. She and her friend wheedled her way backstage where she got the autograph, and a bit more attention than she bargained for (nothing really serious apparently.) Several minutes later when her Mum arrived in the car her best friend immediately chimed up "Oooo... Mrs P, do you know what Keith Moon did to Gloria!"

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                            #14
                            Teen idols go on forever

                            caja-dglh wrote: Not sure it is fair to put groups up against individual artists. The forced nature of the boy/girl bands creates a different dynamic. Strangely some go on (Girls Aloud) and some follow the standard lose-a-member and split dynamic (One Direction).
                            Or some, like an old broom, lose all the parts and go on anyway.

                            Sugababes.

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                              #15
                              Paul Anka was a little different. He was (is) a gifted song writer and musician ("Put Your Head On My Shoulder" is a fine record) and was better equipped to survive. The likes of Fabian, Frankie Avalon and Bobby Rydell, reliant on other peoples songs, found it much more difficult. That and the fact that they were essentially talentless. Bobby Vee never got the credit he deserved for some of his late 60s/early 70s work.

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                                #16
                                Originally posted by Gerontophile View Post
                                Donny and Marie have been doing Vegas for 8 years.

                                She advertises some form of bullshit weight control thing, and he advertises furniture.
                                Donny and Marie are doing the Seminole Casino in Hollywood, FL this Summer

                                https://press.seminolehardrockhollyw...e-28-at-8-p-m/

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                                  #17
                                  Originally posted by adams house cat View Post
                                  Paul Anka was a little different. He was (is) a gifted song writer and musician ("Put Your Head On My Shoulder" is a fine record) and was better equipped to survive. The likes of Fabian, Frankie Avalon and Bobby Rydell, reliant on other peoples songs, found it much more difficult. That and the fact that they were essentially talentless. Bobby Vee never got the credit he deserved for some of his late 60s/early 70s work.
                                  Yeah I'd definitely put Dion in the "more than a pretty face" category, and also Ricky Nelson.

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                                    #18
                                    I'd argue that the Osmonds had a shade longer than two years in the spotlight - their 'moment' certainly lasted until 1975 in the UK, when they logged a final Top Five hit.

                                    Also, I'm not sure that Duran Duran really fit here: they obviously became pin-up material, but were a 'proper' band ahead of any teen-idol status. And if they're to be included, then there might also be an argument for Wham and Spandau Ballet - and then it gets murky. (Bros, for example, would fit the bill, I guess - deliberately marketed at teenage girls from the off.)

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                                      #19
                                      The beauty of OTF: after almost two years, the conversation resumes seamlessly.

                                      As for the Osmonds, the had two great years, from 1970-72. But between "Down By The Lazy River" in early 1972 and "Love Me For A Reason" in 1974, they had no US Top 10 hit, and only two Top 20 hits. And "Love Me..." was their chart swansong. Of course, Donny went stratospheric in that fallow period, but his last solo Top 10 hit (until 1988) was in 1973.

                                      He and Marie then became prime time entertainment, doing bizarre things to Steely Dan songs.

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                                        #20
                                        Originally posted by Jah Womble View Post
                                        Also, I'm not sure that Duran Duran really fit here: they obviously became pin-up material, but were a 'proper' band ahead of any teen-idol status. And if they're to be included, then there might also be an argument for Wham and Spandau Ballet - and then it gets murky. (Bros, for example, would fit the bill, I guess - deliberately marketed at teenage girls from the off.)

                                        Duran Duran said that they started out wanting to be a mixture of the Sex Pistols and Chic, didn't they? Those are pretty credible touchstones. The drugs and workrate still expected of pop acts in the '80s probably did for them more than actively attempting to be teen friendly. They used to be mocked for their artistic pretensions, Nick Rhodes leading the charge there. Even the yachts make sense in light of the Chic influence.

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                                          #21
                                          Hence The Osmonds spent a lot of their time in the UK after 1972, where, as a 'brand', they were to remain huge for 2-3 further years. (On the week ending 24/11/73, for example, they held three of the top six chart placings here: The Osmonds [#2]; Marie [#3]; Donny [#6]. When in Britain during September 1974, Donny & Marie were concurrently at #2 and the brothers at #1...)

                                          As has been documented, Donny and Marie spun it out for a few more years with that saccharine TV show of theirs: altogether now - "I'm a little bit country...I'm a little bit rock 'n' roll!"

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                                            #22
                                            Duran Duran did play, in marketing terms, to the teen market as time went on though. Until they had enough of that and did their Arcadia and Power House stuff. At which point they lost the Smash Hits audience. Which sort of was my point. Wham! could be listed as well, but George Michael called it a day before the teen fans could outgrow them.

                                            Of course, there's a world of a difference between Fabian, the Bay City Rollers and Duran Duran. What they had in common -- and that was the point of the OP -- was a short term of teenybopper adulation.

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                                              #23
                                              Sure, one 'could' include them - for the reasons you outline - but they weren't designed as such, therefore a myriad other acts would also get a pass, is my only point.

                                              From Bros onward, it became a far more delineated market: throughout the nineties, the production line of boy bands (and girl groups - although that market always seemed far more about 'empowerment' than mere 'squeal factor') was self-perpetuating and at near saturation point: Take That, Boyzone, Five, 911, Westlife, A1...and so it went on.

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                                                #24
                                                Yes, I'm a bit out of touch with how commercial pop works these days. Would it be right to assume that the extended lifespan of Bieber, et al, is industry led, in that album cycles and international tours are generally longer these days, rather than because the acts are so top notch that no one can knock them off their perches?

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                                                  #25
                                                  I'm sure it's that (the 'album cycle' thang), plus the absolute stranglehold a small number of labels and management companies have over the entire game nowadays. If they want Bieber et al to stay at the top for the next few years, then they can absolutely ensure that this happens.

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