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40S and 1950S, from the Artistry (“Grassroots” Approach) to the Marketing of Artists

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40S and 1950S, from the Artistry (“Grassroots” Approach) to the Marketing of Artists Bobbi Miller Montgomery Wolf Final Paper 25 April 2018 Does America Want It That Way?: Investigating the Authenticity of the Boy Band Bubblegum pop music, the thorn in the side of some music fans and a benchmark of excellence for others. The foundation artists of the sub-genre, Britney Spears, *NSYNC, The Backstreet Boys, and others, were easy punching bags to music critics and other genre artists alike for their “cookie cutter” lyrics and “safe” aesthetic. However, one can draw that bubblegum pop was formed in the image of the American pop music landscape. In this day and age, the public deems this section of pop music as juvenile and a “phase” that everyone goes through but eventually they’ll graduate to a more “mature” form of music. While certain acts, like solo bubblegum pop artists, can be viewed through a universally accepted lens, one facet of bubblegum pop music goes through the proverbial “wringer”, the boy band. When anyone utters the name of a popular boy band, they are immediately transfixed with the same mental picture (and a sigh of disapproval, even though “I Want It That Way” holds a consistent spot on their workout playlist).The sound of screaming teenage girls, interviews that ask non-offensive questions but reveal just enough to keep their fans guessing, and the songs with perfectly romantic lyrics that are ambiguous in their intention but perfectly tailored for each and every one of their fans. These are the societal elements that are connected to all boy bands, not any specific group. The scrutiny that this type of pop music receives stems from the perception that boy !1 bands are not an “authentic” form or sub-genre of pop because of its kitschy style. However, there’s been a definite shift in the focus of American pop music, starting in the 1940s and 1950s, from the artistry (“grassroots” approach) to the marketing of artists. This pivot in the trends of pop music acts is most prevalently seen in the boy band, which one could assume would render the boy band as authentic to this trend, yet it still is not viewed as authentic to pop music, as a whole. A 2012 Rolling Stone article describes the boy band trend as, “…The basic concept of cute, unthreatening guys singing about love always ends up getting revamped for a new generation”.1 This begs the question of what determines the authenticity of the boy band as time goes on: its artistry or its marketability? Before this can be answered, it must be understood of how the boy band formed from the regular male pop vocal group and, on a grander scale, how the market, where boy bands thrive, was cultivated in American popular culture. In the beginning, male vocal groups occupied the same position in pop music as a solo artist, the target audience was the same. The segmentation of the market had a greater focus on genre, rather than other demographics, like age or gender. American popular culture had a greater focus on family but there was one area of society that was slowly gaining popularity, the teenager. Society couldn’t quite understand what the “teenager” was. In a 1945 New York Times article explaining “a ten-point charter framed to see the problems of growing youth”, journalist Elliot Cohen wrote, “In the current debate over teen-agers, the pendulum has swung between “What is wrong with our children!” and “What is wrong with us? One result is that the average parent finds himself bewildered”2. Eventually, the idea of American pop culture being centered around the teenager 1 Poll, Readers'. “Readers' Poll: The Best Boy Bands of All Time.” Rolling Stone, 28 Mar. 2012, www.rollingstone.com/music/pictures/readers-poll-the-best-boy-bands-of-all-time-20120328. 2 Cohen, Elliot, E (1945). A ‘Teen-Age’ Bill of Rights. New York Times, p.17. !2 began to spread and soon it became commonplace. With the popularity of movies like “Rebel Without A Cause” and activities like “sock hops”, the teenage fever that was centered around a sense of rebellion and fun was beginning to take over and soon it made its way to the world of pop music. Music began to adopt the light and fun sound that made audiences want to dance. The craze of artists, like Frank Sinatra and Elvis Presley, alerted the public and music labels to the gold mine that was the teenage market, especially teenage girls. These artists were conventionally attractive and sang songs with an emphasis on love that teen girls could easily fall for. This pivot in the market marked a prevalent change from “male vocal groups” of the first half of the 20th century to the easily marketable boy bands of the last half of the 20th century, which brought about defining the motifs found in their history, music, and marketing that reveal the standard of authenticity in boy bands. To begin, many music historians will trace the origins of what can be considered a true boy band to groups like The Ink Spots in the 30s and 40s. Though, the earliest incarnations of the boy bands weren’t what the general public would consider to be boy bands at all. In fact, these groups were simply labeled as “male pop vocal groups”. They dressed well, sang in close harmonies, and could be closely connected to the crooners of the time, like Perry Como and Dean Martin. However, the general consensus of many musicologists is that “The Beatles” were the impetus of the boy band. While The Beatles ended up taking over the world and revolutionizing the music world, they pioneered the formula for what boy bands became. As aforementioned, the teenage market had been escalated by the crooners and rock ’n’ roll artists of the time. They brought on the screaming and crying preteens with their personality, good looks, and dance moves (in the case of Elvis, especially). These artists became the litmus test for what !3 this market could behold, however, they were solo artists and there was potential for a pocket of the market to be isolated if fans didn’t like his personality or style. So, the best way to eliminate this problem was to increase the number of personalities and styles that could cater to a larger demographic of fans. Enter, The Beatles. Paul, Ringo, John, and George were The Beatles but they all were individuals, as well. This became the first indicator of the boy band: multiple personalities. Towards the end of the 1960s, The Beatles had long since abandoned their cookie cutter look but they left behind a direct influence to groups like The Monkees. The Monkees were one of the first instances of a completely corporately manufactured group. Scholar Matthew Stahl writes of the beginning of The Monkees, “The two producers rounded up their young Hollywood friends, hired a song-writing team, auditioned and selected four young men and produced a successful television show that ran for two seasons and a band that was productive for years afterward”3. To note, the concept for The Monkees was originally only intended to be a television series but found greater success as a band. The trend of corporately manufactured acts would serve as another indicator of the boy band, though there are many examples of groups starting organically. The 1970s would bring about the biggest stars in music and the further polishing of the boy band mold. Groups like The Jackson 5 and The Osmonds now were able to be marketed to a larger demographic of people due to the progress of the civil rights movement in the 1960s, which paved the way for a more diverse music industry. The days of segregated forums and concerts were coming to a close and more groups were able to perform on a national stage. It can still be assumed that there were still prejudices for certain acts, but acts like The 3 Stahl, Matthew. “Authentic Boy Bands on TV? Performers and Impresarios in The Monkees and Making the Band.” Popular Music, vol. 21, no. 03, 2002, pp. 307–329. JSTOR [JSTOR], doi:10.1017/ s0261143002002209. !4 Jackson 5 blurred the race lines and were able to receive critical acclaim to all of America. In the late 70s, the American public was introduced to Latin America’s answer to The Jackson 5 and The Monkees, Menudo. They was different because it was the first group to not have its members play their own songs. This characteristic would become indicative of what the American public would consider to be a “true” boy band and they were the first incarnation of what became the foundation for boy bands of the 1980s and 1990s. Menudo reached the peak of their success in the 80s. Though they found some success after the ‘80s, the group, which consisted of a rotating line-up of members, never had much staying power in the U.S. but they did pave the way for the top groups of the 80s: New Edition and New Kids on the Block. While Menudo were the hottest with Latin American audiences, these two groups took America by storm. New Edition, a group from Boston, took the model that Menudo used but added the layer of consistent members. They brought about a cool aesthetic and R&B music that was a welcomed change to the traditional pop sound. Their hits, “Candy Girl” and “Mr. Telephone Man” swept the charts. Similarly to Menudo, New Edition catered their music to minority audiences. Unlike in the '70s when the race lines were blurred, the 1980s brought about groups that had national success but also success in their own racial groups.
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