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In The Pussycats' 1966 "Dressed in Black", (co-written by George 'Shadow' Morton, and originally a Shangri-Las B-side) and in "We Don't Belong" by UK singer Sylvan (1965), the heartbreak and melancholy are palpable - and in Sylvan's case, nearly suicidal. Some of the reasons suggested for this genre’s macabre popularity are: There were a number of publicized deaths of pop stars and young actors during that period, including Sam Cooke, Johnny Ace, Eddie Cochran; and of course the plane crash that killed Buddy Holly, Ritchie Valens, and the Big Bopper in 1959.Ethnomusicologist Kirsten Zemke considers these songs as forming a strictly musical genre that was bound by common thematic tropes, musical style and production elements; and as being of their time. This might explain the interest in songs around death, tragedy and sorrow." Teenagers meeting with tragedy in song was not new in the 1950s (or for that matter in the 1650s, around the time "Barbara Allen" was popular).Bill Monroe is known as the Father of Bluegrass, a specific style of country music.Many of his songs were in blues form, while others took the form of folk ballads, parlor songs, or waltzes.

Curtis Gordon's 1953 "Rompin' and Stompin'", an uptempo hillbilly-boogie included the lyrics, "Way down south where I was born / They rocked all night 'til early morn' / They start rockin' / They start rockin' an rollin'." Sharecroppers' sons Carl Perkins and his brothers Jay Perkins and Clayton Perkins, along with drummer W. Holland, had been playing their music roughly ninety miles from Memphis.A song that was thought to have referenced the Civil War was Paper Lace's 1974 hit "Billy Don't Be a Hero." Hard-rock acts recorded vehicular death scenarios such as "D. A." (Bloodrock, 1971), "Detroit Rock City" (Kiss, 1976) and "Bat Out of Hell" (Meat Loaf, 1977). Some songs merely updated the sound of the previous era, such as "Racing Car" by Dutch group Air Bubble (1976), while others used the melodic and stylistic tropes of teen tragedy in tougher, grittier settings, as in the Ramones' "You're Gonna Kill That Girl" (1977) and "7-11" (1981), The Misfits' "Saturday Night" (1999), and Eminem's "Stan" (2000).By the end of the 1970s, teenage tragedy would chart without the element of melodrama – in 1979, "I Don't Like Mondays" by the Boomtown Rats, written by Bob Geldof in response to a senseless school shooting in the news while he was on tour in the U. "Teen Idle" by Marina and the Diamonds (2012), evoking an archetype of disenfranchised youth, is a thematic heir to the original teen tragedy oeuvre.As for their popularity, she writes: "They sold well in their time, and the style has persisted throughout the decades in various forms. In literature, it has been a recurring and resonant theme over centuries, most notably in William Shakespeare's "Romeo and Juliet".Another early example in song is "Oh My Darling, Clementine", published in 1884 but based on earlier songs and apparently written as a parody. Recorded before his daughter Diane's apparent suicide in 1969, the record also included Diane speaking the reply, "Dear Mom and Dad".

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