A teenage tragedy song is a style of sentimental ballad in popular music that peaked in popularity in the United States in the late 1950s and early 1960s. Lamenting teenage death scenarios in melodramatic fashion, these songs were variously sung from the viewpoint of the dead person's romantic interest, another witness to the tragedy, or the dead or dying person. Examples of the style are also known as "tear jerkers", "death discs" or "splatter platters", among other names coined by DJs that passed into the vernacular.
Notable examples of teenage tragedy songs include "Teen Angel" by Mark Dinning (1959), "Tell Laura I Love Her" by Ray Peterson (1960), "Ebony Eyes" by the Everly Brothers (1961), "Last Kiss" by Wayne Cochran (1961), "Dead Man's Curve" by Jan and Dean (1964), "Leader of the Pack" by the Shangri-Las (1964). The genre's popularity faded around 1965 amid the British Invasion, but the form has inspired many similar songs and parodies since.
Origins and format By the mid-1950s, postwar youth culture in the United States was embracing rock and roll, and the folk revival was also approaching its zenith—the narrative style of many teenage tragedy songs would have similarities to folk ballads. Prison ballads (such as the Kingston Trio's "Tom Dooley", based on a folk song about a real murder) and gunfighter ballads (such as Johnny Cash's "Don't Take Your Guns to Town" and Marty Robbins' "El Paso") were also popular during the teenage tragedy song's heyday; "El Paso" was followed at #1 by two consecutive teenage tragedy songs, "Running Bear" and "Teen Angel".The teenage tragedy genre's popular era began with "Black Denim Trousers and Motorcycle Boots" by the Cheers, written by Jerry Leiber and Mike Stoller. Released just before James Dean's death in an automobile accident in the fall of 1955, it climbed the charts immediately afterward. Teenage tragedies featured specific thematic tropes such as star-crossed lovers, reckless youth, eternal devotion, suicide, and despair over lost love, along with lyrical elements that teens of the time could relate to their own lives such as dating, motorcycles and automobiles, and disapproving parents or peers. Contemporary girl groups borrowed the genre's melodramatic template and use of sound effects, orchestration, and echo for other story-songs.
Ethnomusicologist Kirsten Zemke considers these songs as forming a strictly musical genre that was bound by common themes, musical style, and production elements, and as being particularly of their time. As for their popularity, she writes:
Zemke also speculates that the popularity of teenage tragedy songs may be due in part to the many publicized deaths of young musicians and actors during their period of prominence, including those of Sam Cooke, Johnny Ace, Eddie Cochran, Buddy Holly, Ritchie Valens, and the Big Bopper.
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