1960. Elvis has been kidnapped by Uncle Sam. Buddy Holly is dead, and Little Richard has found the Lord. Into the vacuum rises a counterrevolutionary force of adenoidal adolescents like Bobby Vee, Frankie Avalon, Fabian and former Mouseketeer Annette Funicello. These pop puppets, with their Tin Pan Ailey songs and Sta-Brite smiles, actually managed to neutralize rock & roll’s threat for several years. It’s happening again. Welcome to the new Teen Age. In a distant demographic echo of the post-war baby boom, the American teen population has reached the kind of critical mass that makes the culture industry sit up and listen. Teen spending power is reshaping pop culture, filling our TV screens with teen dramas and our multiplexes with teen movies. It has also put a perky new beat on the pop charts, where the devotional vaporings of boy bands have vanquished the roiling rock angst of the early to mid-Nineties. ‘N Sync, Backstreet Boys and 98 Degrees are now choking on dust from the high-steppin’ heels of Miss Britney Spears. Spears, who shares a manager with ‘N Sync and a label with Backstreet Boys, screamed off the production line early this year and became the first solo artist of the Sound-Scan era to lodge a debut single and album atop the charts simultaneously, in the album’s first week of release. But for all the fan-mag prose that greeted Spears’ explosive marketplace entry, we know precious little about her beyond an image that hints at several stereotypes. Is Spears bubblegum jailbait, jaded crossover diva or malleable Stepford teen? Who knows? Whether by design or not, the queen of America’s new Teen Age is a distinctly modern anomaly: the anonymous superstar. Britney Spears: Inside the Mind and Bedroom of America’s New Teen Queen by Steven Daly. Rolling Stone, April 15, 1999.
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