Adult listening and the decline of swing music (music history)

I was reading/thinking about the decline of big band and swing (in the US) recently. Of course, it didn’t happen all at once and had various causes (or, at least, I’ve seen debate on various causes). Mine is not about the rise of rock and roll, but rather earlier the rising dominance of vocal-focused pop (which, again, I full acknowledge existed and had popular works during the swing era). And, of course, I know there was also doo wop and some latin-inspired songs, too.

So, for music historians (or marketing historians), do you know if there was age-segmentation of what was listened to among adults in the latter half of the 1940s and early 1950s? Did 23 year old listen to the same music as 43 year olds? I expect their were some racial and ethnic and urban-vs-rural differences, as well. My understanding was jazz was mostly in the bebop era at the time, which was more “musician’s music” or at least for listening, rather than dancing. Which I would think would lessen it’s appeal. Not quite certain on when the era of samba dancing was. But my main interest is in to what degree there were age-based differences within racial/ethnic/regional groups.

Country Music, my dad was born in 1926 and never was into big bands. My mom was born in 1931 and went straight into the beginnings of Rockabilly as she grew up in west Texas and actually knew (and babysat for) the Holly family. Band was b into Hank Williams Senior and mom enjoyed rock from the beginning and b into the late seventies.

They said they listened to bug band on the radio but never bought big band records, heck they could barely afford a radio.

Bug music! :wink:

My parents were in the right age group, but all the records they owned were either classical (my father) or Broadway shows (my mother) so I’m strictly in WAG country here.

My guess is that the death knell for big bands was . . .

Frank Sinatra.

Record executives weren’t dumb. They saw the hysteria caused by Sinatra, and that vocalists were being featured more on radio, so naturally they began pushing the vocalists to the front, making the bands more or less interchangeable. That opened the door for everyone from Dinah Shore and Doris Day to Nat King Cole and Frankie Lane (and a few holdovers like Bing Crosby).