What was with all these teen heartthrob Bobbys within the ’60s? : NPR

For fairly some time now, I have been often called Bob. However again within the Fifties and early ’60s, I used to be Bobby.

And you understand how little youngsters undergo a interval the place they suppose the entire world revolves round them?

Effectively, again then, I kinda had proof.

It appeared like each time I turned on the radio, Marcie Blane was singing that she needed to be “Bobby’s Lady.” And he or she wasn’t alone. Darlene Love was utilizing Phil Spector’s well-known “wall of sound” to let everybody know she was going to “Wait ’til My Bobby Will get Dwelling.” Lesley Gore was warning me about another woman who was out to lure me in “Run Bobby Run.”

And so they have been apparently all going to must struggle it out with the extra formidable Etta James, who was soulfully wailing about her one real love in “Bobby Is His Title.”

A child might get a posh, proper?

Fortunately for my psyche, I used to be already too previous to suppose any of this was really directed at me. However there was one other Bobby phenomenon again then: earlier than some British guys named John, Paul, George and Ringo arrived on our shores, a cadre of American Bobbys had been topping the charts: Bobby Day did it with “Rockin’ Robin” and its B-side “Over and Over” in 1958, and Bobby Darin with “Splish Splash” that very same yr.

And earlier than lengthy, Bobbys have been in every single place.

Bobby Vee had six high ten Billboard hits within the Nineteen Sixties, together with “The Evening Has a Thousand Eyes,” “Take Good Care of My Child” and that one the place he hiccupped that like a “Rubber Ball, I will come bouncin’ again to you-ooh-ooh-hoo-ooh.”

Bobby Vee was shortly one-upped (or possibly two-upped) by Bobby Vinton, who had eight high ten hits within the ’60s together with so many blue-themed songs – “Blue Velvet,” “Blue on Blue” — that should you’d requested me who sang “the blues” again then, I’d effectively have stated him.

There was additionally Bobby Rydell, who parlayed a bunch of high ten hits (“Volare,” “Neglect Him,” “Wild One”) into an appearing gig as Ann-Margret’s boyfriend Hugo within the film musical Bye Bye Birdie (although he barely bought to sing in it). And on the soul charts, Bobby Womack (“I am Lookin’ for a Love”), Bobby Lewis (“Tossin’ and Turnin'”) Bobby Freeman (“Do You Wish to Dance”), and Bobby Smith of the Spinners. Nation Bobbys included Bobby Goldsboro (“Tears of a Clown”), Bobby Naked (“Detroit Metropolis”), and Bobby Sherman (“Little Girl).

All these Bobbys have been teen idols, although most weren’t really in their teenagers. They simply appealed to bobby-soxers, who mounted their hair with bobby-pins. Among the singer Bobbys had such skinny, adenoidal voices that you just needed to suppose they could not have had careers earlier than microphones. They have been a breed aside. A well-liked breed.

It is smart that there would have been a variety of singers named Bobby as I used to be rising up, since there have been so much Bobbys again then. Within the Nineteen Thirties, Robert was the preferred boys title within the U.S. And within the Forties, it was the second hottest. (Only for reference, lately it is barely within the high hundred.) So there was nothing distinctive about Biggest Technology dad and mom just like the Darins, Rydells, Vintons, Vees, Goldsboros, Womacks and Shermans calling their little soon-to-be-crooners that. It will virtually be unusual if there hadn’t been a variety of teenybopper Bobbys within the Nineteen Sixties.

However their time was principally over by 1970. That was effective by me. By then I would personally graduated to Bob, and was extra more likely to be listening to Bob Dylan or Bob Seger. Or possibly to that “Splish Splash” Bobby — Bobby Darin — who’d graduated to a extra subtle sound, discovering jazz and leaving teenybopper-dom behind with songs like “Mack the Knife.”

I used to be sufficient of a theater nut to know that that specific track was from an off-Broadway present known as The Threepenny Opera. I would been going to touring reveals in Washington, D.C. since I used to be a child — they have been my music now — and in 1970 I lastly traveled to New York to catch my first musical on Broadway with out my people.

Sitting down in my seat on the Alvin Theater, I felt very grown up.

Then Stephen Sondheim’s Firm began, and what have been the primary lyrics?

“Bobby. Bobby. Bobby child, Bobby bubbi, Robby, Robert darling….”

This piece was edited by Clare Lombardo. The printed model was blended by Chloee Weiner with engineering help from Robert Rodriguez.