Frankie, Bing and the Bobby Soxers Case study

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Frankie, Bing and the Bobby Soxers

You chase autographs every night
You write fan mail through the day
You keep your head in the scrapbook
and you threw the cookbook away

Bobby sox baby, I’ve got to let you go
Bobby sox baby, I’ve got to let you go
You’ve got a head full of nothing but stage, screen and radio
-From “Bobby Sox Blues (Links to an external site.)Links to an external site.,” by T-Bone Walker (1947)

The popular music industry of the 1930s and early 1940s experienced massive changes that helped create the conditions necessary for the later emergence of rock ‘n’ roll. No longer exclusively the domain of Tin Pan Alley song-crafters, pop music was increasingly influenced by jazz, blues and country styles. Moreover, the invention and widespread application of technologies like the radio and sound film coupled with the expansion of press and media coverage allowed audiences greater access to artists than ever before. This access coincided with yet another shift in marketing and audience. By the mid-1940s pop music wasn’t just for grownups anymore. It was directed at a growing and increasingly powerful demographic, the youth of America.
America’s First Superstar
Elvis Presley. Michael Jackson. Beyonce. Taylor Swift. Each one of these household names owes a debt to Bing Crosby. While Crosby may have not have been the first true multimedia star most would bestow that title to Al Jolson he was far and away the most influential and most popular “all around” star of the first half of the twentieth century and would establish the model for the cross-platform acting, singing, dancing pop star for generations to come. Granted there was little opportunity for this type of stardom prior, considering that when Crosby broke into the entertainment industry in the late 1920s the commercial recording industry was less than thirty years old, radio had only been around since the beginning of the decade and sound films were literally in their infancy (the first “talkie,” Jolson’s The Jazz Singer came out in 1927). Nonetheless, he seized the opportunity like no other. Over his career he had 368 singles in the popular charts and scored thirty-eight #1 hits, more #1s than the Beatles and Elvis Presley combined. If that wasn’t enough, he was the top box office attraction in American cinema for over twenty years and during its peak years of the late 1930s, his radio show drew 50 million listeners per week.

Central to Bing’s success and popularity was his image as a lovable, easygoing, even that audiences could relate to. Fans didn’t just love Bing Crosby’s singing or acting, they loved him. Or at least the version of himself Crosby presented to the public. Through the concerted efforts of his management and publicity teams that helped carefully tailor his image in the press, helped select the songs he sang, and the film roles he chose, Crosby crafted a persona, a personality designed for mass consumption. In this regard, the multimedia superstars that followed him from Sinatra, to Elvis to the Beatles and beyond would all follow Bing’s lead.

As author Michael Campbell has noted “Crosby was cool before it was cool to be cool and hip before it was hip to be hip.” Musically, he communicated this affable, laissez-faire attitude through his “crooning” singing style that was at once intimate and universally appealing. He underscored his “coolness” by working across genre and race boundaries at a time when such attempts to bridge the color line were often met with derision. His duets with Louis Armstrong and jump blues pioneer Louis Jordan (more about Jordan in the Swing, Jump and Boogie lecture coming up next) went a long way toward popularizing black artists with white audiences while also reinforcing Crosby’s image. The excerpt below from David Brackett’s book Interpreting Popular Music discusses some of Crosby’s most popular recordings and his broad appeal.
Bing Crosby and Louis Jordan’s 1945 hit “My Baby Said Yes”

“A Tale of Two Recordings,” by David Brackett
In 1944, Bing Crosby rested securely atop the entertainment industry. Multiple tie-ins with the movie studios, movie theaters, recording studios, and radio stations saturated the United States and much of the Western world with his image and voice. His activities as entertainer in the armed forces, his pleasant roles in movies, and his affable presence as radio host all made him welcome in the homes of middle America as well as in the columns of critics, who referred to him with the collegial monikers of Der Bingle and The Groaner. Crosby [was the] All-American Everyman.

Critics praise[d]… recordings of Crosby primarily for his relatively sophisticated sense of swing for a popular singer, and for his ability to combine this with a relaxed type of vocal projection which exploited improvements in microphone and recording technology… Compared with early crooner types such as Gene Austin, Crosby possesses a greater dynamic range and variety of timbre; and he uses the microphone to exploit a wider range of possibilities rather than using it to emphasize only the softer end of the dynamic spectrum. Throughout the thirties and early forties, both jazz and minstrel influences lessened in Crosbys recordings, and he increasingly favored a wide variety of styles, including novelty numbers, hillbilly tunes, sentimental ballads, medium-fast swing, western style numbers, and proto-rhythm and blues.

Ill Be Seeing You was written in 1938 by Sammy Fain and Irving Kahal as part of the show Right This Way, and a version of it was recorded in the late thirties by the popular chanteuse Hildegarde. Following the re-release of Hildegardes recording late in 1943, many versions were subsequently recorded and/or released in 1944.

Bing Crosby recorded his version on February 17 with the John Scott Trotter Orchestra. He had begun featuring it on January 13, 1944 in his hour-long NBC radio variety show Kraft Music Hall, a show that gave him continual exposure in millions of homes; and he continued to include it on broadcasts until July 27, 1944. This recording first appeared on the best-selling retail record charts on April 22, 1944 and ascended to the number one position on July 1, 1944, where it remained for four weeks. Bing Crosby’s recording remained a total of twenty-four weeks on the best-seller charts.
“I’ll Be Seeing You” – Bing Crosby with the John Scott Trotter Orchestra
https://www.youtube.com/watch?v=abnNSWFsDCA
Several other recordings of the song appeared that year, including a performance sung by Frank Sinatra in his last record released with the Tommy Dorsey Orchestra (they had recorded the song in 1940). While it did not reach number one, the Sinatra/Dorsey version first appeared on the charts on May 20, 1944, rose as high as number four, and remained on the charts for a total of seventeen weeks. The positive public reception of Crosbys version of Ill Be Seeing You was not an anomaly: during the thirties and forties Crosby placed more records on the pop charts and had more number one hits than any other popular singer. Joel Whitburn (author of many books that compile Billboards popularity charts) rates him as the most popular recording artist during the period 1890-1954 on the basis of his chart success. In 1944 alone, Crosby placed fourteen songs on Billboard best-selling record charts and had six number one records; in addition to this, he produced three huge hits in collaboration with the Andrews Sisters. By comparison, Frank Sinatra, widely considered at the time to be Crosbys biggest rival as a solo singer, placed eight songs on the charts, with the highest of them ranking number four.
“I’ll Be Seeing You” – Frank Sinatra with the Tommy Dorsey Orchestra
https://www.youtube.com/watch?v=4kqjq6UaIEk
In his recording of Ill Be Seeing You, Crosby delivers the lyrics straightforwardly in his crooning vocal style. This delivery is meant to convey a feeling of intimacy and many listeners of the time felt that it did. Crosby believed that his popularity depended on the communication of presence,” achieved technically through the technique of close-miking. Owing at least in part to his many appearances in movies, and to the orchestral scoring which is reminiscent of movie musical scoring this song creates the impression of someone playing a role in a film. We can imagine Bing at an old caf, at a park across the way, in almost any small town in the United States in the early 1940s.

A careful listen to the these two versions of “I’ll Be Seeing You” underscore the way that Crosby was presented in his recordings. His singing and its ability to project his personality is the clear focus of the record. As David Brackett indicates in the paragraph above, thanks to the artful use of the microphone, Crosby’s voice is exceptionally clear and “present.” Bing opens and closes the title line, “I’ll Be Seeing You” in a way that seems to reach out and connect directly to the listener. By contrast, the Tommy Dorsey version with Frank Sinatra (recorded before Sinatra’s rise to super-stardom) passes around the spotlight from the band to the singer to instrumental soloists and intended as a dance number.

Frankie Leads a Generation
Despite his phenomenal popularity, Bing Crosby as singing star was more the exception than the rule in the world of American popular music during the 1930s and early 1940s. It would take the talent, looks and charm of his successor helped along by the economic and social impacts of a World War, the end of the Great Depression, and an ever-expanding media industry to make the singer the singular star of the music biz. Throughout the (roughly 1935-1945), big band jazz ruled supreme and it was the bandleaders who were the stars of the day. Large jazz orchestras of twenty or more musicians, led by the likes of clarinetist Benny Goodman, pianist Duke Ellington, and trombonists Glenn Miller and Tommy Dorsey, played the latest hot jitterbug and sweet ballad styles in ballrooms and on live radio broadcasts for dancing crowds all over the nation. Each of these bands typically employed a singer (or three), but at best the vocalists would be featured on only a handful of tunes each night. It wasn’t until Frank Sinatra, following in the footsteps of Bing Crosby and riding on the wave of his success as a featured singer with the Harry James and Tommy Dorsey Orchestras, made a go of it as a solo artist that the now-standard singer as pop icon model was formed.

Below are two clips of hit songs from the Swing Era. The first is of the most popular song of 1939, Glenn Miller’s “In the Mood.” The second is Frank Sinatra’s rendition of the pop standard, “Stardust” from 1943. Listen to and watch the clips, paying attention to what appears to be the focus of each performance. As you watch “Stardust” keep in mind the very different way Sinatra was featured in the Tommy Dorsey Orchestra version of “I’ll Be Seeing You” above.
A promotional film of the Glenn Miller Orchestra performing “In the Mood”

Frank Sinatra performing “Stardust” on Lucky Strike’s Hit Parade.
https://www.youtube.com/watch?v=Pn27HYX_DYI
…and the Bobby Soxers Follow
But who was it that propelled Sinatra to the top of the music world? Who was it that bought his records and started near-riots wherever he went (more on this below)? The same (relatively speaking) audiences that went crazy for Justin Beiber, *N’Sync, New Kids on the Block, etc. Today we’d call them teenage girls, but back then they were called Bobby Soxers. The teenager, at least as a unique segment of society, was a fairly new phenomenon in the 1940s. The idea of adolescence as a distinct period of life between childhood and adulthood was unheard of before the early twentieth century and for much of the first four decades of that century the notion was more of a theory than a reality. Between 1910 and 1930, an average of only 30% of Americans between the ages of fourteen and seventeen attended high school and less than 15% graduated. Instead of attending school, most Americans in this age group started working as soon as they were able, essentially forgoing the transitional phase of life now associated with the teen years. By 1940, thanks to urbanization, laws requiring education and an improved American economy, more than 70% of teenagers were enrolled in high school.

Businesses and advertisers were quick to recognize the consumer potential of this growing segment of the population and tailored products and marketing campaigns toward teens, particularly teenaged girls. Magazines and newspapers began appealing the teen market in the 1930s, publishing articles and columns directed at young girls. Founded in 1944 and an instant success, Seventeen magazine would become the go-to source for the latest trends in fashion and music (and argument can easily be made here as to whether the industry/media or the teens were making the trends). The “typical” (and I use the term here loosely and with full awareness of its shortcomings) teenage girl of the 1940s self-identified through these fashions and music. For many it was the style of the knee-length skirt and short white socks (the bobby socks look) and the sound of Frank Sinatra that spoke to them.

“The Voice and the Kids” (1944), by Bruce Bliven
At nine oclock in the morning, the Paramount Theatre is full and already the line outside, waiting to buy tickets, goes around the corner. But today is nothing; you should have been here Thursday, which happened to be a legal holiday in New York. On Thursday there were 10,000 trying to get in, and 150 extra policemen totally failed to keep order. Shop windows were smashed; people were hurt and carried off in ambulances. Because the average fan stayed for two or three performances, the trouble outside went on all day. Out of 3,500 who were in their seats when the first show began, only 250 came out when the second show started. Some people were in line before midnight of the previous day. One man said he had tried to buy an early place in line for his daughter for $8, but had been refused. A woman, in line with her daughter long before the doors opened, said the girl threatened to kill herself if kept home.

This, as you have guessed, is the magic spell of The Voice, a phenomenon of mass hysteria that is seen only two or three times in a century. You need to go back not merely to [Charles] Lindbergh and [Rudolph] Valentino and Admiral Dewey, to understand it, but to the dance madness that overtook some medieval German villages, or to the childrens crusade. The Voice wields a not inconsiderable power. He can break up a demonstration for someone, as important as Governor Dewey, merely by appearing on the sidelines. He needs a hollow square of policemen to protect him anywhere he goes; his telephone calls swamp any switchboard; his mail runs into the thousands per day. So does his income; he averages more than $20,000 a week the year around, and in some busy weeks earns as much as $30,000, which is about $4,300 per day. His admirers send him all sorts of presents, and when he advises them to put their money into war bonds, they try to give the war bonds to him, or one of his children. One girl wore a bandage for three weeks on her arm at the spot where Frankie touched me. Another went to fifty-six consecutive performances in a theatre where he was playing (this means five or six performances a day). Merely to see him cross the sidewalk from an automobile to a broadcasting station, young idolators lined up five hours in advance.

Two girls picked up by police in Pittsburgh had spent their whole savings and run away from their home in Brooklyn because The Voice was appearing in the Pennsylvania city. A soldier who happens to have the same name gets burning love letters by the dozen. When he appeared in public (he resembles The Voice) he was mobbed by feminine admirers who tore off most of this clothes. The Voices home is invaded nearly every day by young girls who make a pretext of asking for a drink of water, or to use the bathroom. Trained nurses have to be on the premises in any theatre where he appears, to soothe the hysterical. (Some of those who faint have gone ten or twelve hours without food, to see successive performances.) It is something to think about.

At 9:10 A.M., inside the theatre, the over-ornate red and gold decorations, somebodys idea of the last word in luxury, are almost submerged under a sea of youthful femininity. The house is already packed, but the watchful ushers will not let them stand in the aisles, and therefore the many hundreds who are waiting are shepherded behind glass in the lobby. Four-fifths of those present are of the feminine sex and of these, at least four-fifths belong to the bobby-socks brigade, age perhaps twelve to sixteen. Hundreds of them are wearing the polka-dotted blue bow tie popularized by their idol. Although his appearance is still an hour away, they are in a mood to squeal, and squeal they do. The movie which grinds its way across the screen is a routine affair, but the bobby-socksers [sic] take it big, with wild bursts of applause in unexpected places.

The electric contagion of excitement steadily mounts as the film ends and the stage show begins. Everything gets twice the reception it deserves. Then, at a familiar bar of music, the crowd goes completely crazy. It is the entrance cue for The Voice, which was instantly recognized by the devout. The shrieks rise to a crashing crescendo such as one hears but rarely in a lifetime. Through the portieres at the side of the stage comes a pleasant appearing young man in an expensive brown tweed coat and brown doe skin trousers. With gawky long steps he moves awkwardly to the center of the stage, while the shrieking continues. The bobby-socksers are on their feet now, applauding frantically. A few of them slump into their seats, either fainting or convincing themselves that they are doing so. Some of them rush down the aisle to get as close as possible to their hero. (When he leaves the theatre, a double line of police has to fight back the adorers who yearn to touch him, as, in the Middle Ages, victims of disease sought the healing touch of the king.)

Standing at the microphone, he looks, under the spotlight, like a young Walter Huston [a major film and Broadway star of the 1920s and 1930s]. He has a head of tousled black curls and holds it awkwardly to one side as he gestures clumsily and bashfully with his long arms, trying to keep the crowd quiet enough for him to sing Embraceable You. Contrary to expectation, he appears in excellent health, with a face that seems tanned, not made up. A girl sitting by me says, Look, he has broad shoulders, and her boyfriend replies scornfully, Aw, nuts! Pads! Obviously he is right.

Now, having with difficulty created a partial state of order, The Voice performs. Diffidently, almost bashfully, yet with sure showmanship and magnificent timing, he sings five or six songs, with intervals of patter between them. His voice, to this auditor, seems a pleasant, untrained light baritonea weak one, were it not boosted in power by the microphone. His talk is inconsequential chatter, which I assume was written for him by someone in the entourage that naturally goes with an income of $1,100,000 a year. He complains a little about highbrow psychologists who write articles about him; carries on a routine artificial feud with Bing Crosby (who of course is not present). One or two of his songs were evidently chosen to elicit a frantic response from the audience. When he sings sadly Ill Walk Alone, the child sitting next to me shouts in seemingly genuine anguish, Ill walk widya, Frankie, and so, in various words, do several hundred others. When the song says that nobody loves him, a faithful protagonist on my right groans, Are you kiddin, Frankie? Then the whole audience falls into an antiphony with him, Frankie shouting No! and the audience Yes! five or six times, the point in debate being whether he is popular or not.

Presently he is singing a songEverything Happens to Mewhich seems to be a running diary of his recent life. He brings in the fact, skillfully and without offense, that he recently had tea with the president. Frankie is a Roosevelt fan, he and his wife have given $7,500 to the NCPAC and, if his adorers were old enough to vote, he could win the election single-handed. He breaks all rules for romantic heroes by talking about his wife and two children and mentions the fact that another child is on the way. Far from being repelled by this evidence of domestic bliss, his audience seems enraptured. They shriek, even during his songs, until he is forced to take steps. Shut UP! he cries, with mock ferocity. The kids see through him; they understand perfectly that he doesnt mean it.

Another song, and he has vanished, amid a continuing hailstorm of those astonishing high-pitched shrieks. Instantly the orchestra swings into The Star-Spangled Banner, and twin spotlights center on American flags whipping in the breeze created by electric fansobviously the only way to avoid a riot.

What is the cause of it all? It is reasonable to suppose that it began as a publicity stunt, with the first swooners and screamers hired by a press agent. (The young man who threw eggs at Frankie the other day admitted he had been paid $10 to do so, by a reporter.) But today, it is a genuine mass phenomenon, far beyond the power of any press agent to control. Thousands of girls profess to be spellbound just from hearing The Voice over the radio, never having seen him in the flesh. Undoubtedly, just plain sex has a great deal to do with the whole matter. If the bobby-socksers were a little older, much of it might be explained, at least partly, in terms of wartime frustration, with 11 million young men away in uniform. Doubtless the phenomenon has several sources. Partly, it has become a fad now, with girls of a certain age, to join in the hysterics. You go expecting to be overpowered, and if you werent, youd feel you hadnt had your moneys worth. But it runs deeper than that. Although I am told that devotion to The Voice is found in all classes of society, nearly all of the bobby-socksers whom I saw at the Paramount gave every appearance of being children of the poor. Oddly enough, this fragile young singer has, among other qualities, a sense of strength and power: there is a solidity and sureness about him that are out of all proportion to his physical frailness. I would guess that these children find in him, for all his youthfulness, something of a father image. And beyond that, he represents a dream of what they them selves might conceivably do or become. He earns a million a year, and yet he talks their language; he is just a kid from Hoboken who got the breaks. In everything he says and does, he aligns himself with the youngsters and against the adult world. It is always we and never you.

But my strongest impression was, not that Frankie means so much to the bobby-socksers, as that everything else means so little. Our civilization no doubt seems wonderful to the children of half-starved, dictator-ridden Europe; our multiplicity of gadgets is the envy of the world. And yet, if I read the bobby-socksers aright, we have left them with a hunger still unfulfilled: a hunger for heroes, for ideal things that do not appear, or at least not in adequate quantities, in a civilization that is so busy making things and selling things as ours. Whatever else you may say of the adoration of The Voice, it is a , a selfless idolatry which pays its 75 cents at the box-office and asks in return only the privilege of being allowed to ruin its vocal cords. Perhaps Frankie is more important as a symbol than most of us are aware.

Frank Sinatra’s success was to some degree a product of circumstance and timing. There may not have been a chance for him to capture the American imagination if not for Bing Crosby’s phenomenal solo success in the decades before. Without the rise of the bobby soxer generation and the wealth of radio programs and magazines directed at them, Frankie might have been just another singer with a band. It also didn’t hurt that his early career coincided with the dearth of male objects of youthful affection brought about by World War II. As they often say, “timing is everything” and that old adage is rarely more true than when it is applied to popular culture.

While Frankie and Bing’s music would never be confused for rock ‘n’ roll, their success as pop stars helped cast a mold that the rock stars of the coming decades would be forged from. They created images that appealed to the masses while allowing their talents to shine through. They weren’t just singers or actors, they were personalities, personalities strong enough to draw the public spotlight away from bandstand and the dance floor. By doing so, “Der Bingle” and “The Voice” paved the way for the superstar and for legions of adoring young fans to swoon over the likes of “Elvis the Pelvis” and “the Fab Four.”

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