By Lenaya Luckett: UNIV168 Intern and Mellon Grant Recipient
The 1970s and 2010s have more in common than some might think, and no, it isn’t the fashion. The colorfully coordinated outfits of the 70s drastically outperform the skinny-jean trend of the 2010s. Despite these stylistic differences, one detail remains strikingly similar: the dynamic between fans and artists. It’s easy to assume that this level of devotion — letters bordering on fan fiction, imagined personal connections, or the belief that one might actually have a chance with a favorite band member — is a product of the digital age. The boy band craze of the 2010s is often treated as something unprecedented, fueled by social media platforms like Instagram and Tumblr, where fans could post in real time, craft elaborate narratives, and experience seemingly intimate interactions with their favorite performers. However, history suggests otherwise.
During my internship with Old Dominion University’s Special Collections and University Archives department, I had the opportunity to view the Gene Loving Collection. Loving was a well-known concert promoter and Radio/TV personality in the Hampton Roads area, leading many fans to view him as a direct connection to their favorite artists and bands. While it was easy to find the address of Loving’s workplace, the same could not be said for locating where their favorite musicians lived. As a result, Loving became a perceived bridge between fans and the artists they adored. Fans- including a young girl from Norfolk and the Girls Club- sent him heartfelt letters and petitions, hoping he could bring them closer to the celebrities they idolized.
During my research in this collection, I came across a letter written by a thirteen year old fan of the Osmond Brothers who was very convinced that the members of the boy band knew who she was. Seemingly, the original letter went unanswered, prompting the eager fan to send it once more. Included with her letter was a passionately written fictional story about a teenage girl meeting her favorite celebrity. Today, writing like this would fall under the category of fan fiction – stories created by fans about popular characters or public figures. She titled her story “A Week of Enchantment.”
Reading this story immediately brought to mind more recent forms of fan fiction from the 2010s. The narrative closely resembles popular stories from that era, like those in which a fan is “sold to” the band One Direction by a parent. In her story, the fairytale week starts off by her winning a contest that earns her a week with The Osmonds. The young author writes that, despite being only thirteen years old, she arrives at the airport to meet the boy band without parental supervision, accompanied only by disc jockey Gene Loving, because he coordinated the contest.
As the story unfolds, the week develops like a carefully scripted teen romance, with the opportunity to attend all three Norfolk performances by her favorite band not even being the highlight. While attending one of the shows, the narrative describes Donny Osmond sweetly singing his hit songs “Sweet and Innocent” and “Puppy Love” directly to her. The young author of this story suggests that these songs perfectly capture her “week of enchantment,” emphasizing that although they may be too young, their feelings are genuine. By the end of the story, the band’s ongoing tour and the end of the contest week force the two teenagers to say goodbye. Rest assured, the story does not end before indulging in several classic young-adult romance clichés: a chaperoned amusement park date, a movie, and a kiss on the front porch.
While one teenage girl was imagining her fairytale at home, other Norfolk teens were channeling their devotion into something more tangible. After The Osmonds performed three shows at the Hampton Roads Coliseum on April 3, 1972, local fans were left wanting a performance of their own at Norfolk’s Scope. Though the distance between Hampton and Norfolk was relatively short, attending the Coliseum shows required crossing the water — at least a thirty-minute drive through the tunnel. Today, that commute may seem minor. In 1972, however, for a fan base composed largely of teenagers dependent on parents for transportation — and with concerts scheduled during the school and work week — the journey presented a significant barrier. Even so, this did not stop young fans from advocating for the show they believed they deserved.
Rather than accept defeat, Norfolk’s young fans organized. The effort began with the local Girls’ Club, whose members drafted a letter to Gene Loving — the promoter responsible for the band’s Hampton performances — and attached a petition signed by 505 supporters. In their letter, the girls emphasized their dedication: they choreographed dances to the brothers’ songs and knew every lyric by heart. The petition represented impressive grassroots enthusiasm, especially considering it required gathering physical signatures one by one. Despite getting over 500 signatures, the girls fell way short of the capacity of The Scope, which was 13,000. Even if they had managed to get that many people to sign their petition, realistically, it couldn’t have happened. The Scope didn’t open until November 12, 1971, which left little to no time to plan, especially when completion dates aren’t set in stone. Planning and preparation-wise, the show at the Coliseum made the most sense. Their petition may not have brought the Osmonds to Norfolk, but it showcased the resourcefulness and devotion that would define fan culture for decades to come.
My research showed me that while the world is constantly changing, one aspect of fandom has remained consistent: reactions to boy bands. Whether it’s the 1970s or the 2010s, these groups inspire some of the most creative and dedicated fans. Older generations often argue that modern fans are excessively enthralled, yet history shows that the passion is timeless — only the delivery system has evolved. In the 1970s, fans mailed stories to promoters in hopes they would reach a favorite band member; decades later, fans share their devotion online or at meet-and-greets, sometimes publicly, sometimes anonymously. Devotion to an artist or band has never looked one way. Some write stories. Others organize petitions. Still, regardless of decade or method, they share one constant motivation: a deep love of the music — and the people who create it.
Resources:
Link to the Gene Loving/LGA Productions Collection Finding Aid
Bringing 60s and 70s Pop, Rock and R&B to Hampton Roads: Featuring the Gene Loving/AGL Collection Digital Exhibition by Allan Blank Curator of Music Special Collections Maddie Dietrich
