4 (October 2008): 443444. It also featured vocal harmony groups from the Philadelphia area.18"Teen-Age 'Superiors' Debut on M.T. He popularized the idea that teenagers are an important consumer group. Bessie Smith was the first African-American singer. Differences in terms of station power and stability shaped the duration of each program. Reproduced with permission ofThePhiladelphia Tribune. a. This obsession with the "genuine" black experience proved fatal for the classic blues. Delta blues singers such as Charley Patton, Skip James, Son House and Robert Johnson slotted into the post-war counterculture's worship of untameable outcasts who lived tough, rootless lives a million miles away from bourgeois conformity. The Nicest Kids in Town: American Bandstand, Rock 'n' Roll, and the Struggle for Civil Rights in 1950s Philadelphia. tippy('#footnote_plugin_tooltip_1562_1_35', { content: jQuery('#footnote_plugin_tooltip_text_1562_1_35').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); WRAL, however, offered Teenage Frolics signal strength and stability, and Lewis's success at attracting advertisers and navigating station politics kept the program on the air for twenty-five years. "Afro-Americans who lived in communities as diverse as Chicago, Norfolk, and Buxton, Iowa, congregatedsometimes along class lines, but always together," Earl Lewis argues. For the writer Zora Neale Hurston, His Negroness is being rubbed off by close contact with white culture.". on Saturday, May 14th. Mapping a partial list of the groups that visited the studio highlights how many young people wanted to appear on the show and participate in its creation of black youth music culture. Unlike American Bandstand, or Soul Train, which started broadcasting nationally in 1971, The Mitch Thomas Show, Teenage Frolics, Teenarama Dance Party, and The Milt Grant Show are not well known outside of their local broadcast markets. Singer adopted the moniker Pop to advertise his connection with the show. Vermont Public Radio. It was the first national television program aimed squarely at teens, and it laid the groundwork for the baby boom generation, defining what teens listened to, how they danced and what they wore, ate and drank. When Clark initially referred to American Bandstand's "integration," he emphasized black musical artists performing on the show. a. accusations of Communism Bandstand began as a local program on WFIL-TV (now WPVI ), Channel 6 in Philadelphia on October 7, 1952. Arguing that television provided creative outlets for some black teens during segregation, Delmont focuses on three black teen shows, The Mitch Thomas Show from Wilmington, Delaware (19551958), Teenage Frolics (19581983), hosted by Raleigh, North Carolina, deejay J. D. Lewis, and Washington, DC's Teenarama Dance Party (19631970) hosted by Bob King. While it is tempting to see "Funtown" as somehow less important than these issues, to do so is a mistake. Archived reports of the Philadelphia Commission on Human Relations show that Bandstand was initially segregated in the early 1950s, when it was a locally broadcast show hosted by Bob Horn. Among these four programs, only one recording is known to exist,a 1957 episode of The Milt Grant Show recorded to sell the show to sponsors. What the show didn't do was fully integrate its studio audience as soon as he became host, as Clark has claimed. b. Phil Spector But what did hurt me was the fact that I had originated the song, and I never got the opportunities to be in the top television shows and the talk shows. Clarence Burton Jr., defending the station and raising a question about the teen dance show that predated Teenarama. Eustace Gay, "Pioneer In TV Field Doing Marvelous Job Furnishing Youth With Recreation,". The first Black "super couple" on "American Bandstand" was Famous Hooks and June Strode, still fondly remembered today by "Bandstand" enthusiasts In the "American Bandstand" dance contest in 1966, featuring dancers from all over the country, a brother and sister couple from Detroit, Lester and Leslie Tipton, won first place. "70Gayle Wald, It's Been Beautiful: Soul! Two or three times during the show, Clark would introduce singers or groups who would lip-sync their latest hits.2, As Americas only national deejay, Clark wielded enormous influence that figured prominently in the meteoric rise of both white and black performers. Lewis (WRAL), n.d. [ca. Beautiful, if you will.4, Critics have derisively called the Fabian-Avalon-Rydell, white-teen-idol side ofAmerican BandstandPhiladelphia Schlock, also tame rock and roll. Yet, as the historian Matthew Delmont observes, there was an edgier side to Clarks show, a side that hosted R&B vocal groups like the Shirelles; rockabilly and country-influenced artists like Brenda Lee, Johnny Cash, Conway Twitty, and Patsy Cline; and Motown artists such as Mary Wells and Smoky Robinson and the Miracles; as well as R&B and soul pioneers like James Brown and the Famous Flames, Marvin Gaye, and Aretha Franklin. It sounded like music from the margins, unloved and misunderstood. The qualities represented by the classic female blues singers resilience, solidarity, community, fun could not compete. "23Black Philadelphia Memories,dir. Broadcast icon Dick Clark, the longtime host of the influential "American Bandstand," has died, publicist Paul Shefrin said. Clark had Checker simplify the dance step by toning down the hip movement. This site requires Javascript to be turned on. As George Melly, one of the few critics to take the classic blues seriously in the 1960s, wrote, "there is a proportion of the worthless, the mechanical, the contrived, but there is also a gaiety, a vitality, a sense of good time.". You are signed in as (Sign out). As historian Earl Lewis has noted, when African Americans faced Jim Crow policies in parks, swimming pools, and movie theaters, they developed separate recreation sites through which they turned segregation into "congregation. Seventeen (WOI-TV's teen dance show), 1958. a. Dick Dale's guitar solos host and continued as the show became American Bandstand with Dick This series is guest edited by Grace Elizabeth Hale, Commonwealth Chair of American Studies, professor of history, and director of the American Studies Program at the University of Virginia. In his "Letter from a Birmingham Jail," Martin Luther King, Jr. spoke to what it meant for young black people to be excluded from these sorts of entertainment spaces. Bob King watches dancers on Teenarama, Washington DC, ca. "64Quoted in Ward, Just My Soul Responding, 48. tippy('#footnote_plugin_tooltip_1562_1_64', { content: jQuery('#footnote_plugin_tooltip_text_1562_1_64').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Baker, who appeared on The Milt Grant Show while she was in town to play the Howard Theater, performed "Jim Dandy Got Married" and "Play the Game of Love" on this episode. New York Black music and black dances originating in Philadelphia neighborhoods contributed substantially to the success ofAmerican Bandstand; yetAmerican Bandstandsdancefloor and bleachers were racially segregated, and some of the shows most popular dances were adapted without attribution from black neighborhoods. King and Goffin Hard-drinking, hedonistic, recklessly generous and sometimes violent, she sold a record-breaking 780,000 copies of her debut single, 1923's Downhearted Blues, in just six months and bought her own Pullman railway car to travel in. This problematic assumption has since resurfaced in writing about soul music and hip hop: the sound of suffering is considered more powerful and real than the sound of defiant enjoyment; pain is more authentic than pleasure. tippy('#footnote_plugin_tooltip_1562_1_20', { content: jQuery('#footnote_plugin_tooltip_text_1562_1_20').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Ray Smith, who attended American Bandstand frequently and has done research for one of Dick Clark's histories of the show, remembers that he and other white teenagers watched The Mitch Thomas Show to learn new dance steps. a. the Drifters ", The scholar Angela Davis calls Bessie Smith "the first real 'superstar' in African-American popular culture" (Credit: Getty Images), Like rappers decades later, the classic blues singers were flashy avatars of liberation and aspiration. A WOOK-TV advertisement in the 1965 Broadcasting Yearbook highlights the promise and precarity of the station that broadcast Teenarama Dance Party. In 1958, more than 20 years after her first performance at the Apollo Theater, Ellla Fitzgerald become the first African American to win a Grammy. b. Carole King tippy('#footnote_plugin_tooltip_1562_1_48', { content: jQuery('#footnote_plugin_tooltip_text_1562_1_48').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Soul Train and American Bandstand attracted nationally known performers, but on Teenage Frolics, teenagers participated in the show's creation and saw their neighbors, classmates, friends, and family do the same. These scholars and folklorists saw the "real" blues, by contrast, as a vanishing oral tradition from the rural South that needed to be captured and preserved before it disappeared completely. And that says more about our desire to embrace a more comforting narrative of racial progress than it does about Clark's legacy. [3] Ibid., 147; Jackson,American Bandstand, 30-31, 99-101, 107, 145-47; Lehmer,Bandstandland, 74-75. ", The explosive popularity of classic blues discs was a democratic revolution. 1966-67], Lewis Family Papers, folder 140. tippy('#footnote_plugin_tooltip_1562_1_43', { content: jQuery('#footnote_plugin_tooltip_text_1562_1_43').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Another letter complained that a local band, Irving Fuller and the Corvettes, appeared too often on the show,"Many of the people around Durham and elsewhere are bored of listening to the Corvettes. Who was first black artist on American bandstand? Sponsors that advertised on The Milt Grant Show bought interaction between their products and the show's teenagers. The "Blues Mafia" clique of record collectors (all white, all men) who established the blues canon after World War Two scorned the 1920s hits as commercial junk and sought out the obsolete flops that nobody else cared about. c. doo-wop Lewis (WRAL), letter to Dick Snyder, May 24, 1963, Lewis Family Papers, Southern Historical Collection,University of North Carolina at Chapel Hill, catalog number 5499, folder 139. Broadcast locally during the 1957 school integration crisis, the show featuredexclusively white dancers, includingHazel Bryan. If the iconic civil rights images from cities like Little Rock, Greensboro, and Birmingham attest to the fact that young activists struggled to be treated as first-class citizens, The Mitch Thomas Show, Teenage Frolics, and Teenarama emphasized that black youth were worthy of being first-class consumers and teenagers.72On the relationship between citizenship and consumption, see Lizbeth Cohen, A Consumer's Republic: The Politics of Mass Consumptions in Postwar America (New York: Alfred A. Knopf, 2003); Robert Weems, Jr., Desegregating the Dollar: African American Consumerism in the Twentieth Century (New York: New York University Press, 1998); Victoria Wolcott, Race, Riots, and Roller Coasters: The Struggle over Segregated Recreation in America (Philadelphia: University of Pennsylvania Press: 2012). Bodroghkozy, Aniko. And Steve's Show was not unique: Dick Reid's Record Hop in Charleston, West Virginia; Ginny Pace's Saturday Hop in Houston, Texas; John Dixon's Dixon on Disc in Mobile, Alabama; Bill Sanders's show in Chattanooga, Tennessee; Dewey Phillips's Pop Shop in Memphis, Tennessee; and Chuck Allen's Teen Tempo in Jackson, Mississippi were all segregated dance shows. "I watch your show every Saturday and enjoy it very much," one viewer wrote. Official Sites b. c. a combination of low chest singing and high falsetto pitches b. they were pop-oriented And his nationally televised American Bandstand influenced music, dance and fashion, establishing Clark as one of the savviest businessmen of the 20th century. tippy('#footnote_plugin_tooltip_1562_1_24', { content: jQuery('#footnote_plugin_tooltip_text_1562_1_24').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Mitch Thomas hosts Lewis Lymon and the Teenchords, Wilmington, Delaware, December 7, 1957, ThePhiladelphia Tribune. Clark inherited WFIL's local television show Bandstand (1952-56) from the deejay Bob Horn, who proved that teenagers liked watching their peers dance. They feared the backlash that might happen if Black boys danced close to white girls. Each show featured musical performances and records alongside dancing teenagers. 'all-black' Fridays (taking into account that the show was a Daily Filming & Production d. Ricky Nelson, A distinctive vocal feature of the Everly Brothers was: d. gentle soul, Ben E. King had been a singer with: Norma Coates, "Elvis from the Waist Up and Other Myths: 1950s Music Television and the Gendering of Rock Discourse," in. Overweight at age 40, Horn was neither boyish-looking nor telegenic, and, quite unlike Clark, he had a salacious reputation among his colleagues. from Baltimore. Whereas the likes of Ma Rainey travelled to the city to record their music, song collectors moved in the opposite direction, taking their recording devices to the South in order to capture what the leading folklorist John Lomax called "sound-photographs of Negro songs, rendered in their own native element". Ramsey describes "community theaters" as "sites of cultural memory" that "include but are not limited to cinema, family narratives and histories, the church, the social dance, the nightclub, the skating rink, and even literature. It elevated flops while ignoring the music that black consumers had actually enjoyed. The simplicity and profitability of the teen dance show format appealed to television stations, but airing images of youth music culture was a complicated proposition that involved television technologies, network affiliations, marketing, and racial segregation. Sisters Gwendolyn and Lena Horton, for example, regularly walked from the Walnut Terrace neighborhood to appear on the show. The program that preceded Dick Clarks American Bandstand at WFIL-TV was deejay Bob Horns locally popular Bandstand. Then it was hosted by Bob Horn and was called Bob Horn's Bandstand.On July 9 of 1956 the show got a new host, a clean-cut 26 year old named Dick Clark. And I always was like "wow." Ironically, the records that the Blues Mafia dedicated themselves to rescuing from obscurity have become far more famous than the smash hits of the 1920s. Show," Philadelphia Tribune, November 19, 1957. tippy('#footnote_plugin_tooltip_1562_1_18', { content: jQuery('#footnote_plugin_tooltip_text_1562_1_18').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Thomas promoted large stage shows as well as small record hops at skating rinks.19On Mitch Thomas' concerts, see Archie Miller, "Fun & Thrills," Philadelphia Tribune, December 4, 1956; "Rock 'n Roll Show & Dance," Philadelphia Tribune, April 19, 1958; "Swingin' the Blues," Philadelphia Tribune, August 5, 1958; "Mitch Thomas Show Attracts Over 2000," Philadelphia Tribune, August 18, 1958; "Don't Miss the Mitch Thomas Rock & Roll Show," Philadelphia Tribune, July 2, 1960. tippy('#footnote_plugin_tooltip_1562_1_19', { content: jQuery('#footnote_plugin_tooltip_text_1562_1_19').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); These events were often racially integrated,"The whites that came, they just said, 'Well I'm gonna see the artist and that's it.' Print fond memoriesThis pocket Bluetooth printer lets you print your precious memories before they hit Instagram. b. the Shangri-Las Broadcasting from Wilmington, Raleigh, and Washington, these shows reached regional audiences, but varied in terms of signal strength and network affiliations. The reputation of Bessie Smith, the subject of a newly updated 1997 biography by Jackie Kay, was kept alive by prominent admirers such as Janis Joplin and Nina Simone, while Rainey's was revived by August Wilson's 1982 play Ma Rainey's Black Bottom and, more recently, by George C Wolfe's movie adaptation. Broadcasting black musical performers on television was more challenging than radio, because television made the performers' bodies visible, and on dance shows like these, put their bodies in close proximity to those of dozens of teenagers. Cilla Black . Directed by Matt Wolf. Music was the glue that held together a carnival of consumption. Dick Clark, the nations first national deejay, began his stellar career in television at the podium of American Bandstand at WFIL-TV in West Philadelphia. . Dick Clark introduced records, and the camera followed teenagers as they selected partners to dance, writes historian Matthew Delmont. 224 likes, 8 comments - Jermaine (@therealblackhistorian) on Instagram: "Frankie Lymon and the Teenagers began in 1954 as a singing group founded at Edward W. Stitt . don Cornelius wanted to make a black American bandstand. Queen Charlotte: A Bridgerton Story Is Our TV Pick Of The Week, Small Town Horror Story: The Racist Attack Of A FedEx Worker. Ethel Waters became, at one point, the highest-paid actress on Broadway. "Seventeen (WOI-TV's teen dance show), 1958." At the same time, WPHF's Wilmington studios were only thirty miles from Philadelphia, a city that,historian Matthew Countryman notes, many black people called "Up South. Is Brooke shields related to willow shields? As historian. The abbreviated (15 minute) programs are necessary because of ABC's scheduling of American Bandstand from 12:301:30 p.m. each Saturday. On the relationship between citizenship and consumption, see Lizbeth Cohen. Wilmington and Washington were the sites of two of the school segregation cases, Belton v. Gebhartand Bolling v. Sharpe, which the Supreme Court combined into Brown v. Board of Education. Alan Freed's Big Beat television show, for example, was cancelled in August 1957 after affiliated stations complained about black teenage singer Frankie Lymon dancing with a white teenage girl. Her journey from Georgia to Chicago in Ma Rainey's Black Bottom represents the Great Migration of hundreds of thousands of black people from the rural South to the urban North during that period. I'm thinking it was either Bo Diddley or Ben E. King. In a 1998 interview for the documentary Black Philadelphia Memories, Thomas recalled that "the show was so strong that I could play a record one time and break it wide open. Wald describes this as an "affective compact" that "complicates the clear division between production and consumption. She sang for her classmates and family members, and even had the opportunity to perform with her church's choir where she says she really received training for her voice and style. Thomas continued to work as a radio disc jockey through the 1960s, until he left broadcasting in 1969 to work as a counselor to gang members in Wilmington. 1. Chuck Jackson, an R&B artist who appeared on the show several times, described Teenarama's importance,"Before this, with some kids, no one has given them a sense of being someone, a sense of independence. Dick Clarks public persona was squeaky clean, All American, and choir-boyishan image he assiduously cultivated. Lewis (WRAL), May 8, 1966, Lewis Family Papers, folder 140. tippy('#footnote_plugin_tooltip_1562_1_42', { content: jQuery('#footnote_plugin_tooltip_text_1562_1_42').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Fans also felt free to criticize the format of Teenage Frolics. Created by black deejay Don Cornelius as a black dance show, Soul Train started in Chicago in 1970 before being picked up by stations across the country the following year. Whose Culture? tippy('#footnote_plugin_tooltip_1562_1_71', { content: jQuery('#footnote_plugin_tooltip_text_1562_1_71').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Unlike Soul Train, which moved from Chicago to Hollywood after one year, these local shows featured and appealed to black teens from Wilmington, Raleigh, and Washington, and as the opening clip from Seventeen suggests, they influenced American musical cultures in surprising ways. We hope to show interracial activities which are harmonious. 1966-67], Lewis Family Papers,folder 140. tippy('#footnote_plugin_tooltip_1562_1_41', { content: jQuery('#footnote_plugin_tooltip_text_1562_1_41').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); A letter to "John D." from an adult chaperone suggests that Lewis was a well-known and approachable local television personality,"I came to your house two Sundays ago to see you. c. Phil Spector Who was the first black singer to appear on American Bandstand. Clark first addressed the integration of the studio audience in his 1978 record collection celebrating the shows twenty-fifth anniversary. tippy('#footnote_plugin_tooltip_1562_1_1', { content: jQuery('#footnote_plugin_tooltip_text_1562_1_1').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); With "Betty and Dupree," Willis revived a folk song, first recorded as "Dupree Blues" in 1930 by Blind Willie Walker from Greenville, South Carolina. On Valentine's Day 1920, a little over a century ago, a 28-year-old singer named Mamie Smith walked into a recording studio in New York City and made history. Broadcasting daily evidence of Philadelphia's vibrant interracial teenage culture would have offered viewers images of black and white teens interacting as peers at a time when such images were extremely rare. Unfortunately though, because of her poor appearance and dress, they did not give her the opportunity to be booked for a week at the Apollo, which was supposed to be part of the winning prize. What time does normal church end on Sunday? Despite this, Clark claimed for years that he integrated Bandstand by the late 1950s. For his part, Eaton argued on the eve of the station's first broadcast, "WOOK-TV will be a place where young Negroes can develop their talents and the problems of the Negro [will be] vividly displayed. Examining Little Rock, political theorist Danielle Allen writes, "Nineteen fifty-seven forced citizens to confront the nature of their citizenshipthat is, the basic habits of interaction in public spacesand many were shamed into desiring a new order. And The Stroll became a big thing. . While advertisers started to pay more attention to black consumers in the 1950s, a product-identification stigma lingered throughout the decade, preventing many brands from sponsoring black programs.27Barlow, Voice Over, 129; Giacomo Ortizano, "One Your Radio: A Descriptive History of Rhythm-and-blues Radio During the 1950s" (PhD dissertation, Ohio University, 1993), 391423. As Delmont tells it: "There was a singer named Bobby Brooks, an African-American teen singer from South Philadelphia who was their favorite singer. Sterling Tucker, director of the Washington branch of the Urban League, worried that WOOK's focus on the "Negro market" was out of step with civil rights efforts,"You don't go along the road of segregation to achieve integration. These shows broadcast in an era when civil rights lawsuits and protests sought to overturn policies of racial segregation in schools and public spaces in the South. Historian Brett Gadsden describes Delaware as "a provincial hybrid, one in which ostensibly southern and northern modes of race relations operated. Who were the first African Americans to perform on American Bandstand? c. George "Shadow" Morton Black teenagers were banned. Over the course of her career, she went on to win a total of 14 Grammys and even received the Lifetime Achievement Award in 1967. Some classic blues singers sought refuge in acting Ethel Waters, pictured in 1943's Cabin in the Sky, was at one time the highest paid actress on Broadway (Credit: Getty Images). The classic blues singers were already in decline when the Great Depression finished them off. Lewis (WRAL), June 24, 1967, Lewis Family Papers, folder 140, July 22, 1967; Gwendolyn Gilmore, J.D. It imagined the performers as men who sang their pain without concern for attention or financial reward, even though, in reality, they would very much have liked both. Letters from viewers and aspiring musicians to Lewis and WRAL attest that many teenagers and performers wanted to appear on Teenage Frolics. tippy('#footnote_plugin_tooltip_1562_1_21', { content: jQuery('#footnote_plugin_tooltip_text_1562_1_21').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Vera Boyer and Otis Givens show off their dance steps on The Mitch Thomas Show, Wilmington, Delaware, ca. It takes nothing away from the young men and women who risked their lives to desegregate schools and lunch counters to recognize that thousands of teenagers found joy and value in dancing on television or watching their peers do the same. While WTTG-TV lacked a network affiliation, Grant proved skilled at recruiting and serving sponsors.65WTTG-TV was was founded as a DuMont station and DuMont ended network operations in 1956. tippy('#footnote_plugin_tooltip_1562_1_65', { content: jQuery('#footnote_plugin_tooltip_text_1562_1_65').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); "Grant provides an all-out sponsor and agency service," Billboard reported in 1961. [8] Ibid., 105-111; for a full description, see chap. The Dick Clark Showwas broadcast live from ABCs Little Theater in Manhattan. Used with permission of Yvonne Holley, Lewis Family Papers #5499, Southern Historical Collection, The Wilson Library, University of North Carolina at Chapel Hill. Technical Specs, See agents for this cast & crew on IMDbPro, Self - Interpretive Dancer with The Allen Brothers, producer / executive producer / producer (41 episodes, 1964-1967), technical producer (23 episodes, 1963-1967), technical producer (18 episodes, 1962-1966), technical producer (10 episodes, 1961-1966), assistant producer (4 episodes, 1961-1962), technical producer (2 episodes, 1965-1966), set designer / scenic designer (7 episodes, 1960-1962), audio / sound recordist (56 episodes, 1960-1967), film unit: sound recordist (1 episode, 1966), lighting director (37 episodes, 1964-1967), lighting director (11 episodes, 1962-1963), lighting director (9 episodes, 1960-1962), lighting director (3 episodes, 1960-1962), lighting director (3 episodes, 1963-1966), lighting director (2 episodes, 1965-1966), cameraman: The Allusions segment / cameraman: teenagers discussion segment (2 episodes, 1966), cameraman: Angelina Lauro segment / cameraman: The Bee Gees segment (2 episodes, 1966), cameraman: Pearl Turton segment (1 episode, 1963), musical director / music arranger (59 episodes, 1961-1967), floor manager / studio manager (56 episodes, 1961-1967), production assistant (33 episodes, 1964-1966), production assistant (10 episodes, 1963-1964), production assistant (4 episodes, 1961-1962).
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