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DVD. Interested in submitting your work to Southern Spaces? "In the southern context, congregation was important because it symbolized anact of free will, whereas segregation represented the imposition of another's will." In Norfolk in 1951 and 1952, they began calling it rhythm and blues. Ultimately, these televised teen dance shows encourage us to expand the range of sounds and images we associate withblack youth in the South. 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. 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. Aperformance later in the show by white singer Jeri Renay did not use this technique. This video album provides vintage footage from American Bandstands anchorage in West Philadelphia. On the crossover appeal of black-oriented radio, see Brian Ward, "Teen-Age 'Superiors' Debut on M.T. 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. b. Phil Spector Bandstand (TV Series 1958-1972) cast and crew credits, including actors, actresses, directors, writers and more. In fact, she won two Grammy awards that night for Best Jazz Performance, Soloist for Ella Fitzgerald Sings the Duke Ellington Songbook and Best Female Pop Vocal Performance for Ella Fitzgerald Sings the Irving Berlin Songbook.. "46Guthrie Ramsey, Race Music: Black Cultures from Bebop to Hip-Hop (Berkeley: University of California Press, 2004), 4. tippy('#footnote_plugin_tooltip_1562_1_46', { content: jQuery('#footnote_plugin_tooltip_text_1562_1_46').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); From this perspective, localism was a virtue for Teenage Frolics rather than a detriment, because it offered young people a community connection that was not possible with national television. c. King and Goffin Earl Lewis, In Their Own Interests: Race, Class, and Power in Twentieth-Century Norfolk, Virginia (Berkeley: University of California Press, 1991), 9192. In the prior three years, Baker had mixed experiences with crossing over from the R&B charts to the pop chart. Black teenagers were banned. 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. A weekly presentation of popular music, which went through many format changes during its long run. If you stood around the cameramen, they would show you how to operate the cameras. Queen Charlotte: A Bridgerton Story Is Our TV Pick Of The Week, Small Town Horror Story: The Racist Attack Of A FedEx Worker. Smith's versatile blues encompassed gallows humour (Send Me to the 'Lectric Chair), social commentary (Poor Man's Blues), salty innuendo (Kitchen Man) and lusty good times (Gimme a Pigfoot). Who was the first host of American Bandstand? "Squeaky clean" commercial pitchman and deejay Dick Clark inherited Bob Horn's locally broadcast Bandstand in July 1956 and revamped it for a national audience of teenage consumers as ABC's American Bandstand, which first aired in August 1957. 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. As a new generation of black female singers broke through in the 1930s Billie Holiday, Ella Fitzgerald, Memphis Minnie some of the first wave sought refuge in other branches of showbusiness. Horn had appointed a committee of 12 youngsters to monitor the behavior of their peers in the studio; Clark expanded the size of this committee and he enforced a code of conduct that required boys to wear a suit jacket, shirt, and necktie; prohibited girls from wearing tight sweaters, low-necked dresses or pants; and banned gum, smoking, and obscene or profane language. Lastly, no one under age 14 or older than 18 [was] to be admitted.1. "And why not? It contains a story line and an epilogue. Bryan Adams Aerosmith Alabama All Sports Band The Alarm Deborah Allen The Animals Paul Anka Ann-Margret Susan Anton Adam Ant Aerosmith America Animotion Ashford & Simpson The Association Christopher Atkins Atlantic Starr Patti Austin Autograph Frankie Avalon Angel B[edit] The B'zz The Babys Bachman-Turner Overdrive Badfinger Philip Bailey Baltimora "23Black Philadelphia Memories,dir. Finally, the visibility these shows offered to teenagers was closely tied to the salability of teen music culture. You are signed in as (Sign out). In the 1920s US, glamorous, funny black female singers were the blues' first and revolutionary hitmakers. Colchester, VT: VPR, July 11, 2009. d. Chuck Berry, An important component of the Beach Boys' success was: The Milt Grant Show dedicated almost every minute to selling products, and Grant, as this message to potential sponsors makes clear, was a compelling and unabashed salesman. "53"WOOK-TV's Coloring Book," Washington Afro-American, February 16, 1963; "WOOK's Insult to Our Race," Washington Afro-American, February 23, 1963. tippy('#footnote_plugin_tooltip_1562_1_53', { content: jQuery('#footnote_plugin_tooltip_text_1562_1_53').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Another editorial argued that WOOK-TV insults "the colored race's intelligence by advertising itself as nothing but a station programming plain ol' music and dancing. Those migrants craved music that built a bridge between their old and new lives. My question ismay they appear on your 'Dance Party'? We had Teenarama, which was ours. 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. Law Klein Collection, courtesy Special Collections Research Center, Temple University Libraries, Philadelphia. New York: Cinreach, 2013. 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. tippy('#footnote_plugin_tooltip_1562_1_36', { content: jQuery('#footnote_plugin_tooltip_text_1562_1_36').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Lewis secured Pepsi Cola, which sponsored Teenage Frolics as part of the "special markets" campaign to increase sales of the beverage among African Americans.37On Pepsi marketing to black customers, see Stephanie Capparell, The Real Pepsi Challenge: How One Pioneering Company Broke Color Barriers in 1940s American Business (New York: Free Press, 2008). (Urbana: University of Illinois Press, 2010), 6263, 7778; Barlow, Voice Over, 98103. Peter, Paul, and Mary The pop audience's perception of the image and authenticity of folk music was the result of the effort of the music industry to market the movement. 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. c. Leiber and Stoller becoming independent producers After Grant took a big drink of the soda and delivered the sales pitch ("Never too heavy, never too sweet, always just right"), he asked two teenagers to help hand out bottles of the sponsor's drink to the dancers. Among local programs, the Al Benson Show and Richard Stamz's Open the Door Richardboth had brief periods of success in 1950s Chicago.24J. Clarks daily afternoon program pioneered in musical television by showcasing a range of black and white pop music performers, including R&B, rock n roll, and country. and Black Power Television (Durham: Duke University Press, 2015), 217, 72. tippy('#footnote_plugin_tooltip_1562_1_70', { content: jQuery('#footnote_plugin_tooltip_text_1562_1_70').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); While Soul! Lewis (WRAL), n.d. [ca. Dick Clark Comes to Bandstand Berkeley: University of California Press, 2004. It was recorded by a girl group. Please be respectful. Used with permission of Yvonne Holley, Lewis Family Papers #5499, Southern Historical Collection, The Wilson Library, University of North Carolina at Chapel Hill. Despite its ban on black teenagers, the show regularly featured black R&B performers who were in town to perform at the Howard Theater. Screenshot from Steve's Show, a documentarydirected bySandra Hubbard (Morning Star Studio, 2004). He was 82. If white teen shows sought to shore up the supremacy of whiteness in youth music culture, the black teen shows visualized black teens as equal participants in the production and consumption of music culture. Mitch Thomas hosts Lewis Lymon and the Teenchords, Hazel Bryan (left) harasses Elizabeth Eckford. Themselves - Pop Band 1 episode, 1957 Bob Crewe . b. Jesse Helms, later a US senator and national conservative leader, became an executive at Capitol Broadcasting in 1960 and delivered news editorials railing against communism, liberalism, and civil rights. In a long list of reasons why "we find it difficult to wait," King includes, "when you suddenly find your tongue twisted and your speech stammering as you seek to explain to your six year old daughter why she can't go to the public amusement park that has just been advertised on television, and see tears welling up in her eyes when she is told that Funtown is closed to colored children, and see ominous clouds of inferiority beginning to form in her little mental skythen you will understand why we find it difficult to wait." For these and other artists who played at Washington's historically black Howard Theater, Teenarama offered an additional opportunity to perform and promote their music while they were in the city. Most people listening to a dance program would rather hear the latest records. 1950s Teen Dance TV Shows, Volume 1. Like much of American popular music, Willis and his songs had deep roots in the South. J.D. Sterling, Christopher and John Michael Kittross. We hope to show interracial activities which are harmonious. b. they were pop-oriented Like the man WC Handy spotted at Tutwiler station, their alienation guaranteed their authenticity. - The canny mythology of Dolly Parton, - Why Grace Jones is pop's greatest pioneer. We don't want to remember all-American American Bandstand as discriminating against black teenagers. While Black artists were permitted to perform, only white dancers were allowed. a. they produced several hit singles Lewis (WRAL), June 24, 1967, Lewis Family Papers, folder 140, July 22, 1967; Gwendolyn Gilmore, J.D. "60Beverly Lindsay-Johnson, interview with author, January 8, 2013. tippy('#footnote_plugin_tooltip_1562_1_60', { content: jQuery('#footnote_plugin_tooltip_text_1562_1_60').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); This story and the black and white reenactments in Lindsay-Johnson's film speak both to the creativity that historians of television must employ and to the imprint Teenarama made on the black population in Washington, DC. Rather than a strict whites-only policy (like at Baltimore's Buddy Deane Show, made famous in John Waters' Hairspray), Bandstand used other means to block black teens from the studio. Filmed 19571958. When Clark initially referred to American Bandstand' s "integration," he emphasized black musical artists performing on the show. In the summer of 1959, Ballards version of The Twist, described as an underground phenomenon, was being danced to by torso-twisting, hip-thrusting black teenagers. Airdate: February 4, 1967Welcome Back!.."So Glad We Made It!"To see a ticket stub for today's episode of "New American Bandstand '67" taped on Jan. 28, 196. "As per our conversation of yesterday, it is going to be necessary that we make some adjustment in our Saturday afternoon schedule this fall with respect to Teen-Age Frolics," Helms wrote to inform Lewis and other staff that the show would have to be shortened from its regular one hour broadcast time. The pop audience's perception of the image and authenticity of folk music was the result of the: All of the following were professional songwriters at the Brill Building EXCEPT: 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. Most important, American Bandstand defined what teenagers looked like for a generation of viewers. Urban listeners, meanwhile, were abandoning blues for the faster, more sophisticated sound of swing, represented in Ma Rainey's Black Bottom by Chadwick Boseman's young, impatient Levee. 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. Storer Broadcasting Company purchased WPFH in 1956.25Herbert Howard, Multiple Ownership in Television Broadcasting (New York: Arno Press, 1979), 142147. The female blues singers were on the losing side of a long, complicated argument about what the blues should be. All you had to do was look at 'Bandstand' the next Monday, and you'd say, 'Oh yeah, they were watching.'"22Ibid. It wasn't until the 1920s that record . But that is where his legacy gets complicated. Today the building is the home of West Philadelphias Enterprise Center, which maintains American Bandstand memorabilia in the space once used as Studio B, today used as a room for Enterprise Center events. Screenshots (1 and 2) from Black Philadelphia Memories, directed byTrudi Brown (WHYY-TV12, 1999). Clark. With black performers only a few feet away from the white teenage dancers in the studio, the picture-in-picture technique demarcated the racial boundary between performers and audiences and offered one strategy for televising black musicians while maintaining racial segregation. "30Brett Gadsden, Between North and South: Delaware, Desegregation, and the Myth of American Sectionalism (Philadelphia: University of Pennsylvania Press, 2013), 7. tippy('#footnote_plugin_tooltip_1562_1_30', { content: jQuery('#footnote_plugin_tooltip_text_1562_1_30').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Many teens who danced on The Mitch Thomas Show or watched the program would have experiencedde jure school segregation and the slow realization of educational equality promised by Brown. Differences in terms of station power and stability shaped the duration of each program. It seems as if you never play records anymore. By the time Clark delivered a revampedBandstandto national audiences asAmerican Bandstandin 1957, the show was ostensibly squeaky clean. Once you really had a rocking roll show up here. Overweight at age 40, Horn was neither boyish-looking nor telegenic, and, quite unlike Clark, he had a salacious reputation among his colleagues. Print fond memoriesThis pocket Bluetooth printer lets you print your precious memories before they hit Instagram. c. the Crystals Clark had Checker simplify the dance step by toning down the hip movement. . As Dick Clark and American Bandstand celebrated the one-year anniversary of the show's national debut, local broadcast competition brought The Mitch Thomas Show's groundbreaking three-year run to an unceremonious end. "It's been a long, long time since a major network has aimed at the most entertainment-starved group in the country," Clark told Newsweek in 1957. The Beach Boys were already the kings of surf pop by their first appearance on American Bandstand in 1964. By 1960, under the control of Carl Murphy, the Afro-American publishededitions acrossthe Mid-Atlantic States. Bessie Smith by Jackie Kay is published on 18 February. The Nat King Cole Show(19561957) failed to attract national advertisers and lasted only oneyear. They feared the backlash that might happen if Black boys danced close to white girls. ", The explosive popularity of classic blues discs was a democratic revolution. 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). As the leading collector James McKune wrote, it was "archaic in the best sense gnarled, rough-hewn and eminently uncommercial." Black Swan, the first black-owned record label, rejected Bessie Smith for being too vulgar, while a leading black newspaper, the Chicago Defender, complained that these "filth furnishers" and "purveyors of putrid puns" were "a hindrance to our standard of respectability and success". Delmont also explores Washington, DC's whites-only program. Matthew F. Delmont is an assistant professor of American studies at Scripps College in Claremont, Calif., and the author of The Nicest Kids in Town: American Bandstand, Rock 'n' Roll, and the Struggle for Civil Rights in 1950s Philadelphia. One such woman was Gertrude Pridgett, aka Ma Rainey, who had been performing the blues for more than 20 years when she recorded her first session for Paramount in 1923 at the age of 37. Please be respectful. 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. Continue Learning about Movies & Television. While Des Moines, Iowa, may be a long way from the South geographically, television connected Iowa teens to music and dance styles flowing from Delaware, Georgia, South Carolina, and elsewhere. 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. For black, working-class women, the classic blues was an unprecedented new arena of self-expression which gave voice to overt sexuality, the peril of abusive men (like Bessie Smith's husband), and even queer perspectives. The show's producers implemented racially discriminatory admissions policies because they feared that racial tensions around the studio in West Philadelphia would alienate advertisers. The classic blues singers were already in decline when the Great Depression finished them off. (Regardless, kids liked Horn, and many were loyal to Horn.). Mahwah, NJ: Lawrence Erlbaum Associates, 2002. Courtesy of Matthew F. Delmont. These white teenagers were not alone in watching The Mitch Thomas Show. Dubois High School, Wake Forest, North Carolina," The North Carolina Historical Review 85, no. City councils from Jersey City to Santa Cruz to San Antonio had banned rock performances, and radio stations in Pittsburgh, Chicago, Denver, Lubbock and Cincinnati refused to play rock and roll. It is not even a b. the Coasters Thomas remembers that the teens on his show "created a dance called The Stroll. Teenarama host Bob King came to WOOK in 1956 from WRAP radio in his hometown of Norfolk, Virginia, where he hosted an R&B show.51James Lee, "He Plays Teens Picks," Washington Star, [n.d.] ca. When North Carolina began desegregation from 1969 to 1971, many black high schools were closed or were converted to elementary schools or junior highs. While a few women, notably Victoria Spivey and Edith Wilson, lived long enough to return to the stage during the 1960s blues revival, the likes of Bob Dylan, Led Zeppelin and the Rolling Stones were far more interested in the hardbitten men of the Delta. tippy('#footnote_plugin_tooltip_1562_1_9', { content: jQuery('#footnote_plugin_tooltip_text_1562_1_9').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); The Mitch Thomas Show debuted on August 13, 1955, on WPFH, an unaffiliated television station that broadcast to Philadelphia and the Delaware Valley from Wilmington.10"The NAACP Reports: WCAM (Radio)," August 7, 1955, NAACP collection, URB 6, box 21, folder 423, TUUA. In Raleigh, token school integration did not begin until 1960, six years after Brown.3Sarah Caroline Thuesen, Greater Than Equal: African American Struggles for Schools and Citizenship in North Carolina, 1919 1965 (Chapel Hill: University of North Carolina Press, 2013), 225229. August Wilson's Rainey calls the blues "life's way of talking". Enter your comment below. All of the following were populist characteristics of the folk song movement EXCEPT: Which song initiated the folk music revival in mainstream pop? And Clarks aides distributed IFIC (its flavor-ific!) Beechnut buttons to be worn by the masticating young audience.The Dick Clark Showaired weekly from February 1958 to September 1960, when ABC terminated the program in the wake of a payola (bribery/kickback) scandal in the pop music industry.8. At the same time, the classic blues singers were too working-class and sexually frank for some of the urban middle classes. Lewis (WRAL), n.d. [ca. Wald describes this as an "affective compact" that "complicates the clear division between production and consumption. WOOK-TV advertisement for Teenarama host Bob King,1965. "13Quoted in John Roberts, From Hucklebuck to Hip-Hop: Social Dance in the African American Community in Philadelphia (Philadelphia: Odunde, 1995), 37. tippy('#footnote_plugin_tooltip_1562_1_13', { content: jQuery('#footnote_plugin_tooltip_text_1562_1_13').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); The Mitch Thomas Show also became a frequent topic for the black teenagers who wrote the Philadelphia Tribune's "Teen-Talk" columns. "45Donald Hodge, letter to J.D. "42Hazel Jordan, letter to J.D. . From one perspective, these televised teen dance shows were commercialized diversions during an era of profound changes in the racial dynamics of the South. a. the Drifters The show blocked black teens from the studio, though complaints from black viewers eventually led to one show perweek featuring a black studio audience (so-called "Black Tuesday"). d. "Surfin' U.S.A.". Clarence Burton Jr., defending the station and raising a question about the teen dance show that predated Teenarama. This pocket Bluetooth printer lets you print your precious memories before they hit Instagram. I didn't get the exposure. selected went together as a group. From paid advertisements for consumer goods to promotions of records and musical guests, also often paid for by record promoters, The Milt Grant Show presented its viewers with a host of messages. 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. In his 1997 history of American Bandstand, for example, Clark contends, "I don't think of myself as a hero or civil rights activist for integrating the show; it was simply the right thing to do."

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