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The image of teenagers that American Bandstand popularized bore little resemblance to the racial diversity of American teens. The classic blues singers were already in decline when the Great Depression finished them off. With no need for backing bands or stage costumes, the men were much cheaper, too. It was a little more raucous. Just over onemile from Central High School, Steve's Show broadcast from the KTHV-TV studios. "The NAACP Reports: WCAM (Radio)," August 7, 1955, NAACP collection, URB 6, box 21, folder 423, TUUA. J. D. Lewis' Teenage Frolics, which aired from 1958 to 1983, stayed on the air longer than any other local teen dance program. Checker himself twisted as he performed the song. Lewis (WRAL), n.d. [ca. Jimmy Peatross and Joan Buck tell a related story about learning how to do The Strand from black teenagers in, Art Peters, "Mitch Thomas Fired From TV Dance Party Job,", On the limitations of the de jure/de facto framework, see Matthew Lassiter, "De Jure/De Facto Segregation: The Long Shadow of a National Myth," in, Clarence Williams, "JD Lewis Jr.: A Living Broadcasting Legend,". [3] Ibid., 147; Jackson,American Bandstand, 30-31, 99-101, 107, 145-47; Lehmer,Bandstandland, 74-75. It is a fictional performance that only vaguely The guy's name was Otis and I don't remember the girl's name. show). It is not even a While The Grady and Hurst Showbroadcast five times perweek, the weekly Mitch Thomas Show proved to be more influential. d. "Dead Man's Curve", "Dead Man's Curve" was a splatter-platter hit by: As colored people, we've been plagued with that image ever since we were freed from slavery. Like other young people across the country, black teenagers identified with different aspects of. In 1970, for example, black students who attended W. E. B. DuBois High School were transferred to historically white Wake Forest High School and the DuBois High School building became Wake Forest-Rolesville Middle School.39Barry Malone, "Before Brown: Cultural and Social Capital in a Rural Black School Community, W.E.B. 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. Screenshot courtesy of Matthew F. Delmont, The Nicest Kids in Town. . selected went together as a group. tippy('#footnote_plugin_tooltip_1562_1_23', { content: jQuery('#footnote_plugin_tooltip_text_1562_1_23').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Because the show influenced American Bandstand during its first year as a national program, teenagers across the country learned dances popularized by The Mitch Thomas Show. Enter your comment below. this meant trying to attract sponsors to advertise to black television audiences. b. Jan Berry's songwriting Submissions are moderated. From 1976 to 2011, however, Clark became progressively bolder, and less accurate, in his retelling of how he integrated the studio audience. "In the southern context, congregation was important because it symbolized anact of free will, whereas segregation represented the imposition of another's will." d. opposing Vietnam, Which of following can be said about Bob Dylan and Joan Baez during the folk revival? Beach Boys on American Bandstand. 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". ", The explosive popularity of classic blues discs was a democratic revolution. Filmed 19571958. Image courtesy of Matthew F. Delmont. c. King and Goffin The fear was in large part fueled by concerns about racial mixing, and on that front, Bandstand was indeed groundbreaking. As historian. (Urbana: University of Illinois Press, 2010), 6263, 7778; Barlow, Voice Over, 98103. d. Jan and Dean, Which of the following cities produced an especially high number of teen idol hits from 1957-1963? In 1934, at the age of 17, Fitzgerald performed at the famous Apollo Theater in New York City and won the prize of $25 for Amateur Night. Economics, more than a concern for racial equality, influenced WPFH's decision to provide airtime for this groundbreaking show. New records come out every day and you play old ones. 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. A. J. Fletcher and Fred Fletcher's Capitol Broadcasting Company, which owned WRAL, received a TV license in 1956 and Lewis played an important role in convincing the Federal Communications Comission (FCC)that WRAL-TV would serve African American viewers.33Clarence Williams, "JD Lewis Jr.: A Living Broadcasting Legend," Ace: Magazine of the Triangle, SeptemberOctober 2002, 1214, 70. tippy('#footnote_plugin_tooltip_1562_1_33', { content: jQuery('#footnote_plugin_tooltip_text_1562_1_33').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Unlike The Mitch Thomas Show and Teenarama, Teenage Frolics aired on a VHF (very high frequency)station with a network affiliation (WRAL-TV had a primary affiliation with NBC and a secondary affiliation with ABC).34"WRAL-TV," 1960 Broadcasting Yearbook,A73 tippy('#footnote_plugin_tooltip_1562_1_34', { content: jQuery('#footnote_plugin_tooltip_text_1562_1_34').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Despite these network ties, WRAL proved challenging in other ways. Whose Culture? "Music on Television." Self - Singer 1 episode, 1979 Firefall . Describing the "black Bandstand," Smith recalled: First of all, black kids had their own dance show, I think it was on channel 12, but one of the reasons I remember it is because I watched it. [8] Ibid., 105-111; for a full description, see chap. After all, teenagers have $9 billion a year to spend.". The Dick Clark Showwas broadcast live from ABCs Little Theater in Manhattan. Dubois High School, Wake Forest, North Carolina,". . Most people listening to a dance program would rather hear the latest records. The hillbilly influence began creeping into it and the music became what we call rock and roll . 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. Did Dick Clark have segregation on American Bandstand? Teenage. Dick Clarks public persona was squeaky clean, All American, and choir-boyishan image he assiduously cultivated. 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. In her documentary on Teenarama Beverly Lindsay-Johnson dealt with this lack of footage by recruiting contemporary Washington teenagers, teaching them the locally distinct "hand dance" of the era, and having them reenact the dances. 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. 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. Once some decent songs were funneled through this process, notably Turn Me Loose, Fabulous Fabian was on his way to stardom. I was talking about it to Jimmy Peatross one day, when I was putting together the book, and he said, "Oh, I watched this black couple do it." And it was fantastic. schools danced on Bandstand starting in 1952 when Bob Horn was the 3. musical director / music arranger (59 episodes, 1961-1967) This site requires Javascript to be turned on. That day, 2 June, was the first royal service to be televised - and for many it was the first live event they ever watched on TV. c. melodic soul Counter to host Dick Clark's claims that he integrated American Bandstand, my research revealed how the first national television program directed at teens discriminated against black youth during its early years and how black teens and civil rights advocates protested this discrimination.8Matthew Delmont, The Nicest Kids in Town: American Bandstand, Rock 'n' Roll, and the Struggle for Civil Rights in 1950s Philadelphia (Berkeley: University of California Press, 2012). Before Cole, shows hosted by black singers Lorenzo Fuller(1947) and Billy Daniels (1952) and the variety program Sugar Hill Times (1949) also fared poorly. By 1960, under the control of Carl Murphy, the Afro-American publishededitions acrossthe Mid-Atlantic States. But that is where his legacy gets complicated. When American Bandstand started broadcasting nationally in 1957, it had to avoid being tainted by the anti-rock and roll protests taking place across the country. I became interested in these teen dance shows while researching and writing a book on American Bandstand. "I watch your show every Saturday and enjoy it very much," one viewer wrote. Lewis, July 7, 1967, Lewis Family Papers,folder 139. tippy('#footnote_plugin_tooltip_1562_1_38', { content: jQuery('#footnote_plugin_tooltip_text_1562_1_38').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Despite Helms's backhanded reference, Pepsi's sponsorship offered Teenage Frolics a national brand sponsor, something neither The Mitch Thomas Show nor Teenarama possessed. She was later signed to the Decca Recordings and later Verve Records. What the show didn't do was fully integrate its studio audience as soon as he became host, as Clark has claimed. While it is tempting to see "Funtown" as somehow less important than these issues, to do so is a mistake. Mamie Smith, pictured with her band the Jazz Hounds, was the first black singer to make a record (Credit: Getty Images). And the other people were copying the style, the whole idea. The abbreviated (15 minute) programs are necessary because of ABC's scheduling of American Bandstand from 12:301:30 p.m. each Saturday. Rarely has the music industrys received wisdom been upended by a single hit. 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. Philadelphia Evening Bulletin, George D. McDowell Collection, Special Collections Research Center, courtesy Temple University Libraries, Philadelphia. Lewis (WRAL), n.d. [ca. "Seventeen (WOI-TV's teen dance show), 1958." "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. "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. DVD. b. the Coasters tippy('#footnote_plugin_tooltip_1562_1_37', { content: jQuery('#footnote_plugin_tooltip_text_1562_1_37').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); He served as a Pepsi public relations and sales representative for the Raleigh area from 1965 to 1968. Urbana: University of Illinois Press, 2012. The "Funtown" reference is powerful because it captures one of the ways that Jim Crow segregation and white supremacy were most meaningful to children and teenagers. b. protesting the Korean War Dubois High School, Wake Forest, North Carolina," The North Carolina Historical Review 85, no. Martin Luther King, Jr., "Letter from a Birmingham Jail," April 16, 1963. Earl Lewis, In Their Own Interests: Race, Class, and Power in Twentieth-Century Norfolk, Virginia (Berkeley: University of California Press, 1991), 9192. I didn't get the exposure. 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. tippy('#footnote_plugin_tooltip_1562_1_72', { content: jQuery('#footnote_plugin_tooltip_text_1562_1_72').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Matthew Delmont is associate professor of history at Arizona State University and author ofThe Nicest Kids in Town: American Bandstand, Rock 'n' Roll, and Civil Rights in 1950sPhiladelphia (University of California Press, American Crossroads series, February 2012), andWhy Busing Failed: Race, Media, and the National Resistance to School Desegregation(University of California Press, American Crossroads series, forthcoming February 2016). A graduate of Morehouse College and a World War II veteran, John Davis (J. D.) Lewis, Jr. started his radio career at Raleigh's WRAL in 1947 as a morning deejay playing gospel music. For the writer Zora Neale Hurston, His Negroness is being rubbed off by close contact with white culture.". This was an extraordinarily high level of promotional activity, even by the standards of commercial television. Ethel Waters became, at one point, the highest-paid actress on Broadway. In 1938, she co-wrote the hit song "A-Tisket, A-Tasket," which would eventually lead her to national fame. From 1954 to 1956, in addition to his television work pitching an array of products, he hostedDick Clarks Caravan of Music, a radio version of Bob Horns WFIL-TVBandstandtargeting an older audience than Horns teeny-boppers., Horns firing fromBandstandin the spring of 1956 opened the door for the boyish-looking, telegenic Clark to be his successor the following summer. on Saturday, May 14th. Clark brought African-American performers to national television in an era when such performances were rare. 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. Black News and Black Views with a Whole Lotta Attitude. Differences in terms of station power and stability shaped the duration of each program. American Bandstand was We often use the history of popular culture to talk about the history of race in America. 1966-67], Lewis Family Papers, folder 140. 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: By 1961, The Twist and Checkers follow-up record, Lets Twist Again (Like We Did Last Summer), were an international phenomenon. 1963. tippy('#footnote_plugin_tooltip_1562_1_51', { content: jQuery('#footnote_plugin_tooltip_text_1562_1_51').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Looking backon his earlier radio career, King recalled, "In those days what I was playing was called 'race music.' Pepsi's sponsorship proved important to making of Teenage Frolics financially viable in the 1960s as it fought for airtime against more profitable national programming. Bessie Smith earned more, and spent more, than anybody else. Buddy Deane show was another 'dance-to-the-hits' show broadcast 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. Some teens were still holding their bottles when Grant started the next advertisement for Motorola portable radios. Sisters Gwendolyn and Lena Horton, for example, regularly walked from the Walnut Terrace neighborhood to appear on the show. King and Goffin Soundings is an ongoing series of interdisciplinary, multimedia publications that use historical, ethnographic, musicological, and documentary methods to map and explore southern musics and related practices. selected went together as a group. Jeffrey Crow, Paul Escott, and Flora Hatley. "57"Nation's First Minority Group TV Station to Broadcast Today," Chicago Defender, February 11, 1963. tippy('#footnote_plugin_tooltip_1562_1_57', { content: jQuery('#footnote_plugin_tooltip_text_1562_1_57').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); WOOK-TV never assumed a leadership role with regards to the main political issues of its era, but Teenarama showcased black youth culture for Washington viewers. http://americanhistory.si.edu/brown/history/1-segregated/segregated-america.html. This eclipse is the result of a concerted effort by cultural gatekeepers, across several decades, to valorise certain aspects of the African-American experience while denigrating others. A hallmark of earlyAmerican Bandstandwas Clarks promotion of Italian-American male teen idols, sex-symbol pop singers who hailed from South Philadelphia: Frankie Avalon (ne Francis Avallone), Bobby Rydell (ne Ridarelli), and Fabian (ne Fabiano Forte). Clarks usual practice was not to play any record that was not already a hit in some major local markets; this applied to recordings by Avalon (a nice little voice), Rydell, and Francis.3 Fabian, who by all accounts was no singer, presented a different case: his fabulous looks drove teenage girls to gleeful screaming fits. a. Roy Orbison 1 (Spring 2007): 2125; Murray Forman, One Night on TV Is Worth Weeks at the Paramount: Popular Music on Early Television (Durham, NC: Duke University Press, 2012); Julie Malnig, "Let's Go to the Hop: Community Values in Televised Teen Dance Programs of the 1950s," Dance & Community: Proceedings of The Congress on Research in Dance (August, 2006): 171175; Tim Wall, "Rocking Around the Clock: Teenage Dance Fads from 1955 to 1965," in Ballrooms, Boogie, Shimmy, Sham, Shake: A Social and Popular Dance Reader, ed. The first order of business was to lure disaffected Horn loyalists to his version ofBandstand. "Afro-Americans who lived in communities as diverse as Chicago, Norfolk, and Buxton, Iowa, congregatedsometimes along class lines, but always together," Earl Lewis argues.

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