Illustrations

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Illustrations 1. Philadelphia turns up its nose at Detroit / 18 2. The Angora Civic Association fl ier / 20 3. Teens at West Philadelphia High School prom / 27 4. Joe’s Snack Bar ad in West Philadelphia High School yearbook / 28 5. WFIL pitch to potential advertisers / 32 6. WFIL–adelphia broadcast market / 33 7. Bob Horn interviews audience members during the daily roll call / 40 8. By 1955 Bandstand became a space for white teenagers / 46 9. High School Fellowship Clubs brought together students of different backgrounds / 55 10. Teenagers participating in discussion on They Shall Be Heard / 61 11. Students were left to graduate from Thomas Edison High School after new Northeast High School opened / 89 12. & 13. Before and after pictures depict the loss of the Edison High School’s trophies and history / 90 14. WCAU- TV “on the scene” report from Little Rock / 104 vii viii | Illustrations 15. Racial tensions among teenagers in South Philadelphia following Little Rock / 105 16. Georgie Woods with his teenage fans / 130 17. The Re- Vels, one of the most pop u lar teenage vocal har- mony groups in Philadelphia / 133 18. Mitch Thomas debuts on WPFH / 135 19. WFIL- TV advertisement for Dick Clark and American Bandstand / 139 20. Cecil B. Moore presents singer Jackie Wilson and deejay Georgie Woods with NAACP awards / 152 21. American Bandstand opening credits / 162 22. Dick Clark talks with visiting teens / 163 23. The American Bandstand Yearbook, 1958, picked up the station map theme / 164 24. American Bandstand’s regular dancers became stars / 169 25. Philadelphia Tribune advertisement for “Dick Clark American Bandstand Shoes” / 170 26. Close- up shot of dancers’ feet / 171 27. American Bandstand teens’ “new” version of the Stroll / 172.

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From American Bandstand to Total Request Live: Teen Culture and Identity on Music Television Kaylyn Toale Fordham University, [email protected]
Fordham University Masthead Logo DigitalResearch@Fordham American Studies Senior Theses American Studies 2011 From American Bandstand to Total Request Live: Teen Culture and Identity on Music Television Kaylyn Toale Fordham University, [email protected] Follow this and additional works at: https://fordham.bepress.com/amer_stud_theses Part of the American Popular Culture Commons, and the Film and Media Studies Commons Recommended Citation Toale, Kaylyn, "From American Bandstand to Total Request Live: Teen Culture and Identity on Music Television" (2011). American Studies Senior Theses. 14. https://fordham.bepress.com/amer_stud_theses/14 This is brought to you for free and open access by the American Studies at DigitalResearch@Fordham. It has been accepted for inclusion in American Studies Senior Theses by an authorized administrator of DigitalResearch@Fordham. For more information, please contact [email protected]. From American Bandstand to Total Request Live : Teen Culture and Identity on Music Television Kaylyn Toale American Studies Senior Thesis Fall 2010 Prof. Amy Aronson, Prof. Edward Cahill Toale 1 “When we started the show… there weren’t any teenagers,” remarked Dick Clark to The Washington Post in 1977. “They were just miniatures of their parents. They didn’t have their own styles. They didn’t have their own music. They didn’t have their own money. And now, of course, the whole world is trying to be a kid.” 1 The show to which he refers, of course, is American Bandstand, which paved the way for Total Request Live (TRL) and other television shows which aimed to distribute popular music to young audiences. Here, Dick Clark situates the intersection of music and television as an entity that provides great insight into the social dynamics, the media experience, and the very existence of teenagers in the United States.
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WEDNESDAY, SEPTEMBER 13, 2017 A3 6ABC to mark 70 years of dominating news ratings By DEBORAH McGUIRE The Broadcast Pioneer breier and Bill “Wee Willie” six months after O’Brien’s Special to the Star and Wave archive states: “One day, Webber. Music programs death, people would stop Annenberg called his advis- were hosted by Al Alberts, him and express their con- PHILADELPHIA — And ers into a room to discuss Bob Horn, Dick Clark and dolences. the big story is … step into the possibility of starting a Larry Ferarri, to name just “It was such a feeling that any home in Cape May, television station. All were a few. Program hosts and we were family,” Howard Lower Township or any- opposed except for Walter. announcers included Wally said. “I was quite moved by where else throughout the He won. For the cost of a Kennedy, Paul Norton and it. It was a striking indica- Delaware Valley and if the 3-cent stamp, he ﬁ led for the Phil “Uncle Philsy” Sheri- tion of how people felt about television’s on, odds are it’s construction permit.” dan. These are just a few Action News.” tuned to Channel 6. A new building was de- of the long list of names as- With the station sitting Now called 6ABC, the signed in 1946 which was sociated with the call letters on the brink of its eighth iconic station that had its the first one in the world WFIL and WPVI. decade, the future is bright, roots in two Philadelphia built specifically for tele- Outgrowing its facility, a Monsell said.
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Character Driven Productions LLC
Character Driven Productions LLC. The Wages of Spin chronicles the Philadelphia music scene from 1952-1963. The documentary is the first honest, comprehensive look at the Philadelphia music industry, centering on the creation, growth and popularity of Bandstand. It looks behind the curtain at the inner workings of the music industry in Philadelphia during this time period. The narrative is propelled principally through interviews and histories from the people who lived it, performers, dancers and those waiting in the wings. Created in Philadelphia by Triangle Productions, Bandstand was a radio program that was adapted for television. Originally hosted by Bob Horn the show captured the attention of the youth in the Delaware Valley. Horn’s career was short-lived, however. He soon ran into legal problems, including an arrest under the influence of alcohol as well as accusations of improper conduct with a teenager on the show. A young booth announcer, Dick Clark, was given command of the show that would influence teens, and the music industry for decades to come. The music industry was by no means a paragon of American business ethics. Underhanded practices, rife with conflicts of interest, were the standard for the day. Payola! As the dirty business of making hits and selling records went on everyone had their hands out. Clark emerged at a unique time in American cultural and economic history, saw an unprecedented opportunity and exploited it. Talent was a secondary consideration in the system of graft and legalized corruption that prevailed at the time. The Payola Hearings on Capitol Hill attempted to shed light on the shady dealings of the music industry.
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Photography by Doug Menuez HAIR/MAKE-UP by JUL ES SMITH
America’s Oldest Teenager talks Music with ATOMIC DickDick Clark Clark By Leslie Rosenberg Photography by Doug Menuez HAIR/MAKE-UP BY JUL ES SMITH 16✦ATOMIC FALL 2000 His voice comes into range before you actually see him— Daytime Emmy Awards, Golden Globe Awards, and the that warm, energetic voice that greeted you every Academy of Country Music Awards. The company also Saturday morning when you were a kid. Like the voice of oversees syndicated programs like Donny and Marie and a favorite uncle who takes you to the movies and lets you Your Big Break. His communications venture does marketing get both popcorn and Junior Mints. And then he’s right and PR for countless entertainment properties, and his there next to you—shorter than you expected, but tan Web site offers streaming audio clips of new pop and and beaming. You notice the hair is real and his all- alternative music groups. And then, of course, there’s American features are not too much changed by the passing Dick Clark’s New Year’s Rockin’ Eve, an annual tradition for years. The jowls droop a little, and there are bags under thousands of unmarried men and women from coast- his eyes, but you’d guess him a decade younger than 70. to-coast. As he winks and shakes your hand, flashing the smile His media empire is valued at $250 million, and yet, television viewers have known for half a century, you’re despite all of his accomplishments, he will be forever thinking you’d rather invite him for a game of golf than remembered as the host of American Bandstand.
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American Bandstand
AMERICAN BANDSTAND AND SCHOOL SEGREGATION IN POSTWAR PHILADELPHIA BY MATTHEW F. DELMONT B.A., HARVARD UNIVERSITY, 2000 M.A., BROWN UNIVERSITY, 2004 A DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN THE DEPARTMENT OF AMERICAN CIVILIZATION AT BROWN UNIVERSITY PROVIDENCE, RHODE ISLAND MAY 2008 © Copyright 2008 by Matthew F. Delmont This dissertation by Matthew F. Delmont is accepted in its present form by the department of American Civilization as satisfying the dissertation requirement for the degree of Doctor of Philosophy. Date______________ ____________________________________________ Professor Matthew Garcia, Co-director Date______________ ____________________________________________ Professor Susan Smulyan, Co-director Recommended to the Graduate Council Date______________ ____________________________________________ Professor Lynne Joyrich, Reader Date______________ ____________________________________________ Professor Carl Kaestle, Reader Approved by the Graduate Council Date______________ ____________________________________________ Dean Sheila Bonde, Dean of the Graduate School iii CURRICULUM VITAE MATTHEW F. DELMONT Date of Birth: December 15, 1977 Place of Birth: Minneapolis, Minnesota Education: Ph.D., American Civilization, Brown University, Providence, RI, May 2008 M.A., American Civilization, Brown University, Providence, RI, 2004 B.A., Social Studies, magna cum laude, Harvard University, Cambridge, MA, 2000 iv ACKNOWLEDGEMENTS I would like to thank Matt Garcia and Susan Smulyan for being excellent mentors and advisors, as well as helpful critics of my work. I learned a lot from Lynne Joyrich and Carl Kaestle during our discussions for field exams and as readers of this dissertation. Thanks to Evelyn Hu-Dehart for giving me a place to work at the Brown University Center for the Study of Race and Ethnicity in the Americas, and for her job advice.
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Dance Floor Democracy
DANCE FLOOR DEMOCRACY American Bandstand and the Formation of a Youth Body Politic By Avi Wolfman-Arent Submitted to Professor Andrew Friedman In partial fulfillment of the requirements of History 400: Senior Thesis Seminar 23 April 2009 CONTENTS Acknowledgements Introduction Section 1 8 Trapped in Pleasantville: Early Bandstand and the First Teenagers Inside Men 11 The Kids Next Door 13 "A Curious Thing - 17 Section 2 19 Dick Clark Speaking: How a Host Helped Adolescence Fly the Coop "That Young Guy" 21 Clark the Columnist 24 "Because They're Young" 28 Section 3 32 "Strange Noises": Rock 'n' Roll and Bandstand as a Mirror for Youth "The Guy with the Goods" 33 The Killer 37 The Teenage Poet Laureate 40 Teen Dreams 45 The Hop 48 Section 4 52 Teenagers like Us: How Bandstand Projected Normalcy and Encoded Difference Rock 'n' Roll Politics 58 The Regulars 60 A Teenage Family 65 Dancing Frees 69 Conclusion 72 Bibliography 77 ii ABSTRACT At the end of World War II America's youth looked with palpable vigor toward the prospect of a peaceful and prosperous future. Buttressed by an air of cautious optimism, America's young people seemed to embody a broader spirit of national renewal. It was in this context of abundance and forward-looking confidence that advertisers first used the term teenager to describe the nation's youths. Through the concept of a teenager advertisers sought to isolate and pursue a group of young consumers made exponentially more powerful by the rising income of their parents. And as the term began to circulate more commonly, Americans engaged in a cultural debate over what exactly the term meant.
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'N' Roll Disc Jockey
THE RISE AND FALL OF THE ROCK ‘N’ ROLL DISC JOCKEY: 1950-1970 By EDWARD G. SALSBERRY A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2014 1 © 2014 Edward G. Salsberry 2 To My Mom: Thank you for always believing in me To Chip and Matthew: Thank you for giving me the motivation to succeed 3 ACKNOWLEDGMENTS The foundations for the research and writing of this dissertation began many years ago with helpful and caring scholars that I now consider friends. I wish to thank Dr. Kathy Merlock Jackson and Dr. Bill Ruehlmann at Virginia Wesleyan College for renewing my interest in writing and providing me with the foundations of mass communication that I could build on to write this dissertation. I am indebted to Dr. Stanley Tickton at Norfolk State University for his vast knowledge of broadcast administration and media law which introduced me to events in radio history that lay at the heart of this dissertation. I would like to express my appreciation to Dr. David Ostroff, the chair of my committee, who helped me narrow my research topic from a myriad of broad ideas. I truly appreciate the work and support of the other members of my supervisory committee including Dr. Bernell Tripp, who provided me with the motivation to pursue my interest in radio history and provided the foundations for conducting historical research; Dr. Ronald Rodgers, whose editorial review was invaluable; and Dr. Benjamin Wise, who graciously agreed to be a member of this committee after only one meeting.
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