American Bandstand (TV)
"American Bandstand" was a groundbreaking television program that premiered locally on WFIL-TV in Philadelphia before becoming a national sensation in the 1950s. Initially hosted by Bob Horn, the show gained widespread popularity when Dick Clark took over in 1956, attracting a devoted teenage audience eager to see their favorite artists perform and learn the latest dance moves. The program featured live performances by popular musicians lip-syncing their hits, while a core group of dancers showcased contemporary dance styles.
Crucially, "American Bandstand" played a significant role in integrating rock-and-roll music into American culture, presenting it in a way that was accessible and appealing to a mainstream audience, including parents who were often wary of the genre. The show not only propelled the careers of many artists, like Chubby Checker and Chuck Berry, but also represented a racially integrated platform, introducing viewers to a diverse array of performers at a time when such visibility was limited.
Despite controversies such as the "payola" scandal involving Dick Clark, which raised questions about ethical practices in the industry, the show maintained its popularity and adapted over the years, transitioning to a weekly format in 1963 and continuing until 1987. Overall, "American Bandstand" was a cultural touchstone that influenced musical tastes and set the groundwork for future music television programs, including MTV.
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American Bandstand (TV)
Identification Long-running television show hosted by Dick Clark that showcased current rock-and-roll artists in a dance hall setting
Date Aired from 1957 to 1987
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American Bandstand began as a local program on WFIL-TV in Philadelphia. From 1952 to 1956 it was hosted by Bob Horn and called Bob Horn’s Bandstand. In July of 1956, the show got another host—a clean-cut, twenty-six-year-old Dick Clark. The American Broadcasting Corporation (ABC) picked up the show one month later and christened it American Bandstand. Every weekday afternoon, hundreds of thousands of teenagers would rush home after school to tune in and hear the opening strains of the theme song, “Bandstand Boogie.” The dancers on the floor included a core of regulars from Philadelphia. The rest of the dancers were young people who lined up every day hoping for the chance to be on television. While popular artists lip-synched their own hit songs, the dancers tried out current dance steps. The audience watched to see their favorite artists, learn the latest moves, and follow the lives of the regulars.
In 1959 the federal government began to investigate entertainment figures such as Dick Clark for possible conflicts between broadcasting interests and financial ones. Payola, or pay-for-play, was a common practice in which radio and television broadcasters were paid, usually by producers or record companies, to promote records by certain artists. Payment could come in the form of cash, a percentage of the publishing royalties, or various gifts. Clark was a canny businessman with many holdings in both the broadcast and music worlds, and he often showcased artists on American Bandstand who recorded for labels in which he had a financial stake. When the government began to put pressure on him, Clark drafted a letter stating he would divest himself of his recording and publishing companies, opting to stick with his broadcasting career. He was still required to testify before a congressional committee in 1960. He was given a slap on the wrist for accepting jewelry and a fur stole from a record company executive but was otherwise cleared of any wrongdoing.
Impact
American Bandstand introduced rock-and-roll music into American living rooms across the nation. It presented a new form of music, often viewed suspiciously by parents, in a benign, nonthreatening way, making it palatable to the mainstream public. Exposure on American Bandstand helped build the popularity and careers of many rock-and-roll performers, including Chubby Checker, Buddy Holly , and Chuck Berry , among many others. A single appearance on the show led to the sale of thousands of records. The social and cultural impact of the show was vast. One of the most important things Clark did was insist on a racially integrated program. Many of the performers were African American and for many viewers, American Bandstand was the first vision of racial diversity. For some, the payola scandal signaled the end of an era. American Bandstand, however, rapidly recovered. It became a weekly show in 1963 and continued in that format until 1987. It not only influenced generations of teenagers, helping form their musical tastes, but it also was the forerunner of every other musical show on television, including MTV.
Bibliography
Jackson, John A. American Bandstand: Dick Clark and the Making of a Rock ’n’ Roll Empire. New York: Oxford University Press, 1997. This is a fair and well-researched book that chronicles both music and television history, as well as the cultural portrait that emerged from the rise and long life of American Bandstand.
Shore, Michael, and Dick Clark. History of American Bandstand: It’s Got a Great Beat and You Can Dance to It. New York: Ballantine Books, 1987. An in-depth compendium of the show’s history, divided by decade. Includes interviews with the show’s regulars and photos of people, fashions, and memorabilia.
Weingarten, Marc. Station to Station: The Secret History of Rock and Roll on Television. New York: Simon & Schuster, 2000. Examines the performances, personalities, and television shows that were instrumental in the world of music and entertainment.