# American Bandstand

American Bandstand (AB) was an American music-performance and dance television program that aired regularly in various versions from 1952 to 1989. It was hosted by Dick Clark from 1956 until its final season in 2002. Clark also served as the program's producer.
The show featured teenagers dancing to Top 40 music tracks introduced by Clark. Originally broadcast from Philadelphia, it remained there from its debut in 1952 until it relocated to Los Angeles in 1963.
Throughout its run, a wide variety of musical acts appeared on the show, typically lip syncing to one of their latest singles. Artists performed for the studio audience while the original recording played for viewers at home. Freddy Cannon holds the record for the most appearances, with 110.
Programs like Soul Train and the British series Top of the Pops adopted a similar format. Clark eventually took ownership of American Bandstand through his company, Dick Clark Productions.

## History
### 1950s

American Bandstand premiered locally in late March 1952 as Bandstand on Philadelphia television station WFIL-TV Channel 6, now WPVI-TV. Hosted by Bob Horn as a television adjunct to his radio show of the same name on WFIL radio, Bandstand featured short musical films produced by Snader Telescriptions and Official Films, with occasional studio guests. This incarnation was an early version of the music video shows that became popular in the 1980s.
Horn, however, wanted to change the show to a dance program with teenagers dancing on camera as music records played, which was a concept derived from radio show The 950 Club hosted by Joe Grady and Ed Hurst which aired on Philadelphia's WPEN.
On October 7, 1952, this version of Bandstand debuted from "Studio 'B'", located in their just-completed addition to the original 1947 building in West Philadelphia. It was hosted by Horn and co-host Lee Stewart from its launch in 1947 until 1955.
Stewart owned a TV/Radio business in Philadelphia and had a significant advertising account with WFIL-TV. To maintain the account, he was included on the program. However, as WFIL grew financially and the importance of the account diminished, Stewart's presence on the program was no longer necessary and he was eventually dropped. Tony Mammarella was the original producer with Ed Yates as director. The short Snader and Official music films continued in the short term to fill gaps when dancers were changed during the show because the studio could not fit more than 200 teenagers.
On July 9, 1956, Horn was fired following a drunk driving arrest. WFIL and its co-owner, Walter Annenberg's The Philadelphia Inquirer, were running a series on drunk driving at the time of Horn's arrest. He was also reportedly involved in a prostitution ring and faced morality charges. Horn was temporarily replaced by producer Tony Mammarella before the job went to Dick Clark permanently.
In late spring of 1957, ABC asked their O&O's and affiliates for programming suggestions to fill their 3:30 PM (ET) time slot. In Philadelphia, WFIL was already pre-empting ABC programming with Bandstand. Clark decided to pitch the show to ABC president Thomas W. Moore, and after some negotiations the show was picked up nationally, becoming American Bandstand on August 5, 1957.
The first national broadcast of American Bandstand was filmed in the Starlight Ballroom in Wildwood, New Jersey. One show from this first season on December 18, 1957, identified as the "Second National Broadcast", is preserved in the archives of the Museum of Broadcast Communications in Chicago.
One market not broadcasting Bandstand was Baltimore affiliate WAAM, now WJZ-TV, which chose to produce its own local dance show in the same afternoon time slot. Local radio disc jockey Buddy Deane was chosen as the host of The Buddy Deane Show on Channel 13, and began a daily two-hour broadcast on September 9, 1957, which created a sometimes-heated rivalry between Dick Clark and The Buddy Deane Show. When performers who debuted on Bandstand first appeared on Deane's program, they were asked to not mention their previous appearance with Clark during their appearance on the Baltimore show. The Buddy Deane Show aired on WJZ-TV until January 4, 1964.
"Studio 'B'" measured 80 by 80 by 24 feet (24.4 m × 24.4 m × 7.3 m), but appeared smaller due to the number of props, television cameras, and risers that were used for the show. It was briefly shot in color in 1958 when WFIL-TV began experimenting with the new technology. Due to the size of the studio, the need to have as much dance space as possible, and the size of the cumbersome color camera compared to the black-and-white models, it was only possible to have one RCA TK-41 where three RCA TK-10s had been used before. WFIL reverted to the TK-10s two weeks later when ABC refused to carry the color signal and management realized that the show needed the multiple black-and-white cameras to capture more angles.
When ABC picked up the game show Do You Trust Your Wife? from CBS in November 1957, they renamed the program Who Do You Trust? and scheduled the program at 3:30 PM ET—almost in the middle of Bandstand. Instead of shortening or moving Bandstand, ABC opted to just begin Bandstand at 3 PM, cut away to Who Do You Trust? at 3:30 PM, then rejoin Bandstand at 4 PM. In Philadelphia, however, WFIL opted to tape-delay the game show for later broadcast in another time slot, and to continue on with Bandstand.
A half-hour evening version of American Bandstand aired on Monday nights from 7:30 PM to 8:00 PM (ET), beginning on October 7, 1957, preceding The Guy Mitchell Show. Both proved ratings disasters. The Monday night version aired its last program in December 1957, but ABC gave Clark a Saturday night time slot for The Dick Clark Saturday Night Beech-Nut Show, which originated from the Little Theatre in Manhattan, beginning February 15, 1958. The Saturday show ran until 1960.
The program was broadcast live, weekday afternoons and, by 1959, the show had a national audience of 20 million. In the fall of 1961, ABC truncated American Bandstand's airtime from 90 to 60 minutes (4:00–5:00 pm ET), then even further as a daily half-hour (4:00–4:30 PM ET) program in September 1962. Beginning in early 1963, all five shows for the upcoming week were videotaped the preceding Saturday. The use of videotape allowed Clark to produce and host a series of concert tours around the success of American Bandstand and pursue other broadcast interests.

### 1960s

On September 7, 1963, the program was moved from its weekday slot and began airing weekly every Saturday afternoon, restored to an hour.
When WFIL-TV moved to a new facility on City Line Avenue, which did not have a studio that could accommodate the show, ABC moved production of Bandstand to the ABC Television Center in Los Angeles, now known as The Prospect Studios, on February 8, 1964. Prior to the move, Bandstand sourced many of its up-and-coming acts from Philadelphia's Cameo-Parkway Records. The move to California and the rise of the Beatles coincided with the decline of Cameo-Parkway Records. and inflicted permanent damage to the artists signed to the label.
The program was permanently shot in color starting on September 9, 1967. The typical production schedule consisted of videotaping three shows on a Saturday and three shows on a Sunday, every six weeks. The shows were usually produced in either Stage 54 or Stage 55 at ABC Television Center.
In September 1964, Bandstand began using a new logo based on the ABC circle logo, reading "ab" in the same typeface followed by a number representing the year the show aired. This started with "'65", then "'66", "'67", "'68", and "'69" when each year arrived. On September 13, 1969, the Bandstand set was given a complete overhaul and Les Elgart's big band version of "Bandstand Boogie" was replaced by the Mike Curb theme. The "ab" logo was replaced with the iconic stylized "AB" logo, shown at the top of this page and used for the remainder of the show's run. This set and theme music were used until August 31, 1974, with the arrival of a brand-new set and the second, updated version of "Bandstand Boogie".

### 1970s

For a brief time in 1973, Bandstand alternated its time slot with Soul Unlimited, a show featuring soul music that was hosted by Buster Jones. Soul Unlimited was not well-received among its target audience of African-Americans, ostensibly due to it being created by Clark, a white man, and because of its alleged usage of deliberately racial overtones. Don Cornelius, the creator and host of Soul Train, along with Jesse Jackson, entered into a dispute with Clark over this upstart program, and it was canceled within a few weeks. Set pieces from Soul Unlimited were utilized by Bandstand for its 1974–1978 set design.

### 1980s

As Bandstand moved towards the 1980s, the ratings began to decline. Many factors were involved in this, particularly the launch and rise of MTV and other music programs on television. Additionally, the number of ABC affiliates opting to pre-empt or delay the program. The increase in competition hurt Bandstand, and the variety of options for music on TV decreased its relevance. Another reason was that American Bandstand was pre-empted on many occasions by televised college football games, which expanded greatly in number in the wake of a court-ordered deregulation in 1984, which proved to be huge ratings successes, combined with occasional special presentations, including unsold game show pilots.

#### 1985: 33 1/3rd anniversary

On December 1, 1985, American Bandstand aired the one-off 33 1/3rd anniversary special on ABC. The show included performances by over 200 recording artists, special guest appearances, and past footage of the show. Performing artists included Rod Stewart, Dionne Warwick and Donna Summer.
On September 13, 1986, ABC reduced Bandstand from a full hour to 30 minutes; at Clark's request. On September 5, 1987, the 2,942nd and final ABC installment (with Laura Branigan performing "Shattered Glass") aired.
   Hey, our thanks to Laura Branigan for joining us here on American Bandstand today. I hope you've had a good half-hour. Come and join us two weeks from today for an hour version of American Bandstand on Saturday, September 19. We'll see you then. In the meantime, have a wonderful week or two. We'll see you the next time on American Bandstand. For now, Dick Clark on ABC, so long.
Two weeks later, Bandstand moved to first-run syndication. Dubbed as The New American Bandstand and distributed by LBS Communications, the series' tapings were moved from the ABC Television Center to the Hollywood studios of Los Angeles's PBS member station KCET, with a new set similar to that of Soul Train. Clark continued as host of the series, which was restored to its former hour length, and aired on KYW-TV in Philadelphia and WWOR-TV in New York City (a superstation status that also gave the program further national exposure), KTLA in Los Angeles, WMAQ-TV in Chicago, WDIV in Detroit, WEWS in Cleveland, WTMJ-TV in Milwaukee, and WCIX in Miami.
The first syndicated episode aired on the weekend of September 19, 1987. But the run was short-lived, lasting just under a year until the weekend of June 4, 1988.
After a ten-month hiatus, Bandstand moved to cable on USA Network on April 8, 1989, with comedian David Hirsch taking over as host. In another format shift, the show was shot outdoors at Universal Studios Hollywood. Clark remained with the show, serving as its executive producer.
This version of the show, however, was also short-lived, lasting only 26 weeks until it was canceled. Its final show, with The Cover Girls performing "My Heart Skips a Beat" and "We Can't Go Wrong", aired on October 7, 1989, ending the show's 37-year run.
   Well, it's our last show here on Bandstand and I really want to thank the viewers who have kept American Bandstand on the air all these years. Dick Clark, wherever you are, we miss you. I tried my best to fill your shoes and I hope I have lived up to what you were expecting of me. American Bandstand will be back someday, I assure you. I'm David Hirsch and, on behalf of American Bandstand, I bid you, for the last time, goodbye.

### 2002: 50th anniversary

On May 3, 2002, Dick Clark hosted a one-off special 50th anniversary edition on ABC. Michael Jackson, a frequent Bandstand guest, performed "Dangerous". The Village People performed their legendary song, "YMCA" for the audience in Pasadena, California. Other performers including Brandy, members of KISS, Dennis Quaid and his band The Sharks, Cher, and Stevie Wonder performed to remember the iconic program.

## Program features
### Rate-a-Record

Clark regularly asked teenagers their opinions of the songs being played, through the "Rate-a-Record" segment. During the segment, two audience members each ranked two records on a scale of 35 to 98, after which their two opinions were averaged by Clark, who then asked the chosen members to justify their scores. The segment gave rise to the catchphrase "It's got a good beat and you can dance to it."

### Hosts

The only singer to ever co-host the show with Dick Clark was Donna Summer, who joined him to present a special episode dedicated to the release of the Casablanca film Thank God It's Friday on May 27, 1978. From the late 1950s and most of the 1960s, Clark's on-camera sidekick was announcer Charlie O'Donnell, who later went on to announce Wheel of Fortune and other programs hosted or produced by Clark, such as The $100,000 Pyramid. There were occasional shows that were not hosted by Clark, in which case a substitute host (among them Rick Azar) was brought in.

### Theme music

Bandstand originally used "High Society" by Artie Shaw as its theme song, but by the time the show went national, it had been replaced by various arrangements of Charles Albertine's "Bandstand Boogie", including Les Elgart's big-band recording remembered by viewers of the daily version. From 1969 to 1974, "Bandstand Theme", a synthesized rock instrumental co-written by Mike Curb, opened each show. From 1974 to 1977, there was a newer orchestral disco version of "Bandstand Boogie", arranged and performed by Joe Porter, played during the opening and closing credits. Elgart's version was released as a single in March 1954 (Columbia 40180) as well as Curb's theme (by "Mike Curb & The Waterfall") in October 1969 (Forward 124).
From 1977 to September 6, 1986, the show opened and closed with Barry Manilow's rendition of "Bandstand Boogie", which he originally recorded for his 1975 album Tryin' to Get the Feeling. This version introduced lyrics written by Manilow and Bruce Sussman, referencing elements of the series. The previous theme was retained as bumper music. From September 13, 1986, to September 5, 1987, Manilow's version was replaced at the close of the show by a new closing theme arranged by David Russo, who also performed an updated instrumental arrangement of "Bandstand Boogie" when Bandstand went into syndication.
From 1974 to September 6, 1986, Bandstand featured another instrumental at its mid-show break: Billy Preston's synth hit "Space Race".

## Civil rights and discrimination

Being originally located in Philadelphia, Bandstand was influenced by racial segregation laws in nearby Maryland and Delaware. Although the show was never explicitly segregated and featured Black R&B performers like The Chords, producers desired to increase marketability in segregated states and avoid alienating white viewers by de facto segregating the audience from 1954 onwards. Policies to limit Black attendance included abolishing first-come-first-served tickets for locals, favoring repeat attendees in ticket allocation, promoting tickets in majority-white suburbs, and only responding to mail-in ticket requesters with European surnames. In response, Black teenagers began requesting tickets under fake names and getting admission, and were regularly harassed by or got in fights with white audience members. Fearful that the fights would scare away advertisers or dissuade parents from letting their children attend, Bandstand's producers petitioned the Philadelphia Commission on Human Relations to investigate. Bob Horn and other producers testified that the show did not have any discriminatory policies, and the Commission concluded in 1955 that although admission policies and the fights resulted in "the absence of Negroes from attendance," there were insufficient grounds for a discrimination lawsuit.
Dick Clark claimed in his autobiography that he was responsible for desegregating the show's audience shortly after taking over in 1957. However, review of footage of the show's audience reveals that it remained almost exclusively white until it relocated to Los Angeles in 1964.

## Revival plans

In 2004, Dick Clark, with the help of Ryan Seacrest, announced plans to revive the show in time for the 2005 season; although this did not occur (due in part to Clark suffering a severe stroke in late 2004), one segment of the revived Bandstand—a national dance contest—eventually became the series So You Think You Can Dance. Dick Clark Productions is credited as the show's co-producer, and longtime employee Allen Shapiro serves as co-executive producer. While the American series has aired sixteen seasons, its format was also replicated worldwide, from Norway (Dansefeber) to Australia (So You Think You Can Dance Australia).
Dick Clark died on April 18, 2012, at the age of 82.

## Legacy

American Bandstand played an important role in introducing Americans to famous artists such as Prince, Jackson 5, Sonny and Cher, Aerosmith, and John Lydon's PiL—all of whom made their American TV debuts on the show. American Bandstand was a daily ritual for many teenagers throughout the nation. The Top 40 hits that everyone heard were matched with fun routines performed by relatable teenagers. It also was a prototype for musical television properties including cable channel MTV and Fox's reality-competition show American Idol.

## References in popular culture

* The show was featured prominently in the 2002–2005 NBC-TV drama series American Dreams, which like Bandstand was executive produced by Dick Clark. In a 2005 episode, Eddie Kelly and Bunny Gibson – one of the most famous couples to appear on American Bandstand in the Philadelphia years – were the only two to make cameo appearances on the acclaimed TV series. Along with that, Kelly and Gibson were named a number of times in the script, and Kelly is referred to in the last episode. Actor Paul D. Roberts made frequent appearances as Dick Clark, while Michael Burger played announcer Charlie O'Donnell. Clark frequently provided voice-overs as his younger self.
* In the quarterfinals of season 7 of America's Got Talent, contestant Ulysses performed a cover of the American Bandstand theme song.
* In episode 4089 of Sesame Street, there was a parody of American Bandstand called "American Fruit Stand" where a duck named "Duck Clark" hosted the program. It featured Miles singing songs about fruits to the tune of famous oldies songs, such as "Johnny B. Goode", "Twist and Shout", and "I Feel Good".
* The lyric video for Sia's song "Cheap Thrills" features a show reminiscent of American Bandstand ("Dance Stage USA").
* In Jersey Boys, Frankie Valli & The Four Seasons perform the song "Sherry" to an audience on American Bandstand. In real life, they were asked to perform "Big Girls Don't Cry".
* Soul for Real's video for "If You Want It" shows the group performing on the American Bandstand stage, with Clark making a cameo at the beginning and end of the clip.
* In the Black Dynamite episode "American Band Standoff, or The Godfather of Soooul Train", American Bandstand and Soul Train are depicted as operating like organized crime families, with Dick Clark and Don Cornelius as their respective bosses. They fight a turf war for control of the airwaves, including kidnapping and murdering each other's dancers and musicians.