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. You are signed in as (Sign out). Some teens were still holding their bottles when Grant started the next advertisement for Motorola portable radios. From one perspective, these televised teen dance shows were commercialized diversions during an era of profound changes in the racial dynamics of the South. d. Ricky Nelson, A distinctive vocal feature of the Everly Brothers was: From another, however, these shows were spaces that celebrated the creative potential and everyday lives of black youth. c. they had top 40 albums This, however, did not stop her and she began playing gigs around New York City. Page not found Instagram Did Dick Clark have segregation on American Bandstand? WOOK-TV advertisement for Teenarama host Bob King,1965. Ultimately, these televised teen dance shows encourage us to expand the range of sounds and images we associate withblack youth in the South. tippy('#footnote_plugin_tooltip_1562_1_50', { content: jQuery('#footnote_plugin_tooltip_text_1562_1_50').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Both of these options were cost prohibitive for many of the African American viewers WOOK hoped to reach. 6. What Was The First Song Played On American Bandstand? As historian. Checker himself twisted as he performed the song. a. A lot of rock and roll today is bordering on what is called 'popular music.'"52Ibid. What the show didn't do was fully integrate its studio audience as soon as he became host, as Clark has claimed. from Baltimore. We hope to show interracial activities which are harmonious. 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". 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. In each clip, the teenagers dance as the singers lipsync to recordings of their songs, as was the common practice in this era. The fear was in large part fueled by concerns about racial mixing, and on that front, Bandstand was indeed groundbreaking. Dick Clark at his customary podium onAmerican Bandstandas the programs teenagers dance. In 1926, Blind Lemon Jefferson became the first solo singer-guitarist to have a hit record (Paramount's advertisement promised "a real, old-fashioned blues, by a real, old-fashioned blues singer") and he set a new fashion for earthier "country blues," followed by Blind Blake, Big Bill Broonzy, Lonnie Johnson and Furry Lewis. The abbreviated (15 minute) programs are necessary because of ABC's scheduling of American Bandstand from 12:301:30 p.m. each Saturday. b. teenage symphonies My plan is to bring a group of 45 or 50 children . tippy('#footnote_plugin_tooltip_1562_1_35', { content: jQuery('#footnote_plugin_tooltip_text_1562_1_35').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); WRAL, however, offered Teenage Frolics signal strength and stability, and Lewis's success at attracting advertisers and navigating station politics kept the program on the air for twenty-five years. While Little Rock's school desegregation crisis led print and television news across the country in the fall of 1957, Arkansas viewers could tune in every afternoon to watch white teenagers dance on the still-segregated Steve's Show. The Nicest Kids in Town: American Bandstand, Rock 'n' Roll, and the Struggle for Civil Rights in 1950s Philadelphia. 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. Answer.Yes Dick Clark did have segregation on American Band Stand. Blues are here to stay." The Milt Grant Show is particularly interesting for how it sought to bring black music performances to television viewers while maintaining a segregated studio audience that would appeal to sponsors. 4 (October 2008): 443444. An older sisters birth certificate and piled-on makeup enabled some underage girls to get membership cards to Studio B. Philadelphia Evening Bulletin, George D. McDowell Collection, Special Collections Research Center, Temple University Libraries, Philadelphia. Trudi Brown. Most early television shows were recorded over or discarded because storage was too expensive. There were two black dancers on this show, the "black Bandstand," or whatever you want to call it. c. the Crystals Courtesy American Bandstand. Anonymous ("102 Pilot St.), letter to J.D. Some commented they looked like grampas'. It sounded like music from the margins, unloved and misunderstood. But all he had to do was lip-sync and wiggle a bit and the screaming would start. Their teachers asked for volunteers and those who were Race and American Bandstand, The Seven-Year Itch: West Philly Loses American Bandstand, Report accessibility issues and request help. The rest are largely forgotten. Read about our approach to external linking. In January 1962, it topped the chart again. tippy('#footnote_plugin_tooltip_1562_1_49', { content: jQuery('#footnote_plugin_tooltip_text_1562_1_49').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Whereas all television sets could pick up VHFstations, which carried major network programming, UHF (ultra high frequency) stations required viewers to have special UHF tuners. Delmont, Matthew. "In the southern context, congregation was important because it symbolized anact of free will, whereas segregation represented the imposition of another's will." Equal Time: Television and the Civil Rights Movement. After all, teenagers have $9 billion a year to spend.". The Mitch Thomas Show usefully troubles the boundary between the South and the North. c. "Only the Lonely" Broadcasting daily evidence of Philadelphia's vibrant interracial teenage culture would have offered viewers images of black and white teens interacting as peers at a time when such images were extremely rare. Ethel Waters became, at one point, the highest-paid actress on Broadway. c. Jan and Dean This pocket Bluetooth printer lets you print your precious memories before they hit Instagram. I can hardly recognize my own voice, said Fabian. "12Otis Givens, interview withauthor, June 27, 2007. tippy('#footnote_plugin_tooltip_1562_1_12', { content: jQuery('#footnote_plugin_tooltip_text_1562_1_12').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Similarly, South Philadelphia teen Donna Brown recalled in a 1995 interview,"I remember at the same time that Bandstand used to come on, there used to be a black dance thing that came on, and it was The Mitch Thomas Show . Who was the first black singer to appear on American Bandstand? tippy('#footnote_plugin_tooltip_1562_1_11', { content: jQuery('#footnote_plugin_tooltip_text_1562_1_11').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); His television show, broadcast every Saturday, resembled Philadelphia's Bandstand,at the timea local program hosted by Bob Horn,and other locally broadcast teenage dance programs. He is currently finishinga book titledMaking Roots: How an Epic Book and Television Miniseries Made History and Why Roots Still Matters(under contract with University of California Press). It portrayed the Mississippi Delta as a land lost in time, closer in spirit to the slavery era than to modern America. . This obsession with the "genuine" black experience proved fatal for the classic blues. And I always was like "wow." Sterling Tucker, director of the Washington branch of the Urban League, worried that WOOK's focus on the "Negro market" was out of step with civil rights efforts,"You don't go along the road of segregation to achieve integration. A century later, however, it's a different story. "We weren't able to get into Bandstand, [but] The Mitch Thomas Show gave me a little fame. He first commented on the program's integration in his 1976 autobiography, when American Bandstand's ratings were in decline and the show faced a challenge from Don Cornelius' Soul Train. This viewer offered Lewis several suggestions for how to improve the show, including, "You need more records. Hazel Bryan (left) harasses Elizabeth Eckfordasblack students attempt to integrate Little Rock's Central High School, Little Rock, Arkansas, September 4, 1957. Barry Malone, "Before Brown: Cultural and Social Capital in a Rural Black School Community, W.E.B. You are signed in as (Sign out). Sisters Gwendolyn and Lena Horton, for example, regularly walked from the Walnut Terrace neighborhood to appear on the show. Earl Lewis. . Mamie Smith retired in 1931. Despite living during a time when music in America was divided into two categories popular music and race music the iconic singer, Ella Fitzgerald, still managed to become the first Black artist to win a Grammy. 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. Historian Brett Gadsden describes Delaware as "a provincial hybrid, one in which ostensibly southern and northern modes of race relations operated. d. they were cover artists, Phil Spector referred to the singles he produced as: This site requires Javascript to be turned on. Clark first addressed the integration of the studio audience in his 1978 record collection celebrating the shows twenty-fifth anniversary. 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. First, were important for black teens because the shows offered televisual spaces that valued their creative energies and talents. Lewis (WRAL), n.d. [ca. Please rush your information. The "Blues Mafia" clique of record collectors (all white, all men) who established the blues canon after World War Two scorned the 1920s hits as commercial junk and sought out the obsolete flops that nobody else cared about. The hillbilly influence began creeping into it and the music became what we call rock and roll . Despite its ban on black teenagers, the show regularly featured black R&B performers who were in town to perform at the Howard Theater. Image courtesy of Matthew F. Delmont. Norma Coates, "Elvis from the Waist Up and Other Myths: 1950s Music Television and the Gendering of Rock Discourse," in. Company Credits American Bandstand didn't just introduce the country to the latest rock-and-roll musicians, it had the nation on its feet with the latest dance crazes, such as the Pony, the Jitterbug, and the . "6Quoted in Bodrogkozy, Equal Time, 2. tippy('#footnote_plugin_tooltip_1562_1_6', { content: jQuery('#footnote_plugin_tooltip_text_1562_1_6').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); In the context of pitched battles over segregation and civil rights, these televised teen dance shows reveal much about the visibility of different youth musical cultures in the 1950s and 1960s. Williams and Walker. | Music was the glue that held together a carnival of consumption. Lewis (WRAL), June 24, 1967, Lewis Family Papers, folder 140; Daniel Jackson, letter to J.D. Other black artists also appeared on Bandstand that year, including Jackie Wilson, Johnny Mathis, Chuck Berry, Mickey & Sylvia and others. On race and segregation in Philadelphia, see Countryman, Up South; Countryman, "'From Protest to Politics': Community Control and Black Independent Politics in Philadelphia, 19651984,"Journal of Urban History 32 (September 2006): 813861; Delmont, The Nicest Kids in Town; James Wolfinger, Philadelphia Divided: Race and Politics in the City of Brotherly Love (Chapel Hill: University of North Carolina Press, 2007); Wolfinger, "The Limits of Black Activism: Philadelphia's Public Housing in the Depression and World War II," Journal of Urban History 35 (September 2009): 787814; Guian McKee, The Problem of Jobs: Liberalism, Race, and Deindustrialization in Philadelphia (Chicago: University Chicago Press, 2008); McKee, "'I've Never Dealt with a Government Agency Before': Philadelphia's Somerset Knitting Mills Project, the Local State, and the Missed Opportunities of Urban Renewal," Journal of Urban History 35 (March 2009): 387409; and Lisa Levenstein, A Movement Without Marches: African American Women and the Politics of Poverty in Postwar Philadelphia (Chapel Hill: University of North Carolina Press, 2009). He also hosted five incarnations of the Pyramid game show from 1973 to 1988 . At the same time, the classic blues singers were too working-class and sexually frank for some of the urban middle classes. "61"Voice of the People: In Defense of WOOK-TV," Washington Afro-American, February 23, 1963. tippy('#footnote_plugin_tooltip_1562_1_61', { content: jQuery('#footnote_plugin_tooltip_text_1562_1_61').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); As Burton suggests, during its five years The Milt Grant Show (19561961) was an officially segregated program. 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. 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. Only one kinescope of The Milt Grant Show is known to exist, but it features two separate performances by R&B performersone by the duo Johnnie and Joe (Johnnie Lee Richardson and Joe Walker), and the other by LaVern Bakerthat help explain how the show sought to manage the differences between black performers and white audience members. Lewis (WRAL), June 10, 1967, Lewis Family Papers,folder 140. Which folk music group had a hit song with a cover of Bob Dylan's "Blowin' in the Wind"? List of acts who appeared on American Bandstand - Wikipedia 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. c. melodic soul Most people listening to a dance program would rather hear the latest records. This was an extraordinarily high level of promotional activity, even by the standards of commercial television. b. Teenage. And The Stroll became a big thing. Clarence Burton Jr., defending the station and raising a question about the teen dance show that predated Teenarama. Most important, American Bandstand defined what teenagers looked like for a generation of viewers. b. Enter your comment below. "40David Cecelski, Along Freedom Road: Hyde County, North Carolina and the Fate of Black Schools in the South (Chapel Hill: University of North Carolina Press), 9. tippy('#footnote_plugin_tooltip_1562_1_40', { content: jQuery('#footnote_plugin_tooltip_text_1562_1_40').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Teenage Frolics offered a black cultural space that bridged this period between segregatedand integrated schools. Bandstand: With Brian Henderson, The Delltones, Judy Stone, Col Joye. They had four top 10 pop hits and "Don't Worry, Baby" was the B-side to their first #1 "I Get Around." Clarks policy was to restrict American Bandstand to youth aged 14-17. As WOOK-TV prepared to come on the air in 1963, the Afro-American newspaper received a letter from Rev. musical director / music arranger (59 episodes, 1961-1967) Please be respectful. A weekly presentation of popular music, which went through many format changes during its long run. She was later signed to the Decca Recordings and later Verve Records. Eventually Black teens were allowed. Joan Cannady, who was the first black student to attend Germantown Friends High School in the northeast section of Philadelphia, remembers watching the program to hear black music that was not played at parties with her white classmates. "66"TV Jockey Profile: The Milt Grant Show," Billboard, February 6, 1961, 43. tippy('#footnote_plugin_tooltip_1562_1_66', { content: jQuery('#footnote_plugin_tooltip_text_1562_1_66').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); He promised potential sponsors that for an hour every afternoon WTTG-TV's studio in the Raleigh Hotel in downtown Washington would be a nexus for selling products to area teenagers. Finally, the visibility these shows offered to teenagers was closely tied to the salability of teen music culture. The show urged teenagers to drink Pepsi, eat at Tops' Drive-Inn, listen to Motorola portable radios, and buy the newest records at the Music Box record store. b. ", Gertrude "Ma" Rainey was one of several black women who dominated the classic blues African-American culture's first mainstream breakthrough (Credit: Getty Images). WTTG-TV was was founded as a DuMont station and DuMont ended network operations in 1956. FormerBandstanderArlene Sullivan, famous in her own right as aBandstand regular in the late 1950s, recalled, There werent many people in the fifties who did not think that Fabian was the handsomest boy theyd ever seen. DVD. The classic blues singers were already in decline when the Great Depression finished them off. We had Teenarama, which was ours. The resulting image nicely illustrates the tensions surrounding televising black music to white audiences. My Place. "Fun, Fun, Fun" Clark. "70Gayle Wald, It's Been Beautiful: Soul! Dick Clark - Wikipedia When Clark initially referred to American Bandstand's "integration," he emphasized black musical artists performing on the show. The King's coronation will be televised - Sky News "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. I'm thinking it was either Bo Diddley or Ben E. King. In 1960, Checker recorded The Twist, a song written and first recorded by Hank Ballard, an R&B pioneer. It elevated flops while ignoring the music that black consumers had actually enjoyed. tippy('#footnote_plugin_tooltip_1562_1_39', { content: jQuery('#footnote_plugin_tooltip_text_1562_1_39').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); "When black schools closed," historian David Cecelski writes, "their names, mascots, mottos, holidays, and traditions were sacrificed with them, while students were transferred to historically white schools that retained those markers of cultural and racial identity. 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. Such was Clarks attractiveness to corporate sponsors and the appeal ofBandstandto teenage audiences in the nations third largest city that the American Broadcasting Company (ABC) saw an opportunity to market sponsors products to a national audience of teenage consumers valued at $9 billion. Arlene with singer Frankie Avalon at an American Bandstand event. For the writer Zora Neale Hurston, His Negroness is being rubbed off by close contact with white culture.". a. accusations of Communism He was stunning. But what did hurt me was the fact that I had originated the song, and I never got the opportunities to be in the top television shows and the talk shows. On 10 August, Smith and an ad hoc band called the Jazz Hounds recorded Bradfords Crazy Blues. Dick Clark introduced records, and the camera followed teenagers as they selected partners to dance, writes historian Matthew Delmont. a. By 1961, The Twist and Checkers follow-up record, Lets Twist Again (Like We Did Last Summer), were an international phenomenon. Walker, along with his partner Bert Williams, were perhaps the most famous (to both black and white audiences) black entertainers of the late 19th and early 20th centuries. d. Chuck Berry, An important component of the Beach Boys' success was: "42Hazel Jordan, letter to J.D. Among the blues singers who have gained more or less national recognition there is scarcely a man's name to be found. Her journey from Georgia to Chicago in Ma Rainey's Black Bottom represents the Great Migration of hundreds of thousands of black people from the rural South to the urban North during that period. 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. 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. "The songs may live," wrote one critic in 1926, "but the best thing of all, the free impulse, the pattern of careless voices happily inventing as they go, if it dies it cannot be resurrected." The classic blues, sometimes known as "vaudeville blues" or "city blues," was a hybrid of rural folk and urban pop, southern roots and cosmopolitan panache. Bessie Smith by Jackie Kay is published on 18 February. In his "Letter from a Birmingham Jail," Martin Luther King, Jr. spoke to what it meant for young black people to be excluded from these sorts of entertainment spaces. "47Cash Michaels, "Memories of Teenage Frolics," The Carolinian, December 4, 1997. tippy('#footnote_plugin_tooltip_1562_1_47', { content: jQuery('#footnote_plugin_tooltip_text_1562_1_47').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Comparing the show to Soul Train in 1997, The Carolinian, a Raleigh-based African-American newspaper, commented that Teenage Frolics "gave the Hollywood production a run for its money in these parts."48Ibid. We don't need to exaggerate the integration of American Bandstand to appreciate all that Clark did to shape American popular culture. 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. By the time Clark delivered a revampedBandstandto national audiences asAmerican Bandstandin 1957, the show was ostensibly squeaky clean. (Regardless, kids liked Horn, and many were loyal to Horn.). In addition to viewer letters, Lewis received mail from local music groups that watched and wanted to appear on the show. 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. In addition, I examine Washington's The Milt Grant Show (19561961), which allowed only white dancers. Dick Clark's American Bandstand Didn't Originally Allow Black Dancers When North Carolina began desegregation from 1969 to 1971, many black high schools were closed or were converted to elementary schools or junior highs. When a white singer dropped out of a recording session at the last minute, Bradford convinced Hagar to take a chance on Smith, a Cincinnati-born star of the Harlem club scene, and scored a substantial hit. Like the man WC Handy spotted at Tutwiler station, their alienation guaranteed their authenticity. Bandstand began as a local program on WFIL-TV (now WPVI), Channel 6 in Philadelphia on October 7, 1952. Simon Singers drug store and luncheonette at the southeast corner of Market and Farragut streets was a hangout for American Bandstand Regulars. . b. the Coasters tippy('#footnote_plugin_tooltip_1562_1_22', { content: jQuery('#footnote_plugin_tooltip_text_1562_1_22').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); They were watching, for example, when dancers on The Mitch Thomas Show started dancing The Stroll, a group dance where boys and girls faced each other in two parallel lines, while couples took turns strutting down the aisle. For many young people being blocked from amusements parks, swimming pools, and skating rinks would be their first exposure to what King calls the feeling of "forever fighting a degenerating sense of 'nobodiness. From 1976 to 2011, however, Clark became progressively bolder, and . "17Black Philadelphia Memories,directed byTrudi Brown (Philadelphia,WHYY-TV12,1999), television documentary. Every form of historical revisionism has its winners and losers. Where Are the American Bandstand Regulars Now? Bandstand (TV Series 1958-1972) - Full Cast & Crew - IMDb Bandstand (TV Series 1958-1972) - IMDb Archived reports of the Philadelphia Commission on Human Relations show that Bandstand was initially segregated in the early 1950s, when it was a locally broadcast show hosted by Bob Horn. American Bandstand also helped invent the demographic that still dominates popular culture: teenagers. tippy('#footnote_plugin_tooltip_1562_1_26', { content: jQuery('#footnote_plugin_tooltip_text_1562_1_26').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Thomas's show was among the first victims of the station's financial problems. And I remember that there was a dance that [American Bandstand regulars] Joan Buck and Jimmy Peatross did called "The Strand"and it was a slow version of the jitterbug done to slow records. By 1973, the show drew many of the top R&B performers and competed with American Bandstand for viewers on Saturday afternoons. d. opposing Vietnam, Which of following can be said about Bob Dylan and Joan Baez during the folk revival? not limited to "only white" dancers. 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. Broadly speaking, the playing was slick, the rhythms hot, the songwriting polished, the lyrics tough and ironic, the stagewear glamorous and the stars overwhelmingly female. d. Chuck Berry's guitar influence, Dick Dale was known for: tippy('#footnote_plugin_tooltip_1562_1_2', { content: jQuery('#footnote_plugin_tooltip_text_1562_1_2').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); The teenagers in this clip from Seventeen, a teen dance show broadcast by WOI-TV to central Iowa in the late-1950s, did not need to know this history to appreciate that Willis's "Betty and Dupree" was a perfect song for dancing the Stroll, even if they did so awkwardly. Not so nice: No matter what Dick Clark says, 'American Bandstand
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