who was the first black singer on american bandstand

To show how these perspectives are intertwined I'll conclude with a brief discussion of a dance show that started broadcasting at a pivotal time and from a pivotal place in the history of civil rights. While it featured a sanitized version of rock and roll, with white teen idols such as Bobby Rydell and Frankie Avalon,American Bandstand also hosted black vocal groups such as the Coasters and the Impressions; early girl groups such as the Shirelles; Motown artists such as Mary Wells and Smokey Robinson and the Miracles; and R&B and soul pioneers such as James Brown and the Famous Flames, Marvin Gaye and Aretha Franklin. "As per our conversation of yesterday, it is going to be necessary that we make some adjustment in our Saturday afternoon schedule this fall with respect to Teen-Age Frolics," Helms wrote to inform Lewis and other staff that the show would have to be shortened from its regular one hour broadcast time. 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. Peter, Paul, and Mary The pop audience's perception of the image and authenticity of folk music was the result of the effort of the music industry to market the movement. DVD. As labels such as Okeh, Paramount and Columbia rushed into the so-called "race records" market, they snapped up dozens of women like Smith, ("Queen of the Blues"), including Gertrude "Ma" Rainey ("Mother of the Blues"), Bessie Smith ("Empress of the Blues"), Ida Cox ("Uncrowned Queen of the Blues"), Ethel Waters, Sara Martin, Edith Wilson, Victoria Spivey, Sippie Wallace and Alberta Hunter. There were two black dancers on this show, the "black Bandstand," or whatever you want to call it. Fitzgerald was born on April 25, 1917, in Virginia. 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. 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. But that is where his legacy gets complicated. The first order of business was to lure disaffected Horn loyalists to his version ofBandstand. Clarence Burton Jr., defending the station and raising a question about the teen dance show that predated Teenarama. Kendall Productions Records, Smithsonian Anacostia Community Museum. 1950s Teen Dance TV Shows, Volume 1. The program that preceded Dick Clarks American Bandstand at WFIL-TV was deejay Bob Horns locally popular Bandstand. a. white dancers on the same dance floor. Every form of historical revisionism has its winners and losers. My Place. . http://americanhistory.si.edu/brown/history/1-segregated/segregated-america.html. Christopher Sterling and John Michael Kittross, "Voice of the People: In Defense of WOOK-TV,", "Nation's First Minority Group TV Station to Broadcast Today,", Nan Randall, "Rocking and Rolling Road to Respectability,". 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. Recognizing the songs potential, but also that the dance in the Ballard version, with its very suggestive horizontal hip movement, wasnt appropriate for prudish national television. Vermont Public Radio. Unlike American Bandstand, or Soul Train, which started broadcasting nationally in 1971, The Mitch Thomas Show, Teenage Frolics, Teenarama Dance Party, and The Milt Grant Show are not well known outside of their local broadcast markets. tippy('#footnote_plugin_tooltip_1562_1_8', { content: jQuery('#footnote_plugin_tooltip_text_1562_1_8').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Like American Bandstand, the local programs I explore in this essay brought dynamic music cultures to eager audiences and advertisers, while they also traced the boundaries of inclusion and exclusion in their cities. Show,", On Mitch Thomas' concerts, see Archie Miller, "Fun & Thrills,", Ray Smith, interviewwithauthor, August 10, 2006. Once you really had a rocking roll show up here. Bessie Smith was the first African-American singer. On Valentine's Day 1920, a little over a century ago, a 28-year-old singer named Mamie Smith walked into a recording studio in New York City and made history. Martin Luther King, Jr., "Letter from a Birmingham Jail," April 16, 1963. The teens on Seventeen were emulating their peers in Philadelphia who popularized the dance on the nationally broadcast American Bandstand. "Afro-Americans who lived in communities as diverse as Chicago, Norfolk, and Buxton, Iowa, congregatedsometimes along class lines, but always together," Earl Lewis argues. King's mention of "Funtown" is preceded by references to lynch mobs, police brutality and the "airtight cage of poverty," and followed by references to hotel segregation and racial slurs. After all, teenagers have $9 billion a year to spend.". 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. 1967], Lewis Family Papers, folder 140. d. Jan and Dean, Which of the following cities produced an especially high number of teen idol hits from 1957-1963? 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. This article will also be published in the Washington Post's Outlook section for Sunday, April 22, 2012. Earl Lewis. In January 1962, it topped the chart again. Broadcasting from Wilmington, Raleigh, and Washington, these shows reached regional audiences, but varied in terms of signal strength and network affiliations. If the iconic civil rights images from cities like Little Rock, Greensboro, and Birmingham attest to the fact that young activists struggled to be treated as first-class citizens, The Mitch Thomas Show, Teenage Frolics, and Teenarama emphasized that black youth were worthy of being first-class consumers and teenagers.72On the relationship between citizenship and consumption, see Lizbeth Cohen, A Consumer's Republic: The Politics of Mass Consumptions in Postwar America (New York: Alfred A. Knopf, 2003); Robert Weems, Jr., Desegregating the Dollar: African American Consumerism in the Twentieth Century (New York: New York University Press, 1998); Victoria Wolcott, Race, Riots, and Roller Coasters: The Struggle over Segregated Recreation in America (Philadelphia: University of Pennsylvania Press: 2012). By 1951, when he landed a job at ABC's WFIL station in Philadelphia, he worked in radio, regarded as too youthful looking to be a credible TV newscaster. "44Anonymous ("102 Pilot St.), letter to J.D. 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. Aperformance later in the show by white singer Jeri Renay did not use this technique. Rarely has the music industrys received wisdom been upended by a single hit. tippy('#footnote_plugin_tooltip_1562_1_3', { content: jQuery('#footnote_plugin_tooltip_text_1562_1_3').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); That same year, black students from St. Augustine University and Shaw University staged sit-ins at lunch counters in Raleigh to protest the whites-only policies at Woolworths and other stores.4Jeffrey Crow, Paul Escott, and Flora Hatley, A History of African Americans in North Carolina (Raleigh: Division of Archives and History,North Carolina Department of Cultural Resources, 1992). Please enable Javascript and reload the page. After the widely circulated photograph made her a local celebrity she attended the show with a bodyguard.68David Margolick, Elizabeth and Hazel: Two Women of Little Rock (New Haven: Yale University Press, 2011), 44, 290. tippy('#footnote_plugin_tooltip_1562_1_68', { content: jQuery('#footnote_plugin_tooltip_text_1562_1_68').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Steve's Show was a highly visible regional space that asserted a racially segregated public culture and continued to do so until it went off the air in 1961. "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 . In the midst of the voting rights marches in Selma in 1965, for example, Martin Luther King told marchers and the news media, "We are here to say to the white men that we no longer will let them use clubs on us in the dark corners. 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. I'm thinking it was either Bo Diddley or Ben E. King. 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. 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. For the best experience please upgrade your IE version or switch to a another web browser. "There's 14 million Negroes in our great country and they will buy records if recorded by one of their own," he told Fred Hagar at Okeh Records. [4] Jackson,American Bandstand, 137-39, 145-46; The Diary of Arlene Sullivan, in Arlene Sullivan, Ray Smith, and Sharon Sultan Cutler,Bandstand Diaries: The Philadelphia Years, 1956-1963(Chicago: Coney Island Press, 2016), 59-60. Lewis (WRAL), June 21, 1967, Lewis Family Papers, folder 140; Guadalupe Hudson, letter to J.D. "Leader of the Pack" Years before Soul Train (19712006) brought black dance television to national audiences, The Mitch Thomas Show, Teenage Frolics, and Teenarama highlighted black music and dance styles.71Ericka Blount Danois, Love, Peace, and Soul: Behind the Scenes of America's Favorite Dance Show Soul Train: Classic Moments (Milwaukee: Backbeat Books, 2013); Nelson George, The Hippest Trip in America: Soul Train and the Evolution of Culture and Style (New York: William Morrow, 2014); Questlove, Soul Train: The Music, Dance, and Style of a Generation (New York: Harper Design, 2013). We do not intend to assume a controversial role. . d. the Ronettes, All of the following were considered rockabilly pop musicians EXCEPT: a. And that was something for the black kids to really identify with. Most early television shows were recorded over or discarded because storage was too expensive. As Marybeth Hamilton writes in her excellent book In Search of the Blues: Black Voices, White Visions, "Once only encountered at house parties and barn dances, on street corners and the black showbiz circuit, the blues could now be heard pouring out of speakeasies, nightclubs, houses, apartments, drug stores and barbershops, hardware stores and funeral parlours, anywhere race records were played or sold. Two or three times during the show, Clark would introduce singers or groups who would lip-sync their latest hits.2, As Americas only national deejay, Clark wielded enormous influence that figured prominently in the meteoric rise of both white and black performers. "When I got back to Philly, and everyone had seen me on TV, I was big time," Givens recalled. 1966-67], Lewis Family Papers,folder 140. tippy('#footnote_plugin_tooltip_1562_1_41', { content: jQuery('#footnote_plugin_tooltip_text_1562_1_41').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); A letter to "John D." from an adult chaperone suggests that Lewis was a well-known and approachable local television personality,"I came to your house two Sundays ago to see you. b. Carole King The distinction, which may be a fine one, is the style of the singer and the background of a record. In his 1997 history of American Bandstand, for example, Clark contends, "I don't think of myself as a hero or civil rights activist for integrating the show; it was simply the right thing to do." Smith's experience supports Mitch Thomas's belief that [American Bandstand teens] "were looking to see what dance steps we were putting out. In Norfolk in 1951 and 1952, they began calling it rhythm and blues. Smith's versatile blues encompassed gallows humour (Send Me to the 'Lectric Chair), social commentary (Poor Man's Blues), salty innuendo (Kitchen Man) and lusty good times (Gimme a Pigfoot). Show," Philadelphia Tribune, November 19, 1957. tippy('#footnote_plugin_tooltip_1562_1_18', { content: jQuery('#footnote_plugin_tooltip_text_1562_1_18').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Thomas promoted large stage shows as well as small record hops at skating rinks.19On Mitch Thomas' concerts, see Archie Miller, "Fun & Thrills," Philadelphia Tribune, December 4, 1956; "Rock 'n Roll Show & Dance," Philadelphia Tribune, April 19, 1958; "Swingin' the Blues," Philadelphia Tribune, August 5, 1958; "Mitch Thomas Show Attracts Over 2000," Philadelphia Tribune, August 18, 1958; "Don't Miss the Mitch Thomas Rock & Roll Show," Philadelphia Tribune, July 2, 1960. tippy('#footnote_plugin_tooltip_1562_1_19', { content: jQuery('#footnote_plugin_tooltip_text_1562_1_19').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); These events were often racially integrated,"The whites that came, they just said, 'Well I'm gonna see the artist and that's it.' "20Mullinax, "Radio Guided DJ to Stars." Please be respectful. The simplicity and profitability of the teen dance show format appealed to television stations, but airing images of youth music culture was a complicated proposition that involved television technologies, network affiliations, marketing, and racial segregation. 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. "I feel my audiences want to see me becomingly gowned," said Mamie Smith, who liked to perform in diamonds and furs, "and I have spared no expense or pains in frequenting the shops of the most fashionable modists in America." In 1938, she co-wrote the hit song "A-Tisket, A-Tasket," which would eventually lead her to national fame. a. the Ronettes We hope to show interracial activities which are harmonious. To comment, enter your name and text below (you can also sign in to use your Scalar account).Comments are moderated. Who was the first black singer to appear on American Bandstand. Philadelphia American Bandstand Regular Billy Cook shows us his style of the Fast Dance as it was called on Bandstand/American Bandstand (Jitterbug/Lindy Hop. A year later, an American Bandstand producer told the New York Post that this incident contributed to American Bandstand's segregation.62John Jackson, Big Beat Heat: Alan Freed and the Early Years of Rock & Roll (New York: Shirmer Trade Books, 2000), 168169; Jackson, American Bandstand: Dick Clark and the Making of a Rock 'n' Roll Empire (New York: Oxford University Press, 1999), 56. tippy('#footnote_plugin_tooltip_1562_1_62', { content: jQuery('#footnote_plugin_tooltip_text_1562_1_62').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); The Milt Grant Show clips from May 1957 predate the Freed-Lymon controversy, but the show faced similar concerns. Which folksinger was a member of the Weavers? The man who published the sheet music for Crazy Blues was WC Handy, a songwriter, businessman and self-proclaimed "Father of the Blues". They said, 'That's The Stroll.' Footage features black and white rock n roll stars performing their latest hits--both on daily American Bandstand at WFILs Studio B and ABCs Saturday night version of American Bandstand, The Dick Clark Show, broadcast live from New York City. (Regardless, kids liked Horn, and many were loyal to Horn.). b. they were pop-oriented An appearance on Dick Clark's American Bandstand launched Checker's version of "The Twist" to the No. Ramsey describes "community theaters" as "sites of cultural memory" that "include but are not limited to cinema, family narratives and histories, the church, the social dance, the nightclub, the skating rink, and even literature. There was a protest in the early 60's, I think it was 1963 (my parents were there as teens). c. the Everly Brothers 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. d. Splatter Platter, The Beach Boys' first number-one hit was: Bandstand: With Brian Henderson, The Delltones, Judy Stone, Col Joye. It imagined the performers as men who sang their pain without concern for attention or financial reward, even though, in reality, they would very much have liked both. 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. Mitch Thomas hosts Lewis Lymon and the Teenchords, Hazel Bryan (left) harasses Elizabeth Eckford. This site requires Javascript to be turned on. https://collaborativehistory.gse.upenn.edu/sites/default/files/American%20Bandstand%27s%20West%20Philadelphia%20Home.jpg, American Bandstand's West Philadelphia Home, https://collaborativehistory.gse.upenn.edu/sites/default/files/Dick%20Clark%20.jpg, Dick Clark Hosts American Bandstand at Studio B, https://collaborativehistory.gse.upenn.edu/sites/default/files/Dick%20Clark%20at%20podium.jpg, Dick Clark and American Bandstand Youngsters, https://collaborativehistory.gse.upenn.edu/sites/default/files/Dick%20Clark%20and%20youngsters.jpg, https://collaborativehistory.gse.upenn.edu/sites/default/files/Pop%20Singer%27s%20.jpg, https://collaborativehistory.gse.upenn.edu/sites/default/files/Line%20outside%20Studio%20B.jpg, University of Pennsylvania Graduate School of Education, American Bandstand: West Philadelphia's Seven-Year Wonder 1957-1964, Starting Local: WFIL-TV, Bob Horn, and Philadelphia's Bandstand, Going National: Dick Clark and ABC's American Bandstand, Whose Music, Whose Dances? Despite this, Clark claimed for years that he integrated Bandstand by the late 1950s. Directed by Herb Grimes. One such woman was Gertrude Pridgett, aka Ma Rainey, who had been performing the blues for more than 20 years when she recorded her first session for Paramount in 1923 at the age of 37. Vermont Public Radio. For The Milt Grant Show, this meant airing black music performances while maintaining a segregated studio audience that would appeal to sponsors. More than 20 million people watched the coronation on the BBC . Black teenagers were banned. The Dick Clark Showwas broadcast live from ABCs Little Theater in Manhattan. In 1960, Checker recorded The Twist, a song written and first recorded by Hank Ballard, an R&B pioneer. At the same time, WPHF's Wilmington studios were only thirty miles from Philadelphia, a city that,historian Matthew Countryman notes, many black people called "Up South. Broadcasting black musical performers on television was more challenging than radio, because television made the performers' bodies visible, and on dance shows like these, put their bodies in close proximity to those of dozens of teenagers. 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 . 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. d. the auto accident involving Jan Berry. "Teen Angel" 4 (October 2008): 443444. b. his trademark fast tremolos on the guitar All of the following were populist characteristics of the folk song movement EXCEPT: Which song initiated the folk music revival in mainstream pop? Philadelphia Evening Bulletin, George D. McDowell Collection, Special Collections Research Center, courtesy Temple University Libraries, Philadelphia. Law Klein Collection, courtesy Special Collections Research Center, Temple University Libraries, Philadelphia. c. Brian Wilson's production and writing It is not even a Storer Broadcasting Company purchased WPFH in 1956.25Herbert Howard, Multiple Ownership in Television Broadcasting (New York: Arno Press, 1979), 142147. Clark. b. the Drifters And The Stroll became a big thing. Sterling, Christopher and John Michael Kittross. Dick Clark, who died Wednesday at age 82, made rock and roll safe for American living rooms. . tippy('#footnote_plugin_tooltip_1562_1_32', { content: jQuery('#footnote_plugin_tooltip_text_1562_1_32').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Seeing The Mitch Thomas Show as "between North and South" highlights the constant negotiation of sectional identities and imaginaries. The history of the blues is dominated by men. Hazel Jordan, letter to J.D. Self - Singer 1 episode, 1968 . Arguing that television provided creative outlets for some black teens during segregation, Delmont focuses on three black teen shows, (19581983), hosted by Raleigh, North Carolina, deejay J. D. Lewis, and Washington, DC's. a. Mike Stoller We're going to make them do it in the glaring light of television. Who were the first African Americans to perform on American Bandstand? a. the Beach Boys "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. Clark inherited WFIL's local television show Bandstand (1952-56) from the deejay Bob Horn, who proved that teenagers liked watching their peers dance. For The Mitch Thomas Show, Teenage Frolics, and Teenarama Dance Party this meant trying to attract sponsors to advertise to black television audiences. Rather than a strict whites-only policy (like at Baltimore's Buddy Deane Show, made famous in John Waters' Hairspray), Bandstand used other means to block black teens from the studio. Historian Brett Gadsden describes Delaware as "a provincial hybrid, one in which ostensibly southern and northern modes of race relations operated. c. the Crystals The cameras shift between a medium shot of the artists and a wide shot of couples dancing, before using a picture-in-picture production technique that presented the shot of the artists in a box overlaying the shot of the teenagers dancing. Every weekday afternoon, in each of these broadcast markets, these shows presented images of exclusively white teenagers. "42Hazel Jordan, letter to J.D. Music was the glue that held together a carnival of consumption. Answer.Yes Dick Clark did have segregation on American Band Stand. The advertisement billed WOOK-TV as "America's First Negro Oriented TV Station" broadcasting "To & For Washington, D.C.'s 57% Negro population." The Mitch Thomas Show stood out because it was the first television show hosted by a black deejay that featured a studio audience of black teenagers. Who was first black artist on American bandstand? Undoubtedly, one of Clarks biggest coups was his promotion of Chubby Checker (ne Ernest Evans), born in South Carolina and resettled in South Philadelphia, where he attended South Philadelphia High School. Did Billy Graham speak to Marilyn Monroe about Jesus? As a new generation of black female singers broke through in the 1930s Billie Holiday, Ella Fitzgerald, Memphis Minnie some of the first wave sought refuge in other branches of showbusiness. "46Guthrie Ramsey, Race Music: Black Cultures from Bebop to Hip-Hop (Berkeley: University of California Press, 2004), 4. tippy('#footnote_plugin_tooltip_1562_1_46', { content: jQuery('#footnote_plugin_tooltip_text_1562_1_46').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); From this perspective, localism was a virtue for Teenage Frolics rather than a detriment, because it offered young people a community connection that was not possible with national television. 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. Among the many projects in Clarks musical portfolio was ABCs Saturday night version ofAmerican Bandstand. 1 Billboard spot in September 1960. And the other people were copying the style, the whole idea. WOOK-TV only perpetuates this image. And it was fantastic. Unable to find a buyer for WVUE, Storer turned the station license back to the government, and the station went dark in September 1958.29Howard, Multiple Ownership in Television Broadcasting, 146. tippy('#footnote_plugin_tooltip_1562_1_29', { content: jQuery('#footnote_plugin_tooltip_text_1562_1_29').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); The manager of WVUE later told broadcasting historian Gerry Wilkerson,"No one can make a profit with a TV station unless affiliated with NBC, CBS or ABC." "23Black Philadelphia Memories,dir. That is the show that did not mingle Black and Handy's anonymous musician now resembles the archetypal bluesman: a solitary, enigmatic vagrant, singing songs of "suffering and hard luck" to nobody but himself. Hairspray (the movie) is not a documentary. Dubois High School, Wake Forest, North Carolina,". selected went together as a group. Beverly Lindsay-Johnson, interview with author, January 8, 2013. In a letter to potential advertisers, WRAL billed Teenage Frolics as "a live and lively dancing party featuring colored teenagers from high schools in the Channel 5 area." All of the following are examples of death disks EXCEPT: 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. c. sympathizing with Civil Rights In 1920, however, a loner with a knife wasn't going to help the commercially savvy Handy break the music industry's colour barrier. Otis Givens, interview withauthor, June 27, 2007. Eager to compete with Bandstand and the afternoon offerings on the other network-affiliated stations, WPFH hoped that Thomas's show would appeal to both black and white youth in the same way as black-oriented radio.16On the crossover appeal of black-oriented radio, see Brian Ward, Radio and the Struggle for Civil Rights in the South (Gainsville: University Press of Florida, 2004); William Barlow, Voice Over: The Making of Black Radio (Philadelphia: Temple University Press, 1999); and Susan J. Douglas, Listening In: Radio and the American Imagination (New York: Times Books, 1999), 219255.
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