Notes for Bob Horn's Bandstand
[i] William Boddy, Fifties Television: The Industry and Its Critics (Urbana: University of Illinois Press, 1993), 51.
[ii] Federal Communication Commission, Annual Report, 1955. On the FCC’s policies and practices in the years surrounding the “television freeze,” see Hugh Slotten, Radio and Television Regulation: Broadcast Technology in the United States, 1920-1960 (Baltimore: The Johns Hopkins University Press, 2000), 145-188; Boddy, Fifties Television, 28-64 and 113-131; and James Baughman, Same Time, Same Station: Creating American Television (Baltimore: The Johns Hopkins University Press, 2007), 56-81.
[iii] Michael Stamm, “Mixed Media: Newspaper Ownership of Radio in American Politics and Culture, 1920-1952,” (Ph.D. diss., University of Chicago, 2006), 19.
[iv] Baughman, Same Time, Same Station, 74-79
[v] Christopher Ogden, Legacy: A Biography of Moses and Walter Annenberg (Boston: Little, Brown and Company, 1999), 322-23.
[vi] Ibid, 322.
[vii] Glenn Altschuler and David Grossvogel, Changing Channels: America in TV Guide (Urbana: University of Illinois Press, 1992), 4-6.
[viii] Gaeton Fonzi, Annenberg: A Biography of Power (New York: Weybright and Talley, 1969), 24.
[ix] John Jackson, American Bandstand: Dick Clark and the Making of a Rock ‘n’ Roll Empire (New York: Oxford University Press, 1997), 14-15.
[x] Jackson, American Bandstand, 7-13.
[xi] On the radio stars who moved to television in the late-1940s and early-1950s, see Susan Murray, Hitch Your Antenna to the Stars: Early Television and Broadcast Stardom (New York: Routledge, 2005).
[xii] Clark, Rock, Roll and Remember, 60.
[xiii] A 1951 survey of 250 students at Philadelphia’s Northeast High School, for example, found that the 950 Club was their favorite radio program. Paul Duffield, “The ‘Teen-Ager’s’ Taste in Out-of-School Music,” Music Educators Journal, 37 (June-July, 1951), 19-20. On the 950 Club, see Jackson, American Bandstand, 9-12.
[xiv] Jackson, American Bandstand, 14-16.
[xv] Ibid., 16-19.
[xvi] “1955 Bandstand Yearbook,” 4-7; Jackson, American Bandstand, 19.
[xvii] Jerry Blavat, interviewed by author, July 25, 2006, transcript in author’s possession.
[xviii] Jackson, American Bandstand, 24.
[xix] Ibid., 20-24.
[xx] “The Official 1955 ‘Bandstand’ Yearbook,” in author’s possession.
[xxi] Ibid., 26.
[xxii] Richard Peterson, “Why 1955? Explaining the Advent of Rock Music,” Popular Music, 9 (January 1990), 97-116.
[xxiii] Richard Peterson and David Berger, “Cycles in Symbol Production: The Case of Popular Music,” American Sociological Review, 40 (April 1975), 160, 165; Christopher Sterling, Stay Tuned: A History of American Broadcasting (Mahwah, N.J. : Lawrence Erlbaum Associates, 2002), 365-370.
[xxiv] Sterling, Stay Tuned: A History of American Broadcasting, 365-370.
[xxv] Alan Freed was a white DJ who helped to popularize black R&B and popularized the term “rock ‘n’ roll.” On Freed, see John A. Jackson, Big Beat Heat: Alan Freed and the Early Years of Rock & Roll (New York: Schirmer Books, 1991). On WDIA, see Louis Cantor, Wheelin' on Beale: How WDIA-Memphis Became the Nation's First all-Black Radio Station and Created the Sound that Changed America (New York: Pharos Books, 2002). On the large number of independent record companies that developed the national market for R&B and rock ‘n’ roll, see Steve Chapple and Reebee Garofalo, Rock ‘n’ Roll is Here to Pay: The History and Politics of the Music Industry, (Chicago: Nelson-Hall, 1977), 27-49; Charlie Gillet, The Sound of the City: The Rise of Rock and Roll (New York: Outerbridge & Dienstfrey, 1970), 79-134. For a useful study of one of these companies, see Donald Mabry, “The Rise and Fall of Ace Records: A Case Study in the Independent Record Business,” The Business History Review 64 (Autumn, 1990), 411-450.
[xxvi] Among studies of the interracial exchanges in rock ‘n’ roll see, Glenn Altschuler, All Shook Up: How Rock ‘n’ Roll Changed America (New York: Oxford University Press, 2003), 3-66; Brian Ward, Just My Soul Responding: Rhythm and Blues, Black Consciousness, and Race Relations (Berkeley: University of California, 1998), 123-169; George Lipsitz, “Land of a Thousand Dances: Youth, Minorities, and the Rise of Rock and Roll,” in Recasting America: Culture and Politics in the Age of the Cold War, ed. Lary May (Chicago, University of Chicago Press, 1989), 267-284; and Matt Garcia, “‘Memories of El Monte:’ Intercultural Dance Hall in Post-World War II Greater Los Angeles,” in Generations of Youth, 157-172. On the working-class roots of rock ‘n’ roll, and the appeal of these values and traditions across class lines to listeners in urban, suburban, and rural areas, see Lipsitz, Time Passages, 99-132; and Medovoi, Rebels, 91-134.
[xxvii] Jackson, American Bandstand, 20.
[xxviii] Quoted in Murray Forman, “‘One Night on TV is Worth Weeks at the Paramount’: Musicians and Opportunity in Early Television, 1948-55,” Popular Music, 3 (2002), 257.
[xxix] Tom McCourt and Nabeel Zuberi, “Music on Television,” The Museum of Broadcast Communications, http://www.museum.tv/archives/etv/M/htmlM/musicontele/musicontele.htm (accessed October 25, 2006).
[ii] Federal Communication Commission, Annual Report, 1955. On the FCC’s policies and practices in the years surrounding the “television freeze,” see Hugh Slotten, Radio and Television Regulation: Broadcast Technology in the United States, 1920-1960 (Baltimore: The Johns Hopkins University Press, 2000), 145-188; Boddy, Fifties Television, 28-64 and 113-131; and James Baughman, Same Time, Same Station: Creating American Television (Baltimore: The Johns Hopkins University Press, 2007), 56-81.
[iii] Michael Stamm, “Mixed Media: Newspaper Ownership of Radio in American Politics and Culture, 1920-1952,” (Ph.D. diss., University of Chicago, 2006), 19.
[iv] Baughman, Same Time, Same Station, 74-79
[v] Christopher Ogden, Legacy: A Biography of Moses and Walter Annenberg (Boston: Little, Brown and Company, 1999), 322-23.
[vi] Ibid, 322.
[vii] Glenn Altschuler and David Grossvogel, Changing Channels: America in TV Guide (Urbana: University of Illinois Press, 1992), 4-6.
[viii] Gaeton Fonzi, Annenberg: A Biography of Power (New York: Weybright and Talley, 1969), 24.
[ix] John Jackson, American Bandstand: Dick Clark and the Making of a Rock ‘n’ Roll Empire (New York: Oxford University Press, 1997), 14-15.
[x] Jackson, American Bandstand, 7-13.
[xi] On the radio stars who moved to television in the late-1940s and early-1950s, see Susan Murray, Hitch Your Antenna to the Stars: Early Television and Broadcast Stardom (New York: Routledge, 2005).
[xii] Clark, Rock, Roll and Remember, 60.
[xiii] A 1951 survey of 250 students at Philadelphia’s Northeast High School, for example, found that the 950 Club was their favorite radio program. Paul Duffield, “The ‘Teen-Ager’s’ Taste in Out-of-School Music,” Music Educators Journal, 37 (June-July, 1951), 19-20. On the 950 Club, see Jackson, American Bandstand, 9-12.
[xiv] Jackson, American Bandstand, 14-16.
[xv] Ibid., 16-19.
[xvi] “1955 Bandstand Yearbook,” 4-7; Jackson, American Bandstand, 19.
[xvii] Jerry Blavat, interviewed by author, July 25, 2006, transcript in author’s possession.
[xviii] Jackson, American Bandstand, 24.
[xix] Ibid., 20-24.
[xx] “The Official 1955 ‘Bandstand’ Yearbook,” in author’s possession.
[xxi] Ibid., 26.
[xxii] Richard Peterson, “Why 1955? Explaining the Advent of Rock Music,” Popular Music, 9 (January 1990), 97-116.
[xxiii] Richard Peterson and David Berger, “Cycles in Symbol Production: The Case of Popular Music,” American Sociological Review, 40 (April 1975), 160, 165; Christopher Sterling, Stay Tuned: A History of American Broadcasting (Mahwah, N.J. : Lawrence Erlbaum Associates, 2002), 365-370.
[xxiv] Sterling, Stay Tuned: A History of American Broadcasting, 365-370.
[xxv] Alan Freed was a white DJ who helped to popularize black R&B and popularized the term “rock ‘n’ roll.” On Freed, see John A. Jackson, Big Beat Heat: Alan Freed and the Early Years of Rock & Roll (New York: Schirmer Books, 1991). On WDIA, see Louis Cantor, Wheelin' on Beale: How WDIA-Memphis Became the Nation's First all-Black Radio Station and Created the Sound that Changed America (New York: Pharos Books, 2002). On the large number of independent record companies that developed the national market for R&B and rock ‘n’ roll, see Steve Chapple and Reebee Garofalo, Rock ‘n’ Roll is Here to Pay: The History and Politics of the Music Industry, (Chicago: Nelson-Hall, 1977), 27-49; Charlie Gillet, The Sound of the City: The Rise of Rock and Roll (New York: Outerbridge & Dienstfrey, 1970), 79-134. For a useful study of one of these companies, see Donald Mabry, “The Rise and Fall of Ace Records: A Case Study in the Independent Record Business,” The Business History Review 64 (Autumn, 1990), 411-450.
[xxvi] Among studies of the interracial exchanges in rock ‘n’ roll see, Glenn Altschuler, All Shook Up: How Rock ‘n’ Roll Changed America (New York: Oxford University Press, 2003), 3-66; Brian Ward, Just My Soul Responding: Rhythm and Blues, Black Consciousness, and Race Relations (Berkeley: University of California, 1998), 123-169; George Lipsitz, “Land of a Thousand Dances: Youth, Minorities, and the Rise of Rock and Roll,” in Recasting America: Culture and Politics in the Age of the Cold War, ed. Lary May (Chicago, University of Chicago Press, 1989), 267-284; and Matt Garcia, “‘Memories of El Monte:’ Intercultural Dance Hall in Post-World War II Greater Los Angeles,” in Generations of Youth, 157-172. On the working-class roots of rock ‘n’ roll, and the appeal of these values and traditions across class lines to listeners in urban, suburban, and rural areas, see Lipsitz, Time Passages, 99-132; and Medovoi, Rebels, 91-134.
[xxvii] Jackson, American Bandstand, 20.
[xxviii] Quoted in Murray Forman, “‘One Night on TV is Worth Weeks at the Paramount’: Musicians and Opportunity in Early Television, 1948-55,” Popular Music, 3 (2002), 257.
[xxix] Tom McCourt and Nabeel Zuberi, “Music on Television,” The Museum of Broadcast Communications, http://www.museum.tv/archives/etv/M/htmlM/musicontele/musicontele.htm (accessed October 25, 2006).
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