"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. Rainey performed in ostrich feathers and a triple necklace of gold coins. This was an extraordinarily high level of promotional activity, even by the standards of commercial television. In rejecting the blues' relationship to big-city showbusiness, the conventional narrative all but erased women's voices and experiences. I didn't get the exposure. Dick Clark, the nations first national deejay, began his stellar career in television at the podium of American Bandstand at WFIL-TV in West Philadelphia. American Bandstand was Did Dick Clark have segregation on American Bandstand? 1967], Lewis Family Papers, folder 140. The Superiors, a group of six fourteen to sixteen-year-olds from Smithfield, North Carolina, expressed dreams of auditioning for Motown and asked, "could we sort of take an inch of your show to sing" to "show North Carolina they will be greatly represented. . host and continued as the show became American Bandstand with Dick b. Phil Spector http://www.museum.tv/eotv/musicontele.htm. A 1967 memo from Jesse Helms highlights the pressures Teenage Frolics faced from national broadcasts and mentions Pepsi's sponsorship of the show. 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. Where Are the American Bandstand Regulars Now? tippy('#footnote_plugin_tooltip_1562_1_71', { content: jQuery('#footnote_plugin_tooltip_text_1562_1_71').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Unlike Soul Train, which moved from Chicago to Hollywood after one year, these local shows featured and appealed to black teens from Wilmington, Raleigh, and Washington, and as the opening clip from Seventeen suggests, they influenced American musical cultures in surprising ways. WOOK-TV only perpetuates this image. 1966-67], Lewis Family Papers, folder 140. tippy('#footnote_plugin_tooltip_1562_1_43', { content: jQuery('#footnote_plugin_tooltip_text_1562_1_43').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Another letter complained that a local band, Irving Fuller and the Corvettes, appeared too often on the show,"Many of the people around Durham and elsewhere are bored of listening to the Corvettes. 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. Counter to host Dick Clark's claims that he integrated American Bandstand, my research revealed how the first national television program directed at teens discriminated against black youth during its early years and how black teens and civil rights advocates protested this discrimination.8Matthew Delmont, The Nicest Kids in Town: American Bandstand, Rock 'n' Roll, and the Struggle for Civil Rights in 1950s Philadelphia (Berkeley: University of California Press, 2012). "64Quoted in Ward, Just My Soul Responding, 48. tippy('#footnote_plugin_tooltip_1562_1_64', { content: jQuery('#footnote_plugin_tooltip_text_1562_1_64').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Baker, who appeared on The Milt Grant Show while she was in town to play the Howard Theater, performed "Jim Dandy Got Married" and "Play the Game of Love" on this episode. Screenshots (1 and 2) from Black Philadelphia Memories, directed byTrudi Brown (WHYY-TV12, 1999). Chuck Jackson, an R&B artist who appeared on the show several times, described Teenarama's importance,"Before this, with some kids, no one has given them a sense of being someone, a sense of independence. 224 likes, 8 comments - Jermaine (@therealblackhistorian) on Instagram: "Frankie Lymon and the Teenagers began in 1954 as a singing group founded at Edward W. Stitt . It takes nothing away from the young men and women who risked their lives to desegregate schools and lunch counters to recognize that thousands of teenagers found joy and value in dancing on television or watching their peers do the same. Philadelphia Evening Bulletin, George D. McDowell Collection, Special Collections Research Center, courtesy Temple University Libraries, Philadelphia. Delta blues singers such as Charley Patton, Skip James, Son House and Robert Johnson slotted into the post-war counterculture's worship of untameable outcasts who lived tough, rootless lives a million miles away from bourgeois conformity. The image of teenagers that American Bandstand popularized bore little resemblance to the racial diversity of American teens. These scholars and folklorists saw the "real" blues, by contrast, as a vanishing oral tradition from the rural South that needed to be captured and preserved before it disappeared completely. 2013. 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. Steve's Show, Little Rock, Arkansas, late 1950s. By 1961, The Twist and Checkers follow-up record, Lets Twist Again (Like We Did Last Summer), were an international phenomenon. Clarks policy was to restrict American Bandstand to youth aged 14-17. Some classic blues singers sought refuge in acting Ethel Waters, pictured in 1943's Cabin in the Sky, was at one time the highest paid actress on Broadway (Credit: Getty Images). Cash Michaels, "Memories of Teenage Frolics,". c. "Only the Lonely" (Regardless, kids liked Horn, and many were loyal to Horn.). While The Grady and Hurst Showbroadcast five times perweek, the weekly Mitch Thomas Show proved to be more influential. This preservationist instinct may have been valid but the assumptions that underpinned it were often paternalistic and segregationist: derived from the singing of slaves, the oral blues was the product of naive, untutored imaginations that would wither on contact with modernity, so they had to be protected, like rare orchids. . The classic blues was African-American culture's first mainstream breakthrough and, for several years, it was effectively a female art form. The first Black "super couple" on "American Bandstand" was Famous Hooks and June Strode, still fondly remembered today by "Bandstand" enthusiasts In the "American Bandstand" dance contest in 1966, featuring dancers from all over the country, a brother and sister couple from Detroit, Lester and Leslie Tipton, won first place. Like The Milt Grant Show, Baltimore's Buddy Deane Show,the inspiration for John Waters's Hairspray film and the later Broadway musical and Hollywood film,was officially segregated and only allowed black teens to enter the studio on specific days. Eventually Black teens were allowed. For example, in a 1957 episode the show's teens finished dancing to The Everly Brothers' "Bye Bye Love" and the camera focused on Grant in front of a table with dozens of bottles of Pepsi. Teenage. "And why not? And his nationally televised American Bandstand influenced music, dance and fashion, establishing Clark as one of the savviest businessmen of the 20th century. 1966-67], Lewis Family Papers,folder 140. In January 1962, it topped the chart again. 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. Not so nice: No matter what Dick Clark says, 'American Bandstand Official Sites Broadcast locally during the 1957 school integration crisis, the show featuredexclusively white dancers, includingHazel Bryan. Dick Clark - Wikipedia I would appreciate your information by telling me if we can come and when we can come. We do not intend to assume a controversial role. Please be respectful. "Squeaky clean" commercial pitchman and deejay Dick Clark inherited Bob Horn's locally broadcast Bandstand in July 1956 and revamped it for a national audience of teenage consumers as ABC's American Bandstand, which first aired in August 1957. 2. Less obviously, the Iowa teens were also emulating teens on The Mitch Thomas Showa black teen dance show that broadcast locally from Wilmington, Delaware, to the Philadelphia areawhose version of the Stroll influenced the American Bandstanddancers. Dick Clark, host of the influential "American Bandstand,' dies | CNN Lewis (WRAL), June 24, 1967, Lewis Family Papers, folder 140, July 22, 1967; Gwendolyn Gilmore, J.D. Why were they then relegated to the sidelines, asks Dorian Lynskey. This article will also be published in the Washington Post's Outlook section for Sunday, April 22, 2012. white dancers on the same dance floor. The show was "American Bandstand," and Dick Clark's clean-cut style meant the program had parents' stamp of approval. 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? "54"Voice of the People: In Defense of WOOK-TV," Washington Afro-American, February 23, 1963. tippy('#footnote_plugin_tooltip_1562_1_54', { content: jQuery('#footnote_plugin_tooltip_text_1562_1_54').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Congress ofRacial Equality (CORE) chairman Julies Hobson also expressed concern, saying, "I object to foot tapping, dancing, screaming and shouting." On 10 August, Smith and an ad hoc band called the Jazz Hounds recorded Bradfords Crazy Blues. b. the Shangri-Las Richard Wagstaff Clark [1] [2] (November 30, 1929 - April 18, 2012) was an American television and radio personality, television producer and film actor, as well as a cultural icon who remains best known for hosting American Bandstand from 1956 to 1989. He was going to be on 'Bandstand' and they wanted to go see him. The King's coronation will be televised - Sky News You appear to be using an older verion of Internet Explorer. Due to the heavily racially segregated South, her family moved to Yonkers . Rainey was dropped by Paramount in 1928 and returned to the Southern tent circuit, her stolen gold necklace replaced by imitation pearls. Read about our approach to external linking. Dick Clark introduced records, and the camera followed teenagers as they selected partners to dance, writes historian Matthew Delmont. Viewers would have had little idea that African Americans made up nearly 30 percent of Philadelphia's population in this era or that black teens developed many of the dances that American Bandstand popularized nationally. You are signed in as (Sign out). selected went together as a group. and Black Power Television (Durham: Duke University Press, 2015), 217, 72. tippy('#footnote_plugin_tooltip_1562_1_70', { content: jQuery('#footnote_plugin_tooltip_text_1562_1_70').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); While Soul! They said, 'That's The Stroll.' American Bandstand: West Philadelphia's Seven-Year Wonder 1957-1964 Who was the first black dancer on American Bandstand? 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. This video album provides vintage footage from American Bandstands anchorage in West Philadelphia. The teens on Seventeen were emulating their peers in Philadelphia who popularized the dance on the nationally broadcast American Bandstand. Thomas remembers that the teens on his show "created a dance called The Stroll. Integrating American Bandstand's studio audience in the 1950s would have been a bold move and a powerful symbol. 6. This essay examines four programs that brought music and dance to southern and border state audiences in the 1950s and 1960s. 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. By the time Clark delivered a revampedBandstandto national audiences asAmerican Bandstandin 1957, the show was ostensibly squeaky clean. "42Hazel Jordan, letter to J.D. The first order of business was to lure disaffected Horn loyalists to his version ofBandstand. 'all-black' Fridays (taking into account that the show was a Daily In the summer of 1959, Ballards version of The Twist, described as an underground phenomenon, was being danced to by torso-twisting, hip-thrusting black teenagers. tippy('#footnote_plugin_tooltip_1562_1_56', { content: jQuery('#footnote_plugin_tooltip_text_1562_1_56').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); At the same time, the critics expressed concern that the station's management and white president, Richard Eaton, would not attend to community interests and concerns beyond musical entertainment. Her songs "Tweedle Dee" and "Jim Dandy" both reached the top twenty of the pop chart, but white singer Georgia Gibbs's cover of "Tweedle Dee" topped the pop chart and outsold Baker's version.63Arnold Shaw, Honkers and Shouters: The Golden Years of Rhythm and Blues (New York: Macmillan, 1978), 376. tippy('#footnote_plugin_tooltip_1562_1_63', { content: jQuery('#footnote_plugin_tooltip_text_1562_1_63').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Baker's contemporary Ruth Brown explained, "I wasn't so upset about other singers copying my songs because that was their privilege, and they had to pay the writers of the song. Themselves - Pop Band 1 episode, 1957 Bob Crewe . It elevated flops while ignoring the music that black consumers had actually enjoyed. a. the Drifters Teenarama host Bob King came to WOOK in 1956 from WRAP radio in his hometown of Norfolk, Virginia, where he hosted an R&B show.51James Lee, "He Plays Teens Picks," Washington Star, [n.d.] ca. By 1973, the show drew many of the top R&B performers and competed with American Bandstand for viewers on Saturday afternoons. First, were important for black teens because the shows offered televisual spaces that valued their creative energies and talents. Screenshots courtesy of Matthew F. Delmont, The Nicest Kids in Town. While a few women, notably Victoria Spivey and Edith Wilson, lived long enough to return to the stage during the 1960s blues revival, the likes of Bob Dylan, Led Zeppelin and the Rolling Stones were far more interested in the hardbitten men of the Delta. For the best experience please upgrade your IE version or switch to a another web browser. One particularly opinionated "Frolic Fan" wrote, "I am very concerned with your 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. Fitzgerald was born on April 25, 1917, in Virginia. National Museum of American History, Behring Center. "One of the phonograph companies made over four million dollars on the Blues," reported The Metronome in 1922. What is wrong with reporter Susan Raff's arm on WFSB news. Overweight at age 40, Horn was neither boyish-looking nor telegenic, and, quite unlike Clark, he had a salacious reputation among his colleagues. The distinction, which may be a fine one, is the style of the singer and the background of a record. 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. And it was fantastic. 1 (Spring 2007): 2125; Murray Forman, One Night on TV Is Worth Weeks at the Paramount: Popular Music on Early Television (Durham, NC: Duke University Press, 2012); Julie Malnig, "Let's Go to the Hop: Community Values in Televised Teen Dance Programs of the 1950s," Dance & Community: Proceedings of The Congress on Research in Dance (August, 2006): 171175; Tim Wall, "Rocking Around the Clock: Teenage Dance Fads from 1955 to 1965," in Ballrooms, Boogie, Shimmy, Sham, Shake: A Social and Popular Dance Reader, ed. The Nicest Kids in Town: American Bandstand, Rock 'n' Roll, and the Struggle for Civil Rights in 1950s Philadelphia. "TV Jockey Profile: The Milt Grant Show,". These white teenagers were not alone in watching The Mitch Thomas Show. In concert, Smith and her peers sang directly to the women who heard themselves in these songs and responded with cries of "Say it, sister! Jimmy Peatross and Joan Buck tell a related story about learning how to do The Strand from black teenagers inTwist, directed byRon Mann (Sphinx Productions, 1992), documentary. 195657. Bessie Smith was the first African-American singer. When the Buddy Deane Show was pressured to integrate white American Bandstand - 10 Great Performances - LiveAbout Donald Hodge, letter to J.D. tippy('#footnote_plugin_tooltip_1562_1_25', { content: jQuery('#footnote_plugin_tooltip_text_1562_1_25').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Storer frequently bought and sold stations and, at the time of the WPFH acquisition, it also owned stations in Toledo, Cleveland, Atlanta, Miami, and Portland. Singer and musician Bobby Rydell sits next to host Dick Clark in the audience of "American Bandstand" around 1958. As WOOK-TV prepared to come on the air in 1963, the Afro-American newspaper received a letter from Rev. I was talking about it to Jimmy Peatross one day, when I was putting together the book, and he said, "Oh, I watched this black couple do it." And then I saw Jimmy Peatross and Joan Buck do it, who were probably the best dancers who were ever on Bandstand. DVD. c. Leiber and Stoller becoming independent producers DIck Clark: The Black music connection and more Jeffrey Crow, Paul Escott, and Flora Hatley. In her study of the landmark black television show Soul!, that ran from 1968 to 1972,Gayle Wald argues that the show "created a television space where black peoplecould see, hear, and almost feel each other." Record companies routinely ignored African-American musicianswith only a few exceptions, such as singer Bert Williams and bandleader James Reese Europe. Bandstand began as a local program on WFIL-TV (now WPVI), Channel 6 in Philadelphia on October 7, 1952. From another, however, these shows were spaces that celebrated the creative potential and everyday lives of black youth. a. the Ronettes Otis Givens, interview withauthor, June 27, 2007. American Bandstandfirst aired 5 August 1957 in the 3-4:30 afternoon slot. The failure of the station that broadcast The Mitch Thomas Show underscores the tenuous nature of such unaffiliated local programs. Sponsors that advertised on The Milt Grant Show bought interaction between their products and the show's teenagers. xamines four programs that brought music and dance to southern and border state television audiences in the 1950s and 1960s. New records come out every day and you play old ones. "53"WOOK-TV's Coloring Book," Washington Afro-American, February 16, 1963; "WOOK's Insult to Our Race," Washington Afro-American, February 23, 1963. tippy('#footnote_plugin_tooltip_1562_1_53', { content: jQuery('#footnote_plugin_tooltip_text_1562_1_53').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Another editorial argued that WOOK-TV insults "the colored race's intelligence by advertising itself as nothing but a station programming plain ol' music and dancing. 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). In the 15-minute programs, please leave two 60-second cutaways for the Pepsi-Cola commercials which I am advised are all that we have sold in Teen-Age Frolics anyhow. "49"WOOK-TV," 1965 Broadcasting Yearbook,A10. Vermont Public Radio. 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. Equal Time: Television and the Civil Rights Movement. from Baltimore. All of the following are examples of death disks EXCEPT: Colchester, VT: VPR, July 11, 2009. By 1933, record sales were just 7% of what they had been in 1929 and many of the theatres had closed or been turned into movie theatres. . Seventeen was one of dozens of locally broadcast teen dance shows in this era. Simon Singers drug store and luncheonette at the southeast corner of Market and Farragut streets was a hangout for American Bandstand Regulars. | Willis's "C. C. Rider" (1957) sparked the popularity of the dance and earned Willis the nickname "The King of the Stroll." d. they were cover artists, Phil Spector referred to the singles he produced as: Colchester, VT: VPR, July 11, 2009. d. the Dixie Cups, Who developed "the Wall of Sound"? Bessie Smith had affairs with several chorus girls while Ma Rainey sang, in 1928's Prove It on Me, "I went out last night with a crowd of my friends/ It must've been women, 'cause I don't like no men/ Wear my clothes just like a fan/ Talk to the gals just like any old man." Bessie Smith was the first African-American singer. When Clark initially referred to American Bandstand's "integration," he emphasized black musical artists performing on the show. d. Splatter Platter, The Beach Boys' first number-one hit was: WRAL's mailing to advertisers also included a list of the schools and organizations that had visited the show. For The Mitch Thomas Show, Teenage Frolics, and Teenarama Dance Party this meant trying to attract sponsors to advertise to black television audiences. Bandstand (TV Series 1958-1972) - Full Cast & Crew - IMDb They sincerely loved this music but its unpopularity certainly enhanced its mystique, as did the murky sound that came from recording it on cheap equipment and pressing it on cheap plastic. In Norfolk in 1951 and 1952, they began calling it rhythm and blues. A hallmark of earlyAmerican Bandstandwas Clarks promotion of Italian-American male teen idols, sex-symbol pop singers who hailed from South Philadelphia: Frankie Avalon (ne Francis Avallone), Bobby Rydell (ne Ridarelli), and Fabian (ne Fabiano Forte). Just over onemile from Central High School, Steve's Show broadcast from the KTHV-TV studios. 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." In July 1956, Dick Clark, a commercial pitchman and deejay with an unsullied reputation, inherited WFIL-TVsBandstandfrom scandal-tainted Bob Horn and revamped it for a national audience of teenage consumers as ABCsAmerican Bandstand, which first aired in August 1957. It contains a story line and an epilogue. 4 (October 2008): 443444. ", Gertrude "Ma" Rainey was one of several black women who dominated the classic blues African-American culture's first mainstream breakthrough (Credit: Getty Images). He was stunning. As if their enforced retirement weren't bad enough, these women suffered the double indignity of being retrospectively sidelined. Every form of historical revisionism has its winners and losers. "38Jesse Helms, memo to Ray Reeve, July 6, 1967, Lewis Family Papers,folder 139; Ray Reeve, memo to J.D. 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. 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. In 1970, for example, black students who attended W. E. B. DuBois High School were transferred to historically white Wake Forest High School and the DuBois High School building became Wake Forest-Rolesville Middle School.39Barry Malone, "Before Brown: Cultural and Social Capital in a Rural Black School Community, W.E.B. d. gentle soul, Ben E. King had been a singer with: Hairspray (the movie) is not a documentary. First, The Mitch Thomas Show, Teenage Frolics, and Teenarama Dance Party were important for black teens because the shows offered televisual spaces that valued their creative energies and talents. Despite the racial segregation of the studio audience, The Milt Grant Show offered black performers like LaVern Baker valuable exposure to white consumers. Image courtesy of Matthew F. Delmont. As a teenager though, she was very talented in performing arts. Lewis (WRAL), June 10, 1967, Lewis Family Papers,folder 140. tippy('#footnote_plugin_tooltip_1562_1_44', { content: jQuery('#footnote_plugin_tooltip_text_1562_1_44').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Letter fromThe Superiorsto Teenage Frolic, North Carolina, July 25, 1967. Changes to the structure of public life took place slowly. Berkeley: University of California Press, 2004. . Self - Singer 1 episode, 1979 Firefall . The sponsor was Beechnut Foods, for whom Clark pitched Beechnut Spearmint Gum and, contrary to the no gum rule on his daily Philadelphia show, Clark encouraged his New York audience to chew and chew again, the more visible the chewing the better. The Mitch Thomas Show usefully troubles the boundary between the South and the North. This site requires Javascript to be turned on. Jesse Helms, memo to Ray Reeve, July 6, 1967, Lewis Family Papers,folder 139; Ray Reeve, memo to J.D. Roger Beebe and Jason Middleton (Durham, NC: Duke University Press, 2007), 226251; Coates, "Filling in Holes: Television Music as a Recuperation of Popular Music on Television,"Music, Sound, and the Moving Image 1, no. Stay Tuned: A History of American Broadcasting, Third Edition.
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