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American Bandstand: Dick Clark and the Making of a Rock 'n' Roll Empire
 
 
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American Bandstand: Dick Clark and the Making of a Rock 'n' Roll Empire [Paperback]

John Jackson (Author)
4.1 out of 5 stars  See all reviews (11 customer reviews)

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Book Description

June 3, 1999
"I don't make culture, I sell it" Dick Clark once remarked. Indeed, the man who reigned as host of American Bandstand for nearly four decades may not have invented rock 'n' roll, but he sold it to the American public better than anyone before or since. Before Clark, rock 'n' roll was the step child of radio--which took to playing records as a cost-saving measure after television siphoned off radios most lucrative sponsors. But it was network television--and specifically Clarks Bandstand--that ultimately legitimized what was then viewed by most adults as vulgar, low-class music, broadcasting a sanitized vision of rock 'n' roll straight into Americas living rooms five afternoons a week.
Here is the first book to tell the full story of what happened in front of--and behind--the cameras on Dick Clark's American Bandstand, providing both a history of this landmark show and of the changing styles of rock 'n' roll over four decades. Based on extensive interviews with music business figures, recording stars, and Clark himself, and featuring dozens of rare or never before published photographs, this is a riveting and uncensored account of a show that managed to survive countless revolutions in popular music. Jackson describes Bandstands humble beginnings in Philadelphias blue collar south side, the sex scandal that scuttled the first host of Bandstand and enabled Clark to launch his career, the glory days when an appearance on Bandstand was one of the most prized gigs in the music business and when teenagers lined up for blocks hoping to enter the studio, and memorable Bandstand appearances by rock 'n' roll royalty from Chubby Checker and Frankie Avalon, to Jerry Lee Lewis and Jefferson Airplane, to Pink Floyd and Madonna. Here as well is a candid look at the backstage financial maneuvering that allowed Clark to launch a video and entertainment empire worth nearly $200 million dollars today. Voted Most Likely To Sell The Brooklyn Bridge by his high school classmates, Clark emerges as a cunning business impresario determined to make millions. Readers learn how Clark decided which eager young singers would appear on the show, how he managed to survive a 1959 Congressional payola investigation that destroyed the careers of many other popular disc jockeys, how much money he earned from his personal financial investments in many of the songs played on Bandstand, and his importance to ABC in its fledgling days as a national television network.
As entertaining as it is eye-opening, Dick Clark's American Bandstand will bring back a flood of memories to everyone who lived through that era. It will fascinate everyone interested in popular American culture or in rock 'n' roll history.

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Editorial Reviews

From Library Journal

Nearly 30 years before MTV, a Philadelphia television show called Bandstand debuted featuring teenagers dancing to the hit of the day. When the original host was fired for drunk driving and becoming too friendly with his audience, the show was handed to an ambitious young man named Dick Clark. In short order, Clark went national and turned the show into the most important vehicle in the burgeoning rock'n'roll industry. While Clark barely escaped a payola scandal and is blamed for whitening the music by promoting his own series of contrived teen idols, he is nonetheless the most important nonperformer in rock'n'roll's history. Jackson's (Big Beat Heat, Schirmer, 1991) telling of the story of Dick Clark's 40-year reign as "The World's Oldest Teenager" is fascinating not only as a history of music and television but as a cultural portrait of our country's most tumultuous decades of social change. This is an essential purchase for libraries with patrons who remember Clark and American Bandstand?and that's just about everybody.?Dan Bogey, Clearfield Cty. P.L. Federation, Curwensville, Pa.
Copyright 1997 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.

From Kirkus Reviews

``I don't make culture, I sell it'' is the epigram with which Jackson opens this overview of Dick Clark's American Bandstand--the television program that made its star a millionaire several times over. Jackson (Big Bear Heat: Alan Freed and the Early Years of Rock & Roll, not reviewed) also quotes Clark as saying about writers, ``Their overt jealousy of celebrities comes out in print. Their stories reek of sour grapes.'' That being said, it's miraculous that Clark gave Jackson an interview for this book, which explodes any beliefs that people may still hold about Clark being synonymous with ``squeaky clean.'' Depicted as profane, often clueless about musical trends, and motivated almost purely by money, Clark comes off in Jackson's depiction as being a worse ogre than rock 'n' roll aficionados claim he is, for ``whitening'' black music for widespread consumption. Jackson echoes this charge as well, extrapolating at length on how Clark helped popularize Chubby Checker's ``The Twist'' and its accompanying dance, disregarding the five-decade history of the dance in the African-American community. A large section of this volume concerns the ``payola'' scandal of the late 1950s in which Clark figured; he invested in the companies behind the songs he played--essentially giving payola to himself. Behind the scenes, he built vertical monopolies, running ABC's record label, forming his own label, and sharing ownership in a pressing plant, record distributor, and talent management agency. Clark's grave underestimation of the impact that the Beatles' arrival in America would have in 1964 resulted in his show's long, steady decline, but Clark's ability to re-create himself as game-show host and sweepstakes spokesman has kept his pockets lined. Ultimately, this is not at all about American Bandstand's impact on culture so much as its impact on Clark's wallet--a subject that gets tiresome after 200 pages or so. Jackson should have tried less Clark, more Bandstand. (37 illustrations, not seen) -- Copyright ©1997, Kirkus Associates, LP. All rights reserved. --This text refers to an out of print or unavailable edition of this title.

Product Details

  • Paperback: 368 pages
  • Publisher: Oxford University Press, USA (June 3, 1999)
  • Language: English
  • ISBN-10: 0195130898
  • ISBN-13: 978-0195130898
  • Product Dimensions: 9.2 x 6.1 x 1 inches
  • Shipping Weight: 1.3 pounds (View shipping rates and policies)
  • Average Customer Review: 4.1 out of 5 stars  See all reviews (11 customer reviews)
  • Amazon Best Sellers Rank: #260,983 in Books (See Top 100 in Books)

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Customer Reviews

Most Helpful Customer Reviews
11 of 11 people found the following review helpful
Format:Hardcover
In his history of Dick Clark and "American Bandstand," John Jackson had his choice of several stories. He could tell of Clark's ascension to the "Bandstand" podium at a strategic time, hooking Clark, his host network (ABC), and host city (Philadelphia) to pop culture prominence. Jackson could chronicle the city's fast-moving music scene, the teen singers, disc jockeys, and businessmen (Clark among them) who exploited the new music. Finally, he could tell the show's own 32-year story, as "Bandstand" led, followed, then rehashed youth culture.

Despite factual errors (putting "All You Need Is Love" on "Sgt. Pepper" shows as much Beatle knowledge as Jackson claimed Clark had) and unneeded 60s-70s rehash, Jackson's biography adddresses its subjects accurately and engagingly. Jackson sees Clark not as money-grubbing villain but driven, opportunistic businessman who "within the bounds of propriety - followed the dollar wherever it took him."

Clark fought to cult!ivate, keep, and wield a pleasant national image to his advantage. Jackson succeeds most in showing how that image served, even saved Clark's career. Clark's soft-spoken, "nice guy" image eased the transition from the scandalous, tragic tenure of original "Bandstand" host Bob Horn. It softened and widened (some said, despite Clark's objections, "whitened") rock and roll's ease into daily life and the youth buying power enjoining it. Mostly, it masked the clear-eyed, hard-charging figure who not only stood up to federal regulators and network bosses, but parlayed his "Bandstand" success into music-related (torn by 1959-60's "payola" scandal, covered in depth here despite little Clark participation), then rebuilt into complete media-based success.

Fans of early rock will enjoy Jackson's musical side trips. He looks at the "Bandstand" dancers' quick fame, the synergy and rivalry between the show, Philadelphia promoters, and disc jockeys, the rise of small record labels whi!ch (with Clark's involvement throughout) recorded national hits (Jackson tells fresh versions of the making of "At The Hop" and "The Twist"), and, finally, Clark's move to California which closed Philly music dominance (and, to believe Jackson, did little for "Bandstand," either). Figures like musician Charlie Gracie, producer Tony Mammarella, and songwriters Kal Mann and Bernie Lowe, today unknown outside Philadelphia music, are remembered either as villain or victim. The last chapters, describing Clark's adjusting the "Bandstand" image to changing musical times, are among the book's most intriguing.

The result makes "American Bandstand" unflinching, unfawning yet high-minded critique that Clark, generally no friend of critics, could support. The epilogue essays Clark's motivations, how he achieved and maintained fame and riches yet still promotes, produces, and hosts. Jackson concludes that it's what Clark enjoys doing and does best. That, and the dearth of harsh word!s for Clark by anyone in the book, makes this an incisive, fun read for pop culture fans.
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6 of 6 people found the following review helpful
Format:Hardcover
John A. Jackson's book is the most revealing piece written at length about 'American Bandstand' and the man who made it tick. Jackson comes off as tough on Clark for the way the host rationalized making records and managing talent while playing that talent's work on the air. And while Clark has promoted himself and his show as a trailblazer, Jacksons research shows 'Bandstand' as much more follower than leader. Yet in the end Jackson gives the show and its longtime host-producer their due for the pivotal role both played in furthering rock as a linchpin of American music. Neither a PR vehicle nor a mantra for Clark-bashers, Jackson's book is cultural criticism at its best, with the writer knowing how to get out of the way of his subject.
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5 of 6 people found the following review helpful
Format:Hardcover
There book is more of a profile of Dick Clark than simply a historical account of the show. A must read for fans. I was wondering how My father, Edward J. Yates, who directed American Bandstand for 18 years was not even mentioned. His association with the show predates Clarks. Ed still lives in the Philadelpia area.
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Most Recent Customer Reviews
An Icon
Brings back fond memories or childhood and music talent. A classic. One for the Baby Boomers to have. A must to have in one's home library stock.
Joe
Published 2 days ago by Joe R. Lopez
Bandstand
Great Book, love it! I never knew so much about the history of bandstand!
This book tells you alot. Great for anyone who likes Dick Clark, and American bandstand!
Published 4 months ago by Anthony J. Piazza
Decent overview
At least Dick Clark cooperated with this, so you get his point of view. The author is unsparing about Clark's money making ways, but the book is a bit too padded with historical... Read more
Published on December 3, 2008 by Bradley F. Smith
The Best Book On Bandstand
Mr. Jackson, with whom I have spoken, has presented his facts well and in quite readable form. This is not a fluff piece, or romantic novel. Read more
Published on October 14, 2008 by Charles
The definitive historical and critical study of Bandstand
Jackson's book is published by a top-flight academic press, and that should warn off readers hoping for a snappy, picture-laden bit of nostalgic hagiography (for that, see Dick... Read more
Published on May 13, 2006 by Peter B. Hales
A Must Read For Any Oldies Fan
This is the ultimate book on one of the early major Rock n Roll shows. Every detail you could possibly want to know about American Bandstand is in here. Read more
Published on July 4, 2001 by LMG
DUH! I know Dick hosted AB many years ago!
I don't even watch "American Bandstand," and I know nothing about Dick Clark except:

1. That he hosted the show,

2. Read more

Published on November 14, 2000
Tough to get through
This is a very tough book to read as the author seems only to list endless, meaningless, facts without organizing them in to an interesting narrative. Read more
Published on December 27, 1999 by John Lopez
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Inside This Book (learn more)
First Sentence:
Whether Clark would have landed the WFIL announcer's position without the assistance of Elmer will never be known, although the subsequent course of his career indicates that to think otherwise would be foolhardy. Read the first page
Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
payola affidavit, afternoon dance show, teen idol phenomenon, taken payola, pop music business, payola hearings, teenage guests, payola investigation, payola scandal, black recording artists, pop music industry, young announcer, record distributors, hit version, top forty hit, label owner, song copyrights, roll artists, number one song, local disc jockeys, national hit, record manufacturers, home viewers
Key Phrases - Capitalized Phrases (CAPs): (learn more)
American Bandstand, Dick Clark, New York, Bob Horn, Tony Mammarella, Bernie Lowe, Clark's Saturday, Jack Steck, Frankie Avalon, Alan Freed, Ted Fetter, Billboard's Hot, Bernie Binnick, Bob Marcucci, Kal Mann, Roger Clipp, Charlie Gracie, Chubby Checker, Duane Eddy, Leonard Goldenson, Lee Andrews, Frank Slay, South Philadelphia, Artie Singer, Courtesy of Urban Archives
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