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00:00:28Where do you think Dick Clark made all his money?
00:00:31Initially, where do you think he made it?
00:00:33From guys like me.
00:00:37Granted, I cannot say anything derogatory.
00:00:42I can't say anything bad
00:00:44because I owe my success in the record phase of it
00:00:49to Dick Clark.
00:00:51Had he not put that show...
00:00:53And you want an inside story?
00:00:56Wait, Harry Rosen was my distributor.
00:00:59Harry Rosen comes to me and he said,
00:01:01Artie, you're not going to believe this.
00:01:06Dick won't play the record
00:01:07unless you give him 50% of the publishing.
00:01:10I said, what?
00:01:13He said, you heard me.
00:01:15The record does not go on the air
00:01:17until you give him 50% of the publishing.
00:01:22I said, now, Harry, you tell me.
00:01:24Do I have a choice?
00:01:26He goes, didn't even say no.
00:01:30Just shook his head.
00:01:31Which record was that?
00:01:32At the hop.
00:01:34Wouldn't put the record on the air
00:01:37until I gave him 50% of the publishing.
00:01:41But I have to love the guy.
00:01:43You know, it's a bittersweet situation with me
00:01:46because without him
00:01:48because without him
00:01:48and without me saying,
00:01:50go,
00:01:51there'd have been no at the hop,
00:01:53no Danny and the juniors.
00:01:55From the inside,
00:01:56I was right in there.
00:01:58I was right part of the whole scene
00:02:00and I saw this whole
00:02:02crummy situation develop
00:02:04with everybody with their hands out
00:02:06and grab, you know,
00:02:0750% of the publishing,
00:02:09writer's fees,
00:02:10and this and that,
00:02:10and artists getting screwed.
00:02:12And artists getting screwed.
00:02:40What about the world?
00:02:54Do you see?
00:02:56With the financial statements,
00:02:57need to lie to me and others.
00:02:58I hope.
00:02:59I'll see you guys in my casa.
00:03:00Vayu, uh,
00:03:01see you guys in our corner,
00:03:02and we'll see you guys in this awe.
00:03:03I'll see you guys in the next one.
00:03:04Bye, bye.
00:03:04Bye, bye.
00:03:04Bye, bye.
00:03:05Bye, bye, bye.
00:03:06Bye, bye.
00:03:07Bye, bye.
00:03:08Bye, bye.
00:03:08Bye, bye.
00:03:09Bye, bye.
00:03:09Bye, bye.
00:03:40When you say bandstand, as everyone knows it began in 1952.
00:04:02Everyone knows that it was a radio show that really prompted bandstand to be bandstand.
00:04:09On radio was the 950 Club with Joe Grady and Ed Hurst.
00:04:13Roger Clipp at that time, Channel 6 at 46th and Market, was also involved with radio.
00:04:21It was Triangle, which was Walter Annenberg, which was AM and FM.
00:04:25It was Roger Clipp's idea to take what they did on WPN, the 950 Club, and try and put
00:04:33it together on television.
00:04:34Joe and I were offered that show before anybody.
00:04:39We got a call from Roger Clipp and he said, can you and Grady be in my office in the Widener
00:04:44Building downtown Monday morning at 845?
00:04:47I said, of course, sir.
00:04:50I will see you then.
00:04:52It was the shortest interview we've ever had.
00:04:54Roger Clipp says to us, you do a simulcast.
00:04:58You start in two weeks.
00:05:03Let me know what your salary demands are.
00:05:05Meeting adjourned.
00:05:07And I see Grady with a glum face.
00:05:09I said, what's the matter with you?
00:05:10Did you just hear?
00:05:12He says, you don't think WPN is going to let us out of that contract to go on F.I.L.
00:05:19Radio and TV.
00:05:20And being young and naive as I was, I said, oh, they wouldn't want to stand in the way
00:05:26of our success.
00:05:27He says, I'll tell you what, you go in and tell the station manager that we want to leave
00:05:33in two weeks.
00:05:34I said, okay, I'll be happy to.
00:05:36I go in and I said to the station manager, we have a great offer from F.I.L.
00:05:42Radio and TV.
00:05:43We start in two weeks, so we'd like to leave when we know that you'll let us out of the
00:05:48contract.
00:05:49And the station manager says, well, we'll let you know.
00:05:55Little did we know, but that night, Bill Silk, who was the owner of Sunray Drug and head
00:06:02of the radio station, calls Walter Annenberg and says to Walter Annenberg, if you raid our
00:06:10talent, we will take one million in advertising and give it to the Evening Bullet.
00:06:20And I'll never forget, we get a call from the assistant program director, and I shall never
00:06:27forget these words.
00:06:29We find that this is not the propitious time to bring you boys over.
00:06:35We'll have to start our own.
00:06:37And that was it.
00:06:39That was the start of the bandstand.
00:06:41Cliff saw that there was something happening with music.
00:06:44He tried to get Ed Hurst and Joe Grady, but they were under contract.
00:06:48So he went to Bob Horn.
00:06:50Bob Horn had been one of the top rated disc jockeys, not only in Philadelphia, but amongst
00:06:56the top three disc jockeys in the country.
00:06:59They paired Lee Stewart, Muntz TV, and Bob Horn, thus Bandstand in 1952.
00:07:07Cheap show to do, studio, bring kids in to dance, clicked automatically.
00:07:16Became the biggest show in Philadelphia.
00:07:20Lee Stewart was not really adaptable to TV.
00:07:25So management decided to take Lee Stewart off, and it became Bob Horn's Bandstand.
00:07:32It was just an unbelievable success.
00:07:35So much so that it went to the top of the ratings and stayed there.
00:07:40The people from West Catholic, which is located maybe four blocks away, they used to come
00:07:47in droves, but the priests didn't want them to be in uniform.
00:07:50So they brought a change of clothes.
00:07:52They would come in from school in their little outfits and change clothes in my dressing room
00:07:59downstairs.
00:08:00That was the beehive hairdo.
00:08:02By the time they finished, there was nothing but hairspray all over the place.
00:08:08They said, do you have any lipstick that has pink in it?
00:08:11I said, of course.
00:08:12Help yourself.
00:08:17To see this wonderful generation of young people dancing, dressed in their finest, of
00:08:23course, had a grand appeal.
00:08:25But the main attraction of Bandstand in those days, the Bob Horn era of Bandstand, I, to
00:08:32this day, firmly believe it was the director and the crew.
00:08:36They knew what to do, where to be, what camera to focus where, and they were good.
00:08:42They were the greatest.
00:08:43The public perception of Bob Horn had to be what I saw.
00:08:48When the show was over, he was the same.
00:08:51You didn't know when the lights went off if it was a different person.
00:08:55No, he was the same person.
00:08:57He'd smoke a cigar on the way out of the studio.
00:08:59He'd go down and have a drink at the little brown jug, which was right next door to where
00:09:04the kids would go in the pop singer's vault shop.
00:09:06And then there was something called the brown jug.
00:09:08He would go in there and have a couple of beers and talking to all the kids, patting them
00:09:12on the back.
00:09:13He was just down to earth the same way he was on the air.
00:09:18He was in person.
00:09:19When you start talking about Bob Horn's personality, he didn't have much.
00:09:25On the air, he had a definite personality, but the crew didn't like him.
00:09:30I'd pass him in the hall every day on Channel 6, but, you know, he never spoke to me.
00:09:37I don't think I was ever introduced to him.
00:09:40I would be in Bob's office and he would give me records.
00:09:44He said, we're going to play today, rate the record.
00:09:46I want you to listen to these records.
00:09:47Pick me out three records out of a stack of these records.
00:09:50And I would pick the records.
00:09:51I would pick the black music that I used to love dancing to, okay?
00:09:56And Bob Horn, by the way, was the first white disc jockey.
00:09:59On television to feature the original artist with the original songs.
00:10:06I'll give you an example.
00:10:07Shaboom was the big hit by the crew cuts.
00:10:11The chords had the original version.
00:10:14Bob Horn played the chords.
00:10:16Earth Angel was a big hit by the penguins.
00:10:20Gloria Mann had it.
00:10:22Bob Horn played both versions.
00:10:24Because I said to Bob, this is the hipper version.
00:10:27The bandstand was really the center of the music business on the East Coast.
00:10:31Everybody had stopped there.
00:10:33All of the stars of the time, the recording artists of the time, made it a stop.
00:10:39The first time that we were in the bandstand was with Bob Horn and Lee Stewart at 46th Market.
00:10:45When we did that, I mean, my gosh, they went out to millions of people.
00:10:50And it really helped sell a lot of records, no question about it.
00:10:54It was always exciting because you knew you were going to be seen by hundreds of thousands of people.
00:11:00And it was advantageous to your career.
00:11:02And then I would have a rapport with the kids afterwards.
00:11:05You sound autographs.
00:11:06I mean, they were like our age.
00:11:08So it's like singing in school.
00:11:10You're just about people your own age, your own peers.
00:11:13Now, all the music people came to Philadelphia.
00:11:16All of what they call the A&R men, artistry and repertoire people.
00:11:21All the promotion people.
00:11:23They made Philadelphia a must stop.
00:11:25Because if you wanted to break a record, if you wanted a record to be successful, you had to get it on bandstand.
00:11:37Why did Dick Clark get into the business?
00:11:39Well, I would have gotten into the business if my father owned a radio station, I think.
00:11:43Dick began as a sportscaster.
00:11:47Roger Clipp, Triangle Publication.
00:11:51One of the stations that they were affiliated with was the station that Dick's dad was general manager.
00:11:58What most people don't know or don't realize is that Dick was a consummate businessman.
00:12:03He went to Syracuse University.
00:12:04He got a degree in business.
00:12:06And business happened to lead him to music.
00:12:10But he was a businessman.
00:12:11And he was really a genius at it.
00:12:13Roger Clipp and Dick Clark's father were very close friends.
00:12:16Uh, Dick Clark's father owned a radio station in Utica, New York.
00:12:22And they were well known to one another.
00:12:24And he came along at the right time.
00:12:27Getting tired to work for Daddy in a small wattage station.
00:12:31He asked Dad, I believe, to give him an audition.
00:12:34But he did have the qualifications.
00:12:36He realized that if I come to Philadelphia, they have a television outlet, WFIL.
00:12:41So I'll start with the radio and then try to work myself into television.
00:12:46Roger Clipp chose him.
00:12:49Nobody else there chose him.
00:12:51Roger Clipp did.
00:12:53And I remember him coming in and saying, Sally, I have a young man coming in.
00:12:59I want you to listen to his voice.
00:13:03I said, what's not to like?
00:13:05He's a good looking guy.
00:13:07He's young.
00:13:08And he has a terrific voice.
00:13:10I said, if you don't have anybody else in mind, I said, you should go with it.
00:13:17Run with it.
00:13:18So that's how Dick came to Philadelphia on WFIL.
00:13:22When Bob was doing TV, Bandstand, Dick was doing radio.
00:13:27And Dick occasionally would do live commercials on Bandstand, okay, for certain products.
00:13:33So Dick had been in Philadelphia when Bandstand was at its heyday.
00:13:38We were all what they call booth announcers, announcers who worked at WFIL Radio, WFIL FM and WFIL TV.
00:13:47A live announcer was on call from 5 o'clock in the morning, sign on time for Channel 6,
00:13:53until they signed over 2 o'clock the next morning.
00:13:55The first time I remember seeing Dick Clark, I was on the Bandstand show with Bob Horn.
00:14:00I had been on quite a few times, you know.
00:14:02And I remember vividly, he would off to the side of the main studio.
00:14:07It was a little sort of a booth with a glass enclosure.
00:14:09And I would see him and I would go on to the show and wave because he would be playing my recordings also at the time on radio.
00:14:17Dick was always very friendly and polite.
00:14:20He was not an outgoing person, particularly.
00:14:24He kept to himself.
00:14:25He had his own office, of course, where the rest of the staff announcers and DJs shared an office.
00:14:31He was well-respected, well-liked.
00:14:33He was friendly and polite.
00:14:34When we first met him, he was a television booth announcer.
00:14:40And I can remember seeing Dick at a local cocktail party and he said to me,
00:14:46I'll have Bandstand.
00:14:48That'll be mine.
00:14:49You watch and see.
00:14:53It always had been rumored that Roger Clipp and Six were pitching Bandstand to the network because it was the biggest rated show locally.
00:15:04They were interested, but they were not really interested in a guy like Bob Horn, who was too old in their eyes.
00:15:12Bob Horn was doing the television show and didn't even think about Dick.
00:15:17Dick was over in the AM booth.
00:15:19Dick was the all-American boy, you know, and Bob Horn was more like an older uncle to us.
00:15:25This was a very touchy time.
00:15:28Here was a huge show, local, but very, very popular.
00:15:34And Bob Horn got into some problems and got into the newspaper.
00:15:45One night, Bob drives home and he gets arrested for DUI.
00:15:50At that time, Triangle Publications, the Enquirer, was doing a big story on that.
00:15:57Bob getting busted for drunken driving when there was a campaign going on with Channel 6.
00:16:05Don't drive and drink.
00:16:07It looked bad.
00:16:08There was egg on the face of everybody.
00:16:11The following day, Bob Horn did not do Bandstand.
00:16:15They put Tony Mamarella, who was his producer, in.
00:16:20Meanwhile, before the arrest on the DUI, he signs a brand new contract for another three years
00:16:28to be the host of Bandstand, the radio show, to be the host of Bandstand, the TV show.
00:16:34They take him off TV, saying, we're going to wait until the heat dies down, then we'll put you back on.
00:16:40From what I understand, the person who got Bob Horn fired was Attenberg's wife.
00:16:47Because they were doing the campaign on Channel 6 about drinking and driving.
00:16:52And she was the one that really said, you can't let this guy stay.
00:16:56Walter, you've got to go down there and fire this guy.
00:16:59But they said to him, your contract, we're going to pay you the same amount of money, but you're only going to do Bandstand radio.
00:17:08He beefed on that, hired an attorney to sue Triangle.
00:17:13And lo and behold, a month after the suit was initiated, Triangle, which owns the Inquirer,
00:17:20is doing a story about call girls and people in show business.
00:17:26Now, you've got to understand something.
00:17:29In Bob Horn's contract, there is a moral clause.
00:17:32And any contract that stipulates if you are involved or any type of publicity that you're involved with,
00:17:43they'll avoid the contract.
00:17:45All of a sudden, every day, different names are coming.
00:17:49Bob Horn's name is mentioned, appears in the Inquirer.
00:17:53Bob Horn, underage girls.
00:17:56He loses the lawsuit.
00:17:58He goes on trial for that.
00:18:01There are two trials.
00:18:02I was a witness on both trials.
00:18:05They said that he was having sex with one of the kids that Dan Storm bands did.
00:18:10But I used to go out with her.
00:18:12Okay?
00:18:13And it wasn't so.
00:18:14The papers alleged he did.
00:18:16But he was definitely found not guilty.
00:18:20And it was unfortunate because it had scarred him for life.
00:18:25In the meantime, he's drinking heavily, gets involved with a second drunken driving thing,
00:18:32goes up a wrong way street, hits a young kid.
00:18:37And that is the end of Bob Horn's career in Philadelphia.
00:18:44I have to tell you something that no one ever brings out.
00:18:50He went out to Texas and ran into the same problem.
00:18:56When he left WFIL, had to leave WFIL, was fired from WFIL.
00:19:01A wonderful manager in Philadelphia, Nat Siegel told me.
00:19:06We were driving down.
00:19:07He managed some of the artists in Philadelphia.
00:19:09He said, Bob Horn got busted out there.
00:19:12I said, no.
00:19:13I almost went off the road.
00:19:14I was riding on Chestnut Street.
00:19:16He was busted out there too?
00:19:18They said, yes.
00:19:20So Bob did have a track record.
00:19:25I happened to be at 46 in the market.
00:19:28Dick was, at the time, a disc jockey.
00:19:31He was spinning records.
00:19:33And he said to me, come on, sit with me while we're, you know, while I do the show.
00:19:37He said, in between records, we'll talk.
00:19:39And somewhere along the line, within the hour or whatever length of time he was on the air,
00:19:47somebody knocked on the door and stuck the head in and saying, Dick, as of tomorrow,
00:19:55you are taking over the bandstand show.
00:19:58The whole thing with Bob Horn has exploded.
00:20:01And I'll tell you another guy that they also considered, I believe, Johnny Carlton,
00:20:06at one time, to possibly be the replacement for Bob Horn when there was that problem
00:20:12in the interim when he was taken off bandstand.
00:20:14There were no auditions.
00:20:15There were no interviews or anything of that sort.
00:20:18I think the station management, the program people, and the actual management of WFIL Channel
00:20:246 knew who was on the staff, who was capable of doing the show.
00:20:29Then we find out that Dick Clark is going to take over the show and Bob is never coming back.
00:20:34That is when I lead all of the pickets.
00:20:37You cannot get in the bandstand.
00:20:39We're picketing every one of the regulars.
00:20:41We're keeping all the kids out.
00:20:43George Kohler, who is the general manager, comes out.
00:20:47They have a meeting with me.
00:20:48Look, we know you like Bob, but Dick Clark is good.
00:20:52He's going to treat you the same way.
00:20:54I said, I don't, we want Bob Horn back.
00:20:56I go back outside after the meeting with these guys and we're picketing.
00:21:00All of a sudden the cops come.
00:21:02They lock me up.
00:21:03All right.
00:21:04They lock me up.
00:21:05I'm 16 years of age, okay?
00:21:07They lock me up.
00:21:08They take me to the police station.
00:21:09When they lock me up, the pickets go down.
00:21:12All of the kids at the picnic go into bandstand.
00:21:15Before you know it, after a month or so, the kids accepted Dick Clark and the few that were picketing out front just wandered away.
00:21:22You must understand something.
00:21:28When Bob Horn had bandstand, every record company, every distributor would go to him with deals.
00:21:35Publishing, ownership, management, because at that time there was nothing wrong with owning a piece of a record until 1959 when the Payola investigation came and the government said no more.
00:21:49So when Dick Clark took over bandstand, everybody forgot Bob Horn.
00:21:56And all the deals that Bob had went to Dick Clark.
00:22:01You're on top today.
00:22:02You're the king.
00:22:03Another king comes in.
00:22:04You inherit the kingdom.
00:22:06That's the way it was in those days.
00:22:12Dick was television material.
00:22:14Dick had the qualifications.
00:22:16But you always need someone to get you into a major market.
00:22:20And I believe his qualifications did it, but a little help from his father.
00:22:25And I think his father was a little instrumental with the ABC affiliate.
00:22:28When they applied to ABC Network to put the local Channel 6 show on, lo and behold, they gave us a trial of, I think, six to ten weeks in the dog part of summer.
00:22:41August the fifth.
00:22:42They said if we pull it during the summer vacation to get the kids to watch it in August, they'll watch it when they go back to school.
00:22:48Which, that's actually happened.
00:22:50I think we only had a two or three month contract.
00:22:53And by Halloween, ABC had signed a year contract and it went to a five year contract.
00:22:59They were very happy with the show.
00:23:00He used to joke about it.
00:23:02Bandstand was the best rehearsed program that ever hit any network anywhere.
00:23:07It had been on the air for, what, two, three years before it ever went on ABC.
00:23:12That didn't change the time or anything.
00:23:14It didn't change the crew.
00:23:15It didn't change the director.
00:23:16They had been there from the very beginning.
00:23:19Dick was very instrumental in bringing Bandstand to the national audience because he was the right guy at the right time.
00:23:27He was very, very smart.
00:23:30He had the ability to not project himself, but to project the kids.
00:23:36The kids were the things that really were something special never before seen on TV.
00:23:41The thing that Dick Clark copied from us is the intimacy between the regulars on the show and himself.
00:23:50They were really the stars of the show.
00:23:52What were we?
00:23:53We were pointers.
00:23:55And now, next, here is.
00:23:58When they went to network, they were the idols.
00:24:02That's what helped the ratings on the show.
00:24:05The familiarity with the kids that danced on the show.
00:24:08When it became American Bandstand with Dick Clark, of course, now it was nationally known.
00:24:15And it was a phenomenon then because we would get fan mail from all over the country.
00:24:20And I remember one instance where, when we first started the first week in August of 1957,
00:24:26the post office at 30th of Market, which was the main post office, could not handle all the mail.
00:24:31They didn't have enough bags to house all the mail.
00:24:34People took these youngsters to their hearts.
00:24:37And they had favorites.
00:24:39And they were getting thousands and thousands of fan letters.
00:24:44That's how big this was.
00:24:46And it was a breakthrough.
00:24:49It had never been done before on such a scale.
00:24:52The programming was excellent, as far as I'm concerned,
00:24:55because every day they would have two different artists.
00:25:00And it was exciting.
00:25:02I mean, you were seeing recording artists that had a hit record,
00:25:06and then you see them on bandstand.
00:25:08It's just like MTV is to the kids today.
00:25:11The dancers, when you see them doing a stroll, you say, oh, wow, man.
00:25:17You know what I mean?
00:25:18It made you feel part of the show to an extent.
00:25:21They kind of programmed them where they all had a little story about their romances and this and that.
00:25:27And it's a lot of people like that, you know.
00:25:29Not me, necessarily.
00:25:30Well, my father used to call it notoriety and not popularity.
00:25:35But it was very interesting because anywhere we went,
00:25:39someone would recognize who you were.
00:25:42Are you Joanna Monte Carlo from Bandstand?
00:25:45And you would stop and talk to them.
00:25:47So you socialized a lot.
00:25:50We went to a lot of dances.
00:25:52We always had a crowd around us.
00:25:54They wanted to talk about Bandstand,
00:25:56what it was like to be on Bandstand and a regular.
00:25:59I mean, you were signing autographs like you were really a big-timer.
00:26:03You know what I mean?
00:26:04The viewers that turned during the day couldn't wait to get home to watch it.
00:26:08They didn't watch it for Dick Clark.
00:26:10They watched it for the dancers because everybody loved to dance then.
00:26:14We live for dancing.
00:26:15Who made the show were the kids.
00:26:17I mean, Dick Clark was not the personality.
00:26:19He developed later, but it was the kids that made that show in that first month.
00:26:26That was a trial period.
00:26:27You know, there was really a bandstand.
00:26:30There was a wooden seating thing that they pulled out from the wall that had pyramidal seats all the way up,
00:26:38so that maybe ten different rows of seats.
00:26:42And that's where the kids sat.
00:26:43There was always twice as many, maybe three times as many kids waiting and wanting to go on Bandstand,
00:26:52whoever made it that day.
00:26:54And there was a hysteria throughout the city.
00:26:56I feel that the American Bandstand kids, as we will call them, put Dick Clark on the map,
00:27:03because before he became the emcee of Bandstand, he was not that well-known.
00:27:09But after it went nationwide, he became the most popular icon.
00:27:14Remember, from Philadelphia, it was being aired over 65 of the ABC original stations that picked up the show.
00:27:21So one shot on American Bandstand would give you 65 cities.
00:27:26You have the power in your hand.
00:27:28You're the guy playing the records.
00:27:30So that gives you a lot of power, and that made him a giant in the industry.
00:27:34Quite a position to be in.
00:27:36As the host of American Bandstand, Clark had power that no other disc jockey had.
00:27:42He was the greatest promotional venue of the 1950s and early 1960s.
00:27:48Nobody came close to him.
00:27:50And he could do, with one spin of a record, what it took months to do previously,
00:27:55as far as exposure of a new record.
00:27:58When I did get on, the impact was tremendous, because there was such a starvation for young kids
00:28:07that were record buyers, a starvation for their idols.
00:28:11I all of a sudden became a teen idol, and that's because of the Dick Clark American Bandstand.
00:28:16Because five million kids a day used to watch it.
00:28:18I couldn't have done it without Bandstand because it was a dancing show.
00:28:22And in two minutes and 42 seconds on American Bandstand, when we did the twist,
00:28:27at that moment we changed the world.
00:28:29And if it wasn't for Dick Clark and American Bandstand, it wouldn't have happened.
00:28:33The marketing of young teenage, good-looking young guys like Fabian and Frankie Allen and everything,
00:28:40was just the beginning of the sexual revolution in the music industry.
00:28:45It wasn't put out there with 200 kids at the parish dance, remember.
00:28:51This was being put on national television.
00:28:54And at that time, they had the ability to sell huge amounts of product to the new sexual revolution.
00:29:02I'm gonna try to put this in perspective for you.
00:29:05If any candidate for office would have an hour and a half of network television time,
00:29:12five days a week, they would all be unbeatable.
00:29:16You're talking that kind of power.
00:29:19This was the biggest television show ever.
00:29:23With commercials, with sponsors, with product.
00:29:27He owned daytime television.
00:29:32We had one major advantage.
00:29:35Guys of my ilk and era that lived in Philadelphia is that the Dick Clark show was there.
00:29:43And whenever somebody couldn't show up or they would call us to do the show,
00:29:48so we got the benefit of that.
00:29:50So that helped tremendously.
00:29:52If I said I need Fabian to go on the air, he would put him on.
00:29:57Just for any gain of his own, but just to put him on because he knows that every time Fabian or Frank did the television show, the ratings went up.
00:30:05His show was so important.
00:30:08There were eight million kids who watched American Bandstand every day, and it was like one big rock and roll party.
00:30:13And you never felt lonely when American Bandstand was on.
00:30:16You always felt like you had friends all over the country.
00:30:18And that program consolidated the whole country and made us like one.
00:30:23We were able to check out what was going on back east, even though we were in Southern California, so we tuned in quite a bit.
00:30:30I think Bandstand united all of us kids into American music.
00:30:38American Bandstand, they could hear that song instantly all over the country.
00:30:42And then you could have more of an instant success.
00:30:46Now you're coast to coast, so you have a lot of power when you perform on the show.
00:30:51People see you every day, five days a week.
00:30:53Anything that gives you that multi-million viewing audience, it can't hurt you.
00:30:59That's what it's all about, to be seen.
00:31:01That's why we call it show business.
00:31:04The starting point, a launching, as you might say, for any artist, it was very important,
00:31:11and everybody was clamoring to get on that show.
00:31:14Every teenager in the country, I think for perhaps the only time in the history of television,
00:31:20or maybe in the history of mankind, was doing the same thing at the same time from coast to coast.
00:31:28They were watching Bandstand.
00:31:39I have sworn under oath that I have never taken payola.
00:31:44I frankly admitted to the committee that I have, as countless other entertainers have,
00:31:53invested in numerous enterprises, allied with the broadcasting and music industry.
00:31:58I've engaged in these activities very actively.
00:32:02I have made money from my efforts, and in many cases have not invested a great deal of money.
00:32:09This happens to be the nature of the entertainment business.
00:32:13Where on small investment, you can reap large returns.
00:32:17I have never taken payola.
00:32:20So all of a sudden, these few, five or six people that owned the record companies in Philadelphia,
00:32:29had a tremendous platform.
00:32:31They had American Bandstand in their backyard.
00:32:33Most of them had known Dick Clark for years before because he had been on radio locally in Philadelphia.
00:32:42He had Bandstand locally before it went national.
00:32:45So the record companies knew Dick Clark.
00:32:48And this was, all of a sudden, literally a gold mine, a windfall.
00:32:52And of course, Clark made Parkway because he played all of those records.
00:32:56The Orlons, D.D. Sharp, one of those artists on Cameo Parkway.
00:33:01They were played regularly on Channel 6.
00:33:05Well, Dick Clark's poignant assertion that he never took payola
00:33:11is probably a description of physically reaching out and taking money from someone's hand.
00:33:17Dick Clark's payola gratification was much more sophisticated than that.
00:33:22I mean, why take a hundred-hour bill when you can have a part of the company?
00:33:26Directly or indirectly, Dick Clark was involved in every independent label
00:33:30and every pop music-related venue just about in Philadelphia.
00:33:35And how could it have been otherwise?
00:33:38If you had an independent label, more than anything else putting you over the top is Bandstand.
00:33:43This is the linchpin to whether you're going to succeed with these rock and roll records.
00:33:48So there's nobody in Philadelphia who wasn't ready, well, to quote Moss from the hearings,
00:33:53to bestow brotherly love.
00:33:55Dick Clark learned from the Bob Horn situation that with that power base,
00:33:59you could do anything you want, but you had to be clever.
00:34:02You had to be intellectual. You had to know what you were doing.
00:34:05Clark was what they call now vertically integrated in the music business.
00:34:16He, through a series of companies, could handle or create a record
00:34:21and market it from top to bottom or bottom to top.
00:34:26For instance, Clark had his own talent management company and he could sign artists
00:34:33and manage them through this company.
00:34:36He had interests, either part or full interest, in several record companies.
00:34:41Swan Records he had a partial interest in.
00:34:44Hunt Records was another one of his companies.
00:34:47And Jamie Records.
00:34:49He signed the artist to his talent management company.
00:34:52He had record companies on which to record the records.
00:34:56Dick had several publishing companies to his name.
00:35:01And so he also had the publishing rights which generated more money.
00:35:07So he had the artists, the record companies, the publishing.
00:35:11He also owned a record pressing plant.
00:35:13So he could actually manufacture his own records.
00:35:16He used to say to the artists, it doesn't make any difference who presses your records, does it?
00:35:23And they said, no, he says, okay, give it to me.
00:35:25So he never took a hundred dollar bill from someone.
00:35:29No one from the company ever laid an envelope on his desk.
00:35:33He got his in huge lump sums.
00:35:35Other record companies, unrelated to Clark's own companies,
00:35:40had to have their records pressed somewhere because they didn't have their own pressing plant.
00:35:45And it happened on several occasions where record companies said, gee, I got to have, you know,
00:35:52a half a million records pressed up.
00:35:54I might as well have them pressed up with Dick Clark's company because it can't hurt, you know, in the long run.
00:36:00So he also drew business in, you know, on a secondary basis that was even unrelated to Bandstand
00:36:07because people were looking to curry favor.
00:36:11Dick received numerous publishing rights to songs.
00:36:16People that owned the rights to songs came to him and just gave him the rights to a record,
00:36:22the publishing rights in hopes that he would play the record.
00:36:27Back to Hop was originally wrote by one of our members, David White, and the song was originally called Do the Bop.
00:36:46Our management at the time, Artie Singer, he took it to Dick Clark.
00:36:51And Dick said, you know, the Bop is a dance. We get dances every two weeks.
00:36:57And by the time you get this record out, the Bop will be gone.
00:37:00Dick told them, hey, look, I think the Bop's about had it.
00:37:03They've been bopping around on Bandstand for the last three or four months.
00:37:07I think you're a little late with that stuff.
00:37:09Why don't you change the title and make it at the hop because record hops are now coming into their own.
00:37:16He said, but guess what? All the disc jockeys are running these record hops,
00:37:21getting a buck ahead and putting a thousand kids in each of the record hops.
00:37:25So if you change that lyric and title a little bit, maybe call it at the hop,
00:37:32we might be able to get yourself a hit record.
00:37:36Bear in mind, I loved the guy, OK, because we were very close friends.
00:37:41But his business tactics sucked.
00:37:44You know, with Dick changing the title, he maintained some of the publishing, you know, on the song.
00:37:51Harry Rosen was my distributor and Harry was handling my record.
00:37:56Harry Rosen comes to me, comes up to my studio.
00:38:00I was in the Schubert building at the time.
00:38:02He said, Artie, you're not going to believe this.
00:38:06Dick won't play the record unless you give him 50% of the publishing.
00:38:12He wouldn't put the record on the air until I gave him 50% of the publishing.
00:38:21I said, no, Harry, you tell me, do I have a choice?
00:38:25He goes, didn't even say no.
00:38:30I really didn't know too much about the inner workings of the business at that time.
00:38:36Later on it changed and people got favors for plays.
00:38:40But in our case, Dick actually did change the title and there already were three writers.
00:38:47So in order to compensate him for that rather than make him a full writer, they gave him a piece of the publishing.
00:38:53So, you know, he did some work for what it is he got.
00:38:56Granted, I cannot say anything derogatory.
00:39:00I can't say anything bad because I owe my success in the record phase of it to Dick Clark.
00:39:09At the Hot was number one for seven weeks.
00:39:13So that's a long time for a song.
00:39:15In fact, it's one of the longest for a song to stay number one.
00:39:20Well, it was all due to Dick Clark and Bandstand.
00:39:24If he wasn't here, forget about it.
00:39:27It would have been a wasteland.
00:39:29Everybody would have went to New York, Nashville, and Los Angeles just like they do today.
00:39:35Of course, Clark had something that no one else in the country had.
00:39:41He had the national spotlight to take his record and go on American Bandstand and say,
00:39:46here is a great new record out of Philadelphia that's sure to be a hit and he could play it as many times as he wanted.
00:39:54He never put his records on Raider Record.
00:39:57He never took that chance.
00:39:59He was too smart for that.
00:40:00He wasn't leaving it up to the kids to decide the future of that product that he had a piece of.
00:40:06So Raider Record was for records that he didn't have anything to do with.
00:40:10He had it all from top to bottom in a setup that really no one else in the business had at the time.
00:40:17You're a kid.
00:40:18You don't know what's going on.
00:40:19You're just happy to be singing and playing and performing in front of people.
00:40:22But there's wheeling and dealing going on between the companies and between these people that are the power structure of the business.
00:40:29They call it payola.
00:40:30You want your record player?
00:40:31You have to pay this guy.
00:40:32You have to pay that.
00:40:33I didn't know that was going on.
00:40:35Or did I care?
00:40:36Most disc jockeys wanted to be, they were all junior Dick Clarks.
00:40:41They all wanted to be where the action was.
00:40:44And Dick was where the action was.
00:40:47So the other jocks would get on the record.
00:40:49If it had merit or not, it got played.
00:40:52If Dick played it, the local jocks would follow through in Philadelphia or as well as New York City.
00:40:59Because everybody wants to be with a winner and they felt if he played the record it was a winner with the kids on bandstand.
00:41:06And it was a winner across the country.
00:41:08Payola was the big thing.
00:41:10We were involved in it too.
00:41:13We knew the whistle was going to blow.
00:41:16Somebody was going to take money and not play the records.
00:41:19They were all independent labels anyway that were paying.
00:41:22And it really hit the fan.
00:41:25And we were caught up in it too.
00:41:27You look at the big picture and Dick was a businessman and his business was music.
00:41:33And everything that he did was a sound business decision.
00:41:39You can't knock his business acumen.
00:41:42And you have to ask yourself, if I was in business and I had this guy's position and power, you know, what would I have done?
00:41:54By the latter 50s, rock and roll was here to stay, to quote Danny and the juniors.
00:41:59And that was much more of a factor in the payola hearings than the quiz scandals could have ever been.
00:42:04At the time rock and roll started to emerge, parents were horrified.
00:42:07It was the devil's music.
00:42:08Worse than that, it was leading to integration.
00:42:10Teens were dancing together of different colors.
00:42:12And this just, this just couldn't happen.
00:42:15The devil's music had to go.
00:42:17So it was that during the height of the quiz scandals, the word came down that payola was next.
00:42:23When the payola scandal broke in 1959, of course, Dick Clark was right in the middle of it,
00:42:29being the most influential disc jockey in the country.
00:42:33And one of the charges that he faced was that he was involved in a conflict of interest
00:42:40because he owned parts of many of the records that he played on bandstand.
00:42:46As far as the payola investigations in 1959 and 1960,
00:42:52there has been and still is great confusion as to what investigations were going on
00:42:59because there were more than one.
00:43:01The big investigation that everybody knows about is the federal investigation in Washington
00:43:09that was conducted by the House of Representatives.
00:43:14That was a fact-finding committee to propose legislation against payola
00:43:20because there was no federal law against payola at the time.
00:43:24So here you have nine middle-aged congressmen, a few various and sundry investigators,
00:43:31a couple of lawyers, and all of which are coming at it from the standpoint not only of,
00:43:36you've got to be paid to play this music, but all the indicators are you must be.
00:43:42Because after all, look at one of the questions.
00:43:44Well, why aren't you playing Perry Como? Why aren't you playing Frank Sinatra?
00:43:47Why aren't you? And on and on of all this.
00:43:49And the point that we're trying to make is that,
00:43:51why aren't you playing the artists on the big labels, the ones that wouldn't pay you?
00:43:55And they thought, this is our smoking gun. But of course it's not.
00:43:58Why weren't they playing them? They weren't what kids wanted to hear.
00:44:01The first appearance on April 29th of Dick Clark, by all accounts, is a tough day for him.
00:44:07The representatives and the lawyers and the investigators are not letting him get away with too much.
00:44:12They're calling him on all his stuff.
00:44:14They're proving that Dick Clark is involved with close to three dozen companies.
00:44:19He's owning record labels. He's owning distribution. He's owning publishing.
00:44:23And somewhere in this day, though, it had to occur to them that that in and of itself isn't illegal.
00:44:31The problem with the payola hearings is there's no smoking gun.
00:44:35So if you go in thinking, well, they have to be being paid to play it, you're off base immediately.
00:44:41But if you understand how the business works, which they didn't,
00:44:44you understand that the only way you're going to get anything is to get somebody who's going to walk in and say,
00:44:50I paid X number of dollars for this record to be played.
00:44:54And by all accounts, it never worked that way.
00:44:57One of the issues that came up at the hearings was the practice of American Bandstand asking artists to sign back the royalty checks to Bandstand.
00:45:07When a performer appeared on American Bandstand, they lip synced.
00:45:13They didn't sing live. But Clark had to pay union scale to the performers.
00:45:18They had to be paid. Otherwise, they weren't allowed to go on.
00:45:20And what happened was money that was paid by Clark's corporation to the performers had to be signed over to him or given back to him.
00:45:32So that it really didn't cost Clark anything.
00:45:36When we did these shows, we always had to sign a release before we performed on the show.
00:45:41I believe that release was to relinquish any money coming to us.
00:45:46So as many times as we did the Bandstand show, at least in my case, I never got paid.
00:45:51I'm sure the other guys didn't either.
00:45:53So the release was to null and void whatever the financial gratuity was for that show.
00:46:01So we did it just for the exposure. But we never received any payment to do that show.
00:46:06If you wanted to be on his show, you would have to give up that money.
00:46:12Otherwise, you went nowhere. You just didn't go anywhere.
00:46:17We were fortunate to get paid. We got paid scale.
00:46:24And I think what happened with us was that because the courts were so involved with us being minors,
00:46:31if it happened to us, it was something that went, you know, got past unbeknownst because with us it was like every penny.
00:46:38When I was on Bandstand, we didn't get paid. No, we didn't get paid.
00:46:43We did a lot of free shows for them. We did the record hops free. And we did a lot of that for nothing.
00:46:51I think piola back in that day for us was more doing record hops. That was more fun for us.
00:46:58But they couldn't make that as a piola.
00:47:04To work for those record hops, I thought that was a pretty good way to promote things.
00:47:08I never signed a check back over to his corporation because I never saw any checks.
00:47:13I never got paid for doing the Dick Clark show.
00:47:16Now, Clark has maintained over the years that this was done because the show was on a low budget, which was a fact.
00:47:25But the production company that did Bandstand was owned by Clark, so it was his own company.
00:47:31Because it was his company and the company was being reimbursed, I mean, was that a benefit to him or not, if he was the company owner?
00:47:38But more to the point, something that came up in the hearings a few times is Bandstand was making $12 million a year.
00:47:47You're telling me that artists getting their after fees would have brought the show down?
00:47:53Whoop, whoop, whoop, whoop, whoop.
00:48:07During the hearings, one of the smoking guns that the investigators and congressmen thought they had was the 16 Candles trajectory.
00:48:1416 Candles is a record by the Crests.
00:48:16And in Philadelphia, Harry Finfer at Universal had the rights to distribute it.
00:48:21When that song came out, it didn't do anything right away.
00:48:26It was played on several radio stations and it didn't catch on.
00:48:32And it was dead.
00:48:35And the owner of the record company decided to give Dick Clark the publishing rights.
00:48:41I think he had a piece of it, I knew he had a piece of it, but I don't know if he had it all or not.
00:48:46I think he had a piece of it, 16 Candles.
00:48:49As the other records that he would play more diligently, from what I understand.
00:48:54Lo and behold, Clark started to play the record on American Bandstand.
00:48:59And if you're a student of pop music history, you know 16 Candles became a monster hit.
00:49:06After we sung 16 Candles on Bandstand, the whole world changed.
00:49:12All of a sudden, we never dreamed that would ever happen because we started out singing on the street corner.
00:49:17The question is, did that airplay create a hit?
00:49:21And more to the point, did Clark play it because he got the money?
00:49:24All right?
00:49:25And neither of those questions can be answered definitively.
00:49:29And this was the frustration the investigators was having.
00:49:32I really think that some of the transfers were made by different people.
00:49:37There was Billy Arnold, there was a couple of other people too, that were, call themselves our road managers, that would go with us.
00:49:44You know, for these visits, you know, to, you know, to the Dick Clark show.
00:49:51And they'd have the briefcase or whatever they would have, and I noticed it would go in but never come out.
00:49:57Now, after I heard about the pay hole, I realized what must have been in that briefcase.
00:50:02Must have been, must have been money.
00:50:05And I knew there must have been much more than we've ever seen, than we saw through the whole history of that era.
00:50:12As far as we're concerned, we didn't care where the money went.
00:50:15We didn't care that there was money.
00:50:17The only thing that we really knew, that we didn't get any.
00:50:21There was a complicated series of arrangements between the record company owners and Dick Clark himself,
00:50:28who was an owner or a part owner of several of the companies.
00:50:33As far as I know, he didn't have any ownership in Cameo records.
00:50:37But it's on the record that Bernie Lowe, who owned Cameo, paid Dick Clark $14,000
00:50:45after his promotion of a record called Butterfly, that was a, of Charlie Gracie, that was a big hit in the 1950s.
00:50:52Dick Clark never made anything to do with Cameo, Cameo Parkway.
00:50:56Swan Records was another label.
00:50:58But it was a subsidiary of Cameo Parkway, you know.
00:51:00But that's how it started, you know.
00:51:02Of course he had the big hit, the Charlie Gracie thing put him on the map, you know, Cameo Parkway.
00:51:07Dick has always maintained that he didn't ask for the money and he didn't do anything for the money
00:51:14and that Bernie Lowe just gave him the money.
00:51:16But we had this situation where he did receive money from Cameo Records.
00:51:21I was with a particular company I recorded with and we had a disagreement about record royalty payments.
00:51:28Well, when I sued the company, I more or less cut my throat because I never went on bandstand again.
00:51:33And that cut the lifeline of my career because without that show, which was the heartbeat of the record industry,
00:51:40after five, six months, a year like that, people forget who you are.
00:51:43I couldn't get my records played anymore, I couldn't go on the show anymore.
00:51:47And evidently, in my mind's eye, the network that they had across the country said, you know,
00:51:52we're not going to pay Charlie Gracie's record anymore because she's a, they used the term today, whistleblower.
00:51:57I just stood up for what I thought was mine.
00:52:01I felt very sad to see that happen to him because I know he had so much talent.
00:52:05You know, he was in that business since he was ten years old.
00:52:08It must have been really, really hard on him.
00:52:10And many a time I know he was almost close to, you know, breaking up and breaking down.
00:52:15But, you know, he didn't.
00:52:17But there was many times he said, if I didn't have my, you or my kids, you know,
00:52:20I don't know what I would do.
00:52:21I'd probably go off the deep end somewhere.
00:52:24A lot of people refuse to believe that somebody as upstanding, clean cut, and as Dick Clark was,
00:52:32or as his image was, would refuse to believe that he could be involved in any wrongdoing anyway.
00:52:38So, from the start, he had a favorable public image, and that carried over tremendously.
00:52:46You know, he was earnest, and he went before the committee and earnestly testified,
00:52:51and he drew sympathy from people.
00:52:54He didn't appear to be a criminal or unsavory at all.
00:52:59Another thing that helped Dick Clark tremendously was that he had the backing of his employer,
00:53:06the American Broadcasting Company.
00:53:08You have to remember, Dick Clark and American Bandstand helped make the American Broadcasting Company.
00:53:16So it was in ABC's interest to make sure that Clark survived this EOLA investigation,
00:53:24and they went to great lengths to do that.
00:53:27They needed to find out exactly what he'd been doing and how he was doing it,
00:53:31and the first thing they said is, you're going to divest all those record labels.
00:53:34You're going to divest all that interest.
00:53:36And, you know, Dick at first balked at that.
00:53:39No, I'm not.
00:53:40And he said, well, you know, think it over.
00:53:41He said, can I have a day?
00:53:42And so, Dick Clark thought it over, and at some point in that day,
00:53:46I think he realized that all of the interest he had would be nothing if he didn't have the engine of bandstand to fuel it.
00:53:53So he agreed he was going to relinquish everything.
00:53:57They let Dick Clark draw up his own payola affidavit saying that he didn't take payola.
00:54:03ABC had a standard affidavit for everybody else that had a loose interpretation of payola,
00:54:10and it was tough to sign.
00:54:12And Alan Freed, who also worked for ABC, he couldn't sign it.
00:54:15He says, no, I can't sign this because I was involved.
00:54:18But ABC didn't make Dick Clark sign that document.
00:54:22They allowed him and him alone to draw up his own document saying he never took payola.
00:54:30One of the House members on the panel quipped that when the document was a Christian Dior document because it was tailored to Dick Clark's needs.
00:54:41Of course, Alan Freed was convicted of payola in New York, and he lost his job, and he was fired, and he died several years later penniless.
00:54:50It wasn't even in the best interest of Congress to put a hurt on Dick Clark.
00:54:55They did that kind of reluctantly.
00:54:58Had to include him in the package, but really were not going after him.
00:55:04He was bigger than the hurt.
00:55:06Dick Clark, who was at the top of the pyramid, said that he had no knowledge of any improprieties.
00:55:14The second man in command was Bandstand's producer, Tony Mamarella.
00:55:19Tony was with the show, I think, almost from the start when Bandstand was local in Philadelphia from 1952.
00:55:26So Tony really knew the ins and outs of the show as the producer.
00:55:33In fact, when Dick Clark first took over Bandstand in 1956, Tony taught Dick the ropes.
00:55:41I mean, Tony knew just how the show went, and Dick Clark didn't know anything about it.
00:55:45So they were the combination that made the show go.
00:55:50I would say that he had a lot of power behind the scenes because, you know, as Dick became more and more famous and more powerful, he needed subordinates.
00:55:59So you perhaps maybe got to meet him or let him hear your record before Dick heard the record, which became like a step stool.
00:56:07Tony and Dick worked in a tiny office in WFIL Studios.
00:56:13It was like a closet.
00:56:15They were both jammed in there.
00:56:17They had one telephone that they shared in a tiny office.
00:56:21As things evolved after the Paola scandal, Dick said, well, I didn't know anything about it.
00:56:26And the rap was pinned on Tony Mamarella.
00:56:31Tony, it was shown, was involved in certain things, certain Paola activities.
00:56:36And he resigned from the show.
00:56:39He was a casualty of the show.
00:56:41So in effect, Tony Mamarella became the fall guy at American Bandstand for Paola.
00:56:48So at that point, he became the scapegoat.
00:56:51He received a call from Dick and Dick's lawyers were present with him also.
00:56:57And Dick said that he wanted to read a statement on air.
00:57:02And I will read you that statement.
00:57:04I recently learned that my producer, Tony Mamarella, without my knowledge, engaged in deceptive practices.
00:57:14And I condemn him for it.
00:57:17I hereby terminate our association.
00:57:20Well, Tony said, no way.
00:57:23I'm not going to be the scapegoat for you.
00:57:26And then Dick started crying on the phone.
00:57:29And he said to Tony, I love you.
00:57:32But I still, I want to read that statement.
00:57:37Tony hung up the phone.
00:57:40He went into the bathroom and he threw up.
00:57:43And Tony was devastated.
00:57:46And so it was that Dick Clark, in his statement, as well as on Bandstand, you know, basically alluded to,
00:57:53I've just been informed of this dark secret that Tony has or that this individual has.
00:57:59I don't think he mentioned my name on Bandstand, but nonetheless.
00:58:01And, you know, his resignation has been accepted.
00:58:03And that was in the declaration, too.
00:58:05So there were several things, you know, his image, his popularity, ABC's help behind the scenes,
00:58:13all contributed to the fact that he really, he came out of the Paola scandals unaffected.
00:58:22In 1963, Clark took American Bandstand from Philadelphia and moved it to California.
00:58:29The reason being, after the Paola scandal, he was forced to sell all of his music companies.
00:58:35And he turned around and invested a great deal of that money into television and film production.
00:58:43And as a result, he was one of the first people to get in on the independent TV and movie film industry.
00:58:51And that was, in the early 60s, growing by leaps and bounds.
00:58:55I said, Dick, you've got to come out here.
00:58:57It's a place for you.
00:58:59You've got so many ideas.
00:59:01And he said, no, no, no.
00:59:04And then he called me back.
00:59:05He said, I'm coming out.
00:59:06And if you've got any room in your house, I'll stay for a couple of months until I get my house all done.
00:59:12He said, I'd love it.
00:59:13I said, Dick, whatever you want.
00:59:15He had to come out here.
00:59:16They all came out right here for that.
00:59:18The record companies started coming out.
00:59:20The executives started coming out.
00:59:22It was a place to make it.
00:59:24The local music industry in Philadelphia suffered tremendously.
00:59:29When he left, the bottom just fell out.
00:59:32The record companies lost their promotional venue.
00:59:36I mean, Bandstand wasn't around the corner.
00:59:38It wasn't up the block.
00:59:40It was a tremendous blow to the record companies in Philadelphia.
00:59:44And a lot of us felt abandoned here that he'd left Philadelphia to go out there.
00:59:48But, you know, bigger and better things.
00:59:50You have to move along in this business or any business when you expand.
00:59:53And he became a giant for many, many years.
00:59:56He controlled the music industry just by being on television five days a week.
01:00:01You know, when you have that kind of power, man, you're coast to coast five days a week for two or three hours a day.
01:00:07You're like a small god.
01:00:09You know, you can make and break people.
01:00:11Dick Clark didn't go out of his way for anybody unless his hands were greased.
01:00:17Dick could have done so much more because he was a superstar in the music business.
01:00:23And he only chose to help those that he had a piece of the pie.
01:00:28And that's unfortunate.
01:00:29A lot of young black people who had a hard time breaking into the music business,
01:00:35people who became very famous later on in the 60s when soul music got big,
01:00:41people like Kenny Gamble and Leon Huff.
01:00:44These guys couldn't even get their foot in the door literally at Cameo Parkway during Bandstand's heyday.
01:00:50But after the show left, all of a sudden they were free to come out of the woodwork.
01:00:56And they went into the studio and they really started the whole Philadelphia soul genre
01:01:03that became a worldwide movement in the late 60s and early 70s.
01:01:09So on the one hand, Clark's leaving Philadelphia was a tremendous blow to the established music industry.
01:01:16But it opened the doors and paved the way for all of these soul people to be able to get into the studios.
01:01:26Philadelphia was at its consummate best when Bandstand emanated from here.
01:01:33It has never had the image, it has never had the power,
01:01:36never had the impact on the world that it had when Dick Clark was in charge.
01:01:42And Dick Clark was in charge of Philadelphia from the time that he took over from Bob Horn.
01:01:49You have William Penn, Declaration of Independence, the Liberty Bell, the whole thing.
01:01:55This is Dick Clark City. Were there cracks in Dick Clark? Yes.
01:02:01He was cracked like the Liberty Bell, but he rang. Despite the cracks, he rang.
01:02:07And the message was clear. Dick Clark was in charge.
01:02:13I never took any money to play records. I made money other ways.
01:02:17Since I only got $1,500 a week to produce seven and a half hours of television from ABC,
01:02:22I went into the music business. I was a manager of artists, a publisher of music,
01:02:27a manufacturer of recordings. Horizontally, vertically, every single way you can think of,
01:02:34I made money from that show. So I'm here with that.
01:02:38Next question.
01:02:40We gave it a scientific approach. We did something wonderful.
01:02:45And the equation is putting out a cigarette with both feet, coming out of the shower,
01:02:51wiping off your bottom with a towel to the beat of the music.
01:02:55And now we got dancing a part to the beat. And very soon after that came, the pony.
01:03:01Everybody does it. Even right now. They hip hop it. They do it like this, but it's still.
01:03:05And the fly. If you're doing the fly, you're doing the shake. And then what about the huckleball?
01:03:11All of these dances, put them all together, you got...
01:03:17We're here. We did that. And as a result of that, you know, the world is still hanging out.
01:03:22And we did that. And anyone that's doing that is the same as Alexander Sein.
01:03:28Watson, is that you? Because the minute he picked up that phone, every time you say hello,
01:03:33so every time you get on the dance floor and you're doing your thing, Chubby's there.
01:03:38How's that, okay?
01:04:02Did you show you that?
01:04:04Why's that, could I show you that I created.
01:04:05Is that playing for you?
01:04:14Why is it working on the dance floor, you, wasn't it?
01:04:18So, you're, you know, you, mean when you woke up?
01:04:22B porque, you all didn't get soubscribe from the dance floor.
01:04:24Yeah, yeah, yeah!
01:04:26I'm sorry!
01:04:28Well, unfortunately...