Like Whatever Gen-X
Remember the 1980s and 1990s and all things Gen-X. Take a stroll down memory lane, drink from a hose, and ride until the street lights come on. We discuss the past, present, and future of the forgotten generation. From music to movies and television, to the generational trauma we all experienced we talk about it all. Take a break from today and travel back to the long hot summer days of nostalgia. Come on slackers, fuck around and find out with us!
Like Whatever Gen-X
Turn This Mutha Out
988 Lifeline - If you need emotional support, reach out to the national mental health hotline: 988.
The Trevor Project - Suicide Prevention for LGBTQ+ Young People
Remember when television dance shows weren't just entertainment but cultural institutions that shaped how we dressed, danced, and understood America? From American Bandstand's wholesome beginnings to Soul Train's revolutionary celebration of Black culture, these programs were windows into worlds many viewers couldn't access otherwise.
This episode takes you on a nostalgic journey through the evolution of TV dance shows that defined generations. We unpack American Bandstand's complicated racial history, revealing how Dick Clark's claims about desegregation contrasted with the show's predominantly white audience until its move to Los Angeles in 1964. You'll discover how Don Cornelius created Soul Train as a direct response, crafting what one scholar called the perfect representation of "what blackness is" if aliens ever asked.
We explore the surprising connections between these cultural touchstones – like how Solid Gold's professional dancers brought choreographed spectacle to living rooms across America, how Dancing on Air launched Kelly Ripa's career, and how Club MTV with Downtown Julie Brown created the perfect fusion of dance club culture and music television. Did you know Nine Inch Nails appeared on a dance show? Or that Walter Payton was once a Soul Train dancer?
Beyond the music and moves, these shows were powerful social forces. They reflected America's racial divisions and integration efforts, showcased emerging musical genres (sometimes reluctantly), and created shared experiences for teenagers nationwide. We also reminisce about the now-extinct Under-21 clubs where many of us tried to replicate those dance floor moments we saw on TV.
Whether you religiously watched these shows or are discovering their impact for the first time, this episode celebrates a time when dancing on television could unite a nation while highlighting our differences. So put on your dancing shoes and join us for this rhythmic trip down memory lane.
#genx #80s #90s https://youtube.com/@likewhateverpod?si=ChGIAEDqb7H2AN0J
https://www.tiktok.com/@likewhateverpod?_t=ZT-8v3hQFb73Wg&_r=1
We're never done as ever laughing and sharing our stories. Clever, we'll take you back. It's like whatever.
Speaker 1:Welcome to Like Whatever a podcast for. By and about Gen X. I'm Nicole and this is my BFF, heather. Hello. So we were trying to think of what we could chit chat about before the show, and all we could think of was sadness.
Speaker 2:We're going to get that straight out the gate.
Speaker 1:Yeah, we're just going to take care of it. This is the week I think it was August 31st that Princess Diana passed away 28 years ago.
Speaker 2:I can't believe it's been 28 years. I know.
Speaker 1:I mean I can and I can't, because I have a very distinct memory, because my son, my oldest, was born August 13th and he, the first month, was a horrible sleeper, like literally awake for two hours and asleep for two hours, and when he was awake he was screaming. I remember Maybe I don't know Doctors were just like, yeah, tough shit, but anyway it was one of my like 3 am, get up, take him downstairs, put him in the bouncy seat, fall asleep on the couch while my footman like bounce the bouncy seat, I learned how to sleep and bounce my foot at the same time and turn on the TV, because that would give him something to focus on and he would relax.
Speaker 1:But so I come down down that night, turn on the tv and there it is three o'clock in the morning. I'm like what? And I just sat there wide-eyed all night and like never went back to sleep it's just.
Speaker 2:You know it's a shame. Um, I know this is probably gonna rub people the wrong way. Big fan of the queen, I know, I know I get it. Colonizing I get it. I see where she was. If you've ever watched the Crown I don't know, the Crown to me seems like they take Charles' side in a lot of it.
Speaker 1:It's kind of strange, I feel like Maybe that's how they got approved to do the show. Maybe they weren't allowed to make him look bad.
Speaker 2:But a lot of it. They do Like. I don't know about any of the rest of you that has watched the Crown, but I felt bad for Charles Like I did. I felt genuinely bad for Charles, I mean in real life. I think I do too.
Speaker 1:Yeah, for all of them. I mean, your life is decided for you. That's why Harry left. He didn't want it and you know a lot of people booed him for that, but I applaud him. Like why suffer your whole life if you don't have to?
Speaker 2:It's just. It's a shame because I thank him. I mean, obviously Camilla has been around before, it was around before Diana, and now he's married to her, and you know obviously they did stay together.
Speaker 1:I'll give them that yeah they did.
Speaker 2:I mean, it's just you know, but it is. It is sad the whole Diana situation that you know the paparazzi killed her.
Speaker 1:Yeah, for sure, yeah, a a million percent it's a shame that that happened.
Speaker 2:Yeah, um, I don't remember.
Speaker 1:I was working because it was august, so I don't remember well, it broke in the middle of the night, so you probably just got up, went to work and didn't then heard it on the radio or something yeah, I got to work.
Speaker 2:I probably probably, yeah, probably, on the radio on my way to work. Yeah, I know it was. It was sad it was very sad it's also the um anniversary of katrina which boils my blood to the point of incoherence.
Speaker 1:I haven't brought myself to watch the new I haven't watched the new one yet.
Speaker 2:Hbo documentary, and I mean you go into it knowing it's Spike Lee, so it's probably he didn't have to slant that at all.
Speaker 1:No, it was all there in black and white.
Speaker 2:It's the most infuriating thing that I've ever seen in my entire life.
Speaker 1:Yeah, that's why it's hard Like I'm going to watch it, but instead I watched a little bit more upbeat. Um, there's a netflix series that came out a few weeks ago called the residents did I already talk about this no, maybe I don't remember yesterday it has.
Speaker 1:The actress from orange is the new black in it. All of them? No, the one who played the crazy lady. Oh yeah, yeah, yeah, her name is like Uba or Uda. I can never, for whatever reason, I can never remember her name, her and the really handsome guy Abiz something I have no idea.
Speaker 2:Okay, I don't know names, you're lucky I still know your name.
Speaker 1:I know that he sings a rap song called Maserati, which you would never know to see. Oh, he was on the Office he played. Charles Didn't watch the Office either, okay, so anyway, if you're looking for something to watch and if I'm repeating this from last week, I'm sorry, but it really was a good show so, yeah, that's on Netflix.
Speaker 2:I haven't had the patience for it that's because Netflix. I haven't had the patience for it that's because you've been playing poker.
Speaker 1:I know, god damn it, which you've now got me hooked on. Ha ha, god damn it. I texted her. I was like now this is all I've done all weekend. She's like I told you it was fun. I said that's why I didn't want to download it, because I knew I would just sit here and play it. Because I knew I would just sit here and play. It's 10 cents, it is, and the poker's only well two penny big.
Speaker 2:Yeah, you got to play the SNG tournaments. They only last like 10 minutes, if that even it's three people.
Speaker 1:Do you ever win?
Speaker 2:Mm-hmm.
Speaker 1:Okay.
Speaker 2:Anyway, we're going to try and keep our ch chit chat to a minimum, because nobody cares, because we tend to ramble on, and on, and on, and that's why the things are an hour and a half, because it's like a half an hour of us shooting the shit, because we only see each other once a week, so yeah and we do try to catch up beforehand, but it it's not enough.
Speaker 1:No, Before we get started, I want to ask everyone to please like rate review. We are on all the socials. We are everywhere that you listen to podcasts and you can email us at likewhateverpod at gmailcom.
Speaker 2:Yes, I'm going to start picking up the TikTok, the tickety-talk. I have a little bit more time on my hands now.
Speaker 1:And I'm going to start working on Reels. I'm really intimidated by it.
Speaker 2:I think it's the same thing as TikTok, though.
Speaker 1:I don't know anything about TikTok.
Speaker 2:It's just little videos. We should start figuring out how to shoot one. Ai will give you a script to do a TikTok. I don't like AI, I know, but I do, and so I can just copy and paste.
Speaker 1:All right, you make your fancy TikToks and I'll make my old-fashioned.
Speaker 2:Facebook reels. I know, but we have to do it together. Oh yes.
Speaker 1:Oh yes, all right, whatever We'll figure it out, we always do.
Speaker 2:All right. Before we dive in, we want to take a moment to acknowledge that September is Suicide Prevention Awareness Month.
Speaker 1:And we especially want to speak directly to our LGBTQ plus listeners, because this year the 988 lifeline removed its dedicated LGBTQ plus support option, which is not just disappointing, it's dangerous.
Speaker 2:So here's the deal If you're struggling, you are not alone. The 988 Suicide and Crisis Lifeline is still available 24-7.
Speaker 1:Just dial or text 988 for free confidential support from trained counselors, and if you're LGBTQ plus6, text START to 678678,. Or visit the Trevor Projects Resource Center for chat and support.
Speaker 2:We'll link both in the show notes. You matter, you're loved and we're so damn glad you're here. All right, okay, let's get serious, guys. It's time to get serious. It's time to get serious and fuck around and find out about drum roll dance shows. Woo, no.
Speaker 1:You are right. In my wheelhouse man, I have always loved to dance, from the time I knew what a rockette was. I wanted to be a Rockette. I still, to this day, am angry with my mother that she never put me in dance classes because I was 5'9", same height as a Rockette. You say you're right height. Yeah, anyway, I digress.
Speaker 2:Let's start with probably the most iconic American bandstand. It ran from 1952 to 1989. It premiered locally in late March of 52 as a bandstand on Philadelphia television station WFIL-TV Channel 6, hosted by Bob Horn as a television adjunct to his radio show of the same name. On WFIL, everything Good Starts in Philly. Yes, I am shocked. Wait till you see almost all of them start.
Speaker 1:A lot of stuff I read starts in Philly. By the way, boys to Men is performing at the halftime show at the Eagles-Cowboys game this Thursday. Go Eagles and the one guy I can't remember which one of the boys to men, but he was like. Anytime you ask me to do anything for the Eagles, the answer is always going to be yes.
Speaker 2:Of course, anytime anybody asks us if we want to do anything for the Eagles, we're going to say yes, always. Yes, jeffrey Laurie, if you're listening, I don't think you are, but you never know.
Speaker 1:Never know, maybe his grandkids are or kids, I don't know. His kids would be Gen X.
Speaker 2:His kids would be Gen X. Okay, I actually don't have any idea what he is. I don't either. He might even be the top end of Gen X, I don't know.
Speaker 1:Oh maybe he does listen I don't.
Speaker 2:We haven't had a Philadelphia one for a while.
Speaker 1:We have Okay, okay.
Speaker 2:I think we have like six Philadelphia's right now, but okay, all right, okay anyway. Hosted by Bob Horn as a television adjunct to his radio show of the same name on WFIL, bandstand featured short musical films produced by Snader Telescriptions and Official Films with occasional studio guests. Horn wanted to change the show to a dance program featuring teenagers dancing on camera as music records played. The radio show, the 950 Club, hosted by Joe Grady and Ed Hurst, inspired the format which aired on Philadelphia's WPEN. On October 7, 1952,.
Speaker 2:This new version of Bandstand debuted from Studio B, located in the original 1947 building in West Philadelphia. Born and raised, it was hosted by Horn and co-hosted by Lee Stewart from its launch in 1952 until 1955. Tony Mammarella was the original producer with Ed Gates as director. With Ed Gates as director, snader and Official Music Films continued in the short term to fill gaps when dancers were changed during the show because the studio could not fit more than 200 attendees. Oh, also, just a heads up, I kind of sprinkled the fun facts in, so it's going to be this like it's not going to be at the end like fun facts.
Speaker 1:Yeah, I got you.
Speaker 2:I totally forgot fun facts last week, so, and they're my favorite, so you know, on July 9th, 1956, horn was fired following a drunk driving arrest and was also reportedly involved in a prostitution ring for which he forced morality. He faced morality charges. You know what? E WFIL and its co-owner, walter Annenberg's, the Philadelphia Iner, were running a series on drunk drivers at the time of Horne's arrest. Mamorello temporarily placed Horne before the job went to Dick Clark permanently.
Speaker 1:It was destiny. Yes, that poor guy had to get a DUI yeah, and prostitution charges Well yeah, he probably didn't have to get that one, but and maybe then Clark set him up.
Speaker 2:In late spring of 1957, ABC asked its owned and operated stations and affiliates for programming suggestions to fill their 3.30 pm Eastern Standard Time slot. In Philadelphia, WFIL was already preempting ABC programming with Bandstand. Clark presented the show to ABC president Thomas W Moore and after negotiations it was picked up for national broadcast, becoming American Bandstand on August 5th 1957, hosted by Dick Clark. Awesome from this first season of American Bandstand in December of 57, identified as second national broadcast, is preserved in the archives of the Museum of Broadcast Communications in Chicago. A half-hour evening version of American Bandstand aired on Monday nights from 7.30 to 8 pm, beginning on October 7, 1957. It was preceding the Guy Mitchell show. Both shows received low ratings and were canceled shortly after their debut. People just were not ready for dancing at night.
Speaker 1:I was watching CBS Sunday Mornings this week and that news show they do lots of. You're going to have to delete out this. More stories than news type things, right, and one of the things that they brought up was, uh, that the news and I'm not gonna remember how long ago it was, but it was this week um went from 15 minute segments to a half an hour and it was such a big deal.
Speaker 1:Like they showed the intro, like your first half hour evening news, wow I know that's crazy I know, but I guess back then you didn't really get a lot of news from elsewhere, probably 15 minutes.
Speaker 2:Took it, took it all, especially around here. I can't imagine that they've been able to fill more than 15 minutes here I remember as a kid like it was like 15 minutes of like national news and like what's going on on the other side of the bridge, and then it would be like five minutes of like chicken news like what's going on.
Speaker 1:I got stuck behind a chicken truck on the way down here today.
Speaker 2:I know they're so slow and then scorchy would come on. Oh, scorch I know, I don't like his grandson.
Speaker 1:No.
Speaker 2:It's just not the same.
Speaker 1:It's the same thing with Steve Irvin and his children. Like his son he's okay. I mean good for him and I'm happy for him, but he's not his dad. Yeah, it's just the nostalgia thing.
Speaker 2:Scorchy had the. I know you people who are not from here. He was this old sussex, county, maryland, eastern shore so such an accent and he had like you could barely understand what he was saying. If you're not from here, you probably can't understand a single word he says but his catch phrase was he was wandering this Delmarvalous land. Yes, because we are Delaware, maryland, virginia, it's called Delmarva. Yes, it's not the Delmarva, it's either the Delmarva Peninsula or just.
Speaker 2:Delmarva, or it's Delmarva. Yes, and that's your geography lesson for today. It drives me insane when they say the Delmarva.
Speaker 1:It's not Well. It's the same as the people that call Louis Lou's oh God.
Speaker 2:I'm going to lose who's Lou. I don't know where Lou is.
Speaker 1:Is he cooking you dinner? Yeah, that's nice.
Speaker 2:The program was broadcast live on weekday afternoons and by 1959, the show had a national audience of approximately 20 million viewers. Wow, I know the show had a national audience of approximately 20 million viewers, I know. In the fall of 1961, abc truncated American Bandstand's airtime from 90 to 60 minutes, which 90 minutes I feel like is way too long.
Speaker 1:Yeah, I mean, I could have watched it for 90 minutes, but that's too long.
Speaker 2:I'm just yeah, it was then airing 4 to 5 pm, then even further as a daily half hour from 4 to 4.30, program in September of 62. Beginning in early 63, all five shows for the upcoming week were videotaped the previous Saturday. The use of videotape allowed Clark to produce and host a series of concert tours based on the success of American Bandstand and pursue other broadcast interests based on the success of American Bandstand and pursue other broadcast interests. In September of 63, american Bandstand shifted from a weekly schedule to weekly broadcast format, airing every Saturday afternoon in a reinstated one-hour time slot, returning to the format used in earlier broadcasts. When WFIL moved to a new facility on City Line Avenue, the new facility lacked a studio that could accommodate the show. Abc moved production of Bandstand to the ABC Television Center in Los Angeles, now known as the Prospect Studios.
Speaker 1:Boo.
Speaker 2:On February 8, 1964. Prior to the move, Bandstand featured many of its up-and-coming acts from Philadelphia's Cameo Parkway Records. The move to California coincided with a downturn in Cameo Parkway Records' influence, which diminished the exposure of many of its artists. The program was filmed in color starting on September 9, 1967. The typical production schedule consisted of videotaping three shows on a Saturday and three shows on a Sunday every six weeks.
Speaker 1:And then you got to work all weekend.
Speaker 2:I know, but then you had all week off. On September 13th 1969, the bandstand was set. The bandstand set was given a complete overhaul, unless Elgert's big band version of bandstand boogie was replaced by a new theme composed by Mike Curb. The AB logo was replaced with the stylized AB logo capitalized, which remained in use and was used for the remainder of the show's run. The set and theme music were used until August 31st 1974, right before I was born.
Speaker 1:A year after I was born, when the show unveiled a new set and updated version of Bandstand Boogie.
Speaker 2:For a brief time, in 73, bandstand alternated its time slot with Soul Unlimited, a show featuring soul music that was hosted by Buster Jones. Soul Unlimited faced criticism from some African-American viewers who questioned Clark's role as a white producer and accused the show of reinforcing racial stereotypes. I love Don Cornelius. Now let's get caught up to when we would watch it.
Speaker 2:During the early 80s, american bandstand experienced a steady decline in ratings. This was largely due to increased competition from emerging music television formats such as MTV, as well as a growing number of music programs across other networks. Many ABC affiliates began pre-empting or rescheduling the show, further reducing its viewership. Additionally, the show's time slot was frequently overtaken by college football broadcasts, which had expanded significantly following a 1984 court-ordered deregulation. In December of 85, american Bandstand aired a special 33 and a third anniversary broadcast on ABC. The show featured performances by numerous recording artists, guest appearances and archival footage from past screenings. Performing artists included Rod Stewart, dionne Warwick and Donna Summer. September 13th 1986, abc reduced Bandstand from a full hour to 30 minutes at Clark's request. In September of 87, the final ABC installment, with Laura Branigan performed Shattered Glass, aired.
Speaker 1:It's crazy how much it changed, like the time I'll get into it Okay.
Speaker 2:Hey, our thanks to Laura Branigan for joining us here on a man can bandstand today. I hope you've had a good half hour. Come and join us two weeks from today for our version of American bandstand on Saturday, september 9th. We'll see you then. In the meantime, have a wonderful week or two. We'll see you the next time on American bandstand. For now, dick Clark on ABC. So long that. American Bandstand for now, dick Clark on ABC so long.
Speaker 2:That was Dick Clark's final message on the final episode of American Bandstand to be broadcast on ABC September 5th 1987. It wasn't very exciting, they didn't know. Two weeks later, bandstand moved to first run syndication. Syndicated episodes aired on the week of September 19th 87. The run was short-lived, lasting until june of 88. After a 10-month hiatus, bandstand moved to cable on usa network with comedian david hirsch taking over as host. In another format shift, the show was shot outdoors at universal studios, hollywood clark, with the show serving as its executive producer. So like literally, that was his last time on a movie. That's what he went out with. That's so lame. Why didn't you come back on and do something?
Speaker 1:That is like a lame fact.
Speaker 2:I know that is an unfun fact. The iteration of the show, however, was also brief, lasting 26 weeks before it was canceled. Its final show, with the cover girls performing my Heart Skips a Beat and we Can't Go Wrong, aired on October 7th 1989, ending the show's 37 year run.
Speaker 1:My heart skips a beat every time we meet.
Speaker 2:Well, it's our last show here on Bandstand.
Speaker 1:I'm so in love with you.
Speaker 2:I really want to thank the viewers who have kept American Bandstand on the air all these years. Dick Clark, wherever you are, we miss you. I tried my best to fill your shoes and I hope I have lived up to what you were expecting of me. American Bandstand will be back someday, I assure you. I'm David Hirsch and on behalf of American Bandstand I bid you for the last time goodbye. That was Dave Hirsch signing off the last time on American Bandstand's final regular episode on October 7th 1989.
Speaker 1:Well, that was lame too, and he knew he was going off the air. Dick Clark would have crushed that.
Speaker 2:Yeah. On May 3rd 2002, dick Clark hosted a one-off special 50th anniversary edition on ABC. Michael Jackson, a frequent bandstand guest, performed Dangerous. The Village People performed their signature song, ymca. Yeah for the audience in. Pasadena, california. Other performers, including Brandy, members of KISS, Dennis Quaid and his band the Sharks, cher and Stevie Wonder, performed in honor of the long running program oh that is quite an eclectic group, uh-huh. So controversy? I know Crazy, right, I do love controversy. Originally located in Philadelphia.
Speaker 1:Bandstand was influenced by racial segregation laws in nearby.
Speaker 2:Maryland and Delaware, although the show Go Delaware no, it was not. Oh bad Delaware influenced by racial segregation laws in nearby Maryland and Delaware, although the show Go. Delaware no, it was not. Oh bad Delaware.
Speaker 1:We had segregation laws here.
Speaker 2:Although the show was never explicitly segregated and featured black R&B performers such as the Chords, producers sought to increase marketability in segregated states and avoid alienating white viewers by effectively segregating the audience beginning in 1954. And avoid alienating white viewers by effectively segregating the audience beginning in 1954. Policies to limit black attendance, including abolishing first-come, first-served ticketing for local residents, favoring repeat attendees in ticket allocation, promoting tickets in majority white suburbs and only responding to mail-in ticket requests from individuals with European surnames.
Speaker 1:Well, now I feel dirty for watching American Bandstand things.
Speaker 2:In response, black teenagers began requesting tickets under assumed names to gain admission, but often faced harassment and conflicts with white audience members. Concerned about the potential impact of these incidents on advertisers and audience participation, bandstand producers petitioned the Philadelphia Commission on Human Relations to investigate. Bob Horn and other producers testified that the show did not have any discriminatory policies and in 1955, the commission concluded that, although admission policies and the resulting conflicts led to the absence of Negroes from attendance, there was insufficient grounds for a discrimination lawsuit.
Speaker 1:Let me guess Everybody that was making that decision was white.
Speaker 2:Probably. Yeah, it didn't specifically say that, but I think it's a limb we could all go out on. Dick Clark claimed in his autobiography that he was responsible for desegregating the show's audience shortly after taking over in 1957. However, review of footage of the show's audience reveals that it remained almost exclusively white until it relocated to Los Angeles in 1964.
Speaker 1:Well, I mean hopefully he did want change.
Speaker 2:In 2004,. Dick Clark.
Speaker 1:She's going to hurt my feelings no.
Speaker 2:In 2004, dick Clark, with the help of Ryan Seacrest, announced plans to revive the show in time for the 2005 season, although this did not occur, due in part to Clark suffering a severe stroke in late 2004. One segment of the revived bandstand eventually became the series so you Think you Can Dance, which is one of my all-time favorite shows.
Speaker 1:I don't think I've ever seen that one Fucking love that show. But yeah, I'm pretty sure that Ryan Seacrest is a lab-created clone Like that. Dude is fucking everywhere yes.
Speaker 2:And nobody wants it. You should sometime go back and watch. I don't think it's on anymore, but so you think you can dance. It's like american idol for dancing. Oh my god, some of the people that come like you remember ellen's um who, who committed suicide twitch him and his wife were both on it oh, yeah, okay, yeah he could dance yes he didn't win, but he came, came real close.
Speaker 2:The first season is probably one of the best dance shows. I think it's amazing. It's a really good show. All right. Dick Clark died on April 18th 2012 at the age of 82. Freddie Cannon holds the record for the most appearances, with 110.
Speaker 1:I don't know if I know who Freddie Cannon is.
Speaker 2:I don't either. That name doesn't sound remotely familiar. I totally forgot to look him up.
Speaker 1:So we took a little pause here to look up Freddie Cannon, and his biggest international hits included Tallahassee, lassie, way Down Yonder in New Orleans Not on the Chattahoochee, not the Chattahoochee and Palisades Park, which we have never heard of any of these, and my dad's a big music guy. I listened to a lot of the old stuff back then yeah, nothing. So if you really like him, let us know what we're missing out on. But I'm just thinking he's a whore for American Bandstand.
Speaker 1:Probably just didn't have anything else to do they probably paid like 25 bucks every time he came on. Yeah, he needed money.
Speaker 2:He was probably like he when people cancel. He's probably who they called yeah yeah, yeah, yeah. Just a quick shout out to one of our favorite sponsors, old glory.
Speaker 1:If your wardrobe is 40 pop culture references and 60 emotional baggage, they've got you covered they've got bantees, horror, merch, feminist icons, retro cartoons basically everything you wish you still had from your high school closet, but now in adult sizes, and emotional stability use code like whatever 15 off at oldglorycom, because nostalgia should be wearable and slightly ironic. So the next one soul train, you know what I like soul train better than I like american bandstand.
Speaker 2:That because those people could actually dance and by those people I didn't mean anything I just meant, people on soul train could dance 1971 to 2006 is when Soul Train aired, created by Don Cornelius Became, a symbol of black culture worldwide. As one scholar put it, if aliens came down and asked what blackness is, you should show them Soul Train.
Speaker 1:Yeah, a little racist. Yeah, well, that was probably in 1960, whatever I said, it was probably a compliment back then 1960.
Speaker 2:Whatever I said it's probably a compliment back then. The origins of soul train can be traced to 1965, when wciu tv and upstart uhf station in chicago began airing two youth-oriented dance programs kidia gogo and red hot and blues. And let's just take a second to remember UHF channels.
Speaker 1:Right.
Speaker 2:I don't. You know, I forgot about UHF channels I know, I know, yeah, you're right. Yeah, I literally not thought of it until you just said that, so we'll just take a moment for the UHF station.
Speaker 1:Yeah, well, while we're taking a moment, I need to bring up Dave Chappelle again, because I freaking love his show and you just reminded me with the whole soul train and all that stuff. He did a skit of if a black person got arrested and treated like a white person versus a white person getting arrested and treated like a black person. That shit was fucking funny. But so spot on, yeah, I can imagine. So spot on. Okay, I'm done, okay.
Speaker 2:These programs, specifically the latter, which was Red, Hot and Blues, featured a predominantly African-American group of in-studio dancers and would set the stage for what was to come to the station several years later. Don Cornelius, a newsreader and backup disc jockey at Chicago radio station WVON, was hired by WCIU in 1967 as a news and sports reporter. Cornelius also was promoting and emceeing a touring series of concerts featuring local talent, sometimes called record hops at Chicago area high schools, calling his traveling caravan of shows the Soul Train, and in 1970 allowed him the opportunity to bring his road show to television.
Speaker 1:That is so cool. Don Cornelius is so smooth man. Yes, remember him with the gold frame square glasses.
Speaker 2:I was actually watching last night some Soul Train, no. I haven't seen it I was in my research, it kept coming on the YouTube. After securing a sponsorship deal with a Chicago based retailer, sears Roebuck and Company, soul Train premiered on WCIU on August 17th 1970 as a live show airing weekday afternoons. Beginning as a low budget affair in black and white, the first episode of the program featured Jerry Butler, the Cheelites and the Emotions as guests. I think I've heard of the Emotions?
Speaker 2:Yeah, but I don't remember the other two Me either, cornelius, but I wasn't really into um my parents didn't listen to. Oh yeah. Your parents were hippies yeah, they listened to my dad. Listens to my dad was acid, yeah, rock. It's because we're white people well, I'm white too, but I'm just saying my parents don't have a lot of soul.
Speaker 1:Oh, it's pink floyd all day, every day yeah, when I was here, before you got here, were they playing pink floyd your dad came home. Well, they weren't playing anything. Then your dad came home and I heard your mom say nicole's here, and then I heard comfortably numb I was like okay, dave's home yep.
Speaker 2:Cornelius was assisted by clinton gant, a local professional dancer, who appeared on early episodes before moving behind the scenes as a producer and secondary host. The program's immediate success attracted the attention of another locally based firm, the Johnson Products Company manufacturers of the Afrosheen line of hair care products, and they later agreed to co-sponsor the program's expansion into broadcast syndication. Cornelius and Soul Train's syndicator targeted 25 markets outside of Chicago to carry the show Damn. But stations in only seven other cities Atlanta, birmingham, cleveland, detroit, houston, los Angeles and Philadelphia purchased the program, which began airing on a weekly basis on October 2, 1971. By the end of the first season, soul Train was on in the other 18 markets. At the time there were no other commercial television programs being produced by Black people for a Black audience. The only nationally available show for black at the time was the public television series Soul.
Speaker 1:Gosh, can you imagine? I mean, it's already pretty heavy-sided, although it's getting better White. It's pretty heavy-sided white, but I feel like there are more black shows, but I don't know that they're necessarily realistic. Yeah, and I also heard I'll never forget when they first did this. I mean it was some years, maybe five, six years ago, maybe longer, I don't know, I have no concept of time but Chris Rock said that they say that they're giving more diversity in commercials and TV shows and he's like but they're not. They're just giving you mixed couples, so they're keeping the white one there and just adding another one. It's not actually about black people, yeah.
Speaker 2:When the program moved into syndication, its home base was also shifted to Los Angeles, where it remained for the duration of its run. Soul Train was part of a national trend towards syndicated music-oriented programs targeted at niche audiences. Two other network series Hee Haw for country music and the Lawrence Wilkes Show for traditional music I gotta admit I fucking love Hee Haw.
Speaker 1:I liked it I, but my parents watched it and it was funny. I watched Hee Haw. I don't remember the music stuff.
Speaker 2:I don't remember the music.
Speaker 1:I don't remember the skits yeah, where, oh where are you tonight? Why did you leave me here all alone? I don't remember it that well. That was the one where the one guy was standing facing and the other guy was standing with his back, and then they'd flip and sing.
Speaker 2:The only one I remember was there a blonde with pigtails and missing a tooth. Yes, yeah, that's the one I remember.
Speaker 1:I don't remember if that show was racist.
Speaker 2:I have no idea. I imagine that it was. I can only guess.
Speaker 1:Well yeah. I didn't look. I don't know if there were any black folks on there, though there was, I'm sure. Right Well, I mean, they might have brought one on to make fun of Maybe. But yeah, I don't know, I don't either, but as a kid, like yeah, a lot of songs stuck in my head. From here I don't remember.
Speaker 2:Though Don Cornelius moved his Operation West, a local version of Soul Train continued in Chicago. Cornelius hosted both the local, chicago-based and national Los Angeles-based programs simultaneously, but soon focused his attention solely on the national edition. He continued to oversee production in Chicago, where Clinton-Gantt hosted episodes on WCIU until 1976, followed by three years of once-weekly reruns. The syndicated version was picked up in the Chicago market by CBS-owned WBBM-TV at its launch. The program moved to WGN in 1977 and remained there for the rest of its Chicago run. Don Cornelius hosted every episode of Soul Train from 1970 to 1993, except for Richard Pryor, who hosted the final episode of season four, 74 to 75. Beginning in season 15, 85 to 86, tribune Entertainment acquired the syndication contract. Tribune Entertainment continued producing Soul Train until the end of the show's run on March 25, 2006. With this I did not know, and I'm going to have to tell you this person I mean he's a real close number two to Johnny Depp. Shamar Moore hosted Soul Train from 2000 to 2003.
Speaker 1:I swear to God, I thought you were going to say LL. Oh, I forgot.
Speaker 2:I think Shamar beats out LL.
Speaker 1:Yeah, he never did anything for me. I know a lot of.
Speaker 2:I think it's because and.
Speaker 1:I can see that he's pretty.
Speaker 2:I think it's not just that he's pretty. I mean, he is pretty. I think it's the character that he plays on. Was it Criminal Minds?
Speaker 1:It's Criminal Minds, I think so yeah, I never watched that show, so it's the way he treats I can't.
Speaker 2:I used to watch it regularly, but you all know who it is.
Speaker 1:The way he treats her. Yeah, yeah.
Speaker 2:I think that's.
Speaker 1:Yeah, I get that. I've fallen in love with actors because of a character. I think that's. Yeah, I get that.
Speaker 2:I've fallen in love with actors because of a character, I think it's that character. He calls her baby girl and he just yeah, he just yeah. I think that's what. Anyway, I digress. Shamar Moore hosted Soul Train from 2000 to 2003, which I meant to look that up so I could watch Shamar Moore host Soul Train, because I did not know that.
Speaker 2:Yeah, I didn't, I don't remember that Don Cornelius stopped hosting after 22 seasons, though he remained the show's main creative force from behind the scenes. The following fall, soul Train began using celebrity hosts until comedian Maestro Clark took over as the host in 1997. Shemar Moore took over as the host in 2000. 2003, dorian gregory took over as the host and stayed until the end of the show's run. In 2006, production of first run soul train episodes was suspended at the conclusion of the 2005-2006 season, the show's 35th, in place of new content. For two seasons starting in 2006-200, the program aired archived episodes under the title the best of soul train. This was because in later years nielsen ratings dropped to below 1.0. Most of the stations that aired soul train by that point were either fox television affiliates or independent stations that would later become affiliates of the WB or the UPN, and in the process, some of the stations which had been airing Soul Train on Saturday afternoon started rescheduling the program to overnight time slots.
Speaker 2:Yeah, that kills a show. The future of Soul Train was uncertain with the announced closing of Tribune Entertainment in December 2007, which left Don Cornelius Productions to seek a new distributor for the program. He soon secured a deal with Trifecta Entertainment and Media. When Don Cornelius Productions still owned the program, clips of the show's performance and interviews were kept away from online video sites such as YouTube owing to copying right infringement claims. Cornelius also frowned upon the unauthorized distribution of Soul Train episodes through the sale of third-party VHS or DVD compilations. In May 2008, cornelius sold the rights to the Soul Train Library to Mad Vision Entertainment, whose principal partners came from the entertainment and publishing fields. The price and terms of the deal were not disclosed. However, by the start of the 2008-09 television season, the Tribune broadcasting-owned stations, including national carrier WGN America that had been the linchpin of the show's syndication efforts, dropped the program and many others followed. Soul Train's website acknowledged that the program had ceased distribution on September 22, 2008.
Speaker 1:Yeah, I guess dance shows really had kind of run their course and reality TV was starting around then. Yeah, I think, weren't they Kardashians back then?
Speaker 2:I don't remember when the Kardashians started. I think it was a long time ago. It was a long time. I think it was a long time ago. It was a long time. I know it was a long time ago.
Speaker 2:Following the purchase of Mad Vision, the Soul Train archives were exposed to new forms of distribution. In April 2009, mad Vision launched a Soul Train channel on YouTube. Three months later, the company entered into a licensing agreement with Time Life to distribute Soul Train DVD sets. Mad Vision then came to terms with Paramount Global-owned BET to relaunch the Soul Train Music Awards for BET's spinoff channel, centric, in November of 2009. Centric would broadcast archived episodes of the program and you can also see archived episodes on Bounce TV. Mad Vision sold the rights to Soul Train in 2011 to a consortium led by basketball player Magic Johnson and backed by private equity firm Intermedia Partners. The Johnson Intermediate Consortium planned on a potential film project that Cornelius had briefly mentioned prior to selling the franchise, as well as producing potential stage adaptations and a cruise. As part of the sale, johnson's Aspire TV channel also began airing reruns of the series. Cornelius continued to appear for Soul Train documentaries and ceremonies until his death by suicide in February of 2012. I didn't know that.
Speaker 1:I didn't know that either.
Speaker 2:In 2013, centric began presenting a cruise-based revival marketing as Soul Train Cruise. All rights and trademarks to the Soul Train brand, including the show's extensive library, the annual cruise event and the award shows, are under the ownership of Paramount Global after its Paramount Media Network's division acquired the franchise in 2016. Some commentators have called Soul Train a black American bandstand, another long-running program. Cornelius acknowledged bandstand as a model for his programs. As the years advanced and Soul Train evolved into a tradition in its own right, he tended to bristle at the bandstand comparison.
Speaker 1:Yeah, I would agree with that. I don't tended to bristle at the bandstand comparison. Yeah, I would agree with that. I don't think it was really anything like bandstand, and the absolute best part of that show is the end with the dance line where everybody lines up and they each take turns coming down. I would, oh my God, I would have done anything to go out in that dance line when I was little. I like that. It was the best.
Speaker 2:In 1973, Dick Clark, host and producer of Bandstand, launched Soul Unlimited. Oh, we talked about that. Dick Clark and Don Cornelius later agreed to work together on a series of network specials featuring R&B and soul artists. Cornelius was relatively conservative in his musical tastes and admitted he was not a fan of the emerging hip-hop genre, believing that the genre did not reflect positively on African American culture. Even though Cornelius featured rap artists on Soul Train frequently during the 80s, he publicly would admit to the artist's faces, such as Curtis Blow, that the genre was one that he did not understand. As rap continued to move further toward hardcore hip-hop, Cornelius admitted to being frightened by the antics of groups such as Public Enemy.
Speaker 1:I could see that it's a generational thing.
Speaker 2:Yeah.
Speaker 1:Like every generation is scared of what their kids are listening to. And it was so different. Like that revolution was so big and so different, but it all got its roots in the music Don Cornelius was playing.
Speaker 2:Rosie Perez testified in the 2010 VH1 documentary Soul Train the Hippest Trip in America that Cornelius also dislikes seeing the show's dancers perform sexually suggestive East Coast dance moves. Cornelius admittedly had rap artists on the show only because the genre was becoming popular among his African-American audiences, though the decision alienated middle-aged, more affluent African-Americans like himself. Though the decision alienated middle-aged, more affluent African-Americans like himself. This disconnect, which was openly mocked in an In Living Color sketch titled Old Train, where Cornelius and the show were lampooned as extremely old and out of touch, Eventually it led to Cornelius stepping down as host in the early 90s and the show losing its influence.
Speaker 1:And yes, rosie Perez got famous on Soul Train. I mean, I love Rosie Perez first of all, and I think Cornelius was just intimidated by them. Booties Probably.
Speaker 2:That's not how a lady is supposed to act.
Speaker 2:Quest Love, drummer for hip hop band the Roots and a fan of the program, authored a book chronicling soul train titled soul train the music, dance and style of a generation, and was published in 2013 quest love is everywhere too yes I thought that's a bad thing, but he is everywhere rosie perez, demita, joe freeman, darnell williams, cheryl song, louis ski, car alfie lewis, pat davis, madame butterfly, elise mikhail, andrea and miles carmen electra, nick cannon, vivica a fox, mc hammer, jermaine stewart, heather hunter, fred berry, la Laurieann Gibson, pebbles and NFL legend Walter Payton were among those who got noticed dancing on the program over the years Walter Payton. Well, didn't he win a Dancing with the Stars?
Speaker 1:Yeah, no. Who did he play for?
Speaker 2:The.
Speaker 1:Bears yeah, that's what I thought. Did he do the shuffle?
Speaker 2:No, he's the only one that would refuse to do it.
Speaker 1:And then he went on soldiering.
Speaker 2:And you can learn about that on our Super Bowl episode, which was something about a superb owl, because you can't say Super Bowl.
Speaker 1:Yeah, and also, while we're talking about Super Bowls, we get to drop the banner with Dallas in town on Thursday.
Speaker 2:Taylor Swift got a ring before Dallas. Two former dancers, jody Watley and Jeffrey Daniel, enjoyed years of success as members of the R&B group Shalmar. Jeffrey Daniel enjoyed years of success as members of the R&B group Shalmar after they were chosen by Soul Train talent Booker, record producer Dick Griffey and Cornelius to replace the group's original session singers in 1978. Each musical guest usually performed twice on each program. After the first number, they were joined by the program host on stage for a beef interview. Soul Train was also known for two popular catchphrases referring to itself as the hippest trip in America at the beginning of the show and closing the program with and you can bet your last money. It's all going to be a stone gas honey. That's right. I'm Dawn, cornelius, and, as always in parting, we wish you love, peace and soul. In 2019, bet selected various historic guest stars as most memorable Soul Train performances. The lists include Gladys Knight and the Jackson 5, among others. In 1985, cornelius gave permission for a version of the show in the United Kingdom. In 1985, cornelius gave permission for a version of the show in the United Kingdom. The British version, hosted by former Soul Train dancer and member of Shalimar, jeffrey Daniel, was titled 620 Soul Train and ran for one series on Channel 4.
Speaker 2:In 87, soul Train launched the Soul Train Music Awards, which honored the top performances on R&B, hip Hop and Gospel Music. Soul Train then produced the short-lived soul train comedy awards in 93, which discontinued that same year. It also created two annual specials the soul train lady of soul awards, first airing in 95, celebrated top achievements by female performers, and the soul train christmas star fest, which premiered in featuring holiday music performed by a variety of R&B and gospel artists. The Lady of Soul Awards and Christmas Starfest programs last aired in 2005 before emerging again years later. In April 2008,. Don Cornelius announced that year's Soul Train Music Awards ceremony had been cancelled. He cited the Writers Guild of America strike as one of the reasons.
Speaker 1:Speaking of music awards, I think that's what you were talking about. Whichever music awards are coming up maybe it's MTV, it's not the Grammys, because I think Grammys and Oscars and all those fall in January, february, after the Super. Bowl is when they go, so it must be MTV. But they're giving away the first Latin Achievement Award and Ricky Martin is getting it. I know, something about Ricky Martin Leah.
Speaker 2:Look at that. I gotta move on here. I gotta get off the soul train. It's so hard though.
Speaker 2:My last thing about the soul train is in 2024, a fantasy comedy film, beetlejuice. Beetlejuice included a sequence that pays direct homage to the show, including a group of people in the afterlife dancing on a train platform as they await the arrival of the soul train Yep, conducted by an entity strongly resembling Cornelius, as music evocative of Soul Train's theme played on the soundtrack. So did not think I was going to be going this long. Solid Gold, hosted by Dionne Warwick and Marilyn McCoo as well as others, I hadn't even thought of that one Hosted by.
Speaker 2:Dionne Warwick and Marilyn McCoo, as well as others. I hadn't even thought of that one. It's an American syndicated music television program that debuted on September 13th 1980 and ran until July 23rd 1988. The program was a production of Brad Lechman Productions in association with Operation Primetime and Paramount Domestic Television. Domestic television. Solid Gold featured a weekly rundown of the top 10 hits in the pop cult charts for the week, similar to America's Top 10, which also premiered in 1980. It also featured music artists performing their hits in studio in the vein of American Bandstand. Although there were some cases where a song was actually performed live, like on American Bandstand, artists featured on Solid Gold would almost always perform lip-syncing over a record of their song. In fact, on most of the first five seasons of episodes, the only song that was sung live was the show's theme song, which was written by Academy Award-winning songwriter Dean Pitchford, doing along with Michael Miller. One thing Solid Gold had that its counterparts counterparts lacked was a dance troupe that performed heavily choreographed routines to the songs featured on the weekly countdown.
Speaker 2:The solid gold dancers, as they came, became, came to be known were led for the most part, yeah, by Darcelle Wyand, who had previously performed theatrical in several musicals and in films such as Xanadu.
Speaker 1:Oh, I love Xanadu. It's so funny though. I remember Solid Gold. I remember Dionne Warwick hosted it. I remember the Solid Gold dancers, but I cannot picture that show like the stage or an episode for the life of me. I can't either.
Speaker 2:Dionne Warwick was the original host of the program, hosting for the first season. Warwick's involvement with the program actually began seven months before it premiered in early 80. A one-off special was commissioned to honor the performers behind the top songs on the 79 pop chart titled solid gold 79 and taped at NBC studios. Warwick and Glenn Campbell hosted the program. The reception from viewers led to Solid Gold being picked up for the fall of 1980 as a weekly series produced by Operation Primetime for Paramount Television Services.
Speaker 1:All right. So I have a funny Glenn Campbell story. That is just a very small little memory, but I was a little kid. My mom had a friend I don't even think she lived in the state. We were visiting her and she was a nurse and she said she had not right now. This was like back in the 70s, like seriously, like the statute of limitations is over. But Glenn Campbell was in her hospital and she had to take him in the elevator and he was unconscious on his oh and she took a little peeky peek at what was under the sheet and I was too young to even know what that meant. But I still remember the story.
Speaker 2:That's funny.
Speaker 1:Tsk, tsk, tsk. Yeah, well, I can't say a blamer. I mean not Glenn Campbell, but I get it. Yeah, it's just you and him in the elevator, until you start telling everybody that's something you're supposed to keep to yourself.
Speaker 2:Take it to the grave kids.
Speaker 1:Yeah, especially don't tell it in front of a child, because they repeat everything. Even at 52 years old they still repeat it.
Speaker 2:I know my mom, if she ever listened to any of the Dragon's Dream episode, she would punch me in the face.
Speaker 1:Oh, thank God, she won't.
Speaker 2:No, she will never, never In 1981, Warwick was replaced by Marilyn McCoo, formerly of the Fifth Dimension, as host, with Andy Gibb joining as her co-host. The pairing only lasted one year as Gibb's continued issue with substance abuse forced Paramount to fire him. Actor Rex Smith took over for Gibb in 82, while McCoo hosted the 83-84 season by herself. Rick Dees, I know the host of the weekly Top 40 radio countdown show, joined Solid Goal in the fall of 84 and hosted until the summer of 85. After a series of guest hosts filled out the summer months, Dionne Warwick returned as host in the fall of 85 and remained until the end of the season. Marilyn McCoo returned in 86 and was joined by former MTV host Nina Blackwood. Arsenio Hall, who had been a part of the show since 1984, was promoted to serve as a second co-host. All three would remain in these roles until Solid Gold came to an end in July of 88.
Speaker 1:Yeah, they just hit that wall where nobody was watching them anymore.
Speaker 2:Los Angeles disc jockey Robert W Morgan was the original announcer for Solid Gold, running for seven seasons before leaving in 86. W Morgan was the original announcer for Solid Goal, running for seven seasons before leaving in 86. Charlie O'Donnell, the announcer for American Bandstand, replaced Morgan but only stayed on until the end of 86-87 season, with Chuck Riley standing in for one episode. The final season was announced by Dick Tufield Approximately halfway through each program. The show broke format briefly for a stand-up comedy performance.
Speaker 2:Comedian Marty Cohen was an early regular featured performer on Solid Gold, as was Waylon Flowers. Arsenio Hall was a regular performer before taking over as co-host in 86, while other comedians featured included Jeff Altman and Byron Allen. For the 87-88 season, the format was overhauled entirely, with the focus instead being on performances rather than the weekly countdown. The show changed its name to solid gold in concert for the year to indicate the new emphasis. While solid gold dancers still were a part of the proceedings, they did not perform as often over the course of a program due to more time being given to the week's featured performer.
Speaker 1:Like you'd think I would remember the Solid Gold dancers, because dance is my thing, and like I remember the Living Color dancers, like that's where I fell in love with Jennifer Lopez, although I don't really care for her anymore, but for a long time I did. I know, I remember. I think she's just become an asshole now, but whatever, maybe she's not, I don't know, I don't know her. She was a good fly girl, she was, and she was in a Janet Jackson video. That's the way love goes Mm-hmm, mm-hmm, mm-hmm, Mm-hmm, mm-hmm. That's when she was Jenny from the block.
Speaker 2:She was Jenny from the block any problem. She no longer is now she's a full-blown diva, yeah dancing on air broadcasts from october 12th 1981 to december 31st 1987 I remember dancing on air too. The program reached seven east coast states. It was usually broadcast live monday through friday wphl tv studios in philadelphia, but occasionally broadcast live on location from other locations such as Penn's Landing in Philadelphia, Ocean City, New Jersey, Wildwood, New Jersey, Six Flags, Great Adventure, Dorney Park and Wildwater Kingdom and Hershey Park.
Speaker 1:And they really branched out.
Speaker 2:Known for its chaotic energy and DIY.
Speaker 1:Nothing more than a half hour drive for us to do these. Known for its chaotic energy and DIY, nothing more than a half hour drive for us to do these.
Speaker 2:Known for its chaotic, energy and DIY aesthetic, dancing on Air was a television was a 1980s television dance music reality show. It was the forerunner of the TV show Dance Party USA of the same genre. Both shows were produced and created by Michael Neese and his father Frank. The show started with $100,000 from a small group of investors that included the Tonight Show band leader, doc Severinsen oh, I remember him. The program earned 128% return on investment within the first six months. Dancing on Air was shot live at WPHL TV channel 17 studios in Philadelphia. The production staff worked out of the nice production offices and studios located in Camden, new Jersey.
Speaker 1:Yeah, don't go to Camden, Do not go to Camden. I got lost in Camden after a concert once at like midnight.
Speaker 1:We had seen John Mayer and Train of all things, and now I am lost in Camden and the person I went with was schnockered and so and I'm horrible with directions, so I literally I literally was just driving around the same block, it was like, oh look, it's Big Ben, because I had no idea there was this building I'll never forget and it had some sort of light feature on it for whatever, and it would change colors, and it was a skyscraper and that was my big ben. I just kept fucking driving past that thing like I don't know what's gonna happen here, but keep the doors locked.
Speaker 2:That's all I know in 1986, dancing on air was syndicated by kdoc tv in los angeles. The show doubledDOC's ratings in its first week and was then picked up by the fledgling USA Network. Shortly thereafter, USA Network hired the Nieces to produce Dance Party USA for the network. Two years later, Michael Niece learned from USA Network that his production company was chosen over Dick Clark to produce Dance Party USA for the USA Network During the 86 and 87,. The dance and on-air studio and set was the same one used for Dance Party USA. As a result, during the 86-87 season audiences saw the same regulars, guest dancers and celebrities on both shows on the same day, that's so sad.
Speaker 1:I don't remember Dance Party USA. Okay, that's so sad.
Speaker 2:I don't remember Dance Party USA. Okay, so the studio, it's not technically in when they filmed. It was not technically in Philadelphia. Okay, it was just outside. Okay, right near my aunt's house. Oh, yeah, oh didn't you go.
Speaker 1:I wanted to go and no one would let me Meanies.
Speaker 2:God damn it. I could have been on Dancing on the Air. Parents just don't understand.
Speaker 1:No man.
Speaker 2:Some of the adult hosts of the show included Eddie Bruce, Bill O'Brien, Chris Train, Andy Gurry, Annette Godfrey, Christy Springfield, Mike Rossi, DJ Mike Rossi and Dave Raymond, the original Philly fanatic. I wasn't sure if it was American Bandstand or this one. That's a fun fact. Yeah, Mike Rossi was a former dancer who transitioned to being a host in 86, became one of the youngest hosts of a live daily television program in American TV history. Regular dancers included Kelly Ripa and Tom.
Speaker 1:Verica. I can't stand Kelly Ripa. I'm sorry, I don't know she's too. They are cute though.
Speaker 2:Whatever Move on Performers on Dancing on the Air, some of whom also appeared on Dance Party. Usa included Madonna in 83, her first television appearance, Will Smith as DJ Jazzy Jeff and the Fresh Prince.
Speaker 1:Parents just don't understand.
Speaker 2:Duran Duran with their first American TV appearance, minuto, including a young Ricky Martin, stevie Wonder. Now here's where it kind of goes off the rails for me Nine Inch Nails, the Jets New Edition, sweet Sensation, ll Cool J Exposé, jody Watley, new Kids on the Block and many other popular recording artists of the era, and I'm sorry, but Nine Inch Nails does not fit in any of them.
Speaker 1:I guess Trent Reznor has soul. I don't know what to tell you.
Speaker 2:Have you seen at the Philadelphia show recently, which I did not know they were going to be in Philadelphia, Otherwise we'd have been going. Trent Reznor got distracted because there was a guy dressed as Santa crowd surfing yeah. And in the middle of head like a hole. Trent just busts out laughing.
Speaker 1:Is he from Philly?
Speaker 2:I don't know, I don't know where Trent's from.
Speaker 1:I'm Googling right now because I heard a Madonna song the other day. I hadn't heard in a long time and I can't remember which one it was.
Speaker 2:So we did take a little teeny tiny break, and Trent Reznor is from the area Mercer, pennsylvania, and I'm also guessing that I must have seen him on there and that is why I wanted to be on there. Yeah, no doubt, big giant, nine Inch Nails fan Huge. The show's theme song was written by Philadelphia writer-producer Dan McCowan and Michael Neese. The song was published by Neese Productions Inc. Dan was also responsible for the show's entertainment division. Dancing On Air would give selected unknown bands and artists an opportunity to perform in front of millions of dedicated viewers and was responsible for launching the career of some today's major superstars. On July 23rd 2011, phl 17 re-aired Dancing On Air as part of a special marathon celebrating the show's 30th anniversary. During the marathon, special vignettes were featured, with former regular dancers, host of the show and executive producer michael neece sharing their memories, experience and thoughts from the show, and also talked about how the show became a major influence and how it changed their lives. On november 4th 2011, mike ross, rossi, princess Jimmy Jam, andy Gurry and Eddie Bruce hosted a 30th reunion dance party celebration. The show was rated number one in its time slot Damn.
Speaker 2:On March 6th 2012, wphl announced that Dancing on Air would return to the air on March 31st, where it would air Saturday mornings at 10 am. Wrdw has been tapped as the official radio station for the program. Core group members include Brittany Taylor, dan Marie, a bunch of other people that I don't know anything about. On January 27th 2016, dancing on Air returned to television on the cable music channel Fuse TV. The show was co-executive, produced by Michael Neese and Crystal Ebertz, and directed by Michael Neese and Rob Schwartz. There was a reality show based on Dancing on Air called Saturday Morning Fever, which also aired on Fuse TV, but executive producer Michael Neese, christy Everts and Tom Foreman relatively real. Both shows lasted only one season.
Speaker 1:Yeah, I was going to say they were really trying to hold on to something that you know beating a dead horse there. Remember when your biggest decision was which Lisa Frank folder to bring to homeroom? Well, now it's which handcrafted spirit to sip while doom-scrolling your ex's LinkedIn Introducing Garden State Distillery, where every bottle is grown here, made here and tastes like New Jersey finally got a tack together.
Speaker 2:Whether you're reliving your mall goth phase or just trying to survive another PTA meeting, garden State's small batch spirits are your new emotional support beverage. Try the bottled cocktails, because mixing drinks is for people who still believe in multitasking. Grab some merch so your hoodie can smell like rebellion and rosemary gin.
Speaker 1:And because you're one of us, use code LIKEWHATEVERPOD for 15% off Garden State Distillery, because therapy is expensive and this tastes better.
Speaker 2:So we'll just briefly go over Dance Party USA because, like I just said, it was filmed in the same place with the same people. Yeah, so, yeah, yeah, yeah, yeah, there's really not much to talk about with that one. It was syndicated in 86. But some, it's all the same hosts. It's pretty much exactly the same show, except it was called something different. Okay, one little fun fact, other than Kelly Ripa was on there for three years as a dancer segment host. In 90 she landed what would be her most recognizable acting role, hayley Vaughn on All my Children. In 90, she landed what would be her most recognizable acting role, haley Vaughn, on All my Children. Heather Henderson, known as Baby Heather on the show, is a professional burlesque singer, model filmmaker, producer and host for Arden Atheists and Skeptically Yours podcast. That sounds fun.
Speaker 2:I know I have to look it up. She currently is a member of Penn Jillette's no Good Band and is a vocal activist for atheism and against psychics.
Speaker 1:It's so random.
Speaker 2:They're like if you ever see their show in Vegas oh, I don't know if they still do it they show you exactly how psychics do it. I mean, he does it so perfectly to a random person in the audience. It's like, wow, I fucking love pen and and teller. I know he was on trump's but oh, I didn't know that. But yeah he was on the show. I don't know if he's a. He's an atheist. I know that yeah, they are pretty awesome. Now this one, I believe, is the last one, okay, oh no it's?
Speaker 2:no, it's not, but it is. It's the last long one and it's probably well. We all collectively remember the best Club MTV hosted by downtown Julie Brown from August 31, 1987 to June 26, 1992. Club MTV was part of MTV's second generation of programming, as the channel was phasing out its original five VJs and introducing new ones.
Speaker 1:Remember when MTV had two VJs named Julie Brown? Yes, like, why didn't they just have one of them change their name? I don't well. Well, the Club TV, julie Brown was the first one, and then there was a Redhead or something. There was a Redhead? Yes, why didn't they make her change her name? I don't know. I mean, it wasn't confusing, but it was just weird.
Speaker 2:Hosted by downtown Julie Brown. Kevin Seal hosted the pilot at the Palladium, a large dance club in New York City. The show cut back and forth between teenagers and young adults dancing to a hit music video. Musical guests often introduced their brand new singles. From this came her famous catchphrase, wubba Wubba, wubba, wubba, wubba, wubba, after she accidentally read the t-shirt of a camera guy who was holding the cue cards while on live TV. In July 89, mtv launched a Club MTV tour featuring Was Not Was Information Society, paula Abdul, tone Loke and Milli Vanilli, with downtown Julie Brown and the Club MTV dancers. And again, what the hell was Information Society doing in there?
Speaker 1:Yeah, but I loved.
Speaker 2:Paula Abdul, I want to know, what you're thinking, information Society in there. What you're thinking, information Society in there. In 1991, tommy Boy Records released the album Club MTV Party to Go Volume 1 on CD, cassette, vinyl and Laserdisc. The songs were continuously mixed. The track list is Turn this Mother Out by MC Hammer. Poison by Belle Viv Devoe Feels Good by Tony Tony Tony, knocked Out by Paul Hammer. Poison by Belle Viv DeLoe Feels Good by Tony Tony Tony, knocked Out by Paul Abdul. Think by Information Society. Play that Funky Music by Vanilla Ice. Tom's Diner. By DNA featuring Susanna Vega. Knockin' Boots. By Candyman. The Humpty Dance by Digital Underground yes, the Humpty Dance by Digital Underground, yes.
Speaker 1:Remember Digital Underground and the pool hall when we went to UD.
Speaker 2:So funny story about the Humpty Dance. My sister, when she got older and had her house, she got chickens and one of them turned out to be a rooster. They try and give you all girls, but I guess one ended Anyway. So because they didn't know he was a rooster, they, they, they try and give you all girls, but I guess one and anyway. So because they didn't know he was a rooster until way later, they named him mrs doubtfire and mrs doubtfire would do the most hilarious dances to the ladies. So my sister, every time he would start she would sing the Humpty Dance because that's exactly what it looked like and that was exactly her music.
Speaker 1:Yes, she was a sucker for a song with a dance to it.
Speaker 2:Yeah, because he did limp to the side like his leg was broken. Oh, that's awesome. He did the humpty dance and so every time she'd have to, she would stop what she was doing oh don't want to fall in love by jane child personal jesus by depeche mode.
Speaker 2:March 20th 2005, vh1 classic aired a marathon of old club mtv episodes. On april 25th 2020 2020, mtv brought Club MTV back for a special titled Club MTV Dance Together, hosted by D-Nice and Kiki Palmer. The one night only event served as a fundraising benefit to help music programs during the coronavirus pandemic. Also, I wanted to say, because when I was doing this, especially the Club MTV one, I was like you know why?
Speaker 1:was it a thing that we had our own clubs? Yeah, teenagers, yeah, I was 16. Under 21 clubs I was 16.
Speaker 2:Under 21 clubs were literally everywhere. Yeah, it's insane. Yeah, like you cannot find one now.
Speaker 1:I mean and I love how they acted like we wouldn't be drinking and smoking weed and taking drugs.
Speaker 2:They just dropped.
Speaker 1:They were like, oh, it's safe, they're under 21. They're good yeah.
Speaker 2:I mean I was driving so nobody had to drop me off, but a lot of kids just got dropped. I mean, yeah, we had two here, one in Rehoboth and one in Ocean City, yep, and the one in Ocean City was called Nightlight and the one in Rehoboth was called Rock Lobster first, and then it changed its name to Accelerate. That's where we went Accelerate, although I did go to Nightlight. It was stupid, but whatever.
Speaker 2:But we're in summer areas where it's a lot of tourists in the summer, so people would just let their kids. And then I remember once we were in disney world and they had an under 21 club and my mom and dad, just that's our generation, just put, our parents were just like hey, I go on, don't get kidnapped. We had our own dance clubs guys.
Speaker 1:I'll pick you up sometime.
Speaker 2:They don't do that anymore. They don't have their under 21. They probably shouldn't, no. They don't have their under 21 clubs.
Speaker 1:It's not a pure environment.
Speaker 2:So some lesser known ones that I had never actually heard of are known ones that I had never actually heard of. Future Shock, 1976 to 1979, hosted by James Brown himself, was filmed in Georgia, focused on emerging Black dance styles, music and history. Included dance contests, interviews and segments on African American culture.
Speaker 1:Oh, that sounds interesting.
Speaker 2:The Buddy Dean Show 1957 to 1964. One market non-broadcasting bandstand was ABC's then Baltimore affiliate, wjz, channel 13. Jay-z, you don't remember WJZ. You might not have gotten Philly. You probably got Philadelphia channels. Yeah, we got Baltimore and DC.
Speaker 1:Yes, because I lived in Sussex County with my mom, but we only had an antenna and three channels. My dad had the cable, so that would have been Philadelphia, yeah.
Speaker 2:I got our cable was Baltimore and Washington, so we had WJZ. Okay, anyway, it chose to produce its own local dance show in the same afternoon time slot. Local radio disc jockey Buddy Dean was chosen as the host of the Buddy Dean show. It began a daily two-hour broadcast on september 9th 1957. This led to competition between american bandstand and the buddy dean show. When performers who debuted on bandstand first appeared on dean's program, they were asked to not mention their prior appearance with clark. The Buddy Dean Show aired until January 4th 1964. It featured the committee, a group of regular teen dancers, and it was canceled due to refusal to integrate black and white dancers. And it is also the inspiration for the movie and subsequent stage program Hairspray. Oh, because he's from Baltimore.
Speaker 1:Nice.
Speaker 2:Club Dance 91 to 99, a country western dance show on the Nashville Network was filmed in Knoxville, tennessee, with a mix of line dancing, two-step and swing, featuring real people, not actors, often retirees and regional dancers. And I do remember that people, not actors, often retirees and regional dancers. And I do remember that.
Speaker 1:And Gen X would all be very good on that show, because we all learned how to square dance in elementary school. We did, we did. You are not wrong.
Speaker 2:Electric Circus 88-2003 is a Canadian show on Much Music, filmed in Toronto. Mixed live club dancing with music video countdowns. Known for its rave-inspired fashion and multicultural cast, the Canadians came in hot with the rave.
Speaker 1:Those crazy Canadians.
Speaker 2:And then the final one is and I remember this one Videopolis 87-89 was on the Disney Channel dance show aimed at tweens and teens. Featured choreographed routines to pop hits, often with Disney stars. A strange but fascinating blend of Mickey Mouse Club energy and Top 40 vibes. My kids love Mickey Mouse Club, so With Britney and Justin Timberlake. I don't know why, I just totally had a blank on it.
Speaker 1:I don't remember the videology. You said it was called Videopolis Videopolis, but I definitely didn't have Disney Channel.
Speaker 2:Well, you didn't have kids. Then it was 87 to 89.
Speaker 1:Yeah, and I wouldn't have been watching Disney at my dad's house.
Speaker 2:No.
Speaker 1:I did watch a lot of MTV.
Speaker 2:I want to say that they aired it. I don't. I guess we did have the Disney channel.
Speaker 1:I guess Disney stuff used to just be on network TV back then. Yeah.
Speaker 2:ABC oh, I don't know if it was ABC. They bought ABC. They ended up buying ABC.
Speaker 1:What was the Wonderful World of Disney on Sunday nights? Was that ABC?
Speaker 2:I don't know, I ABC, I don't know, I feel, like we did talk about that once and then I don't know. I think we did too. I'm sure we're going to repeat ourselves 118 times At least. So if you're like binging this, I'm so sorry. So that is dance, dance dancing.
Speaker 1:That was super fun Dance shows.
Speaker 2:What a great topic.
Speaker 1:I loved it.
Speaker 2:Thanks, I thought it was fun and we're getting into. You know it's it's september now and the weather has been, I mean, just fucking fantastic it's perfect. It is perfect if it was like this all the time here. Yeah, man, yeah, it's just, it's just been amazing and we're getting you know. All the TV shows start back up and new shows.
Speaker 1:There's nothing to watch.
Speaker 2:So I thought we'd just give her a little go-go. I like it. So thank you for listening. You can find us on all the socials where you should tell us about your favorite dance show, or whether or not you think Nine Inch Nails should have been on Dance Party USA or Dancing in the USA, or any dance party. I don't really think Especially back then it had to be like headlight. I mean I can't fathom it no. It's not Dance Muse, it's industrial's industrial whatever it's mosh pit. Where were they? Yeah?
Speaker 1:I had my knees busted so many times standing on the outer circle of the mosh pit to head like a hole. I mean I can still picture, smell, see all of it at accelerate. When head like a hole came on, it's like everybody's head perks up like what? In position, and the guys went into the mosh pit and everybody else circled around, people that were scared.
Speaker 2:When ministry would follow Every time. I can smell the club because I can smell the cloves.
Speaker 1:Yes, fucking miss cloves so much that place was so smoky and they did not have a smoke machine. They did not it was all the goth kids. We smoke a lot.
Speaker 2:Yep.
Speaker 1:I told you about the socials Like rate review please Like rate review please. You can send us an email about your favorite dance program at likewhatever at gmailcom.
Speaker 2:likewhateverpod at gmailcom. I closed my little script and I've only said it 50 times now.
Speaker 1:Yep.
Speaker 2:Yeah, send us an email, or don't like, whatever, whatever, bye.
