[3] Throughout its run, a wide variety of musical acts appeared on the show, typically lip syncing to one of their latest singles.

This was based on an idea deriving from a radio show on WPEN, The 950 Club, hosted by Joe Grady and Ed Hurst.

This version of Bandstand debuted on October 7, 1952, in "Studio 'B'", which was located in their just-completed addition to the original 1947 building in West Philadelphia.

However, as WFIL grew financially and the importance of the account diminished, Stewart's presence on the program was no longer necessary and he was eventually dropped.

In late spring of 1957, the ABC television network asked their O&O's and affiliates for programming suggestions to fill their 3:30 PM (ET) time slot.

One market not broadcasting Bandstand was Baltimore affiliate WAAM (now WJZ-TV), which chose to produce its own local dance show in the same afternoon time slot.

"Studio 'B'" measured 80 by 80 by 24 feet (24.4 m × 24.4 m × 7.3 m), but appeared smaller due to the number of props, television cameras, and risers that were used for the show.

WFIL reverted to the TK-10s two weeks later when ABC refused to carry the color signal and management realized that the show needed the multiple black-and-white cameras to capture more angles.

"[9] The only singer to ever co-host the show with Dick Clark was Donna Summer, who joined him to present a special episode dedicated to the release of the Casablanca film Thank God It's Friday on May 27, 1978.

From 1974 to 1977, there was a newer orchestral disco version of "Bandstand Boogie", arranged and performed by Joe Porter, played during the opening and closing credits.

From 1977 to September 6, 1986, the show opened and closed with Barry Manilow's rendition of "Bandstand Boogie",[11] which he originally recorded for his 1975 album Tryin' to Get the Feeling.

From 1974 to September 6, 1986, Bandstand featured another instrumental at its mid-show break: Billy Preston's synth hit "Space Race".

In Philadelphia, however, WFIL opted to tape-delay the game show for later broadcast in another time slot, and to continue on with Bandstand, though only for the local audience.

The use of videotape allowed Clark to produce and host a series of concert tours around the success of American Bandstand and to pursue other broadcast interests.

[13] On September 7, 1963, the program was moved from its weekday slot and began airing weekly every Saturday afternoon, restored to an hour, until 1989.

ostensibly due to its being created by a white man (Clark), and because of its alleged usage of deliberately racial overtones despite this fact.

Don Cornelius, the creator and host of Soul Train, along with Jesse Jackson, entered into a dispute with Clark over this upstart program, and it was canceled within a few weeks.

[21][22][23] Dubbed as The New American Bandstand and distributed by LBS Communications, the series' tapings were moved from the ABC Television Center to the Hollywood studios of Los Angeles's PBS member station KCET,[24] with a new set similar to that of Soul Train.

Clark continued as host of the series, which was restored to its former hour length,[25] and aired on stations including KYW-TV in Philadelphia; WWOR-TV in New York City[26] (WWOR's superstation status also gave the program further national exposure); KTLA in Los Angeles; WMAQ-TV in Chicago; WDIV in Detroit; WEWS in Cleveland; WTMJ-TV in Milwaukee;[27] and WCIX in Miami.

After a ten-month hiatus,[30] Bandstand moved to cable on USA Network[31][32] on April 8, 1989,[33] with comedian David Hirsch[34][35][36][37][38] taking over hosting duties.

I'm David Hirsch and, on behalf of American Bandstand, I bid you, for the last time, goodbye.On May 3, 2002, Dick Clark hosted a one-off special 50th anniversary edition on ABC.

[43] Being originally located in Philadelphia, Bandstand was influenced by racial segregation laws in nearby Maryland and Delaware.

[44] In response, Black teenagers began requesting tickets under fake names and getting admission, and were regularly harassed by or got in fights with white audience members.

Fearful that the fights would scare away advertisers or dissuade parents from letting their children attend, Bandstand's producers petitioned the Philadelphia Commission on Human Relations to investigate.

Dick Clark Productions is credited as the show's co-producer, and longtime employee Allen Shapiro serves as co-executive producer.

It also was a prototype for musical television properties including cable channel MTV and Fox's reality-competition show American Idol.