THE SATURDAY NIGHT BEECH-NUT SHOW . . . WITH DICK CLARK!

THE DICK CLARK BEECH-NUT SHOW

— THE LITTLE THEATER NYC —

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The Dick Clark Beech-Nut Show debuts on ABC-TV, February 15, 1958

The Dick Clark Saturday Night Beech-Nut Show was Dick Clark’s second attempt at a prime time show. His first, a prime-time version of American Bandstand, ran only 13 weeks. The Beechnut Show was much more successful lasting almost 3 years.

The Dick Clark Saturday Night Beechnut Show was broadcast live, on ABC-TV, Saturday nights from the Little Theatre in New York City. Every weekend, Dick Clark commuted from Philadelphia to NYC to do the “Beechnut” show.

There was actually two shows done each Saturday. The first was a rehearsal show where the artists could sketch out their performances and Clark could line everything up. This would have a different audience then the second show which was the one that was televised.

ABC-tv-network-circle-a-logo-1957-1962Beechnut Gum was actually picked up as a sponsor for the third episode to the conclusion of the show’s run. The artists that appeared usually “lip-synched” to their records. Very few actually performed live.

This is the only show to be able to make the claim of having Buddy Holly, Ritchie Valens and the Big Bopper as guests (though on different episodes). All three were killed together in a plane crash on February 3, 1959.

Amazingly, Elvis Presley and Ricky Nelson, two of the biggest stars of the period, never appeared on the show. The first show aired on February 2, 1958 with guests Jerry Lee Lewis, Chuck Willis, Johnny Ray and the Royal Teens. The final show aired on September 10, 1960. MORE . . . .

 

Beech Nut Chewing Gum was the sponsor of this short-lived Dick Clark production three-years on ABC-TV from February, 1958 through September, 1960 (Click image for larger view)

FLAVOR-I-F-I-C!

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For our previous fourth installment four-video posting of ‘Saturday Night Beech-Nut Show with Dick Clark,’ published on MCRFB on November 4, 2015 GO HERE.

Above information provided by TV.com. For the complete 1958-1960 Dick Clark Beech Nut Show summary and artist-appearance listing for every show go over here to TVdb.com.

About the IFIC button seen worn by attendees in the Beech-Nut show audience? Well, it stands for ‘FLAVOR-I-F-I-C.’ As in Beech-Nut chewing gum! Special thanks to Edward Bowman for sharing that ‘trivia’ bit of information with Motor City Radio Flashbacks.

Motor City Radio Flashbacks will be showcasing these rare Dick Clark video presentations here on this website from time to time.

In this fifth installment, we present four video classics (below) from the Dick Clark Beech-Nut show as was first broadcast on national television during that memorable late-’50s rock and roll era, featured below.

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FEATURING

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THE CHAMPS (May 3, 1958) SAM COOKE (March 14, 1959) JACKIE WILSON (March 21, 1959) SANTO & JOHNNY (August 1, 1959)

 

Beech-Nut Chewing Gum: sole sponsor for Dick Clark’s Saturday Night Beech-Nut Show over ABC Television 1958-1960

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BEATLES’ TIFT IN COURT STILL BLAZING WILDLY . . . FEBRUARY 8, 1964

Capitol Records Claim Beatles Under Label’s Sole Ownership In Court

 

 

 

CHICAGO — The Beatles continued to generate their own peculiar brand of legal heat between Capitol, Vee Jay and Swan here last week.

An injunction issued in Circuit Court restraining Vee Jay from selling Beatles product is still in force. Vee Jay was denied a motion to dissolve the injunction by Judge Cornelius Harrington.

However, the Chicago-based recording company gave notice through its attorney Robert Downing that it had a right of appeal which it planned to exercise this week.

Meanwhile, a hearing on the merits of the case has been referred to a Master in Chancery, with a date not announced as of press time.

Also involved is a Capitol petition to have Vee Jay and M-S Distributing Company held in contempt of court for allegedly continuing to sell Beatles product.

The court denied M-S’ motion to be dismissed and ruled the Chicago distributorship had to answer the Capitol petition. This also will be done’ when the case is heard before the Master.

The legal maneuvering in the case has virtually matched the feverish excitement which the Beatles – oblivious to everything – are generating wherever they go.

At last Thursday’s hearing, counsel for Capitol, Vee Jay and M-S Distributing Company easily outnumbered the handful of spectators in the courtroom.

At one point, four teen-age girls entered quietly, evidently hoping to catch a glimpse of the mop-headed English four, but left after it became apparent this was an afternoon for serious matters only. END

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Information and news source: Billboard; February 8, 1964

 

 

THE BEATLES 1963

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TALKIN’ ‘BOUT MY GENERATION: TOP SINGLES OF 1964!

— THE BEATLES —

Debuted #69 week-ending January 25, 1964, 3 weeks playing the Billboard Singles chart, “She Loves You” climbs to #7, this week, February 2 through (week-ending) February 8, 1964.

 

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TALKIN’ ‘BOUT MY GENERATION: TOP SINGLES OF 1964!

— THE BEATLES —

Debuted #68 week-ending February 1, 1964, 2 weeks playing the Billboard Singles chart, “Please Please Me” climbs to #57, this week, February 2 through (week-ending) February 8, 1964.

 

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RECORD BUSTERS: AND HERE COMES THE BEATLES ONE MORE TIME . . . FEBRUARY 8, 1964

British Chart-Toppers’ Fame and Popularity Spurs Rapid-Climb in U.S. Record Sales

 

 

 

LONDON — The Beatles are certain to establish Britain’s biggest ever selling single in the world with “I Want To Hold Your Hand.”

Home sales of 1,550,000 make it the biggest-ever seller in Britain (sales of “She Loves You” are less than 50,000 behind it here) and with American sales added to totals increasing rapidly in other parts, the record must top the Tornados’ three-million seller, “Telstar.”

Under the direction of their producer, George Martin, the Beatles waxed the follow-up to “I Want To Hold Your Hand” at the Pathe Marconi Studios in Paris last week — there was not sufficient time for the group to record in London between the completion of their Paris stint and their departure for New York.

The new song is virtually certain to be one of those written by Beatles John Lennon and Paul McCartney (they write all the group’s material) for inclusion in the United Artists film which goes into production at the end of this month starring the Liverpool foursome.

During their Parisian sessions the Beatles also waxed “I Want To Hold Your Hand” in German.

Next week the Beatles make their U. S.concert debuts at Washington’s Uline Arena (Feb. 11) and New York’s Carnegie Hall (Feb. 12). George Martin, who will be in New York to record Shirley Bassey at the Carnegie Hall (Feb. 15) is still considering waxing an album with the Beatles there.

His decision will be literally last-minute for it is dependent on John and Paul having written sufficient new material for their act to make up an original LP — and they write their songs overnight.

Their staggering success in Britain continues — a paperback titled “Meet The Beatles” has become the hottest thing on the bookstalls and at lightning speed has become only the eighth paperback to notch up one million sales in this country. A leading manufacturer is having difficulty in keeping up with the demand for his latest line — Beatles wallpaper! END

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Information and news source: Billboard; February 8, 1964

 

Note: It bears noting this article was published by Billboard, Saturday, February 8. The eve of The Beatles first U.S. television appearance on CBS’ Ed Sullivan Show, Sunday night, February 9, 1964. Fifty-seven years ago.

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MOTOWN MONDAYS! A 1964 MARY WELLS MOTOWN RECORDS AD

A CLASSIC BILLBOARD MOTOWN /TAMLA RECORDS AD PAGE RIP February 8, 1964

— MARY WELLS —

MOTOWN RECORDS 1962-1963

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“What’s Easy for Two Is Hard for One” (also known as “What’s Easy for Two Is So Hard for One“) is a song written and produced by Smokey Robinson and released as a single by singer Mary Wells for the Motown label.

Wells’s teaming with Robinson led to a succession of hit singles over the following two years. Their first collaboration, 1962’s “The One Who Really Loves You”, was Wells’s first hit, peaking at number 2 on the R&B chart and number 8 on the Hot 100. The song featured a calypso-styled soul production that defined Wells’s early hits. Motown released the similar-sounding “You Beat Me To The Punch” a few months later. The song became her first R&B number 1 single and peaked at number 9 on the pop chart.

The success of “You Beat Me to the Punch” helped to make Wells the first Motown star to be nominated for a Grammy Award when the song was nominated for Best Rock & Roll Recording in 1963.

Motor Town Revue newspaper ad, featuring Mary Wells November 10, 1963 (click image 2x for largest view)

In late 1962, “Two Lovers” became Wells’s third consecutive single to hit the Top 10 of Billboard‘s Hot 100, peaking at number 7 and becoming her second number 1 hit on the R&B chart. This helped to make Wells the first female solo artist to have three consecutive Top 10 singles on the pop chart. The track sold over one million copies, and was awarded a gold disc.

Wells’s second album, also titled ‘The One Who Really Loves You’, was released in 1962 and peaked at number 8 on the pop albums chart, making the teenage singer a breakthrough star and giving her clout at Motown. Wells’s success at the label was recognized when she became a headliner during the first string of Motortown Revue concerts, starting in the fall of 1962. The singer showcased a rawer stage presence that contrasted with her softer R&B recordings.

The ‘First Lady of Motown’ 1962

Wells’s success continued in 1963 when she hit the Top 20 with the doo-wop ballad “Laughing Boy” and scored three additional Top 40 singles, “Your Old Standby”, “You Lost the Sweetest Boy”, and its A-side, “What’s Easy for Two Is So Hard for One”. “You Lost the Sweetest Boy” was one of the first hit singles composed by the successful Motown songwriting and producing trio of Holland–Dozier–Holland, though Robinson remained Wells’s primary producer.

Also in 1963, Wells recorded a session of successful B-sides that arguably became as well known as her hits, including “Operator”, “What Love Has Joined Together”, “Two Wrongs Don’t Make a Right” and “Old Love (Let’s Try It Again)”. Wells and Robinson also recorded a duet titled “I Want You ‘Round”, which would be re-recorded by Marvin Gaye and Kim Weston.

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Source: Mary Wells; Wikipedia

 

Above featured Billboard Motown ad digitally restored by Motor City Radio Flashbacks

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DETROIT MOTOWN MONDAY: RECORD FLASHBACK! 1963

—MARY WELLS—

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Released October 26, “What’s Easy For Two Is So Hard For One” peaked at #8 (charted 21 total weeks R&B overall) on the Billboard R&B chart in 1963 into 1964. B-side: “You Lost The Sweetest Boy”

MOTOWN 1048 (Source: Billboard Top R&B Singles)

 

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SCOTT REGEN, TODAY. A SPIRITUAL JOURNEY WONDERFULLY SHARED

ONCE UPON TIME

— A WORD ABOUT THIS BOOK —

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Dear Reader,

SCOTT REGEN 2018

On my journey of understanding and spiritual love, my life and values have changed, as may have yours, and not without acute conflict. These poems reflect those times and changes.

This book is dedicated to our spiritual unfolding, to the “progressive realization” of our Original Mind by whatever name we choose to give it.

And so with that in mind, we can each ask ourselves, how in our everyday daily life, can we progressively realize — or remember — might be a more accurate way of saying it — our True Spiritual Nature?

One way of expressing the answer to that question is: we can try to practice — each in our own way — and there are thousands of ways — there is no one way — what we are taught via Eastern spiritual thinking, exemplified in A Course In Miracles:

“When you meet anyone, remember it is a holy encounter. As you see him you will see yourself. As you treat him you will treat yourself. As you think of him you will think of yourself. Never forget this, for in him you will find yourself or lose yourself.”

“You should look out from the perception of your own holiness to the holiness of others.”

Namaste to each of you in all you do.

Robert Bernstein, (aka Scott Regen, WKNR; CKLW; WCAR; WDRQ; WMJC) Once Upon Time (page 11)

Robert Bernstein with Eastern Spiritualist and mentor, Swami Satchidananda (Photo credit: Robert Bernstein; Once Upon Time)

REFLECTIONS and PRAISE FOR ONCE UPON TIME

‘Once Upon Time’, by Scott Regen, is available on Amazon Books GO HERE

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“Your author is a man who was there in the 60s, helping to make Rock ’n’ Roll what it came to be. He knew the artists, he was even responsible many times for what should be released and what shouldn’t. He was spot-on every time. Whether you were listening to his radio program or not, he affected your life.

This book is Reflective and Genuine, Peaceful and Rewarding, Spiritual and Thought Provoking. Read this book and Scottie/Robert will touch your life yet again.”

Pat St.John, SiriusXM Satellite Radio

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“Scott Regen / Robert Bernstein has special powers of imagination and expressions. As a kid growing up in Detroit in the ’60s, he was by far my favorite DJ on WKNR and CKLW. Poetry is a special description of all he does.

Time, it never comes back, but fifty years ago seems like yesterday to me when the radio listening moments were so profound and wonderful.

Here is “Once Upon Time”. I love this book, my favorite book of poems, from my favorite poet. And all from the heart. Scottie tells it like it is.”

Michael Groen, WKNR, WRIF (Detroit)

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“In my years of knowing Robert, I have never seen him move forward in actions that deny the values and balance that create the incredible man he is. His poetry book is an extension of his character. Not only is it creative and spiritually welcoming, but it maintains his elevated level of integrity and belief.

It was gratifying for me to read it, and understand the logic behind his literal and spiritual wisdom. I highly recommend it. You will be pleased, I assure.”

Namaste, Helena Falcon

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“Robert has been my ‘Course in Miracles’ instructor and spiritual mentor for the past seven years. This book was written about times in his life, both before and after he discovered the course’s teachings.

Reading the book for me was a nostalgic trip going back to the 60’s rock and roll era, the dawning of the hippie generation.

It is written with humor, grace and spirituality. It is a heartwarming collection of poetry, commentaries and verse, written about the way we look at the world, and how we relate to both happy and troubled times.”

Chris Miller

Note: More thoughts and ‘reflections’ can be found in Scott Regen’s ‘Once Upon Time’

Scott Regen pre-WKNR years. (Photo credit: Robert Bernstein; Once Upon Time)

A SPIRITUAL JOURNEY WONDERFULLY SHARED

— A PERSONAL THOUGHT —

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This book is unlike any ordinary book I ever read.

For it is a wonderfully different type of book. Robert Bernstein (aka as Scott Regen) writes to us from the heart. He has penned a myriad of poems and lines deeply illuminating life’s journeys, chastened at times, by the human spirit. What is seen. What is not. What is past. What is present. The good. The bad. What is known. What is not.

This book will take the reader into a journey which will stir the imagination of the soul. And if one permits, refresh, if only momentarily, the mind itself.

What is written within these pages will make you reflect on your own life and mortality, your own time and place. Read. Pause. Thereby, think. For you may see what may lie therein, between the lines.

Scottie Regen is much more today than a legendary ’60s Detroit radio disk jockey. In that today, he is a man attuned to positive and personally profound spiritual thinking, graced with inner peace. Mind, body and soul.

Jim Feliciano
Curator, Motor City Radio Flashbacks

Available on Amazon Books HERE

Scott Regen backstage with The Beatles. Olympia Stadium, August 13, 1966 (Photo credit: Robert Bernstein; Once Upon Time)

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WABX 99: BRAND X FREE-FORM ‘AURAL ABSURDITY’ . . . WITH A SIGN-OFF MEMORY

WABX 99X DETROIT

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The station began broadcasting on May 4, 1960, as WABX, beginning as a classical music station before adopting the MOR format in 1964. For a short period beginning in August 1967, the station adopted an all-girl jock policy during the day, playing jazz-oriented pop music and humorous bits. The idea came from Mickey Shorr, who was program manager and creative director of Century Broadcasting Corp., the station’s then-owner.

During the Fall of 1967, WABX began airing a new music show called “Troubadour” from seven to eight in the evening, hosted by station manager John Small. The show featured blues, folk, and rock music. During this time, WABX was still airing an MOR format, with an emphasis on up-tempo music from artists like Mel Tormé, Frank Sinatra, Nancy Wilson, and Joe Williams.

The strong, positive response generated by “Troubadour” was enough to convince the station’s owners to adopt a full-time progressive rock format. On February 1, 1968, “play lists” of acceptable tunes went out: the DJs picked their own music, and Century Broadcasting Corporation bit its tongue. With a free form progressive rock format, WABX became a springboard for the new music that no other station in the market (least of all CKLW and the other Top 40 stations) would touch.

The format, once having been branded in the media as an “aural absurdity”, the ABX revolution was one of style as well as sound. The station made itself a community catalyst for fun: free concerts and movies, kite-flys, bike-ins, and conferences.

Also, the station played a role in giving many artists the recognition that they did not have at the time, including The Doors, Jimi Hendrix, Cream, Iron Butterfly, and The J. Geils Band. The success of WABX inspired other Detroit stations such as WKNR-FM and WXYZ-FM to adopt the progressive-rock approach. “Air Ace” Dave Dixon was a musician himself who co-wrote the Peter, Paul and Mary hit “I Dig Rock and Roll Music.”

During the 1970s, WABX evolved into a more mainstream album oriented rock station, albeit one that took a softer, more laid-back approach than its competitors.

The station was branded as “WABX 99” during this era with a logo similar to the one used by the current WABX in Evansville, Indiana, featuring yellow lettering on a black background. The station’s studio also moved from its original location in the David Stott Building in downtown Detroit to a new facility in suburban Oak Park during this period.

By 1982, WABX was third-ranked out of three AOR stations in Detroit (behind WRIF and WLLZ). Century Broadcasting sold the station to Liggett Broadcasting that year. Under new program director Paul Christy, WABX shifted from AOR to “Hot Rock,” a Top 40/rock hybrid (known on the air as “Detroit’s New Music“), playing a wide variety of new wave, pop, rock and urban product with a slick, CHR-style presentation.

However, the station’s market share continued to decline throughout 1983, and a little over a year after WABX debuted “Hot Rock,” Liggett decided to change the station’s format and calls.

On January 9, 1984, WABX’s long-term reign as a high-rolling rock station came to an end with the song “When the Music’s Over” by The Doors, after which the station became “Class FM“, WCLS, with a soft rock format. However, the adult contemporary field in Detroit was as crowded as the rock format had become, and “Class FM” was not successful. At this same time, the station was sold to Metropolis Broadcasting.

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Source: WABX; Wikipedia

 

WABX 99 * BROADCAST DAY SIGN OFF

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