Sid Bernstein approached me in fall of 1960 with an offer I couldn’t refuse, return to The Brooklyn Paramount to continue the Alan Freed holiday tradition, a 10-day all-star rock ‘n’ roll extravaganza, Clay Cole’s Christmas Show. The holiday season in New York is magical, its shadowed, gray avenues suddenly burst into a Disney-like Technicolor, transforming even the most belligerent into bell-ringers. It’s catchy; the sparkle in the eye. To all this, add the excitement of a dazzling, 10-day Christmas stage spectacular, and you can imagine my jubilation. I watched from across Flatbush Avenue as stagehands on scaffolds, fitted the marquee of The Paramount with foot-high letters:
“Clay Cole’s Christmas Show.”
Sid Bernstein had put together an all-star lineup of hit-makers, and knowing that he could lure audience members back for two or more shows, he signed Bobby Rydell to headline for three days, Brenda Lee for three, and Ray Charles for four. Murray the K, New York’s top deejay (1010-WINS) was hired to replace me when I raced back to Channel 13 to fulfill my daily live television duties over in Newark. The supporting acts alone would cost a million dollars today, if you could even get them together:
Dion
(“Lonely Teenager”)
Neil Sedaka (“Calendar Girl”)
The Drifters (“Save The Last Dance For Me”)
The Coasters (“Searchin” / Yakety Yak”)
The Shirelles (“Will You Still Love Me")
The Skyliners (“Since I Don’t Have You”)
Johnny Burnette (“You’re Sixteen”)
Chubby Checker (“The Twist”)
Kathy Young (“A Thousand Stars”)
Bobby Vee (“Rubber Ball”)
Jimmy Charles (“A Million To One”)
Bo Diddley (“Say Man”)
Dante
& The Evergreens (“Alley-Oop”)
Little Anthony
& The Imperials (“Shimmy, Shimmy, Ko-Ko-Bop”)
Not advertised was a little-known trumpet player (with a record contract, but no hits), our orchestra leader, nineteen-year-old Bobby Vinton. Bobby’s dad was the leader of a well-known, big band back in Canonsburg, Pennsylvania; until his horn section formed a vocal group, The Four Coins, and recorded a huge hit “Shangri-La.” Bobby pleaded with me to allow him to sing a number
in the show; although we were tight, I agreed, and he sang an opening number with the band. It would be two years later that Epic records would release his
#1 classic, “Roses Are Red (My Love).
The reaction to the show was instantaneous; there was no slow build, we sold-out the first show, with four sell-outs each day, with five on weekends, a special midnight show. The ushers could not clear the house; some audience members remained for all four shows, sitting through screenings of a gawd-awful Rory Calhoun western. The first show would hit around 10:00 am and the last show would break about midnight. When we left the theatre at night, there would be lines around the block, waiting in the winter cold for the first morning show. With ranks of fans circling the theatre, we were basically in lock down for ten days, sending out for hot meals, listening to the radio, or jamming in Dion’s dressing room.
The latest issue of Billboard magazine arrived announcing the new # 1 record in the country, “Will You Love Me Tomorrow” by The Shirelles, their first at the top spot. There is no doubt, the four ladies from New Jersey were the best loved of all the Sixties girl groups, admired not only by their fans, but also by their fellow performers. The Shirelles presented me a fire engine red smoking jacket with a matching ascot. All my New York fantasies were being realized.
Our Christmas show proudly holds the all-time box-office record for that 4000+ seat theatre, a record that stands to this day.
Clay Cole & the Rock ' n' Roll Years at the Brooklyn Paramount.
As you know, the Brooklyn Paramount Theatre was sold to Long Island University
and closed. Our 1961 Easter Parade of Stars was the final Paramount stage show.
On Friday, March 27, 2009, I was invited by Anthropology/Sociology Professor
Dr. Michael Hittman to be the Keynote Speaker and to host an all-day seminar with emphisis on rock 'n' roll at this historic theatre. It was a one-credit cross-linked course, intended to introduce students to both the social significance of rock 'n' roll and to the related significance of the Brooklyn Paramount.
Among the participants were John Jackson, author of the definitive biographies of Alan Freed and Dick Clark, Tony Middleton (The Willows), Joe Franklin and his producer Richard Ornstein, radio legends Don K. Reed and Bobby Jay, songwriters Brian Gari and Billy Dawn Smith (all the Crests hits), Deborah Nader, Ulis Mason of the Velours; Richard Green and Bill Carey of the Continentals; Luther Hudson from Jackie & the Starlights; Bill Godwin,the Ink Spots; John Kuse, the Bronx' Excellents; Randy and the Rainbows; Eric Frazier and Ray Rivera. In the audience were pop culture writers Ray D'Ariano, Kevin Dilworth and Phoebe Neidl of the Brooklyn Eagle. Jim Glynn arrived with video clips and recordings from my Channel 11 shows, and a surprise visit from Claymates Fan Club founder Marcia Habib and my TV dance show regular Patricia Salerno. A day full of surprises and happy memories.
