On Tuesday, Phillips earned consistently high marks from the show’s judges, while Sanchez faltered on “Change Nothing,” the song that could serve as her first release.

The teenager agreed with panelists Randy Jackson, Jennifer Lopez and Steven Tyler, saying she should have gone more “urban” with her song choice.

Phillips had better luck with his potential future single selection, a slow tempo acoustic tune titled “Home,” which the judges said recalled artists like Fleet Foxes, Paul Simon and Mumford and Sons. At one point during Phillips’ final performance, the pawn shop worker was accompanied by a marching band.

It was a hit with the panel. Jackson beamed, “I love the song. I love you. I love the production. I love the marching band. Everything about that was perfect.”

High school student Sanchez and competitor Phillips dazzled the judges in Tuesday’s initial rounds. The panel declared that she won the first matchup featuring song selections by “Idol” creator Simon Fuller, soaring with Whitney Houston’s “I Have Nothing,” while Phillips delivered a solid rendition of Ben E. King’s “Stand by Me.”

“It’s like a battle of the opposites,” said Lopez. “How do you compare?”

The second round recalled the finalists’ favorite previous “Idol” performances. Sanchez reprised “The Prayer” by Andrea Boccelli and Celine Dion from the Las Vegas solo round, and Phillips crooned “Movin’ Out” from Billy Joel week. Lopez gave the bout to Phillip, while Tyler said Sanchez took it and Jackson declared it a “dead heat.”

The judges flatly rejected “Change Nothing,” the lukewarm potential future single that failed to fully showcase Sanchez’s vocal prowess. Jackson told her that it “lacked pop flavor,” while Tyler declared that it wasn’t “the proper song for you.”

Sanchez concurred, saying, “Definitely, when I make my record, if I ever do, it’s going to be a lot more me.”

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— June Cleaver (Barbara Billingsley), “Leave It to Beaver,” 1957-63. Yes, June wore pearls around the house. And high heels. But her real trademark was her loving but no-nonsense approach to rambunctious sons Wally and Beaver. She met misbehavior with a knowing look and even tone, making surrender the only option.

— Clair Huxtable (Phylicia Rashad), “The Cosby Show,” 1984-92. With five children and a husband who’s a great partner but a big kid himself, what’s a mother to do? Clair’s answer: Be the calm center of a whirlwind of activity, while tending to a legal career and reminding Cliff (Bill Cosby) he’s a lucky, lucky man.

—Roseanne Conner (Roseanne Barr), “Roseanne,” 1988-97. There are many ways to be a good mother and Roseanne’s was unmistakably hers, with bark and loving bite (and definitely no pearls). She was funny and rowdy and unfailingly committed to keeping her family afloat through tough times, whether financial or emotional.

— Lorelai Gilmore (Lauren Graham), “The Gilmore Girls,” 2000-07. A young, fiercely devoted single parent, Lorelai had her own growing up to do. But she always put daughter Rory’s needs first as, in tandem, mom and teenager stumbled uncertainly toward making the best life — and brightest future — possible.

— Gloria Pritchett (Sofia Vergara), “Modern Family,” 2009-present. If young Manny is a mama’s boy, then he’s keeping ideal company. Gorgeous, exuberant, devoted Gloria kept their dreams alive when the pair were on their own. New stepdad Jay is in the picture now and wants to weigh in, but this savvy mother knows best. And remember, guys, these are Mother’s Day hugs.

Equally comfortable chatting about music with Sam Cooke or bantering with Ed McMahon on “TV’s Bloopers and Practical Jokes,” Clark was listed among the Forbes 400 of wealthiest Americans. Clark, who died of a heart attack Wednesday at a Santa Monica hospital, also was part of radio as partner in the United Stations Radio Network, which provided programs — including Clark’s — to thousands of stations.

“There’s hardly any segment of the population that doesn’t see what I do,” Clark told The Associated Press in a 1985 interview. “It can be embarrassing. People come up to me and say, ‘I love your show,’ and I have no idea which one they’re talking about.”

One of his later TV projects, “American Dreams,” served as a fitting weekly tribute to Clark’s impact. Airing from 2002 to 2005, this NBC drama centered on a Philadelphia family in the early 1960s and, in particular, on 15-year-old Meg, who, through a quirk of fate, found her way onto the set of Clark’s teen dance show, “American Bandstand.”

The nostalgic “American Dreams” depicted a musical revolution, which Clark so reassuringly helped usher in against the backdrop of a nation in turmoil. While never a hit, the series was embraced by older viewers as a warm souvenir of the era that spawned Clark, and as an affectionate history lesson for their children and grandchildren.

President Barack Obama noted the nostalgia. “More important than his groundbreaking achievements was the way he made us feel — as young and vibrant and optimistic as he was,” Obama said in a statement.

Clark bridged the rebellious new music scene and traditional show business. He defended pop artists and artistic freedom, the Rock and Roll Hall of Fame said in an online biography of the 1993 inductee. He helped give black artists their due by playing original R&B recordings instead of cover versions by white performers, and he condemned censorship.

He joined “American Bandstand” in 1956 after Bob Horn, who’d been the host since its 1952 debut, was fired. A year later, Clark integrated the show with black dancers.

“It still wasn’t acceptable for them to dance with white kids, so the blacks just danced with each other. We were waiting for the explosion, but it never happened,” Clark told Pennsylvania Heritage Magazine in 1998. “The wonderful part about our decision to integrate then was that there were no repercussions, no reverberations, no battles at all — it just happened right there on a television screen in front of millions of people.”

Under Clark’s guidance, “Bandstand” went from a local Philadelphia show to a national phenomenon, introducing stars from Buddy Holly to Madonna. It was one of network TV’s longest-running series as part of ABC’s daytime lineup from 1957 to 1987.

“I played records, the kids danced, and America watched,” was how Clark once described the series’ simplicity. In his 1958 hit “Sweet Little Sixteen,” Chuck Berry sang that “they’ll be rocking on Bandstand, Philadelphia, P-A.”

As a host, Clark had the smooth delivery of a seasoned radio announcer. As a producer, he had an ear for a hit record. He also knew how to make wary adults welcome this odd new breed of music in their homes.

Clark endured accusations that he was in with the squares, with critic Lester Bangs defining Bandstand as “a leggily acceptable euphemism of the teenage experience.” In the 1985 interview, Clark acknowledged the complaints. “But I knew at the time that if we didn’t make the presentation to the older generation palatable, it could kill it.

“So along with Little Richard and Chuck Berry and the Platters and the Crows and the Jayhawks … the boys wore coats and ties and the girls combed their hair and they all looked like sweet little kids into a high school dance,” he said.

Clark suffered a stroke in 2004 that affected his ability to speak and walk. That year, he missed his annual appearance on “Dick Clark’s New Year’s Rockin’ Eve.”

He returned the following year and, although his speech at times was difficult to understand, many praised his bravery, including other stroke victims.

“I’m just thankful I’m still able to enjoy this once-a-year treat,” he told The Associated Press by email in December 2008 as another New Year’s Eve approached.

Ryan Seacrest, who subsequently took over main hosting duties on the countdown show from Clark, said in a statement Wednesday that he was “deeply saddened.”

“I idolized him from the start,” Seacrest said. “He was a remarkable host and businessman and left a rich legacy to television audiences around the world.”

Record executive Clive Davis called Clark “a true pioneer who revolutionized the way we listened to and consumed music. For me he ranks right up there with the giants of our business.”

Friends on Wednesday recalled a patient, encouraging man. “He was there for every crisis of my life and there were many,” Connie Francis said in statement. “Without Dick Clark there would have been no career because I was ready to abandon it. Dick was the most principled man I ever met in this business and treated everyone the same way, even if you were the little guy.”

Said Pat Boone: “Careers grew because of Dick Clark.”

Clark was honored at the Emmy Awards in 2006, telling the crowd: “I have accomplished my childhood dream, to be in show business. Everybody should be so lucky to have their dreams come true. I’ve been truly blessed.”

He was born Richard Wagstaff Clark in Mount Vernon, N.Y., in 1929. His father, Richard Augustus Clark, was a sales manager who worked in radio.

Clark idolized his athletic older brother, Bradley, who was killed in World War II. In his 1976 autobiography, “Rock, Roll & Remember,” Clark recalled how radio helped ease his loneliness and turned him into a fan of Steve Allen, Arthur Godfrey and other popular hosts.

From Godfrey, he said, he learned that “a radio announcer does not talk to ‘those of you out there in radio land’; a radio announcer talks to me as an individual.”

Clark began his career in the mailroom of a Utica, N.Y., radio station in 1945. By age 26, he was a broadcasting veteran, with nine years’ experience on radio and TV stations in Syracuse and Utica, N.Y., and Philadelphia. He held a bachelor’s degree from Syracuse University. While in Philadelphia, Clark befriended McMahon, who later credited Clark for introducing him to his future “Tonight Show” boss, Johnny Carson.

In the 1960s, “American Bandstand” moved from black-and-white to color, from weekday broadcasts to once-a-week Saturday shows, and from Philadelphia to Los Angeles. Although its influence started to ebb, it still featured some of the biggest stars of each decade, whether Janis Joplin, the Jackson 5, Talking Heads or Prince. But Clark never did book two of rock’s iconic groups, the Beatles and the Rolling Stones. Elvis Presley also never performed, although Clark managed an on-air telephone interview while Presley was in the Army.

The show’s status as an American cultural institution was solidified when Clark donated Bandstand’s original podium and backdrop to the Smithsonian Institution.

When Michael Jackson died in June 2009, Clark recalled working with him since he was a child, adding, “Of all the thousands of entertainers I have worked with, Michael was THE most outstanding. Many have tried and will try to copy him, but his talent will never be matched.”

Clark kept more than records spinning with his Dick Clark Productions. Its credits included the Academy of Country Music and Golden Globe awards; TV movies including the Emmy-winning “The Woman Who Willed a Miracle” (1984), the “$25,000 Pyramid” game show and the 1985 film “Remo Williams: The Adventure Begins.” Clark himself made a cameo on “The Fresh Prince of Bel-Air” and a dramatic appearance as a witness on the original “Perry Mason.”

In 1974, at ABC’s request, Clark created the American Music Awards after the network lost the broadcast rights to the Grammy Awards.

He was also an author, with “Dick Clark’s American Bandstand” and such self-help books as “Dick Clark’s Program for Success in Your Business and Personal Life” and “Looking Great, Staying Young.”

His unchanging looks inspired a joke in “Peggy Sue Got Married,” the 1986 comedy starring Kathleen Turner as an unhappy wife and mother transported back to 1960. Watching Clark on a black-and-white TV set, she shakes her head in amazement, “Look at that man, he never ages.”

Clark’s clean-cut image survived a music industry scandal. In 1960, during a congressional investigation of “payola,” or bribery in the record and radio industry, Clark was called on to testify.

He was cleared of any suspicions but was required by ABC to divest himself of record-company interests to avoid any appearance of a conflict of interest. The demand cost him $8 million, Clark once estimated. His holdings included partial ownership of Swan Records, which later released the first U.S. version of the Beatles’ smash “She Loves You.”

In 2004, Clark announced plans for a revamped version of “American Bandstand.” The show, produced with “American Idol” creator Simon Fuller, was to feature a host other than Clark.

He was diagnosed with type 2 diabetes in 1994 and served as spokesman for the American Association of Diabetes Educators.

Clark, twice divorced, had a son, Richard Augustus II, with first wife Barbara Mallery and two children, Duane and Cindy, with second wife Loretta Martin. He married Kari Wigton in 1977.

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AP National Writers Frazier Moore, David Bauder and Hillel Italie contributed to this report.