Tex Schramm, a 40-year-old Californian, was appointed general manager of the Dallas Cowboys for their 1960-61 National Football League (NFL) debut, facing quite a challenge ahead. From the ground up, he has to create a new professional football franchise in Texas, a place where college and university football dominate and leave little room for anything else.
In their early seasons, the Cowboys had a hard time winning over the public, as the new Texas franchise struggled to make its mark and draw crowds to the Cotton Bowl, where they played their home games. In addition, under head coach Tom Landry, the first five seasons were rough, with the team winning only 18 games, while suffering 46 losses and 4 draws.
Faced with these disadvantages, Tex Schramm (On the left in the photo below, with Tom Landry, December 28, 1959.) desperately looked for ways to make the franchise he was in charge of more popular and profitable.
Before joining the Cowboys organization, the University of Texas at Austin journalism graduate spent three years at CBS as an assistant sports director, making his mark with energy and creative innovations.
While at CBS he noticed that television shows featuring attractive women tended to draw large audiences. To boost the Dallas Cowboys' popularity, Schramm wanted to combine these elements: broadcasting the team's games with engaging concepts and hiring appealing cheerleaders to entertain fans during breaks at home games.
Schramm helped bring in changes that boosted the excitement of both the players and cheerleaders on the field. By introducing these innovations and recognizing the draw of media, television, and attractive women, the Cowboys’ general manager proved to be a true visionary who played a key role in making the NFL the most powerful sports league in the country.
From the start of his time as GM in Dallas, Tex Schramm aimed to revamp the image of cheerleaders to draw more attention from spectators. His initial idea was to recruit attractive female models to serve as cheerleaders, entertaining the crowd and boosting attendance at the team’s home games.
The Cowboys boss believes there’s an untapped opportunity in this area of the marketing department to boost the team’s popularity. To tackle it, he’s bringing in Dee Brock, a Dallas English teacher who also works as a model.
When Dee Brock asked Tex Schramm how much the new model cheerleaders would be paid, he replied, “Nothing, not a penny.” By then, the Cowboys boss had already built a reputation for being especially cheap, refusing to loosen the purse strings.
Faced with the negative attitude of her interlocutor, Dee Brock (photo shown above) quickly shuts down his plan to hire models for free as cheerleaders. No professional model would agree to work without pay in the humid, oppressive heat of the Cotton Bowl, lacking both the motivation and the physical stamina to endure it.
Instead, Brock suggests using teenagers who are students in local schools and wouldn’t need to be paid by Schramm. Even though Dee spent a dozen years trying to improve this formula, which is traditional and common in cheerleading elsewhere, it didn’t work.
Something is still missing to achieve Schramm’s goal of creating an additional show within the football game to entertain the spectators.
Before the 1972 season, following the Cowboys’ narrow 16-13 loss to the Baltimore Colts in Super Bowl V that January (the Colts being the first team to introduce professional cheerleaders back in 1954 → photo shown above), Brock came to his boss with fresh ideas.
First, according to her, cheerleaders should be older than the teenagers who have been unsuccessfully doing the job for over a decade on the sidelines. Schramm, skeptical, asks in confusion, “Old women?” Dee Brock clarifies, “Between 18 and 25 years old.”
She goes on, suggesting they should put on a real show by being more mobile. Brock vaguely imagines a choreographed dance something reminiscent of the Broadway performances in New York.
This shift in activities would call for a new, more glamorous and stylish costume that could also support the more demanding moves of this new generation of pom-pom girls. This way, they’d draw even more attention from the spectators, which is exactly the goal.
Tex Schramm decided to give it a shot and gave his cheerleader manager the go-ahead.
For the "choreographed dance" component, Dee Brock didn’t feel qualified to handle it herself. So she thought of bringing in a former professional dancer—a jazz dance and musical theatre instructor in Dallas. Her name was Texie Waterman (photo shown above), a petite woman with red hair, full of humor and a cheeky personality!
Dee met her in 1954 while they were both in the musical «Wish You Were Here». In one scene, several women paraded across the stage in swimsuits, with two of them wearing bikinis—an outfit still considered quite “scandalous” in 1950s America.
Dee Brock (seen at the far left of the photo ⇧), and Texie Waterman were the only two volunteers brave enough to wear such a daring outfit for the time—especially in Dallas, a conservative and puritanical Southern city where religious morality was strict.
Back in the day, wearing a bikini in public was seen as indecent and even sinful. For women, exposing their belly—especially the navel—was strictly forbidden and unacceptable. It’s all part of the bikini’s history, which I also share in this blog. (https://bikiniandpompomgirls.blogspot.com/).
When Dee Brock shared her idea for the Cowboys' new cheerleaders with Texie Waterman, the former professional dancer thought it was a wild idea to have them dance. She told Dee that putting on a Broadway-style dance show on a football field was impossible: "There’s no stage, no lights, no illusion," she said, clearly offended.
Eventually she’s persuaded to take on the project, but there’s a catch. Tex Schramm, known for being tight with money, refuses to pay her for her work. Undeterred by the stingy Cowboys boss, Dee Brock decides to give half of her own salary (600 dollars) to Texie Waterman so they can team up and lead this innovative, unprecedented project that had never been done anywhere before.
All that’s left is to find the new cheerleaders and decide on their uniforms. For this, Schramm and Dee Brock will place an order with the clothing manufacturer Lorch, whose manager was appointed by Lester Melnick, a major player in Dallas’s textile industry and a friend of Tex Schramm from their golf days.
Lorch's manager asked one of his seamstresses and designers, Paula Van Wagoner, if she wanted to create the new Dallas Cowboys cheerleaders uniform. She agreed and headed to the team’s offices to meet Tex Schramm and Dee Brock, eager to hear exactly what they envisioned for the uniform’s style.
The Cowboys' general manager and the director of cheerleaders gave Paula Van Wagoner (photo shown above) clear instructions. They wanted something that truly captured the spirit of the Cowboys with a western theme tied to Texas, while also being modern, stylish, and classy.
But 50 years later, a revelation sparks controversy over who truly designed this iconic uniform, recognized worldwide and added to the famous Smithsonian Museum in 2018, as an American symbol and part of the nation’s heritage. (https://bikiniandpompomgirls.blogspot.com/2022/06/50-years-ago-in-1972-fashion-designer.html).
In a 2021 interview with a journalist, Dee Brock, then 91, claimed that she—not Paula Van Wagoner—was the first to design the famous uniform that became iconic. She recalled sketching it on a yellow legal pad in the locker room with the cheerleaders, and one of them, Vonciel Baker, later confirmed seeing her draw it.
Brock said she had the drawing when she met Tex Schramm and Paula Van Wagoner. However, when asked about it, the Lorch designer curtly replied, “It didn’t happen like that,” and refused to elaborate. Maybe Dee Brock’s simple sketch was never shown to her, or perhaps she just didn’t consider it when working after that in her sewing studio.
Back then, it didn’t carry the significance it would later gain. Over time, a legend grew around this uniform, turning it into an iconic symbol embedded in American cultural history and heritage.
Although history and the Smithsonian credit Paula Van Wagoner as the creator of this remarkable costume, some sources attribute it to Tex Schramm or the Lorch company. Paula Van Wagoner also noted that one of her co-workers had claimed credit as well. Van Wagoner created two versions of the design, and Schramm went with the one on the left (see photo above).
In the early 1970s, women’s contributions in the workplace were still largely overlooked, and they were often paid far less than men for doing the same jobs. In fact, neither Dee Brock nor Paula Van Wagoner ever got paid (she said it was just part of her job at Lorch) or officially credited for designing the uniform that revolutionized cheerleader fashion, influencing about twenty NFL teams, and later inspiring similar outfits for other sports, including basketball, and hockey’s “Ice Girls".
To protect the design of their iconic uniform and keep it from being copied by others, the Cowboys organization registered it as a trademark (copywrigth). This proved useful when some people later tried to imitate or use the design. Lawsuits followed, costing the Dallas Cowboys a million dollars, but the richest team in the NFL won every case.
Once the uniform and choreographer were secured for Dee Brock's bold project, the next step was to find the cheerleaders. Brock and Texie Waterman would lead the auditions, seeking “all-American sexy girls,” though the word “sexy” wasn’t widely used at the time, especially in the conservative states of the American Southeast, known as the Bible Belt.
Physical appearance played a key role in the selection process. Texie and Dee were looking for attractive, well-proportioned young women with charming personalities, as well as backgrounds or skills in dance and cheerleading.
A short and simple message was aired on the local radio to attract candidates for the auditions. Just over a hundred girls responded to the call. For the audition, each was asked to perform a two-minute routine in front of Dee and Texie.
Among the candidates is 20-year-old African-American Vonciel Baker (photo shown below), who broke the racial barrier by becoming the first Black student on the Texas Lutheran University cheerleading squad. Back in high school, she wasn’t accepted for cheerleading because she was considered too skinny and not pretty enough.
As a teenager raised by a single mother, Vonciel loved dancing in the park near her home to the sounds of James Brown and the Rolling Stones. At her audition for a spot on the Cowboys’ cheerleading squad, she broke out her signature “James Brown-style” moves, but caught sight of Texis Waterman laughing as she leaned in to whisper to Dee Brock.
Vonciel figured she’d blown her chance to impress the two judges and wasn’t expecting anything good from the hearing results. A few days later, a special delivery from the Cowboys organization arrived, but she couldn’t bring herself to open it, afraid it held bad news about her failed audition.
Her brother was the one who finally opened the envelope and—surprise! Vonciel was among the eight candidates selected to join the Dallas Cowboys cheerleading squad for the 1972 season!
Later, one of the chosen girls dropped out, leaving the group as the "seven original cheerleaders" who, without them knowing, would go on to make history in their country and the NFL.
What they didn’t realize at the time was the type of training that awaited them in the pre-football sessions: workouts focused on choreographed dance unlike anything any cheerleader had experienced before. It was something completely new and unprecedented.
And then, there was the huge surprise waiting for the new recruits when they went to Lester Melnick’s clothing store to try on the new uniforms they’d wear for their routines on the field of the brand-new Texas Stadium, which had opened just the year before and would host the football team’s first game in August 1972.
Until the 1960s, American cheerleaders typically wore long pleated skirts that reached the knees, over baggy panties. The upper body was covered by a bulky pullover, a loose button-down shirt, or a blouse that extended from the neck to the waistband. On their feet, they wore white socks paired with two-tone shoes or classic Keds. The uniforms were made from thick materials like wool, felt, and corduroy. That was just the standard back then.
In the sixties, cheerleader costumes became lighter to allow for more movement. Unlike the fifties, when they mostly made a few gestures and shouted slogans into megaphones, cheerleaders in the '60s were far more active, often shaking their pompoms with energy and enthusiasm.
In the sixties, fashion shifted to lighter materials like acrylic and synthetic knits, offering better stretch and freedom of movement. Skirts got shorter, reaching mid-thigh, and evolved into miniskirts by the decade’s end.
Waistcoats or sweaters were also more fitted and shorter, often worn bare-bottomed without a shirt underneath, and featuring large, colorful felt appliqués in the shape of letters.
When it came to shoes, girls had shifted from chunky wedges to casual sneakers.
The Cowboys' cheerleaders' uniform in 1970-71 had evolved, offering a hint of what designer Paula Van Wagoner would craft in just two days the following year. The suit’s colors were similar, and it also featured white stars.
Van Wagoner swapped the loose blue blouse from 1971 for a cropped top made of vibrant royal blue polyester satin. This slim-fitting, long-sleeved piece is designed to show off the midriff, wrapping around the bust with a tie at the front and featuring a sharp, standout collar.
The loop forming the front knot should be crafted with precision, following a specific order and shape, while the overall design should highlight the silhouette in an alluring way.
Over the blouse, a western-style waistcoat or small jacket of plain royal blue satin was added. It was open at the front, trimmed with a white fringe along the bottom hem, and adorned with blue and white star badges, a clear tribute to the Dallas Cowboys logo.
Inspired by the trends of the era, Paula Van Wagoner swapped the typical late '60s mini-skirt for short, white "hot pants." They were secured with a wide, spotless white belt, fastened at the center with a large, heavy silver metal buckle.
For shoes, Paula draws inspiration from the fashion of that era, opting for white go-go boots with block heels, low and flat.
The set created a look that was both elegant and sexy, while being revolutionary for cheerleaders. It was a brilliant success destined to have a huge impact!
Vonciel Baker experienced a real “wow” moment when she went to try on the new uniform at the Lester Melnick boutique in the summer of 1972. Nervous and worried about being late, she caught the bus and ended up arriving three hours early. This made her the first—well ahead of the other cheerleaders—to slip into the brand-new costume, a moment that would stay etched in her memory forever.
In her excitement at the time, she didn’t immediately pick up on the “sexy” vibe of the new uniform. Still, she had a vague, odd feeling that certain parts of her body were missing the fabric needed to cover them.
Vonciel Baker marked the start of the groundbreaking 1972 Dallas Cowboys cheer. She wore her stunning uniform until 1981, completing eight seasons—a record for longevity that would remain unmatched. Over the years, she would notice the iconic outfit becoming shorter and increasingly “sexy.”
She’ll eventually get used to it, since it’s no more intimidating to wear than a bikini. By then, the women’s sexual revolution of the 1970s will have run its course.
Before these shifts in morals took place, many parents of the first cheerleaders of the new '70s era felt uneasy and embarrassed seeing their daughters in such sexy outfits. Some opposed it, including Cowboys pilot Tom Landry and his wife Alicia, both devout and principled Christians.
Another defining moment for Vonciel Baker came on August 5, 1972, during the Cowboys' season opener at the brand-new Texas Stadium, packed to the brim. In the tunnel leading to the field, she waited with her six teammates, heart racing with excitement, ready to step out in front of 65,000 spectators.
As they emerged from the tunnel and sprinted down the field, the Cowboys' new cheerleaders stunned much of the crowd, who pointed and shouted in surprise. People wondered what extraordinary phenomenon they were witnessing. Who were these celestial beauties dressed in superhero—if not slightly risqué—costumes? The astonished spectators had never seen anything like it!
It was love at first sight! They quickly fell for these sweethearts, who would go on to become idols just as popular, if not more so, than the Cowboys' star players.
Before long, Americans will see them as symbols of beauty and grace, much like the most admired supermodels of the era. Interestingly, this proves the foresight of Tex Schramm, who, back in 1960, at the very start of the Cowboys franchise, envisioned cheerleaders as attractive models.
His dream was finally coming true, twelve years later, and these stunning cheerleaders cost only fifteen dollars per match ! They would turn into a money-making machine, a godsend for the tightfisted general manager of the Cowboys !
These girls, giving outstanding performances on the field, were admired for being both talented dance artists and stunning athletes, showcasing their strength and endurance in the scorching heat of Texas Stadium.
After the games, fans—many of them little girls dreaming of becoming like their idols—would wait by the field to get autographs and hand over bouquets of flowers. It was a kind of adoration the Cowboys’ new cheerleaders hadn’t expected, one that would follow them for the rest of their lives.
At one point, things even turned dangerous. Hordes of fans swarmed them, and they started receiving awkward mail. The Cowboys had to step in and protect them with bodyguards.
At the same time, they helped turn the NFL into the most popular league in the USA and sparked an unprecedented commercial success for the Cowboys organization. They were in demand everywhere—at events, on television shows, and more. They had become a financial cornucopia for the Cowboys and for the ever-greedy Tex Schramm!
Vonciel Baker plays a key role in this captivating story as the best-documented early pioneer of the "Original Seven." She was the most active in the media, sharing her long experience as a groundbreaking Cowboys cheerleader and reflecting on the issues and consequences, both at the time they occurred and still today.
What made the 1972 Cowboys' cheerleaders’ unforgettable adventure even more special was that the football team won the Super Bowl that season, clinching the NFL championship. It was a double triumph, shining both on the field with their formidable players and on the sidelines with their sensational pom-pom girls.
Vonciel Baker made her long tenure with the team memorable through her elegance, athletic skills, precise routines, strong sense of musical rhythm, charisma, and remarkable stage presence.
As the only African-American in her group—a rarity among NFL cheerleaders—Vonciel comes from a humble background, raised by a single mother. She’s shown remarkable resilience and proudly represented the Cowboys with honor, pride, and humor in a state and city that have long held onto the lingering traces of segregation toward Black people.
On this subject, credit must be given to Dee Brock who worked hard to persuade the reluctant Tex Schramm to recruit Black cheerleaders in the 1960s. At one point, half of the young cheerleaders on the squad were Black.
After her time as a Cowboys cheerleader, joined by her sister Vanessa in 1973, Vonciel Baker enjoyed a long and steady career as a flight attendant for Southwest Airlines. She was often recognized and happily signed autographs for both passengers and pilots. In 2021, she shared her remarkable journey on the "America's Girl" podcast.
But, as I’ll share in a future post, Vonciel and her glamorous 1972 companions will face opposition and spark heated debates among feminists and puritanical circles in Texas. They will be accused of being the first pin-ups of sport, female objects who delighted male voyeurs at the Cowboys stadium, and who spread the phenomenon of hypersexualization.
Some extremists have even gone as far as to call them scandalous.
Tex Schramm aimed to draw more attention by having cheerleaders put on a show at Texas Stadium, and it’s safe to say that this mission was a complete success!
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