The Des Moines Register from Des Moines, Iowa on July 27, 1969 · Page 45
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July 27, 1969

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The Des Moines Register from Des Moines, Iowa · Page 45

Des Moines, Iowa
Issue Date:
Sunday, July 27, 1969
Page 45
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Page 45 article text (OCR)

I tar taerici tiifiif, the varied coils I tar. W.I* Whitman 11919-19921 Yet (hough fm filled with music ...1 do not know the words. Robert J. ftfrdeffe 11944-19141 By Richard K. Shall (Special to Iowa TV Magazine) A NDY WILLIAMS put his finger squarely on a television problem which has been growing in recent seasons and will be rampant in the fall. It's a gimmick invented by those shadowy men of the entertainment world, the agents. It's called "exchange," and as Williams is preparing to resume a weekly TV series next fail — 6:30 p.m. Saturdays on NBC — he has collided with it head on. "The trouble with getting guests is that everyone wants an exchange," Williams lamented. "I don't mind this with people who have their own programs. Bob Hope will be on mine and I'll be on his. But people who don't even have programs or anything in sight want 'exchange.' They get a commitment for an exchange from me, one from Bob Hope and one from Dean Martin, then their agents go out and sell a network on a special with us as the guests. "A lot of these people don't deserve to have specials and shouldn't -ask for an exchange. But all the agents are doing it." This barter system is a bad deal for both performers and viewers. If Williams agreed to exchange with every week's top guest, he'd not only be committed to his own 24 programs — over which he has control and which are produced by a staff of his own choosing — but he'd also have to appear 24 more times on programs over which he had no control and in situations not of his selection. From the viewers' standpoint, the singing star from Wall Lake and Des Moines, la., could become a drag after 48 appearances in one season. W ILLIAMS had regular programs on NBC for five years before he cut back two years ago. In returning to the weekly grind, he's discovered the exchange gimmick isn't the only thing which has changed. He has plopped himself smack into the cigarette controversy. "I made a statement I'd have no cigarette sponsors on my program," he said. "Then I discovered I had two cigarette spots already signed by the network. I don't think cigarettes should be on television at all. The advertising is directed right at kids. After I made my statement, one Andy William* of the cigarette advertisers dropped out. "Then NBC pointed out that they had already signed a contract. So NBC said they would guarantee me .a full- minute anti-cigarette spot on the whole network directly following my program if I'd send out an explanatory release and let them keep the .one cigarette spot. So I did." Williams, a former smoker, said he voluntarily quit cigarettes several years ago. In any case, cigarette advertising on television is doomed. The National Association of Broadcasters is willing to "phase it out" by Sept. 1, 1973; last week, the tobacco industry agreed to end it by September, 1970— or, if the broadcasters are willing, by Dec. 31 this year. Many TV sources have said it would be relatively easy to replace and perhaps even increase television's esitmated $243-million-a-year revenue from cigarette advertising, and the first product mentioned is liquor. By Dr. Joyce Brothers . (North American Newspaper Alliance) A CID ROCK, soul music, folk rock, rhythm and blues — to the beleaguered parents who have to hear it at ear-splitting decibels, the music is nothing but a test of endurance, and most parents "tune out." However, some social scientists believe there is something to be gained by carefully listening to the pop music that so excites the young, excruciating though it may be. The parent who claims he can't understand the younger generation might profitably listen to the words of some of the songs, a taxing task because of the tendency of the singers to shout, scream, wail and moan. Sociologist James T. Carey of the University of California at Berkeley analyzed the lyrics of popular songs in the m i d-1960's and compared them to the lyrics of previous decades. He found a drastic shift in the type of values that had. been expressed in songs in the last 15 years. Dr. Carey notes that in the 1950s, most of the popular songs expressed "older values." Most were love songs, frequently in a conversational mode with the lover pleading, complaining, praising, and so on. The words were romantically idealistic, placing women on a pedestal, extolling love as something overwhelming and uncontrollable. In the 1960s, there has been a much more realistic appraisal of love, with less of a sexual double standard in evidence. 'For example, in comparison to the music of the 1950s, today's troubadours seldom sing of love as something that is "forever" or "always." They are more keenly aware of the fragility of a romance, with' an attitude of "Let's make the best of today and forget about tomorrow." On wings of song, my dearest, / will carry you off, and go To where the Ganges Is clearest; There is a haven I know. ["The parent who claims! [he can't understand the I i younger generation mighff* I profitably listen to the* |words of ... the pop* I music that so excites the '' | young," says this article. e< jiHere are photos of some I of today's star singers of/; I; Mwt music. " Heinrich Heine (1797-1856) Julie Driscoll Buddy Miles Similarly, there is a more candid presentation of sex and the sensual aspects of love, sometimes with quite explicit descriptions. Also, Dr. Carey notes, the end of an affair is viewed today as less traumatic and tragic than it used to be. A LSO notable now is the number of today's popular songs questioning the values of society and choices an individual must make — whereas a decade or so ago, this type of song tended to emphasize the need for accepting the mores of society. The feeling expressed in many popular songs today is that the present society needs to be challenged. Dr. John F. Scott also has studied popular music lyrics and believes many of today's songs express an aggressive challenge to the values of the established society, with a keen sensitivity to hypocrisy in the adult .world. But Dr. Scott also points out that many of today's songs also express a certain fear of responsibility, and anxiety over lack of controls. Dr. Scolt lists some of the themes that recur frequently in today's pop music — the values, hypocrisy, the nature of society, interracial romance, divorce, loneliness and alienation, drug use, and war and peace. It might be argued about pop songs that no one listens to the words, really — only the music itself is important. But one critic points out that even the mood of the music itself is more frankly sensual and direct today than that of a decade or so ago. What's more important is that more and more songs are written by the young groups that play them. The similarity of many of the themes does seem to indicate that the lyrics are expressing something important to young people today. Therefore, curious parents might pay some thoughtful attention to their teen-ager's records. Each generation's songs^seem to have a special meaning. Listening to a rock V roll group isn't likely to change the tastes of someone who came to maturity in the 1940s, but it may help reveal some of the concerns and feelings of young people. <& 1969, By Joyce Brotheri Jam's Jopfin—top rock-bluet singer Iron Butterfly—three of the four Ohio Express arrivat in London Grateful Dead; narcotic* arrest, 10/5/67

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