By Ben Thompson
The release of Mary Whitehouse's 'Clean Up TV' crusade (at Birmingham city corridor in 1964) made this devoutly Christian Shropshire school-teacher a media superstar in a single day. Over the subsequent 37 years, her identify turned a byword for censoriousness. the entire enormous quantities of letters this redoubtable campaigner despatched, and many of the many hundreds of thousands she accordingly obtained, have been preserved within the information of her nationwide audience and Listeners Association.
Sifting via this exact compendium of concern and affront, Ben Thompson uncovers a startling new standpoint on Mary Whitehouse's stand opposed to a tsunami of swearing and sexual license. faraway from the final of a death breed, may possibly she even have been the harbinger - if now not rather the agent - of a metamorphosis within the tide of cultural history?
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Extra resources for Ban This Filth!: Letters From the Mary Whitehouse Archive
4 The Jetsons was not a ratings success on primetime but generated high figures as Saturday morning children’s programming, where it influenced a generation of television viewers. 5 Despite generic similarities to The Flintstones, The Jetsons had its own distinct graphic style, with a streamlined art design and light metallic and pastel color shades Sonic Retro-Futurism in The Jetsons 15 to match the space-age setting. This seeming look of the future was matched with a retro-futuristic sound for the series.
Music in The Twilight Zone 9 material written by Cleave, Goldsmith, Herrmann, Murray, and Steiner— under Gluskin’s direction was “beautifully recorded in London, Munich and Paris,”29 thereby circumventing payment regulations imposed by the American Federation of Musicians. In any case, fees of course were paid to composers whose music was accepted by the CBS library. Once recorded, however, the music remained the property of CBS, and it could be “tracked” into productions ad infinitum without additional payment—or credit—going to its composers.
There are no monsters and few space aliens, and even the robots and robotic gadgets are quirky and personable. Yet the futuristic setting of The Jetsons and the visionary technologies represented in the characters’ lives provided opportunities for quirky sounds and jazz music effects. The Jetsons was produced using television-adapted so-called “limited animation” techniques to economically create the audiovisual form. This chapter positions an analysis of the music and sounds in The Jetsons in the contexts of television in the 1960s and 1980s, the US television cartoon industry (and specifically the Hanna-Barbera studio), and American culture in those periods.
Ban This Filth!: Letters From the Mary Whitehouse Archive by Ben Thompson