The intent
of this piece is to focus briefly on a few modest but notable milestones, wherein
we’ve experienced welcome breakthroughs, with what’s come to be known today as
excessive permissiveness gradually winning out over ridiculous ultra-conservatism.
Altogether, a half-dozen key events are covered. Each one either involves, or is directly
related to, the world of public entertainment.
AND WEST IS
WEST
Back when
television was a mere gleam in David Susskind’s eye, the prime means of family
home entertainment was listening to the manifold dramatic, comedic, musical,
documentary, or news reporting programs presented by the various radio
networks. And believe it or not, even
then there were numerous bluenose-incited complaints about excessive violence
corrupting the minds of growing children.
Such “frightening” just-home-from-school daily shows as Tom Mix, Jack Armstrong,
Little Orphan Annie, and Buck Rogers, for example, featured far too many evil,
cutthroat villains. Even though such nasties
would be eliminated one-by-one as a
result of heroic or clever feats by the good guys, these broadcasts simply had to be damaging to junior’s
or junior miss’ tender psyches.
Tsk! Tsk!
Nevertheless,
our concerned adulthood vigilantes had no need to worry over their kids’ being
in danger of learning a little bit extra about (shhh!) s-e-x from listening to
the airways. Well, at least not until
Sunday, December 12, 1937. That’s when Mae
West, an established movie actress, whose alleged immorality-driven film
performances were deemed unfit for children’s sensitive eyes and ears, did a
one-shot radio appearance, which became
the talk of Mrs. Grundy’s universe, shorter than even overnight.
The Edgar
Bergen Sunday afternoon “family” show featured the famed ventriloquist and his dummy
sidekick Charlie McCarthy. Don Ameche was also a regular cast member. On this fateful Sabbath, Miss West became the week’s guest
star.
Following an
innuendo-tinged exchange with Charlie,
she and Ameche did a skit portraying Adam and Eve’s initial “get-together”. Although innocuous enough to most listeners, the lady’s sultry and provocative tone
caused bells to ring and cannons to go off from the halls of Montclair NJ to
the shores of Monterey. It seems that
far too much sex had been allowed to drip all over biblical scriptures – and on Sunday yet.
We can’t
really call this incident an ice breaker, but it remains somewhat immortalized
in radio annals as its biggest shockeroo.
Even the FCC uttered words of condemnation, echoing those of offended
souls throughout radioland. Should the
same bit be redone on television today, using identical phraseology and tones as
then, it would likely create more than a few yawns, and/or viewers reaching for
their remotes to try another channel.
YON BONNIE
BANKS AND BRAES
1937
provided still another stunning occurrence, this time in the realm of popular
music. Long-established acceptable
practice, when playing or singing a traditional “old favorite” number, was
for it to be
performed note-for-note as originally composed, and at the same customary pace.
It so
happened, however, that a young and enterprising pianist named Cllaude
Thornhill had prepared a slightly upbeat vocal arrangement of the celebrated
Loch Lomond, to be sung by Maxine Sullivan, an up-and-coming chanteuse. Happily for the lady, the recording became an
immediate hit, the principal reason being that it was quire bouncy in
execution.
Despite reaping
a fair amount of bucks in disk sales, Miss Sullivan became pronounced guilty of
having defiled a lovely age-old tune, considered semi-sacred to the more
conservative-minded music appreciators.
Oddly enough, as soon thereafter as February 1938, Benny Goodman’s orchestra played Loch
Lomond as part of its renowned Carnegie Hall concert program, and the Martha
Tilton vocal followed the same swingy
manner as had the Sullivan version – and nobody seemed to be offended. Perhaps the “new” styling had already sunk
in.
LARRY’S
REVERIE
Again the
subject is popular music. Larry Clinton,
the leader of a prominent dance orchestra, had the “audacity” to record Debussy’s
Reverie, with lyrics “manufactured” and sung by lady vocalist Bea Wain. In this instance, the pace hadn’t been
stepped up, but just as written. What
was wrong with that, we hear you asking?
Well, in those days a person simply didn’t corrupt a piece composed by
one of the “old masters” with romance-dripping words. The classics just weren’t to be monkeyed
with. Horrors!
Whether “My
Reverie” was a mere shocker to the bluenose (and ears) folk, or merely an ice
breaker, we can’t be sure. In any event,
it didn’t take long afterward for the practice of “swinging the classics” to become
rather popular. Prime examples were Woody Herman’s Woodchoppers’
Ball (Quartet from Rigoletto); Les Brown’s Bizet Has His (Day (L’Arlesienne Suite)
and Marche Slav; Alvino Rey’a William Tell and In the Hall of the Mountain
King: plus Harry James’ Dodger Fan Dancer (Dance of the Hours) and
Flight of the Bumblebee. Still further
on, no loud objections arose when Freddie Martin recorded an instrumental
version of Tchaikovsky’s Piano Concerto
under the title Tonight We Love.
UPTOWN
INDEED!
In the very
early 1940s, popular music produced two relative ice breakers, when Gene Krupa’s
band recorded Let Me Off Uptown, with Tommy Dorsey’s Yes, Indeed close behind. And what, one may ask, was so significant
about that? It’s just that they were both vocal numbers spiritedly rendered by
white girls accompanying black men – a hitherto unheard of situation up until
then. Anita O’Day and Roy Eldridge had
teamed up in the first case, with Jo Stafford and Sy Oliver the other.
JOSE DIDN’[T
SEE
A real shock
wave hit the TV screen on October 7, 1968.
The occasion was a World Series match between the Detroit Tigers and the
St. Louis Cardinals. A young,
growing-in-popularity blind singer-guitarist named Jose Feliciano had been
invited to perform the customary pregame national anthem. And history was promptly made.
To the sheer
astonishment of the entire viewing nation, and maybe somewhat beyond as well,
Mr. Feliciano offered a “soul” rendition of the Star-Spangled Banner, feeling in all sincerity that this was justified in
his capacity as a professional
entertainer with unique styling. But
despite the artistically melodious phrasing ….. well, gangbusters. Maybe it had been acceptable in earlier times
to jazz up a classical piece, but the National
Anthem? No way, Buster! Never!
Unfortunately
for the youthful Jose, the uproarious reaction, which began after no more than
the first few bars of his singing, did indeed damage his career for a year or
so afterward. In some circles, he may
still be held in contempt to this day. Super-
and even lesser-patriots galore wasted not a minute in putting his name at the
top of their private blacklists, maybe never to be erased.
Isn’t it add
that, shortly thereafter and up until the present, nearly every pregame
sporting program has featured either an individual vocalist or a group belting
out the age-old anthem in his, her, or their own note-altered
manner. And nobody complains any longer.
“A” FOR
ADULTRESS
December
1949 and February 1950 brought on a pair of back-to-back Nathaniel l
Hawthornian events, wherein two silver screen goddesses became adorned with
bright scarlet letters, resulting in our modern age’s most lastingly significant
ice breaker from the public morality standpoint.
Although not yet divorced from Orson Welles, glamour queen Rita Hayworth had been carrying on a highly publicized
globe-hopping affair with the fabulously wealthy Prince Ali Khan since
1948. Very little backyard fence
indignation became noticeable -- that is, until news broke to the effect that
the lady was “in a family way”, as the saying goes. Meanwhile, fellow actress Ingrid Bergman was
also married to one man but involved with another, namely film producer Roberto
Rossellini. In due course, the eyebrow-raising
world learned that she too had started “eating for two”.
Even then, a touch of light courting or a harmless flirtation in far-off Stromboli could
easily be tossed aside as girls will be
girls issues. But giving birth to
illegitimate children? Oh, dear me, that
simply won’t do! Especially for such
renowned limelight figures! So Rita’s
past films immediately became objects
for organized boycott, while Ingrid was
actually denounced on the floor of the U.S. Senate, and Ed Sullivan refused to
have her appear on his TV show.
In addition to both ladies’ film careers suffering major setbacks for quite some time
due to universal scorn, they also became
the butt of a few smirking jokes. The
one most remembered dealt with the two of them meeting on the street one afternoon. “How are you these days?” asked Ingrid. “Oh, very busy,” Rita replied. “You see, my sister is getting married next
month.” “Oh,” Bergman then stated, “ why, I didn’t even know
she was pregnant.”
Fortunately, though, for both these maligned ladies and the film
industry in general, their indecent interludes were eventually forgotten. Not
only did they bounce back with utmost success, but indignant public outcry over
such once unforgiveable sins has long since given way to ho-hum, whenever
similar occasions have come to light.
The days of “when is the wedding?”, after an unmarried lass has begun to
show a slightly protruding waistline, are far behind us. In many ways, therefore, our fickle society
owes a deep debt of thanks to Dames Hayworth and Bergman for having brought
about such a decided and welcome breakthrough.