1:1
daily nebraskan
page 1 1
monday, january 14, 1980
TV spots...
Continued from page 10
Frank Green,' W.W. Sound's general
manager, is the in-house jingle composer
"and supervises such projects, Roberts said.
Although singers for commercials have been
tlown in from as far away as Dallas or
Chicago, Roberts and Green have contri
. buted their own singing and instrumental
talents to some spots, and local musicians
often are used, Roberts said.
Some sound .effects can simply be
pulled from the studio's special effects
library, while others must be created , by
Roberts or Green.
"I stayed up one night and fried butter
in a pan, boiled water and made coffee so
we could have kitchen sound
effects," Roberts said.
vcflSice W1 production manager at
KfMQ radio, says creativity comes into
Play as soon as he receives a client's copy.
Commercial birth
After a radio ad salesman pitches an
idea to a client and sells a spot, the product '
or service information is given to a copy
developer, who writes the spiel for the spot,
Wheeler said.
The copy is given to a "traffic director,"
who decides when the spot should be aired.
Finally the copy is given to the producer
Bizarre plot . . .
Continued from page 10
It's sad, but all Farmer s gooa intentions go down the
drain because he employs a narrative that's too violent
and too shocking. -
v Narrative bloody v
Stylistically color the pages red with blood and color
Philip Jose Farmer's face red with embarrassment. One
just cannot overlook the outlandishly absurd descriptive
narrative of the novel. It's like trying to ignore a strong
current that pulls at the feet of a swimmer, and it's this
aspect of the book that quickly pulls it under the reader's
level of tolerance.
Of course, some people will like this kind of book, but
then America's modern writers of "physical reality" are
dependent upon just that kind of readership.
The novel is a good experience for the reader, though,
because a realization comes after finishing that even good
writers dip low to make money sometimes. A Feast Un
known js a-books' its title jmplies:a dinner of trash
an author that-very tew folks' thought could write such a
book.
Don't read this novel if you think that Philip Jose
Farmer is the greatest living writer; you may find he's had
his ups and downs.- v.
iiugEsli
: 13th & P 475-2222 :
5:40-7:40-9:40
USTIN HOFFMAN
Kramer!
Kramer
5:25-7:35-9:45
ROBERT REDFORD'
JANE FONDA
THE
ELECTRI
..S.w.
rvc .
1 tLitCTRICV Vi
Norseman
5:20-7:20-9:20
Winner take all!
ED
LKdlleBallsas,
"Give a gift of
yoii.BeaRedCbss
Volunteer."
ONCE THEY WERE ANGELS
Now they're baring a devil
of a good time -
ICONTINUOUS FROM 10 A.M. Dlt
A Formal
AFaucett
"Fire
Franchesca"
1730 "O" St. 432
9AM
MY
n
(
and a commercial is ready to be born.
Wheeler looks over the copy and in
formation Jianded him by the copy devel
oper, studies it for a few seconds, puts a
record on a turntable and readies a tape.
He dons his earphones, takes a breath
and "lays down" the first line of the tape
over an instrumental background.
Whispering
"Sound ... the final dimension has
arrived," he says in a near stage whisper.
He. stops the tape and switches to
another, studies the script once more, takes
a swig of coffee, cuts to George Benson's
"Breezin'" and plunges into reading the
rest of the copy.
'That might be a little long," he says.
He has a two-second leeway for this 30
second spot.
He turns the tape back manually, until
he reaches just the right drumbeat, marks
the tape for editing and splices the two
sequences together. The result is dubbed
onto a "cart" tape for airtime play.
Some of the more fun commercials have
been those incorporating, character voices.
Wheeler said. For example, KFMQ's char
acter voice expert Bob Kosei has portrayed
the voice of Saturday Night Live's "Mr.,
Bill" and a personified run-down stereo
turntable, he said.
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