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This practice -- applied most recently for Eurythmics' 1984 soundtrack album and Marvin Gaye's Dream of a Lifetime -- doesn't seem to satisfy the PMRC. "I don't think that add the problem," says Gore. "We want an industry-wide standard created by the industry. If you're going to leave it up to the individual record companies, just leave the mess the way it is."

Though rock lyrics have come under attack in the past, the PMRC's crusade has garnered an unusual amount of attention. As Gortikov wrote in a confidential letter to record companies, "I cannot escape continuing dialogue with the PMRC group, particularly in view of its Washington links."

The "Washington wives," as they have become known, had met with Edward Fritts, president of the National Association of Broadcasters (NAB), after his wife attended a lecture given by the group. Fritts acted with urgency, requesting that forty-five record labels send lyric sheets with new releases to all radio stations to aid program directors in their choices. He also sent warning letters to 806 station owners, enclosing the lyrics to "Darling Nikki" and another Prince composition, Sheena Easton's "Sugar Walls," a song with thinly veiled references to female arousal.

"What we've got is a group of well-connected parents who are raising this issue to the level of national public debate," said Fritts. "If the industry does not voluntarily respond, the PMRC would be prepared and in a position to propose legislation which would restrain the industry, which we are against."

Since Federal Communications Commission (FCC) guidelines already determine the acceptability of what may go on the air, many in the broadcasting industry considered Fritts' actions to be alarmist. As Charlie Kendall, program director of WNEW-FM in New York, remarked, "We know what the lyrics are to the songs we play, and I know what my community can take. There is always gonna be an element that doesn't like rock k roll But as long as I keep it clean and within FCC guidelines, I say, 'Fuck 'em.' "

The PMRC's primary objective, a standardized record-rating system, similar to the one instituted in 1968 by the Motion Picture Association of America (MPAA), has been consistently dismissed by the record companies as impractical and ultimately ineffective.

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