:. flr h/ - americanradiohistory.com...k' _i,ffi Sbgd:'f,ffis ffF &trerla k-ill fgfi 52, ** I.r:!l i,.'8 !,i +r. :. 's.ti.*;;rr!::i lCrmt 'tt,-,,1:rr: Fr 1., .SO-SA &j: il t THE

k' *_i,ffi

Sbgd:'f,ffisffF &trer*l*a k-ill* fgfi 52, ** I.

r:!l !,i :. 's.ti.*i,.'8 +r. ;;rr!::i

lCrmt

-,,1:rr:

'tt,Fr 1., .

SO-SA

&j:

il

t

THE AGENCY:

STANDISH,INC.THE ADVERTISER:

NARRAGANSETT BRE\TING CO.THE PRODUCER:

NATIONAL SCREEN SERVICE

flrh/

Narragansett Brewing Companyused this TV Film Commercial. asan opening for their telecast of theBoston Red Sox ballgames. LikeNarragansetl's,, your television filmcomrnercialo produced by NATION.AL SCREEN SERVICE, means big-league advertising. . . that groovesyour pitch ushere you want it...fightinto the heart of Americats fastestgrowing market.

NSS facilities, craftsmanship andskill put soclc and sell into your com-mercial. . . titles. . . or opening. . .with all the salesmanship ingredi-ents that efrectively h old the viewer'sattention . . . identily your produet {.. . . and boost your sales !

Let NSS go to bot for you TODAY

-ond let our 30 yeors of experi-ence in putting showmonship-on-film score new soles records foryour product.

NATIONAT SCREEN SERVICE. 1600 BROADWAY. NEW YORK 19. CI-6-57OO

MAY 1951 • SEVENTH YEAR • FIFTY CENTS IN THIS ISSUE

D

Agency Answer Man Disc Jockey on Video £TV

Alfred 855 HlvereiJe Dr. New York 32, M. {.

.,4-

wS"

XlO-52

&?ffMe4cea6

tussm' rrrcJhffl

If V

0

k

>v'V\\\W

Otl ft- VJL m \ m

*

■ ww^

m

Narragansett Brewing Company used this TV Film Commercial, as an opening for their telecast of the Boston Red Sox ballgames. Like Narragansett's, your television film commercial, produced by NATION- AL SCREEN SERVICE, means big- league advertising . . . that grooves your pitch where you want it... right into the heart of America's fastest growing market.

NSS facilities, craftsmanship and skill put sock and sell into your commercial . . . titles ... or opening . . . with all the salesmanship ingredi- ents that effectively hold the viewer's attention . . . identify your product . . . and boost your sales !

Let NSS go to bat for you TODAY —and let our 30 years of experience in putting showmanship-on- film score new sales records for your product.

K. r

%

H.S.S

THE AGENCY: STANDISH, INC.

THE ADVERTISER: NARRAGANSETT BREWING CO.

THE PRODUCER; NATIONAL SCREEN SERVICE

NATIONAL SCREEN SERVICE. 1600 BROADWAY. NEW YORK 19- CI-6-5700

www.americanradiohistory.com

Nerv glass-and-met:rl picture trlrc-develcped by RCA scientists and engineers-gives a l7-inch television Pictrrre in a

2Ofi smaller cabinet.

/lbnuzderzrgbn gqaa res a waf "

/-/i/fr a BEgo PirZrre - sma//tr r?/fu /ldeal for mass production, compact, andlower in cost, RCA's glass-and-metalpicfure tube was a major advance intelevision history'

Now comes still another impoltant RCA

engineering advance, rectangular glass-and-

metal kinescopes. Engineered for the bigI7-inch pictures you want in a leceiver that

takes up less cabinet space-as much as 20%

less-the new kinescope gives you finer pic-tures than ever before in sh:rrp and

brilliant focus over every inch of your screen'

RAD7O GORPORAT1OU of AfifERtCAWor/d Leader in Radb - Firsf n Te/erkrbn

See tl're new RCA Victor home tele-vision receivers-with the l7-inchrectanqttlitr pictrrre screen-irt yollrRCA Victor

-dealer's todaY.

And, as yet another step ahead, RCA's newpicture iube ofiers an improved type of

Filte.glasr faceplate-frosted Filtergla-ss-developed on principles first investigated byscientists of RCA Laboratories, to cut reflec-

tion, and give you sharper Picture contrast'

See the latest adaances in radi'o, teleaision,

and electronics at RCA Exhibition IIaII' 36

W est 49th Street, N . L Admission is free' Radio

Corporation of Ametica, RCA Building, Radio

City, Neu'tork 20.

I

i

i

New glass-and-metal picture tube- developed by RCA scientists and engineers- gives a 17-inch television picture in a

5 smaller cabinet.

i

i.

O m

i

WM

/[/ow—is/ews/ort . 'quares away

tv/fih a

SS

.sma//er ■fi/6e/

Ideal for mass production, compact, and lower in cost, RCA's glass-and-metal picture tube was a major advance in television history.

Now comes still another important RCA engineering advance, rectangular glass-and- metal kinescopes. Engineered for the big 17-inch pictures you want in a receiver that takes up less cabinet space—as much as 20% less—the new kinescope gives you finer pictures than ever before ... in sharp and brilliant focus over every inch of your screen.

And, as yet another step ahead, RCA's new picture tube offers an improved type of Filterglass faceplate—frosted Filterglass— developed on principles first investigated by scientists of RCA Laboratories, to cut reflec- tion, and give you sharper picture contrast.

* * *

See the latest advances in radio, television, and electronics at RCA Exhibition Hall, 36 West 49th Street, N. Y. Admission is free. Radio Corporation of America, RCA Building, Radio City, New York 20.

m m

See the new RCA Victor home television receivers—with the 17-inch rectangular picture screen—at your RCA Victor dealer's today.

nADMO COniPOnATiOM o-f AMEKiCJi

IVor/c/ /~eac/er /n 'R.oc//o — TJrsf in 'Te/ews/on


Mcy, t95l Vol. 8, No. 5

TeleviserTHE JOT'RNAL OF TETEVISION

c 0 il T E tT s

AGENCY ANSWFR A,IAN

By Robert E. Hqrris

DISC JOCKEY ON VIDEO

WHO WILL PAY FOR EDUCATIONAL TV?

TELEVISION LIGHTING

By Ted Lqwrence

SPEAK'NG OF THE SPONSOR

FlLlvl FACTS

By Jerry Albert

PROGRAA,IS AVAILABLE TO sPoNsoRs

ROMANCE,4T NOON

rY NEWSREEL TWINS .

RECEIVER DISTRIBUTION

7

IIT

t3

t6

T7

I8

20

2t

22

IRWIN A. SHANEEditor and Publither

Inge Price . . ECitorial AssistantMaurice H. Zouary . ..Art Editor

ROBERT E. I{ARRISManaging Editor

George Webstcr. .......Adaertising Rep.S1'lvia Sklar .Busincss Manager

.f ohn A. Bassett and Co..... West Coast Adoertising Representatioe101 McKinley Bldg., 3757 \4/ilshire Blvd., Los Angeles, California

Televiser )rJew York Offices: 1780 Broadwav. New York 19 PLaza 7-3723

Entered as second class natter, oct. 13, 194.1. elsewhere, payable in u, s. currency). Adver-Re'entered as 2nd class matter, at- rhe po:t tising rates upon request. published monthly,ofnce at New York, N. Y,, under the Act oillarch 3, 1879, Subscription Rate. $5 Per Year except July and August, bv Television Publica'(in the U, S. and territories, and Canada: $6.00 tions, 1780 Broadway, Nerv York 19, N, y.

Entire Coutcnrs Copl rigirted, 1951

rt

I

1@

noBmrl'0utvo

e*fr

*I COVTR IHE WAITNTRONI , 'HER ENIIIITD IIIANIET'TM HAVE ITTRAI{ IATLANII C'II T RRY. GO-NOUNDWOMAN IN THE DARKI,IIIIAKEN HEIRESS

TRANKIE & JOHN}IIE

May. 1951 Vol. 8. No. 5

T deviser

THE JOURNAL OF TELEVISION

CONTENTS

AGENCY ANSWER MAN By Robert E. Harris 7

DISC JOCKEY ON VIDEO 9

WHO WILL PAY FOR EDUCATIONAL TV? 77

TELEVISION LIGHTING By Ted Lawrence 73

SPEAKING Oh THE SPONSOR 76

FILM FACTS By Jerry Albert 77

PROGRAMS AVAILABLE TO SPONSORS .18

ROMANCE AT NOON 20

TV NEWSREEL TWINS 27

RECEIVER DISTRIBUTION 22

IRWIN A. SHANE ROBERT E. HARRIS Editor and Publisher Managing Editor

Inge Price Editorial Assistant George Webster Advertising Rep. Maurice H. Zouary Art Editor Sylvia Sklar Business Manager

John A. Bassett and Co West Coast Advertising Representative 101 McKinley BIdg., 3757 Wilshire Blvd., Los Angeles, California

Televiser New York Offices: 1780 Broadway, New York 19 Plaza 7-3723

Entered as second class matter, Oct. 13, 1944. Re-entered as 2nd class matter, at the post office at New York, N. Y,, under the Act of March 3, 1879. Subscription Rate, $5 Per Year (in the U. S. and territories, and Canada; S6.00

elsewhere, payable in U. S. Currency). Adver- tising rates upon request. Published monthly, except July and August, by Television Publica- tions, 1780 Broadway, New York 19, N. Y.

Entire Contents Copyrighted, 1951

6UMMINGS

MICHELE STEVE . PETER

MORGAN COCHRAN LORRE

for

featun eZ,oot>yf^ud

JIMIVIY WWARt

ft

I COVER THE WATERFRONT HER ENLISTED MAN LET 'EM HAVE IT TRANSATLANTIC MERRY-GO-ROUND WOMAN IN THE DARK MISTAKEN HEIRESS FRANKIE & JOHNNIE Robert

young

PRO

39 TOP WESTERI

SOUN"^^

Wnie lor catalog of features, Westerns, Serials, Cartoons. tNCOcpofiATeo

tr/ir.t IlLt

MAY, 1951


Speciol BBDO deportment scves qccountexecutives time ond effort by supplyingthem with the needed fqcts on TV

ten, Barton Durstine & Osborn,fnc., however, have gone a stepfurther than most other agencies.Back in 1948, they set up a specialTV Account Service department.The purpose was to establish onecentral source to which account ex-ecutives could turn for three things :information on television, help inTV planning, and centralized TVservice.

In the spring of 1949, John A.Thomas took over as head of thedepaltment and worked out a sys-tem which would service accountexecutives with the particular help'they reouired at various stages oftheir TV activity.

The first question that the ac-count executive might ask is,"Should my account be in TV?" Ifhis client manufactured farm trac-tors-and needed mainly a ruralaudience, the answer would prob-ably add up to "no." If it was cigar-ettes, TV is his medium. In any

case, Thomas does not take the de-cision upon himself. He providesthe account executive with the per-tinent factual information but inaddition brings in the thinking ofthe agency's media people to helpguide him in the final decision.

Orgonize Thinking

If the account executive does de-cide to consider TV, Thomas' job isto help him organize his thinking.Statistical infor:nation is providedon how he can use the medium.Will it be programs or short an-nouncements ?-and with what fre-quency? What number of marketswill he try to get in ? How shall heeffectively test the medium for hisaccount? The various AccountService men in the department keepclose tabs on the television activi-ties of all the agency's accounts.Thomas is, therefore, able to basehis recommendations and advice tosome extent on the experience ofthe other accounts. Current clientscan profit by the mistakes of theirpredeeessors and can utilize thelessons learned about film produc-tion, copywriting, buying markets,etc.

Thomas has found, for example,that it is unwise to test televisionin only one market. A more exten-sive test might reveal satisfactoryresults in, say, three out of fourrnarkets. This would certainly bean encouraging sign for the spon-sor. However, a one-market test bythe same advertiser might havebeen conducted in that one city thatproduced the negative results.

Agency Ansuler Man

by Robert E. Horris

TTELEVISION, being a new andI complicated medium, presents

many questions and problems to anagency account executive. Beforerecommending that his client entertelevision, he wants to know manythings. He requires facts aboutprograms and commercial produc-tion, about costs, about markets,stations, etc. The problem is whereto get the information, and how todo so quickly.

Time ls lmportontThe time factor becomes increas-

ingly important in a major agencywith its numerous specialized de-partments and long list of clients.Whom does the account executiveturn to for the information heneeds? Research? Media? Film?Live production ? Probably, all-and more, for he has a lot of ques-tions about TV that no single oneof these departments seems to havecn hand. He wants to know therange of TV production costs ac-cording to program type. He wantst.o lrnow how many minutes of ad-vertising he is permitted on variousnetwork shows. Some fellow ac-count executives have many of thesame questions and a few specialones they would like help with. Alot of valuable time and energy isgoing to be devoted to securihg thisirrformation. Much of this time maybe wasted by not knowing exactlylr'here to turn for the facts. Muchof the effort will subsequently beduplicated by other account men.

Agencies have attempted to meetthis problem in various ways. Bat-

MAY, I95I

Special BBDO department saves account

executives time and effort by supplying them with the needed facts on TV

Agency Answer Man

by Robert E. Harris

TELEVISION, being a new and complicated medium, presents

many questions and problems to an agency account executive. Before recommending that his client enter television, he wants to know many things. He requires' facts about programs and commercial production, about costs, about markets, stations, etc. The problem is where to get the information, and how to do so quickly.

Time Is Important The time factor becomes increas-

ingly important in a major agency with its numerous specialized departments and long list of clients. Whom does the account executive turn to for the information he needs? Research? Media? Film? Live production? Probably, all— and more, for he has a lot of questions about TV that no single one of these departments seems to have cn hand. He wants to know the range of TV production costs according to program type. He wants to know how many minutes of advertising he is permitted on various network shows. Some fellow account executives have many of the same questions and a few special ones they would like help with. A lot of valuable time and energy is going to be devoted to securing this information. Much of this time may be wasted by not knowing exactly where to turn for the facts. Much of the effort will subsequently be duplicated by other account men.

Agencies have attempted to meet this problem in various ways. Bat-

ten, Barton Durstine & Osborn, Inc., however, have gone a step further than most other agencies. Back in 1948, they set up a special TV Account Service department. The purpose was to establish one central source to which account executives could turn for three things: information on television, help in TV planning, and centralized TV service.

In the spring of 1949, John A. Thomas took over as head of the department and worked out a system which would service account executives with the particular help they required at various stages of their TV activity.

The first question that the account executive might ask is, "Should my account be in TV?" If his client manufactured farm trac- tors—and needed mainly a rural audience, the answer would probably add up to "no." If it was cigarettes, TV is his medium. In anv

case, Thomas does not take the decision upon himself. He provides the account executive with the pertinent factual information but in addition brings in the thinking of the agency's media people to help guide him in the final decision.

Organize Thinking If the account executive does de-

cide to consider TV, Thomas' job is to help him organize his thinking. Statistical information is provided on how he can use the medium. Will it be programs or short an- nouncements?—and with what frequency? What number of markets will he try to get in? How shall he effectively test the medium for his account? The various Account Service men in the department keep close tabs on the television activities of all the agency's accounts. Thomas is, therefore, able to base his recommendations and advice to some extent on the experience of the other accounts. Current clients can profit by the mistakes of their predecessors and can utilize the lessons learned about film production, copywriting, buying markets, etc.

Thomas has found, for example, that it is unwise to test television in only one market. A more extensive test might reveal satisfactory results in, say, three out of four markets. This would certainly be an encouraging sign for the sponsor. However, a one-market test by the same advertiser might have been conducted in that one city that produced the negative results.

MAY, 1951 7


-1-

Thomas feels that it is better tospend an adequate sum at the out-set and obtain reliable information.t'ather than base any major cam-paign expenditures on the sketchyresults of one-market "testing."

The next step in TV account serv-ice would be to set up a meetingbetrveen the account executive andthe departments he desires helpfrom . research, copy, program-ming, production, time-buying, etc.The account executive may alsomeet with BBDO's TV Plan Board(comprised of eight department

heads). There he is able to obtainexpert advice on any major prob-Iems that still confront him.BBDO's objective is to base clientaction not on the operation of onedepartment, but on overall agencythinking.

The Account Service departmentthen draws up a detailed analysisof the recommended television cam-paign. If it were a spot campaign,for instance, such a sheet might listthe markets to be entered, numberof stations in the market, popula-tion in TV area, percent of U.S.population, total retail sales, per-cent of U. S. retail sales, nnmberof TV sets, percent of TV coverage,cost per participation program orfllm spot, weekly cost and cost overentire contract period. Most of themarket information is obtainedfrom Sales Management's annualSurvey of Buying Power. The in-formation is given by counties andthese counties must be laboriouslyadded together based on individualstation coverage. (This compilationjob is done afresh each year, andthe data is then used until the nextyear's figures become available.)

lnformotion Bulletins

Once a client is on the air, serv-ice to the account executive con-tinues by way of helping him on allhis TV activity as required. How-ever, the individual services of thedepartment are supplemented bYbulletins issued once or twiceweekly. These contain informationrelating to markets, stations andnetworks, costs, programs and rat-ings. These bulletins are mimeo-graphed on three-holed paper thatcan be inserted in a looseleaf book'Thus, account executives and othertelevision personnel can build uPhandy reference books of their ownif they wish. The bulletins are alsocirculated to BBDO's branch officesthroughout the country to help keeptheir far flung TV departments up-to-date on the latest television factsand figures.

The TV Account Service depart-ment is saving account executivestime and effort and is getting themthe facts faster than would other-wise be possible. In an ever chang-'ing, complex medium BBDO hascome up with a television operationthat is both smooth and efficient.

Below is o typicol exomple of the supplementory television informotion distributed in

bulletin form by TV Account Service. The toble shows how vorious types of TV progromming

compore os to costs ond rotings. All progrom cotegories ore holf-hour unless otherwise indi-coted, ond coyer costs ond rotings os of November 1950.

No. of RatingPro- Me-

Program Type grams dian High Low Median Higlt' Loru

Cost

Children'sDromo (hour)Generol DromoMystery Dromo .

Situotion ComedyWestern (hour) .

WesternAudience Porticipotion .......Quiz Give-Awoy (hour) ......Quiz-Give-AwoyQuiz PonelSports Commentory ..........Sports Events (hr. or more). . . .

Sports EventsConcert ond Fomilior Music . .

Populor ond Dqnce Music . . . .

Voriety-Comedy (hour) .. . . .. .

Voriety-ComedyVoriety-Music (hour) .

Voriety-MusicI nterviewForum ond DiscussionDevotionoll/4_HowFive-minute

38

l0128I22266I622I97

l09II2

12I

18.233724.421.425.6DrcDrcDtcDlc13.616.7Dtc184DtcDrcDrc32.121.5r 5.613.6DtcDtcDtc14.7Drc

27.250.653.138.642.239.039.13r.540.229421.6IFR

34.1I1.025.025.660.434.737.137.830.r9.21.8

32.93.8

lt 96.99.4

I t.3t4.839.027.416.012.3887.5IFR8.26.25.5

25.69.1

8.29.76.8

30.t9.21.02.33.8

3,00022,5009,7508,2509,250

DtcDtcDtcDtc

5,5003,750

Dtc14,000

DtcDtcDtc

3s.000r0,00022,5008,400

DtcDICDtc

1,700Drc

4,50035,50025,000r0,00025,000

Drcl 5,000r 5,000r6,0006,5008,500

Dtc15,000

Dtc5,000

20,000s0,000r 5,00034,50022,500

7,0002,r00

Dtc3,500Dtc

1,500I s,0004,0004,2505,s00

Dlc7,000

12,0005,5004,0001,500

Dtc10,000

Dtc3,000

20,000I 1,5007,0006,0003,0007,0002,100

Dtcr,000Dtc

D I C-data'insufficient f ot' com'ptt tingIFR4nsufficient for reporting

Sources: Costs-Vat'ietg, Noa. 15, 1950Ra.tings-A.' C. Ni,elsen, Noa.7 report.

tsMtilMUSIC

IN

TELEVISION

Since 1940 BMI has beentelevision-minded. It grantsthe unrestricted right to tele-casters to perform its musicfrom any source-live, filmedor recorded-with assurancethat BMI music, recorded orfilmed now, rnay be used inthe future.

From BMI you can getlong term performing rightsto a vast catalogue of musicof every type - teleaisionmusic tod,ay for teleaision'stomorrou).

BMI cordially invites inquiries onthe subject of Music in Teleuision,in its broadest or most specificapplications, at any time.

BROADCAST MUSIC, IiIC.New York

Chicogo Hollywood

TELEVISER

Thomas feels that it is better to spend an adequate sum at the out- set and obtain reliable information, rather than base any major campaign expenditures on the sketchy results of one-market "testing."

The next step in TV account service would be to set up a meeting between the account executive and the departments he desires help from . . . research, copy, programming, production, time-buying, etc. The account executive may also meet with BBDO's TV Plan Board (comprised of eight department

B M I

MUSIC

IN

TELEVISION

Since 1940 BMI has been television-minded. It grants the unrestricted right to tele- casters to perform its music from any source—live, filmed or recorded—with assurance that BMI music, recorded or filmed now, may be used in the future.

From BMI you can get long term performing rights to a vast catalogue of music of every type — television music today for television's tomorrovc.

BMI cordially invites inquiries on the subject of Music in Television, in its broadest or most specific applications, at any time.

BROADCAST MUSIC, INC.

New York

Chicago Hollywood

8

heads). There he is able to obtain expert advice on any major problems that still confront him. BBDO's objective is to base client action not on the operation of one department, but on overall agency thinking.

The Account Service department then draws up a detailed analysis of the recommended television campaign. If it were a spot campaign, for instance, such a sheet might list the markets to be entered, number of stations in the market, population in TV area, percent of U.S. population, total retail sales, percent of U. S. retail sales, number of TV sets, percent of TV coverage, cost per participation program or film spot, weekly cost and cost over entire contract period. Most of the market information is obtained from Sales Management's annual Survey of Buying Power. The information is given by counties and these counties must be laboriously added together based on individual station coverage. (This compilation job is done afresh each year, and the data is then used until the next year's figures become available.)

Information Bulletins

Once a client is on the air, service to the account executive con- tinues by way of helping him on all his TV activity as required. How- ever, the individual services of the department are supplemented by bulletins issued once or twice weekly. These contain information relating to markets, stations and networks, costs, programs and ratings. These bulletins are mimeo- graphed on three-holed paper that can be inserted in a loose-leaf book. Thus, account executives and other television personnel can build up handy reference books of their own if they wish. The bulletins are also circulated to BBDO's branch offices throughout the country to help keep their far flung TV departments up- to-date on the latest television facts and figures.

The TV Account Service department is saving account executives time and effort and is getting them the facts faster than would otherwise be possible. In an ever chang- ing, complex medium BBDO has come up with a television operation that is both smooth and efficient.

Below is a typical example of the supplementary television information distributed in bulletin form by TV Account Service. The table shows how various types of TV programming compare as to costs and ratings. All program categories are half-hour unless otherwise indicated, and cover costs and ratings as of November 1950.

No. of Rating Cost Pro- Me-

Program Type grams dian High Low Median High Lotv

Children's 3 18.2 27.2 11 9 3,000 4 500 1,500 Drama (hour) 8 337 50.6 6.9 22,500 35,500 15,000 General Drama 10 24 4 53.1 9.4 9,750 25,000 4 000 Mystery Drama . 12 21.4 38.6 11.3 8 250 10,000 4,250 Situation Comedy 8 25.6 42.2 14.8 9,250 25,000 5,500 Western (hour) 1 DIC 39.0 39.0 DIC DIC DIC Western 2 DIC 39.1 27.4 DIC 15,000 7,000 Audience Participation 2 DIC 31.5 16.0 DIC 15,000 12,000 Quiz Give-Away (hour) 2 DIC 40.2 12.3 DIC 16,000 5 50C Quiz-Give-Away 6 13.6 29.8 88 5,500 6,500 4,000 Quiz Panel 6 16.7 21.6 7.5 3,750 8,500 1 50 Sports Commentary 1 DIC IFR IFR DIC DIC DIC Sports Events (hr. or more). 6 184 34.1 8.2 14,000 15,000 10,000 Sports Events 2 DIC 11.0 6.2 DIC DIC DIC Concert and Familiar Music 2 DIC 25.0 5.5 DIC 5,000 3,000 Popular and Dance Music . . . 1 DIC 25.6 25.6 DIC 20,000 20,000 Variety-Comedy (hour) 9 32.1 60.4 9.1 35,000 50,000 11,500 Variety-Comedy 7 21.5 34.7 8.2 10,000 15 000 7 000 Variety-Music (hour) . 10 15.6 37.1 9.7 22,500 34 500 6 000 Variety-Music 9 13.6 37.8 6.8 8 400 22,500 3,000 Interview 1 DIC 30.1 30.1 DIC 7 00" 7,000 Forum and Discussion 1 DIC 9.2 9.2 DIC 2,100 2,100 Devotional 2 DIC 1.8 1.0 DIC DIC DIC 'A-Hour . 12 14.7 32.9 2.3 1,700 3 500 1,000 Five-minute 1 DIC 3.8 3.8 DIC DIC DIC

DIC—data insufficient for computing Sources: Costs—Variety, Nov. 15, 1950 IFR—insufficient for reporting Ratings—A. C. Nielsen, Nov. 1 report.

TELEVISER


t-.

AM's fovorite formot tqkes

on q new look for TV

0n Uideoooo

D isc J oGkcy

HE problems oT producing adisc jockey show that would

meet the rigid requirements of thetelevision medium seems to havebeen solved by WDTV, Pittsburgh.Heretofore, cynics argued that theheyday of the easy-going, ad-]ib-bing, informal radio disc jockey hadcome and gone with the advent oftelevision. Now, Stzdio Control, adaily full hour WDTV telecast, hasproved the opposite. OPerating onan extremely low budget, Stud'ioControl in three short months hasattained one of the highest daytimeratings in Pittsburgh, and is atpresent a highly successful show,financially speaking and Program-wise.

When a disc show was first sug-gested, WDTV's General ManagerDonald A. Stewart, Executive Pro-ducer Peter Barker, and OperationsDirector Larry Israel put theirheads together and decided it couldbe done if the proper personalitieswere used.

The program was turned overto Burt Harris, former producerof the Poppa Cannon Shoru in NewYork. and the search for talent andideas was on. The format was thefirst problem to be considered.Harris felt that the universal ap-peal of radio disc shows was two-fold. The playing of records con-stituted 65% of the show. . . . Thedisc jockey and ingratiating per-sonality rnade up Lhe other 35%.He decided the percentages shouldbe reversed on TV. . . . Make theDJ's personality the important fac-tor and the actual spinning of rec-ords secondary. Problem numberturo was what could be done visually

MAY, l95l

while the records were being played.Phonomimicry was the obviousthing, but this too presented a prob-lem. Records that would lend them-selves to pantomime were not neces-sarily the popular tunes of the day.Would an au-dience view and listento novelty records and dated tunes?Other ideas included artistic im-pressions of recorded music, cari-caturing the performer on the rec-ord, background music, etc.

Problem number three, and toHarris' mind, the most important,was finding the right personality toemcee the show. He had to be cas-ual, informal and relaxed, yet pos-sessing that necessary spark anddrive peculiar to TV success. Andhe had to have name value and fem-inine appeal Auditions were called,and Bill Brant, one of Pittsburgh'sthree top record twirlers, got thenod over as many as 250 applicants.

Bill's The Boy

Twenty-eight year old Brant hasexactly the devil-may-care yet in-timate type of personality that isthe keynote to success in television.Bill is a goodJooking chap with anoticeably receding hairline. It wasfelt that this believable appearance,coupled with his casual, off-handmanner, wodd soon win the heartsof a mid-day housewife audience.And how right they were. . . . For inthe short period of time the pro-gram has been on the air, Branthas created more new and faithfulfans than he has in the entire spanof his 10 year AM career.

Studio Control is patterned alongIines similar to Martin Block's fa-mous Malte-Belieae Ballroom in

that performance take place in whatappear to be a variety of studios.Brant. seated at a simulated controlpanel, plugs in the various studios,sometimes announcing beforehandwhat will occur, other times creat-ing an air of mystery as to whatwill be in "Studio X". Bill openseach show with a cheery "Hi, mom,this is your boy, Bill", and inviteseveryone to join him for a cuP ofcoffee. Bill receives an average of600 letters a week. . Sometimesthe singular comment is, "DearBill, I love the way you say "Hi,mom", or "Thanks for inviting meto have a cup of colTee with you".

Incorporated in Stud'io Controlare a number of educational seg-ments. One such ten minute periodfeatures a lovely young Pittsburghmodel. Joan Pastin. She is onlynineteen, yet she is seen regularlyin Life, Look, and other nationalmagazines. Joanie makes all herown clothes. models them on theshow, and then shows the viewingaudience how to make and sew themquickly and inexpensively. Carefullyselected mood records are used asbackground music. So even if theviewing male is not interested inmaking dresses, he can close hiseyes and listen to the music. As yetthere is no record of any male everclosing his eyes when Joanie wason the screen.

Another one of the educationalsegments is tap dancing Iessons forchildren under ten years of age. Itseems that the noontime hour foundmany children home from school,and the first weeks' mail indicatedthe fact that the kiddies made upa goodly portion of the viewingaudience. Producer Harris promptly

9

AM's favorite format takes

on a new look for TV

Disc Jockey

On Video

• • <

THE problems of producing a disc jockey show that would

meet the rigid requirements of the television medium seems to have been solved by WDTV, Pittsburgh. Heretofore, cynics argued that the heyday of the easy-going, ad-lib- bing, informal radio disc jockey had come and gone with the advent of television. Now, Studio Control, a daily full hour WDTV telecast, has proved the opposite. Operating on an extremely low budget, Studio Control in three short months has attained one of the highest daytime ratings in Pittsburgh, and is at present a highly successful show, financially speaking and program- wise.

When a disc show was first suggested, WDTV's General Manager Donald A. Stewart, Executive Pro- ducer Peter Barker, and Operations Director Larry Israel put their heads together and decided it could be done if the proper personalities were used.

The program was turned over to Burt Harris, former producer of the Poppy Cannon Show in New York, and the search for talent and ideas was on. The format was the first problem to be considered. Harris felt that the universal appeal of radio disc shows was two- fold. The playing of records con- stituted 65% of the show. . . . The disc jockey and ingratiating personality made up the other 35%. He decided the percentages should be reversed on TV. . . . Make the DJ's personality the important factor and the actual spinning of records secondary. Problem number two was what could be done visually

while the records were being played. Phonomimicry was the obvious thing, but this too presented a problem. Records that would lend themselves to pantomime were not neces- sarily the popular tunes of the day. Would an audience view and listen to novelty records and dated tunes? Other ideas included artistic im- pressions of recorded music, cari- caturing the performer on the record, background music, etc.

Problem number three, and to Harris' mind, the most important, was finding the right personality to emcee the show. He had to be casual, informal and relaxed, yet pos- sessing that necessary spark and drive peculiar to TV success. And he had to have name value and fem- inine appeal. Auditions were called, and Bill Brant, one of Pittsburgh's three top record twirlers, got the nod over as many as 250 applicants.

Bill's The Boy Twenty-eight year old Brant has

exactly the devil-may-care yet intimate type of personality that is the keynote to success in television. Bill is a good-looking chap with a noticeably receding hairline. It was felt that this believable appearance, coupled with his casual, off-hand manner, would soon win the hearts of a mid-day housewife audience. And how right they were. . .. For in the short period of time the program has been on the air, Brant has created more new and faithful fans than he has in the entire span of his 10 year AM career.

Studio Control is patterned along lines similar to Martin Block's famous Make-Believe Ballroom in

that performance take place in what appear to be a variety of studios. Brant, seated at a simulated control panel, plugs in the various studios, sometimes announcing beforehand what will occur, other times creat- ing an air of mystery as to what will be in "Studio X". Bill opens each show with a cheery "Hi, mom, this is your boy, Bill", and invites everyone to join him for a cup of coffee. Bill receives an average of 600 letters a week. . . . Sometimes the singular comment is, "Dear Bill, I love the way you say "Hi, mom", or "Thanks for inviting me to have a cup of coffee with you".

Incorporated in Studio Control are a number of educational segments. One such ten minute period features a lovely young Pittsburgh model, Joan Pastin. She is only nineteen, yet she is seen regularly in Life, Look, and other national magazines. Joanie makes all her own clothes, models them on the show, and then shows the viewing audience how to make and sew them quickly and inexpensively. Carefully selected mood records are used as background music. So even if the viewing male is not interested in making dresses, he can close his eyes and listen to the music. As yet there is no record of any male ever closing his eyes when Joanie was on the screen.

Another one of the educational segments is tap dancing lessons for children under ten years of age. It seems that the noontime hour found many children home from school, and the first weeks' mail indicated the fact that the kiddies made up a goodly portion of the viewing audience. Producer Harris promptly

MAY, 1951 9


included in his format special itemsof interest to children. With an€y€, however, to keeping themother at the set at the same time.The tap dancing lesson was onesuch feature. Over 800 letters werereceived after the first lesson(which was announced as a trialexperiment) requesting the lessonsbe made a regulal feature of theshow.

And Art TooArt, too, plays an important role

in the makeup of Studio ControlWeekly art lessons are conductedby Marty Wolfson, top-flight Pitts-burgh artist, and are perhaps themost popular educational feature onthe show. It seems everyone, youngand old, loves to draw. Record musicof a soft and soothing nature, ortitles that tie in rvith the subjectmatter, are used to retain theear interest as Marty demonstratesvisually.

From time to time, guests dropin to pay host Bill Brant a visit.Top recording stars, band leaders,lady wrestlers, famous movie stars,and the like. One such guest com-pletely stole the spotlig:ht from Billon a recent visit. This particularguest was such a complete extrovertand scene stealer that Brant threwup his hands in despair arid threat-ened to give him the program rightthen and there. The guest?Bonzo, the chimp-late star of Bed-

time For Bonzo. Bill and Bonzo Puton such a great show that Pitts-burgh is still talking about the mon-keys they made of themselves.

Producer Harris, who writes,stages and directs the show, feltthe need for a series of regular pub-licity stunts to build up the localaudience. The first bit of publicityand perhaps the best stunt pulledso far, was, oddly enough, notplanned at all. It took both Brantand Hamis by comPlete surprise.Brant had run Llp a series of Park-ing violations amounting to $44.50.One day during the course of theshow, a police officer with a sum-mons to deliver the person of oneWilliam Brant to the local policestation. walked into the studios. Theofficer was content to rvait until theshow went off the air before issuingthe subpeona. But quick thinkingHarris asked the floor manager tolequest that the officer present hissLlmmons to Brant right then andthere while the show was on. Theofficer complied and ,,Brant retal-iated in kind by reading the sum-mons to viewing audience. Every-one laughed about it then but theclimax came when the offieer strodeback into camera range just oneminute before sign-off time,-g.m-plained he could wait no longer,took Brant by the arm in his bestofficial manner, and took him off theset and out of the studio. The cam-eraman obligingly kept everyone in-

formed by panning with them andfollowing them right out ot thestudio as far as the cable wouldstretch. Needless to say, the audi-ence reaction achieved by this com-pletely unrehearsed and unplannedbit of spontaneity was terrific. Con-tributions toward the fine Pouredin and tearful children pleaded withtheir mothers not to let that badman take Bill Brant away. Withinminutes, newspapers called, photog-raphers showed up, and Stud'io Con-trol got it's first big publicity breakthrough the courtesy of the PoliceDepartment. (The next day Brantwas back on the job, also throughthe courtesy of the Police Depart-ment).

Another Stunt

Another stunt. -which achievedquite a bit of notoriety, is claimedto be a Studio Control televisionfirst. The first line of the releaseread "Everybody wants to get intothe act". It seems Burt Harris wasnot content to be merely the manbehind the scenes. One daY Burtleft the contlol room, walked ontothe set, and proceeded to take partin the show issuing camera direc-tions at the same time. Viewerswere flrst amazed, then delighted,to see a TV director in action. Allthe particular camera shots wereexplained and demonstrated after afew minutes of biting rePartee be-tween Star Brant and ProducerHarris.

Studio Control has been eom-pletely sold out since the secondweek of plogramming. SPonsorssuch as Philip Moruis, Alka-Seltzer,O'cedar and Tide are so pleasedwith the results that practically allhave lenewed their contracts. Theshow carries seven sponsors Perday, all on film at the present time.They are integrated into the showby utilizing the "Switch to StudioB" gimmick. The show has a longwaiting list of sponsors, all vis-ibly impressed by the wonderfulresults achieved by those now on theStudio Control program. It's com-pletely unrehearsed and yet is oneof the smoothest running, pro-fessional looking telecasts seen ondaytime TV anywhere in the coun-try. Harris insists that much of thecredit for this belongs to his highlyproficient and alert studio crew.Studio Control, in any case, hashelped make out of TV the warm,informal. intimate medium it wasmeant to be.

PRODUCER BURT HARRIS (left) hqs the comero dolly in on stor Bill Bront.Pittsburgh viewers got o big kick out of seeing Horris coll comero shots fromthe studio floor. Horris got o kick out of it olso*from Bill Bront. Bront likes

to work olone!

TELEVISER

included in his format special items of interest to children. With an eye, however, to keeping the mother at the set at the same time. The tap dancing lesson was one such feature. Over 800 letters were received after the first lesson (which was announced as a trial experiment) requesting the lessons be made a regular feature of the show.

And Art Too Art, too, plays an important role

in the makeup of Studio Control. Weekly art lessons are conducted by Marty Wolfson, top-flight Pitts- burgh artist, and are perhaps the most popular educational feature on the show. It seems everyone, young and old, loves to draw. Record music of a soft and soothing nature, or titles that tie in with the subject matter, are used to retain the ear mterest as Marty demonstrates visually.

From time to time, guests drop in to pay host Bill Brant a visit. Top recording stars, band leaders, lady wrestlers, famous movie stars, and the like. One such guest com- pletely stole the spotlight from Bill on a recent visit. This particular guest was such a complete extrovert and scene stealer that Brant threw up his hands in despair and threat- ened to give him the program right then and there. The guest? . . . . Bonzo, the chimp—late star of Bed-

time For Bonzo. Bill and Bonzo put on such a great show that Pitts- burgh is still talking about the mon- keys they made of themselves.

Producer Harris, who writes, stages and directs the show, felt the need for a series of regular publicity stunts to build up the local audience. The first bit of publicity and perhaps the best stunt pulled so far, was, oddly enough, not planned at all. It took both Brant and Harris by complete surprise. Brant had run up a series of park- ing violations amounting to $44.50. One day during the course of the show, a police officer with a sum- mons to deliver the person of one William Brant to the local police station, walked into the studios. The officer was content to wait until the show went off the air before issuing the subpeona. But quick thinking Harris asked the floor manager to request that the officer present his summons to Brant right then and there while the show was on. The officer complied and Brant retal- iated in kind by reading the sum- mons to viewing audience.' Every- one laughed about it then but the climax came when the officer strode back into camera range just one minute before sign-off time,—com- plained he could wait no longer, took Brant by the arm in his best official manner, and took him off the set and out of the studio. The cameraman obligingly kept everyone in-

formed by panning with them and following them right out of the studio as far as the cable would stretch. Needless to say, the audience reaction achieved by this com- pletely unrehearsed and unplanned bit of spontaneity was terrific. Con- tributions toward the fine poured in and tearful children pleaded with their mothers not to let that bad man take Bill Brant away. Within minutes, newspapers called, photographers showed up, and Studio Con- trol got it's first big publicity break through the courtesy of the Police Department. (The next day Brant was back on the job, also through the courtesy of the Police Depart- ment) .

Another Stunt Another stunt, which achieved

quite a bit of notoriety, is claimed to be a Studio Control television first. The first line of the release read "Everybody wants to get into the act". It seems Burt Harris was not content to be merely the man behind the scenes. One day Burt left the control room, walked onto the set, and proceeded to take part in the show issuing camera directions at the same time. Viewers were first amazed, then delighted, to see a TV director in action. All the particular camera shots were explained and demonstrated after a few minutes of biting repartee between Star Brant and Producer Harris.

Studio Control has been com- pletely sold out since the second week of programming. Sponsors such as Philip Morris, Alka-Seltzer, O'cedar and Tide are so pleased with the results that practically all have renewed their contracts. The show carries seven sponsors per day, all on film at the present time. They are integrated into the show by utilizing the "Switch to Studio B" gimmick. The show has a long waiting list of sponsors, all vis- ibly impressed by the wonderful results achieved by those now on the Studio Control program. It's com- pletely unrehearsed and yet is one of the smoothest running, pro- fessional looking telecasts seen on daytime TV anywhere in the country. Harris insists that much of the credit for this belongs to his highly proficient and alert studio crew. Studio Control, in any case, has helped make out of TV the warm, informal, intimate medium it was meant to be.

,

■rsi:

I

m

PRODUCER BURT HARRIS (left) has the camera dolly in on star Bill Brant. Pittsburgh viewers got a big kick out of seeing Harris call camera shots from the studio floor. Harris got a kick out of it also—from Bill Brant. Brant likes

to work alone!

10 TELEVISER


All the debqte over educo-tionol television hinges onone importont question

THE ke1. question in the contro-r versy over- educational TV ishow will it be financed, and bywhom. With the FCC's recent pro-posal to reserve 200 of the coun-try's TV channels for educationalpurposes, the educators are on thespot. What action will they take ?

In commenting on the FCC's de-cision, Commissioner Wayne Coysaid:

"Television f requencies constitutean important and large part of agreat national resource, the radiospectrum. It is essential that sucha resource be utilized in the publicinterest. It certainly cannot be re-garded as being in the public in-terest if television frequencies, nowproposed to be reserved by the Fed-eral Communications Commission,are not utilized rvithin the reason-ably near future.

"What is the leasonably nearfuture with respect to this prob-lem? It is my opinion that the rea-sonably neal future is the timelequired for educational institu-tions to make up their minds as torvhether or not they will utilize tele-vision in their educational programand in so doing decide to become anoperator or a joint operator of anon-commercial educational tele-vision station. Governors of thevarious states, state legislatures,boards of trustees, administrativeofficers and faculties are all involvedin this decision making. Certainlythe participation of state-supportedschools in this proposal to use tele-vision as a part of their educationalprogram requires decision by stateIegislatures which may not meetuntil approximately two years fromnow.

MAY, I95I

"It certainly would be unreason-able to attempt to force decisions insuch cases without allowing suffi-eient time for state legislatures tomeet and consider the problern.Indeed, because of the magnitudeof the problem more than one ses-sion of a state legislature might berequired for this problem. But itdoes not seem unreasonable to ex-pect boards of trustees and admin-istrative officials of educationalinstitutions to declare their inten-tions at an early date, subject to:rction by state legislatures."

First Step

The New York State Board ofRegents has taken the first boldstep in this direction. They havecome forth with a plan for a statenetwork of eleven television sta-tions, under which the resources ofcolleges, schools, museums, art gal-leries and libraries would be usedto provide special video programsfor both school children and adults.They have asked the state legisla-ture for'$3,500,000 to construct thestations.

As quoted in the New YorkTi,mes: "According to Mr. Wilson(Dr. Lewis A. Wilson, State Com-missioner of Education), the majormerit of the plan of the Regents isto 'stake out a claim' to channelsthat would be of use to perhapshundreds of educational institu-tions. Without some such centrali-zation of operation, he said, theFederal Communications Commis-sion would face a hopeless task inchoosing which universities shouldhave stations. For one college tooperate a TV station alone, he saidmight prove flnancially onerous.

"Both Mr. Holtzmann (Jacob L.Holtzmann, chairrnan of special TVcommittee of Regents), and Mr.Wilson acknorvledged that it mightcost upward of 92,500,000 annuallyto maintain a chain of eleven sta-tions, which would be equipped tooriginate programs locally and feedthem to the network. They believedthat many educational institutionsand communities might be willingto bear a share of the total cost inexchange for the added service re-ceived, but they noted that theLegislature might prefer to keepthe whole project under state fi-nancing.

"Program costs would run extra,Mr. Holtzmann and Mr. Wilsonagreed, but they said that theywould not be nearly as high as forcommercial .stations. He believedthat many prominent artists wouldcooperate if they knew their serv-ices were beneflting school chil-dren."

Frieda B. Hennock. the FCC'sleading proponent of educationalTV, had this to say in a speech lastmonth: "The cost of televisionshould not dissuade educators fromits use. This cost is small in com-parison to the giant multi-milliondollar budgets of our large univer-sities and metropolitan Boards ofEducation-the 106 million dollarsin Los Angeles-the 40 million ofthe University of Illinois. Today,one hundred thousand dollars is notan unheard of yearly expenditurefor educational broadcasting. Thisamount is spent by the publicschool systems in Cleveland andNew York. Annual operating ex-penses for Wisconsin University'sradio network alone exceeds 5225.-000.

Who Poy ForwiilEducqtionql TV?

tl

All the debate over educa-

tional television hinges on one important question

Who Will Pay For

ducational TV?

THE key question in the contro- versy over educational TV is

how will it be financed, and by whom. With the FCC's recent proposal to reserve 200 of the country's TV channels for educational purposes, the educators are on the spot. What action will they take?

In commenting on the FCC's decision, Commissioner Wayne Coy said:

"Television frequencies constitute an important and large part of a great national resource, the radio spectrum. It is essential that such a resource be utilized in the public interest. It certainly cannot be re- garded as being in the public interest if television frequencies, now proposed to be reserved by the Fed- eral Communications Commission, are not utilized within the reasonably near future.

"What is the reasonably near future with respect to this problem? It is my opinion that the reasonably near future is the time required for educational institutions to make up their minds as to whether or not they will utilize television in their educational program and in so doing decide to become an operator or a joint operator of a non-commercial educational television station. Governors of the various states, state legislatures, boards of trustees, administrative officers and faculties are all involved in this decision making. Certainly the participation of state-supported schools in this proposal to use television as a part of their educational program requires decision by state legislatures which may not meet until approximately two years from now.

"It certainly would be unreasonable to attempt to force decisions in such cases without allowing sufficient time for state legislatures to meet and consider the problem. Indeed, because of the magnitude of the problem more than one session of a state legislature might be required for this problem. But it does not seem unreasonable to ex- pect boards of trustees and administrative officials of educational institutions to declare their inten- tions at an early date, subject to action by state legislatures."

First Step The New York State Board of

Regents has taken the first bold step in this direction. They have come forth with a plan for a state network of eleven television stations, under which the resources of colleges, schools, museums, art gal- leries and libraries would be used to provide special video programs for both school children and adults. They have asked the state legislature for $3,500,000 to construct the stations.

As quoted in the New York Times: "According to Mr. Wilson (Dr. Lewis A. Wilson, State Com- missioner of Education), the major merit of the plan of the Regents is to 'stake out a claim' to channels that would be of use to perhaps hundreds of educational institutions. Without some such centrali- zation of operation, he said, the Federal Communications Commis- sion would face a hopeless task in choosing which universities should have stations. For one college to operate a TV station alone, he said might prove financially onerous.

"Both Mr. Holtzmann (Jacob L. Holtzmann, chairman of special TV committee of Regents), and Mr. Wilson acknowledged that it might cost upward of $2,500,000 annually to maintain a chain of eleven stations, which would be equipped to originate programs locally and feed them to the network. They believed that many educational institutions and communities might be willing to bear a share of the total cost in exchange for the added service received, but they noted that the Legislature might prefer to' keep the whole project under state financing.

"Program costs would run extra, Mr. Holtzmann and Mr. Wilson agreed, but they said that they would not be nearly as high as for commercial stations. He believed that many prominent artists would cooperate if they knew their services were benefiting school children."

Frieda B. Hennock, the FCC's leading proponent of educational TV, had this to say in a speech last month: "The cost of television should not dissuade educators from its use. This cost is small in com- parison to the giant multi-million dollar budgets of our large universities and metropolitan Boards of Education—the 106 million dollars in Los Angeles—the 40 million of the University of Illinois. Today, one hundred thousand dollars is not an unheard of yearly expenditure for educational broadcasting. This amount is spent by the public school systems in Cleveland and New York. Annual operating ex- penses for Wisconsin University's radio network alone exceeds $225,- 000.

MAY, 1951 11


SPOTSo ovER 100

. sPors oN

O THE AIR FOR

. AMERICA S

. LARGEST

. ADVERTISERS_

O PRODUCED BY

Gray-0'ReillY480 LEXINOToN AVE'; NEW:YORK

PLAZA 3-1531

a

*TFI.TV

ll Now, while it still is

ll yorr mind, is the timell prepore your. . .TI

onto

RELIGIOUS FILMPROGRAMS

ll ro this end . . .

TELECAST FILMS, Inc.includes in its new coto-logue o series of De-votionol, Biblicol ondMorql-Teoching films con-sisting moinly of films pro-duced by FOUNDATIONFILMS, Inc. of Colifornio.

IWrite todoy for ourcotologue of FilmsTelevision. Feoturesshots of oll lengths.

new(or

cind

Jn/n'oot ii/*'. -9or.l12 West 48th St., New York 19, N.Y.

Gordon W. Hedwig

"Many schools in a communitycan cooperate in the financing andprogramming of a single station.Thus, the radio activities of theLowell Institute in Boston are co-operatively sponsored by six leadingschools in the city. Such coopera-tion will allow stations in localitieswhere no one institution can affordTV.

"This field is, furthermore, a fineone for endowment. A gift of$150,000 made possible SyracuseUniversity's TV studios. Likewise,the entire public school FM opera-tion in the cities of Atlanta andLos Angeles stemmed from similargifts."

A study of television as a teach-ing tool was made by surveying 694secondary school teachers and ad-ministrators in the Greater Cincin-nati TV area. The study was spon-sored by the Crosley Corporationand the University of Cincinnati,and was conducted by Russel E.Helniick.

The results shed some light onhow educators themselves feel aboututilizing existing TV stations.Among the pertinent questions andanswers reported by the surveywere the following:

Question-"Assuming that therewill be educational-TV programsdesigned for school use, do youthink that the cost of TV sets forthe schools, and the installation andservice charges, etc., should be cov-ered by the instructional (visualaid) budget?"

Conclusions: - "Of the panelmembers, 79Vo stated that the TVsets should be purchased from theschool budget, [L% said theyshould not, and 70% gave noanswer."

Question-"Assuming that thecost of education-TV may be metby advertising-are the followingacceptable for sponsorship of edu-cational programs?"

C oncl,usions :-Percent acceptingsponsorship by: book publishers,75Vo; insurance, TS/a; TV manu-facturers, 69Vo; food,s, 64/6; auto-mobiles, 57 /6 ; sports equipment,55Vo; soft drinks, 33Vo; ciearettes,9Vo and beer, 'lVo."

Question-"Meeting cost of tele-vision-education programs :

(a) TV station foot the bill-noadvertisingStation may sell advertisingtime to any sponsorRestricted sponsorship ac-ceptable."

Conclusi,ons: - "p1ep the an-

swers to the above questions, it isapparent that the majority of edu-cators favor some type of restrictedsponsorship, as 58/o answered 'yes'to this portion of the above ques-tion. Restricted sponsorship is as-sumed to mean sponsorship by firmsand businesses offering recognizedservices and products as previouslydiscussed. Only L0% of the teachersand supervisors thought that un-Iimited sponsorship would be desir-able as a means of financing TV-education programs, while 26%said they believed that the stationshould assume the entire cost as apublic service."

fn answer to the opponents ofnon-commercial TV stations, Com-missioner Hennock has made thefollowing statement:

"In view of the fact that educa-tors have a definite and extensivecontribution to make to the tele-vision'industry, opposition by'com:mercial'int'erests to educational TVseems short-sighted. Educationaltelecasting will need equipment-itwill employ personnel-it will sellmany receivers to schools and tothose countless others, who todayrefrain from purchasing them be-cause of their distaste for much ofthe programming, or the feelingthat it may be harmful to theirchildren. Educators will bring tele-vision to areas and communitiescommercial operators may shun be-cause of a low potential profitmargin.'

"Educational television will serveas a 'pilot plant', as an experimen-tal laboratory for commercial tele-vision, just as schools serve aslaboratories in medicine and indus-tty. It will develop new and simplerprogramming techniques which willbe much Iess costly than the com-petitive bidding for stars and pro-grams that too often symbolizescommercial program policy today.

"But perhaps most important,educators will bring to televisionthe high moral purposes whichcharacterize their endeavors. Thisis not merely stuffy generality. Itcan be reflected in national habitsand attitudes, as well as in dollargand cents. I firmly believe thatwithout full provision for educa-tion, the electronic marvel of tele-vision will not gain the respectedplace on the American scene andthroughout the world it shouldhold."

(b)

(c.)

TELEVISER

TFI-TV *

Now, while it still is on your mind, is the time to prepare your . . .

RELIGIOUS FILM

PROGRAMS

To this end . . .

TELECAST FILMS, Inc.

includes in its new catalogue a series of De- 'otional. Biblical and Moral-Teaching films con- sisting mainly of films produced by FOUNDATION FILMS, Inc. of California.

Write today for our new catalogue of Films for Television. Features and shots of all lengths.

^eiecait ^3nc. 112 West 48th St., New York 19, N.Y.

Gordon W. Hedwig

SfOTS

• OVER 100

• SPOTS ON

• THE AIR FOR

• AMERICA'S

• LARGEST

• ADVERTISERS—

• PRODUCED BY

Gray-O'Reilly

48U LEXINGTON A''E.; NEW YORK

PLAZA 3-1531

"Many schools in a community can cooperate in the financing and programming of a single station. Thus, the radio activities of the Lowell Institute in Boston are co- operatively sponsored by six leading schools in the city. Such coopera- tion will allow stations in localities where no one institution can afford TV.

"This field is, furthermore, a fine one for endowment. A gift of $150,000 made possible Syracuse University's TV studios. Likewise, the entire public school FM operation in the cities of Atlanta and Los Angeles stemmed from similar gifts."

A study of television as a teaching tool was made by surveying 694 secondary school teachers and ad- ministrators in the Greater Cincin- nati TV area. The study was sponsored by the Crosley Corporation and the University of Cincinnati, and was conducted by Eussel E. Helmick.

The results shed some light on how educators themselves feel about utilizing existing TV stations. Among the pertinent questions and answers reported by the survey were the following:

Question—"Assuming that there will be educational-TV programs designed for school use, do you think that the cost of TV sets for the schools, and the installation and service charges, etc., should be covered by the instructional (visual aid) budget?"

Conclusions:—"Of the panel members, 79% stated that the TV sets should be purchased from the school budget, 11% said they should not, and 10% gave no answer."

Question—"Assuming that the cost of education-TV may be met by advertising—are the following acceptable for sponsorship of educational programs?"

Conclusions:—Percent accepting sponsorship by: book publishers, 75%; insurance, 73%; TV manu- facturers, 69%; foods, 64%; automobiles, 57%; sports equipment, 55%; soft drinks, 33%; cigarettes, 9% and beer, 7%."

Question—"Meeting cost of television-education programs:

(a) TV station foot the bill—no advertising

(b) Station may sell advertising time to any sponsor

(c) Restricted sponsorship acceptable."

Conclusions: — "From the answers to the above questions, it is apparent that the majority of educators favor some type of restricted sponsorship, as 58% answered 'yes' to this portion of the above question. Restricted sponsorship is assumed to mean sponsorship by firms and businesses offering recognized services and products as previously discussed. Only 10% of the teachers and supervisors thought that un- limited sponsorship would be desirable as a means of financing TV- education programs, while 26% said they believed that the station should assume the entire cost as a public service."

In answer to the opponents of non-commercial TV stations, Com- missioner Hennock has made the following statement:

"In view of the fact that educators have a definite and extensive contribution to make to the television industry, opposition by'commercial interests to educational TV seems short-sighted. Educational telecasting will need equipment—it will employ personnel—it will sell many receivers to schools and to those countless others, who today refrain from purchasing them because of their distaste for much of the programming, or the feeling that it may be harmful to their children. Educators will bring television to areas and communities commercial operators may shun because of a low potential profit margin.

"Educational television will serve as a 'pilot plant', as an experimen- tal laboratory for commercial television, just as schools serve as laboratories in medicine and industry. It will develop new and simpler programming techniques which will be much less costly than the com- petitive bidding for stars and pro- giams that too often symbolizes commercial program policy today.

"But perhaps most important, educators will bring to television the high moral purposes which characterize their endeavors. This is not merely stuffy generality. It can be reflected in national habits and attitudes, as well as in dollars and cents. I firmly believe that without full provision for education, the electronic marvel of television will not gain the respected place on the American scene and throughout the world it should hold."

12 TELEVISER


An explonotion of the basictechniques of lighting TV studios

The obove photogrophs were token off o television.picture -tube to illustrote vorious types of lighting. Left to rightthey ore: bock-light only, key-light only, ond bose plus key plus bick-lighti

Television Lightingby Ted Lowrence

Superaisor of Li,ghting f or CBS-TV

TFELEVISION lighting tech-I niques are derived most logic-ally from those developed for mo-tion pictures. They are, of course,modificatiops . necessary in thetranslation of these techniquesfrom the older medium to the new.

There are several fundamentalcharacteristics of a television sys-tem which require lighting tech-niques of a specialized nature.

Important among these charac-teristics is the faet that the systemhas a limited total contrast rang'e.fn normal operating practice thisrange of luminances is rarely bet-ter than 20 to 1 from the brightestto the darkest object which canaccurately be reproduced within theconfines of a given scene. This ishundreds of times less than tlierange encountered in nature andwith which the eye is prepared tocope. It is also notably less thancan be reproduced by photographicprocesses.

Another characteristic of the sys-tem is its tendency to exaggerate

overall brightness differences with-in the limits of its total brightnessreproduction capability. This con-trast.enhancement is a function ofthe viewing kinescope. Anothercontrast distortion occurs in thecamera image orthicon, wherein thebrightness of any specific imageelement is a function not only ofthe luminance of that element inthe original scene but of all the sur-rounding elements as well.

In order to achieve a subjectivelyeffective picture within the limita-tions which the system imposes,careful control of brightness valuesof all picture components must bemaintained. This is accomplishedeither by holding the reflectanceand distribution of objects in ascene within the bounds of specifiedlimits, or by controlling the Iightfalling on such objects, or, as isusually the case, by a combinationof the two methods.

Of all the television system char-acteristics described earlier, thefact that brightness contrasts tend

to be considerably exaggerated isprobably the most important singleaspect which must be kept in mindin any lighting operation.

It, is generally Aecepted termin:-ology to subdivide types of lightinginto two major categories. Theseare base-light and accent-Iight.

Base-light, in practiee, providesthe basic exposure for the picture.This light should be as diffuse aspossible and directed into the setat as near a horizontal plane as pos-sible. Base light should be sufficientin intensity to provide a picture ofacceptable te,chnical quality whenused alone.

There are two principal types ofsources which are most commonlyused to provide baseJight. A veryefficient light source for this pur-pose is the Slimline fluorescent tubemounted in groups of four or sixbacked by aluminum reflectors. Theonly notable deficiency of this typeof light used as a base is that there

MAY, I95I t3

An explanation of the basic

rechniques of lighting TV studios

Television Lighting

TELEVISION lighting techniques are derived most logic-

ally from those developed for motion pictures. They are, of course, modifications necessary in the translation of these techniques from the older medium to the new.

There are several fundamental characteristics of a television system which require lighting techniques of a specialized nature.

Important among these characteristics is the fact that the system has a limited total contrast range. In normal operating practice this range of luminances is rarely better than 20 to 1 from the brightest to the darkest object which can accurately be reproduced within the confines of a given scene. This is hundreds of times less than the range encountered in nature and with which the eye is prepared to cope. It is also notably less than can be reproduced by photogx-aphic processes.

Another characteristic of the system is its tendency to exaggerate

by Ted Lawrence Supervisor of Lighting for CBS-TV

overall brightness differences within the limits of its total brightness reproduction capability. This contrast enhancement is a function of the viewing kinescope. Another contrast distortion occurs in the camera image oxThicon, wherein the brightness of any specific image element is a function not only of the luminance of that element in the original scene but of all the sur- rounding elements as well.

In order to achieve a subjectively effective picture within the limita- tions which the system imposes, careful control of brightness values of all picture components must be maintained. This is accomplished either by holding the reflectance and distribution of objects in a scene within the bounds of specified limits, or by controlling the light falling on such objects, or, as is usually the case, by a combination of the two methods.

Of all the television system characteristics described earlier, the fact that brightness contrasts tend

to be considerably exaggerated is probably the most-important single aspect which must be kept in mind in any lighting operation.

It is generally accepted -termin'- ology to subdivide types of lighting into two major categories. These are base-light and accent-light.

Base-light, in practice, provides the basic exposure for the picture. This light should be as diffuse as possible and directed into the set at as near a horizontal plane as possible. Base light should be sufficient in intensity to provide a picture of acceptable technical quality when used alone.

There are two principal types of sources which are most commonly used to provide base-light. A very efficient light source for this purpose is the Slimline fluorescent tube mounted in groups of four or six backed by aluminum reflectors. The only notable deficiency of this type of light used as a base is that there

1.

is li

{

The above photographs were taken off a television picture tube to illustrate various types of lighting. Left to right they are: back-light only, key-light only, and base plus key plus back-light.

MAY, 1951 13


is no effective method of dimmercontrol. The other most commonlyused source of baseJight is the"scooP"-* spun aluminum, mattesurfaced reflector containing usu-ally a PS52 type bulb of from 1000to 2000 watts rating. These units,for base lighting service, should beequipped u'ith diffuser frames.

A picture lighted only with baselight may, from a completely tech-nical point of view, be above criti-cism. It is almost certain, however,to be an esthetically unsatisfactorypicture.

It is the proper use of accent-light that makes the difference be-tween a dull picture and one whichis dramatically effective.

AccentJight is essbntially direc-tional illumination. The most com-monly used sources are spotsequipped lr''ith Fresnel lenses rang-ing from 6" in diameter for the500-750 watt - size to 10" for the2000 watt. Individual sources larger:than 2000'lvatts are rarely used.

A characteristic of the Fresnellens is that it casts a spot with softedges, making easier the smoothoverlap of spots from severalsources. The Fresnel lens is alsoefficient and relatively cheap.

There are many categories ofaccentJight and the terminology isstill in a confused state. Key-lightand backJight are, however, gener-ally agreed upon terrns for two ofthe principal categories.

If a more intensely directionallight is required than is possiblewith the Fresnel type lens, a plano-

convex type lens system is used.This lens system is more expensiveand less efficient than the Fresnelbut in a fixture properly equipped itcan provide a spot with sharplydefined edges of virtually any sizeor shape. The most commonly usedsource of this type is most generallyknown by its trade-name, Leco.

Key-LightKeyJight is used primarily to im-

part character and pleasing model-ing to faces. By its very nature itsuggests a dominant source of lightin a scene, which would otherwisebe lacking with base-light alone. Iflarge areas must be covered, suchthat more than one key source is re-quired, direction and angle of thevarious Key-sources must be keptas mutually consistent as possible.Areas of overlap between keyJightsshould be carefully controlled so asto minimize double shadows whichtend to destroy the illusion of asingle dominant source.

KeyJight, in general, should bedirected obliquely down and acrossthe subject from the camera side ofthe scene.

BackJight is a category of light-ing the principal purpose of whichis to compensate artificially for thefact that a television picture is atwo dimensional representation ofthree dimensional objects. Since theeye lacks depth-perception underthese conditions, backlight is usedto provide a limning edge of bright-ness around the edges of foregroundobjects in order to seemingly detachthem from the background.

For backJight to be most effectiveit should be placed on the far sideof the subject (away from the cam-era) and directed down and towardthe camera. Back-lights should bedirected toward the camera at asoblique an angle as possible withoutshining directly into the lens of thecamera.

Since the brightness tolerances ofpresent television systems are sorestricted, visual judgment of ascene is rarely trustworthy. It isnot economically feasible, on theother hand, to light a show entirelyby observations of the effect througha television camera chain. A pro-cedure for basic lighting has there-fore been worked out which requiresonly the use of a photo-electric ex-posure meter, with a scale readingdirectly in incident foot-candles.Results under this procedure are

consistent and the resulting pictrlrequality is pleasing to the eye as wellas electronically satisfactory.

Under this procedure baseJightalone is flrst measured. The requiredintensity of the base light will de-pend directly, of course, on thecamera lens aperture it is desired touse. /.11 will be assumed for thepurposes of this example.

Base light intensity should bemeasured with the meter held in thesubject position and the photo-sensitive face toward the camera.Base-light intensity should be ad-justed to read 100 foot-candles plus70/o, reading from all importantsubject position with the meterpointed in turn toward all probablecamera positions.

The intensity of the keyJightshould be measured with the meterheld horizintally in the same sub-ject positions as above, but with thephoto-sensitive face turned towardthe keyJight source. The combinedintensities of the base-light plzsthe key light when so measuredshould amount to 112 times the in-tensity of the base-light alone.

Backlight intensity should bemeasured with the meter pointeddirectly toward, the backlightsources, again from the varioussubject positions. Back-light inten-sity should be adjusted to read ap-proximately tt/2 times the valueestablished for base-light alone.

The ratios suggested above willprovide satisfactory so-called "high-key" lighting, suitable for mostsituations. The permissible devia-tions in the ratios of keylight tobaselight are difficult to define inabsolute terms. In general, how-ever, an increase in the ratio ofkeyJight to base-light from a nor-mal I7/2 to 1 to 4 to ! representsjust about the limit which shouldbe attempted for "low-key" or nighteffects.

The almost invariable use of mul-tiple camera positions in any givenscene makes the specific choice ofangle for accent lights a matter forconsiderable and delicate compro-mise. A particular positioning ofkey light which is most effectivefrom the point of view of one cam-era may turn out to be particularlyunattractive viewed from a secondcamera position 60o or 90o removedfrom the first. In such cases theusual course is to light for a com-promise camera position midwaybetween two actual ones.

l

FILM PROTECTIVE PROCESS

The SUPER

vAPORATEPROTECTS AGAINST Scrotches, ?lnger-morks, Oil, Wcter ond Climotic Chonges.

I One Trcotment Lasts

I tfie Lile of the FilmErittle Film Reiuvenoted

"lt's Never Too Lcte To Vocuumote"Avoiloble thru your locol deoler or ot

VACUUMATE CORP. 446 W. 43rd St., NewYork ond in these principol cities: Detroit,Mich., Woshington, .D. C., Chicogo, lll.,Son Froncisco, Colif., Hollywood, Calif.,Portlond, Ore., Konsos City, Mo., Rol€igh,N. C., Monilo, P. 1., Conodo.

TELEVISER

is no effective method of dimmer control. The other most commonly used source of base-light is the "scoop"—a spun aluminum, matte surfaced reflector containing usually a PS52 type bulb of from 1000 to 2000 watts rating. These units, for base lighting service, should be equipped with diffuser frames.

A picture lighted only with base light may, from a completely technical point of view, be above criticism. It is almost certain, however, to be an esthetically unsatisfactory picture.

It is the proper use of accent- light that makes the difference between a dull picture and one which is dramatically effective.

Accent-light is essentially directional illumination. The most commonly used sources' are spots equipped with Fresnel lenses rang- ing from 6" in diameter for the 500-750 watt ^ size to 10" for the 2000 watt. Individual sources larger than 2000 watts are rarely used.

A characteristic of the Fresnel lens is that it casts a spot with soft edges, making easier the smooth overlap of spots from several sources. The Fresnel lens is also efficient and relatively cheap.

There are many categories of accent-hght and the terminology is still in a confused state. Key-light and back-light are, however, generally agreed upon terms for two of the principal categories.

If a more intensely directional light is required than is possible with the Fresnel type lens, a piano-

V4CUU(I14K

FILM PROTECTIVE PROCESS

The SUPER

VAPQrate PROTECTS AGAINST Scratches, Finger- marks, Oil, Water and Climatic Changes. ■ One Treatment Lasts

the Life of the Film Brittle Film Rejuvenated

"It's Never Too Late To Vacuumate" Available thru your local dealer or at

VACUUMATE CORP. 446 W. 43rd St., New York and in these principal cities; Detroit, Mich., Washington, D. C., Chicago, HI., San Francisco, Calif., HoJIywood, Calif., Portland, Ore., Kansas City, Mo., Raleigh, N. C., Manila, P. I., Canada.

convex type lens system is used. This lens system is more expensive and less efficient than the Fresnel but in a fixture properly equipped it can provide a spot with sharply defined edges of virtually any size or shape. The most commonly used source of this type is most generally known by its trade-name, Leco.

Key-Light Key-light is used primarily to im-

part character and pleasing model- ing to faces. By its very nature it suggests a dominant source of light in a scene, which would otherwise be lacking with base-light alone. If large areas must be covered, such that more than one key source is required, direction and angle of the various Key-sources must be kept as mutually consistent as possible. Areas of overlap between key-lights should be carefully controlled so as to minimize double shadows which tend to destroy the illusion of a single dominant source.

Key-light, in general, should be directed obliquely down and across the subject from the camera side of the scene.

Back-light is a category of lighting the principal purpose of which is to compensate artificially for the fact that a television picture is a two dimensional representation of three dimensional objects. Since the eye lacks depth-perception under these conditions, backlight is used to provide a limning edge of brightness around the edges of foreground objects in order to seemingly detach them from the background.

For back-light to be most effective it should be placed on the far side of the subject (away from the camera) and directed down and toward the camera. Back-lights should be directed toward the camera at as oblique an angle as possible without shining directly into the lens of the camera.

Since the brightness tolerances of present television systems are so restricted, visual judgment of a scene is rarely trustworthy. It is not economically feasible, on the other hand, to light a show entirely by observations of the effect through a television camera chain. A procedure for basic lighting has therefore been worked out which requires only the use of a photo-electric exposure meter, with a scale reading directly in incident foot-candles. Results under this procedure are

consistent and the resulting picture quality is pleasing to the eye as well as electronically satisfactory.

Under this procedure base-light alone is first measured. The required intensity of the base light will depend directly, of course, on the camera lens aperture it is desired to use. /.II will be assumed for the purposes of this example.

Base light intensity should be measured with the meter held in the subject position and the photo- sensitive face toward the camera. Base-light intensity should be adjusted to read 100 foot-candles plus 10%, reading from all important subject position with the meter pointed in turn toward all probable camera positions.

The intensity of the key-light should be measured -vvith the meter held horizintally in the same subject positions as above, but with the photo-sensitive face turned toward the key-light source. The combined intensities of the base-light plus the key light when so measured should amount to l1/^ times the intensity of the base-light alone.

Backlight intensity should be measured with the meter pointed directly toward the back-light sources, again from the various subject positions. Back-light intensity should be adjusted to read approximately 1% times the value established for base-light alone.

The ratios suggested above will provide satisfactory so-called "high- key" lighting suitable for most situations. The permissible devia- tions in the ratios of key-light to base-light are difficult to define in absolute terms. In general, however, an increase in the ratio of key-light to base-light from a normal 1% to 1 to 4 to 1 represents just about the limit which should be attempted for "low-key" or night effects.

The almost invariable use of mul- tiple camera positions in any given scene makes the specific choice of angle for accent lights a matter for considerable and delicate compromise. A particular positioning of key light which is most effective from the point of view of one camera may turn out to be particularly unattractive viewed from a second camera position 60° or 90° removed from the first. In such cases the usual course is to light for a compromise camera position midway between two actual ones.

14 TELEVlSER


Availoble upon requesl: "Theoter Quolity l6mm.Proiection." This l6-poge book describes feoturesof Eostmon Proiector, gives much voluoble proiec-tion informotion. Write for your copy todoy.

Motion Pi€ture Film DeDortmenl Eqst Coost DivisionEqslmon Kodok Compony 342 Mqdison AvenueRochesfer 4, N. Y. New York t7, New York

Midwesl Division West Coost Divisionl3Z North Wqbcsh Avenue 6206 Sonfo Monicq Blvd.Chicogo 2, lllinois Hollywood 38, Colifornio

'» » s

p I

ror more than a year...

it.

,

I

-

•T::ri

¥

d:-*i

ti.

mJ '.,- I

| liliiilsiiyi:

EASTMAN 16mm.

TELEVISION PROJECTOR,

MODEL 250

NEVER before have so many revolutionary new ideas been combined so successfully in one 16mm. projector.

Designed for continuous trouble-free performance ... used for more than a year in leading key network studios ... the Eastman 16mm. Model 250 is giving an amazing account of itself ...

• Precise sprocket-type geneva pulldown assures excep- tional film steadiness ...

•Exclusive feature makes possible "still-frame" operation —permits commentary from "frozen" frame ...

• Simple, convenient control system includes remote control, gives maximum over-all operating efficiency ...

•Advanced optical and electronic engineering makes possible unparalleled sound reproduction . ..

• Improved tungsten illumination—plus "Lumenized" Kodak Projection Ektar Lenses—provide unusual mosaic screen image brilliance. k c!

Write today for detailed information on specifications, prices, and

Available upon request: Theater Quality 16mm. Pro|ection." This 16-page book describes features of Eastman Projector, gives much valuable projection information. Write for your copy today.

Motion Picture Film Department Eastman Kodak Company Rochester 4, N. Y.

East Coast Division 342 Madison Avenue New York 17, New York

Midwest Division 137 North Wabash Avenue Chicago 2, Illinois

West Coast Division 6706 Santa Monica Blvd. Hollywood 38, California

g3p

■ www.americanradiohistory.com

A summory of the second TV reportissued by Sociol Reseorch, Inc.

ductive commercials for differentsocial class audienc€s are suggested.

By and large, commercials woveninto the on-going action of the pro-gram are more likely to receivefavorable attention than any othercommercials, the report says. Thisis so because there is a minimumof contrast between "setting appro-priate to the program" and "settingappropriate to the commercial".

The "fit" of the commercial intothe program, may be smoothly ef-fected in a variety of ways; as doneon the Martin Kane Show (U. S.Tobacco), or Arthu.r God,freE sTalent Seouts (Lipton Tea) or theGol.d,bergs (Sanka), the report indi-cates.

Viewer Comments

A smooth-flowing "fit-in" com-mercial brought comments like thisto SRI interviewers: "seems likepart of the show-they don't try topush you around" . . . "the commer-cial comes on casually with the restof the show" . . . "they don't hit youover the head with it."

However, some programs do notlend themselves to this "fit". Inthose cases, ingenuity is a help. Inother cases, programs depend on thecustomers' need for some personalrelation to a salesman who knowsthe product, and who, personally"tones down" the difference betweenthe program content and the com-mercial. This is true in such in-stances as: Godfrey, Dennis James(Old Gold) and Sid Stone (Texaco).

Examples of good TV "personalsalesman" commercials all have thefollowing characteristics in com-mon:

Tlze "salesman" is ,til.arn1,, friend)yand " sincer e", building confi(Iencei,n himself .

He. talks directly to the aiewer asan i,ndiaidual and, not as part of alnrge auilience.He "humanizes" tlte prod,uct bytreating it familiarly and, not en-alting it beyond, reason.He makes the oiewer f eel that he,the salesma,n, has personnl, beliefin the product and consi(Iers it a"good buy".On numerous television programs

the commercials are placed in aframework of "variety" or comedyappeal. Naturally enough this tech-nique is most frequently used onvariety and comedy programs sincethere the fit is best, the psycholo-gists flnd. Such commercials as theFred Waririg (General Electric)and the Old Gold dancers (Old Gold)are suggested as excellent varietiesin this category.

Typical comments on various ofthese clearly reflect the viewers'basic attitudes:

"He (Sid Stone) is very cleverthe way he does it. I think he'seven better than Berle."-Tefiaco."It's very entertaining. Theydon't bore you to death.""Those dancing girls are realcute; it's like a part of the show.""I like the ones where they havesinging and dancing."-OId, GoId."They don't commercialize it.They really put a lot of work intothose singing commercials.""It's entertaining-not just cutand dried.""It's just like the rest of the show.They have the whole chorus dothe commerc ials."

-G en eral E lec-

tric.

oSpnaking of the Sponsor))

oo o

66 A MERICANS hate to be gul-fr' lible . . . but they love to be

beguileil." Everybody who has any-thing,to do with,television commer-cials should c6rve that on his desktop. \

ft represents the basic challengefor the TV advertisers to changeviewers' attitudes from: "Here'sanother commercial aqd a necessaryevil" to "Well, this i5 interesting(or funny or helpful) even if it is acommercial."

As in all things, class plays a keyrole in determining attitudes to-ward television advertising.

The Upper Midd,le Closs is mostoutspoken in criticism of commer-cials. They are easily antagonized,resent both pressure and wheedling,have most sales resistance. This isthe group that tends to label muchof TV advertising as "insulting tohuman intelligence" and {'not neces-sarily so".

The Middle Mojority leans moretoward neutrality than hostility to-ward commercials. This must notbe unqualifiedly construed as open-mindedness-it is equally just plainindifference.

Although each class (and togetherthey represent 80% of the Ameri-can market) can be voted and wonwhen properly approached, the Mid-dle Majority is more susceptible toadvertising as a constructive tool.

In a technical report entitledSpeaking of the Sponsor, some ofthe main aspects in today's TV com-mercials are analyzed by the psy-chologists of Social Research, Inc.in this second report of a series.Principles by which the advertisercan guide himself in building pro-

l5 TELEVISER

A summary of the second TV report

issued by Social Research, Inc.

"Speaking of the Sponsor

• • •

£<• A MERICANS hate to be jrul- -i*- lible . . . but they love to be

beyuiled." Everybody who has any- thing do do with television commercials should carve that on his desk top. v

It represents the basic challenge for the TV advertisers to change viewers' attitudes from: "Here's another commercial and a necessary evil" to "Well, this iiS interesting (or funny or helpful) even if it is a commercial."

As in all things, class plays a key role in determining attitudes toward television advertising.

The Upper Middle Class is most outspoken in criticism of commercials. They are easily antagonized, resent both pressure and wheedling, have most sales resistance. This is the group that tends to label much of TV advertising as "insulting to human intelligence" and "not neces- sarily so".

The Middle Majority leans more toward neutrality than hostility toward commercials. This must not be unqualifiedly construed as open- mindedness—it is equally just plain indifference.

Although each class (and together they represent 80% of the Ameri- can market) can be voted and won when properly approached, the Mid- dle Majority is more susceptible to advertising as a constructive tool.

In a technical report entitled Speaking of the Sponsor, some of the main aspects in today's TV commercials are analyzed by the psy- chologists of Social Research, Inc. in this second report of a series. Principles by which the advertiser can guide himself in building pro-

ductive commercials for different social class audiences are suggested.

By and large, commercials woven into the on-going action of the program are more likely to receive favorable attention than any other commercials, the report says. This is so because there is a minimum of contrast between "setting appropriate to the program" and "setting appropriate to the commercial".

The "fit" of the commercial into the program, may be smoothly ef- fected in a variety of ways; as done on the Martin Kane Show (U. S. Tobacco), or Arthur Godfrey's Talent Scouts (Lipton Tea) or the Goldbergs (Sanka), the report indi- cates.

Viewer Comments A smooth-flowing "fit-in" com-

mercial brought comments like this to SRI interviewers: "seems like part of the show—they don't try to push you around" . . . "the commercial comes on casually with the rest of the show" . . . "they don't hit you over the head with it."

However, some programs do not lend themselves to this "fit". In those cases, ingenuity is a help. In other cases, programs depend on the customers' need for some personal relation to a salesman who knows the product, and who, personally "tones down" the difference between the program content and the commercial. This is true in such in- stances as: Godfrey, Dennis James (Old Gold) and Sid Stone (Texaco).

Examples of good TV "personal salesman" commercials all have the following characteristics in com- mon :

The "salesman" is warm, friendly and "sincere", building confidence in himself. He talks directly to the viewer as an individual and not as part of a large audience. He "humanizes" the product by treating it familiarly and not ex- alting it beyond reason. He makes the viewer feel that he, the salesman, has personal belief in the product and considers it a "good buy". On numerous television programs

the commercials are placed in a framework of "variety" or comedy appeal. Naturally enough this technique is most frequently used on variety and comedy programs since there the fit is best, the psycholo- gists find. Such commercials as the Fred Waring (General Electric) and the Old Gold dancers (Old Gold) are suggested as excellent varieties in this category.

Typical comments on various of these clearly reflect the viewers' basic attitudes:

"He (Sid Stone|l is very clever the way he does it. I think he's even better than Berle."—Texaco. "It's very entertaining. They don't bore you to death." "Those dancing girls are real cute; it's like a part of the show." "I like the ones where they have singing and dancing."—Old Gold. "They don't commercialize it. They really put a lot of work into those singing commercials." "It's entertaining—not just cut and dried." "It's just like the rest of the show. They have the whole chorus do the commercials."—General Elec- tric.

16 TELEVISER


Another frequently used tech-nique is that of demonstrating theproduct accompanied with a salestaik about its merits and features.This approach is obviously adaptedbest to products which have demon-strable characteristics-to radios.refrigerators, automobiles, ratherthan to cigarettes, candies, etc.

Because of this emphasis on prod-uct per sa and on sales messagespeciflcally and patently, demonstra-tion commercials usually involve adistinct shift from the rest of theprogram, the analysts flnd. As suchthese commercials are said to posea number of problems because ofthe viewer's poor tolerance ofabrupt shifts from program to com-mercial and back again.

As a result demonstration com-mercials are almost.always rejectedby TV audiences. However, wherethe demonstration commercial isturned into a "service" commercial,the reaction is found to be morefavorable. Here the Kraft Theater(Kraft) is cited as a good example.

Service CommerciolIn this commercial the negative

attitude toward the commercial isfound to be neutralized by the factthat the housewife can learn some-thing interesting, that she getssomething in return fot gioi,ng herattention. Similarly, the GamowoyAt Large Show (Congoleum-Nairn)is said to combine some of the goodfeatures of personalized commer-cials with "service" commercials.

?o be successful, demonstrationcommercials can combine "eye andear catching" appeals, personalizedapproach and variety . . . must showproduct used in realistic, easilyidentified setting for benefit of theviewer. . . must seek to integrate aswell as possible with the mood, per-sonnel and setting of the entertain-ment work best for productsover which people exercise judg-ment before purchasing, such ashome appliances, cars, etc.

There is no variety of commercialwhich cannot be made palatable andeven enjoyable to different socialclasses. The primary difference inadvertisements aimed at differentclass levels are the differences intaste, and these can be analyzed anddealt with effectively. TV commer-cials can meet these standards andcan "fit" these differences, providedsponsors are willing to study theiraudiences realistically

MAY, I95I

||/f OST TV stations are missing a good bet in their failure to make full "'uIYI use of a considerable supply of "free" films which can be hadmerely for the asking. These are the sponsored documentaries producedfor such companies and organizations as B. F. Goodrich, Ford Motors,the Red Cross and the American Association.of Railroads.

These films, which are distributed to such non-theatrical usprs asschools, clubs, churches and industrial groups, include titles like "TheRed Cross Report" (on the activities of the American Red Crops duringthe past yeari, "On the Track" (the functioning of our countly's amaz-ing railroad system), and "sculpturing Is Funl' (on soap cari'ing). Theyare usually very well produced, designed to interest general audiences,and with little or no diiect mention of the sponsoring company's froducts.

Except for transportatiod charges, sponsored films are obtainable atno cost. They can be procured from national distributors like UnitedWorld Films in New York or-in some cases-from Ford Motors, SoconyOil, and other industrial concerns.

Publication of a proposal made in this column last month seems tohave aroused considerable discussion. It was sug:gested here that themajor movie companies compromise with the conflicting pressures, fromthe FCC on one side and theater exhibitors on the other, by releasingfor TY now all feature films produced in 1936 and '37, releasing the nexttwo years' product in 1952, and continuing ih this way until 1964, bywhich time all past years' releases will have been used up and the tworival industries-of necessity-integrated.

The most frequent criticisms have concerned the ban imposed by themusicians' union, which still stands betw-een the Hollywood studios andTY use of their films. Some independent producers, making films ex-pressly for TV, have met this problem by arranging for royalty pay-ments to the union, which then grants TV recording permission. In oppo-sition to this, it is claimed that such a practice opens the door to similarroyalty demands from other unions involved in the making of films, withthe likely consequence that it will become impossible to make TV filmsat a profit.

Where the original sound tracks on old major films can be found, itwould be possible to re-record the sound, omitting all music (with con-siderable loss in mood-building, of course) or substituting "canned" TV-cleared compositions available from several music libraries.

Or-perhaps an agreement could be reached which would provide fora flat per-picture TV payment to the musicians' union, rather than aper-showing royalty. In light of the necessary obduracy of the producerstowards royalty payments, such an anangement might solve the prob-lem, since it would preserve the producers' no-royalty principle whilestill providing an additional source of revenue to the musicians.

And, of course, it would release a great stream of program materialto be ground in the mills of the hungry television gods!

Another frequently used technique is that of demonstrating the product accompanied with a sales talk about its merits and features. This approach is obviously adapted best to products which have demon- strable characteristics—to radios, refrigerators, automobiles, rather than to cigarettes, candies, etc.

Because of this emphasis on product per se and on sales message specifically and patently, demonstration commercials usually involve a distinct shift from the rest of the program, the analysts find. As such these commercials are said to pose a number of problems because of the viewer's poor tolerance of abrupt shifts from program to commercial and back again.

As a result demonstration commercials are almost .always rejected by TV audiences. However, where the demonstration commercial is turned into a "service" commercial, the reaction is found to be more favorable. Here the Kraft Theater (Kraft) is cited as a good example.

Service Commercial In this commercial the negative

attitude toward the commercial is found to be neutralized by the fact that the housewife can learn something interesting, that she gets something in return for giving her attention. Similarly, the Garroway At Large Show (Congoleum-Nairn) is said to combine some of the good features of personalized commercials with "service" commercials.

To be successful, demonstration commercials can combine "eye and ear catching" appeals, personalized approach and variety . . . must show product used in realistic, easily identified setting for benefit of the viewer . . . must seek to integrate as well as possible with the mood, personnel and setting of the entertain- ment . . . work best for products over which people exercise judgment before purchasing, such as home appliances, cars, etc.

There is no variety of commercial which cannot be made palatable and even enjoyable to different social classes. The primary difference in advertisements aimed at different class levels are the differences in taste, and these can be analyzed and dealt with effectively. TV commercials can meet these standards and can "fit" these differences, provided sponsors are willing to study their audiences realistically.

MOST TV stations are missing a good bet in their failure to make full use of a considerable supply of "free" films which can be had

merely for the asking. These are the sponsored documentaries produced for such companies and organizations as B. F. Goodrich, Ford Motors, the Red Cross and the American Association of Railroads.

These films, which are distributed to such non-theatrical users as schools, clubs, churches and industrial groups, include titles like "The Red Cross Report" (on the activities of the American Red Cross during the past year), "On the Track" (the functioning of our country's amazing railroad system), and "Sculpturing Is Fun" (on soap carving). They are usually very well produced, designed to interest general audiences, and with little or no direct mention of the sponsoring company's products.

Except for transportation charges, sponsored films are obtainable at no cost. They can be procured from national distributors like United World Films in New York or—in some cases—from Ford Motors, Socony Oil, and other industrial concerns.

Publication of a proposal made in this column last month seems to have aroused considerable discussion. It was suggested here that the major movie companies compromise with the conflicting pressures, from the FCC on one side and theater exhibitors on the other, by releasing for TV now all feature films produced in 1936 and '37, releasing the next two years' product in 1952, and continuing in this way until 1964, by which time all past years' releases will have been used up and the two rival industries—of necessity—integrated.

The most frequent criticisms have concerned the ban imposed by the musicians' union, which still stands between the Hollywood studios and TV use of their films. Some independent producers, making films ex- pressly for TV, have met this problem by arranging for royalty payments to the union, which then grants TV recording permission. In opposition to this, it is claimed that such a practice opens the door to similar royalty demands from other unions involved in the making of films, with the likely consequence that it will become impossible to make TV films at a profit.

Where the original sound tracks on old major films can be found, it would be possible to re-record the sound, omitting all music (with considerable loss in mood-building, of course) or substituting "canned" TV- cleared compositions available from several music libraries.

Or—perhaps an agreement could be reached which would provide for a flat per-picture TV payment to the musicians' union, rather than a per-showing royalty. In light of the necessary obduracy of the producers towards royalty payments, such an arrangement might solve the problem, since it would preserve the producers' no-royalty principle while still providing an additional source of revenue to the musicians.

And, of course, it would release a great stream of program material to be ground in the mills of the hungry television gods!

MAY, 1951 17


Programs Available to SponsorsIntormation concerning these progroms, now being made ovoilable to sponsors by the

respective stotions, is published os o seryice to stotions, agencies ond advertisers. Stotionsdesiring listings should moil the required inlormotion to TELEVISER by the twentieth ol eochmonth, previous to the month o( publicotion.

WTVN, ColumbusShow: "Fun With The Stivers"Description: Children's show witha separate and distinct plot everyweek. Elaborate scenery and set-tings, dances and song, plus guestScout and Cub Troops. Vic andRuth Stiver act as principle char-acters. Commercial- announce-ments are cleverly woven into theplot of each story with the help oftwo life-like hand puppets, and10-year old' television veteranGayla Eells.Day: SaturdayTime: l:00 to 1:45 p.m.Cosf: $600 for package. 975 perpart. spot.

Show: "Echo Valley Time"Descri,ption: Genuine folk musicwith Art Fulks and Echo ValleyBoys, starring Homer Bayles.This Hill-Billy musical group con-sists of six men with Violin, Bass.Mandolin, Steel Guitar, MelodyGuitar and Harmony Guitar mak-ing up the ensemble.Days: Monday, Wednesday andFridayTi.me: L:00 to 1:30 p.m.Cost: $350. $75 per participation.

WXYZ.TV, DetroitShow: "The Happy Hour Club"Description: The program fea-tures Chuck Stanley as emcee ofa thirty-minute revue of Detroittalent. Tasteful humor and "downto earth . . . homey touch" in thispresentation. Group of 10 to 15youthful entertainers performregularly on a rotating basis.Each day one or two new facesare added. The show also featurespianist and recording artistBobby Stevenson.Days: Monday through FridayTime: L:30 to 2:00 p.m.Program Cost: $775 per |z-hour,$100 per I/+-hour.

r8

o

Shous: "Hello Girls"Description: Designed for thehousewife featuring Bud Lanker.Lanker, who is a combination ofhomespun philosopher, newspaperand family man, discourses onvarious topics including news be-hind the news. Also gives itemsof interest to women and inter-views guests and plays recordmusic,Da,ys: Monday through FridayTim.e: 70:00 to 11:00 a.m.Time Cost: $90 per minute-(Subject to frequency discountand Agency commission.) Quar-ter-hour and one-minute partici-pations are available in this show.

KFI-TV, Los AngelesShow: "Spotlight on Talent"Descri,ption: A variety amateurshow with Johnny Murray actingas emcee. Those interested in ap-pearing write in for auditions. Ofthose appearing the winner ischosen by mail vote, and the win-ner is brought back the followingweek for a return spot andawarded a pfize.Day: FridayTinre: 9:00 to 9:30 p.m.Ti,me Cost:, $450.00Program Cosf : 9210.00 (Commis-sionable)

Show: "Square Dance HappyTime"Description: Stu and LorraineWilson are host and hostess to aguest square dance group eachMonday night with Curly Wil-liams and the Prairie Pals provid-ing the music. A guest "caller" isinvited to appear with his owngroup of dancers. Each week thecaller teaches some basic figureof the square dance.Day: Mond,ayTime: 9:30 to 10:00 p.m.Time Cost: $450.00Progrom Cost: $495.00 (Commis-sionable)

WPTZ, PhiladelphiaShow: "The Better Half Hour"Description: An informal varietyprogram designed for femaleviewers, featuring singers BettieClooney and Peter Hanley, emceeGeorge Skinner, Fred Bennettwith sane and insane fashion andhousehold tips, the Tony DeSi-mone trio. Guest stdrs from localnight clubs and famous recordingpersonalities appear regularly asguest artists. Program also high-Iights "where-to-go and what-to-doin Philadelphia."Days: Monday, Wednesday andFridayTi'me: 2:30 to 3:00 p.m.

Time Cost: Part. $100.00, plus$15.00 net camera rehearsal forlive spot.Progrant Cosl: On request.

WRGB, SchenectadyShow: "Best Food Forward"Description: Practical and in-structive kitchen show featuringculinary expelt Bonnie Ross.

l)ags: Monday and FridayTi.me: l:15 to 1:30 p.m.

Time Cost: $100.00

Program Cost: Rehearsal-$25.00; Talent & Production-$35.00 (Rehearsal cost commis-sionable)

WKTV, UticaShow:, "The WKTV Homemaker"Description: Program is con-ducted by Mrs. Jean Phair, notedauthority on foodhandling, pur-chasing, and preparation. The setcontains a complete, modernkitchen.

Dagrs: Monday through FridayTime: I:00 to 1:30 p.m.

Cost: $35.00 per participatron(Commissionable)

TELEVISER

—Programs Available to Sponsors—

Information concerning these programs, now being made oyailoble to sponsors by the respective stations, is published as a service to stations, agencies and advertisers. Stations desiring listings should mail the required information to TELEVISER by the twentieth of each month, previous to the month of publication.

WTV1N, Columbus Show: "Fun With The Stivers" Description: Children's show with a separate and distinct plot every week. Elaborate scenery and set- tings, dances and song, plus guest Scout and Cub Troops. Vic and Ruth Stiver act as principle char- acters. Commercial, announce- ments are cleverly woven into the plot of each story with the help of two life-like hand puppets, and 10-year old television veteran Gayla Eells. Day: Saturday Time: 1:00 to 1:45 p.m. Cost: $600 for package. $75 per part. spot.

Show: "Echo Valley Time" Description-. Genuine folk music with Art Fulks and Echo Valley Boys, starring Homer Bayles. This Hill-Billy musical group con- sists of six men with Violin, Bass, Mandolin, Steel Guitar, Melody Guitar and Harmony Guitar making up the ensemble. Days: Monday, Wednesday and Friday Time: 1:00 to 1:30 p.m. Cost: $350. $75 per participation.

WXYZ-TV, Detroit Show: "The Happy Hour Club" Description: The program features Chuck Stanley as emcee of a thirty-minute revue of Detroit talent. Tasteful humor and "down to earth . . . homey touch" in this presentation. Group of 10 to 15 youthful entertainers perform regularly on a rotating basis. •Each day one or two new faces are added. The show also features pianist and recording artist Bobby Stevenson. Days: Monday through Friday Time: 1:30 to 2:00 p.m. Program Cost: $175 per %-hour, $100 per ^-hour.

Show: "Hello Girls" Description: Designed for the housewife featuring Bud Banker. Banker, who is a combination of homespun philosopher, newspaper and family man, discourses on various topics including news behind the news. Also gives items of interest to women and inter- views guests and plays record music. Days: Monday through Friday Time: 10:00 to 11:00 a.m. Time Cost: $90 per minute— (Subject to frequency discount and Agency commission.) Quar- ter-hour and one-minute partici- pations are available in this show.

KFI-TV, Los Angeles Show: "Spotlight on Talent" Description: A variety amateur show with Johnny Murray acting as emcee. Those interested in appearing write in for auditions. Of those appearing the winner is chosen by mail vote, and the winner is brought back the following week for a return spot and awarded a prize. Day: Friday Time: 9:00 to 9:30 p.m. Time Cost: $450.00 Program Cost: $210.00 (Commis- sionable)

Show: "Square Dance Happy Time" Description: Stu and Borraine Wilson are host and hostess to a guest square dance group each Monday night with Curly Wil- liams and the Prairie Pals providing the music. A guest "caller" is invited to appear with his own group of dancers. Each week the caller teaches some basic figure of the square dance. Day: Monday Time: 9:30 to 10:00 p.m. Time Cost: $450.00 Program Cost: $495.00 (Commis- sionable)

PTZ, Philadelphia Show: "The Better Half Hour" Description: An informal variety program designed for female viewers, featuring singers Bettie Clooney and Peter Hanley, emcee George Skinner, Fred Bennett with sane and insane fashion and household tips, the Tony DeSi- mone trio. Guest stats from local night clubs and famous recording personalities appear regularly as guest artists. Program also high- lights "where-to-go and what-to-do in Philadelphia."

Days: MondayfllWednesday and Friday Time: 2:30 to 3:00 p.m. Time Cost: Part. $100.00, plus $15.00 net camera rehearsal fur live spot. Program. Cost: On request.

W RGB, Schenectady Show: "Best Food Forward" Description: Practical and in- structive kitchen show featuring culinary expert Bonnie Ross. Days: Monday and Friday

Time: 1:15 to 1:30 p.m. Time Cost: $100.00 Program Cost: Rehearsal— $25.00; Talent & Production— $35.00 (Rehearsal cost commissionable)

WKTV, Utica Show: "The WKTV Homemaker" Description: Program is conducted by Mrs. Jean Phair, noted authority on foodhandling, purchasing, and preparation. The set contains a complete, modern kitchen.

Days: Monday through Friday Time: 1:00 to 1:30 p.m.

Cost: $35.00 per participation (Commissionable)

18 TELEVISER


TI

I

i

Commerciqls of the Monthan sdvertising directory of lilm commerciols

Sorro, Inc.

New York200 East 56 Street

Chicago16 East Ontario Street

Specialists in t;isual selli'ng.

A masterly contrasting of live ac-tion with stop motion and someinteresting optical eft-ects present,with charm and good taste, themany uses of Jell-O and Jell-OPuddings. Here are 30 second sPotswith real appetite appeal andplenty of sales spark. Preparedfor Young & Rubicam.

Jell-O

*'q&d4*6- /

Sqrro, Inc.

New York200 East 56 Street

Chicago16 East Ontalio Street

Specialists in tisual selling,

Here are 20 delightful secondsalive with u'himsical animation.The famous P.O.C. advertisingcharacter performs then becomesa telling motion picture poster fora new brew by the Pilsner Brew'ing Company of Chicago. Cleverdetail brings to life the choruspraising "That new '51 flavor".Prepared for Meldrum and Few-smith, Inc., Cleveland, Ohio.

Pilsner

Science Pictures, Inc.

5 East 57th StreetNew York 22, N. Y.PLaza 9-8532. JUdson 6-1945

Francis C. Thayer, President

Two studios producing lioe action,composite and cartoon animati,on

for TV commerciltls.

One of a series, produced for theBiow Co., appearing on some 35stations across the country. Spotscombine "live" watch with "wipe-on" message and station identifi-cation panel.

Bulovo

Wilbur Streech Productions

1697 BroadwayNew York 19, N. Y.JUdson 2-3816

Prod,ucers of wnimated and' liue ac-

ti,on TV commerc'ials.

Live action and animation are ef-fectively used to promote Sin-clair Refining Company's Anti-Rust Gasoline and dealer servicein these 1-minute spots placed byMorey, Humm & Johnstone, Inc.

MAY, I95T

ommercia«s of the Month

an advertising directory of film commercials

fiiiiiiiiiiiiiin

Sarra, Inc.

New York 200 East 56 Street

Chicago 16 East Ontario Street

Specialists in visual selling.

* rm W\ Jft?"¥

w..

xmpi-i. •

Jell-0

A masterly contrasting of live action with stop motion and some interesting optical effects present, with charm and good taste, the many uses of Jell-O and Jell-0 Puddings. Here are 30 second spots with real appetite appeal and plenty of sales spark. Prepared for Young & Rubicam.

imiiiiiiiMiiiiiiiiiniiiiimiiiiliiiiiiiii

Sarro, Inc.

New York 200 East 56 Street

Chicago 16 East Ontario Street

Specialists in visual selling. m

C

Pilsner

!', new BO ^

mmJSl flavor

.wiM

Science Pictures, Inc.

5 East 57th Street New York 22, N. Y. PLaza 9-8532. JUdson 6-1945

Francis C. Thayer, President

Two studios producing live action, composite and cartoon animation for TV commercials.

lill

Here are 20 delightful seconds alive with whimsical animation. The famous P.O.C. advertising character performs then becomes a telling motion picture poster for a new brew by the Pilsner Brew- ing Company of Chicago. Clever detail brings to life the chorus praising "That new '51 flavor". Prepared for Meldrum and Few- smith, Inc., Cleveland, Ohio.

One of a series, produced for the Biow Co., appearing on some 35 stations across the country. Spots combine "live" watch with "wipe- on" message and station identifi- cation panel.

Bulova

Wilbur Streech Productions

1697 Broadway New York 19, N. Y. JUdson 2-3816

Producers of animated and live action TV commercials.

m Live action and animation are effectively used to promote Sin- clair Refining Company's Anti- Rust Gasoline and dealer service in these 1-minute spots placed by Morey, Humm & Johnstone, Inc.

Sinclair

MAY, 1951 19


Foith Boldwin qnd

a brove brc sponsor

RomaneeAt [Voon

QEARCHERS for a safe successt J formula on daytime televisionwill find no charted course in thehistory of Saturday . noontime's"Theater of Romance", which cameup from nowhere in mid-Januaryand is now flirting with satisfyingnational ratings of 15. With anace in its sleeve in the magic nameof Faith Baldwin. the half-hourshow brashly gave odds on everyother ground. It pioneered in "fourdirections at one time.

No soapy, Theater of Romancedramatizes the slick-magazine.stor-ies of Faith Baldwin. and so hasan endless backlog of proven storylines. But its series of "firsts" de-manded more than a little couragefrom its sponsors, Maidenform bras-sieres.

It was the first jump into coast-to-coast TV by a soft-goods sponsor.It presented the first network useof commercials built around livebrassiere models. It took a cold-

water plunge into the Saturdaynoontime slot-a traditional periodof western filnrs and kid shows, anddid it blandly on an every-other-week basis.

Advertiser and agency must bereasonably happy with their threemonths old baby. On May 5, theyexpanded their network from itsoriginal 34 ABC-TV stations to49. The show now playis almostevery major market in the country

-its live time at L2:30 to 1:00,New York.

Author Appeors

A clue to Theater of Romance'ssuccess'can be found in Writer Bald-win's appdatance, a la Mauglam, tointroduce':each of her stories andto commeiit'on them and plug thetext show,,.Smart easting hasn'thurt eithgr.l The.ebrly Saturdaytiine eases the problem of snaringBroadway and Hollywood talent onthe wing. Leads have been playedby Walter Abel, Nina Foch, BillEythe, Glenda Farrell, Jeffrey Lynn,and Luise Reiner. ff there's a for-mula, itls a box-office appeal inFaith Baldwin's knack with storiesfor women and.box-office names onthe marquee.

The sponsor's insistence on usinglive models in the commercials heldelements of panic at first-and thenturned out happily for everyone.Far from affording a touch of bur-leycue, the commercidl treatmenthas brought nods of approval frompress reviewers, traditionally agroup who snub commercials as anecessary evil in broadcasting.

The secret lay in an advertisingtheme used by Maidenform in mag-azine advertising-the fantasy ofhaving a girl dreaming of going

MODEL Christine Chodwick shows

Moidenform's product to o notionolTV qudience in the "short story"commerciol, "l dreamed I wentskiing in my Moidenform bro."

shopping, living on the moon, win-ning an Oscar, all in "my Maiden-form bra". Translating this intoa "short story" technique as a TVcommercial was a happy decision.Besides giving each commercial anarrative quality with all the propsof each situation, it puts a cloakof story-telling license around theuse of scantily-clad models in aparticularly puflic medium.

Maidenform attributes no smallpart of its show's success to its en-tertaining commercials. Just rvhatsituation Maidenform's "dreamgirl" will dream herself into nextis thought to be as much of a come-on to tune in the next show as the

{f?-, of the vehicle.

The Faith Baldtoin Theater ofRomance is packaged by JackBarry and Dan Enright, writtenby Geoffrey Jones. So far it hassettled the moot points of the worthof Saturday noon time for adultproducts, the wisdom of showingintimate apparel on TV and theability to sustain an audience witha two-week b4eak between pro-grams. It's not looking for anymore new fields to pioneer in rightnow, but it thinks its Nielsen 14.2would look even prettier as a 20.Faith Bald.ui.n

TELEVISER

Faith Baldwin and

a brave bra sponsor

Romance

At Noon

Searchers for a safe success formula on daytime television

will find no charted course in the history of Saturday . noontime's "Theater of Romance", which came up from nowhere in mid-January and is now flirting with satisfying national ratings of 15. With an ace in its sleeve in the magic name of Faith Baldwin, the half-hour show brashly gave odds on every other ground. It pioneered in four directions at one time.

No soapy, Theater of Romance dramatizes the slick-magazine,stories of Faith Baldwin, and so has an endless backlog of proven story lines. But its series of "firsts" de- manded more than a little courage from its sponsors, Maidenform bras- sieres.

It was the first jump into coast- to-coast TV by a soft-goods sponsor. It presented the first network use of commercials built around live brassiere models. It took a cold-

> •s

Faith Baldwin

water plunge into the Saturday noontime slot—a traditional period of western films and kid shows, and did it blandly on an every-other- week basis.

Advertiser and agency must be reasonably happy with their three months old baby. On May 5, they expanded their network from its original 34 ABC-TV stations to 49. The show now plays almost every major market in the country —its live time at 12:30 to 1:00, New York.

Author Appears A clue to Theater of Romance's

success tan be found in Writer Bald- win's appearance, a la Maugham, to Introduce each of her stories and to comment on them and plug the next show. Smart tasting hasn't hurt either. The early Saturday tiine eases the problem of snaring Broadway and Hollywood talent on the wing. Leads have been played by Walter Abel, Nina Foch, Bill Eythe, Glenda Farrell, Jeffrey Lynn, and Luise Reiner. If there's a formula, it's a box-office appeal in Faith Baldwin's knack with stories for women and box-office names on the marquee.

The sponsor's insistence on using live models in the commercials held elements of panic at first—and then turned out happily for everyone. Far from affording a touch of bur- leycue, the commercial treatment has brought nods of approval from press reviewers, traditionally a group who snub commercials as a necessary evil in broadcasting.

The secret lay in an advertising theme used by Maidenform in magazine advertising—the fantasy of having a girl dreaming of going

MODEL Christine Chadwick shows Maidenform's product to a national TV audience in the "short story" commercial, "I dreamed I went skiing in my Maidenform bra."

shopping, living on the moon, win- ning an Oscar, all in "my Maiden- form bra". Translating this into a "short story" technique as a TV commercial was a happy decision. Besides giving each commercial a narrative quality with all the props of each situation, it puts a cloak of story-telling license around the use of scantily-clad models in a particularly public medium.

Maidenform attributes no small part of its show's success to its entertaining commercials. Just what situation Maidenform's "dream girl" will dream herself into next is thought to be as much of a come- on to tune in the next show as the drama of the vehicle.

The Faith Baldivin Theater of Romance is packaged by Jack Barry and Dan Enright, written by Geoffrey Jones. So far it has settled the moot points of the worth of Saturday noon time for adult products, the wisdom of showing intimate apparel on TV and the ability to sustain an audience with a two-week break between programs. It's not looking for any more new fields to pioneer in right now, but it thinks its Nielsen 14.2 would look even prettier as a 20.

20 TELEVISER


"Jones Twins" help video obtcin its rightfulstoture qs o news medium

gressional session which lasts onlyfour days.

The Jones brothers were onhand with motion picture and stillcameras, plus tape recorders t<rcatch sights and sounds. "We hadtremendous difficulties getting per-mission to attend the opening ses-sion," they said, "but two weeks ofconstant effort and we hit the nailon the head, the day the sessionopened."

From the balcony, Gene Jonesmade long shots of Tito's entrance,then dropped his camera, pickedup the tape recorder mike andgave a 15-minute running accountof the Marshal's entrance. Mean-while, Charlie Jones roamed the

floor of the People's Assembly atwill, shooting delegates and speak-ers on the podium. He used a handcamera with a.. battery-poweredlight for his nunierous rolls ofmedium and closeup shots. WhenTito spoke, Charlie was five feetaway. The light bothered Tito,but as he grew accustomed to theillumination. he allowed Charlieto come nearer, and afterwardsposed for a series of portraitphotos at his desk on the rostrum.

The Twins report that during aten-minute lull, delegates crowdedaround them to examine the equip-ment and to inquire about "your16mm photo viewers."

CHARLES JONES, NBC-TV roving comeromon, is shown toking exclusivel6 mm. moving pictures of Morshsl Tito qddressing the inougurol sessionof the Yugoslov Porlioment. Both Chorlie ond Eugene Jones, the fomous"Jones Twins," were the first Americons to be ollowed to photogroph o

Porlioment session.

TV Newsreel Twins

TITELEVISION has bested oneI more competitor-theatre news-

reels. The speed with which tele-vision news films reach the public,is very much greater than that ofnewsreels reaching a movie the-atre audience. The reasons areboth chronological and technolo-gical.

In the first place, television hasat least five editions a week, com-pared with the normal newsreel'stwo. Films arriving on Tuesday,for instance, can be used on tele-vision that same night, whereasnewsreel films arriving the sameday will have to wait to be in-cluded in the following Thursday'srelease, which reaches the theatresfrom one to three days later.

One of the greatest edges, speed-wise, that TV has over the news-reels is that television can use anegative. Newsreels cannot. Infact, when the master negativecomes into the newsreel lab, tech-nicians must first make severalduplicate negatives, then printhundreds of positives for distri-bution. All of this takes time.

By what engineers call an elec-tronic reversal of polarity, a nega-tive aired on television will show upon the home screen as a positive.The change occurs when the nega-tive is projected through an ampli-fying tube.

In an attempt to outdo thenewsreels quality-wise as well,NBC-TV hired Charles and EugeneJones in July of last year. These25-year-old twin brothers havesince been sent all over the worldon special assignment3. TheYscored a newsworthy scoop bYfilming the Yugoslav Parliamentfor the first time. No other Ameri-can photographers had been per"-rnitted to "shoot" the annual Con-

MAY, I95I

"Jones Twins" help video obtain its rightful stature as a news medium

TV Newsreel Twins

Television has bested one more competitor-—theatre news-

reels. The speed with which television news films reach the public, is very much greater than that of newsreels reaching a movie the atre audience. The reasons are both chronological and technolo- gical.

In the first place, television has at least five editions a week, com- pared with the normal newsreel's two. Films arriving on Tuesday, for instance, can be used on television that same night, whereas newsreel films arriving the same day will have to wait to be included in the following Thursday's release, which reaches the theatres from one to three days later.

One of the greatest edges, speed- wise, that TV has over the newsreels is that television can use a negative. Newsreels cannot. In fact, when the master negative comes into the newsreel lab, tech- nicians must first make several duplicate negatives, then print hundreds of positives for distribution. All of this takes time.

By what engineers call an electronic reversal of polarity, a negative aired on television will show up on the home screen as a positive. The change occurs when the negative is projected through an ampli- fying tube.

In an attempt to outdo the newsreels quality-wise as well, NBC-TV hired Charles and Eugene Jones in July of last year. These 25-year-old twin brothers have since been sent all over the world on special assignments. They scored a newsworthy scoop by filming the Yugoslav Parliament for the first time. No other Ameri- can photographers had been permitted to "shoot" the annual Con-

gressional session which lasts only four days.

The Jones brothers were on hand with motion picture and still cameras, plus tape recorders to catch sights and sounds. "We had tremendous difficulties getting permission to attend the opening session," they said, "but two weeks of constant effort and we hit the nail on the head, the day the session opened."

From the balcony, Gene Jones made long shots of Tito's entrance, then dropped his camera, picked up the tape recorder mike and gave a 15-minute running account of the Marshal's entrance. Mean- while, Charlie Jones roamed the

floor of the People's Assembly at will, shooting delegates and speak- ers on the podium. He used a hand camera with a battery-powered light for his numerous rolls of medium and closeup shots. When Tito spoke, Charlie was five feet away. The light bothered Tito, but as he grew accustomed to the illumination, he allowed Charlie to come nearer, and afterwards posed for a series of portrait photos at his desk on the rostrum.

The Twins report that during a ten-minute lull, delegates crowded around them to examine the equipment and to inquire about "your 16mm photo viewers."

■ i wm

nr m

CHARLES JONES, NBC-TV roving cameraman, is shown taking exclusive 16 mm. moving pictures of Marshal Tito addressing the inaugural session of the Yugoslav Parliament. Both Charlie and Eugene Jones, the famous "Jones Twins," were the first Americans to be allowed to photograph a

Parliament session.

MAY, 1951 21


When the Pope gave his Easterblessing to the crowd in St. Peter'sSquare, the Pope wasn't alone onthe balcony. Charlie Jones waslying on his back on the balconytaking pictures of His Holiness.

The greatest achievement oftheirs to date, however, has beentheir coverage of the Korean war.Their theory for operation at thefront was simple: For the bestpictures, get as close to the actionas possible. Shunning rear eche-lon safety and comfort, they wouldoften join a front line outfit forweeks at a time, "scrounging chowand a blanket" as they wrote, liv-ing with, and as infantrymen, pho-tographing the war as seen by theriflemen, who are, according to thetwins, "the real people" in anywar.

This propensity for getting closeto the action has been costly tothe twins. In _civilian life, as pho-tographers for Washington, D. C.,papers (they worked on competingdailies) they received burns, wereshot &t, slugged and generallyabused; as Marine combat photog-raphers during World War II, theywere both wounded. In the Koreanwar both were hurt, Gene seri-ously. He and Charles had tosseda coin to see who would cover theInchon invasion in September-there wasn't room for both-Gene"won" and, 500 yards inland fromthe beach, stopped a burst ofshrapnel with his chest. He man-aged to drag himself back to thebeach and refused medical aid un-til assured that his camera andhis film he had taken would getsafely back to brother Charles, orto NBC headquarters in Tokio.The Marine Corps later awardedhim a Purple Heart medal for thewound he received in this action.

Later, both "made the jump"when U.S. parachutists bailed outover Pyongyang, although neitherChar:les nor Gene had ever made ajump or received instruction inthe art before. Charles prepared acarnera so he could photograph theactual drop on the way down, butas he jumped out of the planedoor, the camera jammed and hehad to be content rvith "shooting"after he landed, dodging the othermen and heavy equipment stilldlopping from the planes.

An outstanding record of photo-graphic coverage at the front weretheir lilms showing UN troops, in

22

retaking Seoul, shooting at NorthKorean soldiers fleeing down anarrow alley. From the way inwhich the camera "panned" backand forth to show both sides ofthe action, it became evident thatthe photographer was taking pic-tures from a spot midway betweenthe opposing forces. Charles laterreluctantly admitted that he "justhappened to be around" when theReds were discovered at the endof the alley. . . . Typical industrY

and resourcefulness on the part ofa guy and his brother who hadonce been rejected by a photog-raphy school.

Although they have traveled theface of the globe, Charles Jonesadmits, "We don't speak any for-eign language." They do, never-theless, speak the language ofAmerican TV newsmen-whe sl'sbeginning to have a strong voiceindeed.

RECEIVER DISTRIBUTION . . .April 1, 1951

New Orleans (1) -...:..-.---- 54,400Davenport-Rock Isl. (2) 53,900Miami (1) ---- ---- - -- 52,500Birmingham (2) . ".. 49'300Lansing (1) - --.. .-"- 49,000Erie (1) 45,900San Antonio (2) ..... 43,300Salt Lake Citv (2) 42,600Ames (1) 42,000Huntinston (1)- 41,300Utica (1) 40,700Phoenix (1) -- 37,500Kalamazoo (1) . " 36,200Binghamton (1) 36,200Jacksonville (1) --.---.-- - 30,000Nashville (1) 27,100Bloomington (1) - 16,000Albuquerque (1) ,.-" 7,900

New York (7) - ,----.

Chicago (4) ------Los Angeles (7) -.... --.-

Philadelphia (3) --....--Boston (2) - ---..--..------.---Detroit (3) ---- -.-----.-- .----

Cleveland (3) - --"-.-.-Baltimore (3)St. Louis (1) -- ..- .---...Minn.-St. Paul (2) - ------

Washington (41Cincinnati (3) --.--------.----Pittsburgh (1) - --- -- ..-- .

Milwaukee (1) ---..--..---.-.-Buffalo (1) ....-. .- ---.-.-- -

San Francisco (3) -- - ------Schenectady (1)New Haven (1) -..-- ---

Providence (1)Columbus (3)Dayton (2) ----.------ ..-Indianapolis (1)Kansas CitV (1)Syracuse (2) - ..----

Dallas-Ft. Worth (3) -..-Atlanta (2)San Dieso (1) . .-.

Lancaster (1)Toledo (1)Louisville (2) . ..

Oklahoma Citv t1) .. .

Memphis t1)Johnstown (1)..Seattle (1) .....Rochester (1) ..Grand Rapids (1) ..-.Richmond (1)Ilouston (1)Omaha (2)Charlotte (1)Tulsa ( I )Norfolk (1)Greensboro (1)Wilmington (1)Ames (1) .,.,..-."

2,300,000915,000900,000829,000721,000455,000454,000292,000282,000256,000254,000250,000250,000233,000198,000179,000152,000150,000145,000143,000125,000r24,000115,000114,000113,000104,00092,00088,30089,00086,70084,40083,00092,20080,00079,20078,40074,00073,10072,80068,60065,20064,40063,90057,80054,500

Total -----;-----

NBC estimates.

12,171,500

. . . Where Credit ls Due

The two poge chort on television

morkets published in the April issue

of Televiser wos not credited os to

source. Nomes of morkets, number of

stotions ond TV sets instolled were

NBC estimotes os of Msrch l, 1951.

The percentoges of the totol sets in-

stolled vere estimoted for eoch mor-

ket by Televiser. The bulk of the

inforrnotion, nomely the figures on

totol fomilies, populotion, retoil soles,

food soles, drug soles ond effective

buying income vere token from the

1950 Survey of Buying Power issued by

Soles Monogement.

TELEVISER

When the Pope gave his Easter blessing to the crowd in St. Peter's Square, the Pope wasn't alone on the balcony. Charlie Jones was lying on his back on the balcony taking pictures of His Holiness.

The greatest achievement of theirs to date, however, has been their coverage of the Korean war. Their theory for operation at the front was simple: For the besi pictures, get as close to the action as possible. Shunning rear eche- lon safety and comfort, they would often join a front line outfit for weeks at a time, "scrounging chow and a blanket" as they wrote, living with, and as infantrymen, pho- tographing the war as seen by the riflemen, who are, according to the twins, "the real people" in any war.

This propensity for getting close to the action has been costly to the twins. In ^civilian life, as photographers for Washington, D. C., papers (they worked on competing dailies) they received burns, were shot at, slugged and generally abused; as Marine combat photographers during World War H, they were both wounded. In the Korean war both were hurt, Gene seri- ously. He and Charles had tossed a coin to see who would cover the Inchon invasion in September— there wasn't room for both—Gene "won" and, 500 yards inland from the beach, stopped a burst of shrapnel with his chest. He man- aged to drag himself back to the beach and refused medical aid until assured that his camera and his film he had taken would get safely back to brother Charles, or to NBC headquarters in Tokio. The Marine Corps later awarded him a Purple Heart medal for the wound he received in this action.

Later, both "made the jump" when U.S. parachutists bailed out over Pyongyang, although neither Charles nor Gene had ever made a jump or received instruction in the art before. Charles prepared a camera so he could photograph the actual drop on the way down, but as he jumped out of the plane door, the camera jammed and he had to be content with "shooting" after he landed, dodging the other men and heavy equipment still dropping from the planes.

An outstanding record of photo- graphic coverage at the front were their films showing UN troops, in

retaking Seoul, shooting at North Korean soldiers fleeing down a narrow alley. From the way in which the camera "panned" back and forth to show both sides of the action, it became evident that the photographer was taking pictures from a spot midway between the opposing forces. Charles later reluctantly admitted that he "just happened to be around" when the Reds were discovered at the end of the alley. . . . Typical industry

New York (7) 2,300,000 Chicago (4) 915,000 Los Angeles (7) - 900,000 Philadelphia (3) 829,000 Boston (2) 721,000 Detroit (3) 455,000 Cleveland (3) 454,000 Baltimore (3) 292,000 St. Louis (1) 282,000 Minn.-St. Paul (2) 256,000 Washington (4) 254,000 Cincinnati (3) 250,000 Pittsburgh (1) 250,000 Milwaukee (1) 233,000 Buffalo (1) 198,000 San Francisco (3) 179,000 Schenectady (1) 152,000 New Haven (1) 150,000 Providence (1) — 145,000 Columbus (3) 113,000 Dayton (2) 125,000 Indianapolis (1) 124,000 Kansas City (1) 115,000 Syracuse (2) 114,000 Dallas-Ft. Worth (3) .... 113,000 Atlanta (2) 104,000 San Diego (1) 92,000 Lancaster (1) — 88,300 Toledo (1) 89,000 Louisville (2) 86,700 Oklahoma City (1) 84,400 Memphis (1) 83,000 Johnstown (1) 82,200 Seattle (1) .. 80,000 Rochester (1) 79,200 Grand Rapids (1) 78,400 Richmond (1) 74,000 Houston (1) . 73,100 Omaha (2) 72,800 Charlotte (1) 68,600 Tulsa (1) 65,200 Norfolk (1) 64,400 Greensboro (1) 63,900 Wilmington (1) 57,800 Ames (1) . 54,500

and resourcefulness on the part of a guy and his brother who had once been rejected by a photog- raphy school.

Although they have traveled the face of the globe, Charles Jones admits, "We don't speak any for- eign language." They do, never- theless, speak the language of American TV newsmen—who are beginning to have a strong voice indeed.

New Orleans (1) .. " . 54,400 Davenport-Rock Isl. (2) 53,900 Miami (1) 52,500 Birmingham (2) — 49,300 Lansing (1) — 49,000 Erie (1) 45,900 San Antonio (2) 43,300 Salt Lake City (2) 42,600 Ames (1) 42,000 Huntington (1) 41,300 Utica (1) 40,700 Phoenix (1) 37,500 Kalamazoo (1) — 36,200 Binghamton (1) . 36,200 Jacksonville (1) 30,000 Nashville (1) - 27,100 Bloomington (1) 16,000 Albuquerque (1) 7,900

Total 12,171,500

NBC estimates.

. . . Where Credit Is Due

The two page chart on television markets published in the April issue of Televisor was not credited as to source. Names of markets, number of stations and TV sets installed were NBC estimates as of March 1, 1951. The percentages of the total sets installed were estimated for each market by Televiser. The bulk of the information, namely the figures on total families, population, retail sales, food sales drug sales and effective buying income were taken from the 1950 Survey of Buying Power issued by Sales Management.

RECEIVER DISTRIBUTION ...

April 1, 1951

22 TELEVISER


o . .'olt u)as easy to conduct

a person-to-person canaass

ut all company plantsand ffices"

ROY A. IIUNTPresident, Aluminum Company

of America

'oOur employees like the PayroII Sauings PIan tor U. S. Saaings Bonds. Itu)as easy, thereJorc, to conduct a. person-to-person canu)ass at all companyplants and offi,ces.

"I belieoe euery contpany which promotes the systematic inuestment inU. S. Saoings Bonds in this uay prouides a highly desirable se.ruice for itsemployees and at the same time giaes practical support to an importantnational effort."

your company is handed a Payroll Savings Applicationand given an opportunity to make his or her owndecision. No pressure is needed.

Simple as the plan is, it works - to the benefit of employees,the company and America. In the last six months approxi.mately 4,000 more companies have installed the PayrollSavings Plan for their employees. Approximately 600,000workinq men and women have ioined the millions of smartsavers ilready on the Pa1'roll Savings Plan. In plant afterplant, employee participation has jumped to 70/o,80% -even90/c, because, as Mr. Hunt so aptly puts it, "employeeslike the Payroll Savings Plan."

Make it easy for your employees to help themselves, theirCountry and their company by the systematic purchase ofU. S. Savings Bonds - De{ense Bonds now, because theyare an important factor in combating inflation and buildinga stronger America.

Yes, it fs easy to conduct a person-to'person canv-ass of youro{fices and plants to ascertain who wants to help Americaand build for his or her security by the systematic purchaseof U. S. Defense Bonds through the Payroll Savings Plan.Have you conducted a person-to-person canvass in yourplant?

If you haven't, here are the three easy steps:

a Phone, wire or write to Savings Bond Division,U. S. Treasury Department, Suite 700, WashingtonBuilding, Washington, D. C.

I Your State Director. U. S. Treasury Department,will contact you or the executive you designate to con-duct the canvass and tell you exactlv how to proceed.He will furnish posters, pay envelope stufiers, applica-tion blanks and other aids.

o All you have to do is to see that every employee in

The U. S, Gouernment does not pay for this ad,ucrtising. The Treasury De-partnr.ent thanks, f or their pdtriolic donation, the Aduertising Council anil

TELEVISER

V

.. ."It was easy to conduct

a person-to-person canvass

at all company plants

and offices ?5

A

ROY A. HUYT President, Aluminum Company

of America

"Our employees like the Payroll Savings Plan for U. S. Savings Bonds. It was easy, therefore, to conduct a person-to-person canvass at all company plants and offices.

"I believe every company which promotes the systematic investment in U. S. Savings Bonds in this way provides a highly desirable service for its employees and at the same time gives practical support to an important national effort."

Yes, it is easy to conduct a person-to-person canvass of your offices and plants to ascertain who wants to help America and build for his or her security by the systematic purchase of U. S. Defense Bonds through the Payroll Savings Plan. Have you conducted a person-to-person canvass in your plant?

If you haven't, here are the three easy steps:

• Phone, wire or write to Savings Bond Division, U. S. Treasury Department, Suite 700, Washington Building, Washington, D. C.

• Your State Director, U.S. Treasury Department, will contact you or the executive you designate to conduct the canvass and tell you exactly how to proceed. He will furnish posters, pay envelope stuffers, application blanks and other aids. • All you have to do is to see that every employee in

your company is handed a Payroll Savings Application and given an opportunity to make his or her own decision. No pressure is needed.

Simple as the plan is, it works — to the benefit of employees, the company and America. In the last six months approximately 4,000 more companies have installed the Payroll Savings Plan for their employees. Approximately 600,000 working men and women have joined the millions of smart savers already on the Payroll Savings Plan. In plant after plant, employee participation has jumped to 70%, 80% — even 90% because, as Mr. Hunt so aptly puts it, "employees like the Payroll Savings Plan."

Make it easy for your employees to help themselves, their Country and their company by the systematic purchase of U. S. Savings Bonds — Defense Bonds now, because they are an important factor in combating inflation and building a stronger America.

The U. S. Government does not pay for this advertising. The Treasury De- partment thanks, for their patriotic donation, the Advertising Council and

TELEVISER


Documents

:. flr h/ - americanradiohistory.com...k' *_i,ffi Sbgd:'f,ffis ffF &trer*l*a k-ill* fgfi 52, ** I.r:!l i,.'8 !,i +r. :. 's.ti.*;;rr!::i lCrmt 'tt,-,,1:rr: Fr 1., .SO-SA &j: il t THE

:. flr h/ - americanradiohistory.com...k' _i,ffi Sbgd:'f,ffis ffF &trerla k-ill fgfi 52, ** I.r:!l i,.'8 !,i +r. :. 's.ti.*;;rr!::i lCrmt 'tt,-,,1:rr: Fr 1., .SO-SA &j: il t THE