may 6, 1968; fifty cents élevision age · techniques of filming, from hand held cameras to cameras...

MAY 6, 1968; FIFTY CENTS

élevision AgeFeatures: there's a change going on at the local levelBozell & Jacobs, a 'new' agency, joins Madison AvenueBehind the FCC and that foggy program control issue

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Television Age, May 6, 1968 3

Sell Out !WHEN YOUR RATINGS "score" needs a boost-or spot sales are lagging-"ChampionshipBowling" can give them a real lift. Entering its 15th successful year, this completely revitalizedshow will attract an even greater audience. New, exciting additions to the show assure increasedviewing. Our special Merchandising Plan, for participating spot advertisers, makes the packagea sales "strike." This proved promotion program will build sales for you ... and your clients.

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JOIN THE ACTION! "Strike out" ... by ordering "Championship Bowling." Sell out ... beforecompetition gets rolling. Call us collect : (312) 467-5220-or write Walter Schwimmer Divisionof Bing Crosby Productions, 410 North Michigan Avenue, Chicago, Illinois, 60611.

NEW ANNOUNCER-BudPalmer takes over as the voiceof "Championship Bowling."This well-known athlete andsportscaster has MC'ed everyimportant sporting event. Hebrings experience and a newdimension of excitement to analready colorful series.

Now in its 15th successful year

OLD PRO-Bill Bunetta, him-self an outstanding kegler, willassist Bud by supplying "color"about the contestants and theirrecords. Bunetta, also a com-petitor in the series, will pointup for the viewers the specialskills and various styles of theother competing stars.

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Mr. Souto, one of the world'sforemost authorities on the motionpicture camera, has put together theperfect textbook for both the pro-fessional and amateur cameraman.

This book is the first comprehensivestudy of the modern film camerain all its forms, from 70mm giantsto the new Super 8s. Comparativematerial is included on virtually allfilm cameras available from theU.S.A., Britain, France, Russia, Ja-pan and other countries.

Techniques of filming, from handheld cameras to cameras mountedin airplanes and helicopters arethoroughly covered.

Profusely illustrated with easy -to-read line drawings.

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Television Age

21 THERE'S A CHANGE GOING ON LOCALLY

Stations are moving movies into different time periods, buyingselectively and programming with greater sophistication.

24 BOZELL & JACOBS JOINS MADISON AVENUE

A 47 -year -old agency switches direction under new ownership,seeks package goods accounts and a creative image.

26 THAT FOGGY PROGRAM CONTROL ISSUE

Spelling out the FCC's power in this area is no simple matter,says a former staff executive.

28 SPOT POWER

Its effectiveness is illustrated in new TvAR study of a dozenadvertisers; rep firm reveals the flops, too.

30 THE $ FACTOR IN TVSimmons data reveals how family income affects network pro-gram popularity among men and women.

DEPARTMENTS

y Publisher's LetterReport to the readers

12 Letters to the EditorThe customers always write

16 Tele -scope11 hat's behind the scenes

17 Business BarometerMeasuring the trends

19 NewsfrontThe way it happened

31 Viewpointsif hat makes a hit show last?

32 Film/Tape ReportRoundup o/ news

47 Spot ReportDigest of national acticity

49 One Buyer's OpinionThe other side of the coin

53 Wall St. ReportThe financial picture

65 In the Picture.9 man in the news

66 In CameraThe lighter side

Television Age is published every other Monday by the Television Editorial Corp.Publication Office: 4.4.0 Boston Post Road, Orange, Conn. Address mail to editorial,advertising and circulation offices: 1270 Avenue of the Americas, Rockefeller Center,New York, N.Y. 10020. PL 7-8400. Controlled circulation postage paid at New York,N.Y. and at Orange, Conn.

6 Television Age, May 6, 1968

WHBQ Tv

IEMPFIISwhere style makesthe difference.

UN.C.L.E.has made the differencefrom 10-11 PMMonday -FridayWHBQ switched from news at 10 o'clock(which the other two stations also programmed)to U.N.C.L.E., re -scheduling its news at 11.The difference in programming made a bigdifference in audience: homes up 48%...womenup 42% ...men up 467 .* These increases alsocontinued beyond U.N.C.L.E., through thefollowing hour, effecting a total improvementin station audience levels for two hours of majorlocal programming five nights a week. WHBQshowed style.They showed U.N.C.L.E... the style -setterin syndication.

MGMTELEVISION

1NSI Star. 1968 vs. Nov. 1967Estimates subject to qualifications described in said reports.

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KBOI-TV reaches more

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than any other Idaho

television station.

NSI 8 ARB November, '67. Au-dience measurements are esti-mates only, based on datasupplied by indicated sourcesand subject to the strengthsand limitations thereof.

* ICBOITELEVISION

Channel 2 CBSBOISE

I THE I:A'rz AGENCY,National Representatives

TelevisionAge

VOL. XV No. 20

Editor and PublisherS. J. Paul

EditorialEditorial Director: Alfred J. JaffeManaging Editor: Barton HickmanSenior Editor: Ed DowlingAssociate Editor: Paul GuthrieFinancial Editor: A. N. BurkeWashington Correspondent: Jay Lewis

AdvertisingAdvertising Director: Norman BerkowitzEastern Sales: Marguerite Blaise

Sales Service Director: Lee Sheridan

Production Director: Fred LounsburyCirculation Director: Evan PhoutridesBusiness Office: Miriam Silverman

Branch OfficesMidwest

Paul Blakemore, Jr.6044 N. Waterbury Road

Des Moines, Iowa 515-277-2660

SouthHerbert Martin

Box 3233ABirmingham, Ala. 35205

205-322-6528

United KingdomF. A. Smyth & Assoc.

35 Dover StreetLondon, W. 1, England

Member of Business PublicationsAudit of Circulations, Inc.

BPA

TELEVISION AGE is published every otherMonday by the Television Editorial Corp.Editorial, advertising and circulation office:1270 Avenue of the Americas, RockefellerCenter, New York, N.Y. 10020. Phone:(212) PLaza 7-8400. Single copy: 50 centsYearly subscription in the U.S. and pos-sessions: $7; Canada: $7; elsewhere: $15.© Television Editorial Corp. 1968. The en-tire contents of TELEVISION Act: are pro-tected by copyright in the U.S. and in allcountries signatory to the Bern Conventionand to the Pan-American Convention.

e

8

`.1Television Age, May 6, 1968

Letter from the Publisher

tlOptimistic OutlookBusiness in all categories for the first quarter of the year has given

station management reassurance and optimism that was lacking dur-ing most of 1967. The second quarter has had a good running start.April, on an overall basis, was up over last year.

There are indications that summer billing will surpass that of the.previous year. Summer rates for spot have become an acceptablepart of the rate structure even though the method for arriving at therate may differ with stations.

Several stations who put in an increased fall rate give the adver-tiser protection at the old rates throughout the summer. Stations onome form of a grid card employ a flexible rate that takes into con-

sideration the differential in summer audience levels.One of the problems facing stations this year, of course, will be

the preemptions and makegoods as a result of the political campaigns.More money will be spent on spot announcements for politicals thanever before. Politicians have become very adroit in the use of tele-vision and this sophistication will mean many more clearance prob-lems.

The income, however, from politicals is non -recurring and thisfact must be recognized in comparing one year's figures againstanother. The importance and the obligation of the station in hand-ling political time cannot be overemphasized.

At the same time, the station has an obligation to its regular ad-vertisers, both national and local, to see that they are not undulydislocated. These advertisers will be back next year. The politicianswon't.

A Useful ProjectThe College Conference held in the spring of each year in New

York and sponsored by the International Radio and Television So-ciety and the Association for Professional Broadcasting in Educationdeserve the support of every broadcast station in the country.

The students, almost 300 strong, at this year's conference (seeNewsfront, page 19) received firsthand practical information in aseries of sessions from broadcast executives. It was valuable, too, forthe broadcasters who participated since it provided a dialogue be-tween the students and industry representatives.

Almost 300 students and 40 faculty from 96 schools in 35 statesparticipated. The International Radio Television Foundation whichfinanced the conference distributed some $6,000 in travel grants tostudents; another $4,000 was contributed by individual stations whosent students from their community.

The desire of these students to learn more about the broadcastbusiness was refreshing. The bull session were stimulating. The con-ference, on an overall basis, was informative. The students also madepre -arranged tours of the networks, film distributors, and station reps.

Frederick S. "Fritz" Gilbert of Time-Life Broadcast deserves aecial vote of thanks for the time and effort spent in directing the

ónference for his second consecutive year. He received a valuablesist this year from Harold Niven, assistant to the president of NAB.e College Conference should have enough financial support to

ouble the number of enrollees in 1969.

(:nrlial .

C

All you need to make a filmis a Bolex and a lens.

All you need to make a filmis a Bolex and a lens.

And since Bolex is a system as well as acamera, you can choose just the rightBolex and just the right lens for yourparticular educational purposes.Whether you're filming a psychologicalexperiment, making a teaching film,demonstrating a physics principle, orteaching film making, Bolex is the most

practical, the most beautifully uncom-plicated, and the most completely so-phisticated system, for the price, thatexists today. You can add a magazineto the Bolex Rex -5 for 12 minutes ofuninterrupted shooting. You can havesynchronous sound. You can zoom orstay put with a fast wide angle lens.

You can accommodate a Bolex formacro or micro cinephotography. Youcan use the Bolex hand-held, or mountit on a tripod. You can work in slow mo-tion, or speed up the action far beyondnormal.

In short, you can do anything with theBolex. Just what did you have in mind?

Write to Paillard, Inc., 1900 Lower Road,Linden, N. J. 07036, for copies of thespecial Bolex magazine issues on T.V.communications filming, and education-al film making.

BOLECThe Bolex 16 System.

evision Age, May 6, 1968

Constance Carson Dr. Mike Rossi Rodney Harrington Betty Anderson Cord Elliot Corson Norman Harrington Rita Jacks

Laura Brooks George Anderson Julie Anderson Rev. Jerry Bedford

Kim Schuster Mrs. Leslie Harrington Joe Chernak

Jack Chandler Adrienne Van Leyden

Stella Chernak

Dr. Robert Morton Mrs. Grace Morton Cloire

John Fowler Marian Fowler

Sgt. Walker Jill Smith Joe Rossi

IM

Russ G

Rev. Tom Winter Susan

51 people who have touch

i

Markham

Matthew Swain Allison MacKenzie Leslie Harrington Ada Jacks Eli Carson Martin Peyton

Paul Hanley Miss Choate Theodore Dowell Mrs. Dowell David Schuster Doris Schuster

fiber Sandy Webber Chris Webber Hanna Cord Ann Howard Eddie Jacks Rachel Welles

'ussell Carolyn Russell to be continued

re lives of millions ofAmericansit's been almost four years since Peyton Place first came to ABC. Since then scenes have changed, problems ha

changed, characters have changed. We first described Peyton Place as "a continuing drama of American life." Arnow, over 400 Peyton Place episodes later, it continues with indomitable strength. Like life itself.

From the start, Peyton Place was an unconventional idea for prime time television. It needed an audience that wopen to new, unexpected and unconventional ideas.

This is what ABC can provide any night of the week. Not just because we attract a big adult audience that's yourin years. But because we attract an even bigger adult audience that's just young in attitude.

Is that why o lot of advertisers with something new to sell have been signing up to sell it on ABC?Today -minded programs to attract today -minded viewers for today -minded advertisers. That's our way of build ir

something that can go on for years.

ABC Television Network,

Required Readingfor everyonewho makes hisliving in thetelevision industry.DOCUMENTARY IN AMERICANTELEVISIONby A. William Bluem, Syracuse University"Easily the definitive book on the televisiondocumentary, this work's value will not bediminished by the passing years." LawrenceLaurent in The Washington Post.312 pages, 100 photos, notes, 3 appendices,bibliography, index. $8.95

TELEVISION STATION MANAGEMENTThe Business of Broadcastingedited by Yale Roe, ABC-TV NetworkSeventeen industry professionals examine therealities of operating a television station. Allphases of operation are thoroughly treated-management, programming, news, advertising,promotion, traffic, technical services, etc.256 pages.

Text Ed. (Paper) $3.95, Cloth $6.95

WRITING FOR TELEVISION AND RADIOby Robert L. Hilliard, University of NorthCarolinaA realistic, book on the craft ofwriting for television and radio. Containsample, up-to-date illustrative material. 320pages, sample scripts, review questions, in-dexed. $6.95THE TELEVISION COPYWRITERHow to Create Successful TV Commercialsby Charles Anthony Wainwright, VicePresident and Associate Creative Director,Tatham -Laird & Kudner, Inc., ChicagoWritten by a veteran television commercial -maker, this book is a thorough and practicalexamination of the creative process fromidea to finished film. 320 pages with manystoryboard illustrations, fully indexed. Cloth -hound. $8.95

- ORDER FORM

Published by Hastings House

BOOK DIVISION, TELEVISION AGE1270 Avenue of Americas, New York, N. Y. 10020Please send me the following books:

THE CELEVISION COPYWRITER $8.95 DOCUMENTARY IN AMERICAN TELEVISION $8.95

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(Please add 50/ per book for mailing and handling.)Check enclosed.

Lettersto theEditor

Elan and InterpublicOn your Interpublic article (Where

is Interpublic headed?, Feb. 26,1968, TELEVISION AGE), I'm sure if Isought to be critical I could find someparagraphs I might have written dif-ferently.

However, it seems to me youreported our conversations fairly andwithout critical overtones.

As to our "elan" ... ("can theyperform with as much elan in thelong run without Harper?) ... yes,it will be different; the focus will beon the productivity of our work forclients.

NEAL GILLIATT

Chairman of the BoardInterpublic, Inc. y

New York, N.Y. 10020

Yon greener fields . . .

Your comments about me (Letterfrom the Publisher, "One Generationto Another," page 10, TELEVISION?AGE, March 11, 1968) were very flattering and I am appreciative of thekind words.

However, I don't intend leaving thebroadcast business for a few moreyears.

Although I will be retiring fromTriangle management, I will beactive as a consultant and am explor-ing several ownership opportunitieswhich have come up ... I still lookupon myself as a part of the "NowGeneration."

ROGER CLIPP

Vice President, General Managet1Triangle Stational

Philadelphia, Penna. 19131

`Good, gutsy article'About your story on retailers' use

of television "Co-op: breakingthrough?" page 30, TELEVISION AGE,February 26, 1968), many thanks ..

A good, gutsy article.THOMAS W. JEGLOSK

Vice President, Publicity DirectoDayton's Department StorMinneapolis, Minn. 5540


"...for the bettermentof the

total community..."

W BA L -TV is proud to be thefirst mass media ever named to theHonor Roll of the Baltimore Afro-American newspapers. This uniqueaward, begun in 1939, was presented

t°WBAL-TV for"... (being) the first local major communi-cation medium to pronounce and implementa policy of equal employment opportunity."

".. . its commendable efforts to include allsegments of the community in its newscoverage."

"... its timely, provocative, and informativeexamination of critical political and com-munity issues ...."

January 23, 1968

Stake YOUR advertising on OUR reputation!

WBALTVA LTIM ORE

Nationally represented by Edward Petry and Company

Maryland's Number One Channel of Communication

Television Age, May 6, 1963

do you seewhatwe see?

Most of our readers get the message every issue : television time is money,We recognized this vital fact of television life from the day we began publishing ten years ago.The result?Ten thousand executives who regularly reach for Television Age to get the buy and sell informa-tion they need to make the buy and sell decisions.You'll find it everywhere in television ... from trend -measuring Business Barometer to trend- fKsetting Telescope ... from our Wall Street Report to our Spot Report.It's the kind of editorial climate that makes your advertising all the more meaningful, becauseTelevision Age always means business.Television Age meets the needs of the people who spend over $1,000,000,000 in television annually

Television Age

WHAT'S AHEAD BEHIND THE SCENES Tele-sco epSimmons offers national rating reports

Bill Simmons has thrown his hat into the national ratingsring. He is offering a diary service, with all membersof each household sampled maintaining their own diariesand with diaries for children 2-11 filled out by the mother.

In pitting his W. R. Simmons and Associates Researchoperation against Nielsen, he is betting that the reputa-tion he's built upon his multi -media studies and the factthey've gotten an Advertising Research Foundation im-primatur will attract the agencies, and as a result, thenetworks.

Simmons predicts a diary recovery rate of 65 per centor more by means of repeated call-backs and "handsomegift" premiums. Diaries will be placed personally andpicked up personally. The procedure calls for 500 diariesto be placed each week so that after the third week 2,000will be available for each week.

He also offers a "fast report" available three days afterthe viewing day and gotten by phoning respondents andasking them to read off their diaries for the previous twodays. Also in the package is an annual product data re-port covering 300 products and services.

Cut -in charges dispute goes onThere still appears to be no solution in sight for the

problem of disparities in cut -in charges made by compar-able tv stations to advertisers who wish to substitutecommercials , in a given market for their regularly -scheduled network plug.

The second report on Television Station Cut -In Chargesprepared by the Association of National Advertisersshows that rate disparities (an issue raised in the firstreport) not only still exist, but that in many cases sta-tions have increased their cut -in charges substantially.

The whole thing is somewhat of an "emotional hang-up," according to Bill Kistler, vice president of the ANA."The maj or problem," he maintains, "is the unwillingnessof stations and reps to recognize the legitimate use of cut -ins for the introduction of new products."

The stations, Kistler says, persist in pricing cut -ins asthough they are used in lieu of spot. "The truth of thematter is they're used in conjunction with spot."

Gregg Lincoln, member of the ANA broadcasting com-mittee and director of advertising services at Liggett &Meyers, explains: "If you displace product X with newproduct Y, you don't let it go at that. You don't wantproduct X to lose its advertising. What you do, and mostlarge advertisers follow this practice, is to pro -rate thecost and feed it into spot. If, for example, the networkminute cost $50,000 and the cut -in reaches two per centof national homes you would pro -rate the cost by theper cent of reach and buy $1,000 worth of spot."

Commercials -monitoring for performersIncreased protectionis promised the tv commercial

actor, often dissatisfied with information on how manytimes his commercial appears on the air.

Teleproof, a computer monitoring system, will soon

be available to actors, according to Jordan Ross, presi-dent of International Digisonics Corp., New York, whichis introducing the system.

While rates for agency subscribers have already beendetermined (they are based on the agency's total an-nual tv budget), charges for performers have yet to bedecided.

Ross stressed that the costs would be "determined incooperation with the various unions involved, and with-in guidelines established by various committees" whichhe hopes the unions may set up to work with Teleproof.

More tv for Xerox divisionIt appears likely there will be more television for the

Education Division of Xerox next season. The two -and -a -half -year -old division, recently landed by Scali, McCabe,Sloves, Inc., is, however, carefully scrutinizing all mediaso as not to overlook any potential prospects, who varyall the way from school children to business planners.

"In such a diverse area, no medium is excluded at thisjuncture," explained Marvin Sloves, SMS president. "Itis very likely that, as in the past, tv will play a majorrole on the corporate level since it has proven itself anefficient and effective mans of mass communication."The agency, he added, will be developing some of the"most sophisticated advertising" techniques.

More chances for syndicatorsStations may continue a practice adopted during the

decline in national spot business to fill empty spots:keeping some primetime for themselves, either by notclearing network programs stations consider unpromis-ing or pre-empting network programs-or so syndicatorshope. They are waiting now to see where the holes willbe after affiliates decide about the network pilots.

ABC News and the hot summerABC News is planning to telecast a series of documen-

taries and other specials this summer on the conditionof the Negro in America and the problem of communi-cations between white and black. Elmer W. Lower's de-partment is thus responding to the challenge posed byCBS News, first network news department to announcean ambitious attempt to document the black situation inthe U.S. NBC News is waiting until fall to start its seriesof AT&T -sponsored documentaries on the urban crisis.

Local shows on racial issues in primetimeA total of four 90 -minute programs in primetime are

planned by KPRC-TV Houston for its locally -producedseries on racial tensions. The first in the series, calledDialogue: Houston, 1968, was aired April 12 at 8:30p.m. The NBC affiliate preempted Hollywood Squaresand NBC News' The American Alcoholic.

The three other shows will be scheduled at varioustimes through the end of June. Housing practices andrecreational facilities were covered in the first show. Theothers will deal with police practices, job opportunitiesand a summary of racial problems in Houston.


R. -

Business barometerLILLIE to the good news about spot in February (up 6.3 per cent above last year) are

the figures for local revenue and network compensation. They reinforce thecurrent feeling throughout the industry that the comeback is under way. Localrevenue and compensation showed up even better than spot. The local figures areparticularly auspicious and indicate more than a "return" to tv's growth pattern.The February local figure isno less than 12.4 per cent

LOCAL BUSINESS NETWORK COMPENSATIONabove last year. Since localbusiness grew even last year,the conclusion can only bethat stations are havingnotable success in drawingnew advertisers into themedium, including, possibly,department stores.

1 Local revenue in February reached$28.9 million, compared to$25.7 million in '67.

k

Stations in the "Business barometer"sample also reported thatFebruary local revenue was11.7 per cent above thepreceding month.

Compensation rose 7.3 per cent above'67 in February, representinga total of $20.4 million, asagainst $19.0 million in '67.Compared with the precedingmonth, compensation wasincreased by 6.2 percent.

The hefty rise in local business wasshared by all three revenueclasses of stations. Theincreases were surprisinglysimilar. Stations in theunder -$1 million categoryrose 12.4 per cent ; those inthe $1-3 million groupaveraged a 12.5 per cent hikeand the $3 million -and -over

outlets registered a 12.7per cent rise.

.50

4.5

40

millions of dollars

$28.9

82.5.7

February (up 12.6%)

millions of dollars

$20.4$19.0

CV

c,

February (up 7.3%)

Year-to-year changes by annual station reserve

Station Size Local Business Network Compensation

Under $1 million$1-3 million$3 million -up

+12.4%+12.5%+12.7%

+6.0%+8.9%+6.6%

sn

4.5

40

.35

.30

25

20

15

10

E 5 taI I 11 1 II I , 1 ., (1 N D 1 1 11 I I1 f l n \

n compensation, the medium -size 1968-'67 comparison 1968-'67 cot iparisonstations performed a littlebetter than the others, rack-ing up average gains of 8.9 per cent above the preceding year. The smallerstations showed a gain of 6.0 per cent, while the large stations rose 6.6 percent. For two months local business totals $55.4 million vs. $51.7 million in'67. Comparable compensation figures are $39.7 and $38.4 million.

Next issue: a report on spot revenue in March.

(A copyrighted feature of TELEVISION AGE, Business Barometer is based on a cross-section of stations in all income and geographical categories.Information is tabulated by Dun & Bradstreet.)


MICHIGANASSOCIATED PRESS

BROADCASTERS' ASSOCIATION

FIRST PLACE

AWARD TO

DETROITFor Gmetal Excellence of Newt, Pee,mdtian a.5) ,dgeJ the

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THE WAY IT HAPPENED NewsfrontIRTS and recruiting

Should the International Radio &Television Society College Confer-ence put heavy emphasis on recruit-ing for stations, reps and agencies?

Society members are not agreed onthe question but tentative efforts inthat direction marked the 7th annualconference in New York City lastmonth.

For the first time, the InternationalRadio & Television Foundation,which runs the conference, sent outan employment questionnaire. It wasmailed before the conference to alltv stations, about 250 radio stations,all the tv and radio networks and anumber of reps. Backing up the ques-tionnaire were letters from a numberof agencies, stressing the importanceof the conference and asking for con-tributions.

Pilot questionnaire. Considered apilot, the questionnaire went out un-der the signature of Frederick S."Fritz" Gilbert, vice president ofTime -Life Broadcast, a board memberof both IRTS and IRTF and confer-ence chairman.

The questionnaire asked aboutwhat jobs were available, their sal-aries, whether they were permanentor temporary, etc.

The response was not exactlyheavy. About 50 answers came back,the bulk of them from small stations.The fact that this type of operationconstituted most of the replies wasnot surprising. It fits in with what isknown about the pattern of careersin broadcasting, that is, the flow ofpersonnel from small to medium tolarge stations (see comments in "Pre-senting: the average station man-ager," TELEVISION AGE, March 11,1968). There were, however, somereplies from agencies and reps, aswell as a few larger stations.

Gilbert took the replies to a careerclinic, held when the conference wasover and another first for the confer-ence. He and Roy Danish, executivedirector of the Television InformationOffice, talked informally to about 100seniors who were attracted to theclinic, called "Careers in Broadcast-

ing."Those interested were asked to

make out detailed resumes and sendthem to the company of their choice.Some effort was made to direct stu-dents to firms close to where theylived.

The future of this recruiting effortand the emphasis that will be put onit is still in doubt. The returns weresomewhat disappointing and left theimpression that stations were notoverly interested in getting personnelvia this route. However, nothingdefinite is decided and the society willbe discussing the subject further.

Some society members would liketo see an "on -campus" type of re-cruiting at future conferences byencouraging broadcast companies andagencies to set up "hospitality suites"on the scene where students could dis-cuss jobs in either specific or generalterms with personnel people or others.

However, others feel this mightovershadow the prime objective ofthe conference, which is to encourageinterest among young people inbroadcasting and induce favorableattitudes among them.

One IRTF member is afraid that ifhospitality suites are set up, moststudents would flock to the more"glamorous" companies, such as thenetworks, while other employerswould sit and wait in empty rooms.

However, it is contended by theproponents of conference recruitingthat this could be overcome by en-couraging students to either see asmany potential employers as possibleor visit no less than a minimumnumber of suites.

Some informal recruiting went onat this year's conference. One of themore active broadcasters was theTriangle Stations, which has an 18 -month program for training potentialexecutives. The program is now inits second year but Triangle is re-cruiting at the conference for the firsttime.

Triangle program. Among thosecirculating at the conference wasNorman Lehr, Triangle director ofpersonnel, who said his company hasdone traditional campus recruiting.

The company looks for six to eightpromising students each year in allcategories of station operation. Eachone accepted picks his field and sofar there has been enough variety inthe fields selected so that Trianglehas not had to impose quotas for anyspecific field.

The program consists of six monthsin which the student is rotatedaround tv and radio stations (bothAM and FM) so that he gets a well-rounded picture of broadcast opera-tions. Then the potential executivespends a year of internship in learn-ing his chosen area.

Another recruiting first was ScreenGems' offer of two jobs. John Mit-chell, executive vice president of thesyndication firm, asked LawrenceBruff, executive secretary of IRTS,to pick out two promising candidatesand send the resumes in. Mitchell didnot limit this offer to any specificjob category or location.

This year's conference was regard-ed as an outstanding success, if at-tendance is the yardstick. Close to300 students attended, plus 40 facultymembers. They represented 96 col-leges and universities around theU. S. These totals represented about60 students over last year, 12 morefaculty members and 14 more col-leges and universities.

Management meeting. One of theconference innovations was a man-agement -faculty meeting, which of-fered college professors an opportu-nity to meet with Frank Stanton,president of CBS, Inc., and a teamof his top administrative officers.This was an all -morning session andran concurrently with student tours.

Also new was the policy of assign-ing IRTS members to act as host tostudents during the luncheon anddinner. One or two were placed ateach table to answer questions fromstudents about the broadcast andbroadcast advertising business. Thishad been done informally in the past,but the new assignment policy re-sulted in aboút 200 local industrypeople acting as hosts at varioustimes.


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Television AgeMAY 6, 1968

Stations are moving movies into different time periods,buying selectively and programming with greater sophistication

There's a change going on locally

Despite more than a half decade of primetimenetwork presentation, which, by next season,

will amount to 14 hours weekly, movies are, ifanything, more important than ever for localstations. Success on the networks has not dimin-ished local audience interest. If anything, itseems to have raised it.

Yet, changes have taken place in recent yearsin the airing of features by stations. To counternetwork rivalry for the attention of the sameviewers, local outlets have done three things:presented their features in different time periods,bought them more selectively and programmedthem with greater sophistication.

On many stations, for example, features havemoved from side to center stage. Instead of be-ing the great filler for marginal time periods,features have been increasingly placed in prime-

time, where they have become an importantsource of revenue. Their popularity in the heartof the evening on the networks was more thanenough to convince many affiliates that theywould work as well for them in these sameperiods.

A study by Warner Brothers -Seven Arts showsthat, in the top 50 markets, there were at least82 affiliates running 96 local primetime features(at least an hour in length) per week during the

evision Age, May 6, 196821

November 1967 American ResearchBureau rating sweep.

Thirty-six of these movies wereused to preempt regular network fea-tures. Compared to the previous year,the number of primetime featuresidentified on network affiliates in thetop 50 markets has increased 85 percent. In the smaller markets this prac-tice is growing even faster.

Some of the top 50 markets whichdid not clear network movies lastNovember: CBS affiliates in Indian-apolis, New Orleans, Nashville, Mem-phis, Sacramento -Stockton, San An-tonio, Tampa. -St. Petersburg andTulsa did not clear for its Fridaynight movie.

NBC's Tuesday night movie wasnot carried by affiliates in Albany -Schenectady -Troy, Cincinnati, KansasCity, Sacramento -Stockton and SanAntonio.

ABC's Wednesday night featurewas not on affiliates in Cincinnati,Columbus, San Diego and St. Louis.

The likelihood is that NBC willfind clearances for its new Mondaynight movie hard to come by. Net-works, as a general rule, have foundit harder to get affiliate acceptance fortheir second motion picture thantheir first and a third should be evenmore difficult.

Traditional showcases

The late afternoon and late nightlocal strips have been traditionalshowcases for movies. In both periodsthey are being presented less often.Many ABC affiliates gave up theirlate night feature strips when the net-work made Joey Bishop available tothem.

Other stations have eliminatedtheir late afternoon features andcounter -program with talk -varietyshows. On the other hand, some ABC -

owned stations which present lateafternoon features have lengthenedthe hour -and -a -half strip to two hours.and upgraded the quality of their

22

Station feature trends includemore permissive programming, "art"

movies. Among films available:(1) MGM -TV's "Lolita," (2) ShowCorp.'s "One Potato, Two Potato,"

(5) UA's "Never on Sunday."Included in new packages for

stations are (3) A -I's "How To StuffA Wild Bikini" which can't run

locally till '71, (4) WB-7 Arts' "Gypsy,"(6) Embassy's "Woman Times Seven"

and (7) MCA -TV's "Arabesque."

product.The success of movies in primetime

periods has changed the pattern ofprogramming at independents inmajor markets.

New York's WNEW-TV, for example,a long while ago eliminated them inmid -week and substituted a combina-tion of talk -variety and other syndi-cated product, which has been verysuccessful. The New York inde-pendent, which formerly strippedmovies at both 7:30 and 9:00 p.m.,has now given up the latter strip.

Selection important

Local selective buying of featuresis necessary for two reasons: the com-petition of quality pictures on thenetworks and their high prices. To-day, the greatest single programmingexpenditure made by a station isoften for a package of motion pic-tures.

There is not only a lot of moneyinvolved, necessitating commitmentby top station management, but price-are rising.

During 1967 the price increase formovies was between 20 and 25 percent, according to 011ie Blackwell ofThe Katz Agency. This year the rateof increase is said to have slackenedsomewhat, though this depends uponthe market, the station and its need.

As a group, network -owned stationscan pay as much as $160,000 perfeature, though the average price isprobably closer to $90,000 (for sec-ond grade product). The total grossfor a feature in syndication can runbetween $250,000 and $350,000.

Reruns, too, are bringing top dol-lar. In the major markets, for exam-ple, good post -'48 movies which werebringing in $20,000 to $25,000 earlythis decade are now grossing between$35,000 and $40,000. Costs of newerproduct have increased to such adegree that reruns, even at the'higherprice, seem almost reasonable.

(Continued on page 56)

(1)

(1)

91)

(7)

Station groups helpfill the feature

film production gap

By 1970 tv can expect about 60or more new pictures from

production sources created specifi-cally to fill the medium's need forsuch product.

In the last two years, the West-inghouse Broadcasting Co. pro-vided financial backing for 10 fea-tures; it hopes to have 35 rollingannually by the start of 1970.

Harold Goldman's TelevisionEnterprises Corp., now mergedwith Commonwealth -United, tookorders for its first package of 13movies from 90 stations.

Among the buyers were theStorer, Triangle, Meredith andTime -Life groups as well as theCBS -owned stations. TEC is nowselling two more packages of 13each.

Henry White's Sagittarius Pro-ductions has sold 45 stations. Heis producing one package of 13features for the ABC -owned sta-tions, and another package of thesame number for the CBS -ownedgroup.

Most of the initial groups of fea-tures have been completed andsome still are playing theaters, aphase that can last from a yearand a half to two years, or can beshortened to nine months.

Among the TEC pictures areDestination Inners pace, Ride theHigh Wind, and Cyborg 2085.Featured in some of them areScott Brady, Darren McGavin andJeffrey Hunter.

Sagittarius' pictures includeSnow Treasure with James Fran-ciscus, and Mission Mars with thelate Nick Adams. They are mainlyaction adventures-suspense, west-ern, and science fiction.

Budgets can run as low as $200,-000 or as high as $450,000. Theproducers hope to recoup negativecosts through theatrical release inthe Eastern Hemisphere. Theatrical


23

here's a new agency on iVladisonwhere'sIt's called Bozell & Jacobs,

Inc., and it's not really new and it'snot actually on Madison Ave. Butthe figurative description is moreaccurate than the literal one.

B&J is no less than 47 years oldand, as agencies go, that puts itwell into the middle -age category.However, it is not only under newownership but is taking a radical newtack-radical for B&J, that is.

Henceforth, it is aiming to achieveits growth primarily in packagegoods, which means, if all goes well,more emphasis on tv, and, with whatmost admen would consider a neces-sary parallel policy, is burnishing itscreative image.

That doesn't sound very radical,of course, but a gander at B&J'sclient list would convince anyonefamiliar with the ad game that B&Jis ploughing new soil.

The agency, which billed $28.5million in 1967, has something like280 clients in 10 offices. That's betterthan one account per employee (thereare about 260 of the latter). Theremay be 'a few agencies which havemore accounts-though it's hard tothink of any-but it's doubtful ifthere's one with a greater variety ofthem. They range from utilities toretailers, from banks to broadcastingoperations, from candy products toelectronic components, from politi-cans to insurance.

Significantly, the number of pack-age goods clients is small, thoughbillings for such clients representmore than a proportionate share ofthe client list. Further, a number ofthe package goods brands came fromEmerson Foote, Inc., which B&Jbought last summer in a key move toplant their feet firmly on MadisonAve.

Following the Emerson Foote ac-quisition, the agency moved its head-quarters from Omaha to the NewYork offices of the acquired agencyon Lexington Ave.

This was 'announced at the begin-ning of the year. Two months earlier,the change in ownership had beenmade public. It was the culminationof a five-year program planned byB&J owner Morris Jacobs to turn the

24

agency over to a young managementgroup bent on expansion.

Ownership of the agency's ClassA voting stock was awarded, 50-50,to Charles D. Peebler, 34, Jacobs'son-in-law, and to Alan Jacobs, 45,Jacob's nephew. Peebler was namedpresident and chief executive officer,in 1965; young Jacobs is executivevice president. In addition, 26 otherB&J executives are shareholders butthey have Class B non -voting stock.

A further indication of where theagency was headed came a few daysafter the headquarters shift. Peeblerannounced a three-man "creative/marketing" team had been lifted in

Bozell &JacobsjoinsMadisonAvenueA 47 -year -old agency

switches directionunder new ownership,seeks package goodsaccounts and acreative image

toto from Ted Bates. The trio is BillAbrams, a copy man; Ross Legler,an account management executive,and Barry Shadorf, representing the"art" side of the triangle.

The three had been working as aunit at Bates for several years.Abrams was a member of the Batescreative board and Shadorf, an artsupervisor, had major creative re-sponsibilities. Legler was an accountsupervisor on Scott Paper and hadpreviously been at Compton, wherehe worked with Gleem and otherP&G products.

Abrams was named senior vicepresident and national creative di-

B&J PresidentChuck Peebler (topphoto) plansagency's billings torise 10 per cent ayear to $100 million.Directly below him,in large photo,is Bill Abrams,national creativedirector and keyman in B&J growthplan. At far left areEdward Shineman,copywriter, and DanSchwartz, senior artdirector. Others inphoto are, I. to r.,Peter Hegedus, artdirector; MarkHerskovitz, assistantart director, andBarry Shadorf,associate nationalcreative director.

rector of B&J, Legler got the sametitle for account service responsibil-ities and Shadorf was made a vicepresident and associate creative di-rector. Peebler said all three wouldhave an ownership interest in theagency.

In March, B&J, keeping the adworld informed of its progress inbuilding a strong creative agency,announced that three art directorsand two copywriters had been added.

The conversion to a new regimewas accompanied by changes affect.ing two offices, including New York.The latter, which tended to be publicrelations -oriented, shucked off thePublic Information Program forinvestor -owned electric utilities. WithB&J's consent, two senior officers ofthe New York office, Don Underwoodand Toni Jordan, took over the ac-count in setting up a new public re-lations agency. This was followed bythe exit of Alec Benn, a New Yorkoffice vice president and the forma-tion of Benn & MacDonough, withthree accounts he was handling atB&J.

Minneapolis office sold

Finally, the B&J office in Minne-apolis was purchased by two B&Jexecutives, Sam H. Kaufman, asenior vice president, and MylesSpicer, a vice president. The namewas changed to The Kaufman Co.,but the entire staff was retained,the new agency continued occupyingthe same offices and most of the ac-counts were kept. The new agencywill continue working on local as-signments for clients of other B&Joffices.

B&J's expansion plans are de-scribed as carefully thought out. Thekey is a list of 25 to 30 blue chippackage goods makers, who will beapproached one by one and pitchedon the agency's professionalism.While most of these would, if cap-tured, be handled by the New Yorkoffice, Peebler is not confining hisefforts in this client area to head-quarters.

Further. Peebler does not see pack-age goods as the only way for B&J


25

Amother once complained to theFederal Communications Com-

mission about the bad effect a blood -and -guts Western series was havingon her impressionable youngster. Shewanted the FCC to do somethingabout it.

The chairman wrote her personallyto reply. He pointed out that theCommission is barred from censor-ing programs but suggested she usethe "off -on" switch of the tv set topolice her family's viewing.

Several weeks later the motherwrote again. She reported that thechairman's suggestion worked suc-cessfully as far as her son was con-cerned, but the boy's grandmotherwho lived with the family objectedstrenuously about .being deprived ofher favorite program.

What thoughts did the chairmanhave to help solve this new domesticissue? After careful considerationthe official advised that the FCC hasno authority over grandmothers!

Because of fuzziness in the publicmind regarding the extent of broad-cast regulation, the Commission isdeluged with letters objecting to alarge number of tv and radio pro-grams. The great majority are gripesabout things the Commission can'tdeal with.

These include expressions of per-sonal dislike for various programs orprogram types; the dress, antics orutterances of individual artists; pre-emption or cancellation of favoriteprograms; and the length, content orinterrupting aspect of commercials.

Specific examples are complaintsthat some programs are too violentor sexy, that the costumes of certaintv womenfolk show too much aboveor below the belt; and that programschedules are unduly upset by Presi-dential addresses or protracted cov-erage of news and sports events.

Then there are odd supplicantssuch as the woman who wanted theCommission to make a tv set manu-facturer replace her set with onewhat would "give better programs"!

Objections to such words as "hell"

and "damn" stem mostly from ex-temporaneous live interview pro-grams, where the unexpected can-and often does-happen.

Many program protests are pro-moted by organizations rather thanan individual expression of viewerannoyance. This is obvious in thecase of petitions with many signa-tures or the use of the same wordingon many letters and postcards, oftenprinted with only the name andaddress of the sender written byhand.

One postcard protest received bythe Commission said, "I was giventhis card to complain to the FCCabout something or other, but Iforgot what it was, so Merry Christ-mas!"

In general, the Commission cannottake a program off the air; neithercan it restore somebody's favoriteprogram. One reason is that the lawgives the Commission less control, insome respects, of broadcasting thanof public telephone and telegraphservices.

While the Commission's power toregulate communication commoncarriers extends to rates, practicesand even to bookkeeping, the super-vision of broadcasting is limited bya provision in the CommunicationsAct that divorces broadcasting fromcommon carrier regulation and,further, by a specific injunctionagainst censorship.

Equal time provisionOne part of the statute (Section

315) governs political broadcasts. Itsays, in effect, that if a station givesair time to a qualified candidate forpublic office the station must offerequal time to qualified opponents forthe same office. This does not meanequal time for the political partiesof the rivals; it is limited to thecandidates themselves.

The appearance of candidates onbona fide news programs, however,is now exempt from the Section 315requirement. Because stationsformerly were prone to charge po-

litical candidates higher rates thanother advertisers, Section 315 wasalso amended to stop this practice.

The networks have long com-plained of having to give equal timeto presidential candidates ofminority parties, especially whenthere are as many as 18 in the race.Likewise, individual stations have aproblem with hosts of candidates forlocal public office.

So far, efforts to repeal or modifySection 315 in this regard have beenfruitless. Congress did suspend theequal -time requirement for broad-casts by presidential and vice-presi-dential nominees in the 1960 cam-paign but did not do so in 1964.

Element of public serviceThough Section 315 states that

no obligation is hereby imposedupon any licensee to allow the use ofits station by any such candidate",the Commission regards politicalbroadcasts as an element of publicservice and, accordingly, questionsstations that do not carry any.

Recently appealed to court was anFCC ruling that a candidate for the1968 Democratic presidential nomi-nation was not entitled to time toanswer a reference to him in an ad-dress by President Johnson becausethe latter, at that time, was not anavowed candidate for renomination. -The court declined to interfere.

A broadcaster is also expected tobe fair in his treatment of otherpublic issues. Section 326 echoesConstitutional guarantees by stipu-lating that "no regulation or condi-tion shall be promulgated or fixedby the commission which shall inter-fere with the right of free speech bymeans of radio communication".

In its early days the FCC heldthat, unlike newspaper media, theairwaves were then too scarce to per-mit them to be used by broadcaststations for airing their own views(or the use of radio, other thanamateur, to be employed for per-sonalized service). jl

With the numerical growth of sta-


Nothing in this Act

shall be understood or

construed to give the

Commission the power of

censorship over the

radio communications

or signals transmitted

by any radio station...

Spelling out the FCC'spower in this area isno simple matter,says a former staff executive

That foggyprogram controlissueBy GEORGE O. GILLINGHAM

tions, the Commission in 1949adopted a "fairness doctrine" whichprovides equal opportunity for airingconflicting views on important con-troversial subjects. This policy re-moved the previous ban on editorial-izing by licensees and opened theairwaves to debate of live issues.

Consequently, a station may nowspeak its own mind or carry theviews of others if it provides equalopportunity for broadcast of oppos-ing viewpoints. The Commission hasparticularly encouraged broadcasteditorializing.

The "fairness doctrine" is not in-corporated in the Commission's rules.However, it gets direct support froman insertion in a Section 315 amend-ment in 1959 which obligates broad-casters "to afford reasonable oppor-tunity for the discussion of conflict-ing views of public importance".

Passing the buckA number of staff members at the

FCC feel that many disputes overequal time-whether political orotherwise-could be resolved athome plate by the networks or indi-vidual stations involved but that theindustry seems to delight in passingthe buck to the Commission.

Commission consideration ofequal -time requests is complicated bythe question of what constitutes"equal time" and the length of timemerited by rejoiners. For example, aperson or group aggrieved by un-favorable mention in a programshould not expect to be afforded thetime consumed by the whole programcontaining the reference to which heobjects.

However, the Commission hasheld that a paid broadcast does notrelieve a station of its obligation toprovide time for contrary opinionby those who can't afford the aircharges.

Application of the "fairness doc-trine" is now being tested in thecourts on several counts. There is aparticular time element in resolving



Marshall McLuhan's dictum thatthe medium is the message may

not be 100 per cent true but TelevisionAdvertising Representatives feels hemust be saying something right.

So, for its major research projectthis year, the rep firm delved into theeffectiveness of spot beyond its func-tion of carrying an ad message.

A medium's responsibility does notend with delivering an audience, con-tends Robert M. Hoffman, TvARsenior vice president. If that were so,he says, then its effectiveness could

BRANDTintex fabric dye

CAMPAIGN DETAILS6 -week campaign. on 2

stations in 2 markets, IDsonly, mostly daytime

-RESULTSAwareness increased 52%

be judged strictly in terms of the sizeand demographics of the audience.

What, then, is the role of an adver-tising medium beyond being a mes-sage carrier? Hoffman quotes from astandard text, Advertising Media,authored by Lyndon O. Brown, Rich-ard S. Lessler and William Weil-hacher:

"There is always an interactionbetween the carrying vehicle and theadvertising message itself whichaffects the ability of any message toreach and impress itself on the mindsof people."

From this, TvAR takes a short stepto the proposition than an ad mediummust not only carry, it must conveythat message. As Hoffman defines it,the medium "should increase theaudience's awareness of a product(or service) and what that productis."

Spot power

Its effectivenessis illustrated

in new TvAR study ofa dozen advertisers;

rep firm revealsthe flops, too

To measure this aspect, the repfirm, which represents primarily theWestinghous stations, used a readilyavailable market research tool- com-parison of consumer brand awarenessbefore and after a particular cam-paign. While, as indicated, there isnothing new in the technique-indeed, it is one of the oldest yard-sticks in the research arsenal-TvARexpanded the usual boundaries in its1968 study.

It chose a dozen campaigns on sta-tions it represents, as well as someother outlets in its markets to cover avariety of situations and products.And this week it is publishing allresults-flops as well as successes.Needless, to say the successes well out-number the flops. Of the dozen cam-paigns studied, only two did not pan

BRANDBerkshire hosiery

CAMPAIGN DETAILS7 20s on 2 stations in1 market for 1 week

RESULTS"Primary" awareness

increased 27%

out. Hence, TvAR calls the study"Response -ability."

The campaigns involve, besidespackage goods, appliances, powertools and a home-building product.There were products for men andproducts for women.

There were new products and long-

established brands, daytime andnighttime schedules, commercials ofvarying length, short campaigns andlonger ones and even a campaignwhere the advertiser took a temporaryhiatus.

The rep firm tried to keep the ex-amples confined to cases where only

BRANDBlackstone cigars

CAMPAIGN DETAILSMajority IDs,

mostly in early morning &late night for 16 weeks

on 1 stationRESULTS

"Primary" awarenessincreased from 16% to 44%

spot tv was involved. However, insome campaigns, other media wereused.

Telephone interviewing was the sur-vey technique. The questioning wasconducted by Trendex in the metro-politan areas of the markets involved.Respondents were questioned beforeand after the campaign and, in someinstances, during the campaign.

In each case, a different sample ofrespondents was called. However, thetelephone exchanges selected for the -"before" group were used as a basis

BRANDDecaf instant coffee

CAMPAIGN DETAILS10 -week campaign of

minutes & 20s (with 2 -weekhiatus after 4 weeks) on

1 stationRESULTS

"Primary" awarenessincreased 81 %


BRANDRockwell power toolsCAMPAIGN DETAILS

Minutes & 20s on 3 stationsin 3 markets for 7 weeks

RESULTSBrand awareness doubled

for sample selection for subsequent.urveys of a particular campaign.

All told, 12,857 interviews werevompleted and all people interviewedrepresented the advertiser's targetaudience. Each wave of calls rangedfrom 200 to over 300 people.

In each study, the primary objec-live was to measure knowledge ofthe brand and its correct identifies-! ion. Both unaided and aided recallquestions were asked, though, in,ome cases, only one type was used.

TvAR uses the terms "primaryawareness" and "total awareness"throughout its report. The formerrefers to results gotten by unaidedrecall, such as asking: "What brandsof gidgets can you name?"

"Total awareness" is the combina-tion of responses to the unaided plusaided recall questions. An aided recallquestion would be: "Have you everheard of Sterling gidgets?" Where,because of the nature of the brand,only aided recall questions were used,the responses are referred to as "totalawareness."

The idea for a broad study ofbrand awareness followed before-and -

BRANDKava instant coffee

CAMPAIGN DETAILS12 minutes a week in daytime

and fringe timefor 6 of 7 weeks

on 3 stations in 1 marketRESULTS

"Total" awareness rosefrom 11% to 54%

after surveys conducted by TvARin conjunction with a spot campaignby Rockwell power tools in the fallof 1966. The result was a majorresearch effort involving 11 cam-paigns in 1967.

The Rockwell study developed froma new marketing approach the com-pany undertook in 1966. It had beenmarketing its power tools under avariety of names, including Delta,Porter Cable, Buckeye and GreenLine, and had decided to consolidateall these tools under the Rockwellname.

In Noevmber, 1966, the companytested spot tv as a medium to pro-mote the name. It embarked on aseven -week campaign on WBZ-TV Bos-

BRANDProctor-Silex small

appliancesCAMPAIGN DETAILS

18 daytime minutes & 30sa week for 10 weeks in

1 market, mostly on 1 stationRESULTS

"Primary" awarenessrose 69%

ton, KDKA-TV Pittsburgh and KPIXSan Francisco, using minutes and 20s.

The before -and -after surveys weremade among male homeowners. Theseare the results reported by TvAR:

(1) a jump in primary awarenessfrom 4 to 13 per cent, which movedRockwell from ninth to fifth place inits field,

(2) an increase in total awarenessof 29 per cent, representing a jumpin total awareness levels from 52 to67 per cent, and

(3) a doubling in overall adawareness, this factor rising from 19to 42 per cent.

In addition, Trendex interviewers

BRANDPhase -1111 errant soap

CAMPAIGN DETAILS9 to 12 minutes & 30s a

week, daytime & fringe time,on 3 stations in 1 market

for 16 weeksRESULTS

Per cent correctly identifyingbrand rose from 2% to 45%

after 13 weeks

found that homeowners learned moreabout Rockwell's power tools. In thepre -campaign survey only 24 per centof the men had some specific knowl-of the firm's tools; at the end of thecampaign, this went up to 40 percent, representing a gain of 68 percent.

One of the most impressive gainswas scored by Lever Bros.' deodorantsoap, Phase III, which was intro-duced in a number of markets, in-cluding Pittsburgh, when the brandwent national last summer.

About 70 per cent of the Phase IIIbudget in Pittsburgh went into thethree tv stations, KDKA-TV, WIIC-TVand WTAE-TV.

In addition, the advertiser put 11full -page ads in regional editions ofLife, Look, McCalls, Ladies Home

BRANDPPG Safety Shield glass

CAMPAIGN DETAILS6 to 15 fringe minutes a week

for 14 weeks on3 stations in 1 market

RESULTSAwareness increased

63% in 3 weeks

Journal, Reader's Digest, Family Cir-cle and Better Homes and Gardens.There was also sampling by directmail.

The spot campaign, which lasted16 weeks, involved about nine to 12announcements a week, startingMarch 6, 1967. Both 30s and minutes


television Age, May 6, 196829

Male or female, young or old-this is basically the way the

media buyer looks at audiences.True, there's a refinement by age

-three age breakdowns for the pre-adult males and females and threefor the male and female grownups.But, when you get right down to it,it's just age and sex-a two-dimen-sional yardstick. These have value,naturally; they are probably usefulfor a greater number of productsthan any other demographic data.

But there are many ways of look-ing at product prospects; sociologi-cal and psychological factors, for ex-ample, are getting more attention.One element that covers both isfamily income. It not only offers ameasure of purchasing power butgives some idea of family status.

Add to it occupational and educa-tional facts about the family and youget many indications of the family'soutlook, attitudes and style of life.W. R. Simmons & Associates, Inc.,combines education and occupationin its five ISP (Index of Social Posi-tion) categories as additional infor-mation about media audiences in itsannual "Study of Selective Marketsand the Media Reaching Them."

Income alone is an important in-dicator for many products - auto-mobiles, for example. The growingaffluence of Americans makes it es-sential for media strategists to watchchanges in this category year byyear.

An important question raised bythe availability of income data iswhether it actually reflects importantdifferences in viewing habits. Ifviewers in different income cate-gories show only small differences intv program habits, the timebuyerneeded not pay too much attention tothem.

A look at Simmons data on networkprimetime viewing habits among wo-men and men by household incomelast fall shows both differences andsimilarities. For example, in takingthe top five shows among womenit becomes apparent that the higher


The $ factor in tvSimmons data revealshow family income affectsnetwork program popularityamong men and women

Rating of top 5 showsamong women and menby household income,average half hour audience

RankViewers(000) Rating'

Sunday Night Movie (ABC) 3,963 23.3

Saturday Night Movie (NBC) 2 3,817 22.4CZ do p Friday Night Movie (CBS) 3 3,600 21.1ó ° Thursday Night Movie (CBS) 4 3,449 20.2SS. Dean Martin (NBC) 5 3,239 19.0

Friday Night Movie (CBS) 1 6,463 25.0ZW Tuesday Night Movie (NBC) 2 5,910 22.8

O óa0",

Ed Sullivan (CBS)Lucy Show (CBS)

3

4

5,854

5,733

22.6

22.2

Bewitched (ABC) 5 5,681 22.0

Bonanza (NBC) 1 6,365 29.4

14>Lucy Show (CBS) 2 6,343 29.3

bÓ Ed Sullivan (CBS) 3 6,099 28.1

áeyia Gunsmoke (CBS) 4 5,539 25.6-

Red Skelton (CBS) 5 5,433 25.1

Ed Sullivan (CBS) 1 3,771 20.90 Dean Martin (NBC) 2 3,576 19.5O Áó c Smothers Brothers (CBS) 3 3,461 19.2

Jackie Gleason (CBS) 4 3,356 18.6

Bonanza (NBC) . 5 2,925 16.2

Bonanza (NBC) 1 5,916 24.0

ZW

ó 0,0 0oavIOr

Red Skelton (CBS)Dean Martin (NBC)

2

3

5,149

5,101

20.9

20.7

E Ed Sullivan (CBS) 4 5,027 20.4

Jackie Gleason (CBS) 5 4,639 18.9

Bonanza (NBC) 1 5,081 30.2

bó Ed Sullivan (CBS) 4,673 27.8C

Red Skelton (CBS) 3 4,551 27.1

Gunsmoke (CBS) 4 4,254 25.3

Lucy Show (CBS) 5 4,244 25.2

*Per cent of viewers in that income bracket


A PROGRAM MAN'S . . . Vie wpoin tsCan good tv shows be made abroad?

About this time every year the television businessfaces the same old grim facts of life: stale old

programs, increasing costs, and imitations of the win-ners. As a matter of fact the cost of producing a half-hour or hour show in a series is now so high thatthere will be more repeats than ever before in orderFor the producer to break even.

More repeats make for a decline in shares of audienced less sets -in -use to a degree yet to be determined.

Psychologically, more repeats means more criticism oftelevision and a boredom, even though the home maybe watching. Can the television industry cure this ennuiby going abroad for fresh product?

The situation is not dissimilar to the problem thatfaced the movie business when television moved in andthreatened its existence. The thinking had become stereo-typed and the same old hacks made the same old pic-lures. The scenes were mostly indoors, because of theeconomics of controlled weather conditions.

Then came foreign competition with plenty of slice>f life, nudity, outdoor shooting, and real people and;fie revolution came. The speed of air travel furthertevolutionized the business and the world became the?ackground for US made pictures. Actors stopped living

Hollywood and the old lots that once were the soleIdurce of major motion picture production became bigenpty lots and warehouses.

The development of the television industry is abouto duplicate that of the parent film business. So farhe shelter of the studios has looked pretty good to theakers of series who have to shoot a half-hour show

it three days or an hour show in six days in order tonake out.

But, some of the shows made on location in New Yorkind in various spots in the world have shown a neces-stry freshness to compete with the feature movies thatiYe getting the bulk of the television audience today.

Spy, with background shots around the world, haslone well with new camera techniques. Rat Patrol washot in Spain with effects that are economically impos-ible in the US. Tarzan is shot in six days (includingiaturdays) in Mexico City.For the first time since Robin Hood, England will

lave a starter in The Avengers which up to now hasleen the perennial mid.season substitute for disasters.Is a matter of fact, England, Italy, and Japan are largerIroducers numerically than the U.S. in the total number4 feature films they turn out yearly.

Each of these countries has film facilities geared tobe tempo of a television series. Each has producedlany features for its own television. How come so fewf these are seen in the home of the free and the brave?The first problem in adapting a program for U.S. tele-ision is language. Take some products, not only of

taly and Japan but of France, Germany, Latin America,iussia, and other countries where there is considerableod, local television.

When English is dubbed into the lips of an actorspeaking a foreign language, it just ain't acceptable tothe typical tv viewer here. Even in the movies, a goodforeign film is rarely dubbed. In the best art theatres,English titles are preferred and any fool knows youcan't read them on the little tv screen.

The second problem is content and tempo. Exceptfor the Japanese, most countries have a more or lesscaptive audience and the tempo is too slow for us.Even in Japan the cartoons are excellent and are some-times dubbed for our kid market, but the trouble isthey just don't reflect a world we know.

What then is the answer? Simple. In order to sellforeign -made product to the U.S. market, an Americanproducer, director and a few good Hollywood or NewYork actors have got to go to a country and use thelocale and technicians of that country to make anAmericanoriented film series.

Then, if the natives speak English with a thick accentit is perfectly natural. The writer must write to the localeand the series will adjust to local conditions. If thesesimple rules are followed, it is possible to make anacceptable series anywhere in the world. More foreignproduct would make these enormous domestic costs yielda little.

The beauty of this whole idea is that it does not neces-sarily take dollars out of the U. S. The bulk of the for-eign production would be paid for in the currency of thecountry in which it is being shot. That country recoupsthe money invested by sale to local television and incomefrom other foreign countries.

The Americans retain the rights to the U. S. marketand that is where they get their take. The big point isthat the pride of the local nationals is at stake. To get a

PATRICK MACNEE AND LINDA THORSON IN 'THE AVENGERS'

show in the toughest and most discriminating market inthe world is a big triumph.

To sum up, the world is anxiously awaiting an oppor-tunity to prove that it can make successful televisionproduct for U. S. consumption. The examples of it beingdone at present are pathetically few. The U. S. audienceis yelling for something new and fresh.

Put these together with an English speaking programand an American `innocent abroad' point of view andeverybody makes out fine. It comes in here with mostof its costs recouped and can therefore be priced favor-ably. And, best of all, it would be nice to see new facesand new locales. -J. B.

levision Age, May 6, 196831

Film / Tape Report

ADLER SUCCEEDS GRAHAMGEORGE A. GRAHAM JR. resigned as

president of NBC Enterprises to joina Los Angeles marketing and publicrelations agency, Atkins -Gilbert Inc.Succeeding Graham as head of thenetwork division is GERALD ADLER,director, NBC International Enter-prises since 1966.

Graham had headed NBC Enter-prises since 1962. He joined NBC in

ADLER

'53. Adler also joined NBC that year,after a year with the law firm ofMudge, Stern, Williams and Tucker.In '52, Adler graduated from YaleLaw School. At NBC he started as anattorney in the legal department andsoon became coordinator of talentand program contract operations. In'57 Adler went to Europe for NBC asEuropean program director of NBC'sCalifornia National Productions, theforerunner of NBC Films and NBCInternational. Later, he became man-aging director of the London office ofNBC International, Ltd., until '66when he was promoted to director,NBC International Enterprises, andreturned to New York.

THE NEXT CAPITALThe Mexican subsidiary of New

York's Filmex is making three half-hour specials on Mexico and theOlympics for distribution this sum-mer and fall to U.S. tv stations andto theatres here and around the world.Sponsor of the color films is Mexico'sOlympic committee.

The pictures, now in production atFilmexico, S. A., are The OlympicTorch, tracing the relay of the torchfrom Olympia, Greece, to the newMexico City Olympics stadium; Mex-ico: City of the '70s, in which Dolores

Del Rio will star, and Dolores DelRio's Mexico, a tour of the countryled by the pioneer film actress. TheMexico City film will stake a claimfor the capital as the next in a pre-sumed line of world capitals of fash-ion and culture-a line that wouldpresumably run from Paris in the'20s, to Berlin in the '30s, to Rome inthe late '40s, to New York in the '50s,and to London in the '60s.

Robert I. Bergmann, president ofFilmex and Felipe di Alba, presidentof Filmexico, S. A., reported thatthe company had acquired an estatein the Pedregal Gardens section ofMexico City, complete with swim-ming pool.

Executive producer on the threeOlympics films is Chuck Wasser-mann, who was recently appointedvice president of Filmex Internation-al after two years as vice presidentin charge of production for FilmexWest in Hollywood.

Earlier this year Filmex beganto branch out into the co -productionwith Mexican producers of films forboth the Spanish -language and theEnglish-speaking markets. Six suchfeatures are in current production:Rezzado (with Patrick O'Neal), Re-quiem for an Assassin (with DoloresDel Rio and Jose Ferrer), Gates ofthe Forest., Amor, Amor, Amor, andShadow of a Bull. A seventh feature,Trip to Death, has already beencompleted.

COME TO ALBUQUERQUENew Mexico is out to get film-

makers to use the state for locationjobs, and to this end Chet Huntley is

GOV. CARGO A HUNTLEY

doing the narration for a film beingmade to show what's there. Talking itover recently were Huntley and Gov-ernor David F. Cargo.

VIVE LE QUEBEC!In the galloping internationaliza-

tion of tv commercials production,there's now an accelerated inter-change between actors in FrenchCanada and New York. "There's agreat talent pool in Montreal," saidBert Williams, art director -producerat Dancer -Fitzgerald -Sample, whorecently worked on the French Cana-dian version of the U.S. Oxydol cam-paign. Williams remarked about theextraordinary vivacity of the French-speaking actors, a Gallic liveliness."You get results comparable to whatyou might get in France," Williamssaid.

Nat Eisenberg, of Rose-MagwoodProductions, the director who madethe Oxydol spots, said Canada is agreat source of fresh faces for U.S. tv,and that numbers of Canadian actorshop to New York for film assign-ments, at the same time there's areciprocal flow of New York actorsup to Canada. It seems new facesare in demand everywhere.

Eisenberg, who speaks French, hasbeen shooting in Canada over thepast seven years, five of them as afree-lance. He said the French-Cana-dian actors are especially good inpantomime, for example, as in a

"caveman" spot for Phillips milk ofmagnesia tablets, with another actornon -French, doing the voiceover. BertWilliams said that the actors up northare not blase about tv commercialassignments, and tend to fully engagethemselves in the roles. Eisenbergsaid the actors in the talent pool havebeen developed in depth through con-tinual work in tv live drama forthe Canadian Broadcasting Corp.French network.

NOVO AND AUDIO

It may be that entities with classicLatin names, like Novo IndustialCorp. and Audio Productions'have a particular affinity for eaother. But that's not the reason Novhas acquired Audio, which ranks afifth or sixth among New York comercials-making companies by volume of business, with a dollar intakof millions. Novo is already in thtelevision business. One of the 1

divisions of the conglomerate i


Bonded Services, a well-knownprint procurement, film distribution,and film storage company. With theacquisition, Novo is making a verticalmove toward the source of the filmprint business. Forerunner of theacquisition was the merger last Aug-ust of Bonded's agency department

ith Audio's subsidiary, GardenState Films, which had been the print -procurement wing of Audio. Theentity created last summer is GardenState/Novo, Inc.

Now that Audio is part of Novo,the film -making company will be ableto use Bonded's offices in Los Angeles,Chicago, Fort Lee, N.J., Toronto,Mexico City, Sydney, Amsterdam andHong Kong. Bonded and Audio willcontinue to operate as autonomousentities.

Peter J. Mooney, president ofAudio, and Chester M. Ross, presi-dent of Bonded, said "all servicesoffered by both companies will bemaintained or increased, with dove-tailing of functions in many areas."

Listed on the American Stock Ex-change, Novo is a loose conglomerateof specialized manufacturing andservice companies. The manufactur-ing divisions are Mitchell SpecialtyDivision in Philadelphia, makingrolled -form steel products, includingbrackets for use inside tv tubes;Delta Electric Division in Marion,Ind., (electric switch devices foraulOmobile doors and seats) ; UnitedAir Cleaner Division in Chicago(truck filters) ; Vincennes Steel Divi-sion in Vincennes, Ind., (bridge struc-tures) ; Brantford Trailer & Body,Ltd., in Brantford, Ont., (truckbodies) and Novo Automotive Prod-ucts, Ltd., in Windsor, Ont.

The service companies under theNovo umbrella are Air Dispatch, Inc.,in New York (air freight forward-ers), Fleet Carrier Corp. in Pontiac,Mich. (plant -to -dealer delivery oftrucks) and Bonded Services Divi-sion. And now Audio.

MAKING TRACKS

Dick Hyman, composer represent-ed by Herman Edel Associates, wasgetting a wide hearing one week lastmonth: he'd scored all the commer-cials on two network specials, theSinger Company's The Beat of theBrass, on CBS -TV and the followingnight, The Celanese Corporation's

here the. Girls Are.

Advertising Directory of

SELLING COMMERCIALS

American Gas J. Walter Thompson

LIBRA PRODUCTIONS. INC., New Yo,k

Continental Airlines Needham, Harper & Steers

GERALD SCHNITZER PRODUCTIONS, Hollywood

American Telephone & Telegraph N. W. Ayer

ELEKTRA FILM PRODUCTIONS, INC., New York

Detroit News W. B. Doner

MOVIERECORD, INC./ESTUDIOS MORO

Coffee Council

WYLDE FILMS, INC., New York

Dial Soap Foote, Cone & Belding

N. LEE LACY/ASSOCIATES, LTD., Hollywood

Contac Foote, Cone & Belding

PGL PRODUCTIONS, INC., New York

Gulf Oil Corp. Young & Rubicam

JEFFERSON PRODUCTIONS, Charlotte


"I enjoy reading Television Age be-cause it helps me fit into a busyschedule the necessary informationI need in order to keep up with abusiness that moves as fast as oursdoes."

STAN DRAGOTIArt SupervisorWells, Rich, Greene, Inc.

Stan Dragoti was born and raised in New York City. Heattended Cooper Union and the School of Visual Arts.

Mr. Dragoti went to Compton Advertising as an AssistantArt Director, then to Young & Rubicam as a Producer andlater became a Creative Supervisor where he was respon-sible for Art, Copy and Production. He is currently an ArtSupervisor at Wells, Rich, Greene, Inc. for both printand television.

His work has been awarded at the N.Y. Art DirectorsClub, the Andy Awards, the Cannes Film Festival, theAmerican Film Festival and the Museum of Modern Art.

Television Age

COMMONWEALTH ON THE ROADCommonwealth United Corp.

set up a syndication division, withLee Cannon as vice president in

charge. The new division is based inCommonwealth United's home officein New York's Time -Life building.Cannon was with Screen Entertain-ment Co. and earlier was with UPAfor a decade as vice president. Beforethat Cannon was central divisionmanager for Independent Tv Corp.

Commonwealth's syndication divi-sion is starting out with a bundleof 13 features and with kickoff salesto the CBS and Storer stations. Thepictures are now in production. Theywill be put into theatrical releasebefore going to the stations.

THE DOTTED LINEThe Mike Douglas Show is now

going out to lineup of 175 stations.WBC Program Sales hit the tallywith 11 recent sales - to WWTV

Cadillac, WTVC Chattanooga, WNOK-TV Columbia, KIII-TV Corpus Christi,KVIQ-TV Eureka, KREX-TV Grand Junc-tion, KRTV Great Falls, WLW-I Indi-anapolis, WISN-TV Milwaukee andKBLU-TV Yuma.

LONG LINEUPDu Pont bought Profile of a Rookie

for placement on a lineup of 180 sta-tions this summer. The hour docu-mentary was filmed by Triangle this

spring in Clearwater, Fla., wher:rookies Don Money and Larry Hisl;were undergoing training with th:.Philadelphia Phillies. Du Pont's lineup includes the six Triangle stationsThe film is available to stationsnon -Du Pont markets from Triangl..Program Sales.

DOUBLING UPWalter Schwimmer, Inc., change'

format of Championship Bowlingthe series went into its 15th yeaputting Bud Palmer on as the hoand doubling the field: in each ofcolor video tape shows, four bowlerpaired into two teams, will bowl aone -game head -to-head "best ball"match. Working with Palmer as colorman on the series will be veteranbowler Bill Bunetta.

The series is produced for the

Schwimmer division of Bing CrosbyProductions by Arthur E. Pickens,Jr., as executive producer, ReinaldWerrenrath as producer -director, anDon Higley as associate producer.

'11Television Age, May 6, 19

We testedyour commercial.Beforeyou wrote it.

We're sure it will sell.Because we found this out: the color

is superb, the video image unexcelled.Nobody in any business tests the

basic material like Kodak tests film. Soevery commercial made with our filmsystem starts out with an equal chancein the marketplace. The crucial factorfrom here on out is creativity-and thebest creative people are film people.Today's top writers, directors, camera-

men, editors, grew up in the medium-know its flexibility. Whatever mood oreffect they're after, they can rely onEastman film to come throughwith flying colors. We know.We already ran it upthe flagpole.

EASTMAN KODAK COMPANYAtlanta: 404/GL 7-5211 Chicago: 312/654-0200Dallas: 214/FL 1-3221 Hollywood: 213/964-6131New York: 212/MU 7-7080 San Francisco: 415/776-6055

fi

SERENDIPITY TIMES FOURTrans -Lux Tv is syndicating four

hour specials with The SerendipitySingers. Fred Weintraub, flying thebanner of Fredana Television Ltd., isputting the singers on video tape.Each of the four specials is keyed toa seasonal theme: Christmas, Valen-tine's Day, the Fourth of July, andautumn, a Salute to Fall.

The Christmas show was taped ata big toy store in New York, F.A.O.Schwarz, and it is being called Christ-mas at F.A.O. Schwarz. Weintraub'screw did the taping on an April week-end, going in after the store's regularSaturday closing, redecorating theplace to make it look as it would atChristmas, and taping on through theearly hours of Monday morning.

The Christmas show was directedby Walter Miller, who did BarbraStreisand's Belle of 14th Street andRichard Rodger's Androcles and theLion and a number of other networkmusical specials and series.

FAST CHALK -UP

Warner Bros. -Seven Arts chalk-ed up 75 sales of feature film pack-ages to 55 stations in 60 days, and 45sales of series and specials to 39 sta-tions in that period. Moving in thesales weré 16 feature film packages,nine series (including F Troop, TheProfessionals, and 77 Sunset Strip)and the Warner Bros. -Seven Artscartoon bundle, along with five spe-cials: Dylan Thomas, Mahalia Jack-son Sings, The Six Day War, TheTime of Their Lives, and The RoaringTwenties.

Richard E. Perin, president ofPerin Film Enterprises, is distrib-uting a cartoon series, The Abbott &Costello Show, east of the Mississippi.The Hanna -Barbera production runsto 156 five -and -a -half minute car-toons, in color.

Warren Steibel, producer of FiringLine with William F. Buckley, Jr.,joined Four Star as head of thecompany's documentary division.First project on the slate for Steibel

at Four Star is a 60 -minute film aboutHoward Hughes. Steibel will continueto produce the Buckley series. Stei-bel's credits include The Right toPrivacy (NET), The National Driv-ers Test (CBS) and Cardinal Spell-man: the Man (ABC).

ZOOMING INTaking over as syndication sales

manager of Triangle Stations is WIL-LIAM G. MULVEY, who has been assist-ant to the general sales manager ofthe group. Mulvey replaces Ben

MULVEY

Barry, who left Triangle to revive hisown feature distribution operation.Mulvey started in broadcasting withWNHC-TV New Haven -Hartford in1951 as program and traffic coordin-ator.

He joined Triangle in '56 as filmdivision chief, and later became pro-gram director of WFBG-TV Altoona -Johnstown. When Triangle acquiredWNHC-TV in '59, Mulvey returned tothe station as assistant sales manager,and in '62 went to the flagship WFIL-TV Philadelphia as assistant salesmanager. In '64 Mulvey went toFresno as sales manager for KFRE-TVand a year later became the WestCoast director of Triangle's syndica-tion operation.

RALPH GOLDSTEIN, who has handledfilm buying for the Triangle Stationsthese past seven years, has been giventhe title of director of film purchasingand operations.

ROBERT F. DAVIS joined MCA -TVas director of research and sales

FILMS TV RADIO ELECTRONICS119 WEST 57th ST., N.Y. C. (212) 765-4635

development. For the past year Day';'''.was director of special reserch prof

ects at CBS -TV. Before that he wasresearch projects at CBS -TV. Before.that he was research director of theCBS television stations from '61 to.'67, and earlier was with CBS -TVSpot Sales. Before that Davis waswith Headley -Reed and Mutual Broad-casting.

LIDDIARD TO TRANS -LUXGERALD E. LIDDIARD joined Trans -

Lux Tv as national sales manager,reporting to executive vice presidentRichard Carlton. Liddiard, who start-ed in tv syndication sales in '52 aswestern sales manager for MotioPictures for Tv, had been the easter,representative for the King Familthe past couple of years. Before thaLiddiard was western sales managefor Embassy Pictures' tv divisiofrom '62 to '65. From '60 to '6''Liddiard was general sales manageof a commercials -making companspecializing in animation, VideocrafInternational. Before that Liddiarwas Eastern sales manager for Guil®iFilms.

JEROME BERGER joined King Features Syndicate as director of bus'ness affairs for tv and motion pictures. Berger is a lawyer who wawith the law firm of Paul, Weiss, Rif

BERGER

kind, Wharton and Garrison and whohas represented Screen Gems andAshley Famous.

WALLACE H. LANCTON joined SandyFrank Program Sales as executivevice president and sales manager.Lancton was formerly vice presidentand sales manager of Jayark FilmsCorp. Before that he was with Bern-ard L. Schubert, Inc., and the otherSchubert companies.

Earlier Lancton was in the adve


Using agency business, as vice presi-dent and tv director of Dowd, Red-field and Johnstone and ProductServices, Inc.

WALTER LEWIS joined 20th Century -Fox Tv as associate director of busi-ness affairs. Lewis has been a prose-cuting attorney.

AD MAKERSLennen & Newell promoted LoUIs

z. KAPLAN to vice president and cre-ative group director. He joined theagency four years ago as a copywriteron the P. Lorillard, National Dis-tillers and Colgate accounts. Kaplanstarted in the advertising business in'56 with McCann-Erickson, workedon the Coca-Cola, Bulova watch andEsso accounts, writing copy. Aftermilitary service he rejoined McCann,went on to the Lawrence C. Gumbin-ner Agency as a copy group head,and then to BBDO as a copy super-visor, working on Campbell's soup,Lever Bros., Dual Filter Tareytonsand Pepsi -Cola.

BOB BURNETT joined Knox Reevesin Minneapolis as a tv and radioproducer. Burnett was with AngloFilms in New York, and before that,with MPO Videotronics, and withProcter & Gamble in Cincinnati.

GERALD ROSENBLOOM joined HicksGreist as associate tv producer,

and LEE REVERE joined the agencyas casting director and productioncoordinator. Miss Revere had beenat Doyle Dane Bernbach in theradio/tv department.

NEW RKO DIVISIONTo sell the services of RKO Sound

Studios and National Tape Service,RKO General set up a new divisioncalled General Sound. Sales peoplefrom both divisions are going to thenew division, thus amplifying therepresentation for the two facilities.

TRIBUTE TO FREEDMANOn May 18 tribute will be paid by

the film laboratory industry to AlanI Freedman, retired president of De -I Luxe Laboratories, and to John Fran-

cavilla, former president and businessagent of IATSE Local 702, at theMotion Picture and Television Indus-tries Tribute to the Laboratory Tech-nician banquet in the New York Hil-ton, an event to celebrate the IATSElocal's 30th anniversary.


SELLING COMMERCIALS

Heinz Ketchup Doyle Dane Bernbach

PELICAN PRODUCTIONS. INC., New York

Kellogg's Leo Burnett

PANTOMIME PICTURES, Hollywood

Homelite Chainsaws Soderberg & Cleveland

KING SCREEN PRODUCTIONS. Seattle

Luden's Fifth Avenue Candy Philadelphia Agcy.

GRYPHON PRODUCTIONS. INC., New York

Hudepohl Brewing Co. Stockton-WestBurkhart

SARRA, INC.

Mattel Toy Makers Carson í Roberts

t j

SANDLER FILM COMMERCIALS, INC.. Hollywood

Irving Trust Co. J. Walter Thompson

COLODZIN PRODUCTIONS, INC., New York

Mohawk Rubber Co. Howard Swink Adv.

VIDEOTAPE CENTER, New York


MOXIE AGAINST MAXIOne garment advertiser who is not

submitting meekly to the tyranny offashion as dictated by Paris couturi-ers is Hanes Hosiery Corp. In 60 -and 20 -second color commercials setto go on the air this summer, Hanesis protesting the maxi dress, the latestfiat from France. In the shorter spot,the copy goes like this: "Now thatskirts are up again, Hanes asks thisquestion: Do we really want them togo down again?"

In the 60 -second spot, a runwaydisplay of short skirts is succeeded bya preview of what the couturiers arepromising us: a display mannikin ina maxi. Then the tagline, "Thissomewhat partisan message has beenbrought to you by Hanes. . .whothinks legs should be seen and nothid."

The hosiery company's agency isThe Lambert Agency. The commer-cials were shot by Horn/Griner Pro-ductions, with Bill Wurtzel the agencyart director and producer. The copywas written by Roger Proulx andNick Prunoyich.

GOODNOFF ON HIS OWN

A new commercials film studiohas been set up by SOL GOODNOFF,veteran director and commercialsmaker. Sol Goodnoff Productions ishoused at 26 E. 22nd Street in NewYork, with a special effects and ex-perimental laboratory, a stage, work-shops, offices, and kitchen.

Goodnoff has been making com-mercials for over a decade. Twoyears ago he linked up with Savage -Friedman Productions as a directorand a, special effect, specialist.

WORLD'S BEST?

The top prize at the Atlanta FilinFestival last month, the Silver Phoe-nix, signifies that the spot to whichit is awarded is "the world's besttv commercial of 1967," according toJ. Hunter Todd, director of the fes-tival.

The prize went to MPO Video-tronics and J. Walter Thompson fora Kodak commercial, "Yesterdays,"directed by MPO's Michael Ciminoand filmed by Gerald Hirschfield.MPO also took a prize at the Atlanticfestival for To Be a Man, a docu-mentary made by Murray Lerner for

Yale University. It won a silvermedal in the educational document-ary category.

POUJET LINKS UPPATRIC:E POUJ ET, cameraman on

A Man and a Woman, Jean-ClaudeRouch's Oscar -winning film, and onAlain Resnais' Live /or Li/e, haslinked up with Jacques Lemoine andthe TVA Group, for work on commer-cials between feature assignments.Lemoine, president of the inter-national commercials company, saidPoujet will be available for commer-cials assignments starting June 15th.

COMMERCIALS MAKERS

After three years as a producer atBBDO, MICHAEL J. STAMOS joined

STAMOS

Videotapean account executive. At BBDOStamos made film and tape com-mercials for Armstrong Cork, BromoSeltzer and Du Pont. Before joiningBBDO, Stamos was in the tv produc-tion department at Sullivan, Stauffer,Colwell & Bayles.

Reeves Sound Studios promotedSANDY TIRADO to manager of fieldoperations. Tirado has been a videoengineer at Reeves for two years,and recently worked on locationsranging from Hawaii to Puerto Ricowith the Reeves Airmobile-VideoSystem. Before joining Reeves,Tirado was an engineer at CBS for13 years.

Reeves also promoted STAN PARLANto sales manager. Parlan joined thecompany last year, after 11 yearswith NBC, where he was managerof the broadcast film division.

ANTHONY LIPSKI set up a film pro-duction company. A still photogra-pher and designer, Lipski is nowmaking commercials and industrials,and is continuing to specialize inthe beauty and cosmetics fields.

Center in New York as

HAWAII HO!Reeves Sound Studios sent it*

Airmobile Video unit winging off toHawaii last month to tape a showwith Don Ho, Hawaii Ho, a specialunderwritten by the Singer Companyto be broadcast on NBC -Tv May 27.The unit's three cameras and threeAmpex video tape recorders, one ofthem equipped for Editec editing,were in action on Maui and on Oahu.The final editing on the show wasdone at Reeves headquarters in NewYork.

SWIFT FOR GENE

Allan Swift, the voice characterspecialist, is doing the off -cameraannouncing for the tv and radio spotsCarl Ally is making for the Sen.Eugene McCarthy campaign. Swifthad a similar assignment for the 1956Adlai Stevenson campaign.

EMMY AFTER OSCAR

few days after w inning an Oscar,Pierre Schoendoerffer won The In-ternational Award of the NationalAcademy of Tv Arts and Sciences.

Both awards were for his docu-mentary, The Anderson Platoon,made originally for French televisionbut later acquired by CBS and showntwice on that network last summer.The film also had a limited theatricalrun this past winter.

NATAS singled Schoendoerffer'sfilm out as "the finest achievementamong news -documentary programs."Anderson had won the (Motion Pic-ture) Academy Award as best docu-mentary feature.

The NATAS International Award"also went to a British entertainmentprogram, Call Me Daddy, that wasrun as part of the (British) ABC-TVseries, Armchair Theatre.

Runners-up for the NATAS Inter-national award in the entertainmentfield were CBS's Swan Lake, Redif-fusion's The Good and FaithfulServant, Swedish Tv's original balletRiedaiglia, and Westdeutscher Rund-funk's Die O/arims.

The runners-up in the news -docu-mentary field were Angia Tv's TheEnchanted Isles, ATV Network'sHigh Street -Mayfair, Four Com-panies' The Price o/ a Record, Scot-tish Tv's Contract 736, and Tyne TeesTv's The Servants.


THE PEABODIES

Stations in Columbia, S. C., andChicago were honored at the recentPeabody Awards. wis-Tv Columbia,hared a Peabody for young people'sprogramming with the CBS -TV Net-work's Children's Film Festival. TheSouth Carolina station was singledout for its program series, Mr. Knozit.

The show was cited by the PeabodyBoard as "a unique children's pro-gram which has provided its followerswith wholesome amusement and asource of education and experienceinvolving their community, and coun-try, the world, and the universe."

The Chicago station honored witha Peabody is WBBM-TV Chicago,which won in the public service cate-gory. The station, owned by CBS,won the Peabody with its OpportunityLine series, cited as a brilliant fulfil-ment of tv's obligation to serve press-ing human needs.

The other winners, besides TheChildren's Film Festival on CBS -TV,which was cited as "a brilliant pan-orama of customs and attitudes ofdifferent lands," were Eric Sevareid,Elie Abel, The Eternal Light, CBSPlayhouse, An Evening at Tangle -

wood, and ABC -TV's Africa.

ELIE, ERIC, BOB & EDElie Abel was honored for his

series, The World and Washington,on NBC radio.

Eric Sevareid was awarded a Pea-body for both television and radionews analysis and commentary.

Sevareid was cited for his "richbackground of knowledge, philoso-phical detachment, analysis ratherthan advocacy, recognition of the in-telligence of his listening and viewingpublic, and a superior command oflanguage."

The two winners in the entertain-ment category were CBS Playhouseand NBC -TV's An Evening at Tangle -wood.

The CBS -TV drama series was citedas a "major stronghold of originaltv drama; the Tanglewood special as"an encounter with rare beauty."

Special awards went to Bob Hope,Ed Sullivan and Meet the Press, theNBC News series. The award to Hopewas timed to the comedian's 30thyear in broadcasting, and was givenhim "in recognition and with appre-ciation of his services here andabroad and the hope that before long


SELLING COMMERCIALS

Montgomery Ward

FRED A. NILES-Chicago, Hollywood, New York

Project Hope Ron Stone & Co.

SCENE II PRODUCTIONS, INC.. Detroit

N.Y. Bond Issue Jack Tinker & Partners

ROSE-MAGWOOD PRODUCTIONS, INC.

Rambler American Hiram Strong Adv. Agcy.

WGN CONTINENTAL PRODUCTIONS, Chicago

Pearl Brewing Company Tracy -Locke

JAMIESON FILM COMPANY, Dallas

Urn -Royal Keds Doyle Dane Bernbach

PAUL KIM & LEW GIFFORD, New York

Pontiac MacManus, John & Adams

PACIFIC COMMERCIALS, Hollywood

Yardley Young & Rubicam

FILMFAIR, NEW YORK


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world affairs will have so improvedthat he may be able to spend Christ-mas at home."

The special award to CBS -TV's EdSullivan Show cited the series andhost for "extraordinary showmanship,unerring instinct, and the newspaper-man's sense of timeliness."

ABC-TV won a Peabody for pro-moting international understandingwith Africa.

An NBC Radio series, The EternalLight, was honored with a Peabodyin radio education for its "superiorportrayal of the universal and con-tinuing values of the Jewish tradi-tion."

A special award also went to the I

chairman of the Carnegie Commissionon ETV, Dr. James R. Killian, Jr..who is also chairman of Massachu-setts Institute of Technology.

Dr. Killian was cited by the Pebody board for showing "the signicant role a citizen can play in i

proving his community and nation,'and for deepening "one's faith in thdemocratic process."

POL CLINIC

In Cincinnati and in six other citiesthis summer, Avco will run a seriesof political seminars to acquaint can-didates, and party workers, with therules and regulations within whichbroadcasters must operate.

Avco started running politicalseminars in '62 and ra z another seriesof them in '64. The seminars will beheld in the seven markets in whichAvco operates stations.

Taking part in them will be groupstation managers and the company'svice president for Washington affairs,George Gray, and its Washingtonattorney, Edgar Holtz of Hogan StHartson.

NICE VICE

Doyle Dane Bernbach has disco\ered a man who has only one vice.He doesn't smoke or drink or gambleor fool around with sports cars. "Butdon't worry," says Bill Alton, theactor who plays the part in the com-mercial, "I have a way. I'm on SaraLee fresh frozen banana cake." Well. I

as he remarks later on in the spot.it's a nice vice. The 60.second colorspot was taped at Videotape Produc-tions of New York. The nice vice cru-sade is currently running on networkand spot through June. Alton waswith the Second City troupe.


MAY 6, 1968

TELEVISION AGE

The possibility of and interest in anelectronically -operated monitor-

ing system for commercials hasprompted a study by the AdvertisingData Processing Association in NewYork.

The ADPA is currently revising adraft of a study which involves fourmajor areas: (1) current monitoringpractices, (2) discrepancies anderrors, (3) current agency use ofcomputers and (4) possible improve-ments.

"What we are trying to discover,"explained Lionel C. Barrow, Jr.,ADPA secretary and associate re-search director at Foote, Cone &Belding, New York, "is if an elec-tronic monitoring system is reallyneeded; what the agencies are doingwith the material they alreadyhave on monitoring; what peoplesitting on the top of all this-themedia directors-think about it."

The questionnaire, which is ex-pected to be sent out to the mediadirectors at the top 50 agencies, willbe followed up by a report, probablyin December, Barrow said.

At the group's last meeting inMarch, Barrow submitted a draft onwhich ADPA members made revis-ions and suggestions.

"We had originally intended tosend the questionnaire to the mediadirectors at the top 100 agencies,"Barrow explained, "but after somediscussion among ourselves we feltthat 50 would be just as adequate asampling."

Out of this meeting some questionswere also raised about the discrepan -

a review ofcurrent activityin nationalspot tv

cies and errors part of the question-naire. This category, for example,posed a question dealing with whatthe agencies regarded as the mostcommon monitoring problems. Oneof the choices was product conflict,which Barow noted, "is defineddifferently by different agencies."

At present, Barrow reports he isworking on refining the discrepanciesand errors section of the question-naire. If subsequent improvementsdo not meet with ADPA approval, heexplained, the section would probablybe dropped.

Barrow is directing this studyalong with Dr. Valentine Appel, presi-dent of Grudin/Appel Research Co.,an independent research group whichis handling the formulation, mailingand tabulation of the questionnaireas a public service.

"We will test the survey here atFoote, Cone & Belding first," Barrowexplained, "and if it is too long we

At Ogilvy & Mather Inc., New York,Bill Miller buys on the Shell Oil Com-pany account.

REPORT

can always cut it down. After all, wewant people to answer the question-naire."

Some advertising agencies havealready reported to be interested inTeleproof, a computerized system toinsure talent and advertisers of proof -of -performance.

Advertisers buying the service willcode their commercials. The code willbe included in the signals as broad-cast, but will not interfere with thepicture or appear on the home screen.Some 650 monitoring sets will bemonitoring the signals 24 hours a dayand then transmit the information bytelephone lines to an IBM 360/40central computer where the data willbe stored.

The system to be introduced byInternational Digisonics Corp., NewYork, offers subscribers an "elec-tronic tear sheet" the "first of itskind," according to Jordan Ross, IDCpresident.

The electronic tear sheet, actuallya computer print out, will not onlysupply subscribers with coded infor-mation on the product aired, but theexact commercial, time on and timeoff as well as any sound or pictureinadequac'es.

Among current and up oming spotcampaigns from advertisers andagencies across the country are thefollowing:

American Home Products Corp.(Cuuningham & Walsh Inc., N.Y.)A four -week flight for various companyproducts breaks just before issue date.

elevision Age, May 6, 196817

Day as well as early and late fringe30s will b - used to reach women in 15markets. Bill Mattes buys.

the message to men in 10 markets.Gerald Branson buys.

American Motors Corp.(Wells, Rich, Greene Inc., N.Y.)Commercials for AMERICAN MOTORSwill be on the air through June 8.Early and late fringe together with primeminutes, where available, will be usedto reach viewers in eight markets.John Micheli is the buyer.

Anheuser-Busch Inc.(D'Arcy Advertising Inc., St. Louis)Commercials for BUDWEISER BEER willbe on the air through June 9. Prime 30s,IDs, 20s as well as early and latefringe minutes will be used to carry

Armour & Co.(Needham, Harper & Steers Inc.,

Chicago)A four -week flight for ARMOURTURKEY ROASTS breaks June 5. Day30s will be used exclusively to carrythe word to women in 21 markets.Nancy McGroarty is the contact.

Associate Products Co.(Dancer -Fitzgerald -Sample Inc.,

N.Y.)Commercials for RIVAL DOG FOODwill be on the air through the earlypart of June. Day together with prime

Who's Who

in Des Moines

Television?

COLORFUL13 DES MOINES, IOWA

t, L

Represented Nationally by Peters, Griffin, Woodward, Inc.

as well as early and late fringe 30s willlie used to reach women in four marketBobbi Coh a buys.

The Best Foods Div. ofCorn Products Sales Co.

(Dancer -Fitzgerald -Sample Inc.,N.Y.)

Commercials for HELLMAN'S REALEGG MAYONNAISE break at issue dataEarly and late fringe minutes coupledwith prime 30s will be used to carry the'.message to women in 45 markets.Steven Lemberg is the contact.

Breyer Ice Cream, div.National Dairy Products Corj

(N. W. Ayer & Son Inc., N.Y.)Commercials for BREYER'S ICE CREAget underway at issue date. Day togetherwith early and late fringe minutes willbe used to reach women for 18 to 26weeks in seven markets in the NewYork -Philadelphia -Baltimore area.Eil-en Moore is the contact.

Bristol-Myers Co.(Young & Rubicam Inc., N.Y.)Commercials for BEHOLD will be inSioux Falls through June 28. Early andlate fringe 30s will be used to carrythe word to women. Bill Almon is thebuyer.

(Continued on page 5f

Buyer's ChecklistNew Representatives

WEAR -TV Pensacola/Mobile andWHYN-TV Springfield have appointedEdward Petry & Co. Inc. itheir na-tional sales representative, effectiveimmediately.

Network Rate IncreasesABC:

KHFI-TV Austin, Texas from $175to $250, effective October 8, 1968.

NBC:KRBC-TV Abilene, Texas, from $425

to $475, effective October 1, 1968.WAPI-TV Birmingham, Ala., from

$1400 to $1500, effective October 1,1968.

WSM-TV Nashville, Tenn., from$1125 to $1175, effective October 1,1968.

KTVO Ottumwa, Iowa, from $350to $500, effective October 1, 1968.

New StationsA new UHF station in Palm

Springs, Calif., to begin broadcast-ing this fall on Channel 36, withcall letters yet to be assigned, willbecome a primary affiliate of theNBC Television Network. The sta-tion is .licensed to Desert EmpireTelevision Corp., Palm Springs.John Conte is president and generalmanager. Charles Farrell is vicepresident and Mrs. Sirpuhe Conteacts as treasurer and secretary.

.jü Television Age, May 6, 196

One Buyer's Opinion . . .

1N DEFENSE OF (SOME) BUYERS

A fortnight ago, the seller who alternates his column with mine tooka few "pot shots" at "foggie" buyers who refuse to buy UHF stations.Unfortunately, many of his accusations were well based. But let's notforget that deep wounds leave scars, and that many older buyers stillremember the cost and embarrassment of nurturing uHF's during theirearly days. Many older buyers remember when the UHF had nothing tosell but local sporting events and fifth runs off the independents. Manyconsidered the purchase of UHF'S only after the major weight had beenplaced on VHF's. And justifiably so! "How much worse can the audi-ence delivery get?" they asked themselves. They later found out, whena new rating book dropped the "one" rating to a "minus one." The buyersthanked their lucky stars that they didn't have a greater investment inthese "white elephants." So, to sum up, the good samaritans were burnedmore than once, which left a taste in their mouths they would bereluctant to forget. (The bad breath the seller was concerned with isthe buyer's own.) So, dear seller, forgive through understanding.

Looking at the UHF today, we find a completely different operationfrom those earlier days. Sure, there are still some "shoddy" operations:Some UHF still do not deliver ratings worth evaluating; somestill have not attained ideal coverage; and some UHF'S offer programs Iwouldn't allow my products to appear in if they gave me the spots free!But, on the whole, the uHF's of today offer both excellent vehicles andexcellent opportunities to bring down the overall cost of a buy.

There are over 118 UHF facilities, accounting for almost 20 per centof all television stations. While many are "holding their own" in theprogramming and audience areas, several are well known for their strongprogramming blocs. Many of these stations are frequently sought afterby buyers because coverage would actually be incomplete without them.I know of a children's product that consistently buys the UHF for itsstrong children's area which actually dominates the VHF in its market.There is also a men's cologne brand that desires UHF for their excellentprofessional sports coverage.

My personal experience with UHF'S has been, I am pleased to admit,excellent, particularly in the area of so-called "creative buying" everyonetalks about. Late last year one UHF station offered to my product a spotwithin a locally produced five-minute public service -type program. Thecontent of the program was highly compatible with my product. Ipurchased the spot with a recommendation to the client to sponsor theentire program. The client bought the recommendation, and now we arethe sole 52 -week sponsors of the program, whose new title bears ourproduct's name; and the efficiency of the program could not possiblybe equalled by any VHF station. Incidentally, the client was so pleasedwith the results that plans are in the works for an expansion of theprogram concept to other UHF'S around the country.

Since that experience I have kept an eye out for (and have found)other UHF inexpensively produced local programs, whose subjects havebeen compatible to my products. I have found them to be affordable ona full sponsorship basis, and also greatly efficient. The UHF'S have beenhighly receptive to our request and have rendered us great merchandisingsupport. I agree with the seller, that there is no reason for not at leastlending an ear to the UHF representative. I am shocked at the "lockoutpolicy" of several larger agencies. As the saying goes, "There are none soblind as those who will not see."

WCEE-TVisFIRST'

in PrimeTime

Rockford,inIllinois

FIRST INMETRO MARKET

RATINGAFTER ONLY

27 MONTHSON THE AIR

NOV. 1967 - A.R.B. TELEVISIONAUDIENCE ESTIMATES - AVERAGEQUARTERHOUR 6.30 PM TO 10 PMSUNDAY THRU SATURDAY

-411»ROCKFORD - FREEPORT. ILLINOIS

CBS AFFILIATE

See Meeker Representative

A LEADER FULL COLOR FACILITIES

36% COLOR PENETRATION IN METRO AREA

_}

Television Age, May 6, 1968l `

Spot (Continued from page 48)

Campbell Soup Co.(Leo Burnett Co., Inc., Chicago)A buy for various company productsbreaks May 6. Early and late fringe 30s,minut s and some piggybacks will beused to carry the message to women in21 markets through September 1.Dinah Saylors is the buyer.

Canada Dry Corp.(Ted Bates & Co. Inc., N.Y.)A three-week flight for CANADA DRYBEVERAGES takes off May 23. Earlyand late fringe 30s will be usedexclusively to reach both adults andteenagers in about 20 markets. DavePoltrack is the buyer. Another buyexclusively for WINK breaks May 19.Early and late fringe minutes and 30swill he used to carry the message to bothwomen and teens in about 50 markets forsix weeks. Peg Parslow and LarryJames are the buyers.

Continental Baking Co. Inc.(Ted Bates & Co. Inc., N.Y.)Commercials for HOSTESS CAKES willbe on the air through the middle of June.Early and late fringe together with dayminutes will be used to reach womenand youngsters in about five markets.Margaret Meinrath buys.

Corn Products Co.(Dancer -Fitzgerald -Sample Inc.,

N.Y.)A buy for SKIPPY PEANUT BUTTERbreaks May 13. Prime 30s as well asearly and late fringe minutes will beused to reach viewers in 46 marketsfor 13 weeks. David Duffy buys.

Eversharp Inc.,div. Shick Safety Razor Co.

(Compton Advertising Inc,Los Angeles)

Commercials for a new SCHICK SAFETYRAZOR BLADE begin May 20. Fringeminutes and prime 20s will be used tointroduce the blade to men in 25 marketsfor 11 weeks. Jeanne Burns is the buyer.

IN SIOUX CITY IOWA

'CHANNEL IS

a Meg -await of

One Million Watts of Sales PowerRepresented by Notional Television SalesBob Donovan, General Manager

General Foods Corp.(Benton & Bowles Inc., N.Y.)Commercials for GRAVY TRAIN dogfood will be on the air through the endof July. Early and late fringe piggybackswill be used to reach viewers in about100 markets. Peter Vilms is the buyer.A'nine-week buy for ORANGE PLUS.a new breakfast drink, breaks at issuedat . Early and late fringe minuteswill he used to introduce the productto women in from 15 to 20 markets.Ed Schmidt buys.

General Foods Corp.(Grey Advertising Inc., N.Y.)Commercials for various POST productswill be on the air through early June.Day minutes together with early and latefringe 30s will be used to reach viewersin 144 markets. Henry Dunn is the buyer.

General Foods Corp.(J. Walter Thompson Co., N.Y.)Commercials for TOAST 'EMS will beon the air through June 1. Day as wellas late fringe minutes and 30s will beused to carry the message to women in40 markets. Fred Ohrn and George Eltmanare the buyers.

General Foods Corp.(Ogilvy & Mather Inc., N.Y.)Commercials for OPEN PIT BARBECUESAUCE break at issue date. Early andlate fringe together with day minutesand 30s will be used to reach womenin 30 markets. Guy Spencer is the contact.

General Foods Corp.(Young & Rubicam Inc., N.Y.)Commercials for WHIP 'N CHILL toppingwill he on the air through the end ofJune. Early and late fringe minutes,30s and piggybacks will be used to reachwomen in 35 markets. Charlotte Mrazikis the buyer. Commercials for JELLOwill be in 35 markets through theearly part of July. Day and fringeminutes will be used to carry the wordto women. Patrick Kane buys.

Gulf Oil Corp.(Young & Rubicam Inc., N.Y.)A two-week flight for a special companypromotion gets underway May 16.Day minutes will be used exclusivelyto reach viewers in nine markets.John Warner is the contact.

Hunt Foods & Industries Inc.(Wells, Rich, Greene Inc., N.Y.)Commercials for WESSON OIL will beon the air through the ending of July.Prime 20s together with early and latefringe minutes will be used to reachwomen in 25 markets. William Reid buys.

Keebler Co.(Young & Rubicam Inc., Chicago)Commercials for KEEBLER CRACKERSwill be on the air through September.Morning and day minutes will be usedio carry the word to youngsters in fivemarkets. Pat Sack is the buyer.


Media PersonalsROBERT C. CLARK, assistant mediasupervisor, was promoted to mediasupervisor at Needham, Harper &Steers Inc., Chicago. Prior to joiningNH&S in 1965, Clark was a mediacoordinator at Leo Burnett Co. Inc.

CAROL LIU, media buyer, waspromoted to media supervisorat Dancer-Fitzgerald-Sample/West'sSan Francisco office. Mrs. Liu's ac-count responsibilities are InterstateBakeries, Ralston Purina PoultryProducts, Boise Cascade, StandardOil Co., California State Automo-bile Association and WashingtonState Apple Commission. Mrs. Liujoined the agency in 1962 as con-tracts and estimates assistant.

Ward L. Quaal, president of WGN

Continental Broadcasting Co., wasnamed Chicago's Broadcasting Manof the Year 1968 by members of theBroadcast Advertising Club of Chi-cago.

Workshop resumesRepertoire Workshop will

begin its sixth year when itresumes broadcasting the week-end of June 1-2.

The CBS owned televisionstations' weekly series of half-hour shows is designed to giveexposure to lesser -known cre-ative talents in five metropoli-tan areas.

Each of the five stations,WCBS-TV New York, KNXT LosAngeles, WBBM-TV Chicago,WCAU-TV Philadelphia andKMOX-TV St. Louis, will inde-pendently produce two half-hour programs.

In all, 10 color broadcastswill be seen on each of thestations during consecutiveweeks.


. IVAN ROSENSTRACHrofile .

van Rosenstrach, the new associatemedia manager at Lever Brothers,

New York, is a quiet, young manwhose unassuming attitude cloaks hisdouble -barrel advantage of having

en deeply involved in media andarketing decisions on both theent and agency level.While he was still an undergradu-

e majoring in math at Hunterollege, Rosenstrach began leaningwards the communications field.From Hunter, he went on tolumbia's Teachers College and

rom there to NBC as a ratings ana-J yst in 1957.

He remembers finding his work atthe network interesting, but more im-p ortant it was his first step in the

rsuit of his career.After two years with NBC, Rosen-

trach went to BBDO, joining theagency's media research department.After about a year, he became a timebuyer on the Wisk account.

"My switch to agency life," he ex-'lained, "was a logical extension indeveloping my career." Anxious togain even further insight in the com-munications field. which by now hadbeen spiked with a deeply rootedinterest in media and marketing,

osenstrach joined Time as a marketsearch man for the weekly news

fI

C

to

magazine."I spend my time analyzing syndi-

cated services and interpreting themto show what selling advantagesTime had over other magazines. Ilearned a lot there."

From Time, Rosenstrach went toAmerican Airlines as manager of themarket research department. Andfrom there to Young & Rubicam'smarketing department where he "didall the research for Eastern Airlines."

Rosenstrach joined Lever Brothersjust about two months ago. Havingsupervised and actually done market-ing and media work on both sides ofthe desk he can say that he findsworking on the client side more re-warding on an overall basis.

For one thing, he points out, "You

have direct access to all the depart-ments and people who can suppl)you with information about productsand product needs. It's easier andoften faster to make decisions whenyou have all the available informa-tion right at your fingertips."

Unlike many media men who com-plain that their jobs are unsatisfyingbecause it is often impossible tomeasure the success of their work.Rosenstrach finds his job satisfyingindeed.

"Media is gratifying provided youhave a proper understanding of allthe nuances and intricacies of thefield. Almost by definition, media re-quires that a person in the field alsobe a marketing type. Someone whounderstands and appreciates theworkings of the economic market-place."

At present. Rosenstrach's primaryresponsibilities consist of anticipatingwhat Lever's needs will be in the wayof research, findings and interpreta-tions, as well as the working out ofthe company's research activities withits five agencies.

A music -lover, Rosenstrach fre-quents Carnegie Hall and LincolnCenter on a regular basis. Engaged tobe married later this month, Rosenstrach also finds time for tennis.

FRED W. JOHNSON was appointedmanager of the St. Louis office ofAvery-Knodel Inc. Johnson was for-merly with H -R Representatives. Atone time, he also served as generalsales manager of WFRV-Tv GreenBay.

ROBERT G. SLOCIJM joined the mar-keting department staff of EdwardPetry & Co. Inc., New York. Slocumwill serve as an account executivespecializing in sales developmentwork with particular emphasis onadvertiser contact. In the St. Louisoffice, SAM HALL was appointedmanager and GENE JONES was namedan account executive. Hall. joinedPetry in 1961. Jones was formerlyoffice manager for Avery-Knodel.

HERMAN H. STERN joined the Chi-cago office of Peters, Griffin, Wood-ward as an account executive. Sternwas formerly a media assistant atLen Burnett.

Rep ReportJOHN F. SMALL was appointed ac-

count executive, central office, TvSpot Sales, NBC -owned televisionstations division. Small had been an

SMALL

account executive with WNBC-TV NewYork since 1965. He had also servedas a media buyer and analyst atGrey Advertising.

DWIGHT REED JR. was appointed toH -R's eastern television sales divi-sion in Chicago. Reed, who wasformally a radio saleman for thefirm, replaces CHUCK FERGUSON whowas assigned to the western tv salesdivision, also in Chicago. Fergusonsucceeds Bob Schroeder. In NewYork, PETER MEAD was appointed asalesman in the Corinthian Division.Mc ad was formerly a director ofresearch at MCA -TV and was oncean associate editor at TELEVISIONAGE.

ROBERT L. SCHUESSLER and MARVINBOLEI were named managers ofTelevision Advertising Representa-tives Inc. offices in Atlanta and SanFrancisco respectively. Schuesslerwas formerly manager of the St.Louis office of Edward Petry & Co.Bolei was a salesman at aelx.

THOMAS C. NEELY joined the NewYork sales staff of Katz Tv -West.


Spot (Continued from page 50)

Kimberly-Clark Corp.(Foote, Cone & Belding Inc.,

Chicago)A six -week buy for this company'stissues and paper towels gets underwayMay 26. 30s will be used to pitchthe towels, while piggybacks will carrythe word for both towels and tissuesin 50 markets. Carolyn Griffin is the buyer.

Lehn & Fink Products Corp.(Sullivan, Stauffer, Colwell &

Bayles Inc., N.Y.)Commercials for LYSOL disinfectantwill be on the air through the earlypart of June. Prime IDs together withday and late fringe 30s will be usedto reach women in 41 markets.William Lage is the buyer.

Liggett & Myers Tobacco Co.(Compton Advertising Inc., N.Y.)Commercials for various companyproducts will be on the air through themiddle of July. Early and late fringeas well as prime minutes, where available,will be used to carry the word to bothmen and women in 32 markets.Stone Roberts is the contact.

The Magnavox Co.(Kenyon & Eckhardt Inc., N.Y.)Commercials for MAGNAVOX televisionsets will be on the air through theearly half of next Early latefringe 30s will be used to reach bothmen and womén in about 16 markets.Jay Rosenthal is the buyer.

WDTVCOVERING A

VITALarea of

Central W. Virginia

WDTVFAIRMONT,

CLARKSBURG,WESTON,

WEST VIRGINIAJohn North Vice Pres. & Gen. Mgr.

Represented byNational Television Sales, Inc.A CBS Affiliate

Miles Laboratories Inc.(J. Walter Thompson Co., N.Y.)Commercials for ONE -A -DAY MULTIPLEVITAMINS get started at issue date.Early and late fringe minutes and 30swill be used to carry the message towomen in 20 markets. Nick Verbitskiis the buyer.

National Biscuit Co.(McCann-Erickson Inc., N.Y.)Commercials for NABISCO's CHICKENIN THE BISCUIT break at issue date.Day minutes and prime 20s will be usedto reach women .through June 2 inMemphis, Pittsburgh and St. Louis.Mark Miller is the contact.

National Drug & Chemical Co. ofCanada Ltd.

(N. W. Ayer & Son Inc., N.Y.)Commercials for SARGEANTS CENTURYCOLLARS for pets start at issue date.Day as well as early and late fringeminus -s will be used to carry themessage to viewers in 30 markets for26 weeks. Newman Lee buys.

National Trust & Savings Assn.(D'Arcy Advertising Inc.,

San Francisco)A five -week buy for THE BANK OFAMERICA breaks at issue date. Dayminutes together with early and latefringe 30s will be used to reach viewersin 10 markets. Howard Re -d is thebuyer.

North American Philips Co. Inc.(LaRoche, McCaffrey & McCall Inc.,

N.Y.)A buy for NORELCO SHAVERS formen starts May 25. Early and late fringetogether with weekend minutes will beused to reach men in 69 marketsthrough June 14. Maureen Murray isthe buyer.

The Procter & Gamble Co.(Young & Rubicam Inc., N.Y.)Commercials for SPIC & SPAN willbe on the air through the early partof June. Early and late fringe minuteswill be used exclusively to carry theword to women in about 25 markets.John Twiddy is the buyer.

Purex Corp. Ltd.(Carson/Roberts Inc., Los Angeles)A buy for various company productsbegins May 13. Day together withearly and late fringe minutes will beused to reach women in six marketsfor seven weeks. Gary Weise is thebuyer.

Purex Corp. Ltd.(Edward H. Weiss & Co. Inc.,

Chicago)Commercials for SINGSOAP andSUPER BLEACH will be on the airthrough the early part of June. Dayas well as early and late fringe piggybackswill be used to reach women in 18markets. Irene Dvorce is the buyer.

The Quaker Oats Co.(LaRoche, McCaffrey & McCall Inc.,

N.Y.)A five -week buy for QUAKER OATSLIFE CEREAL breaks May 12. Earlyand late fringe minutes will be usedexclusively to reach women in 95markets including Binghamton, Rockford.Bakersfield and Sioux Falls, IrwinJoseph is the buyer.

Ralston Purina Co.(Foote, Cone & Belding Inc.,

Chicago)A spring -buy for CHEX cerealsbreaks May 6. Day minutes togetherwith early and late fringe 30s will beused to reach women and youngsters in25 markets. Ralph Koslik is the buyer.

Scott Paper Co.(J. Walter Thompson Co., N.Y.)Commercials for SKINNY SPONGE willbe in two test markets through the endof May. Day as well as early and latefringe minutes will be used tointroduce the product to women inMadison and Rockford. Sara Wind isthe contact.

Under the gun"The agencies are under the

gun to stay at least one stepahead in terms of total effi-

ciency, and to match newsurges in creativity with evenmore effective techniques inmedia research and budget con-trol procedures . . . Giveyour media people every pos-sible opportunity to becomeaccustomed to the computer andthe new way of doing things."

Kenneth C. Schonberg ofK. C. Schonberg Associates,Inc., addressing the AdvertisingData Process Association inNew York.

Joseph E. Lake, commercial managerof WISH -TV Indianapolis, was appoint-ed vice president and general man-ager of KXTV Sacramento.


LLIIi:.I( P. I:I:I-:( II JR., an accountupr k1.-ol o III ILIILFO-Detroit, was

named a vice president of theagency. Beech joined aRDo-Detroitin 1964 as an account executive. Hewas named an account supervisorin 1967. At the same time, FRANK R.WULFF was named a vice presidentand manager of sales development,a new position, at the agency's NewYork office. Wulff, who joined BBDOearlier this year, was formerly anaccount executive at D'Arcy Adver-tising Inc.

WILLIAM CILDEA and JOHN HIGGENSjoined Smith/Greenland Inc., NewYork, as account executives. Gildea,who was formerly an account ex-ecutive for Richard K. Manoff, willwork on the H.C.A. Food Corp., FiveDay Laboratories of Associate Prod-ucts Inc., Pet Inc., and Sau SeaFoods accounts. Higgens will handlethe Transogram Co. Inc., account.Higgens was formerly with Fuller &Smith & Ross where he also workedon Transogram. At the same time,Smith/Greenland named HARRY

WENTHEN a vice president and ac-count executive for the BeaunitFibers and Mohasco accounts.Wenthen was formerly president andchairman of the board of H. G.Wenthen Inc., sales promotionagency.

Agency AppointmentsWILLIAM N. nE1tECl1 was elected a

senior vice president at Henderson& Roll Inc., N w York. Berech

BERECH

joined the agency five and one-halfyears ago as a vice president. Hehad been with Kenyon & Eckhardtwhere he had the same title.

ARTHUR E. SLAASTED joined Geyer -Oswald Inc., Chicago, as an accountexecutive. He will have advertisingand marketing responsibilities forseveral divisions of Amsted Indus-tries, Colt Industries and for theMaterial Service division of GeneralDynamics. He was formerly an ac-count supervisor at Fensholt Adver-tising.

William Underwood Co.(Kenyon & Eckhardt Inc., Boston)Commercials for UNDERWOODDEVILED HAM and CHICKEN SPREADget underway May 13. Piggybacks willbe used exclusively to reach women in19 markets through the middle of July.Eileen Conradi is the buyer.

W. F. Young Inc.(J. Walter Thompson Co., N.Y.)Commercials for ABSORBINE linimentwill be on the air through the earlypart of June. Day minutes will be usedexclusively to reach viewers in about 20markets. Dorothy Thornton buys.

Newsmen to speakFahey 'Flynn and Joel Daly,

newsmen at WBKB-TV Chicago,l i I l be guest speakers at the1968 Timebuyer of The Yearluncheon of the Chicago chapterof the Station RepresentativesAssn.

The fete will be held May 16in the Grand Cotillion Room ofthe Continental Plaza Hotel.

Louis J. Hummel Jr., ofPeters, Griffin, Woodward andchapter president, will presentthe award.

WILLIAM S. WIIEELEIt was ap-pointed senior vice president andmanagement account supervisor atLennen & Newell Inc., New York.Wheeler was form-rly a vice presi-dent and account supervisor atCampbell-Mithun Inc., Chicago.

JEROME ENTIS and KOSCIUSKO KEM-PER 3n were named senior vice presi-dents in the account managementdepartment at Young & RubicamInc., New York. Entis joined theagency in 1955 as an account ex-ecutive. He was appointed a vicepresident and an account supervisorin 1960. Kemper came to Y&R in1956, also as an account executive.He was named a vice president andan account supervisor in 1961. Atthe same time, Y&R promotedDAVID P. GUEST JR. to vice president,associate director of data and sys-tems service.

JOEL I. FORMAN joined Edward H.Weiss & Co., Chicago, as an accountexecutive. Forman was formerly amedia buyer for Kenyon & Eckhardt.

JAMES P. BARRETT JR. joined theNew York office of Foote, Cone &Belding as an account executive onFrito-Lay Inc. Barrett was formerlya senior account executive at La-Roch-, McCaffrey & McCall.

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Wall Street ReportBurnham Report. Last January,Burnham and Co. published a studyof the broadcast stocks. It mentionedMetromedia and Cox Broadcasting as"the most attractive investments inthe broadcasting industry."

Recently, Metromedia turned in aR report that must have made Burnham

feel heroic. For the first quarter thisyear, it racked up a staggering 140per cent increase in net on a grossrise of only 14 per cent. Both grossand net were the highest in Metro -media's history. Gross revenues were$40,241,992 compared with $35,321,.796 in the 1967 period and net was$1,219,059 compared with $507,730.

Chairman John Kluge said, "Thisearnings growth reflects the contin-ued accelerating strengths of ourmajor media divisions."

Direct Mail Turnaround. AnotherMetromedia spokesman was a littlemore explicit. "It represents a turn-around in direct mail from a bigloss to a profit," he said.

In 1966 Metromedia decided toexpand via direct mail and had its

This, in effect, gives five more weeksof selling time, and that can makethe big difference between loss orbreak-even and profit.

Also, the company has learned afew lessons about effective directmailing. It uses its other media toprepare the ground by announcingsomething to the effect that an im-portant message, including somekind of bonus, will be mailed tohouseholds in the applicable marketarea. It has overcome the problemof identification by mailing its mes-sage in red envelopes. This "redletter day" angle, of course, isplugged in Metromedia's broadcast,outdoor advertising and transit ad-vertising outlets.

Amalgamation. The mail businesscomes from the amalgamation ofthree companies acquired by Metro-media in 1966-0. E. McIntyre,Dickie-Raymond and Sampson -Hill.Overlapping activities of the threecompanies have been trimmed awayand their original names have beendispensed with. They are now one

YearendedDec. 31

Sales($ Millions)

Metromedia, Inc.Operating

Income Netas % of Income

Sales ($ Millions)

Income DataNet

Income Earningsas % of PerSales Share

Earnings PerShare

Change fromYear Before

1967 $134.9 19.1% $7.0 5.2% (a) $3.19 -I- 3.9%1966 116.9 19.3 6.6 5.6 (a) 3.07 -I- 1.71965 89.3 22.7 6.3 7.0 3.02 + 18.01964 82.7 20.9 5.1 6.2 2.56 + 18.01963 62.5 21.2 4.2 6.7 2.17 + 55.01962 44.9 20.2 2.5 5.6 1.40 +109.0

(a) Per report data. On the basis of shares outstanding 1967 profits were $2.99 pershare: 1966 profits were $3.05 per share.

share of start-up trouble, which con-tinued through last year.

The direct -mail 'operation finished1967 in poor shape. Its Novembermailing cost more than it brought in.

One of the most important factorsin the direct -mail turnaround thisyear was the fact that the divisionhas just managed to overcome oneof the major obstacles to sellingdirect -mail exposure -it cut its ex-cessively long lead time in half. Untilrecently, an advertiser wanting touse the Metromedia service had tohave his order signed, sealed anddelivered nine weeks before mailing.Now the time lag is only four weeks.

operating division, Metromail.The shorter lead time, streamlin-

ing and more effective computeriza-tion plus market screening havehelped the division, but it would beunjustifiably optimistic to expectthe first-quarter success to be re-peated in the remaining quarters ofthis year. In fact, the division willbe ahead of schedule if it breakseven on the year as a whole.

Still, the company's major sourceof income is broadcasting (about 50per cent, compared with about 30per cent for outdoor advertising, 15per cent for direct mail and 5 percent miscellaneous).

Long-term uptrend. Growth anddiversification were one of thereasons the broker's report wasbullish on Metromedia, and certainlythe long-term earnings uptrend hasbeen good. But the company stillhas quite a bit of "digesting" to do(its streamlining of the direct -mailoperation is one example of whatcan be done and remains to be done),and expansion has created some dilu-tion.

MM is strong on potential; it hasa finger in several growing pies, notthe least of which are tv packages,in which its subsidiary, Wolper, isdoing very well. Wolper has about25 specials to its credit this season(September through May) and ishitting all the networks. Many ofthese 25 specials were run duringthe first quarter this year, but theywere not a factor in the soaringprofits because they were alreadysold and reflected in the 1967 fiscalyear figures. Next year's specialswill show up in the figures for thethird and final quarters of this year.

Meanwhile, Metromedia is goingthe usual route of the growth -mindedcompany, with stock dividends andconversion privileges that couldweaken per-share earning power.

However, the market is bettingMM's management won't bite offmore than it can chew -the stockhas gone from 481/2 to the mid -sixties so far this year.

Television Age, May 6, 1968:55

Features (Continued from page 22)

Besides, UHF stations participate inbidding for vintage reruns, sincethey generally cannot afford off -net-work reruns. In many cases, stationsare paying higher prices for topquality features in their third runlocally-not first run as in the past.

The networks, of course, buy thecream of Hollywood's output. More-over, the likelihood is that the betterfilms included in some of these pack-ages will be aired three and fourtimes before they are sold to stations.NBC already has a package for thirdand fourth runs.

Earlier in the decade, the averagelocal movie package consisted ofabout 25 per cent top -grade product,50 per cent medium and 25 per centlow-grade features. The top 25 percent now consists of off -networkreruns instead of first runs.

To illustrate: A Paramount Pic-tures package of a few years ago had25 off -network movies as well as 35first run.

A recent Paramount package had27 off -network titles, five of whichwere run three times on two networksand 19 first run features. A newWarner Brothers -Seven Arts releasehas 30 off -network features only.

The usual feature film package nowcontains four elements: (1) off -

network reruns which have beenshown two to four times; (2) a fewfirst runs which haven't met networkquality standards, (3) those whichhaven't met network continuity stand-ards and (4) a few better -gradedubbed features. The packages aresmaller, another indication of productshortage.

The greater emphasis on selectivebuying and sophisticated presentationis reflected in the decreasing marketfor most dubbed features. Top qual-ity dubbed product is in demand andhas played on the networks-Neveron Sunday, for example, on NBC andA Man and a Woman, recentlypurchased by ABC.

Yet when a feature has gotten onlylimited theatrical exposure, givenlittle exploitation and is without stars,stations find it less acceptable thanbefore. Such films in the sex exploita-tion category, however, still have amarket.

To compete with network features,even if not directly, stations must

evaluate packages more carefully. Itis not enough to look at the stars, thestory and the exploitation. Theratings must be studied carefully tosee how much of an audience remainsand what the intrinsic appeal is.

This is being done in many casesby station reps. Some have compiledcomplete rating dossiers on variousfeatures, the Katz Agency being aprime example. Sales executives atstations, moreover, are being increas-ingly brought into the buying pictureas their evaluations of saleability aregiven closer attention.

Stations are now buying movieproduct for years ahead and, there-fore, must come up with shrewd pro-jections of future value. EmbassyPictures' new "28 for 68" packagewill have many off -network films init which may be delivered as late as1973.

This distant delivery policy is alsoapplied by other distributors. In addi-tion, much of this product must beheld a minimum of nine monthsbefore it can be shown to local audi-ences.

Specially structuredA few station groups demand that

distributors structure packages tomeet their needs. This practice is newand will probably never become com-mon because it is difficult to do forhundreds of stations. But it has beendone for select customers.

"We've been asked by some stationgroups to structure film packages forthem," reports Edward Montanus,director of syndication sales forMGM -TV. Philip Mayer, vice presi-dent for program services of the ABC -owned stations notes, "On occasionwe've selected a number of films froma distributor's catalogue which werelater made into a package."

Stations in major markets willingto chance adverse audience reactionhave profited from stiff network con-tinuity standards and have boughtpictures nixed by the chains. In thebeginning, they presented such filmsas Lolita and Darling in the late -nighttime periods. Networks, of course,would have been forced to play themin the middle of evening.

Yet, WABC-TV New York has playedLolita in its 4:30 p.m. strip withoutany complaints from local viewers.

At times, audience receptivity hasbeen high. WIIC-TV Pittsburgh, for ex-

ample, presented Boccacio 70 in itsFriday 8:30 Movie of the Month andreceived a 17 rating and 35 share ofaudience, according to the AmericanResearch Bureau.

In the last year the ABC and NBCnetworks relaxed their continuitystandards considerably. In additionto A Man and A Woman and Neveron Sunday, cited previously, there..was even an attempt by one networkto see whether it could buy Darling.

However, Darling had already beensold to too many stations; it could notbe recaptured. Because of the easednetwork standards, stations now musttake a chance with even sexier fea-tures to hold their share of audience.

A battle for audiences in the lateafternoon strip is now being wagedbetween the ABC -owned and CBS -owned stations. This may have abroad effect on scheduling featuresin that time period. The CBS stationshad successfully used the 4:30 stripfor features for a decade and a half.

Now wcBs-Tv New York has MikeDouglas in the time period, WCAU-TVPhiladelphia has bought I Spy andWBBM-TV Chicago, The Man fromUncle.

But ABC in a recent deal paid areported $14 million to WarnerBrothers -Seven Arts for 703 featuresfor four of its owned stations; it hadpreviously bought 503 from the samedistributor for KGO-TV San Francisco.

The reason given for the CBS lateafternoon feature film cutback is theshortage of quality product and highfeature prices. But there are otherreasons.

The CBS stations want the maturefemale as their prime viewer becauseof her purchasing power. Ratingsseemed to indicate that it was becom-ing progressively more difficult to geher attention.

Moreover, CBS avoided buyingmany of the films in the newer packages because they would hurt it

image as a family broadcasting opera-tion. CBS also believed it was time tolessen the dependence of its ownestations on movies.

In Chicago and St. Louis, the CBstations begin their features at 1

instead of 10:30 pm and have expanded their 10:00-10:30 news tofull hour because news is a basiproduct with more direct control.

ABC, on the other hand, has alwayassiduously sought the young adul


audience. Many of them, includingthe numerous teenage brides who arenow building families, can be foundwatching movies in the late after-noon. ABC saw the CBS cutback asa timely opportunity.

The film -buying team at the ABC -owned stations, headed by Mayer,look at features as programmingblocks to reach specific audiencegroups. Monday to Thursday, for ex-ample, the emphasis is on presentingpictures in the soap opera category.

Friday, because more teenagers arehome, a feature with broader appealis scheduled.

In their late Sunday afternoonfeature presentation, WABC-TV NewYork shows a picture with maleappeal. To illustrate, The EnemyBelow has gotten good ratings whenpresented on the networks, but ABCfeels that it does not belong in itsMonday -to -Thursday strip because itis a man's picture.

ABC's continuity standards in thelate afternoon strip are looser thanthose of CBS. It has presented andgotten good ratings with such pic-tures as Sweet Bird of Youth, SevenYear Itch and Sunday in New York.For the younger audience which ABCis cultivating, these pictures reflecttoday's manners and standards.

To one major group of stations,then, the commitment to features hasbeen lessened while to another it hasbeen increased. These changes mirrorto some degree the new balance ofstation forces in a time when net-works dominate this type of program-ming. Most other stations whichdepend greatly on movies havelearned to live with the shortage ofpictures and with the presentation ofoff -network product.

In the future the pendulum mayswing back and the shortage allevi-ated to some degree. Indications arethat the high water mark has beenreached in network use of features.Besides, networks, too, are becomingmore selective in their purchases.

They are turning down Hollywoodproduct more frequently and begin-ning to produce movies for television,such as NBC's World Premiere.

One result will probably be agreater number of first run, if notfirst grade, features released to sta-tions by feature distributors. Conse-quently, the supply outlook does haveits bright spots.

television Age, May 6, 1968

Simmons (Continued from page 30)

the household income, the more like-ly it is a woman will watch fea-tures (see tables). On the other hand,men in the "medium" and "high" in-come brackets agree in their likingof variety or comedy -variety shows.

Examining the top 20 showsamong men and women in three in-come brackets provides a more de-tailed view of tv habits. For example,all six network movie shows appearin the top 20 for women in the over -

$10,000 category as well as those inthe $5,000 to $10,000 grouping.

Big with rich housewives

But no movie show ranks lowerthan 10th among upper -bracket wom-en while the ranking goes down to17th among medium -income women.In the low-income category-under$5,000-only one movie show appearsin the top 20, the CBS Fridaymovie, and that ranked 19th.

The variety show category,ever, is seemingly popular with

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en of all incomes. Including thecomedy variety type in this category,the Simmons data show that amongupper -income women five programswere in the top 20, among medium -income six were in the top 20 andamong lower -income, the figure wasfour.

The situation comedy is also ap-parently popular among women inall income groups. Starting with thetop income group and working down,the respective number of situationcomedies were, six, seven and seven.

When these three types of pro-gramming are examined in terms ofmen by income bracket, the patternsare revealing. In the case of movies,the male adult seems to react like thefemale. The higher the income, themore popular features appear to be.All six movies were in the upper -income top 20, five were in themedium -income top 20 and only onewas in the lower -income list.

Again, in the variety category, menin all income groups appear to likethem. There were five among the top20 in each male income bracket.

Distinct correlation

However, in the situation comedycategory, the pattern among menshowed a distinct correlation betweendislike and income. That is, thehigher the man's income, the lesslikely he is to view situation comedies.None were in the top 20 for upper -income men, three were listed formedium -income males and six ap-peared in the top 20 for lower -in-come men.

It should be pointed out that, to acertain extent, these top 20 break-downs by men and women are notnecessarily measures of pure pro-gram popularity. Much viewing isfamily viewing; a husband oftenwatches what his wife prefers andvice versa.

Over the years, some researchershave called for a regular tally ofwhich member in a family picked theprogram viewed, but there has notbeen enough interest in such data tostir the rating services into provid-ing them. In addition, some say itmay not be possible to get accurateinformation on the "program -chooser."

Be that as it may, the media buyercannot always be sure if viewers are

watching what they like or whatsome other member of the familywants to watch. To some advertisers,it makes no difference: it is enoughfor them that a viewer is exposed totheir ad messages. But, some re-search indicates, ad impact is greaterwhen a viewer is watching a showshe prefers.

Multi -set home question

Complicating this situation is thequestion of multi -set homes and whogenerally views that extra set. Multi -set homes are clearly correlated withincome. About half of all tv house-holds in the $10,000 -and -over cate-gory have more than one set. Thefigure is about one in four for all tvhouseholds in the $5 9,999 bracketand about one in 10 for those fami-lies earning under $5,000. Further,even in the upper -income household,the husband and wife may share oneset, with the other (or others) in thehands of the young.

Nevertheless, there is much evi-dence for believing that many view-ers will not watch programs theydon't particularly care for. How else,for example, explain the fact thatsituation comedies are popularamong women of all income bracketsbut are not among men across-the-board?

There are other differences thatalso show up. In the upper bracket,there are six adventure shows in themale top 20; the female total is two.There are three westerns in the top20 for men, but only one for women.

In the medium bracket, five west-erns rate high with men, only onewith women. Two adventure showsmake the men's top 20 but there arenone for women.

The low-income bracket shows thegreatest similarity in taste betweenmen and women. This goes for varietyshows, westerns, situation comedies-all popular with both sexes-andmovies, not particularly popular witheither.

The reasons? Probably these: thelow percentage of homes with morethan one set, lack of selectivity inviewing and the habit of regardingtv viewing as a family function. Itmay also be that in many homeshusband and wife just happen tolike the same programs most of thetime. Maybe.

Spot Power (Continued from page 2!

were placed in daytime and fringetime.

Because of the multi -media drive,the telephone questioning schedulevaried from most of the other cam-paigns studied. In the first place,women who reported receiving a

sample of Phase III were excludedfrom the survey results.

Second, because of the magazineads, a post -campaign survey was by-passed. Instead, follow-up studieswere made after the third, fifth and13th weeks of the campaign.

In the pre -campaign questioning.only four of 227 women interviewedanswered "yes" when asked: "Haveyou ever heard of Phase III?"Three of these correctly identified it.

The TvAR report underscored theseresults by pointing out that manydoubt the accuracy of market researchon the ground that people don'talways give honest answers. Theymight, for example, say they hadheard of Phase III only because theythink that is the answer expected ofthem.

The low identification score (2 percent) is evidence, says the rep firm,that consumers do provide honestanswers when non -biased questionsare used.

As for the results of questioning(luring the campaign: after threeweeks of advertising, 30 per cent othe women interviewed said they haheard of Phase III; after five wee39 per cent; after 13 weeks, 45cent.

How much of this was due to maga-zines? Women were asked after 13 .1weeks where they had recalled seeing dor hearing advertising about the ml

product. Of those who knew about t;,Phase III, 87 per cent recalled the radvertising -82 per cent said they rsaw it on television, 13 per cent men- ntioned magazines (these figures addedup to more than 87 per cent because "I

of those who mentioned both media).The contrast is striking (and the

complete Trendex results for this andother products are available for

examination, says TvAR) .While the rep firm is not seeking

to palm off these results as a defini-tive answer to the relative effec-

tiveness of the two media, it pointsup the sizeable gap between themin providing information about Phase


III in Pittsburgh.Another mixed -media campaign

studied was that for PPG Industries'Safety Shield glass.

The advertiser relied primarilyupon spot in a 14 -week spring/sum-mer campaign in Washington on thethree network affiliates, WMAL-TV,

WRC-TV and WTOP-TV, but there wasalso a full -page ad in Reader's Digestin each issue during this period.

PPG used minutes in early and latefringe time starting May 15 with thefollowing frequency: 15 a week forfour weeks; 10 a week for the nextfour weeks and six a week for thefinal six weeks.

Unaided recall question

Interviews zeroed in on prospects-men and women who owned theirown homes. The unaided recall ques-tion was: "What makes or types ofglass for sliding doors or patio doorscan you name?"

For the aided recall question, theterm "Safety Shield" was used incontext to make sure it would not beinterpreted in a generic sense. Thequestion ran: "Have you ever heardof the name `Safety Shield' in con-nection with glass for sliding doors orpatio doors?"

After three weeks, primary aware-ness jumped from 10 to 17 per cent.Total awareness went up from 36 to58 per cent. There was little changein awareness after that, but TvARpoints out that advertising weight wasreduced during the summer.

A post -campaign survey found that47 per cent of Washington home-owners were aware of the SafetyShield advertising while a third ofthe respondents were able to playback correctly one or more of thecopy points.

The power of spot in a short cam-paign is illustrated in a one -weekdrive by Berkshire hosiery on KYW-TVand WCAU-TV Philadelphia. Seven 20swere run in prime time during theweek ending May 4, 1967. Primaryawareness increased from 16 to 21per cent.

What happens when a brand iswell-known is shown in the case ofTintex fabric dye. The brand hadnever used spot tv until the fall of1967, when it moved into the mediumwith a six -week campaign in 10 mar-kets. TvAR measured results in thetwo markets where it had stations,

Boston and Pittsburgh. In this in-stance only IDs were used, a packageof 19 per week on WBZ-TV and 15weekly on KDKA-TV. The bulk of theseran before 6 p.m., so the bef ore -and -after interviewing was conductedamong women who watched daytimetv.

As expected, total awareness washigh initially, scoring 87 per cent.Despite the limited room for growth,however, after the six -week periodthe figure was pushed up to 94 percent.

In primary awareness, Tintex rana poor second to Rit, the leader inthe field, before the campaign -32 to48 per cent. But six weeks of IDadvertising pushed the Tintex figureup to 49 per cent, practically neckand neck with Rit, which scored 51per cent in the post -campaign survey.

Two low -caffeine instant coffeeswere involved in the TvAR study, oneof them a new brand called Kava,described as highly acid -free. It tookthe market -by -market route for itsdebut strategy, putting the bulk of itsad money into spot tv. One of themarkets was Boston, where a seven -

week drive was made on three net-work affiliates - WBZ-TV, WIIDI{-TVand WNAC-TV.

Print and mail used, tooDuring this period one newspaper

ad was used (a 1,200 -line insertionin the initial week of the campaign)and there was product sampling bymail. As in the case of Phase III,women who received product samplesof Kava, a Borden brand, were notincluded in the published results ofthe survey.

About a dozen minutes were usedper week in daytime and fringe time,except that ad weight was cut in halfduring the last week.

Results: total awareness before thecampaign was 11 per cent; after-wards, it was a hefty 54 per cent.

The other instant, Decaf, testedspot tv with a 10 -week campaign onWJXT Jacksonville. The schedule,launched in February 1967, startedwith a four -week flight of 14 an-nouncements a week, aired primarilyduring the day.

This included minutes and 20s,with two 20s in primetime. After a

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two-week hiatus, the drive resumedfor another six weeks, but with theprimetime 20s eliminated.

Among women who used instantcoffee-the target audience-primaryawareness rose from 21 to 38 percent-an increase of 81 per cent. Atthe same time, Sanka, the dominantdecaffeinated brand, suffered a loss inprimary awareness, falling from 64to 58 per cent.

Like Tintex, Decaf was a well -established but partially -forgottenbrand. Its total awareness scorebefore the campaign was fully 90per cent but at the end it was raisedto no less than 98 per cent.

The use of a hiatus gave TvAR anopportunity to measure the effect ofstart -stop -and -start -again advertising.Measurements were taken (1) justafter the first four weeks, (2) justprior to the second flight and (3)midway through the second flight.

Primary awareness rose from 21to 35 per cent (compared to 38 percent at the end of the full campaign)but fell to 28 per cent during thehiatus. Midway through the secondflight, the level was pushed up to 32per cent.

Concludes TvAR: "From this itappears that a continuous 10 -weekeffort would have produced an evenbigger gain in awareness than the 81per cent increase that was registered."

In the area of appliances, two cam-paigns were analyzed. One was runby Proctor-Silex, Inc., which hadbeen a consistent spot tv advertiserand had used the medium for seasonalcampaigns to promote their small,electrical appliances.

In the fall of 1967, Proctor-Silexturned to spot to test market theirnew "Lifelong" line of electric cof-fee makers, toasters and irons. Tvwas used exclusively for a 10 -weekintroduction in Charlotte on WBTVand WSOC-TV. Eighteen announce-ments, mostly minutes but also 30s,were aired each week during the day.

The sample was women whowatched daytime tv and their primaryawareness of Proctor-Silex coffeemakers, toasters and irons went upfrom 22 to 37 per cent, total aware-ness from 80 to 88 per cent. Onereason for high initial total aware-ness level was a previous spot tv cam-paign by the client in the spring.

The questioning uncovered the factthat better than six out of 10 women

who watched daytime tv had seen orheard the Proctor-Silex commercials;better than half of these women cor-rectly played back one or more of the"Lifelong" copy points.

The other appliance campaign wasthat for Shetland Sweeper Vac whichhad been what TvAR described as"swept under a carpet of obscurity"for more than five years. The only1967 advertising for the product untilthe fall was a spring campaign inSunday supplements. In mid -Septem-ber, the company turned to spot tvfor the first time with a 10 -week cam-paign in 20 major markets.

The timebuying approach: an-nouncements during the day only,mostly minutes, some 30s and, in afew markets, IDs.

TvAR measured results in four ofits markets, where five stations wereused, and where frequency averagedeight to 10 spots a week. In two of themarkets, Pittsburgh and Boston, IDswere aired.

Awareness was doubled

In the four markets combined, totalawareness of Sweeper Vac went from16 to 35 per cent. Market -by -market,the results were: in Philadelphia(KYw-Tv), 15 to 31 per cent; inPittsburgh (KDKA-TV) , 9 to 30 percent; in Baltimore (wJz-Tv andWBAL-TV) , 20 to 36 per cent; in Bos-ton (wBz-Tv), 23 to 45 per cent.

The use of IDs as supplementaryadvertising provided an opportunityto measure their impact. During theopening two weeks a package of 16was thrown into the campaign in Bos-ton and the drive was extended inthat market for an extra week, atwhich time the package was againadded to the schedule.

After two weeks, awareness wentfrom 23 to 39 per cent and then sta-bilized until ID support was added inthe final week, when it reached the45 per cent level.

The last of the successful cam-paigns was a product for men, Black-stone cigars. It pointed up the prob-lem of how a limited -budget adver-tiser can fare against big spenders ina field with a multitude of brands.

Blackstone had been concentratingon newspapers. In the fall of 1967,the client turned to spot tv for thefirst time, using Boston as a testingground. Just before the switch to tv,Blackstone had run newspaper ads

from June until early September in '

that market.The precampaign questioning re-

vealed a primary awareness of 16per cent but only 2 per cent of thecigar smokers interviewed hadsmoked a Blackstone during the pre-vious week.

Tv advertising was kicked off Sep-tember 10 and ran for 16 weeks onWBZ-TV. Initially, IDs were the prim-ary ad length and they were run inthe early morning and late night.However, some minutes were usedalso. Midway in the campaign, Black-stone switched to IDs entirely.

These were the results: Primaryawareness climbed to 44 per cent.Only one of the 200 cigar smokersinterviewed said he was unfamiliarwith the Blackstone name. The mensmoking the cigar jumped to 14 percent, making its ranking fourth.

As for the minus side, TvAR is notrevealing the names of the two brandswhere there was no significant in-crease in awareness. But they presentsome reasons why.

One involved a well-known com-pany with a full line of products. Ittested a new item, using both spot tvand regional magazines.

The new brand carried the corpor-ate name with only a slight variationto set it apart from the other prod-ucts, says TvAR. Further, the newbrand was completely unrelated tothe others. The result, concludes the

rep firm, was that it "was smotheredunder a corporate blanket."

To make things worse, the com-pany promoted a number of otherbrands in the test market while thenew brand was being advertised. Con-sequently, there was confusion in theminds of respondents about the identity of the tested brands.

The second campaign involved adrug product promoted with daytimeand late night IDs. Three different;commercials were used with no strongbrand identification.

Says TvAR: "Here, the inability toincrease awareness appears to havstemmed from a copy appeal pullinin three different directions, plus th

failure to drive home the brandname."

Obviously, spot tv won't workunder any and all conditions. BuTvAR feels it has some pretty solievidence that it can work underlarge variety of conditions.

60Television Age, May 6, 1

1.. rogram Control (From page 27)

,'political broadcast cases.Since it has no say in the day -by -

.+day programming of broadcast sta-tions, the Commission does not re-quire any regular filing of programscripts and monitors programs onlyin special instances.

However, when a broadcast license'comes up for renewal (normallyevery three years) the station's re-

< port on its current program structureis compared with its past per-formance and promises. If its cur-rent operation seems to be at vari-ance, the Commission defers actionon the renewal for further inquiryand consideration.

The Commission can't arbitrarilyorder a station off the air. Until afew years ago its only recourse wasto initiate a revocation or other pro-ceeding which involved a publichearing. This is a long-drawn-outprocess. So, at FCC request,Congress enabled the Commission togive short-term probationary licensesin cases deserving closer scutiny andto impose fines for willful and re-peated violations.

If its license renewal is held up,the station can, of course, continueto operate pending further action.Even if a license is ordered revokedor a renewal is denied the stationcan continue to function during ap-peal to the Commission or to thecourts.

The degree of Commission involve-ment in programming matters varieswith the composition of its membersinsofar as their individual views areconcerned. Several chairmen havebeen loudly critical of program con-tent and trend. These personal ex-pressions have ranged from disap-pointment at the quality of certainair fare to sweeping indictments oftv programming.

These critical officials seem to re-gard censorship as being limited toaction before the fact, not after it.Several have advocated program con-trols which cannot be effected underpresent law.

Besides making press headlines forthe critics, these occasional outburstshave served as a "lifted -eyebrow"technique in getting always -jitterybroadcasters to give more attentionto news, public affairs and educa-tional themes.

There is little that the Commission

as a whole can do, formally anddirectly, to improve program quality.There is the yet -insurmountable wallin Section 326 of its governing lawwhich states bluntly:

"Nothing in this act shall beunderstood or construed to givethe Commission the power of censor-ship over the radio communicationsor signals transmitted by any radiostation ... "

Mounting public criticism of tvand radio programs caused the Com-mission to hold a public hearing toconsider how far it should go indealing with that subject in view ofthe censorship ban, its past thwartedefforts to curb certain types of give-away and other programs involvingthe element of chance, and the factthat its direct regulatory power islimited to individual station licen-sees and their transmitter operators(not to networks, program produc-ers, performers or advertisers) .

As a result, in 1960 the Commis-sion issued a statement of policy onits attitude toward programming.This replaced a previous report, re-ferred to by the industry as theBlue Book, which was hazy and con-tradictory in interpreting and defin-ing Commission authority over pro-gramming.

Programming Policy

The FCC's present programmingpolicy credo says a prime responsi-bility of the holder of a stationlicense is to ascertain and meet theneeds of the community he servesand, accordingly, the Commissionwill give "great weight" to his"honest and prudent judgment" inthat respect.

While disclaiming any intent tosubstitute its own judgment for thatof the licensee, or to prescribe afixed program formula for thelicense holder to follow, the policystatement lists the following 14"major elements" as usually neces-sary to meet community interest,needs and desires:

1) Opportunity for local self-expression.

2) Development and use of localtalent.

3) Programs for children.4) Religious programs.5) Educational programs.6) Public affairs programs7) Editorializing by licensees.

8) Political broadcasts.9) Agricultural programs.

10) News programs.11) Weather and market reports.12) Sports programs.13) Service to minority groups.14) Entertainment programs.The policy statement notes that

particular areas of interest and typesof service may, of course, differ fromcommunity to community.

Because the courts have of latefrowned upon requirements affect-ing religion, the FCC now hasqualms about having implied thatreligion is a subject for its considera-tion. The FCC remembers the up-roar caused many years ago when itruled that an atheist was entitled toequal air time-even on Sunday.

Indeed, there is some feelingwithin the Commission that itspresent programming policy shouldbe reviewed. But the nature of anychange would, of course, dependupon majority thinking of the Com-missioners at the time.

The Commission has never at-tempted to define what constitutespublic service.

musingsfor amediaman

r thosecelled onlit and 4tno short

the rate

and bledlnp.on 90aren.te pen

for the

A man's wordis only asvaluable asthe promiseshe's fulfilled.

Martin Himmel, President

JEFFREY MARTIN, Inc., Dist. of CO(npOz®

l'elcvision Age, May 6, 196861

As far as the FCC is concerned,its "statements of policy" pronounce-ments from time to time are moreprone to being changed by ensuingcommissioners than the more definiteprescriptions which are actually in-corporated in its rules and regula-tions.

When AM was the only broadcastservice and there were comparativelyfew stations, the FCC required allstations to offer "well-rounded" gen-eral programs. With the advent ofFM and tv with more stations andcompetition, the Commission honoredrequests by newcomers in many -sta-tion markets to engage in specializedprogramming.

As a result, some stations nowbroadcast in foreign languages, orare all -music (classical, popular, hill-billy or rock `n' roll) and stillothers offer news only.

Indeed, one station was even au-thorized to test an all -classified -ad-vertising format, but the venturefailed. Today, however, there is anautomatic juke -box type of operationby some small, daytime stationswhich feature broadcast of recordedmusic exclusively.

The "payola" and "rigged quizshow" revelations of some years backinduced Congress to aid the Com-mission by making it illegal to ac-cept money or other considerationfor the broadcast of records andother plugs without disclosing it, andfor anyone to engage in deceptivepractices in broadcast involving con-tests of knowledge, skill or chance.

The Commission does not licensebroadcast networks as such; onlyindividual stations. It does not passupon station affiliations -with net-works. That is an arrangement be-tween the individual station and net-work. Some stations even contract forprograms from more than one net-work.

However, to foster competition inprogramming, FCC rules preclude astation from using an over -balanceof network fare at the expense oflocally originated programming.

Its inquiry into network practiceshas caused the Commission to favorsome degree of direct control of net-works short of licensing. Meanwhile,limited indirect control is achievedby regulations governing individualstations, including those owned andoperated by the networks.

Such methods are indirect but un-

deniably effective. In this way theFCC was once able to force a majornetwork to dispose of a secondchain in order to conform with themonopoly rule applied to stations in-dividually.

To further curb monopoly, theCommission does not license morethan one type of commercial broad-cast station (tv, AM or FM) in thesame community, or more than sevencommercial stations of the same typein the country as a whole, to thesame individual or company. In thecase of tv, not more than five of theseseven outlets may be in the VHFband.

There is no law or rule prohibiting

30 years at CBSMerle S. Jones, who retired

May 1 as a director and officerof CBS, Inc., and of a numberof the company's subsidiaries,spent nearly 30 years at CBS.

In praising his contributions tothe corporation, president FrankStanton paid particular atten-tion to the "Merle Jones farmsystem," which provided CBSa steady flow of executives.

Jones, who is 62, started hisbroadcast career in 1933 atWAAW Omaha, then switched toKMBC Kansas City, Mo., thenext year.

He joined CBS in 1936 asassistant to the general managerof KMOX St. Louis. He ad-vanced through a number ofposts (interrupted by threeyears with Cowles BroadcastingCo.) to vice president in chargeof CBS -owned tv stations andgeneral services in 1951. In1956 he became president ofCBS Television and in 1958president of the CBS TelevisionStations Division.

newspapers-or any other qualifiedgroup for that matter-from operat-ing broadcast stations. But suchfactors as concentration of massmedia, local vs. outside ownership,financial responsibility, proposedequipment and service, etc., are con-sidered in hearings, which are man-datory for all competitive applica-tions.

Though the Commission does notregulate the nature or length ofbroadcast commercials, it does con-sider whether over -commercializationis involved in decisions on applica-tions for new stations, license re-

newals and ownership transfers.Several years ago the FCC pro-

posed to limit the amount of timedevoted to commercials, possiblywith adoption of the restraints ad-vocated in the codes of the NationalAssociation 'of Broadcasters. Theproposal was dismissed, and theCommission said it would give moreattention to excessive commercializa-tion on a case -by -case basis.

Loud commercials

It later wrestled with mountingcomplaints about loud commercials:This was a big headache becausemost commercials, while not tunedup in volume, assail listeners' earsbecause they are made with staccatoaction and sound.

On the basis of technical engi-

neering considerations, the Commision announced a policy of requiringstations to exercise remedial volume rcontrol and asking the producers ofcommercials to cooperate.

False and misleading advertisingon the air, as well as in print, is

under the jurisdiction of the FederalTrade Commission. By agreementwith the FTC, the FCC notifiesbroadcast stations of such violationscited by the FTC so the stationsmay take appropriate action.

There was much grumbling by in-dustry in going along with an FCC

dictum that cigarette commercials,like cigarette packages, should carrywarnings that cigarette smoking is

detrimental to health. Spot an-

nouncements to this effect are fur-

nished by health authorities.Some stations have never carrie

cigarette advertising and are apprhensive that, under the Commission"fairness doctrine", the tobacco in -

dustry might ask for equal time tvoice its contrary view.


The Commission does not get intolabor disputes involving unions, net-works and individual stations. Suchmatters are considered the respon-sibility of the Department of Labor,not the FCC. The Commission is alsoable to avoid two other potentiallythorny areas: hard liquor and sub-liminal advertising. The broadcastindustry voluntarily rejects suchcommercials.

The tv industry continues to betroubled by the channel allocationplan adopted by the Commission todistribute facilities on a nationwidebasis. The setup is very complex. Anychange in a station's channel assign-ment can spark a chain reaction re-quiring reshuffling of other stationassignments to accommodate themove.

Overcoming handicaps

Some of the technical handicapsof UHF transmission as comparedwith that of VHF are being over-come by operators in the upper chan-nels by using increased power,higher antennas and other means.

For their part, VHF operators arekept jittery by continued efforts ofexpanding non -broadcast services totake over or share one or more VHFchannels.

Tv broadcasters remember thatthe original Channel 1 was sharedbut the resulting interference was sogreat that the whole channel had tobe shifted to non-commercial use.Incidentally, not many people realizethat a tv station's combined audioand visual transmission requires sixtimes as much spectrum space as anAM radio station.

Other than requiring (under re-cent statute amendment) manufac-ture of new tv recievers that canreceive UHF as well as VHF, andcurbs against interference to all radioInnmunication services, the Corn -II, i,.ion does not regulate the manu-f i tore, sale or servicing of radio ortc sets.

O ft -quoted words

The words "public interest" arequoted so often in any discussionabout broadcasting that it is onlyfair to point out that they are takenfrom the longer term, "public in-terest, convenience and necessity."This term is not confined to broad-casting but appears throughout theCommunications Act as a requisite

in Commission consideration of allforms of electronic communication-telephone, telegraph and non-com-mercial as well as commercial broad-cast services.

The Supreme Court has yet to rulespecifically as to how much authoritythe FCC has over broadcast pro-gramming. Up to now, court rulingsin various broadcast matters can beselected and quoted to support eithera hard or soft attitude toward pro-gram control.

Public interest question

So, in broadcasting, the big pub-lic interest question still is: "Howfar can the FCC go in regulatingprograms?" It will not be settleduntil such authority is spelled out inthe Communications Act, or theSupreme Court makes a specific rul-ing on the matter.

The basic 1934 Act was draftedbefore the meteoric development ofelectrical communication media. De-spite many subsequent amendments,the statute still lacks clarity. As aresult, interpretations of many gen-eral provisions must apply.

Thus far, because of the com-plexities involved and the Pandora'sbox that would be opened, Congresshas been reluctant to up -date the Actin its entirity. This leaves the FCCin the unenviable position of being"damned if it does, and damned ifit doesn't"!

About the authorWhen George Oliver Gilling-

ham retired as chief of theFCC's Office of Reports andInformation in 1966, he wasthe dean of the government'sWashington information corps.

He had served with the FCCsince 1939. During the sixyears before that he was infor-mation chief of the TennesseeValley Authority.

Gillingham started his ca-reer as a reporter in Newark,N.J. After World War I service,he went to Pathfinder magazineand became managing editor.

During World War II, hewas information chief of theChemical Warfare Service andwas awarded a Legion of Merit.His book, Behind Washington'sPaper Curtain, will be pub-lished by Dorrance this spring.

Bozell (Continued from page 25)

to grow. A few years ago, B&J set upan agricultural division in Omaha. Itnow bills about $2 million and theagency's objective is to raise this to$5 million by the end of next year.

The B&J chief also sees benefitsto the branch offices from the cre-ative-cumpackage goods strategy."National images are made in NewYork," he says, "and the best way toget exposure for your work isthrough products whose advertisingis seen by everybody. The greatestrewards in advertising come throughpackage goods, including drugs."

The benefits of this, Peebler ex-plains, can rub off on all B&J of-fices. "This will help us upgrade ouraccounts all over the country."

Whether this upgrading, whichmeans bigger -size accounts, will meanthe trimming of B&J's extensive list,Peebler is not prepared to say.

But he points out that B&J hasmade money on small accounts overthe years. "I'll admit," he adds, "thatI wouldn't be likely to start an agencywith an intention to grow as B&J hasin the past. But it has worked, eventhough no one would have predictedit would. To put it another way, it'smore logical for an agency to worktoward New York as B&J has, thanthe other way around-starting witha New York agency and packagegoods accounts and then spreadingout over the country picking up alot of small clients."

B&J now has 10 offices and oneservice office. The 10 are Atlanta,Chicago, Houston, Indianapolis, NewYork, Omaha, Phoenix, Sioux City,Tacoma and Toronto, while Shreve-port falls in the service category.Omaha has the largest number ofclients-close to 80. Sioux City hasover 40, New York nearly 30.

B&J's ratio of employees to ac-counts tells little other than theagency has a lot of accounts. Thecritical measure of employees per $1million of billing is another story.Peebler figures that B&J's is a littlehigher than the average. To him that

FAZSYSTEMSENGINEERINGCOMPANY

FRANK A. ZOELLERTELEVISION SYSTEMS CONSULTANT

20 Yrs. Experience

Box 366 San Carlos, Cal. 94070 (415) 593-1751


means the agency is giving betterservice than the average.

As Peebler indicated, B&J startedwith no indication of how it wouldproliferate. Its founders were bothnewspapermen. Jacobs was a nightreporter for the Omaha Daily News,Leo Bozell, secretary of the OmahaReal Estate Board and a formercity editor of the Omaha Bee.

Neither quit his job in the earlydays of the agency; Jacobs workedon advertising during the day andBozell at night.

An ad written by Jacobs in 1922for the Nebraska Power Co. is con-sidered a classic in its field. Itsought to persuade women to buythe then new labor-saving appliances.The headline read: "Are you workingfor your husband's second wife?"

Bozell & Jacobs' success with util-ity advertising led to an opportunityto handle an Indiana utility. Theclient, however, wanted to work withan Indiana corporation. Bozell &

Jacobs obliged by setting one up.This pattern was followed in Texas,Illinois and other. states, along witha policy of giving considerable au-tonomy to the branch offices. Lateron, when separate corporations wereno longer needed to bring in clients,they were retained for tax reasons.

The large number of branches fora relatively small agency gave manyadmen the impression (which stillexists in some quarters) that the B&Jbranches were locally owned andfranchised in some way. However, thetwo founders never relinquished con-trol. When Bozell died 20 years ago,Jacobs bought out his interest asprovided in their original agreement.

The elder Jacobs became foundingchairman of the agency when hesold out, serves as a consultant andcontinues as a director. He jokesabout "brainwashing" his son-in-lawand nephew in following his person.al and business principles; theyounger Jacobs admits that hisuncle's influence is still significant.

The policy of autonomous branch-es, so characteristic of B&J's growth,no longer applies. The agency is atighter ship, with more central con-trol and more coming and going be-tween the various offices. It is, forsure, becoming a different kind ofagency and, if Peebler's goals areachieved, Morris Jacobs won't recog-nize the old place.

Production (From page 23)

release in the United States is usu-ally more difficult to get. The moviesusually run 85 to 95 minutes.

It has taken several years for theproduction pattern of such features toshake down. Problems have beenencountered and experience has beencostly.

RKO General, for example, enteredinto a 10 -picture deal with foreignfilmmakers. The average budget wassaid to be about $165,000 per film,which had to be dubbed. Along theway the bottom dropped out of themarket for dubbed features.

RKO General, for example, enteredenthralled with their quality, thoughratings for some of them have beenrespectable. Pictures include Queenfor An Ace with Roger Hanin, andTarget for Killing with Stewart Gran-ger and Curt Jurgens.

Westinghouse -Pink dealWestinghouse bought the North

American rights to 10 pictures madeby Sidney Pink. They include TallWoman and Madigan's Millions, andfeature such performers Anne Baxterand Tab Hunter.

This deal has not been renewed.The company has decided to co -pro-duce and co -finance larger budgetpictures to get better quality. ThePink Films were budgeted at about$400,000 each while the co -producedfeatures will cost between $600,000and $1 million.

As co -producer, Westinghouse will,of course, also participate in the

Philip J. Lombardo has been namedgeneral manager of WGHP-TV HighPoint -Winston -Salem -Greensboro, itwas announced by John G. Johnson,president of Southern BroadcastingCo.

profits, if any, made from theatricarelease.

The first Westinghouse deal of thikind was made with the Sydney Bogroup and called for production o27 films over four years. The first'three pictures, which will go into*theatrical release shortly, are The;Man Outside with Van Heflin, The!Limbo Line with Craig Stevens and1Love in Amsterdam.

Westinghouse has a similar contract with Richard and Samuel Marxformer producers of Lassie at MGMFor the next five years they will produce four pictures a year, mainly othe family type. The first is The Dukof Texas.

The broadcast group hopes to enterinto 20 co -production deals of thiskind every year and expects to leaseNorth American tv rights to 15 otherpictures a year. The 35 pictures thusaccumulated will fill one-third of itsfeature film needs.

Westinghouse has bought rights tWidowmaker, a picture being produced by Jack Skirball and CurtiBernhardt. The company hopes thteam will be able to provide thresuch pictures yearly in the beginninand then step up their output to si.each year.

Contracts with networksGoldman and White are also enter

ing into contracts with networksGoldman has finished The Destructors for CBS and it has already beentelecast; among others are ThMoney Jungle with John EricsonPanic in the City with Howard Duffand The Violent Ones with Aldo RayWhite is readying The Kasluniri Runfor one of the networks.

A pattern seems to be developingin which these tv -oriented featureoperations produce on two levels, onefor stations and the other for thenetworks. It is not inconceivable thaa feature co -produced by Westinghouse could be bought by a network

More than ever, a theatrical releasein the United States is the key toprofits from features. But even goodgrade B pictures have trouble gettingthat release. Nevertheless, it appearsthat "movies -for -tv" will be increasing in number

It is also becoming evident thatelevision stations have an importanrole in supplying programming fothemselves and others in tv.

s


A s of today both the MarketResearch and Copy Research

Councils want no part of BabetteJackson, vice president and newresearch director at Dancer -Fitzger-ald -Sample, New York. The groups,which meet at the Yale and HarvardClubs, are stag - women are notwelcome, at least not as members.

The trim, pleasant and very articu-late Miss Jackson is however, a mem-er of the Tv and Radio Research

Council, "a swinging outfit that takesboys, girls-all sizes, all shapes."

The exclusion from two groups,which her more than 10 -years experi-ence should entitle her to belong to,is just one hang-up for the energeticoman executive.Being petite, she sometimes finds

herself ill at ease at a bulky walnutdesk. Often, she jokes, she can barelyreach pencils at the far end of themanly desk. In an even more humor-ous vein, she quips, "There isn'tenough drawer space-at least notfor a girl."

Yet, despite her troubles withbeing a girl in a man's world and

a sore throat("My husband likes mebest like this. I can hardly talk."),Miss Jackson was eager to speak ofher own career and the plight ofs omen in business.

"Women have a hard time makinga career for themselves," she ex-plained, as she began doodling on aellow line pad. "There are many

excellent women right now inresearch who just don't get the oppor-tunity for advancement. It is nothowever, as many people think, aprejudice. I feel it is more of an old-fashioned tradition.

"Traditionally," Miss Jackson con-tinues, still sketching, "many womenmay not want to move up simplybecause they do not want any addedresponsibilities that might interfere'o ith their duties as wives."

There are also, Miss Jackson point-ed out, many men in management,the men who make the decisions as

In the picture

to who moves where and when ina company, who pass over qualifiedwomen simply because a man hasalways held a particular position.

"For these reasons, I believe Dan-cer -Fitzgerald -Sample is rather cou-rageous. I certainly hope to live upto the agency's expectations."

Miss Jackson became interestedin research while still an

undergraduate majoring in psychol-ogy at Barnard College. Looking fora summer job, Miss Jackson reliedon the advice of her professor's wifeand began investigating advertisingresearch.

She worked with Young & Rubicamfor two summers, went on to graduatestudies in sociology, statistics andpsychology before beginning herformal research career at the BiowCompany.

"I learned researchBiow," she recalls, her pencil goingfuriously. "It was a dynamic outfit.You worked like crazy and everyoneliked their work." Miss Jackson metand married Murray Sommer, anattorney, while she was at Biow whereshe worked till 1956 when theagency was forced to close down.

Miss Jackson then went to Dancerwhere she started as a project direc-tor assigned to do brand research.

"When I joined Dancer I waslooking for a position with lessresponsibility than the assistantresearch director's job I had withBiow. I was recently married and Ihad a home to care for."

But Miss Jackson could not escapeadded responsibility. In 1964, shewas made associate research directorat Dancer, and in 1965, she wasnamed a vice president.

Today, she directs a staff of about40 research people who function

in various ways for both the agencyand its clients.

"We do not just collect researchmaterial and have it on hand," MissJackson explained, putting her pencil

Babette JacksonLady v -p in a man's world

down for a second. "We synthesizeinformation for the media depart-ment, the account services groups andso on, to provide the best possiblesolutions to planning problems. Wehave a direct contact with them sothe material is always available.

"The main thrust the researchdepartment today is as a bulwark tothe creative departments. A recentreorganization has also brought thesystems analysis approach to alladvertising and planning problems."

Miss Jackson, pencil going strongagain, explained how "this first

in agency research departments"actually operates.

"Each associate research directorserves as a direct liaison with thehead of another agency department.In this way, a creative man, forexample, knows just who to go to ifhe needs help in the way of research.He can be referred to anotherresearch man if need be, but he isnever at a loss when it comes tohaving a contact in our department."

Miss Jackson and her husband livein Fort Lee, New Jersey. They areboth avid readers and walkers.

"There!" she exclaimed, holding upher finished doodle that looked some-thing like a plumed fountain pen sur-rounded by psychedelic symbols,"perhaps, I can sell it to the Museumof Modern Art?" Maybe to the Har-vard Club.


THE LIGHTER SIDE In cameraThere is less criticism than there

used to be about political advertising"selling a candidate like soap," butthere is still some dispute aboutwhether tv spots show a candidate ashe really is or whether their purposeis "wart removal." This wart questionis quite serious and could lead tosuch situations as the following:

Imagine a group of agency menmeeting to discuss upcoming commer-cials for a client -candidate. Presentare the account executive, art direc-

tor, copywriter and producer.AD: The first thing we gotta dis-

cuss is what we're going to do aboutSmith's face.

AE: Isn't that putting the wartbefore the horse, if you'll pardon mypun? The real problem is how toduck the Vietnam war, the balance ofpayments, the crisis in the cities andthe tax surcharge.

AD: Listen, if Smith's face doesn'tcome over the tube with feeling, thevoters won't care what he says; they'llgive him the heave-ho. But if he looksgood, he can say anything; he can

even say nothing.CW: What's wrong with his face,

anyway? I've see his picture in thepaper; it looks okay to me-sort ofcraggy, rock -honest, homespun, log-cabinish, rail-splitter .. .

AD: Now don't get carried away-not yet. You're missing the wholepoint. Once we've decided what to doabout his face, then we can write thecopy to fit.

PR: Yeah, that's right, and what'smore, that craggy face doesn't look

good on tv. I've seen him in the newsand he looks like he needs a shave orelse he looks like he had a bad caseof pimples when he was a kid.

AE: Listen, forget all that. Whattawe got makeup men for? Let's keepour eye on the principles this guystands for.

CW: Incidentally, what does hestand for? I got a very muddled pic-ture of this guy. I can't recall histaking a position on anything.

AE: That's exactly what I mean.No positions, but lots of principles.Don'tcha see why we've got suchgreat material here? He stands forthe best in American ideas.

CW: Give me a fr'instance.AE: Well, he wants to unify the

American people.CW. Who doesn't?AE: His opponent, bonehead!CW: Oh yeah! Well, listen, it's all

right to talk about unifying theAmerican people, but you gotta spellthat out in specifics.

AE: I'm glad you asked, already.I thought we'd never get down to it.Let me give you some good, hardconcepts. In the first place, he'sagainst rioting and looting but hefeels the black man should have thesame rights as every American. Sec-

ond, he wants to end the Vietnam warbut without humiliation or defeat.Third .. .

CW: I repeat, who doesn't?AE: And I repeat, that's exactly

what I mean. Everybody wants whatSmith wants. Smith wants what every-body wants.

AD: Gentlemen, gentlemen, gentle-men. This is all very well if you'rewriting an ad, but we're preparingmaterial for a visual medium. I'llsay that again: viz-you-ul. Must Imention Mr. McLuhan and point outthat the medium is the message?Now, about that face .. .

CW: What can you do about aface? Whaddya gonna do, plastic sur-gery? If you change it, he might looklike somebody else. After all, he gotto be councilman with that face.

AD: You writers have no faith inthe art of illusion. If you'll listen fora minute, I'll give you my diagnosison what's wrong with Smith's faceand my recommendations on how tocreate round, moonlike, benign fea-tures that radiate honesty, friendship,happiness and, with a few clevertouches, courage. Unfortunately, westart with a brachycephalic skull andwe have to make it look like a doli-chocephalic skull. Now, what I intendto do .. .

CW: Listen, professor, forget theanthropology and let's get down tobusiness.

PR: You know, it just occurred tome that somebody mentioned theother day that Smith had a wart.

AD: Oh, my God!AE: You're kidding!

AD: Where is it located?AE: Is it big?AD: We'll have to remove it ri

AE: Does anyone know Dr. Her's number? Meeting's adjourI've got to see the boss about t

CW. Hey, wait, you guys.haven't talked about copy .. .

AE: How can you talk about cat a time like this?

* * *

dala

ight,

unt-ned.his.We

opy

The increasing popularity of rock-and-roll bands on tv has increased thesale of artificial pimples, according toone of our local informants.

* * *

In the upcoming NBC News spe-cial, American Profile: Somehow ItWorks, a playful review of Americanpolitical campaign techniques, corres-pondent Edwin Newman will havesome droll comments on politicians'efforts to project the common touch.

"Politicians," he will say on theshow to be aired May 10, "put them-selves into grotesque and ridiculouspositions to meet a particular require-ment of American politics-to showthat they are down-to-earth, havenormal, common tastes and can betrusted to do what the common manwould like."

But it was not always thus, not inthe beginning days of the Republic,according to Newman. George Wash-ington "was so concerned with givingdignity to the new United States ofAmerica that the six white horses thatdrew the presidential coach had theirhooves painted black and their teethcleaned before they went out to beseen."

* * *

Veteran actress Joan Crawford,who has been appearing on tv, onand off, in programs and commer-cials, has never stopped being active.

When she was named judge of anationwide beauty pageant, a news-man expressed doubts that a womanshould judge such a contest.

Said Miss Crawford bluntly:think I know what men like."

Yes, but she's liable to say PepsiCola.

"I

66 Television Age, May 6, 15 68

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