football is on the 50 -yard -line and can goeither way · camera provides a 50% larger image -50%...

AUGUST I, 1966; FIFTY CENTS

I

Football is on the 50 -yard -line and can go either way

'Not fancy, but good'-slogan for agency and client

Drama in a minute as `Reader's Digest' sells itself

PAGE 19

PAGE 24

PAGE 26

PETRY

or. potTV MEDIUM FOR '66

sound, action and color allaped up in one sales produc-t tedium. That's Color Tele -i . Petry Colorspot lets youEt the markets that will keepE rolli g in. The Stations wePsent are leading the way inslew kind of selling. You canFnd on them for results.

Inchon(' University áAUG 9 1966

Libtary 1/4A

'iT-FOR FOUR DIMENSIONAL SELLING

R9D PETRY & CO.. INC.

EIGINAL STATION REPRESENTATIVE

'iK CHICAGO ATLANTA BOSTON

I_LAt; DETROIT LOS ANGELES

I.PHI, SAN FRANCISCO ST LOUIS

Anscochrome-courtesy ofGeneral Aniline and Film Corporation.

BIG TUI/ COLOR TV FILM SVSTE!

The 11/2 -inch vidicon in the luminance channel of RCA's colorcamera provides a 50% larger image -50% larger than any used in ocameras. This gives improved signal-to-noise ratio, high resolution cbility. Result: Unusually sharp reproduction of color films and sli

Your RCA Broadcast Representative has the complete story on this color film system. Or write RCA Broadcast and Television Equipment, Bldg.15-5, Camde

iE ..ITY T4334341v21

The Most Trusted Name ín Television

11~11~1011Mommiasaaerm.

On the Go!KTRKN

HOUSTON

elevision Age, August 1, 1966

AUGUST 1, 1966

COMPLETE

AUTHORITATIVE

NDBOOK20th, edition

and basic reference guide ofinternational radio and

television

1966 WORLD RADIO

TV HANDBOOK

The indispensable and completeguide for identifying broadcast sta-tions in every country of the world.A complete listing of all short wavestations, foreign broadcasts, longand medium wave stations, tv sta-tions and personnel. The WorldRadio TV Handbook is the onlyguide of its kind, used by broad-casters, tv stations, technicians,amateurs, shortwave hobbyists,diplomatic corps and advertisingagencies throughout the world.

For information, write

World Radio TV Handbook

Sundvej, 6, Hellerup, Denmark

or

1270 Avenue of the Americas

New York, N. Y. 10020

Television Age

19 COUNTDOWN FOR FOOTBALL

As the pro leagues' merger is worked out, advertisers con-tinue to cope with costs

22 TV'S $154 -MILLION KISS

Cosmetics industry, looking to a yearis increasing its tv commitments

24 ALLY AND REALITY

of $3 billion in sales,

Creativity without gimmicks is the forceyoung agency into a $20 -million "hot" shop

26 VIEWER'S DIGEST

To boost circulation, "Reader's Digest"schedules and capsule dramas

that has built al

1

employs network

8 BIG BUT LOCAL

Internationally known Western Electric has found the kerto local fame: prime -time public service

DEPARTMENTS

8 Publisher's LetterReport to the readers

10 Letters to the EditorThe customers always write

13 Tele -scopeWhat's ahead behind the scenes

15 Business BarometerMeasuring the trends

17 NewsfrontThe way it happened

29 ViewpointsProgramming pros and cons

n Film/Tape ReportRound -up nt news

37 Spot ReportDigest of national activity

39 One Buyer's OpinionLooking at features

I. Wall St. ReportThe financial picture

,9

61

In the Picture.4 man in the news

In CameraThe lighter side

Teleel ion Age is published every other Monday by the Television Editorial Corp.Publication Office: 440 Boston Post Road, Orange, Conn. Address mail to editorial,advertising and circulation offices: 1270 Avenue of the Americas, Rockefeller Center,New York 20, N.Y. Circle 7-7660. Controlled circulation postage paid at New York,N.Y. and at Orange, Conn.

4 Television Age, August 1, 1966

tay up front with the NBC Owned Stations

television station ought to know its place... andpbody knows Cleveland like NBC -OWNED WKYC-TV.

] t when it comes to programming, we like to reach

(it a bit. That's why WKYC-TV is especially proud of

Saturday documentary series, Montage-a programlat spans topics as diverse as the problems of parent-

l)od or the joys of Beatlemania.'his past May, WKYC-TV'S Montage won a Gabriel

,ward. In so doing, it won over all types of program

entries in its category-network television productionsas well as local offerings.In presenting the award, the Catholic BroadcastersAssociation noted that Montage had attained"a levelof art seldom achieved by the best dramatic shows."Thus, like so many other programs produced by thefive NBC OWNED STATIONS, Montage is proving that

"local"doesn't have to mean"provincial:"WKYC-TV knows its place. It's up front.

Represented by NBC Spot SalesVNBC-TV New York / WRC-TV, Washington, D.C. l WKYC-TV, Cleveland/ WMAQ-TV Chicago/ KNBC, Los Angeles

OWNED

!'elevision Age, August 1, 1966 J

2aq KBOI-TV

Sell IDAHO!KBOI-TV reaches more

homes, more viewers, more men

and more women from Sign -on to

Sign -off, Monday thru

Sunday', than any other

Idaho television station.

And KBOI-TV is Idaho's

first 100% color -

capable station.

'ARB Mar. '66. Audience meas-urements are estimates onlybased on data supplied by in-dicated sources and subject tothe strengths and limitationsthereof.

TELEVISIONChannel 2 CBS

BOISE

Affiliated with Bonneville International sta-tions, KSL-TV Salt Lake City, KIRO-TV Se-attle, WRUL, New York, KID -TV Idaho Falls.

Represented by

©11JTE]EiS,0]E$llJb'.lkdN;©CDiODVIrlRD, n,c.

TelevisionAge

VOI.. \I\

PublisherS. J. Paul

Editorial DirectorDick Donnelly

Managing EditorDon Dunn

Associate EditorsEd Dowling

Henry NeigerMarilyn Cohen

Financial EditorT. A. Wise

AdvertisingNorman Berkowitz

Advertising DirectorMort Miller

Advertising ManagerMarguerite Blaise

Sales Service DirectorLee Sheridan

Production DirectorFred Lounsbury

Circulation DirectorI': an Phoutrides

Readers' Service Dept.Carol Wiles

B usiness OfficeMiriam Silverman

B ranch OfficesMidwest

Paul Blakemore, Jr.3120 St. John Road

Des Moines, Iowa 277-2660

SouthHerbert Martin

Box 3233ABirmingham, Ala. 35205

205-322-6528

United KingdomF. A. Smyth & Assoc.

35 Dover StreetLondon, W.1, England

i

Member of Business PublicationsAudit of Circulations, Inc.

B PATELEVISION ACE is published every otherMonday by the Television Editorial Corp

ffiEditorial, advertising and circulation oce1270 Avenue of the Americas, RockefelletiCenter, New York 20, N.Y. Phone: Circle7-7660. Single copy: 50 cents. Yearly sub.scription in the U.S. and possessions: $7;Canada: $7; elsewhere: $15. The entirecontents of TELEVISION AGE are protected bcopyright in the U.S. and in all countriessignatory to the Bern Convention and tthe Pan-American Convention.

I

Television Age, August 1, 19

If you lived in San Francisco...

..-...r.1001141r aiiiF`

.

. .. you'd Le sold on KR ON -TV

IN NEWS .. .South Bend stays with WSBT-TVfor news ... national and local.Our "World at Six" (Mon. -Fri.)-rates 13th in the top 50 shows.Walter Cronkite, 18th; SundayNews, 23rd; and Saturday News,44th.* WSBT-TV stays on topof all the news ... and on top ofthe ratings. So when you getwith South Bcnd TV go wherethe people are ... glued toWSBT-TV.'Based on ratings of Feb. '66 Nielsen andsubject to qualifications available on request.

TOTAL COMMUNICATION

W BT..f ) AM, FM TV IN SOUTH A[Na 1.9

Represented By Katz

Letter from the PublisherWhat's Right with Ratings?

Voltaire once said that if you could get someone to com-ment on the weather you'd have enough to hang him. Thisobservation could be applied to the rating services today, foranything anyone says, from whatever point of view, will notgo unchallenged. Probably at no time in the history of thebusiness has there been so much ferment in the audience mea-surement field.

The American Research Bureau this fall, for instance, in-troduces its Area of Dominant Influence concept to its localreports, establishing a 25 -per -cent cutoff formula in creditingcounties to a given market. The move did not sit well with moststations, to put it mildly.

At the same time, A. C. Nielsen Co. is working on a roughlycomparable formula for its local reports. Tentatively titledExclusive Market Area, it too would establish a much highercutoff formula than is now in existence.

Both moves have been stimulated by advertisers and adver-tising agencies, which are seeking to evaluate coverage in clear-cut ways and eliminate duplication and overlap. ARB is battlingfor survival and its situation today is reminiscent of the pre-dicament Nielsen was in a few years ago when it threatenedto go out of local audience measurement entirely if it did notget proper support. Despite the intense competitiveness of therating scene today, Nielsen is in the awkward position of notreally wanting to see ARB get out of the picture. And it is cer-tainly to the advantage of television stations to have two healthycompetitive services in operation.

But the major complaint that stations now voice against bothservices is that the really important shots are called by the agen-cies and the advertisers. This, despite the fact that the averagestation today pays nearly triple the amount it spent on ratingsfive years ago. (See TELEVISION AGE, June 6, 1966) . In that pe-riod total annual expenditures by stations for audience mea-surement went from $3 million to $8 million. Surely station,ought to have more of a voice in the innovations of the services.

At the same time, it is up to the stations to see that ratingsare not used as absolutes, no matter what controversial formulais employed to arrive at them. The agencies that are using rat-ings as absolutes are not performing their function properly, andstations are just short-changing themselves in allowing thissituation to exist. They must show to agencies the qualitativeas well as the quantitative factors that make them an essen-tial buy.

Cordially,

4./.1«-Television Age, August 1, 1966

If kids don't believe inthe station they won't believe

your gum makes thebiggest bubbles in town.

Kids are funny people.If you're a performer you had better besincere with them, because if you're not they'Isee right through you.Group W personalities know how to talkto kids and families.And they do. In 8 cities.They don't talk over their heads.They don't talk down to them. They simply talltheir language. And they're quite good at it.So good that in Philadelphia a clownby the name of Lorenzo dresses like a hobo ..performs in pantomime ... doesn't say a wordAnd he doesn't have to.The kids of Philadelphia understand him.When Lorenzo indicates that one brandof bubble gum makes the biggest bubbles inPhiladelphia, the kids know it's true.Because their friend Lorenzo doesn't lie.The jump from kids who believein a clown performer to grownups who believein a station, isn't a big one.Grownups believe in KYW-TV. It's thestation they turn to when they want the news.When they want to be entertained.It's a station that has won their respect.And, naturally, when you respect a station,you also respect the productsadvertised on that station. Whether it's a

$3,000 car or a 51 pack of bubble gum.GROUP

KYW-TU 3 WWESTINGHOUSE BROADCASTING COMPANY

REPRESENTED NATIONALLY BY TVAR

Lettersto theEditor

Words on WinesWe were delighted to see the

attention TELEVISION AGE gave towine, and the growing importanceof wine advertising (The Vast Vine-land, June 20, 1966). You have, Ithink, hit the nail on the head withyour description of the changinghabits and growing sophistication ofAmerican consumers.

You are correct in saying thatwine consumption in the U.S. has

grown tremendously in the past dec-ade, but the totals are much moreimpressive than the article indicates.Total wine shipments in 1955 were144 million gallons, and 189 millionlast year. The imports in 1965amounted to 16 million gallons.California accounted for 143 milliongallons, more than three -fourths ofall wine in distribution.

The article indicates that E & J.Gallo Winery is "king of the bulkshippers." As a matter of fact, Galloships nothing but bottled wines fromits Modesto vinery. No bulk winewhatever is shipped or sold byGallo.

Our major concern is with thecomments on "jiggered" specialtywines. These flavored wines, in thesame tradition as the Byrrh and St.

111111111111111INTERNATIONALFILMTV -FILMANDDOCUMENTARYMARKET111111111111111

THE 5 "CONTINENTSTROPHY" FOR CINEMA

2 GRAND AWARDSFOR TELEFILMS

MIFED is the International Film, TVfilm and DocumentaryFILMS Market whose successful operations extend over a number

of years. Its Autumn Cine -Meeting will be held from 15 to24 October 1966.MIFED is a new -style market dealing in feature and docu-mentary films for the Cinema and TV. It is an active businesscentre for producers, buyers, renters and distributors of films.MIFED has twenty viewing rooms equipped for all possibletechnical requirements. Ten are for cinema films and tenfor telefilms. Its Club facilities make it one of the mostattractive and elegant business rendezvous in Europe.MIFED clients who are unable to attend the whole AutumnCine -Meeting are invited to make use of its special assist-ance bureau which undertakes to represent their interests.

II1tiIIIIIIIIIII

MIFED111111111111111 Information from: MIFED Largo Domo::osaola 1 Milano (Itald

Telegrams: MIFED - Milano

Raphael you mention earlier, areknown in the enological tradeas "special -natural" or "flavored"wines.

All dessert, appetizer and flavoredwines contain a small percentage ofwine spirits-grape brandy, notgrain alcohol-which is added dur-ing fermentation to halt the fer-mentation while there is some naturalgrape sweetness remaining, and tomake the finished wine more stable.

I must emphasize that we see

these specialty or flavored wines inthe same light as the traditionalEuropean aperitif wines, includingVermouth. They are of the samefamily, and produced for the samereason-with the single exceptionthat the pure natural flavorings usedare those that the American markethas shown a preference for.

HARRY G. SERLIS

Director, Public RelationsWine Institute

San Francisco, Cal.

`Philly' ProductionI thought you did an excellent re-

port on Philadelphia and its newtelevision production hopes (ThePhiladelphia Story, June 20, 1966).

ERNEST H. SHERRY

DirectorThe Mike Douglas Show

Philadelphia, Pa.

Cartoon Gremlins?

Some time ago, you were goodenough to give me permission to re-produce a charming cartoon for usein the forthcoming fifth edition ofmy book, Advertising Procedure, be-ing published by Prentice -Hall. Thebook is now coming off the press.When I saw it, however, I was aghastat the fact that although the creditline to TELEVISION AGE was in all ofthe proofs which I approved, it failsto appear in the book . . .

I have no idea what publishinggremlins caused this . . . All I cando at this moment is write to youmy apologies for the omission andgive you my assurance the credit linewill appear in the next printing.. .

OTTO KLEPPNER

The Kleppner Company, Inc.New York, N.Y.


IN THE AIR, AND ON THE AIR .. .

MSP MEANS MINNEAPOLIS -ST. PAUL

AND SMART TELEVISION BUYERS KEEP COMING BACK

In the air, headed for Minneapolis -St. Paul, your baggage check reads MSP.

On the air, headed for bigger sales, you get best results with KMSP-TV,fastest growing, lowest CPM station in the rich Minneapolis -St. Paulmarket. When you think of Minneapolis -St. Paul, think of KMSP-TV.

KMSP-T VMINNEAPOLIS ST. PAUL

A Twentieth Century Fox television station

represented nationally by .ff BLAIR TELEVISION

WORLD MIDDLEWEIGHT CHAMPIONSHIP FIGHTEMILE GRIFFITH VS. JOEY ARCHER JULY 13, 1966 10 P.M. EDTMarket Station Rating ShareLos Angeles KHJ 12 29San Francisco KTVU 13 31Salt Lake City KSL 19 50Boston WNAC 18 44Hartford -New Haven WTIC 15 38Providence WPRO 17 42Albany -Schenectady WTEN 19 48Buffalo WKBW 15 31Washington DC WMAL 11 28Syracuse WHEN 16 41AUDIENCE DATA ARE BASED ON ESTIMATES PROVIDED BY ARP, AND ARE SUBJECT TO THE QUALIFICATIONSISSUEDBY THIS SERVICE. COPIES OF SUCH QUALIFICATIONS ARE AVAILABLE 'iron: REQUEST.

finety-one stations carried this latest championship fight, telecast live and in color from Madison Square Gard1 the ten markets measured we were first in eight and a close second in two with shares ranging from 28% to 50'his championship fight was the seventh major sports event offered nationally by us in the past eight months.nd it's still only the beginning! We've got more than twenty championship sports events scheduled for the nEvelve months. The detail, \\ ill be announced soon. If you c;ln't wait, call Jack icc at ( 2 1 2) 564-8000.

MADISON SQUARE GARDEN - RKO GENERAL SPORTS PRESENTATIOP1440 Broad \\ :A\ . New York N. Y. 10018

WHAT'S AHEAD BEHIND THE SCENES le ¡e -SC o ep%dvertisers Really Playing It Safe

There are plenty of signs that advertisers today areending over backwards to make sure the public, the

FTC and the tv stations can find nothing in their com-mercials that isn't on the up -and -up, or that might bringirotests. Some recent examples include: (1) the scrap-ing by Shell of a costly commercial in mid -production

when it was discovered that the car with PlatformateIasoline wasn't outrunning the car without Platformate-not due to any fault of the fuel, but to mechanicaltrouble in the Platformate vehicle; (2) recall and re-vision of a Colgate Ajax commercial after a copy linewas discovered to amount to near-profanity in the eyesof some viewers; (3) a 5 -Day Deodorant commercialwhich also mentioned Crest toothpaste and Bayer aspirinby name drew fire when it went from network to spot,with stations protesting that the one blurb amounted totriple -spotting, raised numerous product -protection prob-lems, smacked of payola, etc. The campaign using thatcommercial "ran its course" and a new film is now inuse.

Study Needed on Overcommercialization?If an executive at at least one major sales representa-

tive company has his way, an extensive research projectwill be underwritten to determine the reaction of view-ers to piggybacks and "overcommercialization" in gen-eral. He isn't worried about whether or not a com-mercial that runs in a cluster of others loses any sellingeffectiveness; what he fears is that the impression of toomany commercials will cause (or is causing) viewers tosnap off their sets and go to the movies, read a maga-zine or turn on the radio. Aware of the many problemsinvolved in uncover'ng truths in this kind of research,the rep feels such a study is vital if the trend to multiplecommercials is going to be halted.

New `Miracle' for Halo FilmFilmmaking wizardry, which has produced giants in

washing machines and tornadoes in backyards, is beingcalled on to perform a task similar to the one Rumple-stiltskin once did for a princess: spin straw into gold.For an upcoming Halo commercial, the product is to berepresented as turning straw into silk-the angle beingthat hair as stiff as straw can be made silky smooth.

Tv for the Stock ReportsDiscussions are underway at the New York Stock Ex-

change about the possibility of putting out visual closing-

prices reports for direct pick-up by tv stations. Stationsare reported interested-but final plans are contingentupon the Exchange finding a feasible way to feed thereports, which probably would mean installing slavecameras focused on an electronic board. The Exchangenow feeds audio quotes which are broadcast about 300

times a week by radio stations. Should the tv idea ma-terialize, New York stations will probably be the firstaffected.

Four Stations for Saudi ArabiaKing Faisal may be in hot water with the N.Y.C. polit-

ical and Jewish communities, but his stormy trip toNew York was not without its accomplishments. Mem-bers of his large entourage held final discussions withNBC International executives on two new tv stations forSaudi Arabia. The contract is now signed and NBC willconstruct the stations in Medina and Buraida. The sta-tions, which will open in a year, will bring the country'stotal to four. The other two, in Jedda and Riyadh, werebuilt by NBC International in 1964.

Music Men On OwnMusic -making, apparently, is most profitable if you

are your own boss. Skitch Henderson, music director atNBC, will leave this fall to devote more time to (amongother things) his music and -jingles company, Clef 10.Harry Sosnik, for three years head of the music depart-ment at Ted Bates, recently resigned to set up his ownshop, Harbet Enterprises, Inc. He will specialize in com-posing and conducting background music and scoresfor advertising jingles. At Bates he wrote the music forthe Viceroy, Tender Leaf Tea and Cream of Wheat com-mercials.

Eight, Nine, Ten-but Not OutBoxing on television, which has been counted out more

times than you can shake a ringpost at, seems to be com-ing on stronger than ever. Olympus Television, syndica-tor in Sherman Oaks, Cal., just put Boxing from theOlympic, a weekly 90 -minute fightfest carried on KTLALos Angeles, into syndication for this fall-and signed upeight stations immediately. Dick Romaine, vice presidentin charge of sales, notes that color tapes will be avail-able, with a 10 -round main event and a four- or six -roundsemi-final. In Los Angeles, independent KCOP has a livefight from Las Vegas on its new weekly fall schedule,and KPTV Portland, Ore., will carry the same fights on adelay tape basis.

Grey Bursts At Seams1 f you're calling the sales promotion or tv program-

ming department of Grey Advertising these days, don'tthink you've got a wrong number when the operatorsays "Lexington Hotel." With $42.5 million in newbillings since the first of the year, the agency's quartersat 777 Third Ave. are unable to contain the new em-ployees. Approximately 40 of them have moved to theHotel, one block west, and will remain there at leastuntil the end of August while room is carved out forthem at headquarters.


WORLD MIDDLEWEIGHT CHAMPIONSHIP FIGHTEMILE GRIFFITH VS. JOEY ARCHER JULY 13, 1966 10 P.M. EDTMarket Station Rating ShareLos Angeles KHJ 12 29San Francisco KTVU 13 31Salt Lake City KSL 19 50Boston WNAC 18 44Hartford -New Haven WTIC 15 38Providence WPRO 17 42Albany -Schenectady WTEN 19 48Buffalo WKBW 15 31Washington DC WMAL 11 28Syracuse WHEN 16 41AUDIENCE DATA ARE BASED ON ESTIMATES PROVIDED BY ARA, AND ARC SUBJECT TO THE QUALIFICATIONS ISSUEDBY THIS SERVICE. COPIES OF SUCH QUALIFICATIONS ARE AVAILABLE UPON REQUEST.

Jinety-one stations carried this latest championship fight, telecast live and in color from Madison Square Gardn the ten markets measured we were first in eight and a close second in two with shares ranging from 28% to 50''his championship fight was the seventh major sports event offered nationally by us in the past eight months.knd it's still only the beginning! We've got more than twenty championship sports events scheduled for the nevelve months. The details will he announced soon. if you can't wait. call .1 uek Price at (2 I 2 564-8000.

141ADISON SQUARE GARDEN - RKO GENERAL SPORTS PRESENTATIOIN1440 Broad\\ay. New York. N. Y. 10018

WHAT'S AHEAD BEHIND THE SCENES 1"eIeSCO1,e

dvertisers Really Playing It SafeThere are plenty of signs that advertisers today are

ending over backwards to make sure the public, the

IC and the tv stations can find nothing in their com-ercials that isn't on the up -and -up, or that might bringrotests. Some recent examples include: (1) the scrap-ng by Shell of a costly commercial in mid -productionhen it was discovered that the car with Platformateasoline wasn't outrunning the car without Platformate-not due to any fault of the fuel, but to mechanical

ouble in the Platformate vehicle; (2) recall and re-sion of a Colgate Ajax commercial after a copy lineas discovered to amount to near-profanity in the eyesf some viewers; (3) a 5 -Day Deodorant commercialhich also mentioned Crest toothpaste and Bayer aspiriny name drew fire when it went from network to spot,'ith stations protesting that the one blurb amounted toriple-spotting, raised numerous product -protection prob-ems, smacked of payola, etc. The campaign using thatommercial "ran its course" and a new film is now inse.

iudy Needed on Overcommercialization?If an executive at at least one major sales representa-

ive company has his way, an extensive research projectwill be underwritten to determine the reaction of view-'rs to piggybacks and "overcommercialization" in gen-ral. He isn't worried about whether or not a com-aercial that runs in a cluster of others loses any sellingffectiveness; what he fears is that the impression of tooaany commercials will cause (or is causing) viewers tonap off their sets and go to the movies, read a maga -me or turn on the radio. Aware of the many problemsnvolved in uncover'ng truths in this kind of research,he rep feels such a study is vital if the trend to multipleommercials is going to be halted.

lew `Miracle' for Halo FilmV ihnmaking wizardry, which has produced giants in

cashing machines and tornadoes in backyards, is beingailed on to perform a task similar to the one Rumple-tiltskin once did for a princess: spin straw into gold.or an upcoming Halo commercial, the product is to be

epresented as turning straw into silk-the angle beingghat hair as stiff as straw can be made silky smooth.

ry for the Stock ReportsDiscussions are underway at the New York Stock Ex-

change about the possibility of putting out visual closing-nices reports for direct pick-up by tv stations. Stationstre reported interested-but final plans are contingentupon the Exchange finding a feasible way to feed theeports, which probably would mean installing slavecameras focused on an electronic board. The Exchangetow feeds audio quotes which are broadcast about 300

times a week by radio stations. Should the tv idea ma-terialize, New York stations will probably be the firstaffected.

Four Stations for Saudi ArabiaKing Faisal may be in hot water with the N.Y.C. polit-

ical and Jewish communities, but his stormy trip toNew York was not without its accomplishments. Mem-bers of his large entourage held final discussions withNBC International executives on two new tv stations forSaudi Arabia. The contract is now signed and NBC willconstruct the stations in Medina and Buraida. The sta-tions, which will open in a year, will bring the country'stotal to four. The other two, in Jedda and Riyadh, werebuilt by NBC International in 1964.

Music Men On OwnMusic -making. apparently,is most profitable if you

are your own boss. Skitch Henderson, music director atNBC, will leave this fall to devote more time to (amongother things) his music and -jingles company, Clef 10.Harry Sosnik, for three years head of the music depart-ment at Ted Bates, recently resigned to set up his ownshop, Harbet Enterprises, Inc. He will specialize in com-posing and conducting background music and scoresfor advertising jingles. At Bates he wrote the music forthe Viceroy, Tender Leaf Tea and Cream of Wheat com-mercials.

Eight, Nine, Ten-but Not OutBoxing on television, which has been counted out more

times than you can shake a ringpost at, seems to be com-ing on stronger than ever. Olympus Television, syndica-tor in Sherman Oaks, Cal., just put Boxing from theOlympic, a weekly 90 -minute fightfest carried on KTLA

Los Angeles, into syndication for this fall-and signed upeight stations immediately. Dick Romaine, vice presidentin charge of sales, notes that color tapes will be avail-able, with a 10 -round main event and a four- or six -roundsemi-final. In Los Angeles, independent KCOP has a livefight from Las Vegas on its new weekly fall schedule,and KPTV Portland, Ore., will carry the same fights on adelay tape basis.

Grey Bursts At SeamsIf you're calling the sales promotion or tv program-

ming department of Grey Advertising these days, don'tthink you've got a wrong number when the operatorsays "Lexington Hotel." With $42.5 million in newbillings since the first of the year, the agency's quartersat 777 Third Ave. are unable to contain the new em-ployees. Approximately 40 of them have moved to theHotel, one block west, and will remain there at leastuntil the end of August while room is carved out forthem at headquarters.


Portrait By GittingsNeiman-Marcus

Midnight News-Texas StyleAlex Burton does not turn into a pumpkin at midnight. But he does strollcasually into an ikonogenic atmosphere and relate the day's happenings ina frightfully refreshing manner. His fans are lavish, his critics vociferousall a part of communication by design at WBAP-TV.

WBAPT\IFort Worth Dallas 2BPeters, Griffin, Woodward, Inc., National Representatives

14 Y'idrriaiun .1 r .1u;;u,v( 1, I960

Business barometer

Ihile national/regional spot business in May rose only 3.5 per cent over the same

month of 1965-an increase barely covering station rate hikes during

the year's time-the picture was considerably

brighter on the local -business side, ac- LOCAL BUSINESS

cording to the Business Barometer samplingof stations across the country.

ocal sales by stations rose 15.9_per cent, May '66to May '65, and that increase was considerablystronger than the 5.3 -per -cent climb last

year, May '65 to May '64. In estimated

dollars, the industry's stations are figuredto have sold $31.9 million in local timethis past May, as compared to $27.5 million insales for its 1965 counterpart.

hroughout the year, local sales have been runningwell ahead of the gains of last year, and thereasons for the increase are not clear.Are stations' sales forces working harder thanpreviously, to make up on the local scenefor business that isn't coming in via nationalspot? Is the fact that national spot isdown on some stations creating choice avail -abilities that are gobbled up by local clients?

stations of all sizes seem to be sharing in theboom, again unlike the situation in spot wherethe larger stations have more and more beenrunning far ahead of the smaller outlets.As can be seen in the box at right, the largeststations boosted local volume almost 20 percent; but the smallest had an increase ofnearly 13 per cent, and the medium-sizedstations were up nearly 10 per cent.

:?or the month of May compared to April immediately

preceding, local activity was reported down 0.2per cent. The same period last year had aslight increase of 1.0 cent.

45

40

35

;n

25

20

15

millions of dollars

$31.9

1'Iay (up 15.9%)

Year-to-year changesby annual station revenue

Station size Local sales

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

12.6%9.7%

19.5%

11 1 11 n N D1966-'65 corn parison

Next issue: a report on network compensation payments to the industry's stationsin May.

IA copyrighted J. -allure of TELEVISION AGE. flu siness narorrrelvr hi Lased on a Bross -section of stations in all income and geographical categories.ínforrnotiorr is tabulated by Dun & Bradstreet.)

I


°UVMOBILE, ALABAMA

FULL zilkirs[a

COLOR EDITEC EDITING

Represented by H -R Television, Inc.or call

C. P. PERSONS, Jr., General Manager

~It


Television AgeAUGUST 1, 1966

As the pro leagues'merger is worked out,making for a wholenew ball game in tv,advertisers continueto cope with costs

Countdown for footballAttriIll

66 1' he cost efficiency of football is very sus-pect at this point. For NFL football in

particular the breaking point is here. What hap-pens this fall is all important: if audiences don'tappreciably increase it's going to be hard tojustify such a buy in the future." The speakeris Robert E. Buchanan, vice president, J. WalterThompson Co., whose client, Ford Motor Co.,has been a consistent sponsor of the NationalFootball League telecasts over CBS -TV. Mr.Buchanan's comments reflect perfectly a grow-ing advertiser unease with football's increasedtv -rights fees as they are translated into in-creased per -minute charges and increased cost-

per -thousand ... with seemingly no end in sight.Is this widespread concern justified? Is cost -

per -thousand or even cost -per -thousand -prospectsa necessary or realistic way to measure the par-ticular values of televised football, which offersboth entertainment and news? What will hap-pen when the NFL and the American FootballLeague conclude the merger in 1970 at a timewhen all contracts are over? How will the modi-fied lifting of the blackout affect ratings? Theseare questions that will be hanging in the fall airthis year like long punts: where they fall, whowill field them and what the return will be aredifficult questions.

Teleúision Age, August 1, 196619

Some tentative answers, however,are possible. First, some backgroundthat contributes to the concern:

Over $100 million in rights feeshas already been committed to foot-ball over the next several years bythe three networks.

Of this total, at least $34 millionis for this season alone.

One package alone, the NFLschedule on CBS -TV, has quadrupledin price over the past several years.

By 1970, when the mergedleague is expected to field 28 teamseach week, the total rights cost totelevision will probably be closer to$50 'million a year. (This assumesthat the payment per team now inforce in the NFL remains at itspresent rate and that there is nodrastic escalation in the rights feesfor the NCAA schedule. It does

Head -to -head combat

between the two

leagues this yearwill spark

increased viewer interest

20

assume a substantial increase for thechampionship game and other end -of -season special contests, such as

the pro howl.)These estimates are for the three

big packages on the networks andexclude the various college bowlgames, some of which, like the RoseBowl, go for a substantial price, andsome of which receive little morethan a percentage of the businesssold in the game.

The $100 -million figure breaksdown as follows: a two-year NFL -CBS deal for $37.6 million with anoption for a third year at the samerate ($18.8 million) ; four moreyears of a five-year $36 -millionagreement between the AFL andNBC-TV; a two-year $15.6 -milliondeal between the ABC-TV and theNCAAA, and another $4 million

over two years for the NFL champ-ionship game between the easternand the western divisions. Still un-resolved, but sure to go for a recordprice, is the first AFL -NFL champ-ionship game to be played at theend of this coming season.

These fees have had a profoundeffect on costs to advertisers. Twoyears ago, when CBS -TV paid thethen -record price of $28.2 millionfor two years of the NFL, affiliateswere asked to waive compensationin return for additional time withinthe games. The gross per -minuteprice to advertisers rose to over$60,000. There were those who saidthat costs had gotten completely outof hand and that the network wouldlose money. But a successful saleseffort not only in the contests them-selves but in the pre- and post -game

shows allowed the network to com-pensate the stations and also to turna profit on the schedule. In thosetwo years the post -season gameswere sold separately (with the grossper -minute cost of the championshipgame going up to $120,000).

Under the new contract, the grossper -minute cost is up to $70,000 forthe entire schedule, and again thereare those who are arguing that thecost is prohibitive. But CBS is againasking stations to waive compensa-tion for the day games only, unlessadvertising revenue justifies it, andit is again having what seems tobe a successful sales effort (theschedule is nearly sold out). It wouldappear, then, that the ceiling hasnot been reached; further, it wouldappear that the traditional yardstickin television buying, cost per thou-

sand, is no longer meaningful, atleast not in football.

It should be pointed out that foran advertiser interested in takingthe entire package, the three post -season games-the Playoff Bowl, thechampionship game and the ProBowl-are included in the $70,000 -per -minute price, so he is actuallygetting more for his money than hedid in the past when he had to buythose games separately and at pricesthat were over the $100,000 -per -min-ute level.

On a cost -per -thousand -homesbasis, all football-NFL, AFL andNCAA-is well above the cpm-homes level of the average primetime entertainment show. This is apoint readily conceded by DavidDonnelly, BBDO's director of sports,who feels, nevertheless, that football

is still a good buy for those adver-tisers interested in the particularaudience it provides, and for thoseadvertisers alert enough to capital-ize on the merchandising opportun-ities available.

Mr. Buchanan of J. Walter Thomp-son agrees. "On a strict cost -per -

thousand basis we could demonstratehow you could take Batman andLassie and do better than football.But we're interested in prospects andin the kind of programming thatsurrounds the commercial."

A more realistic yardstick ofefficiency would be cost -per -thousandmale viewers, but even here footballdoes not come under the cpm-malesfigure for the average evening pro-gram. NBC Research estimates thatthe cpm per male viewer this season

(Continued on page 47)

Footballattendance

and viewing,1961-1965

AMERICAN FOOTBALL LEAGUE

Paidattendance

AAhomes*

1961 1,002,657 2,810,0001962 1,146,942 3,690,0001963 1,241,741 3,900,0001964 1,447,875 3,310,0001965 1,773,784 4,400,000

NATIONAL FOOTBALL LEAGUE

Paidattendance

1961 3,986,1591962 4,003,4211963 4,163,6431964 4,563,0491965 4,634,021

*Source: A. C. Nielsen Co.

AAhomes*

5,308,0007,327,0008,760,0007,940,0008,350,000

21

Physical beauty is a wispy thing.Although it can be bought, it

is never fully realized. In the last 50years the American female has uppedher investment in beauty more than40 times and it still eludes her. Thisyear she will spend more than $3billion on it; if the rate continues,she will spend $4 billion in 1970.Her conviction that mascara, powder,lotions, oils, and hair coloring cantransform homeliness into lovelinesshas spawned the sprawling Americancosmetics industry. "Promise herbeauty but sell her a lipstick" hasmade beauty a big business.

Steve Mayham, executive vicepresident of the Toilet Goods Asso-ciation, puts the same thing anotherway. "She's buying hope," he says,

American men andwomen will spend $3billion this year onbeauty aids, as thebusiness booms onward

"and that's really what this businesssells." Charles Haskell Revson, kingof the beauty peddlers, constantlyurges his retailers to know the cus-tomers, to learn "all about her inner-most essence: her dreams . . . herfantasies ... her hopes ... her sexlife ..." The trick is not to sell herwhat makes her look, smell and feelbetter, but what she thinks makes herlook, smell and feel better. "That,"says Mr. Revson, "is the key to herwhole personality," and the rock

upon which he built the Revlonempire.

In the early 1940's the cosmeticindustry was made up of manysmall or medium-sized firms. Takenas a whole, they did a little over$500 million in business .a year. Nocompany really dominated the field;few were separated by more than$10 million in annual retail vol-ume. Most cosmetics companieswere dominated by a single individ-ual whose flair was reflected in aproduct line closely linked with hisor, more often, her personality.Elizabeth Arden, Helena Rubinstein,Mary Chess, Dorothy Gray, Charlesof the Ritz, Max Factor, Estee LauderHarriet Hubbard Ayer, GermaineMonteil were the big names.

In the 1950's cosmetics, like manyother U.S. industries, began to sharein the huge national economicgrowth. Retail sales at the end of1949 were $770 million; by the endof 1959 they had soared to $1.662billion. Factors contributing to thesales surge were rising incomes, moreleisure time, greater numbers ofworking women with more moneyto spend, who were more beautyconscious, and change in socialmores that permitted "nice" womento wear make-up.

Now, innovation was the keynotein new products, packaging and mar-keting techniques. The cosmetic in-dustry discovered that the Americanwoman would try almost anythingonce if glamour might be the reward.With the memory of the Depression,and World War II still on her mind,

she was receptive to appeals thatpromised to make her lovelier, andshe had the money to respond.

Nowhere in cosmetics was innova-tion more effective than in packag-ing. The growth of plastics enabledthe old cosmetics items to be en-hanced at relative low cost. Theintroduction of the aerosol containerhelped foster the birth of the still

Though the femalemarket is the bulk of thebeauty business, eyes lookto men and overseas

booming hair -spray segment of themarket. It launched Helene Curtis,among others, to the top ranks of theindustry. The aerosol spray addedan estimated $25 million a year inretail sales to the laggard fragranceindustry. Pressed powder, roll-ondeodorants, waterless roll-on mascarawere other new packaging ideas thatrevitalized old products.

The single major development inthe post-war cosmetics industry, thatgave it its present shape, problems,and potential, is television. In 1955,Revlon bought The $64.000 Ques-tion. Almost overnight an industrywhose appeal had been pretty muchspecialized in fashion magazines, anindustry that had generally eschewedvast circulation media outlets for itsadvertising, had gone mass. The$64,000 Question and its companionThe $64,000 Challenge reached anaudience of 80 million each week.


ievlon had used tv "experimentally"ince 1953 and Hazel Bishop hadponsored This Is Your Lije since952, so the two quiz programs weresot the first use of the medium byosmetic firms. But their impact was;reater than anything that had pre-eded it on tv. Revlon's sales sky-ocketed 56 per cent in the first yearif The $64,000 Question.

Revlon's success on tv promptedether cosmetics firms to hurry toee what television could do forhem. Last year manufacturers oflair products (excluding shampoos),reams, lotions, powders, facialpreparations (excluding bath soaps),lipsticks. eye makeup, hand care pro-lucts, deodorants, perfumes andfragrances spent $153,935,000 innetwork and spot television, accord-ng to estimates of Television Bureau

Advertising-LNA/BAR and N.C.i1orabaugh.

By increasing the American wo-nan's awareness of cosmetics, tv

Iuroadened the base of the market for:osmetics users in all price ranges.

p')ne official of a company whosemajor outlets are five -and -ten -cent+stores said, "We owe Revlon a

treat deal for spending vast sumso make more women buy more cos-netics. We stand to profit because

most women don't buy higher -pricedtems." Tv spread beauty aids beyond:heir traditional outlets, departmentstores and drugstores, to almostevery store to which a woman couldwalk or ride.

Until tv, a woman bought a lip-stick that matched her complexion.

If she buys a dozen lipsticks today,it's because, thanks to advertising,it must match her fingernails, cloth-ing and hair -do as well. "A trend canstart anywhere-with a manufactur-er, a hair stylist, or a personality likeJacqueline Kennedy," says a beautyeditor. Lipsticks, for example: oneday, pale shades are in vogue be-cause Vogue announces that the"nothing mouth, all -eyes look" is in.Then, "the mouth comes back," whenVogue declares pale shades passé,and millions are reaped as the massesgo back to deep red nails and lipsmatching new clothes and hair.

For the cosmetic manufacturers,change can be profitable, but it canalso be extremely risky. Traditionallyfickle, the American woman is nowso fearsomely fickle that she rejectsnine out of every ten new items offer-ed to her. She has been exposed to somany soft and sexy words, atmos-

In a field of rapidchange, diversificationis answer to sustainingprofits over the years

pheres, promises, and colors, thatthe advertising risks becoming mo-notonous. "Everybody copies us,"complained Revlon's marketing vicepresident, Bill Mandel. He once said,"We tried to do something differenta few years back with a high -fashion-ed glamour approach, and we werethe first ones to take a spread ad


Tv's$154 -million

kiss

Cosmetics and toiletriesindustry looks to a year

of big sales, and increasestelevision commitments

to bring it about

Television Age, August 1, 1966 23

Many in the advertising businesswere surprised earlier this sum-

mer when Hertz announced it wasmoving its rent -a -car advertisingfrom Norman, Craig & Kummel toCarl Ally, Inc. They shouldn't havebeen-for the smaller agency hadbeen marked as a comer ever sinceit was started in 1962 with one ac-count, Volvo. Other accounts soonfollowed and the agency flourished.Now with the acquisition of the Hertzbusiness, billings at Ally have dou-bled, approaching $20 million.

Growth has so far had no Parkin-sonian effects on the agency, whichremains personal, personable, andpatently young. Housed in relativelyspartan quarters on two floors of aThird Avenue building, Carl Ally,Inc., might pardonably take as itsown either the solgan devised for cli-ent Horn & Hardart: "It's not fancy,but it's good," or the Volvo line,"small but tough."

None of the usual Madison Avenuestereotypes apply to this Third Av-enue agency. It's stripped of win-dow-dressing, plans boards and otherencumbrances that one Ally executivecalls "layers of fat." Its art directorsgo barefaced in the world, unadornedby the handlebars that elsewheretwitch out signals of "creativity."

The Ally agency is not a "fun"shop; it's a collection of workingstiffs who put in long and strenuoushours. The effort shows through theseemingly effortless copy. Some Mlycampaigns have gained recognitionand even appreciation not just fromthe pros but from the general public.Currently the Horn and Hardart

Winging high: SAS commercials

Volvo ("small but tough") and .. .

. . . attention -getting Automat films

Automat restaurant campaign is thetalk of New York, enlivening even thedreary subways, where riders arereminded of the Automat tv com-mercials by eye-catching posters.

The agency's use of the film me-dium in television is remarkable. AsAlly's senior vice president and cre-ative director Amil Gargano remark-ed, the agency believes in workingwith individual filmmakers who un-derstand what the agency is after."The trouble with most commercialsis that too many people get into theact," he said.

There are no "tv producers" on thestaff at Ally. Copywriter and artdirector work directly with a film-maker with whom, as Mr. Garganosaid, "rapport has been established."Thus the agency creative team will goright to work with a cinematographerlike Barry Brown of Brillig Produc-tions, or Howard Zieff, or Ben Somor-

off, or Irving Penn. Beyond seekingout such individual talents, Ally looksfor new faces for commercials, actorswho have never appeared in tv-"real" types to enhance the reality ofthe commercials.

Mr. Gargano said the agencyavoids using rigid storyboards; in-stead, it keeps the pre -productionprocess flexible, with plenty of roomfor spontaneity in the execution.

With no compartmentalization sep-arating writers and art directors, andwith no tv producers other than thewriters and art directors, Mr. Gar -

gano thinks better commercials canbe made. He pointed to a film madefor Citizens for Clean Air, an accountrecently taken on voluntarily by theagency. Brilliant footage of an asth-matic gasping against a backgroundof industrial smoke stacks, aircrafttrailing dense clouds of gasses, after-noon suns almost eclipsed by smogand smoke, the film was made bymen who had never created a tv com-mercial before.

Mr. Gargano said that "if a guyhas taste, ability, and a sense of him-self, and if he knows what's going onin the world around him, and knowsadvertising, he can make commer-cials."

The creative director has beenassociated with Mr. Ally, and withJames Durfee, senior vice presidentand copy chief, from the outset ofhis career. The three worked togetherat Campbell -Ewald in Detroit. Mr.Ally had started there in 1954, ascopy chief, after a year with GeneralElectric in Schenectady. Mr. Garganojoined C -E in 1955, and Mr. Durfee,

i


Copy chief Durfee, art director Gargano

On -beat creativity

is the force that has builta four -year -old agency

into a $20 -million 'hot' shop

Ally and realitywho earlier had spent five years withJWT in Detroit, joined in 1959.

In '59, Campbell -Ewald sent Mr.Ally to New York, and Messrs. Dur-fee and Gargano soon followed, thethree men working as a new -businessteam. A year later, when Mr. Allywas fired, the two others resigned inprotest-Mr. Gargano to join Ben-ton & Bowles, Mr. Durfee to moveto J. Walter Thompson.

"1 went to B&B to get some tvexperience," Mr. Gargano said. InP)61 Carl Ally joined Papert, Koenig,Lois, and Mr. Gargano and Mr. Dur-fee followed him there.

The scene shifts to Carl Ally, theman, not the agency. After a year"in the street." that unpaid sabbatical

hich for many admen is a painfulmemory seldom to be mentioned, Mr.Ally recalled that going to work atPKL was "like coming in from thefog." The sabbatical had not beenpainful: far from it. "It was a cathar-sis," he says. But the revelation wasthat an agency could be as unencum-bered by hypocrisy, conning, cunningand conventioin as he found PKL tobe.

One day the Volvo people came toPKL and asked the young agency totake their account. Mr. Ally was thenworking closely with Frederic Paperton the new -business front. But theagency was faced with product -con-flict: it had the Renault account. Mr.Ally suggested resigning the Renaultbusiness to take Volvo, but the deci-sion was made to stick with Renault."Too bad," Mr. Ally says today."This year Volvo is billing around


.4 bore the crowd, Carl Ally himself

suggestions that commercials aremore exciting than the programs

they interrupt can be interpreted intwo ways: either as a discredit toprogrammers or as a compliment tocommercials makers. The currentseries of network minutes for Read-er's Digest decidedly tips the scalein favor of commercials makers. Ifa viewer didn't grip the arms of hischair and stare wide-eyed at his setduring the program, he can be ex-pected to sit up after seeing theDigest's minute of gripping drama.

The series is unusual not only forthe unique format of its commercialsbut because of the acceptance of tvas an advertising medium by a massmagazine. In 1965, only two otherpublications, the National Observerand the Wall St. Jóurnal, advertisedon network tv. Of these, Reader'sDigest allotted the largest budget tonetwork for commercials designed tosell single copies in retail outlets.And, according to J. Walter Thomp-son's Carl Rhodes, supervisor on theaccount, "There's no doubt that tvhelped to achieve the present nationaldistribution."

$1 Million in Network

At present, the sale of two millioncopies of Reader's Digest everymonth at over 300,000 retail outlets(including supermarkets, drug stores,newsstands and variety stores) issupported by approximately $1million a year spent in networktelevision. Says Mr. Rhodes, "TheDigest is the only magazine that

26

spends as much money selling itscopies in retail outlets. We make anawful lot of noise with a smallbudget on tv and get a lot of mileageout of our dollars."

Apparently, the magazine -tv rela-tionship hasbeen a successful one.What began on an experimental basisin 1959, with spot buys in majormarkets, has burgeoned into a three -network campaign of about 10 spotsevery month. An average of seven ofthese spots runs during women's day-time shows, with the rest breaking onsuch shows as Run for Your Li/eor Tuesday Night at the Moviesin prime time. To date, the Digesthas bought more time on ABC thanon the other two networks, mainlybecause of availabilities. For themonth of July, the schedule calls for10 spots on ABC (on SupermarketSweep, Donna Reed, Father KnowsBest, Ben Casey, Newlywed Game, ATime for Us, The Nurses, and DarkShadows) and one spot on NBC(Run for Your Life). Each campaignbreaks about one day after the issueis on the stands-for the next 10days single -copy sales of the maga-zine are supported by newspaper andtv advertising. Then the companypulls out of both media until thenext 10 -day period.

After testing different commercialformats for two years, "dramatizingarticles evolved as the most effectiveway," says Neil O'Brien who writesthe commercials. The agency adoptedthis style in 1961 and has been usingit since. Without revealing enoughinformation about the article to

Production crews . . .

Viewer's Digest

. creating a moment of drama . . .

or an article about civic leadership

satiate the audience, but dramatic-ally revealing enough to stimulateviewer interest, each set of commer-cials portrays an exciting articlefrom the current issue.

Continual TestingSuccess with one format apparent-

ly did not stifle the company's desirefor experimentation. Says Mr.Rhodes: "One of the things that im-presses me most on this account, isthe great care that Reader's Digesttakes in testing things. About twoper cent of the advertising budgetis spent on media and marketingtesting." The Digest is continuallytesting not only tv as an effectivemedium, but market size, salestechniques, cost efficiency, length ofcommercials. It has even testedtitle -pull. A few years ago it rana commercial called "Is the DoubleStandard Out of Date?" The se-quence showed a boy and a girl ata dance; it showed them walkinghome and then saying good night atthe door. "It was modestly romantic"reports Mr. O'Brien. "About oneyear later, we ran the identical com-mercial but called it 'The Case forChastity.' In a subsequent sales testcomparison of some 25 commercials,'The Case for Chastity' scored a 5and 'The Double Standard' came up16." The Digest does monthly testsnow to determine which titles havethe greatest audience pull.

Typical of its "let's -be -sure -first"attitude is the Digest's method ofchoosing articles to be dramatized.


To boost circulation,`Reader's Digest' employsnetwork television andcapsule dramas inlong -running campaign

Shooting a local special

Big but localInternationally knownWestern Electrichas found thekey to local fame,too: prime -time

public service

For a long time Western Electricwas the name of the tenth -larg-

est manufacturing giant in the world.It wasn't enough. To make it more,in 1963 the company began sponsor-ing locally -produced tv programs inindividual markets. Would the ideabring Western Electric local recogni-tion along with its internationalfame?

Within a +year's time, the questionwas answered to the satisfaction ofthe company's executives. An articlein TELEVISION AGE, April 27, 1964,detailed the effect of the first pro-grams in Kansas City, OklahomaCity and Omaha, and told of forth-coming expansion plans. Now, withfurther expansion in the works, anup-to-date look at this unique tele-vision venture is in order.

Having chosen the initial marketsfor their proximity to companyplants, the initial stations for theirattention to public-service program-ming, and the initial programs to besponsored for their prime-time im-portance and quality, Western Elec-tric and its agency, Cunningham &Walsh, Inc., moved into Atlanta, Bal-timore, Columbus, Indianapolis andthe Winston -Salem -Greensboro -HighPoint market in the second year. Sub-sequently, Denver and Buffalo wereadded, and specials were sponsoredin Chicago, Minneapolis and Shreve-port, all markets with regional officesof Western Electric.

Although the company's policy isto pick up the full cost of the timepurchased and in many cases the fullcost of the production, its influenceends there. While the agency or theclient may suggest program ideas,the programs themselves emanatefrom the individual stations. Usuallyneither C&W nor the client viewthe programs until they are aired. Inits capacity as a programming "an-gel," Western Electric has given sta-tions "the opportunity to do the type

of programs that comes closest tothe expensive network production,"says Owen Saddler, executive vicepresident and general manager ofKMTV Omaha.

Accolades from individual stations,community officials and citizens haveproved to Western Electric that it hasbeen able to do a national public re-lations job on a personal scale. TVhas been used to help close the gapthat often exists between big businessand the local viewer.

Obviously Western Electric hasn'tbeen seeking rating points, since au-dience share for documentaries istraditionally below average. "The ob-jectives are very different from thoseof other advertisers," says NewmanF. McEvoy, senior vice president ofCunningham & Walsh. "We are pre-dominantly interested in public serv-ice and identification in communi-ties." But even in the ratings, thecorporation has sometimes beenpleasantly surprised. Shares for twosponsored shows on WSJS-TV Winston-Salem - `The Sound of Trumpets,'on the city's 200th anniversary, and'The Open Door,' on the ForystheTechnical Institute there-were 33per cent and 31 per cent, respectively.

Although there is no set pattern ofWestern Electric participation, spon-sorship has been running 60-per centdocumentaries, 25 -per cent sportsand 15 -per cent musicals. Since allof the programs are locally -produced,the company has relied on the sta-tions' own efforts to promote theshows. This aspect of the programhas proven immensely successful inthat promotion has been intense andlocal. Besides on -air promotions, sta-tions have used store flyers, point -of -

sales displays, car cards, billboards,and even the public-address systemin a Western Electric plant to call at-tention to upcoming programs. Inaddition, when Western Electric


28Television Age, August 1, 1966

A PROGRAM MAN'S . . . . ViewpointsHERE WE GO AGAIN

A11 right, this time it's the Overmyer Network. Firstthere was DuMont. With a little more capital and

know-how it might have survived. But it didn't, andthat is that. Then came Hal Roach Jr. and a film net-work. It just breathed heavily. Ely Landau and 011ieUnger had another film network plan, this one sold byBud Barry. It went kerplunk. Pat Weaver had a Satur-day night plan that almost made it. But not quite.

It seems only yesterday that Pat tried again, thistime with 011ie Treyz. Front-page stories, revivals ofold comedy shows, a starting date, hard selling ... andnothing. No wonder those who long for a network com-petitive to the Big Three are skeptical of anyone's chancesof making it work. This time, though, since the Over-myer Network has considerable capital, arrangementsfor cable microwave facilities from AT&T, a kindof ready-made news department-well, maybe it justmight ... maybe .. .

But the problem is basic. It is temporarily impossibleto put together a network representing adequate cover-age of the United States that will attract advertisers. In1970 there may be 1,000 stations. If so, most majorcities will have enough uhf stations to make it possible.But even then it will represent only a fraction of theaudience of the majors, making it uneconomical for anadvertiser to pay even token amounts.

Let's assume for argument that the Overmyer Net-work gets a holding action in late time, where stationsare seriously distressed by dwindling film productand unwilling to join network offerings. The new late-

night programming is going to emanate from Las Vegas.Nevada is a state that protests the fact that wiretappingis discovering that the Mafia is skimming millions of dol-lars off the top of casinos for illegal activity. The productof Las Vegas entertainment has never worked on televi-sion because it is untranslatable, unsuitable, or too expen-sive. It is a fine idea on paper that has hitherto defiedtranslation.

It is always shrewd to anticipate problems. Certainly,network affiliates without a Johnny Carson Tonight Showhave plans to do something about their dwindling supplyof late night quality movies. Some look for a local per-sonality and do a variety show. Others book off -networkshows or improvise with syndicated shows of a varietynature. But, it is naive to assume that the networks aren'taware of the problem and will not do something aboutit. Already CBS shows signs of programming oppositeJohnny Carson in an important way. Certainly it hasthe resources and know-how to fill this gap long beforea new network can bridge it.

The UPI news service seems limited in its value. Localstations must do local news. Until there are four un-affiliated stations in every major market, there is littleneed for this service.

There seems little doubt that there will sooner or laterbe a network of uhf and independent stations. Thesewill be most effective when CATV systems in big citiesequate their signals with low channel vhf's. At thattime programming will make the difference. Also, be-cause of the severe shortage of programming sources,these programs will be selective in nature, as previouslydiscussed in this column.

Mr. Overmyer, the hopes and sympathy of advertisersare with you. What a grand thought to think we canbargain four ways instead of three. That there wouldbe that sleeper program that could beat the majors athalf the price. That we could deal again on behalf ofthe little client and be important.

It almost makes an old programming man dizzy tothink about it, particularly one who has struggled tostay in the business of agency programming-while allaround him, he saw his associates and drinking buddiesgetting submerged in media or disappearing at Holly-wood film factories where they were reported as"working on pilot development." Now, maybe-and thisis assuming you're not going to want to lay out a millionbucks right away for Bridge on the River Kwai-maybeyou'll need some agency program men who will come to

you, ready to deliver a show designed for a client, andall paid for. Maybe you'll just have some time to sell,huh?

How nice for the suppliers to think that there will beanother program buyer to take those golden shows thatthe inglorious three refused to recognize. How nicefor the programmer with the selective program. Hownice for the sports special too limited for the big time.

Our hearts beat in march time, but we must be realis-tic. The chances are dimly remote that we will see thisin 1967-1968-1969 or even 1970. But please don't runout of money, Mr. Overmyer-yours or anyone else's.We are for you-we need you. -J.B.


Film/Tape ReportMAKE IT IN MONTE

Want a colorful backdrop for yournext tv commercial or program?Why not shoot it in Monaco? Tele -Monte Carlo, the privately -owned,commercial station operating in theprincipality and reaching most ofthe tv homes in the South of France,is busy in the commercials produc-tion field, according to Jean Fryd-man, directeur-general of the stationand a recent visitor to agencies andnetworks in New York. The stationmakes both tape and film commer-cials, in black -and -white and color,and is active in program production,for íts own channel and also for ex-port to French -language commercialand state operations in Switzerland,Belgium, and Luxembourg.

The Monaco station is particularlysensitive to the kind of commercialsit puts on the air, and insists onmaking over about 80 per cent of theones submitted by advertisers. Com-mercials made for cinema showingare not accepted, said Mr. Frydman,"since the cinema advertisement gen-erally features an announcer talkingto a large group of persons, while thetv announcer must talk only to oneor two people at a time." Tele -Monte

Carlo, however, also films cinemacommercials for use throughout theFrench-speaking world.

'WHAT'S THE GIMMICK?'

A half -dozen years ago, ErnestChambers battled the subway crowds,the mid -summer heat and mid -winterslush to get to his desk at Manhat-tan's L. C. Gumbinner advertisingagency. There he put together thetight syllables called "copy" thatwould sell a product. He wasn't hap-py at the job, a fact made all themore evident by his obvious pleasurewhen one of his free-lance bits ofwriting was sold-a song or sketchto a musical revue at the Upstairs atthe Downstairs nightclub, or to CarolChanning for her Broadway Show-girl one -woman show. Finally, thebreak came-a new young comediannamed Bob Newhart was beginninga network series and needed newwriting talent. Ernie Chambers wentto Hollywood as a staff writer, andalthough his tenure (and Newhart'son the network) was short-lived, helearned that his forte was comedy,not copy.

Now, fresh from three seasons asa writer on The Danny Kaye Show,

Jean Frydman (1.), directeur-general of Tele -Monte Carlo in Monaco, has thedistinction of operating a station in the area with the highest set -penetrationin the world. Monaco has two tv sets for every three people. Checking thestatistics with Mr. Frydman in a recent international issue of TELEVISION AGEis Bernard Musnik, president of Publicis Corp, international advertising agency.

and having successfully sold scriptsto The Dick Van Dyke Show, MyThree Sons and The Joey BishopShow, former adman Chambers hasbranched out into a new field: withpartner Saul Ilson, he intends to bethe first writing -producing force inthe field of variety programming.

"Writer -producers are an oldstory in situation comedy," he saidin a recent interview. "There's CarlReiner, Nat Hiken and a bunch ofothers. And there are writer -produc-ers in dramatic programming, too.But we're the first writers to special-ize in putting together variety showsfrom start to finish."

The Chambers-Ilson team cut itsteeth by writing/producing the half -

dozen John Gary shows doing sum-mer replacement duty for DannyKaye on CBS -TV. Then it assembledFriends and Nabors, a Jim Naborsspecial taped for showing next Octo-ber on the same network.

"The advantage we have is thatas producers we can book the guests,then get together with them as writ-ers. When the sketches are com-pleted, we know that the guests willbe able to play them, that all thepieces will fit; and we're on handthroughout rehearsals to make surethey do. Ordinarily a producer willset the guests, then hire writers towork out the lines for them; at re-hearsal, somebody discovers theguest can't do a French accent, forexample, and a sketch has to bethrown out."

Two -hats Chambers agreed that ona week -in, week -out basis it might bedifficult to both write and producea one -hour variety show, "but thetechnique works beautifully for theoccasional special." He and his part-ner currently are working on a one -hour one-shot for Mexican comedianCantinflas and Desi Arnaz. "There'sa couple of reasons for the resur-gence of variety specials," the pro-ducer said. "For one thing, the pack-age -goods advertisers own primetime, and other types of advertiserjust can't get into a good continuingseries. For another, many big corn -


panies want to make a big splashwith a sizeable budget via a specialthat can be heavily promoted, ratherthan dribble the money away in one -minute commercials in some insig-nificant situation comedy over thecourse of a season. And, there arebig stars who won't work in weeklytelevision, but are available for spe-cials.

"There seems to be a growingawareness on the part of a lot ofadvertisers that too many peoplelook at tv as a public utility-theyturn it on and they turn it off, butnobody pays much attention to it;to get through to them with a salesmessage, you have to give them adifferent kind of programming-andthat's where the variety special comesin."

For future projects, the Chambers-Ilson team is working on some pilotideas (they scripted the pilot fornext season's Run, Buddy, Run), butthe problems of selling a tv seriesare numerous. "The networks don'tseem to realize," said Chambers,"that the shows that have lastedthrough the years-like Dick VanDyke, Danny Thomas, Lucy, AndyGriffith, The Real McCoys, TheHoneymooners-have had good per-formers in more -or -less `stock' situ-ations. But you go in today and sayyou want to write a series that wouldhave good performers in funny situa-tions and the network guy says, 'Yes,but what's the gimmick?'

"So you make the family monstersor have the mother reincarnated asa car or give somebody a purplenose, and soon the novelty of the

1 gimmick wears off and you're leftwith a dead show. With costs whatthey are today, it doesn't make senseto come up with a pilot idea unlessyou've got faith that it will run fouror five years, and we don't think thegimmick shows can last that long."

The former copywriter ran a nerv-ous hand over his Hollywood -tannedforehead, from which the hairlinehas receded, when asked if he wouldadvise other advertising writers tohead for the lucrative hills of tvscriptdom. "If they're happy wherethey are, they should stay out ofthis end of the business," he said.

Advertising Directory of

SELLING COMMERCIALS

tlpha-Bits Benton & Bowes

,d- k

, s f , j;PELICAN FILMS, INC., New York

A. T. & T. Long Lines N. W. Ayer

i<,,-r

.

TVA-LEMOINE ASSOCIATES, INC., New York

American Bakeries Taystee Bread J.W.T.

!

Associated Brewing Company I.W.T.

,

...-

,t:>.-z.ASARRA-CHICAGO, INC.

..--...

\ -,,.p.p

WGN CONTINENTAL PRODUCTIONS, Chicago

American Electric Power < Handley & Miller

THE FILM MAKERS, INC., Chicago

Canda Dry Hot J. M. Mathes

.

t.,'PGL PRODUCTIONS, INC.. New York

American Legion Auxiliary

S9

or_

Coca-Cola Company McC-E

. .ti.

KEITZ R. HERNDON, INC., DallasAlbuquerque

.....ic,.

BANDELIER FILMS, INC.,

Television Age, August 1, 1966:;1

"As a copywriter, you only have toplease your boss. As a scriptwriter,you have to please your boss-theproducer or comedian-and thenyou have to sit there and sweatwhile you see if you've pleased thepublic, too."

DESILU INCOME

The board of directors of DesiluProductions, Inc., announced an in-crease of $374,384 in net income forthe fiscal year ended April 30, 1966over the preceding year. At the sametime, it was revealed that Desilu'sgross revenue dropped $199,661 to$18,797,502 over the same period.Nevertheless, the stockholders sharedin the company's success by receivinga five per cent dividend payable July19.

Lucille Ball, Desilu president,stated that Desilu continued its policyof purchasing treasury stock duringthe fiscal year ended April 30, 1966.During that year 136,569 shares wereacquired at a cost of $1,275,667.

Next fall Desilu will be representedwith three series and two specials ontwo networks. CBS -TV will televiseThe Lucy Show for the fifth year anda new one -hour series, Mission: Im-possible. The two one -hour specialsare Lucy in London and Star Trek.Star Trek will be an NBC-TV presen-tation.

The company's facilities and serv-ices will be operating at near -capacityagain during the 1966-67 season byeither its own productions, or otherproductions renting Desilu facilities.Some 13 series will be produced,entirely or in part, at Desilu.

SHOOTING SHEDS

Seven Arts is shooting Dr.Schweitzer's Africa at Lambarene,with interviews with surviving col-leagues and former patients of theAlsatian theologian - musician - phy-sician. Clips taken during the doc-tor's lifetime will be worked into thenarrative.

At Tanglewood, Henry Jaffe En-terprises is shooting a documentaryfor Seven Arts and for Bell Tele-phone, which will sponsor it on NBC-TV this fall. The 60 -minute special

will cover highlights of the BerkshireFestival.

Aaron Spelling and DannyThomas signed a step -deal with ABC-TV for a western lampoon, Rango,for the '67 season, with a script byHarvey Bullock and R. S. Allen, andTim Conway set to star.

ZOOMING IN ON PEOPLE

WILLIAM M. MITCHELL joined CBSLimited, London, as manager ofsales. He had been with WestwardTv since 1962 as sales manager.Earlier he was with England's ABCTelevision as group sales manager.

Embassy Pictures Tv switchedCHARLES BRITT from a post as south-eastern sales manager to that ofeastern sales manager and assistantnational sales manager. ROY GEORGEjoined Embassy Tv as western salesmanager. He had been southern andwestern sales manager for AlliedArtists Tv since 1962, and for sixyears before that was with NTA assouthwestern sales manager.

WBC Productions promotedFORREST L. "WOODY" FRASER to man-ager of talent and program develop-ment, and replaced him as executiveproducer of The Mike Douglas Showwith ROGER E. AILES, Who has been

MR. AILES

associate producer over the past twoyears. Mr. Ailes earlier was staff-

producer -director for KYW-TV Cleve-land, working on public affairs andchildren's programming.

ABC Films promoted JOHN MC-LAUGHLIN to director of film oper-ations, in charge of domestic andinternational program traffic. Hejoined ABC Films last year as inter-national traffic manager. Earlier, hewas with NBC for eight years as

supervisor of film booking and salesservice traffic coordinator.

NBC Enterprises dispatchedJ. ROBERT MYERS off to South Viet-nam to oversee the setting up of thecountry's tv network. Mr. Myers,who is NBC International's co-ordinator of international manage-ment services, will stay in Vietnamuntil NBC -I picks .a permanent man-aging director to replace him.

JULIO DI BENEDETTO, vice presi-dent of Bob Banner Associates,moved from New York to Hollywoodto hatch new projects for the pro-duction company.

ON THE DOTTED LINE

Fremantle Internationalchalked up a number of sales recent-ly in South America, while settingup Romper Room programs in Ar-gentina and Chile. In Brazil, Con-sorcio Auxiliar de Servicos deTelevisao, Ltda., bought 26 hours ofWrestling, 98 quarter hours of TheTerrible Ten, and 156 episodes ofCobby's Hobbies. Biography wassold in Argentina and in Chile toPromocion Y Television Ltda.

Earlier in the selling season, Fre-mantle tallied sales in 67 countriesand to the P&O and Cunard lines forclosed-circuit telecast on their liners.

CBS Films sold Run, Buddy, Runto Rediffusion, Tokyo BroadcastingSystem, Canadian Broadcasting Sys-tem, the UPP stations in Canada,Avro in Holland, and to stations inVenezuela and Argentina.

NBC International sold T.H.E.Cat, I Spy, Bonanza and Dick VanDyke to Channel 2 Caracas and TheHero to Channel 8 Caracas. I Spywent to two Canadian stations and toPuerto Rico, Teheran and CuidadJuarez Mexico.

Pierre Weis, executive vice presi-dent in charge of sales at UnitedArtists Tv, reported the company'sproduct was still moving at the sameclip established in a record -breakingstreak this spring with Patty Duke,My Mother the Car and other prop-erties.

Triangle sold Step This Way,co -production with Colgate, in sevenmore markets: WVTV Milwaukee,WDAF-TV Kansas City, WTTV Indian-


apolis, KPTV Portland, KTNT-TV

Tacoma -Seattle, KWWL-TV Waterloo -Cedar Rapids and WDSM-TV Duluth.

King Features Tv, throughSovereign Film of Toronto, sold TheBeatles in Canada, to the CTV net-work for its Saturday morning line-up.

M. & A. Alexander sold Terryand the Pirates to WEAT-TV WestPalm Beach, and Betty Boop andQ. T. Hush to WKBD Detroit.

Screen Gems launched Gidgetonto to station -to -station trail, withkickoff sales to WPIX New York,

fWGN-TV Chicago, mu -TV Los An-geles and CKLW-TV Detroit.

Liberty Films Co., Ltd., of Tokyorenewed The Mighty Hercules fromTrans -Lux Tv International,which meanwhile sold Gigantor to

tTyne Tees Tv in Newcastle forNortheastern England and Felix theCat to Westward Tv in Plymouth forSouthwest England. The cartoonseries was also bought by WKAQ-TVSan Juan.

New U.S. network tv shows helpedUnited Artists tv put its 100th pin3n the world map, with a sale of 14series to Paraguay. Herbert R. Ban-

per, vice president in charge of for -sign operations, said the 100 -countrychalk -up puts UA-TV in the forefront

áof tv distributors around the world.Among the properties involved in theworld -girdling record are Rat Patroland Hey, Landlord, new shows thisfall on NBC-TV; It's About Time(new on CBS -TV), and Super SixI nee Super Bwoing.)

Mr. Banquer pointed out that "100countries" is a new world record; theinternational "100 markets" pointwas attained by his division sometime ago. Beyond the new networkseries, other shows reported moving'well abroad are Gilligan's Island,Mona McCluskey, My Mother theCar, and Patty Duke.

UA-TV scored a near sell-out inMexico, to Telesistema Mexicana,and in Venezuela, Argentina, Peruand Puerto Rico.

ROUGH STUFF

"We're going to do for toes whatTinker did for stomachs," said EdMcMahon, towering over a story -


SELLING COMMERCIALS

;BS Network

r

IOLPHIN PRODUCTIONS, INC., New York

Eckrich Sausage

t 7 r, T. i S.rl

iiko

M .THE FILM-MAKERS, INC., Chicago

;ontinental

PAUL KIM

Can Co. Bondware BBDO

/J .rr;

y& LEW GIFFORD, New York

Falstaff Beer Dancer -Fitzgerald -Sample

FILMFAIR, NEW YORK

Eastman

ELEKTRA

Kodak Co. J. W. T. Ford Motor Company J. Walter Thompson

f. ) k

`i

JERRY ANSEL PRODUCTIONS, INC.. New YorkFILM PRODUCTIONS INC., New York

Eastman

«MiáaJigáiiiiliirli

GERALD

Kodak-Instamatic Camera J. W. T.

iii,g`

Iiiiiiii

Frito-Lay Company Tracy Locke

ÍltarolDllliObhyed

FIDELITY FILM PRODUCTIONS, DallasSCHNITZER PRODUCTIONS. Hollywood


board in the garden studio of LewSchwartz, Inc. Scattered about theflagstones and pebbles were a num-ber of examples of Pop, or Prop,art: a four -foot -high Gillette razorblade, carved from a plank; a vint-age cash register; a dart board, andseveral board games made of wood.

As if in response to the heightenedappreciation of "tactile, participa-tional" three-dimensional valueswhich Marshall McLuhan claims tvhas induced in the population, Mr.McMahon and Jim Cronin, who to-gether head Del Sol Productions, agraphic design house, have enteredinto a permanent collaboration withfilm-maker Lew Schwartz for the de-velopment of tv commercials, salesfilms and sales presentations.

The working arrangement hingeson the development of three-dimen-sional materials, "feelies," frompainted bas-reliefs to fanciful sculp-tures to storyboards-in-the-round, astypified by the "Chevrolet Number 1Buy" film which Mr. Schwartz anddel Sol made last winter in a trialventure. Mr.. Cronin designed theblocks for the film. which won aClio for best use of graphics. In amovement away from paper, del Soland Schwartz will use wood, felt andother fabrics, even tapestries. Theywill work together not only on tvfilms, but on sales presentations, dis-plays, exhibits, merchandising ma-terials, and point of purchase materi-als. "It's a total sales and marketingconcept," said Mr. Schwartz. "TheGillette blade you see there is astoryboard; it goes to pre -productionmeetings."

"We're going to beat the `washdaycommandos,' " said Mr. McMahon,whose experience with commercials

OPTICAL AND

SPECIALEFFECTS

IN COLOR AND B & WFOR THE FINEST OPTICAL EFFECTSAND THE FASTEST SERVICE ...CALL

Eastern Effects, Inc.219 East 44th St., New York, N. Y. 10017

212.697-7980

is vast. He said he will be involvedin the day-to-day operations of thefilm -making combine, despite hisbusy schedule.

Corporately, del Sol and LewSchwartz, Inc., will remain separateentities.

Ed McMahon formed del Sol fouryears ago, with his Catholic Univer-sity classmate Jim Cronin. Workingwith designer Norman LaLiberte,they designed a large part of the in-terior trappings and exhibits at theVatican Pavilion at the recent NewYork World's Fair.

Mr. LaLiberte returned to teach-ing at St. Mary's College, where Mr.Cronin had been professor of dramabefore setting up del Sol.

The design company went on todesign fun -and -games exhibits forPepsi Cola, department store dis-plays, and industrial shows. Thisyear del Sol, working with Schwartz,designed the Canadian Centennialexhibition for the National FilmBoard of Canada. "It's a rare eventwhen the crack Canadian film unitcalls in an outside designer, and afilm-maker to boot," Mr. Schwartznoted.

THE TAPE RUSH

Airline strike or no airline strike,the tapes had to get through. Tomeet airdates on its two weekdaystrips, Mike Douglas and MeryGriffin, WBC Productions scratchedup whatever fast transport was avail-able, from trucks to pygmy airlines,to get the tapes from its Pittsburghdupe center to some 100 stations inthe lineups. For one long haul, theGroup W component dispatchedtapes to Los Angeles on an impro-vised "international route"-fromNew York to Montreal to L. A. Atthe last count, every tape hadreached its destination on time.

FEATURING THE FEATURES

From Embassy Tv, D. H. Over-myer Communications bought fourpackages: Top Time Feature Films,Adventure 26, Invitation to Murder,and Scotland Yard. Overmyer issetting up five uhf stations in addi-tion to one already on the air inToledo, and is backing a scheme for

a fourth network.Seven Arts chalked up eight

sales of its Volume 8, Films of the'50s, to KTUL-TV Tulsa, WAND Deca-tur, WSIL-TV Harrisburg, KELP -TV ElPaso, wusN-Tv Charleston, WKBN-TV

Youngstown, wcov-Tv Montgomeryand WNDU-TV South Bend.

One of Seven Arts' customers inCanada is the town of Hanover,which bought recently a 13 -week

schedule in eight Ma and Pa Kettlemovies and five Abbott & Costelloflicks on CKNX-TV in the neighboringtown of Wingham to promote itselfto the Winghamites as "a nice placeto visit" and to shop.

Jim Stern, vice president and gen-eral sales manager of Allied ArtistsTv, reported sales of Group IV: TheStars in Action to 14 markets: WFAA-

TV Dallas, WFIL-TV Philadelphia,WDSU-TV New Orleans, WHEN -TV

Syracuse, KGMB-TV Honolulu, KOIN-

TV Portland, WNHC-TV New Haven,.KXTV Sacramento, WFBG-Tv Altoona,WSAV-TV Savannah, KFRE-TV Fresno,WNBE-TV Binghamton, KVOS-TV Bel-

lingham, and WLYH-TV Lebanon.National Telefilm Associates

sold its Shirley Temple Featurespackage to KWGN-TV Denver, KOOL-

TV Phoenix, KOLD-TV Tucson andWLW-D Dayton, which also boughtthe 12 Jane Withers Features, Battle39 went to KTVT Ft. Worth, OpenEnd and Probe to WJCT Jacksonville,and Assignment Underw"ter, Howto Marry a Millionaire, Montovaniand U.S. Marshal to WEAT-TV WestPalm Beach.

Landau/Unger sold The EleanorRoosevelt Story to BBC -TV inEngland.

THE BLACK ART.

"The Black Art" may sound luridto a layman, but it's all in a day'swork to special effects cinematog-rapher Sol Goodnoff, and there'snothing occult about it. Mr. Good-noff, former . SFX specialist withMPO Videotronics and now an over-all film director at Savage -Friedman,started studying magic back in theinfancy of tv commercials, when hewas working or Transfilm as a propman. He had already built and soldtwo electronics companies; now his


lather, veteran film man Red Good -

'of f, suggested he take the casualob as prop man while waiting tonake his next move in electronicsengineering. But when Sol found outse could "knock down $300 a weeks a schlepper," he began to takehe film business seriously.

At that time, he recalls, virtually

.so one in the East Coast end of theindustry knew anything about

special -effects. As a prop man, hewould get requests that seemed al -Bost impossible to fill. So he startedIoing to Lou Tannen's 42nd St.

magic supply store to study leger-demain and he learned how to applymagic to cinematography. On theside, Mr. Goodnoff practiced magicbefore audiences, for kicks.

" `Black art' in magic," Mr. Good-noff said, "is the same as the matteprocess in photography." From hisstudies as a trickster, Mr. Goodnoffdeveloped techniques he said wereearlier unknown in film -making.He developed a wire "so fine youcan't see it, you have to feel it toknow it's there." He leaned especi-ally toward small movements, the"little, delicate stuff," as evidencedin a commercial he made recentlyfor French's Instant Mashed Pota-toes, where a live, real butterflyhas a stand-in-a simulated butter-fly manipulated by wires.

Another Goodnoff project is theKent cigarette commercial in whichthe pack of smokes dances aboutsuburban streets and restaurants,while people pluck tubes out of thepack. How was it done? By affixinga Kent pack to the front of a trans-parent plastic bubble, stuck in frontof the lens.

Special -effects can be much moreeffective than opticals, Mr. Goodnoffpointed out, because the SFX de-vice look more "live," casting sha-dows and generally seeming moreplausible.

Other Goodnoff creations are theDristan's suitcases that fly you andyour sinuses to Arizona, the MagicChef flyaway oven, the butterfly -in -the -aerosol Mum spot. ("Again, apuppet butterfly stands in for a realone who flutters around after w(

got him drunk on wine.")


SELLING COMMERCIALS

Lipton Tea SSC&B

TV GRAPHICS, INC., New York

Sea World J.W.T.

SEA WORLDOn San Diego's Nissan Bay

SANDLER FILM COMMERCIALS, INC., Hollywooi

Oldsmobile D. P. Brothers Sohio Marschalk Company

r

Y

JAMIESON FILM COMPANY. DallasROBERT CARLISLE PRODUCTIONS, Hollywood

Pet Milk Co. Gardner

PANTOMIME PICTURES, Hollywood

Warner Bros. A Fine Madness

PABLO FERRO, FILMS. New York

Quaker Oats Papert, Koenig & Lois

FILMEX, INC., New York

Welch Grape Juice Co. Richard K. Mandl

..

VIDEOTAPE CENTER, New York


When not devising such specialeffects ("They take anywhere froma day to two weeks,") Mr. Goodnoffpractices still photography, paints inoils, and plays a number of musicalinstruments. These days he is notlimiting himself to special effects,but is directing commercials fromstart to finish. For a forthcomingWilliams Lectric Shave commercial,he has devised a flying electricshaver, which zooms off from anairport and wings in to shave aguy who's just applied the product.

NEW SHINGLE

Red Mark Productions has beenset up by Arthur Joel Katz, formerexecutive vice president of PlautusProductions, to develop tv projectsand theatrical films.

AT THE COMMERCIAL MAKERS

HAL PERSONS joined Studio Associ-ates International as executive pro-ducer. He had been with MPO

Videotronics since 1963, and beforethat spent five years with VanPraag Productions. Earlier, Mr.Persons produced shows for net-work, and stage-managed legit pro-ductions on and off Broadway, andon the straw hat circuit.

On the coast, Gantray-LawrenceAnimation Co. promoted ROBERT J.WEST to vice president. Mr. West hasbeen with the company since 1953.A former child actor, he has workedduring his entire life in the cartoon,field. Gantray-Lawrence moved intomore spacious quarters. The com-pany is now turning out 195 episodesof Marvel Super Heroes-CaptainAmerica, Sub -Mariner, The Incredi-ble Hulk, The Mighty Thor, IronMan-for syndication this fall.

LEON PROCHNIK joined VPI. Hehad been with MPO, Drew Associ-ates, On Film and EUE/ScreenGems. Among his credits are PullMy Daisy, The Existentialist, andFootball.

MAURICE W. STEVENS joined TheFilm -Makers in Chicago as a pro-

ducer -director. He had been withWilding, and before that with LeoBurnett in Chicago and Toronto astv producer and creative supervisor.

Tv model ANN MORTON joinedFred A. Niles Communications Cen-ters as an executive staff assistant.

MEL LONDON joined Wolper Pro-ductions as vice president in chargeof the industrial film division. Hehad been president of the interna-

tional division of Wilding, Inc.,since last year, and before that wasan executive producer with the com-pany for five years. Earlier, Mr.London was executive producer withTransfilm-Caravel and On Film. Theposition he holds at Wolper is anewly -created one.

CORDON / YOUNGMAN, a studioformed six months ago -by ex-BBDOand program producer Alan F.Gordon, along with feature film pro-ducer Gary Youngman, has com-pleted a number of assignments for

such clients as Rheingold Breweries(DDB), Chemstrand (DDB), JifPeanut Butter (Grey), Ideal Toy(Grey; Smith/Greenland) and Can-ada Dry Wink and Quinine Water(J. M. Mathes), along with an ex-perimental film.

Tv CommercialsD & R ProductionsCompleted: Humble Oil (Esso), McCann-Erickson; Clairol (hair products), FC&B;TWA (Chicago-N.Y.), FC&B; Frosty O's(General Mills), DFS. In Production: P&G(Thrill), DFS; P&G (Tide), Compton;TWA (Detroit), FC&B; Clairol (hairproducts), FC&B.

Elektra Film Productions, Inc.Completed: P. Ballantine & Sons (bever-age), SSC&B; Coca-Cola Co. (soft drink),Harold Becker; Gillette Safety Razor Co.(shaving products, deodorant), ClyneMaxon, Inc.; Eastman Chemical Co. (pack-aging machine), direct; Brown & William-son Tobacco Co. (cigarettes), Ted Bates;First Pennsylvania Bank, N. W. Ayer;Nepco (meats), Bresnick Co.; ColgatePalmolive (floor cleaner), Norman, Craig& Kummel.In Production: U.S. Plywood, Kenyon &Eckhardt; Thomas J. Lipton (salad dress-ing), Edward H. Weiss; Atlantic RefiningCo. (gasoline), N. W. Ayer General Elec-tric (refrigerators), Y&R; J. B. WilliamsCo. (sleeping pills), Parkson Adv.; Gil-lette Safety Razor Co. (shaving cream),Clyne Maxon, Inc.; (Scotch tape), Mac -Manus, John & Adams; Theo. HammBrewing Co. (beverage), Campbell-Mithun,Inc.; Westinghouse (blender), McCann-Erickson, Inc.; American Tobacco Co.(cigarettes), BBDO; Aspergum, Shaller-Rubin; Avon (cosmetics), Monroe F.Dreher; Colgate-Palmolive (floor cleaner),Norman, Craig & Kummel; Dentyne (gum),Ted Bates; Cushion Grip (adhesive),Shaller-Rubin; Coca-Cola (beverage), Har-old Becker; Diaper Magic, Clyne -Maxon,Inc.; Chunky (candy), J. W. Thompson;Brown & Williamson Tobacco Co. (ciga-rettes), Ted Bates.

Gerald Schnitzer ProductionsCompleted: Black & Decker (power tools),VanSant.Dugdale & Co., Inc.; ArmstrongCork Company (Vinyl Corlon tile), BBDO;Chevrolet, Campbell -Ewald Co.

Stars & Stripes ProductionsForever, Inc.

Completed: Ford Motor Company (spots),J. W. Thompson; Rothmann of Pall Mall(Craven Cigarettes), F. H. Hayhurst Co.,Ltd.; Southern New England Tel. Co. (ex-tension phones), BBDO; Menley & James(Contac), Foote, Cone & Belding; Shera-ton Hotels, BBDO; First Nat'l Bank ofBoston, BBDO; Stanley Tool Co. (Sur -form), BBDO.In Production: General Mills (Kix), DFS,Southern New England Tel. Co. (YellowPages, long distance), BBDO; QuakerOats (cereal), Rink Wells & Assoc.;Boston Globe (newspaper), BBDO.

36 Television. Age, August 1, 1966

AUGUST 1, 1966

TELEVISION AGE

The airlines strike and the resultingupset in tv advertising schedules

notwithstanding, the airlines industryis still flying high, says a recent report.Airline spot tv dollars soared from$2,400,000 in 1961 to $16,500,000 in1965-a hike of almost 600 per cent,according to Swiftest Climb-AirlineSpot Television in the Sixties, a studyprepared by the tv division of Ed-ward Petry & Co., Inc. In the sameperiod, according to the report, theprofit picture of the major airlineschanged from a bleak combineddeficit of $36,800,000 to an over-allplus of $282,000,000.

In comparison to the other twoleading media, newspapers and maga-zines, spot tv's share of the adver-tising pie jumped from 5 per cent to22 per cent. At the same time, thepercentage share to newspapers de-clined from 79 to 52, and the shareto magazines increased from 16 to26.

The sales performance of the fivelargest domestic airlines was also re-ported by the study. American wasthe heaviest user of spot tv in 1965,and spot was the company's principal

a review ofcurrent activityin nationalspot tv

medium; Delta-number one spot tvuser in 1960 - slipped to seventhplace last year but boosted its expen-ditures in the medium by 50 per centover the 1960-'65 period; in 1964,Eastern invested 40 per cent of itsadvertising money in spot; TWAspent $2 million in the medium in1965; and United quadrupled its '63spot budget to a total of $2,061,300in 1965.

une Buckland, media buyer at TedBate,s & Co., Inc., in New York,works in the agency's recently ex-panded Colgate-Palmolive spot buy-ing group.

REPORT

The report also focuses on spot tvexpenditures of 11 U.S. TruckLines, revealing an increase from $1,792,000 in 1961 to $15,153,100 in1965, with spot getting 30 per cent ofthe advertising dollars as opposed to5 per cent in 1961.

Copies of the study are availablefrom Edward Petry & Co.. Inc., 3East 54th Street, New l o k. N.Y.10022.

Among current and upcoming spotcampaigns from agencies and adver-tisers across the country are the fol-lowing:

American Home Products(. Walter Thompson Co., N.Y.)Fall activity on CONQUEST analgesicwill break in October in a total of sixmarkets: Wichita, Grand Rapids, CedarRapids, Houston, Minneapolis andDenver. One -minute commercials willrun for 11 weeks. Bill Petty is the contact.

William Carter Co.(BBDO, Boston)CARTER's will launch what is believedto be the first daytime tv campaignfor children's wear on August 15.Besides 190 network markets, the company


bought spots in Boston, New York,Philadelphia, Chicago and San Francisco.The whole tv and print fall campaignis the largest in the company's and inthe industry's history and is expected tomake 235 million impressions. Threedifferent 60 -second commercials will beused: one on infants' and children'splay wear; one on sleepwear, and oneon underwear. The morning and daytimespots will continue until November 26.Joyce DiBona is the contact.

Chanel, Inc.(Norman, Craig & Kummel, Inc.,

N.Y.)Two flights will begin in December forCHANEL perfume in 30 selected markets.

One will start December 3 and runthrough December 23; the other willrun from December 10 to December 23.The commercials will mainly be 60'sand 20's. Mike Woodward does the buyingon the account.

Coca-Cola Co.(Marschalk Co., N.Y.)HI -C will round out its network buywith a four -week summer campaignbeginning August 15. Minutes duringfringe periods are intended .to reachhousewives with young children. Theywill run in 100 top markets duringthe schedule. Vince Tortorelli is thebuying contact.

Recognize these two television personalities?

That's Pat Crowley, of course, who co-stars with Mark Miller in NBC -TV's "PleaseDon't Eat the Daisies," one of the bright new shows of this season.

And, just as familiar to Quad -City audiences, Pat Sundine, whose "Especiallyfor You" is now in its 13th WOC-TV year.

Personalities get special emphasis here at WOC-TV. Our philosophy is thatyour product or service-whether network or local, program or spot, prime orClass "C"-deserves to be associated with the most personable people.

WOC-TV personalities have earned recognition and respect. We're proud of that.Most important of all, they sell. We'll be glad to prove it.

Where the personalities are....%AI

6Serving the Quad -Citiesmarket fromDavenport, Iowa

Exclusive Helena, Representatives - Peters, Griffin, Woodward, Inc.

Continental Baking Co.(Ted Bates & Co., Inc., N.Y.)Various flights on HOSTESS CAKE arescheduled to break in September.Some will last until December, butmost will run through October only.One -minute spots and 20's will be usedin 50 to 60 markets for the campaign.The product will have day and nighttimeexposure on live and film programsduring weekends and weekdays. GeorgeBock and Chet Slaybaugh do the buyingSeptember 5 is the starting date on a100 -market buy for WONDER BREAD.The schedule will run until November 13.Mostly 60's and some 20's will be usedduring day, night and fringe periods,with some spots breaking on live kidshows. Margrit Meinrath and DanMonahan are the contacts.

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

N.Y.)Seventeen selected markets will carryBOSCO commercials beginning September12. The six -week run will employ 60'sduring afternoon shows. The mediagroup supervisor on the account isFrank Gianattasio. NUCOA margarine isbeing introduced in four west coastmarkets beginning August 1. Sixty-secondcommercials on the new product willrun for 12 weeks during day andnighttime periods. Dave Specland isthe buyer.

Drake Bakeries, Div. of theBorden Co.

(Young & Rubicam, Inc., N.Y.)September 11 is the date for the annual39 -week push for DRAKES CAKE inNew York, Boston, Philadelphia, Portland,Hartford and Providence. Coincidingmore or less with the school year, thecampaign will employ 60's duringthe day to reach a maximum numberof children. Frank Becker does thebuying on the account.

E. I. Dupont de Nemours & Co.,Inc.

(N. W. Ayer & Son, Inc.,Philadelphia)

The second of a ,two -flight series onDUPONT HOUSEPAINT will begin inAugust. Prime and fringe 60's willrun in about 50 markets for varyinglengths of time, some into the fall.Like the flight in April, the presentcampaign is geared to reach a maleaudience. Jack Coverly-Smith is thebuyer on the account.

Durkee Mower, Inc.(Richard K. Manoff, Inc., N.Y.)An eight -week flight on MARSHMALLOWFLUFF will break in late fall in some15 markets. The majority of the spotswill be minutes and will break during kidshows. Michael Browner is the buyer.

Eastman Chemical Products, Inc.(Needham, Harper & Steers, N.Y.)Beginning August 8, a daytime campaignon KODEL fiber will break in 35 topmarkets. The schedule will run for sixweeks of daytime 60's. In addition, a


One Buyer's Opinion .WATCHING THE MOVIES

3:40 a.m. Movie-Drama-Time approximate. "I Love A Soldier." (1.944)

An attractive shipyard welder dances with servicemen every night but

refuses to get serious with any of them. Paulette Goddard, Sonny Tufts,

Mary Treen, Walter Sande. Barry Fitzgerald, Beulah Bondi. (Two

Hours)-TV Guide

The above recent description of a cinema classic slated to run in the

pre -dawn night is not unusual. It typifies the oldest (and least venerable)

programming cliche: the late -night movie. With frequent exposure, alocal station amortizes its cost rapidly, and subsequent re -runs are all

profit. The viewer is not sure when he's last seen the flick, and appar-ently is willing to view it again, if only to see if it still ends the same.

While this vidiotic practice has long since spread throughout theday, locally, the networks are now realizing the dollars and sense oftelevising movies in prime time. With three webs weaving seven nightsof programming around five nights of cinema, saturation is upon us.And there's no relief in sight. All three networks have entered intojoint production/distribution with other major studios and independentproducers. Object: Low budget, two-hour (with commercials) features.

Result: B (for BAD) movies.

The advantage to the network carrying feature films is apparent. A

proven box office record means limited risk. Unfortunately, the Hollywoodstudios which once ground out 1,000 features a year have reduced theiroutput to a couple of hundred. With 32 weeks of originals, five nights

a week, there is little margin for the three-hour epics, racy sexfests, andother fare that is unsuitable to home viewing in prime time. Thustelevision will now turn to Hollywood for the B picture, the originalvictim of tv.

Ironically, the "good quality, low cost" aspects sought by all is

reminiscent of early television. The weekly drama series with new faces.untried talent and occasional brilliance is now overlooked by the pro-gramming potentates. How can a network agree to produce movies, andrefuse to televise weekly dramatic vehicles? Do they expect the samerating results from these B features that they achieved with top namesin long -publicized cinema? Network buyers aren't so sure.

As a spot tv buyer, the above discussion of network programmingmay seem academic. So what, you ask. But recent experience hasshown that the pictures on the network packages go right off the net-work into local runs where they're vehicles for spot tv business. Networkfilm bunches that contain a lot of quick -and -cheap "features" are goingto have to be watched carefully. Start keeping track now of how thenetwork features are selling-and rating. In a year or so, when they'reoffered to you, demand a complete list of titles with your avails. Don'tput your adult product in a juvenile feature, merely because the timeperiod was late night.

And above all, gamble with an occasional effort that holds a promiseof stirring up some audience excitement-something a 10th run of BeauGeste isn't likely to do. Maybe a little of that excitement will rub off onyour client and your agency, as well as the tv industry.

FIVE'llGETYOUTEN!

Buy Channel 5, Memphis -GET 10 VHF STATIONS(WMCT plus 9 new booster stations)

Paragould

Jonesboro \ro .

66 n \ARK

Forres, City

W Helena ,Helena

Dyersburg

*Humboldt

//1. Jackson

69m.

WMCTMEMPHIS TENN

MISS.

59 m

O.ford

TOTAL MEMPHIS MARKET -2,402,900

WMCT, Channel 5, the Memphis sta-tion that has long led the field in totalhomes and weekly circulation, nowleads the way again with the Mid -South's first translator network.Booster stations in nine perimetercities make the WMCT signal 10 timesstronger than ever before, provide abonus of Grade A coverage unequalledby any other Mid -South channel.

For viewers in these areas, the boostersystem means sharp, crisp, interfer-ence -free reception of all WMCT colorand monochrome programs-withoutthe expense of tuners, adaptors orcables.

For advertisers it means a bonus of183,000 viewers, at no increase in rates.

Need a strong booster for your pro-duct? You get 10 of them with yourone buy of WMCT, the towering voiceof the new Mid -South.

WMCT5CHANNEL

NBC in MemphisRepresented nationally by Blair TV.


what's inthe middle

makes the bigdifference:

...and inPennsylvaniait's WJAC-TVNumber of Countries Covered ... 31

IV Homes in Area - 538,500'

Names Reached Weekly . '.. 72%Daytime Viewers, Doily Average 214,250

Nighttime Viewers, Daily Average...270,470

Notional TV Market Position . 27th

except where indicated, according to themost recent Neilson Coverage ServiceARB TV Home Estimates, September 1963Television Magazine '64

America's 27th Largest Market'::w ::;^;t;:. ,.:2a;; : n :i: s;,.;.

- 5:"SERVING MILLIONS FROM

ATOP THE ALLEGHENIES

JOHNSTOWN CHANNEL 6` '<:>

Represented Nationally by

HARRINGTON, RIGHTER & PARSONS, INC.,

Affiliated with WJAC-AM-FMThe Johnstown Tribune -Democrat Stations

When Bill Andrews, general sales manager of KCOP Los Angeles, came toNew York at mid -July for a three-week stay, he came loaded with portable tvsets and cameras to give away to media buyers. Lucky recipients only had topredict, with accuracy, the station's new fall schedule-a line-up of showswhich, said Mr. Andrews, cost about $31/4 million. Shown here are some ofthe agency media people in attendance at one of the KCOP luncheon presen-tations, and while none won prizes, they obviously enjoyed themselves. L. to r.are Chet Slaybaugh and Margrit Meinrath, both of Ted Bates; Frank Gianat-tasio of Dancer -Fitzgerald -Sample; Mr. Andrews, and Lee Beck of Clyne,Maxon. In addition to the daily portable tv set given to the media man whobest guessed the station's schedule, a Grand Prize of a color receiver was tobe given later this month to the top prognosticator from agency submissionsthroughout the country.

Spot (continued)

six -u nk fall series is planned in 35markets. Beginning September 5, 60's willbreak in primetime and early and latefringes and 20's will break duringprimetime. Al Krachow is the contact.

General Cigar Co.(Needham, Harper & Steers, N.Y.)A fall campaign in a limited number ofmarkets is planned for this company'sline of cigars. Location of the marketswill be Chicago and the west, with 60'sand 20's being used in the series. At issuedate, the company's cigar commercialsshould be on in Chicago, Los Angeles andSan Francisco. Doug Spellman is thebuyer.

General Foods Corp.(Benton & Bowles, Inc., N.Y.)A series of flights began at the end ofJuly on POST TOASTIES andGRAPENUTS in about 60 scatteredmarkets. The fringe and day piggybackswill run for most of the quarter. JimThompson does the buying, with MikeHolcombe assisting.

General Foods Corn.(Young & Rubicam, Inc., N.Y.)August 1 is the start date on a 52 -weekcampaign for MINUTE RICE. Theone -minute spots are scheduled to breakduring day and early and late fringeperiods in about two dozen major andsecondary markets. Dick Matullo isthe buyer un the account.

MID -MICHIGAN

LANSING .

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MID -MICHIGAN TV IS...

WI LX -TV555 Stoddard Bldg./ Lansing 48933

GOT THE PICTURE?

talk to the Young Men about WILX .. .National Representatives:

YOUNG TELEVISION CORP.


Profile

From his office on the 33rd floorof the new U.S. Plywood build-

ing, media buyer Nicolas Gonda en-joys a panoramic view of New Yorkand of the East River. "I alwayswanted to be a ship captain," hesays. "Now I have supervisory au-thority over the East River ... I'man imaginary traffic cop." Mr. Gon-da's experience with ships has beenfar from imaginary, however. Sincehis father was a U.N. staffer, hespent a good deal of his childhoodtravelling around the world. He de-ocribes himself as "an internationalk -product, with strongest ethnic tiesto the Greeks."

After deciding to settle in thel"nited States, Mr. Gonda enrolledin Parsons College, received his bac-alaureate in two years and went on

to Johns Hopkins where he spentone -and -a -half years working on adoctorate in Soviet constitutional law-"for personal edification-it has

no practical application at his point."From the halls of ivy. Mr. Gonda

NICK GONDA

moved to the William Esty Co., asa buyer for R.J. Reynolds. Now atPapert, Koenig, Lois, Inc., which hejoined in February, the media buyerworks on Xerox and Procter andGamble's Salvo.

Although he uses numbers of ne-cessity at his job, and although hebelieves that they can be indicativeof trends, Mr. Gonda is wary of thetendency to overemphasize their im-portance. "Numbers are extremelyrational. In advertising you are talk-ing about the intangibles, about anemotional process. Numbers have

their place, but one cannot wear ablindfold in accepting them." In do-ing a media plan, Mr. Gonda, ofcourse, must rely on the tools avail-able-namely ratings, CPM's, etc.-but these he uses reservedly as guide-lines. "Numbers indicate arithmeticalresults-hut psychological and socio -economical factors will not be re-flected. How can figures indicate thepeculiarities of a specific market?How can they reflect the quality ofviewing?" As an example, the mediaman compared the involvement ofviewers of The Joe Pyne Show to thatof the viewers of Lawrence Welk'sshow. "Joe Pyne is so controversialthat anyone who listens will pay at-tention."

When he's not theorizing aboutnumbers or working on his Ph.D.thesis, Mr. Gonda enjoys studyinglanguages. What does he speak?Russian, German, French, Italian,Dutch-and some Turkish. In thefew spare hours left, Mr. Gondapaints, draws, builds furniture-hejust designed an Oriental cabinet forhis bachelor apartment in Manhattan-and sails.

Spot (continued)

General Mills, Inc.(Dancer -Fitzgerald -Sample, Inc.,

N.Y.)At press time, most major reps were beingcalled in by the agency to presentavailabilities on markets across thecountry. A big General Mills buy appearsimminent. Herb Werman is mediasupervisor of the buying pool.

I

Hassenfeld Bros., Inc.(Bruns Advertising Agency, Inc.,

N.Y.)A heavy spot schedule is planned forvarious HASBRO toy products thisfall. Beginning September 26, 60's willrun in selected markets for 12 to 14weeks. Nina Flinn is the contact.

V. La Rosa & Sons, Inc.(Hicks & Greist, Inc., N.Y.)An eight -week buy on various LA ROSA

food products is scheduled to beginSeptember 26. About ten markets willcarry .the 20's and ID's during day, fringeand evening time periods. Lee Petersand Lee Weldon do the buying.

Liggett & Myers Tobacco Co.(J. Walter Thompson Co., Inc.,

N.Y.)As anticipated here earlier, additionalmarkets have been picked up for L&M'snew CHESTERFIELD FILTERS.Beginning August 15, 60's, 20's and ID's

Mid -May TvQ Top Ten Evening Network Programs by Market SizeCopyright Home Testing Institute/TvQ, Inc., 1966

Market Size Groups

Rank Program1 Bonanza2 Walt Disney3 Daktari3 Dick Van Dyke3 Man From U.N.C.L.E.3 Saturday Movies7 Gomer Pyle, USMC8 Get Smart9 Red Skelton9 Bewitched

TotalAudience

Fam* Tv0""90896083747484638679

Total 2 mil. 1/2- 50,000 UnderAdults & Over 2 rail. 1/2 mil. 50,000 Rural

Fam TvQ Fam Tv0 Fam TvQ Fam TvQ Fain TvQ Fam TvQ46 91 45 86 36 93 40 91 46 95 48 93 3045 87 43 85 35 88 45 86 42 87 44 87 5039 57 33 49 21 55 31 59 36 60 38 64 3939 83 36 77 42 82 41 81 32 89 29 87 3639 73 27 75 29 73 33 72 31 73 20 72 2139 77 40 84 39 79 45 73 33 75 41 73 4038 83 32 76 29 82 27 81 31 87 42 91 3737 56 23 56 27 57 26 61 31 52 13 52 1236 87 33 81 28 86 27 87 32 93 39 91 4136 75 28 72 27 75 33 77 30 80 21 74 28

"Familiar-those who have seen program.**TvQ score-those familiar with program who say it is "one of my favorites."

Television Age, August 1. 196641

S pot (continued)

COUNT ON KOVRFOR ACTION

SACRAMENTOSTOCKTON

CALIFORNIA

Pump new life into your Western sales. Whether you areselling gasoline, golf clubs or groceries, you really get goingin the $4.64 billion Stockton -Sacramento market with tele-vision station KOVR. This is the station with the combina-tion of vitality in local programing and high -rated ABCshows ... a winning combination in one of America's fast-est growing markets.

Data Source: Sales Management's 1966 Copyrighted Survey(Effective Buying Income)

KOVRo KOVR 0

McCLATCHY BROADCASTINGBASIC ABC AFFILIATE REPRESENTED NATIONALLY BY THE KATZ AGENCY, INC.

will break in about 15 selected markets.Ethel Melcher is the buyer.

Loral Corp.(CampbellEwald Co., N.Y.)Roughly 13 weeks of spot activity willbegin in September for the toy divisionof this company. A series of one -minutecommercials on its James Bond line,Plazer Ray Gun and Racetrap activitygame will break in seven or eight majormarkets during kid shows. The pre-schooltoy, Mr. Gator, will also be pushed insome of the markets. Rena Mayer doesthe buying.

M & M's Candies(Ted Bates & Co., Inc., N.Y.)MILKY WAY launched a 17 -market buyin mid July. The schedule, employing60's in prime and fringe periods, willrun until the end of August. Rose\Iazzarella is the buyer.

Manhattan Shirt Co.(Needham, Harper & Steers, N.Y.)A 12 -week run for MANHATTANSHIRTS will kick-off on September 5 inabout 35 markets, all in the top 50. The60 -second "Elephant Girl Commercials"starring Phyllis Diller will probably beused for the campaign with the minutesrunning during early and late fringeperiods. Al Krachow is the buyer.

Tom MeAn Shoes(Doyle Dane Bernbach, Inc., N.Y.)August 8 is the starting date for aboutfive weeks of activity on THOM McANchildren's shoes. The one -minute spotswill break in 12 selected markets toreach a maximum number of women.Dave Ackerman does the buying.

Mead Johnson & Co.(Ogilvy & Mather, Inc., N.Y.)

series of spots for DIET DINNER11 break during the summer and fall

months. In Miami and Minneapolis,the spots, which started July 25, willcontinue until November 25. In Houston,the campaign will break August 22and run through November 11; inBirmingham and Syracuse, the scheduleis September 5 to November 27.Another flight is also planned forEugene, Portland and Wichita to beginSeptember 12 and end November 6.This last is in addition to the series whichbegan in late June and runs until mid -August. The company has also pickedup two more markets for its 48 -weekMETRECAL LIQUID drive which hasbeen running since the first of the year.In addition to the 83 markets alreadyscheduled, the campaign will includeJohnson City and Knoxville. The buyingcontact is Jim Lynch.

Miles Laboratories(Jack Tinker and Partners, N.Y.)A 100 -market buy on ALKA-SELTZERwill break the 15th of this month. Theschedule of 60's and 20's will run throughDecember 25 in time periods to reachan adult audience. The buyers on the


account are Ken Brandt and EllenKonrtides.

Mobil Oil Co.(Doyle Dane Bernbach, Inc., N.Y.)A four -week campaign on MOBIL OILstations, etc., is slated to break atissue date. The 60's and 20's will runin 57 selected markets. The spots aregeared to a general audience with anemphasis on men. The contact isMel Roth.

Mohasco Industries, Inc.(Daniel & Charles, Inc., N.Y.)A five -seek buy on STRATO LOUNGERchairs ooill begin on October 17. About10 markets ooill carry the one -minute-lints during the fall campaign. Eileenrimming,: does the buying.

C. F. Mueller Co.(Needham, Harper & Steers, N.Y.)\I I ¡ELLER MACARONI will launch a_'.:, market spot buy in either Septemberoi October, depending on okay of plans.I'rin e, fringe and daytime 60's 20's andI.I1.', v,iIl be u-ed during the campaign.Hob Widholm does the buying.

\oxema Chemical Co.William Esty Co., Inc., N.Y.)

\ six -week flight will begin in Octoberfor INSTANT SHAVE. About 50 marketskill carry the 20's and 60's on sportsshoows mostly in early and late fringetie! it'd.. Jack Sweeney is the contact.

Procter & Gamble Co.Young & Rubicam, Inc., N.Y.)

\ 52 -week buy began on SAFEGUARDlate la -t month, at the start of the P&Gli-cal year. The 60's and 30's are running

. in about 50 markets in prime and lateand early fringe periods, Bill Collinsdoes the buying. July also saw the startof a 52 -week buy on SPIC 'N SPAN inabout 30 varied markets. Geared to reachwomen, the 60 -second spots will breakin day and early and late fringeperiods. Harris Lefkon is the buyer.

Revere Copper and Brass, Inc.(Clyne Maxon, Inc., N.Y.)After an interlude of a few years, thiscompany is testing its cookware in spottv again. A four -week schedule of60's will break in early fringes beginningSeptember 12. Lee Beck is the buyer.

Scott Paper Co.(I. Walter Thompson Co., Inc.,

N.Y.)

A six -week campaign on SCOTT PAPERTOWELS will break August 15 inCincinnati. Buffalo, St. Louis, Houston,Dallas, Los Angeles, Chicago, Detroit,Cleveland, Pittsburgh, Minneapolis, andIndianapolis. In addition, the companywill run CUT -RITE PLASTIC WRAP

GO F I RST CLASS

WITH KMJ TVFRESNO CALI F=OFRN IA

Add up the reasons for the quality programing of KMJ-TV:first class skills with work, first class equipment, local newscoverage in depth, and high rated NBC network shows.KMJ-TV delivers the audience you want in the nation'sNumber One agricultural income county.

Data Source: SRDS, June, 1966

KMJ-TV

McCLATCHY BROADCASTINGBASIC NBC AFFILIATE REPRESENTED NATIONALLY BY THE KATZ AGENCY, INC.


Spot (continued)

commercials in New York, Chicago,Philadelphia, Boston, Cleveland,Pittsburgh, Indianapolis, Baltimore,Cincinnati and Buffalo for four weeksbeginning on August 29. Both serieswill employ 60's and ID's in primetimeand in early and late fringes. EthelMeleher does the buying, with JimQuigley assisting.

The Stanley Works(BBDO, Boston)A pre -Christmas schedule of spots onSTANLEY POWER TOOLS is plannedfor December. The three-week run willuse 1D's. Joyce DiBona is the contact.

Waterman -Bic Pen Co., Inc.(Ted Bates & Co., Inc., N.Y.)A three-month push for Waterman'slow -price ballpoint "BIC" pen willbegin on August 15. The 60 -secondcommercials will break in approximately100 top markets during early/latefringe and prime time periods in aneffort to reach an all family audience.Jim Bloom is the contact.

James O. Welch Co.(William Esty Co., Inc., N.Y.)September 18 is the starting date forfall activity on WELCH candies.About 23 markets will carry piggybacksmainly during live afternoon shows fora six -week period. Buying are: FrankKing, Jack Sweeney and Tom Masone.

WHO'S WHOIN DES MOINES

TELEVISION?

COLORFUL 13 DES MOINES, IOWA

Represented Nationally by Peters, Griffin, Woodward, Inc.

Buyers' Check ListNew Representatives

KPt.c-Tv Lake Charles, La., named11-R Television (western division) ast- national sales representative, ef-t,,tive immediately.

wsvt-TV St. Croix, Virgin Islands,appointed Vic Piano Associates, Inc.,as national representatives, effectiveimmediately.

Network Rate Increases\IIC-TV:

n ' LB -TV Albany, Ga., from $475 to^ ,25, effective January 7, 1967.

WntAz-Tv Macon, Ga., from $5011 to8550, effective January 8, 1967.

WTOC-TV Savannah, Ga., from $350to $400, effective January 8, 1967.CBS -TV:

W MAZ-TV Macon, Ga., from $500 toeffective January 8, 1967.

\\ \IAR-TV Baltimore, from $1,650 to$1,750, effective January 7, 1967.

WHIR -TV Knoxville, Tenn., from$650 to $750, effective January 7,

1967.WTOC-TV Savannah, Ga., from $350

to $400, effective January 7, 1967.

NBC-TV:KFDx-TV Wichita Falls, from $425

to $475, effective January 1, 1967.KMED-TV Medford, Ore., from $200

to $300, effective January 1, 1967.Koco-Tv San Diego, from $960 to

$1,050, effective January 1, 1967.KRGV-TV Weslaco, Tex., from $375

to $400, effective January 1, 1967.WIS-TV Columbia, S.C., from $600

to $650, effective January 1, 1967.WLBT-TV Jackson, Miss., from $600

to $650, effective January 1, 1967.WNBC-Tv New York, from $9,500

to $10,000, effective January 1, 1967.

Station Changest. I. Iv is the new call -letter

-ignation for KPAR-TV Sweetwater-11hilene, Tex. The station is a see-,nnlary affiliate of the ABC Tele-

-ion Network.WIIC-TV is the new call -letter (1r...4: -

nation for wttc Pittsburgh, Pa.WNHC-TV New Haven, Conn., is

now transmitting from a new towerand antenna operating from MadMare Mountain in Hamden, Conn.At 1,549 feet above sea level and909 feet above ground, the newtower will mean 21 per cent morepopulation in the station's Grade"A" coverage area-projected, and68 per cent more population in theGrade "B" area-projected.


1Wall Street ReportFilms and Foods. Some investors int; -electronics stocks are caught bysurprise when they learn they mustalso pay attention to trends in thefood field to evaluate the outlook fora stock in which they invested be-cause of its television prospects. Butthat's what has happened to thosespeculators who, impressed by itsability to sign excellent motion pic-ture contracts, put their money intoUnited Artists. In mid -July it was dis-closed that Consolidated Foods Corp.Hof Chicago plans to acquire controlof United Artists by way of an ex-change of stock. One share of UnitedArtists' common would be exchangedfor almost 7/10th of a share ofConsolidated.

The merger, if carried out, wouldcreate a corporation with annual,sales of more than $1 billion and netincome approximating $3 per shareon the approximately 111/2 -millionshares that will be outstanding afterthe merger. While it may seem child-ish, there's no doubt that the desireto create a corporation doing $1 bil-lion worth of business annually is astrong motivation factor in businessdeals these days. Quite apart from theimpressiveness of the figure, there are'other elements entering into themerging of unrelated businesses that¡will give a huge gross. One element isadvertising; the other motivating fac-tor is the computer. Advertising is the'force which allows a manufacturer tosell his product swiftly, and gainrapid acceptance for it by the public.The bigger the business the morecommanding a position the manu-facturer occupies within the market-place, and he may direct the adver-tising support behind one product ata particular moment or ride the coat-tails of an established product to gainrecognition for a new one. The com-puter, meanwhile, helps in the admin-istration of heterogeneous businesses.In fact, Consolidated Foods is a goodexample of a company that operatesas if it were running .a group ofindependent and autonomous com-panies working under broad policyuidance from headquarters.

Impressive Growth. As long as theinformation on what is happening,when, where and how, can be keptup to date throughout an organiza-tion, the number of basic issues thatmanagement is called upon to resolvedecline although they grow in com-plexity. Whether that concept willprove practical when two such widelydissimilar businesses as grocery storesand movie -making join hands seemsto be stretching the concept of theconglomerate corporation to the pointof absurdity. But officials of bothcompanies defended the move assound and promising. It was pointedout that both companies depend fortheir success on the acceptance oftheir product by the public, and thatboth managements have been out-standingly successful in gauging pub-lic taste.

Consolidated Foods ranks as oneof the nation's top merchandisingfirms, with a 1965 sales volume of$790 million and assets of $272 mil-lion. In 1965 it reported a net profitof $18.3 equal to $2.15share. Its return on sales last yearwas 2.3 per cent while its return oninvested capital was 12.5 per cent.Over the last ten years ConsolidatedFoods has been growing at a rate of11.7 per cent compounded annually.Actually its performance in the fieldof food merchandising is quite im-pressive. Its rate of earnings growthis surpassed only by the Winn -DixieStores of Jacksonville, with a growthrate of 12.3 per cent. Such giants ofthe field as A&P, Safeway and Kroger

have not beensame period.

There was immediate speculationthat the re -up between L.A. and Con-solidated would immediately give theformer a source of capital whichwould allow it to expand into theallied fields of tv station ownership,book publishing, magazine ownershipand music publishing. United Artistshas made an impressive showingsince the management of the com-pany was taken over by Arthur B.Krim and Robert Benjamin. lawyersand partners in the law firm ofPhillips, Nizer, Benjamin, Krim &Ballon. The legal relationships of theU.A. officers always have been asource of much speculation as to how

as impressive over the

check Blackburnabout financing!Arranging the proper financing that responsible buyers and sellers need to debusiness is just one of the full range and depth of services of Blackburn, thereliable broker. Others, equally important, include an accurate appraisal oractual as well as potential; a good name that is worth more to us than anysingle commission could ever be.

BLACKBURN & Company, IILc.RADIO TV CATV NEWSPAPER BROKERS

NEGOTIATIONS FINANCING APPRAISALSWASHINGTON, D. C.James W. BlackburnJack V. HarveyJoseph M. SitrickRCA BuildingFEderal 3-9270

CHICAGOH. W. CassillWilliam B. RyanHub JacksonEugene Carr333 N. Michigan Ave.Financial 6-6460

ATLANTAClifford B. MarshallJohn G. WilliamsMony Building1655 Peachtree Rd.873-5626

BEVERLY HILLSColin M. SatohG. Bennett LarsonBank of America Bldg.9465 Wilshire Blvd.CRestview 4-8151


the law firm's activities intertwinedwith those of the film company.

From Art to Commerce. In thiscase, for example, it is noted thatLouis Nizer, the well -publicized triallawyer, has been criss-crossing thepath of Nathan Cummings, the chiefexecutive officer of Consolidated on anumber of occasions. Mr. Nizer, forexample, acted as legal counsel tothe management of Metro -Goldwyn -Mayer when that company faced aproxy fight during the administrationof Joseph Vogel. Mr. Cummingswas one of the major M -G -M stock-holders who lent his support, withsome restraint, to the managementside, and then wound up reducinghis interest in the M -G -M situationwhen Robert O'Brien was namedchief executive officer.

Subsequently Mr. Cummings turn-ed up as a major stockholder in Para-mount Pictures when that firm facedthe threat of a proxy struggle withtwo insurgent stockholder -directors.In that case Mr. Cummings pur-chased over 39,000 shares of Para-mount common and helped financethe purchase of approximately 40,000shares by another group opposed tothe insurgent directors. The purchaseof the stock of the insurgents endedthe threat of warfare at ParamountPictures, but during the legalstruggles that preceded the stock pur-chase Mr. \ izer again acted as legalcounsel to the management. Now Mr.Cummings and Mr. Nizer have a newrelationship which will be watchedwith interest. (Meanwhile it is worthnoting that Gulf & Western, anotherdiversified corporation which was theprincipal buyer of the stock ownedby the Paramount insurgents, is alsoproposing a merger of Paramountinto the G&W organization)

The fact that United Artists wasseeking a merger was fairly wellknown in the financial community.One reason why it had not been cul-minated earlier was the lack of under,standing non -film managements hadabout motion picture company fi-

nancing. United Artists revenues in1965 totaled $190 million, of whichall but 20 per cent came from filmdistribution. Since United Artists

chose not to operate a studio butrather to finance pictures made byindependent writers, producers andfilm stars, it made its money on thedistribution rights, plus occasionallymaking a direct investment in thefilm.

Weather WatcherClick.That easily KSTP-TV Minneapolis -

St. Paul can put its emergencyweather -watch studio on the air.And the speed and ease of a "click"is what is needed in the Twin Citiesarea, station management felt, be-cause that's just how fast a tornadoor flood can strike. Two years agothe city learned its lesson, painfully,with severe property damage andloss of life.

Now KSTP-TV is prepared. A separ-ate studio, complete with weathercharts, lights, audio and video anda transistorized, fixed -position vidi-con camera is ready at all times.A push of a button cuts out regular

programming and cuts in the Emer-gency Weather Center. Stanley Hub-bard, executive vice president andgeneral manager of Hubbard Broad-casting, Inc., masterminded the Cen-ter, which tracks all weather con-ditions on an around -the -clock basis.

Any storm or tornado in thenearby area brings a quick cut -infor Severe Weather Watches; a

storm or tornado approaching theTwin Cities area itself brings a cut -in for Severe Weather Warnings. Totrack weather conditions, the stationhas its own radar, a battery of re-porters and a two-way radio linkwith the U.S. Weather Bureau.

`Basic Buy' BookAdvertising Procedure, by Otto

Kleppner; 5th edition; Prentice -Hall, Inc., Englewood Cliffs, N.J.;620 pp.; $13.25.

A new edition of this work, thelargest selling text ever publishedon advertising, seems long overdue.When Mr. Kleppner first broughtout Advertising Procedure in 1925,only seven years passed before thesecond edition was issued; anotherseven years saw a third edition, thennine years passed before the fourthedition was ready. Some 15 yearselapsed between that work and thislatest one, and much has happenedto advertising procedures and ideasin that time.

Television is now the subject oftwo chapters, and the author hashad to detail the numerous changesin the manner in which radio, maga-zines and other media are utilized.Because so much has taken place inall forms of advertising, Mr. Klepp-ner has not merely revised his pre-vious texts, but has written a com-pletely new work. In it he incorpor-ates examples, statistics and studiesfrom advertisers, agencies, businesspapers and media-as up-to-date as,for example, an ad for Gillette's

Techmatic razor. Additionally, sinceno one person could he familiarwith the ins -and -outs of layout, copy,research. et al.. Mr. Kleppner callsupon individuals in various fields

for contributions covering their par-ticular specialties.

Designed as an introduction to

every phase of the business, Advertis-ing Procedures introduces the readerto many basic definitions, but alsoprovides data complete enough topermit an understanding of such

complex materials as tv ratings, cost -per -thousand comparisons, postershowings, dealer cooperative adver-tising, the Wheeler -Lea Act, and

many more. For the beginningstudent, and for the advertisingpractitioner who wants to broadenhis knowledge of his own industry,Advertising Procedure appears to bea basic buy.


Football rConlinued from 21) Football is Popular in High -Income Homes

vill work out as follows: AFL, S6.50:1CAA. S7.'90: \FL S7.50. The cpninale figure for the average evenin_grogram Hill be 56.50. according Iiihe research unit I see table, pare1.7 t l .

Last sear. according to A. C. Niel -:en statistics. the cost -per -thousand -

i male- figures <c(irked out as follows:\1'I,. .1Itl: \C;\,\. s6.90, and AFL$71.01. These compared to a cost-per-housand-males for the average even -m_ program of S5.80.

1 he reason that NBC Research'slam estimates for the coming seasonlie much lower than last year's actualfig 11res rests with the basic optimismill three neluorks have about in -

.1 0:1,f'11 audiences. The NCAA sched-ilc iui ABC-TV is said to be one ofhe strongest in recent years. withmire names of national interest in -hided in it. The modified lifting of

the blackout in professional football,iilowing for telecasts of games intomarkets u here the home team is play-ing. naturally will increase viewingmil reduce cpm-by how much is

mallet iif conjecture at this point.11-o. ci_ht NFL night games inrime time will be telecast -the au-I;once potential is huge, they are

$10,000 -plusRtg. Index

$5,00049,999Rtg. Index

$5,000 -underRtg. Index

I11. 11.6 132 9.2 105 6.7 76

\( I9 17.2 133 13.6 105 9.4 74

I//. 21.0 136 16.1 105 10.8 70

I _ I 19.3 103 19.6 104 17.2 91

VII. full .Nov/Dec 1965

expected to do well against regularentertainment programming, and,more imporant, they are expected toreach new audiences who will thenbecome weekend viewers.

The AFL, meanwhile, has much tocrow about. The merger that is notto take place for several years is ofimmediate benefit to them. Becauseof the championship game, NFLviewers will be watching the AFLteams. especially the contenders, agreat deal more closely. This audi-ence plus. thinks NBC Research, willshow up nicely in the ratings.

If this basic optimism is not sup-ported by the Nielsen books at theend of this season, then some hardre -thinking will undoubtedly be doneby football's major clients. It is prob-ably worth noting that even if cpmlevels climb appreciably over lastyear's. there will be those advertisersmho will not be able to resist the lureof what has certainly become the

NFL vs. AFL vs.

\ FI, Regular SeasonI 'Ir, ,

NCAA-Four Years of Network Football

1/1 AA AAShare Rating Homes (0(10)

17.3 14.7 7,3201'16.i 50.6 17.1 8,7701(4-)1 18.6 15.1 7,940

4c).0 15.5 8,350

1 Fh Regular Seasonl u(,_' 22.0 7.2 3,690I'Ir ; 21.2 7.3 3,740I'Ir I 18.3 6.2 3,260l'Irr i 26.0 8.2 4,400

.\ f:.4.4 Ganrec196') 47.0 13.0 6,470196.'i 16.5 13.7 7,0301(161 11.0 11.7 6,150/965 12.0 12.1 6.500source: 1. C. ,\iclsen

national pasttime in the fall and

winter months.This intangible is difficult to meas-

ure but there are other numbers fac-tors that would help justify a highcpm buy. One is the high incidenceof men -per -set viewing football (as

high as .96 as compared to .68 forthe average evening program) and arather high proportion of upper in-come families that watch football ascompared to the average evening pro-gram (see table above).

NFL commissioner Pete Rozelle(who will also be commissioner ofthe merged league in 1970) is acute-ly aware of the dangers of overpric-ing and of oversaturation. In a con-versation with this magazine recent-ly, he sounded more like a televisionaccount executive than he did a foot-ball expert.

Night Games to Help

"Our rights fees have gone up over10 times," he acknowledged. "Wehave to be very aware of ratings andwe realize that advertisers have topay a higher cost -per -thousand. It'show much they're willing to pay forthe intangibles, the extra values offootball, that's important. At the sametime, we have to show a concern asto how productive we can be. I thinkthe night games can help strengthenthe buy for a sponsor. If the gamesdo well they can help justify themoney we make. They could stimu-late attendance and perhaps strength-en the Sunday viewing audience bybringing new people to it."

It is the league's contention, andone supported by a special Harrispoll, that football has not reached itsfull potential on television. Specific -

I I . the survey reported that viewerswanted more games in color, inprime time, and on Sundays whentheir home team is blacked out. If

Television .4ge, August 1, 196647

7

saturation has been reached, as somecritics allege, it is not evident in thesurvey. Of the sample, 41 per centwere "more interested" in footballthan a few years ago (only six percent were less interested) while theinterest of another 37 per cent was"about the same." In a blackout sit-uation, 66 per cent would like to seeanother "outside" game on tv.

Doubleheaders, initiated last year, re-ceived a total positive vote of 86 percent and a total negative vote of 11per cent. The true football fan, it

appears, is insatiable, and he willhave a lot to chose from this year.

Crowded Schedule

ABC-TV will present NCAA foot-ball on 14 Saturdays and on Thanks-giving Day. Eight of these games willbe national telecasts, and on sevenother dates four games will betelevised to different regions of thecountry. The seventh regional datewill be devoted to the regional tele-casting of the college divisionalchampionship playoff games. The

schedule, to be presented in color. iscompletely sold out.

CBS -TV will present a total of 109NFL games this year, a record. Ofthose, 102 regular -season contests

John H. (Jack) Candioto is the newgeneral sales manager of WTEV Provi-dence, R.I. Moving from WGAL-TyLancaster, Pa., another Steinman sta-tion, Mr. Candioto replaced MannReed, who was named to the newly -created post of regional sales man-ager at the Providence -based ABC -TI'

affiliate.

During the regular season the gameswill be presented over 20 playingdates, 16 Sundays, two Saturdays,one night game and one on Thanks-giving Day. Seven of those telecastswill be presented nationally. The AFLhas modified its blackout rule, so

that NBC will telecast into the hostcity of a contest a game being playedin another area of the country.

With these schedules, it's obviousthat few in football or in television

How Many Men in the Football Audience this Season?

Est'd.Horses

lien per Est'd.Household Men (000)

MinuteCost

CPMMen

AFL 5,610 95 5,330 $37,000 $6.50

NCAAA 6,880 86 5,920 47.000 7.90

NFL 9,350 96 8,980 67,000 7.50

Avg. Evg. Pgm. 9.900 68 6,730 44,000 6.50

Source: .NBC Research Dent r.ctimrtes based or. .y. -IC nth. quarterNTI Sep:. 1-11ee. 11 '65; .Nielsen CP.11 estimates.

will be presented on 20 dates, manyof them to be broadcast coast -to -coast. In addition, the network willtelecast four pre -season Friday nightgames as well as the three post -sea-son games-the championship, Play-

off Bowl and Pro Bowl contests. Twoof the coast -to -coast regular seasongames will be presented in primetime: Monday night, October 31

(Chicago versus St. Louis) and

Thanksgiving night, November 24(Cleveland versus Dallas) .

NBC-TV will also present a recordnumber of AFL games -58 in all.

think that the saturation point hasbeen reached. Whether costs havereached the prohibitive point is yetto be determined. The betting is thatfor this season at least the advertiserwill have as much cost efficiency asIle had last year.

Looking ahead into the future. it'sclear that the merged league posesimmense problems for television. The,logistics alone make it doubtful thatone network would carry the entirepackage of 28 teams each week. andas many as three may. Another pos-sibility not to be dismissed: a station -by -station line-up by the league.

Ally (Continued from page 251

$3 million while Renault is under

one.The Volvo executives, turned down

by Mr. Papert, went to Carl Ally per-sonally and asked him to handle theiradvertising. So Mr. Ally, along withAmil Gargareo and James Durfee, leftPKL, hung out his own shingle,and went to work on Volvo. founda-tion of the agency.

A little later the new agency gotits second account. [Woman's Day, areferral from PKL. Other accountsfollowed. "They've all been call-ups,"Mr. Ally remarked. The agency doesnot make speculative presentations."Why bother them?" the board chair-man said. "lf we do good work-make dependable. truthful advertis-ing that performs-we won't lack

clients.""You can't know enough about a

prospective client's business to makea good speculative presentation."said Paul J. Caravatt, who earlier thisyear joined the agency to serve aspresident. The agency has a basicnew -business presentation it shows toadvertisers who have asked a

display reel of current commercials.and a showing of the work turnedout in the last 90 days. Mr. Caravattadded that advertisers are alwayswelcome to drop by and walk around,talk to anyone.

Administrators All

Mr. Caravatt joined Ally from

LaRoche. MaCaffrev and McCall.

where he was senior vice presidentfor marketing. Earlier he was withFoote. Cone & Belding. as groupsupervisor on 1lenley and James. andbefore that, w t tgilvy. Benson &Mather. as group supervi-or on LeverBros. Like many another Ogilvyalumnus. Mr. Caravatt saNs he learn-ed a lot from the Scotsman: "DavidOgilvy has an intuitive understandingof why people buy and what makesthem buy."

Although Mr. Caravatt joined Allyto fill a felt need for "a man with

background in marketing and admin-istration," he contends that Carl Ally,in addition to being a creator, is ahighly -skilled administrator.


Mr. Ally says that whatever he

knows about administration he learn-ed from working with Norman Gru-lich. executive vice president of PKL."When I joined PKL as its 20themployee. Norman was putting in an18 -hour day keeping the agency run-ning. He is not only an excellentadministrator. and a good financialman. but he's also a terrific adman.I learned a lot from him."

Although the public image of theCarl Ally agency naturally focuses onits creative output. its marketing andresearch functions have never beenrelegated to second place. RobertStull joined the agency in 1963

from J. Walter Thompson in Detroitas marketing and research director;hulas he is also a vice president.With the swift increase in billings, heanticipates that marketing and re-search functions will soon be splitinto separate departments. As it is,

the equality that prevails among theseveral departments at Ally is unusualin the agency business. says Mr. Stull.This equality. 1'e said, is based onmutual respect. "I wouldn't flyspecka guy's copy." he says.

No Rubber Stamps

"It's a young agency, with youngmen who have larger -agency experi-ence; men who have been proven byfire elsewhere. The atmosphere is

free and easy, open-door, but notkooky: no wool hats. It's a delightfulplace to work. I'm continually beingsurprised by the willingness of thecreative people here to listen to mar-keting data- and what's more, toabsorb it. These creative guys arehardheaded businessmen; there'snone of that pulling -and -haulingassociated with the stereotype of thecreative shop."

As for marketing. Mr. Stull says itshould not be "rubber-stamping,"that duplicates the client's marketingeffort. The agency should he involvedin the marketing function, and sup-plement it when re^essary. However.for some clients. he says, the agencylargely performs the marketing func-tion. "Our chief value in this re-spect." says Mr. Shill, "is our abilityto evaluate a client's marketing per-formance from outside."

On the lower floor of the twooccupied by the agency, the Allymedia department is housed in whatwas formerly the offices of the Port-land Cement Association. A photo-mural of a huge cement -making com-plex now bears the legend "Computerdepartment of Carl Ally, Inc." (Whenthe young agency needs a computer,it rents computer -time.)

Vice president and media directorPeter Berla, another of the youthful,energetic executives at Ally, super-vises the media buying and researchactivities of a staff of 15. By thistime next year, he predicts, therewill be 25 in the department. Buyingis organized by accounts, with nospecialization. Everyone is an all -

media buyer.

Two More for Tv?

Mr. Berla estimates that about halfof the agency's billings go into tele-vision. Tv is used on every accountexcept Tensor lights and Cinzano ver-mouth, both of which might also bein the medium before long.

Says Mr. Berla: "The agency hasnever tried to be different for thesake of being different. Instead, we'vetalked to the consumer in his ownlanguage."

The agency is now setting up

a separate research department,which will handle media research.Hitherto, such research has beenthe job of the media supervi-sors. Media director Berla joinedAlly at the outset. in 1962. He hadbeen a media supervisor at Ogilvy,Benson & Mather for four years, andbefore that was with Benton &

Bowles.Reporting to Mr. Berla is media

mana'er James McLaughlin, whojoined the agency last year. He hadbeen medic director at LaRoche.McCaffrey and McCall; and earlieralso was with Ogilvy, where he work-ed with Mr. Berla.

Mr. McLaughlin notes that al-

though so far Ally had staffed itsmedia department with "chiefs"-experienced media men from otheragencies-it would soon seek out"bright young people" for training asbuyers. "It's always a prob',em." hesay. "to find buyers who are bothbroadly experienced and bright."

To avoid falling into one of thepitfalls of agency administration-"itcan become a profession unto itself"-the agency seeks to concentrateresponsibility through the least num-ber of people possible, says Mr. Mc-Laughlin.

The business aspects of commer-cials production are handled by Jan-ine Marjollet, an attractive youngbrunette who joined the agency lastyear from Campbell -Ewald, where shehad worked with the Ally-Gargano-Durfee trio. Miss Marjollet, with astaff of two assistants (the staff maybe doubled by the end of the yearto handle the increased workload an-ticipated with the Hertz business),supervises casting, talent payments,continuity acceptance, productioncoordination and bidding. Competi-tive bidding on commercials produc-tion, she noted, plays no great role atAlly, since usually the agency writersand art d'rectors know exactly whothey want to do a particular job.

Ralph Ammirati, art supervisorwho joined the agency earlier thisyear, said it is a great advantage towork directly on making commer-cials. Before joining Ally, Mr. Am-mirati had been with a giant agency(BBDO), where tv art and produc-tion were isolated from work forother media. "With a separate tvdepartment." he recalled, "sometimesyou'd get split campaigns" andschizophrenic results from the lefthand not knowing what the right wasup to.

Rampant Enthusiasm

"There's no `look' to the advertis-ing produced at Ally,' Mr. Ammiratiremarks. "It's the greatest agency:it's the realization of how you dreamadvertising should be done."

Similarly enthusiastic is art super-visor Ron Barrett, who joined Allylast year after four years at Young &Rubicam. "We've got high standardsof design here; not design -for -design's sake, but design orientedtoward the consumer. Not shallowdesign. but design rooted in deep-th;nking."

Mr. Barrett estimated that half histime is spent working on commer-cials. He enjoys the challenge of such


lo you see what we see?

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

Television

work, which is, in his view, "to bebetter than the best 10 per cent of allcommercials."

James Durfee, a six -foot -fourrangy former football lineman whois executive vice president and copychief, said the labels in this businessare all wrong. "Take copywriter,"the copy chief said; "he's not awriter, he's a salesman who puts hispitch in print. When people ask mewhat I do, I tell them `I make ads.' "

The labels applied to agencies arealso askew, he implied. "Take `DoyleDane Bernbach-soft sell' and 'TedBates-hard sell'-neither clicheshould be applied to either agency,since there's no such thing as `hard'or `soft' sell but only `sell.'

Too much advertising, Mr. Durfeesaid, "shows a rosy never -never -land where everything is alwaysokay. Life's not like that; advertis-ing should relate to life, to howpeople live and what they think, andit should talk to them in their ownlanguage."

"We tell it like it is," smilesEdward McCabe. at 28 vice presidentand copy group head of the agency.Mr. McCabe started out as a copy-writer at the age of 18, in the Chicagooffice of McCann-Erickson. He joinedAlly in '64, after working with Young& Rubicam, Marschalk, and Benton& Bowles.

Reality is RealAn advantage of working at Ally,

Mr. McCabe says, is that "there's nobail-out-you're responsible for yourcopy. We make ads for reality. Takethe Horn & Hardart campaign, or theVolvo campaign. We tell it like it is.A big agency would have overloadedit with glamor, glammed it up.

"Too many agencies are insulatedagainst the outside world," he con-tinued. "If they took a crack at Horn& Hardart, they'd try to make it hip,make going to the cafeterias chi -chi.Anybody who tries to con people isgoing to end up conning himself.

Mr. McCabe's evocation of realityonly underscores an. impression acasual visitor to the agency receives:reality is no slogan at Ally; it's all -pervasive. To Carl Ally, reality is theantithesis of convention, of coming.

Competitive though the television business may be, it's seldom fought onpersonal grounds. Far from it, in fact-most broadcasters look upon theircounterparts at other stations as the friendliest of rivals. That kind of think-ing recently brought together three general managers of as many stations inIndianapolis to welcome a fourth, John M. Slocum, new general manager ofWLW-I. At the welcoming reception, where Mr. Slocum was given a "key tothe city" by Indianapolis mayor John Barton, were (1. to r.): Eldon Campbell,vice president and g/m of WFBM-TV; Mr. Slocum; P. Scott McLean, formallyvice president and g/m of WLW-I, now vice president-sales for AVCO Broad-casting Corp.; Robert B. McConnell, vice president and g/m of WISH -TV;and Robert G. Holben, g/m of WTTV.

To Richard Seclow, vice presidentand management supervisor, realityis also not thinking of aggregationsof consumers as abstractions but as"people, human beings." When Mr.Seclow, another Ogilvy alumnus, join-ed Ally in '64, "I sensed then that anew phase in the business was open-ing, a phase typified by Carl Ally-no `look,' no cynicism, just a concernwith people, interest in phenomena."Cynicism, for example, would be thevice of a copywriter "who wouldwrite something that did not sell him,something in which he did notbelieve." This, in Mr. Seclow's view.can entrap the formula -writer, the"unfortunate creative guy who's 'toldhow' to write an ad and doesn'tbelieve either in the formula or itsresults."

The creative output is only " thetop of the iceberg," Mr. Seclowpointed out; the rest is work. think-ing, planning, "homework"-workingon what's to be said, as much as onhow to say it.

Says Carl Ally: "I've got a toughbunch of troopers here. The day ofthe front men in advertising is over.

Advertising is too important a partof the profit picture of modern com-panies to be entrusted to them."

Just as no one would hire CarlAlly until Papert, Koenig, Lois wentinto business, Mr. Ally said his peoplewould similarly be too independent -minded for "frightened" agencies.

While he gets a lot of work outof his troops, Mr. Ally also sparesthem some of the fleas of life. AWorld War II fighter pilot (recalledduring the Korean action to fly jets),he keeps a Beechcraft Baron readyfor staffers visiting clients in distantcities. "When you're in a hurry, it'slike taking a cab instead of a bus.The agency saves money on it, and itspares a guy a dismal night in amotel room. He can leave his homein the morning and fly to a 10 o'clockclient meeting."

Mr. Ally sees no limit on hisagency's growth possibilities. "Anysize agency can be efficient." Arethere any kinds of accounts he wouldparticularly welcome? "Yes. Some ofeverything people buy - anythingthat's sold more to consumers thanto purchasing agents."


Digest (Continued from page 27)

About six weeks prior to air date.the agency runs newspaper ads list-ing a select group of articles thatappear to be of great interest. Thereaders are told that the magazinewill be publishing some of these

'stories, and they are requested tocheck the three articles on which theywould like to receive advance proofs.The article to be dramatized on tvis chosen from the top four or fivemost popular responses. Newspapercirculation of about 600,000 in sixto 10 cities is bought to insure anadequate number of reader responses.(Test markets for this September willbe Portland, New Britain, Rochester,New York. Scranton and Wheeling-with a total newspaper circulationof 489,000. From these ads, theagency expects approximately 900responses from which four or fivearticles will be chosen. The companyis absolutely sure which are the mostpopular articles after the pretest, saysMr. Rhodes, who has handled theaccount for the past four years.

Filming The Spots

After the pretest. the JWT creativedepartment goes to work. Scripts arewritten, edited and revised; story -boards are conceived; Digest execu-tives confer on the storyboards. Fromthere, storyboards go to the casting'department. After actors are care-fully chosen and sets and furnishingsdecided upon, shooting begins. Some -

limes, the one -minute films are shoton location.

The results can be dramatic andintense. One current example drama-tized the July 1966 Reader's Digestarticle on diet pills: the film opens9n a woman-obviously nervous-who takes a bottle of pills out of ahiding place. Her husband comeshome just as she spills the pills andis frantically trying to stuff them backinto the bottle. The husband angrilyberated his wife for going backto the diet clinic and then tries tosoothe her frazzled nerves. She des-perately implores him for one pill-he firmly but sympathetically refuses.The 60 seconds end with "read allabout it" in Reader's Digest.

Of this particular spot, Mr.O'Brien, who's been on the accountsince 1959, says, "NBC thought itwas too strong. They didn't want torun it. We checked with our ownmedical authorities. One of the medi-cal consultants had a colleague atGreenwich Hospital who is .an experton diet pills. He considered the com-mercial too mild! He said the pillscan cause schizophrenia. We justshowed the woman as nervous andhysterical." Sometimes a full-scale

battle develops with the networksover a "suggested" revision, but moreoften any difficulty over a word,phrase or particular interpretation ishandled smoothly.

Besides the pretesting results, theDigest is responsive to network ta-boos when choosing articles. Al-

though an article on sex will gener-ally rank high on the pretest list,the agency has had so many problemswith network clearances on sexarticles that it often skips to oneof the other high-ranking articles.Listed as popular subjects by Mr.Rhodes were: religion, medical self-help (especially anything to do withdiet), and teenagers and their prob-lems. As examples of popular articlesthat the Reader's Digest knows tvwouldn't touch, he mentioned "Let'sSpeak Out On Abortion" and "WhatShould I Tell My Son?" about amother's attempt to have a man-to-man sex talk with her son.

Checking Effectiveness

But even without these, the Digestis able to find more than enough ofinterest for its dramatizations. Everytwo or three years, the agency con-ducts a check on their effectiveness.In one such test, conducted in 1965,the agency substituted a different typeof commercial on the west coast.While the dramatic spot was break-ing nationwide, the west coast sta-tions carried different one -minutespots -10 seconds of a little vignetteabout a top article, the rest of thecommercial showing turning pages ofthe issue, with a voice-over previewof selected articles. This particulartest lasted for a year. "At the sametime." says Mr. Rhodes, "we checkedsales monthly, comparing west coast

sales to the rest of the nation. Salesdecreased on the coast while increas-ing over the rest of the country."

`Natural' for Network

There has been other evidence ofthe commercials' effectiveness in ad-dition to spiralling sales figures. Afew years ago in December, an arti-cle entitled "They're Freezing Ulcersto Death" was dramatized. It gener-ated such strong response-peopleflooded hospitals with calls asking tohave their ulcers frozen before NewYear's Eve so they could go out andcelebrate-that the hospitals calledReader's Digest and convinced themto discontinue the commercials. Re-sponse to the minute of a few yearsago called "The Most Wanted Crim-inal Since Dillinger" was also heart-ening. A few weeks after the Digestminutes ran, a person called theF.B.I. to report the criminal's where-abouts. The caller had seen the fugi-tive's picture in the Digest spot.

The Digest is a natural commodityfor network tv-a nationwide prod -

IN WHEELING-STEUBENVILLE

WE HAVE WHAT YOU WANT

COVERAGE!

Represented byPeters, Griffin & Woodward, Inc.

WSTV/TV09A RUST CRAFT STATION


work, which is, in his view, "to bebetter than the best 10 per cent of allcommercials."

James Durfee, a six -foot -fourrangy former football lineman whois executive vice president and copychief, said the labels in this businessare all wrong. "Take copywriter,"the copy chief said; "he's not awriter, he's a salesman who puts hispitch in print. When people ask mewhat I do, I tell them `I make ads.' "

The labels applied to agencies arealso askew, he implied. "Take `DoyleDane Bernbach-soft sell' and 'TedBates-hard sell'-neither clicheshould be applied to either agency,since there's no such thing as `hard'or `soft' sell but only `sell.'

Too much advertising, Mr. Durfeesaid, "shows a rosy never -never -land where everything is alwaysokay. Life's not like that; advertis-ing should relate to life, to howpeople live and what they think, andit should talk to them in their ownlanguage."

"We tell it like it is," smilesEdward McCabe, at 28 vice presidentand copy group head of the agency.Mr. McCabe started out as a copy-writer at the age of 18, in the Chicagooffice of McCann-Erickson. He joinedAlly in '64, after working with Young& Rubicam, Marschalk, and Benton& Bowles.

Reality is RealAn advantage of working at Ally,

Mr. McCabe says, is that "there's nohail-out-you're responsible for yourcopy. We make ads for reality. Takethe Horn & Hardart campaign, or theVolvo campaign. We tell it like it is.A big agency would have overloadedit with glamor, glammed it up.

"Too many agencies are insulatedagainst the outside world." he con-tinued. "If they took a crack at Horn& Hardart, they'd try to make it hip,make going to the cafeterias chi -chi.Anybody who tries to con peóple isgoing to end up conning himself."

Mr. McCabe's evocation of realityonly underscores an impression acasual visitor to the agency receives:reality is no slogan at Ally; it's all -pervasive. To Carl Ally, reality is theantithesis of convention, of coming.

Competitive though the television business may be, it's seldom fought onpersonal grounds. Far from it, in fact-most broadcasters look upon theircounterparts at other stations as the friendliest of rivals. That kind of think-ing recently brought together three general managers of as many stations inIndianapolis to welcome a fourth, John M. Slocum, new general manager ofWLW-I. At the welcoming reception, where Mr. Slocum was given a "key tothe city" by Indianapolis mayor John Barton, were (1. to r.): Eldon Campbell,vice president and g/m of WFBM-TV; Mr. Slocum; P. Scott McLean, formallyvice president and g/m of WLW-I, now vice president-sales for AVCO Broad-casting Corp.; Robert B. McConnell, vice president and g/m of WISH -TV;and Robert G. Holben, g/m o f WTTV.

To Richard Seclow, vice presidentand management supervisor, realityis also not thinking of aggregationsof consumers as abstractions but as"people, human beings." When Mr.Seclow, another Ogilvy alumnus, join-ed Ally in '64, "I sensed then that anew phase in the business was open-ing, a phase typified by Carl Ally-no `look,' no cynicism, just a concernwith people, interest in phenomena."Cynicism, for example, would be thevice of a copywriter "who wouldwrite something that did not sell him,something in which he did notbelieve." This, in Mr. Seclow's view.can entrap the formula -writer, the"unfortunate creative guy who's 'toldhow' to write an ad and doesn'tbelieve either in the formula or itsresults."

The creative output is only " thetop of the iceberg," Mr. Seclowpointed out; the rest is work, think-ing, planning, "homework"-workingon what's to be said, as much as onhow to say it.

Says Carl Ally: "I've got a toughbunch of troopers here. The day ofthe front men in advertising is over.

Advertising is too important a partof the profit picture of modern com-panies to be entrusted to them."

Just as no one would hire CarlAlly until Papert, Koenig, Lois wentinto business, Mr. Ally said his peoplewould similarly be too independent -minded for "frightened" agencies.

While he gets a lot of work outof his troops, Mr. Ally also sparesthem some of the fleas of life. AWorld War II fighter pilot (recalledduring the Korean action to fly jets),he keeps a Beechcraft Baron readyfor staffers visiting clients in distantcities. "When you're in a hurry, it'slike taking a cab instead of a bus.The agency saves money on it, and itspares a guy a dismal night in amotel room. He can leave his homein the morning and fly to a 10 o'clockclient meeting."

Mr. Ally sees no limit on hisagency's growth possibilities. "Anysize agency can be efficient." Arethere any kinds of accounts he wouldparticularly welcome? "Yes. Some ofeverything people buy - anythingthat's sold more to consumers thanto purchasing agents."


Digest (Continued from page 27)

About six weeks prior to air date.the agency runs newspaper ads list-ing a select group of articles thatappear to be of great interest. Thereaders are told that the magazinewill be publishing some of thesestories, and they are requested tocheck the three articles on which theywould like to receive advance proofs.The article to be dramatized on tvis chosen from the top four or fivemost popular responses. Newspapercirculation of about 600,000 in sixto 10 cities is bought to insure anadequate number of reader responses.Test markets for this September willbe Portland, New Britain, Rochester,New York. Scranton and Wheeling-with a total newspaper circulationof 489,000. From these ads, theagency expects approximately 900responses from which four or fivearticles will be chosen. The companyis absolutely sure which are the mostpopular articles after the pretest, saysNlr. Rhodes, who has handled theaccount for the past four years.

Filming The Spots

After the pretest. the JWT creativedepartment goes to work. Scripts areIS ritten, edited and revised; story -boards are conceived; Digest execu-Iives confer on the storyboards. FromI here, storyboards go to the castingdepartment. After actors are care-fully chosen and sets and furnishingsdecided upon, shooting begins. Some-times, the one -minute films are shot.,n location.

The results can be dramatic andintense. One current example drama-tized the July 1966 Reader's Digestarticle on diet pills: the film openson a woman-obviously nervous-o ho takes a bottle of pills out of ahiding place. Her husband comeshome just as she spills the pills andis frantically trying to stuff them backinto the bottle. The husband angrilyIterated his wife for going backto the diet clinic and then tries to«oothe her frazzled nerves. She des-perately implores him for one pill-Ile firmly but sympathetically refuses.The 60 seconds end with "read allabout it" in Reader's Digest.

Of this particular spot, Mr.O'Brien, who's been on the accountsince 1959, says, "NBC thought it

was too strong. They didn't want torun it. We checked with our ownmedical authorities. One of the medi-cal consultants had a colleague atGreenwich Hospital who is .an experton diet pills. He considered the com-mercial too mild! He said the pillscan cause schizophrenia. We justshowed the woman as nervous andhysterical." Sometimes a full-scale

battle develops with the networksover a "suggested" revision, but moreoften any difficulty over a word,phrase or particular interpretation ishandled smoothly.

Besides the pretesting results, theDigest is responsive to network ta-boos when choosing articles. Al-

though an article on sex will gener-ally rank high on the pretest list.the agency has had so many problemswith network clearances on sexarticles that it often skips to oneof the other high-ranking articles.Listed as popular subjects by Mr.Rhodes were: religion, medical self-help (especially anything to do withdiet), and teenagers and their prob-lems. As examples of popular articlesthat the Reader's Digest knows tvwouldn't touch, he mentioned "Let'sSpeak Out On Abortion" and "WhatShould I Tell My Son?" about amother's attempt to have a man-to-man sex talk with her son.

Checking Effectiveness

But even without these, the Digestis able to find more than enough ofinterest for its dramatizations. Everytwo or three years, the agency con-ducts a check on their effectiveness.In one such test, conducted in 1965,the agency substituted a different typeof commercial on the west coast.While the dramatic spot was break-ing nationwide, the west coast sta-tions carried different one -minutespots -10 seconds of a little vignetteabout a top article, the rest of thecommercial showing turning pages ofthe issue, with a voice-over previewof selected articles. This particulartest lasted for a year. "At the sametime." says Mr. Rhodes, "we checkedsales monthly, comparing west coast

sales to the rest of the nation. Salesdecreased on the coast while increas-ing over the rest of the country."

`Natural' for Network

There has been other evidence ofthe commercials' effectiveness in ad-dition to spiralling sales figures. Afew years ago in December, an arti-cle entitled "They're Freezing Ulcersto Death" was dramatized. It gener-ated such strong response-peopleflooded hospitals with calls asking tohave their ulcers frozen before NewYear's Eve so they could go out andcelebrate-that the hospitals calledReader's Digest and convinced themto discontinue the commercials. Re-sponse to the minute of a few yearsago called "The Most Wanted Crim-inal Since Dillinger" was also heart-ening. A few weeks after the Digestminutes ran, a person called theF.B.I. to report the criminal's where-abouts. The caller had seen the fugi-tive's picture in the Digest spot.

The Digest is a natural commodityfor network tv-a nationwide prod -

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uct-read in o'er 25 per cent of thehomes in the L.S.-sold in an in-finite varier and number of retailplaces. Like other advertisers withsimilar national -appeal products,Reader's Digest feels that networktv provides the best cost efficiencies.The company is faced with one prob-lem, though, that does not confrontmost other advertisers. With thepresent format, the agency essenti-ally is advertising a new productevery month. To alleviate this, it

is now testing out the feasibility ofproducing a "longer lasting commer-cial"-a more general commercial-possibly using tags on specific ar-ticles at the end. Normally. 24 spotmarkets are used for these marketingand media tests. In 1966. however,more than 2-1 will be employed.

Other future plans for the com-mercials include a possible switch tocolor. At present. all are done inblack and white. Already effectivein monochrome, it is expected thatthe commercials will have an evengreater impact in tint.

Whatever experiment for greaterefficiency or effectiveness the agronext conducts, it's pretty definite,says Mr. Rhodes, that "tv will alwaysplay an important role in sale of

retail copies."

I. Harry Abbott was named to suc-ceed Hamilton Shea as general man-ager o/ %sl4-Ty-kM-F]t Harrison-burg, {'a. A 32 -year veteran in broad-casting, Mr. Abbott was most recentlyoperations manager o/ WXEX-TV

Petersburg, { a. Mr. Shea, executivevice president of the Gilmore Broad-casting Group, will concentrate ongroup management /rorn his Har-risonburg office.

`First' For Los Angeles NewsCountry cousins, ignored by their big -city neighbors. That's how the

citizens of Orange County. Cal.. felt they were regarded by the people ofnearby Los Angeles. But KN\T Los Angeles recently moved to change

things by opening the country's first suburban t news bureau in Orange

County.Robert D. Wood, vice president and general manager of tite CBS -

owned station, said he refuses to view the country's 35 -square -mile area

as "just some place out near Disneyland." Rather, he said, "it's the otherway around: Orange County is an integral part of metropolitan Los An-geles...We recognize and understand its importance a. an entity. and atthe same time we are cognizant of the fact that it is (tart of our broadcast

area."Feeling that television news cannot establish arbitrary boundaries.

hnvT had a research firm survey the amount of news made in the county

It was found that not onlN si as there enough news t. t w arrant cu\ erage

by a full-time bureau, but that Orange Count news mould interest 4ieN-

rrs in the station's general broadcast area. cuyrring right counties.The increasing importance of the neighboring county is evident in that

Ora ,_ ,uno 785 square miles al rt.,

it has grown in the past 25 years from an area of small farms atol citrus

groves to a chain of cities with a combined population of more than onemillion. "We care about the county." said Mr. Wood, "because its anarea of profound influence that is destined to have an even greater im-

pact in the state in years to come." I About 5110.1K)0 more people ate ex-

pected in Orange County by 1970i.To cover the huge area and to give its news a "local" Hasor. K XT

named Jim Cooper to head the Orange County News Bureau. Mr. Cooperhas been a prominent newspaperman in the area since 1953. Paul \leeks.a camerman from the stations Sacramento bureau. was brought in towork with Mr. Cooper. Filth reports prepared In the newsmen will beflown by helicopter to the K\vr News department in Hollywood for air-ing on the nightly show s- The Big News and Eleven o'Clock Repoliand special programs. A major source of news is expected to be in thelarge aerospace industries in Orange County. Sports coverage from thestadium of the California Angels in ltaheim will also be facilitated bythe new bureau.

To make news gathering from the area as simple as possible. the sitechosen for the Bureau office was in Santa Ana, the count seat. And tomake things easier still, the office was located in the county courthouse.

w here much of the Orange County news originates.

5-ITeletision Age, August 1, 1966

4

Kiss (Continued from 23)

in a mass -consumer magazine. Wealso ran some ads with special metal-

lic paper, to simulate a new packagewe had. But we've been copied a lotand right now we're looking forsomething different to do." Mr. Man-del's complaints are echoed by hiscompetitors.

Nevertheless, eyeing the impres-

sive profits to be had in cosmetics,more and more companies are seek-

ing to get a finger in the beauty pie.They are lured by a possible returnon investment of over 20 per cent,and profits of nine per cent. Forexample, American Cyanamid a

couple of years ago bought Breck,maker of shampoos and hair sprays;Charles Pfizer now owns Coty. Otherlarge companies have been knownto break into the beauty businesswith their own cosmetic lines, some-times walking off with a largestshare of the market. Some of theseare Alberto-Culver (whose VO-5hair spray snatched the lead fromHelene Curtis, and since lost it) ,

Bristol-Myers (whose Clairol line is

the biggest seller in hair -coloringmarket), Gillette, Andrew Jergens,Rayette, and Warner-Lambert Phar-maceuticals. Some of the solely -cos-metics firms have responded bymerging among themselves or diver-sifying out of cosmetics. Charles ofthe Ritz, Inc., merged with Lanvin-Parfums, Inc.. in 1964. Diversifica-tion proved to be Revlon's hedgeagainst the future. Revlon now pro-duces, in addition to its beauty prod-ucts, dresses, drugs, artificialflowers, shoe polish, and clothingdye.

Elegant SettingIf tv has proved a boon for the

beauty industry by making mostAmerican women cosmetic -conscious,it is not without its price. Most cos-metic houses seek to identify theirproducts with high fashion. Promi-nent distribution in the fashionabledepartment stores is a must. Thetheory is that a product whose lureis the possibility of beauty must beenveloped in an appropriate eleganceand mood. So, how does this mys-

Jack A. Swedish (1.) moved up fromacting director to director of adver-tising at the Miller Brewing Co. andRoy W. Johnson (r.) was promotedfrom sales promotion manager to ad-vertising manager. Mr. Swedish join-ed Miller in 1958 as national adver-tising manager; Mr. Johnson hasbeen with the company since 1964.

tique survive with the mass marketsthat television generates? Withmillions of people viewing a commer-cial, a mass market might be stim-ulated, but the product will hardlyhe exclusive. In order to resolve theconflict between its mass market andits mystique, Revlon seeks to keepits line out of three of every fourdrugstores. Mr. Revson says, "Cos-metics should create an elegantmood. How can we expect to sella woman a $20 fragrance if the smellof a hamburger from the fountaindisturbs her?"

Mass Beauty?

The tendency to move into ma,-outlets by cosmetics houses never-theless is strong. It can be explainednot only as a means to supply thedemands of the mass tv audiences,but also as a means to increase salesto pay for the expense of tv. In 1950cosmetic sales in food stores account-ed for 6.1 per cent of the industrytotal; in 1965 the percentage was23. In the same period departmentstores' percentage dropped from 27to 15.4 and drug stores' from 37 to26.7. In another industry, one notpeddling something so fragile andsubjective as beauty, this broadenedbase would be highly desirable. Butcosmetic firms tend to believe thatavailability means loss of glamourand fragmentation of image. In theshort run it might prove profitable.

but it courts disaster. If everybodycan buy beauty, then everybodywill be beautiful; no one will bemore beautiful than another, andthe beauty business will be on therocks.

Another hazard of mass distribu-tion is the disappearance of thebeauty advisor to demonstrate theproduct and counsel the customer onwhich lipstick or lotion best suits herappearance and personality. In a

self-service supermarket, if she makesthe wrong decision she may venther ire on the entire product line."This," remarked an ad agency exec-utive, "is where the multi -million -dollar pre -selling job that cosmeticsadvertisers try to do would go downthe drain." Another described thesituation as "the price that's paidfor substituting consumer conven-ience for cosmetic authority."

The value of the personal touch,of course, is not lost upon Avon, thelargest seller of cosmetics in thecountry. Avon's sales force of close

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to 200,000 house -to -house represent-atives is its distinctive and success-ful weapon against its competitors.An exclusively spot tv advertiser,Avon last year spent an estimated$6.2 million on television. "Avoncommercials are being received in agiven week 72 million times in tvhomes, with a total of 116 millionviewers." said George W. Shine,Avon vice president of advertising."We believe tv has made a majorcontribution to improving the imageof direct -to -the -home selling, and ofAvon."

Color Controversial

Although Mr. Shine considerscolor commercials for Avon to be"an absolute must." other membersof the beauty industry do not sharehis views. Color tv for cosmetics isan undecided issue and cosmeticmakers take opposite sides of anycolor question that arises. WhereSwank, a small advertiser for success-ful Jade East, buys color everywhereit can, Revlon hesitates in color tv.

"The big 'problem for a companylike Revlon is those last four or fivefeet in somebody's living room,"says Sanford Buchsbaum, advertisingvice president. "We've got to counton them to make an adjustment ontheir sets. Color is critical to ourproduct. Take, for instance, a soft,silver -beige lipstick. You can talkabout it in b&w because of thepsychology of suspended disbelief.You can see it in your mind becauseyou want to see it. But if you talkabout a soft silver -beige, and thoselips are green, you've got quite a

problem." The agency director onCoty says color should not be usedunless there is a specific reason forusing it. At Prince Matchabelli, asat Coty, some ads are color, someb&w, but the role of color in pack-aging and display is considerable.

In the future the internationalmarket and the male market, likecolor commercials, will be areas ofincreasing concern to the Americancosmetic industry. The foreign mar-ket is still virtually a new world.Chesebrough-Pond's has been activefor a number of years in this area,

and has tailored many of its productsand ads to different tastes and needsof foreign women. Revlon Inter-national, which now has 19 wholly -owned corporations abroad, recentlyexpanded by opening new marketsin Europe, South America, Australia,and Japan. In the U.S. the malemarket for cosmetics is just begin-ning to come into its own. Traditionalitems like shaving accessories havealways sold, but men's fragrancesand cologne loom on the horizon assleeping giants. Of course, promotingthese items is a delicate matter in-deed. The most successful marketersof them are those who are able todisassociate them from the femalecounterparts, while still convincingmen that they will be more attractiveto women if they smell good.

Fly Later, Buy Now"Yes, friends, buy this product.

Just run right down to your neigh-borhood airport and ask the man be-hind the counter . . ."

That line isn't quite the way BurtLiss of South Bend, Indiana, adver-tses his Airport Gift Shop, but it'sclose. Mr. Liss, in one of the moreunusual uses of television, has con-sistently brought South Bend resi-dents out to his shop to buy suchuncommon items as French tele-

phones, expensive Swiss watches andother things not found in the localstores.

His experience with tv began lastDecember when he took a one -weekschedule on WNDU-TV to promoteunique Christmas gifts he had avail-able. Though he had used tv for se- -eral years to advertise his taxicabservice and rent -a -truck operation,Mr. Liss wasn't sure that tv spotswould bring people to the airport-not to fly, but to buy. Pre -Christmassales. however, were spectacular, andthe shop owner returned in Januarywith a buy of a single minute inFriday Night at the Movies, a WNDU-

TV prime -time feature film presenta-tion. The minute sold so many $13Swiss watches that the schedule wasexpanded to five weeks.

Local (Continued from page 28)

changed policy to include financingproductions on more than one stationper market, it stimulated competitivepromotion ventures and generated"friendly rivalry between the stationsas to which one can do the most crea-tive and effective public service pro-gram," says Mr. McEvoy. Employingtwo and even three stations a market-this year 28 different stations in 11markets were used-helped WesternElectric broaden its campaign of im-pressing its name and its objectiveson the local public.

It Works, That's All

From all standpoints, the idea

seems to have been exceptionally',worthwhile: the company has gained,prestige through its association withquality shows; individual stationshave been tremendously responsive;and the public has been served withlocal -interest programs of a varietyand kind it might never have receivedwithout the Western Electric interest.Who, as Mr. Gershwin said, couldask for anything more?

Newsfront (Continued from 17)

and equipment," Mr. Overmyer said."We have 20 color cameras on orderfor our stations right now."

Those stations-one on the air inToledo, five others to come in Pitts-burgh, Atlanta, San Francisco, andthe neighborhoods of Houston andCincinnati-are not to be known as"owned stations" of the network, bythe way. "I own them," said Mr.Overmyer.

'Round -the -Clock Programs. Long -1

range, he mused, there should be noreason why his tv stations and hisnetwork couldn't program 24 hours aa day. "I'm particularly intrigued bythe 5-8-a.m. period," he said."There's an awful lot of people whoget up at 5 every morning, and havenothing but the radio to turn on. Tvcould provide what would be mostlyan aural service then. From 8 a.m.to 3 in the afternoon, you programfor the pre-schoolers and the house-wives, but you keep in mind that a

56 Television. Age, August 1, 1966

1

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the date: August 15, 1966the place: Television Age

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15th ISSUE OF TELEVISION AGE

Feature films, syndication, network producedfeatures, reruns, the economics of buying andselling arc just a few of the subjects whichwill be explored and analyzed.

Subsequent installments will appear in theSeptember 12th, October 24th, November21st and December 19th issues.

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housewife can't sit on her rear verylong; from 3 to 8, you go for thekids and teenagers; then you pro-gram strictly for adults after 8 allnight long. We'll go that way on thestations first, but in three or fiveyears, I think we'll go that way onthe network, too."

Asked if he hadn't been madeaware of "at least one major reason"why his more -than -ambitious projectwould never come to pass, Mr. Over-myer grinned readily beneath hiscrewcut. "If we had." he replied,"we'd have quit. Hell, we've beenworking on this for six months, andwe've heard every negative anyonecan think of." But what about thosesurprises no one thought of? "Theyhappen," said Dan Overmyer. "InPittsburgh, we found a mineshaftright underneath where our towerwas going. You don't quit; you findanother site, that's all."

He shoved his chair back from themassive desk and planted his feet intwo -inch -thick wall-to-wall, extendinga hand. "Right now I'm taking mykids up to Canada for a couple ofdays fishing. When I get hack, maybethere will be some of those surprisesto think about-hut I doubt it."

Wonderful TownFor most tv filmmakers, the as-

signment would have meant "TwoWeeks in Another Town." But forMarc Merson, helming The LoveSong of Barney Kempinski for ABC -TV's Stage '67, it was a labor of love,and a chance to hymn the glories ofthe home turf. The New Yorker callshis company Brownstone Produc-tions, not because he lives in abrownstone, which he does, but be-cause he could think of no reasonwhy he shouldn't.

"It's been a honeymoon," said Mr.Merson. "Although we used morethan 40 outdoor locations all overthe city, we completed shooting with-in a two-week schedule." This, withno payoffs, and "great cooperationfrom Barry Gottehrer. the expeditorat City Hall, and Lt. Grogan and hispolicemen from the Tactical Force."

Mr. Merson said Kempinski wasthe first film completed under thenew New York production regime,

the relatively red -tape -free system in-stituted by Mayor Lindsay. The film,written by Murray Schisgal, followsa day in the life of a schnorrerplayed by Alan Arkin as he hustleshis way around the metropolis inquest of two bucks to pay for amarriage license.

In picking tenement exteriors, Mr.Merson found slumlords a trifledifficult. They didn't want theircrumbling properties exposed in a

film. This he got around by placinghis cameras at angles down the

street and off their properties, butwith a good view of the decrepitude.

"The crewmen worked their tailsoff," Mr Merson said, contradictinga succession of angry Hollywoodproducers who had claimed NewYork film union men were foot-shufflers. With an average of a scoreof set-ups a day, the crew worked attop speed, and the film was broughtin within schedule and within bud-get.

It wasn't always so easy. Mr. Mer-son recalled that when he was a

program executive at CBS -TV, super-vising New York shooting on suchshows as East Side, West Side, TheReporter and Mr. Broadway, "theshows were always over budget, andthere was always trouble with loca-tion work."

But under the new regime Mr.Merson said, there'll be a lot morefilm production, for tv and theatres,in New York. "You can get certainvalues here that you can't get any-where else. New York actors are areservoir of talent devoted to theatre;they have to be to stay here. There'sa higher level of performance; whenan actor moves to the Coast, it's asif he underwent a partial lobotomy.

"Moviemaking in New York, in-cluding shooting for tv, is less ham-pered by convention than in Holly-wood, where it's mainly a matter ofcamera -following -star. European, andnow New York, filmmakers, havelearned to get the full value of facesin the street, characters, incidents.You'll see some of that in Kem-pinski."

The smiling people above were among 1,000 agency media people and adver-tising executives who gathered recently in New York to view a multiscreenpresentation by New York independent wPix, A Home of Your Own. The show,which next was to play to admen in Chicago, Minneapolis, St. Louis, Los An-geles, San Francisco and Boston, presented a soft and sexy sell for the station'sspots, emphasizing the independent's advantages over its network -affiliated com-petition and previewing the wPix fall lineup. L. to r.: Caroline Fraser, JackTinker & Partners; E. Blaney Harris, wPtx vice-president of sales; Bernice Gut-man, also of Jack Tinker; Frank Tuoti, station vice-president for sales develop-ment; Newman McEvoy, vice president. Cunningham & Walsh; and Fred M.Thrower, wPtx general manager.


"Its a ,-omplex business. I like

to know the client, I like to(now the agency. 1 like to know thereceptionist.- Thomas H. (Har-rington ) Dawson. penetrating bluere- crackling in hi- close -cropped,raiding. ruddy skull. tapped his feet)n the carpeted firm]. of his office. Itwould be difficult t-, count the num-ier of receptionist. oho do in factknow Torn Dawson. for in his 15dears in network television sales he

nas left a distinct impression: thatcontrolled enthusiasm.Mr. Dim s.in just recently was ap-

pointed senior \ ice president of theCBS Television \ehoork-the num-ber one man under president JohnT. Reynolds --and a -su med new re-sponsibilities in the areas of affiliaterelations. engineering. information.en ices. operation-. program prac-tiie- and sports. Those departmentso ill report to him. and he in turnii ill report to president Reynolds.

Idle same time. Michael H.Linn. ice president - programs,

named senior vice president-rank.. and Frank M. Smith

.Ir.. general sale- executive, wasnamed vice president sales, assum-in_ \Ir. Dawson former duties.)

But the 52 -year .Id executive isnot about to relinquish his duties inthe sales area completely. "I justcouldn't \et.' he ,ay s. for he hasbeen at it too Ion_. In a conversa-tion in hi- new and -omewhat airieroffice in the CBS building. Mr. Daw-son talked delightedly of the prob-lems and the change: in networksales. "1n nehuork television todaywe see the client more than we didin the beginning. Now. with costswhat they are. we tend to net to thetop more quickly. Of course we con-tinue to work closely with the agen-cies. and I like seeing both sides-you get more thinking and you cansee the advertiser's problems better.

"A sale is no longer a simplething today. We's e gone from atotally sold network in programsponsorship to a network where may-be 75 per cent of the business is inparticipati,rm. If we were doing 300business ti ansactiom five years ago.

In the picturetoday we're doing 1,500."

Were there any differences insales between radio and tv?

"In radio," says Mr. Dawson, whobegan his career with wcco Minne-apolis, "I believe we sold more; intelevision I believe we have to man-age more. The sale is easier in tele-vision but the implementation of thesale is harder. A television salesmanis an account executive in the truestsense of the word. He has to be.After he gets the sale he's got tomake it work, he's got to make itfit. Network television is a totallyconsuming thing; we come to playevery single day."

A visitor to Mr. Dawson's officewould find it hard to dispute thislast comment. The executive givesthe impression of a sort of elec-tricity -charged joy with whatevertask is at hand. As he says, "I'm nota sitter at all."

Mr. Dawson began his businesscareer with Pillsbury Mills in Minne-apolis after attending the Universityof Minnesota. After a year, CarlBurkland, then manager of wccoMinneapolis, brought him in as asalesman, at a salary of approximate-ly $27.50 a week ("and there arethose who still think I'm worth thatmuch") . He joined CBS Spot sales in1940, moved hack to wcco a yearlater as sales manager. When thewar broke out, he enlisted in theNavy and served until 1945, afterwhich he returned to the Minneapolisradio station. Three years later heheaded for New York where hejoined CBS Radio Spot Sales. In1950 he served briefly as director oftelevision for the just -starting tv di-vision of Edward Petry & Co., butthe CBS Television Spot Sales de-partment brought him back as gen-eral sales manager. He became net-work sales manager in 1952 and avice president in 1957.

Mr. Dawson's analysis of hiscareer is cheery and uncomplicated."I never felt I did anything I re-gretted. I was glad to go to Petryand I was glad to come back here.I've always been totally happy in this

MR. DAWSON

He comes to play.

company, I like the people and I likeits basic philosophy. If I can makea contribution I'll be perfectly de-lighted."

n his new position Mr. Dawsonwill be getting into totally new

areas of the company's operation. Hethinks that through sales he has afeeling for affiliate relations and hesays he's always been interested inpublic relations, exploitation and ad-vertising. His big problem area isengineering, where, he quips, "Ihope they let me see them."

Mr. Dawson's background also hasmade him sensitive to advertisingagency problems and needs. "I'veheard how the networks want to ownand control all the programs. As amatter of fact, I'd prefer that ad-vertisers like General Foods andProcter & Gamble own more of them.Then we don't have to tie up all ourmoney."

The executive's leisure -time activi-ties center around his family (a wifeand two children), the television setand the golf course. He tries to seeas much television as he can and hetries to look at as many differentprograms as he can.

As for golf, he says simply andfeelingly. "You might say I'm veryinterested in playing golf. I'd liketo be sentenced to playing golf."


THE LIGHTER SIDE In camera

As was promised here last issue,here are a few more observationsfrom a recent address by WhitHobbs, senior vice president atBenton & Bowles in New York:

"I dragged home from work theother evening and my wife was

stretched out on the couch exhausted,and supper wasn't even started.'Boy, what a day I've had,' she

said." 'Tell me about it,' I said." `Well,' she said, `after I took

you to the train, I came back andmade the bed and washed your coffeecup.'

" Wow,' I said, 'that was a bigday.'

"And she said, 'Then I playedthree sets of tennis and had a longswim; and this afternoon we playedfour more sets of tennis and tookanother longswim, and right nowI'm too tired to move.'

"And I said, 'You know, maybeI should drink my instant coffeeout of a paper cup. It would cut yourhousework in half.'

"Have you heard about the 51st_State? It's the State of Golf. It corn -prises the 8,323U.S. that have

golf courses in thea total area larger

than the State of Rhode Island. Andit has a stronger financial statementthan any other state in the Union.A cotton farmer in North Carolinanamed Namon Hamrick who `nevercleared more than $1,000 from farm-ing in one year in my whole life'switched from cotton to golf. Turn-ed 60 of his acres into nine holes.Grossed $9,000 his first year.

"A young mother I know got upearly the other morning and as aspecial treat, she squeezed fresh

orange juice for everyone in thefamily. Of course, just having herin the kitchen was a treat for theyoungsters; a recent survey showsthat 46 per cent of four- and five-year -olds in the U.S. eat breakfastevery morning without an adult in

the room. Unfortunately, the freshorange juice wasn't what you'd call

a success. It made four -year -old

Doreen throw up. She'd never hadit before. It was bitter and it hadawful pieces of stuff in it. Doreen'smother won't try that again. Yousee, Doreen is growing up in a

world where good orange juicecomes from a carton or a can. `Rightfrom the tree' is no longer the gold

r

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rI - ETE1Pr

Pprr

.

Qt(5121)3.

"Which wise guy suggested we sponsor a spy serieswhere the hero's name is Sparger?"

standard; there's a whole new worldthat has never had it that way."

* * *

David Susskind, at the FCC studyinto network procurement practicesin New York, June 1961: "The madrace for ratings, which is almostparanoic, has further subverted thetelevision potential . . . The ratingsthemselves are challengeable on theirsimple statistical validity . . ."

David Susskitul, interviewed on

WCBS Radio Looks at Television,New York, July 1966: "If you askene, 'Are the ratings accurate?,' Ithink yes. Statistically they're pros -ably quite accurate. If you expandthe base of ratings from 1,200 homesto 25,000 homes, you'd get a tinypercentile of variance. So I thinkthey're statistically accurate."

* * *

Line -of -the -week, by writer/comedian George Carlin on NBC -TV's John Davidson Show, as he por-trayed a typical tv newscaster:

"Settlements have been reached inthe airplane strike, newspaper strike,bus strike, subway strike, steel strikeand train strike, but negotiationshave broken down in the upcomingtrucking strike, firemen's strike,nurses' strike and taxi-drivers' strike.... In other labor news. New Yorklongshoremen walked off the piersthis afternoon-rescue operations be-gan immediately. . . . In sports,here's a partial score: Yankees 6.

* * *

Bill Andrews, general sales man-ager of KCOP Los Angeles, has comeup with a new program classificationto go along with "westerns," "sit-coms," "quiz shows," and the like.He refers to the networks' offeringsat 10 each night as "perpetuals."

"On Monday," he says, "there's aguy who's perpetually dying; Tues-day a guy is perpetually running;Wednesday there's a perpetual juve-nile, and Thursday is a perpetualdrinker...."

(i0 Television Age, August 1, 1966

All of theMeredith marketsare in the top 13

used mostfrequently fortest marketsor product

introductions*1. New York 4. St. Louis 7. PHOENIX 10. KANSAS CITY 13. SYRACUSE2. Chicago 5. Columbus 8. Rochester 11. Atlanta 14. Grand Rapids3. Denver 6. Wichita 9. Boston 12. OMAHA 15. Pittsburgh

II four are also included in Printer's Ink Proved Test Markets list. For an effective test, use al!'ur Meredith markets. You'll test within the framework of four geographically different mar-ets, four solid yet different economic bases. Check with the Meredith stations for help in co-rdinating and developing a successful test or product introduction.'TimeSales AdAges," published by Advertising Age

IEREDITH BROADCASTING: KANSAS CITY KCMG AM FM TV; OMAHA WOW AM FM TV;

theMeredith

bunchPHOENIX KPHO AM TV; SYRACUSE WHEN AM TV

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ADVENTURES

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CALL AL ODEAL

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TELE FEATURE PROGRAMS; INC.516 FIFTH AVENUE NEW YORK, N Y 10036 1212) YU 6-4979

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