july 15, 1968; fifty cents relevisionage · july 15, 1968; fifty cents relevisionage 1 f) ......

JULY 15, 1968; FIFTY CENTS

relevisionAge1

F)W the world's largest advertising agency stays aheadVhere the leading affiliates stand in audience sharesVho said it's cheaper to shoot commercials abroad?

PAGE 21

PAGE 24

PAGE 26

31 ~3ff ~30( Xfw kf 3xEkiXí

Indiana Uniyearsly

S" -TV became the firs1BC televisiortsyItte in the nation and the-MPIVIstation,kox

I e vital Northwest market it serves soa1.oday.iroughout these pioneering years KSTP-

V as been a leader in many areas - firstitlmaximum power and first with color -it ven more important, KSTP-TV has al-a} been first with news, the mark of apior television station.KTP-TV's advanced facilities and spe-al -trained newsmen combined with ther'-.ted news, weather and sports commen-to in the market have given the station aptition as one of the outstanding broad-st,perations in the world.KTP-TV's award -winning news team pre -lit international, national, regional and:anews clearly, concisely and completelyd vithout distortion or bias. This services !stilted in a generation of viewers whopc d on KSTP-TV for their news - first,it nd factual.ea rating -lead that KSTP-TV has enjoyed>tresult of this unmatched service is ap isibility that we welcome - and intendmintain.

ursented Nationally by Edward Petry & Co.

r7 1

TELEVISIONn1948 Vii; 1968UANNIVERSARY

MINNEAPOLIS ST. PAUL100,000 WATTS BASIC NBC

HUBBARD BROADCASTING, INC.KSTP AM FM TV KOB AM FM TV WGTO AM

meTulsa, withan effectivebuying inco

of more than twoBILLION dollars,accounts for 48%4. ofthe combined Tulsa-

Oklahoma City salespotential. And withbarge transportationjust around the corner(1970). plus a healthygrowth in its aerospace ,eand petroleum indus-tries, many forecasters i!

see Tulsa as the Sooner lej

State's dominant citywithin the next decade.

If you're looking forsales in Oklahoma, looksharp. Take a good lookat the rich, rich TULSATV market!

*Sales Management Surveyof Buying Power. 1967.

if you'renot buying

Tulsa TVstationsyou're missingabout half ofOklahoma'spotential!

JULY 15, 1968; FIFTY CENTS

IrélevisionAge)w the world's largest advertising agency stays aheadhere the leading affiliates stand in audience sharesho said it's cheaper to shoot commercials abroad?

PAGE 21

PAGE 24

PAGE 26

Ir

/ r Indiana Unityears aggz,S'' -TV became the first .BC televislonnsyhate in the nation and tl é ft station,. 0le vital Northwest market it serves so

e]today.liroughout pioneering years KSTP-;as been a leader in many areas - first

it. maximum power and first with color -it,ven more important, KSTP-TV has al-

been first with news, the mark of apior television station.RTP-TV's advanced facilities and spe-ll -trained newsmen combined with thepited news, weather and sports commen-tc; in the market have given the station apiation as one of the outstanding broad-sl)perations in the world.ETP-TV's award -winning news team pre -11 international, national, regional and:a news clearly, concisely and completelydvithout distortion or bias. This services esulted in a generation of viewers whopild on KSTP-TV for their news - first,;t,nd factual.Ta rating -lead that KSTP-TV has enjoyed

result of this unmatched service is apnsibility that we welcome - and intendrrintain.

Pjsented Nationally by Edward Petry & Co.

TELEVISION MINNEAPOLIS ST. PAUL100,000 WATTS BASIC NBC

1948 // 1968

(emu\ ANNIVERSARY

HUBBARD BROADCASTING, INC.KSTPAMFMTV KOBAMFMTV WGTOAM

l

±óOM yALL OF A SUDDEN IT'S A WHOLE NEW BALLGAME

IN THE CLARKSBURG-WESTON-FAIRMONT MARKET70

60

50

40

30

20

10

Station B

WDTV

Average Share of Homes: WDTV vs. Station BPrime Time (Sun-Sat 7 pm-11pm) Source: ARB

Mar. 67 Nov. 67 Mar. 68

What happens when you combine dynamic new management with a CBS affiliation?ZOOM! That's what happens. You've got a new #1 station and a whole new ballgame.Don't buy the market without a scorecard. Call our Sales Representatives: NationalTelevision Sales. Or contact John E. North, Vice President & General Manager.

WDTCHANNEL 5

A CBS Affiliat

THE ZOOMING NEW #1 in Clarksburg-Weston-Fairmont, West Virginia

Audience measurements are estimates only, based on data supplied byindicated sources and subject to the strength and limitations thereof.

WE'REONINSAN.

FRANCISCO.Metromedia Television now serves San Francisco and the Bay Area.

M 32 KNEW -TVMETROMEDIA TELEVISION

WNEW-TV NEW YORK/KTTV LOS ANGELESKNEW -TV SAN FRANCISCO/WTTG WASHINGTON, D. C./KMBC-TV KANSAS CITY

REPRESENTED NATIONALLY BY METRO TV SALES

elevision Age, July 15, 1968 3

Look at the facts.The television stationsrepresented byPeters, Griffin, Woodwarddeliver more circulationin their combinedeffective coverage areasthan Look.And Life.And Reader's Digest.And McCall's.Combined.And here's the frostingon the cake:Only televisiondemonstrates the productwith sight, sound,motion and color.Surprised?Want to take a good lookat Spot Television?

(PETERS,RI FFI: , ®O O1) \V.N tae.Pioneer station representatives since 1932

SOURCES: Estimates of TV circulation from Saks Man-agement Magazine 8/67 and American Research Bureau.Magazine circulation from their most recent reports onfile with Television Bureau of Advertising.

KEEP LOOHING,

JUST PUBLISHED!

1NE

[EGNNIftIHE THE

MOTIONpiClUR

CAMERA

e xaeio

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The

Technique

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byH. Mario Raimondo Souto

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

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

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

Profusely illustrated with easy -to-read line drawings.

Hard covered, 263 pages with indexand glossary as well as comparativecharts.

$14.50 each

TELEVISION AGE BOOKS1270 Avenue of the AmericasNew York, N.Y. 10020Gentlemen:Enclosed find $ for copies of "TheTechnique of the Motion Picture Camera "NameAddressCity

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Add 50C per copy for postage and handling.

JULY 15, 1968

Television Age

21 J. WALTER: THE NIMBLE GIANT

The world's biggest agency stays out in front with marketingand media innovations, and a flexible operating format.

24 THE PERFORMERS

How affiliates compare in audience shares as shown by analysisof ARB March audience data.

26 WHO SAID IT'S CHEAPER OVERSEAS?

Admen find plenty of reasons to shoot commercials abroad,but little chance to save money doing it.

>;; FROM CRUSADER TO PERSUADER

How the Federal Trade Commission switched to a non -punitiveapproach in policing advertising.

30 SELLING THE TOUGHEST ACCOUNT IN TOWN

Wichita station makes a believer out of retailer WilliamDodson with color commercials that catch his store's image ofquality and prestige.

DEPARTMENTS

to Publisher's LetterReport to the readers

11 Letters to the EditorThe customers always write

15 Tele -scopeWhat's behind the scenes

17 Business BarometerMeasuring the trends

19 NewsfrontThe way it happened

31 ViewpointsA no -holds -barred column

32 Film, Tape ReportRound -up of news

39 Spot ReportDigest of national activity

11 One Seller's OpinionThe other side of the coin

17 Wall St. ReportThe financial picture

57 In the PictureA man in the news

58 In CameraThe lighter side

Television 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, N.Y. 10020. PL 7-8400. Controlled circulation postage paid at New York,N.Y. and at Orange, Conn.

6 Television Age, July 15, 1968

TelevisionAge

r"OL. \ ` No. 25

Editor and PublisherS. J. Paul

e

Editorialiditorial Director: Alfred J. Jaffettanaging Editor: Bill McGuireienior Editor: Ed Dowling\ssociate Editor: Paul Guthrie?inancial Editor: A. N. BurkeAasltington Correspondent: Jay Lewis

Advertisingadvertising Director: Norman Berkowitz:astern Sales: Marguerite Blaise

;ales Service Director: Lee Sheridan

troduction Director: Fred Lounsbury;irculation Director: Evan Phoutridesbusiness Office: Miriam Silverman

Branch Offices

Paul Blakemore, Jr.6011 N. Waterbury Road

Des Moines. Iowa 515-277-2660

SouthHerbert Martin

Box 32:13ABirmingham, Ala. 35205

20.;122-652tt

United KingdomF. A. Smyth & Assoc.

31 Dover StreetLondon. W. 1, England

Vtember of Business PublicationsAudit of Circulations, Inc.

BPA

ELEVtSION ACE is published every othertlonday by the Television Editorial Corp.ditorial, advertising and circulation office:270 Avenu^ of the Americas, Rockefeller'enter. New York, N.Y. 10020. Phone:12121 PLaza 7-8400. Single copy: 50 centsÍiearly subscription in the U.S. and pos-sessions: $7; Canada: $7; elsewhere: $15.g Television Editorial Corp. 1968. The en -lire contents of TELEVISION ACE are pro-tected by copyright in the U.S. and in allCountries signatory to the Bern Convention

d to the Pan-American Convention.

elecision Age, July 15, 1968

Bay KBOI-TV

Sell IDAHO!KBOI-TV Boise serves Idaho's

capital . . . the state's key

retail and distribution

center. Boise's influence

extends to every part

of Idaho

KBOI-TV reaches more

homes, men and women

from 7:00AM to 1:00AM

than any other Idaho

television station.

NSI 8 ARB November, '67. Au-dience measurements ore estimates only, based on dot°supplied by indicated sourcesand subject to the strengthsand limitations thereof.

ICBOITEL. ISION

Channel 2 CBSBOISE

I Tli r i:.-Xrrz Ac;, r ivc1-. I.C.National Representatives

7

The Embassy of BoliviaHis Excellency Julio Sanjines-Goytia,Ambassador of Bolivia, and Senora Sanjines-Goytia,in the drawing room of the Embassy .. .another in the WTOP-TV series onThe Washington diplomatic scene.

A CBS AFFILIATE IN WASHINGTON

,4WTO P -TV

Represented by TvARPhotograph by Fred Maroon

o

All you need to makemovies is a 16mm Bolex,a lens, and talent.

All you need to makemovies is a 16mm Bolex,a lens, and talent.

But Bolex is a system as well as a cam-era. It can be outfitted for your specificprofessional needs. Begin with theH-16 Rex -5 body, which has reflexviewing, a magazine saddle, filter slot,and variable shutter speed.Add the lightweight 400 foot magazine,constant speed motor, take-up motor,

rechargeable power pack, and you areready to shoot 12 minutes of uninter-rupted synchronous sound footage.Choose from a wide range of opticallyperfect lenses, from fast 1 Omm wideangle to t 50mm macro -tele. Fromzooms with electric exposure controlbuilt in to a prime lens as fast as1/0.95.

The Bolex H-16 Rex -5 has automaticthreading, variable speeds from 12 toto 64 frames per second, single framecontrol. It can be hand-held or mount-ed on a tripod. Fully outfitted, the cam-era weighs less than 13 pounds.Bolex cameras, made with Swiss

nwatch making precision, have proven

J their accuracy over many years time,under the most adverse conditions,and at tropic and arctic temperatures.This is the Bolex H-16 Rex -5, The Pro-fessional.For a copy of Bolex magazine's spe-cial issue on communications, writePaillard Incorporated, 1900 Lower

Co Road, Linden, New Jersey 07036.

oL.-E>Bolex H-16 Rex 5,The Professional.

Letter from the Publisher

Procter & Gamble IssueOn July 29, TELEVISION AGE will devote the entire issue to Procter

& Gamble. The issue will carry in-depth stories on P&G marketingstrategy, how it works with its 11 advertising agencies, its approachto television from both a network and spot standpoint and its historyas well as financial track record.

P&G is probably television's most dramatic success story. In itscurrent fiscal year which ended June 30, the company will edgetoward the $200 million mark in television expenditures.

Its stock has had an interesting rise even in the face of a bearmarket earlier this year. Last year the stock climbed from a lowof 69 to a high of 99. It is currently selling in the price range of90-95. The price times earnings ratio is about 21, a very respectfulmultiple.

Wall Street analysts feel that the television advertising of Procter& Gamble gives the company a distinct advantage. The advertisingexposes to the public the company's products and generates respectand confidence in the company that is reflected in the steady growthof stockholders' equity.

This is an advantage, of course, that other advertisers on televisionenjoy. The success of an advertising campaign has an effect on themovement of the company's stock. The current Ford campaign, forexample, on "See the Light" has had a beneficial effect on the Fordstock which is currently selling at 52.

The growth of P&G over the last decade is another indication ofthe company's adroit use of the television medium. P&G climbedfrom $1.3 billion in sales in 1958 to close to $2.5 billion in 1967.At the same time, its earnings jumped from $1.78 a share to $4.08a share. The stock moved from 271/_ to its present quoted price inthose 10 years.

New products can be expected to be an important element inthe continuing growth of this spectacular company. It not onlypours a lot of money into research and development but it backsit up with advertising know-how.

One of the interesting aspects of the P&G corporate structure isthe fact that the divestiture of Clorox has had no effect on its stock.The foreign operations of P&G contributed almost 20 per cent ofthe earnings of the company. The detergents. Tide, Cheer, Oxydol,Dreft, Dash, Salvo Tablets, Joy, Ivory Liquid and Thrill plus thesoaps, Ivory, Camay and Zest and the cleansers, Comet, Mr. Cleanand Spic 'N Span account for roughly three -fifths of P&G's sales.The edible products such as the shortenings (Crisco and Fluffo), thecake mixes (Duncan Hines), peanut butter (Big Top and Jif)account for roughly one -fifth of sales.

Interestingly enough, of the 60 odd brands, more than one-halfof these did not exist a decade ago. This is a dramatic example ofP&G's activity in new products.

P&G was the first company to set up its own media department.Actually, it was set up in the late thirties to assess radio buys. Thedepartment, under the direction of Paul Huth, was expanded withthe advent of television. How this department works with the agencieswill be detailed in the upcoming issue.

Cordialb

/41«zTelevision Age, July 15,

Lettersto theEditor

rrom conversation to articleYou've done a remarkable job of

urning our conversation into a peat-y constructed article (In the picture,TELEVISION AGE, May 6, 1968, page5)-and in speedy time, too. I sa-ite your skill and appreciate yourttentiveness.

BABETTE JACKSON'ice President, Director of Research

Dancer -Fitzgerald -Sample, Inc.New York, N.Y.

'he recruitment problemIn your article on graduate -level

:cruiting by agencies (The gradu-'es, TELEVISION AGE, May 20, 1968,age 28) , I think you've done a good,b of analyzing and writing aboutreal problem for agencies.

WILLIAM S. TIMMVice President

Sullivan, Stauffer, Colwell & BaylesNew York, N.Y.

ans across the seaI was very much impressed byading the article on agency creativeams (Creative teams - do they9rk?, TELEVISION AGE, April 22.168, page 23) . I think this articlevery useful to Japanese advertisingdustry, so would you please grante your permission to reprint in ouragazine, TV Commercial?

TSUNEHIRO FUJIWARAKubota Advertising Laboratory

Tokyo, JapanPermission granted.

n 'supergroup' production1 enjoyed your recent article on

induction by groups of stationpups for syndication (The `super-

'oup'-new program source?, TELE -',ION AGE, June 17, 1968, page 21) .First, congratulations on accurate,orting; and secondly, congratu-

i ions on a very interesting article.M. C. WATTERS

Executive Vice PresidentScripps -Howard Broadcasting Co.

Cincinnati, Ohio

Retail tv advertisingI read with interest your article on

retail advertising on television (Thebillion dollar account, TELEVISIONAGE, June 17, 1968, page 24), andI am pleased to say that you quotedus exactly.

We are in the process right now ofattempting to influence departmentstore expenditures on television ona scope never before attempted inthis market. If we are successful,that will be another great story foryou-and for television.

GEORGE A. KOEHLER

General ManagerTriangle StationsPhiladelphia, Pa.

Your story on retail television ad-vertising, in which I was among thosequoted, was very provocative, inter-esting and informative. I would im-agine you have encouraged a fewdebates.

And how nice of you to let awoman have the last word!

MILDRED BAPTISTAManager, Radio & TV Advertising

Woodward & .LothrópWashington;'D.C.

The billion dollar account is mostinteresting and, I think, very welldone. I really feel quite flattered tobe included as a commentator.

PAUL D. MYERSPresident

The Ralph H. Jones Co.Cincinnati, Ohio

Reporting on EDP

I would like to say that your cover-age of the recent luncheon meetingof the Advertising Data ProcessingAssociation ("Reps and computers,"Newsfront, TELEVISION AGE, June 3,1968, page 19) accurately reports thediscussion that took place.

JOHN AMEYDirector Data Processing

The Katz AgencyNew York, N.Y.

Fantastik? ExcellentThe Fantastik article (Fighting the

giants is Fantastik, TELEVISION ACE,May 20, 1968, page 32) was excel-lent, and I'm sure will be read.

JAMES M. HENDERSONPresident

Henderson Advertising AgencyGreenville, S.C.

tv channel 4TOTAL COVERAGE

1,325,000

musingsfor umediainan

re

ore50 In

ternet e,rht ml

adrerdserl

riff/1' f

da

det

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to adverbially since.on at least 45 Ince listing LP

doles the'tart!

page.n

theof distil

arolor tad bl

. r those headings.celled only on 90et and Ito coven.no short sate pen

s the rate for the

With a lamb,be a land).With awolf,be a fox!

Martin Himmel, President

JEFFREY MARTIN, Inc.., Dist. of Compoz--'

i1evision Age, July 15, 196811

your advertisíno needthe Forward Look

If your campaign calls for a buy in any or all ofthese forward -looking markets, depend on themembers of the Forward Group to deliver.

THE FORWARD GROUPWSAU/AM/FM/TVWausau, Wisc.

WMTVMadison, Wisc.

KCAU-TVSioux City, Iowa

WKAUKaukauna, Wisc.

Marshfield News HeraldMarshfield, Wisc.

Merrill Daily HeraldMerrill, Wisc.

Wausau Daily Record HeraldWausau, Wisc.

' Wisconsin Rapids Daily TribuneWisconsin Rapids, Wisc. 0

12 Television Age, July 15,i

KCAU-TVSioux City, Iowa

'First and ForwardWSAU-TV. . . againNo.1 in the U. S. A.

And Forward moves ahead with these otheroutstanding television stations in the group

WMTVMadison, Wisconsin

*WSAU-TV, Wausau, Wisconsin is first inthe naticn in metro share of audience forthe total day in markets of three or morestations. Source: ARB Feb. -Mar. Ratingsfor 106 three -or -mere station markets.

Represented by The Meeker Company

Audience measurements are estimates only, based on data supplied by indicated sources and subject to the strength and limitations thereof.

levision Age, July 15, 1968 I:I

i!o!YEEF11S1ETH! CY

Meet Cybernetic Cy, the composite genius who per-forms wondrous optical effects for Cineffects, Inc. Youcan catch Cy's astounding act any time you need opti-cal photography.

Cy is amazingly adept at zooms, fades, wipes, dis-solves, ripples, and whatever special optical effectsyou require. He welds your work of art into a classicachievement of award -winning dimensions. Speed,skill and accuracy mark his deft performance.

It's no wonder we call him Cybernetic. It's even less

of a wonder why he's at Cineffects. Because onlyCineffects has the necessary knowledge, experience,equipment and qualified supporting personnel to stagethe perfect setting for a Cybernetic Cy performance.

Cybernetic Cy represents just one phase of thecomplete film services available to you from Cineffects-Art, Animation, Title Photography, Optical Photogra-phy, Inserts, Stop Motion Photography.

Try us once and learn for yourself why we're Num-ber One.

C//'7 e eC S` 115 WEST 45TH STREET NEW YORK N. Y. 10036 TEL. 246-0950

4 d sod i ut as 9mconce P4ope ed,

1I Television Age, July 15, I90^

WHAT'S AHEAD BEHIND THE SCENES Tele-scopelow to attract department stores to tv

Station efforts to attract retailers; especially the biglepartment stores, are becoming more knowledgeable. A;ood example is WNBF-Tv Binghamton, which has built aape studio on the premises of Fowler's department store,tiggest in town. Main purpose was to help provide thelient with the speed and flexibility stores need in adver-ising items. Commercials can be made at the store andent to the station for transmission. A by-product forhe client has been station promotion announcementsientioning the studio as a means of attracting traffic.Another aspect of satisfying stores' needs for quick

iring of ads is the "floating spot" concept which Triangleutlets offer retail clients. This guarantees scheduling annnouncement on short notice within specified broadime periods. These commercials might bump a stationromo or even an advertiser buying time at low -endsection" rates. (All Triangle stations as well as theirompetition have four section rates, the low end beingnose immediately pre-emptible.)Fowler's, a recent WNBF-TV client, was attracted to the

tation through a "total marketing" approach., a sales?chnique now being pushed hard on all Triangle outlets.t involves a heavy dose of merchandising and promo -ion, with costs shared between station and client. Tri-ngle people stress this is built into the sell before thelient goes on the air, rather than added on afterward.

1pot paperwork problem: two different ideasOne of the difficulties in breaking up the spot tv paper-

ork logjam is that buyers and sellers are working fromI)posite ends of the buying process in seeking solu-ons. TvB's "Systems of Spot" tackles the problem atie accounting end, after the buy is made. The bureau naturally reluctant to get into the selling process, sincearil broadcaster and rep has his own idea of how hean be most effective.But the agencies feel the solution must start at the

beginning" and work, step by step, through to the paper-ork involved in paying the bill. At least that's the gen -al philosophy of the 4As Station Relations Committee.

'he standard avails form recently agreed to by the 4Asmi Station Representatives Association is one reflectionf this point of view (see also News/ront in this issue).

ICS invokes the pollsUsing a standard public relations ploy, the American

ancer Society has invoked the public opinion poll tonild pressure to push through the Federal Trade Com-ission's proposal to require a health warning in cigar-

tte advertising as well as on cigarette packages. TheCS commissioned ORC Caravan Surveys, a subsidiaryf Opinion Research Corp., to canvas a sample of theer-18 population on how they felt about this proposal.1 n the survey, 2,226 men and women were interviewed.

ixty-six per cent agreed cigarette advertising shouldtiry health warnings, and 48 per cent felt the packagearning should be more strongly worded.Meanwhile, the society is dissatisfied with the degree

to which networks are abiding by the line laid down bythe FCC: if broadcasters carry ads for cigarettes, theyshould provide a "reasonable amount" of time to theanti -smoking warnings. On the networks, this has beenon an average about four a week, and seldom anywherenear primetime.

Most actors would rather smoke, thank youIt's not just fear of losing out on lucrative cigarette

commercial residuals that makes actors reluctant to ap-pear in the anti -cigarette -smoking "commercials" pro-duced for The American Cancer Society. It's fear of los-ing out on all commercial jobs for agencies with cigaretteaccounts, and that accounts for most of the big-timework in commercials. A knowledgeable observer said itwas "logical" that working in an anti -cigarette spotwould diminish the utility of an actor for any kind ofcommercial. Cigarette commercials get more exposurethan those for most other kinds of products. Meanwhile,the brave anti -smoking thesps work for scale, with resi-duals waived, as per agreement between The AmericanCancer Society and SAG.

Hooper's new plansOnce a byword in the ratings field, C. E. Hooper, Inc.,

is making a major push to get back on top. Meetingswith agencies, reps and station groups will be held short-ly to present the new Hooper proposals for a nationaland local tv rating service.

A number of studies have been done recently by Hoop-er to back up its contention that no existing serviceprovides ratings with adequate accuracy. "We've beendoing nothing but testing during the past six months,"says Bill Harvey, vice president and director of broad-cast development for Hooper.

One study, published in the Journal of AdvertisingResearch of the Advertising Research Foundation, offersevidence that non -response biases meter data. In onepart of the study, audience levels (determined by thetelephone coincidental method) of a group that agreed tocooperate in a meter sample differed considerably fromthose who wouldn't. In the case of one station, primetimeratings were more than 10 points apart, the higher figuremore than double the lower.

Word-of-mouth: it depends on who's talkingThe widespread notion that oral communication is

more rapid among Negroes was dispelled by the con-clusions of an experiment recently conducted by Youngand Rubicam. The agency's experimenters, working withtelephone companies, "dropped" a few messages intocarefully selected ethnic groups, by way of telephonecalls to ethnic -group members, and then checked up onhow quickly the word got around from those telephoned.(The messages were of special price deals, etc.). It wasfound that the word circulated slowest among Scandina-vian and Negro groups, quickest among Jewish groups,and among Latins. One interpretation of the survey re-sults: it's not how many you pitch to, it's who.

Age, July 15, 196815

People in the know are selective.About how they dress. What theyeat. Where they look forentertainment. In Milwaukee yousee them everywhere...representing every age.`

They're Look Forward peoplewho've learned to look to WTMJ-TVfor the latest ideas in viewingpleasure. That's why we recentlyintroduced a fresh new line-up ofdistinctively different localprogramming. There's "Young

Artists Showcase." "The Class of'68." "Foresight." "Newsmakers.""The Big Question." Many more.For complete details on reachingMilwaukee's erudite spenders...contact our representatives:Harrington, Righter & Parsons -New York Chicago SanFrancisco Atlanta BostonSt. Louis Los Angeles.

LOOK FORWARD TO WTMJ-TV . NBCThe Milwaukee Journal Statier

WTMJ -TV

WTMJ TV

'1.375.500 Milwaukee SMSA "SalesManagement Survey of Buying Power." June, 1967.

Business barometerThe signs

d Other

all pointed to a good May in spot and the actual results bear them out. In

terms of year-to-year gains, it was the best May since 1959 and it was the

best month in '68. Furthermore, May spotrevenue represents the largest monthly dollarfigure yet recorded. The 16 per cent rise overlast year brought the revenue figure to $92.7million, breaking the $90.7 million recordlevel reached in October, '66.

comparisons further emphasize the healthy dollartake from spot advertisers in May. Unlikethe April '68 rise (13.7 per cent) , which wasnot as good as it seemed because the April '67level represented a dip, the May figures areon top of a good '67 May. As a matter of fact,May '67 was the last month in that year thatspot recorded an increase. Consequently, theApril dollar level in '68 was only a littlehigher than that of March. However, the "Busi-ness barometer" sample for May reported thatthat month's spot intake was 15.8 per centabove the previous month.

Therefore, if spot continues its healthy pace, the pertentage gains over last year should be size-able, even if the dollar gains are not.During the hot months last year, declines inspot ranged from seven to 10 per cent.

Interestingly, the smaller stations (under $1 million inannual revenue from all sources) showed thebest gains in spot, registering a hefty 25.3per cent. In April, the smaller stations alsoturned in the best spot performance, thoughby a smaller margin than in May. Duringthe first two months of the year, the smallstations actually registered small declines.(It must be kept in mind that the percentagefigures covering classes of stations are notas precise as the overall figures, because thestation samples are obviously smaller.)

Medium -size stations (taking in between $1 and $3 millionannually) reported a 19.6 per cent increaseover May of '67, while the larger stations($3 million and over) averaged a rise of14.1 per cent. In three of the five monthsso far reported this year, the larger stationsranked third in performance.

With every month but one showing a year-to-year increasein spot so far, the five -month total is nowat $384.8 million. This compares with $356.6million for the first five months of '67, andrepresents a rise of 7.9 per cent.

Next issue: Local and network compensation revenues in May.

100

95

90

85

80

75

70

65

60

55

50I F M AM I I A S O N D

1968-'67 comparison

NATIONAL SPOT

May (up 16.0°0

Year-to-year changesby annual station revenue.

Station Size Spot Tv

Under $1 million +25.3%51-3 million +19.6%$3 million -up +13.1%

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

Television Age, July 15, 1968 17

July 8, 1968

To Our Friends and Clients:

tVe:LABORATORIES. INC.311 west 43 street new york 10036

(212) 586-5090

As TVC Laboratories reaches its First Anniversary, we wish to thank you

for the confidence you placed in us.

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TVC believes we have you as a satisfied Friend and Client BECAUSE TVC

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When we made our very substantial investment in our Additive Reduction

and Contact Printing Equipment, our specially designed 16mm and 35mm

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have ... People ... Team -work ... Dedicated Professional Personnel.Our thanks to the People of our Organization who in their day-to-day per-

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of Color Photographic Communication.

Sincerely,

TVC LABORATORIES, INC.

77i& DLQP/R. W. AltschulerPresident


THE WAY IT HAPPENED Newsfrontither SOS?

The Television Bureau of Adver-sing's "Sy stems of Spot" plan to»duce paperwork has gotten a foot -old but the vast complexities of theaperwork problem make clear thereill not he any rapid adoption of the

Ian.Unveiled about a year ago, SOS

rovided for two standard forms-a,nfirmation/contract form and in -,ice. Ultimate development of thestem. which. its proponents main -

:in. would not only speed up the spotlying process but save money forcencies. reps and stations, involves,mputerization.A description of the plan was made

iblic in August, 1967, by TvB ande accounting firm of Arthur YoungCo.. New York. The accounting

rm was hired by TvB to survey the.Id and prepare a system to reducee volume of paperwork in spot asell as accelerate payments.Added to this after systems design

ork had progressed was the goal ofcilitating. through standardization,e industry's progress toward EDPstems for accounting and control oflot tv.

At this point, two reps, Blair andetz, are using the standard confir-etion form. Storer Broadcasting'srep operation has ordered them

id Cox Broadcasting is working ontnputerizing them. One of Cox'ps, Blair. is already using the form,it the station group has two others,R and Petry, and Cox' efforts inis area will, at the least, speed up'eir adoption of the form.

opeful about plan. Albin Nelson,man in charge of SOS, is

topeful" that 15 or 16 reps will being the confirmation form by the4 of the summer.If so. this will be a big step for-ird. But it is far from meaning that1S is off the ground.For one thing, the 4As Stationetions Committee is in the processexamining and discussing the con-

mation form. The committee, underichael Donovan, vice president and.pia director of Papert, Koenig,

Lois, is not likely to come to its finalconclusions before September.

Why are the agencies looking intothe system a year after it was pro-posed? This is not too clear, but onefactor is that the 4As committee is arelatively new one, having been setup only about a year ago.

Some ad agencies were contactedby people working on SOS before theplan was published and, while TvBwas patted on the back for its efforts,there were some reservations aboutthe form as it was then developing.These included reservations fromagencies who tested the form in anactual buy situation. Consequently,some agency men feel TvB pushedtoo quickly for adoption of the con-firmation form.

Changes made. As it turned out,the form now being used by reps isnot exactly the same one proposed ayear ago. Nelson explains that whilethe format was revised by reps in anumber of particulars, the informa-tion on the revised form is basicallythe same as on the original.

The question of format, however,may prove to be a critical one, thoughnot because of any particular formatchange in the revised form. While the4As group has not revealed what itsthinking is, it was learned that theagency men are leaning toward a hor-izontal rather than a vertical form."This may sound silly," said one com-mitte member, "but it's importantwhen you look at it as a system."

The standard availability formalready okayed by the 4As and theStation Representatives Associationhas a horizontal format. While theavail form is not part of SOS, the4As group feels it's important thatthe entire paperwork system for spothave some kind of format compar-ability for ease in handling and inworking with the information on theforms.

The shape of the SOS confirmationform was dictated by the desire towork it into a TWX-plus-computersetup and the nature of TWX limitspaper width to 81/2 inches.

Nelson described the system TvB isworking toward as follows: Once the

buy is made (after the station hasconfirmed the availability of the timeand the agency has been so informedverbally) a confirmation, followingthe standard format, is typed by therep on the TWX machine. At thispoint, it does not go out "on the air"but is punched on tape. After check-ing, the material is sent to a centralcomputer. The machine adds to thismonthly cost breakdown figures.

Overnight, the computer scans theconfirmation form data and sends thematerial to the proper agency, sta-tion and rep, where it is printed outin proper format. The next morning,the agency, for example, has threecopies of the confirmation form, onefor the media department, one fortraffic and one for accounting.

"This means," says Nelson, "thateverybody has the same information,set down in the same way-and hasit quickly." Under this system, heexplains, there is no need for esti-mating by clerks at the agency. "Andthe station knows what informationthe agency has on monthly costbreakdowns."

While it's feasible now for repsto send confirmations via TWX,neither Blair nor Katz is doing that.

Whether or not the TWX system ispractical, it's not at all clear theagencies would want to "freeze" thepaperwork system into a TWX for-mat. "Perhaps," said one of theadmen on the 4As Station RelationsCommittee, "it might turn out in ayear or two that some kind of com-puter terminal would be better."

Invoice form. The second piece ofpaper in the SOS system-the invoice-is currently in limbo while most ofthe emphasis is being put on the confirmation form. The former is a moredifficult problem. Forgetting theagency interest, the invoice form re-quires the cooperation of hundredsof stations, while the confirmationform, originated by the rep, involvesprimarily a handful of companies.Nelson says, however, that the invoiceproblem is eased by the fact that itis compatible with the variety ofaccounting and business machinesused by stations.

vision Age. July 15, 196819

EQUATIONFOR

TIMEBUYERS

ONE BUY DOMINANCE*

X WKRITTAABBAMA

*PICK A SURVEY - - - ANY SURVEY

Represented by H -R Television, Inc.or call

C. P. PERSONS, Jr., General ManagerA CBS Affiliate

owe

20 Television Age, July 15, I

Television Age

The world's biggest agencystays out in front

with marketing and mediainnovations, and a flexible

operating format

J. Walter: the nimble

Television commercials, which are often testedat the drop of a hat, may soon be commonly

evaluated at the blink of an eye. If they are, youmay be sure that the J. Walter Thompson Co.will be right up there in the vanguard, checkingout new leads and perfecting old approaches.

As a matter of fact, JWT has for some timenow been working on a "Pupilometer," whichmeasures the dilations and contractions of thepupil. The value of this device is based on thephenomenon that the pupil opens wider whena person's interest or excitement is aroused.Among other uses, it is employed to record themovements of the pupil when a person is watch -

JULY 15, 1968

ing a commercial to see what perks his interest.There is nothing new about this and JWT

people don't claim there is. What is significant,however, is the fact that while others have pub-licized similar devices, an observer would haveto poke around quite a bit to learn that JWTwas working on it. For while the agency churnsout a steady stream of publicity about its clients,it is singularly restrained about itself.

This is not false modesty or smugness on theagency's part about its undeniable accomplish-ments. But it has become a Thompson traditionto underplay its achievements-a tradition thatstems from the long regime of Stanley Resor,

evision Age, July 15, 1968 21

who was president for 39 years, from1916 to 1955.

When Thompson moved from NewYork's Madison Avenue in 1927 totake a floor and a half in a newbuilding on Lexington Avenue, itwas suggested that the edifice benamed for the agency. It wasn't, sinceResor, characteristically, rejectedthe idea. So it became the "GraybarBuilding," a sturdy but less thanstylish appendage to Grand CentralStation, where more than 1,700 toilfor Thompson over seven floors, un-der the direction of Stever Aubrey(brother of James Aubrey, formerCBS -TV head) who is executive vicepresident and manager of the NewYork office. Overall, in its 58 officesin 26 countries around the world,there are some 7,000 Thompson em-ployees.

Not long ago, Thompson offices-such as Chicago and Detroit-func-tioned in relatively autonomous fash-ion. But now they are all linked to-gether through a kind of triumvirate,composed of Henry Schachte, seniorvice president, who is in charge ofthe offices on the East coast and inCanada; John Monsarrat, executivevice president, responsible for theWest, from Chicago to Los Angeles;and Tom Sutton, executive vice pres-ident in charge of international, whois said rather grandly to have the"rest of the world."

The oldest and largest

The young turks in the New Yorkheadquarters would like to talk moreabout the world of Thompson, andthey hint that the agency is about toshed its long-standing reticence. Ifso, there is ample material. Now fouryears past its centennial, Thompsonis not only the largest agency inthe country but also the oldestunder continuous management; andit serves nearly 400 clients who lastyear shot Thompson's billings tonearly $591 million. Behind this stag-gering sum lies Thompson's remark-able ability, in a highly volatile busi-ness, to hold its accounts: The agencyhas had Pond's for 82 years; Libby,McNeill & Libby for 71 years; Leverfor 67; Kraft for 46; Scott Paper for41; Standard Brands for 39; and

JWT's tv billings:10 -year growth(millions of dollars)

é

Co Q, O ti CV M V.á á á á á á á á á á

A big winner getting biggero o oa a a a

Total adAwards " ' 63 113 61TvAwards 14 18 48 24

"Through June"Less than 30

Chart above shows that tv billingshave been climbing faster thantotal U.S., Canadian billings. Tenyears ago, tv accounted for lessthan 40 per cent of billings, lastyear it was more than 50 percent. Award figures reflect re-organization in JWT creativedepartment in 1966.

iR

it

Eastman Kodak for 35 years. FordRCA, Pan Am, Seven -Up, Brillo am Douglas Aircraft have each been isthe shop for more than 20 years.

These clients, though, aren't necessarily fixtures at Thompson, like thtbattery of computers purring contentedly on the seventh floor. "Don.get the notion," Dan Seymour, president, chief executive officer, andchairman of the executive committee.said recently, "there are any ac-

counts here that are simply resting.On every account in every company,a new generation of advertising man-agers seems to come in every twoyears, and the first thing they're de.termined to prove is that whatevertheir predecessors did was wrong. Inthe meantime, through promotionsand turnovers and shifts, our ownpeople have changed. The result issimply that in what is a tough. de-manding, highly competitive businesswe've had to prove over and overagain that we are still the bestagency for the account."

Anticipating the trends

One reason Thompson feels it canprove, repeatedly, that it is the bestagency for an account is because, asone Thompson man put it, "We havea mandate to change, to keep aheadof the trends-and we do." Cited asan illustration is the media depart-ment.

When the arrival of the computerbroke the calm of agency media de-partments some years ago, a fewagencies rushed out immediately-and rashly-with glowing predictionson what the miracle machine woulddo for media selection. Much of thishas not come to pass. Thompson,though one of the first to exploit thecomputer, typically had little to sayabout its functions here for sometime. But the fact is that its mediaplanning and buying operation hasbeen bolstered through knowing useof the computer and electronic dataprocessing. Directing this buying andplanning is Richard P. Jones, vicepresident and media director.

Jones says, "We keep ahead of thepace, we anticipate, we're well-bal-anced and professional." And that'sas good a description as any of the


'secret" of JWT's growth. Jones be-ieves the computer has contributedmportantly to the professionalism intis department, but he also creditsnedia research with a major con-tribution to its increased efficiency.['he present information, he pointsnit, is vastly more helpful than whatMas available 10 years ago becauset now:

Produces really relevant criteria'or making media evaluations. Plan-ers now often know the product)urcnase rates of a medium's audi-nce instead of deducing it fromlemographic data alone.

Goes beyond the old practice of-eporting on the coverage of "house-iolds" by various media and meas-pres the media habits of people, whohen become qualified as prospects.['his permits the defining of media+alues in more meaningful marketingerms.

Gives a better perspective on thenteraction of various kinds of media-the extent of exposure by theame people to tv, magazines, radioand newspapers. In other words, thenteraction between media forms asyell as media vehicles becomes moreeadily understood. And this putsnedia planners in a much better posi-ion to determine the best media mixor a client.

Media planning manager

The availability of such informa -

ion has made the media functionpore precise and also more complex;

md has, in effect, made former mediapractices obsolete. Two years ago, inhe course of changing from the oldo the new operation, Jones madewo key additions to his basic organ-zation : He created the new post ofnanager of media planning and setpp an Information Review Commit-ee. Robert Welty, an associate media

director, became the first managerf media planning. The media plan-ting group, made up of nine asso-;iate media directors and 12 mediaManners, is now the hub of the medialepartment.

Welty, a vice president, has theprimary job of making sure that allbe latest marketing information,

(Continued on page 501

elevision. A,e, July 15, 1968

JWT's communication center per-mits creative experimentation (topleft). Ad planning, creative reviewat agency are becoming more flexible-creative men Wilson Seibert, 1,Robert Hungerford discuss storyboard (top right). Media depart-ment under director Richard Jones,(center photo) gets increasing flowof information from computer.Above, Roy Park, JWT awardsadministrator, accepts top tv awardat Atlanta International FilmFestival. Right, two Pond's ads: 1886print ad and 1968 tv commercial.

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23

Theperformers

How affiliatescompare in audience

shares as shown byanalysis of ARB March

audience data

This article is copyrighted in its entiretyby TELEVISION AGE, 1968. Reproduction in whole

or part is expressly forbidden without writtenpermission by TELEVISION AGE.

A listing of the top 10 affiliatesfor each network, ranked by both

total area homes and metroratings, is shown on page 52

`Source: ARB, March, 1968; coversmarkets where all three network affiliates

have recorded viewing. Market namesare ranked by total day shares. Rankings

for total day and other day parts arein parentheses, but only top 20 stations

for each day part show rankings (* denotesstation is not in top 20 in that day part).

Total day covers Mon. -Sun., 9 a.m.-midnight; primetime covers Mon. -Sun.,

7:30-11 p.m./6:30-10 p.m.; early evéningcovers Mon. Fri., 5-7:30 p.m./4-6:30 p.m.;

late night covers Mon. -Fri., 11-11:30p.m./10-10:30 p.m.

**Intermixed market.

one of the axioms of marketingis that, "all selling is locaL"

By the same token, it may be arguedthat all programming is local, whichis to say that Wichita's meat may beTopeka's poison.

On an overall basis, the three net-works are relatively close in audiencelevels, certainly closer than might bejudged from the competitive pro-nouncements which come from net-work promotion and research peo-ple.

The primetime average householdrating levels for the three chainsduring the current season (usingNielsen November -December, 1967,figures as an illustration and exclud-ing time periods when specials were

run) were ABC-TV, 10.8 CBS -T`13.7 and NBC-TV 12.6. A ratinpoint here is about half a milliohomes.

But the network advertiser, groining more conscious of individuamarket problems and opportunitie!is only too well aware that networl Ñratings hide an up-and-down, market 4by -market picture. The buyer, ocourse, has to know what these specific ups -and -downs are.

However, the buyer tackles his jolwith certain rules of thumb in micertain generalizations and certspecific facts that act as guideposThis is no more than natural. fthe buyer, constantly alert for p

,

terns and relationships, needs th

Leading affiliates by tvhome sharesIn 105 three -or -more -station marketst

i1

C t̀l1;

É'C. ix

mrada

CS

tl

Binghamton** WNBF-TV 74 (1) 71 (1) 84 ( 2) 85 ( 3)Columbia, S.C.** WIS-TV 74 (1) 66 ( 3) 82 ( 3) 90 1)Montgomery* * WSFA-TV 73 ( 3) 67 ( 2) 85 (1) 88 2)Charlotte** WBTV 63 ( 4) 59 ( 4) 69 ( 5) 61 113)Lincoln-Hastings-Kearney KOLN-TV 59 ( 5) 57 ( 5) 70 ( 4) 79 4)Jacksonville** WJXT 58 ( 6) 56 ( 6) 65 ( 8) 63 i11)Wausau-Rhinelander WSAU-TV 56 ( 7) 55 ( 8) 66 ( 6) 65 110)Hartford-New Haven** WTIC-TV 55 ( 8) 56 ( 6) 57 (14) 67 i 8)Joplin-Pittsburg** KOAM-TV 55 ( 8) 53 ( 9) 60 (11) 61 113)Erie * * WICU-TV 54 (10) 53 ( 9) 58 (12) 74 ( 5)

Madison** WISC-TV 54 (10) 52 (11) 63 (10) 52 *

Birmingham* * W BRC-TV 53 (12) 51 (12) 58 (12) 39Harrisb urg-Lan cast er-

Lebanon-York** WGAL-TV 53 (12) 48 (16) 66 (6) 73 (6)Cape Girardeau-Paducah-

Harrisburg KFVS-TV 51 (14) 48 (16) 56 (16) 53 *

Champaign-Decatur-Springf ield * * WCIA 50 (15) 48 (16) 55 (19) 59 (15)

Flint-Saginaw-Bay City** WJRT-TV 49 (16) 50 (13) 43 45Roanoke-Lynchburg** WDBJ-TV 49 (16) 49 (14) 53 * 56 (1Cedar Rapids-Waterloo WMT-TV 48 (18) 46 * 65 ( 8) 69Charleston, S.C. WCSC-TV 48 (18) 45 * 53 * 49 *

Charleston-Huntington WSAZ-TV 48 (18) 43 * 53 63 (1

Bakersfield KERO-TV 47 * 43 * 57 (14) 66Sioux City** KTIV 47 * 47 (20) 47 * 48Amarillo KFDA-TV 46 * 46 * 56 (16) 58 (1Mobile-Pensacola WKRG-TV 46 * 45 * 49 * 58 (1Reno KOLO-TV 46 * 44 54 (20) 42Grand Rapids-Kalamazoo WKZO-TV 45 * 48 (16) 40 * 37Greenville-Washington-

New Bern WNCT-TV 45 * 44 * 51 * 56 (1!

Louisville** WAVE -TV 45 * 40 * 56 (16) 45Pittsburgh KDKA-TV 45 * 43 * 43 * 56 (1!

Green Bay WBAY-TV 44 * 41 * 54 (20) 56 (1!

Fresno KMJ-TV 43 * 42 * 50 * 59 (1Las Vegas KORK-TV 43 * 49 (14) 38 * 53 *

Bangor WLBZ-TV 35 34 * 34 * 56 (1


manage the vast amounts of in-. rmation he has to absorb.

The charts on these pages providee kind of guidepost fact -thoseitwork affiliates in fully competi-le markets which have the highestares of audience. By themselves,?se figures do not justify a buy.tey do however, provide one guide-st which may lead to a buy, if allner factors similarly point thatty.

The figures shown here are basedan analysis of American Research

ireau reports for March, 1968.'ley are the latest in a series of suchalyses done by TELEVISION AGEer the past four years. The cur-nt one is the sixth in the series.The format has been a top -20 af-ir-the top 20 stations in share oftal survey area homes and the top

in metro share. Each of the twotegories has been further dividedto broad day parts - total day,imetime, early evening and lateght. These eight lists provide theilk of the published information ine current analysis.Also examined is the total num-T of affiliates which are leadersn terms of audience shares) ineir markets, tallied by networks -at is, how many ABC-TV affiliatese number one in their markets,iw many CBS -TV affiliates, etc.Here's how the networks compare

percentage of leading affiliatesncluding ties) using metro shareita:

ABC CBS NBCilly eve. 13.7% 42.2% 47.1%Imetime 10.8 70.6 21.6to eve. 8.8 46.1 49.0Ital day 9.8 65.7 33.3

It is of interest to compare theune type of information taken fromiovember, 1967, ARB data. Thus,to comparison is made within theune season, with the March pro -ramming modified by "second sea-m" changes as well as by whatevertch station has seen fit to change.

ABC CBS NBCIrly eve. 9.6% 38.5% 55.8%imetime 3.8 76.9 26.9

Í.te eve. 5.8 49.0 49.06tal day 4.8 68.3 31.7

It is apparent immediately that

some ABC affiliates have made im-portant gains in all day parts, butparticularly primetime. This was ob-viously at the expense of affiliates atthe other two networks. Outlets forboth of the latter made gains in spe-cific areas -CBS stations in the earlyevening segment and NBC affils forthe total day period (for definitionsof the day parts used, see caption atleft of tables) .

The ABC advances aho showed upin the analyses of home sharesthe total survey area. Here arepercentages of first places from

forthethe

March, 1968, analysis:

ABC CBS NBCEarly eve. 14.3% 45.7% 45.7%Primetime 8.6 71.4 26.7Late eve. 8.6 46.7 47.6Total day 7.6 61.0 38.1

And herefigures from

are the share of homesNovember, 1967:

ABC CBS NBCEarly eve. 11.3% 43.4% 48.1%Primetime 3.8 75.5 25.5Late eve. 7.5 55.7 39.6Total day 5.7 70.8 28.3

As might be expected, a similar

(Continued on page 52)

Leading affiliates bymetro area sharesIn 102 three -or -more -station markets ¡

ñnti C(

t;--..E

dñ-.

x

Ñ

Wausaw-Rhinelander WSAU-TV 59 (1) 58 (1) 68 (2) 64 (6)Montgomery* * WSFA-TV 56 (2) 50 (4) 74 (1) 78 (2)Binghamton** WNBF-TV 55 (3) 52 (2) 63 (4) 76 (3)Columbia, S.C.** WIS-TV 55 (3) 46 (9) 68 (2) 85 (1)Jacksonville* * WJXT 54 (5) 51 (3) 60 (6) 59 (9)Charlotte* * WBTV 48 (6) 46 (9) 59 (7) 47 *

Greenville -W ashington- WNCT-TV 48 ( 6) 45 (17) 53 (9) 65 (5)New Bern

Erie** WICU-TV 47(8) 46(9) 50 (15) 70 ( 4)Joplin -Pittsburg** KOAM-TV 47 (8) 46 (9 ) 47 * 53 *

Knoxville** WATE-TV 47 (8) 44 (19 ) 49 (17) 45 *

Las Vegas KORK-TV 47 ( 8) 50 (4) 38 * 53 *

Beaumont -Port Arthur KFDM-TV 46 (12) 46 (9) 47 * 42 *

Birmingham* * WBRC-TV 46 (12) 46 (9) 50 (15) 32 *

Cedar Rapids -Waterloo WMT-TV 46 (12) 46 (9) 61 (5) 58 (10)Mobile -Pensacola WKRG-TV 46 (12) 46 (9) 48 * 57 (12)Roanoke -Lynchburg* * WDBJ-TV 46 (12) 47 (7) 48 * 50 *

Birmingham* * WAPI-TV 45 (17) 47 (7) 44 * 55 (18)Champaign -Decatur - WCIA 45 (17) 44 (19) 49 (17) 50 *

Springfield * *Charleston, S.C. WCSC-TV 45 (17) 42 * 49 (17) 45 *

Green Bay WBAY-TV 45 (17) 43 * 53 (9) 57 (12)

Richmond WTVR 45 (17) 41 * 46 * 41 *

Shreveport KSLA-TV 45 (17) 43 * 47 * 54 *

Amarillo KFDA-TV 44 * 41 * 54 ( 8) 49 *

El Paso KROD-TV 44 45 (17) 51 (13) 46 *

Fresno KMJ-TV 44 42 * 53 ( 9) 60 ( 8)Grand Rapids -Kalamazoo WKZO-TV 44 * 49 ( 6) 35 * 35 *

Pittsburgh KDKA-TV 44 42 * 42 * 56 (16)South Bend -Elkhart WSBT-TV 43 41 * 49 (17) 44 *

Des Moines (incl. Ft. KRNT-TV 42 * 44 (19) 35 * 53 *

Dodge) * *Louisville** WAVE -TV 42 * 38 * 49 (17) 43 *

Odessa Midland KMID-TV 42 * 42 * 53 (9) 44 *

Oklahoma City* * WKY-TV 42 * 39 * 51 (13) 55 (18)Portland -Poland Spring WGAN-TV 42 * 43 * 42 * 57 (12)Bangor WLBZ-TV 39 * 38 * 40 * 58 (10)Harrisburg -Lancaster - WGAL-TV 39 * 35 * 47 * 61 (7)

Lebanon -York* *Grand Rapids -Kalamazoo WOOD -TV 38 * 35 * 47 * 57 (12)Youngstown WKBN-TV 38 * 38 * 44 * 56 (16)Albuquerque KOB-TV 37 * 33 * 49 (17) 49 *

Chattanooga WRCB-TV 35 * 34 * 45 * 55 (18)

vision Age, July 15, 1968 25

11

Making commercials abroad isno longer quite as fashionable

as it was a few years ago, when itseemed as if every creative type whohad yet to make his first Europeantrip tried to work some picturesqueold-world locale into the specifica-tions for a commercial. Once a novel-ty, production abroad, whether in astudio in Nice or on location in theSouth Seas, has become common-place.

Recently, proposals for commer-cials in foreign settings have comeunder the most intensive scrutinyfrom production heads, agency re-view boards, and even top agencymanagement.

One reason for this situation isthe posture adopted by the ScreenActors Guild, which has warnedagencies that an end must be put to"runaway production"-going over-seas for no other reason than to beatresiduals.

That practice, however, has neverbeen general, and few of the bigagencies have ever indulged in it.The notion of going overseas to es-cape residuals, and to save on below -the -line costs, has appealed mostlyto small agencies confronted withsmall tv budgets.

However, even when adding upthe commercials that are producedabroad for legitimate reasons, thetotal represents a small fraction ofthe aggregate of U. S. commercialproduction, probably less than fiveper cent.

A survey of knowledgeable peopleindicates that the notion that com-mercials cost less when producedabroad is a myth-if the commercialis "first-class" it will cost as muchto produce in England or France orGermany or Italy, even though onpaper the below -the -line costs inthose countries may seem lower thanthose in the States. Just add on thecosts of transportation, hotels, andsubsistence for the U. S. based per-sonnel involved, necessarily or ,not,in the production.

Other incidental expenses may in-clude interpreter's fees, lagniappe,bribes to customs officials, etc.,

26

especially in countries far removedfrom the centers of the industrializedWest.

But myths die hard. For example,whatever happened to the MadisonAvenue Jet Set? These, you mayrecall, Were the tv commercials pro-ducers who were always flying offto Europe at the drop of a story -board, to make commercials inLondon or Paris or Rome or Munichor Madrid or Amsterdam.

On their return to New York, theywould regale colleagues and contactswith tales of the superiority of Euro-pean production, the greater beautyof European women and models, thefantastic backgrounds they'd dis-covered, and so on. Some wouldpepper their tales with breathtakingaccounts of how they'd overcomeseemingly insuperable barriers oflanguage, custom, and red tape tobring the production in within sched-ule and under budget.

It made good listening

A decade ago the raconteurs ofthis segment of the Jet Set had notrouble finding an audience. By thosewho had not made the trip it wasconsidered adventurous to risk life,limb-and, who knows, maybe eventhe account-to go off to the wildsof Chelsea or -to try to hack throughthe vegetation on the Via Veneto inorder to bring back a lively com-mercial.

At that time, also, the Europeans,especially the French, were highlyesteemed in America for the in-ventiveness and craftsmanship evi-dent in their cinema commercials.

In 1959, a reel of European com-mercials played to packed houses inNew York, and many of the admenwho saw European commercials forthe first time at those sessions re-solved to go to Europe at the firstopportunity to tap some of that skill.

But not all who were making thetrip to Europe were single-mindedlypursuing fresh backgrounds, freshfaces, fresh ideas and fresh ways toexecute them: some were going forthe money. Producers with modestbudgets had discovered that signifi-

cant savings could sometime- be macby producing in Europe. Animatiocosts, for example, were generally ft lower. So, too, were studio rental,and crew costs. And for foreigactors, other than in Britain, no residual payments.

Then this Spring, the Scree,Actors Guild, up in arms over"runaway production" problem inmaking of feature films, beganreconnoiter the commercials frFrom the SAG office in Hollywcame the pronouncement thatunion would begin looking intomatter of the making of commerabroad for U. S. tv.

But if SAG was extending its epaign from the feature- film frolong devastated as far as Hollywbit players and extras were c

cerned, to the commercials front,was thought that few culprits Isbe found.

For it would seem that almostthe commercials made overseas foreventual U. S. tv exposure are shotoutside the States for compelling"conceptual" reasons.

Alfred R. Tennyson, vice president,commercials production. at J. WalterThompson, said that Thompsonmakes no commercial abroad unlessthere is a determining reason to doso, and the reason is never money.

"There must be a reason to go-

Who saidit's cheaper

overseas?Admen find plenty of

reasons to shoot

commercials abroad.but little chance to

save money doing it

Television Age, July 15,j1

a certain locale, usually. For onething, production abroad often costsjust as much as it would in the U. S.And even when the costs seem lower,the potential savings may be illusory,since it may take twice as long toshoot the commercial abroad as itwould have taken in the States."

Sel Shillinglaw, who supervisesestimating on commercials for JWT'sinternational accounts, said thatabove -the -line costs abroad are oftenjust as high as in the States, andsometimes higher. "Sometimes, inbidding for a commercial to be shotin Europe, the bids of productionhouses headquartered in Europe arehigher than the bids of U. S. houses."

Generally, Tennyson said, produc-tion costs in England and France areas high as those in the U. S. He addedthat apparent bargains may exist innon -European countries, "but quali-ty suffers."

If production houses are not thesame the whole world over, the abilityof U. S. commercials makers to getgood footage anywhere in the worldapparently knows no bounds.

Plan it, and you've got it"I've never had any difficulty,"

said Larry Doheny, director at Rose-Magwood Productions, who hasfilmed commercials from Ireland toTahiti to the Andes. "With properplanning, it's possible to shoot a com-mercial anywhere in the world,"Doheny added.

For the Tahiti assignment, forDoyle Dane Bernbach and Chem-

strand, Rose-Magwood got in touchwith a production man who hadworked in Tahiti on Mutiny on theBounty (the 20th -Century Fox -Marlon Brando epic). The Mutinyveteran lined up actors and extras,arranged all the details. By the timeDoheny got off the plane, accom-panied by cameraman Ernest Capar-

ros and a gaffer from the West Coast,all was ready for him. Cameras,lights, and a battery -operated Nagrarecorder had been flown in.

In the past couple of years, severalU. S. production houses have estab-


27

The words at the extreme right,delivered by Federal Trade

Commission Chairman Paul RandDixon to a group of New Englandbroadcasters earlier this year, reflectthe non -punitive line evolved by theFTC toward deceptive practices andmisleading advertising over the lasttwo decades.

"We've been trying to educate, notlitigate," said one top FTC officialabout the agency's role in protecting

the consumer from advertisingchicanery.

This policy is in sharp contrast tothat taken by the commission duringthe years immediately followingWorld War II, when, according toDixon, bureaucratic crusaders wereout for blood and publicity in theirenforcement of the laws against falseand misleading advertising. As re-lated by Dixon, the FTC was playinga "numbers game" to see how manyformal complaints could be issued.And this made many businessmen,particularly broadcasters, more thana little nervous about the commis-sion.

The change of policy came whenit began to appear that, although theFTC was making headlines, the ef-ficacy of its militant policies wasdoubtful.

How could some 1,200 FTC staff-ers with a budget that held at about$15 million regardless of the numberof complaints issued, keep effectivetabs on advertising in a booming,multi -billion -dollar economy? It justcouldn't be done, the FTC con-cluded.

A new approach had to be taken,and the FTC evolved from crusaderto persuader. In its self -reappraisal,the commission began to rely moreon voluntary compliance throughguideline programs, educating busi-nessmen about the laws on deceptivepractices. The underlying theory was,and is, that a "violation avoided isat least as much in the public inter-est as a violation halted."

However, in this evolution, thehard-core violator was not over-looked. Indeed, the new policies en-

abled the FTC to discard the scatter-gun approach and concentrate moreon the persistent willful offenders.

The first step taken in the field ofvoluntary compliance was the TradePractice Conference, designed to givea particular industry a set of rulesclarifying the FTC's application of itslaws to that industry. Later came theIndustry Guides, narrower in scopethan a TPC rule and not necessarilyvoluntary. No matter whether or notthe particular industry is hostile tothe rule, guides have been issuedbearing on such areas as tire adver-tising, cigarette advertising and shoelabelling.

The advisory opinion

A third way found to nip violationsin the bud was the advisory opinion.Until 1962, advice to businessmenembarking on a new advertising pro-gram or other course of action couldcome only from staff personnel andwere not binding on the commission.Then the FTC, giving the business-man something more than an "edu-cated guess," began to issue formaladvisory opinions binding on thecommission.

The FTC also provides industrywith guidance by rule -making sim-ilar to that employed by the FederalCommunications Commission. Afterhearings on the legality or illegalityof certain practices, the FTC willissue a Trade Regulation Rule whichwill be used to resolve relevant issuesin adjudicatory cases.

All these formal measures weretaken by the FTC to help avoid thenecessity of taking cases of allegedviolations of the deceptive practiceslaw through the lengthy litigationprocess with all the cost and legalman-hours involved.

In addition to these steps, there isa much used informal method of ob-viating a proceeding against an ad-vertiser. This involves the case of theunwitting violator, who, upon beinginformed of his violation by the FTC,promises to stop it. If he does, noaction will be taken against him. If

he doesn't, then he's in trouble.Recently there has been a flurry

of actions regarding consumer pro.tection. In February, President Johnson sent a special message to Con-gress on the subject. Betty Furnessis hyperactive in her post as theguardian of the consumer. A con-sumers' counsel has been set up inthe Justice Department.

All of this has meant more workfor the FTC. The number of con-sumer complaints received by thecommission has jumped to about10,000 annually.

One way the FTC is working to re-duce this burden is by encouragingthe states and localities to design

their own anti -deceptive practice lawsso that some violations might simplybe disposed of by referring them tothe localities where they occurred.Also, ties have been strengthenedwith the various trade associationsand Better Business Bureaus. But de-spite consumerism, there has beenno departure from the "guidance"policy, nor any increase of proceed-ings against false advertising.

When the FTC is confronted witha genuine "bad actor"-a repeatedand willful culprit, action is takenunder authority of Section Five ofthe Federal Trade Commission Act.This section simply states that "un- i

fair methods of competition in corn- t

merce and unfair or deceptive prat- -

tices in commerce are hereby de it

clared unlawful." *

Next: the formal complaint

If the alleged violator decides toresist all FTC efforts to settle oneasier terms (e.g., a promise to dis-continue the unlawful practice), aformal complaint is issued. Ten daysare given to the errant company to

decide whether to contest the chargesor not. If he fails to consent, a public

hearing is held, after which the com-mission either issues a cease -and -

desist order or drops some or all ofthe charges, depending upon the evi-dence submitted. After the cease -

and -desist order is issued, there is

{


60 -day period during which thefeged malefactor may appeal theCC decision to a U.S. Court of Ap-als.If the courts affirm the commis -)n action and the defendant defiese cease -and -desist order, he is sub -

to a penalty of up to $5,000 for,ch day he continues his unlawfulactices. The record fine in such

ises was achieved by an encyclo-!dia company which amassed a

00,000 forfeiture in its fightainst the commission.At present, the FTC must rely

itinly on complaints received fromh public in its drive against de -olive advertising. The commissionIs a staff of only four monitors toin newspapers, periodicals ands ipts of radio and television corn-prcials. The latter are furnished on(regular basis by the networks andtions. Several years ago, theres an effort to enlist all FTC per-

s1nel across the country to watcht in their off -duty hours as an extrai mitoring tool, but this practice hasme by the boards.

Tremendous reading job

the monitors read about 50,000s ipts a month, many of them seve-r pages in length and the FTC saystl.t a "substantial" number is segre-g ed and routed for further ex -á ination. The major networks pro-

v e typed scripts covering one weeko broadcasts each month, individualt'stations four times a year.

All broadcasters receive requestsfi scripts from the FTC. In the caseo individual stations, the requestsa for a 24 -hour period.

Mere is some exchange of com-p ints between the FTC and FCC,a l the two agencies maintain closeli son. This is necessary becausesine of the complaints fall into ablight zone and the jurisdictionalvstion must be ironed out.Action by the FTC is, of course,

o!inarily taken against the advertis-e rather than the station, newspaper


revision Age, July 15, 1968

From crusaderto persuader

How the Federal Trade Commissionswitched to a non -punitive approach

in policing advertising

By JAY LEWIS

No longer does the FTC presume thatonly its whip -cracking can make businessbehave itself. Instead, we have recog-nized that the moral force that keepsthe nation's marketplace in order comesfrom the vast majority of businessmenwho know that reputability pays off.

If our governmentever became so big andso prying that it couldpolice every word orevery picture that wasprinted or broadcast,we would belong behindthe Iron Curtain, ourfreedom in ashes. Bet-ter far that we put ourfaith in the integrityof private industryand that private indus-try measure up to itsresponsibilities.

Paul Rand Dixon, FTC Chairman

I

Making commercials abroad isno longer quite as fashionable

as it was a few years ago, when itseemed as if every creative type whohad yet to make his first Europeantrip tried to work some picturesqueold-world locale into the specifica-tions for a commercial. Once a novel-ty, production abroad, whether in astudio in Nice or on location in theSouth Seas, has become common-place.

Recently, proposals for commer-cials in foreign settings have comeunder the most intensive scrutinyfrom production heads, agency re-view boards, and even top agencymanagement.

One reason for this situation isthe posture adopted by the ScreenActors Guild, which has warnedagencies that an end must be put to"runaway production"-going over-seas for no other reason than to beatresiduals.

That practice, however, has neverbeen general, and few of the bigagencies have ever indulged in it.The notion of going overseas to es-cape residuals, and to save on below -the -line costs, has appealed mostlyto small agencies confronted withsmall tv budgets.

However, even when adding upthe commercials that are producedabroad for legitimate reasons, thetotal represents a small fraction ofthe aggregate of U. S. commercialproduction, probably less than fiveper cent.

A survey of knowledgeable peopleindicates that the notion that com-mercials cost less when producedabroad is a myth-if the commercialis "first-class" it will cost as muchto produce in England or France orGermany or Italy, even though onpaper the below -the -line costs inthose countries may seem lower thanthose in the States. Just add on thecosts of transportation, hotels, andsubsistence for the U. S. based per-sonnel involved, necessarily or ,not,in the production.

Other incidental expenses may in-clude interpreter's fees, lagniappe,bribes to customs officials, etc.,

especially in countries far removedfrom the centers of the industrializedWest.

But myths die hard. For example,whatever happened to the MadisonAvenue Jet Set? These, you mayrecall, Were the tv commercials pro-ducers who were always flying offto Europe at the drop of a story -board, to make commercials inLondon or Paris or Rome or Munichor Madrid or Amsterdam.

On their return to New York, theywould regale colleagues and contactswith tales of the superiority of Euro-pean production, the greater beautyof European women and models, thefantastic backgrounds they'd dis-covered, and so on. Some wouldpepper their tales with breathtakingaccounts of how they'd overcomeseemingly insuperable barriers oflanguage, custom, and red tape tobring the production in within sched-ule and under budget.

It made good listening

A decade ago the raconteurs ofthis segment of the Jet Set had notrouble finding an audience. By thosewho had not made the trip it wasconsidered adventurous to risk life,limb-and, who knows, maybe eventhe account-to go off to the wildsof Chelsea or to try to hack throughthe vegetation on the Via Veneto inorder to bring back a lively com-mercial.

At that time, also, the Europeans,especially the French, were highlyesteemed in America for the in-ventiveness and craftsmanship evi-dent in their cinema commercials.

In 1959, a reel of European com-mercials played to packed houses inNew York, and many of the admenwho saw European commercials forthe first time at those sessions re-solved to go to Europe at the firstopportunity to tap some of that skill.

But not all who were making thetrip to Europe were single-mindedlypursuing fresh backgrounds, freshfaces, fresh ideas and fresh ways toexecute them: some were going forthe money. Producers with modestbudgets had discovered that signifi-

cant savings could sometimes be mad rby producing in Europe. Animatio

$

costs, for example, were generally fa I

lower. So, too, were studio rental/ c.'

and crew costs. And for foreig.actors, other than in Britain, no residual payments.

Then this Spring, the Scree]Actors Guild, up in arms over th,"runaway production" problem in thimaking of feature films, began tireconnoiter the commercials frontFrom the SAG office in Hollywootcame the pronouncement that thtunion would begin looking into thematter of the making of commercial:abroad for U. S. tv.

But if SAG was extending its cam.paign from the feature- film front.long devastated as far as Hollywoodbit players and extras were con-cerned, to the commercials front, itwas thought that few culprits wouldbe found.

For it would seem that almost allthe commercials made overseas foreventual U. S. tv exposure are shotoutside the States for compelling"conceptual" reasons.

Alfred R. Tennyson, vice president,commercials production, at J. WalterThompson, said that Thompsonmakes no commercial abroad unless ,

there is a determining reason to doso, and the reason is never money.

"There must be a reason to go r

Who saidit's cheaper

overseas?Admen find plenty of

reasons to shoot

commercials abroad,but little chance to

save money doing it

I

26 Television Age. July 15, 1

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CV

\ rnle'1` `lrv i11`á-1

The words at the extreme right,delivered by Federal Trade

Commission Chairman Paul RandDixon to a group of New Englandbroadcasters earlier this year, reflectthe non -punitive line evolved by theFTC toward deceptive practices andmisleading advertising over the lasttwo decades.

"We've been trying to educate, notlitigate," said one top FTC officialabout the agency's role in protectingthe consumer from advertisingchicanery.

This policy is in sharp contrast tothat taken by the commission duringthe years immediately followingWorld War II, when, according toDixon, bureaucratic crusaders wereout for blood and publicity in theirenforcement of the laws against falseand misleading advertising. As re-lated by Dixon, the FTC was playinga "numbers game" to see how manyformal complaints could be issued.And this made many businessmen,particularly broadcasters, more thana little nervous about the commis-sion.

The change of policy came whenit began to appear that, although theFTC was making headlines, the ef-ficacy of its militant policies wasdoubtful.

How could some 1,200 FTC staff-ers with a budget that held at about$15 million regardless of the numberof complaints issued, keep effectivetabs on advertising in a booming,multi -billion -dollar economy? It justcouldn't be done, the FTC con-cluded.

A new approach had to be taken,and the FTC evolved from crusaderto persuader. In its self -reappraisal,the commission began to rely moreon voluntary compliance throughguideline programs, educating busi-nessmen about the laws on deceptivepractices. The underlying theory was,and is, that a "violation avoided isat least as much in the public inter-est as a violation halted."

However, in this evolution, thehard-core violator was not over-looked. Indeed, the new policies en-

abled the FTC to discard the scatter-gun approach and concentrate moreon the persistent willful offenders.

The first step taken in the field ofvoluntary compliance was the TradePractice Conference, designed to givea particular industry a set of rulesclarifying the FTC's application of itslaws to that industry. Later came theIndustry Guides, narrower in scopethan a TPC rule and not necessarilyvoluntary. No matter whether or notthe particular industry is hostile tothe rule, guides have been issuedbearing on such areas as tire adver-tising, cigarette advertising and shoelabelling.

The advisory opinion

A third way found to nip violationsin the bud was the advisory opinion.Until 1962, advice to businessmenembarking on a new advertising pro-gram or other course of action couldcome only from staff personnel andwere not binding on the commission.Then the FTC, giving the business-man something more than an "edu-cated guess," began to issue formaladvisory opinions binding on thecommission.

The FTC also provides industrywith guidance by rule -making sim-ilar to that employed by the FederalCommunications Commission. Afterhearings on the legality or illegalityof chrtain practices, the FTC willissue a Trade Regulation Rule whichwill be used to resolve relevant issuesin adjudicatory cases.

All these formal measures weretaken by the FTC to help avoid thenecessity of taking cases of allegedviolations of the deceptive practiceslaw through the lengthy litigationprocess with all the cost and legalman-hours involved.

In addition to these steps, there isa much used informal method of ob-viating a proceeding against an ad-vertiser. This involves the case of theunwitting violator, who, upon beinginformed of his violation by the FTC,promises to stop it. If he does, noaction will be taken against him. If

he doesn't, then he's in trouble.Recently there has been a flurry

of actions regarding consumer protection. In February, President Johnson sent a special message to Congress on the subject. Betty Furnessis hyperactive in her post as the

guardian of the consumer. A consumers' counsel has been set up inthe Justice Department.

All of this has meant more workfor the FTC. The number of con.sumer complaints received by thecommission has jumped to about10,000 annually.

One way the FTC is working to re-duce this burden is by encouragingthe states and localities to designtheir own anti -deceptive practice lawsso that some violations might simplybe disposed of by referring them tothe localities where they occurred.Also, ties have been strengthenedwith the various trade associationsand Better Business Bureaus. But de-spite consumerism, there has beenno departure from the "guidance"policy, nor any increase of proceed-ings against false advertising.

When the FTC is confronted witha genuine "bad actor"-a repeatedand willful culprit, action is takenunder authority of Section Five ofthe Federal Trade Commission Act.This section simply states that "un-fair methods of competition in com-merce and unfair or deceptive prac-tices in commerce are hereby de-clared unlawful."

Next: the formal complaint

If the alleged violator decides toresist all FTC efforts to settle oneasier terms (e.g., a promise to dis-continue the unlawful practice), aformal complaint is issued. Ten daysare given to the errant company todecide whether to contest the chargesor not. If he fails to consent, a publichearing is held, after which the com-mission either issues a cease -and -

desist order or drops some or all ofthe charges, depending upon the evi-dence submitted. After the cease -

and -desist order is issued, there is

i


60 -day period during which theIleged malefactor may appeal theTC decision to a U.S. Court of Ap-3als.If the courts affirm the commis -

on action and the defendant defiesie cease -and -desist order, he is sub-Tt to a penalty of up to $5,000 forich day he continues his unlawfulractices. The record fine in suchases was achieved by an encyclo-?dia company which amassed a100,000 forfeiture in its fightIainst the commission.At present, the FTC must relyainly on complaints received from

le public in its drive against de-ptive advertising. The commissionis a staff of only four monitors toan newspapers, periodicals andripts of radio and television corn-ercials. The latter are furnished onregular basis by the networks and

ations. Several years ago, thereas an effort to enlist FTC,nnel across the country to watchin their off -duty hours as an extra

onitoring tool, but this practice hasane by the boards.

Tremendous reading job

The monitors read about 50,000ripts a month, many of them seve-r pages in length and the FTC saysat a "substantial" number is segre-ted and routed for further ex-nination. The major networks pro -de typed scripts covering one weekbroadcasts each month, individual

1 stations four times a year.All broadcasters receive requestsr scripts from the FTC. In the case

individual stations, the requests;e for a 24 -hour period.There is some exchange of com-

iaints between the FTC and FCC,,id the two agencies maintain close"son. This is necessary becauseFe of the complaints fall into a

'light zone and the jurisdictionalestion must be ironed out.Action by the FTC is, of course,inarily taken against the advertis-

I rather than the station, newspaper(Continued on page 55)

evision Age, July 15, 1968

From crusaderto persuader

How the Federal Trade Commissionswitched to a non -punitive approach

in policing advertising

By JAY LEWIS

No longer does the FTC presume thatonly its whip -cracking can make businessbehave itself. Instead, we have recog-nized that the moral force that keepsthe nation's marketplace in order comesfrom the vast majority of businessmenwho know that reputability pays off.

If our governmentever became so big andso prying that it couldpolice every word orevery picture that wasprinted or broadcast,we would belong behindthe Iron Curtain, ourfreedom in ashes. Bet-ter far that we put ourfaith in the integrityof private industryand that private indus-try measure up to itsresponsibilities.

Paul Rand Dixon, FTC Chairman

3

Wichita station makes

a believer out of retailerWilliam Dodson with

color commercials thatcatch his store's imageof quality and prestige

"They agreed when I pointed outthat the traditional studio -produced,stand up commercials used by mostclothiers are short on creativity, andwould do us more harm than good ifwe tried to use them. They under-stood that whatever we were to createfor television had to be quality."

In spite of the slightly higher pro-duction costs, color made sense.Color penetration in the Wichita -Hutchinson market was nearly 20 percent, and the upper -income character-

Top: KTVH account exec (right) showsartwork of Leonard Bernstein used toillustrate "quality," one of five keywords in commercial. Below: Lance Hayes(seated), station's commercial film chief,shot, edited commercials.

Selling the toughest account in townWhat does it take to move a

merchant who's married tonewspapers and radio into tv?

The answer, KTVH Wichita -Hut-chinson discovered, is low-cost com-mercials that correctly interpret thespecific image of the store.

Through late 1966, William Dod-son, Ltd., Gentlemen's Wear, a lead-ing Wichita men's specialty store, hadnever spent a dime on television. In-stead, owner William Dodson put hisad money into newspapers and AMand FM ,radio. Among the salesmenof Wichita's three tv stations he wasknown as "the toughest account intown."

Then, in December, 1966, after sixyears of saying "no," Dodson re-versed himself and invested some$300 in a 60 second commercialfilmed in color by KTVH. The com-mercial has since run in consecutiveeight -week schedules on the station(Channel 12, a CBS affiliate). Morerecently, the original version hasbeen edited into a series of five 20-

second spots.Why the change of heart? Dodson

liked the way the station made itspitch (color storyboards, a screeningof commercials produced for otherclients), and the facility with whichthe KTVH people grasped the mer-chant's prestige -quality image andtranslated it into ideas.

"They seemed to understand rightoff the bat," says Dodson, "that amen's clothing store can take .onlyone of two merchandising approaches-quality -service or price-product-and that the only course for WilliamDodson, Ltd. was quality.

istic of color homes dovetailed perfectly with the kind of people Dodsorwanted most to reach.

To use anything less than the institutional approach would have beenout of character with the image ofWilliam Dodson, Ltd. The store'snewspaper ads have great dignity(and a lot of white space), (chileDodson himself takes to the radiowaves to discuss such non-commer-cial subjects as fashion trends in

men's clothing, and how to recognizefine tailoring.

It was foreordained, then, that thetv commercials would make no men-tion of price, products or brands. andthat no shots of the store's interiorwould be used.

Following the initial meetings withDodson, Bill Beougher, account exec-utive at KTVH, huddled with LanceHayes, the station's commercial filmchief, and other staffers, to brain-storm a format. They found it bycoming up with five words that bestfit the image Dodson wanted to pro-ject, and linking each with a pictorialrepresentation.

The word -picture combinationswere elegance-Rolls Royce, quality-The New York Philharmonic, taste-a famous painting, classicism-aclassic sculpture, and tradition-aBritish guards regiment.

Once the visuals were set, copy wasa cinch. KTVH kept it brief, restrainedand related:

"William Dodson, Ltd., Gentle-men's Wear, is tradition-thoughthey are not the Royal HighlandFusiliers. . . William Dodson, Ltd.,


Television Age, July 15. ¡Y()8

A PROGRAM MAN'S . . ViewpointsCATV: Brave New World

Recent Supreme Court decisions have clarified thestatus of CATV in several important areas, and at the

ame time muddied up the waters in others. Many peopleere surprised at the decisions and thought they should

lave been reversed. The point is no longer legal. Nowhe question is what this will do to programs in the sub-criber homes and how much it will cost.

As far as copyright is concerned, the facts are prettylear. CATV systems are a substitute for each individualousehold erecting and maintaining a high enougherial to bring in television signals from the air, wher-ver they may be. In general, the systems bring a variety,f programs to a home that could not normally get a sig-al-or clear signals to a home that gets a poor signal.In cases where CATV initiates programs, it becomespay tv system or a wired tv system, limited to sub-

zribers' homes, and paid by advertisers in respect toieir known limited circulation. The latter represent only0% of CATV.There's no doubt whatsoever that CATV is beneficialthe subscriber. The more choice of programming it

ffers, the better for him. The damage it does is in di-eting the audience to the stations in the area normallyapplying the viewer. However, the FCC never intended

restrict areas as monopolies. The FCC should encour-ge as many stations being available to the viewer asre technically feasible.Another advantage of CATV is in the extension of

adience to outlying independent stations, which increasesreir value as advertising media. But all in all, whetherr the country or in the city, the consumer benefits by?tting more programs and getting them all as technical -

perfect as possible-all this for about $5 a month.The decision to have the FCC control CATV was strange.

echnically, CATVs use telephone lines and do not inter -

re with television signals. The original purpose of theCC was to assign air waves so that the signals would)t bump into each other. While it's true that the FCC.gulates the AT&T charges to a degree, this is an ex-nsion of power that was not in the orignal FCC legis-tion.As a matter of fact, the FCC is so loaded with unheard

ryes, and so slow, that the CATV service, which may be,neficial to the community, will be held up an untowardnount of time. Group ownership of CATvs will also

involved, and a limitation of originated programs willimposed while the FCC studies the problem. Remem-

'r how long the freeze was imposed on VHF licenseshile UHF was studied?Equally surprising was the decision that CATVs willrt have to pay royalties for sending the signal to theirhscribers, since "the systems are viewers and not orig-ators"-unless Congress decides to legislate a regulationthe contrary. While this principal is supported by the

finition of CATV, the companies had been resigned tos a nominal amount of their revenues for the privilege.is would have meant a pass -on cost to the subscribers.

The big payout for the consumer and for the CATVowner is the future by-products of the business: localprogramming paid for by local advertisers, local sportsevents, current movies uninterrupted by commercials,and facsimile newpapers. This potpourri of goodies wouldalso include a shopping guide on unused channels, andeven a help wanted list. Surely all this falls in the cate-gory of improved service for the viewers.

The biggest contribution CATV makes is to equalizethe signals of television stations. The first guys in gotthe best channels, the lower ones. The last ones in got thedogs. Therefore, NBC and CBS, in that order, have astrong advantage technically over everybody else. By re-transmitting the signals and giving them equal value,CATV makes it possible for ABC, independent stations,minority or special programming stations, UHF, and edu-cational stations to compete on an equal level with thegiants. That's supposed to be the name of the game.

It is the opinion of several leaders in the broadcastfield that most homes will receive the television signalsof the future directly on wire without atmospheric inter-ference of any kind whatsoever. There is another opinion

Irving Kahn (c.) head of TelePrompter, eyes CATV equipment.

that satellites will transmit signals to the country withmultiple impulses, thus eliminating many of the AT&Tconnections and transmitters, and leaving local stationsto do local programming.

The point of all this is that advertisers are going tohave many problems in the future-some good and somebad. Their pat little world of network feeds to local sta-tions in major markets getting the greatest share ofaudience is going to be all shot to hell by the inevitablegrowth of CATvs, especially in the big cities where recep-tion is notoriously spotty.

The networks are going to have to work hard to pre-serve their audiences. They are going to have to sharemore of their programs with independents and with paytv. This can only mean lower prices as audiences decline(if they do), and bigger bargains on independent sta-tions. The programmer is going to be judged solely onthe attractions he offers, and not on his signal.

The court decisions are now over, and the wheels willbegin to turn that will make a bright new world forall viewers in the U.S. It remains to be seen whether theFCC will make it all feasible or whether this brightfuture will be avalanched under tons of red tape andcommittee studies.-J.B.

iw ision Age, July 15, 196831

UP, UP AND AWAY

Movies may be better than ever be-fore long, if Howard Zieff succeedsin getting some time off from com-mercials making next year so he canmake his first feature film.

At a time when many observersconsider most American moviessloppily made, Zieff could contributea welcome tidying -up. Zieff is a per-fectionist, a fanatic for detail: re-cently, before shooting a test com-mercial for a non-existent product,he spent two days screening as muchof the tv footage of the Army -Mc-Carthy and Kefauver-Costello hear-ings as he could lay his hands on.

The premise of the commercial wasa spoof of a Congressional hearing,this one on charges that the product,a prototype for a candy bar thatexisted only on the drawing boardsof Suchard and its agency, Wells,Rich, Greene, plagiarized some of thefeatures of three of the best knowncandy bars.

On another occasion. Zieff packedan assistant off to Europe to find a"Frankenstein castle" for a Volks-wagen spot, and kept him hoppingfrom Schloss to chateau for weeks,checking out hundreds of castles, be-fore coming upon one that would do,the Marksburg castle on the Rhine.

Zieff, who is currently bookedsolid for commercials assignmentsthrough this Fall, has long wantedsome free time to make features.

Last month, to relieve some of thepressure of running a busine.s, hesold his company, Zieff Films, toMPO Videotronics, the biggest of thecommercials -making studios (currentbillings: over $15,000,000).

With MPO handling the book-keeping, Zieff will continue to oper-ate as an independent commercials -maker, supervising all his own workfrom start to finish, from prepro-duction planning to casting to finalediting. He is now an importantstockholder (over $1 million worth)in MPO, and will use the soundstagesand other facilities of MPO for in-terior jobs.

Zieff will work on commercialspart of the year, on features the rest,and he will continue to work out ofthe neo -Romanesque townhouse, a

former club, on East 29th Street, thathas been his headquarters recently.

The clubhouse contains a castingoffice and editing rooms, a billiardparlor/screening room on the topfloor, and a small photo studio onthe ground floor for rehearsals.

Zieff believes in thorough rehears-ing of casts before going into pro-

ZIEFF DIRECTING

duction. He also believes that "you'vegot to do your homework." To himthis means the careful study of aboutsix pages of shooting script everynight, a study that entails the work-ing out of all master shots and re-verses.

By the time he goes on set or onlocation, he knows what shots heseeks. Yet to get the film right, heshoots thousands of feet for the finalcommercial. Where the most experi-mental and improvisational features -

makers, Godard, for example, areconsidered extravagant for shooting"10 -to -one," Zieff shoots 100 -to-one.

Casting is a continuing process atZieff Films. Howard Zieff and his 15 -

man staff keep a file of thousands ofactors, many of them on audition -

videotape, and every working daymore actors and models show up fora turn before the Sony videotape re-corder. As a result, no cattle calls arenecessary when a job is begun. Zieff'sattention to casting has won himseveral awards for casting alone.

Zieff's perfectionism pays off. Hiscompany grossed more than $1 mil-lion last year.

CATCHING UP

An easy way for agency ad makersto catch up on the competition is be-ing offered by a New York steakhouse, The Tin Lizzie. Every Tues-day, the restaurant runs a luncheonscreening of an agency reel. On theTuesday schedules are 15 -minute

reels from Wells, Rich, Green4Spade & Archer, Benton & BowledJ. Walter Thompson, Ted BatesCo., BBDO, N. W. Ayer, and Needjham, Harper & Steers.

CLEANING IT UP

"We will never include the prurient and sinister values of the Weirdo Superhero school which, we believe have contributed to the frustrations of today's youth," said J. OrionBrunk, co -producer with Four StalInternational of The Kids USA-Su-pershow, a series of 60 -minute pro-grams pitched at youngsters from sixthrough 14. Brunk said the series"will be a bold departure from cur-rent children's Saturday morningprograms," that it would "reportand depict the wholesome side ofthe world of children." Brunk, a iswriter, said he has been working onthe idea for four years.

Murakami-Wolf Films and BingCrosby Productions are co -producingZounding People, an animated half-hour children's series pitched at thenetwork Saturday morning lineups.The show is reportedly non-violent.

TeleFeatures is pitching advertis-ers looking for non-violent children'sprogramming on the virtues of TheAdventures of Tin Tin, a series of60 -minute color specials. Tin Tin isbased on Tintin, hero of the booksthat have long been favorites of

European children and adolescents,and even adults, and that now haveconsiderable U.S. readership too.

The Tin Tin series is a mixture ofdiscovery, adventure, and humor, andthe closest thing to violence in it is

an occasional bit of slapstick.

CASTING PROBLEMSCasting American Cancer Society

cigarette commercials has been aproblem for Lord, Geller, Federicoand Partners, New York, volunteerad agency. Few professional com-mercials actors wished to incur thedispleasure of the big cigarette ad-vertisers, or their agencies. Amongthe "actors" finally cast were admenfrom other agencies, a pub waitress,a local tour hawker, and a nightclubsinger. The commercials were filmedby Motion Associates, with Paul

32. Television Age, July 15, 1968

[organ as producer, Jack Horton asirector.One of the new commercials re-

roduces the boy -and -girl motifssed by advertisers, in which theroduct serves as a means of court -rip communication. The voice over.11s the story: "Cigarette smoke con -tins some interesting elements: car -on monoxide, formaldehyde, benzo-yrene, hydrogen cyanide." As Hend She signal to each other acrossre rug with cigarette semaphore, the)py continues: "Heavy cigarettenokers inhale about 36 pounds ofir in a lifetime, and, on the average,ise about one minute of life foreery minute they smoke."As She laughingly lights His ciga-

tte with a candle, the voice over)ncludes: "So why are these peopleugging?"In another spot, three Bad Guys,1 with cigarettes dangling from lip,irround a Good Guy in a Westernnoon. As they begin to menace him,ey all break into cigarette -coughingts. The Good Guy, disgusted, walksway. Voice-over: "Cigarettes-iey're killers."Results of a study conducted for

re society showed that there wasgarette smoking on two out of fiveetwork tv programs in primetime,Dt counting commercials, of course.o conduct the survey, Liebermanesearch, Inc., monitored 258 pro -rams in the period April 15 to May5. Smoking occured on 41 per centI all programs monitored, with aigh of 73 per cent for movies, fol-'wed by 71 per cent of action-ad-mture shows.There was smoking on only 15 per

.nt of situation comedies, on only,ur per cent of Westerns, and nonet all on children's programs. In atter to the heads of the three net-orks, William B. Lewis, boardiairman of the society, said heoped the networks would cut downn smoking.

O COOL IT

Triangle Stations is offering freeall U. S. tv stations a series of 60-

rcond and 20 -second spots urgingtizens to refrain from violence. Ap-earing in the spots are Mrs. Martinuther King, Senator Edward BrookeR., Mass.) and other eminentegroes.At the same time, Triangle is syn-

leating two 60 -minute specials

Advertising Directory of

SELLING COMMERCIALS

Alberto Culver Knox Reeves

SARRA, INC.

Avis Doyle Dane Bernbach

Avis tries harder.PELICAN PRODUCTIONS, INC., New York

American Airlines Doyle Dane Bernbach

VIDEOTAPE CENTER, New York

Chrysler Corp. Young & Rubicam

FILMFAIR, HOLLYWOOD

AT&T N. W. Ayer & Son

ELEKTRA FILM PRODUCTIONS, New York

Clairol -Numero lino Foote, Cone & Belding

LIBRA PRODUCTIONS, INC., New York

Armour "Texas Chili" Foote, Cone & Belding

GERALD SCHNITZER PRODUCTIONS, Hollywood

Coca Cola Bottling Company McCann-Erickson

FRED A. NILES-Chicago, Hollywood, New York

'elevision Age, July 15, 1968 .i.;

called Whatever Happened to Law?One treats attitudes towards the po-lice, towards petty crime, and to-wards gun control; the other exploresthe attitudes of police towards thecitizenry.

Meanwhile, Triangle Productionsis taping three entertainment specialswith The Doodletown Pipers, in aventure with Management 3 as exec-utive producers.

AVERTY'S SOMBRE FEATURE

Jean-Christophe Averty, the Frenchtv satirist and chronicler of jazz, hasbeen working in other genres lately.Averty, on a trip to New York inconnection with a short industrialfilm he has made for Du Pont ("TheFour Elements"), mentioned that hehad produced a sombre feature forFrench television, Un Beau Tene-breux, based on the novel by JulienGracq.

But before long, Averty will bereturning to the light-hearted vein inwhich he has been working for thepast decade. For French producerMag Bodard, he will direct a featurefrom his own musical -comedy scripton how jazz first came to Paris in1918.

Earlier this year, Averty's Becaud& Co., "not to be confused withABC -TV's Becaud special," won theBronze Rose at the Montreux TvFestival. Averty refused the trophy.He feels his Becaud deserved theGolden Rose.

WHO READS MAY RUN

Group W kicked off an across-the-board tv reading course on its fivestations. The course, called ReadYour Way Up, runs for six weeks.

The 30 half-hour programs, taughtby Dr. Melvin Howards, director ofthe Reading Improvement Center atNortheastern University, range fromreading for comprehension to read-ing for pleasure.

Also part of the course is instruc-tion in ways to read more rapidly,ways to build vocabulary, and waysto use libraries and reference books.

The course was put together at the

instigation of the Manpower Educa-tion Institute, a non-profit agency.James J. McFadden, national directorof the institute, said the course was"particularly suited to the needs ofthe unskilled and hard-core unem-ployed whose reading deficiency hasblocked the road to employment oradvancement."

The course is expected to be use-ful to the millions of young peopleinvolved in summer job -training pro-grams. A reading kit with courseoutlines, lesson reviews, etc. is avail-able to viewers through the institutein cooperation with the Urban Coali-tion, the National Alliance of Busi-nessmen, city and state welfare de-partments, neighborhood YouthCorps, religious organizations andthe Department of Education ineach city.

NEW WINGS

In Hollywood, Sandler FilmCommercials is adding on a newwing of offices to house the com-pany's new institutional division.

SANDLER, LOUDON, RIDGEWAI

The studio is expanding into the pro-duction of industrial, P.R., and edu-cational films. Working with AllenSandler are Dick Ridgeway and BillLoudon, who joined the studio earlier

MUSIC BY

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

this year. Loudon and Ridgewaybe responsible for sales in thedivision as well as for sales incommercials division.

KILLY FOR CHEVY

Wolper Productions is filmingspecial on Jean-Claude Killy, th tFrench champion skier who woithree gold medals at last winter'sOlympics in Grenoble. Chevroletwhich had signed Killy to plug thecompany's sportscar line, will sponsor the special on ABC-TV in January.

The special is being filmed thissummer in the Alps and in the UnitedStates. Bud Rifkin, president oí

Wolper Productions, said the film

will show "how Killy sees the missldand how the world sees him." Headded that the film will also detailsome of the exhaustive processes thatgo into the making of a championskier.

MIME TROUPE ON ROAD

Have You Heard of the San Fran-cisco Mime Troupe?-that's the titleof an hour documentary KingScreen Productions is releasing to

tv stations around the country.The film tells of the work of the

troupe, a group which plays in publicparks and on the street in an attemptto awaken the populace to some ofthe realities of contemporary life.Using masks and costumes takenfrom the classic commedia dell -arte,the troupe improvises skits, pattersongs, and satires on the war in VietNam, racial hatred, money-grubbing,you name it.

The film also includes large partsof the Mime Troupe's one formalpresentation, a minstrel show playedby both black and white actors all inblackface, that savagely burlesquesthe racial situation.

The color film opened last monthat an art theatre in New York. RenateAdler of The New York Times calledit "a bulletin from another, morecolorful world, a kind of AmericanLa Chinoise."

DISSOLVING RUBBER CHICKEN

On July Fourth, Norwich Pharma-cal through Benton and Bowleskicked off a campaign for Pepto-Bismol plugging the benefits of theproduct to the stomachs of politiciansplagued by the prevalence of rubberchicken on the campaign trail.

3-1 Television Age, July 15, 1968

,JE VIVA HOCKEY!"Or "Hockey Hon -to !," dependingwhat country you're in, Mexico or

.pan. To broadcasters in both thoseuntries CBS Enterprises has sold,me of the last winter's Nationali ckey League games, on video tape.

Telesistema Mexicano, CBS En-tprises sold nine of the 14 NHLImes; to Tokyo Broadcasting Sys -

in, the company sold the tape of theJal game of the Stanley Cup playoff,11 championship game between theI>ntreal Canadiens and the St. Louislies.

Commenting on the sales, the(airman of the League, William M.jmings, said professional hockeyIll become "a truly internationals)rt," and that the sales are "arijor breakthrough."

'IE BRITISH PRESENCE

Independent Tv Corp., the over -5S distribution wing of Britain'sisociated Tv, has reported severalses of programs to the three Ameri-c i networks for the coming season.ABC-TV signed up for a series of

viety shows with Tom Jones. CBS -ir bought a documentary called Thelchanted Isles, about the Galapagoslands. NBC-TV bought a 90 -minutepgram composed of three originalc acters. Sean Connery is in oner them, Michael Caine in another,lid Scofield in the third.Meanwhile, ITC is collaborating

r h NBC-TV and Norman Felton ont: production of a 60 -minute seriese led The Strange Report, in whichthony Quayle will play a crimin-

o gist.

IIUBLING UP DOWN UNDER

n Sydney, Fremantle Internationals 3 a series to two competing net-rks, the Australian Broadcasting

Cnmission's (non-commercial) net-wrk, and the commercial TCN web.'h show, called Woobinda (that'sAorigine for "healer"), is the taleo a veterinary in the Outback. Ap-o ring in the series as the doctor'sawted son is Bindi Williams, thefit Aborigine to have a regular!cling part in a tv series.

'he two networks will run the 26h F -hours of the show on an alter -n ing basis. Woobinda is now beingfiled in color on location in theOtback. It is a co -production be-tr en Fremantle, NLT Productions,all Ajax Studios.


SELLING COMMERCIALS

Continental Electronics E. A. Korchnoy

JAMIESGN FILM COMPANY, Dallas

Hazel Bishop Spade & Archer

JEFFERSON PRODUCTIONS, Charlotte

Coppertone Lake-Spiro-Shurman

WCD, INC., New York

Homelite Chainsaws Soderberg & Cleveland

KING SCREEN PRODUCTIONS, Seattle

Dr. Scholl's Exercise Sandals N. W. Ayer

ROSE-MAGWOOD, London

Humble Oil & Refining Co. McC-E

WGN CONTINENTAL PRODUCTIONS, Chicago

Ezcedrin "Silhouette" Young & Rubicam

PGL PRODUCTIONS, INC., New York

Keds Doyle Dane Bernbach

PAUL KIM & LEW GIFFORD, New York

Tevision Age, July 15, 1968 35

i _

ZOOMING IN ON PEOPLEJACK ARBIB moved to CBS Enter-

prises from CBS -TV network sales,as director of licensing and mer-chandising development. Arbib re-places Arnold Lewis, who left to joinLicensing Corp. of America as di-rector of sales.

Arbib joined CBS a year ago, aftertwo years at ABC Films as executive

ARBIB

vice president. Earlier, Arbib wasan account executive at John Blair &Co., circulation manager of the NewYork Daily News, and director ofsales for NBC Films.

JAMES "JIM" H. SCHOONOVER

joined Trans -Lux Tv as eastern di-vision sales manager and assistantto national sales manager Gerald E.Liddiard. Schoonover had been withHartwest Productions, and earlierwas general manager of stations inupstate New York and in Oklahoma.

DANIEL B. MELTZER joined WBCProductions as assistant productionmanager. He had been with ABC asstudio operations scheduling super-visor, and earlier worked as a pro-duction assistant with Bob Drew As-sociates, Q.E.D. Productions, andSturgis -Grant Productions. At groupW, Meltzer replaces Roland O. Reed,who left to become program managerof WNEP-TV Scranton.

In Canada, ANTHONY ROBINOW

N I Film ServicesMadison. .Milwaukee

ROCKFORDe';......

Quad Cities é Peoria

Northern Illinois Film ServicesCOMPLETE EDITORIAL SERVICESPRINT DISTRIBUTIONCentrally located for SouthernWisconsin and Northern Illinois.

P.O. Box 821 Rockford, III. (815) 965-2507

Chicago

joined Screen Gems (Canada), Ltd.,as director of production. He has di-rected films for the National FilmBoard of Canada, and worked asstory editor for a series of dramason the Canadian Broadcasting Corp.'snetwork. Earlier, he produced Mar-riage Confidential for Screen Gems(Canada) . Robinow also spent twoseasons with the Shakespeare FestivalCompany in Stratford, Ontario.

RUSS COUGHLAN has joined NorthAmerican Television Associates assales manager. A former disc jockey,Coughlan was sales manager of KOGOSan Francisco.

JAMES M. BUXBAUM has beenelected executive vice president ofIvan Tors Films. Buxbaum joinedTors in '57, later became a vice presi-dent. Before joining Tors he waswith the William Morris Agency onthe legal staff.

AD MEN

At Ted Bates & Co., P. DONOVANCRAGIN and JOHN M. FLYNN wereelected vice presidents and creativesupervisors. Both men became copygroup heads last year, Cragin onAmerican Chicle, Flynn on ChaseManhattan and Carter -Wallace. Crag -

in joined Bates as a copy -contactman in '62; before that he was anaccount executive and copywriter atMarsteller. Flynn joined Bates twoyears ago as a senior copywriter;for three years before that he was acopywriter at Benton & Bowles, andearlier at BBDO in Boston.

COMMERCIALS MAKERS

TIBOR HIRSCH, a director, hasjoined EUE/Screen Gems. Hirschhad been with Directions Visual, Inc.,(DVI) for the past two years as di-rector of photography.

STANLEY PRAGER joined MPO Vi-deotronics as a director. Prager is aveteran director of Broadway playsand musicals, tv programs, and fea-ture films. On Broadway he directedDon't Drink the Water, Come BlowYour Horn, and other shows. For tvhe directed the ABC-TV Patty DukeShow for two years, NBC -TV's Car54, Where Are You? for one year.

As for movies, Prager directedMadigan's Million, a feature film withDustin Hoffman and Elsa Martinelli,soon to be released, and The BangBang Kid.

WILLIAM DWINNELL joined RSound Studios as a sales execuDwinnell had been a commerproducer at J. Walter Thompsonthe past six years. Earlier, Du innwas a tv director with the New YoState ETV project.

JOSEPH A. CONTE joined Produl

ing Artists Inc. as vice president flbusiness affairs and developmer,

41

CONTE

Conte has been at Videotape Productions of New York as director oadvertising and marketing, and a

assistant to the president. Earlier hlwas with Allied Maintenance Corpand with I.T.T.

LOUIS ROSENBLOOM, JACK P. CAMPBELL, ANGELO J. MINI, and DONALIR. A. EMIG joined Bebell & BebeliColor Laboratories, in posts in the.company's motion picture divisional i

Rosenbloom, who had been chiefof photographic chemistry at Du ArtLaboratories and for 12 years beforethat was with Color Service, tookcharge of photographic chemistrycontrol in the B & B division. Camp-bell, who was with De Luxe for 22years, became supervising managerfor all developing operations.

Mini, who had been with \Irlvie-lab for seven years and Du Art fortwo, became customer service mana-ger. Emig, who had been with Du Artfor four years and for 10 years beforethat in Hollywood was a color nega-tive developer at Technicolor, Con-solidated Film Industries and Holly-wood Film Enterprises, came to B&Bas color negative developer.

Bebell & Bebell's motion picturedivision is now doing scene -to -sceneadditive color corrections in a littleas a 15 -frame change.

LOADING UP

In Indianapolis, National Telepro-ductions ordered some $1,200,000worth of equipment from Ampex,

;f, Television Age, July 15, 1968

cost of it to go into a 40 -foot trailer.nto the van will go an Ampex 2000B'TR, and a 1200A VTR, along withix Marconi color cameras. The mo-ile unit is being designed and con-tructed by Ampex' special productsepartment working with National'sngineering department.

:INE-VOX

Lawrence Jacobson, former execu-ve producer on the Carlton Fred-icks Show, set up a production out-s called Cine -Vox Productions.Torking with him in the tv area areeonard Olsheim, formerly with Wil-am Morris, as vice president, andoss Charles, formerly with Hartwestroductions, as sales manager. Syn-cation of eventual Cine -Vox prop -ties will be handled by Spangler1levision, headed by Larry Spang-r.

OR THE RECORD

In Miami, Film Sound, Inc.fanged its name to Film Record-ig, Inc. Change was made, accord -g to Grant H. Gravitt, president,.cause the original name is similar

that of a New Jersey company.to Miami company was set up thisar by Gravitt, who also heads up1I -Air Interests, and by M. L.,lack) Emerman, president of Cri-ria Recording Studios, Inc.

CAGES AND CAMERAS

F&B/CECO, the big motion pic-re production equipment rentalm, is now also in the sound -stagental business. The company has.en over the former Fox Movietoneidios and buildings on the Westale of New York, and has set up an ision, called Film Producers'vices, Inc., to rent and operate

space.Along with the big rental stages,

lºre are cutting rooms, a scenery loftid carpentry shop, a prop loft,e eening rooms, and offices. Arthur1 rman, president of F&B/CECO,Ed the company is on the lookoutIt yet more stages: "New York ur-Intly needs more and better soundvtges." He said his company was`raking every effort to locate, pur-ase, or construct" the needed fa-ities.In the meantime, the F&B/CECOsidiary is renovating the thirdr of the Movietone studios.

HIGH-RISE

The New York office of JeffersonProductions, the Charlotte com-mercials - taping facility, has beenmoved to the penthouse of 501 FifthAvenue. The New York office isheaded by Bert Saperstein.

GILLIGAN'S WORLD

United Artists racked up 17 moresales of Gilligan's Island, for a totaltally of 100 markets since the showwent into syndication runs lastSeptember.

The latest sales were to WMAR-TVBaltimore, KMBC-TV Kansas City,WTAR-TV Norfolk, KARK-TV LittleRock, WKEF Dayton, KMID-TV Mid-land, KFDX-TV Wichita Falls, WJBF-TVAugusta, WFMJ-TV Youngstown,WHYN-TV Springfield, WSJS-TV Win-ston-Salem, WDEF-TV Chattanooga,WNBE-TV New Bern, WDBO-TV Or-lando, KATC-TV Lafayette, WTVW-TVEvansville and KSBW-TV Salinas.

Meanwhile, UA-TV racked up 15sales of Rat Patrol. Among the buy-ers were wvix New York, KHJ-TV,Los Angeles, KRON-TV San Francisco,WFIL-TV Philadelphia, WHDH-TV Bos-ton, and KGMB-TV Honolulu.

STEVE SCORES

Filmways reports sales of TheSteve Allen Show to 20 more sta-tions, for a total lineup of 40 stations.The variety series kicked off lastApril on KTLA Los Angeles and onwoR-Tv New York. The series is dis-tributed by Filmways SyndicationSales and by Firestone Film Syndica-tion, Ltd.

The new markets coming into thelineup are WBAL-TV Baltimore, wGR-TV Buffalo, WFBM-TV Indianapolis,KTNT-TV Seattle -Tacoma, WJAR-TVProvidence, WICU-TV Erie, WOKR-

TV Rochester, WFLA-TV Tampa.Also WKEF Dayton, WLEX-TV Lex-

ington, WHTN-TV Huntington -Charles-ton, WKOW-TV Madison, KTAR-TV

Phoenix, WAOW-TV Wausau, KJEO-TV Fresno, WVTV Milwaukee, KHQ-TV Spokane, WXOW-TV LaCrosse,KSHO-TV Las Vegas, and KOIN-TVPortland.

I SPY AND THE F.B.I.NBC Films chalked up 11 more

markets for I Spy, and WarnerBros. -Seven Arts reckoned that TheF.B.I., the ABC-TV series which WB-7 Arts distributes around the world,is on the air in six languages and in36 markets abroad.


SELLINGCOMMERCIALS

Kellogg's Leo Burnett

PANTOMIME PICTURES. Hollywood

National Shawmut Bank, Boston Harold Cabot

FILMFAIR, NEW YORK

Southern California Edison Grey Advertising

SANDLER FILM COMMERCIALS. INC.. Hollywood

Thermo King Air Conditioners Fischbein Adv.z;n+it111111111IUtII IIlip

PACIFIC COMMERCIALS, Hollywood


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CHICKEN OR EGG?

"The music in commercials hmore effect on popular music than itgenerally realized," says compose]David Lucas, who pioneered in bring.ing rock into commercials scores.

Lucas is not talking about the factthat a lot of commercials scores makeit to the pop charts; he's talkingabout the influence of the craft ofcommercials sounds on the writing,of groups. In Lucas' view, many.groups are learning something aboutdiscipline and form from listen'to the commercials.

At the same time, Lucas feelsmakers may err in their eagernesssign the pop groups of the mom 'for compositional chores as wellfor performance.

"The essence of the craft is tocreate music that will sell, and to dothis you need experience in writingmusic for film, and a knowledge ofadvertising."

Now working with Lucas in theyoung composer's studio is Joey MLevine, producer of The 1910 Fruit uGum Company, and The Ohio Ex-press group, and a member of Lucown group, The Pendulum.

TALENT AGENCY MERGER

Trans -Beacon Corp. is acquiringtwo talent agencies, General ArtistsCorp. and Creative Management As-sociates.

The proposed merger will be im-plemented through the issuance ofTrans -Beacon stock to cover all the ,;

outstanding shares of the two talentagencies. These will be operated ona divisional basis, under the nameTrans General Artists Corp.

PROGRAM NOTES -

In Wichita, the National Federa-tion of Press Women awarded itsfirst prize for tv programs to an

episode of Judd for the Defense. Thewinning script was called "To Loveand Stand Mute," and told of the ef-forts of a deaf mute couple to adopta child with normal hearing andspeech.

CREDITS

Screen Gems awarded a vice presdency to Larry Werner, post produttion executive in the company'sprogram production division. In NetYork, Screen Gems promoted Robe]D. Dust and Fred Keshner to assistant controllers.

i1


TELEVISION AGE

Dptimism about spot billings for1968 was bolstered this month

e Procter & Gamble's buys for itsOw fiscal year (starting July 1)owed into rep offices.this issue's spot buys reflect the

Sp giant's usual heavy use of spot.the main, Procter It Gamble places

01 -year buys for various products,+]rich often share piggybacks withuys placed out of any of the com-any's 11 ad agencies.

Last year, P&G fed $78,878,700Ito spot, according to the Televisionbureau of Advertising, and this year,to reps say hopefully. looks evenotter.One sales manager, referring to

lavy avail requests, suspects thisMy reflect a higher - than usualmount of new product advertising

come.There may be a lot of action in theay of new products," he said. "Theuys seem to be spread pretty wellcross the board. So much so, that'd say this looks like a really bigear for spot."

Right now a lot of the spot actin i -

y is on Pace, a home permanent outf Dancer - Fitzgerald - Sample thatne rep describes as "really eatingp a lot of Procter & Gamble's moneyght now."

JULY 15, 1968

a review ofcurrent activityin nationalspot tv

Commercials for the product tookoff shortly before issue date. Actionis also expected with P&G's enzyme -active products like Gain, beingtested in western and southwesternmarkets as well as upstate New York;Biz, active in Syracuse and Omaha;and Tide XK, bought throughoutthe Midwest.

One rep was careful to point outthat current activity is basically alongP&G's usual lines. "This heavy spotbuying happens every time the com-pany brings out new products."

When P&G introduced Thrill andBold, for example, he said, they spent

Jelin Tintko buys on the AmericanTobacco Cigars, Alitalia and VeniceTourist Bureau accounts at GardnerAdvertising, New York.

REPORT

in spot some five or six times asmuch as they would for an establ-lished brand. One marketing man,illustrating one instance, said P&Gis spending $6,000 a month for Pacein LaCrosse, Wis.

A rep sales manager cautions,"Once a P&G product has nationaldistribution it is pulled out of spotand goes network. It happens everyyear and is just something we haveto live with.

"But," he adds, "every year bringswith it more new P&G products andmore money for spot."

A detailed study of Procter &Gamble is being readied for theJuly 29 issue of TELEVISION AGE.

American Home Products Corp.(John F. Murray Advertising, New

York)Commercials for various AMERICANHOME products will be on the airthrough the early part of next month.Fringe and prime piggybacks will be usedexclusively to carry the message towomen in 38 markets. Carol Posa,Mary Tricoli, Bruce Jordan and DavidRubin are the buyers.

Best Foods Div. Corn ProductsCo.

(Foote, Cone & Belding Inc., NewYork)

cirri. l¢r. hill I.i, 1068 39

COUNT ONKOVR

FOR ACTION',ACRAMENTO

STOCKTON

CALIFORNIA

Put your message on televisionstation KOVR and watch yoursales take off. KOVR covers the$5.3 billion Stockton/Sacramentomarket - California's Third TVmarket. And, KOVR's unexcelledlocal news and community ser-vice programs, plus high -ratedABC network shows attracts theright audience every telecastinghour. So, get your products offthe ground - get on KOVR inStockton /Sacramento.

Data Source: Sales Management, June 1967Effective Buying Income

o KOVR J7

McCLATCHY BROADCASTINGBASIC ABC AFFILIATE REPRESENTED

NATIONALLY BY KATZ TELEVISION

Spot (From page 39)

A six to eight -week buy for NUSOFTfabric softener breaks July 29. Day aswell as fringe minutes will be used tocarry the product message to womenin about 47 markets including FortWayne, Green Bay, Phoenix, Youngstownand Wichita. Judy MacGregor andBetty Booth are the buyers.

The Borden Co.(Ross Roy Inc., New York)Commercials for WHITE LAMBTHROW -AWAY DIAPERS will he on theair in some markets' till August 18.Day as well as early and -late fringe 30vwill be used to carry the productmessage to women in about 10 markets.Credit Dave Champion with the buy.

The Borden Co.(Young & Rubicam Inc., New York)A 13 -week buy for BORDEN'S YOGURTbreaks at issue date. Early and latefringe 30s will be used to carry theproduct message to both men and womenin the New England markets of Hartford -New Haven, Providence, Boston andSpringfield -Holyoke. Credit JerryGelinas with the buy.

Bristol-Myers Co.(Doyle Dane Bernbach Inc., New

York)Commercials for AMMENS MEDICATEDFOOT POWDER will be on the homescreen till August 25. Fringe andsome prime 30s will be used to reach bothmen and women in Mobile. Tom Goodwinis the buyer.

Brown & Williamson TobaccoCorp.

(Ted Bates & Co., New York)Commercials for KOOL cigarettes willbe on the air till December 29. Fringeas well as prime minutes (whereavailable), 30s and 20s will be used tocarry the message home to men in about23 markets. Al Mazzoni is the contact.

Continental Baking Co., Inc.(Ted Bates & Co., New York)Commercials for CORN CAPERSPOTATO CHIPS will be on the tubethrough the middle of next month. Dayas well as early and late fringepiggybacks will be used to reach womenin about 25 markets. Helen Gradyis the buyer.

DeLuxe Topper Corp.(Dancer -Fitzgerald -Sample Inc., New

York)A 14 -week buy for various boy productskicks off October 1. Day minutes willbe used exclusively to reach youngstersin about 50 markets including Dallas,St. Louis and Oakland. Ed Gallen isthe buyer.

General Foods Corp.(Benton & Bowles Inc., New York)A five to six -week buy for GRAVYTRAIN dog food began shortly beforeissue date. Early and late fringe 30s will

he used to carry the word to wornin upwards of 100 markets includiCincinnati, Cleveland, Columbus,Pittsburgh, Portland, Providence,Rochester, Seattle, Altoona, Bingham(Charleston, Fresno, Green Bay,Spokane and Youngstown. Judy Shirleyis the buyer.

General Foods Corp.(Ogilvy & Mather Inc., NewA four -week buy for PRIME DOGFOOD broke the day before issueEarly and late fringe piggybacksbe used to carry the word home twomen in 100 markets includingAngeles, New York, Detroit andAl Branfman and Guy Spencer arecontacts. Just about the same timefive to six -week supplementary heafor MAXIM coffee broke. Fringewill now carry the product word iabout 35 markets including BinghFort Wayne, Plattsburgh and YounPeter Desnoes does the buying.

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

York)A four -week corporate buy for var.company products gets started JulyDay as well as fringe minutes and30s will be used to carry the messagwomen in about 30 markets like TaUtica, Rochester, Providence, Charand Binghamton. Credit Carol AnnBehn with the buy.

Getty Oil Co.(Smith -Greenland Co. Inc.,

York)Commercialsproducts get

for various companyunderway July 19. Fri

(Continued on page d_

WDTVCOVERING A

VITALarea of

Central W. Virginia

WDTVFAIRMONT,

CLARKSBURG,WESTON,

WEST VIRGINIAJohn North Vice Pres. & Gen. Mtr.

Represented byNational Television Sales, Inc.A CBS Affiliate

lt) Television Age, July 15,

.rY

Seller's Opinion . . .

NETWORK VS. LOCAL SPORT

each year, advertisers invest millions of dollars in network sportstgramming. This includes the high-priced National Football Leaguewasts, as well as relatively inexpensive soccer broadcasts. In additionI the three network offerings, there are a few syndicators, such as

cr. Network, Inc., and T.V. Sports, which also produce and selltits packages.Yeedless to say, the networks and the syndicators are not giving thesejuts telecasts away: they're demanding, and receiving, top dollars.Itr high rate of sellout vs. the relative low cost of production make*iris telecasts a lucrative proposition for the seller. Moreover, some ofI more attractive sports broadcasts such as professional and collegef.tball, have continually increasing premiums each year. These premi-

are overlooked, and the attractive sports telecasts are not only soldbut have a large waiting list. It appears that the higher the price

a network sport telecast the more favor it gains..et's look at the alternative for advertisers wanting to reach a maleudience-local-market sports. Many local tv stations produce a

deal of sports programming which goes unsold each year.y," you ask, "when so many network broadcasts are getting

old?" The answer is simple-agency profitability. (I will exploreswer in a few moments.)

ny tv stations, programming attractive sporting events, find it hardl to national advertisers because it's these same advertisers whojust committed themselves to very heavy network packages. ManyI've heard, "We're not looking for sports in your market because

have a very heavy network commitment." Many times a networktrts advertiser is purchasing a game in which the markets of greatestpenance receive a minimum of weight (grp's), and markets whichan very little receive a great deal of weight.Ibis, of course, depends on the line-up and the teams involved. I haveti just the same advertisers buy a five -rated network hockey game anduse to look at a 25 -rated local hockey game. The five -rated networkkey game had very little appeal in the markets of high importancethe advertiser, while the 25 -rated local hockey game was in a marketgreat importance. This advertiser could have purchased higher ratedes programming in his desired markets by purchasing the teams1 have the most local interest to the viewers.'letting back to the point made earlier: Why are agencies recom-hding network sports? The agency being a profit making organiza -p finds it much more profitable to purchase network rather than spotIs is also the reason for smaller agencies in general to recommendWork over spot.) In network purchasing, there is just one basicdsion, one purchase authorization, far less paperwork and far lesslhpower.'or an agency to purchase the full complement of stations offeredan advertiser on a network lineup, it would need approximately fivetes the manpower employed to buy the network. Obviously, economicsere into the agencies' rationale, and therefore local sports telecasts gofold each year.tt is unfortunate that telecasts of the world champions St. Louisrdinals, Boston Celtics and other dominant sports teams go unsold,Ile network soccer telecasts which have relatively little interest are

g purchased this very moment.hope that advertisers will someday awaken to the fact that agencies't always recommend what is best for the client, but sometimest is most profitable.

GO FIRSTCLASS WITH

KMJ T VFRESNO CALIFORNIA

Give your advertising reins toKMJ-TV and get more sales gal-lop out of every dollar. KMJ-TVreally corers its $1.86 billionmarket - including the nation'sNumber One agricultural incomecounty. KMJ-TV also goes firstclass with equipment, skills, andlocal news coverage. In additionKMJ-TV offers high -rated NBCnetwork shows to round -out itshigh -quality programing schedule.

Data Source: SRDS, May 1968Sales Management, June 1967Effective Buying Income

McCLATCHY BROADCASTINGBASIC NBC AFFILIATE REPRESENTED

NATIONALLY BY KATZ TELEVISION

isron Age, July 1.5, 1965 41

Spot (From page 40)

minutes and prime 20s will be usedto carry the product message up to August8 in about a half -dozen markets likeHartford, Providence and Portland.Sylvia Ellis and Barbara Kaufmando the buying.

Gorton's of Gloucester, Divisionof the Gorton Corp.

(. Walter Thompson Co., NewYork)

Commercials for GORTON'S FROZENFISH FILETS and GORTON'S FROZENFISH AND CHIPS will be on the airthrough the early part of September.Fringe and day piggybacks together withprime IDs will be used to carry theword to women in Phoenix and Tucson.Carrie Senatore is the buyer.

Jantzen Inc.(Carson/Roberts Inc., Los Angeles)Hot on the heels of its first venture intospot, JANTZEN SWIMWEAR ANDSPORTSWEAR FOR WOMEN isfollowing up its successful Springcampaign with a Fall buy that will runin 25 primary markets from August 11 toSeptember 14 and in 70 secondarymarkets September 1 through the 14th. IDswill be used exclusively as in the Springbid. Besides this a pre -Christmas promodesigned to represent an earlier start .

on the Spring selling season is slated for25 primary markets from November 3

What does

WSVA-TVdo for you in the

Shenandoah Valley market?

It turns on the SELL POWER

for $1,260,000,000 CSI

For exclusive cover-age in the fabulousShenandoah Valley,you need WSVA, theonly station in a 120 -mile radius. It's gota market -lock on theValley, a ready-madedynamic growth area.Retail sales haveleaped 179% ineight years!

RETAIL

SALES

A & n Counties(in millionsof dollars)

119

333.

S.R.O. S.

Est.

1966

Represented by Q Avery-Knodef, Inc.

GILMORE BROADCASTING CORPORATIONGENERAL OFFICES: 202 Michigan Bldg., Kalamuoo, Miau. 49006

WENT -TV

Evansville

ltd,

KODE-TV-AM

Joplin

Mo.

WSVA-IV-AM-FM

Harrisonburg

Ya,

to the 23rd. IDs will again carry theball. Jodie Rhodes is the buyer.

Lakeside Industries Inc.(Shaller-Rubin Co. Inc., New York)Fall flights of eight and 10 -weeks arescheduled to start about October 14 forvarious toy products. Day as well as earlyfringe minutes will be used to carry theword to youngsters in about 40 markets..Marjorie Abrams is the buyer.

Lever Brothers Co.(J. Walter Thompson Co., New

York)Part of this company's increased tvactivity is seen in a 13 -week buy forvarious products that will bring thecompany message into about 150 marketsthrough the Fall. Fringe and dayminutes together with prime 30s willbe used to reach viewers in places likeBeaumont, Lubbock, San Diego, San Jose,Amarillo, Greenville, Phoenix, Spokaneand Wichita Falls. Pat Riggio andIris Weiner are the buyers.

The Mennen Co.(I. Walter Thompson Co., New

York)A five -week buy for MENNEN PUSHBUTTON DEODORANT and MENNENSKIN BRACER breaks at issue date.Fringe minutes and 30s will be used tobring the products' message to bothmen and women in about 20 marketsincluding Atlanta, Boston, Cincinnati,Cleveland, Denver, Houston, Providence,Memphis, St. Louis, Seattle, New Orleans,Philadelphia and Minneapolis. DorothyThornton is the buyer.

The National Biscuit Co.(McCann-Erickson Inc., New York)Commercials for CHIPS AHOY will beon the home screen through the end ofthe month. Day minutes will be usedexclusively to carry the product messageto youngsters in about seven or eightmarkets including Boston, Philadelphiaand St. Louis. Mark Miller is the buyer.

The National Biscuit Co.(William Esty Co. Inc., New York)Commercials for NABISCO HONIES, acold cereal, will be on the tube throughthe early part of next month. Day andlate afternoon minutes and 30s will' beused to reach youngsters in the top 42markets, places like Columbus,Charleston and Oklahoma City. LarryBirdsall is the buyer.

The Procter & Gamble Co.(Benton & Bowles Inc., New York)A full -year buy for ZEST broke thebeginning of the month. Fringe minuteswill be used to carry the word to womenin markets like Cleveland, Columbus,Houston, Los Angeles, Minneapolis, NewOrleans, Philadelphia, St. Louis andTampa. Don Roosa is the buyer.

The Procter & Gamble Co.(Compton Advertising Inc., New

York)A full -year buy for TIDE detergent got

underway earlier this month. \i_htminutes will be used exclusively to canthe product word to women in over 95markets including Amarillo, GreenBay, Jefferson City, Lubbock, Oki lioaCity, San Jose, Wheeling, Cincinnati,Raleigh, Kansas City, Greenville,Charleston and Fort Wayne. RayBascelli is the buyer. Just about the -:onetime, a similar year buy for CRIS( (ISOLID, TOP JOB and other P&Gproducts began making the scene. Nightminutes are also being used and th1message is being pumped into approxi-mately the same number of market-.Harvey Rabinowitz is the buyer. \wlDave Fulton has made a full -year buy faIVORY SOAP going into well over 30markets with night minutes again beingthe favored spot and length. With all ofthis activity comes yet another buy forDUNCAN HINES BROWNIES, thisone using day 30s to target women inabout 50 markets. Ed Corleyis the contact.

The Procter & Gamble Co.(Dancer -Fitzgerald -Sample Inc.,

York)Commercials for PACE home permanenttook off shortly before issue date.Day and fringe minutes together withprime 30s will be used to carry theproduct message to women in well ov25 markets. Elliot Bass in the contac

The Procter & Gamble Co.(Young & Rubicam Inc., New YorkStill another full -year buy for thiscorporate giant began earlier this monThis time it's for SAFEGUARDDEODORANT SOAP and fringe minare the product's vehicle for carryingthe word to men and women in overmarkets like Albany, Atlanta, Boston,Buffalo, Cincinnati, Cleveland, Denver,Houston, Kansas City, Memphis, Minnapolis, New Orleans, Tampa, SeattleSt. Louis. Elbert Lightner does thebuying. Also at this time, a year buySPIC & SPAN household cleaner tooklo the tube. In this case, early and lafringe minutes, 30s and 20s will be Ito reach women in P&G's standardmarket roster. Credit John Twiddythe buy.

(Continued on page

IN SIOUX CITY IOWA

CNANMEL

14 ea IIII,g -awatt of

One Million Watts of Sales PowerRepresented by National Television SolesBob Donovan, General Manager

lZ Television Age, July 15, 1968

3ro,f ilP . JULIE HERRELL

Can a young, attractive Englishj girl with a law degree find hap-

iness in American West Coast ad-ertising?For Julie Herrell, vice president

nd director of media for Smock/Waddell, Inc., Los Angeles. the an-er is an emphatic yes.Born in England, Mrs. Herrell at-

.nded private schools there andtudied at Oxford. She became a so-citor (attorney) through apprentice -hip and study, according to Englishustom.And then a young Californian

amed Mark Herrell met and marrieder in England and transported her

Los Angeles."I got into advertising through the

ack door," Mrs. Herrell says. "Whencame to California in 1945 I ob-

tined a position with Young & Ru-icam as assistant business manager.Iv legal background helped im-tensely, especially in preparing con -acts."Later, she branched into media and

ecame Y&R's senior media buyerDr tv and radio on accounts such astmerican Home Foods, Union Oil,Lunt Foods, Southern California:dison, Capitol Records and Max'actor cosmetics, among others."In those days television was a

ew medium," says Mrs. Herrell.Important radio personalities were

Lady with a pastFay Gillis Wells, White

House correspondent for theStorer Broadcasting Co., andnewly elected president of theWashington Chapter of Ameri-can Women in Radio and Tele-vision, has had a more thanvaried career.

Mrs. Wells, who has beencovering the White House forStorer since 1964, is a pioneeraviatrix. In 1929, Mrs. Wellsand Amelia Earhart helpedfound the "Ninety -Nines," anorganization of women pilots.

In later years, Mrs. Wells'writing ability found her cov-ering such diverse topics as theItalian -Ethiopian War and aboating column in the oldNew York Herald Tribune.

vying to get into it. We bought per-sonalities then. Home economistswere popular. I still think they shouldbe-new ideas help to sell products."

She remained at Y&R until JackSmock formed his own agency, andshe became its media director in1962. Three years later she was ap-pointed a vice president.

She handles three major accounts,Union Oil, Purina variety line catfood and Squirt, with heavy tv con-centration. Other accounts includeCal Fame frozen concentrate andcanned drinks, the Los AngelesDodgers, California Date GrowersAssociation and Stenocord.

Says Mrs. Herrell, "We believe inan all -media system, because theclients get better service. We feelbuyers should know everything abouta client, and we spend a lot of time

checking availabilities. A good buydiffers from an excellent buy in theamount of time spent upon it."

Mrs. Herrell supervises nine wom-en. There are only feminine staffersin S/W's media department becauseshe feels they are inclined to he morethorough, less impatient with detailsthan men.

"We have a cast iron rule: checkevery single station nationwide for anew, upcoming program. We can'tanticipate availability. Adverti.ineonly as good as the availability -get from various stations."

The Herrells have circled the worldand traveled extensively in Europe.Mexico, and places like Jamaica.Last year they visited their sonGeoffrey and his family in Athens.(He heads the U. S. Consular sectionin Bombay.) They pay frequentvisits to their other son, Bill, a quali-ty control engineer for General Elec-tric in North Carolina.

They also share an interest in in-ternational theater, such as Kabuki.When in London they play -go con-stantly. They used to attend Broad-way shows when European -boundplanes departed from New York, butnow they travel to Europe via thefaster polar route from Los Angeles.But Mrs. Herrell still likes southernCalifornia, where she really has foundhappiness in the advertising business.

Rep ReportJOHN J. WALTERS JR., vice presi-

dent in charge of sales, has nowbeen elected to the board of direc-tors at Harrington, Righter & Par-sons Inc.. New York.

WALTERS

ROBERT J. BULLEN joined the NewYork account executive staff atPeters, Griffin, Woodward Inc. Bul-

len was formerly a senior buyer onFord corporate and other accountsat Grey Advertising.

DAVID C. CHODIKOFF joined theNew York sales team of Katz Tele-vision -West. Chodikoff was formerlya member of the sales staff at Roil,ert Eastman Co. ELIZABETH BAIT\ Ii;i-

joined Katz Television, New y ork.as assistant director of audiencedevelopment. Miss Bain was formerly assistant vice president, pro-gram services, CBS tv network.

BOB BILLINGSLEY has been pro-moted to vice president in charge ofthe Los Angeles office of H -R Tele-vision, Inc. With H -R since 1962,Billingsley became manager of theLos Angeles office in 1963. WILLIAMJ. EARLY has joined H -R Television'sCorinthian Division in New York.Early was formerly an account ex-ecutive at Television AdvertisingRepresentatives.


Agency Appointments

MURRAY HYSEN joined Wells, Rich,Greene Inc., New York, as directorof research operations. Hysen wasformerly associate research directorat J. Walter Thompson.

RICHARD E. HEWITT joined Meltzer,Aron & Lemen Inc., San Francisco,as an account executive. Hewitt wasformerly an account supervisor atCarl Ally Inc., New York.

WALLACE J. EHRLICH joined Camp-bell -Ewald, Chicago, as an accountexecutive on the Ex -Cell -0 Corp. ac-count. Ehrlich was formerly with11IacManus, John & Adams.

W. F. (Bun) MINNICK, JR. was pro-moted to senior vice president atVic Maitland & Associates, Pitts-burgh. Minnick, who has been withthe agency seven years, previouslyserved as vice president and manag-er of the Pittsburgh office.

MAYNARD FONES was appointedsenior vice president and accountgroup supervisor on the Eli Lillyaccount at Sudler & Hennessey Inc.,New York. Fones was formerly vicepresident of Robert A. Becker.

EDWIN SHERWOOD, an account sup-ervisor, was elected a vice presidentof J. Walter Thompson Co., Chicago.Sherwood joined the agency's broad-cast department in 1953. In J. Wal-

SHERWOOD NIEMI

ter's Detroit Office, GLEN B. NIEMI,an account supervisor for FordTruck, Ford Authorized LeasingService and Rent-A-Car accounts,earned vp laurels. Niemi joinedJ. Walter Thompson's research de-partment in 1956.

ROBERT AISSA became a televisionaccount executive in the New Yorkoffice of The Hollingberry Co. Aissawas formerly an account executivewith Avery-Knodel.

What does

WENT -TVdo for you in

Evansville, Indiana?

It turns on the SELL POWER

for a $1 billion market ( EOI )

With expanded localprogramming to 3/4 -

million viewers,WENT -TV is on thegrow in the Evansvine area. It's a mar-ket on the grow, too... up 58% in eightyears to $720 millionin retail sales. (SRDSestimate.)

RETAIL 720.

SALES

(in millionsof dollars)

455

1958 1966

Represented by Eal Avery-Knodel, Inc.

GILMORE BROADCASTING CORPORATIONGENERAL OFFICES: 202 M chigan Bldg. Nal macoo, Mich. 49006

WENT -IV

Evansville

Ind.

KODE-TV-AM

Joplin

Mo.

WSVA-TV-AM-IM

Harrisonburg

Va.

Media PersonalsROBERT J. LOONEY joined Tucker

Wayne & Co., Atlanta, as associatemedia director. Looney was formerlymedia manager of Rumrill-HoyttInc., Rochester, N.Y.

HOLBROOK

RODNEY C. HOLBROOK, media de-partment director, was elected a vicepresident of J. Walter ThompsonCo., Detroit. Holbrook joined theagency in 1962 as media departmentmanager.

GEORGE E. LYNN, vice president ofTatham -Laird & Kudner Inc., NewYork, and the director of CORPRA,the agency's sales promotion divi-sion, assumed the additional respon-sibility of account executive onGoodyear's Shoe Products Division.Lynn joined Tatham -Laird & Kud-ner in 1966.

JOHN FLOOD joined Ralph BingAdvertising Co., Cleveland, as an ac-count executive, bringing with himthe eight major accounts of SpartanAdvertising, which leaves the ball -

field simultaneously with Flood'stransfer. The accounts include Ra-mode Inc., Value City Discount,West End Lumber, Richard's Jewel-ers, Value City Furniture Co. (allin Cleveland), and Elyria City Fur-niture, which is located in Elyria,Ohio.

EMELIE TOLLEY, an account super-visor, was elected a vice presidentat Benton & Bowles Inc., New York.Miss Tolley, who works on the agen-cy's Allied Chemical Fibers andYardley of London accounts, joinedthe agency in 1962.

Who'sWho

In

Des Moines TV?

1.131...that's who!

r3 COLOR 13

DES MOINES, IOWA

yIk

m

Television Age, July 15, 191

Buyer's ChecklistNew Representatives

WSWO-Tv, Channel 26, Dayton -Springfield appointed The DevneyOrganization Inc. its national salesrepresentative, effective immediately.

KGBT-TV Harlingen, Texas, ap-pointed Avery-Knodel Inc. its na-tional sales representative, effectiveimmediately.

New Network Rates

ABC:KWTX-TV Waco, Texas, from $425

to $450, effective December 29, 1968.KRBC-TV Abilene, from $425 to

$475, effective December 23, 1968.WMUR-TV Manchester, from $600

to $300, effective July 16, 1968.WAIM-TV Anderson, South Caro-

lina, $50 rate eliminated, effectiveimmediately.

WaFT-TV Roanoke, $75 rate elimi-nated, effective July 19, 1968.

WLTV Bowling Green, Kentucky,$100 rate eliminated effective Jan-uary 1, 1969.

Facilities ChangeNBC:

KTVO Ottumwa, lows, available fornetwork programming on an occa-sional basis, and which previouslyreceived off -air network service isnow available by direct intercon-nection with the network.

New AffiliationsKCFW-TV Kalispell, Mont., is now

in full-time operation as a primaryaffiliate of NBC.

CBS' retail unitsCBS will have local retail

units at all of its televisionstations.

Units have already been setup at WCBS-TV New York andWCAU-TV Philadelphia. Andsimilar operations are currentlybeing readied at KNXT LosAngeles, WBBM-TV Chicago andKMOX-TV St. Louis.

In announcing the formationof the New York and Philadel-phia units, Robert Wood, presi-dent of the CBS Television Sta-tions Division, explained, "Wewant to place special emphasison the development of retailadvertising through an under-standing of what the unique re-quirements of retailers are."


Spot (From page 42)

Sinclair Oil Corp,(Cunningham & Walsh Inc., New

York)Commercials for SINCLAIR GAS andOIL will be on the air through July 28.Early and late fringe minutes and 30swill be used to reach men in about 75to 80 markets including Atlanta,Boston, Cleveland, Columbus, Flint,Houston, Kansas City, Philadelphia,Raleigh, St. Louis, Tampa, Binghamton,Orlando, Fort Wayne, South Bend andWest Palm Beach. Mike Raounas andDick Gold are the buyers.

New SRA officersNewly elected officers of the

Detroit Chapter of Station Rep-resentatives Association in-clude: Richard Yoder of Ed-ward Petry & Co. as president,Tony Hirsch, McGavren-Guild-PGW Radio, vice president, andH -R's David Winston as secre-tary -treasurer of the Detroitgroup.

You're onlyHALF COVERED

ín Nebraska...

if you don't useKOLN-TV/KGIN-TV

You won't get real action in Nebraskawithout the state's other big market:Lincoln -Hastings -Kearney.

KOLN-TV/KGIN-TV dominatesthis market, and is the official CBSoutlet for most of Nebraska andNorthern Kansas. Avery-Knodel canguide you.

NSSRASKA

:%h r44As tri&b:0184RADIOWOW NALAMAZ00-8ATTLE CREEKWIEF GRAND RAPIDSW1FM GRANO RAPIDS.KAIAMAZ00WWAM/WWTV-FM CADILLAC

TELEVISIONWOZO-N GRAND RAPIDS -KALAMAZOO

WWTV/CAOILLAC-TRAVERSE CITYWWUP-N SAULT STE. MARIE

BRIN-TV/KLINLINCOLN, NEBTA GRANRASKAOISLAND. NEO.

KOLN-TVLINCOLN, NEBRASKA

1500 FT. TOWER

KGIN-TVGRAND ISLAND, NEBRASKA

1069 FT. TOWER

Avery -K node!, Inc., Exclusive National Representative

45

Nationalconventionsare made up oflocal people.That's wherewe zoom in.

Corinthian knows that there's a lot moreto the national conventions than just thepresidential nominations. There's local interest.Local issues. Local concern. And a real needfor local coverage.

That's why every Corinthian Stationwill again send their special news teams to the1968 conventions. To report the activities oftheir state delegations and to observe, analyzeand interpret general convention events interms of their own community's special interests.

And there's plenty of interest.

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That's why, as far back as the 1960conventions, when we were the only televisiongroup doing it-Corinthian provided thiskind of local interest coverage for our audienin five key areas of the country.

We'll be at the conventions again this year.About 12,000,000 viewers expect us there.Corinthian wants people

to take a good look at the issues.KHOU-TV, Houston WISH -Tv, Indiana, i,,. 1, , t`'KXTV, Sacramento WANE -TV, Fort V, ay I

IIRESPONSIBILITY IN BROADCASTING REPRESENTED BY II-R/CORINTIgl{O

Wall Street Report

can't win 'em all. Wall Street an-sts have a good reputation in most

Helustries for depth of research and.eneral knowledge of the stock:coups they specialize in. But not soith the broadcast industry. Some of

he reports on broadcast stocks haveurn attacked as naive, and some oflie predictions have been 'way off

k:eam.Maybe this is the fault of the in-

tustry, to some extent, because itisn't exactly renowned for full and'rank disclosure to the financial fra-ernity-and it's hard to make ac-.urate predictions when you don'tlave the figures to work with.

Lately, though, the weakness inhe advice department has extendedrom the broadcast group into alliedields.

Anybody who has been watchinglagnavox, for instance, will know,hat we mean.

the panic button. About the time4'hen good news was coming fromhe television set makers on sales, oneFading brokerage house was pushinghe panic button on Magnavox forthat apparently were strictly techni-al reasons. This was a week or sopack when sales for June were re-orted as continuing May's strongiptrend for color as well as blacknd white.Selling pressures had pushed Mag-

iavox below the 50 support level, andhe house urged profit-taking (andresumably, loss -cutting) at 47.iince then the stock went back over0, which may have lost the housefew friends.The stock isn't exactly a bargain

t the price if one just considers the. chnical aspects of the situation, buthere is considerable fundamentaltrength here.

There was a good earnings up -

Magnavox Co.

tecent price 51;967 earnings per share .... $2.00

Ratio (1967) 25.5Xtdicated dividend $1.00rield 2.0%ihares outstanding .... 15,437,000

trend until last year when per sharenet fell from $2.25 to $2. Even allow-ing for the 10 per cent surtax, earn-ings are expected to get back intothe uptrend this year.

Price for the stock has been ashigh as 55 this year and it's doubt-ful that there is room for more ofa rise. In fact, capital gain would bein order if it got back up there againin the forthcoming few weeks.

The house that recommended saleprobably had the right idea-it justhad it at the wrong time.

Meanwhile, the speculative boomwe've been hearing so much about isbeginning to look more like a dampsquib-and about time. A lot of thehot action has been over-the-counter,and now some seasoned brokers whokeep their fingers on the pulse of thismarket say they've noticed heavyprofit-taking on hot issues. Some ofthese go -goers had increased fourfoldin price, but now it looks as if theyare going -going.

Caution in the air. Maybe thefour -day trading week impressed onthe public the fact that somethingwas wrong, but whatever the cause,there seems to be a new nip of cau-tion in the air.

Conclusion: if you're holding hotstock don't hold too long-you mightget burned.

Stricter voluntary regulation by thebrokers is helping calm things downa little, but one of the new rulesadopted by some of the houses mayrepresent putting too much pressureon the wrong spot. This is the can-celling of commissions on stocks sell-ing under $5.

Quite often, a stock priced as lowas that is actually worth very muchless-if it's worth anything at all-but speculation at this level isn'tdangerous to the economy or the mar-ket as a whole, just to the investordirectly concerned.

The reason is that most people buystocks at this low level because theywant to pay cash, they want a roundlot, but they don't want to lay outthousands. Since they're not buyingon margin, they're not hurting any-one but themselves.

However, the inflation -inspired

risk -taking is a problem-and it'sbeen putting a lot of pressure onWall Street.

Most of the action, of course, hasbeen in new issues, and the reason isthat investors have been threshingaround trying to find a budding IBMor Xerox or Mohawk Data Sciences.

Tiptoe through the issues. Onebroker took a page out of The MoneyGame, the fast -selling book on WallStreet authored by "Adam Smith"as he cautioned against the "new -is-sue mania". He said it's like thecrowd madness that infected Hollandin the time of the tulip speculation.

The metaphors are hard to under-stand, but the broker commented thata tulip bulb of a new design mightstart out at $3 and soar to $100 ormore. At that unbelievable price "onecan't afford to eat many tulip bulbs."Neither, he said, can one afford tolive on the almost non-existent divi-dends of a company whose stocksells at 80, 90 or 120 times earningsand whose business is highly experi-mental.

Maybe advice like this, even if itdoes seem a bit garbled, will helpdampen speculation a little.

If brokers have got to the pointwhere they're eating tulip bulbs, it'sabout time.


Moon -Shot ProvesTK-42 Performance

Unretouched Monitor PictureReveals Resolution, Sensitivityand Dynamic Range of theRCA Color Camera

retouched photograph taken directly from monitorEktachrome daylight film, ASA 160, 21/4 x 21/4" for-

d. Color temperature of monitor 9000K; color tem-Irature of film 5500K.

gh resolution in a color camera gives pictures theAra detail that produces finest programs and corn-ercials. What does it take to provide this resolutiontpability? It takes a big 41/2 -inch image orthicon tube,Stich gives big picture sharpness. Add dynamic con -1st range, to handle broad variations between high-Iht and shadow. And sensitivity, to cover wide rangeslighting. In short it takes all three to produce the fin -t color pictures. We know RCA TK-42/43 cameras

live all these capabilities-but we wanted to prove thislid of performance.

l)w could we prove it? We set up a camera with tele-'opic lens to shoot the moon. The proof is in the un -¡touched monitor photo above: Prominent features ofliar terrain are sharply distinguishable. The TK-42/43lovides resolution that captures the detail of cratersti the moon; sensitivity to compensate for extreme lossf light with a telescopic lens; dynamic contrast range1 faithfully reproduce the tremendous range of high-Iiht-to-shadow areas. It shows that these cameras haveSit what it takes to turn on viewers. And you don't have1 shoot the moon to prove it! Ask your RCA Field Man.

RCA Color Camera set up to test technical capabil-ities. A casegrain type telescope, focal length 125inches, was installed on the Camera to produce themoon -shot shown here.

RCABroadcastEquipment

Form 315255-

,. Walter (From page 23)

which may aid in making marketingdecisions, is at hand. As Welty ex-plains it, "Up to three or four yearsago, the buying function was theprime activity. Now, as the wholeexpertise has become more mechan-ized, buying has become a strategicor tactical function. Now we're ex-panding equipment and expertise toother offices. For example, we're put-ting a computer in our Londonoffice."

Among his other chores, Welty isresponsible for having each memberof the planning group abreast of thelatest computer developments at atime when he can make the best useof them. This is where the Informa-tion Review Committee comes in-to make sure this is accomplished.

At the outset of a project, themedia planning group huddles withthe account group to become familiarwith the marketing objectives, themarketing problems, and the expectedcreative approach. Then the planninggroup requests a media informationreview from Welty, who calls a meet-ing of the committtee, made up ofthe media research director, a marketing research supervisor, a memberof the computer development team,Jones and his top administrative aide.

How does the computer contributeto this? As an illustration, Jones saidit can correlate ad expenditures andsales potential by a client's market-ing districts.

For example, JWT's RCA Spectra70/45 computer data bank containsa county -by -county circulation esti-mate of every magazine, newspaper,radio and tv station, together witha program for combining these datainto any specific county grouping.And the agency's computer estimatesthe coverage of all nighttime net-work tv shows in which the client'sproducts will participate during thequarter, and allocates network tv ex-penditures to each sales district.

Jones relies heavily on this kindof support from the computer, andalso from the people in his depart-ment. "Our buyers are specialists,"he says. "They're completely involvedin the client's marketing and totaladvertising. We don't have dilet-tantes."

"But still," he adds, "there are

areas where more improvement isneeded. We must gain more skilland experience in using the datamade available to us. We have somuch now that we don't fully exploit.We must also find a way to apply astandard of values to media. We haveto make judgments on which mediumis more effective than another, andwe've got to sharpen the tools formaking these judgments."

However the judgments are made,the computer will have an increasinginfluence on them, according to Mar-vin Antonowsky, vice president, di-rector of media research and man-ager of spot tv buying. Obviously adevoted disciple of EDP, Antonowskysays, "Anything that's clerical in na-ture, and relates to media buying,will be put on the computer fromnow on. Very little planning in mediais done today without some relianceon the computer.

"We use it in such varied ways asfor piggybacking and in rate control. It lets us analyze alternativemedia plans and, based on the ap-proach being taken, come up withthe best strategy. Will it push peo-ple aside? Never. All it does is ana-lyze and calculate, after being pro-grammed. It doesn't make the de-cision-just gives you the basis forit."

Works with planning head

Antonowsky, as director of mediaresearch, works closely with PaulE. J. Gerhold, vice president and di-rector of research planning and de-velopment. And this relationshipis the real link that Gerhold has withthe media department. However, theinteresting activity that Gerhold di-rects may bring him into contact witha number of JWT departments.

His title, somewhat less than de-finitive, means that he has responsi-bility for developing new services andnew methodologies for the agency-finding new ways of doing things.Gerhold, who is left pretty muchalone to pursue his activity, is pres-ently working on several projects,including the Pupilometer.

The Pupilometer has been in thedevelopment stage for some time andGerhold is making no claims on itsperformance. "The area of pupilmeasurement," he says, "is a complex

one and has many uncertainties. It' .tbest to wait until you're sure abou hesomething before talking too mud

1

about it."

Creative output is huge

Everyone at Thompson seems fairly sure that the changes going orin the New York office's creative department are highly therapeuticThere are now more than 500 peopltin this department, and their con.tributions last year resulted in theprodigious output of more than1,200 tv commercials and some12,000 print ads-ranging from suchswinging efforts as the "silly milli.meter longer" commercial for Liggett& Myers' Chesterfield to the no.nonsense copy for Singer. There isan even greater contrast between thecreative department today and threeyears ago.

At that time, Thompson was func-tioning with one huge creative com-plex, as it had for decades, made upof separate editorial, art, tv produc-tion. trade and professional, andtraffic units. There were 27 creativeheads, each concerned with from oneto a dozen accounts. Each art directoror tv producer had his own stableof accounts, and reported to as manyas five or six group heads. The re-sult was a fairly fragmented-if ef-fective-creative effort.

Becau.e of this situation, and thegrowing burden of tv activity, in

1966 JWT began making changes inits creative organization. For a start-er, the agency split the overall de-partment into six (now down to five)operating groups, each with its ownwriters, art directors, tv producersand traffic hands. This made for more"involvement" ( a pet word in JWT'slexicon) of people with accounts. andgave each the feeling that, more thanjust an art or copy specialist, he wasa truly creative person.

Traditionally a hotbed of varioustypes of review boards, JWT becameeven more addicted to the device with

its new creative system. To have ameasure of quality control over the

work being done under the new setup,two kinds of review boards were in.stituted: plans and creative. Theirpurpose was three -fold: To assureeach client that every major planpresented to him reflected broad

agency experience; to show agencymanagement that the quality of each


'or plan met the standards of thea ncy as a whole; and to make itdir to the account team, itself, that11 agency was backing its proposalsto given client.'he new system called for the

pas boards, headed by Donald B.Anstrong, Jr., senior vice president,tcmeet with creative and accounttens on each major account to es -relish that its strategy was right be-fc' commencing the creative effort.T creative boards, headed by Law -roe T. D'Aloise, senior vice presi-d t, were concerned with the execu-ti of the strategy and gave morero to the creative people.

'he review boards have since beenaired somewhat, though they re-m.n essentially the same. At theoffset, it was mainly managementpiple on the plans boards and crea -ti people on the creative boards.Ts procedure, though, was foundsack continuity, and the member-slr of both types of boards may nowtithe same, though a different manw chair the two types of sessions.Ery board is designed to providetb best possible review of an ac-cent, and only senior people are in-vued, none below an account super-vi,r.

'here are now 45 review boardsit he New York office-one for eachac punt.

;ach board includes a nucleus offcr people close to the account-scieone from art, copy and manage -ant supervision, and a representa -ti from the agency management.Ir addition, there are a number ofwofficio members who may attenda] board sessions. These includedi president, Dan Seymour (who

Sion several boards) ; Normannus, board chairman; Donald

A nstrong; Lawrence D'Aloise;Sher Aubrey, manager of the NewYlk office; and other top executives.

low is the new creative organiza -

ti working out? After being in ef-fc. for two years, it is functioningsnothly and the quality of the workh, improved, according to D'Aloise(r w a management supervisor butit head of the creative reviewb.rds).

'It has," he says, "resulted inlser relations between the differ -

creative people-art directors,wters, and so on-which was oneoithe basic purposes of the plan.

And it has achieved better concen-tration on the accounts. Since mem-bers of a group work so closely to-gether, they can concentrate morereadily on the problems at hand.They get to know how one anotherthinks, as well, and this makes forbetter performance.

"There are other benefits," con-tinues D'Aloise. "The new organiza-tion enables a group to attack aproblem a lot faster than before,and with greater effect; and there'sa close-knit unity here that seems toresult in greater accomplishment.Finally, the plan gets creative peopleinto areas apart from their own,and this broadens their range of ac-tivity and makes them better admen."

The prizes pile upFurther evidence that Thompson's

creative plan is producing resultscomes from the impressive rise inthe number of prize ads prepared byJWT. The agency recently took twofirsts (for its Scott Paper and Kodaktv commercials) at the Venice FilmFestival. In 1966, when the creativesetup was revamped, Thompson adswon a total of 63 awards; in 1967

the number went to 113; and so farin 1968 the figure is 61, making italmost a certainty that this year willmark a new high.

Thompson, however, is makingother advances in television-beyondcollecting kudos. The multi -million -dollar television center installed twoyears ago in the New York officegives JWT the "most sophisticatedtv and video tape center of anyagency in the country," accordingto Alfred Tennyson, vice president,commercial production.

"The center," he says, "is the equiv-alent of a tv station but without atransmitter. We can screen a videotape commercial as easily as a film.Best of all, it allows members ofthe different creative groups to han-dle hr any way they want."

Does Thompson have some specialtechnique that distinguishes its tv ef-forts? "No," says Tennyson, "there'sno single JWT way in tv. It dependson who's handling it?'

That comment would probably ap-ply to all of the agency's varied ac-tivities. It's hard to 'generalize aboutJWT. But there's no doubt that thishuge advertising operation works.

GUARANTEED STATION REVENUE OVER $75,000 PER YEARImmediate advance deposit against 40% of gross

100% contract protection to stationNo agency fees

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Over 35 different product color ¡/ film commercials on suchitems as: Minute Chef Food Slicer, Hi Temp Wonder

Knife, 3Pc. Planer Set, Select Tool Glass Cutter and LawnMower Sharpener, Blow -Up Personal Posters, Electric

Toothbrush, Electric Scissors, etc. etc.

Two convenient offices and ware-houses to provide quick and effi-cient service.Write, wire or call . collect now.Limited number of exclusives avail-able.

ERWIN JACKMAN, PresidentRan -Lan House, Inc.11 West 42nd Street, New York, N.Y. 10036212 947-2811

HERMAN VOLPIN, Vice PresidentRan -Lan House, Inc.2837 Sunset Blvd., Los Angeles, Calif. 90026213 389-1151

d

-vision Age, July 15, 1968 51

ABCMarket

Top Affiliates by Network -Total Day -By Tv Home ShareCBS N BC

Station Share Market Station Share Market Station Share

Birmingham WBRC-TV 53 Binghamton WNBF-TV 74 Columbia, S.C. WIS-TV 74

Flint -Saginaw -Bay City Charlotte WBTV 63WJRT-TV 49 Montgomery WSFA-TV 73

Sioux CityLincoln -Hastings -

KCAU-TV 44 Kearney KOLN-TV 59 Joplin -Pittsburg KOAM-TV 55

Evansville WTVW 43 Jacksonville wJxT 58 Erie WICU-TV 54

Rockford Wausau -Rhinelander WSAU-TV 56WREX-TV 42 Harrisburg -Lancaster -

Wilkes Barre -ScrantonHartford -New Haven WTIC-TV 55

WNEP-TV 37 Madison WISC-TV 54Lebanon -York WCAL-TV 53

Salt Lake City -Ogden - Cape Girardeau - Charleston -Huntington WSAZ-TV 48

Provo KCPX-TV 35 Paducah -Harrisburg KFVS-TV 51 Bakersfield KERO-TV 47

Buffalo Champaign -Decatur -WKBW-TV 34 Knoxville WATE-TV 47 I

Rochester Springfield WCIA 50WOKR 34 Roanoke -Lynchburg WDBJ-TV 49 Sioux City KTIV 47 I.

Shreveport KTBS-TV 34 Cedar Rapids -Waterloo WMT-TV 48 Louisville WAVE -TV 45

Top Affiliates by Network -Total Day -By Metro ShareABC CBS NBC

Market Station Share Market Station Share Market Station ShareBirmingham WBRC-TV 46 Wausau -Rhinelander WSAU-TV 59 Montgomery WSFA-TV 56

Sioux CityRockford

Binghamton WNBF-TV 55KCAU-TV 40

WJxT 54JacksonvilleWREX-TV 39 Charlotte WBTV 48

Columbia, S.C.Erie

WIS-TV

WICU-TV

55

47

Shreveport KTBS-TV 37 Greenville -Washington - Joplin -Pittsburg KOAM-TV 47

Wichita -Hutchinson

Flint -Saginaw -Bay City

New Bern WNCT-TV 48KAKE-TV 37Beaumont -Port Arthur KFDM-TV 46

WJRT-TV 36 Cedar Rapids -Waterloo WMT-TV 46

Knoxville

Las Vegas

WATE-TV

KORK-TV

47

47

Ft. Wayne WPTA 36 Mobile -Pensacola WKRC-TV 46 Birmingham WAPI-TV 45

Little Rock KATY 36 Roanoke -Lynchburg wDBJ-TV 46 Fresno KMJ-TV 44

RochesterSalt Lake City -Ogden-

Provo

Champaign -Decatur -WOKR 35Springfield WCIA 45

KCPX-TV 35 Charleston, S.C. wcsC-Tv 45Green Bay WBAY-TV 45

Charleston -Huntington

Greenville -Spartanburg -Asheville

WSAZ-TV

WFBC-TV

43

43 °'Wilkes Barre -Scranton WNEP-TV 35 Richmond wTVR-Tv 45 Wichita Falls -Lawton KFDX-TV 43

Source: ARB, March, 1968, Mon. -Sun. 9 a.m.-midnight. Covers markets where all three network affiliates have recorded viewing.

musingsfor amediaman

r thoseBed ontt and 4t

no shortthe rate

and hi.dints.on 90

coven,to pen

for the

Many aman's throathas beencut with hisown tongue!


JEFFREY MARTIN, Inc., Dist. of COMP«Z®

The performers (From page 25)

pattern emerges. However, the gainsof ABC affiliates are not as markedin the late evening and for the totalday. Further, NBC outlets also madegains, making it clear that most de-clines took place among CBS affili-ates.

NBC standings went up markedlyin the late evening and total day seg-ments, and slightly in the primetimeperiod. CBS standings declined inthree out of four day parts; the ex-ception was early evening.

CBS leads in total, prime

Despite this picture, CBS stationsstill performed best overall, and areleaders in the segments that countmost -the total day and primetimeperiods.

CBS has been ahead more oftenthan not in the six studies of ARBfigures done by TELEVISION AGE. Atright is a summary of percentagesof first places for the total day pe-riod in metro area shares. The firstfour studies are not quite comparablewith the last two, since the formercover three -station markets only,while the latter cover three -or -more

station markets. But the patterns r,

vealed are representative:

ABC CBS NB(

Mar. '64 8.0% 68.0% 28.0;

Nov. '64 9.5 54.0 46.0

Mar. '65 11.9 49.3 49.3

Mar. '66 14.9 51.7 33.3

Nov. '67 4.8 68.3 31.7

Mar. '68 9.8 65.7 33.3

CBS has led in all but one of th

studies, and there it was a tie. Fur

ther, the network emerged fromslump which is dramatized in thprimetime figures, also for the metarea, shown below:

ABC CBS NBC

Mar. '64 20.0% 54.0% 32.05

Nov. '64 39.7 9.9 57.1

Mar. '65 37.3 10.4 59.7

Mar. '66 21.2 37.6 41.2

Nov. '67 3.8 76.9 26.9

Mar. '68 10.8 70.6 21.6

In the early evening, NBC stationshave been the leaders, as the metrofigures below show (late evening

data were not covered in the firstthree reports) :

ABC CBSMar. '64 20.0% 36.0%Nov. '64 12.7 36.5Mar. '65 17.9 41.8Mar. '66 17.4 33.7Nov. '67 9.6 38.5Mar. '68 13.7 42.2

NBC44.0°ío

52.441.838.555.847.1


'hese studies make clear that theOng station situation is quite vola-ti, and the buyer who uses the samedeposts from season to season is

I,king for trouble.t should be stressed, however, that

tl data on percentage of leadingscions for each network is a roughde. It does not, for example, re-

ed the degree to which leading sta-'tiss lead. An outlet leading by onesire point is counted equally witha outlet leading by 10 share points.

Winners win big

In analysis of the various top 20lis (pages 24, 25) shows that shareso the leaders still run quite high.1-, highest level recorded in Marchvs a 90. This level was registeredb WIS-TV Columbia, S.C., in laten ht share of homes. Its metros re in that time segment was 85.Esic reason for the Columbia sta-t:a's strength is that both competingailiates are UHF outlets (thoughntro UHF penetration is close toI) per cent).[here were five other instances of

sires in the 80s, one of them being13 -TV. The NBC 'affiliate rankedt rd in early evening share of homes1h an 82. Ranking first in this list

WSFA-TV Montgomery, Ala., withI while WNBF-TV Binghamton, N.Y..c ne in second with 84.En the late night share of homes

1 ing, WSFA-TV and WNBF-TV fol-i ed the Columbia station in thatder with shares, respectively, of1 and 85. Like the Columbia outlet,t. Binghamton and Montgomerys Lions face UHF affiliates.Not surprisingly, the leaders in

tal day share of homes are WNBF-1 and WIS-TV, tied for first withsires of 74 and WSFA-TV, in thirdpee with a 73 share. In the metrolting for total day shares, the sameto rank second, third and fourth.%unber one is WSAU-TV Wausau-iiinelander, Wis., with a 59. Thesirket is all-vuF.In reviewing the standings of in-

Ipendent stations, the analysis ofliders was confined to stations with;share of 10 or more. As was trueit previous studies, the independentsawed up best in the early evening'iod. No less than 24 independent.ets had shares of 10 or more 'inmetro area, and 22 had such


shares in the total survey area.Comparable figures for the other

periods were: total day, 15 stationsfor metro, 16 for total area; prime -time, 10 and 10 and late night. eightand seven.

The early evening period also hadthe highest share figures for inde-pendents. Five outlets had shares of30 and above for both the metro andtotal homes listings. The single high-est share figure was racked up byWTTG Washington. This was a 36 inthe total area list.

Following the Washington stationwere WTCN-TV Minneapolis -St. Paul,33; WGN-TV Chicago, 33; KWGN-TVDenver, 31, and KTVT Dallas -Ft.Worth, 30. In the metro list, twowere tied for first place in the earlyevening, WTCN-TV and KWGN-TV, witha 34; followed by WCN-TV, with 33:KTVT, with 32, and KPHO-TV Phoenix.with 30.

Markets with two leaders

It is also interesting to note that.in the metro list for early evening.four markets were represented bytwo stations each. The markets wereNew York, Los Angeles, Philadelphiaand Detroit.

In the total day rankings, VI TTG

led in both metro and total areashares with 20 and 24, respectively-.Most of the top five stations inthese two lists were those mentionedin the early evening analysis.

In primetime, the highest sharewas 18, garnered by wrrc in thetotal area list. Leading in the metrorankings was KPTV Portland, Ore..with a 17.

The late night roster of leadingstations scored higher maximumshares than primetime 'but showedfewer stations with shares of 10 orover. The highest late night sharewas recorded, again, 'by WTTG with a27 in the homes listing. The Wash-ington station also led in the metrorankings with a 22.

KTVT was the only other indiewith late night shares of more than20. It ranked second in 'both latenight lists, followed by KTTV LosAngeles, which came in third, alsoin both lists. It racked up a 19 in themetro,. an 18 in the total area lists.

No .70s and 80s for the indepen-dent, but still, many healthy sharefigures. And the outlook for the indieisn't bad, either.

Among equal but

separate facilities

for all networks in

U. S. A. TV Markets

KTBS-TVShreveport, Louisiana

is the No. 1

ABC TV Station

in prime time.

(Per metro rating Spring

1968 ARB.) (In all

markets, KTBS-TV is No. 2.)

Also, in prime,

KTBS-TVis No. 8 in homes.

Total day,

KTBS-TVis 4th in metro,

8th in homes.

Early eve, tied for

7th in metro.

Overseas (From page 27)

lished branches in Europe, to makecommercials for use in Europeanmedia and to facilitate the making ofcommercials in Europe for use inthe U. S.

Rose-Magwood and FilmFair setup British companies to produce com-mercials from a London base. ElliottUnger & Elliott (EUE/Screen Gems)earlier had entered into an affiliationwith a British outfit, Signal Films.Televideo, headed by French -bornAndre Moullin, had already openeda Paris office, and later opened officesin London and in Rome. In '67, PGLProductions entered into a recipro-cal arrangement with Hardy, Shafferin London.

Such expansion and international-ization should not be confused withrunaway production, any more thanthe movement of big American corp-orations into foreign operations ismotivated by a desire to producethings for the U. S. market cheaperthan they could be produced in theU. S.

Televideo ranges wide

The widest ranging of the U. S.production houses is Televideo. Witha Coca-Cola campaign shooting inBrazil this Spring, and another at theWinter Olympics in Grenoble thispast winter, and crews working cur-rently in Hong Kong, Televideo's op-erations are far flung.

Andre Moullin said that this yearTelevideo has also worked on loca-tion in Israel (for RCA), France(for B. F. Goodrich), Mexico (for anew cosmetic), Italy (for Buitoniand for Kodak), Germany (forPepto-Bismol and for Old Milwaukeebeer), and the United Kingdom (forSchweppes). Closer to home, Tele-

video shot for Datsun in Hawaii andfor Cadbury's and Molson in Canada.

Yet production outside the UnitedStates is only a small percentage ofTelevideo's business, Moullin said."We wouldn't take an overseas as-signment unless there was a `reasonwhy,' just as we wouldn't take astoryboard that doesn't have a goodconcept."

Moullin, who last year travelled asfar afield as Kenya to make coin-mercials illustrating the premise thata white hunter will trek far throughthe bush for a Camel, said the only

reasons to shoot abroad are to getspecific backgrounds, atmospheres ortypes.

The white hunter in the Camelcommercial, for example, was noactor but a genuine white hunter andhe looked it. Similarly, shooting an-other "I'd walk a mile" commercialin the Swiss alps, Televideo foundand used a professional mountain -

climbing guide for the spot.

Must know the ropes

"If you're shooting abroad, youmust know what you're doing,"Moullin remarked. "You must knowwho to work with, how to handle re-lations with the governments, andsuch details as customs." He saidthat he had picked the most profes-sional men he could find in 12 cities,from Johannesburg to Rio de Janeiro,to act as liaison and film -making ex-pediters for Televideo when on as-signment in those areas.

Another U. S. commercials pro-ducer who has racked up a lot ofmileage in the pursuit of overseas lo-cations is Robert I. Bergmann, presi-dent of Fihnex. He has worked onlocation from the mountains of Mace-donia to the Brazilian back -country.Bergmann said you can get a creweverywhere, but that it's advisable tobring your key men-director, ca-meraman, sometimes a gaffer-withyou.

"Shooting in South America canbe nerve-wracking," said anotherproducer. "The only place (in thesouthern part of the Western Hemi-sphere) where there's a modicum ofa film industry is in Buenos Aires.Elsewhere, making a film is likepulling teeth. The technicians are notup to our standards."

Jacques Lemoine, head of TheTVA Group, said there's not muchpoint in going overseas in an at-tempt to beat residuals, especiallynow that actors in Britain have acontract comparable to that of SAGin the States, and the two unionshave a reciprocal agreement. Cur-rently, Lemoine said, some 70 percent of TVA's work is in the U. S.,and a proportionate percentage ofthat isdone on location in the States.

"The main difference betweenshooting in the U. S. and abroadwith local cameramen is taste," saida U. S. producer, who asked to re-main anonymous. Only the Ameri-

cans, it would seem, really have"Everything is difficult to get over

seas," said this producer. "You hayto bring most of your equipment wityou." He added that even on jobin England and France, he woultake along his R-35 Mitchell camerfand quartz lights.

One trouble with productioiabroad, said Don Trevor, head ocommercials production at Doyl, r

Dane Bernbach, is that most people .iin the film industry in many countriesare feature -film oriented, not advertising oriented. Thus, the U. S. producer has to know who the few people are who know how to work itcommercials. "Tyros get hurt, be

cause the people they get won't paythe fanatical attention to detail thatwe do."

Trevor said he takes a cameramanalong when he goes to make a com-mercial abroad.

"It would be a mistake to go over-seas to save money," he remarked,adding that in his experience, DoyleDane Bernbach had only twice goneabroad when storyboards did notspecify European locations, and inboth instances it was when snowcould not be found anywhere in theStates. (One was to make the Volks-wagen Snowplow commercial; the

other, to make a spot for Uniroyalsnow tires. The latter commercialwas scheduled to be made in July.and the nearest place the agencycould find snow was in Chile.)

Trevor indicated that commercialsproduction in Britain and in Francewas at a high level, comparable toAmerican standards. In both coun-tries, he said, the best film -makingtalent is thoroughly initiated into

commercials -making.

Mornings off in France

Trevor especially likes the Frenchshooting day, "from noon to 7 p.m.without a stop, no break for lunchor tea." (People have their lunchbefore noon.) He said it's the equiv-alent of a 10 -hour day in the States.Another advantage is that everybodyis wide awake and bright-eyed be-fore the shooting day begins. "How,"Trevor asks, "can people, especiallymodels, look good at 8:30 in the

morning?"He ticked off some of the prob-

lems in overseas production: Ian- I

guage can be a problem. but it's


ver insurmountable, due to the in -nationalization of cinematographicrgon. Lighting, when shooting in aidio, can be a problem, especiallyien the lighting man is enamouredold-fashioned "Hollywood" light -

1. "The best way to get the lights;ht," Trevor said, "is to show thei hting director a clip of what youran."

Expect the unexpected

Trevor added that productionlerseas can often have unexpectedcults. "It's the challenge of the un -I own. You need the freedom toange the visual, to create on loca -in. The results can be remarkable."Americans shooting abroad usual-

] complete the commercials back on13 home turf, in New York, Chicago,

Hollywood. Said one producer,',yen in England, editors are notJ courant with the latest U. S. styles;d rythms in commercials editing."Sometimes laboratories overseas

used for rushes, but almost neverir post -production processing (al-hugh there was a time during thefeat color bottleneck of a couple oftars ago when producers eager to;t color negatives printed would flyEurope to get them done in labs

(er there)."In most cases," said another pro-( cer, "it would be foolish to hire a1-eign director or cameraman on

overseas production. You wouldn'tft the rapport you must have.""If you're going first-class, shoot -

i; for a top-quality production,t 're's not much difference in costI tween the States and wherever you1," said another producer, "espe-.cilly when you add on the airplaneI es."

He deplored what he termed thell prevalent tendency for an over -Is assignment, especially one intrope, to become something of ale -load for non -essential agencyducers.

'All of a sudden you find there arefir guys from the agency goingOng, usually younger ones. Andken they get there they want tole it up, naturally enough." The11 part of all this, he added, is thatp production house gets stuck withá tab.

erhaps the only area in whichI; S. producers disagree as to thee and convenience of overseas

production is the matter of the rela-tive availability of film -making equip-ment in the major western countriesand in Japan, and this disagreementseems based on habit or idiosyncra-sy. Many maintain they get every-thing they need for shooting in Eng-land or in Western Europe from,say, Samuelson Brothers in London;others insist they have to take alongtheir favorite cameras.

Some say they can get everythingin the way of equipment in Japan; adissenter packs his own quartz lights.

Meanwhile, back in the States,inter -regional movement of commer-cials film-makers and tapers accel-erates. Location shooting here hasgrown in the past couple of years,chiefly due to the color revolution.

Anywhere from half to two-thirdsof U. S. commercials are filmed ortaped in the great outdoors.

New production centers

At the same time, the advent of anumber of smaller advertisers totelevision, especially regional adver-tisers, has led to the development ofcenters of commercials productionoutside the New York -Hollywood -Chicago circuit. Dallas, Seattle, At-lanta, Charlotte and Miami have be-come important production centersfor regional and local accounts, andoften for national accounts.

Below -the -line costs in these cities,due to different regional SAG con-tracts and deals with other unions,are sensibly below the rates in thetop three markets, by about 20 percent on an average.

But the lower below -the -line ratesare hardly enough to impel New Yorkagency producers out to the prov-inces. When they go, it's for proxi-mity to scenery and sunshine.

FTC (From page 29)

or magazine which airs the suspectcommercial or advertisement. TheFTC officials emphasize that thecommission can act only in the caseof deceptive practices and cannotcensor commercials or ads whichmay be in "bad taste."

The FTC has asserted itself in onespecific field of broadcasting whereinthe broadcaster himself is heldculpable. In 1965, the FTC issueda policy statement against misuse ofratings by broadcasters. After inves-tigations by Congress and the FTC,it was proclaimed that there was"widespread misuse of audience sur-vey results, use of unreliable surveydata and tampering with and dis-tortion of survey results." The up-shot of these practices, the FTCstatement added, was "deception asto the size, composition and othercharacteristics of radio and tv audi-ences."

In response to such practices, theFTC set forth guidelines for thebenefit of broadcasters, advertisingagencies and advertisers.

One practice ruled out by the FTCwas "hypoing" the ratings. Thismight involve the conducting of aspecial giveaway program or use ofunusual advertising or promotionalgimmicks solely to inflate the sta-tion's audience during the periodwhen a survey is being taken.

Also, it was specified that the sta-tion trying to lure advertisers shouldmake plain that audience data basedon sample surveys are "incompletemeasurements of audiences," and, assuch, are only of "limited reliability"because of errors inherent in anysampling system.

Ill" rF LAND OF YEAR-ROUND

GOOD LIVING, GOOD BUSINESS

WCT'TALLAHASSEE THOMASVILLE

,._ ...Of

BLAIR TELEVISIONA Div..i. uJ John Bluer 6 Cumyu,,,

Clevision Age, July 15, 1968 55

The FTC's final guideline forbroadcasters prohibited audienceclaims based on data from a surveywhich "the person or firm makingthe claim knows or has reason toknow was not designed, conductedand analyzed in accordance with ac-cepted statistical principles and pro-cedures...."

FTC officials say they are continu-ing a close watch on such malprac-tices, and a number of investigationshave been conducted.

So far, however, no formal com-plaint has been issued against a sta-tion.

But the FTC does make it a prac-tice to call to the attention of theFCC any allegations of hypoing andother suspect ratings practices. Withsuch information in its hands, theFCC could make it very embarrassingfor a station up for renewal.

No drastic change in FTC policy isforeseeable in the near future. Chair-man Dixon was just reappointed toanother seven-year term last fall.However, a change in administrationscould remove him from his chairman-ship and he would then he just oneof five members.

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JEFFREY MARTIN, Inc., Dist. of COMM*

Toughest account(From page 30)

Gentlemen's Wear, is quality-though they are not The New YorkPhilharmonic..." And finally, as thecommercial ended, "Quality, taste,classicism, elegance, tradition-Wil-liam Dodson, Ltd. is all these thingsin gentlemen's wear."

"Smoothly it didn't go," recallsHayes. "There were problems. Afterwe'd shown Dodson the storyboardand he'd cleared the concept, we dis-covered there was just one RollsRoyce in town-and the manager ofanother tv station owned it."

Perseverance paid off, however:someone turned up a second Rolls,a repossession, stashed by the bankin a barn on a farm. It was rolledout, washed and waxed, taken intothe studio and photographed underlush lighting.

Shooting the Fusiliers

KTVH also lucked out on the RoyalHighland Fusiliers. They landed atWichita State College, in the midst ofan international tour, complete withbagpipes, and Hayes hustled down tofilm them as they marched in theschool's mammoth field house.

"The lighting was miserable,"Hayes remarks, "but we got what wewanted by forcing Ektachrome EFfilm a couple of stops. And that tookcare of `tradition.' "

Illustrating the remaining threeelements was comparatively easy. For- t lassicism," Hayes borrowed a bustof David from an interior decorator,sprayed it gold, put it on a pedestalmounted on a slowly revolving turn-table, threw a color wash on the back-ground and a different color on thesculpture.

For "taste," he had an 81/2" x 11"reproduction of a masterpiece mount-ed in an inexpensive frame whichKTVH's art department had antiqued.The picture was hung with draperiesand softly lighted, to get a museumeffect, and Hayes shot it with close-up, zoom -away and dissolve.

To illustrate "quality," Hayes hadthe art department transform stills ofLeonard Bernstein conducting TheNew York Philharmonic into a seriesof cards with drop -outs. Then hefilmed them in succession with quickdissolves to impart movement.

Retailer Dodson liked the result.-'We got a quality color commercial,"

he says, "one that combined the rightelements to project the store as aquality establishment with overtones+of the Old World and nobility."

Dodson ran the 60 -second com.lmercial in two eight -week flights in10 - 10:30 p.m. news through No-vember and December, 1966, tomaximize Christmas volume.

To promote Spring business, heran it straight through the followingApril, this time in the 10:30 movies.

Next, Dodson and the station a-greed that the commercial wouldyield considerably more mileage ifit were edited into several short/versions.

"Here's where the flexibility of

film came into play," says Hayes."We were able to rework the originalinto four 20 -second spots, each con-taining two of the word -picturethemes, one of them repetitive. Wecombined themes one and two in thefirst spot, two and three in the sec-ond, and so on. And we re-recordedthe music and cut the narration tofit the new format."

Again, Dodson ran through No-vember and December, this timespotting the new 20's in the 10:30movies on Sunday, Monday, Tuesdayand Friday, in the 10-10:30 news onWednesday, in the 6-6:30 early newsand at 7 in primetime on Thursdayand in the 6-6:30 news again on Fday.

In spite of their avoidance of prduct, Dodson knows that his commecials are generating positive viewer -customer reaction. His daily pesonal contacts with customers t

him that."It's tough to peg the sales ma

off tv advertising," he says, "butresponse we get from customeproves they're watching and listeing. And for every comment we gewe figure there are about a dozcustomers who don't bother to metion the fact that they've seen t

commercials."Dodson has become a believe

"We've got a substantial ad budget,he says, "and we'd have channelepart of it into television before ifstation had come to us with reallcreative concepts and material thwould strengthen our image.

"Now we've discovered that it cabe done on tv, and we're looking forward to a second series of commecials."

7'elevision Age, July 15, 1

Odd Detroit -headquartered RossRoy, Inc., to the Midwest-origi-

ated agencies that see their majorrowth potential in New York-gencies like Tatham -Laird & Kud-er, Campbell -Ewald, Needham,Earper & Steers, MacManus, John &

dams, and Bozell & Jacobs.Since Ross Roy's New York office

as separately incorporated a yeargo, billings have almost doublednd now stand at approximately $10iillion, about a quarter of which is

On June 1, Ross Roy of New York,oc., moved to new, enlarged quart-rs at 555 Fifth Ave., occupying theafire 10th floor. For a few weeks,ie staff struggled to work amidst a'elter of unpacked cartons, telephoneistallers, paint cans and out -of -placeffice furniture.Among them was Malcolm B.

)chs, who, in addition to contend-rg with the disarray, was settlingoto a new job as director of mediand research.Looking around a few weeks ago

or a quiet place to talk with aisitor, Ochs sighed and finally set-,ed for his cluttered office.

There he talked about his newjob: 'This combines some of

he advantages of a large and smallgency. We're staffed with the experts.e need for a full -service shop and,,n the other hand, we can work close -e with creative people in a free-, heeling interchange."

His department now consists ofeven, including himself, and is inhe process of expanding.

RR/NY is autonomous, with itsncn president, William A. Walker,hough the president of Ross Roy in)etroit, John S. Pingel, is chairman,f the RR/NY board.

Certain functions, like accounting,it handled in Detroit, but Ochs islot responsible to the media chiefhere. The New York shop also hasLccess to whatever help Detroit canplfer in such sectors as commercialsn oduction and sales promotion. How-

er, Ochs doesn't see any likelihood

In the picture

that RR/NY will have much needof it.

Particularly important to RR/NYexecutives and to the agency's futureis that, as a separately incorporatedentity, it can provide its people witha personal and a financial stake inits growth.

One of Ochs' concerns in thefuture will be the extent and

manner in which the agency tacklesthe use of the computer in mediaplanning and analysis. As head ofresearch, he has a double interest inEDP.

The agency has no background, inthis area, though Ochs, who spentsome time at BBDO, had considerableexperience with its linear program-ming operation.

"We're investigating the comput-er," he says, and expresses the beliefthat there is at least one advantagein the agency's lack of EDP back-ground. "This is an opportunemoment to get into the field becauseit's starting to take off. We can tacklefresh approaches-there are a lot ofnew things we can do."

One of the questions RR/NY willhave to answer, Ochs believes,

is whether there is enough good datato use computers for comparingmedia, "particularly the interactionof reach and frequency in a mediamix."

He leans toward experimentingwith what the computer can do evenif the data are not completely ade-quate. "Agencies went ahead beforewithout enough information. Thecomputer is like a lever; it will pushus into finding answers."

Ochs points out that there is al-ready multi -media information avail-able via Simmons and Brand RatingIndex.

He regards the multitude of newproposals for national tv audienceservices, including those from Sim-mons and BRI, as a step forward."The premises are right, because theemphasis is on people-more empha-sis on people than Nielsen."

Malcolm B. OchsA double interest in computers

Nof that Ochs would like to see,or expects to see, a wide selec-

tion of audience services. "We can'tafford more than one, and more thantwo would not be economically prac-tical for the business. But even iftwo were available, I'd have achoice."

The Nielsen proposal for a 30 -market instantaneous rating servicedoes not excite Ochs at present be-cause all RR/NY's present tv billingsare in spot.

One development he would like tosee is a speedup in delivery of audi-ence service data. "Neither Simmonsnor BRI is current enough, thoughSimmons is a little better than BRIin this respect. Both, however, areuseful primarily for planning, notbuying."

Ochs comes to his new job withconsiderable experience. He was lastat Campbell-Ewald/New York, wherehe had the same job he has now.Besides his years at BBDO, heworked for Papert, Koenig, Lois andGrey Advertising.

He has usually found time for out-side activities related to his career.He is currently co-chairman of themedia research group of the Ameri-can Marketing Association's NewYork chapter, and has taught mediaresearch at New York University.

A resident of suburban WhitePlains, N.Y., he is married and hasfour children.

Television Age, July 15, 1968 57

THE LIGHTER SIDE In camera.With today's emphasis on creativity,

certain agencies with no particularcreative image envy the publicity re-ceived by tv commercials awardswinners. They wish they could finda way to turn out ads with prize aswell as sales potential. This kind ofthinking could lead to the followingsituation:

The president and chief executiveofficer of Hammond, Goldberg, Guilioand O'Neil has called together hisexecutive committee to discuss forth-coming strategy after having swipeda high-priced creative team from an-other agency.

HAMMOND: Gentlemen, it has al-ways been my belief that thoroughplanning is the key to successfulmarketing. We at Hammond Adver-tising have in the .. .

GOLDBERG: Hey, C.L., haven'tyou forgotten something?

HAMMOND: I'm not used tobeing . . . uh . . . what's that,Murray?

GOLDBERG: It's not HammondAdvertising any more. We're a new,swinging áhop, tuned in, far out, withit and young, young, young.

HAMMOND: Heh, heh, it's hardto get used to .. .

GUILIO: Hard to get used to threebeards out of four on the executivecommittee, eh, C.L.?

HAMMOND: Uh, well, Tony, youknow I've said I don't care what aman looks like as long as he turnsout...

O'NEIL: Ads that ring up saleson the old cash register, right, C.L.?

HAMMOND: Frank, I'm glad youpointed that up. In the past few days,since you boys have been here, I'vehad the feeling that some basic ad-vertising essentials have been over-looked and.. .

O'NEIL: Look, C.L., you broughtus in here, gave us stock and stufflike that to make a stuffy, behind-

the -times, artery -hardened agency into

HAMMOND: Well, now, Ham-mond has had its share of faihtres,but we've created some.. .

O'NEIL I repeat, C.L., a stuf-fy, behind -the -times, artery -hardenedagency into a youth -minded, free-

wheeling, wide-open swinging shop,tuned in, far out, with it and young,young, young.

HAMMOND: I know we've got tobridge the generation.. .

GOLDBERG: Bridge it? Forget it,C.L. You can't bridge the generationgap. Nobody over 30 can under-stand us. Right, Tony? You were atBerkeley.

GUILIO: You bet. And am I gladI didn't register. From what I heardabout those professors, you wonderhow anybody got educated.

GOLDBERG: Yeah. C.L., Tonygot a real education: pot, love -ins,psychedelic orientation, McLuhanisminvolvement. You know, sometimesI think I missed something going toColumbia.

O'NEIL: You got out too soon,Murray. Tough luck.

GUILIO: Did I ever tell you aboutthat flower child that dropped in mypad? She was wearing a potato sack,only a potato sack and the first thingI ask.. .

HAMMOND: Gentlemen, I thinkwe're getting away from.. .

GUILIO: No, we're not, C.L. Iwas going to make a point aboutunderstanding the only real peoplewho matter today.

HAMMOND: (a little loudly) :The only real people who matter arethe customers of our clients.

O'NEIL: Cool it, C.L. Let's getdown to cases. Murray and I wantto screen Tony's prowl shots.

HAMMOND: Prowl shots?O'NEIL: You mean you haven't

heard of Tony Guilio's prowls? Hegoes out three, four nights a weekwith a 16. Gets terrific mood shots.He was in Times Square last night.Without even seeing it, I can tell youwe already got some prize-winningfootage.

HAMMOND: For what brand?GOLDBERG: Whatsa difference?

If it's good, it'll work for almost anybrand.

O'NEIL: Look, C.L., if you wantto win prizes, you gotta give yourcreative people room to move. Onceyou start getting too analytical, thecreative man gets uptight. Uptightis bad.

GUILIO: Uptight is real bad.

Once a creative man gets uptight,he's finished, C.L. I'm 25. Still gotfive good years. Don't want to ruin'em.

HAMMOND (weakly) : Whatabout my next five years? I'm gettinga little confused.

GOLDBERG: Hey, Tony, I toldyou it wasn't a good idea to smokepot at the office. The old guy's beenbreathing the fumes.

GUILIO: Some air conditioning.Well, we're going to move from thisplace anyway.

HAMMOND: We are?O'NEIL: Oh, didn't we tell you,

C.L.? Sure, we gotta move. Get awayfrom this Madison Avenue enviro.ment. Closer to the ghetto.

GUILIO: Yeah, we need a bigstudio, like a barn, no desks, plentyof room to move around, open. Wewant to be able to see the fire escapesof the poor.

HAMMOND: (making a sturdyeffort) : It seems to me that as major-ity stockholder, president and chiefexecutive officer of the agency andchairman of the executive committee,I should have something to say aboutthis.

GOLDBERG: Oh, come off yourhigh horse, C.L. Don't forget, youagreed that every member of thecommittee would have an equal v otein operating decisions.

HAMMOND: I really don't re -

mein. . .

O'NEIL: As a matter of fact, C.L.,we felt it might be better if you didn'tserve on the committee at all. You're.not really with it, you know. Thethree of us work much better withoutoutside interference. We'll win theprizes and all you have to do is clipcoupons.

HAMMOND: I.. .

GUILIO: C'mon, let's screen mystuff. C.L., why don't you lie down?You don't look so good. Maybe youshouldn't spend a full day at the

office.HAMMOND: Urfgh.GOLDBERG: Frank, you put a

pillow under the old guy's head andmake him comfortable and we'll setup the screening.

O'NEIL: There, there, C.L. Resteasy. Relax. You're out of it now.

I

i58 Television Age, July 15, 1968

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