JULY 1, élevision - RADIO and BROADCAST HISTORY library ... · True global tv, linking major...

JULY 1, 1968; $1.00 THIS ISSUE

élevisionGrowing global links

Ad agencies and satellites are creatingnetworks of communication; country -by -country reports

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JULY 1, 1968

Television Age

I ; IS THE BLOOM OFF THE BOOMIN AGENCY EXPANSION ABROAD?

U.S. agency billings overseas have grown at a faster rate thanat home, but various factors indicate a slowdown.

t11 WHERE THE SETS ARE

Revised estimate of world set count is put at 212 million as ofthe beginning of this year.

22 SATELLITE TARGET: 1970

True global tv, linking major countries of all continents, likelyin next two to three years.

24 'SENOR MEXICAN TV' WITH A GRINGO ACCENT

Don Emilio Azcarraga may be the biggest man in the broad-cast business south of the border.

26 GLOBAL REPORT

A continent -by -continent review ofworldwide television.

DEPARTMENTS

i Publisher's LetterReport to the readers

9 Letters to the EditorThe customers always write

11 Tele -scopeWhat's behind the scenes

13 Business BarometerMeasuring the trends

15 NewsfrontThe way it happened

l Viewpoints

recent developments

32 Film/Tape ReportRound -up of news

47 Spot ReportDigest of national ºcti t it

49 One Buyer's OpinionThe other side of the coin

55 Wall St. ReportThe financial picture

65 In the PictureA man in the news

66 In Camera.4 no -holds -barred column The fighter side

in

Television Age is published every other Monday by the Television Editorial CoPublication Office: 440 Boston Post Road, Orange, Conn. Address mail to editorialadvertising and circulation offices: 1270 Avenue of the Americas, Rockefeller CentNew York, N.Y. 10020. PL 7.8400. Controlled circulation postage paid at New YorN.Y. and at Orange, Conn.

Television Age, July 1, 1

I'

TelevisionAge

CV No. 24

Editor and PublisherS. J. Paul

Editorialitorial Director: Alfred J. Jaffeinaging Editor: Bill McGuirenior Editor: Ed Dowlingsociate Editor: Paul Guthrienancial Editor: A. N. Burkeºshington Correspondent: Jay Lewis

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:LEVIstON AGL is published every othe,Monday by the Television Editorial Corp.élltorial, advertising and circulation office:170 Avenue of the Americas, Rockefellerenter, New York, N.Y. 10020. Phone:112) PLaza 7-8400. Single copy: 50 cents'early subscription in the U.S. and pos-sions: $7; Canada: $7; elsewhere: $15.

I Television Editorial Corp. 1968. The en-te contents of TELEVISION AGE are pro-cted by copyright in the U.S. and in alltttntries signatory to the Bern Conventiond to the Pan-American Convention.

One television station is Topeka.And if you want the station that dominates Eastern Kansas,where two-thirds of the state's population lives, that televisionstation is WIBW-TV.It's the only commercial VHF television station in Topeka.It's the only television station that offers CBS plus the bestof ABC programming.And it's the station Kansans have turned to for 15 years forlocal news, farm news, network coverage, and sports.It's the station that continues to prove what advertisers haveknown for 15 years : when you put your message on WIBW-TV,you have no ground for complaint.Just pay dirt.

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Broadcast services of Stauffer PublicationsRepresented nationally by AveryKnodel

"elevision Age, July 1, 1968

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The Speaker of the Houserecognizes Television Age

We don't want to make a whole yederal case out of thisbut you might like to know that television's most read-able, reputable and repeatable publication even getsquoted in Congress. In fact, recently we held the flooron two separate occasions for the television industry.The point is that whenever important people need atelevision authority-it's the most natural thing in theworld to reach for Television Age. It happens in Con-

gress. It happens with remarkable consistency inReader's Digest where our stories are reprinted for thebenefit of tens of millions. Most important-it alwayshappens throughout the television industry whereTelevision Age is read more ... quoted more ... usedmore. That's why Television Age helps you reach moreof the people you want to reach, the way you want to

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Letter from the Publisher

The world around usWorldwide television set circulation is now at 212 million, accord.

ing to TELEVISION AGE'S current estimates.The growth abroad continues at an accelerated pace. With the

satellites forging international highways of broadcast signals, thisgrowth means greater communication between nations and betweenpeoples.

The people's "right to know" cannot forever be shut out by govern-ment decree. International shortwave has already penetrated manyareas that previously were inaccessible. Television, too, by carryinginternational signals of such events as the Olympics will be demon-strating to the world's population that other programs of informationcan also be transmitted.

In this respect, the networks should consider a once -a -month liveinternational roundup from key points around the globe. Because ofthe time differential, some of these originations would have to betaped. However, the programs could be somewhat similar in natureto the program that inaugurated satellite communication between theU. S. and Western Europe. There is a great deal of feature material,as well as hard news, that would be of great interest to the Americanpublic. The program could be beamed around the world, as well asin the U. S. There are large companies with huge stakes abroadwhich should be potential sponsors of such programs.

Worthwhile effortsThere are several worthwhile efforts generating from the U. S. and

designed to establish closer rapport and working relationships withbroadcasters overseas. The International Broadcast Institute is makinghaste slowly. It was organized just a year ago at Ditchley, England.Since that time, there have been two meetings, one in New Yorkand one at Bellagio, Italy. Arthur Morse, formerly of CBS, has beenserving as Acting Executive Secretary. The IBI's objectives are toprovide an active international organization in the broadcast areathat can be a clearing house for information, discussion and exchangeof ideas similar to the International Press Institute.

The Inter -American Broadcasters Association, under the directionof Herbert Evans, has been working diligently over the years to estab-lish a closer liaison with the Latin American broadcasters. The U. S.Radio and Television News Directors Association, at a conferencesponsored by Time -Life Broadcast last fall in Paris, met with news-men from 16 European countries. The RTNDA and T -L -B areworking on a similar conference to be held with Asian broadcasterssometime during 1969.

Meanwhile, there is a steady stream of broadcasters from abroadvisiting stations and networks so that the U. S. contribution in theinternational area cannot be underestimated. It should grow as inter-national broadcasting expands.

The various international organizations provide a meeting groundfor non-commercial as well as commercial broadcasters. However.what is apparent is that the greater strides have been made in tele-vision abroad where there is the presence of commercial stimulation.U. S. advertising agency expansion into foreign markets has followedthe increased sales of American products abroad.

Cordially,

8 Television Age, July 1, l`lOh

Lettersto theEditor

ipturing the spirit of B&Z

Your story on Bozell & Jacobsozell & Jacobs joins Madison Ave -le, TELEVISION AGE, May 6, 1968,Ige 24) did the best job of captur-g the spirit and direction of BozellJacobs of anything that has been

ritten about us.CHARLES D. PEEBLER, JR.

PresidentBozell & Jacobs, Inc.

New York, N.Y.

ecruitment EastIn your article on college recruit-

ent by agencies (The graduates,I:LEVISION AGE, May 20, 1968, pageI, I think you've done an excellent

,b. I would question only one state-ent: "The bulk of agencies partici-ding in the search for manpower

the undergraduate level are in theI idwest."I suspect that there are more east-« agencies (particularly in Nework) which recruit at the under-raduate level, simply because therere more agencies here.This is a small point, however, and

i)es not detract from a well -written,tteresting article.

JOHN L. DEL MARVice President

erican Association of AdvertisingAgencies

New York, N.Y.

)ne Nation, Indivisible'Your piece on Westinghouse

roadcasting Co.'s documentary, Oneration, Indivisible (Newsfront,LEVISION AGE, May 20, 1968, page

91 was quite interesting and illu-iinated one facet of the many arease got into in the filming of thisrogram.

J. E. ALLENVice President, Television

Westinghouse Broadcasting Co.New York, N.Y.

Casting director casts bouquetI read the article on casting di-

rectors (Name callers, TELEVISION

AGE, April 22, 1968, page 30) with agreat deal of interest. It was, thoughbrief, a very complete survey on theroles of agency casting directorstoday.

RUTH LEVINECasting Director

Benton & Bowles, Inc.New York, N.Y.

Food for thoughtI think the article on the future of

advertising agencies (Agency presi-dents tell it like it will be, TELEVISION

AGE, June 3, 1968, page 21) is in-teresting and contains some verychallenging ideas. Several statementsin it are real food for thought.

STUART B. UPSONPresident

Dancer -Fitzgerald -SampleNew York, N.Y.

Every night between 8:00 and 11:00 pmWorldvision stations program 366 hours.Every night 122 Worldvision originatingand repeater stations in 25 countriestelevise 366 hours of prime time pro-grams to an audience of more than 23million people.

The Worldvision network, repre-sented to the global advertiser by ABCInternational, is the largest interna-tional commercial television organiza-tion in the world. In addition, ABCInternational represents the CTV Net-work in Canada, the CATVN Networkin Central America, and the LATINO

Network covering virtually all of LatinAmerica.

Whether you need .an efficient sell-ing campaign in one market, or inmany, Worldvision can be your mostinfluential selling force. For more in-formation on the new dimension inglobal advertising please contact:

ABC International Television, Inc.1330 Avenue of the Americas

New York, New York 10019(212) LT 1-7777 Cable: AMBROCASTS

Worldvision associates are located in Argentina,Australia,Bermuda,Canada,Chile. Colombia, CostaRica, Dominican Republic, Ecuador, El Salvador, Guatemala,Haiti, Honduras,lran, Japan, Lebanon,Mexico, Nicaragua, Panama, Philippines, Ryukyus, South Korea, Spain, Uruguay, Venezuela.

A Subsidiary of American Broadcasting Companies, Inc.

Television Age, July 1, 1968 1)

+!

Tibor Hirsch...now directing for EUE/Screen Gems

EUE/SCREEN GEMS513 West 54th Street, N.Y.C., Hollywood, Chicago, London, Munich.

WHAT'S AHEAD BEHIND THE SCENES

ire tv for private brands?

(here is increasing evidence retailers will rely more ontube to push their private labels. Sears is leading thein both spot and network television. Sears currentlya spot campaign going in New York for their Ken -

re vacuum cleaners, and the company is sponsoringEd Sullivan Show on October 6 to tout their floor

erings.the reason for all this increased video interest is thatbig retailers are not fighting the same battle these

s. Where the emphasis was once on contending,inst each other with national brands, there's nowre stress on controlled brands.With this new bent in mind, Jack J. Honomichl, vicesident of Audits & Surveys, New York, has suggestedt many of the historic notions and definitions ofivate label" are obsolete. "In fact," he stressed in aech to the American Marketing Association in Phila.ilia, "the very term `private label' seems inadequatewhat is going on today."

What is going on, according to Honomichl, is that of$155 billion expected to be spent next year for

ceries, general merchandise and apparel, as well asniture and household appliances, the sales of the topretailers will account for about 38 per cent of the

tl. And to make sure they get their due, he says, thetilers are no longer going to rely solely on media likeelogues and newspapers.

tos, 'Gavilan'

aearance problems have caused Procter & Gamble to.p its plans to syndicate Cavilan. The company waslerimenting with the syndicated half-hour for twosons: (1) to develop an alternative to network pro -mining as a hedge against rising costs, and (2) to.elop a vehicle for regional brands and brands moremy implanted in some regions than in others.Ile pilot for the series had been developed for P&GRobert Stabler's Madison Productions, which had

g been successful in the production of half-hour seriessingle sponsorship with Death Valley Days for U.S.

rax. Many stations-close to 100-cleared Gavilen inmetime or fringe, as P&G and its agency for the proj-, Dancer -Fitzgerald -Sample, had desired, but many of

markets that P&G wanted in the lineup were nottared. Plenty of stations. but not enough of the righte.

emway sets buy of barter houseLook for more tv activity on the part of Chemwayrp. brands if all goes according to plan in its acquisi-n of Atwood Richards, Inc. The latter is one of the;gest time barter operators in the business. Agreementprinciple was reached for Chemway's purchase of

shards for about $6.3 million in cash and convertibleientures. Among Chemway's trade marks are Dr. Westi Oral B toothbrushes, Lady Esther, Zonite, Argyrol,tatty Feet and Contactisol. Richards will operate as a«arate m holly -owned subsidiary of Chemway.

Tele -scopeHoward Zieff makes his million

Everybody knew that Howard Zieff was bound to be amillionaire some day. Currently the highest -paid of tvcommercials directors-at a fee in excess of $4,000 perday-Zieff's film -making operation has been grossingover $1 million a year.

Now Zieff is entering into an association with MPOVideotronies, biggest of the commercials studios, cur-rently billing over $15 million a year. Zieff becomes animportant stockholder in MPO and has an arrangementto use soundstages and other facilities of the big produc-tion company. Bookkeeping and other clerical functionswill be handled by MPO.

Zieff will continue to work entirely on his own as anindependent film-maker. He said the stock deal makeshim a millionaire, and the arrangement frees him frombusiness details to concentrate more on the making ofcommercials. Zieff, assisted by a staff of 15, does every-thing, from casting to final editing.

'The New Theatre' comes to tvTv production of theatrical works, especially in New

York, has often been cramped in style because of thephysical limitations of existing tv stages. Now Tele -TapeProductions and its architect, Clark Thompson, are build-ing a combination tv theatre and studio that can .accom-modate any style or size of tv production, from talk showto epic.

Worked into the concept is a variation of the "peoplewall"-the seating sections for audiences can be swungup and out of the way for big -scale productions. Thetheatre, called The Second Stage, may well become theincubator of new tv program forms.

So you want to make a film at the Olympics?Agency creative types eager to peg a tv campaign to

the Olympic Games in Mexico City this Fall might dowell to contact Robert I. Bergmann, president of Filmex,which has a Mexico City production branch, Filmexico.Bergmann's company has secured the rights for the useof Olympic locations, including the new Olympic stadium,in the Mexican capital. Filmex is also making three half-hour documentaries on Mexico in the Olympic year.

Hypo-ing the product for monochrome viewersNow being pitched to agencies is a process that when

used in a commercial can make watchers of black -and -white tv sets think they're seeing it in color. The process,called Color -Tel, apparently works by attaching a deviceto the camera, a device which encodes what the camerais recording into red, blue and green signals. The en-coded signals are recorded onto the tape or film as lightpulses. When these hit the monochrome viewer's eye,they are transmitted through the optic nerve to the cortexof the brain, where they register as color.

The Color -Tel Corp., which is marketing the process,said that it causes "no undesirable effects, physically orpsychologically." Color -Tel said a test showed the processcould increase recall by 30 per cent.

1

elision Age. July 1, 1968 11

MIAMI

is a Brain Pickin' Area!

The climate will make ideas grow andyield bountifully. Meet with the expertsand communicate your station's thoughtsand needs . . . Promotion changesmoment to moment . . . Its responsi-bilities grow in fertile, receptive minds.Duties multiply . and they should

. Your attitude freshens . . andit would . . . amidst a gathering ofprofessional do'ers.It's worth the time, effort and moneyto go to Miami and share your know-how with the idea men of the Broad-casting industry.So . . why not try Miami for size . . .

the BPA will provide you with a goodfit for all the many hats you wearin the role of a solid station promo-tion manager.Non-members: Come join us. Registra-tion fee applies to your membershipdues!

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Get your registration in now . . . while you are thinking about it! Earlyregistrations save you money!

CHECK ONE:Voting Member Affiliate Member Associate Member O Non -Member Advance Registration: BPA Member $50.00. Mon -Member $65.00Registration at Seminar: SPA Member355.00, Non -Member $70.00

Are you bringing your wife? Yes . No

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- .. as my advance registration leeMail this registration form with your check to BPA address above.

Broadcaster, Promotion Association 1968 Convention At The Deauville In Miami BeachNovember 17-20-For More Information, Write BPA; 1812 Hempstead Road, Lancaster, Pa. 17601BE SURE TO ENTER YOUR STATION'S PROMOTION EFFORTS IN THE "1968 BPAAUDIENCE PROMOTION AWARDS" COMPETITION.

(Deadline Postmark Not Later Than August 10, 1968)

1'l Television Age, July 1,

Business barometer91Y

Lt

T]

Bi

£ood news for spot in April was even better for the local sector. This pattern of

local business outrunning spot has been appearing pretty consistently for the

past two and a half years. In only two months since November, '65, has the percent increase for spot topped or equaled that for local revenue. As our story in

the June 17 issue suggested ("The billion dollar account"), the tv business may

be on the verge of a massiveinflux of retail money. Cer- LOCAL BUSINESS NETWORK COMPENSATIONtainly the signs show thatthe floodgates have already millions of dollars millions of dollars

started to open. $37.5

al business in April was a hefty21.7 per cent above lastyear and 2.1 per cent aboveMarch. This brought Aprilbusiness to $37.5 million.

work compensation remains, asusual, pretty stable. TheApril figure was 0.5 percent greater than '67 and3.0 per cent under March '68.The April revenue figure cameto $21.2 million.

local revenue data by stationsize showed that the largerstations million overin annual revenue) did no-ticeably better than theother two groups in April. '"

bigger stations registered a ¡'

hike of 24.3 per cent, whileIn

the medium -size outletsscored a 17.2 per cent in- Is

crease and the smaller sta-tions a 10.2 per cent lift. u

it was the smaller stationsthat stood out in the net-work compensation sweep-stakes. They raked in 9.4per cent more revenue whilethe other two groups stoodstill-a 0.3 per cent in-crease for the medium sta-tions and a 0.2 per centdrop for the large outlets.

Tuning up for the first fourmonths of the year, the results are as follows: Local business is now 11.9 percent larger than the corresponding period in '67. With the January -April revenuefigure for last year being $116.2 million, this puts the '68 figure at $130million even. Compensation is up 1.7 per cent to $81.9 million.

a,

I.i

o

$30.

$21.1 $21.2

March (up 10.0%) March (up 0.1%)

Year -to --year changes by annual station reserve

Station Size Local Business \ t tivork Compensation

Under 81 millionSl-3 millionS3 million -up

+102%+17.2%+24.3%

+9.4%+0.3%-0.2%

s _.

1 t It I 1, n N h

1968-'67 comparison

t;

If,

r It It 1 1 I ; (1.\' t,

1968-'67 comparison

II

Kt issue: a report on spot revenue in May.

Copyrighted feature of TELEVISION AGE. Business barometer is based on a cross-section of nations in all income and geographical categories.'motion is tabulated by Dan & Bradstreet.)

vision Age, July 1, 1968 13

PGL CAME BACK FROM VENICEWITH A GLASS CUP,* A GOLDMEDAL, A GOLD PLAQUE, TWOSILVER PLAQUES, FOUR DIPLOMA:AND SIX GLASS ASHTRAYS.

*The Cup of Venice-Overall grand prize awarded to theproduction company for the highest total points for any sixfilms entered in the XV Venice Advertising Film Festival.

PGL Productions Inc.25 E. 26th Street, N.Y. 212-889-3500

Television Age, July 1,

THE WAY IT HAPPENED NewsfrontFunds good, but . . .

silk is in the air just about any -you go these days. It makes

evator ride less oppressive in aaper in Johannesburg. It warmse clinical atmosphere in aninks factory in Tokyo. At ice -

radar stations north of thet in Canada, it stimulates therho man the outposts that makee DEW -line, the Distant Earlying radar cordon, to keep alertSh the long Arctic days and

In hospitals it is used to pre -patients for surgery. On high -through auto stereo, it cutsfatigue.so far Muzak has not been on

ion. It may not be long, how -before the principles of Muzakto manifest in television com-Os. Umberto V. Muscio, presi-pf Muzak, a subsidiary of theter Corp., said the company issted in applying some of theedge Muzak has gained aboutlychological and physiological

of music to tv commercials.talc, Muscio said, has evolved aWay from the "piped -in" musice that it was when it began 32

ago. "We've metamorphosedipmething different. We're nowgists in the psychological and)logical effects of music."

ur productivity. Muscio saidit he Muzak people can study the

(tivity curve for a day's opera-n f. for example, an assembly line,II increase that productivity by;(.ping a sequential arrangementn .ical compositions in 15 minute

nts that will stimulate the work-, ing periods when output tends

I O'Neill, Muzak's vice presi-n,m charge of research and pro-d: Mug, has from Muzak's experi-

through the past two decades,Iced a system of progressive

that, when concretely appliedlade -to -order music, can nothcrease production, but decreaserelax tension, relieve boredom,

!void the onset of fatigue-notin factories but in offices, andhospitals. "It can be used to

increase or to decrease metabolism,pulse rate, euphoria, even melan-cholia."

If Muzak's expertise can be usedto induce desired states of action orrepose in people, it can also be usedto make commercials more effective,O'Neill believes.

Importance of music. One of thechief developments in commercials -making in the last couple of yearshas been the greater importanceplaced upon the music. Advertisersand agencies have been seeking outthe most creative composers to writescores for commercials, and payinggoodly sums for the compositions-$5,000 is not an unusual fee thesedays for an original 60 -second score.

The results are often striking buttheir effect is difficult to appraise.As with the picture, a question thatmay often arise is, "It sure soundsbeautiful ... but does it sell?"

In a time when just about every-thing in a tv commercial can be test-ed, and usually is, whether by meansof test commercials, consumer panels,Schwerins, ASIs and a host of otherstatistical methods, the evaluation ofthe effectiveness of the music in acommercial remains largely subjec-tive. Not long ago it was widely heldthat, like the classic Hollywood moviescore, the music in a commercialshould be something the audiencedoes not "perceive." But lately com-mercials music has crossed thisthreshold, ceased to be an "illustra-tion" of the picture, and has becomerather another medium mixed withthe visual, adding another dimensionto commercials.

Muzak's O'Neill believes that,through collaboration with the Muzakresearchers and programmers, agen-cies can go beyond reliance on intui-tive appraisal of music, and makesure that the music sells.

Currently Muzak is working withYoung & Rubicam in an experimentwith three commercials.

Jingles for barteringThe barter business has long been

helpful to stations with time on theirhands, unsold availabilities that look

to become liabilities. A barter mancomes along and takes that time offthe station's hands, trades it to anadvertiser for merchandise or cash.

One company that has fattenedlately in the barter business is Pepper& Tanner, a Memphis -based outfitwhich started out in the radio jinglesbusiness back in '62. Calling on sta-tions, P&T's jingles salesmen foundthat stations often wanted to pay forjingles packages with unsold time.(Cash payment for a jingles packagewould require a good bit of money,since contracts for the service, whichentails continual renewal and re-supply of the musical elements, runanywhere from 13 weeks to 25 years.)

Before long, the more jingles theysold, the deeper Pepper & Tannerfound themselves in the barter busi-ness. For one thing, the companydecided to supply stations with neededservices and merchandise itself, inreturn for time. Now the companyhas an automotive division, witheverything from mobile tv vans tolimousines, and its own line of tires,Award tires, available to stations insets of four.

Bill Tanner, the ebullient Tennes-sean who is president of the Memphiscomplex, said P&T through its auto-motive division is on its way tobecoming one of the biggest cardealers in the country.

Tanner said the jingles businessputs P&T in a position for fast actionin barter. "As our salesmen make therounds of the stations, they get theearly word on program changes, geta look at station logs, and so canmove quickly in getting the unsoldtime timing." Jingles and bartergrossed some $12 million for P&Tlast year.

More tv. Now the company is step-ping up its television activities, devel-oping a program of commercialspackages that can be used for localaccounts by stations. The library,being produced at P&T's televisionproduction division in Dallas, con-tains 20 basic commercials, for cate-gories ranging from departmentstores to banks to home-building, withfive variations on each of the 20. Thelocal client splices in his logo.

sion Age, July 1, 1968 15

EQUATIONFOR

TIMEBUYERS

ONE BUY DOMINANCE'

X WKRG-TVALABAMA

MOB

*PICK A SURVEY - - - ANY SURVEY

Represented by H -R Television, Inc.or call

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

16 Television Age, July 1,

Television AgeJULY 1, 1968

U.S. agency billings overseashave grown at a faster rate than at home

but various factors indicate a slowdown

The growth of U.S. agencies abroad duringthe past 1.0 years has been dazzling and

sure-footed. While the rate of domestic growthhas been nothing to sneeze at, international bill-ings have zoomed even faster.

One recent calculation estimates that the topU.S. international agencies have upped theirbillings abroad at a rate four times faster thandomestic billings in the past decade. Some ob-servers feel this general pattern will continue,but there are indications that it won't.

Sheer advertising brilliance alone couldn'taccount for this record of accomplishment,though American advertising and marketing

Is the bloomoff the boom

in agency expansionabroad?

know-how are both effective and highly re-spected abroad. Rising affluence in the developedcountries and the steady march of U.S. manu-facturers to new markets overseas have drawn-and, to some extent, pushed-U.S. agenciesinto new and strange lands.

The Common Market countries, along withEngland, and to some extent, Scandinavia, havedeveloped to a point where they resemble thefamiliar U.S. market so that international mar-keting concepts-looking at the developed worldas one market, much as the U.S. is looked at asone market-are becoming commonplace.

U.S.-owned or affiliated corporations abroad

on Age, July 1, 1968 17

have been enlarging their manu-facturing and distribution networksto the point where their exports fromforeign operations are about 50 percent greater than total exports fromthe U.S. itself.

In following their clients abroad,U.S. agencies have been motivatedby survival instincts as well as theprospect of additional profits. Anagency which handles an Americanclient in, say, a number of Europeancountries, but not in the U.S., has apotential hook on business at home.

It's not that clients necessarilywant one agency to handle a brandworldwide. They pick and chooseabroad in the same manner as theydo in the States when they allocatebrands to different agencies. Butthere are advantages in having oneagency create and coordinate world-wide advertising.

Why the slowdown?

The march of U.S. corporationsand their advertising agencies intolush and'not-so-lush markets overseashas changed the nature of foreignmarketing from an export to a trulyinternational orientation during thepast decade and a half. But economicpressures have loomed to slow downthis global boom.

The gold drain from the U.S.,which started shortly after WorldWar II but assumed massive propor-tions in the 60s, has triggered gov-ernment controls on the export ofcapital. Initially voluntary, the con-trols could not reverse the deficit inthe U.S. balance of payments as Viet-nam war expenditures zoomed. Now,mandatory controls, in effect thisyear, clamp an almost total ban ondirect dollar investment in thosecountries, notably the Common Mar-ket, where manufacturers and agen-cies find the choicest pickings.

The detailed effect of the controlson agencies is not yet clear. Someknowledgeable agency executives findthe language fuzzy. There are pro-visions to ease the pain of hardshipcases. And U.S. agencies overseas arenot equally vulnerable to the controls."An agency caught in the middle ofan acquisition program would have a

problem," says Richard W. Tully,board chairman of Foote, Cone &Belding, which has had a policy of100 per cent ownership of overseasoffices. "Fortunately, we're not in thatposition."

FC&B will be in that position soon-er or later and that agency and othersunquestionably face a more difficulttime, for an undetermined period inthe future, when it comes to expan-sion.

Some agency executives argue thatad agencies do not need the kindof cash required for the heavy capitalinvestment involved in plants andfacilities built by manufacturers.Hence, foreign investment controlsdo not affect them as critically asmanufacturing corporations.

While that is true, J. Ross Mac-Lennan, president of Ted Bates -International since 1965, points outthere is another side to this coin."Agencies can't reduce earnings bydepreciation and thus increase theircash flow."

Whichever argument is most tellingthe fact still remains that, in mostof the developed nations, U.S.-ownedcompanies must also contend withregulations which require them to re-patriate earnings, thus further limit-ing their ability to expand abroad.

MacLennan also makes the pointthat, expansion aside, the U.S. gov-ernment's controls are having an ef-fect on operations of established of-fices abroad. This would be truewhere an office needs money to grow,to staff up with better quality talent,to get over the hump of hard times,etc.

However, the problems of foreigninvestment controls for ad agenciescan be overdrawn. There is the optionof borrowing money and, while thisis not always as simple as it sounds,an agency with knowledgeable finan-cial people and some foreign experi-ence can usually get the money itneeds.

What may be just as important asthe facts of life about foreign financeare the facts of life about the poten-tial of foreign expansion.

Says L. T. Steele, board chairmanof Benton & Bowles, "The important

phase of American agencies' expansion abroad is drawing to a close:Most future growth will have to hiinternal, not by acquisition." WhaSteele is talking about is the expectation of rising living standard,abroad, particularly in the developernations, and all that that portend,in the marketing of consumer products.

"Take the top 20 agencies here,'he explains. "Only a handful are notrepresented abroad. The major U.Sagencies are now well -established iithe more important overseas market-and are not looking to buy otheragencies there."

In addition, Steele continues.good agencies willing to sell out

abroad have almost all dried upWhile other agency executives may

differ in degree with Steele's \ ico.they essentially buy the notion thatthe expansion boom, if not expansionper se, has run its course.

There are still good agencies indeveloped countries that can be

acquired, says David B. Williams.senior vice president of The Inter -public Group of Cos. and one of In-terpublic's international executives.but they're putting a high price onthemselves. "While it's true that

the

Foreign investmentcontrols will curtail,not stop, agencyexpansion abroad

American marketing know-how is

admired, agencies abroad are not al-ways wild about U.S. participation."This is particularly true in France.Williams says.

U.S. admen with international ex-perience frequently point to Italy asan example of where opportunitieshave dried up. The list of Italianagencies is peppered with American.English and French names, either via100 per cent ownership or a partialinterest. This devejopment came

about, it is generally agreed, because

18 Television Age, July

N

lie Italian industry was essentiallystudio -dominated affair, and thus

01 equipped to handle modern mar-eting problems.If agencies talk about the prob-

>ms barring expansion, some ofhem act as if they hardly existed.)espite the picture of limited oppor-unity painted by B&B's Steele, thegency has been expanding abroadIke a house afire ("I'm basically an,ptimist," he says.)

International billings doubled lastear over 1966 as a result of acquisi-ions. "Gross" billings of B&B agenies abroad were $47 million in96 : B&B's ownership share was¡bout $28 million. The agency is nown England, Germany, Belgium,Jetherlands and Italy, besides Cana -la. and hopes to round out thisoverage in the near future with.quity in a Scandinavian house. Atrresent, B&B has a "working rela-ionship'" with an agency in thatarea. This involves the latter's plac-ng B&B advertising under super-ision, exchanges of personnel andechnical expertise and "intense dia-ogues."

Early this Spring, B&B sold out its?S lusr cent interest in Liger, Beau -(lout Benton & Bowles, Paris, to theniginal owners. The American agen-

had bought into the French housen December, 1966. Reason for thelivestiture? "It was not profitable,"Steele said simply. He added that the.iger, Beaumont people offered tomy back the 25 per cent interest.Steele made clear, however, B&B in -

ends to get a piece of the Frenchution sooner or later.

B&B's plan was to cover the majornarkets of Western Europe and one)then area by the end of 1968 andSteele says they may do it yet. After'candinavia, what? Well, first the'acific-either Australia or Japan-Ind then Latin America. The onlyeason they haven't already gone out-.ide of Europe, explains Steele, is)ecause of the limits on their time,honey and manpower.

U.S. agencies have shown a remark-ihle variety in their methods of=o .5\1 It. though individual agencies

(Continued on page 57)

T Iwi,ion Age, July 1, 1968

á

Staff of Standard Advertising,Tokyo, in which Ted Bates has

minority interest, poses forfamily photo (top). Homeof Madrid office acquired

by Foote, Cone & Beldinglast year (center). Office

is 100 per cent owned.Executives of D'Arcy and Multi -

National Partners at recentget-together abroad (right).MNP is unique cooperativeand financial arrangement.

Europe 91,400,000 sets

Africa 700,000 sets Far East 20,800,000 sets

Ca Ion

5encg

IerlCullum

I1n

nish Sahara

Mauritania

Bain.

Sierra Leon

Mali

Tunisia

Moio«o

aVper VOlt.l

miry Cua Ghan

Liberia

Dahomey05

Nigeria

USNLibya

Chad (- Sod,nFrench Somaliland

CentrebAfrican Republic

Ca

Rle MuN

Rwanda

Rapti el Me Coa{a Bomndi

Cab'

Tanzania

Malawi

Somali Republic

Ellnoyia

slatasy Republic

M urlBue

/a B

Near East 650,000 sets

Australia & N.Z. 2,920,000 sets

Map shows numberof tv sets per

1,000 population(see code at right).

Countries with tvand names in blackallow tv advertising.

B

Under 5

5-50

50-150

150-250

IOver 25

Botswana Namable..

SleuthingSouth Africa

C..t.i.nd

Reod.A

B

British Honduras

Guatemala

El Sal.iNicaragua

Costa Rica

North America 83,915,000 sets

Jamaica Haiti

Dominican Republic

Puerto Rice

Virgin islands

Netherlands Antilles

0

Mexico, Central America & Carribean 3,300,000 sets

South America 8,350.000 sets

o

Ve ne,uel.

French Guiana

Barbado,

Trinidad L Tobago

Arevised estimate of televisionreceivers around the world puts

the figure at around 212 million asof the beginning of the year.

The figure is a conservative oneand reflects some downward revisionswhere there were indications of in-flated national estimates. Many of thefigures are, of course, rough estimatessince, in many countries of the worldthere is no provision for tallying tvreceivers.

The problem of counting sets issimplified in those countries whichlicense receivers. However, there is acertain amount of "bootlegging"(non -licensed sets), such as in Japan,and no estimate has been made ofthis.

The maps at left show the numberof sets per 1,000 population in thosecountries with tv, and also indicatewhich countries permit tv advertising(see explanation). Also shown aretotals for each continent, based onthe revised estimates.

Among the major nations showingsizeable increases in the centtv receivers, the USSR and Austriawere conspicuous. Growth was alsonoticeable in some Far Eastern andCentral American countries.

Revised estimate ofworld set count is put at

212 million as of thebeginning of this year

Where thesets are

IM

Right: Pacific -2, one of threecommunication satellites launched

by Comsat last year, rests atop Deltarocket blasted off at Cape Kennedy.

Below: Transistors helped makesatellites possible.

Bottom: Dish antennas, like this oneat Cornwall, England, transmit toand receive signals from satellites.

By GEORGE JACOBS

Global television was put to thetest just over a month ago,

when four communication satelliteshanging motionless in space flashedlive television reports of the after-math of the Robert Kennedy tragedy,as the somber events unfurled in LosAngeles, New York City and Wash-ington, D.C.

An audience estimated at morethan 200 million in Europe, Japan,Australia and the Philippines joinedtens of millions of Americans in bear-ing silent witness to this mournfulevent, live and simultaneous acrossthe dimensions of geography and thetime zones.

Less than 10 years ago, global tele-vision was a dream; today it is areality. This special report reviewsits short history, discusses its pres-ent status, and takes a look at its fu-ture possibilities.

This exciting new era began onJuly 23, 1962, when Europe andNorth America were linked by livetelevision for the first time, throughthe Telstar-1 experimental commu-nication satellite orbiting high overthe Atlantic.

An estimated 100 million Euro-peans witnessed 22 minutes of livepickups of everyday life in a dozenNorth American cities from Quebecto the Mexican border, during thismemorable initial program. Laterthe same day, a North Americanaudience of almost similar size be-came armchair tourists for 19 ab-sorbing minutes as Eurovision ca-meras scanned from the Arctic Cir-cle to the Mediterranean, and fromthe Danube to the Atlantic.

This epic exchange demonstratedthat television was no longer limitedto a line -of -sight signal from groundtower to horizon. Man's inventivegenius had extended its range to in-tercontinental distances, through theuse of satellites.

The satellite receives microwavesignals beamed to it from a speciallydesigned complex earth station an-tenna, amplifies the signals billionsof times, and retransmits them onanother microwave frequency to anearth station antenna thousands ofmiles away, but in view of the high

22 Television Age, July 1, 1968

i

1elevjsjon Age, July 1, 1968

orbiting communication satellite.Three more years of experimenta-

tion followed this initial exchangeof programs. Between late 1962 andthe end of 1964, Telstar-1 was joinedin space by Relay -1, Telstar-2, Relay -2 and Syncom-3, with each of thesesatellites capable of relaying live tele-vision programs between continents.

These were, however, experimentalsatellites, launched to gather techni-cal data and experience with which itwas hoped eventually to develop aglobal commercial system. While notavailable for public use on a com-merical basis, these experimental

Satellitetelevisionusage(average hoursper month)

ti

yM

Ii"'65 '66 '67 '67 '68

Jan. -Dec. Jan. -Apr.Source: Comsat

satellites were used, without charge,for the experimental relay of 300televised events.

The commercial era for spacecommunications began during 1965with the creation of the Communica-tion Satellite Corporation (Comsat)in the United States, the formationof a multi -nation consortium (Intel-sat) to participate with Comsat aspartners in the establishment of aglobal commercial communicationsystem and the successful launchingof the first Intelsat satellite ("EarlyBird") .

From its stationary perch 22,300miles above the mid -Atlantic, EarlyBird sees earth stations over almosta third of the earth's surface, includ-ing the entire east coast of NorthAmerica, and almost all of Europe,Africa and South America.

Television or telephone

The satellite contains 240 telephonechannels, which can also be used asa single television channel, in coloror black and white. This makes itpossible for television organizationsand networks to schedule the inter-continental relay of telecasts on acommercial basis, at an international-ly approved tariff.

Early Bird was used for intercon-tinental television relay for a total of36 hours during its first six monthsof commercial operation. In 1966,the total climbed to 81 hours.

With the launching of three addi-tional satellites during 1967, oneover the Atlantic (Atlantic -1) andtwo over the Pacific (Pacific -1 and2), Intelsat's coverage was extendedto more than two-thirds of the earth'ssurface, and intercontinental tele-vision service was inaugurated withnewly -built earth stations in Hawaii,Australia, Japan, Thailand and thePhilippines.

The Atlantic -1 satellite will alsoprovide service to Latin Americaand Africa when earth stations areconstructed in these regions. Calledthe Intelsat -II series, each of thesesatellites contains 240 telephonechannels, or one television channel,but they're more powerful than EarlyBird.

With four satellites in orbit, globaltelevision relay rose to more than235 hours during 1967.

Comsat stands as a unique con-cept in corporate structure and pur-pose. It is a privately owned corpo-ration, but it also serves as a repre-sentative of the United States.

Comsat had its origin in the Com-munications Satellite Act of 1962.This bill called for the creation of anew private corporation to establish acommercial communications satellitesystem in conjunction and coopera-tion with other countries, as quicklyas practical.

In 1964, 13 countries including theUnited" States signed interim agree-ments to form a partnership to de-velop, own and operate such a sys-tem on a global basis. This groupbecame known as the InternationalTelecommunications Satellite Con-sortium (Intelsat). The number ofparticipating countries has now risento 62, and members represent morethan 95 per cent of the world's com-mercial communications. Comsat rep-resents the United States in Intelsat,and also acts as the consortium'smanager.


Truly global tv, linkingmajor countries of all

continents, likely in nexttwo to three years

Satellitetarget: 1970

I f Mexico's Emilio Azcarraga isII not the leading figure in LatinAmerican broadcasting, he's proba-bly the closest thing to it.

The only possible challenge to hispreeminence could come from GoarMestre, who manages Proartel, Ar-gentina's largest production complex,but Don Emilio's Telesistema Mexi-cano, Mexico's only television net-work, is considered the world's larg-est producer of Spanish -languageprogramming.

Don Emilio is the principal powerbehind Telesistema, which consistsof 18 owned and 23 independentlyaffiliated stations. Televicentro, theproduction center of the network,supplies programming to networkstations as well as television -facilitiesthroughout Latin America, Spain,and Spanish -language stations in theUnited States.

In the Latin world, Telesistemaprogramming has a good reputationfor quality and employs leading ac-tors and entertainers. Its coverage ofimportant sporting events is well re-garded.

In addition, Don Emilio ownsradio stations, motion picture thea-tres and real estate. In the past, hehas been involved in numerous busi-ness enterprises, among them a prof-itable Ford distributorship in Mexi-co.

Don Emilio Azcarraga, nicknamed"Asparagus" by schoolmates at St.Edward's College in Austin, Texas,who could not pronounce his name,began his business career as a shoesalesman in Vera Cruz. By then, DonEmilio, the son of a Mexican cus-toms official, had already begun todisplay a trait that has continuallymarked his career: an intense desireto know everything possible abouthis field of endeavor. Before WorldWar I, he went to Boston, then theshoe capitol of the world, to studyshoe manufacturing and distribution.

This the dawn of the electron-ics age, and Don Emilio began tofeel there was a greater future inelectronics than shoes. In 1922, hereturned to Mexico with the exclusiveMexican distributorship for the Vic-

tor Talking Machine.In 1930, Don Emilio purchased

radio station XEW in Mexico City,and soon built it into a facility thatcaptured what he estimates was near-ly 90 per cent of the market's audi-ence. The Mexican government couldnot believe that XEW could possiblyenjoy such a large audience. To testDon Emilio's veracity, a team ofagents were sent into the streets ofMexico City with orders to listenthrough the windows of homes to de-termine what radio station wasturned on. Their investigations,though premature proved that XEWdid indeed have an overwhelminglistening audience.

A power in radio

Throughout the 30s, Don Emilioexpanded his radio interests, and atone time did business with 96 radiostations throughout the country. Hisfacilities presented the leading starsand performers in the nation, andsoon his office became a gatheringplace for Mexico's most illustriousshow business names. He became afactor in the entertainment and busi-ness life of his country. The collegeboy once known as "Asparagus" hadarrived.

Tv fascinated Don Emilio early inthe game. During 1945, in associa-tion with RKO Pictures, he built theChurubusco Film Studios, not be-cause he was interested in enteringthe motion picture industry, he says,but because he wanted to be readywhen television came to Mexico.

In the early 50s, the time was ripe.Don Emilio built Channels 2 and 5in Mexico City and then merged witha newspaperman named Don RomuloO'Farrell, owner of Channel 4.

The first years were extremely dif-ficult, and television station proprie-tors had to pool their resources andwork together or go broke, DonEmilio recalls. He maintains that, al-though this might appear to havebeen a monopolistic activity, it wasthe only way to survive. He pointsout that to keep going he had to di-vest himself of one of his favoritejewels, the Churubusco Studios.

Top: Girls are used to monitorat Telesistema Mex,cano,

Mexico City. Center:Telesistema's huge Televicentro

production facility. Right:Don Emilio Azcarraga,

who heads it all.


The three stations in Mexico Citybecame the nucleus of the operationthat was to become Telesistema Mex-icano. Don Emilio and his associatesfirst expanded with four regionalstations. With the success of thesethey added four more.

What is Telesistema? It is a net-work of 41 stations that blanket Mex-ico. It is Televicentro, sometimescalled the "Rockefeller Center ofMexico," with 17 studios that workaround the clock turning out 174hours of live and taped programmingper week. Televicentro has a perma-nent staff of more than 1,200 people;approximately 250 actors and 100musicians are employed each day.

In addition, Telesistema handleslive coverage of local sports eventssuch as boxing, baseball, bullfights,soccer and tennis. This year it willcover the Olympics in color fromMexico City, beaming many hours aday of direct live coverage through-out the world by cable and satellitetransmission.

The worldwide distribution arm ofTelesistema, called Teleprogramas,sells taped programming to countriesthroughout Latin America, CentralAmerica, the Caribbean, and to

Spain.

Tie-ins with American tv

Don Emilio is involved in Ameri-can television through the SpanishInternational Network (SIN) , whichconsists of five stations on the Mexi-can-U.S. border and four UHF sta-tions within the continental U.S. Heowns 20% of three American SINstations: KMEX Los Angeles, KWEXSan Antonio, and WXTV, which isscheduled to begin broadcasting inthe metropolitan New York area inJuly. He has no financial interest inthe fourth, KPAZ Phoenix. All SINstations utilize Telesistema program-ming to some degree.

In addition, Don Emilio ownsradio stations XEW and XEQ in Mexi-co City, and numerous other radiofacilities throughout the country.

Don Emilio is quick to point outthat he does not own all the stationsin the Telesistema network, nor does

he wish to acquire any new stations.He explains that his modus operandiwas to develop tv audiences and thensell the tv stations involved, retainingan interest through the umbilicalcord of Telesistema programming.

Don Emilio's present non -broad-casting interests basically comprise10 motion picture theatres in MexicoCity and some choice Acapulco realestate.

About 40 years ago, he began va-cationing in Acapulco when it wasjust a sleepy little town, and felt thatthe beautiful region could becomean ideal resort. In the evenings heplayed dominoes with friends on theveranda of the hotel, but during theday he scouted around for parcels ofland. Today, Don Emilio owns twoplush Acapulco hotels, the Ritz andthe Auto -Hotel Ritz, and is presentlybuilding a third, the 450 -room Para-diso.

The Acapulco real estate acquisi-tions illustrate an important contrib-


Don Emilio Azcarraga may

be the biggest manin the broadcast business

south of the border

'SeñorMexican Tv'

with a gringoaccent

Below: Headquarters of Office de laRadio -diffusion Television Francaise.Bottom: Local programming is big inSaudi Arabia.

EuropeOne of the many consequences of the turmoil la

France, of relatively minor importance but of particula:interest to admen engaged in international advertisingis the postponement of the opening up of French ty ttcommercials. Before its dissolution, the National Assembly

I

had approved a compromise proposal, put forward b)Valery Giscard d'Estaing, Gaullist ally, for establishmenby the French state of an agency to sell tame on ty tc 1

advertisers, with a number of newspaper publishers ttsit on the board of directors.

Before d'Estaing made his proposal, the Pompidoilcabinet had come close to falling in the heat of parliamentary debate on an earlier, sketchier proposal merelyto allow for an RAI (or Italian -style) block every night.But all that was a fortnight before the students of Paristook to the streets to begin what eventually became a

national upheaval.At presstime, no one could say with any certainty

how any tv plan will finally be implemented. The newly -

elected deputies aren't likely to dismantle the schemeAt any rate, even if OK'd, it would take some timeto set up the agency, and get the business rolling.

The advent of commercials on French tv had beenwidely held to be inevitable. Of Western European euun-tries only France and Belgium so far have yet to admitcommercials to the airwaves. But in public, the new.paper and magazine publishers had taken to polemicto blast a development which some of them consider athreat to their solvency.

In an editorial in L'Express a few months ago. thenews magazine's publisher, Jean -Jacques Servan-Schreiber (author of the much-discussed The American Chal-lenge) charged that letting advertising onto French t'would be an "abnegation" of the French civilization infavor of "General Motors and Coca-Cola," and claimedthat even the commercials would be American -made, be-cause "we would have nothing ready, and it would becheaper to buy them ready-made."

But in a story in the same issue of L'Express. (April28), reporter Georges Suffert indicated that even theadvertising revenues expected from the implementationof the plan for commercials would not be enough to meetthe neeris of the French broadcasting system. Some 31)million francs (roughly $7.5 million) would come in tothe system's coffers from the sale of time in a year. Butthe sy-tem already spends some 130 million franc- :1

year (roughly $33 million). The combined figure of160 million francs would not be enough to pay for theextension of the second network around the countryand the setting up of the third, educational, network, let?lone the costs of continuing colorization.

Suffert looked forward to the day of continual satellitetv beamed from the U.S. as a mixed blessing to theFrench, who would then get news of a quality far higherthan they have been accustomed to on tv, and news thatwould be more objective than that which the French

Television Age, July 1, 1968,

A

i

rhl!

has been transmitting to its captive audience.Another consequence of the upheaval is that no matterat form the next French government takes, it is likely

at the Office de la Radiodiffusion Television Francaisell be reorganized, probably along the lines of the BBC.The striking personnel of the ORTF had expressede desire for a restructuring, in order to give the broad -sting system more autonomy, and divorce it from theht political control that has been exercised over itsportages in the decade of Gaullism. (The ORTF has

ern under the "administrative cognizance" of the Min -:try of Information.)

In the European countries where parastatal networksre open to blocks-West Germany, Italy, Switzerland,Iustria, Finland, and Holland-of commercials, there iscounting pressure for more commercial time, in the formf more blocks. In all Europe only the British com-iercial stations, Ireland's Telefis Eireann, and Spain's"elegy ision Espanola, take commercials "on the AmericanIan -that is, scattered-and there is a further dif-erence with the British stations, which slot commer-ials only in "natural breaks."

No fourth network for GermanyIn Germany, a proposal by publishing giant Axel

,pringer to unite the nation's newspaper publishers inhe setting up of a fourth tv service, supplementary to thelisting ARD, ZDF, and third networks, met with stiffesistance from the other newspaper publishers. Al -tough Springer's proposal provided that no singleuhlisher would have more than five per cent partici-ation in the tv service, it was feared that Springer,ho already is the biggest newspaper publisher in Ger-lany, would extend his share of newspaper circulation:pringer's Sunday paper, Bild am Sontag, goes to pressn Saturday while his competitors' Sunday papers go

press on Friday. The increase in tv news that mightaye come with another tv service would, it was felt,.ne cut down on Sunday newspaper circulation.Meanwhile, the waiting list for commercial availabili-

es in Germany is long. No commercials are run onie third program, which is given over to educational(fairs.

So. too, in Italy, where law provides for five per centf broadcast time to go for ads. This year, Radiotele-isione Italiana has added two new blocks, one on theret network, the other on the second web, both blocksdied Doremi. Now there are 26 minutes of commer-al time on the first network each day of the week, di-ded into six blocks between 5:30 p.m. and 11 p.m.:irotondo, Gong, Tic Tac, Arcobaleno, Carosello, andorem i.

Carosello maintains its unique requirements, that thelm he mostly pure entertainment with the sell held offdil the very end. Most Carosello films are from twothree minutes in length, and often feature top Italian

low biz personalities..

The addition of the two Doremi's alleviated but did

Mistrision Age, July 1, 1968

if

not by any means eliminate the continuing demand foravailabilities on Italian tv. The queues are long.

Earlier this year, Holland added one minute a dayto the 14 minutes of commercial time, for a total now of105 minutes a week.

In Switzerland, the tv system increased daily com-mercial time by three minutes, from 12 to 15 a day.

Tv is finally about to start up on a regular basis inGreece, where it has been experimental for the pastcouple of years. The government is now taking bids fromnine companies to construct three transmitters, one eachon Mount Fames, Mt. Pilion, and Mt. Gerania, to goon the air in six months. In 18 months' time 14 morestations are to go on the air.

Belgium, getting ready for color tv, decided to adoptthe PAL system. Belgians with color sets have alreadybeen watching PAL transmissions from Germany, andmany have sets capable of receiving both PAL andSECAM color. Those who have such sets have also beenable to watch the color transmissions of French tv,which launched its color schedule last October. In Bel-gium, regular color programming is scheduled to beginin 1970.

Meanwhile, Swedish tv is building 14 transmitters tocarry its second program, due to begin in January 1970.

In Britain, the BBC is producing not only for Britainbut for the countries in the European BroadcastingUnion, a daily package of news reports on the U.S.election campaigns. This fall, BBC will carry in colorthe same feed of the Mexico City Olympics that is goingto ABC-TV in the U.S.-and the British will have eachof the feeds the same day as the Americans, that is, thesame day the event is run.

This speed will be possible because of a recent BBCinvention, the field -store tv standards converter. Un-veiled last year after four years of development, thedevice makes it possible to convert a live color feed

A continent -by -continentreview of recent developments

in worldwide television

Global report

_ 7

Left: Australian tv dabbles incheesecake, is lacked by modernfacilities (below). Center: Tv isstill a novelty to many Arabs.Bottom: Headquarters of Vene-Vision in Cara'as.

GLOBALREPORT

wm the C.S. system to any of the European systemsthout any delay or interruption.The converter changes a color feed from one linestem to another, and at the same time changes itim one field -rate (number of picture3 per second) to,other, while changing the color system.The great advantage of the device is that earlier itu not possible to conduct live feeds and transmissions color programs by satellite.

Far East

A lot of broadcast news is breaking in this part ofworld these days. And as might be expected, Japan

dinues to be the focal point of interest.Japan entered the all -channel field with its first UHFLion in Tokushima which started broadcasting in Feb -try, thereby affording suburban viewers a wider rangeprogram material. The educational station which wasginally set up by the Nippon Hoso Kyokai (Japan3adcasting Corp.) in February, 1967, as an experi-ntal facility has proved so successful that the NHK1 17 commercial companies have gotten the govern-nt OK for the construction of 24 other UHF transmis-n set-ups.In addition, new transmitters have begun dotting the

ese countryside providing the people in the ruralwith much better reception. NHK currently lists

tations for its General Service division and 646 sta-for its Educational Service network. Combined, the

orks blanket 95 per cent of the country with tv cover -

out seven years ago in Japan, only 12 per cent ofclime shows were American imports. Now, evenincreased emphasis on local production, that fig -

up to about 40 per cent. The seemingly unquench-Oriental thirst for American shows is evidenced byide range of popular U.S. programs. Westerns likeza and Cimarron Strip are big favorites, as are

g People's Concerts, Gentle Ben and Twilight Zone.this country, which continues to grind out adventure -cartoons for American exportation, goes on eatinge likes of our own Deputy Dawg, Space Ghost andenstein Jr.

e Nippon influences permeate local productions, andse make a sharp (some observers say "primitive") ifcharming contrast to U.S. programs.

,nd while the country continues mass production ofsets by such manufacturers as Matsushuita, a Philipsneed group, Toshiba, Hitachi and Sanyo, the numbercolor sets, just over a million, remains small in corn-ison to the number of tv homes.he Republic of China is another headliner in theEast. The country has announced plans to set up a

islandwide network with relay stations in central1 southern Taiwan. Operation is slated for earlyt year.

A preparatory committee has already earmarked$1,250,000 for the construction of a studio and for thepurchase of both Japanese and American equipment. Ithas been tentatively agreed that the new facility will usethe NTSC color system.

The broadcast services in China, the National Educa-tional TV -Station, which is government controlled, andthe Taiwan Television Enterprise, the commercial outlet,feed into an estimated 160,000 sets.

A recent conference of the periwigs of the PakistanTelevision Corp. has reaped a hustled -up broadcast pro-gram for the country. Not only has a call for better pro-grams gone out, but improved reception for the cities ofLahore and Dacca is promised by the Fall. Three rebroad-cast stations are on the drawing boards for the easternpart of the country, and two for the west.

Ambitiously conceived production centers are expectedto be established, one each, in the western and easterncorners of the country. These centers will not only grindout local productions, but plans call for the shooting ofprograms in different languages for exportation to vari-ous countries of the globe.

This activity promises broadcast wealth to a countrythat currently has 20,000 tv sets, three and a half hoursof programming a day, and audience tastes that leantowards American shows like High Chaparral.

In Hong Kong, the seeds of black and white manu-factured sets have been sown to meet the demands of anever increasing middle class. The masses are just nowbecoming aware of brand products and for the main,large advertising concerns like airlines and cigarettemanufacturers continue to concentrate their efforts atthe upper income bracket, on people who not only havethe money to spend, but who have the tv sets in the firstplace.

American programming is dubbed locally, and Ed Sul-livan rates high. The locally produced shows which centeron the variety, game and participation types, are des-cribed as "no budget" rather than low budget attemptsby most visitors.

Chinese movies are reported to be big, as are oldHollywood flicks. Local tea houses continue to thrive andfor the most part, a great many of China's tv sets areviewed by as many as a dozen if not more people ata time.

The station in Singapore, which was originally estab-lished by New Zealanders, is reported to be very stiffwith advertisers. Superlatives and the like are shunnedin commercials, and more than one American ad man hasbeen told by station officials to "prove" what his com-mercial claims before it can get on the air.

The television picture in the Philippines remains rela-tively stable despite a few unsuccessful attempts to starttv facilities in some of the smaller cities. There are eightstations, four of which are concentrated in Quezon City.All live local programming appears in the Tagali lan-guage, while film programs are seen in English. About190,000 tv sets are currently in this country where showslike He & Sh-, Gentle Ben, and the World Series are big

tSisIon Age, July I, 1968 29

T

GLOBALREPORT

Left: Musical number is tapedat studios of Teleonce, Buenos Aires.Center: Japan produces about60 per cent of its programming.Bottom: On Italian tv,the "Odyssey."

favorites among television viewers in the PhilippiIn comparison to the heavy action in these section

the Far East, activity in other countries appears totame, to say the least.

The government controlled facility in Cambccarries programming on Tuesday, Thursday and Saday, breathing life into 20,000 tv sets. Thailand hasdistinction of having three separate broadcast facilitTelevision of Thailand, the government controlled orehas three full stations and one relay. The Army TelevieHSA-TV outlet is a government and commercial setwith a station in Bangkor and a relay in Saraburi. 'third facility, Thai Television Co. Ltd., is a semi -govtment and commercial enterprise with one full stationBangkor and relays at Khonkaen, Lampang and Had,The three facilities serve some 210,000 sets.

The picture for many countries in this part ofworld is not so much one of action as it is of expans-the increasing of the amount of television sets in iThe current status in these areas has been describedone broadcasting official as "the lull before the ston

Australia/New ZealandHappenings, both good and bad, appear to be br

Down Under.American programming, especially variety shows I

stered by such personalities as Dean Martin, Danny Ka.Bob Hope and Jack Benny, are increasing in this marwhere British shows once reigned supreme.

It appears that the steady influx of immigrants frsuch countries as Italy and Sweden, who have settin Australia's cities (where approximately 80 per oof its 12 million people live), has diluted the Britflavor of the continent, particularly in the past five yetor so.

However, while observers say Australian tastes kimore to American shows, government controls, wh

stipulate how much local programming must be carri,.impose a limitation on imports.

Another development is the increasing popularitylocal gab -type interview shows. An early forerun'Four Corners, since departed from the scene, has paythe way for current successes like This Day Toniiwhich, as the name implies, is on every day of the we,The show, which some critics claimed was overly abitious, has been holding its own to the dismay of wonbe pundits and the delight of the tv audience.

Dramatic programs are coming on strong (the goveiment requires a goodly percentage to be locally piduced), as are American movies. Among the latter, titare neither as recent nor as plentiful as in the I

The Aussies are having a heck of a time holding o'their home-grown talent. The lack of the latest producti,facilities, qualified manpower and money has led mtv personalities and production people to defectAmerica and Britain. (The latter, they claim, is

attraction solely by default because of the less rigid i(Continued on pag.


A PROGRAM MAN'S . . . Vie wpoin tsViolence and Television

' ver the past years, there has been much investigationof the television industry with particular emphasis

c programming and its relationship to the public's emo-t ial reactions. Most of these studies have ended upI hout a plan of action or even moderate change. Thet rent epidemic of assasinations has once again causedi questions to be asked, and the industry is closelyt. mining its practices. Will there be major changes thisrmd?)ebates on the evil influence of the dramatic content of

1 v s, comic strips, radio programs, movies and all otherf ms of entertainment have been going on since thebinning of time. The dramatic form has often beenud to present a controversial point of view, to start ar olution, to prevent a revolution, to provoke to action,al to pacify. How much real influence this has had;debatable, but certainly there has been some.'elevision is singled out for special attention among

a the media because of its vast circulation, its combina -t a of sight plus sound, and its indiscriminate exposuret. ill ages and all groups of people in their own homes.'I ,re is little doubt that the medium is the most formid-a? potential tool to mold men that has yet been devised.)r. Stanton of CBS has said that he and his networkrevery concerned about the problem, even though there

evidence of causal relationship between mass.avior and the mass medium. Other network headse stated similar points of view. The advertisers have number of committees studying the problem, and the

r sident of the United States has a committee of hiso i to review the whole subject and make some recom-n idations that will presumably be implemented by theFl

dext season, there will be at least 29 television showsit nimetime dealing with subjects leading to violence ofSite degree or another. In addition, about one movieo of three will have scenes which fall in that category.T s is a large percentage of the highest rated nighttimeIws. It means that everyone in the country will beosed to them a considerable number of times.'fistorically, it has been proven that dramatic themes: attract viewing must have action. Action, along with;titer, is the least common denominator of all demo-phic groups. The strongest themes of the best writersall times have involved the most gross forms of vio -e. The wars, internecine disputes and feuds have allin steeped in blood. Does television, then, reflect itsironment? Apparently it does with frightening real-. The next question, then, must be, "Should television

Impt to control its environment?"f there is to be a restriction of displays of violence onhow are the news reports of riots or destruction anding in Vietnam to be covered? Will the proposed newvision have all of these events occurring offstage likereek tragedy? Is this a form of censorship? Does this41y that the average mind of the viewer is too imma-

to be faced with the truth?

Should shows which document the wild west betempered to the point that the good guy doesn't use agun? Should reasoning and consensus take the place ofshooting it out? Are Indian massacres, one way or theother, out? Do the police all behave like London Bobbies?Do the robbers always get it in the end? Is all thisbelievable?

Is the problem the inability of television to segregatethe weak-minded and weak-willed, who take the playliterally, from the more sophisticated who treat it as playacting? Does the reporting of increased crime andsyndicated murderers getting away with it by suborn-ing the authorities cause imitation?

All these perplexing questions lead to an inevitableconclusion that, while everybody connected with tele-vision is willing to consider major changes, nobodyknows what to do or how to go about it. The immediatesteps will be a tightening up, via the network censors, onexcessive sadism, cruelty, masochism, closeups of physicalinjuries, blood, torture, indiscriminate killing, or instruc-tions in forms of committing mayhem.

The machinery to cut this down exists. The problemis that the network watchdogs have been pretty goodabout watching this and the degree of further restrictionwill be miniscule to the point of being non -observableto the average viewer.

If there is choice between a comedy or variety showand an action show the networks and the advertiserswill choose a high -rated non -action show to avoid con-troversy. There aren't enough of them, however, to

What's the effect on the people in front of the sets?

accommodate everybody, and while in 1970 there may bea decline in the 29 action shows, it will be a slightdecline and probably temporary.

The producers, directors and writers will voluntarilypolice their own efforts and cut excesses where they occur,but they will also resist any attempts to restrict theirhypoing-up an action show which is in trouble withviolence, if they think it is necessary to fend off a cancel-ation. This group will also be the first to cry censorship,big brotherism, and undue influence on creativity. Theywill also protest that realism is being endangered byslavish dedication to higher values.

The best writers will point out the historical examplesin classic literature, and insist that history is violent.Wars are rarely polite, and they occur frequently. Thesame writers will point out that the mores of the world


Vision Age, July 1, 196831

Film /Tape Report

THE VENICE CUP, AT LAST!Young & Rubicam continued to

triumph through the closing of thetv festivals season, beating a packedinternational field in Venice lastmonth at the 15th International Ad-vertising Festival, held under theauspices of the Screen AdvertisingWorld Association.

The U. S. agency won four firstprizes, four second prizes, a GoldMedal, and a Silver Medal, thus lead-ing the field.

The Grand Prix de la Television,however, went to Gardner Advertis-ing and to Pacific Commercials fora Ralston Purina dogfood spot.J. Walter Thompson won two firstprizes and one second prize; DoyleDane Bernbach took two first prizes.

Y&R's first prizes were for OceanSpray "Crantastic" (Audio Produc-tions), Simmons Mattress "Harryand Eloise" (Horn/Griner), Exced-rin "Solarized Woman" (Audio),and Peace Corps "Picture" (PGLProductions). The other Y&R prizeswere for Scotchgard "Pillow" (JerryAnsel), Excedrin "Tax Audit" (Au-dio) , Peace Corps "Language Peace"(PGL), and Union Carbide "Bat-teries -Deaf Child" (VPI). The lasttwo commercials won two prizes each.

Other winning American commer-cials were Diet Pepsi "Marina"(BBDO and PGL), Accent "Spinach"(Needham, Harper & Steers andN. Lee Lacy) , Scott Tissue "TrackMeet" (J. Walter Thompson andJerry Ansel), Clairol "Reds" (FC&Band VPI), Marlboro "Morning" (LeoBurnett and FilmFair), . Chevrolet"Rainy Birthday Impala" (Campbell -Ewald and EUE/Screen Gems),Simoniz "Pixie" (JWT and HarryHamburg Studio), Chevrolet "SplitCar Showroom" (Campbell -Ewaldand The TVA Group).

Also, Burlington "Knee Bust"(DDB and Take Two) , GT&E "Manin Phone Booth" (DDB and Tele-metric), which won two prizes; Ko-dak "Yesterdays" (JWT and MPO),Armour Dial "Gloria" (FC&B andN. Lee Lacy) ; and Benson &Hedges"Disadvantages I" (Wells RichGreene and Howard Zieff).

What the festival calls the Coppadi Venezia, or the Coupe de Venise-but might more plainly be called

the Venice Cup-went to PGL Pro.ductions. The highest award in thefestival, outranking even the GrandPrix de la Television, the Venice Cupgoes to the company that has scoredthe highest number of points for thefilms it has entered.

Last year, PGL had the VeniceCup in its hands for 24 hours, untilthe jury of the festival was apprisedof the fact that some of PGL's com-mercials entered that year had earlierbeen honored at another internation-al commercials festival, the Holly-wood International BroadcastingAwards. This technicality disqualifiedPGL from possession of the Coppa.

The incident might well haveserved to indicate to the Screen Ad-vertising World that it is time toabandon its parochial restriction; theworld of commercials -making is in-creasingly international, and therewill probably be more internationalfestivals springing up in the future.And since as far as Americans areconcerned, the Hollywood IBAs carry considerable weight, the SAWArestriction serves to limit the field.It's time to lower this barrier.

HOLD-DOWN

Grey Advertising, concerned overthe high and continually rising costsof tv commercials production, has setup a unit to keep a tight rein on pro-duction costs. Called the commercialproduction administration depart-ment, the unit is described by theagency as an "administrative and costcontrol center." To run it, Grey ap-pointed Stanley G. Slorance as ad-

SLORANCE

ministrative manager and elected hima vice president of the agency.

Working with him is Donald A.

Franklin, who has joined Greycommercial production cost su$visor.

Slorance joined Grey in 1961,a producer, later worked as tv -rbusiness manager and administramanager in commercial productiiFranklin was with Tv Graphicsproduction supervisor and before titwas with MPO Videotronics al

Lew Schwartz/Del Sol.In early June, Manning Rub.

associate creative director at Gr.published a compilation indicatpthat in the past five years, the costtv commercial production has riftby about 72 per cent on an avera,,

Rubin, who is also vice chairniof the 4 -A's subcommittee on co. ymercial production, attributed the r4to a diversity of factors, from coilto the use of still photographers iíjcinematographers. Other factors citi'jby Rubin: the spread of the "stilesystem in commercials, whealagencies insist on using a stellar ,,rector or cameraman; the risethe art director, who in the new reof producer tends to experiment witshooting; and, perhaps the most iportant factor, the intensified coraltition for viewer attention, whi

leads agencies to go all out for spotacular production and for "prodstion values."

More mundane factors mentionare union labor increases, the i

creased use of original musical colpositions, and the fact that since tFTC's "sandpaper" decision it is

longer practical to fake a demo.

MPO INTO SYNDICATION

MPO Videotronics, the biggegrossing commercials -making col,.

pany, has set up a division calk;

MPO Sports to package, produce atsyndicate sports programs.

MPO plans to develop sports prgrams and produce them eitherlive pick-ups or as films or tapes. TIprograms will be pitched to adve

tisers and their agencies. Thus MPmakes its first move into tv progra+ming and syndication.

Heading up the new MPO Spordivision is Doug Schustek. who hbeen director of sports at won -1 )+

New York, producing broadcastsNew York pro teams' games.

32Television Age, July 1

New York Has368 Tape Houses*

Est people call them film houses.kith Reeves equipment and know-w they also shoot tape.Reeves has a package of equip-lit created for film men. Cam-

us, recorders, switchers - allt bored for the job,no matter howl'ge or small. And this gear goesi:o the film house's own studioIr shooting.

The flexibility of this uniquepackage lets you use the creativepeople you know and trust. It letsyou choose the production house,producer, director or cameramanyou want.

Tape adds its qualities of pres-ence, believability, instant rushes,speed to the creativity of yourteam. Tape is electronic produc-

RCCV C+.7

tion for an electronic medium.Post -production at Reeves gives

you the finest equipment, with realpros operating it. You know you'rein competent hands the momentthe job begins.

Reeves provides the electronictalent to let your director be ascreative on tape as he dares. Andthat can be 368 ways better.

SOUND STUDIOSA DIVISION OF REEVES BROADCASTING CORPORATION

304 EAST 44TH STREET, NEW YORK, N.Y. 10017. (212) OR 9-3550 TWX 710-581-4388

ion Age, Ju.'y 1, 1%8

*Listed in Manhattan's "Yellow Pages".

33

CUT OUT LITTERThe only place for litter is on the

cutting room floor, according to anoutfit called Keep America Beauti-ful, Inc., which seeks to put an endto scenes of littering in tv commer-cials as well as scenes of litter inAmerica's landscapes and cityscapes.

Allen H. Seed, Jr., executive vicepresident of the anti -litter group, saidthe organization is concerned aboutcommercials in which actors "care-lessly toss paper wrappers, beveragecontainers and other packaging onthe ground."

Seed said KAB tries to get agenciesto clean up any commercial wherelittering occurs. He cited a spot forthe New England Confectionery Co.in which a girl on a bike noncha-lantly flings away a candy wrapper.KAB asked the agency to change it.Done. In the revised commercial, thegirl throws the wrapper into a litterbasket marked with a Keep AmericaBeautiful sign.

MORE LIGHT FOR CECO

On the Coast, F&B/CECO Indus-tries acquired, for cash, a large light-ing equipment manufacturer, J. G.

McAlister, Inc. The name of the ac-quisition was changed to Bardwell& McAlister, an earlier name of thelighting manufacturing entity. F&B/CECO set up a new division calledBardwell & McAlister Electronics, tomake motion picture electronic equip-ment.

Appointed vice president in chargeof sales for Bardwell & McAlister,Inc., is John Murray, who joinedCamera Equipment Company, theforerunner of F&B/CECO, in NewYork in 1951.

Murray started as a messenger

fresh out of high school, soon be-came assistant supervisor of thelighting rental department. From '57to '59 Murray was on leave of ab-sence to serve in the Army Engi-

MURRAY

neer Corps, working as an electronictrouble shooter in the Nike program.

After his return to CECO he wentover to Florman & Babb to set up andrun a lighting rental department.After the merger of Florman & Babband CECO in '64, Murray joinedColortran Industries on the WestCoast as a sales engineer, two yearslater became manager of rental andsales for Colortran's entire line.

Now joining Bardwell & McAlisteras sales topper, Murray will alsowork closely with executive vicepresident Elwood F. Phillips on thedevelopment of new products, includ-ing a new line of quartz lights.

COMMERCIALS MAKERS

EDWARD E. KATZ, a founder withLincoln Scheurle of The Film -Makersin Chicago, resigned as board chair-man and general manager of the com-mercials -making company. Katz isretaining his share of the ownership.He said that although he will no

NEW 111KKPL 7 - 7120

r

Key to Quality

FILMOPTICALS

inc.

optical photographyaer,al image

anamorphie photographyhr)wd gateanimaron

for NBC

longer be active in the day -tooperations of the company, he wiavailable on a consulting basisalso as a producer and directoclients with whom he has woclosely in the past.

In New York, MARTIN GOLDjoined Televideo Productionsdirector and a vice president. (man had been a tv art directorproducer at McCann-Erickson, wing on International Coffee and CCola.

In Chicago, GERALD T. ROGERSpromoted to the post of vice presiand executive producer at WilTv. Before joining Wilding two yago, Rogers was a producer inYork with Young & Rubicamwith Doyle Dane Bernbach. Hebeen with Wilding earlier, as a dtor, from '60 to '62.

BEN RACHLIS joined VPI, diviof Electrographic Corp., as get

RACHLIS

manager of Chicago opera]Rachlis was a video tape consuwith Reeves Sound Studios andFilmex, and before that was Ea: tesales manager for Walter SchwimmInc., division of Bing Crosby Prodtions.

Earlier, Rachlis was with BoncTv Services (now a division of NcIndustries), with TELEVISION AGEMidwest sales manager, and wNBC's program syndication oretion.

LOWELL A. SHAFFER was promoto the post of vice president in chaof production at H. G. Peters &in Primos, Pennsylvania. The cmercials-making studio on theskirts of Philadelphia was knownProduction Associates before itacquired this spring by the Petcompany.

Shaffer joined Peters in Indian,lis as creative director in '64. Bethat he was head of motion pic

U


When you want to see what you saw in your mind-use film.

Why film? Because color film is the stuff such

earns are finally made of. It's the logical mediumthe bright excitement, the spark that first came to

mind. Color film does the tricks you want. Ittrveys, teases, pounds. Film delivers.But film doesn't do that all by itself. It takes

professionals behind the scenes and the cameras to makecolor film do what you want it to do. And you know, eventhough they have been working with film all their lives,they still haven't found its limits. The best salesmancolor film ever had is an advertiser with a successfulspot. And when he's happy, we're all happy.

EASTMAN KODAK COMPANYAtlanta: 404/GL 7-5211, Chicago: 312/654-0200, Dallas: 214/FL 1.3221

Hollywood: 213/464.6131 New York: 212/MU 7-7080, San Francisco: 415/776-6055

Advertising Directory of

SELLING COMMERCIALS

Armour & Company-Dial FC&B

N. LEE LACY/ASSOCIATES, LTD., Hollywocd

Continental Electronics E. A. Korchnoy

JAMIESON FILM COMPANY, Dallas

Burlington Raelord Henry Bach Assoc.

ELEKTRA FILM PRODUCTIONS, INC., New York

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

ROSE-MAGWOOD. London

Clairol -Numero Uno Foote, Cone & Belding

LIBRA PRODUCTIONS. INC.. New York

Eastman Kodak J. Waiter Thompson

GERALD SCHNITZER PRODUCTIONS, Hollywood

Coca Cola Bottling Company McCann-Erickson

FRED A. NILES-Chicago. Hollywood. New Yo -k

Excedrin ''Silhouette" Young & Rubicam

PGL PRODUCTIONS, INC., New York

production for Goodyear Aircraland earlier for RCA in Camden.

In Buffalo, ROBERT B. LINDEMEYEjoined Holland-Wegman Productioras assistant to the president. Lind(mever was with Metro/Kalvar. Incan MGM subsidiary, as direcl((roperations of the Kalvar Corporatioi

NEW SHINGLE

A technical publishing house i

California, Associated Techdata Inchas set up a film -making subsidiarthat will make tv commercials, anitechnical and promotional films.

Heading the subsidiary, ATD Metion Pictures, is Bob Mills, velera,San Francisco film-maker. Mill, rcathe founder and president of Ima_ination, Inc., and has also worked witlWalter Landor Associates and Advertiling Productions. ATD Motion Pictures will also do animation.

FILMFAIR IN CHICAGO

FilmFair, the commercials -makingcompany with studios in Los AngelesSanta Barbara, New York and London, has opened a fifth productionbranch in Chicago. The new brandis a fully -staffed production facility

Joining FilmFair Chicago are PaWalt Stu Berg,

Tony Izzo.Saviano, now vice president in

charge of production at the new facility, was with Sarra and with WildingWalt Topel, doubling as a creativevice president and a director at FilmFair Chicago, was with Foote, Cone& Belding and with Fred A. Nile:Communications Centers. Stu Berg;director and also a vice president. 11was with Wilding and J. WalterThompson. Tony Izzo, editorial supervisor at the new studio, was witliSarra.

ONWARD AND UPWARD

MPO Videotronics reported salesfor the six-month period ended April30 of $7,495,000, up from $7,154,000for the same period a year ago. A`,this clip the company will be grossingmore than $15,000,000 this year. Netearnings on the six-month gross were$94,000 up from $85,000 for the

same period last year. Earnings pershare (MPO stock is traded on theAmerican Stock Exchange) remainedconstant: 18 cents per share, sincethe number of shares had risen mark-edly, from 470,000 shares last yearto 516,880 at present.

36 Television Age, July I. 190

dpING 'EM INIn the kickoff of Cowtown Rodeo,Tangle Stations sold the weeklyrur-long series to Krrsc-Tv Los An -les, KHTV Houston, KPHO-TV Phoe-x, KREX-TV Grand Junction, andr1EC-TV Dallas -Fort Worth. Theries is also running on Triangle'sFIL-TV Philadelphia, WLYH-TV Lan-ster-Lebanon, and KFRE-TV Fresno.

i Although the series originates ine East, at Cowtown arena on theg spread of Howard Harris III inoucester County, N.J., it has foundady acceptance in the Southwest,imeland of the rodeo.Howard Harris, the owner of Cow-wn and a former intercollegiatedeo champion, is co -producing theries with Triangle, and with theessings of the Rodeo Cowboy Asso-otion. The weekly Cowtown rodeo

on the official national rodeoampionship circuit.Host of the series is Les Keiter,orts director for Triangle Stations,!th Ron Hubbell of the Rodeo Cow -)y Association as official rodeo an-luncer.Featured events in the weekly rodeoograms are bull riding, calf roping,treback and saddle bronco riding,Id barrel racing. The latter is aecialty of cowgirls.Triangle tapes the rodeos at theena, with three color cameras, onethem placed over the chutes. Cow-

wn Rodeo is the 29th property Tri-Ile has trotted out into nationalndication. Cowtown Rodeo hasen on tv before, eight years ago,len it ran on the ABC-TV networka summer replacement.Meanwhile, Triangle lined up theynn Oil Co. of California to bank -

11 the broadcast of Triangle's colorin of this year's Indianapolis 500160 markets. Also into syndication

not World Drag Finals, a special one recent drag racing championshipsTulsa. The event was held under

e auspices of the National Hot Rod,sociation.

E -WORDING

Will Lorin and Associates, Inc., isw the name of the music produc-)n house hitherto known as Lorin-ank Productions.Will Lorin reports that he boughtIt the interest of his partner, Philipank. Joining Lorin as a creativesociate is E. Alan Foust, composerid arranger.


SELLING COMMERCIALS

General Time Corp.-Westclox MacM J&A

Big Ben's familyname is Westclox.

.u,=d- VGENERAL TIME

PAUL KIM & LEW GIFFORD, New York

National Shawmut Bank, Boston Harold Cabot

FILMFAIR, NEW YORK

Hazel Bishop Spade & Archer

JEFFERSON PRODUCTIONS. Charlotte

Plymouth Davis, Johnson, Mogul & Colombatto

SANDLER FILM COMMERCIALS, INC., Hollywood

Kellogg's Leo Burnett

PANTOMIME PICTURES, Hollywood

Procter & Gamble Tatham -Laird & Kudner

SARRA, INC.

,...o.00000..o....:..er=

Kitchens of Sara Lee Doyle Dane Bernbach

VIDEOTAPE CENTER, New York

Rambler American Hiram Strong Adv. Agcy.

WGN CONTMENTAL PRODUCTIONS, Chicago

ºlevision Age, July 1, 1968

di.37

TROOPING ALONG

Perhaps it's an indication of howanti -militarist the world has become.At any rate F Troop is now runningin 28 markets abroad, in additionto 67 markets in the U.S. and 19 inCanada.

Overseas, the spoof of the gloriousU.S. cavalry is on the air in five lan-guages other than English: Spanish,Japanese, Italian, French and German.

The Redskins are winning, as faras one may judge from F Troop, inArgentina, Kuwait, Ireland, Italy, Po-land, Thailand. Mauritius and Rho-desia. And in Australia, Bermuda,Chile, Colombia, Costa Rica, Cura-cao, Cyprus, Ecuador, England, Gua-temala, Hong Kong, Japan, Mexico,Nicaragua, Peru, Singapore, Trini-dad, Uruguay, and Venezuela.

SOUL ON ROADA special, broadcast in New York

last month and taped earlier at theApollo Theatre in Harlem, JamesBrown: Man to Man, has been putinto national syndication throughWolper Tv Sales. The 60 -minutecolor special ran on WNEW-TV NewYork on June 9.

Commenting on the syndication ofMan to Man, Wynn Nathan, vicepresident in charge of syndication atWolper, said the special communi-cates "the 'keep cool' message toviewers in a most immediate andhonest manner."

REVISION

Group W (Westinghouse Broad-casting Co.) released a revised ver-sion of The Next President, the 90 -minute program of interviews withPresidential candidates by DavidFrost, and the first of a slate of fourspecials being made this year as co -productions between Group W andFrost's David Paradine Productions.(Paradine is Frost's middle name.)

The revision of The Next Presidentwas made to include a reference tothe assasination of Senator RobertF. Kennedy, one of the eight candi-dates whom Frost interviewed in

making the program. Some 50 sta-tions have signed up for the special.Transcripts of the interviews arebeing published in book form, underthe title The Presidential Debate,1968, by Stein & Day in New York.

ZOOMING IN ON PEOPLE

LEW KLEIN, director of tv program-ming for Triangle Stations, waselected president of the National As-sociation of Tv Program Executives.Elected as first vice president ofNATPE was IAN HARROWER, of WWJ-TV Detroit, and as second vice presi-dent, HERB VICTOR of WMAL-TV Wash-ington.

DOUGLAS S. CRAMER joined Para-mount Television as executive vicepresident in charge of production.

Cramer will work on the developmentof new shows and supervise the pro-duction of Paramount's three net-work series, Mission: Impossible, StarTrek, and Mannix.

Cramer had been vice president incharge of program development for20th Century Fox Tv, and had a handin the development of Peyton Place,Batman, and The Ghost and Mrs.Muir. Earlier he was at ABC-TV asvice president in charge of programdevelopment. Before that he was atOgilvy & Mather as a broadcastsupervisor, and at Procter & Gambleas a tv supervisor.

CLIFF PALMETER joined ParamountTv as feature coordinator. He hadbeen at Desilu Productions as as-sistant postproduction supervisor.

MUSIC BY

lALLI % 14 MLTA) 12°FILMS TV RADIO ELECTRONICS

119 WEST 57th ST., N C. (212) 765-4635

Joining Paramount as assistsfeature coordinator was MIKE POI9CARE, who had been at National Tel ffilm Associates as director of techr. "1cal operations for five years.

In Nashville, WLAC-Tv, Inc. prmoted JAMES L. HODGE, JR. to ti

HODGE

post of general sales manager of 21:Century Productions, the stationrecently formed program productiosubsidiary headed by general matager Roy A. Smith. Hodge joined tiNashville station two years ago asales manager of the commercial pr(duction division.

KEN JOSEPH resigned as executivvice president of Four Star Entettainment Corp.

WERNER MICHEL rejoined SullivatStauffer, Colwell & Bayles as vicpresident and director of broadcaloperations. For the past year, he habeen with Wolper Productions as vicpresident of programming. Michtwas with SSC&B for six years befor

that, and earlier was with CBS. Bf

fore CBS, he was with the Office oWar Information as director of thVoice of America.

Screen Gems promoted HERBERESTRIN to a new post, that of directoof budgets and corporate plannityEstrin has been assistant controlleof the company since 1959. He joine,Screen Gems in '53 as an accountant.

JIM THOMSON joined ABC Film

as Southern division manager. Thom

son had been Southwestern regionmanager for Warner Brothers -Sever

Arts and before that for MGM -TVEarlier, he was with Screen Gemsand before that with tv and radiistations in the South.

NBC Films named EUGENE MOS:to the post of director of advertisin}and promotion, replacing MortolSlakoff, who had left to join WolperProductions.

Moss joined NBC earlier this veal

38 Television 4ge, July 1. 190

n the participating program sales di-ision. For two years before joiningIle network, he had been withAward Petry & Co. as sales promo -ion manager for radio. For 12 yearsefore that, Moss was with CBS'ilrns as sales promotion manager.le started out in broadcasting in950 as advertising manager of WOR-M -TV New York.In London, RAYMOND LEWIS joined

0th Century -Fox Tv International,sales manager for the United King-

om. Lewis replaces Sidney Jacobs,ho has resigned. Lewis was withranada for the past four years, as,nior client executive. Before that,e was with Westward Tv as seniorrtes executive.TIMOTHY J. CANTY, JR. joined Em-

assy Pictures Tv as Midwest accountcecutive. He replaces Dick Romaine,ho has resigned. Canty was with-R Television for the past two yearsad before that was with CBS forx years, in spot radio and networkIles.

HOWARD RAYFIEL was named vice-esident, business affairs, of Lucilleall Productions. Rayfiel was resi-ºnt counsel of the company for fourars before its acquisition by GulfWestern Industries.ALAN LUBELL joined TVS (Tv

forts, Inc.) as sales manager and;ecutive assistant to president Eddieinhorn. Lubell had been in the pro -awning department of Dancer-tzgerald-Sample. Before that, heas a program analyst at NBC. AtVS Lubell will take over the salesnotion that hitherto had been han-ed by Metro Tv Sales. Lubell willso assist in the development of neworts tv properties.At Channel 47, the Spanish-nguage tv station in the New Yorkea (wNJu-Tv Newark), Juan Angelas took over as director of pro-amming from Jose Ignacio Lanza,lo has been assigned as full-timeecutive producer and host of theition's nightly Buenas Noches talkrd variety program.Bras joined the station three years

',;o as director of Spanish language'ws and public affairs. Earlier, hees editor of El Tiempo, the Newark Spanish -language daily subse-ently merged with La Prensa. Be -re that he was consultant on Latin-nerican affairs to the DepartmentState; and was an interpreter andslator for President Roosevelt.

AGENCY MEN

ROGER C. HARVEY joined Warwick &Legler as a senior radio -tv producer.He had been a producer at Norman,Craig & Kummel. Earlier, Harvey wasa producer at Grey Advertising, atTatham -Laird & Kudner, and atN.W. Ayer.

In Los Angeles, ANTHONY GEORGE

NAPPI joined Carson/Roberts as aproducer and art director in theagency's tv production department.Nappi had been with Young & Rubi-cam in New York for the past twoyears, earlier was with Helfgott &Partners, Smith/Greenland, and Sud-ler & Hennessey.

Benton & Bowles named four of itsvice presidents as associate creativedirectors: JULES BACAL, EDWARD HAN-NIBAL, SIDNEY LERNER and THOMASONG.

J. Walter Thompson elected two ofits associate creative supervisors asvice presidents: ARTHUR KRAMER andARTHUR L. RICHMOND.

SCHINTO AND PLATT

Gene Schinto and Sheldon Plattleft Benton & Bowles, where they wereboth vice presidents, to set up a com-mercials production house, SPi Films,at 422 Madison Avenue in New York.Schinto, who had been copy chief atB&B, also developed Linus the Lion-hearted for B&B client General Foods,and continues as associate producerof the cartoon series, now in itsfourth year on tv. Schinto also wrotea thin tome called How to Become aLegend in Your Own Lifetime. Plattwas an executive producer of tv com-mercials at B&B.

EXECUTIVE SUITES

JULES C. STEIN, board chairman ofMCA Inc., received an honoraryDoctor of Laws degree from the Uni-versity of California at Los Angeles.Stein was honored for his foundingof UCLA's Jules Stein Eye Institute.(Stein was an opthalmologist beforegoing into show business.)

He was cited "for his far-sightedvision and boundless energy, result-ing in his major contribution to thesolution of problems related to dis-eases of the eye."

MAX ADLER was elected a corporatevice president of MCA Inc. Adlerjoined the company last May afterthe company he heads, Spencer Gifts,Inc. was acquired by MCA. Adler


SELLINGCOMMERCIALS

Royal Crown Cola D'Arcy

MOVIERECORD, INC./ESTUDIOS MORO

Thermo King Air Conditioners Fischbein Adv.

, tnulllllJIJlIPIPillI

PACIFIC COMMERCIALS, Hollywood

Trans World Airlines Foote Cone & Belding

WYLDE FILMS, INC., New York

Volvo Scali, McCabe & Sloves

PELICAN PRODUCTIONS, INC., New York

Revision Age, July'1; 1968

5-39

JUST PUBLISHED!

n

<,},

-DC

1EG pFQ

0HE

MpT10N PICTURE

CAMERA

NI+aRia

gpiMONOO

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The

Technique

Of the MOTIONPICTURE CAMERA

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 8s. Comparativematerial is included on virtually allfilm cameras available from theU.S.A., Britain, France, Russia, Ja-pan and other countries.

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

Profusely illustrated with easy -to-read line drawings.Hard covered, 263 pages with indexand glossary as well as comparativecharts.

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TELEVISION AGE BOOKS1270 Avenue of the AmericasNew York, N.Y. 10020Gentlemen:

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continues as chairman of the boardof Spencer Gifts, a company hefounded in 1948.

FRANK SATENSTEIN was elected tothe board of directors of Trans -LuxCorp. Satenstein, the president ofAmerican Book -Stratford Press, wasa producer and director at CBS -TVfrom 1949 to 1957, working on TheJackie Gleason Show, The FrankSinatra Show, Arthur Godfrey's Tal-ent Scouts, I've Got a Secret, What'sMy Line, and Studio One. He joinedAmerican Book -Stratford Press in '57.

PACKAGERS

GIL FATES is continuing as execu-tive producer of Goodson-Todman'sWhat's My Line? as the revised showgoes into syndication through CBSEnterprises. Fates has been executiveproducer of the show for the past 17years. He was also executive producerof To Tell the Truth and I've Got ASecret.

HARRY SPALDING joined Common-wealth United Productions as headof the company's literary department.Spalding had been working inMadrid in a similar capacity forTelevision Enterprises Corp., whichwas recently acquired by Common-wealth United.

ARTHUR ALTMAN, RON GREENBERG,and ALLEN REID joined Don ReidProductions, all as vice presidents.Altman, a composer, will work ondeveloping musical programs, Green-berg will be involved in tv produc-tion and the development of newshows, and Reid, a lawyer, will actas house counsel and be involved inproduction, publishing, and diversifi-cation.

THE DOTTED LINEA streak of sales in early June sent

the market tallies for two MCA -TVseries to the hundred mark: Mc-Hale's Navy, with seven new sales,and Wagon Train, also with seven.Taking McHale's Navy (138 half-hours) were KTVB Boise, WHNB-TVNew Britain, KHVH-TV Honolulu,WBRE-TV Wilkes-Barre, WSJS-TV Elk-hart -South Bend, KFDA-TV Amarilloand KENS-TV San Antonio.

Signing up for Wagon Train, whichconsists of 32 ninety -minute colorprograms, were KRCG-TV JeffersonCity, KOVR-TV Sacramento -Stockton,KFIZ-TV Fond du Lac, WTVR-TV Rich-mond, KGNC-TV Amarillo, WGR-TV Buf-falo and WWTV Cadillac. MCA -TV

reports that many of the statiolamong the 100 running Wagon Tra.occasionally run some of the prgrams in the series in their movslots.

Meanwhile, MCA -TV reported thtwo more recent syndication entrieRun for Your Life and Suspen.Theatre, are making gains, with tlfirst now slated for more thanmarkets and the second for more tho60.

GOING TO COLLEGE

NCK Productions, the tv packaing and producing branch of Noman, Craig & Kummel, lined upnumber of movie and tv stars f.

appearances in its syndicated AAmerican College Show, whitkicked off earlier this month onnumber of stations. Colgate -Paloolive through Norman, Craig & Kulmel is bankrolling the show.

Among the luminaries set for gutappearances are John Wayne, GreGarson, Jerry Lewis, Martin Landoand Barbara Bain. Bob Hope turn(up on the premiere, with a panthat included James Franciscus. Roert Wagner and Marilyn Maxwell.

musing8for amedianean

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Snapjudgementshave a habitof snappingback!

Martin Himmel, PresidentJEFFREY MARTIN, Inc., Dist. of

7

Television Age, July 1,

TELEVISION AGE

ie or the most part, airlines are an -nouncement advertisers. Often,

!r Eastern^. t y are participating advertisers on

áccial telecasts, a movie or a news1 pgram.

Ml this activity amounts to quiteI 0 of of money for spot. The top 10d i nestically-owned airlines such as_ 1 ited, American, Pan Am and East-

Pi, loaded $22,805,400 into spot tvIt It year, up 11.4 per cent from 1966,h a,ording to the Television Bureaua (Advertising.

)ne of the smaller airlines, Olym-`:1 Airways, the Greek organizationI tied by shipping magnate Aristotlei rates Onassis, reports to be the3 ( y airline that sponsors a regular0 t vel-oriented program on tv.

Ube show, Journey to Adventure,s idiom] every weekday afternoon onplit-Tv New York and plans aretderfoot for buys on other stations.

I )lympic has been carrying the- ,)w for three years now and there

i talk of an expansion of the pro-k'imming in the Fall.

'We believe our television identity( been particularly instrumental in

r^ tblishing a lasting identification', us," explains Chris Marcopoulos,iis,eral manager, western hemis-

Are.

JULY 1, 1968

a review ofcurrent activityin nationalspot tv

The airline's identity was prettywell set by their "Please, no dancing

the that notonly won a silver medal at Cannes,but had the distinction of buildingOlympic's reputation around thecountry even though it was onlyshown in New York.

The prize winning commercial wasdone by the Lambert Agency, NewYork, in what was the 20 -year -oldagency's initial venture into the me-dium.

"The `don't dance in the aisles' but'do dance in our isles' has becomea regular word-of-mouth reaction

Elbert Lightner buys for Safeguardsoap and Remington Office Machinesat Young & Rubicam, New York.

REPORT

whenever Olympic is mentioned,"Marcopoulos boasts.

The Journey to Adventure show ishosted and produced by Gunter Less,also public relations manager for theairline.

Essentially the show is a tour ofplaces like South America, Hawaii,the Arctic, Australia and places ofhistoric interest in the United States.The areas visited are not necessarilylimited to Olympic stopovers.

"Although these (areas) havenothing to do with our transatlanticor Middle East -European destina-tions, we feel the program is the idealcompanion for our commercial mes-sage," Marcopoulos continues.

"It promotes the theory thatpeople should take advantage of to-day's fast, economical transportationto see the many interesting places inthe world on their vacation . . ."

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

American Cyanamid, HouseholdProducts Div.

(LaRoche, McCaffrey & McCall Inc.,New York)

} Yetision Age, July 1, 1968 47

KENNETH C. MEHRHOF Was ap-pointed vice president and managerof the Pittsburgh office of Fuller &Smith & Ross Inc. Mehrhof succeedsJOHN LEAHY who plans to resign. Inaddition to his duties as manager,Mehrhof will be management super-visor on the Alcoa account.

PATRICK K. STEWART and SELDEN B.CLARK, both account supervisors atN. Y. Ayer & Son, New York, wereelected vice presidents of the agency.Stewart handles the Sergeant's petcare products account; Clark, theAT&T Long Lines advertising.

JOHN H. COLEMAN Was promoted tovice president, manager of broad-cast operations at Campbell -EwaldCo., Detroit. Coleman joined theagency in 1948 as a research as-sistant. At the same time, CHARLESR. MAY was named an account exec-utive on the Firestone Tire & Rub-ber Co. account. May was formerlya coordinator in the agency's mediadepartment.

THOMAS J. COCHRANE, director ofproduction and traffic. WILLIAM M.MORRIS, RONALD K. SHERMAN andHENRY F. WOOD JR., account super-visors, were elected vice presidentsat J. Walter Thompson Co., NewYork. In the agency's Chicago of-. fice, the vp title was given to JOHNG. KEANE, director of research andplanning.

Agency AppointmentsFRANK B. DAY and DORIAN BAR-

NARD were appointed vice presidentsin the Chicago office of The L. W.Ramsey Co. Day, 36, and Barnard,28, represent the agency's currenteffort to develop a young, top man-agement team.

CHARLES V. FRYER and JOHN H,HATHEWAY were appointed seniorvice presidents at Young & Rubi-cam Inc.. New York. Both of the

FRYER IIATHEWAY

men were named management su-pervisors in 1966. At the same time,THOMAS S. KNIGHT JR. and COCHRANSUPPLEE, account supervisors, wereappointed vice presidents of theagency.

MIKE BIETY and LOUIS FULLER wereelected vice presidents of Mathisson& Co. Inc., Milwaukee. Both gentle-men will function as account super-visors for the agency.

KENNETH T. WRIGHT, a brand SU-pervisor, was promoted to account

supervisor at Leo Burnett Co. Inc.,Chicago. Wright joined the agency'smedia research staff in 1958.

ROBERT J. ROSEGARTEN joined War-wick & Legler Inc., New York, asan account executive. Rosegartenwas formerly with Lennen & New-ell.

LOUIS H. BENNIT, director of mar-keting, media and research, waselected a vice president of Mae.Manus, John & Adams Inc., Chi-cago. Bennit joined the agency in1964 as media director.

DON H. SUNOO joined Foote, Cone& Belding Inc., Chicago, as researchsupervisor on special projects.

MICHAEL CITRIN joined Tatham -Laird & Kudner Inc., New York, asan account executive on Thayer-Knomark. Citrin was formerly withGrey Advertising where he workedon P&G's Top Job.

MEL WAGGONER joined CarsonRoberts Inc., Los Angeles, as anaccount executive on the Nalley'saccount. Waggoner was previouslynew products development managerat Lawry's Foods.

GERROLD R. RUBIN joined the Chi-cago division of Needham, Harper& Steers Inc., as an account exec-utive. Rubin was formerly with LeoBurnett.

WDTVCOVERING A

VITALarea of

Central W. Virginia

WDTVFAIRMONT,

CLARKSBURG,WESTON,

WEST VIRGINIAJohn North Vice Pres. & Gen. Mgr.

Represented byNational Television Sales, Inc.A CBS Affiliate

Spot (From page 47)

Commercials for PINE -SOL roomdeodorant will be on the air throughthe middle of August. Fringe and someprime 30s will be used to reach womenin 24 markets including Minneapolis,Portland, Pittsburgh, West Palm Beach,Oklahoma City and Los Angeles.Jim McCollum is the buyer.

Beecham Products Inc.(Kenyon & Eckhardt Inc., New York)A seven -week buy for MACLEANS andBRYLCREEM breaks July 8. Fringe andprime 30s and some piggybacks will beused to reach both men and women inthe top 35 markets. Martha Garbaldis the buyer.

The Best Foods Div. ofCorn Products Sales Co.

(Dancer -Fitzgerald -Sample Inc.,New York)

A 12 -week buy for HELLMAN'SMAYONNAISE breaks July 8. Minutes,30s and 20s will be used to reach viewersin Altoona, Plattsburgh and Portland.Chuck Jacoby is the buyer.

The Borden Co.(Doyle Dane Bernbach Inc.,

New York)A Fall -buy for CRACKERJACKS breakSeptember 16. Day minutes will be used

to reach youngsters in about 35 nullincluding Los Angeles, Buffalo, Hartfor(Houston, San Diego and Pittsburgh -till November 24. Larry Fried is the bu

Bristol-Myers Co.(Ogilvy & Mather Inc., New YoiCommercials for various company prod'get underway at issue date. Fringeminutes, 30s and piggybacks will beused for up to 13 weeks to reachwomen in about 11 markets. Mary Gr°is the buyer.

Calgon Corp.(Ketchum, MacLeod & Grove In

Pittsburgh)Commercials for CALGONITE productget underway July 8. Day as well asfringe. 30s will be used to reach wooin four markets till September 27.Joyce Pence is the contact.

Carnation Co.(Erwin Wasey Inc., Los Ange

(Continued on pa

lipTelevision Age, July 1i

One Buyer's Opinion . . .

APPROXIMATION"What was that network rating for Internationa! Hopscotch last

year?" the account executive asked."About an eighteen," replied the media buyer.

"An eighteen -point -what?""About an eighteen! Why?"The account exec was getting impatient. "Because I want the exact

rating. An eighteen two, six, nine-what?""What's the difference? The decimal point only represents a few

thousand homes! And the rating itself is only an estimate! Besides,you're only using the number for a comparison!"

The account exec was now irritated. "Because I just want to know,that's all! You know I like to be exact!"

The buyer couldn't talk him out of it. The account exec got his decimal-but only after 20 minutes of the buyer's time was spent digging it up.Just because the account exec wanted to be "exact." Sound improbable?Well. it's a true story.

This is not to say that the account exec was not entitled to his figure.But. as we all know, a buyer's time is at a premium; and a certainamount of discretion should be used in determining which informationmust truly be presented in "exact" form and which should not (i.e.,information "just for the sake of knowing"). In the above instance, forexample, the account exec demanded a specific number for what was anestimate to begin with! And digging up the decimal took time fromthat all-important study or spot buy that was being made.

Buyers are constantly hit with such tremendous trifles. Some buyerscall it "nit-picking," others, "make work;" and still others call it "ex-ercising." Whatever the label, such demands disregard an expedienttool in our industry-the combatant of an "exactness trap"-the toolf approximation.Webster defines the verb "approximate" as "to bring near or close."

nd one of the greatest assets of approximating is having a simplergure with which to deal. If a rating is an 18.2, why not call it an 18?

a spot delivers 423,570 households, why not round the figure to24,000? The difference between the two numbers is a little over .1er cent of the "exact" figure. If the client is willing to accept a docu-ent called an . estimate, why shouldn't the account exec be willing to

ccept an estimated figure? Many media plans show grp ranges (e.g.,0.60 grp's/wk.) , thus obviously approximating delivery.Perhaps it appears silly to discuss a subject that seems obvious toany of us-but I have seen buyers spend wasted hours at the addingachine, adding up an additional two or three digits to conform to the

eurosis of an account exec; and I have seen secretaries waste timey typing multitudinous numbers for someone who "just wants to bexact." And some of the reps! Some avails I have received have looked'ke Bíngo scorecards because reps have fallen into an exactness trap.(The good intentions are there, but what a waste to talk in hundredshen you're dealing with a market like New York. I don't think it'secessary).I think it's time some people in our industry stopped fooling them -

elves and wasting the time of others. It's true that television is a num-ers game, but let's not get carried away. Until media becomes moref a science and less of an art, and as long as time is at a premium,pproximation should be an accepted tool of our business.

A strong campaign to ban cigarette smoking and advertising is cur-ently under full swing. Ever give some thought to the economic con-equences of eventually banning cigarette advertising from the airways?

How many people would be out of jobs? How much money in ad billingand tax revenues would be lost? Which is the lesser of the two evils?

Who'sWho

In

Des Moines TV?

...that's who!

COLOR 13

DES MOINES, IOWA

Your Bair Man Knows .. .

WHO'S RUNNING THE SHOW? The RFin call letters could well represent Rob-ert Ferguson, President of WTRF-TV,Wheeling, West Virginia. What kind ofa guy leads a TV station in a lucrativemarket? A nice guy, a dedicated manwho just completed a second term asChairman of the TV Board of Direc-tors of NAB, who was recently appoint-ed Chairman of the TV Code ReviewBoard for a two year term, who servedas a member of the Code Review Board1958-1962, who is the first Vice Presi-dent of Broadcast Pioneers, and is amember of the West Virginia Broadcast-ing Educational Authority. S0000? A well -programmed TV station in the public in-terest abides by the better ethics andcodes of an industry and enthusiastic,loyal audiences result. Another reasonwhy your ad schedules bring results youwant when you buy WTRF-TV, servingthe Wheeling -Steubenville Market fromWheeling.

BLAIR TELEVISION

Representative for

WTRF -TVColor Channel 7 - NBC

Wheeling, West Virginia


Spot (From page 4R)

Commercial, for various CARNATIONproduct- oo ill be on the air till September2. Fringe as well as prime minutes,where available, will be used to carrythe company message to women in about20 markets including Boston, Cleveland,Columbus, Denver, St. Louis and Seattle.Bob Carrillo is the buyer.

Corn Products Co.(Foote, Cone & Belding Inc.,

New York)A six to eight -week buy for NU -SOFTfabric softener breaks July 29. Earlyand late fringe 30s will be usedexclusively to carry the message to women

in about 25 markets. Phil Lukoffis the contact.

Eastman Dillon,Union Securities & Co.

(Project 68 Inc., div. ofDoremus & Co., New York)

This investment banking and brokeragefirm takes its first step into televisionwith commercials scheduled to be onthe air through July 14. Minutes in oradjacent to evening news programs willbe used exclusively to reach men inAtlanta, Houston, Washington andMinneapolis. Neil Sykes is the buyer.

Falstaff Brewing Corp.(Foote, Cone & Belding Inc.,

Chicago)

YOU MAY NEVER SEE A 40 -LB. BIRD FLY*

BUT ... Sales Soar in the 39th Market with WKZO-TV!A high flyer- that's the GrandRapids -Kalamazoo and GreaterWestern Michigan market served byWKZO-TV.

Already the nation's 39tht tele-vision market, the area is still in a

WKZO-TV MARKETCOVERAGE AREA ARB '65

MICH.

MO} '''",»awuj

,

__L Win ms tr,uEnn.,,,1

steep climb. In Grand Rapids andKent County alone, wholesalers'annual sales are heading for thebillion -dollar mark. And the samesort of growth is going onward andupward in Kalamazoo and the rest ofthe region!

Don't get left on the ground whileyour competition scales the heightsin this dynamic market. Buy WKZO-TV and cover the whole westernMichigan area. Your Avery-Knodelman can give you a bird's-eye view ofthe whole scene.

And if you want all the rest ofupstate Michigan worth having, addWWTV/WWUP-TV, Cadillac -Sault Ste. Marie, to your WKZO-TV schedule.

*It's the Kori Bustard of South Africa.t ARB's 1965 Television Market Analysis.

RADIOMIIIO KALAMAZOO -OATH E CRIERMIST GRANO RAPIDS

MINA GRAND RAPIDS KALAMAZOOIMAM/WAIN -FM CADILLAC

TELEVISIONBOOR TV GRAND RAPIDS KALAMAZOO

MMTV/CADILLAC-TRAVERSE CITYMSUP-TV SADLI STE. MARIE

.0""/ LINCOLN. NEBRASKARAIN -ID GRAND ISLAND. NED.

WKZO -TV100,000 WATTS CHANNEL 3 1000' TOWER

Studios In Both Kalamazoo and Grand RapidsEar Greats, Western Michigan

Avery-KnedI, Ins., E.rivaiv National Repre,nlelivc

Commercials for FALSTAFF BEER 4be on the air through September. Latfringe minutes, 30s and 20s will be#to carry the message to men in 120 4markets including Corpus Christi,Amarillo and El Paso. Jan Ucherekand George Churilla are the buyers,

General Foods Corp.(Benton & Bowles Inc., NewA 13 -week buy for GRAPE NUTSCEREAL takes off at issue date.Piggybacks and 30s will be used it -

carry the word to women in markets s.Cleveland, Flint, Raleigh, St. Louis,Tampa, Seattle and Houston. Jay Levi ,nis the buyer. A five -week buy forSUGAR CRISP also gets off the gruelat issue date. Morning and day minutewill he used in this case to reachyoungsters in approximately 50 markeA second and similar four -week flighgets started July 15. Mike llorri-the buyer.

General Foods Corp.(Grey Advertising Inc., NewCommercials for YUBAN coffee bre*lat issue date. Prime as well as fringe30s will be used to reach viewers in 'some markets till the 28th of the min others till the first of September.The buy goes into about 20 marketsincluding Phoenix, Providence, RocSeattle, San Jose and San Diego.John Spencer is the buyer. A 13-wbuy for POST CEREALS breaks adate. Day as well as night minutes30s will be used to carry the wordwomen in about 20 markets like AWichita, Spokane and Jefferson CityMarty Bratman buys.

General Foods Corp.(Ogilvy & Mather Inc., New YoCoffee commercials will be on the airthrough the middle of September. Dayas well as fringe minutes and 30stogether with prime IDs will be usedto reach women in markets like wAlbuquerque, Phoenix and Amarillo.}'Jeff Gilbert is the buyer. Commercialefor SHAKE N' BAKE will be on thethrough.the middle of July. Early andlate fringe 30s will be used exclusivelyto carry the product message to wornin about 30 markets. Ed Odom is.the buyer.

General Foods Corp.(Young & Rubicam Inc., New YotA seven -week buy for JELLO getsunderway at issue date. And beginningSeptember 16, a two-week flight picksup the product's message. Day as well

as fringe minutes will be used to reachwomen in about 20 markets includingAlbany, Boston, Cleveland, Denver,Minneapolis, Philadelphia, St. Louis,Seattle, Hartford and Kansas City.Martin Nankin is the buyer.

Hanes Corp.(N. W. Ayer & Son Inc.,

Philadelphia)A three-week flight for HANES' unllervo

for men gets underway August 12.

Minutes will be used exclusively ell rea

women in about 15 markets includingtAtlanta, Cleveland, Kansas City, R.I.

50 Television Age, Julyil

rr,firPri

Harry Kay, the new media grouphead at Norman, Craig & Kummel,New York, has been planning buysfor Colgate-Palmolive's Ajax line forjust about three weeks now.

Kay . who currently supervises amedia staff of about seven people, wasformerly at Benton & Bowles wherehe spent five years buying for thelikes of General Foods, Shulton, VickChemical and others. Before that hewas jogging about places like Maltaworking for England's Air Ministry.And before that he was fighting forthe Royal Air Force off in Malaya.

Quite a schedule for a fellow bornand raised in Llandudno, Wales, asummer resort which boasts a winterpopulation of about 20,000.

In a small, workmanlike office("just temporary" they're readyingone of the corner jobs) completewith bookcases bulging with looseleafbinders labeled "Colgate Tv Data"

114 and "Spot Tv Requests," Kay talkseagerly about his trip from Malaya toMadison Avenue and a few of thethings and opinions he hasup on the way.

"I arrived in America in 1963after five years as a senior auditorfor the Air Ministry in London," heexplains, whipping a cigarette andbook of matches from his left jacketpocket fast enough to make it in-stinctive.

. HARRY KAY

"People wouldn't know me withoutthis," he smiles pointing to a SilverThin. "When I came to this countryI was looking to establish myself ina position that was satisfying andrewarding."

Talking to friends, Kay discovereda broad interest in advertising whichhe decided to refine. He sat down andwrote to the top 25 agencies and asreward for his lesson in penmanshipgamed about a dozen interviews.

"Benton & Bowles had the bestoffer at the time," hebegan his ascent up the familiarmedia ladder.

In his present post, Kay super-vises the planning action of his mediastaff on various products in theAjax lineup before it is passed onto Colgate - Palmolive's corporatemedia department for approval.

"That doesn't mean that the planning is just shoved out of the win-dow when it leaves our office." Kaystresses. "We follow it up."

Kay is a little less pessimi=tic thanthose who claim the current trendto clutter 20s and 30s is laying theID to rest.

"I think the ID has declined ofcourse because of the preponderanceof triple spots and the like," he ex-plains. "But I don't believe that thiswill necessarily kill the ID altogether.What it will do," he intones, "is toput more of a strain on the creativepeople who will have to turn outreally superior IDs. But, this was trueseveral years ago when an ID had tobe one up on the other commercialsanyway." To Kay, it appears to bethe same game, it's ju=t being playeda little harder.

Kay is also hip on the new mediasalesman, "young educated men whohave had a training in media plan-ning." He is up on this camp al-most as much as he is down on "thered faced newspaper man who hassold the same way for 20 years anddoesn't recognize change."

The bachelor calls a five roompenthouse home ("worked out a ter-rific deal"), digs woodwork andpainting and like so many mediapeople professes "to have little timefor anything more."

Providence and Denver. Paul Kizenbergeris the contact.

Humble Oil & Refining Co.(McCann-Erickson Inc., New York)

beefingup of this company's earlierbuy will now keep commercials on theair till September. Prime 20s as wellas fringe minutes will be used to carrythe word to men in about 90 to 100markets. Frank Finn is the buyer.

Joseph Schlitz Brewing Co.(Cunningham & Walsh Inc.,

New York)Commercials for OLD MILWAUKEEBEER will be on the air throughthe early part of the Fall.Early and late fringe minutestogether with prime 20s will be usedto carry the product word to men infrom three to four markets. Nick Kenneyis the contact.

Kinney Shoe Corp.(Frank B. Sawdon Inc., New York)Commercials for KINNEY SHOES willbe on the air for the early half of this

month. Day as well as early fringe IDswill be used to carry the product messageto women viewers in from 20 to 30markets. Gayle Gilcrest is the buyer.

Lehn & Fink Products Co.(Sullivan, Stauffer, Colwell & Bayles

Inc., New York)Commercials for LYSOL SPRAY breakat issue date. Early and late fringe aswell as day 30s will be used to carrythe product message to women in about30 to 40 markets including Atlanta,Boston, Cleveland, Kansas City, SouthBend and San Diego. A second buy forLYSOL TOILET BOWL CLEANERgets underway July 7 using a similarplan, but also calling for the use ofIDs. Bob Flaishans and Olga Hoffmanare the buyers.

Miles Laboratories Inc.(I. Walter Thompson Co., New York)Commercials for various MILES productsbreak at issue date. Minutes and 30swill be used to carry the message toviewers in over 20 markets throughSeptember 28. Nick Verbitski is the buyer.

The National Biscuit Co.(McCann-Erickson Inc., New York)Commercials for NABISCO CIIIPSTERScookies will be on the air through theend of the month. Early and late fringeminutes will be used to reach viewersin about 70 markets. Andy Grant isthe buyer.

The Nestle Co. Inc.(Leo Burnett Co. Inc., Chicago)Commercials for NESTLE QUICK willbe on the air through September.Day and fringe minutes together with30s will be used to reach youngsters andteenagers in 12 markets. Dick Russellis the buyer.

Procter & Gamble Co.(Compton Advertising Inc.,

New York)A full -year buy for IVORY LIQUID kicksoff at issue date. Night minutes will beused to reach women in the company'sbroad market range including Bismarck,


revision Age, July 1, 19613 51

Buyer's ChecklistNew Representatives

WAVY -Tv serving the Norfolk -Ports-mouth -Newport News -Hampton, Vir-ginia area has appointed Avco RadioTelevision Sales Inc. its nationalsales representative, effective at issuedate.

WNBC-TV New York, WKYC-TV Cleve-land, WRC-TV Washington and KNBCLos Angeles have appointed AndyMcDermott Sales Ltd. of Toronto,Ontario as representative for theNBC owned television stations spotsales in Canada.

KBIM-TV Roswell, New Mexico,named Avery-Knodel Inc. its nation-al sales representative, effective im-mediately. At the same time, KBIM-TV becomes the Roswell affiliate of"The Golden Arc," a sales combina-tion with KCNC-TV Amarillo.

Herb Farber was named researchdirector of Television AdvertisingRepresentatives Inc., New York City.PI for to his appointment, Farber hadbeen the research manager at TvAR,kt post he held since February 1967.

IN SIOUX CITY IOWA

CNANNCL te

a men -awatf of

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

Spot (From page 51)

Chattanooga, Fresno, Green Bay,Mobile, South Bend and Richmond.Dale Pon is the buyer.

Procter & Gamble Co.(Benton & Bowles Inc., New York)Beginning at issue date BONUS detergentwill share fringe piggybacks with variousother Procter & Gamble products.The full -year buy will reach into about50 markets like Altoona, Beaumont, LittleRock, Wheeling, Columbus and FortWayne. Bob Hinson is the buyer.

Procter & Gamble Co.(Dancer-Fitzeerald-Sample Inc.,

New York)A full -year buy for THRILL getsunderway at issue date. Minutes andpiggybacks will be used to reach womenin well over 25 markets including Albany,Buffalo, Denver, Hartford, Spokane andSt. Louis. Bev Barclay buys.

Procter & Gamble Co.(Young & Rubicam Inc., New York)A full -year buy for SPIC & SPANhousehold cleaner breaks at issue date.Day minutes and piggybacks will be usedto reach women in approximately 50markets including Binghamton, FortWayne, Boston, Buffalo, Hartford, anDiego. Youngstown and South Bend.John Twiddy is the buyer.

S. C. Johnson & Son Inc.(Foote, Cone & Belding Inc.,

Chicago)Commercials for GLORY RUG CLEANERwill be on the air through the middleof this month. Prime, fringe and dayminutes, where available, will be usedto carry the product message to womenin 10 markets. Peg Reed is the buyer.

Safeco Insurance Co.(Lennen & Newell Inc., New York)A beefing -up of this company's original


Treating media as one"Since I believe that all

media influence the consumerin a cumulative and synergisticway, I see no reason why ad-vertising research in the futurecan't develop in a `systems' di-rection, using television per-haps, as a base around whichto build...."

Melvin A. Goldberg, vicepresident of Blair Television,discussing with members of theCanadian Broadcast ExecutivesSociety the need to measure thecombined impact and effect ofall media.

Media PersonalsGEORGE R. BAILEY JR. joined Trai'1.

Locke Co. Inc., Dallas, as vice inc-ident and director of media andresearch. Bailey was formerly mediagroup supervisor for Young & Rubi-cam.

MARGUERITE SOWAAL, media direc-tor, was promoted to vice presidentand director of media services atCompton Advertising Inc., Los An-geles. At the same time, RO BRAMELCAMPBELL returned from the agency'sSan Francisco office to assume Mrs.Sowaal's former duties as media di-rector.

WALT ERICKSON, vice president anddirector of production for Gray &Rogers Inc., Philadelphia, assumedadditional duties as broadcast mediadirector. JIM BOWLER is now assistantbroadcast media director. At thesame time, SANDRA SLI WOO and THEADUGAN were promoted from radio -tvassistant buyers to buyers.

LOIS J. HANRAHAN joined Dancer -Fitzgerald -Sample Inc., San Fran-cisco, as a media buyer. Miss Han-rahan was formerly with Kenyon &Eckhardt where she worked on theGallo Wines and Frontier Airlinesaccounts.

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52 Television Age, Julyill

Rep Report

DAVID MARTIN joined the Chicagosales staff of Blair Television. Mar-tin was formerly at Television Ad-vertising Representatives Inc. In the

MARTIN WEISS

rep's L.A. branch, HENRY D. WEISSbecame part of that office's salesforce. Weiss had been with KNBCLos Angeles.

CHARLES P. REMBERT Was promotedto the Spot Sales Development De-partment of H -R Television, NewGYork. Rembert was a member ofH -R's San Francisco office tv salesteam since February 1967. At the

,same time, CLINTON R. CLARK wasappointed television manager ofH -R's Detroit office. Clark was for-merly executive director for the Mid-west and Eastern United States atthe Argus Publication Group.

LOU HUMMEL moved from Peters,Griffin, Woodward's Chicago head-quarters to San Francisco as mana-ger of the rep's office in that city.PAUL WISCHMEYER assumed Hum-mel's sales management duties inChicago.

MARTIN MILLS was appointed di-rector of marketing and sales plan-ning for the Spanish InternationalNetwork (SIN). Mills was formerlydirector of research and sales pro-motion for The Meeker Co. Inc.

WILLIAM D. BURDING and FRANCISP. BRADY joined the- New York salesstaff of Storer Television Sales Inc.Burding was formerly an accountexecutive for WNBC-TV and Brady wasformerly an account executive onthe local sales staff of WITI-TV Mil-waukee.

WILLIAM H. MALLERY, an accountexecutive with NBC Spot Televi-sion Sales in New York, was ap-pointed manager, Chicago SpotSales. Mallery joined the New Yorkteam in 1967. In still another switch,

- CARL B. SCHUTZ, also an accountexecutive with NBC Spot Televi-sion Sales in New York, moved tobecome manager of the Los Angelesspot sales office. Schutz was withNBC Spot Television Sales for thepast eight years.

Spot (From page 52)

buy gets started at issue date.Sponsorship of five minute news,weather or sports programs will beused for 26 weeks in about 33 markets.Betty Whalen is the buyer.

Standard Brands Inc.(Ted Bates & Co. Inc., New York)A five -week buy for this company'sproducts gets off the ground at issuedate. Day as well as early and latefringe 30s and piggybacks will be usedto carry the word to women in over 20markets. Phyllis Grazziano is the buyer.

Sterling Drug Inc.(Dancer -Fitzgerald -Sample Inc.,

New York)Commercials for PHILLIPS MILK OFMAGNESIA start July 8. Minutes and30s will be used to reach viewers inabout 25 markets till September 15.Marc Stashower is the buyer.

Sun Oil Co.(William Esty Co. Inc., New York)Commercials for SUNOCO will be onthe home screen till September. Earlyand late fringe IDs will be usedexclusively to reach viewers in twomarkets. Ed Gottman and Lee Mitchellare the contacts.

Put the middleof the mitten...in the palm ofyour hand

wILx-Tv

1. More efficient distributionof circulation.

2. Dominates southern half ofcirculation. (Lansing and south)

3. Puts more advertising pressurewhere it's needed most.

4. Gets you more complete coveragewith less overlap.

Warner-Lambert PharmaceuticalCo.

(J. Walter Thompson Co., New York)A 13 -week buy for LISTERINEANTISEPTIC MOUTHWASH getsunderway at issue date. Early and latefringe minutewill be used to reachviewers in aln,ut 40 markets includingDallas, Oakland, Little Rock and St.Louis. Heidi Marlowe is the buyer.

George H. Anderson has been ap-pointed vice president and generalmanager of WGAN-AM-FM-TV Port-land, Me. He was sales manager ofWHDH-TV Boston.

LANSING

BATTLE CREEK ANN ARBOR

JACKSON

IRAO10 TELEVIBION BALEE, INC.

WILX-TV

1048 Michigan National TowerLansing, Michigan 48933

evision Age, July 1, 1968

65

NOW...think fall!Check the February/March Baltimore ratings...it makes interesting reading for forward -planning,

fact -minded time buyers.In MarylandMost People Watch COLOR -FULL

WMAR -TV mCHANNEL 2, SUNPAPERS TELEVISIONTELEVISION PARK, BALTIMORE, MD. 21212Represented Nationally by KATZ TELEVISION

'Mall Street Report

climbs steadily. Last year,n many stations were complain -about high costs and "economicrs" depressing earnings, a small -

publicly owned broadcasterd Sonderling (symbol SDB onAmex) earned $1.05 a share.year before it made 96 cents, thebefore that 40 cents and thebefore that 37 cents. This gives

annual average increase inis of about 20 per cent.

loon after announcing the 1967nings, Egmont Sonderling, the,irman and president of Sonder-; Broadcasting Corp., predictedrate of increase would accelerate

t )etween 20 and 30 per cent a year.'his prediction came at about the

tie that Richard Goodman, a hotela real estate operator, cut down hishlings in Sonderling from some41,000 shares (or about 55 per cento he shares outstanding at the time)tea relatively small 145,000. Thus,S,derling's claim may have soundedli "whistling in the dark."

HIV danger signal. Goodman's saleuo-ome of SDB was interpreted in

te quarters as an indication ofending trouble. However, it wasing of the sort-rather it was

ersonal reasons," and for oncetch-all phrase used to describe

insider trades was right on theThe sale, in fact, represented

erence of opinion about whichion Sonderling's growth should

derling and Goodman tracefriendship back to the early, where financier Goodman

Sonderling (the son of aTan rabbi) put together a group

Aerate radio station WOPA in Oakk, Ill., after Sonderling's earlierher in WOPA broke off his rela-iihip "because he could not seeture in radio".en, Sonderling said, "with theseassociates I was now able to planhe future ... and try to acquire'onal stations to become a group

dcaster."then, apparently, came a similarrence of opinion with Goodman,

,Sonderling launched into anotherod of growth via public owner-

ship of the company.This year SDB bought WLKY-TV,

the UHF affiliate of the ABC networkin Louisville, Ky., for $6 million (thatwas in January) ; in April it acquiredModern Teleservice Inc., a nationaldistributor of film tape and tapecommercials for radio and television,for stock valued at $4 million; earlyin June it bought Trim TelefilmService Corp., a New York distribu-tor of tv commercials, for $1.5 mil-lion in cash and stock; and, mostrecently, announced the purchase oftelevision station WAST, Channel 13,the ABC network affiliate serving theAlbany -Schenectady -Troy area, for$8 million.

Sonderling BroadcastingRecent price 451967 Earnings per share $1.05P/E Ratio (1967) 42.8 XIndicated dividend NoneYield NoneShares outstanding 930,000

The pieces fit. The acquisitionsappear to fit a pattern: they are ofcompanies in the broadcast andbroadcast service areas. However, it'sno secret that the acquisition ofWLKY-TV raised some eyebrows inWall Street, because some observersfelt $6 million was too much to spendfor a UHF station.

But, Sonderling said, "It's not anexcessive price when you considerthe growth potential." He said WLKY-TV would add about 7 cents to pershare net this year and about 12cents next year, which sounds likepretty good growth potential.

The slant of Sonderling's radiooperations to the Negro market alsohas caused some comment, but theprofit factor here has amply demon-strated the sound economics of it.

"Before we took this tack," Son-derling said, "we undertook an ex-pensive, but exhaustive independentstudy, which turned up some veryinteresting facts-one of which isthat this is the fastest growing con-sumer market in this country."

There have been rumors that SDBwould like to spin off this part ofits operations, in spite of its profit-ability, but the company denied thatit was actively seeking buyers.

Expansion leverage. Such a movewould not make much sense from theincome point of view, but would giveSDB more leverage for expansion inother directions. For instance, Son-derling is interested in building acomplete television service division,as evidenced by his recent acquisi-tions. This division would, logicallyenough, be based on Modern Tele -service.

"We will gather together compsvies that will provide the completeservice," Sonderling repeated, "andthis will involve the full film serviceaspect."

In other words, SDB is growingfast. As an interested broker (Bear,Stearns & Co.) commented with typi-cal Wall Street pomposity, but morethan a little truth:

"Sonderling common, which hasmore than doubled (in price) sinceits public offering (May 13, 1967),is capitalizing 1968 earnings some 26times. This multiple may appear ro-bust in relative terms, but the trend,pace and widened operating dimen-sions in prospect suggest the en-hanced stature of this equity ismerited."

This means Sonderling is pricedfairly high, but prospects for growthmake it worth buying.

If Egmont Sonderling's predictionscome true, the company should earn$1.25 to $1.35 this year, with themost likely figure nearer the highend of this range.


Mexico (From page 25)

uting factor to his success-an un-canny facility to guess correctly whatthe future might bring, make neces-sary preparations, and then reap therewards of his predictions.

What does Don Emilio see in hiscrystal ball now? For one thing, heanticipates a day when all North andSouth Americans will speak a com-mon language, just as most Euro-peans speak French in addition totheir native languages. He notes thatEnglish is taught in schools through-out Latin America and Spanish istaught in many American schools.

He foresees a future when all thecountries in this hemisphere will be

one geographical unit for purposesof television broadcasting, and al-though he doesn't spell it out, onegets the feeling that Telesistema will

figure importantly in this interna-tional programming of the future. InAmerica, he adds, there are already10 million Spanish-speaking people,and he predicts that this ethnic popu-lation will grow tremendously in the

next several years.

The coming of UHF

Dori Emilio predicts that UHF willbe the television frequency of tomor-row, hence his interest in AmericanUHF stations. He believes that, in thefuture, the U.S. government will de-cree through the FCC that all broad-casting must be UHF, and existingVHF facilities may be used for non-commercial purposes by the govern-ment.

Telesistema's programming hasfrequently been under critical attackfrom intellectuals and scholars in itsown country who have been dis-turbed and sometimes dismayed bythe steady grind of soap opera serials(the famed telenovelas), buxomdancers and singers and bullfights.

Don Emilio is a big man, and hiswhole body becomes animated inconversation as he answer his critics.

"Who is television for?" he asks,turning his meaty hands palms up."It is for poor people and middleclass people," he explains, "peoplewho work hard and have little andcan't afford to pay for the entertain-ment they need. Our job is not educa-tion-that's the task of the schoolsystem, although Telesistema doesengage in educational broadcasts.

Our job is to entertain poor people,old people, sick people, and peoplewho work hard and want some en-joyment in their lives. We give themwhat they want, and as their tasteschange, our programming will ad-just.

"Television in my country is notfor the wealthy or cultured," he con-tinues. "They can find their enter-tainment at the opera, where theysleep, or at concerts. We do not pro-gram for them, because they havethe means to buy their own entertain-ment."

When questioned about a subjectuppermost in American minds thesedays, violence on television, DonEmilio answers that American tele-vision programs have much moreviolence than Mexican programs. Headds, however, that 70 hours ofdubbed U.S. shows are shown onthe Telesistema network each week.

Don Emilio becomes quite vocifer-ous on the subject of bullfighting, amainstay of Telesistema program-ming and a sport opposed by manyAmericans. "Where do you thinkyour steaks come from?" he asks inhis booming voice. "You talk aboutpain-do you think an animal in aslaughterhouse doesn't feel pain? Abull in an arena is fighting, and whenyou fight you don't feel pain. And abull in an arena has a chance towin."

Don Emilio says that dubbedAmerican movies are very popularon Mexican television, and the Mexi-can versions of Saturday Night atth'e Movies are just as popular there.Quality Mexican movies top the rat-ings in Mexico, imitating theirAmerican counterparts.

Telesistema has a unique approachto news telecasting. The networkgives time to major newspapers,which are completely responsible fornews broadcasts. This keeps Telesis -tema completely out of politics, whileproviding its viewers with news.

No political brainwash

"We do not wish to brainwashanyone with our version of politicaland news events," Don Emilio says."Television is for entertainment, en-joyment and education."

The Television network donatesfour and one-half hours a day to theMexican government for educationalbroadcasts. Tv classrooms offer

courses that lead to high school .

plomas. There are daily classesEnglish, in addition to a full raceof educational broadcasting.

Don Emilio has long been a le.er and trend-setter in Latin Amt.can broadcasting. As an illustratiin 1945 when governments of cert lLatin American countries were se.ing to control broadcasting faciliisfor propaganda purposes, Ir

Emilio was instrumental in orgai.ing the Associacion InteramericaRadio (AIR), similar to the NAB,America.

With an announced purpose Ekeeping broadcasting free of govement controls, a campaign wasaugurated via the air waves to rbilize public opinion and bring pi -sure to bear against the offend ;governments. These began to witunder the barrage of adverse pDeity, it is said, and eventua, I

withdrew from their involvementbroadcasting. AIR continues tod,exerting considerable influence inbusiness and political life of LaiAmerica.

At 73 years of age, Don Em;)is still a physically powerful m,and he is a shrewd operator la business transaction. He is saidlove competition, because he lovesbe a winner. Even at his advancage he is pleased that the Mexicgovernment is licensing televislistations to groups not affiliated wi'Telesistema, because this will sup].!him with a focus and outlet forenergies.

Ever since his school days in Tenand early business ventures in B.ton, Don Emilio has loved AmeriIn his country, he is sometimesfectionately called, "Mister Mex iwith a gringo accent." His frier;recall a particularly dark periodbroadcasting when some unscrup.ous Americans opened small rack -stations just inside the Mexicborder, pirated the use of designarAmerican frequencies, and beg

broadcasting. Don Emilio, afl

hearing complaints from Americfriends, used his influence in I

Mexican government to have t

bootlegging stations closed down.In 1958, in recognition of his ;I

forts to promote warm relations I ,

tween North and South_ AmeriaColumbia University awarded DEmilio the Maria Moors Cabot Pri

56Television Age, July 1, 19 ,

for "Journalistic Contributions toInter -American Understanding" -agold medal and $1,000. Don Emilioreturned to Mexico and with his prizemoney commissioned the painting ofa huge portrait of Maria MoorsCabot. Today this portrait occupiesa prominent place in his office.

Don Emilio is assisted in the op-eration of his empire by his son,Emilio, Jr., and daughter, Chatis,who joined the business three yearsago following the death of her hus-band, Fernando Diez Barroso.

For the future, Don Emilio saysemphatically that he has no gran-doise plans, and anticipates no sig-nificant acquisitions. Like the ac-complished gambler that he is, heintends to prepare for all contingen-cies, but as the betting goes, he willstand pat as one of the most power-ful and influential men in LatinAmerican life.

Agencies (From page 19)

often pick one approach and stick toit. B&B is more flexible than most.They prefer majority ownership,would not turn up their noses at a50-50 deal ("We haven't faced up toit, yet," says Steele) and feel, final-ly, they're "well advised" to take aminority position.

"Ideally," says Steele, "it's best toown a majority of the stock; it's bestfrom the standpoint of administra-tive control. But why should an agen-cy abroad sell control? It's good forforeign nationals to have a stake inthe agency's success. They shouldrun it. After all, we can't supply themanpower."

The shortage of skilled and, par-ticularly, creative ad personnelabroad is a major reason why B&Bshies away from starting an agencyfrom scratch. In Japan, one of the

Reagan: still a pro in the ways of film

S

elevision Age, July 1, 1968

One politician who takes nochances with what cameramen andnews editors can do to a pressconference is California GovernorRonald Reagan.

When the Governor wants tomake news, he goes before thecameras, all right-but inside hisoffice and with the doors locked.The cameramen are in his employ.An "official" film is made. Printsof it are rushed to stationsthroughout the state. Then theGovernor calls a press conference.

By the time the reporters andthe news cameras arrive, most ofCalifornia's 30 -odd tv stationshave run the Governor's film.Thus, subsequent newspaper andtv coverage of what is said in thepress conference will probably notstray far from the main lines ofReagan's own film statement.

The fast film work is done forthe Governor by a team from SPITelevision Center in San Fran-cisco, headed by E. E. Gregg Snaz-elle. To speed up the shooting,nazell uses tv cameras and moni-

tors to control three or more 16mm cameras, which shoot as hedirects from the master console.This saves editing time, and foot-age.

Once the takes are done, Snazelle

matches the single -system opticalsound tracks (the final sound trackis dubbed in later) and rushes thenegative to a laboratory.

In the lab, a Snazelle employeestands by to make sure nobodygets a chance to run the filmthrough a projector and hear whatthe Governor had to say. Once theanswer print is edited, prints arerun off and then sped to the tvstations.

Tv camera mounted on right side offilm camera is used as monitor.

Incidentally, the Reagan filmsare written in such a way as tomake any excision obvious.

Regan is using the films to bringthe blessings of California -stylespokesmanship to the benightedpopulations of Oregon and otherwestern states.

countries being eyed by Steele andhis colleagues, the tradition is foremployees to remain with one com-pany for life. "If we had to start anagency from scratch, I suppose we'ddo it, but we prefer working with anestablished company," says Steele.

One of the more unusual ap-proaches to getting into the inter-national swim is that developed byD'Arcy. Called Multi -National Part-ners, it is a coop.:rative of majorindependent agencies. Set up threeyears ago with agencies in England,France and Germany, plus D'Arcy,it is now ensconced in 13 countriesin Europe and North America.

Belgian holding company

MNP embraces a "genuine, mu-tual financial interest," explains Les-lie D. Sheppard, assistant managingdirector of D'Arcy & Multi -NationalPartners, New York. The umbrellais a holding company in Belgiumin which each partner has a share-holding. MNP has set up a sub-sidiary in each country, with theshareholding belonging to the part-nership.

"This means,- says Sheppard,"that each partner has c stake in theinternational business of eachothers."

Sheppard also explained that eachsubsidiary is integrated with theservice structure of the partner agen-cy in each country and this, he says,makes top marketing and creativetalent available to the internationaladvertiser.

A number of advantages are citedfor this kind of setup. For D'Arcy,it removed the need to lay out largeamounts of cash. It gets around suchproblems, says Sheppard, as a parentagency being stuck with such estab-lished costs as elaborate pensionplans.

Sheppard stressed the advantagesa national agency has over oneforeign -owned. "They are appointedfor most government advertising pro-jects. They often receive preferredtime allocations on government con-trolled television. Local retail tradeoften gives better cooperation to anational agency in merchandising,co-op and promotions."

Insofar as the dispute over cen-tralized control of advertising strat-egy vs. independent country -by-coun-try approaches with little or no co-ordination, Sheppard paints the MNP

57

iMexico (From page 25)

uting factor to his success-an un-canny facility to guess correctly whatthe future might bring, make neces-sary preparations, and then reap therewards of his predictions.

What does Don Emilio see in hiscrystal ball now? For one thing, heanticipates a day when all North andSouth Americans will speak a com-mon language, just as most Euro-peans speak French in addition totheir native languages. He notes thatEnglish is taught in schools through-out Latin America and Spanish istaught in many American schools.

He foresees a future when all thecountries in this hemisphere will beone geographical unit for purposesof television broadcasting, and al-though he doesn't spell it out, onegets the feeling that Telesistema willfigure importantly in this interna-tional programming of the future. InAmerica, he adds, there are already10 million Spanish-speaking people,and he predicts that this ethnic popu-lation will grow tremendously in thenext several years.

The coming of UHF

Don )rrnilio predicts that UHF willbe the television frequency of tomor-row, hence his interest in AmericanUHF stations. He believes that, in thefuture, the U.S. government will de-cree through the FCC that all broad-casting must be UHF, and existingVHF facilities may be used for non-commercial purposes by the govern-ment.

Telesistema's programming hasfrequently been under critical attackfrom intellectuals and scholars in itsown country who have been dis-turbed and sometimes dismayed bythe steady grind of soap opera serials(the famed telenovelas), buxomdancers and singers and bullfights.

Don Emilio is a big man, and hiswhole body becomes animated inconversation as he answer his critics.

"Who is television for?" he asks,turning his meaty hands palms up."It is for poor people and middleclass people," he explains, "peoplewho work hard and have little andcan't afford to pay for the entertain-ment they need. Our job is not educa-tion-that's the task of the schoolsystem, although Telesistema doesengage in educational broadcasts.

Our job is to entertain poor people,old people, sick people, and peoplewho work hard and want some en-joyment in their lives. We give themwhat they want, and as their tasteschange, our programming will ad-just.

"Television in my country is notfor the wealthy or cultured," he con-tinues. "They can find their enter-tainment at the opera, where theysleep, or at concerts. We do not pro-gram for them, because they havethe means to buy their own entertain-ment."

When questioned about a subjectuppermost in American minds thesedays, violence on television, DonEmilio answers that American tele-vision programs have much moreviolence than Mexican programs. Headds, however, that 70 hours ofdubbed U.S. shows are shown onthe Telesistema network each week.

Don Emilio becomes quite vocifer-ous on the subject of bullfighting, amainstay of Telesistema program-ming and a sport opposed by manyAmericans. "Where do you thinkyour steaks come from?" he asks inhis booming voice. "You talk aboutpain-do you think an animal in aslaughterhouse doesn't feel pain? Abull in an arena is fighting, and whenyou fight you don't feel pain. And abull in an arena has a chance towin."

Don Emilio says that dubbedAmerican movies are very popularon Mexican television, and the Mexi-can versions of Saturday Night atth'e Movies are just as popular there.Quality Mexican movies top the rat-ings in Mexico, imitating theirAmerican counterparts.

Telesistema has a unique approachto news telecasting. The networkgives time to major newspapers,which are completely responsible fornews broadcasts. This keeps Telesis -tema completely out of politics, whileproviding its viewers with news.

No political brainwash

"We do not wish to brainwashanyone with our version of politicaland news events," Don Emilio says."Television is for entertainment, en-joyment and education."

The Television network donatesfour and one-half hours a day to theMexican government for educationalbroadcasts. Tv classrooms offer

courses that lead to high schoolplomas. There are daily classesEnglish, in addition to a full ranof educational broadcasting.

Don Emilio has long been a leter and trend-setter in Latin Amecan broadcasting. As an illustraticin 1945 when governments of certtLatin American countries were seting to control broadcasting facilit:for propaganda purposes, D

Emilio was instrumental in organing the Association InteramericaRadio (AIR), similar to the NABAmerica.

With an announced purposekeeping broadcasting free of govetanent controls, a campaign wasaugurated via the air waves to itbilize public opinion and bring prtsure to bear against the offendi3governments. These began to withunder the barrage of adverse ptlicity, it is said, and eventualwithdrew from their involvementbroadcasting. AIR continues tod,.exerting considerable influence in tbusiness and political life of LaiAmerica.

At 73 years of age, Don Emilis still a physically powerful maand he is still a shrewd operatora business transaction. He is saidlove competition, because he lovesbe a winner. Even at his advanceage he is pleased that the Mexic,government is licensing televisiistations to groups not affiliated i

Telesistema, because this will supphim with a focus and outlet for Itenergies.

Ever since his school days in Tex,and early business ventures in Boton, Don Emilio has loved AmericIn his country, he is sometimes afectionately called, "Mister Mexicwith a gringo accent." His frien(recall a particularly dark period ibroadcasting when some unscrupuous Americans opened small radistations just inside the Mexicaborder, pirated the use of designateAmerican frequencies, and begabroadcasting. Don Emilio, aft(hearing complaints from Americafriends, used his influence in tbMexican government to have di

bootlegging stations closed down.In 1958, in recognition of his e:

forts to promote warm relations bttween North and South AmerictColumbia University awarded DoEmilio the Maria Moors Cabot PriJ

56 Television Age, July 1. 144

for "Journalistic Contributions to

Inter -American Understanding" -agold medal and $1,000. Don Emilioreturned to Mexico and with his prizemoney commissioned the painting ofa huge portrait of Maria MoorsCabot. Today this portrait occupiesa prominent place in his office.

Don Emilio is assisted in the op -ration of his empire by his son,

ilio, Jr., and daughter, Chatis,ho joined the business three years

ago following the death of her hus-band, Fernando Diez Barroso.

For the future, Don Emilio saysemphatically that he has no gran-doise plans, and anticipates no sig-nificant acquisitions. Like the ac-complished gambler that he is, heintends to prepare for all contingen-cies, but as the betting goes, he willstand pat as one of the most power-ful and influential men in LatinAmerican life.

Agencies (From page 19)

often pick one approach and stick toit. B&B is more flexible than most.They prefer majority ownership,would not turn up their noses at a50-50 deal ("We haven't faced up toit, yet," says Steele) and feel, final-ly, they're "well advised" to take aminority position.

"Ideally," says Steele, "it's best toown a majority of the stock; it's bestfrom the standpoint of administra-tive control. But why should an agen-cy abroad sell control? It's good forforeign nationals to have a stake inthe agency's success. They shouldrun it. After all, we can't supply themanpower."

The shortage of skilled and, par-ticularly, creative ad personnelabroad is a major reason why B&Bshies away from starting an agencyfrom scratch. In Japan, one of the

Reagan: still a proOne politician who takes no

chances with what cameramen andnews editors can do to a pressconference is California GovernorRonald Reagan.

When the Governor wants tomake news, he goes before thecameras, all right-but inside hisoffice and with the doors locked.The cameramen are in his employ.An "official" film is made. Printsof it are rushed to stationsthroughout the state. Then theGovernor calls a press conference.

By the time the reporters andthe news cameras arrive, most ofCalifornia's 30 -odd tv stationshave run the Governor's film.Thus, subsequent newspaper andtv coverage of what is said in thepress conference will probably notstray far from the main lines ofReagan's own film statement.

The fast film work is done forthe Governor by a team from SPITelevision Center in San Fran-cisco, headed by E. E. Gregg Snaz-elle. To speed up the shooting,Snazell uses tv cameras and moni-tors to control three or more 16mm cameras, which shoot as hedirects from the master console.This saves editing time, and foot-age.

Once the takes are done, Snazelle

in the ways of filmmatches the single -system opticalsound tracks (the final sound trackis dubbed in later) and rushes thenegative to a laboratory.

In the lab, a Snazelle employeestands by to make sure nobodygets a chance to run the filmthrough a projector and hear whatthe Governor had to say. Once theanswer print is edited, prints arerun off and then sped to the tvstations.

Tv camera mounted on right side offilm camera is used as monitor.

Incidentally, the Reagan filmsare written in such a way as tomake any excision obvious.

Regan is using the films to bringthe blessings of California -stylespokesmanship to the benightedpopulations of Oregon and otherwestern states.

countries being eyed by Steele andhis colleagues, the tradition is foremployees to remain with one com-pany for life. "If we had to start anagency from scratch, I suppose we'ddo it, but we prefer working with anestablished company," says Steele.

One of the more unusual ap-proaches to getting into the inter-national swim is that developed byD'Arcy. Called Multi -National Part-ners, it is a coop.:rative of majorindependent agencies. Set up threeyears ago with agencies in England,France and Germany, plus D'Arcy,it is now ensconced in 13 countriesin Europe and North America.

Belgian holding company

MNP embraces a "genuine, mu-tual financial interest," explains Les-lie D. Sheppard, assistant managingdirector of D'Arcy & Multi -NationalPartners, New York. The umbrellais a holding company in Belgiumin which each partner has a share-holding. MNP has set up a sub-sidiary in each country, with theshareholding belonging to the part-nership.

"This means,- says Sheppard,"that each partner has c stake in theinternational business of each of theothers."

Sheppard also explained that eachsubsidiary is integrated with theservice structure of the partner agen-cy in each country and this, he says,makes top marketing and creativetalent available to the internationaladvertiser.

A number of advantages are citedfor this kind of setup. For D'Arcy,it removed the need to lay out largeamounts of cash. It gets around suchproblems, says Sheppard, as a parentagency being stuck with such estab-lished costs as elaborate pensionplans.

Sheppard stressed the advantagesa national agency has over oneforeign -owned. "They are appointedfor most government advertising pro-jects. They often receive preferredtime allocations on government con-trolled television. Local retail tradeoften gives better cooperation to anational agency in merchandising,co-op and promotions."

Insofar as the dispute over cen-tralized control of advertising strat-egy vs. independent country -by -coun-try approaches with little or no co-ordination, Sheppard paints the MNP

Television Age, July 1, 1968 57

philosophy as containing the best ofboth. He calls it "coordinated nation-alism," and describes it as a "bettersolution, somewhere in the middle."

MNP is still in the growing stage.Canada and Scandinavia were addedrecently, the latter via a complex offour separate agencies-one each inDenmark, Finland, Norway andSweden. The four are coordinated bya Swedish -based staff of five underthe name of Scan Viking. All told,Scandinavian billings run in theneighborhood of $10 million.

As have other agencies which hadbeen concentrating on digging in inEurope, MNP is casting eyes on thePacific and Japan.

There are already working agree-ments with agencies in Latin Amer-ica and South Africa, in the lattercountry with Forsyth Marketing &Advertising Pty, Ltd., Johannesburg.The expansion program is being di-rected by James J. O'Neal, electedMNP chairman last month (he wasformerly president), replacing RobertM. Ganger, who is chairman ofD'Arcy's executive committee andcredited with dreaming up the MNPconcept.

Sharing the commission

A key element of MN-, 's financialarrangement is splitting commis-sions. It works this way: If theFrench agency, for exc.:nple, has aclient which wants to open up a mar-ket in Belgium, the agency will na-turally recommend the MNP opera-tion in that country. It can undoubt-edly cite good reasons for this move,among them the fact that the Frenchagency, already familiar with themarketing needs of the client, hasclose links with the Belgium affiliate.If the client goes along, the Frenchagency shares in the commission. Inaddition, a portion of the commis-sion goes to the holding company.

This obviously provides a strongincentive for member agencies tothrow business to their partners.While it may sound at first glancethat D'Arcy itself would be a primebeneficiary of the commission -shar-ing proviso-due to sturdy grcwthabroad by U.S. clients-in actualfact the U.S. agency has had 'fewclients with overseas operations.

At the opposite end of the scalefrom MNP is Foote, Cone & Belding,whose policy, as mentioned previous-

ly, is for 100 per cent ownership.FC&B went abroad right after thewar by opening a London office. Itwas no more than three years afterEmerson Foote, Fairfzx Cone andDon Belding established the succes-sor agency to Albert Lasker's Lord& Thomas. Since the move to theUnited Kingdom, FC&B has main-tained a more or less steady pace ofgrowth and it shows no inclination tocall a halt.

FC&B's acquisitions

FC&B opened its own offices upuntil 1960 and th. n, with one ex-ception, switched to acquisitions. Thechronology of the first phase: 1946,the United Kingdom; 1951 (and1956), Canada; 1952, Mexico; 1959,West Germany; 1960, France, and1966, Belgium. The second phase:1964, Italy, Denmark and Australia(the latter again in 1965) ; 1965,Sweden and Holland, and 1967,Spain.

The last acquisition was describedby chairman Tully as "opportunis-tic." FC&B has been growing byplan, via classific ition of countriesinto priority categories. The Spanishacquisition became available beforethe agency, so to speak, was readyfor it-which indicates there are"better" markets the agency skippedover and which it is clearly examin-ing.

One of these is Japan-which pre-sents problema in light of FC&B'spolicy of full ownership. Japaneselaw prevents majority ownership byforeigners and Tully says the agencyis reluctant to change its policy. Thismight indicate a standoff, except thatTully dropped the off -hand remarkthat there are ways to abide bothby the law and FC&B's philosophy.The U.S. agency could, for example,buy an agency already owned bynon -Japanese.

Tully agrees that nearly all of thedesirable European agencies in thewilling -to -sell category have been las-soed but he feels that some not -so -willing -to -sell houses still present op-portunities if the right deal is of-fered. "Remember," he points out,"there don't have to be many ofthese. There's only a limited groupof buyers in the U.S."

Tully feels Europe will continueto grow at a speedier rate than theU.S. but does not see a continuation

of the rapid growth shown by U.S.agencies abroad during the past 10years. As does B&B's Steele, he seesthe acquisition boom as about over."I would expect," muses Tully, "thatU.S. agencies abroad will grow ata rate comparable to the parent com-panies."

One of the fastest -growing inter-national agencies 13 Ted Bates, whichin nine years has built its networkabroad to a $121 million billinglevel. That figure was as of March31, the end of the agency'.s fiscalyear and reflects its ownership share.

It does not expect to keep up thatpace but neither is it losing its in-terest in further acquisitions. It isexamining opportunities in LatinAmerica and MacLennan points outthat there are still some Europeancountries in which Bates does nothave offices and, presumably, it aimsto remedy that situation at some timein the future.

Among the countries specificallymentioned by MacLennan were Swit-zerland, Austria and Portugal. Whilethese are not major markets, it isworthwhile noting that Bates alreadyhas an office in Greece, a countrysome agencies say is not worth both-ering about. Among Bates' most re-cent acquisitions were those in Scan-dinavia. It now has offices in Nor-way, Sweden and Denmark.

The European potential

In MacLennan's eyes, the CommonMarket is only now beginning totruly emerge as an integrated entity.Which means, he says, greater poten-tial for growth. Indicative of thisnew era are, 'or example, he says,the fact that Fiat is looking aroundEurope for agencies and West Ger-man electronic firms are looking forcompanies to merge with.

The changes in Europe affectingU.S. agencies may well go beyondthe western portion. Things are stir-ring beyond the Iron Curtain andU.S. agencies are not closing theireyes to the fact.

Advertising of a limited kind hasalready made its appearance. Thereis apparently a fair amount of indus-trial advertising by private industryfrom the West.

"The USSR is more affluent thanpeople think," Interpublic's Williamsnotes. "Marion Harper once saidthat one day we might have an officein Eastern Europe. Who knows?"


bal report (From page 30)

ation laws). Michael Charlton, one-time host of theorementioned Four Corners, is a leading Britishfectee who, it's rumored, works for the BBC.The real go-getters in Australian broadcasting, itpears, are becoming restless with what they feel is

ow progress. Their outlook has also been influenced,d their feet pointed outward, by American televisionograms.

I/ All the really good programming, including the inter -'l ew shows, critics point out, are on the Australian

roadcasting Commission (ABC), indicating that theovernment has the funds and the manpower to churnut a superior product.The manpower situation is a tough problem to lick.an area as large as Australia-only slightly smaller

an the U.S.-the population hovers around 12 million,r about one -sixteenth of ours. This in itself, people pointut, puts a natural limitation on the improvement andperation of production facilities.On the other hand, there has also been a gradual

conomic shift from the land to industry. Where wool wasnce regarded as the leading staple of the continent,nerals such as oil, bauxite and iron are rapidly coming

to their own. And this industrial bent appears to speakell for the future of television.The Aussies are still determining which color system,

AL or NTSC, to adapt. Color is on the planning boardsor 1970.

The market for replacement sets is growing steadily,d the second-hand receivers that are becoming avail-

ble are being snapped up (new sets retail for from 25o 50 per cent above U.S. prices) . All of this meanscreasing penetration. Most of the sets are American.iggest brand names: RCA, Philips, and Pye (a Britishanufacturer) . There are, most observers say, no Jap-

nese sets other than those brought back by tourists.There is also a lively business in the renting of sets

and Radio Rentals claims a hefty share of this trade.The latest available figures on tv advertising, gathered

by the International Advertising Association and covering1966, show that advertisers have invested in tv about

lone -quarter of the total $575 million ad and promotional!`expenditures.

There are 46 tv stations in Australia, seven owned bythe Australia Broadcasting Commission and the remain-der private. The set count has passed the 2.5 million mark.

z: The tv license fee of $12 is reduced to $3 for pension -2 ors. Licenses are granted free to schools and, logically"enough, to blind persons.

There is also a combined receiving license for bothradio and television. This $17 license however, is avail-able in only certain parts of the country. The combinedpensioner's fee is $4.

The situation in New Zealand appears status quo. Thereare currently 560,000 tv receivers in the country andThe New Zealand Broadcasting Corp. programs materialevery day but Monday. There are four stations as wellas two 100 Kw repeaters and 10 low -powered repeaters.Revenue comes from license payments and commercialadvertising.

The government, incidentally, publishes the only listingfor both radio and television. This costs the populace

about 20 cents every week. Despite this broadcast fran-chise, a new publication, New Zealand TV Weekly, hasbeen gaining ground. This is a news and personality -typemagazine, which is reportedly astounding the governmentwith its wide acceptance.

AfricaNo big strides are yet evident in African television-

not that any were expected. The number of sets of course,has increased, but concentration still remains heaviestin the coastal countries such as the United Arab Republic(475,000 sets) rather than in the interior regions. Thebulk of the continent is still without television.

Documentaries, which started to show signs of increasedpopularity not too long ago, are still doing well. In fact,they have even taken a new direction, insofar as currentnews shows as well as straight educational or informationpieces are now being called for.

That is not to say that the action/adventure series, longstaple of this and other foreign markets, are passe. When,for example, the two concluding episodes of The Fugitivewere shown on successive week nights in Mauritius,hardly anyone was on the streets or in the movie houses.Mauritians, for the most part, were glued to the tubewatching Dr. Richard Kimble finally catch up with theelusive one-armed murderer.

Morocco is currently on the air five hours a day inthe evening. About 40 per cent of the programming islive, the remaining 60 per cent on film. Of the dubbed -film material, nearly all is imported from France. Somevoice-over, however, is dubbed locally.

In this area, there had been talk of passing a decreethat all television products either be dubbed in Arabic(in Egypt) or have Arabic sub -titles. It was apparentlysome sort of national feeling wave that appears to belosing momentum.

Moroccan set count: 37,500

The television sets, 37,500 of them, are manufacturedlocally by such outfits as Sfrm, which has five differentname brands. Philips has a small plant in Morocco, aboutone-third the size of the Sfrm setup. Total capacity of allset manufacturers is estimated at about 40,000 units peryear.

Nigeria, visitors claim, continues to have the besttelevision facilities of all the African nations. There isan evening broadcast schedule of about six hours, with75 per cent of the programs either British or Americanfilm products. There is the normal bag of variety andadventure shows, but only the broadest comedies findacceptance.

This nation has the added bonus of showing a verysharp interest in feature movies. Some observers evenanticipate one or two movie nights in the not too distantfuture. It must be remembered however, that the filmswon't be as recent as ours. Their movie houses are cur-rently behind American runs by a few years. Of the52,526 sets, most are concentrated in Lagos.

The Nigerians also do a good deal of their own pro-duction, with musical variety and quiz shows vying fortop place in the popularity poll. The Nigerians also runtheir two stations in Lagos and Ibadan by themselves. Thelocal broadcasters were trained by NBC, which phasedout of the picture completely just last year.

Television Age, July 1, 1968 59

In Libya, large broadcast concerns like NBC, Marconiand Thompson -Houston are currently submitting bidsfor a station which is still up for grabs.

In Egypt, there appears to be more local productionthan anywhere else on the continent. Distributors buyRCA and other kits to assemble sets on their own assem-bly lines, and sell them to the populace. Egyptian broad-casts are picked up in Israel and Syria, and on freakishoccasions in Jordan and Beirut.

Uganda is taking a long hard look at an educationaltv system in addition to the government one. The ideaof classroom training at home appears to have caughton in theory, if not yet in fact.

Big name advertisers like Coca-Cola, Colgate-Palmolivecontinue to be the only ones with real tv interests on thecontinent. Local breweries still use the tube, but for themost part, the larger concerns prefer print.

The majority of African stations are government -con-trolled facilities. Commercial tv is making steady inroads,but not at any great rate. Color isn't even discussed inany practical sense.

Near EastThere is some broadcast action in the Near East, but

conflicting reports, home-grown intricacies and suddenshifts in policy make it difficult to nail down specificsthat might well change by the time they're digested.

In Saudi Arabia, the Ministry of Information has sta-tions in Jeddah and Riaydh, with projected stations forMedina and Buraydh. The government facility broadcastson the average of three hours daily.

Aramco-TV, the private, non-commercial set-up, hastwo stations in Dhahran and Hofuf. There are not, as ofyet, any -talk or plans for future stations for Aramco.Aramco broadcasts four and a half hours Saturdaythrough Tuesday, five and a half hours on Wednesday andFriday, and approximately six and a half on Thursday.

There are also two transmitters linked together bymicrowaves at Jidda, while a fifth station is expectedin about six months in the city of Damman on thePersian Gulf.

About 75 per cent of all programming is producedlocally because this strongly Islamic country poses uniqueproblems to broadcasting. Much material is judged ana-thema to Moslem standards in Saudi Arabia, and sceneswith violence, kissing and drinking are snipped right outof imported programs. There are bootleg movie houseswhere "uncensored" films are shown, and some observersponder the future of bootleg tv.

Community -type viewing at tea houses is also popularin Saudi Arabia, but only men are permitted in theseNear Eastern clubs. Leading shows include The Fugitive,Bonanza and Voyage to the Bottom of the Sea (notnecessarily shown as seen in the U.S.).

Syria has reached 70,000 tv sets, and commercials areon the air. The technical operation in Damascus, one offive cities with tv stations, is described as "very good."But, for the most part, the programs are produced locallyand observers say they would ,be considered "dull" byour standards. Many film shows are Egyptian imports.

The two commercial operations in Lebanon are bothsaid to be in the red, and there is talk of the governmenttaking over and possibly combining them. Beirut is show-ing one hour a week on the SECAM system, but it

60

apparently doesn't amount to much because very fehave color sets to begin with. It appears that France, wiiall her political and economic headaches, just wan-ome other nation to share her system.

Turkey is following Israel on the path to educationbroadcasting. The country has an educational tv trainiicenter with production facilities including a studioAnkara. In addition, there is a growing amount of closetcircuit experimentation going on in the country, and Ista,bul has an experimental government educational static),All this with 6,000 tv sets in the country.

Television of Iran is a commercial facility that includtthree stations. There are two full stations in Tehran anAbadan; the other in Ahwaz is a relay of Abadan.

Unlike Iran, Iraq's Baghdad Television is a strict go,ernment-controlled facility that does not accept advertiing. There is only one station at Salhiya, but repeaterare anticipated in Bastra, Kiruk and Mosul. Some 150,00tv sets are presently in use.

Latin America

With Pope Paul's visit to Bogota, Colombia, abot.next August 25 and 26, Latin American television wiflash into the space age. News footage of the Pope's viswill be flown to the new ground station in Panama Cityand transmitted from there via satellite to Europe an,the U.S.-as well as to Santiago, Chile, where a groumstation will also be operational by then.

Latin America would seem to be a natural for ellfective and reasonably harmonious satellite transmissionMost of the requisite common denominators are therenearly 20 countries sharing the Spanish language (Braziand Portuguese is the lone exception) ; similar tim.zones; everyone operating within the framework of conemercial television (with single -station exceptions in se;eral markets).

The continent's really big leap into satellite televisionhowever, will occur in October with the Olympics, amhere the glory (if glory it turns out to be) will go primarily to Mexico City, host to the games.

But what about the present and the recent past? Thesetrends in Latin American tv have surfaced during tht,J1past six months:

Continuing growth in the number of statip(though at a slower pace than that of recent years) ain set counts;

Progress in the direction of financial stability, ywith runaway inflation hammering at the economyUruguay, and fairly serious problems in ArgentinaBrazil, Chile, Ecuador and Costa Rica;

A decline in the use of U.S. film product, engedered by a combination of the drop in production of netfilm properties (both series and number of episodes) i'this country, the inability of the smaller and less stabLatin American countries to pay the increasing pricand the drive toward local production that's gatheringstrength below the border and on south.

A new element is poised to enter the tv scene in MexicoCity-competition. Telesistema Mexicano, which ownsthree stations in Mexico City and owns or is affiliatewith 38 in the interior, has long had a lock on the contry's television. As of now, Telesistema Mexicano '

"challenged" (if you can call it that) by only a handf


u

f independents in the interior. But come October and' Olympics time, a couple of new players are scheduled

enter the game in Mexico City-channels 13 and 8.Licensee of channel 13 is the country's largest opera -

or in radio, Mexican Radio & Television Corp. Budgetsay be limited here, since management is talking in termsf under $2 million as the cost of its new tv facility,

which is still far from on the air. Channel 8 is licensedo a group of former applicants. Both are buying prod-ct, and channel 8, which appears somewhat closer toeing operational at this point than 13. has named atation manager and is promoting.

While it's doubtful that Telesistema Mexicano is shak-ng in its boots, the word is that Don Emilio Azcarraga'sionopoly has not been particularly easy for advertisersnd their agencies to deal with.Mexico remains the most sophisticated of the Latin

kmerican countries in terms of production facilities,alent availability, and ad dollars spent on tv. Figures for966 (the latest available) show about $72.8 millionpent on Mexican tv advertising that year, which repre-ented 35 per cent of the $208 million expended on alledia.

Argentina and Venezuela complete what might beermed the Spanish-speaking Big Three. The $32.5 millionpent on tv advertising in Argentina in 1966 came to8 per cent of the total ad volume of $180.4 million. Inontrast, about $1.2 million was spent on tv in tinyosta Rica (21 per cent of the $5.7 million total).ortuguese-speaking Brazil's television industry is at leastn a par with Argentina's and Venezuela's.In the realm of programming, the novela (soap opera.at is) reigns supreme-locally produced where facili-

ies permit, imported in the smaller and poorer countries.ost of the exporting of novelas is done by Mexico

ity, which is regionally renowned as the natal site ofe tv version of the apparently indestructible El Derechoe Nacer (which translates into The Right to Be Born).More than 100 episodes of this sexy pot-boiler, which

originated on pre -Castro Cuban radio, were produced byTelesistema Mexicano, then edited into a feature film.El Derecho, stripped across the board in half-hours, hasnot infrequently run back-to-back with The Devil's Caul-dron (known up north as Peyton Place) .

El Derecho has finally run its course on Mexican tv-but no sooner did it exit last March than a soap suc-cessor, Anita del Montebar, filled the void, and is cur-rently enjoying solid ratings. Meanwhile, El Derechohas run, is running, or is scheduled to run in just about

'every country in Latin America-sometimes in locallyproduced versions. Novelas are especially strong in Cen-tral American countries, which are not geared to pro-duce a great deal of their own stuff. Advertisers whichhave backed El Derecho include Colgate. Sterling Drugand Unisola (Unilever) .

Heavy with sex, the novelas are usually scheduled inevening time for adult audiences. They score consis-tently high, with shares of up to 70 per cent not uncom-mon.

Locally produced programming is strong and gettingstronger in Argentina (land of the rich end powerfulProartel production complex), with the emphasis onweekly musical -variety shows of marathon proportions.

and soccer. Two of Buenos Aires' three channels go thelong -long variety route on Saturdays-Channel 9 withSabados de la Bondad, which kicks off at 1:30 in theafternoon, runs straight through to 8 p.m. and then,after an hour of tango music, resumes from 9 to 10;and channel 13 with Sabados Circulares, which holdssway from 2 p.m. till 8 p.m. Rating shares for the twoshows are consistently in the high 40's. The tango pro-gram that interrupts Sabados de la Bondad averagesshares in the mid -50's.

Soccer went big league on Argentine tv in 1967, whengovernment television outbid channel 9, Goar Mestre(owner of channel 13) and Dicon (channel 11, an ABC

associate) for the rights to the top league. The band-wagon has been jumped on ever since. Lesser leaguesfound themselves on tv, and still lesser ones were cre-ated so they could be on tv. All of this indicates thedollar value of soccer rights.

Devaluations pose problems

Argentina's shift in the direction of local production..though being achieved largely at the expense of distribu-tors of American product, is not entirely deliberate. In-flation in the country has led to a series of devaluationsof the Argentine peso. Since U.S. distributors are cannyenough to write their contracts in dollars, every devalu-ation simply means that it takes more pesos to equalthe same number of dollars-so that when a devaluationoccurs, the peso -price of a U.S. film can jump as muchas 30 per cent overnight, while the dollar -price remainsconstant.

Each time a devaluation takes place, the local sta-tions must publish new rate cards to maintain theirprofit margins. It's reported that, in order to turn theinflationary tide in the Argentinian broadcast industry,the government is thinking of suddenly stabilizing pricesat the level of several rate cards ago. "A sure way tobankrupt the business there," says an American inter-national distribution executive.

Inflation has also reached serious proportions inBrazil, Chile, Costa Rica and Ecuador-and critical pro-portions in Uruguay. The latter has gone through some-thing like 30 devaluations, ranging up to 100 per centa crack.

To keep business alive, many distributors of U.S. filmsin Uruguay, Argentina and Brazil have adopted a policyof participating with their customers, the stations, inthe losses caused by devaluation. General rule is for thestations to absorb the first 10 per cent, and then splitthe remaining 90 per cent with the distributors. 50-50.Distributors in Chile and Costa Rica do not do this.

In Venezuela, where rate -cutting among stations hadreached heroic proportions, often taking the form offree production of commercials as part of the package,a new system-tantamount to guaranteed circulation-seems to have solved the ,problem. A few months ago,the stations agreed among themselves to stick to theirrate cards, with limited upward and downward adjust-ments authorized on the basis of each rating report. Thethree commercial networks are said to be happy withthe results to date. Agencies, which battled the idea atfirst, have evidently come to accept it.

The stations in Venezuela are now considering the

`-Television Age, July 1, 1968 61

possibility of working together to acquire foreign prod-uct. A similar buying format has been in effect in Aus-tralia for some time, originally set up to force down theprices of foreign distributors. Who gets what programs?In Australia, they draw lots, and that's probably howit will be done in Venezuela.

It's still the action -adventure programs from the U.S.that enjoy the best acceptance among imports intoLatin America.

From last September's new crop, Ironside, Mannixand The Flying Nun are all making it big in SouthAmerica. Also strong there: Garrison's Gorillas, RunFor Your Life, The FBI, Mission: Impossible and, ofcourse, Peyton Place.

Shares frequently vary considerably with the market.For instance, Big Valley hit 58.6 in Guatemala, and32.7 in Venezuela; Mission: Impossible, 22.4 in Argen-tina and 39 in Colombia; Bewitched, 48 in Guatemalaand 29.7 in Venezuela; Daktari, 47 in Mexico City and24.2 in Argentina.

The several new stations that have gone on the airin the past few months are a far cry from the greatburgeoning of a few years ago. Since January, somehalf -dozen have come on in the interior of Mexico, withabout 15 more scheduled to debut over the comingyear. Channel 11 in Lima is operational, as are channel2 in Managua, Nicaragua, and three new ones in Hon-duras (two in Tegucigalpa and one in San Pedro Sula).

There are now five stations in Buenos Aires, three inCosta Rica's San Jose, three each in Guatemala City,Mexico City and Montevideo, four in Caracas. Ecuadorhas a total of six in three markets, Honduras has fivein two markets. Panama City, Managua, San Salvador,Santo and Bogata are all two -station markets.

Set -count figures in the 14 countries served by ABCInternational's LATINO Network give an indication ofthe growth pattern of the medium.

In 1964, there were about 3.9 million sets in thesecountries, an increase of 55 per cent over 1962. In 1966,sets rose to some 5.7 million, a 45.7 per cent increaseover 1964. And in 1968, there were some 7.4 millionsets, up 30 per cent from 1966. Total increase, 1962-1968: 194.5 per cent.

Canada

Television advertising expenditures rose a little last

year. While full expenditure figures for 1967 are not yetavailable, this rise was indicated by two sources: (1) ftally of spending by the top 100 national advertisers, asput together by the TvB of Canada, and (2) completftime (but not programming) charges for national adver.tisers, as tabulated by Elliott Research, Toronto.

Expenditures for time came to $106.4 million lastyear, compared with $99.4 million in 1966. This '67total represents 39.2 per cent of all measured mediaexpenditures. In '66, the tv share was 38.4 per cent.Changes in share for the other media were also small.Newspapers, ranking second, took 27.6 per cent of meas-ured national advertising investments in 1967.

As for the top 100 national advertisers, their spot andnetwork expenditures (including programming a charges )amounted to $78.2 million last year. The year before.the figure was $74.2 million.

About four out of 10 of the top 100 are American -owned companies. Of the top 10 ranked by tv spending.only Lever Bros. is not American -owned. All of thisprobably means that U.S. subsidiaries in Canada accountfor the bulk of all tv expenditures. The top two tv adver-tisers alone-Procter & Gamble and General Foods, inthat order-spend $11.4 million. P&G is listed at $6.4and GF at $5 million. Colgate is a weak third at $2.7million.

The others in the top 10, in order, along with theirexpenditures in thousands of (Canadian) dollars, areLever Bros., $2,189; American Home Products, $2,164;Kellogg, $2,157; Warner-Lambert, $1,884; Sterling Drug,$1,818; General Motors, $1,807; and Kraft,General Motors is the number one advertiser in all meas-ured media, being heavy in print (about 20 per cent goesto tv), while P&G and GF follow in that order. P&Gallots 98.9 per cent of its measured media budget to tv.

Among the top 100 advertisers, tv accounted for morethan half of all measured expenditures for the first time

in '67. The figure was 50.3 per cent. Excluding all

liquor advertising, which is not permitted on tv, the sharewas 52.1 per cent.

Viewpoints (From page 31)

in which we live are moving ahead of the censor inevery respect. Horatio Alger, Tom Swift, Rebecca ofSunnybrook Farm, and the Bobbsey Twins are not con-temporary, even though they had high standards of hon-esty, simple faith in their fellow men, and wouldn'thurt a fly.

A network that is slipping in competitive position willorder the producer to jazz up his show no matter howgood his intentions are. He very well knows that theresult will be more sex and more violence. The audiencewill respond to that hypo. The news show that is dullwill also get a hypo, with more shots of the horrors ofthe war and of rioting anywhere in the world. Theremarkable fact is that newsreel cameramen rarely get amurderer to stage his performance at their convenience,but wars and riots are sure-fire and on cue. More horrorcomes out of this realism than any actor or writer canconjure up.

titAll this seems to lead to the conclusion that after the

first flurry of good intentions the tempering of violenceon television will be temporary and minor. This doesnot mean to indicate that this is bad. It simply faces facts

realistically, and no man can say that any medium influ-ences the behavior of the beholder. On the contrary,many psychologists hold to the theory that seeing violencein play acting, which the viewer very well knows is notreal, allows the bestiality of a man to have an empatheticbut vicarious outlet which satisfies the emotion.

The roots of the major problem are far deeper. Theygo into religion, the family, the mores of the times, andpersonal values. By law, society may be able to take the

weapons away from criminals to reduce the number offatalities, but no law can prevent the media of entertain-ment from reflecting the times and holding the truth upto the spotlight. The medium must, however, be sure that

violence is never rewarded and that the roots of the

violence are fully explored.-J.B.


Satellite (From. page 23)

The Intelsat countries jointly ownthe satellites and the space segmentsof the system, and they share in thecosts and profits. Earth stations areowned and operated in the countrieswhere they are located, not by In-telsat.

In the United States, Comsat is thesole "wholesale" source of satellitechannels, and is not authorized tosell them directly to the general pub-lic. Instead, the FCC has authorizedfive American commercial carriers(American Telephone & TelegraphCo., ITT World Communications,RCA Communications, WesternUnion International, and the Ha-waiian Telephone Co.) to purchase,hannels from Comsat for resale to:he general public in accordancewith published tariffs for this service.

Sixteen earth stations in 12 coun-ries, and four Intelsat satellites)resently link North America, Eu-'ope, Hawaii, Japan, Australia, Thai -and and the Philippines. Twenty ad-litional Europeans countries andhree in Africa are interconnected to!xisting earth stations through thei urovision and Intervision landlinenetworks. All told, at least 35 coun-ries on five continents can presently-eceive global television transmis-ions.

Before the end of this year, Intel-

at expects to launch two, and per -taps three more powerful satellites,I hile new earth stations are expectedo be in operation in Mexico (inime for the Olympics), Chile, Pana-

la and Puerto Rico.The tariff structure for a television

elay via satellite is quite complex,king into account landline, earth

tation and satellite charges. TariffsIso require both national (FCC) andsternational (Intelsat) agreementefore they can be put into effect. Ailevision organization in the UnitedMates, wanting to use a satellite needmy contact one of the five FCCuthorized common carriers to orderchannel. The carrier will compute

se overall city -to -city tariff.Tariffs are based on a minimum

0 -minute period, with a minute-by-iinute charge thereafter. There is a0% surcharge for trans -Atlanticilor transmissions, and a 25% sur -large on trans -Pacific color trans-rissions.Typically, a 10 -minute mono-

chrome transmission from the UnitedStates to Europe will cost in theneighborhood of $6,000, with $150for each additional minute. On week-ends and during non -peak hours(2030 to 1130 GMT), this rate isreduced by approximately 35 percent. A 10 -minute transmission tothe Far East or Australia costs be-tween $2,500 and $3,500, with ap-proximately $100 for each additionalminute. Because of this lower trans-

Pacific rate, the tariff is in effectduring both peak and non -peak pe-riods.

The tariff for television relay hasbeen reduced by at least 25 per centsince the initial tariff was set in1965, and substantial additional re-ductions will probably be made inthe near future.

Compared to shipping video taperecordings or film to a foreign des-tination by commercial jet airplane,the cost of a satellite channel for in-tercontinental tv relay is extremelyexpensive; thousands of dollars com-pared to tens of dollars.

Since jet shipments can reach Eu-rope from this country in consider-ably less than half a day, and almost

Y

any place in the world within a dayor so, the extra cost for use of asatellite is justified only if the trans-mission has great immediacy andwould lose much of its value if notseen live.

Time zone differences often negatethe immediacy that can be providedby a satellite relay. For example, anevent occurring in New York City inthe evening hours would, if trans-mitted live, be seen in Europe duringthe middle of the night.

Here is the program content of allintercontinental television relays viaIntelsat satellites since 1965 :

News 10'Sport eventsPolitics 14%United Nations 12%Variety 6%Religion 3 %

News events of world importance,and sports spectaculars for whichthere is a global demand for imme-diate viewing, are clearly consideredworth the cost of satellite relay.

The Soviet Union, which haslaunched several of its own commu-

GUARANTEED STATION REVENUE OVER $75,000 PER YEAR

Immediate advance deposit against 40' ( of gross100% contract protection to station

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

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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.

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

, levision Age, July 1, 196863

nication satellites, is conspicuouslymissing from the Intelsat group ofcountries, and so also are Russia'seastern European neighbors. Whilechoosing not to receive Intelsat trans-missions directly, Russia and theBloc are tied into global telecaststhrough the interconnection of theEurovision and Intervision landlinetelevision networks. On several oc-casions programs relayed by Intelsathave been seen by tv audiences inRussia and eastern Europe throughthese network facilities.

Meanwhile, the Soviet Union hasdeveloped its own intercontinentaltelevision relay system, linking theEuropean and Asiatic areas of thecountry, and perhaps other countriesas well. The system was completedlast year, in time for the 50th anni-versary of the Soviet Revolution. Itconsists of Molnia communicationsatellites, a powerful earth transmit-ting station near Moscow, and 20miniature earth receiving stations(called Orbitas) scattered throughoutthe Asiatic provinces of the SovietUnion.

The system is intended primarily

musingsfor amediantan

del

nle numi- of

to advertlalrut apace.on at least 45 Inc.

listing

olor- and blr those leading,.

celled one on 90at and Ito coven,no short 'ate pen

the rate for the

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

Aloo

Martin Himmel, President

JEFFREY MARTIN, Inc., Dist. of CompoZ®

to bring live television programsfrom the Moscow television center toresidents in central Russia, Siberiaand the Soviet Far East, over dis-tances up to 5,000 miles. Moscowtelevision programs are beamed to aMolnia satellite which relays them tothe Orbita mini -stations, from wherethey're rebroadcast over conventionaltelevision stations.

It has been reported that 20 mil-lion more people in the distant cor-ners of the Soviet Union can nowwatch live tv from Moscow, and thatthe sale of television receivers isbooming in these areas.

A Molnia satellite has also beenused to relay color tv transmissionsbetween the Soviet Union and France.

Huge earth stations in 12 coun-tries, relaying television programsthrough four Intelsat satellites, nowlink dozens of countries on four con-tinents. By the end of this decade.most of the major countries on allcontinents will probably be linked inthis manner.

Nearing completion are six power-ful Intelsat -III satellites, of whichtwo and possibly three will belaunched later this year. Each willcontain more than four times thechannel capacity (1,200 telephonechannels) of either Early Bird or theIntelsat -II series, and each will brcapable of relaying at least two colortv transmissions simultaneously. Tobe placed in orbit over the Atlantic,Pacific and Indian Oceans duringlate 1968 and 1969, these satelliteswill. considerably augment and ex-pand the present system.

On the drawing boards are stillbigger, more powerful and longer -life satellites like Intelsat -III% andIntelsat -IV. Satellites in the Intelsat-IIIl/, series, expected to be launched _

late during 1969, will contain 2,000telephone channels and will be ableto relay four simultaneous televisionprograms. Intelsat -IV satellites willprobably be launched during theearly 1970's. These will contain 5,000telephone channels and be capable ofrelaying as many as 10 simultaneoustv programs.

On the ground, earth stations areunder construction or planned in 30countries. By 1970, it is estimatedthat earth stations may be in opera-tion in as many as .1.0 countries, andthat most, if not all of the majornations of the world could be linkedby Intelsat satellites.

As channel capacity increases, tar-

iffs can be decreased. A substantiedecrease is expected when Intelsat -III satellites are placed into orbit!and, by the time Intelsat -IV satellites are in operation, the tariff folive tv relay may well be a fractiolof what it is today.

Greater system capacity and trul'global coverage are expected to joiewith substantially lower tariffs to encourage the increased use of satellite.for live television relay. Usage durinef1967 almost tripled that of 1966while usage during the first si,

months of 1968 already exceeds tht1967 total. Comsat officials spealconfidently of a "breakout" or sudden jump in tv usage, which the\predict for late this year with thtopening of earth stations in Mexiccand other Latin American countriesand the launching of the first Intelsat -III satellite.

More than 200 hours have alread\been reserved for live color telecast,to Europe and Japan from the Mexi-can Olympics, and Comsat official=say that this is only the beginning.

About the author

George Jacobs, the authorof about 400 articles, many ofthem dealing with satellite com-munications, is now completinghis 27th year in broadcastingand telecommunications. He isa member of the Interdepart-ment Radio Advisory Commit-tee (IRAC), the high-levelPresidential committee respon-sible for helping determine U.S.policy in the field of interna-tional communications.

A professional engineer, Ja-cobs has represented the U.S.as a delegate to a dozen majorinternational telecommunicationconferences, oo here he oftenserved as this country's spoke --man for satellite broadcastin_.


Carving an agreement to mergead agencies is a complicated

iffair, but, once accomplished, the;ombining of staffs is a simple mat-er. Right?

It depends. If the agencies areeparated geographically, the staffituation can remain status quo,hough there may be tussles at the topbout which executives will rule theoost and which of two departmenteads will report to the other-if,ndeed, both remain.When the agencies are located in

le same city and the staffs must beieshed, that's a merger of anotherolor. Facing that problem these days

the new media director and viceresident of MacManus, John &

dams, New York - Thomas A.Vright, Jr.Wright's problems come in the

ake of MJ&A's taking over West,Jeir & Bartel a few months back.ortunately, from the point of viewI intertwining the two media staffs,iTW&B's billings were a good deal.ss than those of MJ&A-$26 vs.110 million in 1967. Still, $26 mil -on is not hay and the task of whip-ing together personnel from twoDmpanies may not have been anyarder if WW&B's billings were twice

much.

FevsionAge, July 1, 1968

rhe media chief of MJ&A's easterndivision isn't sure what will evolve

t the way of a media departmentructure. After all, he is new to the,ency and he's got a lot to learn)out it. On the other hand, he caning fresh thinking to the problemid won't be hung -up over personneloblems that arise from close rela-)nships with his subordinates.For the time being, he heads apartment made up of four assistantedia directors, each supervising a.oup of accounts, as well as all-edia buyers and estimators.Wright comes from Leo Burnett in,icago, where he spent more than'. years, nine of them as vice presi--nt in charge of media. He is no

arranger to New York, however,

In the picture

having spent nine years there work-ing with BBDO, an agency namedDundes & Frank and NBC beforegoing to Burnett.

The latter part of Wright's yearsat Burnett were heavily involved withcomputers. From 1963 to 1967 hewas vice president in charge of com-puter services in addition to runningthe media department. Then for ayear he worked full-time in the com-puter area, supervising the writingand running of sophisticated market-ing/media analysis programs on anIBM 360/30.

From this vantage point, he hascome to the conclusion the adver-

tising business is "on the edge of anew thrust in marketing-and themedia man is sitting abreast of thatthrust."

He explains this carefully: "Today,clients see the wisdom of getting salesdata by county. With this informa-tion, they can build sales data intowhat are called MCAs-Market Cov-erage Area, or some people sayMedia Coverage Area.

"This concept requires the U.S. tobe divided into clearly -defined, mutu-ally exclusive markets. These havealready been developed by ARB withtheir Area of Dominant Influence(ADI) and by Nielsen with theirDesignated Market Area (DMA).Clients also make up their own areas.The purpose of all this is to learnmore about what goes on in the mar-ketplace."

iitil recently, Wright says, adver-tisers had data only on large or

unmanageable sales areas to dealwith. He includes in this categorythe Nielsen regional sales indexes andtraditional sales territories for whichcomparable media and marketingdata were not available.

"An advertiser used to talk aboutsales in the `South,' a big hunk ofgeography, and had to assume thateach market within that area was likeevery other market."

By breaking these markets into

Thomas A. Wright, Jr.Merging two media departments

small pieces, he says, markets thatare basically defined by Class B tvstation contours, the advertiser hasuseful areas to work with. Why tvstation contours? Simply and logi-cally because a lot of big advertisersare primarily tv advertisers, Wrightexplains.

With literally hundreds of kindsof data from the Census Bureau avail-able and the recent offerings of ware-house withdrawal figures for groceryproducts, Wright goes on, the adver-tiser can get information he didn'thave in the past. "Now, he can tearhis territory apart and examine it."

All of which explains why Wrightsays the media man is sitting

abreast of a new thrust in marketing.This development also has importantimplications for the computer-a sub-ject Wright obviously is qualified totalk about.

"The computer comes into thisbecause it can examine quickly andaccurately large quantities of infor-mation. This kind of analysis cannotbe done manually speedily enough toact on it."

Further, says Wright, this use ofthe computer is more important todayfor media people than so-called mediadecision models. And that's because,he feels, nobody has broken throughthe complications of creating a modelthat really works.

65

An original play called, "HereComes the Interesting Part," kickedoff the 1968 season of RepertoireWorkshop last month on WCBS-TVNew York. It focuses on an amateur-ish robbery attempt and points upthe frequent fallacies of rationali-zation, explains the station, whichdescribes the plot as follows:

"The play, written by Stuart M.Kaminsky, is set in an alley in a mid -western city. The plot concerns itselfwith a robbery planned by two youngmen who need money to advancetheir careers - one in writing, theother in music.

"Their noisy bungling in trying tobreak into the rear of a store bringsout a seemingly high principled wom-an, who becomes a virtual accompliceby rationalizing that she could useher share of the loot to finance hercampaign against obscene literature.The trio thus believes that their plansfor the money j iistify stealing it froman old man who will not live longenough to spend it.

"A cynical bum, who admits toliving off the refuse of others, recog-nizes the fallacies involved."

Of what, the plot?* * *

New York's WPIX dug into news-paper files to find out what was hap-pening during May and June, 1948,just before the birth of the station.It seems plus ca change, plus c'est lameme chose, which 'means, "Therewill always be a de Gaulle."

Item: in 1948 the White Housewas battling Congress.

Item: Russia was demanding arole in U.N.-Israel truce talks.

Item: New York City's transitfare hike prompted state SupremeCourt action.

Item: Phil Rizzuto scored forthe Yankees with a home run. He'snow a Yankee commentator on WPIX(plug).

Item: New York City's housingis a problem-too many old buildings, not enough habitable ones.

Item: Ed Sullivan was to, pre-miere Springboard to Fame, tv vanety show.

Item: New York City Councilgropes and gropes for new sourcesof funds.

66

THE LIGHTER SIDE In cameraThe following release was slipped

under our door - apologetically,perhaps:

"An APB (All Points Bulletin) hasbeen issued because of a despicabledeed!

"Seems thieves invaded the quar-ters of a well-known sheriff and cart-ed off one of his most prized posses-sions-a cake.

"Far from being an ordinary cake,the beautifully decorated delicacy hasbeen used for the past 15 years by thesheriff in wishing tiny followers a`Happy Birthday.'

"The fake cake, along with theturntable it was displayed on, dis-appeared - from the KTTV (LosAngeles) set of Sheriff John's LunchBrigade."

* * *

"There was a cowboy in the OldWest named Deadeye Dick, who wasa buddy of Bat Masterson. When hewent into saloons he ordered twodrinks-one for himself and one forhis horse. That's the kind of storythat should have become part ofAmerican folklore. It didn't. DeadeyeDick was a Negro cowboy." (A com-ment from Wardell Gaynor, associateproducer of "Black History: Lost,Stolen, or Strayed," first of the seven -part CBS News series, Of BlackAmerica, to premiere July 2.)

* * *

News note from CBS -TV:"The plush $3 million estate of the

late Henry J. Kaiser, offering abeautifully landscaped view of Dia-mond Head and Waikiki, was thelocale of key scenes filmed on loca-tion for an episode of Hawaii Five -O,new adventure series starring JackLord premiering on the CBS Tele-vision Network on September.

"By contrast, the center of activityin another episode was a Skid Rowroom in downtown Honolulu and ahippie's shack in Waikiki."

You don't have to carry the Fair-ness Doctrine that far, fellows.

* * *

One of the episodes from StarTrek, called "Who Mourns for Ado-nais?", was used as a final examine.tion for a freshman pyschiatry courseat the Woman's Medical College OfPennsylvania in Philadelphia.

A print of the episode was sento the college after Gene Roddenberry, creator and executive produceof the NBC-TV show, received a request from Dr. Laurence H. Snomassociate professor of psychiatry.

After the students saw the epi,,od,they were given 15 minutes to de,cribe what they had seen in terms oits sociological implications, the con,munications theory of psycholog,and the theory of Freudian psychod}namics.

In asking Roddenberry for th1

print, Dr. Snow cited "Who Mourn,for Adonais?" as "a magnificent example of the psychiatric process.'.He later characterized it as "one ofthe most effective teaching device,that it has ever been my pleasure tat'encounter" in thanking the producerfor the print.

Listen, Roddenberry, it's okay tcslip in that educational stuff once ina while, but don't overdo it.

* * *

David Brinkley, speaking on NBCRadio recently, urged that politicalconventions be eliminated and re-placed with one national presidentialprimary held across the country onthe same day, allowing the public tochoose the nominees for all parties.

He also cited some ideas of Sen.Mike Mansfield of Montana, which,Brinkley said, are "equally good."These were, in Brinkley's words:

"Confine the President to one termof six years-eliminate the electoralcollege, a cumbersome, dangeroushangover from the 18th century.They should all go, at once, and ourpolitical system then would be fairer,more open, and less subject to devi-ousness, deals and corruption than itis now. It is a profound improvement-it would not cost 10 cents-andthere aren't many bargains like thatavailable these days."

Quick, let's do it before the pricegoes up!

Photographer Frank Bez, knownfor his Playboy layouts on JaneFonda, Kim Novak, etc., will makehis film debut playing a photograph.er on The Name of the Game.

The name of the game on tv is

don't go too far too fast.


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22 Nielsen Station IndexEXECUTIVE AND

EASTERN SALES/SERVICE OFFICE

NEW YORK 100191290 Avenue of the Americas 956-2500

SALES/SERVICE OFFICESCHICAGO 60601 360 N. Michigan Ave. 372-3810HOLLYWOOD 90028 1680 N. Vine St. 466-4391

SAN FRANCISCO 94104 68 Post St. 986-6437

r

if you'renot buying

Tulsa TVstationsyou re missingabout half ofOklahoma'spotential!

Tulsa. withan effectivebuying inco

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

Oklahoma City salespotential. And withbarge transportationjust around the corner(1970), plus a healthygrowth in its aerospaceand petroleum indus-tries, many forecasterssee Tulsa as the SoonerState'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.

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