MARCH II, 1968; FIFTY CENTS blewsionAge PAGE …...3 3 72.6 96.1 060.5 3 62 3472 512.5 3153 8 49...

MARCH II, 1968; FIFTY CENTS

blewsionAgeTie average station manager: his income and background,!hat agency men think of the new nighttime network showssiould local rating samples be bigger or better-or both?

e

PAGE 23

PAGE 26

PAGE 28

%,

u years ago...CP-TV became the first NBC televisionBate in the nation and the first TV stationthe vital Northwest market it serves soI today.'hroughout these pioneering years KSTP-has been a leader in many areas - firsta maximum power and first with color -even more important, KSTP-TV has al-

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''clevision Age, March 11, 1968 3

WBC productionsimmodestly presentsMery Griffin:

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RB NOVEMBER 1967. MONDAY -FRIDAY THE FIGURES SHOWN ARE A REFLECTION OF THE ORIGINAL SURVEY ESTIMATES ONLY. THEIR PRECISION, RATHER THAN ACCURATE TO ANY PRECISE MATHEGREE, IS A FUNCTION OF THE TECHNIQUES AND PROCEDURES USED. THESE FIGURES ARE -SUBJECT TO THE QUALIFICATIONS OF THE SERVICE NOTED OR DESCRIBED IN THEIR REPORT.

G SHARE HOMES 10001 ADULTS 10001 TOTAL WOMEN 10001

1

32 2005 238.6

3 3 72.6 96.1

62 3472 512.5

49 178.4 254.0

159.9

60.5

315.3

15 3.6

50 380.2 555.2 342.3

46 159.2 208.5 1 29.0

37 1599 2069 1296

13 4819 7649 4689

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These are just a few of the 120stations now carrying the Mery Griffin

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EGREE, IS A FUNCTION OF THE TECHNIQUES AND PROCEDURES USED. THESE FIGURES ARE SUBJECT TO THE QUALIFICATIONS OF THE SERVICE NOTED OR DESCRIBED IN THEIR REPORT.

¡NG SHARE HOMES 1000) ADULTS 1000) TOTAL WOMEN 1000)

32 2005 238.6 159.9

3 3 72.6 96.1 060.5

3 62 3472 512.5 3153

8 49 178.4 254.0 15 3.6

50 380.2 555.2 3 42.3

46 159.2 20 8.5 1 29.0

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13 4819 7649 468 9

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JUST PUBLISHED!

TECHNIQUEeiTHE

MOTIONPICnRE

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The

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byH. Mario Raimondo Souto

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

This book is the first comprehensivestudy of the modern film camerain all its forms, from 70mm giantsto the new Super 8s. Comparativematerial is included on virtually allfilm cameras available from theU.S.A., Britain, France, kussia. 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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Add 501 per copy for postage and handling.

MARCH 11, 1968

Television Age

23 PRESENTING: THE AVERAGE STATION MANAGER

Individuals, yes, but statistically similar. A tabulation of re-plies to questionnaires sent to 231 station managers.

26 WHAT'S NEW ABOUT NEXT SEASON?

Now that agencies are getting a look at new fall programs,researchers are pinpointing the most promising prospects.

28 RATINGS RESEARCH: SOMETHING'S GOT TO BE DONE.

Agencies questionning the accuracy of local demographicreports say larger samples would increase reliability.

30 NEW AGENCY PLOY: BUY A BUSINESS

With more publicly owned agencies sure to come, profit needsmay increase the pressures to di, ersi f y.

32 (PSST! HEY BUDDY, WANNA SEE A SHOW?)

A magazine editor is offered tickets to a preview plus $1 fortransportation (2 blocks away), and it turns out to be .. .

DEPARTMENTS

10 Publisher's LetterReport to the readers

12 Letters to the EditorThe customers always write

15 Tele -scopeWhat's behind the scenes

19 Business BarometerMeasuring the trends

21 NewsfrontThe way it happened

33 Viewpoints

34 Film/Tape ReportRound -up of news

43 Wall St. ReportThe financial picture

45 Spot ReportDigest of national activity

17 One Seller's OpinionThe other side of the coin

(,1 In the Picture.4 man in the news

rd In CameraWhat makes a hit show last? The lighter side

Television Age is published every other Monday by the T levision Editorial Corp.Publication Office: 440 Boston Post Road, Orange, Conn. Address mail to editorial.advertising and circulation offices: 1270 Avenue of the Americas, Rock -feller Center,New York, N.Y. 10020. PL 7-8400. Controlled circulation postage paid at New York,N.Y. and at Orange, Conn.

6Television Age, March 11, 19

itit

I want to show itto people who are

paying attention:'

Nothing illustrates so vividlythe attention television gets from itsviewers as the time and money theyspend watching it.

Incredible as it may seem, theaverage family has its set on morethan five -and -a -half hours a day. Theaverage manwatches 3.1 hoursaday;the average woman, 4.0; the teen-ager, 2.9; the child, 3.3. Altogether,adults spend four times as much

time with television as they do withnewspapers, eight times as much aswith magazines.

To watch television, the Ameri-can people spend three billion dollarsa year (more than for newspapersand magazines combined),In the last20 years people have bought some135 million sets, of which 77 millionare still in use in 56 million homes. In-deed, they enjoy television so much

they can hardly do without it.Whentelevision sets get out of order, 26 percent of their owners have them fixedwithin 12 hours; 47 per cent within aday. In other words, life without tele-vision is almost unthinkable.Televi-sion is far and away the mediumpeople enjoy most.

And within television the net-work people enjoy most, and pay themost attention to, is...

The CBS Television Network

Hours of viewer-use based on Nielsen Audience Composition data. November 1966 -April 1967 (9 A.M. to midnight) adjusted to NTI household -use (24 -hour dav)January -December 1967. Estimates subject to qualifications available on request.

Bay KBOI-TVSell IDAHO!

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KBOI-TV reaches more

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

* (BOUTELEVISION

Channel 2 CBSBOISE

THE KA'i'Z AGCNCI'.INC.National Representatives

TelevisionAge

VOL. XV No. 16

PublisherS. J. Paul

EditorialEditorial Director: Alfred J. JaffeManaging Editor: Barton HickmanSenior Editor: Ed DowlingAssociate Editor: Karen SenterAssociate Editor: Paul GuthrieFinancial Editor: A. N. BurkeEditorial Assistant: Kathleen Berger

AdvertisingAdvertising Director: Norman BerkowitzEastern Sales: Marguerite Blaise

Sales Service Director: Lee Sheridan

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

Branch OfficesMidwest

Paul Blakemore, Jr.6044 N. Waterbury Road

Des Moines, Iowa 515-277-2660

SouthHerbert Martin

Box 3233ABirmingham, Ala. 35205

205.322-6528

United KingdomF. A. Smyth & Assoc.

35 Dover StreetLondon, W. 1, England

Member of Business PublicationsAudit of Circulations, Inc.

BPA

TELEVISION AGE is published every other a,Monday by the Television Editorial Corp. 1 -Editorial, advertising and circulation office: s1270 Avenue of the Americas, Rockefeller a'Center, New York, N.Y. 10020. Phone: p,(212) PLaza 7-8400. Single copy: 50 cents LIYearly subscription in the U.S. and pos- iosessions: $7; Canada: $7; elsewhere: $15. alQe Television Editorial Corp. 1968. The en- totire contents of TELEVISION AGE are pro-tected by copyright in the U.S. and in all (a

countries signatory to the Bern Convention toand to the Pan-American Convention.

Television Age, March 11, 1968

I want peopleto understand

what it can do:'

The best way to understand howanything works is to work it yourself.The next best way is to watch some-

- body doing it.Television's ability to show what

a product can do is the secret of its. extraordinary impact as an advertis-

ing medium. It achieves this not only'` by showing the product in use-

through sight, sound, motion andcolor-but in use by somebody like

I ourselves, thus enabling us to iden-tifywith the man driving the car, the

woman cleaning the house, the childbrushing his teeth. As one media ex-pert puts it: "Television is above alla medium that demands a creativelyparticipant response.... It engagesyou. You have to be with it."

Once having engaged us, televi-sion holds our attention far betterthan print-for one basic reason: tele-vision operates in linear time andthe press in space. In television it iseasier for the viewer to concentrateon one thing at a time and for the

advertiser to make his points in afixed and effective order. For exam-ple, it has been demonstrated thatpeople become more aware of a prod-uct when advertised on televisionthan in magazines, more certain ofits advertised value, more likely tobelieve, and more eager to buy.

Advertising achieves its great-est impact on the individual throughthe medium of television. And itsmass impact is greatest where audi-ences are biggest, on ...


1enee estimates based on National Nielsen Television Index AA households, Oct. 1967 -Feb. I, 1968, subject to qualifications available on request.

Do« VeHmiza

P vz44,rile u14+fy! 44%M

.100 1

.. ..' 11 i1á Syá 1tÁ

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10

Letter from the Publisher

One Generation to AnotherIn the February 12th issue of TELEVISION AGE, we ran a story on

the second generation. The industry, it would appear, is in the tran-sitional stage of passing the torch to a younger group of executives

as time whizzes on.In the past weeks, these retirements were announced:ROGER cLIPP-a 40 -year veteran of the broadcast business, he has

been the chief executive officer of the Triangle stations. A dedicatedbroadcaster, Roger has always been a rugged individualist, as wellas an efficient station operator. One thing is certain, anyone wholearned the business under his direction, and there have been many,certainly learned it well.

EDWARD CODEL-Senior Vice President of the Katz Agency. EdCodel has kept the promise to himself to retire at the youthful age of55. Ed was my predecessor several years ago in Chicago as MidwestManager for Broadcasting. He left to become manager of WPATPatterson and later joined the Katz Agency. Ed's responsibilities forstation relations and new business development will be taken overby Tod Moore for television and John Katz for radio. John Katzrepresents the fourth generation in the company, which was startedin 1888 by his great-grandfather.

JOHN H. DEWITT, JR.-President of wsM, Inc., Nashville. Jack De-

Witt's career in broadcast and communications literally stretchesfrom the crystal set to color television. He put the first commercialfm station on the air in the U.S. He was one of the organizers of theClear Channel Broadcasting group. During World War II as a Lieu-tenant -Colonel in the Signal Corp, he headed a project which pre-ceded present space exploration by bouncing a radar signal off themoon, an accomplishment that received world-wide attention.

FRANK M. HEADLEY-a founding partner and Chairman of theBoard and Treasurer of H -R Representatives and H -R Television.Frank started out as a fledgling lawyer in Omaha, later was a special

agent for the FBI. He started his career in broadcasting in 1936 as

a manager of the radio division of Kelly -Smith Company, the news-

paper representative firm.PHILIP G. LASKY-Vice President of Group W in San Francisco.

A warm, genial and outstanding broadcaster who put KPIX on theair 20 years ago, Phil has earned the title as Dean of the Bay area.His activity in communications dates back to 1922.

Every retired executive, regardless of the nature of his career,finds in retirement new vistas, new challenges and great readjust-ment. One such radio -television executive, who started a new career,is Robert Coe, formerly vice president in charge of station relationsfor ABC Television. "Professor" Coe is now at the University ofOhio in Athens, where he is in teaching, training and inspiring thefuture executives of the broadcast business.

Cordially,


"This is what I sell.

I want to advertise itwhere the

biggest advertisersspend most of

their money."

The businessman who investsin television can be sure he is in goodcompany. America's biggest adver-tisers confirm his choice. Year byyear they rely on it more and more.

Back in the old days of ArthurMurray, Herb Shriner, and LuckyPup-in 1950-national advertisersput just three per cent of their bud-gets into television. By 1966 (thelatest year for comparable data) theywere spending more on television

than on newspapers and magazinescombined! In the same year the 100largest advertisers,who by and largehave had the most experience withtelevision, were putting into it sixdollars out of every ten. In 1967 alladvertisers together spent nearlythree billion dollars in this mediumof sight, sound, motion and color.

If you are selling food products,you doubtless know that your indus-try allots 71 percent to television. For

drugs, television's share comes to 80per cent. For toiletries, 72 per cent.For soaps, cleansers, and polishes, 89per cent. The biggest advertiser inthis television -sold industry, Procter& Gamble, weighs in at 91 per cent.

For 20 years more and more ofthe smart money has been going intotelevision. And within television, forthe past 14 years, the smart adver-tisers have been spending the big-gest share of their budgets on...


Mefor

its advertising volume and proportions from data compiled by TVB; expenditures by industry in 1066 from LNA/BAR for network television, LNA-Rorabaughnational spot television, PIS for magazines, Media Records for newspapers, and LNA for outdoor.

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

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

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

oteaching film making, Bolex is the most

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

' --' You can accommodate a Bolex formacro or micro cinephotography. Youcan use the Bolex hand-held, or mountit on a tripod. You can work in slow mo-tion, or speed up the action far beyondnormal.In short, you can do anything with theBolex. Just what did you have in mind?

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

BOL_Ex,The Bolex 16 System.

Lettersto theEditor

The censorship controversy

Your Viewpoints column by "J.B."(TELEVISION AGE, Febr. 18, 1968)did not exactly thrill and delight me.

Your defense of censors mighthave been more convincing, exceptfor some exceedingly inaccurate over -generalizations - followed by someweak reasoning.

For example, you said, "Most com-ics have no perspective on whetheror not a joke is dirty..." Not true.Some of them try to push over theline, but they know the differencebetween clean and dirty.

You also said, "... they have no,or little, formal education, ..." Sincewhen? The Smothers Brothers, BobNewhart, Bob Hope, Jack Benny,Dean Martin, Bill Cosby, Allen King,George Carlin, Flip Wilson, MortSahl, Dick Gregory, etc. might beaccused of poor taste now and then,but to attribute it to lack of educationputs you at least a full generation outof date. You are talking about thecomics who appear on tv, aren't you?

Next, you say, "The censor, .. .

is generally chosen for his clean, all-American background, education andattitude." I trust that God personallypicks the censors-since he is reallythe only one who could judge thetruly pure in heart.

You also said, "The great Chaplinand Lloyd comedies could not pos-sibly have offended anyone and noone has been funnier than theywere." Yes, they were funny then,but they're not funny now. Theircorn is offensive to a great manypeople who are not their contempor-aries. And a great many of today'scomics are a lot funnier today thanChaplin and Lloyd are.

"But Art Buchwald and RussellBaker do it with taste and inoffensivesubtlety." Apparently you have neverbeen the butt of a Buchwald column.I enjoy him very much. He's aboutas subtle as a Mack truck and a great

many people find him very offensivt(should we let them pick a censor t(edit Buchwald's work?) .

"Pete Seeger is not in that class. ..'Surely you must know that Seeger itnot a comic and never has been. Thtquestion in his case is whether auditences should be protected from hitpolitical convictions and protes

songs."It is questionable whether a com

edy show is a forum for politicacomments voiced by adolescenminds." Are you saying that it woultbe ok for a comedy show to beforum for political comments if the,were voiced by adult minds? Therwho is to judge? I, for one, thingthe Smothers Brothers run the gamufrom maturity to immaturity an(from excellent taste to poor tasteAnd so far, I have been able to tel

the difference all by myself."Clients who buy participations it

programs like the Smothers Brothersoften get caught in the middle... Tht

Smothers Brothers are very adept

at getting advertisers deluged witlangry letters." Funny, I had the ideathat they were delivering some pretty

big audiences and getting some gooeletters, too. Is it just possible than

the of letters-both angry an(friendly-might be an index of tht

vitality and freshness of the show?(Is it good or bad that I'm writingthis letter to you?)

You characterize censors, in partby accusing them of "... failing tareflect the mood of the audience ii

contemporary climate" (somethingthe Smothers Brothers seem to do exi

ceedingly well, judging by their rat,

ings).Then in the next paragraph yo

say "... the censor is more qualifieto judge taste and the unfair bite dpolitical satire than the authors.'That's really not the point, is it

Isn't the real question whether thl

censor is more qualified than thr

audience to judge such things?You close with a particularly omi

nous statement, "Then the censor hato lower the boom. No matter whathe cost, the network managemerimust back him."

No matter what the cost?Censorship always comes to that

doesn't it?LEONARD L. BARTLET

Cole & Weber, Advertisin,Tacoma, Wash. 9840,


Advertisers display their waresto more customers on the CBS Tele-vision Network than in any othermarketplace. This is where the big-gest audiences come to watch-nightand day, for entertainment and news,specials and sports.

The CBS Television Networkhas attracted the biggest averagenighttime audience for 13 consecu-tive years. This season it leads onenetwork by 12 per cent, the other by

Iwant to sell itin America's busiest

marketplace:'

28 per cent. CBS reaches the biggestnighttime audience in every Nielsenage classification. And according toARB, the network's stations lead, ortie for the lead, in 44 of the nation's 50biggest markets.

CBS has also attracted the big-gest average daytime audience (Mon-day to Friday) for 10 straight years.This season its average daytime audi-ence exceeds five million homes -12per cent more than one network, 94

per cent more than the other.It is, inshort, the prime marketplace for ad-vertisers who want to reach women.CBS enters more homes in a singleday than Good Housekeeping, Ladies'Home Journal, and McCall's sell cop-ies in an entire month.

If you have something to sell,CBS is the place to sell it.That's why,for 14 consecutive years, the nation'sadvertisers have been putting theirlargest appropriations on...


ARB audience estimates for individual markets for Nov. 1967, 7:30-11 pm. All other audience estimates based on NTI and Nielsen Audience Composition data:nighttime and daytime averages, other than age, based on household data, Jan. -Dec. each year; current season, Oct. 1967 -Feb. I, 1968, as available: nighttime,6-11 pm; daytime, Monday -Friday, 10 am -5 pm. Specials are evening programs telecast not more than once a month. News and sports, day and evening. sevendays a week. Audience estimates subject to qualifications available on request.

WCEE-TVis now FIRST

in PrimeTime

Rockford,in Illinois

FIRST INMETRO MARKET

RATINGAFTER ONLY

27 MONTHSON THE AIR

NOV. 1967 - A.R.B. TELEVISIONAUDIENCE ESTIMATES -AVERAGEQUARTER-HOUR 6:30 PM TO 10 PMSUNDAY THRU SATURDAY

CBS AFFILIATE / ROCKFORD - FREEPORT, ILLINOIS

Competitively Priced - See Meeker Representative

A LEADER - FULL COLOR FACILITIES - - - 36% COLOR PENETRATION IN METRO AREA

1.4Television Age, March II, 1968 01

WHAT'S AHEAD BEHIND THE SCENES Tele -scope

113

More stations use tv polls despite criticism

Despite criticism of the "in'.tant" telephone poll, thenumber of stations carrying them continues to increase.

1 he latest tally by W Flt --TV Philadelphia, which claims tohave been first to run them on a regular basis, is 71.

However, the Triangle outlet has hearkened to critics

ho maintain that the method does not elicit a repre_ent-alive sample of viewers. It dropped its poll some weeks

ago and will resume polling in about two weeks under adifferent title. The station will make clear that the newpoll is not to be regarded as statistically accurate butmrnl% an expression of viewer opinions.

It's been estimated that four or five stations havedropped the telephone poll for good. One of them, WFAA-

TV Dallas -Ft. Worth, said theirs was cancelled becausesome viewers were dialing wrong numbers and disturbinghouseholds at odd hours.

Some of the criticism cropped up at the recent NationalConference on Television News Public Opinion Polling,held January 25.26 at the University of Notre Dame withWNDU-TV South Bend -Elkhart as host. A particularlybitter attack came from Robert Lindsay, associate pro-fessor of mass communication at the University of Minne-sota, who predicted the conference would be the last oneon the subject.

The Notre Dame station, following the conference,added a systematic random sample "call -out" poll to itsexisting "call -in" poll.

Manes primetime drive coming up(lanes Ilosiery, via its new agency, Lampert, is pre-

paring for a major primetime campaign starting late inthe summer and going through the fall. About $1 millionin tv billings are involved. Though the client has "total"distribution, spot will be confined to the top 25 markets.On network, the approach will be a scatter plan.

The client markets a premium line ($1.50-$2) andaccount man, Pete Diamandis, describes it as half -fash-ion, half package goods. Diamandis is one of those whoforesees "packaged" fashions coming and, hence, greateruse of tv for selling apparel.

Sees bright future for commercials producerI been much talk about the "decline" of

the agency commercials producer and the rise of the hy-phenate-art director/producer, copywriter/producer-the "producer/producer" feels current trends favor him.The reason, says Frank Martello, commercial productionmanager at Leo Burnett, New York, is the rising cost ofc11mmercials. Someone with technical know-how has tohatch carefully that budgets don't get out of control,Martello declares.

The Burnett producer, newly -named president of therreently-formed Broadcast Advertising Producers Societyof America (BAPSA), welcomes the hyphenate, however,and estimates that, perhaps, 20 per cent of BAPSA mem-bers fall in that category.

BAPSA has grown to about 100 members in less thannine months and will make an effort to broaden member-ship outside of New York. Besides Martello, officers areLincoln Diamant of Grey, vice president; John Edgertonof SSC&B, treasurer, and Catherine Land of Grey, secre-tary.

Among those on the board are Henry Bate, BenjaminBerenberg, Lloyd Bethune, John Donnelly, RaymondFragasso, Don Franz, Sy Frolick, Robert Gross, RobertKronenberg, James Marshutz and Helen Nelson. Twenty-two major agencies are BAPSA members.

Interest in recall method renewed

Interest has been revived in the recall method forratings in the wake of the RADAR (Radio All DimensionAudience Research) study, sponsored by the four radionetworks and conducted by Brand Rating Index Corp.

Two techniques were actually used in the study, whichis highly regarded because of the care taken with thevarious research steps. They were coincidental and recall.Comparisons of the two were made to validate the recallpart of the study and they came out quite close.

The performance of the recall method in the RADARstudy has particular relevance in light of the dissatisfac-tion in certain quarters with tv diaries.

New coverage prediction standards expectedew engineering standards for predicting station cov-

erage contours should receive FCC approval in about amonth or two. Particularly cheered by this is the All -Channel Television Society, which fought for the revisionafter helping convince the FCC a previous proposal wouldhurt uhf stations.

Baltimore agency hits jackpot with bowlingTelevision plays a prime role in a promotion package

for bowling proprietor area associations that a Baltimore -based agency has operated with success in a number ofmarkets. The promotion is aimed at encouraging lagging"open play," the term used to distinguish the casualbowler from the numerous league players who havecrowded the lanes in recent years.

The promotion, put together by the S. A. Levyne Co.,made its debut in the Baltimore -Washington areas abouta year ago. It includes, besides tv, radio, newspapers andcollateral material, but video accounts for about half ofthe cost.

Starting as a four -to -five week seasonal drive, it isspearheaded by saturating the market with 45 to 90 IDsa week. Copy seeks to bring the casual bowler in duringweekends when league play is light. Bowling is not sold asa sport but as fun for the family, for dates, as the "in"thing to do, etc.

After its initial success, said Henry W. Eisner, agencypresident, he sold the idea in Chicago and, later, toassociations in Northern California, Wichita -WesternKansas, Kansas City and Tidewater Area Virginia

Television Age, March I1, 1968 15

11:1" Videotapinggeehas gottenso good,it hasa newname!Tape is more versatile than ever!Everybody knows the key advan-tages of video tape. You work fast.You see your work as you go. You canbe more daring and experimental.

But perhaps you didn't realize howsophisticated the art of videotapinghas really become: You can edit in-stantly... electronically... frameby frame. You can use slow motion,fast motion, stop motion and re-verse action. You can go out on loca-tion. And you can combine all typesof existing footage (stills, film) withnew footage.Now, the most life -like color yet:"Scotch" Brand Color Tape Plus."Scotch" Brand Video Tape No. 399gives you the ultimate in color fidel-ity. The brightest, clearest, mostlife -like color ever. Color Tape Plusis so ultra -sensitive, you can use themost subtle lighting techniques.Copies are perfect. Blacks andwhites are stronger. And No. 399 isalmost impossible to wear out.

So please don't call it videotapingany more. There's now a new namefor this complete creative medium

electography!Want more facts? Write: 3M Com-

pany, Magnetic ProductsDivision, 3M Center, St.Paul, Minn. 55101. aCOMPANY

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MARCH 25FCC ISSUE

THE UNBEATABLE I

COMBINATION!

NAB CONVENTIONDIRECTORY

THE FCC ISSUE contains a comprehensivestudy of how the commission works ... inside,with Congress and with other governmentagencies. Required reading by everyone inbroadcasting, it is read, re -read and referredto. Bonus distribution at the NAB.

THE NAB CONVENTION DIRECTORY is

the "Where -to -find -it" at the convention. I1

provides complete listings of hospitalitysuites, film suites, exhibits, convention agen-da. Its early and total distribution providesyou with complete convention coverage.

THE UNBEATABLE COMBINATION FORUNBEATABLE ADVERTISING EFFICIENCY

Advertising deadline-March 11, 1968

Television Age1270 Avenue of the Americas, New York 10020 PL 7-8400

Midwest: Paul Blakemore, 6044 N. Waterbury Road,Des Moines, Iowa 515 277-2660

South: Herbert Martin, Box 3233A,Rirminghom, Alabama 205 322-6528


Business barometer

To provide a complete review of station revenue in all categories for '67, "Businessbarometer" this issue carries the full -year figures in addition to the

monthly tallies. These include adjustments in '66 figures and in the first

six months of '67 made on the basis of the FCC '66 report last summer.

These show, for example, that local revenue in '67 was higher than '66

during every month but one, while the situation was just about reversed

in the case of spot revenue.

For the full year, in all categories, the total for station revenue came to $1,445.3

million, as compared with $1,462.3 million in '66. The net decline was thus

$17 million, or a drop of 1.2 per cent. All in all, considering complaints

of some reps and stations, not too bad an outcome.

Next issue: a report on spot revenue in January.

NATIONAL SPOTmillions of dollars

.100

95

90

85

SO

75

70

65

60

55

SoJ

1967: dozer 3.8%60

55

50

45

40

35

30

25

20

15F If .4 Rf 1 1 .1 S O N 1)

1967-'66 comparison

ESSntillions of dollars

1967: un 4.7°4

I f 11 131 I 1.1 SON D

60

55

50

45

40

35

30

25

20

15

NETWORK COMPENSATION

1967: down 0.1%

F 31 ., .11 I I SOND1967-'66 comparison 1967'66 comparison

Television Age, March 11, 1968 19

..."It deliversas they say!"I

We didn't want to blow our own horn

so we asked AL HIRT to do it for us.

We're proud that TV 5 .

AL HIRT'S LATEST ALBUM"The Happy Trumpet"

is number 1 in local news coverage delivers 470,800 Michigan television homes

is 32nd in the nation in total retail sales

ARB/Nielsen November 1967Sales Management's Market Figures

FLINT-SAGINAW-BAY CITY

WNEM TV 5Represented By: STORER TELEVISION SALES, INC.

(I Television Age, March 11, 1968

THE WAY IT HAPPENED NewsfrontThe big jump

A little over a year ago, the Lam-pert Agency had had no tv experi-

ence. Today, it has two accounts ontv (Olympic Airways and the U.S.Virgin Islands) and is planning tvstrategy for two others (NetherlandsNational Tourist Office and HanesHosiery) both of which will go on tvlater this year. All except Hanes aretv first -timers.

What does a small agency do whenit goes into a medium for the firsttime? Comb their competitors forexperienced personnel? Get outsidehelp?

No.

Their people jump in with bothfeet and try to use their heads. Sofar, Lampert has come up coveredwith roses. Their first Olympic Air-ways commercial, shot by EUE/Screen Gems, won a silver medal atCannes and created a lot of talk("Please, no dancing in the aisles"),even though it ran only in New York.

Another by-product of the Olympiccommercial was that it led to theirgetting the Hanes account, which willprobably run about $1.5 million inbillings this year, more than half intv.

Hanes will propel Lampert intothe network arena, another first forthe agency; the hosiery account'sstrategy involves its first marketingconcept stemming from a tv plat-form.

Started a year ago. Olympic's firsttv campaign, in conjunction withother media, ran from February toApril last year and the time buyinghores were done by none other thanop management. A similar campaign

is now running.Bernard Zamichow, president of

the 20 -year -old agency (he succeededfounder Harry Lampert, who movedup to chairman, in January), ex-plained he and his colleagues foundtv so exciting they couldn't resistgetting into the time buying act.Needless to say, Lampert's manage-ment team also was determined tomake a good job of it their first timeout.

"I really enjoyed it," he said."We're still having fun as buyers butafter a while we'll cool down andgive Tom Bracken, our media direc-tor, the responsibility."

Neither he nor his associates foundtimebuying particularly difficult. "Wecalled in four reps and explainedour problem. You learn a lot fromwhat the reps say about their com-petitors. But, in the final analysis,native intelligence is what you reallyneed."

Lampert's high -paid timebuyersexperimented with tv somewhat butwent heavily into late news to reachtravellers over 35. Zamichow ex-plained:

"Olympic is a Greek airline andmost of our customers are Ameri-cans. Now, every person who fliesfeels his own country's airlines arethe safest, so, at least for his firstinternational flight, he'll travel thatway.

"After a while, however, he be-comes more venturesome and sophis-ticated. So, if we're talking aboutpeople who travel a lot, that meansolder, more affluent customers. Wecan reach them with the news. Wealso bought pre -season pro footballlast summer."

The creative concept. The Olympiccreative concept, being continuedwith variations, shows someoneaboard the plane dancing in the aisleas he listens to Bouzouki musicthrough his headset.

The idea is to convince the viewer

Lampert Agency president BernardZamichow, left, and chairman HarryLampert discuss agency ad.

that traveling Olympic is like attend-ing a big party. "We were concernedin the beginning about the Americanimage of Greece," Zamichow related."We thought it might be a little grim,maybe with a Nick -the -Greek stereo-type. Could an American picture aGreek as a pilot or a stewardess?"

An attitude survey was madethrough Cambridge Marketing. Itwas discovered that Americans hadno fixed ideas about the Greeks andwere quite ignorant about the coun-try itself (this was before the coup) .

Respondents were more familiarwith Aristotle Socrates Onassis (whohappens to own Olympic lock, stockand barrel) than with the King.They tend to regard Greece as amuseum.

Having found no strong negatives,Lampert went ahead with its effortto surround Olympic with a happyimage. It seems to have worked.Olympic started flying the Atlanticin the summer of 1966 (the reasonfor the campaign). At that time theywere the 21st (and last) carrier interms of trans -Atlantic passengertraffic.

From 21st to 13th. By the end oflast year they ranked 13th, said Zami-chow. Further, he said, last summerOlympic handled 50 per cent of theNew York -Athens air passenger traf-fic, compared to 10 per cent the sum-mer before.

A key figure in this and otherLampert campaigns is creative direc-tor William Wurtzel, who came tothe agency in the fall of 1966 fromCBS -TV, where he had been an artdirector and had spent four years.Wurtzel had also worked at Grey andwas trained at Pratt Institute and theSchool of Visual Arts.

Wurtzel knew what a tv set wasbut, like his bosses, he had nevermade a tv commercial. "In lookingfor a studio," he explained, "I hadin mind what I wanted to do and oneof the reasons I finally picked EUEwas that they had made the Rhein -gold commercials with different eth-nic groups at a party." Wurtzel wasalso impressed with EUE's director -cameraman Mike Elliott.

(Continued on page 44)

't Television Age, March 11, 1968 21

EQUATIONFOR

TIMEBUYERS

ONE BUY DOMINANCE*

X WKRG-TVALABAMAB

*PICK A SURVEY - - - ANY SURVEY

Represented by H -R Television, Inc.or call

C. P. PERSONS, Jr., General Manager22 Television Age, ,Uarelt 11, l')63 1'

Television Age

Presenting:

What sort of a man is the television stationmanager? Young? Old? A show biz type?

Or businessman? What sort of things bug him?Is he well -paid? Or does he work himself to afrazzle for a pittance? Is he a career broadcast-er? Or brought in from the outside?

To find the answers to questions such as these,TELEVISION AGE queried U.S. commercial sta-tion managers in a broad survey. Answers camefrom 231 executives.

Throwing the entire lot together and grindingthem through the statistical mills, this compositepicture of the "average" station manageremerges:

MARCH 11, 1968

the averagestationmanagerThey're all individuals,certainly, but, statistically,they can be describedin various ways

He makes a comfortable salary, thoughnothing sensational.

He's still in the prime of life. He's been a station manager for about a

decade, which represents about half of the en-tire time he's spent in the broadcasting business.

The chances are good that he either startedin radio or spent some time in the medium.

He's more apt to have a sales backgroundthan any other.

The problem that bothers station managersmost is people-finding good ones, keepingthem from moving to bigger stations and havingthem work well together.

levision Age, March 11, 1968 23

ation nanaggest probl

o

24

gerem is

n - suffeses to

r ar

a

tib ;. grér

y#in

Cuo

tdi

heirng

mrly

uttets-`la

aller

The likelihood of finding abachelor among station managers ispractically nil. And ditto for a child.less marriage.

Averages, of course, can be mis)leading. They wash out the extremes,and hide the differences among man-agers working for large and smstations.

To bring out the variety (or tsee if there is any), questionnairewere coded to distinguish amonstations in three annual revenue classes-under $1 million, between $1and $3 million and over $3 millionIn addition, some of the questionhave been tabulated to show the dis-tribution of answers.

Question of compensation

First, the all-important question ofcompensation, answers to which camefrom all but 2 per cent of respond-ents: To encourage this kind of re-sponse, station managers were askedto indicate their annual income fromtheir jobs (salary plus "extras")within ranges. This means no exacaverage can be calculated; however,the median can be pinpointed fairlyaccurately.

For small stations (under $1 mil?lion in annual revenue), the median,salary of station managers is a littleover $20,000. For medium-sized out-lets (between $1 and $3 million),the median is a little under $30,000.And for the large station group(over $3 million), the figure is be-tween $40,000 and $45,000.

However, the distribution of an-nual job income shows fairly size-able ranges (see tables). No onemade under $10,000 a year andno large station manager made lessthan $15,000. One large station manager made between $15,000 and $20,-000 but he pointed out he had beenin the job only a year. One out offive managers of small stations makesless than $15,000 annually.

At the other extreme, two manag-ers of small stations reported earn-ing between $50,000 and $75,000,possibly explained by stock owner-ship. Three station managers saidthey topped the $75,000 figure. One


TELEVISION STATION MANAGERS PROFILE

ii

manages a medium -size station, theother two, large outlets.

But 31 per cent of the large sta-tion managers pull down more than$50,000. Of all station managers, 10er cent make over $50,000.There are, of course, compensation

brackets in which heavy percentagesof managers cluster. For the smallstation executive this is $20,000 to$25,000, into which fall about athird of the men in this group. Fourout of 10 medium -size station man-agers make between $25,000 and$35,000. And 37 per cent of largestation managers make between $35,-

1000 and $50,000 -almost the sameratio as make more than $50,000.

The average station manager is anexperienced executive, having spent.2 years on the job of running a sta-

tion. This includes experience man-aging other tv stations as well asadio outlets.

Length of experience

While it might be expected thatose superintending the destinies of

larger stations would have more timeunder their belts as executives thanchiefs of smaller stations, it turnsout that, on the average, there is lit-tle difference.

As a matter of fact, the averagefor the $3 million -and -over outletsis slightly less than the other groups-8.7 years as against 9.1 for small;stations and 9.4 for the mediumroup.However, as the distribution fig-

ures on time spent in the manager'schair shows, there are some signifi-ant differences between managers of

various size stations.For example, the per cent of man-

agers at large stations with 10-14years in that job is quite a bit high-er than the figure for both smallergroups. On the other hand, the 5-9year figure is much higher for thesmall station manager than for thetwo larger groups.

The small stations also have ahigher percentage of managers withmore than 20 years experience. Nineout of the 82 small station managers


levision Age, March 11, 1968

By annual station revenue

Under $1 million $1-3 million Over $3 million All stations

Annual earnings (including "extras")$10-15,000 20.7% 2.9% 8.7%$15-20,000 24.4 7.8 2.2% 12.6

$20-25,000 33.0 24.3 4.3 23.4

$25-35,000 14.6 40.7 17.4 26.8

$35-50,000 3.7 16.5 37.0 16.0

$50-75,000 2.4 3.9 32.6 9.1

Over $75,000 1.0 4.3 1.3

No answer 1.2 2.9 2.2 2.2

"How long have you been a station manager?"

Less than 5 yrs. 32.9% 31.1% 34.8% 32.4%5-9 yrs. 31.7 22.3 17.4 24.7

10-14 yrs. 18.3 23.2 34.8 23.8

15-20 yrs. 6.1 16.5 8.7 11.3

More than 20 yrs. 11.0 6.8 4.3 7.8

Average (years) 9.1 9.4 8.7 9.2

"How long have you been in the broadcast business?"

Less than 10 yrs.10-14 yrs.15-20 yrs.20-24 yrs.25-30 yrs.More than 30 yrs.Average (years)

6.0%29.021.022.013.09.0

18.5

3.4%14.323.526.820.211.821.6

10.9%22.725.121.719.623.8

3.8%19.222.324.917.712.120.9

Managers who worked in radio

85.4ió 82.5', 87.0% 85.0%

Primary career backgroundSales 33.0% 44.7% 56.6% 42.8%Promotion 6.1 6.8 6.5 6.5Programming 28.0 24.3 32.6 27.3Engineering 7.3 8.7 6.5Financial 4.9 6.8 4.8Other 18.3 5.8 9.1No answer 2.4 2.9 4.3 3.0

Personal data

Age: under 30 3.7% - - 1.3%30-39 yrs. 26.8 13.6% 4.3% 16.440-49 yrs. 41.5 52.4 54.4 49.050-59 yrs. 19.5 27.2 34.8 26.0Over 60 yrs. 8.5 6.8 6.5 7.3Average (years) 44.8 47.1 48.2 46.5

Avg. height 5'11" 5'11" 5'11" 5'11"Avg. weight 180.3 180.7 176.5 179.7Avg. yrs. married 19.6 21.7 22.9 21.2Avg. no. childern 2.9 2.6 2.5 2.7

25

What'snew

aboutnext

season?

Ffirst reactions to next season's newnighttime network shows are be-

ginning to trickle out from behindagency doors, and the shows arerather late this year. As usual, pro-gramming execs and agency researchteams began tracking the progress ofnew pilot development for next sea-son almost as soon as the currentseason got off the ground.

Unlike previous years, however,there has been a decided absence ofpilot candidates available for earlypreviewing, and independent produc-ers have been less active than usualin promoting new show ideas. As in-dustry observers have discovered inrecent weeks, however, silence has byno means been any indication thereis nothing new to see, although thereis considerably less around than therehad been in previous years.

"The number of pilots has de-creased drastically over last year,"explained Mike Dann, programmingvice president at CBS. "We had 46pilots last year, less than 35 for thecoming season. Five or six years agothere were as many as 150. It's costlyand there is some shortage of ideas.For the first time this year, there isno advertiser who has developed apilot of his own."

John Ball, associate director ofprogramming at J. Walter Thompson,noted only 58 program projects asopposed to a little over 90 last year.

Although Dann had been quotedas placing the blame for the scarcityof new pilot material at the doorstepof independent producers, who hesaid, have not turned out enoughnew product, he told TELEVISION AGE

26

More variety shows,like "The Dean MartinHour," NBC (top), andspin-offs from made -for -tv movies, such as "Iron -side," also NBC, areplanned for next fall.

Now that agencies are getting

a look at new fall programs, researchers

are pinpointing the most promising

prospects and evaluating trends

ABC, which had thebiggest hit this

year with "FlyingNun" (r.), will in-tensify search for

innovation.Banking also on

continued viewer in-terest in action

adventures, such as"Big Valley" (bot-

tom 1.), networkplans police series

series next.With cancellation of

"Garrison's Goril-las" spurt in war

dramas has ended.


the reasons are tied strongly to themovie trend, which has reduced thenumber of new shows needed in nextfall's schedule.

The secrecy about new productthis season is due largely to the factthat networks themselves have be-come major financial factors in thepreparation of new pilots. The net-works have come out into the opennow, and agencies are busily assess-ing next season's prospects. The gen-eral reaction has been that there'snothing new for next season, thatmovies, action adventure series, spe-cials, and variety hold-overs from thecurrent season will continue to dom-inate a rather colorless television

t picture.Programming has taken on some

new directions, however, and somefeel that even the trend toward moremovies, chiefly blamed for inhibitingcreativity in other areas of tv pro-gram development, may itself pro-vide the impetus for more creativeprogramming in the future.

Police format emerges

Looking at what the new seasonwill have to offer, observers havenoted some changes within the stand-ard action adventure and situationcomedy forms.

"The police/action format seemsto be emerging on all networks as theform which will be most popular thisyear," noted Phil Burrell, SSC&Bmanager of television program de-velopment. "And they will placeheavy emphasis on realism and agreater accent on youth and the con-temporary scene."

The most promising of these, ac-cording to one agency program man,is ABC's Mod Squad, "a very excit-ing form, which could be the excitingprogram of the year, in terms ofblending police action with realismand terrific acting by a young, inex-perienced trio of actors."

The action involves three erstwhiledelinquent youths who, put on pro-bation for agreeing to work with thepolice, are placed in the position ofhaving to squeal on their friends.

The three are never quite sure thatwhat they're doing is right. "Theirresentment for the police pervadesthe action and adds a dimension ofdynamism and truth to the situation,"one researcher at Ted Bates noted."It truly captures a new direction incontemporary staging for tv."

Realism takes a different route inAdam 12, NBC's entry in this cate-gory. The action, which is involvedin the exploits of a patrol car onnight duty, can cover three separatecases in one half hour, just as ithappens in real patrol car life. Pro-duced by Jack Webb, the show looks"very promising," according to sever-al who have seen the pilot.

A third entry, Hawaii 50, on CBS,deals with a team of super -policetroubleshooters serving the governorof Hawaii and dealing only in im-portant state cases. "All three of thenew police forms are well produced,"Burrell said, "and have what it takesto succeed."

Other candidates for success, nomi-nated by several agency observers,are ABC's Tales of the Unknown, ananthology of Gothic drama and hor-

Movies will againdominate schedules.CBS scored highthis year with hitssuch as "The GreatEscape" ad. Net-work also plans toencourage moreoriginal drama, like"Do Not Go GentlyInto That GoodNight," popularwith viewers thisseason.

ror stories, and The Outsider, an-other NBC police drama, and a spin-off in the new style from one of lastyear's World Premier movies.

The trend toward longer shows,some observers feel, has affected thecharacter of new season fare, andhas hit particularly hard at the half-hour situation comedy. "The levelof situation comedy is definitely offthis year," said John Ball. "In fact,there's been a definite lack of half-hour program development."

Half-hours not dead

Disagreeing in part, some obser-vers feel that, while such a trendmight be beginning, movement isslow and this season finds all net-works stocked with a still respectableamount of vintage half-hour stock.

In the area of comedy, "the bigger -than -life fantasy school seems theroute considered safest," Burrellnoted. Scoring high on his list ofsuccesses in this half-hour categoryis Ugliest Girl in Town, a story abouta guy who gets himself into the un-likely position of having to masquer-ade part-time as a female model. ABChas it on Thursday in the 7:30 slotand Burrell says it's a good prospectfor success.

"The only problem," he noted, "isthat it's on opposite the new CBSversion of Blondie, which has alreadyproven itself. It has a good cast anda lot going for it and it may quitepossibly overshadow Ugliest Girl."

Both ABC and CBS are nodding inthe direction of comedies in the oldJackie Gleason Honeymooners vein,



The more detailed local demo-graphic breakouts the rating ser-

vices have been reporting over the lastfew years seem to be satisfying adver-tiser demand for more and more data.But the fractionalizing of survey sam-ples, an inevitable result of the de-mand for more information, hascaused agency and station research-ers to question the reliability of thedata.

In terms of method of selection,samples have not changed very muchfrom the time when total homes view-ing were the rating services' chiefconcern. Recently, tv industry spokes-men have expressed shock at some of

Agencies and advertisers have not been willingto invest the money to get good research.So the rating services have simply had toreport it as best they could.Jackie DaCosta, associate director media research Ted Bates & Co.

"Media costs have been going up,"explained Jackie Da Costa, associatedirector of media research at TedBates & Co.

"Advertiser pressure has beenbuilding for more effective buys. Wecan no longer justify schedules onthe basis of cost -per -1,000 homesalone. We need cost -per -1,000 view-ers, and the viewers have to be speci-fied members of our particular targetaudience.

Instead of spending money on more data,it would be far better to concentrate on improvingthe quality of current information.Paul (:hook, director of research, }wing & Rubicam

the variatións in the month -to -monthreports of each service and in the dif-ferent results achieved by each ratingorganization in several of the samemarkets.

No one is blaming the services,actually. Many agencies feel therating firms are doing the best theycan under existing circumstances.

"Agencies and advertisers havebeen pushing the services for moredetailed information, but have notbeen willing to invest the money toget good research in that area. Sothe services have simply had to reportit as best they could."

Spurred by the demand for moreinformation, say some observers, the

services seem to have become in-volved in a kind of competitive gamewhere agency subscriptions are soughton the basis of which group can pro-vide the most information. Althoughnot all the reports create further frac-tionalization of the survey sample,they do take time and money awayfrom efforts to improve the accuracyof what is already being reported.

"Agencies really are to blame,"complained George Blechta, NSIproduct manager. "They keep askingfor more and more data. In manycases we've had to refuse, based onour own dissatisfaction with theiraccuracy. But ARB now produces 53columns of data, more than twice the25 we report."

Feel services have over -reacted

Although agencies don't deny thatthey are partly at fault, they seem tofeel the services have over -reacted totheir demands. "It's reached the pointwhere we're constantly being bom-barded with suggestions, initiated bythe services themselves, for new kindsof data," one media director said. "Itusually looks so good, we have toindicate we would be interested inseeing the results.

It's expensive to significantly improve statisticalreliability. You would have to quadruplethe sample to improve it by 50 per cent.Edward Barz, director of research, Foote, Cone & Belding

Ratings research: something'!`


"In their efforts to outdo eachother, however, the services com-pound the positive aspect of our re-action. They take a simple nod ofinterest as some kind of indicationthat adding some additional reportwill increase the agency's support fortheir service."

In pursuit of accuracyNow media people are looking for

suggestions from the services on howto improve the accuracy of the datathey are currently reporting. "By andlarge, we can live with the amount ofdata we now have," stated PaulChook, research director at Young &Rubicam, Inc. "Instead of spendingmoney on more data, it would be farbetter to concentrate on improvingthe quality of current information."

Station managers, who foot nearlythree quarters of the bill for ratingreports, are also concerned about datareliability-more so than the agen-cies, claimed Marty Goldberg, re-search director at H -R. "Particularlyin smaller markets, which only gettwo measurements a year," the repexecutive explained, "wild fluctua-tions can hit the pocketbook hard.For the agencies, rating errors simplymean a bad buy. They can make itup next month."

Since stations realize, however, thatany improvements are going to costthem more money, and since they are

Ingot to be done

more concerned with increasing theaccuracy of total homes viewing andless concerned with demographics,many feel the best solution would beto reduce the amount of audiencecomposition data reported.

"Since fractionalization of the sam-ple is the main culprit here," one sta-tion manager suggested, "why notreduce the degree of fractionaliza-tion? Give fewer and broader demo-graphic breakouts and report themless frequently. That would be thesimplest way to reduce error withoutincreasing cost."

Although, in theory, that mightsolve a lot of problems, agencies are,by and large, convinced the data theyare now receiving is valid, and neces-sary for mores,efficient media plan-ning. They aren't sorry they startedthe avalanche. On the contrary, theysay now is the time to take things astep further.

Fewer reports, bigger sample

"Speaking from a technical stand-point," one recently -appointed re-search director at a top agency noted,"I would prefer fewer reports peryear covering a larger sample. Froma practical standpoint, however, it'sjust not feasible.

"What we would end up with isbroader averages and less specificdata. Programming changes and dayto day differences would wash out,

Agencies questioningaccuracy of localdemographic reports saylarger audience sampleswould increase reliabilitybut no one wants to pay

and buyers would not really be sureof what they were buying. This is avolatile medium, and averages onlyobscure the details."

The only other way to combat frac-tionalization, then, would be to in-crease the size of the original sample.This, agency spokesmen seem to feel,is what must be done. Miss Da Costasuggested a minimum sample size of300 per demographic group.

This would mean increasing thetotal sample by enough to accomodateeven the smallest demographic group,and would necessarily mean gettingmany more than would be requiredin the populous 18-39 category. MissDa Costa expressed the views ofmany, however, who feel sample sizemust be increased in such a way as tototally compensate for fractionaliza-tion.

This, quite obviously, would costa lot of money, which no one as yethas volunteered to pay. 'A samplecan be too large to be efficient froman economic standpoint," noted GeneThompson, ARB vice president forinformation services. "Under existingcircumstances, you would practicallyhave to quadruple your sample toget any significant change at all. Itreaches a point of diminishingreturns.

"The industry would have to definewhat degree of accuracy it wants.


...but what?

Television Age, March 11, 1968 2')

' c'.°' ,º: ,. r1+4 I1- , ..rx F.r{

r

With more publicly-owne

agencies sure to come,profit needs may increaslpressures to diversify

1

Newagency ploy:buy abusiness

ast year was, by general agree-ment, a lean one for advertising

agencies. Which may be one reasonmore attention is being paid to theexperience of three of the best known,who have opted for diversificationas one method of money manage-ment.

Diversification moves have nowbeen made by J. Walter Thompson(insurance) ; Papert, Koenig, Lois(bicycles) ; and Foote, Cone & Beld-ing (catv). The latter two are pub-licly held, which assumes some sig-nificance considering that a numberof agencies are waiting for the rightmoment to go public.

Says investment specialist: "Onceyou get a public operation, you mustsustain profits. The stockholders arelooking at those quarterly reports,and they want some action. TheStreet is looking at agencies, thoughnot with the greatest interest at themoment. Still, they want some news."

"Leverage" is what PKL states isthe great advantage offered by publicownership. This translates as the useof other people's money to makemore money, an appealing prospectin the present limited capital agencypicture, with greater -than -ever pres-sures on profit.

And as FCB describes its situation,"We're running a business and wantto make a profit. Catv seems a goodway, that's all."

Figures for 1967 show profits ofboth PKL and FCB are down sharply.While not related to the diversifica-tion moves, they suggest that agencyinvestments may help offset severefinancial problems.

In any case, Thompson was therefirst, easily, with its move. Just overtwo years ago, the giant made a $41/4million cash investment in the PuertoRican & American Insurance Com-pany, in San Juan, acquiring an 82per cent interest-since increased to92 per cent.

Small by stateside measures, theinsurance firm still represented theoldest and largest fire and casualtyfirm on the island. To Thompson'sDan Seymour, it represented more:"...our belief in the future of PuertoRico and deep interest in increasingour participation in the Puerto Rican

30

economy."Founded in 1920, the insurance

company was growing healthily atthe time of Thompson's move: assetsof $5.1 million at the end of 1963.. .$6.2 million at the end of 1964.. .$6.8 million in late 1965, just beforethe takeover.

Since then, growth has accelerated,with assets now at $10 million andpremium volume growing at betterthan 20 per cent a year.

The ad agency maintains that itsdirect involvement is slight. The in-surance company still writes fire andcasualty, automobile, surety, fidelityand earthquake policies. It does littleadvertising. never did, and Thomp-son headquarters is not even awareof any recent advertising.

And why an insurance firm in thefirst place? According to John F.Devine, JWT vice president, adminis-tration, "There was no particular, rea-son." Of course, J. Walter Thompsonis owned by several hundred of itsemployees, has money to manage,and the insurance firm clearlyoffered no conflict with any of theagency's clients.

Self-imposed restrictions

"We have certain self-imposed re-strictions on what we can do withour funds," says Devine, "not goinginto any business whose interestsconflict with those of our clients.. .

and we can't invest in an advertisingmedium."

Television and magazine activity,according to Thompson management,"would jeopardize the objectivity"of the agency's media decisions.

Still there is one broadcast activitythat greatly interests agencies, bothon and off the record, and that'scatv. Very much on the record is oneagency's moves in that direction.

Last December Foote, Cone & Beld-ing reached agreement in its effortto purchase controlling interest inWEOK CableVision, the system serv-ing Poughkeepsie, N.Y. And just lastmonth the agency announced its ac-quisition acquiring majority interestin Pueblo Tv Power, Inc. Engineer-ing and pre -construction work in thatColorado community has alreadystarted.

ea

Current agency investments areby Foote, Cone & Belding(catv, top photo), J. WalterThompson (Puerto Ricaninsurance company-photoshows San Juan, where firm islocated) and Papert, Koenig,Lois (distributorship forFrench motorized bicycle).

These closely timed moves comeafter earlier explorations of catvsituations in Colorado by the agency.Of these, a franchise in ColoradoSprings went to another group, andan application for Denver is stillpending.

According to Don Lewis, FCB'svice president for finance, "Catv isa natural. Because of our marketingnature first, then because of our pub-lic nature we want some base of earn-ings in addition to the advertisingbase.

"We did look at several other areasbefore arriving at catv. But our mar-keting capabilities are suited to it.We can most naturally market catvservices, with our structure and ourexperience."

Of the Poughkeepsie operation,Louis E. Scott, FCB's senior vicepresident in charge of the program,says, "This is an important step inour development of a significant in-vestment in the catv industry. FCBhas previously announced its plansto enter the industry and is seekingfranchises in a number of other lo-calities."

In its approach to the Coloradooperation initially, FCB joined agroup of Colorado business and civicleaders organized as Rocky MountainCableVision, Inc. In the approvedPoughkeepsie project, Paul Smallen,already president of WEOK Cable -

Vision, continues to direct the day-to-day operations.

However, Scott, former managerof FCB's Los Angeles office, has beenrelieved of operating responsibilityfor the latter (though remaining inoverall charge), presumably with aneye to the future. The West appearsto loom large in FCB planning.

The experience of Papert, Koenig,Lois represents probably the mostdirect application of advertising ex-pertise into a subsidiary business.Certainly it has been the most pub-licized.

Having surveyed a number of busi-ness possibilities including catv (asurvey that goes on), just a year agothe agency acquired the CenturyCycle Co., distributor of the SolexFrench bike, "the bicycle with the


31

sst!Hey buddy,wanna see

a show?)A magazine editoris offered tickets

to see a show previewplus $1 for

transportation(2 blocks away) :

it turns out to be .. .

áá sst-wanna see a sneak pre-view of a tv show, Mister?

It's free.""Well, I ... er, um ... kind of a

hurry, you know.""They give you a dollar, too .. .

for transportation.""Okay, where is it?"And that's the scene baby. You can

tune in, most nights, at 50th andSixth, New York City. Right outsideRadio City Music Hall, in fact.

CBS tried it, without the punchline, and it bombed. Then they toldthe kid who hustles the free ticketsto throw in the bit about the dollarand-hallelujah!-instant success.

They're roping 'em in now by thedozens to do viewer reaction tests ofa pilot program called Blondie -based on the Dagwood and Blondiecartoon-at CBS headquarters build-ing.

Surprise! The show's funny. Butthe real gag is the line about thedollar for transportation, because theCBS building is just a block awayfrom Radio City. The networkdoesn't want to make it look like it'spaying a fee-just expenses.

The night I went was the secondshowing to a test audience, and theviewing room was almost full.

"The object," said the smart youngman on the dais, "is to find out if weshould buy this show. We want toknow what you, as a selected audi-ence, think about it.

"This will take about an hour. Theshow takes half an hour; you will beasked to fill in a questionnaire after-ward and we will have an opendiscussion. Any questions?"

"What about the dollar?" asked aloud -mouthed girl at the end of thetable. She turned out to be a bit -player looking for a part.

The young man frowned. "Later,"he said, "later.

"In front of you," he intoned, "aretwo buttons. One is red and one isgreen. During the viewing, if you likewhat you are seeing, keep yourthumb on the green button; if youdon't like it, use the red. If you haveno reaction, don't use either."

For the CBS affiliates who may beseeing it later, Blondie is a King

Features production and, though it'sfunny, it may not be funny enough.Pat Harty is Blondie, Will Hutchinsis Dagwood and Jim Backus is Mr.Dithers, the big, bad boss.

After the viewing, and after thequestionnaires had been filled in andstacked for computer analysis, wegot down to business.

The girl who had been worriedabout her dollar launched into a

lengthy critique. "It was funny inparts ... the tempo was uneven . .

there were too many pauses in the,story ... Jim Backus was great ..."Everybody listened patiently. A girlwho was with her applauded.

There was a consensus that the tie-in with the cartoon idea was a bitstrained. Actually, corny would bea better word. Dagwood predictablyknocks down the mailman and so on.

And nobody argued with a ladywho said Pat Harty was a big zeroas Blondie. Dagwood was ... well,

he was okay, everybody supposed.Backus was a riot. And the dog.How did they manage to get him toput his paws over his eyes in times of

crisis?The real expert was a nine -year -old

kid who seemed to know more aboutprogramming than the average pro-grammer. Sure, he would watch theshow, he said, if it wasn't "acrossfrom something" he really liked. Hecarefully itemized what was funnyand what wasn't. Everybody listenedwith respect.

"What do you think?" the man onthe dais asked the boy's father.

"I don't watch tv," Dad said. "ButI'd rather my kids watched this thansome of the other shows." He thoughtit was good, wholesome stuff.

A woman of about 35 summed itup. "It's just another family show,"she said.

And we all filed out, each collectinga dollar and a bonus-a pen andpencil set.

Who knows? Maybe Blondie willbe a big success. A New York audi-ence is scarcely a cross-section of theviewing public.

(Ed. note: P.S. Maybe it will. CBShas picked Blondie for one of its newshows next season.)


A PROGRAM MAN'S . . .

The Olympicsview of the Winter Olympics as covered by ABC-TV is important for a number of reasons. First,

the content of the programs and the influence on audi-ences and, second, the prognostications which mayapply to the summer Olympics in Mexico this October.The overview concerns costs and cooperation ofstations.

The Winter Olympics have always been somethingof a dull thud in the United States, principally becauseeveryone knows the home team ain't going to winvery much. There is nothing like an old chauvinisticfeeling to cheer the home folks and keep them gluedto the screen rooting for our boys and girls. Going in,almost everyone knew we had one gold medal thiswinter, period. The reaction was anticipated.

ABC, as noted in the last issue, outbid its competi-tors in a determined effort to establish its sports imagebeyond reasonable doubt as the leader. At the time,the ITT merger was a distinct probability and thetotal picture made a lot of sense.

For this reason the rights, plus pick up costs, couldhave been written off with good business sense. Nowthe picture is different and the cost of the ABC projectmust be charged to sports superiority only.

The average cost per minute of commercial timewas about $37,000 and the estimated cost -per -thousandhomes reached was around $5.50. Since the eventshad to be sold in eighths, or even sixteenths, the Win-ter Olympics amounted to a spot carrier which de-livered only air efficiencies.

The last-minute bitter blow to the participants wasdue to the fact that only a handful of stations carriedthe evening recap at 11:15 - 11:30 while the bulk ofthem carried it at 11:30 - 11:45 which resulted in asharp dropoff in audience.

As to the program itself, ABC did a yeoman -likejob. Considering the vast number of events, theirgeographical and chronological separation, theweather, and the logistics of moving color camerasfrom one sight to another, the results were almostmiraculous.

ABC used helicopters, snowcats, built a building,transported over 200 technicians, kept open lines toall sites, used Telstar as it has never been used before,edited over there, and spent gobs of money for per-fection.

Never in the history of television has there beensuch a logistics problem in remote pickups so adroitlyhandled. The editing, the color, the complex coveragewere all handled professionally and effortlessly.

Any on -site complexities were buried in the endpictures which caught the mood and events far betterthan the European competitors, especially the Frenchtelevision which were side -by -side with ABC and oftencopying the experts from the US.

As to the events themselves, Winter Olympics caneally go on and on. The downhill skiings and slalom

elevision Age, March 11, 1968

Vie wpoin tsseem never to end when the real winners are quicklydetermined.

This leaves the one area where the U.S. has a

chance, women's (and sometimes men's) figureskating. Somehow we seem to turn out graceful skaterswhile our competition is more athletic. Many ableskaters from abroad are dumpy and muscular whileour Peggy Fleming and some of our second teammembers are lithe and attractive.

All in all, the Winter Olympics is kind of a vamptill ready before the Summer Olympics begins. Thehome teams play a bad second fiddle to the competi-tors. This is not to underestimate the coverage, or theimportance of the events, or to attempt to separate thelocal appeal of the gladiators.

The failure of the local stations to give the Olympicsthe importance due them is an example of the reflec-tion of the total U.S. reaction. The disgraceful fact thateven ABC owned stations refused to clear at 11:15strongly points up the continual conflict between thegood of the country and the independence of the localoperator.

ABC deserves all sorts of laurels for giving theWinter Olympics the prestige they deserve as the ath-letic event of the four year cycle. The pick-ups wereoutstanding and will lead the sports techniques in ex-cellence for years to come.

The color despite varying weather conditions wassuperb and the hand held cameras, the cameras mount-ed in skiiers helmets, the cameras on tobaggons and at

Coverage of 1968 ¡r inter Olympics at Grenoble, France

ice level and all the other technical advances were topsin every respect. The split screen and the slow motionplaybacks are evidence of the great leadership of USTV over its European counterparts.

The great institute of the Olympics deserves all thesupport the US or any nation can give it. It is unfortu-nate that it has to be chopped up for multiple sponsorship.It is equally unfortunate that our athletes cannot be sub-sidized enough to be full competitive with their European&counterparts.

However, despite these handicaps the ABC treatmenthas given the physical pickup a stature second to nonein the world. The Summer Olympics stand to giveeverything we want - great color pickup live and asupremacy of the US teams. It only remains for thestations to cooperate and carry the event at the bestpossible time. -JB

33

sst!Hey buddy,wanna see

a show?)A magazine editoris offered tickets

to see a show previewplus $1 for

transportation(2 blocks away) :

it turns out to be .. .

< <

nsst-wanna see a sneak pre-view of a tv show, Mister?

It's free.""Well, I ... er, urn ... kind of a

hurry, you know.""They give you a dollar, too .. .

for transportation.""Okay, where is it?"And that's the scene baby. You can

tune in, most nights, at 50th andSixth, New York City. Right outsideRadio City Music Hall, in fact.

CBS tried it, without the punchline, and it bombed. Then they toldthe kid who hustles the free ticketsto throw in the bit about the dollarand-hallelujah!-instant success.

They're roping 'em in now by thedozens to do viewer reaction tests ofa pilot program called Blondie -based on the Dagwood and Blondiecartoon-at CBS headquarters build-ing.

Surprise! The show's funny. Butthe real gag is the line about thedollar for transportation, because theCBS building is just a block awayfrom Radio City. The networkdoesn't want to make it look like it'spaying a fee-just expenses.

The night I went was the secondshowing to a test audience, and theviewing room was almost full.

"The object," said the smart youngman on the dais, "is to find out if weshould buy this show. We want toknow what you, as a selected audi-ence, think about it.

"This will take about an hour. Theshow takes half an hour; you will beasked to fill in a questionnaire after-ward and we will have an opendiscussion. Any questions?"

"What about the dollar?" asked aloud -mouthed girl at the end of thetable. She turned out to be a bit -player looking for a part.

The young man frowned. "Later,"he said, "later.

"In front of you," he intoned, "aretwo buttons. One is red and one isgreen. During the viewing, if you likewhat you are seeing, keep yourthumb on the green button; if youdon't like it, use the red. If you haveno reaction, don't use either."

For the CBS affiliates who may beseeing it later, Blondie is a King

Features production and, though it'sfunny, it may not be funny enough. f

Pat Harty is Blondie, Will Hutchinsis Dagwood and Jim Backus is Mr.Dithers, the big, bad boss.

After the viewing, and after thequestionnaires had been filled in andstacked for computer analysis, wegot down to business.

The girl who had been worriedabout her dollar launched into a

lengthy critique. "It was funny inparts ... the tempo was uneven .. .

there were too many pauses in the Istory ... Jim Backus was great ..."Everybody listened patiently. A girlwho was with her applauded.

There was a consensus that the tie-in with the cartoon idea was a bitstrained. Actually, corny would bea better word. Dagwood predictably I

knocks down the mailman and so on.And nobody argued with a lady

who said Pat Harty was a big zeroas Blondie. Dagwood was ... well,

he was okay, everybody supposed.Backus was a riot. And the dog.How did they manage to get him toput his paws over his eyes in times of

crisis?The real expert was a nine -year -old

kid who seemed to know more aboutprogramming than the average pro-grammer. Sure, he would watch theshow, he said, if it wasn't "acrossfrom something" he really liked. Hecarefully itemized what was funnyand what wasn't. Everybody listenedwith respect.

"What do you think?" the man ;inthe dais asked the boy's father.

"I don't watch tv," Dad said. "ButI'd rather my kids watched this thansome of the other shows." He thoughtit was good, wholesome stuff.

A woman of about 35 summed itup. "It's just another family show,"she said.

And we all filed out, each collectinga dollar and a bonus-a pen and

pencil set.Who knows? Maybe Blondie will

be a big success. A New York audi-ence is scarcely a cross-section of the `I

viewing public.(Ed. note: P.S. Maybe it will. CBS

has picked Blondie for one of its newshows next season.)

32Television Age, March 11, 1968.

A PROGRAM MAN'S . . .

The Olympicsview of the Winter Olympics as covered by ABC-TV is important for a number of reasons. First,

the content of the programs and the influence on audi-ences and, second, the prognostications which mayapply to the summer Olympics in Mexico this October.The overview concerns costs and cooperation ofstations.

TheThe Winter Olympics have always been somethingrof a dull thud in the United States, principally becauseeveryone knows the home team ain't going to winvery much. There is nothing like an old chauvinisticfeeling to cheer the home folks and keep them gluedto the screen rooting for our boys and girls. Going in,

lalmost everyone knew we had one gold medal thiswinter, period. The reaction was anticipated.

ABC, as noted in the last issue, outbid its competi-tors in a determined effort to establish its sports imagebeyond reasonable doubt as the leader. At the time,the ITT merger was a distinct probability and thetotal picture made a lot of sense.

For this reason the rights, plus pick up costs, couldhave been written off with good business sense. Nowthe picture is different and the cost of the ABC projectmust be charged to sports superiority only.

The average cost per minute of commercial timewas about $37,000 and the estimated cost -per -thousandhomes reached was around $5.50. Since the eventshad to be sold in eighths, or even sixteenths, the Win-ter Olympics amounted to a spot carrier which de-livered only air efficiencies.

The last-minute bitter blow to the participants wasi due to the fact that only a handful of stations carried

the evening recap at 11:15 - 11:30 while the bulk ofthem carried it at 11:30 - 11:45 which resulted in asharp dropoff in audience.

As to the program itself, ABC did a yeoman -likejob. Considering the vast number of events, theirgeographical and chronological separation, theweather, and the logistics of moving color camerasfrom one sight to another, the results were almostmiraculous.

ABC used helicopters, snowcats, built a building,transported over 200 technicians, kept open lines toall sites, used Telstar as it has never been used before,edited over there, and spent gobs of money for per-fection.

Never in the history of television has there beensuch a logistics problem in remote pickups so adroitlyhandled. The editing, the color, the complex coveragewere all handled professionally and effortlessly.

Any on -site complexities were buried in the endpictures which caught the mood and events far betterthan the European competitors, especially the Frenchtelevision which were side -by -side with ABC and oftencopying the experts from the US.

As to the events themselves, Winter Olympics can,really go on and on. The downhill skiings and slalom


Viewpointsseem never to end when the real winners are quicklydetermined.

This leaves the one area where the U.S. has a

chance, women's (and sometimes men's) figureskating. Somehow we seem to turn out graceful skaterswhile our competition is more athletic. Many ableskaters from abroad are dumpy and muscular whileour Peggy Fleming and some of our second teammembers are lithe and attractive.

All in all, the Winter Olympics is kind of a vamptill ready before the Summer Olympics begins. Thehome teams play a bad second fiddle to the competi-tors. This is not to underestimate the coverage, or theimportance of the events, or to attempt to separate thelocal appeal of the gladiators.

The failure of the local stations to give the Olympicsthe importance due them is an example of the reflec-tion of the total U.S. reaction. The disgraceful fact thateven ABC owned stations refused to clear at 11:15strongly points up the continual conflict between thegood of the country and the independence of the localoperator.

ABC deserves all sorts of laurels for giving theWinter Olympics the prestige they deserve as the ath-letic event of the four year cycle. The pick-ups wereoutstanding and will lead the sports techniques in ex-cellence for years to come.

The color despite varying weather conditions wassuperb and the hand held cameras, the cameras mount-ed in skiiers helmets, the cameras on tobaggons and at

Coverage of 1968 Winter Olympics at Grenoble, France

ice level and all the other technical advances were topsin every respect. The split screen and the slow motionplaybacks are evidence of the great leadership of USTV over its European counterparts.

The great institute of the Olympics deserves all thesupport the US or any nation can give it. It is unfortu-nate that it has to be chopped up for multiple sponsorship.It is equally unfortunate that our athletes cannot be sub-sidized enough to be full competitive with their Europeancounterparts.

However, despite these handicaps the ABC treatmenthas given the physical pickup a stature second to nonein the world. The Summer Olympics stand to giveeverything we want - great color pickup live and asupremacy of the US teams. It only remains for thestations to cooperate and carry the event at the bestpossible time. -JB

33

Film Tape Report

NEW TECHNICOLOR PROCESSTechnicolor has a new color tape -

to -film process. The company be-lieves that the new process willopen "a whole new field of color filmusage for networks, producers andsyndication companies which can nowplace their color tape product on filmand syndicate it throughout theworld."

The Technicolor Vidtronics processwill transfer videotape to 35 mm, 16mm, 8 mm and the new Super 8 mmcolor film. The process was develop-ed under the supervision of JosephBluth, vice president and generalmanager of Technicolor's Vidtronicsdivision.

In announcing the development, hedeclared, "The perfection of broad-cast quality film from tape by thisdivision of Technicolor will signala giant impetus in color -taping pro-duction. This will be serviced fromTechnicolor's Seward Avenue plantin Hollywood."

Bluth pointed out that the colorexplosion has placed a premium ontime and . speed. "Processing colorfilm commercials often takes weeks,while a tape commercial is availablein a matter of hours or days."

He said that "the Technicolor Vid-tronics process of transferring tapeto film will, for the first time, enablethe film producer to keep pace withthe speed of tape production."

HARVEY CHERTOK has been electedvice-president of Warner Bros. -SevenArts. Now vice-president in charge ofworldwide television advertising, pro-

CIIh:RT'Ok

motion and publicity, Chertok hasdirected the company's advertising,promotion and publicity since 1961.

Last year he headed this depart-ment for Warner Brothers -Seven Arts.

Before joining Seven Arts, Chertokwas Supervisor of Advertising forUnited Artists Associated, and beforethat Manager, Merchandising Depart-ment for National Telefilm Associ-ates.

He also serves as a member of theExecutive Committee for the tv indus-try's annual tv film exhibit at theNAB Convention in Chicago.

PRODUCTION PACT

First move in Trans -Lux TelevisionCorp.'s allocation of $1 million -plusfor new syndication product is a pactwith Fredana Television, Ltd., a newproduction firm headed by FredWeintraub.

The latter will exercise creativecontrol under the contract, which hastriggered planning on six programs.Weintraub said these will includevariety, talk and game shows, andone will be ready for the NAB con-vention.

The million dollar pool was an-nounced last month by EugenePicker, president of the entertain-ment division of Trans -Lux Corp..parent of the tv packager -distributor.

Weintraub's first entry was de-scribed as "controversy with com-edy," a fun -talk show hosted bywriter Pat McCormick.

JOINT VENTUREIn a move calculated to bring film

directors into the tape field, a jointventure to produce taped commercialshas been set up by Directors Group,Inc., and Videotape Center.

The former group will remain anindependent film company in theproduction of filmed ads and pro-grams, but all taped projects "will bedirected exclusively through the newcompany."

At the same time Videotape Centerwill continue to produce commercialswith their staff directors, AdrianRiso and Hal Stone, and their facili-ties will be available for outside pro-gram production. However, such

facilities will no longer be availableto competitive tv commercials pro-ducers.

The new company will provide thedirectorial talents of Phil Landeck,Ben Gradus, John Ercole, WilliamGarroni, Joe Bologna and FredRaphael.

American rights to Granada Tele-vision's special about the sinking ofthe S.S. Lusitania in World War Ihave been acquired by Group W.

Chet Collier, president of WBC Pro-ductions and WBC Program Sales,said the program will be televised atvarious times in May by all thegroup's stations - WBZ-TV Boston,KYW-TV Philadelphia, WJZ-TV Balti-more, KDKA-TV Pittsburgh and KPIXSan Francisco.

Showings in other markets "arebeing arranged" by Jack E. Rhodes,vice president and general managerof WBC Program Sales.

The one -hour documentary coversnot only the tragedy but also themood in the U.S. before the event.The ship was sunk by a German sub-marine in May, 1915, and was amajor factor in bringing the U.S. intoWorld War I.

COME SPRING AND PRIZES

Spring is here! The sap is rising.The groundhogs are to be seen. Onceagain it's time for awards.

The Hollywood Radio and Tele-vision Society's eighth annual Inter-national Broadcasting Awards areexpanding their international aspect.Japan, with nine selections, domi-

nated a new category, non-Englishlanguage commercials.

Among the other finalists selectedfrom the 200 entries were two Frenchlanguage commercials from Canada,three German and a Japanese lan-guage commercial made in the U.S.

The panel of judges was headed byJohn Bates of Quartet Films. A final-ist in the public service category ofthe IBA awards is a 60 -second tv spotproduced for about $150 for the

Dallas County Action Committee.The commercial, for which virtual-

ly everyone donated their services, isrunning in public service time one

34Television Age, March 11, 1968.1

And everyone a video pro rightnm to his fingertips.We know because a client saidIn just those words.

nut kudos come easily whenIuu know your job as well as thistang. There's a lot of experience

presented here. All the way

n

Our Gang.back to the birth of video. Anda lot of the innovating made sincethen.

They put this experience andinnovation to use on the finestcollection of equipment ever puttogether just for post -productionvideo work.

They get excited about theirwork; it shows in the finishedvideotape. Their list of creditsproves that. And the list getslonger every day.

It's a list of professional cred-its. Given by professionals.

To professionals.

REEVESSol/NO STUDIOS

A DIVISION OF REEVES BROADCASTING CORPORATION71t1 CACT eeTW CTRCCT NCW YORK N Y 1n117 (?11l nR q.155n TWX 71(1-Sk1.5770

WFAA-TV and KRLD-TV, Dallas. It isabout the War on Poverty.

Featured speaker at the April 4ANDY Awards (The AdvertisingClub of New York) at the N.Y. Hil-ton will be humorist, Stan Freberg.

The Art Directors Club of NewYork will proffer yet more prizes.For its 47th Annual Exhibition ofAdvertising, Editorial and TelevisionArt and Design it will hand out sixmedals and 20 "distinctive merits"in tv at a luncheon to be held onApril 10 at the Americana.

A new category - public serviceads in any medium-will be includedin the seventh annual Gold and Sil-ver Key awards of the AdvertisingWriters Assn. of New York. Thismakes 10 categories for the awards,open for the second year to copy-writers throughout the country.

Closing date is March 15. Entriesshould be submitted to Larry Dunst,senior vice president and creativedirector of Daniel & Charles, 261Madison Ave., New York, N. Y.10016.

Co-chairman with Dunst is Karl F.Vollmer, senior vice president anddeputy creative director at Y&R.

Judge for the public service adcategory is Pete Nord, vice presidentand associate creative director, Solow/Wexton.

Judges for other categories involv-ing tv are Monte Ghertler, vice presi-dent and co -creative director, PKL,for the "campaigns, any media" cate-gory; James Durfee, president andcopy director, Carl Ally, for 60 -sec-ond tv commercials, and James Jor-dan, senior vice president and cre-ative director, BBDO, for tv com-mercials under 60 seconds.

SPORTS, MORE SPORTS

The continuing demand of tele-viewers for sports programming isbeing met by an increasing amountof sports programming. Tom Harmonwill produce 26 half-hours of a newsports series, Athlete, in which hewill also act as host.

The series is being produced anddistributed by the Four Star Newsdivision of Four Star International.The first subject will be UCLA quar-terback, Gary Beban. Director is

Tony Verna.Perin Film Enterprises is also pro-

ducing a new mini golf show. The 78

Superbird.

pelicai

New YorkDetroit

ChicagoHollywood

color episodes will have a variablelength, 30 or 40 seconds each, andbe titled, Doug Sanders Golf Tips.

In the time allotted to him, Sand-ers will give a complete golf tip -grip,swing, etc.

Sports Illustrated is producing afive-minute sports show for Shell Oil,The Wonderful World of Sports.

The program, to go on the air asa strip in mid -April, will be filmedall over the world. Narrator will besportscaster Charlie Jones. Produc-tion arm is Tel-Ra Productions ofPhiladelphia.

Among other new productions isWide, Wide, World, a new travelseries acquired by Trans -Lux Tele-vision. The 26 half-hours were pro-duced by Carl Dudley, producer ofthe early Cinerama films. Narratoris George McLean.

WEST COAST BRANCH

Videotape Center has opened upits West Coast branch at MGM Stu-dios in Culver City. The new opera-tion will produce not only at MGM ?but go on location anywhere in theWest.

It will permit agencies continuouscross-country production control pre- i

viously unavailable on videotape. DelJack & Associates will supervise andcoordinate for Videotape Center.

Filmways Inc. has acquired Spec-tacle Productions Inc. and Teen -AgeFair Inc. Spectacle productions, is

the production arm of Teen -Age Fairand this April will have three hoursof primetime network productions.

They are the Miss Teen Interna-tional Pageant, Where the Girls Are,and "Romp." It also produces TheMichael Blodgett Show for Metro-media.

Teen -Age Fair, an event for theyounger generation, permits sponsorsto exhibit their goods. Eleven TeenAge Fairs are scheduled for 1968.

REVENUES SHARPLY UP

For the six months period endingDecember, 31, 1967, Tele -Tape Pro-ductions Inc. reported a 56 per centrise in revenues and a 26 per centgain in net income. In the July -De-cember half year, earnings after taxesincreased from $168,694 to $212,-870; revenues went from $1,279,569to $1,994,221.

:k,Television Age, March 11, 1968:

J

11* Net income was 28 cents per shareas compared to 24 cents a share inthe previous period. The companyhas doubled its creative staff in thelast six months, and is converting itstape equipment to color.

Tele -Tape is also utilizing the "cin-ema verite" film technique to pro-duce 90 -minute full length featuresfor distribution to theaters and tv.

STEVE'S FIRST WEEK

In its first week on the market, 15stations in major cities bought The.Steve Allen Show from Filmways.

Stations which have bought theseries are KTLA-TV Los Angeles. WOR-TV New York, WGN-TV Chicago, ww.T-Tv Detroit, WTOP-TV Washington,D.C., WFIL-TV Philadelphia, WNAC-TVBoston, KRLD-TV Dallas, KPLR-TV St.Louis, WJW-TV Cleveland, WTVJ

Miami, KBHK-TV San Francisco,KWGN-TV Denver, WFGA-TV Jackson-ville, and WNHC-TV New Haven.

The 90 -minute five times a weekseries is also available in a 60 -minute strip. The program producedby Meadowlane Enterprises is beingsyndicated by Filmways SyndicationSales through Firestone Film Syndi-cation.

SALES AND SUSPENSE

MCA -TV has reported brisk salesf during the first six weeks of this

year.Most in -demand is its Suspense

Theater 53 hour programs in colorwhich has been bought by ten mar-kets in that period.

Among station in major markets toi buy the property are KCMO-TV Kansas

City, KFDM-TV, Beaumont, WALA-TVMobile, WNYS-TV Syracuse, KZAZ-TVTucson/Nogales and WKY-TV Okla-homa City. "Alfred Hitchcock Pre-sents" has been sold to four marketsby MCA -TV.

ONE ISLAND, 40 CITIES

United Artists Television hasreported the sale of Gilligan's Islandto 40 new markets. Recent sales inlarge cities were made to WBBM-Tv,Chicago, KRLD-TV Dallas, KPHO-TVPhoenix, KELP-TV El Paso, WHNB-TV,Hartford -New Britain, KZAZ-TV Tuc-son, WKRG-TV Mobile, KWGN-TV Den-ver, WOAI-TV San Antonio, WLKY-TVLouisville, WFGA-TV Jacksonville,KSLA-TV Shreveport, and WTVK Knox-ville.

Advertising Directory of

SELLING COMMERCIALS

Best Foods Spin Blend D -F -S

JEFFERSON PRODUCTIONS, Charlotte

Cia-k's "Kit hat" Candy Wells, Rich & Greene

LIBRA PRODUCTIONS, INC., New York

British Sterling The Marschalk Co.

THE TVA GROUP, iNC., New Yo k

Coffee Council

WYLDE FILMS, INC., New York

Burry's J. Walter Thompson

PAUL KIM & LEW GIFFORD, New York

Detoit News W. B. boner

MOVIERECORD, INC. ESTUDIOS MORO

Caymas Tours Assor.

PANTOMIME PICTURES, Hollywood

Elmer's Glue -All Conahay & Lyon

FiLMEX, INC., New York


Trans -Lux Tv reports recent salesfor many of its series. The 90 -minutecolor special featuring Murray the Kin New York has been sold to sixmarkets plus the Kaiser BroadcastingOutlets in San Francisco, Boston,Cleveland, Philadelphia and Detroit.

The Eve format game, Pick AShow, and been acquired by KVAL-TVEugene and two markets have extend-ed their contracts. WMSL-TV Decateurhas renewed its contract for Felix TheCat, and bought The Mighty Herculesfrom Trans -Lux.

The syndicator's new cartoon ser-ies, Speed Racer has been purchasedby four markets. The recent Arab-Israeli War has also increased theinterest in the Trans -Lux feature Hill24 Doesn't Answer recently pur-chased by five markets.

Trans -Lux also reported an increas-ing sale of its children's programsoverseas. Television Wales & Westhas bought Gigantor, The MightyHercules, and Felix The Cat. Mackand Myer For Hire, the live actioncomedies were sold to DeutscherFernsehfunk in East Berlin, theArmed Forces Overseas Network, andthe Cyprus Broadcasting Corp. FelixThe Cat was purchased by SenderFreies, West Berlin and the Frenchversion by, the Swiss BroadcastingCorp.

Krantz Films Inc. has also in-creased its recent sales activity. With

the purchase of Rocket Robin Hoodby the U.S. Communications Corp.for its six stations in Philadelphia.Atlanta, Cincinnati, Houston, SanFrancisco and Pittsburgh, the colorcartoon series is now playing in 25markets.

Kratz' Marvel Super Heroes hasbeen bought by WBJA-TV Binghamp-ton and WREx-TV Rockford, making atotal of 65 markets in which theseries can be seen.

A major sale of three Kratz Filmsseries was made to Sirta in Brazilwhen it purchased Spiderman, Laureland Hardy and Rocket Robin Hoodfor stations in eight markets in theSouth American Country.

Laurel and Hardy was also boughtby the Australian Broadcasting Corp.and Spiderman by Scottish Televisionin England, Telerama Inc. of Argen-tina and Telesistema Mexicana ofMexico.

Warner Brothers -Seven Artsalso has reported excellent salesvolume. A total of 29 new sales of itsfeature films and 17 new sales of tvSpecials, series and cartoons, wererecorded in the past 30 days.

Stations to acquire the features inleading markets are WGR-TV Buffalo,WDAF-TV Kansas City, KLAS-TV LasVegas, WLKY-TV Louisville, KPHO-TVPhoenix. WJAR-TV Providence.

Warner Brothers' series (Lawman,

25 WEST 45 ST., NY.

1212)757 7840

DICK SWANEKWILLY TOMAS

SANDY DUKEIRWIN SCHMEIZER

DICK RAUHBILL ROWOHLT

MUSIC BY

láí HA & 1-1AM[31?oFILMS TV RADIO ELECTRONICS

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

38

F Troop and Mister Roberts) werebought by WAST-TV Albany, WNAC-TVBoston, KHJ-TV Los Angeles, KARK-TVLittle Rock, WAVE -TV Louisville,WGAL-TV Lancaster, wPlx New York,WIBF-TV Philadelphia, WJAR-TV Provi-dence and WDCA-TV Washington D.C.

In overseas markets Warner Bros. -Seven Arts has reported five newsales of its features and 21 new salesof series and cartoons. Among thoseto acquire the features were BelgischeRadio en Televisie and NederlandeTelevisie Stichting.

Among those to acquire the War-ners -Seven Arts series and cartoonswere HSV, Melbourne, De CostaRica, Costa Rica and CeskoslovenskyFilm Export, Czechoslovakia.

Embassy Pictures Television iscentering much of its sales effortabout its new "28 for 68" featurefilm package.

Featured in the new package foroff -network first run delivery areWoman Times Seven, Nevada Smith,The Oscar, Romeo and Juliet, andSands of the Kalahari.

Included in the package are a

special group of five family featureattractions which can be slotted 7 to9 p.m.

ZOOMING IN ON PEOPLE

DAVID KENNEDY has been namedDirector of Programs and Sales forTrans -World Enterprises Inc.

KENNEDY

Formerly the Coordinator of

Sports for NBC, Kennedy will headshe new ' Trans -World Enterprisesoffice in New York City. The companyalso has offices in Los Angeles, Cleve-land and London, England.

Trans -World Enterprises formerly


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

Why film? Because color film is the stuff suchdreams are finally made of It's the logical medium

for the bright excitement, the spark that first came to

your mind. Color film does the tricks you want. It

conveys, 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: 909/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


SELLING COMMERCIALS

Fifth Avenue Candy Bar Philarle:phia agcy

GRYPHON PRODUCTIONS, INC.. New York

Jockey Briefs Tatham -Laird & Kudner

ROSE MAGWOOD PRODUCTIONS OF CALIFORNIA

Fleischma.sn's Ma-garine Ted Bates

ELEKTRA FILM PRODUCTIONS. INC., New York

Mennen-Formu:a 29 Warren. Muller, Dolobowsky

COLODZIN PRODUCTIONS. INC New York

Ford Torino J. Walter Thompson

VIDEOTAPE CENTER. New Yerk

National Oats L. W. Ramsey

FRED A. NILES-Chicago, Hollywood, New York

General Electric "Bob Gibson' BBDD

PGL PRODUCTIONS. INC.. New York

Neuhotf Brothers Packers Don Kemper

JAMIESON FILM COMPANY, Dallas

was Trans -World Sports and is theproducer and packager of variousgolf, ski, soccer and racing shows.

The firm is working on several newshows, among them The Best 18 GolfHoles, in association with SportsIllustrated, an animation series cre-ated by Hank Ketchum in productionwith Quarter Films, and two enter-tainment specials.

Producer -director BILL COLLERAN

has joined Fredana Management Cor-poration as head of its newly -formedtv and motion picture division.

Colleran is working on a networktv project for Fredana, The World'sTen Most Beautiful Women. Fredanais owned by Fred Weintraub, the ,manager of several leading personal-ities and groups.

Spangler Television Inc. hasbeen formed with offices in NewYork City. LARRY SPANGLER, the presi- Ident, will retain his association withAll Canada Radio and TelevisionLtd., and continue to syndicate their195 first -run color half-hours. EdAllen Time, an exercise, entertain-ment and variety show.

Spangler tv also has rights for 39color half-hours of Car and Track,The Arthur Smith Show, and 39 first -run color cartoons produced by JeanImage.

Mr. Spangler was formerly generalmanager, program division, U.S.A.for All Canada.

Senior Creative Supervisors BARRY,

BALLISTER and WILLIAM MAYNARD JR.

were elected senior vice presidentsat Ted Bates. Also at Ted Bates, MAR -VIN GOLDMAN has been promoted tovice president and art supervisor.

At 32, Ballister is the agency'syoungest senior vice president. Hejoined Ted Bates in 1959 and hasrisen steadily since.

Maynard has a similar record.Both men started as copywriters.Goldman has been with the agencyfive years. the last two as art grouphead.

Needham, Harper & Steers haspromoted EUGENE C. MANDARINO toexecutive art director and addedJOHN R. WALLACE as copy supervisorand THOMAS J. BURRELL as copy-writer to its Chicago division Cre-ative Department.

Mandarino was with Edward H.Weiss & Co. and Compton Advertis-


tising Inc. before joining Needhamin 1964.

Burrell was previously a copygroup head with Foote, Cone & Beld-ing, London.

Wallace formerly was associatecreative director at Leo Burnett Inc.

CHARLIE Moss has been promotedto associate creative director of Wells,Rich, Greene Inc. A copy supervisoron the Braniff and American Motorsaccounts, Moss will now also super-vise advertising for Seagrams andUtica Club.

He was formerly with Jack Tinker& Partners and Doyle Dane Bernbach.

LINLEY M. STAFFORD has resignedas promotion manager of CBS Designto join Dolphin Productions, pro-ducer of industrial films, as directorof creative services.

FOSTER

ANNE TOLSTOI FOSTER has beenelected a vice president at J. WalterThompson. She has been with theagency 12 years and has been asso-ciate creative supervisor on the LeverBros. account.

HENRY WHITE has joined N.W.Ayer, New York as copywriter in thecreative services department.

He was formerly with Ogilvy &Mather and the J. Walter ThompsonCompany in London.

PATRICK MULCAHY has become amember of the creative staff of Young& Rubicam, Chicago. He was withNeedham, Harper & Steers previouslyas a copy supervisor.

OPTICAL SLIDE DUPLICATOR

Manhattan Color Laboratorieshas introduced a new "222 Optical



SELLING COMMERCIALS

Plymouth Davis, Johnson. Mogul & Colombatt3

SANDLER FILM COMMERCIALS, INC., Hollywood

Southwestern Bell Gardner Advertising

GERALD SCHNITZER PRODUCTIONS, Hollywood

Qantas Airlines Cunningham & Walsh

N. LEE LACY/ASSOCIATES. LTD., Hollywood

Tang Young & Rubicam

FILMFAIR, NEW YORK

Reynolds Metals Company Clinton E. Frank

SARRA, INC.

TWA Foote Cone & Belding

PELICAN PRODUCTIONS, INC., New York

Sego Instant Gardner Advertising

PACIFIC COMMERCIALS, Hollywood

WGN Continental Broadcasting Co. F,C&B

WON ~WON -TV CHICAGOXDAí AlWXOAITV OVIVTN

KWON -Tv O[ARfiG

~Wirt AA:T@/NA tYJ. éVM".AOMMICHIGAN- CALIFORNIA

WGN CONTINENTAL PRODUCTIONS, Chicago

41

Slide Duplicator." It permits, accord-ing to Manhattan, duplication of indi-vidual frames with "substantially bet-ter quality" and eliminates intermedi-ary steps.

Handling of the original and dup-licate is reduced by more than 200per cent and results in a much cleanerfilm reproduction, the company re-ports.

VIAfiIm Ltd. has moved its entireNew York operation to a new loca-tion, 333 Park Avenue South. Thecompany offers "custom -crafted" filmmaking services. It is headed by IraMarvin and Zoli Vidor.

Hollywood Video Center is pro-viding full facilities and Services forFilmways' The Steve Allen Show. Ithas also taped The Pat Boone Showfor Filmways."

Creative Opticals, a division ofBerkey Video Services, has moved tonew and expanded quarters at 45West 45th St. in New York. Its newfacilities will house such services asan enlarged art department, customerservice area and a laboratory

DON ELLIOTTPROIUCTIO\S

Specializing in uniquepost -scoring.

Complete Recording Facilities

80 West 40th Street LA 4-9677New York, N. Y. 10018

equipped with a wide range of sophis-ticated equipment.

Arriflex has appointed BRUCE

HARRIS sales manager. He was for-merly assistant sales manager at thecompany.

RUBIN SCHAPIRO and HOWARD

SCHALLER have joined Van PraagProductions Inc. as sales repre-sentatives.

JOHN F. HIGGINS has joined Man-hattan Sound Studios as a mixer.He was previously with UnitedRecording Laboratories.

American International Tele-vision Inc. has named RICHARDO'CONNELL its Midwest Division Man-ager, RAMON ESPINOSA its Westernmanager and RACHELE BARRERA asPrint Traffic Manager.

O'Connell was with RKO Picturesbefore joining American Interna-tional and Espinosa sales managerfor the Spanish-speaking tv stationin Los Angeles.

EDMUND R. ROSENCRANTZ has joinedthe law firm of Gettinger & Gettinger.He was formerly assistant to theexecutive vice-president of EmbassyPictures before coming to the lawfirm.

MCCANNON FROST COLLIER

TOPIC OF CONVERSATIONThe four David Frost Presents spe-

cials were the topic of conversationat a recent get-together (above) ofDonald H. McGannon, president ofWestinghouse Broadcasting Co.;David Frost, tv personality from Eng-land; and Chet Collier, president ofWBC Productions Inc. and WBC Pro-gram Sales Inc. The Group W sta-tions will show the one -hour specialsand they will be syndicated to othermarkets. The first show will be avail-able May 15.

WITHTUNGSTEN

LIGHT

WITHSYNCEDSTROBE

NEW MOVIE TECHNIQUE

A West Coast photographer andcommercials producer has successful-ly synchronized high speed strobelight with a motion picture camerashutter. The technique has been per-fected by Sid Avery of Los Angeles,co -creator of the screen titles for suchfilms as Our Man Flint, The Collec-tor, Fantastic Voyage and Gunn.

Avery has synchronized a strobeunit, which flashes at 1/20,000th ofa second, with a movie camera atstandard film speed of 24 frames persecond. As a result, powdered deter-gent pouring from its package hasspectacular reality.

What shows up on the film is afull color image with such needle-sharp precision that any frame canbe blown up for use in a supplemen-tary print campaign. What shows upon the screen is a normal movie ofa subject in motion, but without anyblur and with detail never beforeseen in a motion picture, Averyclaims. For slow motion, he can speedup the camera to 360 frames per sec-ond. Theoretically, he could go on upto 10,000 fps.

FESTIVAL JUDGING UNDER WAYJudging for this year's American

Tv Commercials Festival will takeanother month to complete. The eventhas drawn a record number of 2,064entries, the first time the total hastopped the 2,000 -mark. The judgingbegan Feb. 15.

The coveted Clio statuettes will be

presented to the winners in the tv,radio and international competitionsWednesday evening May 22 in NewYork's Philharmonic Hall at LincolnCenter. A full day of showings will

precede the award ceremonies. A To-ronto presentation is scheduled forMay 27 and a Chicago AwardsLuncheon will be held May 29.

rt


i

Wall Street ReportMoneymakers vs. moviemakers.

As the annual Oscar award -time rollsaround, both movie -buffs and invest-

ors re-examine the motion picturecompanies with a critical eye. And

from both perspectives the view is,becoming increasingly critical.

One of the unusual developments;faced by corporate film makers isIle growth of competition fromseveral different sources./One is the increase in "new wave"

movies being produced not only inthe U.S. but by foreign producersgaining recognition in the U.S.

The second is the determination oftv networks to enter the film produc-tion business.

Both ABC and CBS have an-nounced such moves although it re-mains to be seen whether the U.S.anti-trust department enters any ob-jections to the trend.

Worried about sex. One reasonfor the latter move is the obviousconcern by the networks whether the"new wave" movies, which often em-phasize sex or, in more recent in-stances, sexual aberrations, will beconsidered wholesome fare for themagic lantern in the family livingroom.

and, in some cases, a portion of fu-ture revenues.

Worldwide syndication. The Sev-en Arts agreement covers worldwidesyndication rights on the films. But20th Century earlier had received$20.4 million for network telecastby NBC on 106 of the films.

Finally the company contracted tolicense ABC and CBS to show 53pictures made between 1953 and1965 for $34.3 million. Thus in thelast dozen years, 20th Century Foxhas realized $137.3 million for itsinventory of films strictly from tv.

Now 20th Century has in inventory42 pictures released to theatres sinceth middle of 1964 and 56 pre -1948films on which tv distribution rightshave expired. In addition, it hasseveral hundred pre -1953 films.

Erratic success in tv. In a com-pletely separate operation the com-pany produces special films for tvuse. In this area, 20th Century hashad erratic success. In the year endedDecember 1966 the company lostapproximately $4.1 million.

But in the first half of 1967 thecompany had a profit of $1.1 millioncompared with a loss of over $200, -

Five-year Summary of Twentieth1962 1963

Century -Fox Film

1964 1965

Corp.

1966

Revenue (millions) $96.3 $102.9 $114.9 $162.6 $227.5

Film (millions) $79.8 $93 $97 $120.8 $164.7

Tv (millions) $10.3 $3.8 $13 $33.4 $52

Per share $(6.80) $1.56 $1.96 $2.01 $2.14

Div. None (2%) None (4%) 20¢&4% 33¢&4% 51¢&2%Price 6%46% 8%-16, 9%-13% 11-16% 12-18/8

A good illustration of the impor-tance of television to the industrywas supplied recently by 20th Cen-tury -Fox when it sold $28 million ofdebentures to reduce its bank bor-rowings and increase its workingcapital.

Between 1956 and 1960 20th Cen-tury licensed 440 pre -1948 featurefilms to NTA for $34.2 million.Thirty were sold outright and therest licensed for tv viewing until1977.

Then, between 1961 and 1967 thecompany licensed 1,095 more pic-tures to Seven Arts Associated Corp.for 10 -year periods for $48.4 million

000 in the first half of 1966.A breakdown of revenues for 1966

indicates that the release of featurefilms for tv use accounted for 14.2per cent of income while incomefrom film series produced speciallyfor tv accounted for 23.2 per cent ofthe corporate income.

In the first half of 1967 the re-lease of feature films accounted foronly 4.7 per cent while the tv filmseries represented 20.6 per cent.

Theatrical films still tops. Ofcourse the production and commer-cial release of films remains theprime activity of the company, ac-counting for 58.2 per cent of all

revenue in 1966 and more than 70per cent in the first half of 1967.

Over the past 10 years the com-pany has released 334 feature lengthswhich includes films made by thecompany itself as well as those fi-

nanced for production by independ-ent film makers.

While 20th Century, like the othermajor producers, is barred from own-ing theatres in the U.S. it does oper-ate many outside the U.S. It hassubsidiaries with interests in over260 theatres in Australia, SouthAfrica and New Zealand.

Gross receipts and profits fromSouth Africa have been rising steadi-ly, accounting for over $36 millionin revenues and over $1 million inearnings in the past two years. Theexperince in Australia and New Zea-land is similiar although the revenuesare not as large.Other operations. 20th also oper-ates a music publishing firm, foodand soft drink catering facilities,owns station KMSP-TV Minneapolisand derives income from its royaltyinterest in oil and gas produced onits Los Angeles property.

In addition to the sale of films,the company also sold its 284 acresite in L.A. in 1961 for $43 millionin cash. That was the year the com-pany was faced with the lossesmounting from Cleopatra. Some 78acres were leased back for 99 yearsat a rental of $1.5 million plus.


Scenes from two specials sponsored by Pittsburgh National: Burl Ives chats with host

Mery Griffin; right, Israel's David Ben Gurion in documentary, "Who Are The Jews?"

Local bank builds business and image via tvHow does a commercial bank, in a

highly competitive area, with a mod-est advertising budget go aboutmaking its name a household word-subtly?

The Pittsburgh National Bank notonly brought their message to anaverage of 600,000 viewers but builtup a cultural image compliments of aseries of specials, The Pittsburgh Na-tional Hour, which permitted them toslip into viewers' homes rather grace-fully.

The color series, which consists ofmore than 20 tv firsts, includes vari-ety hours, theater adaptations, sym-phonies and documentaries. The pro-grams are also bolstered by suchaudience-nabbers as Mery Griffin,Mike Douglas and Vanessa Redgrave.

Thomas W. Gormly, senior vicepresident and head of the bank's mar-keting division, explained that thedecision to sponsor the specials wasessentially an economical one.

"Most major tv advertisers, localor national," Gormly pointed out,"face the problem of getting maxi-mum value from their tv advertisingdollars. Our own challenge was fur-ther dramatized by the fact that Pitts-burgh is a highly competitive bankingmarket with local banks vying forsuperiority in effective mass com-munications.

"We met the challenge by sponsor-ing the new series of specials, pro-duced by the Westinghouse Broad-cast Company."

The Group W specials which beganon October '67 with an animated ver-sion of the operetta Ruddigore are

being aired on KDKA-TV. Of thosealready shown, all have outpolledtheir competition, according to ARB.One show, the Mery Griffin Christ-mas Special grossed a 32 rating anda 63 share.

All of the 20 shows are slated forprime time on weeknights to reachmiddle and upper -middle incomefamilies. The exact time period ismore flexible. For the main showsare aired between 7:30 and 8:30 pm,but a documentary on Russia ranfrom 9 to 11 pm and the future AsYou Like It with Miss Redgrave willlikewise run for two hours.

During all of the progams the,bank has curtailed the number ofcommercial interruptions. 'Our pol-icy," Gormly explained, "is not touse all of the commercial time avail-able in the series for advertising.Fewer commercials help the shows toflow more smoothly and increasesthe viewers' enjoyment. Our object isto reach maximum viewers withoutalienating them." The Redgraveshow, for example, will devote lessthen five of its 120 minutes to com-mercials.

In addition to the letters of praisefor the series that have come to thebank and KDKA-TV Mr. Gormly ex-plains that the series "adds 20 to 25rating points to the bank's spot sched-ule during the weeks the programsare aired." Mr. Gormly estimates thateach program reaches an average of600,000 viewers. The bank's currenttelevision efforts were developed byits advertising agency, Ketchum, Mac-Leod & Grove Inc. in Pittsburgh.

News f ront (From page 21)

Interestingly, however, Wurtzelpicked an untried man to do the Vir-gin Islands commercials, which ranin Washington in December and arenow running in New York. He is LenSteckler, who made a reputation as astill photographer and had, shortlybefore Wurtzel tapped him, set upDimension Productions with Bill Un-ger to do tv work. "His photographshad a beautiful, gemlike quality and

I wanted that for the Virgin Islands'campaign."

Olympic convinced them. Lamperthas had the Virgin Islands accounfor four years, but it took the Olypic campaign to finally convince tclient that tv was worth trying. Theris little doubt that if Lampert is sucessful with its current tourist aand the upcoming Hanes drive, iwill result in substantially moreefforts by the agency.

Lampert is now billing well ove$7 million compared with about $3million in the summer of 1966. Itgrowth has led to a number of xna&agement changes. In addition to

those previously mentioned, two vicepresidents and account supervisors-Peter Diamandis and Irwin Barnett-were promoted in January to sen-ior vice president.

Diamandis became director of cli-ent services and Barnett director of

media, merchandising and promo-tional services. Executive vice presi-dent Mill Roseman was named to thenew post of chairman of the creativeplans board.

The board also consists of Lam-pert, Zamichow, Diamandis, Barnettsiand Wurtzel. All except Wurtzel aretestockholders.

Shot after midnight. Reviewing the

agency's recent history, Zamichowsaid: "We've passed over a big hurdleand when I look back I realize sud-denly what a big job we took on.When we were shooting the firs. ,Olympic commercial we had to do itafter midnight, because no planeswere available during the day.

"I can still remember going out to lthe airport with Bill Wurtzel. I asked9.

him if he had ever done a commer- 5cial before and he said, 'No.' And he I

asked me the same thing and I said,'No.' It was all in fun, of course, butbelieve me, we were worried."


TELEVISION AGE,0

0

1

I' he reps are jogging steadily alongwith their computer programs,

but there's no sign anyone will burstinto a run. The course holds too manyhurdles for that.

First of all, comes the almost ob-vious chore of training personnel towork with the computers. This takestime, and besides, the human elementis known to resist change. Then too,there is always the problem of whatto do when you have to use vender'sequipment differently then originallyplanned. This, one rep maintains, isone of the most persistent headachesof the system. Another spokesmanreports the often difficult task ofmatching computer equipment thatcomes from different sources. Thenthere are all sorts of tests and "de-bugging."

Yet, despite all the obstacles, thereps are enthusiastic.

A spokesman for Blair noted "theyare continuing an extensive explora-tion of computer application." MartyGoldberg, vice president/research atH -R, explains that the computerserves a two -fold function there.

"We are presently using the IBM360," Goldberg explained, "in bothaccounting and research functions."H -R is using the 360 for researchtabulations, rate card and competitiveanalyses as well as for cpm, demo-

r

f


MARCH 11, 1968

a review ofcurrent activityin nationalspot tv

graphic tabulations and general ac-count work.

"We are still aiming at our longterm goal," Goldberg stressed, "fora data -communication system." Thissystem,, when 'put into effect ("possi-bly late this year or early in '69"),would not only have each station andoffice connected with each otherthrough the computer, but would alsohandle inventory control and therapid-fire transmitting of availabili-ties.

"It is not a question of pressureto beat other reps to the punch," onespokesman explained. "We are mov-ing at our own pace," Blair reports."We have been interested in compu-ters for several years and this has

At SSC&B, Inc., New York, Ira Gon-sier was named vice president anddirector of media operations.

REPORT

enabled us to keep on top of thesituation."

Katz is equally confident. Theynote that most of their computer pro-grams and systems, which required24,000 man hours, are 100 percenttested and in actual application. Atpresent, Katz is working on conver-sions with their stations.

The reps agree that the worst thingthey could possibly do at this timeis to pre -judge the computers. "Iwon't say a thing," one rep insisted,"until I see that first office circuitin operation."

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

Allen Products Co., Inc.(Weightman, Inc., Philadelphia)This company's Alpo Pet Foods divisionwill test market three new varieties ofdog food in Miami starting at issuedate. Fringe and day minutes will beused throughout the spring quarter forCHOPPED BEEF, CHOPPED HORSE -MEAT, and SAVORY STEW. Jim Eganis the contact.

American Home Product., Inc.(Young & Rubicam, Inc., N.Y.)A four -week flight for CHEF'S FROZENPIZZA will be in 35 markets throughApril 3. Early and late fringe 30s willbe used. Theresa Chico is the buyer.

45

Andrew Jergen Co.(Cunningham & Walsh, Inc., N.Y.)Late fringe piggybacks and some minuteswill carry JERGEN'S LOTION intofrom 50 to 60 markets through mid -April. Buying is Ed Grey.

Armstrong Cork Co.(BBDO, Inc., N.Y.)March 18 is break day on a buy forOAKITE. Day and fringe IDs will beused to reach women for 11 weeks inNew York and for five weeks in Boston.Hal Davis is the contact.

Bristol-Myers Co.(Young & Rubicam, Inc., N.Y.)A 13 -week buy for WINDEX breaksMarch 18. Early and late fringe 30s andminutes will carry the message towomen in Rockford, Erie, Salisbury, LosAngeles, Bakersfield, and Yuma. JeanMaraz is the buyer.

California Canners and Growers(Cunningham & Walsh, Inc., SanFrancisco)A seven to eight -week schedule forHEART'S DELIGHT PACK breaksMarch 18. Minutes will carry the messagein 30 markets. Buying is Evelyn Klein.

Chattem Drug 'Co.(Street & Finney, Inc., N.Y.)A five -week schedule for PAMPRINbreaks March 24. Early fringe and dayminutes and 30s will be used to reachwomen in 90 major markets. Buying isDorothy Bárnett.(Continued on page 48)

WDTVCOVERING A

VITALarea of

Central W. Virginia

WDTVFAIRMONT,

CLARKSBURG,WESTON,

WEST VIRGINIA.John North Vice Pres. & Gen. Mgr.

Represented byNational Television Sales, Inc.

Peter Storer (center), president, and Francis P. Barron (right), executivevice president, both of Storer Tv Sales, Inc., watch as James E. Gerity, Ir.,president of Gerity Broadcasting, signs the rep firm as his national salesrepresentative for WNEM-TV Flint -Saginaw -Bay City, Mich.

H -R Chairman RetiresA shift in the line-up of top

management at H -R Represen-tatives and H -R Television, Inc.,

1IEADLEY REED

New York, was announced re-cently, the result of the earlyretirement of Frank M. Head-ley, founding partner, chairmanof the board, and treasurer.

Headley, who left the repfirm for reasons of health, con-tinues to serve in an advisorycapacity.

Dwight S. Reed, formerlypresident of H -R Representa-tives and executive vice presi-dent of H -R Television, wasnamed to succeed Headley aschairman of the board.

James M. Alspaugh, formerlyexecutive vice president of H -RRepresentatives, replaced Reedas president of that company.

SHURICK ALSI'ACUII

Edward P. Shurick, presidentof H -R Television, assumed ad-ditional duties as treasurer oboth companies.

IN SIOUX CITY IOWA

K1IICIJ

a IIII'g -aWatt of

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


One Buyers's Opinion . . .

GIVE THE BUYER A HAND!

One of the major frustrations of this business is that it's packed withunfulfilled gratification. Manufacturers get to see their finished prod-uct; but we, as buyers, actually see very little of the effect of the fruitsof our labors.

If sales for our brands go up, how much of this success is due to agood media plan or buy? This, of course, is unknown and unmeasurableat this time. As we all know. it's difficult enough to attribute any por-tion of marketing success (or failure) to advertising, much less media(With so many variable components in the marketing mix-sales pro-motion, distribution, personal selling, point -of -purchase, packaging-it would appear that advertising's contribution to sales will never beaccurately gauged) !

Meanwhile, we media men continue to grope in the dark with ourgross rating points, our reach -and -frequencies, etc., never really know-ing whether a 4.3 frequency rather than a 2.9 frequency will justify theadditional cost required to achieve that level; or, to put it in morerealistic terms, how important media and the judgment of the mediabuyer is to the success or failure of the brand's campaign.

So, some buyers are a frustrated lot. They must be satisfied with whatcan be measured-the schedules they buy. Now, what does this meanto the rep? It could mean quite a lot, if he knows his buyers well-if hecan sort the buyers who are really interested in media "result areas"from those who couldn't care less.

The rep has the power to alleviate, to a degree, the frustration of thebuyer who really wants to know what he's contributed to the advertiser'seffort-not by measuring the impossible, as previously discussed-butby providing the buyers with the accolade that should accompany agood buy.

Obviously, the rep can't tell the buyer what effect that "big reach"spot had on awareness or sales, but he can tell the buyer that, from his(the rep's) standpoint, the buyer made a "good buy" (irrespective ofwhether or not that rep's station was bought). Not "puffery," just ac-claim of a good buy.

Drawing from my own personal experience, reps are practicing thispolicy less often than they once did. The good buy is quickly forgottenafter the rep receives his competitive information.

It's been quite a while since I last heard, "I'm sorry you didn't pickus up, but what you did buy looks like a real great buy!" (I don'tthink that it's because I haven't made a great buy recently, incidentally.)

Buyers, like everyone else, need confirmation that they're doing theirjobs well. The opinions of professionals who sell time can provide thatconfirmation. The seller who alternates his column with mine calls forgreater mutual understanding between the buyer and the seller. Givingrecognition to a good buy could be a step in the right direction. So thenext time a good buy is made, give the buyer a hand!

iF iF iF

Speaking of frustrations, I'm certain that many of my associates sharemy delight with the new uhf stations entering the San Francisco market.This market, like several others I could mention (but won't-they knowwho I mean), has become unbearable to buy. Costs are no longer impos-sible; they're downright prohibitive! And sometimes you can't even geta schedule on a station, no matter how much you're willing to pay.

It appears that uh f s are becoming more and more a dominant factorin keeping the cost of impressions down to reasonable levels, and I forone am willing to lend them a hand.

ITS' HERE

WDIO -TV's

EXPANDED

NOW: FOR YOU!WDIO-TV gains 40,000 additional TV homes withthe addition of its VHF Satellite, Channel 13, inHibbing, Minn., August 31, 1967. The combina-tion of its two grade A signals assures advertisersthe largest primary coverage available of any TVstation in the market.

Duluth -Superior GrowthSince November, 1963, the investment fortaconiteplants and related industries alone has risen tomore than $1 billion ... making Duluth -Superiorone of the nation's hottest markets.

New PerformanceWDIO-TV today is a major market consideration,in fact, dominant in many specific time periods.(See your research dept. for details.) Also seenin surveys is WDIO-TV's steady growth since itsairdate in January, 1966 -growth. accompaniedby a competitive decline in audience.' For totalDuluth -Superior delivery you need all four ofWDIO-TV's media ingredients- its documentedrise in popularity- its increasing area strength-its dominance in technical facilities -andWDIO-TV's undeniable superiority in primary andsecondary coverage.

ANSI or ARB November. 1966 vs. November, 1967.See Metro Share-Sunday thru Saturday 10:00-10:30 p.m. LOCAL NEWS. Audience estimatessubject to limitations of reports.

DIO.TVDULUTH

and WIRT-13 HibbingDuluth -Superior's Totally Equip-ped True -Color StationRepresented

by

AVERY-KNODEL, INC.


Spot (Continued from page 46)

Coca Cola Co.(Marschalk, Inc., N.Y.)A six -week buy for HI -C breaks April 22in 180 markets. Day and early fringepiggybacks and some minutes will beused in "Pop 'n Pour An Instant Party,"promo with K lloggs' POP TARTS.Buying is Rose Mazarella.

Continental Baking Co., Inc.(Ted Bates & Co., Inc., N.Y.)Commercials for PROFILE BREAD breakat issue date. A four to six weekschedule will use day and late fringe.minutes and prime 2Os in 35 markets.Dan Monahan is the contact.

Corn Products Co.(SSC&B, Inc., N.Y.)Commercials for RIT DYES will be in10 west coast markets through June 23.Day 3Os will be used to reach womenand teens. Peter Wolfe is the contact.

General Electric Co.(Clyne -Maxon, Inc., N.Y.)Spring promo for various G -E appliancesbreaks April 1. Day, fringe, and someprime minutes will be used through April10 in about 25 markets. Buying isferry Oramegna.

General Foods Corp.(Benton & Bowles, Inc., N.Y.)Kids are the target of day and earlyfringe minutes in a three-week buy for

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

I MICH. I

aula,

It MO NI1011A .I°:

IINI (A11R

w1 Grand Rapids

L. R, 1DA a", .

Koloa .00own

YAM

N1IM ". n1Wa 9N ,VLü

NYfNu1 _Ottl-- lb dNUKI n1M 41*

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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.

.%/e /idyl1 311.1 ill 10 .4RADIOUNZO NMAMA/DD-RAIIL( ANTICWIIA GRAND RAPIDSNUM GRAND RAPIDS KALAMAZOOWWII/ AM COMA,'

TELEVISIONW110.IV GRAND RAPIDS KALANAZ00WWII// CADILLAc IRAVIIST CIII

WWDGfl SAull PE MARIENDLN"41711"GN(RATAA

RAND ISLAND, NEO

WKZO -Tv100,000 WATTS CHANNEL 3 1000' TOWER

SEMdE.. E. Seth Kelowna°. and Grand DyldeIr Ornato W Mldhla,

AI err -Kn,d.l, Inc., [W.I. Nacional R.P,o,.lari.A

POST ALPHABITS. Spots will be inabout 103 markets through March 25.Buying is Mike Morris.

General Mills, Inc.(Dancer -Fitzgerald -Sample, Inc.,N.Y.)Commericals for FROSTED CORNBURSTS carry the message into 30major markets through late March. Dayand fringe minutes and 30s will be used.Kenneth Lagana is the buyer.

Gordon Foods, div. SunshineBiscuits, Inc.(Harris & Weinstein, Inc., Atlanta)Commercials for various products willbe in 15 markets through early April.Prime 20s and IDs are being used.Mary Chautin is the contact.

Howard Johnson Co.(Harold Cabot & Co., Inc., Boston)Commercials for HOWARD JOHNSONRESTAURANTS' CHICKEN FRYPROMOTION will be in 15 marketsthrough early April. IDs will carry themessage exclusively. The buyer isJohn B ades.

Ideal Toy Corp.(Grey Advertising, Inc., N.Y.)An eight -week buy for this company'stoy products breaks early April. Dayand early fringe minutes and piggybackswill be used in the top 20 markets.Buying is Marge Swallow.

Kinney Shoe Corp.(Frank B. Sawdon, N.Y.)A three-week flight for KINNEY SHOESbreaks March 21. Early fringe minuteswill be used to reach women in over50 markets. Buying is Gale Gilcrest.

Lever Bros. Co.(Ogilvy & Mather, Inc., N.Y.)Commercials for DOVE BEAUTY BAR,DOVE LIQUID, IMPERIAL MAR-GARINE, and FINAL TOUCH FABRICSOFTENER will be in up to 100 marketsthrough July. Early and late fringeminutes, piggybacks, IDs and prime 2Osare being used. Tony Nacinovich is thebuyer.

Liggett & Myers Tobacco Co.(I. Walter Thompson Co., N.Y.)Commercials for CHESTERFIELD 101will be in six scattered markets throughmid -April. Fringe minutes will carry themessage. Leni Salz is buying.

Lord Abbot Mutual Fund(MacManus, John & Adams, Inc.,N.Y.)This company has a 13 -week test breakingMarch 15. Early and late fringe minutesand prime 20s will be used in SiouxCity and Boise. Buying is Stuart Delema.

Maidenform, Inc.(Norman, Craig & Kummel, Inc.,N.Y.)A four -week flight for MAIDENFORMbras and girdles breaks March 18. Womenare the target of day and fringe 30s inover 30 markets. Gary Ahr ns is thecontact.


I

' Profile . HOWARD FIELDS

9

Sed,

fa)

)a)

1P

3fí1

lEi

in

Howard Fields wears two hats.Not only is he the recently ap-

pointed vice president and mediadirector for Katz, Jacobs & Co., NewYork, but he serves as an accountsupervisor as well. Prior to his ap-pointment three months ago, Fieldswas a one -hat man as account super-visor for the growing young agency.

"My whole 17 -year cycle in thisbusiness has been a rather unusualone," he points out. Fields began inthe mail room of a New York adagency and upon the advice offriends who knew his ultimate ambi-tion to be an account man, he workedhis way into the media department.

Fields began as a media checkerand then became a buyer. When he(left to become an ad director for Air -Italia Airlines he was, as friends pre-dicted, a full-fledged account execu-tive.

When Fields decided he wantedack into the ad world, some 18

months ago, he joined Katz, Jacobs& Co.

"The growth of the agency and myown media background made me thealmost logical choice when we beganooking for a media director," Fields

explains. "And while I have justswung back into media, so to speak,

I still supervise several accounts."As he becomes more involved with

media, Fields anticipates that he"may have to give up some of theaccounts." But, he adds, "I hopenever to lose account work complete-ly. I enjoy it too much."

To stretch his clients' dollars, Fieldsis currently testing local market buysfor "Duro-Lite" decorator lightbulbs. The tv campaigns in Washing-ton D.C. and Cleveland mark theclient's entry into the medium.

"What we have done," Fields ex-plains, "is to 'buy' a local personalityin each of these two cities and havethem tape commercials for variousspots in their markets."

In addition, each of the local per-sonalities makes live on -the -air de-liveries for several of the client'sproducts. "In this way," Fields pointsout, "we establish an effective rota-tion of the multitude of products that`Duro-Lite' has to offer."

To date, the idea of using a localpersonality to stimulate selective mar-ket business has proved quite effec-tive, according to Fields. Not only interms of sales, but in regard to newand reopened accounts.

Fields is also contemplating a firsttime out Fall saturation buy in NewYork for another client.

"So far, contrary to what otheragencies seem to feel, the first quarterhas been an active one," Fields pointsout. "Our own forecasts have heldtrue, even though there is a bit ofconservation in certain industries."The good first quarter, Fields states,"is probably due to the fact that wehave a varied client roster. If one ortwo clients have tended to be conser-vative, others have more then madeup for them."

The agency's clients include, a-mong others: Artolier, division ofEmerson Electric Lighting; EvascoPharmaceutical; Warner Davis Phar-maceuticals and Playboy magazine.

HERBERT D. FRIED was named presi-dent of W. B. Donner & Co., De-troit. Former president, w. )3. DON-NER assumed the post of boardchairman and remained chief ex-ecutive officer. ALBERT SALTER andEDWARD TRAHAN were named s-niorvice presidents.

RICHARD W. BOWMAN Was electedpresident of Marschalk, New York.Bowman who was formerly creative

BOWMAN

director and chairman of the ex-ecutive committee of Norman, Craig& Kummel succeeded WILLIAM FREEwho left to form his own agency.


Agency AppointmentsROBERT T. BUTLER Was elected vice

president and account supervisor ofN.W. Ayer, Philadelphia. WILLIAMT. HAZARD joined the agency's NewYork office as an account supervisorfor the Electric Companies Advertis-ing Program.

KENNETH B. HURD, JR. joined CarlAlly Inc., New York, as account su-pervisor on the American HomeProducts account. Hurd was form-r-ly with Gaynor & Ducas, Inc.

BARRY J. NOVA, vice president atLennen & Newell, Inc., New York.was named management account su-pervisor. Nova is responsible for theConsolidated Cigar account.

ROBERT G. RALSKE was appointedvice president at AC&R Advertising,Inc., New York, a subsidiary of TedBates & Co. Ralske was formerly anaccount supervisor.

LAWRENCE E. WILSON and ROBERTW. BIDLACK, JR. were named vicepresidents of Caldwell -Van Ripper,Inc., Indianapolis. Wilson was for-merly a senior account executive;Bicilack an account executive.

JOHN E. SUTTON III was named aclient service executive at Chirurg &

SUTTON

Cairns, Hartford. Sutton was former-ly an account executive with Wilson,Haight & Welch.

CLIFFORD RAY was named vicepresident and BERT RANDOLPH SUGARappointed vice president, director ofmarketing at Street & Finney, Inc.,New York.

JOSEPH A, LEVY, account executive,was appointed vice president ofHelitzer Advertising, Inc., New York.

49

1

1

Spot (Continued from page 48)

Mars, Inc.(Ted Bates & Co., Inc., N.Y.)An eight -week buy for UNCLE BEN'SRICE breaks at issue date. Fringeminutes will be used in over 50 majormarkets. At the same time, a six -week buyfor various MARS candy products getsunderway in about the same number ofmarkets. Early fringe and day piggybackswill be used for the candy. RichardPike is the buyer.Miles Laboratories, Inc.(McCann-Erickson, Inc., N.Y.)This company is testing several newproducts in Seattle and two other markets.A 10 -week buy will use fringe minutesthrough mid -May. Harvi Toledo buys.

National Sugar Refining Co.(Warren, Muller, Dolobowsky, Inc.,N.Y.)This company's PDQ powdered chocolatedrink has an eight -week buy startingMarch 25. Women and kids will be thetarget of day and fringe minutes inSpokane, Wichita, and Detroit. Buyingis Charles O'Donnell.

Procter & Gamble Co.(Benton & Bowles, Inc., N.Y.)Spring quarter activity for CHARMINtissues breaks at issue date. The fullyear buy will use fringe and day minutesin five northeastern markets, to reachwomen. Buying is Barry Maugham. A buyfor PRELL CONCENTRATE will useearly and late fringe piggybacks in the

Who's Who

in Des Moines

Television?

COLORFUL 13 DES MOINES, IOWA

glálx Represented Nationally by Peters, Griffin, Woodward, Inc.

top 25 markets for the full year.Robert Hinson is the contact.

The Scholl Manufacturing Co.(N.W. Ayer & Sons, Inc., Chicago)Four -week flights for DR. SCHOLL'S footproducts begin April 1, May 27, July 15,and September 9. Early and late fringe30s and some IDs will be used in 37markets. Buying are Selma Lockeand Peg Coty.Shetland Co., Inc.(Weiss & Geller, Inc., N.Y.)A six -week buy for SHETLAND-LEWYThome appliances starts April 15. Fringeminutes and prime 30s will be used in25 markets. Jack Geller is the buyer.

Media PersonalsRALPH J. NEUCEBAUER N as pro-

moted to media director at Dancer -Fitzgerald -Sample, Inc., San Fran-cisco. He was formerly a mediasupervisor.

DANIEL R. FINEBERC joined Krup-nick & Associates, St. Louis as di-rector of media and market research.

COCKRUM FINEBERr.

Fineberg was formerly with GarducrAdvertising. ELOISE COCKRUM Waspromoted from time buyer to mediamanager.

JAMES J. O'ROURKE, formerly a

media supervisor, was elected vicepresident in charge of media forBuchen Advertising Inc., Chicago.

SONDI DUNN, formerly a buyer atBBDO, Inc., joined Helfgott &

Partners, New York, as senior mediabuyer.

PETER J. DALTON joined GardnerAdvertising, New York, as mediadirector. Dalton was formerly vicepresident and media director atWest, Weir & Bartel, Inc.

Two Fill Codel PostsFollowing the announcement by

Edward Codel, senior vice presidentof The Katz Agency, Inc., that he will

retire next July, Tod Moore and JohnKatz were named to assume responsi-bilities for station relations and newbusiness development for Katz Tele-vision and Katz Radio, respectively.

Codel, .who retires in order to par -participate in education and publicaffairs, will remain a consultant tothe company and a member of itsBoard of Directors.

it l Television Age, March 11, 196

itP

}7n

Rep ReportCHARLES F. THEISS and JOHN D.

LIVOTI joined the New York tele-vision sales staff of Avco Radio Tele-vision Sales, Inc. Theiss was former-ly vice president and general salesmanager at Hollingberry. Livoti wasan account executive at H -R.

FRANK DEMARCO joined the salesstaff of Katz Television and EDWARDCODEL, senior vice president, an -

DEMARCO

nounced his retirement effective July4. DeMarco was formerly a memberof the tv sales staff at Hollingberry.

JOHN A. WERKMEISTER joinedPeters, Griffin, Woodward, Inc. Chi-cago as an account executive. Werk-meister was formerly sales directorwith the National Business ResearchCorp.

ROBERT FINKE WaS named tele-vision sales executive for RKO Gen-eral Broadcasting, Chicago. Finkewas formerly general sales managerof wcMs Washington, D.C.

HERBERT FIELDS was appointed ac-count executive, television spot sales,National Broadcasting Company,New York. Fields formerly held thesame position with the ColumbiaBroadcasting System.

LLOYD WERNER was named accountexecutive for ABC Television SpotSales, New York. Werner comesfrom ABC's spot office in Chicago.

ROBERT C. PATT and RALPH CRUTCH -FIELD were appointed director of

PATT CRUTCHFIELD

marketing and director of researchrespectively at Avery-Knodel, NewYork.

Sinclair Oil, Inc.(Cunningham & Walsh, Inc., N.Y.)Spring activity for SINCLAIR OILbreaks at issue (late. Early and late fringeminutes and 30s will be used in 25selected markets. Buying areBoris Mundt and Mike Raounas.

Standard Homes Products, Inc.(Lois Holland & Callaway, Inc.,N.Y.)Commercials for LESTOIL breakMarch 18. A 12 -week buy will use primeIDs and 30s in 15 markets, includingAlbany, Boston, Buffalo, Cleveland,Hartford, Philadelphia, Pittsburgh,Providence, and Rochester. Jim Callawayis the contact.

Swank, Inc.(Shaller-Rubin Co., Inc., N.Y.)A two-week flight for JADE EAST breaksat issue date. Early and late fringeminutes will be used in about 40 markets.Men will be .the main target of spots insports and news segments. Carolyn Frazerbuys.

Warner-Lambert PharmaceuticalCo., Inc.(J. Walter Thompson Co., N.Y.)Commercials for LISTERINEANTISEPTIC and LISTERINELOZENGES break April 1. Fringepiggybacks will be used in 41 marketsfor ten weeks. Heidi Marlowis the contact.

WOC-TV delivers Crdozrar-1s,,

- il ll llali lli'iy; :.r lt t .111r1

l,lll II'

'.IIrP''

.E t.~1~~" ji,1~~~1 .1

"Si," says Harold Heath,WOC-TV Sales Manager

The thriving New World community of Cordova (Illinois, that is) has alot more going for it than the ancient Cordova of Old World Spain. Anexpanding chemical and atomic energy complex on the Mississippi River,Cordova is typical of the dynamic, affluent Mid -America communitieseffectively served by WOC-TV.Only 18 miles from the Quad -City* mini -megalopolis, Cordova is as closeas Newark, New Jersey to mid -town Manhattan. The Quad -City com-munities are as closely knit together as the boroughs of New York, yet itdoesn't take a complicated media mix to effectively cover the Quad -Citytrading area of 11 million people ... just WOC-TV.Make the right buy for a test market or a total market campaign ... putyour sales messages on WOC-TV. Ask Harold Heath about choice avail -abilities. He'd like to say "Si" to you.

Bellende rl, Iowa - Rock Island-MolineEa,l Moline, Illinois

WOCTV ... where the NEWS is

WOC-TV ... where the COLOR is

WOC-TV ... where the PERSONALITIES are

woc 6SERVING

QUAD-CITIES*U.S.A.FROM DAVENPORT. IOWA

Exclusive National Representative - Peters, Griffin, Woodward, Inc.


Counties with Net Weekly Circulation i50% & over

25-49%

under 25%

'e:AiwNGTGMeHAG£R;TO

FFECKFo;n RALTRM)RC

WMAR CD TVoutcovers the rest . .. with outstanding women's programming

ARB's 1965 Coverage Study proved - as every coveragestudy in the past has proved*- that WMAR-TV gives youcoverage no other Baltimore station can approach.

WMAR-TV topped all other Baltimore stations in bothtotal net weekly and total average daily circulation.

WMAR-TV's Channel 2 signal extended into 51counties of 5 states, more than any other Baltimore station.

WMAR -TV was first or tied for first among Baltimorestations in both net weekly and average daily circulation inover twice as many counties as the other two stationscombined."NCS #1 (1952), NCS .12 (1956), NCS x3 (1958),NCS '61: ARB 1960

Check the figures for yourself:

STATION CIRCULATION SUMMARY

Net Weekly CirculationWMAR-TV STA. A STA. B

Total Week 818,300 752,700 783,800

Counties In Which StationLeads (including ties) 41 7 13

Average Daily CirculationTotal Week 553,000 492,100 500,100

Counties in Which StationLeads (including ties) 39 9 7

COVERAGE LEVELSCounties withNet WeeklyCirculation Co's°

WMAR-TV STA. A STA. B

TV TV TV

Homes Homes Homesin Area Co's° in Area Co's° in Area

50% & Over 19 730,000 16 674,800 17 695,60025% . 49% 9 132,400 7 163,200 4 94,400Under 25% 23 979.700 17 743,200 21 894,400Total 51 1,842,100 40 1,581,200 42 1,684,400

`Counties reported by ARB with Net Weekly Circulation of 5% ormore. Source: 1965 ARB Coverage Study.

All audience measurement data used herein are estimates only.subject to errors and limitations inherent in indicated sources dueto sample size and selections, and other methodological procedures.

WMAR-TV's unique daytime line-up is designed espe-cially for Baltimore women. Programming includes twosuccessful syndicated half-hour segments and proven, long -running, local programs.

DAYTIME PROGRAMS - ALL IN FULL COLOR

DIALING FOR DOLLARS . , . Baltimore's most successful local

television show for over 11 years. Mr. Fortune, Stu Kerr,gives away dollars to each Baltimore area home he callswhere the viewer knows the correct answer. Viewer interestmounts as the jackpot climbs. 9:40-10 AM, Monday -Friday.

TRUTH OR CONSEQUENCES ... an exciting quiz show, popularamong women nationally ... and now in Baltimore. 10:00-

10:30 AM, Monday -Friday.

DIVORCE COURT ... new drama and emotion -packed episodesattract a dedicated audience ... nationally well known and

liked. 10:30-11:00 AM, Monday -Friday.

THE WOMAN'S ANGLE ... hostess Sylvia Scott features ideason cooking, decorating, home management, along with the"Fix -the -Mix" quiz. She also interviews celebrities and inter-

esting guests. 1:00-1:30 PM, Monday -Friday.

No Wonder.... In MarylandMost People Watch COLOR -FULL

WMAR -TVCHANNEL 2, SUNPAPERS TELEVISION

TELEVISION PARK, BALTIMORE, MD. 21212Represented Nationally by KATZ TELEVISION

52 Television Age, March 11, 1968

Next season (From page 27)

one researcher observed, citing TwoGood Guys, on CBS and That's Life,

a full hour comedy starring BobMorse, for which there is not a pilot

yet.The two good guys, a diner opera-

tor and a cab driver, engage in aseries of get -rich -quick schemeswhich never seem to work out. "It'slow level comedy," a Ted Bates pro-gram man noted, "a lot of slapstick,but the lines are bright and funny.I wouldn't place it in the smash cate-gory, but it holds some interestingpossibilities, and, if it's done right,it could be a moderate success."

Observers are less specific aboutprospects for That's Life. "It is sup-posed to be a series of musical com-edy skits centering around a husbandand wife relationship," said a re-searcher at William Esty. "It maybe like the Jackie Gleason show, onlyit doesn't have Gleason. Morse is aproven Broadway personality, butsince there's no pilot, it is hard totell how it will work out."

Trend to longer shows

It is significant, however, that theseries runs an hour instead of theusual half hour allotted to comedy."There's been a push in that direc-tion, in line with the general trendtoward longer shows," said one pro-gram man at Compton Advertising."Desi Arnez is being pressured to dosomething in that vein. But situationcomedy is difficult to sustain at thatlength week after week, and the dif-ficulty has been holding a lot ofpeople back."

Joel Segal, programming punditat Ted Bates (he picked Flying Nunto be the biggest hit this season whenall around him were saying it wouldflop), thinks That's Life is a mostpromising contender, however.

Segal's pick for the big hit thisseason is The Ghost and Mrs. Muir,NBC's Saturday night, 8:30, entryand, by the way, a half-hour show.Discussing the format, Segal said itrelates to another kind of programtrend-"the trend toward the oneparent and a couple of kids type ofhuman interest show, patterned onFamily Affair. It was tried againlast year with Accidental Family andflopped but we think it's a goodform if done well." The Ghost and

Mrs. Muir is based on such a pat-tern, as is the Doris Day Show.

Everyone is waiting for that one.There's no pilot yet, "and we're won-dering whether Day can have asmuch appeal opposite a couple ofkids as opposite Rock Hudson orCary Grant," one spokesman said.But the Day image has got everyoneinclined to believe the show will suc-ceed.

Despite the respectable number ofhalf-hour shows, however, the trendhas definitely been toward the hourif not the 90 -minute variety. "Withmovies at 9:00," Ball explained, "net-works would rather fill the 7:30 to9:00 spot with as few shows as possi-ble, rather than taking a chance onthree half-hour shows." Illustrative ofthe trend, Ball said, was that out ofthose program projects J. WalterThompson had been tracking this sea-son, ABC had 21 projects, 16 hour-long and five half hours; CBS, with15 projects, had eight hour shows andseven half hours, and NBC had 15hour projects and also seven halfhours.

The trend toward longer showshas made itself felt in the new sea-son, even though last year's entry,Cimarron Strip, has fallen by thewayside. "Cimarron is poor not be-cause of length, but just because itwas done poorly," Kenyon & Eck-hardt's programming chief, Rod Er-ickson, explained. "The networks,particularly NBC, show no sign ofdiscarding future use of the form."In fact, NBC will go the route againthis fall with the 90 -minute spinoffof the made -for -television movie,Fame is the Name of the Game.

Success in doubt

Observers don't hold too muchhope for its success, however. "I don'tthink it will work in that time peri-od," said one Benton and Bowles re-searcher. "It's opposite Comer Pyleand the movies, and that may be toomuch to fight."

Another feels the format maycause the show additional grief. "Inform, it's neither a movie nor ananthology. Anthologies have neverproved too successful. If they canpass it off as a movie, they mightsucceed. But I don't think there's toomuch chance of that."

As for the rate of success seen forthe new season, spokesmen look to

the current season as a measure, andit has not been particularly good."The new programs are pretty muchthe same as the old," said Jim Cor-nell, N.W. Ayer program analyst."And this season, out of 25 strictlynew shows, only six have had a 30per cent share. Nine of the 25 earnedless than a 25 share, which makesthem sure candidates for failure.

"Roughly two out of every threeshows have failed over the last threeyears, and the ratio will probably bethe same for the new season." Evenin the promising area of action, Cor-nell is skeptical. "Both Man fromUncle and Girl from Uncle died. ISpy is currently not scheduled fornext year, although there's a chance,like the Avengers, it might be calledfor second season duty.

"Any kind of action adventuremust be exceptionally good," Cornellsaid, "Mannix is below par. WithGarrison's Gorillas, the spurt in wardramas has ended. Star Trek and TheInvaders are not very big successes.But the initial reaction to sciencefiction has always been good. Theonly problem is, shows don't live upto audience expectation."

This season the networks plan totry again, however, with Land ofGiants, Man from the 25th Century,

Taping the WarThe Ampex "VR-3000" back-

pack videotape recorder andcamera was the first of its kindto be used on the Vietnam bat-tlefield, according to Thomas E.Davis, Ampex group vice presi-dent.

The 50 -pound, battery oper-ated unit spent a month in thefield taping battle action as wellas Gen. Westmoreland's Christ-mas message to servicemen andtwo performances of the BobHope Christmas Show for laterairing in Vietnam.

"It was a valuable field testfor the recorder," Davis pointedout. The monochrome unit"functioned perfectly under themost adverse conditions andproved its worth not only as amobile, rugged broadcast re-corder but also as an idealmeans for recording and im-mediate playback of militaryinformation."

iTelevision Age, March 11, 1968 53

The sweep of the RCA TK-43 color cameras on this large set for a furniturecommercial brings out every selling nuance in the scene. "How the Record -Go -Round replaces old-fashioned clutter" is a story well told.

We put a kick in our commercialswith RCA TK-43's! ... Pictures are the sharpest,

colors more vivid, skin tones most natural.

With two mobile units and four TK-43 color cam-eras always ready to take off to points unknownat a moment's notice, LewRon Television, Inc.makes quality with mobility the keynote of theircolor television production service. In their ownwords they "do anything, go anywhere, with thefinest of studio equipment."

The two vans house the complete productionsystem-cameras, control, switching, monitoringand taping. Their RCA color cameras produce thefinest studio quality pictures, under all conditions-whether on location in hot sands of California orin air-conditioned studios of the East.

"The RCA TK-43 color cameras provide the kindof pictures that sell on sight," says Ron Spangler,president of LewRon. "Once we get oriented on ajob, we know it will be a success ... colors aremore vivid ... skin tones are the way skin reallylooks ... pictures consistently sharp. Our clientslike the believability and freshness these camerasgive their commercials."

You don't have to go as far as LewRon goes to provethe superiority of RCA color cameras! Ask your Broad-cast Representative to fill you in on other users. Orwrite RCA Broadcast and Television Equipment, Build-ing 15-5, Camden, N.J. 08102.

-41

The "magical disappearances of King Syrup at the breakfast table" is faithfullydepicted by the TK-43 cameras. Only the hands and the product are seen in the fin-ished commercial, so natural colors-from fingers to golden brown syrup-are a must.

Remote color pickups on tape-com-mercials, sports events and localperformances of any type are han-dled from this color control center.

The two big mobile television vans which LewRon provides foron -location commercials contain a complete production facility.

> Form 31523C

and City Beneath the Sea, on ABC,NBC, and CBS, respectively. All lookpretty good, according to thosewho've seen the pilots.

An additional factor in determin-ing success or failure in the newseason, and one which has been in-creasingly important in the past fewyears, is how well these new showswill do opposite the movies. If the1967-68 season has been the year ofthe movie, 1968-69 will be even moreso, now that NBC has added a thirdone on Monday nights.

Movies criticized

The advent of the movie as a chiefform of tv programming has evokedsharp criticism and much heated dis-cussion. The most frequently madecharge is that tv has abdicated itscreative responsibilities and left thejob to Hollywood. Many observersfeel, that's one of the reasons tv willnot have anything very new or ex-citing to offer next season, and mostare convinced the new shows willhave a hard fight to come out on top.

ABC researcher Cy Amlin sees apossible way to overcome part of thishandicap. "Movies weaken after thefirst quarter and then the shows havea chance to prove themselves. Thismay lead to a pattern of later pre-miers." But he wasn't saying exactlywhat ABC was going to do next sea-son.

Benton & Bowles' Bern Kannerdoesn't think this will do the trick,however. "The biggest thing this sea-son," he said, "has been what movieshave done to the programs oppositethem; they've killed them, in essence.Only the Smother Brothers and DeanMartin have been able to come outon top. All others that premiered op-posite the movies have died, includ-ing some of the old ones like GreenAcres and Hogan's Heroes."

The networks are caught, however,because movies bring good ratinglevels. "Even the worst never orrarely fall below a 30 share," Kan-ner said, "and many large advertis-ers like a buy like that." Kannerand many like him feel tv schedulesburdened heavily with movies leavelittle room for new, different, ex-citing, or innovative product, exéept,perhaps, in the area of specials.

According to one program man,that is where the big news has beenthis season-the only area left open

to creativity. "The incidence of spe-cials is directly connected with theindustry's subconscious evaluation ofits regular programming schedule,"he said. "Regular series don't pro-duce anything exciting."

Network spokesmen feel that spe-cials have just about reached theirsaturation point, however. "Specialscost a lot of money to produce," oneNBC researcher said. "When they gothat high, advertisers get more andmore reluctant to commit themselves.And we are not making as manyspecials ourselves without a previouspromise that some advertiser willbuy. I'm not saying there will befewer specials, but there won't beany more."

Movies defendedNetwork officials don't feel, how-

ever, that specials are the only areain which creative programming isbeing done these days. Furthermore,they don't feel that agency rancorover the preponderance of movie fareis justified. "It is no more wrong totake people to the movies than it isto take them to a football game," as-serted Mike Dann. "It would be greatif we could come up with program-ming better than the features, but it'sdifficult seven nights a week withthe story form. Tv is better at situa-tion comedy or variety, and there'sjust so much of that you can do."

Says Mort Werner, NBC vice presi-dent for programming: "If the pur-pose of television is to deliver to amass audience what that audiencewants, then that is exactly what weare doing, and that is what we are inbusiness to do." The question inmany minds, however, is: does theaudience want movies, or are theymerely popular because there is noth-ing better to watch?

No conflictNetwork officials think the former

is more likely the case. They don'tsee any conflict between creativityand the movies. On the contrary,they suggest the movies may wellhave set off a spark that will lead tomore dynamic programming patterns.

According to Mike Dann, the mostoutstanding trend spawned by themovie has been "a combination effortbetween audience and network inchanging the nightly program struc-ture to as many different kinds ofshows as possible.

"For the first time, the viewer hasbeen forced to make up his mindeach night at every hour, which pro-gram he will watch. It is impossiblefor viewers to lock into fixed view-ing habits in the fall as they havedone for years. This is an excitingdevelopment.

"And it is in large part due to themovies, which differ every night. Ithas put an added burden on the net-works to compete for audience at-tention."

In terms of innovation sparked bythis competition, Werner notes, "Ican't think of anything in the wayof tv programming more innovativethan Dean Martin, The SmothersBrothers, or The Virginians."

Some surprises

Despite the outcry against the

movies, agency spokesmen admitthere have been some surprises thisseason, and possibly a chance formore next fall. In citing attempts todo something different, Ball pointedto The Flying Nun, biggest hit of theseason and biggest surprise for some,Gentle Ben, and the Kra/t Music Hall.

According to one agency man,"Mostsurprising and delightful result thisyear has been the success of CBSPlayhouse, which got bigger audi-ences than originally expected. In

this and other informational showspresented in an entertainment formlies the future of good television, andI'm hoping to see more of it."

Whatever the criticisms of the pastseason or the outcome of the comingone, the viewers themselves seem per-fectly satisfied with network offer-ings. "Viewing has gone up signifi-cantly over the last year on all nightsand in all hours," Cornell reported."This shows that, despite claims tothe contrary, audiences are viewingmore than ever." Cornell cited anaverage of two to three per cent in-

crease in ratings this year, "not par-ticularly earthshaking but significantnevertheless."

Most significant is the fact thatratings went up in all time periods,not just for movies. This coupledwith the fact that popular movies areheavily frontloaded may mean thatthe new shows have more of a chancethan some observers think-if theystand on their own merit. And thereare at least a few that look like they

may. ..

56 Television Age, March 11, 1963¡

T.esearch (From page 29)

That would have to be done for eachImarket and for every column of infor-mation now reported."

The project is, indeed, a prodigiousone. There are many variables toconsider-the number of things beingmeasured, degrees of differences tobe measured, and exactly how muchinformation is required.

Rating size sets sample size

"The ideal sample size is not some-thing that can be flatly stated," said

some-

Chook. "It depends on the size{ of the thing you are trying to meas-, ure. It can be determined by the sizeof the rating you're trying to esti-mate. If only one per cent of thepopulation watches a station, youneed a big sample to get an accuratemeasure.

"It's a question of establishing1 reporting standards. It depends on

the variety of data objectives, eachof which has its own sample sizerequirement. This represents an im-portant judgmental problem. Not allobjectives are of equal importance.One thing is sure, however, the biggerthe samples, the more dependable willbe the figures."

Even if the tv industry could sitdown and establish minimum stand-ards, however, it would still have tograpple with costs. Most agency peo-ple recognize that this problem mayhave brought them to an impasse.

"It would be unaffordable to in-crease the sample in such a way as tosignificantly improve statistical reli-ability, noted Edward Barz, directorof research at Foote, Cone & Belding."As a rule of thumb, you wouldprobably have to quadruple the sam-ple now used to improve reliabilityby 50 per cent. The economics of thething is just not feasible."

Blechta estimates that such an in-crease in sample size would bringcosts up about 3.5 times as high asthey are now. Could the industry payfor it? "Three years ago," Blechtarecalled, "we more than tripled oursample size in major markets.

"ARB did the same thing. Priceswent up from 60 to 70 per cent andwe had tough going for a while. Butsomehow, the industry found a wayto adjust. Whether they can do soagain remains to be seen." Blechtaindicated he was aware of numerous


agency requests for such an increaseand that Nielsen was discussing theprospect. "We have no blueprint forthe immediate future however," headded.

"We've had even more sincere pres-sure from the stations," he noted."After all, when we put a yardstickon their station, an inaccurate biasis money out of their pocket. It ispossible they might be willing to paymore for a larger sample. But on thatsubject, we've had no verbal con-firmation as yet."

One particularly sticky problem,however, is that even if sample sizewas significantly increased, it mightnot improve the value of demographicreports much. The chief reason forthis is that the sampling techniquesnow used have inherent biases whichno amount of sample increase caneliminate.

Telephone -homes -only' bias

The most controversial of these isthe fact that both services selectsample names from telephone listings."We have a telephone -homes -onlybias," Blechta noted, "which impliesupper income families with more tvsets than average. You could go from1,000 to 4,000 and never correct thatbias.

"This is a particular problemamong ethnic groups with a lower -than -average concentration of tele-phone homes. You could have a

Major purchase of transmitter andstudio equipment is jointly announc-ed by Lewis F. Page (left), GeneralElectric district sales manager forconsumer electronics division, andEdward I. DeGray, vice president,Trans -Tel Corp. Latter is permitteeof WXTV Patterson -New York, all -Spanish uhf outlet due to debutJuly 1.

25,000 sample and never reach thesepeople."

Although use of the telephonedirectory as a sampling frame maybe bad theoretically, it is generallyconsidered that from a practicalstandpoint, it would be hard toselect a better frame.

"It would be expensive to get anup-to-date, ready-made, easy -to -uselist of non -telephone homes, and noneare readily available," Blechta said.

"Of course, the ideal thing wouldbe to do a door-to-door canvass ineach market, selecting homes at ran-dom and giving us the added advan-tage of being able to place the diariesin person and explain exactly howthey are to be filled out.

"But have you any idea what thatwould cost? We now spend about 12cents a name. If we worked door-to-door, it would cost at least $12 aname. Now who's going to pay forthat?"

The telephone directory frame isonly one bias to be considered. Theaccuracy with which diaries are kept,the kinds of people who cooperatein the keeping of diaries, (generallyolder women and young housewives),all add additional areas of bias andcontribute to the feeling that increas-ing sample size is not exactly the wayto begin to improve reporting ac-curacy.

Perhaps, it would be better to im-prove within the frame before at-

tempting to increase the measurableuniverse. Indeed, many researchersare beginning to feel that way.

"If we are going to work withinthe frame we now have, and it seemsto me that's where we have to begin,"one media researcher observed, "thechief thing to improve would becooperation rate."

According to Barz, improving thecooperation rate would do much morethan increasing the size of the sample.Currently, Nielsen and ARB report acooperation rate of about 50 per cent.

"The greater the non -cooperationrate," Barz noted, "the more it islikely that those cooperating are nottypical or representative of the mar-ket. There is something differentabout the 50 per cent who don'trespond.

"If the sample returned is a smallfraction of those tried, no matter howlarge the original sample, the resultsare going to biased. It may be skewedtoward middle income, younger, lit -

57

erate, illiterate, depending on whattypes of people would be likely to bemore willing to cooperate in anygiven area of the country."

The objective, then, is to achieveas high a cooperation rate as possibleto assure a representative sample.According to standards set by theAdvertising Research Foundation, arate below 80 per cent involves arisk. Reaching that level would be nomean feat, if it could be accomplishedat all, say the rating services, andthere is not much hope it can be.

"You might increase cooperationfrom 50 to 70 per cent for x dollars,"explained one ARB spokesman. "Butto move from 70 to 80 per cent wouldcost 10 times that amount. It getsharder as you go up, and 90 per centwould be virtually unaffordable."

Nevertheless, Blechta noted thatonly a short time ago the cooperationrate was as low as 40 per cent. "Weincrease gradually, through a processof trial and error, by finding outwhat kinds of incentives work in eacharea, by constantly revising and re-designing our diaries to make themsimpler and easier to fill out. This isa process of self-improvement that isgoing on continuously."

What it boils down to, most spokes-men at both stations and agenciesfeel, is that the industry is not satis-fied with current standards of reli-ability and that many things needimprovement. A start, perhaps, wouldbe to redesign the diaries and con-centrate on producing a higher coop-eration rate. Ways could also besought to find a better samplingframe economical enough to replacethe telephone directory. Finally, theindustry would have to set standardsfor determining minimum samplesizes.

As spokesmen at both rating ser-vices point out, all of this will costa lot of money. How much would bedifficult to estimate until requirementsfor change are established.

More data seems desired

"Someone would have to sit downand cost it all out," one media mansuggested. "Then they would have todetermine how much they are willingto spend and make compromises fromthere." At present, the industry seémsin a mood to take such a step. Sta-tions and agencies have indicated awillingness to sit down and talkabout it.

The first step, Barz suggests, wouldbe for the industry to request thatthe services re-evaluate their currentsampling procedures and indicate inwhat direction they would have to beimproved.

"First, they would have to deter-mine to what degree their findingsdiffer from the findings of the bestpossible source. One technique thatperhaps would provide the most accu-rate information on viewing nowwould be a telephone test interview.

"Then they would have to deter-mine how the current selection anddiary techniques can be modified tomore nearly approximate what theynow know the real viewing levels tobe. It's possible diaries of differentdesign would generate different re-sults, if placed differently, if kept bydifferent people, if kept over a differ-ent period of time.

"It's possible that personally placeddiaries or diaries distributed accord-ing to the number of family membersinstead of the number of sets perhouse, would produce more accurateresults. This is something the ser-vices must test and evaluate. Then wecan sit down and figure out howmuch we are willing to pay."

It all sounds simple, but gettingthe industry to sit down and talkabout anything has never been sim-ple. Miss DaCosta suggests suchgroups as the ARF, Committee forAll -Channel Broadcasting, ANA, etc.,which are currently peripherally in-volved in question of research valid-ity might take a more active leadin this area.

If they do, and if standards canindeed be established, there will stillbe one more question to answer. Whopays? Spokesmen have already madeit clear they expect the services topay for the initial testing.

Agencies take it for granted thatstations will continue to bear themajor part of subscription costs. Butthe stations themselves take the posi-tion that if agencies want more demo-graphic reports, something the sta-tions never wanted to begin with,then the agencies will have to takeon a greater share of the cost.

Deciding that question, Nielsonand ARB sources feel, will probablybe the greatest hurdle they will haveto face. Agencies are not likely tovolunteer more money, and the feel-ing is, the stations will probably getstuck with the bill.

Managers (From page 25)

answering the survey have had more!than 20 years experience in runningone or more broadcast outlets 103medium -size station managers and 16large station managers returnedquestionnaires) .

Overall, 18 of the 231 respondents(7.8 per cent) have more than 20years experience as a station man-ager; only two of these are withlarge stations. Of the latter, one list-ed 23 years and the other, 33.

As indicated, total broadcast ex-perience averages about twice the'span spent as a station manager20.9 years, to be exact. This means -it takes about a dozen years in sta-tion work to reach the top-on theaverage.

This is not bad. It suggests thatstation managers are generally menof first-rate ability. It also suggeststhat talent is quickly rewarded andthat the broadcast personnel environ-ment is mobile.

Finally, the fast move upward alsoreflects the dynamic character andnewness of television. There is lesslikelihood that older executives arehugging their jobs and thus prevent-ing the talented younger man frombreaking through.

Thirty years in broadcasting

Again, this is looking at the arti-ficial average. Distribution figuresgive more detailed insight. For ex-ample, 12.1 per cent of all respond-ents have spent more than 30 yearsin the broadcast business.

The top figure in the survey is40 years, accumulated by a largestation manager. About 30 per centof all station managers have beenin the business 25 or more years. Onthe other hand, only 3.8 per centhave had less than 10 years broadcastexperience.

When data on experience is ex-

amined by station size, averagesshow an expected higher level forbigger stations. The average largestation manager has had about fiveyears more experience than his coun-terpart at a small station and abouttwo years more than the mediumstation chief.

Since (1) the average age of astation manager is 46.5 years, (2)he has spent 20.9 years in the broad-cast business, and (3) he has been


a station manager for 9.2 years, itmight be deduced that he (the aver-age "he") entered the business whenhe was 25 and became a manager at37.

This indicates he tried some otherfields, but it cannot be ascertainedfrom the questionnaire whether hetried before entering the broadcastbusiness or during his upward rise.

Other data on the ages of stationmanagers show that the big stationchief is 3.4 years older than hissmall station counterpart and lessthan a year older than the managerof a medium -size station.

There is a greater variety in theages of small station managers thanin those heading larger stations. Onlyamong the small stations were anymanagers under 30 reported, thoughit is true that the percentage is small-3.7 -

There is also a slightly larger per-centage of small station managerswho are over 60. But there is asignificantly larger ratio of smallstation managers in their 30s-26.8per cent for small stations, 13.6per cent for medium outlets andonly 4.3 per cent far large stations.

Most came from radio

As for background, better thaneight out of 10 of the managers re-ported having worked in radio. Thisproportion applied across all sta-tion sizes.

Sales is the primary backgroundfor station managers. Nearly 43 percent of all station managers have hadtheir primary experience in sales butthis figure is 56.6 per cent for largestations, 44.7 per cent for mediumstations and 33 per cent for smallstations.

Primary experience in program-ming rates second. Of all stationmanagers responding to the survey,27.3 per cent listed this category astheir main background. Again, theratio is higher for large stations,their figure being 32.6 per cent, asagainst 24.3 per cent for mediumoutlets and 28 per cent for small stafftions.

The only other category of experi-ence listed for large station manag-ers is promotion. The percentagehere is 6.5 per cent, about the sameas the level for the other two groupsof managers.

Insofar as this survey goes, no

man whose background is primarilyfinancial or engineering heads up astation with revenue of $3 millionor more a year. But these two cate-gories account for the prime back-grounds of 15.5 per cent of medium -size -station managers and 12.2 percent of small -station managers.

In addition, small station manag-ers come from a number of "other"backgrounds-other than sales, pro-motion, programming, engineeringor financial. There are a couple ofnewsmen, a musician, a film sales-man, an ad agency man and two whodescribe themselves as experienced instation "operations" in this cate-gory. All told, 18.3 per cent of smallstation managers had "other" pri-mary backgrounds.

Personal data reported by sta-tion managers show nothing start-ling. Few are unmarried and the aver-age number of years married risesslightly with station size-from 19.6years for the small station managerto 21.7 years for the medium stationmanager to 22.9 years for the largestation manager. This agrees withthe age pattern previously shown.

Bigger station, fewer children

There is a slight inverse correla-tion betwen size of station managedand number of children sired bymanagers. The average is 2.9 at thesmall station, 2.6 at the medium, 2.5at the large. In the latter two groupsthe difference is certainly not signifi-cant.

Physically, the managers show lit-tle differences from one station groupto another. In each revenue class,the manager averages five feet, 11inches in height. At 176.5 pounds,the average manager of the largestation is slightly lighter than hiscounterparts at smaller stations,where the average is just about 180pounds, and the reason, whatever itis, is not likely to be world-shaking.

A tabulation of the station man-ager's biggest problem showed that"people" are, by far, the majorheadache. This problem was cited by44 out of 82 small station managers,54 out of 103 medium station man-agers and 15 out of 46 large sta-tion managers.

The fact that the proportion ofcomplaints about personnel was low-er at big stations is apparently dueto the fact that they can pay better

and as a result may have smallerturnover.

A typical comment from a smallstation manager: "Although thesalaries we pay are reasonably good,stations in the bigger markets thatsurround us are more appealing toa qualified man. It seems also thatsmall stations are more or less train-ing grounds."

Another manager from a smallmarket says bluntly: "We are con-stantly `raped' by the larger marketstations, who can offer more money."

Another facet is the problem ofsecuring capable engineering person-nel in a small market. Says onemanager: "Competitive industries-aerospace, cable tv, etc.-have ab-sorbed qualified engineers. It has be-come necessary in small markets to`train your own.' This takes time."

Among large market managers,there is the same desperation aboutpeople, but with a different tone.Witness: "My biggest problem is

finding great people at the rightprice."

Another says he's looking forpeople "who are willing tó make er-rors of commission."

Yet another says his biggest prob-lem is "people diplomacy," by whichhe explains he means "thenature of man-horizontal, vertical,inside the station and out."

A common complaint by large sta-tion managers is voiced by one asfollows: "The main challenge iscommunication with and coordina-tion of all departments in order tohave the entire staff working in thesame direction with confidence andenthusiasm."

Second biggest problem

Second among the biggest prob-lems-though a weak second-iscosts. Twenty out of 231 managerscited this factor, half of them work-ing for medium-sized stations.

One manager refers to the problemof "maintaining up-to-date equip-ment" in racing the competition, pluskeeping salaries high enough toprevent people from leaving.

FAZSYSTEMSENGINEERINGCOMPANY

FRANK A. ZOELLERTELEVISION SYSTEMS CONSULTANT

20 Yrs. Experience

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

Television Age, March 11, 1968 5')

Another cites the difficulty of"maintaining a reasonable profit mar-gin in the face of spiraling costs ofproduction, equipment and man-power."

Other problems listed as the big-gest: (1) there are not enoughhours in the day to get everythingdone, (2) too much paperwork in-volved with national spot, (3) stationowners who either interfere or don'tpay enough attention to the station'sproblems and (4) answering ques-tionnaires sent by trade magazines.

Little general information about tvstation managers has been available.One of the few previous studies waspublished in the January, 1966, issueof Advanced Management ournal.Authored by college professorCharles Winick, the study covereddata from 287 managers and wasdone with the cooperation of theTelevision Information Office.

Some of the data covered the sameareas as TELEVISION AGE's survey,and answers were fairly similar. TheWinick study found managers a lit-tle younger on the average-in theirearly 40s, compared to the middle40s in the current study. The pre-vious study showed that two -fifths ofthe managers had been in sales, thesame figure uncovered by the TELE-VISION AGE queries.

Winick, however, found that al-most two -fifths of the managers hadbeen in programming, as comparedto a little over a quarter in the morerecent study. However, the differencecould be accounted for by methods oftabulation. In the TELEVISION AGEstudy, when a manager listed morethan one type of experience, only thecategory in which he spent the mosttime was tabulated.

The Winick respondents averagedfive years in their present positions,and had been working for 15 years.

One characteristic not covered inthe latter analysis was the manager'sarmed service record. Winick foundthat a high proportion were in-

volved in "voluntary special hazard"duty - paratroopers, underwater de-molition, Rangers, etc.

"Perhaps," wrote Winick, "thesame forcefulness that led there tocombat duty was at least partiallyresponsible for their achieving man-agement status." Considering thepressures of tv, that's a valid con-clusion.

Buy a business (From page 31)

motor" selling for about $150.The heart of the venture was a

bike that has sold some 5 millionunits in France. The appeal was thatif some 100,000 could be sold on thisside, PKL would realize as muchprofit as from something like $40million in billings.

The acquisition was essentiallythat of the importer of a Frenchmotorized bike. Within a few months,PKL had begun changing things.First, they revised the organizationalset-up of Solex. PKL Vice Presidentand account supervisor WilliamSuessbrick was moved to head upSolex as his full-time activity. He wasmoved physically, too, from PKL'sThird Avenue headquarters to theSolex offices in the Seagram Building(where Fred Papert had started itall, it may be remembered).

Significantly, Suessbrick's back-ground is almost exclusively in pack-age goods: General Mills, GeneralFoods, Ted Bates and Benton &Bowles before he joined PKL. It wasthis approach he brought to Solex,and he's convinced this is the great-est strength an advertising agencycan bring to an acquisition.

"Even though 6 million bicyclesof all makes were sold in this countrylast year," Suessbrick says, "they'venever had a consumer -oriented mar-keting approach, or real advertising."

He proceeded to change all that,reporting to the PKL board regular-ly, but otherwise employing PKL ina client -agency relationship. Excep-tions: George Lois (now of courseout of PKL, off on his own again)did design the logo that has becomethe Solex design trademark. . .earlyresearch was carried on by PKL'sresearch department. Early extras.

Outside suppliersOtherwise, beyond the natural in-

terest and involvement of agencyprincipals in their child, PKL wasfar from the prime supplier of talentand services. Solex tested copy andpaid for the testing-from outsidesuppliers.

A year-end progress study wasmade by an outside marketing con-sultant (a package -goods man, Suess -brick points out). Publicity is han-dled by an outside public relationsfirm.

All this was part of Suessbrick'policy -making quite independent othe PKL board, and he maintains,without board pressure, due or un-due. Certainly without veto.

The results included a $120,000advertising budget last year, largelyin magazines with some spot tv, insupport of franchise -holders in Tex-

as, Florida and California (the latterare ex-PKL-ers).

The sales goal was 4,000 this firstyear, and 50,000 a year from now.on, and while Suessbrick does not.disclose the actual figures, he ex-presses satisfaction with them. Hehas hired a new staff, set up a ware-house and service organization andseen the Solex organization here

grow to about a dozen full-time

staffers.But he ticks off what he sees as

really significant:"We targeted women, 15 to 25 as

our objective.. ."We hit the fashion angle.. .

"We took those margins and trans-lated them into promotion.. .

"We took stars into the stores topromote product."

Varied study factors

Much of this grew out of interviewand survey, of the purchaser, would-be purchaser, even the neighbors ofthe purchaser. Weight reduction,affluence, even the relative sophisti-cation of various college campuseswere study factors. Results rangefrom_ gimmicks like a tape measurepackaged with one bike to a success-ful "wheel in" at department stores.

It was package goods thinking, inshort, applied to hard goods. In linewith Suessbrick's conviction that thesignificance of advertising men ex-ploring another field goes beyondsimply "a bike with an advertisingangle." Rather, it is a whole -market-ing approach that can be appliedwidely.

Now there's more to come, possi-bly with a full line of leisure -timeimports ready to debut. On the sub-ject there is a general silence aroundPKL and Solex. But the project clear-ly seems geared for expansion.

And in full marketing terms. Prod-ucts that bear handles and not justhandlebars.

If other advertising agencies areseriously considering similar moves,they're admitting nothing. Not in

60 Television Age, March 11, 1968.

Why Won't You Submit aProgramming Statement to SRDS?

I. it because you feel it would takeaway the representative's selling timeand promote closet buying?

Is it because you can't describe thestation sound in print, or because100 words is not enough?

Is it because you feel the SRDS pro-gram cannot be policed and misstate-ments will appear?

Is it because what you can say will bemisinterpreted or will be prejudi-cial?

Is it because you feel the materialreported will he misused and other-wise confused?

Essentially, these are the reasons offeredby stations who have not as yet submittedprogramming statements. On the otherhand, over 1,600 stations voluntarily prof-fered statements which appear routinelyin Spot Radio Rates and Data. This totalgrows each month.

What has happened?

The trend towards closet buying or the in-fringement on representative selling timehas not been influenced one way oranother. Nor will it be when all stationsparticipate.

Agency buyers of spot radio have beenhigh in their praise of this SRDS effort."tatements do not report station sound.This would be subjective and promotional.Rather, they describe the programmingplaced on the air and the audience forwhom it is intended.

Each time a station has been accused of a

misstatement, SRDS has investigated. Ifthe allegations had merit, the station will-

ingly and voluntarily modified and cor-rected its statement. Everything in theworld around us is subject to misrepre-sentation and/or prejudice. In broadcast,these influences are nurtured each day byyour competitors and their sales agents.SRDS provides each station the oppor-tunity to describe its programming ratherthan deliver this function by default tothe competitor or the uninformed editorof a trade publication. Have you everlistened to a tape of your station sub-mitted by someone else - not you?

Your sales responsibility, your sales func-tion, has not been usurped. The program-ming statement you submit does notsubstitute for salesmanship - rather, itinspires it. Its appearance leads to furtherquestions. The agency buyer of spot radiois encouraged to seek more information.No agency worthy of its name would per-mit a radio buy without adequate investi-gation of all station values. The program-ming statement is only one element of thisevaluation process. It provides a begin-ning point for the buyer. It is not andcannot be construed as an end unto itself.

1,600 stations have demonstrated thatprogramming can be described objec-tively in 100 words.

Convinced? We hope so. Check the state-ments appearing in your market; then sitdown and write one. This valuable serviceis free. SRDS will be glad to includeyours ill our next issue.

Cordially,

Publisher 7

STANDARD RATE & DATA SERVICE, INC. 5201 OLD ORCHARD ROAD SKOKIE, ILLINOIS 60076

Teleris,. fgt.. Van h 11. 1gh8 61

this period anyway. Agency spokes-men show full awareness of what'sgoing on, however, and catv has itsfascination for them.

Several were sensitive to 4A's poli-cy on agency involvement in mediaactivity. In its qualifications formembership, the Association clearlystates that "... an agency shall notown any interest in a medium," andthis has long been one of its princi-ples. It is completely in line withDan Seymour's view that investmentin advertising media would "jeopar-dize the objectivity" of agency ad-vice.

The hook would seem to be: whenis a medium an advertising medium?FCB feels cable is a transmission me-dium and community activity. PKLexpresses future interest in catv andresents the suggestion that an agencycould be corrupted in its media se-lection.

Product conflict

Watching from yet another view-point are ad clients.

No move toward agency diversifi-cation has yet come close to raisinga question of product conflict. Evendilution of personnel time or efforthas not shaped up as much of a possi-bility. So .no client policy seemscalled for in the matter, and clientsgenerally seem happy that this is onearea where they don't have to havea policy.

After much departmental consult-ing, Lever for example announced:

Desk setExecutives need no longer

miss the World Series becausethey're tied to their desks. In-terstate Industries Inc., Chi-cago, has just introduced a newV.I.P. Electronic Desk that fea-tures, among other things, anall -channel tv receiver.

The desk also has a two -sta-tion remote tv camera controlwith optional facilities for 12closed-circuit channels.

Complete with portable ac, -dc tape recorder, am/fm clockradio, high intensity unit, acoutlet, telephone index, digitalcalendar, memo compartmentand pen and pencil set, the deskretails for $1,295.

"We're aware of it, but don't feel it'sof enough significance to make acomment on." They couldn't antici-pate the point at which the situationwould assume such significance.

A General Foods spokesman main-tained that his firm "never evenheard of the condition, much lessthought about it." The impressionwas strong that the GF men havebetter things to do than concernthemselves with what the GF man,after explanations, characterized asthe "miniscule enterprises" of adver-tising agencies.

To Charles Pfizer's Ron Brown,Coty marketing director, however,the situation is one to be aware of,if not wary of. "Naturally wewouldn't care for an agency of oursto go into a business directly com-petitive with us, but as long as diver-sification doesn't affect the time dis-posal or the availability of agencystaff, we're not going to get emo-tional about it."

Brown sees this condition as themeasure, rather than the intensity ofthe diversification moves at any oneagency. "After all," he says, "likeall manufacturers, we sell to distrib-utors who compete among themselves,are even involved in different typesof distribution. But as long as serviceand quality of product are main-tained equally for all of them, whatdifference?"

American Home Products, accord-ing to Ken Beirn, assistant to thepresident, feels much as does Pfizer."If one of our agencies got itself in-volved to the point where it had aproduct category threatening con-flict with one of ours, we'd be con-cerned," he said.

Not a threat

But at this point in time he doesn'tsee it as a matter to worry about.How much agency exploration wouldit take-two outside projects . . .

five ... ten?"I don't see agency diversification

as a matter of degree," he said, "butof kind. The personnel and time theagency feels like devoting to theseinterests is not a question-so longas we feel our interests aren't neg-lected." He doesn't feel this is threat-ened now or in the foreseeable future,even by such agency preoccupationsas catv.

At R. J. Reynolds, there is an

awareness of the development butnot yet any real concern for its shapeor its possible direction. All thatwould be stated was that Reynoldsdoesn't feel things have gotten to theproblem point yet, either as to thenature of the enterprises or the com-mitment of agency staff. Here, too,Reynolds gives the impression ofhaving other things on its corporatemind, though not from lack of aware-ness.

Enough staff available

Bristol-Myers' Ed Parmelee, asso-ciate director of Advertising Services,doubts that many clients have giventhe situation much thought. "Thefact that, what amounts to an adver-tising company (the agency), startsspreading out like its client com-panies, shouldn't make any differenceto the client.

"Practically speaking, how couldit? The agencies aren't crazy enoughto strip personnel from essentialclient services. And if people areneeded to staff newly -acquired out-side -operations, they'll either be re-placed or hired from outside. Thereare a lot of good people aroundagencies ... there won't be starva-tion for client service."

This lack of concern-if not ofinformation-is general on the clientside. No one seems about to creditagencies with conflict of interest, andshort of this, no one thinks the agen-cy moves might be anything otherthan one more development in thebusiness.

And possibly not such a new de-velopment at that.

Pfizer's Ron Brown (who has

agency background himself) points -

out that it has not been unknown in

the past for principals in smalleragencies to own a piece of client ac-tion, or a subsidiary company thatwas serviced right along with theagency's other customers.

This was true especially in the

area of proprietary drugs, where apatented formula was involved, anda unique property could be held onto.Not strictly comparable to today,perhaps, but a precedent in a way.

This degree of client musing aboutthe situation seems unusual, though.More typical was this top -of -the -headquote:

"Who cares if Fred Papert is rid-ing bikes, or whatever?"


When Victor G. Bloede, wasnamed president and chief ex-

ecutive officer of Benton & Bowlesrecently, he indicated he would be

more deeply involved in creative workthan an agency president usually is.

The other day he discussed whatthis meant. "First of all, it meansthat, as a man with a creative back-ground, I feel a greater responsibilityfor creative work. A man in accountwork, for example, can never reallyfeel totally responsible for it. If an adis not good, I might feel as bad as ifI wrote it myself."

In a more practical sense, Bloede isinvolved through membership in theagency creative plans board, thegroup which passes on all new cam-paigns for all products.

The board, originally set up abouta year and a half ago, has just beenrevamped. It initially consisted ofL. T. (Ted) Steele, B&B chairman;William R. Hesse, whose resignationas president was followed by Bloede'sappointment; Bloede himself, thenexecutive vice president and generalmanager, and Alfred Goldman, B&B'screative chief.

unlike the old board, where onlyone man was a working member

of the creative department, the newgroup has only one man outside thedepartment. And that's Bloede. Theothers are Goldman, of course; histwo creative directors, Dick Ander-son and Mitch Epstein, and GeneShinto, new copy chief.

Bloede also makes this point abouthis involvement in creative work:"To the extent that I can choosemeetings with clients, I try to bewhere creative discussions are goingon and creative decisions are beingmade.

"Today, for example, one of ourclients is going over some new cor-porate concepts with our creativepeople. I'm going to be there becauseI like to know what's going on in thisarea."

As a creative man himself, Bloede

In the picture

is sympathetic to the creative man'ssuspicion of ad testing. "I believe theagency's major effort in creative re-search should be to help make adsbetter - by gathering informationabout the customer and the product,by figuring out where the product fitsin, and through interviews set up forcreative people."

But, he says, "the practical factof life is that most clients rely

on copy testing. We can't turn ourbacks on this. I have to be candidwith my creative people and tell themthat one way we will measure theirwork is through copy testing. Cre-ative people must be aware of thesetechniques and must understand howthey work."

Bloede points out that the creativeman welcomes the raw material typeof research, but that "copy testingbugs them. They have left a lot ofthemselves in the finished ad. Andthen some ugly stranger comes alongand some strange scale is used toevaluate their work."

gal, the B&B president adds, mostcreative people accept copy testingand have learned to live with it. Asfor the client, he doesn't accept every-thing copy testing shows as gospel, assome of them used to.

As chief executive officer, Bloedeobviously is engaged in a lot

more than overseeing creative work-he must set policies for the future,for example. Here, the indications areno major plans are afoot to changebasic operating philosophies.

B&B has long had a policy of keep-ing its client list small. This will con-tinue. As for the fact B&B in the U.S.is essentially confined to New York(other than a service office in Holly-wood), Bloede said he "hopes andbelieves" the agency will continue thisway. "But I wouldn't permit myselfto say we wouldn't open other U.S.offices in the future. We certainly seeno opportunities at present, however."

B&B has no policy of confining its

Victor G. BloedeCreative work is a special concern

foreign offices to the Common Market,Canada and the United Kingdom,where it is now. But it will likely con-tinue its policy of making sizeablerather than token investments in for-eign offices.

1is present relationships now rangefrom total ownership to substantial

minority investment. "There is some-times an advantage in having a mi-nority interest-such as in countrieswhere nationalistic feeling is strong."

Bloede sees no great future inagencies proliferating services anddivisions a la Interpublic. The agencyhad a public relations affiliate for awhile-General Public Relations, Inc.-but it didn't work out.

"I'm not so sure we wouldn't setup a direct mail affiliate one day,"Bloede notes. "But only if our clientsneed direct mail. We perform onlythose services our clients seem toneed. I'd like to point out that wehave an excellent merchandising andsales promotion department." ButBloede has no desire to extend intoservices not related to advertising.

"I suppose," he says, "we couldhave incorporated our merchandisingand sales promotion setup. I guess Iwould like it to be self-supportingbut it doesn't have to be. We performthese functions as a contribution toour work for clients.

"Our library is not self-supportingbut we certainly need it."

elevisioá Age,.Maich 11, 1968' 63

THE LIGHTER SIDE In cameraA couple of broadcasters have

shown some concern about the nega-tive and anxious atmosphere in whichwe live. In short, they're worryingabout worrying.

Roy Bacus, general manager ofWBAP-TV-AM Fort Worth -Dallas, sug-gested a "yearly report day" in whichall media would join to recognizethe constructive gains of mankind.

He described it as a sort of MediaMemorial Day for Mankind and saidit might give Americans a more bal-anced picture of the true progressbeing made.

The Taft Broadcasting people lookat it a little differently. In a recenteditorial on WKRC radio, Cincinnati,they said:

"It's come to our attention thatthere are entirely too many things toworry about in 1968, but we have, atleast, a partial solution. As a publicservice, we are providing the follow-ing list of worries along with advicethat all worriers pick only one itemon the list each day for concentrated

"It's our feeling that this is theonly way to keep the United Statesfrom becoming one big funny farm.

"Here is the list:"1. What will be the solution in

Vietnam?"2. How do we get out of the

Pueblo incident and North Korea?"3. The 1968 Presidential election.

(Republican worriers are permittedtwo days for this one.)

"4. Personal income tax. (Thismay be dropped from the list afterApril 15th.)

"5. Inflation and the value of thedollar. (Washington is finally gettingaround to this one, but a large num-ber of additional worriers areneeded.)

"6. Cigarettes and cancer. (Wesuggest you have an extra pack onhand before you tackle this one;worry about this one can be veryupsetting.

"7. The possibility of another sum-mer of riots and demonstrations. (Weurge all segments of society to worryabout this one.)

"8. Auto safety, tainted meat andweight control pills. (These may be

considered in one day or may beworried about singly on three con-secutive days.

"9. What's happening to our youngpeople? (Drop -outs, hippies and beat-niks may want to substitute `legaliza-tion of LSD' for this one.)

"10. And, finally, if you can'tmuster any worry for at least one ofthe items we've already mentioned,we suggest you worry about yourself;and that may be the biggest worryof all."

* *

The following, excerpted from apress release, is headed: "WOULDYOU BELIEVE . . . WATER ICE MAR-

TINIS?"The S. R. Rosati Co. plant in

Clifton Heights, Pa., had an un-expected guest recently. Sam Rosati,the pioneer water ice firm's president,took Bill Webber, star of WPHL-TVPhiladelphia's daily children's tvshow, on a special guided tour.

"Webber had dropped in at theplant for two reasons. First, he hadlearned that the cute little redheadedtot featured on the Rosati water icecolor commercials running daily onhis show was Sam's grand -daughter.

"Second he wanted to thank Rosatipersonally for a set of drink recipesSam had sent him via the Rosati Co.'sagency, Serendipity Associates, Inc.

"If it hadn't been for Sam here,"said Webber during the tour, "I neverwould have known the real joy ofdrinking a Rosati highball (lemonwater ice and rye) or a Rosati screw-driver (orange water ice andvodka)."

Would you believe ... publicity?* * *

Recalling some of his early daysin show biz, Sid Caesar said, "WhenI made my first motion picture, Tarsand Spars, my wife and I were shar-ing a one -room apartment. I was paid$500 a week, plus a $1,000 bonus-the most money I had ever earned.

"I insisted in being paid in $100bills. When I went home, I made adramatic entrance-tossing the moneyinto the room at my wife's feet. Welaughed and cried as we picked itup.

Sure, we know how it is, Sid.

There's the money on the one handand then there's the tax on the other.

* * *

Describing the upcoming program,The Strange Case of the EnglishLanguage, a CBS News press releasereveals the show will provide ex-cerpts from speeches by evangelistBilly Sunday, Senate Minority LeaderEverett Dirksen, Louisiana Gov.

Huey Long, General Douglas Mac-Arthur, Adam Clayton Powell andStokely Carmichael.

Help!* * *

The impact of tv knows no bounds.To wit:

Recently, an early morning powerfailure prevented WWLP Springfield,Mass., from signing on at its

usual time. As often happens, oneproblem led to another. The powerfailure burned out a transformer,which created a little smoke in thecontrol room.

You guessed it. Just as this momenta Little Old Lady happened to joinothers calling in to find out whathappened.

The morning announcer took thecall, assured the LOL it was nothingserious and told her what happened.

"Ah, that explains it," said theLOL. "I knew I could smell smokein my television set."

* * *

Harold J. Klein, who producesCelebrity Billiards in association withWABC-TV New York, has many talesto tell about the legendary appetiteof Minnesota Fats, pool shark and

star of the show.Klein remembers the time he threw

a dinner at a plush restaurant for ,the entire staff of the show. It was aSaturday night and many gave upprevious engagements just to watchFats eat.

"I was embarrassed," recalls Klein."Fats sat there and just ate a regularmeal. No seconds, just a plain ordi-nary, every day dinner.

"Everyone was crushed, so I askedFats why .he hadn't ordered seconds.His reply brought down the entirehouse. It seems Fats had just eatena full course meal before his arrivalat the restaurant."


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