Television JULY 1949 - americanradiohistory.com · Sept. Oct. 548 688 2110,000 1110 000 7..000...

JULY 1949

TelevisionTHE BUSINESS MAGAZINE OF THE INDUSTRY

Sponsored programs on

NBC Television are viewed in nearly

twice as many major markets

as those on any other network.*

Arerages front April Rorabaugh Report

5051

HOLLYWOOD'S

"ARMCHAIR DETECTIVE"

NATIONALLY SPONSORED. . . The FIRST Made -In -Hollywood Television

Drama To Be Sponsored In The East!

Eastern TV audiences, starting July 6, will be seeing"Armchair Detective," the sensational West Coast mysteryshow originating at KTLA, Los Angeles. Paramount VideoTranscriptions make possible the re -broadcast of this top -rated half-hour show over a TV Network from New York.Sponsor: Whitehall Pharmacal Co. Agency: Benton &Bowles, Inc.

Other audience -tested KTLA transcribed shows avail-able to TV stations and TV advertisers-in 1 market or38-are listed at the right. Syndication rates are veryreasonable. Interested? Auditions gladly arranged.

KTLA Shows Available

to TV Stations and

TV Advertisers .

"MOVIETOWN R.S.V.P."

45 -min. charade quiz original -mg every Sunday from the homeof a different movie star and fea-turing stars as guests.

-HOLLYWOOD OPPORTUNITY-

KTLA's notable Thursday talentshowcase hour with Nils T. Gran-lund as M.C.

"YER OLE BUDDY"

A 20 -min. comedy show everyFriday starring Bud Stefan, top

Hollywood comic in recent "TeleViews- popularity poll.

"THE ENCHANTED PIANO"A 15 -min. musical show featuringFelix De Cola every Monday even-ing. De Cola's inimitable person-ality brought this show a nomina-tion by the Academy of TelevisionArts & Sciences for Los Angeles'Most Outstanding TV Program. -

"SANDY DREAMS"

A delightful half-hour children smusical presented every Saturdayat 6:30 P.M. to an enthusiasticand steadily building audience.

"TIME FOR BEANY"

A I5 -min., 5 -day -a -week chil-dren's show with unusual plastichand puppets featuring whimsicaladventures of young Beany withCapt. Huflonpuff, Dishonest John,Cecil the seasick sea serpent andothers,

KTLA5451 Marathon Street, Los Angeles 38, Calif. H011ywood 6363

, , New York Offices 1501 Broadway BRyant 9-8700

11111)**i° A KEY STATION OF THE PARAMOUNT TELEVISION NETWORK

Television

contentBUSINESS MAGAZINE OF THE INDUSTIY Volume VI. Number 7,

NEW YORK TV WILL PASS AM BY FALLTotal.\.). audience will exceed that of Hadids top ten shows-by Commander Mortimer W. Loewi

REPORT ON SPOT ADVERTISING by Cameron DaySelling in 20 seconds-a mustHow often can a spot be repeated?Trade mark identification in spot commercialsU.S. Rubber merchandises its spotsPall Mall tests TV techniques via spotsDe Soto debuts new car via 61 -station spot driveSpot Programming-live and filmTop Ten spot advertisers and the stations they useLatest time charges for minute, 20 -second spots onall stations

DRUG CHAIN TVTen of America's major chains are setting a new pattern in retailadvertising on video by Jim Owens

THE HECHT STORE ON TVLarge Washington (D.C.) department store uses the mediumevery day of the week

DEPARTMENTS

FOCUSinal)sis of industry trends & developments

TELEVISION MAGAZINE'S STATUS MAPOperating stations. estimated opening dates this summer.network affiliations and connections; receiver circulation figures

MERCHANDISINGIluntz introduces some new merchandising &

promotion techniques

PROGRAMMINGProblems in costume creation for TI'

ADVERTISINGBreakrlou n of advertisers by categor

STATION OPERATION BREAKDOWN

July 1949

S7

11

12

13

13

1415

1819

24

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20

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FREDERICK A. KUCELEditor and Publisher

JIM OWENSManaging Editor

CAMERON DAYFeature Editor

DR. ALFRED N. GOLDSMITH DOROTHY HOLLOWAYContributing Editor Washington Editor

THOMAS COFFIN, Ph.D. H. G. CHRISTENSEN NORMANDirector of Research Film Editor Business Manager

ARTHUR ENCELWest Coast Editor

MARKWELL RICHARD ROSEArt Director

Published monthly by Frederick Kugel Company, 600 Madison Ave., New York 22, N. Y.Single copy, SO cents. Yearly subscription in the United States, its p ions andnations of the Pan American Union, 35.00; in Canada, $5.50; elsewhere. 36.00 Enteredas second class matter February 20, 1945, at the postoffice at New York, New Yorkunder the act of March 3, 1379. Copyright 1949 by Frederick Kugel Company. All rightsreserved. Editorial content may not be reproduced in any form without permission.

THE

ENTERTAIN M E NT -STATION

TELEVISION CENTER -NEWARK

Television Magazine July 1949 1

Du Mont has only one "baby."With the Du Mont Television Network, it's television and

nothing but television. When you talk television advertising

to a Du Mont representative you will talk

only television-he has nothing else to sell.

And over the Du Mont Television Network, your message

can reach 99% of all the television receivers America.

11DU MONT TELEVISION NETWORK 0 515 Madison Avenue, New York 22, N. Y.

COPYRIGHT 19.9. ALLEN B. DU MONT LABORATORIES, IIC

2 Television Magazine July 1949

SIGNIFICANT INDUSTRY DEVELOPMENTS IN

FOCUSPublic Relations & Economics

WHAT this country needs, morethan economic theory, is a

sound public relations policy tosolve its financial problems. Wheth-er the national economy swingsback from a recession or spiralsdownward into a major depressiondepends to a great extent on thepsychological attitude and confi-dence of the buying public. In everyadjustment period there is a waveof price cutting affecting almost allconsumer goods. And this usuallyhas an adverse reaction from whatmanufacturers plan. That is, thepublic may hold up on buying in thehope that they can buy at a stilllower price "next month." Once thebuying public (every available setof statistics shows they still haveplenty of money) realizes thatprices will not go any lower, busi-ness can count on a reversal of thecurrent trend and a new buyingsurge.

But it could go the other way.That's why public relations canplay such a vital role in our econ-omy. Purse strings have to beloosened and that means a concen-trated effort by the government,organizations like the National As -

r-

sociation of Manufacturers, and inthe advertising and public relationpolicies of every individual com-pany and industry. And this holds,in particular, for the televisionindustry.

In a period of a few months thepublic has seen a steady stream ofannouncements on new reduced TVprices. This, undoubtedly, is one ofthe chief reasons for the presentslump in receiver sales. The notionthat receivers can be sold consist-ently on the basis of an announcedprice cut is unsound. People are notbuying receivers-they are buyingentertainment.

1949 Set ProductionNow Totals 752.335

Total of 163,262 sets were pro-duced during the month of May,with average weekly output of 40,-816, according to the Radio Manu-facturers Association. May figurewas slightly below the April markof 166,536, but the total was thethird highest for any thirty -dayperiod this year. Cumulative outputfor 1949 thus far is 752,335.TV Circulation

While few advertisers or agencies

TELEVISION MAGAZINE'S ADVERTISING INDEX(Statistics as of June 1. 1949)

MI1948 Jan. Feb. Mar.

210 210 2371949 1,099 1,147 1,350

11111111Apr. May June July Aug.301 335 374 412 462

1,204 1,310

Sept. Oct.548 688

2110,000

1110 000

7..000

T00.000

I j. WO

1.1.000

1..000

I 'SP, 000

1..000

110,001,

410.000

dispute TV's potential as an adver-tising medium, circulation is stillthe chief factor guiding many ad-vertisers' entrance into TV. Withover 1,500,000 receivers now inAmerican homes and close to1,000,000 receivers still to come offthe lines this year, end of 1949should show some 2,500,000 TVhomes.

Just what this can mean in termsof a specific program, is indicatedby Hooper figures on the Bigelow -Sanford show. With 65.6% sets -in -use and over 90% share -of -audiencethe program, based on 3.5 viewers -

Lockman Loom'

per -set can reach an audience ofabout 5,000,000 by the end of theyear. And while this might be smallas compared to radio, it stacks upfavorably with the mass circulationmagazines.

Some interesting predictions inthis regard were advanced by Mor-timer W. Loewi, director of theDu Mont Television Network. Inan article on the TV audience in-crease projected to next fall (seepage 7), Loewi points out that theNew York video audience will out-strip that of radio's top ten shows.

(continued on page 5)

RECEIVER PRODUCTION INDEX

(Statistics as of June 1. 19491

I 711.11111Nov. Dec. 1918 Jan. Feb. Mar. Apr. May June844

White blocks indicate 1949 figures, black blocks

933 30 361949 121 118

52 46181 166

50163

1948. Above figures ;n thousands. White

64July Aug. Sept.56 64 88

Oct. Nov. Dec.95 122 161

blocks indicate 1949 figures, block, 1948.


RCA scientists find way to combat noisesin rooms where normal sound controlmethods are impractical.

74ese ol) 5i/es,Ce//sr",oii,er scolL,PPelYou think of RCA Laboratories-in part-as a place where scientistswork with sound, for radio, tele-vision, phonographs. This is true,but they are also deeply concernedwith silence.

One example is a recent RCA development, a way of killing clatter inplaces where conventional sound -conditioning - with walls or ceilingsof absorbent materials-would get inyour way. Overhead pipes, ducts or

other fixtures might prevent the in-stallation of a sound -absorbentceiling - and you wouldn't want toblanket a skylight.

RCA's invention solves the problemin this way: Cones of sound -absorbentsubstances are clamped together base -to -base . . . then hung in rows where notin the way. Light, inexpensive, easy toinstall, these "Cones of Silence" convertsound waves into heat energy, and willabsorb from 60% to 75% of the clatterin a noisy room.

How you benefit:Development of this functional soundabsorber indicates the type of pro-gressive research conducted at RCALaboratories. Such leadership in sci-ence and engineering adds value be-yond price to any product or serviceof RCA and RCA Victor.

The newest developments in radio, tele-vision, and electronics can be seen in actionat RCA Exhibition Hall, 36 West 49th St.,N. Y. Admission is free. Radio Corporationof America, Radio City, N. Y. 20.

APAL,Z0 COAPPORAIVOM of AMER/CAWork/ Leader Radio - Frst ire 7e/evision


FOCUS(continued from page 3}

Broadcast Management'sProblem

Problem facing AM managementthese days is how to keep up AMrevenue with TV cutting into itsaudience. With big advertisers likeFord, International Silver, Sheffieldand others announcing the droppingof radio entirely for television,management has to do some prettyfast thinking. There's no reasonthough that income from radio can-not keep up for several years tocome, providing broadcast execu-tives find the right answers. Forregardless how fast TV movesalong, there still will be only some15,000,000 TV homes or so by theend of 1953 as compared to 40,000,-000 radio homes. Arbitrarily writ-ing off (at least as far as night-time hours) radio listening in TVhomes, it still stacks up as 25,000,-000 AM to 15,000,000 TV homes.While the cream markets might begone, there's still a tremendous cov-erage which only radio can offer thelarge national advertisers. Solutionwould seem to lie in some type ofdual package (not necessarily dualtransmission) of AM and TV. Pro-gramming package or talent con-ceivably would be bought for usein both media. Joint rates mightwell be worked out and the twomedia, rather than competing cansupplement each other, at least forsome years to come. If the stationsand networks can work out somesort of dual package which will beinteresting to advertisers, theyshould be able to keep up their AMrevenue during the transition fromAM to TV over the next five yearsor so. If broadcast management ornational advertisers can't work outsomething along these lines, the in-dustry can look for some severeoperating losses, in fact a possibleelimination of a few of the presentAM networks because of financialdifficulties.

Lever Brothers ReportedSet For Fall Debut

Lever Bros., sitting on the side-lines of TV while some of its com-petitors such as P&G, were sewingup choice time periods, is aboutready to make the plunge. By Fall,prexy Charles Luckman and his topbrass are expected to be using thenetwork air with a top -budget show.

ON THEWASHINGTON SCREEN

More people watch WMAL-TV Mondaythru Friday from 6 to 7:15 p. m. Than all otherstations combined!*

FRONTIER THEATER TOPS THE RATINGS Mcnday thru Friday from 6 to 7p.m. in the American Research Bureau Survey cf television viewing in theNotion's Capital! More than twice as many viewers between 6 and 7 p.m. asthe other three stations combined . . . 70°0 cf all viewers . . . and over 50°0of them adults! This is the amazing story of Frontier Theater, the show thatbrings an hour long, full length Western film to the ENTIRE family five nitesa week-the cne minute participating announcements available between theActs Oar advertisers the largest and most ccmplete audience cf its kind inthe great Washington market.

4(...ACTION PACKED MOVIESERIALS . . . like Frontier

Theater, the serials are way out infront reaching more men, morewomen and more children than allcther programs combined from 7 to

7:15 p.m. Mcnday thru Friday. Ofthe total viewing audience at thistime. 68°0 is watching the serials!Let WMAL-TV or ABC Spot Sales tellvcu the complete 6 to 7:15 p.m. storytoday.

JIM GIBBONS LED ALL.).SPORTSCASTERS, networkand local, seen on the WashingtonScreen! His "Sports Reel" (now heardMonday thru Friday from 7:15 to 7:30p.m.) received the highest rating ofany show at that time ... his "SportsCartoon -A -Quiz" (Thursdays, 7:30 to8 p.m.) received the highest ratingof any studio sports show . . . andWrestling which Jim handles eachWednesday from Turner's Arena wasone of the top 15 shows (network andlocal) seen in Washington!

*American Research Bureau SurveyWashington, D. C. - May 11-18, 1949

(Call ABC Spot Sales to see this latest audience Survey)THE EVENING STAR STATIONS

WASHINGTON, D. C.

WMAL WMAL-TV WMAL-FM


WHAT'S NEW IN TELEVISION? 7,-Zare/P/Z1

When it's "Carol Calling"...

"Carol Calling" is a twice -weekly WPTZ program featuringpert Carol Reed. Built specifically for participating spots,the program has been a success right from the start. Forinstance, here's a letter from Ralph A. Hart Advertising,agency for Mar -Clay Nylon Hosiery:

"Our clients, the makers of Mar -Clay Nylon Hosiery,began promoting their product in this market on a realscale just when the hosiery industry began to experience"dark days." As part of our campaign, we included a mereone spot per week participation on your "Carol Calling,"expecting very little to happen from so small a schedule.

"To date, the number of actual accounts opened anddirectly traced to our one -per -week on WPTZ, hasmore than doubled those attributable to our variousother forms of advertising COMBINED.

WPTZ

"We think you'll agree, it's things like this that make TVa 'must' in any aggressive advertiser's future plans. Andthis is just to make 'official' my statements to you on the'phone the other day that we're ready to 'talk turkey' abouta real TV schedule for Mar -Clay Nylons on WPTZ this fall."

"Carol Calling" is just one of WPTZ's participating pro-grams which have been tailor-made to help advertisersreach the country's second largest TV audience effectivelyand at low cost. For spot availabilities on "Your OwnHome," "The Girl Next Door," "Cartoon Comics," aswell as "Carol Calling," get in touch with your NBC SpotSales representative or call us direct.

PHILCO TELEVISION BROADCASTING CORPORATION1800 Architects Building Philadelphia 3, Penna.

FIRST IN TELEVISION IN PHILADELPHIATELEVISION

AFFILIATE

Television Magazine July 1949

0/o

60

50

40

30

20

I0

SHARE OF AUDIENCE

0 104

39.7

1948 1949 1950

55.8

1951

12.0

MATERIAL USED FOR THIS COMPARISON:1. 1948 end 1949 January -February

New Tort City Hooperatings.

1. PERCENT OF TOTAL TV 3ET PRODUCTIONINSTALLED IN N.Y.C. AREA:

195019511952

21.0%17.5%14.44

(650,000)(650,000)(630,000)

2. N.B.C.'s foraoast of TV instal-

lotions in New 'fork City to 1950

1952

3. R.C.A. TV set production

estimates for 1951 and 1952

FACTORS USED2. TV HOMES IN N.Y.C. AREA AS OF:

3. TEILVISION,S SHARE OF AMIENCE

Jan. 1, 1950 771,000

Jan. 1, 1952 2,050,000

254 U.S.Jan. 1, 1951 1.418,000 23%

21% "

Tot. IN ALL HON'S IN N.Y.C. AREA,

Jen. Feb. -1948 1.(1.% HooperJab. Feb. -1949 18.48% "

Jon. Feb. -1950 }.78% deelwotoJon. fob. -1951 44.97%Jan. Feb. -1952 8 %

NOTE: 'TOP TEN" RADIO SHOWS ARE GIVEN 409'0 OF THIS REMAINING RADIOLISTENING AUDIENCE

Chart above, prepared by Du Mont, illustrates a cross -point expected to be reached in New York City next October bythe total TV audience and Radio's top ten shows. At the juncture each will have about 28°0 of the total TV -AM audience.

New York tr will pass* am by fallBy MORTIMER W. LOEWI, Director, Du Mont Television Network

TELEVISION'S share of thelistening -viewing audience in

New York City will equal that ofradio's "Top Ten" programs byOctober of this year. This startlingconclusion was arrived at by ourResearch Department after a recentcheck on TV's influence on radio.And, so far as I know, until nowno one has presented statisticalproof of this influence, nor calcu-lated the comparative abilities ofthe two media to serve Americanbusiness. Nor determined whereeach will fit into American familylife in the future.

It's easy to summarize the con-clusions of our Research Depart-ment: to say, for example, that inNew York City 18 per cent of allRadio homes now have Televisionsets, too, and that, if the currenttrend continues, by the end of theyear more than one home in five inthis region will have them; or that

by October Television's share ofthe listening -viewing audience inNew York City will equal that ofRadio's "Top Ten" programs. It'ssignificant, too, to find that the tenmajor markets-those cities whichaccount for one third of this coun-try's retail sales-are less thaneight months behind New York indegree of saturation of Televisionhomes and that by December 31 ofthis year, Television in all theseattractive markets will claim 4,230,-000 adult viewers or 36.6 per centof the total listening -viewing audi-ence during the hours that Radio's"Top Ten" shows are on the air.

But, intriguing as these conclu-sions are, it's the figures behindthem that are convincing, and theseI want to share with TELEVISIONMAGAZINE'S readers. To establishour basis for comparison, we tookthe Radio programs that Hooperrated as the "Top Ten" in January

1949 and were also on the air inJanuary, 1948.They included:Jack Benny Bing CrosbyRadio Theater The Fat ManWalter Winchell Groucho MarxArthur Godfrey Phil HarrisBob Hope Mr. District Att'y

We asked: What happened tothese radio shows and to the tele-vision shows opposite them withinthat twelve-month period?

Based on Hooper reports, the an-swer was: Radio's "Top Ten" pro-grams lost 3.1 per cent in popularityrating and 8.4 per cent in share ofaudience while the shows presentedby Television in exactly the sametime slots gained 6.8 per cent inratings and 15.2 per cent in shareof audience.

Specifically, the Hooper figuresdisclosed that in January, 1948,Radio's "Top Ten" programs en-joyed an average rating of 20.9 as


against the 1.5 rating credited tothe Television programs seen at thesame time. But one year later theaverage for these popular Radioprograms had dropped to a ratingof 17.8 while the Television presen-tations opposite them had climbedto a rating of 8.2.

Figures attesting the share ofaudience held by the two media inMetropolitan New York are evenmore arresting. In January, 1948,Television attracted only 3.3 percent of the listening -viewing audi-ence, while the ten best -liked pro-grams on Radio regularly drew 48.1per cent of the listener -viewers at-tending their sets at the time theywere on the air. But one year later-in January, 1949, Television pro-ductions were attracting 18.5 percent of the adults tuned to TV orradio sets at the time Radio's "TopTen" were being broadcast. Thesevery expensive shows, on the otherhand, were themselves attractingonly 59.7 per cent of their periods'listener -viewers.

The accompanying chart, on rela-tive share of audience for Radio's"Top Ten" programs and Televisionpresentations opposite them, showsthat by October Television andRadio's "Top Ten" programs willeach have about 28 per cent of the

listening -viewing audience in theNew York City area.

What will happen thereafter isnot hard to predict! Plotting thelines already established by Televi-sion and Radio's "Top Ten," ourstatisticians show graphically that,if current trends continue, Televi-sion by January, 1952, will enjoy55.8 per cent of the audience at thetime Radio's most popular showsare on the air, while these Radiopresentations themselves will holdonly 12.0 per cent of the audience.

The Picture Will ChangeLong Before 1952

But, obviously, the economics ofmodern business and advertisingwill change the picture long before1952. Once the cross over point ispassed this fall, and Television be-gins to draw a larger audience thanRadio's "Top Ten" in the New YorkCity area, the advertisers financingthese expensive Radio programswill abandon them-an eventualitythat will accelerate TV's ascend-ancy and Radio's decline.

In the ten major markets of thecountry, Television's outlook is asencouraging as it is in MetropolitanNew York. During 1948, marketanalysts estimated that by Decem-ber 31, 1949, there would he 1.949.-

000 TV homes as against 10,189,000Radio homes in these ten majormarkets. Actual sales, however,have so far outpaced earlier estim-ates that these analysts now set2,246,000 as the number of pros-pective TV set owners in these re-gions at the end of the year.

The question of what happens toradio listening in a home equippedwith Television has caused a greatdeal of discussion lately. Hooperfound that 69 per cent of the Tele-vision homes in New York hadeither TV or radio sets in use dur-ing the hours that Radio's "TopTen" programs were on the air.Sixty-two per cent of them wereviewing Television-only 7.2 percent were listening to Radio. Inother words, 90 per cent of thosewho had a choice chose Television-a situation that supports the conclu-sion that when a TV set arrives, afamily's interest in night time radiopractically ceases.

Certainly with such a commandof the most active markets to sup-port them, those of us who believein Television should promote it ag-gressively, see to it that its growingdominance is not made to suffer bythe effort to sustain Radio's posi-tion in the business world.

DID YOU SEE THIS ON TELEVISION?PATHESCOPE PRODUCED IT!

OTHER PATHESCOPE TVCOMMERCIALS HAVE BEENPRODUCED FOR

SUCH CLIENTS AS: COCA-COLA GENERAL FOODS RCA -VICTOR SWANK GENERALELECTRIC BALLANTINE FORDSERVICE

SUCH AGENCIES AS:J. WALTER THOMPSON LENNEN

& MITCHELL YOUNG & RUBICAM KUDNER AGENCY THE BIOW CO.

SULLIVAN, STAUFFER, COLWELL &BAYLES L'ARCY ADVERTISING CO.

PATHESCOPE PRODUCTIONSPioneer in Industrial & Educational Films580 FIFTH AVENUE, NEW YORK 19, N. Y. PLAZA 7-5200


PULSE REPORT

MAY, 1949

Mon -Fri

12-6 PM

Mon -Fri

6-12 Mid

Saturday

12-6 PM

Saturday

6-l2 Mid

WPIX 13 15 29 22

Network "A" 14 27 7 15

Network "B" 14 22 29 19

Network "C" 5 11 12

Network "D" 4 10 5

Independ't. "E" 8 4 9 9

WPIX IS REALLY TAILORED.

TO THE NEW YORK MARK 'TECAUSE it is free from all network shackles, WPIX

can and does program for the New York area alone. Resultis that the May Pulse places WPIX third in audienceratings from 6:00 PM to midnight, Monday through Fri-day ... and within one point of the highest afternoon TVaudience, Monday through Friday. What's more, WPIXis tied for first place Saturday afternoons and earns undis-puted first Saturday evening.

WPIX offers a show for every viewer and advertiser.No great ups and downs on Channel 11 viewership. Theaudience is composed of regulars who keep WPIX ratingsup.

F&P has worked for and with WPIX since it first hitthe air. We know some amazing things that you may nothave discovered yet about this unique independent sta-tion. \\ ant to know them?

FREE & P 21,TERS 9

KSD-TV On the AirSt. Louis NowWPIXNew York Now

WBAP-TVFort Worth -Dallas NowWAAMBaltimore NowWAVE -TVLouisville NowWTCN-TVMinneapolis -St. Paul NowKRON-TVSan Francisco Oct. '49WOC-TVDavenport Oct. '49WMBTPeoria End '49

NC°Pioneer Radio and Television Station Representati r,

Since 1932

NEW YORK CHICAGO DETROIT ATLANTA FT. WORTH HOLLYWOOD SAN FRANCISCO


TV Time in Detroit

...andall'sclear!

WWJ-TV advertisers are assured of two things. First, they can

be certain of the clearest pictures of their products, because

WWJ-TV's years of daily operation have given it the

priceless experience it takes for better engineering. Then,

they can be sure of reaching the largest audience, because

WWJ-TV's dominant, pioneering position as the Number One tele-

vision station in the Detroit market is firmly established.

Hitch your sales story to this star, and its top -rated local and

NBC shows. WWJ-TV is doing a great selling job TODAY!

FIRST IN MICHIGAN Ownd and Opratd by THE DETROIT NEWSNational Rep eeeee tatives: THE GEORGE P. HOLLINGBERY COMPANY

ASSOCIATE AM -FM STATION WWJ NBC Television Network


REPORTon spot advertising

VANISHING 1 -MINUTE AVAILABILITIES EMPHASIZETHE IMPORTANCE OF THE 20 -SECOND FILM SPOT;SOME TYPICAL CASE STUDIES OF SPOT ADVERTISERS

By CAMERON DAY

GGWE'VE been getting whatamounts to a free ride.

Some other sponsor picks up thetab for a network show and we fol-low it with a spot and get a ready-made audience for a fraction of thecost. It's a wonderful break, andtoo good to last."

While for many advertisers net-work programming is the best TVbuy, this remark was made by onesponsor after a successful spotdrive, pointing up one of the advan-tages of spot advertising. And thereare plenty more, such as: flexibility,being able to select peak local listen-ing periods, picking only marketswhere specific sales campaigns areneeded, and securing the kind oflocal programming which delivers aloyal following. Yet, for all this, a

surprising number of brand -nameproducts are holding back, waitingfor TV circulation to soar. And,by this waiting, many of these ad-vertisers may be left in an unfor-tunate position. For the fact is thatrelatively few key adjacencies arestill available; and most sponsorswho have snagged good ones aren'tletting them go.

There are, of course, some goodadjacencies around but the creamtime is steadily running out. TakeWPTZ in the important marketarea of Philadelphia. Followingschedule of this outlet's peak view-ing hours shows that there arenot many availabilities for spots be-tween network programs; and theseare the vital positions for nationalbrand -name advertisers.

spot advertising, whethera 10 -second station breakor a ball game, is any useof TV stations by an adver-tiser on a selective marketbasis, or the use of spotannouncements by a localadvertiser.

Now, as an instance of an alertsponsor, look at the adjacenciescornered by B.V.D.'s 20 -second spot,and the company is holding thesetimes despite program changes.

Precede-NBC Theatre in NewYork

Follow-Bigelow Floor Show inFort Worth and New York

Follow-Chevrolet on Broadwayin Los Angeles

Follow-Texaco Star Theater inPhiladelphia

Follow-Admiral Broadway Re-vue in San Francisco

Follow-The Goldbergs in Chi-cago

Follow-Toast of the Town inChicago.

Typical Spot Situation in Major Market-WPTZ Schedule for Monday Night. 6/27/49

5:45 5:59-6:00 6:00Howdy Goody (Availability) Cartoon Comics

(3 one -minuteparticipatingspots available)

6:59:30Bulova timesignal-SPOT

7:44:35General TimeInst.-SPOT

6.14:35 6:15Plug for coming Sports Showshow-(Availability)

6.59:40 7:00 7:14:40 7:15White Ash Cigar Sports Scrapbook Wildroot-SPOT Quick on the-SPOT -Gretz Draw

7:45Camel NewsCaravan

7:59:30Bulova timesignal-SPOT

7-59:40 8:00Chevrolet DealersChevrolet on-SPOT Broadway

8:59:30 8:59:40 9:00 9:29:35 9:30Bulova time signalgreyers-SPOT Colgate Theatre Felton Sibley- Americana--SPOT SPOT Firestone

6:29:35 6:30Plug for coming Motion Pictureshow-(Availability)

7:29:35 7-30Parkway-SPOT Mohawk

Showroom

8:29:35Ronson-SPOT

8.30The Clock

9:59:30 9-59:40-10:00Bulova time signal Wolfington-SPOT-SPOT

Television Magazine July 1949

selling in 20 seconds -a must

ImemembabProduced by Telespor

B.V.D.'s lively cartoon animation spot does a lot of real selling within the 20 -second framework.

As network operations expand,and stations come in with their ownchain breaks, one -minute adjacen-cies will be sparser. And the 20-second message will become a more,if not the most, important timesegment. At this point, it is ratherlate to complain that 20 -seconds istoo brief to put across an advertis-ing pitch. Whether the sponsor likesit or not, it has reached a stagewhich, as an agencyman believes :

"We've just got to learn to sell in20 seconds."

Bulova's use of 10 and 20 secondsis a case in point. Now in TV fortwo years, and currently runningspots on 40 stations, Bulova usesone -minute spots only in non -net-work markets outside New YorkCity. And, knowing that these 60 -second segments will largely have togo, Bulova is making shrewd use ofshorter periods. On some 70% ofits stations, the company has a 10 -second break which names the sta-tion and puts Bulova into the pic-ture. Well-known to most viewersis this break which shows the sta-tion call letters and a familar iden-tifying scene, with the Bulova time-piece superimposed on the screen.This device not only gives the ad-vertiser a public service pitch withproduct identification, but also asomewhat lower spot rate. Natur-ally, the public service angle is basicin any time -piece promotion, andwill continue to be. But there is evi-dence on all sides that more directselling will be emphasized by allsorts of products in 20 -second seg-ments.

Presently, Bulova builds its 20-second breaks to coincide with dayswhich imply gift -giving: Gradua-tion, Mother's Day, Father's Day,etc. This, of course, is a familiarand presumably effective device.But, according to Terence Clyne,Bulova account executive at Biow,

the TV spot isn't in the payoffstage yet. And, while the 20 -secondbreak seems to have solid remindervalue, it has yet to prove itself.Whole matter, he says, revolvesabout one primary consideration:TV is basically a demonstrationmedium, and the advertiser mustdevise ways to demonstrate hisproduct within that 20 -secondframework. Later on, he points out,sponsors can't rely on getting one -minutes and must use shorter timeperiods effectively in order to jus-tify the expense. Just as remindercopy, the tab will be too high-theproduct must be demonstrated andadvertised, instead of loosely "pro-moted." So far, Clyne feels, no onehas done that satisfactorily in 20 -seconds; but he is confident that itwill be accomplished.Benrus' Spots Sell

Packing spots with more sellingauthority is apparent, again, inBenrus' spot TV. Getting into themedium five years ago, Benrus nowhas spots on 27 stations-one-min-ute, 20 -second, and identificationsignals. At the outset, carrying overits radio theme of "official timepieceof blank airlines," Benrus incorpor-ated a scene in the film of a planecoming in. But this sequence wasdeleted to allow more time forstraight selling. Its new series of10 films, now being produced, willbear down on such points as prod-uct's being shock -resistant, orna-mental, etc. And, while the companywill maintain its public service ofgiving the correct time, some 20 -second spots will be devoted entire-ly to selling.

Selling a viewer, of course, is ac-complished in various ways withvarious products. The purchaser ofa watch or washing machine doesn'tsee a commercial, then run aroundthe corner to buy the item. He mustget the cumulative treatment, with

effective demonstration puttingover the product's strong points. Todo this, Benrus relies on straightphotography as does Bulova to agreat extent, though it has somestop -motion in its spots. It's thekind of product which is sold main-ly by the matter-of-fact rather thanthe tricky approach. On the otherhand, the animated 20 -secondB.V.D. segment sells its product byslamming home the trademark.Thinking here, according to Bar-bara Jones of Grey Advertising, is,in the first place, that the 20 -secondspot can only do a job if the productname is known. If it is, 20 -secondscan implant it more strongly in theviewer's mind. B.V.D.'s animateddance, then, is primarily a reminderagent. Same time, though, the jinglemanages to get in nine name men-tions, plus caroling the brand nameof the shorts, all in one-third of aminute. Like this:"Sportswear-B.V.D.Beachwear-B.V.D.Underwear-B.V.D.Yes Sir!-B.V.D.For comfort, style and economyThere's nothing better than B.V.D.Rogue Shirt-B.V.D.Ruggers-B.V.D.Pajamas-B.V.D.B.V.D. Brand!"

With Ronson spots, producedthrough the same agency, an entire-ly different selling problem is in-volved and, naturally, an oppositetechnique. With the lighter, it's amatter of demonstration again,showing the product as a handsomeand useful item. So this series has atrademark opening, then a demon-stration by ordinary people in or-dinary situations, and a concentra-tion on merchandising closeups. Inkeeping with this approach, Ronsonalso has an institutional spot whichstresses safety and the preventionof forest fires.


how often can a spot be repeated?Since one of the main elements in

a successful spot has to do withhow often it may be repeated, obvi-ously the initial cost should be con-sidered secondary to the creativeability which goes into its produc-tion. And the matter of a few hun-dred, or even a thousand, dollarsadditional cost should not be a ma-jor concern when this extra outlaymay increase the life of the spotimmeasurably. To a large extent,the creative talent going into thespot production will determine howmany times it may be used. Andturning up such creative talent, forthe output of lasting spot announce-ments, is handing agencies a sterntest.

The life of a spot hasn't been de-finitely determined by anyone asyet. Some maintain animation willlast longer than live action film ;others hold that animation, with itseffect of riveting one's attention,becomes familiar too quickly andloses punch. Whatever the ultimateconclusion on this, Lucky Strike'smarching cigarettes have been ca-vorting nearly two years, and arestill going strong. The marchingcigarettes spot was produced for$7,500, which might seem ratherhigh, but the expense has beensteadily amortized as the spot getscontinued use. Moreover, while thesame spot may be used over andover, narration is changed fromtime to time so that a differentselling spiel is employed over thesame film. These considerations,plus the fact that these animatedspots are not scheduled with suchfrequency as to kill their appeal,add up to the conclusion that thespots are economical buys. In fact,probably better buys than somecommercials costing $1,000 or less,

Produced by Transfilm

Insistent buzzing of Go'den fVossom beewas natural for product identification.

Produced by PothescopeTrick effects catch the viewer in 20second attention getting spots (left) whilestraight photography does the job when a whole minute is given to the message..

for undoubtedly the Lucky commer-cials figure out at a lower cost pershowing.

Cheap at 57,500Lucky Strike Spots

Lucky Strike, of course, is gen-erally conceded to be the bellwetheramong TV spots, but Sanka andBotany rate special mention forcoming up with entertaining weath-er spots that could stand constantrepetition. Also, the new Ballantinecommercial, with its catchy rhythmplus the frothy effect, gained byabstract film production. to getacross the trademark, is outstand-ing among recent efforts.

With this spot, Ballantine uses'the same opening and closing butsustains the spot's appeal by regu-larly varying the jingles used. Thisdevice, of course, is not possible foran advertiser such as Philip Morris,having 22 stations on its scheduleand running a total of 65 spotsweekly. With such frequency it be-comes necessary to change the en-tire series regularly. PM now uses

three cycles a year, and may add afourth later. Cost of these spotsranges from $1,500 to $2,000 each,as special photography for 20 -sec-onds brings their cost up to aboutthe same as longer messages. Andso far, Philip Morris seems to havegotten good mileage for the price.

Once the advertiser is satisfiedhe has the right spot for his prod-uct, the most important considera-tion becomes, of course, the adja-cency. Benrus, who got in early,was highly selective in its buying,and insisted on only preceding posi-tions to top shows. Philip Morris,also in early, has nailed down adja-cencies to high -rated programs andsports events. Sponsors after a maleaudience-beer, cigarettes, tires,etc.-have all gotten next to sportsshows where possible. From hereon, however, for those who gave upkey adjacencies and for those justcoming in to TV, there will be con-siderable jockeying for position.And the advertiser who gets a good20 -second adjacency will have to useit we 1. That is, sell with it.

trade mark identificationTrademark identification, when

the name is known, goes a long waytowards selling some products. Butthe problem, naturally, is somethingelse again when neither the markor product has much general recog-nition. Peter Hilton agency hadsuch a poser with its Golden Blos-som Honey spot drive, run in NewYork last fall. Before its TV cam-paign, Golden Blossom had depend-ed largely on newspaper advertisingbut, on the agency's recommenda-tion, it tossed its entire budget intoTV, going in on an all-out basis

without any experimental stringsattached. Here was a relativelylittle-known product and the firstaim was to get trademark attention.To gain this, four one -minute spotswere prepared, each having a car-toon opening and closing showingan animated bee buzzing around.Bee took over for 20 -seconds of thespot and the remainder was devotedto merchandising. Two spots weeklywere run on WNBT and WCBS-TVand four on WABD, with such de-sirable adjacencies as followingToast of the Town and Howdy -


Doody. These ran from November,1948 to April and sales went upgradually at first, then spurted tosuch an extent that the item wascompletely sold out. And much ofthe business was repeat selling.Agency did the story -board, andthe batch of four spots costabout $5,000. Another series ofone -minute Golden Blossom plugswill appear in the fall and, of course,since the buzzing bee packed such awallop, it will be repeated for theopening and closing. For this effort,needing to push across both trade-mark and product merchandising,agency still feels one -minute mustbe used. Just how this dual purposecan be accomplished in 20 -secondsis, in most opinions, an unsolvedproblem so far.

While this was a specialized localjob, its success has implications forthe national advertiser in that hehas sometimes failed to make soliduse of his trademark. For instancea recent reaction to refrigeratorspots was that, while viewers sawpeople opening deep-freeze lockersall over the dial, the individualtrademarks didn't come over withthe proper punch.

With the Hotel New Yorker spot,also produced through Peter Hilton,agency had a situation which boreno resemblance to buzzing bees andhoney. This was a matter of attract-ing patrons to a hotel, particularlythe weekend trade. A one -minutespot was turned out which openedwith the exterior of the establish-ment, played up its feature attrac-tions such as its ice show, showedhow it was centrally located andaccessible to mid -town theatres,clubs, etc. This "weekend in NewYork" theme came over so well thatthe results from the spot shown inWashington, Baltimore, Philadel-phia, and Boston were reported as"far beyond any expectation."

One -minute was needed for thispush, and there is general agree-ment that the length of the spotdepends entirely upon what you'reselling and what you have to tell.For such a product as Philip Morriscigarettes, Biow agency has foundthat varying time segments may beused for different effects, and thatall of them tie in on the overall im-pact. Using TV spot since June,1948, Philip Morris now has 12 one -minutes plugging the nose -test

pitch, an announcement which hasstayed about the same from thestart. Also, company has 14 20 -sec-ond breaks featuring the "no cig-arette hangover" message, and de-signed for attention getting. PMwill plough in over $200,000 on spotannouncements this year and, aswell, sponsors regular shows, believ-ing that both programs and spotshave a definite place in product pro-motion. But spot announcementsare especially important for PMcoverage now, as its shows will notbe kinescoped until the quality ofthe recording improves. PM's one -minute plugs deliver their messagesin commonplace fashion ; but the20 -seconds use all kinds of trickphotography. Johnny, of course, ap-pears in all spots and commercials,though his contributions are some-what more controlled than before.For a time, when he was all overthe place, some viewers, who ac-cepted him on the cigar -counter,found him obnoxious in the living -room. However, as he's probably theonly living trademark around, John-ny is bound to play a big role in TV,as he has for years in radio andthrough dealer tie-ins.

U. S. Rubber merchandises its spots

"It's The Principle of the Thing . .

Yes, it's the Air Ride Principle

U. S. Rubber's recent spot cam-paign was designed for one pur-pose: to punch across the Air Rideprinciple of low pressure, particularselling feature of its U. S. RoyalTires. And, in accomplishing thispurpose, the drive furnished astandout example of how TV canput over a selling message, when theadvertiser knows how to go about it.From the outset, since they hadbeen hammering away at the sametheme for some time, company offi-cials knew exactly what points tostress, and how to stress them.Three animated one -minute spots

in tires that changed rough ridingto smooth sailing

were produced and carried over 29stations for 13 weeks. In general,three spots were run a week, orone of each commercial. Two plug-ged the Air Ride tire, and one theRoyal Master Air Ride. "Easy steer-ing, easy riding, and safety . . ."made up the main selling pitches,but only two were plugged in oneminute. Curt Muser of U. S. Rubberfeels that a couple of points are allthat can be put across solidly with-in 60 seconds, and no more wereattempted. Coordinating the effortthroughout the areas covered, dis-tributors pitched in on the push,

Poul Fennell ProductionsSee U.S. Royal Air Ride Tires at

the store that displays this sign."

along with the company's field or-ganization. Results were excellentand, as reported by Muser, the com-pany is "tremendously impressedwith what can be done with tele-vision."

This type of product was toughto sell effectively with a radio com-mercial, since it needs visual demon-stration. TV, of course, providedthis. It was only a question of howbest to demonstrate the sellingpoints. Company decided to use ani-mation and trick photography since,as well as its being entertainingand amusing, highlights of the de -


monstration come over more strong-ly through the exaggeration whichthe device allows. Also, as Muserexplains, an animated sequence per-mits greater exposition of the sell-ing theme than the cut-and-driedproduction afforded by orthodoxphotography. Cost was considerable,as with any polished job of anima-tion; but the spots' appeal is stillcomparatively fresh and, thoughcompany plans on future TV areindefinite, the same plugs can beused repeatedly for an undeter-mined period.

In banging home its Air Ridestory, U. S. Rubber shot straightfor the male audience, since surveyshave disclosed that women are gen-erally indifferent to such mattersas tire pressure. Schedule, on allstations, ran somewhere betweenseven p.m. and on through the peakviewing hours, when the men wereavailable. Selection of stations wasbased on getting an approximationof coast -to -coast coverage, witheach outlet picked having a set cir-culation of 1,000 or more. Adjacen-cies were taken to various types oftop -rated programs, and time pre-

ceding and following sports stanzaswas grabbed repeatedly. In Chicagoplugs came after White Sox ballgames, on WCBS adjacencies to theKentucky Derby, Preakness, andBelmont Stakes were taken; andU. S. Royal commercials regularlybordered boxing shows on manystations. Turned loose from thesepositions, the spots hit the intendedaudience right on the nose. And, asexpertly put together, they told astory in 60 seconds which, in Mu-ser's opinion, packed the punch of a15 -minute sales spiel.

When the campaign got underwaylast March, U. S. Royal distributorswere alerted by a brochure whichhighlighted all the forms of adver-tising support provided them by thecompany. Every distributor withina 50 -mile radius of each station dis-played a banner tying in with thedrive. And those dealers who han-dled radio and TV equipment, aswell as tires, had a natural setup tocooperate by word-of-mouth andcounter displays. With this all-outbacking, the drive got off to a goodstart. Planning and know-how inpreparing the spots did the rest.

knd new.. Alf the first time in the tie industry

.*el am. I MY. ff*am NamV i A* NMI 4.1111111.No* -.

411 *fro es.

Page from the brochure alertingdealers in support of television drive.

Pall Mall tests technique via spotsThe 60 -second spot as an explora-

tory vehicle of TV selling tech-niques is one of the prime objectivesof Pall Mall's (American Cigar &Cigarette Co.) initial use of themedium via a 13 -week campaign onall 22 stations in the top six videomarkets.* A combined total of 47spots are used each week in whatamounts to virtual saturation of thesix cities.

Because the spot marked its de-but in the medium the advertiserand its agency, Sullivan, Stauffer,Colwell & Bayles, preferred the full- New York. Philadelphia, Baltimore. Boston.Chicago and Los Angeles.

minute segment for two basic rea-sons: (1) it was considered an ex-cellent method of experimentingwith commercial techniques, and(2) it provided more time in whichto tell the Pall Mall story.

Says an SSC&B executive: "Wefelt Pall Mall had a different storyto tell from other cigarettes andonly a 60 -second spot could give usthe working area we needed." Afactor to be reckoned with in TV,he points out, is whether the adver-tiser is satisfied to get his messageacross completely and with impactto 10 people in more time, or quick-ly-and vaguely-to 100. For Pall

Mall, he feels the full -minute isneeded to completely do a selling job-and he's satisfied to get the im-pact across to the 10.

The SSC&B exec believes that theuse of a spot over a relatively con-sistent schedule will provide the ad-vertiser with a fairly thoroughknowledge of the do's and don'tsof TV techniques. After the adver-tiser has mastered the approachand use of spot advertising it's asimple matter to expand into pro-gramming, since most commercialsare of the one -minute variety.

The dwindling availabilities ofchoice one -minute segments in ma -

Pall Mall's size is effectively dramatized in two shots from a dance sequence. Silhouette (right) stresses filter story.Commercial involved some unusual visual techniques and was turned out by Pathescope Productions.

Television Magazine July 1949 I5

OPERATINGSTATIONS(Network Affilictionin Parenthesis)Albuquerque

KOB-TV (C, D)Atlanta

WSB-TV (A, NIWAGA-TV IC, DI

BaltimoreWAAM (A, D)WBAL-TV IN)WMAR-TV (C)

BirminghamWAFM-TV (C)WBRC-TV ID, N)

BostonWBZ-TV (N)WNAC-TV (A, C, D)

BuffaloWBEN-TV IA, D. N)

ChicagoWBKB (C-Oct. 1)WENR-TVWGN-TV IC,WNBQ

CincinnatiWLW-T IN)WKRC-TV (C)

Cleveland -AkronWEWS (A, C,WNBK (N)

ColumbusWLW-C (N)

DaytonWHIO-TV IC)WLW-D (N)

DetroitWJBK-TV (C,WWJ-TV INIWXYZ-TV (A)

ErieWICU (A, C, D, N)

Fort Worth -DallasWBAP-TV (N)

HoustonKLEE-TV IC, DI

IndianapolisWFBM-TV (C. D, N)

LancasterWGAL-TV IC, D, N)

Los AngelesKFI-TVKLAC-TVKNBH (N)KTLAKTSL (D)KTTV (C

LouisvilleWAVE -TV IA, C, 0, N)

MemphisWMCT (A, C, N)

MiamiWTVJ IC, 0, N)

MilwaukeeWTMJ-TV (A, C, D,

New HavenWNHC-TV IC, D, N)

New OrleansWDSU-TV (A, C, D,

New YorkWARD ID)WATVWCBS-TVWJZ-TV (A)WNBT INIWPIX

Oklahoma CityWKY-TV

TELEVISION MAGA

PORTLAND 1

SALT LAKE CITY 2 DMA/. A

CO 2 1

STOCKTON 1

105 AN' ALBUQUERQUE 1

SAN DIEGO IPHOENIX 1

JULY, 1949(Statistics as of June 30)

Operating Stations 72Market Areas 41

CPs Issued 47Applications Pending 338

Networks: Cities now served bythe networks include Boston, NewHaven, Schenectady, New York,Philadelphia, Baltimore, Washing-ton, Richmond, Pittsburgh, Buffalo,Cleveland, Detroit, Toledo, Chi-cago, Milwaukee and St. Louis.San Diego and Los Angeles servedby micro -wave relay.LL(.1s.u. 1 nderlined cities have TV

s iN'

FORT WORTH 1

SAN ANTONIO

service, followed by numberof stations on air.

Construction Permit

N)

RECEIVER CIRCULATION U. S. TOTAL AS OFNI ALBUQUERQUE 900 CLEVELAND -AKRON 60,000 LANCASTER

ATLANTA 11,000 COLUMBUS 6,890 LOS ANGELESBALTIMORE 63,131 DAYTON 9,761 LOUISVILLEBIRMINGHAM 2,200 DETROIT 60,000 MEMPHISBOSTON (PROVIDENCE) 100,000 ERIE 4,100 MIAMIBUFFALO 24,499 FORT WORTH -DALLAS 10,600 MILWAUKEECHICAGO 145,000 HOUSTON 4,800 NEW HAVENCINCINNATI 26,500 INDIANAPOLIS 4,500 NEW ORLEANSNOTE: Figures ore based on station, distributor and dealer estimates, and are presented as an ieforJune 1. This figure is considerably lower than other industry estimates regarding New York City circu

the rising percentages of unsold production during the past few months,

ZINE'S STATUS MAP

ST PAUL -MI 'EN 2

MIEN, AUKE

AME i 1

DAVENPORT2

.AS CITY 1

TULSR 1

K Le HOMA CI -Y 1

DALLAS

OUSTON 1

K AL AM

CHICA 50 0

ROCK ISLA

PEORIA 2

INDIA NAPOL

RI OOMINGT

ST LOUIS 1

NASHVILLE 1

MEM.HIS I

NEW ORLEANS 1

JUNE 15, 1,720 7868,500

140,0007,5005,6006,3)0

26,73830,0)04,5)0

SYRACUSE 1 2,; SCHENECTADY

ROCHESTER 1 jUTICA-ROMEBUFFALO

BINGHAMTON I

PIDS 1

ERIE 1

I ANSING

ETROIT 3 CL ND

TOLEDO 1 LANCASTER I

TO IL

PITTSBURG

DAYTON 2

CINCINN

COLUMBU 1 2

1 1

HLNTINGTON 1

LOUISVILLE 1 1

ATLANTA 2

BIRMINGHAM 1 1

NEW YORK*Oh LAHOMA CITYPHILADELPHIAPI-TSBURGHRICHMONDROCHESTERST. LOUISST PAUL -MINNEAPOLIS

585,2(03,0(0

173,0(020,0(011,5172,000

32,10017.000

YORK 6 1

LPHIA 3

ON 13

ON 4

HMOND 1

NORFOLK

GREENSBORO

CHARLOTTE 1

tKSONVILU 4A

ST. PETER SB BA

1

SALT LAKE CITYSAN FRANCISCOSCHENECTADYSEATTLESYRACUSETOLEDOWASHINGTONWILMINGTON

4,9506,800

23,8006,7004,200

15,00048,500

4,000net apArcximalion -other than an exact count, subject to adjustment each month. *Adjusted as oflotion However, TELEVISION MAGAZINE offers it as a realistic total since it takes into considerationacd -he increased inventories of retailers, distributors and manufacturers.

PhiladelphiaWPTZ (N)WCAU-TV (C)WFIL-TV (A, D)

PittsburghWDTV (A C, D, N)

RichmondWTVR (D, N)

RochesterWHAM -TV (C, N)

St. LouisKSD-TV (C, D, N)

St. Paul -MinneapolisKSTP-TV (N)WTCN-TV (A, C, DI

Salt Lake CityKDYL-TV (N)KSL-TV (C, D)

San DiegoKFMB-TV (A, C)

San FranciscoKPIX (C, D, N)KGO-TV

SchenectadyWRGB (C, D, N)

SeattleKRSC-TV IC, D, N)

SyracuseWHEN IC, D)

ToledoWSPD-TV (C, D)

WashingtonWMAL-TV (A)WNBW (N)WOIC IC)WTTG ID)

WilmingtonWDEL-TV ID)

ESTIMATEDSUMMER OPENINGDATES OF NEWSTATIONS

CharlotteWBTV

CincinnatiWCPO-TV

ColumbusWBNTWTVN

DallasKBTV

Grand RapidsWLAV-TV

GreensboroWFMY-TV

Kansas CityWDAF-TV

Los AngelesKECA-TV

ProvidenceWJAR-TV

New YorkWOR-TV

OmahaWOW -TV

San FranciscoKRON-TV

Utica -RomeWKTV

July 15

July 25

August 1

Sept. 1

July

July 15

August 1

September

Aug. 15

July 10

September

September

Oct. 1

Sept. 1

A GREAT TV TIMM MITICUSTOM MADEONE MINUTE

to

TV FILMFOR ONLY

1150°Pa .15 16

MM MMa Additional prints low roil!

Artful productionEffective illustrationsat

a Animated tricky titlesSound on film con-

sists of off -screenvoice and music

Quickest service fromAmerica's leading pro -

R ducer of spot message Motion Pictures foris over 30 years

S 5inieSat? 711..Jaw "Write or Phone ....

7iintacZ _frailer Co.1327 S. Wabash Ave . . . CHICAGO

Phone Harrison 7-3395

KEEPING UP

ON TV

Is Not a matter of chancereading of scattered TV newsitems in general publications.

ISgetting the complete pic-

ture in all its phases as only youcan get it every month in

Television MagazineThe Business Magazine

of the Industry

jor TV markets (including some ofthose in which it is now running)were of minor concern in the over-all campaign. Despite the fact PallMall, as a new TV entrant, is facedwith a limited choice of cream timein several major markets (as com-pared with other cigarette compan-ies who've secured franchisesthrough long-time spot usage) theagency feels the product will achieveeffectiveness through blanket cover-age of a market. Its total of 47 spotsper week on all stations in the sixcities are scheduled with enoughrepetition to insure impact.

Furthermore, the choice of themarket is regarded as more impor-tant than the choice of a particularstation. "Of course we look foravailabilities first," says the agencyexec. "Station X might not be able

to offer the top availabilities ofStation B, but we might buy it any-way. Unlike radio, one TV stationcan't logically claim a wider view-ing range than its competitors."

The Pall Mall commercial itself,whose basic theme was to illustratethe size of the cigarette, uses imag-inative production techniques. Thir-teen separate Pall Mall packageswere constructed, ranging in heightfrom two to 10 feet, and used as thesetting for a dance sequence per-formed by two boy -girl teams. (seecut). Music and lyrics plug the PallMall theme in jingle style, precededand followed by the straight narra-tive commercial. Dance sequencedissolves into a live -action shot of amodel smoking a Pall Mall, theninto a silhouette to illustrate thedialogue.

De Soto introduces new earvia 61 -station spot drive

Produced by Wilding PicturesDe Soto's one -minute commercial relies on straight selling without tricks.emphasizes demonstration of car's sarong points and general attractiveness.

De Soto's six -week plunge on 61stations to herald the arrival of its'49 model is, from the standpointof market coverage, one of the mostextensive film spot campaigns todate. The schedule, which used allstations operating during the monthof March and the two weeks follow-ing, supplemented a nation-widekickoff drive in other major media,with special emphasis on magazines.Here again the saturation techniquewas used via a total of 40 spotsweekly to insure the widest possiblecoverage of the introduction of the

new car. As outlined by De Soto'sadvertising director Karl Bronsonand its agency, BBD&O, the spotcampaign widened the scope of na-tional promotion and at the sametime helped the individual dealerto amplify his own effort on thelocal ad level.

While this schedule marked DeSoto's initial use of TV, and was"factory paid" at no expense to itsdealers, Bronson points out thatDe Soto dealers in many cities havebeen using the medium for sometime. However, the main office


works cooperatively with the dealeron such local promotions, which mayrange from live or film spots to par-ticipations or full sponsorship of aregular program. A general fund isused to underwrite the costs of suchlocal efforts, he points out.

At the close of the spot campaign,De Soto's management was appar-ently satisfied that the undertaking

was effective, although no results-directly traceable to TV-wereavailable. Says Bronson: "In theautomobile business it's frequentlydifficult to tell where and how anad pulls. The public rarely gets ex-cited to the point of jubilance aboutan auto ad, no matter what themedia. It's different from the gro-cery business, for instance, where

you can usually trace the movementof packaged products to a specificad or a specific campaign."

Bronson infers that one of theprincipal objects of an introductorycampaign of this nature is the con-veyance of a message to the great-est possible audience-an objectivethat requires the use of all majoradvertising media.

national and regional mpol programming

Phillips -Jones (Van Heusen) used WEWS' Dress and Guessstimulate Cleveland shirt sales.

Lack of sufficient number of low-cost programs suitable for sponsor-ship is the major deterrent tolarger use of spot programming atthe moment. While there are manyinstances of good local live showspresent limitations on budgets, per-sonnel, talent and facilities keepavailabilities way down in thisgroup.

There are, however, some encour-aging instances of local studio pro-grams being picked up by nationaladvertisers and, recently, somefairly good film programs havebeen put on the market.

Unlike radio, where the backboneof spot programming on a nationalor regional basis is the electricaltranscription (and hence a reason-ably cheap commodity for the adver-tiser) TV programs of this typehave to be on film. In addition, thestation and its national representa-tive cannot easily sell a show to apotential advertiser without anaudition-an impossibility in TVunless the show has been recordedon film.

Typical use of film as spot pro-gram fare is illustrated by the cam-paigns the Goodall Co., Jacob Rup-pert, and United Wallpaper Co.( Trimz ) on the national or regionallevel, and the National ShawmutBank of Boston and SeidenbergCigars on the local level.

Goodall, manufacturer of men'sapparel, is using a five-minute

as a local show to

sports film titled How To ImproveYour Golf, in 17 markets, time costsof which are shared by the clientand a departmentFilm is distributed to stores for useon a once a week basis (see DE-PARTMENT STORE TV, Page 23)on local outlets.

Ruppert is using a Ziv property,Sports Album, a five-minute seg-ment preceding sports telecasts infour markets (New York, Philadel-phia, Detroit and New Haven ). Aninstance of such spotting is the air-ing of Album immediately beforethe New York Giants' home base-ball games on WPIX in New York.Indicative, perhaps, of the growingimportance of quality film fare isreflected in the purchase of therights of Sports Album by Ruppertfor $170,000 over a three-year span.

Another Ziv show, Yesterday'sNewsreel, a 15 -minute package, wassponsored by Seidenberg Cigars onWCBS-TV for 26 weeks. Recentlythe sports stanza moved to WNBTwhere it is scheduled for 39 weeks.

United Wallpaper Co., for itsproduct, Trimz, is also using filmas a spot program vehicle in Chi-cago, New York, Philadelphia andCleveland. Company has boughtParadise Island, a 15 -minute musi-cal variety segment produced byJerry Fairbanks and distributed byNBC. Show is a poor example ofwhat TV film fare can and shouldbe-even at this early stage-butis apparently cheaper and moreflexible than live programs for thesponsor's immediate advertisingpurpose. Island features Hollywoodtalent-most of it relatively un-known-and runs approximately 12and one-half minutes, open-endedfor commercials.

Film packages are also beingmade available by such firms asUnited World (subsidiary of Uni-versal Pictures), 20th -Century Fox,United Artists, Official Films, Inter-national Tele-Film Productions,and others. INS offers the adver-tiser daily or weekly news programson film via its Tele-News package, a15 -minute segment ranging in pricefrom $400 to $500 per week, pro-rated according to market. News-reel is now on the air in 36 markets.


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WHELAN DRUG STORES PRESENT....

SATURDAY NITE 9 PM. WABD CHANNEL 5

ITEMS ON DISPLAY HERE, FEATURED ON WHELAN'S TELEVISION SHOW

DRUG CHAIN IV

N of America's major drugchains are using TV as the

focal point of a joint promotionand merchandising campaign thatis expected to produce an entirelynew formula for national brand ad-vertisers whose product distribu-tion is handled on a similar retailbasis.

The success of the project, whichis perhaps unprecedented in thehighly -competitive drug store busi-ness, may serve as a working guideto department stores, grocery

10 DRUG STORE FIRMS SET IMPORTANT

NEW PATTERN IN RETAIL ADVERTISING

VIA A FULL -HOUR NETWORK PROGRAM

By JIM OWENS

chains, etc., which carry the linesof dozens of national advertisersand to whom the merchandisingfollow-through to point -of -sale isall important.

Via Cavalcade of Stars, a full -hour weekly variety show on theDuMont Television Network (Sat-urday, 9-10 p.m. EDT) the drugchains push four individual prod-ucts in 10 markets, (see list below)each identified with the show on alocal basis. Costs of the show, in-cluding time and talent, run to

SEEN IN TEN CITIES'Cavalcade' Sponsors & Stations

Whelan's, WABD, New YorkLiggetts, WNAC-TV, BostonSun Ray, WCAU-TV, PhiladelphiaRead, WAAM, BaltimorePeople's, WTTG, Wash., D.C.

approximately $10-$12,000 weekly.With each chain-and the productmanufacturer-contributing to theover-all expenditure, the individualchain outlay is considered to bewell under $1,000. The productmanufacturer reportedly contrib-utes a heavy portion of the costs,part of which are drawn from a co-op budget with the chains for pro-motion and advertising in all media.First four advertisers on Cavalcadeare: Amion Tooth Powder, Wild -root Cream Oil, Heed, a powder

Sun Drugs, WDTV, Pittsburg',Gray, WEWS, Cleveland

Walgreen's, WGN-TV, Chicago Cunningham's, WJBK-TV, Detroit Harvey & Carey, WBEN-TV, Buffalo

deodorant, and B. B. Pen, and willrun on a schedule of six to 13 weeks.

Despite the fact Cavalcade is inits early stages, the SRO sign forsponsorship is already hung up.Numerous other advertisers areawaiting a vacancy on the show,with Toni, one of the leading homepermanent wave products, expectedto be the next entrant. The currentsetup limits four products to ashow, but it's said plans are under-way to expand the project to an-other program, perhaps anotherhourly stanza handled on a similarcooperative basis.

804 Stores Tie-inWith Program

The 10 chains, which do a totalannual volume of well over $200,-

- 000,000, are: Whelan Drug Stores,New York; Liggett's, Boston; SunRay Drug Stores, Philadelphia;Read Drug Stores, Baltimore;People's, Washington, D.C.; Sun

AMION HELPS

DENTISTS

TOOTH DECAY

Clips from the Amion film commercialon "Cavalcade of Stars."

Drug, Pittsburgh; Gray, Cleveland;Walgreen's, Chicago; Cunning -ham's, Detroit; and Harvey &Carey, Buffalo. Combined, the drugchains have a total of 804 storeswhich carry the merchandisingtheme to the sales counter level.

THE COMMERCIALS

Local identification is achievedby the insertion of a 45 -secondsound film inserted over the open-ing and closing chorus of the showas fed on the network. The fourone -minute commercials on Caval-cade, aired at 15 -minute intervals,are fed intact, with the show itself,to all 10 stations.

The four product commercialsare one -minute films spotted atquarter-hour intervals on the show,and introduced briefly by emceeJack Carter. Manufacturers supplythe film themselves, of course, butactual time costs are reportedly

drawn from the co-operative adbudget.

While several products will beaired on Cavalcade during its ten-ure, The Stanton B. Fisher agencypoints out that good taste restrictsthe number of commercials to fouron any one show. And despite thecomparative newness of the pro-gram, indications are already avail-able that the expected sales impacthas occurred.

Heed is a new product broughtout only this spring, packaged inan atomizer -like container, con-struction of which makes demon-stration a natural for video. TVwas chosen as the only medium tointroduce the product, and resultshave reportedly been highly satis-factory. B.B. Pen, distributed main-ly on the west coast prior to Caval-cade, made its eastern debut on theshow, and according to Fisher, isoutstripping all other ball-pointpens in its price range (98c) atthe moment.

Theme of the commercial is its pre-ferred use by dentists . . .

Drug Chain Sales

Register New Highs

Use of TV's product -demonstra-tion sales power by the drug chainsis considered a logical extension ofthe straight -forward, hard-hittingmerchandising philosophy typical ofdrug store retailing which, everyyear since 1941 has registered newhighs in gross sales. Whelan stores,which sponsors Cavalcade in theNew York area via WABD, record-ed total sales of $41,090,077 in 1947in 193 stores, as against $38,847,311the previous year. Advertising ex-penditures for '47 were $354,105,the major portion of which (91.8% )went into newspapers, the remain-ing (8.2%) into circulars, posters,etc. Total drug sales in the U.S.during that year were $3,627,000,-000-an all time high for the in-dustry.

Chains Fully ExploitTV's Merchandising Power

Merchandisability of TV-one ofthe prime requisites of any drugchain ad campaign-is exploited tothe hilt by the 10 chains on theCavalcade bandwagon. An elaboratein-store promotion effort ties prod-ucts plugged on the show right downto the sales counter-buttressed byeye-catching window posters, ban-ners hung from the ceiling, andlapel tags worn by sales personnel.Each piece of promotion is emblaz-oned with bold -face headline copyto the effect that, for example,"WHELAN'S PRESENTS-Caval-cade of Stars-"followed by thename of the station, the time, etc.

Stanton B. Fisher, Inc., which ishandling the entire campaign forthe chains, sees to it that "satura-tion" promotion backs up the show.Agency sends out advertising andpromotion kits each week to localheadquarters of each chain contain-ing newspaper mats, ad copy, photos

Produced by Sorrn

Amion's package -identification obtainedvia a close-up shot.

and other material for in-store dis-play. Many stores in the group havedevoted one entire display sectionto the products advertised on Caval-cade, with adjoining posters empha-sizing this fact. Newspaper ads,which may run from 2 -column, 40line insertions to larger sizes, areusually placed the day of the show,positioned on entertainment orsports pages.

Material supplied by Fisher isoften supplemented by the local

Another of the chain storepromotion pieces.

TELEVISIONS

111041(16a/SAT. NITS 9-00WEWS ('lg.

Television Magazine July 1949 2I

chain's own ad and promotion effort,which may amplify the co-op pro-motion. Sun Ray Drugs, sponsor ofthe show in Pittsburgh via WTTG,has used an 800 -line ad which plug-ged various of its items, includingthose currently on Cavalcade, in apicture -frame type of advertisementheralding the show as a Pittsburghvideo feature.

Location of most of the chainoutlets further enhances the localpromotional effort, according toStanton B. Fisher. Majority of thestores are situated on busy cornersor intersections which, with elab-orate display and poster trappings,make an excellent "eye point" forconsumer traffic. He feels it's a safebet the idea isn't missed by manypassersby or drug customers.

Cavalcade is a co-operative effortamong the 10 chains which has ac-tive participation-as well as super-vision of top management, accord-ing to Fisher, who says the ideafor such a project evolved fromconversations at a drug conventiona year ago. For many years an ex-ecutive of the Whelan chain himself,Fisher is thoroughly familiar withthe promotion and merchandisingtechniques of the retail drug busi-

ness. He runs the show for all thechains, from production to talent,and works in cooperation with afour -man committee representingthe chains on policy and planning.

Some Chains HavePioneered In TV

Fisher emphasizes the philosophyof "mutual effort" inherent in thecampaign and offers a concrete il-lustration. For example, one chainmay be "assigned" sponsorship ofCavalcade in a market where an-other has more individual stores.This very fact, he points out, is in-dicative of the over-all cooperationbetween the chains. In effect, whatbenefits one chain in the way ofproduct promotion will obviouslybenefit another, since each carriesthe line plugged on the show.

The agency conceived and builtthe show and assigns eight of itspersonnel to handle it. Selection ofthe variety format was the resultof considerable behind -the -scenesevaluation of many program ideas,and it was felt that a presentationof the Cavalcade type would be well -suited to this type of advertising.The wisdom of the selection wasquickly borne out, since withinthree weeks after its premiere Cav-

all the best infilm equipment and

accessoriesimmediate delivery from stock

salesrentalsservice

E. J. BARNES AND COMPANY, INC.CONCOURSE SHOP 7 10 ROCKEFELLER PLAZA N.Y.C.

PL 7-0200

alcade had registered a 38 share -of -audience Hooper in New York.

A few of the chains sponsoringCavalcade have already had consid-erable experience with the medium.Whelan's sponsored Charade Quizfor 26 weeks on WABD as a localfeature during the winter of '48-'49. Cunningham's Drug Stores inDetroit initiated a 10 -minute inter-view -type sports show precedingbaseball and football games onWWJ-TV and WXYZ-TV last year.In addition, the chain ran a $10,000giveaway contest on occasion of its58th anniversary last October, withTV assigned a heavy portion of thepromotion. Also familiar with TVas an ad medium before the adventof Cavalcade was Rexall (Liggett's)through spot campaigns on thewest coast.

While Cavalcade is running as apermanent large-scale promotionshowcase for the 10 chains, Fisherindicates that this is only the be-ginning. Fifteen other chains ofequal size are expected to join theCavalcade bandwagon by next fall,he says, and-later on perhaps-other shows and other techniquesmay represent the drug chains inevery market covered by a TVsignal.

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THE HECHT STORE ON TV

A MAJOR WASHINGTON (D.C.) DEPT. STORE

USES TV EVERY DAY WITH HEAVY, VARIEDAD SCHEDULE ON THREE LOCAL STATIONS

THE Hecht Co., one of Washing-ton's (D.C.) major department

stores, is currently using TV to thefollowing extent: a 15 -minuteacross-the-board shopping show; afive-minute across-the-board sportsfilm show ; daily live weather spots ;station breaks and participationson local programs.

Store entered TV with live weath-er spots on WMAL-TV more than ayear ago and has gradually widenedits use of the medium because ofits obvious ability to promote andmerchandise retail products. At theend of its first 12 months with theweather spots, which were tied infashion wear, James Rotto, salesand publicity director of the store,said : "The weather -fashion fore-cast has attracted considerable fav-orable comment and attention. Weknow that this television spot hasmade an impression on a certainsegment of the population in thisarea. Frequently shoppers ask tosee and buy the fashion shown onTV. We're well aware of the valueof being able to present our fashionmerchandise in the living room ofthe prospective customer."

Campaign, spread over three Cap-ital outlets (WMAL-TV, WOIC andWNBW), features the institutionalapproach as well as product demon-stration-spotting the techniquesaccording to a particular type ofpromotion.

For dresses and household prod-ucts, Hecht uses live commercials,participations and slides; for storeor branch store promotion, Hechtuses films. According to HarwoodMartin, the Hecht agency, each hasits advantage and is used accord-ingly. For a daily one -minuteweather spot on WMAL-TV (nowin its 14th consecutive month),Hecht prefers live commercials be-cause it feels they're more flexiblefor the purpose: to model and de-monstrate women's dresses. Thisspot, which is produced virtually

as a one -minute "show," has a plotbuilt around the next day's weatherforecast with a model wearing thedress considered to be ideal for thetemperature. To lend atmosphereor "realism" to the demonstrations,the commercial has a backgroundblow-up of a familiar Washingtonscene, such as the Library of Con-gress, the Capitol Building, etc. (seecut). The model controls the tem-perature reading of the thermome-ter as the announcer delivers theweather forecast. Hecht also mer-chandises the weather spot via anin-store display specially featuringthe garments shown on TV, a plus -factor which, according to the agen-cy, enables the store to carry theTV sales theme to the sales counter.

Another example of Hecht'sheavy local TV usage, and one whichillustrates the flexibility of the cam-paign itself is the use of a daily

quarter-hour shopping show onWOIC (Monday-thru-Friday, 7:45-8 p.m.) Program, now entering itsthird month, is conducted by HariotStem, a Harwood Martin agencystaffer who has worked closely withthe store for some time. Formatuses guests who, with Miss Stem,demonstrate and discuss the vari-ous products sold on Hecht counters,ranging from kitchen appliances tothe latest evening gowns. To givethe show a ring of authenticity-while providing the distaff viewer acloser insight to the behind -the -scenes of home economics and de-sign-Miss Stem frequently hasHecht buyers as guest experts onthe show.

Still another of Hecht's consist-ent video promotions is the co-spon-sorship of the five-minute sports


Live weather spots, with a story line devoted to fashions, have been a Hecht regularon WMAL-TV for the past 14 months. Spots run a full minute. (6:00-6:01 P.M.)five days a week. Back drop is a blow-up photo of a familiar Capitol scene.


TOP TEN SPOT ADVERTISERS DURING MAYAND THE STATIONS THEY USEDAMERICAN TOBACCO CO. (28)

ktlanta, \\ I \ . Baltimore, WMAR-; Boston, W NAL-TA ; Buffalo, WBEN-

TV; Chicago, WBKB, WENR-TV; Cin-cinnati. WLW-T; Cleveland, WEWS; De-troit, WWJ-TV; Ft. Worth -Dallas, WBAP-TV; Los Angeles, KTLA; Memphis.WMCT; Milwaukee, WTMJ; Minn. -St.Paul, KSTP-TV; New Haven, WNHC-TV;New Orleans, WDSU-TV; New York,WABD, WCBS-TV, WPIX; Philadelphia,WFIL-TV; Richmond, WTVR; Salt LakeCity, KDYL-TV; Schenectady, WRGB;Seattle, KRSC-TV; St. Louis, KSD-TV;Toledo, WSPD-TV; Washington. WMAL-TV, WTTG.

RONSON ART METAL WORKS (28)Atlanta, \\ ,It- I ; Baltimore, WMAR-

TV; Boston, W BZ-TV; Buffalo, WBEN-TV; Chicago, WBKB; Cincinnati, WLW-T; Cleveland, WEWS; Columbus, WLW-C; Dayton, WLW-D; Detroit, WWJ-TV;Ft. Worth -Dallas, WRAP -TV; Houston,KLEE-TV; Los Angeles, KTLA; Louis-ville, WAVE -TV; Memphis, WMCT; Mil-waukee, WTMJ-TV; Minn. -St. Paul.KSTP-TV; New Haven, WNHC-TV; NewOrleans. WDSU-TV; New York, WNBT,WCBS-TV; Philadelphia, WPTZ, Pitts-burgh, WDTV; Richmond, WTVR; SanFrancisco, KPIX; Seattle, KRSC-TV; St.Louis, KSD-TV; Washington, WNBW.

HANDMACHER-VOGEL. INC. (21)Atlanta, WSB-TV; Boston, WNAC-TV;

Buffalo, WBEN-TV; Chicago, WENR-TV;Cincinnati, WLW-T; Cleveland, WEWS;Detroit. WJBK-TV; Ft. Worth -Dallas,WBAP-TV; Houston, KLEE-TV; Louis -

Mlle. WAVE -TV; Milwaukee, WTMJ-TV;Minn. -St. Paul, KSTP-TV; New York,WNBT, WPIX; Philadelphia, WFIL-TV;Pittsburgh, WDTV; Richmond, WTVR;Salt Lake City, KDYL-TV; Seattle, KRSC-TV; St. Louis, KSD-TV; Washington,WMAL-TV.CELANESE CORP. OF AMERICA (21)

Boston, WNAC-TV; Buffalo, WREN -TV Cincinnati, WLW-T; Cleveland,WEWS; Detroit, WJBK-TV; Ft. Worth -Dallas, WRAP -TV; Houston, KLEE-TV;Los Angeles, KTLA; Louisville, WAVE -TV; Memphis, WMCT; Milwaukee,WTMJ-TV; Minn. -St. Paul, KSTP-TV;New Haven, WNHC-TV; New York,WCBS-TV; Philadelphia, WFIL-TV;Pittsburgh, WDTV; San Francisco, KPIX;Schenectady, WRGB; St. Louis, KSD-TV;Toledo, WSPD-TV; Washington, WOIC.PHILIP MORRIS & CO. (20)

Baltimore, WMAR-TV; Boston, WNAC-TV; Chicago, WBKB, WGN-TV; Dayton,WLW-D; Detroit, WWJ-TV, WJBK-TV,WXYZ-TV; Erie, WICU; Los Angeles,KTLA; New Haven, WNHC-TV; NewYork, WARD, WCBS-TV, WNBT; Phila-delphia, WFIL-TV, WCAU-TV; St. Louis,KSD-TV; Syracuse, WHEN; Washington,WM l, -TV. W(MC.AMERICAN CIGARETTE &CIGAR CO. (20)

Il.iltimore, WAAM, WMAR-TV; Bos-ton. WBZ-TV, WNAC-TV; Chicago,WBKB, WGN-TV, WENR-TV, WNBQ;Los Angeles, KLAC-TV, KTLA, KTSL;New York, WABD, WPIX, WATV, WJZ-TV, WCBS-TV, WNBT; Philadelphia,WCAU-TV. WFIL-TV, WPTZ.

BENRUS WATCH CO. (20)Boston, WNAC-TV; Chicago, WBKB,

WGN-TV, WNBQ; Cincinnati, WLW-T;Cleveland, WEWS; Columbus, WLW-C;Dayton, WLW-D; Erie, WICU; Houston,KLEE-TV; Los Angeles, KTSL; Minn. -St. Paul, KSTP-TV; New Haven, WNHC-TV; New Orleans, WDSU-TV; New York,WJZ-TV; Philadelphia, WFIL-TV; SaltLake City, KDYL-TV; San Francisco,KPIX; Seattle, KRSC-TV; Washington.WNBW.PIONEER SCIENTIFIC CORP. (19)

Atlanta, WSB-TV; Buffalo, WBEN-TV;Chicago, WGN-TV, WENR-TV; Cincin-nati, WLW-T; Cleveland, WEWS; Dayton,WLW-D; Detroit, WWJ-TV; Los Angeles,KTTV; Milwaukee, WTMJ-TV; Minn:St. Paul, KSTP-TV; New Orleans, WDSU-TV ; New York, WCBS-TV, WNBT; Phil-adelphia, WFIL-TV, WPTZ; San Fran-cisco, KPIX; Schenectady, WRGB; St.

KSD-TV.

GOODALL CO. t17)\ Banta, WSB-TN ; Boston, WBZ-TV,\ AC -TV; Chicago, WNBQ; Cincinnati,

WLW-T; Cleveland, WEWS; Detroit,WWI -TV; Ft. Worth -Dallas, WBAP-TV;Houston, KLEE-TV; Los Angeles, KLAC-TV; Louisville, WAVE -TV; Memphis,WMCT; New Orleans, WDSU-TV; NewYork, WJZ-TV; Philadelphia, WPTZ;Richmond. WTVR; St. Louis. KSD-TV.

HARRIS HARDWARE & MFG. CO. (14)Atlanta. \\ \ ; Baltimore, WMAR-

TV; Boston, WNAC-TV; Buffalo, WBEN-TV ; Chicago, WBKB; Cleveland, WNBK ;Detroit, WJBK-TV; Los Angeles, KTSL;New York, WNBT; Philadelphia, WFIL-TV; Richmond, WTVR; Salt Lake City,KDYL-TV; Schenectady, WRGB; St.Louis, KSD-TV.

20 seconds*NAME YOUR SIZE

30 minutes

And we'll show you what can be done. Whether it's ahalf hour film series or a twenty-second station break,it makes no difference to our creative and productionstaff. Our experience of some twenty years in makingsponsored films is available to you.

Our production "know-how" can best be demonstratedby screening for you some of our productions at ourconveniently located studios.

FILMS FOR INDUSTRY such as the Schlitz Beer Commercials

135 West 52nd Street, New York 19, N. Y.PLaza 3-2800 The "Cholly Knickerbocker" Show, for example.


SPOT PROGRAMMING(continued from page 19)

Effective use of live program-ming on a strictly selected marketbasis was made by Phillips -JonesCo., manufacturer of Van HeusenShirts. Company entered video inBoston and Cleveland last fall tobolster a faltering shirt sales mar-ket in those cities (TELEVISIONMAGAZINE, March 1949), and thecampaign turned up some highlyencouraging results. Objective ofthe over-all TV drive was to achievepromotion of its product at the deal-er level, which would quickly beconverted into increased sales.

To accomplish this, Phillips -Jonesfollowed the pattern of buying tal-ent that had already achieved solidpopularity with the local audience.In Boston, the shirt company spon-sored Bump Hadley Pitching, atwice -weekly sports segment thathad already become a fixture onWBZ-TV with Hub viewers. Hadleyhad a personal following because ofhis successful baseball career -afact that insured Phillips -Jones ofthe loyalty of the male audience.

In Cleveland Van Heusen spon-sored the weekly Dress and Guess,on WEWS, featuring Paul Hodges,also a local "name" personality witha heavy f (Mowing.

Spot ParticipationsAnother phase of spot program

usage -participations on live localshows -is used by such nationaladvertisers as Wildroot Cream Oil,and The Great Atlantic & PacificTea Co., Amion Toothpowder, Cam-eo Curtains, Holiday Macaroon Mix.Latter four are using spots on YourTelevision Shopper, a 60 -minuteacross-the-board daytimer onWABD (10-11 a.m.), New York.Commercials on this show are han-dled both by film or live demonstra-tion by emcee Kathi Norris, depend-ing upon the advertiser's own par-ticular sales pitch, with cost of eachannouncement ranging from $75 to$85. Wildroot Cream Oil uses par-ticipating announcements on TheWendy Barry show, also a WABDprogram (Wednesday, 7-7:30 p.m.)

DON'T GET CAUGHTYou will undoubtedly increase your opera-

tions this fall. Your choice of personnel willthen lie between the high -salaried experienceda man whose love of TV, past experience andman or the untrained amateur. Why not choosetraining qualify him for this work, and who,at the same time, is willing to work in anyJob at any salary.

I am a young, married man, experienced incommercial still and movie photography, aim-ing at becoming a Television cameraman. TVproduction schooling has enabled be to adaptmy past experience to this nett field. For moredetailed Information, please me

WILLIAM L. BARISH5213 West Berks Street

Philadelphia, Penna.

SPOT TIME RATESListed below are the latest available

"Class A- time charges for one -minute(or less, film spots on all operatingstations. Rates are on a one time basisonly.

KOB-TV, AlbuquerqueWAGA-TV, AtlantaWSB-TV, AtlantaWBAL-TV, BaltimoreWAAM, BaltimoreWMAR-TV, BaltimoreWBRC-TV, BirminghamWNAC-TV, BostonWBZ-TV, BostonWBEN-TV, Buffalo

20

Sec.

815.00

One

Min.

or Less

$12.0030.0030.0055.0052.5055.0020.0060.0050.0040.00

WBTV, Charlotte 25.00 30.00WGN-TV, Chicago 60.00WENR-TV, Chicago 60.00WNBQ, Chicago 100.00WBKB, Chicago 30.00 42.50WKRC-TV, Cincinnati 35.00WLW-T, Cincinnati 35.00WCPO-TV, Cincinnati 35.00WEWS, Cleveland 50.00 60.00WNBK, Cleveland 50.00WLW-C, Columbus 20.00WLW-D, Dayton 20.00WHIO-TV, Dayton 30.00WWJ-TV, Detroit 60.00WJBK-TV, Detroit 50.00WXYZ-TV, Detroit 60.00WICU, Erie 30.00WRAP -TV, Fort Worth 30.00KLEE-TV, Houston 30.00WFBM-TV, Indianapolis 25.00KLAC-TV, Los Angeles 50.00 67.50KFI-TV, Los Angeles 25.00KTLA, Los Angeles 30.00 42.50KNBH, Los Angeles 100.00KTSL, Los Angeles 35.00 60.00KTTV, Los Angeles 100.00WAVE -TV, Louisville 40.00WMCT, Memphis 25.00 30.00WTVJ, Miami 30.00WTMJ-TV, Milwaukee 40.00 50.00WTCN-TV, Minn. -St. Paul 40.00 60.00KSTP-TV, Minn. -St. Paul 40.00 60.00WNHC-TV, New Haven 30.00WDSU-TV, New Orleans 25.00WPIX, New York 90.00 150.00WATV, New York 80.00 100.00WABD, New York 200.00WCBS-TV, New York 250.00 320.00WNBT, New York 250.00 250.00WJZ-TV, New York 150.00 200.00WKY-TV, Oklahoma City 30.00WOW -TV, Omaha 40.00WCAU-TV, Philadelphia 60.00WPTZ, Philadelphia 70.00 70.00WFIL-TV, Philadelphia 70.00WDTV, Pittsburgh 40.00 48.00WTVR, Richmond 50.00 60.00WHAM -TV, Rochester 30.00KSD-TV, St. Louis 40.00KDYL-TV, Salt Lake City 23.00KSL-TV, Salt Lake City 30.00KPIX, San Francisco 37.50KGO-TV, San Francisco 70.00WRGB, Schenectady 30.00 37.50KRSC-TV, Seattle 40.00WHEN, Syracuse 24.00WSPD-TV, Toledo 30.00WTTG, Washington 50.00WOIC, Washington 50.00WMAL-TV, Washington 45.00° Time Signal

UNITED

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Cabinets designed by Herbert Rosenyen

MERCHANDISING

THE attention -getting methodsof Earl ("Madman") Muntz,

tested in Los Angeles and now un-derway on a large scale in NewYork and Chicago, emphasize theeffect of imaginative and livelysales promotion and discards thenecessity of the big discount andprice cutting rampant in many deal-er quarters. Muntz's entry into TVillustrates what can be done in theentire field of receiver merchandis-ing and selling if the approach tothe problem is well-founded andplanned.

The Muntz method, unique in itscomplete control of the merchandis-ing process from manufacturer di-rect to the living room of the poten-tial customer, has sold many sets todate (he claims an average of 2,000per week). Lowered prices, rangingfrom a 10 -inch table model at$199.50 to a 12 -inch consolette at$299.50, are obviously an eye-catch-er for the consumer. But more com-pelling is Muntz's "blitzkreig" tech-nique of promoting his product.

Muntz virtually stormed into theapathetic New York market with abarrage of varied advertising andpromotion ideas that, to date, arecompletely new to the medium. He

"MADMAN" MUNTZ INTRODUCES NEW TECHNIQUESIN ADVERTISING & MERCHANDISING HIS OWN SETS

used a sales story spread across allad media-newspapers, radio, andskywriting. The latter was used tosound the arrival of Muntz TV inNew York via a fleet of planes thatplastered the message as many as50 times a day for two weeks.

Dealers Can BenefitFrom The Muntz Method

If these techniques are beyondthe reach of the average dealer, thebackbone of Muntz TV merchandis-ing-demonstration and immediateservice-is not. Prospects are in-vited to phone for a free demonstra-tion (usually granted within anhour). If the customer is satisfied,he may buy on the spot, for cash orterms. One of the boasts of theMuntz organization is that "no onecan get a discount on a Muntz set"-thereby shattering a theory heldby many dealers today as a mustfor consumer -buying incentive.

The Muntz set fits in with thispattern of selling. Simplicity itselfin comparison with most receivers,it has only two-thirds of the basicparts of standard sets, works withthree buttons (volume, selector, andpicture control), and is ready for

Port of the fleet of trucks Muntz TV uses to deliver and install sets on quick notice.The plant has facilities for manufacturing and displaying models under one roof.

performance by merely plugging inon any outlet. Muntz claims that hisset rarely needs an antenna and thisis then installed at cost. With theset, salesmen can easily put on adramatic home demonstration, andurge that a decision on the purchasebe made at once. Sets are never leftin the home while the prospectivebuyer makes up his mind. This tech-nique has worked well enough: pastrecords show that 16 or 17 salesare wrapped up out of 20 inquiries.And only about 25% have beenbought with installment paying.

Living Room DemonstrationShows A High Acceptance

Customers pay a flat rate of $4 amonth for service, which includeseverything including the picturetube. In Chicago, service calls wereanswered within the hour, and NewYork customers are getting thesame action. Company has 50 truckswith two men in each for serviceand installation, plus a fleet ofcoupes with one technician. Indica-tions so far point to an average ofthree service calls per set, one ofthem being right after the sale toadjust the set properly.

Keeping on with his pitch of pour-ing on the promotion from everyangle, Muntz has his trucks plas-tered with appropriate blurbs and,of course, his familiar trademark-the Napoleonic caricature. Front ofhis New York headquarters alsosports the Muntz caricature, andthe whole establishment (formerlyan A&P) has a flashy decor and aHollywood atmosphere, to the pointof having most of the personnelwearing dark glasses. Located onNorthern Boulevard in Queens, thelayout has 12,000 square feet ofspace, and all the warehousing ofstock is handled there. Story is thatMuntz got the spot just by chancebut, either by luck or design, he setup shop in one of the most rapidlygrowing sections in the entire area.


Baltimore

Television

means

WMAR-TV

As Maryland'spioneer television station,WMAR-TV consistentlycovers an area fromWashington, D. C. toWilmington, Delaware,and from Pennsylvaniato the Potomac River.

WMAR-TV is the tele-vision station of the Sun -papers of Baltimore. Itis on Channel Two, andcarries the programs ofthe CBS network to tele-viewers in the entireChesapeake basin area.

WMAR-TV's coverageof political campaigns,sports and special events-civic, patriotic, andcultural-is unequaled inthis rich, productive area.

Represented by

THE KATZ AGENCYINCORPORATED

ATLANTA CHICAGO DALLASDETROIT KANSAS CITY LOS ANGELES

NEW YORK SAN FRANCISCO

PROGRAMMING

costumes

By PAUL DU PONTCostume Designer for TV & the Theater

ESPITE the familiarity withproblems in costume design

for TV I was able to obtain fromearlier association with the medi-um, The Admiral Broadway Revuehas given me my greatest experi-ence. This production contains allthe elements of a Ziegfeld Follies-and it's done every week. It was thestiffest challenge I have had in myprofessional career, which goesback 15 years, and, in meeting it, Ihave come to the conclusion that thebasic thing in television costumingis not what you should do but whatyou shouldn't do. It is vastly differ-ent from the stage. In the theateryou have a complete pictorial ward-robe to achieve beauty and charac-terization; but the artistic rules andlaws of the theater cannot always beapplied to TV for a number of rea-sons:

(1) Because of color and rela-tion of one color to another, not asthey actually are in the theater butas they appear on the televisionscreen.

(2) Even with finest sets thereis a certain amount of camera dis-tortion that has to be taken intoaccount.

(3) Certain physical aspects of

an actress or an actor become moreprominent in television than on thestage. Therefore, by use of colorand detail in the waistline, twentypounds can be added or taken awayfrom a person's waist. For example,in the "Silver Cord," I wanted tofatten Meg Mundy a bit and stillkeep her in good trim figure. Abroken diagonal stripe through themidriff did this perfectly. To reducea person's hips in television, I havefound the best means is to add fourtimes as much bulk in the costumeas a person would ordinarily wearin street clothes. For example, apeplum or ruffle around the waistand the use of an exaggeratedlyslim skirt reduces the hips enor-mously.

(4) Contrary to stage designing,the use of pattern fabrics or busydesigns, such as beads and brocade,is much more interesting for anactress. In the theater I would neveruse for an actress any pattern otherthan color.

I have been doing a bit of experi-menting in black and white which,of course, are supposedly taboo intelevision. I find that they can beused provided the texture is of suf-ficient quality to offset reflection oflight. For example, an embroidered,eyelet pique blouse will produce noshadow or flare. In one production,a soldier wore a flat military buckle.It flared, producing a shadow thatcut the man precisely in half downthe middle. This was corrected bycovering the buckle with soap.

It is advisable, I have found, toavoid showing an actress' forearmunless in decollete. Bare arms with -

A scene from Cyrano de Bergerac, ashow which presented many costum-

ing problems.


out a strapless dress create toomuch motion about the face whenthe arms are moved, thus detractingfrom expressions. Satin, anothertaboo, I have found usable providedthe lustre is very slight; and evenblack satin is satisfactory if it isedged, where it borders on the skin,with black net.

On large production scenes suchas regularly used in The AdmiralBroadway Revue, I minimize de-tailed costumes in every way pos-sible so as not to detract from theactress or actor. However, if close-ups are to be used, I keep the detailas near as possible to the face, neckand shoulders.

Most actors prefer suits that areloose, whether on the stage or instreet wear. Wearing this type ofhighly tailored lounge suit in tele-vision is a great mistake; makesthe actor look too bulky. In televi-sion men's suits should be at least asize too small. For example, some ofthe dancers in The Admiral Broad-way Revue, with just their skin-tight ballet costumes, look far bet-ter proportioned than men wearingthe comfortable, loose fitting suitsthey prefer.

TV Will InfluenceWomen's Fashions

One of my principle projects isaccumulating a television wardrobe,especially costumes that normallywould be white-nurses' uniforms,sailors', dentists', waiters', etc.These I am making in what I callTelevision Blue, which is a kind ofice blue. It is the same color whichwas used in making movies thirtyyears ago.

One important outgrowth in tele-vision will be its vast influence onthe fashions of both men's and wo-men's clothes. There will be a prob-lem, however, for women who tryto copy the clothes they see intelevision, since the TV screen isdeceptive. There is a vast differencein what is seen on the screen andwhat the costumes actually look likeon the television stage. Often, ex-pensive clothes, in good taste, are somisrepresented in television as tolook downright cheesy. On theother hand, a cheaper dress whichhas been devised or created for aparticular television situation willhave far better lines, and look likea smart Parisian creation. That isthe reason, in my opinion, whymost television fashion shows areflops.

TUBE -MATCHING EASEDBY VIDEO ANALYZER

The problem of matching andbalancing camera -tubes is expectedto be considerably eased as the re-sult of the Video Analyzer recentlydeveloped by Dr. Frank G. Back,inventor of the widely -used Zoomarlens. A compact device consistingof a light source, a special trans-parent test target and a calibratedlens, the Analyzer permits imageorthicon tube checks quickly andmore accurately than possible here-tofore.

Analyzer TriplesTV Camera Checks

Image orthicon tubes vary great-ly in their response or sensitivityto light intensity and color. Andthis has sometimes hurt the qualityof the picture since, unless tubeswith approximately the same char-acteristics are used in the camerasof a three -camera show, the imageon the receiver suffers every timethere's a switch from one camerato another. At present, cameras atmost stations are balanced and ad-justed only slightly before a showby focusing them on a large papertarget. This consists of a varietyof printed test patterns which arethen checked against their imagesas they appear on the monitor. Withthis system, the best a cameramancan do is to check his camera andits image orthicon for five of themany characteristics and adjust-ments. The Video Analyzer pro-vides, in all, 14 important checks-about three times as many as pos-sible under present conditions.

It's expected that images ofhigher quality and brilliance onhome receivers will be made possibleby the Analyzer, which fits directlyon the TV camera lens and allowsthe cameraman to give his cameraand its image orthicon pick-up tubea complete step-by-step check to in-sure maximum image quality.

THE NEW SHOWS"Volume One" PresentsAn Interesting Technique

At the start of Volume One,writer -producer Wyllis Cooper ap-pears briefly, just long enough toremark that the forthcoming showcould be done only in TV, and isn'tpossible in any other medium.Whether that's so or not, VolumeOne, seen sustaining over ABC, of-fered one of the most stimulatinghalf-hours yet seen on TV in itsopening performance.

Hard to define, but probably bestdescribed as a psychological drama,Volume One emphasized mood morethan plot, camera technique morethan sets. Three players made upthe cast, and the entire action tookplace in a dingy hotel room-itselfmore suggested than seen. Onlyprops were a chair, a cardtable, adeck of cards, and a "mirror" (seenbriefly at the end.)

Treated as the viewer's screen,the "mirror" largely gives the of-fering its strikingly compelling ef-fects. Peering into the "mirror"for most of the time, the actors areseen in grim, arresting closeups.And, just as Cooper planned, the


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CONSULTING

TELEVISION

ENGINEERS

FRANK H. McINTOSHConsulting Radio Engineers

710 14th St., NW, MEtropolitan 4477WASHINGTON, D. C.

Laboratory: 910 King Street,Silver Spring, Maryland

McNARY & WRATHALLConsulting Radio Engineers

National Press Bldg. DI. 1205WASHINGTON, D. C.

1407 Pacific Ave. Santa Cruz, Calif.Phone 5040

WELDON & CARR

1605 Connecticut Ave., NW. MI 4151WASHINGTON, D. C.

1728 Wood Street Riverside 3611Dallas, Texas

JOHN CREUTZ

Consulting Radio Engineer

319 Bond Bldg. REpublic 2151WASHINGTON, D. C.

A. D. RING & CO.25 Years' Experience in Radio

Engineering

MUNSEY BLDG. REPUBLIC 2347WASHINGTON 4, D. C.

GEORGE C. DAVISConsulting Radio Engineer

Munsey Bldg. Sterling 0111

WASHINGTON, D. C.

A. EARL CULLUM, JR.Consulting Radio Engineer

HIGHLAND PARK VILLAGE

DALLAS 5, TEXAS

JUSTIN 8-6108

JANSKY & BAILEYAn Organization of

Qualified Radio EngineersDEDICATED TO THE

Service of BroadcastingNational Press Bldg., Wash.. D. C.

DIXIE B. McKEY& ASSOCIATES

1820 Jefferson Place, N.W.Washington 6, D. C.

Telephones: Republic 7236Republic 8296

HOYLAND BETTINGERTelevision ConsultantStudio Design, Lighting,

Personnel Training595 Fifth Avenue PLaza 8.2000

PAUL GODLEY CO.Consulting Radio Engineers

Upper Montclair, N. J.Labs: Great Notch, N. J.

Phones: Montclair 3.3000Little Falls 4-1000

BROADCASTING STUDIOSDesign and Construction

Television, also F.M. and A.M.THE AUSTIN COMPANY

Cleveland

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BERNARD ASSOCIATESConsulting

Radio and Television Engineers

5010 Sunset Blvd. Normandy 2.6715

Hollywood 27, California

WINFIELD SCOTT McCACHRENAND ASSOCIATES

Consulting Radio Engineers

TELEVISION SPECIALISTS410 Bond Bldg.Washington 5. D. C.District 6923

2404 Columbia PikeArlington. Va.GLebe DOM

E. C. PAGE

CONSULTING RADIO

ENGINEERS

Bond Bldg. EXecutive 5670WASHINGTON 5, D. C.

KEAR & KENNEDY

Consulting Radio Engineers

1703 K St. N.W. Sterling 7932

WASHINGTON, D. C.

There is no substitute for experienceGLENN D. GILLETT

AND ASSOCIATESConsulting Radio Engineers

982 National Press Bldg.Washington, D. C.

CHAMBERS & GARRISON

Consulting Radio Engineers1519 CONNECTICUT AVENUE

Washington 6, D. C.Michigan 2261

GEORGE P. ADAIRRadio Engineering Consultants

Executive 1230 1833 M Street, N. W.Executive 5851 Washington 0, D. C.

CONSULTING TELEVISION ENGINEERS

Open to Engineers and Consultants only


PROGRAMMING

(continued from page 29)

viewer gets the almost uncomfort-able feeling of looking in on weirdhappenings behind closed doors,rather than merely watching a play.Also, the show's appeal is height-ened by vivid lighting touches, suchas having a shaft of light stab thedarkness of the room as a car goesby outside.

These highly -imaginative and un-familiar devices add up to makingVolume One a steadily fascinatingshow. And, while it never become:-

quite clear exactly what happens( the story ends without solution)the viewer can settle this to his ownsatisfaction. More important, Coop-er has given some credence to thatoft -repeated line about TV beinga unique medium, by trying some-thing which hears this out.

Olsen and JohnsonOn For Buick

Marking Buick's first TV spon-sorship, the new Olsen and Johnsonshow teed off in the now famoustime slot (Tuesday, 8:00-9:00) for-merly occupied by Milton Berle. Asexpected the show had all the slam-bang pace so typical of the pair.

and should prove a good replace-ment for Berle, provided it can keepcoming up with fresh material tosustain 60 -minutes of clowning eachweek. As usual, Olsen and Johnsonwere in everything, including thecommercials, on the first show. Inthe fall, when Berle returns, pro-gram will get a new permanent posi-tion on NBC. Kudner is the agencyand is preparing plans for an inte-grated promotional program whichwill allow Buick dealers to tie inclosely.

Bank of America SponsorsKieran's Kaleidoscope

Bank of America, world's largestfinancial institution, has just start-ed sponsorship of Kieran's Kaleido-scope, Thursdays at 7:15 p.m. overKGO-TV, San Francisco. A weeklyseries of nature films, directed andnarrated by John Kieran, Kaleido-scope covers all kinds of subjectspertaining to plant and animal lifein interesting fashion, and photo-graphed in natural habitat. Kieran,as he demonstrated on InformationPlease, rates as an authority notonly on nature but also literature,sports, art and other fields; andshould be able to turn up fascinat-ing material indefinitely.

DEPARTMENT STORE(continued from page 23)

films produced by The Goodall Co.and aired daily on WOIC. Show fea-tures various types of sports-golf,tennis, etc.-and lends itself well toa tie-in of this type. Hecht, whichbuys the time for the show, precedesand follows it with slides.

To supplement its program sched-ule and insure follow-through con-sistency of hitting the TV audiencewith every advertising technique,Hecht uses a liberal sprinkling ofone -minute slide commercials orstation breaks, plus participations.

Participations are used on suchTV segments as the weekly JohnnyBradford Show on WNBW on anirregular basis, spotting participa-tion commercials in line with pro-motion of a special household item.For a paint product, as an example,Hecht uses a live commercial inwhich an announcer or guest on theprogram will paint a chair or table,demonstrating the quickness andease of application. Slide commer-cials or station breaks are also usedliberally on the three stations eachday, ranging from five to 15 sep-arate announcements, dependingupon availabilities and adjacencies.

NOW! Modern, Comprehensive TV "Staging" plusNEW TV REVENUE from Pattern Time

with the G RAYTELOPThis most versatile telecastingoptical projector enables dual pro-jection with any desired opticaldissolve under exact control.

The accessory STAGE NUMBER 1

adds three functions separately orsimultaneously: a) teletype newssrip, b) vertical roll strip and c)revolving stage for small objects.

The TELOP, used with TV film cam-eras, permis instant fading of oneobject to another, change by lapdissolve or by superimposing.Widest latitude is given programdirectors for maximum visualinterest and increased TV stationincome.

For lull derails .rare for Bullitrto

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co t ego r y breakdown FOODS, BEVERAGES 152 Florists 8

of all udrertisers HOME APPLIANCES &HOUSEWARES 99

Food StoresFurniture, Rugs, Antiques

8

42

TOTAL, JUNE I, 1949 1310 HOME INSTRUMENTS 113 Hardware Stores 3

AUTOMOTIVE 135 Distributors & Manu- Jewelers 17

Auto ManufacturersDealers

9

106

facturersTV Accessories

OFFICE SUPPLIES

102

3

Repairs & Personal ServicesMiscellaneous &

Unclassified

31

12Motor Oils & Fuels 10 OPTICAL & HEARING AIDS 3 SCHOOLS, CAMPS 6Tires & Other Rubber PHOTO EQUIPMENT 8 SOAPS, CLEANSERS,

Products 10 PUBLISHERS, ENGRAVERS 26 & STARCH 17

BANKS, INSURANCE & REAL ESTATE 13 STORAGE 9

LOAN COMPANIES 37 RECREATION 23 SWEETS & CANDIES 27

BEER & WINE 82 RESTAURANT & HOTELS 26 TOILETRIES & DRUGS 36

BUILDING MATERIALS 10RETAIL OUTLETS 279 TOYS & SPORTS 27

CIGARETTES 13Appliance StoresClothing Stores

4662

TRANSPORTATIONUILITIES

8

10CLOTHING I APPAREL 64 Department Stores 47 WATCH COMPANIES 7

DOG FOOD 8 Drug Stores 3 MISCELLANEOUS 69

Breakdown of Station OperationsIMPORTANT: In reading the station operation chart below, several factors such as time charges, commercial sponsor.ship of remotes, etc., must be kept in mind for a true evaluation. Because of the varying factors, this chart shouldnot be used for comparative evaluation. These figures are presented merely to indicate a trend.

AverageNo. of Hours

Station Weekly Remotes Film Networks Commercial SustainingStudioWCBS-TV 57 1600 60% 24% 45% 55°,0WATV 36 25% 19% 56% 380/0 62%WPIX 51 1 / 6 45% 25% 30% 34% 66%WNBT 54 19% 64% 17% 40% 60%WABD 42' 2 24.1% 65.5°o 8.2% 2.2% 35% 65%WJZ-TV 49 20% 56% 24% 40% 60%WFIL-TV 45 28.9% 13.3% 13.8% 44% 59.8% 40.2° oWENR-TV 39' 2 30.2% 22.2% 25.6% 22% 50% 50%WWJ-TV 49 1/6 10% 27% 16% 47% 65% 35%KTSL-W6XAO 22 27% 33% 27% 13% * 33% 67%WLW-T 49 2/5 36.6% 34.7% 12.1% 16.6%* 58.9% 41.1%WTMJ-TV 55 16% 30% 14% 40% 59% 41%WTVR 46 2/3 - 26% 7% 67% 44.9% 55.1WBAP-TV 33 14% 15% 24% 47 % * 42% 58%KSTP-TV 28 1 /6 27% 12% 34% 27%* 69% 31%KSD-TV 48 10% 20% 4% 66%** 67% 330/0WBKB 85 5/6 27.6% 8.3°o 64.10o 74.8% 25.2%WJBK-TV 35 3% 13°° 16% 68%** 34% 66%KTLA 311 40% 310o 29''/o 35% 65%WPTZ 49 26% 25% 8% 41% 60% 40%WBEN-TV 37 7% 18% 1 3% 62°4** 79*/o 21%WNBQ 53

5% 10% 30% 55% 80% 20%KPIX 26 20% 12% 35% 330/o 38% 62%KLEE-TV 45 45% 1% 15% 40%* 55% 45%WMAR-TV 70 8.7% 23.5°/o 33.2% 34.6% 47.9% 52.1°oWOIC 36 .3% 28% 10.7°o 61% 30.3% 69.7%KNBH 12'/2 13.8% 30.3% 1 5.2°o 40.7% 44.7% 55.3%WGN-TV 54'/2 42.1% 14.7% 12.5% 30.7% 69.5% 30.5%W AG A -TV 131/2 - 58.8% 41.2%** 41.5% 58.5%WEWS 53 1/6 22.9% 24.8% 3% 49.3% 66.8% 33.2%WNBK 36'/2 6.2% 16.5% 21.4% 60.1 39% 61 ° o

W BA L -TV 65 - 31% 18% 51% 28% 62 ° o

KRSC-TV 29 5/6 30% 3% 23% 44% 52% 48°oW LW -C 441/2 - 56.6% 24.3% 19.1% 38.1°0 61.9%WLW-D 41 .9% 67.2% 15% 16.9% 38% 62 ° o

KFI-TV 42 - 90°o 10% 541/2°0 451/2%KLAC-TV 271/2 50% 40% 10% 65% 35°0WNHC-TV 50'/2 - 46% 5400WCAU-TV 512/4 17% 36% 8% 39% 59% 41 ° o

WRGB 40 6.3% 16.2% 5% 72.56/o**KGO-TV 121/2 50% 15% 35% 70% 30°0

*Network film recordings "Network and film recordings


Our man Jamison . . . and the Zoomar lens

"Here I am," said Jamison to himself one day, "employed by one

of the finest radio and television representatives in the country.

And yet (though an electrical engineering degree was included in

my extensive schooling), I feel that a more detailed

knowledge of television would enable me to

serve Mr. Weed's clients even

better than I do new."

So he lost himself in a maze of coaxial

cable, iconoscopes, kinescopes, Zoomar

lenses, radio relays, programming

costs and rate cards.

Jamison returned positively fluores-

cent from his intensive study of

television. "One of the finest enter-

tainment, communication andadvertising media the world has ever known," he would

state decisively and early in any conversation. "Take the Zoomar

lens, for example, a most extraordinary technical development.

"Television's great potential is being transformed before

our eyes (if you will pardon the expression) into an

exciting economic reality. I am both proud and happy to

be associated with a firm of representatives who are

pioneering in its commercial application."

Weed radio and televisionstation representativesnew york boston chicago detroitand company san francisco atlanta hollywood

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