AYER PREDICTIONS: Demographic estimates fornew season's … · 1970. 9. 7. · N.W.AYER...

N.W. AYER PREDICTIONS: Demographic estimates for new season's shows 21How an FM station manager manages beautiful ratings with `beautiful music' 28

Will tv networks offer 30s on their rate cards next year? 30

Television/RadloAgeSEPTEMBER 7. 1970 FIFTY CENTS

KOCO-TV OKLAHOMA CITYThe growth station in the growth market, America's42nd A.D.I.... only station to show a total -dayaverage -audience gain, February -March 1970 over1969...an ABC Television affiliate now tied for firstin Prime Time Metro Share of Audience (ARB esti-mates, subject to limitations of source material.)KOCO-TV is now part of...

COMBINED COMMUNICATIONS CORPThe growth company in diversified communications...Television, Radio, Outdoor, Magazines. Orga-nized in 1968, CCC already includes KTAR-TV-AM-FM, Phoenix; KBLU-TV-AM, Yuma; KYCA Radio,Prescott; Eller Outdoor Companies in Arizona,Michigan, Kansas City; Eller Electric Sign Co., withoffices and plants in Phoenix, Detroit, and KansasCity; Phoenix Magazine; Arizona Wildlife Sports-man ...and now KOCO-TV, Oklahoma City.

.ic AVERY- KNODEL, INC.Avery-Knodel is proud to grow with Combined Com-munications Corp. Having represented KTAR-TVand Radio for thirteen years, we are pleased to beappointed national sales representative for allbroadcast operations owned by CCC. EffectiveSeptember 1, 1970, KOCO-TV, Oklahoma City, issold nationally by Avery-Knodel, Inc.

AVERY-KNODEL, INC: NEW YORK CH/CAGO ST. LOUIS DETROIT ATLANTA DALLAS SAN FRANCISCO LOS ANGELES

It's Lively at the Top!In the wondrous atmosphere at the top of the nation- Metro Denver, Colorado-KWGN

Television has set new patterns of programming and public service.

Everything is upbeat. Ratings. Shows. Tempo. Awards. (KWGN was Top News Film Sta-

tion of the Year in selections by the National Press Photographers Association.)

A great feeling. For one of the greatest non -network television stations in the nation.

That's why KWGN is lively. And getting livelier! The WGN of the Rockies

KWGNTELEVISION

A C+)nt1neI1tB1 f3i,,,1r-.sini; i., mianc Gr,..ut Satinn

the tho u h Vp i ovo kea

The Thinker by Auguste Rodin (1840-1917)Photograph, courtesy California Palace ofthe Legion .of Honor

When it comes to public affairs programs, KPLR-TV's Bill Fields Show brings to mindguests like Al Capp, Jerome Cavanagh, Congressman William Clay, Senator ThomasEagleton, Reverend James Groppi, McKinlay Kantor, David Schoenbrun, Chuck Stone,Congressman James Symington, Senator. Stuart Symington ... and many others, weekafter week ... guests who bring to our studios something to say and leave our viewerswith something to think about. -

Think about that.

TV 111

KPLRST. LOUIS

AiáHorially representedby .

rim" T1i t+!aiiii flui i wrtriiG.ir

This is David Hunter.He's the most popular boy

in his class.He's a pusher.

David is the guy in Ksclass with the

connection.If some of his

classmates want somegrass. they lust giveDavid the money and

he'll get it for them.It they want pills. David

can get ups (Speed or s).And he can getet downs

(Redbirds or Yellow Jackets).He can get LSD.

David can even getthe heavy stuff. Heroin.

Why not? David'sconnection knows that David's

classmates all come from

good homeswrthlor a yr money.And you thought drugs were

only in poor neighborhoods inthe city. Stop fooling yourself.It's happening everywhere.

If you don't believe us. askyour children.

How do you keep the dopedealers away from your chil-dren?

You start by being the kindof parent you should be. Getto know your children. Dothings with them. Talk to them.

But before you start talkingabout drugs, make sure youknow what you're talking about.

To help you. we've put to-gether a special package of in-formation about drugs.

Hard, straight facts. AndCOMB

While you still have a chanceto keep your children off drugs,write WGN, Boa 4919. Chica-go, Ill. 60677. We'll send you especial package called "Coldturkey isn't something youeat"

We think you should sendfor the package today.

11 you won't talk to your chil-dren about drugs. there's al-ways a pusher who will.

Wg11 CmOwesel mrwWrsvl4ee

Cold turkeyisn't something you

eat.

Cold turkey is the withdrawal yougo through when you can't getthe heroin you're hooked on.

It's hell.Year head explodes. Your mus-

cles cramp.Suddenly you're freezing (like

you're naked in a blizzard). Andyou're burning up with lever atthe same time. It's like comingdown with double -pneumonia.

You choke. You gag. You vomit.Cold turkey lasts three, lour, or

maybe five days.But that's never going to hap-

pen to you. Right? You aren't onthis drug.

But what about your son? Oryour daughter?

How do you keep it from hap-pening to them?

You start by being the kind ofparent you should be. Get toknow your children. Do thingswith them. Talk to them.

But before you start talkingabout drugs, make sure you knowwhat you're talking about.

To help you, we've put togethere special package of informationabout drugs.

Hard, straight facts. And someanswers.

While you still have a chanceto keep your children off drugs,write WGN, Box 4919, Chicago,Ill. 60677. We'll send you a speclalpackage called "Cold turkey isn'tsomething you eat."

We think you should send forthe package today.

It you won't talk to your childrenabout drugs, there's always apusher who will.

WON effinmunlly

©WGN Continental Broadcasting Company 1970

My son, the speed freak.

"I'd raised Johnnyto bee good boy.

I never thought he'dstan taking anykind of drugs.

About two monthsago. I started

to notice he was acting differently. He hadalweys been active, but now he seasonthe go almost all day and all night. He

neverseemed to gel tired.Every day he got more

net and litters and lumpy.vol would fix him deli...

meals and he wouldn't eat. He got skinny.I got worried.

Than, three weeks ago today. Johnny canehome at lour in the morning and want

straight to his room and slap red the dear.He wouldn't talk to me. He thought I was

his enemy. That I was pert of a systemthat was out to get

Johnny became paranoid. Speed madehim everybody was his enemy. AndII

led think ea.How can you beep this from happening

to your son? Or daughter?You start by being the kind of parent

you should be. Gal to know your children.Do things with Inem. Talk to them.

But before you start talking aboutdrugs. make suns you know whatyou're talking about.

To help you, we've pul together a specialpackage of information about drugs.

Hard, straight laces. And some answers.While you still have a chance to keep

your children Off drugs, write WGN,Box 4919, Chicago, 671. We'll senda special package relied "Cold turkeyisn't something you eat."

We think you should send for thePackage today.

If you wont talk to your children aboutdrugs, there's always a pusherwho will.

Ward Iral..+w

Semeumee you want to forget roar pros -lama. And everybody elsé s problems.Just get some of the pressure o

So you try a Inge something to pet high.Not hooked. Just high.

Before you know It, you're tummy, onevery weekend.

Then men other day.Until one day you get enough courage

to take the big step.Heroin.Suddenly you are hooked. With a habit

that coste SO dollars a day. And up. so

Mewl end rob to per a pusher.roThamn one igght you overdo it.

And you getaway from n all. Forever.Bothers nil er goblets happen to rev.

You'reBet what out your eon? Or your

daughter?Neap N from nasimm ng m them.Stan by Mina better parent. Get to

know your coif ten. Do things with them.Telk to them.

BOW. ymi sun talking Wow Muse.know what yoem ulkinp about.

(orever.)

To nelpyou, wi rs pultogethersspecielpackage of Information shout drugs milled"Cold turkey isn't something you ear'.

Nvd,slnightlects. And someenawere.While you still here s thence to keep

your children oN drugs, write WGN, Boaai19. Chicago. III. aCeT7. We'll send youthe package.

11 you wont talk to your children ewlrldrugs, there's alweys a we. who will.

WON Cardirhr« ewwwrniry serwce

Photos. Peter Popnd.5polpu',

4 Teleti,sion/Rodio Age, September 7, 1970

You don't have toget hooked on the

stuff for it to kill you,you coufidrsttimé

the

Ask not xhatouyorpusher can do you.

But what you cando for your pusher.

That's the way they look at it,you know.

Cold turkeyisn't something you eat.Cold turkey is the withdrawal you gothrough when you can't get thehard drug you're hooked on.

But a lot of people don't knowthat.

We're in the communicationsbusiness, so it's up to us to helppeople understand one of the big-gest problems our country has. Drugabuse.

That's why we're conducting thepublic service advertising campaignyou see here in the Chicagolandarea (served by WGN Radio andWGN Television), Denver (KWGNTelevision) and Duluth -Superior(KDAL Radio/Television).

We hope it'll help a lot of peopleunderstand the horror of being aslave to drugs.

We hope it'll help keep a lot ofpeople off drugs.

We hope it'll help save somepeople's lives.

You're in the communicationsbusiness. You should help.

You can. By running this samecampaign in your community. Andyou don't have to put our name on it.You run it. Put your name on it.Just run it.

Write us for the details.Together, we can beginto solve this problem.Sincerely,

Ward L. Quaal, PresidentWGN Continental Broadcasting Corrpaty

rWrite to: DRUG ABUSEWGN Continental Broadcasting Company2501 Bradley Place, Chicago, III. 60618

Please send me a complete set of ad proofs, schoolhow to set up the program in my community.

posters and information on

..Name

Title

..Company

.Address City State Zip

Telet i.cion/Radio Age, .S'ententher 7. 1970 5

new booksfor the

broadcast industryRADIO PROMOTION HANDBOOKBy William A. Peck

$9.95comb -bound

A complete guide to help sta-tions increase sales, developbetter ratings and improve re-sults.On -air and off -air campaignsincluding contest, promotionalannouncements, public service,news programming, etc. arediscussed and studied for ef-fectiveness.

ANATOMY OF LOCALRADIO -TV COPYBy William A. Peck

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Contains hundreds of ways toincrease station billing withsales -proven copy. Many "im-possible" prospects have beensold using the copy methodsprovided in this idea -packedbook.

INTERPRETING FCC BROADCASTRULES AND REGULATIONSEdited by Verne M. Ray

$5.95comb -bound

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TELEVISION/RADIO AGEBOOKS

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Gentlemen:Please send me the bookschecked below. A check for3 enclosed. (Please add50¢ per book for mailing andhandling.)RADIO PROMOTION

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Television/RadioAgeVolume XVIII Number 3 September 7, 1970

N. W. Ayer's annual demographicpredictions for new tv season 21

Exclusive estimates on who will watch which shows

Marlin Taylor gets beautiful ratingswith `beautiful music' 28

Manager of WRFM New York finds key to FM success

Soft economy, fading cigarette revenuemay soon put 30s on tv network rate card 30

Most insiders think network 30s are `inevitable'

ARB puts it all 'in one place' to makeit easy for the timebuyer 31

Changes in reports include more demographics

To zero in on blacks, try a tvprimetime special 32

Supplier of ethnic products uses mostly affiliates

Departments

Publisher's Letter 10 Commercials 36Letters 11 Spot Report 45Radio Report 13 One Seller's Opinion 47Tele -scope 17 Wall Street Report 53Business Barometer 19 In the Picture 65Viewpoints 33 Inside the FCC 67Programming 34

TELavtstoN/RADIO AGE is published every other Monday by the TelevisionEditorial Corp. Publication Office: 34 N. Crystal St., E. Stroudsburg, Pa.Address mail to editorial, advertising and circulation offices: 1270 Avenueof the Americas, Rockefeller Center, New York, N. Y. 10020. PL 7-8400.Controlled circulation postage paid at New York, N. Y.

6 Television/Radio Age, September 7, 1970

Editor and Publisher

S. J. Paul

Editorial

Editorial Director: Alfred J. JaffeManaging Editor: Dan RustinAssistant Editor: Hank FoxAssistant Editor: Regina KravitzWashington Editor: Jay LewisInternational Editor: James R. FitzpatrickContributing Editor: Leon MorseFinancial Editor: A. N. BurkeFinancial Analyst: Basil Shanahan

Advertising

Eastern Sales Manager: Fred BirnbaumSales Representative: Bob O'BrienMidwest Manager: Paul BlakemoreSouthern Sales Manager: Herbert Martin

Sales Service Director: Lee Sheridan

Production Director: Louis Stevens

Branch Offices

MIDWEST

Paul Blakemore6044 N. Waterbury RoadDes Moines, Iowa 50312 (515) 277-2660

SOUTH

Herbert MartinBox 3233ABirmingham, Ala. 35205 (205) 322-6528

WASHINGTON

Jay Lewis1126 National Press Building(202) EX 3-4808Washington, D.C. 20004

UNITED KINGDOM

F. A. Smythe & Assoc.35 Dover Street, London, W. 1, England

Member of BusinessPublications Audit ofCirculations, Inc.

BPA

TELEVISION/RADIO AGE is published every otherMonday by the Television Editorial Corp. SolJ. Paul, President; Paul Blakemore, Vice Presi-dent; Lee C. Sheridan, Secretary. Editorial ad-vertising and circulation office: 1270 Avenue ofthe Americas, Rockefeller Center. New York.N.Y. 10020. Phone: (212) PLaza 7-8400. SInglecopy: 50 cents. Yearly subscription in the U.S.and possessions:$9; Canada: $9; elsewhere: $15.® Television Editorial Corp. 1970. The entirecontents of TELEVISION/RADIO AGE are protectedby copyright in the U.S. and in all countriessignatory to the Bern Convention and to thePan-American Convention.

KBOI RADIOCOVERS 8 WESTERN STATES

..with NEWS MUSIC SPORTS WEATHER

MARIGOLDS

Washington Montana

Wyoming

California

To commemorate broadcasting's goldenanniversary KBOI Radio offered free pack-ets of "Broadcaster Marigold Seeds" toits listeners. Requests for the seed pack-ets came in from eight western statesand Canada. KBOI's popular morningman, Marty Holtman, was inundated withhis listener's overwhelming response-proving that KBOI Radio really does coverthe West . . . with news, music, sports,weather and-marigolds.

Boise JIdaho

Utah

Nevada

IL,

ICBO IBOISE, IDAHO

50 kw on 670 kc daytime25 kw nighttime

CBS

Represented by:McGavren-Guild-PGW Radio Inc.

Television/Radio Age, September 7, 1970 7

YOU COULD HARDLYCALL IT A DULLYEAR FOR NEWS...

Television/Radio Age, September 7, 1970

One of the prime commodities in which thebroadcast industry deals is coverage of

news. It has never been so important, sochallenging (and so much under fire) as inthe past 12 months.

This is why the September 21 issue ofTELEVISION/RADIO AGE - for the 14th time inthis publication's history - will be devoted toour annual in-depth examination of today'sbroadcast journalism. Now, for the first time,the analysis will encompass radio as well astv news coverage.

TELEVISION/RADIO AGE's experiencededitorial staff is already compiling facts that willmake this issue one of the year's mostsignificant. Based upon a carefully -selectedsample of the nation's television and radiostations, their investigations will seek theanswers to such questions as these:

What share of operating costs wereallocated to coverage of the news in thelast 12 months? Have these risen faster,slower, or at the same rate as otheroperational expenses?

IN To what extent do today's stationseditorialize? How many times a week areeditorials presented? Are there limitationson subject matter - and what are they?

What trends are apparent in news coveragetoday - the hour-long newscast, all -newsformats, times of day?

3

How do all these factors relate to size ofstation or market, network or independentstatus, television or radio?

What is the outlook for broadcast journalismin the year ahead? How will new challengesand obligations be met (and what are theylikely to be)?

This will provide the most comprehensiveprobe of broadcast journalism availableanywhere, conducted with the reportorialthoroughness for which TELEVISION/RADIOAGE is so noted. The September 21 news issuerepresents the kind of highlight compendiumthat decision -makers throughout the broadcastindustry read with attention and retain forfuture reference.

It's also an effective forum wherein to presentyour own message for a profitable share of thatattention. The space reservation deadline isSeptember 7. Write, wire or phone now for themost favorable position in this best -read issue.

Television/RadioAge

lelrri1i0m ,I,r, Sr/ur111hrr 7, 19711 9

Comte editorialon discrimination

Economic indicatorson the upswing

Publisher's LetterTelevision/Radio Age, September 7, 1970

George Comte, vice president and general manager of WTMJ stationsMilwaukee laid it on the line in a direct and articulate editorial. Be-cause of the importance of what he said here is the full text.

COMTE: I'd like to talk about discrimination. The dictionary saysdiscrimination is a difference in a treatment betweenpersons and things.On January 1 a Federal Law will ban cigarette advertisingon radio and television. But it won't ban such advertisingin newspapers, magazines, or on billboards. That lawdiscriminates.If it covered all forms of advertising, the law would bea fair one but it doesn't, and, so, in our mind, it isn't.It discriminates.Congress is now putting together another law that woulddiscriminate-discriminate against the broadcasting in-dustry, again. It would limit spending in political campaignsand, further, force broadcasters to reduce rates to poli-ticians. But again, nothing is said about the dollars spentfor newspapers, magazines or billboards, let alone pref-erential rates in those media. The supposed purpose is tocut down the high cost of political campaigning. But,who is going to stop the transfer of funds that would bespent in broadcasting from being spent in other formsof advertising? No one, of course. The legislation isgross discrimination.We agree that limitations and controls should be put onpolitical spending. But, we say this discrimination againstthe broadcasting industry it not in the public interest.We say this won't get the job done. We say-restrictall advertising of cigarettes-al! political spending.

There was good news out of Washington for the optimists and badnews for the pessimists. For the benefit of the professional Cassandrasamong some of the business community here is what happened:

Interest rates continue to decline. Rates on municipal bonds, alwaysan important indicator in the money markets, have dropped a fullpercentage point below the May peak. The index on unit labor costswent down in July. If this continues it will definitely mean less upwardswing on prices.

The President's Council of Economic Advisors also reported thatconsumer prices this Summer did not increase at the rate they did lastWinter and last year. The most competent economic observers agree thatthe economic slowdown hardly qualifies as a recession. It also appearsthat the Government economic policies are checking the rate of inflation.

Wholesale prices in August turned downward for the first time in24 months. At the sanie time July retail sales rose sharply to a total of$30.9 billion.

The big questionmark not only in the economy generally but inthe broadcast business specifically as to what will happen this Fallin the automotive labor negotiations. Many of the observers close tothe Detroit scene are predicting a 30 day strike. This will give theforeign made compacts a sharp boost in sales and the foreign compactshave been heavy users of the broadcast media.Cordially,

/14

I.2ttersMcGannon pleased

Your article about me in the August10 issue captured the points wediscussed with clarity and perception.The interview was personally enjoy-able and the writing and reportingwere excellent.DONALD H. MCGANNONPresident and chairman of the board,Westinghouse Broadcasting Co.,New York

What's news?

Your story on the Phil DonahueShow (Programming, August 10) isanother indication of your excellentreporting. Once again your magazinehas picked up what is new andinteresting for those station andprogramming people who have longsince learned to turn to your maga-zine for information.DONALD L. DAHLMANVice president, general manager, WLWDDayton.

Captured points

Considering the fact that your inter-viewer and I covered a broad rangeof topics and we spoke rather rapidly,I thought he captured the importantpoints in your In the Picture (August10) and did an excellent job.IRVING SONNExecutive creative director, Ted Bates,New York

NSI job

You did a fine, objective job ofreporting (NSI changes include newsweep, more DMA ratings, August24). I did not find any errors inthe article.GEORGE BLECHTAVice president, product manager, NSI,A. C. Nielsen Co. New York

On the button

I read your Viewpoints, August 24,on broadcasting hiring practices.Russ Barry is right-I have sent myresume to at least 25 outlets andreceived three replies. No openingsat present, will keep resume on file,when openings arise will let you know.Please-where do I go from here?JOEL R. KLEINYonkers, New York

Cartridge comments

I think you did a splendid job on theAugust 24 article on cartridge tv.

Your magazine is to be congratulatedon sorting out the many facets of anindustry which, except for EVR,is all yet to be.ROBERT E. BROCKWAYPresident, CBS Electronic Video Record-ing, New York

Quoted aright

I read with interest your August 10

article With major advertisers usingmore radio 30s, can the piggybackbe jar behind? The only commentI'll make about my quote is that youreflected my statements fairlyaccurately.CHARLES H. WARNER

Vice president CBS Radio Spot Sales,New York

AREYOU A

MEMBER OF&MI

DO YOU HAVE YOUR RESERVATIONFOR THE UP -COMING SKI SEASON?

Ski Network International provides daily phoneski reports from major ski areas throughoutthe United States and Canada; and weekly reportsfrom the Alps and Scandinavia are also scheduled.

Stations may tape phone reports for frequentreplay if desired, no extra cost. Time of reportsare limited to 60 seconds.

Your station is protected against the possibilityof another station, either radio or televisionin your coverage area carrying SNI programming.Of course, reservation is determined on a first -come, first -serve basis.

Terms : stations are billed every 14 days: $5 areport; i.e., $70 every two weeks. To ensureyour station of carrying Ski Network programsfor the up -coming season, send the first two weekspayment ($70) and your coverage map. This willbe sufficient for opening an account with your station.

SKI NETWORK INTERNATIONAL12440 28th ave. so./Seattle 98168

Phone: 206-244-2960

Television/Radio Age, September 7, 197o I I

":..a more perfect unionWhen the framers of the Constitution drew up the rules for running

our country they designed a system to bind us together-not pull us apart.In an effort to make our laws more effective instruments of the

people, KHJ, Los Angeles, recently began a special year -long series ofactivities. Every day the station broadcasts announcements designed tobring citizens, courts and enforcement agencies into closer understanding.Also, seminars devoted to the explanation and discussion of variousaspects of the law will run throughout the year on the public affairsprograms, "SPECIAL ASSIGNMENT" "SPECTRUM" and"CLOSE-UP."

KHJ thus hopes to contribute to the re-establishment of "domestictranquility" through radio, the great communicator.

WOR WOR-FM New YorkKHJ KHJ-FM Los AngelesCKLW CKLW-FM Windsor -DetroitWRKO WROR BostonKFRC KFMS San FranciscoWGMS WGMS-FM Washington, D.C.WHBQ WHBQ-FM MemphisRepresented Nationally byRKO Radio Representatives, Inc.

RKO RADIODIVISION OF RKO GENERAL, INC.

A C

GENERAL

Though fewer stationsare carrying sports,ad interest is up

National advertisers shyof local interest

Renault's heavy radiopush pays off

Radio Report

Despite perennial reports of its demise, radio sports programming continuesto flourish and draw strong advertiser enthusiasm. In fact, not only arethere more sporting events carried because of professional leagueexpansions, but more sports packages are being offered to stations.

"You always hear industry people saying that 'next season' baseballis not going to have the appeal it once had," notes Alan Torbet,president of his own rep organization. "They complain that peopledon't want to listen to the lengthy play-by-play and the relativelyslow-paced action. And yet every year timespots are always sold out."

Baseball, however, doesn't dominate the radio limelight as it once did.Football, in terms of both sponsorship and viewers is said to outpacebaseball on a per game basis. And several other sports, too, are doingwell on the medium. Golf has returned to radio via the Golf Network(TELEVISION/RADIO AGE July 27) with an impressive advertiserroster. And boxing, because of local television blackouts, also commandsgood advertiser support.

Just as football will consume a greater percentage of the televisionpie this Fall, station reps see the sport also gaining on radio. In additionto professional and college football being aired via regional networks,the medium this season will hear a new form of the sport emergingfrom the speaker-computerized football. Produced by Javelin Sports,The Computerized NFL Game of the Week will run 18 weeks. Eachweek the top National Football League game will be "played" by anIBM 360 computer and aired a day before the live game. After Javelinchooses the game, the computer will produce the play-by-play actionfrom the more than 400,000 plays and player statistics stored in itsmemory.

While football, and sports in general, are expected to enjoy a boomyear on radio, they will be carried by fewer stations. "With radiobecoming more specialized than ever," says Torbet, "stations don'twant to interrupt their regularly scheduled programming for a sportsevent. There are exceptions, but generally the same stations that nowcarry baseball in the Summer also air sports in the Winter."

Not all sporting events are suited for radio, however. "Basketballand hockey have done well on television," says another radio station rep,"but not on radio. Football, baseball, golf and boxing can be describedaurally much better than the other two," he explains.

While advertisers have flocked in large numbers to the sports packagers,one rainstorm has arisen (in baseball first) that may dampen some oftheir wings. While it is very difficult to judge the effectiveness of asporting event by ratings, the cost of sports packages is climbing. "This,"says another rep, "is causing some advertisers to eye other sportsprogramming."

National advertisers, however, will remain with the national orregional events rather than go locally, according to the consensus ofradio reps. "For diplomatic reasons alone," Alan Torbet says, "anadvertiser will not sponsor a local event no matter how popular thatteam may be within the area. By sponsoring a local game, the advertiseris supporting (and indirectly favoring) one of his distributors overanother, which leads to internal friction within its sales division. Theywould rather sponsor a national or regional game which encompasses amajor market."

As part of its overall advertising efforts, Renault's recent 18 week pushin four major markets, Los Angeles, San Francisco, Chicago and NewYork, represents a good testimonial for radio's selling powers,especially at a time when other automotives report slumps in general.Having used radio before only on a minor basis, the company, inconjunction with its agency, Gilbert Advertising, Inc. decided to testboth radio and tv in various select markets. Running from 120 to 80


Radio Report

FM portable salesoutrank AM, report shows

Public radio programwinners go national

IRTS Workshop willstudy radio commercials

(continued)

radio spots a week in a high and low pattern on several stations in amarket, the ad boasted a free Instamatic Camera for those who camein for a test drive. Results were immediate, says Mike Greenberger,executive vice president at Gilbert. "Our biggest problem is supplyingenough cars, though shipments are underway." National sales, reportsthe executive, are up 10 per cent since the inception of the campaign.A 12 -week Fall campaign is scheduled to start September 20, on thesame basis. In addition, plans are almost completed for using radioin several South and Southwestern markets. By 1971, the agencyexpects 75 per cent of Renault's advertising to be in broadcast.

According to Consumer Electronics for 1970, published by the Elec-tronic Industries Association (EIA) total radio set sales (51,353,000)increased by over 60 per cent during the five year period 1964-1969.Television sales (10,498,745) for the same period, rose only 16 per cent.

During 1969, portable radios accounted for more than half of thetotal sales. FM/AM and FM only portables (14,504,000) rose 28 percent over 1968, while AM portables (12,428,000) rose 24 per cent.

The greatest growth (22,582,000) sets or an increase of 422 percent over 1964 is in the field of FM/AM and FM only portable, clock andauto radios. According to Marvin Roslin, director of sales, planningand research at RKO Radio Representatives, Inc. contributing factorsto this growth include the fact that FM stations have developed dis-tinctive programming due to the FCC's 50-50 separation rule and thecost of FM/AM and FM only receivers has dropped to competitiveprices with AM receivers. In addition, this is the first time FM/AMand FM only portable set sales (14,504,000) have exceeded those ofAM portables (12,428,000).

Two winners of the 1970 CPB Public Radio Program Production Grantproject will appear on nationwide radio this year. KPFK-FM LosAngeles' proposal to tape a series of two -and -a -quarter hour concertsby the Los Angeles Philharmonic Orchestra, Zubin Mehta, musicdirector is the $25,000 winner of the open project national category.

The winner for the specified national category, calling for pro-gramming to reach high-school and college -age listeners is WBUR-FMBoston's Harvard Square, a continuing drama produced in five 15minute segments each week, drawing its material from current politicaland social problems.

In addition two other grants were awarded for the local programmingcategory. These winners are KUAT-AM Tucson's local news programInterchange which promotes on -air phone conversations between theaudience, the reporter and when possible, the newsmaker, andWETA-FM Washington's coverage of live events in the capital. At theend of year, KUAT will provide a summary "how to do it" for otherpublic radio stations.

Radio as a demanding medium for commercials, is the keynote of theInternational Radio and Television Society's (IRTS) day -long RadioCommercials Workshop on October 20 at the Waldorf-Astoria, NewYork. The 9:30 to 2:30 program will be opened by Maurie Webster,IRTS vice president and vice president Division Services, CBS Radioand closed by Bob Alter, executive vice president of the Radio Adver-tising Bureau. The morning festivities include seven presentations bycommercial radio producers, agency creative directors and client/man-agement representatives. Each presentation will feature successfulcase histories including specific radio commercials. Featured workshopswill deal with new trends in radio commercials. Stephen B. Labunski,managing director of WMCA Radio is the committee chairman.

14 Television/Radio Age. September 7. 1970

Your next pp, 'V, Di, C) SV?Very possibly. Don't let the caJual campus dress fool you. Aware.

Bright. Creative. These university students are future communica-

tors. By intelligence, interest and inquisitiveness, if not necessarily

dress, they are typical of the thousands of college students that mem-

bers of the Broadcasters Promotion Association are meeting, encour-

aging and instructing in BPA-initiated seminars every year.

We're professing the challenge and opportunity of contributing to

society through broadcasting in the 1970's.

For details about membership or- conducting college seminars and

workshops, write:

BPA, 18 South Michigan Avenue, Chicago 60603

1970 BPA Seminar: Responsibilities & ChallengeII, November 8-11, Houston, Texas. . ''

1

Dedicated to developing totally professional broadcasters.


JAM session, Jacksonville style !

It all started on a Saturday night at 8:30 and played until highnoon the next day, collecting some thirty grand in pledges alongthe way! It was WJKS/N's JAM-a-thon, composed of volunteer

telephone operators and lots of local and national talent, offeringentertainment ranging from chamber music to blue grass . all

assembled for one purpose ... to raise funds for the far-reachingprojects of the Jacksonville Art Museum. Understandably described

in the press as "a remarkable display of civic awareness andgenerosity," the JAM-a-thon is Rust Craft Broadcasting's way ofoperating. It's Rust Craft's manner of letting its viewers knowthat it's there to serve the needs of the community as well as

offer entertainment.

WJKS Z TV 17

019

ANOTHER RUST CRAFT SUCCESS STORY


CBS -TV's older -adultskew will be pared belowNBC-TV, Ayer predicts

Agency merger putsemphasis on tv

Lazarus has answerto mini -midi puzzler

Ampex on the list ofvideo tape competitors

Tele-scopeII N. W. Ayer's predictions about the demographics of the upcomingprimetime network season are right (and they have had an excellentbatting average) CBS -TV will succeed in cutting down its 50 -and -overadult rating below that of NBC-TV. The agency estimates that forthe average nighttime half-hour during November -December, regularCBS shows will average 15.6 for the older crowd, while the NBC averagewill be 16.7. Last Fall's average was 16.8 for CBS and 15.8 for NBC.

The data behind this switch: Predicted ratings for the 50+ viewersamong shows retained by CBS is 16.2, for NBC, 17.1. The actualolder -adult ratings last Fall for CBS shows dropped was 18, thecomparable average for NBC was 14. Finally, among the newshows, Ayer predicts an average 50+ rating for CBS of only 12.8 forsix shows, while NBC's four program debuts are estimated at 14.5

As for ABC-TV, its predicted average among older adults during thecoming season is 10.3. The third network is strongest among adults18-34 with a predicted average of 11.9, compared with 10.7for CBS and 12.3 for NBC.

Following the consummation of the Adams Dana Silverstein -Gaynor &Dukas merger last June, G&D is shifting its television gear into high.Before the merger, the print -oriented agency allocated only 7 per centof its billings to television. "Currently," says Charlotte Solomon, oneof the agency's account executives, "we are about 20 per cent in tv,but this percentage is steadily increasing." ADS is traditionally considereda television agency. With the merger, the combined billings of thetwo agencies are $24 -million.

Among G&D's clients partially in television are Van DeCamp (bakedgoods), Texas International Airlines and Wool Carpets of America.Two of its toy company accounts, Child Guidance (educational) andAurora Plastics (model planes, etc.), representing combined billings of$3 million are almost exclusively in television. First of the agency'sclients to dramatically intensify its television advertising is Collins &Aikman (fabrics). And two of its other accounts presently heavily involvedin print, FAS (Scandinavian airlines) and Mutual Benefit Life areseriously considering moving into television.

Believing that it will get the lion's share of any increased sales inwomen's fashion, the F&R Lazarus Department Store, Columbus's largestdepartment store, decided to single handedly attack the mini -midi -maxidilemma which is expected to plague most women's apparel retailersthis Fall. With the fear that the confusion in styles will result in asevere reduction in new clothes buying, Lazarus, through its agency,Byer & Bowman, produced a half-hour, no commercials, fashion programentitled The Fashion Puzzle and How to Put It Together. With fashionauthority Peter Glen narrating, the show explains the fashion issuesand how a woman can intelligently make the differences in styles workbest for her.

Add the name Instavision to the growing roster of video tape playerswhich will begin making the consumer market debut in mid -1971.Instavision is the trademark of the Ampex Corp. which will market aline of four models functioning with half -inch video tape. Prices startat $800 for a monochrome player and reach a peak of $1,300 for acolor recorder/player and monochrome camera. Using a cartridgewhich is compatible with reel-to-reel machines, the enclosed blank tapewill sell for approximately $13 for a half-hour of recording time.Ampex says that with mass marketing of the equipment and cartridgethe prices should drop significantly. The company will offer the videotape cartridge line globally, except for Japan.


UPI Audio lets you fit world and local news together.Can world news be local?

If the Mideast war euoa|utem, that's plenty local toanyone of draft age.

If a new tax is proposed in Washington, that's plentylocal to anyone who works.

If your ocal newscaster acts as anchor man, any newsstory becomes more local.

And nobody lets you fit world news into the frameworkof your local newscasts hke UPI Audio. You decide howmuch of our worldwide coverage to insert in your localnewscasts. You decide when to air what you want. It'sour job to make the world available to your listeners.

But always within the framework of your local newscast.Want to improve your local newscasts? Your local

image? Your local audience? Contact your UPI RegionalExecutive or Wayne Sargent. New York for full detailsabout UPI's Audio Network.

U UK ^xnKoThe sound of news everywhereUnited Press International220 East 42d Street, New York, N.Y. 10017 (212) MU 2-0400

Local tv billings slowdown as May remains static;Five month total: up 6.5%

Business Barometer

For the first month this year, local tv time sales in May showed no forwardmovement compared with the year before. The 0.6 per cent advance,which for all practical purposes means no advance and, in an inflationaryeconomy, actually means a decline, follows a pattern of increasinglysmaller rises in local time sales. Local billings during the first fourmonths were, in order, 10.5, 12.9, 6.6 and 4.5 per cent.

Through May, local time sales are up 6.5 per cent, from $196.0million in '69 to $208.7 million this year. This represents an increaseof $12.7 million. Local dollar cumulative increases were less than spotdecreases for the first time. The latter total through May was $13.6 million.

To this net loss of $0.9 million must be added a $4.4 milliondecline in network compensation for the first five months. The dropwent from $106.1 million in '69 to $101.7 this year. This representsa decrease of 4.1 per cent.Next issue: spot tv time sales in June.

Local Business (millions $) Network Compensation (millions $)

May (up 0.6%)1969 1970

$44.8 $45.1

May (down 6.2%)1969 1970

$21.8 $20.4

Year-to-year changes by annual station revenue

Station Size Local Business Network Compensation

Under $1 million + 3.5%$1-3 million + 0.4%$3 million up + 1.0%

1970-69 comparison

70

65

60i,JJ,IJJJA 55S%/. 50

45

40

IMi////. 'E /i., ME"'/////''////í%i % i %WA%/,%% 357 ArArZ YZA 30

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1970-69 co caparison

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IFM A M J J A SOND


George Logan WIBW TV -Radio Farm Director

George Logan, WIBW-TV Radio Farm Director has the winning way with two major agricultural awards this year.

George was honored by Geigy Agricultural Chemicals in their first annual Farm Broadcaster of the Year Award for hiscontribution for agriculture and food products on July 24, in New York City. George was presented the award and thendeparted for a tour of agricultural research facilities and farms in Europe.

On August 7, George won the 1970 DeKalb "Oscars in Agriculture" Award in the field of Radio and Television for hissuperior contributions in furthering the advancement of American agriculture.

George Logan is a top Farm Director and a super salesman. If you are interested in agri-business, consider what Georgecould mean to you and your business.

George makes a personal call in thousands of homes every day, seven days a week and 52 weeks a year. He is invitedinto these homes because farmers depend on him for his variety of information and they have learned that he is a manthat they can trust. Since he attends many of their meetings and farm events thechances are that many of them have met him and know him personally ... and heknows them. George Logan, our Farm Editor Virg Huseman, and Farm Reporter Rich wWilke, will give you the personalized selling job that only farm broadcasting ... and inKansas only WIBW-TV and Radio ... can offer. Just ask Avery-Knodel or call WIBW913-272-3456. TV Radio FM

Topeka, KansasAffiliate:KGNC, TV Radio FM, Amarillo, Texas

Broadcast services of Stauffer PublicationsRepresented nationally by AveryKnodel


Television/RadioAgeVolume XVIII Number 3 September 7, 1970

Network tv's schedule:predicted demographics

Agencies and advertisers have paid lip service for almost two decadesto the importance of demographics in broadcast audience data, but it

is only in recent years that the concept has been widely applied. Even onnetwork television, where, presumably, the most sophisticated clients ap-pear, the top 10 syndrome was a powerful force for many years-andstill is, in some cases. There are still occasional stories of advertisers shy-ing away from primetime programs whose household ratings are so-so,even though the target audience figures would suggest a bargain.

The networks themselves are household rating -oriented for plausiblereasons-they're after big audience numbers and they're selling programs,not products-but growing advertiser knowledge of marketing is puttingpressure on the chains to cut the cloth more precisely, to tailor programdemographics more consciously to the demands of most of network tele-vision's customers.

Whether this is correct public policy is another question. The fact re-mains that, for example, ABC-TV has been talking about its young au-dience for some time and is catching on with that line of strategy. CBS -TV,which had been making hay for years with key high -rated shows bolsteredby older, heavy -viewing, lower -income, non -metro adults, has had to dosome refashioning to tilt the old/young balance the other way. This is notonly to strengthen the network as a competitor but to increase the takeof its big -market o&o's, where the CBS broadcast division gets most ofits profits.

How well CBS -TV is succeeding is highlighted in the fourth and latestset of primetime network predictions published exclusively by TELEVISION/RADIO AGE and prepared by N. W. Ayer for its clients.

The agency has developed thousands of demographic estimates for the83 programs which will appear starting this month. About 2,500 of themare printed in this issue.

The heart of the estimates are in the nine basic demographic breaks

21

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pro

file

s fo

rco

min

g ne

twor

k tv

sea

son

Nov

embe

r -D

ecem

ber,

197

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ates

All

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e ne

twor

k sh

ows

are

rank

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l vie

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col

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. Rat

ings

are

per

cent

of

tota

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of p

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ns (

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roup

spe

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ase

for

each

gro

up: t

otal

vie

wer

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mill

ion;

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l wom

en, 6

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mill

ion;

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l men

, 59

mill

ion;

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l adu

lts,

125.

3 m

illio

n; to

tal c

hild

ren

63.2

mill

ion;

men

18-

34, 2

1.1

mill

ion;

men

35-

49, 1

6.8

mill

ion;

men

50+

,21

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illio

n; w

omen

18-

34, 2

3.3

mill

ion;

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en 3

5-49

, 18

mill

ion;

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illio

n; a

dults

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34,

44.4

mill

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, 34.

8m

illio

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50+

, 46.

1 m

illio

n;

child

ren

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15

mill

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, 41.

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, 37.

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(men and women 18-34, 35-49 and50+ and children 2-5, 6-11 and12-17) and combinations of thesenine. In all, there are 20 of these ageand sex demographics. Household ra-ting estimates are also made, thoughAyer does not believe that they haveany value for an advertising decision.

In last year's estimates (seePrimetime profiles, TELEVISION AGE,August 25, 1969), a major categorywas added to the predictions-viewing by the lady of the house, bro-ken down by family income. (Thebreaks: under $5,000, $5-10,000,$10-15,000 and $15,000+.)

This year LOH viewing levels bysize of family are added. The break-down of family size is 1-2 members,3-4 members and 5+ members, withthe latter group being particularly im-portant to advertisers, being largevolume consumers of most food, soapand drug products. The significance ofthe large -family group is emphasizedin being chosen by Ayer as the keydemographic category in the networkschedule shown on these pages.

It may be of interest to note that

Predictedratings forlady -of -the -house in largefamilies

Growing refinementof demographic datahas focused attentionof marketers onlarge families(defined as familieswith five or moremembers). Numbers inthe network scheduleat right are predictedratings by N. W. Ayerfor viewing by thelady -of -the -housein families with fiveor more members.

among the predicted top 10 shows,ranked by LOH viewing in 5+ mem-ber families, three are movies-andall three are NBC movies, Monday,Tuesday and Saturday. The weekendmovie was the top rated of the three(19) and the only shows to do betterwere Laugh -In and the Johnny Cashhour, both with 20.

(For Laugh -In to qualify is no nov-elty, of course. It is the top -ratedshow in 17 out of the 28 categoriesfor which predictions are published,including total households, total per-sons, total adults, total 18-49 adultsand upper income LOH.)

Work of Cornell

These and the other estimates de-veloped by Ayer are the work ofJames H. Cornell. The agency'sveteran program analyst has been tur-ning out predictions for the agencyfor 13 years and before that had con-siderable experience at the networks,principally NBC.

Cornell's predictions cover, as usu-al, the November -December, 1970,

period. This gives viewers time tosample the new shows and decidewhich they like. The period ends be-fore the shakeup of the "second sea-son" in January.

First, a brief look at overall dimen-sions of the new season.

There will be 21 new programs,representing 22 per cent of the night-time schedule. This continues the pat-tern of the past two seasons, whichfollowed a steady decline in new pro-grams since the early 1960's. In 1963,there were 35 new programs, com-prising 63 half-hours and representing43 per cent of the primetime schedule.In 1964 there were 40 new programs,but they represented 57 half hoursand 39 per cent of the schedule. Thenew program total dropped to 34 in1965, 31 in 1966, 26 in 1967 and 21in 1968.

ABC has more new programs thisseason than the other two networkscombined -11 out of the 21. CBS hassix new shows and NBC, four. Theratio is about the same in new halfhours programmed-the ABC total is17 out of 33.

Monday Tuesday WednesdayABC CBS

Young Gun -é: Lawyers smoke

13 11

o Young Gun -Lawyers smoke

w 14 12

NBC

RedSkelton

13

Laugh-in

19

SilentForce

15

HeresLucy

12

Laugh

o Foot-e balleb 12

Foot-ball

12

p toota ballyr 11

g root-s sil- 11

May- Moviesberry

13 17

Doris Movies

D15 17

Carol MoviesBurnett

17

Carol MoviesBurnett

14 17

ABC CBS NBC

Mod Rev. DonSquad Hillb. Knotts

13 14 12

Mod GreenSquad Acres

15 10

DonKnotts

13

Movie Heeof Week Haw

14 13

Movie Heeof Week Haw

15 12

Julia

15

Movies

Movie Toof Week Rome

16 7

16

Movies

17

Marcus CBS MoviesWelby News

18 7 18

Marcus CBS MoviesWelby News

18 6 17

ABC CBS NBC

Eddie'sFather

12

Store-frontLawyers

15

DannyThomas

13

Men fromShiloh

8

Store-front Men fromLawyers Shiloh

15 9

Room222

17

Gov. Men from& J. J. Shiloh

11 10

Johnny Medical KraftCash Center

21 14 11

Johnny Medical KraftCash Center

20 14 11

Dan HawaiiAugust Five -O

13 15

Dan HawaiiAugust Five -O

12 14

Bronson

11

Bronson

10


. ...... . .

Perhaps the most striking overallstatistic in the Ayer predictions is theexpected rise in ABC's householdaudience level. Last season, ABC'saverage. half-hour household rating atnight was 16.1 in the November -December period. This year, Cornellpredicts ABC will average 18.0, asizeable jump. This would put ABConly slightly behind CBS with an av-erage of 18.7. NBC is figured to leadwith a 19.4 average.

First for NBC

This represents the first time in theAyer predictions that NBC is figuredfor the overall lead in households.Cornell estimated that CBS and NBCwould run neck -and -neck in house-holds last Fall (20.0 vs. 20.0) butNBC turned up with a 19.9 vs. CBS'19.2, as some of its new shows didbetter than expected.

The major questions about ABCrevolve around how its new programswill do. Ayer predicts they'll do fairlywell, though not as well as the othernetworks. Average househo'd ratings

of new programs by half hour for thethree networks are estimated as fol-lows: ABC, 17.2; CBS, 17.9; NBC,18.6. The estimates for establishedshows are: ABC, 18.4; CBS, 18.9NBC 19.5, The predicted average forall new shows is 17.6, for all oldprograms, 18.9.

There is, naturally, an interest onAyer's part in detecting networktrends. If, for example, ABC were onthe way to become second in overallstandings, the knowledge would be ofno little importance to Ayer's pro-gram department under senior vicepresident Thomas J. McDermott, ifonly for the pyschological factors sur-rounding negotiations for networktime.

There is still the perennial questionof how useful household ratings are.They are hardly anindication of theappeal of a program and not alwaysindicative of the number of peopleactually watching.

For example, while ABC's house-hold rating average per half hour isexpected to rise in primetime from16.1 to 18.0, its total persons average

rating is predicted as rising from 10.5to only 10.9.

Similarly, while NBC's predictednew program average by householdsis higher than that of CBS, the aver-age number of persons expected towatch the new CBS shows is higherthan the predicted level for NBC.

One of the more significant net-work developments not shown prop-erly by household ratings is the ageskew of adults. CBS' efforts, previous-ly alluded to, in redressing the bal-ance of adult viewers more towardthe younger categories, have begun tohear fruit.

High in older people

This coming season Cornell pred-icts that NBC will sport the highestratings in the 50+ categories. Here'show the networks compare in averagehalf-hour ratings of older women lastNovember -December and during thesame two months this year:

Last year's women 50+ ratings-ABC, 10.3; CBS, 17.9; NBC, 16.4.This year's predicted ratings-ABC,10.7; CBS, 16.7; NBC, 17.3.

Thursday Friday Saturday SundayABC CBS NBC ABC CBS NBC ABC CBS NBC ABC CBS NBC

MattLincoln

11

MattLincoln

11

FamilyAffair

12

FlipWilson

15

BradyBunch

II

In-terns

13

HighChaparral

7

HighChaparral

8

Lets Make Missiona Deal Imposs.

8 14

AndyWilliams

13

AndyWilliams

13

YoungRebels

11

Hogan'sHeroes

11

WaltDisney

18

JimNabors

11

FlipWilson

16

Nanny& Prof.

14

In-terns

13

Newlywed MissionGame Imposs.

8 14

FBIStory

14

FBIStory

16

EdSullivan

11

EdSullivan

12

WaltDisney

20

Be-witched

16

JimNabors

12

Iron-side

14

PartridgeFamily

9

Head-master

15

Name ofGame

II

LawrenceWelk

7

LawrenceWelk

8

My Three AdamSons "12"

16 14

BillCosby

19

Barefootin Park

16

Movies

13

Iron-side

14

ThatGirl

11

Movies

14

Name ofGame

13

Name ofGame

13

Arnie

14

Movies

19

Movies

19

Movies

16

Movies

16

Movies

16

Movies

16

GlenCampbell

14

GlenCampbell

14

Bonanza

18

Bonanza

19

OddCouple

12

Movies

14

Nancy

13

Love, Amer. MoviesStyle

12 15

DeadlyGame

8

DeadlyGame

7

Mary T.Moore

14

The Immortal

11

The Im-mortal

11

Movies

14

Movies

14

DeanMartin

14

DeanMartin

13

TomJones

13

TomJones

12

Movies

15

Movies

15

Bracken'sWorld

11

Bracken'sWorld

11

Mannix

14

Movies

19

Movies

18

TimConway

14

TimConway

13

BoldOnes

14

BoldOnes

13

Local

-Mannix

16


A similar pattern appears in the50+ male category:

Last year's men 50+ ratings-ABC, 9.2; CBS, 15.5; NBC, 15.2.This year's predicted ratings ABC,9.8; CBS, 14.4; NBC, 15.9.

The switch could be explained by ageneral lowering of CBS audiences,but its half-hour average for totalviewers is expected to be down onlyslightly-from 12.2 to 12.0.

However, when a comparison ismade between CBS and NBC ratingaverages for older adults, brokendown by both new and old shows,certain facts stand out.

First, the shows retained by CBSare expected to have lower ratings

Top 10 programs for womenby age groups*

18-34PROGRAM RATING

Laugh -In 20Marcus Welby 20Room 222 19Johnny Cash 19Bill Cosby 18Movie of Week 17Mon. Movies 17My Three Sons 16F.B.I. Story 16Bewitched 16

35-49PROGRAM RATING

Laugh -In 20Walt Disney 18Bonanza 18Bill Cosby 17Marcus Welby 17Sat. Movies 17Dean Martin 17Sun. Movies 17My Three Sons 16Headmaster 16

50+PROGRAM RATING

Lawrence Welk 29Gunsmoke 26Men from Shiloh 26Jim Nabors 25Andy Williams 25Carol Burnett 25Family Affair 24Bonanza 24Ed Sullivan 24Red Skelton 23

Ratings are based on totals in each age group.See page 22.

among 50 -and -over adults than thoseretained by NBC. The CBS old -showaverage for 50+ adults is 16.2, theNBC average, 17.1

This resulted partly from thedemographics of the shows whichwere dropped. The average over -50adult rating for CBS' axed programswas 18, the average for NBC was 14.CBS' cancelled shows also had a lowaverage rating among 18-34 adults -8.5.

The CBS -NBC differential is alsomarked in the new shows for the sea-son. CBS' predicted over -50 averagerating for its six new programs is12.8, NBC's is 14.5.

Both networks still present an audi-ence profile skewed to older adults,according to Cornell's predictions.Here's how they look in average ra-tings of the basic adult demographics(18-34, 35-49, 50+) : CBS -10.7/12.1/15.6; NBC -12.3/13.6/16.7.

(This older adult skew has beenpreserved for many years.) ABC goesin the other direction, but not in anymarked degree. Its adult profile -11.9/11.7/10.3.

ABC's new programs show a slightskew to younger adults, in Cornell'sview, but not more so than its return-ing shows. The new program profilecomes out as follows -10.7/10.5/10.0. Returning showsshape up this way -12.5/12.3/10.5.

Children evenly divided

So far as children go, the networks,the predictions show, divide up theyoung audience fairly evenly. NBChas a slight edge in the 2-5 group;CBS is a little ahead in the 6-11 cate-gory and ABC, despite its sustainedefforts to attract teenagers, is ahead ofthe other chains by only a fraction ofa rating point.

The overall network predicted av-erages for lady -of -the -house viewingby family income show a small ten-dency toward attracting the lowerincome viewer, a reflection of generaltv viewing habits. The $15,000 -and -over category averages to 12.6;$10-15,000 comes to 13.7; $5-10,000is 14.3 and under -$5000 is 14.8.

NBC is expected to do better thanthe competition in the three top cate-gories, while CBS has the highest ra-ting in the under -$5,000 group. Partof the NBC lead is accounted for, ofcourse, by its higher overall averages.

An analysis of the new shows byCornell reveals that the slight skew

Top 10 programsby age groups*

for men

18-34PROGRAM RATING

Laugh -In 18Bill Cosby 16Johnny ('ash 16Sun. Movies 16My Three Sons 15Mission Imposs. 15Walt Disney 14Bonanza 14Sat. Movies 14Movie of Week 14

35-49PROGRAM RATING

Laugh -In 19Walt Disney 18

Bonanza 17Sun. Movies 17Bill Cosby 16Sat. Movies 16Mon. Movies 16F.B.I. Story 16Ironside 14Glen Campbell 14

50+PROGRAM RATING

Gunsmoke 26Men from Shiloh 26Bonanza 25Lawrence Welk 24Red Skelton 22Jim Nabors 21

Hee Haw 21Laugh -In 21

Family Affair 20Lucy 20

*Ratings are based on totals in each age group.See page 22.

toward lower -income consumers re-mains fixed, again a reflection of theaudience generally attracted to tv butalso, to some extent, an amalgam ofthe points of view of network pro-grammers.

The predicted viewing averages ofthe lady of the house, as broken downby family size, show a fairly flatprofile. NBC has the highest averageratings in all three categories (5+members, 3-4 members, 1-2 mem-bers), while both NBC and CBS willhave a moderate skew toward smallerfamilies. ABC will be stronger in thetwo bigger farnlily-size groups than inthe 1-2 member category, according


to Cornell's prognostications.All the foregoing averages, it goes

without saying, mean nothing to anindividual advertiser, who, subject tonegotiation and availabilities, can findhis target audience on any network.

What he pays for this audience isanother matter. The Ayer predictionsalso include estimated costs -per -1,000for each program. The basic cpm list-ing prepared by Cornell is based onadults 18-49, the most common targetaudience in demand.

The Ayer cpm figures are based onpure guesstimates of cost and onlytime will tell the average prices ofeach program. With this caution keptin mind, here, then, are some high-lights from the Ayer cpm figures:

Average minute costs per networkrun nearly the same. ABC's average is$47,847, CBS' is $48,546 and NBC'sis $50,560. The significant fact here isthat CBS has been historically the"high-priced" network and has re-duced its prices to competitive levels.

Conway best buy

The "best buy," at $3.46 is the newTim Conway Show largely a reflec-tion of an estimated low cost-Cornell figures the program will justsqueeze into the top third of all pro-grams in millions of 18-49 adults. Asmight be expected, many of the otherlow rpm's are attached to new pro-grams. They include, in ascendingcpm, The Immortal, Dan August,Young Rebels, The Flip WilsonShow, Young Lawyers and SilentForce.

The highest cpm's include bothhigh -rated shows and low -ratedshows, both new programs and old.On this list are Family Affair, KraftMusic Hall, ABC Monday night foot-ball (which Cornell feels will rankpoorly because of high price), JimNabors, Mayberry R.F.D., Here'sLucy, Doris Day, Most DeadlyGame, The Partridge Family,Lawrence Welk, Lassie and Gun -smoke.

The median cpm's, by network, runabout as follows: ABC, $5.20; CBS,$5.50 and NBC, $5.00.

If the list of 18-49 adult cpm's isdivided into thirds (27-28 showseach) in ascending order of cost, eachnetwork's share works out like this:in the least expensive (or top) third-ABC has 10 programs, CBS, seven,and NBC, 11; in the middle third-ABC has nine programs, CBS, 10,and NBC, eight; in the bottom, or

most expensive third-ABC has 10programs, CBS, 13 and NBC, five.

Whether all the foregoing turns outas predicted (and Cornell has an un-beatable record in estimating audi-ence ratings; last season more thanhalf of the estimates were within onerating point) depends on a variety offactors. These include the appeal of

Top 10 programs for childrenby age groups*

2-5PROGRAM RATING

Walt Disney 22Nanny & Professor 20Eddies Father 20Laugh -In 19Family Affair 18Lassie 18Danny Thomas 18Bev. Hillbillies 18Brady Bunch 17Red Skelton 17

6-11RATING

Walt Disney 26Nanny & Professor 24My Three Sons 22Bill Cosby 22Arnie 22Danny Thomas 22Eddies Father 22Family Affair 20Brady Bunch 20Partridge Family 20

12-17PROGRAM RATING

Bill Cosby 19Room 222 18Mod Squad 17Bewitched 17My Three Sons 16Walt Disney 16Bonanza 16Laugh -In 15Arnie 15Young Lawyers 15

Ratings are based on totals in each age group.See page 22.

the program type, the performers, thescripts, the direction, time of eveningin which the program is aired, thecompetitive show, the lead-in showand, to some extent, even the follow-ing show. Not to mention the day ofthe week and the time of the year.

The fact is that the popularity of aprogram on television cannot be de-termined in the abstract, but onlywithin an environment of competitionwithin a fixed framework of time.

Following is Cornell's analysis ofthe network schedule, time period bytime period, day by day through theweek:

MONDAY

The week starts at 7:30 with a newshow on ABC, a show new to NBCand a perennial favorite on CBS. Thenew ABC show is The Young Law-yers, a reasonably good entry as pro-grams go but facing formidable com-petition from two veterans-RedSkelton on NBC and Gunsmoke onCBS. Both have been in or near thetop 10 for about 15 years.

Skelton and Gunsmoke have strongappeal to older adults, which shouldhelp The Young Lawyers, a showtype attractive to younger adults andteenagers. However, the comedianand the western should attract enoughyounger adults and children to hurtthe ABC entry.

At 8, NBC's and television's num-ber one show, Laugh -In. Skelton isnot the ideal lead-in for Laugh -In,which is oriented to younger, upscale,metro families. The veteran comedianhas long been popular with not onlyolder adults but lower -income, non -metro households. But Skelton mayovercome some of this demographicbias in the remodeling of his show,since there is talk of his aiming moreat younger people. He doesn't havestrong competition for young adults,who don't generally go for westernsand may not find The Young Lawyersthat attractive. Further, Skeltonshould attract children in goodlynumbers and feed them to Laugh -In,which is quite popular with the youngset.

At 8:30, Here's Lucy is in thesame position as last season, fightingthe powerful impact of Laugh -In, butdoing well because of her appeal toolder adults. Silent Force, another newA.BC show, doesn't stand much of achance with older adults going to Lu-cille Ball and younger adults going toLaugh -In. In addition, Silent Force isnot that good a show.

At 9, another new ABC entry, profootball; the sport has appeared be-fore in primetime but never on a reg-ular basis. Primetime pro footballhasn't made a consistently big impact


and there's no reason to expect thingswill change in the Fall. Most homeshave only one tv and sports set thescene for a contest between husbandand wife which more often than notends up with women in control of theset. NBC is scheduling strong femaleappeal movies opposite football andCBS has some pretty popular showsfrom 9 to 11-Mayberry R. F. D.,Doris Day and Carol Burnett.

Football is expected to have one ofthe lowest home ratings in the prime -time schedule, but a good 'audience ofyounger adults. A lot depends on thespecific appeal of the teams playing.Last year, ABC had The Survivors inthe 9-10 slot, so the network willhave an improvement.

It is worth noting that the Mon-day CBS schedule is strengthened bythe fact that all its shows are slantedtoward older, lower -income, non -metro adults and from 9 p.m. on hasthe field pretty much to itself in thosedemographics. NBC is at the oppositeend of the scale except for Skelton.

Despite the limited selective poten-tial for football, ABC will probablydo better this season than last. Asidefrom The Survivors, ABC had adisastrous early evening schedule in1969, with a brace of 45 -minute pro-grams-The Music Scene ¡and TheNew People.

TUESDAY

One of the days most affected by last-minute CBS changes was Tuesday.CBS -TV president Robert Woodmoved The Beverly Hillbillies andGreen Acres into the opening hour,pushed To Rotne with Love from7:30 to 9:30 and moved out MaryTyler Moore to Saturday night.

The net result should strengthenthe CBS lineup. With Hee Haw at8:30, the network has two hours ofbucolic block programming, a definiteplus in getting large audiences.

The combination of Beverly Hillbil-lies and Green Acres will hurt DonKnotts, which Cornell had originallytapped as the best -rated of the newNBC shows. Knotts is popular witholder adults, as are the two CBS situ-ation comedies. However, Knotts willstill do well and ranks overall as on:of the better -rated new programs.Cornell's original total -persons ratingestimate for Knotts was 13.8; hedropped it to 13.1, but the Ayer an-alyst would not be too surprised if itdropped a little' lower.

(Continued on page 54)

Marlin Taylor gets beautifulratings with `beautiful music'

Call it what you like-beautifulmusic, good music, wall-to-wall

music, elevator music, album music,Montevani/Mancini music-a lot ofpeople dig it. If you can master theart of programming it on radio,you've got a good thing going.

Marlin R. Taylor has, if the ratingsmean anything, mastered the art andhe's got a good thing going. Rightnow, it happens to be BonnevilleBroadcasting's WRFM New York. Nottoo long ago it was WDVR Philadel-phia and, before that, WJIM Boston,all FM stations. It seems to be gener-ally agreed that Taylor's unique touchhas performed wonders for those sta-tions in making timebuyers sit up andtake notice.

Back in January -February, WRFMwas tied for number four in the mar-ket (ARB average quarter-hour metroratings), an impressive accomplish-ment for an FM station in the tough-est battleground in the nation. ByMay, it slid back to an eighth placetie, which is still not bad, considering40 stations are measured, and a lot ofothers aren't.

Taylor, who's general manager ofthe station, allows as how the Januaryfigures were probably too high but theMay figures were probably too low.Be that as it may, the timebuyers areat least watching what WRFM is goingto do, which is more than you can sayabout a lot of stations in the ad capi-tal.

What's the secret?

Successful radio programmers areoften asked how they do it, as ifthere's some secret that anyone canmaster. Taylor feels it's a combina-tion of intuition and working hard atit. He has a lot of faith in his intuitionand claims he can "feel" if a station isdropping off in popularity. Id's partlyhis intuition that told him, he says,that the May drop in WRFM'S ratingsis not real evidence of a decline inaudience. The other part is the lackof a sign in the station's mail that anypart of the audience has becomedisenchanted, the fact that the cumeaudience didn't decline, and an im-pression that the station was still pop-ular on radios in public places.

Taylor has a generalized picture ofhis audience but he doesn't think interms of a "typical" listener. Demo-graphically, he says, it runs the gamutamong adults. "Teenagers are out ofit, but it starts at the middle 20s andgoes to the 60s and 70s."

This suggests only married people,which is not bad from the advertisingpoint of view, though Taylor points tothe young bachelor as a minor excep-tion. "They like to have backgroundmusic conducive to romance." Heconsiders them important enough,however, to have run an ad in theNew York edition of Playboy.

Bachelor the exception

Except for the young bachelor,who may or may not be a swinger,the audience that Taylor sees in hismind's eye is heavily composed ofpeople of conservative values. He isnot thinking in political terms, thoughit may well be there is a correlationbetween the conservative life styleand right of center political thinking.

So far as standard demographicsgo, the ARBs show WRFM peaks inthe 35-49 bracket, with higher ratingsamong men than women. Consideringit's an FM station, it does surprisinglywell in drive times.

As for the music Taylor programs,the characteristic description thatcrops up again and again in his con-versation is "familiar." Other com-mon descriptive terms are "melodic"and "pretty."

He points out that familiar musiccan be current as well as 50 yearsold.

He'll play up4o-date material pop-ular with the young but not usually inits original form. The B. J. Thomasrecording of Raindrops Keep Fallingon My Head, for example, was a bighit. It is pretty and familiar. But rec-ordings of it on WRFM were by AndyWilliams and via instrumentals, notB. J. Thomas. Ditto for Simon andGarfunkel's Bridge Over TroubledWaters. And, possibly most to thepoint, ditto for the Beatles' music.

Taylor makes no claims of doinganything original in the way of pro-gramming "good" music. He says,"The copycat usually can't succeed,


. .--. .w .rw I . ..

but the copycat who does somethingbetter can. If you can't do any better,why should the listener switch toyou?" When Taylor took over as sta-tion manager, WPAT and WTFM wereprogramming "beautiful music," butTaylor's success in breaking throughthe competition testifies to his successin doing something better-or a littledifferent.

Somebody once said that the peo-ple who make it in America comeoriginally from small towns. Taylormight cavil at an appraisal that he'smade it, but when somebody askedhim recently where he came from, hesaid, "Oh you probably never heardof it. It's just outside Philadelphia."The party who asked the questioncame from Philadelphia and he neverheard of it.

For the record, Taylor's nativeheath is Feasterville, Pa. He livedthere until he went into the service in1958 at the age of 23. His maternalancestors spent their lives there formore than 300 years, having beendeeded property by William Penn.

For three years prior to donning auniform he worked parttime at WTNJ(now WART) Trenton, N.J. Taylor

doubled as announcer and engineer.Radio wasn't his first job, but as

they like to say in biographies, it washis first love. He had his first radiowhen he was 11, which was the firstyear after World War H and the firstyear they made consumer radios sincePearl Harbor.

The operations of the Trenton sta-tion were not exactly calculated tofire the imagination of a young manstarting out in radio. The music waswhat Taylor calls "bottom 50" butthere was no careful control overprogramming, one reason being theannouncers took home the recordsthey liked.

His first programming experiencewas in the Air Force. After a spell asan announcer at the Thule, Green-land, AFB, he worked for the 2ndArmy recruiting branch, producingradio shows. These were 15- and30 -minute country -&-western pro-grams, aimed at young men in smalltowns. He knew c&w music andliked it. When he was younger, hehad listened to it frequently on WCKYCincinnati, whose 50,000 wattsboomed over Pennsylvania at night.Even then, however, he had a partial-

ity for "beautiful music."In 1961, while at Fort Meade, Md.,

winding up his service years, Taylorsaw an announcement about an FMpermit for Bethesda -Washington,WHFS. Owner of the station wasWilliam Tynan, who had no broad-cast experience but who, togetherwith a friend, "decided they wanted aradio station."

Taylor became one of two fulltimeemployees for the station, whichoffered the first stereo service in theWashington area. As near as Taylorcan recall, the music played was acombination of pop, classical andjazz. It's apparent he learned nothingabout the fine art of radio program-ming there, but he remained for twoyears until moving over to anotherFM outlet, WDVR Philadelphia, wherehe first made his mark.

Another non -broadcaster

Again it was a new station begunby a non -broadcaster. David Kurtz,an engineering executive at Philco,who launched the station, was de-scribed by Taylor as a "quiet, humbleDutchman." (Today, while his staffdrives around in image -building Ca-dillacs, Kurtz still uses a Ford.) Tay-lor applied for and got the job asstation manager.

The station was a shoestring oper-ation initially. Of the six fulltime em-ployees, four were boys out of highschool who played records and han-dled announcing chores.

The programming that emerged wasan amalgam of the ideas of Taylorand Jerry Lee, who came in as salesmanager and is now president andgeneral manager of the station. Goingon the air May 13, 1963, WDVRpresented "beautiful music" program-ming and has essentially stayed with itsince. It was Philadelphia's first 100per cent wall-to-wall music outlet."We were heavy on music and res-tricted the number of commercials,"says Taylor.

The station later went in for heavypromotion, too, but in the beginning


Marlin R. Taylor built up WRFMNew York with "beautiful music,"was also successful with FM stationsin Boston and Philadelphia.

29

Soft economy, fading cigarette revenuemay soon put 30s on tv network rate card

Some time in 1971, probably be-fore next Summer, the 30 -second

announcement is expected to replacethe 60 as the basic unit being sold bytelevision networks. This is the con-sidered opinion of top agency execu-tives who are anticipating a networkpolicy decision yet to be made.

Their prediction is being made formany reasons, mainly the present softstate of the nation's economy and itsimpact on network billings. These ad-men believe that the networks will goto the shorter announcement tomake tv sponsorship more attractiveto national clients.

More specifically, they expect net-work tv business to reach its nadirearly in 1971 when cigarette sponsorshave decamped with their big appro-priations-$165 million in 1969.

"I don't know thatchanging the unit ofsale will answer ournew business problem."

Warren Booremvice president,national salesmanagerABC-TV

The networks have, up to now, re-placed only a fraction of this advertis-ing (see TELEVISION/ RADIO AGE,June 29), and prospects for next yearare not particularly bright. A shift tothe 30 would improve such prospects,according to the thinking of the agen-cy execs.

Not all Madison Avenue regularsagree that the loss of cigarette billingswill act as a catalyst to the situation,however. For example, while CliffordBotway head of the media buyingservice bearing his name believes thatswitching to a 30 -second spot is a

"I believe that theavailability of30s would bring inmore business fromboth new and oldadvertisers."

Frank Smith,vice president,CBS -TV

sales

"certainty," he also believes "the net-works won't be shoved into it becauseof economic reasons."

Continues Botway: "The networkswill manage their sales next year sothat they won't panic. Business wasvery bad during the second quarter of1970 and they ran scared, but theyrecovered themselves by the thirdquarter."

The amount of business that a 30base rate would produce for the net-works is still a moot point. CBS -TVon the one hand, and NBC-TV andABC-TV on the other, differ as towhat a change would do for them.

"I believe the availability of 30swould bring in more business fromboth new and old advertisers," saysFrank Smith, vice president, sales forCBS -TV. "It would give them totalfreedom of the entire schedule fortheir messages and make the mediummore effective for them.

"The single brand could go its ownroute," Smith adds. "Moreover, itwould cut the price of nighttime tv inhalf and that, by itself, would bringthe medium into reach of less affluentadvertisers. I've contended for a longtime that we should be in the businessof selling 30s. And each day as adver-tisers use them more and more,though they buy minutes, there is lessand less rationale for not selling them."

Disputing this theory, WarrenBoorem, vice president and nationalsales manager of ABC-TV, states:

"They've told us that 30s have beenimminent on network since 1966 andstill we haven't gone to them. I don'tknow that changing the unit of salewill answer our new business prob-lem. I've looked at new business pros-pects, and frankly don't think thereare that many package goods firmsoutside tv."

Another who takes a tough lineagainst 30s is Jack Otter, vice pres-ident, sales, NBC-TV. "I think goingto 3Ós will create more problems thanit will solve and I'm against it," hesays.

"An advertiser can buy 30 -secondspots now, but within the context ofthe minute sale," adds Otter. "He canbuy two -and -a -half minutes in ournightly news review, an alternatehalf hour of a half hour show, or aminute and a half on one of oursports shows.

"We make it possible for the littleadvertiser to get his feet wet in tv onToday and Tonight, and we've startedmany of them off that way throughthe years. The problem is that thelittle advertiser wants to buy hits. Hewants to buy Laugh -In. Well, he can'tafford it."

Agencies generally want to see thenetworks go to a 30 -second base rate,even if they don't have clients in thehouse right now who might be inter-ested in using them. They still feel theshorter announcement will be valu-able.

"I think going to 30swill create moreproblems than itwill solve and I'magainst it."

lack Ottervice president,NBC-TV

sales


"We have clients nowwho would use networktv if they could buy30 -second spots."

Peter Bardachvice president,director ofbroadcastingFoote, Cone &Belding

Taking a more active role in push-ing for the 30 are such agencies asFoote, Cone & Belding and Young &Rubicam. "We have clients now whowould use network tv if they couldbuy 30s," says Peter Bardach, vicepresident and director of broadcastingfor FC&B.

"They have small budget brandsand they simply don't have the money

"Some of our smalleradvertisers would usethe medium, if theycould buy 30 -secondspots. Besides, piggy-backs are a problem formany of our clients."

Warren Bahrexecutivevice president,media directorYoung & Rubicam

for network tv now," he explains."Remember, for every MaxwellHouse you find there are 10 brandswith budgets of $1 million or less.These advertisers now use women'sservice magazines like McCalls."

His view is supported by WarrenBahr, executive vice president andmedia director of Y&R. "Some of our


ARB puts it all'in one place'to make it easyfor timebuyer

Heeding the advice of its users,and with an eye to altered sell-

ing trends spurred by economic con-ditions, the American ResearchBureau has revised the heart of its

local television reports and addedadditional data.

With its client list split betweenagency timebuyers and planners andstation reps and salesmen, ARB, informatting its upcoming reports, hasattempted to offer the best of all pos-sible worlds, while at the same timetrying to out -maneuver its primeratings rival, A. C. Nielsen. Follow-ing its May sweep, ARB polled all ofits users for comments on the 1969-70 reports and solicited suggestionsfor next season's books. Some 60 percent of the questionnaires were saidto be returned.

Essentially, ARB's 1970-71 audi-ence estimate reports will seek to aidthe timebuyer by consolidating someits the "most referred to" data withinthe double -page format of its keysection, 4 -Week Time Period Aver-ages.

Planners, ARB hopes, will take ad-vantage of its more detailed agebreakouts, which, as does the NielsenViewers in Profile reports, containteen girl demographics for the firsttime.

For local business

For the station side of the ratingpicture, ARB also has some newangles. A new column, designed tospur local advertising, has been addedto its product usage section. And byrepositioning its metro ratings andshares columns, the research companyis spotlighting again a basic audienceyardstick.

While most of the changes can becalled refinements, undoubtedly theformat alteration will create the great-est impact, especially among buyers.Section II, ARB's Weekly Pro-gramming and 4 -Week Time PeriodAverages page, has been redesigned toread over a double -page spread. The

revised format contains ARB's SpotBuying Guide, which is now locateddirectly adjacent to the 4 -week aver-ages rather than placed in a separatepart of the book where is was pre-viously. The combining of the SpotBuying Guide in Section II presentsthe timebuyer with most of his re-quired data in one location, thussaving him the time of continuouslyscouting for pertinent information.

As part of the new page layouts,ARB is providing several new agebreakouts to agency buyers andplanners. While there are some addi-tional Area of Dominant Influence(ADI) demographics, the bulk of theadded data falls under the Total Sur-vey Area headings. In Section II's 4 -Week Averages, ARB now includesTSA projections for total persons andtotal adults, as well as three other newadult categories: women 25-49,women 18-34, and men 18-34. Also,TSA estimates of housewives under50 supplement the previously singlylisted total housewives. All of theseTSA additions were and continue tobe charted in the Spot Buying Guide.

Three of ARB's new breakouts-women 18-34, men 18-34 and teengirls-are being incorporated in all of

New features for1970-71 ARB reportsWEEKLY DAY -PART SUMMARY

Refined age breakouts:Women 18-34 (AD!)Men 18-34 (AD!)Teen girls (ADI and TSA)New product usage column:Department store patronage

MULTI -WEEK TIME PERIOD AVERAGES

Additional TSA projections:Total personsTotal adultsHousewives under 50Women 25-49Women 18-34Men 18-34Teen girlsAdded ADI rating:Housewives under 50

"PURE" PROGRAM AVERAGES

Additional demographics:Women 18-34 (ADI)Men 18-34 (ADI)Teen girls (ADI and TSA)


its ADI listings in Section II, as wellas in Section I (Weekly Day -PartSummary) and Section III ("Pure"Program Average).

Some of ARB's changes shouldmake some station reps and salesmenhappy, particularly those who repre-set smaller and less powerful stations.These stations have been concerned,since ARB's ADI and Nielsen'sDesignated Market Area were intro-duced, that agency timebuyers willcome to depend on the larger, undu-plicated market areas.

They were particularly upset at see-

ing the metro ratings and shares rele-gated to the last columns in the 4 -Week Time Period Averages. At onepoint, ARB metro data was shiftedcompletely away from the 4 -WeekAverages.

Citing the value of instant com-parison and aid in selling local re-tailers, ARB in its re -formatted 1970-71 audience estimate books will fea-ture both the metro ratings and sharesas the second set of columns, im-mediately following ADI ratings oftv households and share of homesusing tv (HUT) and preceding TSA

projection demographics. The metrodata will hold that position in all ofARB's first three sections.

Also of considerable aid to smallerstations and others where local retailbusiness is needed to bolster nationalspot is the inclusion of a new productusage column. In the face of skiddingnational spot buying, many televisionstations have redirected much of theirsales efforts toward inducing local re-tailers to advertise on the medium.Prime target among the sundry re-tailers is the department store, which


To zero in on blacks, try a tv primetime special

Traditionally, advertisers of pro -ducts for the black consumer

have used black -appeal media, specifi-cally radio, magazines and newspa-pers to reach their target audiences.

In a pioneering move, however, theJohnson Co., Chicago, which de-scribes itself as the largest manufac-turer of black hair care products, hasbecome the first such advertiser tosponsor television specials aimed di-rectly at blacks with all black -appealcommercials.

. . . & Beautiful II, the JohnsonCo.'s second tv special in two yearsis scheduled to air September 9, in 33top markets during the primetimehours of 7:30-10:00 p.m., pre-empting regularly scheduled networkprograms in 27 of these markets.

The decision to use tv to reachsuch a specific segment was not aneasy one to come by, says Tomas E.Kuhn, executive vice president incharge of client services at Niefeld,Paley & Kuhn, Inc., the company'sChicago agency. Previously, saysKuhn, use of tv was unthinkable forsuch a selective advertiser in view ofits high degree of waste circulation."But where do you go," asks the

agency executive, "when a companysuch as Johnson, with a large budgetin ethnic advertising ($2-3 million)has exhausted all the usual black ap-peal outlets?" Such was the initial

reasoning over two years ago whichprompted the concept of an adver-tiser -prepared -and -placed syndicatedprogram during primetime.

To feel out the possibilities, theagency researched the cost -per -1,000for a one -hour primetime special,production included, based onreaching 33 per cent of the black tvhomes in Chicago alone. Finding it

would cost about $11 -per -1,000, a lit-tle higher than Ebony magazine's de-livery, says Kuhn, the agency was en-couraged to bring the concept to frui-tion.

Another influencing factor was thecomparative cost of a full hour inprimetime, which was not much morethan a 60 -second commercial in a


Some of the more contemporaryperformers who appear in "... &Beautiful I1" are Nina Simone andB. B. King, left, and Sly and theFamily Stone. Show has 195 musicalsegments in all.


What's the positionof blacks in tvproduction, commercials?

All blacks aren't soldon all -black shows

Put blacks in placeswhere they stick out

ViewpointsA groundbreaking black -oriented primetime television special will appearon major -market stations this Fall, as detailed on page 32 of this issue.Is this a good idea for tv, for the products being promoted, and for theblacks in general? Indeed, what is the current position of blacks on tvin the cultural revolution?

In the first place, tv as it is constituted today is not a minority medium.It can and is a medium of assimilation of minority groups. All blackis as wrong as all white or all yellow.

From an advertising point of view, a black -oriented program withblack products is statistically a bad idea. Blacks constitute only 11-12per cent of the total U.S. population and a little less than that in thetv universe. Therefore, in order to reach 10 per cent of total potentialaudience, the agency has to pay 100 per cent of the time and productioncosts that an advertiser of any other product pays.

While it might be argued that an all -black show could theoreticallyreach everyone-if the show is good enough-it is pretty generous of anadvertiser selling black -oriented products to entertain non -customersto the extent of 90 per cent of his audience. A tough cost -per -1,000-minded advertiser wouldn't be in business very long if he followed thatline of logic.

It can't be assumed either that all blacks are interested in black shows.Entertainment is entertainment. If the show is good the viewer doesn'tcare what color the entertainers are. Bill Cosby, Lena Horne and SidneyPoitier have slugged it out with the best performers in the world andcame out on top, not because they were black, but because they were good.

As a matter of record, even black -oriented print media don't reachas many blacks as say, the Daily News in New York, its equivalent inother cities, or life. Even the black radio stations are rarely as gooda buy for black -oriented products. A combination of black stations andthe number -one rated station in any market makes more sense to themass marketer.

Now, let's get to the commercial. There has been much agitation bymilitant black groups to have more blacks appear in natural situationsin commercials-where the residual loot is comforting in any color.That's as it should be. Unfortunately, there are technical problems inshooting blacks as any good director will testify. Though many blackmodels are quite beautiful and perfectly acceptable, they present problemsof costuming, background and framing. Sure, these are soluble problems,but the incentive must be strong to want to overcome a genuine naturalhandicap.

In their anxiety to get more blacks working in tv, producers andadvertisers have put blacks in the most bizarre places, places that theywouldn't be under any circumstances. This jars the viewer and detractsfrom the message. Cinema verité is great, but cinema phoné isn't.

Too often, especially in local markets, we find the black newscasterwho owes his job to he fact that the station owner succumbed to a blackpressure group. Auditions were open only to blacks and nepotism ofthis sort is no better than nepotism of any sort-even if the fellow isgood. Color shouldn't be the criterion for casting.

There is plenty of room for blacks in radio and tv, where there oughtto be a lot more working. While a network -affiliated station can't betotally black -oriented, a UHF or a CATV channel can be, just aseconomically as a radio station. Blacks are assuming increasinglyimportant roles in regular tv shows and soon will reach a proportionateshare of the loot-certainly equal to other minority groups.

Show business and broadcasting have had a long history of liberalthinking. It's hard to find a Republican in the ranks of the theatricaltrade. They will do everything possible to give the black performer abetter -than -even break. But no matter how many agitators or conscience-striken producers bend over backward to rectify social injustice, only onething counts in show business-talent.-J.B.


ProgrammingWarners Tv to Coast

Following the decision of Kinney Na-tional, Warner Brothers' parent, toconsolidate the movie company'stheatrical division by shifting its NewYork operations to the West Coast,the television division will do thesame.

October is the target month for theclosing of most of Warner's EastCoast offices. Syndication chiefCharles McGregor, Berry Greenberg,vice president -international sales, andvice president and national sales man-ager Al Unger, all presently quarteredin the East, will shift to Burbank.Their New York personnel, however,will not join them. According to aWarner spokesman, new departmentswill be set up on the West Coast.

Other offices which have been ter-minated in New York are the con-tract department, legal division andthe promotion, publicity and adver-tising department.

Remaining in New York will beEd Bleier, vice president/network pro-gram sales, and Harvey Fran, directorof research.

Sports boom

With all indications pointing to great-ly stepped -up live sports coverage andsports features presentations on theair this season, two professional asso-ciations are mapping plans for in-creased exposure (and income) via thetube.

The National Basketball Associa-tion, following a two-year study, isfollowing the lucrative paths taken bythe National Football League and theMajor League Baseball PromotionCorp. in forming a film company tocreate, film and market television seriesand specials devoted to the action ofits teams. Named NBA Films, the newtelevision production arm is the jointeffort of the NBA and GRS Films In-ternational, who has a three-year ex-clusive contract to produce and sellthe basketball films.

Under the new setup, Jack Samuels,one of the three principals of GRS,will devote his time exclusively to man-aging NBA Films, while the othertwo, Herb Golden and Jerry Ross, willhandle production.

First projects on the drawing boardsfor NBA Films are a half-hour seriesentitled This Week in the NBA, sev-eral hour-long specials and programsdesigned for first -run syndication.

Also eyeing the Fall season sports

spree is the Major League BaseballPromotion Corp., which in an effortto broaden its market, has contem-porized its approach to baseball fea-tures. For the first production in whatit terms "an expanded program toprovide more extensive coverage ofAll -Star and World Series films,MLBPC, via its film arm, W&WFilms, is placing in syndication a half-hour special of the 1970 All -StarGame.

Injecting humor with interpreta-tions of what the game of baseball isall about, the baseball promotion com-pany sought to entertain as well asrecall the highlights of the All -Stargame held in Cincinnati's new River -front Stadium with its most currentfilm. Unlike in past years, the 26 -minute opus presents the game innon -rigid sequence, permitting greatercreativity and emphasis on aspects ofthe game other than sequential plays.

NG probes new thinking

National General Television, in con-ceptualizing its programs, is eyeingboth youth market and those whothink young.

On the heels of its documentationof the Blood, Sweat and Tears StateDepartment -sponsored tour ofEastern Europe, the company is inproduction on In Concert: CreedenceClearwater Revival, intended as aone -hour television special, and is syn-dicating a series entitled Special ofthe Month, which is geared to highlytopical subjects.

"The Creedence special," says MortZimmerman, director of sales de-velopment for the National Generalproduction subsidiary, "is much morethan a regurgitation of a rock con-cert. It is a depthy study of whatmakes the group tick and what theirphilosophies are."

Zimmerman believes that the daysof the typical bandstand rock showand the appeal of guest appearancesof rock artists on variety -formattedshows are on the wane. "Rock audi-ences are far more sophisticated to-day than in the early and mid -1960's"the sales executive comments. "Teen-agers and young adults want to seemore than `their favorite group' singa few numbers. They want to learnabout the group, what it's doing andhow it thinks. And they want itpresented in an intelligent manner."

With the same line of thinking, butwith a wider audience in mind,

National General also has producedfour features for its Special of theMonth series. Embracing contem-porary themes, the specials are enti-tled The Fountain of Groovy, TheNudity Thing Women Are Revoltingand The Weird World of Weird.

Fountain is a documentary aboutthe eternal quest for youth and being"groovy" and the almost limitlessnumber of sources for attaining thisgoal. The Nudity Thing studies thequestions of where, when and why anactress will remove her clothes beforean audience. And Women will explorethe struggle for women's rights andfeminist activities. The Weird Worldof Weird examines the ESP phenom-enon, witchcraft and astrology, in-cluding interviews with modernwitches.

Development pact

Michael Campus and MetromediaProducers Corp. have entered into anagreement whereby the former direc-tor of special programs for CBS -TVwill develop a network series entitledThe Interview. The program's con-cept revolves around a series of inter-views with historical figures of theworld enacted by top name perform-ers. Serving as executive producer forThe Interview will be MPC's PeterEngel. While Campus was at CBS -TV,he was responsible for the develop-ment of more than 150 televisionspecials including Death of a Salesmanand The Crucible.

Production prey iews

Tulchin Productions, which earlieracquired the rights to Name ThatTune from its former creator andproducer, Harry Salter, has begunshooting the pilot. Plans for the mu-sical game show, which ran on CBS -TV from 1952 to 1959, call for fivenew half-hours per week. RichardHayes, currently a member of thecast on the Arthur Godfrey Show anda host on Monitor, will serve as theprogram's emcee.

Yongestreet Productions will devel-op a one -hour series for CBS -TV en-titled Hip Hip Today. Designed as a"probing comedy with music whichwill depict various aspects of con-temporary American life from hardhats to hippies," the pilot is beingplanned by executive directors FrankPeppiatt and John Aylesworth, bothprincipals of Yongestreet. Jack Burns


will supervise the script which is be-ing written by Arnie Kane, GoldieFarr and Tony Hendra.

National Educational Television isplanning a musical documentary onan American Indian recording groupcalled Silver Bird. The documentaryfollows the group through appear-ances at Grossinger's in New York'sCatskill resort region, a visit to theirhome -land in Arizona and a recordingsession at New York's Hit Factory.Producer/director for the Silver Birddocumentary is Lane Slate. DavidHanser is co producer.

In syndication

Cine -Vox Programming is distributinga 30 -hour country music program en-titled My Country, My Music. Theradio program is said to tell the storyof life in America by relating historicalthemes to the songs of country music.Most of the songs are taken from 1957through the present, with some vin-tage recordings included. The mostlymusic program also features segmentsof interviews and reminiscences withseveral country recording artists suchas Johnny Cash, Tammy Wynette, RedFoley, Merle Haggard, Marty Rob-bins, Glen Campbell, Merle Travis,Jeannie C. Riley and Hank Locklin.Industry notables Vito Pelliteri andOwen Bradley talk about changesthey've seen in country music and theforces that make it what it is today.My Country, My Music is availablein mono, stereo and stereo automated.

Chet Huntley's syndicated five-minute program, The Chet HuntleyShow, will be distributed to radio sta-tions by the radio division of UnitedPress International Audio Services.Earlier, Horizons CommunicationsCorp., producers of the program, an-nounced that the television versionwill be syndicated by M.G. Films.

ABC Films' international divisionis placing its second movie package.Prime II into foreign syndication andis shifting its sales force into high gearfor sales of five new programs whichwill bow on the network domesticallythis month.

Included in the movie package are15 ninety -minute features which alsowill be shown here on the networkin the 1970.71 season. Among thefeatures included are Love Hate Love,But I Don't Want to Get Married,The Old Man Who Cried Wolf, TheOver the Hill Gang, Maybe I'll ComeHome in the Spring and In Search of

America. The five new series are 7/uMost Deadly Game, The Silent Force,Lancelot Link, The Reluctant Dragonand Mr. Toad and The Jerry LewisShow.

On the dotted line

:AB(' Films' domestic division hasrolled up sales in 59 markets in Juneand July for 14 of its series, specialsand cartoon prgramming. Prime I,ABC's movie package of featuresshown on the network last season,paced the sales with 10. New addi-tions are KPER-TV St. Louis, WCIV-JVCharleston, WEWS-TV Cleveland,KHVH-TV Honolulu, KFDM-TV Beau-mont, WFRV-TV Green Bay, KORK-TVLas Vegas, WAVE -TV Louisville, KVOS-TV Bellingham and WFAA-Tv Dallas/Ft.Worth. The eight sales recorded forABC Films' 10 part documentaryseries, Fabulous Sixties, are KTVU SanFrancisco, WATL-TV Atlanta, KCRG-TVCedar Rapids, WWJ-TV Detroit, KOAA-TV Colorado Springs/Pueblo, KOA-TVDenver, KGUN-TV Tucson and KPTVPortland.

A Little Bit of Irish, a first -run,Bing Crosby -hosted special will beshown on WNEW-TV New York, KTTVLos Angeles, WTTG-TV Washington.WBAL-TV Baltimore, KTVB Boise, WCCO-TV Minneapolis, WBAP-TV Dallas/Ft.Worth. Five additional markets havebeen sewn up for its N.Y.P.D. series-KTAR-JV Phoenix, KBLU-TV Yuma,WDTV Clarksburg/Weston/Bridgeport,WXYZ-TV Detroit and WMAL-TV Wash-ington. Ben Casey's roster now includesKTLA-TV Los Angeles, KFRE-TV Fresnoand WTOG-TV Tampa/St. Petersburg.Three additional stations for The Fugi-tive are WNEW-TV New York, KTLA-TVLos Angeles and WCIx-Tv Miami. Theother series recording sales in the two -month period are The Invaders, Com-bat, The Rosey Grier Show, HurdyCurdy, Beauty and the Beast, Africa,One Step Beyond and six cartoonseries.

Century Broadcast Communicationshas locked up 25 stations for the MissBlack America finals. The special, afeature of Madison Square GardenProductions in association withMotown Productions and J. MorrisAnderson Productions will be shownon WGN-TV Chicago, WBAL-TV Balti-more, KTVN Columbus, WKRC-TV Cin-cinnati, WGR-TV Buffalo, WDAF-Tv Kan-sas City, KSD-TV St. Louis, KSL SaltLake City, WJBK-TV Detroit, KWGN-TVDenver, WMAL-TV Washington, WTEN


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Commercials

Will agencies distribute on video tape?New York video tape facilities are approaching a fork in the road. Be-lieving that the time may be right for a fresh assault, facilities are directingtheir guns at a new target-commercials conversion to tape, with videotape duplication and distribution. While no signs have appeared that tapeinterests are throwing in the towel on efforts to convince agencies to pro-duce commercials on tape rather than film, industry observers see tapeproduction playing second fiddle to tape conversion and distribution dur-ing the upcoming television season.

Now that the closing bell has rung in round 1, in which Block Drugannounced its tape conversion and tv spot distribution arrangement withAvertel of Toronto and Dancer -Fitzgerald -Sample declared that all of itsnetwork commercials would be supplied on video tape, other video tapefacilities have entered the ring. Most of the facilities are pounding onagency doors, now proclaiming the advantages of video tape distribution,even if they shoot a spot on film.

Reeves Production Services disclosed that it just locked up a tape dis-tribution deal with Gaynor & Dukas in which Reeves will convert to tape,duplicate and ship G&D's Child Guidance and Aurora Plastics commer-cials. The agreement, marking G&D's debut in video tape spot distribution,comes on the heels of several related events in the industry. For whatTeletronics executive vice president Al Markham terms "the big swing totape distribution this Fall," the company has just hired a formally -trainedand experienced librarian to manage its tape library. In addition, the newlibrarian, Gary Bradley, will install new computer procedures in its opera-tion for the servicing of advertiser tapes.

Eastern Video also is intensifying its efforts in tape distribution andduplication. First deal lined up was the conversion of Dancer -Fitzgerald-Sample spots to video tape for network airing. And Tele -Tape Produc-tions, headed by Herb Horton, former executive of Advertel, is also ne-gotiating for conversion, duplication and distribution of several agencies'commercials inventories.

"Frankly," said one industry executive who requested anonymity, "wemay drop our efforts to get the industry to shoot commercials in videotape and, instead, push for tape distribution."

For Gaynor & Dukas, the initial conversion and distribution of itsChild Guidance and Aurora Plastics spots is a test, according to CharlotteSolomon, account executive for the two clients which bill in television acombined figure of $3 million. "A small agency," Miss Solomon explains,"must stand on two attributes-creativity and quality. Therefore, we'vealways been extremely quality -minded as to the reproduction of our spots-to the point where our print costs always exceed the industry norm.From what we've seen so far, the reproduction quality of video tape seemsfar superior to that of film. And for us, the cost of video tape measuresfavorably with that for our prints."

In testing the effect of its video tape costs, G&D will enlist the aid ofthe Affiliated Advertising Agencies International, a 45 -member networkof local agencies throughout the country providing its members with re-search in their local markets on a co-operative basis. "If the results arefavorable," Miss Solomon adds, "we will recommend video tape distribu-tion for all of our clients."

Take Two acquired

Equity National Industries has boughtthe commercials production firm ofTake Two, Inc. Terms of the acqui-sition stipulated that Take Two prin-cipals would receive Equity commonstock on closing and additional shares

to be paid out over a four year periodon the basis of incremental earnings.No cash was involved. No figures onthe actual number of shares involvedwere disclosed either.

According to an Equity Nationalspokesman, the acquisition will per-mit Take Two to expand into educa-

tional and industrial film production,among other areas.

Production Security forms

Helen Marcordes, formerly an associ-ate partner of Jack Tinker & Partners,and Julia Newman, a freelance pro-ducer, have formed Production Se-curity Corp. to provide the full serv-ices of a television production depart-ment to agencies and advertisers whodo not wish to maintain their ownfacilities.

"We formed PSC," Miss Marcordessaid, "to meet the tight money crisis.Agencies and advertisers are reluctantto maintain full production operationsthat can lie seasonally idle."

First two assignments for the newcompany have stemmed from KurtzKambanis Symon and Rockwell,Quinn & Wall. PSC is headquarteredin New York.

Miss Marcordes earlier had servedJack Tinker as a producer and a le-gal coordinator for Gray Advertising'sbroadcasting department.

Beginning her career as a produc-tion assistant at VPI, Miss Newmanbecame an assistant producer at Mc-Cann Erickson's Center for AdvancedPractices and held producer and pro-duction manager titles at several filmcompanies. Her freelance work assign-ments emanated from agencies suchas KKS and Smith/Greenland.

Will FCC ruling aid local spot?

If the FCC ruling limiting networkprimetime to three hours goes intoeffect and many stations run locallyproduced programs, Richard Splaver,second vice president and producerfor Pegasus Film Productions, be-lieves that local commercials produc-tion may be spurred.

"There already exists a trend to-wards greater local television sales,"Splaver says, "and if stations beginoriginating more local programming,it may induce more hometown andregional advertising." Splaver foreseesa greater number of retailers gettingtheir feet wet in television, which theypreviously regarded as being too ex-pensive and complex for their needs.

Also serving as part of the basis forSplaver's theory is that the FCC ruling,in reducing network advertising par-ticipations, will place added emphasison spot buying. "Even though the pos-sibility exists that those advertiserswho would normally place their ad -


vertising on the networks would buythe same time as spots," the produc-tion executive believes, "the smallermarkets will probably not benefit fromthe redirected buys, thus necessitatingstepped up local sales and local pro-duction."

Ad makers

Carl E. Sturges, director of television -radio production at Young & Rubi-cam since 1968, is now a senior vicepresident. Joining the agency in 1955as a film producer, he was promotedto production supervisor and assistantmanager of commercial productionbefore assuming his present position.

Thwaites

Jonathan C. Thwaites, art grouphead at SSC&B, has been upped tovice president. A former head art di-

rector of Hazzard Advertising, hejoined SSC&B in May 1960 as anart director.

Receiving their vice presidencystripes at Compton Advertising areAlice Hausman and Peter A. White.Miss Hausman, a creative supervisor,works on the agency's Procter &Gambel and Standard American ac-counts. Before coming aboard Comp-ton in 1969, she was a copy super-visor at Foote, Cone & Belding and avice president and copy group head atSSC&B. White, formerly with BBDO,is a senior art supervisor on Comp -ton's U.S. Steel account.

New director of creative servicesat Kenyon & Eckhardt/Toronto is PatBryan. Following nine years of agencyexperience in England, Bryan joinedMacClaren/Toronto as vice presidentand creative director and shifted overto McCann-Erickson/Toronto as vicepresident -associate creative director.

Robert Gross, head of Norman,Craig & Kummel's television produc-tion department and administrative di-rector of its creative department, isnow a vice president of the agency.He joined NCK two years ago afterserving as senior group head for GreyAdvertising.

Senior art director/producer Gabor

Apor has been named a vice presi-dent at Dodge & Delano.

W. B. Doner senior copywriterJames Q. Frost has been promoted toassociate creative director. With Donersince 1964, he came to the agencyfrom the broadcast side, managingsales promotion for wjz-Tv Baltimoreand wBZ-Tv Boston. Frost works inDoner's Baltimore offices.

Also at Doner's Baltimore opera-tion, Tom Hemphill comes aboard ascopy supervisor. Previously, he wascreative director of Kieffer Associ-ates/Des Moines and producer/direc-tor and television operations managerof KRNT-TV Des Moines.

Returning to Aitkin-Kynett/Phila-delphia as a copywriter is Ian -EdwardFlamma, who had left to join thecreative department of Al PaulLefton.

Commercials makers

Joe Callan, VPI/Chicago's midwestsales manager, is now a vice presi-dent. In his new position, he will beresponsible for all sales and serviceactivities for Sarra, Astro Labs andVPI Services, all subsidiaries of Elec-trographic Corp. With VPI since 1968,Callan formerly headed his own mer-

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Advertising Directory of

Selling Commercials

American Airlines Doyle Dane Bernbach

KIM & GIFFORD PRODUCTIONS, INC., N. Y.

Atlas Tires Marschalk

NAT'L TELEPRODUCTIONS, Indianapolis

Celanese/Sears Powell, Schoenbrod & Nall

(DOLPHIN COMPUTER IMAGE, N. Y.

Chevrolet Campbell/Ewald

THE HABOUSH COMPANY, Los Angeles

Children's Workshop

FILMFAIR, HOLLYWOOD

Citgo Grey Advertising

WILDING TV

Collins & Aikma.n Gaynor & Ducas, Inc.

N. LEE LACY/ASSOCIATES, LTD., Hollywood

Davis Grass Seed James Holmes

WGN CONTINENTAL PRODUCTIONS, Chicago

Callan

chandising agency.Former vice president and general

sales manager of Elektra Film Pro-ductions David K. Levington has beennamed producer/sales representativefor EUE/Screen Gems. His careeralso includes a stint with WarnerBros. Film Distributing Corp. as dis-tribution sales manager.

Joining Transcommunications Corp.as executive vice president and directorof sales for the TransCom Group is

Margulies

Robert Margulies. He also will siton the company's board of directors.Coming to TransCom from TedBates, Margulies served as senior vicepresident in charge of commercialbroadcast production. He had beenwith the agency since 1956, serving invarious production capacities. Mar-gulies was a charter member of Bates'creative board.

At Manchester Color Labs, one ofthe TransCom divisions, Harold A.Stroud, Jr. and Steve Zucker join thecompany from Movielab. Stroud willserve as vice president and generalmanager and Zucker as productionmanager. Stroud, formerly Movielabplant manager, will supervise the filmlab, quality maintenance and person-nel. Zucker, who held a similar postat Movielab, will oversee schedulingand will be the lab's liaison with cus-tomers.

Relocating from Filmfair's Los An-geles studio to its Chicago operationsis Hawley Lawrence, a director withthe production company.

Al Mancinetti joins the HaboushCo. as director of sales. He comes tothe production company from L. G.Hughes and Associates where heworked with Chicago and Detroitagencies.

Cascade/California has made twoadditions to its staff, one in sales theother in creative. Paul Domitrovich

38 Television/ Rctdio Age, September 7, 1970

Make it easy on yourself.So you're going out, to shoot another commercial? Where is it

this time? California beaches, Swiss Alps, Amazon jungles, desertsands, or what? You'll be glad you decided on film for a lot ofreasons.

Take the stuff you'll need-a couple of cameras, some cans ofraw stock, reflectors, some small camera power packs, etc. That'snot hard to take. So film is mobile.

Editing? Easy as pie because you can see what you're doing.And no expensive equipment 's involved. So film is mobile andconvenient.

Syndication is a snap. Just print up the number of release printsyou want, stick them in padded envelopes and mail them out.There probably isn't a television station in the country that doesn'thave 16mm projector. And film syndication will save money, too.So film is mobile, convenient, and comparatively inexpensive. Soaren't you glad you decided on film?

EASTMAN KODAK COMPANYAtlanta: 404/351-6510, Chicago: 312/654-0200: Dallas: 214/351-3221; Holly-wood: 213/464-6131. New York: 212/262-7100; San Francisco: 415/776-6055.

Advertising Directory of

Selling Commercials

Dole Company Honig -Cooper & Harrington

SNAZELLE PRODS. INC., San Francisco

Hormel Company BBDO

SANDLER FILMS, INC., Hollywood

Jiffy Chairs Howard Swink Advertising

JAMIESON FILM CO., Dallas

Mann Manufacturing Marcom Advertising

TEE COLLINS, INC., New York

Noxzema Corp. William Esty

WYLDE FILMS, INC., New York

Pantomime Pictures

PANTOMIME PICTURES, Hollywood

Pepto-Bismol Benton & Bowles

The 24 Hour Bug

ECA ANIMATION, New York

Smith-Ciothiers of Calif. Wenger -Michaels

JEFFERSON PRODUCTIONS, Charlotte

has been named eastern sales man-ager for commercials and will head-quarter at Cascade's new offices in

Domitrovich

New York. Once a commercials pro-ducer for Needham, Harper & Steersand Kenyon & Eckhardt, Domitro-vich joins the production company di-rectly from Stars and Stripes Forever.Cascade's second addition is PatShields, who will serve on its direc-torial staff. Formerly of Sandlar Films,Shields also served as head of com-mercials production at Carson/Rob-erts. His first assignment will be di-recting a campaign of five DairyQueen spots for Campbell-Mithun/Minneapolis.

Gifford Cummings has been nameddirector of production sales forQuadruplex Commercial Productions.A former account executive at Tele -Tape Productions, Cummings careeralso includes the position of directorof air mobile video systems for ReevesProduction Services from 1966-69 andassistant traffic and production man-ager of Reeves from 1963.

Dolphin sets art dept.

Dolphin Productions/Computer ImageCorp. has set up an art departmentto complement its Scanimate computeranimation system.

Heading the department is BobBlansky as production design director.Blansky's career includes stints withDeutsch & Shea as creative director,DMA Cinema Group as executive vicepresident and owner of his own de-sign -communications studio, StudioEight.

The other two members of Dol-phin's art department are Steve Rosen-blu and Gillian Fuller. Rosenblu, Dol-phin's graphics director, was formerlycreative director for Bishop Industries.Miss Fuller comes to the computeranimation producer from OsbornCharles Associates where she hadbeen a graphic artist.

DiBuono al Lanigan

Joseph DiBuono has joined the re-

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cently formed John B. Lanigan &Associates as vice president in chargeof sales. Before coming aboard theproduction facilities rep, DiBuono waswith WCD and at Videotape Centerfor seven years as director of crea-tive development.. He began his careeron the agency side serving as a pro-ducer for BBDO.

ADC anniversary logo and film

Marking its 50th anniversary, the ArtDirectors Club has selected MiltonGlaser to design the graphics of atheme symbolizing the Club and itscommitment to advertising and indus-try. Glaser, a co-founder and directorof Push Pin Studios and a founder and

"30 Seconds over Tokyo" in 30 seconds. Recreating the crucial sceneof the classic motion picture starring Van Johnson, Benton & Bowlesenlisted a B-25 bomber (borrowed from the movie production ofCatch -22) and the actor himself for General Foods' Post Fortified OatFlakes spot. In the action, Johnson is in place at 6 a.m., waiting for thehistoric mission to begin. But before he flips on the engines, he hasa bowl full of the Post cereal to stave off the hungries. B&B's creativestaff on the project: Paul Singer, art director; copywriter Charlie Blaustein;associate creative director Ned Tolmash and Producer Paul McDonough.

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42 Television/Radio Are. September 7. 1970

design director of New York Mag-agine, has agreed also to conceiveand design a film concerning the re-sponsibility of art directors in theirprofessional life. The golden anni-versary graphics will be used on allliterature produced by the Clubthroughout the year. The theme willbe selected by the club through its50th Anniversary programming com-mittee, chaired by past president BertLittmann.

Haboush New York rep

Bob Catalano of Ad -Lib Productionswill represent the Haboush Co. toNew York advertising agencies.

For better understanding

In order to create better understand-ing of the policeman's role, generatebroader public respect for his job andto improve police morale, McCann-Erickson/Detroit, acting on a pleafrom Mayor Roman S. Gribbs, hascreated a public service campaign withthe theme of Give a Cop a Hand-Even If It's Only to Shake His! Aspart of a broadbased program, thepublic service advertising began as aprint campaign last month and is nowexpanding to television. Gribbs hasalso requested aid from the city'sbroadcast media for help in solving itscommunications problems.

Stars shine an ,V urth Carolina. AtJefferson Productions, Swedish modelGunilla Knutsson (best known for herNoxema "take it all off" commercials)and actor David Jannssen attend asmall cocktail party with Jefferson'smanaging director Jim Babb, left.Both were in Jefferson's Charlottestudio individually shooting spots-Miss Knutsson for Smith Clothiers ofCalifornia, Jannssen for promotionwork on his new movie, "MachoCallahan," premiering in Charlotte.

Programming(from page 35)

Albany, KTVT Dallas, WTIC-TV Hart-ford and KETV Omaha.

Avco Broadcasting has sold its90 -minute stereophonic television spe-cial Midsummer Rock to three stations.In New York, WNEW-TV will carrythe program, while Metromedia's LosAngeles outlet KTTV will also air theshow. The third station is Cox's KTVUSan Francisco. Two versions, mon-aural and stereo, are available. Thoseopting stereo will require the aid of acooperating FM radio station.

Zooming in on people

Bruce L. Wolfson, former vice presi-dent of operations at Reeves Produc-tion Services, joins EUE/ScreenGems as director of syndication in itsvideo services department. WithEUE/SG returning to video tapeproduction, Wolfson will establish a"syndilease" program which will in-clude video tape.

Prior to joining the company, hewas with Reeves for nine years, in-itialing basic administrative and op-erations procedures. Wolfson alsospent four years at CBS -TV as busi-ness manager of studio operations.

At Screen Gems International'stelevision division, Nevellc Thomsom,who has served as sales manager ofits Australian distribution and pro-duction organization, has been uppedto managing director and Far Eastsales supervisor. He had been salesmanager for the past six years. Thom-son came to Screen Gems Pty. fromColumbia Pictures Pty. Ltd. in Aus-tralia where he was program manager,publicity manager and southern pub-licity supervisor.

Lee Cannon, assumes the post ofassistant general sales manager forAmerican International Television.Headquartering in Chicago, Cannoncomes to the production and syndica-tion company from CommonwealthUnited Entertainment's television divi-sion. Previously, he had been withScreen Entertainment and Independ-ent Television Corp.

At Plaza Pictures, Paul Berkowitzjoins as director of national non -theatrical sales. An 11 -year executivewith Seven Arts Associate Corp. andWarner Bros. -Seven Arts, he origi-nated and set up the company's firstnon -theatrical sales department. Fol-lowing the Seven Arts merger withWarners, Berkowitz was named gen-eral manager -director of the newcompany's non -theatrical sales di-vision.

Assistant general manager of North-

west Teleproductions of Minneapolisis James Heuton. Previously with theyear -old company as senior producer/director, Heuton will continue hisproduction duties.

Harlan Kleiman, a producer andtheatrical consultant, has been namedexecutive producer of Teletronics In -

Kleiman

ternational's new video cassette divi-sion. He will be responsible for theoverall development of video cassetteprogramming, including the assem-bling and supervision of producer,'director/writer teams which willcreate and adapt material for themedium. Kleiman, a co-founder ofthe Long Wharf Theatre in NewHaven, has produced several off-Broadway plays and is producingThree Plays for a Quarter on Broad-way this season.

Harvey Seslowsky, former directorof program purchases for TelComAssociates, joins Telemation ProgramServices as director of programming.To be responsible for programmingconsultation, film buying and systemrelations, Seslowsky bought films formore than 100 stations at TelCom.

Filling the newly -created positionof executive vice president at WendellL. Craig is Jeff Berman. Berman had

Berman

been with the audio production housefor one year as executive director -producer in charge of all new projectdevelopment. Among his previouspositions are director of productionfor Mark Century and director of'-V

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44 ÍrlcriiunRadio Age, S'epternher 7, 1970

ADI, DMA data gets widerusage via figuresfor radio and print media

Agency invites stationsto `break up' spot

Television/RadioAge

September 7, 1970

Spot Report

The unduplicated tv market area -called Area of Dominant Influenceby ARB and Designated Market Area by Nielsen-is not only beingused more commonly by timebuyers, via ADI and DMA gross -rating -point estimates, but is catching on in other areas.

Media supervisor Lee O'Brien of BBDO has been using ADI datato develop radio ratings by demographic segments and day parts.She uses total persons estimates as a base, such as the number of women35-49 living in tv homes in the ADI, then increases it slightly because ofgreater radio home penetration. This is then divided into the number ofwomen 35-49 listening in the total survey area during a specific daypart by average quarter hour. The result is an "ADI radio rating."

Another example: American Newspaper Market, Inc.'s new publication,Circulation '70, analyzes newspapers, supplements and magazines byDMA. Using 1970-71 definitions, the DMA analysis shows circulation,penetration and households for prim media within the tv viewingarea. Included in the analysis are detailed breakdowns by circulationand penetration by all daily and Sunday newspapers, six nationalsupps and 23 major magazines.

Smith/Greenland, New York, is trying a new gimmick for one of itsadvertisers, Transogram toys and games. The agency sends a 60 -secondspot to stations with instructions that the commercial can be brokendown into a 30, a 20 and a 10, and any other commercials can beinterspersed between the segments. The Transogram spot is designedso that impact is built through suspense, á la Hitchcock. So far, theagency has Placed the ad in between 40 and 50 markets, angling mainlyfor weekend day children's programming.

According to Martin L. Smith, secretary -treasurer of Smith/Green-land, the agency has been successful in getting stations to accept thespots as minutes, and run them in the prescribed fashion. Whether ornot the station will run five consecutive commercials or separate themis entirely a station decision, Smith says. "In negotiating our time buys,"he points out, "we have found that we have been able to buy almostas efficiently as if we had bought conventional minutes. But the powerand impact that we have thus far been able to measure from thisnew concept have been electrifying. Sales results from a Spring markettest have been substantially beyond normal expectations."


Spot ReportTelevision/ Radio Age

CampaignsAmerican Petrofina, tv(Media Communication, N.Y.)GAS is the subject of two flights, thefirst breaking just before issue dateand stretching 13 weeks, the second,breaking on September 28 and lastingfour weeks. In over 30 markets, 60s,20s and lOs will be used to reachadults, 18-49, and men, 18-49, duringearly fringe, prime and late fringehours. Buyer: Joyce Peters.

ARCO, tv(Needham, Harper & Steers, N.Y.)The advertiser, an oil company, hasa sizeable promotion for ZODIACGLASSES breaking just after issue date.Stretching nine weeks, 60s will beused to reach total men and totalwomen during early and late fringeviewing. Buyers include R. Deckter,J. Green and R. Grant.

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

wILx-Tv

1. More efficient distributionof circulation.

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

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

4. Gets you more complete coveragewith less overlap.

Borden, Co. tv(Doyle Dane Bernbach, N.Y.)CRACKER JACKS pushes into morethan 30 markets on September 26for a two -month stay. Using 60s and30s in day and early fringe, theadvertiser is aiming for kids, 2-5, andkids 6-11. Buyers include DaveKagan, Irene Fulrath and others.

Coca Cola Co., tv(The Marschalk Co., N.Y.)SNOW CROP ORANGE JUICE is thesubject of a medium -size pushbreaking on September 28 for atotal of four weeks. Total womenand women, 25-49, will be reachedby 30s during daytime, early andlate fringe. Buyer: Johnnie Johns.

General Mills, tv(Dancer -Fitzgerald -Sample, N.Y.)WHEATIES moves into more than 35markets the first week in October fora three month stay. Using 30s onsports and news only, the advertiseris aiming for total men and men,35-49. Buyers include BarbaraNicolls and Marjorie Laird.

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General Motors Corp., radio(Campbell -Ewald, Detroit)The Chevrolet Division with anintroduction campaign for VEGA pushesinto over 60 markets on issue date.In a nine day buy, both 60s and30s are being used. Buyers includeD. Sheppard, M. George and B.Kanary.

Genesee Beer, tv(Wm. Esty Company, N.Y.)This regional advertiser is planningat least a 10 market thrust in upstateNew York, beginning just after issuedate and lasting eight weeks. Using60s and 30s, early fringe, prime andlate fringe will be used to reach men,18-49. Buyer: M. Peckwasser.

Kelly Foods, tv(Noble Drury & Assoc.. Atlanta)CANNED MEAT is the subject of a 12 -market push breaking September 20and stretching six weeks. Using 60s,30s, 20s and 10s, the advertiser isaiming for women, 18-49 during day-time, primetime, early and late fringeslots. Buyer: P. Hill.

Lowenbrau Beer, radio(Leber Katz Paccione, N.Y.)BEER is the subject of a three weekbuy breaking a week after issue date.Using 60s to attract men, 24-49,male oriented programs are beingbought. Buyer: S. Weiner.

Lipton Co., tv(SSC&B, N.Y.)TABBY TOTAL DINNER begins a threeweek push the week after issue date.Using 30s only, the advertiser is

aiming for the lady of the house,18-49. Early fringe and late fringeare the viewing hours. Buyer: MaryAnn Freeman.

Marx Toys, tv(Ted Bates & Co., N.Y.)TOYS are the subject of a 12 weekpush beginning on September 20 insome 25 markets. Aimed at kids 2-5,and 6-11, 60s and 30s b ith will bebought during daytime, early and latefringe and all kids' programming.Buyers: J. Prendergast and P. Cohen.

Monsanto Plastics Co., tv(Doyle Dane Bernbach, N.Y.)HOME FURNISHINGS IS the subject oftwo flights, the first breaking onOctober 4 and ending on the 24th.



Spot ReportTelevision/Radio Age

One seller's opinion

What makes a good buyer?From a salesman's point of view, we might expect the answer "A goodbuyer is one who buys my station." From the agency's point of view, theanswer might be, "A good buyer is one who gets the spots for the leastamount of money." In both cases, it is obvious that these statements areextremes and there are many other, more objective characteristics a goodbuyer possesses.

Of all, the most important one, perhaps, is pride. The buyer must feelthat his buy is an extension of himself. It tells his supervisor, his accountman and his client a lot. It tells them how much he knows about a marketand the medium itself, how much time he spent and how much carehe exercised in making the buy. Anyone who knows something aboutbuying can tell a standard or "safe" buy from one which is more personalor more creative.

In major markets, the buy which is composed mainly of early andlate news and late night talk shows will probably go unquestioned andunnoticed. It also, probably, took little time, a minimum of negotiationand very little thought. This is not to say a good buy must be offbeat orway out. If, however, the buyer took the time, he undoubtedly would findthat the standard or safe buys had certain intrinsic weaknesses in them.For example, the early news normally skews towards an older audience.The 50 -plus audience accounts for more than half of it. Furthermore, itmay have sponsorship of five or 10 minute segments in it. An accountwishing to reach women 18-49 or 18-34 may wind up in sports becauseof other news segments already sponsored.

In most cases, the commercial load in that early news is 12 to 14 units inone half hour. If he bought more than one spot in the early news on thesame station, his duplication factor for the second news spot is fantastic,making the second spot highly inefficient. Putting the late news underexamination would show a better skew towards younger adults, 18-49and 18-34, but similar problems of sponsorship, over -commercializationand duplication after the first spot. In addition, it would show that theratings may differ greatly depending upon what night it ran. Variances of10 to 25 per cent are not unusual in the late news because of networklead in. The late night talk show has additional problems because of net-work sponsorship and commercial position. The spot advertiser usuallygets stuck in the last hour to 45 minutes of the show. The ratings for thefirst half hour or 45 minutes are invariably higher than the remaining por-tion of the program. The buyer, of course, averages the entire hour and ahalf even though his chances of an even rotation are nil.

The buyer who takes pride in his work will consider the alternative to the"safe" buy, which, in major markets often means the independent station.The independent offers him a variety of program choices, primetimeavailabilities and, in many cases, first run programming. He will also findhis commercial less cluttered in an hour show than in a half hour newson a network affiliate.

While the independent ratings may not be as high individually, selectivebuying will deliver both reach and frequency, often, with greater effi-ciency than the same dollar could buy on a network station. He may alsopurchase spots in a primetime special which will help give his scheduleeven greater impact.

The buyer who takes pride in his work and who views his buy as areflection of himself may feel slightly discouraged because of the extremeemphasis on cost going on in the industry today. For this reason, the crea-tive spot buy stands out even more.

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The second goes for a week onOctober 18. Using 60s only, time isbeing bought during daytime, earlyand late fringe to attract adults 18-49. Buyers include Irene Fulrath,Sharon Odgers. Chuck .lacoby.

Nabisco, tv(McCann-Erickson, N.Y.)ESCORT CRACKERS mounts a majorpush into 40 markets one week afterissue date. In a buy lasting four weeks.30s only will be used to reach totalwomen and women, 18-49. Buyer:Jeff Cameros.

Ocean Spray Cranberries Inc.. I.(Young & Rubicam, N.Y.)CRANAPPLE JUICE begins a five weekthrust shortly after issue date in aminimum of 12 markets. Aimed attotal women, 30s are being boughtduring early and late fringe to reachthem. Various buyers.

Procter & Gamble, tv(Compton Advertising, N.Y.)IVORY LIQUID will burst into 25 ormore markets the week after issuedate. Using 60s, the advertiser isaiming for total tv homes, total womenand women, 18-49. Early fringe andlate fringe are the times. Buyer:Greg La Barre.

Procter & Gamble, tv(Compton Advertising, N.Y.)TIDE detergent begins a 15 marketthrust on issue date. Geared to thelady of the house, 60s during earlyfringe, prime and late fringe arebeing used. Buyer: Dino Hanes.

Quaker Oats, tv(Independent Media, N.Y.)CELESTE FOODS is the subject of aseven week move into at least 15markets to begin September 20. Totalwomen and women, 18-49 are thetargets, 60s and 30s the spots. Earlyfringe, prime and late fringe theviewing hours. Buyer: Mike Perkis.

Roundy's, Inc. tv(Mathisson & Co., Milwaukee)An ART and FRAME PROMOTION formember food stores of this chain,is the subject of a five market pushbreaking on issue date and lastingfour weeks. Both 60s and 30s willbe used to reach total women indaytime, prime and late evening slots.Buyer: Tom Wachal.


Spot ReportTelevision Radio A:.:(

Buyers in Action

He enjoys thenegotiating as-pect of buyingbest and findscontact withdifferent repssimulating.

Jack O'Connor, planner/buyer atSmith/ Greenland Company for thepast four years, says his involvementwith both these media aspects helpshim serve the client's needs better.He has bought both radio and tv forsuch accounts as Kaufman Carpets,Brandywine Raceway, 5 Day Deo-dorant Pads, Sau-Sea Shrimp, Dox-see Clams, and just New York radiofor La Ina Sherry, a product, heclaims, which must be compatiblewith the radio format. Jack believesa good buyer starts with the numbersbut must use judgement to makea really efficient buy. Before thisjob, he was with Kaster, Foote,Hilton & Atherton for eight years.

She findsNC&K challeng-ing becauseher buysinclude a vari-ety of marketsand accounts.

Jane Tassinari, senior media buyer atNorman, Craig & Kummel, enjoysbuying because "it's versatile, some-times creative and full of contactwith other people." She buys on aregional basis for Channel. Pharmacoand Dow Chemical and claims herexperience leans more heavily towardstv than radio. She specifically enjoysbuys which involve a hard -to -reachtarget, such as higher income, lighttv viewers, who, says Jane, can onlyhe reached on a limited number ofprograms. Her last job was at D'Arcy,where she bought for such accountsas Gerber Products, Bigelow Rugsand Fleischman's Distillery. A nativeof Yonkers, Jane lives in N.Y.C.

"For a plan-ner, realis-tic exposureto the market-place, isvery impor-tant."

Gary Lispi, managing buyer for oneof the four Colgate groups, findsTed Bates a very professionalagency in that it encourages botha theoretical and practical under-standing of what makes a goodbuy. Gary believes thebuy is crucial in that "a productwhich doesn't reach the rightaudience, can thwart the wholecampaign." While the numbers andthe price are important, otherthings govern a buy, like theseason, programming trends, andan understanding of the product.Gary is currently buying out spottv in three major markets but wouldeventually like to buy other media.

Rix Roast Beef, radio(Ogilvy & Mather, N.Y.)ROAST BEEF is the subject of a fourweek buy breaking on issue date.Aimed at total adults, 18-49, varioustime slots are being bought, using60s. Buyer: R. Codrington.

Standard Brands, radio(Ted Bates & Co., N.Y.)ROYAL GELATIN breaks in 10 marketsjust before issue date for a threeweek flight. Using 60s, women,35-49, are the object of the buy.Buyer: Joan Farkas.

Sterling Drugs, tv(Dancer -Fitzgerald -Sample, N.Y.)COPE bursts into 25 or more marketsthe week after issue date in a threemonth buy. Using both 60s and 30s,the advertiser plans to reach women,18-49 during daytime, late fringe andespecially talk show programs.Buyer: Marge Swallow.

Buyer's Checklist

New representativesKMED radio, Medford, Ore. announcesthe appointment of Robert E. East-man Co. as its national representative.

WHEC-TV Rochester is now representedby Katz Television.KWTO AM/FM Springfield, Mo. is nowrepresented by Katz Radio.WILz (AM) Tampa -St. Petersburg,WHET/FM Detroit, KMND (AM)Phoenix, KMOR (AM) Salt Lake City,WAFT (AM) Grand Rapids, KZEL/FMEugene, WPAD AM/FM Paducah,WNLA AM/FM Indinaola, Miss.,KGUS/FM Hot Springs, Ark., KPEN/FM Los Altos and KQYX (AM) areall being represented by Gert Bunchez.WDCJ/WKTZ-FM Jacksonville, Fla.have named Edward Petry & Co.their national reps.

New affiliatesKRSD-TV Rapid City, S.D. and itssatellite station KDSJ-TV, Lead, S.D.joined the CBS Television Network.

New towerWNDU-TV is now operating from a282,000 watts, 500 foot tower inSouth Bend, Ind. The station is theUniversity of Notre Dame's NBCaffiliate.

New stationwAVS Fort Lauderdale began broad-casting August 21 with 5,000 wattsat 1190 on the dial.

THEY GO TOGETHERNETWORK RADIO-SPOT RADIO


DON'T MISS...IN THIS ISSUE:EXCLUSIVE! N. W. AYER PREDICTIONS. Forecasts ofFall network ratings. Individual predictions for morethan 80 programs. PLUS an analysis of how eachnight-time show will do-and why. (Page 21)

THE NEW ARB REPORTS. Complete details revealedabout the contents of next season's ARB reports.(Page 31)

NEXT ISSUE:

SEPTEMBER 21 - 14th ANNUAL NEWS ISSUEan in-depth examination of today's broadcast journalism ...

Television Rating Trends-analysis of Nielsendata including a wide range of demographicinformation

The Cost of News-a survey into costs andtrends with a separate analysis of radio andtelevision

Editorializing-tv and radio policies and pat-terns. How station size makes a difference

The incoming RTNDA President speaks-JimMcCulla, ABC Radio News, Los Angeles, writesabout current issues

The Network News Chiefs-byline articles byABC News' Elmer Lower; CBS News' Dick Sal -ant and NBC News' Reuven Frank

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Appointments

Agencies

Willard C. Mackey, vice president,international marketing director,Coca-Cola Company, Atlanta, hasbeen elected chairman of the boardand chief executive officer of TheMarschalk Company succeedingPaul J. Caravatt, Jr. Caravatt willbecome chairman of the executivecommittee and will assist Mackeyfor the next six months then join theparent company, Interpublic, in anexecutive capacity. James R. Herkinalso joins Interpublic as executivevice president, having been presidentof Ogilvy & Mather, Inc.

Donald H. Rice joins SSC&B Inc. asa senior vice president. He was lastwith J. Walter Thompson, Chicago,as vice president and member ofthe management committee. Inaddition, Richard Francis Rack,account supervisor, has been namedvice president.

Lyman H. Johnson joins Benton &Bowles as vice president, accountsupervisor. He comes from AvonProducts.

Alejandro Danon has been appointedgeneral manager of Doyle DaneBernbach Mexico. He comes fromChesebrough-Pond's of Mexico,where he was general manager.

Dorothy Glasser, a media director atTed Bates & Company has beenappointed a vice president.

Jerry Harwood, director of researchat Needham, Harper & Steers andNorval Stephens, deputy divisiondirector, have been elected seniorvice presidents.

Burton Vaupen, administrative assist-ant to Young & Rubicam's generalmanager, has been named vicepresident.

Harvey Robinson, account supervisorat Grey Advertising, has been nameda vice president.

Maureen Dickson, head of the trafficdepartment at Norman, Craig &


Spot ReportTelevision/ Radio Age

Kummel, has been appointed a vicepresident. Marilyn Miller, fashiondirector, enjoys a similar appointment.

Charles F. Kleber, vice president ofW. B. Doner, Detroit and Baltimore,has been named to the board ofdirectors.

Rosemary E. Anderson joins N.W.Ayer Chicago as account supervisor.She was last with McCann-Ericksonas vice president and accountsupervisor and was Chicago "Adver-tising Woman of the Year".

Gray Kirtland has joined Foote,Cone & Belding as account supervisorfrom Clinton E. Frank.

Patrick J. Morris has been promotedlrom account executive to accountsupervisor at Gardner Advertising,St. Louis.

Frederick H. Frey joins Sperry -Boom, Chicago. He was an accountexecutive with Family CircleMagazine.

Media services

Homer A. Langdon has joinedMarketing and Resources Application,Inc., media sales division as vicepresident, sales. He was last managerof advertising relations at CurtisPublishing Company.

Charles B. Kahao has been nameddirector of media services at SFMMedia Corporation. He was anaccount supervisor at Norman, Craig& Kummel.

Representatives

Donald F. Carey, formerly New Yorksales manager for H -R Reps, RobertA. King, formerly with EdwardPetry & Company, Robert B. Patesformerly with RAR, Inc., Chicago,and Larry Chambers, last with MetroRadio Sales, have all been added tothe sales staff of Blair Radio asaccount executives. The first threewill be in New York, Chambers inLos Angeles.

Len Gruber and Bartholomew M.Regazzi joins the radio sales staffof Avery-Knodel, Inc. Gruber waslast with WRFM New York, Regazziwith Rollins Broadcasting Company.

Gunnar Bennett joins the Chicagooffice of Radio Advertising Repre-sentatives as an account executive,from KFWB Los Angeles.

Allan D. Chlowitz has been namedaccount executive for CBS RadioSpot Sales on the CBS/FM NationalSales division. Also at CBS SpotSales, John A. Lack and FranklinT. Haye move to the same position.

Don Cote, former general salesmanager of CKLW-TV Detroit, hasbeen named an account executivewith RKO Television Representa-tives, Inc.

Doug Barker has been namedDetroit sales manager for Tele -Rep.He was an account executive withEdward Petry Company priorto this appointment.

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in the state -a huge 25 -county areawhere Michigan's biggest spendersspend. And if you add the ten neigh-boring counties where WWTV/WWUP-TV is the dominant CBS sta-tion, you're looking at a cool billiondollars in retail sales. Think about it-when you're thinking about Michigan.

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52 Television/. Radio Agt, S'rptcmhci' 7, 1970

Alberto-Culver, big adspender, puts nine out of10 ad dollars into video

P/e ratio is generousbut profits warrant it

Third quarter advancesdespite truck strike

Wall Street Report

Relative to its size, the Alberto-Culver Co. is a big ad spender. Itssales of $141 million last year were fueled by more than $26 million inad expenditures in the reported media alone. Another 50 per cent can beadded on for sales promotion. What this says is that Alberto-Culverrises or falls on the basis of its marketing prowess. The history of thispost-war company indicates the prowess is there.

Of the measured media total, nine out of 10 dollars went to televisionin 1969. This was roughly evenly split between network and spot.Most of the remainder of the measured ad expenditures wentto magazines. Spot radio accounted for a piddling sum.

As an investment, A -C stock merits interest primarily as aspeculative, rapid growth situation. The dividend yield is peanuts.At a recent price of 32 for the common and an indicated 28 centsper share dividend, the yield comes to less than 1 per cent.

In the 12 months ended June 30 (which winds up A -C's third quarter),the stock earned $1.62 per share, a healthy sign in the currenteconomic environment (see table below). Given the $32 price, theprice/earnings ratio comes to 19.7. Ordinarily this is a generous ratio,but the profit record of the stock in recent years justifies it.

Ten years ago the stock earned only 12 cents a share (after adjust-ments for stock splits). It advanced steadily until the mid -60s when thecompany's financial record took a turn for the worse. After a partialrecovery in one year, the stock continued its upward climb.

Earnings and sales in the quarter ended June 30 hit a record for the11th consecutive quarter. Sales were $42.6 million, up 8.3 per centover last year's third quarter total of $39.3 million. Net earning at$1,409,089 were up 21.5 per cent over last year's $1,159,838. Earningsper share for the quarter were 30 cents as against 25 cents duringthe corresponding period of 1969.

Alberto-Culver Co.Year Salesended ($ Mil.)

Sept. 30

Income Data (adjusted)

Operating Net income Net income Earnings per shareincome as ($ Mil.) as % of Annual% of sales sales Amount change

1969 $141.37 12.2% $6.52 4.6% $1.45 +14.2%1968 127.40 12.2 5.71 4.5 1.27 +23.31967 118.39 10.9 4.62 3.9 1.03 +74.61966 103.13 8.7 2.67 2.6 0.59 +293.3

*1965 88.86 4.2 0.65 0.7 0.15 -83.91964 101.61 10.5 4.19 4.1 0.93 +24.01963 80.22 11.0 3.35 4.2 0.75 +47.11962 60.78 10.1 2.30 3.8 0.51 +168.41961 25.34 10.2 0.88 3.5 0.19 +58.31960 14.91 10.1 0.52 3.5 0.12

*Fiscal year changed with result that fiscal year had only 10 months.

For nine months, sales now stand at $122.8 million, compared with$112.7 million the year before. Net income in the respective periodscame to $5.4 million and $4.3 million while per share earnings were$1.15 and 94 cents.

The third quarter advances in the face of a truck strike and nationwideeconomic slowdown caused A -C president Leonard H. Lavin tojubilantly describe the company's showing as "extraordinary and mostencouraging." He said the truck strike had cost the company "millionsof dollars in sales." Lavin owns about a third of the company.

One of the bolder marketing moves of A -C in recent years was itsintroduction of FDS, an external feminine hygiene spray deodorant.FDS was the first product of its type on television. It resulted in a changein the Tv Code, which was a factor in the resignation from the Codeof the Group W stations. Last year A -C spent $860,000 in spot tv topromote FDS, a product that gave birth to a number of competitors.

Television/ Radio Age, September 7, 1970 53

Ayer predictions (from page 28)Cornell suspects that the CBS early

evening change may induce NBC toput more younger -adult appeal intothe Knotts show. The Mod Squad onABC is a program with obvious popu-larity among teenagers and, secondar-ily, younger adults.

Julia at 8:30 will benefit from theaudience flow from Don Knotts sinceit also skews toward older adults. ButJulia is also popular with kids and,surprisingly, has had a decent ratingamong teenagers.

Movie of the Week, which entersthe ABC schedule at 8:30, startedopposite Skelton last season, whichnicely split the adult audience, theolder viewers tending to watch Skel-ton and the younger ones preferring amovie. Hee Haw on CBS will per-form in a similar manner as Skelton.In addition, Movie of the Week ben-efits, as it did last season, from thefeed -in of younger adults by ModSquad.

Marcus Welby, M.D. at 10 onABC is very popular with youngerwomen, part of this due to its feedfrom Movie of the Week. Cornellfeels that the Robert Young serieswould, under other circumstances, dobetter with older adults than it does,but that the rating for this category isheld down by competition from theCBS News Hour. As it is, Welby iscredited with more older women thanMovie of the Week. It might also bepointed out that Welby faces theNBC movie, with its appeal to young-er adults.

WEDNESDAY

Starting off the schedule are TheCourtship of Eddie's Father on ABC,Storefront Lawyers on CBS and TheMen from Shiloh on NBC. The latteris still The Virginian, says Cornell,but it has different competition.

Eddie's Father will grab most ofthe kids under 12 but won't do wellwith older adults, who also tend to

New agency in New JerseyKaltman, Terlizzi and Gubin is a newagency offering full creative and mediaservices in Jersey City. Principals areGerald G. Kaltman, public relationscounselor, and James J. Terlizzi, Jr.and Jonathan Gubin, formerly withmajor advertising agencies.

Stephen R. Rintoul, formerly seniorvice president and general salesmanager of the Adam Young Co.,New York, has been named generalsales manager of KWTY Oklahoma City.

like westerns. Storefront Lawyers,one of a number of shows capitalizingon the success of Mod Squad, shouldattract younger adults but competi-tion from Eddie's Father and the newDanny Thomas opus will keep itsdemographics pretty "flat."

The Danny Thomas Show is ratedtops among the ABC debuts. Ayerpeople feel the veteran comedian hasa good creative group doing the showand respect Thomas' talent.

The last half hour of Shiloh is op-posite The Governor and J. I. on CBSand Room 222 on ABC. The DanDailey show replaces Hillbillies, butdoesn't have its strength of appeal.Hence, Cornell adjusted his estimatefor Room 222 upward. The Governorinherits some young people fromStorefront Lawyers but has to fightRoom 222, which is strong withyoung adults.

The weakness of The Governor asa lead-in will affect CBS' MedicalCenter, whose audience was adjusteddownward. ABC's Johnny Cash, onthe other hand, benefits from its lead-in, Room 222.

As for NBC's 9 o'clock entry,Kraft Music Hall, Ayer analysts findit difficult to assess. As a music an-thology, its appeal may depend on theextent to which it latches on to cur-rent trends.

Two new shows appear at 10, asituation which doesn't happen oftenthese days-a time when less thantwo dozen programs are regularlylaunched on the networks. The debutsare Dan August on ABC and Four InOne on NBC.

Dan August, a police show, is well

done but it is expected to fare onlymoderately well. Four In One is areal departure in network program-ming-four different shows, each oneappearing during six consecutiveweeks. There have been differentshows in the same time slot beforeName of the Game and The BoldOnes-but these were alternating pro-grams.

Since the Ayer estimates are basedon expected November -December rat-ings, the Four In One predictions arebased on San Francisco International.This will be like Grand Hotel, buttaking place at an airport and willconsist of stories based on the airportlocale and the people passing through.

THURSDAY

Six new programs grace the Thursdayschedule, four on ABC and two onNBC, while CBS keeps its lineup in-tact.

At 7:30 Matt Lincoln on ABC andFlip Wilson on NBC are pitted againstCBS' strong Family Affair.

Wilson has the makings of a win-ner. It should score with youngermetro adults, while the CBS competi-tion will attract kids and older adults.However, Family Affair is strongenough to whittle down Wilson some-what, so the comedian will likely endup with somewhat flat demographics.The Matt Lincoln pilot did not im-press Ayer but the word is that effortsare being made to improve the show.The story of a social worker/psychia-trist features young people, so itshould appeal to teenagers and youn-ger adults, another factor in keepingWilson's audience down a bit.

Jim Nabors enters the list at 8 forCBS and at 8:30 comes up againstBewitched and Ironside. The net re-sult is that he will lose some kids andgain older adults; his basic strengthlies in the latter category.

Flip Wilson gives Ironside a betterlead-in. The latter was fed by DanielBoone last season, which passed alongkids and older adults. In addition, Be-witched attracted younger adults.With the new Wilson show precedingIronside, Raymond Burr will get amore even demographic profile.

At 9, the new Barefoot in the Parkfeatures a black cast, which someprogram analysts think will hurt it.Cornell disagrees. He found the pilotamusing and well written and predictsthe show will hold on to the audiencebequeathed by Bewitched.

Following Barefoot are two other

54 Telerision/Radio Age, September 7, 1970

new ABC shows-The Odd Coupleand The Immortal. Ayer people won-der if the premise of two men livingtogether and separated from theirwives can yield consistently funnymaterial, but they give it a moderate-ly good rating.

Opposite Odd Couple at 9:30 isNBC's Nancy, a series about thedaughter of the President of theUnited States and her love life. Cor-nell's vote: "Syrupy." What will holdit up is Ironside as a lead-in and DeanMartin as the following show. Martin,however, will suffer from Nancy, hav-ing had Dragnet as a lead-in last sea-son.

The Immortal strikes Cornell as asleeper, but he won't give it a bigrating because of the competition-Dean Martin and the CBS Movies.

FRIDAY

NBC retains its Friday schedule:High Chaparral, The Name of theGame and Bracken's World. Thewestern is not considered a strongshow and Cornell notes it has donewell only with older adults and be-cause of weak competition.

CBS enters a new show, The In-terns, opposite High Chaparral andThe Brady Bunch. The Ayer analystquestions whether an adult dramaticshow is good scheduling in the earlyevening when the youngsters canchoose between a western and a situ-ation comedy with a lot of children init. However, it will have young adultappeal.

Another CBS debut, Headmaster,with Andy Griffith, comes up with thetop Ayer rating (total viewers) for anew show. Its predicted home ratingis 20.4, second to Danny Thomas,with a 20.6.

Griffith appeals mostly to olderadults, but since his new show dealswith young people, he may score inthat category. Many older adults whowatch High Chaparral will switchchannels to Griffith, since Name ofthe Game is not their kind of show,but the latter will probably continueto get a larger proportion of olderadults than its appeal warrants due toits lead-in show, High Chaparral.

The other show opposite Griffith isThe Partridge Family, a new ABCprogram and clearly in the kiddiecategory. Cornell rates it as a cornballshow, and gives it a 20 rating forchildren 6-11. Its adult rating is pre-dicted as 6.

That Girl is back on ABC in some-

thing like its fifth time period. Follow-ing The Partridge Family, it won'tinherit much adult audience, but ithas done well with kids in the past.

At 9:30, Love, American Style, cutto a half hour, presents the usualproblems in predicting an anthology.It's known to be strongest amongwomen under 50, as is Tom Jones,which winds up the ABC schedule.

SATURDAY

Again, NBC remains intact for theevening with Andy Williams, Adam -12 and the movies. Williams gets abreak with Jackie Gleason off the airsince both appealed to older adults-Williams' efforts to attract a youngaudience notwithstanding.

Mission Impossible, shifted fromSunday to replace Gleason, will cap-ture the younger adults since ABC'sbrace of game shows, Let's Make aDeal and Newlywed Game, are fod-der for older folks (as all game showsare), and will also benefit fromGleason's absence.

Interestingly, none of the three7:30 shows is particularly attractiveto children. As a matter of fact, anumber of early evening networkshows through the week appear to bebypassing the child audience. Theseare primarily the young adult teen-age -oriented programs like StorefrontLawyers and The Interns. The successof Mod Squad and the talk of rele-vance seems to have encouraged thenetworks to program in this fashion.Cornell regards this as an importantdevelopment and says it will bearwatching to see if non -kid appealscan generally succeed at 7:30.

Williams is followed on CBS byAdam -12, by no means a winner. It ispredicted that the Saturday movies,which come next, will continue to do

Groundbreaking has started on a newstudio facility for WXEX-Tv Peters-burg, Va. The ante-bellum buildingwill house not only production facili-ties, but will also be a Civil Warmuseum.

well. Ayer program people assumethat the networks still have a goodsupply of feature product.

On CBS Mission Impossible is fol-lowed by two strong shows, My ThreeSons, and a new entry, Arnie. TheFred MacMurray situation comedydoes well in most demographicgroups. Mission Impossible feeds ityounger adults, while Lawrence Welkgets a lot of the older crowd on ABC.

Arnie looks like a hit. The story ofa blue collar type who becomes anexecutive appears to have broad ap-peal, and should be strong with kids,but the competition of the NBC mov-ie must be taken into account.

Mary Tyler Moore was moved byCBS into 9:30 from a Tuesday slot,pushing Arnie back to 9. With nopilot, this is a hard one to guess, butCornell sees no reason to give MissMoore more than so-so ratings. Whatwill help her will be the fact she isbetween Arnie and Mannix.

Winding up the ABC Saturdayschedule at 9:30, following Welk, isthe new hour-long Most DeadlyGame. Cornell rates the pilot, whichbears some resemblance to MissionImpossible, as far fetched. It shouldget some older adults from Welk, butwon't do well in other demographiccategories.

SUNDAY

This is the third night in a row inwhich NBC stays put. ABC is dittoafter 8.

The latter enters with a new showat 7 (the starting time for the Sundayprimetime schedule)-Young Rebels,replacing Land of the Giants. This isa costume series, a story about theresistance movement during theAmerican Revolution. The pilotlooked good and the performers at-tractive. One big question is whetherthe story lines can keep the audienceinterested once the basic idea of theaction is repeated a few times. Theshow should do better than Land ofthe Giants, 'though it doesn't have asmuch appeal for kids. The subjectmatter may also be attractive to olderadults. Meanwhile, Lassie should pickup some kid audience.

The other new show on Sundaystars Tim Conway on CBS. Based ona special with Conway last season andthe list of guest stars and creativepeople working on the show, Cornellthinks it will do a lot better than mostother observers do.


Taylor (from page 29)

it relied on "dial cards," postcard sizecards that showed the frequency ofall FM stations and highlighted wnvR.

The station began distributing thecards a month after it went on theair. In three years, about two millionwere spread around. Taylor carriedthe idea over to WRFM and placedabout two million within a year.

He obviously considers this form ofinexpensive promotion very effective."The FM listener can't always find thestation he wants and is always lookingaround. The card is a very convenientthing to have. We promote them onWRFM with IDs and get lots of re-quests."

The real heavy promotion forwnvR came after Taylor left. Duringhis first year there, about $25,000 wasspent; three years later it was a littleunder $50,000. One of the biggerpromotions run while Taylor wasthere was a champagne affair in1965, when 2,000 bottles were givenout. In the Fall of that year, recallsTaylor, WDVR had the highest quar-ter-hour total -listener level of anyU.S. FM outlet.

By 1966, Taylor says, he was"bored" and went over to the ConcertNetwork stations, an FM group con-sisting of WBCN Boston and WHCNHartford, Conn. (the group also onceowned WNCN(FM) New York). He op-erated as manager in Boston but alsosupervised programming of the Hart-ford outlet. His job was to instill newlife into a pair of classical music sta-tions which weren't exactly setting theworld on fire. His prescription wasbeautiful music, but he says it didn'twork because management wouldn'tgo all the way.

So a year later, Taylor moved toKaiser Broadcasting as music andprogram director for its FM stations-WJIB Cambridge -Boston and KFOG SanFrancisco. Kaiser had acquired theBoston outlet as part of a broadcastpackage and Taylor concentrated hisefforts in the East.

The WJIB operation involved acomplete revamping-new call letters(it had been wxHR), new studios andnew programming. Under the old callletters, the station had been program-ming what Taylor described as "con-servative popular or middle-of-the-road."

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Taylor says the good music ap-proach worked quickly. "The stationshowed up in Hooper almost immedi-ately. Over the winter of 67-68 wewere seventh in the Boston ARB."Promotion, Taylor says, was mostlyword-of-mouth.

But Taylor left Boston after onlyeight months, returning to WDVR. Hesays it was the lucre that lured him.However, 10 months later, in March,1969, he was with WRFM. Boredomhad got the best of him again, hesays.

He had written letters to certainbroadcasters in New York and LosAngeles saying something to the effectthat their stations should be $1 mil-lion operations and he would gladlyshow them how to make it that way.Bonneville's Radio New York World-wide, Inc. (Bonneville InternationalStations, owned by the MormonChurch, had bought the station in1966) , took him up on the proposi-tion with the stipuation that he pro-gram the beautiful music format.Taylor was only too happy to obligewith the request.

Got new image

Unlike WJIB, WRFM did not changeits call letters, but when the new pro-gramming began to make an impact,Taylor recalls, people thought it wasa new station, although it had beenairing some wall-to-wall music.

The recent drop in WRFM'S ratings,whatever the reason, is a reminderthat a station is only as good as itslatest audience. Not that Taylor needsany reminding. He works hard at hisjob. "I live this station," he says. Hereviews every quarter hour segmentprogrammed and says there's not arecord aired on the station he hasn'theard.

While he's specialized in beautifulmusic, he feels he could successfullyprogram other musical approaches-classical, middle-of-the-road, country-& -western. He likes classical butdoesn't enjoy c&w as he used to. Tay-lor tries to divorce his personal tastefrom his choices to some extent, butsays he usually likes whatever heplays.

That should make it easy for himto be a successful radio programmer;certainly no one can dispute his rec-ord so far. To which might be addedthe footnote that even the stationshe's left are still doing well. At theend of last year, both wnvR and WJIBwere fifth in their markets. O


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Network 30s (from page 31)

smaller advertisers would use themedium if they could buy 30 -secondspots," he observes. "Besides, pig-gybacks are a problem for many ofour clients. The audience for product'A' may not be exactly right for pro-duct 'B'. If product 'B' could buy 30s,he'd be better able to direct this ad-vertising to the audience he wants toreach.

"There are, of course, some largerclients who would like things to re-main as they are," Bahr continues."Under the present system of sellingonly minutes, they gain an advant-age."

Though the networks sell only min-ute announcements, the prevailingpractice is for advertisers to breakthem into two 30s. This has becomeso common that, for all intents andpurposes, network tv has become a30 -second spot medium.

A tabulation made by TelevisionBureau of Advertising of all minuteand half -minute network commercialsaired last June showed that about 25per cent were isolated 30s, about 49per cent piggybacks and the remain-ing 26 per cent minutes.

Minutes are used as 30s in variousways and given different names, oftenused inaccurately. To get an "iso-lated" or "split" 30, the advertiserbuys a minute which the network per-mits him to divide into 30s in the firstand last positions in a half hour.

The remaining two of the threeminutes of commercial time in thehalf hour usually are used for minutespots or piggybacks. These piggies arecalled "shared" or "matched" spots.

Shared or matched spots are thosesplit in half; these can be used fortwo brands, or the advertiser canswap a 30 -second position with the

owner of the other minute, if thatadvertiser is inclined to piggybackalso.

The growing amount of researchcomparing effectiveness of 30s to 60sis an indication of the increasing im-portance of the shorter spot to adver-tisers. A recent study by FC&B, Chi-cago, went through 400 tests ofpaired commercial done by varioussources. The agency also compared30s and 60s in tests set up by its ownresearch department.

The objective was to determinewhether or not commercial effec-tiveness was dependent on the type oftest conducted. The conclusion wasthat as testing controls became morerigorous, the relative value of the 30went down.

Cost causes increase

Though the case for or against theshorter spot remains to be proven,lesser cost continues to increase theuse of 30s. CBS and NBC, in addition,even seem to have flirted with theidea of selling them.

"We were offered 30s in CBS hock-ey and on NBC's All -Star Night base-ball," says Eugene Accas, vice pres-ident for network relations at LeoBurnett. "We didn't buy because theseavailabilities came on late in the buy-ing season when most of our fundswere committed. And, in the case ofhockey, we didn't think too highly ofthe vehicle."

Both networks withdrew their 30soffer quickly. Opinion is that theavailabilities were something of atrial balloon to see how much busi-ness they would bring in.

At present, though the prime saleon the Hughes Network is minutes,30s are sold in This Week in ProFootball. The sales policy of Hughesis highly practical: Minutes are for

* <$0

THEY GO TOGETHERNETWORK RADIO-SPOT RADIO

sale in its top attractions; some 30s inthose that don't sell quite as well.

Another step toward "accepting theinevitable" was taken by the NBCowned -and -operated stations at theend of June. The O&O's adopted the30 rate as the basic unit to chargeadvertisers, thus becoming the firststation group to do so.

The action was taken to facilitateinternal traffic operations. Piggybackadvertising had increased to such adegree that they were having difficul-ty handling piggybacks, particularlyre -pairing when cancellations tookplace. Under the new policy, theplacement of spots is simplified,

Networks do not have the samekind of scheduling problems as sta-tions with piggybacks. Network buy-ing is not as flexible, nor does it per-mit as much fighting. The networkswould go to a 30 -second base rate forother than scheduling reasons.

Since the present policy of sellingonly minutes obviously excludes somesmaller clients, a few agencies warnthat some of these firms might com-plain to the government about a poli-cy that keeps them off network tv. Norecord of such complaints exists, buta change of policy would obviate thepossibility of such an action.

The agencies are so certain that a30 -second network announcementpolicy is near that they have taken upa defensive position in anticipation ofan increase in network rates for thatspot. Most are against it naturally, ifthe networks try to charge more thanhalf of the minute rate for a 30.

"We will resist any kind of priceincrease for the 30 -second spot," saysRobert (Buck) Buchanan, vice pres-ident of J. Walter Thompson. "Itwould be giving the networks greaterincome for the same amount of time.

"It wouldn't permit us to sell anymore products," continues Buchanan,who worries that a network mightset its 30 rate at 60 per cent of theminute rate.

A similar view is that of Thomas J.McDermott, senior vice president anddirector of broadcast actívites for N.W. Ayer. "Nobody will look kindly atanyone who wants to increase ratesthese days," he says. "Advertisers andagencies won't stand for it."

Still, there are some agency execu.tives who not only expect a slightprice increase but believe that the net.works are entitled to it. "They arecertain to ask more than 50 per centof the minute rate, even íf it's onlyone or two per cent, just to establish


the principle," observes the programdirector of a major advertising firmwho asked not to be identified.

A study made by J. Walter Thomp-son shows that 130 stations in 79markets are selling 30s at one half theminute rate. And in 15 of these mar-kets all the stations sell 30s at half theminute rate.

The agencies may be needlesslyconcerned, if the comments of net-work sales directors can be acceptedas company policy-i.e., "I believethat advertisers should be able to buy30s for half the price of a minute"-CBS's Frank Smith.

Though there are plenty of compel-ling reasons for shifting to the 30,there are as many forces militatingagainst it.

To begin with, affiliates wouldn'ttake to the change kindly. Explains asales executive at a major market sta-tion: "The battle for billings, whicheven now is being waged between net-work and affiliate would be steppedup to a new height."

Regionals going national?

He explained: "I could see someregional brands buying network justto force distribution for themselves insome markets. I could see many othersmaller advertisers going into networktv from spot."

It's also understood that any shiftto a shorter basic unit would threatenproduct protection, of which there islittle enough anyway, even further.The reason, of course, would be agreater number of advertisers.

"We'd be opening a new can ofworms," says ABC's Boorem. "At themoment multi -brand advertisers thatuse piggybacks have worked out away for their brands to live with eachother. This would be upset."

Frank Smith of CBS -TV agrees:"It would be a problem for us interms of product protection. Therewould have to be a lessening of it.We'd have to reduce our guarantees."

Almost everyone feels that themedium would also suffer furtherfrom clutter. The prevailing opinion isthat many advertisers who now useminutes would buy 30s.

"The unstated problem in any suchchange is what to do about the inevi-table increase in clutter," says EugeneAccas of Leo Burnett.

"There are too many interruptionsnow," agrees Rollo Hunter, seniorvice president, broadcasting, Mac -Manus, John & Adams. "With 30s as

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Judges of the radio and television entries in the American AdvertisingFederation Addy Awards competition got together recently at the studio ofWMAR Baltimore, guests of the Women's Ad Club of Baltimore, host tothe 2nd District competition covering the Northeast. Judgesinclude, seated, 1. to r., Don Campbell, general manager, WMAR-TV; Dr.Harold Niven, National Association of Broadcasters; Howard Kates,N. W. Ayer; standing: James Frost, W. B. Doner; Joanne Parrot,Van Sant Dugdale; Michael Membradó, Katz Agency; and Sol J. Paul,TELEVISION/RADIO AGE.

the basic unit, I'm afraid there wouldbe much more."

"The agencies and advertisersshould be the people most concernedabout clutter," notes Boorem. "Theycomplain about it enough. But forsome of their clients they tear at youfor more flexibility and then tear atyou for clutter, which is caused bymore flexibility."

CBS's Smith feels differently."Nothing on the screen would lookdifferent. It wouldn't cause more clut-ter. You"ll always have advertiserswho want minutes because they servetheir products better."

A shift to 30s would create otherkinds of problems for the networkstoo. Paul Roth, vice president anddirector of radio -tv programming forKenyon & Eckhardt Advertising, be-lieves, "It will double the inventory ofthe sales department. They will havemany more units to sell and may notbe happy about this state of affairs."

Network executives see a differentkind of challenge. "We will have adouble load; that would be a mon-strous administrative job. We'd haveto find new ways to meet it," saysSmith.

If the change to 30s as a basic unit

does take place, it will probably bedone on a one -show -at -a -time basis."I believe 30s are likely to be openedup piecemeal," says Boorem, "anddone for only certain programs."This, it is pointed out, would give thenetworks time and experience in han-dling the new unit.

Should the loss of tobacco revenuecause the networks to offer 30s, itwould be an ironic turn of eventsindeed. Throughout -the late 60s, ciga-rette advertisers tried to get the net-works to sell 30s, without success.These advertisers were multi -brandcompanies selling essentially one pro-duct-cigarettes, and unable to usepiggybacks for two competing brands.Only when these firms diversified didthey succeed in using piggybacks.

Now the imminent absence of thesetv advertisers may produce for othersthe result for which they labored, butnever received.

At this time, of course, no oneknows exactly when or if the 30 willbecome the base unit on network tv.But with the trend to 30s becomingso clear, the desire of advertisers touse them so strong, and the marketfor advertising so soft, can the "inevi-table" be far away?

ARB changes (from page 32)

in most cases, has the revenues re-quired for mounting a sizeable com-mercials campaign.

To help lure the traditionally print -oriented department store, ARB hasadded a "Department Store Patron-age" column to its product usage sec-tion. This brings to 14 the number ofitems listed in the section, which willrun as ADI rating percentages on theDay -Part, "Pure" Program Averagesand Variable Product Activity (Sec-tion N) pages. The other productsrange from deodorant to dog food tobeer, gas and new cars.

Several technical changes in sam-ple weighting and "outside" stationreports are also incorporated in the1970-71 ARB's. Because of highUHF penetration and impact on thecountry, the special weighted con-trols applying to past samples arebeing dropped.

Increased proliferation of homesusing cable television has resulted inARB altering its diary analysis to geta better fix on viewership. Wherevera sampling of a cable tv home doesnot indicate the system's name, ARBinterviewers will call to ascertain thesource of transmission. "Since sev-eral markets have multiple cable op-erations," said an ARB spokesman,"we have to correlate the cable chan-nels with those of the original broad-cast." The research bureau has notlaid any plans as yet to sample homesviewing cATV-originated programs.

Carrying over a change institutedin its April/May reports, ARB willlist both metro and TSA estimatesfor those outside stations that meetits minimum reporting standard insome market in addition to its own.For example, if a New York stationmet the minimum reporting criteriafor the Hartford market, that stationwould be listed for both metro andTSA estimates in the Hartford report.

One column in Section III ("Pure"Program Averages) will be left blankfor the first few ARB reports. Aprogram code column, enabling anyof its users to facilitate gathering in-formation data on a specific pro-gram via a computer, is currently onthe drawing boards. No date for thecode debut has been set. When thecode does bow, it will be an integralpart of ARB's ARBSEC (ARB SpotExchange Coordination), a computer-ized system permitting buyers andreps to quickly evaluate and selecttv spots.


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Altogether now.The best color camera is...

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Anita Eckstein

"A human being, whether a man ora woman, is as free as he wants tomake himself."

In the Picture

Just before Women's Liberation Day last month, Anita Eckstein, themedia director at Handman Sklar Becker, a $5-6 million New Yorkagency, was promoted to vice president. The two events were totallyunrelated, naturally, yet the women's lib movement could hardlyhave received a stiffer jolt.

Anita Eckstein, married lady, was moving ahead briskly in the worldof men, and not complaining a bit about being a member of the"other" sex. In fact, she's so satisfied with the way she's been treatedthat she has difficulty identifying with whatever is driving her women'slib friends.

"You can be what you want to be," says the pretty, youngish -lookingmedia director. "It all depends on your ambition and how good youare. A lot of women I know are not dedicated to their work, so theyfind it easier to blame other people for their own inability to get,go, do. Men do the same thing. How many times have you heard a mansay, `If it wasn't for my wife, I'd be . ?'

"In my whole life I've never felt, gee, I'm a woman and I can't doit. I feel sympathy for these women as human beings because theycan't do, they're frustrated and unable to act.

"A human being, whether a man or a woman, is as free as he wantsto make himself. Freedom comes from within, not from without."

The inability to act has never been one of Anita's traits. Shortly aftershe graduated from New York's City College with a degree in English,she marched into the offices of Solow/Wexton, New York, for a re-ceptionist's job. But she laid it right on the line: she didn't want to be areceptionist, she wanted to be in the media department.

From the start she was helping out the buyers as she manned theswitchboard, then got her break a few weeks later and moved in withthe media people. In a few years she climbed into the media director'schair. In all, she put in eight years with Solow/Wexton, ending upmarried to one of the executive vice presidents, John Eckstein. She leftadvertising for a year after that. Then another Solow/Wexton man,Ed Handman, who was setting up his own agency, offered Anita thehead buyer's job at HSB.

She's been an indispensable part of the agency ever since: joiningin at client presentations and creative sessions as well as acting ashead media p_anner and coordinator. (Meanwhile, her husband hadleft Solow/Wexton to set up his own shop, Eckstein and Zingaro.)

Anita's clients are Zodiac watches, Bruce Publishers, Kreis'_erManufacturing, Applied Data Research, a few liquor accounts and anew client, Sanyo Electronics, one of Japan's leading electroniccompanies and a good candidate for broadcast advertising here, oncethe company's marketing plans are stabilized, says Anita.

Reps who deal with Anita find it doesn't pay to be condescending becauseshe's a woman or because she looks young. "The first thing that turnsme off is when they walk in here and say, `I didn't expect to find sucha pretty media director,' " she says. She's a tough negotiator too, andisn't afraid to go to a station president to get the avails she wants.

What about buying services? "I've been offered many jobs in thepast few years to the point of naming my own price," she comments."But I don't want to work for a buying service. I'm interested in theoverall facets of advertising-merchandising, creative, art, copy. Also,I think it's a terrible rat race."

As to changes in media, Anita feels the coming trend is toward morespecialization, like that presently underway in magazines, which shefeels could be coming to television through CATV. Some of her clients,like a Zodiac line which retails for from $1,000 to $25,000 might gofor the kind of select, high -income audience that CATV might attractwith better programming.


Black show (from page 32)

similar time slot.With these cost figures in mind,

Kuhn's next step was a trip to Holly-wood to engage a producer, a direc-tor and talent. "This was no easymatter," says Kuhn. "No one wantedto touch an all -black program of thissort because prior attempts hadbombed so miserably. It cost me amonth in Hollywood, away from abusy office, a lot of door -knockingand 40 pounds." Finally, Kuhn en-listed the Hollywood Video Center asthe facility, Mark Warren, director ofLaugh -In, and Abrams Ruboloff asthe talent agent. The talent, saysKuhn, was good but not great. Noneof the big names among black enter-tainers would participate.

Boosted hair products

On September 9, 1969, . . . &Beautiful I ran in 24 top U.S. mar-kets between 7:30 and 10:00 p.m. Itfeatured three two -minute commer-cials prepared especially for the pro-gram, one on Afro Sheen, .a hairpreparation for the "natural look,"and two on Ultra Sheen, for the"relaxed hair look." Aimed primarilyat black women, 16-24, the two com-mercials captured both ends of theblack hair care market, the straight-ened look and the natural.

The Ultra Sheen commercial was adouble Clio winner for 1970-oneaward for the best commercial in thehaircare category and a second forthe best video tape commercial.

One hour after the show, the agen-cy called 150 black tv homes in fiverandom markets and found that 68per cent had watched the show and ofthe 68 per cent, 97 per cent couldrecall its name, the name of the spon-sor and most of the talent.

In addition, the viewers voiced adesire for more such programs.Prompted by the show's success, plansbegan immediately for a second spe-cial.

While the first ... & Beautiful wasa straight variety type program, thecompany wanted something a littledifferent for the second edition. Here,William H. Barnett, director ofcreative services for EUE/ScreenGems, the commercial and industrialfilm division of Columbia Pictures,entered the scene. On the basis of anoutline, Barnett sold the idea of amusical documentary on the historyof black music without narration,

making Barnett and EUE the firstcommercials producer and commer-cials production house to do a fulllength "feature" for tv.

Barnett believes that ... & Beauti-ful II symbolizes a new means forregional and segmented -market adver-tisers to reach their target audienceon tv. He says the thought first oc-curred to him when he handled amulti -million dollar western beer, as acreative director in an agency. SaysBarnett, "The beer, a heavy adver-tiser in 13 western states, had themoney to spend on tv but no realefficient program to spend it on."Forced to buy adjacencies and partic-ipations, Barnett says he understoodwhat a custom-tailored programcould do for such an advertiser interms of reach.

Barnett says other advertisers, suchas retailers, have expressed interest inthis type of programming and he sug-gests that CATV'S ability to reach frag-mented audiences might hold greatfuture potential for these advertisers.

. . . & Beautiful, which took fouror five months to complete, is said tocost between and $300,000.The commercials are the same threefrom the first . . . & Beautiful. Theprogram, which traces the history ofblack music, uses cuts from variousfilm media, 16mm and 35mm, black-& -white and color, and for this reasonwas produced on video tape. Most ofthe editors, cameramen and produc-tion staff are black, including HughRobertson, director and co -writer,who won an Academy Award nomi-nation for his editing of MidnightCowboy.

Some rare footage

The content of the special includescuts of Bessie Smith singing "St. LouisBlues" from the only film she evermade, a 1929 one -reeler never seenon tv; Billie Holliday jamming withColeman Hawkins, Lester Young andVic Dickinson and historical footageof such greats as Duke Ellington,Count Basie, Mahalia Jackson, LouisArmstrong and Josephine Baker.More contemporary talent includesNina Simone, Sly & The FamilyStone, B. B. King, Cannonball Adder-ly and the cast of The Me NobodyKnows, a current off-Broadway play.In all, there are 195 cuts, says Bar-nett, some of which have just receivedclearances.

The 1969 special, explains Kuhn,was very difficult to place because it

was a new idea and stations wereleery of its success. This time around,points out Barnett, stations provedmore agreeable, having recognizedthe first ... & Beautiful as a sort ofpublic service type program. Howev-er, Kuhn still reports some resistancein the additional nine Southern mar-kets ... & Beautiful II is entering. Thefact that both specials were plannedfor September 9, just a week beforethe new network season begins, madethe primetime buys more acceptableto the stations.

The one -hour program, with timebought out -right, will appear in suchmajor markets as Chicago, Detroit,Atlanta, Philadelphia, Washington,Cleveland, Houston, Dallas, Miami,Los Angeles, San Francisco/Oakland,Boston, Birmingham, New York andnumerous large Southern markets.

Clearances a consideration

The show will air on September 9,in 28 markets. In another five, be-cause of clearances, it will air as fol-lows: September 10, Philadelphia andSt. Louis; September 11, Atlanta andJacksonville; September 13, NewYork. Of the 33 stations broadcastingthe show, 20 are CBS affiliates, sixare ABC affiliates, one is a CBS/NBCaffiliate and six are independents.There was no particular preferencefor one network over another, claimsKuhn. Choices were based on whichstations delivered the biggest blackaudience and were most co-operativewith the idea.

To complement the special, $100,-000 to $200,000 in support advertis-ing is being bought also. This includesa good deal of outdoor promotion,such as billboards, print, point -of -purchase displays and 50 radio spots aweek in all markets, two weeks be-fore the show.... & Beautiful II, aswas its predecessor, is aimed primari-ly at black females, 16-24, but is ex-pected to attract all other blackdemographics, including black womenof all ages.

This is not the first first for theJohnson Co., under Niefeld, Paley &Kuhn, reports Kuhn. He notes thatthe company was the first consumeradvertiser to use two minute radiocommercials and the first black firm torun four-color spreads in general con-sumer magazines, such as Vogue andHarper's Bazaar. And, says Kuhn,plans are already underway for athird and fourth special with Barnettas creative director and producer. O


The checks and balancessystem may be duefor a change on FCC

President exerting morecontrol over broadcasting

Can't get a majoritythat easily

Inside the FCC

Television, much to its own discomfort, is now providing a battlegroundfor the venerable American clash of institutions known in civics textbooks as the system of checks and balances. The Executive Branch ofthe Federal Government, symbolized by the White House, and theLegislative Branch, perched atop Capitol Hill, are designed to keep a waryeye on each other, and in recent years their attempts at checking andbalancing at times have passed the boundaries of civility.

Television's role in this fundamental process of political lifecurrently is most obvious in the earnest struggle of influential segmentsof Congress to obtain television access to offset the immensely potentappearances of President Nixon to explain, defend and advance hispolicies. Both Sen. Edmund Muskie (D. -Me.), an unabashed aspirant forthe Democratic Presidential nomination two years from now, andSen. J. William Fulbright, the Arkansas Democrat who is chairman ofthe Senate Foreign Relations Committee and a prominent opponentof White House policies in Indochina for two administrations, haveclaimed that the automatic access to television for policy pronouncementsenjoyed by the President exercises so much influence over the bodypolitic that Congress is relegated to a second-class status. Muskieand Fulbright-and a sizeable cadre of their colleagues-don't want thenetworks to freeze the President off television. They do want anequivalent shot at educating and influencing the public, however. Thedispute is an active one and does not appear likely to abate soon.

Bul television and its communications cousins also are central to another-and perhaps even more crucial-struggle between the White Houseand Congress that has not yet flared into such open combat: theExecutive Branch's control over Federal regulatory agencies such as theFederal Communications Commission.

The Commission and its sister agencies hold the key to much of theFederal Government's power. The regulation of affected industriesreaches into virtually every crevasse of American life. And the WhiteHouse is developing a close working relationship with the FCC that maywell make Congress jealous.

Regulatory agencies are referred to as "independent"-they aresupposed to be "creatures of Congress" but outside the control of thereigning Administration. The independence is nominal at best, ofcourse. Most obviously, the President appoints members of the regulatoryagencies. The White House also determines what budgets-and forwhich specific projects-will be requested of Congress. In the past decadeand more, events have conspired to make the White House very charyof meddling in FCC affairs. But it is now a new decade and manyof those old Administration fears have disappeared. The attitude nowseems to be one of willingness to accept the chore of setting nationalcommunications goals while leaving their implementation to the FCC.And, for the first time since Dwight Eisenhower was President, theRepublicans are not only in the White House but are about to achieve aCommission majority.

Thai majority is central, and it is also subtle. The observer outside-and even inside-the peculiar political ambience of Washington mightbe tempted to the easy cynical conclusion that President Nixon hasbut to snap his fingers to magically produce at least a four -three approvalor disapproval of any communications issue that may find its way tothe FCC meeting room. The reality of the bureaucratic ebb and flow israrely that susceptible of analysis, and never that blatant. The fact is,if any Commission vote is ever resolved by a four -three margin in afashion clearly to the advantage of President Nixon, and those fourmajority votes are cast by the Republican members of the agency, it willbe the result of an improbable series of events that give a veneer ofsimplicity to circumstances. Even in the most amoral terms of power

Television/Radio Age, September 7, /970 67

Subtle situationunfolding on Commission

Inside the FCC(Continued)

politics, there is no legal way for any President to convey his wishes fora vote to a regulatory agency. There would inevitably be exposureif he did, as any competent politician instinctively would realize-notinevitably, of course, but the risk would so surpass the reward as to dwarfit. If one member were urged to advocate a position, another mightdecide it to be in the interest of all concerned to take an opposing view-point. Even political appointees tend to be conscientious and painstakingprotectors of their vision of the public interest-a fairly plain factoften lost on those inebriated of cynicism-and even an indirect attemptat partisan weighting could backfire ignominiously.

What may develop, then, is not a sophomoric caricature of Presidentialinfluence, but a subtle, unpredictable, and possibly very defensiblesituation. The four GOP members of the FCC will be Chairman DeanBurch, and Commissioners Robert E. Lee, Robert Wells, and presum-ably new but unconfirmed Sherman Unger. All but Robert E. Lee areNixon appointees, and that single exception on the basis of his recordmight be assumed to be a solid and dependably conservative Republican.None of the three new Republican members of the Commissionis a political neuter; in fact, all have more than earned their partisanspurs. The prime example is Burch himself, who was chairman of theRepublican National Committee. How, then, may it be considereddefensible if four Republican members of the FCC vote in a fashion toexcite the approbation of Richard Nixon? Very simple. The Presidentdoes appoint Comm;ssion members. By virtue of his election in 1968,Nixon has changed the face of the government. The President has theright to appoint those he thinks will carry out policies beneficialto the welfare of the Nation-and if those policies happen to deviatefrom ones established by his political and philosophical predecessors,there should be no surprise at all.

Aside from the appointive route to Presidential control over theFCC, President Nixon has taken very positive steps to exercise more directcontrol. The chief focal point for this new assertion of Executivedominance is the Office of Telecommunications Policy, recently constitutedvia Executive reorganization of the relatively limited Office ofTelecommunications Management. Clay T. Whitehead, a 31 -year -oldwhose glittering academic credentials enchanted the Senate CommerceCommittee, which promptly confirmed him, is directing a staff thatwill have two distinct but not separate modes of influence over theCommission. One is the weight of Presidential opinion; the other isresearch capacity.

4

Whitehead presentsreasoned positions

Little indication ofwhat trend may portend

Presidential opinion doesn't refer to Nixon getting on the telephoneto Burch. What it refers to is the new willingness of the White House,through Whitehead and his staff, to express reasoned positions oncommunications issues. Even before the reorganization of the OTM,Whitehead asked for, and got, an FCC delay on policy decisions affectingdomestic communications satellites. Prior to the White House inter-vention, it was reliably reported that the FCC would decide on a singledomestic system, probably to be run by the Communications SatelliteCorn.; after the White House intervention, which recommendedvarious and competing systems, the Commission, in effect, asked forfurther proposals, keeping open the possibility of competing systems. Thedesires of the Executive Branch and the President of the United Statessimply cannot be ignored.

It is possible, therefore, that an era of White House domination of theFCC is dawning, and there is little indication of what that mayportend. Partisan manipulation is imaginable, and so is a badly neededvigor in communications policy-and elements of the two togethermay be more likely still.


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