december 18, 1967; fifty cents blevision age..."fellini's 81/2," "divorce-italian style," "two...

DECEMBER 18, 1967; FIFTY CENTS

blevision AgePledia directors explain what happened to spot in '67'Mk shows provide a lift to the syndication business:an research predict the life -span of a tv commercial?

PAGE 23

PAGE 26PAGE 28

341 RISINGMAIN

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Letter from the Publisher

Spot AnalysisAt this time of the year station managers are carefully reviewing

1967 and making projections for 1968.1967 could be called the year of readjustment in television. Some

markets were up in that most volatile category-national spot-mostwere down.

Since all business is compared with the previous year. what shouldbe kept in mind is that 1966 was a banner year for television in allcategories. The year '66 got off to a fast start. The summer exceededall projections and October was the highest revenue month in thehistory of the medium. Therefore, stations have been hard pressedto top tv's greatest year.

Since spot has been soft, this category has come under the great-est scrutiny. Our lead story in this issue examines some of thereasons:

1. Unsettled business conditions in several basic industries. Thishas had an effect on all advertising expenditures.

2. Intensification of network versus spot competition for availabledollars.

3. Piggybacks, now widely used in both network and spot. haveenabled advertisers to get as much reach with less total dollars.

4. Cut -ins, now more widely used than ever, have undoubtedly cutinto spot revenue.

5. The introduction of new products was greatly reduced in 1967.New product advertising is bread and butter for spot.

There is another factor that effects the entire tv business. Whilemore total dollars are going into television, a larger percentage ofthat money is going into programming. 1966 was the first year whenthe amount paid for network programming exceeded time costs. Theastronomical figures paid for the rights to sporting events, particu-larly football, for specials, and for movies have had an effect on theamount of money available for spot.

As '67 was a year of readjustment, '68 will be a year of transition.As one observer commented, the spot business in a sense finds itselfin a similar position that the networks faced some six or seven yearsago. At that time selling single half hours, or even joint sponsorship,went out the window. In its place came new sales approaches, prim-arily participating announcements. Later came the specials. Spot isundergoing drastic changes, trying out new approaches and the med-ium will eventually come up with workable formulas. The use of 30sis one of them. The transition process is always painful but in thelong run should be profitable. Those station managers, however, whohit the panic button will be the long-range losers. The ensuing pe-riod may be a buyer's market, as Sam Vitt of Ted Bates comments,but those stations which arbitrarily slash rates for temporary gain%ill find that they are doing themselves and their markets irrepar-able harm. In many cases, it takes years to repair this kind ofdamage.

Cordially .

10 Television Age, December 18,

1967

Lettersto theEditor

Minneapolis sends a bouquetCongratulations on your editorial

concerning non-commercial television(Foes o/ Commercial Tv, TELEVISIONAGE, Nov. 61.

I agree with you 100 per cent.ROBERT C. FRANSEN

Vice PresidentWTCN-TV

Minneapolis, Minn. .55416

Women in advertising

Thank vou for the article onWomen in advertising ( Less Room atthe Top. TELE% I-10 CE. Nov.

It t as npisl iiiiere.ting to get areading ihr climate for women inexecoliscpc-ilions.

.iv AN .imvso:\I./cc Plesident

\ Aver & Inc.Chicago. Ill. 60603

Sold on sex

The .tie.(- Sell t ISIoN ACt..October 231 repiescnis rare c\cell-ence in clarity of thinking as well asrefreshing i% riling skill.

I enjoyed it.to t -O\

ice /'residentCalkins & ((olden

\'err York. \.Y. 10016

Foes of non-professional tvRegarding your editorial on non-

commercial tv (Foes of CommercialTv, TELEVISION AGE, Nov. 61, I mightadd that it also is attracting a greatmany incompetents - junior news -writers and tyro producer -directortypes who start collecting credits andwriting resumes as soon as they gettheir first job at a local tv station.

In all fairness. there are some tal-ented people in non-commercial tv,but there are also the types men-tioned who seem to be flocking to it.Many of those who are so hyper-critical of commercial tv can't standcriticism themselves.

From the programs I have seen sofar on Public Television or non-commercial tv. I would have tobelieve they are operating under am'snomer. It should be called "non-professional tv."

LEO COLLINS

Advertising Promotion~ABC-TV

Veit. York, N.Y. 10019

Spotlight on spot tvYour 13 -page. in-depth study of

Warner-Lambert 1 TELEVISION ACE,Nov. 61. gives a most penetrating in-sight into the successful marketingstrategy of this important advertiser-a marketing strategy in which spottelevision has played a large part.

Studies of this sort are a valuable,ource of information for our marketdevelopment people. We look forwardto more of them.

.1. W. K NODE!.

PresidentA verr-knode) Inc.

.N. en. York, N.Y. 10022

SUBSCRIPTION SERVICE

Television AgeCirculation Department1270 Avenue of The AmericasNew York, N. Y. 10020

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Subscription rates: U. S. and Canada - I year $7: 2 years $10.(Rates for other countries availableon request.)

Change of address: Please advisefour weeks in advance. Encloseaddress label with change indicatedabove old address.

Please include a Television Age address label to insure prompt servicewhen you write us about your subscription.

Computer scores a touchdownThanks very much for mentioning

our Cox computer football predic-tions in the Tele-scope section of yourNovember 6 issue.

You may be interested to knowthat the accuracy of our predictionsimproved significantly as the seasongrew older.

For example, during the first fourweeks of the season, the computerpicked the correct winners in 104 outof 156 games covered (67 per cent).

During the next four weeks, theaccuracy improved to 139 out of 185games (75 per cent) and, finally, ourninth week was our best with 79 percent correct.

JAMES A. LANDONManager of Research

Cox Broadcasting Corp.Atlanta, Ga. 30309

Best yet from Best FoodsWe were most pleased with your

handling of the Best Foods' article(Best Foods' Best Foot Forward,TELEVISION AGE, Nov. 20), and in-deed must compliment you on theaccuracy of your facts.

Both my associates and our agencypeople found the article interestingand informative.

DENNIS BEAUMONT

Asst. Advertising DirectorBest Foods

New York, N.Y. 10022

Praise from Mrs. PolykoffI thought your article on women

in advertising (Less Room at theTop, TELEVISION AGE, November 20)was just great!

Thank you for including me withall the eminent ladies.

SHIRLEY POLYKOFFVice President

Foote, Cone & BeldingNew York, N.Y. 10017

New dimensionsWe are including your interesting

and informative Country -By -CountrySet Count (TELEVISION AGE, July30) in the 1967 edition of NAB'sDimensions of Television.

LOUISE K. ALDRICH

National Assoc. of BroadcastersWashington, D.C. 20036

Television Age, December In, 1967 11

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Television Age, December 18, 1967

ihi

WHAT'S AHEAD BEHIND THE SCENES Tele-scopeThird quarter spot on even keel, TvB figures show

Third quarter spot tv expenditures released by TvB/LNA-Rorabaugh paint the medium as on an even keelcompared with last year. The '67 figure covering 393stations was $268.7 million, compared with $270.6 mil-lion in '66 based on data from 396 stations. This comesto a 0.7 per cent drop.

This compares with TELEVISION AGE'S "Business ba-rometer" figure of a 9.2 per cent decline (see lead storyin this issue).(TvB data are based on gross time rates.while "Barometer" figures cover actual station revenue.)

Of the 10 leading spenders in the third quarter. sixd showed declines, three were up and one was about the same. Among the top 100 clients, 21 were listed as show-n ing material gains. The breakdown of expenditures byii; time of day (daytime, early evening, primetime and lateiG night I showed primetime with the largest dollar increase.11 Data on commercial length revealed that 20s and 30sto amounted to 20.3 per cent of the dollar total, comparedo to 18 per cent in the second quarter.

The quiet changes at K&EWhile a number of major agencies have been playing

a up their "creative conversions," little attention has beenn paid to Kenyon & Eckhardt. which has quietly goneb through a drastic switch in agency policy. In converting0 from a marketing -oriented to a creative -oriented agencyit in the past year or so. K&E has drastically revamped bothb the structure and personnel of the creative department.

Of the 60 -odd now making up the department only about25 were at K&E 12 months ago.

The switch dates from Ellsworth Timberman's takingo over as president about a year and a half ago but the

real changes date from naming of Stanley Tannenbaumsenior vice president for creative services 12 months ago.Tannenbaum is a member of the executive committee,which includes-besides Timberman-Stephens Dietz,chairman: Giancarlo Rossini, president of the inter-national division; and three senior vice presidents foraccount management, Peter Frantz, Leo Arthur Kelmen-son and Alan Pando.

K&E has done away with the tv production departmentand set up eight account groups. Within each the linesbetween producer, art director and writer have been elim-inated. The new look was probably a factor in attractingfive new accounts, says Tannenbaum, among them AirFrance, Helena Rubinstein and Gallo. Among the newcreative talent brought in are co -group head Jonis Gold,writer -producer Don Resnick and art director/producersGene Hued', Dick Asadourian, Ken Southard and LeeZimmerman.

Wise plans January buysOne -week flights on alternate weeks throughout first

quarter. 1968, begin January 7 for Wise potato chips.The Wise Potato Chip Co. and its agency, The LynnOrganization, Inc., Wilkes Barre, Pa., are buying fringeminutes and some prime 20s in 35 East Coast markets.William P. McLaughlin is the agency contact.

Vick introduces new productVick Chemical Co. and its agency, Benton & Bowles.

will be test marketing NyQuil, a new cold remedy, withminutes and 30s in selected markets through the firstquarter of 1968. First quarter plans also call for a72 -market buy for Sinex, Lavoris, Vapo-Rub, Formula44, and Cough Silencers. Fringe piggybacks and inde-pendent 30s will be used. Buying is Harry Kaye, withJody Shirley, Sam Chisholm, and John Maguire assisting.

Interest in family interviews increasingGroup interviews in market research. long a staple

technique, have not always satisfied researchers. For onething, they question whether a respondent will be com-pletely honest among strangers. For another, membersof the group tend to respond to other people, rather thanthe subject (or product) at hand. Hence, there has beenincreasing interest in family group interviewing, whereresponses can be verified and interaction is more natural.

Recently offering the family interviewing technique asa regular service is Behavior Research Institute of Peek-skill, N.Y. Institute director, Dr. William A. Yoell, sayshis firm will use a "behavioral" technique which itpioneered. This involves, he explains, analyzing familybehavior-"not what people say they think and feel, butwhat they did and how they did it, when behaviorchanges and under what conditions."

Dr. Yoell said that while the more responsescome from family members in a family setting may beobtained in the food field, this also applies in otherproduct areas. Among them he listed personal -use prod-ucts.

More stations cooperate in sharing revenue data

The slowdown in spot has spurred stations to do whatthey have long been afraid of doing-provide theirrevenue figures to a confidential source so that monthlydetails of tv business in a market are quickly availableto all outlets in that market. This is being done in abouta dozen markets now, among them, New York, LosAngeles, Chicago, Washington, Denver, Detroit. KansasCity, Philadelphia. San Francisco and Sacremento. Mostof these started this year. Working on setting up sucha system are Atlanta, Spokane, Scranton, Salt Lake City,Milwaukee, Buffalo and Cincinnati. Another 40 -odd mar-kets- are reported working on the problem.

The system usually works as follows: A respectedaccounting firm is chosen to receive and process thefigures. Stations provide dollar data on their spot, localand network revenue. The accounting firm then providescategory totals for the market for each participant and,to each station, its ratio of spot, local and network busi-ness in the market. This is only workable, of course,where there are three or more stations.

Sometimes, the data is more detailed. In New York,for example, data is broken down according to wherethe business originated. It is hoped by some in theindustry that eventually some kind of national reportwill come out of this.


COMPETENT ... CANDID ... COMPLETE!Sportscasting: Designed for Milwaukee

Whether it's: Hold that line! You're out at first! Forty love! Hole-in -one! Or - Winner by a TKO -Milwaukeeans look to WTMJ-TV for comprehensive coverage of all types of sports. Reliable coverage,written and edited by a team of pros with an impressive track record in reporting. Balancedsports programming at every level. Local. State. National. International. No wonder areaviewers consistently look to WTMJ-TV for the best in sports -casting* . . . Designed for Milwaukee. Shouldn't you? WTMJ-TV'A. C. Nielsen Cu., Jan., Feb., March, June, 1967: (6:U0.6:15 P.M.. ). COLOR IN MILWAUKEE

IW TIVIJ TV

the S111...u\ re lournial Stslion NHL 111 Stilv.uket Heptewillud I.) Ildrniikt,t 'tighter 1,1i ( Lt. egg, s.,A f ,f1 Allallt INJlt. St Luut Lu Angel."

Business barometerIt would be too much to say that the October spot revenue figures are a

welcome sign of an

upturn, but the fact remains that they are considerably better than the preced-

ing four months. October figures are often con-sidered a foreshadowing of what will come inthe rest of the fourth quarter and, if that isso, then a safe projection of spot for the full

'67 year would be a 3 per cent drop from last

year. This would put spot time sales at the

$850 million level.

At $87.7 million, October spot revenue ran 3.3 per cent

behind '66. This is in line with the averagefor the first nine months, when the dip was 3 per

cent. From a seasonal point of view the October

figure was 32 per cent above September.

The dip in October compares with the previous declines

over corresponding months of last year: June,

7.6 per cent; July, 7.5 per cent; August, 9.7

per cent, and September, 10.2 per cent.

Comparing October's year-to-year change with previous

years shows the following: '66 was 7.4 per cent

above '65; '65 was 8.4 per cent above '64 and

'64 was 14.8 per cent above '63.

An interesting fact in the October '67 spot figures is that

the medium -size stations actually registered

an increase over last year. During the previous

four months all three classes of stations

measured were down in each period. The increase

for the medium -size group obviously means abigger -than -average drop for somebody else.

In this case it was the larger stations.

The percentage figures by revenue class: Stations under

$1 million in annual revenue were almost evenwith last year, actually a drop of 1 per cent.

The $1-3 million group was up 3.2 per cent and

the $3 million -and -over group went down 6.5

per cent. This last class of outlets also

suffered the largest declines in spot during

September and August.

For the year-to-date, the large stations have shown the

worst record. They were either down most orup least in six of the 10 months. The medium

stations earned this dubious distinction in

three months and the small stations in one.

Through October, total spot revenue tallies $693.1 mil-

lion, compared to $714.8 million in '66.

Next issue: a report on local and network compensation income in

NATIONAL SPOT

millions of dollars

$90'7 S87.7

October (flown 3.3%

Year-tn-year changesby annual station revenue

Station Size Spot Tv

l'nder SI million -1.0%Sl-3 million +32%$3 million -up -6.5%

i111111111

1 1111111 1.i t \/967=66 comparison

October.

d copyrighted feature of TELEVISION AGE, Business Barometer is based on a rrosssertion of stations in all income and geographical categories.Information is tabulated by Dun & Bradstreet


Iowa iscorn.Yeah. Andthe earth ishomaloidal.

Flat statements about Iowa cornhave only a kernel of truth: Weraise it and it's important-but notpreeminently. Iowa isn't corn. Eversince 1950 the market value ofIowa's industrial output has ex-ceeded its total agricultural output.In 1966 the ratio was 3 to 1 ($10.2to $3.3 billion).

What's it to us? We're tired of thehayseed image. And, although thetraffic created by a couple of hun-dred thousand industry -employedIowans creates a little smog, theIowa air absorbs it with ease and

still leaves room for our kinetickilocycles.

Man and boy, we've watched Iowa

TheWMT

StationsMail Address: Cedar Rapids, Iowa

WMT, WMT-FM, WMT-TVKWMT, KWMT-FM, Fort DodgeRepresented by The Katz Agency

industry grow, and small farmsbecome big business. Eastern Iowanow contains 60% of Iowa's pop-ulation and buying power. It in-cludes Cedar Rapids, Iowa City,Waterloo and Dubuque-four ofIowa's eight largest populationcenters.

We have reason to believe thatwe've followed Eastern Iowa'schanging complexion and taste,perhaps even helped shape thelatter. Our sales staff, or KatzAgency representatives, will behappy to share our reasons with you.

18Television Age, December 18, 1967

THE WAY IT HAPPENED NewsfrontNew ARB data

Now that the new features of theAmerican Research Bureau's local tvreports are out, ad agencies have hada couple of months to use and evalu-ate the data. How do they like them?

As far as the major agencies go,they're not sure yet. They'd like moretime to work with the data. Butthey have also raised questions aboutsome of the material, in particularthe reliability of the product usageinformation. Of the three major newfeatures, the Target Audience Profilei TAP) information was found, atthis point, most useful.

These reactions come from 10 topnr,encies informally surveyed by Katz

Television. The 10 are Batten, Bar-ton. Durstine & Osborn; Benton &It,' yy !es: I )a racer -Fitzgerald -Sample;I ), le Dane Bernbach; Grey Adver-tising: Ogilvy & Mather; Papert,Koenig. Lois; Sullivan, Stauffer, Col -y ell & Bayles: J. Walter Thompson,And Young & Rubicam.

The combined spot billing of theseail agencies will run more than11(1 million in 1967, it is estimated.

Extended data tabulation. Muchof the new information involves ex-tended tabulation of basic data whichhas been collected by ARB for sometime. Because of computerization ofdiary reports from viewers. it is nowrelatively easy to compute and printthe figures.

I TAP information is a responseto the fact that there is usually morethan one demographic target soughtin marketing a product. However, theother demographic groups (in thiscase. age and sex breakdowns) areoften not as important.

To weight this audience informa-tion is time consuming for theagency.. While there are a tremem-dous number of possible ways to%%eight demographic groups. the re-search service picked nine weightingcombinations Iseven for women andtwo for men t believed to be mostuseful to advertisers and now pro -y ides one figure in which the threebasic age groups for each adult sexcategory (children and teenagers arenot included in these data) are pre -

weighted, or pre -mixed.For example, one composite figure

might represent the audience foradult women weighted as follows:100 per cent for women 18 to 34,75 per cent for women 35 to 49 and50 per cent for women 50 and over.The greater amount of TAP informa-tion on women reflects, of course,their primary role as shoppers forthe package goods that dominate tvadvertising.

Index of Cume Potential. A sec-ond added feature is ARB's Indexof Cume Potential (ICP) which, likethe TAP figures, is provided for eachreported time period. ICP shows therelative ability of each time periodto reach heavy or light viewers. Thisis shown separately for men andwomen.

ICP is an index figure, not anabsolute measure of audience.

The figure is derived by compar-ing each respondent's viewing levelwith the average viewing figure forthe market. In short, a viewer iseither in one category or the other.

A time period with a low ICP(average equals 100) indicates alarge proportion of heavy viewers;a high ICP naturally indicates a largeproportion of light viewers.

To the media buyer, a high ICPwould presumably mean the audienceis likely to be unduplicated. Such atime period would be desirable whenyy ide reach is sought. Conversely, alow ICP would be desirable when theadvertiser wants to reach the samehomes frequently.

And more usage data, too. Finally,ARB has increased its product usageinformation. Where it had six cate-gories in each report (there were twosets of six over a year's time), eachreported for broad time periods,there are now 15 in each report (inthe top 75 markets) on a time periodbasis.

This information is given in surveyarea tonnage, viz., instant coffee cupsper day, toilet soap bars per month,toothbrushings per day, etc. This isdetermined by the viewing of the"decider -purchaser."

A summary of attitudes toward

these three services by the 10 agen-cies looks like this (one agency didnot commit itself on ICP):

ProductTAP ICP Usage

Yes 6 1 2

Maybe 3 7 6No 1 1 2

Here are some general commentsabout ARB's new features by keymedia research people, as reportedby Katz:

"Plan to use all three, with eachaccount individually dictating precisemethod in which used."

"In the main will continue torequest the same basic data . . . atthe same time will 'examine' newdata."

"No decision yet ... want to deter-mine whether using new data as buy-ing criteria results in significantlydifferent groupings of spots than byusing conventional demographics."

The following comments were madein connection with TAP:

"Will use if it fits product profile. . . .however, market research willhave to provide us with more precisedata to make the match."

"Warming up to this . . . matchingaccount to particular profile will pre-sent problem . . . but it is a forwardstep."

On ICP, these comments wereelicited:

"Probably has less value thanothers . .. will be of value as restric-tion in requesting spots."

"Must be used with caution . . .buyers must remember it is an index,not an absolute ... should be consid-ered a tie -breaker after other factorsare considered."

"Probably the most used initially'. . . would want to check with ourreach and frequency formulas first,however."

As for product usage, researchershad this to say:

"Won't use . . . not sure samplesize can support data ... some clientsdon't accept it."

"Wary of this . . . even nationaldata (BRI) has proved unreliable ...local data may be okay in categorieswith high usage but is 'scary' inmany others (e.g., air travel) becauseof sub -sample size." MI

feleri.ion Age, December 18, 1967 19

wonderwhatever

became ofGood Old Roger?

You remember Roger-the kid in the media department.You know-the kid who alwaysasked all those questions.

That's right! The eager one.Always had his nose buried in astack of figures or a trademagazine-usually Television Age.

Good Oldbecame the

Yep! He's still asking questions.Still watching the figures . . . stillreading Television Age.

Only, now he's runningthe show.Come to think of it. He was asking

Rogerboss.

about you the other day.Why don't you call on Roger

with your message in Television Ageso good old Roger doesn't have to

wonder whateverbecame of you?

TelevisionAge

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Television Age

pot '67',

The current dip in spot business, while ob-viously connected with the nation's econom-

ic slowdown, can be linked to a complex of fac-tors. Most of these are not new but the seller'smarket of previous years blurred their import-ance, and they often lay half -hidden beneaththe surface.

What 1967's business conditions did was stripaway the comfortable blanket represented byhigh demand and expose the tough realities un-derneath.

Take for example, the networks, both a part-ner and a competitor of spot. Always attractiveto advertisers wanting to cover the country with

DECEMBER 18, 1%7

what happened?

Though economic conditions werea major reason for the medium's

slowdown, other factors contributed:one may have been piggybacks

ease and rapidity, the chains often had available"opportunistic buys" for clients willing to waituntil the last minute. As business slowed thisyear, the networks honed their selling to a sharp-er edge, offered even more tempting packages.

"Money which might have gone to spot," saidone top agency media director, "was held outfor the purpose of finding an efficient batch ofminutes. You can still buy them in primetimeat around $30,000, or even less, occasionally alot less."

Or take the piggybacks. Though well -estab-lished, they continue proliferating. In 1966,there was a sizeable increase in their numbers


Media directors seeno drastic ups or downs

for spot during firstquarter of next year

on the network (see table). A mark-ed leveling might have been expectedthis season in view of a policy onABC-TV and CBS -TV to limit pig-gies to one per half hour, but thenetworks found the pressure toogreat.

CBS -TV. for example. now allowstwo per half hour in primetimewhere it had allowed one. Estimatesof the ratio of piggybacks in net-work schedules now range from 60to 80 per cent.

Many reps are convinced that thejump in network piggybacks partlyreflects an inclination for networkclients using minutes to split themand bring in a product from spotto keep the existing network ad com-pany and the ad budget lean. Agen-cies differ on the extent of this. andsome deny it, but the man responsi-ble for shepherding spot schedulesat one of the leading spot agenciessays, "To some extent, network pig-gybacks have taken money fromspot."

Piggybacks have been increasingin spot, too, of course, and, in com-mon with the networks, the stationsare undergoing the ominous phe-nomenon of having their inventoriesincreased, in effect.

As for the independent 30 -secondannouncement, getting increasing at-tention from the agencies (and someaction, too), this fall has seen thefirst sizeable move in this direction.But, says Mal Ochs, media and re-search director and a vice presidentat Campbell -Ewald. New York, ifstations had moved into the separate30 quicker, they might have donebetter this year.

The future of the 30, and thespeed with which it is adopted byagencies, are among the most criticalissues the industry faces. There is byno means a wide agreement on whatwould happen if stations in generalhad published rates on the 30 in1967. As it stands, many stationshave still not taken the final step ofoffering a firm price.

"It's a Mexican stand-off." saysHarvey Spiegel, marketing chief atthe Television Bureau of Advertising."Plenty of advertisers are lookingfor them, but not enough stationshave pinned down their thinking onprices. They're afraid of lockingthemselves into a rate structure theywon't be able to get out of in case itdoesn't work."

Breakthrough in 30$The breakthrough in 30s appar-

ently started last summer when thedrop in spot billing showed up clear-ly. The number of separate 30s airedin spot in July, says TvB, was aboutdouble that of the correspondingmonth in 1966. In August theincrease was 129 per cent and inSeptember it hopped up to a 237per cent increase. However, it mustbe kept in mind that these percent-ages are figured from a low base.The last increase meant that onlyabout 5 per cent of announcementsin spot were separate 30s.

There is no doubt that this ratiowill go up with most major agenciesclearly in favor of making the 30the basic unit for tv advertising.Some advertisers are making 30sonly.

Most, of course, will be used inpiggybacks but an increasing num-ber will appear, assuming enoughstations meet the agency's terms onrates, in either isolated positions oradjacent to commercials of other ad-vertisers.

It is ironic that one of the majorfactors in spot's decline is its highlyvaunted flexibility. "When things gettight." explains Joseph Ostrow. vicepresident in charge of media plan-ning at Young & Rubicam, "it'seasier to pull out of spot than net-work, where an advertiser is morelikely to have longer -term commit-

ments." On top of that. both buyersand sellers point out, uncertaintyabout future business conditions hasled to an increase in short flightson spot.

Most media directors of the ma-jor agencies expect first quarter spotrevenues will be about even w iththe corresponding '67 quarter or alittle better. No one is talking abouteither a pronounced dip or sensa-tional rise.

One of the more joyful notes forspot was struck by Dancer-Fitsger-ald-Sample, whose spending in thatarea has been on the upswing in re-cent sears. It w ill hit around S60million in 1967. Louis T. Fischer,vice president and media director,reported that spot spending by theagency will be up in both the lastquarter of this year and the firstquarter of next. The surge is partlyexplained by new clients. but oldaccounts are also participating. hesaid. The D -F -S executive noted thatnew products are a major factor inthe rise.

There's plenty of hedging on thesubject of spot prospects. however.One media director, Paul Roth ofKenyon and Eckhardt. noted that"many of our budgets are not %%rap-ped up yet. believe it or not." \\ :are!'A. Bahr. senior vice president andmedia director of Y&R. said the un-certainties of a Federal surtax on in-comes are making for caution incommitting ad monev, another fac-tor leading to short-term flights. Ifthe surtax is passed. he feels spot,as well as other media. will feel apinch.

Tv a seller's marketBahr. however, belongs to the

school which believes that, in thelong term. television will more oftenbe a seller's market than not, hisway of complimenting the dynamicsand impact of the medium.

"I don't know when the next sell-er's market will come." he says. "Itmay be six months, nine months, aYear. maybe more. But it will surelycome." He views the future withmixed feelings. The prospect of high-er rates that inevitably accompany aseller's market obviously does not

24 Television Age, December 18, 1967

Softness in spotascribed by someto rise in networkpiggybacksIncrease in number ofpiggybacks on networksby quarters comparedwith correspondingquarter the year before

'66 '6; '66 '67 '66 '61

First quarter Second quarter Third quarter

Smirre: TrB/BaIR

Spot revenuetrend in 1967Increase (or decrease) instation revenue byquarters compared withcorresponding 1966 period

First quarter Second quarter Ttrird (imirri'i

3%

lncrcase

Decrease

2.8%

9.2%Source: int:VISION Ace "Business barometer"

9 -monthaverage

3%

make Bahr happy. "But, in a way,I'll welcome the situation, becauseit means business in general isgood."

The prediction of a bright futurefor tv as an ad medium is no novelty.But some mediamen see counter -cur-rents that may upset these predic-tions, both in the long and shortterm.

Numbered among these is Sam B.Vitt, senior vice president and execu-tive director of the Ted Bates media -program department. The next twoyears will be a buyer's market, hecontends, and he sees a profitsqueeze in business that broadcasters

i II also feel.

Further pressure seen

"It's significant that 1967 is thefirst year spot tv has dropped. Look-ing ahead I see two developments,one of them already working, whichwill continue to put pressure on themedium.

"First, the buyer now has moreto choose from. There's been a showof strength among the independentstations. They're giving network af-filiates stiff competition.

"Second, the growing trend to the30 -second announcement. Thismeans that, except for primetimebreaks, the station's inventory willbe doubled. This will enhance thebuyer's power. Our best guess is thatin two years there's a clear possibili-ty the 30 -second will be the basicadvertising unit."

Meanwhile, the broadcaster is hav-ing trouble selling some of his pres-ent inventory, though he is by nomeans in a panic situation. From abroad point of view, the dip in spotlooks bad, according to the view-point of a number of reps, becausethe past half decade has been sogood.

According to TELEVISION AGE's"Business barometer," considered bythe industry a reliable index of sta-tion revenue, spot declined 3 per centthrough the third quarter. Octoberfigures, just in, show a drop of 3.3per cent, considerably less of a de-crease than during the previous fourmonths. There is no indication that

(Continued on page 52)

Television Age. December 18, 1967 25

Any program director worth hissalt would pick a blockbuster

movie still in the vaults or failingthat, any good oldie however longin the market, over almost any otherprogramming material you can name.But, as any p.d. also knows, good tvmovies are expensive, scarce-andgetting more so all the time. As analternative, broadcasters are turningto talk shows.

The shows are cheaper, more plen-tiful and often get ratings just asgood as movies. As a result, the turnto talk shows is not just a small shiftin strategy; it's starting to look morelike a stampede. At this point, tvprogram syndicators are making anddistributing more than 80 new hoursof taped talk shows every week. That'smore than the weekly new primetimeproduction of any tv network.

Talk shows have proved a blessingto more than station program direc-tors The shows have solved a problemfor syndicators, too. Syndication, ina sense, has been using the shows totalk its way out of a tight spot lately-the market for syndicated producthas been getting tighter in recentyears and station business has beenaffected by the dip in 1967 spotrevenue. Thus, for syndicators, the

Tv has brought back

conversation to beat the

movie drought and the

tight syndication market

turn to talk shows was a happy turnof events.

Movies are still going over, ofcourse, but there are not enough ofthem around to provide staple pro-gramming for networks and stations.

The market for off -network seriestoday is pretty much limited to theindependents. The business of makingfirst -run series straight away for syn-

Talking away the syndicatior

Talking it up around the clock are, clock-wise from top left: Alan Burke, VirginiaGraham (and friends), Joe Pyne, Gypsy

Rose Lee (and friends), Woody Woodbury(and friend), Mery Griffin (with Burl Ives

in Ireland) and Mike Douglas.

blues

dication, a thriving industry back inthe mid -50s when a half-hour shoot-emup could be put together for aslittle as $15,000 a half-hour chapterand quickly sold to 100 stations,today is spoken of only wistfully.There are occasional "first -run" suc-cesses, of course: shows brought infrom Britain or Japan and thus "first -run" in the States.

So what do you do for fresh prod-uct if you're a syndicator, or ifyou're a station aware that competi-tion for the available features isoverwhelming, and you don't wantto waste, to use up too quickly, what-ever stock of features you havealready on hand, no matter how bigit is?

One answer: you go to talk shows.It's not an easy decision, and it's notan easy road, although every week itseems another distributor sets out onit.

The talk show road

By the time this appears, Trianglemay have decided to syndicate TheCleveland Amory Show, and someother distributor may have picked upThe Les Crane Show from KTTV LosAngeles.

(Reportedly, the new manifestationof Crane is a great improvementover his earlier incarnation as prede-cessor of Joey Bishop, late nightshow host on ABC-TV.

During that midnight run somethree years ago, Crane struck someobservers as occassionally impertin-ent; West Coast watchers say he'svery polite and deferential nowadays.Anyway, even the earlier Crane wouldseem courtly in today's talk showclimate, where Alan Burke and JoePyne seem to delight in their owntruculence.)

What's new about talk shows is nota matter of show business formula orformat, but simply a phenomenon ofvolume. In a medium that increas-ingly is relying on movies for pro-,,rammin., even network affiliatesoften carve a primetime movie slot

right out of one or even two of theirnetwork's movie nights to accommo-date the ever abundant and burgeon-ing local business (It's national spotthat's off, not local).

Talk shows, of course, are as oldas television itself. Certainly mostof the embryo broadcasts back in tv'sexperimental days were talk shows.But only in the past few years havethey emerged as a dominant form ofstaple local station programming.

A decade ago people were sayingthat tv had done away with conversa-tion; it would be difficult today toimagine a family watching, say AlanBurke or Joe Pyne in total silence.

However, some of the greatest suc-cesses among the chitchat shows havebeen programs aimed a women aloneat home in the daytime: VirginiaGraham's Girl Talk, The Mike Doug-las Show, The G'vpsr Rose Lee Show,and so on.

Some talk shows in certain situa-tions pre-empt network daytime soapoperas; some pre-empt morninggames; in yet other situations, theyhold sway where once movies ran-and reran every day of the week.Some do double duty, run both dayand night on the same station.

Another may be for the night peo-ple in one city, for the bustling house-wife after breakfast in another. MeryGriffin, for example, is a late show insome cities, an afternoon fringer inothers and, in a couple of marketslike New York and Los Angeles,Griffin is a primetime swinger.

Yet talk shows, generally, are oneof the toughest propositions in tele-vision, in terms of both productionand distribution. Most of them are farfrom cheap. And for every one thatsuccceeds, several never make it topilot or die on the trail before thenut is covered.

But the risk and the struggle canpay off. NBC-TV labored mightilyfor years to exploit the late nighthours while CBS's anchor stationswere making hay with The Late Show



predicting the wearout of televi-sion commercials is increasingly

becoming the subject of concern,speculations and studies among ad-men and researchers. Two agencies,N.W. Ayer and Leo Burnett, are con-ducting experiments specifically de-signed to probe the phenomenon.

Interpublic's Marplan has com-pleted an experiment on wearoutusing its eye camera technique, andsuch organizations as Schwerin Re-search Corp. and Gallup & Robinsonhave either undertaken special stud-ies or developed information on thesubject as a by-product of standardservices.

Developing a sophisticated andworkable method to predict wearoutcould be enormously complex andexpensive. It has been estimated bysome research men that it would re-quire hundreds of thousands of dol-lars just to compile the necessarydata for mounting a study of a tech-nique to predict fatigue in advertis-ing.

This is because of the huge amountof information gathering, record -keeping, analysis and painstakingcontrol that might be involved.

Such factors as exposure histories,time intervals, and the changing mar-keting factors for different productscompound the control problem foreven the simplest study, let alone pro-jects of outstanding promise, it issaid.

Finally, the predictive techniqueemerging from such research mustbe able to prove itself out in termsof reliability and cost.

One completed study, part of apilot investigation costing "tens ofthousands" of dollars, was stagedat Marplan under the direction ofPaula Drillman, vice president anddirector of its perception laboratory.It is expected that the experimentswill be continued at the requestof various clients.

The experiment involved the show-ing of a television program withthree commercials representing , acampaign for a product (which hadno commercial on the air). Re-

sponses were measured to only oneof the commercials shown.

A matched panel was divided intofour groups whose controlled expo-sure to the commercial ranged froma minimum of four times to a maxi-mum of 24 exposures. The panelswere convened three times a weekover an eight -week period.

Panelists were under the impres-sion they were being tested for theprogram and not the commercials.More importantly, they didn't evenknow when they were being tested,for. by the use of an eye -cameratechnique, their responses to the testcommercial were recorded withouttheir being aware of it. The eye cam-era catches the constriction and dila-tion of the pupil of the eye as a meas-ure of interest, emotion, thought pro-cesses and attitudes of the individ-uals viewing the commercial.

Mrs. Drillman noted the experi-ment found a gradual buildup of in-terest to 15 exposures with a gradualdecline thereafter; but any generali-zations based on the findings musttake into account the product ewe -gory and the type of commercial em-ployed, whether off -beat or hard -sell, etc.

Need frame of referenceAs a potential predictive device for

wearout, a new commercial could berated against the track record ofsimilar type commercials within aspecific product category, after suchframes of reference have been ex-perimentally established.

Important experiments in this areaare being conducted by N.W. Ayer'sMarketing and Advertising ResearchCenter (MAARC), which openedthis past April in a suburban shop-ping mall outside Philadelphia. It isjointly operated with Arbor, Inc., abehavorial research company, whichis supplying the personnel to operateit and splitting the cost.

MAARC is equipped with an arrayof electronic devices, including onethat measures the effect of repeatedcommercial exposure. For the fore-seeable future. this latter device

called, "Sync,- will be used to testcommercials for their longevity. ac-cording to Miss Margaret Rogers,vice president in charge of consumerand copy research at N.W. Ayer.

"Sync" pits two commercialsagainst each other in a competitionfor attention in a laboratory situationin which one respondent at a time istested. The respondent watches aslong as he wants and is asked noquestions. The equipment permitshim to watch two different commer-cials, or watch neither. He can con-trol both audio and video and canswitch at will from one commercialto another.

When he is watching commercial"A" (with audio and video up 1.commercial "B" has no sound butvideo is just at the threshold level.This visual level, in short, is justhigh enough to spur him to switchback if he's interested enough in itand if the commercial he's watchindoesn't hold his attention. When heswitches, the situation reverses:audio and video for commercial "W'comes up. audio for "A" goes off andvideo for "A" is reduced to the dire, -

If neither commercial interests therespondent, he can swing around in


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.su hie, I Hews two screens withdifferent commercials. can turn

her "Or at will. When one isHotted is on but ride° is

lifeshold les eh. other comes upa WI NW Around. lull video. Subject,it hose behatior is recorded, can

roul forth as often as.be maws.

his chair and watch a tv film thathas no sound. This is obviously notan attractive lure, and purposely so.The researchers don't want a filmthat is more attractive than the com-mercials. Nevertheless, the option isthere if both ads are boring enough.

Recording instruments show thetotal time spent with each commer-cial and at which points the respond-ent switches from one ad to another.This is the raw data from which theevaluation is made.

To (late. among other things. MissRogers has found that animated com-mercials that lead up to a gag orpunch line appear to wear out morequickl% than animated commercialsthat simply use the animation to tella commercial message. In addition,she observes that old, well -used com-mercials seem to be faring betterthan the newer breed.

Miss Rogers says that people seemto 5%elcome the former with an "oldfriend" feeling, much in the samemanner as pre-school children wantto hear a fairy tale told over and overagain in exactly the same way with-out any changes in the storyline ordetail,.

Rogers is currently in theof acquiring a bank of corn-

mercials that have run in test marketsbut have not been seen nationally,along with a bank of commercialsthat have had successful runs in cam-paigns. Advertisers and agencies areinvited to submit commercials forher "Sync" experiments, with thepromise that they will receive therelevant data free in exchange foruse.

Year -long experiment

At the Leo Burnett Workshop inChicago, a year -long experiment onwearout is past the half -way mark.Under the direction of ProfessorWilliam Wells of the University ofChicago's graduate school of busi-ness, a laboratory setup employs amechanical device and commercialrepetition cycle to elicit reactionsfrom individual respondents. Theagency plans to release its findingsand the methodology of its experi-ment at the conclusion of the study.

At Schwerin the "Channel Choice"attitude measure, offered as a serviceto clients for a little over a year, isbasically a yardstick for isolatingattention -getting power. It has nocurrent direct application, per se, tothe wearout problem. Nonetheless, itsprocedures, it is said, may one daybe used to uncover some of the tm-deriving causes of wearout.

"Channel Choice" uses a panelbrought into an auditorium wherescreens have been set up on oppositesides. Screen number one shows reg-ular program material with commer-cials. Screen number two offers aprogram of infetior material-theworst of the old westerns. etc. Eachviewer is given a headset and aswitch which allows him to listen inOn either screen. It is assumed thatss hen the commercial comes on screenone. viewers will tend to tune inscreen two. When viewers switch toscreen two. it is instantly recordedat a central device. Roughly speak-ing. the "Channel Choice" score isbased on the number of people whoswitch from screen one to screen twoat four -second intervals during the


I ct, I iiort Age, December 18, 1967 29

Many buyers say video's sales presentations

often compare unfavorably with print'sbecause they're not aimed at the client's problem

Are tv pitches on target?

"Sellers sometimes assume buyers are pre -sold on tv."

v presentations are in danger ofI playing second fiddle to pitches

from print media insofar as impactamong buyers goes. Today's videopitch often smacks of smugness,many buyers claim, and relies tooheavily upon the presumed superi-ority of the medium rather thanwhat it can actually do for adver-tisers.

A major complaint by media buy-ers is that stations often walk intotheir offices with the assumptionthat they (the buyers) are pre -soldon the idea of using television.

Because of a burgeoning varietyof media (specialty magazines, /m

stations, outdoor groupings), as wellas variations within those media (re-gional editions, specialized program.ming), the presentation is increas-ing in importance as a means oftransmitting information to buyers.

With the increase in presentationshas come a growth in the numberof people involved on both buyerand seller levels. Hence, a growingscrutiny of presentation quality.

Frequently cited weaknesses in tvpresentations include research thathides a high rate of non -response oris based on loaded questions. Also,critics say there are too many in-termedia comparisons that mix ap-

"Tower height pitches can be overdone.'

pies and oranges.The buyers' chief quarrel with tv

presentations centers around whatthey don't do, rather than what theyactually say. Seldom, they say. doesa tv presentation delve into the me-dium's impact on the consumer. Toolittle stress is placed on television'scumulative effect in selling productsover a given length of time. Whereis the imagination, the original re-search, the buyers ask?

Not that media people don't occa-sionally find outstanding tv presen-tations. According to Joseph B. Bur -beck, associate media director atCompton Advertising, one such pre-sentation was Metromedia's ModernIndependent which emphasized thevalues of independent stations. An-other presentation that rates high,in the opinion of a director of me-dia analysis, was the Chinese NewYear from Harrington, Righter &Parsons which pinpointed the indus-try's minimal spending during theJanuary to March period. ChineseNew Year won the BPA-TvB's salespresentation award.

Print presentations, specificallythose by consumer magazines, takein-depth slices into the medium it-self. They seem to whet and answerthe buyer's why's, how's andwhere's. "Magazine presentationsspark the mental processes," as oneassociate media director puts it.

A media analyst suggests, how-ever that magazine presentationsare better thought of simply becausethey are more in evidence and peo-ple tend to see more of them. Ifthis is true, it poses an ironic prob.


lem for tv salesmen since, despitethe apparent increase in tl.e num-ber of video presentations, manymedia men say they actually seefewer.

"Personally, I would like to see atv presentation that would make acase for the medium," says GeorgeSimko, vice president and media di-rector at Benton & Bowles.

"Tv presentations are helpful be-cause they provide supplementaryinformation above and beyond basicstatistics data. But they frequentlstart off with the idea that yourbuying television time is an alreadyestablished premise of their presen-tation."

Another vice president, also a me-dia director, charges that tv pre-sentations are sometimes slipshod inexplaining what the medium can ac-complish. "What buyer cares aboutthe height of a station's new tower?"

"Tailor research to thy Liner's needs."

Slick presentations don't impressmany buyers. Paul Zuckerman, as-sociate media director at Ogilvy &Mather, reports that "most tv pre-sentations are just too glossy." He

ould prefer to see pitches bolsteredby salient facts rather than gim-micks. On the other hand. he main-tains magazine presental' s aremore original and flexible than theirvideo counterparts.

Some buyers say many salesmen

"Sellers must be prepared with answers.'

are ill -versed in specific productproblems and/or needs. One mediasupervisor rates network presenta-tions superior to spot simply becausenetwork salesmen seem better briefedin particular products.

Jim English. manager of the me-dia department at J. Walter Thomp-son. comments that "while somesalesmen are not exceptionally wellinformed as regards specific prod-ucts, they do endeavor to make in-formative presentations."

Ogilvy's Zuckerman takes a firmstand here: "Most definitely, themajor flaw in tv presentations isthe salesman's inability to answer

buyers' questions."Simko, however, questions his as-

sociates on this point. He finds repsprovide as much information as isnecessary for them to do their job,which is primarily to present avail -abilities. Simko explains it is theagency's concern to be involved withthe why's and how's of a productcampaign.

With this in mind, he providesreps with what he terms the"basics": the name of the product,what it does, what type of spots theagency is after, and the target demo-graphic group.

"After all," he stresses, "let's viewthe rep in his proper perspective. Heis not a marketing man, nor is hea media planner; he is a guy whomust provide buyers with informa-tion on what his station can do, thecurrent flux of the market and hisown speed and accuracy con-sidered."

Adding weight to Simko's testi-mony, Helen Thomas, radio anddirector for Street & Finney, findsreps "well briefed" on the agency'sproducts. Miss Thomas reports thatreps recognize that product knowl-edge and brevity are the core of agood presentation and they carefullytailor presentations to meet theneeds of particular buyers.

Kevin McDermott, vice presidentand New York sales manager for


"Artificial markets are just so much hot air."


Tv goesindustrial

The success of aFairchild -sponsored

show for engineersreflects the medium's

selectivity

Would you believe a mass medi-um like tv could successfully

zoom in on a highly specializedaudience? A major electronics firmdid it this fall with an early morninghalf-hour special called A BriefingOn Integrated Circuits. The show,a pre -breakfast, color "seminar,"permitted engineers to bone -up onthe latest strides in integrated cir-cuits.

Aired nationally on 32 stations,the special was the offspring of acampaign launched by Faust/DayInc. Advertising, Los Angeles, toeducate electronics engineers on thecapabilities of the Fairchild Semi-conductor Division of FairchildCamera and Instrument Corp.

"It was simply a matter of selling,"reported Thomas Faust, president

Testing of integrated circuits and IL.,

Faust/Day. "Buyers have to knowwhat they are buying and, since inte-grated circuits are relatively newupon the scene, it became necessaryto inform people involved in techni-cal, financial and general manage-ment about the what's, when's andwhere's of the situation."

Television was chosen as the mostsuitable advertising medium afterweighing the costs, time and audi-ence potential in bringing the sameinformation across through differentchannels. Value factors considered,a televised program with an edu-cational format was the obviousanswer.

Estimated cost for the total pack-age, tv time plus promotional, pro-duction and commercial expenses,tallied $200,000. Station time claimed

about 10 per cent of this outlay.Aired October 11 at 7 a.m. on

most of the 32 stations (some showedit at 6:30), the briefing was con-ducted under the auspices of Dr.Harry Sello, manager of the materi-als and processes departments of theresearch and development laboratoryof Fairchild Semiconductor, and Dr.Jim Angell, professor of ElectricalEngineering and director of the solid-state electronic laboratory of Stan-ford University.

The two were aided in their in-struction by a series of animatedframes picturing the various stagesin the development of ICs. Presentday applications of the circuits wereshown via film clips of companiesusing ICs in their daily operations.

The show concluded with a projec-

lor computers were described in tv show.

tion on the future of the circuits withheavy stress on current research. Inshort, it was a basic rundown on 1Csthat an interested engineer or elec-tronics manufacturer could digestalong with his morning coffee.

Two 90 -second commercials, onefor Fairchild products; the other of-fering viewers a literature packet ofthe subject matter, rounded out theprogram.

Fringe time was selected becauseit was felt that this particular timewould not only be free of adult enter-tainment, but also because it wouldnot interfere with a viewer's workingday.

Nielsen reports quarter-hour view-ing figures of 0.3, 0.5, 0.7 and 1.4between 6 and 7 a.m. for the week

(Continued on page 511


A PROGRAM MAN'S . . .

More about coming eventsThe new season is about to become a reality and thedecisions are being made to shift commercial posi-

tions from a show about to be cancelled into a new show.The basis of the decision is the showing of prototypes ofthe new show. Several of these are worth reporting.

It would be hard to find two more diametricallyopposed shows than the NBC replacement for IT.A.C.L.E.,Monday. 8-9 pm. and the ABC proposed replacement forHondo, Friday 8:30.9:30 pm. In general the proposedreplacements are musical variety shows-there the resem-blance ends.

Another factor both shows have in common is a dis-appointing lead-in. The Monkees, despite all the awardsand a triumph of sorts last season, hasn't gotten off theground this year and may be headed for the boneyardof two-year wonders.

Off To See The Wizard combines the ingredientsof Disney, cartoon characters and top movies, either ofwhich should be successful in theory, but has nevercome up to average expectancy.

The competition for both shows is relative. Gunsmokeand Lucy are strong, but both Cowboy In A/rica and theeconomy version of Rat Patrol are weak on Tuesdaynight. On Friday, Comer Pyle and the Movies are all-powerful, while Star Trek has been very poor this year.The conclusion is that there is room for another winnerin both time periods.

Even the audience composition is relative. There willbe a considerable number of children, along with adults.since the time periods straddle the going -to -bed times.To be successful, the shows must therefore appeal to allages and demographic groups, or an all -family. middle-of-the-road audience.

Now what did the network boys pick to buck upagainst the competition in this kind of environment?NBC picked Rowan And Martin, a couple of fairly youngnight club comics with a sophisticated style. and ABCpicked a rotating MC camp show which is designed tobring entertainment to the soldiers in US camps.

First let's chew up Rowan And Martin. As a summerreplacement for Dean Martin-and that wasn't a dumbidea considering their style-they got a 28 or so sharecompared to the 40 plus share that Martin normally gets.The competition wasn't very strong and a new show inrepeat time was what everybody had been yelling for, sothe conclusion must be that they were a flop. They shouldhave maintained Martin's share of audience by anystandard or dropped it only slightly.

The special for Timex that is used as a demonstra-tion film has remarkably good production values. It isfast-moving and uses modern techniques with blackout,and gimmicks that take a fast brain to catch, even underscreening room conditions and captive audience status.The acts are mod. IN, and dimensional. It reminds oneof the old Steve Allen Show. The one that flopped.

The rationale is easy to figure out. The big brains sataround in a smoke -filled hotel room in Beverly Hills and

Viewpointssaid. "N1c gotta get a show together quick that meansfilm is otit so we got quiz or variety. Variety worked forCBS last year with the Smothers !bothers when theydidn't look so hot in a show with a story line-so whowe got? Who is two without no commitments for sixmonths . etc.. etc.. until the girls came.

Now, no man can say what the end product is goingto be. It looks like a little Steve Allen type stock companyis going to do quick blackout specialties with a stockvaudeville set and a fast. sophisticated pace. The ratingswill probably recapitulate the summer ratings ;ti share.The best guess is that the show is too pop and modernfor the time period-or for any time period. Rowan andMartin lack quality star that pulls comics like DannyThomas and Jerry Lewis above their tired material.

ABC has gone the opposite way. Their variety showhas cheap. shabbily -clod performers. with a miserableband. a second-rate MC and buckets full of teary heart.The writing and planning is clumsy and C grade, but theheart fills the screen bigger than life and that is thedifference between a sleeper and a surefire flop.

The show opens up it. a large marine camp with thecamera snooping in on unsuspecting members of theaudience, and the reaction shots are classic. This 'talent'consists of the usual girls of the chorus, thus look likerejects from a classy dance hall, a good singer with aminiskirt and fat legs. a wild, way-out combo, a sisteract that looks pure and can't sing, an MC who doesimitations. and a grotesque group of starlets.

But, when these indifferent performers get one of thereal sergeant majors, or a corporal just back from a yearin Viet Nam, or other soldiers and surprise them withtheir wives or girl friends and their mothers and fathers

ROWAN AND MARTIN: THENCHCOATS DON'T MAKE AN U.N.C.LE.

secretly flown in for the show and everybody grabs eachother with tears streaming down their faces. baby, that'sshow biz and you can't fake it.

Odds are that both shows will get less than a :10 shareof audience as mid season fillers with the known competi-tion and lead ins. Rowan And Martin will get goodreviews from the big city sophisticates and the campshow will be knocked for its seedy appearance andshameless exploitation of our boys ;r1 the armed forces.

But if you have to bet between them always bet onthe tear jerker. If the ABC camp shows get better per-formers. and better production values than the openerindicated. plus the gimmick of reunion in the best RalphEdwards manner, watch it. It could be a surprise.-J.B.


Film /Tape ReportVERTICAL INTEGRATION

VPI is moving lock, stock andmovieola from its old haunts on Man-hattan's West Side to the East Side.Far from the rambling old layout onWest 44th Street and far closer tothe geographical axis of the majoradvertising agencies, the commerci-als -making division of the Electro-graphic Corp. is completing construc-tion of its multimillion dollar colorcenter on New York's East 62ndStreet, the first fully integrated post -production setup in the commercialsindustry, or anywhere in the filmindustry, excepting a few survivingbig Hollywood studios. Later, VIPwill gradually phase out its soundstages on the West Side as part ofthe long -planned Eastward move.

George Tompkins, president ofVPI, said the integrated post -produc-tion facility, due to open January 12,will primarily serve VPI's production

TOMPKINS

clients, but that other studios mightbe able to use it when the workloadpermitted.

The big new color post -productioncenter will represent, it's said, a newhigh in centralization and rationali-zation of commercials processing,printing, release print procurement,and shipping. Generally, post -produc-tion operations in the industry arecharacterized by fragmentation, witha flock of different companies eachspecialized in one aspect of post -pro-duction.

It takes time, and luck at hailingcabs, to shuttle film elements fromone small shop to another, not tomention time spent in wheeling anddealing, paper work, and contracthandling.

In the blueprints of the center nownear completion, the layout is organ-

ized as a single -line operation, withfacilities for sequential handling ofeverything from opticals and anima-tion to color printing to release printshippPtig, all in the rational "reverseassembly line" pattern characteristicof the more advanced light industriestoday, such as the electronics indus-try.

The complex contains a dry laboperation from printing to finishing,with a panel printer that can turnout six contract prints per minute.

For VPI's clients, Tompkins said,use of the streamlined, highly effi-cient facilities might trim 35 per centoff post -production costs, due pri-marily to the time saved in havingthe work all under one roof.

For another thing, as film elementsgo from one post -production phase toanother, they will stay cleaner, hesaid. The layout is equipped with anair conditioning and filtration plantsuch as those used in hospitals. An-other potential source of savingsTompkins described would comefrom volume discounts offered toclients who put a mass of post -pro-duction work in the shop.

At the same time, Tompkins an-nounced that VPI was opening upediting facilities at five different lo-cations on the East Side of Manhat-tan, ranging from Murray Hill toTurtle Bay, from Fifth Avenue toThird Avenue. Purpose of the dis-persal. Tompkins said, was to put aVPI editing facility within a two -block walk of every major advertis-ing agency in town. The new VideoEditors Centers, he said, would beable to serve the agencies morespeedily.

HUCK FINN VS HUCK HOUND

It's been years since the last live -action children's adventure series wasdriven off the network Saturdaymorning schedules, where now car-toons hold undisputed sway.

George Lefferts is seeking to crackthe cartoon blocs with a live -actionshow, The Adventures of Huckle-berry Finn. "Cartoons have probablyreached the saturation point," Lef-ferts remarked.

Executive producer of LaureateProductions, a new production entityrecently set up by Broadcast SalesInc., Lefferts is writing a script for a

pilot on the adventures of MarkTwain's character. He plans to keepthe characters and the period of thenovel unchanged.

"The story has a lot to say to to-day's children," Lefferts remarked."Huck, remember, is rich, and soidentifiable by the children of theaffluent society. Jim, the Negro run-away, has something of the The Fugi-tive. And Jim evokes contemporaryNegro feeling, the need to break outfrom the ghetto."

Lefferts sees Huck as not only acommercial vehicle at least asgood as Superman, for example, butas a show that could involve kidsemotionally to a far greater degreethan do cartoons.

It will appeal, he feels, to the nos-talgia of today's youth for a simplerpast they have so far only hearddimly about. He sees Huck as educa-tional, and as a way to comment onthe present scene. "Each chapter in

LEFFERTS

Twain's book is a distinct adventure,"Lefferts remarked.

Before joining Laureate Produc-tions earlier this year, Lefferts hadrun up a long list of credits as tvproducer, director and writer, win-ning Emmies for his Purex Specialsfor Women and other laurels forwork with Studio One, ChryslerTheatre, Kraft Theatre, and a num-ber of other series. Lefferts wrotetwo plays opening on Broadway thiswinter: The Boat, being produced byAlan King's Quartet Productions, andHasta La Vista, Cruel World.

At Laureate, Lefferts, who is alsoproducing Law of the Land (series of130 five-minute programs offeringlegal counsel and comment by notedlawyers) is also working on plans fortaped specials, and on a series, to be

'IP

P;


snot in 16 mm color, on some of thegreat narrative poems like Leaves ofGrass and William Carlos Williams'Desert Music. The series, calledPoet's Journey, will run to 13 halfhours. Lefferts said it may go intosyndication.

Meanwhile. Lefferts is preparingto shoot the pilot for The Adventures

!I of Huckleberry Finn down on theSewanee River in Florida. Hecovered the location when scouting

t sites for a feature film some yearshack.

TAPE DUPE CUTS

Indications are that tape is nowas economical as film as a way ofsending a commercial out to all thestations in a spot schedule. 11% NABrequirements. remember. stationsneed two film prints of any com-mercial. but only one tape. whetherduplicate or master.

Ily last month the two biggest tapeoutfits. 3\1 subsidiary VideotapeProductions of Nets York, and ReevesSound Studios. reduced the price oftape duplicates. Now Reeves has re-duced its dupe prices vet again.

The price per dupe on an 1 rder of18 or more dupes is now 515.50, fortape, reel, and box. Now. Reevessays, a dupe of 35 mm master qualitycan he furnished for the same cost as6%o 16mm odor reduction prints.

At press time. Videotape Produc-tions and other tape houses were pre-paring to loner prices to meet thenew price reduction at Reeves.

PRINT PROCUREMENT

A new prim 1.1"cm-emelt' servicehas been set up. \ \Vilding in Chi-cago. to handle distribution of prints

commercials produced 1,and processed b another \\ 1111111'2,1111..iditin. \lid- \ merica Color Labs.

!leading up the new service. called\\ ilding Film Distributors. is Ila -mond M. Seim :II L. who kill beenr% kill Gardner Aik l'Itising in St. Louisas broadcast business manager and asadministrative assistant to the execu-tive e ice president. The print sen ict\\ ill also maintain service facilities at\\ maims:, in New lurk and1.1., \ 11.11'11.14.

FUQUA BUYS MODERN

Fuqua Intim-hies entered into anatlieement to acquire the assets of\lodern Telesei ice. Inc.. %% hid).

Advertising Directory of

SELLING COMMERCIALS

AT&T N. W. Ayer & Son

PAUL KIM & LEW GIFFORD, New York

Avis Rent-A-Car Doyle Dane Bernbach

VIDEOTAPE CENTER, New York

Anheuser Busch "Busch Beer" Gardner Adv.

PACIFIC COMMERCIALS, Hollywood

Betty Crocker Casseroles Knox Reeves

SARRA. INC.

Aurora "Skittles" Adams, Dana & Silverstein

PELICAN PRODUCTIONS. INC.. New York

British Sterling The Marschalk Co

THE TVA GROUP. INC., New York

Avco McCann, ITSM

LIBRA PRODUCTIONS. INC New York

Crest Benton & Bowles

FORD FILM ASSOCIATES, INC., New York


"In our world of researched over-views, syllogistic product positioningand positive non -statements, it's niceto pick up TELEVISION AGE andget information."

PAUL BLUSTAINVice President,Radio -TelevisionPost -Keyes -Gardner, Inc.

A native of Brooklyn, New York, Paul Blustain attendedJuilliard School of Music before entering the Army wherehe spent three -and -a -half years in the Air Force Band asa clarinetist. After his discharge, he attended ColumbiaUniversity graduating with a Masters Degree in DramaticArts.

In 1951 Mr. Blustain became a producer -director forWLW-D in Dayton, Ohio. From 1954 to 1956 he was as-sociated with Young & Rubicam as a commercial producerand during two of those years was in charge of all musicproduction for the agency. In 1959 he joined McCann-Marschalk as a producer, remaining with that agency until1962. Ile has also produced for Fuller -Smith & Ross, J.M.Mathes and Norman, Craig and Kummel.

In 1965 Mr. Blustain joined Post -Keyes -Gardner in Chi-cago as Vice President and Head of that agency's Com-mercial Production Department.

Mr. Blustain has three lively sons, but still finds timeto remain active as a chamber music performer.

Television Age

among other things, is active in thebusiness of procuring prints of tvcommercials from laboratories andshipping them to spot -buy stations.

Fuqua, which operates radio andtv stations, is paying for the acquisi-tion in common stock valued at $3.2million. No sales or earnings figuresfor Modern were made available, butit is believed to gross several millionsannually.

SUBURBAN GAMES

Robert Nicholson and Roger Muir,the game show producers whose New-lywed Game is on ABC-TV and whoalso produce a game show for theTaft stations. have worked out aneconomical and speedy way to testout game show ideas and make roughpilots.

They've set up a studio in Larch-mont, in the heart of the affluent

LARCH MONT HAMS

New York suburb of Westchester.and equipped it with Sony videotaperecorders.

There they stage demonstrationsof their gameshow ideas, with livelypeople recruited from Little Theatregroups around the county. "With thevideotape recording, you can tellright away if you have a good show,"said Roger Muir.

Hitherto, with live demonstrations.Muir said, "you'd spend six monthsworking on an idea, then stage thedemo and. if the first prospect didn'tbuy it, you'd have to restage thedemo each time you wanted to pre-sent your idea to a new prospect."

Another earlier way to try to geta game show on network or into syn-dication, Muir said, was to attemptto get it on a network in Canada orwith a station group in the States.The Canadian solution didn't usuallywork out too well, he indicated, be-cause it would then be tough to sellit to a U. S. network.

Now with videotape demonstra-tions, Muir said. it's possible to work

TN


out the kinks in a number of showideas at the same time, with no im-mediate pressure to perfect and selleach one before going on to the nextone.

He said his company got threeshows into presentation form on tapein six weeks up in Larchmont. andthey are seeking to develop as manyas 12 new shows each \ ear.

Nicholson -Muir is now makingpresentations with videotapes of twoof its Larchmont workouts. The BigSpenders and Skramble. Tine firmwas set up earlier this year. BothMuir and Nicholson had been pro-ducers at \11(:_Tv for men- a decade.

THE DOTTED LINE

Seasonal specials nn etc Imo

along last month, with Wolper TySales reporting long lineups lotMean Mr. Firecracker and theRay Conniff Christmas Special:WBC Program Sales reporting 2:;sales of The Mere Griffin Christnot,Special, from WHEW -TV New York to

Goodland. in addition to theI 20 -station lineup signed up for the

four Griffin specials. ABC Films hadalready lined up -15 stations for itsannual live -feed of New York's Erewith Guy Lombardo, and the corn-pains'- vice president and generalma ii.r2er. Kevin O'Sullivan, said heepecied to have, 100 markets in thelineup in time for the live feed.

ABC Films, meanwhile. lauticheilinto syndication a package of 1 Tdocumentaries. including 13 chapter,in ABC -TV's .Saga of Western/ Man.The liackage is called Echo -I.

I riled Artists Tv reported astreak of sales on Circus Parade inthe U.S. and abroad (where the seriesis billed as Circus Everywhere).

UA-TV recently sold the show tow LBW -TV Miami. wuco-Ty Minne-apolis. K wGN-Tv Denver, WSBK-TI,Boston. WFLA-TV Tampa, WA LA -T VMobile. Koak-TY Las Vegas. andseven other station-. for a total mar-ket tally of 62 cities.

Abroad. the shoo has gone to some30 countries. among them Poland.Hungary. and Yugoslavia, Finland.Ireland and Cyprus.

In Asia and Australia it's goo,to Malaysia. Thailand. Japan. °kin,a w a. Pakistan. India. Hong Kong.Australia and New Zealand.

In Latin America, Circus Every-where has been bought by Argentina.

Advertising Directory of

SELLING COMMERCIALS

Delco Batteries Campbell -Ewald

FILMFAIR, NEW YORK

Monsanto Doyle Dane Bernbach

COLODZIN PRODUCTIONS, INC.. New York

Gillette "The Spoiler" DDB

PGL PRODUCTIONS, INC. New York

National Brewing Company W. B. [loner

JEFFERSON PRODUCTIONS. Charlotte

Hardee's Hamburgers Henderson Adv.

CHARCO BROILEDJAMIESON FILM COMPANY, Dallas

One -A -Day Vitamin Tablets The Chicago Group

PELICAN FILMS OF CALIFORNIA

Lanvin/Charles of Ritz Inc Clyne Maxon

FRED A. NILES Chicago. Hollywood. New York

Ouantas Cunningham R. Walsh

airN. LEE LACY/ASSOCIATES. LTD.. Hollywood

Television Age, Use, ern ber IN. 1007

Brazil. Ecuador, Peru, Guatemala,Mexico. Costa Rica, Venezuela andNicaragua.

LAYING ON MORE TAPERS

Videotape Productions of NewYork, subsidiary of the 3M Co., re-ceived a green light from the parentcorporation to acquire more equip-ment-over a million dollars' worthmore-and to hire more technicians.The extra financing will permit anexpansion in production capacity.

Videotape Productions presidentJohn B. Lanigan said that with thenew equipment. "an agency man canboth shoot and post -produce duringnormal working hours instead of theinconvenience of coming in afterdaytime Audio shooting for comple-tion M

OZZIE ON THE ROAD

Off the shelf and onto the syndi-cation trail went The Adventures ofOzzie and Harriet, which ran for 14

THE NELsONs

years on ABC-TV from 1952 to 1966.American International Tv ac-quired 200 half hours of the seriesfrom Ozzie Nelson, president ofOswald Enterprises.

NO SUSPENSE FOR MCA

MCA -TV chalked up eight moresales on Suspense Theatre, 53 hourshows originally produced by Univer-sal for The Kraft Hour on NBC-TV.for a total market lineup of 20, allsigning within one week of the releaseto syndication.

The buyers: WABC-TV New York.KABC-TV Los Angeles, KRON-TV SanFrancisco, KHTV Houston, WSB-TV At-lanta, KDAL-TV Duluth, KHBV-TV LasVegas, KSL-TV Salt Lake City, WAND -TV Decatur, KOIN-TV Portland, WMALTV Washington, WPIIL-TV Philadel-

delphia, KATC-TV Lafayette, IVITI-TVMilwaukee, KODE-TV Joplin, WDSU-TV New Orleans, it FRV-TV Green Bay.KRLD-TV Dallas-Ft.Worth, KIRO Seat-tle; and KPIIO-TV Phoenix.

ZOOMING IN

JEROME S. IIYAMS was elected presi-dent of Screen Gems. Inc.. succeed-

II TA M.

ing Abraham Schneider. who becamechairman of the board and chief ex-ecutive officer.

Hyams began his career with Guar-anteed Pictures in 1934, in 1938 tookpart in the formation of Common-wealth Pictures. After serving in theNavy during World War II he re-turned to Commonwealth as salesmanager.

In 1950 Hyams set up Hygo TvFilms, and in '54 acquired Unity Tv.When in '57 Hygo and Unity weretaken over by Screen Gems. Hyamsbecame director of syndication salesat SG. In '59 he became executivevice president and general manager.

On assuming the presidency Hyamstold Screen Gems' stockholders he ex-pected record earnings in fiscal '68.

United Artists Tv awarded a vicepresidency to JACK MCLAUCIILIN man-

MCLAUGHLIN

ager of UA-TV's station services unit,headquartered in Cincinnati. Mc-

Laughlin started out in broadcastingin the forties with KELA and KAPA inWashington, moved to tv in '51 as anaccount executive with WKRD-TV Cin-cinnati.

JAMES I'. JIMIRRO joined CBS En-terprises 1 new name for CBS Films)as international sales manager. Hehad been an account executive at theCBS -Owned station WCAU-TV Phila-delphia for the past two years. Beforethat he was in production at WFIL-TVPhiladelphia.

Jimirro is a doctoral candidate inmass communications at Penn State,and already has a masters in thesubject from Syracuse, where he wasan instructor in broadcasting andcommunication.

WERNER NIICHEL joined WolperProductions as vice president for pro-gramming, Michel was vice presidentand director of radio and tv for Sul-livan Stauffer Colwell & Bayles, for

MICHEL

the past four years.Earlier he was a broadcasting con-

sultant to a number of companies.among them Nationwide Insurance.Air Transport Association. John ILBreck. Inc.. N. W. Aver & Son.

Before that Michel had been vicepresident and director of radio andtelevision at Reach. McClinton. incharge of Prudential's TwentiethCentury series on CBS -TV. From1953 to 1956 Michel was executiveproducer at the Du Mont Tv Net-work.

MEL BAILY, vice president and pro-gram director of Met romedia'sWNEW-TV New York. left the stationafter three years in the post. He saidhe plans to go into production.

HERBERT F. SOLOW joined MetroGoldwyn Mayer as vice president incharge of tv production. He hadbeen with Paramount Tv as vicepresident in charge of programs, and

38 Telerision Age, December 18, 1967

until this year was with Desilu in thesame capacity.

Before joining Desilu. Solow waswith NBC-TV as director of daytimeprograms and with CBS -TV beforethat as director of daytime programs.Earlier Solow was with CaliforniaNational Productions and with theWilliam Morris Agency.

.JOI1N GROCAN joined Peter M. Ro-beck & Co.. as sales executive. Untilrecently Grogan owned and operatedthe Lyric Theatre in London, wherehe put on experimental plays. EarlierCogan was program manager andproduction manager at wAnc-Ty NewYork. He is the author of Introduc-tion to Radio and Television, a text-book in use in U.S. universities. andcontrilooted secti

december 18, 1967; fifty cents blevision age..."fellini's 81/2," "divorce-italian style," "two...

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