Broadcasting (Oct 1931-Dec 1932)

Unique Psychology of f The March of Time" By FRED SMITH Managing Editor, "The March of Time" Designed to Acquaint Public and Advertisers With Magazine Rather Than Build Circulation, Program Did Both Fred Smith "ATDIBLE journalism'* was the very apt description given the dramatic news programs of Time news magazine. A new departure in broadcasting technique, this program literally made the radio world sit up and take notice. Just how it was evolved and the purpose it has served are here recounted. TONIGHT the editors of Time raise the curtain again on a new kind of reporting of the news . . . eight memorable scenes from the news of the week . . . "From the March of Time" . . . After but sixteen weeks it was termed "the foremost feature of the air," "the best radio program," "the apex in showmanship." What is back of the sponsors' mind in turning out such a completely entertaining and intelligent production? To what extent has their purpose been fulfilled? Several magazines are resorting to the ether waves as a medium of advertising. When a publication goes on the air, the general and immediate inference is that the primary purpose of its paid broadcasting is to increase circulation — creating, in other words, what might be classed as the billboard of the air. This is probably true in the case of most magazines and the inference would consequently be well-founded. However, Time, the weekly newsmagazine, is an unusual publication with an unusual purpose. Truth is stranger than fiction and here is a fact which bears this out only too well. Time did not and does not have the bane of publishers' existence — the circulation problem. That is, Time did not and does not need a rapidly increasing number of sales. The magazine from its inception has built itself up slowly and had gradually expanded in accordance with the earliest plans of its publishers. Time had reached the steady and solid circulation of 350,000 without having been forced to resort to the usual advertising tricks and ballyhoo. Its enthusiastic subscribers were comprised of men and women of affairs, — diplomats, financiers, industrialists, editors, government officials, members of the legal, medical and educational professions, — people whose time was valuable. They were interested in getting the news without bias, written in a form intended to appeal only to the highest mentalities. This unique position of the magazine, however, created by itself a problem which demanded a careful and well-plannsd solution. The question was this : since the magazine was known to but a limited number, it was unknown to thousands of dealers and consumers of nationally used and distributed products, who were part of the general public, not familiar with the magazine. What could be done to make these great number Timeconscious without necessarily making them subscribers? How were the dealers all over the country to be made TiME-conscious so that they would be cognizant of Time's value and power as an advertising medium for the wares in which they were interested. TWO YEARS PREPARATION THE most plausible solution to this problem seemed to be a nation-wide radio program which would broadcasf from coast-to-coast most effectively the editorial qualities of the weekly magazine and which would wake people who would not read the magazine conscious of its power. Thus Time went on the air not to increase its circulation but to inform dealers the country over of its power as a medium for national advertising. For two years the idea of dispersing news, dramatized in form and specially adapted for radio production, had been in the process of development in the Time offices. During 1930 a weekly service of outstanding news dramatizations had been syndicated by means of recordings to a group of 110 leading broadcasting stations in various parts of the United States. At the beginning of 1931, Time gave up this service in order to concentrate on a new development of the concept. For three months the program and production experts of the Columbia Broadcasting System together with the radio department of Batten, Barton, Durstine and Osborn, advertising agency, cooperated with Time in working out the final basis for the new program series. The "March of Time" first went on the air on Friday, March 6, 1931. Arthur Pryor, Jr., was in charge of producing the program. Though the weekly performance lasted but half an hour, the show was rehearsed over twelve hours each week. Howard Barlow, Columbia conductor, cooperated in scoring and directing the musical part which added so much to its completeness and atmosphere. A battery of three sound-effects experts was used to sustain the correct atmosphere. Each week the outstanding news developments were scanned and seven or eight leading in importance were picked for radio {Continued on page 32) A scene from the recent Spanish revolution is being depicted under the direction of Don Stouffer, seated at right. Harry Vonzell, announcer, is shown in front as the "Voice of Time." The setting is the CBS "World Studio." November J, 1931 • BROADCASTING Page 13