Sponsor (Nov 1946-Oct 1947)

Bands, which lor years were without mercial standing on the air. with the exception ol the Coca Cola Spotlight Hands program, are once again prime favorites of program builders. That's because both the Vaughn Monroe and Benny Goodman summer replacement shows hit nice ratings. The Tommy Dorsey musical experiment on WOK. on the other hand, hasn't done much good for Dorsey or for popular music, and Norman Livingston, whose baby the pop music cycle at the station was, is no longer the Bamberger station's fair-haired program boy. Unanswerable question which still faces all program builders is how disc jockey (record spinning i sessions throughout the country still are tops for audiences when live versions of the same music on the air fall short of the top drawer. Both senior networks have been watching their programs more carefully than ever during the early Fall months. First Niles Trammell told ad-man Milton Biow, and sponsor Philip Morris, that the Villa Vallee program would not be acceptable on the network. Then Rudy Vallee's representative. Biow, and the Morris organization came up with the suggested return ol the Vallee original Fleischmann's Yeast show, and NBC permitted Vallee to go on the air. The program thus far hasn't been highly rated and its continuance has not been sanctioned indefinitely. CBS stepped in on the Joan Davis program when its promotional organization, headed by Miss Davis' husband, was preparing to put into circulation U. S. currency with serial numbers that had been recorded. It planned to give zeal rewards to the persons who happened to have the folding money when listening to Davis Tea Room broadcasts. That was a little too much roulette lor Bill Paley, CBS chairman of the board and network program boss. NBC also stepped in on the Wildroot King Cole Trio program and said "no" until the sponsor went out and added guest talent to the program roster. This season it requires ■ talent to stay on the major networks. Edgar Kobak. MBS prcxy. in Mr. Sponsor Asks: — -(see page 64 1, advises advertisers to "put the money in the program, that's the tx ^t kind of promotion." If the Arthur Oiodfrcy" Talent Sunt program ( BS is sold to a bankroller there will be three title suits on the hands of A. G. and the network. A number of stations throughout the country had talent scout programs on the air as long as 10 years ago. The Frank Fay (Harvey) delivery is being copied by a number of "comedians" even before the first Fay-Phil Baker show makes its bow. Radio Directors' Guild is going to have a banquet at the Waldorf-Astoria and will make awards to the best performers of the year. Odds are that a number of directors will be looking for new stand-bys after the announcements are made. Classic line of an unbiased critic. Seymour Peck of PM, was proudly uttered when the suggestion was made that since I'pton Close was going to be in town soon, it might be wise to get at the truth of the way he thought by an interview him. Peck's retort sublime was, "I'd rather picket him." Voice most often heard on network programs that come from th. coast is that of John Brown, who plays in everything from a Joan Davis opera to Date with Judy." There should be some other swell players who become hysterical at the flick of a director's thumb. B< tty Garde came back to a top part in broadcasting, after her rest from "Oklahoma," with a key role in the Henry Morgan show. Garde's as good as Morgan, in her own way. Shift of top programs is changing the living of hot radio fans. Overheard recently out in the West where listeners really listen was this matter-of-fact remark: "I don't care if Wednesday is date night. I can't be annoyed when I've so many important boy friends to hear." She meant Sinatra, Crosby. Henry Morgan, to mention a few Wednesday night, 1946. names. K;ilr Siniili Don't Let 'em Die on Opening Nights When Abbott and Costello made their debut on my show, the/ fluffed many of their lines. So did the Aldrich family and the veterans in "It Pays to be Ignorant" cast. Henry Youngman and even yours truly, Kate Smith, went up in our lines. Don't give an artist a chance in the first place, Mr. Sponsor, unless you're willing to ride along with him, long after that first night. We all have butterflies in our stomachs, when the "on the air" sign flashes. If we didn't we wouldn't be performers— so give performers more than that first chance — you II be surprised how often they'll come through for you later. 52 SPONSOR