Broadcasting Telecasting (Oct-Dec 1957)

HUNTER MULOCK MEYER FINE THOMPSON BELLAIRE HOW SIX TACKLED RADIO COMMERCIALS At an afternoon session Tuesday devoted to "creating the radio commercial," Rollo Hunter, radio-tv department, Erwin Wasey-Ruthrauff & Ryan, told of problems encountered in adapting the print medium theme for Dutch Masters cigars to radio. The theme. "Good Things Happen to the Man Who Smokes Dutch Masters," was visualized in print by the French caricaturist, Francoice. Mr. Hunter said that after experiments in jingles, it was found the radio commercial would have to follow "pop" song style to be effective. "And getting a standout situation in this business is rugged," he admitted. Campaign object: to raise the quality image for the cigar and to reach the young market. Vocalist Betty Brewer was chosen for qualities of warmth and enthusiasm to match music composed by Bill Gale. Mr. Hunter related. Once the final version was set, a total of 48 "takes" were required before the master tape for the basic one-minute commercial was produced. Next the various length commercial versions were produced in both Dixieland and modern jazz styles. Ernest Mulock, vice president of Grant Adv.. Detroit, recalled how a summer sales promotion evolved into the radio campaign for the 1957 "swept wing" Dodge, using comedy sequences for the serious purpose of capturing attention, the theme, "If You Buy a New Car, Be Sure You Get One." The comedy bits centered on the plight of various characters who got a "bargain" buy in an other make of car, then discovered they had failed to get a "new" car because Dodge made theirs "obsolete." "I claim these were effective." Mr. Mulock said, noting that dealer enthusiasm was engendered along with immediate consumer recognition. "All were aware of the theme. The idea got across." Edward Meyer, vice president and account supervisor, Grey Adv.. New York, told how radio, after only five months, boosted sales 34% for Hoffman Beverage Co. in the Greater New York area. He related why the 1957 season was viewed by Hoffman as a difficult period — because both Pepsi-Cola and Coca-Cola were introducing their large bottles into New York, traditionally a "big bottle" market. The task given radio was to re-establish the identification of the Hoffman brand although it had been well established in the market for 40 years. "This was a campaign conceived and born for radio," he said. "No one takes a soft drink seriously," Mr. Meyer noted. So the various flavors of the beverage line were nicknamed and given a "happy" theme for the spots. But since the agency "brain session" couldn't come up with the right tag for sarsaparilla, that flavor became the unhappy member of the family and the butt of the line: "Could You Be Happy If Your Name Were Sarsaparilla?" "Tongue in cheek" commercials evolved in "documentary" style featuring a commentator, woman's fashion commentator, old-fashioned politician, board chairman, etc. [Advertisers & Agencies, April 29]. Reva Fine, senior copywriter, Ogilvy, Benson & Mather, New York, let Titus Moody (Parker Fennelly) of Fred Allen radio fame, tell the story of the Pepperidge Farm bakery products commercials in which he is featured. His New England humor helps convey to the listener the idea that Pepperidge Farm products are like old-fashioned home baking. Miss Fine indicated. Grant Thompson, vice president, William Esty Co., New York, said the "power of radio was never more impressively demonstrated to me" than when he heard passers-by humming or whistling the Winston cigarette commercial just one week after it hit the air in June 1956. Following popular song style but with "commercial bite," the commercial has remained effective after 16 months. Arthur Bellaire, vice president in charge of radio-tv copy, BBDO. New York, told how "super-saturation" radio spot in the fall of 1956 helped launch Hit Parade cigarettes. Because the field is so competitive, consumer identification had to be accomplished "in a hurry," he said. Therefore, "a jingle was a must," he said. With "a fanfare quality dominating throughout," the original jingle was aired 600-700 times weekly in each major market at the start. "Within one month, three out of every four persons interviewed in New York reported knowledge of the new Hit Parade brand." Mr. Bellaire said. SINCLAIR REFINING CO. How to "work wonders" with a five-second spot ( 1 2 words long) on radio was described by James J. Delaney, advertising manager of Sinclair Refining, who detailed the firm's safety spot campaign. As expressed by Mr. Delaney. after results were in Sinclair found: "Radio, the so-called dead duck, was quacking as lively as you like, and laying eggs all over the place. In this case, solid gold eggs. "Using the base number of cities, number of stations, number of spots, number of weeks per year, we at Sinclair proudly claim honors for what is probably the biggest campaign, not only in 1957, but in the entire history of spot radio." And, to do it. the campaign rolled quickly to this peak in less than a year. The campaign — a simple message of "Driving today? Remember to drive with care — and buy Sinclair — Power-X Gasoline" — was created by Sinclair and its agency, Morey. Humm & Warwick, and initiated on a limited test basis in New York City in the fall of 1955. It was extended in New York in January 1956 (260 spots per week among 10 stations with contracts to end of year) and results were coming thick and fast. Surveys were run of tv-homes-oniv with "eye-popper" results. It reached in one month 37% of men interviewed, a month later. 40% . This was at a cost of six cents per thousand impressions. The problem for Sinclair then was how to cover 36 stations with a limited budget? The quickie was the answer since it was possible to place from 40 to 200 spots weekly in primary markets. By mid-1956, the national campaign planning was shaping up and Sinclair could estimate quite accurately the cost for 100 cities in 36 states. A new conception then arose, as expressed by Mr. Delaney: "If the scattered, but nevertheless expensive tv and radio programming [then existent by Sinclair] were re-allocated, there might be enough money in the normal budget to support the smaller markets where never before had there been company-paid radio advertising. "These markets had been covered with a cooperative campaign only. The cost per spot Broadcasting October 14. 1957 • Page 29