Broadcasting Telecasting (Oct-Dec 1961)

SPONSORS SPELL OUT DO'S, DONTS continued processes by which Armstrong exerts control over its 11 -year-old Armstrong Circle Theater series of "dramatic actuals." Control is essential, he said, because the public holds the sponsor responsible for what it sees, and with Armstrong putting its name on almost 400 products, it must make sure that no "bad impression" rubs off anywhere. Responsible service to the public is the keynote of both the business and the television policies of Armstrong, he said. He said conferences are held monthly or oftener to canvass program ideas. Present, in addition to Mr. Banzhaf, are the general manager of advertising and promotion, a tv coordinator, and representatives of the public relations department, plus representatives of BBDO, Armstrong's agency, and producer Robert Costello and the script editor, from Talent Associates. Carefully Reviewed ■ When the first draft of a script is ready, he said, it is carefully reviewed by sponsor, agency and producer. Armstrong officials seek especially to evaluate general interest and dramatic value, detect inaccuracies or lack of objectivity, and see "if it is in good taste and makes some contribution to the public good." The comments are passed along to producer Costello — who "in most instances has already spotted the same objectionable parts of the script and has initiated action to correct them." Mr. Banzhaf said that in the last five years eight scripts had been cancelled. He listed them, givina reasons that included dullness, morbidity, failure to present solutions to problems raised, conflict with another program being planned, and, in the case of one speculating on the aftermath of atomic attack, fear of creating a feeling of futility and perhaps causing panic. Challenge Print ■ Mr. Banzhaf contended that television, although it could be improved, has not sunk to the depths of other media. He also challenged the contention that advertisers do not influence the editorial content of print media. Promotion and cut prices have inflated print media circulations to the point where "today we can no longer assume that circulation alone is an accurate measure of editorial vitality," he asserted. "Many advertisers . . . suspect that the unread circulation of some magazines is great. These magazines have lost their editorial vitality." He said Armstrong is "quite concerned" and "carefully examining the editorial content of every magazine in which we advertise"; that "we do not hesitate" to point out faults and "if the publication fails to improve, we stop spending advertising dollars in it, because we know its advertising vitality is dependent upon its editorial vitality." Sales Increase ■ Mr. Banzhaf described Circle Theatre as "a most valuable property" and important part of the total selling and merchandising program which has raised Armstrong's total U. S. sales from $249 million in 1955 to $291 million in 1960. No Do's and Don'ts ■ American Tobacco's Mr. Stevens said his company has no firm do's and don't but tries to abide by the NAB Code, avoiding offense to any race, creed or religion, avoiding undue stress on sex or violence, etc. In addition, he said, producers are advised not to show the smoking of cigarettes in flammable surroundings or by anybody below college age. The changes American Tobacco makes in scripts are "trivial," he said. Unlike the witnesses who preceded him, Mr. Stevens was willing to indicate what his company considered an "acceptable" cost-per-thousand range — from $8.40 to $13.00 for a prime-time half-hour show, and from $2.80 to $4.15 per thousand homes per commercial minute on a one-hour show. He acknowledged that ratings figure in decisions to drop or retain programs, but said other factors also are involved including sales, both nationally and by area. Policy Control ■ Gail Smith of General Motors testified that GM exerts a form of "policy control" with respect to its sponsorship of entertainment programs in order to avoid subjects that are likely to be "offensive" or influence viewers to commit illegal, immoral or offensive acts. He said some sort of "policy control" is necessary because an advertiser's "good will" is intimately associated with the television program he sponsors. He offered for the record a copy of General Motors' guides concerning television program content employed in making program selections and in evaluating program content once GM has made a commitment (see page 26). He said these copies are distributed by GM to its various division executives and to officials at its several advertising agencies. "Basically these guides are nothing more than expressions of good common sense as it applies to respecting the feelings, morals and beliefs of people," Mr. Smith declared. No Controversy ■ Under questioning, Mr. Smith reported that GM avoids sponsoring "programs that could be controversial." Asked why GM follows this policy, he replied: "We're interested in maintaining the good will of all David A. Shepard, Standard Oil of N. J.: ". . . unrealistic to set ourselves up as censors. . . ." the viewers and we see no reason why we should jeopardize this good will. It's the better part of valor to avoid controversy." He replied to another question by saying: "In my experience in advertis ( ing and television, I would say it is general practice on the part of ad.ertisers to avoid controversy." Torrence M. Hunt, general manager j of advertising and promotion for the Aluminum Co. of America (Alcoa). Pittsburgh, read a previously prepared I statement that answered most of the questions Mr. Bryant had asked previous witnesses. Alcoa Policy ■ Among other things, | Mr. Hunt said that Alcoa, a network tv advertiser since 1951, chooses its programs on the basis of good taste and I entertainment value; does not have any j written policy governing program se | lection, but reserves the right to reject material that is contrary to its "interests 1 and standards." Mr. Hunt said that in practice his company rarely exercised | this right and recalled only one instance in the past seven years when a production had to be changed because it con \ flicted with Alcoa's business interests. i| Later. Mr. Hunt identified the pro ' duction as "tragedy in a temporary jj town," a dramatic show in NBC-TV's Alcoa Hour series (1955-56 season). He said the show's theme was one of 11 racial discrimination which took place in a "mobile home atmosphere." He added that since the mobile home industry is a "fine customer for Alcoa, we did not want to put them in an unfavorable light." As a result the show was changed, with full consent of the producer, from a "mobile home type operation into a shantytown." Mr. Burgard testified Thursday after , noon that his company seldom has to tell a network that it will not sponsor a program, but he brought to light two | 32 BROADCASTING, October 2, 1961