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Iioin ])r()j)(r iiaxiiio. Dining ihc hisi hall ol the piooiimi. ilic hostess ansvvcic'd (|iU'sii()ns loj Hostess Room participanis on lood. hoiiicmakiiig piobknis and kitdicMi hinls. l^rioi (o ihc i)roa(l(asi. oiicsis were scivcd a linulicoii.
W'hal did this achic\e lor Remar? Il is Ich thai the broackasis directly trom the plant pla\ed no small pait in the success ol this scries. Talking about a plant and talking jroiii it are two diflcrent things, and it is a certainty that talking jrom it is elective. The plant itsell became a stage, and from the point ot \ iew ol broadcasting, that's smart showmanship and its smart business.
This is how vice president and general sales manager ol Remar Baking Co., Ray \V. Morris, felt abotit that particular series at the time: "I feel that the success of otu' Hostess Room is dtie to combined audiences: groups of ladies in the plant, those who have been in the plant, and those anticipating their trip through the plant. \Ve feel that this t\pe of achertising is the finest and most producti\e piece of pidjlicity or ad\ertising we have ever tised."
Remar's program, Calling All Kitchens was inatigurated in 1942, and because Kathleen Jensen had become so widely known as a radio personality, and in view of her close association with Re>e\r Bread, she was selected to conduct this telephone quiz series.
This program is still on the air, and because Remar Bread believes in sJioiinnansJiip, the various ingredients of showmanship are incorporated in this series. Telephone calls made at random to women who have filled out registration cards obtainable at their grocers are the basis for
MAY, 1944
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