Sponsor (Nov 1946-Oct 1947)

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The field of package shew producing |S the must hazardous in radio. I verj yeai anumbei oi young men with ideas leave agencies, networks, and statu, us and new producing groups are bom. And just as often as the) are born other producing groups quietly pass from the picture. Hien are a few independent producers who have survived through the years. These are the men who own one in more packages thai have become hits — standard programs on the networks, men like Philips Lord, Hi Brown, Henry Souvainc, Ed Byron, Ted Collins, Lou Cowan. John Guedel, Frank Hummert, Raj Morgan, Carlton Morse, Bernard Prockter, Bernard L. Schubert, Carl Wester, John Clark (Transamerican Broadcasting & Television Corporation). Even some of these frequently approach a new season with nothing available for sponsors. Most successful of the group of regulars is, of course, Frank Hummert with his stable of daytime strips, a field in which Carl Wester, ex-Chicago and now Hollywood, also has been successful. Producing daytime shows that deliver satisfactory housewife audiences at a low cost is an assembly-line type of creative endeavor. Building shows to broadcast five times a week within a price range of Radio's idea man: $2,000 to $3,000 means cost controls of the highest order. Too many and too long rehearsals can throw in the monkey wrench and even elaborate production requirements kill budgets. That's why the number of independent producers in the daytime field is very limited indeed. Producing limited-budget shows for evening broadcast is also a fine art — an art that is practiced by directors like Hi Brown, Ed Byron, Phillips Lord. Low-priced high-rated shows like /finer Sanctum and Mr. D. A. require a regular staff of freelance writers, a knowledge of the abilities of a great number of actors, plus an ability to get the most out of people with whom the director is called upon tcwork. It's most unfortunate that there isn't more stability in the independent package producing field, for many of the most sue WEMP Moves AHEAD! Foi twelve years WEMP lias served the 225,900 families in its primary area. We have won a lot of well-earned laurels and are <lail> adding new ours. Hew Programs do it . . . We created and sold man) new local programs, sued ;is "Breakfasl with Bob," "Ladies' Choice" and "Listen, M> Children." Promotion Helps it . . . We inn regular schedules in lioth Milwaukee newspapers — Dash Cards on the trolleys and busses — an attractive "WEMP Listener" magazine and a complete iiiniitliK separate Merchandiser to grocers and druggists. Results Prove it . . . I sing fifteen minutes Monday through Friday, Milwaukee's Largest l)r> (leaner overwhelmed \>\ results on two unusual tests. Using a live-minute newscasl several times daily, an <*il Company conducts successful direct sale campaign. Largest detail "slim Store lm\s WEMP-developed juvenile program and finds new wa\ to sell youngsters between ages lour and ten. $100,000 Will Improve it . . . \ new Transmittei Site and I * ► _» foot Tower will increase coverage |0(l per cent. WEMP Miluxudzee Basic Station AMERICAN BROADCASTING COMPANY Hugh Boice, General Manager NATIONAL REPRESENTATIVE: AVERY-KNODEL, INC. NEW yORKl* CHICAGO • SAN FRANCISCO • LOS ANGELES cessful formulas now on the air were originated by package producers. Typical of these are We, the People, FBI in Peace and War, Aldrich Family, Double or Nothing, Hint Hunt, Lone Ranger, One Man's Family, Superman, Quiz Kids, People Are Funny, Exploring the Unknown, and Information Please. It is possible, of course, that the networks' renewed emphasis on program production may hypo idea production but thus far emphasis hasn't been on new formulas but merely on building salable commercial programs that are expected to develop good audience ratings among network leaders. Ideas in sponsor's report in its Fall Facts edition (July) of available network packages were hardly discernible although network package program executives insist that ideas are welcome and will be given every opportunity. Agency men who have bought package programs from independent producers state that the advantages are numerous. First there's the fact that the show belongs to the producer who has a personal interest in making it the best of its kind and works directly for the agency. Second, "It's like hiring a major program executive — only you pay only for the program and not extra for the supervisory employee." That's the way a major advertising agency executive explained the fact that his organization hadn't created a single program in its history but had purchased packages which were then further developed jointly by the package producer, client, and agency staffers. An important factor in the availability of independently-produced packages is the fact that the program is not tied to any specific set of facilities as is the case with a network package. Of course neither is an agency-produced program, but the number of agency-produced-and-originated shows is small. The reason for this is simply that the agency is the sponsor's representative. It cannot build up a group of programs and have them on tap when an advertiser decides that he wants to go on the air. The agency starts 28 SPONSOR