Sponsor (July-Dec 1952)

kets, and expects to have its quota when the show premieres later this month. With the program already being on film (at a cost estimated by spoasor to be 25' ( more than comparable live production), quality of reproduction won't suffer on stations that have to air it from film prints on a spot basis. Also, Pepsi is not trying to snare prime evening slots for its new show. Most stations will carry the program in an early-evening slot, 7:15 to 7:30 p.m. E.S.T. on Tuesdays and Thursdays: a few will air it later. Thus, Pepsi bottlers are assured of a TV show that has multiple impact, good reproduction quality, and which can be placed on a spot basis if necessary. Also, they are bound to be pleased with the billboarding on the show itself, which is geared to the theme of "Pepsi-Cola and its bottlers" presenting the series. Even the success Pepsi had with Faye Emerson has a counterpart in the show. Acting as hostess for the program and as sales personality will be Ruth Woods, whom Pepsi Ad Manager Wheeler describes as having charm, grace, and the ability to sell. In a nutshell, here's how Pepsi's do mestic air operations shape up today : Network TV — The new Pepsi film series, by Prockter Productions, will start early this fall, via the Biow agency, on NBC TV. This series of twice-a-week, quarter-hour shows will be the keystone of the Pepsi air opera "The role of arithmetic is — or should be — a minor one in advertising. Many advertising people are are too much concerned over a variety of subordinate appurtenances in a hopeless attempt to make a slide-rule science of what is an art." JAMES D. WOOLF Advertising Consultant Santa Fe, IS. M. • ••••••• tions, and will be surrounded by heavy merchandising and publicity support. Nettvork Radio — None was planned, as sponsor went to press. Because Pepsi is sensitive to the feelings of bottlers in non-TV areas, the door is not firmly closed to a good radio buy. However, Pepsi doesn't want a onceweekly network radio show. Spot Radio — A great deal of spot radio (sponsor estimates the total expenditure at nearly $1,000,000) will be bought cooperatively with local Film Libraries-/ Now is the time to CHECK your prints y Are some of your old films □ Dirty? D Oily? □ Dried out? Are some of your new films □ Tacky? □ Scratched? □ "Rainy"? If the answer is "Yes" to any of these questions, your next step is to have such films PEERLESSServiced Services include cleaning... repairs... rehumidification... scratch removal. ..and the famous PeerlessTreatment that guards against future damage, makes your films screen better and last longer. JEERLESS FILM PROCESSING CORPORATION 165 WEST 46th STREET, NEW YORK 36, NEW YORK 959 SEWARD STREET, HOllYWOOD 38, CALIF. When you write, please mention size of your library and maximum number of prints you could spare at one time, for cleaning and treatment. franchised bottlers, with extra funds available for bottlers as their sales increase. Primary spot device: the old reliable Pepsi jingle, now dressed up with new lyrics that don't mention size or price, with transcriptions furnished by the parent firm. Spot TV — The situation is similar to spot radio. Bottlers are given advice and commercials (film adaptations of the radio jingle) if they want to get into spot TV. Several of them are already using local-level video in the U.S. The durable Pepsi-Cola jingle was dashed off originally in five minutes by the then-new team of writers named Alan Bradley Kent and Austen Herbert Croom Croom-Johnson. First recordings of the jingle created a sensation in the fall of 1939 when they made their New York debut on WOR and WINS. Sales skyrocketed immediately in the New York area and Walter Mack sent the jingle out to other areas as fast as they could be opened up. In the period between 1939 and 1947, when versions of the jingle using the "twice as much" phrase predominated, it was played some 10,000,000 times on radio stations all over the country. This helps explain why the public got so lasting an impression of the twiceas-much theme. Although the original jingle brought them only $2,500, it spelled success for the team of Kent and Johnson. They quickly became identified in agency circles as "the guys who wrote the Pepsi jingle" and went on to write jingles for Armour, National Biscuit, Ford, Mission Bell. Procter & Gamble, and others. They eventually split up and have since gone separate ways in the radio-TV field. There's another area of Pepsi air advertising that's literally a story in itself: the overseas operations. Pepsi is sold through more than 190 independent bottlers and a dozen Pepsiowned plants in some 44 countries, with total populations of approximately 166 million. While some 3,000.000,000 bottles of Pepsi are consumed annually in the U.S., nearly half again that much is consumed outside the country; thus, the Pepsi foreign markets represent a neat one-third of all Pepsi consumption. As might be expected, Pepsi exports its air techniques with the product. From Canada to Latin America, from Africa to the Philippines, the familiar Pepsi jingle is aired on outside-U.S. stations. Languages used range from 64 SPONSOR