Sponsor (Jan-June 1953)

COMPLETE BROADCASTING INSTITUTION IN fKicnmond W M B G ■ W C 0 D ->» W T V R -« First Stations of Virginia WTVR Blair TV Inc. WMBG The Boiling Co. NEWS on KMBC-KFRM is TOPS... ...because KMBC-KFRM stays on 'top' of the NEWS! And there is no greater value today than radio news! KMBC KFRM news programs are the most-listened-to newscasts in the heart of America. They enjoy their high ratings because of the reputation for accuracy and immediacy built by the KMBCKFRM News Department. Here is a tremendous sales potential in one of the nation's richest markets. ..the great Kansas City Primary trade area. Call KMBC-KFRM or ask your nearest Free & Peters' colonel for complete details on the mighty voice of the KMBCKFRM Team and for newscast availabilities. KMBC of Kansas City KFRI for Rural Kansas • • 6th oldest CBS Affiliate case, one that's brief. What you you tell them that will prove you've made the right choice — when you do? You 11 have to spell out the things the average board member doesn't know about each of the major media. This, you feel, will not only help you decide. It will focus the thinking of the board too. You pick up your pencil and write across the top: "MEDIA BASICS — WHAT YOU SHOULD KNOW ABOUT EACH MEDIUM." What you write is published on pages 40-48 of this issue of sponsor land in the next issue). Conclusion A decision: You conclude: "One cardinal sin I will not make is to scatter my fire — so dilute my campaign that nothing can be given a fair test." You decide: For the first six months you'll adopt a rolling campaign — spending half your $500,000 on newspapers, spot radio, and maybe spot TV as you extend your distribution across the country. I Remember, you've already tested the formula and the product in some key markets.) Then the remaining $250,000 will go for two of these three choices, depending on availabilities when the time comes: (1) a national radio or TV show to reach the kids and mama; (2) a strong spot campaign to supplement the program, or (3) as many newspapers as you can get, especially Sunday comics, again for juvenile appeal. Magazines? Later, for right now you want mass audiences at low cost — they don't have to be rich. Outdoor? You need longer cop) than you can get into posters. Will it work? You pick up your campaign schedule, your media notes, and stalk into the hoard of directors' conference room — with a silent prayer: "I wish I knew." * * * TV UNIONS {Continued from page 291 in \eu York negotiates with the networks I for musicians; Radio and Television Directors' Guild. Of these, AFII! \ is considered the strongest organization. ALA is involved in a jurisdictional dispute, with the Dramatists Guild, Screen Writers Guild, TV Writ ers Group, and Radio Writers Guild knee-deep in the fight for right to represent TV writers. As for the Directors Guild — they achieved a substantial increase in their latest negotiation with one network. In the collective bargaining agreement signed by the four TV networks with AFTRA in November 1952. AFI RA members were given a 12.5% increase over previous rates. As George Heller. AFTRA's National Executive Secretary, points out (see page 28 for his statement I . the cost of living increased 8% in the two-year period prior to the signing of the new contract. The reduction of rehearsal time covered by the basic fee has further increased talent costs. Not as easy to determine as the actual percentile rise in salary is the degree to which the increased number of activities covered by fees rather than salary affect over-all costs. The talent union wants fees for New York staff announcers" on-camera appearances in commercial programs. It is therefore meaningless to cite a 5, 10. or 12.5% salary increase, since the fee for one on-camera appearance might equal 25', of weekly salary. Free-lance talent I which represents one of the big headaches at the networks) has gotten a 15rr increase in 1953 over the previous year. Any further increase in talent costs will drastically affect employment of talent, although, of course, a producer eventually reaches a point of diminishing return when he cuts his cast down. At any rate, increased talent cost does tend to militate against new. inexperienced actors. Another delicate subject frequently brought up by advertisers and agencies is the problem of featherbedding. This accusation is usually aimed at \K\I. w hose record in radio had l>ccn marked by the frequency with which this union placed stand-by musicians until 1947 and the Lea Act. However, as Charles Iucci. Secretary of Local 802 of AFM. points out, re< <>[ ilci I substitution for musicians has chopped down employment among members of Local 802 to the point of irreducibility. NBC, ABC. and CBS each has a staff of 65 musicians. Du Mont maintains no staff of musicians at all. In the New York area, therefore, only 435 out of 30,000 members of the union are steadily employed in radio and TV. Three years ago, Local 802 nego 90 SPONSOR