Sponsor (Jan-June 1955)

will probaW) be developed as the yeai progresses. \ Coca-< !ola figure ol past years ties tin various elements together, the little sprite with the bottle-cap hat. He i used as the magic element to change scene, bring forth objects, and the like. In himsell lie serves as a symbol of Coke, ut "eternal youth" and brightness. Furthermore, he is a visual device which is exclusivelj CocaCola's. From the time the campaign was approved last \ugust, two months elapsed before the radio jingle was re corded: another three months will have gone bv before the film version is done. Animation is l>\ Nat Fleischer through Revue Prod. Music tradition: ]t is this emphasis on finding ways and mean which are appropriate vehicles for Coke advertising that has long channeled the conipany's air advertising into musical shows. sa\s the man in charge of Coca-Cola's tv-radio advertising. Robert Kesner. who is located in the broadcasting center, New York. On radio Kesner reminds you, his company was long associated with music ^33 TH IN SUPERMARKET SALES 36 37 1 39 40 MEMPHIS SAN ANTONIO > PHOENIX JACKSONVILLE OMAHA Millions $57.6/ $55.5 $54.8 SRD Consumer Markets '54 SUPERMARKET SALES Local Supermarket sales — increasing every year — show that Phoenix families eat well and live well. There is a growing demand for luxury items, as well as for basic-need groceries and allied merchandise handled in Phoenix supermarkets. This area's mushrooming population makes it a receptive market for your product. Tell YOUR sales-story the result-getting way, over KPHO and KPHO-TV-dominant first choices of advertisers who seek a "family" market! NOW SOLD reached most effectively through KPHOTV »><• KPHO Channel 5 • CBS Basic First in Arizona since '49 Dial 910 • ABC Basic Hi Fidelity Voice of Arizona AFFILIATED WITH BETTER HOMES and GARDENS • REPRESENTED BY KATZ programs, sponsoring l'erc\ Faith. Andre Kostelanetz, Morton Downey. Spotlight Hands and similar shows. Music, the company believes, has a broad appeal, is pleasing b\ nature, and does not arouse violent dislikes. It is. in other words, a suitable environment for the product. Since Mav 1953 this environment has been the Eddie Fisher show. Coke Time, on t\ and radio. It is carried live on 99 NBC TV stations. Wednesdav and Friday. 7:30-45 p.m.. represents an $80,000 weekly time-and-talent outla\. The \oung singer was selected by the company while still in uniform. He represented a fresh, promising talent, the kind Coca-Cola was seeking for a long ride on tv. It was a year after the last Edgar Bergen radio show for Coke that Eddie Fisher became available, but the company was willing to be out of network radio or tv for that length of time in order to be able to come back with the star it wanted. By July 1953, after only two months' tv exposure, the show hit its Nielsen rating average of 2(1. which is par for the multi-weekly, early evening musical. Competition is fairly keen, especially from Disneyland on Wednesday. B\ presstime Nielsen figures for Wednesday were not yel available; average weekl) rating for the first half of Januar) was 20.1. \\ here some advertisers might have little patience with a 20-rated show. Coca-Cola regards it as in line with expectations, according to Frank Ott. business manager of D'Arcy's radio-tv department. A very low cost-per-1. (><•(). he explains, is not a basic requirement: in fact, the company assumes that this is unlikeb with a music show. More important is the nature of the vehicle: "The framework is more important than standing on a bus) street waving a big sign." For the most pari commercials are delhered live. Reasons: I I i case of integration, which the compan) beI i »\ < ~ in as a pleasant, inoffensive method ol getting into a pitch: (2) increased planning opportunity. Eddie Fisher's popularity is still on the rise, and Coca-Cola finds mam indications that he is "one of the hottest talent around today." He pulls about 5,000 fan letters per week and is idolized b) more than 1,000 'teenage fan clubs. Bottlers frequently request personal appearances, but compan) poli Please turn to page 90 I 78 SPONSOR