Sponsor (1956)

In Eastern North Carolina, it's nearly everyone for peanuts when you use WNCT! With a Class D 20-second "10 Plan," the cost per thousand is only sue ' It that's too much to shell out, then i . a (Mass I) II) "10 Plan" for a cost per thousand of 15£. Whether your hutlget is peanut-size or elephant-size, your best buy is WNCT . . . first in every minute of every hour of every day . . . day and nijjht, according to the Jan. '56 Telepulse of 19 counties. Eastern Carolina's No. 1 TV Station. ! channel 9 (fecHvilU + W<?. riiMAar cis aff REPRESENTED NATION/ -%;MBb.. BMI New, Timely Election-Year Continuities PRESIDENTIAL PACKAGE AN ASSORTMENT OF 23 PROGRAM SCRIPTS FOR RADIO AND TELEVISION . • BACKGROUND — COLOR PERSONALITIES ODDITIES OF PAST ELECTIONS . . . AVAILABLE WITHOUT CHARGE AS A STATION AND PUBLIC SERVICE. THE FIRST ELECTION ONE HALF-HOUR SCRIPT A PRESIDENTIAL CAVALCADE ., FIVE-MI NUTE SCRIPTS FAMOUS FIRST LADIES IS-MINUTE SCRIPTS RISE OF POLITICAL CAMPAIGNING i HALF-HOUR SCRIPT THE PRESIDENTS SPEAK .. , i vl Ml NUTE SCRIPTS FAMOUS CAMPAIGN SONCS ONE HALFHOUR TV SCRIPT CAVALCADE OF PRESIDENTS ONE HALF-HOUR TV SCRIPT TIME SIGNALS STATION BREAKS '////„. W/.„ BROADCAST MUSIC, INC. NEW YORK • CHICAGO • HOLLYWOOD TORONTO • MONTREAL nl \ic\\. We're watching color particularly for our red and white label. I doubt, though, thai even with a color h sel circulation of 300,000 we'd figure this was enough circulation to spend too much mone) on.' Campbell executives estimate "conservatively" thai the currenl 50,000 coloi sel circulation will expand to some 300,01 10 bj 1 Januar) . Whatever developments lake place in the broadcast media. Campbell will adapt to them with one primary marketing factor in mind, says Budd. "\\ e need frequenc) . and lots of it. We need ii because the housewife is shopping more fre<picutl\. and hecause we have a fast turnover, low cost item. \ l\ cost mount, with frequency Incoming more difficult to purchase, we ve diversified and moved hack a hit into daytime t\. We like the combination ol nighttime shows and two da\time features." • • * WINTER HEADACHES (Continued from page 'il I under the circumstances to go from cue situation corned) to another.'" a Bristol-Myers advertising executive told sponsor. "And a dramatic antholog) i generall) the safest kind of film buy, pai ticularl) in \ iew of the mam stai names that one can publicize." I Ihi e a w ide range of opinions on the value of publicitj for a show once il i a ratings Hop. I nless some ol the elements of the show itself irechamjcd. most radio-t\ directors feel that hypoed publicitj is wasted. People have -i en the show and not liked it. A nil have to tell them of something added or changed in the formal or appeal ol the -how in have valid reasons for publicizing. "'Once the jury's in. you've prett) well had it," says Y&R v.p., Rod Erickson. "The Raj Milland show was much heller the second year than the first, hut people hail made up their minds about it." ( )f course, publicity plays a different role foi different shows. \\ iih anthologies you ve always gol something to plaj up. Drama shows in genera] are far easiei to publicize, mid-season a well a prior io ilien debut, hm/i Theater, foi example. su< i essfull) exploited the production values of "The Titanic," a show presented in the spring L956 season. Of course, with film -how ii impossible to .\<\A publicizable values for episode alreadj in the can. On the other hand, the scripts and stars should be chosen righl now with an eye toward a continuous publicitj effort. 3. Onhypoing lire shows — There's rarelj a single live show new to the nel work that isifl improved and (hanged during the first few week on the ll far easier to experiment with a live format, since the various components of the show are more flexible. Here, briefly, are some of the steps for which you can pave the waj even now : 'at Allow a contingency budget, "Inch \oii hold iii reserve for emergencies. This inoiiev may be able to insure your intial investment b) pulling the show out of trouble in midseason. i b i Make sure that the list of name talent from which the producer will tecruit stars for your -how is large and flexible enough. One of the besl ways to hypo a dying live show, whether it s a varietj show or drama, is with name talent that has wide appeal. But \ou can't get Elvis Preslev the last minute. Mam stars are tied up by the ml works and therefore unavailable anyhow. Il s \cn important therefore Io he clear from the start on the people you'll he able to count on for your show. (c) Script improvements can make a flop recover. Such improve nl mav require hiring a new storj editor. getting different writers, paying highei -dipt prices or getting together with ihe pioducci on revamping the verv loi mat of the show. Recently, Kraft Theater initialed a novel svsleni for insuring top-notch scripts ami getting publicit) at the same lime: The eompanv is offering a $50.1)00 prize for the besl -ripl in this 10.">(>-1().~>7 -ea-on. Ihi is just one example, and a relativelv expensive one of the ways a sponsor can mainlain the level of his show and popular interest in it at the same time. \hove all. in wot king to improve a liv e -how . remember that v on can gel the fullest cooperation from package] or network. It's a much in their inter I in SPONSOR • 20 \l GUST 1056