TV Guide (January 8, 1954)

Page scan 0004 from TV Guide

Record Details:

Title:
TV Guide
Date:
January 8, 1954
Publisher:
Philadelphia: Triangle Publications, Inc.
Volume:
TV Guide - Chicago (January 8, 1954)
Leaf #:
0004
Language:
English
Collection:
Broadcasting & Recorded Sound
Contributor:
Media History Digital Library
Sponsor:
Media History Digital Library
Coordinator:
Media History Digital Library
Date Added:
August 28, 2022
Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

TV PAY ENVELOPES Godfrey Gets Big Money But Some Pay Checks Are More Humble Arlene Francis: at $1000-a-show, she's one of TV's most highly paid women. ◄ 5 E VERY actor knows why they call Show Biz a business. For, despite the much-ballyhooed glamor of his profession, every entertainer—from the mere walk-on to the show’s head¬ liner-gives top billing to that fine old institution known as the Weekly Pay Envelope. Like accountants or bricklayers or elevator operators, actors are prag¬ matic enough to work for dough. Some of them make enough to live on. Others live sumptuously and then worry about taxes. Still others, “be¬ tween jobs” most of the year, work in department stores. In television, the little guy’s finan¬ cial interests are looked after by the performers’ union known as AFTRA (American Federation of Television and Radio Artists) which sets mini¬ mum pay scales. Let’s suppose actor George Spelvin is hired for a Studio One part. It’s a small role and calls for only a couple of lines. The Studio One producers must pay Spelvin the AFTRA “scale,” which amounts to $84.50 for an hour show. In turn he must be available for 8 hours of work (including rehearsal and show time). Now, should Spelvin be presented with a meatier role (more than five lines), his fee would automatically be Maria Riva and Alfred Ryder: as a TV star, she earns about $1000 an hour.