American Television Directory (1946)

OFFICIAL YEARBOOK OF THE AMERICAN TELEVISION SOCIETY, INC (

Digitized by the Internet Archive in 2017 with funding from Media History Digital Library

https://archive.org/details/americantelevisi01amer

“We’ll be bringing Television”

“We in the Bell System now furnish the net¬ programs from place to place. We can do it works for radio broadcasting and we’ll be on over wire lines, coaxial cables, radio or com¬ the job with networks for the transmission of binations of these. television, too. “We have made considerable progress in ex¬ “For nearly a quarter of a century we have tending our coaxial cable system, which is kept pace with the radio broadcasting in¬ particularly adapted to television, and we in¬ dustry, supplying network facilities where tend to develop it rapidly toward a nation¬ they were needed at the time they were wide coaxial network. Micro-wave radio-relay wanted. We have acquired a wealth of ex¬ is another way we will have to carry television perience and skill in the minute-to-minute programs. operation of these program networks. “We intend to use the best, most depend¬ “As the television picture unfolds, our func¬ able and most economical means possible to tion will be to transmit sight and sound meet the transmission needs of television.”

B £ LL TELEPHONE SYSTEM

1 M ost of us have concluded from the events of 1945 that it is imperative that foreign hates and suspicions must be supplanted by trust and

understanding if life in the future is to be worth living. Television holds the

promise of being the medium that can bring the peoples of far places emotionally

face to face with one another’s manners, customs and problems and thus make

them understand that they are all essentially human.

The first realization of this design depends on the establishment of

national networks to gather the peaceful spirit of America and international net¬

works to send it world-wide.

Probably no one can at present accurately predict the ultimate

physical means of accomplishing these national and international objectives and

bringing to realization television’s “one world” possibilities. Any facilities which

may be developed and any technique which showmen may know must be available

to our statesmen, churchmen and educators to carry that message to the world.

^Jc/c via ion C/>reduction/) Jnc.

2 THE 1946 AMERICAN TELEVISION DIRECTORY

FIRST ANNUAL EDITION

Published by AMERICAN TELEVISION SOCIETY, INC.

271 MADISON AVENUE, NEW YORK 16, N. Y.

3 IN LESS TIME THAN YOU PERHAPS SUSPECT. That’s why there'll never be a better time than noir—to gain a practical, Clients Now Regularly Sponsoring working knowledge of this complicated sight medium. There’ll NBC Television never he a better time than now to equip yourself to make the

GILLETTE SAFETY RAZOR CO., INC. most successful commercial use of television, to adapt your adver¬

RADIO CORPORATION OF AMERICA tising skill and experience to this new medium.

FIRESTONE TIRE AND RUBBER CO. Today it is still possible to learn how to adapt your advertising

PAN AMERICAN WORLD AIRWAYS techniques to sight transmission—for only negligible expenditures.

ELGIN NATIONAL WATCH CO. We’re ready to work with you—whenever you're ready to step UNITED STATES RUBBER CO. into television. The same NBC program, production and technical WALTHAM WATCH CO. expertness already winning trade and audience applause for NBC

BULOVA WATCH CO. television is available to help you solve your video problems.

NBC TELEVISION NEW YORK Television Channel No. 1 NATIONAL BROADCASTING COMPANY A SERVICE OF RADIO CORPORATION OF AMERICA

4 AMERICAN TELEVISION DIRECTORY

AND OFFICIAL YEARBOOK OF THE

AMERICAN TELEVISION SOCIETY, INC.

FOREWORD

■ HIS is the first American Television Directory and Yearbook. It is also the first com¬ prehensive roster and handbook of a great new industry poised on the threshold of swift peace¬ time expansion. It is fitting that this Directory should be sponsored by the American 'Television Society — the acknowledged, organized voice of all fields directly and indirectly interested in the advancement of this magnificent new medium of communication, entertainment, education and sales promotion. The Society — with its large membership — has long provided a valuable forum for the industry. 'This Directory—by offering a vast amount of television information in easily available form -will provide a focal center of 1946 television activity. The Board of Directors of the American Television Society wishes to express its gratitude to the many members who have contributed so freely of their time and talents to make this Directory a truly useful inventory of television’s progress and potentialities. We are especially grateful to Buchanan & Company for allowing Ralph Rockafellow to serve as editor. Mr. Rockafellow’s long and successful career as an editor and advertising man, his almost limitless knowledge of television and its many problems, and his willingness to pitch in and get the job done eminently fitted him to fill this position. To contributors, advertisers and workers alike we extend our deep appreciation for their efforts in the advancement of television.

AMERICAN TELEVISION SOCIETY, Inc. 3.

George T. Shupert, President

5 IN TELEVISION DUMONT’S JOHN WANAMAKER TELEVISION STUDIO, STATION WABD

SETS THE PACE!

DuMONT TELEVISION engineers, who have designed and built more television stations than any other company, will soon complete the world’s largest television installation. They are now transforming more than 500,000 cu. ft. of the great John Wanamaker store in New York into the first "Television City." The largest studio (50' x 60' with cameras are mounted on a new type increasingly elaborate programming a 50' ceiling) boasts 4 cameras—the dolly providing extreme ranges of experimentation. Simplified pre¬ first studio to be so well equipped. A elevation and camera angle. A tele¬ cision control — the keynote of Du¬ balcony accommodates 700 spectators cine studio has projectors for both 16 Mont design—assures high efficiency and a rear glass wall of the control mm. and 35 mm. film. and rugged dependability at low op¬ room permits sightseers to watch re¬ DuMont Television broadcasting erating cost. DuMont leadership hearsals and broadcasts. Two other equipment embodies all the flexibil¬ means adequate training of your tech¬ "live talent” studios are equipped ity and refinements accruing from nical personnel, and the finest crafts¬ with 3 and 2 cameras each. Several more than 4 years of continuous and manship for the least outlay.

ALLEN B. DuMONT LABORATORIES, INC., GENERAL OFFICES AND PLANT, 2 MAIN AVENUE, PASSAIC, N. J. TELEVISION STUDIOS AND STAT ION WABD, 515 MADISON AVENUE. NEW YORK 22. NEW YORK

6 CONTENTS

Foreword.George T. Shupert 5 Uses of Film in Television.John Flory 44 Beyond Tomorrow — What ? Television Audience Research.Oscar Katz 45 .Brig. Gen. David Sarnoff 9 Television and Fashion.Constantin Joffe 46 Sixty Million Jobs and Television... Paul Raibourn 10 Television in the Retail Field. . /. A. Hirschmann 47 Television’s Tremendous Promise. H. V.Kaltenborn 11 Proceed With Caution.Norman D. Waters 48 Is Television Tomorrow’s Radio?.Edgar Kobak 12 Television Dollars and Sense.Philip Merryman 49 FCC Hopes and Expectations for Discussion Programs Will Television.Paul A. Porter 14 Be Better.George V. Denny, Jr. 51 Is Today’s Television Here to Stay?.. Wyllis Cooper 15 Television Jobs for Veterans. 54 How Large a Screen?.Dr. Allen B. DuMont 16 Television Out West.Klaus Landsberg 56 How Will Television Handle the News?.. Ted Genock 18 Televised News for Theater-goers. Alfred B. Burger 57 College Sports and Television.Don Spencer 20 A Mixed Blessing?.Quincy Howe 57 Will Television Debut in a Fool’s Top-flight Shows Are Not Accidents.Ed Sobol 59 Paradise?.E. B. Weiss 21 Basic Fundamentals of Visual What Will Your Tele-Time Continuity.Hoyland Bettinger 60 Dollar Buy?.Richard Manville 23 History of the American Television Proposed Routes for Relaying Television Society.Myrtle Ilsley 68 Programs (Map). 24 The ATS Awards.J. Raymond Hutchinson 69 The Bell System’s Plan for Executives of the American Television Society.... 71 Tele-networks.Keith S. McHugh 25 By-laws of the American Television Society. 74 Raytheon’s Microwave Relay System.Laurence K. Marshall 26 Guessing About Television.Lowell Thomas 76 Pioneering a Tele-relay Network. .John Ballantyne 27 Members of the American Television Society. 79 Television Stations and Pending Applications. 86 Stratovision Will Give Wings to Television. William K. Ebel 28 Market Analysis of Television Station Allocations 92 C. E. Nobles 29 Broadcasting Service in 140 Metropolitan Areas... 94 Television Needs Normal Development. C. B. Jolliffe 30 Television Activities of Advertisers, Advertising Why Advertising Agencies Should Agencies, Producers, Stations and Organizations 96 Guide Tele-shows.John Hertz, Jr. 31 Careers in Television.Dan D. Halpin 110 Progress in Color Television.Peter C. Goldmark 32 Advances in Large Screen Television. Ill PTM — A New Television Transmission Television Vocabulary . 112 System.H. H. Buttner 33 Television Progress (Chronology). 119 An Engineer Compares Television So They Say. 123 with Radio.J. R. Poppele 34 Televictims.Gregory d’Alessio 125 Packaged Tele-shows Will Bibliography . 129 Up Quality.William Morris 35 Films for Television Use. 135 Sports for Millions by Television.Bill Slater 36 A Movie Cameraman Looks Tele-sports Announcers Will Talk Less ..Bill Stern 37 at Television.Irving Browning 140 A Lawyer Looks at Television.. Bernard Goodwin 38 Facing Television .Bob Hope 141 The Economics of Television... .Leonard F. Cramer 40 Publications Reporting Television. 142 An Advertiser Looks at Television-C. J. Durban 42 Cover .Larry Tisdale

Ralph Rockafellow, Editor *

SYMBOL of the Electronic Age: NBC's sight (cross-bars) and sound LIVE TALENT in action. Abe Lincoln courts Ann Rutledge in WNBT's (ring) transmitting antenna atop New York's Empire State building. fine presentation of Robert E. Sherwood's "Abe Lincoln in Illinois."

DRAMA: WNBT presents "The Black Angel" — but studio visitors sense still greater drama in the action of iconoscope cameras, microphone boom and flexible light banks, cleverly, swiftly and silently manipulated to catch every changing mood, and catch it artistically.

8 BEYOND TOMORROW -WHAT?

The “ether” is still a half-discovered wilderness with endless opportunities for exploration both in the vast¬ ness of space and within the infinitesimal electron.

By BRIG. GENERAL DAVID SARNOFF. President, Radio Corporation of America

Fifty years have passed since the cities across the continent and even quencies, an area which was a sort of epochal experiments of Marconi laid across the seas. Through the magic electronic “no man’s land” before 1938, the groundwork for radio and in this “window” of television, rich and poor has shown the great use that can be time the world has been amazed by the alike will see, not only the small world made of that portion of the spectrum. continuous growth of radio communica¬ around them but the larger sphere of It is probable that not only television tions and by the benefits which peoples which they are a part. but numerous other services as well, of all nations have gained from these Television, faced from its inception will find it advantageous to move to expanding developments. Even greater with obstacles so formidable that some the very high frequencies and thus pro¬ and more spectacular advances should engineers doubted that a practical sys¬ vide improved service to the public. be made in the next fifty years. Cer¬ tem could be developed in less than a Now that radio can see as well as tainly, the prospects and promises, as quarter century, already has proved its talk, the art promises most interesting we view them today, justify the highest technical soundness. The flickering, employment opportunities. Directly and optimism in this respect. poorly illuminated peephole receiver of indirectly, the industry will need the Our vision of the future, sharpened mechanical television in the late ’20s minds and hands of many thousands of particularly by the wartime perform¬ has developed into the latest model people, including technicians and arti¬ ances of radio, our faith in scientists electronic television receiver with its sans, business men and industrialists. who will create new instruments and large screen image, equal in brightness It will call for producers, cameramen, new services, and our confidence in the and resolution to 16mm. home movies. directors, musicians, film experts, scenic American spirit of enterprise and ini¬ Television no longer is a scientific toy; designers, advertisers, merchandisers tiative will continue to lead the way to it promises a new service of entertain¬ and many other skills. new and greater destinies in television, ment for the family, a service that will invitation to Youth radio and associated fields. become as essential to the average home But television does not exhaust the Television promises to take the lead as the present broadcast receiver and possibilities of radio today, any more in the radio industry as sound broad¬ the telephone. than broadcasting marked its limit in casting did a quarter of a century ago Radio broadcasting came of age when 1920. There are still endless opportuni¬ after World War I. How rapidly this programs were made available to list¬ ties for radio research and for the ex¬ transition will occur is a subject always eners in distant cities through network ploration of space. The “ether” is still open to revision, for the problems of lines. To provide similar network facili¬ a half-discovered wilderness. It invites creating and maintaining a nationwide ties for television, thousands of miles young men and women with new ideas television service involve financial and of interconnecting systems, using both to continue pioneering, to learn the political considerations as well as tech¬ radio relays and coaxial cable, must be secrets of Nature scattered in the vast¬ nical. established. ness of space or hidden within the move¬ Long before V-J Day, science had ments of the infinitesimal electron. laid the groundwork for the new tele¬ Portable Television Sets Equally important are the by-prod¬ Speeded by pressure of war, develop¬ vision service. The end of the war was ucts of television. Much is still to be ments in electronics will be reflected in the go-ahead signal. The pace of prog¬ learned of the part which television de¬ ress will quicken rapidly as facilities new and better communication devices vices will play in marine and aerial and systems. Television has been im¬ become available. By 1970—25 years navigation, by permitting vision at proved by the intense application of from now—broadcasting may be known night or in fogs through the use of science to the perfection of radar and as telecasting because of the standard¬ infra-red rays; in metallurgical, chem¬ similar weapons. New types of tubes, ized combination of radio sound and ical, physical, and biological research; the results of wartime research, will sight. Eventually, television will reach in manufacturing processes as substi¬ have their counterparts in television every area of the globe now covered by tutes for human vision or for control sound broadcasting. receivers. These will provide better pic¬ processes; in national defense; for ad¬ tures, ultimately in full color. They will Television Is Tomorrow's Radio vertising or display use in department decrease the size of television receivers, More than 50,000,000 broadcast re¬ stores, in showing goods exhibited at a eventually, perhaps, making possible ceivers are now in American homes. central point throughout the store or in portable television sets which can be The day will surely come when all of show windows; for personal or business carried around as easily as the popular them will be replaced by receiving sets communication in transmitting visual “personal” radio of today. which can see as well as hear. intelligence as we now transmit the Those who purchased a “radio music Other radar research, applied to voice by telephone; in printing and box” in the early days of broadcasting peacetime uses, will result in television copying devices; in new photographic enjoyed concerts, lectures, music recitals cameras so sensitive to light that any or motion picture devices where “light and sports events which were adver¬ scene which the human eye can perceive amplification” may be used to advan¬ tised as “going on in the nearest city.” by day or night can be reproduced in tage; and in many other fields where an Within the next decade or two, those the home with the same clarity and automatic, never-failing substitute for who acquire television receivers are detail as the original. the human eye will prove useful. destined to go sight-seeing by radio to Exploration of the very high fre¬ (Continued on page 140)

9 SIXTY MILLION JOBS . . . AND TELEVISION

_By PAUL RAIBOURN

President, Television Productions, Inc. Economist, Paramount Pictures, Inc.

OUR PROBLEM allow everyone to know and appreciate judged in comparison with previous a large factory’s products. This rise in In 1929 periods. The years chosen here are a worldly goods available each year to period of prosperity, namely 1929, to 11,059,000 workers—at 1939 prices — pro¬ each of us has been paralleled and pre¬ which many look back with much long¬ duced $17,800,000,000 worth of goods. ceded by a corresponding increase in ing; a prewar year, 1939, before our postal receipts, the growth of magazines In 1944 economy was modified by war, and 1944. and of national advertising. 16,300,000 workers—at 1939 prices—pro¬ To national advertising which, in a Employment Peaks Compared duced $43,000,000,000 worth of goods. great measure, sponsored the others, Number employed (000’s omitted) must go much of the credit for making Last pros- Last pre- 1944 Query perity period war year Partly What medium other than television can be mass production possible and causing 1929 1939 estimated the mass salesman for mass production? our per capita income in physical goods Agriculture . .10,539 10,739 10,250 Forestry and Fishing . 267 198 175 to increase so unusually. Minerals . . 1.067 707 650 Those who are still doubtful as to Manufacturing . .11,059 10,517 16,300 these relationships should ponder for a Construction . . 3,340 1,610 1,100 When gas rationing was over, a Transportation. . 2,465 1,871 2,800 seven-year-old girl received her first- moment on these facts: postage stamps Public Utilities. . 1.167 934 1.000 were first authorized in 1847; city de¬ Trade and Finance... . 8,007 7,511 7,400 remembered 100-mile automobile ride Service Industries . .. . 6.403 6,256 6,600 across the lovely New England coun¬ livery service in 1863; rural delivery in Government (prewar 1896; and parcel post in 1913. The “Chic basis) . . 2,337 2,984 3,500 tryside. She exclaimed delightedly over Miscellaneous . . 1,012 928 1,400 the ever-changing vistas. She was Sales” encyclopedias—Sears Roebuck’s amazed to discover that there were gas and Montgomery Ward’s catalogs— Total . .47,663 44,255 51,175 stations everywhere with attendants were products of the last decades of the Emergency Government eighteen hundreds. Labor Force—CCC, eager to serve. She expressed her de¬ WPA and NYA. — 2,959 Production has risen just as fast and light in the fact that automobiles could Military . . 263 369 11,500 be used for something besides transpor¬ only as fast as demand existed which Government (war wished to be supplied. It will, in the extras) . • — — 1,042 tation to store, church and school. future, continue to rise just as fast and Here, compressed in a few hours, is only as fast as demand for its products Total employed. .47.926 47,583 63,717 Population . 121,300 130,880 137,000 an experience which many of us went increases. These last two sentences will Percentage employed. 39% 36% 46% through in the period 1900 to 1930. We be true whether we are functioning hardly realized then that anything was under an individualistic free or a man¬ The Census Bureau estimates a pop¬ happening to us. But looked at from the aged economy. ulation of 143,000,000 in 1950 which, on vantage point of a few hours’ distance, a 60,000,000-job basis means an em¬ Jobs for All Who Wish to Work the acquisition of a new standard of ployment of 42 per cent. living and new outlook is a tremendous There is now much discussion of 60,- To many these questions will arise: adventure. 000,000 jobs for Americans. Our able Where did the people come from who In like manner, most of us have sel¬ and analytical Secretary of Commerce, were at work in 1944? and where were dom stopped to analyze what has hap¬ Mr. Wallace, is the apostle of the idea they in 1939 and 1929? As the answers pened to life in the United States in that we must reach that level of econ¬ have a bearing on our future conclu¬ the last 75 years. We do not inquire omy by 1950. This figure appears to sions with respect to television it is into the basic reasons why many unu¬ have been first used by the late Presi¬ well to digress a moment to explain. sual and advantageous things have dent Roosevelt in a speech at Chicago The Census Bureau figures for 1940 happened to us. in October 1944. He probably selected show the make-up of our population as Seventy-five years ago, there were it because it represented a figure some¬ follows: produced for each inhabitant of the where near the total of the number of (000’s omitted) United States, physical goods worth people gainfully employed in the United Male Female Total States or in its military service at that Under 15 .17,753 17.240 34,993 about $200 dollars per year, figured at 15-19 . 6,180 6,153 12,333 1939 prices. In 1941, our last prewar time. It meant a job for everyone in 20-65 .38,749 38,596 77,345 year, the comparable figure is around military service and a level of employ¬ Over 65 . 4,406 4,614 9.020 $800. ment, as we all well know, where prac¬ Total .67,088 66,603 133,691 The most commonly quoted explana¬ tically everyone desiring it could have tion of this unusual growth is “mass employment at a wage rate satisfactory In 1939, there were around eleven production.” But sober thought will to him. It thus represented the natural million women employed. There were convince one that this really explains goal of an individual who never allowed relatively few males or females em¬ little. Before the products of “mass pro¬ custom or precept to cause him to ployed in the 15-19 year and over-65 duction” could be sold there had to be a swerve from his responsibility to all of year groups. So, when we have nearly means of communication which would the people. 64,000,000 employed in late 1944, this make people desire the products of such There are certain figures available, means that the extra wage earners concentrated mass effort. There had to prepared by reliable sources, by which came, probably as many as 4,000,000 to be a means of national advertising to employment in the 1944 period can be 6,000,000, from the 15-19 and over-65

10 male groups and some 10,000,000 to 12,000,000 from the female group. Certainly, after the war there should be little reason for the 15-19 and over- TELEVISION'S 65 age groups to work. By 1950, the 20-65 age male group will have in¬ TREMENDOUS creased by 8 percent to 43,000,000 leav¬ ing 17,000,000 employed to come from PROMISE other age groups and from the female list (as compared with twelve million female employed in 1939) to reach an employment ievel of 60,000,000. This means we must either (1) increase em¬ ployment in proportion to population and also add 5,000,000 more jobs by increased production and distribution or (2) spread jobs through shorter hours. Any increase in military forces over the 369,000 in 1939 will be an additional offset.

Product Valuation 1$ Important The most interesting fact about the employment statistics quoted for 1929- 1939 and 1944, is found in the agricul¬ By ture and manufacturing figures. The trend in agriculture is down slightly; H. V. KALTENBORN in manufacturing it is down in 1939 and up in 1944. NBC Commentator But if one examines “value of prod¬ uct” for each year, reduced to 1939 dol¬ lars in Department of Agriculture and Bureau of Labor Statistics indices, he Television can only become a great social force if those who control it have a arrives at a very different figure—and proper sense of social responsibility. Neither radio nor the moving picture has sees the proportionate contribution to yet performed that full measure of social service of which each is capable. For national income. some years to come, television will be far less profitable than either. The tempta¬ Agricultural Manufacturing Production Production tion, therefore, will be to subordinate public service to private profit. That tempt¬ 1929 .$4,560,000,000 $17,800,000,000 ation must be resisted. 1939 . 5,230,000,000 16,965,000,000 The infinite possibilities of this new medium of sight and sound must be 1944 (est.) . 7,200,000,000 43,000,000,000 In other words, an equal amount of fully utilized. Television can enrich our lives by providing better information, human effort in agriculture through better education, better entertainment. It can give us intimate personal contacts this period showed an increase of over with our national leaders. It can both explain and illustrate the grave national 50 per cent in production. And a 60 per problems on which we are asked to pass judgment. It can make us more conscious cent increase in human effort in 1944 of the integrated postwar world in which we live. It can bring the latest advance over 1929 (after taking into account in human culture and the last word on scientific achievement into the home. It relative hours worked) resulted in an can do this in a more convincing way than is possible for any other medium. increase of two and one-half times in manufactured production. As the man who first used radio to explain and analyze current events, I Many people have seen this situation. hope it will also be my privilege to utilize this much more vivid medium to To quote Walter P. Reuther, CIO vice translate to the eyes and ears of the great American public the kaleidoscopic president: “We have mastered technol¬ changes of our postwar world. ogy and possess a complex, high octane B-29 production machine. But our pro¬ ductive genius has always been stale¬ mated by our failure at the distributive end.” Paul H. Appleby, formerly Under on just about that low level. All the only medium on the horizon which pos¬ Secretary of Agriculture, stated it was additional cultural and emotionally sesses the potentialities of a high oc¬ the conclusion of the International Food satisfying values which make life so tane B-29 distribution machine. It is Conference at Hot Springs, Va., that enjoyable must be displayed to the cus¬ the only medium which may be able to the problems of agriculture were not in tomer in their attractive and satisfying outpace mass production and continue farm production and that the world values for them to be desired. to raise our living standard. could be better fed if the proportion of We have before us, today, a new me¬ However, should television fail of the world’s productive man hours going dium which can do that job in a way this ambitious goal, it may aid impor¬ into agriculture were reduced and this none has ever done it before. In a few tantly in another way. It may make surplus devoted to distribution. hours, in the quiet of the home, one will millions of people—especially that pro¬ be able, with television, to see what portion of the 20,000,000 or so women, Advertising Lifts Living Standards goods are attractive and satisfying to recently employed, for whom even a We must conclude that the machinery others. This can be achieved without 60,000,000-job level does not provide of large-scale production, which came even any attempt to sell, in the same employment—want to stay at home and into being as a result of advertising way our American motion pictures have look and listen to their television sets. and the rapid distribution of informa¬ sold our standard of living to the rest Certainly, if hours must be reduced to tion, has shown a remarkable ability to of the world. spread possibilities of employment, outrun its progenitors. Of course, a cer¬ television provides the ideal basis for To Outpace Mass Production tain amount of goods and services, food, making those extra hours much more shelter and clothing, at least the min¬ We have a medium of appeal which pleasant for us all. imum for subsistence, will be purchased can go into a home and demonstrate by The distribution authorities of Amer¬ without any advertising or other me¬ sound, (which the sound radio can do), ica will have failed to contribute their dium for acquainting people with their by sight (which magazines and news¬ allotted part to the goal of 60,000,000 existence. In many countries where ad¬ papers can do), and also by action, jobs if they do not make full and im¬ vertising does not exist, the people live which none of them can do. It is the mediate use of television’s potentialities.

11 IS TELEVISON TOMORROW’S RADIO?

Predicting the future of television and the revolution it will bring about is today’s most fascinating pastime. Our guesses may mold the future of the video art.

By EDGAR KOBAK

President, Mutual Broadcasting System, Inc.

ill YOU prophesy? Will you sub¬ 130 applications now on file, the dis¬ American homes—and television will mit to cross-questioning?” is the way tance to be covered is still great. be the chocolate eclairs, the pies a la I think the American Television Society Another point to remember: FM net¬ mode. The majority of the entertain¬ might have worded its request that I works will take considerably more mon¬ ment, news and public service broad¬ write an original article for its first ey than AM to establish, engineer and casts will still go out via sound; but Television Directory. At that, the letter operate because of the large number when something special comes along— came pretty close: for it not only bent of stations needed as the result of the let us say the reception which New the title into the shape of a question limited coverage areas of each station. York City accords General MacArthur; mark, but it was alarmingly specific on I can’t think that, if the industry in or a World Series; or a national con¬ a number of queries to which safe, airy general expected television to be the vention—these events will be televised. generalities could only be worse than radio of tomorrow, it would pour so But, you might argue, that is what no answers at all. much money into the development of we have today! Won’t we have any With this preamble, partly to explain FM which would become, in a short more than that? Let me concede that the question-and-answer form of this while, a detour from the straight line we will probably have more television “piece” and partly to disclaim any spe¬ of progress. as time goes on—that our production of cial familiarity with the future not jus¬ The suggested parallel “much as technicolor pictures (to continue the comparison) will increase—but until tified by a projection of today’s facts, sound motion pictures supplanted silent such time as television can blanket the let us skip a few years and imagine movies” is too facile. Also, it is inac¬ ourselves in the Sixth Decade of the curate, measured in terms of financing. country, my guess is that it will con¬ tinue to be a complementary service to present Twentieth Century. Sound-pictures cost much more to pro¬ radio. duce than silent; the same is true as I want to emphasize again that all Will Television Supplant Radio? between television and radio programs. this applies only on the national level: Question: “Is Television Tomorrow’s What we have is probably a stand-off. But the wiring of a theater for sound I think that the picture on the local Radio?” Or, to paraphrase, “Will tele¬ level is entirely different. is far from comparable to the cost of vision and radio grow side by side as For one thing, there is not the prob¬ sister mediums, or will television sup¬ building and equipping a television sta¬ tion. Furthermore, when a movie the¬ lem of networks to consider, nor the plant radio, much as sound motion pic¬ problem of covering distances and tures supplanted silent movies?” ater converted from silent to sound, the costs were paid off in increased admis¬ areas. You have just the city—and the Answer: My belief is that television sions—but there will be no admission variations in cost would probably not will not replace radio, at least not in fee charged for television in the home be prohibitive. Then if ways and means the foreseeable future, and not on the any more than there is for radio. can be found to program a local tele¬ national level. To begin with, we have But while, in my opinion, television vision station with any degree of con¬ to think, these days, of radio not mere¬ sistency for a substantial part of the will not supplant or replace radio, I ly as AM but also as FM. Most authori¬ day—I would be inclined to think that can definitely see the two developing ties in broadcasting seem agreed that television, while still not supplanting side by side, not necessarily as sister even FM (with over 500 applications on radio, would come close to being a mediums (they are likely to develop file with the FCC as of the middle of parallel service. Not just dessert, any along entirely different lines, with the 1945) will not entirely supplant AM; more; but a full course meal—in a dif¬ family resemblance getting more and that while the regional and local sta¬ ferent restaurant. more nebulous as time goes on) but as tions may give way before the on¬ complementary mediums. slaughts of FM, the high-powered Strong Competition? Let me illustrate. Technicolor is al¬ clear channels will remain to cover the most as old as sound in the movies, yet wide, sparsely-populated farm, ranch Question: “Many see television ex¬ technicolor has not replaced the mono¬ and prairie areas for a long time. panding in strong competition with chromes. No, the majority of pictures— radio. Do you?” The radio picture we must look at, and what you might call the run-of- Answer: I believe that my answer to therefore, is an AM-FM combination the-studio output—continues to be mon¬ the first question paints a fair picture with the possibility of 3000 stations ochrome; and Technicolor is reserved of how competitive I think television (instead of 933) and possibly several for those occasions when a studio or a will prove to be on a national scale. more national networks (instead of the director wants to make a splash with I can’t see any overwhelming volume present four and one coming up). some “supercolossal” featuring Esther of national advertising on television What this means is that if television Williams and Van Johnson and de¬ within the foreseeable future: and I is to supplant radio it will have to erect signed to be a high-point in the movie say that as impartially as any, because a perfectly gigantic plant, at an enor¬ fan’s fare — a special to knock his when television comes along, I want to mous cost, to furnish nationwide serv¬ eyes out. assure you that Mutual will be among ice on the scale of the present AM and Here, then, is what I can see: Radio those present—and very present. the future AM-FM combination. With will continue to be the bread-and-but¬ only nine stations operating and some ter, the entree of the airwaves fare for Question: “Do you see television stealing the popularity of radio sport broadcasts? And tele-newsreels getting a bigger play?” Answer: In those areas where tele¬ vision service is established and the number of television homes is sizable in proportion to radio homes, I believe that television will steal a march on radio in the handling of sport broad¬ casts. But, I believe that before such broadcasts become really popular, the image must be clear and a technique of covering sports events developed which will introduce movement and va¬ riety. You could get very tired of look¬ ing at a game through the lenses of one television camera: but with four or five cameras spotted around the field and a quick shift from one to another, always being nearest the action-—we may well get exciting “viewing.” As for the amount of time devoted to television newsreels, presumably in Photograph by Larry Colwell newsreel theaters, the only authority TELEVISION'S entertainment potentialities are slowly unfolding through intensive experimen¬ is the public. Whether or not an audi¬ tation. "The Singapore Spider," above, was produced by WOR's tele-staff at WABD. ence will sit through a television foot¬ ball or baseball game in a theater I won’t undertake to say. Presumably, too, theaters will charge admission and whether a televised game will be con¬ sidered worth money is also another problem for the future to solve.

Two Techniques Needed Question: “Do you see television de¬ veloping visual art to accompany musi¬ cal programs—which need not be watched to be enjoyed?” Answer: I believe that when sound hit the silent films, the technique of presenting stories on the screen under¬ went radical and fundamental changes. The medium was no longer one pre¬ dominantly of pictures, helped out by as few captions as possible. It became a blend of sight and sound and ap¬ proached theatrical technique—with, of course, the advantage of unlimited stage sets. When sight hits broadcast¬ ing, the same revolution may be ex¬ pected to take place. We all know that a special technique of writing and presentation had to be DEVELOPING commercial techniques for future use: Conover Cover Girls demonstrate the developed for sound broadcasting. In latest in fall footwear and correct make-up methods in WOR experiments at Station WABD. radio, the scene is set with a brief description by the narrator and the ac¬ tion is painted with sound effects—a stealthy step on the gravel path, the squeak of a door, a shot, a scream, the thud of a falling body. The listener’s galloping imagination does the rest. Action vs Method Television will lose this imaginative co-operation from the listener; and what it will do to established radio technique is open field for speculation. It does seem to me that a group of people in their street clothes, clustered about a mike or two, reading their parts from scripts clutched in their hand—while adequate for such shows as the daytime dramas and even such stellar stanzas as the “Seven Up” and the Joan Davis shows—is a practice doomed to extinction in television. What people want to see is action—not method. I think television is going to need two separate techniques: first, the ap- VISUAL COOKBOOK. The General Electric Home Institute suggests an appetite-whetting (Continued on page 122) possibility in tomorrow's food advertising by a kitchen demonstration at Station WRGB.

13 FCC HOPES AND EXPECTATIONS FOR TELEVISION

The television industry’s bold experiments in the ultra- high frequency band may well solve this medium’s serious traffic problem, this Government expert says.

_By PAUL A. PORTER

Chairman, Federal Communications Commission

Of all the peacetime pursuits to possible plane. They have it in their ultra-high frequency band should make which we can once again turn our hand, power now to decide whether this great heartening progress. The culmination of none has aroused more curiosity, hope invention, so extensively benefited by these experiments will make it possible, and enthusiasm than the development the wartime exertions of science, shall from an engineering standpoint, for of television. be weighted down with the shoddy, the every city in the land to have adequate Television opens up vistas of educa¬ trivial and the dubious or whether it television service. tion and entertainment hitherto un¬ shall realize its full potentialities. The Commission is moving as expe¬ dreamed of. The citizens of tomorrow The Federal Communications Com¬ ditiously as possible to promulgate rules will know their nation and the world mission, for its part, has already taken and regulations which will make it pos¬ they live in better than any generation steps to promote the highest develop¬ sible for broadcasters and manufac¬ before them because of the magic of ment of the art. Thirteen channels be¬ turers to make definite plans for the television. Television will help us far low 300 me were made available for promotion of television’s future. along toward the goal Thomas Jefferson immediate commercial use by the Com¬ With 130 applications already on file, had in mind when he said: “I look to mission in its frequency allocations. there is every indication that there will the diffusion of light and education as However, this is insufficient space for be lively competition for the available the resource most to be relied on for the expansion of television into a truly channels in the region below 300 me. ameliorating the condition, promoting nationwide and competitive system. In I am highly gratified by the vigorous the virtue and advancing the happiness view of this, the Commission allocated experimentation being carried on by of man.” a generous portion of the spectrum— various concerns to solve one of the big¬ The entrepreneurs in the television from 480 to 920 me—for experimenta¬ gest problems of a nationwide system field are confronted by technical and tion with television employing wide of television—the establishment of relay economic problems of great magnitude. channels and affording color pictures systems. That is the common lot of so many of and high definition monochrome pic¬ For the benefit of historians who will the new fields of endeavor opening up tures. This superior type of television some day be poring over a yellowed and to us in this postwar reconstruction era. for commercial operation will find ample crumbling copy of this Directory and It is the keynote of these challenging room for expansion in this region of Yearbook and who get little fun out of times. These pioneers will deserve the the spectrum. life anyway—I want to record that as friendly interest and support of all of With this in mind, the Commission is of this writing the nation has six com¬ us in their efforts to conquer their encouraging the television industry to mercial television stations in operation. obstacles and bring this new marvel move ahead boldly with comprehensive America eagerly awaits the arrival into our homes. experiments in this upper band. Aided of television on a nationwide basis as by inventions now being released grad¬ an exciting contribution to our pleasure Television was one of the casualties ually by the military from wartime and welfare and as one of the most of World War II. Just as the art was laboratories, the experimenters in this welcome of our peacetime benefits. on the edge of accelerated advances, it was frozen in its tracks by the bombs that fell on Pearl Harbor. Frozen, that is, in an economic sense. In a technical POSTWAR pRODuC T sense, television was catapulted ahead PLANNING development from 10 to 15 years. The most intensive $ design coordinated scientific teamwork this nation has ever seen resulted in mira¬ cles which overwhelmed our enemies and which now give us the brightest promise for peacetime production. While television production was marking time, the public has had its appetite whetted for this new wonder. Granted a reasonably efficient conver¬ sion from a wartime to a peacetime economy, the American public should soon be in a position to support the television industry. The leaders of the television industry can help to assure themselves of that By Francis McCarthy support if they will profit by the expe¬ from Philco News rience in the standard broadcasting field and resolve to keep this new di¬ "It will be the greatest thing in the postwar market, gentlemen- a Philco refrigerator mension of American life on the highest equipped with TELEVISION to detect midnight raids!"

14 IS TODAY’S TELEVISION HERE TO STAY?

Television’s film vs. live talent controversy continues to rage. Mr. Cooper is a forthright spokesman for the film advocates and the achievements of cinematics.

By WYLLIS COOPER_

Program Manager, Compton Advertising Company

T here have been millions of words the future of television will be is wast¬ two types of editing in motion pictures, written and millions more spoken on ing his own time. apart from the ordinary cutting for television. But up until now this pri¬ Our concern is with programs and sequence and emphasis, are editing in mary point has too seldom emerged: with what appears on the home screen; time and editing in space. and even the technical equipment of Television Is Simply a Editing for Emphasis today is adequate. Talking Motion Picture We shall take a motion picture com¬ The conventions of the motion picture posed of three short shots. One of them It is a talking motion picture avail¬ have been established as a part of our is a man standing up. One of them is a able to the audience in its own home on national and personal consciousness for man sitting down on the floor. In each the purchase of a receiver. Any well- a period longer than the life span of a picture the man has a completely “dead¬ made television receiver of even the middle-aged man. Practically every per¬ present vintage is capable of delivering, son forty years old or less has absorbed if well-tuned, a fairly accurate dupli¬ these conventions as a part of his con¬ cate of the picture in the studio. If the sciousness. He is conditioned to them picture in the studio is bad, the picture exactly as he is conditioned to the con¬ on the home set is bad. If the studio vention of red and green lights. Nobody picture is good, then the picture on the stops to think about why they are red home screen is good. and green. We simply know, have been pan” expression. The third is a close From this comes what we consider taught, or have absorbed, since our shot of a hand taking a revolver out of the first law of television. This is ex¬ earliest childhood the facts that red a pocket. Now, by editing or rearrang¬ tremely important, and should be kept means stop and green means go. Any ing, we can tell at least two completely constantly in mind—because the whole attempts to change a civilized conven¬ different stories. If we show the picture television programming problem is tion of that type will result in utter of the man on the floor first, then the based on this law. This is the first law confusion, and almost certain defeat for of television: the changers. “Picture reproduction on a home Therefore, it behooves us to adhere receiver is practically identical strictly to the conventions of the motion with the picture on the transmit¬ picture and not try to create, out of the ter video-screen. Audience interest, depths of our ignorance, any new ones therefore, will vary directly with as we go along. the cinematic, dramatic, and pic¬ It is true that there is a novelty picture of the man standing up, then torial quality of the original.” aspect of television: people will look at the shot of drawing the gun, our sym¬ a television picture for a while regard¬ pathy is with the man on the floor. The That means that as the picture on the less of how bad it is, because it is new. little three-shot sequence becomes a home receiver deteriorates from the But that novelty quickly wears off. story of a helpless man defying an op¬ accepted standard of theater motion If the picture doesn’t come up to the pressor in the fact of certain death! pictures, in exactly the same ratio audi¬ standards with which they are familiar, Turn the sequence around—show the ence interest will diminish. The con¬ they will quickly desert it for the “stan¬ standing man first, then the gun, then verse is also true; as the picture dard” form of talking picture—the approaches the ideal, audience interest theater motion picture. will increase in the same ratio. That brings us to this statement Engineering Outpaces Programming which, while it may be explosive, seems to us to be irrefutable: Any discussion of engineering and transmission problems by advertisers and By the present “live” methods of program people is for the most part idle. television programming, it is ab¬ the man on the floor, and we have a The function of transmission is exactly solutely and utterly impossible to totally different story: it becomes the analogous to the function of projection meet motion picture standards. tale of a man meting out righteous in a motion picture theater. Certainly, There are many reasons for this: The punishment to a culprit. And—mind there will be better transmission equip¬ “live” television studio is too confining. you—the expression on both the men’s ment. Whatever has happened in the Every person concerned with the broad¬ faces is always the same—completely engineering laboratories as a result of cast must know the broadcast complete¬ noncommittal. war research can be considered as an ly, from A to Z, every minute it is improvement in projection equipment, going on. There are many other consid¬ Editing in Time and Space and, of course, in receiving equipment. erations—but the most important of The Russian film “Potemkin” is one We can safely leave all the improve¬ these is the consideration of editing. of the great motion pictures of all ment of the technical aspect to the engi¬ Editing is merely the orderly ar¬ times. There is a sequence in that pic¬ neers, who know what they are doing. rangement of elements of a story to give ture where the guns of the cruiser Any layman who tries to visualize what it the best possible interpretation. The (Continued on page 116)

15 HOW LARGE A SCREEN?

When is a small screen too small —a large screen too large? A frank discussion of factors that are certain to influence the public and shape teleset buying trends.

By DR. ALLEN B. DuMONT

President, Allen B. DuMont Laboratories, Inc.

H ow large should a television screen The giant DuMont 20-inch tube tele¬ becomes the logical choice, with its be? The answer is: Large enough for set, providing a \ZVi" x 18" image, calls 131/2,'x18" screen. I predict that this comfortable enjoyment of television en¬ for a proper viewing distance of from size will be the most popular for home tertainment. One might as well ask: 12 to 15 feet. If the sitter moves nearer, use since it can comfortably accommo¬ Which should I drive, a bus or a coupe? he becomes aware of the scanning-line date up to twenty televiewers. The answer depends, naturally, on how structure of the image. Beyond 15 feet, If one has a huge living room or many persons I wish to accommodate the sitter still enjoys a comfortable playroom for the television show, with and just how pleasant I wish to make screen size with excellent pictorial defi¬ audiences at times numbering two their accommodations. nition. dozen persons or more, then the 3' x 4' It is entirely possible to install too Any screen size viewed at the proper image obtainable with the projector- large a screen for the size of a room. viewing distance provides about the type teleset comes into its own. How¬ And this extreme is just as absurd and same pictorial detail, everything else ever, this set spells real luxury and inadequate as inviting all one’s neigh¬ being equal. The midget teleset with commands a luxury price quite beyond bors to crowd about a tiny screen to its 3 V2 " x 4 V2 " image, aimed at the very the vast majority of future television witness a much-heralded’ sports event. low price market, produces just as set owners. There are yardsticks, of course, for de¬ sharp an image as the projector-type Freedom of Action termining a satisfactory screen size. teleset which projects a 3'x 4' image The size of the audience is not, of Suppose we discuss the several factors upon the wall of a large living room or course, the sole factor influencing one’s affecting this problem. class room. In fact, the midget screen choice in favor of larger screen sizes. I image is apt to appear needle sharp, Proper Viewing Distance again bring up the matter of freedom but only because its scanning-line struc¬ of action. It is certainly comfortable in First, there is the proper viewing dis¬ ture is spaced so closely together that it tance . . . best illustrated by a motion the extreme to have a 3' x 4' projected passes unnoticed when viewed from a image upon the wall, which can be picture theatre. Seats from about the couple of feet away. viewed from any chair in a huge room. eighth row to the twentieth, right down the center, are apt to be taken first. Then Size of Audience Many persons, to whom cost is no the rear rows fill up. Late-comers re¬ The second factor to consider is the handicap, will doubtless prefer a pro¬ jected image. It is consonant with gra¬ luctantly accept the side seats. And the size of the viewing audience. With the cious living, with expansive living last to come must fill the rows down midget teleset, whose image is viewed front. Here they are very much aware at no greater distance than 2 feet, only rooms and playrooms. The DuMont organization has de¬ of many minute imperfections in the one or two persons can comfortably signed and put into production a choice film. Yet further back in the house this follow the television entertainment. of telesets ranging from the smaller same film seems perfection itself! Even so, these lookers-in complain of screen sizes at popular prices to the Every person—according to his eye¬ the same cramped feeling that went largest direct-view telesets, and also sight—naturally selects a distance from with early radio sets when earphones is producing a 3' x 4' projector type for the screen that is most satisfactory for virtually chained the listeners-in to a those seeking superlative performance him. Thus the proper viewing distance nearby chair. Then the loud-speaker even if it does cost as much as a good varies with each individual. The aver¬ came along to provide freedom of ac¬ automobile. Because we are manufac¬ age person selects a distance roughly 10 tion. Except for individual use, or as a turing all sizes and types, I can im¬ to 12 times the height of the picture. second or third teleset in a home partially point out the good points and When a television receiver is installed already enjoying a large-screen tele¬ disadvantages of each. in your living room you have a counter¬ set in the living room or playroom, It is my sincere belief that direct- part of the motion picture theatre. The the midget teleset has very definite viewing television offers the most for size of the television screen automa¬ limitation. the money. The DuMont organization tically determines the proper viewing The larger the television picture, the has pioneered the giant 14 and 20-inch distance. Thus, an 8" x 10" image will greater the audience that can be com¬ cathode-ray tubes and was the first to be viewed most satisfactorily by the fortably accommodated, and the greater offer large-screen telesets based on the average eye at a distance of approxi¬ the feeling of freedom. With an 8" x 10" use of such tubes (as early as 1939). mately 8 feet. Sitting nearer only image, you are no longer peeping at We still favor the direct-viewing meth¬ makes the viewer conscious of the the show through a knothole, so to od for which we make the necessary scanning-line structure and correspond¬ speak, but rather are enjoying a pretty giant tubes. ing texture of the image. Moving far¬ good seat, provided the room is not ther away improves the pictorial reso¬ crowded. From six to ten persons can Direct-View Advantages lution until the image is on a par with be seated in two or three rows, and The principal advantages of direct- theatre movies—but the picture may everyone of them will be able to enjoy viewing television are high light bril¬ become too small for comfortable view¬ the show. liance, better contrast range, wide-angle ing! Hence the importance of sitting But let the home audience run up to viewing, lower accelerating voltage, within the proper viewing distance of a dozen or more and a larger screen is longer life, better resolution, less align¬ 8 feet. necessary. This is where the 20" tube ment difficulty, and simplicity of the

16 focusing system. It would seem from this array of advantages that there is little question as to which is the most satisfactory, providing the audience is satisfied with an image no larger than 13 V2" x 18".

A Disappearing Screen Of course there are some disadvan¬ tages to be recorded for direct-viewing television. There is a slight curvature of the screen which introduces some dis¬ tortion of the image. This is being largely overcome by flatter-faced tubes. Then there is the length of the tube which, mounted in the normal horizon¬ tal position, makes for a cabinet of awkward depth. The 20-inch tube is 31 inches long. However, we have ingeni¬ ously circumvented this awkwardness by mounting the tube in a swinging cradle so that it remains in the ver¬ tical position when the teleset is not TELESETS include large-image television screen, FM, standard broadcast, record changer and recording facilities. This model features a disappearing screen which tilts back into the teleset in use, and is brought to the horizontal when it's not in use. Console models are designed in both classical and modern styles. position only for actual viewing. With this tube-mounting we have reduced the cabinet depth to 24 inches or less. Considering the advantages of direct- viewing in greater detail, we find that the high light brightness of the 20-inch tube is in the order of 20 foot lamberts as compared with approximately 3.5 lamberts for the most efficient projec¬ tion system now in use. In both cases the picture size is considered to be 1314" x 18". The higher light brilliance means that the 20-inch teleset can be used satisfactorily in a brilliantly illu¬ minated room. An ambient light level as high as 5 foot lamberts can be tolerated without seriously impairing the picture quality. With the projection system only about .5 foot lamberts average ambient light can be tolerated. It is interesting to compare the brilliance of the picture on the 20-inch tube with that of normal commercial 35 mm. movies which aver¬ age between 6 and 10 foot lamberts. As regards brightness ratio or con¬ trast range, the 20-inch tube has a con¬ trast range of approximately 35, as BUILT-IN TELESET—The mechanism is concealed, leaving an 18-inch "direct view" screen vis¬ compared with 17 for the projection ible. A "direct view" picture, as distinguished from reflective and projection systems, is shown on the flattened, luminescent screen-face of a large picture receiving (cathode-ray) tube. system. This is an extremely important characteristic of the television picture With the 20-inch direct-viewing tube tures for home projection yet demon¬ since in many cases the lack of contrast the spot size is sufficiently small to re¬ strated. Our compact projector has a gives viewers the impression of poor solve any 525-line television pattern or tested range of picture sizes from 18" resolution. even higher, with a well-designed de¬ x 24" to 414'x 6'. We believe this pro¬ As to directivity (maximum viewing flection yoke, whereas care must be jector has a place in the very large angle from the normal angle at which taken with the 5-inch projection tube to living room or playroom, and even far the apparent brightness decreases to obtain full 525-line resolution. Forget¬ more so in the schoolroom, club, church, 50% of its value in normal direction) ting spot size for the moment, the reso¬ department store or other public place. we find that the 20-inch tube can be lution on the 5-inch tube is considerably viewed from ±80°, whereas the projec¬ reduced by light scattering on the fluo¬ Built-in Wall Telesets tion system can only be viewed from rescent surface as well as on the trans- In a home desiring a large picture on ±15°. It is, of course, possible to widen luscent screen. With the direct-viewing the wall that can be viewed from dif¬ this angle somewhat in the projection tube all elements are aligned within the ferent parts of a fair-sized room, we system but in so doing the high light glass envelope, as against the tube and favor the custom-built installation—a brightness will decrease from its al¬ optical system to be aligned in the pro¬ receiver built into the wall with the ready low value. jection method. In order to focus the tube-screen suitably framed at any picture on the direct-viewing tube, it is height desired. Life of Cathode-Ray Tubes only necessary to make an electrical ad¬ On the basis of bright, detailed, good- In making these comparisons we have justment, whereas both electrical and gradation pictures, at an attractive assumed an accelerating voltage on the optical adjustments are necessary in first cost and with low operating ex¬ 20-inch tube of 15 kilovolts, and 30 kilo¬ the projection system. Furthermore, penses, I hold that the direct-viewing volts on the 5-inch flat-faced tube of the unless the latter’s optical elements are teleset has exceptional advantages. But projection system. It is obvious that the properly protected, the picture is apt I am quick to admit that there is a lower accelerating voltage of the direct- to deteriorate with age of equipment. place for the projection type set where viewing tube effects certain economies Our organization has developed a cost is secondary to the desire for in the manufacture of the receiver. But projection unit that produces a 3' x 4' maximum screen sizes for the purpose aside from first costs, there is a marked image on a suitable wall screen—more of entertaining large groups in utmost difference in operating costs. than four times as large as any pic¬ comfort.

17 HOW WILL TELEVISION HANDLE THE NEWS?

A prediction that television’s news reporting system

will one day be the pride of a well-informed nation.

By TED GENOGK

News Editor, Paramount News

Like speeches and babies, the perfect How do our arbitrary “present” and oped around the personality of a local- Television News Service, in the present “future” phases of news presentation name commentator. The international state of video, can be defined as “easy line up? At the moment, network news and national pictorial scene will be pre¬ to conceive but hard to deliver!” is a promise and not a reality. There¬ sented on film. Now this need raises Today, certain practical technical fore, we can expect news film and studio many questions, and leads to many limitations are holding back the devel¬ photo tricks and techniques to be used arguments and predictions as to the opment of a full Television News Serv¬ in aiding a telegenic commentator in way in which such a service will be ice, that is, are holding back the form the interpretation of the news. This will achieved. which it must ultimately take, if this be coupled with live coverage of the new medium is to gain its rightful place more important local events. Special Tele-Film Services as the leader in pictorial news presen¬ A large amount of sports telecasting The major newsreel companies are tation. These technical limitations in will fill an obvious need, and also repre¬ best equipped both nationally and local¬ equipment performance and portability, sent television’s “immediacy” at its best. ly to undertake distribution of such in relay standards and facilities, are The earliest equipment improvements newsfilm. Yet newsreels today are con¬ problems which will be surmounted. will be developed and tested in this field. tracted for by theater exhibitors, and They are problems, however, that, Much work remains to be done to pro¬ the motion picture companies may be though capable of solution in the physi¬ vide the variety of angles and “picture” loath to promote a television station cist’s laboratory, are first encountered field sizes necessary to give pictorial service which the theater exhibitors in the school of field experience and speed, life and excitement to sports- might conceivably challenge as competi¬ mostly solved in the open-air classroom casts. There is a creative element in tive. Some companies, however, with an of practical telenews pickup. For this news reporting, although it is almost an eye to such future possibilities, have reason, it is possible to hazard a guess axiom that the “hotter” the news, the already included the filming of news at the trends in television news, both less treatment it needs. Perhaps this events specially for television, among on a short and a long-term basis. It is explains why sports events are a fine their activities. Thus, Pathe News sup¬ obvious that until full and efficient testing ground for “new presentation” plied NBC Television with special film technical staffs are built up and organ¬ ideas. coverage of the Presidential Conven¬ ized by the major companies, the second tions and of the San Francisco Confer¬ phase of full television news program¬ Reliance on Filmed News ence. ming cannot even be considered. In the larger cities — where the Some television stations will inaugu¬ The first and present phase of news greater part of the news is made—a rate their own motion picture depart¬ program production, therefore, will lie vast field of news broadcasting will be ments. It is quite likely that, should the in the fundamental use of available opened immediately. Outside the web of vacuum not be filled, many 15mm. pro¬ equipment, with tendencies in news regional networks, however, the smaller ducing organizations which mushroomed presentation that demonstrate a compe¬ remote stations will face a different during the war will turn their peace¬ titive jockeying in ideas and methods problem. Unable to present immediate time activities to 16mm. film coverage gathered from the “arts and sciences” live news at the moment of the event, of news events and provide a television of radio news and newsreel. these small city stations will be forced film service on an agency basis. Television, by its very definition, sets to adopt filmed news as their main forth its claim to the unique dimension pictorial material. Local Coverage of “immediacy.” Yet news, and only The ability of the small-town station All in all, the small, independent sta¬ news, can make purposeful use of this to make use of “immediacy” in news tion, despite smaller resources, will be attribute which conquers space and depends on the rapid establishment of able, nevertheless, to put out a credit¬ time. And it is in the proportion that it relay techniques. That this is the No. 1 able news program. And at his own turns to account, this magic quality of priority in television, is shown by the doorstep, he will have the important “news as it happens,” that the standard existing variety of approaches to the field of local news. Anyone who has of television news will be rated in the problem: coaxial cables, centimeter worked on newsreel production will future. radiowave relays and now the Westing- know the frantic call for local coverage. house proposal for stratospheric plane In this phase of operations, the small Top Ratings for News relays. Efficient nationwide relay sys¬ station is at no disadvantage with his In evidence of how far television has tems are needed to solve the economic big city brother. With portable pickup yet to come, one has only to consider problems of television’s entertainment equipment, he can give local news the present program content and thus un¬ field. In the broadcasting of television real television treatment—that is, make derstand why news programs have not news, they provide the very life-stream. it a live affair! yet broken out to the top ratings on Until these future or adult days of With our eyes on the bright horizon television polls. I, personally, have no nationwide television service arrive, the of television, it is the second phase that hesitation in predicting that when its small station will undoubtedly adopt holds greatest appeal because it prom¬ normal development evolves—as it sure¬ present-day techniques of pictorial in¬ ises comprehensive news coverage by ly will—news will be right up there terpretation of the news for its sched¬ the most telling medium that has ever in front, leading the television field. uled programs and these will be devel¬ existed.

18 Now, with Victory won, we can expect scientific research to move with ever- accelerating speed to make the requisite equipment and techniques available in a relatively short time. Then, with pic¬ ture-bearing high frequencies carrying the news of the moment across the con¬ tinent with the speed of light, television news will be established in its own right. Field news units will be supplied with truly portable cameras of the orthicon type, with smaller mosaics yet of high quality and efficiency. These will enable the cameraman to scan the com¬ plete gamut of scenes from extreme general view to intimate close-up. These field news units will cover every signifi¬ cant event and activity making up the life and growth of our civilization. Underwriters Needed Enough experience is available in the news fields of radio and motion pictures to visualize clearly the organization necessary to establish a comprehensive television news service. And it also be¬ comes clear that only major networks or interested motion picture companies are likely to underwrite such services. The tradition of radio, and the trust PIONEERING a great new medium of news coverage: WNBT sets up its cameras atop the imposed on news-gathering organiza¬ Hotel Astor s marquee to televise the New York's historic V-E Day millions in Times Square. tions to see that no vested interest shall color or influence the choice of news, means that the major expense must be borne on a “prestige” basis by large companies in allied fields. It follows that network television services will be few in number, but in high competition these will deliver the superior quality that results from that form of free initiative. News of top interest and importance would be given “flash” treatment, in¬ terrupting scheduled programs if neces¬ sary. Photographic methods of record¬ ing the sound and picture of the initial spotnews broadcast would enable re¬ transmission at a later time, in edited form, in the normally scheduled news roundup, or for use as “visualization” in a news-analyst’s later interpretations of the day’s events. Film will never en¬ tirely be eliminated, any more than rec¬ ords were by the introduction of radio. Even in news, film will have the func¬ tion of supplying much background in¬ formation. The past few years have seen a revolution in informational edu¬ PHOTOGRAPHS, maps, globes, diagrams and films are standard equipment of the television cation of the public—through the popu¬ news commentator. The newsroom of Station W6XYZ, Hollywood, is pictured in action above. lar press, magazines, films and radio— with a strong trend toward “background interpretation” of news. In the Tele¬ vision News Service organization this means more than just a research sec¬ tion of the editorial department. It makes imperative the setting up of a complete motion picture news library or “morgue.” Here, all important events and personalities would be catalogued and indexed with such efficiency and skill, that relevant film could be selected and edited into an explanatory entity, in a matter of minutes. Paul Alley’s commendable handling of the obituary of the late President Roosevelt for NBC, showed what can be done in this phase of pictorial news. Future television demands will call for film editors and methods that can handle this form of news picture analy¬ sis at highest speed. NAMES MAKE NEWS: Sgt. Bill Mauldin, the outstanding cartoonist of World War II, is inter¬ (Continued on page 124) viewed by Ben Grauer. Presenting personalities in the news is a natural for television.

19 COLLEGE SPORTS AND TELEVISION

The increasing popularity of televised sports opens to colleges and universities a great opportunity for building prestige and an important source of income.

_By DON SPENCER

President, Televised Sports, Inc.

The role that sports may be expected television. As television networks may tion to be very much worth its while. to play in television programming can be of slow growth, many sections of the Similarly, on the Pacific Coast, the best be estimated by a glance over their country may find themselves without Associated Oil Company began by spon¬ impressive record in radio during the coaxial cable hookups for 5 to 10 years soring football games in the San Fran¬ past two decades. after they have television stations. cisco area only but soon made an agree¬ Sports broadcasts were among the These isolated, independent stations, if ment with the Pacific Coast Conference first features of radio to achieve out¬ equipped with mobile field pickup appa¬ to broadcast all Conference games. The standing popularity. The novelty of sit¬ ratus, can cover local sports events, give company has broadcast all these games ting at home and hearing a blow-by- their audiences a top entertainment for a number of years now, and in ad¬ blow description of a heavyweight feature, and can obtain sponsorship of dition has negotiated contracts with championship bout—or a play-by-play such events by national advertisers be¬ the leading independent Coast colleges. report of a World Series baseball game cause the audience attracting power of On the Eastern seaboard, the At¬ —fired the imaginations of millions. local sports events has been so ably lantic Refining Company has been ex¬ This availability of excellent sports demonstrated by radio. panding its coverage of college games programs, more perhaps than any other Experienced sponsors of college foot¬ for the past ten years. It now broad¬ single entertainment feature, provided ball broadcasts declare that localization casts a total of 167 games per season— the buying incentive that speeded the —giving the sports fans in each section an average of 17 games per weekend. expansion of radio. the sports events that are of greatest Incidentally, since 1940, the Atlantic Set ownership grew into the millions, interest to them—is the key to good Refining Company has commercially in fact a market of listeners was well audience response. sponsored telecasts of all big football established before the entertainment games played in Philadelphia. These All Games Important to Fans provided in sponsored broadcasts began are television’s first recorded commer¬ climbing to its present high levels. In Texas, for example, the Humble cially sponsored sports telecasts. Some of the largest radio audiences Oil Company started out by sponsoring In the Midwest, there has been no in history have been tuned in for net¬ what it considered to be the top games clear pattern of college football broad¬ work sports presentations: notably the of the Southwest Football Conference. casting. Among universities making up Joe Louis fights and World Series base¬ The company soon learned from the the Big Ten, Minnesota games are not ball broadcasts. Significantly, however, rabid football fans of the Southwest open for sponsorship. All other schools, network presentations of sports form that they considered all games played however, permit commercial sponsorship but a small part of the nation’s total by Southwest Conference teams to be of their games. With the exception of sports broadcast time. Most sports outstanding. After this reaction, the Indiana and Purdue, they receive from events are of sectional interest only. company swelled its sponsorship to be¬ $15,000 to $20,000 each for broadcast But in their sections such events possess tween 30 and 35 Conference games rights. extraordinary audience pulling power. yearly, a policy it certainly would not More than any other type of video They are regularly presented over their continue if it did not find the opera¬ (Continued on page 141) local stations with local commentators doing the honors. Radio’s coverage of sports includes horse races, baseball and football games, golf tournaments and tennis games of top interest, championship fights, and an occasional track meet. Radio’s two great sports standbys are professional baseball and college foot¬ ball. And broadcasts of both of these are conducted primarily as local opera¬ tions. A sports event which has great local or regional interest is presented over one or more of the local or regional stations. And, very frequently, it enjoys a national or regional sponsor. In prac¬ tice this means that a national adver¬ tiser often sponsors a dozen to 20 dif¬ ferent football games in different parts of the country on a single Saturday afternoon. This growing sponsorship of local sports events by large advertisers is of special significance to the growth of

20 WILL TELEVISION DEBUT IN A FOOL’S PARADISE?

There’s more to tele-selling than demonstrating a prod¬ uct on the screen in a prospect’s parlor. There’s tele¬ merchandising, too! Here are some timely warnings.

By E. B. WEISS

Consultant

Scarcely a word has appeared in print result is that merchandising and pro¬ reaching in the first half of 1946 a total about it. Scarcely a word has been ut¬ motion become a mighty bedraggled viewing audience of perhaps a quarter- tered about it in tele-studios. And yet, “also-ran.” million or a half-million in a nation of without it, television cannot bring the When you contemplate such factors 140,000,000 souls will out-deluge the advertiser a profitable return on his as these, it becomes at least as clear as most fantastic concept of a Hollywood advertising investment. the current television image that tele¬ deluge. Right here and now is the time That “it” is the gentle art of mer¬ advertising, in its early days, will be for television to consider how its pro¬ chandising the television advertising. asked to carry the whole load. It will be grams are to be merchandised and pro¬ The gentle art of exciting the whole¬ asked to send droves of customers into moted. And, in considering this problem, sale distributor and his salesmen and stores. It will be asked, automatically, wouldn’t it be sensible to analyze real¬ winning their selling and promotional to win distributive outlets. It will be ism in a realistic way? cooperation for tele-advertised lines. asked, automatically, to win the selling The gentle art of exciting the retailer support of the advertiser’s salesmen, How Do We Do This Job? and his salespeople and winning their the wholesaler and his salesmen, the re¬ Let’s take a look at some of the basics selling and promotional cooperation for tailer and his salesmen. It will be ex¬ involved in merchandising and promot¬ tele-advertised lines. pected to obtain, automatically, window ing tele-advertising: Commendable, in fact highly com¬ display space, counter display space, 1— Better retailers aren’t deluded for and every other form of merchandising mendable foresight was shown by tele¬ one fleeting second by absurd as¬ stations and advertisers when they per¬ and promotional support. sertions about so-called “national” severed in wartime program study and advertising that may actually Promotion Will Pay Off experimenting. But is the program the reach no more than the merest sum and substance of success in tele¬ Now I have been convinced for a long handful of their customers. advertising? Won’t television programs time that tele-advertising is destined to have to be merchandised to and through become the dominant national advertis¬ 2— Better retailers cover their trad¬ the trade? Or is there the naive belief ing medium. But whether it is dominant ing areas more thoroughly with that cut-and-dried merchandising and or not, it won’t pan out as a profitable their own advertising than do promotion will extract the bonus of advertising investment for 95 per cent most national advertisers with wholesaler and retailer cooperation of those who use it unless and until the their campaigns. from the tele-advertising investment? tele-program is smartly and thoroughly 3— The prestige of better retailers Of course it can, and probably will, and energetically merchandised and means as much to the local popu¬ be argued that wartime tele-advertising promoted. lace as the prestige of many so- provided no basis for merchandising What does that demand? called national brands and, ac¬ and promotional activities. Or that mer¬ I’ll answer that question, first, by tually, carries greater weight than chandise scarcities made such functions explaining what it does not demand. the prestige of most so-called na¬ inadvisable. But it is still a fact that It does not demand phony and ludi¬ tional brands. both the promoters of tele-advertising crous claims with respect to the pulling 4— Better retailers promote constant¬ and the users of tele-advertising have power of tele-advertising. ly. They welcome promotional as¬ given scarcely a thought to the second It does not demand statements with sistance as differentiated from half and by no means the least impor¬ regard to tele-advertising that simply mere suggestions that they tie up tant half of the television program—its insult the intelligence of smart retailers. promotionally. Their promotions merchandising and promotion. Presumably, it is the cooperation of are built around specific promo¬ smart retailers that will be sought by Unproved Theories Dangerous tional themes. The promotions tele-advertisers because the cooperation they want from manufacturers This might not be a source of some of the lunatic fringe among retailers is are likewise built around themes alarm if it were not for several disturb¬ hardly worth anybody’s while. —retail promotional themes—and ing factors. One of these is the tendency It does not demand a broadside, meas¬ they have no use for promotions of those who promote television to live, uring about ten feet by ten feet, that in that are simply hallelujahs for talk and eat “out of this world.” They lurid colors and equally lurid language national brands and so-called na¬ lull themselves into smug security with extols the miraculous achievements of tional advertising. Finally, they calm acceptance of unproved theories tele-advertising. welcome complete promotional pro¬ such as the rather silly contention that It does not demand either donkey dust grams, as differentiated from or star dust. tele-advertising will be ten times more “better tie up or else” admoni¬ effective and more resultful than any Unfortunately, these absurdities help tions. other form of advertising. Another dis¬ shape the all-too-common concept of turbing factor is the common tendency promotion. Retailers have been told how 5— What has been said about retailers among both advertisers and advertising a page in Vogue or Harper’s Bazaar applies as well to wholesalers. agencies to devote 90 per cent of their would result in call-the-police traffic in 6— Tele-advertising will not be a na¬ time and talent to the development of their dress departments. Now they are tional advertising medium in 1946. the advertising program. The natural going to be told how a tele-program, 7— Tele-advertising will not send

21 EVERY FASHION SHOW in the Sanforized series produced by Young marized the action. Television audiences may have been limited but & Rubicam at WABD was merchandised to dealers in highly interest¬ Sanforized dealers everywhere "saw" these shows and absorbed their ing reports. Each reproduced a shooting script enlivened with many fashion messages through Sanforized progress reports. Advance photographic illustrations and the director's hand-written changes notices and follow-up literature are a vital part of a complete tele¬ and camera notes, together with captions for each page which sum¬ vision promotion and the most profitable part for 1946 advertisers.

droves of customers into stores intrigued by television. Moreover, With regard to the wholesaler, it is demanding the tele-advertised item they like to hook their promotions obvious that his promotional functions even in those areas where tele¬ to the new, exciting and thrilling. are usually fewer than those of the re¬ coverage is concentrated. Precious There, in categorical fashion, is the tailer. Catalog inserts, inserts in the little national advertising is real¬ merchandising and promotional set-up wholesaler’s monthly statements, dis¬ ly national. On an actual reader that faces the realistic user of tele¬ plays in the wholesaler’s showrooms and or listener basis (as distinguished advertising. Now, what to do about it? windows (if any), special mailings to from ridiculous total circulation First and foremost—throw overboard wholesale salesmen and perhaps a con¬ or total readership or listenership the bunk about irresistible consumer test among wholesale salesmen, special claims) not more than 5 per cent demand created by the small viewership letters or other types of direct mailings of our national advertisers actual¬ tele-campaigns of 1946. for the wholesaler to send to his retail ly get their messages before more Second—make sensible capital of the trade, portfolios for the wholesale sales¬ than 10 per cent of our adult novelty and the early popular appeal of man (if the line is important enough) population. Not more than 5 per television. . . . these take in the major part of cent really reach as much as 20 Third—develop retail-flavored promo¬ wholesaler promotional activities. per cent of their actual consumer tional themes that tie up with your tele¬ Finally, there is the manufacturer’s market! advertising. own sales force which must be promo- 8— Only a handful of national adver¬ Fourth-—build complete promotional tionally equipped so as to be able to sell tisers or sectional advertisers have programs around those themes. the tele-advertising intelligently and any considerable degree of con¬ Fifth—supply the retailer and the energetically—and, of course, the manu¬ sumer demand. Again reverting to wholesaler with everything within rea¬ facturer’s own mailings to his distrib¬ percentages, I would say that 95 son needed to execute the suggested uting trade. per cent of our advertisers have promotional program. Does this sound like a lot of work? merely consumer acceptance—and Now—what does that last “must” It is! It may involve as much time, tele-advertising definitely is not involve? Insofar as the retailer is con¬ effort and brains as the tele-program going to turn that into consumer cerned, it involves unselfish, retail- itself. But if tele-advertising is to bow demand either overnight or ever! smart, fully-wrapped-up promotions its way into the competitive commercial world with simply tele-programs, then 9- —Distributors, both wholesale and that don’t stop at suggesting what the it will be making its debut in a fool’s retail, plus their sales organiza¬ retailer should do but which actually paradise. Advertisers don’t ramble tions, are keenly interested in and supply most if not all of the needed about in that paradise very long—it’s promotional material. In order to do too costly a jaunt! that, you must know the promotional tools that a retailer customarily em¬ ploys. Briefly, they include the follow¬ ing units: Newspaper Magazine Radio Television (soon) Window displays Interior displays Handbills, package inserts, bill in¬ serts Car cards and outdoor panels Truck panel signs Telephone solicitation Training salespeople Mail-order units including catalogs Special tables, sections, “corners,” “shops,” etc. Unique merchandise arrangements © Fontaine Fox. Courtesy, New York Sun Television Will Really Add Something! Employee contests Problem of Television

22 WHAT WILL YOUR TELE-TIME DOLLAR BUY?

For most advertisers, television today is a long-range investment. On this basis, however, it can be highly recommended, for it will pay off handsomely.

By RICHARD MANVILLE.

Consultant on Advertising & Research

Manufacturers and advertisers who drop off alarmingly on evenings when cellent shows have cost considerably are deeply concerned with present-day another television station goes on the less. However, “free time” from stations sales promotional problems and trends air with a good program. However, this will be scarce from now on. are asking a $64 question with increas¬ audience of 2,000 is a starting point. As controls release materials for the ing frequency. That question is: “Shall At this stage I am likely to ask: manufacture of television sets, as the I go into television right now?" “Have you an idea as to what a tele¬ public buys the sets (with inevitable And now, late in 1945, my reply show will cost you?” “Yes,” this adver¬ price reductions making them more and runs something like this: “Before I can tiser may reply, “I can get a complete more available) ; as additional tele¬ give you the intelligent answer you de¬ package that includes everything for vision stations are erected, and as the sire, please answer one question for me $300.” This figure is low but typical of sets in any given area increase from —What do you want your expenditure today’s operating conditions and in no several hundred to several thousand, in television to bring you?” wise comparable to radio expenditures. thence to several hundred thousand and If my inquirer says: “I want to get We proceed to divide 2,000 by $300 then to millions, the situation will im¬ experience so that I will know some¬ (per show) and the quotient tells us prove radically. But what we are con¬ thing about television when it breaks that he can hope to reach approximate¬ sidering is the economic picture right full flood”—then I know his problem ly 7 people for every $1.00 spent. Logic now—the arithmetic of television! boils down to how much he can afford then compels me to point out that if he If arithmetic proves that other media to spend on a regular basis to get that is paying approximately 15 cents per can be used at lower cost per person, experience. viewer per show, he must sell 15 cents we can only suggest cold-bloodedly that On the other hand, suppose he de¬ worth of goods per viewer per show. you wait until television has a different clares: “My advertising budget is a cer¬ And this 15 cents must be considered story to tell. For at this moment this tain fixed amount. If I go into television as a base cost over and above the cost fact must be faced: television cannot be I’ll have to spend a part of it that pos¬ of the product, other advertising, etc. justified if a dollar-and-cents yardstick sibly could be used elsewhere to better is the only one by which you are per¬ 3,000 Sets in New York advantage. My job is to make every mitted to judge this medium. dollar spent bring a dollar plus in sales.” Or let us go back and assume that It must be remembered also that When he states an objective like this, I our questioner is a New York business owners of television sets, at this mo¬ shake my head sadly and go into a little man. Here, the most recent surveys re¬ ment, are: 1. persons in the high in¬ simple arithmetic. port about 3,000 tele-receivers in metro¬ come brackets who are interested in 900 Sets in Chicago politan New York. Assuming 4 to 5 television because they are associated viewers per set, we can start with directly or indirectly with television Let us imagine, as has happened, that a potential audience of about 15,000 manufacturers; 2. wealthy persons who the gentleman is from Chicago. So I viewers. Reduced to 60 per cent—the buy any new product which contributes point out that there are around 900 tele¬ sets-in-use estimate—we find ourselves sociological distinction; 3. persons in receivers in his city. If we assume that with a net of 9,000 viewers. associated lines such as radio and ad¬ every receiver is in working order (an vertising; 4. theaters, bars, etc., and extremely optimistic assumption at this As we accept this figure we must 5. radio retailers who had prewar sam¬ moment) and if we further assume that admit that it is optimistic, that we are ple models and moved them to their there are four viewers for each set, we assuming that all 3,000 sets are in homes. arrive at a total of 3,600 viewers. Some working order and that 6 out of 10 will be turned on in any given evening surveys report as high as 10 viewers Value in Research Now per set. The findings of CBS, G-E and despite the presence of three television Qualifying our audience by these in¬ my own organization agree on 4 or 5 stations and New York’s other enter¬ tangible factors and we find it a highly listeners per set and I have used the tainment distractions. restricted, highly selected market at conservative lower figure. Divide these 9,000 viewers (which this moment. On the other hand, use of However, this theoretical 100 per also include children, mind you) by, let television today offers very real advan¬ cent potential*—3,600 viewers—must be us say, a $300 show cost per week and tages of dollars-and-cents value. trimmed down to actual sets in use. A we find that we are getting 30 viewers 1. Television, today, still packs enough G-E survey rates this “sets-in-use” audi¬ per dollar, this is 3 cents per viewer, novelty to pull a tremendous volume ence as 60 per cent of the potential. not buyer. Stack this up against cost of excellent publicity if intelligently Using this percentage we arrive at an per magazine reader, or cost per radio handled. actual audience of around 2,000 viewers listener—particularly when these other 2. If you go into television now, you per show. In passing, I might mention media can supply the right type of can “merchandise the pants off” your that G-E and my own surveys indicate reader or listener for our product—and program to dealers. Most dramatically that about 25 per cent of this audience we are down to bedrock. you can make them aware of your pro¬ will he children. Audiences may vary Naturally, the two examples cited gressive advertising plans. Its psycho¬ considerably from show to show, and are streamlined for brevity’s sake. Some shows have cost ten times as much for logical effect upon your dealers and * Again optimistic with perhaps 10-15% of sets the same size audience. And many ex¬ (Continued on page 134) needing repair and “not working.”

23 24

PROPOSED ROUTES FOR RELAYING TELEVISION PR

NETWORKS: Here are the various routes offered by seven different organizations to provide television coverage of the entire nation. THE BELL SYSTEM’S PLAN FOR TELE-NETWORKS

Construction of nationwide networks, already well started, will continue to keep pace with the require¬ ments of this rapidly expanding broadcasting medium.

By KEITH S. McHUGH

Vice President, American Telephone and Telegraph Company

T he Bell System is preparing to meet the television industry’s needs in transmission facilities as they arise. That unqualified statement can be made because of the background of ex¬ perience and resources that has been accumulated by the telephone industry. For nearly three-quarters of a century, telephone engineers have been develop¬ ing successfully the art of transmitting electrical impulses over long distances. For some 20 years we have been oper¬ ating successfully nationwide networks for radio broadcasting. And backing up such experience are an incomparable physical plant, a thoroughly trained personnel, and the research achieve¬ ments of the Bell Telephone Labora¬ tories. Bell System facilities for broad-band transmission have proved capable of transmitting either telephone calls or ACROSS THE COUNTRY, mile by mile, automatic coaxial cable laying under the sponsorship television programs satisfactorily. They of the Bell System is linking major communities together, speeding the day of nationwide will be ready to meet television’s ex¬ television. About 400 miles of a 7,000-mile network is in operation at the beginning of 1946. panding requirements in quality of transmission and in dependability as rapidly as the art develops. What type of equipment will the Bell System use in serving the television industry? Coaxial cable and specially- equipped telephone wires already have proved capable of carrying broad-band television frequencies. Radio relay serv¬ ice may also prove attractive in broad¬ band transmission. Our objective is to provide the best, most dependable and most economical transmission method. We shall use whichever method or com¬ bination of methods gives the television industry the most satisfactory service at the lowest practical cost.

Coaxial Cable

In the years prior to World War II, CROSS SECTION of a six-coaxial cable (left) shows position of coaxials with respect to regu¬ as it became apparent that increasing lar telephone wires. Fanned-out view of cable at right shows construction of conductors in telephone traffic would outstrip the ca¬ the one sheath. Width of waveband carried depends on amplifying equipment, not on cable. pacity of conventional wires and cables on major toll lines, telephone engineers shield. Simple though it is in design, can be accommodated should television looked for a transmission method that coaxial cable when suitably equipped need them. would accommodate the expected in¬ efficiently transmits the broad frequency The first coaxial cable to be placed crease in volume of calls. They adopted bands required for multiplex telephony and used for telephone messages by the the coaxial principle and developed a and television. Bell System was a 90-mile section be¬ cable that could carry many hundreds Present coaxial equipment can trans¬ tween New York and Philadelphia, in¬ of phone conversations simultaneously mit frequency bands of about 3 mega¬ stalled in 1936. This was followed by a without mutual interference. Essential¬ cycles. Experimental work, started be¬ 200-mile length between Stevens Point, ly, a coaxial cable is a wire conductor fore the war and being resumed now, Wis., and Minneapolis, which has been within a cylindrical copper tube which however, indicates that, with further in operation for about five years. The serves as both a return conductor and a development, bands of greater width (Continued on page 128)

25 % RAYTHEON’S MICROWAVE RELAY SYSTEM

National tele-networks are vital to the commercial development of television. Bigger audiences is the single direct answer to excessive programming costs.

By LAURENCE K. MARSHALL President, Raytheon Manufacturing Co.

T elevision network growth is direct¬ duce, or reproduce, a live show sepa¬ New York and Boston, the circuit must ly related to the expansion of the tele¬ rately at each station, “big name stars” be capable of handling them as well as vision industry. As the number of would not be available outside of the “feeds” from the main line to Buffalo. television stations increases the greater major production centers, and many Adequate news coverage alone may will be the demand for network facili¬ types of “perishable” programs could make two-way transmission imperative. ties, and inversely, the more rapidly not be handled on this basis at all. Some of the repeater stations on network facilities are established the News events, current sports such as microwave radio relay networks will be more rapid will be the growth of tele¬ prominent baseball and football games, located at very high elevations when vision stations in this country. Network conventions and ceremonies are exam¬ passing over mountain ranges. Due to facilities and stations go hand-in-hand. ples. Radio broadcasting enables the the quasi-optical characteristics of tele¬ A microwave tele-network relay sys¬ public to hear these events reported vision broadcast frequencies, a tele¬ tem makes possible the achievement of while they are happening. Newspapers vision broadcast transmitter located at two primary objectives from the stand¬ with radio-photos and newsreels speeded one of these high elevations would enjoy point of programs. First, it permits the by fast planes, trail the radio by only what is known as a large “service area.” program originating in the studios in a few hours, sometimes only by min¬ That is, the satisfactory transmission one city, for example, Hollywood, to be utes. Television is expected to combine range radius in miles is much greater duplicated over a television transmitter all these services, to present sight and than if the station were located at a in another city, let us say Chicago. Sec¬ sound immediately and simultaneously relatively low altitude. Thus, large ondly, it provides a means of picking to the eyes and ears of the public. rural areas which might be deprived of up a live television program from An important part of tele-network television program reception because of points where no television station exists. expansion is the development of branch primary metropolitan area considera¬ circuits from main line circuits. On a tions can be adequately served on an Immediate Pickups Possible main line circuit between Chicago and economical basis. The importance of For instance, part of our proposed New York, a number of branches will rural area service cannot be overlooked. coast - to - coast tele - network* passes be required. A branch circuit to Buffalo, Television receivers will sell well through Indian reservations in remote for example, would have a main line only in areas where buyers are able to regions of the Southwest. Since a tele¬ connection at one of the repeater sta¬ receive entertaining programs. Nation¬ vision program can be injected into a tions east of Cleveland. al tele-networks, therefore, are impor¬ network at any repeater station point, Whether such branches are to be tant to the commercial development of it becomes feasible, for example, to arranged for transmission in either television, especially from a program televise Indian ceremonial dances in the direction depends entirely upon pro¬ cost standpoint. In our opinion, tele¬ deserts of Arizona by means of portable gram requirements. If programs orig¬ network facilities will expand simul¬ television pickup cameras and equip¬ inating in Buffalo are to be fed to the taneously with the growth of television ment, and to transmit the images and main line for delivery to stations in stations throughout the country. sound to viewing audiences in Chicago, Washington, New York, Boston and other distant cities connected with the transcontinental network. The ability to duplicate live television programs on a nationwide basis over a multitude of stations is a vital neces¬ sity to the business side of television. The programming cost of television is high. Unless two or more market areas are enabled to share these costs, programming will be severely limited and handicapped. The full capabilities of the television art cannot be realized without tele-network facilities. It is not economically feasible for a national ad¬ vertiser to undertake separate and dis¬ tinct productions of his program at each individual station. The total cost would be increased by additional pro¬ duction expense at every station after the first. While it is technically possible to pro¬ Photograph by Larry Colwell READY for national audiences: Lever Bros.’ “Thanks for Looking" audience participation * Raytheon’s proposed transcontinental microwave relay system is mapped on page 24. show, m.c.'d. by John Reed King, assisted by Pat Murray. Produced by Ruthrauff & Ryan.

26 PIONEERING A TELE-RELAY NETWORK

Philco reports satisfactory tests of the multiple relay

type of network over its Washington-Philadelphia link.

By JOHN BALLANTYNE.

President, Philco Corporation

T he growth of television networks hours, relaying the special WNBT pro¬ eventually be accomplished at much logically depends upon two factors: grams to the Philadelphia television higher frequencies than the present 12- first, the technical development of tele¬ audience through Mt. Rose and WPTZ. mc. channels, centered around 210 and vision transmitting and relaying equip¬ Recently Philco engineers carried 236 me., now being used by Philco. ment; second, the economic justification their pioneering experiments another However, it is also entirely possible for the expansion of television service. step forward by joining Washington that networks can be built in the near From the technical standpoint, Phil¬ with Philadelphia via a multiple relay future, utilizing present equipment, co has done considerable pioneering in television network. In this relay sys¬ techniques and frequencies, joining the development of television relay net¬ tem there are four intermediate relay many other major metropolitan areas works. Our first step along this line was stations in addition to the originating in the United States. If the relay sta¬ a logical advance from our long and transmitter in Washington and the re¬ tion sites are carefully chosen, as was successful experience with remote pick¬ broadcasting transmitter at WPTZ in the case with the Philco networks con¬ up telecasts. For several years, Philco Philadelphia. All relay stations are sit¬ necting Washington and New York engineers have taken their television uated on hill tops for best televisibility. with Philadelphia, it will be possible cameras to televise interesting news The longest transmission path between to use the same sites and many of the events such as the famous Mummers’ stations is about 43 miles so that line- same facilities at the more desirable re¬ Parade in Philadelphia. of-sight relaying is assured. laying frequencies above 1000 me. in All Penn football games at Franklin The new Washington-Philadelphia future tele-network operation. Field for the past five seasons have multiple relay network performed splen¬ been televised by Philco crews using didly throughout its first public dem¬ Networks Stimulate Revenue two cameras to bring the gridiron ac¬ onstration, on April 17, 1945, when the As to the economic problems in tele¬ tion to the Philadelphia television audi¬ first telecast ever made from Washing¬ vision networks, I believe that we can ence. Such remote pickups have been ton was seen and heard by the Philadel¬ draw a parallel with the infancy of relayed over a relatively short distance phia television audience. Picture qual¬ radio broadcasting. At first, local radio to our main transmitter, Philco Tele¬ ity was commercially satisfactory. stations presented local programs. Au¬ vision Station WPTZ at Wyndmoor, The major point proved by this net¬ diences were limited, advertisers could and then re-broadcast. work is that it is now entirely possible afford to pay relatively little, and thus and practical to connect distant cities With the benefit of this experience, it was hard to build program quality. by a series of television relay stations. our engineers opened a successful tele¬ When radio stations were linked in na¬ Undoubtedly, television relaying will vision wireless relay link between New tional networks, programs immediately York and Philadelphia, in co-operation improved as more money could be with the National Broadcasting Com¬ spent for talent, writing, direction and pany. At first, from October 1941 to b~i preparation, while technical research July 1942, programs transmitted from could also be expanded. New York by WNBT were picked up Television programming is in its in¬ at a relay station at Wyndmoor just fancy now because television networks outside Philadelphia, and thence beamed are just beginning to be built. There to our main transmitter, then located are still only nine television stations at the Philco plant at C and Tioga Sts., operating in the United States, and Philadelphia. Relaying in this • way, only three of these are linked together from New York to Wyndmoor in a sin¬ and these for relatively short periods gle “hop,” was not entirely satisfactory each week. because the distance was too great for When television networks spread true line-of-sight transmission. across the country, as I believe they soon will, and the television audience Relay Passes 3-Year Test expands from a few thousand persons This problem was solved by develop¬ to hundreds of thousands, the economic ing new relay equipment and placing it justification will exist for more elabo¬ at Mt. Rose, N. J., about half way rate and hence more expensive televi¬ between New York and the main Philco sion programs. To date, relatively few transmitter, which has been at Wynd¬ advertisers have cared to experiment moor since July, 1942. With line-of- with television because of the limited sight relaying, this tele-network con¬ audience, even though time charges necting New York and Philadelphia has have been nominal. been providing television pictures of But now, with civilian goods return¬ commercial quality for more than three ing to the market and keener competi¬ FIRST LINK in the Philco network, at Arling¬ tion for sales becoming inevitable, years. On V-E Day, it was in suc¬ ton, Va., uses 100-foot dipole-topped an¬ cessful operation continuously for 14 tenna towers for line-of-sight transmission. (Continued on page 140)

27 STRATOVISION WILL GIVE

Aviation is ready to do its part in the creation of air¬ borne video broadcasts with trouble-free planes, relief planes standing by and enough gas for 11 hours.

_By WILLIAM K. EBEL

Vice President in Charge of Engineering, The Glenn L. Martin Company

Airplane broadcasting service is not Moreover, with Stratovision broad¬ seven forced landings due to engine only possible but is not too difficult to casting, a rebroadcast airplane can take failure during a total of 340,000,000 attain. The design of the airplane must off from Chicago outside of the storm miles of airplane operation. Using an be such that it will operate reliably 24 area, fly over Pittsburgh at an altitude average cruising speed of 180 miles an hours a day in the highest wind ve¬ safely above the weather and serve the hour, we calculated the hours of flight locities to be encountered at 30,000 feet. latter area even when a hurricane may per forced landing and the chances of Throughout the United States, high have disabled all ground equipment. interrupting a coast-to-coast network. winds usually occur in winter months If the country were covered with Bear in mind that this interruption and the average velocity is about 50 aircraft operating at all times at 30,- can only be caused by both airplanes at miles per hour. The highest ever re¬ 000 feet, meteorological data would be any one station being forced down at corded was 181 miles per hour at available to forecast weather even more once. This probability in any one 24- 18,000 feet over Lansing, Michigan, in accurately than at present, and to con¬ hour day came out to be one in 30,- December, 1919, but winds exceeding 80 centrate aircraft as needed near storm 000,000. On an average we would have miles per hour occur less than 1.5 per areas. No storm area is ever so large an interruption due to airplane engine cent of the time at any location in the that it would keep aircraft near its failure once every 82,000 years. United States at 30,000 feet. Over Ja¬ outer edges from getting on stations at There are other things which can pan, the crews of B-29’s often reported any time. force the airplane down, such as loss winds exceeding 150 miles per hour. We can safely say that with the most of cabin supercharging pressure, but We are fortunately situated for Strat- modern navigational, radar, anti-icing, here again we will use the same tech¬ ovision operation. and blind landing equipment and with nique which nullifies the effects of en¬ Weather No Problem sufficient reserve aircraft, no area gine failure. We will supply 100 per would be deprived of Stratovision serv¬ cent standby in all such items, includ¬ At 30,000 feet all storms are below ing power generating equipment, emer¬ us with the one exception of thunder- ice because of weather. gency controls, oxygen and other items. heads. These clouds, known as cumu¬ Statistics Prove Reliability lonimbus, have been observed at alti¬ Slow Airplane Required tudes of 40,000 feet with extreme ver¬ A question which may occur to the Present plans call for conventional tical air currents of 200 miles an hour skeptic, as it has occurred to us: What all-metal, low-wing monoplanes—almost blowing straight up through their cen¬ about the reliability of the mechanical as large as the famed B-29, but with ters. However, their occurrence at al¬ operation of aircraft? The Civil Aero¬ gross weight only a third of the Super¬ titudes of 30,000 feet is extremely rare. nautics Administration states that in a fortress. They would have automatic The extent of such a disturbance is two and one-half year period from Jan¬ purely local, or even more infrequently, uary 1941 to June 1943, there were (Continued on page 127) may be a relatively narrow band of considerable length. This is a typical cold-front configuration. Since they are clearly visible, even at night, they can be avoided with no interruption of service by flying broadcast airplanes on either side of the disturbance.

Always Two Planes in Air Airplanes would take off at stag¬ gered 4-hour intervals remaining at 30,- 000 feet for eight hours each. This will keep a broadcasting and a stand-by airplane on station at all times. At each area four airplanes will be re¬ quired so that while two are flying the remaining two will be undergoing serv¬ ice maintenance. Since the Stratovision airplane must operate in all types of weather, it must be equipped with hot air anti-icing equipment. Heat derived from either the engine exhaust or separate heat¬ ers is conveyed to the leading edges of the wings so that ice never has a SKY GIANTS, all-metal, low-wing monoplanes as large as B-29’s but a third as heavy are chance to form. planned for Stratovision. One will cruise at under 150 miles per hour while a second stands by.

28 WINGS TO TELEVISION

Westinghouse official predicts unprecedented coverage with less power required, lower installation and oper¬ ation costs and many services flown simultaneously.

By G. E. NOBLES

Westinghouse Radar Expert and Originator of “Stratovision”

T wo methods are being used to dis¬ a program tie-up from New York to feet, a coverage radius of 50 miles is tribute television programs, namely co¬ Hollywood. A system of relay stations possible, whereas at an altitude of 30,- axial cables and radio relay stations. is now connecting Washington, Phila¬ 000 feet a coverage radius of 211 miles Coaxial cables have been installed and delphia, New York and Schenectady is possible, and at 50,000 feet about 300 used to distribute television programs. and plans have been published for a miles is possible. Published information indicates that chain of relay stations which will net¬ Another very interesting feature of by approximately 1950 it is intended work the country. high-altitude operation is the fact that to complete a cross-country link from Either of these systems—coaxial or as the station’s height is increased, the Boston to San Francisco and make it radio relays—has the disadvantage that transmitted power necessary to deliver available for the distribution of tele¬ large quantities of expensive equipment a usable signal to the line-of-sight dis¬ vision programs to television broadcast¬ are necessary to distribute the program. tance is sharply reduced. ers. The construction cost alone for Imagine the amount of cable or relay¬ Fifty kilowatts of power will deliver laying this cable is in the order of ing which will be required before these a usable signal at approximately 50 several dollars per foot. Therefore, the 400 stations can be tied together in a miles from a ground station, whereas proposed route will cost many millions. television network based on data sub¬ only one kilowatt of power will deliver mitted to the Federal Communications the same usable signal at approximate¬ Relay Chain Requires 100 Towers Commission by the Radio Technical ly 200 miles from 30,000 feet. Smaller The other approach to the program Planning Board. powers are required from the higher distribution problem is a series of radio The operation of relay or cable net¬ altitudes because the path difference relay stations which use highly direc¬ works presents very sizeable technical between the direct wave and the tional radio for relaying the program problems because of the number of ground-reflected wave is increased. from one point to another. A typical in¬ times the program must be handled. The fact that such small powers are stallation in a relay-link chain consists At each relay station additional distor¬ required from high altitudes is very of a tower approximately 300 feet high tions are added to the signal in the inviting for several reasons: with a receiver to receive the programs form of noise, phase distortion, and 1— The broadcast service area cov¬ from one tower and a transmitter to amplitude distortion. ered is relatively tremendous. relay the program to the next succes¬ If a television transmitter were 2— The smaller-powered transmitters placed in an airplane and the television sive tower in the chain. Because of the can be made in sizes and weights program broadcast from the airplane line-of-sight characteristics of the fre¬ which are practical for carrying quencies involved in this relaying, re¬ in flight, the transmitter’s coverage in an airplane. lay towers will be located approximate¬ area would be increased by virtue of 3— Powers of the order of one kilo¬ ly 35 miles apart. This means that 100 an increased line-of-sight distance to watt can be generated with tubes relay towers would be required to get the horizon. At an altitude of 2,000 which are available today—even for the CBS high-definition color television frequencies. 4— The small amount of power re¬ quired to operate the transmitter can be obtained from power plants installed in the airplane. If so desired, the power required to operate the equipment could be taken for generators con¬ nected to the aircraft’s engines. This power will represent only about 4 per cent additional load on the plane’s engines.

A Network of Airplanes Let us now look at the program dis¬ tribution problem involved if we use radio relaying between a network of airplanes at 30,000 feet. If we transmit from one plane to the next plane in the chain, the line-of-sight distance be¬ tween the two planes is about 400 miles instead of the 35-mile spacing SIX MILES UP, 14 planes carrying transmitters can beam television programs to 78% of the for ground stations. With such large population. Circles 422 miles in diameter represent 103,000 square miles each plane covers. relay spacings a program link from

29 tribution network, the signal from the ground-link receiver would also be fed into a small network-link transmitter TELEVISION NEEDS NORMAL DEVELOPMENT and beamed to the next successive plane by means of a directional an¬ tenna. By G. B. JOLLIFFE and better service and that the new An 8-Plane Span of U. S. developments which will be brought In a system covering the whole of Vice President in Charge of RCA about by the stimulation of use are Laboratories, Radio Corporation the United States with television pro¬ integrated into an over-all system. of America grams from airplanes at 30,000 feet, Engineers will not and should not each plane has a broadcast service be satisfied that the television job range of approximately 200 miles in |t does not take much imagina¬ is done until they have made it every direction and relaying can be ac¬ tion to see television as a possible possible to project, in the home, complished between two planes which five or even ten billion dollar enter¬ pictures of adequate size and in are approximately 400 miles apart. By prise, employing thousands of men color of all major events wherever operating planes over New York, Pitts¬ and women directly and indirectly. they occur, in the United States, burgh, Chicago, Kansas City, western Television, like any other radio or in any part of the world. These Colorado, Salt Lake City and Los An¬ service, can be improved, and, like objectives may be accomplished in geles, a program distribution network other radio services, it will go a few years, or many years may from Hollywood to New York is estab¬ through several cycles of improve¬ be required. However, we now know lished. These two cities are considered how to produce pictures of ade¬ ment and obsolescence — otherwise to be the main sources of television quate size and quality in the home. there will be no progress. We must program material except for sports continually pioneer. The technique of bringing sports events and special events which might What is the nature of the im¬ and news events, drama, opera, take place anywhere in the country. At provement which will be most ac¬ etc., to the home has been devel¬ the same time each of these planes ceptable to the television audience? oped to the stage where an ex¬ broadcasts television and FM programs Should we wait for pictures with tremely entertaining program can to an area of 103,000 square miles sharper definition, in color, or in be produced, broadcast and re¬ around its operating point. three dimensions? All of these fu¬ ceived. The public can enjoy tele¬ ture additions may be desired by vision now. Its support of television 14 Planes Serve 78% of Population the public, and they will be achieved will bring better television in the By adding six more stations to this ultimately. These improvements future. It should have the normal network—over Durham, Atlanta, Mem¬ must not be permitted to delay the development of a new service, not phis, Dallas, Sacramento, and Portland, establishment of a new industry hampered by unnecessary restric¬ Ore.—approximately 51 per cent of the and a new service to the public. tions or limitations and not retard¬ area and 78 per cent of the population As the television industry devel¬ ed by those who may not have the of the United States is brought within ops, engineers have the obligation will to pioneer or the inclination the primary coverage area of 14 sta¬ to see that the public gets better to enter a new field now. tions. Almost any event in the country may be put on as a nationwide telecast with proper pickup facilities. Sports events, national elections, symphony concerts, Indian ceremonial dances, lo¬ Hollywood to New York is obtainable edge of the airplane design and oper¬ cal disasters such as floods or hurri¬ with only eight airplanes as compared ating costs at 30,000 feet, I will pre¬ canes, and a great variety of other to 100 relay points on the ground. sent the system based on operation at program material could be fed into the This greatly reduces the technical that level. However, in the future we network quickly by a small “pickup” problems involved by virtue of requir¬ intend to operate at even higher alti¬ plane, equipped with television cameras ing fewer handlings of the program. tudes. and relaying equipment, stationed at With directional antennas and utilizing Multiple Service Planned each Stratovision base. Such a plane relay frequencies on the order of 2000 In the early stages of thinking about could fly quickly to the desired scene megacycles, this relaying can be done airplane operation of broadcast sta¬ and relay the program back to the main between airplanes with powers of less tions, it was felt that the operating relay link for broadcasting nationally. than one watt. Tubes readily are avail¬ costs for maintaining an airplane at In attempting to evaluate economical¬ able which will generate powers of five high altitudes would be so great as to ly the operation of airplanes for broad¬ watts in this frequency range. require that several transmitters be casting, it is hard to find a concrete These relay stations could be designed operated from one airplane, thereby base for comparison. There is such a to carry several television programs realizing income from several paying radical difference in the amount of tele¬ and also an abundance of other in¬ advertisers. vision service obtainable by operating formation such as FM network pro¬ After preliminary talks with The from airplanes as against operating grams, facsimile, motion picture thea¬ Glenn L. Martin Company engineers, ground stations that the two systems ter television, etc. it was decided that the airplane design hardly have a common base. should be large enough to accommodate Selecting Pittsburgh as a typical op¬ Altitude Limited by Planes four television transmitters, five FM erating center and the coverage from Because the broadcasting service transmitters, monitoring equipment, one airplane, eleven 50 kilowatt trans¬ area and relay spacings increase with and sufficient relaying equipment to mitters would be required to service altitude and the power required to carry four television programs and five the same area from the ground. Since service the broadcasting area comes FM programs, and also system com¬ one airplane serves the area with four down as altitude is increased, it is munications channels. The airplane television and five FM programs, an desirable from a standpoint of radio they have proposed is designed on this equivalent coverage requires 44 televi¬ operation alone to operate the plane at basis. sion transmitters and 55 FM transmit¬ as high an altitude as possible. Television and FM studios are lo¬ ters, and approximately 33 relay sta¬ The altitude of operation of the sys¬ cated on the ground in the normal tions. It is assumed that the same pro¬ tem is limited by the economic and fashion. The program is fed into a gram is fed into either system so that technical problems involved in operat¬ small ground-to-plane link transmitter, programming costs cancel each other. ing planes at extreme altitudes. A picked up in the plane by a ground- The operating cost for one Stratovi¬ study of the over-all combination of link receiver, fed into the broadcast sion station is estimated to be about radio and airplane operation indicates transmitter, and re-broadcast over the $1,000 per hour. The cost for giving an that an operating altitude between 30,- plane’s line-of-sight area by means of equivalent ground coverage is about 000 and 50,000 feet provides a good the broadcast antenna. When the plane $13,000 per hour. This comparison does compromise. Since we have more knowl¬ functions as part of a program dis¬ (Continued, on page 127)

30 WHY ADVERTISING AGENCIES SHOULD GUIDE TELESHOWS

If television networks control production, will tele¬ shows be sold on their Crosley ratings? Can networks successfully build shows for competitive clients?

By JOHN HERTZ, JR_

Chairman of the Board, Buchanan & Co.

Today, as this nation is slowly freed are likely to find they have saddled If a network key chooses to produce from its wartime shackles, the televi¬ themselves with a task too big for them all its shows, how will it price its sion industry faces its future with no to handle. Producing shows experimen¬ wares? Certainly advertisers and ad¬ concerted plan for commercial expan¬ tally for a few clients, as stations are vertising agencies will appraise them sion and not even a majority agreement doing today, is child’s play compared on their Crosley ratings—on their cost- on the principal factors likely to con¬ with attempting programming produc¬ per-listener impression. The network tribute to this development. tion for all the many advertisers that cannot ask the same price for two Wishful thinkers frequently predict will be involved in a 28-hour week of shows if the Crosley of one is 4 and for that television’s expansion will not fol¬ broadcasting—the minimum suggested the other is 8. low traditional lines, that things are by the FCC. This production achieve¬ There will be seven television stations going to be different. One will point to ment by any one station is possible but in New York. If a network key sells the growing importance in radio of the extremely unlikely. The mathematics of packaged shows and sells them on a packaged show producer as evidence of time, the size of the organization re¬ Crosley basis, several logical queries a trend away from the advertising quired, the friction inherent in serving are certain to be made. If a show with agency. Another will point to the war¬ competitive clients, all rule against it. a high Crosley loses its rating to a time policy of several television stations Advertising agencies do not serve new show, is an advertiser entitled to a that are operated by radio networks and competing clients because it is human rebate? Or will billings be based on a to the statements of some of their offi¬ nature to favor one group over another. Crosley for each broadcast and fluctu¬ cials, indicating that they intend to Can a network expect two competitive ate accordingly? Will a network care to make a strong bid for retention of pro¬ coffee accounts, for example, to be write a contract cancellation clause, gramming control. All, at least, agree served satisfactorily by the same cre¬ effective if the Crosley drops below a that henceforth the quality of television ative staff? Will the network set up a certain figure? 'programs will determine the speed with different writing staff for each account? If a network key obtains commercial which this great new communication- And if one staff does a better job than sponsorship for 20 of the 28 hours art assumes its destined place in our the other, how can the inevitable com¬ weekly it is on the air, it will be pro¬ social and economic life. parisons be explained? Will a producing ducing shows for 40 clients at the very What procedure and what policies are station eventually find its advertisers least. The staff of writers required for likely to assure the steady and rapid limited to non-competing accounts? handling both entertainment and com¬ development of television programming mercials will be enormous. Add art and quality? How can the joint interests of Responsibility for Sales music directors, producers and account the public and of program sponsors best A radio station is judged by its executives, actors and staff people be served? A vast army of highly tal¬ signal strength, the percentage of po¬ necessary to serve these clients satis¬ ented people will be needed to supply tential audience regularly tuned to it, factorily and the total will reach fan¬ television’s demand for program mate¬ and the general character of its pro¬ tastic proportions and costs. rial, to develop commercial techniques grams, both sponsored and unsponsored. Is this gigantic operation likely to to pay off television’s higher-than-radio Its primary responsibility to a sponsor prove a gold mine? An advertising production costs, to handle the tre¬ is a technical one—the matter of get¬ agency is accustomed to fighting for mendously increased production prob¬ ting the signal out to the listeners. The rock bottom prices in the interests of lem involved in presenting shows to be sales productivity of the program rests its clients. And in buying television seen as well as heard. Where are these squarely on the shoulders of the ad¬ shows, it will have a production cost people now? Who will organize and vertising agency. This means that the yardstick in its own operations at “open guide their television thinking? Who is agency has the soundest of business door” stations. Consequently, it will best equipped to do so? reasons for wanting continually to refuse to allow its clients to overpay Thanks to the open house policy improve its programs. It also has for shows no matter by whom they are adopted at DuMont’s WABD and Gen¬ familiarity with a sponsor’s budget pos¬ produced. eral Electric’s WRGB, hundreds of sibilities and is in a position to act Forty advertisers, at a conservative sales-minded executives in the past quickly. estimate, will spend $10,000 apiece each three years have gained a working When a network key station rules year through their agencies in search¬ knowledge of television’s production that it must produce all its shows, it is ing for ways to improve their pro¬ problems, and have developed program no longer selling time; it is in the grams. If they were forced to choose ideas and visual commercials suited to business of selling shows. If it cannot from the fare provided solely by the their products. Only by such trial-and- sell a show, it loses a sale of time. And stations, would the station budget error experimentation can television’s if it sells a show, it automatically as¬ $400,000 purely for program improve¬ most effective use as a sales tool be sumes an advertising agency’s respon¬ ment? Competition is the keystone of realized. The importance of this co¬ sibility for maintaining the show’s progress in television as in every other operative pioneering cannot be over¬ quality, of upholding its Crosley, of industry. estimated. selling a profitable volume of the spon¬ It goes without saying that television The television networks which insist sor’s product—or of finding a replace¬ cannot progress unless it is used gen- on producing all the shows they present ment in a hurry! (Continued on page 115)

31 PROGRESS IN COLOR TELEVISION

When will color television be available to the public? If field tests, which are already under way, prove successful, 1946 may provide an important answer!

_By PETER G. GOLDMARK

Director, Engineering Research and Development Department Columbia Broadcasting System, Inc

We experimented successfully with color television before the war—in fact HISTORY OF COLOR TELEVISION it was broadcast from our color trans¬ mitter on top of the Chrysler Tower in Color television was demonstrated for the first time in July, 1928, by the center of New York and was re¬ John L. Baird in England. Both at the transmitter and at the receiver, ceived at many locations within a 30- a three-spiral scanning disk was employed. Each of these spirals con¬ mile radius. However, the amount of sisted of a succession of holes which were covered with red, green, or detail in the picture was not quite blue filters, which scanned the picture completely in the three primary sufficient to meet our standards. colors. At the transmitter, photocells were employed, while at the re¬ In order to provide the necessary ex¬ ceiver, two gas-discharge tubes controlled by a commutator were used. tra detail in the picture, our color sys¬ One of the tubes was filled with neon and acted on the red spiral, while tem was transferred into the so-called the other tube, filled with a mixture of helium and mercury vapor, ultra-high frequency region. This is that appeared through the blue and green spirals. The transmission employed part of the radio spectrum which is a bandwidth of the order of 10 kilocycles and the pictures corresponded between 300 and 1000 megacycles. This to a number of lines somewhere between 20 and 30 per frame. new space in the ether became usable In July, 1929, Bell Telephone Laboratories, New York, demonstrated as a result of war research. Whereas, a three-color television system employing three independent channels. before the war television pictures had The live-pickup equipment consisted of three banks of cells with the to be contained within a bandwidth of three primary-color responses. A flying spot scanned the object and a 4 megacycles, the new system utilizes scanning disk served on the receiving end to reconstitute the image. 10 megacycles. Three discharge tubes furnishing red, green, and blue light and super¬ Government Encouragement imposed by mirrors behind the scanning disk served as the light source. Bell Laboratories employed a three-channel system which occupies With regard to our early contention three times the frequency spectrum over the corresponding black-and- as to the usability of the new ultra- white picture and requires three times the facilities. Baird, similarly high frequencies for color television, it requiring three times the frequency space, employed rotating filters and can be stated now that one of the first was thus first to demonstrate the sequential, additive method of color. and most encouraging endorsements Early in 1938, John L. Baird demonstrated in England a 9 x 12-foot came from a group of United States 120-line color-television picture using sixfold interlacing, employing a Government experts representing the flying spot, mirror drum and rotating filters at the transmitter. At the State Department, the Federal Com¬ receiving end also a mirror drum was employed, rotating at the rate of munications Commission, the Army and 6000 revolutions per minute and using a Kerr cell as modulator in the Navy. conjunction with rotating color-filter slots. Finally, permission for CBS to oper¬ In July, 1939, a demonstration with similar transmitting equipment ate a color television station in New was reported by Bell Telephone engineers. At the receiver was a projec¬ York City in these ultra-high frequen¬ tion cathode-ray tube combined with a rotating color filter. This was a cies was granted by the Federal Com¬ two-color system using orange and blue-green filters alternately. The munications Commission in mid-1944, color-picture frequency was 16 2/3 per second employing 102 lines. and installation of the new transmitter On August 28, 1940, a three-color, high-definition system employing in the spire of the Chrysler Building is electronic scanning both at the transmitter and at the receiver was scheduled for this year (1945). Addi¬ broadcast for the first time over CBS Station W2XAB in New York. tional CBS applications are now on file The subject of transmission was motion-picture color film. Soon after, with the Federal Communications Com¬ live pickup employing the same trichromatic system was demonstrated. mission for licenses to operate ultra- Beginning on June 1, 1941, daily color transmissions over WCBW high frequency color television stations inaugurated a field-test period for the purpose of determining the prac¬ in several other cities including Chicago ticability of color television. Color drums were used at the receiver as and Los Angeles. well as at the transmitter instead of color filters. A short cathode-ray Incidentally, the new ultra-high fre¬ tube was placed within this drum which rotated at about half the speed quency color television system will also usually possible with a disk. provide black and white pictures, with In mid-1944, CBS received FCC permission to construct and operate more than twice as much picture detail an ultra-high frequency color television transmitter. It is scheduled for as the prewar system. completion and tests by the end of 1945. On October 10, 1945, on labora¬ The ultra-high frequency band, which tory test equipment CBS engineers successfully demonstrated ultra-high has now been set aside by the Govern¬ frequency broadcasting of clear, ghost-free color pictures on a 10-Mc ment for experimentation with this new video band. Although nominally 525-line pictures, each picture contained system of television, extends from 480 ‘•1575 imperceptible lines of beautifully detailed color.” to 920 megacycles. This furnishes 29 television channels, as compared with (Continued on page 114)

32 PTM - A NEW TELEVISION TRANSMISSION SYSTEM

Pulse Time Modulation introduces the interestng pos¬ sibility to television of broadcasting both sound and picture, and color as well, on a common channel.

By H. H. BUTTNER_

President, Federal Telecommunication Laboratories

The lifting of wartime secrecy dis¬ IT&T building at 67 Broad Street, N.Y. In the first public demonstration of closes a new system capable of trans¬ From there the circuit is beamed to a the triangular network, 24 persons lo¬ mitting simultaneously a number of repeater or relay station at Telegraph cated in separate rooms of the N. Y. telephone or telegraph channels on Hill near Hazlett, N. J., then to another building conversed simultaneously over micro-wave frequencies. This system repeater station at the site of the new the micro-wave link. The 24-channel ar¬ can also transmit simultaneously the Federal Telecommunication Laborato¬ rangement operates on the principles of sound and picture channels of a tele¬ ries at Nutley, N. J., and thence back to time modulation and time selection. vision program. the building in N.Y. Since the repeater The pulse time method of modulation At a time when the attention of the station boosts the strength of the micro- consists of emitting short pulses of high television industry shifts toward the wave energy without causing distortion frequency radio energy. These pulses higher radio frequencies, the disclosure or cross-talk, the circuit could be 1000 are of constant amplitude and at the of pulse-time modulation should be of or more miles long and still maintain a same carrier frequency. Modulation is considerable interest to those concerned high quality of transmission. In such a effected by transmitting a synchroniz¬ with television. system, the repeater stations should be ing or “marker” pulse at fixed times installed at intervals of approximately The new system known as “Multiplex and following this pulse with the “sig¬ 30 miles as the extremely high frequen¬ Radio Pulse Time Modulation” holds nal” pulse at variable time intervals. cy micro-wave energy, similar to light, vast and revolutionary potentialities The positon of the “signal” pulse at requires direct line of vision for its for multiplex telephone and telegraph any given time depends on the modu¬ transmission. These repeater stations services, multiplex broadcasting and lation to be transmitted. are automatically operated. television with common picture and At the receiving end, the time of sound channel. arrival of the signal pulses with regard This PTM system which was made to the marker is reconverted into the public recently when its wartime secrecy corresponding amplitude of the modu¬ was lifted, is the outgrowth of the pio¬ lating signal. neering efforts of the International Tel¬ In effect, the PTM system chops the ephone & Telegraph system extending signal to be transmitted into small back to 1931 with the Dover-Calais 18 bursts which occur at such a rate that centimeter micro-wave link. This system the ear is unable to detect the interrup¬ is based on an original conception of tions. This is similar to a motion picture E. M. Deloraine, president of Interna¬ where the spectator watches a screen tional Telecommunication Laboratories which is completely dark during a large and Mr. Reeves of the London Labora¬ portion of the time a film is being tory of IT&T and has been developed shown, and yet the eye does not detect in the New York labs of IT&T under the dark intervals. the direction of E. Labin and the super¬ For its multi-channel operation, the vision of D. D. Grieg. system makes use of time selection as Although commercial television in opposed to conventional frequency se¬ recent FCC proposals retains roughly lection. In a 24-channel system, 25 its present position in the frequency pulses are transmitted successively in spectrum, a new band at much higher each cycle. The first one or marker is frequencies from 480 to 920 megacycles stationary in time, the other 24 corres¬ has been allocated for experimentation pond to each of the channels and their in high definition, color and other tele¬ instantaneous position depends upon the vision developments. This trend towards signal transmitted on each channel at higher frequencies offers spectacular that particular time. The rate of repe¬ possibilities to PTM. These possibilities tition of this cycle of 25 impulses is in the multi-channel telephone field have 8000 per second. For reception, a special already been demonstrated and its ap¬ tube, the “cyclophon,” performs the plication to multi-channel broadcasting separation and the demodulation of and television is awaiting further re¬ these 24 channels. finements before it is publicly dem¬ In spite of the fact that the terminal onstrated. A radio multi-channel tele¬ equipment can handle 24 high quality phone system has been demonstrated by telephone channels and is equipped for IT&T on an experimental link equipped automatic telephone operation, the en¬ with repeaters and spanning a distance tire apparatus occupies a cabinet stand¬ of 80 miles. Tests have been conducted ing only 8 feet high and a floor space over a 2-way circuit that originates and PTM receiving and transmitting antenna 20 inches square. The radio frequency ends at the top floor of the 35-story installation atop IT&T Building, New York. (Continued on page 123)

33 AN ENGINEER COMPARES TELEVISION WITH RADIO

Television technicians must not only know voice levels, they must master controls of visual images as well.

_By J. R. POPPELE

Secretary and Chief Engineer, (WOR) Bamberger Broadcasting Service President, Television Broadcasters Association, Inc.

T here are basic differences between the past quarter century to show how direct news pickups via television and television and radio—from the stand¬ unwarranted are these fears. the tele-broadcasting of speedily edited point of the consumer, the manufacturer The introduction of radio started a newsreels to the home and to newsreel of equipment, the producer of programs host of alarmists debating over the fate theatres, may relegate week-old news¬ and the advertising executive. of the stage, the screen, the phono¬ reels to historical archives. Please note that the radio engineer is graph, the newspaper and the maga¬ Audience listening habits will be¬ not included in the above bracket of zine. Each form of entertainment and come “look and listen” habits within a citizenry. The omission is deliberate and publication is still with us—and thriv¬ few years. Those who prefer bridge, for a noteworthy reason. To the en¬ ing as never before. Let us stop worry¬ pinochle, gin rummy, mah jong or books gineer — whether he be an electronic ing about television. Its expansion is as to televiewing, will probably also prefer engineer or a radio engineer — video sure as tomorrow’s dawn, and existing the radio during these periods of rec¬ operation and audio operation are quite services will merely move over and reation and those who are lured to analogous. The handling of both requires make room for it, but none will vanish. their television sets by sports, dramas, an understanding of radio circuits and In short, television will bring a new news events and other visually inter¬ their attendant problems—simple and service to millions of Americans who esting presentations, will forsake their complex. also will go on enjoying their home hobbies from time to time for their On the basis of the foregoing, I movies, radios, newspapers, magazines, video screen. Anyone long accustomed approach the subject: “An Engineer theaters and motion pictures, books, to listening to symphonies, on record or Compares Television with Radio,” which golf and gin rummy. radio, isn’t going to abandon this pur¬ the editors of this publication assigned suit entirely because of the advent of Whose Baby Is Television? to me, secure in the knowledge that I television. Our listening and looking speak strictly as an engineer. As such, The verbal wrangle over “whose baby habits simply will be adjusted accord¬ radio and television hold immense fas¬ is television?” stems from the fact that ing to individual likes and dislikes. cination. I like them both and I believe this new art borrows its techniques, in The engineer, as well as the com¬ that both have a definite niche in our part, from a variety of accepted forms. mercial broadcaster, is looking forward postwar world. Persons engaged in the theater claim to the establishment of television net¬ The advent of television finds the en¬ television is like the theater. Those works. For network programming will gineer ready to make his contribution engaged in motion pictures aver tele¬ bring television’s greatest success. The to its growth and welfare. The same vision is motion pictures, projected possibility of great networks is no held true when sound movies burst through space. And those who broadcast longer doubted and cable and relay sys¬ forth upon a surprised world two dec¬ our radio programs look upon tele¬ tems are proposed by a half-dozen ades ago. The radio engineer fitted vision as their art since it is broad¬ organizations. With their creation, tele¬ easily into sound movies, because the casting with a sense of sight added. vision’s tremendous potentialities will problems of sound recording were those Actually, television is a combination be well on the way to achievement. of radio broadcasting all over again of all three, and therefore requires a No one today—certainly not the en¬ from a different angle. new, all-encompassing technique. The gineer—knows what the cost of tele¬ Techniques utilized by radio broad¬ desired format still hasn’t jelled, so vision programming will be. But audi¬ casters to simulate sound effects were far as I have observed, but there is no ence size, determined by the age-old quickly borrowed by the movie makers mistaking the fact that hard working law of supply and demand, will provide when the screen found its voice. Today, program producers are making progress the yardstick by which television, time sound effects are an effective part of all in that direction. As improved formu¬ rates and profits will be gauged. entertainment, newsreels and educa¬ las are achieved, television will become Equally unanswerable is the oft- tional films, and in radio broadcasting a distinctive and very welcome art. debated question as to the merits of today there are many engineers who, Engineers who plan to engage in the studio-produced programs over those on through their knowledge of and asso¬ video art are naturally most concerned films. While we know that “immediacy” ciation with television developments with the visual phases of transmis¬ is television’s greatest asset in news during the past decade, will readily sion. They are familiar with aural and sports pickups, we do not know adapt themselves to this new art. techniques formulated over the past two whether this situation will be true with The end of the war finds thousands decades—though these, too, are being regard to studio-produced or filmed of Army and Navy trained technicians, improved upon from day to day. dramas and other commercial shows. skilled in radio and electronics, ready Engineers are beginning to learn One thing is certain, television is to adapt their talents to all forms of the technical meaning of “immediacy.” here. Its growth will be swift, its ac¬ broadcasting. Radio and television will Whereas the newsreel sound technician ceptance will be universal. Only time absorb them. keeps an eye on voice level to insure will bear out my belief that television As an engineer, I am amused by dire adequate recording, television techni¬ is an individual art, and as such will predictions, spoken or inferred, of dan¬ cians must not only know voice levels, find a place of its own amid other ger to existing services from television’s but picture shading and synchronization popularly accepted arts. At any rate, infringement. We have but to survey as well. The element of “immediacy” in history is on my side.

34 Photographs by Larry Colwell

OPERA, variety, drama, dancers — such as the Pearl Primus group MANY popular radio programs can double on television. "Quiz above — are television fare that may be packaged for unit sale. Kids" made a hit on WABD. Producer: American Broadcasting Co.

PACKAGED TELE-SHOWS WILL UP QUALITY

Packaged tele-shows will bring the improved pro¬

gram quality for which tele-audiences are clamoring.

_By WILLIAM MORRIS

President, William Morris Agency, Inc.

T he word “package” first came into to develop in television presentation and tails, intangible as many of them are, theatrical usage when radio advertisers here its worth will be enlarged at least will be a programming element that began to see the value of purchasing tenfold because of the increase in time sponsors, I feel, will be only too happy programs as complete units rather than necessary for rehearsals, lighting of to leave to those experienced in this go through the laborious process of as¬ shows, camera placements, costuming, field. Sponsors who confine their role to sembling programs themselves for their and other intricate program elements. over-all policy and the selection of the broadcast advertising. Agencies which package shows will show are less apt to lose their sales Today it is common practice for ad¬ be in a position to turn over to a spon¬ perspective. vertisers to shop among program pro¬ sor the idea, story, director, cast, music, Many a theater owner is more ready duction firms and talent agencies where costumes, plus detailed ground plans to contract for a show produced by a and working charts for all the technical they may purchase the idea for a com¬ well-known Broadway producer than he pelling radio show in one “package,” details that make television akin to pro¬ is to risk the production of his own fessional Broadway entertainment. writers who can daily dramatize the shows, even though he possesses many idea successfully, directors who have The size and quality of a package years of such experience. complete knowledge of their art and show will be tailored to measure up to actors or entertainers who can best the requirements of a sponsor and it is Scouting the Field present the program, thereby assuring easy to envisage a package show the The selection of programs is in itself the advertising sponsor of a large de¬ size of an opera company, a circus or a responsibility of considerable weight. gree of audience receptivity required an individual pantomimist. Sponsors and program producers will for the projection of his commercial an¬ Motion pictures have never been able have to keep completely informed on nouncements. fully to capture the spontaneity of a all types of entertainment. They must The purchase of a complete program variety program because numerous re¬ know not only what constitutes good makes the sponsor’s task of selecting takes and the absence of a live audience television but must, at all times, be suitable radio entertainment much “out” front deprive performers of the alert to all shows which might intrigue easier. It not only relieves him of the excitement and incentive necessary to audiences for the benefit of their par¬ many necessary preliminaries of assem¬ bring out the best in their extempo¬ ticular product or service. bly and employment, but makes it pos¬ raneous art. Live television perform¬ The changing taste of audiences will sible to choose a show from completed ances enjoy a distinct advantage over have to be watched, will have to be test programs or lists submitted by in¬ motion pictures in this respect. studied to an unparalleled degree. dividual firms or agencies handling As a matter of fact, live television Product requirements may call for a package shows. shows will possess a considerable ad¬ show beamed at a small segment of Radio Toppers Are Packaged vantage over the variety entertainment every town’s Main Street or these re¬ The success of packaged shows is now presented in large capacity thea¬ quirements may aim at a worldwide ters. In a large theater much of an audience speaking many languages and * demonstrated by the fact that of the first fifteen programs tabulated by a artist’s talent is lost due to the distance this task may carry the widest and prominent rating service, all were pack¬ of the stage from the audience, whereas deepest cultural import. aged with the exception of programs an iconoscope close-up makes it possible It is difficult to surmise how all of given over to individual commentators. to see an actor’s smallest gesture at these elements and objectives can be In consequence of its past successful close range. brought together successfully unless operation in radio, packaging is certain The responsibility of attending to de- television’s programs are “packaged.”

35 SPORTS FOR MILLIONS BY TELEVISION

Play-by-play radio reporting helped build bigger athletic

attendance. Will television help the sports box-office?

-By BILL SLATER

World Series Sports Announcer

Nothing has ever been so rousingly autumn is an amateurish presentation be made far more than a melange of successful before the fact as television. smacking of attempts either to put the static interviews, old film and con¬ In the promises of enthusiastic tele¬ legitimate stage on the video screen or stricted action. The point here is more vision pioneers and in the eager antici¬ to adapt radio program ideas to the than petulant carping. We are about to pation of future television set owners, new medium. Sports telecasting offers step out on screens in thousands upon this new art is already magnificent, no exception. Video sports, except box¬ thousands of homes of people who have revolutionary and, of course, whopping- ing and wrestling, are largely futile some discernment as to what is good ly successful! A home television receiver efforts to follow radio’s pattern. and what isn’t. If our audience is dis¬ is on the 1946 buying list of millions. appointed before we hit our stride, we But there must be many who share Action Area Is Important shall have a deuce of a time winning my fear that these zestful buyers of it back, no matter how thrilling the television receivers may be in for a Boxing and wrestling occupy so little novelty of our new medium. sharp disappointment. This fear is action space that the television camera In telecasting sports we have prob¬ based on extensive observation of per¬ cannot miss portraying their essence. lems even greater, perhaps, than tech¬ sons seeing their first telecasts. Their But football, baseball, basketball, hockey nical set-ups and programming. We first impression is: “Why, this is just —the major team sports played on a have the commercial fears of sports like the movies.” Then they view a per¬ broad area—are in another category. promoters and those whose livelihood formance on the television screen that Wartime inadequacies of equipment will comes from this business of athletics. is far below the quality standard to soon be overcome. But inadequate con¬ And it is a business, even to the col¬ which they’ve become accustomed in cepts of how to televise these ranging leges and universities. Hence, and soon, motion picture theaters. Inevitably they sports are becoming intrenched. There sports promoters and college athletic shake their heads and show in their is too great a temptation to follow authorities must be invited into tele¬ demeanor the let-down they feel. radio’s pattern. We are of a mind to vision’s councils. Many of them know Technically, television is far in ad¬ cover a baseball game, for example, nothing of the nature or the capabili¬ vance of its programming. This may be with a few mobile cameras. We must ties of television. Despite the demon¬ just another instance of today’s general realize that this job requires a perma¬ strated spectator-building power of unbalance between scientific advance nent installation in the park and the radio, they cannot see how television and social or artistic progress. Our use of no fewer than eight or ten cam¬ will maintain or increase their specta¬ tools despite wartime restrictions are eras if television is to measure up to tor attendance. far better than our ability to use them. its potentialities. It is reported that fight mogul Mike The television program of this 1945 Sports programs in the studio must Jacobs believes he can use television to

INDOOR SPORTS, such as billiards, pool and table tennis have tele¬ BOXING AND WRESTLING attract television’s largest and most vised effectively with close-ups of tricky shots and intricate plays. avid audiences, despite the lack of crowd psychology in the home.

36 increase his audience profitably. His plan is to telecast major fights to a chain of theaters around the nation. Thus, while the boxers might be mixing it up before sparse attendance in Madison Square Garden or exchanging blows in some well-lighted studio—the gold would flow into Mr. Jacobs’ pockets via admissions paid to many telethea¬ ters across the land. Baseball, for example, presents an¬ other kind of problem. A discussion of professional baseball’s attitude toward television is slated for this winter’s big league meetings. Baseball men are con¬ servative and it is quite likely that major league baseball will enunciate a baseball television policy that will keep TELE-SPORTS ANNOUNCERS WILL TALK LESS the “ike” out of ball parks for years. Baseball’s problems in relation to ture by explaining technical phases, television are formidable. For example, By BILL STERN and dealing more in generalities than he will in specific plays or baseball men in New York City are ask¬ Director of Sports, ing what would happen to attendance, National Broadcasting Company moments. The announcer will have not alone in their parks here in the city to learn not to speak continuously but also in their farm team parks in but to speak only when the occa¬ Newark and Jersey City, if games of I feel that television will do a sion demands. the Dodgers, Yankees and Giants are great deal to promote sports in the I think, frankly, that those of us available on television screens every United States. It will permit many who have been fortunate enough afternoon in the New York and New uninitiated actually to witness their to have had newsreel experience Jersey area. Tele-broadcasters and base¬ first big-time sporting event, and will find this experience invaluable ball men must soon sit down together to I believe that this, in turn, will in aiding and abetting television work out their joint problem if an im¬ not only prove of interest to the broadcasts. The worst malady a passe is to be avoided. spectator but will make him a fan television announcer can succumb One prominent sports leader has al¬ for that particular sport from that to, in my opinion, is over-explain¬ ready proposed informally that all or¬ moment on. This was true in radio ing and over-talking, rather than ganizations controlling sports events broadcasting and I see no reason letting the action carry itself as should band together in a syndicate. why it shouldn’t be even more so the picture unfolds. One avowed purpose of this syndicate in television. Television offers a splendid op¬ would be to protect athletic attendance I do believe, however, that the portunity for sports announcers from what is believed to be the threat sports announcers in television will but I would suggest to any of them of television. Another aim is to see that have to adopt a different method who are seriously contemplating “good prices” are obtained for rights to than that employed for radio. In this medium, that they first try and telecast sports events. radio, sports announcers were the find out what television is all It would be easy to say that television eye as well as the voice for the about; secondly, that they learn will bring sports to millions. Television listening public. In television they exactly what the public can see can, and should, do exactly this. What will no longer have to be the eye. and what the public must be told; a contribution it would be to the enjoy¬ I believe that a new format will and thirdly, that they try, if pos¬ ment of the American people, who love have to be developed for sporting sible, to get as much experience as sports! Television will not achieve this events when the public can see they can in the cutting and editing great contribution, however, unless we these events. of film subjects. For this is the move energetically into the task of In television the announcers will closest work available at the pres¬ working out with those in control of work more as we have on news¬ ent time to the conditions under American sports the economics of tele¬ reels. He will complement the pic¬ which television will operate. vision’s place in the sports picture.

MAJOR SPORTING events, such as heavyweight championship bouts, World Series ball games and the Bowl football games are generally conceded to be the most compelling of television programs. Home and theater audiences are expected to be at their peak for these events.

37 A LAWYER LOOKS AT TELEVISION

Television’s lawyers will explore virgin territory in this new art and play a role of tremendous influence in molding the world’s social and economic future.

_By BERNARD GOODWIN

Executive Assistant to Eastern Production Manager, Paramount Pictures, Inc. Vice President, Television Production, Inc.

\N ith television progressing by leaps tells me, even if it could do so, it thinks from a station outside of Texas. They and bounds to the day when full-fledged such a use on television may be a grand claim the program libels Tom Brown, commercial programs and countrywide performing or dramatic right which who has been dead for twenty-five and even international networks will be ASCAP doesn’t even control for radio years, by impeaching his honesty and commonplace, its legal advisers may stations. If we have to go to the music reputation. In practically all other anticipate many headaches. It is im¬ publisher and to the composers of the states it is legally impossible to bring possible, in this brief fashion, to dis¬ song, it will involve time and negotia¬ civil action for the libel or slander of cuss adequately the many specialized tion out of proportion to the use we a dead person but by statute in Texas legal questions which will arise. Some want to make. What shall we do?” it is possible. of these will be identical with those The lawyer has to make his decision which motion picture and radio counsel immediately. If it were a film television A Jack-of-all-trades have to consider. Others, of course, will program instead of live talent the prob¬ Even in some of those other states, very definitely be new and peculiar to lem would be more complicated by the as is true in England, it is possible to the television medium. question of the copyright protected institute a civil action for the libel or Copyright, censorship, civil rights or right of recording the song on film, in slander of a living person resulting the right of privacy, interstate com¬ addition to the copyright protected from false statements about the dead. merce, unfair competition, labor rela¬ right of public performance. Here is Again the lawyer must make not only tions and taxation comprise some of the where a lawyer not only has to be a quick and good legal decision but he legal foundation from which television thoroughly familiar with his law but must study the script of the proposed problems will spring. Legal counsel can¬ also has to know the peculiarly complex program and base his decision upon his not be theoretical, in the sense of a operation of the music world and the interpretation of the script from a lit¬ classroom lecture or a law review arti¬ realistic problems of television pro¬ erary and dramatic standpoint. In addi¬ cle, but must use practical judgment in gramming, particularly when the pro¬ tion, he must also be prepared to sit applying legal principles to the prob¬ gram may be carried into foreign coun¬ down with the writers of the script to lems presented by actual operation of tries by international hook-ups. show how it should be revised to avoid the television industry. Next, the sales manager may come any legal difficulties, which revision A lawyer must not only be well- in to tell his lawyer a pitiful story must not be couched in legal language grounded in his knowledge of pertinent about how much revenue the television but in harmony with the literary and legal principles but he must also be station is going to lose because the dramatic value of the program, and at thoroughly familiar with television as a state censors in Blank State have heard the same time satisfy the writers, the business. This means that a lawyer about a certain program announced for sponsor and producer of the program. interested in preparing himself as an release in a few days. They have served Late in the day an executive of the adviser in one or more aspects of tele¬ warning that television stations in television station might call his lawyer vision should start immediately to learn Blank will be prohibited from telecast¬ to announce that negotiations in the some of the basic principles of tele¬ ing it. It is impossible to comply with long-pending deal with the XYZ de¬ vision engineering and in some way the Blank censors, the only censorship partment store will soon be concluded obtain experience in one or more phases authority taking this stand, because and that a contract must be drafted the of the entertainment world. the proposed program will be so weak¬ next day to provide for an interchange To illustrate, let me touch upon only ened as to be valueless. Furthermore, of programs, time on the air, leased a few incidental yet important problems the sponsor is angry and threatens to studio space and a dozen other details. which may be presented to a television go to another station or network unless Questions of corporate law, tax law, lawyer in the course of a working day. the situation can be cured satisfactorily. real estate law, programming responsi¬ Any lawyer can immediately see the bility and FCC rules and regulations High-Speed Decisions question of interstate commerce which are immediately presented. is involved. The immediate problem is A troublesome problem during nego¬ A production manager calls him on twofold: first, to get the program on tiations could be the one concerning the telephone. “Next week the Joe control of programming, which under Doakes program is going on the air the air in the next few days and, sec¬ FCC regulations must be retained with John Smith in person singing ‘The ond, to lay the foundation for legal action or legislation which will make clearly and absolutely by the licensee Call of the Prairie’ dressed in a cowboy station, but the XYZ department store suit and with a background film show¬ this problem less acute for the tele¬ may want to have something to say ing cowboys rounding up cattle. Now, vision broadcaster. about its programs. A legal solution this is an ASCAP song and ASCAP Our next hypothetical problem might must be worked out and again the can give radio stations a small per¬ be a telegram from a television station lawyer must have a thorough knowl¬ forming or non-dramatic right to use in Texas, informing the attorney that edge of legal principles, FCC rules and this song in a radio broadcast but not the family of Tom Brown will sue regulations and the practical operation even ASCAP knows whether it can give everybody they can think of if a certain of the business. a television station such a right for a television program is carried by the ‘live talent’ program. Anyway, ASCAP Texas station or is received in Texas (Continued on page 115)

38 One of the two television cameras placed high above the 50-yard line, on specially-built platforms near the top of the South Stands. One camera has a wide lens for remote pick-up; the other is equipped with a telephoto lens for close-up pictures.

PHILCO TELEVISES PENN FOOTBALL GAMES

For the 6th consecutive year Philco Television Station, WPTZ, in cooperation with the Atlantic Refining Company, and its advertising agency, N. W. Ayer & Son, Inc., is televising all University of Pennsylvania football games played at Franklin Field in Philadelphia.

Six years ago Philco was the first to put on the air a complete schedule of football games by television. Since then Philco has continued this activity as part of its tele¬

A special monitoring screen on the announcer s vision research program and as a practical demonstration table enables him to coordinate his narration with the picture that is received by the television audience. of the service which television can offer the public.

These telecasts, through which the Philadelphia audi¬ ence enjoys an entire season of football by television, are still unique in the industry. PHILCO

Master control room of Station WPTZ in action Jawioud Jew Qua/cty' tAe AAcw/c/ (Ue?* during football contest.

39 THE ECONOMICS OF TELEVISION

How soon can a television station owner expect to turn

a profit? Here is some realistic thinking on the subject.

_By LEONARD F. CRAMER Photograph by Larry Colwell Executive Vice-President, Allen B. DuMont Laboratories, Inc.

Technical Personnel HAT ABOUT television as a busi¬ to ask: What is a reasonable estimate 2 Audio Control Operators, 2 Stu¬ ness; does television make economic of the annual operating costs of a full- dio Control Operators, 4 Video Pick-up Operators, 2 Mike Boom sense? DuMont experience dictates an service station? He should select an Operators, 6 Studio Assistants, 2 affirmative, realistic “YES.” average period after the shakedown in¬ Film Projectionists, 4 Master Con¬ trol Technicians, 2 Transmitter DuMont’s more than 4 years of tele¬ terval, say the third year of operation. Operators, 4 Scenery Shifters and vision broadcasting make it possible to Let us assume that his thinking is in Property Men .$117,232.96 Federal Unemployment Insurance and project the operation of a typical, aver¬ terms of a one-studio station, on the air Old Age Benefit. 3,168.16 age-size full-service television station. 7 hours daily, 49 hours weekly, 2548 Amortization of Capital Investment Costs will vary, naturally, in different hours annually.Two full crews, working averaged over 10-year period at 5% interest. 34,743.75 cities but, in the main, this is the basic a 48-hour week, will be required. His Replacement of technical parts. 8,000.00 thinking that must be done by a pros¬ 12-months’ operating cost statement is Maintenance of fixtures. 2,000.00 pective station owner. likely to shape up like this: Power for technical equipment, gen¬ eral and studio lighting, and air First, what is a reasonable estimate Annual Operating Cost conditioning (at N. Y. C. rates)... 15,000.00 of capital investment required for a Sustaining Programs 30% of Air full-service television station? DuMont’s Rental and maintenance of 12,000 sq. Time: 70% films, 30% live talent ft. of floor space @ $2 per sq. ft. studio shows and pick-ups of local recommendation, with prices necessarily per year.$24,000.00 events, sports, parades, educational subject to revision because of uncer¬ Payroll: affairs, club and church programs, Administrative Personnel etc., including rentals, royalties, tainties in material and labor costs, Station Manager, Program Man¬ scenery, properties, records and are provided in the box below. ager, Sales Manager, Chief Engi¬ transcriptions . 27,500.00 neer, Accountant, 3 Stenogra¬ Advertising, sales promotion, merchan¬ Now, our prospective owner is ready phers, 2 Announcer-Producers.... 40,675.00 dising cooperation, market surveys. 25,080.00 Travel and entertainment expense.... 10,000.00 Miscellaneous: Stationery, telegrams, telephones, THE CAPITAL INVESTMENT REQUIRED FOR A TELEVISION STATION postage, etc. 7,500.00 Total Estimated Annual Operating Cost .$314,889.87 Two DuMont Studio Cameras, with push dollies 23,000.00 DuMont Studio Control Desk }* No one knows what constitutes a fair Specially Designed Mobile Camera Dolly 2,500.00 rate for “television air time.” But tele¬ DuMont Master Control Board 35,000.00 vision can be compared to other estab¬ Studio Lighting and Audio Equipment 10,000.00 lished advertising media, in this wise: Two 35 mm. Special Film Projectors @ $6,000.00 ea. 12,000.00 63 typical half hour, full net¬ Two 16 mm. Special Film Projectors @ $2,000.00 ea. 4,000.00 work radio programs over a Two DuMont Film Pick-up Cameras 6,000.00 2- month period cost the ad¬ vertiser .$ .00136 per listener DuMont Transmitter 25 KW peak Video and equivalent peak for time and talent Audio . 65,000.00 The average advertisement of % page or larger in 3 major Suitable Antenna with supporting tower located on same weekly magazines in a recent building .. 10,000.00 3- month period cost the ad¬ vertiser .00465 per reader Spares and Test Equipment. 13,000.00 for space and preparation DuMont Field Camera Pick-up Equipment, including two The average of all half and cameras . 24,000.00 full page advertisements in 67 newspapers cost the advertiser .00928 per reader Field Audio Pick-up Equipment 1,500.00 for space and preparation DuMont Field Relay Transmitter 8,000.00 Noted marketing authorities agree DuMont Relay Receiver. 2,000.00 that commercial television—sight-plus- Truck with Generators and Antenna 5,000.00 sound selling—carries a sales impact fully 10 times greater than radio Sub-total... $221,000.00 (sound alone), and enjoys an equally impressive advantage over most and Auxiliary Equipment, Installations, etc. possibly over all visual mediums (sight (costs dependent on local conditions). alone). Logically, therefore, television Installation of Television Broadcasting Equipment $ 15,000.00 time may be priced somewhere between Structural alterations to an existing building, electrical wir¬ radio and magazines . . . say a rate of ing, studio soundproofing, etc. 25,000.00 $.003 per person per half hour evening Fireproofing of Film Projection Room 1,500.00 program. Furniture, fixtures and decoration 10,000.00 At the end of the second year of op¬ eration, any television station in a Sub-total. $ 51,500.00 major trading area of 250,000 families will be able to reach at least 20,000 Total Initial Capital Investment $272,500.00 television receivers. (This represents only 8 per cent of the families—and

40 marketing experts anticipate that 10% of the families will buy receivers within PROBABLE BREAKDOWN IN STATION PROGRAMMING this time span.) % of If 25 per cent of these 20,000 re¬ Hours Horn's Hours Sus. ceivers are tuned to your station during Commercial Programs: Dailyf Weekly Annually Total Air Time an average evening program—a con¬ Sponsored film programs . 2% 15% 819 45.9 32.14 servative estimate for the first few Live talent studio shows 1% 10% 546 30.7 21.42 years’ operation — you will have an Remote or field pick-ups 1% 8 416 23.4 16.32 audience of approximately 5,000 sets. If 8 persons make up the average Commercial Total 4% 34% 1781 100.0 69.9 receiver’s evening audience—and sur¬ Station-sustained Programs: veys show that, including both home Film programs . iy2 10% 546 71.2 21.42 and public sets, the range is from 5 to Live talent studio shows . % 3% 182 23.7 7.14 11 persons—then some 40,000 persons Remote or field pick-ups . — %* 39 5.1 1.53 will view the average evening program. An evening audience of 40,000 per¬ Sustainer Total . 2 14% 767 100.0 30.1 sons at $.003 per person per half hour indicates a rate of $120 per half hour— Total 6% 49 2548 100.0 the equivalent of $200 per hour and $80 -This allowance of 45 minutes per week is an averaged allowance for special or emer¬ per quarter hour. Such a rate would be gency news coverage. Events like parades, fires, sports meets, etc., may in one day use comparable to a typical radio station up the allowance for a month or more. fAveraged hours daily. Scheduling will probably change with each day. operating in a market of comparable size. Actually, radio stations charge from $160 to $800 per hour, depending on their coverage. than the profit margin realized by many 2228 half-hours at $138 Reduced to a working rule, DuMont’s per % hour (60 per cent standard radio stations. studies indicate that when television of average hourly rate), Suppose our prospective station owner less 15 per cent agency homes in any trading area represent 5 discount . 261,344.40 envisions a more ambitious operation per cent of the number of radio homes 222 hours at $230 per than we have sketched. Larger plans hour (average of after¬ classed as regular listeners by a stand¬ mean more extensive rehearsing. There¬ noon and evening rates), ard radio station, then a single tele¬ less 15 per cent agency fore, he will need two live talent discount . 43,401.00 vision station’s air time rate should at studios. He will also need one addi¬ least equal that of the radio station’s tional crew. Total Income .$443,941.40 rate. Annual Expense: We now ask: How much of its air Opening this second studio requires Annual operating cost the following additional investment: with two studios and time may a station expect to sell? three full technical DuMont experience and research indi¬ Two DuMont Studio Cameras with crews .$366,163.44 cate that television stations should push dollies .) National Advertising DuMont Studio Control Desk.J$23,000.00 Representative’s 15 per very quickly find commercial sponsor¬ Alterations and Installation estimated. . 12,000.00 cent commission on 40 ship for 70 per cent of their air time, Studio Lighting and Audio Equipment. 10,000.00 per cent of time sales (after agency discount) 26,636.48 leaving only 30 per cent to be met with $45,000.00 sustaining programs. The programming It also adds the following items to Total Expenses .$392,799.92 of a station on the air 49 hours weekly the basic operating cost breakdown Net Operating Income for an average might break down as shown in the box year, before legal fees, taxes or in¬ given earlier: surance .$ 51,141.48 at the top of this page. The 2-studio station operation described above Audience opinion surveys and radio Rental of additional 1200 sq. ft. of would yield a 15.8 per cent profit on its total floor space at $2 per sq. ft.$ 2,400.00 capital investment, $317,500 (this includes addi¬ precedents indicate a probable break¬ Payroll increase: tional camera chain purchased for Studio No. 2) : down of the above 1781 hours of spon¬ Complete extra studio crew. 39,839.28 a 11.5 per cent profit on its gross income. Federal Unemployment Insurance sored time into 1780 quarter-hour, 2228 and Old Age Benefits. 796.79 Employment of three crews for the half-hour, and 222 full hour shows. Replacement of technical parts. 1,000.00 operation of two studios makes it pos¬ Based on the preceding data, this rep¬ Additional power for technical equip¬ ment, general and studio lighting sible to have a full crew available daily resentative, full-service station should and air conditioning. 1,500.00 from 9 A.M. until 11 P.M. This permits Amortization of Investment in addi¬ enjoy the following annual sales in¬ an extremely flexible operation, greatly come : tional camera chain, lighting and audio equipment alterations, etc., facilitates handling of unplanned re¬ averaged over 10-year period at 5 Annual Sales Income per cent interest. 5,737.50 hearsals and emergency pickups of re¬ mote field events, and helps to keep 1780 quarter hours at $80 each (40 Added cost of Studio No. 2.$ 51,273.57 per cent average hourly rate), less technical crews within their 48-hour 15 per cent advertising agency com¬ Total Operating Cost per year on 1- mission .$121,040.00 studio basis.$314,889.87 work week. 2228 half hours at $120 each (60 per Total Station Operating Cost per year cent of average hourly rate), less 15 on 2-studio basis.$366,163.44 A Network Affiliation per cent advertising agency commis¬ sion . 227,256.00 A network affiliation — whether by Two-Studio—Three-Crew Operation 222 hours at $200 per hour (average cable or relay boosters — means that of afternoon and evening rates), less 15 per cent advertising agency com¬ While the operation of two live tal¬ many of a station’s programs will be mission . 37,740.00 ent studios increases the basic annual supplied without production trouble or operating cost by 16.2 per cent—the expense. If considered as an addition to Total Annual Income from the sale of gain in programming benefits is, of the 49-hour weekly independent opera¬ Air Time.$386,036.00 This station’s annual operating pic¬ course, proportionately much greater. tion here described, this affiliation means ture will look like this: It is reasonable to assume that before many additional hours of pre-sold time Annual Income from Sales of Air extending the activity of the station to with no additional operating charges Time .$386,036.00 Annual Operating Costs. .$314,889.87 include an additional studio and crew, save for power. Also, it assures top¬ National Advertising Rep¬ a certain basic advantage must be flight expensive productions originating resentative’s 15 per cent Commission on 40 per established—namely a widely increased in the three major entertainment centers. cent of Time Sales sale of television receivers within the Applying the precedent established in (after agency discount) 23,162.16 reception area resulting in an appre¬ radio network relations to the television 338,052.03 ciable increase in audience which would network operation, the network rate

Net Operating Profit (before taxes, justify a 15 per cent higher air-time will probably exceed the local rate by insurance or legal fees).$ 47,983.97 rate. The financial picture follows: at least 10 per cent. Networks shoulder This operating profit of $47,983.97 is Income from Annual Sales of Air Time: heavy sales and operating costs, but 1780 quarter hours at customarily guarantee each station 17.6 per cent of your capital invest¬ $92 per hour (40 per ment; it represents 12.4 per cent of the cent of average hourly 3714 per cent of the network time rate, rate), less 15 per cent gross income . . . considerably better agency discount .$139,196.00 (Continued on 'page 128)

41 AN ADVERTISER LOOKS AT TELEVISION

Exploration of television’s commercial possibilities reveals that it’s up to the broadcasters to make the medium an effective instrument for the advertisers.

-By CHARLES J. DURBAN

Assistant Director of Advertising, United States Rubber Company

Nearly two years ago United States WABD, New York. While these were and on its consuming curiosity as to Rubber Company decided to explore the strictly experimental and for the pur¬ the use of products. This is particularly possibilities of television, keep in touch pose of adding to our own store of true when products are in the style with its progress and be prepared to knowledge, we scored several television field, or contribute to comfort, conven¬ use it “if, as and when.” firsts'. The fact that viewers liked some ience or safety. Naturally, the method We thought when we started that of them was our great good fortune. of presentation is important. television was potentially one of the Among the experiments attempted strongest, most effective of advertising was the teaching of geology—normally Shipwreck in the Studio and merchandising mediums. Time, a rather dry subject—in co-operation study and experiment have not changed with one of the leading New York col¬ We did a shipwreck at sea in a our opinion. But please note the em¬ leges. The professor who held the chair 9'xl8' tank with 10" of water, right in phasis on the word “potentially.” Much in this study took the lead role—play¬ the studio. We built camera ramps and depends on the manner in which tele¬ ing himself. Members of the faculty as experimented with various lenses. We vision is developed and this, in turn, well as students from the regular geol¬ tried a number of motion pictures, hinges on the breadth of vision, intelli¬ ogy class were in the audience, and finding all too often that regardless of gence and philosophy of the men man¬ the result was an urgent request from the merit of the picture they seldom aging the industry. the college that they be permitted to televised very well. We picked up a What is television? Certainly it isn’t co-operate with the company in a series radio quiz show “as is” and televised radio or stage or screen, though it par¬ of programs of this type for the benefit it exactly as it would have been pre¬ takes of all three. It can visually and of all concerned. sented in radio. Later, we altered and audibly teach and inform—bring you On another occasion, a half hour improved it specifically for television. the news as it happens—tell a story— was devoted to the dramatization and We did a lot of other things, both entertain. And it can demonstrate and demonstration of one of our products orthodox and unorthodox. We made an sell products. which lent itself to such treatment. Still enormous number of mistakes. But from another was composed entirely of one them we learned. We learned that the Most Flexible Art in History of our institutional motion pictures producer, writer, director and the key In practice, television has, at the mo¬ which took the viewer through our va¬ man on the control board form the ment, stringent limitations. Yet as a rious plants and showed him the actual “backfield.” And that everyone else in medium for conveying human thought making of the many products for war the studio is on the “line”—camera and feelings, it is the most flexible art which we were then manufacturing. men, cable girls, technicians and cast. in all history. We learned that television, above any Some of the things we did could only During 1945 we presented a number other medium, can capitalize on the have been accomplished because every¬ of half-hour programs* over station public’s very real interest in industry one was on the team and knew it. That’s not new in the theater or in Hollywood—but we didn’t find it being done in television. We cannot agree with motion picture men who are inclined to look at tele¬ A THOROUGHLY TESTED INVENTION vision as a new way to get moving pictures into the home. We have a dif¬ ferent approach than so many of the “Television will be the biggest and most fascinating of the country’s radio people who quite unconsciously newest industries. It will provide new employment for many thousands approach television pretty much in of ex-service men and women. It will furnish a broad public service terms of enlarging the radio studio audience. of information and entertainment that will be just as new and original and different from anything in the past as were the automobile, the “Use" Development Next airplane, the motion picture and the radio when they were introduced. Only a few within and without the Yet none of these important inventions, when first offered to the industry are approaching television as a completely new and different medium. public, had been so thoroughly tested, or had reached a degree of We believe that the television industry advanced technical development comparable to the television which itself, heretofore concentrating so now is ready for the people of the United States.” strongly and justifiably on mechanical and technical details, must henceforth — Niles Trammell, President, devote much of its best brains and in¬ telligence to developing the use of this National Broadcasting Company magnificent new medium.

* See page 101 for complete resume of United States Rubber Co. television activities.

42 Photographs by Larry Colwell

A PAGE of scenes from U.S. Rubber's "serving through science" series at WABD. RUBBER'S role in blood transfusions was com¬ Above, a realistic life-raft drama in a huge specially-constructed studio tank. bined with a wartime appeal for blood donors.

TRAGEDY strikes in a program depicting old medical practices. A simple setting, LOCALIZED resilience of rubber cushioning authentic costuming, beautiful lighting, well directed. Audience reaction: Excellent. demonstrated. Child appeal aids Al Henderson.

MUSIC and pantomime help to tell a story of transportation. Floor manager Frank APPLYING fire to an asbestos suit, one of many Bonetta rocks the carriage realistically from his lowly position between the wheels. war-born products with peacetime usefulness.

43 USES OF FILM IN TELEVISION

Suggestions for incorporating film in tele-programs, prefilming broadcasts and preparing news telecasts.

_By JOHN FLORY

Executive Producer, Grant, Flory & Williams

The growth of television, to a great crew of actors, production people, and Technical advances will soon permit extent, will depend upon adequate pro¬ engineers for studio maintenance. Thus, elaborate live talent shows to be tran¬ gramming quality. Motion picture film as one authority points out, if satis¬ scribed on film from the station’s moni¬ promises important contributions to¬ factory motion pictures can be pro¬ tor screen or from a receiver. These ward the achievement of this objective, duced at reasonable prices, the over¬ film transcriptions can later be telecast hence the following advantages of film head of a small station (in the early from other stations—thereby effecting are worth keeping in mind. stages of the industry) can be reduced an all around saving. For reference pur¬ Film inserts—either specially shot or —through a projector pickup iconoscope poses, or as a lasting legal record of compiled from library footage—can be camera—to two engineers and a projec¬ what went out on the air, such films interspersed throughout a live talent tionist. Many new stations, obliged to may prove invaluable. show to give greater scope, a feeling of start out modestly, will discover that Portability of motion picture equip¬ reality to a program, and to bridge un¬ motion pictures can satisfactorily pro¬ ment is another advantage of film avoidable gaps caused by costume vide the bulk of the programs they put when a television station, attempting changes or set changes where studio on the air. to operate with a small personnel, must facilities are limited. Film and Networks cover remote pickups. Many news events Until television pickup cameras now will not occur at times when a maxi¬ Film offers a practical way of achiev¬ mum television audience is tuned in. in use are improved, film will be found ing a national network. It would to be more sensitive and accurate in But a film record can be telecast to take overcome many cost and technical diffi¬ advantage of the greatest number of reproducing the tone values of reds and culties and tie remotely situated sta¬ other shades of color. Film, therefore, set watchers. tions together more economically than The minute movie type of film tran¬ is particularly important in displaying either coaxial cable or relay stations. fashions and packaged merchandise. scription offers an economical way of In present-day radio broadcasting, The motion picture camera also sur¬ handling spot advertising. differences in time—such as exist be¬ passes the television camera in depth of A whole new field is opened to tele¬ tween New York and California—fre¬ field, making it easier to keep actors vision through the use of animated quently mean that an advertiser want¬ and objects in focus. motion picture cartoons. Many points ing national coverage for a network Until satisfactory television lighting can be made more effectively by this units are developed, preparing the video show is saddled with the expense of a technique than by live action, particu¬ repeat performance. Such repeats will material on film at the outset will pro¬ larly in devising commercial plugs vide a more artistically lit composition be a far more serious matter in tele¬ which entertain. Animated cartoons of¬ on the receiver screen. vision network operation, in view of the fer an ideal way of illustrating a com¬ greater original cost of video program¬ plicated machine, process, or concept. Comparisons with Movie Production ming. Film would seem the solution. (Continued on page 124) Most actors prefer film over live tele¬ casts because it permits a more polished performance. “Blow-ups,” “flubs,” and poorly-paced scenes can be discarded and redone in the movies; not so when a video show goes out live on the air. Prefilming a program means a lot to the sponsor footing the bill. He knows in advance exactly what he is buying. Unlike radio, television requires ac¬ tors to memorize lines and action. Any sudden illness or absence of a key actor, therefore, precipitates a pinch- hitting problem. Prefilming of telecasts avoids this possibility and assures bet¬ ter continuity. In the same way, mistakes and “blow-ups” during product demonstra¬ tions can be forestalled. Imagine the sponsor’s consternation in a live tele¬ vision demonstration were a crucial zipper to get stuck, or a particular brand of jiffy suds to fail at the vital moment to look impressively cleansing. TYPICAL tele-filmed news events were Washington and New Yorlt receptions to General Live talent shows require a large Eisenhower, filmed and televised the same day by WNBT. Filming permits dramatic editing.

44 TELEVISION AUDIENCE RESEARCH

What do televiewers expect to see and hear? Some¬ thing, says research, that they cannot get from either radio or motion pictures. Television’s role is unique.

By OSCAR KATZ_

Associate Director of Research, Columbia Broadcasting System, Inc.

Kadio broadcasting began without downs. Television programming, on the already accepted the miracle of tele¬ benefit of any kind of audience research. other hand, has not remained static. vision. They will buy sets for what Broadcasters shot their programs into About eighteen months ago, CBS Re¬ those sets can bring into their homes; the air. They (the programs) fell to search began some television experi¬ not for the thrill of snatching pictures earth. They (the broadcasters) knew mentation of its own, with the object from the empty air. They are extremely not where. The mystery of “Where?” of uncovering material that could be interested in television and innocently was so intriguing that, in searching for used as guidance in television produc¬ confident that it will bring them what an answer, nobody asked “How?” tion. The first experiments were with they want. They will be most intolerant Radio research was started in small audience panels, usually made up if programs fall far short of expectations. the quantitative field—to answer the of people with little or no experience “Where?” to measure the size and lo¬ as televiewers. These soon took the Viewers "Participate" in Events cation of audiences. Not for years was form of regular weekly studies that Sports, special public events and work begun in qualitative research—to have now been conducted on a continu¬ other newsreel-type material will prob¬ find out the “How?” how programs in¬ ous basis for over a year. ably be the most popular television fluenced people, and how people liked or It wasn’t long before CBS concluded programs of the near future. (Fortu¬ disliked programs. As a result, early that the field it was exploring was not nately, these are also the most easily radio programming followed a tortuous, only wide, but extremely productive. In produced.) Viewers sense a feeling of hit-or-miss trail of development. January, 1945, it announced the forma¬ reality or participation in these pro¬ Pioneer radio’s pioneer listeners were tion of Television Audience Research grams that they never experience in a a rugged race. If station WAAA re¬ Institute—a separate division of its newsreel theatre. They realize that they ceived a telegram, “Program coming in own research department. Working with are watching an event at the exact mo¬ fine. Please play Valencia," station its own staff, TARI devotes its efforts ment of its occurrence; that “anything WAAA’s listeners would hear Valencia, exclusively to television, and has al¬ may happen” and they will be eye¬ like it or not. If a sponsor’s Aunt ready initiated a number of original witnesses. It pleases them to think that Tabitha had a liking for Irish ballads, studies that are producing material of they can, almost literally, be in two the sponsor’s audience would get Irish value to tomorrow’s programmers as places at the same time. ballads from noon to breakfast. Luckily, well as today’s. For a while at least, television-view¬ the novelty of the new medium, together CBS intends to continue its television ing will be a group or family activity. with the tolerance of its first listeners, audience research indefinitely, and on a It may even be the focal point of were enough to carry audiences through widely expanded scale. Much more re¬ neighborly social activity. So long as to the day when programming was mains to be done than has yet been this is true, program selection and con¬ based on facts rather than guesswork. accomplished. On the other hand, there tent should be influenced if not gov¬ is tangible evidence that research has erned by that fact. A demonstration of Profit from Radio's Findings already spared the coming audience a gas-engine construction would bore There is no excuse for television, in certain amount of pain it might other¬ Mother, just as a prolonged showing of its programs, to follow radio’s course wise have suffered. Certain program millinery would fatigue Father. More¬ of trial and error. Radio audience re¬ faults, for example, have been revealed over, we have found that costumes and search, late as it was in beginning, has and corrected through the suggestions situations that are perfectly acceptable made great progress in recent years. of audience research, and subsequent on stage or screen are not necessarily Many of its findings and certain of its tests have gained audience approval. acceptable in a home atmosphere. techniques can, with slight adaptations, More important, in my opinion, than There seems to be an exceptional in¬ be applied to television audience re¬ any specific examples of program im¬ terest in television as an educational search. If television fails to take ad¬ provement are some general conclusions medium. Educational programs, if rea¬ vantage of its natural inheritance from that are beginning to emerge from our sonably well produced, are well received, radio’s research, it will find no con¬ months of study. Conclusions drawn and almost always suggest to viewers comitant inheritance of naivete and tol¬ from individual reaction or opinion are, other subjects and themes they would erance from radio’s early audience. of course, meaningless. When a reaction like to see treated in the same fashion. These happy characteristics have van¬ or opinion represents a group majority, Women are quick to recognize how tele¬ ished. The television audience, from the however, and when it is expressed re¬ vision may help them with their house¬ first, will be realistic and hard-boiled. peatedly week after week, certain con¬ work, by showing how to do things — Television is now completing an ex¬ clusions are justified. The comments how to make a dress, use cosmetics, pre¬ tended, war-born period of rehearsal, that follow are based on that type of pare a meal or take care of children. during which its programs—and mis¬ cumulative evidence. Most of the programs seen by our takes—have been seen by only a few Radio and movies, in the past twenty- audience panels have carried no adver¬ thousand people. Since Pearl Harbor, five years, have spoiled the American tising. Respondents invariably notice the television audience has remained people for any inferior medium of en¬ the absence and comment about it. Peo¬ relatively constant, if it has not ac¬ tertainment, however new and miracu¬ ple expect and want advertising in tually diminished, through set break¬ lous that medium may be. People have (Continued on page 118)

45 TELEVISION AND FASHION

The development of a high standard of fashion think¬ ing is advisable for all telecasters and an absolute necessity for advertisers of fashion-styled merchandise.

By CONSTANTIN JOFFE

Vogue

T he fashion and beauty industries— medium of television. Women will be the exclusive prerogative of the city with their allied industries of fabrics, subjected to a constant bombardment of woman. A television fashion service jewelry, accessories, hats, shoes, etc.— fashion news and fashion counseling in penetrating rural as well as urban occupy approximately 600,000 workers their homes. Hour after hour every day areas will help everybody in his own in the United States. It is impossible to of the week fashion from every point of sphere of living to be perfectly dressed estimate the correct amount of money view is going to fill screen time. As a and groomed. invested in these industries. In 1939, result of this new presentation, the Today’s technical achievements must many of them did not keep itemized fashion industries will gain an entirely not limit our imagination and plans for statistical records, and 1939 records, new market and the already existing television. It may be “Stratovision” with anyhow, have slight value in arriving market will be tremendously expanded. the help of planes, or coast-to-coast net¬ at present estimates. To illustrate the birth of new buying works by means of coaxial cables, or The Department of Commerce, in power let us take the example of mail¬ relay towers. Whatever it is, we must April 1945, quoted four billion dollars order catalogs and the businesses they realize that the important buying power as the value of fashion merchandise developed. They created a desire and a of the nation soon will be covered by a sold annually in retail sales. This fig¬ demand for merchandise on the part of television network. women living in isolated communities. ure, covering only retail fashion sales, Should we telecast fashion programs The impact of a twice-a-year catalog does not include other billions in sales in hours chosen when women are at obviously is far surpassed by the made by the associated industries. home alone? Or should we consider edu¬ glamor of daily television advertising. During the past few years American cating the man of the house to a finer fashion has developed greatly for sev¬ appreciation of a woman beautifully eral reasons. Foreign imports were cut Raise Tastes in Fashions dressed and groomed? Should we have programs frankly displaying their mer¬ off, large sums were spent on fashion As to promoting the already existing chandise for sale, such as the Macy items by women having extra money buying power, the most important five-minute programs prepared by RKO from war jobs, and added to this has thing that television can do for the Television? Or try to create desire in been the general trend of the public to fashion industries is to raise standards the onlooker to be as well dressed and spend more freely. The outstanding de¬ of taste and stimulate fashion con¬ groomed as the actress on the screen. velopment in this field occurred in the sciousness. The leaders of these indus¬ beauty industry, which consolidated the tries should realize their opportunity Also, should we try to combat the American market and won more inde¬ and duty to bring to every American fleeting impression which movement on pendence from French imports. woman the most highly cultivated con¬ the television screen leaves in our Every branch of the industry will re¬ ception of good taste and good looks. minds, or should we exploit this fleeting ceive a terrific impetus through the These refinements will no longer be (Continued on page 134)

TELEVISED fashions show garments from many SPORTS COATS televised by a New York department store were shown as "fashions in action" angles, permit audiences to see full crafts¬ rather than in the studied, stereotyped manner of most style shows, greatly stimulating audience manship idetails, all from a front-row seat. interest. Presenting products "in use" has proved much more effective than artistic display.

46 TELEVISION IN THE RETAIL FIELD

There is excitement and interest for women in “news of merchandise” and a whole new profession is needed to present this news visually and dramatically.

By I. A. HIRSGHMANN_

Vice President, Metropolitan Television, Inc.

I elevision is on the way as a regular ness, the radio business, the news¬ field of the unknown. Our steps ought service for our people. Nobody can stop paper business and change the habits to be bold and well-aimed. But we must its progress. of the American people. always anticipate the possibility of a revolution just around the corner prob¬ The people who might delay it or in¬ We ought to know now from the his¬ ably started by fertile-minded young¬ terfere with it may be those who would tory of even our most exciting develop¬ sters who have had first-hand oppor¬ like to make it an overnight profitable ments in the fields of communications tunity in this war to use mechanical success. That would be the most deadly and entertainment that it does not work instruments which are destined to be¬ means of retarding its development. that way. Moving pictures are just be¬ come tools of the future. Technically most of the television ginning to become less sappy, more in¬ This should not give us pause or problems have been met through the telligent and well-integrated. haste but courage and confidence, for coordination of the best engineering we know that the fields will be broad minds under the auspices of the govern¬ Progress Will Be Gradual and open with newer possibilities and ment in the war. In contrast, program¬ Our memories are probably short, for opportunities than any of us dared to ming has not even had a start. And pro¬ most of us forget that from 1920 to dream about, even in our optimistic gramming is a field that will call for 1929, in the boom of the postwar era, moments. the best imagination and the best im¬ radio went through its fumbling pre¬ I would make a plea for good stand¬ plements that we have learned to use in paratory stages. Television will also ards of programming for television in other related arts. I have absolute faith develop gradually. If it does not, some¬ its early stages. I think that radio with that we will learn how to do it well and thing will be wrong with it. all its success is underselling the Amer¬ inexpensively. I also think that we will In recent years as we moved into an ican people; that it could be raised sev¬ probably learn the hardest way, which unparalleled boom in advertising, with eral notches higher in intelligence and in the long run is the best way and the radio selling at a high level, we sud¬ appeal, sell just as much goods, if not way we seem to do things in this coun¬ denly learned that the technical method more, sell good-will along with it, and try. The most dangerous kind of think¬ for broadcasting was outmoded; that sell itself as the valuable instrument ing that we can indulge in is along FM would supply a much more desir¬ that it is. these lines: able service; that radio principals were Advertising on radio need not neces¬ rushing to develop this new field which 1— That television sets will quickly re¬ sarily be offensive or defensive. People inevitably would replace AM radio. place radio sets in everybody’s home. gladly give credit to a company that This ought to provide some kind of a supplies decent entertainment, humor, 2— That television will be so revolution¬ lesson that there is no final technical music or information. They will do it ary that it will interfere with or word when you are dealing with the all the more willingly when a program frustrate the moving picture busi¬ ether. There is no last frontier in the assumes that its average listener is

SUBTLE COMMERCIAL: The sponsor's product — table linen — has been constantly in view STORE CONDITIONS can easily be repro- as the action of a short drama centered about a dinner table. The commercial simply duced in the studio, permitting customers to answers questions that women in the audience might quite naturally wish to ask. feel that they are "shopping by television."

47 many stores, is concentrated on vital interior display. It will require this same kind of specialized skill and re¬ search to build effective television show windows in people’s homes. PROCEED I see an entire new industry of men and women trained to present merchan¬ dise visually, in dramatic, interesting, WITH CAUTION salable fashion. It will not be possible to drape a fabric or a dress in front of By NORMAN D. WATERS a tele-lens and have people remain in¬ terested in it. Remember, it is a dy¬ President, Norman D. Waters & namic process in a dynamic age! Associates, Inc.; Past President, The question will be asked: How can American Television Society, Inc. stores compete effectively with world news, expensive entertainment and sports events, which may be viewed as For the good o'f television let us they occur? The answer is, the depart¬ all take care not to oversell it to ment store has its own function to per¬ the public or the trade. Let us see form in television. that there are no more backward else revolves around this central In the vocal you can tie a selling steps in its forward march! Let us point. If John Doe wants to see message to a news program. In the beware of those who would create television regularly, he’ll buy a re¬ visual the message is the “bread and greater immediate expectations ceiving set. If he buys enough sets, butter” itself, that is, the actual mer¬ than television can truly fulfill. advertisers will want to use tele¬ chandise. In newspapers and magazines, No one can challenge the fact vision time. If broadcasting be¬ for example, we advertise the actual that a great new industry is here comes profitable, stations will goods, not a news program. In tele¬ in all its glory. Vast improvements spring up like mushrooms through¬ vision we will come back to this practice will come with the passing of time out this country and the world! but, with a different technique. but the fact that television is here John Doe, in the televiewer’s chair We shall be able to offer our cus¬ and ready to become a great force at home is boss, and always will be. tomers the news of merchandise, take for public good is indisputable. In He will call the tune to which all them behind the scenes as merchandise our boundless enthusiasm, let us in this great new art must dance! comes into the store. We shall present a visual catalog for shopping, drama¬ not promise too much too fast . . . More and more outstanding pro¬ tically and interestingly. Obviously, no let us not disappoint the public ducers and directors of the radio, store can expect to get away with again! motion picture, theatrical and ad¬ shooting a camera at static goods. Programming is today’s para¬ vertising fields are seriously study¬ mount problem, and unfortunately ing television. All of us are begin¬ Dramatic Demonstrations to Come very little progress has been made ners in the complex art that pro¬ There is excitement and interest for in solving it. One hears wild specu¬ gramming represents; but many women in stores, in their activities in lations concerning the types and are rolling up their sleeves, pitch¬ the use of all the new things that are costs of future television programs. ing in and learning fast. beginning to explode upon us. The back¬ Radio was bombarded with identi¬ The American Television Society ground of many old and new things can cal criticism, yet solutions were dis¬ has served as a rallying point for now be interestingly presented to the covered. One basic principle ap¬ all who foresaw the greatness of public. plies—and it is even more true of television and worked for its ad¬ The miraculous scientific story of a television. If the service itself is of vancement. It has increased oppor¬ new fabric like nylon can be dramatized sufficient value to the public, an tunity and responsibility today. I by showing the method of production answer will be found for all cost believe its strength will always lie and by letting laboratory tests demon¬ difficulties. If television programs in its complete independence as an strate why it wears so well. are as effective commercially as we organization. This independence en¬ Bureau of Standards’ tests, so dry in all anticipate, advertisers will stand ables it to function as an impartial reading, can be brought to life and can in line to foot the bills and assure forum for threshing out television prove before your customers’ eyes that handsome profits to all concerned. problems as they arise. It has nobly materials will not stretch, fade, or wear The crying need in television is served this cause in the past and a out, except under certain duress. to attract the great creative minds great future stands before it. The Merchants who are struggling to find of America to the task of develop¬ careers of those in television are the solution to the present static win¬ ing programs that the public wants best served by conscientiously safe¬ dow display will eventually find their to see and learning how to present guarding the interests of the public answer in the dynamic television screen them most effectively. Everything and of the industry as a whole. which provides movement, vitality, in¬ terest, change and immediacy. Your cus¬ tomer of the future facing what is now several grades above a moron. So long It is my sincere hope that department the framed still-life window display will as I live I shall continue to repeat that stores will approach television at the find herself looking into active moving it is never necessary or desirable to talk start with the thoroughness, intelli¬ exhibits of merchandise either within down to people. We should bring people gence, boldness, and resourcefulness the store or from other sources. up to a product, not the product down that they have used in developing their One day soon our present type of to them. businesses, their displays and their window display, compared with the Not that department stores have newspaper advertising. future television window, will probably made effective use of radio! On the con¬ A great contribution to the entire seem like a framed picture of dead fish trary, it is apparent that stores have field of television can be made by the in a Victorian dining room. fumbled badly in their use of radio. stores. They are a vital link in the pro¬ Department stores will do well at this When it was a new medium they ig¬ motional follow-through of this new time to begin studies of television tech¬ nored it, then feared to use it, and medium. My impression is that depart¬ niques. It is not necessary to build finally edged into it. Radio is as spe¬ ment store owners will not be blind to enormous equipment to do so. Somewhat cialized as any department in their it for television will offer them a minia¬ small flexible devices will be available stores and requires an equally special¬ ture show window in everyone’s home. for rehearsal and experimental work. ized approach and treatment. Only Great care, time and large expendi¬ Every retail advertising department of gradually, and late, stores are coming tures are lavished on stores’ exterior the future will have studios devoted to to a realization of this fact. show windows. And equal attention, by (Continued on page 127)

48 TELEVISION DOLLARS AND SENSE

Television’s real progress as a public service will be¬ gin when thousands of programming and advertising people begin thinking constructively on its problems.

By PHILIP MERRYMAN__

Director, Facilities Developments and Research, National Broadcasting Company

At the beginning, I want to make service will begin when thousands of developing stage but if supporting costs it clear that I have no “prevision” on such men think constructively on tele¬ are lifted so high that resources are television. I have looked at the facts— vision’s problems. threatened, the industry will face a learned by experience while developing Yet all the constructive thinking in critical situation that could easily be sound broadcasting. I have examined the world will not carry television for¬ its Waterloo. most of the evidence available, good ward unless labor offers a full measure Television producing companies take and bad, concerning the problems we of co-operation. This failure to evalu¬ the stand that labor should be content expect to meet in television. From ate the future possibilities of television to grow with the industry in the same these explorations I have drawn the in terms of its present status is par¬ way that broadcasters expect to develop conclusions that follow. ticularly evident among organizations it and the advertisers to use it. There It is not my purpose to argue with that have the greatest stake in the must be fair play and generous treat¬ any one regarding the technical stand¬ ultimate place of video art in the en¬ ment by all concerned if television is ards for television. I prefer to let the tertainment field. to become a national medium of enter¬ public decide whether six megacycle Orderly progress in television is de¬ tainment with consequent opportunities black-and-white television is satisfac¬ pendent on far more than the initiative for mass employment. tory. The pent-up demand for postwar of broadcasters. They cannot do the job 400 Cities with Television television is apparently so great that it alone. They must have the sympathetic will reach floodtide as soon as new sets support of all factions concerned. With In testimony before the Federal appear on the market. If we are to de¬ little financial return from their pio¬ Communications Commission I stated prive the public of these sets we need neering activities at this time, any ad¬ that I believed television stations could very convincing reasons. King Canute ditional burdens the television compa¬ be supported in towns having popula¬ could not stop the tide. It is just as nies are forced to bear because of the tions as low as 25,000. I submitted cost foolish to believe that television can be extreme demands of labor groups might and operations statements to support withheld from an eager public. easily retard the extension of the serv¬ my contention. I can now expand that One fact is certain—a television pic¬ ice to the public. statement. It is my belief that within ture cannot be evaluated in the same A little common sense will show that ten years more than 400 cities in the terms as an oil painting. Television it is not a “something for nothing” at¬ United States will have television sta¬ pictures were not intended to grace the titude on the part of broadcasters. Tele¬ tions, all operating at a profit. walls of world’s art galleries. They vision is willing to pay a fair price for Unfortunately, sound broadcasters were created for the specific job of contributed services during the present have been led to believe that the in- bringing into homes and public meet¬ ing places, the living, vital, instan¬ taneous reproductions of the pictures and sounds associated with interesting human or natural events wherever they may occur. Any attempt to evaluate the television picture on any other basis leads to fundamental errors of interpretation. Flawless Image Is Objective Of course, the television industry will not be content until it achieves a pic¬ ture as flawless as nature itself but this ultimate goal cannot be reached through laboratory research alone. Like the automobile, its final perfection will be attained only after millions of peo¬ ple have contributed to its improve¬ ment. The names of the engineers who have devoted major efforts to the de¬ velopment of television can be counted by hundreds—perhaps by thousands— but the names of the program, adver¬ tising and business men who have de¬ voted creative thought to the develop¬ ment of a television service can be TWO-MAN STUDIOS such as th is basic type need but engineer and announeer tor operation. counted on the fingers of two hands. Heavy line shows area covered by far camera; dotted line is the portion of the stage Television’s real progress as a public picked up by camera in foreground. Once adjusted, the cameras require no attention.

49 must be different from any entertain¬ ment technique yet developed and the genius who perfects it is probably still unaware of the part he is to play in its development. Recently, the British Broadcasting Corporation announced that its postwar television service expansion plans are based on the use of its 405-line stand¬ ards. This decision did not exclude the possibility of rapid development of a higher definition television system. It simply recognized that if the British public is to have immediate postwar television service it would have to start with 6 me. black-and-white pictures. That should be the program in the United States. We don’t know how long it will take to develop 20 me. television. We do know that we can plan television now on the 6 me. basis and every rule of common sense tells us that we should go ahead on that basis. TELECAMERAMEN soon will focus on all top sporting events. Here, WNBT's eyes and Red In 1927, when broadcasters went to Barber report a Columbia-Lafayette football game to New York's television audiences. the White House to broadcast a speech by the then President Calvin Coolidge, stallation and operation of television program format developed for televi¬ a truck was needed to transport the facilities entail a very considerable out¬ sion just as sound broadcasting had to equipment. Today one man with one lay from the start. This is not so. Tel¬ devise its own program technique. suitcase can carry the necessary equip¬ evision programming can be started in Audiences around New York like the ment into the Presidential Mansion for a small way and expanded as receiving programs they see now, but we can and a presidential address. In 1927, we had sets and commercial sponsors increase. will improve the service. cumbersome, unattractive and expen¬ How this can be done is suggested in Cannot Copy Older Mediums sive radio receiver sets. In 1941, we the accompanying illustration. It will Television programs cannot simply could purchase better sets for $19.95. be seen that one operator, handling ape the older forms of entertainment With all the ingenuity, originality and cameras and lights by remote control, if they are to fulfill their promise. Al¬ progressive thinking the collective would be sufficient for simple produc¬ though the scope of program material brains of the broadcasting industry tions. By restricting their movements available to television broadcasters will can bring to bear on television’s prob¬ to the areas outlined, the actors would be fully as great as that now available lems as soon as television becomes an always be within the focus of the cam¬ to sound broadcasters, the technique of established service, it is inevitable that era. The latter, once adjusted, would presentation must be different since we shall see progress just as rapid and then operate unattended throughout the the television broadcaster will be pre¬ as revolutionary as we have witnessed performance, eliminating need for an senting pictures themselves—not just in sound broadcasting. operator at each camera. sounds which create mental pictures. Television seems destined to bring A studio arrangement such as the The technique of the stage will not be regularly to all America the best in one shown here, supplemented by one suitable since television will use the American culture. Later we may ex¬ or two 16-millimeter motion picture world for its stage and the usual 50'x change programs with the rest of the projectors, would comprise all essential 100' space behind the footlights will be world. The social and economic effects equipment for a start. As program only a small fraction of its area of ac¬ of thus broadcasting information and time is increased and additional studio tivities. Nor can it be the technique of entertainment will be considerable. So¬ space secured, the transition from these the movies, because television will cially, because television will enlarge limited facilities to those that will be broadcast events as they happen. Fur¬ mental horizons in all walks of life; required eventually could be carried thermore, there can be no takes and re¬ economically, because it will increase out in gradual and logical steps. takes which, after the final cutting, the demand for goods and services so Now what about the other advertising may lie in cans for months before they that national employment will be en¬ media—newspapers, magazines, car- are released. No, television’s technique larged and national income increased. cards, billboards, direct mail and so on? I predict that all of these media, in¬ cluding sound broadcasting, will be more prosperous than ever, even after television becomes a commonplace. It has been the history of advertising that no new form ever completely displaces the older ones. On the contrary, his¬ tory reveals that the resulting in¬ creased volume of advertising increases the distribution of goods and services so that the over-all national wealth is increased. Between 1927 and 1943, for example, newspaper circulation increased from 63,000,000 to 82,000,000 and magazine circulation mounted from 36,000,000 to 63,000,000. This was the period during which broadcasting was growing most rapidly. There is no fundamental rea¬ son why this experience should not be repeated even though television should prove to be the most powerful advertis¬ ing medium devised by man. SPEEDY, compact mobile units will soon provide sight as well as sound coverage of emergen¬ I believe that there must be a new cies and special events, flashing signals back to their stations by microwave transmission.

50 DISCUSSION PROGRAMS WILL BE BETTER

Television audiences will be quick to judge

the character of those who address them.

By GEORGE V. DENNY, Jr-

Moderator of “A merica’s Town Meeting of the Air President of Town Hall, Inc.

T elevision, if properly used, can be courageous thinking on the part of each the greatest single unifying influence one of us if we are to prevent the devised by the scientists and engineers gigantic power now in the human hand during this amazing twentieth century from being used to enslave or destroy of miracles. us. ...” We’re moving into an age where Think how much better this dramatic ideas are becoming increasingly impor¬ opening would have been if the audience tant and visual images vastly increase could have watched me as I talked, or the effectiveness of the spoken word in if it could have looked at charts ox- presenting ideas. The scientists and en¬ movies supplementing and pointing up gineers have given us powerful new my words. instruments which may be used to aid “America’s Town Meeting” was regu¬ or enslave us, make us free or destroy larly televised from Town Hall in New us. But it is the men with ideas who York City for about two months in will determine how these great new in¬ the fall of 1941 before the Office of struments will be used. Civilian Defense requested these facili¬ A short time ago we discussed the ties for war work. Reports from those atomic bomb on “America’s Town Meet¬ who had receiving sets in the New ing” and I tried an unusual type of York area wex-e highly enthusiastic. introduction to the program. But im¬ Last fall we put on a special television agine how much more effective it would program from the General Electric have been if we had had television. This studios in Schenectady under the watch¬ is what I said: ful eye of many expei-ts who declaimed “Good evening, neighbors. Look at the program a “natural” for television your hand. No, I’m not joking, this is —including Rex Stout’s famous beard! serious business. Are you looking at it? Fi’om our viewpoint, television will It’s the most powerful hand in all of give us a much needed dimension in human history. The cave man found which to give background material on that he could increase its power with those subjects which we cannot pre¬ the aid of a club. Later on he began sent adequately at the present time. to use spears and other pointed weap¬ For instance, in our vai’ious discussions ons. Then he found he could increase of the Pacific and Asiatic countries I’ve his power tremendously by throwing a had to suggest to our listeners that they stone in a sling shot. Remember how get out a map of the United States and David killed Goliath? lay it over cei-tain areas in order to “It wasn’t until the fourteenth cen¬ make those distances familiar by com¬ tury that man learned how to hurl paring them with distances in this coun¬ try. By television this could be done PEOPLE like to participate. An "America's missiles at his enemies with the aid Town Meeting of the Air" in San Francisco. of gun powder. But he had to use his visually in an instant. hands and a weapon in the process. As Newsreel shots would be of great the human hand has become more pow¬ value to us in introducing current “Town Civic Auditorium we packed in twelve erful it has become more destructive. Meeting” topics to the audience and could thousand. These audiences constitute Let’s not forget that it was a human be used almost weekly to enhance great¬ an exti’emely interesting and vital part hand—the hand of Major Tom Ferebee ly the value of each of our discus¬ of every program. With television the of North Carolina—that dropped that sions in curi-ent problems. Programs character of each questioner would be first atomic bomb on Hiroshima and about strange people in other lands as readily visible in your own living wiped out a city of a hundred and would be greatly enhanced if illustrated room as the pei-sonality of the principal twenty-six thousand people at one blow. by shots from authentic travelogues. speakers. Yes, it’s the most powerful hand in all Again, we encoui-age the speakers to Television will challenge the best pi’o- of human history. But the hand is the use picture woi’ds and phrases in their ductive brains we have in the counti-y. faithful servant of the brain that di¬ talks on “America’s Town Meeting.” If If it is used only to put on cheap vaude¬ rects it. It was through the integrity we had television we’d want them to ville, like art and conventional variety of men of science, searching for truth, illustrate their speeches with interest¬ shows, it will miss the boat. But if tele¬ using their brains honestly, that we ing pictorial charts and Disney-grams. vision producers will take advantage of found out how to magnify the power About half of our “Town Meetings” this great new dimension by creating of the human hand so tremendously. originate in different parts of the coun¬ programs especially adapted to the na¬ “Can we apply our minds with equal try with local audiences consisting of ture of the medium, and the environ¬ honesty in determining how to use this fi-om two to five thousand people, as a ment in which it is received, then the power? It will take the best and most rule, although in the San Francisco possibilities are limitless.

51 A PROGRESS Television Receivers

RCA DIRECT-VIEWING TELEVISION

The first RCA Victor television receivers will probaby be of the direct-viewing type. Here a Kinescope Tube (A) is mounted horizontally in the cabinet. The picture appears at front end of tube (B) and is viewed through a frame in the cabinet. Pictures of this size can be seen comfortably by an average family group in a typical living room. Brilliance of picture permits normal room illu¬ mination at all times.

RCA LARGE-SCREEN TELEVISION

Probably the next type available and at a higher price than direct- viewing instruments. RCA Large- screen Television became a post¬ war reality when RCA scientists, placing a small projection Kine¬ scope Tube in a vertical position, combined it with a system of lenses and mirrors used in astron¬ omy. With this system brilliant, clear pictures larger than a standard newspaper page are possible. A. Kinescope Receiving Tube. B. Spherical Mirror. C. Aspherical Correcting Lenses. D. Inclined Mirror. E. Translucent screen (pic¬ ture viewed from front . . . pro¬ jected from rear). F. Loudspeaker for reproducing television sound.

RCA TABLE MODEL RECEIVERS

The great popularity of table model radios leads many to predict a great future for a compact television re¬ ceiver of this type. These receivers will use the direct-viewing principle described in the diagram at the top of the page. Because of their small size, relatively low cost and small but sharply detailed pictures, these re¬ ceivers are likely to be the choice of many families, not only for use in living rooms but as an "extra” set in a bedroom or den, for example.

52 REPORT BY RCA

RCA Victor Television Receivers will be

available in a range of sizes and prices

to suit all family requirements.

First models, incorporating many new

improvements, expected in 1946

RCA Victor has in store for you new, improved viewing receivers will be appreciably lower in cost. television receivers providing the bright, clear RCA Victor large-screen television will meet the pictures that you have long been waiting for. These requirements of purchasers who entertain large groups receivers, far superior to any previously produced, of friends and whose living rooms can accommodate will be in the market in 1946. They will be announced larger cabinets. This receiver employs a translucent as soon as RCA Victor dealers receive them. screen on which the picture is projected through an Various sizes of pictures and cabinets will be optical enlarging system within the set. No external available, priced according to the elaborateness of screens, such as those used for home movies, are equipment. Cabinets will be beautifully styled—de¬ required. RCA Victor large-screen television, al¬ signed to take their place with the finest furniture. ready proved in the laboratory, can provide pictures How important is picture size? of bright, life-like quality measuring up to 18 x 24 Studies by RCA Victor engineers of ideal viewing inches . . . larger than a full-size newspaper page. distances reveal an interesting fact about picture The Heart of Electronic Television size. Although many people who are unfamiliar with RCA Victor receivers described here are but a few of television feel that the larger the picture the more the milestones in television which bear the mark of comfortable the viewing will be, scientific deter¬ RCA research and development. Among others are minations and practical tests show that the only the two basic electronic tubes, developed by RCA important thing is that picture size be always engineers which made electronic television possible. adequate for the distance at which it will be viewed. These are the Iconoscope, or the "electric eye" of Direct-viewing Receivers lower in cost the television camera which picks up the scene, and For example, when you are seated a few feet from the Kinescope, or screen tube on which the picture the receiver as in a normal family living room, a appears in the receiver. 6 x 8-inch picture has the same high visibility as a More than any other organization, RCA Victor much larger picture viewed at a greater distance. has the experience and knowledge to bring you the This means that the size pictures provided by RCA most advanced television. Every type of RCA Victor Victor direct-viewing receivers will probably be pre¬ television receiver will reflect the exhaustive research ferred by many families. Direct-viewing receiver and development of the pioneer which extends back cabinets can be smaller, and less equipment is many years before the war. When television comes required than in receivers achieving large picture your way, you’ll enjoy it to the fullest on a receiver size through optical enlargement. Therefore, direct- bearing the mark of the leader—RCA Victor. rca Victor

RADIO CORPORATION OF AMERICA • RCA VICTOR DIVISION • CAMDEN, N. J.

In Canada: RCA VICTOR COMPANY LIMITED, Montreal

53 A LIVE TALENT STUDIO, as this musical production at WRGB indicates, requires men to handle cameras, sound, lights, scenery and properties.

D avid Sarnoff, RCA president, foresees 300,000 well¬ TELEVISION JOBS paying jobs in television within five years after things FOR VETERANS really start rolling. Television is made to order for G.I.’s with radio and radar experience, but while a lot of jobs in it will call for technical training, plenty of 300,000 openings expected. These pictures others won’t. So, run your eye over this page and the from Army-Navy Screen Magazine show next to find the job that you’re best fitted for in this what they’ll be and where to find ’em. rapidly expanding industry.

SPORTS will play a big part in tele-programming. Crews will travel TELE-NEWSCASTS will be picked up live and on film. This WCBW with mobile units carrying cameras, sound equipment and lights. newscast requires writers and researchers as well as studio crew men.

54 MANUFACTURING: Making sets should employ 60,000 assemblers, machinists and SERVICE: 85,000 maintenance men should be needed electronic technicians. Virtually all radio manufacturers have television plans. to install and service the new video-audio receivers.

MASTER CONTROL: Technicians watch, hear and regulate the SALESMEN WANTED: The television industry should put 135,000 quality of pictures and sound before they go out on the air. salesmen to work for dealers and distributors within the next five years.

55 TELEVISION OUT WEST

Tele-conscious California with its reservoir of film tal¬ ent will make a strong bid for tele-programming and may well attain tele-programming leadership.

d. By KLAUS LANDSBERG

Director, Station W6XYZ, Television Productions, Inc.

Go west—!! That was the decision coveries, and your producers find their attack—it can point proudly to the war of the movie makers not so very long stories, but on the New York stage?” work it has done as a morale builder ago. Today, Hollywood represents the Okay, boys, break it up! There’s no and as an educator. Who else can claim mightiest center of entertainment man¬ sense in fighting, because in the end, the development of visual education as ufacture in the world. you will only discover that economical his own? Is Hollywood going to be the Tele¬ considerations decide all. And as long The movie capital is well aware of vision Center, at least of America, if as the entertainment medium that pays the great role it is destined to play in not the world? most sits in Hollywood, the wealth of the television game, but it is equally “YES!” says Hollywood. talent, too, will be found there! Not aware of the difference between a the¬ “NO!’ says New York. just actors, but producers, directors, ater and a home audience. And while And Chicago claims the tele-hub for writers, artists and technicians. it knows that many Hollywood happen¬ itself, being strategically located in And if you ask, “How can television ings will attract the tele-viewer, most the middle. afford such high-priced talent?” then of the news and sports events which It’s easy to argue for Hollywood, think that for every Hollywood discov¬ claim nationwide interest take place in pointing to radio, which, in the last ery, there are ten—and that’s a con¬ the East. And no doubt the West Coast few years, decidedly moved West, and servative figure—who are waiting to be looks to the East for an immediate shows no tendency to stop this move! discovered. Don’t forget, either, that visual report of such events. “But,” counters New York, “look at most movie stars can’t afford to snub All this, of course, is based on the the theatre. It still gleams brightly on a radio appearance because of that early establishment of transcontinental Broadway, while only flickering faintly “little” reimbursement. And how much television networks. Yet while we wait more will a television appearance mean qn the West Coast.” for this, at least a little while, the to them! And now the battle really starts. product of the movie makers will span With Hollywood claiming its stars as By this time, the reader no doubt the country without waves. the greatest attraction to Broadway will shake his head and exclaim, “Oh, theatre-goers, and New York asking please, let television be a culture bearer While only five years ago the West the embarrassing question, “And where —don’t let it go Hollywood.” But no Coast shrugged its shoulders when tele¬ vision was mentioned, it is today just do your talent scouts make their dis¬ longer must Hollywood hide from this as eagerly awaiting the arrival of tele¬ vision receivers as any other part of the country. The rush for television station licenses is equally great. No major city on the West Coast will be without this service soon. Much barren country and large dis¬ tances divide the western cities but nature has provided high mountain tops to bridge these gaps. A single station on Mt. Wilson can provide television service for well over one-half of Cali¬ fornia’s seven million inhabitants. A station in San Francisco can easily cover Oakland, Berkeley, and even Sac¬ ramento, the state capital. This condi¬ tion, in itself, guarantees rapid develop¬ ment of West Coast television, and provides ample proving ground for the productions with which Hollywood hopes to capture audiences everywhere —upon completion of the Ether-Bridge. Yes, the West Coast is television¬ conscious; it won’t be caught in a siesta. The same young and progressive spirit that overnight made the West an industrial powerhouse, and the art and skill that reproduces Niagara Falls on the desert, will blaze the trail for new enjoyment through television. SHOOTING THE STARS: The W6XYZ field unit interviews a few Paramount celebrities. Look West!!

56 TELEVISED NEWS FOR THEATER-GOERS

Newsreel Theater owners are ready and waiting for the advent of theater television. They plan to pro¬ ject televised news events to swell box-office receipts.

By ALFRED B. BURGER

President, Telenews Theaters

T elevision is here—and we of the The newsreel theaters have the only used to speed the popularity of the newsreel theaters look to this new ex¬ genuinely elastic program which can motion picture! panding industry to amplify the ex¬ be complemented by telecast events— During major broadcasts, the con¬ tensive news coverage and recreational when this new medium is available for ventional theater found that important and entertainment features which we the full auditorium screen. The present events such as the President’s speeches, are presenting today to people through¬ newsreel program can be interrupted at really hurt their box-office! However, out the country. We salute this new any point without breaking the con¬ this falling off has not occurred in a industry—this new medium of high tinuity and chain of thought. single Telenews Theater, for our pa¬ speed news and entertainment distribu¬ We look forward to the time, not far trons know that they have the oppor¬ tion—knowing full well the valuable distant now, when television will alford tunity to listen to all momentous broad¬ service we can render it. us the opportunity to project on our casts as well as enjoy our regular pro¬ More than a decade ago, when our screen the word “teleflash” — the grams. Our attendance increases dur¬ plans for a nationwide chain of news¬ equivalent of the radio industry’s in¬ ing major broadcasts. People actually reel theaters were formulated, we cast terruption of a major program for im¬ jam our radio lounges to hear these about for a suitable name for this com¬ portant news announcements, and of broadcasts! paratively new type of motion picture the newspapers’ “stop the press” for Audiences Want Hot News house. Television was then being mod¬ an important insertion of headline erately talked about and we foresaw news. In other words, spot news fits When the radio networks carry news the eventual adaptation of this new not only well but completely and em¬ of some major crisis we interrupt form of visual production to the speedy phatically into the continuity of our regular screen programs to carry the dissemination of news on the theater type of program. broadcast into our auditoriums. Audi¬ screen. Hence, the name “telenews”! One of the most hopeful signs of ences are completely receptive and what television will do for the news¬ thoroughly enjoy this additional serv¬ Extra Added Attraction! reel theaters has already been demon¬ ice. We know, from this experience strated by radio. This point is stressed with radio broadcasts, that television In the planning and construction of because there has already arisen, from news reporting will not only prove gen¬ our Telenews Theaters throughout the every quarter, the question: “Will tele¬ erally agreeable, but overwhelmingly country we have incorporated radio stu¬ vision hurt rather than help us?” At popular. When the day of full-screen dios and television lounges—separate the outset of radio, film men thought television arrives, we know that we and apart from our main auditoriums. that the then new medium would hurt shall have something our newsreel In most of these theaters we have in¬ motion picture attendance. But radio patrons will like and something they stalled fully equipped broadcasting stu¬ successfully proved it actually could be will be most eager to see. dios, each with a seating capacity of approximately 150 persons. At the pres¬ ent time these studios are used only for regular radio broadcasts in co-operation with local radio stations. As television becomes available in the various cities A MIXED BLESSING? in which Telenews operates, we shall immediately install the necessary re¬ ceiving sets to enable our patrons to By QUINCY HOWE watch and hear this new medium, in CBS News Commentator addition to the regular screen programs which we shall continue in our main auditoriums. Like every other technical advance begin that way than state-con- The primary purpose of the news¬ in the field of communication from trolled because at least it will fol¬ reel theater is the dissemination of the invention of the printing press, low the trial and error method, news and information by film, radio television seems likely to bring a with some freedom to experiment. I believe that networks and sta¬ and wire services. Our theaters are mixture of good and bad results. tions should broadcast news inter¬ far better equipped to handle television It is likely to put its worst foot pretation and analysis on a sus¬ than conventional theaters of today. foremost because of the dominance The radio broadcasting facilities in our taining basis only, at convenient of conservative financial interests. theater lounges can be turned to tele¬ times, and with a wide divergence That was the case in movies, pho¬ vision use. From our observation it of opinion. I believe this practise nograph, and radio, and I see no appears that the home or school-size should be followed in television, television screens will have to be used reason to anticipate anything very too, but I have no expectation that until television achieves the excellent different. But I’d rather have it it will. visual quality of motion pictures pro¬ jected on large theater screens. WHAT IS TELEVISION

OF ELECTRONIC TELEVISION

WORK HOW

\?Av-

FUTURE WHAT IS TELEV

Scores of questions like the above will be answered works, how it has been developed since the early days for you when you read “The Story of Electronic Tele¬ when Philo T. Farnsworth first set forth the basic idea vision.” Here, in a colorfully illustrated, easy-to-read as a fifteen-year-old high school student. And in this booklet is the complete, concise explanation of the booklet you will find a key to the potentialities of tele¬ miracle of modern television. vision as it will affect our daily living, how it will con¬ Heretofore, this fascinating booklet was available only tribute to the fields of entertainment, industry and to those directly connected with the television industry. education. Now it can be offered to all interested persons. It sets “The Story of Electronic Television” has been called forth in plain, non-technical language the entire story the most complete, understandable explanation of this of television, how it began back in the minds of the important new endeavor yet written. For your free copy, ancients, how present-day science has made it a reality. write the Farnsworth Television & Radio Corporation, In this booklet you will find how electronic television Fort Wayne 1, Indiana. FARNSWORTH

Farnsworth Television & Radio Corporation, Ft. Wayne 1, Indiana. Farnsworth Radio and Television Receivers and Transmitters; Aircraft Radio Equipment; Farnsworth Television Tubes; the Farnsworth Phonograph-Radio; the Capehart, the Capehart-Panamuse.

58 TOP-FLIGHT SHOWS ARE NOT ACCIDENTS

Inspiration and perspiration, as you might suspect, are the

most important ingredients of top-flight television programs

By EDWARD SOBOL

NBC Television Producer

A television course — “Radio V.35, Broadway, have been pruned of all ex¬ subdued clothes. So there is your ever Television Production Problems”—was traneous and draggy material and run present white and black problem in conducted by Columbia University in co¬ about two hours. The problem generally television. This was solved, however. operation with the National Broadcast¬ is to cut and yet not lose the story. Studio facilities managed somehow to ing Company during its 1944-45 session. Fortunately, “Men in White” is a multi¬ get a gray hospital bed and gray fur¬ It was decided to wind up this course scene play touching on many phases of niture to match. All internes’ and nurses’ of fifteen lectures with a talk by Dr. medicine. I chose the story of the dedi¬ uniforms, together with sheets and pil¬ James R. Angell, Public Service Coun¬ cation of a young man to the science of low cases were dyed blue. Luckily we selor at NBC, to be followed by a 20- healing at the sacrifice of his social and did not need the bed pan. We rehearsed minute dramatic studio production. personal interests, and the incident off camera for five days, an average of It was further decided that the studio showing a young resident physician four hours a day; then had about nine production should be based on an im¬ ready to oppose a so-called “Park Ave¬ hours of camera rehearsal. This might portant play. “Men in White” was a nue” fashionable medic even to the point seem like a lot of time to put into a natural selection. It had brought to the of being brought up on charges, rather half-hour production, but the result theatre one of its most important young than endanger the life of a patient. proved it worth while. writers, Sidney Kingsley. It was one of Both these incidents dovetailed nicely The three prime requisites for a good the Group Theatre’s most outstanding and a good half-hour play resulted. television production are: 1 — A good productions. And last but not least it Having the play, the next step of script, 2—A good cast, and 3—Sufficient received the Pulitzer Prize. course was the casting. I find that act¬ rehearsal time. ors from the legitimate theatre are Getting the television rights to an I have heard a great many arguments preferable for television. They have important Broadway play is not as easy in favor of short camera rehearsals but learned how to memorize quickly; they as it may seem. A great many rights have never seen a really good television know how to sustain and develop moods are tied in with motion pictures, and the show resulting from such short rehears¬ and characterizations; they know how picture companies are not too willing to als. In fact, the alibi has generally to move about a set naturally and, release these to television. been: “But considering I only had a above all, they know how to stand still. blank number of hours on camera, it I want to express here my sincerest They also know how to play with and was pretty good, don’t you think so?” thanks to Sidney Kingsley for his im¬ to a fellow actor and how to react to No, I don’t think so. Heaven knows that mediate consent and his willingness to the other’s speeches. This is important even with sufficient camera rehearsals, help develop the new medium. For it is in television where the close-up and television shows are far from perfect. only with the full cooperation of good medium close-up must be used so often. A television production at NBC in¬ authors and playwrights, and the de¬ Having selected the cast, the next volves the following personnel. Five velopment of new authors, that tele¬ problems were sets and costumes. The men in the control room, including a vision can ever hope to make the strides scene is laid in a hospital and there is man on turntables, three camera oper¬ necessary for its success. one color (if it is a color) that is typ¬ ators, three stage hands, two light op¬ “Men in White” also lent itself to ically “hospital”—white. White walls, erators, one “mike” boom operator, one “cutting” to the required running time. white beds, white uniforms, white sheets sound man, one stage manager, one sce¬ Cutting scripts to television time re¬ and pillow cases, white bed pans and nic designer, and one studio supervisor. quirements is generally a producer’s white faces. And the doctors and vis¬ That makes a total of 18 in direct headache. Most plays, as presented on itors in hospitals generally wear dark touch with the television production. Add to this the actors involved and you " . . . and now, ladies, a have a good-sized “team” to be coor¬ five-minute pause so you dinated so that each one knows just can get in another lick what he must do and when he must do at your housework." it. Any one of the 18 (let alone one of (Esquire, December, 1945) the actors) can do something to “throw” the show. To eliminate this danger, one solution is self-evident. Sufficient stu¬ dio rehearsal time! It was the intensive camera rehearsal period, with every¬ body working as a team, which made a good television production possible. That “Men in White” was accorded the Award as the “Best show of the year” by the American Television So¬ ciety made everyone who was part of it feel that all the work which went into © 1945, by Esquire, Ine., 919 N Michigan Ave., Chicago, Ill. the production was worth while.

59 FUNDAMENTALS OF VISUAL CONTINUITY

Programming quality demands preplanning. Here are the basic forms employed in Hollywood story-board planning, illustrated with drawings by the author.

_By HOYLAND BETTINGER

Former Program Manager, Station WRGB

V isual continuity is the stock in trade used as working tools in the creation of We think of lines as being straight or of television. Pictures are its “reason good visual continuity. curved or broken, and as being horizon¬ for being,” and on the production of A design is an arrangement of shapes. tal, vertical or diagonal. Each has its good pictures, woven together in smooth A picture is a design plus a story or psychological meaning. continuity, its very existence depends. mood. A great picture has, in addition, The Psychology of Line Curiously enough, because television is a spark of the artist’s personality. a new medium, there seem to be many Shapes are made up of line, mass and who consider it quite unnecessary to form. Our emotional reaction to shapes take advantage of the wealth of pictor¬ is very pronounced. We react quite dif¬ ial knowledge and the time-tested fun¬ ferently to a huge bulky shape than we damentals that have evolved through do, let us say, to a petite blond. It is centuries of picture making. There are because of the known and predictable those who would blunder ahead—delay¬ reaction to shapes that the artist and ing the advancement of television by so photographer are able to compose pic¬ doing—completely disregarding the val¬ tures that attract an audience. uable knowledge that has been gained Shapes Create Moods at great cost during fifty years of mo¬ The arranging of shapes into pictures tion picture continuity production. that will convey a story or mood re¬ There is more to making good tele¬ quires an understanding of the psycho¬ vision pictures than appears on the logical factors which control our re¬ surface. They don’t just happen, and Straight lines give a feeling of direct¬ sponse to pictorial effects. These factors there is nothing suddenly new about ness, rigidity, masculinity and the like. can be traced directly to our reactions them. They are not made by any one They should be used where those feel¬ to things commonly experienced in life. who happens to come along. A God- ings dominate a scene. To make this clear: when in a prone, given gift, a high sense of selectivity, relaxed position, we rest or go to sleep; a lot of “know how,” and a flair for hence, the picture in which horizontal, showmanship are essential. quiet lines predominate, gives us a feel¬ Good Composition Builds Interest ing of restfulness and repose; whereas, Good pictures are compounded out of the picture built on strong diagonals gives us something of the same reaction the principles of art and the laws of what we call composition. Without we get from watching violent action. composition there is no picture, for it is From this it will be clear that the the thing that makes the picture good, basic structure of the picture—the ab¬ bad, or indifferent. Pictorial items stract form around which it is built— thrown together without the application governs our emotional response to it. of these principles may have statistical These basic forms or structures can be value, but they certainly have no pic¬ listed, described, and memorized. They torial significance. The piano keyboard, can be utilized to create and control Curved lines express charm, grace and for instance, is able to produce many audience reaction. Before considering femininity. The curved line is the line different musical notes. If they are them in detail, however, we should of beauty and graceful movement. struck at random there is no music, but become familiar with the significance if played by someone who knows how of line, mass and form. to put them together, customers stand Significance of Line in line at the box office. Line, as it is thought of in a picture, Unfortunately, for those who like is formed by the edge of a mass or an short cuts and the easy road to success, area. It may be a line that is actually there are practically no rules for com¬ seen, or a line that is suggested by a posing pictures. The few that can be repetition of spots. These are called laid down “hard and fast” are negative transitional lines—a means of getting rather than positive. They are “don’ts.” from one place to another. Our mental But there are guiding principles and reactions establish lines where none act¬ basic factors which may be learned and ually exist. We “feel” a line running from head to head in a scene involving a number of people, provided they are Condensed from Hoyland BeHinger's arranged in some geometrical pattern, Broken lines express informality, inde¬ forthcoming book, "Television Program¬ such as a triangle. Line may also be cision, disorder, and similar states. ming" (Harpers & Bros., 1946). felt by direction of movement. (Continued on page 62)

60 Hallicrafters and Television

In the continued development of television, keep an eye on Hallicrafters. Hallicrafters claim to recognition in this im¬ portant field is based on successful explorations in the very high frequency brackets of the radio spectrum. For instance, Hallicrafters Model S-37, a VHF receiver operating from 130 to 210 Me., offers the highest frequency range of any general coverage commercial type receiver. The Model

HALLICRAFTERS NEW $600,000 HOME NOW UNDER S-36 A, FM-AM-CW receiver operates from 27.8 to 143 CONSTRUCTION. Me., covers both old and new FM bands and is the only commercially built receiver covering this range. Instruments like this will continue to lead in the development of new and improved television applications. Hallicrafters tele¬ vision equipment will represent the same kind of advanced engineering techniques.

THE HALLICRAFTERS CO., MANUFACTURERS OF RADIO RADIO AND ELECTRONIC EQUIPMENT • CHICAGO 16, U. S. A.

61 sion screen by contrasts of light and These factors are present in every pic¬ dark along the edge of masses, it will ture; therefore they should be carefully be seen that linear structure can be analyzed and used in a way that will regulated in two ways: by the degree create harmony between content and of contrast in the objects themselves, treatment. If not, they may induce con¬ that is to say, putting a light object tradictory emotions. against a darker one, or vice versa; and by lighting the edges of objects so that Form or Aesthetic Shape they separate from what is behind them. Form, in the sense we are using it We must continually think of the inten¬ here, is the aesthetic shape of the sity of the line, because the same linear areas and masses which make up the structure can produce two different psy¬ picture. Whereas we think of mass as chological effects; brightness, gayety, being light or heavy, slight or bulky, Horizontal lines express repose, tran¬ excitement are expressed, if the shapes we think of form in a more specific way, quility, stability, and are monotonous, if are “edgy” and the lines are strongly for we instinctively associate form used to excess. felt; calmness, solemnity, peace, if the either with our knowledge of things, or lines are soft and diffused. our emotional response to them. For in¬ Mass or Psychological Weight stance, we speak of Venus as “the form divine.” We speak of a “tubby” man, a Mass in the dictionary sense is a “towering” giant; we associate the quantity of matter. Pictorially, mass is square with honesty, the circle with used to denote the psychological weight continuity, the scales with justice. Form of an area, an object or a group of calls to mind conscious associations and objects. We intentionally or instinctively subconscious reactions. For this reason, group individual shapes into masses, be¬ it is imperative that the pictorial forms cause the arrangement produces an emo¬ used be compatible with the intent of the scene. Select the Right Basic Form We use form in two ways; first, in Vertical lines are expressive of import¬ the individual picture units; second, in ance, uplift, aspiration, and spirituality. the structure or basic form of the pic¬ They possess more attraction power than ture as a whole. A picture affects us in horizontals. two ways: Our minds take in its con¬ tent; our emotions respond to its mood. The one is concrete and obvious. The other is abstract and not apparent to the uninitiated. But the abstract form of the picture is what makes it what it is, and the selection of the right basic form tional response. We are moved by the is the first step in composition. It is wide expanse of the sea, by the precipi¬ the abstract structure—the framework tous drop of the cliff, by the majesty of —on which the picture elements can be the mountain. We speak of cathedral arranged. pines, for we associate the regular It will help in grasping the signifi¬ massing of tall verticals with things cance of these basic forms, if the mind spiritual. is kept closed to recognizable shapes, Our emotional response to mass is and they are looked at in the abstract, quite definite, as a few examples will Diagonal lines are the lines of force, as line, mass and form. prove. The virile, dominating husband action, aggressiveness, and change of playing against the weakly submissive, movement. They are the most dramatic¬ frightened wife, could not seriously be ally exciting lines, because of their cast with a puny, dried-up specimen of power to attract and hold attention. a man against a big, raw-boned Gas- The scenic artist uses the psychology house Gertie hunk of a woman. It of line in set design. He does so because wouldn’t feel right. Conversely, its very it is necessary to fit the linear design absurdity could be turned to advantage to the mood. If the content of the scene in a comedy. is light and informal, he will use broken horizontals, perhaps in combination with curved lines. If the feeling is formal and dignified, the linear structure of the setting must be formal. He will not design his sets merely to look well as The Square is used to express equality sets, but to contribute to the effect of interest or formality. which the producer wishes to achieve. The cameraman uses line as the struc¬ ture of his shots. He grabs on to a near horizontal for the lower part of the composition, if a feeling of stability is desired. He watches out for the dis¬ tracting vertical that divides his pic¬ A graceful, informal massing of liv¬ ture centrally into two pictures. He ing room properties induces nostalgic looks for transitional lines that will feelings of ordered domesticity — but hold the picture together. bring a jumbled group of characters The producer uses line psychology in into the room and disorder prevails. the placement and movement of his The character of the masses, their re¬ characters, in the disposition of proper¬ lationship, one to the other, and their ties, and in the lighting effects he re¬ distribution, together with the linear quests. structure of the television picture, play The Right Angle is used to express Since line is produced on the televi¬ a vital part in establishing the mood. opposition of interest or informality.

62 Its application to television is even more necessary than in motion pictures, for the reason that there can be no retakes when the television show goes on the air; it is good or bad in direct propor¬ tion to the way it has been planned. In some television station set-ups it is not inconceivable that the management will find that it pays to have one or more artists whose main function is to prepare these skeleton story-board treatments, for in this way the program manager can see and evaluate how the production will look—even before it has The Triangle is used to express unity The Radii is used to express concentra¬ been started. of interest, stability, or climax. tion of interest or intensity of focus. All of the foregoing forms may be A Method of Visual Planning used, of course, in the special depth of Even if a skilled artist is not avail¬ the picture, as well as in the two- able for making story-board sketches, dimensional vertical plane. this should be no deterrent to the pro¬ ducer; he should get his picturization How to Use the Basic Forms down on paper. Even though he “can’t The first consideration in planning a draw a straight line,” if he can think television program is how to present it straight, he will be able to draw visually. The solution of this problem “straight” enough for the purpose. It is will be found in the answer to the fol¬ not to be implied that it is necessary lowing questions: (1) What is the basic to make sketches of each camera shot, character of the program as a whole— or even of many of them; but there is formal or informal, light or serious, no denying the fact that a few simple factual or imaginative, charming, bi¬ line sketches (no matter how crude) of The Circle is used to express continuity zarre, gay or macabre? This will deter¬ the key scenes are of inestimable value. of interest, or continuous movement. mine the over-all feeling which the pic¬ They may look like hen tracks to any¬ torial continuity should have. (2) What one else, but they will help the producer is the mood pattern of each scene and to crystallize his own thinking. It will what specific effects are desired? (3) save time in the end and make for bet¬ What basic forms of composition will ter productions. The basic procedure is produce those specific moods and effects? as follows: (4) In each situation, throughout the 1— Analyze the emotional content of program, what treatment of line, mass the key situations. and form will best suit the content? 2— Select the basic compositional form Just as the actor must think of the or combination of forms that will best appropriate gesture, so must the writer, portray the emotional content involved. producer, set designer, cameraman, 3— Apply the psychology of line, mass lighting and technical director think of and form to the arrangement of the the appropriate picture. This means set, the casting of the talent, their thinking of the picture in its abstract placement and movement. The S Curve is used to express variety of form. Any one who is visual-minded can use interest, grace or beauty of movement. The procedure should be to start with this method of visual planning, and un¬ the abstract and work through to the less one is visual-minded, he has no concrete. It will be somewhat difficult place in television program production. for the novice to think in abstract terms Let us see how the method might be at first, but once he has caught on and applied to a dramatic episode. acquired that habit, it will become al¬ Our problem is a scene of domestic, most instinctive. Then he will be pre¬ middle-class family life. At the opening, pared for catching good visuals “on the a mother and three children are en¬ fly” in the heat of production, where gaged in quiet conversation. An air of there are no retakes and excuses don’t peace is established. Suddenly, the count. That is what television demands. drunken father enters and conflict en¬ Why Is Visual Planning Necessary? sues between him and an older son as the father threatens the youngest child. Television program production is a She, a little girl of ten, runs terror- complex process, and an expensive one. stricken out of the room and the house. In camera rehearsal, a lot of equipment Soon, from offstage, the screech of The Z Shape is used to express excite¬ and many payroll members are tied up, brakes is heard. We cut, by means of ment of interest or extreme change. as well as high-priced talent. Minutes film, to the scene of the accident, with count, and yet enough time must be its excitement, and then back to the spent on rehearsal to insure good pro¬ room as the child is brought in and laid duction. There are only two answers: on the sofa. The child dies, in the best 1—preplanning, and 2—more preplan¬ soap-opera tradition, with forgiveness ning. on her lips and the ghost of a heart¬ Visual planning involves picturization, rending smile. either in the mind or on paper. As Our first consideration is the set. time goes on and as visual-mindedness Since the feeling at the opening is one develops, much of the picturization can of friendly informality, we can use be planned mentally. But to develop that broken horizontals, quiet verticals and ability and to insure top ratings even graceful curving shapes in informal bal¬ with the ability, the method proposed ance. We shall select a combination of herein will be found helpful. If is a basic forms: the right angle for its in¬ simplified form of the story-board meth¬ formality, softened by S curves for The Cross is used to express merging od used extensively in Hollywood, par¬ quiet charm. of interest, or cohesion. ticularly in the Walt Disney studios. Any one of a number of opening shots

63 Note that the mother and children are grouped in a mass that counts as a vertical. The direction of their attention forms the line of opposition as it leads directly to the father at the door. The conflict between the father and son is a brief, rapid sequence, built on dynamic diagonal lines.

comes to mind, but since the climax is on the child. We have built to our cli¬ to be the death of the little girl, suppose max and doubtless will not be able to we open with a close-up of her, stretched resist dollying in for a close-up to catch out on the floor, reading from a story that faint smile as the eyelids close. book. We shall then dolly back to reveal the first key picture—the establishing shot of the family group.

After the exit of the terrified child, there should be a brief period at lower pace and pitch. To achieve this, we make use of the rigidity of the square form of composition. The screech of brakes is heard. We catch the reactions of the mother and the two sons. We build an¬ other key picture on the right angle form, in which the three figures stand¬

A concluding shot suggests itself: a close-up of the little girl’s open story book, with her doll near it, just as she We maintain diffused focus of atten¬ left it in the opening scene. tion until a line from the mother mo¬ tivates movement toward her, ending in this triangular form, used for its stabil¬ ity and unity of interest. This is followed by a sequence of three-shots, in which the focus is passed from character to character at a leisure¬ ly pace. We then see them pull more compactly together in a circular form,

ing momentarily rigid are in dramatic contrast with the father who has slumped down at stage right. At the scene of the accident, we shall use strong lines and dramatic contrasts Having thus worked out the visual of mass to point up the helplessness of treatment of the key scenes in a tele¬ the fragile child against brutal forces. vision production, having nailed them down on paper, it is possible for the producer to plan supporting scenes and transitions. By this method he can di¬ rect the movements of the players so as to culminate in strong pictorial compo¬ sitions for all important scenes; confu¬ thus heightening the feeling of close re¬ sion and meaningless pictures will be lationship, and setting the stage for the avoided; strong continuity will be contrasting mood created by the drunk¬ achieved. The method is applicable not en father’s entrance. alone to dramatic productions, but to all On his entrance the circle breaks types of programs, for they all depend dramatically to this right angle form. on good visual continuity for their effect. We have previously pointed out that, even though television is a new medium, there is nothing new in the fundamental Back in the living room, after the principles on which its visual manifes¬ child has been brought in, the solemnity tations must rest. Let us see how they and suspense of the scene are achieved may be applied in building television by developing tense diagonals in con¬ continuity. trast with the horizontal of her prone position. Through a shift to the cross 1—Unity form [See picture, top right], the inter¬ A picture, like a sentence, must have est is merged in the possibility that the unity. It should tell only one story. injuries may prove fatal. There should be nothing in it that is By a shift to the radial structure, not needed or does not contribute to the interest is still further concentrated the over-all effect, either in thought con-

64 tent or in line, mass or form. Any tion than either vertical or horizontal. static feeling, hence formal balance is irrelevant elements will raise doubts in c—A vertical line cutting through the more often applied to decorative design. the mind of the viewer as to what is center of the picture makes it impos¬ Unequal weights at unequal distances intended. sible to achieve anything but formal from the fulcrum are the form most balance, and is bad, because it cuts the commonly used in television because of 2— Variety picture in two. the feeling of variety. More than anything else it is variety d—A large mass may be balanced by that holds the attention of the audience. a small one by placing it in an empty Examples of Informal Balance It must be kept under control, however, area. This is the principle of the lever or the state of unity will be disrupted. or the seesaw. Not only is it essential in individual e—A unit in an empty area near the shots, but variety of type, mood, pace edge has more attraction than in the and proportion is essential in building center. continuity. f—A unit in the foreground has less In the linear structure of the picture attraction than in the middle distance, there must be variety in the kind of provided the contrasts are the same. line, the direction, the spacing, and the g—An area surrounded by a hard accent. The picket fence lacks variety edge has more attraction than if the and keeps people out, so does the linear edge is soft. structure that is not varied. The same h—Repetition of a unit weakens its holds true for mass and form. The attraction. The exception to this is when checkerboard is monotonous. Variety, a principal character in the fore¬ however, is not used for its own sake; ground is supported by others directly This drawing illustrates informal it is used for aesthetic reasons dictated in back of it. Then it is strengthened by balance in the vertical plane. by our subconscious reaction to rhythm repetition. and to space and measure. i—Black against white, or white In composing a picture, the beginner against black has more attraction than will tend to look at the objects of black or white against gray. which it consists, whereas it is the j—A small white unit in a large black spaces between them, and/or the shapes area will have more attraction than the of those areas between that make the reverse, for the reason that the eye in¬ picture what it is. This is particularly stinctively seeks light. true in television because most of the k—The eye goes first to the point of pictures consist of medium close-ups of strongest contrast in value or color, or people. Over and over again these same the strongest line; in the case of move¬ shapes are used. Only by constantly ment, it is attracted by change in di¬ varying spaces and measures can this rection. amount of repetition be tolerated. 1—The eye is attracted to geometric This drawing illustrates informal 3— Harmony or symbolic shapes, particularly if they seem to be formed by happenstance. balance in the perspective plane. Harmony involves both unity and va¬ m—Emphasis may be achieved by a riety, for it implies the putting together 5—Rhythm gradation in tone. The eye will follow of unlike but related things. It is an this gradation in a direction toward the important element in holding the pic¬ The word rhythm suggests music or light. the dance. Though its application to ture together. Since we are dealing with a visual pictorial composition is not obvious, it 4—Balance subject, it will be found helpful to is actually of vital importance, and the Balance is so intimately tied into our vitalize the principles involved, where- analogy of the dance is very apt. Take physical state that we are subconscious¬ ever possible. For instance, a mental the rhythm of the waltz: One-two-three- ly aware of any condition of unbalance. picture of balance itself as applied to one-two-three-, or more particularly the Through the functioning of the internal pictures will be of great help, especially accented rhythm—one-two-three-one-two ear, a state of balance is maintained in times of stress when it is necessary three. Think of it in terms of movement that enables us to stand or move about to compose on the fly. The analogy of rather than cadence of sound—in terms without toppling over. We subconscious¬ the scales is apt, because balance is the of eye movement as it goes from one ly demand a state of balance in pictures. relationship of weights. We should, line or shape to another in looking at a To understand how this may be picture. Now apply it to one of the achieved, it must be realized that a pic¬ commonest pictures in television—the ture is made up of separate units, each three-shot. [See illustrations, page 66.] of which has weight, in the sense of Note that by merely shifting the pulling power or attraction to the eye. positions of the three characters and These units consist of line, mass, color, lowering the camera to get variety in and direction or speed of movement. All height, we have made the arrangement of these elements must be kept not nec¬ interesting by adding rhythm. In fact, essarily in complete balance but close we have created three rhythms. By to it, except in those instances where, moving two of the heads closer together, by departing from balance intentionally, the accented rhythm of the waltz—one- a specific effect is achieved. Keeping in two-three—has been introduced in spac¬ mind that each unit of a picture has ing. By having one of the characters weight due to its attraction, it will be seen in profile and the other two in seen that balance is achieved through three-quarter view, we have rhythm of the control of the relative attraction of body position. And again, by the change lines, masses, colors, or movement. At¬ in head level, still another rhythm has traction may be controlled by placement, been added. contrast, emphasis, repetition, and in Rhythm is particularly effective when the case of movement, by direction and applied to line pattern and to move¬ speed. By way of further amplification, therefore carry in our minds symbolic ment. A rhythmic pattern in the linear the following statements can be made. images representing formal and in¬ structure of the set, when it echoes the They should be memorized and fully formal balance as it is used in both rhythmic disposition and movement of comprehended. the vertical and horizontal (perspec¬ the characters, produces the ultimate a—Vertical lines have more effect on tive) plane. in effect. balance than horizontals. Equal weights at equal distances In building continuity it is by means b—Diagonal lines have more attrac¬ from the center or fulcrum convey a of rhythmic patterns that moods are

65 it is necessary to give them emphasis. This can be accomplished by the use of line, by contrasts of light and dark or of color, by isolation, by repetition, by placement, and by movement. By referring to the list of factors contributing to balance you will find many of the methods of obtaining dramatic emphasis.

9—Dominance The two greatest essentials of pictor¬ ial composition are unity and domin¬ ance. To tell a story, to create a mood, NO RHYTHM: An uninteresting arrangement or to convey information a picture ACCENTED rhythms in this arrangement of a because there is an absence of rhythm. must have a dominant theme and one three-shot make it alive and interesting. controlled. The intervals used in cuts, spot or area of attraction to which the fleet your own personality. You will fades and dissolves, and the cadence eye is irresistibly led. If the picture is develop a style that is your very own-, in the flow of picture continuity will to be held on the screen for only an and by it your work will be known. have a very definite effect on the emo¬ instant, the eye must find this place instantly; there must be no doubt or tions induced. For this reason it is Procedure in Planning Pictorial Continuity important that the rhythmic pattern of wavering as to the intent, or the scene the continuity be in harmony with the is lost. If, on the other hand, the scene There are, as we have seen, so many program content. is long, the eye must be given other factors involved in television picturiza- areas of lesser attraction, so that it tion that they can only be handled 6—Pace may be led from one to another, always successfully by intelligent planning; Variety of pace, suitable to the con¬ coming back to the dominant area. This there are too many other things to be tent, is very desirable in continuity. may be done through repetition, simi¬ thought of during production to leave The pacing of a sequence of short shots larity, or counterpoint in which some the working out of visual continuity is important because the intervals be¬ contrapuntal theme or pictorial form until the cameras are turned on. A come obvious. supports the main theme. It almost al¬ fixed procedure for visual planning will There is also the factor of pace or ways involves the sacrificing of interest be of infinite help for it will establish time interval in the observation of a in certain areas in the order of relative habits that make quick decisions pos¬ picture. In each composition there is a importance. sible when under the tension of pro¬ definite time in which it can be taken The greater the number of interest¬ duction. Such habits will have definite in, and there is a more or less definite ing shapes a picture contains, the more value in handling the off-the-cuff pro¬ rate of eye travel through it. Hence, difficult the problem of control becomes. gram which demands split-second think¬ for the picture that is to be held on Therefore, except in skilled hands, the ing and plenty of “know how.” the screen for only a short time, the safest rule is to keep the picture simple. In planning visual continuity, proceed eye travel must be fast, while for one as follows: 1 0—Continuity of long duration, the pace of observa¬ 1— Determine the over-all feeling tion may be as leisurely as desired. As pointed out earlier, television in¬ which the production demands. Pace of eye travel is subject to con¬ volves not only the composition of sepa¬ 2— Analyze the key picture sequences trol. It may be made fast or slow de¬ rate camera shots, but putting those and the transitional scenes for their pending upon the number and place¬ shots together in continuity. No matter mood or factual content. ment of shapes and the use of transi¬ how good the shots are, they will fall 3— Select the picture treatment—the tional lines that lead the eye from one apart if the continuity is badly con¬ basic compositional forms—best suited place of interest to another. structed. to those needs. 7—Proportion In the paragraphs above, we spoke 4— Work out the supporting continu¬ It is axiomatic that everything should of eye travel from one place of attrac¬ ity. 5— Put it down on paper, if possible, be in proportion—in life and in pictorial tion to another. This is continuity either in verbal outline or in story¬ composition. Subtle proportioning of within individual pictures. In television board form. shapes, lines, colors, and gradations of the flow is so continuous from scene to Pictorial continuity should be worked light gives a picture distinction and scene that the whole program is, in out in essentially the same way that contributes to its effectiveness. It would effect, one picture. This means that we an intelligent sales campaign is planned: be wonderful if a set of formulas must apply to continuity the same prin¬ It should open with some device to could be written for making things ciples on which the individual pictures capture the attention; gradually it with good proportions, but it can’t be are built. The entire production must should unfold the charms or merits of done—such things must be felt instinc¬ have varied unity embellished by rhyth¬ what is being offered; it should appeal tively. Some people have an innate mic harmony; it must be balanced in in varied ways to the fundamental de¬ feeling for proportion. If you have it pace and proportion; and controlled in sires and needs of a specific group of you are fortunate; if you haven’t, the emphasis by a dominant theme. only thing to do is to be observant of These are the ten mileposts to good prospects; it should build to a climax, having left one thought, one image or things around you, and to study the composition. They mark out the route which must be travelled in arriving at impression so clearly developed that it proportions in pictures that have stood the test of time. pictorial effectiveness. They apply to will not be forgotten. Bear in mind every segment of the program day and that the audience will retain only a few 8—Emphasis to every picture therein. The telling highlights and an over-all impression. The actor emphasizes important words may make them seem all too compli¬ They will remember longest the spots and phrases in order that they will cated, but so it seems when first learn¬ they liked or disliked strongly. If the stand out from the rest. The same ing to drive a car until, through continuity builds to peaks of excellence principle applies in picture construction. familiarity and practice, it has become and is not just a jumble of pictures, the In order that the eye may be attracted second nature. As you progress, you audience will remember the program to the important parts of the picture, will add touches of distinction that re¬ with pleasure and enthusiasm.

“I predict that within five years this nation will enjoy more than 5,000,000 television sets in home opera¬ tion. Television will be a great new industry and a great new service to the American public.” —Ernest H. Vogel, Vice President in Charge of Sales, Farnsworth Television Sc Radio Corp.

66 THREE THINGS

Th at Perkin-Elmer

Would Like to Have

Television Engineers

Know About

1. Perkin-Elmer made the optics for the largest

Schmidt camera in the world. Owned by the Mexican Government, it is used at Tonanzintla,

Mexico.

2. Perkin-Elmer originated a new form of •3. Perkin-Elmer has now produced an F/1.0 Schmidt system at the request of The Rauland anastigmatic lens of plastic for home projection. Corporation. This new system works close to the Relatively simple in construction, its superb per¬

theoretical limit in light-grasp and has remarkable formance is the answer to “ something better than definition over a large angular field (45 degrees). the Schmidt. ”

THG PUWn-^LnteR CORPORATIOn glgfibrook • conn*

Designers, Engineers and Manufacturers of Optical Instruments and Components

67 HISTORY... AMERICAN TELEVISION SOCIETY

ATS has emerged from the years of war strong in direc¬ tion and purpose. Its contributions for the new age ahead should be of immeasurable value to society.

By MYRTLE ILSLEY

CBS Promotion & Advertising

Eleven months before the United on the rolls of those first meetings— lengthening membership rolls were States found itself in the midst of Don McClure, Fred Kugel, Jerry Dan¬ proof that this renewed enthusiasm was World War II, the American Television zig, J. Raymond Hutchinson, Carl Ruff gaining momentum month by month. A Society was born under modest but —all of them former Guild members. re-statement of ATS policies and di¬ very hopeful circumstances. The going was still pretty rough, but rection seemed essential, and so in Eight people attended that first meet¬ the new Society was launched in heroic December, 1943, a new Constitution was ing on January 23, 1941—all members style nevertheless, by a dinner at the adopted, defining in greater detail the of a New York University class in tele¬ Hotel Astor on June 26, the first public objectives first pointed out by the far- vision programming who had gathered ATS television forum ever held. Sixty- seeing little Television Guild. This was together to form what they decided to five people attended; the guest speakers not enough, however, and in March of call a “Television Guild.” Its purposes included Thomas H. Hutchinson, teacher the following year the American Tele¬ were ambitious: “To create . . . and of that first NYU class, Paul Lazars- vision Society filed a certificate of in¬ produce scripts and programs of every feld, Ira Hirschmann, Comdr. Mortimer corporation. kind and variety suitable ... to the W. Loewi, William Morris, and J. R. The briefly-held plans for profit had television medium, to be . . . distributed Poppele, and each one of them predicted long since been forgotten, but the other and sold to the television, radio, thea¬ the important part that such a group early ideals were stronger than ever. ter or motion picture market . . . such as this would play in the future of tele¬ ATS was officially organized to “ad¬ scripts to be known as ‘A Television vision. vance, promote and foster the study, Guild Production’; to provide and/or In November of 1941 Warren Caro, understanding and appreciation of tele¬ employ the personnel necessary to these first President of ATS, was forced by vision as a cultural, educational, enter¬ undertakings, and to copyright and pressure of his own work to resign, and tainment and advertising medium.” Ad¬ publish the Guild’s material.” Norman D. Waters was elected to fill vertising was a new addition to the Further objectives were the advance¬ out his term. older definition, but the provisions still ment of the study and appreciation of included an information clearing-house, television as a cultural, educational and Holding the Fort a discussion forum, a television library, entertainment medium; the establish¬ Mr. Waters took office at a time of and special meetings on television. ment of a clearing house for television great confusion in the industry. With Three types of membership had final¬ information, a forum for discussion of the outbreak of war the following ly been determined: charter, regular, ideas and problems, and a complete month, no one could predict the imme¬ and associate (for student and junior television library. Toward these ends it diate fate of television. The Society members). The Society’s business would was planned to invite recognized leaders went ahead with plans to help in the be directed as before by a seven-man in television or related fields to speak preparation of televised defense pro¬ Board of Directors together with the to the group at special meetings. grams, but it was soon apparent that four officers elected annually. And to This young Guild was conceived pri¬ although engineering activities would insure the widest possible representa¬ marily as a profit-making organization, continue in the form of war research, tion, it was specified that never could a and not the least of its difficulties was television production would be cur¬ majority of this Board be employed in that of working out some practicable tailed and finally halted altogether. the same phase of television, nor could formula for dividing its prospective Faced with the choice of disbanding more than two Directors be employed wealth. There were more immediate for the duration or holding the fort for by the same company. problems, however, some with a famil¬ an undetermined length of time, the It did not seem at all fantastic now iar ring—the lack of a suitable meet¬ members of ATS felt that they could for the by-laws to provide for author¬ ing place and laboratory space, a dearth serve best by keeping alive the great¬ ization of local ATS chapters in other of scripts, uncertainty about the FCC’s est possible public interest in television cities, because membership was climb¬ plans for television, and corresponding until the war was over. ing steadily—the original eight of the uncertainty among the big television Nevertheless, 1942 was a rugged year first meeting had grown to 85 by 1943, studios about the future. for television enthusiasts. ATS meet¬ and to 350 by 1945. It is not surprising therefore that ings were infrequent; activity in the in¬ A Parade of Speakers May 15, 1941, saw the transformation dustry was at a standstill. Not until of the little Guild into a new society, May, 1943, did the Society revive, with a In 1944 Dan D. Halpin succeeded to be known as the American Television well-attended gathering at the Hotel Norman Waters as President, and in Society, a “nun-profit-making organiza¬ Capitol to hear a spirited exchange of turn was succeeded by George T. Shu- tion which would serve as an intelli¬ programming ideas by Will Baltin, Paul pert the following year. The Terrace gence center for the pooling of television Knight, Nor an Kersta and Charles Room of the Hotel Capitol had given information, but which would not ex¬ Kleinman. The ice was broken once way to the auditorium of the Museum clude financial arrangements being made more; a regular schedule of month¬ of Modern Art as a meeting-place, and at a later time . . .” ly meetings with well-known guest an array of guest speakers lined its platform every month to discuss tele- ATS began with twenty-one members speakers began. all told. There are some familiar names By the fall of 1943 the rapidly (Continued on page 70)

68 THE ATS AWARDS...AND THE ADVANCEMENT OF TELEVISION

The Society’s recognition of achieve¬ ments in the new art has provided incen¬ tive for improvement of video quality.

By J. RAYMOND HUTCHINSON

Former Chairman, ATS Awards Committee

T he durable value of an award in an vision, Department of Secondary television activity throughout the na¬ art must be measured in the challenge Teachers of the National Education tion. It was noted that advertising and it creates for continued advancement. Association. This group first initiated commercial firms were adding greatly Otherwise, the plaque, medal, or other- public observation and evaluation of to their number of hours on the air and form of recognition becomes a museum television programs in America, and its that programming was growing less piece and the recipient may develop a findings were available to the Awards dependent on station initiative. fatal psychosis that the best has been Committee for consideration. To help measure television’s advances achieved. When people subscribe to the Recent requests for information on with a greater degree of accuracy, a latter philosophy, art dies. awards contained the following ques¬ number of prominent editors and other The American Television Society has tions: What classifications of television personnel of the television press were one fundamental purpose, namely, the awards are bestowed? When were these asked to serve on the Awards Commit¬ advancement of television. To help awards established and why? How are tee. They rendered the Society invalu¬ achieve this high purpose, annual the judges chosen? Who are they? able service. Under the able leadership awards are presented. The award pe¬ Our interrogators also asked: How of Richard Manville, a specialist in riod extends from June 1 to May 31 are candidates for awards nominated? mass response, final recommendations coinciding with the Society’s fiscal year. How are final selections made? What for 1944-1945 were made to the Offi¬ are the rules for these awards? What cers and Directors. The Society’s rec¬ There has been an increasing interest individuals and organizations have been ords attest the official action taken. in the ATS Awards. There is also, and presented with these awards since their rightly so, an increasing interest in creation? And for what achievements? Logic in Evaluation of Merit learning how the Awards are made. Is there an indication of the industry’s In considering the problem of pre¬ What determines the categories in opinion of these awards? Does your senting awards, the basic philosophy which awards are made? On what bases organization feel that these awards are governing the value of recognition of are the recipients selected? These are serving the purpose for which they meritorious effort deserves further ex¬ two of the questions frequently asked. were created? How are these awards ploration. There could be extended dis¬ The first awards of the Society were announced to the industry and to the cussion of the question: Can an art made through the action of the Officers public? Does your organization con¬ be measured objectively? and Board of Directors in 1942-1943 template broadening the scope of these The writer developed the first evalu¬ based on available information from awards? ation check-list actually used in at¬ many sources on advancement in tele¬ These are questions I shall attempt tempting to measure the television art vision art. Nominations for awards were to answer. The accompanying list of objectively. The following items were open to all members of the Society, and ATS Awards, together with the names considered: the artist(s), the director, they were encouraged to present evi¬ of recipients, summarizes the activities camera work, sound and visual effects dence to substantiate their claims. In recognized by the Society as advancing and scripts. 1943-1944, even a cursory examination television to date. This list, however, Under the item of artist (s), the com¬ of the field still showed the major por¬ does not answer the questions of why petence, sincerity, inspiration, origin¬ tion of television activity to be the or how the decisions were actually ality, and challenge to participate were direct result of station enterprise or reached. No brief article could possibly checked. Under the item of production policy. It seemed logical as a beginning, answer all these questions in detail. A and the work of the director, the clar¬ therefore, to ask each station for a brief resume of action in which the ity of detail, continuity, transitions, the brief resume, illustrated if possible, of writer has participated may help to tempo whether natural, fast or slow; programs and outstanding achievements clarify the Society’s awards procedure. the tie-in with previous programs, and over their facilities. These formed a In the field of Public Service, in staging were all considered and evalu¬ basis for initial study by the Awards which no award was made for 1943- ated. Camera work, sound effects and Committee. Final recognition, of course, 1944, one station deemed all of its ac¬ visual effects together with the scripts, would never be based on a station’s own tivity to be in this category since it did when available, were studied carefully. evaluation or promotion material. not offer any commercially-sponsored All this was but a beginning. Those service. Another station received an intrinsic items of artistry, including Policy on Awards award, even though it did not produce lighting, illusion, fantasy, humor, The Committee’s evaluation was programs itself, because its policy at¬ pathos, realism, and the thousand other based largely on actual observation of tracted the best experimentation and items or treatments wThich make the television productions, and the action of achievement in a special field. difference between a polished, profes¬ the Committee as approved by the Offi¬ On December 1, mid-point of the sional art form and a mere presenta¬ cers and Board of Directors is now a 1944-1945 award year, each active tele¬ tion often evaded full evaluation. Some¬ matter of record. vision station was asked for a brief times a half-hour presentation evoked In addition to serving as chairman of resume of achievement together with an hour and half of serious discussion. this Committee, the writer also has had station plans for the remaining quar¬ It was comparatively easy to have the good fortune to serve since 1939 as ters. At the same time steps were taken people register whether they liked or Chairman of the Committee on Tele¬ to keep fully advised on the increased disliked a production and to what ex-

69 things must be considered by an awards committee, and the public’s reaction AMERICAN TELEVISION SOCIETY AWARDS watched in more than a single local area. There are many things backstage, 1943 PLAQUES and in the higher offices which do not To WRGB, General Electric, Schenectady meet the eye. There are many programs For the station contributing most to programming in 1942 which are highly commendable but not To WNBT, National Broadcasting Co., New York necessarily popular. The intensity of For the station contributing most to television as a public service response may be just as important as the numerical volume of approval for 1944 PLAQUES either productions or policy. To WABD, DuMont, New York Progress Sincerely Evaluated For the station contributing most to the art of commercial television All these debatable issues add up to To WRGB, General Electric, Schenectady a convincing reason why an award For the station contributing most to the art of television programming should be made to the members of an To W6XYZ, Television Productions Inc., Los Angeles award committee. Their real reward is Honorable mention for.adaptation of motion picture techniques to television realized from knowing that they have approached their work without bias, To Norman D. Waters, ATS President, 1941-1944 labored intelligently and diligently to Special Service Award make their decisions valid beyond ques¬ tion. Their service is most worthy, and 1945 PLAQUES essential to television’s advancement. To Ruthrauff & Ryan, Inc., New York, for Lever Bros, show There is a hitherto unheralded value For the most consistent effort in developing effective television commercials to these awards which should be recog¬ To WNBT, National Broadcasting Co., New York nized. For example, what reward is For the most consistent sports programming there, aside from remuneration, for the For the outstanding television program, “Men in White,” many people who are responsible for directed by Ed Sobol each program? After the presentation To WCBW, Columbia Broadcasting System, New York and the show is off the air, what tan¬ For the best educational program, “Opinions on Trial” gible evidence of their effect is at hand? For the outstanding news program, “CBS Newscast,” with Everett Holies There is no box-office, no long run, no film record—only a new program sched¬ 1945 SPECIAL AWARDS ule to be met with something new. To WABD, DuMont, New York The degree to which that new effort For the development of television commercially will be improved depends in no small To W6XAO, Don Lee, Hollywood measure upon proper recognition of For making television facilities available for commercial development true achievement. The ATS Awards are on the West Coast dedicated to this high purpose. To WBKB, Balaban & Katz, Chicago For preparing the Midwest for commercial television To Klaus Landsberg, W6XYZ, Television Productions Inc., Los Angeles ATS HISTORY For consistent technical excellence in television production To WRGB, General Electric, Schenectady {Continued from page 68) For the best institutional commercial, “Conquest Over Darkness” vision from varied and occasionally con¬ For the outstanding contribution to children’s programming flicting points of view. For with the To Paul Alley, WNBT, National Broadcasting Co., New York spring of 1944 television had come to For the outstanding editing of news films, “The War As It Happens” life again in the big studios and the To WPTZ, Philco, Philadelphia “future” of television seemed close at For developing football television technique hand. Subsequently, the meeting-place To Paul Mowrey, American Broadcasting Co., New York was moved to the Barbizon-Plaza. For preparing the American Broadcasting Co. for television Committees, always important in To Dan D. Halpin, ATS President, 1944-1945 ATS work, shouldered heavier loads Special Service Award than ever. There was a committee pro¬ viding monthly programs, a committee doing educational research, another building a television collection in a tent. But to determine why was another dom, knows who and what is best. The corner of the N. Y. Public Library, to problem. The degree of acceptability second group’s beliefs, carried to the point out a few. The television program was entirely contingent upon the indi¬ full, recall the lines of “The Coliseum”: laboratory became one of the most viduals viewing the production. Highly “Here where the millions’ blame or popular activities, offering an oppor¬ sophisticated material which may be praise was life or death, the plaything tunity to members actually to produce thoroughly approved by people in cer¬ of a throng.” An awards committee their own shows on television. Panel tain areas will often fall flat among might well feel that a happy medium of discussion groups covering specific people in other areas. Score cards on these two philosophies is most desirable, phases of television provided even more programs should provide the same num¬ yet decisions must be made solely on the intensive exploration of members’ inter¬ ber of check places for dislikes as for actual merits involved in each case. ests than was possible through general approval to get proper balance in an There is also the awards philosophy meetings alone. And the yearly ATS objective rating. It is hardly possible, that would recognize and honor numer¬ Awards for outstanding work in televi¬ however, to expect stations on their ous factors or persons for innumerable sion grew to be an increasingly impor¬ check cards to ask if each program is reasons. This policy leads to diminish¬ tant function of the Society. poor, very poor or terrible as well as ing values for each award because the The 1945-46 season which has just good, very good, or excellent. recognition is so scattered. Opposed to begun finds a world at peace for the One group holds that the public is this practice is the fundamental truth first time since the American Television not qualified to judge program quality. that there is only one best. Society was in its infancy. By rights Another believes that mass approval is The cynic may blithely ask, best for the war should have stunted its growth, the only basis for true judgment. For whom, or at what? It is splendid to and yet, like the television industry it¬ example, following the reasoning of the hear the director or producer of the self, ATS has emerged from the years first group, radio fare in one country best-rated program of 1944-45 modestly of blight stronger in direction and pur¬ is placed entirely in the hands of a declare that good scripts are the prime pose than ever before, with much to do national director because he, in his wis¬ requisite for good productions. These and much to give in the new age ahead.

70 EXECUTIVES OF THE AMERICAN TELEVISION SOCIETY

producer, recently joined Owen & Chappell, Inc., advertising agency, as vice-president in charge of radio and television. Mr. Halpern has had ex¬ tensive experience in writing, directing and teaching radio. He has served as program director of radio stations WMAS, WATR and WBRY and, for the Massachusetts State Department of Education, developed and taught courses in creative writing for radio. He holds an L.L.B. from St. Lawrence Univer¬ sity; has served as radio director for the Republican Party in Connecticut, and is a member of the Radio Commit¬ tee of the Civil Liberties Union. During the 1944-45 season, Mr. Halpern served as a director of the American Television Society and also as chairman of its President 1945-46 Program Committee. Treasurer 1944-46 Director 1944-46 Director 1944-46

GEORGE T. SHUPERT, since 1943, has DON McCLURE, after graduating from served as assistant to Paul Raibourn, Carnegie Tech, spent four years in Hol¬ president of Television Productions, lywood as a writer, actor and director. Inc., wholly-owned subsidiary of Para¬ Moving to New York, he applied the mount Pictures, Inc., operating tele¬ same trio of talents to Broadway. In vision station W6XYZ, Hollywood. 1936 he turned to radio and joined the From 1940 to 1943, he was sales direc¬ radio writing and directing staff of tor of Paramount Pictures Industrial the J. Walter Thompson advertising Film Division, which he organized. agency. Later, he wrote and directed From 1938 to 1940 he was associated radio programs for Young & Rubicam. with Industrial Pictures, Inc., of De¬ From Pearl Harbor until last autumn troit. From 1925 to 1938 he was in the he served as a test engineer for Con¬ investment banking business, helped solidated Ship Builders, producers of organize the National Security Traders PC boats. He is now director of tele¬ Association and, for two years, was an vision for N. W. Ayer & Son, Inc. Mr. officer and director of the Michigan McClure is one of the pioneer members Security Traders Association. During of the American Television Society and the 1944-1945 season, Mr. Shupert was is serving his second term as treasurer. a director of the American Television Society and chairman of its Member¬ Secretary 1944-46 ship Committee. He is also a member of Director 1944-46 the Program Committee of the Tele¬ vision Broadcasters Assn, and of the ALICE PENTLARGE has been affiliated Radio Manufacturers Assn, subcommit¬ with radio station WQXR, New York, tee on facilities for television. since 1936. She is currently co-moder¬ ator and producer of the weekly New York Times program, “What’s on Your Mind?” Other programs in which she played major roles include “So You Haven’t the Time,” “Fashions of the Times,” “Can It Be Done?,” “Fashions in Art,” and “Counterspy.” During the war she worked with the Radio Section of the Office of Emergency Management for OCD and appeared on more than 70 radio programs as a representative of the War Production Board’s Division of Information. Miss Pentlarge has traveled extensively and studied in Director 1944-46 Europe and North Africa. While living in Switzerland from 1931 to 1934 she Chairman, National Expansion collaborated with Don Francisco de Committee 1945-46 Reynoso in writing “Reminiscences of EDWARD C. COLE has served as assis¬ a Spanish Diplomat.” Her articles have tant professor and technical director of appeared in Reader's Digest and The the Department of Drama at Yale Vice Presdent 1945-46 Woman. She is serving her second term University’s School of Fine Arts since as secretary of the American Television Director 1944-46 1935. He has served as a member of Society. the faculty since 1930. During the sum¬ DAVID HALE HALPERN, after six years mer of 1944 he was a member of the as vice-president and general manager program staff of television station Photograph of Mr. Halpern by Pach Bros. of Henry Souvaine, Inc., radio program Photograph of Mr. McClure by Larry Colwell. WRGB. During the summer of 1945 he

71 lectured at the Randall School in Hart¬ producing firm of Grant, Flory & Wil¬ ford. Several previous summers were liams which has produced movies for spent as technical director of The the U. S. Department of Agriculture, Hampton Players, Southampton, N. Y. the Cleveland Trust Company, Good He is author of “A Stage Manager’s Housekeeping and others. Mr. Flory Manual” and co-author of “Scenery for spent five years with Paramount pro¬ the Theatre.” Mr. Cole holds an A.B. ducing radio transcriptions, film motion degree from Dartmouth and an M.F.A. picture prevues and short subjects. He from Yale. He is the delegate for the served as production manager of the Yale Department of Drama to the Tele¬ documentary film, “The City.” While vision Broadcasters Association; a at Yale, where he studied under the charter member of the American Tele¬ late Professor George Pierce Baker, he vision Society and a veteran member of served as editor and motion picture the Board of Directors. Last year he critic of “The Yale Daily News.” He also served as chairman of the ATS has studied also at the LaVilla School, Library Committee. Lausanne, Switzerland. In recent months, out of his considerable research into film’s role in television, he has con¬ tributed many articles to “Television,” “Televiser,” “Education Digest,” “Edu¬ Director 1945-46 cational Screen,” “International Pro¬ Chairman, Program Committee 1945-46 jectionist” and other magazines. Mo¬ tion pictures are a family affair in the HERBERT E. TAYLOR, Jr. has been direc¬ Flory household as Mrs. Flory, the tor of transmitter equipment sales for former Elizabeth Harding, is executive Allen B. DuMont Laboratories, Inc., for secretary of the Educational Film Li¬ the past two years. In the DuMont brary Association. organization, he has also served as assistant priority supervisor; manager of the War Service Department; and assistant director of Cyclograph sales. His favorite subject of conversation is the economics of television and he has acquired extensive experience in the use of all types of television equipment. He recently completed a 25,000-mile transmitting equipment marketing Director 1945-46 study. Prior to his DuMont affiliation, Mr. Taylor piled up experience as a THEODORE HUSTON is a radio and salesman, bank clerk, professional sing¬ television director of Ruthrauff & Ryan, er and writer of dramatic sketches. Inc., the advertising agency responsible for the veteran television program, “Wednesdays at Nine is Lever Brothers’ Time” and such radio programs as “Big Sister” and “Philo Vance.” Mr. Huston was formerly a CBS radio director and also has served two years as a television director-writer at WRGB, President 1944-45 Schenectady. He was featured in a Director 1944-46 G-E industrial motion picture showing how television works. He graduated DAN D. HALPIN was president of ATS from the University of Pennsylvania for the 1944-45 term. He is a television and served as an announcer and pro¬ receiver sales specialist for the RCA ducer for a number of small radio sta¬ Victor Division of the Radio Corpora¬ tions in New England before entering tion of America. He joined RCA Victor the field of television. Mr. Huston is a in 1940 as manager of television re¬ charter member of ATS. ceiver sales in New York and also directed the merchandising of RCA per¬ sonal radios. He served as coordinator for the world premiere of RCA Theatre Television at the New Yorker Theatre, May 1941. Later, as manager of RCA Director 1945-46 Industrial Music Service, he contrib¬ EVELYN BARNES PEIRCE is supervisor uted materially to the growing use of in charge of daytime radio at Compton music in industry. During 1945, he Advertising, Inc. and a staff director acted as chairman of the Music in of Theatre Production Service, both of Industry Committee of the Music War New York. She received her B.A. at Council. Before joining RCA Victor, Mr. Halpin was a director, vice-presi¬ Wellesley College and her theatre train¬ dent and general sales manager of the ing in the Maria Ouspenskaya Studio Dictograph Products Company. He man¬ of Acting. Miss Peirce has handled aged Knute Rockne’s National Champ¬ virtually all phases of theatrical work and radio programming; has directed ionship Football Team of 1930; is a charter member of the Sales Executives and acted with well-known summer Club of New York, and a member of the stock companies; has served the-Thea¬ tre Guild in casting and directorial Society of Motion Picture Engineers. Mr. Halpin is one of the two recipients capacities; was casting director of all Director 1945-46 of the American Television Society’s Federal Theatre productions in New service award, presented to him in 1945. York; headed the drama, dance and JOHN FLORY is a writer, director and music departments of the National producer of motion pictures. He heads Youth Administration; stage-managed Photo of Mr. Halpin is © by Bachrach; Photos the documentary and educational film of Miss Peirce and Mr. Taylor by Larry Colwell. “Seventh Trumpet,” “Richard III” and

72 Ballet International productions. She ing films. In 1937, working with Handy, tion with radio and television began at has written and directed many radio he began a study in cooperation with the Harvard University Radio Research programs and was formerly in charge television stations in New York, Chi¬ Laboratory. She joined the Columbia of special programs selection at Batten, cago and Hollywood to ascertain the Broadcasting System Research Depart¬ Barton, Durstine & Osborn. acceptability of various types of films ment in 1943 and until the summer of for television. More than 100 films were 1945 was connected with the CBS Tele¬ televised. Mr. Widlund was formerly a vision Engineering Department. booker for Warner Bros, theatres and was at one time with RKO as an office manager and salesman.

Director 1944-46

CHARLES H. KLEINMAN is a former Chairman, Membership Committee vice-president of ATS, a charter mem¬ 1945-46 ber of the organization and former J. J. DOUGHNEY has been with Para¬ chairman of both the ATS Laboratory Chairman, Committee on Awards mount Pictures, Inc. since 1920. He is and Membership committees. He is a 1944-46 and Co-Chairman, Panel assistant to Paul Raibourn, economist commercial engineer on broadcast and Discussion Groups 1945-46 television equipment for the RCA Vic¬ of Paramount Pictures, Inc. who heads tor Division, Radio Corporation of RICHARD MANVILLE is a consultant on Paramount’s television interests. Mr. America. Before joining RCA, Mr. advertising and research to many ad¬ Doughney also serves as assistant trea¬ Kleinman served as project engineer vertising agencies and media in this surer of Allen B. DuMont Laboratories, for Hudson-American Corporation and country and Canada. He was formerly Inc. He has held every office in the Dictograph Sales Corporation. In 1941- the director of research for Donahue Paramount Pep Club except secretary. 1942, he was program director of Met¬ & Coe, Inc., Warwick & Legler, Inc., and He was president in 1941-42 and mem¬ ropolitan Television where he instituted was advertising analyst at Newell-Em- ber of the Board of Governors. experimental television programming. mett Co. He authored “How to Create Mr. Kleinman entered radio broadcast¬ and Select Winning Advertisements,” ing in 1934 and has been associated which will be included in a new book with WNEW, WABC, WBBM, WQXR published by Harper’s, titled “Advertis¬ and WEVD. From 1930-1935, he was ing Results and How to Get Them.” director of stage lighting for the Kauff¬ He spoke on television audience re¬ man Theatre, New York. He was a re¬ search at the 1944 convention of the search technician in acoustics and allied Television Broadcasters Assn., and at fields with E. E. Free Laboratories Televiser’s 1945 “Television Institute.” from 1929 to 1934.

Chairman, Public Relations Committee 1945-1946

DAVID O. ALBER, president of David 0. Alber Associates, Inc., is a veteran radio and industrial publicist with 19 years’ experience to his credit. In addi¬ tion to handling public relations for the American Television Society, his or¬ ganization serves Allen B. DuMont Lab¬ Chairman, Library Committee 1945-46 Chairman, Motion Picture Committee oratories, Inc., Chelsea Cigarettes, Kate 1945-46 MYRTLE ILSLEY chronicled the history Smith, Ralph Edwards of “Truth or of the American Television Society for Consequences,” Ben Grauer, Sammy DON WIDLUND is head of the distribu¬ this pioneering issue of the American Kaye, Guy Lombardo and other prod¬ tion of sponsored film for the J. Walter Television Directory. Miss Ilsley is a ucts, personalities and programs. Thompson Co. For almost a decade he member of the CBS sales promotion David O. Alber Associates has con¬ was with the Jam Handy organization and advertising staff. She has a bache¬ sistently won first place in the annual in Detroit; helped set up a theatrical lor of arts degree from Hunter College, Billboard Exploitation Awards. Mr. Al¬ distribution system there and served a master of arts degree from Radcliffe ber is a former reporter for the New as its Army Air Forces contact for College and worked for some time with York Evening World and the New York three years on the production of train¬ the American Red Cross. Her associa¬ Sun. He is a charter member of ATS.

73 poration. He acquired a B.S. at South¬ DuMont television receivers in metro¬ western and took post-graduate work politan New York, and, in 1941, at Kansas University. He has served launched the Review of Recorded Music, as assistant treasurer of Theatre Serv¬ which he distributed through music ice Corp. and Fashion Creators Guild dealers. His chief interest is the prac¬ and also as manager of market research tical application to education of films for Darco Corp., a subsidiary of Atlas and television. Mr. Kugel, a charter Powder Co. He served as chairman, member of ATS, is one of the country’s ATS Research Committee, 1944-45. youngest publishers. Television, first launched as a quarterly, quickly won recognition with the industry, and ex¬ panded to a monthly. In it, Mr. Kugel emphasizes his own factual, practical approach to all phases of television.

Chairman, Finance and Budget Committee 1945-46 ARCHIBALD U. BRAUNFELD is a gradu¬ ate of New York University, a Certified Public Accountant, and a member of the New York State Society of CPA’s. He is also a member of the Radio Ex¬ ecutives Club of New York and New York University Commerce Alumni.

Chairman, Program Laboratory 1945-46 RAYMOND E. NELSON is vice president of Charles M. Storm Co., New York, in charge of radio and television activities. He has produced over 100 television programs, including dramatic, variety, Chairman, musical, fashion, educational, demon¬ Committee on Education 1945-46 stration and spot news presentations. These programs have been presented DR. LEONARD POWER is an independent for Tintex, Alfred Dunhill of London, educational consultant. He was former¬ Park & Tilford, Fawcett Publications, ly Coordinator of Radio Research for Hillman Publications, Esquire, Conover the Federal Radio Education Committee, Models, U. S. Army, American Red and assistant to Dr. John W. Stude- Cross, and others. His pioneering in¬ cludes production of the first original full-length musical comedy written for television, “The Boys from Boise”; a full-length musical, “The Television BY-LAWS OF Follies of 1944,” and a continuous three- Chairman, Reception Committee 1945-46 hour spot-news show on presidential Article One: Organization STERLING E. NORCROSS attended the election night. School of Civil Engineering at Cornell 1— The name of this organization University and since then has been shall be American Television Society, engaged in industrial sales engineering Inc. and advertising. He has been particu¬ 2— The organization shall have a larly interested in the visual sales po¬ seal which shall be in the following tentialities of television and has created form: many slogans, trade marks and mailing pieces to capitalize upon them.

3—The organization may at its pleas¬ ure by a majority vote of the mem¬ Co-Chairman, Panel Discussion Group bership body change its name. 1945-46 Article Two: Purposes FREDERICK ALLEN KUGEL is publisher of Television which he founded in May The following are the purposes for 1944. He was educated at the Uni¬ which this organization has been or¬ versity of London’s School of Economics ganized : and the University of Pennsylvania’s 1—To advance, promote and foster Wharton School of Finance and Com¬ the study, understanding and apprecia¬ Chairman, Directory Committee 1945-46 merce. Mr. Kugel has served as adver¬ tion of television as a cultural, educa¬ RICHARD P. STEINER is director of tising manager of Carbona Products tional, entertainment and advertising market research for General Cable Cor¬ Co.; was in charge of prewar sales of medium.

Photographs of Messrs. Steiner, Kugel and Rockafellow by Larry Colwell: of Dr, Power by Pach Bros. 74 baker, U.S. Commissioner of Education. sent to Hollywood by Liberty to make Dr. Power was the first president of the the film, “I’ll Tell the World.” In tele¬ Department of Elementary School Prin¬ vision, Pat is probably best known as cipals, National Education Association. the announcer for the Lever Bros.’ He has been associated with the Uni¬ show, “Wednesdays at Nine,” having versity of Chicago and Columbia Uni¬ been connected with this program since versity. its inception in 1943. In recent months, she has been seen with John Reed King in the “Thanks for Looking” show at WABD.

Editor, "American Television Directory" 1946 and Editor, "ATS News"

RALPH ROCKAFELLOW, an advertising executive with Buchanan & Co., has an extensive background in publishing, the legitimate theatre, motion pictures and television. He has served as an actor Associate Editor, "ATS News" and assistant director in motion pic¬ tures, stock and Broadway productions; PATRICIA MURRAY is associate editor as an editor with Printers’ Ink, Out¬ President 1941-44 of TV, a new magazine. A graduate of doors Pictorial, World’s Work, Golden the University of Pennsylvania, she NORMAN D. WATERS has been president Book Magazine and Review of Reviews; was a member of Jasper Deeter’s of his own New York advertising and as business manager for seven Hedgerow Theatre for four years and agency, Norman D. Waters & Asso¬ years with Review of Reviews Corp. He has been heard on many radio pro¬ ciates, since its inception in 1927. His has contributed extensively to trade grams. Pat started with NBC Television strong and early enthusiasm for tele¬ and general magazines, and has auth¬ in 1938 as actress, announcer and mis¬ vision was the breath of life to the ored dramatic scripts for motion pic¬ tress of ceremonies. She was selected American Television Society on many tures, the theatre, radio and television. “Miss Television of the New York occasions in its early history. His He has been associated with Doubleday, World’s Fair” both years of the Fair, agency has experimented with scores Doran & Co., Reiss Advertising, Young and also won the title “Miss Liberty” of television dramas, fashion shows and & Rubicam, and E. B. Weiss, advertis¬ in a field of 500 contestants. She was commercial techniques at WABD. ing consultant.

THE AMERICAN-TELEVISION SOCIETY, INC.

2— To establish and provide an in¬ and the attainment of the objects here¬ herein membership corporation if they telligence center or clearing house for in set forth. pay dues for the year commencing June information pertaining to television 1, 1944. and its development. Article Three: Membership and Dues All members of the former American 3— To provide a forum for an ex¬ Membership in this organization shall Television Society, the unincorporated change of ideas, and discussions of be open to all who have had actual ex¬ association, except those in the Ai’med mutual problems affecting or relating perience in television, or those who by Forces, shall be automatically dropped to the television field, and to provide reason of learning, training, general from the rolls of membership of the group activity to aid in the growth and experience or background are deemed herein membership corporation if they improvement of the television industry. suitable for membership. Members of have not paid their dues for one year 4— To collect and build a full and the herein membership corporation from June 1, 1944, on or before May complete library on television, to be shall have the rights of direct partici¬ 31, 1944. made available to members. pation in all activities of the herein All members, who have paid their 5— To sponsor special meetings, or membership corporation, including the dues for one year in advance from other functions for the dissemination right to attend meetings, to participate June 1, 1944 on or before May 31, 1944, of information pertaining to television, in the herein membership corporation’s are to be deemed as charter members of and to invite to such meetings or func¬ discussions or forums, and to have ac¬ the herein membership corporation. tions recognized leaders in television or cess to the herein membership corpora¬ The annual dues for regular mem¬ related fields to speak on various phases tion’s library and documentary material bers shall be $10.00 per annum, the of the medium and its use. pertaining to the field of television; it same to be computed on a fiscal year 6— To place the advantages of the being understood, however, that asso¬ basis, fiscal year to commence on June Society within the reach of all who are ciate members shall not have voting 1st of each year, commencing June 1, thoroughly interested in the new me¬ rights. 1944. Any and all members who join dium, by affording the opportunity for All members of American Television the herein membership corporation on affiliation or membership, as provided Society, the unincorporated association and after June 1, 1944 shall pay an in the Constitution and By-laws of which preceded the herein membership entrance fee of $5.00 in addition to the the American Television Society. corporation, are automatically tempo¬ aforesaid dues. Any and all members 7— To do all and everything neces¬ rary members of the herein corporation who have joined the herein member¬ sary, suitable and proper for the com¬ until May 31, 1944, by which time they ship corporation on or before May 31, plete accomplishment of these purposes can become permanent members of the 1944 shall not pay such entrance fee.

75 the President of the herein membership corporation or the Chairman of the Board of Directors shall notify the GUESSING ABOUT Secretary, who shall notify the appli¬ cant of his election, and shall include TELEVISION his name in the next succeeding notice of meeting of the herein membership corporation. In case of a member’s unreasonable neglect to pay dues, the Board of Di¬ rectors may, in its discretion, declare such membership terminated. By LOWELL THOMAS All members of the Armed Forces who have not previously been members NBC Commentator of the society may become members for the duration of the war, upon payment

The world of radio is talking television. All technical signs point to a wide¬ of a $2.00 fee for the duration of the spread broadcasting of scenes as well as sound in the near future. Program war or until their earlier discharge experts and show builders are racking their brains, foreseeing revolutions in the from the Armed Forces; entrance fees styles of entertainment transmitted by wireless and trying to guess at the are waived for such members of the patterns that television will develop. Armed Forces. What about news, for example? How will television present the tidings of the Suspension or expulsion: day? It is easy, of course, to foresee the televising of such events as fires, If a member should, without just headline airplane flights, sports—such spectacles as permit the operation of cause, become wholly inactive and equipment at the scene. But what about the roundup of the news, most of which should fail to cooperate in carrying out cannot be televised? the work of the Society, should fail to It happens that I have had some experience with that, having given the first attend meetings, and otherwise should televised news broadcast put on by NBC and the first sponsored series of tele¬ unreasonably fail to contribute in any vision news programs. The war cut the development short, but now, according to all signs, the thread of progress will be picked up again. way to the carrying on of the functions and activities of the Society as an ac¬ What to do while televising news? What action can there be on the screen? One obvious thing is for the narrator to point out places on a map—when it’s tive member,—or if the conduct of any that kind of news story. I did that in my own televised programs. These were member shall appear to the Board of during the European war, and war puts emphasis on maps. Directors to be objectionable to the But the map is, at best, only a partial answer. After a few repetitions, map character and welfare of the Society pointing becomes monotonous, the same old thing. or contrary to the Constitution and We were thinking, a few years back, of newsreel film—and newsreel, no doubt, By-laws, rules or spirit of the Society, will be an important element of television entertainment. Reels made up as now, the Board of Directors shall inform with sound, narrating voice and music, could be televised. Films made shortly such member thereof in writing. The before at the scene of events could be used, and news stories could be illustrated offending member may respond in writ¬ by material from the film library. ing or in person at a time appointed For example, in talking about the President and the White House, you might by the Board. A full hearing shall be construct your story in such fashion that it could be neatly illustrated with stock had on any charges so preferred. Any scenes of the President doing something or other at the White House. I myself such member may be censured, sus¬ am a newsreel worker, and from my own experience I can see many angles in the application of the newsreel to television. pended or expelled by an affirmative vote of two-thirds of the members of However, I think that people who are poring over problems of televised news may place too much emphasis on the necessity of having a variety of action on the Board of Directors present, but not the television screen while news is being recited. There may be too much assump¬ less than fifty (50) per cent of the tion that to show merely the image of the broadcaster would become monotonous. entire board. After all, people do listen to speakers who stand up there and say things, lecturers for example. If the talk is good they don't find it monotonous merely Article Four: Meetings because they have nothing to look at but the individual as he discourses. They The annual membership meeting of can let their eyes wander without losing the continuity of what's going on—and this organization shall be held on the that makes for ease. People listen to lectures, speeches or sermons an hour long, second Thursday in May each and and news recital is brief. every year except that if such day be So maybe in television the technique to a considerable extent may be to a legal holiday then and in that event televise a news narrator talking, with a shifting of pictorial angles for variety. In other words, televised news may not be so far away from present day radio the Board of Directors shall fix the day, news as some people believe. other than that prescribed herein; but it shall not be more than two weeks from the date fixed by these By-Laws. The Secretary shall cause to be mailed to every member in good standing at All members provided for as afore¬ duct such investigation and examina¬ his address as it appears on the mem¬ said shall have full voting rights. tion as will enable it satisfactorily to bership roll of this organization a no¬ There shall also be a participating learn the qualifications of the applicant. tice telling the time and place of such non-voting membership open to students Application shall be voted upon by annual meeting. and junior members under twenty-five the Board of Directors at any regular Regular meetings of this organiza¬ years of age, who have a serious in¬ or special meeting of the said Board. tion shall be held monthly at such time terest in television. This membership The Board may vote to accept, reject and place as is fixed by the President shall be known as “Associate Member¬ or withhold such application for a time of the herein membership corporation. ship.” The dues for such associate mem¬ to be fixed in its discretion. A two- The Board 'of Directors may elimi¬ bers shall be $5.00 per annum and there thirds vote of the Board members pres¬ nate summer meetings if it deems it shall be no entrance fee charged to ent but not less than fifty per cent of advisable. them. Associate members shall not have the entire Board shall be necessary to The presence of not less than 25 per the voting rights. elect an applicant to membership. The cent of the voting Members shall con¬ Application for membership in the individual action of the members of stitute a quorum and a quorum shall herein membership corporation shall be the Board shall be kept secret. The be necessary to conduct the business of submitted to the Board of Directors on Board of Directors may call upon the this organization; but a lesser number a form which it shall be its duty to advice and assistance of the Member¬ may adjourn the meeting for a period prescribe; and each applicant shall be ship Committee in considering new ap¬ of not more than 14 days from the sponsored by a member. plicants for membership. date fixed by these By-Laws and the The Board of Directors shall con¬ Upon the election of a new member Secretary shall cause a notice of this

76 scheduled meeting to be sent to all those members who were not present at the meeting originally called. Any number present shall constitute a quo¬ rum at the second meeting and all business transacted at such adjourned meeting shall be binding upon the or¬ ganization. Special meetings of this organization may be called by the President when he in his discretion deems it for the best interest of the organization. No¬ tices of such meeting shall be mailed to all members at their addresses as they appear on the membership roll at least five days but not more than ten days before the scheduled date set for such special meeting. Such notice shall state the reasons that such meeting has been called, the business to be transact¬ ed at such meeting and by whom called. At the request of three members of the Board of Directors or twenty mem¬ TELEVISION may boost international amity by bringing strange peoples and bers of the organization the President customs into your living room. shall cause a special meeting to be called but such request must be made in writing at least twelve days before the requested scheduled date. No other business but that specified in the notice may be transacted at such special meeting without the unanimous consent of all present at such meeting.

Article Five: Voting At all meetings, all votes shall be viva voce, except that for election of officers and directors ballots shall be provided and there shall not appear any place on such ballot any mark that might tend to indicate the person who cast such ballot. At any regular or special meeting if a majority so requires any question may be voted upon in the manner and style provided for election of officers and directors. The use of proxy shall be forbidden. At all votes by ballot the chairman of such meeting shall immediately prior to the commencement of balloting ap¬ TELEVISION'S best friend will probably be the housewife who will see latest point a committee of three who shall fashions, watch cooking demonstrations and her pet soap-opera. act as “Inspectors of Election” and who shall at the conclusion of such balloting certify in writing to the chair¬ man the results and the certified copy shall be physically affixed in the minute book to the minutes of that meeting. No inspector of election shall be a candidate for office or shall be person¬ ally interested in the question voted upon.

Article Six: Order of Business 1— Roll Call. 2— Reading of the minutes of the preceding meeting. 3— Reports of Committees. 4— Reports of Officers. 5— Old and Unfinished Business. 6— New Business. 1—Good and Welfare. 8—Adjournments.

Article Seven: Board of Directors The business of this organization shall be managed by a Board of Direc¬ ONE of the delights of television will be that you will be able not only to hear, tors consisting of seven members to¬ but also see the fascinating commercial announcements. gether with the officers of this organ¬ Drawings by Perry Barlow, courtesy Collier's. ization. At least one of the directors

77 elected shall be a resident of the State The Secretary shall keep the minutes Article Ten: Committees of New York and a Citizen of the and records of the organization in ap¬ All committees of this organization United States. propriate books. It shall be his duty to shall be appointed by the President file any certificate required by any stat¬ The directors to be chosen for the and their term of office shall be for a ute, federal or state. ensuing year shall be chosen at the an¬ period of one year or less if sooner He shall give and serve all notices nual meeting of this organization in terminated by the action of the Board the same manner and style as the of¬ to members of this organization. of Directors. He shall be the official custodian of ficers of this organization and they The permanent committees shall be shall serve for a term of one year. the records and seal of this organiza¬ such as may be determined upon by The Board of Directors shall have tion. He may be one of the officers re¬ the Board of Directors. the control and management of the af¬ quired to sign the checks and drafts of fairs and business of this organization. the organization. Article Eleven: Elections Such Board of Directors shall only act He shall present to the membership The fiscal year of the herein mem¬ in the name of the organization when at any meetings any communication ad¬ bership corporation shall begin on June it shall be regularly convened by its dressed to him as Secretary of the 1st of each year, and the first regular chairman after due notice to all the organization. He shall submit to the meeting in May of each year, which directors of such meeting. Board of Directors any communications which shall be addressed to him as shall be held the second Thursday of A majority of the members of the said month, shall be the annual meet¬ Board of Directors shall constitute a Secretary of the organization. He shall attend to all correspondence ing of the herein membership corpora¬ quorum and the meetings of the Board tion; if for some reason the meeting of the organization and shall exercise of Directors shall be held as frequently cannot be held on that day, then and as required. Each director shall have all duties incident to the office of Sec¬ retary. in that event it shall be held not more one vote and such voting may not be than two weeks from the date fixed by done by proxy. The Treasurer shall have the care and custody of all monies belonging to these By-Laws. The Board of Directors may make The annual meeting shall be devoted such rules and regulations covering its the organization and shall be solely re¬ sponsible for such monies or securities to elections and such other business as meetings as it may in its discretion of the organization. He shall cause to may come before the meeting. determine necessary. Vacancies in the be deposited in a regular business bank Before the first meeting in March of said Board of Directors shall be filled each year, the President shall appoint or trust company a sum not exceeding by a vote of the majority of the remain¬ a Nominating Committee of seven $1,000.00 and the balance of the funds ing members of the Board of Directors members, three of whom shall be for the balance of the year. of the organization shall be deposited in a savings bank except that the Board chosen from the Board of Directors and A director may be removed when the other four from the membership at of Directors may cause such funds to sufficient cause exists for such removal. large. be invested in such investments as shall The Board of Directors may entertain be legal for a savings bank in the State This Nominating Committee shall charges against any director. A direc¬ of New York. prepare and present to the membership, tor may be represented by counsel upon at least five days before the first meet¬ He must be one of the officers who any removal hearing. The Board of shall sign checks or drafts of the or¬ ing in April, a suggested slate of of¬ Directors shall adopt such rules as it ficers and directors to be elected for ganization. No special fund may be set may in its discretion consider necessary the next fiscal year. aside that shall make it unnecessary for the best interests of the organiza¬ for the Treasurer to sign the checks The candidates for officers and direc¬ tion, for this hearing. issued upon it. tors presented by the Nominating Com¬ The Board of Directors may elect He shall render at stated periods as mittee shall automatically be put in from its members a Chairman of the the Board of Directors shall determine nomination at the first meeting of the Board of Directors. a written account of the finances of the membership corporation in April. In At no time shall a majority of the organization and such report shall be addition to those nominated by the Board of Directors be employed in the physically affixed to the minutes of the Nominating Committee, any other vot¬ same phase of television and no more Board of Directors of such meetings. ing member of the herein membership than two members of the Board of Di¬ He shall exercise all duties incident corporation may be placed in nomina¬ rectors shall be employed by the same to the office of Treasurer. tion, at the first meeting in April, providing such nomination is made in company, firm, corporation, or subsid¬ No officer shall for reason of his of¬ iary. fice be entitled to receive any salary or writing and is signed by at least ten compensation, but nothing herein shall of the voting members in good standing Article Eight: Officers be construed to prevent an officer or of the herein membership corporation. director from receiving any compensa¬ At the election meeting the members The officers of the organization shall tion from the organization for duties of the Board of Directors and officers be as follows: President, Vice Presi¬ other than as a director or officer. shall be elected by written ballot and dent, Secretary, and Treasurer. a plurality vote of the members present The President shall preside at all Article Nine: Salaries at the said election meeting shall con¬ membership meetings. stitute an election. He shall present at each annual meet¬ The Board of Directors shall hire and ing of the organization an annual re¬ fix the compensation of any and all Article Twelve: Amendments employees which it in its discretion may port on the work of the organization. These By-Laws may be amended by determine to be necessary in the con¬ He shall appoint all committees, tem¬ the affirmative vote of two-thirds of duct of the business of the organization. porary or permanent. the members present at any regular He shall see that all books, reports or special meeting, but not less than a and certificates as required by law are majority of the entire herein member¬ properly kept or filed. He may be one ship corporation, provided that notice “The time is here to put out less of the officers who may sign the checks talk about color, or stratovision, or of such meeting and the purpose there¬ or drafts of the organization. coaxial cable, or high definition, and of have been duly given to the mem¬ He shall have such powers as may still higher definition. The time is bership in writing at least ten days prior to the meeting. reasonably be construed as belonging here to put out programs which can to the chief executive of any organiza¬ compete with what John Q. Public Article Thirteen: Chapters tion. The Vice President shall in the now gets for nothing on the radio event of the absence or inability of the or for a few cents per hour at the The herein membership corporation President to exercise his office become movies.” may authorize local chapters to be acting president of the organization formed in cities other than New York with all the rights, privileges and —Ralph Austrian, Vice President, City, upon such terms and conditions powers, as if he had been the duly RKO Television Corp. as the Board of Directors may deter¬ elected president. mine.

78 BERMAN, SYLVIA. Writer. 326 E. 70th St., New York 21. RE 4-6732. ATS- Active. Tele-E, F, L, M, R.

MEMBERS... AMERICAN BERNSOHN, AL. Television Publicist, Account Executive, David O. Alber As¬ sociates, 654 Madison Ave., New York TELEVISION SOCIETY 21. RH 4-1681. ATS-Charter. Tele-A, J, N, Q.

Each member’s professional activity, ARMSTRONG, JULIAN. Allen B. DuMont BERSE, LENORE. Program Director, Sta¬ his business connection, address and Laboratories, Inc., 515 Madison Ave., tion W2XJT. Macy’s Department Store, phone number are given wherever pos¬ New York 22. PL 3-9800. ATS-Active. 34th Street and Herald Square, New sible. His class of membership is indi¬ York 1. CH 4-2000. ATS-Active. Tele- cated as ATS-Charter, ATS-Active, ARNOLD, HELEN T. John Wanamaker, A, J, K, L, M. ATS-Associate and ATS-Armed Serv¬ 9th Street and Broadway, New York 3. BETTINGER, HOYLAND. Writer, Director. ices. His chief interests in television, ST 9-4700. ATS-Active. as set down in a recent member survey, 402 Summit Ave., Schenectady, New ARNOLD, JUDITH S. Public Relations. York. ATS-Active. are keyed as follows: Ann R. Silver Associates, 551 Fifth Ave., New York 17. MU 2-8633. ATS- Tele-A—Advertising BLATT, BERNARD. Agency Director, Gus- Tele-B—Acting Active. Tele-R. sow-Kahn Co., Inc., 200 Madison Ave., Tele-C—Business Consultant New York 16. AS 4-6795. ATS-Charter. Tele-D—Camera Technique ARNSTEIN, BENJAMIN S. Industrial Spe¬ Tele-E—Directing Tele-A, K, L, M, R. Tele-F—Education cialist. War Department - Army Engi¬ Tele-G—Equipment or Supplies neers. 120 Wall St., New York 5. WH manufacture and sales BLITZ, WALLACE. 1254 Grant Ave., Tele-H—Engineering 4-5500. ATS-Associate. Tele-C, J, M, Bronx 56, N. Y. ATS-Associate. Tele-I Make-Up Tele-J —Merchandising N, Q. Tele-K—Motion pictures in advertising and BLUM, ABRAHAM. Translator and television AYRES. ELIZABETH C. 37 Charles St., Writer. U. S. Government. 1642 E. 19th Tele-L—Programming New York 14. ATS-Charter. Tele-E, Tele-M—Production St., Brooklyn, N. Y. ATS-Armed Serv¬ Tele-N—Promotion L, M. ices. Tele-C, F, R. Tele-P—Publishing Tele-Q—Public Relations BAKER. DOROTHY. Singer. R. D. 1, Box Tele-R—Script Writing BOHLKE, W. HOLLANDER. Commercial Tele-S—Set Design 147-C, Maple Rd., Riverside, Conn. Engineering Manager, Radio Corpora¬ Tele-T- Telecasting ATS-Active. Tele-B, L, M, Q. Tele-U—Service and installations tion of America, Electronic Apparatus Tele-V—Studio design BAKER. FAY. 310 E. 44th St., New York Section, Camden, New Jersey. Camden ACHER, DON, Director. Columbia Broad¬ 17. ATS-Active. 8000. ATS-Charter. Tele-D, G, H, T. casting System, Inc. 485 Madison Ave., BONWIT, PVT. LEONARD. 4740 Wood¬ New York 22. WI 2-2000. ATS-Charter. BALESTRIERI, VICTORIA. Outpost Repre¬ Tele-E, F, M. sentative, Office of War Information. ward Ave., Detroit, Mich. ATS-Active. 250 W. 57th St., New York 19. Cl 6- Tele-L. 4400. ATS-Active. Tele-D, F, I, M. ACKERMAN, JEAN MARIE. Scriptwriter. BOSWELL, WILLIAM B. 14 Nantucket Signal Corps Photo Center, and A. W. BALLANTYNE, JOHN. President, Philco Lane, Oceanside, New York. ATS-Ac¬ Kelly, 522 Fifth Avenue, New York 17. Radio Corporation, Tioga and “C” Sts., tive. MU 2-0882. ATS-Charter. Tele-K, R. Philadelphia 34, Pa. ATS-Active. BOTWINICK, T/5 LEONARD. U. S. Army, ALBER, DAVID O. Public Relations. BALTIN, WILL. Secretary - Treasurer, Hq. & Hq. Co., 3117th Sig. Sv. Bn., David 0. Alber Associates, 654 Madison Television Broadcasters Association, APO 244, c/o Postmaster, San Fran¬ Ave., New York 21. RH 4-1681. ATS- Inc., 500 Fifth Ave., New York 18. cisco, Calif. ATS-Armed Services. Tele- Charter. Tele-Q. LA 4-4788. ATS-Active. Tele-Q. K, F, L, Q, R.

ALEXANDER, HENRY R. Film Editor. BALZ, D. ELEANOR. Television Producer. BOUILLET, J. E. Copywriter, N. W. Ayer U. S. Army, Hotel Sutton, 330 E. 56th 132 East 36th St., New York. MU 4- & Son, Inc., 30 Rockefeller Plaza, New St., New York. AS 8-3500. ATS-Armed 9014. ATS-Active. Tele-E, K, L, M. York 20. Cl 6-0200. ATS-Active. Tele- Services. Tele-D, K, M, T. A, L. BARBINEL, ANN. Radio Director, Ann Barbinel Productions, 54 Riversde Dr., ALICOATE, CHARLES A. Advance Tele¬ BOYLE, JAMES. American Forces Net¬ New York 24. EN 2-4351. ATS-Charter. vision Pictures, Inc., 729 Seventh Ave., work, Hq. Co. Z Etousa Rearm. APO Tele-E, I, L, R. New York 19. BR 9-7117. ATS-Active. 413 c/o Postmaster, New York. ATS- Tele-C, E, K, L, M. BARLOW, PERRY. Artist. Westport, Conn. Armed Services. ATS-Active. ALLEN, RICHARD. U. S. Army Signal BRADLEY. VIRGINIA MEYER. Producer, Corps. 483 Montgomery St., Brooklyn, BARRETT. LT. HALSEY V. Executive. Director. 219 North Swarthmore Ave., N. Y. PR 4-2257. ATS-Armed Services. USNR, Army-Navy Munitions Board, Swarthmore, Pa. Swarthmore 2003-J. Tele-B, D, E, K, M. Fourth and “C” Streets, S. W., Wash¬ ATS-Active. Tele-E, L, M. ington 4, D. C. Republic 7400. ATS- ALSWANG, RALPH. Scenic Designer. 729 Charter. Tele-A, C, J, N, Q. BRAUNFELD, ARCHIBALD U. Certified Greenwich Ave., New York 14. CH Public Accountant, 535 Fifth Ave., New 2-7452. ATS-Active. Tele-J, S. BARRY, ROBERT G. Communications York 17. MU 2-6188. ATS-Charter. Chief, 3715 College Ave., Sacramento, Tele-A, C. ANDERSON, FREDERICK O. Account Ex¬ Calif. ATS-Armed Services. BREMER, FRANK V. Technical Director, ecutive. Compton Advertising, Inc., 630 BARTLETT, KENNETH G. University Station WAAT, 11 Hill St., Newark 1, Fifth Ave., New York 20. Cl 6-2800. Radio Workshop, Syracuse 10, N. Y. N. J. MI 2-6400. ATS-Charter. Tele-H. ATS-Charter. Tele-A. ATS-Active. BRENT, RUDOLPH. Motion Picture Film ANDREWS. RUTH. 58 W. 56th St., New BATINCHOK. SGT. GEORGE. 306 E. 83rd Editor, 307 W. 79th St., New York 24. York 19. ATS-Active. St., New York 28. ATS-Active. TR 4-0900. ATS-Active. Tele-E, F, K, M. ANSEN, SYLVIA. Radio Time Sales. BECKER, HAROLD. Eastern Editor, Radio Station WLIB, 850 Flatbush Ave., Radio News, 350 Fifth Ave., New York BRIDGMAN. LT. LUTHER H. USNR. 188 Brooklyn, N. Y. BU 7-5900. ATS-Char¬ 1. WI 7-0400. ATS-Active. Tele-E, H, Sullivan St., New York 12. ATS-Armed ter. Tele-A, C, J, L, R. L, M, R. Services.

79 BROWNING. IRVING. Motion Picture CLEMENTS. MAURICE. President, Cald- DAY, ROBERT J. Artist. 11 Cornwell St., Production, 70 W. 45th St., New York well-Clements, Inc., 480 Lexington Ave., Rockville Centre, N. Y. Rockville Centre 19. MU 2-7491. ATS-Active. Tele-D, E, New York 17. PL 3-1340. ATS-Charter. 4098. ATS-Active. K, L, M. Tele-A, J, P. DEANE, ALBERT. Editor, Paramount In¬ BRYAN, JULIEN. Producer, 291 W. 12th COHEN, SHIRLEY. Columbia Broadcast¬ ternational Films, Inc., 1501 Broadway, St., New York 14. WA 9-3917. ATS- ing System, Inc., 485 Madison Ave., New York 18. BR 9-8700. ATS-Active. Active. Tele-K. New York 22. WI 2-2000. ATS-As¬ Tele-A, Q, R. sociate. DELL, R. C. Artist. 1002 North Page St., BUCHWALD, SAMUEL. Producer, Fa¬ COLE. EDWARD C. Teacher, MFA. Yale Marengo, Ill. ATS-Active. mous Studios (Paramount Pictures), University Dept, of Drama. 222 York 25 W. 45th St., New York 19. BR 9-1600. DENNY, GEORGE V. President, Town St., New Haven, Conn. New Haven 7- ATS-Active. Tele-K. Hall Inc., 123 W. 43rd St., New York 3131, Ext. 217. ATS-Charter. Tele-E, F, 18. ATS-Active. BUCKMAN, ENSIGN THOMAS R. USNR. L, M, R. U.S.S. PC 1084, FPO, New York, N. Y. DESSNER, CLYDE MATTHEW. Public Re¬ COLE, GEORGE H. President, Television ATS-Armed Services. lations Director, Barbizon School of Film Industries Corp., 340 Third Ave., Fashion Modeling, 576 Fifth Ave., New New York 10. LE 2-6780. ATS-Charter. BURGER, ALFRED G. Telenews Theatres, York 19. BR 9-9156. ATS-Charter. Tele- Tele-A, K, L, M, P. 32 E. 57th St., New York 22. PL 3-6277. E, L, Q, R. ATS-Active. COLLINS. LORIN C. Producer, The Jam DE ZEVALLOS, MARY. Writer. Shelton Handy Organization, 2821 E. Grand Hotel, Lexington Ave. and 49th St., BURROUGHS. GORDON S. Federal Tele¬ Blvd., Detroit, Mich. MA 2450. ATS- New York 17. WI 2-4000. ATS-Active. phone and Radio Laboratories, 67 Broad Active. Tele-A, J, K, M, N. St., New York 4. ATS-Charter. Tele- Tele-K, L, M, N. G, H. COLLINS, MARION. Coordinator. 1440 DICKLER, GERALD. PhM3/c, USN, Na¬ Broadway, New York 18. PE 6-9800. val Hospital, Brooklyn, N. Y. ATS- BUTTNER, H. H. President, Federal Com¬ ATS-Active. Tele-J. Armed Services. munications Laboratories, 67 Broad St., COLWELL, LARRY. Photographer, Larry New York 4. BO 9-3800. ATS-Active. DINCIN, DIAN. Writer. Station WABF, Colwell Photographer, 38 E. 50th St., 654 Madison Ave., New York 21. RE 4- New York 20. PL 8-0581. ATS-Active. BYERS, WILLIAM GALVIN. The Jam 7457. ATS-Active. Tele-E, R. Handy Organization, 2821 E. Grand Tele-A, K, Q. Blvd., Detroit, Mich. ATS-Active. DON DERO, GERTRUDE. Overseas Radio COMER, VIRGINIA LEE. Consultant on and Stage Consultant, United Service Community Arts. Association of Junior CADDIGAN, LT. COLONEL JAMES L. 58 Organization, 350 Fifth Ave., New Leagues of America. Waldorf-Astoria Berkeley St., Boston, Mass. ATS-Ac¬ York. PE 6-5400. ATS-Active. Tele-E, Hotel, New York 22. ATS-Charter. tive. L, M, Q. Tele-L, R. DONOVAN, MALLOY. Film Distribution, CARLSON, PAUL E. Merchandising Man¬ CONE, WILLIAM. 1030 E. 28th St., ager, Allen B. DuMont Laboratories, Public Relations. 38 E. 36th St., New Brooklyn, N. Y. ATS-Active. Inc., 515 Madison Ave., New York 22. York 16. MU 4-8172. ATS-Active. Tele- PL 3-9800. ATS-Active. Tele F, J. COOLEY, LEE. Director of Television, F, K, L, Q. Ruthrauff & Ryan, 405 Lexington Ave., DORMAN, WILLIAM K. General Man¬ CARLYSLE, MAE WAGNER. Advertising New York 17. MU 6-6400. ATS-Char¬ ager, John H. Perry Associates, 310 E. and Publicity Manager, Dictograph ter. Tele-A, K, M. 45th St., New York 17, N. Y. MU 4- Products, Inc., 580 Fifth Ave., New 1647. ATS-Charter. Tele-A. York 19. BR 9-8540. ATS-Active. Tele- COOPER, MARGARET RICE. Televison A, N, Q. Research, Paramount Pictures, Inc., DOUGHERTY, ANGELINO B. Advertising 1501 Broadway, New York 18. BR 9- Dept., Bloomingdale Bros., Inc., Lexing¬ CARTER. LEE. Walter Thornton Model. 8700. ATS-Active. ton Ave. at 59th St., New York 22. VO 420 Lexington Ave., New York 17. LE 2- 5-5900. ATS-Active. 7215. ATS-Associate. Tele-A, B, D, M. COOPER, WYLLIS. Director of Televi¬ sion, Compton Advertising, Inc., 630 DOUGHNEY, JOSEPH J. Assistant Treas¬ CASS, LEWIS S. Sound Engineer, Para¬ Fifth Ave., New York 20. Cl 6-2800. urer, Allen B. DuMont Laboratories, mount News, 554 W. 43rd St., New ATS-Active. Inc., 1501 Broadway, New York 18. York 18. ME 3-4300. ATS-Active. Tele- CROFT, T/S RUSSELL W. Signal Corps Room 1163. BR 9-8700. ATS-Charter. D, F, H, K, Q. Tele-A, F, G, K, M. Photo Center, 33-11 35th Ave., Long CASSYD, SYDNEY. New York, N. Y. Island City 1, N. Y. AS 8-3500. ATS- DOUGHNEY. T/S JOSEPH J., JR. c/o ATS-Armed Services. Armed Services. Regimental Paymaster, 26th Marines, F.M.F., c/o Postmaster, San Francisco, CURRAN, CHARLES W. Motion Picture CHAMBERS, ALBERT B. Allen B. DuMont Calif. ATS-Armed Services. Laboratories, Inc., 2 Main Ave., Pas¬ Writer, Producer, Director, 385 Madi¬ saic, N. J. Passaic 3-1616. ATS-Active. son Ave., New York 17. PL 8-1727. DUMONT, ALLEN B. President, Allen B. ATS-Active. Tele-K, L, M. DuMont Laboratories, Inc., 2 Main Ave., CHOPNICK, MAX. Attorney, Conner and Passaic, N. J. ATS-Active. D'ALESSIO, GREGORY. Artist. 314 W. Chopnick, 9 E. 46th St., New York 17. 41st St., New York, N. Y. ATS-Active. DUNNING, R. DEL. Account Executive, WI 2-9190. ATS-Active. Tele A, C, K, Ruthrauff & Ryan, 405 Lexington Ave., P, Q. DANZIG. JR., LT. A. USNR. Navy 100, New York 17. MU 6-6400. ATS-Active. FPO, New York, N. Y. ATS-Charter. CHRISTENSEN, H. G. Television Produc¬ Tele-A, G. tion Consultant, Station WAAT; Asso¬ DAVIS, T/S JACK R. Sound Mixer. Sig¬ DUPATY, FRANK. Explorers Club, 10 W. ciate Producer, Caravel Films, Inc., 730 nal Corps Photo Center, 33-11 35th 72nd St., New York 23. ATS-Active. Fifth Ave., New York 19. Cl 7-6112. Ave., Long Island City 1, N. Y. AS 8- ATS-Active. Tele-E, K, L, M, R. 3500, Ext. 123. ATS-Armed Services. DURBAN, CHARLES J. Assistant Direc¬ Tele-E, K, M, R. tor of Advertising. U. S. Rubber Co., CLARK, JAY. Program Producer, Ted 1230 Avenue of the Americas, New Bates, Inc., 630 Fifth Ave., New York DAY, CHON. Artist. 22 Cross St., West¬ York 20. Cl 7-5000. ATS-Active. 20. Cl 6-9700. ATS-Active. Tele-A, E, erly, Rhode Island. ATS-Active. K, L, M. EASTON, ANNELIS. Window Decorator, DAY, DOUGLAS. General Manager, Bu¬ Bloomingdale Bros., Inc., Lexington CLAWSON. FRANK. Maple Rd., River¬ chanan & Co., Inc., 1501 Broadway, Ave., and 59th St., New York 22. VO 5- side, Conn. ATS-Active. New York 18. ME 3-3380. ATS-Active. 5900. ATS-Active.

80 EBEL, WILLIAM K. Vice-President in FROMER, JOSEPH. Supervisor, National GRIFFIN, P. J. Vice President, Institutum charge of Engineering, The Glenn L. Radio Service, 57 First Ave., New York Divi Thomae, 1842 Madison St., Cin¬ Martin Co., Middle River, Md. ATS- 3. ATS-Charter. Tele-G, H. cinnati, Ohio. University 3460. ATS- Active. Active. FROMM, LLOYD. Signal Corps, Camera ECKSTEIN, JOHN H. Time, Inc., 9 Rock¬ Dept., Long Island City, N. Y. ATS- GRIFFIS, TONI HUGHES. Artist. 4 Sutton efeller Plaza, New York 20. Cl 5-4400. Armed Services. Square, New York 22. PL 5-7737. ATS-Active. Tele-E, M, P. ATS-Charter. Tele-S. FUHRMANN, PHILIP. Sales Manager, EDWARDS. JONATHAN. Director, Amer¬ DuMont Television Station WABD, 515 GROSS. R. H. 323 West 4th St., New ican Academy of Dramatic Arts, Car¬ Madison Ave., New York 22. PL 3-9800. York. ATS-Active. negie Hall, Seventh Avenue at 57th St., ATS-Active. New York 19. Cl 7-2630. ATS-Charter. HAINES, MRS. FRANK D. Camp Hill Rd., FURSE, CORP. RUSSELL R. Signal Corps Tele-E, F, I, M, R. Whitemarsh, Pa. ATS-Active. Photo Center, Astoria, Long Island. EGERT, HELEN. 512 Fifth Ave., New ATS-Armed Services. HALE, CHARLES G. W. Forest and York 18. EL 5-1294. ATS-Charter. Spruce Drives, East Northport, L. I. GANZ, WILLIAM P. Motion Picture Pro¬ ATS-Active. EHALT, MRS. GEORGE S.. JR. Syndicate ducer. 40 E. 49th St., New York, N. Y. Store Merchandiser, 79 Madison Ave., EL 5-1444. ATS-Active. Tele-A, F, HALLIDAY, JACKSON. Columbia Pic¬ New York 10. MU 3-5362. ATS-Active. J, Q- tures Corp., 1438 Gower St., Holly¬ Tele-M, N, P, Q. wood, Calif. HO 3181. ATS-Charter. GAUBERT, HELEN A. Bibliographical Re¬ Tele-E. ENGEL, DAYE. 45 Fifth Ave., New York searcher and Cataloguer. James F. 3. ATS-Active. Drake, Inc., 24 W. 40th St., New York HALPERN, DAVID HALE. Vice President, 18. PE 6-2380. ATS-Charter. Tele-F. radio and television. Owen & Chappell, ESTABROOK, TED. American Film Cen¬ Inc., 595 Madison Ave., New York 22. ter, 630 Fifth Ave., New York 20. GENOCK, E. P. News Editor, Paramount PL 8-2400. ATS-Charter. Tele-A, K, L, ATS-Active. News, 554 W. 43rd St., New York 18. ME 3-4300. ATS-Charter. Tele-F, H, M. M, Q. FAIR, CHARLES MAITLAND. Production Manager, Writer, Cedarhurst Play¬ GETTS, CLARK H. President, Clark H. HALPIN, DAN D. Manager, Television house. Cedarhurst 4495. 34 E. 65th St., Getts, Inc., 430 Park Ave., New York Receiver Sales, Radio Corp. of America, New York 21. ATS-Active. Tele-E, M, 22. PL 8-0910. ATS-Active. Tele-M, T. RCA Victor Division, Front and Cooper R. Sts., Camden, N. J. Camden 8000. ATS- GILBERT. CAROLINE LEE. Research, Charter. Tele-A, J, N. FAUST. JEROME. 627 W. 115th St., New Buchanan & Company, Inc., 1501 Broad¬ York 25. ATS-Active. way, New York 18. ME 3-3380. ATS- HAMMIL, JOEL S. Head of Radio Writ¬ er’s Dept., Music Corp. of America, 745 FELDSTEIN, PEARL F. Copywriter, R. H. Active. Fifth Ave., New York 22. WI 2-8900. Macy & Co., 34th St. and Herald Square, GILMOUR, CAPT. JOHN G. T. U.S.A. ATS-Active. Tele-M, R. New York 1. CH 4-2000, Ext. 2362. Signal Corps Service Center, Astoria, ATS-Associate. Tele-A, E, L, N, R. Long Island. ATS-Armed Services. HAMMOND, LAURENCE. Producer-writer, FERRIS, EARLE. 41 Fifth Ave., New “Keeping Up With the Wigglesworths.” GOLDBERG, LEON S. Sales Advertising York 3. ATS-Active. 33 W. 51st St., New York 20. VO 5- Director. Smith-Gray Corp., 740 Broad¬ 2000. ATS-E, F, M, Q, R. FLORMAN, LT. ARTHUR. Signal Corps way, New York 3. GR 7-0055. ATS- Photo Center, 35-11 35th Ave., Long Charter. Tele-A, J, N, Q. HARDY, KAY. Writer, Designer. 356 E. Island City 1, N. Y. AS 8-3500. ATS- 57th St., New York 22. PL 8-1750. ATS- GOLDBERG, RUBE. Cartoonist. 140 W. Armed Services. Active. Tele-A, F, R. 57th St., New York 19. ATS-Active. FLORY, JOHN. Motion Picture Producer HAUSER. FRANKLIN. The School of and Director, Grant, Flory & Williams, GOLDMARK. DR. PETER T. Columbia Broadcasting System, Inc., 485 Madison Radio Technique, Inc., RKO Bldg., 441 Lexington Ave., New York 17. MU Rockefeller Plaza, New York 20. Cl 7- 2-8127. ATS-Charter. Tele-E, F, K, Ave., New York 22. WI 2-2000. 0193. ATS-Active. L, T. GOLDSMITH, MURIEL. Automobile Old FOSTER, ORVILLE. In charge of FM, Timers, 45 E. 45th St., New York 17. HELLER, LT. MARTIN H. Hq. 331st Bomb. Gp., APO 246, c/o Postmaster, San South Bend Tribune Radio Station MU 6-7266. ATS-Associate. Tele-B, K, WSBT, South Bend, Ind. ATS-Charter. L, Q. Francisco, Calif. ATS-Armed Services. Tele-F. Tele-A. GOLDSTEIN, PAULINE. Paramount Pic¬ FOX. FONTAINE. Cartoonist. 1 W. Elm tures, Inc., 1501 Broadway, New York HERMAN, ALBERT. 130 W. 12th St., New St., Greenwich, Conn. ATS-Active. 18. BR 9-8700. ATS-Active. York 11. ATS-Active.

FRANK, JAMES, JR. Sales Executive, Na- GOODWIN, BERNARD. Executive. Para¬ HERMAN, JUSTIN. Writer. Paramount tional-Simplex-Bludworth, Inc., 356 W. mount Pictures, Inc., 1501 Broadway, Pictures, 1501 Broadway, New York 18. 44th St., New York 18. Cl 5-6900. ATS- New York 18. BR 9-8700. ATS-Active. BR 9-8700. ATS-Active. Active. Tele-G. Tele-C. HERMAN. MARILYN L. Copywriter. FRANKLIN, DEL. Commercial Writer. GORDON. DOROTHY. The New York Gimbel Bros., 33rd Street and Broad¬ Station WSRR, 270 Atlantic St., Stam¬ Times, 229 W. 43rd St., New York 18. way, New York 1. LO 5-1500. ATS- ford, Conn. Stamford 4-7575. ATS-As¬ LA 4-1000. ATS-Active. Associate. Tele-A, K, Q, R. sociate. Tele-A. GOULD, HARRIET. Writer and Publicist. HERTZ, JOHN, JR. Chairman of the FREEDLEY, GEORGE. Librarian, Theatre 53 E. 93rd St., New York 28. AT 9- Board, Buchanan & Co., 1501 Broadway, Collection of the New York Public 9438. ATS-Active. Tele-E, K, L, M. Library, 476 Fifth Ave., New York 18. New York 18, N. Y. ME 3-3380. ATS- BR 9-1500. ATS-Active. Tele-F, P, R. GREENE. JEROME GEORGE. Promotion Active. writer. Columbia Broadcasting System, FREEMAN, JOAN. Free-lance Advertis¬ Inc., 485 Madison Ave., New York 22. HEWLETT. JOHN. Writer-director. U. S. ing. 17 E. 96th St., New York 28. AT 9- WI 2-2000. ATS-Active. Tele-A, C, J, Rubber Co., 1230 Avenue of the Amer¬ 3440. ATS-Active. Tele-G, M. L, N. icas, New York 20. Cl 7-5000. ATS- Active. Tele-A, D, L, M, R. FROHLICH, RICHARD P. Director of GREW, AGNES M. President, Grew As¬ Public Relations, ASCAP, 30 Rocke¬ sociates, Inc., 9 Rockefeller Plaza, New HILTON, NED. Artist. Esquire, 919 N. feller Plaza, Room 4507, New York 20. York 20. Cl 6-5855. ATS-Active. Tele- Michigan Ave., Chicago 11, Ill. ATS- CO 5-7464. ATS-Active. Tele-L, N, Q. M, Q, R. Active.

81 HIRSCH, MURRAY. Advertising Execu¬ JOHNSON, F. MERLE. Motion Pictures— KLEINMAN, CHARLES H. Commercial tive. Ray-Hirsch and Waterston Co., 7 Dept, of Public Relations, General Mo¬ Engineer, Radio Corp. of America, RCA E. 42nd St., New York 17. MU 2-1412. tors Corp., 1775 Broadway, New York. Victor Division, 411 Fifth Ave., New ATS-Charter. Tele-A. Cl 7-6500. ATS-Active. York 16. AS 4-7605. ATS-Charter. Tele- C, G, H, L, V. HIRSCHMANN, IRA A. Vice President, JOHNSTON. MARK E. National Design Metropolitan Television, Inc., 654 Mad¬ Service, 96 Liberty St., New York 6. KLING, MEYER. 3230 Cruger Ave., Bronx ison Ave., New York 21. ATS-Active. ATS-Active. 67, N. Y. ATS-Active.

HIRSH. MAJOR JOSEPH. Paramount JONES. BARBARA E. 55 Valley Rd., KNIGHT, PAUL. Program Manager, Pictures, Inc. c/o Gene Martel, 1501 Bronxville, N. Y. Bronxville 2-3866. WPTZ. Philco Corp., Television Broad¬ Broadway, New York 18. BR 9-8700. ATS-Active. Tele-A, E, F, L, M. casting Division, Tioga and “C” Streets, ATS-Armed Services. Philadelphia 34, Pa. Nebraska 5100. JONES, REBA. Editor of The Wiar. Wo¬ HODE, HAL. Executive, Columbia Pic¬ ATS-Active. Tele-D, E, F, L, M. men’s Institute of Audience Reaction, 9 tures Corp., 729 Seventh Ave., New Rockefeller Plaza, New York 20. Cl 6- KOBAK, EDGAR. President, Mutual York 19. BR 9-7900. ATS-Active. Tele- 5855. ATS-Active. Tele-F, Q. Broadcasting System, 1440 Broadway, J, K, L, N, Q. New York 18. PE 6-8600. ATS-Active. JORDAN, EDWARD W. Radio Technician, HOOPER, DICK. Radio Corp. of America, Tele-T. Jordan Radio Service, Inc., 312 Halsey Camden, N. J. Camden 8000. ATS- St., Newark 2, N. J. Main 2-6167-8. KOGEN, LAWRENCE GUY. USNR. Capi¬ Charter. Tele-E, N, Q. ATS-Active. Tele-U. tol Hotel, 51st St. and Eighth Ave., HOPE, BOB. Comedian. Paramount Pic¬ New York 19. Cl 6-3700. ATS-Armed JOYNER, SARA GROSS. Supervisor of tures, Inc., 5451 Marathon St., Los Services. Tele-D, E, L, M. Art, State Board of Education, State Angeles, Calif. HO 2411. ATS-Active. Office Bldg., Richmond 16, Virginia. KORNFIELD, KURT. 30 Parcot Ave., New HOWE, QUINCY. CBS News Commen¬ ATS-Active. Tele-F. Rochelle, N. Y. ATS-Active. tator, Columbia Broadcasting System, JURIN, MILTON I. Franklin Bruck Ad¬ KRIEG, SAUL. Publicity Manager, Phil¬ Inc., 485 Madison Ave., New York 22. vertising Corp., 1270 Avenue of the lips H. Lord, Inc., 501 Madison Ave., WI 2-2000. ATS-Active. Americas, New York 20, N. Y. Cl 7- New York 22. WI 2-2211. ATS-Charter. Tele-M, N, Q. HUGHES, FRANCES. 6 W. 52nd St., New 7660. ATS-Charter. Tele-A, R. York 19. ATS-Active. KALMUS, ALLAN H. Public Relations, KUGEL, FREDERICK A. Publisher. Televi¬ HUGHES. LAWRENCE M. Executive Edi¬ National Broadcasting Company, 30 sion Magazine, 500 Madison Ave., New tor, Advertising Age, 330 W. 42nd St., Rockefeller Plaza, New York 20. Cl 7- York 22. PL 3-5748. ATS-Charter. New York 18. BR 9-6431. ATS-Charter. 8300. ATS-Active. Tele-P, Q. Tele-P. Tele-A, K, N, P, Q. KALTENBORN, H. V. Radio News Com¬ LA HAYE, JUDSON JR. 105 E. 15th St., HUNT, JOHN S. JR. Transmitter Sales, mentator. 167 E. 64th St., New York New York 3. ATS-Armed Services. Allen B. DuMont Laboratories, Inc., 21. RE 4-3344. ATS-Active. Tele-L, M, Q, R. 515 Madison Ave., New York 22. PL 3- KAPLAN, BORIS. Paramount Pictures, LAJOIE, MARK B. 82 Second Ave., New¬ 9800. ATS-Active. Tele-G. Inc., 1501 Broadway, New York 18. ark, N. J. ATS-Charter. BR 9-8700. ATS-Active. HUSTON. THEODORE JR. Ruthrauff & LANDSBERG, KLAUS. General Manager, Ryan, Inc., 405 Lexington Ave., New KAPLAN, LT. BORIS. U. S. Army Signal Station W6XYZ. Television Produc¬ York 17. MU 6-6400. ATS-Charter. Corps Photo Center, 35-11 35th Ave., tions, Inc., 5451 Marathon St., Holly¬ HUTCHINSON. J. RAYMOND. Education¬ Astoria, L. I. AS 8-3500. ATS-Armed wood, Calif. ATS-Active. Services. Tele-E, K, L, M. al and Pictorial Specialist. Dept, of LANEY, H. LEACH. Publisher, Editor State, Washington 25, D. C. Republic KATZ, OSCAR. Associate Director of and Publisher, Times Tower, Times 5600. ATS-Charter. Tele-F. Research, Columbia Broadcasting Sys¬ Square 18, N. Y. BR 9-3052. ATS- HUTCHINSON, THOMAS H. Television tem, Inc., 485 Madison Ave., New York Active. Tele-P. 22. WI 2-2000. ATS-Active. Producer. 16 Ervilla Drive, Larchmont, LANNON, JAMES A. Ait Director, Buch¬ N. Y. ATS-Charter. KAVANAGH, JULIA. Columbia Broad¬ anan & Company, Inc., 1501 Broadway, New York 18. ME 3-3380. ATS-Active. HYLAND, EDWARD F. Cameraman, Sound casting System, Inc., 485 Madison Ave., Tele-A, E, K, S, T. Masters, Inc., 165 W. 46th St., New New York 22. WI 2-2000. ATS-Active. York 18. BR 9-4676. ATS-Active. Tele- KAYE, GERALD O. Merchandise Man¬ LAWTON, DORIS H. Associate Editor, D, E, K. ager, Bruno-New York, Inc., 460 W. Advertising Age, 330 W. 42nd St., New ILSLEY, MYRTLE. Sales Promotion, Co¬ 34th St., New York 1. ME 3-5716. ATS- York 18. BR 9-6431. ATS-Active. Tele- lumbia Broadcasting System, Inc., 485 Active. Tele-A, C, J, L, N. P, Q- Madison Ave., New York 22. WI 2-2000. KELLMAN, NAOMI. Copywriter, Grey LAYTON, GEORGIA LEE. Free-lance ATS-Charter. Tele-A, F, P. Advertising Agency, 166 W. 32nd St., Radio Writer-director. 330 W. 23rd St., ISRAEL, ARTHUR JR. Assistant to Presi¬ New York 1. CH 4-3900. ATS-Charter. New York 11. CH 3-6238. ATS-Charter. dent, Paramount Pictures, Inc., 1501 Tele-A, K, R. Tele-A, E, L, M, N, R. Broadway, New York 18. BR 9-8700. KENNETT, DON S. Broadcasting. Ken- LEAMON, JAMES. 1657 Broadway, New ATS-Active. Tele-G, K. nett, Brown, Lord & Co., 545 Fifth Ave., York 18. ATS-Charter. JANKAY. STEPHEN. USNR. 672 Echo New York 17. MU 2-4218. ATS-Active. LEE, OLGA. Actor’s and Author’s Repre¬ Park Ave., Los Angeles, Calif. ATS- Tele-A, C, K. sentative. Liebling-Wood, 551 Fifth Armed Services. Tele-L, M. KING, A. LEWIS. Commercial Manager, Ave., New York 17. VA 6-3714. ATS- JENKINS. EDITH. 4220 E. Olympic Blvd., Station WPAT, 1 Church St., Paterson Charter. Tele-L. Los Angeles 23, Calif. ATS-Associate. 1, N. J. PEN 6-2945. ATS-Charter. Tele-A, C, E, K, M. LEE, SELMA. Talent. William Morris JERAULD. JAMES M. Editor, Box Office, Agency, 1270 Avenue of the Americas, 9 Rockefeller Plaza, New York 20. CO KLEEMAN, LT. RICHARD. 320 E. 57th New York 20. Cl 7-2160. ATS-Charter. 5-6370. ATS-Active. Tele-A, G, K, P, Q. St., New York 22. ATS-Armed Services. Tele-L, M. Tele-F, L, M, T. JOFFE, CONSTANTIN. Staff Member, LEHR, GLORIANNE. Free-lance Producer Conde Nast Publications, Inc., 420 Lex¬ KLEIN, SK 1c ARMIN EDMOND, USNR. and Commentator; Fashion Show Direc¬ ington Ave., New York 17. PL 3-5266. 2800—44th St., S.E., Washington 20, tor. Birchwood Lane, Great Neck, L. I. Tele-A, K, L, M, N. D. C. ATS-Armed Services. ATS-Active. Tele-B, E, J, M, R.

82 LEIGH, DOUGLAS B. Advertising. Doug¬ MARX, ERNEST A. General Manager, MICHEL, JO. Writer. 600 W. 111th St., las Leigh, Inc., 630 Fifth Ave., New Television Division, Allen B. DuMont New York 25. MO 2-8027. ATS-Active. York 20. Cl 6-6155. ATS-Active. Tele- Laboratories, Inc., New York office: 515 Tele-E, M, R. Madison Ave., New York 22. PL 3-9800. A, D. MILLER, BERTON L. P. O. Box 260, ATS-Active. Tele-J, L, N, S. LERNER, PFC. JOSEPH. Director-writer, Ulysses, Kansas. ATS-Active. Columbia Pictures Corp., Signal Corps MASPERO, LUCILLE. 68-10 Continental MILLER, CHESTER H. Director of Radio, Photo Center, 35-11 35th Ave., Long Ave., Forest Hills, L. I. ATS-Associate. Calkins & Holden, 247 Park Ave., New Island City, N. Y. AS 8-3500. ATS- York 17. WI 2-6900. ATS-Active. Tele- MAURER, CARL D. Engineer, Paramount Armed Services. Tele-E, K, M, R. A, E, L, M, R. Pictures, Inc., 1501 Broadway, New LESTER, W. M. Celanese Plastic Corp., York 18. BR 9-8700. ATS-Active. MOFFATT, MRS. ALFRED. Fashion Artist. 180 Madison Ave., New York 16. LE Tele-H. Bloomingdale Bros., Inc., Lexington 2-5050. ATS-Active. Tele-G. Ave. at 59th St., New York, N. Y. MAY, D. W. Distributor, D. W. May VO 5-5900. ATS-Active. Tele-A, D, I, S. LEVEN, JANET. Buchanan & Co., 1501 Corp., 1 E. 42nd St., New York 17. MU Broadway, New York 18. ME 3-3380. 2-7924- ATS-Charter. Tele-G, J. MOGUL, EMIL. 250 W. 57th St., New ATS-Active. York 19. ATS-Charter. MAYER, RICHARD I. Assistant Director. LEVEY, ARTHUR. President, Scophony MONETT, NEG. Sci'ipt writer. General U. S. Army Signal Corps. Photo Center, Delivery, Frankfort, Michigan. ATS- Corp. of America, 527 Fifth Ave., New 35-11 35th Ave., Long Island City, N. Y. York 17. MU 2-5960. ATS-Charter. AS 8-3500. ATS-Armed Services. Tele- Active. Tele-E, L, M, R. LEVIN. BRUNS. 1001 President St., A, B, E, L, M. MONK, RICHARD C. Salesman, Allen B. Brooklyn 25, N. Y. ATS-Active. DuMont Laboratories, Inc., 515 Madison MAYER, WILLIAM. Engineer, Mayfloor Ave., New York 22. PL 3-9800. ATS- Products Corp., 34 Hillside Avenue, LEVINE. PFC. HAROLD. 138-38 78th Dr., Active. Tele-G, J. Flushing, L. I. ATS-Armed Services. Katonah, N. Y. Katonah 726. ATS- Charter. Tele-D, G, H, K. MORANGE, EDWARD A. Artist. Morange LEVINE. JACK. Television Consultant. Studios, 530-532 W. 47th St., New York MAYNES, RUTH LINDSAY. Radio Shop¬ Stuart Machine & Tool Co., 350 Halsey 19. Cl 6-7757. ATS-Charter. Tele-M, ping News, Bloomingdale Bros., Inc., St., Newark, N. J. Market 3-1367. ATS- N, R, S. Lexington Ave. at 59th St., New York, Charter. Tele-C, G, L, M, T. N. Y. VO 5-5900. ATS-Active. Tele-A, MORGAN, OSCAR A. Executive, Para¬ LEWIS, DIONE. Producer-director. 7 E. J, L, R, T. mount Pictures, Inc., 1501 Broadway, 75th St., New York 21. WI 2-3600. New York 18. BR 9-8700. ATS-Active. McCALL, MARIE. Free-lance script ATS-Active. Tele-D, E, K, M, R. Tele-J, K, L, M, T. writer. 225 W. 69th St., New York, LIGGETT, S. S. Sales Manager, Universal N. Y. SU 7-1124. ATS-Active. Tele-E, MORRIS, ARTHUR. Zenith Radionics Pictures, 913 Jersey Ave., Washington M, R. Corp. of New York, 350 Fifth Ave., New York 1. PE 6-6877. ATS-Active. 1, D. C. Dist. 4505. ATS-Charter. Tele- McCLENEN, WILLIAM D. Research. Buch¬ Tele-G, J. K. anan & Company, Inc., 1501 Broadway, New York 18. ME 3-3380. ATS-Active. LINDQUIST, C. ALBIN. Copywriter, Hum¬ MORRIS, WILLIAM. President, William Morris Agency, Inc., 1270 Avenue of bert & Jones, Advertising Agency, 228 McCLURE, DON. Head, Television Bur¬ the Americas, New York 20. Cl 7-2160. E. 45th St., New York 17. MU 2-7570. eau. N. W. Ayer & Son, 30 Rockefeller ATS-Active. ATS-Active. Tele-A, C, K, M, R. Plaza, New York 20. Cl 6-0200. ATS- Charter. Tele-A, E, J, K, L, M. MORRIS, WILLIAM J. Production Super¬ LURIE, DONALD. Paramount Pictures, visor of Motion Pictures. J. Walter Inc., 1501 Broadway, New York 18. McCOMAS, HENRY A. Boots Aircraft Thompson Co., 420 Lexington Ave,, BR 9-8700. ATS-Active. Nut Corp., New Canaan, Conn. ATS- New York 17. MU 3-2000. ATS-Charter. Active. MAHONY, M. F. Ruthraulf & Ryan, Inc., Tele-A, E, K, M. 405 Lexington Ave., New York 17. McDOUGAL, EDWARD F. 20 Clark St., MOUNT, LT. ROBERT H. Signal Corps MU 6-6400. ATS-Active. Lynbrook, L. I. ATS-Charter. Photo Center, 35-11 35th Ave., Long Island City, N. Y. ATS-Armed Services. MAINWARING, MARY LOUISE. Produc¬ McFADDEN, DOROTHY L. President, Pro¬ tion. Transfilm, Inc., 35 W. 45th St., ducer, Junior Programs, Inc., 22 Law¬ MUIR, PFC. E. ROGER. Signal Corps New York 19. BR 9-6540. ATS-Active. rence St., Newark 5, N. J. Market 3- Photo Center, 35-11 35th Ave., Long Tele-K, L, M. 0770. ATS-Active. Tele-L, M, R. Island City, N. Y. ATS-Armed Services.

MANILLA, JAMES N. Advertising. Comp¬ McHUGH, KEITH S. Vice President, MURRAY, PATRICIA HERNON. Associate ton Advertising, Inc., 630 Fifth Ave., American Telephone & Telegraph Co., Editor, TV, Telecasting Publications, New York 20. Cl 6-2800. ATS-Charter. 169 Broadway, New York 7. ATS-Ac¬ Inc., 103 Park Ave., New York 17. Tele-A, K. tive. MU 4-1562. ATS-Active. Tele-B, M, R.

MANVILLE, RICHARD. Business Consult¬ McKAY, DOROTHY. Artist. 9 Christopher MURRAY. RICHARD F. Asst. General ant. Richard Manville, Consultant on St., New York 14. CH 2-8832. ATS- Manager, ASCAP, 30 Rockefeller Plaza, Mass Response. 1 E. 42nd St., New Active. New York 20. CO 5-7463. ATS-Active. York 17. MU 2-0458. ATS-Active. Tele- A, C, L, P. McKEON, J. G. 57-37 211th St., New MYER, DWIGHT A. Engineer, Westing- York 25. ATS-Charter. house Radio Stations, Inc., 1619 Wal¬ MARSHALL, LAWRENCE K. President, nut St., Phila., Pa. ATS-Charter. Raytheon Manufacturing Co., 55 Chapel McKEON, SGT. PETER T. Unit Head¬ St., Newton, Mass. ATS-Active. quarters, Section C-7, C.A.A.F., Colum¬ NAGLE, EDWARD. Paramount News, 544 bus, Miss. ATS-Armed Services. W. 43rd St., New York, N. Y. ME 3- MARTEL, GENE. Motion Picture Director, 4300. ATS-Active. Paramount Pictures, Inc., 1501 Broad¬ McMANUS, JOHN A. Editor, motion way, New York 18. BR 9-8700. ATS- picture film. 103 E. 86th St., New York NATHANSON, PVT. ALBERT. Asst. Mo¬ Active. Tele-E, L, M. 28. AS 8-3500. ATS-Armed Services. tion Picture Producer, Co. M, 127th Tele-D, E, K, T. Inf. APO 32, c/o Postmaster, San MARTINI, ROLAND. Vice-President in Francisco, Calif. ATS-Armed Services. Charge of Radio, Gardner Advertising MERRYMAN, PHILIP. National Broad¬ Co., 9 Rockefeller Plaza, New York 20. casting Company, 30 Rockefeller Plaza, NELSON, BETTY. 210 Riverside Drive. CO 5-2000. ATS-Active. Tele-A, K, M. New York 20. Cl 7-8300. ATS-Active. New York 25. ATS-Active.

83 NELSON, RAYMOND D. Vice President RAMPELL, ELEANOR. 10 Monroe St., SCHLOSSER, HENRY H. Toy Designer, in charge of Television, Charles M. New York 2. ATS-Active. Mfr. Box 222, Roslyn, N. Y. Wheatley Storm Co., 50 E. 42nd St., New York Hills 1505. ATS-Active. Tele-S. 17. MU 6-2820. ATS-Charter. REED. PFC. HOWARD. 969 Carroll St., Brooklyn, N. Y. ATS-Armed Services. SCHMIDT, GEORGE LEROY. Newsreel NOBLE, JOSEPH VEACH. Cinematog¬ cameraman and engineer, Pathe News, REIN ACH, MARY. 19 Heathcote Rd., rapher. Signal Corps Photo Center, Inc., 625 Madison Ave., New York 22. Scarsdale, New York. ATS-Active. 35-11 35th Ave., Long Island City, N. Y. PL 3-4400. ATS-Active. Tele-D, G, H, K. AS 8-3500. ATS-Armed Services. Tele- REINHARDT, GEORGE N. Motion picture A, D, E, K, M. SCHMIT, D. F. Director of Engineering, cameraman. U. S. Army Signal Corps, Radio Corporation of America, RCA NOBLES, CHARLES E. Radar Engineer, 105 E. 192nd St., New‘York 58. ATS- Victor Division, Camden, N. J. ATS- Westinghouse Electric Corp., 200 W. Armed Services. Tele-K, T. Active. Baltimore St., Baltimore, Md. ATS- Active. RICHARDSON, GEORGE EDWARD. Buch¬ anan & Co., Inc., 1501 Broadway, New SCHNEIDER, PFC MELVIN M. Columbia NORCROSS, STERLING E. Sales Engi¬ York 18. ME 3-3380. ATS-Active. Pictures Corp., 729 Seventh Ave., New neer. 35 Walnut St., Bloomfield, N. J. Tele-A. York 19. BR 9-7900. ATS-Armed Bloomfield 2-1955. ATS-Active. Tele-A, Services. Tele-A, D, K, M, R. J, K, N. RICHARDSON, T/S ROBERT T. Signal Corps Photo Center, 35-11 35th Ave., SCHNEIDER. WILLIAM H. Donahue & O'MALLEY, WILLIAM. Cartoonist. 4188 Long Island City, N. Y. AS 8-3500. Coe, Inc., 1270 Avenue of the Americas, Park Blvd., Oakland 2, California. ATS- ATS-Armed Services. New York 20. CO 5-4252. ATS-Active. Active. Tele-A, D, K, L. RICKENBACHER, PAUL A. Director of ORIOLO, JOSEPH. Famous Studios, 25 Radio and Television, Foote, Cone & SCHUSTER, CSp(P) ALBERT C. Instruc¬ W. 45th St., New York 19. ATS-Active. Belding, 247 Park Ave., New York 17. tor, sound recording. U.S.N.R. U.S. Naval Photo Science Laboratory, Ana- PARTINGTON. T/S JACK A. JR. 3229 WI 2-6600. ATS-Active. Tele-A. costia, D. C. FR 1400. ATS-Armed Ser¬ Signal Photo Prod. Det., Signal Corps RIPPEN, T/S ROBERT L. Signal Corps vices. Tele-D, H, K, M. Photo Center, 35-11 35th Ave., Long Photo Center, 35-11 35th Ave., Long Island City, N. Y. AS 8-3500. ATS- Island City, N. Y. AS 8-3500. ATS- SCHWARTZ, LEONARD F. 317 W. 93rd Armed Services. Tele-A, L. Armed Services. St., New York 25. ATS-Charter. Tele- E, M. PATTERSON, JEANNE. Secretary, Charles M. Storm Co., 50 E. 42nd St., New York RIVERA, S/SGT. ART. Producer, news¬ SEIDMAN, JULES. International Club, 17. MU 6-2820. ATS-Active. Tele-D, M, caster, announcer, Armed Forces Radio, Columbia University, New York 27. R, S. 224 W. 57th St., New York, N. Y. Cl 6- 4400. ATS-Armed Services. Tele-A, E, ATS-Active. PEIRCE, EVELYN BARNES. Head of Day K, L, M. Time Radio, Compton Advertising, Inc., SEMRAU, SGT. WALTER S. Sqd. K, 2135th 630 Fifth Ave., New York 20. Cl 6-2800. ROBERTSON, BRUCE. Editor, Broadcast¬ A.A.F. B.U., Tyndall Field, Panama ATS-Charter. Tele-D, E, L, M. ing Magazine, 250 Park Ave., New York City, Fla. ATS-Armed Services. Tele- 17. PL 5-8355. ATS-Charter. Tele-A, P. A, J, N. PENTLARGE, ALICE. Co-moderator, pro¬ ducer, “What’s On Your Mind?” Sta¬ ROBINSON, JAMES E. Consultant, Air SERENO, PAOLO. Producer. 90 Bank tion WQXR. 320 E. 57th St., New York Pictures, Inc., and American Optical St., New York 14. CH 3-1647. ATS- 22. LA 4-1000. ATS-Charter. Tele-F, L, Co., 19 Doat St., Buffalo 11, N. Y. Active. Tele-A, E, L, M. M, N, T. LI 5111. ATS-Active. Tele-A, C, H. SHANE, IRWIN A. Editor-Publisher, PERLSTEIN, ED. Executive, Lee Letter ROCKAFELLOW, RALPH. Writer, Buch¬ Television Workshop, Televiser Maga¬ Service, 19 W. 44th St., New York 18. anan & Co., Inc., 1501 Broadway, New zine, 11 W. 42nd St., New York 18. VA 6-4137. ATS-Active. Tele-A, N, Q. York 18. ME 3-3380. ATS-Active. Tele- LO 5-1683. ATS-Charter. Tele-L, P. PETT, LEWIS E. Engineer, Allen B. Du¬ A, M, N, R. SHELDON, JAMES. Radio director-writer, Mont Laboratories, Inc., 515 Madison MacFarland Aveyard & Co., 10 Rocke¬ Ave., New York 22. PL 3-9800. ATS- ROSEN, NORMAN. Television Director, feller Plaza, New York 20. Cl 6-2890. Active. Tele-G, J, Q. J. Walter Thompson Co., 420 Lexington ATS-Active. Tele-A, E, M, R. Ave., New York 17. MU 3-2000. ATS- POPPELE, JACK. Chief Engineer, Radio Charter. Tele-A, C, E, L, R. Station WOR, 1440 Broadway, New SHERMAN, HARRY. Editor, Internation¬ York 18. PE 6-8600. ATS-Active. ROSENBERG, EMANUEL. Transamerican al Projectionist, 19 W. 44th St., New York 18. MU 2-2948. ATS-Active. PORTER, PAUL. Chairman, Federal Com¬ Broadcasting and Television Corp., 1 E. 54th St., New York, N. Y. ATS-Active. munications Commission, Washington SHORTT, HUBERT L. President, Polytron 25, D. C. ATS-Active. ROSENTHAL. JEAN. Theatre Production Corporation, 133 Martine Ave., White POWEL, LYDIA. Teachers’ College, 525 Service, Inc., 1430 Broadway, New Plains, N. Y. White Plains 8608. ATS- W. 120th St., New York 27. ATS-Ac- York 18. LO 5-7039. ATS-Active. Tele- Active. Tele-G, H. tive. L, M, S. SHUPERT, GEORGE T. Television Execu¬ POWER, DR. LEONARD. Educational Con¬ RUBENSTEIN, MARION. 30 Clinton St., tive, Paramount Pictures, Inc., 1501 sultant. 2 W. 45th St., New York 18. Newark 2, N. J. ATS-Active. Broadway, New York 18, N. Y. BR VA 6-0600. ATS-Charter. Tele-F, G, J. 9-8700. ATS-Charter. RUDOLPH, ALAN G. 340 W. 57th St., PRICKETT, CHARLES F. Manager, Pasa¬ New York, N. Y. ATS-Active. SIEGEL, CHARLES. Pilot. 61 Nesmith St., dena Playhouse, 39 S. El Molino Ave., Lawrence, Mass. ATS-Active. Tele-A, Pasadena 1, Calif. ATS-Active. SAFTLER, HAROLD B. 2600 Briggs Ave., L, M, N. New York 58. ATS-Active. Tele-A, L, QUIGLEY, MARTIN, JR. Associate Editor, M, N. Quigley Publishing Co., 1270 Avenue of SIMMONS, IRA H. Motion Picture Pro¬ the Americas, New York 20. Cl 7-3100. SARNOFF, BRIG. GENERAL DAVID. Presi¬ ducer. 542 Fifth Ave., New York, N. Y. ATS-Active. dent, Radio Corporation of America, 30 ATS-Active. Rockefeller Plaza, New York 20. CO 5- RAIBOURN, PAUL. President, Television SIMMONS. T/5 STANLEY H. 3908 S. Sv. 5900. ATS-Active. Productions, Inc.; Economist, Para¬ Bn. (Photo GHQ), APO 887, c/o Post¬ mount Pictures, Inc., 1501 Broadway, SCHIFFMAN, BLANCHE E. 996 Carroll master, New York, N. Y. ATS-Armed New York 18. BR 9-8700. ATS-Active. St., Brooklyn 25. ATS-Active. Services.

84 SKINNER, CHARLES E. Motion Picture SUBOTSKY, MILTON. Motion Picture VREELAND, FRANK. Writer, United Art¬ Producer-director. U. S. Army Signal Writer-director. 1859—53rd St., Brook¬ ists Corporation, 729 Seventh Ave., Corps Photo Center, 35-11 35th Ave., lyn, N. Y. ATS-Armed Services. Tele- New York 19. BR 9-7300. ATS-Charter. Long Island City, N. Y. AS 8-3500. E, F, K, M, R. Tele-M. ATS-Armed Services. Tele-A, C, E, K, M. SWENSON, WALTER J. Engineer, Para¬ WAGMAM, DAVE. Sales Manager, Bruno- New York, 460 W. 34th St., New York SMALLEY, FRANK M. Administrative mount Pictures, Inc., 1501 Broadway, 1. ME 3-5716. ATS-Active. Tele-G, J. Assistant. 4 Soldiers Place, Buffalo, New York 18. BR 9-8700. ATS-Active. York 19. Cl 6-5280. ATS-Active. Tele-H. WALLACE, LEE. Executive Producer, Lee SWIFT, LELA. Assistant Director-writer, Wallace Teleshows, 56 East 53rd St., SMITH, FLETCHER. Producer of Ani¬ CBS Television, 15 Vanderbilt Ave., New York 22. EL 5-6794. ATS-Active. mated Motion Pictures, Fletcher Smith New York 17. MU 6-6340. ATS-Charter. WALSH. M. A. Engineer, Radio Corpora¬ Studios, Inc., 1585 Broadway, New Tele-E, R. tion of America Manufacturing Co., 26 York 19. Cl 6-5280. ATS-Active. Pocantico Rd., Ossining, N. Y. ATS- TAYLOR. HERBERT E. JR. Director of Armed Services. Tele-G, H, K. SMITH. K. R. 250 W. 54th St., New Transmitter Sales, Allen B. DuMont York, N. Y. ATS-Active. Laboratories, Inc., 515 Madison Ave., WARING, NANCY LEE. Publicity, Allan New York 22, N. Y. PL 3-9800. ATS- Metzer, Inc., 509 Madison Ave., New SMITH, RICHARD E. Make-up Artist, Active. Tele-D, G, J, K, N. York 22. PL 3-7647. ATS-Active. Tele- NBC Television, 30 Rockefeller Plaza, E, R. New York 20, N. Y. Cl 7-8300. ATS- TAYLOR, RONALD P. Smith, Taylor & Active. Tele-I. Jenkins, Inc., 223 Fourth Ave., Pitts¬ WATERS, NORMAN D. Advertising, Nor¬ burgh 22, Pa. Atlantic 9312. ATS- man D. Waters & Associates, Inc., 1140 SOBOL, EDWARD. Television Producer, Charter. Tele-A, E, L, M, R. Broadway, New York 1. CA 5-7430. NBC Television, 30 Rockefeller Plaza, ATS-Charter. Tele-A, L. New York 20, N. Y. Cl 7-8300. ATS- TEMPLE, MARGUERITE. Assistant Radio Charter. Director, American Society for Russian WEIL, CHESTER. Head, Television Dept., Relief, 5 Cedar St., New York 5. WH King Features Syndicate, 235 W. 45th SOLMS, ERWIN M. Writer. 530 E. 90th 3-2460. ATS-Charter. Tele-B, E, K, L, M. St., New York 18. ATS-Active. St., New York. AT 9-3219. ATS-Active. THOMAN, CLARENCE W. Director of WEIL, JOSEPH. 30 Rockefeller Plaza, New York 20. ATS-Active. SOUTHCOMB, HAROLD J. 10 Park Place, Special Events, Philco Corp., Television Metuchen, N. J. ATS-Charter. Broadcasting Div., Tioga and “C” Sts., WEINER, IRVING R. Film Editor, U. S. Philadelphia 34, Pa. Nebraska 5100. Maritime Commission, 45 Broadway, SOZIO, SANTINO R. 630 Fifth Ave., ATS-Active. Tele-D, E, F, L, M. New York 7. WH 3-8000. ATS-Active. New York 20. Member O.S.S. ATS- THOMAS. LOWELL. Author, Radio News Tele-E, K, M, T. Active. Tele-A, K. Commentator, 30 Rockefeller Plaza, WEISS, EDWARD B. Advertising Agency SPEER. CHARLES C. Radio Script Writer, New York 20, N. Y. ATS-Active. Consultant, Twin Brook Farm, Sher¬ 7712—35th Avenue, Jackson Heights, man, Conn. ATS-Active. THOMPSON. LUCILLE A. 17169 Green- L. I., N. Y. NE 9-4621. lawn Ave., Detroit 21, Mich. ATS- WERBLOW, JAMES. Secretary and Sales SPENCER, DON. Televised Sports, Inc., Charter. Manager, Polygraphic Co. of America, 310 E. 45th St., New York 17. MU 4- 271 Madison Ave., New York 16. MU TIMBER, ARLINE. Writer. 260 W. 73rd 1200. ATS-Active. 5-7880. ATS-Active. Tele-A, T. St., New York 23. ATS-Active. Tele-R. WEST, MARY LEONARD. 4 Grove Court, STASHEFF, EDWARD. Teacher of Radio TOBIAS, CPL. ROBERT D. 263 Griffen New York 14, N. Y. ATS-Associate. and Television. Station WNYE, 29 Fort Ave., Scarsdale, N. Y. ATS-Armed Greene Place, Brooklyn 1. ST 3-0120. Services. Tele-E, K. WHATMORE, KENNETH N. Television ATS-Active. Director, J. D. Tarcher & Co., 630 Fifth TROTTA, GERI. Mademoiselle, 122 E. Ave., New York 20. Cl 6-2626. ATS- STEEN, AL. Film Daily, 1501 Broadway, 42nd St., New York 17. MU 3-8910. Charter. Tele-A, E, M, R, S. New York 18. BR 9-7117. ATS-Active. ATS-Active. WIDLUND, DON E. Motion picture dis¬ TULIN, MIRIAM. STEINER, RICHARD P. Director of Mar¬ Production Manager, tribution, J. Walter Thompson Co., 420 ket Research, General Cable Corp., 420 Station W2XJT. 440 W. 34th St., New Lexington Ave., New York 17. MU 3- Lexington Ave., New York 17. MO 4- York 1. ATS-Active. Tele-E, L, M. 2000. ATS-Charter. Tele-A, J, K, M. 2920. ATS-Charter. Tele-C, G, J. TURNER, T/SGT. CHARLES L. Film Edi¬ WILCKEN, DORATHA. Promotion, Cluett tor and Equipment Supervisor. Signal Peabody & Co., 40 Worth St., New York STERN, ALFRED. Promotion Manager, Corps Photo Center, 35-11 35th Ave., 13. BA 7-2082. ATS-Active. Tele-A, J. Radio-Craft Magazine, 25 W. Broad¬ Long Island City, N. Y. AS 8-3500. way, New York 7. RE 2-9690. ATS- WILLARD, HARRY W. Manager, The¬ ATS-Armed Services. Tele-E, L, M. Active. Tele-A, G, J, N, P. atrical Division, The Jam Handy Or¬ ganization, 2900 E. Grand Blvd., USKALI, WILLIAM. Manager N. Y. Office, STERN, BILL. National Broadcasting Co., The Jam Handy Organization, 1775 Detroit 11, Michigan. Madison 2450. 30 Rockefeller Plaza, New York 20. Broadway, New York 19. CO 5-7144. ATS-Active. Tele-A, K, L, M, Q. Cl 7-8300. ATS-Active. ATS-Active. Tele-F, K, M, Q, R. WILLIAMS, ANNIE LAURIE. 118 E. 40th St., New York 17. ATS-Active. STEWART, DONALD A. Salesman Execu¬ VALENTINO, THOMAS J. Manager, tive, Allen B. DuMont Laboratories, Thomas J. Valentino, Inc., 1600 Broad¬ WILSON. GLENN. Writer. 233 W. 14th Inc., 515 Madison Ave., New York 22. way, New York 19. Cl 6-4675. ATS- St., New York 11. ATS-Active. PL 3-9800. ATS-Active. Tele-A, C, G, Active. Tele-C, K, M. WITHE. STANLEY F. Manager, Adver¬ K, Q. tising and Publicity, Aetna Life & VAN KLEEK, MARTHA LOUISE. 2930 Affiliated Cos., 151 Farmington Ave., Northern Blvd., Manhasset, N. Y. ATS- STEWART, W. S. R.C.A.F. Repat. Depot, Hartford, Conn. Hartford 2-9141. ATS- Associate. Rockcliffe, Ottawa, Ontario. ATS-Ac¬ Active. Tele-A, F, K, N, Q. tive. VILAS, WILLIAM K. Director, Motion WOLFE, WINIFRED. Ward Wheelock Co., Picture Department, J. M. Mathes, Inc., STOFFI, MICHAEL. 19 Stilwell Ave., Inc., 444 Madison Ave., New York 17. 122 E. 42nd St., New York 17. LE 2- PL 3-7120. ATS-Associate. Stamford, Conn. ATS-Active. 7450. ATS-Active. Tele-A, C, J, K, L. ZURHORST, CHARLES S. President, STOOPACK, MURRAY. Cable Editor, VOLGER, GEORGE J. Assistant Manager, Charles S. Zurhorst Radio & Public Netherlands Indies News Agency, 50 Art Rush, Inc., NBC Bldg., Hollywood Relations, 1627 “K” Street, N. W., Rockefeller Plaza, New York 20, CO 28 Calif. HI 5161. ATS-Charter. Tele- Washington 6, D. C. District 3250. 5-3875. ATS-Active. Tele-E, F, M, Q, R. A, F, L, M. ATS-Charter. Tele-C, M, N. Q.

85 TELEVISION STATIONS AND PENDING APPLICATIONS

This list includes commercial and experimental stations —both operating and pro¬ posed—as of November 1, 1945. The majority have applications for construction permits pending before the Federal Communications Commission.

CALL POWER LOCATION APPLICANT OR OWNER CHANNEL LETTERS VISUAL AURAL

Chicago, III. Balaban & Katz Corp. No. 4 WBKB 4kw 2kw

New York, N. Y. Columbia Broadcasting System, Inc. No. 2 WCBW 3kw 2.5kw COMMERCIAL STATIONS NOW ON THE AIR < New York, N. Y. Allen B. DuMont Laboratories, Inc. No. 5 WABD 4kw lkw New York, N. Y. National Broadcasting Co., Inc. No. 4 WNBT 5.2kw 2.2kw

Schenectady, N. Y. General Electric Co. No. 4 WRGB 40w 20kw

Philadelphia, Pa. Philco Radio & Television Corp. No. 3 WPTZ 3kw 3kw >

Los Angeles, Cal. Don Lee Broadcasting System No. 1 W6XAO lkw 150w

Los Angeles, Cal. Television Productions, Inc. No. 4 W6XYZ 4kw lkw EXPERIMENTAL STATIONS (peak) < NOW ON THE AIR Chicago, III. Zenith Radio Corp. No. 1 W9XZV lkw lkw

Jamaica, L. 1., N. Y. William B. Still No. 13 W2XJT 400w 10Ow tr/as Jamaica Radio & Television Co.

CALL POWER LOCATION APPLICANT OR OWNER CHANNEL LETTERS VISUAL AURAL STATUS

CALIFORNIA Fresno J. E. Rodman No. 2 4 kw 2kw Commercial construction permit application

Hollywood Don Lee Broadcasting System No. 1 KTSL 4kw 2kw Commercial construction permit granted

Hollywood Fox West Coast Theatre Corp. No. 5 — — Commercial construction permit application

Hollywood Warner Bros. Broadcasting Corp. No. 3 4kw 3kw Commercial construction permit application

Los Angeles American Broadcasting Company, No. b 4kw 3k w Commercial construction permit Inc. application

Los Angeles Earle C. Anthony, Inc. No. 6 4kw 2kw Commercial construction permit application

Los Angeles Consolidated Broadcasting Corp., Ltd. No. 7 4 kw 3kw Commercial construction permit application

Los Angeles Don Lee Broadcasting System No. 1 W6XAO lkw ISOw Operating experimental station

Los Angeles Don Lee Broadcasting System (318- W6XDU 6.5w 50w Television relay with W6XAO 330mc)

Los Angeles Hughes Productions, No. 2 4 kw 2k w Commercial construction permit Division of Hughes Tool Co. application

Los Angeles Metro-Goldwyn-Mayer Studios, Inc. No. 8 4kw 2kw Commercial construction permit application

Los Angeles National Broadcasting Co. No. 4 lkw 3kw Commercial construction permit application

Los Angeles Television Productions, Inc. No. 2 KTLA 4kw lkw Commercial construction permit application

Los Angeles Television Productions, Inc. No. 4 W6XYZ 4kw lkw Operating experimental station (peak)

Los Angeles Television Productions, Inc. No. 11 W6XLA 10Ow — Portable-Mobile. Experimentally & 12 (peak) licensed as television relay with W6XYZ

Los Angeles The Times-Mirror Co. No. 5 40kw 20kw Commercial construction permit application

Riverside The Broadcasting Corp. of America No. 3 4kw 3kw Commercial construction permit application

Los Angeles Co. Pacific Coast Broadcasting Co. No. 6 — — Experimental construction permit application

San Francisco The Associated Broadcasters, Inc. No. 4 4kw 3kw Commercial construction permit application

San Francisco Television Productions, Inc. No. 4 25kw 25kw Commercial construction permit application

San Francisco Don Lee Broadcasting System No. 1 4kw 2kw Commercial construction permit application

San Francisco Hughes Productions. No. 2 4kw 2kw Commercial construction permit Division of Hughes Tool Co. application

Stockton E. F. Peffer No. 3 4kw 3kw Commercial construction permit application

86 CALL POWER LOCATION APPLICANT OR OWNER CHANNEL LETTERS VISUAL AURAL STATUS

COLORADO

Denver KLZ Broadcasting Co. No. 3 4kw 3kw Commercial construction permit application

CONNECTICUT

Booth Hill The Connecticut Television Company No. 8 4kw 2kw Commercial construction permit application

Hartford The Travelers Broadcasting Service No. 3 4kw 3kw Commercial construction permit Corp. application

Hartford The Yankee Network, Inc. No. 9 4kw 2k w Commercial construction permit application

DELAWARE Wilmington WDEL, Inc. No. 1 4kw 3kw Commercial construction permit application

DISTRICT OF COLUMBIA

Washington, D. C. Bamberger Broadcasting Service, Inc. No. 4 lkw 3k w Commercial construction permit application

Washington, D. C. Capital Broadcasting Co. No. 6 4kw 3kw Commercial construction permit application

Washington, D. C. Allen B. DuMont Laboratories, Inc. No. 1 400w 200w Commercial construction permit application

Washington, D. C. Allen B. DuMont Laboratories, Inc. To be W3XWT lkw 1 kw Experimental construction permit assigned

Washington, D. C. Marcus Loew Booking Agency No. 8 4kw 2kw Commercial construction permit application

Washington, D. C. National Broadcasting Co., Inc. No. 4 4kw 2kw Commercial construction permit application

Washington, D. C. Eleanor Patterson, tr/as No. 8 — — Commercial construction permit The Times Herald application

Washington, D. C. Philco Radio and Television Corp. No 4 — — Commercial construction permit application

Washington, D. C, Scripps-Howard Radio, Inc. No. 1 4kw 3kw Commercial construction permit application

Washington, D. C. The Evening Star Broadcasting Co. No. 6 — — Commercial construction permit application

FLORIDA

Jacksonville Jacksonville Broadcasting Corp. No. 1 4kw lkw Commercial construction permit application

Miami Beach A. Frank Katzenstine No. 2 4kw 2kw Commercial construction permit application ILLINOIS

Chicago American Broadcasting Co., Inc. No. 6 4kw 2kw Commercial construction permit application Chicago Balaban & Katz Corp. No. 2 W9XBK 4kw 2kw Experimental license

Chicago Balaban & Katz Corp. (384- W9XBB 1 Ow — Experimental license. Television 396mc) relay with W9XBK. Portable-Mobile

Chicago Balaban & Katz Corp. No. 11 W9XBT 43w — Experimental license. Television & 12 relay with W9XBK. Portable-Mobile

Chicago Balaban & Katz Corp. (384- W9XPR lOw — Experimental license 396mc) Chicago Balaban & Katz Corp. No. 4 WBKB 4kw 2kw Operating commercial station

Chicago Johnson Kennedy Radio Corp. No. 7 lkw lkw Commercial construction permit application Chicago National Broadcasting Co., Inc. No. 4 lkw 3kw Commercial construction permit application Chicago Raytheon Manufacturing Co. No. 1 40kw 20kw Commercial construction permit application Chicago WGN, Inc. No. 4 40kw 20kw Commercial construction permit application Chicago Zenith Radio Corp. No. 1 W9XZV lkw lkw Operating experimental station Chicago Zenith Radio Corp. To be W9XZC lkw lkw Experimental construction permit assigned (peak 1 Chicago Zenith Radio Corp. No. 1 WTZR 2kw 2kw Commercial construction permit granted» INDIANA

Fort Wayne Farnsworth Television & Radio Corp. To be W9XFT 4kw 6kw Experimental construction permit assigned (peak) Indianapolis The Wm. H. Block Co. No. 1 4kw 3k w Commercial construction permit application Indianapolis Capitol Broadcasting Corp. No. 3 4kw 3kw Commercial construction permit application Indianapolis Indianapolis Broadcasting, Inc. No. 5 4kw 3k w Commercial construction permit application Indianapolis P. R. Mallory & Co., Inc. To be W9XMT 600w 1 OOw Experimental construction permit assigned (peak) Indianapolis WFBM, Inc. No. 2 4kw 3kw Commercial construction permit application 87 CALL POWER LOCATION APPLICANT OR OWNER CHANNEL LETTERS VISUAL AURAL STATUS

W. Lafayette Purdue University No. 3 W9XG 750w 750w Experimental construction permit

IOWA

Ames Iowa State College of Agriculture No. 3 4kw 3kw Commercial construction permit and Mechanic Arts application

Iowa City State University of Iowa No. 1 W9XUI 1 OOw — Experimental license & 12

KENTUCKY

Louisville WAVE, Inc. No. 1 4kw 3kw Commercial construction permit application

LOUISIANA

New Orleans Loyola University No. 6 4kw 3kw Commercial construction permit application

New Orleans Maison Blanche Co. No. 1 4kw 3kw Commercial construction permit application

MARYLAND

Baltimore Hearst Radio, Inc. No. 6 4kw 3kw Commercial construction permit application

Baltimore Maryland Broadcasting Co. No. 3 4kw 2kw Commercial construction permit application

Baltimore The Tower Realty Co. No. 4 4kw 3kw Commercial construction permit application

Baltimore Jos. M. Zamoiski Co. No. 6 — — Commercial construction permit application

MASSACHUSETTS

Boston E. Anthony & Sons, Inc. No. 2 25kw 12.5kw Commercial construction permit application

Boston Allen B. DuMont Laboratories, Inc. No. 4 4kw 2kw Commercial construction permit application

Boston Filene’s Television, Inc. No. 10 40kw 20kw Commercial construction permit (letter) application

Boston New England Theatres, Inc. No. 4 — — Commercial construction permit application

Boston Westinghouse Radio Stations, Inc. No. 5 4kw 3kw Commercial construction permit application

Boston The Yankee Network, Inc. No. 2 4kw 2kw Commercial construction permit application

Waltham Raytheon Manufacturing Co. No. 2 40kw 20kw Commercial construction permit application

MICHIGAN

Detroit The Evening News Association No. 1 4kw 2kw Commercial construction permit application

Detroit International Detrola Corp. No. 2 4kw 2kw Commercial construction permit application

Detroit The Jam Handy Organization, Inc. No. 1 4kw 3kw Commercial construction permit application

Detroit King Trendle Broadcasting Corp. No. 2 4kw 3kw Commercial construction permit application

Detroit United Detroit Theaters Corp. No. 5 4kw 2k w Commercial construction permit (letter) application

Detroit WJR, The Goodwill Station, Inc. No. 6 40kw 20kw Commercial construction permit application

MINNESOTA

St. Paul KSTP, Inc. No. 1 4kw 3kw Commercial construction permit application

MISSOURI

Kansas City The Kansas City Star Co. No. 1 4kw 3kw Commercial construction permit application

St Louis Michael Alfend, Truman L. Brown, No. 4 4kw 2kw Commercial construction permit Samuel I. Berger and Sidney J. application Heiman, d/b as ALFCO Company

St. Louis Globe-Democrat Publishing Co. No. 1 4kw 3kw Commercial construction permit application

St. Louis Thomas Patrick, Inc. No. 1 4kw 3kw Commercial construction permit application

St. Louis The Pulitzer Publishing Co. No. 1 4kw 3kw Commercial construction permit application

St. Louis Star-Times Publishing Co. No. 2 4kw 2kw Commercial construction permit application

NEBRASKA

Omaha Radio Station WOW, Inc. No. 1 4kw 3kw Commercial construction permit application

Omaha World Publishing Co. No. 7 4kw 3k w Commercial construction permit application

NEW JERSEY

Camden Radio Corp. of America No. 5 W3XEP 30kw 30kw Experimental license

88 CALL POWER LOCATION APPLICANT OR OWNER CHANNEL LETTERS VISUAL AURAL STATUS

Camden Radio Corp. of America (321- W3XAD 500w 500w Experimental license as television 327mc) relay

Passaic Allen B. DuMont Laboratories, Inc. No. 4 W2XVT 50w 50w Experimental license

Newark Bremer Broadcasting Corp. No. 5 4kw 2kw Commercial construction permit application

NEW MEXICO Albuquerque Albuquerque Broadcasting Co No. 1 4kw 3kw Commercial construction permit application

NEW YORK

Buffalo WEBR, Inc. No. 1 4kw 3kw Commercial construction permit application

Jamaica, L. 1. William B. Still tr/as No. 13 W2XJT 400w 1 OOw Experimental construction permit Jamaica Radio & Television Co.

New York Bamberger Broadcasting Service, No. 6 4kw 2kw Commercial construction permit Inc. application

New York American Broadcasting Co., Inc. No. 6 — — Commercial construction permit application

New York Columbia Broadcasting System, Inc. (346- W2XCB 25 w — Experimental construction permit. 358mc) (peak) Portable. Television relay with WCBW

New York Columbia Broadcasting System, Inc. No. 2 WCBW 3kw 2.5kw Operating commercial station

New York Columbia Broadcasting System, Inc. (480- W2XCS lkw lkw Experimental construction permit 496mc) (peak)

New York Allen B. DuMont Laboratories, Inc. To be W2XEM lkw lkw Experimental construction permit. assigned (peak) Television relay

New York Allen B. DuMont Laboratories, Inc. No. 4 W2XWV lkw lkw Experimental license

New York Allen B. DuMont Laboratoriesr Inc. No. 5 WABD 4kw lkw Operating commercial station

New York Debs Memorial Radio Fund, Inc. No. 17 40kw 50kw Commercial construction permit application

New York Allen B. DuMont Laboratories, Inc. No. 15 W10XKT 50w — Experimental license. Portable-Mobile. & 16 Television relay with W2XVT

New York Palmer K. & Lois C. Leberman No. 10 4kw 2kw Commercial construction permit application

New York Marcus Loew Booking Agency, Inc. No. 17 4kw 2kw Commercial construction permit application

New York Metropolitan Television, Inc. No. 9 4kw 2kw Commercial construction permit (letter) application

New York Metropolitan Television, Inc. No. 8 W2XMT 50w 50w Experimental construction permit (peak)

New York National Broadcasting Co., Inc. No. 4 WNBT 3kw 5.2kw Operating commercial station

New York National Broadcasting Co., Inc. No. 8 W2XBT 400w — Experimental license. Portable-Mobile Television relay with WNBT

New York National Broadcasting Co., Inc. No. 17 W2XBU 15 w — Experimental license. Portable-Mobile & 18 television relay with WNBT

New York News Syndicate Co., Inc. No. 11 40kw 20kw Commercial construction permit application

New York Philco Radio & Television Corp. No. 9 — — Commercial construction permit application

New York Raytheon Manufacturing Co. No. 1 40kw 20k w Commercial construction permit application

New York Twentieth Century-Fox Film Corp. No. 5 40kw 20kw Commercial construction permit application

New York WLIB, Inc. No. 17 — — Commercial construction permit application

Rochester Stromberg-Carlson Co. No. 1 4kw 3kw Commercial construction permit application

Schenectady General Electric Co. No. 8 W2XGE 60w 50w Experimental license. Television (peak) relay with WRGB

Schenectady General Electric Co. No. 4 WRGB 40kw 20kw Operating commercial station

New Scotland General Electric Co. No. 8 W2XI 50w — Experimental license. Television (peak) relay with WRGB

White Plains Westchester Broadcasting Corp. No. 13 4kw 2kw Commercial construction permit application

Brooklyn Sherron Metallic Corp. As may be W2XDK 1 Okw I Okw Experimental construction permit assigned (peak)

OHIO

Akron United Broadcasting Co. No. 5 4kw 2kw Commercial construction permit application

Cincinnati Cincinnati Broadcasting Co. No. 10 40kw 20kw Commercial construction permit (letter) application

Cincinnati The Crosley Corp. No. 1 50kw 50kw Commercial construction permit application

Cincinnati The Crosley Corp. No. 1 W8XCT lkw lkw Experimental construction permit

Cleveland National Broadcasting Co., Inc. No. 4 lkw 3kw Commercial construction permit application

Cleveland Scripps-Howard Radio, Inc. No. 2 4kw 3kw Commercial construction permit application

89 CALL POWER LOCATION APPLICANT OR OWNER CHANNEL LETTERS VISUAL AURAL STATUS

Cleveland United Broadcasting Co. No. 2 40kw 20kw Commercial construction permit application

Cleveland The WGAR Broadcasting Co. No. 3 — — Commercial construction permit application

Cleveland WJW, Inc. No. 4 — — Commercial construction permit application

Columbus Central Ohio Broadcasting Co. No. 9 4kw 2kw Commercial construction permit application

Columbus The Crosley Corp. No. 2 50kw 50kw Commercial construction permit application

Columbus United Broadcasting Co. No. 4 4kw 2kw Commercial construction permit application

Dayton The Crosley Corp. No. 4 1 Okw lOkw Commercial construction permit application

OKLAHOMA

Oklahoma City WKY Radiophone Co. No. 1 4kw 3kw Commercial construction permit application

OREGON

Portland Oregonian Publishing Co. No. 4 4kw 3kw Commercial construction permit application PENNSYLVANIA

Springfield Philco Radio & Television Corp. No. 3 W3XE 1 Okw llkw Experimental license. S. A. rebroad¬ Township (peak) cast programs of WNBT

Springfield Philco Radio & Television Corp. To be W3XF lkw lkw Experimental construction permit Township assigned (peak)

Area of Central Philco Radio & Television Corp. No. 11 W3XPD 40w 40w Experimental license television relay Md.. N.E. Md., S.E. & 12 (peak) Penna. and D. C.

Area of Central Philco Radio & Television Corp. No. 13 W3XPE 40w 40w Experimental license television relay Md., N.E. Md., S.E. & 14 Penna. and D. C.

Area of Central Philco Radio & Television Corp. No. 11 W3XPF 40w 40w Experimental license television relay Md., N.E. Md., S.E. & 12 (peak) Penna. and D. C.

Area of Central Philco Radio & Television Corp. No. 11 W3XPG 40w 40w Experimental license television relay Md.. N.E. Md.. S.E. & 12 (peak) Penna. and D. C.

Area of Central Philco Radio & Television Corp. No. 13 W3XPH 40 w — Experimental license television relay Md., N.E. Md., S.E. & 14 Penna. and D. C.

Area of Central Philco Radio & Television Corp. No. 11 W3XPI 40w — Experimental license television relay Md., N.E. Md., S.E. & 12 Penna. and D. C.

Area of Central Philco Radio & Television Corp. No. 13 W3XPK 40w 40 w Experimental license television relay Md., N.E. Md., S.E. & 14 (peak) Penna. and D. C.

Area of Central Philco Radio & Television Corp. No. 13 W3XPL 4 Ow 40w Experimental license television relay Md., N.E. Md., S.E. & 14 (peak) Penna. and D. C.

Area of Central Philco Radio & Television Corp. No. 13 W3XPR 40w 40w Experimental license television relay Md.. N.E. Md., S.E. & 14 (peak) Penna. and D. C.

Area of Washington, Philco Radio & Television Corp. To be W10XAD 50kw — Experimental construction permit D. C., Philadelphia assigned (peak) and New York City

Area of Washington, Philco Radio & Television Corp. To be W10XAE 50kw — Experimental construction permit D. C., Philadelphia assigned (peak) and New York City

Area of Washington, Philco Radio & Television Corp. To be W10XAF 50kw Experimental construction permit D. C., Philadelphia assigned (peak) and New York City

Area of Washington, Philco Radio & Television Corp. No. 13 W10XP 40w 40w Experimental license television relay D. C., Philadelphia & 14 (peak) and New York City

Area of Philadelphia, Philco Radio & Television Corp. No. 13 W10XPA 40 w — Experimental license television relay Washington, D. C., & 14 (peak) and New York City

Area of Philadelphia, Philco Radio & Television Corp. No. 13 W10XPC 40w — Experimental license television relay Washington, D. C., & 14 (peak) and New York City

Area of Philadelphia, Philco Radio & Television Corp. No. 13 W10XPR 40w — Experimental license television relay Washington, D. C., & 14 (peak) and New York City

Philadelphia Philco Radio & Television Corp. No. 3 WPTZ 3kw 3kw Operating commercial station

Harrisburg Keystone Broadcasting Corp. No. 2 — — Commercial construction permit application

Johnstown WJAC, Inc. No. 3 4kw 3kw Commercial construction permit application

Lancaster WGAL, Inc. No. 4 4kw 3kw Commercial construction permit application

Lancaster Lancaster Television Corp. — — — Commercial construction permit application

Philadelphia Bamberger Broadcasting Service, No. 7 lkw 3kw Commercial construction permit Inc. application

90 CALL POWER LOCATION APPLICANT OR OWNER CHANNEL LETTERS VISUAL AURAL STATUS

Philadelphia Pennsylvania Broadcasting Co. No. 4 4kw 2kw Commercial construction permit application

Philadelphia Philadelphia Daily News, Inc. No. 9 5kw 2.5kw Commercial construction permit application

Philadelphia The Philadelphia Inquirer, No. 4 4kw 3kw Commercial construction permit A Division of Triangle Publications, application Inc.

Philadelphia Seaboard Radio Broadcasting Corp. No. 18 4k w 3kw Commercial construction permit application

Philadelphia WCAU Broadcasting Co. No. 5 4kw 2kw Commercial construction permit application

Philadelphia WDAS Broadcasting Station, Inc. No. 9 4kw 2kw Commercial construction permit application

Philadelphia Westinghouse Radio Stations, Inc. No. 7 4kw 3kw Commercial construction permit application

Philadelphia WFIL Broadcasting Co. No. 7 4kw 2kw Commercial construction permit application

Pittsburgh WCAE, Inc. No. 4 — — Commercial construction permit application

Pittsburgh Scripps-Howard Radio, Inc. No. 3 4kw 3kw Commercial construction permit application

Pittsburgh Westinghouse Radio Stations, Inc. No. 1 4kw 3kw Commercial construction permit application

Pittsburgh Allen B. DuMont Laboratories, Inc. No. 2 — — Commercial construction permit application

Wilkes-Barre Louis G. Baltimore No. 5 lkw 3kw Commercial construction permit application

RHODE ISLAND

Providence E. Anthony & Sons, Inc. No. 10 25kw 12.5kw Commercial construction permit application

Providence The Outlet Co. No. 7 40kw 50kw Commercial construction permit application

Providence The Yankee Network, Inc. No. 6 4kw 2kw Commercial construction permit application

TENNESSEE

Nashville J. W. Birdwell No. 1 4kw 2kw Commercial construction permit application

TEXAS

Dallas Interstate Circuit, Inc. No. 2 25kw 12.5kw Commercial construction permit application

Dallas KRLD No. 2 — — Commercial construction permit application

UTAH

Salt Lake City Frank C. Carman, David G. Smith, No. 4 4kw 3kw Commercial construction permit Jack L. Powers and Grant R. Wrathall application d/b as Utah Broadcasting Co.

Salt Lake City Intermountain Broadcasting Corp. No. 2 — Commercial construction permit application

VIRGINIA

Arlington Co. Philco Radio & Television Corp. To be W3XAF 3kw 3k w Experimental construction permit assigned (peak)

Richmond Havens & Martin, Inc. No. 3 4kw 3kw Commercial construction permit application

WASHINGTON

Seattle Radio Sales Corp. No. 1 4kw 3kw Commercial construction permit application

Spokane Louis Wasmer, Inc. No. 1 4kw 3kw Commercial construction permit application

WEST VIRGINIA

S. Charleston Gus Zabaris No. 1 W8XGZ 200w 1 lOw Experimental construction permit (peak)

WISCONSIN

Milwaukee Hearst Radio, Inc. No. 4 4kw 3kw Commercial construction permit application

Milwaukee The Journal Company No. 3 WMJT 4kw 2kw Commercial construction permit or 4 granted

Frequencies Assigned to Radio and Television Broadcasting Services Standard Broadcast Amp- 54-60 Channel 2 186-192 Channel 9 92-106 Commercial litude Modulation 60-66 Channel 3 192-198 Channel 10 Experimental Television 535—1605 kc 66-72 Channel 4 198-204 Channel 11 480-920 me 76-82 Channel 5 204-210 Channel 12 Television Relay Systems Television (TV) 82-88 Channel 6 210-216 Channel 13 1295-1375 me (In Megacycles) 174-180 Channel 7 Frequency Modulation (FM) Experimental Region 44-50 Channel 1 180-186 Channel 8 88-92 Educational 30,000-100,000 me

91 MARKET ANALYSIS OF TELEVISION STATION ALLOCATIONS

Retail Sales % of % of Total Retail Station Television Population Station Retail Retail Sales Coverage No. Total State Television Coverage Station’s Coverage Sales in Sales Coverage State of Population Coverage to Total Coverage Population Coverage Coverage by States Breakdown Sta¬ (1940 of State’s State 50 Mi. Breakdown Areas (000 to State (000 (000 Location tions Census) Population Population Radius by States Omitted) Totals Omitted) Omitted) CALIFORNIA 6.907,387 5,050,000 73.0 74.0 $2,369,274 ^Fresno 1 3.4 237,100 $ 99,049 3.1 99,049 ^Hollywood 3 43.6 3,009,000 1,415,177 44.4 1,415,177 *Los Angeles 8 43.6 3,009,000 1,415,177 44.4 1,415,177 ^Riverside 1 29.5 2,035,000 1,058,024 33.2 1,058,024 *San Francisco 3 16.0 1,099,800 492,842 15.5 492,842 * Stockton 1 15.3 1,059,700 491,686 15.4 491,686

COLORADO 1,123,298 459,600 40.9 51.9 212,189 *Denver 1 40.9 459,600 212,189 51.9 212,189

CONNECTICUT 1,709,200 1,709,200 100.0 100.0 717,262 Booth Hill 1 12,095,100 5,097,046 Conn. 52.8 902,700 54.2 388,652 N. Y. 66.7 8,984,100 69.0 3,849,040 N. J. 53.1 2,208,300 54.4 859,354 Hartford 2 2,285,500 866,924 Conn. 100.0 1,709,200 100.0 717,262 Mass. 13.4 576.400 13.2 229,393

DELAWARE 266,505 214,000 80.3 81.8 90,070 Wilmington 1 4,072,900 1,464,054 Md. 4.9 89,500 3.5 21,442 Del. 80.3 214,000 81.8 90,070 N. J. 13.0 540,400 10.7 168,328 Pa. 32.6 3,229,000 37.8 1,184,214 DISTRICT OF COLUMBIA 663,100 663,100 100.0 100.0 402,768 Washington 9 1,278,200 531,313 D. C. 100.0 663,100 402,768 Md. 25.1 457,500 94,413 Va. 5.9 157,600 30,214 FLORIDA 1,897,414 610,000 32.1 40.6 249,421 Jacksonville 1 299,600 94,413 Florida 15.1 288,400 15.1 92,999 Georgia .3 11,200 .2 1,414 *Miami Beach 1 321,600 156,422 156,422 fGEORGIA 3,123,723 11,200 .3 .2 1,414 tIDAHO 524,873 29,600 5.6 43.9 77,154

ILLINOIS 7,897,241 6,402,600 80.2 72.4 2,069,504 Chicago 7 5,028,900 2,065,158 Ill. 58.0 4,580,700 66.8 1,901,328 Ind. 11.2 384,700 12.4 132,400 Wis. 2.0 63,500 2.1 22,430

INDIANA 3,427,796 1,378,200 40.2 36.4 388,072 *Indianapolis 4 14.2 487,100 147,607 13.8 147,607 La Fayette 1 556,200 160,017 Ind. 13.7 469,400 12.6 134,395 Ill. 1.1 86,800 .9 25,622 IOWA 2,538,268 1,121,000 45.2 46.9 385,761 •Ames 1 19.3 488,700 4E8.700 182,649 22.2 182,649 Iowa City 1 611,600 Iowa 18.9 480,600 19.3 159,135 Ill. 1.7 131,000 1.5 44,188 fKANSAS 1,801,028 154,000 8.6 6.9 32,851

KENTUCKY 2,845,627 800,900 28.1 43.5 220,600 Louisville 1 627,300 192,578 Ky. 19.4 553,000 31.0 161,315 Ind. 5.1 174,300 2.9 31,263 LOUISIANA 2,363,880 809,300 34.2 42.3 205,653 New Orleans 2 820,600 206,945 La. 34.2 809,300 42.3 205,653 Miss. .5 11,300 .5 1,292 MARYLAND 1,821,244 1,639,400 90.00 90.6 560,834 Baltimore 4 2,662,500 1,068,461 Md. 83.9 1,528,600 84.9 525,527 Pa. 4.3 429,900 4.3 135,465 Va. 1.5 40,900 .7 4,701 D. C. 100.0 663,100 100.0 402,708

MASSACHUSETTS 4,316,721 4,148,100 96.1 98.8 1,717,278 Boston 6 4,472,800 1,789,117 Mass. 85.5 3,694,000 98.4 1,710,482 N. H. 41.3 203,000 42.9 78,635 R. I. 80.7 575,800 82.7 227,671 Seekonk 1 2,622,200 1,164,348 Mass. 40.0 1,727,500 47.2 820,175 R. I. 100.0 713,300 100.0 275,447 Conn. 10.6 181,400 9.6 68,726 Waltham 1 4,472,800 1,789,117 N. H. 41.3 203,000 42.9 78,635 Mass. 85.6 3,694,000 85.3 1,482,811 R. I. 80.7 575,800 82.7 227,671

MICHIGAN 5,252,106 2,815,200 53.6 59.3 1,080,088 *Detroit 6 53.6 2,815,200 1,080,888 59.3 1,080,888

MINNESOTA 2,792,300 1,147,600 41.1 52.1 529,545 St. Paul 1 1,220,100 547,788 Minn. 41.1 1,147,600 52.1 529,545 Wis. 2.3 72,500 1.7 18,243

* Covers an area in one state only, t Covered by stations outside the state.

92 .rvei.a.11 oaies % of % of Total Retail Station Television Station’s Station Retail Retail Sales Coverage No. Total State Television Coverage Population Coverage Sales in Sales Coverage State of Population Coverage to Total Coverage Population Coverage Coverage by States Breakdown Sta¬ (1940 of State’s State 50 Mi. Breakdown Areas (000 to State (000 (000 Location tions Census) Population Population Radius by States Omitted) Totals Omitted) Omitted)

•{■MISSISSIPPI 2,183,796 11,300 .5 .5 1,292 MISSOURI 3,784,664 1,915,500 50.6 67.8 747,296 Kansas City I 854,800 334,941 Mo. 18.5 700,800 27.4 302,090 Kan. 8.6 154,000 6.9 32,851 St. Louis 5 1,604,100 534,602 Mo. 10.5 398,700 40.4 445,206 III. 15.3 1,205,400 3.1 89,396 NEBRASKA 1,315,834 460,600 35.0 17.6 70,079 Omaha 2 612,300 109,056 Neb. 35.0 460,600 17.6 70,079 Iowa 6.0 151,700 4.7 38,977 fNEW HAMPSHIRE 491,524 203,000 41.3 42.9 78,635 NEW JERSEY 4,160,200 4,160,200 100.0 100.0 1,580,401 Newark 1 12,078,500 5,040,642 N. J. 84.2 3,428,900 83.3 1,316,154 N. Y. 64.2 8,649,600 66.7 3,724,488

NEW MEXICO 531,818 145,300 27.3 30.6 38,439 "Albuquerque 1 145,300 38,439 30.6

NEW YORK 13,479,142 9,619,800 71.4 92.3 5,146,913 New York 14 12,504,000 5,242,972 N. Y. 64.6 8,706,900 67.3 3,754,037 N. J. 81.2 3,378,700 82.3 1,300,836 Conn. 24.5 418,400 26.2 188,099 "Buffalo 1 9.3 1,258,500 467,261 8.4 * Rochester 1 5.2 704,800 13,479,142 5.0 White Plains 1 11,944,300 N. Y. 65.8 8,863,600 5,001,252 68.0 3,791,488 N. J. 64.0 2,662,300 64.6 1,021,665 Conn. 24.5 418,400 26.2 188,099 Schenectady 1 920,400 369,001 N. Y. 5.8 775,800 5.6 312,027 Mass. 2.8 122,300 2.8 49,406 Vt. 6.2 22,300 6.1 7,568 OHIO 6,907,612 5,379,300 77.9 58.9 1,437,968 "Akron 1 39.5 2,730,800 1,028,457 42.1 Cincinnati 2 1,573,800 560,204 Ohio 17.8 1,232,100 19.8 482,577 Ky. 8.7 247,900 11.2 58,016 Ind. 2.7 93,800 1.8 19,611 "Cleveland 5 38.4 2,652,700 1,014,583 41.5 "Columbus 3 13.3 934,400 325,499 13.3 Dayton 1 1,629,700 604,191 Ind. 2.9 99,000 2.8 29,717 Ohio 22.0 1,521,700 23.5 574,474 OKLAHOMA 2,336,434 612,200 26.2 33.3 170,943 "Oklahoma City 1 26.2 612,200 170,943 33.3 OREGON 1,089,684 597,700 54.9 59.0 260,713 Portland 1 692,400 290,074 Ore. 54.9 597,700 59.0 260,713 Wash. 5.5 94,700 4.4 29,361

PENNSYLVANIA 9,900,180 7,840,400 70.2 80.4 2,519,503 Philadelphia 10 1,960,400 1,840,704 Pa. 34.0 3,362,900 39.3 1,231,394 N. J. 34.1 1,417,900 35.9 567,195 Del. 67.4 179,600 71.0 78,115 Lancaster 1 2,905,100 1,004,568 Pa. 16.1 1,596,500 15.7 491,522 Del. 67.4 179,600 71.0 78,115 Md. 70.0 1,129,000 70.2 434,931 "Scranton 1 11.5 1,143,000 304,993 9.7 "Wilkes-Barre 1 16.4 1,621,900 436,215 16.4 Pittsburgh 4 2,815,300 902,238 Pa. 25.2 2,496,900 25.4 795,089 Ohio 2.7 188,200 2.6 63,098 W. Va. 6.8 130,200 10.9 44,051 Johnstown 1 1,175,500 296,717 Pa. 11.0 1,088,600 8.6 268,659 Md. 4.8 86,900 4.5 28,058 RHODE ISLAND 717,300 717,300 100.0 100.0 275,447 Providence 3 3,152,900 1,354,713 R. I. 100.0 717,300 100.0 275,447 Mass. 51.6 2,226,300 57.7 1,003,086 Conn. 12.5 213,300 10.6 76,170 TENNESSEE 2,915,841 568,300 19.5 21.9 132,122 Nashville 1 617,600 139,791 Tenn. 19.5 568,300 21.9 133,122 Ky. 1.7 49,300 1.3 6,669 TEXAS 6,414,824 1,029,300 16.0 20.6 370,715 "Dallas 2 16.0 1,029,300 370,715 20.6 UTAH 550,310 352,800 64.1 74.1 126,515 "Salt Lake City 2 64.1 352,800 128,515 74.1

{■VERMONT 359,200 22,300 6.2 6.1 7,568 VIRGINIA 2,677,773 740,400 27.6 33.4 209,499 "Richmond 1 21.8 582,800 179,285 28.5 WASHINGTON 1,736,191 1,128,000 65.0 69.2 462,743 "Seattle 1 48.3 837,900 353,954 52.9 Spokane 1 225,000 86,805 Wash. 11.3 195,400 11.9 79,428 Idaho 5.6 29,600 4.2 7,377 {WEST VIRGINIA 1,901,974 130,200 6.8 10.9 44,051 WISCONSIN 3,136,587 1,354,200 43.2 44.9 477,836 "Milwaukee 2 43.2 1,281,700 459,593 43.2

* Covers an area in one state only. t Covered by stations outside the state. Courtesy, Buchanan & Company, Inc.

93 BROADCASTING SERVICE IN 140 METROPOLITAN AREAS

No. of No. of TV Applications FM Applications Stand. Popu- B’cast St a. in Experi¬ Channel Nos Total Stations main- Oper. mental ing Ap¬ Sales (1940 Commer¬ (includes Corn- Metro- Cora- FM Sta¬ tional plica¬ Time Metropolitan District Rank Census) cial TV Relays) Metropolitan munity politan munity tions tions 6-1-45

New York—Northeastern New Jersey i 11,691 17 (3 op.* ) 13 (1 op.*) 2. 4, 5, 7. 9, 11. 13 7 n 33 18 Chicago 2 4,499 6 (1 op.) 6 (1 op.) 2. 4, 5. 7, 9, 11. 13 7 4 19 8 Los Angeles 3 2,905 11 5 (2 op.) 2. 4. 5. 7. 9. 11. 13 7 2 21 12 Philadelphia 4 2,899 10 (1 op.) 2 3, 6. 10. 12 4 6 7 8 Boston 5 2,351 7 2. 4. 7. 9. 13 5 3 12 6 Detroit 6 2,296 6 2. 4. 5, 7. 9 5 2 9 6 San Francisco—Oakland 7 1,429 3 2. 4, 5, 7. 9. 11 6 18 6 Pittsburgh 8 1,994 4 3. 6. 8. 10 4 2 6 7 Cleveland 9 1,215 5 2. 4. 5. 7. 9 5 10 4 St. Louis, Mo. 10 1,368 5 4. 5. 7. 9. 13 5 4 4 6

Minneapolis, St. Paul 11 911 1 2, 4, 5. 7. 9 5 3 4 5 Washington 12 908 9 2 4. 5. 7. 9 4 10 6 Baltimore 13 1,047 4 2. 11. 13 3 7 5 Buffalo—Niagara Falls 14 858 1 4. 7. 9, 13 4 5 5 Milwaukee 15 790 1 3. 6. 8. 10 4 1 1 4 3 Cincinnati 16 789 2 1 2. 4. 7. 11 4 6 5 Kansas City, Mo.—Kansas City, Kan. 17 634 1 2. 4, 5 .9 4 2 3 3 4 Providence 18 712 3 11 1 7 4 Seattle 19 453 1 2. 5. 7. 11 4 4 6 Hartford—New Britain, Conn. 20 502 2 8. 10 2 2 2 4

Houston, Texas 21 510 2. 4. 5, 7 4 2 1 3 Portland, Ore. 22 406 1 3. 6. 8. 10. 12 5 5 2 5 Albany, Schenectady. Troy 23 431 1 2 (1 op.) 2. 4. 7. 9, 11 5 2 3 5 Indianapolis 24 455 4 1 3, 6, 8, 10. 12 5 8 4 Atlanta, Ga. 25 442 2. 5. 8. 11 4 1 3 4 Denver, Colo. 26 384 1 2. 4. 5. 7. 9 5 2 5 Dallas, Texas 27 377 2 4. 8. 12 3 2 4 Rochester, N. Y. 28 412 2, 6,11 3 2 1 3 Columbus, Ohio 29 366 3 3. 6. 8, 10 4 1 5 3 Scranton, Wilkes-Barre 30 630 1 11 1 1 1 2 4

New Orleans 31 540 2 2. 4. 6. 7. 10 5 2 4 5 Springfield, Holyoke, Mass. 32 395 3 1 1 1 2 3 Louisville, Ky. 33 434 1 5, 9 2 3 4 Toledo, Ohio 34 342 13 1 2 2 Akron, Ohio 35 350 1 11 1 6 1 Youngstown, Ohio 36 372 13 1 3 3 Memphis, Tenn. 37 332 2. 4. 5. 7. 9 5 1 2 3 Miami, Fla. 38 251 1 2. 4. 5. 7 4 4 1 3 New Haven, Conn. 39 308 6 1 1 2 Omaha, Council Bluffs 40 288 2 3. 6. 7 3 2 1 3

Worcester, Mass. 41 306 5 1 1 3 Birmingham, Ala. 42 408 4. 9, 13 3 1 3 4 Allentown, Bethlehem, Easton, Pa. 43 325 8 1 4 2 Dayton, Ohio 44 272 1 5. 13 2 3 2 Lowell, Haverhill, Lawrence, Mass. 45 335 6 1 3 2 Syracuse, N. Y. 46 358 5. 8. 10 3 5 4 Norfolk, Newport News, Portsmouth 47 330 4. 7, 11. 13 4 2 1 3 Richmond, Va. 48 246 1 3. 6, 8. 10 4 1 4 3 San Diego, Cal. 49 256 3. 6. 8. 10 4 3 San Antonio, Texas 50 319 2. 4. 5. 7. 9 5 1 2 5

Fort Worth, Texas 51 208 2. 5. 10 3 1 4 Oklahoma City 52 221 1 2. 4. 5, 9 4 4 1 4 Bridgeport, Conn. 53 217 1 1 1 1 2 Sacramento, Cal. 54 159 3. 6. 10 3 3 3 Fall River, New Bedford, Mass. 55 273 1 1 2 2 Nashville, Tenn. 56 242 1 4. 5. 7, 9 4 1 1 1 3 Grand Rapids, Mich. 57 210 7. 9 2 5 3 Salt Lake City, Utah 58 204 2 2. 4, 5, 7, 9 5 1 1 3 Des Moines, Iowa 59 184 2. 4, 5. 9 4 1 2 3 Trenton, N. J. 60 200 1 1 1 1

Tampa, St. Petersburg, Fla. 61 210 2, 4. 5. 7 4 2 4 Wilmington, Del. 62 189 1 7 1 2 2 Canton, Ohio 63 200 1 1 1 1 Flint, Mich. 64 189 11 1 1 1 Tulsa, Okla. 65 189 3. 6. 8. 10 4 1 2 3 Jacksonville, Fla. 66 196 1 2. 4. 6. 8 4 1 2 4 Davenport, Rock Island, Moline, Iowa 67 175 2. 4. 5. 9 4 1 1 2 Utica, Rome, N. Y. 68 197 3. 13 2 1 1

* Now operating. 94 No. ol No. of TV Applications FM Applications Stand. Popu- and Stations Operating Allocations of TV Channels ,--■ B’cast lation ,---A— -• ,-^- Re- Sta. in Experi- Channel Nos. Total Stations main- Oper. Licensed Condi¬ ing Ap¬ Full Sales (1940 Commer- (includes Corn- Metro- Com- FM Sta¬ tional plica¬ Time Metropolitan District Rank Census) cial TV Relays) Metropolitan munity politan munity tions Grants tions 6-1-45

Peoria, Ill. 69 163 3. 6, 12 3 5 1 Harrisburg, Pa. 70 173 i 8 1 3 2

Spokane, Wash. 71 141 1 2. 4, 5, 7, 9 5 1 4 Duluth, Superior, Minn. 72 157 3, 6. 8, 10 4 2 Reading, W. Va. 73 175 5 1 2 1 Tacoma, Wash. 74 156 4, 9. 13 3 3 Binghamton, N. Y. 75 145 12 1 1 Chattanooga, Tenn. 76 193 3, 6, 10. 12 4 4 3 Saginaw, Bay City, Mich. 77 153 3, 8, 13 3 2 2 San Jose, Calif. 78 129 13 1 2 1 Fresno, Calif. 79 98 1 2. 4. 5, 7 4 1 2 3 South Bend, Ind. 80 147 1 1 1 2

Fort Wayne, Ind. 81 134 1 2. 4. 7, 9 4 1 3 2 Wheeling, W. Va. 82 196 12 1 2 2 Atlantic City, N. J. 83 100 8 1 2 2 Phoenix, Ariz. 84 122 2, 4, 5, 7 4 1 3 Waterbury, Conn. 85 145 12 1 3 2 Wichita, Kan. 86 127 2. 4, 5, 9 4 1 2 3 Knoxville, Tenn. 87 152 2. 4 ,8, 11 4 2 1 3 Charleston, W. Va. 88 136 7, 11. 13 3 2 2 Portland, Me. 89 107 3. 8 2 1 2 Beaumont, Port Arthur, Texas 90 139 3. 6, 8. 10 4 1 3

Lancaster, Pa. 91 132 1 4 1 2 1 Huntington, Ashland. W. Va. 92 171 5 1 3 1 Evansville, Ind. 93 142 2, 11 2 1 2 2 Lansing, Mich. 94 no 6 1 1 1 Erie, Pa. 95 134 12 1 2 Shreveport, La. 96 112 2, 4. 6 ,8 4 1 3 Racine, Kenosha, Wis. 97 135 1 1 1 1 Little Rock ,Ark. 98 127 3. 6. 8, 10 4 3 Charlotte. S. C. 99 113 3, 9.11 3 3 Johnstown, Pa. 100 152 1 13 1 1 1

Madison, Wis. 101 78 9 1 1 1 Rockford. Ill. 102 105 12 1 1 1 Springfield, Ill. 103 89 8. 10 2 3 2 Roanoke, Va. 104 111 5. 9. 12 3 2 2 El Paso, Texas 105 116 2. 4, 5, 7 4 2 Austin, Texas 106 106 8. 10, 12 3 1 2 Sioux City, Iowa 107 88 4, 9, 11. 13 4 2 Stockton, Calif. 108 79 1 8 1 2 2 Lincoln, Neb. 109 88 10, 12 2 1 1 2 Hamilton, Middletown, Ohio 110 113 9 1 1 1

Altoona, Pa. 111 114 9 1 1 1 Kalamazoo, Mich. 112 77 3 1 1 York, Pa. 113 93 1 1 3 1 Savannah, Ga. 114 118 3, 5, 9, 11 4 3 2 Cedar Rapids, Iowa 115 73 7. 11 2 1 1 Terre Haute, Ind. 116 83 4 1 2 1 Columbia, S. C. 117 90 2. 4, 8 3 1 2 Manchester, N. H. 118 82 1 1 2 2 Mobile, Ala. 119 115 3. 5, 9. 11 4 2 2 Waterloo, Iowa 120 67 3, 6. 13 3 I 1

Corpus Christi, Texas 121 71 3. 6. 8. 10 4 2 Decatur, Ill. 122 66 2 1 1 1 Topeka, Kan. 123 78 7. 11 2 1 0 Winston-Salem, N. C. 124 no 6, 8 2 1 1 1 2 Springfield, Ohio 125 77 1 1 3 1 Montgomery, Ala. 126 94 6. 10 2 2 2 Charleston, S. C. 127 99 7. 10, 13 3 1 2 Jackson, Miss. 128 88 2. 4, 5, 7 4 1 3 St. Joseph, Mo. 129 87 13 1 1 1 Greensboro, N. C. 130 73 2. 10 2 3 1

Galveston, Texas 131 72 9, 11, 13 3 1 1 Asheville, N. C. 132 76 5, 7, 12 3 2 Columbus, Ga. 133 92 3. 12 2 1 2 2 Springfield, Mo. 134 71 2. 4, 5. 9 4 3 Augusta, Ga. 135 88 6, 12 2 1 1 2 Amarillo, Texas 136 53 2. 4. 5. 7 4 2 2 Macon, Ga. 137 75 4. 7. 10 3 2 1 2 Waco, Texas 138 71 3. 6. 9. 11 4 1 1 Durham, N. C. 139 70 4. 7 2 3 1 Pueblo, Col. 140 62 3. 6. 8, 10 4 1 1 TOTALS 140 63,068 134 33 389 17 46 78 379 404 Courtesy, Buchanan & Company, Inc. 95 under Agencies. See Television Work¬ shop under Producers.) L. Bamberger & Co., 131 Market, New¬ DIRECTORY OF ark 1, N. J. Department store. (See WNBT under Stations.) TELEVISION Black, Starr & Gorham, Inc., 594 Fifth Ave., New York. (See Norman D. Waters under Agencies. See Television Workshop under Producers.) A listing of advertisers, advertising agencies, packaged- Block Drug Co., Inc., 190 Baldwin Ave., show producers, telecasting stations, organizations and Jersey City, N. J. Maker of Omega Oil. publications — with their video activities summarized. (See Cecil & Presbrey under Agencies.) Bloomingdale's, Lexington Ave. & 59th St., New York 17, N. Y. Ira A. Hirsch- mann, vice-president, is in charge of tele¬ vision. In August 1939, Bloomingdale’s __ADVERTISERS_ and Abraham & Straus (Brooklyn) ap¬ plied jointly to the FCC for a television license. Application was filed by Metro¬ Abraham & Straus, Inc., 420 Fulton catalog, the company experimented with politan Television, Inc., subsidiary of St., Brooklyn. Department store. (See it from this angle with an eye to antici¬ the stores. Bloomingdale’s put on a Bloomingdale’s in this list of Adver¬ pating its postwar potentialities. Desires series of intra-store millinery shows. tisers. See WNBT under Stations.) primarily to bring the mail-order cata¬ Early in 1942, the store participated log to life. Account is handled by Acme News Pictures, Inc., 461 - 8th Ave., in a fashion series on WNBT. In Buchanan & Co. New York. Sponsored news program January 1945, Mr. Hirschmann was appointed to organize frequency modu¬ over WBKB in June, 1945. (See Henri, American Central Manufacturing Corp., lation and television activities for Hurst & McDonald under Agencies.) Connersville, Ind. Maker of American Federated Department Stores, which, Kitchens. On January 28, 1945, the Adam Hat Stores, 657 Broadway, New in addition to the two stores named, company sponsored a comedy, “The York 12. William Pludo, vice-president, includes F. & R. Lazarus & Co., Inc., Queen Was in the Kitchen”, produced is in charge of television. Sponsored Columbus, the John Shillito Co., Cin¬ by Gerald 0. Kaye over WABD. Pro¬ “Adam Hats Television Sports Parade”, cinnati, and Wm. Filene’s Sons Co., Inc., gram advertised “Planakit” matched boxing bouts from Ebbets Field, begin¬ Boston. Bloomingdale’s experimental kitchens. Subsequently, Jam Handy ning July 22, 1941 over WNBT. Pre¬ television station is W2XMT. sented two bouts in August 1941, then, made a “behind the scenes” film show¬ on October 28 sponsored wrestling ing how the program was telecast. This Boots Aircraft Nut Corp., New Canaan, matches from Ridgewood Grove Arena. was used for sales promotion through¬ Conn. (See Cecil & Presbrey under There were 18 pickups to May 1942. out the country. Agencies.) Early in 1945, Adam sponsored a sports American Institute of Food & Home Botany Worsted Mills, Dayton Ave., Pas¬ program over WABD, featuring Tom Products, 509 Madison Ave., N. Y. C. saic, N. J. Charles F. H. Johnson, Jr., and Bill Slater. All shows were pro¬ (See WABD under Stations.) vice-president, is in charge of television. duced through Buchanan & Co., Inc. Through Alfred J. Silberstein-Bert Elizabeth Arden, 681 Fifth Ave., New Goldsmith agency, Botany sponsored a Admiral Corp., 3800 Cortland, Chicago York 22, N. Y. (See WRGB: Stations.) 47, Ill. Maker of Admiral Radio. Pre¬ series of one-minute animated cartoons sents “Young Chicago” over WBKB Association of American Playing Card which promote Botany ties and forecast every Thursday. Conducts auditions for Manufacturers, 420 Lexington Ave., the weather. Beginning in October 1941, talent in cooperation with the Chicago New York. (See J. Walter Thompson these spots appeared over WNBT four Board of Education. under Agencies. See WRGB: Stations.) times weekly. In mid-1945, Botany moved this advertising to WABD, later Aetna Life Insurance Co. & Affiliated Atlantic Refining Co., 260 Broad St., returned it to WNBT. Company is look¬ Companies, 151 Farmington Ave., Hart¬ Philadelphia, Pa. Wallace Orr, N. W. ing forward to color television to obtain ford, Conn. Stanley F. Withe, manager, Ayer & Son, Inc., is the company tele¬ actual display of its ties. advertising and publicity department, vision representative. Company spon¬ is in charge of television. Aetna ex¬ sored first football game on television, Bulova Watch Co., 630 Fifth Ave., New hibit at the New York World’s Fair September 1940; first night football York 20. R. F. Warren, advertising included a television demonstration us¬ game, September 1941; first network manager, is in charge of television. ing educational films. In 1944, Aetna, football game, September 1944 over Bulova was the first advertiser to use first insurance company to use tele¬ WPTZ-WNBT-WRGB. Live and film commercials over WNBT. Beginning in vision, presented a commercial broad¬ talent used in commercials varying 1941, the company had spot commer¬ cast over the NBC-GE-Philco network from 45 seconds to 5 minutes. Televised cials six times a week. Except for the to promote Aetna Multiple Lines and 35 to 40 times. Company plans to con¬ period when the war curtailed NBC Aetna Check Forgery insurance. Two tinue experimentation. television activities, Bulova has been a 21-minute educational films, costing steady advertiser and now has two $1,000 each, were used. Company has Augusta Knitting Corp., 700 Broad, announcements a week; they consist of full facilities for production of 16-mm Utica 2, N. Y. Maker of Jones Quality one-minute time signals with a visual sound films; plans to produce 10 or 12 Underwear. (See Norman D. Waters animated clock face and a musical back¬ one-reel educational subjects. ground of the Minute Minuet. The Biow Company handles the account. Air Transport Association of America, 1515 Massachusetts Ave., N.W., Wash¬ The Butterick Co., Inc., 161 Sixth Ave., ington 5, D. C. (See Cecil & Presbrey Many of these listings, compiled New York. Promoting its fashion pat¬ under Agencies.) by Richard Manville and Patricia terns, Butterick gave the first commer¬ Murray, were published in Printers' Aldens Chicago Mail Order Co., 511 cial seen on WABD in May, 1943. Ink for July 6, 1945. They have Paulina, Chicago 7, Ill. Miss Ide Bodian, been revised and greatly augmented Buxton, Inc. (leather goods), 47 W. 34th fashion catalog manager, 200 Madison by Margaret Rice and Barbara St., New York. (See J. Walter Thomp¬ Ave., New York, is in charge of tele¬ Jones. Changes or omissions called son under Agencies.) vision. Television activity began in to the attention of the Editor, will August 1944, with three telecasts over Calvert Distillers Corp., 405 Lexington be incorporated in future yearbooks. WABD. Conscious of the promotional Ave., New York 17. (See Geyer, Cornell possibilities of television for a fashion & Newell under Agencies.)

96 evision and the first wheel

Many thousands of years ago a Man watched a log rolling down a hill and then and there an inspiration crawled inside the Man’s brain and wouldn’t go away.

So the Man invented the Wheel.

Fortunately for us the Man hacked and chiseled and chipped until the Wheel was finished ... he didn’t spend all of his time going around talking about it.

He went out, or went in, or went somewhere, and built it.

He didn’t stand before th? Amalgamated Asso¬ ciation of Cave Men Interested in the Develop¬ ment of Wheels and say, "Gentlemen, some day wheeled vehicles will skim along the earth at breathtaking speed.”

No, sir, he didn’t keep talking—he kept chipping.

We’ve done our share of talking, too. But let’s remember that we’ve all got a lot of chipping to do.

BUCHANAN & COMPANY, Inc. ^Advertising: NEW YORK • CHICAGO • SAN FRANCISCO • LOS ANGELES • BEVERLY HILLS

97 ADVERTISERS

The Conde-Nast Publications, Inc., 420 advertising manager. Magic entertain¬ Can Manufacturers' Institute, 60 East Lexington Ave., New York 17. Pub¬ 42nd St., New York 17. Gordon E. Cole, ment is being used to point up advan¬ lisher of Vogue, which sponsored a advertising director. Agency: Benton & tages of DuPont developments for better fashion show over WABD in March Bowles, Inc. (See WRGB: Stations.) living in a new series at WRGB. 1944, using pictures and models from Agency: BBD&O. Canada Dry Ginger Ale, Inc., 100 E. 42nd the magazine. Also produced a program St., New York. In 1944, the company over WRGB in 1945, employing live Durez Plastics & Chemical, Inc., North sponsored a series of spot animated talent and film. Tonawanda, N. Y. Sponsored a 13-week cartoons over WABD. series of programs in 1944 depicting Coty, Inc., 423 W. 55th St., New York Carson, Pirie, Scott & Co., Chicago de¬ uses of plastics in the postwar world. 19. In July 1944, Glorianne Lehr pro¬ partment store. (See WBKB: Stations.) (See Television Workshop: Producers.) duced a program over WABD, illustrat¬ Carter Products, Inc., 52 Park Place, ing the methods of the' Coty Salon and Easy Washing Machine Corp., Solar & New York 8, N. Y. Maker of Arrid. Pre¬ promoting its processes and beauty aids. Spencer, Syracuse 4, N. Y. (See Batten, sented several adaptations of radio mys¬ Barton, Durstine & Osborn under Agen¬ The Crowell-Collier Publishing Co., 250 teries over WABD in 1945. (See cies and WRGB under’ Stations.) Buchanan & Co. and Small & Seiffer Park Ave., New York 17. American under Agencies.) Magazine collaborated with Station Elgin National Watch Co., 107 National, WRGB in April 1942 to produce a pro¬ The William Carter Co., Needham Elgin, Ill. Elgin sponsors spot film com¬ gram bringing the magazine’s stories Heights 94, Mass. Maker of Carter’s mercials, “time by the stars”, over and articles to life. Collier's was tied Underwear. William L. Carter, assis¬ WBKB and WNBT. These televised in with an I. J. Fox show glorifying tant vice president, is in charge of tele¬ time signals run 90 seconds. Agency: the fur farmer in October 1944. vision. In September 1944, the Carter J. Walter Thompson Co., Chicago. Curtis Publishing Co., Independence Co. cooperated with several manufac¬ Encyclopedia Britannica Films, Inc., 20 N. turers to present a series of commer¬ Square, Philadelphia. Publisher of The Wacker Drive, Chicago 6, Ill. Company cials on WRGB. Carter’s family skit, Saturday Evening Post, Ladies’ Home collaborated with WCBW on a live tal¬ Journal, Country Gentleman, Jack and “Keeping Up With Baby,” promoted ent and film series, “The World We Live Jill, and Holiday. Sponsored both radio infants’ and children’s underwear. In”. The programs were documentaries, and television broadcasts in 1945 of the Casual Clothes, Inc., 744 Madison Ave., experimental educational shows directed New York. (See Charles M. Storm Army-Notre Dame and the Army-Navy toward creating a television “School of football games. Television broadcasts under Agencies.) the Air”. Programs made use of film in were aired over WPTZ, Philadelphia; Chef Boy-Ar-Dee Quality Foods, Inc., Encyclopedia Britannica Films’ library. WNBT, New York, and WRGB, Sche¬ Agency: N. W. Ayer & Son. Milton, Pa. (See American Broadcast¬ nectady. Commercials employed still ing Co. under Producers.) photographs of Curtis publications to¬ Esquire, Inc., 919 N. Michigan Ave., Cluett, Peabody & Co.. Inc., (Sanforiz¬ gether with an off-screen voice. Chicago, Ill. A. R. Pastel, advertising director, is in charge of television. On ing Div.), 40 Worth, New York 13, Lilly Dache, 78 E. 56th St., New York September 28, 1944, over WABD, Es¬ N. Y. Young & Rubicam, the company’s 22. Lilly Dache hats have been featured agency, produced a series of fashion on several programs at WABD. quire sponsored “The Boys from Boise”, programs for Sanforized over WABD. first full-length (two hours) musical Nancy Dixon, who appears in San¬ Daly Bros. Shoe Co., Marion, Ind. Maker comedy written and produced exclusive¬ forized magazine advertising, guided of Air-O-Magie shoes. (See Norman ly for television. Audience response in¬ the programs, each of which featured D. Waters under Agencies and Tele¬ cluded over 300 letters from televiewers. outstanding fashion designers and style vision Workshop under Producers.) Commercials, showing highlights from trends. Series started January 24, 1945; John David, Inc., 1271 Broadway, New a current issue of Esquire, were pre¬ productions lasted 15 minutes and oc¬ York 1. Beginning in April 1945 at sented between acts. Produced by curred every two weeks. Advertising WABD, this company cooperated with Charles M. Storm Co. Through Schwim- usually consisted of a one-minute skit American Broadcasting Co. in produc¬ mer & Scott, and in cooperation with worked in at the end of the program. ing a series of nine variety programs American Broadcasting Co., Esquire titled “Letter to Your Serviceman” telefilmed its annual “Esquire All- Colgate-Palmolive-Peet Co.. 105 Hudson, based on a radio program of the same American Boys Baseball Game” as a Jersey City 2, N. J. Maker of Super name. Commercials strove for humor “special event” feature. Suds. (See William Esty Co. under rather than conventional promotion. Agencies. Also Newell-Emmett for Everfast Fabrics, Inc., 40 Worth St., Kirkman & Son Div., Bridge & Water, Diana Corset Co., Inc., 1 E. 33rd St., New York 13. Featuring the work of Brooklyn 2, N. Y.) New York. (See Lester Harrison under well-known designers, Everfast spon¬ Agencies.) sored a fashion show over WABD in Commonwealth Edison Co., 72 W. Adams, March 1944. Producer: Glorianne Lehr. Chicago 3, Ill. Ardien B. Rodner, super¬ Esther Dorothy Furs, 78 E. 56th St., New visor, special campaign division of the York. Esther Dorothy furs were used The Fair, State and Madison Sts., Chi¬ advertising department, is in charge of in two “Fashion Frolic” programs pro¬ cago. Hector Suyker, president. Larry television. Company started telecasting duced over WABD. Eleanor Lambert, H. Foster, sales promotion manager. over WBKB in August 1944, with an publicist, handles the account. This department store has presented a afternoon cooking lesson, “Cooking by cosmetic demonstration program and a Allen B. DuMont Laboratories, Inc., 2 the Dial”, and an evening comedy- series of station-break pictorial slides Main Ave., Passaic, N. J. DuMont owns drama, “What’s Cooking With the at WBKB. Has recently inaugurated a and operates Station WABD. Has spon¬ Scotts”, which later became “Welcome series, “Let’s Go Teleshopping,” de¬ sored a number of programs promoting to the Walkers”. Company also spon¬ signed to aid shoppers by dramatizing DuMont-engineered television. Features sors “Telequizicalls”, an audience par¬ the activities of various departments. ticipation quiz program. Prizes consist its trade character, Alec Electron. Agency: Buchanan & Co. of electric appliances. Commonwealth’s Fashion Academy, 812 Fifth Ave., New program experiments are aimed at de¬ Alfred Dunhill of London, Inc. and Mary York. Emil Hartman, director, is in veloping advertising techniques and Dunhill, Inc., 660 Fifth Ave., New York charge of television. The Academy pre¬ promoting the sale of electric appli¬ 19. In December 1943, Alfred Dunhill sented an hour fashion show over ances, particularly the electric range. and Mary Dunhill sponsored a program WNBT which outlined the steps in Company has set up television receivers over WABD in which models suggested creating a design in women’s clothes. in public places to check audience re¬ Christmas gifts and wrappings. Several actions to its programs. In each series scenes illustrated uses of these gifts. Fashion Frocks, Inc., 3301 Colerain Ave., the programs have been built around Producer: Glorianne Lehr. (Also see Cincinnati 25, Ohio. (See Keelor & the commercials. “Telequizicalls” is the Charles M. Storm under Agencies.) Stites under Agencies and RKO Tele¬ only show Edison has on the air at vision under Producers.) present, but a new drama-comedy series E. I. DuPont de Nemours & Co., Inc., is planned for the near future. Wilmington 98, Del. R. A. Applegate, Fawcett Publications, Inc., 1501 Broad-

98 ADVERTISERS way, New York 18. Publisher of Me- from Oct. 26 to Nov. 14, 1945, with this International Dress Co., 1400 Broadway, chanix Illustrated. (See Charles M. form of promotion. Most important con¬ New York. (See Glorianne Lehr under Storm under Agencies.) clusion : shoppers want buying informa¬ Producers.) tion, interestingly presented. Entertain¬ International Shoe Co., 1507 Washing¬ Marshall Field & Co., 222 N. Bank, ment is unnecessary. Chicago 54, Ill. Department store. Pro¬ ton Ave., St. Louis, Mo. Maker of Win- duces a weekly series of programs over Gold Mark Hosiery Co., 392 Fifth Ave., throp shoes, Queen Quality shoes, Red WBKB. (See WBKB under Stations.) New York 18. (See WNBT: Stations.) Goose shoes. A. L. Johnson, advertising- director, is director of television. Has Firestone Tire & Rubber Co., 1200 Fire¬ B. F. Goodrich Co., So. Main St., Akron, presented four shows on WABD, two stone Parkway, Akron 17, Ohio. Since Ohio. (See Batten, Barton, Durstine & of them featuring stories from Collier’s 1943, Firestone has been a steady adver¬ Osborn under Agencies and WRGB and Woman’s Home Companion. First tiser on WNBT. The company sponsors under Stations.) program, in August 1944, stressed pre¬ a weekly 15-minute program which has sentation of men’s shoes in a manner Gotham Silk Hosiery Co., Inc., 200 Madi¬ included a variety of films — musical, similar to that used in national adver¬ son Ave., New York 16. Sponsored travel, novelty, industrial, etc. tising. Another program, promoting show promoting Gotham Goldstripe children’s shoes, filmed the history of Hosiery, in June 1944 over WABD. I. J. Fox, 393 Fifth Ave., New York 16. the circus especially for television. Com¬ Producer: Glorianne Lehr. Howard P. Abrahams, advertising and pany plans to continue experimentation. publicity director, is in charge of tele¬ The Guide Magazines, 400 N. Michigan Agency: Westheimer & Co. Bud Gam¬ vision. In September 1938, Fox pre¬ Ave., Chicago 11, Ill. Publisher of Click ble produced three of the programs. sented a 20-minute program over and Official Detective Stories. (See I. J. Fotosound Studios made the circus film. WCBW, displaying the “world’s rarest Fox under Advertisers and Charles M. Georg Jensen, Inc., 667 Fifth Ave., New furs”. In October 1944, Fox sponsored Storm under Agencies.) a program tied up with stories in Click York 22. (See Glorianne Lehr under and Collier's on the American fur Hamilton Watch Co., Columbia Ave., Producers.) farmer. This show, produced by Glori- Lancaster, Pa. Robert Waddell, adver¬ Johansen Bros. Shoe Co., Inc., 3642 Lac¬ anne Lehr, and two other 30-minute tising manager. Presented time signal lede St., St. Louis 8, Mo. Sponsored a programs appeared on WABD. Fox ex¬ series at WRGB in 1943. Some were half-hour dramatic program in May pects to use television from time to tied in with Red Cross, others with 1945 over W6XAO. Plans experimental time when particular pieces of merchan¬ Blackstone Cigars. Agency: Batten, telecasts over television stations in the dise warrant special promotion. Barton, Durstine & Osborn. Midwest and East. Agency: Anfenger John Frederics, Inc., 29 E. 48th St., New The Hat Corp. of America, 417 Fifth Advertising Agency, St. Louis. (See York. In January 1943, John Frederics Ave., New York 16. J. R. Swan, Jr., Dan B. Miner under Agencies.) hats and accessories were advertised in advertising manager, is in charge of Lamont, Corliss & Co., 60 Hudson St., a “what’s wrong with this picture” television activity. Started television New York 13. Maker of Nestle’s candy. fashion quiz. Frederics hats have also experiments in March 1944. Produced (See Cecil & Presbrey under Agencies.) been featured on other fashion shows a 15-minute variety show, a 15-minute over WABD. Producer: Glorianne Lehr. fashion show with continuity and a Lanz Fifth Avenue Corp., 668 Fifth Ave., 30-minute play with integrated com¬ New York. Sponsored a “Fashion General Electric Co., Schenectady, N. Y. mercial, all over WABD in behalf of Frolic” over WABD in October 1943. Owns and operates Station WRGB. Has Knox and Dobbs hats. (For Knox, see Producer: Glorianne Lehr. advertised over WRGB independently Geyer, Cornell & Newell under Agen¬ The Frank H. Lee Co., Danbury, Conn. and in cooperation with other compan¬ cies. For Dobbs, see Abbott Kimball.) Maker of Lee hats. (See WNBT under ies. (See Batten, Barton, Durstine & Osborn under Agencies.) Hat Style Council, Inc., 1123 Broadway, Stations.) New York 10. (See WNBT under Sta¬ Lentheric, Inc., 761 Fifth Ave., New General Foods Corp., 250 Park Ave., tions.) York 22. (See Geyer, Cornell & Newell New York 17. Maker of Post-Tens. (See under Agencies.) Benton & Bowles under Agencies.) Hearst Magazines, Inc., 989 Eighth Ave., New York 19. Sponsored two fashion Lever Bros. Co., 50 Memorial Dr., Cam¬ General Mills, Inc., Chamber of Com¬ shows on WABD in the spring of 1944 bridge, Mass. Maker of Rinso, Spry, merce Bldg., Minneapolis 15, Minn. C. for Harper’s Bazaar. (See Abbott Kim¬ Lifebuoy Soap, Lifebuoy Shave Cream S. Samuelson, advertising manager. ball under Agencies and Glorianne Lehr and Vimms. A. E. Foster is television This manufacturer of Gold Medal Flour, under Producers.) supervisor. In November 1943, Lever Softasilk Cake Flour, etc., sponsored a Herbert Manufacturing Co., 229 W. 36th Bros, started a weekly, half-hour pro¬ special 28-minute film on the history of St., New York. Maker of Herbert fab¬ gram over WABD, promoting several cake, titled “400 Years in Four Min¬ of its products in rotation. Series, which utes,” which appeared over WCBW. rics. (See Norman D. Waters under Agencies and Television Workshop continued until September 1945, in¬ Gertz Department Store, 162-10 Jamaica under Producers.) cluded experiments in serious drama, Ave., Jamaica, L. I. (See Television comedy, music, variety, fashion and Hillman Periodicals, 1476 Broadway, Workshop under Producers; also Sta¬ audience participation, employing both New York 18. Publisher of Real Storg. tion W2XJT.) live talent and film. Many advertising (See Charles M. Storm under Agencies.) techniques have been tried. Lever Bros, Gillette Safety Razor Co., 15 W. First, Richard Hudnut, 693 Fifth Ave., New has produced many shows at WNBT Boston, Mass. Has sponsored WNBT York. Over WABD, sponsored three and is currently sponsoring a series of pickups of boxing matches from Madi¬ fashion programs in 1944 for the Du- programs over WCBW. Future plans son Square Garden and St. Nicholas Barry Success School. (See Kenyon & have not been announced. Agency: Ruth- Arena since September 1944. Commer¬ Eckhardt under Agencies and Glori¬ rauff & Ryan. BBD&O handled a pro¬ cials are still pictures with studio voice, anne Lehr under Producers.) gram for Vimms at WRGB. flashed on the screen between bouts or rounds. (See Maxon, Inc.: Agencies.) Huffman Full Fashioned Mills, Inc., Meet¬ Libbey-Owens-Ford Glass Co., Nicholas ing St., Morganton, N. C. Maker of Building, Toledo 3, Ohio. (See J. Gimbel Bros., Inc., Broadway at 33rd St., Flatternit stockings. (See Norman D. Walter Thompson under Agencies and New York 1. Presented a half-hour Waters under Agencies and Television WRGB under Stations.) fashion show on March 11, 1945 over Workshop under Producers.) WRGB-WNBT hookup. Featured Ade¬ Liberty Mutual Insurance Co., 175 Ber¬ laide Hawley. Agency: Abbott Kimball Industrial Undergarment Corp., Pough¬ keley, Boston, Mass. Sponsored a film Co. Producer: Television Workshop. keepsie, N. Y. Maker of Stardust slips, produced specifically for television. (See Gimbel’s Philadelphia store installed blouses and underwear. (See Norman Batten, Barton, Durstine & Osborn intra-store equipment and in collabora¬ D. Waters under Agencies and Televi¬ under Agencies and RKO Television tion with RCA-Victor, experimented sion Workshop under Producers.) under Producers.)

99 ADVERTISERS

Liggett & Myers Tobacco Co., 630 Fifth Kelvinator Division sponsored a show ties. To promote its neckwear, the com¬ Ave., New York 20. Maker of Chester¬ on WABD which featured prominent pany sponsored 13 30-minute programs field cigarettes. (See Newell-Emmett cartoonists. (See Geyer, Cornell & New¬ over WABD. Agency: Reiss Advertis¬ under Agencies.) ell under Agencies.) ing. Producer: Television Workshop. During 1945, Pulitzer presented a series Loft Candy Corp.. 38-38 - 9th, Long Is¬ National Distillers Products Corp., 120 of variety shows, “At Ease”, directed land City, N. Y. (See A1 Paul Lefton Broadway, New York. On behalf of at servicemen. Producer: Bob Loewi under Agencies and WABD under Sta¬ Duff-Gordon wines, Sam Medoff pro¬ over WABD. tions.) duced a musical program over WABD in January 1945. Quaker Lace Co., 330 Fifth Ave., New Look, Inc., 511 Fifth Ave., New York 18. York 11. Hosiery. (See Cecil & Pres- WRGB adapted an issue of Look maga¬ National Peanut Council, Inc., 812 C & S brey under Agencies.) zine for television. Recently, WCBW National Bank Building, Atlanta 3, Ga. used the magazine’s “Photocrime” fea¬ (See J. Walter Thompson under Agen¬ Radio Corporation of America, 30 Rock¬ ture as a basis for several detective cies.) efeller Plaza, New York. RCA-Victor dramas. Nehi Corp., 10th & 9th Ave., Columbus, Division sponsors a 15-minute weekly film program, “The World in Your Lord & Taylor, 424 Fifth Ave., New Ga. Maker of Royal Crown Cola. (See Home”, over WNBT. (See J. Walter York 18. Department store. (See Glori- Batten, Barton, Durstine & Osborn Thompson under Agencies.) anne Lehr under Producers.) under Agencies and WRGB under Sta¬ tions.) The George W. Loft Co.. 34-12 - 36th Reader's Digest Association, Inc., Pleas- Ave., Long Island City, N. Y. Maker of New York Dress Institute, 1450 Broad¬ antville, N. Y. Publisher of The Read¬ Tangee lipstick. (See American Broad¬ way, New York 18. Sponsored a pro¬ er’s Digest. (See Batten, Barton, Dur¬ casting Co. under Producers.) gram over WABD in January 1943 stine & Osborn under Agencies.) showing how a dress manufacturing Luxuray Corp., 450 Seventh Ave., New company functions. Producer: Glori¬ Remington Arms Co., Bridgeport, Conn. York. Maker of Dove-Skin Knit Undies. anne Lehr. (See Batten, Barton, Durstine & Os¬ (See Norman D. Waters under Agen¬ born under Agencies and WRGB under No Mend Hosiery, Inc., 133 W. Berkley, cies and Television Workshop under Stations.) Philadelphia 44, Pa. (See A1 Paul Lef¬ Producers.) Rival Packing Co., 4500 S. Tripp Ave., ton under Agencies.) Chicago 32, Ill. Maker of Rival dog R. H. Macy & Co., Inc., Broadway at Pal Blade Co., 595 Madison Ave., New 34th St., New York 1. Beginning in food. (See A1 Paul Lefton under Agen¬ York. Edwin Kraus, sales manager, is January 1945, Macy’s sponsored a series cies.) in charge of television activity. Has of 5-minute commercial programs, pro¬ sponsored one program over WABD Ronson Art Metal Works, Inc., Aronson moting Macy merchandise and services. in behalf of Pal Hollow-Ground razor Square, Newark, N. J. Alfred R. Presented over WABD, the programs blades. Company is exploring television Nathan, advertising manager, is head were linked together by a central figure, with a view to adding the medium to of television. Promoting Ronson light¬ Martha Manning, who acted as guide its regular advertising program. (See ers, “You’re the Light of My Life” was on the teleshopping tours. Program A1 Paul Lefton under Agencies.) produced over WNBT, September 29, signature was on film. Producer: RKO 1939. The show was the first commercial Pan-American Airways System, 135 E. Television. musical television program in the U. S. 42nd St., New York 17. Since March Maritime Milling Co., Inc., Chamber of “America’s Merchant”, over WABD, 1945, Pan-American has sponsored a Commerce Building, Buffalo, N. Y. September 10, 1944, was a dramatic weekly film travelog with studio com¬ offering. Ronson commercial was inte¬ Maker of Hunt Club dog food. George mentary over WNBT. Advertising for grated into the show. Company will E. Todd, vice-president, heads television Pan-American is also on film. Agency: continue to experiment with the medium. activities. (See Baldwin, Bowers & J. Walter Thompson. Strachan under Agencies.) Agency: Cecil & Presbrey. Park & Tilford, 485 Fifth Ave., New Helena Rubinstein, Inc., 715 Fifth Ave., Mars, Inc., 2019 N. Oak Park Ave., York 17. Maker of Park & Tilford New York 23. (See H. B. Humphrey Chicago, Ill. Maker of Mars candy bars. candy and Tintex dyes. Has sponsored under Agencies.) (See Grant Advertising: Agencies.) six programs on WABD including Saks Fifth Avenue, 611 Fifth Ave., New Alice Maynard, 558 Madison Ave., New “Television Follies of 1944”, a 2-hour York 22. Department store. In Novem¬ York 18. Alice Maynard sweaters have musical variety show. Tintex first pre¬ ber 1943, over WABD, Glorianne Lehr been displayed on programs produced sented a program in December 1943, produced two programs for Saks, dis¬ by Glorianne Lehr over WABD. and has since sponsored 25 television shows: drama, comedy, documentary, playing the store’s Christmas merchan¬ McCall Corp., 230 Park Ave., N. Y. 17, variety, etc. Agency: Charles M. Storm. dise. N. Y. Presented program at WRGB in Pond's Extract Co.. 60 Hudson St., New Schutter Candy Co.. 4730 W. Augusta behalf of McCall’s Patterns. York 13. Maker of Pond’s Cosmetics. Blvd., Chicago 51, Ill. Maker of Bit O’ James McCreery & Co., Fifth Ave. & (See WRGB under Stations.) Honey and Old Nick Candy Bar. Schut¬ 34th St., New York 1. Department ter introduced Frank Fay to television Press-On, Inc., 16 W. 61st St., New York store. (See Television Workshop under on January 7, 1945 over WABD. A mid¬ 23. Maker of Press-On mending tape. Producers.) dle commercial was used in the variety In 1943 the company sponsored the first program, with Mr. Fay participating. Miles Laboratories, Inc., 1127 Myrtle, commercial series to be presented on Agency: Westheimer & Co. Producer: Elkhart, Ind. A “Quiz Kids” adaptation WABD. (See Reiss Advertising under Bud Gamble. of the radio program of the same name Agencies and Television Workshop was presented over WABD in behalf under Producers.) Shell Oil Co.. Inc., 50 W. 50th St., New of Alka-Seltzer. Producer: American York. (See J. Walter Thompson under Broadcasting Co. Agency: Wade Ad¬ The Procter & Gamble Co., 6th & Main, Agencies.) vertising Agency. Miles also presented Cincinnati, Ohio. Maker of Duz and Alexander Smith & Sons Carpet Co., Saw adaptation of a Satevepost “Earthworm Ivory Soap. Gail Smith heads televi¬ Mill River Rd., Yonkers, N. Y. Karl Tractor” story for 1-A-Day Vitamins. sion activities. Procter & Gamble was one of the first advertisers on WNBT, Knipe of Anderson, Davis & Platte, Missouri-Pacific Lines, 13th and Olive, sponsoring a baseball telecast in 1940. Inc., directs television activity for the St. Louis, Mo. (See WNBT: Stations.) (See Compton Advertising under Agen¬ company. In September 1944, Smith cies and WRGB under Stations.) started a bi-weekly travelog program, John Morrell & Co., Hayne St. and Iowa “The Magic Carpet”, over WABD. The Ave., Ottumwa, Iowa. Maker of Red Proctor Electric Co., 3rd & Hunting show combines live talent with actual Heart dog food. (See Henri, Hurst & Park Ave., Philadelphia, Pa. (See New¬ travel scenes on film. Smith has also McDonald under Agencies.) ell-Emmett under Agencies.) advertised over WRGB. Company plans Nash-Kelvinator Corp., 14250 Plymouth Ben Pulitzer Creations, Inc., 1270 Broad¬ to continue its experiments. Producer: Rd., Detroit, Mich. In January 1945 the way, New York. Maker of Ben Pulitzer Bud Gamble.

100 ADVERTISING AGENCIES

Socony-Vacuum Oil Co., Inc., 26 Broad¬ Street & Smith Publications, Inc., 122 E. charge of television operation. John way, New York 4. Distributor of Mobil- 42nd St., New York. Frances Hughes, Hewlett is television producer. In 1941, oil. In cooperation with Procter & special projects editor, and Geri Trotta, the company presented one program. Gamble, Socony-Vacuum sponsored a copy editor, are collaborators in charge On May 6, 1945, it began a weekly program seen first over WRGB, then of television. In December 1943, Glori¬ series over WABD which continued into over WARD. (See Compton Advertising anne Lehr produced a program over the autumn. These 30-minute programs, under Agencies.) WABD based on Mademoiselle fashion titled “Magazine of the Air”, combined hints. In March 1944, Mademoiselle pre¬ film with live talent to promote the idea The Spool Cotton Co.. 745 Fifth Ave., of “serving through science”. Keds, a New York. Winners of a sewing contest sented “What’s New”, also over WABD, U.S. Rubber product, recently sponsored sponsored by Spool Cotton appeared on as an experiment in dramatizing edi¬ Lou Little, Columbia University foot¬ WARD in June 1944. Agency: Tom torial and advertising copy. The maga¬ ball coach, as the “Television Quarter¬ Fizdale. zine gave a series of monthly programs over WCBW, beginning in November back” in a weekly talk over WNBT. Standard Oil Co. of New Jersey, 26 1944. Titled “Women in Wartime”, Agency: Campbell-Ewald, Inc. Broadway, New York 4. Distributor of these dramatizations were planned as a The U. S. Time Corp., 31 Cherry Ave., Esso Extra and Esso Motor Oil. R. M. public service to help direct woman- Waterbury 91, Conn. Maker of Ingersoll Gray, manager of advertising and sales power into the channels where needs watches. Sponsored time signals over promotion department, heads television were urgent and to show young women WRGB. (See Compton Advertising- activities. In 19.39, company sponsored how to lead useful and happy lives in under Agencies.) a 15-minute weekly news program on wartime. New shows are planned for WNBT, produced by McCann-Erickson WCBW presentation. Waift & Bond, Inc., 310 Sherman Ave., agency. “Your Esso Reporter” combined Newark, N. J. Maker of Blackstone live talent and film, was on the air for Sun Oil Co., 1608 Walnut, Philadelphia, cigars. (See Batten, Barton, Durstine & ten weeks. It was the first commercial Pa. (See WNBT under Stations.) Osborn under Agencies and WRGB series prepared exclusively for televi¬ Swift & Co., Union Stock Yards, Chi¬ under Stations.) sion. In June 1945, Esso Marketeers cago, Ill. Sponsored a program in con¬ Waltham Watch Co., Crescent St., Wal¬ sponsored films of General Eisenhower’s nection with the Seventh War Loan. tham, Mass. Presented time signals welcome in Washington and New York, (See American Broadcasting Co. under over WABD on V-E Day program. (See and of other important events. These Producers and J. Walter Thompson American Broadcasting Co. under Pro¬ films were presented over WNBT and under Agencies.) ducers, Waltham recently started a relayed to WPTZ and WRGB. Esso also Felix Tausend & Sons, 114 Franklin St., series of spot film commercials on sponsored films of New York’s Navy New York. Maker of Cel-O-Sheen table WNBT. Agency: N. W. Ayer & Son. Day ceremonies in October 1945. An in¬ cloths. (See Norman I). Waters under creased use of television advertising is Weinreich Bros. Co., 383 Fifth Ave., Agencies.) contemplated. Agency: Marschalk & New York. Maker of Marvella pearls. Pratt. Textron, Inc., 350 Fifth Ave., New York (See Abbott Kimball under Agencies.) 1. Fabrics. (See J. Walter Thompson Arpad Stern, 689 Fifth Ave., New York. Wildroot Co., Inc., 1490 Jefferson Ave., Arpad Stern accessories have been fea¬ under Agencies.) Buffalo 8, N. Y. Maker of Wildroot tured on fashion shows produced by United States Rubber Co., 1230 Sixth hair oil. (See Batten, Barton, Durstine Young & Rubicam and by Glorianne Ave., New York 20. Charles J. Durban, & Osborn under Agencies and WRGB Lehr over WABD. assistant director of advertising, is in under Stations.)

ADVERTISING AGENCIES

Anderson, Davis & Platte, Inc., 50 Rocke¬ versity vs. University of Kansas. Also cal supervisor of art and production, feller Plaza, New York. CO 5-4868. Karl first sponsored network football game, television department. BBD&O, early Knipe, assistant to the president, heads September 1944, over WPTZ (Phila¬ in 1943, began experimentation with television activities. Agency started in delphia), WNBT (New York), and many types of programs and commer¬ television on September 13, 1944, over WRGB (Schenectady). Game was Uni¬ cials. Presented live talent and film WABD. For Alexander Smith & Sons versity of Pennsylvania vs. Duke. In programs on WRGB, WNBT and Carpet Co., agency has presented a behalf of Atlantic, Ayer used commer¬ WABD. Agency’s television clients in¬ score of 30-minute bi-weekly travelog cials (both live talent and film) vary¬ clude: General Electric Co., B. F. programs titled “The Magic Carpet,” ing from 45 seconds to 5 minutes, de¬ Goodrich Rubber Co., E. I. du Pont de which combine live talent with travel pending on where employed during Nemours & Co., Easy Washer Co., film. Producer: Bud Gamble. Agency game. Ayer has telecast about 40 pro¬ Remington Arms Co., Hamilton Watch, plans further experiments with present grams. Presented time breaks for Wal¬ William Carter Co., Wildroot Co., show as well as new shows for other tham Watch Co., on V-E Day show at Liberty Mutual Life Insurance Co., clients. Plans a series of daily noon hour WABD in cooperation with American Reader's Digest, Waitt & Bond, Inc., shows for John Wanamaker at WABD. Broadcasting Co. Agency plans to try and Nehi Corp. BBD&O expects to con¬ everything. Believes rules can’t be tinue intensive study of the medium as Anfenger Advertising Agency, 1706 Olive made; that each product presents new St., St. Louis, Mo. CH 6380. (See Dan an advertising tool of the future and, B. Miner Co., under Agencies.) problems. whenever logical, to apply its findings Baldwin, Bowers & Strachan, Inc., 370 for the benefit of its clients. Atherton & Currier, Inc., 420 Lexington Delaware Ave., Buffalo 2, N. Y. Wash¬ Ave., New York. MO 4-8795. Joseph Benton & Bowles, 444 Madison Ave., ington 6854. Everett L. Bowers, vice- Molnar, radio director, heads television. New York. WI 2-0400. Herb J. Leder, president, heads television activity. Jack Agency believes television feasible and director of television. Agency presented F. Higgins, radio director, is television plans to enter the field with spot adver¬ a program for General Foods on WABD producer. Agency presented a 15-minute tising for its clients. in October 1944. Plans to experiment in program over WABD April 17, 1945, various phases of production. N. W. Ayer & Son, Inc., West Washington for Maritime Milling Co., in behalf of Square, Philadelphia 6, Pa. Television Hunt Club dog feed. Plans to continue Bermingham, Castleman and Pierce, Inc., is handled at New York office: 30 Rocke¬ testing possibilities of the medium. 136 E. 38th St., New York. LE 2-7550. feller Plaza. Cl 6-0200. Don McClure, Ted Bates, Inc., 630 Fifth Ave., New Agency plans to enter field but has no director of television. Agency com¬ definite schedule. menced television activity in September York. Cl 6-9700. William Stuhler, radio director, and Jay Clark, radio executive, 1940 by presenting the first commer¬ The Biow Co., Inc., 9 Rockefeller Plaza, handle television. Agency is interested cially sponsored football telecast, in New York. Cl 6-9300. Harry Spears in this new medium and is studying its cooperation with its client, Atlantic directs television activities. Agency possibilities. Refining Co. and with Philco Corp. handles Bulova time signals, first pre¬ Game was picked up from Franklin Batten, Barton, Durstine & Osborn, Inc., sented on NBC in 1941. Plans to con¬ Field, University of Pennsylvania, Phil¬ 383 Madison Ave., New York. EL 5-5800. tinue in television, possibly producing adelphia. Presented first night football Frederick A. Long is in charge of tele¬ 5, 15 or 30-minute programs for Bulova telecast, September 1941, Temple Uni¬ vision activities. Chet Kulesza is techni¬ and later for other sponsors.

101 ADVERTISING AGENCIES

Blaine-Thompson Co., 234 W. 44th St., be pooled later. Carl Stanton, radio ac¬ is studying field, particularly the pre¬ New York. BR 9-2480. Mario Lewis, count executive in New York, will han¬ sentation of fashion merchandise. Ex¬ vice-president, is in charge of television. dle any activities planned in the near pects to begin television activities in the Plans to keep abreast of developments future. near future. and to do experimental work with D'Arcy Advertising Co., 515 Madison Grant Advertising, Inc., 1313 Gulf States clients. Ave., New York. PL 8-2600. Paul Lewis, Bldg., Dallas, Texas. Riverside 8121. Buchanan & Co., Inc., 1501 Broadway, director of radio, supervises television Branch offices: New York—30 Rocke¬ New York 18, N. Y. ME 3-3380. Martin work. Agency is surveying the field in feller Plaza. Cl 5-4485. Chicago—919 B. Jones, radio and television director. a general way but does not anticipate N. Michigan Ave. SUPerior 9052. R. E. Writers: Ralph Rockafellow, Robert any programming before autumn of Ellis, account executive for Mars, Inc., Smock. Agency handles advertising of 1946. maker of candy bars, plans an adapta¬ Allen B. DuMont Laboratories, Inc.; Donahue & Coe, Inc., 1270 6th Ave., New tion of the radio show “Curtain Time” has produced many WABD sustaining York. CO 5-4252. A. Carl Rigrod, direc¬ to be presented at WRGB in cooperation shows. Also programs in behalf of tor of motion-picture-radio division, with the American Broadcasting Co. Adam Hat Stores, Inc.; Alden’s Chi¬ heads television. Agency is waiting for Grey Advertising Agency, Inc., 166 W. cago Mail Order Co.; and Carter Prod¬ the right moment to enter the field, ucts Inc., for Arrid. Plans a Spring 1946 32nd St., New York. CH 4-3900. Earl G. keeping motion picture accounts es¬ Thomas is director of radio and tele¬ series to sell DuMont Telesets over pecially in mind. WABD. vision. Agency publishes bulletin, “Tele¬ Erwin, Wasey & Co., Inc., 420 Lexington vision Grey Matter,” which discusses Campbell-Ewald, Inc., 10 Rockefeller Ave., New York. MO 4-8700. C. H. Cot- developments and attitudes in the field. Plaza, New York. Cl 7-6383. Richard tington, director of radio, heads tele¬ Not ready to announce specific plans Hackenger is in charge of television ac¬ vision. Agency is standing by for the but has production ideas and commer¬ tivity. (See U. S. Rubber Co. under present. cial treatment for 17 clients in prepa¬ Advertisers.) ration. William Esty & Co., 100 E. 42nd St., Cecil & Presbrey, Inc., 247 Park Ave., New York. CA 5-1900. Thos. D. Lucken- Lawrence C. Gumbinner Advertising Agen¬ New York. WI 2-8200. Dell Crosby bill, vice-president and radio director, cy. 9 E. 41st St., New York. MU 2-5680. is director of radio, television and pub¬ heads television activities. Kendall Fos¬ Paul Gumbinner directs television. lic relations. Television activity com¬ ter, radio producer and director, han¬ Agency is studying the field, watching menced in 1943. Skeleton organization dles television production and direction. developments. built. On Feb. 27, 1944, began weekly Agency is doing a weekly half-hour Lester Harrison Associates, Inc., 341 series (12 half hour programs) for show for Super Suds on Station WABD Madison Ave., New York. MU 3-1267. Boots Aircraft Nut Corp. Transported for Colgate-Palmolive-Peet Co. Titled Charles Harrison heads up radio and members of the Mutual-aired radio “Here’s How,” the program is directed television activities. Agency presented show, “Wide Horizons,” from the radio at homemakers and gives them humor¬ a “Cavalcade of Corsets” in March 1945 studio to Station WABD where the ous skits and helpful hints for improved over WABD for the Diana Corset Co., show was televised with necessary adap¬ housekeeping. Other plans not ready for using properties loaned by the Brooklyn tations. In September 1944 produced publication. Museum. Producer: Television Work¬ “America’s Merchant,” a program built shop. Future plans awaiting greater de¬ around a “Universal Store-Keeper,” Federal Advertising Agency, Inc., 444 velopment of the medium. who extolled merits of different prod¬ Madison Ave., New York. EL 5-6400. John S. Davidson, vice-president and ucts. Agency has produced about 40 Henri, Hurst & McDonald, Inc., 520 N. programs in all. Has presented shows radio director, heads television activi¬ Michigan Ave., Chicago. SUP 3000. for Ronson Art Metal Works, Inc., ties. Agency is preparing and discuss¬ David W. Dole, associate radio director, Quaker Lace Hosiery, Nestle’s (La- ing experimental scripts and ideas. in charge of television. Initial activity mont, Corliss & Co.), Omega Oil (Block Foote, Cone & Belding, 247 Park Ave., was production of a three-and-one-half- Drug Co.), and Air Transport Associa¬ New York. WI 2-6600. Hubbell Robin¬ minute film and disc, national spot, car¬ tion. son, vice-president, directs radio and toon commercial on behalf of Red Heart Agency feels it has fine and compre¬ television. Agency’s plans are now at Dog Food, over WBKB. This spot, re¬ hensive backlog of information on tele¬ the blueprint stage with shows of all sult of belief in agencies’ responsibili¬ vision lighting, scenic effects, colors, types under consideration for clients. ties in commercial field versus stations’ use of miniatures, mechanical aspects, problems in program field, was designed make-up, properties, dialogue, costumes Albert Frank-Guenther Law, Inc., 131 to relieve harassed studio managers’ and wardrobe research. Plans continued Cedar St., New York. CO 7-5060. Rus¬ problems by supplying a projection- experimentation. sell Clevenger, director of radio and and-sound-room-only spot for use in a television. Agency is interested in pro¬ program schedule, between live shows. Compton Advertising, Inc., 630 5th Ave., grams with select audience appeal for Production of spot was gauged econom¬ New York. Cl 6-2800. Wyllis Cooper, use in marketing of quality products. ically to pay off on estimate of com¬ producer of television and motion pic¬ mercial postwar operation in minimum tures for the agency, heads television. Fuller & Smith & Ross, Inc., 71 Vander¬ of ten markets. Produced “Look at the James N. Manilla is associate producer bilt Ave., New York. MU 6-5600. Lee News” in June 1945 over WBKB, for of television and motion pictures. Activ¬ Williams, dirctor of radio, heads tele¬ Acme Newspictures. Used stage-like ity began in 1940: telecast Brooklyn vision in New York. Reed Drummond, presentation operated by a puppet. Dodgers baseball game, with Red Bar¬ motion picture director, is in charge in Johnny Acme. Pictures featured the ber, for Ivory Soap. In July 1941 pre¬ Cleveland. Agency has done two ex¬ life of General Hodges. Current news sented “Truth or Consequences” with perimental shows for clients, filming was also featured. Ralph Edwards for Procter & Gamble most of the material. Plans to continue Agency feels that commercial tele¬ when WNBT opened commercially. On experimentation. vision is close, and is considering the February 11, 1944, produced a show on medium in its planning for advertisers. WRGB for Duz and Ivory Soap (both Geyer, Cornell & Newell, Inc., 745 5th Procter & Gamble) and Mnbiloil (So- Ave., New York. WI 2-5400. Don S. Charles W. Hoyt Co., 551 5th Ave., New cony-Vacuum). Program comprised an Shaw, radio director, heads television York. MU 2-0850. W. P. Smith, director elaborate, costly puppet show for Duz; activity. A. J. Ghisalbert is in charge of radio, will handle television activi¬ Yvette, the songstress, for Ivory Soap; of television production. Agency pre¬ ties. Agency is awaiting further devel¬ and Stan MacGovern, the cartoonist, for sented “Knox Magic Hat Shop,” 20- opment before entering the field. Mobiloil. On February 16 the show was minute live fashion show featuring presented on WABD. Compton also pre¬ Knox Hats for Hat Corp. of America, H. B. Humphrey Co., 420 Lexington Ave., sented two one-minute time signals for over WABD, Oct. 10, 1944. On Jan. 23, New York. MU 5-0993. H. B. Hum¬ Ingersoll Watches, U. S. Time Corp. 1945, presented “Fun in the Kitchen,” phrey, Jr., vice-president, is in charge Compton advocates filmed television. a 20-minute, live comedy program, also of television activity. Presented half- Plans to refrain from live television on WABD, for Kelvinator division, hour production, May 23, 1944, for production pending further experiments Nash-Kelvinator Corp. Show was tied Helena Rubinstein, WABD. with motion pictures. in with the Society of Amateur Chefs. A series of similar Kelvinator shows is Duane Jones Co., 570 Lexington Ave., Dancer-Fitzgerald-Sample, 247 Park Ave., in the planning stage. Also new shows New York. PL 3-4848. Walter Ware, New York. WI 2-4200. Agency definitely for Calvert Distillers Corp., Knox Hats in charge of television. Agency is study¬ interested in field as an advertising and Lentheric. ing production problems and working medium; believes its clients will be ac¬ up several commercial experiments. tive participants. Radio departments of Gotham Adv. Co., 2 W. 46th St., New These productions will be handled as an branch offices are doing individual re¬ York. LO 5-2616. Arthur A. Kron, di¬ agency assignment, with clients brought search and checking; information will rector of radio, heads television. Agency in as proficiency is achieved.

102 ADVERTISING AGENCIES

Kaplan, Siesel & Bruck, 424 Madison Day celebrations, Charles de Gaulle until it becomes a mass medium influ¬ Ave., New York. PL 8-1254. (See West- and Gen. Wainwright arrivals. Also a ential in the sale of packaged foods. 30-minute film, “Oil for Tomorrow,” heimer & Co. under Agencies.) Pedlar & Ryan & Lusk, Inc., 250 Park over WABD. Plans a regularly sched¬ Ave., New York. PL 5-1500. E. G. The Joseph Katz Co., 444 Madison Ave., uled series of news telecasts. New York. WI 2-2740. Allen J. DeCas- Sisson, director of radio, heads televi¬ sion. Though agency has not been active tro is vice-president in charge of radio J. M. Mathes, Inc., 122 E. 42nd St., and television. The agency is experi¬ New York. LE 2-7450. William H. to date, it plans to begin television menting but has no programs planned Vilas, director of motion pictures, heads operations early in 1946. At present, at present. television. Agency is primarily inter¬ television studies are being made in ested in filmed programs, is doing ex¬ connection with radio clients. Keelor & Stites Co., 3001 Carew Tower, perimental work, and plans to enter Pettingell & Fenton, Inc., 247 Park Ave., Cincinnati. PA 1310-11-12. Sam Mal¬ television actively when a mass audi¬ New York. EL 5-2685. Charles B. colm Levy, vice-president, is radio and ence is available. Has presented filmed Strauss, radio executive, in charge of spots for Spur, a Canada Dry product, television director. Agency presented a television. No immediate plans. 30-minute, live talent and film program over WABD. for Fashion Frocks, Inc., in September Picard Advertising Co., 250 W. 57th St., 1944 over WABD. Producer: RKO Tele¬ Maxon, Inc., 570 Lexington Ave., New New York. CO 5-4121. R. B. Tucker, vision Corp. York. EL 5-2930. Ed Wilhelm, radio ex¬ radio director, will supervise television ecutive, heads television activity. On work. Agency has been associated with Kenyon & Eckhardt, Inc., 247 Park Ave., Sept. 8, 1944, commenced a series of television technically for many years New York. PL 3-0700. William B. boxing bouts in behalf of Gillette Safe¬ and has an electronic engineer on its Lewis, vice-president and radio director, ty Razor Co., Boston, over WNBT. staff. No programming plans at the heads television activity. On March 1, Bouts are presented twice a week dur¬ moment. 1944, agency presented 15-minute vari¬ ing boxing season from Madison Square ety program in behalf of Richard Hud- Garden and St. Nicholas Arena. Agency Reiss Advertising, 221 W. 57th St., New nut for the Du Barry Salon, at WABD. is also working with General Electric York. CO 5-7733. Miss Gladys Kamer, Agency plans experimental work in live Co. on various programs. radio and television director. On Aug. and film television shows. The Gillette series has been renewed 2, 1943, began a series of 21 telecasts for another year and agency plans to over WABD in behalf of Press-On, Inc., Abbott Kimball Co., Inc., 250 Park Ave., continue in this field. mending tape. Emphasized product dem¬ New York. PL 3-9600. Cecil H. Hackett, onstration. Used a puppet to enliven vice-president and head of radio de¬ McCann-Erickson, Inc., 50 Rockefeller commercials. Press-On’s series, “Hobby partment, is in charge of television ac¬ Plaza, New York. Cl 5-7000. Lloyd Coul¬ Hall of Fame,” comprised 30-minute tivity, assisted by Miss Miriam Traeger ter, vice-president in charge of radio, programs. Reiss also handled series of and Miss Martha Pencilla. Early in heads television. Before the war, agency 13 30-minute programs, “Interesting 1944 agency produced six programs for produced programs for Standard Oil People,” for Ben Pulitzer Creations, Dobbs Hats, Harper's Bazaar and a Co. of New Jersey and one other client. Inc., neckwear. Shows produced by Tele¬ number of products of other clients, in¬ Recently, under the direction of George vision Workshop. cluding Queen Make dresses and Mar- Pal, of Paramount Pictures, this agency vella pearls. The half-hour programs has produced a technicolor film for tele¬ Rickard & Co., 330 W. 42nd St., New on WABD combined style shows and vision, sponsored by Gruen Watch Co. York. BR 9-1251. H. H. Sharman, direc¬ variety entertainment. On March 11, Plans to hold off active work until con¬ tor of media, will handle television. As 1945, agency presented a half-hour ditions in the field improve. this agency specializes in industrial ac¬ fashion show for Gimbel Bros., Inc., counts, it has no immediate television McJunkin Advertising Co., 228 N. La¬ over WNBT-WRGB network. The show plans but is watching the medium’s po¬ Salle St., Chicago. STAte 5060. Leroy featured Adelaide Hawley. Plans to con¬ tentialities for public relations work. Kling, vice-president, arranged for Chef tinue experimental work from time to Ruthrauff & Ryan, Inc., 405 Lexington time. Boy-Ar-Dee Quality Foods, Inc., to spon¬ sor four of the American Broadcasting Ave., New York. MU 6-6400. Leland Arthur Kudner, Inc., 630 5th Ave., New Co., audience participation series titled F. Cooley, supervisor of daytime radio, York. Cl 6-3200. Myron P. Kirk, radio “Ladies Be Seated.” These were pre¬ is director of television. Ted Huston director, handles television. Agency is sented May 13, 20 and 27, and June 3, directs. Agency produced first pro¬ studying and working with the field. 1945, over WRGB, and were intensively gram for Lever Brothers Co., Nov. 15, Plans not ready for announcement. merchandised in a large promotion book¬ 1943. The weekly, half-hour program, “Wednesdays At Nine,” over WABD Al Paul Lefton Co., Inc., 521 5th Ave., let capitalizing on the televising of the product. Future plans indefinite. has continued ever since. Three Lever New York. VA 6-4340. S. Carl Mark, products are promoted, one each week; radio director, in charge of television. Dan B. Miner Co., Chamber of Commerce Rinso, Spry and Lifebuoy Soap. Pro¬ Agency started in television March Bldg., Los Angeles. Richmond 3101. Roy gram uses live talent for the most part, 1943. Produced one-act, 30-minute, live Dempsey is television producer. Pre¬ but also employs film. Is experimenting talent dramas for Rival Dog Food and sented half-hour dramatic program, with drama, comedy, music, variety, No Mend Hosiery at WABD. Rival May 14, 1945, for Johansen Bros. Shoe fashion and audience participation. commercial employed a live dog accept¬ Co. (St. Louis), in behalf of Anfenger Fran Harris, handling television at the ing Rival and rejecting other unnamed Advertising Agency (St. Louis) over agency’s Chicago office produced a show brands. No Mend commercial used W6XAO (Don Lee), Hollywood. Pro¬ for Acrobat Shoe Co. at WBKB in Oc¬ Powers models to display five different gram combined film with live talent. tober, 1945. No Mend stockings. On Dec. 20, 1944, Shoe commercial was integrated into a presented a 30-minute dramatic tele¬ love story. St. Georges & Keyes, Inc., 250 Park Ave., cast for Loft Candy. Dramatized com¬ New York. PL 3-6920. Victor Van Der mercial featured children. On May 1, Moser & Cotins New York City Corp., Linde, television director. Has three 1945, presented “The History of Shav¬ 420 Lexington Ave., New York. MU clients interested in television. Work ing, or The Care and Feeding of 3-9138. John A. Drake, director of has started on three 15-minute shows, Whiskers,” for Pal Blade Co., Pal Hol¬ radio, in charge of television. No im¬ later to be expanded to a series, along low-Ground Razor Blades, over WABD. mediate plans. industrial educational lines. Agency has Program, one long commercial in sub¬ Newell-Emmett Co., 40 E. 34th St., New completed a 15-minute commercial film stance, portrayed shaving through the York. AS 4-4900. Edward Franklin is and is experimenting with six 1-minute ages from a comic point of view. in charge of television activities. Ran¬ and six 4 -minute commercial films. A Future activity of agency depends on som P. Dunnell is television producer. half-hour live show, first of a series, is availability of personnel and unusual Started television activity in 1943 with also in preparation. program ideas. idea of integrating commercial with Schwimmer & Scott Advertising Agency, dramatic script. Produced the following Marschalk & Pratt Co.. 535 5th Ave., 75 East Wacker Drive, Chicago 1, Ill. live shows on WABD: one-hour variety New York. VA 6-2022. John R. Allen DEA 1815. Fred Vossee, account execu¬ for Kirkman & Son; one-half hour dra¬ heads television activities. Produced tel¬ tive for Esquire, Inc., publisher of matic for Proctor Electric Co.; 45- evision’s first specially prepared, com¬ Esquire and Coronet, arranged with minute musical for Liggett & Myers, mercially sponsored series of programs: American Broadcasting Co., for the combining live talent with film. “Your Esso Reporter,” for Standard Oil filming of the annual “Esquire All- Plans to continue on experimental Co. of New Jersey, promoting Esso Ex¬ American Boys Baseball Game” for basis. tra and Esso Motor Oil on WNBT. young boys, East vs. West. This film Live talent and film were combined in Paris & Peart, 370 Lexington Ave., New was televised over WABD, WRGB and 10-minute news programs. In 1945, for York. CA 5-9840. A. C. De Pierro, me¬ WPTZ on August 30 and 31, and Sep¬ Esso Marketeers over WNBT, pre¬ dia director, handles television. Agency tember 3. Agency’s future television sented the Eisenhower receptions, V-J does not plan to enter television actively plans not ready for announcement.

103 PRODUCERS

Alfred J. Silberstein-Bert Goldsmith, Inc., facture in Sept. 1943 at WRGB in col¬ cational and variety programs at 9 E. 40th St., New York. MU 3-6232. laboration with the Red Cross and WABD. Agency has presented shows in Bert Goldsmith, vice-president, is direc¬ Reichel Laboratories, Philadelphia. Pro¬ behalf of Daly Bros. Shoe Co., for Air- tor of television. In 1940, agency pro¬ moted fabrics for Textron, Inc., in a 20- O-Magic shoes for men; Industrial Un¬ duced animated cartoon weather fore¬ minute live program over WRGB; in dergarment Corp., for Stardust slips, casts for Botany Worsted Mills. They addition, “What’s New?” for Shell Oil blouses and underwear; Luxuray Corp., were initially presented on WNBT, Co.; a dramatic program for Buxton, for Dove Skin Knit Undies; Felix Tau- later at WABD, and currently are aired Inc.; and a show for the Association of send & Sons, for Cel-o-sheen table over WNBT. American Playing Card Manufacturers, cloths; Black, Starr & Gorham; Herbert over the same station. While Don Mc¬ Mfg. Co., fabrics; Augusta Knitting Small & Seiffer, Inc., 24 W. 40th St., New Neill and his “Breakfast Club” radio Corp., men’s underwear; and Huffman York. WI 7-8764. Agency has presented program were in New York on a Bond Hosiery Mills for Flatternit stockings. a series of commercial shows for Arrid; tour, an audience participation-enter¬ Shows produced by the Television plans to continue them in January. No tainment program for Swift & Co. was Workshop. member officially in charge of television. televised, based on format of the Plans to continue television experi¬ “Breakfast Club,” over WABD. On mentation and increase activity as de¬ Charles M. Storm Co., Inc., 50 E. 42nd March 26, 1945, agency inaugurated a velopment of the medium warrants. St., New York. MU 6-2820. Raymond E. weekly film-travelog series for Pan- Nelson, vice-president, is head of tele¬ American World Airways System over William H. Weintraub & Co., 30 Rocke¬ vision. Started television activity on WNBT. feller Plaza, New York 20. Cl 7-4282. Jan. 5, 1944, over WABD. Is experi¬ Theo. Gannon, director of radio produc¬ menting with all types of television pro¬ Tracy, Kent & Co., 515 Madison Avenue., tions, is in charge of television. Agency gramming, including dramatic, variety, New York. EL 5-4404. Beth Crotty, is interested in television but has no musical, fashion, educational, demon¬ radio and television director. Agency’s immediate plans. stration and spot news presentations. radio department is engaged in tele¬ Programs, varying from 30 minutes to vision research and expects to have Westheimer & Co., 315 N. 7th, St. Louis two hours, have been presented for many types of television shows ready 1. GA 4080. W. H. Mullgardt heads Tintex (25 times), Park & Tilford (3 for its clients in the near future. television activities. Agency started in times), Alfred Dunhill of London, Wade Advertising Agency, 208 W. Wash¬ television in August 1944, over WABD, Casual Clothes, Inc., Click, Official De¬ ington St., Chicago 6, Ill. State 7369. New York, with programs for Interna¬ tective Story Magazine. Real Story W. A. Wade, account executive for Miles tional Shoe Co., in behalf of Winthrop Magazine, and Fawcett Publications Laboratories, Inc., maker of Alka- Shoes, for men; Queen Quality Shoes, (Mechanix Illustrated). Produced pro¬ Seltzer and 1-A-Day Vitamins, handled for women; and Red Goose shoes, for grams for the U. S. Army, Red Cross “Quiz Kids Show,” an adaptation of the children. Agency develops ideas for, and and Fat Salvage campaigns. Presented radio show of the same name, presented approaches to television commercials, a three-hour, spot news show on presi¬ March 6 at WABD. Producer: Amer¬ leaving production of story material in dential election night. On Sept. 28, ican Broadcasting Co. hands of a television producer. In con¬ junction with Kaplan, Siesel & Bruck, 1944, presented “The Boys from Boise,” Warwick & Legler, 230 Park Avenue, an original two-hour musical comedy New York 17, N. Y. MU 6-8585. Tevis New York, presented Frank Fay in a va¬ for Esquire. Believes key to television Huhn, radio director, handled television riety program, January 1945, on WABD, program success is showmanship. Agen¬ show for George W. Luft Co., maker of in behalf of Bit O’ Honey and Old Nick Candy Bars, for Schutter Candy Co. cy keeps file of audience responses, Tangee Cosmetics. Filmed the Miss photographs and log book for future America beauty pageant at Atlantic Bud Gamble produced some of the reference and guidance. City in cooperation with the American shows. Agency plans to continue with television experimentation. J. Walter Thompson Co., Inc., 420 Lex¬ Broadcasting Co. and televised it over WABD, WRGB and WPTZ, September ington Ave., New York. MU 3-2000 Young & Rubicam, Inc., 285 Madison Robert M. Gillham, vice-president in 11, 12 and 14, 1945, together with per¬ Ave., New York. AS 4-8400. William charge of television and films. Norman sonal appearances of the winner, Miss E. Forbes is manager of television de¬ Rosen, television director. Agency pro¬ Bess Myerson. partment. Agency produced a series of duced a 10-minute live dramatic pro¬ Norman D. Waters & Associates, Inc., 12 half-hour programs for Sanforized gram over WRGB for Libbey Glass 1140 Broadway, New York. CA 5-7430. division (Cluett, Peabody & Co., Inc.) Division, Owens-Illinois Glass Co., in Norman D. Waters, president, heads every other week on WABD. Titled behalf of stemware. Also produced a television activities. Adrienne Sickel, “Fashions, Coming and Becoming,” the 15-minute, live, dance music program fashion director, assists. Agency has program employed a fashion news for¬ over WABD and WRGB, for the Na¬ staged experimental television pro¬ mat to promote the Sanforizing process. tional Peanut Council. Presented a 1-hr. grams since 1941. Has produced fashion Agency plans to continue experiment¬ demonstration of blood plasma manu¬ shows, ballets, operettas, dramas, edu¬ al television with interested clients.

PRODUCERS

Advance Television Pictures Service, Inc., Paul B. Mowrey, manager of television. Son; covered the “Esquire All-Ameri¬ 729 Seventh Ave., New York. BR 9-5600. Harvey Marlowe, consultant producer. can Boys Baseball Game” for Schwim- Chas. A. Alicoate, president; F. E. On Feb. 25, 1945, ABC began its tele¬ mer & Scott; covered the Miss America Miles, secretary-treasurer. Production vision operations at WRGB with an Pageant in Atlantic City for Tangee of film programs, stock film library, adaptation of the radio show, “Ladies cosmetics in cooperation with Warwick cutting rooms, private projection thea¬ Be Seated” and scored the highest audi¬ & Legler. Airs most special events over tres, and film distribution service for ence rating of any show ever staged at three stations — WPTZ, WABD and television stations. Schenectady. Presented this show four WRGB. Presented John Reed King’s times for Chef Boy-Ar-Dee Quality “Record Shop” for 13 weeks at WRGB. Doug Allan, 56 W. 45th St., New York. Foods, Inc. in cooperation with Mc- ABC plans to continue working closely MU 2-0178. Producer of “Thrills and Junkin Advertising Co. Presented Don with agencies and clients in order to Chills with Doug Allan” over WABD. McNeill’s “Breakfast Club” at WABD develop a practical system of television Now in its fifth year, this program has for Swift & Co., in cooperation with invariably held top ratings since it first economics. Shares production costs with J. Walter Thompson Co. Produced “Let¬ started on WNBT in August, 1941. sponsors in cooperative programs. ter to Your Service Man” for John Doug Allan interviews explorers and D^vid, Inc. Presented “Quiz Kids” for Associated - Radio-Television Producers, adventurers and together, via motion Miles Laboratories in cooperation with 11 West 42nd St., New York. LO pictures, they take the audience on Wade Advertising Agency. Presented a 5-3710. Jay E. Kashuk, president; Lew visits to far places. These interviews special memorial program at WRGB Kashuk, vice-president and secretary; have provided the material for several on the death of President Roosevelt. Robert Jay Fox, treasurer. Radio and books: “Lightning Strikes Once,” Set up a film unit for coverage of spe¬ television productions. Syndicated and “Gamblers with Fate” and “One Step custom-built transcriptions of spot an¬ to Eternity.” cial events and presented a V-E Day program at WABD; produced time nouncements, singing commercials, also American Broadcasting Co., Inc., 33 breaks on V-E Day for Waltham Watch live and transcribed programs. Produc¬ West 42nd St., New York. WI 7-1737. Co., in cooperation with N. W. Ayer & tion of television films.

104 PRODUCERS

0. Eleanor Balz, 132 E. 36th St., New shows for Schutter Candy Co., and Ben programs over WRGB and WABD: York 16. MU 4-9014. Produced and di¬ Pulitzer Co. With Bob Loewi, produced “Don McNeill’s Breakfast Club,” “Quiz rected shows for WRGB in 1943-44. “Laughtime” for WCBW. Kids,” “On Stage Everybody,” “Woman Was production supervisor and motion of Tomorrow,” “Kiernan’s News Cor¬ Thomas H. Hutchinson, 16 Ervilla Drive, picture film manager at WARD in ner,” “Letter to Your Serviceman,” and Larchmont, N. Y., started his television 1944-45. special V-E Day and V-J Day shows. activities in 1936. He has served as tele¬ Basch Radio Productions, 17 East 45th vision program manager for NBC, tele¬ William B. McGrath, 501 Madison Ave., St., New York. MU 2-8877. Charles J. vision director for Ruthrauff & Ryan, New York. PL 3-3300. Heads up a Basch, Jr., sales manager. Jay Strong, and production manager for RKO Tele¬ package-show production group of pro¬ television director. Ideas, scripts, talent vision. Mr. Hutchinson plans to set up ducers, writers, directors and actors. and production on live and transcribed an independent agency for television As television director of WNEW, he programs; films and recordings. production, direction and counsel. has created and produced a half dozen shows at WABD. Cinetronics Corp., 106-8 West End Ave., Eleanor Lambert, Publicity, 598 Madison New York. WA 9-4747. Joseph Seiden, Ave., New York. PL 5-8580. Has han¬ William Morris Agency, Inc., 1270 6th president. Maurice Dichter, vice-presi¬ dled shows at WABD for Everfast Ave., New York. Cl 7-2160. Executive- dent. Harold H. Seiden, treasurer. Mo¬ Fabrics, Gotham Hosiery, Coty, Esther in-charge-of-radio: William B. Murray. tion picture film producers for tele¬ Dorothy Furs and New York Dress In¬ In charge of television: Miss Selma vision, specializing in commercial docu¬ stitute. Is interested in developing a Lee. Branch Offices: Chicago—203 N. mentaries. Has presented films over technique for fashion presentations. Wabash Ave. Wallace Jordan, execu¬ WRGB and WABD, and produced films tive-in-charge. State 3632. Beverly Hills, Don Lee Productions, 5515 Melrose Ave., in cooperation with the International Calif.—202 N. Canon Drive. George Los Angeles, Calif. Hollywood 8111. Motion Picture Co. and the American Gruskin, executive-in-charge. Crestview Clifford C. McDonald, recording super¬ News Studio. 1- 6161. Cleveland — Keith Bldg. Pat visor. Program production and re¬ Lombard, executive - in - charge. Main Cine-Television Studios, 25 Vanderbilt cording. Ave., New York 17. MU 5-2874. Fred 1525. Production of package shows and Fiddler, president. Nathan Levins, Glorianne Lehr, Great Neck, L. I. Com¬ talent for radio; suggestions and talent chairman of the board. Facilities for menced television production in Septem¬ for package television shows. Primary live talent television rehearsals (3800 ber 1943. Has produced 40 programs. interest is representation of attractions. sq. ft. studio). Equipment includes dark Includes among her clients: I. J. Fox, Motion Picture Networks, 25 Vanderbilt room, projection apparatus and anima¬ Everfast Fabrics, Inc., New York Dress Ave., New York. MU 5-2874. Films for tion devices. Specializing in producing Institute and Gotham Hosiery. Pre¬ telecasts. (See Cine-Television Studios.) 16 mm. telefilm for television and creat¬ sented eight half-hour programs over ing visual symbols for television trade WABD in cooperation with Abbott Music Corporation of America, 745 Fifth marks. Kimball Co., Inc. for this agency’s ac¬ Ave., New York. WI 2-8900. Vice-presi¬ counts. Has produced pi-ograms in co¬ Colonial Film Productions, 11520-2 Wash¬ dents: David A. Werblin, A. Bart Mc¬ operation with Kenyon & Eckhardt, Inc. ington Boulevard, Culver City, Calif. Hugh, Charles Miller. Harold Hackett, for Hudnut and Du Barry Success Associated with Pan-A-Pictures. Head¬ vice-president and radio director. Roger School. Advertisers promoting merchan¬ ed by Charles B. Brown and Colin Carlin, head of television department. dise (on a participating basis) in her McDonald. Organized late in 1945 to Branch Offices: Chicago—430 N. Mich¬ programs include: Georg Jensen, Inc., produce, book and distribute motion igan Ave. Maury Lipsey, manager. Del¬ Lilly Dache, Arpad Stern’s accessories, pictures for television, minute movies. aware 1100. Beverly Hills, Calif.—MCA Saks Fifth Avenue, Lanz Fifth Avenue, Jack McCoskey is live action producer. Bldg., J. C. Stein, president. Taft Lord & Taylor, Revlon, Ogilvie Sisters, Schreiber, vice-president. Bradshaw Ted Collins Corporation, 1819 Broad¬ Oshkosh luggage, I. Miller shoes, Alice 2- 3211. Cleveland — Union Commerce way, New York. Cl 7-0094. Ted Collins, Maynard sweaters, Alfred Dunhill- Bldg. DeArv G. Barton, manager. president and producer. Sam Sehiff, Mary Dunhill, John-Frederics hats and Cherry 6010. Production, package shows talent and production. Program build¬ accessories, International Dress Co., and talent for radio and television. ing and producing. Coty Salon, Click, Collier's, Mademoi¬ Patrick Michael Cunning Productions, selle, Vogue and Harper's Bazaar. Miss National Concert & Artists Corp., 711 6530 Sunset Blvd., Hollywood, Calif. Lehr acts as commentator or narrator Fifth Ave., New York. PL 3-0820. Al¬ Hillside 5915. Patrick M. Cunning in in many of her shows. fred H. Morton, president. O. O. Bot- torff, Marks Levine and Daniel S. Tut- charge of production. Marcia Drake, Bob Loewi, 515 Madison Ave. (WABD), hill, vice-presidents. Thomas Reilly, sec¬ assistant to producer. San Francisco New York. PL 3-9800. Produces inde¬ retary-treasurer. Branch Offices: Chi¬ office: Mark Hopkins Hotel. Armand pendently and with Loewi-Gamble Pro¬ cago — Merchandise Mart. Sam Har¬ Piaggi, executive in charge. Georgia ductions. Handles “The ‘Ike’ on Sports” rington, manager. Superior 4042. Los O’Davoren, assistant on production. and other sustaining programs for Producers of radio and television pro¬ Angeles •— Sunset at Doheny. Helen WABD. Is currently producing a series Ainsworth, manager. Crestview 1-7121. grams, transcriptions and television titled “At Ease” for Ben Pulitzer Cre¬ motioii pictures. San Francisco — 111 Sutter St. Alex¬ ations over WABD; also “Laughtime” ander Haas, executive-in-charge. Pro¬ Jimmy Daley, 1650 Broadway, Suite 405, over WCBW. gram production, talent, management. New York. Cl 7-6883. Program ideas, George Lowther, Roundhill Road, Scars- casting, producing, booking. Has pro¬ Ray-Tele, Inc., 604 Fifth Avenue, New dale, N. Y. Scarsdale 3649. Independent duced many sustaining shows for York. BR 9-5365. Allen Kaye Martin, radio and television writer-director-pro¬ WRGB. president. Package shows, electrical ducer. Writes and directs Guy Lom¬ transcriptions, and talent. Bud Gamble, 129 East 58th St., New bardo radio show and Tom Mix radio York. PL 3-3836. Television program show. Wrote and produced “Cathedral,” Richman-Sandford Productions, 10 East consultant, Farnsworth Television & “Submarine,” “The Store Window” and 43rd St., New York. MU 2-2044. Bill Radio Corp. Currently producing inde¬ other television originals for WABD in Richman and Ed Sandford, owners. pendently and with Loewi-Gamble Tele¬ 1945. Produced special versions of Doris Colby, personnel director. How¬ vision Productions. In cooperation with “Dickens’ ‘Christmas Carol’ ” for WABD ard T. Longfellow, research director. Anderson, Davis & Platte, Inc., he has on Christmas Eve in 1943 and 1944. Ed Sandford, supervisor and director. produced 20 half-hour programs, com¬ Bill Richman, supervising writer. Hal prising film and live talent, for Alex¬ Harvey Marlowe is currently consultant Levey, music director. Radio and tele¬ ander Smith Carpet Co., over WABD. producer for American Broadcasting vision program production. Has produced WABD programs for In¬ Co., 33 West 42nd Street, New York. ternational Shoe Company’s Red Goose Has produced television programs since RKO Television Corp., 1270 Sixth Ave., shoes, Queen Quality shoes and Win- 1943, independently and for WOR at New York, is a subsidiary of Radio- throp shoes in cooperation with West- WABD. Has been associated with the Keith-Orpheum Corp. CO 5-6500. Fred¬ heimer & Co., St. Louis. Also WABD following American Broadcasting Co. eric Ullman, Jr., president of Pathe

105 PRODUCERS

News, Inc., is president. Ralph B. Aus¬ Telecast Productions, Inc., 101 Fifth the production end of films. Program trian is executive vice-president. RKO Ave., New York 3. AL 4-4300. Myron for Gruen Watch Co., produced in co¬ Television was formed in June 1944 to Zobel, president. E. A. Freeman, secre¬ operation with McCann-Erickson, will provide a program-building- service for tary. William S. Greene, Jr., treasurer. be broadcast at WCBW. Most films will television entertainment sponsors. Pro¬ Package shows for radio and television. be of 1-minute duration, using hand- duced a fashion show for Fashion carved puppet animation, each individ¬ Televised Sports, Inc., 271 Madison Ave., Frocks, Inc., of Cincinnati, over WABD ual short averaging $10,000 per minute. New York 16. MU 5-7880. Don Spencer, for Keelor & Stites Advertising Co. in Planning development of station call president. Represents colleges and uni¬ Sept. 1944. Produced a movie short, ex¬ letter designs and network identifica¬ versities in negotiations for the sale of pressly for television, “Talk Fast, Mis¬ tion film shorts. television and film rights to sports ter,” for Liberty Mutual Insurance Co., events. in cooperation with Batten, Barton, Television Workshop, 11 West 42nd St., Television Associates, Inc., 190 N. State Durstine & Osborn, Inc., which was New York. LO 5-1683. Irwin A. Shane, St., Chicago, Ill. Franklin 5025. Charles shown on WABD on Dec. 11, 1944, and executive director. Commenced televi¬ L. Collette, president. Chester C. Wool- later on the NBC-GE television net¬ sion production in April 1942, on ridge, vice-president. E. C. Upton, sec¬ WNBT. Starting October 27, 1943, pro¬ work. Started a weekly series of five- retary-treasurer. Service organization duced “The Hobby Hall of Fame,” 13- minute programs in behalf of R. H. to the television industry, particularly week series for Press-On Mending Tape, Macy & Co. on Jan. 3, 1945; a shopping in the promotion of Bill Eddy television through Reiss Advertising Agency, on service called “Tele-Shopping with gadgets and tools. WABD. In January 1944, produced a Martha Manning.” (Has concluded 24 second 13-week series, “Interesting Peo¬ weeks of this program.) Covered the Television Enterprises, Inc., 9130 Sunset ple,” featuring interesting and famous 1944 Republican and Democratic con¬ Blvd., Hollywood 46, Calif. Crestview personalities, for Ben Pulitzer Ties. A ventions in Chicago by film, which was 6-6241. John W. Swallow, president. third series, for 13 weeks, sponsored by flown to New York for showing on Commercial advertising films for tele¬ Durez Plastics, in April 1944, was titled WNBT. Made a three-reel picture for vision and theatres. “Designs for Tomorrow,” and featured each convention covering political his¬ Television Film Industries Corp., 340 leading industrial designers. Since Aug¬ tory of each party, which was telecast Third Ave., New York. LE 2-6780-1-2-3. ust 11, 1944, the Workshop has pro¬ in conjunction with its respective con¬ George H. (King) Cole, president. Com¬ duced two programs per month for vention pictures. Filmed V-E Day ac¬ plete film service for television stations WRGB. These shows included dramas, tivities in New York for American and sponsors. comedies, light opera and mystery plays. Broadcasting Co., with showings the Has presented programs for Gimbel same night over WABD. Also covered Television Motion Pictures Co., 630 Brothers, Philadelphia; McCreery’s, the San Francisco Conference by film Ninth Avenue, New York. Cl 6-6417. New York; and B. Gertz, Jamaica, L. I. for WNBT. Plans to open a large mod¬ Affiliate of Hollywood Pictures Corp. Produced ten programs for ten different ern motion picture studio in Manhattan Jack Goldberg, president. D. E. Roberts, clients of Norman D. Waters & Associ¬ to film television programs for sponsors production manager. Ed Hurley, pub¬ ates. The Television Workshop, through and agencies. licity. Has produced twenty 3-minute its affiliate, Television Publications, films for television. Stars include Lena publishes Televiser and Tele-Viewer. Ross Federal Service, Inc., 18 E. 48th St., Horne; Ammons and Johnson, piano New York. PL 3-6500. Harry A. Ross, duet; Ted Williams and Leo Reisman. Lee Wallace Teleshows, 56 East 53rd chairman of the board. Earl Ham¬ St., New York. EL 5-6794. Executive monds, president. D. A. Ross, general Television Trade Marks, Inc. Corporation producer: Lee Wallace. Directors: Bob manager. W. E. McKee, in charge of consists of Kent-Johnson (Allan Kent Emery and Ernest D. Glucksman. television. Thirty-one branches through¬ and Ginger Johnson, the singing com¬ Formed 1945 to produce package shows out country. Television film exchange mercial team). 34 W. 53rd St., New for television—musicals, consumer quiz, and distributing service. York, and Bond-Charteris Enterprises, sports, headline dramas, 1-minute time 314 N. Robertson Blvd., Hollywood. and weather announcements. Nationally Henry Souvaine, Inc., 30 Rockefeller Leslie Charteris, author of “The Saint” represented by Wm. Morris agency. Plaza, New York. Cl 7-5666. Russell E. stories, and Anson Bond put their film Dill, general manager. Executives and studio and facilities to work on Army West Coast Sound Studios, Inc., 510 W. producers: Henry Souvaine, Max Chop- education films and Signal Corps docu¬ 57th St., New York. Cl 7-2062. Tele¬ nick, Archibald U. Braunfeld, Geraldine mentaries during the war, and have movies. Souvaine, Harry W. Hoff, Jr., Frank since concentrated on art education WNEW, 501 Madison Ave., New York, Phares, Harold V. Milligan. Live and shorts and religious features. Kent- is owned by Greater New York Broad¬ transcribed package shows for radio Johnson handles creative end of tele¬ casting Corp. PL 3-3300. William B. and television. Scripts, production, and vision commercial shorts—music, lyrics McGrath is television director. WNEW public relations consultants. and gimmicks. Bond-Charteris handles presented half-hour public service tele¬ vision programs over WABD every third Sunday for several months. Sta¬ tion has adapted radio shows for tele¬ vision to find out what principles are involved in video presentations; is train¬ ing its own staff of writers, production men, directors and engineers.

WOR, Mutual Broadcasting System, 1440 Broadway, New York. PE 6-8600. Bob Emery heads television activities. Kay Emery (Mrs. Emery) assists in production. WOR commenced television experiments in July 1943 with a weekly hour on WABD and continued until the summer of 1945. Has experimented with all types of television production, includ¬ ing musicals, minstrels, drama, variety, audience participation and educational programs. Recently formed a permanent stock company of stage performers for regular presentation of plays. Company has extensive plans for operating its Drawing by Robert J. Day. Permission The New Yorker. Copyright The F-R Publishing Corporation. own television stations and studios.

106 STATION ACTIVITIES

to four hours a week from June 1 to Nov. 27, 1942. After a wartime sus¬ pension, live program transmission was resumed on May 5, 1944 and has con¬ STATION ACTIVITIES tinued on a 4-hour-a-week schedule since. WCBW has received awards for excellence in presenting the news, “The Vv'ABD, 515 Madison Ave., New York 22. DuMont’s Washington, D. C. station Missus Goes A-Shoppin’ ” and “Opin¬ PL 3-9800. Owned and operated by Al¬ early in 1946, thereby setting up a first ions on Trial.” len B. DuMont Laboratories, Inc. leg of DuMont’s proposed network. Since July 16, 1945, CBS has invited Commercially licensed; also retains ex¬ WABD’s most successful shows, as commercial sponsors and agencies to perimental license W2XWV. Allen B. indicated by audience return cards, participate in experiments with tele¬ DuMont, president; Leonard F. Cramer, have been audience participation shows vision program production. Benrus and executive vice president; Samuel H. (John Reed King—“Thanks for Look¬ Bulova watches sponsor spot commer¬ Cuff, general manager; Robert F. Jamie¬ ing”), adventure shows (Doug Allan— cials; Encyclopedia Britannica Films son, assistant manager; Milton J. Alex¬ “Thrills & Chills”) and newscasts (Sam cooperates with WCBW on an educa¬ ander, advertising manager; Philip Cuff—“Face of the War”). tional series, and Lever Bros, presents a group of programs. Fuhrmann, sales manager; Louis A. WBKB, 190 North State St., Chicago. Sposa, program service manager; Sal¬ Randolph 5300. Owned and operated Columbia lists the following pro¬ vatore Patremio, chief engineer. by Balaban & Katz Corp. Commercially grams in order of favorable public WABD (formerly W2XWV) has licensed. Capt. William C. Eddy, who acceptance: 1—The news; 2 The been on the air almost every week since commanded “Radio Chicago”, huge Navy Missus Goes A-Shoppin’ ” (audience June 25, 1942. It was the first station radio and radar school, has returned as participation) ; 3—“At Home” (in¬ to invite advertising agencies and ad¬ television director. Warren Jones is formal variety program) ; 4—“There vertisers to share its facilities and pro¬ program director; A. H. Brolly, chief Ought to Be a Law” (open forum dis¬ duce experimental programs for the engineer; Herbert T. Lyon, publicity cussion). Columbia believes many of its single shows, particularly dramatic pio- purpose of developing programming and director. commercial techniques in the new me¬ First on the air in 1940 under Capt. grams, have been effective, but finds it dium. The first commercial shows were Eddy’s direction, WBKB during the difficult to substantiate audience ac¬ presented on May 5, 1943 in behalf of war turned most of its facilities over ceptance unless a series following a Adam Hat Stores and Butterick Pat¬ to the Navy’s radar training program; regular format is presented. terns. presented many shows promoting Navy WNBT, 30 Rockefeller Plaza, New York. Advertising agencies and advertisers radar recruiting and war bond sales. Cl 7-8300. Owned and operated by the who have presented shows at DuMont’s WBKB handles sponsored programs National Broadcasting Company. Com¬ station include: Charles M. Storm for directly. Commonwealth Edison presents mercially licensed. Transmitter is lo¬ Tintex, Hillman Publications and Park a weekly quiz show, “Telequizicalls,” cated in tower of Empire State Build¬ & Tilford; Reiss Advertising for Press- and earlier sponsored “Cooking by the ing. John F. Royal, vice-president of On, Inc.; Cecil & Presbrey for Boots Dial,” and an every-other-week comedy NBC in charge of television; Noran F. Aircraft Nut Corp.; Ruthrauff & Ryan drama, “Welcome to the Walkers.” Mar¬ Kersta, manager of the television de¬ for Lever Bros.’ Rinso, Spry, and Life¬ shall Field & Co. sponsors a weekly partment; O. B. Hanson, vice-president buoy Soap; A1 Paul Lefton for Rival variety show, “Wednesday Matinee.” and chief engineer; John T. Williams, dog food, Loft Candy Corp. and Pal Admiral Radio presents “Young Chi¬ business manager; Reynold R. Kraft, cago,” a program for discovering and Blade Co.; Kenyon & Eckhardt for sales manager. various lines of fashions and cosmetics; displaying high-school talent with a Experimental station W2XBS future in television. Elgin National Compton Advertising for Duz, Ivory (WNBT’s predecessor), “The Nation’s Watch Co. offers a 3-minute time sig¬ soap and Mobiloil; Benton & Bowles Pioneer Television Station,” was li¬ nal. The Fair, Carson, Pirie, Scott & for Post-Tens cereal; Newell-Emmett censed on July 19, 1928. NBC tested Co. for Chesterfield cigarettes and Proc¬ Co. and others are also clients. electronic television at the Empire State The station will continue testing new tor Electric Co.; Abbott Kimball for tower in 1934 and installed its television ideas in news presentation, drama, vari¬ several fashion and cosmetic lines; studios at Radio City in 1935. A broad¬ ety, etc., in anticipation of large-scale J. Walter Thompson Co. for National cast of the opening ceremonies of the Peanut Council; Alfred J. Silberstein- television. Sponsors are invited to ex¬ New York World’s Fair, April 30, 1939 periment under the station’s guidance. Bert Goldsmith for Botany Worsted launched its public service program Co.; Anderson, Davis & Platte for WCBW, 15 Vanderbilt Ave., New York, schedule. WNBT call letters went on Alexander Smith & Sons Carpet Co.; owned and operated by Columbia Broad¬ the air along with commercial programs Buchanan & Co. for Chicago Mail casting System, Inc. MU 6-6340. Com¬ on July 1, 1941. The station now tele¬ Order Co., Adam Hats and sustaining mercially licensed. Transmitter in tower casts regularly six days a week with shows for DuMont; Young & Rubicam of Chrysler Bldg. Lawrence W. Loman a weekly schedule of 17 hours. NBC for Sanforized; Campbell-Ewald Co. for is vice-president in charge of television; has pioneered in coverage of special U. S. Rubber Co.; American Institute Worthington Miner, manager of tele¬ events and sports, presents boxing of Food & Home Products for various vision; Dr. Peter C. Goldmark, director, from Madison Square Garden on Mon¬ food brokers; Marschalk & Pratt for department of research and develop¬ days and Fridays; baseball from the Esso Marketeers. In addition, the Amer¬ ment; Ben Feiner, Jr., assistant direc¬ Yankee Stadium or Polo Grounds once ican Television Society, WOR, WNEW, tor, television programs; George Mos- a week during the spring and summer; Television Workshop, RKO Television kovics, commercial manager. college and professional football, bas¬ and American Broadcasting Co., have Columbia first went on the air with ketball and hockey during the fall and made extensive use of WABD facilities. a regular television schedule from July winter. Recently, by film and direct DuMont’s future plans include active 1931 to February 1933, using a scan¬ pickup, WNBT has covered the home¬ cooperation with advertising agencies ning method called the “flying spot.” coming of generals and admirals, V-E and their clients. Transformation of On Sept. 3, 1940, Columbia demon¬ and V-J day celebrations and other im¬ the great John Wanamaker Auditorium strated the first 3-color process (devel¬ portant current events. During 1942-43 and adjoining space into a “television oped by Dr. Goldmark) for television more than 140,000 New York City air showplace” will be completed about transmission within a 6 megacycle raid wardens received their basic train¬ February 1. This expansion provides band. On July 1, 1941, WCBW began ing via WNBT. WABD with an additional 4-camera black-and-white telecasts on a 15-hour Before the war, more than 130 ad¬ television studio, 50' x 60' with a 50' weekly schedule and tested many basic vertisers used NBC facilities to experi¬ ceiling and viewing balcony accommo¬ program formats: news, quiz shows, ment with television. These included: dating 700 guests; a 3-camera studio, variety, open-forums, sports (with a Abraham & Straus, Bloomingdale’s, 34' x 35', and a 2-camera studio, 20' x studio audience), ballet. At the FCC’s Aetna Life Affiliated Companies, L. 38'. Programs will be interchanged with suggestion live operations were reduced Bamberger & Co., Botany Worsted

107 STATION ACTIVITIES

Mills, Gold Mark Hosiery Co., Hat vision broadcasting station in Washing¬ Cola, Vimms, Goodrich Rubber, Ham¬ Styles Council, Inc., Frank H. Lee Co., ton; further development of a Washing- ilton Watch, Blackstone Cigars, Wild- Lever Bros. Co., Missouri Pacific Lines, ton-to-Philadelphia multiple link relay root Hair Oil, Remington Arms, Easy Procter & Gamble Co., and Sun Oil Co. system to provide two-way service; ac¬ Washing Machine, GE Mazda Lamp, Present advertisers include: Botany quisition of downtown television studios GE Electronics, Carter’s Underwear, Mills, Bulova Watch Co., Elgin Watch in Philadelphia, and construction of E. I. DuPont de Nemours & Co., Alex¬ Co., Esso Marketeers, Firestone Tire & additional remote pickup equipment to ander Smith Carpet Co., Gimbel Bros., Rubber Co., Gillette Safety Razor Co., provide better facilities. Chef Boy-Ar-Dee Spaghetti, Can Manu¬ Pan-American Airways, RCA Victor, Since 1938 Philco has conducted ex¬ facturers Institute, Vogue, Pond’s Cos¬ U. S. Rubber Co., and Waltham Watch. tensive research in television program¬ metics, American Association of Playing NBC plans to expand its coverage of ming techniques. As a result of audience Card Manufacturers, Libbey - Owens spot news, special events, and sports surveys it reports that on-the-spot re¬ Glass, Duz, Ivory Soap and Mobiloil. as well as studio programming. mote pickups of sporting and news The station presented programs for events, audience participation studio U. S. Time Corp., McCall’s Patterns, WPTZ, Tioga and “C” Sts., Philadelphia. shows, variety television vaudeville Elizabeth Arden and Look. Neb. 5100. Owned and operated by shows, one-act plays, educational and Audience rating of live talent pro¬ Philco Radio & Television Corp. Com¬ informative telecasts and children’s grams over WRGB place the different mercially licensed. Ernest B. Loveman programs are popular with its televi¬ types in the following order: 1—sports, is vice-president, Television Broadcast¬ sion audiences. 2—quiz programs, 3—light opera, 4— ing Division; F. J. Bingley, chief tele¬ variety shows, 5 — puppet shows, vision engineer; Paul Knight, program WRGB, 60 Washington Ave., Schenec¬ 6—full-length plays, 7—personalities, manager; Clarence Thoman, director of tady, N. Y. Schenectady 4-2211. Owned 8—monologues, 9—news. WRGB will special events; W. W. Merkle, opera¬ and operated by General Electric Co. continue its experimental programming, tions manager, and Rolland V. Tooke, Commercially licensed. FCC has author¬ will try all types of programs in an commercial manager. ized relay station, W2XGE, studio to effort to find more answers to the many WPTZ, on the air since 1932, has transmitter link in Schenectady, and questions of production technique. presented more than 9,000 hours of relay station W2XI, at Berne, a relay programs to date. Republican National link connecting the station with New W2XJT, 148-18 Jamaica Ave., Jamaica, Convention was televised in 1940. For York. R. S. Peare is vice-president and N. Y. JA 6-7362. Operated by Jamaica the last five years, all University of manager of broadcasting; B. J. Rowan, Radio Television Company, independ¬ Pennsylvania football games have been assistant manager; W. J. Purcell, chief ently owned by William B. Still. FCC televised from Franklin Field (in co¬ engineer, and G. E. Markham, program has approved application for experi¬ operation with Atlantic Refining Co. manager. mental license. Station will start oper¬ and its agency, N. W. Ayer & Son, WRGB has telecast more than 900 ation in the near future on Channel 13 Inc.). Wrestling, boxing, ice hockey, different programs in its five years of (210-216 me. under the new alloca¬ tennis, the Ice-Capades and Ice Follies, regular schedules. War bond and Red tions). Its facilities, largely designed have been presented from the Phila¬ Cross drives have made extensive use and built by Mr. Still, will eventually delphia Arena. The Philadelphia Mum¬ of its facilities. Editions of the Albany include a completely equipped studio mers’ Parade is another outside pickup. Times-Union and New York Herald for live broadcasts, motion picture film Studio shows have included educational Tribune have been adapted to television equipment, a control room, a 600-watt and public service programs. On May along with material from national mag¬ (peak) video and 150-watt audio trans¬ 25, 1944, the first line-of-sight television azines such as American, Look and mitter, and a specially constructed steel relay station between New York and Yank. Boxing and wrestling matches, tower 213 feet high. Philadelphia was put into regular op¬ billiard demonstrations, calisthenics, eration. On April 17, 1945, the first tumbling exhibitions and ping-pong A volunteer program staff, under the television program ever broadcast from contests are presented. Through relay supervision of Lenore Berse, program Washington, D. C., was transmitted to facilities, forming the first television manager, and Miriam Tulin, production the television audience in Philadelphia network, WRGB presents programs manager, expects to produce 1 hour of via a new multiple relay television net¬ from WNBT in New York every week. live programs a week and 3 hours of work, developed by Philco. Advei’tisers who have presented pro¬ film. Present plans also call for broad¬ Philco plans construction of a tele¬ grams on WRGB include: Royal Crown casting 8 to 10 hours per day of music over the audio channel. Mr. Still will head all engineering experimentation which includes development of a new electronic film scanning system, simpli¬ fication of present broadcasting equip¬ ment, and use of ultra-high frequencies.

W6XAO, 3800 Mt. Lee Drive, Hollywood, Calif. Owned and operated by Don Lee Broadcasting System. Hollywood 8255. Experimental license, W6XAO, and commercial, KTSL. Lewis Allen Weiss, vice-president and general manager, heads television. Harry R. Lubcke is director of television. W6XAO began operation Dec. 23, 1931. Program log includes almost every type of presentation. Station has spe¬ cialized in special events and spot news coverage, using its remote unit to pick up such events as aquatic shows, fights, football and baseball games, circuses, parades and Hollywood Bowl celebra¬ tions. Programming during the war was limited to three hours of studio presentations on alternate Mondays and usually was tied in with the war effort. W6XAO rates drama and variety shows high in audience acceptance, along with remote pickups of sports and other

108 ORGANIZATIONS

special events. It found that War De¬ partment documentary films were well received. The station will continue to vary its programs as much as possible in order to experiment with new de¬ vices and develop production techniques.

W6XYZ, 5451 Marathon, Los Angeles. Hollywood 2411. Owned and operated by Television Productions Inc., subsidi¬ ary of Paramount Pictures, Inc. Paul Raibourn is president; Klaus Landsberg is chief television engineer. W6XYZ is experimenting with every type of live television program and is currently producing six programs per week. A comedy serial, “Embarrassing Situations,” was very favorably re¬ ceived. Stills selected from Paramount News, wrestling and “Tele-comics” are regular program features at present. W6XYZ rates programs, according to audience acceptance, as follows: (1) comedy serial, (2) variety show (vaudeville entertainment), (3) illus¬ trated news analysis, (4) wrestling, fencing and boxing (studio exhibition). Further technical and programming experimentation is planned, particularly greater utilization of motion picture techniques and of facilities made avail¬ able by the parent company.

W8XCT, Cincinnati. Cherry 1822. Ex¬ perimental construction permit expired April 28, 1944. Application for exten¬ 7500. E. F. McDonald, Jr., is president; ture film for two hours, one night a sion to complete has been made. Owned Hugh Robertson, executive vice presi¬ week. Studio pickups were still used by the Crosley Corp., which was dent; J. E. Brown, assistant vice presi¬ for announcements, War Bond posters, acquired by Aviation Corp. in 1945. dent and chief engineer; and E. F. etc. W9XZV currently operates with Richard W. Hubbell, broadcasting pro¬ Classen, Jr., program director. this set-up. duction manager for Crosley, is the W9XZV began operations with equip¬ The war interrupted development of company’s television program head. ment tests for ten days in February, a commercial station for which a con¬ Justin R. Duncan is chief television 1939; presented its first broadcast in struction permit and call letters, WTZR, engineer. The station is not yet active March. A regular schedule—two hours had been issued. Zenith was recently in television broadcasting as the trans¬ per night, three nights a week, a half- issued a construction permit for an mitter was being erected when the war hour at noon, five days a week—con¬ experimental station, W9XZC, in the caused postponement of activity. tinued until January, 1942. Shortly ultra-high frequency range, and plans after the outbreak of war, the schedule experimental work in development of was reduced to the use of motion pic- high definition, color television. W9XAL, Kansas City, Mo. Owned by Midland Broadcasting Company — KMBC. Harrison 5852. Arthur B. Church, president, heads television; TELEVISION ORGANIZATIONS Robin D. Compton, technical director. Conducted first experimental operation American Television Society, Inc., 271 in television between 1932 and 1937 in Corp., is vice president; Will Baltin, Madison Ave., (Room 1705), New York association with the First National secretary-treasurer; and O. B. Hanson, 16. MU 5-7880. President, George T. Television Schools and presented a va¬ National Broadcasting Co., assistant Shupert, Paramount Pictures; vice riety of programs from the laboratory secretary-treasurer. Association is or¬ president, David Hale Halpern, Owen studios. Experimental work continued ganized to develop and promote the & Chappell; treasurer, Don McClure, television industry. after 1937 with studio demonstrations N. W. Ayer & Son, Inc.; and secretary, and outside demonstrations at social Alice Pentlarge, WQXR. Television Press Club of New York, Chair¬ gatherings. These were not broadcast. The Society is composed of members man of board of governors, Stanley Television laboratory and studio were from educational, cultural, industrial, Kempner, Retailing Home Furnishings, maintained for experimental work in advertising and other fields. It is dedi¬ Fairchild Publication, Inc.; vice chair¬ connection with schools of Midland cated to the advancement of television. man, Lewis Winner, Communications; Radio and Television, Inc. until Jan. 1, Meetings are held at the Barbizon-Plaza, secretary, Betty Forsling, Newsweek; 1945. KMBC technical staff took over 58th St. and Avenue of the Americas, treasurer, Clifford E. Denton, New York the direction of the laboratories when New York, on the second Thursday of Daily News. The Press Club, a non¬ the Midland Schools were sold to G. L. every month, starting at 8 P.M. Panel profit, unsponsored, informal group, is Taylor, formerly vice president of the discussion luncheons are held several limited to the professional television Midland Broadcasting Company and times monthly, usually at the Hotel press and writers covering television president of Midland Schools. Sheraton, Lexington Ave., at 37th St., for newspapers, magazines, books, busi¬ At present, application has been New York. The Society publishes the ness press, films and radio. Holds made to the FCC for three frequencies “ATS News” monthly, to keep its mem¬ monthly luncheon meetings. in the television spectrum so that the bers informed on television activities. best one for broadcasting in the Kansas Television Producers Association, 1425 City area may be determined experi¬ Television Broadcasters Association, Inc., Broadway, New York 18. LO 5-4530. mentally. 500 Fifth Ave., New York 18. LA 4- President, Bob Emery, WOR; vice 4788. J. R. Poppele, Bamberger Broad¬ president, William Wallace, WABD; W9XZV, 6001 Dickens Ave., Chicago. casting Service, is president; F. J. secretary, Bob Anthony, WHN; treas¬ Owned by Zenith Radio Corp. Berkshire Bingley, Philco Radio & Television urer, C. N. Van Auken, Biow Co., Inc.

109 CAREERS IN TELEVISION

Every businessman, every professional man, every worker would do well to explore every angle through which his future may be related to this new medium.

By DAN D. HALPIN_ © Baehraeh Radio Corporation of America Past President, American Television Society

vision receiver was 61.3 per cent. The T he nation’s immediate employment In approximately five years, coaxial problem is one of finding and creating conclusion is obvious. When the radio cable and radio relay networks should jobs not only for returned fighting men, industry produces a good television re¬ link up television transmitters located but also for many millions of others ceiver in the $200 price range, a high in 157 key cities of the United States. who need gainful employment. The percentage of United States homes will Television program service would then American Legion program calls for the buy television receivers as soon as be available to a primary market of employment of 3,000,000 more people service is available. 72,159,000 people, 17,252,000 wired than are engaged in productive occupa¬ The first television markets will be homes and 61.5 per cent of the purchas¬ metropolitan New York, Philadelphia, tions today. ing power of the United States. Shortly Albany-Schenectady, Chicago and Los thereafter television should be available Altogether too much emphasis has Angeles, where television stations are to an additional 10,000,000 people been placed on the capacity of industry now operating—and serving a market through secondary television network alone to provide jobs. We must bear in of 7,254,588 wired homes. developments. mind that only about 25 per cent of By the end of the fifth full television peacetime workers are employed by in¬ Networks Ready in Five Years dustry. The rest are employed in other production year, it is the judgment of business occupations. Consequently, 23,- Applications on file with the Federal qualified people that the anual radio¬ 000,000 of the 55,000,000 jobs sought by Communications Commission, as of television retail billing will be at the the Legion in its campaign to solve the October, 1945, would serve an additional rate of $1,442,000,000 annually. The postwar employment problem, must be 7,704,066 wired homes in 35 cities. attainment of this figure, it is believed, in the sales, service, and distribution Therefore, stations active and proposed will make possible approximately 300,- fields, according to Edward N. Scheiber- would serve 14,958,654 wired homes, or 000 new jobs in the radio industry by ling, National Commander of the Amer¬ 51.7 per cent of the 28,915,000 wired the beginning of the sixth year after ican Legion. homes of the United States. In addi¬ television goes ahead. tion, the Federal Communications Com¬ If their commendable objective of These estimates are used in making mission, according to Commissioner E. “7,000,000 new jobs in service and dis¬ our plans for personnel, facilities and K. Jett, expects an additional 150 appli¬ tribution, and a million self-employment financial investments in building, ma¬ cations for tele stations during 1946. places” is to be realized, it will “neces¬ chinery and development work. They sitate intensive selling and development are the result of detailed commercial of markets for the goods we can pro¬ research and analysis. duce.” This annual rate figure of $1,442,000,- Television can make no specific guar¬ 000 worth of retail sales for the com¬ antee of providing millions of jobs or bined television and radio industry is even hundreds of thousands of jobs based on the assumption that the in¬ after the war. But this much is certain: dustry can expand its television pro¬ It will provide many opportunities for duction facilities to build, in the fifth new careers in the radio manufactur¬ full production year, television sets at a ing, distribution, and broadcasting rate of 5,000,000 to retail for an aver¬ fields, and in such related industries as age price of $200, and that these sets glass, plastics, metals, wood-working, will be purchased by an eager public. transportation, building, machine tool This would actually be the sixth year of and advertising. civilian production, for it will take In order for us to determine the rela¬ about one year to organize the tele¬ tive size of the market for television vision production facilities to go for¬ home receivers at specified price levels, ward on the scale outlined. a survey was made in eleven represen¬ It is interesting to note that the re¬ tative cities of a cross-section of the sults of the television market surveys public according to age, income and made for us in August and December sex. The question was asked, “Would 1943 have since been corroborated by you or your family consider buying a the many surveys made by organiza¬ radio and television receiver if the price tions not associated with the radio or were $400?” To this, 10.3 per cent said television industry. For example, 32.4 “Yes.” To those who said “No” we said, per cent of Newsweek readers plan to “Would you pay $300?” The cumula¬ buy television sets, making television tive total reached 19.9 per cent. At the second choice after automobiles. $250, the cumulative total became 34.3 At the Franklin Square Savings per cent and finally, when the price was Bank, Hempstead, Long Island, 22 per put at $200, the cumulative total of LOOKING through banks of overhead lights cent of its Postwar Purchase Club ac- people who said they would buy a tele¬ at a musical production in the WNBT studio. (Continued on page 118) no ADVANCES IN LARGE SCREEN TELEVISION

Progress along two lines —on direct-view and projec¬ tion types of home receivers — promises television au¬ diences steadily improving quality of visual reception.

By D. F. SCHMIT_

Director of Engineering, RCA Victor Division, Radio Corporation of America

I mages obtained on most prewar tele¬ The two basic problems of projection jecting light from such a source onto a vision receivers were about 1V2 by 9 television are: (1) providing a cathode- viewing screen, a conventional F:2 inches. Because the size of the image ray tube capable of producing very movie projection lens is capable of col¬ determines the approximate number of bright pictures with the necessary reso¬ lecting, at most, only 6.25 percent of persons who can satisfactorily view the lution, and (2) providing an optical the light emitted by the tube. An optical screen of a receiver, a need was felt for system that will project to the screen system was sought which should be able receivers providing larger images, par¬ the largest possible percentage of the to focus large fields—up to 50 degrees ticularly for use in commerce, industry, light generated by the tube. These -—with an efficiency of 20 to 40 percent. and educational institutions. Theatre problems were vigorously attacked, and television, of course, demands an even very satisfactory progress was made. Plastic Lens Cuts Cost larger screen. Intensive work on electron guns, lu¬ The answer was found in a reflective Two methods of providing larger im¬ minescent materials, glass envelopes, optical system consisting of a spherical ages presented themselves. One was to and other components resulted in the front surface mirror and a weak aspher- build a receiver employing a larger development of cathode-ray tubes de¬ ical correcting lens, the latter located cathode-ray tube; the other, to find a signed to operate at a rated voltage of at the center of curvature of the mir¬ means of optically enlarging the image 27,000 volts—nearly four times the vol¬ ror. A handicap of this system, for use appearing on the face of the tube. tage used in prewar direct-viewing in a home receiver, was the high cost tubes—and capable of producing much of the aspherical lens. This has been Develop Projection Television brighter images. These tubes, also made overcome by the development of ma¬ Believing that many people will still substantially smaller and lighter, tend chines for making aspherical molds and prefer the direct-viewing type of set, to compensate for the size and weight RCA’s development of a process for especially for home use, we are develop¬ of the optical system, and may mean molding aspherical lenses from plastics. ing a cathode-ray tube which will pro¬ lower tube replacement costs. The spherical mirror may be visual¬ vide an image somewhat larger than The problem of developing an effi¬ ized as a shallow bowl, with its reflec¬ those available before the war. Recog¬ cient optical system at first appeared to tive coating on the concave surface. The nizing, however, that the size of a be very formidable, due largely to the lens, molded of clear methyl methacry¬ direct-viewing screen is limited by the nature of the light source. For prac¬ late resin, is flat on one side, with the size of cathode-ray tube it is practicable tical purposes, the luminescent screen opposite surface rising slightly at the to manufacture, place in a cabinet and of a cathode-ray tube radiates light as center and at the edges, but depressed operate, we have also developed a re¬ a perfect diffusing surface. In pro- in the intermediate area. Its function is flective optical system for projection of to correct the spherical aberration of television images from the face of the the mirror and bring the image to a tube onto larger screens. sharp focus on the screen. This system has been used success¬ The system is mounted with the fully to project television images onto picture end of the cathode-ray tube a built-in home receiver screen 2iy3 by protruding through an opening in the 16 inches—about the size of a full page center of the lens and facing the cen¬ of a newspaper, or five times the area ter of the mirror. Images appearing on of images obtained on a 12-inch prewar the face of the tube are picked up by direct-viewing tube. And larger images the mirror and reflected though the lens can be projected by similar systems de¬ to the viewing screen. For home re¬ signed for use with screens remote from ceivers and other systems employing the receiver, such as would be used in built-in screens, images are projected schools, meeting rooms, and theaters. onto the back of the screen. Home console models providing pro¬ The great light-gathering power of jection-type television, FM (frequency this type of optical system makes it modulation), and standard broadcast possible to transfer to the viewing receiving facilities will cost initially screen about six times as much light about $450. Models equipped with direct- as could be delivered by a conventional viewing picture tubes will be generally F:2 lens, without loss of image quality. lower in price, and RCA-Victor will Other RCA developments contribut¬ offer at least one table model priced at ing to the quality of large-screen tele¬ approximately $195. vision reception include improvements An obvious means of obtaining large in built-in viewing screens, and an images — to magnify them by placing a automatic frequency control system lens in front of the tube — has little which virtually eliminates picture dis¬ practical value. The field is sharply lim¬ INGENIOUS: Broken lines indicate the path tortion resulting from automobile igni¬ ited from which images can be viewed. of light beams in the Schmit optical system. tion and other noise impulses.

Ill Electron—The unit of negative electrical charge. This is the unit of electricity that is released by the cathode in an electron tube.

Electron gun—That part of a cathode-ray tube in TELEVISION which the electrons are emitted, formed into a beam and deflected.

Electron beam—A focussed stream of electrons such VOCABULARY as is employed in a cathode-ray tube.

Electron tube—A device usually consisting of an evacuated glass or metal container and containing a cathode, an anode and frequently more electrodes for controlling the volume and direction of flow of electrons (an electric current) through the vacuum Amplitude Modulation (AM)—A system of modu¬ Coaxial cable—A special type of cable that is or contained gas. lation in which the envelope of the transmitted capable of carrying an unusually wide band of wave contains a component similar to the wave frequencies with extremely small losses. Such a cable Electrostatic focussing—System in which electrical form of the signal to be transmitted. in its simplest form consists of a hollow metallic con¬ fields are employed to confine the flow of electrons ductor with a wire confined along the center of to a narrow beam. Animation—A series of drawings presented in rapid the hollow tube. succession to give the illusion of motion. More par¬ Fade-out—A camera technique in which a scene ticularly in television, any moving devices used on Contrast—The ratio between the black and white gradually gives place to complete darkness. graphic material such as maps or charts. portions of a picture. Pictures with high contrast have deep blacks and brilliant whites. Low contrast Fading—Variations in radio signal intensities usually Antenna—A conductive structure used for radiating pictures have an over-all gray appearance. caused by atmospheric changes taking place in the or receiving radio frequency (RF) waves. The over¬ path of the transmission. head horizontal portion was formerly called an aerial. Contrast control—Control employed on a television receiver to regulate the video signal strength. Fidelity—In radio and television, the faithfulness Aspect Ratio—The numerical ratio of frame width with which a system reproduces sound or picture to frame height, as transmitted. Crane—The swinging arm of a camera dolly which signals. gives the camera flexibility of motion. Audio—An adjective commonly used in connection Field—One set of scanning lines making up a with transmission and reception of sound. (Latin: Cut—An abrupt transition from one image to an¬ part of the final picture. According to present stand¬ “I hear.”) other, done instantaneously by pressing a button ards there are two fields to each frame, each field which puts one camera on the air and cuts out the consisting of 26254 lines. These are. interlaced to Band—As used in radio, the range of frequencies other. Also known as switching. form 30 complete frames per second. within fixed upper and lower limits, to be used for a definite purpose as allocated by the FCC. For Decibel—The unit usually used for measuring the Film clip—A sequence of material recorded on example, the standard broadcast band lies between volume of sounds; also used to indicate gain or film that is inserted into a “live talent” studio pro¬ 500 kc and 1600 kc. relative level of power or voltage. duction. Used to present scenes or action not obtain¬ able in the studio. Band-width—That portion of the radio spectrum Definition—The power of a lens to give a distinct necessary to the transmission of information either image, or the distinctness of the image as seen on Filter—In radio usage a selective circuit that is aural or visual. For example, 10 kc band-width is a television screen. designed to separate signals according to frequency. required for the broadcast band as opposed to 6 Me A filter passes only a certain desired range of fre¬ Deflection—The movement of the cathode beam in band-width required for present television band. quencies and excludes any undesired frequencies that a cathode-ray tube by electro-static or magnetic fields. Future television contemplates a 16 Me band-width. may be present.

Deflection yoke—The magnetic device used to di¬ Blanking—That portion of a television video signal Floor manager—The supervisor of the technical rect the cathode beam in a cathode-ray tube when employed to blank out the cathode-ray beam as it crew and trouble-shooter who remains on the floor magnetic deflection is employed. The deflection yoke flies back from right to left (as viewed from front) of the studio during rehearsals and telecasts. and from bottom to top of picture. consists of coils mounted externally about the neck of the cathode-ray tube. Fluorescent—Possessing the property of giving off Bloom—A condition of excess brightness in the light when activated by another light source or by cathode-ray tube that tends to obscure picture detail. Depth-of-field —The distance between the closest electronic energy. point to the lens and the farthest point from it at Break—A temporary suspension of a program or which an object will appear in focus without ad¬ Fluorescent lamp—A “cold” form of illumination program schedule, usually for station identification. justment of the camera. Not to be confused with which can distribute light evenly over a large area depth-of-focus. Bretzicon—A device, invented by Rudy Bretz of in a television studio. Light is produced by elec¬ CBS, for making animation on graphic material tricity passing through a tube coated on the inside Depth-of-focus—The distance between the closest without stop motion. Used mostly for news presenta¬ with fluorescent material. point behind the lens and the farthest point behind tions or documentary programs involving maps and it at which an object in front of the lens will Fluorescent screen—The chemical coating on the charts. appear in focus. inside of a cathode-ray tube that emits light or Brightness control—Control employed on a televi¬ glows when bombarded by the electrons of the sion receiver to regulate the over-all brightness of Dipole antenna—An antenna that is electrically bal¬ cathode beam. the picture. anced and fed at its electrical center. Commonly consists of two conductors, usually of equal length Focus—In cathode-ray tubes this refers to the width Camera tube—An electron tube employed in tele¬ and extending in the same straight line. Lead or and sharpness of the individual spots or lines on vision to translate a scene into the electrical im¬ feeder wires are connected at or near the inner ends. the fluorescent screen. Also refers to the optical pulses that correspond to the light rays reflected For short waves the physical dimensions are such adjustment of camera lenses. from the scene. The iconoscope, orthicon, and image that the antenna may consist of self-supporting metal dissector are types of camera tubes. rods or tubes. Focussing control—Control employed on a television receiver or oscilloscope to bring out clear definition. Carbon arc—The brightest source of illumination Direct-view screen—The screen-face of a cathode- available for television studio lighting. Light is pro¬ ray tube. It presents the primary television picture Frame—One complete picture. Thirty frames per duced by means of burning carbon. directly to the audience. Distinguished from the second are shown on a television screen. (Twenty- projection screen in which the image is passed four frames per second are used in motion pictures.) Carrier—The high frequency radio wave generated through a series of mirrors and lenses before being by a transmitter that may be modulated to carry viewed. Framing—The director’s and cameraman’s deliberate audio or video information, i.e., voice, music and effort to compose a television picture artistically. pictures. Dissector tube—A special type of camera employed in the Farnsworth system of television. Framing control—Control knob or knobs on a tele¬ Carrier frequency—The frequency of the unmodu¬ vision receiver employed to center the picture on lated carrier wave. Dissolve—The simultaneous fading out of one pic¬ the screen vertically or horizontally. ture and fading in of another. Used for bridging Cathode—The part (electrode) in an electron tube a gap in time or space without breaking the con¬ Frequency—The term applied to the repetition rate that gives off electrons. Some tubes employ cathodes tinuity of action. of a voltage, a current, a sound wave or any that emit electrons when heated, others (phototubes) other periodic function. utilize cathodes that emit electrons when exposed to Dolly —A movable stand on which a television cam¬ light. era or other equipment may be mounted to permit Frequency modulation (FM)—A system of modu¬ easy mobility and flexibility. lation of a radio signal in which the frequency of Cathode-ray tube—An electron tube in which the the carrier wave is varied in accordance with the Dollying—A camera technique in which the shot stream of electrons from the cathode is formed into signal to be transmitted while the amplitude of the is taken as the camera moves toward or away from a pencil-like beam and directed by means of either carrier remains constant. a magnetic or an electro-static field at a fluorescent its subject. target (screen) located at the end of the tube. The Ghost—In television an undesired secondary picture Doughnut—The large circular portion of a trans¬ fluorescent screen glows wherever the beam strikes it. caused by the signal from the transmitter reaching mitting antenna; the part from which audio waves the receiver by more than one path. Ghosts or ghost are broadcast as distinguished from the crossbar or Catwalk—An overhead structure in television studios images are usually caused by the signal being re¬ turnstile part from which video waves are broadcast. which gives a technician footway to adjust banks of flected from objects such as tall buildings and lights or other ceiling equipment. Electric eye—Popular expression used for a photo¬ other structures in the immediate vicinity of the tube or a photo-electric device. receiver. Centering—See Framing. Electromagnetic focussing—System in which mag¬ Headroom—The distance, on the television screen, Close-up—A shot taken at close range to include netic fields parallel to the motion of the electrons between the top of the head of a person being the head and shoulders, or head only of a subject. are used to confine them to a narrow beam. televised and the edge of the picture.

112 REQUIRES VISION

— First in tlie West actually to buy a

television site of the height considered most ad¬

vantageous for both Television and Frequency

Modulation Broadcasting. Don Lee's purchase

of a site on the top of Mt. Wilson, home of the

world-famous Mt.Wilson Observatory,will give

KHJFM and W6XAO a transmitter height of

5,900 feet for Television and Frequency Modu¬

lation Broadcasting. No finer location could he

obtained in all Southern California.

DON LEE BROADCASTING 5Y E M

Hold— A di rection to a cameraman, instructing him Linearity—The uniformity of distribution of a reg¬ Monitor—Any receiver or speaker on the strtion to keep his camera where it is in readiness for the ular pattern on a television picture tube. circuit on which the quality of the program or next shot. rehearsal can be watched or heard. Line of sight —The unobstructed path between two Horizontal Centering control—Control employed in points. Important in high frequency radio wave Monitoring—The technique of controlling the trans¬ television to regulate the position of the picture with transmission. mission of the picture or sound tied in radio, tele¬ respect to the axis of the cathode-ray tube. vision and motion picture work. Live talent—Any studio presentation in television Horizontal hold control—Control employed in tele¬ or the people who appear in it. Distinguished from Monoscope—A special cathode-ray tube that is de¬ vision receivers for adjusting the number of lines film programs. signed to produce a single siationary picture pat¬ per second to correspond with the transmitter. tern useful in testing or adjusting television equip¬ Long shot—An establishing shot taken from a di - Iconoscope—An RCA type of television camera ment. tance that is sufficient to include a complete view tube that employs a high speed electron beam. Cur¬ of the scene. Montage—See Superimposure. rently used in studio cameras. (See Mosaic.) Lumen—-Unit used for the measurement of light flux. Mosaic—The photo-semi i.e screen mounted In an Image dissector—See Dissector tube. One foot-candle is equal to one lumen per square Iconoscope. The picture is optically focussed upon Incandescents—Hot bright lights, similar to those foot of surface. the mosaic and then scanned by the electron beam in most home fixtures, widely used in television from the election gun. So named because of its studios. Luminescent—Possessing the property cf producing similarity to that form of art in which many bits light without the generation of heat. cf tile are combined to form a picture. Interlacing—A scanning process in which suc¬ Megacycle—When used as a unit of frequency, I\lc cessively scanned lines are spaced an integral number Mn!lip-avis tra:o:rsia:io:i—A condition wherein the of line-widths, and in which the adjacent lines are stands for 1,000,000 cycles per second. radio signal from a transmitter t ravels to the re¬ scanned during successive cycles of the field fre¬ Mercury vapor lamp—A “cold” light, coming into ceiver by m )ie than one route. Usually re ults in quency scanning. wide use for overhead foundation illumination in reflections and usually causes ghost images on re¬ Ion spot—A discoloration occurring at the center television studios. Electric current vaporizes mer-ury ceiver screen. of the screen-face of a cathode-ray tube caused by in a water-cooled tube, thus producing light without NegaU'/c ghosts—Cho-t images in which the black heavy negative ions striking it. Formerly quite trou¬ much heat. and white areas are reversed. blesome. A number of systems are now in use to trap these negative ions and prevent the formation Microphone—A sensitive device used for converting 0:;-scrs3n voice—The voice of a pc—on not ap¬ of the ion spot. sound waves into electrical impulses of varying cur¬ rent and transmitting them. pearing in the television picture. Used for narra¬ Kinescope—RCA designation for the cathode-ray tion, announcements, etc. tube employed in television receivers for translating Microphone boom—A device, usually in the form electrical impulses into picture elements. of an adjustable crane, for suspending the micro¬ Orthicon-—A camera tube that utilizes a low-meed phone used in television above the area being tele¬ electron beam. Superior in sensitivity to the Icono¬ Klieg light—A type of powerful incandescent lamp vised. scope but inferior to it in resolution. Usually em¬ used for spotlighting and modeling. It is usually ployed in field cameras for out-of-doors televising. mounted on a mobile base. Microwaves—Radio waves of extremely high fre¬ quencies, having wave-lengths of less than one Oscillograph or Oscilloscope—An apparatus that Lap dissolve—A slow dissolve between two pictures meter, or greater than 300 megacycles. produces a continuous curve to represent the values in which the two images remain superimposed on the screen for a few seconds. of a varying electrical quantity. Used as a test Medium shot—A shot taken from middle distance, instrument to show the wave form of any varying or from knee level to above the head of the subject. Line—A single strip across a picture, containing voltage or current. highlights, shadow and half-tone?. The path cov¬ ered by the moving electron spot in a cathode-ray Modulation—A process in which the character of the Panning—(From “panorama”). A horizontal sweep tube. Variations in the intensity of this spot create carrier wave may be varied in frequency, phase or of the camera. A camera technique in which a large portions of the picture. Present U. S. systems em¬ amplitude in accordance with the information to be arc of the scene is shown by turning the camera ploy 525 lines for a complete picture. transmitted. without changing its position.

113 Pedestal—The DC level or reference line on the Signal—Electrical impulses corresponding to sound Test pattern—A drawing containing a group of complete television waveform above which the video or picture information being transmitted. lines and circles and other forms, transmitted for information is inserted. transmitter and receiver test purposes. Special effects—Graphic material introduced into Phase—The time relationship between maximum a studio presentation, particularly animated titles, Transmitter—Generally the equipment used for points of two recurrent electrical quantities such as miniatures, mechanical gadgets, etc. Camera or light¬ generating and sending radio signals of any type. voltage, current, etc. It is expressed in degrees of ing tricks used to create certain illusions. a circle. Turnstile antenna—One or more layers of crossed Special events—Programs not regularly scheduled, horizontal half-wave antennas appropriately excited Phase-shift—Any changes taking place in the phase particularly those “picked up” by mobile equipment and arranged on a mast. Used in high frequency relations of current or voltage. units. systems including television where a symmetrical pat¬ Photoelectric cell—A light-sensitive cell capable of tern of radiation is desired. Spectrum—A band or range of frequencies. Usually translating variations in the light falling upon it used to designate the entire range of radio fre¬ into corresponding variations in voltage, current or Tilting—A vertical sweep of a television camera. quencies available for transmission. resistance. Trucking—A camera technique in which the shot is Photoelectric emission—The phenomenon of elec¬ Spot —The visible point of light formed by the taken as the camera moves parallel to its moving trons being emitted from certain materials when cathode-ray beam as it strikes the fluorescent screen object. they are exposed to light. of the kinescope tube. Two-shot—A close-up or medium shot holding two Stratovision—A proposed system of establishing net¬ Phasemajector—Allen B. DuMont Laboratories’ des¬ persons, usually head and shoulders only, as the work television by means of airplanes circling above ignation for a tube used to generate television pic¬ subject. ture signals. certain points and carrying both relay and local broadcasting equipment. Ultra-high-frequency — As recently standardized, Pick-up—A program which is televised directly at uhf is any frequency of 300 megacycles or higher. a scene of action, such as an athletic event, a Superimposure—A special effect in which the im¬ Waves in this portion of the spectrum are called political convention, etc. ages from two or more cameras occupy the screen microwaves. simultaneously. Also called montage. Picture element—The smallest section of any given scene as reproduced by the cathode-ray tube at any Sweep—Uniform and repetitive action movement of Very-high-frequency—As recently standardized, vhf given instant. an electron beam across the screen of a cathode- refers to frequencies between 30 and 300 megacycles. ray tube, either vertically, horizontally or both. Picture noise—Interference or undesired signals Vestigial sideband transmission—A system of trans¬ causing spots of light or other irregularities in the Switching—See Cut. mission in which one of the generated sidebands is pattern of the received picture. attenuated at the transmitter and radiated only in Synchronization—Maintaining of one operation in part. Polarization—In television, the position of the trans¬ step with another. In television, the term often refers mitting antenna, i.e. horizontal or vertical. It is Vertical sweep—The downward movement of the to keeping the scanning beam at the transmitter in desirable that the receiving antenna correspond to scanning beam from top to bottom as a picture is step with the electron beam at the receiver. Also the polarization of the transmitting antenna. Hori¬ televised. used with reference to the correct coordination of zontal polarization is now standard for transmission picture and sound; important when using recordings in the United States. Vertical polarization is stand¬ Visual transmitter—The radio equipment employed with pantomime action or graphic material with an ard in England. for transmitting the video or picture signal, as dis¬ off-screen speaker. tinct from the sound transmitting equipment. The Projection television—A system of enlarging tele¬ combination makes up a complete television trans¬ "T.D."—Abbreviation for technical director, the vision pictures by a combination of lenses and mitter. mirrors that enable the picture to be projected on a station staff member who assists the director in the screen. control room. Vertical centering—Control employed on a tele¬ vision receiver to regulate the position of the picture Telecast—A television broadcast. Preferably called Radiator—That portion of an antenna from which vertically on the screen. the radio waves are actually emitted. “a television broadcast,” the usage employed by the Federal Communications Commission. Vertical hold control—Control employed in a tele¬ Radio channel—A band of frequencies for radio vision receiver to adjust the field rate of the scan¬ communication in the radio frequency spectrum allo¬ Telecine projector—A device used to televise mo¬ ning to that of the transmitter. cated to each station. By present television standards tion picture film. the channels are 6 megacycles wide. Video—That portion of the television signal that Telegenic—Having an attractive appearance when contains the picture information. Used as a prefix Radio frequency spectrum—All of the wave lengths viewed on a television receiving set. to the names of television parts or circuits that or frequencies that may be used for the transmission handle picture signals. (Latin: “I see.”) by radio of energy or intelligence. Television—Literally, seeing at a distance. The transmission and reception of changing visual im¬ Viewing mirror—A mirror set at an angle in the Ready—A direction to a cameraman, instructing ages by means of radio waves traveling through lid of one type of television receiver. It reflects the him to line up his camera for the next shot. space or over wires. image formed on the screen-face of a vertically- Reflective optics—In television a system of mir¬ mounted picture tube so that the image can be rors and lenses used in projection receivers. The Teleset—DuMont trade-marked name for home tele¬ viewed by persons seated in front of the set. Schmit system employed by RCA uses reflective vision receivers. Yoke—A set of coils used around the neck of a optics. Teletron—DuMont designation for a television re¬ cathode-ray tube to produce horizontal and vertical Reflector—Additional antenna elements used in an ceiving tube developed by the Allen B. DuMont deflection of the electron beam. Used for electro¬ antenna system to prevent the pick-up of signals Laboratories, Inc. magnetic deflection. from one direction and to increase the pick-up from the opposite direction.

Relay station—A radio station that re-broadcasts television or other radio programs in order to in¬ COLOR TELEVISION fContinued from page 32) crease the service area. Sometimes known as a re¬ peater station. 12 television channels which had been the same size as a full page in Time Return trace—Lines formed on the cathode-ray magazine. The larger and more expen¬ tube screen as the cathode-ray beam moves back to assigned to the prewar system. This its starting position. These are blanked out. would make nationwide coverage pos¬ sive model wrill furnish an image which sible and at the same time give the is about 20 inches wide, or about the Scanning—The process of analyzing successively, ac¬ cording to a predetermined method, the light values viewer an opportunity to select from a size of a full newspaper page. of picture elements constituting the total picture area. larger number of programs. It is estimated that color television The cathode-ray beam scans the mosaic in the Even prewar color television broad¬ iconoscope and the fluorescent screen in the kinescope. receivers will be only slightly more ex¬ casts showed clearly that the pleasing pensive than black and white receivers. Scanning line—A single continuous narrow strip effect, the clarity, and the texture of containing high lights, shadows, and half tones Many have asked when this new sys¬ which is established by the process of scanning. the images impressed the viewers im¬ tem of television will be available for mensely. The pictures, in natural colors, the public. Development work and con¬ Screen—That part of a monitor or receiving set appeared to have a great deal of depth, on which the television picture appears. struction have advanced sufficiently to an effect also apparent in present day permit field testing early in 1946. After Selectivity—The degree to which a radio receiver color movies. is capable of reproducing wanted signals from one successful completion of the tests man¬ station while rejecting all unwanted signals from Now Developing Receivers ufacturers will be in a position to start other stations on adjacent channels. production of the receiving sets for the ■ Probably most people will be chiefly Sensitivity—A measure of the ability of a radio interested in the actual television re¬ home. or television receiver to reproduce weak signals ceiving sets. I would like to make it Thus, this most advanced television with satisfactory volume or intensity. clear that CBS is not a manufacturer system, transmitting images in full col¬ Shading—Technique of adjusting the light distribu¬ of commercial radio equipment, but we ors and utilizing the progress made tion in the image produced by the television camera. One of the monitoring operations necessary when are developing two types of color re¬ during the war in the field of electron¬ Iconoscope cameras are used. ceivers in our laboratories for the bene¬ ics, will guard against receivers becom¬ fit of the consumer and the set manu¬ ing obsolete for a long time to come. Side bands—Those groups of frequencies higher and lower than the carrier that contain the intelligence facturers. One set is a small floor model This is a prerequisite for the establish¬ being transmitted and produced by modulation. and produces a picture approximately ment of a nationwide television service.

114 AGENCIES SHOULD GUIDE SHOWS (Continued from page 311

erously by advertisers. It will not be pation and guidance are making a programming development than net¬ used unless it produces results; unless serious mistake. The advertiser must work executives for the same reason it produces sales, per dollar invested, have some one to watch his interests. that has made them the dominating comparable to returns from other Who is a more likely choice than the influence in the development of every media. Television program costs will be advertising agency which already di¬ other promotional medium. They are high which means that top creative rects and coordinates the sponsor’s pro¬ trained to contribute sales direction. brains will be needed to make tele¬ motional activities in all other media? Their energies will not be scattered in vision pay off. Only advertising agencies It is at this point that the in¬ over-all effort but will be concentrated are manned and geared to coordinate dispensability of the advertising agency on the needs of individual clients. Thus, showmanship and salespower to achieve should become most plain to the net¬ progress will be made program by this goal. And this means that if the work which chooses to run everything program. advertising agencies are hampered in itself. Advertising men are sales spe¬ Agencies are in the most advanta¬ making their logical contribution, and cialists. Often, through years of asso¬ geous position to sell television to ad¬ in providing the expansion drive, in ciation, they are completely familiar vertisers and to supply the creative just that measure will the growth of with a client’s objectives and problems, energy and driving power to make their television be slowed down. with his products’ sales peculiarities recommendation work out successfully. and particular needs. As the agency is Their organizations are already in ex¬ Vehicles for Sales Messages already guiding the client’s promotional istence and functioning. This fact saves activity in various other media, it is in the networks from a crushing staff Agencies developed the entertainment a position to coordinate selling through overhead. It permits the networks to value of radio because they experi¬ television with other sales and advertis¬ sell their time on a standardized basis. mented until they learned how to create ing efforts. Only advertising agency for their clients the best possible radio men who have spent years in learning Time Is Important vehicles for successful sales messages. how to present and merchandise the Television stations expect to operate The same knowledge and incentive can client’s products, are fully sensitive to at a loss for the first few years and no and will spur the development of tele¬ the effect on sales of spoken lines, factor is more important in cutting vision. When television stations offer songs, tones of voice, of characters, down this period than the stimulation packaged shows that fully meet the re¬ costumes and props. And, beyond all and sales guidance that advertising quirements of a particular client, agen¬ this, the agency’s most important func¬ agencies are prepared to contribute. cies will willingly buy them. Rut when tion is its balancing of the showman’s Without this aid, television is likely to such shows do not exist sponsors must enthusiasm for his art against the resemble a street undergoing repairs count on agencies to create them. Of client’s tendency toward overselling. rather than a magnificent super-high¬ necessity, however, they will have to be Let us recapitulate. Advertising agen¬ way to bigger markets and a better way produced over stations which maintain cies are better able to guide television of life. an “open door” policy. Should station executives control the production of a show? Station execu¬ tives invariably are inclined to be “show A LAWYER LOOKS AT TELEVISION minded,” not sales-minded. Because many compromises are necessary in the (Continued from page 38) litigation affecting these problems in production of any show, an arbiter must The subject of large screen television the radio and motion picture industries. always be present who is thoroughly projection in theatres offers a brand Labor questions will be legion in tele¬ familiar with both points of view. In new field for the television lawyer and vision broadcasting. Every possible type radio, the advertising agency occupies many new legal problems will be pre¬ of work involved has been or will soon this difficult post. The agency is also sented, especially in unfair competition, be unionized and a television lawyer the driving power, the supercharger copyright and civil rights. Radio and should keep in mind that his client must responsible for the maintenance of high motion picture lawyers are intimately live with these unions, peacefully and quality entertainment and salespowered happily, or else he is out of business. commercials. aware of these questions of law and policy, and it will be necessary for the Many books can be written and lec¬ The few television showmen who are television lawyer to know the historical tures given on the lawyer’s job in tele¬ attempting to throttle agency partici¬ and legal background of legislation and vision. He can play an important role in developing this medium so that it will exert its tremendous influence in the social and economic life of not only Drawing by this country but of the world. Herb Williams, courtesy Ladies' There will be international networks Home Journal. and hookups and interchange of pro¬ grams and ideas throughout the world. Public treaties and private agreements will necessarily be involved, requiring a knowledge of international law and conflict of laws. The television lawyer will be pros¬ pecting virgin legal territory in most instances and will be helping to make new law. This is a grave responsibility. He must be in the front ranks at all times, fighting for freedom of speech, religion and press, which include radio, motion pictures and television. He must not only be a good lawyer and versed in every field of the law, including many which the average lawyer never "Remember the good hears about or deals in, but he must old days when v also be a keen business man, a tactful only had to listen and astute diplomat and a man who has the commercials?" some conception of the obligations of world citizenship.

115 IS TODAY'S TELEVISION HERE TO STAY? (Continued from page 1SI

Potemkin are trained on a town. The casting.) And then, to top everything, back on the straight road that nobody guns fire on a palace; there is a tre¬ there is a master video screen which saw back in 1927, ’28, and ’29, because mendous explosion, gates are blown off shows what is actually going out over they tried all the roads before they dis¬ the place, people run in terror down a the air. A director needs a minimum of covered which was the right one. great stairway. The picture was made, eight pairs of eyes merely to see what of course, many years after the actual is going on. And his attempts at editing Television Is Not Radio Potemkin incident. And this is the way are controlled by what he can see. He it was made: can only cut to what he sees, and if he What we need to do in television is to apply the same kind of reasoning. Radio A long shot of the ships was made in can’t see what he wants, he can’t edit people who remain “radio” can never the harbour of Odessa, with well-recog¬ at all. And, we must make clear, editing solve these new problems. It takes a new nizable features of the city. The shot of is the principal—the most important—- type of enlightened radio people—open- the guns being trained on the town was ingredient of any motion picture! minded thoughtful people. We must taken from old newsreel shots made New Aspect Needed avoid all these side roads—all this years before. The steps down which the doing it the hard way, and look for the people ran were partly actual steps There are many excuses for this state one straight road that cuts straight in Odessa and partly scenery in the of affairs. The most obvious is the fact through all the detours—the road on Leningrad studios. The long shot of the that the people who are doing the tele¬ which television permanently will go palace was made from the harbour in vision now are radio people with little ahead. Odessa. The guns firing came from or no experience with motion pictures. another newsreel shot. The close shot They are folk who look back on an ex¬ In the main, television thinking has of the gate before it was blown up was perience in radio, unsullied by any seri¬ been of the “gee-whiz” type; the fas¬ made on location in Moscow. The ex¬ ous contact with any of the other arts. cinating jargon is easily learned. There plosion was done in a Leningrad studio. One of the things most wrong about has been little genuine, well-grounded Thus we have a completely comprehen¬ present-day “live” television is the radio research or experiment. And there has sible, exciting, emphatic, orderly story thinking applied to it. While this me¬ been practically no attempt to study —created, through the phenomenon of dium partakes of radio, trying to operate the basic medium, motion pictures. But editing, from wholly unrelated parts. it by radio methods is wrong: and radio motion pictures per se, are not tele¬ people—that is, people who persist in vision fare. The television motion pic¬ Limitations of Live Erocdcsscj approaching its production problems as ture is very highly specialized. You An ordinary “live” broadcast in a they approach radio production prob¬ can’t jump into it merely by going to “live” studio requires too many things lems—are doomed to failure. Hollywood and hiring a motion picture that can be weldc 1 together cnly Remember when sound came into unit to make a picture for you to use through editing. It is obviously impos¬ silent pictures? The directors and pro¬ on television. There is a whole great sible to include anything but the most ducers who had worked over a long big wide world of experimentation that elementary editing in a “live” set: i; period of time and had themselves de- must be done. follows as a corollary, that “live” broad¬ vcl ped the science of cinematics were casting can never tell a story in the suddenly elbowed aside by a race of Let Us Look at Costs best possible manner. know-it-all sound technicians. Even the The principal objection to the use of In a “live” te’evisicn broadcast, every sainted DeMillewas gently pushed aside motion pictures, according to the oppo¬ person concerned with the chow—he along with the rest. “That can’t be sition, is cost. done!” was the order of the day. The actors, the director, the technical men, People will tell you that Hollywood noise-catchers put the cameras in big the giipr, camera men, juicers, prop motion pictures cost $4000 a minute to “iceboxes” with a glass in front and men—everyone must know the scrip; make. They do—and more. But there is sai 1, “You can’t move the camera!” from start to finish, and know it per¬ a simple answer to that — we do not fectly. The director, following his sc Apt, At the time sound came in, the mov¬ need to make Hollywood movies. If we must watch action in the studio as ing camera technique was at the height are going to do a dramatic show in wo1! as his video pane’s; the actors must of its development. The tremendous im¬ radio, we don’t build a theater. We know where to be every seernd and pact that the use of the moving camera don’t buy backdrops, asbestos curtains, what to do; prep men, cab’cmcn, cam¬ had brought to cinematics was instantly footlights. We adapt our problem to the eramen, grips, jostle each other all over stultified. The average scene length medium. We short-cut. the p■ ace—an 1 no word must bo spoken v/ont from 12% seconds to nearly 2% We edit. We utilize the conventions that is not to be broadcast. The whole minutes. There was no camera move¬ of the medium, take advantage of its procedure is a nightmare c.ma true. ment. Actors sat or stood and looked at limitations. We use effects—and we end each other. And talked. And did very Obviously this type of procedure is up with as perfect a version of our little moving. That was all that could full cf all sorts of holes. One single left- show as our individual competence per¬ be done. footed persm can cause catastrophe. In mits. a broadcast that I saw not so long ago, New Technique: New Freedom The same short-cuts are available in the director get a little excited, and motion pictures. And in addition, mo¬ cried, “Give me camera No. 3.” Camera But at last the people who had made tion pictures provide the priceless in¬ No. 5—as ho should have seen frem his motion pictures decided that this was a gredient—editing. No. 3 video screen, was idly standing very bad state of affairs indeed, and there, aimed at a c .v.p’.c rf grips wres¬ said to the sound men, “Why must we Now, it is perfectly easy to say, tling with a. large slab of scenery. The keep our cameras in those iceboxes?” “Why hasn’t that been done?” There is contiibutimi cf Camera No. 3 did not “Because they make noises that are an equally simple answer. It is because appreciably improve the dramatic effect picked up by our microphones,” replied a lot of inexperienced people have of the performance. the sound people. leaped into the saddle and galloped off Such mhha.os "re not rndv p""sible, “But can’t we take the cameras out in every direction. but probah'o, in “live” television broad¬ and put something over them so they It is just possible that one of those casting. There is a mental fatigue fac¬ don’t make noise?” directions may be the right one; so far, tor on the part of the director, for And to their astonishment, the sound however, there has been nothing to example. He really has to be Superman technicians replied, “Sure, we never prove that. There is an understandable to operate this thing and do no more thought of that.” So today the cameras urge to play with this new toy, to go on than come out even. In front of him are used in Hollywood look almost exactly the air and be glamorous—and broad¬ video panels showing the field of each like the cameras we used before sound cast all the mistakes that you are ca¬ of the cameras; there is another one came in. They have the freedom they pable of. That is precisely what is hap¬ showing what is on the motion picture used to have. They have new freedoms, pening. Every time these “live” people projector. (They must have motion pic¬ even. And the improvement in sound go on the air they set television back tures and slides even in “live” broad¬ recording has been enormous. They are another ten years. That state of affairs

116 obtains pretty largely throughout the window jumped out at the actual mo¬ a song into a mike without any camera country. ment you saw it on the screen or and then stands up in front of the News and special events invite a whether he took off minutes earlier. But camera and smiles prettily, “mouthing” great deal of argument in television that three minutes gives sufficient mar¬ the song in synchronization with the circles. The people who believe entirely gin for a pretty fair job of editing by playback of what she has just sung. in “live” production say that the most an experienced film cutter at the scene. Pre-recording, amazingly enough, was important factor in news and special Thus you avoid the type of thing which discovered in the motion picture indus¬ events is “immediacy,” that is, seeing it some of you may have seen in special try only comparatively recently. At that on your screen at the moment it hap¬ event and news television broadcasts in time, everybody had counted Jeanette pens. And further to bolster their argu¬ which everybody runs in all directions MacDonald’s teeth forty or fifty times ment, they have invented the word “in- through the smoke clouds and the whole every time she sang a song. And some¬ stantaneity,” which is a philological story is completely mixed up, uninte¬ body said, “Why does she have to make handspring of the first order. The best faces?” They decided to do it a very definition of this dreadful word is simple way: a way, however, that took “alibi.” much costly experimentation before it We go to newsreels and see events was perfected—just as our acquisition that happened several days ago, and of technique and experience will be we enjoy them because we get a satis¬ time-consuming and costly. factory coverage of it—a coverage that Looker-Listener Habits is edited to bring out the important feature of what happened! Another thing that must be investi¬ gated is the average length of television "Instantaneity" on Film! shots. They will probably vary from the accepted 12(4 second average of theater There is no argument about this motion pictures. “immediacy” thing. It is, in general, a There must be a great deal of in¬ lot of nonsense. But if you want to vestigation into the mass psychology admit “immediacy,” “actuality,” or “in¬ stantaneity,” again we make the state¬ factor. Motion pictures—theater motion pictures—are looked at by a large num¬ ment that it can be done better with ber of people at the same time. Tele¬ film. Eleven years ago, at the Olympics in Berlin, Fernseh—A.G., the television vision pictures, on the other hand, will be looked at by only a few people. It is subsidiary of the Reichsrundfunksge- sellschaft, became involved in a problem obvious that the factor of mass psy¬ of televising a part of the Olympics at chology must be carefully considered, a time when there wasn’t sufficient and experimented with. light. The Jerries, who are pretty fast Much research remains to be done on on their feet technically, got together grated, told in outrageous order with a color reproduction. Current methods and said to each other, “We will now do wholly baffled announcer talking about used for color television are already this with film, but we will also heed the something you can’t see. We want to obsolescent. warnings of people who say that we make it clear again—and you must bear Investigation is indicated in the use must do it at the same time it is hap¬ with me if I repeat myself frequently— of camera movement as against cuts. pening.” that editing is the most important part With “live” television, the camera has And so they devised equipment that of a picture. If you can’t edit your pic¬ to move in for close-up, and the audi¬ permitted them to make motion pictures ture you haven’t got a picture. ence is constantly disturbed by a “busy” of the Olympic games and to project screen, full of people who dash off into those onto the television screen with a Unsolved Problems Facing Us the upper right hand corner, run away lag of approximately three minutes. One problem is the ratio of sound from you, or rush at you, increasing That sounds incredible, but today high¬ volume to picture size. One of the rea¬ alarmingly in size. Camera movement speed processing of film is a matter of sons that present-day television is is all right in its place, but it occupies course. Everyone is familiar with the sometimes alarming is that you see too much of a place in “live” television. same-day newsreel presentation of foot¬ midget images and hear full-sized To get this motion picture quality in ball games, world series games, and so voices. Much experimentation must be television an enormous amount of ex¬ forth. These are done with a lag of done to make this make sense. perimentation is necessary. from 3 to 6 hours. And nobody, inciden¬ The problem of what photographers We can’t just make movies in the con¬ tally, objects to that time lag—because call “gamma” is important. Nobody has ventional way. We must adapt accepted the picture is good! Also, it is edited. thought of that yet: most television techniques and create new ones in step producers haven’t even heard of it. with the conventions of an art that is Let's Go to a Fire (Gamma is the relation of the contrast now half a century old. You are sitting in your house and in the original with the contrast in the Our eventual technique will come the fire trucks go roaring past. You say, picture.) There is a great deal of in¬ partially from research into writing “There is a fine fire somewhere. Let’s vestigation to be done in that direction. problems. Writing for motion pictures get it on our television.” So you go and Besides there is a tremendous job in is not as easy as it looks. Writing for a turn on your television set and you find the adaptation of motion picture tech¬ highly specialized type of motion pic¬ an announcer talking to you from the niques. Hollywood motion pictures don’t ture is going to be harder. Scripts will studio. Says he, “There is a terrific fire do very well in television because they have to be written so that they can be over at 630 Fifth Avenue, and in a are not geared to television’s require¬ broken down to be shot virtually in couple of minutes we are going to bring ments. There must be investigation into sequence. This is contrary to general you some shots of that fire. Our equip¬ the psychology of short pictures—of practice. ment is on the way over there.” And various types of shots. The present-day Who Will Develop Television Programs? after a radio buildup—possibly also people, for example, in “live” television radio announcer talking from the scene utterly refuse to use long shots and Television programs, if they are to of the fire, we finally hear “And now thereby stultify their efforts, because a meet exacting standards, are almost we bring you the picture from the ac¬ long shot is of the highest importance certain to be more expensive than radio tual spot.” in establishing the inter-relation of programs. Yet unless television pro¬ What we bring you is a carefully edited characters, locations, etc. grams do meet the public’s critical picture of that fire—but what you see One of the things that needs investi¬ standards, I do not believe that tele¬ actually happened three minutes ago. gation is the elimination of ugly shots. vision will develop into a mass advertis¬ However, the fire is still going on. You The only way that you can keep from ing medium. know that because from your window giving an animated cartoon of the ton¬ The initial expense of developing pro¬ you can see the smoke. You don’t know sils in operation in a close-up of a gram techniques and of providing pro¬ whether the man who jumped out of the singer is to pre-record. The singer sings grams which will develop the medium

117 seems properly to be the responsibility may become important factors in the Summary of the networks and of others who will production of packaged television pro¬ 1— Television can be a great advertis¬ most directly profit from the growth of grams. ing medium. television. Constant knowledge of the develop¬ 2— Its development hinges mainly on ments in television engineering and pro¬ programming. Motion Picture Suppliers gramming, together with a continued 3— Good programs must be telecast The close parallel between the prob¬ measurement of growth in television set from film. lems of television and the problems of ownership and broadcasting station in¬ 4— Developing program techniques the motion picture industry suggests stallations, will make it possible to should not be the responsibility of that motion picture producers may be¬ project the medium’s development with the agency or the advertiser (but come an important factor in supplying reasonable accuracy and prognosticate may have to be). television programs. What better way that period when television’s develop¬ 5— Today’s job is to (a) keep informed, to counteract competition than by be¬ ment will be such that we should be and (b) keep your powder dry until coming its supplier? ready with programs. This probably enough definite information is at Also as in radio there will probably will not happen so rapidly that we will hand to indicate what course you be independent program producers who be unable to recognize it ahead of time. should take.

CAREERS IN TELEVISI O N (Continued from page 1101

counts indicated television as their No. be tastefully shown in the “little thea¬ Educators everywhere, conscious of 1 choice in postwar products, even ter” of the home—the living room— the intense interest in television and though the price mentioned was $400. during the leisure hours not only of electronics are planning courses similar Automobiles polled 13 per cent and the family’s purchasing agent, Mother, to those already being held at Yale, washers 12 per cent. but of Father and the children as well. Temple, New York University, City Today American industry spends only Television has no problems of traffic College of New York, Massachusetts about $10,000,000 annually on sales or crowds, bad weather or police edicts. Institute of Technology, and other edu¬ market research. Marketing experts be¬ There will be many new opportunities cational institutions. Many men are lieve the “Age of Electronics” in which for alert merchandisers in the selling receiving technical training at the RCA we are now living may see this expendi¬ of home television receivers. These will Institute in New York. ture eventually approximate the esti¬ be far superior to prewar models in We all know what an effective ad¬ mated $500,000,000 spent annually on picture size, detail, brightness, and con¬ vertising and sales medium radio has product research by industry. trast. They will have greater stability proved to be. Just as recordings are the in circuits, will be easy to operate so “transcription” of radio, so film will in Looking Ahead Ten Years that even children can tune in both many cases serve as the “transcription” The development of automatic re- video and sound. They will have minia¬ of television. At every turn new jobs broadcasting transmitters will, we be¬ ture tubes and other components which are created. lieve, make it possible within ten years make possible more compact designing to bring television to most of the areas and styling. Your Stake in Television? outside of the 157 markets previously A vastly improved product will be Every businessman, every profession¬ mentioned, to serve a total of 23,700,000 offered at prices substantially below al man, every worker would do well to wired homes, or 80 per cent of the wired prewar levels. For example, a unit with explore every possible angle through homes in the United States. This repre¬ direct-viewing kinescope may sell for which his future may be related to this sents a population of about 100,000,000 under $200. RCA’s new, large screen new medium. There is much to be done, people, or 82 per cent of the nation’s receiver, incorporating both radio and ranging from the design of telegenic buying power. television, will be priced at about $395. packaging for television to the telesales Even the best showrooms and dis¬ On the engineering side, technicians demonstrations of 1001 products in the plays have to contend with people in a are needed in all phases from research homes of this great market. There is a hurry, crowded sidewalks and shopping to field installations. Electronic “know whole new industry and a whole new areas, inclement weather, and even how” gained through Army and Navy technique of its tele-selling to be devel¬ police regulations. The better the dis¬ training will find practical application oped. It follows that those individuals play, the greater the crowd, and the not only in television but in such fields who are equipped to serve best will more pressing the command to keep as electronic power generation and reap the greatest benefits as television moving. With television, products will electron optics. comes into its own.

TELEVISION AUDIENCE RESEARCH 4si television. They speak of it as “window video advertising; to test commercials “excuse” for looking, such as household shopping at home,” and think of it as before they are broadcast, as well as to or shopping help, may lessen this ob¬ a time-saving device that may some check on their effectiveness after broad¬ jection appreciably. day alter their buying habits. They cast. Another future job will be to The new television audience will al¬ also recognize that, as an advertising study the comparative values of color most surely compare what it sees with medium, television will do more than advertising and black-and-white adver¬ radio and movies. This is because it is combine the advantages of space and tising. natural to compare something new with radio advertising. It will add a further Because more concentration is needed something known; not because there is element of motion—or demonstration— to follow television than radio, and be¬ any desire to have television imitate to its appeal. cause the new medium will have to com¬ either of the older media. In fact, the Recognizing these facts, viewers pete with household duties as well as opposite is true. Programs that lean quickly reject television commercials other forms of entertainment, some por¬ heavily on radio or Hollywood tech¬ that fail to take advantage of the spe¬ tion of the program schedule should niques have been least popular through¬ cial opportunities offered by the new probably be allotted to material that out the course of our studies. People medium. Commercials that show a mo¬ will require little if any eye attention. want something new in television; tionless product, for example, while an This will be particularly true of daytime something they can get from no other off-camera announcer reads from a programs. A very noticeable “guilt feel¬ source. How well television satisfies this script, are not wanted. One of the ing” has been evinced by our respon¬ desire will, in a large sense, determine functions of TARI, now and in the dents when they consider the time- the speed and extent of its public future, is to improve the efficiency of consuming factor of television. Some acceptance.

118 Laboratories televised outdoor scenes without the use of artificial illumination . . . At Albany, General Electric tele¬ TELEVISION vised the first “remote” pick-up: Gov¬ ernor Smith’s inauguration . . . Farns¬ worth developed the “image dissector” PROGRESS tube. 1929— Vladimir Zworykin announced the invention of a non-mechanical receiver 1800—Alessandro Volta, led by the ex¬ needed for the success of the Nipkow using a special cathode-ray tube called periments of Galvani, invented the vol¬ scanning disk. the Kinescope . . . Television in color taic pile, forerunner of all electric 1895—Guglielmo Marconi sent and re¬ was demonstrated by Bell Telephone batteries. ceived his first wireless signals across Laboratories over wires from one end 1816—Baron Jons Berzelius discovered his father’s estate in Italy. of a room to the other; a picture about the element selenium. The conductivity 1897— Sir Joseph Thompson demon¬ the size of a postage stamp was trans¬ of this metal is affected by exposure to strated the true character of the elec¬ mitted. light. tron as the smallest particle of the 1930— NBC television station W2XBS 1819— Hans Oersted discovered the prin¬ electrical structure of the atom. atop the Amsterdam Theatre, New ciple of electro-magnetic induction. 1898— Karl F. Braun discovered that York, opened for tests ... At RKO electrons can be controlled by magne¬ Proctor’s 58th St. Theatre, RCA dem¬ 1820— Andre Ampere measured the re¬ tism and their path traced on a fluo¬ lationship between electricity and mag¬ onstrated television on a 6-foot screen netism. He developed the ampere, a rescent screen. . . . Two-way wire television, on which practical unit of current strength. 1905—Albert Einstein announced the speakers at the end of a 3-mile line saw theory of photo-electric effects, thus de¬ each other as they conversed, was dem¬ 1827—George Ohm gave his name to fining the way in which a television onstrated by Bell Telephone Labora¬ Ohm’s law—a standard measurement of camera would turn a picture into elec¬ tories. resistance to electrical current flow. tricity. 1931— Fifteen companies had telecast 1831—Michael Faraday announced the 1907— Boris Rosing patented a tele¬ schedules in U.S. . . . Bell Telephone laws of electro-magnetic induction and vision system, using a receiver resem¬ laboratories, to clarify television, intro¬ developed the first generator. bling the modern receiving set, based duced caesium photo-electric cells that 1839— First successful methods of pho¬ on the Braun cathode-ray tube. “see red” . . . English Derby at Epsom tography were invented by Fox Talbot 1908— A. A. Campbell-Swinton devel¬ Downs was televised for the first time in England and Nicephore de Niepce oped the theory of a cathode-ray tube by Baird’s system . . . Television on a and Louis Daguerre in France. camera. 10-foot screen was shown at the Broad¬ 1840— John Draper at New York Uni¬ way Theatre, New York, with 1700 at¬ 1909— Hans Knudson sent the first versity pioneered in making portraits tending the opening performance; a drawing by radio. by photography. wire link was used between Theatre 1920—Commercial radio stations were Guild Playhouse and the televiser . . . 1847—Bakewell invented the “copying licensed. . . . Radio station KDKA in¬ Dr. Alexanderson sent television across telegraph,” employing an elementary augurated a regular broadcast schedule. his laboratory in Schenectady on a scanning device. 1922— WEAF broadcast the first com¬ beam of light instead of a wire or radio 1862—Abbe Caselli transmitted the first mercial program. . . . John B. Johnson wave. electric picture, Amiens to Paris. produced the first low-voltage, gas 1932— C. Francis Jenkins described a 1873—James Maxwell declared light to focused, sealed off cathode-ray tube. new television principle resulting in be a form of electro-magetic wave. . . . 1923— Vladimir Zworykin filed patent images estimated to be 3600 times The electric motor was developed in application on the first form of elec¬ brighter than those heretofore devel¬ Vienna. . . . Light-sensitive properties tronic television camera tube, the Icono¬ oped. The image appeared on a sensi¬ of selenium were discovered by a tele¬ scope, now in general use. tized emulsion of an “animated lanterr graph operator named May. This dis¬ slide” . . . Field tests of 240-line all- 1924— Captain Richard Ranger sent the covery indicated that light values can electronic television were made by RCA first facsimile picture from London to be converted into equivalent electrical at Camden, N. J., with signals relayed New York. values. by radio from New York through Mt. 1926— C. F. Jenkins, in Washington, 1875—G. R. Carey designed the first Arney, N. J., for the first time. D.C., demonstrated apparatus which television system, imitating the human showed shadowgraphs of far-off moving 1935— Edwin Armstrong announced the eye. objects . . . J. L. Bail’d, in England, principle of FM . . . British Postmaster 1878—Sir William Crookes observed demonstrated television transmission of General’s Committee recommended that electric discharges in a vacuum, thus half-tone pictures . . . Baird also devel¬ BBC be responsible for television in discovering the cathode-rays now known oped infrared ray television ... Na¬ England. as electron beams. tional Broadcasting Co. organized the 1936— BBC formally opened Alexandra 1880—Leblanc developed the principle first radio network . . . Warner Bros, Palace television station, transmitting a of scanning—a method of viewing suc¬ gave the first “vitaphone” demonstra¬ 405-line picture. Telecasts occurred daily cessively individual picture elements. A tion . . . Dr. E. F. W. Alexanderson, in except Sundays . . . AT&T tested co¬ scanning device divides a picture into St. Louis, demonstrated an advance in axial cable and proved it successful . . . lines and each line into tiny sections. television by showing his multiple light¬ Don Lee and Philco gave public demon¬ brush system and new projector. 1884—Paul Nipkow invented a mechan¬ strations of cathode-ray tube television ical television scanning disc. 1927— J. L. Baird demonstrated his me¬ systems. chanical scanning disc television system 1886—Heinrich Hertz, by experiment, 1937— Television, with a 441-line pic¬ at Glasgow . . . Wire-television was confirmed Maxwell’s theories concerning ture, was demonstrated by Philco in a demonstrated between Washington and electricity. He found the speeds of light 3-mile test across Philadelphia . . . Cor¬ New York . . . Radio-television was and electricity identical, and proved that onation procession of King George VI demonstrated between Whippany, N. J., radio waves are electro-magnetic. was telecast over 7500 square miles to and New York by Bell Telephone Lab¬ an audience estimated at 50,000 . . . 1888— Photo-electric cells were built oratories . . . Congress established the Vladimir Zworykin demonstrated elec¬ and demonstrated. Federal Radio Commission. tron projection “gun” at IRE Conven¬ 1889— Thomas Edison filmed the first 1928— Baird sent the first trans-Atlantic tion . . . R. R. Law projected television movie. television picture and demonstrated the pictures on an 8 x 10 foot screen . . . 1890— C. Francis Jenkins of Washing¬ first crude systems of color and stereo¬ Bell Telephone Laboratories transmit¬ ton began a search for new appliances scopic television . . . Bell Telephone ted movies over coaxial cable between

119 New York and Philadelphia. Pictures vision also went on the air to cover were of 240-line texture . . . Mobile Pearl Harbor news. television van of NBC appeared on the France 1942— NBC telecast a course in air-raid streets of New York. instruction, placing receiving sets in 1932—Television Baii’d-Nathan Co. 1938— BBC began televising demonstra¬ police stations . . . CBS telecast a course started experimental telecasts. tions of anti-aircraft defense, fire pre¬ in Red Cross instruction and sold war 1935— A television station, with vention, etc. . . . Television images from bonds by television . . . Conversion to transmitter on the Eiffel Tower, London, on ultra short waves, were war work stopped most television activi¬ was opened. picked up on Long Island, badly dis¬ ties in the U.S. 1937— Fi'ench Postal authoi'ities torted. demonsti-ated television at Paris 1943— Western Defense Area telecast Exposition. 1939— Plays were telecast in London regular course in Civilian Defense train¬ 1938— A cable for television trans¬ directly from the theatre stages with ing over W6XYZ, Paramount station in mission was laid from Paris to marked success . . . NBC televised the Hollywood . . . Scophony was granted Bordeaux. opening of N.Y. World’s Fair . . . The two basic patents for large-screen tele¬ first baseball and football games and vision . . . NBC installed television re¬ Germany the first prizefight were telecast . . . ceivers in Army hospitals and began 1929— The Fernseh Co. was foi'med. RCA introduced an improved radio weekly telecasts of prize-fights from Fernseh used mechanical scanning camera, the Orthicon, for greater clar¬ Madison Square Garden . . . Alexander- methods. ity and depth in outdoor pictures . . . son patented a three-color television 1936— High-definition program ser- A telecast from New York was picked process . . . Palmer Craig, at the Uni¬ vice began in Bexdin. up in a plane 20,000 feet above Wash¬ versity of Florida, announced a new 1937— A television cable was laid ington, D.C. Outbreak of war stopped system of broadcasting television over from Berlin to Nuremberg for all European television. standard radio channels . . . Radio television - telephone service and 1940— In the fix’st “television network” Technical Planning Board was organ¬ propaganda purposes. broadcast, FCC members at Schenectady ized. 1938— Television-telephone sex-vice saw pictures telecast from NBC, New 1944— Television Broadcasters Associa¬ was opened to the public. York, received directly and then re¬ tion, Inc., was formed by broadcasters 1939— Nazis took equipment to Ar¬ broadcast through an automatic relay and manufacturers, and held its first gentina and demonsti-ated tele¬ across the upstate capital district . . . annual conference . . . First television vision. RCA Manufacturing Co. at Camden, network, linking NBC, New York, GE, Holland N. J., demonstrated color television to Schenectady and Philco, Philadelphia, the FCC . . . Philco, at Philadelphia, went into regular operation . . . Tele¬ 1935— Philips Co. built the first demonstrated television pictures of 605 vision stations in several cities gave iconoscope in Eui-ope and began lines on horizontally polarized waves, 24 special election night programs. Radio experimental transmission frames per picture and reception on Executives Club sponsored a television 1938— Philips Co. constructed a loop antenna inside the set . . . FCC au¬ seminar covering all phases of the in¬ pox-table transmitter and demon¬ thorized “limited commercial” operation, dustry . . . Telecine film was first used. strated television through Holland later suspended it . . . An airplane 1945— Canada set up a Radio Technical and other counti'ies. carrying a portable television trans¬ Planning Board . . . RCA demonstrated mitter telecast New York panorama . . . a 22-inch projection screen for use in Japan NBC telecast Philadelphia Republican home receivers. DuMont demonstrated convention to New York via coaxial 1925—Television experiments be¬ a 20-inch direct-view screen, also for cable, linking cameras with a transmit¬ gan, using a mechanical scanning home television reception . . . FCC system. ter atop the Empire State building. This announced FM and frequency alloca¬ telecast was picked up in Tulsa, Okla¬ 1936— Government appropriated tions for peacetime expansion (alterna¬ homa, about 1800 miles away, establish¬ large amounts for television re¬ tive plan No. 3) . . . Washington was search. ing a new overland record for ultra- linked to Philadelphia over a new mul¬ short waves . . . NBC also telecast 1937— Nissan Television Kaisan tiple-relay television network developed Chicago Democratic convention from was fox-med to opei-ate patents of by Philco . . . Viewtone developed a films rushed to New York by plane . . . Bx-itish E.M.I. midget television set, to retail for $100 CBS demonstrated color television . . . 1939— Japan Broadcasting Corp. . . . DuMont started first television in¬ DuMont studios took mobile transmit¬ put the first experimental television stallation in a depai’tment store by program on the air. ters on Army field manoeuvers . . . Lee converting John Wanamaker audito¬ de Forest was at work on a pilotless rium, New York, to a new television “television torpedo plane.” Russia broadcasting station . . . BBC resumed 1941— —RCA demonstrated to FCC: home telecasts several months after V-E Day. 1934— Television experiments be¬ television receiver with 13 Vz x 18 inch All New York stations gave special gan, using a mechanical scanning translucent screen; television on thea¬ V-E Day presentations; NBC stayed system. tre screen of 15 x 20 feet; scenes re¬ on the air 14 consecutive hours . . . 1937—Rusia bought RCA television layed by radio from Camp Upton; fac¬ NBC covered V-E Day, V-J Day, Navy equipment for a Moscow television centre. simile multiplexed with frequency mod¬ Day and many other important occa¬ 1939—Experimental telecasts con¬ ulation sound broadcast . . . NBC put sions with pick-up programs and spe¬ tinued until the outbreak of war. color television pictures on the air for cial film . . . DuMont instituted “Thanks the first time . . . FCC authorized com¬ fox Looking”, the fix-st participation Sweden mercial television . . . RCA large-screen program to involve the home audience television demonstration for Motion . . . Bill Still completed station W2XJT, 1930— Baird Co. demonstrated tele- Picture distributors and press at New using equipment which he designed and visioix in a Stockholm movie theatre. Yorker Theatre featured world’s mid¬ built himself . . . “Stratovision” was 1935— Svenska Radio A.B. ei'ected dleweight championship bout at Madi¬ proposed—it is a system of relaying a television transmitter in Stock¬ son Square Garden . . . First advertising television by equipment installed in air¬ holm. There were daily telecasts rate card for television was issued by planes . . . Balaban & Katz, in coopera¬ during the Chxistmas shopping NBC; commercial operation of tele¬ tion with the Chicago Board of Educa¬ season. vision began on a minimum schedule of tion, started a series of educational 15 hours a week . . . American Tele¬ telecasts to schools . . . RCA image In all the above countries, and in England (see main chronology), vision Society was organized . . . FCC orthicon provided a new black-and-white raised the standard television picture television camera 100 times more sensi¬ all television operations ceased with from 441 to 525 lines . . . CBS presented tive than the best in use in 1940. RC 1 the outbreak of war in 1939. the first television newscast; CBS tele¬ also demonstrated transmission of color.

Many of the facts reported above are reprinted by permission, from “The History of Tele¬ vision” by Orrin E. Dunlap, Jr. and from “4000 Years of Television” by Richard W. Hubbell.

120 For FM and TV

Cover by LARRY TISDALE

The cover of our 1946 American Television Directory was painted by Larry Tisdale who has won honors in many poster competi¬ tions. He exhibited at the Prix de Rome in New York, 1939, and at Meets New RJI/IA Standards the Pennsylvania Academy, Phila¬ delphia, in 1938. His talents won him a Tiffany Foundation Scholar¬ ship in 1937 for study in Long A new coaxial cable, especially designed for FM Island; also the Eliot O’Hara and TV use, is now a reality at the Andrew Co. Water Color Scholarship in 1938 Scheduled for February delivery to the first orders for study in Maine. Mr. Tisdale received, these new cables, in 4 sizes, introduce graduated from Yale University in 3 V8 the following important engineering features: 1939, having served as an editor of COAXIAL the Yale Record and art editor of 1. Characteristic impedance of 51.5 ohms. (The CABLE College Yearn Magazine. He was regular Andrew cables for AM applications have with Lennen & Mitchell, Inc., when a nominal impedance of 70 ohms.) he entered the armed services. He 2. Engineered to meet fully the rigid new RMA aided in the preparation of numer¬ standards. (Andrew is particularly familiar with ous educational manuals and the these standards through participation in meetings of the RMA standard¬ “GI Roundtable Series” (which in¬ izing committees.) cluded a booklet on television), 3. Insulators are spaced 12 inches apart in the 3 large size cables, and while attached to the Army Medi¬ 6 inches in the %-inch cable. cal Center, Washington, D. C., the 4. Improved low loss insulation material is used, having a dielectric con¬ Adjutant General School, Fort Washington, Md., and as a staff stant of 6.0 and a maximum loss factor of .004 at 1 00 me. sergeant in the Information and 5. Close tolerances have been established on conductor and insulator Education Division, New York. dim ensions, in order to maintain a constant characteristic impedance. 6. Inner and outer conductors are made of copper having a minimum conductivity of 95% IACS at OPPORTUNITIES 25° centigrade. Your order now is the best assurance of early IN TELEVISION delivery on this new coaxial cable for your FM or TV installation. The staff of a television station will Write or wire the Andrew Co., 363 East 75th include script writers, costume design¬ Street, Chicago 19, Illinois, for complete infor¬ ers, stage set designers and builders, lighting experts, camera men, sound mation or engineering advice on your particular effects men, microphone boom operators, application. camera dolly operators, stage and tech¬ ATTENUATION CURVE nical directors, picture and sound con¬ Attenuation is calculated in acordance with RMA- trol operators, maintenance technicians, approved procedure, in¬ and transmitter operators. Many of cluding a 10% derating these professions are new and require factor to allow for re¬ basic fundamental knowledge and train¬ sistance of fittings and ing in the actual operation of a tele¬ for deterioration with vision studio. time. A television studio includes all equip¬ • The new RMA ap¬ ment which is now a regular part of a proved Andrew coaxial cable for FM and TV broadcasting studio to provide the comes in 4 sizes, priced tentatively as follows: 7/s , sound which accompanies the picture. 42c per ft.; 1 %", 90c per ft.; 3'/s". $2.15 per ft.; In addition, the television studio in¬ 6'/s , $5.20 per ft. Andrew Co. also manufactures cludes much more apparatus to take a complete line of accessories for coaxial cables. the pictures and to allow them to be broadcast. The maintenance of this apparatus affords a great opportunity 6% for the technically-trained man with a knowledge of the basic principles of COAXIAL electrical enginering, electronics and CABLE ANDREW CO. radar. As more television stations are 363 EAST 75th STREET built, the demand for trained personnel CHICAGO 19, ILLINOIS in each of these branches will increase. —James D. McLean, General Electric Company.

121 IS TELEVISION TOMORROW'S RADIO?

(Continued from page 13)

proach which merges sight and sound and which will require that the audi¬ ence both see and hear, in order to get the full drift of the show; the second technique is one in which the visual portion is merely an adjunct to the sound—which will make it possible tor a person to enjoy a television program without having to “view” it beyond an occasional glance—much as you might listen to a symphony with closed eyes and only from time to time look up at the orchestra. Unless this second technique is de¬ veloped, television is going to face a difficult situation, because the housewife cannot be expected to drop her pots and pans and stay glued to her set. If she can’t work and listen, she will just have to not listen.

Cost of Network Television Question: “Do you foresee rate bat¬ tles?” Answer: Wherever there are rates, there are battles. I don’t know how, in a free competitive system, you can avoid it. The Westinghouse suggestion of a network of stratospheric television transmitters is not only an example of the bold and imaginative engineering being lavished on the medium; it is also an example of the cost factor. This skyway transmission, you recall, envisions a series of transmitters, built into giant stratoliners which, while circling at a height of 30,000 feet over ground studios, pick up television sig¬ nals and broadcast them to the homes in a wide area around these ground studios. As I read the dispatches, I learn it will take a web of 14 plane-transmit¬ ters to achieve an 80 per cent coverage of the country; and it will cost $1000 an hour to operate each plane. So, we have television paying $14,000 an hour for station operations, and the pro¬ grams still have to be piped—by co¬ axial cable or radio relay—from the originating point to one of the 14 ground control studios and relayed by microwave from one to another. Add to this the cost of time and talent— and you begin to get an idea of the ex¬ tremely high cost of network television. I suspect that it will be a long time before rates in television become suf¬ ficiently competitive to cause battles.

Inventions Upset Predictions Let me, in closing, revert to the sec¬ ond paragraph of these remarks in which I disclaimed having any special pipeline into the future. The thoughts I have set down are common sense, if somewhat hard-headed, projections of TELEVISION PROBLEMS the facts such as we have them today. If within the next two or three years an invention is unveiled which, in rela¬ Courtesy of Tide and Columbia Broadcasting System. tion to television, even remotely ap¬ proaches the devastating effect of an atom bomb—then all bets are off!

122 PTM — A NEW TRANSMISSION SYSTEM (Continued from page 331

part is contained in an even smaller license applications filed with the FCC, cabinet. Through the use of the “cyclo- it seems that the channels made avail¬ phon,” the number of vacuum tubes able in the new FM band 84-102 me, required is very materially reduced. will in the near future prove insufficient Coaxial cables and parabolic reflec¬ to meet the total demand, and it is ex¬ tors 8 feet in diameter serve to beam pected that broadcasting will be shifted the 1300 me carrier. The performance toward higher frequencies. of the system meets the strict require¬ In any case, wide-band FM, a com¬ ments of high quality modern telephony. paratively newer and superior type of These systems could also carry a modulation, has inherited the older con¬ number of telegraph channels in place cept of “simplex” broadcasting which of each of the telephone channels. The does not permit full advantage of the importance of such a system for long possibilities of ultra-high frequency distance telephony is at once evident: transmission for a number of stations. no wires, little maintenance, little haz¬ A Common Transmitter ard of interruption by flood, hurricane Most of the difficulties experienced in or ice storm, and simplified operation uhf transmission and, in particular, even for direct dialing of long distance in densely populated areas, result from numbers across the continent. the “line of sight” requirements. To The possibilities of PTM are not lim¬ overcome these difficulties, the trans¬ ited to telegraphy and telephony. In mitting antenna must be located where fact, high grade transmission of music it can be “seen” by the greatest number has been successfully demonstrated and of receiving antennas. All transmitting its application to broadcasting offers so¬ stations serving a given area should be lutions to many pressing problems. located at this optimum place. For space With the ever increasing demand for reasons only, this is not practical as a broadcasting facilities and the already multitude of transmitters and antennas congested situation in the present broad¬ cannot be accommodated on top of the cast band, there is a trend toward utili¬ highest structure located centrally zation of high frequencies for radio among the receivers. The use, for sev¬ broadcast purposes. Steps have been eral programs, of a common transmit¬ taken in the United States toward the ter and antenna is obviously attractive. establishment of an extensive system of In a “multiplex” broadcasting system, PTM antenna Installation at Nutley, N. J., broadcasting employing frequency mod¬ several programs would be transmitted in Federal's multiplex radio relay system. ulation. In view of the number of from the optimum location on a common carrier frequency. The various studios tion in the transmitting station itself. originating the programs could be lo¬ A series of pulses, generated according cated at convenient places and convey to the principles of the PTM system, their programs to the transmitting point is added to the normal synchronizing SO THEY SAY: by wire line or other means. pulses in the control room. The equip¬ Each of these programs would mod¬ ment required to do this is simple and “I had the novel experience of ulate the common RF carrier system in makes use of receiving tubes only, since appearing in television before I did a manner similar to the multiplex tele¬ it operates at very low power levels. in motion pictures. I found tele¬ phone and all the stations and listeners The resulting signal is sent to the vision a great help when I made would benefit from the optimum loca¬ picture transmitter in the usual manner my first picture, ‘Goodbye Mr. tion. The cost of installation should be and radiated. At the receiver, the pulses Chips.’ The camera technique is greatly reduced as would also be the for the sound channel are separated much the same and teaches, most cost of operation and maintenance. from the synchronizing pulses by a importantly, naturalness, restraint Important advantages are also given “width selector” circuit, for example, and poise. . . I discovered that, to the broadcast listener; fixed tuned and fed to the sound demodulating and before either a television or movie radio frequency receivers may be used reproducing circuits. Actually, the com¬ camera, the worst fault a player since a common frequency is used for plexity of the receiver is reduced since can be guilty of is overacting. Fine all stations; furthermore, the antenna the pulse-separating circuits are simpler acting before a motion picture or problem is also simplified since the re¬ and use fewer components than the television camera isn’t really act¬ flection from nearby buildings is virtu¬ corresponding sound I-F amplifier and ing at all. It is the art of being ally eliminated as all transmission detector of the conventional system. natural.” —Greer Garson originates from a single point—thus, a The distortion, noise level, and fre¬ single efficient fixed directive antenna quency response are all satisfactory “I can now look forward to a can be used for receiving all stations. for high quality sound reproduction, long layoff in a new medium, tele¬ Other advantages such as simplicity because in the high frequency television vision.” —Solly Violinsky of relaying inherent to the multiplex spectrum the line scanning rate is suf¬ ficiently high to permit transmitting a “Fortunately for screen actors broadcasting contribute to make this there is no deep dark mystery system a particularly attractive one. very large number of these sound pulses about acting in television. Any IT&T Laboratories have already dem¬ per second. The pulses do not interfere competent actor who has performed onstrated high quality transmission of with the picture signal because they are before the motion picture camera is music through PTM and are engaged in transmitted during the time the scan¬ ready to perform before the tele¬ the construction of a UHF multi-chan¬ ning beam is reduced to zero as it re¬ vision camera. Those of us who nel broadcasting system. turns to the start of each line. have participated in a number of In the television field, a common fre¬ Because of the complete elimination television productions know that quency for high definition or color tele- of the sound transmitter and the fact acting in television is just about vison as well as high quality sound is that the receiver construction is simpli¬ the same as acting in motion pic¬ made possible by PTM. Since television fied, it is anticipated that this will tures. It is acting, nothing more transmitters require a wide frequency prove to be one of the most important and nothing less.” band to carry the picture channel, they applications of the PTM system. It —Robert Shayne may also be used to trasmit the sound is expected that actual field tests under channel in the form of very short normal operating conditions will be pulses without any additional complica¬ made in the early part of 1946.

123 USES OF FILM IN TELEVISION IContinued from page 441

And because animations are stylized, grounds. Much of this material may be era film interviews in a prewar Cali¬ they lend themselves to fantasy and silent footage intended for telecasting fornia election campaign. Many “real humor in the handling of difficult or in conjunction with a live announcer’s life” scenes in documentary films such controversial topics. voice. as “The City” show the motion picture Films also permit the use of stop- Many authorities feel that the im¬ camera capable of a high degree of motion and three-dimensional anima¬ proved fine grain emulsions and pro¬ “immediacy.” tion—for example, a pair of shoes that fessional 16 mm. camera equipment, do a dance as if by magic, without which have been a result of the war, Documentaries Proved Popular strings. will ultimately make 16 mm. film more Documentary motion pictures, some All of Hollywood’s miraculous tricks practical and economical than 35 mm. of feature length, are very popular of the trade—rear-screen projection, film for television programming. with television audiences. One tele¬ miniatures, matte shots, slow motion Certainly, 16 mm. film, which does not station reported that “The Adventures and accelerated action, optical tricks entail large or expensive studio invest¬ of Chico,” “The Wave,” “The Edge of and “wipes”—are either hard to do or ments, is one way of materially in¬ the World,” “The City,” and war films impossible in live telecasts, but can be creasing the volume of film available such as “Desert Victory,” brought en¬ accomplished easily on film. to television without too great an initial thusiastic reactions from video audi¬ outlay. Numerous radio programs today ences. The vast quantity of 16 mm. Camera Angles and Movement cost an average of from $300 to $600 movies shot by amateurs all over the per minute. That is not out of line world is an untapped reservoir of tele¬ Dramatic programs, in particular, with current 16 mm. film production vision material. benefit by the flexibility and scope costs. By-product revenue from some Certainly the method and techniques which prefilming affords. It has often films may be realized in re-edited ver¬ which have proved so successful in been said that a fundamental of tele¬ sions for the rapidly expanding school, documentary film production deserve vision, as in the motion picture, is adult education, and home movie pro¬ close study by all individuals engaged constant scene change and camera jector markets. movement. Despite multiple cameras, in television programming. They should and rapid changes of costume and scen¬ investigate the possibility of combining A Public Relations Tool ery, it is a heartbreaking job to give a documentary film sequences with spe¬ cially acted live studio scenes. Such a live telecast interesting camera angles Television will provide an unsur¬ and enough movement. procedure will give to television from passed public relations tool for indus¬ the outset a scope and mobility which And it will be expensive, too, for it try. However, for guided tours of mobile television cannot equal. entails large crews and the tying up of plants, the showing of manufacturing In producing motion pictures for tele¬ stages for live show rehearsals. Hence, processes, products undergoing tests, vision use, a new technique will have to film may be the cheaper and easier way benefits to workers and consumers, the be evolved to suit the limitations and of preparing many programs. motion picture camera will always capabilities of the television system. prove more capable and flexible than Prefilmed television programs also Among factors which must be kept in the mobile television unit. have this advantage: they can be mind are: (1) Lighting, (2) Colors, Yet enthusiasts favoring live tal¬ “dubbed” into foreign languages. That (3) Close-ups, (4) Length of shot. means potential world-wide telecover¬ ent video shows criticize use of films as entailing loss of “spontaneity.” They age at reasonable program cost. Preview on Small Screens ignore the fact that television itself, The motion picture industry itself like the motion picture, lacks that per¬ Films intended for television program may develop glorified trailers (pre- sonal magnetism of the living theater use should be previewed in the company vues), containing real entertainment, where spectator and actor are face to of only a few spectators and inspected to exploit its Hollywood feature pic¬ face. on a screen no larger than that of the tures via television. Hollywood has been proving for 25 average television receiver. The small To what extent Hollywood’s stake in years that if a show is good, people sized television screen, in contrast to theaters and real estate will cause its don’t mind that it is canned in advance. the mammoth movie screen, demands product to be withheld from television A motion picture negative of a sport¬ more close shots and close-ups to tell a distribution, only the future will tell. ing event can be developed on location story clearly and quickly. Some years hence it may not be sur¬ in a mobile film processing unit and Film is not an inexpensive medium, prising to find television broadcasting placed on the air with as little as a and the budgets available for wartime chains organizing their own newsreel minute’s delay. This would permit rapid programs have permitted little experi¬ companies. editing and would vastly improve broad¬ mentation. As telecasting moves to a Local stations are going to be obliged cast quality. commercial basis, larger appropriations to amass film libraries of stock shots The spontaneity bugaboo was also will permit film to prove its worth in dealing with local people and back- disproved by the success of candid cam¬ program construction.

HOW WILL TELEVI SION HANDLE NEWS? icon t/nued from page 191

In the category of “hot news,” there Morro Castle off the New Jersey coast. and the newsreel. That system will be will be as much opportunity as ever Little imagination is needed to fore¬ the pride of a well-informed nation. between rival organizations to battle see a television news organization of And that tomorrow is not now far dis¬ for a scoop. Getting to the scene will be the future finding use for jeeps, ducks, tant. highly competitive and costly. Ingenuity weasels and much war equipment that The final promise of television is and keenness on the part of news staffs can help in peace to “get there fastest the further raising of its sights—the —the personal factor—will reap results. with the mostest.” strengthening of its myopic weakness— Besides special trucks for carrying For that’s how scoops are made. until its vision reaches across the length equipment, special planes will also have The television news of tomorrow will and breadth of our world. When that to be kept available to rush equipment be provided by a nationwide field pickup time arrives, television will be the and crews. In certain cases, air views reporting system, coordinated by a supreme unchallenged news reporting- of a scene would also be transmitted. studio editorial news staff of specialists, medium. It will bring the world to the In fact, an entire news telecast might be integrated into an interesting format world in a fashion that promises ful¬ made from the air, for example, a dis¬ by a blend of all the techniques in¬ fillment of the hopes for international aster at sea such as the burning of the herited from its foster parents, radio understanding, tolerance and peace.

124 "Elmer! Quick! Russek's is about to show its new line of silver foxes!"

"War.amaker's? Will you flash fhaf fwelve-dollar handbag again? I didn't notice if it had a zipper."

Courtesy, The New York Times Magazine.

125 WHY JACK BENNY DOESN'T LIKE TELEVISION —the agony of waiting! The feeling of complete helplessness as, moving ever closer, television crept to engulf them Then I got to thinking about Fred public. The people know television is and relegate them to the past. Allen. What must be going on in his just around the corner, and it was just “It doesn’t seem fair. Why doesn’t mind? In spite of what everybody thinks their way of saying ‘So long, Fred. science leave well enough alone? Radio about Allen, we must admit he is intel¬ You did a great job.’ is all right the way it is. Television can ligent. He realizes what television will “Last night I went to bed, but I wait. Another 20 years won’t make any mean to him. He knows what he looks couldn’t sleep. I kept tossing and turn¬ difference. I’m willing to make the sac¬ like. I tuned in on his program—acci¬ ing. Every time I closed my eyes I saw rifice. I’ll relinquish my high place if dentally — last Sunday, and it was poor little Eddie Cantor, Burns & Allen, it will help others less bestowed. pitiful ... I never felt so embarrassed Bob Hope, Fred Allen, and all those “Let’s not forget the human equa¬ for anybody in my life. The only thing other comedians less fortunate than I. tion. Let’s remember that the backbone that saved Allen’s program was the It was a never-ending parade. Fibber of civilization is charity and kindness. audience. They were so sorry for him, McGee & Molly, Edgar Bergen, Red So I say, hold off television. Science be they laughed continuously all through Skelton, Jack Carson. Yes, and even damned! Long live radio!” the show. You can’t fool the American The Great Gildersleeve. All of them — Jack Benny, in Variety. potential victims of television. “And as I lay there wide awake in bed, I knew what they were going- through—sleepless nights, tossing and turning, wondering what the future held in store for them. The uncertainty

“Radio lives in a skyscraper. We haven’t found all the keys to all the rooms yet and there is still some difference of opinion among the prospective tenants over the desirability of the upstairs floors versus the lower floors, but no land¬ lord has a longer waiting list of applicants than the FCC.” — Paul A. Porter, Chairman, Federal Com¬ Drawing by Breger. ©1946, King Features Drawing by Lichty. ©1946, Chicago Times, Syndicate, Inc. munications Commission. Inc. Courtesy Chicago Times Syndicate, Inc. "Day and night! I just KNEW television "Until we make television practical, stop would come to this!" inventing things to make it obsolete!"

126 TELEVISION IN T HE RETAIL FIELD BEST LAUCHS OF '45

(Continued from page 48) substitute for advertising media cur¬ this kind of experimentation with the rently in use. All of radio’s success as store’s goods. an advertising medium has never suc¬ The interior use of television within ceeded in making it a substitute for the store will be extremely interesting. magazines or newspapers. Newspapers For the first time it will be possible to still represent the most economical form show samples of goods from one floor of direct advertising for department to another. Displays within the store stores. And, television, I think, will not will be very much influenced by this change a fundamental habit of wanting new resource. And some exterior win¬ to sit and read quietly and leisurely. dows may show actual goods and models Keep your eye on facsimile reproduc¬ from various parts of the store. Done tion, however, for that will be an im¬ without study and without experience portant supplement. Newspaper use, of it is likely to appear very confusing. course, will eventually be coordinated For this reason I look for the major with television to show merchandise in development in television for stores to ads that is being displayed on the tele¬ come from display personnel rather screen. than copy staffs. All of this, I believe, indicates that The advent of television will create a merchants will one day soon be obliged bridge between the merchant and the to reorient their thinking concerning customer. This prospect seems particu¬ communication with their customers. Courtesy, New York Journal-American. larly inviting to me. As the big stores Those who approach television with the became larger they became more im¬ greatest curiosity, patience, research personal and naturally lost touch with and intelligence will be foremost in the individual customer. Television will its use. Others may be left behind. My help bridge this gap. It will create, if advice to merchants is not to think of not an individual association, a closer television as a matured art, sprung feeling between the actual store and its Minerva-like, full-armed from the head customers. of Jove. Television will develop slowly, Television will neither supplant nor step by step.

STRATOVISION (W. K. EBEL)

(Continued from page 28) maximum time aloft would be about pilots, turbo-supercharges and super¬ 13 hours. Since operating schedules are charged cabins. Each plane would have planned on an 8-hour basis this means a wing spread of 161 feet and weigh that each plane would have more than about 20 tons fully loaded. 50 per cent reserve endurance, thus in¬ They would be powered with two suring continuous program service. 1450-horsepower engines, cruise at less This reserve flying time would also an¬ than 150 miles per hour, have a top ticipate bad weather contingencies, speed of 266 miles per hour and be would permit planes to take off and equipped with retractable landing gears. land at distant bases, flying to and In addition to its nine transmitters and from broadcast locations in complete monitoring and relaying equipment, safety above the storm. each plane would afford galley space and a lounge for the flight crew of A Flying Pickup Unit three and six radio technicians. It would In addition to its four high-altitude require only 25 minutes for a fully planes, each broadcast location would Reproduced by special permission of The Satur¬ day Evening Post, © 1945 by the Curtis Pub¬ loaded plane to attain the six-mile have a smaller plane equipped to act lishing Co, broadcast altitude above its regular as a flying remote pickup unit. This broadcast location. plane would be available to cover any Planes would operate at the 30,000- special event or emergency within the foot level for slightly under 11 hours location’s 103,000 square mile area, re¬ on one fueling. Reserve endurance at laying television and FM programs to that altitude would be provided for ap¬ the parent plane for local broadcast or proximately two more hours so that for nationwide network presentation.

STRATOVISION (C. E. NOBLES)

(Continued from page 30) ceive it otherwise because they live in not include the cost of relay stations districts which are too sparsely set¬ or coaxial cable required to deliver the tled to support a station; that high- program to ground stations. definition color television will be placed Additional advantages claimed for more quickly on an equal footing Stratovision are that the time required technically with present black-and- to build television into a nationwide white low-definition television; and that service would be greatly reduced; that many complicated antenna and “ghost¬ the sale of television receivers would ing” problems are eliminated when a be greatly expedited; that many people plane is in continuous motion and all in small urban and rural districts will programs come from one direction have television who would never re¬ above the main part of the service area. Courtesy, New York Sun.

127 THE BELL SYSTEM'S PLANS (co.«„..

which is approximately 42 per cent of indicates that $143,291 of extra profit entitled to as good a television service the lower local rate. will be realized—or a total net of as possible. It is evident that a rela¬ Let us assume that 28 hours per week $191,227.97 for single-studio, 2-crew sta- tively few local full-service television of network programming is added to tisn operation when 28 hours weekly of stations could not provide an adequate a 49-hour independent schedule, putting network time is added. television service on a nationwide scale. our average station on the air 77 hours In most cases it may not prove prac¬ The only plausible economic answer to weekly. The majority of network pro¬ tical to go on the air for as much as a this problem is to construct television grams are half-hour shows. The net¬ full 77-hour week. Should an a, Lustment stations of extremely modest facilities work rate will average $132 per half to a shorter week appear desirable, wis¬ for handling less elaborate programs of hour (10 per cent higher than the sug¬ dom dictates the selection of shows on local origin but primarily designed for gested local rate of $120 per half hour). a. long range basis. One owner may rebroadcasting programs originating in On an annual basis therefore, these choose a certain network show which larger centers. Such a station could be 2912 half-hours of network time will will contribute to a station’s prestige, constructed and operated at a fraction yield $144,144 of additional revenue. another may select a local advertiser of the cost of the typical full-service What costs will be incurred in addi¬ who is certain to be a profitable, long¬ station here described. tion to those previously itemized? Only term client. Any adjustment in hours approximately $850 per year for power. of local operation because of utilizing The Public is Waiting The only station equipment employed more network hours, will require an Television is a logical, inevitable during network operation is the trans¬ adjustment of the working time of op¬ outgrowth of motion pictures, radio, mitter and master control board—and erating personnel. This will decrease printing, and all the means of commu¬ the relay receiver if a relay network is operating costs appreciably. nication that have gone before. Because involved. No additional personnel is re¬ The economic data presented would an eager expectant public is waiting . . . quired. Our budget already covers the indicate that only a very limited num¬ because advertisers and agencies are salaries of 2 transmitter operators and ber of cities throughout the country already attempting to obtain options on 4 master control technicians. can support independent full-service choice evening hours at existing sta¬ Network revenue of $144,144—less television stations. Still every section of tions . . . television’s nationwide expan¬ power costs of approximately $850— the country and all of the people are sion is certain to be swift.

128 "Television to Cement Home-Ties", 0. H. Caldwell. Televiser: Winter, 1945. "Television: When Do We Get It?", BIBLIOGRAPHY Monetary Times: January, 1945. "Television Year — 1939", Business Week: December 31, 1938. "Trial by Television", Business Week: MAGAZINE ARTICLES July 14, 1945. "Trouble in Television", Alva Johnston. A partial list is presented here of "Problems and Profits for Tele Retail¬ Saturday Evening Post: September 28, outstanding articles on television that ers", Stanley Kempner. Televiser: Sum¬ 1940. have appeared in the past few years. mer, 1945. "Views Coming Up". Harriet Van Horne. For convenience they are classified as "Promise of Television", R. Conly. Amer¬ Collier’s: October 13, 1945. General, Programming, Business, Film, ican Mercury: July, 1944. "What the British Learned About Tele¬ Technical and Color. vision", R. Manville. Printers’ Ink: Dec. "Push a Button and Tour the World", 8, 15, 22 and 29, 1944; Jan. 5 and 12, J. B. Wood. Nation’s Business: Sept., 1945. 1945. GENERAL "Radio Mountains", Business Week: May "What the Public Expects of Television", 24, 1945. L. 0. Brown. Commercial and Financia "ABC of Television", R. E. Lee. Science "Ready for the Post-War Market", Life: Chronicle: June 7, 1945. Digest: October, 1944. September 4, 1944. "What to Do About Television Now", "Aetna Life Sponsoring Television Broad¬ "Report on Television", Maurice Zolotow. John Southwell. Advertising and Sell¬ cast on Multiple Network", Eastern Coronet: April, 1945. ing: June, July, August, 1945. Underwriters: December, 1944. "Saga of William B. Still", Television: "What to Expect in Television — and "A Psychologist Views Television", L. N. July-August, 1945. When”, Gordon H. Cole. PM: September Chalfin. Televiser: Winter, 1945. 24, 1945. "Sight and Sound Rooms". House & Gar¬ "Architect and Television, The" M. J. den: October, 1945. "What's Delaying Television?", Owen P. Alexander. Pencil Points: August, 1945. White. Collier’s: November 30, 1944. "TBA Awards", Science: December 29, "Arming for Battle", Zenith. Business 1945. "Where Does Television Belong?", Irving Week: January 6, 1945. Fiske. Harper’s: February, 1940. "Television", Sgt. George Meyers. Yank: "A $13,000,000 'IF'". Fortune: April, "Who Will Control Television", Arthur December 1, 1944. 1939. Levey. Television: Spring, 1944. "Television After the War", R. M. Hyatt. "Audience Research Now!", Dr. Norbert "Will Television Depend on Advertising?", Muehlen. Televiser: Spring, 1945. Public Utilities Fortnightly: December Christian Century: October 25, 1944. 21, 1944. "Caldwell Wanted Audience Reactions "Wonderland of Sight and Sound", J. H. to Video", Patricia Murray. Printers’ "Television and Changes in Home Life", Heiney. Nation’s Business: July, 1944. Ink: March 2, 1945. Science Digest: April, 1945. "Commissioner Jett Speaks Out", Televi¬ "Television and Its Post-War Outlook", PROGRAMMING M. N. Lansing. Commercial and Finan¬ sion: February, 1945. "Actors for Television", Edward Sobol. "Confirmation of An Earlier Report", cial Chronicle: March 17, 1945. Televiser: Spring, 1945. Business Week: March 24, 1945. "Television Boost", Business Week: July "Adapting Radio Programs for Televi¬ "Copyright and Television". C. J. Wood- 7, 1945. sion", Television: June, 1945. worth. Televiser: Spring, 1945. “Television Chaos Avoided", Will Baltin. "Advice to the Talented", Selma Lee. "Doctors May Diagnose by Television”. Televiser: Fall, 1944. Televiser: Fall, 1944. Science Digest: November, 1945. "Television Comes of Age", A. Barth. "Behind the Program", Bud Gamble. "Electronics", Life: Dec. 31, 1945. Nation: July 29, 1944. Television: April, 1945. "Front Row Center", Don McClure. Ad¬ "Television Dream", Business Week: "Building a Program", Lee Cooley. Tele¬ vertising and Selling: May, 1945. November 4, 1944. vision: February, 1945. "Futu re of Theatre Television", Dr. Al¬ "Television Girds for Battle", John West¬ "Cameras and Cameramen", Alan Louis fred N. Goldsmith. Television: Febru¬ ern. Public Opinion Quarterly: Oct., 1939. Kleban. Televiser: Spring, 1945. ary, 1945. "Television in Great Britain", A. L. "Casting for Television", Florence Green. "Infancy of Television, The", Robert Her¬ Laden, Radio News: January, 1945. Televiser: Summer, 1945. ring. London Mercury: Nov. 30, 1944. "Cost Factors in Television", Televiser: "Television in I960", W. Kaempffert. "Is Television Ready?", A. B. DuMont. Spring, 1945. Survey Graphic: August, 1945. Rotarian: February, 1945. "Dance on Television", George Leon. "Television Looks to the Future", T. "La Television en France", Pierre La- Televiser: Spring, 1945. Lothman. Forbes: January 15, 1945. Roche. La Science et La Vie: Septem¬ "Daytime Video Has a Future", N. D. ber, 1938. "Television's Market", Dan D. Halpin. Waters. Televiser: Fall, 1944. Televiser: Spring, 1945. "New Careers in Television", Televiser: "Display and Television", R. C. Kash. Fall, 1944. "Television Now and Tomorrow", A. B. Televiser: Fall, 1944. DuMont. Journal of Marketing: Janu¬ "New Design and Planning Problems", "Editing the News for Television", Ever¬ ary, 1945. Architectural Forum: April, 1945. ett R. Holies. Television: April, 1945. "Television Race", Business Week: Sep¬ "New Television Fronts". Theatre Arts "Errors of Television", Gilbert Seldes. Monthly: December, 1945. tember 1, 1945. Atlantic: May, 1937. "Next Great Development Ready", Life: "Television Ready for Swift Expansion", "Experience of a Broadway Director in September 4, 1944. P. E. Carlson. Business Week: Septem¬ Television", Sanford Meisner. Televiser: ber 1, 1945. Spring, 1945. "Outlook for Television", N. Edwards. Elementary School Journal: June, 1944. "Television Research Underground in "Face in Camera One!" Fortune: May, France", Theatre Arts Monthly: Jan¬ 1939. "Possible Social Effects of Television", uary, 1945. David Sarnoff. Annals of the American "First Book Week Television Program", Academy: January, 1941. "Television Sets: $2 Per Week", Lee De Publisher’s Weekly: October 28, 1944. Forest. Televiser: Winter, 1945. "Post-War Billion Dollar Industry”, A. N. "High School Television Program", Edu¬ Farr. Science News Letter: July 22, "Television's $64 Billion Question", E. F. cation for Victory: May 21, 1945. (Chi¬ 1944. McDonald, Jr. Retailing: Dec. 25, 1944. cago Public Schools publication.)

129 "How Will Television Audition Programs "Television's Bag of Tricks", G. Sonbergh. BUSINESS for the Sponsors?”, G. H. Plagens. Popular Science: June, 1945. "An Advertising Photographer Looks at Printers’ Ink: July 20, 1945. "Television Cameraman, The", Walter Television", Victor Keppler, Printers’ "Ideal Camera for Television Program¬ Bluemel. International Photographer: Ink, Nov. 16, 1945. ming", Richard Hubbell. Theatre Arts March, 1945. Monthly: July, 1945. "Television Director, The", Thomas Lyne "Backing for CBS", Business Week: November 4, 1944. "Is a Hays Office Necessary for Tele¬ Riley. Televiser: Fall, 1944. vision?", Television: Fall, 1944. "Television Drama?", Marie Seton. Thea¬ "B.B.D. & O. Looks at Television", Ted "Key to Success", Patricia Murray. tre Arts Monthly: December, 1938. Long. Television: January, 1945. Televiser: Spring, 1945. "Television Drama When?", Edgar Felix. "Box Office Job", Business Week: June "Light Opera on Television", Bob Stone. Theatre Guild Magazine: November 6, 17, 1944. 1929. Televiser: Spring, 1945. "Putting the Sell Into Television", R. E. "Look or Listen", Gilbert Seldes. Tele¬ "Television for Merchandising", Electri¬ Nelson. Advertising and Selling: June, vision: January, 1945. cal World: September 1, 1945. 1945. "Mademoiselle Tele Series at CBS", "Television for Retailers", Irwin A. "Small Station Operation: The Local Ad¬ Marian Thomas. Televiser: Spring, 1945. Shane. Televiser: Fall, 1944. vertiser", Television: May, 1945. "Television for Theaters", Ben Kaufman. "Nature of Television Programs, The", "Television Controversy", Business Television: Fall, 1944. Gilbert Seldes. Annals of the American Week: March 3, 1945. Academy: January, 1941. "Television's Independent Stations", Wm. "Television—Don't Treat It Like a Step- B. McGrath. Televiser: Winter, 1945. "Needed: Good Programming", James Child", K. Knipe. Printers’ Ink: June Lawrence Fly. Televiser: Fall, 1944. "Television in Education", Institute for 29, 1945. Education by Radio, 15th Yearbook: "Possible Pickups in N. Y. and L. A. 1944. "What a Year of Television Has Taught Areas", Televiser: Spring, 1945. Lever Bros.", Patricia Murray. Printers’ "Television Plus Showmanship", T. H. "Producer's View of Television", W. C. Ink: February 9, 1945. Hutchinson. Television: Spring, 1944. Miner. Theatre Arts Monthly: Oct., 1944. "What Retailers Can Do About Post-War "Television Production as Viewed by a "Programming for Television", Harrison Television", David Arons. Televiser: Radio Broadcaster”, W. C. Miner. Jour¬ B. Summers. Quarterly Journal of Fall, 1944. nal of Society of Motion Picture Engi¬ Speech: February, 1945. neers: August, 1944. "Wired Theatre Television Makes Debut", Terry Ramseye. Motion Picture Herald: "Programming — Basic Considerations", "Television Programming for Department May, 1941. Lenox Lohr. Televiser: Winter, 1945. Stores", Helen T. Rhodes. Televiser: "Puppets on Television", Televiser: Win¬ Spring, 1945. FILM IN TELEVISION ter, 1945. "Television Programs of Tomorrow", Lee "Search of a New Art Form", Paul De Forest. Science Digest: July, 1945. "Challenge of Television, The", John Knight. Televiser: Winter, 1945. "Television Program Syndication", Dr. Flory. Educational Screen: Sept., 1944. Alfred N. Goldsmith. Televiser: Spring, "Shooting on the Gridiron", Paul Knight "Cinematography in Television", Jack 1945. and Clarence Thomas. Television: De¬ McCosky. International Photographer: cember, 1944. "Television’s Public Services", Allen B. November, 1944. DuMont. Televiser: Winter, 1945. "Sound in Television", Richard Hubbell. "Educational Films and Television", Hen¬ "Television Reports Vote", Radio Age: Televiser: Summer, 1945. ry Clay Gipson. Television: May, 1945 January, 1945. "Special Effects", Capt. W. C. Eddy. "Film in Television”, W. C. Miner "Television Station Operation", Samuel Televiser: Summer, 1945. Journal of the Society of Motion Pic H. Cuff. Televiser: Fall, 1944. "Sports on Television", Televiser: Fall, ture Engineers: August, 1944. "Television's Untapped Talent and Pro¬ 1944. "Film to Cut Costs of Department Store gram Resources", Irwin A. Shane. Tele¬ "Steps in Video Production", Televiser: Video Operation ", John Flory. Tele¬ viser: Winter, 1945. Winter, 1945. viser: Fall, 1944. "Training of Studio Personnel", Louis A. "Stud ies in Television", Oscar Katz and Sposa. Televiser: Summer, 1945. "Hollywood and Television", Business Ernest Dichter, Tide: Feb. 15; Mar. 1 Week: March 24, 1945. and 15; Apr. 1 and 15; May 15; June 1 "29-30 or Bust!", Harvey Marlowe. Tele¬ and 15; July 1, 1945. viser: Summer, 1945. "Importance of 16-mm Film in Television, The", John Flory. International Pro¬ "Teaching Television Programming at "Video Bars Hefty Singers", N. Y. Times jectionist: December, 1944. Yale", Edward Cole. Television: Fall, Magazine: August 19, 1945. 1944. "Video Lighting Problems", Worthington "Making Motion Pictures for Television", Arch B. Heath. Televiser: Spring, 1945. "Telecasting the News”, Dr. Henry Cas¬ Miner. Television: May, 1945. sirer. Televiser: Winter, 1945. "Video Sells Razor Blades", S. Carl "One-Minute Film Commercials", R. S. "Televising Art", Ladislas Segy. Tele¬ Mark. Televiser: Summer, 1945. Evans. Television: January, 1945. viser: Spring, 1945. "Visual Effects", Capt. W. C. Eddy. "Place of Film in Television", George "Televising the Baseball Game", Burke Televiser: Winter, Spring, 1945. Shupert. Television: Spring, 1944. Crotty. Television: July-August, 1945. "What Makes Good Television Program "Rank Looks at Television", Motion Pic¬ "Television: A New Stage for Talent", Material", Printers’ Ink: Mar. 30, 1945. ture Herald: July 14, 1945. Burton Rascoe. Pageant: Dec., 1944. "Why Marionettes Are a Television Nat¬ "Television Production as Viewed by a "Television: A Play", Philip Wagner. ural", Gorman Loss. Printers’ Ink: Feb¬ Motion Picture Producer", Wyllis Cooper. Theatre Guild Magazine: January, i929. ruary 16, 1945. Journal of the Society of Motion Picture "Television and Radio—WRGB", Theatre "Will There Be Cameramen Instructors Engineers: Aug. 1944. Arts Monthly: July, 1945. in Television Production?", American "Television and the Museums", Gilbert Cinematographer: February, 1943. TECHNICAL Seldes. Magazine of Art: May, 1944. "WOR Learns About Television Program¬ "Airborne Television", C. E. Nobles, W. "Television as Educational Force", W. C. ming", Bob Emery. Television: April, K. Ebel. Automotive and Aviation In¬ Miner. School and Society: Aug. 19,1944. 1945. dustries: August 15, 1945. "Television Backgrounds", R. J. Wade. "World of Music", Etude: June, 1945. Theatre Arts Monthly: December, 1944 "Writing for Television", Harvey Mar¬ "Antenna Bottleneck", Television: Fall, and November, 1945. lowe. Televiser: Fall, 1944. 1944.

130 "Antennas for Television Receivers", E. "FM Versus Television", Business Week: "Picture Transmission and Television", M. Noll. Radio News: May, 1945. March 10, 1945. Herbert E. Ives. Modem Communica¬ "As the FCC Sees It", James Lawrence "From Shadows to Light", Dr. Alfred N. tion: 1932. Fly. Television: Spring, 1944. Goldsmith. Televiser: Winter, 1945. "Planning Tomorrow's Electronic High¬ ways", General Electric Review: June, "A System of Large-Screen Television "Future of Television", Hankey Commit¬ 1944. Reception Based on Certain Electron Phe¬ tee. Electrician: March 16, 1945. nomena in Crystals", Proceedings of the "Plans for Television and FM Broadcast¬ "Future of u.h.f.", A. L. Laden. Radio I. R. E.: May, 1940. ing from Stratosphere Airplanes", Pub¬ News: June, 1945. "Battle of French Video", Newsweek: lic Utilities Fortnightly: August 30, January 1, 1945. "Future Problems of Radionics Industry", 1945. Commercial and Financial Chronicle: "Better Television", Scientific American: "Post-War Television Now", Austin 0. February, 1945. June, 1945. Huhn. Radio Craft: May, 1944. "Getting Ghosts Out of Television", Sci¬ "Big Screen Television", Richard Ford. "Projection Systems for Theatre Televi¬ ence Digest: August, 1945. Sight and Sound: Autumn, 1939. sion", A. H. Rosenthal. Electronics: "Image Contrast in Television", C. H. May, 1945. "British Television", Television: Febru¬ ary, 1945. Bachman. General Electric Review: "Projection Television—News As It Hap¬ September, 1945. pens", Science News Letter: October "Building a Television Station", James D. 28, 1944. McLean. 'Television: Spring, 1944. "Image Formation in Cathode Ray Tubes", G. Liebrann. Journal of the In¬ "Propose 14 Stratovision Stations", "Camera Tube for Television", F. C. stitute of Radio Engineers: June, 1945. Printers’ Ink: August 17, 1945. Brittin. Popular Mechanics: October, 1944. "Industrial Television and Process Con¬ "Pulse Time Modulation”, E. M. Delor- trol", Scientific American: July, 1944. sine and E. Labin. Electrical Communi¬ "Case of Television", H. T. Stetson. cation: Vol. 22, No. 2, 1944. Scientific Monthly: August, 1944. "Industrial Television Systems", James "QST Looks at Television", Cyrus R. "Cathode Follower", G. P. Hendricks. D. McLean. Televiser: Fall, 1944. Read. QST: January, 1945. Radio News: February, 1945. "Inside Story of the A. T. & T. Plan", "Radio Amateurs in the Television Pic¬ "Cleaning Television Channels", Dr. Al¬ Power Plant Engineering: June, 1945. ture", Lamb. QST: December, 1937. fred N. Goldsmith. Television: May, "Introduction to Television", E. M. Noll. "Radio Progress During 1943", Proceed¬ 1945. Radio News: January-October, 1945. ings of the I. R. E:. March, 1944. "Coaxial and Radio Links", Television: "Large Screen Home Television", Popu¬ "Radio Progress During 1944", Proceed¬ December, 1944. lar Mechanics: June, 1945. ings of the 1. R. E.: March, 1945. "Coaxial Cables and Television Trans¬ "Large Screen Television Receiver", Sci¬ "Radio Relay Systems Developed by mission", H. S. Osborne. Journal of the ence: July 6, 1945. Society of Motion Picture Engineers: RCA", C. W. Hansell. Proceedings of the June, 1945. "Linearity Circuits", A. C. Clarke. Wire¬ I. R. E.: March, 1945. less World: June, 1944. "Converting from Radio to Video Broad¬ "Radio Spectrum", R. N. Farr. Science: casting", Dr. Alfred N. Goldsmith, Tele- "Linear Sweep Generators in Television November 17, 1944. viser: Summer, 1945. Circuits", A. Tatz. Radio News: May, "Reaching Six Miles Up", T. R. Kennedy. 1945. "Designs of Television Receivers", A. D. Department Store Economist: Septem¬ Sobel. Radio News: March, 1945. "Locating a Station", Television: Janu¬ ber, 1945. ary, 1945. "Developments in Radio and Television", "Recent Developments in Television”, E. W. R. G. Baker, Electrical Engineer: "Megacycle Battle", Business Week: W. Engstrom. Annals of the American April, 1945. October 14, 1944. Academy: January, 1941. "Effect of the Space Changer on Sharp¬ "Microwaves for Television", G. B. "Reflective Optics in Projection Televi¬ ness of Television Cathode Ray Tubes", Hoadley. Scientific American: March, sion", Maloff and Epstein. Electronics: E. Schwartz. Wireless Engineering: 1945. December, 1944. January, 1945. "Research Pays Dividends", S. G. Elbert. "Multiple-Dwelling Television", Dr. Al¬ Barrons: July 2, 1945. "Electron or Television Telescope", O. H. fred N. Goldsmith. Television: June, Caldwell. Science Digest: February, 1945. "Restorer Circuit Operation", E. Last. 1945. Electronics: September, 1945. "National Network for Television", Sci¬ "Electronic Effects", F. A. Wankel. Tele¬ ence: January 12, 1945. "Road Ahead for Television, The", I. J. vision: February, 1945. Kaar. International Projectionist: Jan¬ "New Coast to Coast Television Net¬ "Electronics and Electron Tubes", E. D. uary, 1939. work", Radio News: June, 1945. McArthur. General Electric Review: "Royal Denies Foreign Television Stories", March-December, 1943. "New Coaxial", Business Week: Febru¬ Printers’ Ink: December 15, 1944. ary 24, 1945. "Electrostatic Microscope, The", C. H. "Sight and Sound—Report of the British Bachman and Simon Ramo. Journal of "New Horizons in Radio", Annals of the Television Committee", Economist: Applied Physics: January-March, 1943. American Academy: January, 1941. March 31, 1945. "Engineering Aspects of Television Pro¬ "New Large Screen Television Receiver", "Skiatron, The—A New Scophony Devel¬ gramming", V. M. Bradley. Electronics: Radio News: June, 1945. opment", Electronics and Television and March, 1945. "New Television Receiver and Brighter Short Wave World: February, 1940. "Equipment", T. R. Kennedy, Jr. Tele¬ Image", Science News Letter: March "Status of Television", K. A. Chittick. vision: September, 1945. 24, 1945. Journal of Engineering Education: "Equipping Your Television Station", "New Video Relay", Business Week: 1945. Herbert E. Taylor, Jr. Televiser: Fall, April 28, 1945. "Stratovision", Time: August 20, 1945. 1944. "Objectives for Post-War Television”, "Stratovision Relay", Business Week: "European News Review", A. L. Laden. W. C. Miner. Electronics: December, August 11, 1945. Radio News: August, 1945. 1943. "Excerpts from Report by FCC on New "Survey of the Problems of Post-War "Official Status of Television", Radio Allocations", Journal of the Society of Television", B. J. Edwards. Proceedings Motion Picture Engineers: February, News: August, 1944. of the I. R. E.: December, 1944. 1945. "Optical System Enlarges Television Pic¬ "System for Television in Airplanes", "FCC'S Tough Job", Business Week: tures", Science News Letter: October Steel: August 27, 1945. November 18, 1944. 14, 1944. "TBA First Annual Meeting", Electronics: "First Commercial Television Theatre in "Perfected Television Claimed by Radio December, 1944. America", Leroy Chadbourne. Interna¬ Industry Executive", Scientific Ameri¬ "Technical Planning for Post-War Tele¬ tional Projectionist: May, 1941. can: December, 1944. vision", Electronics: August, 1944.

131 "Television", James J. Finn. Interna¬ "Television Techniques and Brain Waves", "Color Television", R. W. Ehrlich. Radio tional Projectionist: January, 1941. Science News Letter: October 21, 1944. News: July, 1945. "Television: Then and Now", Dr. Sig¬ "Color Television", Peter C. Goldmark. "Television After V-Day", R. M. Grant. mund Spaeth. Televiser: Fall, 1944. Journal of the Society of Motion Pic¬ Popular Mechanics: October, 1944. "Television Today—Electronic Devices", ture Engineers: April, 1942. "Television and FM Bands", Business James Frank. International Projection¬ "Color Television — Part I", Peter C. Week: January 20, 1945. ist: October, 1943. Goldmark, J. N. Dyer, E. R. Piore and J. M. Hollywood. Proceedings of the "Television and Sunken Ships", Science "Television Transmitting Equipment", E. I. R. E.: April, 1942. Digest: November, 1944. M. Noll. Radio News: October, 1944- March, 1945. — Part II, Ibid: September, 1943. "Television As I See It", Lee De Forest. "Color Television", L. C. Jesting. Light Radio News: January, 1945. "Television: What About It?", Hull. QST: November, 1931. and Lightning: June, 1945. "Television Broadcasts Unaffected by "Color Television—Baird Television Sys¬ "Television: When and How?", R. N. Plane Crash", Science News Letter: tem Described", N. W. Maybank. Wire¬ Farr. Science News Letter: July 22, July, 1945. less World: August 17, 1939. 1944. "Television Broadcasting from the Sky", "Color Television Demonstrated by CBS "Training Personnel", John F. Royal. Science: August 24, 1945. Engineers", Electronics: October, 1940. Television: December, 1944. "Television by Telephone", Science Di¬ "Color Television with Electrical Color "Transcontinental Network", Science gest: January, 1945. Filters", T. de Names. Television and News Letter: October 28, 1944. Short Wave World: September, 1939. "Television Camera, The", Richard Hub- "Transient Response", H. E. Kallmann. "Colour Television", Electrician: March bell. American Cinematographer: June, Proceedings of the I. R. E.: March, 1945. 30, 1945. 1945. "Transmission of Television by Standard "Full Color Television Effective Selling "Television Channels", E. M. Noll. Radio Telephone Wire", Newsweek: November Medium", The Fashion Group Bulletin: News: February, 1945. 13, 1944. October, 1945. "Television Controversy", E. F. Mc¬ "Triode Linear Saw-Tooth-Current Oscil¬ "Looking Ahead to Color and u.h.f. Tele¬ Donald, Jr. Scientific American: July, lator", Proceedings of the I. R. E.: vision", P. C. Goldmark. Proceedings of 1944. March, 1945. the I. R. E.: March, 1945.

"Television for Airway Control”, T. M. "Visual Sensitivities to Color Differences "Natural Color in Television", James Morse. Radio News: January, 1945. in Daylight", Mac Adam. Journal of the Stockley. Science News Letter: March Optical Society of America: May, 1942. 8, 1941. "Television for Amateurs", 0. Read. Radio News: August, 1945. "What About Post-War Television?", "New Baird Color Television System", Popular Science: April, 1944. F. W. Marehant. Television and Short "Television for Industry and Home", Wave World: September, 1939. W. Baltin. Radio News: January, 1945. "What's Ahead in Home Radios”, J. M. Guilfovle. Science Digest: January, "Television and the Artist", Emlen Ett- "Television in Department Store Mer¬ 1945. ing. Atlantic Monthly: December, 1945. chandising", Popular Mechanics: May, "Television in Color", Julian Leggett. "World ot Your Elbow", Popular Me¬ 1945. Popular Mechanics: April, 1941. chanics: December, 1944. "Television Is Coming to the Smaller "Television in Color with 2-Sided "Zenith and High Frequency Transmit¬ Cities", A. C. Lescarboura. Radio News: Screen", Popular Mechanics: March, ter", Business Week: January 6, 1945. January, 1945. 1945. "Television Industry Prepares for Post- "Television in Natural Color", Communi¬ War", J. H. Carmine. Radio News: Jan¬ COLOR TELEVISION cations: June, 1940. uary, 1945. "Thomascolor Process Financed; May "Television Lens", Business Week: No¬ "Color in Television", Lee de Forest. Revolutionize Tint Costs", The Hollywood vember 25, 1944. Radio News: February, 1941. Reporter: Dec. 7, 1945, page 1.

"Televison Networks and Ordinary Phone "Color in the Air", Peter C. Goldmark. "What About Color?", Lela Swift. Tele¬ Wire", Popular Science: February, 1945. Television: Fall, 1944. viser: Fall, 1944.

"Television's Post-War Possibilities", P. Glanzer. Radio News: July, 1944. BOOKS "Television Projection System", Popular Mechanics: April, 1945. Allan, Doug. How to Write for Tele¬ Cameron, James. Television for Be¬ "Television Receivers", E. M. Noll. vision. New York: E. P. Dutton Co., ginners. London: Cameron Publish¬ Radio News: April-August, 1945. Inc., March, 1946. ing Co., 1940.

"Television Receiver Design", M. S. Amick, Charles. Fluorescent Lighting Camm, F. J. Television Manual (Re¬ Kiver. Radio News: January, 1945. Manual. New York: McGraw-Hill vised Edition.) Brooklyn: Chemical Book Co., Inc., 1942. Publishing Co., 1943. "Television Receiver Sound Channel", Electrician: January 5, 1945. Arnold, Frank A. Broadcast Advertis¬ Camm, F. J. Television and Short ing: The Fourth Dimension. Televi¬ Wave Handbook. Brooklyn Chemical "Television Relays", Scientific American: sion Edition. New York: John Wiley Publishing Co., 1942. October, 1944. & Sons, Inc., 1933. Caverly, Don P. A Primer of Elec¬ "Television Shares Honors in Radio Spec¬ tronics. New York: McGraw-Hill Brainers, J. G. (Ed.) Ultra-High- trum Assignments", Business Week: Book Company, Inc., 1943. July 20, 1945. Frequency Techniques, by Glenn Koehler, Herbei't J. Reich and C. F. Chappelle, Harry John Barton. Pop¬ "Television Station Design", Television: Woodruff, 5th Printing. New York: ular Television. London: Sir Isaac May, 1945. D. Van Nostrand, 1942. Pitman & Sons, Ltd., 1932. "Television Station Design", Electronics: Caldwell-Clements, Inc. Get Ready Now Chappelle, Harry John Barton. Tele¬ December, 1944. to Sell Television. New York: Cald¬ vision for the Amateur Construct¬ "Television Success Story — Schmidt well-Clements, Inc., 1944. (A guide or. London: Sir Isaac Pitman & Sons, Camera", D, 0. Woodbury. Collier’s: book for merchants.) Ltd., 1934. December 2, 1944. Cameron, James. Radio and Television. De Forest, Dr. Lee, Television Today "Television Technician", Wiliam Wallace. London: Cameron Publishing Co., and Tomorrow. New York: The Dial Televiser: Fall, 1944. 1932. Press, 1942.

132 Dinsdale, A. First Principles of Tele¬ Lee, Robert E. Television: The Revo¬ Meyers, I;. M. Electron Optics. Lon¬ vision. London: 1932. lution. New York: Duell, Sloan & don: Chapman & Hall, 1939. Pearce, 1944. Dunlap, Orrin E„ Jr. The Outlook for Mills, J. Today and Tomorrow. New Television. New York: Harper & Legg, Stuart and Robert Fairthorne. York: D. Van Nostrand, 1944. Cinema and Television. London: Bros., 1932. Moore, Stephen (Ed.) New Fields for Longmans Green & Co., 1939. Dunlap, Orrin E., Jr. The Future of the Writer. New York: National Television. New York: Harper & Lewis, E. J. G. Television (Diction¬ Library Press, 1937. Bros., 1942. ary). New York: Pitman Publishing Co., 1936. Moseley, Sydney A. and H. J. B. Dunlap, Orrin E., Jr. Radio’s 100 Men Chappelle. Television Today and To¬ Lohr, Lenox, R. Television Broadcast¬ of Science. New York: Harper & morrow. London: Sir Isaac Pitman & ing. New York: McGraw-Hill Book Bros., 1944. Sons, Ltd., 1940. Company, Inc., 1940. DuPay, Judy. Television Showman¬ Maloff, I. G. and D. W. Epstein. Elec¬ Moseley, Sydney A. and H. McKay. ship. Schenectady: General Electric Television: A Guide for the Ama¬ tron Optics in Television. New Co., 1945. York: McGraw-Hill Book Company, teur. London: Oxford University Eckhardt, George H. Electronic Tele¬ Inc., 1938. Press, 1936. vision. Chicago: Goodheart-Wilcox Massachusetts Institute of Technology, Pender, Harold and Knox Mcllwain Co., 1936. Dept, of Electrical Engineering. Ap¬ (Eds.) Electronic Communication Eddy, Capt. William C. Television: plied Electronics. New York: John and Electronics. New York: John The Eyes of Tomorrow. New York: Wiley & Sons, Inc., March, 1943. Wiley and Sons, Inc., 1936. Prentice-Hall, 1945.

Felix, Edgar H. Television, Its Meth¬ ods and Uses. New York: McGraw- IMPORTANT BROCHURES Hill Book Company Inc., 1931. Columbia Broadcasting System: “Your Coming Radio and Television Receivers.” 1945. Fink, Donald G. Engineering Elec¬ “Postwar Shortwave, FM, and Tele¬ tronics. New York: McGraw-Hill vision.” 1944. 28p. Statement of Paul Book Company Inc., 1938. W. Kesten before FCC on frequency National Broadcasting Company: Fink, Donald G. Principles of allocations. “Frequencies for Television,” Niles Television Engineering. New York: “Prewar vs. Postwar Television.” 1944. Trammel. Statement before FCC. McGraw-Hill Book Co., Inc., 1940. 16p. Some questions and answers for “Television Dollars and Sense.” 1945. advertisers and advertising agencies. Fink, Donald G. (Ed.) Television “Television’s First Year.” Program¬ “A Statement of Some Television Facts.” Standards and Practise. Selected ming at NBC. papers from the proceedings of the August, 1941. 8p. CBS policy. Radio Corporation of America: National Television System Commit¬ “A Ten-League Stride Has Been Taken tee and its panels. New York: Toward Better Postwar Television.” “Address on Television at Television McGraw-Hill Book Company, Inc., August, 1944. 6p. CBS pi'oposal for Broadcasters’ First Annual Meeting,” 1943. higher television standards. Recom¬ David Sarnoff. 12p. 1944. mendations of Interdepartmental Ra¬ “Advance of Television.” Goldsmith, Alfred M. and A. C. Lescar- dio Advisory Committee. boura. This Thing Called Broad¬ “A Television Broadcasting Studio.” “Television.” April, 1944. 16p. Oppor¬ casting. New York: Henry Holt & “A Television Transmitter Building.” tunities and problems. Co., 1930. “Collected Addresses and Papers on “Television Comes of Age.” 1944. 12p. The Future of The New Art and Its Harding, C. F. The Purdue University Reprint of article in The Nation, July Recent Technical Developments.” Vol. Experimental Television System. 29, 1944, by Alan Barth. I, 1936; Vol. II, 1937. Lafayette, 1939. “Electronics in Industry.” 1941. Allen B. DuMont Laboratories, Inc.: Hathaway, K. A. Television: A Prac¬ “Into Unseen Worlds.” 1941, 1942. tical Treatise. Chicago: American “Linking Department Store Merchan¬ “Locating The Television Studio.” Technical Society, 1933. dising with Local Television Opera¬ “Opening a New Merchandising Era for Hatschek, Paul. Electron-Optics. tion.” 1944. (Out of print.) Department Stores.” (Translated by Arthur Palme.) Bos¬ “Optical Notes for The Television Cam¬ “Opportunities in Radio and Electronics ton : American Photographic Publish¬ eraman.” Harry C. Milholland. 1945. for Returning Servicemen,” David ing Co., 1944. “Planning Your Television Station.” Sarnoff. 1945. 1945. Hubbell, Richard F. 4000 Years of “Progress and Promise.” 1944. Television. New York: G. P. Put¬ “The Economics of Television.” 1945. “Questions and Answers. What Is Tele¬ nam’s Sons, 1942. “Time, Tubes and Television.” 1944. vision and What It Does.” 1945. Hubbell, Richard F. Television Pro¬ “Theater Television: Handbook for Pro¬ Farnsworth Television and gramming and Production. New jectionists.” Radio Corporation: York: Murray Hill Books, Inc., 1945. “Bulletins No. 1-6.” 1940 on. Miscellaneous: Hutchinson, R. W. Television-up-to- “The Story of Electronic Television.” Date. London: University Tutorial “Present and Impending Applications 1944. Press, 1937. to Education by Radio and Allied Arts.” (Rev., July, 1936.) National Hylander, C. J. and Robert Harding, General Electric Company: Advisory Council on Radio in Educa¬ Jr. An Introduction to Television. tion: New York. Bulletin No. 5. 87p. “Electronics.” 1942. New York: Macmillan Co., 1941. “The Use of The Electron Microscope.”, “Instructors Manual—Industrial Elec¬ Kellock, H. Television. Washington: R. B. Barnes, C. J. Burton, and T. C. tronics Course.” Editorial Research Reports, 1944. Tochow. American Cyanamid Com¬ “Intra-Tel Systems—Television by Wire pany, Stamford, Conn. 1942. Kerby, Philip. The Victory of Tele¬ for Department Stores.” 1945. “Television and Motion Pictures,” Dr. vision. New York: Harper & Bros., “Preview of The Future—Chef-Boy-Ar- 1939. Lee de Forest. Reprinted from a se¬ Dee Television Programs.” June, 1945. ries of articles in The Hollyxvood Lane, Henry Milton. The Boston Post “Radio Broadcasting Postwar.” 1943. Reporter. Book on Television. Boston: Boston “Television as A Career,” James D. “First Yearbook of the Television Post, 1928. McLean. 1943. Broadcasters Assn.” and “Proceed¬ Lawrence, J. Off Mike. New York: “Television at WRGB.” 1944. ings of the First Annual Conference, Essential Books, 1944. “Television Broadcasting Postwar.” New York, Dec. 11-12, 1944.”

133 WHAT WILL YOUR TELE-TIME DOLLAR BUY? (Continued from page 23) their sales staffs can, when intelligently handled, provide an incalculable, in¬ tangible plus of enduring value. 3. Perhaps, most important, if you go into television now, you can gain valuable skill in solving the various problems peculiarly associated with tele¬ vision. And gain it at a fraction of what it may cost you later. Tele-time, at the moment, cannot be sold on a dollars-and-cents basis. A few shows have sold goods well but not in sufficient dollar volume to offset ex¬ penditures. This situation is not likely to change until sets in quantity come into the market, possibly in mid-1946. In the final analysis-—in the case of any medium—the question should not be: What am I spending?—What am I get¬ ting out of it? One medium may be 50, 100 or 150 per cent more effective than another yet the least effective in tan¬ gible sales may contribute the most in intangible values and product prestige. Don’t take your producer’s, or sta¬ tion’s, or advertising agency’s word for television’s values. Learn them for your¬ self. The only intelligent, constructive and safe plan to follow when you do go into television is to set up scientific con¬ trols to learn what impression and/or sales your television expenditure is bringing you. Then you can find out whether you are just shooting money into the sky or getting back a dollar- Courtesy, Grand Central Zone Residential Area By Richard Sargent and-cents return. Plan this research as a part of your over-all television effort. DESIGN FOR TOMORROW TELEVISION AND FASHION (Continued from page 46) “In our promotions to date, we give our customers sound over the impression as the basis for developing radio, illustrations in newspaper advertisements, and color in our programs psychologically founded on windows, interior displays and fashion shows. But in television, all emotional appeal? We must and will try both ways. I believe the second method these things combined will come to life — in a neatly wrapped up will be the most successful. advertising package -—■ deposited in the customer’s lap. It is to me incongruous to think of television in terms of static presenta¬ “None of us is particularly proud of the way department stores have tion. Television needs the impact of made use of the opportunities of radio. The coming of television continuous movement and interest to offers a new challenge, and many publicity people with whom I have keep the viewer glued to the receiver talked voice the opinion that department stores should see to it that in spite of distractions in the home. The role of television is not to com¬ they do not fumble the ball. They have certainly muffed it in the pete with the printed page; on the broadcasting field.’’ contrary, these mediums of information — William H. McLeod, Vice President, complement each other. In the past, the Wm. Filene’s Sons Co., Boston. fear that new technical achievements would destroy established industries was completely unfounded. For example, “We are certain that in the future few stores who make any pre¬ radio did not hamper sales of records or tense at progressive merchandising will be without some use of attendance at concert halls; radio diffu¬ sion of musical culture furthered both. television in their promotional program.” As a publication is selected by certain — Arthur C. Kaufman, Executive Head, women according to their taste, so a Gimbel Brothers, Inc., Philadelphia. similar crystallization of tastes will come about in television. Different groups of differently fashion-inclined “Television is destined to become a most potent force in our civiliza¬ women will prefer one or another pro¬ tion •—■ a force comparable to the automobile in its broadening influ¬ gram or station, as they now prefer one ence on mankind. Television in the home will start to become a or another publication. The development of a high standard of fashion thinking reality in 1946.” is a must for. all fashion telecasters. As — E. A. Nicholas, President, half of the population of the world is Farnsworth Television & Radio Corporation. women, their interests and buying power are a very important item in the planning of the future telecaster.

134 DIAMOND DEE STUDIOS 218 S. Wabash Ave. Chicago, Ill. DRESNER PROJECTION SERVICE 64 E. Lake St. FILMS FOR Chicago, Ill. HENRI ELMAN 1327 S. Wabash Ave. TELEVISON USE Chicago, Ill. ENCYCLOPEDIA BRITANNICA FILMS, INC. 20 N. Wacker Drive Chicago, Ill.

_Compiled by JOHN FLORY FILMS, INC. 64 E. Lake St. Executive Producer, Grant, Flory & Williams Chicago, Ill. FRANCISCO FILMS 666 N. St. Clair PAN AMERICAN UNION T hree types of motion picture foot¬ Chicago, Ill. Washington, D. C. age are available for television pur¬ BURTON HOLMES FILMS, INC. poses : 1—feature films; 2—short U. S. DEPARTMENT OF AGRICULTURE 7510 N. Ashland Ave. amusement films; and 3—educational,* Motion Picture Extension Service Chicago, Ill. 14th St. and Independence Ave., S.W. documentary, and industrially-spon¬ Washington, D. C. HOWARD MOTION PICTURE SERVICE sored films. 2356 W. Touhy U. S. PUBLIC HEALTH SERVICE Chicago, Ill. The Hollywood industry does not, as Motion Picture Branch yet, permit much of its product to be Bethesda Station IDEAL PICTURES CORP. Washington, D. C. 28 E. 8th St. telecast. Chief sources currently, there¬ Chicago, Ill. fore, are concerns specializing chiefly U. S. DEPARTMENT OF STATE INTERNATIONAL FILM BUREAU, INC. in 16 mm documentary, educational, Motion Picture Branch 84 E. Randolph St. Division of International Information Chicago, Ill. and industrially-sponsored pictures. If Washington 25, D. C. the television producer wishes to have MacDONALD PRODUCTIONS U.S. DEPARTMENT OF THE TREASURY 450 E. Ohio St. special film inserts or complete motion Film Section Chicago, Ill. pictures made for video purposes, he Public Relations Division Washington 25, D. C. R. M. MacFARLAND & ASSOCIATES should consult local producers of indus¬ 520 N. Michigan Ave. trial and sponsored films. U. S. WAR DEPARTMENT Chicago, Ill. Film Section To avoid legal complications make Public Relations Division McHENRY EDUCATIONAL FILMS certain that the film distributor is in a Washington, D. C. 64 E. Jackson St. position to furnish a television release Chicago, Ill. from the producer, as well as a set of CHICAGO MODERN TALKING PICTURE SERVICE releases covering actors appearing in 28 E. 8th St. Producers and/or Distributors of Chicago, Ill. any film you plan to include in a tele¬ Industrial and Educational Films NATIONAL RECORDING AND FILM CORP. vision broadcast. 20 N. Wacker Drive As television broadcasting for 1946 ALEXANDER FILM CO. Chicago, Ill. will be limited to a few metropolitan 1331 S. Wabash Ave. Chicago, Ill. PHOTO SOUND DIVISION OF SARRA, INC. areas, the following directory of film 16 E. Ontario St. Chicago, Ill. producers and/or distributors is con¬ ALL AMERICAN NEWS, INC. fined to concerns serving these areas, 2901 Prairie Ave. PILOT PRODUCTIONS Chicago, Ill. 211 W. Wacker Drive plus social and government sources. Chicago, Ill. Additions and corrections will be grate¬ ARTKINO PICTURES 831 S. Wabash Ave. ROCKWELL-ELLIOTT PRODUCTIONS fully received for inclusion in subse¬ Chicago, Ill. 53 W. Jackson quent editions of the ATS Directory. Chicago, Ill. ATLAS EDUCATIONAL FILM CO. 1111 South Boulevard RUDOLPH AUGUST PRODUCTIONS Oak Park, Ill. 7424 S. Philips SOCIAL SERVICE AND Chicago, Ill.

GOVERNMENT SOURCES C. O. BAPTISTA RUSSELL C. ROSHON ORGANIZATION 325 W. Huron 188 W. Randolph St. AMERICAN COUNCIL ON EDUCATION Chicago, Ill. Chicago, Ill. Motion Picture Project 744 Jackson Place, N.W. BASS CAMERA CO. SHEFFIELD & CO. Washington, D. C. Film Rental Dept. 1617 N. Damen St. 179 W. Madison Ave. Chicago, Ill. AMERICAN RED CROSS Chicago, Ill. National Headquarters SOUNDIES DISTRIBUTORS CORP. OF 17th between I) and E Sts., N.W. AMERICA. INC. Washington 13, D. C. BELL & HOWELL CO. 1801 Larchmont Ave. 209 W. Jackson Blvd. U. S. OFFICE OF EDUCATION Chicago 13, Ill. Chicago, Ill. Division of Visual Aids SPINN & ASSOCIATES. INC. Federal Security Agency CASTLE FILMS, INC. Washington, D. C. 1014 S. Michigan Ave. 135 S. LaSalle St. Chicago, Ill. BUREAU OF MINES Chicago, Ill. U. S. Department of the Interior TEITEL FILMS Pittsburgh, Pa. CENTRAL CAMERA CO. 831 S. Wabash Ave. 230 S. Wabash Ave. Chicago, Ill. NATIONAL ARCHIVES Chicago, Ill. Motion Picture Branch WILDING PICTURE PRODUCTIONS, INC. Pennsylvania Ave. at 8th St., N.W. 1345 W. Argyle Washington, D. C. CHICAGO FILM LABORATORY, INC. Chicago, Ill. 18 W. Walton St. U. S. NAVY DEPARTMENT Chicago, Ill. WORLD WIDE PICTURES, INC. Film Section 1327 S. Wabash Ave. Public Relations Division GEO. W. COLBURN LABORATORY Chicago, Ill. Washington, D. C. 222 W. North Bank ZENITH CINEMA SERVICE Chicago, Ill. 3252 W. Foster St. *For authoritative information on educational Chicago, Ill. films, consult: COLLEGE FILM CENTER 84 E. Randolph St. "Educational Film Guide" Chicago, Ill. Producers and/or The H. W. Wilson Company, 950-972 Uni¬ Distributors of Trailers versity Avenue, New York 52, N. Y., $3.00 JOYCE CONNORS CO. "Directory of 16 mm. Film Sources" 1 N. LaSalle St. ACTION FILM CO. Victor Animatograph Corp., Davenport, Iowa, Chicago, Ill. 2901 S. Prairie Ave. 50 cents Chicago, Ill. CORONET PRODUCTIONS "Educators Guide to Free Films" Private Road FILMACK TRAILER CO. Educators Progress Service, Randolph, Wis¬ Glenview, Ill. 1327 S. Wabash Ave. consin, $4.00 Chicago, Ill. "Free Films Source Directory" DeVRY FILMS AND LABORATORIES NATIONAL SCREEN SERVICE CORP. De Vry Corporation, 1111 Armitage Avenue, 1111 Armitage Avenue 1307 S. Wabash Ave. Chicago, Illinois, 50 cents Chicago 14, Ill. Chicago, Ill. Exchanges LOS ANGELES AREA Producers and/or Distributors of Trailers CAPITOL FILM EXCHANGE CO. Producers and/or Distributors of 1327 S. Wabash Ave. NATIONAL SCREEN SERVICE CORP. Industrial and Educational Films Chicago, Ill. 2018 S. Vermont Ave. Los Angeles, Calif. COLUMBIA PICTURES CORP. ADVERTI-FILMS 1301 S. Wabash Ave. 1 585 Cross Roads of the World PACIFIC TITLE & ART STUDIO Chicago, Ill. Hollywood, Calif. 1123 N. Bronson Ave. Los Angeles, Calif. ALBERT DEZEL ROADSHOWS HAROLD C. AMBROSCH 1325 S. Wabash Ave. 1120 E. Doran STANDARD SCREEN SERVICE Chicago, Ill. Glendale, Calif. 7920 Santa Monica Blvd. Los Angeles, Calif. CLYDE ELLIOTT ATTRACTIONS AMERICAN FILMS FOUNDATION, INC. 1118 S. Michigan Ave. 2280 Holly Drive Chicago, Ill. Hollywood, Calif. Exchanges FILM CLASSICS OF ILLINOIS. INC. AUDIO PICTURES ASTOR PICTURES 1327 S. Wabash Ave. 951 N. La Ciene^a Blvd. 1968 S. Vermont Ave. Chicago, Ill. Los Angeles, Calif. Los Angeles, Calif.

GLOBE FILM CO. ARTHUR BARR PRODUCTIONS AZTECA FILMS DISTRIBUTING CO. 1246 S. Wabash Ave. 602 Summit Ave. 1907 S. Vermont Ave. Chicago, Ill. Pasadena, Calif. Los Angeles, Calif.

LOEW'S, INC. BELL & HOWELL CO. COLUMBIA PICTURES CORP. 1307 S. Wabash Ave. 716 N. LaBrea Ave. 1920 S. Vermont Ave. Chicago, Ill. Hollywood, Calif. Los Angeles, Calif. MONOGRAM PICTURES, INC. BOND-ANSON PRODUCTIONS FILM CLASSICS OF SOUTHERN CALIFORNIA 1250 S. Wabash Ave. 314 N. Robertson 1968 S. Vermont Ave. Chicago, Ill. Los Angeles, Calif. Los Angeles, Calif. PRC PICTURES, INC. CALIFORNIA COMMERCIAL & INDUSTRIAL LOEWS, INC. 1327 S. Wabash Ave. FILMS 1620 Cordova St. Chicago, III. 9629 Brighton Way Los Angeles, Calif. PARAMOUNT PICTURES. INC. Beverly Hills, Calff. MONOGRAM PICTURES OF CALIFORNIA. INC. 1 306 S. Michigan Ave. CARL DUDLEY PRODUCTIONS 1924 S. Vermont Ave. Chicago, Ill. 9724 Santa Monica Blvd. Los Angeles, Calif. POLISH AMERICAN FILM CORP. Beverly Hills, Calif. OLMSTEAD-STUBINS, INC. 1541 W. Division St. FORUM FILMS, INC. 1924 S. Vermont Ave. Chicago, Ill. 649 S. Olive St. Los Angeles, Calif. PRAGA FILM CO. Los Angeles, Calif. PRC EXCHANGE OF LOS ANGELES. INC. 3951 W. 26th St. FRITH FILMS 1966 S. Vermont Ave. Chicago, III. Box 565 Los Angeles, Calif. Hollywood, Calif. RKO RADIO PICTURES. INC. PARAMOUNT PICTURES. INC. 1300 S. Wabash Ave. 1613 W. 20th St. Chicago, Ill. RODNEY GILLIAM CO. 7904 Santa Monica Blvd. Los Angeles, Calif. REPUBLIC PICTURES CORP. Hollywood, Calif. 1304 S. Wabash Ave. RKO RADIO PICTURES, INC. Chicago, Ill. HOLLYWOOD FILM ENTERPRISES. INC. 1980 S. Vermont Ave. 6060 Sunset Blvd. Los Angeles, Calif. TWENTIETH CENTURY-FOX FILM CORP. Hollywood, Calif. 1260 S. Wabash Ave. REPUBLIC PICTURES CORP. Chicago, Ill. HOLLYWOOD MOVIE SUPPLY 1926 S. Vermont Ave. UNITED ARTISTS CORP. OF ILLINOIS 4279 Crenshaw Los Angeles, Calif. Los Angeles, Calif. 1301 S. Wabash Ave. SPECIAL ATTRACTIONS EXCHANGE Chicago, Ill. HUBBARD HUNT PRODUCTIONS 1928 S. Vermont Ave. UNIVERSAL FILM EXCHANGES. INC. 5746 Sunset Boulevard Los Angeles, Calif. Hollywood, Calif. 1301 S. Wabash Ave. TWENTIETH CENTURY-FOX FILM CORP. Chicago, Ill. IDEAL PICTURES CORP. 2019 S. Vermont Ave. VARIETY PICTURES 2408 W. Seventh St. Los Angeles, Calif. Los Angeles, Calif. 1325 S. Wabash Ave. UNITED ARTISTS CORP. Chicago, III. MODERN MOVIES, INC. 1918 S. Vermont Ave. Los Angeles, Calif. WARNER BROTHERS PICTURES DISTRIBUTING 6018 Fountain Ave. CORP. Hollywood, Calif. UNIVERSAL FILM EXCHANGES, INC. 1307 S. Wabash Ave. 1960 S. Vermont Ave. Chicago, Ill. DONALD REED 8737 Wilshire Blvd. Los Angeles, Calif. Beverly Hills, Calif. WARNER BROTHERS PICTURES DISTRIBUTING Newsreels and Stock Shot Libraries ROLAND REED PRODUCTIONS CORP. S627 Sunset Blvd. 2025 S. Vermont Ave. ALL AMERICAN NEWS (NEGRO) Hollywood, Calif. Los Angeles, Calif. 2901 S. Prairie St. Chicago, Ill. FREDERICK K. ROCKETT CO. WORLD INDEPENDENT FILM DISTRIBUTORS 6063 W. Sunset Blvd. 1908 S. Vermont Ave. Los Angeles, Calif. Los Angeles, Calif. Other Sources SCIENTIFIC FILMS, INC. CHICAGO BOARD OF EDUCATION 6052 Sunset Blvd. Newsreels and Stock Shot Libraries Visual Education Division Hollywood, Calif. 228 N. LaSalle St. WILLIAM M. DENNIS FILM LIBRARIES Chicago, Ill. SCREEN ADETTES. INC. 2506 34 W. Seventh St. 1709 W. Eighth St. Los Angeles 5, Calif. CHICAGO FILM COUNCIL Los Angeles 14, Calif. c/o Chicago Board of Education GENERAL FILM LIBRARY 228 N. LaSalle St. ROGER SUMNER PRODUCTIONS 1426 N. Beachtvood Drive Chicago, Ill. 327 E. Green St. Los Angeles, Calif. Pasadena, Calif. ILLINOIS INSTITUTE OF TECHNOLOGY INTERNATIONAL THEATRICAL AND TELEVISION Visual Education Dept. TELEFILM. INC. CORP. 3300 S. Federal St. 6039 Hollywood Blvd. 3123 W. Eighth St. Chicago, Ill. Hollywood 28, Calif. Los Angeles, Calif.

INTERNATIONAL HARVESTER CO. RICHARD THOMAS ENTERPRISES. INC. MERCER RAY & CO. 180 N. Michigan Ave. 712 N. Cienega Blvd. 4241 Normal Ave. Chicago, Ill. Hollywood, Calif. Los Angeles, Calif.

NATIONAL SAFETY COUNCIL. INC. TRADEFILMS, INC. 20 N. Wacker Drive 666 N. Robertson Other Sources Chicago, Ill. Los Angeles, Calif. SUPERINTENDENT OF SCHOOLS PAN AMERICAN COUNCIL WILDING PICTURE PRODUCTIONS, INC. County of Los Angeles 84 E. Randolph St. 1040 N. Las Palmas Ave. 808 N. Spring St. Chicago, Ill. Hollyw'ood, Calif. Los Angeles, Calif. DIRECTOR OF CURRICULAR MATERIALS SOCIETY FOR VISUAL EDUCATION. INC. RAPHAEL G. WOLFF, INC. 100 E. Ohio St. Glendale Unified School District 1714 N. Wilton Place 411 E. Wilson Ave. Chicago, Ill. Hollywood, Calif. Glendale, Calif. Y.M.C.A. MOTION PICTURE BUREAU WORLD INDEPENDENT FILM DISTRIBUTORS SUPERVISOR 19 S. LaSalle St. 1908 S. Vermont Ave. Long Beach Public Schools Chicago, Ill. Los Angeles, Calif. Long Beach, Calif.

136 VISUAL EDUCATION SECTION Newsreel and Stock Shot Libraries CASANAVE-ARTLEE PICTURES, INC. Board of Education 1600 Broadway New York 19, N. Y. Los Angeles City Schools COMMUNITY MOTION PICTURE SERVICE 1151 S. Broadway 2176 N. 37th St. Los Angeles, Calif. CASTLE FILMS. INC. Milwaukee, Wis. 30 Rockefeller Plaza LOS ANGELES COUNTY DEPARTMENT OF New York 20, N. Y. HEALTH MOVIE MART 808 N. Spring St. 4518 W. Burleigh CINEFFECTS Milwaukee, Wis. Los Angeles 12, Calif. 1600 Broadway New York 19, N. Y. PASADENA CITY SCHOOLS FILMOSOUND CIRCULATING LIBRARY Library and Visual Service Photoart House COLUMBIA PICTURES CORP. 1501 E. Villa St. 844 N. Plankinton Ave. 729 Seventh Ave. Pasadena 4, Calif. Milwaukee, Wis. New York, N. Y. AUDIO-VISUAL DEPT. Santa Monica City Schools Other Sources COMMONWEALTH PICTURES CORP. 1333 Sixth St. 729 Seventh Ave. Santa Monica, Calif. MR. RICHARD E. KRUG, Librarian New York 19, N, Y. SOUTHERN CALIFORNIA COUNCIL OF INTER- Milwaukee Public Library Milwaukee, Wis. DAVIS & GECK, INC. AMERICAN AFFAIRS 57 Willoughby St. 427 W. 5th St. Brooklyn, N. Y. Los Angeles, Calif. NEW YORK AREA DEPT. OF VISUAL INSTRUCTION FRANK DONOVAN ASSOCIATES University of California Extension Div. Producers and/or Distributors of 1775 Broadway New York, N. Y. 813 S. Hill St. Industrial and Educational Films Los Angeles, Calif. EDITED PICTURES SYSTEM. INC. ABBE FILMS 330 W. 42nd St. 503 Fifth Ave. New York, N. Y. MILWAUKEE New York, N. Y.

Producers and/or Distributors of ENCYCLOPEDIA BRITANNICA FILMS. INC. ADVANCE TELEVISION PICTURE SERVICE, INC. 1841 Broadway Industrial and Educational Films 729 Seventh Ave. New York 23, N. Y. New York, N. Y. ADVERTISING ACCESSORIES. INC. TED ESHBAUGH STUDIOS. INC. 812 N. 11th St._ AMERICAN TRADING ASSOCIATION 35 W. 45th St. Milwaukee, Wis. 723 Seventh Ave. New York 18, N. Y. New York, N. Y. ATOMIC RESEARCH CORP. EXPANDING CINEMA. INC. 3706 N. 11th St. ASSOCIATED FILMAKERS, INC. 729 Seventh Ave. Milwaukee, Wis. 45 Rockefeller Plaza New York, N. Y. New York, N. Y. FILM ARTS CORP. J. L. FEIERBACHER 725 W. Wells St. 221 E. 46th St. Milwaukee, Wis. ASTOR PICTURES CORP. 130 W. 46th St. New York, N. Y. New York, N. Y. VERNON J. KRAFT STUDIOS FILMS FOR INDUSTRY 704 W. Wisconsin Ave. 135 W. 52nd St. Milwaukee, Wis. AUDIO-FILM LIBRARIES New York, N. Y. 41 Washington St. Bloomfield, N. J. FILMS. INC. Producers and/or 330 W. 42nd St. Distributors of Trailers AUDIO PRODUCTIONS. INC. New York 18, N. Y. 630 Ninth Ave. NATIONAL SCREEN SERVICE CORP. New York, N. Y. JOHN FLORY 812 N. 11th St. 441 Lexington Ave. Milwaukee, Wis. HAROLD AUTEN New York 17, N. Y. 152 W. 42nd St. New York, N. Y. FOTOSHOP, INC. 18 E. 42nd St. Exchanges B. K. BLAKE. INC. New York, N. Y. 1270 Sixth Ave. ASTOR PICTURES FILM DISTRIBUTORS New York, N. Y. FUN FILM LIBRARY 725 W. Wells St. 545 Fifth Ave. Milwaukee, Wis. New York, N. Y. BELL & HOWELL CO. COLUMBIA PICTURES CORP. 30 Rockefeller Plaza WILLIAM J. GANZ CO. 1133 N. Eighth St. New York 20, N. Y. 40 E. 49th St. Milwaukee, Wis. New York, N. Y. BERGMAN ASSOCIATES FILM CLASSICS OF WISCONSIN 732 Eastern Parkway GENERAL BUSINESS FILMS. INC. 641 N. Seventh St. Brooklyn 13, N. Y. 565 Fifth Ave. Milwaukee, Wis. New York 17, N. Y. AL O. BONDY INDEPENDENT FILM EXCHANGE 630 Ninth Ave. GRANT. FLORY & WILLIAMS 639 N. Seventh St. New York, N. Y. 441 Lexington Ave. Milwaukee, Wis. New York 17, N. Y. BRANDON FILMS, INC. LOEW'S, INC. 1600 Broadway JOSEPH P. HACKEL 736 W. State St. New York 19, N. Y. 167 W. 57th St. Milwaukee, Wis. New York, N. Y. MONOGRAM-MIDWEST FILM CO. JOHN BRANSBY PAUL HANCE PRODUCTIONS. INC. 1030 N. Eighth St. 1600 Broadway 1776 Broadway Milwaukee, Wis. New York, N. Y. New York, N. Y.

PRC PICTURES OF WISCONSIN. INC. BRAY PICTURES CORP. JAM HANDY ORGANIZATION 641 N. Seventh St. 729 Seventh Ave. 1775 Broadway Milwaukee, Wis. New York, N. Y. New York, N. Y. PARAMOUNT FILM DISTRIBUTING CORP. HARTLEY PRODUCTIONS 1121 N. Eighth St. BRITISH INFORMATION SERVICES 20 W. 47th St. Milwaukee, Wis. Film Division New York 19, N. Y. 30 Rockefeller Plaza RKO RADIO PICTURES. INC. New York 20, N. Y. HOFFBERG PRODUCTIONS. INC. 732 W. State St. 620 Ninth Ave. Milwaukee, Wis. JULIEN BRYAN PRODUCTIONS New York, N. Y. 291 W. 12th St. INSTITUTIONAL CINEMA SERVICE REPUBLIC PICTURES CORP. New York, N. Y. 1131 N. Eighth St. 1560 Broadway Milwaukee, Wis. New York, N. Y. CALHOUN STUDIOS TWENTIETH CENTURY-FOX FILM CORP. 4 W. 40th St. INTERNATIONAL GEOGRAPHIC PICTURES 1016 N. Eighth St. New York, N. Y. 52 Vanderbilt Ave. Milwaukee, Wis. New York, N. Y.

UNITED ARTISTS CORP. CAMERA CENTER INTERNATIONAL THEATRICAL AND TELEVISION 1137 N. Eighth St. 596 Grand St. CORP. Milwaukee, Wis. Brooklyn, N. Y. 25 W. 45th St. New York 19, N. Y. UNIVERSAL FILM EXCHANGES, INC. CAMPUS FILM PRODUCTIONS 1032 N. Eighth St. 71 W. 45th St. INTERNATIONAL WORKERS ORDER, INC. 80 Fifth Ave. Milwaukee, Wis. New York, N. Y. New York 11, N. Y. WARNER BROTHERS PICTURES DISTRIBUTING CORP. CARAVEL FILMS. INC. HERBERT KERKOW PRODUCTIONS 1022 N. Eighth St. 730 Fifth Ave. 480 Lexington Ave. Milwaukee, Wis. New York, N. Y. New York, N. Y.

137 KING COLE'S SOUND SERVICE, INC. FLETCHER SMITH STUDIOS LOEW'S, INC. (METRO-GOLDWYN-MAYER) 203 E. 26th St. 1585 Broadway 630 Ninth Ave. New York, N. Y. New York, N. Y. New York, N. Y.

KNOWLEDGE BUILDERS SOUND MASTERS, INC. MONOGRAM PICTURES CORP. 625 Madison Ave. 165 W. 46th St. 630 Ninth Ave. New York, N. Y. New York, N. Y. New York, N. Y.

KODASCOPE LIBRARIES SPOT FILM PRODUCTIONS. INC. PRC PICTURES OF NEW YORK Eastman Kodak Stores, Inc. 339 E. 48th St. 630 Ninth Ave. 356 Madison Ave. New York, N. Y. New York, N. Y. New York, N. Y. SPRINGER PICTURES. INC. PARAMOUNT PICTURES, INC. LEWIS SOUND FILM PRODUCTIONS 35 W. 45 th St. 331 W. 44th St. 71 W. 45th St. New York, N. Y. New York, N. Y. New York, N. Y. TOMLIN FILM PRODUCTIONS REPUBLIC PICTURES CORP. LOUCKS & NORLING STUDIOS 480 Lexington Ave. 630 Ninth Ave. 245 W. 55th St. New York, N. Y. New York, N. Y. New York, N. Y. TRANSFILM, INC. RKO RADIO PICTURES. INC. MARCH OF TIME 35 W. 45th St. 630 Ninth Ave. 369 Lexington Ave. New York 19, N. Y. New York, N. Y. New York, N. Y. UNIVERSAL PICTURES CO., INC. TODDY PICTURES CO. METROPOLITAN LIFE INSURANCE CO. 1250 Sixth Ave. 723 Seventh Ave. 1 Madison Ave. New York, N. Y. New York, N. Y. New York, N. Y. VISION EDUCATIONAL PRODUCTIONS TWENTIETH CENTURY-FOX FILM CORP. MODERN TALKING PICTURE SERVICE 509 Fifth Ave. 345 W. 44th St. 9 Rockefeller Plaza New York 17, N. Y. New York, N. Y. New York 20, N. Y. C. L. WELSH PRODUCTIONS UNITED ARTISTS CORP. MOGULL'S, INC. Old Bedford Road 630 Ninth Ave. 68 W. 48th St. Port Chester, N. Y. New York, N. Y. New York, N. Y. WEST COAST SOUND STUDIOS, INC. UNIVERSAL (See BIG "U") MOTION PICTURE ADVERTISING SERVICE CO., 510 W. 57th St. INC. New York, N. Y. WARNER BROTHERS PICTURES DISTRIBUTING 70 E. 45th St. CORP. New York, N. Y. WILDING PICTURE SALES CORP. 315 W. 44th St. 385 Madison Ave. New York, N. Y. MOVIEPIX, INC. New York, N. Y. 20 E. 42nd St. New York 17, N. Y. BERTRAM WILLOUGHBY PICTURES, INC Newsreel and Stock Shot Libraries 1600 Broadway NATIONAL ASSOCIATION OF MANUFACTURERS New York 19, N. Y. GENERAL FILM LIBRARY, INC. 14 W. 49th St. 1600 Broadway New York, N. Y. WILLOUGHBY CAMERA STORES, INC. New York, N. Y. 110 VV. 32nd St. NATIONAL CINEMA SERVICE New York 1, N. Y. MILES FILM LIBRARY 71 Dey St. 729 Seventh Ave. New York, N. Y. WILLARD PICTURES New York, N. Y. 45 W. 45th St. MOVIETONE NEWS TED NEMETH STUDIOS New York, N. Y. 729 Seventh Ave. 460 W. 54th St. New York, N. Y. Y.M.C.A. MOTION PICTURE BUREAU New York, N. Y. 347 Madison Ave. NEWS OF THE DAY NEW YORK UNIVERSITY FILM RENTAL LIBRARY New York 17, N. Y. 71 Washington Square South 450 W. 56th St. New York, N. Y. EMERSON YORKE STUDIOS New York, N. Y. 35 W. 45th St. PARAMOUNT NEWS NONTHEATRICAL PICTURES CORP. New York, N. Y. 165 W. 46th St. 544 W. 43rd St. New York, N. Y. New York, N. Y. Producers and/or NU-ART FILMCO PATHE NEWS 145 W. 45 th St. Distributors of Trailers 625 Madison Ave. New York 19, N. Y. New York, N. Y. CINEMA-CRAFT CO. OFFICIAL FILMS, INC. 630 Ninth Ave. UNITED NEWSREEL CORP. 625 Madison Ave. New York, N. Y. 625 Madison Ave. New York 22, N. Y. New York, N. Y. NATIONAL SCREEN SERVICE CORP. PATHESCOPE CO. OF AMERICA, INC. UNIVERSAL NEWSREEL 630 Ninth Ave. 630 Ninth Ave. 580 Fifth Ave. New York, N. Y. New York, N. Y. New York, N. Y.

PICTORIAL FILMS. INC. SPECIAL SCREEN SERVICE, INC. Other Sources 653 Eleventh Ave. 1270 Sixth Ave. New York, N. Y. New York 20, N. Y. AMERICAN FILM CENTER, INC. 630 Fifth Ave. POST PICTURES CORP. WELGOT TRAILER SERVICE New York, N. Y. 723 Seventh Ave. 630 Ninth Ave. New York 19, N. Y. New York, N. Y. AMERICAN MUSEUM OF NATURAL HISTORY 79th and Central Park West PRIOR MOTION PICTURE CO. New York, N. Y. Chrysler Building Exchanges New York, N. Y. BOARD OF EDUCATION Bureau of Visual Instruction PROGRESSIVE EDUCATION ASSOCIATION A.F.E. CORP. 110 Livingston St. 289 Fourth Ave. 630 Ninth Ave. Brooklyn, N. Y. New York, N. Y. New York, N. Y. MONTCLAIR PUBLIC SCHOOLS RKO TELEVISION CORP. ASTOR FILM EXCHANGE Visual Education Department 1270 Sixth Ave. 630 Ninth Ave. Board of Education New York, N. Y. New York, N. Y. 22 Valley Road Montclair, N. J. RELIGIOUS MOTION PICTURE FOUNDATION ATLAS FILM EXCHANGE 140 Nassau St. 723 Seventh Ave. BOARD OF EDUCATION New York, N. Y. New York, N. Y. Department of Library and Visual Aids Newark, N. J. RUSSELL C. ROSHON ORGANIZATION RKO Building BIG "U" FILM EXCHANGE, INC. BOARD OF EDUCATION Radio City 622 Ninth Ave. Paterson, N. J. New York 20, N. Y. New York, N. Y. BOARD OF MISSIONS AND CHURCH DOUGLAS D. ROTHACKER COLUMBIA PICTURES CORP. EXTENSION OF THE METHODIST CHURCH 729 Seventh Ave. 630 Ninth Ave. Department of Visual Education New York 19, N. Y. New York, N. Y. 150 Fifth Ave. New York, N. Y. RUBY FILM CO. EXCELSIOR PICTURES CORP. 729 Seventh Ave. 723 Seventh Ave. BOY SCOUTS OF AMERICA New York, N. Y. New York, N. Y. 2 Park Ave. New York 16, N. Y.

LESLIE ROUSH PRODUCTIONS, INC. EXCLUSIVE PICTURES CORP. BROOKLYN MUSEUM 119 W. 57th St. 729 Seventh Ave. Brooklyn, N. Y. New York 19, N. Y. New York, N. Y. EDUCATIONAL FILM LIBRARY ASSOCIATION, SKI BO-PRODUCTIONS, INC. FILM CLASSICS DISTRIBUTING CO. INC. 165 W. 46th St. 3 62 W. 44th St. 45 Rockefeller Plaza New York, N. Y. New York, N. Y. New York 20, N. Y.

138 GENERAL MOTORS CORP. Department of Public Relations 1775 Broadway New York, N. Y. GRUBER'S CAMERA EXCHANGE, INC. Drawing by 141 Washington St. Dorothy McKay, Newark, N. J. from Esquire, December 1945. HARMON FOUNDATION, INC. © 1945, 140 Nassau St. Esquire. Inc. New York, N. Y. 919 N. Michigan L. KALTMAN & SONS, INC. Ave., Chicago, Ill. 287 Washington St. Newark, N. J. METROPOLITAN MOTION PICTURE CO. 50 Branford Place Newark, N. J. MONTCLAIR STATE TEACHERS COLLEGE Montclair, N. J. MUSEUM OF MODERN ART FILM LIBRARY II W. 53rd St. New York, N. Y. NATIONAL TUBERCULOSIS ASSOCIATION 1790 Broadway New York 19, N. Y. THE NEWARK MUSEUM Newark, N. J. PORT OF NEW YORK AUTHORITY III Eighth Ave. "I can't wait for New York, N. Y. television — I'm RELIGIOUS FILM ASSOCIATION, INC. 297 Fourth Ave. anxious to get a New York 10, N. Y. look at John's RUTGERS UNIVERSITY other wife." Department of Biophotography New Brunswick, N. J. YALE UNIVERSITY PRESS FILM SERVICE 386 Fourth Ave. New York, N. Y. FILM CLASSICS OF PHILADELPHIA SCHOOL DISTRICT OF PHILADELPHIA 1315 Vine St. Board of Public Education PHILADELPHIA Philadelphia, Pa. Parkway at 21st St. Philadelphia, Pa. HOLLYWOOD FILM EXCHANGE Producers and/or Distributors of 1220 Vine St. Industrial and Educational Films Philadelphia, Pa. SCHENECTADY—ALBANY

DE FRENES & CO. LOEWS, INC. Producers and/or Distributors of 1909 Buttonwood St. 123 3 Summer St. Industrial and Educational Films Philadelphia, Pa. Philadelphia, Pa. PAUL M. FRA I LEY PRODUCTIONS ADVERTISING ACCESSORIES, INC. Fidelity-Philadelphia Trust Bldg. MONOGRAM DISTRIBUTING CORP. 1044 Broadway Philadelphia, Pa. 1241 Vine St. Albany, N. Y. Philadelphia, Pa. HATHEN PRODUCTIONS GENERAL ELECTRIC CO. 264 South Van Pelt 1 River Road PRC PICTURES Schenectady, N. Y. Philadelphia, Pa. 1321 Vine St. KODASCOPE LIBRARY Philadelphia, Pa. c/o Eastman Kodak Stores, Inc. Producers and/or 1020 Chestnut St. PARAMOUNT FILM DISTRIBUTING CORP. Distributors of Trailers Philadelphia, Pa. 248 N. 12th St. Philadelphia, Pa. NATIONAL SCREEN SERVICE CORP. KUNZ MOTION PICTURE SERVICE 1044 Broadway 1319 Vine St. Albany, N. Y. Philadelphia, Pa. RKO RADIO PICTURES, INC. 250 N. 13th St. LINCOLN PRODUCTIONS Philadelphia, Pa. Exchanges 43 7 Chestnut St. Philadelphia, Pa. REPUBLIC PICTURES CORP. COLUMBIA PICTURES CORP. LIPPINCOTT PICTURES. INC. 1225 Vine St. 1050 Broadway 4729 Ludlow Philadelphia, Pa. Albany, N. Y. Philadelphia, Pa. LOEWS, INC. TWENTIETH CENTURY-FOX FILM CORP. 1060 Broadway McCURDY FILMS 302 N. 13th St. Albany, N. Y. 56th and Woodland Ave. Philadelphia, Pa. Philadelphia, Pa. MONOGRAM FILM EXCHANGE, INC. UNITED ARTISTS CORP. 1046 Broadway NEWS REEL LABORATORY 302 N. 13th St. Albany, N. Y. 1707 Sansom St. Philadelphia, Pa. Philadelphia, Pa. PARAMOUNT PICTURES, INC. UNIVERSAL FILM EXCHANGE, INC. 1044 Broadway PHILIP RAGAN ASSOCIATES. INC. Albany, N. Y. Broad St. Station Bldg. 308 N. 13th St. Philadelphia, Pa. Philadelphia, Pa. RKO RADIO PICTURES, INC. WARNER BROTHERS PICTURES DISTRIBUTING 1048 Broadway TELEVISION MOTION PICTURE ADVERTISING Albany, N. Y. CO. CORP. 1707 Sansom St. 1225 Vine St. REPUBLIC PICTURES CORP. Philadelphia, Pa. Philadelphia, Pa. 1046 Broadway Albany, N. Y. WELSH STUDIOS 25th and Lehigh Ave. Other Sources TWENTIETH CENTURY-FOX FILM CORP. Philadelphia, Pa. 1052 Broadway PHILADELPHIA BOARD OF EDUCATION Albany, N. Y. Producers and/or Department of Visual Education UNIVERSAL FILM EXCHANGES, INC. Parkway at 21st St. Distributors of Trailers 1054 Broadway Philadelphia, Pa. Albany, N. Y. NATIONAL SCREEN SERVICE CORP. 1201 Vine St. WARNER BROTHERS PICTURES DISTRIBUTING Philadelphia, Pa. CORP. 1058 Broadway Exchanges Albany, N. Y. “Once the public gets a taste of AMERICAN FILM CO. television, it will come so fast it Other Sources 1329 Vine St. will make you dizzy. No matter Philadelphia, Pa. NEW YORK STATE DEPARTMENT OF HEALTH what the sets cost, there won’t be Division of Public Health Education CAPITAL FILM EXCHANGE 18 Dove St. 1314 Vine St. enough wagons to haul them to the Albany 6, N. Y. Philadelphia, Pa. public.” — Joseph Katz, President, NEW YORK STATE WAR COUNCIL COLUMBIA PICTURES CORP. Capital Broadcasting Co. Film Division 1240 Vine St. 3 53 Broadway Philadelphia, Pa. Albany 7, N. Y.

139 PIONEERING A RELAY NETWORK (Continued from page 27) more and more advertisers will seek the benefits of sight-and-sound selling via television. Sponsored programs will require the best efforts of the new school of television actors, writers, pro¬ ducers, cameramen and sound techni¬ cians who have learned the specialized techniques of telecasting during our pioneering yesterdays. I visualize the development of an entirely new art, calling for the varied talents of many thousands of men and women. This growth of television program¬ ming will present countless opportuni¬ ties to alert, aggressive young Ameri¬ cans, many of them returning veterans. A MOVIE fashion show—Television please copy! We in the television industry may hope to attract the “cream of the crop” of young America, for development of both the technical and artistic phases of television, because ours is a new industry with many chances to get in on the ground floor. By IRVING BROWNING Also, as television grows through the expansion of television networks, I can Producer of Motion Picture Shorts see in it boundless opportunities for service to America and to the world, As i see it, television promises in education, news, entertainment, mer¬ much for the motion picture cam¬ chandising and the creation of a better eraman’s future. It offers a fasci¬ understanding between people in far- nating outlet for serious experi¬ distant areas. In this way, television mentation in lighting, composition networks bringing sight-and-sound pro¬ and perspective. It provides oppor¬ grams of all kinds to all peoples can tunities to capture further honors certainly help notably toward that com¬ in his art. The rich half-tone values mon goal of mankind—an enduring, with which we are familiar in fine democratic and prosperous era of peace. still photography and on the mo¬ tion picture screen will soon be evident in television. BEYOND TOMORROW? At first glance, a television stu¬ transcriptions are to radio—with costs low enough to meet the budg¬ (Continued from page 9) dio’s stationary lights, fixed to the ceiling, are depressing to a movie et requirements of the most con¬ Communications, both domestic and cameraman accustomed to the high¬ servative advertising campaigns. foreign, may in the future be by photo¬ ly mobile lighting equipment in a Film innovations to meet this need graphic rather than telegraphic meth¬ are in development. I myself have modern motion picture studio. War¬ ods. Thus, a message, or a letter, or a some very definite ideas. time restrictions, understandably, newspaper page, may be placed before have prevented advancement in this As I watch “live talent” tele¬ the televiser at the sending end, and respect and improvements are vision shows I am convinced that instantly photographed at the receiving promised. Modern photographic fa¬ much of this new art can best be end of the circuit. This would represent cilities are an imperative need. And presented via the medium of film. accurate, high speed transmission un¬ more sensitive iconoscopes, which Viewers are certain to compare equalled by any system of communica¬ tion in use today. have recently been demonstrated. tele-picture quality with motion pic¬ Beyond tomorrow, what? In television With motion pictures steadily ture quality and the latter repre¬ the answer lies in the extension of shooting an increasing percentage sents the cream of much footage man’s vision far beyond his immediate of film in color—and tele-engineers from many angles and many re¬ horizon, beyond the boundaries of his working feverishly to perfect nat¬ takes. Live television at present own country, until the world becomes ural color television—one may well attempts to capture perfection in one great neighborhood. wonder which medium will be the “one take.” The gamble is too great first to use color exclusively. to succeed often. Television can revive all the old Television will be a living news¬ time movie tricks and use them paper, yes, with many parades, successfully. A new generation of conventions, fires and big games youngsters would find them fresh presented as they happen—but the and entertaining. bulk of regularly scheduled tele¬ Miles of factual film, movie newscasts must be made up of care¬ shorts, comedies and cartoons— fully edited newsreels. News, other¬ popular with all audiences—will wise, will monopolize the medium be rapidly devoured by television and completely upset commercially projection machines. And camera¬ sponsored schedules. Libraries of men will rove the world over for news events will be required for new scenes and thrills to satisfy the use of every commentator. their insatiable appetites. The film cameraman will not be Film transcriptions will become crowded aside by television; he will Courtesy, Electrical Merchandising to television what electrical disc become more important than ever. "Will you feel better if I personally guarantee it to be as good as your old crystal set or refund your money?"

140 COLLEGE SPORTS AND TELEVISION

(Continued from page 20) FACING material, college football fits the re¬ TELEVISION quirements of top-flight entertainment for television audiences. There is, first, a wide, general interest in the game By BOB HOPE which assures large viewing audiences. Second, college football meets televi¬ sion’s need for locally-produced pro¬ Everyone is getting set for tele¬ grams of proved drawing power. Third, vision. I’ve made some concrete contrary to its effect on many types of plans. When television gets here, radio entertainment, adding the visual I’m going back to mixing concrete. element to a sports broadcast calls for But the people who predict things no radical changes. Sight added to are predicting that within a year sound is an important and vital im¬ there will be 12 to 16 hours of tele¬ provement. Fourth, football broadcasts vision programs a day in metro¬ possess suspense during every moment politan areas and, shortly there¬ have two sets in their living rooms of play. They are spontaneous, un¬ after, all of the hi-jinks now re¬ if they want to get him all in. And scripted and unrehearsed. Anything can ferred to as radio, will be illus¬ they’ll have to sell a windshield happen and frequently does. trated. wiper with the sets so that people My sponsor thinks my radio All this is not intended to minimize who tune in on “Mr. Anthony’s show would be good for television the problems that must be solved before Program” can keep the tears off except for just one thing. But he’s football telecasts can become important the screen. got an answer for that . . . he’s for advertising purposes. Principally, If static ever starts interfering these problems are technical. New cam¬ going to bill me as the “Masked with the reception it might cause era developments in recent months may Marvel.” some odd mixups. I can see it now hold many of the answers. RCA’s new Professor Colonna will be a nat¬ . . . the door to “Inner Sanctum” image orthicon camera picks up pic¬ ural. Can you imagine that kisser opens and out comes Baby Snooks tures with much less light than hereto¬ suddenly showing up in 20,000,000 and Mr. District Attorney riding fore, and thereby lessens the danger of homes? It should have people back on the Lone Ranger’s horse. a blackout from advancing darkness. living in trees in no time. I saw one of the new sets they’re It should be very interesting putting out now. It had dials for Another problem is the proper place¬ when they do get all the radio the radio, knobs for the phono¬ ment of cameras to obtain the best pic¬ programs switched over so you can graph, and buttons for the tele¬ tures and, also, with least confusion to see them. When that happens, a lot vision. It looked like the dashboard the spectator at home. In 1940, tech¬ of the actors who play those teen¬ of a B-29. nicians got their best results by placing age kids will have to shave off But buyers won’t have to worry cameras on opposite 20-yard lines. Since their mustaches and start wearing . . . With each set they sell, dis¬ then, with the development of a tele¬ their toupees. tributors will throw in 20 hours of photo lens for close-ups, it has been Bing Crosby fans will have to Link trainer instruction. found practical to pick up all action from midfield. © 1945, King Features Syndicate Announcers are learning that telecast games require supplemental comment rather than straight reporting of action that can be plainly seen. Because news¬ idea as to the value of such rights in and not a deterrent to attendance.” reel commentators face this same prob¬ terms of some generally accepted stand¬ Baseball has consistently widened its lem, men with this experience are best ard. This statement does not imply that appeal as a result of the splendid re¬ equipped to handle sports telecasts. any particular college has received less porting done by radio’s sports broad¬ or more than it should but rather to casters. Their enthusiasm and colorful During television’s early days, set point out that no college has had any characterizations have created person¬ manufacturers will be interested in possible basis for knowing whether or alities that listeners like to see for them¬ promoting programs which will make not it struck the best possible bargain. selves. Opinion in sports circles generally millions want to own television sets. This single fact was the most im¬ is that television will create new mil¬ This makes them logical sponsors for portant reason for the formation of lions of sports fans. And psychologists programs of broad interest such as Televised Sports, Inc., which represents predict that the herd desire to go where football games. Of course, such pro¬ colleges in negotiating the sale of tele¬ the crowds go will boost attendance grams will also appeal to advertisers vision rights. The objectives of this or¬ receipts to record-breaking highs. who may not feel inclined to finance ganization are: 1—to set up the fairest Colleges, in my opinion, should have top studio entertainment during the possible system for evaluating televi¬ the right to insist that some portion of period when the number of set-owners sion rights, 2—to obtain general ap¬ a sports broadcast be devoted to pro¬ is very limited. Such advertisers, fore¬ proval of this system by both colleges motion of the college itself. This could seeing the commercial potentialities of and advertisers, and 3—by this pro¬ be most easily managed by inserting television, will discover this means to cedure facilitate the expansion of com¬ filmed shots of campus scenes, student be an excellent one for establishing mercially televised sports. activities, interviews with leading col¬ their franchise in the field. Concern has been expressed by some lege personalities, etc., during time-out There are no yardsticks and few college officials and by owners of pro¬ periods. Inclusion of such material precedents to guide pioneers in the ex¬ fessional baseball teams that telecasting would mean that telecasts, far from ploitation of football’s television oppor¬ of games may cut heavily into gate simply promoting attendance at games, tunities. First, of course, there is the receipts, particularly in bad weather. would create a desire on the part of problem of setting up rates that are P. G. Wrigley, owner of the Chicago young people to attend the college, equitable to both the college and the Cubs, does not believe this. He will have would spread an understanding of its advertiser. The experience—one might all games at Wrigley Field televised aims, build its prestige as an educa¬ almost say the lack of it—in negotiat¬ during the summer of 1946 if equip¬ tional institution and its place in the ing for radio broadcast rights should ment is available. “The tele-camera,” he nation’s cultural life. Such interpola¬ prove illuminating. points out, “cannot capture the glamor tions should make sports telecasts more Almost without exception, negotia¬ and excitement of attending a baseball interesting without in anywise inter¬ tions for the sale of football radio game in the flesh. In consequence, tele¬ fering with an adequate presentation rights have been conducted without any vision, like radio, will prove a stimulant of a sponsor’s commercial message.

141 Radio Television Journal, monthly, is published by Kolbe Publications, Inc., PUBLICATIONS 1270 Avenue of the Americas, New York. Cl 7-5842. Mai Parks, editor. Radio & Television Weekly, 99 Hudson atch the following periodicals and Sun. and holidays). 6715 Sunset Blvd., St., New York. WA 5-2576. Edward organs for news and articles on tele¬ Hollywood. HI 7411. Published by Hol¬ Davis, publisher. Cy Kneller, editor. lywood Reporter. W. R. Wilkerson is vision’s progress: Retail Home Furnishings, twice weekly, Advertising and Selling, monthly, 9 E. publisher. Frank Pope, editor. Ben 8 E. 13th St., New York. AL 4-5252. Kaufman is Eastern television editor, 38th St., New York 16. CA 5-9770. Published by Fairchild Publications. E. Published by Robbins Publishing Co. at New York bureau, 229 West 42nd W. Fairchild is president and publisher. Frederick C. Kendall, publisher-editor. St., New York. WI 7-2470. Retail Television Thinking, monthly organ ATS News, monthly, Room 1705, 271 International Projectionist, monthly, 19 for department store executives, pub¬ Madison Avenue, New York 16. MU W. 44th St., New York 18. MU 2-2948. lished by Allen B. DuMont Laboratories, 5-7878. Published by the American Tele¬ Published by International Projection¬ Inc., Passaic, N. J. New York office: vision Society by and for members. ist Publishing Co., Inc. R. E. Entracht 515 Madison Ave. PL 3-9800. Ralph Rockafellow, editor. is publisher and editor-in-chief. Science, weekly, Smithsonian Institution The Billboard, weekly, is published by Journal of Society of Motion Picture Bldg., Washington 25, D.C., published Billboard Publishing Co., 25 Opera Engineers, monthly, Hotel Pennsylvania, by American Association for the Ad¬ Place, Cincinnati. Main 5306. Joseph New York. PE 6-0620. Published by vancement of Science. Editors, Jose- Koehler, indoor editor. New York edi¬ the Society of Motion Picture En¬ phone Owen Cattell and Jaques Cattell. torial office: 1564 Broadway. ME 3- gineers. Sylvan Harris, editor. Science News Letter, weekly, 1719 N. 1615. Lou Frankel, radio and television Motion Picture Daily, daily (except Sat., St., N.W., Washington 6, D.C., published editor. Chicago office: 155 N. Clark St. Sun. and holidays), 1270 Avenue of the by Science Service. Watson Davis, editor. CEntral 8480. Cy Wagner, radio and Americas, New York 20. Cl 7-3100. Scientific American, monthly, 24 W. television editor. Hollywood office: 1509 Published by Quigley Publishing Co., 40th St., New York 18. LO 5-6400. Pub¬ N. Vine St., Lee Zhito, radio and tele¬ Inc. Colvin Brown is publisher. Sherwin lished by Munn & Co., Inc. O. D. Munn, vision editor. Kane, executive editor. editor and publisher. Broadcasting, weekly, is published by Motion Picture Herald, weekly, 1270 Scientific Monthly, The, monthly, Smith¬ Broadcasting Publications, Inc., 870 Avenue of the Americas, New York sonian Institution Bldg., Washington 25, National Press Bldg., Washington. 20. Published by Quigley Publishing Co., D.C., published by American Associa¬ MEtropolitan 1922. Sol Taishoff, editor Inc. Martin Quigley, editor-in-chief. tion for the Advancement of Science. and publisher. New York office, 250 Popular Mechanics Magazine, monthly, *Telescreen, quarterly, 371 S. Orange Park Ave. PL 5-8355. Brace Robertson, 200 E. Ontario St., Chicago 11, Ill. Pub- Ave., Newark 3, N. J. Published by N.Y. editor. Hollywood office, 1509 lshed by the Popular Mechanics Co. H. Michael Melucci. (Formerly Telescreen North Vine St. GL 7353. David Glick- H. Windsor, Jr., publisher. New York Century.) Editor, Dr. F. L. Campbell. man, manager. office: 350 Fifth Ave. PE 6-6775. *Tele-Viewer,bimonthly, 11 W. 42nd St., Business Week, weekly, 330 W. 42nd St., Printers' Ink, weekly, 205 E. 42nd St., New York 18, N. Y., published by Tele¬ New York 18. ME 3-0700. Published by New York. Published by Printers’ Ink vision Publications. Irwin A. Shane, McGraw-Hill Publishing Co. Paul Mont¬ Pub. Co. Robert W. Palmer, executive editor and publisher. gomery, publisher. editor. Victor J. Dallaire is radio and *Televiser,bi-monthly, journal of video Communications, monthly, 52 Vanderbilt television editor. production, advertising and operation. Ave., New York 17. Published by Bryan Proceedings of the I. R. E., monthly, 330 Published by Television Workshop of Davis Publishing Co., Inc. Lewis Winner West 42nd St., New York. Published by New York, 11 West 42nd St., New York is editor. the Institute of Radio Engineers. Dr. 18. LO 5-1683. Irwin A. Shane, publisher, Daily Variety, 1708-10 North Vine St., Alfred N. Goldsmith is editor. television, monthly, “business maga¬ Hollywood 28, Calif. HO 1141. Published QST, monthly, 38 LaSalle Rd., W. Hart¬ zine of the industry,” is published by daily except Sat., Sun. and holidays by ford 7, Conn. Published by American Frederick Kugel Co., 600 Madison Ave., Daily Variety, Ltd. Sid Silverman, pres¬ Radio Relay League, Inc. Clinton B. New York 22. PL 3-5748. Frederick A. ident. Arthur Ungar, editor. (See Va¬ DeSoto, editor. Kugel, publisher. riety for New York edition.) Radio, monthly, 342 Madison Ave., New television Daily Department Store Economist, monthly, (temporarily issued York 17. MU 2-1346. Published by as a section of Radio Daily), is published 100 E. 42nd St., New York 17. A Chilton Radio Magazines, Inc. S. R. Cowan, Publication. P. M. Fahrendorf, publisher. by Radio Daily Corp., 1501 Broadway, publisher. J. H. Potts, editor. New York 18. WI 7-6336. John W. Ali¬ Electronic Industries, monthly, technical Radio-Craft, monthly, 25 W. Broadway, coate, publisher. Frank Burke, editor. and engineering, published by Caldwell- New York 7. RE 2-9690. Published by Clements, Inc., 480 Lexington Ave., New Television Digest and FM Reports, weekly, Radcraft Publications, Inc. Hugo Gerns- 1519 Connecticut Ave., N. W., Wash¬ York. PL 3-1340. M. Clements is pub¬ back, publisher. Fred Shunamen, editor. lisher. Dr. Orestes H. Caldwell, editor. ington 6, D. C. Michigan 2020. Pub¬ Radio Daily, daily, 1501 Broadway, New lished by Radio News Bureau. Martin Electronics, monthly, technical and engi¬ York. WI 7-6336. Published by John W. Codel, editor. neering, published by McGraw-Hill Pub¬ Alicoate. Frank Burke, editor. Holly¬ lishing Co., Inc., 330 West 42nd St., New ‘Television Grey Matter, monthly organ wood office: 6425 Hollywood Blvd. of Grey Advertising Agency, 166 W. York. ME 3-0700. Keith Henney, editor. GR 6607. Ralph Wilk, manager. 32nd St., New York. CH 4-3900. Film Daily, daily (except Sat., Sun. Radio News, monthly, 185 N. Wabash Tide, twice monthly (weekly after Jan. and holidays), 1501 Broadway, New Ave., Chicago 1, Ill. Published by Ziff- 4, 1946), 232 Madison Ave., New York York 18. BR 9-7117. Published by Wid’s Davis Publishing Co. B. G. Davis, edi¬ 16. AS 4-3390. Edwin F. Thayer, pub¬ Films and Film Folk, Inc. John W. tor, New York office: Empire State lisher. Reginald Clough, editor. Alicoate is president and publisher. .Bldg. WI 7-0400. ‘TV, Telecasting Publications, Inc., 103 Chester B. Bahn, editor. Hollywood of¬ Radio Service Dealer, monthly, 342 Madi¬ Park Ave., New York 17. MU 4-1562. fice: 6425 Hollywood Blvd. GR 6607. son Ave., New York 17. Published by Martin Codel, publisher, Hal Becker, Ralph Wilk, manager. Cowan Publishing Co. Editor and pub¬ editor. (First issue, April 1946.) FM & Television, monthly, business mag¬ lisher, Sanford R. Cowan. Variety.weekly, is published by Variety, azine, is published by FM Co., 511 Fifth Radio Tele-News, weekly, 301 W. 57th Inc., 154 W. 46th St., New York 19. Ave., New York. VA 6-2483. Milton B. St., New York, N. Y., published by BR 9-8153. Sid Silverman, president. Sleeper, editor and publisher. Peter Strand. Abel Green, editor. Chicago office: 360 Go Magazine, monthly (except January), Radio & Television Retailing, monthly, N. Michigan. Bill Hunt. (See Daily 767 Lexington Avenue, New York. business paper published by Caldwell- RE 4-2850. Published and edited by Clements, Inc., 480 Lexington Ave., Variety.) Capt. Arthur G. Brest. New York. PL 3-1340. M. Clement is * Denotes publications devoted to tele¬ Hollywood Reporter, daily (except Sat., publisher; Dr. Orestes H. Caldwell, editor. vision exclusively.

142

( PIONEERS FULL COLOR SCREEN TELEVISION!

<5>CBS 1945

This is the approximate quality of the new CBS postwar television-fine-definition-in full and natural color.

On October 10, 1945 the first experimental broadcast of bril¬ just passable) has passed perhaps the most important mile¬ liant, full-color television in the radar frequencies was success¬ stone in the new art. The event was certainly of first impor¬ fully achieved by CBS. tance to everyone concerned with television.

As nearly as the printer's press and inks can accomplish, the Much remains to be done, much is being done, to put this picture above reproduces the quality of the new CBS High- new, brightest form of television in your hands. You may be

Definition Television in a section of a picture measuring in full sure that CBS is doing all it possibly can.

7W x 10". Note the tones. Note the depth of definition: fea¬ tures, patterns, jewels, play of lights. Thus the long search by CBS for pictures really great (not THE COLUMBIA BROADCASTING SYSTEM