Copyright by Patrick Brrett Welch 1956 THE DEVELOPMBHT OP AUDIENCE PARTICIPATION PROGRAMS ON RADIO AND TELEVISION NETWORKS THROUGH THE SEASON OP 19^6-$7

DISSERTATION Presented in Partial Pulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University

By PATRICK ERRETT WELCH, B. A., A. M,

*******

The Ohio State University 1958

Approved by;

Adviser Department of ^eeeh TABLE OF C0NTENT3

CHAPTER PAGE I. INTRODUCTION ...... 1 The Audience Participation Program . . • • 3 Types of Audience Participation Programs 7 Human Interest Programs ...... 7 Studio Quiz Programs ...... 8 Telephone Quiz Programs ...... 9 Stunt Programs ...... 10 Organization of tho Dissertation ..... 11 Major Sources of Information ...... 13 Previous Academic Studies ...... 15 Periodicals and Newspapers ...... 22 Trade Publications ...... 23 Previous Qualitative Research • • • . . 21*. II. HISTORICAL DEVELOPMENT OP AUDIENCE PARTICIPATION PRO (SLAMS...... 27 Introduction of Audience Participation Types ...... 30 Use of Audience Participation Programs In Radio Networks ...... 32 Reasons for Extensive Use ...... 36 Reasons for Decline in Extensive Use . * 38 Use of Audience Participation Programs on TV Networks lf.3 ii Ill CHAPTER PAGE Reasons for Extensive Use ...... 1^3 The Shift from Nighttime to Daytime Programming ...... i|4 Nighttime to Daytime on Radio Networks . 1^.6 Nighttime to Daytime on Television N e t w o r k s ...... ii7 III. HUMAN INTEREST PROGRAMS ON RADIO NETWORKS . 1;9 Extent of Use of Human Interest Programs . ^2 General Popularity of Programs of the Type ...... Human Interest Programs on Radio Networks. SS Individual Human Interest Programs • . • 57 Court of Human Relations ...... Si de-Walk Interviews ...... 59 We, The People ...... 62 Good Will H our ...... 61|. Hobby Lobby ...... 66 Court of Missing Heirs ...... 68 Quiz K i d s ...... 70 Alexander's Mediation Board ..... 72 Blind Date ...... 7k Breakfast with Breneman ...... « 76 House Party ...... Ô1 Queen for a D a y ...... 83 Juvenile J u r y ...... 81|. Iv CHAPTER PAŒ Bride and G r o o m ...... 8? Do You Want To Lead A Band 89 Candid Microphone • ...... 89 Welcome Traveler 91 Life Begins at 80 93 This Is Your L i f e ...... 95 Ladles Pair ...... 96 Mr# Keen, Tracor of Lost Persons • . • 97 John J» Anthony Program ...... 98 Anonymous •••• ...... 98 Wonderful City ...... 99 Luncheon at Sard! * s ...... 99 Moppets and Melodies ...... 100 General Evaluation of Human Interest Programs on Radio Networks •••••• 100 IV. HUMAN INTEREST PROGRAMS ON TELEVISION NETWORKS ...... 102 Extent of Use of Human Interest Programs * 102 General Popularity of Programs of the Type 103 Human Interest Programs on Television Networks ...... lOi*. Individual Human Interest Programs . . . 10? We, The People ...... 106 Sidewalks of New York ...... 109 V CHAPTER PAG» Okay, Mother 110 Candid Camera ...... Ill Quiz K i d s ...... 112 Stork C l u b ...... 115 Life with Linkletter...... 117 Faye Emerson ...... 11Ô Life Begins at 8 0 ...... 119 Blind D a t e ...... 121 Wonderful Town ...... 122 Bride and G r o o m ...... 123 Juvenile J u r y ...... 12î^. Wisdom of the A g e s ...... 126 Art Linkletter's House Party ...... 12? Welcome Traveler ...... 128 This Is Your L i f e ...... 130 Person to P e r s o n ...... 133 Queen for a D a y ...... 135 Love Story ...... 136 Stand Up and Be Counted 13d It Could Be Y o u ...... 139 You're On Your O w n ...... ll^O Mike Wallace Interview ...... ll{2 General Evaluation of Human Interest Programs on Television Networks . . . 11^.3 v l CHAPTER PAGE V. INTRODUCTION TO QUIZ PROGSIAMS ...... Major Changes In Quiz Prograjus ...... ll|.7 Changes in Pattern ...... 1^.6 Changes In Selection of Contestants . . . 150 Changes in Master of Ceremonies . • • . • 155 Changes in Size of Prizes ...... 156 The Give-Away Concept...... 160 Were the Give-Aways good or bad for Radio? 16^. Were the Give-Aways Essentially L o t t e r i e s ? ...... 169 Quiz Program Research ...... 175 Foreign Quiz Programs ...... 177 VI. STUDIO QUIZ PROGRAMS ON RADIO NETWORKS . . . l80 Major Changes #....# ...... l6l Extent of Use of Studio Quiz on Radio Networks ...... l66 General Popularity of Programs of the Type. I87 Studio Quiz Programs on Radio Networks . . I88 Individual Studio Quiz Programs . « • . « 190 Professor Quiz 191 Old Time Spelling B e e ...... 193 Uncle Jim's Question Bee ...... l^l^. Melody Puzzles ...... 195 vil CHAPTER PACæ Spelling Bee . $ ...... 195 Ask-It Basket 196 Battle of the S e x e s ...... 197 Kay Kyser's College of Musical Knowledge...... 198 True or F a l s e ...... 201 Doctor le q...... 203 Don't F o r g e t ...... 20l|. Quick S i l v e r ...... 20li Mystery History Q u i z ...... 205 Qulxle Doodle 205 Youth Vs, Age ...... 206 Name Three Quiz 207 Double or Nothing ...... 207 Beat the Band ...... 207 Take It Or Leave I t ...... 210 Play Broadcast Quiz 212 Spin and Win ...... 212 Who K n o w s ? ...... 212 Consumer's Quiz ...... 213 Auction Quiz ...... 213 National History Q u i z ...... 213 What's Vtj Name?...... 211f Dr. I. Q. Jr ...... 21i^ viii CHAPTER PACffl Thanks to the Yanks ...... 21$ Better H a l f ...... 216 Yankee Doodle Q u i z ...... 216 Grand Slam ...... 217 Scramby Amby ...... 219 Skyrlder Q u i z ...... 219 Stop or G o ...... 219 Which Is Which? ...... 220 Quick as a Flash ...... 221 What'a the Name of That Song? • . • . • 222 Darts for Dough ...... 223 Bob Hawks S h o w ...... , 225 Detect-a-Tune...... 227 Detect and Collect •••••• 227 Think You Know Music? ...... 228 Try and Find M e ...... 228 Give and Take ...... 229 Break the Bank ...... 230 Winner Take All ...... 233 Hollywood Jackpot ...... 235 You Bet Your Life ...... 236 Strike It Rich ...... 238 Man on the Farm Quiz 2 I4.O Take a Number ...... 2J|I Ix CHAPTER PAGE Comedy of E r r o r s ...... 21^1 Earn Your Vacation ...... 21^.2 Meet Your Match ...... 21^3 Think Fast ...... 21^ Hollywood Q u i z ...... 21jl(. Rate Your Mate 245 Shoot the Moon ...... 246 The $64 Q u e s t i o n ...... 246 Two for the M o n e y ...... 248 Movie Q u i z ...... 249 College Quiz Bowl ...... 249 The Phrase that Pays ••••«•••• 250 Second Chance 251 Easy M o n e y ...... 25l Spend a Million...... 25l I Ask Y o u ...... 252 Walt Disney's Magic Kingdom •••••• 252 Wheel of C h a n c e ...... 252 General Evaluation of Studio Q,uiz Programs on Radio ...... 253 VII. STUDIO QUIZ PROGRAMS ON TELEVISION NETWORKS , 255

Major Changes ...... 257 Extent of Use of Studio Quiz on Television Networks ...... 261 X CHàPTKR PAGE Ganeral Popularity of Programs of the Type 263 Studio Quiz Programs on Television N e t w o r k s ...... 265 Individual Studio Quiz Programs . • , . • 268 Vinner Take A l l ...... 268 Break the B a n k ...... 2?0 Kay Kyser’s College ...... 272 You Bet Your Lif e ...... 273 Big Payoff ...... 276 Strike It R i c h ...... 277 Balance Your Budget ...... 26l Double or Nothing ...... • • 282 Wheel of Fortune ...... 201| Two for the Money . _...... 285 Dr. I. Q ...... 287 Name That Tune •••••••••••• 288 Place the F a c e ...... 289 Quick as a Flash ...... 291 On Your Account * ...... 292 Feather Your Nest ...... 293 The $614.,000 Q u e s t i o n ...... 294 The Big Surprise ...... 298 Do You Trust Your Wife? ...... , 300 Ths $ 6 4 , 0 0 0 Challenge ...... 301 xl

CHAPTER PAGE High Finance ...... 303 Tic Tac D o u ^ ...... 30l|. Treasure Hunt ...... 30^ Twenty O n e ...... 307 Break the $2^0,000 Bank ...... 308 Giant S t e p ...... 310 The Price is Right ...... 311 Hold That N o t e ...... 312 General Evaluation of Studio Quiz Programs on Television Networks • • • • • 313 VIII, TELEPHONE QUIZ PROGRAMS ...... 315 Extent of Use of Telephone Quiz on Radio and TV Networks ...... 317 General Popularity of Telephone Quiz Programs on Radio and TV Networks . • • . 319 Telephone Quiz Programs on the Radio

Networks ...... 320 Individual Telephone Quiz Programs on Radio Networks ...... 321 Pot O' Gold ...... 322

Stop the M u s i c ...... 323

Go For The House ••••••••••• 326

Sing It Again ...... 32?

Hit the Jackpot •••.•••••••• 330 xii CHAPTER PAŒE Telephone %uiz Programs on tho Television Networks •• ...... 332 Individual Telephone Quiz Programs on Television Networks ...... 333 Stop the M u s i c ...... 3314- Sing It Again ...... 336 General Evaluation of Telephone Quiz Programs on both Radio and TV Networks • 336 IX. STUNT PROCSÎAMS ...... 338 Extent of Use of Stunt Programs on Radio and TV Networks ...... 314-2 General Popularity of Stunt Programs on Radio and TV Networks ...... 3Vt Stunt Programs on Radio Networks ...... 314-5 Individual Stunt Programs on Radio N e t w o r k s ...... 314-7 Truth or Consequences...... 314-7 People are Funny . • ...... 349 Ladies be Seated ...... 3^3

County Pair ...... 354

Beat the Clock ...... 355

Stunt Programs on the Television Networks « 3$6

Individual Stunt Programs on

Television Networks ...... 3^6 xiii CHAPTER PAGE Prize P a r t y ...... * ...... 3?9 Beat the Clock ...... 360 Truth or Consequences ...... 362 One in Every F a m i l y ...... 363 Dollar a Second ...... 361^ People are Funny ...... 36^ Choose up S i d e s ...... 366 Can Do , 367 General E?valuation of Stunt Programs on Both Radio and Television Networks .... 368 X. SUMMARY AND CONCLUSIONS...... 370 S u m m a r y ...... 370 Conclusions ...... 382 Future Possibilities ...... 38ij. Propaganda U s e s ...... 386 Educational Uses ...... 3^9 BIBLIOCaiAPHÏ...... 391*. AUTOBIO (HIAPHY...... 399 LIST OP TABLES TABLE PAGE I, Extent of Use of Audience Participation Programs on Radio Networks, 1937-1942 • • • 34 II. Extent of Use of Audience Participation Programs on Radio Networks and Average Ratings, 1943 to 1951 ...... 35 III. Percentage of Radio Network Commercial Time Devoted to Audience Participation Programs, 193Ô to 1 9 5 4 4 0 IV. The Number of Different Network Radio Audience Participation Programs Per Week, 1 9 5 2 - 1 9 5 7 ...... 42 V. Average January Ratings and Total Number of Audience Participation Programs on TV Networks, 1950-1957 44 VI. Comparative Average Weekly Production Costs Between Audience Participation Programs and Comedy-Variety and Prestige Drama, 1950 to 1 9 5 7 ...... 45 VII. Weekly Quarter Hours of TV Network A-P Programming, 1 9 4 9 to 1953 ...... 4®

xiv LIST OP EXHIBITS EXHIBIT FAŒE I. Radio Network Give-Away Programs, Autumn,

191^.8...... 1 6 6

XT CHAPTER I IHTRODÏÏCTIOM

The big news among cosmetics advertisers in 1955 was Revlon's phenomenal success with "The $6^,000 Ques­ tion." This network television audience participation program captured the attention of viewers and amased the

advertising fraternity with its rise out of nowhere.^

It was first introduced on network television on

June 7, 1955, and almost immediately Jumped into nation­ al attention# Within a period of only four weeks it was

able to attract an audience larger than that of any other network television program on the air at that time# The American Research Bureau gave it the highest rating in

the nation for the month of July, 1955, 52#3; and es- 2 timated its audience to be ^7,560,000 viewers* The

Pulse gave the program a rating of 35*1, which was the highest rating this research organisation gave for July,

1955; and The A. C. Hielsen Company's "Top Ten TV Pro»

grams," for the two weeks ending July 23, 1955, placed "The |6if.,000 Question" in the number one spot with a

^Sponsor. January 6, 1956, p. 106# ^Broadoastima»Telecastina. August 1, 1955, P» 36# rating of ^1 .1 , and a viewing audience of 13,^23,000 home8 across the nation.^

A similar rapid rise in popularity characterised such programs as "This Is Your Life," "Truth or Conse­ quences," "Stop the Music," and several others. These programs will be considered later. However, further to consider our original illustration, "The $6^4.,000 Ques­ tion" is a studio quis program. A studio quls program, as the term is used in this study, is one type of program falling within the larger class of audience participation programs. It, like others in the classification, in­ volves the participation of people who are not profes­

sional entertainers, and who, until recent years, were selected from members of the studio audience immediately before the broadcast#

During the winter of 1926-1927, a total of twenty- three programs of the audience participation variety were k carried each week on national television networks# Six of these programs were on five days a week, and the re­ maining seventeen were telecast once a week during the

^Broadoastina-Telecasting. August 22, 1922, p. 36.

^roadeastinx-Telecastlng. January ?, 1927, pp. 110- 111. evening hours This study deals with audience participation programs generally: with their development, their struc­ ture, and the various types in which they are found. The purpose of this study is to determine the nature of the audience participation program, to trace its development, and to find the reasons why it devel­ oped as it did. Such information is not only isq)ortant

for a clear understanding of the radio and television networks' present programming activities but is equally

important for both broadcasters and educators as they

anticipate changes whieh may be expected to take place

in the future. Such inquiries into the nature and

values of programs of different types are iiqportant to the growth and development of future radio and tele­ vision network programming. In considerable degree, the

success of future network programming lies in the ability of the programmer to learn from past experience*

THE AUDIENCE PARTICIPATION PROGRAM

In the audience participation program the focus

of interest is on participants who are non-q»rofessionsls*

^Ibid.. p. 110-111. k Originally, In practically all programs of this type,

these non-professionals were chosen from members of the

studio audience* It was this selecting of members of the studio audience which gave rise to the term "audi­

ence participation."

In other words, an audience participation pro­

gram is exactly what the term is^lies: a program in which certain non-professionals, under the guidance of

the master of ceremonies, take part in the proceedings

and add to the entertainment of the listening or viewing

audience* Its format includes interviews or quisses or

both; and if there are prizes awarded to contestants or

interviewees these prizes usually include money, merchan­

dise, or samples of the sponsor's products* A few pro­

grams of this kind allow the home audience to actively

participate through the use of the telephone*

The individual programs which have been selected

to represent any singp.e type of the general audience

participation programs have been limited to those with

the two following basic characteristics:

1. Aq>hasls on use of participants who are non-

professionals

2* Sntertainment values stronger than informa­

tional values# $ There are two program types which have not been

Included under the general audience participation clas­ sification, although, in some respects, they reflect the audience participation idea* These two program types are panel quiz and amateur talent. The panel quiz program is often regarded as fall­ ing under the general classification of audience partici­ pation, although, for the most part, the suiin participants in these programs are not non-professionals* In practi­ cally every instance, the main participants in panel quls programs are not ordinary people but professional en­ tertainers, paid a regular weekly salary for appearing on the program* Even though, in many panel quiz programs, in addition to the professional panelists, there are non­ professionals who appear "to confound the panelists," the program itself does not revolve around these guests*

It revolves around the professional panelists* The guests on these programs might be eoBq>ared to letters sent in and read on the air by panel members -- as is done on some other types of programs*

The amateur talent program has also been omitted because it is much more a variety program than one of audience participation. It is true that many non-profes­ sionals are featured in programs of this type, but a 6 largo proportion of amatonr talent prograiia make uae of

seml-profeesional entertainers, or second-rate profes­

sionals. In all available records, this type of program

is considered to be a variety program.

Even though the basic objective of an audience participation program may be either entertainment or in­ formation, most programs of this type lean much more

heavily on the side of entertainment. This limitation has eliminated the strictly informational interview or

discussion program, even though some may have an "audi­

ence participation atmosphere" about them. The audience participation program, then, as it

has been used in this study, has many characteristics

common to other forms. It may include elements of drama,

comedy, sex appeal, or music. It has, however, certain

characteristics idiioh put it into a classification by

itself. It is a program using more or less unrehearsed non-professionals, with either serious or humorous em­ phasis on human interest qualities. It has strong en­

tertainment values, using ordinary men or women as the

center of interest, the star in a real-life drama. 7 Typ#8 of Audience Participation Programa

Since not all programs based on audience partici­ pation are alike, it will be necessary to divide these programs into individual types, each representing a dif­ ferent design or exan^le of the basic idea. These types have been discussed under the following four headings:

Human Interest Programs

Even thougjh the basic audience appeal of human interest is present in all types of audience participa­ tion programs, those programs which have been included under the husuin interest type have certain added charac­ teristics in oomnon, differentiating them from the other types.

The human interest programs use extensively the personal interview with -- or sometimes, as in "tfe. The

People," statements by — ordinary people who are non­ professionals. Hard luck stories are exploited, and human interest values are emphasised, either seriously -- as in "Court of Human Relations" or "Welcome Traveler" — or Jokingly — as in "Breakfast in Hollywood" or "House

Party."

Also, the use of very old people — as in "Life

Begins at 8o" --or the use of very young people — as in "Juvenile Jury” or "Quis Elds" — constitutes the kind 6 of human interest appeal called for under this classifi­ cation. The give-away quiz concept is not present in any of these programs.

Studio Quiz Programs

The programs which have been included under this type are those in which individueüL members of the studio audience -- either individually or in a group — are asked questions. These questions may take the form of single questions or a series of questions, and they are asked by a master of ceremonies.

Programs under this type may take the form of single questions asked of each of a large number of contestants, as in "Dr. I# Q." or "Professor Q;uis." They may take the form of a spell-down type of contest as in "Spelling Bee," or team conq)etition as in "Battle of the Sexes." There may be several constestants com­ peting as individuals in trying to be first to answer the same question, as in "Quick as a Plash." These pro­ grams may be ones in which a series of questions of increasing difficulty to one contestant are asked, such as In "Strike It Rich" or "The 000 Question." There may be pairs of teams of contestants, who in effect eosq>ete against one another for the chance to try for a jackpot question as in "You Bet Tour Life." Or, there 9 may be the element of one person against another person as in "Twenty One" or "The $61*.,000 Challenge#"

Whatever variation any single program under this type might take, it is a program in which questions and answers are involved for some sort of prize in the form of money or merchandise# The answers to the questions are limited to those by participants actually present in the studio# There is no use whatsoever of the telephone#

Any use of the telephone in such a program moves this program from the studio quiz type to the telephone quiz type, as in the case of "Break the Bank" — a program which ml^t, under other circumstances, be considered to be a studio quiz program# Telephone Quiz Programs

Programs %diich have been included under this type might have any or all of the studio quiz program charac­ teristics with one isg>ortant addition. The basic idea of the program is to allow those at home the opportunity to participate. The master of ceremonies uses the tele­ phone to include those at home in the program# In some programs of this type, the studio audience may also be given an opportunity to answer any question, but this procedure is secondary to the primary objective of the program#

Host programs which have been Included under this 10 classification are concerned with questions about music, such as "Stop the Music" and "Sing It Again." However, there are also other variations of this basic idea idiich have been included.

Stunt Programs Another name often given to programs of this type is comedy-partioipation. The name stunt has been used here because these are programs in which both comedy and human interest are almost equally involved. They are, however, more than human interest programs in that parti­ cipants take part in ganws and stunts — in many varia­ tions of earlier parlor games. There maj be a quiz involved, but, unlike the studio or telephone quiz programs, this quiz is inci­ dental to the fun of the stunt. Programs of this type may range all the way from

"Truth or Consequences," in which contestants are asked to answer a question or pay a forfeit which is a stunt, to "Can Do" in which participants are merely asked to guess for a prime whether or not a special guest can do a particular stunt. 11 ORGANIZATION OP THE DISSERTATION

Before examining any of these Individual programs

falling under any one of these four types, the writer

has Included a chapter in which the historical develop­

ment of audience participation programs In general has

been explored. In Chapter II the beginnings of audience participation programs have been discussed, calling at­

tention to the Introduction of major variations of this

basic kind of program. A discussion of the reasons for the extensive use of audience participation programs

has also been included In Chapter II, along with a dis­

cussion of the reasons for their sudden decline In use*

Chapter II has been divided Into a network radio portion

and a network television portion In order to facilitate

such a discussion of the general type. In addition, a

section concerning the shift of many of the audience participation programs from nighttime to daytime sched­ uling has been included. The introduction Into daytime

schedules of idiat originally was the type of program

used In the evening, and the highly Important place

occupied by audience participation programs In daytime network radio around 19^.$» and daytime network televi­

sion In 1 9 5 7 have also been Included In this general

discussion* Chapters III and lY have both been devoted to 12 humem interest programs, the former to human Interest programs on network radio and the latter to programs of this type on network television*

Chapter V introduces the quiz program, and the next three chapters have been devoted to different types of quiz programs. Chapter VI has been devoted to studio quiz programs on network radio; Chapter VII to studio quiz programs on television networks; and Chapter VIII to telephone quiz programs on both radio and television networks*

Chapter IX has been devoted to a discussion of stunt programs on both radio and television networks*

Each of the program types included in Chapters

III, IV, VI, VII, VIII, and IX, has been explored from the following points: (1 ) lAiere the type first develop­ ed, (2 ) important changes which have taken place in con­ tent and structure, (3 ) production costs, (I4.) sponsorship,

(^) methods used to make the individual programs effec­ tive to the ear or effective to the eye, and (6 ) a gen­ eral evaluation of the program types*

The final chapter. Chapter X, has been devoted to summary and conclusions* The conclusions portion has been divided into the following points: (1 ) reasons for the development of the audience participation 13 programs; (2 ) values of this kind of program; (3 ) possible

uses of the audience participation program which have not,

as jet, been exploited heavily; and (4 ) speculations as

to the future of this kind of program In Amerlcsji radio eind television networks.

H4J0R SOURCES OF INFORMATION

With regard to the content of these Individual chapters In this dissertation, no major work, with the

exception of Robert Hamswl Stewart's Ph.D. dissertation, "The Development of Network Television Programs to

January, 1953** at Ohio State University In 195U» has devoted mich attention to the developmental aspects of

audience participation programs* Some books have given

Illustrations of advertising and production techniques

for such programs, and some have shown the status of

general radio or television programming at a given time.

However, the most useful sources of Information have been the various trade publications such as Sponsor. Broad» castlng-Teleeastlng Yearbooks. Variety. Billboard, and the weekly Ross Reports for network television*

Also useful have been several of the general periodicals such as Time. Newsweek. Life, and Business

Week; as well as certain dally newspapers Including % The New York Tlmee. The Columbus Dispatch, and The Houston

Post, Son» of the Information concerning program list­

ings and ratings, along with cost figures, was secured from "Network Radio and Television Program History," an unpublished report compiled by graduate students In

Radlo-Televlslon Programming In the Department of Speech

at Ohio State University, Information for this report was secured from available NBC and CBS program logs for

early years of operation, from annual reports of the

Cooperative Analysis of Broadcasting, from January net­ work program rating reports of C, E, Hooper, Inc,, from

1936 to 19^0, from January network program rating reports of the A, C, Nielsen Conqpany 19^0 to 1956, and from dally or weekly program listings published in The New York

Times and in newspapers in other leading cities. The

cost figures used in this report were secured from es­ timates in Variety and Sponsor,

In order to assure consiste accuracy, whenever

"Network Radio and Television Program History" has been used, considerable time has been spent in checking and re-checking original sources.

Considerable information concerning Individual programs and yearly program listings has been secured from the librarians of the major networks — ABC, CBS,

NBC, and Mutual, Also, isost of the recent rating infor­ mation was obtained from The Pulse, Inc., through corres­ pondence with Dr. Sydney Roalow.

Previous Academic Studies The previous academic studies which relate to the history of network programming in general are —

Robert Stewart Hammel, "The Development of Network

Television Program Types to January, 1953*" unpublished Ph.D. dissertation, Ohio State University,

Don Crawmer Smith, "A Study of Programming of the

Three Major Radio Networks Between October, 1931» and

July, 1935," unpublished M.A. thesis, Ohio State Univer­

sity, 19i{.9. Donald W. Riley, "A History of American Radio

Drama from 1919 to 1944," unpublished Ph.D. dissertation,

Ohio State University, 1944* Robert Haakenson, "A Study of Major Network Dis­ cussion Programs Televised During the Period January

Through May, 1951," unpublished Ph.D. dissertation. State University of Iowa, February, 1952.

Leon C. Hood, "The Programming of Classical Music on Major Radio Networks," unpublished Ed.D. dissertation.

New York University, 1955* 16 Theodore Stuart DeLay, Jr., "An Historical Study of the Armed Forces Radio Service to 191^6," unpublished Ph.D. dissertation. University of Southern California,

1951. Lawrence E. Dlcklnger, "An Analysis of Seasonal

Variations In the Sizes of Audiences for Evening Network Programs," unpublished Ph.D. dissertation^ New York

University, 1947.

Hurray R. Yaeger, "An Analysis of Edward R.

Murrow*s See It Now Television Program," unpublished

Ph.D. dissertation. State University of Iowa, 1956#

Not all of these previous academic studies were related to audience participation programs. Only four of them were valuable sources of Information In the writing of this dissertation. These four deserve fur­ ther discussion.

The most valuable of the academic sources of In­ formation was Dr. Stewart's dissertation. The purpose of this dissertation was to trace the development of net­ work television program types from their origins In tele­ vision's pre-network history to a time idien television 6 programming had reached a point of relative atablllty#

Robert Hammel Stewart, "The Development of Network Television Program Types to January, 1953»" uwubllahed Ph.D. dissertation, Ohio State University, 1954» p. 2. 17 This was a library study, for which the most use­ ful sources of Information were found to be trade publi­ cations, magazines, periodicals, and dally newspapers.

Dr. Stewart did not treat the audience partici­ pation program as a separate type, but he did Include In his work valuable Information concerning this program type under a section he called, "Miscellaneous Network 7 Program Types." Under this section, Dr. Stewart pointed out that some program types do not fit as well Into a single system of classification as one would like. Audi­ ence participation might be under either "variety" or

"talk* headings, according to Dr. Stewart. However, to do so would be to force the program type Into a classification In idilch many Individual programs do not belong.

He devoted twelve pages to this "Miscellaneous" section. Nine of these twelve pages were devoted to a listing of both the nighttime and the daytime audience participation programs In television network prograssnlng 8 carried on television networks to January, 1953.

^Ibld.. p. U03. o Ibid.. p. 18

Dr. Stewmrt's conclusions concerning the develop­ ment of particular program types in network television follow:

Seven major factors, which are not them­ selves constant in the extent of their influence on television program develop­ ment are always at work in determining what programs will be broadcast.9 These seven factors are: the viewing situation, technical factors, the availability of talent and program material, program costs, program popularity, and commercial pressures. In the past these factors have influenced the development of particular program types. The extent of the influence of these factors changes from time to time as changes or developments occur within them. Thus the lineup of television programs at any given time has been priiaarily the result of the interaction of these seven major factors. Mr, Don Smith's M.A. thesis was another of

the very useful academic studies. He traced the pat­ terns of programming of the three major radio networks between 1931 and 1935. He attempted to show relations between external conditions which may have had an effect on the industry and changes in the pattern of program­ ming, particularly with relationship to the frequency with which various types of programs were scheduled.

He also atteaqpted to show relationships between pro­ gramming characteristics of the 1931-1935 pariod and

\bld.. p. k77. 19 programming characteristics of 19U.9. The radio section of the Sunday New York Times between October, 1931, and July, 193^, was his principle source of data for the study,

Mr* Smith made no specific mention of audience participation programs, but he did give some little treatment to the human Interest programs of 193S# Concerning these human Interest programs. Hr*

Smith wrote: The human Interest programs of 1935 consisted mostly of amateur shows, with the Vox Pop type of programming begin­ ning on t&e networks In the summer of 1935.10 His conclusions Included the following: that there were no significant trends In the scheduling of music,that the 1931-1935 period was Inqportant to the 12 development of variety programs, and that programming policy In this period was aimed at achieving the keynote of that particular time In programming history —

10 H Don Crawmer Smith, "A Study of Programming of the Three Major Radio Networks Between October, 1931 end July, 1935" (unpublished M.A* thesis, Ohio State University, 1914-9), p. 86* ^^Ibld.* p. 88.

^^Ibld*. p* 90* 20 variety.* 4. 13

Dr* Robert Haakenson’a study was of value in Its discussion of what is considered to be the more serious^ informational type of audience participation. He calls this type a discussion program. He does not, at any time in his dissertation, refer to it as an audience partici­ pation program. Although programs of such a serious nature have not been included in our consideration of audience participation programs, programs of this kind do, many times, include what might be called the "audi­ ence participation atmosphere.*

The purpose of Dr. Haakenson*s study was to de­ scribe the backgrounds, and production method of six network television discussion programs and to consult with persons closely associated with these programs and a group of television critics concerning nine basic prob­ lems in television discussion. The six programs were those televised throu^out the period of investigation,

January through May, 19^1: "American Forum of the Air,"

"Mrs. Roosevelt Meets the Public,* "Meet the Press,*

"People’s Platform," "On Trial," and "Court of Current

Issues** These programs were described according to

^^Ibid.. p. 102. 21

jpoadcast histories, announced objectives, formats, methods of presentation, selection of topics and parti­

cipants, techniques of production, and popularity ra­

tings* The nine basic problems considered were those

connected with the performance of public service, pref­

erences In formats and In types of topics and. partici­ pants, the use of visual aids, scheduling, the values of

promotion, commercial sponsorship and popularity ratings#

It was not a part of the study to attempt a final evalu­

ation of any of the programs# This was the major short­

coming of the study# Using only six programs, such an

evaluation should have been possible#

The conclusions reached In the Haakenson disser­

tation were that network television discussion programs'

extreme preoccupation with newsworthiness seems subject

to question; that network television discussion programs

seem to need firm support, particularly from the net­ works themselves; and that television discussion pro­

grams must be considered more seriously and even dealt with more systematically in order for them to achieve maximal effectiveness#^

Robert Haakenson, "A Study of Major Network Dis­ cussion Programs Televised During the Period of January Through May, 1951* (unpublished Fh#D# dissertation. State University of Iowa, February, 1952), p. 1^20# 22

The fourth and last of the previous academic studies vftilch were sources of Information In the writing of this dissertation was that of Dr. Donald V. Riley.

In 191^9 he presented a history of American radio drama from its Inception In 1919 to 19^4. His division of radio drama into the strip serial, the episode serial, and the unit drama^^ was similar to this writer*s divi­ sion of audience participation progruns Into different types.

Among his conclusions. Dr. Riley pointed out the obviously widespread listener acceptance of drama as entertainment, and the fact that all types of drama had been employed as propaganda agents.

Periodicals and Newspapers

Only two articles have attemqpted to trace the history of audience participation programs. One was from a magasine, the other from a newspaper. Both were concerned with the quis program.

"Quid Pro Quiz" by George Joel was an atteaqpt to

Donald V. Riley, "A History of American Radio Drama from 1919 to 19q4" (unpublished Ph.D. dissertation, Ohio State University, 191*4)# P# 213#

^ S b i d . . p. 216. 23 trace the historical development of the quiz program from 17 1936 to 1939 . The quiz program Is discussed from the standpoint of the listener and from the standpoint of the sponsor# The success of the quiz show Is discussed on the basis of two factors: the co-operation of the audi­ ence In the radio studio and the skill and personality of the quiz master# Mr# Joel points out that quiz pro­ grams should open a fresh field of Investigation for the psychologist and the educator#

Mr# J# K# Hutchens' article *Who Thou^t Up The

Quiz Show?" Is a detailed analysis of "one of radio's greatest assets#This SLrtlcle Is an attempt to trace the historical development of the quiz program# begin­ ning with "Professor Quiz#" Mr# Hutchens concludes that what the quiz shows do prove beyond any doubt Is an enormous public curiosity about facts# That# and the sporting appeal# the old Instinct to get something for nothing# and that little streak of ham that lies latent in almost everyone make such programs successful# according to Hr# Hutchens#

17 George Joel# "Quid Pro Quiz#" The latlon. Nov­ ember 1 6 # 19U0# p# ^®Ibid., p. klB* 19 J# K# Hutchens# "Who Thought Up The Quiz Show?" The New York Times# August 23# 19i*2# p# 12. 2lf Both of these articles furnished valuable Infor- laation concerning quis programs.

Trade Publications

Broadcasting-Telecasting magazines through Janu­ ary of 19^7 were valuable sources of information for

January network program listings and individual sponsor information.

Broadcasting Yearbooks, from 1939 through 1957» were valuable sources of information for data concerning the division of commercial network time, information about the Wartime Code, and information concerning the intro­ duction of audience participation programs into daytime radio and television.

The weekly Rosa Reports on Network Television, from December. 1955, t h r o u ^ June of 1957» were also valuable for individual program Information concerning the date of network debut, sponsor, producer, and master of ceremonies. Previous Qualitative Research

In radio's growing years, the difficulties of conducting broad-scale quantitative surveys with the re­ sources then available to the Industry created an Inter­ est in qualitative research. Out of this interest c s s m pioneer studies of radio's psychology by people such as 2 ? Dr. Paul Lazarsfeld. Dr. Harta Haraog, Dr# Rudolph Arn~

halm. Dr. Hadlay Cantrll, and Dr. Srnaat Dlehtar. Per a whlla in the 30'a and l|.0*s there was a strong Interest

in learning what listeners got out of daytime women's

serials and quiz programs. There was also an interest

in inrestigatlng who wrote fan letters, and of examin­

ing outstanding cases of radio's influence: such as 20 Kate Smith's marathon War Bond appearance* or Orson

Welles' over-realistic dramatization of "War of the W o r l d s . " ^

At about the time television appeared on the scene, interest in this type of study declined on the

part of the broadcaster, though under the name of moti­ vation research it was somewhat of a success in the

general field of marketing. Probably the primary rea­

son that television research has not followed this

qualitative bent is that the medium has changed so rapid­ ly that it has been enougpi Just keeping statistics up to date without worrying about their deeper interpretations.

It has also been generally assumed that idiat was

20 Robert K. Merton* ^ a a Persuasion (Hew Torks Harper and Brothers, 19q.6). 21 Hadley Cantril* The Invasion F^om Mars (Prince­ ton: Princeton Unlveraity Press* 19#^0). 26

It has also bean generally assumed that lAiat was true for radio was also applicable to television; that the reasons %Aiy a woman listened to a radio daytime

serial were no different from her reasons for watching a television daytime serial*

Only one major study has dealt with the psycho­ logical aspects of audience participation programs*

This study dealt with the studio quiz program In parti­ ng cular* It was known as a "Gratification Study" of

"Professor Quiz," conducted and written for publica­ tion by Dr* Her ta Her so g with help from Dr* Hadley

Cantrll* The program "Professor Quiz" was analyzed because It was a type of highly successful quiz program regarded by many members of the radio public as

"educational*”

This study was a valuable source of Information with regard to studio quiz programs In general *

22 Paul Lazarsfeld. Radio and the Printed Page (Mew York, 19i|.0}, p* 64» CHAPTER II HISTORICAL DEVELOPMENT OF AUDIENCE PARTICIPATION PROCffiAMS

We find ourselves, then, with relatively little

literature In the field of audience participation pro­ grams compared with the amount of literature available

in many other programming fields. What we have is many

scattered reports in various newspapers, magazines, and

trade journals, along with a limited amount of informa­

tion in unpublished dissertations and monographs. It is

upon these scattered sources of inforsiation that we must depend for an accurate and meaningful presentation of the historical development of audience participation programs.

The history of these programs is not unlike the history of other major types of programs in network broadcasting. It is a story of the rise and fall of

individual programs. It is a story of constant change. It is a story idiich begins on some local radio station

somewhere in the United States around the 1930-1931 season. There is no available information to indicate either the call letters of this local radio station or

the specific date of the first broadcast of what later was named an audience participation program. However,

27 28 there is sufficient documentation to support the conten­ tion that audience participation programs do date back to local radio programs. There Is also documentation to support the contention that these local radio programs were the most popular of the on-the-spot formulae for

Interviews -- man-on-the-street programs.

The man-on-the-street program Is almost as old as broadcasting Itself. This type of program had con­ siderable vogue during the early 1930's on local radio, and In various forms has maintained some place on the air ever since.^

There Is scarcely a local radio station In the country that has not had such a program at one time or another. Albert Crews gives us two reasons for this:

This form of Interview is useful as a sampling poll of public opinion and people are nearly always interested in other people's opinions on current topics.2 There is therefore consider­ able interest in a program which stops the first five people lAio happen along the street and asks them a question which Is looming large at the moment. The other Justification of the program is pure entertainment. It is a mild form of making fun of people or playing Jokes on them.

Henry L. Bwbank and Sherman P. Lawton, Broad­ casting: Radio and Television (lew York: &irper Brotkws, p. 300. ^Albert Crews, Radio Production Direction (lew York: Hougjhton Mifflin Cospa^, ) # P * 29 In this quotation can be found the basic elements of both the human interest and the stunt program. And

Henry L. Embank and Sherman P. Lawton complete the picture of an audience participation program when they state that "...the quiz program Is an extension of the -3 man-on-the-street format $"

It is in the man-on-the-street format, then, that we find all of the qualities inherent in the siajor vari­ ations of the audience participation programs. These programs are simply extensions of the man-on-the-street program which had it birth on local radio.

There is practically no information available concerning the early development of the man-on-the- street program type in local radio. However, according to Dr. Harrison B. Susmiers, the original "Sidewalk

Interviews" program, which moved from local radio into network radio and was later called "Vox Pop," was pre­ sented by Parks and Butterworth locally in Beaumont,

Texas, for two years before it made this move to the k network.

In the history of network programming in general.

^Bwbank and Lawton, loc. cit. better from Dr. Harrison B. Summers, Professor of Speech, Ohio State University, July 1$, 1957* 30 the reason for any particular make-up of network show schedules at any particular time In history Is found In a conq>lex of forces. Some of these forces are found with­ in the Industry, some from outside, and they affect either the popularity of an IndlvldueJ. program or the economies of the networks and the broadcasting Industry as a whole.

INTRODUCTION CP AUDIENCE PARTICIPATION TYPES

Because of the strong coBq>etltlon which existed between networks and because national advertisers were willing to spend large sums of money on network progras&s, the period between 1930 and 1935 saw the development of more new program forms than any other five-year period in broadcasting history. This was the period during which audience participation programs were first Intro­ duced on the networks throu^ the human Interest type of program#

Human Interest programs were beginning to develop at the close of the 1931*1935 per­ iod.5 Human Interest programs are those depending on nonprofessional audience par­ ticipation, with the appeal of the program

^Don Crawmer 8sd.th, *A Study of Programming of the Three Major Radio Networks Between October, 1931 and July, 1935* (uzipublished M.A# thesis, Ohio State University, 19i|.9), p. 86. 31 based primarily on the human Interest value of the participants*

The program "Court of Human Relations" appeared

In the NBC program schedule of January, 1934*^ This human Interest program was responsible for bringing to the network audience for the first time "problems be­ tween human beings." The participants were not pro­ fessional actors playing parts In a scripted dramatic performance. They were real people being given an opportunity to tell, for the first time to a coast-to- eoast audience, their real problems.

Next came the studio quls type of program. This variation of the audience participation program was actu­ ally developed from the combined elements found In the older man-on-the-street program and the spelling bee type of program. Spelling bees had a brief popularity In

1936-193?/

The studio quls type of program did not become an established radio network format until the Introduction of "Professor Quls." This program was Included In the

"Network Radio and Television Program History" (Ohio State University: oosq>lled by graduate students In Radlo-Televlslon Programming, 19^), p. H-3l^-e. (Mimeographed. ) 7 Bwbank and Lawton, loc. elt. 32 g January, 1937, CBS program schedule. It Is presumed

that this program was introduced In the fall of 1936. The telephone quiz type of program was actually

Introduced to the radio networks by way of a "feature

spot" Included within a seml-rarlety program, "Pot O'

Gold." This program was found in the NBC program . 9 schedule during the month of January, 1914.0 , However,

the telephone quiz type did not become really establish­

ed as a popular radio format until the Introduction of , ^ 10 "Stop The Music" on May 23, I9I4.8 ,

"Truth or Consequences* was the first of the

stunt programs and was first presented on a network In

August of 1914.0 ,

ÏÏSE OF AUDIENCE PARTICIPATION PROGRAM IN RADIO NETWORKS

Although as early as 1931& there were a few scat­ tered Individual programs of the audience participation

Q "Network Radio and Television Program History," OP. elt.. p, H-37-C. ^"Network Radio and Television Program History," OP. Olt.. p. H-l4.0-b. ^^Broadcasting-Telecasting Tearbook— 19k9 (Washing­ ton, D, d,: broadcasting Publications, Inc., 19149), p. 362. ^^Broadcasting Yearbook--19L8 (Washington, D, C, : Broadcasting Publications, Inc,, I9I48), p, I42O. 33 12 variety by way of the human interest type, they were not used extensively on the radio networks until the fall of the 1937-1938 season.^^

In Table I, on page it may be seen by looking down the "Number of Programs" column that there was a rather steady increase in the extent of use of audience participation programs beginning with September of 1938 when only nine programs were presented and increasing each season up to May of 19l|3. at which time thirty-three programs were presented* It is also interesting to note with regard to Table I that the greatest number of audi­ ence participation programs ever presented up to 19^2 during any single season on the radio networks was thirty- three, and these thirty-three programs were presented during the summer season of 1941# In Table II, on page 3$, it should be pointed out that the month of January, 1949, was the "big" month as far as the number of audience participation programs pre­ sented was concerned* During this month, forty-nine audi­ ence participation programs were presented on the radio networks — twenty-six at nlgjht and twenty-three during

1 9 See "Court of Human Relations," p* 31, ^^Broadcast Advertising Yearbook— 1939 (Washington, D* C*i Broadcasting Publications, Inc*, 19^9), p* 32. 3 k

Tabla I Extent of Use of Audience Partieipation Programe on Wadlo Networks T 9 1 7 w m i ------

DATE AVRS. RARE NO, OP PER CENT RANK RTEG. PRGMS. OP TIME 3È OP Oct. * Apr., •36 9.7 5 11 7.7 6 May, Sept., 9.6 2 9 9.4 5

Oct., •38 Apr., *39 10.5 4 13 12.4 4

May, •39 Sept., *39 7.8 5 18 16.7 3

Oct. , *39 Apr., •Ço 11.4 $ 20 15.9 3 May, *Uo Sept., *5o 8.5 3 27 20.1 2 Oct # , *40 28 21.6 2 Apr., *ia 11.4 3 May, 7.6 20.8 2 Sept., % 3 33 Oct., Apr., 11.4 2 22 14.5 3

May, *1^2 Sent#. 111 2 8.3 3 21 17.5 3

Ooapiled from Broadeaatlng Yearbook». 1939-19U.3» 35 the daytime. The 1 9 4 8 - 1 radio network season was the biggest one in radio for the audience participation

Table II

Extent of Use of Audience Participation Programs on Radio Networks an3 ^Average Ratings

DATS AVERAGE RATING NUMBER OF PROGRAMS ÏÏI(?5 T "TSTT" m ----

1943 12.0 — 17 1944 9.6 **6.8 21 4 1945 11.0 4.8 21 5 1946 10.1 4.1 2^ 8 1947 9.2 5.0 24 14 1948 11.6 4.8 24 15 1949 10.6 4.0 26 23 1950 9.7 5.5 23 16 1951 9.0 4*9 19 16

*Only the commercial programs were rated. **Only one program was rated this year.

Table II indicates the average rating and number of audience participation programs, both day and ni^t, carried on schedules of national networks during the third week of January of each year from 1943 to 1951. It was conqpiled from data included in Hooperatings as well as information included in "Network Radio and Television Pro­ gram History" (Ohio State University, 1954). Mimeographed. programs. After this season, both the daytime and n i ^ t - time number of programs began to drop off and never again reached such a peak. 36 Reasons for Extensive Use In the early years of broadcasting, the size of

the radio audience was estimated by the sale of sets. When a single station's share of the total had to be

measured, more reliable methods were developed. However,

all the elaborations and refinements have not shifted

the center of Interest, which Is the size of the deliver­ ed segment of an audience. Analysis may discover how

much the audience remembers, what parts of a program It

likes best, how far It Is Influenced by the eomedian and

how far by the coansarclal massage; but the size remains Ik dominant.

The total number of listeners reached is the first test the sponsor applies in deciding idxether or not his program Is effective. His reasoning, obviously, is that

he may be wasting his money if his program does not at­ tract a sufficiently large number of people. Such a

dual consideration on the part of the sponsor — how much a program costs to reach how many people — has brought about a recent development in broadcasting known as COst*^er-thousand information. It is information

concerning how much it costs a sponsor for every thousand

^Gilbert Seldes, The Great Audience (Hew York: The Viking Press, 19^1)» p.^ZCTT 37 homes tuned to hla program. Unfortunately, information of this kind la available only for network television, and will be Included later under that area. However, It

Is mentioned here because of the fact that It Is this combination of low cost and fairly high ratings that has brought about such an extensive use of the audience par­ ticipation programs In radio networks.^^

Although some Information Is available concerning costs of Individual network radio programs during the

1950-1951 season, there Is not enough such information available to Indicate any particular trends in the his­ torical development of audience participation programs.

Although program costs have always been an liqaortant con­ sideration, the Industry was not so concerned during the radio-only era as it is today with the publication of such information. This Is probably because costs for television are so much greater than they were for radio.

^Rating— The rating of a program represents the percentage of homes In the test area In idilch, on a given date, the faadLly set was tuned to the program rated. A national rating of a network radio program represents the percentage of all homes in the tJnited States. Ration­ al television ratings are based on the total number of television hosws— not all homes. The January rating is the mid-season rating, and it is used in this study to indicate the trend of a program's popularity. It is used as a quantitative indication of relative popularity, not as an absolute figure. 36 16 and sponsors are more concerned about them#

During the month of January, 1951 > the average weekly cost, not including cost of time, of radio network

audience participation programs was estimated to be

$5»000, coiqpared with the average weekly cost of variety programs estimated to be approximately $12,000. And

during the third week of January, 1951» the average rating of all radio network audience participation pro­

grams was 7,3, and the average rating of all variety pro- 17 grams was 7,9, according to Nielsen# According to these figures, the audience participation programs during the

1950-1951 season enjoyed a lower cost-per-thousand figure

than did the variety programs#

Reasons for Decline in Extensive Use

There were two major reasons for sudden declines

In the use of audience participation prograsui on the radio networks# First was the introduction of the War­ time Code of Practices in January of 19U2, and second

Costs— Unless otherwise indicated, all cost figures in this study are per-broadeast production costs of pro­ gram sponsor, not including time costa# 17 This information was compiled from January coat estimations given by Variety magasine and rating informa* tion given by A. C# Nielsen in Network Radio and Televi­ sion Program History* (Ohio State University* cosg>iled by graduate students in Radio-Television Programming, 1951|>« ) 39 was the introduction of network television in the fall of 19ii-9* These two different events occured at differ­ ent times in history for entirely different reasons, yet both caused a decided decline in the use of audience participation programs. A rather sharp drop in percentage of time de­ voted to commercial audience participation programs may be noted in Table III, on page I4.0 , between September,

19ip.> and April, 19i*2. A Wartime Code of Practices for broadcast stations was issued on January 16, 19k2, by 18 the Office of Censorship. Drafted by Director Byron

Price, after conferences with the industry, the Code became immediately effective, except for Paragraph II providing for the banning of certain ad lib quis pro­ grams, which did not become operative until February to permit changes in format and alterations of commercial 19 contracts. This Wartime Code of Practices had a serious ef­ fect on the development of audience participation pro­ grams. The following is an excerpt from the Wartime Code

18 Broadcast Advertising Yearbook--19L2 (Washington, D. C.: teroadoasting ^bllclitionsXTTTp. P• 8$. 19 Ibid.. p. 86. ko

Table III

Percentage of Radio Hetwork Commercial T i w ^voted to Audience Participation Programs TSOsTiSS^— DATE PERCENTAGE OF COMMERCIAL TIME

Oct., '37 to Apr., *38 7.7 May to Sept.y *38 Oct., '38 to Apr., •39 i l l May to Sept., *39 16.7 Oct., *39 to Apr., 15.9 May to Sept., 'I4.0 20.1 Oct., '1|.0 to Apr., 'ii 21.6 May to Sept,, * Ip. 20.8 (Introduction of Wartime Code) Oct., *ip. to Apr., "TJR...... H 1..5 May to Sept., *1^^...... Oct., *1*2 to Apr., *i|.3...... K : l May to Sept., *14.3 ...... U)..3 P a r t l y Oct., *14.3 to Apr., 2.S , 976 May to Ang., *3#2 e e e e e 13.2 Winter to Spr., *kS ______• » e e e 4 . 9 10.0 Summer, *•^•5 7 . 2 11*4 Oct.—Nov.—D eo., *kS ...... — ...... Oct."Nov."Dec., 'lj.6 ...... —— ...... Oct* 1”7 f *i^7 ...... 9*3 ...... 8 Oct. 1-7, '48 ...... 1 0 . 6 ...... 10.6 (l y réduction of Network Television) Oct* ...... 8.0 Oct. 3^d week *pO ...... 2*9 * * # * a 6*6 Sept 3r8 week *]^1 ...... 3*7 6.9 Sept 2nd week *$2 ...... 3 *^ Sept , 19^3 ...... 3*2 t t

sThere was no percentage figure available*

This table was coiqplled from Broadcasting Yearbooks. 1938 ttarou^ 1954* kl which pertains directly to programs of this kind: It is requested that all audience-partici­ pation type quis programs originating from remote points, either by wire, transcrip­ tion, or short wave, be discontinued, ex» oept as qualified h e r e i n , 20

Any programs idxich permits the public accessibility to an open microphone is dangerous and should be carefully super­ vised, Because of the nature of quis programs, in which the public is not only permitted access to the microphone but encouraged to speak into it, the danger of usurpation by the enemy is enhanced. The greater danger here lies in the informal interview conducted in a ssmll group — 10-25 people. In larger groups, where participants are selected from a theater audience, for exanqple, the danger is not so great, Generally speaking, any quis program ori­ ginating remotely, lAerein the group is small, and wherein no arrangement exists for investigating the background of partici­ pants, should be discontinued. Included in this classification are all such productions as man-on-the-street interviews, airport in­ terviews, train terminal interviews, etc. In all studio audience type quis shows, where the audience from which interviewees are to be selected nuaûiers less than 50 people, pro­ gram conductors are asked to exercise special care. They should devise a method whereby no guaranteed participation can be obtained by any individual seeking participation.

The broadcaster in sunary is asked to resMm- ber that there Is need for extraordinary care especially in cases where he or his authorised

Broadcasting Advertising ------Yearbook— 19li2 (Vakhing- ton, l^oadieasting Publications, Inc.,191*2), p, 85, 42

reprosentatlve la not in full control of the program.

It la Intereatlng to note In Table III, on page

that after thla drop In percentage of time In 19Ul>

Table IV

The Number of Different Network Radio Audience Particinatlon Pro frame % Week

DATE (January) Night Day

1952 6 9 1953 ...... 13 9 1954 ...... 6 9 1955 ...... 6 6 1956 ...... 5 1957 ...... 2

Thla Table was compiled from In­ formation Included In Broadcaatlng- Teleeaatlng, 1952 throu'iÿi 1957•

the audience participation program never again reached

the peak reached In 1940# The greateat drop In the use of this kind of program came In 1949. All radio network ratings dropped

during this year as television network coag)etitlon was felt by the radio Industry for the first time. As a result of these rating drops there was a corresponding

drop In the use of all kinds of programs, including

audience participation. 1+3 This drop in the use of this type of program on radio networks did not stop with the 191+9-19^0 season but continued through the 19^6-19^7 season, as indicated in Table XV, page 1^, It may be noted in Table IV that the single exception to this drop in use came about dur­ ing the 19^2-19^3 season when the number of nighttime programs was nearly doubled over the previous season*

USB OP AUDIENCE PARTICIPATION PROGRAMS ON TV NETWORKS

The television networks have done little in the way of introducting new program types* Every one of the audience participation types on the air as of January,

195?» was first Introduced on network radio* Most of the individual programs within each type were taken over by the television networks from the radio networks* As far as the historical development of the audience parti­ cipation programs is concerned, the television networks contributed no new types but merely continued with an already well-established network radio type of program by adding the visual element#

Reasons for Extensive Use The reason for the extensive use of audience par­ ticipation programs in network television has been the same as that given for their use in network radio — a k k combination of low cost and fairly good ratings*

THE SHIFT PROM NIŒÎTTIME TO DAYTIME PROCHIAMMINO

Many audience participation programs, originally scheduled during the evening hours, have become daytime

Table V

Average January Ratings and Total Number of Audience Participation Programs

"1955On TV Netwrksto" 1251 DATE SATOtAOB RATING NUMBER OF PROGRAMS ( January) kight ï>ay Night Day

1950 12.8 3*6 13 2 1951 19.8 **2.0 17 2 1952 20.3 13.1 19 3 1953 2L.8 15.2 1 4 9 1954 18.3 9.8 22 10 1955 19.9 8.8 15 12 1956 24.7 10.5 15 7 1957 19.6 6.6 16 9

* Only the commercial prograsu were rated. ** Only the one program was rated this month.

Table V indicates the average ratings and number of audience participation programs, both day and night, carried on schedules of national television netvrorks during the third week of January of each year, 1950 to 1957. It was coaqpiled from data in­ cluded in both "Network Radio and Television Pro­ gram History," and rating agency information in­ cluded in Broadoaating-Telecaating magasines. programs. Programs of this kind were originally an evening kind of entertainment but gradually through the years have taken a highly important place in daytime network schedules* In radio networks, this change came

Table VI Comparative Average Weekly Production Costs Between Audience Participation Programs ânâ Comedy-Variety and Prestige Drama

— " i m ^ 1 ^ — ------DATE AVERAGE COST AVERAGE COST (January) Night ComedLy- Prestige Variety Drama

1950 { 7,428 I Ik,000 112,875 1951 7.235 *$700 ! 31,000 119,800 1952 9,060 ^,600 ! 36,700 124,500 1953 flO,4X8 f2,890 I 50,000 125,700 (10,102 2,885 ! 60,k85 28,333 1955 12,96k 2,420 62,200 34,636 1956 23,935 ^,733 $99,115 60,827 1957 ^29,250 ^7,250 $61,333 59,000

* Only one program cost was available Table VI indicates the average weekly program costs including talent and production, but not including commercials or time charges* These cost figures were coBQ>iled from both "Network Radio and Television Program History,* and cost information in Variety and Sponsor*

about around 1945; in television it oeeured around 1954 and is still evident today# k(> Nighttime to Daytime In Radio Networks In 1939 and 194-0 audience participation programs 21 first appeared as sponsored daytime programs. During this period these programs constituted 20 per cent of 22 evening network-sponsored programs. The proportion dropped to around 6 per cent of all sponsored evening programs by 19l|.6, but the number of daytime programs 23 Increased. During the 194-5-194-6 season, the daytime program schedule continued to show many changes In broadcast schedules. Informality seemed to be the new note In daytime broadcasting and was constantly being Injected 2k Into the daytime radio network broadcasting schedule. The popularity of this new daytime fojnnat be­ comes particularly apparent when we find that for the first time In the history of radio network programming and scheduling an audience participation program, "Break­ fast In Hollywood," led the top fifteen daytime leaders

Broadcast Advertising Yearbook--19kO (Washington, D. C. : Broadcasting Publications, Inc., 194-0)« p. 102. ^^See Table I, page 34-* ^"^Ewbank and Lawton, loo, olt. ^^*Broadoast Advertising Yearbook— 19L.6 (Washington, D. C.: Broadcasting Publications, Inc., 19k6), p. 102* k l during December, 194-5• Nlgfattime to Daytime In Télévision Networks It should be especially noted In Table VI that the weekly quarter hours devoted to daytime television network audience participation programs had a great In­

crease from 1951 to 1953* They nearly doubled between 1951 and 1 9 5 2 , and nearly doubled again between 19 5 2 and 1 9 5 3 # It ml^t also be noted In Table VI that audience participation programs have been popular as daytime as well as nl^ttlme entertainment ever since network tele­ vision began.

In the evening, except for DuMont, lAilch made almost no use of the type, the net­ works were about even In the number of quarter hours per w e e k , 26 During the day­ time hours differences appeared. In Feb­ ruary, 191^9, DuMont carried twenty quarter hours and CBS carried ten quarter hours per week. In January, 1950, the only day­ time programs of this form were those on DuMont, which carried the same programs as the year before; CBS had dropped Its day­ time programs from Its schedules. In 1951» DuMont was still carrying the same twenty quarter hours per week; NBC carried four; and ABC carried two quarter hours per week. Still leading in January, 1952, was DuMont, still twenty quarter hours, and CBS carried

^^Ibld.. p, 103. 2^obert Stewart Hammel, "The Development of Network Television Program Types to January, 1953 (unpublished Ph,D, dissertation, Ohio State University, 1954.) » P« 1|.05* 1^8 six quarter hours per week. In January, 1953» CBS was really pushing daytime aud­ ience participation. Of the seventy-seven

Table VII

Weekly Quarter Hours of TV Network A-P Programming ------1^ 9- 0- 19^3------February January January January January 1911.9 1950 1951 1952 1953

Evening 21 26 36 42 38 Daytime 30 20 26 42 77

Table VII was conq^iled from data included in Robert Stewart Hammel, "The Development of Network Television Program Types to January, 1 9 5 3 " (unpublished Ph,D, dissertation, Ohio State University, 1954)*

quarter hours of daytime audience partici­ pation programs on the air each week, CBS carried forty-seven, DuMont still carried twenty, and NBC had ten quarter hours per week. The audience participation program had become the backbone of CBS daytime programming in network television. CHAPTER III HUMAN INTBEtEST PROGRAM ON RADIO NETWORKS

Let us move now to a consideration of the first type of audience participation program ever presented on the national networks* The programs which have been in­ cluded under the human interest type are those which use extensively the personal interview with — or sometimes, as in "We, The People," statements by — ordinary people, non-professionals* Hard-luck stories are often exploited, and human interest values, either in a serious or a jok­ ing manner, are emphasized* This type of program includes individual programs which range in the use of human interest from one extreme to the other — from programs which capitalize on human misery of all kinds to programs which do not even men­ tion such a thing* As exasples of programs which have enphasized human misery, there have been such programs as "Coulrt of Human Relations," "Good Will Hour," and "Alexander * s Medi­ ation Board" — to name only three. These were programs in which participants told of their misfortunes — their problems in general. The old maxim that we are all strong enough to bear the many misfortunes of our friends

49 50 may explain the audience appeal of programs of this kind* No misfortunes, except those suffered by friends, can 1 move the majority of people. And the people who ap­ peared on these programs were "real" people -- "Just like you or me*" They were "friends*" Programs of this kind included such things as a woman telling about her husband*s tormented back, and about his desperate need for a new mattress so that he could sleep at nl ^ t . She ml^t continue by telling that it was her husband's birthday and she didn't have any money to buy him anything. His parents burned to death the month before and they didn't have any money at all* On the other extreme, there have been such pro­ grams as "Breakfast in Hollywood" and "Art Linkletter's House Party," in which the human Interest was mostly for laughs rather than sobs* The whole atmosphere was one of light-hearted gaiety* There have also been representative programs which fell in between these two extremes* For exasqple, during the 1920* s, in the quest of the unusual, Alfred J* "Hollywood" McCosker rushed to the WOR microphone a

^Gilbert Seldes, The Gta?eat Audience (Hew York: The Viking Press, 195D, pT ^ O * woman piano player in a Brooklyn movie theater Just after she had inherited a million dollars. This program idea was the predecessor of what later became "Ve, The People,** 2 and of similar programs of later years. Programs of this kind were combinations of both extremes without too much emphasis on either. The first of the human interest programs on the national networks was "Court of Human Relations," intro­ duced in the fall of 1933. The general format was built around human problems primarily between married couples. The guests presented their various difficulties and dis­ agreements to members of the "court," and these members attempted to give the guests advice. Programs included within the human interest type cannot be divided into major classifications but rather represent different approaches to the human interest idea. The type may be traced historically as beginning with a program discussing human problems, then develop­ ing through such variations as man-on-the-street programs; hobby programs; mediation between married couples; the use of the very young or the very old in panel programs; humorous programs of human interest; actual marriage on

2 Ben Gross, I Looked and I Listened (Hew York: Random House, 195lT)f p. 25^. 52 the air; evesdropplng on candid conversationa; and the re-creation of the important events in an unsuspecting person's life* Extent of Use of Human Interest Programs On the radio networks, the human interest type of program was first introduced as a nighttime presentation* The 1933-193^4- season was the first season for this type, and ”Court of Human Relations" was the first representa- 3 tive program* It was not until the 1936-1937 season that anotjuer human interest program was added to the radio network schedules, and during the month of January, 1936, there were five human Interest programs on the air* Beginning with the 19l|.9-1950 season, human inter­ est programs came into their own on nighttime radio net­ work program schedules* The most extensive use of this type came during the 19f+3-1944 season* In January, 19W4# no human interest programs were scheduled at night on the radio networks* Daytime programs of the human interest type were not introduced into the radio networks until the 1914.3-19W*.

3 Source material is so scattered that separate foot­ notes for each item are inqpossible* Information found In this section is primarily from Broadcasting-Telecasting magazines and "Network Radio and^elevision $ro^am Hls- tory" (Ohio State University, 19514-) • ^3 season with "Breakfast with Breneman." The following season this program was Joined by "House Party," and during the 1914-5-1914-6 season "Bride and Groom" and "Queen for a Day" were added to the daytime radio network schedules.

The 1954-1955 season was the last one of impor­ tance for daytime programs of the human interest type. Five programs of this type wore scheduled during Janu­ ary, 1955. This was the largest number ever to be pre­ sented on daytime network radio during any single month# The following year the number dropped to two, and contin­ ued at this number through January, 1957# Although the introduction of the Wartime Code In January of 191^2 apparently did not have a serious effect on the use of human Interest programs on the radio net­ works during either the day or night, the Introduction of network television con^etltlon did seem to have an effect on at least the nl^ttlme use# The use of human interest programs at night began to drop off quite sharp­ ly after the 1950-1951 season# The 1952-1953 season was the last one In which human Interest programs were In­ cluded on nlghttlsw radio network schedules# This television network competition did not have as serious an effect on daytime human Interest programs# However, between Jamuary, 19Shf (uid January, 19$^, there was a drop in their daytime use from five programs to two programs. These two programs remained without change through January, 19^7• General Popularity of Programs of the Type As a general type, the human interest program enjoyed its best January rating average in network radio k at night during the month of January, 19i^2« During this month nighttime human interest programs had an average rating of 12,8 according to the various ratings given to individual programs of the type by C. £, Hooper, Incorporated, The hlgpiest average January rating for human inter­ est programs scheduled during the daytime on network radio came in the month of January, 19kB* The average rating compiled from the individual ratings given by A. C, Nielsen was 1$»2 during this month. As far as individual program ratings were con­ cerned, in the early history of the human interest pro­ gram, there were programs such as "Sidewalk Interviews* with ni^ttime January ratings of 1 3 , in January, 1938;

^The average January ratings included in this sec­ tion were compiled from individual ratings given by C. E, Hooper, Inc., A. C, Nielsen, and The Pulse, 55 1^.0 In January, 1914-5» according to C* E* Hooper, Inc. There was also "We, The People,** which consistently had nighttime ratings in the 1 $ .0 to 1 7 # 0 area, according to individual ratings given by C. E. Hooper, Inc.

HUMAN INTEREST PROGRAMS ON RADIO NETWORKS

The human interest type of program was an impor­ tant type of radio network program during the nighttime hours from 1 9 3 8 to 1 9 5 0 and during the daytime hours from 1914-6 to 19514.. It had its greatest influence during the daytime hours, although there were actually fewer daytime than ni^ttime programs# The outstanding method which has been used througih the years to help make human interest programs more effective to the ear has been the use of music — particularly organ music. This use of music has proved to be most effective when emotional stimulation has been desired in such programs as "Bride and Groom," "Alexan­ der's Mediation Board," or "This Is Your Life." Music has also been used to set the scene or create the neces­ sary type of atmosphere for those human interest program# in which the emotional stimulation appeal has not been emphasised# With few exceptions, such as the Ralph Edwards' 56 production of "This Is Your Life," most of the human in­ terest programs have been network produced. The probable reason for this was that package programming did not hold the position of importance in the early days of network radio that it did in January, 1957* Althou^ most of the human Interest programs on the radio networks were sponsored, there were a few that were not. There was a tendency on the part of some of the radio networks to carry some programs of the human interest type on a sustaining basis while looking for a sponsor* **Candid Microphone* was scheduled on ABC during the 19i|.7-1914.8 season on a sustaining basis* "Life Begins at 8 0 " spent a season on Mutual, 1914-8 -1914.9 ; and a season on ABC several years later, 1952-1953» without being sponsored either season* Single sponsorship seemed to be the most often used type of sponsorship, A multiple sponsorship trend began first with such daytime programs as "Queen for a Day*" Single sponsorship continued to be the trend with nighttime programs, whereas nniltiple sponsorship In day­ time programs of this type continued through January, 1957* Weekly production costs of human interest pro­ grams, not including costs of time, as estimated by 57 Variety, in January, 195%* ranged between $3,000 and 5 $7,000. The nl^ttime programs and the daytime pro­ grams did not vary greatly in costs. There was a tendency to make a shift from night­ time to daytime programming at the beginning of the 191^6-1914-7 season. This shift was gradual and was not too evident until the 1951-1952 season when, in January, 1952, there were three human interest programs on daytime network radio compared with only one human interest pro­ gram scheduled on ni^ttime network radio. During the month of January, 19514-» human interest programs were not Included in any of the nighttime network schedules, al­ though there were five such programs during the daytime #

Individual Human Interest Programs

The following is a chronological program by pro­ 6 gram listing of the network radio husian interest programs.

^Estimates compiled from information included in Variety magazines and "Network Radio and Television Pro­ gram History" (Ohio State University, 19514-)* ^Source material is so scattered that separate foot­ notes for each Item are lsq)osslble. Inforsiation found in these program listings was found prlsiarlly in afoadcast- Ing-Teleeasting. The New York Times. Sponsor. The Houston PoiBt. 9Aie ColxSftbus Dispatch, and "Network Radio and Tele- ▼Islon Program History" (Ohlo State University, 19514-) • Much of this Information also came from the writer's personal observation. 58 All programs Hatad are live thirty-mlmite programs pre­ sented once a week, unless otherwise indicated* Court of Human Relations -- 1933*1938 This program was broadcast over the NBC radio net­ work appearing on the NBC schedule in January of 193^4-. It continued as a Sunday evening program on NBC, without a break, until the spring of 1938* The original master of ceremonies was A. L. Alexander, who later became well known for his "Alexander's Mediation Board" over Mutual, a program which began in the fall of 1943# The original sponsor was True Story Magazine» This was a program devoted to the solving of human problems, primarily involving married couples. The guests presented their problem to meaibera of the "court," after which this court attenqpted to give advice. No production cost information was available. This was a significant program not only because it was the first one of the human interest type to be introduced to the networks, but also because it was the first of all the audience participation programs to be introduced. It established a new pattern, a pattern which was later found in such programs as "The Good Will Hour," and "A. L. Alexander's Mediation Board." As far as ratings are concerned, the peak season for "Court of Human Relations" was 1936-1937. Tn S9 January of 1937 It received a rating of 9.!*. from C. K* Hooper, Inc, This was the highest rating the program ever received* Its lowest rating was received in Jan­ uary of 1 9 3 6 , and was 6,0 according to C. E, Hooper, Inc, Prom these two ratings it can be seen that this program never did receive what would be considered a high rating, and the ratings it did receive through the years did not vary greatly* Side-walk Interviews — 1935-19k8 This program was introduced over the NBC radio network during the summer of 193^# It continued on various networks, without a break, until May 19, 1914-8, No information was found concerning the original master of ceremonies* The original sponsor was the Molle Shav­ ing Cream Con^any, and the program was a Sunday after­ noon presentation during its first season only* This was the first network attempt to present spontaneous, unrehearsed, on-the-spot interviews with people as they walked along the street. It was an idea which had its beginning in local radio, but was new to the networks* No production cost information was available# During the 1936-1937 season, the name of the pro­ gram was changed to *Vox Pop,* and the time was changed 60 to nlgbttlme. The program continued with this name until it went off the air in 19i|-8. There were several network changes during the years this program was on the air. In the fall of the 1 9 3 9 -1914.0 season, it moved from the NBC network to CBS. It continued on CBS until October 1, 1914-7* at %diich time it was dropped by CBS because of a serious decrease in rating, but was immediately picked up by ABC. It con­ tinued on ABC until it went off the air for the final time in May of 1 9 I4.8 . There were also several changes in sponsor during the years this program was on the air. In the fall of 1 9 3 8 , Kentucky Club Smoking Tobacco Company took over the sponsorship from Molle, In the fall of 19l|.2, a new sponsor, Bromo Seltzer, took over; the Emerson Drug

Company was sponsor from July 28, 1914-5 to April 29, I 9I4-6 * followed by Lever Brothers from August 27* 1 9 I4.6 to May 27* 1914-7* In its move from CBS to ABC on October 1, 1914.7 , it also changed sponsors, from Lever Brothers to American Express Traveler's Cheques, The program con­ tinued with this sponsor until it went off the air for the last time, "Vox Pop,* or "Side-walk Interviews," as it was originally called, began on NBC as a Sunday afternoon 6i program. During its second season on the air» 1936- 1 9 3 7 « the same season its name was changed to **Vox Pop»" it was moved to week-day nighttime» and remained a nighttime program with no iavortant change in time or day» until it went off the air twelve years later* Although no information can be found concerning the original interviewer» Warren Hull was serving in this capacity in the fall of the 19^4-6-194^-7 season* This was his first network program of this kind» and was a stepping stone to his later popularity as the master of ceremonies of "Strike It Rich*" "Vox Pop" established a new pattern in network broadcasting* The "man-on-the-street" cas&e to the national audience for the first time* And» according to the ratings received» this program maintained a good popularity for several years* Its peak season was 19^4-- 1914.5 * During January» 1945, it received a rating of 15*3, according to C* S* Hooper» Inc* Prom January, I9 I4.I# to January» I9 I4.6 , it did not receive any January rating lower than 11*9* Its worst season was its final one on the air over ABC* During the month of January» 1 9 4 6, it received a low rating of 6*0» according to C* E« Hooper» Inc* It was interesting to note that for only 62 three Januaries out of the thirteen that it was on the air did it receive any rating lower than 1 1.9 *

W«, F»0Pl« — 1916-1951 This program was broadcast over the NBC-Blue net­ work beginning in the fall of 193^* as a Phillips H, Lord production* It continued on either NBC or CBS, without a break, until the spring of 19^1# The original master of ceremonies was Phillips H. Lord, and the original sponsor was the Calumet Baking Powder Company. Here was a program based on the premise that there was more real drama, more salty characters, more heart­ break and horse-lau^ in ordinary American life than any playwrite or screen writer could ever pack into a script.^ This program represented a new idea in network radio programming* Anyone from anywhere with a remark­ able personal story to tell, or a unique point of view to express had a chance to participate* But first they had to run the gantlet of a People's Committee composed of average radio listeners: a businessman, a housewife, a mechanic, and a high school girl* This committee, of course, was assisted In its selection by Phillips H* Lord, the producer and master of ceremonies*

7Louis Newell, "We, The People," The New York Times. January 10, 1937* section 7* P* 63 The only Important change in the structure of the program came about during World War II when the title was changed to *We, The People At War." At the end of the war, the name was changed back to the original "We, The People." Although this program was first introduced on NBC-Blue radio network, it moved to CBS at the beginning of its second season on the air, 1937-1938* It continued on CBS until the fall of the 191^-9-1950 season, at which time it moved back to NBC. It continued on NBC until it left the radio networks for the final time* This program had several different sponsors during its fifteen years on network radio. Beginning with Calu­ met Baking Powder in the fall of 1936 * it moved to Sanka Coffee in the fall of 1937* General Foods took over the sponsorship in the fall of 1942, and in 194-3 Gulf Oil assumed this role. Gulf Oil continued to sponsor it un­ til it went off the air. Phillips H. Lord did not continue long as the master of ceremonies. After only one year, Gabriel Heatter took over this job. In %ie fall of 194-6 Hilo Boulton took over. Dwi^t Weist became the master of ceremonies during the 194-7-194-8 season, and continued in this capacity until the program left the air. 61^. The only information available concerning weekly production costs was that estimated during this program's final season on the air, 19^0-19^1. According to Variety, the estimated weekly production costs, not Including time cost, was $7,000. This program's peak season as far as ratings were concerned came during 19ij-l“19^* In January, 19i+2, "We,

The People" received a rating of 17.7 from C. E. Hooper, Inc. This program's two worst seasons on the air were

Its second season, 1937-1939, when It received In Janu­ ary, 1 9 3 9 , a 5 *9 i and its last season, 1 9 5 0-1 9 5 1, when it received in January, 1951, a 5.3, according to C. E. Hooper.

Good Will Hour — 1937-19Wi This program was broadcast over the Mutual radio network beginning in the fall of 1937. It continued on various networks, without a break, until the spring of I9 W 4.. The master of ceremonies throughout the program's time on the air was John Anthony. There was no sponsor during the first season on the air* This was another program dedicated to the solving of various personal problems presented by the different guests each week. Participants were interviewed person­ ally by Mr. Anthony and were then asked to give. In their own words, their problem. After the problem was made 65 clear* Mr* Anthony then atteDQ>ted to give advice concern­ ing it. Several years later, John Crosby wrote in regard to this program: ’’•••Anthony outraged all the recognized social agencies with his easy, unstudied and flippant solutions of the most complex problems of human relationships.”® It would be classified as an "advice” type of human interest program. It was not a new kind of pro­ gram to the radio networks, since it used the same basic idea as that found earlier in "Court of Human Relations,"9 However, there was one major difference between this pro­ gram and its earlier predecessor. In the "Court of Human Relations" there was a panel of "experts" who gave the advice, whereas in "Good Will Hour," Mr. Anthony alone acted in this capacity. The program made several changes in network. It began on Mutual in 1937; changed to RBC-Blue during the 19l^0-19k-l season; and after ABC was formed from NBC-Blue, it continued on ABC during the 191+2-19i|.3 season. After only one season on ABC, it moved back to Mutual for its final season on the air, 19l+-3 *19l|4 *

O °John Crosby, Out of the Blue (Hew York: Simon and Shuster, 1952), p. 25.

^See "Court of Human Relations," p. 58* 66 "Good Will HoxJi*" was not sponsored during its first season on the air. During its second season. Iron- ized Yeast became the sponsor, and this relationship was continued until the fall of 19^3j at which time the Clark Ghim Company became the sponsor for the program's final season on the air. This was a Sunday evening program during its entire time on the air. No production costs were available. It was not what would be considered a significant program, even though it did introduce for the first time on the radio networks the "advice-from-one-man" concept. The January ratings were never high. The hipest Janu­ ary rating available for the program was during its sec­ ond season on the air, 1938-1939» lu January, 1939, it received an 11.9, according to C. E. Hooper, Inc. Most of the other January ratings were in the 9»0 area; and in January, 191+4, during its final season on the air, it received a 4*8, according to Hooper.

Hobby Lobby — 1937-19L.9 This program was broadcast over the CBS radio network beginning In the fall of 1 9 3 7 . It continued on various networks, without interruption, until the spring of 1 9 4 9. David Elman was the original master of ceremo­ nies and the Hudson Motor Cosqpany was the original spon­ sor. 6? Here was a program that included something new for network programming. It was different from any pre­ ceding program of the same general kind. It consisted of different members of the listening audience appearing as guests and presenting and discussing with David Elman their particular hobby or hobbies. Most of these hobbies were in one way or another fascinating. Most of the guests were fascinating, too. In the way they presented their hobbies. During the program's eleven years on the network, it made only two network changes. During the 1939-3.939 season, its second season on the air, it moved to NBC- Blue. It continued on NBC-Blue for this single season only, and then returned to CBS until its final season on the air, when it moved to Mutual. The program underwent several changes In sponsors. After its first season on the air with Hudson Motor Com­ pany, it moved to sponsorship by Pels Naphtha for the 1 9 3 8 -1 9 3 9 season. The Colgate Company became the program's sponsor during the 191^ - 1 9^4-3 season, and continued as the sponsor until the 1914-5 -1914-9 season, during which time the Anchor Hocking Glass Corporation became the sponsor. The program spent its final season on the air as a sustainer. The only iiqjortant change in tlaie came during its final season on the air, when it became a daytime program 68 as It moved from a Thursday night to a Saturday afternoon. It was a significant program In that It established a different pattern of the human Interest type, although In some respects It was similar to "We, The People."^^ "Hobby Lobby" never did receive what would be con­ sidered h l ^ ratings. Its best season was probably 1939”19^0* since In January, 1914-0 , it received a li{..0, according to C, fi. Hooper, Inc, The lowest January ra­ ting for the program came during the month of January, 1 9 3 8 , Its first season on the air. It was a rating of 3 .7 , according to Hooper.

Court Missing Halca — 1939-19112 This program was broadcast over the CBS radio net­ work beginning In the fall of 1 9 3 9 » It continued without a break until the spring of 19I42 . No Information could be found concerning the original master of ceremonies, but the original sponsor was the Ironlsod Yeast Company. This was a program made up of actual facts con­ cerning potential heirs to fortunes of all sizes* The purpose of the program was to attempt to locate these heirs somewhere In the listening audience. Persons in­ volved with the Inheritances were interviewed for clues

10See "We, The People," p. 62. 69 to these potential heirs. As heirs were located, they were brought to the program and interviewed. In many cases these heirs had very dramatic and sometimes highly emotional stories to tell concerning their lives and what effect this inheritance had on their lives. In la­ ter years it was broadcast under the title, "Are You A Missing Heir?" This program was different from any programs which preceded it, with the exception of "We, The People.Both of these programs brought members of the audience to the microphone to tell real-life experiences surrounding some particular event in their lives. The program made only two changes in network. After spending its first season on CBS, it changed to NBC-Red during 191^0-191+.1. It moved back to CBS for its final season on the air. During the three seasons that "Court of Missing Heirs" was on the air it appeared to increase in popu­ larity, With many network programs, popularity goes down during the final season on the air. Many times it is this drop in popularity irtiich causes the program to go off of the air. With "Court of Missing Heirs," this was not the case. Its final season on the air was its best

^^See "We, The People," p. 62. 70 season as far as ratings were concerned. In January, I9 I4.2 , it received a Hooper rating of 11.9» This was the highest rating among those available for the pro­ gram. It started out with a Hooper rating on only 6 .8 for January, I9 I4-O, during its first season on the air.

m a » — 19S2-19S1 This program was broadcast over the NBC-Blue network, beginning in the fall of 1 9 l4-0 as a Louis G, Cowan, Inc# production. It continued on various net­ works, with a break of one year, until the spring of 1 9 5 3 * The master of ceremonies throughout was Joe Kelly, and the original sponsor was Miles Laboratories. Here was a panel program composed of youngsters from five to sixteen years of age. There were five mem­ bers of the panel each week, and questions were sent in by listeners* Joe Kelly asked the questions, and indi­ vidual panel members attenuated to answer them. Panel members continued from one week to the next only so long as they maintained a certain standard* They held their place or lost it by virtue of a scoring system* The youngster ntio received the lowest score was dropped for the next week and a new youngster took his place* The panel member with the hipest score each week received a reward of a $ 1 0 0 bond, which would help toward his 12 71 future education. This human interest program might also be classi­ fied as a panel quiz. The only production cost informa­ tion available was for the month of January, 1951* at which time the cost was $1^,000 for each program. It was different from any program that had ever been presented on the radio networks in its use of young­ sters on a panel quiz. In certain respects, it was simi­ lar to the already successful "Information Please," but in the human interest area it was unique. The program made several network changes during its time on the radio networks. After its first two sea­ sons on NBC-Blue, it was listed on the schedules of ABC, successor to the Blue Network. It remained on ABC until the 1914.6 -191^7 season, at which time it was moved to NBC. After a year's absence from the radio networks, 1 9 5 1 - 1 9 5 2 , "Quiz Kids" returned in the fall of 1 9 5 2 over CBS. Miles Laboratories sponsored the program during its first eleven years on the radio networks. After a season's absence, when the program returned to the air, it was presented on a sustaining basis. This program started out as a nighttime presenta­ tion. It continued as a night program until the fall of

^"Quiz Your Kidding," Editorial in Scholastic. January 13* 19l|-l* P. 1*2. 72 the 19^.6 -1 9 4 7 season, at irtitch time It was broadcast for the first time on Sunday afternoons* This was after six years on the air at night. It continued on Sunday after­ noon for the remaining years it was on the radio networks* It was a significant program in that it was the first human interest program of its kind to be presented on the radio networks. It established a new pattern in the human interest area, that of using the young as par­ ticipants. Prom this basic pattern developed such pro­ grams as **Juvenile Jury” and, with the other extreme of this basic pattern, "Life Begins at 80,” As far as ratings were concerned, "Quiz Kids" ap­ peared to hold Its own* It received fairly good ratings for a Sunday afternoon program, usually in the 8*0 to 9*0 area. Its best season, according to the available January ratings, was 1 9 4 4 - 1 9 4 5 * During the month of Jan­ uary, 1 9 4 5# "Quiz Kids" received a 10.3* according to Hooper. This was its highest available rating. Its worst season was 1950-1951* This program's January, 1951* rating was a very low 2*9, again according to Hooper*

Alexander U Mediation Board — 1 9 4 3 - 1 9 5 0 This program was broadcast over the Mutual radio network beginning on July 11, 1943* as a network produc­ tion. It continued on Mutual, without a break, until the 73 spring of 1 9 5 0 . The original master of ceremonies was Mr. A. L. Alexander, who continued in this capacity through all the years this program was on the air, and the original sponsor was Serutan. A. L, Alexander had been the master of ceremonies for "Court of Human Rela­ tions" back in 1 9 3 3 -^^ Here was a program which consisted of substan­ tially the same format as the "Good Will Hour,as well as "Court of Human Relations.The "Mediation Board" was a board of experts who listened to marital or family problems presented by couples or others who appeared on the program. After the members of the board heard the various problems, they came to some conclusions with regard to what steps should be taken to mediate whatever conflict seemed to exist. The basic idea be­ hind the program was well illustrated in the opening statement which was spoken by A, L. Alexander at the beginning of each program. He said, "Remember, there are two sides to every question," Serutan sponsored the program from its first broadcast on July 11, 19i|-3, to March 31, 19^-6. In the

^^See "Court of Human Relations," p. ^8. ^ S e e "Good Will Hour," p. ôlj., ^^See "Court of Human Relations," p. ^8. 7hr fall of the season, the program continued on Mutual, but without a sponsor. During the fall of I9 I4.8 # it became a sponsored program once again, this time on a co-operative basis. It continued with this type of sponsorship until it left the radio networks in the spring of 1950* There was no information concerning production costs. Here was a program which was more or less a car­ bon copy of two human interest “advice** programs which preceded it. It continued a pattern which had already been established for it several years earlier, “Alexander's Mediation Board“ was a Sunday evening program during all of its seasons on the radio networks. It received rather low ratings during the time it was on the air. It received January Hooper ratings never high­ er than 6.8, and a low January, 1 9 5 0 rating of 3.6, according to Hooper, If ratings are any indication of popularity, this program was never very popular.

Blind Date -- lQk.l-lQl|.6 This program was broadcast over the ABC radio net­ work beginning in the fall of 19lf3« It continued on ABC, without a break, until January I8 , 19l*.6. The original mistress of ceremonies was Arlene Francis, who continued in this capacity all during the time the program was on 75 the air. The original sponsor was the Lehr and Pink Products Corporation. During World War II, a favorite pastime of ser­ vicemen on leave was trying their luck on radio quiz programs. This program was not a quiz program, but was a unique departure from it, and was every bit as popular. It was devised especially for servicemen. Before a live studio audience, enlisted men vied with one another to see which one could spin the best ”line** by telephone to date an unseen girl. Winners were treated to an evening with the girl at New York's Stork Club, with dinner, drinks, and spending money provided by the program's spon­ sor. Contestants each week were six servicemen chosen from canteens around New York City. They were divided into three teams of two each — a pair of boys to each girl. They were seated on one aide of a partition which divided the studio stage, with the girls on the other side. Each serviceman got two minutes -- a warning gong sounded ten seconds before his time was up — to project his most persuasive arguments to the girl on the other side of the screen.Neither person could see the oth­ er, but communicated exclusively by telephone. A pre­ liminary interview by Arlene f¥aneis made the boys feel

^^”Blind Date," Life. January 17# 191*4, P* 88. 76 at ease and broke the ice. The three losers, given the­ ater tickets as consolation prizes, then competed to see who was the beat speaker in his own behalf as a catch for interested females. Audience applause indicated the winner. This was a significant program in that it estab­ lished a new pattern of boys dating girls for blind dates over a national network and also pioneered in net­ work radio human interest programs using servicemen as participants. As f.^p as ratings were concerned, this program's best season was its first season on the air. During the month of January, 19Ml-» the program received a rating of 12.0, according to Hooper. The program's worst season was its last one on the air. The program received a Hooper rating of only 6.0 during January, 19i<-6* Its pop­ ularity was definitely a wartime type of popularity.

Breakfast wlth Breneman — IQiiiL-lQiiQ Tom Breneman's breakfast program was conceived by an advertising man as a means of rehabilitating a Holly­ wood restaurant by the naaie of Sardl's.^'^ ''Breakfast at Sardi's" dates back to January, 1914-1* However,

J* Reddy and T. Carlile, "Breakfast in Hollywood," Life. February 11, I9I4.6 , p. 1^2. 77 "Breakfast with Breneman" made its first appearance as a network radio program on January 31, 194-1, over the ABC radio network. The original master of ceremonies was, of course, Tom Breneman, The original sponsor was the Kellogg Company, and the program was presented five mornings a week. The program consisted of a breakfast with fruit Juice, bacon, eggs, bran muffins, and coffee, and a half hour of spontaneous folksy banter between Breneman and his 4.00-odd guests. During this period, Breneman wan­ dered around the tables and artificial palm trees of his restaurant with a portable microphone, exuding a star­ tling amount of good cheer. Mugging with the subtlety of a carnival wrestler, Breneman could become as courtly as a cavalier when he 18 pinned an orchid on a ninety-three-year-old woman. The next minute he could turn a plui^p housewife over his knee and paddle her with a pancake turner for yelling Into the microphone. How he got away with such outrageous ruffling of his female guests was one of the mysteries of the pro­ gram, He mispronounced their names, insulted their home towns, and patted their baldheaded husbands on their

^Qlbld.. p. 4-3. 78 shiny heads* More than one student of psychology en­ deavored to analyze Breneman*s peculiar appeal to the middle-aged women.In February, 194^, he presented few of the physical attributes usually evident in ladies' men. He looked rather like a tired business­ man just home from a bad day at the office. There were no production costs available for the program. It might be classified as a "good humor" hu­ man interest type of program, and it was the first of its kind to be presented on the radio networks. It was dif­ ferent from any preceding program of the same general kind in that there had never been a program featuring one personality wandering about a restaurant with a portable microphone, evoking spontaneous conversation and good humor. Only one change took place in the program's for­ mat during the year it was on the air, but this was a very important one. The 191^-7-19^-8 season had not yet come to an end when tragedy struck the program. There was little time to waste, Tom Breneman's sudden death just two hours before his April 28, 19l{-8, broadcast had left one of daytime radio's best spots without its star. The program was single, but it was all Tom Breneman,

^^Ibid.. p, 1^.1, 79 Garry Moore, the master of ceremonies of ”Take It Or Leave It," took over. He changed the program to "much more of a comedy show and much less of a sentimental one. "20 Kellogg Company sponsored the program until July, 191^.6 , at which time Procter and Gamble took over in this capacity, Procter and Gamble continued as sponsor until June 27 , 19^7 » at which time Kellogg Conçtany again as­ sumed this role until July I9 , 194-8* On July I9 , 194-8# Procter and Gamble again took over the sponsorship and continued with it until August I3 , 194-8* During the program's final year on the air, 194-8 -194-9 # sponsorship was on a co-operative basis. The title of this program was changed several times. Starting out as "Breakfast at Sardi's" on a local level in January, 191^.1# it became "Breakfast with Brene­ man" on the network in January, 19Mv* In the fall of the 194-8-194-7 season, the title changed to "Breakfast in Hollywood," and with the death of Tom Breneman in April, 194-8, the title once again changed. In the fall of the 194-8-194-9 season the name of the program became "Break­ fast with Garry." The only important change in time of broadcast

2^"Breakfast with Garry," Newsweek. May 17, 194-8# p. 64-' 80 came during the final season on the air, 191^8 -19^1-9 • Up until this season, the program had been a week-day morn­ ing feature. In the fall of 19l4-8, "Breakfast with Garry" became a week-day afternoon program. "Breakfast with Breneman" was a significant pro­ gram not only because of the new pattern in human inter­ est programs which it established but also because of its great popularity. Both Hooper and Crossley surveys ra­ ted it as the most popular of all daytime programs In February of 191^-6,^^ A breakdown of current popularity ratings in 19lf5-19i|-8 revealed that when Breneman was on the air, nearly half the nation's active radio sets were 22 tuned to him. On December 15» 19M+-* the Office of War Informa­ tion began rebroadcasting this program to all parts of the world, explaining that "projection of the story of America to aigliah-speaking people of the world is great­ ly facilitated through the use of such outstanding pro­ gram material. "^8

Surveying the growth of Breneman's popularity, NBC, in 19^8, made a drastic effort to stem the "Breneman

21 Reddy and Carlile, loo, cit. ^^Ibid.. p. 1^2 . ^^Ibid. 81 tide.** For an unprecedented f10,000, they hired Fred Waring and his Pennsylvanians, and scheduled the Waring musical program at the same hour as the Breneman show.^^ This failed to divert the audience. January ratings for the Breneman program were good for daytime ratings, being consistently around the 8.0 mark. The worst season for the program was its final season on the air, after Breneman's death when Garry Moore took over the program. Its rating dropped to 1.9 during January, 194^9# according to Hooper.

House Party — iSMl" This program was broadcast over CBS radio network beginning in the fall of 1944* ** an Art Llnkletter - John Guedel production. It continued on either CBS or ABC, without a break, and was still on the air in the spring of 1957# Art Llnkletter was the original master of ceremonies, and Greneral Electric was the original sponsor. Art Llnkletter was probably better known for his production and part as master of ceremonies of "People Are Funny,** beginning in 194^# "House Party," presented five days a week, was a blend of interviews, household hints, and a <^ildren*s

24 Ibid.. p. 43" 82 hour, during which five-and-six-year-olds gave unre­ hearsed opinions on politics, marriage, big business, etc* It was definitely a fun program* Adult contestants were asked to imitate a cow, a rabbit, a diving airplane and the like; or participate in amateur dramatics and quizzes on random topics, or join in novelty stunts* Prizes - household electric appliances - ware awarded to participants on the basis of studio audience prefer­ ences recorded on an applause meter. Its human interest qualities centered around interviews with older people who **have nothing to hide, and don't care what others think, so tell all," and interviews with children who 2 5 "don't know what they don't know, so they tell all," "House Party" was similar to "Breakfast with Breneman," except that one was a breakfast and the other ^ A was an afternoon program,

"House Party" was a CBS radio network program with the exception of one season, 19i*.8 -19^-9 # when it moved to ABC* It returned to CBS, however, at the end of this season* This program had several sponsors* (General

25**The Madness of People," Newsweek. October 6 , 19lt-7» P* 53* See "Breakfast with Breneman," p* ?6 * 93 Electric was the first, during the first season on the air, followed by Pillsbury during the 1914-9-19^0 season. Plllsbury was joined by Lever Brothers and Kellogg dur­ ing the 1952-1953 season on a multiple-sponsorship basis. During the 1959-1957 season "House Party" was also pre­ sented on a multiple-sponsorship basis. As far as ratings were concerned, "House Party's" beat season was 1950-1951» During the month of January, 1951, it received a 6.1, according to Hooper. Its first season on the air was its worst, with a January, 1914-5» rating of only 2,7, according to Hooper.

Queen for a Day — 19li5- This program was broadcast over the Mutual network, beginning October 2 9 , 19I4.5» as a Raymond H, Morgan Com­ pany production. As a radio presentation, it continued as a daytime program, five days a week, exclusively on Mutual, without a break, and was still on the air as of the spring of 1957. Jack Bailey was the original master of ceremonies, and Miles Laboratories was the original sponsor. This program each day gave one housewife chosen from the audience an opportunity to "live like a queen" with her wishes granted by the program. The only production costs information was found for the month of January, 1951. During this month. 81^ production coats were estimated at $^.,0 0 0 per week* This program was different from any preceding one of the same general kind in its human interest approach to the housewife, making her a "queen** for Just one day. Nothing like this had ever been done before on the radio networks. The programs most closely resembling the "Queen for a Day" format were "Breakfast with Breneman"^? and "House Party. "Queen for a Day" bad various sponsors througth the years. Among these were Miles Laboratories, Procter and Gamble, Armour and Company, LoriHard Company, Kraft Foods Company, Quaker Oats Con^any, and Phillip Morris Tobacco Con^any. During most of its years on the air, the program was presented on a multiple-sponsorhip basis. This was a significant program in that it estab­ lished a new pattern in the use of the American house­ wife as a participant in daytisw network radio program­ ming. The program* s January ratings through the years were usually around the 1^.0 figure, according to Hooper.

ja n — iqL6-iqlL6; 1952-19^3 This program was broadcast over the Mutual network beginning on May 11, 19i|.6. It continued on Mutual until

2?see "Breakfast with Breneman," p. 7 6 .

^®See "House Party," p. 81. 85 the spring of 1951# after which It left the air for the 1 9 5 1 -1 9 5 2 season, and returned again In the fall of 1952 on NBC, This was Its final season on the radio networks. Jack Barry was the original master of ceremonies and General Foods was the original sponsor. This program was actually the brain-child of Jack Barry, He saw a group of youngsters doing a play, and later got them together and asked them whatever questions popped Into his mind. Their answers were so logical, and In some cases so original, that he decided to use the children In a show. From the time the program went on the air. Jack Barry didn't have to think up the questions. About one hundred parentis wrote In with problems after the first program; there were three hundred letters the second week, five hundred the third, and one thousand the fourth.^^ The Jury^ was selected by Barry, on the basis of interviews following letters of recommendation, which also came In from listeners. The >rtiole Idea of the program was to get the normal reactions of normal children from six to eleven years of age. Here was a panel of five youngsters which, unlike the panel on "Quls Klds,**^^ p. 65. Let the Kid Decide," Mewsweek, June 2^., 19i*.6, 30se* "Quiz Kids," p. 70. 86 Included no child prodigies. Instead of answering such questions as "What is an apteryx?" they tackled the every­ day problems of childhood. Illustrations of some of their questions were: "When is a girl old enough to start wear­ ing lipstick?"; and "Should mother or father do the spank- ing?"^^ Barry did virtually no prompting; his only worry was to steer the conversation into safe channels when the children occasionally, and unwittingly, over-simplified a problem to the point where it became unsuitable for radio discussion. As John Crosby put it: The childhood wisecrack is open to criticism on many, many counts, but lack of sophistication isn't one of them. 32 Unless they're sneaking dwarfs on us, these little so-and-sos are some of the most disillusioned, cynical tots since the Russian Revo­ lution, They have no faith in parent or beast, particularly the former. It was different from any preceding program of the same general kind In that the youngsters were not child prodigies, and the questions were about everyday problems rather than scholarship. It was similar to "Quiz

Juvenile Jury,** Life. August 5# 194^# p, 66, John Crosby,CrosbT, Out0; of the Blue (New York: Simon and Shuster, 1952;, p 87 Klda"^^ in the human interest use of the young. "Juvenile Jury" started as a Sunday afternoon feature, but was moved to Sunday night in the fall of 19^0-19^1. When it re­ turned to the air In the fall of 1 9 5 2 * it was again sched­ uled for Sunday nights. The program's highest available rating came in January, 19i|-8. According to Hooper, the rating was 6 ,8 for this month. The lowest January available rating came during the month of January, 1951* It was a rating of 2.9* according to Hooper.

Bride and Groom — 19k6-1950 This program was broadcast over the ABC radio network, beginning on January ?, 19i4-6 . It continued on ABC, without a break, until the spring of 1950. The ori­ ginal master of ceremonies was John Nelson, and the origi­ nal sponsor was the Sterling Drug Cosg)any. The program was presented five days a week. For at least the first two seasons, tills program included interviews with the couple to be married, after which the couple left the stage and microphone, and retired

to a ohapel where they were married. Music filled the time

they were gone. After the actual ceremony, the couple re­ turned to the microphone for final gifts and congratulations

33gee "Qui# Elds," p. 70. 88 before the program closed* Later, the actual marriage on the air was Inserted as a part of the live program. The couples were interviewed before the ceremony, and were given various gifts as wedding presents from participating contributors. In selecting the contestants, every effort was made to select the soundest possible ones from the flood of mail from couples wishing to be married on the program. The ceremony itself required about four minutes, and the rest of the fifteen minutes was devoted to music by an organ, a harp, a baritone; a quick review of the boy-meets-girl details; the list of presents for the couple; and the commerclal.^^

Here was a program of the human interest type that was different from any preceding program of the same general kind. It was just the reverse of "Alexander's

Mediation Board"in that the couples in "Bride and Groom" underwent the joys of matrimony rather than the sorrows of divorce.

This program established a new pattern in network radio in being the first program to present an actual mar­ riage ceremony on the air. Its January ratings were never really high even for a daytime program. They ranged from

Bride and Groom," Time. April 7# 1952, p. 55* ^■^See "Alexander's Mediation Board," p. 72. 99 2,\\. during January of the first season to during the last three seasons it was on the air, according to Hooper.

Do You Want to Lead a Band? — lQk6 -lQk6 This program was broadcast over the ABC radio net­ work for only two seasons. Various personalities acted as masters of ceremonies* including Hildegard and Sammy Kaye. People from the studio audience were invited to actually take the baton and lead the live orchestra* and members of the orchestra were instructed to follow the leading of the amateur audience participants. Sammy Kaye used this routine as a feature spot on his musical variety program also. This program was different from any preceding one of the same general kind. It was never sponsored* and left the air at the end of the 19l|.7-19M season. No further information was available.

Candid Microphone — 19k7-19k6 "Candid Microphone" was broadcast over the ABC ra­ dio network for only one season. The original master of ceremonies was Allen Punt* and the program was not spon­ sored. Here was a program which consisted of a different device in which Allen Punt recorded the unguarded remarks of his fellow eitisens* then replayed these remarks on the 90 air* To obtain material, he concealed a microphone in his clothes, and opened a conversation with some passer­ by* The mike was connected to a hidden recording machine which took down everything said* Punt might have picked up a girl, offered a man twenty-five dollars to shave off his mustache, or solicited funds to buy igloos for Eskimos* Sometimes he planted a microphone in a promising place, such as a beauty parlor or the waiting room of a maternity ward. Afterward he explained that it was all a joke, and asked permission to put the conversation on the air. Hardly anyone ever refused* Punt planned his interviews around situations of universal interest. Ho then tried to rile his subjects, but most of them accepted his sub­ tle heckling so placidly that the interview fell flat Por this reason. Punt often restaged the same situation over and over before getting something he considered fit to broadcast* This program also established a new pattern for network radio. Never before had such an idea been pre­ sented to a national audience* The closest program to this idea was **Sidewalk Interviews,but In this man-on-the- street program of several years before, the participants

^^*Candid Microphone Catches People Off-Guard," Life. October 13, 19M-7# p# 77.

^^See "Sidewalk Interviews," p* ^9# 91 were aware that they were actually on the air. The com­ ments made by them were not unguarded as they were In "Candid Microphone,"

Welopme Traveler — lQk7~19^1 1952-19^ This program was broadcast over the ABC radio network beginning on June 30, 19k7« It continued on ei­ ther ABC or NBC, with a break of one season, until the spring of 195k* The original masters of ceremonies were Tommy Bartlett and Les Lear. Bartlett was a professional radio entertainer, and Lear was a salesman and promotion man. The original sponsor was Procter and Gamble. This program was based on the premise that most people like to talk while they travel. It offered mil­ lions of stay-at-homes an opportunity to listen to the cream of interesting conversation of uninhibited travel- . ers who arrived daily in Chicago. These travelers were also showered with gifts. The program originated from a downtown Chicago hotel. It was probably because all of the one thousand members of the studio audience, and the six or seven program participants, were actually away from home — "strangers together in the wide world" — that the program proceeded with verve, warmth, and intimacy. Ever­ ybody let his hair down and talked as freely about his domestic and financial life and the state of his health as he would to the minister, banker, or doctor back home. An 92 amazing number of dramatic stories of obscure and unsung heroism emerged on the program from common, ordinary peo­ ple on all sorts of conceivable missions. Participants for the program were obtained by sending men to meet the most important trains and buses, and planes at night and in the early morning arriving in Chicago, These men learned how to spot an interesting person across the lobby of a station.^® As far as the individual interviews were con­ cerned, this program appeared to be similar to "Sidewalk Interviews"^^ and "House Party.But this similarity was only as the program appeared to listeners. Actual­ ly, the interviews in "Welcome Travelers" were not the un­ rehearsed spontaneous experiences that they were in these two older human interest programs. The participants in "Welcome Travelers" were carefully screened and inter­ viewed for details before air time.^^ The primary difference in this and all preceding programs of the same general kind was, therefore, in the selection of the participants. Some of the dramatic

^^Hubert Kelley, "Travelers Tell All," American Magazine. August, 19^9* P* 3^. ^*^See "Sidewalk Interviews," p. 59* ^®See "House Party," p. 81,

^^Kelley, d t . 93 stories which emerged on the program reminded one of The People,"^ but at this point the comparison ended. This program started on ABC and continued on this network until the fall of 1Ç!^8, at which time it was changed to NBC* It continued on NBC, including its return in the fall of 1952, until it went off the radio networks for the final time.

Prom 19i|-7 to 1951» Procter and Gamble sponsored this program, and from 1952 to 19514-» it was sustaining. "Welcome Travelers" received fairly good January ratings for a daytime program. Its best rating came dur­ ing the month of January, 1951• Hooper gave the program a 6.3 for this month. Its lowest Januaryrating, a Hooper rating of 1^.0, came in January, 1914-9#

M E a Begins SSI — 19L8-19kq: 19S2-19S3 This program was broadcast over the Mutual net­ work beginning as a summer replacement in I9I4.8 and contin­ uing as a regular network program in September, I9I4.8 , as a Jack Barry Package Production. It was on the radio net­ works for only two single seasons, I9I4.8 -19I4.9 ^uid 1952 -1 9 5 3 » the first one on Mutual and the second one on ABC. The original master of ceremonies was Jack Barry, and the

See "We, The People," p. 62, 9 k program was never sponsored, Barry created this program, and was also remembered for his creation of an earlier human interest program using the very young rather than the very old, "Juvenile Jury.As master of ceremonies of both of these programs, Barry indicated that his basic problem was the same : keeping the programs from becoming completely uninhibited,^ On "Juvenile Jury," Barry re­ lied on quick intervention, but with "Life Begins at 80 " he took no chance and put the program on tape. This program included a panel of men and wos»n over eighty years of age. These panel members answered various questions mailed into the program by members of the listenihg audience. One position on the panel was filled each week by a different special guest, and the other positions were permanent. The object of the pro­ gram was to get spontaneous, unrehearsed answers from these older people concerning all sorts of questions of current interest. These questions ranged all the way from those concerning the proper age for marriage to current popular songs. "Life Begins at 80" was different from "Juvenile Jury" only in its use of older panel members. Otherwise,

^^See "Juvenile Jury," p, 8 if, ^"Devils at 80," Newsweek, September 2 7 , 191^.8, p. B o . 95 these two programs were alike. "Life Begins at 80” was simply an extension of the basic idea of using the human interest factor of age as a basic appeal.

This ia Your Life — 19k8-1950 This program was broadcast over the NBC radio net­ work, beginning in the fall of 19)4.8 # as a Ralph Edwards production. It continued on NBC for only two seasons, until the spring of 1950. The original master of ceremo­ nies was Ralph Edwards, and the original sponsor was Phillip Morris, Edwards was better known at the time for his ”Truth or Consequences” program. As a matter of fact, ”This Is Your Life” actually grew out of a stunt performed on "Truth or Consequences” when the United States Army asked Edwards to ”do some­ thing” for the soldiers at Birmingham General Hospital, Edwards selected a particularly despondent young soldier and hit on the idea of presenting his life on the air, in order to integrate the wreckage of the present with his happier past and the promise of a hopeful future,^^ Among the people brought before the mike were the boy*s old track coach and the head of his draft board, "This Is Your Life" was set off by a deceptively single detonation, Ralph Edwards tricked an unsuspecting

V5.Time. February 1 6, 1953» P. k9* 96 person on a stage before a live audience « and with the help of friends and relatives he re-created events in this person's life. This program did establish a new pattern in network programming. It was quite similar to "We, The People, except that in "This Is Your Life," the participants were completely surprised. Their reactions were spontaneous and unrehearsed, and this was the program's chief appeal. In this respect, this program was different from any pre­ ceding one of the same general kind. The program's January ratings for 191^9 and 1950 respectively were 10,0 and 11.5» according to Hooper. These were not particularly good for an evening program on network radio.

Ladies Fair — 1QL.Q-1Q5L This program was broadcast over the Mutual radio network, beginning in the fall of 19t9 « It continued on Mutual, without a break, until the spring of 19^* The original master of ceremonies was John Reed King, and the program was sustaining during its first season on the air. It was presented five days a week. Here was another pro^am designed for the ladies.

^^See "We, The People," p# 62* 97 Including Interviews, similar to "House Party,It also Included a touch of the "Breakfast with Breneman"^® atmosphere. It was a fun program for the ladles. The master of ceremonies used a portable microphone, and pri­ zes were given for various activities. After an opening season on a sustaining basis, the program enjoyed co-operative sponsorship during Its sec­ ond season on the air. From the fall of 1951 to the spring of 1953* Sterling Drug sponsored It, and during Its final season on the air, 1953-195ll* "Ladles Pair" once again became a sustaining program,

Mr. Keen. Tracer of Lost Persons -- 1951-1953 This program was broadcast over the NBC radio net­ work beginning In the fall of 1951. It continued until the spring of 1953# moving to CBS for Its second and last season on the air. The original sponsorship for this pro­ gram was handled under the "Operation Tandem" system, with White Hall, American Chicle, and Liggett and Myers all taking part. This program was devoted to finding people who were actually lost. Clues were given of a lost person's possi­ ble whereabouts, and interviews with relatives and friends

^^See "House Party," p. 8l. ^^See "Breakfast with Breneman," p. ?6. 98 of the lost person were included to give further help in tracing this person. It was quite similar to "Court of Missing Heirs. Procter and Gamble sponsored the program during its final season on the air, 1952-1953*

John J. Anthony Program — 1951-1952 This program was broadcast over the Mutual network beginning in the fall of 1951* It continued on the air for only one season. John J, Anthony was the master of ceremonies, and Sterling Drugs was the sponsor.

This was an advice type of program, similar to the earlier "Court of Human Relations" and "Alexander's Mediation Board.

No further information was available.

Anonymous — 1953-195L. This program was broadcast over the ABC radio net­ work beginning in the fall of 1953, It continued on the air for only one season. No information was available concerning the master of ceremonies, and the program was not sponsored.

^9soa "Court of Missing Heirs," p. 68, 50see "Court of Human Relations," p. 56, and "Alex­ ander's Mediation Board," p. 71. 99 The basic format consisted of personal Interviews with convicts in prison. In this respect, it was differ­ ent from any program of the same general type. No further information was available.

Wonderful City -- 1993-1999 This program was broadcast over the Mutual network beginning in the fall of 1953» It continued on the air until the spring of 1999. No information was available concerning the master of ceremonies, and the program was never sponsored. This was primarily another straight interview type program similar to "Welcome Traveler.It was presented five mornings a week during its first season on the air and five afternoons a week during its last. No further information was available.

Luncheon at Sard!'s -- 199^.-1999 This program was broadcast over the Mutual network beginning in the fall of 1993* It continued on the air for one season only. No information was available con­ cerning the master of ceremonies, and the program was never sponsored. Presented five days a week for fifteen minutes, this

■^^See "Welcome Traveler," p. 88. 100 was another table hopping type of interview program simi­ lar to ^Breakfast with Breneman. No further information was available.

Moppets and Melodies -- 19^^-19^6 This program was broadcast over the ABC radio net­ work beginning in the fall of 1955* It continued on the air for only one season. No information was available concerning the master of ceremonies, and the program was not sponsored. This was another children's panel program, similar to "Quiz Kids" and "Juvenile Jury * " presented each Saturday morning. No further information was available.

General Evaluation of Human Interest P£og£ama on Radio Networks

Human interest programs have been important in the various radio networks, because through them real individuals valued for their own sake have been given an opportunity to actively participate. The human interest type of program on the radio networks brougjht to the

^See "Breakfast with Breneman," p. 53see "Quiz Kids," p. 68; and "Juvenile Jury," p. 82 101 national radio audience the firat of the audience parti­ cipation programs. It marked the beginning of the de­ velopment of audience participation programs in general. Human interest programs reached their peak of im­ portance on the radio networks, based on extent of use and rating averages, during the 19l|-3-194-9 period. Out of the twenty-six human interest programs which were presented on the various radio networks, at least eight were, relatively at least, "successes.** The program form of the human interest type as it was used in the spring of 1957 in network radio did not resemble the original form used for programs of this type* This program began originally as an advice type of program in which participants came to the program with their prob­ lems.^ In the spring of 1957# programs of this type took the form of fun programs for the daytime entertainsient of women.The human interest type of program developed through the years on the various radio networks from a serious problems type of programs to an exact opposite kind of program -- the non-serious fun type. It also developed from a nighttime form of entertainment to a daytime presentation.

54-See "Court of Human Relations," p. ^8.

^^See "House Party," p. 81; or "Queen for a Day," p. Ô3. CHAPTSR IV

HUMA* INTEREST PRQORAM3 OS TELEVISION NETWORKS

Out of the twanty-fllx human Interest programs pre­

sented by the various radio networks, eleven of these la­

ter moved Into network television. For the most part,

this move was with very little. If any, change In basic

program format. However, In some cases, there was con­

siderable change in actual presentation because of the

added visual element. There were various methods used to

make these adaptations visual. These methods have been

discussed under each program which was adapted.

% t e ^ t SÎ. Suaaa Programs Human Interest programs were Introduced on both

nighttime and daytime schedules during the same season,

19l^d-19lt-9*^ As a nighttime program type, they reached their peak in January of 1952 with a total of seven pro­

grams on the air. As a daytime program type, they reached

their peak in January of 1953 with a total of four programs

on the air, and in January of 1957 with the same number.

^Source material is so scattered tiiat separate foot­ notes for each item are impossible. Information found in this section is primarily from Broadeasting-Teleeaeting magasines and ^Network Radio and Television Program His- tory** (Ohio State %ivarsity, 1951|-)* 102 103 qpneral PopularltT af Pr.ftgr^M the People* was the first of the radio net­ work human Interest programs to continue Into network television^ and It did so with continued good nighttime ratings of 3$.6 In January* 1951# and 30.2 In January* 19$2, according to A. C. Nielsen.^ As further Indication of the general popularity of human Interest programs on the television networks* the single season that "Candid Camera* was on nighttime net­ work television It received a rating of 26.0 for Janu­ ary* 1 9 5 0* according to A. G. Vielsen. "This Is Your Life* has consistently received hlg^ nighttime television network ratings* such as 31*5 In January* 1953» 39*3 in January* 195k# 3k*3 in January* 1955; 3 2 .k in January# 1956; according to A. C. Mlelsen; and 22.1 in January* 1957# according to The Pulse* ^ c . *Pers

^The average January ratings Included in this section were compiled from individual ratings given by C. B. Hoop­ er* Inc.* A. G. Vielsen* and The Pulse. ^See "We* The People** p. 62. lOl^. programs are concerned, "Bride and Groom" began its net­ work television career with a daytime rating of 12*2 in January, 1952 — its first season on network television* In January of its second season, 1952-1953# it received a rating of l6*2, according to Kielsen* Both of these ratings were given by A* C. Nielsen* "Queen for a Day" received a Nielsen rating of 12*6 in January, 195^ -- its first season on daytime network television; and a Pulse rating of 11*5 in January, 1957.

HUMAN INTEREST PROGRAMS ON TELEVISION NETWORKS

There have been certain methods used to make human interest programs effective to the eye. Perhaps the most often used method has been a part of the actual camera technique* Close-up and medium-close shots of participants while they were talking, for action facial expressions, have been extremely important to the success of ^ e human interest program on the television networks* Also, camera shots of individual members of the studio audience have been used to add emotional stimulation* Human interest programs which have used these camera techniques most often have been "Bride and Groom," "Welcome Traveler," "Queen for a Day," "It Could Be You," "This Is Your Life," and "Stand Up And Be Counted*"

The use of still pictures has also been employed in 105 «on» human interest prograoui* In such programs as "We,

The People," "It Could Be You," and "This Is Your Life"

still pictures have added greatly to the program when a particular past event has been discussed* Music has also been an important method of adding to the visual interest, although its importance to tele­ vision has not been so great as it has been to radio.

The television versions of "Bride and Qroom," "Welcome

Traveler," and "This Is Your Life" have ei^loyed music to add to the visual emotional reactions. When music has been used in these and other human interest programs,

love songs or the older more familiar melodies have been predominant. The organ seems to be a favorite musical

instrument for programs of this type.

Compared with oüier types of audience participa­ tion programs, tiie human interest type has not been too

Important in network television in terms of extent of use.^

However, programs of this type have certainly been able to hold %ieir own as far as average ratings have been concerned. According to a compilation of A. C. liel- sen, January ratings, human interest programs in network television have received individual January ratings which have averaged out to such percentages as 2l|..6 in January,

^ee gxteat SsaSü Interest Programs, p. 102. 106

19^ , for all nighttime pro grama; 20.8 In January* 1955« for all nighttime programs; and 21.5 in January* 19^6* for all nighttime programs. Also* daytime averages have been reasonably high with such averages as 1^.2 in January*

1953* and 10.0 in January* 1956* according to A. C. Vielsen^

Eleven of the twenty-four network television human

interest programs presented in this chapter were packaged programs* and twelve were network productions. The pack­

aged program has become increasingly more im@)ortant in network programming since 1952. Out of the eleven human interest programs introduced on network television since

1952* eight were packaged programs* and only three were network productions.

There has been far less tendency to carry human

interest programs on a sustaining basis on network tele­ vision than was found in network radio. Out of all of the human interest programs considered in this chapter*

only a few were carried for even a single season without

a sponsor. Most programs of this type were sponsored.

Human interest programs on the television networks have been generally uikler single sponsorship rather than multiple. The few programs of this type whloh have been under multiple sponsorship have been daytime programs* such as "Queen for a Day*" "Welcome Traveler*" and "Art

Linkletter's House Party." 107 The average cost per program of the human Intereet program on the varloue television networks up to January,

1957* has been approximately $l8,^00 for nlggittlme programs and $5*000 for daytime programs, according to a coatpllatlon of Individual January cost figures estimated In Variety and Sponsor magazines. These production costs have risen steadily through the years, from $3*500 per program for nighttime programs In January, 1950, to $36,000 per pro­ gram for nighttime programs In January, 1957* and from

$3*300 per program for daytime programs In January, 1953* to $7,600 per program for daytime programs In January, 1957.

Individual Human Interest Programs an Television networks

The following Is a chronological program by pro­ gram listing of the network television human Interest pro­ grams.^ All programs listed are live thirty-minute pro­ grams presented once a week unless otherwise Indicated.

^Source material Is so scattered that separate foot­ notes for each Item are Impossible. Information found In these program listings was found primarily In BvamdAamttm*-

______[b ana "networi and Television Proppam History* (%lc State Xtelverslty, I9A ) # Huch of this information also came from the writer*s personal observation* 108

w « . T a a p»0Pi> — iqli8-iqS2 This program was broadcast ovsr the CBS television

network, beginning In June, 19^8• It continued, moving

to NBC-TV the second season, until May 9* 1952* The ori­

ginal master of ceremonies was Dan Seymour, and the ori­

ginal sponsor was Gulf Oil,

This television version of the already popular ra­

dio network program underwent very little change In Its

adaptation to television. The basic Idea of the program

remained Just as It had been In radio.^ Its basic mater­

ial still consisted largely of hus&an Interest Interviews

and stories related by the people to lAiom they actually

happened. The primary change In the television program

from Its radio counterpart was In the use of close cam­

era shots of both the participants and the msuAers of

the audience.

This program was the first program of the human

Interest type to be Introduced to the television networks.

It was somewhat significant because of this. It actually

established a different pattern for network television,

although this pattern was already well established In net­ work radio.

According to A. C. Nielsen January ratings, "We,

^See "We, The People," p. 62. 109 The People** eeverel times had rather good ratings* Its highest January rating came in January, 19^1» and this was followed by a 30*2 rating the following January.

Its lowest rating came in January, 1950, 12.0, according to Nielsen.

Estimated program costs, according to Variety, showed a steady increase through the four seasons that this program was on the air. These production costs per program were: 191^.8-1914.9 , $ 1 ,2 0 0 ; 19I4.9-1950, $2 ,500;

1950-1951, $7,000; and 1951-1952, $12,000.

Sj,dew^lk9 af Xstit — i9L@-1951 This program was broadcast over the DuMont televi­ sion network as a daytime five-day-a-week program, begin­ ning in the fall of 19^8. It continued, without a bre#k, on DuMont until the spring of 1951# Its original master of ceremonies was Dan Peterson, and it was originally spon­ sored on a co-operative basis.

Here was a television version of the radio format of interviewing passers-by in a series of sidewalk man- on- the -street interviews, a format which dates back to the middle 3 0 'a.^

The only major change that took place in this pro­ gram during the time it was on the air was a change in

7See "Side-Walk Interviews," p* 5 9 # 110 title which came at the opening of Its second season on the air, 1914-9-1950• The title was changed to **Man-on- the-Street" at this time, but otherwise, the program con­ tinued the same on the same flve-day-a-week schedule*

This program never did have a January rating above 2*7, according to Nielsen* This probably resulted from the fact that It went unsponsored for Its final two sea­ sons on the air. As a matter of fact, this program was not sponsored for two of the three seasons It was on the air*

Ojssz# — 19li.8-lQ^l This daytime program was broadcast over the DuMont

television network, beginning In the fall of 19^3. It continued on DuMont, without a break, until the spring of

1951. Dennis James was the program's original master of ceremonies, and It was originally sponsored on a oo-oper- atlve basis* Mr* James was well known at this time as a wrestlihg announcer on the television networks* This was a daytism program presented five times a week.

This was a program of fun dedicated to an audience of mothers and was performed with studio participants Mhe were mothers* It was a fast moving program of interviews and good humour* It was quite similar to "House Party"^

®See "House Party," p* 81* Ill of notwork radio* and "Breakfast with Broneman*" also of Q network radio fame.^ The only change of any major inportance which took place concerning the program was that of sponsorship.

Starting its first season on the air on a co-operative sponsorship basis* it changed to a single sponsor* Ster­ ling Drug* during its second season on the air* and con­ tinued with this single sponsor until it went off the air,

The only production costs available were for the month of January* 1951» Variety estismted the cost per program at $700. As far as ratings were concerned* this program's best season on the air was 19l|-9'*^950« In January* 1950* it received a Hielsen rating of 5*0* irtiich was not bad for a daytime program* particularly in 1950. This rating dropped the next January to 2.0* which was the program's worst season on the air as well as its last#

Candid — 19L9-195P This program was broadcast over the CBS television network beginning in the fall of 19^9» It continued for

only one season* until the spring of 1950. Allen Punt was the master of ceremonies* and Phillip Morris was the

^See "Breakfast with Breneman*" p. 76. 112 sponsor• Pont was also the master of eeremonies of the network radio program of similar type, **Candid Micro­ phone."^^

"Candid Camera" was an unrehearsed television pro­ gram which placed unsuspecting citisens in isiaginative but entirely plausible situations manipulated by Allen Funt, with or without an accomplice. The resulting dialogue and action were filmed by a concealed camera and were shown later to the television audience with the persds- sion of the non-professional participants. The audience always was given a strong advance inkling or a complete fill-in on what was afoot.

This program was really only a television version of an older radio idea of Font's, "Candid Microphone." The estimated cost of the program for January, 1950, ac­ cording to Variety wad #5»000. Its only season on the air it had a good January rating of 26.0, according to Mielsen.

âalÆ SJLl — 19L9-19K; JLâSUâHMSU:); Jan-1956-Anr-1956 This program was broadcast over the MBC television network beginning on June 29# 19^9# as a Louis 0. Cowan production. It continued on either MBC-TT or CBS-TV, with several breaks in years, until April, 1956. The original

10 See "Candid Microphone," p. 89* 113 master of ceremonies was Joe Kelley, and the original sponsor was Miles Laboratories. Kelley had been the mas­ ter of ceremonies for the earlier network radio version of this same program.

This human interest panel program was sisq)ly a television version of the older radio program# The basic format was not changed. Exceptionally intelligent chil­ dren answered questions of unusual difficulty and commen­ ted on them. The prismry visual interest was provided by camera techniques including close-ups and angles. Other­ wise, the program was virtually without movement. The facial reactions of the children contributed greatly to the visual interest.

The program changed networks several times. It started originally on MBC-TV, then moved to CBS-TV in the fall of 1951* It left the air in the spring of 1952, but returned to CBS-TV as a summer replacement in 1953# At the end of this susmser, it was again discontinued, but re­ turned once again on CBS-TV in January, 1956. It then con­ tinued on CBS-TV until April, 1956.

Several sponsors were associated with this program during the time it was on network television. Miles Lab­ oratories was the first, beginning in the summer of 19&l9*

l^See **Qoi» Kids," p. 70. 114 This association was continued until the spring of 195l« During the 19^1-19$2 season, '^Quis Kids* did not have a sponsor but was continued on a sustaining basis. The Catspaw Rubber Heels Conqpany took over the sponsorship in the fall of 1952 , and continued until the program was discontinued at the end of that season, 1952-1953* The program reappeared once again in January, 1956, with a different sponsor, American Home Products Company, with which it finished its career on network television.

The only major change in time of broadcast came in the fall of 1 9 5 1 * *Quis Kids* was a ni^ttime program every season it was on the air with the exception of this single season, 1951-1952# during which it was scheduled for Sunday afternoon, 3:00-3:30. This was also the only season that the program was not sponsored.

One major change in master of ceremonies came in January, 1956. Joe Kelley had not only been the original master of ceremonies of the network radio program begin­ ning back in 194^ but had also been the original master of ceremonies of the network television version beginning in 1949* He was i*eplaced when the program reappeared on CBS-TV, after an absence of a year and a half, by Clifton

Fadiman. Hr. Padiouuti was well known for his job as mod­ erator on the network radio panel program from 1938-1948# "Information Please.* 115 There were sereral important changea in production coata. Production coata for January of the firat aeaaon on the air were estimated by Variety to be $S*000. Theae coata were lowered to #1,^00 in January of the aecond aea­ aon on the air. During the January* 1953» aeaaon the coata were estimated by Variety to be again $5»500. The highest rating available for this program was a Nielsen rating of 23*3 in January* 1951. The lowest rating* a

2.8* ci^iaa the January before this in 1950. Except for

this single h i ^ rating of January* 1951» the program could not be considered a popular television program.

Its other ratings usually ranged around the 7.0 mark* which was low for nighttime programsiing.

Storli Slab — l

the air until the spring of 1953 » after which it was dis­

continued until the fall of 19^ when it reappeared on

ABC-TV. Originally* this was a fifteen-minute program presented three times a week. During its second aeaaon

It continued aa a fifteen-minute program but waa presented only two times a week; and during its third and fourth aeaaona it became a thirty-minute program presented only once a week. Shersmm Billingsley waa the master of cere­ monies* and Fall Mall waa the original sponsor. Il6

Billingsley waa a well known comedian.

The format called for interviewa between Sherman

Billingaley and gueata at the Stork Club. There waa no variety or other entertainment provided. It waa the same general pattern aa "Paye Emerson.

Production costs for "Stork Club" increased, accord ing to Variety, from $1^,500 per program in January, 1952, to $9,000 par program in January, 1953-

January Nielsen ratings indicated that the program was more popular as a thirty minute once-a-week presenta­ tion than it was as a fifteen minute production. In Jan­ uary, 1951 # it received a rating of 11*9» and in January, 1 9 5 2 , it received a rating of 12.9» according to Nielsen.

But in January, 1953» this rating jumped to 20.1, accord­ ing to Nielsen. However, when the program reappeared on

ABC-TV during the 1951*.-1955 season as a thirty minute pro­ gram, its January rating dropped sharply to only I4..O, according to Nielsen.

There were several different sponsors for this pro­ gram during the time it was on the air. After Pall Hall sponsored it for its first season, Fatima took over for the second season. Pall Hall and the Oemex Corporation became sponsors during the program's third season on the

^See "Faye Emerson," p. II8 . 117 air, 1952-1953; and during the 1951*.-1955 season, the final season the program waa on the air, Geme% was the sponsor, mia m m Unkletter — 1950-1952 This program was broadcast over the ABC television network, beginning in the fall of 1950 as a John Guedel production. It continued on the air for two seasons only, until the spring of 1952, Art Linkletter was the origi­ nal master of ceremonies, and Green Giant Canning Company was the original sponsor, Linkletter was well known for his work as master of ceremonies in the radio network version of this same program, "House Party,in 19M^« as well as "People Are Punny,"

This program was simply a television version of

"House Party," with little change in the basic format.

The primary visual element added consisted of close camera shots for human Interest, It was another fun type of pro­ gram, with Linkletter moving about the studio audience with Interviews,

Production costs for this program Increased be­ tween Its only two seasons on the air. According to Vari­ ety, production costs for January, 19^1, were $7,500, and they Increased to $10,000 for January, 1952,

^^See "House Party," p, 8 I, 118

January ratings, according to Nielson, would Indi­ cate that this program waa reasonably popular for a night­ time presentation» In January, 1951* it received a rating of 12.0, and it received a rating of 2ij..6 in January of

1952.

Faye Emerson gllg) — 19$9-1951 This program was broadcast over the ABC television network, beginning in the fall of 1950. It continued for only one season, until the spring of 1951# It began as a live program, but switched to film in December, 1950, and was presented fifteen minutes three times a week. Faye

EÜserson was the mistress of ceremonies, and the program was sponsored by Pepsi Cola.

This was a program in which Miss Emerson inter­ viewed guest celebrities, some professionals and some non­ professionals. These interviews were very informal, and were handled in such a way that the human side of even the best-known professionals was emphasised.

Faye Baerson actually established a new pattern for the television networks. There had never been any program exactly like this before on either the radio or television networks, although several earlier programs had included interviews as part of their format. This was the first network television program of interviews, and nothing else, with the possible exception of 119 **Sldewalka of How Y o rk,"^ In 19^4-8# which was all Inter­ views but different In format. The production costs for **Faje Emerson" during Jan­ uary, 1951# were estimated by Variety to be $6,000 per program. The program's rating for January, 1951* *&e 15*7* according to Hlelsen.

W.fe Begins — 1950-1956 This program was broadcast over the ABC television network, beginning January 13, 1950, as a Barry-Bnrlght Production. It continued on various networks -- without a break — until the spring of 1956. Jack Barry was the original master of ceremonies, and the original sponsor was Arnold Bakeries. Barry was well known for his earlier radio version of this sasM program# as well as his work In the radio network program^ "Juvenile Jury."^^

This was a program featuring panelists who were all over eighty years of age and masloal guests In the same age group. This panel discussed with a good deal of witty repartee the problems sent in to them by viewers*

Generally, the problems concerned older people or the relationships of the younger and older masters of families*

^See "Sidewalk# of Hew York," p. 109*

^ % e e "Jhvenlle Jury," p* 120 It was quits slwLIar to tbs sarlisr nstwork radio program of tbs same tltls*^^ The primary dlffsrsncs bs- twesn tbs earlier radio program and this television ver­ sion was In tbs snisleal guests who appeared apart from the panel. Otbsrwlss, the program was simply the earlier radio program with cameras enq)loylng various shots for human Interest effect. "Life Begins at 00" began on the television net­ works as an ABC-TV presentation on January 13, 1950, moved to DuMont on March llf» 1952, then returned to

ABC-TV on July 31, 1955* It continued on ABC-TV until

It left the air for good In the spring of 1956.

This program had several different sponsors during the time It was on the television networks. It began

Its first season with Arnold Bakeries, became sustaining during Its second season, and was sponsored by Pharma­ ceuticals, Die., from the fall of 1952 until it left the air for the final time.

Production costs varied some shat during the sea­ sons. Variety estimated production costs In January,

1950, et #3 ,500 * In January, 1953, these costs had dropped to #2,000; Increased to #2,500 in January, 195k; and in­ creased again to #k,500 in January, 1955*

16 See "Life Begins at 80," p* 93* 121

Its January program ratings wers never too higpi for a nlgjattime network television program. They ranged

from a high Nielsen rating of In January, 1953» to

a low Nielsen rating of 8.0 In January, 1956.

Blind Data — 1950-1951 This program was broadcast over the ABC television network, beginning In the fall of 1950. It continued for

one season only, leaving the air In the spring of 1951*

No Information could be found concerning the original mas­

ter of ceremonies, but the original sponsor was The Oruen Watch Company. Here was a television version of an earlier radio

program.The basic Idea was the same In both versions,

even to the setting* A partition separated the would-be blind dates, with the service man on one side and the girl on the other. The telephone conversation was used as com­ munication between the two persons. Just as It had been used In the radio version. Cameras were situated In such a way that the viewer could see both persons as they talked. The point of the program was to see which service man could give each girl the best **line.* Winning service men received all-expense paid dates with the girl ttiey

"#cn."

^^See "Blind Date," p. 122

Like its radio network predecessor» "Blind Date" on television was the outgrowth of a wartime situation» the Korean conflict. The January» 1950» Nielsen rating was 16.9» and the production costs for the same month were estimated by Variety to be $5,500.

Wonde^fal Ism ZU#) - This program was broadcast over the CBS television network» beginning in the fall of 1951* It continued for one season only» leaving the air in the spring of 1952. Faye Emerson was the mistress of ceremonies» and Pepsi

Cola was the sponsor. Hiss Emerson had been the mistress of ceremonies of her own program the previous season.

"Wonderful Town" had the same basic format as its predecessor» "Faye Emerson," in that it was a program in which Hiss Emerson interviewed guest celebrities» some professionals and some non-professionals» but all with the esgphasis on the human side. However» "Wonderful Town" was presented only once a week» Saturday nights» for thirty sdnutes.

"Wonderful Town" was also on film» and the produc­ tion costs per program during the month of January» 1952»

18See "Faye Sswrson»" p. II8 . 123 were eetiaated by Variety to be #15«000* The program received a Nielsen rating of ll^#0 during this same month*

Bride ABÉ 5E22B — 19gl-i9&; 1957,- This program was broadcast over the CBS television network, beginning as a fifteen minute program, five-days- a-week, on January 25, 1951. It moved to NBC-TV on Novem­ ber 30, 1953» with its final program on August 27, 195^* Although this dissertation does not include programs after the spring of 1957» it should be noted here that this pro­ gram was re-established on NBC-TV in September, 1957» and was on the air at the time of this writing. John Nelson was the original television master of ceremonies, and the Hudson Motor Company was the original television sponsor. This was a television version of the earlier net­ work radio program consisting of an actual marriage cere­ mony on the air.^^ There was also an interview with the couple, along with wedding presents from participating contributors. The primary difference between the televi­ sion version and the radio version was in the camera angles and close-ups. Sponsorship changed each season the program was on the air. After the opening season with The Hudson Motor

^9see "%pide and Groom, " p. 87 . I2lv

Companyf General Mille took over during the 1952-1953 aeaaon» and waa followed by Jergena Lotion during the

1953-1951*- aeaaon. Production coata according to Variety inoreaaed alightly through the aeaaona* In January» 1952» they were estimated to be #1»500 per program. In January»

1953 , these production coata had risen to $2,^00 per pro­ gram» and the program went on the air five times a week rather than only once a week» aa in the previous aeaaon.

In January» 1951*-» production coata had not changed from the previous season» $2»^00.

During the program's first two aeaaona on the air» it received very good ratings for a daytime program. In

January» 1952» it received a Nielsen rating of 12.2; and during January» 1953» it received a rating of 16.2» ac­ cording to Nielsen* However» in January» 1951*-» the pro­ gram had dropped sharply in popularity and received only a lf..5 rating.

Juvenile Jury — 1951-1955 This program waa broadcast over the NBC television network» beginning in the fall of 1951 ea a Jack Barry package program. It continued on either NBC-TV or CBS-TV» without a break» until the spring of 1955# Jack Barry waa the original master of ceremonies» Just as he had been for 125 20 this program** prsdeesasor on network radio* Barry waiwas .21 also the master of ceremonies for **Life Begins at 80,'* The program* s original sponsor was the Minnesota Mining

Company.

This program was a television version of the ear­ lier network radio program of the same name* The basic forsiat remained unchanged* The major difference between the television version and the radio version was in the television use of camera angles and close-ups. The pro­ gram still used a panel of five normal children, from six to eleven years of age, answering questions concern­ ing everyday problems sent in by viewers.

"Juvenile Jury" was on the MBC-TV network every season it was on the air with the exception of the 1953* 1951*. season* After a first season of sponsorship by the Minne­ sota Mining Company, the program became sustaining during the 1952-1953 season. Serutan took up the sponsorship during the next season, and continued until the program went off the air in the spring of 1955 #

Production costs did not vary too much during the seasons this program was on the air. Variety estimated

^®See "Juvenile Jury," p. 8%* ^^See "Life Begins at Ô0," p* II9 . 126

these production costs to be $$,$00 per program in the

month of January, 19$2; fl|.,500 per program in the month

of January, 1953* and $l^.,$00 per program in the month of

January, 19^^.. Ratings were newer too high for a nighttime pro­

gram. They ranged from 17.1 in January, 1952, to 10.1^. in

January, 1955, according to Nielsen.

*igdom q T ^ Ages — 1952-1993 This program was broadcast over the DuMont televi­ sion network beginning in December, 1952. It continued for only one season, leaving the air in the spring of

1953* Jack Barry was the moderator, and Serutan was the

sponsor. Barry was better known for his work as master of ceremonies on "Juvenile Jury"^^ and "Life Begins at 80. This was a panel program composed of one person from each of the following age groups: under twenty; twenty to forty; forty to sixty; sixty to eighty; and over

ei^ty. The members of this panel, under the moderator- ship of Jack Barry, discussed human problems of various

sorts.

"Wisdom of the Ages" was quite similar to an earli­ er network radio and network television program, "Life

Z^See "Juvenile Jury," p. 23see "Life Begins at 80," p. II9, 127 Begins at 80, " ^ It waa also similar to •Juvenile Jury," also of earlier network radio and television fame.^^ The basic difference In the format of "Wisdom of the

Ages" and these earlier programs was In the use It made of panel members of a variety of ages, from under twenty to over eighty, rather than limiting the ages to either, over eighty, or between six and eleven. Otherwise, all three of these programs were basically the same.

For an evening program, "Wisdom of the Ages" did not gain a very good rating during Its only season on the air. In January, 1953» It received a rating of only 10.6 , according to Wlelsen*

à£Ï Linkletter »s S s a u — 1952- Thls program was broadcast over the CBS television

Mtwmrk, beginning on August 2, 1952, as a John Guedel production. It has continued on CBS-TV, five days a week, and la still on the air. Art Linkletter Is the master of ceremonies, and the program has always been presented on a multIple-sponsorship basis. Linkletter Is better known for his earlier network radio program, "House Party,"

^^See "Juvenile Jury," p. 12j|.. 2^See "House Party," p. 8l. 128

and his creation of the famous stunt program, "People Are

Funny,"

"Art Linkletter*8 House Party" vas a television

version of the earlier network radio program, "House Par­

ty," The basic format remained unchanged, including the

portable microphone allowing Linkletter to wander through

the studio audience for interviews, particularly with

children brought in from schools around Los Angeles,

Production costs have remained around #j|.,000 per

fifteen-minute segment, according to Variety, since the

programme first season on the air.

The program's ratings have always been good for a

daytime program presented, ranging from a high of 13,1|. in

January, 1955» to a low of 9,1 in January, 1957» accord­

ing to Hlelsen and Pulse respectively. According to U. 8.

Pulse TV, this program waa number five in the top ten

daytime programs on network television for the month of

January, 1957#

Welcome Traveler — 1952-1955

This program was broadcast over the HBC television network, beginning in the fall of 1952. It continued on either HBC-TV or CBS-TV, without a break, until the spring of 1955. I^s Lear and Tommy Bartlett were the two masters of ceremonies, and the program was originally sponsored on a participating basis. Lear and Bartlett were also the 129 original masters of eeremonies for the earlier radio net­ work program of the same name.^^

This was another network radio program which moved

Into network television with no change In basic format*

It remained a program In which different Interesting travelers visiting Chicago were Interviewed. The setting for the television version was a dining room of a hotel, with the participants at different tables placed around the room. The two masters of ceremonies wandered from one table to another, each taking his turn doing the

Interviewing.

The only change In network for this flve-day-a- week afternoon program came In the fall of 1 9 % idien it moved from NBC-TV to CBS-TV. Procter and Gamble sponsored this program every season but the first, when sponsorship was on a participating basis.

Production costs per program were estimated by

Yariati to be $3,200 In January, 1953; $2,1*.00 In January,

1 9 % ; and $3,600 In January, 1955* Nielsen ratings showed that "Welcome Traveler" re­ ceived a % * 3 in January, 1953; followed by 11.1 In Janu­ ary, 1 9 % ; and 8.0 In January, 1955*

27See "Welcome Traveler," p. 91* 130 Thie Ia Xflac MXft — 19SS- This program was broadcast over the NBC television network, beginning in October, 19^» as a Ralph Edwards production. It continued on NBC-TV, without a break, and was still on the air in the fall of 1957» Ralph Edwards was the master of ceremonies, and the program was sponsored by Hazel Bishop.

The basic idea of this program remained unchanged with its move from radio to television. This idea had actually been used on both radio and television, notably on "*We, The People,but never before as the basis for a whole program. Unknown to the person to be interviewed, people from his past were brought to the studio from all parts of the world, and he was himself lured into visit­ ing the program. He was confronted with his past. Some highly emotional situations arose as events from his life were recounted and his old friends and family cams to greet him and tell their part of Wie story.

"I call it plain ordinary commercialised sadism,"

John Crosby once wrote indignantly in his syndicated column.^ On the other hand, the program was so remarkably

^®See "This Is Your Idfe," p. 95»

^^See "We, The People," p. 1 0 8 .

^^Dean Jennings, "It Makes Him Happy to See You Cry," Saturday Bvenlng Post. February 1|., 195o, p. l8. 131 successful that NBC gave Edwards a four-year contract In

1956. According to Ralph Edwards, "The show Is a mirror of people's lives, and they can Identify themselves with

It. It has to be commercial and therefore d r a m a . "31

Possibly the happiest note for Edwards was that "This Is Your Life" consistently held Its place In the first ten up to January, 19^6 ; It had won over twenty national awards, had sometimes attracted an amazing $,000 fan letters a week, and had raised more than #1,000,000 for various worthy causes.3^ Also, the surprise format of the program had become a national fad played In chur­ ches, schools, hotels, clubs, and private homes. Edwards makes the final choice each week, elimi­ nating the stoics who might not show too much emotion, and people who had had adverse publicity, or too mmany divorces. Generally speaking, there are no other limita­ tions so far as the participants are concerned. Production costs for the program have varied through the seasons. In the fall of 19$2, they were estl-

ted to be # 1 8 , 0 0 0 per program.33 These costs dropped

3^Ibld.. p. 19 . ^Ibid. ^^Robert Hammel Stewart, "The Development of Network Television Program Types to January, 1 953 (unpublished Doctor's thesis, Ohio State %alverslty, 19%.), p. 370. 132 during tha following aeaaon to $12*000 per program* aa eatlmated by Varie tv for the month of January* 19514.*

They rose again during the 19514--1955 aeaaon. In January*

1955f VarietT eatlmated them to be $11*.,000 per program. They roae once again during Uie following aeaaon* and

Variety eatlmated them to be $25*000 per program during the month of January* 195^* According to Sponaor. theae production coata took a tremendoua Jump during the 1 9 ^ -

1957 aeaaon. Aa of January* 1957* they were eatlmated to be $52*000 per program.^

Procter and Oamble joined Haxel Blahop In co-apon- aorhlp during the 195l|-*1955 aeaaon. Thla aponaorahlp arrangement haa continued up to thla writing.

Thla program haa alwaya been popular aa a network televlalon nl^ttlme preaentatlon. Ita program rat Inga have alwaya been high* even for a nighttime program. Ac­ cording to Slelaen, It received auch ratlnga aa 31 . 5 In

January* 1953* Ita firat aeaaon on network televialon;

39*3 in January* 195t* 34*3 In January* 1955* an d 32.1*. In January* 1956. The rating for January* 1957* waa 22.1* according to Pulae TV.

3*1 Sponaor. January 19* 1957* P* 46* 133 Peraon to Person -- 1953- This program waa broadcast over the CBS television network# beginning in the fall of 1953* »s a Person to Person# Incorporated production# produced by Edward R.

Murrow. It has continued ever since on CBS-TV, without a break# and was still on the air at this writing# Ed­ ward R. Murrow was the original master of ceremonies# and the program was originally sponsored on an alternating basis by American Oil Conq>any and the Hamm Brewing Com­ pany. Mr. Murrow was well known for his work on the news staff of CBS# as well as his production and moderation of See It Mow, also for CBS-TV, The basic idea of this program was for Morrow to visit two outstanding personalities for each program in their homes via microwave and phone lines. Murrow re­ mained in the Mew York studios and interviewed these per­ sonalities by way of a large monitor Installed in the studio. The program afforded an opportunity for the net­ work television audience to see and hear the human side of these various outstanding personalities. It was an intimate glimpse into their lives# directly from their living room to the viewers living room# in a sense. Although there had been many different interview programs on both the radio and television networks up to 134 this "^Person to Person" was different from any preceding program of the same general kind* The basic difference was in the use of an interview via micro-wave and phone lines between an interviewer in a studio and a participant in his own home* This established a new pattern in interview programs *

Production costs for this program increased stead­ ily through the years. In January, 19$4# Varietv estimat­ ed them to be $20,000 per program* In January, 1955» they were estimated to be $22,000 per program; and in January,

1 9 ^ , they had risen to $33,000, according to Varietv* As of January, 1957» they had risen again slightly over ■^6 the previous year to $34 >000.

As far as popularity was concerned, "Persmi to Per­ son" did not really make a mark for itself until the 1956-

1957 season* It received Mielsen ratings of 22*8 for Jan­ uary, 19$4* 18*4 for January, 1955» and 24*1 for January, 1956. But, according to the American Research Bureau, this program received a 31.5 rating for December, 1956» and was listed number twenty-one among the top network television programs In the nation*

^^See "Sidewalk Interviews," p* 59l "Candid Micro­ phone," p* 69; "Sidewalks of lew York," p* 109; "Fkye Basrson," p* II8 *

^^Sponsor. January 19, 1957» p. 46. ^^Ibid*. p* 37 . 135 Qu»tn I2C £ D&I — 1255- Thla program was broadcast over the NBC television network, beginning In January, 195^* as a Raymond R. Mor­ gan production* It continued on this same network, with­ out a break, up to the writing of this paper# Jack Bailey was the master of ceremonies, and the program was presented on a multlple-sponsorshlp basis* Bailey was also the mas­ ter of ceremonies of the network radio program of this same name.^^

This was slnq>ly a television version of the earlier radio program. There was basically no change In format. Camera angles and close-ups constituted the major differ­ ence between the television and the radio version* The setting, with the throne and crown for the queen, remained basically the same* Here was a program which each day gave one housewife chosen from the audience an opportunity to "live like a queen" with her wishes granted by the pro­ gram* It actually debuted as a local television program on EHJ-TV, In Los Angeles, In February, 1952* On January

2^., 1955# It debuted as an ABC Western Television network program, originating from Independent KHJ-TV*

During the 1955-1956 season, "Queen for a Day" was scheduled as a fIve-day-a-week program, thirty minutes a

^^See "Queen for a Day," p* 83* 136 day over NBC-TV. At the beginning of the 1956-1957 sea­ son, it was extended to forty-five minutes a day. The production costa per program for each fifteen minute seg­ ment in January, 1957, were $3,000.^^

This program received a Nielsen rating of 13*2 for the two weeks ending December 8 , 1956. It had already received a Nielsen rating of 12*6 for January, 1955. These are both very high ratings for any daytims program. As a matter of fact, this December, 1956, rating placed

**Queen for a Day* number five in the list of the top ten week-day programs with regard to cost-per-1,000 homes per commercial minute. The cost-per-1,000 bommes was estimated

to be $1.2^, as compared with #1.39 for *Search for To­ morrow;" #1.57 for "Arthur Godfrey Timm;" or #1.70 for "Strike It Rich."^®

Love Storr — 1955-1956

This program was broadcast over the CBS television network, beginning in the fall of 1955. It continued on the air for one season only, 1955-1956. The singer-host was Jack Smith, and the sponsor was Procter and Gam&ble. It was presented five days a week.

Smaith had as his daily guests a couple mdio told

39sponaor. January 19, 1957# p. If6 .

id.. p. 3 6 . 137 the story of their love. This format afforded Smith an opportunity to sing, as he rendered the favorite songs

of the various couples. Upon completion of an interview, the guest couple participated in a short quiz in which

they had an opportunity of winning up to $^00 in cash, plus gifts of merchandise and other prizes.

"Love Story" was different from any preceding pro­ gram of the same general kind, although there had been pro­ grams on the air before this time which included certain elements of similarity. "Bride and Groom," for instance, included many of the same elements found in this pro­ gram. The primary difference between these two pro­ grams was that "Love Story" featured married couples, whereas "Bride and Groom" featured couples who were in the process of being married# Compared with the other two daytime human interest prograsis on the air during the 1955-195^ season, "Queen for a Day" and "Art Linkletter's House Party," "Love Story" did not receive a very high rating.^ However, compared with average daytime ratings of all prograsis in general, a Hielsen rating of 7.4^ during the month of January, 19^6 , was not a bad rating#

^ S e e "Bride and Groom," p. 123#

^ S e e "Qneen for a Day," p# 135* and "Linkletter's House Party," p# 127. 138 The production costs per program for this "Love Story," in January, 1958, were estimated by Variety to be *3 ,000.

Stand ^ aaÉ M — 1956-19^7 This program was broadcast over the CBS television network, beginning on May 28, 1958, as a Frank Cooper

Associates with CBS-TV production. It continued on the air until the spring of 1957* Bob Russell was the master of ceremonies, and the program was sustaining.

This was a panel program* Participants, chosen through letters, presented problems confronting them. Studio audience volunteers were asked to offer solutions, and the rest of the audience voted on the most feasible of the solutions offered. Later, the problem-presenter was asked to return to the program to tell irtiether or not the advice had been helpful.

The basic idea of this program was not new, althou^ this idea was presented in a somewhat different manner. The use of studio audience volunteers offering solutions, and the vote from the rest of the audience were both dif­ ferent twists to an earlier basic idea first presented on the radio networks in such programs as "Court of Human 139 Relations" in 1933,^^ "Good. Will Hour" in 1937,^ and "Alexander's Mediation Board" in 194.3*^^ According to Pulse TV, "Stand Up and Be Counted" received a rating of S»\\. in Septemiber, 19^6 ; and $.2 in January, 1957* These ratings, coupled with the fact that this program was never sponsored, would indicate that it was not too popular lAiile on the air.

It Could Ï2M — 1996- This program was broadcast over the MBC television network beginning on June 4, 1956, as a Capricorn Produc­ tions (Ralph Edwards) production. It continued on NBC-TV throu^ the following season, without a break, and was still on the air in January, 1957* The original master of ceremonies was Bill Leyden, and the original co-sponsors were Welch Grape Juice Cos^any, Brown and Williamson To­ bacco Company, and the Brillo Manufacturing Company. It was presented five days a week. This was a program in which persons regained lost articles, were reunited with persons they hadn't seen in years, celebrities were on hand to meet persons who wanted to see them face to face, and other persons were given

^^See "Court of Human Relations," p. ^ S e e "Good Will Hour," p. 61).. ^^See "Alexander's Mediation Board," p. 72. lif.0 merchandise.

"It Could Be You" was a combination of features of several of Edwards' earlier programs. In particular. It

Included elements found In "This Is Your Llfe."^^ There were also present elements Included In other earlier pro­ grams of the human Interest type, such as "Queen for a

Day,"k? "Welcome Traveler,"^® or "Art Linkletter's House Party."^9

According to Pulse TV, the ratings for "It Could

Be You" were even lower than those for "Stand Up and Be

Counted," and yet "It Could fie You" was sponsored and was still on the air In January of 1957* It received a Pulse rating of 3.9 In September, 195^* and also 3.9 in January,

1957* Both of these ratings were low, even for daytime programs• Sponsor estimated the production costs for this program to be $6,000 per program, in January, 1957*

You're Sm IsSE Qsok — 1956-1957 This program was broadcast over the CBS television network, beginning on December 22, 1956, as a Barry and

^^See "This Is Your Life," p. 130.

See "Qneen for a Day," p. 132.

^®See "Welcome Traveler," p. 128.

^^See "Art Linkletter's House Party," p. 127* 14.1 Ehrlght production» It continued on the air until Febru­ ary, 1957* Steve Dunn was the master of ceremonies, and

Hazel Bishop, Inc*, was the sponsor*

In this program participants' rewards were based on their own resourcefulness rather than their knowledge of any particular subject* The answers to all questions were found somewhere in the studio: in directories, al­ bums, and 80 forth* The quicker the contestant got the correct answers to questions, the more money he could win*

This was definitely a human interest program; al­ though it certainly included elements of the quiz and the stunt program as well, the human interest values out­ weighed the quiz values. It was different from any pre­ ceding program of the same general kind in the method In which the winner was selected*

According to Pulse TV, this program received a ra­ ting of 6,2 in the month of January, 1957• This was a very low rating for a ni^ttims network television program*

Sponsor estimated the production costs for January,

1957, to be $23,000 per program,

Mike Wallace Interview — 1957- This program was broadcast over the ABC television network, beginning on April 28, 1957, as a Newsmaker Pro­ ductions, Incorporated package, produced by Ted Yates. It was still being broadcast at the time of this study. Mike Wallace was the interviewer, and Philip Morris was the sponsor. This was basically an interview program in which Wallace conducted a "news-in-depth"* type of interview with a prominent person, asking questions about topical subjects this person was connected with. These inter­ viewees ran a gantlet of almost merciless cross-examina­ tion idiich put this particular interview program in a class by itself. Never before on the networks had such confessionals^® been presented in interview form. This program established a whole new pattern in "newa-in- depth" interviewing. The effective use of a black back­ ground coupled with the emphasis on extreme close-ups added to the idea. There had been several earlier net­ work programs of the general human interest interview type, such as "Paye Emerson"^^ or "Person to Person,"^ but none of these had ever gone to the cross-examining extremes of Mike Wallace. "Mike Wallace Interview" was not developed origi­ nally as a television network program* It began as a local

Broadoasting-Teleoawting. May 6 , 1957, p. 16. ^^See "Paye Emerson*" p. II8 .

^See "Person to Person," p. 133* 143 Now York City program on October 9« 19^6, over WABD« under the title of "Mike Wallace’s Nightbeat." It was scheduled Tuesday through Friday, 11:00 to 12:00 midnight. Because of its popularity on a local level, it moved to the net­ work. The basic idea of the program did not change in this move from WABD to ABC-TV. According to Broadcasting-Telecasting, production costs in May, 19^7, were $22,^00 per program.

owfttrAl Saaaa 2 Q Television Networks

Human interest programs have been isq)ortant on the various television networks for the same basic reason that they were iiQ>ortant on radio networks. Throu^ pro­ grams of this type, real individuals, valued for their own sakes, have been given an opportunity to actively partici­ pate. Based on extent of use and average ratings, pro­ grams of this type reached their peak of importance on the television networks during the 19$2-195% season. The 1956- 1957 season was not quite so good as this peak season, but it was close, and programs of the human interest type main­ tained some isq)ortance up to the writing of this study. A total of eight out of the twenty-four human in­ terest prograsm presented in this chapter were sihgle 1 # aaason programs* Three of these eight were introduced after the 1955-195^ season* However, about half of the twenty-three programs which did fall into this classifi­ cation were certainly outstanding as far as popularity was concerned. The form of the human interest program as used in

19^7 # did, by and large, resemble the original form for programs of this type on the television networks* There have been, of course, several different versions of the basic human interest format since "We, The People" in

1914.8 ; and there were several obvious differences between this program and "Mike Wallace Interview." However, these differences were primarily in the use of the camera close-ups and in the siaplioity of the television setting* The basic appeal of the type did not change* The primary changes were in camera technique and television setting* CHAPTER V

INTRODUCTION ^ QUIZ PROGRAMS

Quiz programs have bean going on for an undeter- minad time, there being some doubt about the date on which they took the air for the first time on some local station.

There are those who date them back to W. M. Hickey and his **Ask Me Another,** over WTIC In 1928.^ It was not until 1936, however, that questions and answers became a real factor In network broadcasting. **Professor Quiz** was introduced In the fall of 1936, and just six years later. In the fall of 19i*2 , rumors along o Radio Row were that the quiz program was due to expire. Of course, it did not expire, and as a matter of fact. It was stronger In the spring of 1957 than it had ever been before In Its history. Of all of broadcasting's sundry phenomena, the growth of the quiz program was as astonishing as any. In radio, 193d will be remembered as "the quiz year." Fussier programs were the erase as quiz Blasters flocked to the mi­ crophones inviting audience participation in a great

^Francis Chase, Sound and Purr (New York: Harper,

K. Hutchens, "Mho Thought Up the Quiz Show?" U s a York £Îjhl1i August 23, 19jj2, Section 7, p. 12. 145 llt-6

questlon-answar gano of the air* Never had the "listen­

ers' brains been so confounded and tickled by the voices

that led them on in what the broadcasters called atten­

tion-compelling entertainment * The year 1933 was also

the worst year since 1926 for noted singers, because of the lower cost of entertainment involved with the quis

program*^ The quiz program won a warm regard by sponsors.

This sponsor found a form of entertainment using talent

which was free, docile, and inexhaustible*"^

The quiz business continued to develop for the next

ten years in network radio, with a slight lag during the

war years, 194-1-19^.^# In 1933-1939# quiz programs were holding down an important position in radio network programming. Big

stakes seemed to be appealing* With a coodsination of

showmanship, real human interest, integrity, suspense, plus one or more generous and patient sponsors, one could make a reasonable success of this type of program* To illustrate the money involved in quiz programs during 1933-1939# Bob Hawks, who had his own quiz program

^Orrin B* Dunlap, Jr«, "A Year's Round-iqp," The Hew York Times, Sunday, January 1, 1939» P* 34.*

^Ibid*

^George Joel, "Quid Pro Quiz," Hatlon* lovember 16, 194.0 , p. 4-75. 1 47 on Mutual during this season, forwarded the following data: A check-up reveals several dozen major network quiz programs, fifty-six indies and a.dozen more not listed except lo- callyO...In all, there's about one hun­ dred question-and-answar shows whizzing on the air-lanos...Quiz fan mail averages 20,000 letters and postcards annually 1.., For paper, ink, envelopes and postage, the fans spend $600,000 in $2 weeks 1... Conductors of quiz shows average a com­ bined salary of f250,000 per fiscal year ...There's a mail room rent total running about $20,000 for mail storage for two years (required by law for contests).•• Mail staffs and materials run about $400,000.•.Telephones ring up $1$,000.,. Advertising quiz shows run another million each year...Sponsors' mailing costs milk the caah-drawers for $150,000...Thus juggling ciphers via algebra, trigonome­ try and logarithms, etc., brings a gross total of $3^442,100...Of course, there's nothing in this sum that includes time costs for network or local shows I... Trust this financial legerdemain answers all questions on quiz shows*

MAJOR CHÂMGRS IN QUIZ PROGRAMS

In the history of quiz programs several major changes have taken place. There have been changes in pat­ tern, changes with respect to the selection of contestants, changes In the master of ceremonies, and changes in the size of prises given.

There have also been changes in the use made of

^"Quls Means Bis," Radio Daily, March 11, 194o* P* 10* Hj.8 studio audiences• Originally, studio audiences were not even permitted Into the radio studio proper. It was be­ lieved, prior to 1 9 3 2 , that the presence of a live studio audience would be distracting to the performers. When the glass window was finally removed between the performers and the studio audience. It was still some time before this studio audience was permitted to make any noise. As a matter of fact. It was not until the beginning of the stu­ dio quiz that much use of this studio audience was even considered. This audience was finally made a definite peurt of the program. The use of the audience has Increased through the years until In the spring of 1957» It was a vital part of every quiz program. The use of background music for mood and for at­ mosphere has also Increased In Importance through the years In quiz programs. Originally, such mood music was not used at all In quiz programs, whereas In the spring of 1957» special musical arrangements were created specifi­ cally to add tension cuid suspense. Most of the quiz pro­ grams on the air In the spring of 1957 would have been con­ siderably less successful If they had lacked this Ingre­ dient.

Ch*nire« Pattern

Quiz programs can be divided Into eight basic pat­ terns which have developed on both radio and television 114-9 networka alnoe 1936. Thaae various patterns have been called classificationsj and have been discussed more ful­ ly in the following chapters* At this point it will be sufficient simply to list them in the following chrono­ logical orders 1* Single questions asked of each of a large nuiaber of contestants# as in "Dr* I* Q*"

2* The spell-down method of contest# as in

"Spelling Bee*" 3 * Questions concerning music# as in "Kay Kyser*8 College of Musical Knowledge." 14.* "Team" competition# as in "Battle of Sexes*" 5« Several contestants conqpeting as individuals# in trying to be first to answer the same question# as In "Quick as a Flash*" 6 * A series of questions of increasing difficulty to one contestant# as in "Strike It Rich*"

7* Teams of two contestants each# which in effect compete against one another for the chance to try for a jaclqpot question# as in "You Bet Your Life*"

6 * The element of one person against another person as in "The $614.#000 Challenge*"

Though it was missing in all the early quis pro- grasw# many of the later programs were built to make comedy a basic essential* 150

Changea In Selection of Conteétanta

Throughout their history, audience participation

programs have depended for their development on the per­

formances of personalities who were rarely reviewed by

the critics* These personalities represented a major

discovery by American broadcasting* In other types of

audience participation programs, they were known as par­

ticipants, but in quiz programs they were known as

contestants*

These real people, valued for their own sakes,

had been infiltrating broadcasting for some time* They

had performed on other types of programs, as well as audi­

ence participation* As one exaiq>le, they performed on the

Senate Crime Committee hearings not too many years ago*

And though it is true that these hearings had the special

attraction of exposing the non-professional participants

to the ruin of their lives, the quiz program contestants

of that same period put on a comparable performance* As

a matter of fact. In the spring of 1957, more was expected

of these contestants than had ever been expected before*

The Importance of these contestants had developed to the point where they actually had a reputation to lose also*^

^David Cart, "The All-Am*rican Act," H a m e r , Hay, 1952, p. 91. 151 Originally, contestants were selected from people in the studio audience at random with no particular meth­ od of selection. Sometimes the first few people to enter the studio were selected. Sometimes numbers were given to each person who entered the studio, and these numbers were then drawn out of a hat to see who would participate as contestants. In the early studio quiz program **Dr. I. Q.,** assistants who were located at various locations in the auditorium selected contestants while the program was on the air. Later, selection of contestants was made from the studio Just long enough before the program went on the air to try to get some with novelty values. Sometimes brief interviews and trial questions helped the producers decide idiich contestants to use. However, this was all in a short time, usually not longer than thirty minutes to an hour before air time.

Still later, and up to the spring of 1957? selec­ tion of contestants was made far in advance of the broad­

cast on which they were going to appear. Prospective con­

testants wrote in, giving qualifications and pictures. Unlike the early days of quis programs, when prac­ tically anyone visiting the broadcasting studio could be­ come a contestant, by the end of 1 9 5 5 it was very diffi­ cult to get on a good quis program. One had to be more than a resident of Brooklyn or a grandaa>ther to be 152 welcomed to contestant ranks. The era of big cash pri­ mes and psychologically chosen contestants had flowered in 1955* and with it the corps of interviewers» the ques­ tions in the locked vault» and the casting techniques of the Broadway theatre. Prom 1955 to the spring of 1957» packagers and pro­ ducers ran conq>lex» large staff operations for the express purpose of selecting a handful of intelligent» represen­ tative» charming people out of tens of thousands who ap­ plied by way of letters » post cards » telegrams» visits and recommendations. Even though the standards were high» the pool from irtilch these packagers and producers had to draw was tremendous.

During this period» each quiz program placed em­ phasis on different qualities» but all of the big pro­ grams of this type had developed almost identical methods of selecting contestants. As synthesized from Barry- âiright» Entertainment Productions, Ooodson-Todsmn» Wolf Associates and other leading quiz producers» the procedure followed this pattera: First» a battery of perceptive assistants weeds out potentially poor quizees by in­ terview and simple tests.8 Second» oral and written exams eliminate the uneducated. Third» an associate producer discards the unappealing. Fourth» inquiries to lawyer»

%Allboard. WoveW)er 3» 1956» p. 30. 153 doctor, minister, enqployer and civic leader catch the ill, the unreliable and the crooked* Plfth, the producer removes the less exciting finalists in favor of the chosen few. This process means a minimum of four trips by the applicant to the producer's office and hours of tension and work. Nobody seems to mind, and hardly anyone remembers the radio era And the infancy of TV when the only effort needed was to fill out a card in the studio. Nor does passing five tests end the ordeal. Some hopefuls have waited as much as a year to get on the air, and most have endured voice, costume, acting, and make-up ses­ sions designed to make them welcome in the viewer's living room. "The $6i|.,000 Question" ushered in the period of fresh staging and gimmicks. John Doe must have a healthy heart to stand the in­ sistent drum beat, the crescendo, the lowered lights, the soundproof booth and the many devices which heighten his ten­ sion onstage. Audience eiiQ>athy, the size of the Jackpot, and moral integrity of con­ testants feed this tension, which is the secret success for quiz programs just as for dramatic shows. To find the right raw material, producers canvass civic, fraternal, philanthropic and educational organizations to supplement their applicants. %»ained personnel sifts the results of the exams and interviews, leaving in the end one out of 1,000. "We all reach for off-beat people who are basically just folks," susts up Ed Wolf, of Wolf Associates, idiose "Break the Bank" was the first show to use holdover contestants.

"Break the Bank," until 1 9 5 5 the biggest mnuey quiz, has met the $61^.,000 challenge by upping its stake to $ 2 ^ 0 , 0 0 0 this season. "Useless information is now paying big dividends," notes Wolf. His staff is currently scouring New England and the South for ministers iAlo love wrestling, crime-mad dowagers, and Iron Curtain escapees. Barry-Snright ealloys a flying producer who circles the nation, giving tests in six or seven cities in each geographic area per week. The fear of most producers is that too many New Yorkers and not enough others will be available as contestants, and a healthy portion of every budget goes to travel expenses.

Another bugaboo is proper scheduling of players, so that a given telecast won't have three elderly lawyers from big cities whose hobby is canning peaches. Since the producer can't predict exactly how long one will remain in the game, similar types must be spread as far apart and with as much flexibility as possible.

To keep his own types fresh and different, the producer must monitor all cosseting shows and discard used categories of players.

It's a tough job to become a contestent, but it's a tougher Job to find one, so there are no objections when producers tie up those chosen for periods up to a year, governing their future public appearances like mother hens and often participating in the profits. Obviously, there could be no quis contest without the contestants. In quiz programs they, like the ques­ tions, were of all kinds, and almost inevitably they were there for cme of two reasons, or both. They had a touch of exhibititionism or they would like to have some money, or both.*^

The changes with respect to selecting of contes­ tants came about naturally as the degree of elaborateness

£• Hutchens, "Who Thought Up The Quis Show?" 3ÜÈ M a s T^aejK* August 23, 1942, section 7, P* 12. 155 of production increased through the years, developing from the simplicity of Prof essor Quis" to the detailed production techniques of "The $6^.,000 Question."

Changes in the Master of Ceremonies

The early quiz program master of ceremonies, unlike the quiz program master of ceremonies of the 1955*1957 period, was not eager to shower contestants with cash if they could show even the smallest bit of knowledge# This old-style amster of ceremonies often had an entirely dif­ ferent kind of objective# All indications were that his aim was to see that only a certain amount of his sponsor's money was given away# It was as if he had it all planned

Just how often he wanted to permit the Jackpot to be won.

And if a particularly alert contestant threatened to up­ set his financial schedule, it was as if he had several sure-fire methods of seeing to it that this contestant did not hit the Jackpot#

One of these methods adgiht have been called the

"filibuster" technique in which the master of ceremonies confused the contestant by rapid-fire chatter until the gong rang, ending the time to answer the question#

Another method might have been called something like the "soft death" approach# In this, the master of ceremonies repeatedly said, "Remeid^er, you have only thirty seconds#..You now have Just fifteen seconds.•# 156

Ooohf there *8 the gong. Sorry » your time la up.**

The new-style master of ceremonlea for quiz pro­

grams didn't have to be a character. He didn't have to have a personality which e^loded sporadically like fire­ works. He didn't need a loose tongue to add to the al­ ready frightened state of the contestant. He didn't have to sing, nor did he have to dance, as he was once called upon to do.

This new-style quiz master of ceremonies didn't have to be the star attraction, because beginning in 1955» the quiz program itself was the star attraction. From

1955 to 1957» quiz programs relied on the format, not on

the master of ceremonies, to keep the audience interested#

Throu^ the giving away of large amounts of money and because the contestants in many quiz programs returned week after week» these programs built up suspense and con­ tinuity. That particular burden was lifted from the shoul­ ders of the quiz master. All he had to do was be friendly, reasonably intelligent, and have a certain amount of stage presence.

Changes la Size of Prizes

In the history of quiz program# on the radio net­ works, although there was no traceable steady increase in the amount of money given away or in the kind of merchan­ dise given away, there were marked differences in the size 157 of prlee»*^^ These differences followed no particular pattern* "Professor Quia" gave away silver dollars In

1939» one hundred-dollar United States Savings Bonds were given away on "Grand Slam" in 191^3; but only ten, two, or

four dollars were given away in 1 9 ^ 4 on "Darts for Dough* **

In 19^.5, "Bob Hawks" gave away #250, irtxile "Break The Bank" was giving away $1,000. Both money and merchandise were

given away on "Strike It Rich" in 19^.7# and Just two years

later a contestant could win an all-expense paid vacation on "Earn Your Vacation." "The $61j. Question" more or less brought to a close the quiz program era on network radio, while giving away $6^..00 as a Jackpot award.

There was no traceable steady increase in the a- mount of prizes given away on the television networks

either# Up to 1955* mink coats and trips abroad were giv­ en away on "Big Payoff" in 1951* and $ 1 , 0 0 0 cash was given

away on "Wheel of Fortune" in 1952. But the year 1 9 5 5 marked the beginning of the really big give-aways on net­ work television. This trend began with the introduction

of "The $61^,000 Question" and continued with such prograsis as "Big Surprise," which gave away a total of $ 1 , 0 0 0 , 0 0 0

Jackpot; "Treasure Hunt," which gave away $25*000; "High

^^Source material is so scattered that separate foot­ notes for each item are impossible. Information found in this section is primarily from ^ggg Reports. Broadcasting- Teleeasting. and Sponsor. Much of this Information also came from the writer's personal observation. 158 Finance f** which gave away $110*000; climaxed by "Break the $250*000 Bank" with a $250*000 Jackpot.

The qulx program on network televimion in the spring of 1957 showed evidence of having come a long way as far as amount of prize given away was concerned since its ori­ gin on network radio. While "Professor Quiz" gave away silver dollars on network radio in 1939* It was a miserly quiz program that dangled less than $6*000 before contest­ ants on network television in 1957» And to qualify for the "big time" in quiz programs of 1957* the program had to be in the $2 5 *000-and-up bracket.

While a portion of the winnings of these quiz pro­ grams of 1957 fattened the bank accounts of numerous in­ dividuals in the country* it can be assumed that the bulk of the money flowed into the United States Treasury by way of the Internal Revenue Bureau. The tax situation was a thorn in the side of quiz program producers who wanted the big money figure not only to shock the imagination but al­ so the attract the "sky's the limit" contestant irtio would go for broke. A contestant* aware of the tax collector in the wings * more often than not hesitated to stay in the running when the risk would not bring him a substantial take-home return.

In apite of this limitation* however* bankers* steel magnates* Wall Street brokers* screen writers* and uranium prospectors who used to worry about h i ^ taxes and the mess 159 in Washington were being Joined by #. new genius — the quis program winner.

Once upon a time, back in the days of radio only, quis program winners wore allowed to keep their money.

They were even allowed to keep all of it under certain conditions* The famous "Pot 0* Oold" decision delivered by Federal Tax Court Judge Ernest Van Forsan in 1945* in the case of Pauline C. Washburn vs* Commissioner of In­ ternal Revenue, held that payment of $900 received by Mrs*

Washburn from the "Pot 0* Gold" program was "an out-ri^t 1 p gift and not income." The court reasoned that since Mrs. Washburn had done nothing to win the prise (her name had been selected at random out of a telephone book), had not endorsed any products, and had even refused to appear on the program, the money paid to her had to be construed as a gift, pure and simple.

Under the Internal Revenue Code of 1954* however, the government frowned on this interpretation.

"Section 74 of the new code makes all prises and awards taxable income -- with certain notable exceptions,"

^^Harry Levine, "Oh, The Pain of It I" The Mew York Times Mamasine. September 11, 1955* p. 18. 12 i6o said Harold B. Ahaam« Director of Internal Revenue for the upper Manhattan districtHe continued:

The exceptions are prises and awards made primarily in recognition of religious, charitable, scientific, educational, artis­ tic, literary, or civic achievements, such as Mobel and Pulitzer Prises* Even in these categories, the law insists that the winner be selected without any action on his part to enter the contest, and that he is not required to render any substantial future services as a condition to receiving the prize*

Sponsors of quiz programs had to file a Form 1099# listing winners and the amnunt won* The Internal Revenue Service checked these forma automatically against indivi­ dual returns.

THE GIVE-AWAY CONCEPT

The first give-away program of national proportions was "Pot 0* Gold" introduced in 1939* This program offered $1,000 to any person lucky enough to have his telephone called while the program was on the air* The person at home did not have to answer questions* He was chosen on the basis of spinning a wheel which first indicated the number of the telephone book, then the number of a page in the telephone book, and finally the line on the page — a

^^Ibid* l6i procedure which in one form or another was used on several different programs of give-away type*

Because **Pot O' Gold" was widely criticised as be­ ing a lottery, the FCC Chairman at the time, Jasies L* Ply,

sought to have it barred from the air. The Department of

Justice, however, declined to prosecute* This decision ultimately gave the green light to the give-away as a national pastime, even though Hb C decided that in any case it did not want to fight with the FCC, and "Pot O' Gold" went off the air.

During the next few seasons, the give-away concept was revived after the success of Ralph Edwards' stunt pro­ gram "Truth or Consequences," on which he gave a prise to a listener to nhom he telephoned. Edwards was credited with being the inventor of the Jackpot give-away on radi-

o,^ and in 19^1-5» "Truth or Consequences" was projected into front page news when it dared to heap upon a flustered

customer a truck load of prises worth $13,000 — a figure considered pretentious in those days.

Edwards' first big prise was offered for the iden­ tification of "Mr. Hush." As Its philanthropies became more and more monstrous, "Truth or Consequences" increased

^ E d James, "The Radio Giveaways," American Mercury, October, 1948, p. 430. 162 in popularity* And, as a result, other networks adopted give-away programs of their own which actually varied from Edwards' only to the degree suggested by legal counsel* On hundreds of local stations, rewards of ten dol­ lars were given for answering questions, whereas on the networks the format which required a contestant to iden­ tify a song was changed so that he had to identify a song played backward* Entertainment, in the ordinary sense, was no longer offered* It was a triumph of format* Some critics considered these programs as precisely on the level of the pinball machine; the mechanism of each program, its dynamics, speed, energy, becasw supremely significant; how often clues were given, how much time was spent rehearsing the list of prizes, how valuable they were received consideration*

ABC was first with "Stop the Music.Out of the 3 6 ,000,000 telephones in the United States In 191^8, the chances were estimated to be only approximately one in 1,^00,000 of ever being called* Yet, no matter how adept at figures the members of the national radio audience might have been at the time, they seemed to lose their arithme­ tical faculties when thinking in terms of give-away odds*

^^Gilbert Seldes, The Great Audience (Hew York: The Viking Press, 1951)# p. 112*

James, j2S« olt.. p* 1|.31* i 63 The actual devotion of listeners to programs of the give-away type was clearly indicated in Hooper ratings through the summer of 19^.8 idien four of these programs l8 were on the networks. Seldom, until that summer, had even one such program made the coveted first fifteen.

And, although only four of these programs reached the

Hooper first fifteen, the others that were on the air at­ tracted audiences large enough to justify their not incon­ siderable expense.

In the fall of radio's most extravagant and controversial spree in programming faced a compulsory finish. The earlier "Pot O' Gold" controversy was renewed and the FCC intended to study these so-called money pro­ grams for violations of the lottery laws.^^ The FCC once again began wondering whether or not such programs viola­ ted the anti-lottery provisions of the Communications Act of 1934* Finally, the FCC announced it was contemplating the adoption of a rule that would eliminate any give-away program that made lot or chance a condition of winning.

This proposed action by the FCC turned attention to two main questions. These questions were: (l) Were the give-aways good or bad for radio? and (2) Were the give­ aways essentially lotteries? Forty national network

. p . 4 3 2 . 1614. programs and uncounted hundreds of such programs on inde­ pendent stations had sprung to quick popularity by offer­ ing to give away all manner of prizes, including cash, and the FCC felt that these two basic questions were of extreme iiqportance to the future of the whole broadcasting indus­ try.

Were the Give-Aways Good gj* Badlo?

As a device to satisfy those idio paid radio's bills, advertisers, programs of this type were a success. For the first time since World War II sponsors began to out budgets for their shows. Primarily interested in achiev­ ing maximum results for their advertising dollar, they demanded the attraction of large audiences by more economi­ cal means. The give-away program provided a convenient

solution.

For all the fabulous prizes, the give-away was one of the more economical programs to produce. The prizes were donated by the manufacturers in exchange for liberal mention of the names of their products on the air. The addition of more prizes to the jackpot merely spread the show's basic costs among more parties. And thanks to our

American culture which includes a love of games of chance, an audience was won almost issaediately — certainly more quickly than could have been done by any new personality in a comedy or drama on network radio. 165 It waa actually thla extraordinary appeal of the give-away that waa at the heart of the whole controveray over whether or not auch programs were dangerous for radio*

The foes of these programs led off their case by citing the Fred Allen caae*^^ This comedian, conceded by most to have been the moat consistently original wit on the air, had a progra# that always had been among the top ten programs on the air. As a matter of fact, other spon­ sors avoidedoffering competition at the time he waa on the air — 8:30 Sunday nights, NBC. However, in the spring of 1914-8 , an imaginative young producer named Lou Cowan sold a competing network, ABC, on the idea of running an hour- long give-away at 8:00 Sunday evenings, opposite "Fred

Allen." Cowan has since become famous for auch other i- deaa as "Quia Kids" and "The #61|.,000 Question." The pro­ gram he suggested to compete with Allen waa called "Stop the Music." When this program became a nationwide erase, a few critics probably inquired iriiat m i ^ t happen to Mr.

Allen, but none probably expected what actually did happen.

From his lofty position, "Fred Allen" dropped to 38th in the Hooper popularity ratings. As he said, "I could not compete with Santa Claus.

^^Jack Gould, "Jack Benny or Jackpot?" The Mew York Times Magasine. August 15. 194.8# P# 16. ^ ^Ibid.. p. 17. l66

There were, of course, radio's harsher critics who maintained that the give-away was symptomatic of a bank­ ruptcy of new ideas in radio. It was one piece of evidence,

I

Matwork PCfigc&WL* AaiÈimTJSliS

yarwoRK p r o g r a m amoxtht g i y s r a w a y

ABC Stop the Music $1^,000 weekly Go For the House A House and Lot What's #y Name $2^,000 weekly Break the Bank #2,$00 weekly CBS Sing It Again $12,000 weekly Hit the Jackpot *20,000 weekly Winner Take All $$,000 weekly

MBS Queen for a Day** $20,000 weekly Take a Number $2,500 weekly Three for the Money $$#$00 weekly NBC Double or Nothing $2,000 weekly Dr. I. Q. $2,300 weekly Want to Lead a Band $12,000 weekly *Gomplled from information included in: Ed James, "The Radio Giveaways," àaariftlB Mercury. October, 1914-8, p. W o . **A human interest program, which illustrates the fact that the give-away concept was not the exclusive property of quia programs. some said, of a susceptibility to imitation and repetition which came from placing the advertising needs of a sponsor above the entertainment needs of an audience. Some also e added that radio was diminishing Its stature by stimulating public avarice and exhibitionism. 16? Dlaaater waa predicted if the give-away cycle waa continued. The ill-fated experience of the awtion pic­ ture industry in the depreaaion of the thirties, when ex­ hibitors gave away merchandise at what became known as

"bank night," was recalled. It had been the ejQ>erience of these exhibitors that before long the public caaie to show scant interest in what films were on the screen but concentrated on the "bank." Hollywood, of course, grew so alarmed at the trend that it finally put a atop to the

"bank night give-away."

There were a substantial number of inq>ortant broad- casters who privately agreed with the critics. Aside from the fact that many manufacturers were receiving ad­ vertising at bargain rates by donating prises, which the radio men felt was plainly poor business practice for any advertising medium, the broadcasters explained that they had been caught up in a competitive whirlpool. Ho one broadcaster had been able to break out of the circle with­ out suffering major financial consequences. As a matter of fact, the code of the NAB condemed the buying of an audience, but the NAB was powerless to enforce its own reforsu. Probably, to many of those in radio at the time, the move by the FCC must have been accepted as a blessing l68 in disguise. On the other hand, defenders of these programs argued that in the long run the public could obtain idiat it wanted, and there was no doubt that it enjoyed these programsIf radio were to campaign to reform public tastes, they argued, it would probably lose both its audi­ ence and its sponsors. Advertisers idao paid for these give-aways also made possible the many symphonies, educa­ tional features, and other public service offerings that were dear to the radio reformer's heart. Perhaps these opposing points of view sounded familiar to those in broadcasting, particularly network television, during the

1955-19^7 period. Although there was much to be said on both sides of this controversy, any criticism that a give-away pro­ gram was not entertainment mi^t be passed over as mean­ ingless semantics. There may have been more entertaining drama In a housewife's groping for an answer to a $15,000 question than in a Broadway play. In other words. It was possible that the public found many things entertaining outside the world of irtiat mlg^t have been referred to as **professional entertainment." It might also be pointed out In this connection that Canadians, who were not even 169 eligible to participate in American give-away programs

that employed the use of the telephone, were among the

most avid listeners to these programsIn other words *

there was considerable evidence to support the opinion

that it was not merely the chance to win a prize that ap­

pealed to the public* Listening to someone else win was

also a fundamental attraction. gSCfl ïhs. Lotteries? Here the issue turned to the interpretation of the

federal lottery ban. This ban was based on a postal law going back to July 12, 1076, which prohibited the use of mails for **any lottery, gift enterprise, or scheme" which was dependent "in whole or in part upon lot or chance This law was incorporated as Section 3l6 in the Communica­ tions Act of 193it>* Section 316 was revised and reworded as Section 130l{. of the Criminal Code, 1Ô U.S.C* 130l^, by "An Act to revise, codify and enact into positive law title I8 of the United States Code, entitled *Crimes and Criminal Pro­ cedure,'" 8 0 th Congress, Second Session, approved June 2S,

25lbld. 170

19^8, effective September 1, 19^## This aeotion re&ds fts follows: Section 130!^: Broadcasting Lottery Infor­ mation. ..Whoever broadcasts by means of any radio station for which a license Is required by any law of the United States, or whoever operating any such station, know­ ingly permits the broadcasting of, any ad­ vertisement of, or Information concerning any lottery, gift enterprise, or similar scheme, offering prizes dependent In whole or In part upon lot or chance, or any list of the prizes drawn or awarded by means of any such lottery, gift enterprise, or scheme, whether said list contains any part or all of such prizes shall be fined not more than *1,000 or Imprisoned not more than one year, or both. Each day's broadcasting shall con­ stitute a separate offense.

The test case In which a definition of a lottery

Is provided Is Public Clearing House vs. Coyne, decided by the United States Supreme Court In 1901*.*^^ According to the Court's decision, a lottery must Include all three

of the following elements: consideration (as the buying

of a ticket); prize (whatever Is given to the winner); and

chance (Involved In the method of selecting a winner).

The FCC In August of 19^1-9 proposed a regulation which would more clearly define lotteries, particularly with regard to the elesient of consideration. This proposed

Federal Communications Conlsslon, T}m tlons Act ÿt 1 9 ^ . Revised to January, 1952 (Washlngtont Government rrlntlng Office, 1952), p. 39»

^^Harrlson B. Summers, "Lotteries, Give-Aways and Gambling" (The Ohio State University, 195%#.)* P# 8-17-a. (Mimeographed.) 171 28 regulation read as follows:

Par. 3*192 — An application for a construc­ tion permit, license, or renewal of license ...will not be granted where the applicant proposed to follow or continue to follow a policy of broadcasting **any adrertlsesient of or Information concerning any lottery, gift enterprise, or similar scheme

The Commission will consider that a program comes within the provision If In connection with such program a prize consisting of mon­ ey or thing of value Is awarded to any per­ son tdiose selection Is dependent In whole or In part upon lot or chance. If, as a condi­ tion of winning or cosseting for such a prize :

a) Such winner or winners are required to furnish any money or thing of value or to have In their possession any product sold by a sponsor of a program broadcast on the station In question, or, b) Are required to be listening to or view­ ing the program In question on a radio or television receiver, or,

c) Are required to answer correctly a question, the answer to which Is given on a program broadcast over the station In question, or, where aid In answering the question Is given on a program broadcast over the station In question, or, d) Are required to answer the phone In a prescribed manner or with a prescribed phrase.

On the basis of this proposed regulation, even lis­ tening to a station or a program was to be defined as con­ sideration. Of course, the networks — ABC, CBS, and SBC

— brought actions In federal courts to prevent the FCC

^^Federal Communications Consdsslon, FCC Rules ag^ Regulations (Washington: Government Printing Office}• 172 from making this proposed regulation effective* In Feb­ ruary of 1953# *> federal court ruled that In Interpreting consideration as Including any required action on the part of the listeners the FCC had exceeded Its lawful powers» and this proposed regulation was therefore ruled Illegal# The court stated: "The participation of a home audience by merely listening does not constitute the necessary con- 29 slderatlon." The FCC appealed to the United States Su­ preme Court» and In March of 195I4.» this Court upheld the decision of the lower court, and ruled that "considera­ tion" In the Communications Act of 193i|. could be held as referring to monetary consideration only#

This ended the FCC's celebrated ease against the give-away programs» a case idilch had taken nearly four years to decide# In essence» the FCC had attempted to rule that any of the give-away programs that e^loyed tel­ ephone calls to viewers or listeners were lotteries* Its plan was legally to refuse to license stations that aired such programs when their licenses came up for renewal# The Supreme Court's decision was unanimous#In delivering the decision» Chief Justice Warren pointed out

^9"Give-Aways Are Legal»" Bualnesa Week- April 10» 19^ » P* 128# 3° I b l d . 173 that the FCC had tried several ways of getting rid of the give-aways, first by seeking to get the Justice Department

to take criminal action, then by urging Congress to amend the law specifically to prohibit the programs, finally by attempting to accomplish the same end through agency regu­ lation.^^ He said: The Commission has over-stepped the boun­ daries of Interpretation and hence has exceeded its rule-making power. Regard­ less of the doubts held by the Commission and others as to the social value of the programs here under consideration, such administrative expansion does not provide the remedy. Aside from all this controversy concerning the give-aways, as of September, 194-9» & listening pattern ap­ peared to be developing that might have made such court action perfunctory.^^ The big shows were once again in place after a summer vacation. And, once again, the list of most-listened-to prograsm was headed by the familiar "Lux Radio Theater," "Jack Benny," "Bob Hope," "Arthur God­ frey," and "Fibber McGee and M o l l y . " Far down the line, in 66th place in the Hooper ratings was "Stop the Music." Nowhere did there appear to be specific cause for this decline. Perhaps it had been hastened by publicised difficulties of jackpot winners in their struggles to rid

^^Ibid. ^^"Decline and Fall," Newsweek. October 31, 194-9* p. 42* 1714. thomselves of windfalls idiloh nevertheless subjected them to stiff taxation* Perhaps the novelty had worn off* Or perhaps the listeners had slng)ly tired of the whole Idea*

As of the spring of 1957* both network and Industry codes barred the use of programs which were actual lotter- 33 les. No ban was placed on the broadcasting of give-away programs as such, although both the NBC code and the NARTB code stressed the fact that emphasis must be placed on the entertainment value, rather than on the size of the prizes presented — and the NARTB code added that programs de­ signed to "buy** the audience were to be avoided*

During the 1955-1956 and 1956-1957 season, the give­ away concept returned by way of network television* The primary difference between this era and that of 19^.8 was that this concept was Included within the studio quiz type of program In 1955-1957 rather than the telephone quiz type as It had been In 19^4-8•> However, In terms of the amount of money given away, the give-aways of 1956 made those of 19^4^8-19)4.9 look sn&all* It was estimated that #8,000,000 was given away during the 1956-1957 season on network television studio quiz program*.^ Among the trends predicted by agenoy programming buyers was that more

^^NBC Standards of Praotloe and NARTB Television Code*

3^ p o n s o r * September 3# 1956, p* 31. 175 quls give-aways and even bigger jackpots were in the future•

In January* 195^j while some producers looked for bigger and better ways to give away money* Walt Framer* producer of "Strike It Rich" and "The Big Payoff," and some other producers with similar packages, felt that their programs would continue longer than the big give­ away quiz programs if they added intelligent human interest and proper amounts of entertainment to their programs.

Even some of the packagers of the big give-away quizzes felt that they had* at the most* two years to "milk their packages," before audience boredom set in.

QUIZ PROGRAM RESEARCH

There has been only one major study dealing with the psychological aspects of the quiz program. It was en­ titled a "Gratification Study*" and was conducted and writ­ ten for publication by Dr. Herta Herzog with assistance from Dr. Hadley Cantril.^^ The program "Professor Quiz" was analysed because it was a type of h i ^ l y successful quiz program regarded by many as "educational."

This study consisted of eleven very detailed

S & U Retorts. June 6* 1956* p. 5. ^^Paul Lazarsfeld* Radio The Prin^d Page (lew York: Due 11* Sloan and Pearce * 19Ç0 T» p T o Ç 7 176 interviews with three men and eight women. Most of the persons interviewed were between twenty and forty years

of age; one man was sixty, and one girl was seventeen. Aid in checking the detailed interviews was obtained from twenty previous check-list-type interviews. The check­ list covered the following points: (1) whether the listen­ er to a given program was disappointed when he did not know the answer; (2) whether he liked the contest; and (3) wheth­

er he thought the program was educational.

The interviews showed rather clearly that there were four main types of appeals to be found in the quis pro- 37 gram '^Professor Quia:** (l) the eosqpetitive appeal;

(2) the educational appeal; (3) the self-rating appeal; and (1|.) the sporting appeal.

Each of these appeals was discussed at length in

the study, with several pages devoted to each one* The Herzog study was essentially an analysis of the gratifications provided by a typical quiz program without

some knowledge of which no significant research could be possible. This was a study designed to carve out the nec­ essary concepts and pbint to the relevant problems

Certain probabilities were expressed, and these

37Ibid.. p. 65. 33n>ld.. p. 91. 177 have been euaaarized as follows: 1 « Quiz programs werflistened to more In tele­ phone homes. 2. Women thought soap operas and quiz programs were educational. 3. High school students thought quiz programs were educational* ij.. Listeners wanted to beat the "college man." 5. Listeners were glad that questions were not academic. 6 . "Professor Quiz" consisted of scattered and unrelated bits of Information. 7* "Professor Quiz,"and other programs of the type, did not stimulate the listeners to hunt for further facts about specific things. Ô. Listeners wanted Information rather than knowledge. 9« The program relieved listeners of their feel­ ing of guilt "that they did not do anything to Is^rove themselves," without Involving any effort on their part. 10 . Nus&erous people stressed the fact that a good score on the quiz program depended on "guess­ work and luck." 11. This program was most adapted to people In the $3,000 to $^,000 Income class. 12. Programs from which people claim to l e a m most were put on the air by advertisers — not educators.

POREIGH QUIZ PROGRAMS

As of the spring of 1957, the quiz program contagion had spread from the United States to just about every na­ tion that boasted a television transmitter.

In Brazil, contestants competed for as auch as

14.5,000 cruzeiros ($675 ); In Italy It was possible to win a big bundle of 5«000,000 lire ($8,000); In Britain a Pakistani college girl got 1 ,0214. francs ($2 ,867) for her 178 knowledge of ChaucerMexican vlewera of "The 61f.,000 Peso ($^,120) Question" were grumbling that the sponsor was asking inqposaible questions to avoid paying the jack­ pot* but finally a textile engineer naned Jaime Olvera broke the bank by identifying two of Cortes* scouts in his war with the Aztecs. Said a spokesman for the sponsor (a shirt company): "This will prove our good faith."

A British version of the CBS-TV program "The 000

Question" made its debut on conmercial television in London on May 19* 19^8 . It was called "The 6l^.*000 Sixpence Ques­ tion Show."^^ Louis G. Cowan* Incorporated* which produced the program in London* offered a maximum prize of 61^.*000 sixpence. Since a sixpence was equivalent to about seven cents in American money* 61|.*000 such coins was $l*.*i*.80. It appeared that in Britain people who competed on quiz programs had to be somewhat smarter than United States quiz contestants to win a lot less money. In November*

1955* Britain's quiz champion was a man by the name of Plantagenet Somerset Pry* an Oxford law student whose abil­ ity to answer questions about history was no less unlikely than his nasie.^ At ton* Plantagenet could recite the

^^Time. February 27* 1956* p. ^^The goiui^ue Dispatch. May 7* 1956* Section 3* p. 10.

^*^i m e . Noven&)er 28* 1955* P* Ml-» 179 names and dates of all of England * s kings, and when com- meroial television came to England with the quis program "Double Your Money," he put his knowledge to use* He iden­ tified the British commander at the Battle of Malplaguet (John Churchill, Duke of Marlborough) and the Secretary for War who fought a duel with the Foreign Secretary in 1009 (Castlereagh vs. Canning)* Then he answered correct­ ly the 512 francs (#l,i|.33*6o) question: "In the 17th and 18th centuries, France was ruled by three Louis* Give the dates of their reigns and the relationship between them." Italy's top television quis program with a give­ away ginmiick was called Lascia 0 Raddoppia (Leave or Double)*^ Like "The $6^.,000 Question," this program sometimes generated enough human interest drama to become national news.

^ Time. July 9# 1956, p. 5^.. CHA.PTER VI

STUDIO QUIZ PROGRAMS RADIO NETWORKS

The early-day studio quis programs on network radio were sinq)le in idea and production: such as the spelling bee, or programs in which a team of men was pitted against a team of women, or programs using questions drawn out of a hat or a basket. Back in 193^* there was no prize or the prise was very small.

Since that time, interest and suspense have been added to these programs; larger and larger prizes have been offered; contestant selection has become a more and more conqpllcated activity; and variations have been con­ tinually applied to the basic quiz theme. However, in spite of all this, the basic theme has remained relatively unchanged. From "Professor Quls," in 1936, to "Two for the Money," in 1952, studio quis programs (on the radio networks) have been programs In which individuals from the studio audience, either singly or in a group, usually after preliminary interviewing, have been asked questions

(either singly or In series) by a master of ceremonies.

The game has been limited to those participants actually present in the studio.

Studio quis programs, as we know them today, first 180 181 developed on a local radio basis* The George Washington

Refining Company of Morris Plains, New Jersey, maker of instant coffee, tested a new radio program during the month of May, 1936, The name of this new program was

"Professor Quiz and His Night School of the Air," and it was broadcast over WJSU, Washington*^ It was tried out locally with the idea of its possible use on a network if the try-out were successful*

After its success on local radio during the summer of 1936, this program moved to the CBS radio network in the fall of that year. Its name was shortened to "Pro­ fessor Quiz." The general format of the program was that of single questions asked of each of a number of contest­ ants for a cash prize* This program marked the beginning of studio quiz programs on the radio networks*

Through the years since 1936, certain changes have taken place in the content or structure of prograu of this type* New classifications have been introduced or old classifications have disappeared, or practically dis­ appeared* Although not all the studio quis programs pre­ sented on the radio networks fall neatly into any one of these classifications, most of the major programs of this

^Broadoasting. June 1, 1936, p* 20. 182 type do* It l8 « therefore, possible to trace these

changes through the years with the following major classi­ fications : 1. Single questions asked of each of a number

of contestants, 193^ 2. Spell-down method of contest, 1936

3* Questions concerning music, 1937 If.» Team competition, 193Ô

5* A series of questions of increasing diffi­ culty to one contestant, 19^0 6 * Several contestants competing as individuals in trying to be first to answer the same question, 19^ 4-

7 » Teams or single contestants who, in effect, compete against one another for a chance to try for a

jackpot question, 1914-5 The first classification — that of single questions asked of each of a number of contestants — was first pre­ sented to the national radio audience through the program

"Professor Quiz" in 1936» This idea was continued in "Dr.

I» Q»" in 1939# and did not really die out as a classifi­ cation on network radio until around the spring of 1950 #

The spell-down method of contest was first intro­ duced to the radio network audience through "Old Time

Spelling Bee" and "Uncle Jim*a (hiestion Bee," both in 1936, followed by "Spelling Bee," in 1937» This classification disappeared from the radio networks in the spring of l^lfjO 183 when **Spelling Bee" left the air for the final time* The "Melody Puszlee" program ushered in the classi­ fication of questions concerning music in 1937» followed by "Kay Kyser" the following season* When "Kay Kyser's College of Musical Knowledge" was discontinued in the spring of 19l|-9» this classification continued with "Grand Slam" and other programs until the spring of 1953» when it disappeared from the radio networks*

Team competition was Introduced by "Battle of the Sexes," in 1933, continued in such programs as "Youth vs.

Age," in 1939» and "Better Half," in 19k^» and all but disappeared from the radio networks by the spring of 19I4.6 * A series of questions of increasing difficulty to one contestant, which was introduced by "Double or Nothing" and "Take It or Leave It," both in 194-0, was the most im­ portant of all the classifications as far as frequency of use has been concerned* It was found in "Break the Bank," in 194-5» "Strike It Rich," in 194-7» and in "The $64. Ques­ tion," in 1950; to name only a few prograsis* It has also been used quite often in network television, which will be discussed at length in the following chapter* As a clas­ sification it never completely disappeared from the radio networks*

"Quick as a Flash" was the program idiich introduced the sixth classification» several contestants competing as individuals in trying to be first to answer the same 1814. question. This was In the fall of I^IA-» This classifi­ cation continued with such programs as '*Give and Take * " in and "Winner Take All," in 19I4.6 , until the spring of 1953* after which it disappeared from the radio networks. The last classification, pairs of teams or single contestants who, in effect, compete against one another for a chance to try for a Jackpot question, never dis­ appeared from the radio networks. It was first introduced hy the "Bob Hawks Show," in 19L5* and continued with such programs as the "Groucho Marx Show." There have also been several changes in the method of selecting participants for studio qulm programs. In I93&, practically anyone available could be a studio quis contestant* Beginning in 194^5 this was not so siaqple. The method of selecting these participants developed through the years into a well organised, highly selective activity. This subject was dealt with more at length in Chapter V.

The amount of money given away in radio network studio quis programs has been gradually increased through the years. Beginning in 1936 with "Professor Quis" in which a single silver dollar was given away for every correct answer, this trend continued in the small amount category with "Dr. I. Q." in 1939* The amount of the give-away be­ gan to increase in 19I4.3 with the giving away of a one 1Ô5 h\andp®d dollar United States Savings Bond as a grand prize on **Grand Slam." ’’Darts for Doug^,** in gave either

$10.00* $2.00* or $^..00 for each correct answer* while the

"Bob Hawks Show," beginning in the same year, gave $S#00 for each correct answer* plus a $2^0 Jackpot prize. "Break the Bank*" also in 19^4-5* hit the top as far as network ra­ dio programs were concerned with a possible cash prize of one thousand dollars for answering all of a series of questions correctly. "The $61). Question" was actually an anti-climax to "Break the Bank" as far as total amount of money given away was concerned.

Although it is not too difficult to traoe the a- mount of money given away in the various studio quiz pro­ grams on radio networks through the years* it is quite difficult to trace any comparative trend in the giving away of cash and the giving away of merchandise. A major­ ity of the studio quiz programs gave away cash* and those which did not give away cash* but gave away merchandise* were scattered throughout the period from 1936 to 19I4.6 . Programs giving away merchandise included "Old Time Spell­ ing Bee*" in 1936; "Uncle Jim*a Question Bee*" in 1936; "Spelling Bee*" In 1937; "Consumer*# Quiz*" In 19l*.0; "Olve and Take" in 1945; and "Hollywood Jackpot*" in 19I4.6 # 186

SgtoQt ^ Ü30 al St_u4lQ Quiz aa Radio Networks The history of ni^ttlme studio quiz programs on radio networks extends from the fall of 1936 to the spring

of 1957» It was In 193^ that the first three programs of

this type appeared. This number had grown to eight by

Januaryf 1939» The following two seasons, 1939 to 19^.1» were the most important seasons in history for nighttime programs of this type on radio networks. In all, there were fifteen studio quiz programs on the air during the evening hours In both of these seasons. By January, 19^2, this nuniber had dropped to nine, and it dropped again to e l^ t in January, 19M4-* The period from January, 19W*-# to January, 1950, was another period In history during which programs of this type were extensively used. The nuniber of studio quiz programs scheduled on the various radio networks at night during these years ranged between eleven and thirteen. Beginning with January, 1950, this nund)er started a downward trend, going from eight to only two in January, 1957» Although **Consumer's Quis** was first presented dur­ ing the 19^.0 -1914^1 season, daytime studio quiz programming

2 Source material is so scattered that separate foot­ notes for each item are Impossible# Information found in this section is primarily from Broadoastlntt»Teieeasti^g BMLgazines and "Network Radio and Telewision Program His- tory" (Ohio State University, 195^4-)• 187 did not really got started on the radio networks until

the 19l^-3"19M*- season with "Grand Slam* and "Yankee Doodle Quiz." Prom this season, the number of daytime programs

of this type began to increase until it reached its peak

during the 19^0-1951 season of a total of nine programs on the air. After this season, use began to drop off un­

til the month of January, 1957# during which there was only one studio quiz program on the radio networks during

the daytime, "Strike It Rich."

General PopularItt of Programs of the Type

As far as nighttime programs of the studio quit

type are concerned, the 1942-19^.3 season was the peak av­

erage rating season.^ In January, 194-3# the average rat­

ing of all programs of this type scheduled at night was

13*9* The 1939-1940 aeason was also a good season, with an average rating of 13.2 for nighttime studio quiz pro­ grams. Average ratings for all studio quiz programs on the air from 1938 to 1951 ranged from a low of 10.0 to a 13.9 hl^. Average January ratings for daytime programs of this type reached their peak with a 7*2 during the 1949-1950 season. These averages ranged from a low of 4*9 In

^The average January ratings included in this section were compiled from individual ratings given by C. 5. Hoop­ er, Inc., A. C. Nielsen, and The Pulse. 188

19^6-1947 to this high of 7.2 in 1949-1950. Certain individual studio quia programs enjoyed reasonably high January ratings on network radio. "Kay Kyser's College of Musical Knowledge," for eiang>le, re­ ceived nighttime ratings ranging between 13*9 and 26.2 from 1939 to 1948» The "Bob Hawks Show" received night­ time ratings from 11.3 to 18.0 from 194^ to 1951. Com­ parable nighttime ratings were also received by "Take It or Leave It" and "Break the Bank."

Reasonably good daytime ratings were received by both "Orand Slam" and "Give and Take." Rating for "Grand

Slam" ranged between 3*0 and 6.0 from 1945 to 1951; and ratings for "Give and Take" ranged between 4*0 and 10.8 from 194^ to 1951.

STUDIO QUIZ PROGRAMS ON RADIO NETWORKS

In the history of studio quiz programs on the var­ ious radio networks, several methods have been employed to make these programs effective to the ear. In 1938* the "Kay Kyser" program made use of a buzser to indicate a con­ testant's naming of the song. The "Ask-It Basket" program, also in 1938* made use of vocal acting out of the answers by the contestants.

The buzzer method was used again in 19I44 in the "Quick as a Flash" program by contestants when they wanted 189 to indicate that they knew the answer. Also, in 19W4-# vocal laiitatlons were an important part of "Which is

Which." "Winner Take All," in 19^.8, made use of a bell and a buzzer for each of the contestants. The first sound in­ dicated which of the two contestants knew the answer first.

In 19i^7# a bell followed by musid was used on the "Groucho Marx" program to indicate idion a contestant had said the secret word. In "Strike It Rich," also in 19I4.7* the ringing of the telephone on the "heart line" was used as a method to make the program more effective to the ear.

Interestingly, there were approximately as many studio quiz programs broadcast on the radio networks on a sustaining basis as there were on a sponsored basis. The tendency appeared to be that of Introducing programs on a sustaining basis, holding them for a single season, then discontinuing them if they did not gain a sponsor for the second season. This was the case with ten of the studio quiz programs included here. They were broadcast for only a single season because of lack of sponsorship. There were two exceptions to this general tendency, "Comedy of Brrors" and "Winner Take All." "Comedy of Errors" was never spon­ sored from 19I4.9 to 1952 over Mutual; and "Winner Take All" was never sponsored from I9I1-8 to 1951 over CBS,

Sponsorship was all handled on a single-sponsor ba­ sis with studio quiz programs. There were no programs of 1 9 0

this type on the radio networks sponsored on a multiple-

sponsorship basis. The cost of studio quiz programs averaged approxi­

mately $3»500 per program. The actual cost range was from

$1,000 to $9,000, but there was only one such program

coating $9,000, "Groucho Marx." This particular program

cost more than the others because it was always tape-re­

corded ahead of time as a full hour, even though only thir­

ty minutes of this hour was actually used on the air.

There was never a sharp shift from nighttime to daytime for studio quiz programs. However, there was a

gradual change in the comparative schedules, and during

the 1950-1951 season there was one more studio quiz pro­ gram during the daytime than at night. This trend was

short-lived, however, since during the 1952-1953 season the emphasis shifted back to nighttime programming once again.

Individual Studio Quiz Programs ssk R»

The following is a chronological program by program

listing of the network studio quiz programs.^ All programs

Source material is so scattered that separate foot­ notes for each item are impossible. Information found in these program listings was found primarily in BroadcastIni Telefastipg. The New York Tj^yg, Sponsor Dispatch, and "Network Radio 5ôgram History" (Ohio State University, 1951}-)• Much of this information also came from the writer's personal observation. 191 listed are live thirtj-minute programs presented once a week unless otherwise Indicated.

Professor Quiz — 1936-19^0: 191l6-191l6 This program was broadcast over the CBS radio net­ work, beginning in the fall of 193^* It continued on CBS until the spring of 194^0. After a break of six years. It returned over ABC In the fall of 1946# and continued with­ out another break until the spring of 1948. No Information was found concerning the original master of ceremonies, and the program was not sponsored during Its first season on the air.

The format of "Professor Quiz" consisted of single questions to single contestants who won cash for right answers and suffered a gong for wrong ones. This was the first program of Its kind to appear on the radio networks. Each contestant with a correct answer received a silver dollar, and three listeners each week were awarded five dollars for submitting questions. This program had several changes of sponsor during the years It was on the radio networks. Although there was no sponsor during the first season, the Eelvlnator

Company assumed this role during the 1937-1938 season. The Noxzema Company took over the sponsorship during the

1938-1939 season, followed by the Teel Liquid Toothpaste

Company during 1939-1940* Velvet Tobacco became the 192 sponaor in 19i|-0-19lp.. Whan tho program r a turned, to the air January 2!*., 19^^* the American Oil Company was the sponsor» and continued as such until the program left the air for the final time on July 17# 194-8» "*Pr of essor Quiz" established a new pattern in audi­ ence participation programs» This new pattern included more than the simple spelling bee, which was having its beginning at about this same time. It included cash for correct answers to questions on a variety of subjects.

This program was the first to offer cash for answers to questions. During this program's first period on the air, 1938-

194-0# it enjoyed reasonably good January Hooper ratings, ranging from 7.1 in January, 194-1# to 13»5 in January,

194-0# However, upon its return to the air in 194-8, after a six year absence, these ratings had dropped to 4-#0 in

January, 194-7» and 6,5 in January, 194-8» according to Hooper.

This program was considered at length in a book by Dr. Paul Lazarsfeld in one of the first extended studies of radio program listening.^ This particular program was analysed because it was a type of highly successful quiz

5Paul Lazarsfeld. Radio and t^e Printed Page (Mew York: Duell, Sloan and Pearce, 194-0)## p. 84.. 193 broadcast regarded by many of the radio listeners of Its day as “educational.** Broadcasts of the ""Professor Quiz** program type were considered sources of Information.^

Although there was no Information concerning the original master of ceremonies for this program, Earl Craig took over In that capacity when It returned to the air In

19i^-6. He continued as master of ceremonies until the pro­ gram left the air for the final time. Also, when the pro­ gram began again on the radio networks after six years of absence, use of the gong for Incorrect answers had been discontinued. aia lime Sp«iiing B a i — 1916-1937 This program was broadcast over the Mutual network, beginning during the 1936-1937 season. It continued for only one season. There was no Information concerning the original master of ceremonies, but the program was not sponsored during this single season on the air.

As the title Indicates, this program was slnqaly an old-fashioned spelling bee. It was a spell-down among com­ peting contestants. The last person remaining standing was declared the winner and received an award.

It was the first program In the spelling bee classi­ fication to be presented on the radio networks. Such pro­ grams had been introduced earlier into local radio station

&ia., p. S3. 1 9 k .

programming^ but never before on the networks. It was significant in that it established a new pattern for the radio networks. Since this program was not sponsored, there was no rating information available. Sustaining programs were usually not given a rating.

Jim's Question Bee — 1^6-1937; 19lLQ-19kl This program was broadcast over the NBC-Blue net­ work, beginning during the 193^-1937 season. It continued, with a break of one year, until the spring of 19l|.l# There was no information found concerning the original master of ceremonies, but the original sponsor was George Washington Coffee. Here was a program which was quite similar to "Pro- "7 fessor Quizthe primary difference being in the reward to contestants of pounds of George Washington Coffee in­ stead of cash. There was also no gong in ^Uncle Jim's Question Bee.** It did include, however, a format of single questions to single contestants who won coffee for correct answers to questions of a general nature. The available Hooper ratings for the program indicate that as a studio quiz program, it was not particularly popular. The Janu­ ary ratings available were not high for a nighttime

7See "Professor Quiz," p* 191. 195 présentation. They panged from a 7*1 In January, 19^1» to a high of 9*3 In January, 1937.

Melody Puzzles — 1937-1918

This program was broadcast over the NBC-Blue net­ work, beginning In the fall of 1937. It continued on the networks for only one season. There was no information found concerning the original master of ceremonies, but the original sponsor was Lucky Strike. Although there Is very little available Informa­ tion, the format was a simple one. Studio contestants attempted to Identify musical selections that were played for them in such a way that they would be difficult to

Identify. The contestants received small cash awards for correct Identifications.

This program was different from any preceding one of the same general kind. It established a new pattern in that It introduced for the first time the musical quiz concept to the radio networks.

Spelling Baa — 1937-19k0

This program was broadcast over the NBC-Blue net­ work, beginning in the fall of 1937. It continued on the same network, without a break, until the spring of 19l|-0.

The original master of ceremonies was Paul Wing, and there was no sponsor listed for the first season on the air.

This program was an off-shoot from the older "Old 196 Û Time Spelling Bee," and was quite similar to it. As the title indicates, "Spelling Bee" was simply an old-fashioned spelling bee among competing contestants. The last per­ son remaining standing was declared the winner and received a merchandise award. Here was a program irtiich did not enjoy what would be considered even average popularity according to avail­ able January Hooper ratings. For a nighttime program, these ratings were not particularly good, ranging from a low of 5»1 in January, 19l^-0, to a high of 6,1 in January,

1939.

Ba.k*t — iqi8-iqkl This program was broadcast over the CBS radio net­ work, beginning in the fall of 1938. It continued on CBS, without a break, until the spring of 19ii.l. Jim MciWiiliams was the original master of ceremonies but was later re­ placed by Bd.East. The original sponsor was the Colgate Company.

Here was a studio quiz program which was consider­ ably different from any preceding program of the same gen­ eral kind. It was divided into two parts, one part called the "Anything Can Happen Basket" and the other called the

"Name and Take It" part. In the first part, contestants

®See "Old Time Spelling Bee," p. 193. 197 acted out answers to questions of a general nature from

the master of ceremonies# The contestant with the best "*act" won a prise of merchandise# In the second part, contestants named objects from a series of clues given to

them by the master of ceremonies# If they successfully named the object in question, they received the object as a reward#

This program established a new pattern for the stu­ dio quiz programs on radio networks# Never before had any format such as this been attenq>ted on the radio networks#

"Ask-It Basket* was about average as far as popular­ ity according to Hooper ratings was concerned# The January ratings ranged from a low of 8#2 in January, 194-1 « to a h i ^ of 15*7 in January, 194-0.

Battle af lha Bexes — 1Q^6-1Q1iJl This program was broadcast over the NBC-Red network, beginning in the fall of 1938. It continued, without a break, until the spring of 1944* Julia Sanderson and Prank Crumit, two well-known musical comedy stars, were the ori­ ginal masters of ceremonies, and the program was originally sponsored by the Nolle Shaving Cream Company.

This was the program that introduced the *team com­ petition* classification of studio quiz programs# Here was a program that pitted a team of men against a team of women to see which team could answer more questions 198 correctly. Julia Sanderson asked the male team the ques­ tions, and Prank Crumit asked the female team* Any member of the team could answer the question If he Indicated that he knew the answer, but If he answered any question Incor­ rectly, the opposing team got a chance to answer It. Each correct answer counted a certain number of points for the team of the Individual answering it. The team with the most points at the end of the program won a prise.

This program established a new pattern on the radio networks for studio quiz programs with the addition of team conflict to the already established basic studio quiz format.

* Battle of the Sexes'* stayed with HBC until the

19^^3~19Mt- aeason, which was Its last season on the air, when It changed to ABC. As far as popularity was concerned, this program was a little below average. The available

January Hooper ratings indicate that for a nighttime pro­ gram, it was not 80 popular as Its more successful con­ temporaries in the studio quiz area. These ratings ranged from a low of 1^.7 in January, 1944» to a high of 17*5 In January , 194-0 •

^ ffgJlftOT stL JfauifiAl -- 19ia-lQkQ This program was broadcast over the HBC-Red network, beginning in the fall of 1938. It continued, without a break, until the spring of 194-9• %ky Kyser was the 199 original master of ceremonies, and the American Tobacco Company with Lucky Strike was the original sponsor. Here was a studio quiz program with an added touch of musical variety. It was a program in which individual contestants were asked to identify musical selections. If these musical selections were vocals, the singers left out the song title if it was included in the lyrics. A contestant indicated by sounding a buzzer when he knew the name of the musical selection. If he was incorrect, he received a carton of Lucky Strikes. If he was correct he was given the opportunity to compete for a grand prize of cash near the end of the program. Along with the quiz por* tion, there were a few extra musical numbers by the band and the vocalists. The whole program revolved around the enthusiastic personality and good humor of the master of ceremonies, Kay Kyser. Although this program was not the first to intro­ duce the musical quiz classification of studio quiz pro­ grams to the radio networks,^ it was the first program of the studio quiz type to be more than thirty minutes in length. This was a full hour program. During the eleven years this program was on network radio, it made only one change in network. It was present" ed over NBC except for the final season on the air.

^See "Melody Puzzles," p. 195 200 19l^Ô-19l(.9» during which it was presented over ABC* Through the years it had only three sponsors -- Lucky Strike, 1938~19Mt-5 Colgate-Palmolive-Peet Coopany Mills, Inc., December, 19Wi- " June, 19i+-0; Pillsbury, 19ii-8-

I 9 I + . 9 . The **Kay Kyser * s College of Musical Knowledge** pro­ gram experienced one major change in time of broadcast* For the first ton years it was on the air It was scheduled only at night. But in the fall of 19^.8, it was moved to the daytime, 1{.:00 to 1^:3 0 , at the same time it made the move from NBC to ABC. Also, the program was a full hour for the first five years on the radio networks, but was cut to thirty minutes in the fall of 19lf8 and continued this length until it went off the air for the final time. The name of this program was changed in the fall of 191^8 with the switch to daytime on ABC* It became **Kay Kyser*s College of Pun and Knowledge.**^® Even though this program did not originate the mu­ sical quiz idea, it was still a significant program in that it established a new pattern for the studio quiz* It was a **big** production con^ared with ** Mus leal Puzzles*** It capitalized on the personality of its master of ceremonies more than any studio quiz program had ever done up to that date* It was the first studio quiz program to last as long

^^r.O>doAjtifig-T»lqç^B,^lBg Yearbook - 1950, p. 393. 201 as eleven years on the radio networks. As an indication of its popularity, this program

received a rating from Hooper during January, 1939 — its first season on the radio networks of 18.0, which was

the highest first-season rating that had been received by any studio quiz program up to that time. Its January rat­

ings, according to Hooper, ranged from a low ni^ttime

rating of 10.9 in January, 19^.7, to a high ni^ttime rating of 26.2 in January, 19^1-3• Its peak seasons were from I9I4-O to 19M^« during which it received an average January rating

of 21.5 according to Hooper ratings available for that pe­

riod. As a nighttime program, it enjoyed several years of

popularity. However, when it moved to daytime network ra­

dio in the fall of igi^-G, its rating suffered and was low even for a daytime program. In January, 19^.9 , it received a daytime rating of only 3.^^ according to Hooper.

T£ua PftlB. — 1938^9li3: 19L7-19S0: 1952-1953;

This program was broadcast over the NBC-Blue network

beginning in the fall of 1938. It continued on and off the air, with a four year break, 19l|.3-19lf7; a two year break,

1950-1952; and a one year break, 1953-19514.; and was still on the air in the spring of 1957# No information has been found concerning the original master of ceremonies. The

Williams CoD^any was the original sponsor. 202 "True or False" was a program which included a dif­ ferent twist to the well-established studio quiz program format, Instead of the master of ceremonies' asking each contestant a series of questions, he simply read state­ ments and the contestant was required to decide whether each statement was true or false. Essentially the same format used in this program was also used in "Comedy of

Errors" ten years later.

"True or False" began on NBC-Blue and continued on this network until the fall of 19kZ, at which time it moved to ABC. In 19^3 it joined Mutual and continued on this network for the rest of the time it was on the radio networks. This program had several changes in sponsorship through the years. The Williams Company sponsored it until the 1914.8-1949 season, at which time the Shotwell Manufac­ turing Company took over. The Anahist Conç>any became its sponsor during the 1949-1950 season, and the following season "True or False" found itself without a sponsor.

During both 1952-1953 and 1954-1955* this program was spon­ sored on a co-operative basis, and from the fall of 1955 to the spring of 1957* it was sustaining.

"True or False" was a nighttime program up until the

1948-1949 season, when it moved to Saturday afternoons, 1:00 to 1:30. For the next two seasons it continued as a daytime program on Saturday afternoons, $tOO to 5>30. 203 Thon in the fall of 1952, it moved back to the ni^ttime schedules and remained there for the rest of the time it was on the air.

This program was below average in popularity ac­ cording to its available January Hooper ratings# Those ratings ranged from a low of 6.3 in January, 1939# to a high of 11 #3 in January, 19i^l« Ratings such as these were low for a nighttime program#

Doctor â# — 1939-1950 This program was broadcast over NBC, beginning in

April of 1939* It continued, without a break, until No­ vember 22, 1950» Lew Valentine was the master of ceremo­ nies, and the sponsor was the Mars Candy Con^any#

This program fell into the classification of single questions asked of each of a number of contestants# In this respect, it was similar to the earlier "Professor

Qui»."^^ However, in another inq>ortant respect, "Dr. I#

Q#" established a new pattern all its own among studio quls programs# The master of ceremonies was located on a stage, and there were several assistants scattered throughout the auditorium. The master of ceremonies called on these as­ sistants, one at a time, to introduce to the audience a person in the studio audience they had selected as the next

^^See "Professor Quls," p# I9I* 20if contestant. The master of ceremonies then asked the con­ testant a question. Various small amounts of money were given for correct answers, and boxes of Mars candy bars were given for incorrect answers, along with two tickets to the next week's program.

For a nighttime program, "Dr, I, Q," did not receive particularly high January ratings. According to Hooper, these ratings ranged from a low of in January, 1950# which was its final season on the air, to a high of 13,7 in January, 194-3* During the seasons it was on the air, it received an average rating of 10.4- for each January,

Don't Forget — 193Q-191lO

This program was broadcast over the NBC-Blue net­ work, beginning in the fall of 1939* It continued for only a single season, and was not sponsored.

This was a studio quiz program consisting of single questions to single contestants, similar to "Professor Quiz,"^ No other information was available.

Quicks ilvsT — 19.3,9-.19k9 This program was broadcast over the NBC-Blue net­ work, beginning in the fall of 1939* It continued for only a single season, and was sponsored by Turns,

^See "Professor Quia," p, 19I 205 Like "Don't Forget," this was a studio quiz program similar to Progessor Quiz," consisting of single questions to single contestants.

No other information was available.

Mystery HigtoTy Quiz — 1939-lQkO

This program was broadcast over Mutual, beginning

In the fall of 1939» as a network production. It contin­ ued for only a single season, and was not sponsored.

This was a studio quiz program similar to "Professor

Quiz," but with certain differences. Single questions were asked single contestants, but unlike previous programs of this kind, these contestants were children. All the ques­ tions concerned history; not Just any subject.

This was a significant program in that it did estab­ lish a new pattern among studio quiz programs In the use of children as contestants. It was also the first studio quiz program In history to be presented originally during the daytime, Sunday afternoons.

No other information was available.

Qulxle-Doodle — 1919-19L1 This program was broadcast over the Mutual network, beginning in the fall of 1939* It continued for only two seasons, until the spring of 191*^1. The master of ceremo­ nies was Colonel Stoopnagle. The Mennen Company was the 2 0 6

sponsor» This was another studio quiz program based on the same format as "Professor Quiz," single questions asked of single contestants. The whole program centered around the humor of the master of ceremonies* It was almost as much a comedy variety program as It was a studio quiz* It was the first studio quiz program to be built around the per­ sonality of a well-known comedian.

The only rating available was for January, 19^1*

According to Hooper, this program received a 7*9, which was not too good for a nighttime program during Its second

season on the air. No other Information was available*

Youth V,. — iq-jq-iqko This program was broadcast over the NBC-Blue net­ work, beginning In the fall of 1939# It continued for only

one season* No Information was available concerning the master of ceremonies, but the sponsor was Sloan's Liniment*

Here was another version of the "team competition" classification of studio quls programs * Just as the "Bat­

tle of the Sezes"^^ had been a contest between men and wo­ men, "Youth Vs* Age” was a contest between ages* It con­

sisted of a team of young people against a team of older

^^Soe "Battle of the Sexes," p* 197# 207 people in a contest for knowledge. Each correct answer was a point for the team of the individual answering it, and the team with more points at the end won a prize. No other information was available.

Name Three Quia — 1939-19liQ This program was broadcast over the Mutual network, beginning in the fall of 1939* It continued for only one season. It was sponsored by Liggett and Myers Tobacco

Company, No other information was available.

Double o£ Nothing — This program was broadcast over the Mutual network, beginning on September 9# 1914-0# as a network production. It continued on various networks, without a break, until the spring of 1953* Todd Russell was the master of cere­ monies, and White's Laboratories (Feenaraint) was the ori­ ginal sponsor. **Double or Nothing” was the first studio quiz pro­ gram to include a series of questions of increasing diffi­ culty to one contestant. It was also the first studio quls to include an Increasing reward for each correctly answered question in this series. Answers to the last questions of the series received double the amount thus far accumulat­ ed - or nothing. He was given the opportunity to make the decision concerning whether or not he should try for the 208

"doubla or nothing" question. There were several changes In network during the seasons this program was on the air. It continued on Mu­ tual until June 30, 19i(-7* at which time it moved to CBS,

It continued on CBS until May, 19i|.8, when it moved to NBC where it stayed until it left the air for the final time.

White's Laboratories sponsored "Double or Nothing" from 1914.0 to 1914.^; followed by Pharma00 Incorporated from

19I4.5 to 1914.7 * In June of 19I4.7 , the Campbell Soup Con^any took over the sponsorship, and continued in this capacity until the program went off the air. This program began as a nighttime program presented once a week. In the fall of 1914.7, with its move to CBS, it also was moved to the daytime and was presented five days a week in the afternoon. In the fall of 1951# the time was changed to the morning hours, still five days a week, and continued at this time until the program left the air.

The only change of master of ceremonies came in the fall of 1950 when Walter O'Keefe took over in this capac­ ity. O'Keefe remained in this position for the rest of the time the program was on the air.

In January, 1951# Variety estimated the production costs to be $3,500 per week.

"Double or Nothing" seemed to have more popularity as a daytime program than it did as a nighttime one. 209 During its period as a ni^ttime program it received Jan­ uary ratings from Hooper ranging from a low of 7*2 In Jan­ uary, 19l|2, to a high of l6,l in January, 191^.5• Althou^ a nighttime rating of l6.1 Is considered fairly good, the over-all average rating was 7,I|., which is not a good aver­ age rating for any program during the evening hours. Dur­ ing its period as a daytime program **Double or Nothing* received January ratings from Hooper ranging from a low of 3.6 in January, 191^.8, to a high of 6.7 in January, 1950, and an average daytime rating of 5*0 — a reasonably good daytime rating average.

Beat the Band — lQliO-19klî 1QL.3-I9liii. This program was broadcast over the NBC-Red net­ work, beginning in the fall of 19^.0. It continued until the spring of I9I4-I when it was discontinued. After a break of two seasons, it reappeared in the fall of 19^3 and spent another single season on network radio, going off the air for the final time in the spring of 19Ml-* HiIdegarde was the mistress of ceremonies, and C o m Mix was the original sponsor. Here was a studio quiz program similar to the earli­ er "Melody Puzzles"^ in that the format of "Beat the Band" consisted of contestants atteBq>ting to identify musical

^See "Melody Puzzles," p. 195# 210 numbers that were In some way disguised. It was also sim­ ilar to **Kay Kyser's College of Musical Knowledge"in that, as Kay Kyaer was the center feature attraction on his program so was Hildagarde the center feature attraction on

"Beat the Bank," and the program revolved around her per­ sonality. No further information was available.

Take It Or Leave It — 19L.0-1950 This program was broadcast over the CBS network be­ ginning in October of IÇ^i-O. It continued, without a break, until the spring of 1950» Phil Baker was the original mas­ ter of ceremonies, and the Sversharp Congany was the ori­ ginal sponsor. "Take It Or Leave It" was similar to "Double or

Nothing"in that each contestant was asked a series of questions which increased in difficulty. This contestant had a choice of whether or not he wanted to attempt these questions. The program was different from "Double or Noth­ ing," however, in that the contestant did not have a chance for "double or nothing" in the amount of money he received. In "Take It Or Leave It," the contestant had a choice of

"taking or leaving" the question and the amount he won

^^See "Kay Kyser's College of Musical Knowledge,' p. 198 . l^See "Double or Nothing," p. 207• 211 increased with each question but did not double. The ba­ sic format of the program was that of a series of questions of increasing difficulty to one contestant. This program made only one change of networks during its ten years on the air. It moved from CBS to NBC in the fall of I9I4-7 and continued on NBC for the rest of the time it was on the air. Also, in the fall of 191^.7, the program underwent a change of master of ceremonies. Garry Moore replaced Phil Baker at this time. Another change of master of ceremo­ nies took place in the fall of 1914-9-1950 irtien Eddie Cantor replaced Moore. This program was significant not only because it, along with "Double or Nothing," established a new pattern in studio quiz programs with the series of questions of increasing difficulty but also because of the effect it had on future programs of the same general kind. "The I6I4.

Question" was developed in 1950 directly from this basic format, followed by "The #614.,000 Question" in 1955, on network television. The particular classification into which "Take It Or Leave It" fell developed into the most significant in the studio quiz program area.

"Take It Or Leave It" was much more popular than

"Double or Nothing." Never in the ten years It was on the radio networks did its January Hooper rating drop below 11*7. The highest available January rating was 21.3 In 212 January, 19^3. The program's average January rating was 16.Ij., according to available January ratings from Hooper.

Flay Broadcast Quia -- lQiiO-19kl This program was broadcast over the Mutual network, beginning In the fall of 19^#. It continued for only one season leaving the air In the spring of 19ifl* There was no Information available concerning the master of ceremo­ nies, but the sponsor was the Illinois Meat Company. Here was a studio quiz program similar to the ear­ lier "Ask-It Basket*^? In that contestants were given an opportunity to act out answers to questions. No further Information was available.

Spin and Win — 19k0-19lil This program was broadcast over the NBC-Blue net­ work, beginning In the fall of 19i|-0. It continued for on­ ly one season, leaving the air In the spring of 19l;.l# It was a sustaining program* No further Information was available.

W ^ Knows? — 19k0-19kl This program was broadcast over the Mutual network, beginning In the fall of 19ii-0. It continued for only one season, leaving the air in the spring of 19i*.l# It was

^^See "Ask-lt Basket," p. I96* 213 sponsored by the Griffen Shoe Polish Company.

No further information was available.

Consumer's Quiz -- lQkO-19k2 This program was broadcast over the Mutual network beginning In the fall of 1914-0 # It continued on the air

for only two seasons, leaving the air In the spring of I9I42. It was not sponsored either of these seasons.

Here was a studio quiz program which was signifi­

cant In that it was the first such program to be presented

during the daytime on a flve-day-a-week basis. It was not

until 19^7 that the daytime studio quiz program really

came Into Its own. No further Information was available.

Auction Quiz — 191l1-19Jl2

This program was broadcast over the NBC-Blue network

beginning In the fall of 19^1. It continued on the air for

only one season, leaving the air In the spring of 19I4J2. It was sponsored by the Standard Oil Conqpany.

No further information was available.

National History Quiz — 19kl-_I9li2 This program was broadcast over the Mutual network beginning In the fall of 19^1 * It continued on the air for one season only, and was not sponsored.

No further Information was available. z-ik What«s Mï Mama? — iqkl-19k2 This program was broadcast over the Mutual network beginning in the fall of 19^1. It continued on the air for one season only, and was sponsored by the Fleishman Yeast Company, No further Information was available.

Dr. I. Jr. — May. 19ii.l-August. 19iil: Marc&,, l9kQ- August. 19L8; Jan.. 19k9-Apr.. 19L.9 This program was broadcast over the NBC network beginning in May of 19J+1» Its history on NBC was divided Into three different periods each from three to six months in length and two of the three occuring during the summer months. Mara, Incorporated was the sponsor for all three of these broadcast periods. This program was similar to *Dr. I. Q.”^® In the basic format, but It made use of young people as contes­ tants rather than the more mature. The master of ceremo­ nies stayed on the stage asking questions of contestants who were seated throughout the auditorium through assis­ tants to the master of ceremonies. Small amounts of cash were given for correct answers, and boxes of Mars Candy Bars were given for Incorrect answers. It was a daytime program, presented on Sunday after­ noon, $i30 to 6:00 during the first two periods It was on

iBsee "Dr. I. Q.," p. 203. 215 the air; and Saturday afternoon, 5:30 to 6:00 during the final period, January, 19^9, to April, 194^, The only rating information which was available for the program shows a January, 191^-9# Hooper rating of 3.3, indicating that the program was not a great success as far as popularity was concerned.

Thanks to jülâ Yanks — iqL2-19L5 This program was broadcast over the CBS network beginning in the fall of 19^+2. It continued, without a break, until the spring of 19^5# The original master of ceremonies was Bob Hawks, and the original sponsor was the R. J. Reynolds Tobacco Co.

Here was a studio quiz program born out of World

War II as an attempt to use men in uniform within the quiz format -- giving them an opportunity to win a little extra money while on leave. After a short interview with each contestant. Bob Hawks asked them a series of questions.

Correct answers brought cash awards, euid incorrect answers brought cartons of Camels and tickets to the next week's program* It was similar to "Take It Or Leave It"^^ In that each contestant was asked several questions of Increasing difficulty and increasing value.

This was a significant program in that it was the

19See "Take It Or Leave It," p. 210. 2i6 first of the studio quiz types to use soldier contestants. The January ratings ranged from a low of 10.1 in January, 19^1-3* to 13.1^ in January, 19^-S, according to Hoop­ er. These were not particularly high for a nighttime pro­ gram on network radio, but ware a little above what was considered average.

Batter — iqlL2-19k3; iqkS-iqk6 This program was broadcast over the Mutual network beginning in the fall of 19i|2. It continued until the spring of 1943, was discontinued for one season, reappeared in the fall of 19i^-5* and left the air for the final time in the spring of 19^.6. There was no information concerning the master of ceremonies. The program was never sponsored. Here was a studio quiz program which pitted hus­ bands against wives in a contest to see which one could answer more questions correctly. It was similar to **Battle 20 of the Sexes" in that it included a team competition for­ mat. Cash awards as well as merchandise were given to the winners.

Yankee Dggd^e <^ig — 19k3-19liii This program was broadcast over the ABC network beginning in the fall of 19^3* It continued for only a single season, leaving the air in the spring of 19W*.. Ted

20See "Battle of the Sexes," p. 197. 217 Malone was the master of ceremonies, and the program was not sponsored. This was a studio quiz program on American history for Junior High age youngsters. Novelty prizes were used, including Joke prizes for wrong answers, such as a bushel of popped popcorn in a bushel basket. No further information was available.

Grand Slam — IQiil-lQ^l This program was broadcast over the CBS network beginning in the fall of 19^4-3 • It continued, without a break, until the spring of 1953# Irene Beasley was the original mistress of ceremonies, and the Wesson Oil Com­ pany was the original sponsor. It was fifteen minutes long, presented five days a week. Studio audience participants and at-home listeners were pitted against one another. Participants were asked a musical five-part question, with a prize for each part. Each part of the question, sent in by at-home listeners, was considered a trick, as in a card game. When the par­ ticipants missed a trick, the prize reverted to the sender of the question. All five tricks taken -- five correct answers -- constituted a Grand Slam. Likewise, all five tricks missed by the participants was a Grand Slam for the sender. A bonus of a one hundred dollar United States Savings Bond went with each Grand Slam. There was a 218 consolation prize for the loser in each game. This program was different from any preceding pro­ gram of the same general kind in Its use of the at-home listening audience as an important part of the format, A new pattern in studio quiz programs was established, since this program was the first of its kind to include such di­ rect listener participation. Here was one of the early daytime studio quiz pro­ grams, It began as an afternoon program, but changed to the morning, five days a week, in the fall of 19i^-5« It continued in the morning as long as it was on the radio networks, Grand Slam** had only one sponsor other than Wesson Oil during its ten years on the air. Beginning in the fall of 19^.$, Continental Baking Company took over in this ca­ pacity, and continued as sponsor for the rest of the time the program was on the air. According to Variety, the production cost of the program during January, 1951» was $1^,500 per week. According to the available January Hooper ratings, this program was reasonably popular for a daytime program. These January ratings range from a low of 3,0 in January, 19^5» to a high of 6 ,9 in January, 1950. These ratings averaged to ^ ,0 over-all. 219 Scramby Amby — 19Wi-19L5: 19li6-19L7 This program was broadcast over the ABC network beginning in the fall of 19W|-. It continued for only a single season, leaving the air during 19^4-5-19^4-6, but re­ appearing over the Mutual network for another single sea­ son during 19^4.6 -1914.7 # No information was available con­ cerning the master of ceremonies, but the original sponsor was the Manhattan Soap Company* No further information was available*

Skyrider Quiz — 19kii-19k5 This program was broadcast over the Mutual network beginning in the fall of 19Mi-» It continued for only a single season, leaving the air in the spring of 19i4-5* It was not sponsored, and was presented on Sunday afternoons during this season* No further information was available*

Sto£ Or Gn — This program was broadcast over the ABC network be­ ginning in the fall of 19M4-* It continued on the air for one season only* Joe E* Brown was the master of ceremo?- nles, and the McKesson Drug Conqpany was the sponsor* The format of this program was similar In Idea to 220 both ’’Double or Nothing** and ’’Take It Or Leave It,**^^ In that contestants were given a choice with each question as to whether or not they wanted to continue or quit with what they had won up to that point. The basic format was a se­ ries of questions of increasing difficulty to a single contestant.

Which Is Which? -- iqWi-iqii'^ This program was broadcast over the CBS network be­ ginning in the fall of 19^+4» It continued for a single season only, leaving the air in the spring of 19^.$. Ken Murray, a well-known comedian, was the master of ceremo­ nies, and Old Gold Cigarette Company was the sponsor. Contestants were drawn from the studio audience. Big-name guests -- or their imitators -- were visible to the audience but hidden from the contesteuits. The guest celebrity — or his imitator -- was asked to do a turn, and the contestant had to determine whether the voice heard was actually that of the celebrity or that of an imitator. The winners received cash awards. Each guest, authentic and imitation, gave a brief but uninterrupted performance at the microphone, and not until later in the program was the listener informed of the authenticity of the voice.

^^See **Double or Nothing,** p. 207; and **Take It Or Leave It,** p. 210. 221 This program was different from any preceding one of the same general kind in the use made of the imitations* It established a new pattern for studio quiz programs be­ cause it was the first such program to make guest celebri­ ties such an important part of the structure of the pro­ gram. No further information was available,

Quick ^ a Flash — lQWi-1951 This program was broadcast over the Mutual network, beginning on January 8 , 191+4* It continued on various net­ works, without a break, until the spring of 1951» Ken Roberta was the master of ceremonies, and the Helbroe Watch Company was the original sponsor. This program introduced a new pattern to the studio quiz type. Several contestants competed as individuals in trying to be first to answer the same question. The first contestant who knew the answer sounded his buzzer. Cash awards were given for correct answers. The most important change in the program came on January, 19S0, when it moved from Mutual to ABC, from nighttime once-a-week scheduling to daytime three-day-a- wsek scheduling, and from the Helbros Watch Company to the Quaker Oats Company as a sponsor. Win Elliott had replaced Ken Roberts as master of ceremonies in the fall of 19ll7# Then, on September 19# 1950, the Block Drug Company took 222 over as sponsor, and continued in this capacity until the program left the air in the spring of 19^1. According to an estimate by Variety, the production costs for "Quick As a Plash"in January, 1951, were per week. This program does not appear to have been very pop­ ular as a nighttime program* The available January ratings indicate a range from a low of 5,3 in January, 1945, to a high of 8.9 in January, 1949, according to Hooper. It re­ ceived daytime ratings of 4*4 In January, 1950, and 4#^ in January, 1951, Indicating that it was not too success­ ful as a daytime program either.

What's t ^ Maine of that Song? — 1944-1946 This program was broadcast over the Mutual network beginning on October 1, 1944» It continued, without a break, until the spring of 1948» Bill Gynn was the master of ceremonies, and the Khoz Company was the program's original sponsor# Here was another musical quiz program already made popular by Kay Kyser, whose "College of Musical Knowledge" was in its seventh season on the air when this program was PP first introduced. Contestants on "What's the Name of that Song" were expected to guess the names of the various

^^See "Kay Kyser's College of Musical Knowledge," p. 198. 233 songs which were played for them. Cash awards wore given for correct guesses. This program lost Its sponsor at the beginning of its second season on the air, 19^^-194^# and continued on a sustaining basis for the rest of the time it was on the air. It also moved from daytime schedules to nighttime schedules in the fall of 19^.5, being the first studio quiz program on the radio networks to make this particular change. Most changes of this kind were the reverse of this. The only available daytime rating for the program was in January, 194^, when it received a 3 .i|_ according to Hooper. This would indicate that the program did not en­ joy very much popularity on the daytime schedules. No other rating information was available.

Darts Dsusb — 19WL-19L.7 *Darts for Dough* was broadcast over the ABC network beginning on August 6 , 19^+4» It continued, without a break until December 2^, 19i^-7* Oral Anderson was the original master of ceremonies, and the Dr. Pepper Company was the sponsor. Here was a studio quiz program iriaich had a format consisting of a different twist to the already established 22^. routine* Each contestant was required to throw a dart at a scoreboard called the ”Dr* Pepper Scoreboard*” On this scoreboard were the numbers ten, two, and four. The contestant threw the dart to determine how much money would be paid for a correct answer to the question he was going to be asked* In other words, the amount of money won by the contestant for each correct answer was limited to ten, two, or four dollars, depending on where he was able to throw the dart* This program was different from a preceding program of the same general kind In the way In which the amount of money won for each correct answer was determined* Nothing of this kind had ever been tried before* Otherwise, this program followed the earlier established studio quls for­ mat of a series of questions to one contestant found In "Thanks to the Yanks," among others*^^ "Darts for Dough** began as a Sunday afternoon pre­ sentation, and continued as such until September, 1 9 i^6 , when It was moved to the nighttime schedule* It continued as a nighttime program for the rest of the time It was on the air* The program's popularity seemed to suffer from this move from daytime to nighttime* In January, 1 9 ^6 , idien It was being presented during Sunday afternoon, the program

^3soe "Thanks to the Yanks," p* 215* 225 received a rating of 8*0 -- a reasonably good daytime rat­

ing. In January, 1957# after it was changed to nighttime,

the program received a rating of ^.*9 -- & low nighttime rating.

Bob Hawks Show — lQL.9-1959 **Bob Hawks Show" was broadcast over the CBS network

beginning on October 2, 19ij-5* It continued, without inter­

ruption, until the spring of 1953» Bob Hawks was the m a s ­ ter of ceremonies, and the original sponsor was the R. J,

Reynolds Tobacco Company, Hawks had Just finished as Blas­

ter of ceremonies on "Thanks to the Yanks.

Five contestants were chosen from the studio audi­ ence, Each contestant was asked five questions, and for

each correct answer he received five dollars and a carton

of Camels, Answering five questions correctly Biade the contestant eligible to sit in the "LEMAC" box, and near the

close of the broadcast the "LEMAC" contestants collectively

were seated in the "LEMAC" box and given one question to which they were asked to write a correct answer in a lim­

ited period of time. Bob Hawk read the various answers and the winner received two hundred and fifty dollars. If more

than one answered correctly, the money was divided; if no

one answered correctly, the money was added to the

^Ibid, 226 following weak's two hundred and fifty dollar *LBMA.C" prize. The winner or winners became ”LEMACS** -- which was the sponsor's product spelled backwards. This program was similar to earlier studio quiz programs in some respects. That part in which the series of questions was asked each of the five contestants was similar to both "Double or Nothing" and "Take It Or Leave It"^^ as well as some other earlier studio quiz programs in which a series of questions to a single contestant was included in the format. The "LEMAC" question routine near the end of the program was similar in structure to "Quick as a Flash" in that several contestants were com­ peting as individuals in trying to be first to answer the same question. Production costs were estimated by Variety to be $6,000 per program during the month of January, 1951» With the exception of two seasons, 19if7-19i|-8 and 1950-1951» when it was presented on NBC, this program stayed on CBS during all the time it was on the air. The "Bob Hawks Show" received the impressive rating of 13.6 in January, 194^» during its first season on the

^^See "Double or Nothing," p. 207; and "Take It Or Leave It," p. 210. 2^See "Quick as a Flash," p. 221. 227 air, according to Hooper. Its other January ratings were never below l6 ,l with the exception of January, 1951» when the rating dropped to 11.3» according to Hooper. Ratings such as this indicate that the program was very popular for a nighttime presentation, although not among the most pop­ ular programs.

Detect-a-Tune — 19k9-19k6 This program was broadcast over the Mutual network beginning in the fall of 1914-5# It continued on the air for a single season only, leaving the air in the spring of 191^.6, It was sustaining. Here was another version of the musical quiz format, similar to "College of Musical Knowledge" and "What's the «27 Name of that Song." No further information was available.

Detect saÉ Collect — 19lk5-J.9k^ This program was broadcast over the ABC network, beginning on October Ij., 1914-5. It continued for only one season, leaving the air on September 28, I9I4.6 . Pred Uttal and Lew Lehr were the masters of ceremonies. It was spon­ sored by the B. F. Œoodrich Company. Clues were given as

^^See "Kay Kyser's College of Musical Biowledge," p. 198 ; and "What's the Name of that Song," p. 222. 228 to where prizes were hidden In the studio. No further Information was available.

Think You Know Music? — This program was broadcast over the Mutual network beginning In the fall of It continued for only one season, leaving the air In the spring of 19^6, It was not sponsored. Here was another musical quiz program, similar to ”Detect-a-Tune,” No further Information was available#

Tri and Find M — 19L5-19k6 ■ This program was broadcast over the CBS network beginning on February 26, 19^5* It continued, without Interruption, until December 6 , 19^6 . Tom Shirley was the master of ceremonies, and the Southern Cotton Oil Company was the sponsor. This program's competitive spirit enveloped both studio audience and listeners, similar to that Included In "Grand Slam,"^*^ Listeners were requested to send In postcards listing name, address and occupation, Tom Shir­ ley selected a card, and offered the studio contestant broad clues to the information. For exaoQ>le, John Smith

28see "Detect-a-Tune," p. 227 ^^See "Grand Slam," p# 217# 229 of Boston was a plumber. Shirley hinted that Pocahontas' boy-friend was "plumb-tired"* and lived in a city whose harbor was still filled with tea leaves. The studio con­ testant received cash for each bit of information deduced. For each bit of Information not deduced, the cash went to the sender. "Try and Find Me" was different from any preceding program of the same general kind in that never before had a studio quia program format included a requirement that contestants guess names of listeners at home.

Give and Take — 19kg-19^3 This program was broadcast over the CBS network beginning on August 2^, 19lf5* It continued, without an

interruption, until the spring of 1953* John Reed king was the master of ceremonies, and the American Hooie Prod­ ucts Corporation was the sponsor. Contestants were invited to inspect a glittering array of prises, each with a question attached. The con­ testants designated the prizes they would like to try for, and received them if they answered the questions attached. Other features were the "spell down" and the "grand slam."

In the "spell down" questions were asked five or so con­ testants until all but one wore eliminated. In the "grand slam" all in the studio audience competed, submitting an­ swers in writing. 230 That portion of this program in which contestants attempted to answer a question for a specific previously designated prise was new to network radio* Such a thing had never been Included in any studio quiz program up to that time* The **spell down" portion of the program dated back to the earlier studio quiz program, "Spelling Bee," in 1 9 3 7 ;^^ but the "grand slam" portion was a new idea in studio quiz programs* Several other sponsors were associated with "Give and Take" during the years it was on the air* The Toni Company took over as sponsor on January 1^., 191^.7; followed by Cannon Mills, Incorporated, in the fall of 19^1* Cannon Mills dontinued as sponsor for the rest of the time the program was on the air* Production costs were estimated by Variety to be $2,000 per program during the month of January, 19^1. During the years it was on the air, "Give and Take" had reasonably good ratings for a Saturday daytime pro­ gram* These ratings ranged from a low of 1|.*0 in January, I9I4.6 , to a high of 10*8 in January, 1950*

Break Bank — IQk^-lQ^^ This program was broadcast over the Mutual network beginning on October 20, 19^5* It continued, on various networks, without a break, until the spring of 1955» Bert

30see "Spelling Bee," p* 195* 231 Parka was the original master of ceremonies, and the Vick Chemical Company was the original sponsor* Here was a studio quiz program in which was inclu­ ded one telephone call per program* A name was drawn out of a "wishbowl** filled with postcards which had been sent in by persons who wanted to be asked to take a free week­ end trip to New York And to appear on the program. No questions were asked by telephone, however. Therefore, this program was classified as a studio quiz program since it falls within the definition given in the introductory chapter, even though the telephone quiz idea was present in the program. During the pre-broadcast search for contestants, Bert Parks worked hard to find people who might be con­ sidered **brains.’’ About twenty were selected and asked to come on the stage. The producer talked with them all, and asked them all sorts of questions, except those to be used later in the actual broadcast, and finally chose three contestants. They were asked questions in categories with which they seemed to be familiar. The rejected per­ sons received an apology and five dollars. In the progrcua proper, Bert Parks, after Inter­ viewing the contestants, asked each questions with the

Beatty, ’’Backstage at the Give-Aways,” American Magazine, July, 19i4-9# P* ^2. 232 amount of the prize increasing aa the difficulty of the questions increased. An amount equal to each contestant's winnings was added to a one-thousand-dollar bonus to make up the "bank. The contestants then who successfully an­ swered all of the questions received the amount then in the "bank." "Break the Bank" changed networks quite frequently during the seasons it was on the air. It moved from Mutual to ABC, after its first season on the air, on July 5* 194^* It continued on ABC until September 23, 19^-9# when it moved to NBC. It moved back to ABC in the fall of 1951» and con­ tinued there until the fall of 1 9 5 3 » when it moved back a- galn to NBC. The program's final season on the air, 195^-- 1 9 5 5» was spent on two networks, both NBC and Mutual, The two most important sponsors for the program were Bristol Meyers and Miles Laboratories, although Lig­ gett and Meyers and the Toni Company and Vick Chemical Company also had a small part in this sponsorship through the years. "Break the Bank" began as a nighttime program, but after its first five seasons on the air, it moved to the daytime schedules in the fall of 1950» scheduled five days a week. It continued as a daytime program for the rest of the time it was on the air. This program was certainly a significant one among studio quiz programs. It established a new pattern among 233 studio quiz programs.in the greater amount of money which it tried to give away* As a matter of fact, this program gave away $78#330 in cash during the season* Here was the first studio quiz program to give away such large amounts of money* Here was the first really big give-away studio quiz program in the history of network broadcasting. This program's January ratings were all in the 11.8 to li^.,7 area, ratings which were not great but pretty good for nighttime programming. The 11*8 came in January, 19if7# and the li^.*7 came in January, 19W * "Break the Bank," cost only one thousand dollars per program during the month of January, 1951# according to Variety. At this time it was scheduled during the daytime hours. This was a lower production cost than most thirty- minute programs of the same type, and was considerably lower than most programs of variety or dramatic types*

Winner Take All -- 1Q1i6-1Q1lQ; IQ^O-lQ'^l This program was broadcast over the CBS network, beginning in the fall of 194-6, as a Good son and Todman production* It continued, with a break of one season, until the spring of 1951» Bill Cullen was the master of ceremonies, and the program was sponsored only from

^^Ibid.. p* 6o. 231». February to August^ 19l».9* by Bayre Home Permanent* The game was played by two contestants at a time, one equipped with a bell, the other with a buzzer. The contestant idio signaled first in response to Cullen's question was called upon. If the contestant gave the wrong answer, his opponent was allowed a "free throw" at another question. The first contestant to answer three questions correctly became winner of the round. The loser was replaced by another contestant. Any individual con­ testant could remain in continuous competition day after day until he was eliminated by the game's procedure, or until he retired voluntarily.

This program was similar to "Quick as a Flash" in its competition between contestants to see irtilch one could answer the same question first.However, in that any individual contestant could remain in continuous competi­ tion day after day until beihg defeated or retiring, "Win­ ner Take All" was different from any preceding program of the studio quiz type. It was the first such program to include the "contestant carry-over" concept from one pro­ gram to the next. With this, it established a new pattern in studio quiz programs.

It began as a daytime program presented five times a week, and continued on this schedule until it was dropped

33 See "Quick as a Flash," p. 221. 235 from CBS at the end of the 1914-8-1949 aeaeon. When It re­ appeared again in the fall of 1950# it waa scheduled only once a week and on a nighttime basis#

Hollywood — I9l;fe-.1947 This program was broadcast over the CBS network be­ ginning in the fall of 194^* It continued on the air for only one season, leaving the air in the spring of 194?#

Kenny Delmar was the master of ceremonies, and the sponsor was the Whitehall Pharmacal ConQ>any# Delmar was a well- known actor at the time. During each session, Delmar quissed contestants selected from the studio audience, challenging them to re­ call dialogue of given situations in hit movies. Contest­ ants received valuable merchandise prises for correct an­ swers* Concluding each broadcast was one question for all contestants, the prise being the **jackpot* of the program*

This program was different from any preceding pro­ gram of the same general kind in the part In which the contestant was required to recall dialogue of given situ­ ations in hit movies* This paupticular concept had never before been used in a studio quls program* The * jackpot* portion, however, had been used many times earlier in 236 programs pitting all contestants against each other In attempting to answer one single questlon»^^

You Bet Your Life -- lQli.7- Thla program waa broadcast over the ABC network be­ ginning on October 27, 19^7* It continued on various net­ works, without a break, and was still on the air In the spring of 1957» Groucho Marx was the isaster of cereisonles, and the Elgin American Division of the Illinois Watch Com­ pany was the original sponsor. Marx bad been a well-known comedian for many years before this tlmme.

The format of this program Included teanum of two contestants each who vied against one another for a chance to try for a "jackpot" question at the end of the program.

In this respect. It was similar to the "Bob Hawks Show" except that Hawks used single contestmmts competing against one «mother rather than pairs of contestants,^^ Groucho Marx Invited two contestants to the milcrophone at a time, a iM" and a woman. Both of these contestants were careful­ ly selected from the studio audience before air time. Marx Interviewed them, applying his rasor wit at the most oppor­ tune mmomients, and asked them a series of questions which

^^See "Bob Hawks Show," p. 22$; and "Quick as a Flash" p. 221. ^^See "Bob Hawks Show," p. 225* 237 they chose for themselves, depending on how much money they wanted to risk on each one. That couple winning the most money at the end of the program got a chance at a ''jackpot'* question. If this question was missed, the a- mount of money in the **Jackpot" was added to the next week's. There was also a "secret word" for each program. If any contestant spoke this word during the time he was being interviewed or questioned, he won an additional cash prize. Each question was answered by each couple working as a team. They agreed on all answers before they were given, and they shared equally in the reward. All of these programs were recorded in advance of the broadcast, edited, and played back for the actual broadcast.

"You Bet Your Life," Wiich has also been called "The Groucho Marx Show," began on ABC. It continued on this network until January, 19^0, when it moved to CBS, i^ere it stayed until June, 1950. Beginning in the fall of 1950, the program moved to NBC, where it has been ever since.

There were only two sponsors of the program up to the spring of 1957» Blgin American and the Chrysler Corpo­ ration, for its DeSoto-Plymouth dealers* Elgin was the sponsor until January, 1950, when Chrysler took over and continued up to the spring of 1957. Because of the fact that this program was always taped and edited before broadcast, its production costs ran somewhat hi^er than the other studio quiz programs. 238

Variety eatinatod those coats to be $9,000 per program during the month of January, 1951* There was only one major change In time of broad­ cast. It came In the fall of 1958 when "You Bet Your Life" moved from a nl^ttlme spot on the NBC schedule to Satur­ days, 12:30 to 1:00. This program has long been one of the most popular studio quls programs on network radio. Its Nielsen rat­ ings have always been among the top ratings given by that company for all network radio programs. A rating of I6.9 for January, 1950, was the highest January Nielsen rating on record for the program. A rating of 9*7 for January, 1952, was the lowest rating available. From January, 1950, to January, 1952, this program was never lower than ei^th among the top ten radio programs rated by Nielsen. In

January, 1955, it was ranked fifth and in January, 1958, it was ranked second among the top ten by Nielsen.

Strlk* I£ — 1^17-195%: 19^6- This program was broadcast over the CBS network be­ ginning on Nay 2, 19i|.7* It continued, without a break, until the spring of 1955* After a break of one season, it began again in the fall of 1958 and was on the air in Jan­ uary, 1957* Todd Russell was the original master of cere­ monies, and Luden's, Incorporated, was the original spon­ sor. 239 This was the first studio quls program In which human Interest elements were stressed almost In the same degree as they were In the human interest programs. Al­ though It was basically a studio quls program. Its format was that of giving needy contestants an opportunity to come to the program, tell their story, and attempt to answer a series of questions In order to win enough money to satis­ fy their needs. Often, money and merchandise were con­ tributed by outside agencies, during the program, to those who were obviously quite needy yet were not winning.

Although this program was different from any preced­ ing studio quls program In its enq>hasls on human Interest

and emotional stimulation. It was quite similar in the quis

portion to any number of earlier studio quis programs The Ludon Company sponsored "Strike It Rich" from the time it first went on the air to February, 19^9. In

April, 19^9, the Colgate Palmolive Feet Cosqpany took over

the sponsorship and was in this capacity in January, 19^7« This program began as a nighttime presentation on Sunday evenings. It moved to Sunday afternoons, 5 0 0 to 6:00, during Its second season on the air. And In April,

19lf9 » It moved to daytime schedules and was presented five afternoons a week* It moved again in the fall of 1951,

3^See "Take It Or Leave It," p. 210; and "Break the Bank," p. 230. 21+.0 this time to the morning, and waa presented five mornings a week until the spring of 1955* It returned to the air In the fall of 19^6 as an afternoon program presented five times a week.

The production cost per week, as estimated by Varl- etv. for the month of January, 1951* was $!t.,000. Since the program was then being presented five times a week, this made the production cost per program less than $1,000,

"strike It Rich" was more popular as a daytime pro­ gram than It was as a nighttime one, according to available rating Inforamtlon, According to Hooper, the January, 1914.8 , rating, which was when the program was being pre­ sented on Sunday evenings, was only 7*9 ““ below average for a nighttime program. However, after It moved to day­ time, It received average and above ratings for daytime programs as Indicated by a 1*.,^ for January, 1951#

Man an £uai — I9li8-iq^ This program was broadcast over the Mutual network beginning In the fall of 19l|>8, It continued, without a break, until the spring of 19514-# Mo Information was a- vallable concerning the master of ceremonies. Although the program was sustaining during Its first season on the air, Quaker Oats sponsored It during the rest of the sea­ sons It was on the air.

It began as a thlrty-mlnute program, was changed to 21p. a slxty-mlnute program during its second and third seasons on the air, and was changed back to a thirty-minute program for the rest of the seasons it was on the air. It remained a Saturday program during all the time it was on the air.

According to Hielsen, January ratings ranged from

1.5 in January, 1953# to 2.6 in January, 1951* No further information was available.

Take A — lQk6-1955

This program was broadcast over the Mutual network beginning on Jane 5# 1914-8* It continued, without a break, until the spring of 1955* No information was available concerning the master of ceremonies, but the United States

Tobacco Company was the original sponsor. It began as a nighttime program, but in the fall of

1951 it changed to the daytime schedule and was scheduled five times a week. No further Information was available.

Comedr Errors — 19L9-1952

This program was broadcast over the Mutual network beginning in the fall of 19I4.9* It continued, without In­ terruption, until the spring of 1952. Jack Bailey was the master of ceremonies, and the program was never sponsored.

This was a studio quls program with a somewhat dif­ ferent twist. Sach contestant was given a certain amount of factual Information by the master of ceremonies# This 2 l|2 factual Information was full of errors, and it was the Job of the contestant to spot these errors* The factual in­ formation which Bailey read was usually made funny because of the errors included. A cash award was given to the con­ testant who could spot all the errors correctly.

This was the first program of this specific kind ever to appear on the radio networks; however, it was quite similar to a program which was presented several years ear- 37 lier, "True or False," in 1938, over NBC. It was still on the air in the spring of 1957* No further information was available.

B a m Your Vacation — 19I1.9-1950

This program was broadcast over the CBS network beginning in the fall of 19l|-9* It continued for only one single season, leaving the air in the spring of 19^0. Jay

C. Flippen was the master of ceremonies, and the program was not sponsored.

Here was a studio quis program in which the contest­ ants had to be school teachers. Each contestant was asked four successive questions. If they were able to answer all correctly, they earned an all-expense-paid vacation for two to almost anyplace in the world they wished to go.

Such a limitation in the kind of contestant used was

37See "True or False," p. 201. 2W new to studio quls programs. Up to this time, no such rigid limitation had ever been used, except In a broader

sense when the young or old were needed In such a program as **Youth Vs. Age;" or when a contestant had to be a man or a woman as In "Battle of the SexesA series of

questions of Increasing difficulty to one contestant had

already been done several times In such programs as "Double

or Nothing" and "Take It Or Leave It."^^

Meet Ygac Mfttgfe —

This program was broadcast over the Mutual network beginning In the fall of 1949* It continued for only one

season, leaving the air In the spring of 1950. It reap­

peared In the fall of 1952, and left the air for the final

time In the spring of 1953# No Information was available

concerning the master of ceremonies* It was never spon*? sored*

This was another studio quiz program In which the

contestants appeared two at a tlaie, each equipped with a noise maker to indicate when he knew the answer* The con­

testant who signaled first was called on* The first con­

testant to answer a certain number of questions correctly became the winner of the round* The loser was replaced by

^^See "Youth Vs. Age," p* 206; and "Battle of the Sexes," p* 197*

^^See "Double or Nothing," p* 207; and "Take It Or Leave It," p* 21Ô. 21+4 another contestant. Any Individual contestant could re­ main in continuous competition until the end of the pro­ gram. The winner of the cash award was the contestant who was still winning at the end of the program.

This program was quite similar to both "Quick as a

Flash" and "Winner Take All."^®

Think Fast — 19k9-19^0

This program was broadcast over the ABC network beginning in the fall of 1949* It continued for only one single season, leaving the air in the spring of 19$0. No inforsiation concerning the master of ceremonies was avail­ able* This program was never sponsored.

Here was another studio quls program of the same general type as "Meet Your Hatch," "Winner Take All," and "Quick as a Flash.

No further information was available.

Hollywood Quls — 1QL9-1950

This program was broadcast over the Mutual network beginning on December 19, 1949# It continued for only two and a half months, leaving the air on March 4» 1950* No

^^See "Quick as a Flash," p* 221; and "Winner Take All," p* 233.

^^See "Meet Your Match," p* 243» "Quick as a Flash," p. 221; and "Winner Take All," p* 233* 24^ Information was available concerning the master of cere­ monies* but the Hallicrafters Corporation was the sponsor*

Contestants were asked a series of questions* in­ creasing in difficulty, concerning movies and Hollywood personalities. Cash awards were given for each correct answer. This program was similar to several earlier pro­ grams such as **Double or Nothing***^ and was particularly similar to ''Hollywood Jackpot*" in which Kenny Delmar asked contestants to recall dialogue of given situations in hit movies. No further information was available.

R*te Your Mate — 195P.-19SX This program was broadcast over the CBS network be­ ginning in the fall of 1950* as a Goodson-Todman produc­ tion. It continued on the air for one season only* leaving the air in the spring of 19^1 . Joey Adams was the master of ceremonies* and the program was never sponsored. Studio audience contestants were either husband and wife teams or engaged couples. The purpose was not to test their intelligence on questions of general interest* but to gauge each contestant's knowledge of the other's ability to come up with the answers# For exasq)lo* a

^ S e e "Double or Nothing*" p. 207.

^^See "Hollywood Jackpot*" p. 235. 21^6 husband would be elected to answer the questions and was closeted In a sound-proof room offstage, while his wife stated whether or not she thought he knew the answers. If she rated him correctly, even thou^ the answers to his questions were wrong, the couple won twenty-five dollars.

Four questions were asked each set of participants. Although there had been earlier studio quiz pro­ grams in which Biarrled couples had been involved,^ there had never been any program on the networks specifically like "Rate Your Mate." There was a human interest quality involved in this program which was not included in the ear­ lier studio quiz programs. It involved a different pattern.

Shoot t ^ Moon — 19^0-1951 This program was broadcast over the ABC network be­ ginning in the fall of 1950. It continued on the air for only one season and was not sponsored. Bud Gollyer was the master of ceremonies. No further information was available.

tèk Question — 1959.-,19SS This program was broadcast over the NBC network be­ ginning in the fall of 1950. It continued, without a break until the spring of 1952. No inforsuition was available

W-See "Better Half," p. 2l6. 21^-7 concerning the master of ceremonies, but RCA was the original sponsor.

This was the earlier *Take It Or Leave It" program with a new title.^^ "The Question" consisted of a master of ceremonies asking single contestants a series of questions increasing in difficulty and increasing in cash reward. The title was derived from the fact that was the maximum amount of money any contestant could win.

This amount of money was rewarded the contestant when he answered the most difficult question in the series. As a result of this program, the term, "That's the $6l|. Ques­ tion," became a household word when referring to a question which was extremely difficult to answer.

This program was also similar to "Double or Nothing" and "Break the Bank"^^ as well as several other earlier studio quiz programs featuring the same basic format.

During the month of January, 19^1, Variety estimated the production cost of this program to be $3,000 per pro­ gram. The only rating available indicated that this pro­ gram was not too popular as a nighttime presentation. In

^^See "Take It Or Leave It," p. 210.

^^See "Double or Nothing," p. 207; and "Break the Bank," p. 230. 2l|.Ô January, 1951* it recolved a 9*2 from Hooper* Thia la a below average nighttime rating.

Two for the Money — 1952-19^6

Thia program was broadcast over the NBC network beginning on September 30» 1952, aa a Coodaon-Todman pro­ duction. It continued, without a break, until September

22, 19^6. Herb Shriner was the original master of cere­ monies, and continued In this capacity except for aumaier replacements by Sam Levinson, Both of these masters of ceremonies were well-known comedians. The P» Lorlllard

Company was the original sponsor.

This program was quite similar to "ïou Bet Tour

Life" In that contestants were used two at a time and each was Interviewed for comedy values,^^ However, these pairs of contestants were not in competition with other pairs of contestants. They simply were In a position to cooperate with each other when answering questions.

Questions were asked, increasing In difficulty as well as value of award, and cash was given for correct answers.

Cartons of cigarettes and other prizes of merchandise were

given for Incorrect answers. The program revolved around

the humour of Herb Shrlner,

"Two for the Money" spent only Its first season on

See "You Bet Your Life," p, 236, 214.9 NBC, moving to CBS on August 15* 1953* It continued on

CBS, with the original sponsor, until it left the air for the final time.

No further information was available.

Movie â u U — 1952-1953 This program was broadcast over the Mutual network beginning in the fall of 1952. It continued on the air for only one season. It was a sustaining program#

The format of this studio quiz program was the same as that for "Hollywood Qulz."^® A series of contestants were required to answer questions concerning movies and

Hollywood personalities. Cash awards were given for correct answers.

No further Information was available.

College aall Bggq — 19^3-1955 This program was broadcast over the NBC network be­ ginning in the fall of 1953* It continued on the air for only two seasons. It was not sponsored for either of these seasons.

CoBq>etition was between teams of college students# each team representing a college. The questions were more difficult than found in most studio quiz programs. As far

^See "Hollywood Quis," p. 21^. 250 as the conpotitlon was concerned -- between teams -- this program was similar to "Bob Hawks Show" and "You Bet Your

Llfe."^^ This program was different In one respect. It ori­ ginated from New York City, that Is the smster of ceremo­ nies was In the studios In New York City. The team from college "A* was in that school's home city; and the team from college "B" was In that school's home city. Everyone conq)etlng used headphones. All ware connected by telephone lines. The master of ceremonies In New York would pose a question to Team "A." If this team missed, the same ques­ tion was asked Team "B." This was the only studio quls program of Its kind with the master of ceremonies In one place and participants In two other places, none seeing the others. No further Information was available.

The Phrase That Pays — 1Q51-1Q5S This program was broadcast over the NBC network be­ ginning In the fall of 1953# It continued on the air for only two seasons. It was a week-day morning program spon­ sored by Colgate-Palmollve-Peet Company.

Contestants were required to Identify a certain saying or phrase through a series of clues given to them

^9see "Bob Hawks Show," p. 225; and "You Bet Your Life," p. 2 3 6 . 251 by the Master of ceremonies. Cash awards were given to those who correctly Identified these mystery phrases.

No further information was available.

Second Chance — iq5l-1955 This program was broadcast over the NBC network be­ ginning In the fall of 1953* It continued on the air for only two seasons. It was a companion program to *The Phrase That Pays," being presented both seasons during the fifteen minute period Immediately following this program# It was sponsored by the 3-Plan.

No further Information was available.

Easy Monej- — 195L-1955 This program was broadcast over the NBC network be­ ginning In the fall of 1951*.# It continued on the air for only a single season. It was not sponsored.

No further Information was available.

Sssaâ A Million - iggi-iggs This program was broadcast over the NBC network be­ ginning In 1951*.# It continued on the air for only one single season. No Information was available concerning the master of ceremonies, and the program was not sponsored.

It was presented once a week for twenty-five minutes. No further Information was available. 2g2 I Aak lau — igsL-iggfe This program was broadcast over the Mutual network beginning in 19514-* It continued, without a break, until the spring of 195^* No information was available concern­ ing the master of ceremonies, and the program was never sponsored*

It was presented on Saturday noons during its first season on the air, and was changed to Saturday n i ^ t during its second. No further information was available.

Walt Disney*a Ma&lS Kingdom — lQgg-19g6 This program was broadcast over the ABC network be­ ginning in 1955* It continued on the air for only one single season. No information was available concerning the master of ceremonies, and the program was not sponsored, It was presented five days a week and was twenty- five minutes long.

No further information was available.

Wheel of Chance —- 19^^—19^6

This program was broadcast over the Mutual network beginning in 1955* It continued on the air for only one season. No infomtion was available concerning the master of ceremonies, and the program was never sponsored.

It was presented once a week on Saturday mornings 253 and waa twenty-five minutes long* No further information waa available*

General Evaluation Studio ftula Progyaia aa R&dlo

Studio quis programs have been important in the various radio networks. They have been lgq>ortant from the standpoint of sheer quantity — a total of slxty-el^t different programs of this type having appeared on the various radio networks since 1936. Also, their importance can be swasured in terms of many outstanding contributions to national entertainment through such prograsu as '*Kay

Eyser's College of Musical Knowledge,** "Doctor I. Q.," "Double or Nothing," "Break the Bank," "You Bet Your Life," and "Strike It Rich," to name only six.

Programs of the studio quis type reached their peak in importance, based on extent of use and rating averages, from 1944 to 1951» This post-war period appeared to be particularly attractive to the quls. There were twelve studio quis programs presented each week on the radio net­ works during the 191^ - 19^5 season; fifteen each week dur­ ing 191^5-194^6 ; sixteen each week during 194.6-194.7 ; fifteen each week during 194-7-19^8 ; seventeen each week during

194^-194-9* eighteen each week during 194-9*1950; and seven­ teen each week during 1950-1951* A rather large proportion of the sixty-eight studio 254 quis programs irtiieh were presented on the radio networks lasted for only one season — twenty-eight in all. But on the other hand, an equally large proportion of the sixty-eight such programs produced were at least relatively successes. The studio quis program form as used in the spring of 1957» resembled, in most respects, the form idiich had its beginning back in 193^ with the spell-down method of contest. There were numerous additions through the years, of course, but the basic concept of conflict reoutined intact. Of all of the various versions of the basic studio quls format, the one which caught on the most rapidly and which lasted the longest was the series of questions of increasing difficulty to one contestant. It was this particular version which was most often adopted by the television networks in the move of studio quis programs from radio to TV. It is doubtful whether or not studio quis programs would have reached the level of importance that they held in the spring of 1957 in network television without this particular version of the basic format. CHAPTER VII STUDIO QUIZ PROGRAMS TELEVISION NETWORKS

Studio quiz programs, as they were found in the spring of 1957 on the various television networks, began their development back in 193^ on the radio networks.

They were adopted by television beginning in June, 19^3» and continued to develop as television programs.

Beginning in June of 19^3, interest and suspense were added to these programs. As was the case with pro­ grams of this type on the radio networks, larger and larg­ er cash prizes were offered, and variations were continu­ ally applied to the basic studio quiz theme. However, from "Winner Take All" in 19i*.8, to "Hold That Note" in

1957* studio quiz programs continued to be Just like those broadcast earlier on the various radio networks -- pro­ grams in which individuals from the studio audience, either singly or in a group, usually after preliminary Interview­ ing, were asked questions (either singly or in series) by a master of ceremonies. The game has been limited to those participants actually present in the studio.

The first use of studio quiz programs on the tele­ vision networks began with "Winner Take All." This pro­ gram was first presented in June, 19^B, over CBS-TV.

255 256

It was first presented over the Eastern Network of CBS-TV, and was sponsored by Chevrolet. Bill Cullen was the mas­ ter of ceremonies, and it was a Coodson Todman production#

This program included the same basic format as its radio version in 191^6-191^9* As a matter of fact, during the 194.8-1914^9 season and during the 1950-1951 season, the program was simulcast on both television and radio. As on the radio networks, the game was played by two contest­ ants at a time, one equipped with a bell, the other with a buzzer# In this television version, these contestants were seated on the opposite side of the stage from the master of ceremonies, each at a separate small desk# When either the bell or the buzzer was sounded, a light also went on to indicate which of the contestants had indicated that he knew the answer. The contestant who signaled first in response to the master of ceremonies' question was called on# If he gave the wrong answer, his opponent was allowed a "free throw" at another question# The first contestant to answer three questions correctly became win­ ner of the round# Ihe loser was replaced by another con­ testant# As in the earlier radio version, any individual contestant could remain in continuous competition day after day until he was eliminated by the gasM's procedure, or until he retired voluntarily#

Visual interest was added through use of close-ups. 257 especially on the faces of the contestants during both the pre-game interview and the game itself.

Ma lor Changes Through the seasons after June, certain chang­ es took place in the content and structure of studio quis programs on television networks. New classifications were introduced or old classifications disappeared, or practi­ cally disappeared* Although not every single studio quis program which was presented on the television networks fell neatly into any one of the following classifications, all of the major prograsis of this type did. It is interesting to note that all of the four dif­ ferent major classifications which were found in network television programs of this type came intact from the ra­ dio networks. Network television developed no new classi­ fications within the studio quis type, even though it in­ troduced several new production techniques for increasing viewer interest. These new techniques will be discussed later on in this chapter. It is possible to trace the changes which came about throug^h the past eight years of network television through the following major classifications: 1. Single contestants vying against each other, 1 * 8 2. A series of questions of increasing difficulty to one single contestant, 19^9 • Questions concerning music, 1 % 9 I . Pairs of contestants oomqpeting against other 258 pairs of contestants# 1958 The program# "Winner Take All#" Introduced single contestants Tying against each other for a prise In June# 191^8 • This classification left the television networks

In the spring of 1950# and returned again with "Quick as a Plash" In the fall of 1953. It disappeared once again

In the spring of 19514- to reappear again on Sunday, April 8 , 1 9 5 8 # with "The $6ij.,000 Challenge" and continued on August# 19 5 8 # with "Tic Tac Dough," The second classification -- a series of questions of Increasing difficulty to one contestant — was used In studio quls programs on the television networks more often than all of the other classifications put together. It began with "Break the Bank" In January# 1949# and continued as a major format for studio quls programs with such pro­ grams as "Strike It Rich" In 1951» "The $6 4 #000 Question" In 1 9 5 5 » and "High Finance" In 1956,

In the fall of 1949* musical quls questions were first Introduced to network television through "Kay Kyser's College," This classification disappeared from the net­ work schedules after the fall of 1950# and reappeared In the fall of 1953 with "Name That Tune," It appeared again on January 22# 1957* on "Hold That Rote."

Pairs of contestants did not oonqpete against each other on the television networks until January# 1958# with the program "Do You Trust Your Wife?" This classification 259 was also Included in **You Bet Your Life," a television version of the earlier popular network radio program, which was Introduced in September, 195^.

After 19iv®* there was only one major change in the selecting of participants for studio quiz programs on net­ work television. With such programs as "Wheel of Fortune,"

"Break the Bank," and "Big Payoff" contestants were all

selected in somewhat the same way. Preliminary interviews to check the contestants* intelligence, areas of primary

interest, and general emotional stability. However, be­

ginning in June, 1955# with "The $61^,000 Question," an

additional requirement was added to the earlier limita­

tions concerning the selection of contestants. For the

first time, contestants were needed who had a field of

special knowledge far removed from their regular work.

Except for this one major change, contestants all went

through essentially the same selection procedure, regard­

less of the studio quiz program.

Another In^ortant change which took place during

the development of the studio quiz was that of the amount

of money given away, as well as the kind of prize award­ ed -- from cash to merchandise, or merchandise to cash.

In 1951# only mink coats and trips abroad were given away on the "Big Payoff," first of the "big give-away" stu­ dio quis programs on television. One year later, a possi­ ble one thousand dollars in cash was involved in the 2 6 0

Jackpot of "Wheel of Fortune." Then, beginning in 1955» the "big" give-away really went into full awing. With "ÿ61|.,000 One at ion" giving away a possible $6^.,000, "The Big Surprise" went on the air Just three months later with a potential Jackpot of one million dollars in cash. This was the largest possible Jackpot cash prize which had ever been offered by any program in the history of both radio and television. "Do You Trust Your Wife?" followed in January, 1956, with a new idea in give-aways. Winning contestants each week were awarded one hundred dollars per week for one year. Winning contestants could return each week to com­ pete against challengers, and these winning contestants could continued to win yearly one hundred dollars per week awards indefinitely. There was a considerable drop in the amount of mon­ ey given away in "Treasure Hunt" in September, 1956. At a time when other studio quiz programs were giving away such large amounts of money, a Jackpot of $2^,000 on "Treasure Hunt" probably seemed rather out of place.

There were several other studio quiz programs during the fall of 1956 , however, over which was given away con­ siderably more money. A top prize of one hundred and ten thousand dollars was given away on "High Finanue." A new version of the older "Break the Bank" was introduced by the title of "Break the $2^0,000 Bank* on idiich a potential 26i jackpot of two hundred and fifty thousand dollars was offered* Finally, the season was topped off with *Tic Tac Dough* over which a contestant could win one hundred dollars a game and his earnings could increase indefinite* l y . There were also some programs introduced during this season which did not give away money. On "The Price

Is Right," for example, merchandise was given away to the contestant who guessed the closest to the price of the merchandise. On "Giant Step," a studio quiz involving youngsters as contestants, a four year college scholar­ ship and travel to foreign countries were given to each grand prize winner.

SKtent of Uge Q t Studio Quit 3Q Television Networks

The history of nighttime studio quiz programs on the television networks extended from June, to the writing of this dissertation.^ As of the spring of 1957* there were ten programs of this type on the air at night each week on the television networks.

Prior to the fall of 1953* there were never more

^Source material is so scattered that separate foot­ notes for each item are impossible. Information found in this section is primarily from the Ross Reports. "Network Radio and Television Program History," (Ohio State Univer­ sity, 19^)* and Broadcas ting-Teleoae tina. 262 than three nighttime programs of this type on the air week­ ly. However, beginning then, the number of studio qui* programs presented each week increased greatly. During

the 1952-1953 season, there were only two such programs

on the television networks each week, but the number

jumped to eight in the fall of 1953. The number dropped

to six during the 195^-1955 season, but increased again to eight during the 1955-195& season. The greatest number

came during the following season. In the spring of 1957,

there were ten nighttime studio quiz programs on the air each week. This was the largest number ever presented

during one week up to that date.

The history of daytime studio quiz programs on net­ work television began in the fall of 1951 with "Big Pay­ off." "Strike It Rich" also began in the fall of 1951, and these two studio programs were the only daytime pre­

sentations of this type until the fall of 1953 when "Dou­ ble or Nothing" was introduced. "Double or Nothing" was not continued the following season, but "On Your Account" was Introduced leaving still a total of three daytime pro­

grams of this type on the air each week-day. The largest number of daytime programs of this type was presented dur­ ing the 1956-1957 season* As of the spring of 1957, there were four such programs on the air each week -- "Big Pay­ off," "Strike It Rich," "Tic Tac Don^," and "The Price Is

Right." 263

The history of nighttime and daytime programs of the studio quis type was quite similar as far as extent of use was concerned. In both oases, the extent of use was increased each year, reaching a maximum during the

1956-1957 season. The 1956-1957 season was the most important season as far as the introduction of new studio quiz programs to the television networks was concerned. Never before were

80 many new programs of this type introduced. A total of nine new studio quiz programs were introduced during this season, two of which were daytime programs.

General Popularity of Programs af ^ ÎIEâ

As far as nighttime programs of the studio quiz type are concerned, the 1952-1953 season was the peak average rating season. In January, 1953» 34^8 was the average rating of all nighttime studio quiz prograsis on the tele­ vision networks. There were, however, only two nighttime programs of this type on the air — **Break the Bank" and

"You Bet Your Life." Either the 1955-1956 season or the

1956-1957 season could be considered as better seasons from the standpoint of general popularity. In January, 1956, the average rating was 23.0 , with eight programs on the

o The average January ratings included in this section were compiled from individual ratings given by C. S. Hoop­ er, Inc., A. C. Nielsen, and The Pulse. 261^. air. In January, 1957# the average rating was 19*3# with ten programs on the air.

The best season as far as general popularity was concerned for daytime programs of this type was 1952-1953•

During January, 1953# l6.0 was the average rating of three studio quls programs on the air. It Is Interesting to note that the 1952-1953 season was the second season for daytls&e studio quiz programs on the television networks. From this peak rating average of l6,0, the average January program ratings began to drop and continued this drop until they reached an average rating of only 6,3 in January, 1957.

The three highest rated Individual nighttime studio quiz programs ever to appear on the television networks were **You Bet Your Life,** with a 35.1^- In January, 1956# and a 31.3 in January, 1957# **The $61^,000 Question," with a 14.6,5 In January, 1956, and a 32,0 In January, 1957# and

"The #614.,000 Challenge," with a 27,2 In January, 1957.^

The three highest rated individual daytime studio quiz programs ever to appear on the television networks were "Big Payoff," with a l6,5# "Strike It Rich," with an

18 ,7 # and "Double or Nothing," with a ll|..9* all In January,

1953.

^All of these January ratings ware taken by g, g. Pulse 2Y, published by The Pulse, Incorporated,

^All of these January ratings were taken from the A, C, Nielsen Cosgpany ratings. 265 STUDIO QUIZ PROGRAMS ON TELEVISION NETWORKS

Through the years, various methods have been em­ ployed to make studio quiz programs visual and adaptable to television use*

In 1950, in the program "You Bet Your Life," a stuffed duck was dropped from above the set with a string around its neck when the secret word was spoken by the contestant*

Models were used to display the various merchandise given away in the "Big Payoff" In 1951; and the same year, in "Strike It Rich," the lighting up of the "heart-line" telephone attracted attention to the fact that the phone was ringing* The use of close-ups on a key opening a mystery box containing a large prize was used in 1952 on "Balance Your

Budget;" and that same year an especially built wheel of the type used at carnivals and fairs was used on "Wheel of Fortune,"

In 1953* in the program "On Your Account," a set resembling the inside of a bank was used, with a waist-high railing surrounding a desk at which the master of ceremo­ nies sat* The sms ter of ceresionies was supposed to be the

"banker" sdio had the contestants* "account*" That same year, contestants In "Name That Tune" were required to run all the way across the stage and pull a cord when they 266 wanted to signal that they knew the name of the song which was being played by the live orchestra. A covq>lete room arranged and furnished was used as the location where contestants answered questions and se­ lected what prise of merchaundise they wanted in the pro­ gram "Feather Your Nest" in 19$^.» In "The $61*.,000 Question," which began in 1955# there ware such visuals as: an isolation booth, a bank president flanked by two armed guards, a close-up of an I.B.M. card filing system, a close-up of a hand opening a wall safe, and the effective use of lights. In 19^6, double isolation booths were used in "The $61*.,000 Challenge" and "Twenty One." Also, in the latter, there was a device which recorded visually the nustber of points each contestant received as he received them* Also, in this same program, the li^ts in either of the isola­ tion booths were dimmed when either contestant was not sup­ posed to hear what was being said by the master of cere­ monies. Also in 19^6, in "Treasure Hunt," there was the o- penlng of fifty treasure chests; in "The Price is Right" various merchandise was displayed in order that the con­ testants could try to gu^es the price; and in "Tic Tac Doug^," use was made of a large tic-tac-toe symbol complete with X*s and 0*s as the game progressed.

Over all, most of the studio quis programs on the 26? different teloTlslon networks made much use of close-up camera shots of both contestants and studio audience*

Also* in many of these programs often elaborate category selection boards were used so that viewers at home could see the different possible categories for questions*

There were only five package studio quis programs

Introduced before 1955* However* beginning with "The

|61{.*000 Question" in 1955» every studio quis program which was introduced on the television networks from that date until the spring of 1957 was a package program — a total of twelve in all.

There was no tendency to carry studio quis programs sustaining while looking for a sponsor* As a matter of fact* all programs of this type were sponsored on the television networks except for "Wheel of Fortune *" irtiich was not sponsored from 1952-195^.» "Winner Take All*" which was sustaining during its final season on the air*

19U9-1950; and "The Price Is Right," which was sustaining from the tisie it was first introduced to the spring of

1957. All studio quis programs were sponsored on a single sponsorship basis with the single exception of "Place the

Face" from 1953-19514.» which was jointly sponsored by the Toni Company and the Carter Company*

Daytime production costs for programs of this type did not change too greatly after 194-0 • Average production 268 costa were consistently between $3,000 and $^,000 per program, Nl^ttlme production costs, however. Increased

greatly after 1955 &nd the introduction of "The $61f.,000

Question." Up to 1955» these nighttime production costs averaged $10,000 per program; but after this date these production costs increased to $29*000 per program.

Individual Studio Quiz Programs on Television Networks

The following is a chronological program by program

listing of the television network studio quiz programs.^ All programs listed are live thirty-minute programs pre­ sented once a week unless otherwise indicated.

Winner Take — 19k8-1950 This program was broadcast over the CBS television network, beginning in June, 19^8* as a Goodson and Todsum production. It continued on CBS-TV, without a break, un­ til the spring of 1950. Bill Cullen was the master of ceremonies, and Chevrolet was the sponsor. Bill Cullen had been the master of ceremonies of the network radio

5source material is so scattered that separate foot­ notes for each item are impossible. Information found in these program listings was found primarily in Broadcast- [-Telecasting. The New X2£k XiWüK* Sponsor. Xbi Houston Post, Ttw Dispatch. The Ross Reports. and "Het- work Radio and Television Program History" (Ohio State University, 195k*) Hach of this information also came from the writer's personal observation. 269 version of "Winner Take The game was played by two contestants at a time, one equipped with a bell, the other with a buzzer* The contestant who signaled first in response to Cullen's questions was called upon* If the contestant gave the wrong answer, his opponent was allowed a "free throw" at another question* The first contestant to answer three questions correctly became winner of the round* The loser was replaced by another contestant* Any individual con­ testant could remain in continuous competition day after day until he was eliminated by the game's procedure, or until he retired voluntarily* This television studio quiz program followed the same basic format as the earlier radio version. The only methods used to make it visual and adapted to television use were close-ups of the contestants and the use of lights which went on when either the bell or the buzzer was sound­ ed indicating visually which contestant signaled first* This program, as the earlier network radio version had been, was similar to "Quick As A Flash" in its congje- 7 tition between two contestants at a time. "Winner Take All" was a significant program on the

^See "Winner Take All," p. 233»

^See "Quick As A Plash," p. 221* 270 television networks in that it was the first studio quis program to be presented to the national television audi­ ence. Even though it was only a television adaptation of an earlier network radio program, it established a new trend on network television. Although this trend did not really become important until the fall of 1953> ^Winner Take All** was still the beginning.

Break the Bank — lQkQ-lQ96

This program was broadcast over the ABC television network beginning In January, 191^-9• It continued on the various networks, without a break, until June 20, 19^6. Bert Parks was the master of ceremonies, and Bristol Myers was the original sponsor. Bert Parks had been the master of ceremonies of the network radio version of this same 8 program.

In advance of the program, a name was drawn out of a bowl filled with postcards which had been sent in by per­ sons who wanted to be asked to take a trip to New York to appear on the program. This was the method by which the contestants were selected.

Parks asked individual contestants a series of questions, with the amount of the prize increasing as the difficulty of questions increased. An amount equal to each

®See '•Break the Bank," p. 230. 271 contestant's winnings was added to a one thousand-dollar bonus to make up the *'bank,” The contestants who success­ fully answered all of the questions received the amount then in the "bank."

This television studio quiz program followed the same basic format as the earlier radio version. The major method used to make the program visual was in the use of close-up camera shots of the contestants and of Bert Parks.

Bert Parks also indulged in various dances and general gymnastics during this television version which added to the visual value of the program.

"Break the Bank" continued on ABC-TV for only its first half season on the air. In the fall of the 191^-9“ 1950 season, the program was moved to NBC-TV, It continued on this network until the fall of 1953» when it was moved back to ABC-TV, where it remained until it left the air for the final time in June of 195^. It was simulcast from the fall of I9J+9 to the spring of 1955* The program was sponsored during every season it was on the air with the exception of 1953-195^-* Bristol Myers sponsored it from January, 19^-9• to the spring of 1953» and Dodge sponsored it from the fall of 195l|- to June of 1956.

According to the information included in Variety, production costs steadily increased through the years. In

January, 1950, these production costs were $3,500 per 272 program. In January, 195l> production costs had increased to $6,^00 per program. They increased to $8,^00 per pro­ gram in January, 1952; to $12,500 per program in January, 1955; and to $23,000 per program in January, 1956.

M l Kyser*,s College — 19k9-1950 This program was broadcast over the NBC-TV network beginning in the fall of 1914-9* as a network production. It continued on the air for only one season, leaving the air in the spring of 1950. Kay Kyser was the master of ceremonies, and the Ford Motor Company was the sponsor. Kyser had been the master of ceremonies of "Kay Kyser's College of Musical Knowledge," the radio version of this same studio quiz program.^

This television quiz program followed the basic format of the earlier radio version. In order to make the program more visual, Kyser wore a mortar board and gown.

Also, close-ups of the contestants and master of ceremo­ nies were used extensively. Actually, the network radio version had all of the visual elements necessary for a television program, since it was performed on a stage with a large orchestra. The various antics of Kay Kyser were present in both the radio and the television versions. In

9see "Kay Kyser*s College of Musical Knowledge," p. 198. 273 other words« what had been done for several years on the radio program was easily adapted without major cheuige to the television situation. No addition of visual interest was necessary. This was a significant studio quiz program on the television networks, since it was the first time the musi­ cal quiz type of program had ever been presented to the national television audience.

Production costs were estimated by Variety to be #1 7 #500 per program for a full hour program. One can assume that this program did not enjoy much popularity, even though no ratings were found, in that it lasted for only a single season.

It was never simulcast. It moved from its final season on network radio in the spring of 19i*-9 to its first season on network television in the fall of 194-9 #

You Bet Your Life -- 1950-

This program was broadcast on film over the NBC-TV network beginning in the fall of 19$0, as a network pro­ duction. It continued on this same network, without a break, and was still on the air in the spring of 1 9 5 7 #

Groucho Marx was the master of ceremonies, and DeSoto was the original sponsor. Marx was a well-known comedian, and had been the master of ceremonies of the earlier radio net­ work version of this same program. 274 The television version of this program followed substantially the same format as the earlier radio version* Groucho Marx invited two contestants to the stage at a time, a man and a woman, Marx interviewed these contest­ ants, applying his razor wit at the most opportune moments, ^fter this, he asked them a series of questions from a category that they chose for themselves, depending on how much money they wished to risk on each one. That couple winning the most money at the end of the program got a chance at a Jackpot question. If that Jackpot question was missed, the amount of money in the Jackpot was added to the next week's Jackpot, There was also a secret word for each program. When any pair of contestants spoke this secret word during the time they were being interviewed or questioned, they won an additional cash prize. Each ques­ tion was atteuq)ted by the pair of contestants working to­ gether as a team. These two contestants agreed beforehand on the answer, and they shared equally in the rewards, "You Bet Your Life," also known as "Groucho Marx Show," was basically the same show on television that it had been on radio. As a matter of fact, it was simulcast from its beginning as a television program in the fall of 1950, The television setting was very simple, including a backdrop of draperies with an entrance in the center of the set. The contestants stood together, each with a stand microphone, on stage rlg^t, and Marx sat at a waist-hig^i 275 lectern on stage left* The announcer Introduced the con­ testants by entering the set from the opening in the cen­ ter and by using one of the contestant microphones* Close shots of both the contestants and Marx added to the visual interest of an otherwise very static television program*

Also, when the secret word was spoken, besides a loud bell ringing and the band playing for the radio audience, a puppet resembling a duck dropped from above the set with a rope attached to its neck with the secret word written oh a card attached to the duck's neck*

A major addition was made to this basic format in

September, 1956. Beginning at that time the format in­ cluded a carnival type wheel of chance** to be used by contestants who earned a chance at the Jackpot at the end of the program. If the winning number came up, the jack­ pot might have been $10,000. The program also began using an increasing number of contestants from outside California at this time*

Production costs for this program increased gradu­ ally through the seasons. Variety estimated them to be

$15,000 in January, 1951* These costs Increased to $17,700 in January, 1952; to $20,000 per program in January, 1953; to $2l|.,000 per program in January, 1955; and to $35,000 in

January, 1957* All of these production costs included costs of both radio and television programs as simulcast*

This program had enjoyed top ratings on network 2 7 6 radio since 19^7 * and its adaptation to television did not limit its popularity. As a matter of fact, it was one of the top-rated programs on the television networks from the time it was first introduced to the national television audience. Its Nielsen January ratings range from a low of 36.2 in January, 1951# to a h i ^ of in January, 1953. It received a Pulse rating of 31.3 in January, 1957* Its January ratings have averaged approximately lj.0.0 from the time it first went on network television.

Big Payoff - 1951- This program was broadcast over the NBC-TV network beginning in the fall of 1951# as a Walt Framer production.

It continued on the air, without a break, and was still on the air in the spring of 1957* Randy Ueriman was the mas­ ter of ceremonies, assisted by Bess Myerson, and Colgate was the original sponsor. This was a daytime program pre­ sented five times a week.

The format called for a husband and wife, or a man and his sweetheart, to appear. The man attempted to an­ swer a series of questions in order to win clothing for the woman. There was a grand prise of a mink coat and a trip abroad*

The only change of networks came during the 1953- I95I4. season, irtien it was moved from NBC-TV to CBS-TV. It continued on CBS-TV, and was being broadcast over this 277 network in the spring of 1957*

Production costs increased through the years*

Variety estimated that they were only #3*000 per program in January, 1953* They increased to #6,000 per program in January, 1956; and increased again to #12,000 per pro­ gram in January, 1957* '*Big Payoff,” along with "Strike It Rich," was a significant network television program in that it was the first daytime studio quiz program to be presented on the television networks* It was the first studio quiz pro­ gram to use live models to display the clothes which the contestants could win* It was this display of the clothes by the models which added most of the visual interest to the program*

This program was very popular as a daytime program from its first season on the air up to January, 1957* It received January Nielsen ratings ranging from 11.2 in Jan- uarjr, 1954-, to l6,5 in January, 1953* It received a Pulse rating of 7*9 In January, 1957* All of these ratings were good for daytime television*

StzJJtSL I I SLsh — 1 9 5 1 - This program was broadcast over the CBS-television network, beginning in the fall of 1951* as a Walt Framer production*. It continued on the air, without a break, and was still being broadcast in the spring of 1957* Warren 278

Hull was the original master of ceremonies « and Colgate was the original sponsor. Hull had been In movies for several years prior to this time, and was also one of the masters of ceremonies on "Vox Pop," back In 19i^6 on net­ work radio. This was another television version of an earlier network radio program. The television format was basical­ ly the same as that followed In radio.People with hard- luck stories competed for prises and cash gifts. Occa­ sionally, guest celebrities helped "write-in" contestants to win prizes. Provisions were also made for listeners to help needy contestants.

Visual interest was added by the use of a living room set where the contestants and the master of ceremo­ nies sat during the pre-question interview period. Also, there was a large heart in the background, and a telephone known as the "heart-line" over which calls of additional gifts to needy contestants were taken. When the telephone rang, a light came on behind the telephone. The human in­ terest values of this program almost equaled the quiz values.

"Strike It Rich" began on CBS-TV as a daytime and

^^See "Vox Pop," p. 6o. ^^See "Strike It Rich," p. 238. 279 a nighttime program. This was the first studio quiz pro­ gram to begin in such a way. It was broadcast In the morning, five times a week, as well as each Wednesday eve­ ning. Both of these broadcasts were sponsored by Colgate.

This arrangement continued until the spring of 1955 when the nighttime version was discontinued. The program con­ tinued on a five day a week daytime basis, however, and was still broadcast during the daytime In the spring of

1957. Production costs Increased In both the daytime and the nighttime productions. Nighttime production costs were estimated by Variety to be #5,000 par program during Janu­ ary, 1952. These costs Increased to $6,500 per program during January, 1953» and to $6,500 per program during

January, 19514-. Daytime production costs were estimated by Variety to be $2,200 per program during January, 1952. These costs decreased to $1,200 per program during January, 1953 (the daytime version was sustaining this single season); but Increased to $1,600 per program during January, 1951t.. In

January, 1955» production costs Increased again to $2,1^00 per program; and in January, 1956, Variety estimated them to be $3,000 per program. Sponsor estimated production costs to be $3,000 per program during January, 1957. This was a significant program In the history of network television in that It was the first studio quiz 280 program to enq>hasize human Interest to such a great ex­ tent. Through this emphasis* It established a new pat­ tern within the framework of the television studio quiz program. It was also one of the first two studio quiz 12 programs to be presented during the daytime.

During the seasons when **Strlke It Rich'* was broad­ cast nights as well as days* the nighttime version re­ ceived very good ratings* Indicating a nl^ttlme populari­ ty. For example* according to Nielsen* this program re­ ceived a 3 7 . during the month of January* 1952* a 1|2.2 during the month of January, 1953; and. an 18*7 during the month of January* 1951^*

Daytime ratings were also very good* Indicating a daytime popularity also. According to Nielsen* this pro­ gram received a 15*2 in January* 1952; a 12.2 In January*

19514.; a 12.0 In January* 1955; and a 13.3 In January, 19^6 . According to the American Research Bureau* It was number eight In the top ten with a rating of 11.2 In January* 1957. **Strlke It Rich" received more publicity than any other network television program up to the spring of 195?» with the exception of "The #614.*000 Question." During the

1953-1951*. season* practically every radio and television critic mentioned "Strike It Rich" at least once a month In

^See "Big Payoff," p. 2?6. 281

one connection or another* During this season. Time and

Newsweek both included several articles about the program*

Henry L# McCarthy, Commissioner of New York City's Depart­

ment of Welfare, spoke out vehemently against the program

as being a "morbid exhibition*Max Wylie spoke out

equally as vehemently in favor of the program, devoting a

good part of his latest book to this subject*^

The major points of argument between those critics

who agreed with McCarthy and those who agreed with Wylie

follow: (1) Was the program guilty of public soliciting?

(2) Was the program a charity racket? (3) Was the program

a "national disgrace"?

Balance Your Budget — 19^-lQ^l

This program was broadcast over the CBS television

network beginning in the fall of ig$2* It continued for

only one season, leaving the air in the spring of 19^3 *

Bert Parks was the original smster of ceremonies, and the

Sealy Mattress Company was the original sponsor# Parks

was well known for his work as master of ceremonies in

"Break the Bank" on both radio and television,and "Stop

l^Senry L# McCarthy, "I Accuse the Misery Programs," Pagent* February, 1 9 ^ » PP* ll^.-l8 * ^ M a x Wylie, Clear Channelm (New York: Funk and Wagnalls Company, 1955)t PP* 5-10, 227-235* I5see "Break the Bank," p* 270* 282 the Musicÿ" a telephone quiz program. On "Balance Your Budget," a number of people were selected each week to tell the problems and difficulties they encountered in their attenq>ts to keep out of the "red." This program gave them an opportunity to recoup their own losses by answering a series of questions. Contestants were given the amount of money they needed to balance their budget. They then answered questions for additional prizes and tried a previously chosen key on a box containing a large prize. This program was presented on alternate Saturday nights, and the production costs were estimated by Variety to be $10,600 per program in January, 1953* No rating Information was available.

Double ss. Nothing — 19^-19^ This program was broadcast over the CBS television network beginning in the fall of 1952. It continued on the air, without a break, until the spring of 195^-* Walter O'Keefe was the original master of ceremonies and the Canq>bell Soup Company was the original sponsor. O'Keefe was well known as a master of ceremonies on the network radio version of this seune program. The television version of "Double or Nothing" was

^^See "Double or Nothing," p. 207. 283 basically the same as the radio version* Contestants received an increasing reward for each correctly answered

question of increasing difficulty* They were first con­ fronted with a baffling grand slam question, then they had to answer a series of questions in a general category of their choice* On the last questions of the series, the reward was double the amount thus far accumulated — or nothing* Top award went to the contestant who correctly answered the grand slam question*

The only major change in the television version was that of the use of a large category selection board which was used when contestants were deciding their question category* There was also the use of close-ups on the contestants and the master of ceremonies, of course. Production costs varied considerably between the two seasons that "Double or Nothing" was on network tele­ vision* According to Variety, during the month of January,

19^3 , production costs were $3,200 per program; and during the month of January, 1951^* production costs decreased to $1,600 per program. The program was broadcast only three times a week during the first season as opposed to five times a week during the last.

Available January Nielsen ratings would indicate that this decrease in production costs from the first to the second season on the air might have had the same effect on the popularity of the program. According to Nielsen, ZQk "Double or Nothing" received a ll^.*9 In January, 1953* ae opposed to a 9,0 In January, 1954*

*heel of Fortune — 1952-19^ This program was broadcast over the CBS television network beginning in the fall of 1952, as a network pro­ duction, It continued, without a break, until the spring of 1954* Todd Russell was the master of ceremonies, and the program was sustaining, Russell had been the master of ceremonies of the network radio version of "Double or

Nothing" back in 194^^^ and of "Strike It Rich" in 194?*^^ Contestants for this program ware heroes, good

Samaritans, and other benefactors. They received awards for outstanding good deeds. With both parties appearing as guests, the program served not only to honor publicly the benefactors but also provided beneficiaries of their good will an opportunity to settle the often difficult and embarrassing matter of reward. Frizes were determined by an especially built wheel of fortune of the type used at carnivals, fairs, and bazaars. The benefactor spun the wheel, and the point at which it stopped indicated the size of the reward as well as the number of questions nec­ essary to win. The wheel also had a lucky section which

17lbid,

iGsee "Strike It Rich," p. 238. 285 brought an extra prize of $1,000, provided a Jackpot-type question was answered» For the beneficiary there was a gold watch.

In its use of heroes, good Samaritans and benefac­ tors, ’’Wheel of Fortune** was different from any preceding program of the same general kind. It was quite similar, however, to ’’Strike It Rich” in its emphasis on human interest

No further information was available.

Twa Moaai — i9 ^ - iq^7 This program was broadcast over the NBC television network beginning on September 30, 1952, as a Goodson and Todman production. It continued on the air without a break, except from September, 1956, to March, 1957# and left the air in the spring of 1957* It moved to CBS-TV in August, 1953, after its first season only on NBC-TV, and it continued at CBS-TV during the rest of the time It was on the air. Herb Shriner was the original master of ceremonies, and the P. LoriHard Company was the original sponsor. Shriner was a well-known comedian* The program was on film during its first season on the air.

This was the television version of the network radio

^^See "Strike It Rich,** p. 2??. 286 program# 20 Pairs of contestants were presented and inter­ viewed by Shriner# They were then asked questions, in­ creasing in difficulty as well as in value of award, and cash was given for correct answers# Cartons of cigarettes and other prize# of merchandise were given for incorrect answers# The program revolved around the humour of Herb

Shriner#

The audio portion of this program was broadcast over network radio during all of the seasons that it was pre­ sented as a network television presentation up to September of 19$6# This television version included three desks : one for the pairs of contestants, one for Shriner, and one for the Judge-scorer, who made all decisions about whether or not full credits should be given when there was some question concerning any particular answer# Otherwise, except for various camera shots, the program was somewhat static, limited to a small area with all participants seated#

Humorist Sam Levinson became the master of ceremo­ nies for **Two for the Money** in June, 1956. He had been a summer replacement for Herb Shriner during the summer of

1955* When the program reappeared on CBS-TV in March,

1957» Levinson was still the master of ceremonies and

20 See **Two for the Money,** p. 21^8. 287 continued in this capacity until the program left the air for the final time. During the program's second season on the air, 1953-

195I1-1 it was presented live rather than on film. Produc­ tion costs for January, according to Variety, were estimated to be $12,000 per program. These production costs had increased to $27,500 per program, according to Variety, by January, 195^.

This prograun received good January nighttime ratings during the seasons it was on the air. These ratings ranged from a low of 28.7 in January, 195^, to a high of 36 . in

January, 1955, according to Nielsen. These ratings indi­ cate that **Two for the Money" was a reasonably popular nighttime network television program during the seasons it was on the air. d£. I. a. " laiiTisa, This television version of an earlier network radio program was broadcast over the ABC television network, be­ ginning in the fall of 1953* It continued on the air for one season only, leaving the air in the spring of 195^-*

No information concerning the master of ceremonies was available, but Basel Bishop was the sponsor.

This television version was different from the ear­ lier radio version in that the contestants were all brou^t to a permanent set for questioning. In the earlier radio 288 program* the contestemta were scattered throughout the 21 auditorium. This television version was limited to a standard television set with drapes for a backdrop. Cam­ era technique contributed the only element of action.

No further Information was available.

-N&iOft That Tune — 1953-19^7 j This program was broadcast over the NBC television network beginning In the fall of 1953* It continued on the air* without a break* until the spring of 1957# Bill Cullen was the master of ceremonies* and the Block Drug

Company was the sponsor. Cullen had been the master of 22 ceremonies of "Winner Take All."

This was a musical quiz type of program* similar to "Kay Kyser's College.In "Name That Tune*" however* two contestants competed against each other rather than as single contestants* as they had appeared In "Kay Kyser's

College." In "Name That Tune*" a live orchestra played a familiar tune. Two contestants at a time were seated at one side of the set. When they recognized the name of the tune being played* they were required to run as fast as they could across the set and pull a long cord which

^^See "Dr. I. Q.*" p. 203.

^^See "Winner Take All*" p. 268.

^^See "Kay Kyser's College*" p. 272. 269 extended from the celling. The first contestant to com­ plete this task was given the opportunity to "name the tune." Cash awards were given for correct answers, and also a chance at a jackpot tune near the end of the pro­ gram.

The only change of sponsorship came in the fall of

1951^- when Whitehall Pharmacal Conpsuiy took over from the Block Drug Company. Whitehall continued to sponsor the program for the rest of the time it was on the air. Production costs did not increase too much through the seasons. Variety estimated them to be #12,000 per program in January, 195^.; #11,000 per program in January,

1955; and #15,000 per program in January, 195^.

"Name That Tune" was not outstanding in popularity according to the January Nielsen ratings for nighttime pro­ grams on network television. It enjoyed average ratings for most of the seasons it was on the air, with ratings from a low of 13.1| in January, 1955, to a high of 23.7 in January, 195l|-* Incidentally, this highest January rating came during the program's first season on the air.

F^açe Face — 1953-195L This program was broadcast over the CBS television network beginning in the fall of 1953* as a Target Produc­ tion. It continued on the air for only one single season, leaving the air in the spring of 1951*.# Jack Smith was the 2 9 0 original master of ceremonies» and the Toni Company and the Carter Drug Company were alternate sponsors. Jack

Smith was well known as a singer and master of ceremonies on his own network radio program.

The program featured a guest celebrity and three audience contestants, each of whom was brought face to face with someone who had influenced his life in the past.

This might have been the clergyman who married him, his first date, or his first grade school teacher. Then, the contestant was given five minutes to *place the face.”

For every minute that the player's memory failed him, his prize diminished.

This program was different from any preceding pro­ gram of the same general kind, but it did somewhat resem­ ble a human interest program which was on the air during this same season, "This Is Your Life."^^ It resembled this human interest program at least In the use it made of the human interest elements involved when a person is brought face to face with someone who has influenced his life in the past.

The program received a rating of 17*3 in January, 195^, according to Nielsen; and the production costs were estimated by Variety that same month to be $11,000 per

^^See "This Is Your Life," p. 130. 291 program. Indicating an average popularity at a below average cost.

Quick as a Flash -- 19^3-19^

This program was broadcast over the ABC television network beginning in the fall of 1953* It continued on the air for only a single season, leaving the air in the spring of 1954* There was no information available con­ cerning the master of ceremonies, but the sponsor was the

Thor Manufacturing Company*

This television version of an earlier network radio program was presented on film. It included the same basic format as the earlier radio version* Several contestants competed as individuals in trying to be first to answer the question* The first contestant who knew the answer indi­ cated this by sounding a buzzer* In this television ver­ sion, a light in front of the contestant came on when this buzzer was sounded* Cash awards were given for correct answers*

For a nighttime program on the television networks, this program was not popular* During the month of January,

1954» It received a nighttime Nielsen rating of only 4*0* a rating which would have been low even for a daytime net­ work television program*

25g^e "Quick as a Flash," p* 221, 292

Variety estimated production costs to be $8#^00 per program during the month of January, 1 9 ^ »

On Your Account — 1991-1996

This program was broadcast over the NBC television network beginning In the fall of 19^3 * It continued on the air, without a break, until March 30, 1996, Win

Elliott was the master of ceremonies, and Proctor and

Gamble was the sponsor.

The basic format of this program was patterned af- 26 ter **Strlke It Rich." Unfortunate people were Invited

to the program to tell of their misfortunes, then were asked a series of questions for cash to be added to their

"account" to assist them In meeting some of their expenses

Incurred by this misfortune. The television setting was

that of a bank, and Win Elliott played the part of a bank representative during the Interview portion. The ques­ tions wore asked In front of another set which had a cate­ gory selection board as a background.

During the 199^.-1999 season, the program moved from

NBC-TV to CBS-TV, where It continued until It left the air for the final time.

Production costs increased gradually through the seasons. In January, 195k-» Variety estimated these costs

^^See "Strike It Rich," p. 277. 293 to bo $1,300 per program# In January, 1955» these costs had increased to $2,300 per program; and in January, 1956, they had increased again to $3,000 per program, according to VarietT.

"On Your Account" enjoyed an above average popular­ ity for a five-day-a-week daytime program. According to

Nielsen, it received January ratings ranging from a low of 8.6 in January, 1956, to a high of ll|..l in January,

I 9 5 I 4 . .

Feather Your Neat -- lQ^k-lQ96

This program was broadcast over the NBC television network beginning in the fall of 195^.# This was the last network produced studio quiz program to appear on the television networks up to the spring of 1957. It contin­ ued on the air, without a break, until the spring of 1956 .

No information was available concerning the master of cere­ monies, but the program was sponsored on a participating basis.

A single room of a house was shown each day with donors * prizes mentioned by the female mistress of ceresio- nies, while she showed viewers how the room was arranged and furnished. A contestant picked out the particular prize she wanted and would like to win if she could answer a particular question correctly. The prizes furnished ranged from picture frames to an entire house, which was 2914. given away as a grand prize•

Although this particular format was new to network television* it had been used earlier on network radio in "Give and Take."^^

According to Variety, production costs for this program increased from $1,900 per program in January, 1955* to $5*500 per program in January, 1956#

The program was of average popularity according to the only available Nielsen rating# It received a ô#Ô in

January, 1955* which was about average for a daytime net­ work television program.

I5& $6li.#Q00 Question — 1955- This program was broadcast over the CBS television network beginning on June 7* 1955* as a Louis G. Cowan production# It continued on the air, without a break, and was still being broadcast in the spring of 1957# Hal March was the original master of ceremonies, and Revlon was the original sponsor. Hal March had been an actor for several years previous to this. He had played the part of Imogene Coca's husband in "The Imogens Coca Show," as well as other parts in both television and the movies.

The basic format of this program was based on the earlier network radio studio quiz program, "The $61|.

^7see "Give and Take," p. 229* 295 ? A Question,” However, there were several major differ­ ences between these two programs, "The $6^,000 Question” had a grand prize of $6lj.,000, while "The $61^ Question” went only to $614., Also, contestants on "The $6^,000 Question” were selected on the basis of having a field of special knowledge far removed from their regular work, whereas contestants for "The $61^. Question” were not so particularly selected. Another major difference between these two programs included the chance for a contestant to answer a total of eleven questions and walk off with $61{.,000j the contestant could have any expert he wished to help him answer the fi­ nal question in the series, but this was not the case in "The $61^ Question,”

Another variation that made for added excitement on "The $6^,000 Question” was that a contestant could reach only the $8,000 mark for the first week, and had to wait one weak to decide whether he would go on to the next "plateau" -- the $l6,000 question. Again, after answering that next question correctly, he had to wait another week to decide whether he would go on to the $32,000 question, and a third week to decide whether or not he would try for the $61|.,000 Question, This routine was different from

28see "The $6i^ Question,” p# 21^.6, 2 9 6 that followed by any other studio quiz program ever pre­ sented on either network radio or television up to that time. To ensure fairness in the selection of questions, the questions used and their answers were chosen by Dr. Bergen Evans, English professor at Northwestern Univer­ sity, and placed in a vault of the Manufacturers Trust Company between programs. This program was one of the best illustrations of a program in which details had been worked out with un­ usual care. The basic idea was simply that of the old **Double or Nothing”^^ program, or "The $61^. Question" as was mentioned earlier. A major reason for the success of "The $6l|.,000 Question" was the way in which every detail was worked out to make the program more effective. Never before had such detail been included in a studio quiz program — the selection of contestants who were themselves unusual in that they were "experts" in fields far removed from their regular daily occupations; the method in which each new contestant was brought in and introduced; the use of the vice president of a nationally known bank to act as custodisui of the questions to be used (with two uniformed bank guards in attendance); the use of the isolation booth

in which contestants were placed to make certain that they

29See "Double or Nothing," p. 282# 297 received no help from the audience, and which permitted special lighting to strongly focus viewer attention on the faces of the contestants who were placed in the booth; the sliding forward of the booth into position, when it was needed; the loud door-slam when the door of the booth was closed; the special music used to fill up the thirty-second period given each contestant to think over his answer; and the highly important device of sending the contestant home to spend a week deciding whether to go ahead or take his prize without risking what he had already gained. Production costs were estimated by Variety to be

$2^,000 per program during the month of January, 195&; and these costs were estimated by Sponsor to be $32,000 per

program during the month of January, 1957. This program was the most significant studio quiz program introduced on either radio or television up to

June, 1955» It established a whole new pattern of pro­ duction attention to details for programs of this type. It was either first or second in national popularity ac­ cording to all of the major rating services after it had been on the air only a month. According to Nielsen, it received the impressive rating of 1^9*1 during the month of January, 195^, which was during the program's first sea­ son on the air. After that date it did not drop out of the top ten television network programs during any month ac­

cording to any rating service. It received a Pulse rating 290 of 23*0 during the month of January# 1957» making it the number four program on the Pulae "top Twenty" for that month. The American Research Bureau gave it a rating of 1^1.7 for the same month, making it number three in that rating service's list of the "Top Twenty-Five" programs on network television. It was not only the most popular studio quiz program on the television networks at that time but it was also one of the most popular of all net­ work television programs. làâ Surprise — 1995-1957 This program was broadcast over the NBC television network beginning in September, 1955» as a Louis G. Cowan production. It continued on the air, without a break, until the spring of 1957* Jack Barry was the original master of ceremonies, and the alternate week sponsors were Speidel Corporation and Purex Corporation. Barry was well known as a master of ceremonies on such earlier programs as "Juvenile Jury" and "Life Begins at 80."^^ This program was NBC-TV's answer to CBS-TV's "The $61^,000 Question" idiich had Just been introduced in June and which had become such a success. However, "The Big Surprise" did not include the well-planned details found in "The f61{.,000 Question." It depended on the total amount

30see "Juvenile Jury," p. 12i^; and "Life Begins at 80," p. 119* 299 of money being given away to attract viewers rather than on techniques of production. Contestants were asked a aeries of questions Increasing In difficulty as the prize Increased In amount, with questions worth up to a jackpot prize of $1,000,000 for contestants who answered all ques­ tions successfully. All questions above the $2,000 level were prepared under the supervision of James Calvin of the Encyclopedia Brlttanlca editorial board, "The Big Surprise" not only gave away twice as much money as "The $61^,000 Question;" It also was much more complicated. Containing elements of "Talent Scouts," tele­ phone quizzes, and the bygone "Miss Hush" mysteries of radio's "Truth or Consequences," It asked viewers to sup­ ply the name of someone who was about to receive a sur­ prise -- a promotion, a plaque, a reunion with relatives, the surprise was then shown on the program, and that cleared the way for one of those concerned — either the surprises, the talent scout, or soma people selected by a new electronic machine — to answer a riddle for $1,000,000. Actually, despite the $1,000,000 pay-off, "The Big Surprise" was nearly as much a novelty program, based In the main on human Interest, as it was a studio quiz program. Jack Barry did not continue long as master of cere­ monies but was replaced by Mike Wallace, a well known net­ work television commercial announcer. In March, 195^* 3 0 0

Wallace continued as master of ceremonies for the rest of the time the program was on the air. Barry, who was also president of Barry and ginright. Incorporated, was in the process of preparing "Twenty One" for CBS-TV, The only production cost information available was for the month of January, 1957. This cost was estimated by Sponsor to be $33*000 per program during this month. This program did not enjoy nearly the popularity that "The $61^,000 Question" enjoyed, receiving only average and below average nighttime ratings. According to Pulse, "The Big Surprise" received a 2 3 , ij. for January, 195^* and a 15*8 for January, 1957*

Ï2Ü Trust Your Wife? — 1996-19^7 This program was broadcast over the CBS television network beginning January 3* 19S6, as a package and film production of Don Redderson Productions, It continued on the air, without a break, until April 2, 1927. Edgar Ber­ gen was the master of ceremonies, and Frigidaire Division of General Motors was the sponsor, Bergen was a well known ventriloquist-comedlan with his dummy, Charlie McCarthy, Edgar Bergen and his dummies, Charlie McCarthy, Mortis&er Snerd, and Effie Klinker supplied the humour for the program. Contestants were husband and wife teams, with the husband faced with the decision of whether he would trust his wife to answer the quiz questions or answer them 301 himself. A Jackpot question on each telecast had a prize of a weekly income of $100 for a year for the winning couple. Contestants were selected on the basis of unusual backgrounds, occupations, or family ties. Contestants could continue answering questions indefinitely without aver risking a penny of what they had already won. The winning couple played against the following week’s winners. As long as couples continued to win each week, they could continue to receive an additional year's income of $100 a week. One new element of the program was the prize Itself. Ko program to that date had ever offered a weekly income of $100 for a year or more depending on how long the con­ testant couples could continue to win. Another element that made this program different from any preceding pro­ gram of the same general kind was that of giving the hus­ band the opportunity to decide whether or not he or his wife would be able to answer each question. Production costs for this program were estimated by Variety to be $ 3 2 , ^ 0 0 per program during the month of January, 19^6; and by Sponsor to be $35*000 during the month of January, 1957.

The $61i.000 Challenge -- 1 9 9 6 - This program was broadcast over the CBS television network beginning on Sunday, April 8 , 1956, as a Louis G. 302 Cowan production* It continued on the air, without a break* and was still being broadcast in the spring of 1957* "Sonny" Pox was the original master of ceremonies* and Rev­ lon, Incorporated and P* Lorillard Company were the alter­ nating sponsors. Pox was well known for his part as guide in the children*8 Sunday morning television program on CBS-TV* "Let's Take A Trip." The format of this program was quite similar to "The $61^*000 Question,with the exception that "chal­ lengers" answered questions also asked of "champions" at the same time. "Champions" were successful graduates of "The $61^*000 Question." "Challengers" were matched against the "champions" from the list of nineteen who had already won $8,000 or more on "The $6i|_*000 Question." Both con­ testants were separated in separate isolation booths and took turns answering identical questions. Cash prizes were the same graduations as on "The $61|.*000 Question," rising to a possible $61^,000 as the questions became more difficult. "Sonny" Pox was renamed "Bill" Pox for this program. His nervous fluffs on several programs drew more notice to the program in newspapers than it would normally have re­ ceived. Ralph Story replaced Fox as master of ceremonies

3^See "The $6)4.,000 Question," p. 29l|-. 3 0 3 effective September 2, 1 9 5 ^ * Story was serving in this capacity in the spring of 1957# Production costs for this program were estimated by Sponsor to be $32*000 per program during the month of January* 19 5 7 * This was exactly the same cost estimated for **The $6^.*000 Question** during the same month* **The $6i|.*000 Challenge** was well above average in popularity* According to Sponsor. It received an American Research Bureau rating of 33*7 for the month of January, 1957* making it twelfth In that rating agency's **Top 2^***

Hlfdi Finance — 1 9 $ 6 - 1 9 $ 6 This program was broadcast over the CBS television network beginning on July 7# 1 9 5 6 , as a Jade production* It continued on the air until December l5, 19 5 6 * The ori­ ginal master of ceremonies was Dennis James* and the ori­ ginal sponsor was The Mennen Company* James was well Imown as an announcer of wrestling matches on television* and as the master of ceremonies of an earlier network television human interest program* **Okay, Mother*** back in 1914.6* Contestants were chosen from letters and were asked questions based on stories printed in their hosie town news­ papers during the week before they appeared on the program* Each contestant started with a cash stake determined by his

32 See **Okay* Mother*** p* 110. 304 *goal In life", as detaznolned by preliminary questions; then was asked to invest a percentage of the money, with each further question answered correctly giving the con­ testant another chance to re-invest the money until he reached his previously announced goal or missed the ques­ tion. A contestant missing a question kept his prizes and the balance of his initial stake. The top prize was $110,000. Althou^ somewhat similar in format to "Balance Your Budget" in that each contestant started with a certain amount of money as a gift,^^ "High Finance" was, otherwise, based on a different format. Production costs were estimated by Sponsor to be $32,000 per program during the month of November, 19^6 . In popularity, the program fell far below the top- rated network television programs in the nation. It re­ ceived a Telepulse rating of 11.8 during the month of November, 1956.

Tic Tac Dough — 19^6- This program was broadcast over the NBC television network beginning in August, 19^6 , as a Barry and Enright production. It continued on the air and was still being broadcast in the spring of 1957. Jack B a r r y was the master

^^See "Balance Your Budget," p. 2Ô1. 305 ot ceremonies, and the program originally was not spon­ sored, Barry was well known for his work as master of ceremonies on **The B i g Surprise.Although the program was originally sustaining, it soon became sponsored on a multi-sponsorship basis including such sponsors as Kraft, Mentholatum, Toni, and the Sweets Con^any, The format was based on the game of tic-tac-toe. Two contestants competed to complete three squares in a line, either horizontally, diagonally, or vertically. An

or an "*o" appeared in the appropriate square when a question on the category appearing in the square was an­ swered. The value of the game was $100 at the start, in­ creasing by $100 each time a difficult question in the cen­ ter box was answered. Winners met challengers and could increase their earnings Indefinitely. The production costs for this daytime studio quiz program were estisiated by Sponsor to be $5,000 per pro­ gram, and the popularity fell below average with a daytlsw rating of only I4..9 , according to Pulse, for the month of January, 1957.

TfeagqKf iHBÊ — 1954%i957 This program was broadcast over the ABC television network beginning on September 7, 1956, as a Jantone

A See **The Big Surprise,** p. 298. 3 0 6 production. It continued on the air, without a break, until May 1957* Jan Murray was the master of ceremo­ nies, and the Mogen David Wine Corporation was the sponsor. Murray was a well-known comedian and master of ceremonies, having acted in that capacity in both "Songs for Sale," and "Dollar a Second," a stunt-quiz program.

On each program, contestants vied for a potential grand prize of $2^,000. They were asked a series of four questions and the winner then was eligible to choose from

a group of fifty chests which contained the grand prize and forty-nine other possible prizes. The contestant also chose an envelope with a bid from a group of one hundred envelopes. The bid ranged from a few dollars to several hundred dollars. The contestant then had the choice of keeping the bid money and the money he had won answering

the questions, or of opening the treasure chest of his

choice. The chest could have contained valuable prizes, such as a speed boat, a trip around the world, an expensive fur coat; or it could contain such things as a head of cabbage, a typewriter, or a set of linen. Strong emphasis was placed on Jan Murray as the mas­ ter of ceremonies, with his light-hearted fencing with the

contestants.

This program included a combination of several ideas which had been presented in earlier studio quiz programs, but the basic format as it was presented in its entirety 307 was different from any preceding program of the same gen­

eral kind.

Production costs were estimated by Sponsor to be

$21,000 a program during January, 1957, and the popularity

of the program was Just about average with a Pulse rating

of lS*8 during the month of January, 1957#

Twenty One -- 1996-

This program was broadcast over the NBC television network beginning on September 12, 1956, as a Barry and

Enright production. It continued on the air, without a break, and was still being broadcast in the spring of 1957*

Jack Barry was the master of ceremonies, and Pharmaceuti­

cals, Incorporated was the sponsor. Barry was well known

for his work as master of ceremonies in "Tic Tac Dough" and "The Big Surprise.

Like the card game of the same name, this studio quiz program called for judgement as well as knowledge,

thereby providing an interesting variation on the too- familiar studio quiz program pattern. Contestants, vying against each other from individual soundproof booths, to keep either from knowing the other's score, selected sim­ ple or difficult questions with values graded from one to

^^See "Tic Tac Dough," p. and "The Big Surprise," p. 298. 308

eleven. In scoring, losses were deducted from winnings.

Twenty one won the game, or. If a contestemt thought he

was well ahead, he had an opportunity to end It after two

rounds of questions. The winner got $500 per point for

the difference between his score and that of the loser.

The use of the twin Isolation booths had been In­

troduced earlier In '^The $61^.,000 Challenge.Other than

this similarity, however, "Twenty One" was basically a different studio quiz program from any preceding program

of the same general kind.

Production costs were estimated by Sponsor to be

#30,000 per program during the month of January, 1957* As far as popularity was concerned, "Twenty One" was not

among the top programs In the nation, receiving a Pulse rating of only 15.1^ during the month of January, 1957*

Break the #290.000 Bank — 1Q96-1Q97

This program was broadcast over the NBC television network beginning on October 9# 19^8, as a Wolf Associates production. It continued on the air, without a break, until January l9, 1997# Bert Parks was the master of cere­ monies, and Lanolin Plus, Incorporated was the sponsor.

Parks was well known as a master of ceremonies for such earlier studio quiz programs as "Break the Bank" and "Stop

^^See "The |61|.,000 Challenge," p. 301. 309 the Music

This program was a completely new version of the former ”Break the Bank,'* Contestants, who were interest­ ing people with specialized knowledge in specific cate­ gories, began with a $500 prize for answering the first question correctly and built, if successful, to $5*000 on

the first program. Contestants^ "banks** grew weekly by $5*000, until the third program when they Jumped to $25*000 and then in successive successful weeks could proceed to the $250,000 top total prize. Winners were paid off at

the rate of $1,000 per month through the Bankers Trust

Company of New York, This program was the third studio quiz program to use contestants who were Interesting people with special­ ized knowledge in specific categories. Both **The $61f.,000 Question** and **The $6^.,000 Challenge** had done this earli­

er.The primary difference with **Break the $250,000 Bank** in this respect was that it, unlike both of these

$61^,000 studio quiz programs, used contestants who were specialized in a field of knowledge reasonably close to

their own occupations.

^^See **Break the Bank,** p, 270; and **Stop the Music,** p. 323, ^®See "The $6k,000 Question,** p, 29I4.* and **The $614.,000 Challenge," p, 301. 310

No production cost information was available con­

cerning this program. As far as popularity was concerned.

It fell below average for a nighttime network television

program. It received a Pulse rating of only 10.8 for

January, 1957*

Giant Step — IQ96-1997

This program was broadcast over the CBS television

network beginning on November 7* 195^» as an Entertainment Productions, Incorporated, production. This production

group was formerly known as the Louis G. Cowan Productions, Bert Parks was the master of ceremonies, and General Mills,

Incorporated, was the sponsor. Parks was well known for his work as master of ceremonies of many different network television and radio programs such as **Break the Bank" and "Break the $250*000 Bank,"^*^

This program had no cash awards. Contestants were

limited to youngsters who chose questions from the subject with which they were moat familiar; age limits, seven to

seventeen. There were eight steps to the grand prize, which was a four year college scholarship and travel to

foreign countries. Prizes at all levels were nwmantos with a particular significance and value to the contestant.

This program was reminiscent of the earlier "Quiz

^^See "Break the Bank," p, 270; and "Break the #250,000 Bank," p, 308. 311 Kids” of 194.9 and "Juvenile Jury” of 19SI, both on the television networks.

Production costs were estimated by Sponsor to be

$23,000 per program during the month of January, 19^7* For a nighttime network television program, "Giant

Step” did not show indication of popularity, receiving an extremely low Pulse rating of 9*^ for the month of Janu­ ary, 1957.

Price 1& 5LSÈÉ — 1996- Thia program was broadcast over the NBC television network beginning on November 30, 19^6, as a Goodson and Todman production. It continued on the air without a break, and was being broadcast in the spring of 1957. Bill

Cullen was the master of ceremonies, and the program ori­ ginally was sustaining. Cullen was well known as master of ceremonies on such earlier studio quiz programs as "Winner Take All” and "Name That Tune.

Four contestants were shown various objects, with each attempting to guess the price of the object displayed, without exceeding it. The closest correct guess won the object. Home viewers participated in a separate section.

^ See "Quiz Kids," p. 112; and "Juvenile Jury," p. 12 ^^See4-1 "Winner Take All," p. 268; and "Hams That Tune," p. 288. 312 In which a showcase of objects was shown on the program for a week. Viewers tried to guess the correct value of the objects, then sent their guess via post card to the program with the closest answer winning the prises. The format of this program was different from any preceding program format. However, according to available rating information, the program did not enjoy a high pop­ ularity during its first season on the air. It received a If.2 daytime rating, according to Pulse, during the month of January, 1957•

Hold That Note — 1997-1957

This program was broadcast over the NBC television network beginning on January 22, 1957# as a Wolf Associ­ ates, Incorporated, production. Bert Parks was the master of ceremonies, and Lanolin Plus, Incorporated, was the sponsor. The program continued on the air for only a few months, until the spring of 1957. Parks was a well known master of ceremonies, having acted in that capacity on such earlier programs as ^Break the $2^0,000 Bank," "Bal­ ance Your Budget," and "Break the Bank."^ This was a musical quii program. Two contestants at a time competed to identify a song, with the number of notes played by the orchestra determined by how well known

^ S e e "Break the #2^0,000 Bank," p. 308; "Balance Your Budget," p. 2dl; and "Break the Bank," p. 270# 313 the melody might be. As soon as a contestant identified

a song he pushed a buzzer and $50,00 for each note re­

maining that didn*t have to be played was paid into a

running jackpot, A contestant was eliminated as soon as

his opponent identified three songs in a row. If both

contestants failed to name a song, the entire note value of $50,00 a note was deducted from the jackpot.

This program replaced "Break the $250,000 Bank" in

the same time slot. Although it was similar in format to

"Name That Tune, the idea of $50,00 for each note was

new.

No further information was available,

General Evaluation of Studio Quiz on Television Networks

Studio quiz programs were important on the various television networks not so much from the standpoint of

quantity as from the standpoint of outstanding individual

program popularity. Few of the general program forms have

included such popular television programs as "The $61^,000

Question," "You Bat Your Life," "Two for the Money,"

"Strike It Rich," "The Big Payoff," "Break the Bank,"

"Twenty One," and "The $61^,000 Challenge,"

^3see "Name That Tune," p, 288, 314 Programs of this type reached their peak of impor­ tance as far as extent of use and rating averages were concerned during the 1956-1957 season* During this sea­ son, nine new studio quiz programs were introduced. These nine, along with two more carry-over programs from the previous season, received an average rating of 19*3, ac­ cording to Nielsen, It is no wonder that all of the radio-TV critics agreed that the 1956-1957 season was

"Quiz Season* on the television networks.

Actually, this great increase in the number of studio quiz programs all came about as a result of the success of *The $61^,000 Question,* which was introduced during June of 1955* Out of the twenty-seven studio quiz programs which were presented on the television networks, eleven lasted for only one season, A total of fifteen out of these twenty-seven were relatively successful.

Generally speaking, the program form, as used in the spring of 1957# resembled the original form used for programs of this type back during the 191^7-19^4-8 season on network television. The two major differences in the pro­ gram form as it was used in the spring of 1957 con^ared with that used in 19^7-1948 were that a greater amount of money was given away and more attention to details of pro­ duction technique for human interest values was present in the spring of 1957* CHAPTER VIII

TELEPHONE QUIZ PROGRAMS

In the studio quiz program, with few exceptions, the listener at home stood no chance whatever of winning anything during the progress of the program. He received the vicarious thrill of hearing someone else either win or lose, and apparently this vicarious experience was satis­ faction enough, since an overwhelming majority of quiz pro­ grams confined their donations to participants selected from the studio audience, or at least participating in the studio. In 1939* with audience participation In the studio so popular, the next step was to bring the air audience Into the program. This was accomplished by using the telephone on #iat became known as telephone quiz programs.

This was a program In which listeners In their homes se­ lected at random, were allowed to participate. The master of ceremonies Included Individuals who were selected at random from those In the home audience. In some programs of this type, the studio audience was given a chance to answer these questions as a part of the program; but the basic Idea of the program was to allow at least some of those at home the opportunity to participate.

Programs of this type made a frank appeal to the 315 3i 6 gambling Instincts of the audience at home# The chances of being called while listening to the radio were probably on the order of one in eight million, based on forty mil­ lion homes with telephones and five calls per program* However, this telephone device seemed to give the listener a feeling of actual participation in the game more directly than he had ever had before. Here was a network program which gave the listener in his home a chance — even though very remote — of winning a ^fortune.**

The first radio network program to present the tele­

phone quiz idea to the national audience was "Pot 0* Gold"

in 1939* Actually, this program was not primarily a quiz program, featuring the music of Horace Heidt*s orchestra*

The telephone quiz portion was included as a feature spot* The listener who was called, somewhere in the United States, was selected from telephone directories* He did not have to answer any question; he merely had to answer his telephone to win the cash prize. Because of this, "Pot 0* Gold" did not actually fit into the telephone quiz definition as it has been used here * However, this program did include the first presentation of the telephone quiz

idea, and no discussion of this idea would be complete without including this program* It was probably the most popular and controversial program of its period*

The amount of the prize given away increased through the years on the radio networks from $1,000 for answering 317 the telephone in '*Pot O' Gold** to a $25*000 Jackpot in

”Sing It Again** in 19lf8* Also, in 19i|-8* a house was given away as a gift on **Go For The House.**

Extent of Use of Telephone Quiz on Radio and TV Networks On the radio networks, only five programs of the telephone quiz type were presented up to January, 1957*^ Thera was a seven-year-period -- between the spring of

19li-l* when **Pot O' Gold** left the air, and the fall of I9I1.Ô, when "Hit The Jackpot" was introduced -- when no programs of this type were broadcast. Beginning in the fall of 19I4.8 , following the introduction of "Hit The Jack­ pot," three additional telephone quiz programs were intro­ duced -- "Sing It Again," "Go For The House," and "Stop the Music" — making the 19ii.8-1949 season the biggest sea­ son for programs of this type as far as extent of use was concerned. The 1949-19^0 season had only two such programs still on the air, "Sing It Again" and "Stop the Music."

"Sing It Again" lasted until the spring of 1951* and "Stop the Music" was not discontinued until the spring of 1952. An increase in the use of this type of program in the fall of 19^8 was actually started by Ralph Edwards on

^Source material is so scattered that separate foot­ notes for each item are impossible. Information found in this section is primarily from Broadcasting-Telecasting magazines and "Network Radio and Television Program His­ tory" (Ohio State University, 195l|-)» 3X8

••Truth or Consequence a** when he gave fabulous prizes to radio listeners for identifying a succession of famous personalities variously disguised as **Mr« Hush," "Mrs#

Hush," "Miss Hush," and the "Walking Man.Interestingly enough, "Truth or Consequences" was not a telephone quiz program. It was a stunt program. Ralph Edwards' first contest was beggun to poke fun at quiz programs and the prizes that had been growing larger and larger, but when he discovered that his idea was drawing one of the largest audiences in radio, he continued it in deadly earnest.^

At the peak of his "Walking Man" contest, "Truth or Con­ sequences" had the top Hooper rating in the country.

As is so often the case in broadcasting, the success of one program prompted a host of imitators, who set out to buy audiences with prizes that became ever more breath- takingly impressive.^ "Sing It Again," and "Stop the

Music" were two such programs.

The history of the telephone quiz program on the television networks extended from the fall of 191^9 and the introduction of "Stop the Music" to the spring of 19^6 when

"stop the Music" finally left the air. There was only one

^Edgar E. Willis, Foundations in Broadcasting. (Hew York: Oxford University Press, 19^17, p. 99# 3lbid. ^Ibid. 319 other telephone quiz program ever presented on the tele­ vision networks. This was **Sing It Again,** presented on the television networks during the 19^0-1951 season. As far as extent of use was concerned, the 1950-1951 season was the most important season for programs of this type on the television networks, since this was the only season when more than one telephone quiz program, **Stop the Mu­ sic," was broadcast on the television networks.

Ho telephone quiz programs were ever presented during the daytime on either the radio or television net­ works .

General Popularity of Telephone Quiz on Radio and TV ^e^tworks The peak season for telephone quiz programs on the various radio networks was 19l^-Q-19l|-9»^ During this season, four programs of this type received an average January rat­ ing of 15.0, according to Hooper. These average ratings fell through the years until they reached a low of 7.6 during the 1950-1951 season. Network television ratings ranged from a high of

2i{..0 in January, 1950, to a low of 7.0 in January, 1952.

The most noticeable drop in popularity came between January

^The average January ratings included in this section were compiled from Individual ratings given by C. E. Hoop­ er, Inc., A. C. Nielsen, Pulse, and American Research Bureau. 3 2 0 of 1950, to a low of 7*0 in January of 1952* The most noticeable drop in popularity came between January, 19^1» and January, 1952. In January, 1951, "Stop the Music" and "Sing It Again" enjoyed a combined average rating of 21^.3, according to Nielsen. "Sing It Again" was discontinued in the spring of 1951# and in January, 1952, with only "Stop the Music" on the air, that program's rating dropped to only 7*0, according to Nielsen. This was an extremely low rating for a nighttime network television program. Sven so "stop the Music" managed to continue for two more seasons.

TELEPHONE QUIZ PROGRAMS ON THE RADIO NETWORKS

In the relatively short history of telephone quiz programs on the radio networks there were several methods employed to make them effective to the ear. One of the most outstanding of these was the loud voice of the an­ nouncer saying "Stop the Music l" when the telephone con­ testant in that program indicated that he knew the name of the number being played. There was also the "Phantom

Voice" in "Sing It Again." Also, the very fact that music was such a strong element in both "Sing It Again" and "Stop the Music" made it a definite method of "effectiveness to the ear" for programs of this type. And, of course, the use of silence during the contestant's part of the tele­ phone conversations added a certain amount of suspense to 321 the program. In tarma of number of programs broadcast, this type of program was not too Important to the radio networks.

Out of the five telephone quiz programs presented, three were network productions and two were package programs. "Pot 0* Gold" and "Hit the Jackpot" were under single spon* sorshlp; "Go For The House" was sustaining; and "Stop The Music" and "Sing It Again" were both presented on a multi­ ple-sponsor ship basis. "Sing It Again" was sustaining during its first season on the air. As far as available records indicate, "Stop the

Music" was the first evening radio network program of any type to be sold on a sponsor participating basis.^

The only available production cost information showed that "Sing It Again" and "Stop the Music" cost ap­ proximately the same, $3,000 per quarter hour or $12,000 for the full hour.

PgttiKCftM sm Radio Networks

The following is a chronological program by program listing of the network telephone quis programs * All

^Robert I. Garver, Successful Radio Advertising (New York; Prentice Hall, 1 % 9 ) * P* bO. 322 programs listed are live thirty-minute programs presented once a week unless otherwise Indicated.^

Pai O' Qold — 1939-19111 This program was broadcast over the NBC radio net­ work beginning in the fall of 1939» ^t continued on the air, without a break, until the spring of 1941* Horace Heldt was the master of ceremonies, and Turns was the spon­ sor. Haldt was a well-known master of ceremonies and or­ chestra leader. As was pointed out earlier, this program was primarily a musical variety program, but was the first program to Introduce the telephone quls idea to the radio networks.^ The telephone call portion came as a feature spot In the program. The name to be called was selected from telephone directories from most of the larger cities In the country. The listener answering the telephone did not have to answer any question; he merely had to answer his telephone to win the prise. This program was significant In that It was the

^Source material la so scattered that separate foot­ notes for each Item are Inqposslble. Information found in these program listings was found primarily In Breedoaatlng- Te le cas ting. lAl York Times. Sponsor. Houston Post. The Coluaibus Dispatch, and "Network Radio and Television Program History" (Ohio State University, 19$l4.). Much of this Information also casie from the writer's personal observation. 8See page 3l6. 323 first to include the telephone quiz idea, but it did not

immediately establish a new pattern, since it was not

until the fall of that another program appeared which

included the telephone quiz idea. It was also significant in the amount of publicity it received. The rapid devel­

opment of theater "bank nights" was attributed to the suc­

cess of the "Pot 0* Gold" program in keeping people at

home and away from the local theaters on the night it was

broadcast.

With all the adverse publicity centering around the

FCC*s investigations of possible lotteries on the networks,

NBC decided to discontinue the program, even though "Pot

O' Gold" was not proved to be a lottery. The network's

decision may have been influenced also by the fact that

the program's rating dropped from a 21.1 in January, 19^.0,

to 10.2 in January, 19^1.

Stop T ^ Music — 19k6-lQ52 This program was broadcast over the ABC radio network beginning on May 23, 19^3, as a Louis Cowan production.

It continued on the air, without a break, until the spring of 1952. Bert Parks was the master of ceremonies, and the full hour program was presented on a multiple-sponsorship basis with such sponsors as Eversharp Cosqpany, Smith Broth­ er's Cough Drops, and Speidel. Parks was well known as 32l| master of ceremonies of "Break the Bank*"^

"Stop the Music" was a hybrid of the "Miss Hush" portion of "Truth or Consequences" and "Pot 0» Gold."^^

The formula was simple. Parks telephoned to people chosen

at random from telephone directories from across the United

States. He asked the person who answered the telephone to

identify the popular tune then being played by the live

orchestra in the studio. If the listener could do that he won a nominal merchandise prize and qualified for a chance at the "Mystery Tune," which was always a stunner that sounded tantalizingly familiar. If the listener could nasw this "Mystery Tune," he won whatever merchandise was in the

Jackpot idiich had accumulated through the weeks in which previous listeners had not been able to identify this tune.

Merchandise Jackpots included cars, diamond rings, fur coats, and so forth. Every week additional merchandise was added. This was one of the first programs to really make big use of "Merchandlse-contributed-by-other-than- sponsor-for-credit" prizes.

This was a significant program because it estab­ lished a new pattern in the quis program field. Although

9see "Break the Bank," p. 230. ^°3ee "Pot 0* Gold," p. 322. 325 **Pot O' Gold** had introduced the telephone quis idea seven

years before, ’’Stop the Music" was the first quiz program to devote a full hour to this idea.

This program was somewhat similar to the much ear­

lier studio quiz program "Kay Kyser's College of Musical

Knowledge" in the use made of the musical quiz idea.

According to Varietv. production costs for "Stop the

Music" for the month of January, 1951, were $3,000 per

quarter hour, or $12,000 per program.

This program was one of the most popular quiz pro­ grams on the air during its first season. It received an impressive Hooper rating of 20,0 for the month of January,

194.9, which was a higher rating than was received by any

other quiz program on the air at the time. ABC was so confident of this simple formula that they tossed it, a full hour program, into one of the toughest spots in net­ work radio, Sunday from 8:00 to 9:00 p.m., bucking NBC's "Charlie McCarthy" and "ft*ed Allen*" The confidence paid off* "Stop the Music," during its first season on the air, moved "Fred Allen" all the way down to number thirty-eight in the Hooper ratings, and moved itself all the way up into 12 the number two position* Fred Allen's popularity was never regained to what it had been before "Stop the Music"

l^See "Kay Kyser's College," p. 198.

^"The Smell of a Hit," Time. July 19, 194-8, P# 65* 326

went on the air* Even though this program was so popular during Its first season on the air, this popularity did not last long*

In January, 1950, the program received a rating of only

10*9# according to Hooper; and in January, 1951» it re­ ceived an uninçtressive 8*3 in the Hooper ratings. The following season was its last on the air, and it spent this

final season with only half of the full hour sponsored.

Go For The House — 19i^8-19li9 This program was broadcast over the ABC radio net­

work beginning in the fall of 194-8 # It continued on the air for only one season, leaving the air in the spring of

194-9# No information was available concerning the master of ceremonies, and the program was sustaining*

This was essentially a studio quiz program, but listeners at home were included and given an opportunity

to take part through the use of the telephone quiz* Al­

though there were no questions actually asked the listener by telephone, names were selected from city telephone di­

rectories from all across the United States and mentioned

on the air# The persons whose names were mentioned were

given an opportunity to telegraph their answer to the stu­

dio* The title of the program was baaed on the fact that the winner of the final Jackpot, who was selected after answering a series of questions increasing in difficulty. 327 received the gift of a house*

The basic format of the program, with the exception of the telephone quiz idea, was similar to "Break the Bank*"^^ No further information was available. sing It Again — 19li.8 -19Sl This program was broadcast over the CBS radio net­ work beginning in the fall of IÇii-G. It continued on the air, without a break, until the spring of 1951* Dan Sey­ mour was the master of ceremonies, and the hour-long pro­ gram was sustaining during its first season on the air.

It was carried on a multiple-sponsorship basis during the rest of the time it was on the air* Seymour was a well- known announcer on CBS* Universally popular songs were played and sung live in the studio* In each case, a chorus was performed, with its original lyrics* Then a home listener was asked by telephone to identify a person, place or thing on the ba­ sis of clues furnished in amusing special lyrics to the same song, as the master of ceremonies asked the soloist to "Sing It Again." If the home contestant was able to correctly solve the musical riddle, he was awarded one hun­ dred dollars and the opportunity to identify a "Phantom

^^See "Break the Bank," p. 230. 328

Voice." In this feature of the program, a well-known per­

sonality was heard, singing a couplet. Correct identifi­

cation of the "Phantom Voice" by the home listener won a

Jackpot prize of one thousand dollars. In cases where the

home contestant failed to answer the questions from clues

given when the soloist was called upon to "Sing It Again,"

a member of the studio audience stepped in as contestant,

with a one-hundred-doliar award awaiting him if he answered

correctly. When the one-hundred-dollar question was missed by both home and studio contestants, the "Phantom Voice"

Jackpot was increased by one hundred dollars; thus the

prize for identifying the mystery personality could add up

to considerably more them the original one thousand dol­

lars. The Jackpot continued to grow until the "Phantom

Voice" was identified. Immediately thereafter, it started building anew from the one thousand dollars base prize.

Originally, contestants were called by telephone

several hours ahead of program time and given warning that a call would come during the program, but soon this routine was changed, and contestants were called as late as fifteen minutes before air time. The producer selected the names

of fifteen cities and towns that hadn't been called recent­ ly, handed them to girls, who went to the telephone books and selected numbers at random, listing ten for each 329 t o w n # ^ The girls were given the names of only those towns with which they were unfamiliar so that they could not select their friends. Like ''Hit The Jackpot," "Sing It Again" gave away approximately $25*000 a month during the 1914.8-194^9 season. According to Varietv. production costs for this program during the month of January, 1951, were approxi­ mately $3,500 per quarter hour.

"Sing It Again" did not establish any new pattern, but it simply continued a pattern already established by

"Stop the Music." As a matter of fact, it was quite simi­ lar to "stop the Music," except for the addition of the

"Phantom Voice" which took the place of the "Mystery Tune" on "stop the Music," and the use of a musical riddle which was not used on "Stop the Music. "Sing It Again" never attained the popularity en­ joyed by "Stop the Music." In January, 1950, it received a rating of only 6,7; and in January, 1951, it received a rating of only 7*0; both according to Hooper, Both of these ratings were very low for a nighttime radio network program.

^ J . Beatty, "Backstage at the Q-ive-Aways," American Majtaslne. July, 194-9# P. 63. ^^See "stop the Music," p. 323. 330 Hit The Jackpot -- IQkQ-lQkQ This program was broadcast over the CBS radio net­ work beginning in the January of 19i|-9 as a Goodson and

Todman production* It continued on the air for only one season, leaving the air in December of 19^9* Bill Cullen was the master of ceremonies, and DeSoto-Plymouth was the sponsor. Cullen was well known as the master of ceremonies on "Winner Take All. The contest in "Hit The Jackpot" involved two parti­ cipants who tried to eliminate each other by correct an­ swers to four preliminary questions. The survivor received an opportunity to recognize a "Secret Saying" — the key to the Jackpot prize. In the beginning, a contestant could win over his opponent by bluffing his answers to any of the four pre-jackpot questions. If his opponent accepted the bluffed answer, the opponent was eliminated and the winner got a chance at the Jackpot. However, under new rules which went into effect after the program had been on the air only a few weeks, bluffed answers to any of the prelim­ inary questions could win prizes. However, the final qual­ ifying question had to be answered correctly to permit the contestant a chance at the Jackpot prise. Otherwise, the contest could be carried immediately to home players, by telephone.

^^See "Winner Take All," p. 233. 331 During the single season that this program was on the air, an estimated twenty-five thousand dollars a month was given away. 17 ' Of all the hopeful listeners to shows of the telephone quiz variety, those who cooperated with "Hit the Jackpot" had probably the best chance of being called on the phone. The producers, Goodson and Todman, chose telephone numbers from post-cards sent in by listeners. At the end of each month the cards were destroyed and a new batch accumulated. By the end of the month they totaled about two hundred and fifty thousand. If one got his post card In early In the month, his chance was about three In one hundred thousand, because about three calls were made on each program. Some persons In­ creased their chances by sending as many as twenty-five cards. The Jackpot went to the person who guessed the se­ cret saying. The clues were recorded by actors and sound effects n»n, and the secret sayings were such phrases as "Long Live the King;" "Peter, Peter, Pumpkin Eater;" and "All Meat and No Potatoes The basic format of "Hit The Jackpot," except for

^^J. Beatty, "Backstage at the Give-Aways," American Magazinej July, 1914-9* p. 6o, ^®Ibld., p. 61^. ^^Ibld.. p. 65. 332 the telephone quiz portion, was quite similar to two ear­ lier network radio studio quiz programs, **Winner Take All” and ”Quick As A Plash. The only available rating information was a Hooper rating which the program received in January, 19i|-9* It received a rating of 11.1 for this month, which was not really low considering the fact that this was the pro­ gram’s first month on the air.

TELEPHONE QUIZ PROGRAMS ON THE TELEVISION NETWORKS

Prom 19^9 to 19^1# on the different radio networks, various formats were devised to allow listeners at home to actively participate in some of the quiz programs while the program was in progress. Listeners were telephoned during the programs to identify mysterious voices, tunes, and sounds. For the first time in the history of network broadcasting, listeners at home were allowed to partici­ pate from their own living rooms. Beginning in the fall of 19^19» the telephone quiz concept moved into network television in the form of "Stop the Music." The next fall, "Sing It Again" made the move also from network radio. Both continued as network radio

^^See "Winner Take All," p. 233; and "Quick As A Plash," p. 221. 333 programs also. The television networks did not make any

original contribution in programming by way of developing

a new telephone quiz program. Both of these programs were

directly adapted from radio# using the same names and for­

mats# and these were the only two telephone quiz programs

to appear on network television up to the spring of 1957» ^Stop the Music#” in its adaptation into televi­

sion, included a film shot of a line of telephone operat­

ors placing calls. Thii* helped make the program more vis­

ual. Otherwise, the physical set-up of the program re­

mained unchanged.

”Sing It Again” did not undergo any physical change

in setup either. However# in this television version#

studio audience contestants shared each weekly jackpot

that was not claimed by a telephone contestant# and in­

creased emphasis was placed on interviews with studio

contestants.

”Stop the Music” had been sponsored on a participa­

ting basis on network radio# but on the television ver­ sion# it had only two sponsors at a time. ”Sing It Again”

continued to be sponsored on a participating basis# as it had been on network radio.

Individual Telephone Quiz on Television Networks

The following is a chronological program-by-program

listing of the network telephone quis programs. All 3314- programs listed are live thirty-minute programs presented once a week unless otherwise indicated, 21 stop ma — iqkq-iqs2; iqsL-iqs6 This program was broadcast over the ABC television network beginning in the fall of 19^4-9# as a Louis Cowan production. It continued on the air until the spring of 1952, when it was discontinued temporarily. It returned over the same network in the fall of 19$^., and continued on the air until the spring of 19^6 . Bert Parks was the master of ceremonies, and the program was jointly sponsored by Admiral and Old Golds. Parks was well known for his earlier work as master of ceremonies on the network radio version of this same program, as well as several other quis programs, The same format was used in the television version of this program as was used in the radio version,Mer­ chandise was given away. The physical setup was the same in the television version as it had been on radio, except

^^Source material is so scattered that separate foot­ notes for each item are impossible. Information found in this program listing was found primarily in Broadeastina- Telecasting. Sponsor. ^ Houston Post. T^e Columbus Dis­ patch. The Ross Renorts. and "Network Radio and Television Program History** (Ohio State University, 195Ï4.). Much of this Information also came from the writer's personal observation,

^^See **Stop the Music," p, 323* 23Ibid.. p. 321*.. 335 for the film shots of a line of telephone operators put­

ting in calls. Production costs increased very rapidly for this

program. According to Variety, these costs stood at

$10,500 per program in January, 1950. In January, 1951# they had increased to $l6,000 per program, and in January,

1952, they had increased again to $20,000 per program, ac­

cording to Variety. After two seasons off the air, the

program returned in the fall of 1951+# end in January, 1955#

Variety estimated the production costs to be $l6,000 per

program. They increased again the following season, and in

January, 195^# stood at $20,000 per program, according to Variety.

Interestingly, "Stop the Music" began on network

television with a high degree of popularity just as it had earlier on network radio. During January, 1950» it re­

ceived a rating of 21+.0, according to Nielsen; and during

January, 19^1# It received the impressive rating of 35*2, also according to Nielsen. However, just as it had done on

the radio network, it took a nose dive in popularity in a matter of only a few months. In January, 1952, it received a Nielsen rating of only 7*0, a rating which was not too good even for a daytime program, not to mention a full hour nighttime presentation such as this. Nielsen gave the pro­ gram a 9*6 in January, 1955# and a 9*5 In January, 1956. 336

Sing It Ag&ln — 19^0-lQ^l

This program was broadcast over the CBS television network beginning in the fall of 1950. It continued on the air for only one season» leaving the air in the spring of 1951» No information was available concerning the mas­ ter of ceremonies, but the program was presented on a mul­ tiple -sponsor ship basis. The television format was the same as it had been for radio,Telephone calls to home viewers continued, but studio audience contestants shared each weekly Jackpot that was not claimed by a telephone contestant. Increased emphasis was placed on interviews with studio contestants. This television version was a full hour long, as the radio version had been. Production costs, according to Variety, were $5,500 per program during the month of

January, 1951. This program did not enjoy a great popularity on the television networks, compared with **Stop the Music."

"Sing It Again" received a rating of only 13.14- during the month of January, 1951, according to Nielsen.

General Evaluation Telephone Quia Programs an both Radio and Television Networks

Compared with both human interest programs and stu­ dio quiz programs, telephone quiz programs did not play an

2l4-See "Sing It Again," p. 32?. 337 Important role in the history of network programming*

On the radio networks, programs of this type reached their peak of importance during the 19l|.8-19L9 season, with a total of four of them on the air with an average Hooper rating of 15.0 in January, 19ii-9* On the television networks, the telephone quia pro­ gram reached its peak of importance during the 1950-1951 season, with a total of two on the air with an average

Nielsen rating of in January, 1951.

Out of the five telephone quia programs produced on the radio networks, two lasted for only one season and one lasted for only two seasons* "Pot 0* G-old," "Sing It A- gain," and "Stop the Music" were relatively, at least,

"successful*" As a matter of fact, "Stop the Music" was one of the most successful network radio programs, during its first season on the air, in the history of network radio programming*

Out of the two telephone quia programs produced on the television networks, one lasted for only one season* This was "Sing It Again." On the other hand, "Stop the Music" lasted a total of five full seasons, and during its first two seasons on the air was a relative success.

There was no program form as of the spring of 1957* which resembled the original form used for programs of this type in either radio or television networks. The last tel­ ephone quia program left the air in the spring of 195^* CHAPTER IX STUNT PROGRAMS

The audience participation program began humbly as a human Interest type of program which included interviews but no prizes. This program form later developed into a quostion-and-anawer type of program known as the quiz, in which participants were rewarded with small gifts of cash or sangles of sponsors' products. The size of these re­ wards increased through the years. But in one of its forms, audience participation developed into a type of program in which participants were required to make com­ plete fools of themselves, and in exchange to win munifi­ cent prizes — hundreds of dollars in cash, automobiles, furniture, diamond rings, free honeymoons — and all with­ out answering any questions correctly, but rather, in con­ nection with the answering of questions incorrectly. Or, prizes were given for the simple performance of a stunt without any concern over questions or answers,

A red-coated contestant led a bull weighing twenty- four hundred pounds through a Los Angeles china shop. The only casualty was a vase, broken by a spectator. The bull was probably much more frightened than the contestant, A cross-country hunt sent two men across the United

States with halves of a torn thousand dollar bill seeking 338 339 each other by yelling ”Heathcliff

"In the good old days," said the late Fred Allen in 19f|.6 about radio studio audiences, "We had to drag them in. Now they fight to get into the act."^

Mr. Allen was referring, of course, to certain audience participation programs in which people who took part did so expecting to be submitted to embarrassment, ridicule, and Indignity. They rode on ice cakes, fought with pillows, did strip teases, made cross-country trips, and went into lions' cages. This was the stunt program. It was a program in which the stunts were far more important than any ques­ tions asked of participants. The major emphasis was on getting the contestant into as ridiculous a situation as the agile mind of the producer could conceive. Seltzer water and cream pies often played a prominent part in such programs.^ Stunts ranged in complexity from the hurling of a pie into the face of a contestant to the creation of elaborate and fantastic situations.

Another name often given to programs of this type was comedy participation. The name stunt has been used

^"Zany Radio Stunts Grow Wilder in Audience-Partici­ pation Shows," Life. March 11, 19lf6, p. li^.. ^Ibid. « p. 13.

^Edgar Willis, Foundations in Broadcasting (New York: Oxford University Press, 1951)« p. 98. 3)4-0 here because these were actually programs In which both comedy and human interest were almost equally involved. They were, however, more than human interest programs in that participants took part in games and stunts -- in

many variations on earlier parlor games. There may have

been a quiz involved but, unlike the studio or telephone quiz programs, this quiz was incidental to the fun of performing the stunt. The stunts in **People Are Funny” have been des­ cribed as ”basically psychological,” The producers have oxpl.ained:

Art Linkletter along with his partner and producer, John Guedol, and the gag men enqploy basic human weaknesses and foibles , as the fundamental beginnings of all stunts," Jealousy, greed, love, pride, fear, ambition and the innate hamminess of ordinary people are played upon and enlarged to major sized proportions for their stunts, Ralph Edwards, who brought the practical Joke to its zenith on ”Truth or Consequences,” created in his time some of the most amusing, ingenious, and embarrassing tricks ever perpetrated on the public. For exasqple, a Hew Jersey housewife who couldn't play a note appeared under

the billing of "Madame Yifnif” in Hew York's Town Hall to give a violin recital; a Los Angelos man raced an airplane

^Glraud Chester and Garnet Garrison, Radio yid Tele­ vision (Hew York: Appleton-Century-Crofts, 1950),p, 275, 3 4 1 by bobbing up and down on a pogo stick,^ **Truth OF Consequonces** was the pioneer of all stunt programs in network broadcasting. This program was the would-be actors' heaven. It was the "brainchild” of

Ralph Edwards, a former announcer of "The Major Bowes Amateur Hour.” His idea stemmed from watching children play at the old game of forfeit. The format was simply the old child's game of asking people hard questions and forcing them to pay the consequences for wrong answers. Contestants usually ignored the $15*00 prize for the cor­ rect answer, deliberately muffing the questions for a chance to clown on the stage and win much more substantial prizes for their efforts. "Truth or Consequences” first appeared on the air in the fall of ig^O, over the NBC-Red network. It was different from any program that had ever been presented to a national audience. In five minutes, Ralph Edwards, the master of ceremonies and creator, seemed to lead bis audience into a world where the demented situations were not only lots of fun, but also the essence of normality.^ Various kinds of prizes were given away on the different stunt programs which appeared on the radio and

^Ben Oross, I Looked and I (»ew York: Ran- House, 1954), P* 321. ^”Radio Insanity,” Life. April 2, 1945, p. Il8. television networks through the years. Couples could win $1,600 for successfully completing a rather difficult stunt on "People Are Funny" In 19^2.• Various types of merchan­ dise were given to participants in "Ladles Be Seated" In

191*. On the television networks, merchandise was given away on "Beat the Clock" In 1950* As long as the contest­ ant could give correct answers, he received a dollar a second on "Dollar a Second" In 1953» Prize awards for correct guesses could pyramid to a total of $50,000 over a period of four weeks, with losers receiving 10 per cent of the amount for which they were trying on "Can Do" In 1956.

Extent ns.e 2L Stunt Programs ^ Radio and TV Networks On the radio networks, only five programs of the stunt program type were presented up to the spring of

1957*^ "Truth or Consequences," "People are Funny," and

"Beat the Clock" were all nigjhttlme programs; and "Ladles

Be Seated" and "County Fair" were daytime offerings. From the fall of 19lj-0 to the fall of 191^2, "Truth or Consequences" was the only such program on the radio

7 Source material Is so scattered that separate foot­ notes for each Item are Impossible. Information found In this section Is primarily from Broadcaatlng-Telecaatlng magazines and "Network Radio and Television Program His- tory" (Ohio State University, 195lf)« 3J+3 networks* Beginning in the fall of 19if2j this program was Joined by **People Are Funny, '* and these two programs con­ tinued as the only two stunt programs on the air until the fall of 1944* when "Ladies Be Seated" was introduced as the first daytime stunt program on network radio. In the fall of 19if5j "County Fair" Joined "Ladies Be Seated" dur­ ing the daytime, making a total of two stunt programs on during the evening hours and two during the daytime.

This arrangement continued until the fall of 191^8 when "Beat the Clock" Joined the two nighttime programs* "Boat The Clock" lasted only one season, and both of the daytime programs were discontinued at the end of the 19^.9- 1950 season leaving "Truth or Consequences" and "People Are Funny" as the only two stunt programs on the air*

"Truth or Consequences" continued on network radio on an off-and-on basis until the spring of 19^6, and "People Are

Funny" was still on the air as of the spring of 1957»

The history of the stunt program on the television network extended from 19^4-8 and "Prize Party*" This was the only such program on network television until the fall of 1950 when it was discontinued and "Beat The Clock" was introduced* "Truth or Consequences" Joined "Beat The

Clock" for the 1950“195l season, but was discontinued at the end of this season, leaving "Beat The Clock" once a- gain as the only nighttime stunt program representative on the television networks* "One In Every Family" was 3i+4 Introducod In the fall of 1952 as the first daytime stunt program on network television,

**One In Every Family** was discontinued after only one season on the air, **Dollar a Second** Joined **Boat The

Clock** during the 1953-1951^ season, making a total of two stunt programs on the air. In the fall of 19514-» **Truth or Consequences'* returned to the television schedules and

"People Are Funny** was Introduced, These two, added to the two which had been on the air during the previous sea­ son, made a total of four stunt programs being broadcast during the 195^.-1955 season. The same four continued through the 1955-1956 season, but the only two remaining on the air as of the spring of 1957# were "Beat The Clock** and **People Are Funny,**

General Popularity of Stunt Programs on Radio and TV iJetworks

The peak season for stunt programs on the different o radio networks was the 19^.7-194-6 season. During this sea­ son four programs of this type — two daytime and two nighttime -- received an average January rating of 19*4. for the two nighttime, and 5*4- the two daytime pro­ grams, according to Hooper, From the first season that programs of this type appeared on network radio, 194^0-194-1#

^The average ratings included in this section were compiled from individual January ratings given by C, E, Hooper, A, C. Nielsen, Pulse, and American Research Bureau, to the spring of 1951» these average January nighttime ratings ranged between a low of 12,3 in January, 1951» to a high of 1 9 in January, 194^8* The average January day­ time ratings from the 19^-5-19^8 season to the spring of

1 9 5 0 ranged from a low of 1|.,0 in January, 1949» to a high of 7,2 in January, 1950, Network television ratings ranged from 8,6 in Jan­ uary, 1 9 5 0, to 27.3 in January, 1953* However, the 1952- 1 9 5 3 season was not the peak season for stunt programs on network television, because during this season there was only one such program on the air. The peak season came during the 1954-1955 season idien four programs of this type were on the air receiving an average January, 1955» rating of 24*4» according to Hooper. From these January averages, it can be seen that stunt programs enjoyed an above average popularity for nighttime programs on network radio, and only an average popularity for daytime network radio and for both daytime and nighttime network television,

STUNT PROGRAMS ON THE RADIO NETWORKS

Stunt programs, by the very nature of their format, were visual programs. However, on radio people were asked to sing, or play a musical instrument, or whistle a tune. Of course, the laughing and general response of the studio 3l).6 audience added a great deal to the effeotlveneea* A stunt might have consisted of a man pushing a peanut across the stage with his nose» There was no sound involved as such, but the master of ceremonies gave a vivid play-by-play running account of what was going on. Ralph Edwards was particularly adept at this.

As far as the extent of use of the stunt programs was concerned, these programs were not too important to the radio networks. However, with the general popularity of both *^Truth or Consequences** and "People Are Funny," and with the publicity both programs received, programs of this type did contribute a great deal to the history of radio network programming»

Out of the five programs of this type presented, two were package produced and three were network produced#

They were generally single sponsored, and there was not a tendency to carry them sustaining while looking for a sponsor. "Ladies Be Seated" was sustaining during its first season, but it was sponsored from then on. On the other hand, "Beat the Clock" was sustaining during its first season, did not get a sponsor for its second, and was discontinued.

There was very little information concerning pro­ duction costs of such programs. Variety estimated that

"Truth or Consequences" cost $10,000 per program, and 347 "People Are Funny" coat $?j500 per program, both during the month of January, 1951.

Individual Stunt Programa on Radio Networks

The following is a chronological program by program listing of the network stunt programs.^ All programs listed are thirty-minute live programs presented once a week unless otherwise indicated.

Truth or Consequences — lQkO-1951; 1952-1954: 1955-1956 This program was broadcast over the NBC-Red network beginning in August of 1940» as a Ralph Edwards production. It continued on the air until the spring of 1951 when it was discontinued for one year. It returned to the air for two seasons, 1952-1954» was discontinued again. It returned to the air once again for its final season on the air, 1 9 5 5-1 9 5 6 . The master of ceremonies was Ralph Ed­ wards, a former announcer for "The Major Bowes Amateur Hour," and the original sponsor was Procter and Gamble. The format consisted of asking contestants either

^Source material is so scattered that separate foot­ notes for each item are impossible. Information found in these program listings was found primarily in Broadcasting- Telecasting. The New York Times. Sponsor. The Houston Post. The Columbus Dispatch» and "Network Radio and Television Program History" (Ohio State University, 1954)* Much of this information also came from the writer's personal observation. 3^8 difficult or Impossible questions and forcing them to pay a consequence for the wrong answer* The chances were that the consequence of a missed answer would be one of those things people dislike to experience even In a nightmare* But the contestants were not merely unabashed; they delib­ erately missed questions In order to take the consequences* Five dollars were paid for consequences, and twenty dollars for best performances* Listeners mailed In questions, but Ralph Edwards thought up most of the consequences, such as washing an elephant, pushing a walnut by the nose, singing a duet with a dog, pretending to woo a live seal, warbling In an electric reducing belt, or proposing to a beau* This program was different from any preceding pro­ gram over presented on network radio* It Included a whole new Idea In network programming. In the fall of 19i*.0, the national radio audience seemed to be ready for Just such an Innovation* This was a time In the history of the world when listeners yearned for a relief from unhappy world news, and a program that accented the Importance of the long-neglected front parlor as a family gathering place was welcomed. **Truth or Consequences" was broadcast over NBC ev­ ery season that It was on the air except one* During the

lOn^o The Top With Mistakes," Newsweek. March 2i\., 19lfl, p. 6 2 * 31^9 1 9 5 0 -1 9 5 1 season, it was broadcast over CBS, This program had several different sponsors during the years it was on the air. Besides Procter and Gamble, Phillip Morris and Pet Milk both served in this capacity. During the program's final season on the air in 1955-1956, it was presented on a multiple sponsorship basis. This was a significant program in the history of radio network programming. Not only was it the first stunt program to appear, but it established a new pattern of programming. It skyrocketed to the top of the audience participation program list and to eighth place among all the nation's half-hour broadcasts during its first season on the air, 191^.0 -191^-1 » with an impressive rating of 18.1^. in January, 1941# according to Hooper, It drew 22,000 letters a week, employed a staff of fifteen persons, and enjoyed a yard-long list of persons waiting to get on the program as contestants,^^ January ratings for ’’Truth or Consequences'* ranged from a low of 11,9 in January, 1951» to a high of 25.7 in January, 1948» according to Hooper.

People Are Funnv — IQliZ- This program was broadcast over the NBC network be­ ginning in April of 1 9 4 2 . It continued on the air, without

^^Ibld., p. 61 . 350 a break, and was still being broadcast in the spring of 1957* Art Linkletter was the master of ceremonies, and Wings Cigarettes was the original sponsor. This program marked Linkletter*s first appearance as a master of cere­ monies on network radio. This was the second stunt program to be introduced to the national radio audience. It was similar to **Truth or Conséquences,** except that there were no questions to answer -- only stunts to perform. Linkletter and his off- mike partner, John Guedel, concocted the program. It was seemingly designed to make a fool out of the average citi­ zen, not only with the citizen's consent, but virtually at his insistence. One participant was willing to kiss a 12 pig for only five cents. Another happily rushed out on a football field and tackled a player while the game was in progress.

Anything could happen on **People Are Funny.** As a result of this, the program carried $100,000 worth of in­ surance with Lloyds in case something went wrong. As an illustration of this possibility, one Friday night in 1 94^ Art Linkletter told a young couple on the threshold of marriage that the chances of their marriage

^**The Madness of People,** Newsweek, October 6, igi|.7, p. 53. 13ibld.. p. A.. 351 being a success were only fifty-fifty, according to cur­ rent statistics, whereas the chances would have been much greater than that one hundred years ago. He then proceed­ ed to outline a stunt that would win this couple $1,000, courtesy of General Electric Company, if everything went well.

John Crosby described this stunt in the following words : The stunt Mr. Linkletter outlined was this : A new movie, whose name I didn't catch, has its setting in an Oregon valley 100 years ago. Since marriages were so successful 100 years ago and since the motion picture com­ pany was paying good money to Mr. Linkletter to publicize its product, Mr. Linkletter decided that it would be a fine idea If this young couple had their honeymoon in the same Oregon valley.iM-

The couple would be outfitted Just like the pioneers of 100 years ago, the bridegroom in a coonskln cap, buckskin Jacket and moccasins, the girl in a sunbonnet, gingham dress and high button shoes. They would drive to the valley In a covered wagon drawn by oxen and pitch their tent beside a bubbling stream.

Incidentally, the $1,000 prize is not theirs Just for taking part in this adventure. They must find it. The first clue to its where­ abouts was a fishhook. The bridegroom must catch a fish with the hook, find the nearest forest ranger and give it to him, and the forest ranger would give him the second clue. The couple must find the $1,000 before Wed­ nesday. After that it will diminish $50 daily.

Romance has always been a highly profitable

^ J o h n Crosby, Out of the Blue (New York: Simon and Shuster, 195^), p. 172. 352 enterprise* and it seems to me that this sort of radio program is the latest phase in the long history of the romance industry. Hence* the sponsored marriage program* which brings you a skillful blend of romance* lavish fits and adventure. It's easy enough to identify oneself with this young married couple who are people Just like you and me. Vicariously* we go along on the Oregon honey­ moon. Vicariously* we are making bread over an open fire, milking the cow overhand and double corstic* and looking for that thous­ and clams. Today the press agent has sup­ planted the author and the script writer as the purveyer of dreams. In the fall of 1951» the program moved from NBC to CBS where it remained until the fall of 19514- when it re­ turned to NBC. The program was sponsored by several different sponsors during the years it was on the air. Among these were Raleigh Cigarettes* Toni Company* and Mars Candy. During the 1955-1956 and 1 9 5 6 - 1 9 5 7 seasons it was presented on a multiple sponsorship basis.

It was a significant program primarily because of its popularity. It did not establish a new pattern* but rather continued a pattern already established by "Truth or Consequences,'* According to available January ratings given by Hooper* "People Are Funny" received an average

January rating of 15*0 for the years it was on the air up to January* 1957* Also* It was included on the top ten most popular radio network programs by Nielsen every Jan­ uary fï>om 1952 to 1956 . It was fifth among these top ten 353 for January, 1952 and 1953» third for January, 195^- and 1955; and tenth for January, 195^.

Ladies Be Seated -- lQkL-iq<0 This program was broadcast over the ABC network be­ ginning in the fall of 19M^« It continued on the air, without a break, until the spring of 1950» ^ East was the master of ceremonies, and the program was sustaining during its first season on the air. This was the third of the stunt programs to be in­ troduced to the national radio audience. The basic format was that of interviewing and playing games with the pre­ dominantly female studio audience. It was a fun program which moved fast and was exciting. It was similar to

**Breakfast with Breneman, ** which was introduced during the

same season,but Olson placed much more emphasis on the stunts performed by the ladies than did Tom Breneman. East did not occupy as much of the time of the program with human interest interviewing, but turned most of the time over to the ladies who performed, Johnny Olson be­ came the master of ceremonies in 19i^-7 « **Ladies Be Seated** was the first stunt program to be presented during the daytime. It continued as a five- day-a-week feature all the time it was on the air.

l5see **Breakfast with Breneman,** p. 7^» and **House Party,** p. 8l. 3 ^ Although it was sustaining during its first season on the air, Quaker Oats Company took over the sponsorship in June of 19^5* They continued as the sponsor until the fall of 19^^, when Phillip Morris took over in this capacity. This program was below average in popularity. It received January ratings which ranged from 3*3 in January, 19l|.6, to a high of i^*9 in January, 19^.8, according to Hooper. These could not be considered as good ratings even for a daytime program.

County Fair — 19!i5-1950 This program was broadcast over the CBS radio net­ work beginning in December of It continued on the air, without a break, until the fall of 19^0. Win Elliott was the master of ceremonies, and the Borden Company was the sponsor. This program was designed as a burlesque of the different give-away programs which were on the air at the same time. It was probably the most fantastic of all the programs of this type. There were no questions. Partici­ pants simply drew their stunts out of a container. **Sell like hot cakes," made people stand on street corners and sell hot cakes. "Punch your way out of a paper bag," gave the contestant a paper bag the size of a telephone booth. All of these stunts were tested before the program on a 355 prop girl. If the prop girl could do them without trouble, they were put into the program. Probably the most publicized stunt was that of a boy having to lift a calf on each program, week after week. Suspense was built about how long this boy would be able to continue doing this as the calf grew into a cow. "County Fair" originated as a daytime program pre­ sented each Saturday afternoon. In the fall of ig^S it was moved to Wednesday nights, but in the fall of 19^9* it was moved back again to Saturday afternoons. This change back to daytime programming came prob­ ably as the result of the low January rating received dur­ ing the season it was presented on Wednesday nights. Its daytime January ratings ranged from l|.*9 in January, 191^6, to 9"9 in January, 1950, according to Hooper. Interesting­ ly enough, it received a daytime rating of 6.0 in January, 191^6 , and the following season, when it was presented at ni^t, it received exactly the same January rating — 6 .0 — according to Hooper. Such a rating was considered good enough for a daytime program, but certainly not good enough for a ni^ttime presentation.

Beat ClQQk — 19k8-19k9

This program was broadcast over the CBS network be­ ginning in the fall of 19kB* It continued on the air for only one season. No information was available concerning the master of ceremonies, but the program was sustaining. 3^6

This was a stunt program In which married couples competed against the clock In trying to accomplish various difficult stunts^ such as catching apples tossed to them with Ice picks or tossing plngpong balls Into a glass tied to the top of their heads. If a participant could accom­ plish one of these feats before the time ran out, he won a valuable piece of merchandise.

Fo other Information was available.

STUMT PROGRAMS ON THE TELEVISION NETWORKS

With reference to ''•Truth or Consequences,** Ralph

Edwards said:

From the time the show first went on the air over ten years ago, we knew we had a Number One television show, but we also knew that It could not be simulcast.lo On the air for ten years we have aimed our stunts at a listening audience and thrown out stunt after stunt because It was too visual. These stunts were filed against the day of television.

Most stunts were more visual than aural. For this reason, programs of this type were naturals for television.

The use of charades and the identification of celebrities whose features were disclosed a little at a time by means of a roller shade, both of which were used In "Prise

John Crosby, Out of the Blue (New York: Simon and Shuster, 1952), p. 158. 357 Party,** gave programs of this type an excellent **visual** beginning on network television*

There were also visual stunts on **Beat The Clock,**

such as a contestant having to undo himself from a

straight jacket within a certain time limit, or a contest­

ant having to rearrange words which had been mixed up on a magnetic board into a meaningful and wall known state­

ment*

The **out side event** in **Dollar a Second** was always

something of a visual nature such as a man pumping up a

large balloon until it exploded. In **Can Do,** participants had a choice of pushing

either one of two buttons, one lighting up a sign saying **Can Do,** and the other lighting up a sign saying **No Can Do.**

Compared with human interest programs and studio

quiz program, stunt programs were not too important to the

development of network television programming* Only eight programs of this type were presented on the different

television networks up to the spring of 1957# Five of these programs were network-produced, and three were pack­ aged* All but two of them were sponsored* "People Are

Funny" was the only one which had more than a single

sponsor*

According to Variety* "Beat the Clock" increased in production coat from #^,000 per program in January, 1951# 358 to $17,500 per program in January, 1958. Sponsor esti­ mated the production cost at $13,000 per program in Janu­ ary, 1 9 5 7 . VarletT gave such estimates as $15,000 per program in January, 1951; $12,000 per program in January, 1955; and, after going on film, $21,000 par program in January,

1 95 8 , for **Truth or Consequences.**

Production costs for "Dollar a Second" were esti­ mated by Variety to be $10,000 per program in January,

I95I4-; $ 12,500 per program in January, 1955; and $23,000 per program in January, 1958. .

"People Are Funny" had production costs of $12,500 per program in January, 1955, and, after it went on film,

$2i*.,700 per program in January, 1958, according to Variety.

Sponsor estimated the January, 1957, production costs to be $21^,000 per program, still on film.

Individual Stunt Prograaa m Television Networks

The following is a chronological program by program listing of the network stunt programs. All programs^^

^^Source material is so scattered that separate foot­ notes for each item are impossible. Information found in these program listings was found primarily in Broadoa*tlnw- Telecasting. The New York Times. Sponsor. The Houston Post. nmiimbTTa Plspatoh. Radio-TV Dally. The Ross Reports, and "Network Radio and Television Program History" (Ohio State University, 1951^). Much of this information also came from the writer's personal observation. 359 listed are thirty-minute programs presented once a week unless otherwise Indicated.

Prize P a r t j — lQk8-1950 This program was broadcast over the CBS television network beginning In the fall of 191^8 • It continued on the air for two seasons, leaving the air in the spring of 1 9 5 0. Bill Slater and Mlnnahaus Lewis were the master a^d mistress of ceremonies, and The Messing Company was the sponsor. This was the first stunt program to appear on the television networks. It was not simply an adaptation of an earlier network radio program, as were so many of the other television programs of this type, but was originally created for television. It was known by many viewer's as "Messing's Prize Party.** Slater and Lewis acted as host and hostess. Each championed a team, chosen from the stu­ dio audience, against the other. After a definite number of rounds of parlor games, charades and tricks, the losing aide was replaced by a new one for the next series of games and contests. The winning team remained on stage until defeated. A later feature of the show was the Iden­ tification by studio participants of celebrities whose features were disclosed a little at a time by means of a roller shade. The program was actually a coniblnatlon of the 36o earlier network radio stunt programs "People Are Funny," n A "Truth or Consequences," and "County Fair," This program was significant because it established a new pattern for network television programming• It was the first program of its kind to use such things as cha­ rades and stunts for a national television audience. "Prize Party" was either ahead of its time in re­ spect to the national television audience or it simply was not well enough structured, because it received a low nighttime rating of 6.6 for January, 1950, according to Nielsen*

Beat The Clock — 1950 This program was broadcast over the CBS television network beginning in September of 1950. It continued on the air, without a break, and was still being broadcast in the spring of 1957, Bud Collyer was the original mas­ ter of ceremonies, and Sylvania was the original sponsor* Collyer was a well-known network announcer through his interview-commercials for Phillip Morris Cigarettes on network radio* Here was the first stunt program to be presented on network television as an adaptation of an earlier network

1A See "People Are Funny," p. 3^9* "Truth or Conse­ quences," p. 3 )4.7 ; and "County Pair," p. 35)^, 361 radio program of the same name. The basic format re­ mained unchanged in its move from radio to television* Married couples competed against time in trying to accom­ plish various stunts. Those who acconç)lished these stunts were awarded merchandise* For this television version, stunts were made more visual, as was pointed out earlier. 20 Two stunt men, Frank Wayne and Bob Howard, got their ideas by looking in store windows, examining new gadgets in hardware and spe­ cialty shops, observing some funny incident on the street; 21 or sometimes the stunt came right out of the blue* Each of them brought ten stunts to Bud Collyer, and each stunt was tested half a dozen times before being used on the air* "Beat The Clock" enjoyed several years of popular­ ity, although its first season on the air was not too good*

It received a low nighttime Nielsen rating of 12.0 in Jan­ uary, 1951* But from that first season until the 1955" 19 5 6 season, it received January Nielsen ratings ranging from a low of 20.3 In January, 1956, to a high of 27.3 in January, 1952* The program received a Pulse rating of

11^.14. in January, 1957»

^^See "Beat The Clock," p* 355» ^^See page 35 6 .

21»0ulck Trick*," Ajwrlcaa Maga»in*. March, 1955, p. 57. 362

Sylvania was the program's sponsor every season but

the 19^6-1957 one. During this season Hazel Bishop took over as sponsor.

Truth or Consequences — 1950-1951: 195k-1956; 1956-

This program was broadcast over the CBS television

network beginning in September of 1950, as a Ralph Edwards

production. It continued on the air until the spring of

1951* when it was temporarily discontinued. It returned

to the air again on May 18, 1954-* and continued until September 28, 1956, when it was discontinued again. It

was returned once again to the air on December 31, 1956, and was on the air in the spring of 1957# Edwards was the master of ceremonies until he replaced himself with

Bob Baker in December, 1956. Edwards was well known as master of ceremonies of the earlier network radio version 22 of the program by this same name. The program was originally sponsored by Phillip Morris.

One of the most popular audience participation pro­

grams since its debut ten years earlier on network radio,

this program was based on an old parlor game in which the player had to answer questions posed by the quiz master

or pay a forfeit. Visual interest was added to the setting and the stunts were used for their visual effectiveness.

22 See "Truth or Consequences," p. 34-7# 363 but otherwise this television version of the earlier net- work radio program was the same as it had been on radio*

Beginning in the fall of 19^* Old Gold Cigarettes took over the sponsorship, and continued In this capacity until September, 19^6* From December, 1956, through the spring of 1957, the program was sustaining*

**Truth or Consequences” received above average and better ratings* In January, 1951» it received a li^.7, according to Nielsen, which was not considered much better than average for a nighttime program* But in January,

1955» after being absent from the television networks for several years, it received a 26*9» and in January, 1956, it received a 2 6 .1^., both according to Nielsen, The pro­ gram went on film in September, 1956*

On» Iq EveTV Family — This program was broadcast over the CBS television network beginning in the fall of 1952. It continued on the air for only one season* No information was available concerning the master of ceremonies, and the program was sustaining.

Here was a question and answer type of stunt program in which members of families who were outstandingly differ­ ent were showcased by having to perform various stunts*

23see Ibid. 361). This was the first stunt program to be presented on network television during the daytime. It was sched­ uled for six days a week in the morning.

No further information was available.

Dollar a Second — 19^1-19^6

This program was broadcast over the DuMont televi­ sion network beginning in September of 1953* It continued on the air until the spring of 195^* Jan Murray was the master of ceremonies* and Mogen David Wine was the spon­ sor, Murray was a well-known comedian and master of ceremonies,

Although this program was based on the studio quiz idea, because of the element of contestants' working against the second sweep hand of a clock, and the element of the parlor game atmosphere of the ** out side event,** it was considered here to be among the stunt programs. There was much more comedy-partIcipation involved in this pro­ gram than there were serious questions and answers.

The format consisted of a series of fairly easy questions which the master of ceremonies asked contestants.

As long as a contestant could give correct answers he re­ ceived one dollar for each second he could stay In front of the camera in the game. As one feature, there was an

"outside event" going oh during each contestant's series of questions. This "outside event" consisted of such things as the arrival of a late train at a station or the 365 filling of a fifty gallon drum with ping-pong balls. If this "event** happened or was completed while a contestant was participating, he lost the money.

On this show, quiz questions were always asked of a wife. If she missed a total of three, questioning

stopped, a curtain was drawn, and her husband was on-stage

in a situation threatening to dunk him in water. As a rule, the technique was used of having three ropes. The wife had to untie or cut one. If that was the one holding

the husband up, he fell into the water. But the chances were two in three that it was the wrong one.

The program moved from DuMont to ABC-TV in the

October of 195^» where it remained for the rest of the time it was on the air.

It received only average ratings during the time it was on the air. According to Nielsen, it received rat­ ings of 11.6 in January, 1953+; I6.9 in January, 1955* and

15.9 In January, 1956.

People Are Funnv — 1Q5L.-

This program was broadcast over the NBC television network beginning in the fall of 1951+* as a network pro­ duction. It continued on the air, and was still on the air in January, 1957* Art Linkletter was the master of ceremonies, and it was sponsored by the Toni Company and

Paper Mate Pens during this first season. Linkletter was 3 6 6 well known for his work as toaster of ceremonies of this

same program earlier on network radio,

This television version of an earlier network ra­ dio program was based on the same format as used earlier on radio. It was a program of stunts and prises, with the objective of the master of ceremonies being to show Just how funny people really are. Visual interest was

included through the use of stunts, such as two people atten^ting to eat the same marshmallow, at the same time, each working from an opposite side.

This program was even more popular on network tele- vision than it had been on network radio. It received such Nielsen ratings as 25,1 in January, 1955# and 31*2 in January, 19^6 , And, in January, 1957# it received a 20,8, according to Pulse,

Choose Ü2 Sides — 1^56-1956 This program was broadcast over the NBC television network beginning in January, 1956, as a Ooodson-Todman production. It lasted only a few months, leaving the air in the spring of 1956, Gene Rayburn was the master of ceremonies, and the program was sustaining, Rayburn was a well-known network announcer, particularly on the Steve Allen program **Tonlght,"

^^See People Are Funny,** p, 3t**9« 3 6 ?

This was the first stunt program to be presented only once a week at Saturday noon. It was also the first

such program to feature children as participants. The program was designed for children. Two four-member teams of children competed in doing stunts.

No further information was available.

Can Do -- 19^6-19^6

This program was broadcast over the NBC television network beginning on November 26, 195^# as & Joe Cates production. It had probably one of the shortest careers of any of the audience participation programs, leaving the air on December 31, 1956, Robert Alda was the master of

ceremonies, and Revlon was the sponsor* Alda was an actor well known to both television and movie audiences.

Contestants did not have to be experts on anything,

since they won prizes for guessing correctly whether or not famous personalities could perform certain stunts with their known or avocational skills. Guesses were made by pushing one of two buttons which indicated the guess, ”Can

Do,** or **No Can Do,** Prize awards for correctly guessing might pyramid to a total of $50,000 over a period of four weeks, with losers receiving 10 per cent of the amount for which they were trying. As an example of one of these stunts, Leo Durocher appeared on the first program and at- tengpted to sink seven pool balls in a row. The contestant 368

guessed he could, but he could not*

No further Information was available*

General Evaluation df Stunt Programs on Both Radio and

Television Networks

ConQ>ared with both human interest and studio quiz

programs, stunt programs did not play an important role

in the history of network programming* They are to be

compared with telephone quiz programs in their importance*

They were few in number, but there were enough programs of the type, outstanding for their popularity, to warrant

their consideration* Actually, the television networks

contributed very little in originality by way of stunt

programs* Most of the really outstanding stunt program

successes ware simply television adaptations of earlier

radio programs* The few which were actually originated on the television networks did not last too long#

Programs of this type reached their peak in impor­

tance on the radio networks during the 19^-7-194^8 season, with a total of two on the air in the daytime and two at

ni^t, having a daytime January rating average of 5*4» and

a nighttime January rating average of 19*4» according to individual ratings given by Hooper.

On the television networks, stunt programs reached their peak in inqïortance during the 1954“2-955 season with a total of four such programs on the air and an average 369

January rating of according to Nielson*

Out of the eight stunt programs presented on tele­ vision networks, one lasted only one season, two lasted less than one full season, and one lasted only two sea­ sons* If it had not been for the fact that ”Beat The

Clock,” "Truth or Consequences,” and "People Are Punny" were relative successes, this would have been a poor record for any program type*

The major difference between the stunt program format as it Was used in the spring of 19^7» and the ori­ ginal format used back in 19li.O lay In the absence of any questions and answers In the spring, 1957» model. Origi­ nally, on "Truth or Consequences” back in 19^0* contest­ ants were asked questions* In the spring of 1957» in the only two stunt programs which were on the air on network television, "Beat The Clock" and "People Are Punny;" and in the only stunt program which was on the air in network radio, "People Are Punny," no questions were being asked*

These programs consisted of stunts and tricks only*

Also, stunt programs originally were designed to be heard rather than seen* On network television, in the spring of 1 9 5 7 » these programs were designed to be seen as well as heard. CHAPTER X SUMMARY AND CONCLUSIONS

Because of the strong con^etltion which existed between networks* and because national advertisers were willing to spend large sums of money on network programs, the period between 1930 and 1935 saw the development of more new program forms than any other five year period In network broadcasting history* This was the period during which audience participation programs were first Intro­ duced on the national networks through the human Interest type of program. The program, "Court of Human Relations," appeared In the NBC program schedule of January, 193^* marking the first appearance of real people being given an opportunity to appear on the network as unrehearsed non-professional stars In a real-life drama*

Prom this human Interest type of beginning In 1934 to the present, audience participation programs have gone through several Important modifications* Following the human Interest type, the studio quiz type was Introduced with "Professor Quiz" In 1937» The telephone quiz type of program was Introduced with the semi-variety program, "Pot 0* Cold," in 1939» And finally, "Truth or Consequences" introduced stunt programs in 1940* marking the final major modification of the general form* 370 371 The audience participation type la inQ>ortant be­

cause of its wide use in both radio and television net­ work programming. This program type was both popular and

inexpensive compared with most of the other general types.

This importance, however, varied according to whether or not the type was presented on radio or television networks.

Also, there were certain external factors which limited

this importance from time to time.

Human interest, studio quiz, and stunt programs have enjoyed more importance on television networks than

they did on radio networks; while Just the opposite was

true with telephone quiz programs. Telephone quiz pro­

grams were never too important on network television. Ap­ parently they were not as visual as were the other three types. Two major external factors caused a decline in im­ portance for audience participation programs on radio net­ works. First was the introduction of the Wartime Code of

Practices in January of 19^2, and second was the intro­ duction of network television in the fall of 19li-9 * Several audience participation programs originally scheduled during the evening hours became important day­ time programs. Originally, all audience participation programs were scheduled at night, but through the years several took places of importance in daytime network sched­ ules. In radio networks, this daytime importance took 372 plaça around 19k.$; and in network television it began around 19514-- We have seen that the audience participation con­ cept, represented in various program types, became a significant element in network programming* Now, the major question is why. Any meaningful answer to this question must be approached from two standpoints. First, from the stand­ point of the sponsors; and second, from the standpoint of the listener or viewer.

For the sponsors, the answer was chiefly one of economics. A weekly budget of $2$,000 was large for even a leading studio quiz program until it was compared with

$100,000 for a variety program which didn't rank appreci­ ably higher in the audience survey ratings* Average production costs for nighttime audience participation programs on network television ranged from

$7>235 per program in January, 195l> to $29>250 per pro­ gram in January, 1957; and for daytime programs ranged from $700 per program in January, 1951> to $7>250 in Jan­ uary, 1957*^ These production costs might be compared with a range for comedy-varlety from $li*.,000 per program in January, 1950, to $99>125 per program In January, 1956; or a range for prestige drama from $12,875 in January,

^See Table VI, p. 1^.5 373 1950, to #60,827 in January, 1956. Costs of audience participation programs ware rel­ atively low because the production setup was relatively simple. Active participants, other than non-profess1on- als, were limited to a master of ceremonies, a director, an announcer, an office staff of research workers and sec­ retaries, perhaps a gag writer, and possibly a few musi­ cians. There was normally not much rehearsal time, because often much of the program material was not written In advance.

Perhaps it is an over-simplification to state that people liked programs of this type, but average January ratings in both the radio and television audience partici­ pation programs from 1934- to 1957 would suggest that this 2 was the case. Also, aside from these average January rat­ ings, the popularity of such programs as "This Is Your

Life," "The #61^,000 Question," "Stop the Music," and "Truth or Consequences" indicated that people liked programs of this type.

As was indicated in the different program descrip­ tions, the popularity of audience participation programs was in direct proportion to the demonstration of showman­ ship; equal good Judgment in selecting colorful.

^See Table I, p. 3l|.; Table II. p. 35; and Table V. p. kh* 37if interesting participants; genuine sympathy and comparable suspense -- In other words, entertainment.

In general, programs of this type have been popular because of one basic appeal found in all of the various representative program types. This was the appeal called human interest. As Gilbert SeIdes has said: "People are Interested in people."^ It was primarily the interest

that one person had for another that accounted for the popularity of the audience participation concept. Moreover, this basic appeal included more than simple interest. - It also included a basic emotional par­ ticipation between the audience and the non-professional participant, whether that participant suffered from social or financial hardships, questions to be answered for large sums of money, or extremely difficult or embarrassing stunts which had to be performed. As Gilbert SeIdes would have it, it also included "the relief one feels at hearing again the simple accents of a human being, no matter what he may be saying."^

As was indicated in the descriptions of the various programs in this study, programs of this type escaped broadcasting's morbid fear of the possibility of putting

^Gilbert SeIdes, The Great Audience. (New York: The Viking Press, 1951)» P* 1 8 ^ ^Ibid.. p. 205. 375 an impropriety on the air* The producers took a chance on the decency of ordinary people* They ran the risk of dullness or silliness; but if dullness or silliness came, it at least came naturally and spontaneously* In most of its programs, broadcasting seemed to establish a pattern of departure from everyday living* First, the human voice and the tonality of the individual who appeared on the air professionally were changed; sec­ ond, the words they used were changed and became more for­ mal; third, the ideas and emotions were not the same, un­ til an entirely unreal personality, lacking all the char­ acter of the original was projected* This did not happen to those non-professional participants in audience parti­ cipation programs who were presented simply as themselves, in their own right. The audience at home recognised these differences from "professional showmanship" and responded accordingly. There were two other basic audience appeals that were found in this study to be present in all audience participation programs. These were the appeals of comedy and conflict. When exploring the possible reasons for the popularity of programs of this type, it was interesting to note that these two appeals, along with the basic ap­ peal of human interest, were almost universal as far as the audience was concerned* Most people are in one way or another interested in 376 struggles, contests, or conç>etltion of some kind. The appeal of conflict was, of course, stronger in the quiz programs but it was also present in human interest and stunt programs when the element of uncertainty about the outcome was also present — when conflict reinforced by suspense was included. Comedy is probably the moat universal of all of the basic audience appeals. Practically all types of listen­ ers enjoy laughing — sometimes at the mistakes or weak­ nesses of others. This appeal was stronger in the stunt programs, but was also included in quiz as well as human interest programs through certain individual programs. As was indicated in several of the program descrip­ tions, human interest type programs also included the ap­ peal of emotional stimulation, as well as the appeal of importance when outstanding guests were presented. Quiz programs also included the appeal of importance, and also the appeal of information. Studio quiz programs were by far the most important of the audience participation type included in this study, not only from the standpoint of actual number of programs presented but also from the standpoint of over-all popular­ ity, This was found to be true both on the radio and the television networks. There were more studio quia programs presented on the radio networks alone than there were all of the other three types combined on both radio and 377 television networks* There were a total of ninety studio quiz programs presented on both radio and television net­ works compared with a total of fifty-eight of the other three types* Programs of the studio quiz type have been popular for a number of different reasons. They include the basic psychological appeal of making every member of the listen­ ing or viewing audience, in a sense, a contestant* The audience matches wits with the contestant* There is nor­ mally a strong sense of involvement on the part of the au­ dience* Besides the human interest values, there are also dramatic values of big money prizes for contestants* In addition to human interest, comedy, and impor­ tance through the use of outstanding guests, studio quiz programs also include other appeals not provided in other types of audience participation programs* These addition­ al appeals were mentioned in the findings of the "gratifi­ cation study" conducted by Dr. Herta Herzog with regard to the studio quiz program, "Professor Qulz*"^ As the interviews in this study indicated, there were four main types of appeals to be found in the quiz program: (1) the conq)etitive appeal; (2) the educational appeal; (3) the self-rating appeal; and (i^) the sporting

^Paul F. Lazarsfeld, Radio and the Printed Pace (Hew York: Duell, Sloan and Pearce, l^oT, p. 378 appeal,^ There was, above all, the competitive appeal, or conflict - whatever It Is that makes the prizefight more Interesting to the average citizen than the lecture. The competition was twofold -- the actual duel at the micro­ phone between contestant and master of ceremonies or be­ tween two contestants; and the "shadowy" strife between contestant and listener. The satisfaction, the feeling of superiority. In answering a question that someone else cannot answer was undeniable. Although In each of the Interviews In the "Profes­ sor Quiz" study the Interviewees mentioned competition as an Incentive to listen to the program, this appeal was not the Incentive that was most emphatically stressed.^ What was mentioned by all but one of the twenty persons Inter­ viewed and was stressed by the majority as most Important, was "education." Of these twenty persons interviewed, only fifteen said that the contest added to their enjoy­ ment, but all twenty said they considered the program edu­ cational. The educational appeal even entered Into their enjoyment of the competition. Listeners indicated that they enjoyed the competition as a means of expressing their resentment against those who were better educated than

. p. 65- 7Ibid.. p. 73. 379 they* It might be argued that the reasons given for the appeal of "Professor Quiz" were valid only for listeners found in a lower socioeconomic group, since this was the group studied by Herzog* That this was not the case was evidenced by a separate study of "Professor Quiz" listen­ ers conducted in the town of Swathmore, New Jersey, by Û N* D. Piper. Piper interviewed fifteen people, and all except one were members of the upper middle class living in a suburban, residential area* Here again the "educa­ tional value" of the program was stressed by twelve of the fifteen respondents* From all indications the Swathmore middle-class quiz listeners listened for the same general reasons as the Jersey lower-class quiz fan* According to these studies, then, the educational appeal of quiz programs appears to have been an important reason for their popularity. Whether or not these listen­ ers were actually able to remember the answers to questions which were included in "Professor Quiz" was not tested* Of more importance, however, was the fact that the educa­ tional value of the program seemed to consist of scattered and unrelated bits of information* Interviewees unani­ mously insisted, in both studies, that the quiz inforsmtlon

^Ibid*. p. 380 was **dlvorsifled knowledge** as compared with the concen­ trated knowledge acquired through other agencies of edu­ cation, The quiz program was liked because it made one familiar "with new topics,** not because it increased knowledge about topics whose place in a general system of knowledge was already defined before **Professor Quiz" was Q tuned in, ^ Furthermore, quite independently of con^etition with the actual contestants and of comparison between the listeners* and the contestants' ability to answer ques­ tions, each program was interesting to the listener as a means of *'finding out about myself,**^^ Allegedly this angle was more Important to almost all of the interviewed people on both studies than was their score as compared with the scores of the contestants. The third appeal found in the Herzog study was called self-rating, A good quiz score was likely to com­ pensate a listener for the things he had failed to accom­ plish in actual life. Not only did the unsuccessful lis­ tener in the sançle group enjoy showing off before his ad­ miring family, not only did the woman dissatisfied with her inferior education like to find out that she was as smart as the educated people, but a good score was likely

, p, "îSm ^Qlbid,, p, 83 . 381 also to relieve one of a feeling of guilt about having been too indolent, The sporting appeal was less frequently mentioned and was probably of minor importance compared with the others in the Herzog study. 12 This appeal was similar to the conflict appeal. There were essentially three types of interest in the program as a contest between other people. First, by picking a potential winner a listener could show how good a judge he was. Second, the contest­ ant selected as a probable winner might have been a sym­ bol of the kind of person one wanted to win. Third, the blunders the contestants made in answering questions could be enjoyed objectively» The typical ** Prof essor Qui*** listener, therefore, was sketched as an individual who envied the college grad­ uate and yet liked to feel that he, the average man, was just as good. He acquired information to increase his social status and to "improve** himself; but the informa­ tion he sought was disjointed, unrelated, and unsystemat­ ic, It was preferred so because he did not know how to undergo the intellectual discipline necessary to learn any other way, "Education** to him was rationalised to mean

p . 8I4..

^Ibld.. p. 87 . 382 the passive absorption of anything which happened to be presented.

CONCLUSIONS

Prom the various facts which have been presented In this dissertation, certain conclusions can be drawn. There were certain factors which were not them­ selves constant In the extent of their Influence on the development of audience participation programs, but which were constantly at work In determining what individual programs were presented on the various radio and televi­ sion networks. These factors Included the availability of talent and program material, production costs, program popularity, and external factors over which the networks had no control. These factors Influenced the development of particular program types, as well as Individual pro­ grams within these types. The extent and Influence of these factors changed from time to time as changes or developments occurred within them. Individual programs of the audience participation type gained In popularity in direct proportion to the com­ bination of showmanship* human interest combined with con­ flict, integrity, and suspense. The key to the success of

^^Ibid.. p. 91. 383 a program of this type was In the people selected as participants* Audience participation programs have been important in the history of network broadcasting because they were widely used as a result of their relative popularity and low production costs* They developed as a natural conse­ quence of the economic development of the broadcasting industry. Although, in general, it was true that the popular­ ity of any audience participation program depended on the nature and the strength of certain basic audience appeals, changes took place in the way in which exactly the same program was received by the public -- changes on a year- to-year basis* Every program tended, in time, to lose in popularity as it lost its freshness and novelty and the public tired of it. This loss was sometimes rapid and sometimes gradual* It was sometimes arrested by making some change in the program* Some programs changed master of ceremonies*^ Some increased the amount of money given away*Some added well-known personalities as guests* These real people programs were created by the

^ S e e "Two for the Money," p* 285; "Big Surprise," p* 299; and "The $61^,000 Challenge," p* 301* ^^See "Break the $250,000 Bank," p* 308. ^^See "Strike It Rich," p* 277. 381). broadcasting industry. They have become a broadcasting staple. Since radio network programming is becoming more and more daytime programming with ençihasis on low coat production, and television network programming is eoqihaslz- ing low-budget offerings, particularly those with small casts and sinçile settings, there is every reason to assume that audience participation programming will play a major role in the future of network programming.

Future Possibilities

The future offers only the sky as the limit for audience participation programs. But, there will be a danger which must be faced squarely by the industry and the advertising men. This dissertation indicates that the record of advertising men has been bad in one all-inqjor- tant respect. More than any other group concerned with programming decisions, advertisers and agencies have attenç>ted to play safe by following the leader. This has been the case with human interest programs, telephone quiz programs, stunt programs, and above all with studio quiz programs. Advertiser follow-the-leader tactics created the plethora of big-money give-away programs. What might have been a healthy programming trend in which several quiz innovations became established for the long haul instead became a short-term circus. During the 385 1958-1957 period, many of the studio quiz programs which were introduced on the television networks faded away rapidly because too many Jumped in with too little except the concept that a lot of money bought audiences* This is the inevitable consequence of Imitation, and it can do grave damage to the future development of television pro­ gramming* Because of the promise of relatively high ratings and relatively low production costs, studio quiz programs will continue to hold an important role in television net­ work programming. There will be more programs of this type, with bigger give-aways, before there are fewer -- but there will be fewer eventually. One needs only glance at network radio of ten years ago. In 19^8, when the radio give-away craze was at its fullest, at least a million dol­ lars* worth of prizes were distributed* In the sumnrar of that year, no fewer than forty-eight give-aways were regu­ larly scheduled on the radio networks* And, as was shown in this paper, on so rich a dist, listeners became Jaded, and the give-aways virtually disappeared* Also, the PCC's raising the question of whether give-away programs were r lotteries made sponsors caut^ious, and this undoubtedly con­ tributed to the decline of the give-away program on radio, as did the rapid rise of the importance of television.

In the summer of 1955# "The $61^,000 Question" 386 ushered in another era for the big-money give-away pro­ grams* Those programmers who attempted to compete with this program by singly increasing the amount of money given away missed the point. They found that it was not the size of the prizes alone that made a quiz program a success; it was the people themselves, the human stories which unfolded naturally in the attendît to win. As the saying went, **One hundred dollar bill is just like another,” For all their mastery of the situation, studio quiz program producers seemed helpless before the major ailment which afflicted most of their programs. In the fall of 19^6 the sum of $6i|.,000 no longer inspired audiences' awe. Producers arbitrarily began changing their own rules in order to allow contestants to win more money and stay on the program for a longer period of time. Moreover, a kind of inflation also hit the contest­ ants, Instead of a kind of ordinary people who struck a responsive chord in viewers, they became narrow special­ ists with photographic minds.

Propaganda Uses Real individuals valued for their own sakes have been infiltrating the national radio and television net­ works since 1934^ These central performers on audience participation programs represent a major discovery by a 387 democratic form of broadcasting. As one listens to and watches these ^average Amer­ icans'* year after year, one comes to notice a fairly con­ sistent pattern. The unpredictable variety of these non­ professional performers is restrained by certain unspoken rules. These are mostly in the nature of taboos, indicat­ ing the dimly sensed outlines of an American social code, Shy or especially dignified citizens eliminate themselves by not volunteering to appear on audience par­ ticipation programs. Those who do volunteer know they have asked for it. And, once in the limelight, these ’’average Americans” rarely recoil, rarely show signs of standing guard on their own privacy. They do not clothe themselves in drama. Without legally actionable reproach, they open the books of their lives. On some programs of this type they may be asked to take off their clothes and allow themselves to be dropped into a tank of water. This attitude is most striking if one compares it with a counterpart in other countries. To the average European, large areas of his private life are his own busi­ ness, and could not possibly interest an audience of stran­ gers, This European might be disturbed by having to an­ swer the question of whether his wife eats in bed, or how

17 David Cart, '*Th, All-American Act," Harper - •toy, 1952, p. 93. 388 often he helps with the house cleaning. However, the American does not seem to feel that his individuality is at stake. Here it is that a great mistake about Americans is made. The American seems to be still widely regarded by the rest of the world as a mechanical specialist with his robot gaze rivoted on a machine, tense and self-centered, lazy and arrogant toward people so unfortunate as not to possess machines of their own. This complete, and even dangerous, misunderstanding about the American has not been corrected by much of our propaganda about democracy. Yet, we are reminded that there may be something wrong in this picture, by the relaxed, matter-of-fact, and friendly personalities who have appeared on audience participation programs for the past several years. It is here that the audience participation type of program could serve as an excellent tool of propaganda, especially through the use of human interest and stunt type programs. Exposing more and more people abroad with more and more programs of this kind would correct most of these misunderstandings. Such exposure would help foreign audiences gain a clearer and more accurate understanding of the "average American" as a real human being. The im­ portance of such communication between countries of the world in this age cannot be overestimated. 389 Educational Uses The audience participation program has been used exclusively for entertainment. The producer of a program of this type has seen himself neither as sociologist, educator, nor mind improver. He has been in the enter­ tainment business. However, it is the opinion of this writer that such programs, particularly those of the quiz variety, should open a fresh field of investigation for the psychologist and educator. The quiz program can be used to influence people ”to know more things, to be thoughtful, to have respect for ideas and knowledge," if it is properly de­ signed. It is possible to promote a deeper respect than comes to a person when he sees someone winning a huge jackpot prize by answering questions of fact. There is another kind of respect for ideas and knowledge -- and the cultural and moral and spiritual development which these programs can bring. Next to the competitive spirit as a factor in quiz program development was the popular desire for self-im­ provement. It was not the classical approach to education, but it had its advantages for those who retained informa­ tion easily, and a certain interest even for those who did not. On most of the quiz programs, questions and answers represented a prodigious lot of miscellaneous information 390 -- history, geography, sports, literature, music, and science, in Just about that order. Necessarily the facts were unorganized, but as was indicated in the **Professor Quiz** study, followers of these mass-appeal programs pre­ fer interesting factual tidbits of information, and many of them admitted that they stored them up for conversa­ tional purposes. The tags and smatterings of unrelated information that come from quiz programs are not, of course, a substi­ tute for well-rounded scholarship. But, they have some­ thing in cpmmon. They are both rooted in the same instinct of curiosity. In quiz programs, we have a content comparable to printed matter, which reaches large strata of the popula­ tion on the lower cultural levels. We can assume, off hand, that many of the listeners to these programs do not read comparable subject matter, because the number of these listeners is greater than the number of serious readers in America.. These programs are commercially spon­ sored, for the most part, and therefore they evade the influence and even the interest of the educator. Yet, through them radio and television convey information to millions of people daily. If standards were set up for these programs, if experiments were made to determine their effect, and if they were integrated into planned adult education, they could be one form In which radio and 391 television networks could supplement print in serious communication. The inç)ortance of bringing such possibi­ lities strongly to the attention of responsible agencies is evident. Paradoxically, the programs from which people claim to learn most are put on the air by advertisers rather than educators. Just at the point where radio and televi­ sion really supplement the functions of reading, respon­ sibility lies outside the hands of the educator. Many educators apparently feel that such programs are below their dignity. Yet, studies such as the **Professor Quiz" one indicate what listeners want and how they can be reached in large numbers. Why not improve the standards of such broadcasts and still use the appeals which have proved so effective? Hero the radio and television net­ works could take a significant step beyond the achieve­ ment of print in the communication of ideas. The programs included in the human interest cate­ gory which involved panel quiz questions could also be considered. In I9I1-I# the "Quiz Kids" program had a guest speaker, the well-known Judith Waller, then educational 1 Q director for the central region of NBC. Hiss Waller stated that this program had accomplished something that

1 8 "Quiz Your Kidding," Scholastic, editorial, January 13, 1924-1# p. I42 . 392 thousands of educators and teachers had been trying to accomplish for years without success; namely, to make school children study voluntarily. Teachers all over the country reported that it was no longer so difficult to get their charges to seek knowledge for its own sake. Youngsters were glad to dig up facts from geography, his­ tory, natural science, literature, physics, and chemis­ try, when they heard other young people achieving fame and fortune by cultivating a good memory. As was Indicated by Mias Waller, the "Quiz Kids” participants taught their young contemporaries that all sorts of things could be interesting -- things that may have seemed dull in the classroom. All of this indicates that whether they are old or young, people appear to be interested in things they can take part in themselves, rather than in things that only professionals can do. It suggests that educators may have been attacking the process of learning from the wrong angle when they tried to pour knowledge into un­ willing heads by the methods of the drill instructor. To be most effective, tho pursuit of knowledge must be a self-starting process. If one does not want to know something with a steady, deep desire, no amount of pushing and shoving is going to drive it into him# What Gilbert SeIdes has called the "wantlessnesa" of the audience is a constant phenomenon in mass 393 entertainment,^^ The audience did not ask for give-away programs, but the moment an attractive program of a new type was discovered, the audience found that It had wanted that type all along. The significant element in the list of favorite programs and In the list of desired programs usually is that they are both led by entertainments of the same general quality.

Television is merely in the infant stage, with a great future ahead of it. With its far-reaching impact, it must, along with the newspapers and magazines of the nation, serve as a fountaInhead of information, knowledge, and comprehension. The adult expectancy for mature, quality programming must be met.

Audiences today are not merely willing, but eager to be informed. Audiences today are better educated, more sophisticated and more desirous of knowledge than ever before. The future of network programming in general lies in the ability of those responsible for programming to keep pace with this public's growing maturity. The wise use of audience participation programs for education­ al purposes is a responsibility which should not be overlooked.

^^Gilbert SeIdes, The Great Audience (New York: The Viking Press, 1951), P* 132, 3* BIBLIOGRAPHY

A. BOOKS

Carver, Robert I. Successful Radio Advertising, New York: Prentice Hall, 1914-9•

Cantril, Hadley, The Invasion From Mars, Princeton: Princeton University Press, 1^0,

Chase, Francis, Sound and Furv, New York: Harper, 19l|2,

Chester, Girard, and Garnet Garrison, Radio and Tele­ vision, New York: Appleton-Century-Crofts, 1950,

Crews, Albert, Radio Production Direction. New York: Houghton Mifflin Company, I9IÆ»

Crosby, John, Out of the Blue, New York: Simon and Shuster, 1952,

Ewbank, Henry L, and Sherman P. Lawton, Broadcasting: Radio and Television. New York: Harper and Brothers, 1952.

Gross, Ben, I Looked and I Listened. New York: Random House, 19^*

Lazarsfeld, Paul, Radio and the Printed Page. New York: Duell, Sloan and Pearce, 191|-0.

Merton, Robert K, Mass Persuasion. New York: Harper and Brothers, 19^ 6 .

SeIdes, Gilbert. The Great Audience. New York: The Viking Press, 1951*

Willis, Edgar E. Foundations in Broadcasting. New York: Oxford University Press, 1951#

Wylie Max, Clear Chanels. New York: Punk and Wag- nalls Company, 1^ 395

B. PUBLICATIONS OF THE GOVERNMENT AND OTHER ORGANIZATIONS

A. C, Nielsen Company, Nielsen Ratings, Federal Communications Commission, The Communications Act of lQ3li, Revised to January, 19^2, Washington; Government Printing Office, 1952, The Ross Reports. Weekly Network Television Information, The Pulse Incorporated. U.S. Pulse TV Reports. The American Research Bureau. ARB Ratings,

C. PERIODICALS

Beatty, J. "Backstage at the Give-Aways," American Magazine, July, 19^4-9» P. 62. Cart, David, "The All-American Act," Harper. May, 1952, p. 91. James, Ed. "The Radio Giveaways," American Mercury, October, 1914.8, p. I4.3O, Jennings, Dean. "It Makes Him Happy to See You Cry," Saturday Evening Post. February I4., 1956, p. I8 .

Joel, George. "Quid Pro Quiz," The Nation. November 1 6 ,

1914.0# p p . 14^74-475. Kelley, Hubert. "Travelers Tell All," American Magazine, August, 1914.9# p. 3 6 . McCarthy, Henry L, "I Accuse the Misery Programs," Pagent. February, 19514-# PP. II4.-I8 . Reddy, J* and T, Carlile. "Breakfast in Hollywood," Life. February 11, 1 9I4.6 , p. I4 2.

"Blind Date," Life. January 17» I9I4I4-# P. 88.

"Breakfast with Garry," Newsweek. May 17, 1914-8 , p. 6 I4., "Bride and Groom," Time. April 7, 1952, p# 55* 396 Broadcast Advertising Yearbook--IQ'^9. Washington, D.C. : Broadcasting Publications, Inc., 1939* P* 32.

Broadcast Advertising Yearbook--IQkO. Washington, D.C.: Broadcasting Publications, Inc., 19l|.0, p. 1^.0.

Broadcast Advertising Yearbook— 19L2. Washington, D.C.: Broadcasting Publications, Inc., 19^+2, p. 85* Broadcast Advertising Yearbook— 19k6. Washington, D.C,: Broadcasting Publications, Inc., 1 9l|.6 , p. 102.

Broadcasting Yearbook--19k8. Washington, D.C.: Broad- cas ting Publications, Inc., 191^,8, p. i|20.

Broadcasting-Telecasting Yearbook— 191l9« Washington, D.C. : Broadcasting Publications, Inc., 19^^9, p* 382,

Broadcasting-Telecasting Yearbook--19^0. Washington, D.C.: Broadcasting Publications, Inc., 1950, p. 393. Broadcasting, June 1, 1936# p. 20.

Broadcasting-Telecasting. August 1, 1955# p. 36.

______# August 22, 1955# p. 3 6 .

. January 7# 1957# pp. 110-111.

______# May 6, 1 9 5 7# p. 16 . Billboard. November 3, 1956, p. 30.

"Candid Microphone Catches People Off-Guard," Life. October 13# 194-7# P. 77.

"Decline and Pall," Newsweek. October 31, I9I4.9, p.

"Devils at 80," Newsweek. September 27# 194-8# P. 50.

"Give-Aways Are Legal," Business Week. April 10, 1954-# p. 128.

"Juvenile Jury," Life. August S» 194-6# p. 6 6 ,

"Lot the Kid Decide," Newsweek. June 2 4.# 194-6# p. 6 5 .

"Quick Tricks#" American Magazine. March, 1955# p. 57.

"Quiz Means Biz," Radio Daily. March 11, 194-0# p. 1 0 . 397 Your Kidding," Scholastic, January 13, 19^1, p.

"Radio Insanity," Life. April 2, 19^.5» P# ll8. Sponsor. January 6, 1956, p. 108*

______, September 3, 1956, p. 31*

______, January 19, 1957, P* 14.6 . "The Madness of People," Newsweek, October 6, 1914-7 , p. 53# "The Smell of a Hit," Time. July 19, 1914-8, p. 1|.5#

Time. February 16, 1953, p. 49.

______, November 26, 1955, p. I4J4.# ______, February 27, 1956, p# 43#

______, July 9, 1956, p. 54# "To the Top with Mistakes," Newsweek, March 24, 19I4J , P# 62. "Zany Radio Stunts Grow Wilder in Audience-Participation SUiows," Life, March 11, 1946, p# 14*

D. UNPUBLISHED MATERIALS

Haakenson, Robert. "A Study of Major Network Discussion Programs Televised During the Period of January Through May, 1951#" Unpublished Ph.D. dissertation. State University of Iowa, February, 1952*

"Network Radio and Television Program History." Un­ published compilation by graduate students in Radio- Television Programming, The Ohio State University. 1954. Riley, Donald W. "A History of American Radio Drama from 1919 to 1944#" Unpublished Ph.D. dissertation, Ohio State University, 1944# 396

Smith, Don Crawmer* "A Study of Programming of the Three Major Radio Networke Between October, 1931 and July, 1935*" Unpublished Master*s thesis, Ohio State University, 1949#

Summers, Harrison B« "Excerpts from the NBC Standards of Practice and the NARTB Television Code*" Unpub­ lished, The Ohio State University, 1954» D-$l, p. 7 8 . (Mimeographed*)

. "Excerpts from Rules and Regulations of the federal Communications Commission. " Unpublished, The Ohio State University, 19^4» P# 16. (Mimeographed.}

. "Lotteries, Give-Aways aind Gambling." Unpub- 11shed. The Ohio State University, 1954» P* a-l?-a# (Mimeographed. )

Letter from Dr* Harrison B. Summers, Professor of Speech, The Ohio State University, July 15» 1957#

E. NEWSPAPERS

Dunlap, Orrln E., Jr. "A Year*s Round-up," The New York Times. Sunday, January 1, 1939» p. 34#

Gould, Jack* "Jack Benny or Jackpot?" The New York Times Magazine, August 15» 1948» p. 1ST

Hutchens, J* E* "Who Thou^t Up The Quiz Show?" The New York Times. August 23» 1942» p* 12.

Levine, Harry. "Oh, The Pain of It 1" The New York Times Magazine. September 11, 1955» p. TBT

Newell, Louis* *Ve, The People," The New York Times,, January 10, 1957» Section 7, p. 64# AUTOBIOGRAPHY

I, Patrick Erratt Welch, was born In Springfield,

Missouri, March 10, 192^* I received my secondary

school education in the public schools of Sand Springs,

Oklahoma# I attended The University of Tulsa, where I was granted the Bachelor of Arts degree in 1914-9 and the Master of Arts degree In 1950# While in residence working toward my Master of Arts degree, I was assistant to Dr# Ben Gf# Henneke during the year 1914-9-1950# In

June, I95I4., I was appointed assistant to Dr. I, Keith

Tyler at Ohio State University# I held this position for the first year while congpleting the requirements for the degree of Doctor of Philosophy# During my second year I was assistant to Dr. Harrison B# Summers, also at Ohio State University#

I began my teaching experience at The University of Houston in September, 1950, as an instructor in the

Radio-Television Department# In September, 1951» I was promoted to assistant professor; and in September, 1953»

I became an associate professor# I was appointed assistant chairman of the Radio-Television Department at The University of Houston in September, 1953; and became chairman of this department In September, 1956#

399