Advertising and Sponsorship


The Academy of Television Arts & Sciences Foundation Presents

02:26

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Interviewees discuss television's advertising and sponsorship models.

Highlights
John Frankenheimer on sponsor interference on Climax!  
Agnes Nixon on sponsor reaction to soap operas moving from radio to television
Paris Barclay on rarely seeing African Americans in production when he worked in television advertising
Ruth Duskin Feldman on the sponsors of Quiz Kids
Milton Berle on the Texaco Star Theater theme song and its strong ties to the show's sponsor
Silvio Horta on the presentation of Ugly Betty  at the upfront presentations to advertisers
Who talked about this topic

Alex Anderson

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Alex Anderson on going to work for an advertising agency in the 1950s
Alex Anderson on the network dealings and sponsorship of Crusader Rabbit

Charlie Andrews

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Charlie Andrews on the role of ad agencies in early television

Paris Barclay

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Paris Barclay on the state of television advertising when he worked in it
Paris Barclay on rarely seeing African Americans in production when he worked in television advertising

Erik Barnouw

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Erik Barnouw on the role of advertising agencies in controlling content on radio programs
Erik Barnouw on working on a radio ad campaign for Camel cigarettes and his criticism of advertising's impact on broadcasting in his subsequent writings
Erik Barnouw on some of the conclusions be came to about television advertising in his book "A History of Broadcasting in the United States"

Ted Bergmann

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Ted Bergmann on early TV's relationship between the network, sponsor, and ad agency
Ted Bergmann on what sponsors looked for in a show and how DuMont stayed competitive 

Milton Berle

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Milton Berle on the Texaco Star Theater theme song and its strong ties to the show's sponsor

David Brinkley

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David Brinkley on becoming a spokesman for Archer Daniels Midland

Steve Carlin

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Steve Carlin on getting Revlon to sponsor The $64,000 Question and developing the show

Hugh Downs

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Hugh Downs on the role of advertisers on The Tonight Show

Rebecca Eaton

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Rebecca Eaton on how she dealt with Mobil, which was the sponsor of Masterpiece Theatre when she first began at PBS in the early 1970s
Rebecca Eaton on how funding for Masterpiece has changed over time, especially after Mobil ceased to be the sponsor

Rod Erickson

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Rod Erickson on going to work for the advertising agency Foote, Cone & Belding as executive director of the radio version of "Your Hit Parade" on behalf of American Tobacco
Rod Erickson on subjects that were taboo on Proctor & Gamble's serials and getting Proctor & Gamble into television
Rod Erickson on Procter & Gamble's initial reluctance to sponsor television programs
Rod Erickson on going to work for Young & Rubicam and putting We, The People on television
Rod Erickson on pushing his clients into advertising on television while at Young & Rubicam, and on reading the television ratings of the day
Rod Erickson on how early advertising on television worked and on broadcasting We, The People
Rod Erickson on dealing with Gulf, the sponsor of We, The People
Rod Erickson on Gulf sponsoring The Gulf Road Show  and dealing with guest star Billie Holiday
Rod Erickson on delegating responsibility for We, The People and The Gulf Road Show
Rod Erickson on how Holiday Hotel, sponsored by Packard, got on the air produced by Felix Jackson
Rod Erickson on how commercials were inserted into shows in the early days of television
Rod Erickson on creating a commercial for Goodyear Tires
Rod Erickson on advertisers discovering that television was a great sales tool
Rod Erickson on the process of pairing advertisers with shows and attempting to pair Whitman Chocolates with The Red Skelton Show
Rod Erickson on the sponsorship of I Love Lucy by Phillip Morris and later by Jello
Rod Erickson on the preferred networks of sponsors in the 1950s
Rod Erickson on working with David Sarnoff at NBC and William S. Paley at CBS
Rod Erickson on the notion of networks providing a public service
Rod Erickson on the reasons companies have for sponsoring a television show
Rod Erickson on the types of shows that sponsors generally preferred
Rod Erickson on working on The Silver Theater
Rod Erickson on the construction of ABC's studios for Paul Whitman's Goodyear Revue
Rod Erickson on working on The Fred Waring Show sponsored by General Electric 
Rod Erickson on working on The Arrow Show, sponsored by Arrow Shirts
Rod Erickson on working on Hopalong Cassidy
Rod Erickson on the advent of packaging television shows by William Morris Agency and MCA
Rod Erickson on being involved in a lawsuit with MCA
Rod Erickson on networks being paid off by agencies to carry their packaged programs
Rod Erickson on his dealings with Desi Arnaz
Rod Erickson on his trips to California to meet clients
Rod Erickson on ad men dealing with the mob
Rod Erickson on advertising being a "people business" and the role of alcohol in the business
Rod Erickson on the factors that go into the decision to advertise on a show and the importance of the writer
Rod Erickson on turning down Danny Thomas' Make Room for Daddy
Rod Erickson on the advertisers control over time slot and other factors dealing with a show
Rod Erickson on the dearth of black actors on television in the 1950s and 1960s and anti-Semitism in the ad industry
Rod Erickson on the Hollywood Blacklist's effect on television advertising
Rod Erickson on the ethics of advertising cigarettes in television
Rod Erickson on product placement in television and movies
Rod Erickson on the shift away from sponsors owning a whole show
Rod Erickson on reading the Neilson ratings and predicting people's television viewing habits on given nights of the week
Rod Erickson on ad agencies getting out of the business of producing shows and how his job changed as a result
Rod Erickson on the effectiveness of commercials
Rod Erickson on the research involved in making effective commercials and on the psychology of commercials
Rod Erickson on the power of television on violent television programming
Rod Erickson on retiring from the advertising industry in 1961
Rod Erickson on how the advertising industry had changed since he retired
Rod Erickson on the then-current state of television advertising
Rod Erickson on television ratings and demographics, and going to work for the American Research Bureau

Ruth Duskin Feldman

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Ruth Duskin Feldman on the sponsors of Quiz Kids

John Forsythe

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John Forsythe on Bachelor Father  switching between the three networks and on the sponsorship of the show

Albert Freedman

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Albert Freedman on the head of Geritol (Twenty One's sponsor) wanting Herbert Stempel off the program and how Freedman convinced Charles Van Doren to become a contestant
Albert Freedman on Charles Van Doren becoming a celebrity because of his appearances of Twenty One and Freedman realizing the power of television

Eileen Fulton

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Eileen Fulton on the extent of Proctor & Gamble's involvement with As the World Turns, and on her distaste of focus groups

Leonard Goldberg

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Leonard Goldberg on working for advertising agency BBD&O
Leonard Goldberg on the deal with Ford on Starsky and Hutch

Lewis Gomavitz

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Lewis Gomavitz on getting into advertising

Donald Hall

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Donald Hall on Hallmark's television commercials 

Robert Halmi, Sr.

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Robert Halmi, Sr. on producing the 1979 television movie My Old Man and financing it directly through advertisers, rather than the networks

Marilu Henner

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Marilu Henner on doing commercials early in her career

Arthur Hiller

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Arthur Hiller on the "don't dos" list from the sponsors and the networks in early television

Silvio Horta

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Silvio Horta on the presentation of Ugly Betty  at the upfront presentations to advertisers

Stanley Hubbard

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Stanley Hubbard on the then-current state of television advertising and DVR technology
Stanley Hubbard on the then-future of television advertising and the impact of the internet on television

Hal Linden

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Hal Linden on doing voiceover for commercials and looping foreign films

Art Linkletter

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Art Linkletter on the music and sponsors of Art Linkletter's House Party

Stewart MacGregory

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Stewart MacGregory on live commercials for Kraft Television Theatre

John A. Martinelli

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John Martinelli on working at the Wakefield-Orloff Company
John Martinelli on the difference between editing commercials and television shows

Thomas W. Moore

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Thomas W. Moore on the ban on cigarette advertising on television
Thomas W. Moore on the length of commercials and commercial breaks on network television

Millie Moore

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Millie Moore on advice to an aspiring editor

Bill Mumy

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Bill Mumy on doing commercials 

Thomas Murphy

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Thomas Murphy on working at the Kenyon & Eckhardt ad agency
Thomas Murphy on advertising in the early days of television
Thomas Murphy on the role of the advertising agency in the television business in the '50s
Thomas Murphy on his plans for ABC when Capital Cities took over in 1986

Leonard Nimoy

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Leonard Nimoy on why villains were not allowed to smoke on Ziv Television Programs' syndicated shows, due to sponsorship

Ward Quaal

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Ward Quaal on advertising clutter

Lee Rich

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Lee Rich on how the advertising agencies worked with the television networks and sponsors during early television

Marlene Sanders

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Marlene Sanders on the sponsor of WABD-TV news

Alfred Schneider

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Alfred Schneider on how an advertiser's displeasure with an episode of Howard K. Smith: News and Comment ("The Political Obituary of Richard M. Nixon") led to the formulation of a policy to protect news departments from the interference of sponsors
Alfred Schneider on the power of advertisers in decisions made by Standards & Practices

Reese Schonfeld

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Reese Schonfeld on CNN's initial advertisers
Reese Schonfeld on CNN's initial advertisers when it first went on the air

Joe Sedelmaier

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Joe Sedelmaier on becoming interested in film and getting into advertising
Joe Sedelmaier on working for Young & Rubicam, Clinton Frank, and Leo Burnett
Joe Sedelmaier on the state of television advertising in the '60s
Joe Sedelmaier on incorporating more subtlety into television advertisements 
Joe Sedelmaier on starting his own advertising agency
Joe Sedelmaier on the early days of his advertising agency
Joe Sedelmaier on his early clients
Joe Sedelmaier on Southern Airways putting his agency on the map
Joe Sedelmaier on gaining creative control over his advertisements 
Joe Sedelmaier on buying out his partner and taking control
Joe Sedelmaier on turning down clients and his affinity for comedic commercials
Joe Sedelmaier on his preference to use film in his advertisements 
Joe Sedelmaier on his Alaska Airlines commercials
Joe Sedelmaier on his Federal Express commercials 
Joe Sedelmaier on his famous, fast-talking Federal Express series of commercials 
Joe Sedelmaier on discovering Clara Peller, Wendy's "Where's the Beef?" lady
Joe Sedelmaier on Wendy's "Where's the Beef?" campaign with Clara Peller
Joe Sedelmaier on Wendy's "Russian Fashion Show" commercials 
Joe Sedelmaier on Wendy's "Russian Fashion Show" commercial 
Joe Sedelmaier on Wendy's "Parts is Parts" commercial
Joe Sedelmaier on the effect his ads had on Wendy's
Joe Sedelmaier on structuring his commercial rates and dealing with the heads of the companies
Joe Sedelmaier on Federal Express commercials he created
Joe Sedelmaier on foreign commercials he created
Joe Sedelmaier on creating Mr. Coffee commercials 
Joe Sedelmaier on his Jartran commercials 
Joe Sedelmaier on creating Eyewitness News commercials
Joe Sedelmaier on creating commercials for Valvoline 
Joe Sedelmaier on creating commercials for Texaco Super Unleaded and the process of casting commercials 
Joe Sedelmaier on creating commercials for AAMCO and HP
Joe Sedelmaier on the then-current state of advertising 
Joe Sedelmaier on his style
Joe Sedelmaier on market research 
Joe Sedelmaier on gauging the success of an ad
Joe Sedelmaier on advice to aspiring advertising professionals 
Joe Sedelmaier on his greatest career achievement and how he'd like to be remembered

Esther Shapiro

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Richard and Esther Shapiro on writing the made-for-TV movie Intimate Strangers

Richard Shapiro

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Richard and Esther Shapiro on writing the made-for-TV movie Intimate Strangers

Jaclyn Smith

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Jaclyn Smith on being a "Breck Girl" and appearing on McCloud

John Strauss

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Publicist John Strauss on working with sponsors and ad agencies
John Strauss on the value of both publicity and advertising

William Tankersley

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William Tankersley on CBS Standards & Practices having issues with shows paying for commercial plugs
William Tankersley on CBS Standards & Practices' workings with early TV sponsors
William Tankersley on being promoted to Vice President of Program Practices at CBS and dealing with advertisers
William Tankersley on CBS Standards & Practices' problems with advertisers' competitive complaints and false advertising

Ted Turner

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Ted Turner on finding advertisers for CNN

John Wells

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John Wells on issues the ER producers had with some advertisers

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