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
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
