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Speaker 1: An Now, Ladies and gentlemen, you're attentionally ephemeral as production

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Speaker 1: of I heeart three D audio for full exposure listen

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Speaker 1: with headphones. Every time humans invent a new way to

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Speaker 1: talk to each other, we reignite an age old debate.

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Speaker 1: There are people who predict that this communication technology will

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Speaker 1: prevent war and allow us to all communicate more effectively.

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Speaker 1: It will be great, it will solve all of the

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Speaker 1: world's problems. That's the techno utopianism. And then there's the technophobia,

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Speaker 1: where people are concerned that this new technology will harm us,

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Speaker 1: it will brought our brains, it will control us, or

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Speaker 1: maybe it won't harm us, but it'll harm our children.

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Speaker 1: There's always a grain of truth in all of this,

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Speaker 1: and that a new technology does have a kind of

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Speaker 1: outsized impact until it becomes part of normal life. My

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Speaker 1: name is Cynthia Myers. I'm the author of a book

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Speaker 1: called A Word from Our Sponsor admin Advertising and the

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Speaker 1: Golden Age of Radio, and I'm Professor Emerita at the

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Speaker 1: College amount St. Vincent in New York City. As we'll

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Speaker 1: come to see, the history of advertising and radio is

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Speaker 1: in many ways the story of radio itself and a

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Speaker 1: foundational chapter in the history of American mass media. The

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Speaker 1: earliest experiments with sending sound wirelessly through the electromagnetic spectrum

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Speaker 1: took place in the eighteen nineties. The first form of

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Speaker 1: it is the wireless which is a telegraph without wires,

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Speaker 1: where you could send Morse code over the air. Adding

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Speaker 1: voice and adding actual audio doesn't really happen until the

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Speaker 1: late teens. In World War One, it's used by the

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Speaker 1: Navy for a shift to shore communication. So after World

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Speaker 1: War One, the US government wanted to develop this fancy

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Speaker 1: new technology. They decided they didn't want to take it over,

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Speaker 1: just as they decided not to do that with telephony

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Speaker 1: and telegraphy, So they had to try to figure out

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Speaker 1: how to build it as some sort of business or industry.

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Speaker 1: They've created a corporation called Radio Corporation of America. The

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Speaker 1: family including r C A, Victor, rd A, Radiotron, r

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Speaker 1: D A Communications Radio Marine, r C A Instituced, and

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Speaker 1: the National Broadcasting Company, which basically stole these wireless patents.

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Speaker 1: They were producing and manufacturing different kinds of radio sets

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Speaker 1: and receivers and transmitters, and they're trying to figure out

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Speaker 1: how to make more money from it. R C a

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Speaker 1: created a network called National Broadcasting Company NBC Radio. NBC

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Speaker 1: was based in New York City, but they would transmit

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Speaker 1: programs to stations located all over the country. Musicians would

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Speaker 1: literally just play for free on the air to get

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Speaker 1: people interested in buying radio sets. This might remind you

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Speaker 1: today of how people provide free content in order to

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Speaker 1: eventually get paid for it. But they had to figure

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Speaker 1: out a way of financing the programming and the broadcasters,

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Speaker 1: that is, the networks and those local stations. They were

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Speaker 1: technical people. They were running a transmitter. They didn't know

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Speaker 1: how to make entertainment, and they also didn't want to

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Speaker 1: spend the money. They wanted to rent air time to

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Speaker 1: charge somebody, you know, fifty dollars for fifteen minutes on

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Speaker 1: their transmitter. But the only people who really wanted to

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Speaker 1: reach lots of people at one time were advertisers. Up

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Speaker 1: until this time, the advertising industry was primarily based in

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Speaker 1: print newspapers and magazines. People don't stop to thank much

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Speaker 1: about printing. It's like a drink of water. You buy

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Speaker 1: a newspaper a magazine and use it. Advertisers those are

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Speaker 1: the people who actually make stuff like soap or cigarettes.

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Speaker 1: They would hire ad agencies to go to the newspaper

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Speaker 1: and say we want to buy a page. The newspaper

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Speaker 1: would say, okay, well that'll be a thousand dollars. The

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Speaker 1: ad agency then would be the broker. They go back

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Speaker 1: to the advertiser and say, look, you know, don't you

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Speaker 1: want to buy this page in this newspaper to advertiser,

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Speaker 1: soap s only a thousand dollars. The advertiser would pay

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Speaker 1: the agency a thousand dollars and then the agency would

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Speaker 1: keep a hundred and fifty of it commission and then

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Speaker 1: forward fifty of it to the newspaper. And then the

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Speaker 1: ad agency, as a courtesy, would make the ad for

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Speaker 1: the advertiser. So they would write the words copywriting, and

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Speaker 1: they would make the illustrations our direction. Two major strategies

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Speaker 1: evolved from print advertising, the hard sell and the soft

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Speaker 1: Sellin hard sell advertising, it was all about the product

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Speaker 1: and product information craft caramels in bags, pocket sized bars,

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Speaker 1: and at candy cotters everywhere, and tended to be very

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Speaker 1: repetitive and hypopolou to crack carmos, two cracked calmos, two

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Speaker 1: crack camos. To crack garmel, you had to give lots

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Speaker 1: of reasons why to a consumer to buy the product

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Speaker 1: true caramel flavor you get only from pure sugar, with

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Speaker 1: all of the minerals, all of the protein of good

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Speaker 1: fresh milk. You would say, look, here's your problem. You

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Speaker 1: have dirty laundry. Here's a solution. It's rinse so laundry so. Well,

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Speaker 1: why do you want to buy rinso instead of another

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Speaker 1: laundry stuff? Well, because Rinso lifts the dirt up. Rinso

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Speaker 1: doesn't red in your hands, Rinso doesn't damage your clothing.

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Speaker 1: Rinso produces lots of SuDS. Rinso is priced really well,

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Speaker 1: it's an amazing so. Print advertising in the nineteen twenties

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Speaker 1: is full of a lot of words, pair a graphs,

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Speaker 1: and paragraphs. The idea was that if you provided enough

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Speaker 1: reasons why to buy one of them would convince the consumer.

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Speaker 1: Mighty Putty is not a glue, but a superpower to

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Speaker 1: POxy pulled to any shape and apply directly to most

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Speaker 1: any surface for an everlasting box. Rills, holds and screws

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Speaker 1: can ruin your projects. With mighty putty. You just cut,

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Speaker 1: activate and apply. Here's something you can't do with glue.

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Speaker 1: Mighty putty seals leaks instantly. It has the strength to

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Speaker 1: pull this fully loaded eighty thousand pound tractor trailer. Now

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Speaker 1: that's the power of mighty putty. A counter strategy was

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Speaker 1: what we now call the soft sell. Instead of talking

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Speaker 1: about the product, they've appealed to people's emotions. Go the

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Speaker 1: hard sell soft cell distinction. I think is really easy

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Speaker 1: to see once you know what it is. Is the

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Speaker 1: ad about the product or is the ad about how

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Speaker 1: we feel? Most ads today are about how we feel.

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Speaker 1: There's very little information about how McDonald's hamburger tastes, but

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Speaker 1: there's often a lot of imagery about people being with

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Speaker 1: their friends and their family and enjoying deal. And I

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Speaker 1: don't just rot to de beat, but the hard cell

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Speaker 1: was the dominant ad strategy up through the nineties, with

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Speaker 1: the print industry as their model. Advertising proponents were eager

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Speaker 1: to start selling on radio, but there was deep seated

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Speaker 1: anxiety that this could poison the well the industry and

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Speaker 1: regulators are worried that it would kill this brand new

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Speaker 1: industry if advertising was direct. They were afraid that people

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Speaker 1: would turn off the radio, tossed the radio set into

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Speaker 1: the trash. There's a land of sector people like Herbert

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Speaker 1: who Over, who was Secretary of State in the ninet

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Speaker 1: twenties suggested that radio only be an indirect advertising medium,

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Speaker 1: sort of like a public relations effort. So an advertiser

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Speaker 1: word by half an hour of time, and the only

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Speaker 1: advertising was in the name of the show. So you

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Speaker 1: have the ever Ready Hour Battery Latom get right Dated,

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Speaker 1: ever Ready Battery Floor Lilflife, or the Clicko Club Eskimos.

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Speaker 1: The idea was that a listener would hear the musical

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Speaker 1: show and feel very positively towards this company for providing

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Speaker 1: them with free entertainment. The music that these advertisers chose

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Speaker 1: to put on the air had to fit in with

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Speaker 1: their brand. Clicko Club was a ginger Ale company. They

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Speaker 1: put together a band called the Clicko Club Eskimos, which

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Speaker 1: is supposed to make you think of coolness, right, something

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Speaker 1: cool and icy, And then they played music that was

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Speaker 1: very bubbly and my favorite part are the sled dogs

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Speaker 1: that are barking a tune. I mean they're not really

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Speaker 1: sled dogs. This was all designed to create a brand

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Speaker 1: association and what we call sponsor identification that the audience

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Speaker 1: is listening to this perkeep music and they're like, oh,

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Speaker 1: this is Clicko Club, and they're the sponsor. They're putting

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Speaker 1: this on from me and my enjoyment. Well, next time

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Speaker 1: I go to the store, instead of buying Canada drygein Dreo,

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Speaker 1: I'll be sure to buy Clico Club. The program was

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Speaker 1: the ad The program was the brand image. There weren't

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Speaker 1: commercials in the sense that we understand them today. But

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Speaker 1: by the beginning of the depression it became clear that

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Speaker 1: advertisers wanted to do more than that, and so the

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Speaker 1: rules kind of changed. The success of our whole national

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Speaker 1: program depends of close on the cooperation of the public.

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Speaker 1: Advertisers were in a panic about the collapse of consumer demand,

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Speaker 1: and they saw radio as a way of stimulating it.

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Speaker 1: So what happens in the nineties is that the broadcasters

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Speaker 1: are not in charge of programs at all. They simply

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Speaker 1: rent the time, and then the advertisers have to figure

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Speaker 1: out how to fill that time. First, they would hire

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Speaker 1: people from the vaudeville industry, or the theater industry, or

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Speaker 1: the music industry. But advertisers were dissatisfied with that because

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Speaker 1: they were concerned that those people cared more about the

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Speaker 1: show than about their advertising. So they turned to their

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Speaker 1: advertising agencies. Now their agencies were the people who used

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Speaker 1: to buy them pages in print media. A lot of

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Speaker 1: agencies or I'm not sure that radio should be an

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Speaker 1: ad medium. They were concerned about people being turned off

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Speaker 1: by advertising and how it was invading the home, and

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Speaker 1: it was pervasive, it was just in the air, but

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Speaker 1: some add agencies jumped on it. A lot of print media,

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Speaker 1: we're going out of business in the depression, A lot

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Speaker 1: of newspapers and magazines shut down, and ad agencies earned

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Speaker 1: their money from charging commissions to those print magazines and newspapers.

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Speaker 1: So with the radio they had a whole new revenue stream.

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Speaker 1: The ad agencies essentially said, Okay, we're going to turn

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Speaker 1: this ad agency into an entertainment production company. They would

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Speaker 1: hire writers to write the scripts. Sorry, they would hire

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Speaker 1: the actors to read the scripts and play the characters.

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Speaker 1: First line product integration. They would hire music directors, producers, directors,

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Speaker 1: and many of those people were employed directly at the

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Speaker 1: ad agency. Some agencies got into this because they were young,

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Speaker 1: upstart agencies and anxious to break into this new technology.

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Speaker 1: Well they are all. DAR wasn't an agency like Pentenham Bowls.

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Speaker 1: Most of their business was producing radio shows like Maxwell

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Speaker 1: House Showboat for companies like General Foods. No matter what

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Speaker 1: your favorite entertainment is, you will always find it on

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Speaker 1: the Maxwell House Killbot. Who you are? Maxwell House, Cope

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Speaker 1: a cooling bank of ice, Macbell Health copy with It,

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Speaker 1: Fendily stimulation, it wos you up and never let you down.

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Speaker 1: Other agencies like J Walter Thompson and B B d

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Speaker 1: O which is short for BT and bartin Jerson and Osbourne.

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Speaker 1: How do you sell er b A T T e

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Speaker 1: n V A R t O N d u r

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Speaker 1: s t I n e O s b O r

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Speaker 1: n what. They were well established agencies. They were very

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Speaker 1: successful in nineteen twenties. In the nineteen thirties they started

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Speaker 1: their own radio departments and were soon producing dozens of

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Speaker 1: radio shows for their clients and ad agencies promised their

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Speaker 1: clients that the shows that they would produce would for

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Speaker 1: elect the needs of that brand image. So all of

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Speaker 1: a sudden, companies that make toothpaste were involved in entertainment gate.

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Speaker 1: Camel games. Read this week te that right when you

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Speaker 1: brush the morn and night we go gate dandel Grade

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Speaker 1: we do wasn't necessarily the first time that advertisers were

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Speaker 1: involved in entertainment. In the nineteenth century. There were these

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Speaker 1: things called medicine shows. They get to a town out

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Speaker 1: become a banjo player or tap dancer or commune, and

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Speaker 1: they gather the crowd around and they put on show

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Speaker 1: for free betters. Show coming better around, So shut up

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Speaker 1: your shoes and cout out your dope. Let come all

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Speaker 1: down through the show. Then they pull out the product.

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Speaker 1: In a product, it's usually a patent medicine, usually mostly alcohol.

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Speaker 1: But they were sold and promoted as curatives, claiming to

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Speaker 1: cure the food, cure constipation, cure lethargy, you know, everything

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Speaker 1: you can imagine under the sun. These are all fraudulent,

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Speaker 1: of course, but patent medicines were the top advertisers in

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Speaker 1: print media, and there were the top advertisers in terms

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Speaker 1: of entertainment. Now about a pain in the net. Eventually,

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Speaker 1: in the nineteen teens we got a Ritual Trade Commission

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Speaker 1: in the Food and Drug Administration to crack down on

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Speaker 1: this kind of fraud. But when radio comes along, there

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Speaker 1: are people who accuse it of just basically being a

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Speaker 1: high tech medicine show, and in some sense it was.

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Speaker 1: You'll find the fact that the most complete relief in adison.

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Speaker 1: You've every sure the reason is simple. Addison contained not

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Speaker 1: one they ativiated along for before. If later fails, your

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Speaker 1: food may remain on the justice, leaving your headache in

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Speaker 1: irritable to feel fearful and happy again. Big Carter's little liverpill.

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Speaker 1: And my doctor recommended ivory. He did all he so

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Speaker 1: condu with clanny, and that to protect the fine texture

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Speaker 1: and pours a soculd pin gently, and that to do

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Speaker 1: that so must be pure blultaslter is a solution when

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Speaker 1: you take it the same remating energy. Six studium mastile

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Speaker 1: solicillates is ready to go right to work and say

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Speaker 1: that there is the cree. Eight thousands of sparkling bubbles

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Speaker 1: give speed to alcidosis relifition in qualities. Yeah, I'm just

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Speaker 1: trying to find out how I can improve the program.

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Speaker 1: Wait a minute, Wait a minute, everybody, this maybe trouble.

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Speaker 1: Come in. Do you want an opinion? Oh you you

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Speaker 1: heard the program and it's too slow? You mean you

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Speaker 1: did not? I should bank bank bang, good bye. He

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Speaker 1: must be in a fast business. I make minute rob

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Speaker 1: so long. Okay, the sponsor wants speed, that's what he's

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Speaker 1: going to get now on your toes. Everybody. We have

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Speaker 1: stopped the program over, take it away, Pete, I pun

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Speaker 1: up style present and here he is, thank you, Anne,

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Speaker 1: Here she is Hello man. You can't get it any

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Speaker 1: fashion than that. With radio, we have very few recorded

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Speaker 1: programs from the thirties and forties because audio tape, a

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Speaker 1: format which you can edit, didn't exist before the nineties.

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Speaker 1: In fact, the Nazis helped invent it. In the networks

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Speaker 1: disallowed recordings of any kind during their network broadcasts. Everything

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Speaker 1: had to be live, every single thing, the sound effects,

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Speaker 1: the music, the acting, And that was because the networks

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Speaker 1: wanted to make sure the affiliates all those local radio

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Speaker 1: stations didn't just go out and buy some recorded programs

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Speaker 1: and not use the networks at all. So when advertisers

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Speaker 1: first started getting into radio, some of them more concerned

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Speaker 1: that it was too ephemeral, that the words that came

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Speaker 1: over the radio set would come and go so quickly

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Speaker 1: that the audience wouldn't catch it. So they did things

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Speaker 1: like they repeated their brand name over and over. Ladies

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Speaker 1: and gentlemen, this is a new pitch Bandwagon, brought to

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Speaker 1: you by the f W Pitch company makers a Pictures

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Speaker 1: Ideal Hair Tonic and Pictures Danders removing Campoo. They spelled

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Speaker 1: out their brand name r E. S p. A A Blanca,

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Speaker 1: cresta Blanca. It's with print. You had the advertisement on

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Speaker 1: a piece of paper. You could look at it again,

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Speaker 1: you could reread it, you could give it to somebody else.

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Speaker 1: And they're really worried that this kind of ephemerality would

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Speaker 1: make radio advertising less effective. But proponents would argue that

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Speaker 1: that efemorality wasn't a problem because radio used the voice.

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Speaker 1: The idea rides on the speaker's voice and his words

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Speaker 1: on how these words are articulated and pronounced and used

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Speaker 1: in language, and the voice was a much more effective

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Speaker 1: vehicle for advertising message than that dry, impersonal, voiceless print

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Speaker 1: on the page. Radio announcers usually were like the m

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Speaker 1: C of the show, Well your faithful friend, when muscle

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Speaker 1: they can pain dang busters. They would open the show,

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Speaker 1: they'd introduced the show, they'd introduced the characters. Sometimes they

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Speaker 1: would give the backstory. Now we present once again Mary Noble,

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Speaker 1: backdaid wife, the story of a little Iowa girl who

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Speaker 1: married one of America's more tantom actors, Larry noble matinee

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Speaker 1: idol of a million other women, the story of what

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Speaker 1: it means to be the wife of a famous star.

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Speaker 1: And they would also offer make the announcement the word

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Speaker 1: from our sponsor, good advice officer, it always pays to

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Speaker 1: strike the happy medium even and the like that if

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Speaker 1: you take that's why more and more people are using

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Speaker 1: Act Black. And those announcers then became really important because

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Speaker 1: they were embodying the brand. No matter what your favorite

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Speaker 1: entertainment is, you'll always find it on the Maxwell House

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Speaker 1: show board. You're taking admitting as always just your loyalty

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Speaker 1: the Maxwell House Coffee. The other reason they thought it

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Speaker 1: would be powerful was because people were receiving these messages

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Speaker 1: in the comforts of their home, and so they're going

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Speaker 1: to be more receptive, more vulnerable. We might say today

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Speaker 1: to this disembodied voice coming directly into the private emotional

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Speaker 1: center of American lives, Let's see how the broadcast gets

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Speaker 1: from the studio to your home. These ideas that radio

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Speaker 1: was a particularly powerful medium also meant that regulators are

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Speaker 1: very worried about it. Of course, you don't hear the

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Speaker 1: real sounds over your home radio. What you hear is

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Speaker 1: a translation of the song. The Nazis in the nineteen

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Speaker 1: thirties were using radio as a propaganda machine, and a

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Speaker 1: lot of people were convinced that radio had converted a

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Speaker 1: large part of the German population to the Nazi cause,

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Speaker 1: and so there was a lot of concern that radio

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Speaker 1: was too powerful a medium and we had to be

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Speaker 1: really careful that it wasn't abused. Radio waves from many

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Speaker 1: programs are being picked up by your radio all the time.

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Speaker 1: More often the networks were more concerned that advertisers would

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Speaker 1: offend audiences and then the listeners would turn off the

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Speaker 1: network or turn off the radio altogether. NBC had a

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Speaker 1: department called the Continuity Acceptance Department, and it was essentially

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Speaker 1: a censoring process. They would read the scripts and advance

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Speaker 1: of the broadcast and try to censor anything that they

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Speaker 1: thought would offend an audience. They called it ready ears

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Speaker 1: or your ears burning baby. So there's this very strong

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Speaker 1: sense that in order to serve the public interest with

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Speaker 1: this commercially sponsored programming, everything that went out had to

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Speaker 1: appeal to all ages. It had to be inoffensive and uncontroversial.

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Speaker 1: Henry older dad that everyone's every day experiences in the

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Speaker 1: older living room and would not cross a line into

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Speaker 1: anything that resembled propaganda. Now we have this thing in

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Speaker 1: the Constitution called the First Amendment. The federal government is

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Speaker 1: not supposed to impose prior restraint on the press, that is,

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Speaker 1: the news media. They can't make a rule saying you

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Speaker 1: can't cover this topic. But what happened with radio is

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Speaker 1: that because it was an uncontrolled medium, it just goes

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Speaker 1: out into the ether the air, and it can't sort

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Speaker 1: of control who gets it. Regulators decided that radio did

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Speaker 1: not have full First Amendment protection. Radio stations had to

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Speaker 1: serve the public interest, and that meant that they couldn't

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Speaker 1: just broadcast anything they wanted. So a radio station could

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Speaker 1: not broadcast pornography or even indecency, that is bad words.

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Speaker 1: They could get in trouble with the Federal Communications Commission

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Speaker 1: and lose their license, and their licenses essentially access to

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Speaker 1: a certain part of the electromagnetic spectrum. Today, the only

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Speaker 1: entities that are subject to this limited First protection are broadcasters,

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Speaker 1: people who transmit over the electromagnetic spectrum, which includes terrestrial

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Speaker 1: radio J and then linear broadcast television networks and ABC, CBS,

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Speaker 1: and that's about it. Everybody else, all those cable networks.

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Speaker 1: They are not subject to that limitation. They have full

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Speaker 1: First Amendment rights, and today, of course, Internet is not

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Speaker 1: at all subject to limited First Amendment protection. Two dominant networks,

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Speaker 1: both of which survived today, emerged in nine twenties. Radio

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Speaker 1: with fundamental differences between them. NBC was a subsidiary of

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Speaker 1: the Radio Corporation of America. Which kind of music do

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Speaker 1: you like? And it was essentially a loss leader designed

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Speaker 1: to just keep the industry moving ahead. You name it

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Speaker 1: r C A Victor's Got It the music you want

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Speaker 1: when you wanted by the world's greatest artists, sending out

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Speaker 1: programs in order to get people to burn more radio sets.

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Speaker 1: The philteramic antenna is featured in this X four model,

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Speaker 1: along with dual speakers that filled the room with the

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Speaker 1: best am sound ever heard. They didn't really see themselves

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Speaker 1: as an entertainment or advertising company. They saw themselves as

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Speaker 1: a technological company that wraps up our c A Victor's

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Speaker 1: New line of radios, good listening and good selling. This

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Speaker 1: is CBS. They cut on be a broadcasting system. CBS,

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Speaker 1: on the other hand, was designed to please advertisers because

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Speaker 1: it was taken over a buy an advertiser in the

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Speaker 1: late twenties, William Paley, so my closest friends so that

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Speaker 1: I was buying into a gimmick. They just couldn't understand

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Speaker 1: anybody having any doubt about the future of this media.

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Speaker 1: William Paley's family owned a tobacco company and they sold

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Speaker 1: a lot of cigars called the La Paulina cigars on

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Speaker 1: a radio show in the nineteen twenties in Philadelphia. Well, George,

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00:24:51,600 --> 00:24:53,760
Speaker 1: so this is the place you buy those secret weapons

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Speaker 1: you smoke. And they realized that radio could be a

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Speaker 1: very effective selling tool. Eddie, Please, these happen to be

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Speaker 1: very fine cigars. Sure, you walk through Los Angeles smoking

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Speaker 1: those things in the poorness and rubber factory gets all

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Speaker 1: the blame. Paley basically bought these radio stations in this network,

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Speaker 1: which had been a subsidiary of the Columbia Recording Company,

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Speaker 1: and he builds it up into I think one of

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Speaker 1: the most effective advertising platforms in media history, because he

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Speaker 1: decides to really cater to advertisers and help them figure

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Speaker 1: out how best to reach their aciences. But the people

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Speaker 1: actually making decisions about programs were not the networks. Back

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Speaker 1: in the thirties and the forties, the networks were only

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Speaker 1: deciding who to sell time to. Let's have my own brand, Joe,

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Speaker 1: there's a quarter, thank you, Mr Candor here's your ten cigars.

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Speaker 1: The people making the decisions about the programs were the

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Speaker 1: advertisers and their advertising agencies. One of the top radio

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Speaker 1: producers was called Blackett sample Huart. Frank hummert realize very

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Speaker 1: early on that radio would be an excellent medium for

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Speaker 1: reaching housewives. Housewives to be at home sweeping the floor,

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Speaker 1: doing the dishes, and they could have the radio on

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Speaker 1: and listen to a show. Ladies, drill at the new

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Speaker 1: loveliness of your complexion, the radiant, pingling feeling that is yours.

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Speaker 1: After a facial with Hopper White clay Pack, Hummer decided

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Speaker 1: that the best way to keep audiences tuned into the

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Speaker 1: radio was to provide serialized stories. Well for a week

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Speaker 1: he followed the continual plotting of the Cousins against Mam

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Speaker 1: Now coutin Silvester is trying to make Faith fall in

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Speaker 1: love with him, and at the same time he and

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Speaker 1: his Dady doesn't it, are trying to keep Willie and

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Speaker 1: Evy out of their life. Bab newspapers and magazines had

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Speaker 1: provide serialized stories for cads. They're very popular in nineteenth

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00:27:02,160 --> 00:27:07,480
Speaker 1: century literature. Those cereals then were like fifteen minutes a day.

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Speaker 1: They was open with an organ playing these dramatic cords.

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Speaker 1: And you've heard these organs sounds parodied ever since. The

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00:27:17,840 --> 00:27:21,560
Speaker 1: Homards would create multiple programs at the same time by

401
00:27:21,680 --> 00:27:26,399
Speaker 1: creating an industrial script production process, no very noble backstage. Ye,

402
00:27:26,840 --> 00:27:29,120
Speaker 1: So the Homards would come up with a plot outline

403
00:27:29,359 --> 00:27:32,080
Speaker 1: yesterday Larry took Mary to an old roundaboo in the

404
00:27:32,320 --> 00:27:35,280
Speaker 1: hope of breaking down the barriers that have caused them

405
00:27:35,359 --> 00:27:38,040
Speaker 1: to live apart for the past few months. Then they

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00:27:38,080 --> 00:27:40,480
Speaker 1: would have a script manager who would break it down

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Speaker 1: into acts and scenes. Although reconciliations seen near troubles involving

408
00:27:45,640 --> 00:27:48,200
Speaker 1: Larry's half brother Bob broke up what promised to be

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Speaker 1: a perfect evening. Then they'd have somebody else actually write

410
00:27:51,560 --> 00:27:55,120
Speaker 1: the dialogue Larry, I've got ever doing the right thing.

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00:27:56,080 --> 00:27:58,880
Speaker 1: Oh no, I've made mad as worse. And they could

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00:27:58,880 --> 00:28:03,200
Speaker 1: just churn out dozens of scripts simultaneously. The following morning,

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Speaker 1: in the dinet of Mary's Greenwich Village studio, we find

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Speaker 1: mc listen. Same actors would stand in front of the

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00:28:10,680 --> 00:28:14,880
Speaker 1: mic and perform four different characters in four different programs,

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Speaker 1: one right after the other. Say this is the first

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00:28:17,640 --> 00:28:20,040
Speaker 1: real cup of coffee I've had since we fooled ourselves

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00:28:20,040 --> 00:28:22,320
Speaker 1: and thinking we needed a vacation from each other. Oh,

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00:28:22,440 --> 00:28:24,959
Speaker 1: I know what that means. You want another cup? Are?

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00:28:26,800 --> 00:28:29,560
Speaker 1: Mar Perkins? Was one of their programs. It was sponsored

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00:28:29,600 --> 00:28:35,440
Speaker 1: by OXIDL dob and mar Perkins would be somebody who

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00:28:35,440 --> 00:28:39,200
Speaker 1: would help solve people's problems in her community. And Ma

423
00:28:39,560 --> 00:28:43,200
Speaker 1: never dreamed that all her doubles come from the knot,

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00:28:44,280 --> 00:28:49,200
Speaker 1: but right here for our thought. Then the announcer would

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00:28:49,240 --> 00:28:53,120
Speaker 1: come on and would spend ninety seconds explaining how oxyd

426
00:28:53,160 --> 00:28:57,360
Speaker 1: Hall the Laundry Soap could solve all of your laundry problems.

427
00:28:57,560 --> 00:29:00,880
Speaker 1: Say that's a mighty white water you're hanging. You're using

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00:29:00,960 --> 00:29:03,440
Speaker 1: one of those news dads. I've been hearing about something

429
00:29:03,560 --> 00:29:07,760
Speaker 1: even better. I'm using Deep Cleaning occidor Yeah, ladies, deep

430
00:29:07,800 --> 00:29:09,880
Speaker 1: cleaning out at all. It's got both talking all over

431
00:29:09,920 --> 00:29:13,400
Speaker 1: the country. Some of the other programs they produced were

432
00:29:13,560 --> 00:29:16,480
Speaker 1: The Romance of Helen Trents. Once again, we bring you

433
00:29:16,640 --> 00:29:19,840
Speaker 1: the Romance of Helen trent who sets out to prove

434
00:29:20,080 --> 00:29:23,000
Speaker 1: for herself that romance can live in life. At thirty

435
00:29:23,080 --> 00:29:27,360
Speaker 1: five and after Stella Dallas and now Stella Dallas, the

436
00:29:27,400 --> 00:29:29,880
Speaker 1: Shutter Life sequel is written by us to the world

437
00:29:29,960 --> 00:29:34,560
Speaker 1: famous drama of mother, love and sacrifice. In my view,

438
00:29:41,560 --> 00:29:46,320
Speaker 1: just plain Bill Blainville, Davidson, Barbara of Hockday attend the

439
00:29:46,480 --> 00:29:48,640
Speaker 1: real life story of people who might be your own

440
00:29:48,760 --> 00:29:53,600
Speaker 1: next door neighbor. Argal Sunday once again were then a

441
00:29:54,040 --> 00:29:57,840
Speaker 1: Goal Sunday, the story of an upen girl named Sunday

442
00:29:58,200 --> 00:30:00,040
Speaker 1: who was left on the depth of the cat and

443
00:30:00,160 --> 00:30:03,720
Speaker 1: the two old miners who raised up in childhood in

444
00:30:03,800 --> 00:30:09,520
Speaker 1: a little mining count of Pilver Creek, Colorado. These programs

445
00:30:09,640 --> 00:30:15,080
Speaker 1: were heavily mocked and criticized for being slow, repetitive, portentis boring,

446
00:30:15,720 --> 00:30:17,680
Speaker 1: and they were also mocked because they were designed to

447
00:30:17,680 --> 00:30:21,160
Speaker 1: appeel the housewives. Today, of course, we call these kinds

448
00:30:21,240 --> 00:30:26,400
Speaker 1: of daytime serial dramas soap operas because they were primarily

449
00:30:26,760 --> 00:30:29,880
Speaker 1: sponsored by soap companies in the nineteen thirties. You know,

450
00:30:30,040 --> 00:30:31,840
Speaker 1: I guess a lot of you ladies are having couple

451
00:30:31,920 --> 00:30:34,840
Speaker 1: with those halfway soap editions. What are you going to

452
00:30:34,840 --> 00:30:38,840
Speaker 1: be sure there's nothing halfway about you does, although cereal

453
00:30:39,080 --> 00:30:42,800
Speaker 1: companies like General Mills also sponsored quite a few of

454
00:30:42,880 --> 00:30:45,040
Speaker 1: these as well. I don't know why they weren't called

455
00:30:45,120 --> 00:30:48,280
Speaker 1: cereal cereals, but we ended up with the phrase soap

456
00:30:48,360 --> 00:30:52,800
Speaker 1: operas instead. For youthful regularity, you try killoggs all brand.

457
00:30:53,240 --> 00:30:59,280
Speaker 1: It's a double L hyphen b R and killogged all brand. Basically,

458
00:30:59,320 --> 00:31:05,040
Speaker 1: the program was hard sell ad vehicle. The soft cell, however,

459
00:31:05,760 --> 00:31:10,040
Speaker 1: was also common on radio. The agency Young and Ruby Cam,

460
00:31:10,400 --> 00:31:13,840
Speaker 1: I would say, was the top soft cell company, and

461
00:31:13,920 --> 00:31:17,520
Speaker 1: they believed that hitting consumers over the head with repetitive

462
00:31:17,560 --> 00:31:22,160
Speaker 1: product information was alienating and it didn't work. The way

463
00:31:22,240 --> 00:31:25,040
Speaker 1: you sold things was you tried to entertain the audience.

464
00:31:25,120 --> 00:31:27,200
Speaker 1: You tried to get their attention. You tried to be

465
00:31:27,200 --> 00:31:30,400
Speaker 1: a little funny and humorous and then once you soften

466
00:31:30,480 --> 00:31:33,320
Speaker 1: them up, and then you would tell them about the product.

467
00:31:34,120 --> 00:31:37,400
Speaker 1: Two of Young and Ruby Camp's top programs or the

468
00:31:37,480 --> 00:31:41,080
Speaker 1: Jack Benny Show and Fred Allen's Town Hall Tonight and now,

469
00:31:41,280 --> 00:31:44,240
Speaker 1: Ladies and gentlemen, we bring you that delicious comedian with

470
00:31:44,360 --> 00:31:48,520
Speaker 1: the locked in bank roll, Jack Benny. Jack Benny was

471
00:31:48,600 --> 00:31:56,640
Speaker 1: sponsored by the General Fried's brand Jello. Then program presented

472
00:31:56,680 --> 00:31:59,880
Speaker 1: by Tello and Talo pudding, flowering Jack Benny with Mary Livings,

473
00:32:00,040 --> 00:32:02,640
Speaker 1: Phil Harris, Jenna Day Rochester and Yours truly Don Wilson.

474
00:32:03,360 --> 00:32:07,000
Speaker 1: Jack Benny was a comedian out there, Thank you, thank

475
00:32:07,040 --> 00:32:09,680
Speaker 1: you Jelo again. This is Jack Benny Jelong again for

476
00:32:09,760 --> 00:32:12,560
Speaker 1: the last time. Next season it will be great nuts late.

477
00:32:13,360 --> 00:32:17,600
Speaker 1: They would interweave the Jello brand into jokes and scenes.

478
00:32:17,640 --> 00:32:19,160
Speaker 1: Why don't you all go down to your little old

479
00:32:19,160 --> 00:32:22,080
Speaker 1: neighborhood grocer store and say, children, we gotta into package

480
00:32:22,120 --> 00:32:27,000
Speaker 1: of Jello I'm wanting, And then the announcer would give

481
00:32:27,120 --> 00:32:30,520
Speaker 1: announcements about Jello. It was more than forty years ago, friends,

482
00:32:30,600 --> 00:32:33,120
Speaker 1: that the first package of Jello was handed across the counter,

483
00:32:33,320 --> 00:32:38,840
Speaker 1: carried home and served to a delighted family and all

484
00:32:38,920 --> 00:32:42,040
Speaker 1: of smiles with Red Allen, folks, thirty six hundred seconds

485
00:32:42,120 --> 00:32:44,760
Speaker 1: of fun and music. Fred Allen was another comedian who

486
00:32:44,800 --> 00:32:48,800
Speaker 1: came out of that lovable buffoon that man about clown.

487
00:32:50,680 --> 00:32:54,280
Speaker 1: What is your name again? Budd? You know me? I

488
00:32:54,720 --> 00:32:57,920
Speaker 1: I was on the program last year. One of my

489
00:32:58,000 --> 00:33:02,520
Speaker 1: favorite ways that he made fun advertising was he and

490
00:33:02,680 --> 00:33:06,920
Speaker 1: his announcer Harry Gonzel, had a dialogue once in which

491
00:33:07,000 --> 00:33:10,280
Speaker 1: they could not remember the name of their sponsoring brand.

492
00:33:10,600 --> 00:33:13,840
Speaker 1: Don't ever neglect the cold. At the very first time

493
00:33:13,920 --> 00:33:16,680
Speaker 1: of a cold, get after it immediately with a faster

494
00:33:16,800 --> 00:33:24,160
Speaker 1: help of sparkling. Sparkling. What's the name, Fred Allen, am, No, no, no,

495
00:33:25,480 --> 00:33:27,400
Speaker 1: the name of it? What it is that helps fight

496
00:33:27,520 --> 00:33:30,360
Speaker 1: cold faster? With my mind? Well, it will come. Do

497
00:33:30,440 --> 00:33:33,880
Speaker 1: you go ahead? Well, yes, yes, Or ladies and gentlemen,

498
00:33:33,920 --> 00:33:37,760
Speaker 1: there's this famous product act very quickly. Yeah, it's exceptionally

499
00:33:37,840 --> 00:33:41,240
Speaker 1: gentle And since the progress of a cold is very fast,

500
00:33:41,720 --> 00:33:45,160
Speaker 1: the greater speed of what it is I'm talking about

501
00:33:45,280 --> 00:33:49,000
Speaker 1: is especially important in fighting your cold. And that's not

502
00:33:49,160 --> 00:33:53,000
Speaker 1: all this. The name will come to me in a minute.

503
00:33:53,680 --> 00:33:56,840
Speaker 1: They're making fun of the fact that hard sell advertising

504
00:33:56,880 --> 00:34:00,560
Speaker 1: agencies like the Homards would just repeat the name over

505
00:34:00,640 --> 00:34:02,440
Speaker 1: and over and over again until you wanted to throw

506
00:34:02,480 --> 00:34:04,480
Speaker 1: the radio out the window. Fred, you know what I'm

507
00:34:04,560 --> 00:34:08,520
Speaker 1: talking about? I certainly, Harry, you're talking about America's outstanding

508
00:34:08,640 --> 00:34:11,440
Speaker 1: staleine action. That's a friend of the name. Is the

509
00:34:11,640 --> 00:34:17,560
Speaker 1: name is so many physicians recommends yes, yes to abandon

510
00:34:17,719 --> 00:34:20,880
Speaker 1: helped pride cold faster. But what is the name? Wait, Harry,

511
00:34:20,960 --> 00:34:24,200
Speaker 1: there must be somebody around here who knows if there is.

512
00:34:24,320 --> 00:34:31,440
Speaker 1: When you please tell us confidentially, that's it, sal Herpadicus.

513
00:34:31,560 --> 00:34:35,759
Speaker 1: Thank you, ladies and gentlemen. Thank you. Another one of

514
00:34:35,840 --> 00:34:39,239
Speaker 1: my favorite examples is in a drama called The Gibsons,

515
00:34:39,480 --> 00:34:43,200
Speaker 1: sponsored by Procter and Gambles Ivory soaked. That's all before

516
00:34:43,280 --> 00:34:45,320
Speaker 1: the overture to the second act of the Gibson Family,

517
00:34:45,840 --> 00:34:49,240
Speaker 1: let's step back state and looking on Sally, Gibsons and Hilda,

518
00:34:49,320 --> 00:34:52,240
Speaker 1: her maid, who was helping Sally change for the next seat.

519
00:34:53,160 --> 00:34:56,520
Speaker 1: In this scene, the young lady of the house is

520
00:34:56,560 --> 00:35:00,200
Speaker 1: instructing her maid about the best kind of so hope

521
00:35:00,280 --> 00:35:03,640
Speaker 1: to use. Help me, what's wrong with my faith, Miss Sally?

522
00:35:04,160 --> 00:35:08,279
Speaker 1: Those red blotchers just won't go away. Nope, Probably what

523
00:35:08,480 --> 00:35:11,560
Speaker 1: kind are you using? Some beauty so by the blowy fiance,

524
00:35:11,719 --> 00:35:15,640
Speaker 1: Miss Sally, that one that promises radiant beauty, glamorous you,

525
00:35:16,120 --> 00:35:22,960
Speaker 1: irresistible loveliness. She also criticizes other advertising strategies. So you

526
00:35:23,120 --> 00:35:25,600
Speaker 1: can't see the pores of your skin with beauty oils,

527
00:35:25,640 --> 00:35:29,960
Speaker 1: the mysterious ingredients no and many highly perfumed, prettily colored

528
00:35:30,000 --> 00:35:34,120
Speaker 1: soap contained study acids and pre alkalies that really irritating

529
00:35:34,200 --> 00:35:38,120
Speaker 1: honder skin. But miss salent I doctor recommended Ivory. He said,

530
00:35:38,200 --> 00:35:40,600
Speaker 1: Ivory would help to keep my skin smooth and fine,

531
00:35:40,960 --> 00:35:44,560
Speaker 1: unless sallet. Do you think Henry would quick my glove?

532
00:35:44,680 --> 00:35:48,200
Speaker 1: Hilda is the bilt of the second day. By integrating

533
00:35:48,239 --> 00:35:51,920
Speaker 1: the ad throughout the show, they would hope that the

534
00:35:52,000 --> 00:35:57,160
Speaker 1: audience would stay attentive and by staying attentive within get

535
00:35:57,200 --> 00:36:01,239
Speaker 1: the advertising message. And this strategy has come back in

536
00:36:01,320 --> 00:36:04,759
Speaker 1: full force today. Advertisers have been working very hard at

537
00:36:04,880 --> 00:36:08,640
Speaker 1: integrating themselves in all sorts of ways. Because advertisers know

538
00:36:08,800 --> 00:36:11,680
Speaker 1: that they probably lose your attention once the commercial interruption

539
00:36:11,760 --> 00:36:21,319
Speaker 1: comes on. One of the most obvious ways to sell

540
00:36:21,400 --> 00:36:24,440
Speaker 1: your show and in turn your product is to put

541
00:36:24,520 --> 00:36:32,320
Speaker 1: someone famous on the payroll. Random Blue J Walter Thompson

542
00:36:32,520 --> 00:36:36,000
Speaker 1: was one of the top radio program producers of the time,

543
00:36:36,640 --> 00:36:39,600
Speaker 1: and J. Walter Thompson's main strategy on radio was to

544
00:36:39,719 --> 00:36:44,200
Speaker 1: use celebrities. They produced shows like Craft Music Hall with

545
00:36:44,320 --> 00:36:50,680
Speaker 1: Bing Crosby, Major Bow's Amateur Hour, which was like the

546
00:36:50,719 --> 00:36:53,759
Speaker 1: American Idol of its day. Our gift deometers are ready

547
00:36:53,800 --> 00:36:56,400
Speaker 1: to entertain you and to entrust their success to you

548
00:36:56,680 --> 00:37:00,800
Speaker 1: and to your votes. The Fleischmann's Yeast Hour with Rudy Valley,

549
00:37:00,840 --> 00:37:07,400
Speaker 1: who was a famous singer. Another version of it had

550
00:37:07,520 --> 00:37:11,720
Speaker 1: Edgar Bergen and Charlie McCarthy. Edgar Bergen was a ventriloquist

551
00:37:11,840 --> 00:37:14,640
Speaker 1: and Charlie McCarthy was his dummy. I think we better

552
00:37:14,680 --> 00:37:17,239
Speaker 1: do it now. I would graded dirt tomorrow. I think

553
00:37:17,280 --> 00:37:19,280
Speaker 1: you better do it now, but I wouldn't. It doesn't

554
00:37:19,320 --> 00:37:21,480
Speaker 1: make any different what you'd rather to do, don't know.

555
00:37:21,920 --> 00:37:25,560
Speaker 1: That's another way of looking at it. It's pretty strange

556
00:37:25,600 --> 00:37:28,279
Speaker 1: when you think about having ventriloquism on the radio. By

557
00:37:28,360 --> 00:37:30,360
Speaker 1: this time, I think most of you get the idea.

558
00:37:30,480 --> 00:37:33,919
Speaker 1: But for the second move, commers, I repeat. Both male

559
00:37:34,080 --> 00:37:36,360
Speaker 1: voices you hear in this act come from the lips

560
00:37:36,840 --> 00:37:40,400
Speaker 1: and behind the lips of one man. They also had

561
00:37:40,440 --> 00:37:44,920
Speaker 1: a show called Lux Radio Theater from Hollywood, California. The

562
00:37:45,000 --> 00:37:48,120
Speaker 1: Lux Radio Theater presents no white than the Seventh Dwarf,

563
00:37:48,840 --> 00:37:52,239
Speaker 1: where they would take current Hollywood movies and reduce them

564
00:37:52,280 --> 00:37:55,680
Speaker 1: down to a short running time, then have the movie

565
00:37:55,719 --> 00:37:58,840
Speaker 1: stars come on and on a live broadcast re enact

566
00:37:59,120 --> 00:38:10,279
Speaker 1: scenes from that movie. Tells Gonave, this was a way

567
00:38:10,320 --> 00:38:13,440
Speaker 1: to not just promote the movie, but it was designed

568
00:38:13,520 --> 00:38:17,440
Speaker 1: to associate lux toilet soap, with movie stars aiding in

569
00:38:17,480 --> 00:38:20,239
Speaker 1: tonight's production. And our guest of honor is walk there's

570
00:38:20,280 --> 00:38:22,719
Speaker 1: me himself. Mr de Mill will step off all the

571
00:38:22,760 --> 00:38:25,080
Speaker 1: curtain in just a moment, but before he does a

572
00:38:25,160 --> 00:38:28,000
Speaker 1: word about the product that brings you this program, Lux Blake.

573
00:38:28,960 --> 00:38:31,440
Speaker 1: Lux Flakes have thousands of loyal followers all over the

574
00:38:31,480 --> 00:38:34,760
Speaker 1: world because lovely women everywhere depend on these fine gentle

575
00:38:34,800 --> 00:38:38,920
Speaker 1: flakes to keep their things dainty. It was a very

576
00:38:38,960 --> 00:38:44,520
Speaker 1: effective strategy that you see advertisers still used today. Fyance

577
00:38:44,920 --> 00:38:50,800
Speaker 1: sounding pepsi pepsi. The celebrity brings in a built in audience,

578
00:38:54,960 --> 00:38:57,640
Speaker 1: and so it's a way of pre buying your audience.

579
00:38:57,680 --> 00:39:00,040
Speaker 1: You're not having to build your audience from scratch. And

580
00:39:00,160 --> 00:39:02,920
Speaker 1: then you say, oh, and by the way, Being Crosby

581
00:39:03,480 --> 00:39:07,800
Speaker 1: loves Craft cheese, yeah by Mr dale Craft that this

582
00:39:08,040 --> 00:39:10,480
Speaker 1: ms my metho ten years on the old craft music.

583
00:39:11,239 --> 00:39:15,359
Speaker 1: Don't get smug about it if any one. So, if

584
00:39:15,360 --> 00:39:20,400
Speaker 1: you like Being Crosby, maybe a Whitecraft cheese. The downside

585
00:39:20,560 --> 00:39:24,040
Speaker 1: is if the audience turns against that celebrity. Let's say

586
00:39:24,080 --> 00:39:27,480
Speaker 1: that celebrity gets involved in some kind of scandal. Then

587
00:39:27,560 --> 00:39:30,040
Speaker 1: it's a problem for the advertiser because the advertiser only

588
00:39:30,080 --> 00:39:34,040
Speaker 1: wants positive associations with its brand. And this becomes a

589
00:39:34,120 --> 00:39:37,960
Speaker 1: really big problem during the McCarthy era, when advertisers begin

590
00:39:38,239 --> 00:39:42,600
Speaker 1: blacklistening performers, fearful that housewives would stop buying craft cheese

591
00:39:42,920 --> 00:39:46,520
Speaker 1: if they hired a communist actor. I get the impression

592
00:39:46,600 --> 00:39:50,080
Speaker 1: to file, you are finally an actor. I don't think

593
00:39:50,120 --> 00:39:54,120
Speaker 1: you have any conception of the danger of the communist part.

594
00:39:55,520 --> 00:40:00,680
Speaker 1: But by the nineties, most radio shows were lad major

595
00:40:00,800 --> 00:40:04,800
Speaker 1: stars because advertisers realized that big stars helped to build

596
00:40:04,920 --> 00:40:08,279
Speaker 1: big audiences. When I first ran into picture as an

597
00:40:08,320 --> 00:40:10,800
Speaker 1: actor was an actor? Well, what is an actor in

598
00:40:10,920 --> 00:40:14,240
Speaker 1: Hollywood today? He's a straight man for a set of dishes.

599
00:40:16,320 --> 00:40:21,520
Speaker 1: Another completely different strategy was institutional advertising. You're not trying

600
00:40:21,560 --> 00:40:23,879
Speaker 1: to advertise a particular product. You're not trying to get

601
00:40:23,920 --> 00:40:26,560
Speaker 1: somebody to buy your brand of soap. Instead of what

602
00:40:26,640 --> 00:40:29,600
Speaker 1: you're advertising is your corporate image. You're trying to get

603
00:40:29,640 --> 00:40:32,760
Speaker 1: people to think that your company is a good company.

604
00:40:33,760 --> 00:40:36,719
Speaker 1: B B Do, Baton, Barkin, Durson and Osbourne was one

605
00:40:36,760 --> 00:40:41,960
Speaker 1: of the top institutional advertising agencies. Companies hired BBDO to

606
00:40:42,120 --> 00:40:45,440
Speaker 1: help improve their image among the public, and one way

607
00:40:45,480 --> 00:40:50,360
Speaker 1: they did that was by sponsoring radio shows. Their clients

608
00:40:50,400 --> 00:40:58,320
Speaker 1: included General Electric, General Electric Theater, General Motors, General Motors, US,

609
00:40:58,360 --> 00:41:03,480
Speaker 1: Steel State, the Industrial family that herbs the Nation, prevent

610
00:41:07,480 --> 00:41:11,600
Speaker 1: the Hour of Mystery, DuPont makers of Better Things or

611
00:41:11,680 --> 00:41:17,919
Speaker 1: Better Living Chemistry. These are all giant corporations that had

612
00:41:18,320 --> 00:41:23,719
Speaker 1: major public image problems. They had major labor strikes. They

613
00:41:23,800 --> 00:41:27,840
Speaker 1: were dealing with all sorts of safety and health issues.

614
00:41:29,520 --> 00:41:33,400
Speaker 1: In particular, the chemical company du Pont, after making a

615
00:41:33,520 --> 00:41:37,680
Speaker 1: fortune manufacturing unitions for the First World War, was being

616
00:41:37,760 --> 00:41:44,840
Speaker 1: investigated under accusations of encouraging a global arms race. DuPont

617
00:41:45,120 --> 00:41:47,040
Speaker 1: hired b B d O to make a radio show

618
00:41:47,160 --> 00:41:51,440
Speaker 1: called Cavalcade of America. Cavalcade of America, which told stories

619
00:41:51,520 --> 00:41:56,839
Speaker 1: about American history, particularly American technological history. So they would

620
00:41:56,920 --> 00:42:00,880
Speaker 1: hire actors and dramatize moments of the past, like the

621
00:42:00,960 --> 00:42:04,040
Speaker 1: invention of the Remington rifle. When they such a demand

622
00:42:04,080 --> 00:42:06,120
Speaker 1: for your gun, you can't just say sorry, but I

623
00:42:06,200 --> 00:42:08,680
Speaker 1: can't take any more orders. You make more guns and

624
00:42:08,960 --> 00:42:12,320
Speaker 1: turn it into a kind of heroic drama to appeal

625
00:42:12,360 --> 00:42:16,760
Speaker 1: to audiences and to convince them that DuPont actually share

626
00:42:16,800 --> 00:42:21,120
Speaker 1: their American values. Can you make a hundred and fifty

627
00:42:21,120 --> 00:42:27,160
Speaker 1: Remington Rifles Forever? And that DuPont was accompanied leading away

628
00:42:27,640 --> 00:42:31,160
Speaker 1: in technological progress for more than one hundred and thirty years,

629
00:42:31,280 --> 00:42:33,839
Speaker 1: almost as long as this nation has lived, the name

630
00:42:33,880 --> 00:42:37,200
Speaker 1: of DuPont has been associated with this country's progress. So

631
00:42:37,320 --> 00:42:39,840
Speaker 1: it seems appropriate that DuPont should have the privilege of

632
00:42:39,920 --> 00:42:43,920
Speaker 1: presenting this series of episodes taken truthfully from American history,

633
00:42:44,239 --> 00:42:46,320
Speaker 1: to remind us that from the earliest days to the

634
00:42:46,360 --> 00:42:49,320
Speaker 1: present time, the American people have stood for the staunch

635
00:42:49,360 --> 00:42:52,799
Speaker 1: and simple qualities that form our heretic. They hired big

636
00:42:52,880 --> 00:42:56,200
Speaker 1: stars to perform in it, All the Forge, starring Ronald

637
00:42:56,239 --> 00:42:59,520
Speaker 1: Reagan as the level of Remington on the Cavalcade of America.

638
00:43:00,200 --> 00:43:03,440
Speaker 1: They hired all sorts of major writers to write for it,

639
00:43:03,920 --> 00:43:07,960
Speaker 1: and they hired historians to vet the historical accuracy. A

640
00:43:08,040 --> 00:43:11,759
Speaker 1: group of distinguished educators prominent in the American Historical Association

641
00:43:12,239 --> 00:43:15,880
Speaker 1: is working with DuPont to achieve the spirit of historical accuracy.

642
00:43:16,239 --> 00:43:18,120
Speaker 1: So they're spending a lot of money on essentially a

643
00:43:18,280 --> 00:43:21,560
Speaker 1: public relations effort. It is the hope of DuPont that

644
00:43:21,719 --> 00:43:24,839
Speaker 1: these stories from the pages of our country's history will

645
00:43:24,840 --> 00:43:27,520
Speaker 1: awaken in the Americans of today, are renewed by the

646
00:43:27,640 --> 00:43:31,080
Speaker 1: the Americans who went before us in the Cavalcade of America.

647
00:43:33,000 --> 00:43:35,840
Speaker 1: They had bpdo go do a bunch of survey research,

648
00:43:36,560 --> 00:43:38,520
Speaker 1: and basically what they learned is that it was not

649
00:43:38,640 --> 00:43:42,680
Speaker 1: a very popular program, but the people who listened seemed

650
00:43:42,719 --> 00:43:46,120
Speaker 1: to be convinced that DuPont was a good company, and

651
00:43:46,280 --> 00:43:48,960
Speaker 1: so they kept it up. A lot of chemical research

652
00:43:49,160 --> 00:43:52,359
Speaker 1: come the thousands of products that contribute to better living.

653
00:43:53,040 --> 00:43:56,000
Speaker 1: It was on the air almost two decades and they

654
00:43:56,040 --> 00:43:58,880
Speaker 1: turned it into a television show at DuPont Company, Maker

655
00:43:58,960 --> 00:44:02,560
Speaker 1: of Better Things, a Better Living through Chemistry presents the

656
00:44:02,640 --> 00:44:06,400
Speaker 1: dupart Cavalcade Theater dramatic stories of people who were a

657
00:44:06,480 --> 00:44:11,000
Speaker 1: part of the Cavalcade of America because they were convinced

658
00:44:11,280 --> 00:44:17,080
Speaker 1: of its value as a public relations effort. By the seventies,

659
00:44:17,320 --> 00:44:22,160
Speaker 1: institutional advertisers basically move over to public broadcasting, and that's

660
00:44:22,200 --> 00:44:26,640
Speaker 1: where you find companies like Mobile Oil sponsoring dramas on

661
00:44:26,800 --> 00:44:31,600
Speaker 1: masterpiece theater. Masterpiece theater has a strange effect on intelligent people.

662
00:44:32,239 --> 00:44:34,840
Speaker 1: It lures them to their television sets, and it doesn't

663
00:44:34,920 --> 00:44:38,919
Speaker 1: let them go. It's essentially the same strategy. Masterpiece Theater

664
00:44:39,440 --> 00:44:46,840
Speaker 1: Sunday Evenings on PBS brought to you by mobile. Amid

665
00:44:46,920 --> 00:44:51,440
Speaker 1: this variety of radio programming, there was one format ubiquitous

666
00:44:51,480 --> 00:44:57,719
Speaker 1: today that was conspicuously missing from airwaves. We didn't have

667
00:44:57,880 --> 00:45:01,120
Speaker 1: very many broadcast news pro grahams in the thirties and

668
00:45:01,200 --> 00:45:04,400
Speaker 1: forties because they didn't have the recording technology and the

669
00:45:04,600 --> 00:45:09,360
Speaker 1: field equipment, and because when audiences didn't like something, they

670
00:45:09,440 --> 00:45:13,719
Speaker 1: would threaten to boycott the advertiser. But B B d

671
00:45:13,840 --> 00:45:18,759
Speaker 1: O actually produced The March of Time, which was a

672
00:45:18,920 --> 00:45:23,040
Speaker 1: news docu drama which later became newsreel that people would

673
00:45:23,040 --> 00:45:25,839
Speaker 1: see in movie theaters, but it started as a radio show.

674
00:45:26,920 --> 00:45:29,160
Speaker 1: They would hire people like Orson Welles, who was an

675
00:45:29,239 --> 00:45:34,359
Speaker 1: unknown actor, to come in and perform news stories the moment,

676
00:45:34,440 --> 00:45:37,520
Speaker 1: Mr Phillips, so they would script them. They had a

677
00:45:37,560 --> 00:45:40,960
Speaker 1: live audience, they had a live sound effects person, and

678
00:45:41,080 --> 00:45:44,120
Speaker 1: people didn't realize sometimes that they were hearing a re enactment.

679
00:45:44,920 --> 00:45:49,360
Speaker 1: They re enacted the assassination attempt on President Roosevelt my

680
00:45:49,560 --> 00:45:53,520
Speaker 1: friends of and people thought they were hearing the actual gunshots.

681
00:45:54,520 --> 00:45:57,399
Speaker 1: They re enacted the burning of the Hindenburg. The same

682
00:45:57,520 --> 00:46:03,880
Speaker 1: night that it happened, they re enacted Amelia Earhart disappearing

683
00:46:03,920 --> 00:46:07,600
Speaker 1: in the Pacific and had an actress play Amelia Earhart

684
00:46:07,719 --> 00:46:11,160
Speaker 1: trying to make her last radio transmission. It wasn't exactly

685
00:46:11,239 --> 00:46:15,800
Speaker 1: engine trouble, it was the maracle, And then the listeners

686
00:46:15,840 --> 00:46:19,080
Speaker 1: thought they were actually hearing Emeria Earhart. I curve inman

687
00:46:19,360 --> 00:46:22,520
Speaker 1: until I found a fitable tacket. So that was news

688
00:46:22,760 --> 00:46:26,560
Speaker 1: in the early thirties. We didn't actually get broadcast news

689
00:46:26,760 --> 00:46:31,839
Speaker 1: until World War Two, and after that. World War two

690
00:46:32,080 --> 00:46:34,800
Speaker 1: would be a major turning point in American radio, the

691
00:46:34,920 --> 00:46:40,080
Speaker 1: dramatic story of radio at war. During the run up

692
00:46:40,120 --> 00:46:43,480
Speaker 1: to the war, there was a lot of fear that

693
00:46:44,120 --> 00:46:48,240
Speaker 1: the US government would take over broadcasting a national license.

694
00:46:48,560 --> 00:46:53,160
Speaker 1: Is Washington w a r at HL minus twenty execute

695
00:46:53,200 --> 00:46:58,120
Speaker 1: plan Z. Instead, what happened was the Office for War

696
00:46:58,239 --> 00:47:02,960
Speaker 1: Information had been ending out documentary style announcements about what

697
00:47:03,640 --> 00:47:06,480
Speaker 1: people at home should do to help the home front.

698
00:47:06,680 --> 00:47:09,680
Speaker 1: We've got to follow a new way of light, a

699
00:47:09,840 --> 00:47:15,920
Speaker 1: war way of life. Every home, every business, every farm

700
00:47:16,080 --> 00:47:21,520
Speaker 1: is in that war, every man, woman and child. They're

701
00:47:21,640 --> 00:47:25,680
Speaker 1: very didactic and kind of like instructional pamphlets. Take every

702
00:47:25,719 --> 00:47:29,200
Speaker 1: bit of scrap you have to addn official salvage depot,

703
00:47:29,680 --> 00:47:33,240
Speaker 1: pick up all sorts of rubber accessory, save the grease

704
00:47:33,360 --> 00:47:36,279
Speaker 1: from cooking. But if your local salvage committee does not

705
00:47:36,360 --> 00:47:39,320
Speaker 1: ask for tin cans, please do not bring them in.

706
00:47:40,480 --> 00:47:44,840
Speaker 1: Let me repeat. That is until the office was appointed

707
00:47:45,000 --> 00:47:48,440
Speaker 1: a new leader, a gentleman named Warren by Lewis, who

708
00:47:48,520 --> 00:47:51,400
Speaker 1: had been an executive at CBS and also at Geraldra.

709
00:47:51,480 --> 00:47:57,040
Speaker 1: Thompson came from this background in radio entertainment advertising, and

710
00:47:57,160 --> 00:47:59,520
Speaker 1: he said, you know, how about if we set up

711
00:47:59,520 --> 00:48:04,160
Speaker 1: a system where we take existing radio shows and just

712
00:48:04,480 --> 00:48:08,520
Speaker 1: ask them to integrate propaganda information into it. It was

713
00:48:08,600 --> 00:48:12,720
Speaker 1: called his network Allocation Plan, where one type of program

714
00:48:13,040 --> 00:48:17,160
Speaker 1: would be assigned to talk about victory gardens. Victory garden.

715
00:48:17,840 --> 00:48:21,120
Speaker 1: Victory garden was growing your own vegetables to eat your family.

716
00:48:21,320 --> 00:48:24,480
Speaker 1: We can grow food for victory in our own backyards

717
00:48:25,719 --> 00:48:30,160
Speaker 1: and even in vacant lots where perhaps only weeds flourished.

718
00:48:30,200 --> 00:48:34,080
Speaker 1: Before there was no requirement as to how they would

719
00:48:34,120 --> 00:48:37,120
Speaker 1: mention victory gardens. They could do something that sounded like

720
00:48:37,239 --> 00:48:40,200
Speaker 1: a commercial. You can have vegetables, lots of them, on

721
00:48:40,320 --> 00:48:42,959
Speaker 1: your table next winter. You can have your own fresh

722
00:48:43,040 --> 00:48:45,879
Speaker 1: vegetables on your table this summer if you have your

723
00:48:45,960 --> 00:48:49,320
Speaker 1: own victory garden. If it were a soap opera and

724
00:48:49,480 --> 00:48:52,120
Speaker 1: one of the characters could be growing her own victory gardens,

725
00:48:52,160 --> 00:48:55,640
Speaker 1: thank you. But the God really isn't mine. I merely

726
00:48:55,719 --> 00:48:59,279
Speaker 1: take care of it. See that everything is properly cared for. Well.

727
00:49:00,320 --> 00:49:04,040
Speaker 1: Actually anything. Any musical variety shows, they could sing a

728
00:49:04,200 --> 00:49:10,120
Speaker 1: song about victory gardens in the Hongcome Working in the

729
00:49:10,239 --> 00:49:15,760
Speaker 1: Old In comedy shows, they could tell jokes about victory gardens.

730
00:49:15,920 --> 00:49:19,239
Speaker 1: Roses are red, violets are blue. I know violets are

731
00:49:19,280 --> 00:49:20,880
Speaker 1: blue because I've seen her hanging them out on the

732
00:49:20,960 --> 00:49:24,319
Speaker 1: line the other day. It didn't matter as long as

733
00:49:24,440 --> 00:49:30,520
Speaker 1: victory gardens were mentioned during the program, and then the

734
00:49:30,600 --> 00:49:32,960
Speaker 1: next week they would be given the assignment to talk

735
00:49:33,040 --> 00:49:35,440
Speaker 1: about how to buy war bonds. Look, will you do

736
00:49:35,560 --> 00:49:38,440
Speaker 1: something for me? Take this money and buy war bonds

737
00:49:38,480 --> 00:49:40,120
Speaker 1: in my name When I come back after the war,

738
00:49:40,160 --> 00:49:42,200
Speaker 1: I can use it. Besides, I can't think of a

739
00:49:42,280 --> 00:49:46,759
Speaker 1: better Christmas present or how to recycle rubber tires, the

740
00:49:46,920 --> 00:49:50,480
Speaker 1: greatest name in rubber Goodyear invite you to meet America's

741
00:49:50,520 --> 00:49:56,279
Speaker 1: greatest Western star, Roy Rogers. A lot of people were

742
00:49:56,400 --> 00:49:59,200
Speaker 1: very angry about this because they thought propaganda should be

743
00:49:59,680 --> 00:50:03,000
Speaker 1: seri is and not entertaining a pragmatic mission turning a

744
00:50:03,160 --> 00:50:08,400
Speaker 1: trip into weapons for common Ridge shap We're gone. But

745
00:50:09,000 --> 00:50:11,440
Speaker 1: Lewis was somebody who understood that the way that you

746
00:50:11,600 --> 00:50:14,320
Speaker 1: find audiences, the way you get audience attention, and the

747
00:50:14,400 --> 00:50:18,080
Speaker 1: way you get buy in from audiences is to entertain them.

748
00:50:18,280 --> 00:50:23,160
Speaker 1: Anyone today want the freedom. That's what I'm telling any

749
00:50:23,239 --> 00:50:28,080
Speaker 1: que today. Now. Radio boomed in this period. I would

750
00:50:28,080 --> 00:50:31,520
Speaker 1: say it reached its highest popularity in terms of listenership.

751
00:50:32,040 --> 00:50:35,080
Speaker 1: Consumer products were not being produced in factories at this time.

752
00:50:35,200 --> 00:50:38,080
Speaker 1: The American economy was a war economy, and so you

753
00:50:38,120 --> 00:50:40,760
Speaker 1: couldn't buy a new radios, you couldn't buy television sets,

754
00:50:41,000 --> 00:50:43,800
Speaker 1: you couldn't buy a new car, and so people hadn't

755
00:50:44,040 --> 00:50:47,000
Speaker 1: do was what they had, and radio was something that

756
00:50:47,360 --> 00:50:51,200
Speaker 1: over nine of American households had the magic of radio

757
00:50:51,400 --> 00:50:55,080
Speaker 1: fridging space faster than the most powerful play. So radio

758
00:50:55,280 --> 00:50:59,400
Speaker 1: was the dominant medium, and the end of World War

759
00:50:59,520 --> 00:51:03,279
Speaker 1: Two is its high water mark before it lost out

760
00:51:03,320 --> 00:51:08,000
Speaker 1: to television. For a look at the early television industry.

761
00:51:08,560 --> 00:51:12,800
Speaker 1: Check out our episode on the Forgotten Network. It's called Dumont.

762
00:51:19,760 --> 00:51:23,160
Speaker 1: Television takes quite a while to come into American homes.

763
00:51:23,840 --> 00:51:27,040
Speaker 1: It's invented back in the thirties, but the depression in

764
00:51:27,080 --> 00:51:33,120
Speaker 1: the war interrupt its dissemination. When they start with television,

765
00:51:33,200 --> 00:51:37,040
Speaker 1: they're carrying over the radio model with dramas like General

766
00:51:37,080 --> 00:51:41,200
Speaker 1: Electric Theater or General Electric. Here is Ronald Reagan, Good

767
00:51:41,239 --> 00:51:45,440
Speaker 1: Evening Ladies and Gentlemen, Armstrong Circle Theater, lakers of Armstrong's

768
00:51:45,960 --> 00:51:52,440
Speaker 1: Um and Armstrong's Plastic floors. US Steel Hour. This is

769
00:51:52,560 --> 00:51:59,240
Speaker 1: the United States Steel Hour. Variety shows like the Colgate Hours.

770
00:51:59,440 --> 00:52:08,680
Speaker 1: All right, Martin, I'm Jerry Lay Texaco Star Theater with

771
00:52:08,920 --> 00:52:17,200
Speaker 1: Milton Borough. Gentlemen. There he is himself your Tuesday Night Finderatta.

772
00:52:22,280 --> 00:52:26,120
Speaker 1: These were all shows that were live and single sponsored,

773
00:52:26,640 --> 00:52:29,719
Speaker 1: and initially that's what everybody thought, that's what TV would be.

774
00:52:29,920 --> 00:52:31,960
Speaker 1: You just sort of like radio but with that little screen.

775
00:52:33,400 --> 00:52:36,200
Speaker 1: But television, of course, costs ten times as much to

776
00:52:36,480 --> 00:52:38,920
Speaker 1: produce a show. You had to have lights, costumes, you

777
00:52:38,960 --> 00:52:41,000
Speaker 1: had to have actors who learned their lines instead of

778
00:52:41,040 --> 00:52:43,800
Speaker 1: reading a script in front of a mic. Television was

779
00:52:43,880 --> 00:52:47,640
Speaker 1: too expensive for a single advertiser, so you'd buy sixty

780
00:52:47,719 --> 00:53:04,279
Speaker 1: second spot rather than a show. By the sixties, you

781
00:53:04,400 --> 00:53:08,719
Speaker 1: also have the networks finally realizing that they are media companies,

782
00:53:08,800 --> 00:53:11,880
Speaker 1: they're not technology companies. Following program is brought to you

783
00:53:12,080 --> 00:53:17,040
Speaker 1: in living color on NBC, and the entire industry has

784
00:53:17,080 --> 00:53:21,919
Speaker 1: to realign. While broadcasters shifted to producing their own show,

785
00:53:22,640 --> 00:53:26,680
Speaker 1: agencies narrowed their focus to the ads themselves. Open up

786
00:53:26,719 --> 00:53:30,200
Speaker 1: Budweiser and bore yourself the most inviting blass of beer

787
00:53:30,320 --> 00:53:36,759
Speaker 1: you've ever tasted. Television commercials turned into elaborately produced, high

788
00:53:36,880 --> 00:53:41,320
Speaker 1: budget little mini movies that appear in between the scenes

789
00:53:41,440 --> 00:53:45,520
Speaker 1: of a lot of anodyne kind of TV shows. The

790
00:53:45,640 --> 00:53:49,000
Speaker 1: programs were designed to be this easy going, flat backdrop.

791
00:53:49,280 --> 00:53:53,600
Speaker 1: Christmas is a wonderful time of the year. I'm gladding

792
00:53:53,680 --> 00:53:58,279
Speaker 1: to enjoy it too. She was there essentially there to

793
00:53:58,400 --> 00:54:02,040
Speaker 1: fill air time so that an advertiser can sell something

794
00:54:02,160 --> 00:54:10,040
Speaker 1: in between. Generation the ads have much higher budgets on

795
00:54:10,160 --> 00:54:14,400
Speaker 1: a per second basis. The ads have top talent, and

796
00:54:14,480 --> 00:54:16,760
Speaker 1: so we have this period in the sixties and seventies

797
00:54:16,800 --> 00:54:20,800
Speaker 1: and eighties where I would say that the ads become

798
00:54:21,160 --> 00:54:26,680
Speaker 1: much better produced than the shows. You're in this changes

799
00:54:26,800 --> 00:54:29,160
Speaker 1: by the time cable comes along in the nineteen eighties

800
00:54:29,280 --> 00:54:33,840
Speaker 1: let go my and today, of course things are changing

801
00:54:34,040 --> 00:54:36,160
Speaker 1: some more. Bonus video, I'm gonna show you everything that

802
00:54:36,200 --> 00:54:38,200
Speaker 1: you need to know when it comes to running ads

803
00:54:38,600 --> 00:54:41,280
Speaker 1: on Instagram, How to set up high performing twitter at campaigns,

804
00:54:41,320 --> 00:54:43,320
Speaker 1: how to run ads form snatch, how to make a

805
00:54:43,400 --> 00:54:46,720
Speaker 1: great video ad, the easy way to get TikTok famous

806
00:54:46,800 --> 00:54:50,279
Speaker 1: in less than ten minutes, how to be an influence that,

807
00:54:50,400 --> 00:54:53,120
Speaker 1: how to make an impact, how to create a strong

808
00:54:53,600 --> 00:54:57,560
Speaker 1: personal brand. On instance are tiny today for many your broadcasts.

809
00:54:58,440 --> 00:55:01,360
Speaker 1: Nielsen is only measuring maybe a million viewers for a

810
00:55:01,480 --> 00:55:05,839
Speaker 1: top network show. And of course audience attention has moved

811
00:55:05,920 --> 00:55:08,640
Speaker 1: to streaming and to all sorts of other outlets and

812
00:55:08,800 --> 00:55:13,400
Speaker 1: platforms and technologies for not only consuming content, for for

813
00:55:13,840 --> 00:55:16,879
Speaker 1: creating their own content, And so advertisers are now once

814
00:55:16,920 --> 00:55:20,160
Speaker 1: again doing as much brand integration as they can, as

815
00:55:20,280 --> 00:55:24,080
Speaker 1: much product placement as they can, and they're paying producers

816
00:55:24,239 --> 00:55:28,760
Speaker 1: essentially to insert their brands and to associate their brand

817
00:55:28,960 --> 00:55:33,080
Speaker 1: with something that audiences like. So essentially the basic premise

818
00:55:33,160 --> 00:55:36,359
Speaker 1: of all radio sponsorship in the thirties and forties, it's

819
00:55:36,480 --> 00:55:41,239
Speaker 1: still the basic strategy Today Thing Crosby loves Minute Made.

820
00:55:41,640 --> 00:55:44,239
Speaker 1: Here's one of the phone news for you. Lend me

821
00:55:44,680 --> 00:55:48,920
Speaker 1: that man that made gives low vitamin C so by screens.

822
00:55:49,040 --> 00:55:53,720
Speaker 1: Or introduce yourself when doctors say Manute made orange juice

823
00:55:53,840 --> 00:55:56,880
Speaker 1: is batter for your health. Yes, Minute Main orange juice

824
00:55:57,800 --> 00:56:19,600
Speaker 1: is better for your health. MHO. This episode of Ephemeral

825
00:56:19,880 --> 00:56:23,560
Speaker 1: was written and assembled by Alex Williams, with producers Max

826
00:56:23,600 --> 00:56:27,800
Speaker 1: Williams and Trevor Yon. Cynthia B. Myers is the author

827
00:56:28,000 --> 00:56:32,239
Speaker 1: of a Word from our Sponsor, Admin Advertising and the

828
00:56:32,360 --> 00:56:35,840
Speaker 1: Golden Age of Radio. Find it wherever books are sold,

829
00:56:36,239 --> 00:56:39,719
Speaker 1: and find us on the worldwide web at Ephemeral Show.

830
00:56:40,680 --> 00:56:44,080
Speaker 1: For more podcasts from iHeart Radio, visit the iHeart Radio app,

831
00:56:44,400 --> 00:56:48,040
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.

832
00:56:48,280 --> 00:56:51,320
Speaker 1: Take time to write and challenge to your religion, and

833
00:56:51,520 --> 00:57:00,120
Speaker 1: please ask others to listen to m