Speaker 1: An Now, Ladies and gentlemen, you're attentionally ephemeral as production
Speaker 1: of I heeart three D audio for full exposure listen
Speaker 1: with headphones. Every time humans invent a new way to
Speaker 1: talk to each other, we reignite an age old debate.
Speaker 1: There are people who predict that this communication technology will
Speaker 1: prevent war and allow us to all communicate more effectively.
Speaker 1: It will be great, it will solve all of the
Speaker 1: world's problems. That's the techno utopianism. And then there's the technophobia,
Speaker 1: where people are concerned that this new technology will harm us,
Speaker 1: it will brought our brains, it will control us, or
Speaker 1: maybe it won't harm us, but it'll harm our children.
Speaker 1: There's always a grain of truth in all of this,
Speaker 1: and that a new technology does have a kind of
Speaker 1: outsized impact until it becomes part of normal life. My
Speaker 1: name is Cynthia Myers. I'm the author of a book
Speaker 1: called A Word from Our Sponsor admin Advertising and the
Speaker 1: Golden Age of Radio, and I'm Professor Emerita at the
Speaker 1: College amount St. Vincent in New York City. As we'll
Speaker 1: come to see, the history of advertising and radio is
Speaker 1: in many ways the story of radio itself and a
Speaker 1: foundational chapter in the history of American mass media. The
Speaker 1: earliest experiments with sending sound wirelessly through the electromagnetic spectrum
Speaker 1: took place in the eighteen nineties. The first form of
Speaker 1: it is the wireless which is a telegraph without wires,
Speaker 1: where you could send Morse code over the air. Adding
Speaker 1: voice and adding actual audio doesn't really happen until the
Speaker 1: late teens. In World War One, it's used by the
Speaker 1: Navy for a shift to shore communication. So after World
Speaker 1: War One, the US government wanted to develop this fancy
Speaker 1: new technology. They decided they didn't want to take it over,
Speaker 1: just as they decided not to do that with telephony
Speaker 1: and telegraphy, So they had to try to figure out
Speaker 1: how to build it as some sort of business or industry.
Speaker 1: They've created a corporation called Radio Corporation of America. The
Speaker 1: family including r C A, Victor, rd A, Radiotron, r
Speaker 1: D A Communications Radio Marine, r C A Instituced, and
Speaker 1: the National Broadcasting Company, which basically stole these wireless patents.
Speaker 1: They were producing and manufacturing different kinds of radio sets
Speaker 1: and receivers and transmitters, and they're trying to figure out
Speaker 1: how to make more money from it. R C a
Speaker 1: created a network called National Broadcasting Company NBC Radio. NBC
Speaker 1: was based in New York City, but they would transmit
Speaker 1: programs to stations located all over the country. Musicians would
Speaker 1: literally just play for free on the air to get
Speaker 1: people interested in buying radio sets. This might remind you
Speaker 1: today of how people provide free content in order to
Speaker 1: eventually get paid for it. But they had to figure
Speaker 1: out a way of financing the programming and the broadcasters,
Speaker 1: that is, the networks and those local stations. They were
Speaker 1: technical people. They were running a transmitter. They didn't know
Speaker 1: how to make entertainment, and they also didn't want to
Speaker 1: spend the money. They wanted to rent air time to
Speaker 1: charge somebody, you know, fifty dollars for fifteen minutes on
Speaker 1: their transmitter. But the only people who really wanted to
Speaker 1: reach lots of people at one time were advertisers. Up
Speaker 1: until this time, the advertising industry was primarily based in
Speaker 1: print newspapers and magazines. People don't stop to thank much
Speaker 1: about printing. It's like a drink of water. You buy
Speaker 1: a newspaper a magazine and use it. Advertisers those are
Speaker 1: the people who actually make stuff like soap or cigarettes.
Speaker 1: They would hire ad agencies to go to the newspaper
Speaker 1: and say we want to buy a page. The newspaper
Speaker 1: would say, okay, well that'll be a thousand dollars. The
Speaker 1: ad agency then would be the broker. They go back
Speaker 1: to the advertiser and say, look, you know, don't you
Speaker 1: want to buy this page in this newspaper to advertiser,
Speaker 1: soap s only a thousand dollars. The advertiser would pay
Speaker 1: the agency a thousand dollars and then the agency would
Speaker 1: keep a hundred and fifty of it commission and then
Speaker 1: forward fifty of it to the newspaper. And then the
Speaker 1: ad agency, as a courtesy, would make the ad for
Speaker 1: the advertiser. So they would write the words copywriting, and
Speaker 1: they would make the illustrations our direction. Two major strategies
Speaker 1: evolved from print advertising, the hard sell and the soft
Speaker 1: Sellin hard sell advertising, it was all about the product
Speaker 1: and product information craft caramels in bags, pocket sized bars,
Speaker 1: and at candy cotters everywhere, and tended to be very
Speaker 1: repetitive and hypopolou to crack carmos, two cracked calmos, two
Speaker 1: crack camos. To crack garmel, you had to give lots
Speaker 1: of reasons why to a consumer to buy the product
Speaker 1: true caramel flavor you get only from pure sugar, with
Speaker 1: all of the minerals, all of the protein of good
Speaker 1: fresh milk. You would say, look, here's your problem. You
Speaker 1: have dirty laundry. Here's a solution. It's rinse so laundry so. Well,
Speaker 1: why do you want to buy rinso instead of another
Speaker 1: laundry stuff? Well, because Rinso lifts the dirt up. Rinso
Speaker 1: doesn't red in your hands, Rinso doesn't damage your clothing.
Speaker 1: Rinso produces lots of SuDS. Rinso is priced really well,
Speaker 1: it's an amazing so. Print advertising in the nineteen twenties
Speaker 1: is full of a lot of words, pair a graphs,
Speaker 1: and paragraphs. The idea was that if you provided enough
Speaker 1: reasons why to buy one of them would convince the consumer.
Speaker 1: Mighty Putty is not a glue, but a superpower to
Speaker 1: POxy pulled to any shape and apply directly to most
Speaker 1: any surface for an everlasting box. Rills, holds and screws
Speaker 1: can ruin your projects. With mighty putty. You just cut,
Speaker 1: activate and apply. Here's something you can't do with glue.
Speaker 1: Mighty putty seals leaks instantly. It has the strength to
Speaker 1: pull this fully loaded eighty thousand pound tractor trailer. Now
Speaker 1: that's the power of mighty putty. A counter strategy was
Speaker 1: what we now call the soft sell. Instead of talking
Speaker 1: about the product, they've appealed to people's emotions. Go the
Speaker 1: hard sell soft cell distinction. I think is really easy
Speaker 1: to see once you know what it is. Is the
Speaker 1: ad about the product or is the ad about how
Speaker 1: we feel? Most ads today are about how we feel.
Speaker 1: There's very little information about how McDonald's hamburger tastes, but
Speaker 1: there's often a lot of imagery about people being with
Speaker 1: their friends and their family and enjoying deal. And I
Speaker 1: don't just rot to de beat, but the hard cell
Speaker 1: was the dominant ad strategy up through the nineties, with
Speaker 1: the print industry as their model. Advertising proponents were eager
Speaker 1: to start selling on radio, but there was deep seated
Speaker 1: anxiety that this could poison the well the industry and
Speaker 1: regulators are worried that it would kill this brand new
Speaker 1: industry if advertising was direct. They were afraid that people
Speaker 1: would turn off the radio, tossed the radio set into
Speaker 1: the trash. There's a land of sector people like Herbert
Speaker 1: who Over, who was Secretary of State in the ninet
Speaker 1: twenties suggested that radio only be an indirect advertising medium,
Speaker 1: sort of like a public relations effort. So an advertiser
Speaker 1: word by half an hour of time, and the only
Speaker 1: advertising was in the name of the show. So you
Speaker 1: have the ever Ready Hour Battery Latom get right Dated,
Speaker 1: ever Ready Battery Floor Lilflife, or the Clicko Club Eskimos.
Speaker 1: The idea was that a listener would hear the musical
Speaker 1: show and feel very positively towards this company for providing
Speaker 1: them with free entertainment. The music that these advertisers chose
Speaker 1: to put on the air had to fit in with
Speaker 1: their brand. Clicko Club was a ginger Ale company. They
Speaker 1: put together a band called the Clicko Club Eskimos, which
Speaker 1: is supposed to make you think of coolness, right, something
Speaker 1: cool and icy, And then they played music that was
Speaker 1: very bubbly and my favorite part are the sled dogs
Speaker 1: that are barking a tune. I mean they're not really
Speaker 1: sled dogs. This was all designed to create a brand
Speaker 1: association and what we call sponsor identification that the audience
Speaker 1: is listening to this perkeep music and they're like, oh,
Speaker 1: this is Clicko Club, and they're the sponsor. They're putting
Speaker 1: this on from me and my enjoyment. Well, next time
Speaker 1: I go to the store, instead of buying Canada drygein Dreo,
Speaker 1: I'll be sure to buy Clico Club. The program was
Speaker 1: the ad The program was the brand image. There weren't
Speaker 1: commercials in the sense that we understand them today. But
Speaker 1: by the beginning of the depression it became clear that
Speaker 1: advertisers wanted to do more than that, and so the
Speaker 1: rules kind of changed. The success of our whole national
Speaker 1: program depends of close on the cooperation of the public.
Speaker 1: Advertisers were in a panic about the collapse of consumer demand,
Speaker 1: and they saw radio as a way of stimulating it.
Speaker 1: So what happens in the nineties is that the broadcasters
Speaker 1: are not in charge of programs at all. They simply
Speaker 1: rent the time, and then the advertisers have to figure
Speaker 1: out how to fill that time. First, they would hire
Speaker 1: people from the vaudeville industry, or the theater industry, or
Speaker 1: the music industry. But advertisers were dissatisfied with that because
Speaker 1: they were concerned that those people cared more about the
Speaker 1: show than about their advertising. So they turned to their
Speaker 1: advertising agencies. Now their agencies were the people who used
Speaker 1: to buy them pages in print media. A lot of
Speaker 1: agencies or I'm not sure that radio should be an
Speaker 1: ad medium. They were concerned about people being turned off
Speaker 1: by advertising and how it was invading the home, and
Speaker 1: it was pervasive, it was just in the air, but
Speaker 1: some add agencies jumped on it. A lot of print media,
Speaker 1: we're going out of business in the depression, A lot
Speaker 1: of newspapers and magazines shut down, and ad agencies earned
Speaker 1: their money from charging commissions to those print magazines and newspapers.
Speaker 1: So with the radio they had a whole new revenue stream.
Speaker 1: The ad agencies essentially said, Okay, we're going to turn
Speaker 1: this ad agency into an entertainment production company. They would
Speaker 1: hire writers to write the scripts. Sorry, they would hire
Speaker 1: the actors to read the scripts and play the characters.
Speaker 1: First line product integration. They would hire music directors, producers, directors,
Speaker 1: and many of those people were employed directly at the
Speaker 1: ad agency. Some agencies got into this because they were young,
Speaker 1: upstart agencies and anxious to break into this new technology.
Speaker 1: Well they are all. DAR wasn't an agency like Pentenham Bowls.
Speaker 1: Most of their business was producing radio shows like Maxwell
Speaker 1: House Showboat for companies like General Foods. No matter what
Speaker 1: your favorite entertainment is, you will always find it on
Speaker 1: the Maxwell House Killbot. Who you are? Maxwell House, Cope
Speaker 1: a cooling bank of ice, Macbell Health copy with It,
Speaker 1: Fendily stimulation, it wos you up and never let you down.
Speaker 1: Other agencies like J Walter Thompson and B B d
Speaker 1: O which is short for BT and bartin Jerson and Osbourne.
Speaker 1: How do you sell er b A T T e
Speaker 1: n V A R t O N d u r
Speaker 1: s t I n e O s b O r
Speaker 1: n what. They were well established agencies. They were very
Speaker 1: successful in nineteen twenties. In the nineteen thirties they started
Speaker 1: their own radio departments and were soon producing dozens of
Speaker 1: radio shows for their clients and ad agencies promised their
Speaker 1: clients that the shows that they would produce would for
Speaker 1: elect the needs of that brand image. So all of
Speaker 1: a sudden, companies that make toothpaste were involved in entertainment gate.
Speaker 1: Camel games. Read this week te that right when you
Speaker 1: brush the morn and night we go gate dandel Grade
Speaker 1: we do wasn't necessarily the first time that advertisers were
Speaker 1: involved in entertainment. In the nineteenth century. There were these
Speaker 1: things called medicine shows. They get to a town out
Speaker 1: become a banjo player or tap dancer or commune, and
Speaker 1: they gather the crowd around and they put on show
Speaker 1: for free betters. Show coming better around, So shut up
Speaker 1: your shoes and cout out your dope. Let come all
Speaker 1: down through the show. Then they pull out the product.
Speaker 1: In a product, it's usually a patent medicine, usually mostly alcohol.
Speaker 1: But they were sold and promoted as curatives, claiming to
Speaker 1: cure the food, cure constipation, cure lethargy, you know, everything
Speaker 1: you can imagine under the sun. These are all fraudulent,
Speaker 1: of course, but patent medicines were the top advertisers in
Speaker 1: print media, and there were the top advertisers in terms
Speaker 1: of entertainment. Now about a pain in the net. Eventually,
Speaker 1: in the nineteen teens we got a Ritual Trade Commission
Speaker 1: in the Food and Drug Administration to crack down on
Speaker 1: this kind of fraud. But when radio comes along, there
Speaker 1: are people who accuse it of just basically being a
Speaker 1: high tech medicine show, and in some sense it was.
Speaker 1: You'll find the fact that the most complete relief in adison.
Speaker 1: You've every sure the reason is simple. Addison contained not
Speaker 1: one they ativiated along for before. If later fails, your
Speaker 1: food may remain on the justice, leaving your headache in
Speaker 1: irritable to feel fearful and happy again. Big Carter's little liverpill.
Speaker 1: And my doctor recommended ivory. He did all he so
Speaker 1: condu with clanny, and that to protect the fine texture
Speaker 1: and pours a soculd pin gently, and that to do
Speaker 1: that so must be pure blultaslter is a solution when
Speaker 1: you take it the same remating energy. Six studium mastile
Speaker 1: solicillates is ready to go right to work and say
Speaker 1: that there is the cree. Eight thousands of sparkling bubbles
Speaker 1: give speed to alcidosis relifition in qualities. Yeah, I'm just
Speaker 1: trying to find out how I can improve the program.
Speaker 1: Wait a minute, Wait a minute, everybody, this maybe trouble.
Speaker 1: Come in. Do you want an opinion? Oh you you
Speaker 1: heard the program and it's too slow? You mean you
Speaker 1: did not? I should bank bank bang, good bye. He
Speaker 1: must be in a fast business. I make minute rob
Speaker 1: so long. Okay, the sponsor wants speed, that's what he's
Speaker 1: going to get now on your toes. Everybody. We have
Speaker 1: stopped the program over, take it away, Pete, I pun
Speaker 1: up style present and here he is, thank you, Anne,
Speaker 1: Here she is Hello man. You can't get it any
Speaker 1: fashion than that. With radio, we have very few recorded
Speaker 1: programs from the thirties and forties because audio tape, a
Speaker 1: format which you can edit, didn't exist before the nineties.
Speaker 1: In fact, the Nazis helped invent it. In the networks
Speaker 1: disallowed recordings of any kind during their network broadcasts. Everything
Speaker 1: had to be live, every single thing, the sound effects,
Speaker 1: the music, the acting, And that was because the networks
Speaker 1: wanted to make sure the affiliates all those local radio
Speaker 1: stations didn't just go out and buy some recorded programs
Speaker 1: and not use the networks at all. So when advertisers
Speaker 1: first started getting into radio, some of them more concerned
Speaker 1: that it was too ephemeral, that the words that came
Speaker 1: over the radio set would come and go so quickly
Speaker 1: that the audience wouldn't catch it. So they did things
Speaker 1: like they repeated their brand name over and over. Ladies
Speaker 1: and gentlemen, this is a new pitch Bandwagon, brought to
Speaker 1: you by the f W Pitch company makers a Pictures
Speaker 1: Ideal Hair Tonic and Pictures Danders removing Campoo. They spelled
Speaker 1: out their brand name r E. S p. A A Blanca,
Speaker 1: cresta Blanca. It's with print. You had the advertisement on
Speaker 1: a piece of paper. You could look at it again,
Speaker 1: you could reread it, you could give it to somebody else.
Speaker 1: And they're really worried that this kind of ephemerality would
Speaker 1: make radio advertising less effective. But proponents would argue that
Speaker 1: that efemorality wasn't a problem because radio used the voice.
Speaker 1: The idea rides on the speaker's voice and his words
Speaker 1: on how these words are articulated and pronounced and used
Speaker 1: in language, and the voice was a much more effective
Speaker 1: vehicle for advertising message than that dry, impersonal, voiceless print
Speaker 1: on the page. Radio announcers usually were like the m
Speaker 1: C of the show, Well your faithful friend, when muscle
Speaker 1: they can pain dang busters. They would open the show,
Speaker 1: they'd introduced the show, they'd introduced the characters. Sometimes they
Speaker 1: would give the backstory. Now we present once again Mary Noble,
Speaker 1: backdaid wife, the story of a little Iowa girl who
Speaker 1: married one of America's more tantom actors, Larry noble matinee
Speaker 1: idol of a million other women, the story of what
Speaker 1: it means to be the wife of a famous star.
Speaker 1: And they would also offer make the announcement the word
Speaker 1: from our sponsor, good advice officer, it always pays to
Speaker 1: strike the happy medium even and the like that if
Speaker 1: you take that's why more and more people are using
Speaker 1: Act Black. And those announcers then became really important because
Speaker 1: they were embodying the brand. No matter what your favorite
Speaker 1: entertainment is, you'll always find it on the Maxwell House
Speaker 1: show board. You're taking admitting as always just your loyalty
Speaker 1: the Maxwell House Coffee. The other reason they thought it
Speaker 1: would be powerful was because people were receiving these messages
Speaker 1: in the comforts of their home, and so they're going
Speaker 1: to be more receptive, more vulnerable. We might say today
Speaker 1: to this disembodied voice coming directly into the private emotional
Speaker 1: center of American lives, Let's see how the broadcast gets
Speaker 1: from the studio to your home. These ideas that radio
Speaker 1: was a particularly powerful medium also meant that regulators are
Speaker 1: very worried about it. Of course, you don't hear the
Speaker 1: real sounds over your home radio. What you hear is
Speaker 1: a translation of the song. The Nazis in the nineteen
Speaker 1: thirties were using radio as a propaganda machine, and a
Speaker 1: lot of people were convinced that radio had converted a
Speaker 1: large part of the German population to the Nazi cause,
Speaker 1: and so there was a lot of concern that radio
Speaker 1: was too powerful a medium and we had to be
Speaker 1: really careful that it wasn't abused. Radio waves from many
Speaker 1: programs are being picked up by your radio all the time.
Speaker 1: More often the networks were more concerned that advertisers would
Speaker 1: offend audiences and then the listeners would turn off the
Speaker 1: network or turn off the radio altogether. NBC had a
Speaker 1: department called the Continuity Acceptance Department, and it was essentially
Speaker 1: a censoring process. They would read the scripts and advance
Speaker 1: of the broadcast and try to censor anything that they
Speaker 1: thought would offend an audience. They called it ready ears
Speaker 1: or your ears burning baby. So there's this very strong
Speaker 1: sense that in order to serve the public interest with
Speaker 1: this commercially sponsored programming, everything that went out had to
Speaker 1: appeal to all ages. It had to be inoffensive and uncontroversial.
Speaker 1: Henry older dad that everyone's every day experiences in the
Speaker 1: older living room and would not cross a line into
Speaker 1: anything that resembled propaganda. Now we have this thing in
Speaker 1: the Constitution called the First Amendment. The federal government is
Speaker 1: not supposed to impose prior restraint on the press, that is,
Speaker 1: the news media. They can't make a rule saying you
Speaker 1: can't cover this topic. But what happened with radio is
Speaker 1: that because it was an uncontrolled medium, it just goes
Speaker 1: out into the ether the air, and it can't sort
Speaker 1: of control who gets it. Regulators decided that radio did
Speaker 1: not have full First Amendment protection. Radio stations had to
Speaker 1: serve the public interest, and that meant that they couldn't
Speaker 1: just broadcast anything they wanted. So a radio station could
Speaker 1: not broadcast pornography or even indecency, that is bad words.
Speaker 1: They could get in trouble with the Federal Communications Commission
Speaker 1: and lose their license, and their licenses essentially access to
Speaker 1: a certain part of the electromagnetic spectrum. Today, the only
Speaker 1: entities that are subject to this limited First protection are broadcasters,
Speaker 1: people who transmit over the electromagnetic spectrum, which includes terrestrial
Speaker 1: radio J and then linear broadcast television networks and ABC, CBS,
Speaker 1: and that's about it. Everybody else, all those cable networks.
Speaker 1: They are not subject to that limitation. They have full
Speaker 1: First Amendment rights, and today, of course, Internet is not
Speaker 1: at all subject to limited First Amendment protection. Two dominant networks,
Speaker 1: both of which survived today, emerged in nine twenties. Radio
Speaker 1: with fundamental differences between them. NBC was a subsidiary of
Speaker 1: the Radio Corporation of America. Which kind of music do
Speaker 1: you like? And it was essentially a loss leader designed
Speaker 1: to just keep the industry moving ahead. You name it
Speaker 1: r C A Victor's Got It the music you want
Speaker 1: when you wanted by the world's greatest artists, sending out
Speaker 1: programs in order to get people to burn more radio sets.
Speaker 1: The philteramic antenna is featured in this X four model,
Speaker 1: along with dual speakers that filled the room with the
Speaker 1: best am sound ever heard. They didn't really see themselves
Speaker 1: as an entertainment or advertising company. They saw themselves as
Speaker 1: a technological company that wraps up our c A Victor's
Speaker 1: New line of radios, good listening and good selling. This
Speaker 1: is CBS. They cut on be a broadcasting system. CBS,
Speaker 1: on the other hand, was designed to please advertisers because
Speaker 1: it was taken over a buy an advertiser in the
Speaker 1: late twenties, William Paley, so my closest friends so that
Speaker 1: I was buying into a gimmick. They just couldn't understand
Speaker 1: anybody having any doubt about the future of this media.
Speaker 1: William Paley's family owned a tobacco company and they sold
Speaker 1: a lot of cigars called the La Paulina cigars on
Speaker 1: a radio show in the nineteen twenties in Philadelphia. Well, George,
Speaker 1: so this is the place you buy those secret weapons
Speaker 1: you smoke. And they realized that radio could be a
Speaker 1: very effective selling tool. Eddie, Please, these happen to be
Speaker 1: very fine cigars. Sure, you walk through Los Angeles smoking
Speaker 1: those things in the poorness and rubber factory gets all
Speaker 1: the blame. Paley basically bought these radio stations in this network,
Speaker 1: which had been a subsidiary of the Columbia Recording Company,
Speaker 1: and he builds it up into I think one of
Speaker 1: the most effective advertising platforms in media history, because he
Speaker 1: decides to really cater to advertisers and help them figure
Speaker 1: out how best to reach their aciences. But the people
Speaker 1: actually making decisions about programs were not the networks. Back
Speaker 1: in the thirties and the forties, the networks were only
Speaker 1: deciding who to sell time to. Let's have my own brand, Joe,
Speaker 1: there's a quarter, thank you, Mr Candor here's your ten cigars.
Speaker 1: The people making the decisions about the programs were the
Speaker 1: advertisers and their advertising agencies. One of the top radio
Speaker 1: producers was called Blackett sample Huart. Frank hummert realize very
Speaker 1: early on that radio would be an excellent medium for
Speaker 1: reaching housewives. Housewives to be at home sweeping the floor,
Speaker 1: doing the dishes, and they could have the radio on
Speaker 1: and listen to a show. Ladies, drill at the new
Speaker 1: loveliness of your complexion, the radiant, pingling feeling that is yours.
Speaker 1: After a facial with Hopper White clay Pack, Hummer decided
Speaker 1: that the best way to keep audiences tuned into the
Speaker 1: radio was to provide serialized stories. Well for a week
Speaker 1: he followed the continual plotting of the Cousins against Mam
Speaker 1: Now coutin Silvester is trying to make Faith fall in
Speaker 1: love with him, and at the same time he and
Speaker 1: his Dady doesn't it, are trying to keep Willie and
Speaker 1: Evy out of their life. Bab newspapers and magazines had
Speaker 1: provide serialized stories for cads. They're very popular in nineteenth
Speaker 1: century literature. Those cereals then were like fifteen minutes a day.
Speaker 1: They was open with an organ playing these dramatic cords.
Speaker 1: And you've heard these organs sounds parodied ever since. The
Speaker 1: Homards would create multiple programs at the same time by
Speaker 1: creating an industrial script production process, no very noble backstage. Ye,
Speaker 1: So the Homards would come up with a plot outline
Speaker 1: yesterday Larry took Mary to an old roundaboo in the
Speaker 1: hope of breaking down the barriers that have caused them
Speaker 1: to live apart for the past few months. Then they
Speaker 1: would have a script manager who would break it down
Speaker 1: into acts and scenes. Although reconciliations seen near troubles involving
Speaker 1: Larry's half brother Bob broke up what promised to be
Speaker 1: a perfect evening. Then they'd have somebody else actually write
Speaker 1: the dialogue Larry, I've got ever doing the right thing.
Speaker 1: Oh no, I've made mad as worse. And they could
Speaker 1: just churn out dozens of scripts simultaneously. The following morning,
Speaker 1: in the dinet of Mary's Greenwich Village studio, we find
Speaker 1: mc listen. Same actors would stand in front of the
Speaker 1: mic and perform four different characters in four different programs,
Speaker 1: one right after the other. Say this is the first
Speaker 1: real cup of coffee I've had since we fooled ourselves
Speaker 1: and thinking we needed a vacation from each other. Oh,
Speaker 1: I know what that means. You want another cup? Are?
Speaker 1: Mar Perkins? Was one of their programs. It was sponsored
Speaker 1: by OXIDL dob and mar Perkins would be somebody who
Speaker 1: would help solve people's problems in her community. And Ma
Speaker 1: never dreamed that all her doubles come from the knot,
Speaker 1: but right here for our thought. Then the announcer would
Speaker 1: come on and would spend ninety seconds explaining how oxyd
Speaker 1: Hall the Laundry Soap could solve all of your laundry problems.
Speaker 1: Say that's a mighty white water you're hanging. You're using
Speaker 1: one of those news dads. I've been hearing about something
Speaker 1: even better. I'm using Deep Cleaning occidor Yeah, ladies, deep
Speaker 1: cleaning out at all. It's got both talking all over
Speaker 1: the country. Some of the other programs they produced were
Speaker 1: The Romance of Helen Trents. Once again, we bring you
Speaker 1: the Romance of Helen trent who sets out to prove
Speaker 1: for herself that romance can live in life. At thirty
Speaker 1: five and after Stella Dallas and now Stella Dallas, the
Speaker 1: Shutter Life sequel is written by us to the world
Speaker 1: famous drama of mother, love and sacrifice. In my view,
Speaker 1: just plain Bill Blainville, Davidson, Barbara of Hockday attend the
Speaker 1: real life story of people who might be your own
Speaker 1: next door neighbor. Argal Sunday once again were then a
Speaker 1: Goal Sunday, the story of an upen girl named Sunday
Speaker 1: who was left on the depth of the cat and
Speaker 1: the two old miners who raised up in childhood in
Speaker 1: a little mining count of Pilver Creek, Colorado. These programs
Speaker 1: were heavily mocked and criticized for being slow, repetitive, portentis boring,
Speaker 1: and they were also mocked because they were designed to
Speaker 1: appeel the housewives. Today, of course, we call these kinds
Speaker 1: of daytime serial dramas soap operas because they were primarily
Speaker 1: sponsored by soap companies in the nineteen thirties. You know,
Speaker 1: I guess a lot of you ladies are having couple
Speaker 1: with those halfway soap editions. What are you going to
Speaker 1: be sure there's nothing halfway about you does, although cereal
Speaker 1: companies like General Mills also sponsored quite a few of
Speaker 1: these as well. I don't know why they weren't called
Speaker 1: cereal cereals, but we ended up with the phrase soap
Speaker 1: operas instead. For youthful regularity, you try killoggs all brand.
Speaker 1: It's a double L hyphen b R and killogged all brand. Basically,
Speaker 1: the program was hard sell ad vehicle. The soft cell, however,
Speaker 1: was also common on radio. The agency Young and Ruby Cam,
Speaker 1: I would say, was the top soft cell company, and
Speaker 1: they believed that hitting consumers over the head with repetitive
Speaker 1: product information was alienating and it didn't work. The way
Speaker 1: you sold things was you tried to entertain the audience.
Speaker 1: You tried to get their attention. You tried to be
Speaker 1: a little funny and humorous and then once you soften
Speaker 1: them up, and then you would tell them about the product.
Speaker 1: Two of Young and Ruby Camp's top programs or the
Speaker 1: Jack Benny Show and Fred Allen's Town Hall Tonight and now,
Speaker 1: Ladies and gentlemen, we bring you that delicious comedian with
Speaker 1: the locked in bank roll, Jack Benny. Jack Benny was
Speaker 1: sponsored by the General Fried's brand Jello. Then program presented
Speaker 1: by Tello and Talo pudding, flowering Jack Benny with Mary Livings,
Speaker 1: Phil Harris, Jenna Day Rochester and Yours truly Don Wilson.
Speaker 1: Jack Benny was a comedian out there, Thank you, thank
Speaker 1: you Jelo again. This is Jack Benny Jelong again for
Speaker 1: the last time. Next season it will be great nuts late.
Speaker 1: They would interweave the Jello brand into jokes and scenes.
Speaker 1: Why don't you all go down to your little old
Speaker 1: neighborhood grocer store and say, children, we gotta into package
Speaker 1: of Jello I'm wanting, And then the announcer would give
Speaker 1: announcements about Jello. It was more than forty years ago, friends,
Speaker 1: that the first package of Jello was handed across the counter,
Speaker 1: carried home and served to a delighted family and all
Speaker 1: of smiles with Red Allen, folks, thirty six hundred seconds
Speaker 1: of fun and music. Fred Allen was another comedian who
Speaker 1: came out of that lovable buffoon that man about clown.
Speaker 1: What is your name again? Budd? You know me? I
Speaker 1: I was on the program last year. One of my
Speaker 1: favorite ways that he made fun advertising was he and
Speaker 1: his announcer Harry Gonzel, had a dialogue once in which
Speaker 1: they could not remember the name of their sponsoring brand.
Speaker 1: Don't ever neglect the cold. At the very first time
Speaker 1: of a cold, get after it immediately with a faster
Speaker 1: help of sparkling. Sparkling. What's the name, Fred Allen, am, No, no, no,
Speaker 1: the name of it? What it is that helps fight
Speaker 1: cold faster? With my mind? Well, it will come. Do
Speaker 1: you go ahead? Well, yes, yes, Or ladies and gentlemen,
Speaker 1: there's this famous product act very quickly. Yeah, it's exceptionally
Speaker 1: gentle And since the progress of a cold is very fast,
Speaker 1: the greater speed of what it is I'm talking about
Speaker 1: is especially important in fighting your cold. And that's not
Speaker 1: all this. The name will come to me in a minute.
Speaker 1: They're making fun of the fact that hard sell advertising
Speaker 1: agencies like the Homards would just repeat the name over
Speaker 1: and over and over again until you wanted to throw
Speaker 1: the radio out the window. Fred, you know what I'm
Speaker 1: talking about? I certainly, Harry, you're talking about America's outstanding
Speaker 1: staleine action. That's a friend of the name. Is the
Speaker 1: name is so many physicians recommends yes, yes to abandon
Speaker 1: helped pride cold faster. But what is the name? Wait, Harry,
Speaker 1: there must be somebody around here who knows if there is.
Speaker 1: When you please tell us confidentially, that's it, sal Herpadicus.
Speaker 1: Thank you, ladies and gentlemen. Thank you. Another one of
Speaker 1: my favorite examples is in a drama called The Gibsons,
Speaker 1: sponsored by Procter and Gambles Ivory soaked. That's all before
Speaker 1: the overture to the second act of the Gibson Family,
Speaker 1: let's step back state and looking on Sally, Gibsons and Hilda,
Speaker 1: her maid, who was helping Sally change for the next seat.
Speaker 1: In this scene, the young lady of the house is
Speaker 1: instructing her maid about the best kind of so hope
Speaker 1: to use. Help me, what's wrong with my faith, Miss Sally?
Speaker 1: Those red blotchers just won't go away. Nope, Probably what
Speaker 1: kind are you using? Some beauty so by the blowy fiance,
Speaker 1: Miss Sally, that one that promises radiant beauty, glamorous you,
Speaker 1: irresistible loveliness. She also criticizes other advertising strategies. So you
Speaker 1: can't see the pores of your skin with beauty oils,
Speaker 1: the mysterious ingredients no and many highly perfumed, prettily colored
Speaker 1: soap contained study acids and pre alkalies that really irritating
Speaker 1: honder skin. But miss salent I doctor recommended Ivory. He said,
Speaker 1: Ivory would help to keep my skin smooth and fine,
Speaker 1: unless sallet. Do you think Henry would quick my glove?
Speaker 1: Hilda is the bilt of the second day. By integrating
Speaker 1: the ad throughout the show, they would hope that the
Speaker 1: audience would stay attentive and by staying attentive within get
Speaker 1: the advertising message. And this strategy has come back in
Speaker 1: full force today. Advertisers have been working very hard at
Speaker 1: integrating themselves in all sorts of ways. Because advertisers know
Speaker 1: that they probably lose your attention once the commercial interruption
Speaker 1: comes on. One of the most obvious ways to sell
Speaker 1: your show and in turn your product is to put
Speaker 1: someone famous on the payroll. Random Blue J Walter Thompson
Speaker 1: was one of the top radio program producers of the time,
Speaker 1: and J. Walter Thompson's main strategy on radio was to
Speaker 1: use celebrities. They produced shows like Craft Music Hall with
Speaker 1: Bing Crosby, Major Bow's Amateur Hour, which was like the
Speaker 1: American Idol of its day. Our gift deometers are ready
Speaker 1: to entertain you and to entrust their success to you
Speaker 1: and to your votes. The Fleischmann's Yeast Hour with Rudy Valley,
Speaker 1: who was a famous singer. Another version of it had
Speaker 1: Edgar Bergen and Charlie McCarthy. Edgar Bergen was a ventriloquist
Speaker 1: and Charlie McCarthy was his dummy. I think we better
Speaker 1: do it now. I would graded dirt tomorrow. I think
Speaker 1: you better do it now, but I wouldn't. It doesn't
Speaker 1: make any different what you'd rather to do, don't know.
Speaker 1: That's another way of looking at it. It's pretty strange
Speaker 1: when you think about having ventriloquism on the radio. By
Speaker 1: this time, I think most of you get the idea.
Speaker 1: But for the second move, commers, I repeat. Both male
Speaker 1: voices you hear in this act come from the lips
Speaker 1: and behind the lips of one man. They also had
Speaker 1: a show called Lux Radio Theater from Hollywood, California. The
Speaker 1: Lux Radio Theater presents no white than the Seventh Dwarf,
Speaker 1: where they would take current Hollywood movies and reduce them
Speaker 1: down to a short running time, then have the movie
Speaker 1: stars come on and on a live broadcast re enact
Speaker 1: scenes from that movie. Tells Gonave, this was a way
Speaker 1: to not just promote the movie, but it was designed
Speaker 1: to associate lux toilet soap, with movie stars aiding in
Speaker 1: tonight's production. And our guest of honor is walk there's
Speaker 1: me himself. Mr de Mill will step off all the
Speaker 1: curtain in just a moment, but before he does a
Speaker 1: word about the product that brings you this program, Lux Blake.
Speaker 1: Lux Flakes have thousands of loyal followers all over the
Speaker 1: world because lovely women everywhere depend on these fine gentle
Speaker 1: flakes to keep their things dainty. It was a very
Speaker 1: effective strategy that you see advertisers still used today. Fyance
Speaker 1: sounding pepsi pepsi. The celebrity brings in a built in audience,
Speaker 1: and so it's a way of pre buying your audience.
Speaker 1: You're not having to build your audience from scratch. And
Speaker 1: then you say, oh, and by the way, Being Crosby
Speaker 1: loves Craft cheese, yeah by Mr dale Craft that this
Speaker 1: ms my metho ten years on the old craft music.
Speaker 1: Don't get smug about it if any one. So, if
Speaker 1: you like Being Crosby, maybe a Whitecraft cheese. The downside
Speaker 1: is if the audience turns against that celebrity. Let's say
Speaker 1: that celebrity gets involved in some kind of scandal. Then
Speaker 1: it's a problem for the advertiser because the advertiser only
Speaker 1: wants positive associations with its brand. And this becomes a
Speaker 1: really big problem during the McCarthy era, when advertisers begin
Speaker 1: blacklistening performers, fearful that housewives would stop buying craft cheese
Speaker 1: if they hired a communist actor. I get the impression
Speaker 1: to file, you are finally an actor. I don't think
Speaker 1: you have any conception of the danger of the communist part.
Speaker 1: But by the nineties, most radio shows were lad major
Speaker 1: stars because advertisers realized that big stars helped to build
Speaker 1: big audiences. When I first ran into picture as an
Speaker 1: actor was an actor? Well, what is an actor in
Speaker 1: Hollywood today? He's a straight man for a set of dishes.
Speaker 1: Another completely different strategy was institutional advertising. You're not trying
Speaker 1: to advertise a particular product. You're not trying to get
Speaker 1: somebody to buy your brand of soap. Instead of what
Speaker 1: you're advertising is your corporate image. You're trying to get
Speaker 1: people to think that your company is a good company.
Speaker 1: B B Do, Baton, Barkin, Durson and Osbourne was one
Speaker 1: of the top institutional advertising agencies. Companies hired BBDO to
Speaker 1: help improve their image among the public, and one way
Speaker 1: they did that was by sponsoring radio shows. Their clients
Speaker 1: included General Electric, General Electric Theater, General Motors, General Motors, US,
Speaker 1: Steel State, the Industrial family that herbs the Nation, prevent
Speaker 1: the Hour of Mystery, DuPont makers of Better Things or
Speaker 1: Better Living Chemistry. These are all giant corporations that had
Speaker 1: major public image problems. They had major labor strikes. They
Speaker 1: were dealing with all sorts of safety and health issues.
Speaker 1: In particular, the chemical company du Pont, after making a
Speaker 1: fortune manufacturing unitions for the First World War, was being
Speaker 1: investigated under accusations of encouraging a global arms race. DuPont
Speaker 1: hired b B d O to make a radio show
Speaker 1: called Cavalcade of America. Cavalcade of America, which told stories
Speaker 1: about American history, particularly American technological history. So they would
Speaker 1: hire actors and dramatize moments of the past, like the
Speaker 1: invention of the Remington rifle. When they such a demand
Speaker 1: for your gun, you can't just say sorry, but I
Speaker 1: can't take any more orders. You make more guns and
Speaker 1: turn it into a kind of heroic drama to appeal
Speaker 1: to audiences and to convince them that DuPont actually share
Speaker 1: their American values. Can you make a hundred and fifty
Speaker 1: Remington Rifles Forever? And that DuPont was accompanied leading away
Speaker 1: in technological progress for more than one hundred and thirty years,
Speaker 1: almost as long as this nation has lived, the name
Speaker 1: of DuPont has been associated with this country's progress. So
Speaker 1: it seems appropriate that DuPont should have the privilege of
Speaker 1: presenting this series of episodes taken truthfully from American history,
Speaker 1: to remind us that from the earliest days to the
Speaker 1: present time, the American people have stood for the staunch
Speaker 1: and simple qualities that form our heretic. They hired big
Speaker 1: stars to perform in it, All the Forge, starring Ronald
Speaker 1: Reagan as the level of Remington on the Cavalcade of America.
Speaker 1: They hired all sorts of major writers to write for it,
Speaker 1: and they hired historians to vet the historical accuracy. A
Speaker 1: group of distinguished educators prominent in the American Historical Association
Speaker 1: is working with DuPont to achieve the spirit of historical accuracy.
Speaker 1: So they're spending a lot of money on essentially a
Speaker 1: public relations effort. It is the hope of DuPont that
Speaker 1: these stories from the pages of our country's history will
Speaker 1: awaken in the Americans of today, are renewed by the
Speaker 1: the Americans who went before us in the Cavalcade of America.
Speaker 1: They had bpdo go do a bunch of survey research,
Speaker 1: and basically what they learned is that it was not
Speaker 1: a very popular program, but the people who listened seemed
Speaker 1: to be convinced that DuPont was a good company, and
Speaker 1: so they kept it up. A lot of chemical research
Speaker 1: come the thousands of products that contribute to better living.
Speaker 1: It was on the air almost two decades and they
Speaker 1: turned it into a television show at DuPont Company, Maker
Speaker 1: of Better Things, a Better Living through Chemistry presents the
Speaker 1: dupart Cavalcade Theater dramatic stories of people who were a
Speaker 1: part of the Cavalcade of America because they were convinced
Speaker 1: of its value as a public relations effort. By the seventies,
Speaker 1: institutional advertisers basically move over to public broadcasting, and that's
Speaker 1: where you find companies like Mobile Oil sponsoring dramas on
Speaker 1: masterpiece theater. Masterpiece theater has a strange effect on intelligent people.
Speaker 1: It lures them to their television sets, and it doesn't
Speaker 1: let them go. It's essentially the same strategy. Masterpiece Theater
Speaker 1: Sunday Evenings on PBS brought to you by mobile. Amid
Speaker 1: this variety of radio programming, there was one format ubiquitous
Speaker 1: today that was conspicuously missing from airwaves. We didn't have
Speaker 1: very many broadcast news pro grahams in the thirties and
Speaker 1: forties because they didn't have the recording technology and the
Speaker 1: field equipment, and because when audiences didn't like something, they
Speaker 1: would threaten to boycott the advertiser. But B B d
Speaker 1: O actually produced The March of Time, which was a
Speaker 1: news docu drama which later became newsreel that people would
Speaker 1: see in movie theaters, but it started as a radio show.
Speaker 1: They would hire people like Orson Welles, who was an
Speaker 1: unknown actor, to come in and perform news stories the moment,
Speaker 1: Mr Phillips, so they would script them. They had a
Speaker 1: live audience, they had a live sound effects person, and
Speaker 1: people didn't realize sometimes that they were hearing a re enactment.
Speaker 1: They re enacted the assassination attempt on President Roosevelt my
Speaker 1: friends of and people thought they were hearing the actual gunshots.
Speaker 1: They re enacted the burning of the Hindenburg. The same
Speaker 1: night that it happened, they re enacted Amelia Earhart disappearing
Speaker 1: in the Pacific and had an actress play Amelia Earhart
Speaker 1: trying to make her last radio transmission. It wasn't exactly
Speaker 1: engine trouble, it was the maracle, And then the listeners
Speaker 1: thought they were actually hearing Emeria Earhart. I curve inman
Speaker 1: until I found a fitable tacket. So that was news
Speaker 1: in the early thirties. We didn't actually get broadcast news
Speaker 1: until World War Two, and after that. World War two
Speaker 1: would be a major turning point in American radio, the
Speaker 1: dramatic story of radio at war. During the run up
Speaker 1: to the war, there was a lot of fear that
Speaker 1: the US government would take over broadcasting a national license.
Speaker 1: Is Washington w a r at HL minus twenty execute
Speaker 1: plan Z. Instead, what happened was the Office for War
Speaker 1: Information had been ending out documentary style announcements about what
Speaker 1: people at home should do to help the home front.
Speaker 1: We've got to follow a new way of light, a
Speaker 1: war way of life. Every home, every business, every farm
Speaker 1: is in that war, every man, woman and child. They're
Speaker 1: very didactic and kind of like instructional pamphlets. Take every
Speaker 1: bit of scrap you have to addn official salvage depot,
Speaker 1: pick up all sorts of rubber accessory, save the grease
Speaker 1: from cooking. But if your local salvage committee does not
Speaker 1: ask for tin cans, please do not bring them in.
Speaker 1: Let me repeat. That is until the office was appointed
Speaker 1: a new leader, a gentleman named Warren by Lewis, who
Speaker 1: had been an executive at CBS and also at Geraldra.
Speaker 1: Thompson came from this background in radio entertainment advertising, and
Speaker 1: he said, you know, how about if we set up
Speaker 1: a system where we take existing radio shows and just
Speaker 1: ask them to integrate propaganda information into it. It was
Speaker 1: called his network Allocation Plan, where one type of program
Speaker 1: would be assigned to talk about victory gardens. Victory garden.
Speaker 1: Victory garden was growing your own vegetables to eat your family.
Speaker 1: We can grow food for victory in our own backyards
Speaker 1: and even in vacant lots where perhaps only weeds flourished.
Speaker 1: Before there was no requirement as to how they would
Speaker 1: mention victory gardens. They could do something that sounded like
Speaker 1: a commercial. You can have vegetables, lots of them, on
Speaker 1: your table next winter. You can have your own fresh
Speaker 1: vegetables on your table this summer if you have your
Speaker 1: own victory garden. If it were a soap opera and
Speaker 1: one of the characters could be growing her own victory gardens,
Speaker 1: thank you. But the God really isn't mine. I merely
Speaker 1: take care of it. See that everything is properly cared for. Well.
Speaker 1: Actually anything. Any musical variety shows, they could sing a
Speaker 1: song about victory gardens in the Hongcome Working in the
Speaker 1: Old In comedy shows, they could tell jokes about victory gardens.
Speaker 1: Roses are red, violets are blue. I know violets are
Speaker 1: blue because I've seen her hanging them out on the
Speaker 1: line the other day. It didn't matter as long as
Speaker 1: victory gardens were mentioned during the program, and then the
Speaker 1: next week they would be given the assignment to talk
Speaker 1: about how to buy war bonds. Look, will you do
Speaker 1: something for me? Take this money and buy war bonds
Speaker 1: in my name When I come back after the war,
Speaker 1: I can use it. Besides, I can't think of a
Speaker 1: better Christmas present or how to recycle rubber tires, the
Speaker 1: greatest name in rubber Goodyear invite you to meet America's
Speaker 1: greatest Western star, Roy Rogers. A lot of people were
Speaker 1: very angry about this because they thought propaganda should be
Speaker 1: seri is and not entertaining a pragmatic mission turning a
Speaker 1: trip into weapons for common Ridge shap We're gone. But
Speaker 1: Lewis was somebody who understood that the way that you
Speaker 1: find audiences, the way you get audience attention, and the
Speaker 1: way you get buy in from audiences is to entertain them.
Speaker 1: Anyone today want the freedom. That's what I'm telling any
Speaker 1: que today. Now. Radio boomed in this period. I would
Speaker 1: say it reached its highest popularity in terms of listenership.
Speaker 1: Consumer products were not being produced in factories at this time.
Speaker 1: The American economy was a war economy, and so you
Speaker 1: couldn't buy a new radios, you couldn't buy television sets,
Speaker 1: you couldn't buy a new car, and so people hadn't
Speaker 1: do was what they had, and radio was something that
Speaker 1: over nine of American households had the magic of radio
Speaker 1: fridging space faster than the most powerful play. So radio
Speaker 1: was the dominant medium, and the end of World War
Speaker 1: Two is its high water mark before it lost out
Speaker 1: to television. For a look at the early television industry.
Speaker 1: Check out our episode on the Forgotten Network. It's called Dumont.
Speaker 1: Television takes quite a while to come into American homes.
Speaker 1: It's invented back in the thirties, but the depression in
Speaker 1: the war interrupt its dissemination. When they start with television,
Speaker 1: they're carrying over the radio model with dramas like General
Speaker 1: Electric Theater or General Electric. Here is Ronald Reagan, Good
Speaker 1: Evening Ladies and Gentlemen, Armstrong Circle Theater, lakers of Armstrong's
Speaker 1: Um and Armstrong's Plastic floors. US Steel Hour. This is
Speaker 1: the United States Steel Hour. Variety shows like the Colgate Hours.
Speaker 1: All right, Martin, I'm Jerry Lay Texaco Star Theater with
Speaker 1: Milton Borough. Gentlemen. There he is himself your Tuesday Night Finderatta.
Speaker 1: These were all shows that were live and single sponsored,
Speaker 1: and initially that's what everybody thought, that's what TV would be.
Speaker 1: You just sort of like radio but with that little screen.
Speaker 1: But television, of course, costs ten times as much to
Speaker 1: produce a show. You had to have lights, costumes, you
Speaker 1: had to have actors who learned their lines instead of
Speaker 1: reading a script in front of a mic. Television was
Speaker 1: too expensive for a single advertiser, so you'd buy sixty
Speaker 1: second spot rather than a show. By the sixties, you
Speaker 1: also have the networks finally realizing that they are media companies,
Speaker 1: they're not technology companies. Following program is brought to you
Speaker 1: in living color on NBC, and the entire industry has
Speaker 1: to realign. While broadcasters shifted to producing their own show,
Speaker 1: agencies narrowed their focus to the ads themselves. Open up
Speaker 1: Budweiser and bore yourself the most inviting blass of beer
Speaker 1: you've ever tasted. Television commercials turned into elaborately produced, high
Speaker 1: budget little mini movies that appear in between the scenes
Speaker 1: of a lot of anodyne kind of TV shows. The
Speaker 1: programs were designed to be this easy going, flat backdrop.
Speaker 1: Christmas is a wonderful time of the year. I'm gladding
Speaker 1: to enjoy it too. She was there essentially there to
Speaker 1: fill air time so that an advertiser can sell something
Speaker 1: in between. Generation the ads have much higher budgets on
Speaker 1: a per second basis. The ads have top talent, and
Speaker 1: so we have this period in the sixties and seventies
Speaker 1: and eighties where I would say that the ads become
Speaker 1: much better produced than the shows. You're in this changes
Speaker 1: by the time cable comes along in the nineteen eighties
Speaker 1: let go my and today, of course things are changing
Speaker 1: some more. Bonus video, I'm gonna show you everything that
Speaker 1: you need to know when it comes to running ads
Speaker 1: on Instagram, How to set up high performing twitter at campaigns,
Speaker 1: how to run ads form snatch, how to make a
Speaker 1: great video ad, the easy way to get TikTok famous
Speaker 1: in less than ten minutes, how to be an influence that,
Speaker 1: how to make an impact, how to create a strong
Speaker 1: personal brand. On instance are tiny today for many your broadcasts.
Speaker 1: Nielsen is only measuring maybe a million viewers for a
Speaker 1: top network show. And of course audience attention has moved
Speaker 1: to streaming and to all sorts of other outlets and
Speaker 1: platforms and technologies for not only consuming content, for for
Speaker 1: creating their own content, And so advertisers are now once
Speaker 1: again doing as much brand integration as they can, as
Speaker 1: much product placement as they can, and they're paying producers
Speaker 1: essentially to insert their brands and to associate their brand
Speaker 1: with something that audiences like. So essentially the basic premise
Speaker 1: of all radio sponsorship in the thirties and forties, it's
Speaker 1: still the basic strategy Today Thing Crosby loves Minute Made.
Speaker 1: Here's one of the phone news for you. Lend me
Speaker 1: that man that made gives low vitamin C so by screens.
Speaker 1: Or introduce yourself when doctors say Manute made orange juice
Speaker 1: is batter for your health. Yes, Minute Main orange juice
Speaker 1: is better for your health. MHO. This episode of Ephemeral
Speaker 1: was written and assembled by Alex Williams, with producers Max
Speaker 1: Williams and Trevor Yon. Cynthia B. Myers is the author
Speaker 1: of a Word from our Sponsor, Admin Advertising and the
Speaker 1: Golden Age of Radio. Find it wherever books are sold,
Speaker 1: and find us on the worldwide web at Ephemeral Show.
Speaker 1: For more podcasts from iHeart Radio, visit the iHeart Radio app,
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.
Speaker 1: Take time to write and challenge to your religion, and
Speaker 1: please ask others to listen to m