By Larry Oakner
Vintage radio advert campaigns from the final fifty years, and the way they used humor to win over audiences And Now a couple of Laughs from Our Sponsor deals an in-depth examine one of the most profitable and pleasing radio advertisements from the final part century, provided through ads veteran Larry Oakner. An accompanying CD-ROM permits readers to hear the interesting and humorous ads that chronicle radio heritage. broad interviews with account executives, consumers, manufacturers, and actors provide a distinct viewpoint at the improvement of funny radio advertisements through the years and what it takes to create a memorable and potent crusade. And Now a number of Laughs from Our Sponsor exhibits advertisements execs how one can maximize simply sixty seconds of airtime to win consumers over and offers unique recordings of a few of the main enjoyable and enlightening advertisements ever produced.
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Benny later switched sponsors again, from Jell-O to Grape-Nuts, but he had the audience support and creative savvy to craft a half-hour script about how he’d switched sponsors once more. Josefsberg notes that “. . qxd 6/3/02 10:22 AM Page 6 6 AND NOW A FEW LAUGHS FROM OUR SPONSOR listeners eagerly waited each week to see how he would tease his sponsor. It was no small task for Josefsberg or any of Benny’s many writers to come up with new ideas each week. They had opera singers pitch a product’s selling points in satirical arias.
Their gentle form of humor—never blue, never cruel, always strange—helped Bob and Ray become a social and entertainment phenomenon of their day. When the duo first entered the New York market, they competed with local radio personalities Gene Rayburn (later of the Match Game on TV) and Dee Finch, another New York mainstay. But within weeks the competitions’ ratings began to drop. Thanks to Bob and Ray, a new kind of comedy was on the air. In the course of their 15-minute and weekly one-hour radio shows broadcast in New York and on the NBC national radio network, Bob and Ray often ad-libbed their way through character comedy that included spoofs of the radio medium itself— from pathetic interviews and mindless remote broadcasts to incomprehensible field reports and bogus commercials.
Being different from all the other advertising that was on the air at the time was exactly what Howard Gossage wanted from Freberg. According to Freberg, Gossage, then the creative director of Brisacker-Wheeler advertising agency, said he didn’t want the ordinary type of “straight” radio spots. Freberg’s own sense of being “assaulted from his car radio each day” by the hard sell of commercials was something that more and more people were feeling. The well-received and popular spoofs of advertising being done by Bob Elliott and Ray Goulding on the East Coast testified to consumers’ growing distrust of the hard sell.