This page forms part of Dr Peter Harries’ first PhD thesis submission entitled: “From Local ‘Live’ Production Houses to Relay Stations: A History of Commercial Television in Perth, Western Australia 1958-1990″. This contained much additional material.

Chapter Four:

Examination of the Growth and Decline of Local ‘Live’ Television in Western Australia. What really happened?

Introduction:

It has been said that ‘Television is both a component of daily life, part of our world of custom, and also a set of artistic practices.’ It is these ‘artistic practices’ that this chapter examines along with the evolution of Local ‘Live’ television in Western Australia as exemplified by Children’s, Women’s, Teenage, Talent Quest, Quiz and Tonight Shows. It also presents answers to the question: ‘To what do you attribute the disappearance of local ‘live’?’ While the foregoing chapter dealt with the effects that ratings and advertising revenue had upon local ‘live’ production, it may become in the future a matter of conjecture, as to how the disappearance of most local ‘live’ production was perceived by those who had participated in the medium. To this end it is helpful to examine more closely some of the types of programs which were introduced and terminated in the period 1959 – 1990, before looking at the reasons.

As was the intention of TVW7 (as described in Chapter 1 of this thesis), local ‘live’ production was to cover the areas of Local General [which included Special Presentations], Women, Children, News, Sport, Educational and religious. This was maintained as station policy and copied by STW9 in 1965. The Children’s area was specially catered for and likewise Women’s, Teenager’s, Talent Quest, Quiz and Tonight Shows were regular features. It was recorded in 1960 that, ‘Perth: After only six months telecasting, TVW7 has achieved an Australian content of 39.9%.’

In accord with Bonner’s contention that ‘Most ordinary television programmes are performed live rather than actually ‘live to air’’, for the purposes of this thesis, the term local ‘live’ production is applied to programs that were produced in (or from) Perth Western Australia, whether they were actually spontaneous transmission of actual events, or recorded on videotape or film. The term ‘local’ applies to Western Australian television as opposed to the Eastern States interpretation of being Australian.

Although Hartley said that it was ‘never clear what “live television” encompassed…’, in Western Australia it has always been regarded by the viewing audience as the local product. While it is true that actual live transmissions carried a degree of risk, in both areas of presentation and technical control, the introduction of videotape provided the opportunity for a more controlled form of production. The continuance of a ‘local’ appreciation by the viewing audience, in regarding the product as ‘live’ has been dismissed as a ‘myth’. Hartley said that ‘liveness’ made television a more dramatic event for the audience as they didn’t know what might happen next. This is true, but in Western Australia, the taping of such programs as the Martin St. James hypnotism show ‘Spellbound’ both maintained the suspense of not knowing the impending, while preserving the actuality on videotape. This demonstrates that there was an attitude of honesty by management towards the audience and this responsibility has been dealt with in Chapter Three. Although Hartley also said, ‘ “Live” is opposed to “canned”, “recorded” ’ in Western Australian television (in most instances), recording was a practical means of portraying reality.

The production of local ‘live’ programs was an amalgamation of artistic talent. Apart from the eventual purveyors of human actuality (the on-air personalities), the artists included: ‘Television writers, editors, directors and producers [who] are the agents in making meaning.’ Without these intermediaries the ideas could not become actuality. In the case of the television ‘personalities’, those fortunate enough to get their heads on the small screen were instant figures of fame, who became, ‘…at least for a moment – celebrities who belong to everybody, who immediately become ours.’ Such was the case in Western Australia, where the viewing community idolised their ‘stars’.

O’Regan confirms that Perth produced ‘chat shows, variety shows, tonight shows and new programs which attracted high ratings’ but does not include the daily in-studio children’s and women’s shows. These programs were ‘low cost, live television for the local service area…’ After technology and networking destroyed the ‘local’ production industry, ‘lower cost local production’, important in the areas of ‘infotainment, news and current affairs’ to sustain the feeling of ‘localism’ in the parochial sense continued, while allowing most other production to be based in the Eastern States capitals. With the exception of the fund-raising ‘thons featuring Soap Stars (supported by non-paid Perth artists, both amateur and professional) variety programs have disappeared in Perth.

The ‘Eastern States’ interpretation of ‘local’ can be determined from a Department of Communications publication of 1984 which said,

In Australia the concept of localism is nearly as old as broadcasting itself. It has been one of the main themes underlying the purpose of legislation, policy and planning associated with broadcasting over many decades and is one of the central components of our present scheme of broadcast regulation.

The term ‘localism’ meant Australian and the regulations imposed to preserve a high percentage of ‘local’ content. However, in the same document, a paradoxical situation arises wherein it is stated that ‘local owners are more able and ready to interpret, appreciate and respond to the needs of their own community.’ It also acknowledged that ‘local ownership and control’ leads to a strong identity, countered media ownership concentration, financially benefited local residents and induced ‘dedication and willingness expected from the community’. The ambiguity is negated in a following clause 3.51 which makes it clearer that the references are to radio stations. However, it was later said that current government policy and legislation recognise the responsibility of a commercial television licensee to broadcast programs of interest and relevance to the particular community within the station’s service area, including a degree of locally produced material. The controllers of 1984 were not consistent in their interpretation of ‘local’. In 1988, Spurgeon commented that ‘Localism, by economic necessity, requires a minimum of relatively low-labour and resource intensive programs, in local television services.’ he went on to note that Government regulators did not acknowledge ‘local programs’ in favour of ‘Australian programs’ and concluded that with the changes to the television industry would benefit the ‘Australian programs’ with ‘local programs’ and services being ‘…the first casualties…’ Spurgeon displayed great insight and prophecy in suggesting that complacency would lead to a situation which would be ‘…highly centralised and ‘national’ in character…’ then concluded with this thought, ‘To paraphrase one regional television executive: the loss of localism from regional services will be a lot like losing freedom. You’ll only miss it when you no longer have it.’

In 1992, David Morley wrote on the importance of ‘We are your local station!’ Quoting Halloran he said that the ‘…real task for the mass communications researcher is…to identify and map out the different sub-cultures and ascertain the significance of the various sub-codes in selected areas governed by specific broadcasting or cultural policies’ This advice could well be heeded by those who ignore the western third of the continent. To consolidate the notion that Australia finishes at the last black stump west of Sydney, Cunningham and Jacka (like most of their Eastern States counterparts), chose to ignore the situation in Western Australia by stating that ‘…since the 1960s the commercial television industry has contracted out virtually all of its production, except news and current affairs…’ It was also recorded that ‘In the commercial sector drama, quiz and game shows, documentary, and children’s programming were produced by independent production companies.’ Not so in Perth! With the exception of drama (and STW9 even had a tilt at that with The Drifter) all of those shows and more, were produced in the studios of TVW7 and STW9. However, three years previously, Turner and Cunningham had acknowledged the existence of ‘Television stations…licenced to service particular local areas, be they metropolitan or regional’

The controlling body which allocated the licences supposed that concerns and local ownership would reflect ‘localism’, but the growth of networks was not envisaged. The ‘unofficial’ history of television in Australia is the story of the rise of ‘de facto’ networks, which were not subject to regulatory control. By ‘unofficial’ it is meant that they were loose collaborations of interstate stations, usually bearing the same call-sign designation. The principles of networking and localism have contested the industry with the result invariably being loss by the latter. In 2000, Turner reinforced this contention and added that it wasn’t till the late 1980s, with the introduction of the ‘audience reach’ rules, that ‘..a form of de facto recognition was finally achieved.’

Networking arose in the large capital cities by amalgamation of commercial interests. In regional areas, where there was only one station (and in the case of Perth, two colluding stations) they held onto their positions of monopoly to fight against increases in the price of imported and Australian programs. In doing this they also raised a buffer against network The granting of a third licence for Perth meant that eventually there would be a reduction in the power of TVW7 and STW9 which would eventually lead to Seven network control of the former and an affiliate-network association by the latter with the Nine network. The licence granted by the Government control body meant that the Broadcasting Control Board policy would consolidate the potential power of the networks and this is what happened. In 2001 the construction of the Australian networking system had become:

Seven Network Ltd Public company controlled by Kerry Stokes

5 Capital

1 Regional

Affiliates 5 Regional

Nine Network Ltd Wholly owned by Publishing and Broadcasting Ltd and controlled by Kerry Packer

3 Capital

1 Regional

Affiliates 2 Capital

5 Regional

Ten Group Ltd Public company owned by TNQ Television Ltd

5 Capital

Affiliates 5 Regional

TWT Holdings Pty Ltd Wholly owned by Bruce Gordon

9 Regional

1 Remote

Prime Television Ltd Public Company controlled by Paul Ramsey

7 Regional

1 Remote

Southern Cross B’Casting Aust. Ltd Public company controlled by Ten Group Ltd

1 Capital

4 Regional

Telecasters Aust. Ltd Public company controlled by Ten Group Ltd Controlled by Permanent Trustee Co Ltd and Ten Group

3 Regional

1 Remote

Spencer Gulf Telecasters Ltd Public company controlled by the Sturrock Family

2 Regional

Imparja Television Pty Ltd Company controlled by the Central Australian Aboriginal Media Association and the Aboriginal and Torres Strait Islander Commission

1 Remote

NBN EnterprisesPty Ltd Wholly owned by Washington H Soul Pattinson

1 Regional

Sunraysia Television Ltd Public company controlled by Eva Presser and Bruce Gordon

1 Capital

In 1985, an un-named observer in an official Department of Communications Report said, ‘The ABT believed that if the structural imbalance it identified was not corrected soon, commercial television would inevitably become centred on Sydney and Melbourne, and would remain so indefinitely.’ The problem was known, commented upon and a suggestion made that there could be an aggregation of regional and State resources ‘…to provide a healthy level of Australian production and employment’. There was knowledge of the situation, but no steps were taken to correct the trend.

In 1991, the Australian Writers Guild (WA) called on the regulatory body to introduce direction for ‘…Regional Drama Production within the Australian Content Quota System.’ This would have the effect of leading television stations to look after ‘local’ communities under Section 86 (10) of the Broadcasting Act, which would lead to a better sharing of ‘Australian creative resources.’ Grant Noble expressed a similar plea to the Government sponsored inquiry, ‘…regional identity can only be fostered by Australian content, parts of which must also be ‘local’ content in terms of local production and control.’ They were voices crying in the wilderness.

Western Australia 1959:

Rolf Harris and Childrens Channel Seven:

In 1959, the Western Australian born entertainer Rolf Harris was personally engaged in England by James Cruthers to fulfil a twelve months contract at a salary of forty pounds per week, which at the time was more than the CEO himself earned. It also included transportation for Harris and his wife to and from Australia, repayable if the contract was not honoured. Harris produced the afternoon Children’s Channel Seven, making good use of friends from his former study years. These included the naturalist Harry Butler ‘…bringing all the snakes into the studio!’ Vincent Serventy; Pat Thomas ‘The Pet Lady’ and Irish writer and actor Colm O’Doherty. Harris provided the bulk of the show with singing, drawing and puppets. He was replaced for a week during the year by actress Dianne Briggs and station presenter David Farr.

Former cameraman Richard Ashton remembers Harris thus:

…he was very neat and tidy about his work. Didn’t like fools particularly. If you weren’t good at what you were doing he was probably a bit severe and on television he was very clever…I mean some of his paintings you know with a big pot of paint and he’d go whoosh and suddenly he produced this lovely image of a cow…really some of his hand-puppets he made…you’d kill yourself laughing.

In April of 1960 TVW7 announced that it had added a further two hours per week to its children’s viewing times. 17-year-old Carolyn Noble (who was also required to work a normal day in the office) at 5.45 p.m. donned her mouse-ears to ‘hostess’ a fifteen minute session each night before the Mickey Mouse Club. It was reported said that she had been chosen from a screen-tested group of potential club leaders, but as she was the regular baby-sitter for the children of the General Manager James Cruthers, it must be acknowledged that she probably had the inside running. That said, it is difficult to imagine a young woman more suited to the role that was chosen for her. She had young guests on-camera with her and after Rolf Harris returned to England in September 1960 (dates for Harris should come above), the program was enlarged, with co-host Gary Carvolth. Carolyn’s career continued until 1966 when she went to the United States for three years with her husband. Actor Jim Atkinson was employed as a booth announcer at TVW7 and he took over the helm of Children’s Channel Seven as Captain Jim, with Seaman O’Doherty and later Taffy the Lion (actor John Couzens) as his helpers. When asked about the amount of preparation that was done for any particular afternoon’s programme Atkinson said,

Oh, I think this week we’ll do a little bit of this and next week we’ll do a little bit of that. Puppets that we really knew very little about. Colm used to make up these stories, he’d put the stories together, and we used to make up our own on the spur of the moment. Puppet work and stuff like that we’d have to get together ourselves and do whatever we had to do to put it on, but there was no assistance from anyone. The children’s session was run by those on it, and that was all…

Atkinson went on to describe the situation regarding well known Western Australian personalities as naturalist Harry Butler, dog expert Pat Thomas and Kevan Johnston the first TVW7 character Percy Penguin. Atkinson’s female counterpart was Trina Brown, another Production Department office worker who also presented the weather bulletin during her time at TVW7. Children’s Channel Seven remained a constant feature on TVW7 continuing in various guises with Sandy Palmer, Ian Teasdale, Fat Cat (actor Reg Whiteman), Alison Carroll (later -Jung) and immediately before its demise, Keith Geary. Eventually it became a hosted cartoon and ‘strip’ program vehicle to fill the space generally considered to be children’s time. By the mid 1980s afternoon ‘live’ shows had ceased with Saturday morning editions of Early Birds and Zippety Doo Dah being the replacements. During school holidays they went to air each morning at 7 o’clock.

When STW9 opened in June 1965 the children’s sessions went to air each afternoon (from 3 or 3.30 p.m. to 6 or 6.30 p.m., depending on when the evening News was scheduled) as Peter Harries Presents. This was ‘hosted’ from Studio A, the presentation booth. There were three ‘Studio C’ presentations during the week. Charlie Punch and Me on Tuesdays, Under The Coolabah Tree with a live audience on Thursdays and On The Wharf on Fridays. In February 1966, new Production Manager Denzil Howson instituted a daily 45 minute ‘live’ show with 50-60 children in the audience. This program was produced by the host Peter Harries and Director Philip Booth. Following on from Howson’s time at GTV9 Melbourne, it was called The Channel Niners Club. The studio ‘set’ resembled the inside of a castle [to satisfy a boyhood desire of mine to have a ‘real’ club-house] and the audience was part of the general presentation and participation. It was regarded as being something of a treat to attend a session and many children attended as part of a birthday party. Peter Harries’ female counterpart was a young actress named Veronica Overton. Regular features included an inter-schools’ Quiz competition; a ‘science’ day when early secondary school children conducted suitable chemistry experiments; a segment on pet care sponsored by a dog-food company and children as guest entertainers. In June 1966 Howson’s long-time friend, Melbourne ventriloquist Ron Blaskett was brought to Perth to produce The Channel Niners Club which was expanded to include resident musician Peter Piccini and the station Newsreader Alan Graham was co-opted to play the part of bumbling (but likeable) stooge Useless Eustace. Actress Pixie Hale appeared on a regular basis as required to play such characters as Alice in Wonderland. Wednesday was ‘dress-up’ day and a ‘fairly easy for Mothers’ theme would be pirates, cowboys, Gypsies, Japanese, etc. There was a regular TV Dentist on Thursdays, complete with an elaborate Swiss electric chair, that took away some of the horror of the previously used dentist’s chairs, with their wrought-iron frames suggesting something from a torture or execution chamber. Fillings and extractions were shown as part of a dental hygiene segment. On another day, a TV Naturalist named Ern Garrett appeared with a collection of live and stuffed animals. Humorous sketches and musical items were part of the presentation, along with Mr. Knowsit (a Denzil Howson puppet which answered children’s written questions). Generally speaking, it was wholesome, instructive and entertaining television which gave children the opportunity to participate in the medium. After three years The Channel Niners Club as a produced daily show was axed but continued as a vehicle for various programs, in name only, with various presenters including Peter Dean, Jenny Clemesha,Tony Howes and in the mid 70s radio men Gary Shannon and Marty Gittins (playing a larger than life character called Dunderklumpen). Gittins was a STW9/6KY journalist who also performed publicly as an impressionist. Despite returning the first ratings figures to beat those of TVW7 the duo was ‘dumped’ without explanation.

In the 1970s, brothers Keith and Chris Woodland joined STW9. They created the elephant character Flapper, the cat Brindley and Doctor Featherweather. The program Doctor Featherweather’s Wonderful Workshop was written and produced as direct opposition to Early Birds. The female presenter for two years was Saturday Brander. The team started work at 5 a.m. during school holidays and then at 7 a.m. did the two hours breakfast show for children. They were joined by Jenny Dunstan who was to host the Perth Building Society’s Squirrel’s Club. The three set up the production business of Elephant Productions in 1981-82 and it continues as a successful venture today. The trio’s most memorable presentation was PYE (Perth’s Young Entertainers) a real contribution to Western Australian television. However, Local production of children’s programs ceased in the late eighties. They were replaced in part by Simon Townsend’s Wonderworld, produced in Sydney for the Network, it was reckoned to be a “C” rating program under the Australian Broadcasting Control Board guidelines and therefore treated as ‘local’, as in Australian content. Chris Woodland explained,

So in other words the station bought a decent ‘C’ rating programme for the afternoon timeslot and it was basically ‘anti-cartoon’ and that was the whole idea of ‘C’ rating.

Everybody had to produce [or show] within the same timeslot, an Australian production…So you couldn’t bombard one station with cartoons because the kids watch that against somebody who was trying to produce local content…‘C’ rating meant a moratorium hour…before 6 o’clock and devoid of cartoons or American input…

PH: …so the ‘C’ rating was designed to improve local production…but here it worked the opposite direction?

CW: Yes!

TVW7’s first afternoon programme was Televisit, produced and directed by John Brown, but the production was soon taken over by Coralie Condon. The first hostess was ‘…charming, 29 year-old housewife Joan Wilson…’ who only had ‘…one problem which clouds an otherwise bright future: babysitting.’ (do you have more info) The program was to be ‘…like a visit to Joan’s own home.’ with a fashion parade, a serial Dr. Hudson’s Secret Journal, a six-minute feature on home safety by Health Education Council Director Mr. Jim Carr, a four-minute News by David Farr, Robin Harwood would play the piano, then conclude with Joan Wilson reading ‘listeners’ letters and answering their questions. Lloyd Lawson said,

I don’t know what happened to her, she was only with us a short time and Coralie Condon took over Televisit which ran for a long, long time. And then we had a woman’s Today programme that I ran for five years…Audrey Barnaby, Carolyn Noble…she looked like an angel and spoke like an angel. She was the toast of the town. Nell Shortland Jones, Sandra McNab…

The Today program went to air for the last time on 9 November 1965. James Cruthers said that the program fell victim to falling ratings due to change in public tastes. Lloyd Lawson was upset by the decision and decamped to the opposition at STW9 to produce and compere a similar afternoon programme called Roundabout. It was a magazine show with musician Peter Piccini, guest artists and celebrity guests. It was also a venue for the filming talents of Production Manager Denzil Howson. TVW7 had been right (again!) about the popularity of ‘live’ afternoon shows and Roundabout only lasted about nine months. In the 1970’s TVW7 resurrected a Today show with Stephanie Quinlan and STW9 followed their lead with Woman’s World compered by Jenny Clemesha (Seaton). In 1984 TVW7 decided to start a ‘live’ show called Good Morning Perth. This was another magazine program which eventually became Jenny Seaton Live and was not taken off air until ‘…’95, ’94, something like that.’

TVW7 aired its first programme for teenagers in February 1960.

“Teen Beat,” TVW7’s contender in the TV rock-n-roll stakes made a promising start on Saturday. It was a smooth debut, and compere David Farr conducted his well behaved teenage guests with competent ease…Just how popular Rock-n-roll programmes will be here is yet to be seen. They rate high on Sydney and Melbourne TV stations. Rock-n-roll is booming there although reported to be waning in America.’

The show was re-presented in 1962 as Club Seven and in 1965 as Club Seventeen with Garry Meadows and hostess Sandra Thompson. Gary Carvolth then became the compere followed by Johnny Young and Geoff Philips. When STW9 went on air, its first offering of this type was Pad 9 with compere Jeff Newman. The show was recorded in Studio B and went to air on Saturday afternoons. It featured Nathan Black and the All Stars, a resident Rock and Roll band which played the latest musical ‘hits’, plus guest appearances by other Perth and visiting bands, along with the occasional ‘Star’. It did very badly against Club Seventeen and only lasted for three months. Imported programmes from Sydney and Melbourne replaced the local productions.

In the 1960s and 70s TVW7 produced a long running, high rating children’s talent program called Stars of the Future to compliment their adult production of Reach For The Stars. STW9 had a similar version called Junior Spotlight, with Trevor Sutton and Jenny Clemesha (Seaton) as comperes. Judges included Mike Brand, Geoff Harvey and Peter Harries. There was an adult counterpart called Spotlight and in the early 1980’s the adult format was resurrected on STW9 as The Entertainers which continued for several seasons as a showcase for aspiring singers, dancers and the occasional novelty act. The judges included Coralie Condon and Max Kay.

The most successful Quiz Shows were produced by TVW7. In the early 1960’s Letterbox was compered by Gary Carvolth, adjudicated by well known academic Peter Cowan, with hostesses Sanda Lucas and Randy Baker [later Miss Australia.]. With a ‘board’ of 16 squares, contestants had to place letters drawn one at a time from a barrel, to form words. This program returned successfully in the late 1960’s with compere Jeff Newman and adjudicator Ron Johnson. In the 1980’s it was given another airing with Paul Makin, (a former ‘comic’ journalist from A Current Affair) as host. In 1966/67 STW9 produced Tom’s Money Machine (sponsored by local magnate Tom the Cheap Grocer) with Lloyd Lawson as compere and Penny Vandenberg as the hostess. She was replaced by Veronica Overton, to save on costs as she was ‘on staff’. In the early 1970s the same station produced a 30 minute panel quiz-type program called I’ve Got a Secret compered by the station Newsreader Peter Barlowe. Panellists included newspaper scribe Robin Oliver, potter Joan Campbell, comedian Don Martin and entertainer Peter Harries. The panel tried to discover by questioning, the ‘secret’ of visiting and resident celebrities. In 1977 TVW7 obtained the rights to produce a series of Family Feud for the Grundy Group. With local personality Tony Barber as compere, it was so successful in the Eastern States that the production was re-purchased by Grundys and shifted to Melbourne; one of the first instances of ‘network’ bite. In 1968 TVW7 introduced It’s Academic with ex-STW9 compere Jeff Newman as the quiz-master. It was most successful in ratings and continued for eight years. In 2001 the programme was resurrected with the same host and continued to rate well in 2002.

Probably the first written impression of a local variety show was given by local journalist John McIlwraith,

The high-ceilinged room, glistening with chrome and festooned with powerful lights, has a chilling resemblance to a hospital’s operating theatre. To many of the people who toil in it for hours a week to produce the variety show Spotlight, the resemblance does not end here. “There’s always some viewer ready to carve us up no matter how hard we work,” gloomed one member of the cast…

TVW7’s first local variety show Spotlight was produced by Coralie Condon and directed by Beverley Gledhill. The compere was Philip Edgely with his female counterpart being 17 year-old actress Dianne Briggs, who accompanied him in the ‘live’ commercial content and comical sketches with actor Brian Card. The show featured The Harry Bluck Orchestra with guest singers, entertainers and musicians. It was a bold attempt but, according to McIlwraith ‘Too many try to judge it by…Saturday night’s Perry Como Show. It is true that in such a comparison Spotlight does come off the worse.’ Spotlight was axed in February 1960, but returned to ‘fame’ in 2003 being the only local production mentioned in a chapter on radio and television in farewell cinderella, a book purporting to record the history of Western Australian entertainment.

On 21 November 1959 TVW7 aired the first Relax With Rolf a twenty-minute show at 9.25 on Wednesday nights. Harris entertained with piano, accordion, songs and patter. A well endowed young blonde woman caused a stir on several occasions by silently walking across the set while he was performing; part of the act of course. In April it was taken off air and the television writer for Perth’s Weekend Mail said, ‘…a station spokesman refused to give any reason…it is believed that the station is unsure of the program’s appeal and wants to see the public’s reaction to its withdrawal.’ Early in 1960 Tuesday Date appeared on TVW7 with Melbourne Musical Director Max Bostock. It was a musical show compered by David Farr; the first edition featuring Rolf Harris, singers Frankie Davidson and Dorothy Baker, local group The Rhythm Spinners and Dancers. The Producer/Director Brian Williams was looking for ‘…a girl singer to appear in the show.’

During the years before STW9 went to air in 1965 TVW7 aired a Friday In Perth Tonight, with producer/director Brian Williams. For nearly two years the show was compered by Gary Carvolth. STW9’s ill–fated tilt at a challenge in All My Eye and Betty Martin Too ran for fourteen weeks but closed ‘…after a severe belting!’ according to the Sunday Times ‘Monitor’ TV critic.

SW9’s next attempt was The Jeff Newman Show with Ron Blaskett as producer, which ran for about four months in 1967 on Thursday nights. Budgetary constraints saw it axed along with another proposed Tuesday night ‘live’ show, Anything Goes or Peter Harries Presents.

STW9 tried again in 1969 with the NLT Productions’ Tonight with Don Spencer on Thursday night. It was also axed after about six months. During the next twenty years the idea was tried again with another Anything Goes on Saturday nights, compered by John Fryer and Peter Dean. The show incorporated constant ‘live’ crosses to Gloucester Park for trotting races and although it lasted for two years, ‘…it didn’t rate very well.’ The show had special guest artists, comedy sketches and a small orchestra led by pianist Terry Ingram. In the 1970’s another Tonight show was attempted on TVW7. It was compered by Chad Haywood, one of the ‘gay’ boys from the successful Number 96. ‘…I saw some pretty atrocious attempts…I think it was the Chad Show…I couldn’t believe it, it was a real giggle.’ In the 1970’s, radio ‘stars’ Barry Martin and John K. Watts were given a Tonight type show, which followed the usual format of guest artists, gags and a small musical combo. ‘…Wattsie and Martin did a series of Tonight shows which was an abomination. Just so bad.’The last attempt was also at TVW7, just after the end of the ‘family’ period in 1982. Turpie Tonight starred Eastern States former pop singer and Quiz Show host Ian Turpie. It had an expensive 14 piece orchestra under the baton of Will Upson, guest artists, ‘live’ commercials with co-host Judy Thompson and interviews with local and visiting celebrities. John Crilly said, ‘…I’ve seen it. It bombed. They made four programs and Holmes a Court went off his face I believe.’ The last show was a Christmas Special with guests, operatic singer June Bronhill, entertainers Peter Harries and Kelly Green, an interview with ABC Radio personality and Federal politician-to-be Eion Cameron and a ‘grand finale’ featuring Father Xmas in a sleigh drawn by a team of white Samoyed dogs.

There were many other programmes of a ‘one-off’ nature on both commercial channels as well as a regular religious feature on STW9 in its early years conducted by John Hudson and Anthony Bolt. TVW7 produced an in-depth presentation called Viewpoint when suitable celebrities were interviewed by eminent journalists such as Syd Donovan and Dan Sullivan. This program came under the heading of Current Affairs which are part of the general analysis to be found in Chapters Seven, Eight and Nine. In 1966 I instituted a daily discussion program with Jeff Newman. Shoes and Ships and Sealing Wax was designed to fill the time left available through the lack of advertising during daytime transmission. In 1969 the series called Spellbound featuring hypnotist Martin St. James, compered by Garry Meadows and produced by Jeff Newman was the third highest rating programme overall for the period under review.

During the mid 1980s the Australian Broadcasting Tribunal decided that it was time for a third commercial television licence for Perth. After fifteen months of hearings it was awarded to West Coast Telecasts headed by Kerry Stokes. The spokesman for the group had been the late Brian Treasure, by then retired from TVW7, who obviously presented the case exceedingly well. With his long involvement with the industry, the Tribunal chose to accept his evidence as holding the most promise. Amongst the projections envisaged for a return to the halcyon days of TVW7 the following promises were made. He said the company was determined to get the licence to improve both the range and quality of West Australian productions for Australian television.

“The most important change we will bring to the Perth television scene will be the resurgence in local production,” he continued “On Saturday nights usually between 7.30 and 8.30 we will televise distinctive local programming 48 weeks of the year.”

These Saturday night shows would probably include documentaries, family quiz shows, rock music specials, news features, community affairs programs. Locally written dramas, WA Ballet specials, fashion production and sport.

“Community response to individual Saturday night programs might result in these becoming pilots for series. We will not be producing carbon copies of the Mike Walsh, the Bert Newton or the Ray Martin Shows. There is some excellent talent in Perth. The

opportunity ought to be given for that talent to develop with more television experience,”

Whether Brian Treasure really believed what he was saying, was living in the past or just knew how to present a good case will never be known, for unfortunately he died soon afterwards. Before a year had passed, without a sod being turned to pursue its purpose, the licence had been sold to Northern Star Holdings, the Sydney based operator of the Ten Network. As noted by Cruthers and Leyer, nothing remotely like the promises made transpired and the NEW10 station was networked from the Eastern States. The new station was opened as part of an Australia-wide 24 hour ’thon raising funds for the 1988 Seoul Olympics. Produced in the Burswood Theatre it was a typical celebrity ‘panel’ show with local artists and featuring ‘Soapie’ stars Kylie Minogue and Jason Donovan doing ‘live’ crosses to the Network.. NEW10’s weekend weather-girl Jenny Dunstan sang the opening song. Former General Manager McKenzie said that he had to put the station ‘on-air’ months before schedule, because Network boss Frank Lowy had promised Prime Minister Bob Hawke that Perth would be part of the Australia-wide fund-raiser. During the first four years the new channel had a daily one-hour studio-produced children’s program called Kids Kompany hosted by ex rock-band singer Tod Johnston. For about two years there was also a daily magazine program called Our Town hosted by journalist Bob Willoughby. In 1990 the Production Department was closed. NEW10 did not have an outside-broadcast van and anything that was ‘covered’ away from the station was done by contracted production crews. The total number of staff in 2003 is 68.

Conclusion:

This chapter has looked at the general aspects of local ‘live’ productions. As a general rule, these productions enjoyed more success on TVW7 than did those on STW9. The explanation for this has always hinged on the acceptance by the viewing public of TVW7 as being the ‘local’ station. As detailed elsewhere in this thesis, the reasons for the disappearance of local ‘live’ production included technological advances, networking, misplaced Federal Government regulation, abrogation of community responsibilities and corporate greed.

It has shown that by the end of the 1980s the era of Western Australian television stations producing their own shows had passed. The renaissance promised by the winners of the third commercial licence did not eventuate and to all intents and purposes, apart from the News, TVW7, STW9 and NEW10 were not much more than relay stations for Eastern States networks.

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This page forms part of Dr Peter Harries’ first PhD thesis submission entitled: “From Local ‘Live’ Production Houses to Relay Stations: A History of Commercial Television in Perth, Western Australia 1958-1990″. This contained much additional material.

Chapter Five:

The Role of Women in Commercial Television in Western Australia with special emphasis on questions of Discrimination by the ‘Glass Ceiling’ and Sexual Harassment:

Introduction:

This chapter is an analysis of women’s role in the television industry with special emphasis on the area of local ‘live’ production. However, because of the glamour of working at a television station, most women in all areas of employment enjoyed the status of ‘reflected glory’ by association. The chapter discloses different attitudes by the two commercial stations with TVW7 primarily showing the way in most areas but perpetuating the myth of ‘women in their place’ in others. Once again, there is a dearth of literature. In one recently published book specifically devoted to women in television, featuring twenty-five female contributors, none are from Western Australia.

When I first entered the field of Social Sciences in 1995, a constant area of discourse centred about political correctness, generally with recurring references to sexual containment [glass ceiling] and harassment. The subject had such a prominent place in under-graduate discussion that in constructing this thesis, I deemed it necessary to specifically examine those questions in the context of television operation, a more non-specific gender segregated industry than most in the general business community. Whilst the term ‘glass ceiling’ was found to be in general usage, it is remarkable that some respondents (both female and male) were unfamiliar with the term.

1959:

The first Channel 7 Production Department was headed by three women. At Channel 9 there were no female producers for at least four years. Although TVW7 claims to have employed the first Australian female news-readers, female presenters were usually hired for their photogenic qualities. In certain cases they may have been tempted by visions of ‘stardom’ and sometimes promises were made regarding such things as voice tuition and singing training. Initially at TVW7, female staff (including Presenters when not ‘on-air’) were compelled to wear uniform dress. This consisted of a button-up light-blue blouse with a ruffle and a pleated darker-blue skirt. The hem of that garment could not be higher than two inches above the knees and memories of the Company Secretary down on his knees with ruler, in front of a kneeling female staffer, are well remembered. The general male staff had to wear dark coloured slacks, white shirts and ties. The male technical staff wore grey dust-coats over these. This regimentation was not required at STW9.

Liesbet van Zoonen is in accord with other proponents of feminism, in stating that ‘Like most other employment sectors, the media work-force is also horizontally segregated.’ In her British experience ‘it is hard to find women in senior management…even in women-dominated areas.’ Van Zoonen makes these points, qualified as ‘crude generalizations’:

• Press and broadcasting are dominated by men.
• The higher up the hierarchy and in terms of positional prestige – the less women.
• Women are delegated work which can be seen as an extension of domestic duties, jobs requiring qualities of care, nurturance and humanity.
• Women are paid less fore the same work.

In contrast to the above, the following record of the experiences of Australian counterparts appears to belie these comments, although there is agreement regarding unequal remuneration.

The Eastern States Experience:

In expressing the Eastern States Experience, Leonie Morgan has argued that in this relatively young industry, there are women who have ‘grown up with the industry and are looking towards it for new opportunities’ She notes that the world of television occupation is ‘not conducive to combining with child rearing – it is ego-based, power driven and obsessional’. According to Morgan, in 1996 the industry was not a lot different to the 1960s in the area of gender segmentation, with few women holding senior positions. [As will be found later in this Chapter, women did hold management positions at departmental level and Ms. Maureen Pavsic headed the entire Seven Network in 2001-02. She was formerly Head of Sales in Sydney.] In regard to the ability to hold senior positions, Morgan’s investigations and research reveal that ‘Women who have succeeded at this level work hard and are confident’

When television first came to Perth, women were co-opted from the theatre, came from the Eastern States or overseas with some experience or had no prior training, ‘Today, successful women have a strong background in the industry or previous work experience in the industry.’ Morgan suggests that in the earlier years of television, University degrees were not much help as this industry is an area where skills are regarded as being more important than academic qualifications. ‘…confidence and contacts are crucial.’ In Perth television, unlike the field of journalism, there was no instituted training or grading. Experience was gained on the job and length of time in the production industry was the only accepted ‘credential’. Women in the industry observe that male dominance was endemic, there is a glass ceiling and women are still regulated by ‘age, body clock and marriage’. The Eastern States experience for women has been that the technical/operations area is still a closed shop, particularly in the lighting, audio and camera divisions. As will be seen in this chapter, there has been a better situation prevailing in Western Australia during the period under investigation, 1958-1990. Janeen Faithfull was a woman with academic qualifications (UCLA 1985) who has had a better personal experience than most. In 1998 she was appointed Head of Network Production at the Seven Network. She saw attitudes from male superiors as more ‘mentoring’ than ‘patronising’. Lyndal Marks notes that in the 1980s, marriage and children usually meant television career end for women, but the ‘happily, things are changing’. She phoned Gerald Stone at 60 Minutes, was granted an appointment and then was ‘brain frozen’ when offered a job as a researcher. Marks went on to be the first Australian on the American 60 Minutes, returned to Sydney to be Executive-Producer of the Midday Show and now develops pilot-programs for the Nine Network. Tarni James, wrote for and produced Nine Network shows for fifteen years (to 1996) entered the field by winning a radio contest to be an amateur journalist, covering the Charles and Diana Royal Wedding. This opened doors in London and her career was established more through good luck and personal push than anything else. James observed that ‘women…[advance in the television industry]…by zigzagging between different organisations and different jobs…male colleagues seem to progress in a more linear fashion.’

Fiona Baker was another woman who simply asked for a job with Simon Townsend’s Wonder World. She went on to become a producer of 60 Minutes and the ABC’s 7.30 Report. She says that the notion that a woman had to be like man to succeed in television was wrong. While a basic rounded education is necessary to work in television, the advantages of an outgoing personality, a genuine wish to participate and the perseverance would appear to be the criteria for success. Ros Tatarka, gained experience as a production co-ordinator on Prisoner then moved to the Grundy Organisation said that ‘…it has often been an exhausting effort to get underneath over, and around the barriers…’ Current SBS Presenter Vivian Schenker replied to an advertisement and gained a cadetship with the Sydney ABC. She said that the Press Gallery in Canberra was ‘particularly hard for a woman…’ and ‘…speaking candidly here, one of the dangers of not having children or a partner is that work may become too much of a source of your self-esteem and satisfaction.’ Pam Barnes worked in Melbourne advertising and got into television by chance when involved with the preparation of ‘live-to-air- commercials for In Melbourne Tonight. Learning ‘…from absorption…’ She combined career and motherhood, and her credits included producing for a period, the long running Hey! Hey! It’s Saturday. ‘I always felt I would have been paid more if I was a man, but I didn’t suffer, or feel like I’d suffered, from being a woman, particularly in terms of promotion.’ She said, ‘…you have to remember that you are only as good as the ratings and some guy could decide if you stay or go.’ She advises playing at ‘teamwork’ and said ‘You don’t have to be a bitch…’and offers this good advice, ‘…let important men think it was their idea, and less important men know that it was your idea.’ Rachel Perkins started in 1988 as a presentation trainee in Alice Springs, working for the Central Australian Aboriginal Media Association. When asked why the four or five Indigenous producers in Australia are all women she said, ‘Because blokes are slack.’

Jacqui Culliton started at the bottom at ATN7 in Sydney as technical assistant, telecine and tape in the 1960s. In May 1998 she was appointed General Manager, Network Production at Network Ten after being head of entertainment at the Seven Network. She said ‘I have done so many things in television…that’s why as Head of Production I can use all that experience. I’ve been there, I’ve done that. I know how shows are made. I know when scripts are good, bad or indifferent. I also have a good idea of who can do what in the industry…I’ve loved everything I’ve done in television…’ Margot Phillipson rose to be Executive Producer Television South Australia. She said, ‘I think that we, as women, have to take on the role of educating men, particularly older men.’ Louise McCann was Network Ten’s Network Business and Development Manager for News, Current Affairs and Sport, overseeing a budget of $15 million. She started work at the AMC as a production assistant on Playschool. She observed that men only nod their heads when they are in agreement and that ‘…men don’t intend to put women down, it’s just the different way that we relate to each other…men don’t share credit.’

Cherrie Bottger is the Network Ten head of Children’s Television. She said that when she started ‘…women were relegated to the role of secretaries, clerks, director’s assistants (we did a lot of assistance back then).’

Children’s television, who really cares? Trust me, commercial television stations do. The Australian Broadcasting Authority (ABA) brought in Children’s Television Standards 20 years ago. For a station to hold a broadcast licence they have to transmit 390 hours of children’s television a year. Of this quota 130 hours needs to be aimed at preschool children targeting 3- to 5-year-olds, 32 hours of children’s drama, and 228 hours of C-classified programs (target audience 5-to 14-year-olds).

Jennie Brockie studied literature and communications at Macquarie University before a career as a journalist and producer in television. In 1998 she had been at the ABC for 22 years and said, ‘You start to realise that the things you take for granted in fact represent quite a body of experience.’ Well known SBS News Presenter Mary Kostakidis, in1980 was Director of Program Preparation responsible for more than 100 staff. Her background was court interpreter, researcher, editor and university tutor. She said, ‘Experience has taught me that you cannot assume that because someone is a woman, you are both going to be on the same side, that you are going to see eye to eye, or that you can assume support, so I like to deal with men and women equally.’ Vicki Jones started as a Publicity Assistant at TCN9 in Sydney. She has been Director of Network Programming at both the Nine and Ten Networks. She said, ‘I have never thought of myself as a woman trying to work in a man’s field, even though commercial television is considered a boy’s club.’ Bryan Smith offers this advice to ‘TV Hopefuls’, ‘The dedication required to succeed often lets people know whether or not a career in television is right for them.’, ‘Another point that you need to know is that, by itself, a degree isn’t a guarantee of a job in TV. You need more’ and ‘You also need determination and to keep your name in front of prospective employees…TV employers tend to promote from within.’

A conclusion that can be drawn from this excellent collection of notated experiences is that, although a few females who have worked in Australia had tertiary education, predominantly ‘personality’ was the best asset in regard to gaining employment. The record demonstrates the importance of the ‘producers’ as compared to the ‘presenters’ of television. Standing in stark contrast to the foregoing is the undisputed evidence that no such similar work has been forthcoming concerning the women involved in Western Australian Local ‘Live’ Production and television generally. It is the intention of the remainder of this chapter to correct that situation.

Women in Western Australian Local ‘Live’ Production:

Coralie Condon, a public servant and involved part-time in the Perth theatre scene. She was offered a job in early 1959 by the late Brian Treasure, the newly appointed Sales Manager of TVW7, but without anything being firm she went to Sydney to pursue her own interests. Three weeks later a telegram requested that she meet the newly appointed Programme Manager Lloyd Lawson at the Australia Hotel in Sydney. She did this and was offered a staff position as ‘dog’s-body’ She was responsible for the appointments of News-readers David Farr, Gary Meadows, Geoff Walker and Philip Edgely. In the early sixties TVW7 started an afternoon programme for women called Televisit directed by Mike Brand. After the first two hostesses Joan Sydney (who went to Sydney and performed very successfully as an actress) and Sandra McNab (who retired because of pregnancy) resigned, the director suggested that Coralie Condon host the show herself. This she did for five years before the position was taken up by Stephanie Quinlan. Coralie Condon’s starting salary in 1959 was nineteen pounds per week. Lloyd Lawson as Programme Manager was getting thirty-five pounds per week. Station boss James Cruthers said that Rolf Harris was being paid forty pounds a week, ‘More than I was getting!’ Sir James Cruthers described Condon as,

…a very important cog in the TVW wheel…She was responsible for almost all the production we did, one way or another…quite unusual that a woman should do this in those days…probably a rub-off from my experiences with Macartney…We didn’t see men and women, we saw people…’

Former TVW7 Presenter Garry Carvolth added, ‘Coralie Condon was a lovable lady, and again, just so experienced. And her enthusiasm and care just made it a delight to work in those days because you just felt that you were part of a family.’ A seventeen year old part time model [identification deleted by request] with no television experience when she was hired to do ‘live’ commercials, quickly became a presenter on various women’s programs. Of the ‘glass ceiling’ she said, ‘I’m unfamiliar with the term in relation to the industry when I was involved.’ On sexual discrimination or harassment she said,

Yes – especially in the early days when most of the Male hierarchy thought of women/females as ‘Pretty young things’ and didn’t expect or want her to have any brains.

Thank goodness for a couple of super intelligent women – newsreaders and producers who forced the guys to change their point of view.

The first director at TVW7 was a woman named Beverley Gledhill who came from (and returned to) the A.B.C. in Sydney. She directed the first ‘live’ programme, the opening of the Station, which was fully rehearsed and run-through the night before being put to air. The presentation was flawless. The first Production Assistant was an English woman named Penny Hoes who had British television experience as a Director. Another Western Australian named Jean Hunsley was a dominant figure when TVW7 first went to air and her considered value in Production is illustrated by this comment from Sir James Cruthers,

Jean Hunsley!…was a very important production person and very co-operative, but she didn’t want to wear a uniform. On and on and on she went, so I finally sent her a memo (and I’ve got a copy of it here somewhere) in which I gave her a special dispensation.

‘This is to declare that Jean (whatever her second name was) Hunsley forthwith is not required to wear the uniform dress of the Company!’ and sent it to her and put it on the notice board. I don’t know when they stopped wearing uniforms. It wasn’t a real issue, it was a quite funny thing. That’s the only kind of woman’s thing that ever caused the slightest controversy!

A typist named Marion Greiling (later Leyer) also moved up into a similar position. During the period 1960-1985 she became Production Manager at TVW7 and occupied a similar position at TEN from 1987 to 1990. Jeff Newman said ‘Marion was an excellent Producer to work with. She had a fair amount of respect and a fair amount of power as far as live television was concerned.’ On the ‘glass ceiling’ Marion said, ‘Not applicable – during my lengthy time in the industry if you were capable you were promoted’ The foregoing again demonstrates that basic sexism was absent from Western Australian commercial television. In the main, people were hired on the basis of their personality (enthusiasm was the prime requisite) and opportunity was provided for both women and men to demonstrate their capabilities.

Marie Gianatti (nee Koomen) applied for a singing audition with then Musical Director Max Bostock. She got a regular ‘spot’ once a month on Teen-Beat. She was then offered a full-time position, still doing the teenage programme plus being a ‘girl-next-door’ on the Today program hosted by Lloyd Lawson as well as regular office hours as a filing clerk. Marie remembered,

I was in the department for filing commercials and they’d send me a script and I’d have to get the commercials [filmed]out that were going to go into the programmes for the night or the day or whatever and then they’d send them back and I’d have to file them back up again.

It was this long narrow room full of these films (laughs) which I didn’t like very much but you know, I was working for them and in the end I was very disenchanted with them all.

Questioned about harassment, she recalled,

…there was one time when [deleted] wanted me to try on these bathers. I mean, (pause) when I think about it now I could have got myself into so much strife. I was so sort of naïve and innocent that he couldn’t have done anything because it would have been so crass for him to do it, you know? So awful!

When asked if she did indeed try on the bathers Marie said,

Yes, I tried the bathers on (laughs), sort of, and he took photos, but it was in, it was in a small, little room, and you know, but he didn’t stay there while; I went into the Ladies’ and put them on and then came out and he took photos. When I think back, I think ‘My Gosh! How could I have done it?

Marie finally wearied of the fact that her work-mates took advantage of her coming from a migrant family and not being well schooled. One day she tired of her television career and announced, ‘You people think I’m God! And I can’t perform like God!’ then just walked out!

Another of the TVW7 female personalities in 1960 was Carolyn Noble. She had worked for a Real Estate Agent for a year before being hired by James Cruthers who was a friend of her Father. She used to baby-sit the Cruthers’ children at times. She was seventeen years of age.

I was employed as a typist [in the Production Department] and I arrived at ten. I wore the blue pleated skirt and the pale blue blouse…And the heels which had to have caps on them because of the cork floors and I worked in the main typing pool…I worked there from ten till, it must have been half past five and then I’d go and put on my Carolyn T-shirt and a bit of lipstick and my Mouseketeer ears and I’d be on camera…I was paid eight pounds two shillings in my first salary…Brian Treasure…was a father figure to me…I attribute the fact that I didn’t become ‘star struck’ to Brian…he made sure that everyone kept their feet on the ground. And that was part of the reason that they included me as a typist actually. I was not going to be employed as a television personality. I was typing!

On the question of the ‘glass ceiling’ Carolyn’s experience was better than most,

It means that women can’t go higher than their stations…Now people will have told you of course how we were viewed at Channel Seven. The fact that we had to leave when we got married was quite amazing really. Well, I didn’t have to leave when I got married, in fact I appeared on camera until I was eight months pregnant and the camera just took tighter and tighter headshots…so in a way that was breaking through whereas I remember that secretaries…of… Brian Treasure and Jim Cruthers had to go, if they got married, and I don’t really – I think that Channel Seven might have been ahead of its time, of other businesses.

When asked the question in regard to sexual harassment and discrimination Carolyn Noble was very forthright saying ‘It didn’t happen at all!’ Her best memories are of a children’s programme called Stars of the Future. Marion Leyer was the Producer and the judges were Coralie Condon and the Scottish entertainer Max Kay. She recalled

‘…the loads of Australian talent who actually appeared on Stars of the Future …Fantastic!’ Her on-air partner ‘Captain’ Jim Atkinson said, ‘She was a wonderful lass! I thought she was anyway.’

Former presenter Veronica Overton was working in a Melbourne Advertising Agency when at her Mother’s coaxing she returned to Perth and auditioned for STW9 Production Manager Denzil Howson. At the age of twenty-two she was successful and started in Production at thirty-five dollars per week. Her previous TV experience was as a dancer on The Good Oil, produced at TVW7 by Coralie Condon. At STW9, while she was to appear as a hostess on the Children’s programmes, she had to start work in the office at 9 a.m., preparing invitations for the Women’s and Children’s ‘live’ shows and keeping the records for the Australian Performing Rights Association returns. As well, she presented the ‘Weather’ each week-night and consequently was at the studios until 7 p.m.; did voice-over presentations in the announcer’s booth when required and acted as an interviewer of the weekly religious programme Seek the Truth. She objected to having to wear a feathered head-dress during the Big Chief Channel Nine era but to no avail. Added to these duties were regular appearances representing STW9 at outside events, for which she received no remuneration for the first two years. After that a system of charging was introduced and she received twenty-five percent of the fees. While the Station supplied her make-up, Veronica had to buy her own ‘on-camera’ clothes. She recalls that ‘men’s attitudes were a little bit on the chauvinistic side’ On sexual harassment she said,

Well, that’s what they call it now. I mean I handled it, I ignored it, and if that happens now, that’s still the way I handle it…certain rude jokes were said which I didn’t appreciate. It’s really hard. There were certain references that were made…innuendo. You know. They were fairly, on a constant basis.’

PH: Now this ‘sexual harassment’, that’s what we’ll call it. Did it only come from the production staff or was it general amongst other people as well?

VOL: Mainly because I was with the production people…

PH: What about studio staff. Audio guys. Producers?

VOL: No. No. [long pause] Oh maybe a couple!

As well as performing the already described duties Veronica became the female ‘do it all’ on the afternoon women’s programmes, The Jeff Newman Show a night variety show in 1967 and The Tonight Shows in 1969. She also produced the Breakfast Show with Tim Connor in that year which meant arriving at the studios at 6 a.m., then being there till after the nightly ‘Weather’! Her salary rose to seventy dollars per week.

When Veronica Overton resigned from STW9 in 1970, her position was taken by Jenny Clemesha [now Seaton] who had previously been the ‘fill-in’ while Veronica was on holidays. Her day was not dissimilar to her predecessor. Arriving at 8 a.m., she conducted a regular morning pre-schoolers’ programme called Junior World at 10 a.m. At 3 p.m., she produced and presented Woman’s World,

And then in the afternoon I’d pop across to the other side of the studio in the commercial break to do the Children’s programmes because we’d got down to the spinning of the wheels and the barrels and stuff like that, not a big production like you guys had done, and then I’d stay behind and do the weather…there were a couple of quiz shows, remember those, I’ve Got a Secret, Tell The Truth and I did Junior Spotlight. I compered that one which was a junior talent programme.

Remembering the ‘Weather” Jenny Seaton said,

They put me in a bikini in the pool in summer and a silly raincoat and an umbrella in winter, and then there was a situation with black and white cameras where they had what they called ‘reverse scan’. They could give a mirror image, I’m sorry, the reverse. So I stood behind a glass sheeting with a map in front of me and I’d draw on it and it would be reversed at home so it looked like I was writing backwards. That always used to intrigue people.

The salary was one hundred and twenty dollars per week but she received no remuneration for numerous outside appearances mainly for ‘charities’. When asked if there was there any such thing as sexual harassment?

JS: No!No! No,no,no,no,no. I think, I’ve never ever had, mind you I could probably be insulted by this but I’m not! I think that if you don’t have enough confidence in what you do, you might be tempted to sort of flirt a bit with the powers that be to try and get somewhere, because I used to see a lot of that happening. Um, but no. I was a Mum; I had a young son. I was on my own, I was single at that stage; my marriage had broken up.

PH: So the ‘casting couch’ thing never came into it ever?

JS: No. I’m questioning that! [laughter] No not really.

PH: People were just more decent in those days?

JS: They were generally speaking. There was a higher moral code.

PH: …Some others have told me that there was some.

JS: I don’t know. I think there was a bit of it about. I saw a few girls being auditioned.

Jenny Seaton continued at STW9 in her various capacities until 1982, when the national programme The Mike Walsh Show was acquired by the Station. ‘So David [Aspinall] in his amicable way told me ‘It’s about your future!’ and I said, ‘That’s nice David.’ [and he said] ‘There isn’t one!’ So basically that’s all that was said.’ There was no ‘Golden Handshake’ but she was awarded three Logies for best female personality during her time at Nine. She went home for eighteen months to look after a new son, having married again. In 1983 TVW7 Production Manager Marion Leyer (whom Jenny described as ‘brilliant’) asked her to join them to do a daytime programme. It was to be Good Morning Perth for many years and then Jenny Seaton Live continued until 1994. When asked if she was receiving equal remuneration as men doing the same job, Seaton said,

Probably not. Probably not. But you see I was still slotted into a female job really. They wouldn’t have had women out doing sport coverage or anything like that. Um, but I’ve been given opportunities. I mean I was down to the Americas Cup. We were doing our programme down there from seven in the morning and doing weather checks and updates and that was great during Fremantle that was great. It’s given me the opportunity to travel a lot.

During her time at STW9 Jenny Clemesha had a number of male co-hosts including Lloyd Lawson, Clive Robertson and John May on Woman’s World and John Burgess on Monday Live but at TVW7 she was solo. In answer to a query regarding her leaving television,

…what happened, like I say at Nine, and in particular with ‘local television’ the last couple of years, it’s pretty much over, the style of programme that I was doing. But the one thing is, I saw ‘in’ those sorts of programmes at Nine and I really saw the last of them at Seven, as well. I went out after that long, long term but I reckon there’s still room, and, oh, you know, there may, everyone may well say that networking is the answer (and it is financially) but I do think there’s a need in each State to do something that people identify with. You can’t ignore that factor. Everyone, people, people want to know what’s going on. They like their local people. There’s still that affinity. I know because they ring us on-air with radio and they’ve got an affinity with us on radio.

It has been recorded in earlier chapters on ratings and local ‘live’ production, that although morning shows for women did not attract a large viewing audience, TVW7 did persevere with them as a community service, also remembering that they showed very good advertising returns.

Jenny Dunstan was university trained in Drama and Theatre Arts, which at the time did not include television. She was employed at STW9 in 1979 to be the Hostess of the Perth Building Society’s Squirrels Club for children, which went to air on Saturday mornings. She was given the job by the producers Keith and Chris Woodland and remembers her early years in television as being ‘…completely free from anything even slightly unpleasant and totally enjoyable.’

Graphic Arts Departments were part of Production and usually controlled by a man with two or three women assistants. Kerry Stokes (now a successful artist) said,

I suppose it is breaking down. The ‘girls’ mentioned above [Liz Kirkham, Sue John, Marina Valmadre and Veronica Overton] have all gone on to achieve successful & fulfilling careers – mostly forming their own businesses employing staff, whilst bringing up families.

And on the subject of discrimination she said, ‘Yes, mainly through the wage structure. Whilst I was in charge of the department, my wage was less than my less experienced male assistant.’ Set construction and painting were for the first thirty years, male gender specific. Make-up artists and hair-dressers were invariably women. One person who combined these skills, Nola Smith said, ‘At the time of entering the industry [1961] there was a very firm glass ceiling, but over the years this barrier softened and many women attained management, or at least middle management positions.’ It is worthwhile to note her observations on, ‘Personally I did not experience discrimination or harassment; on the contrary I was blessed with firm friendships and encouragement to extend my personal development.’

As a student aged thirteen, Janet Prance [now Gill] first appeared on TVW7 in 1959 as a dancer. She later became a ‘Children’s Host’ and part of the team in In Perth Tonight. She said ‘At the time there were no fulltime women on air and everyone (women) had to do secretarial work be employed “full time” at TVW7 and had to leave when you married.’ Richard Ashton said ‘…Janet Prance. She was a beautiful model.’

At the age of seventeen, after ‘two boring years’ as a typist in an insurance office, Liz Kirkham was interviewed by TVW7 Company Secretary Frank Moss. She recalls wearing a hat and gloves to make a good impression. Her job was Commercial Librarian. All commercials were on small strips of 16mm film which were physically spliced into each roll of film to be telecast, and then retrieved immediately for future use. Her job was to log, collect, file and redistribute the tiny strips of film. She was ‘…called upon to do the odd bit of modelling for Audrey Barnaby’s ‘Shopping Guide’ which was a regular feature of Lloyd Lawson’s Today Show, as well as doing make-up when Audrey was on-air ‘Audrey was our full time make-up artist.’

To answer your question about a sense of “glamour”. Perhaps it was more a sense of excitement, being involved in an extraordinary entertainment “revolution”. We all worked extremely hard and very long hours, particularly if there was a major production in the offing. It is difficult to describe the anticipation and great excitement that filled the corridors during some of those spectaculars like the Moscow Circus, complete with elephants, in the studio. The corridor outside the make-up rooms jammed with diamante clad circus performers … all smoking Russian cigarettes (the smell of which lingered for some weeks). The productions of Brian Williams and Max Bostock were always fantastic with the same excitement – bearing in mind that these were all “Live”, so were rehearsed to the enth degree.

My thoughts on the “glass-ceiling”. I can honestly say that I have never had a problem. I have reached my goals, in fact at times, I am sure I have been able to look down through it (the glass ceiling) not try to go up through it. I’m sure it is one of the few industries where you are judged on your merits, not gender. I am going to contradict that, by saying, that in the “olden days”, when you got married you had to leave work. (Can you imagine getting away with it now?) This was a standard set by the Public Service and also many major companies. Channel 7 was owned by The West Australian at the time, and this was their policy too.

Liz Kirkham joined STW9 in 1966 as Secretary to the Production Manager Denzil Howson, also performing the duties of Production Assistant. She is still involved with the Television Advertising and Feature Films industries. Her response to the question regarding sexual discrimination and harassment was a flat ‘No!’

In 1967 at the age of twenty years Marina Valmadre was employed by STW9 in the area of Production and Administration. She became the Production Assistant on all live programming including The Channel Niners Club, The Tonight Shows and afternoon women’s programs. She remembers a sense of glamour ‘…and a great sense of fun and freedom.’

I’ve never felt – then nor since – that a glass ceiling was evident

at any of my workplaces. However, in relation to Channel 9,

there were no female Manager or Producers at that time, so perhaps

my ambition was stilted! … It isn’t now.

Marina Valmadre’s answer regarding sexual discrimination and harassment was also a flat ‘No!’

Katharine Biaggi (nee Lavan) a former teacher was employed at TVW7 as a booth announcer and on-air presenter from 1959 till 1965 said, ‘There did not seem to be any limitations to women working in areas of responsibility.’ And ‘I have no recollection of any sexual discrimination or harassment.’ Dianne Moxham (nee Briggs) was a 17 year old speech and drama teacher when Coralie Condon made her one of TVW7’s first on-air personalities. She said that she was too young then to be aware of such things as the ‘glass ceiling’ and did not experience sexual harassment.

Richard Ashton joined TVW7 as a cameraman after a stint as a Junior Account Executive with an Advertising Agency in Melbourne. He did a Television and Production Techniques Course at Technical College in 1959 and was interviewed for a job as Trainee Cameraman by Lloyd Lawson later that year. In the early sixties he went onto Programme Co-ordinating (4 p.m., till midnight) and then directed the early series of In Perth Tonight with Gary Meadows and Joan Bruce. Ashton said ‘…in lots of cases women were taken advantage of. They were probably paid less than they should have been. There certainly wasn’t equal pay. If you were a producer person, if you were a lady, I suspect you would have got two-thirds what the male got.’ He did not think that television was much different to the outside world in terms of ‘A couple of other ladies got involved with various men around the place and came to sticky ends. In fact [laughs] I married one of the ladies from here. But we’re still together.’

Children’s Show Host ‘Captain’ Jim Atkinson had no recollection of anything untoward during his seven years at TVW7. His female counterpart was Carolyn Noble, ‘…the show needed…to have a male and a female. I think, to keep the balance.’ He considered that relations between men and women were ‘quite normal’ and based on mutual respect which was the ‘order of the day’. It should be noted that Atkinson is a thoroughly decent chap of the Old School.

Kevin Campbell was a P.M.G. trained technician who joined TVW7 in 1964 at the age of twenty on the salary of nine pounds and six shillings per week. He rose to the position of Managing Director of the entire Seven Network 1991. He does not think that there is a ‘glass ceiling’. With so many years of experience in his rise from bottom to the top of the ladder Campbell had adequate opportunity to observe and remember much which is important to this study. He does not consider that there was (or is) a glass ceiling for women and said that he was the first Manager (in Adelaide) to appoint a female Program Director. However, that job is very demanding ‘…basically twenty-four hours a day and when you try to balance that with your family, she eventually couldn’t hack it.’ Campbell said that in regard to sexual harassment, it definitely existed, if measured by today’s standards. At the same time, he agreed that although there was ‘…a very strict moral code at Seven in the early days.’, he was privy to certain activities (by others) of a questionable nature. The inference to be drawn is that, as in all other areas of human endeavour, opportunity and inclination will overcome rules! Campbell also related a story which bolstered the belief that women employed in News Departments had to be made of sterner stuff.

Gary Carvolth entered the medium as a fifteen year old announcer on Radio 6KY, doing six nights a week from 7 p.m., till 1 a.m., for ‘…the princely sum of eight pounds, nineteen shillings and sixpence’ and his considerable experience reflected these answers,

PH: Just finally, sexual harassment,

GC: Yeah?

PH: What did that mean in those days?

GC: Oh, I don’t think it meant anything. I don’t think that it meant anything.

[Interruption – tape switched off]

PH: There wasn’t any such thing?

GC: Certainly not like it is today. I mean it’s a different ball game now. I think everybody’s got to be on their toes. You have to be careful what you say to – some of these women are fine, they handle it and they deserve their own equal place in the world but some get fired up and some are, I don’t know, it’s stupid about the way they go about it. But. No, in those days I never had a problem. I’ve always worked for women. Yes, I mean Coralie Condon, Marion,

PH: Were you ever seriously harassed by any of them?

GC: Constantly! No, no, not that I ever recall. In fact, I’ve worked for women a lot in the media and today, going back at 6PR the General Manager was Sheri Gardener and she’s back there now as Program Director so I’m still working for her, in effect.

John Crilly started working at GTV9 as a Stagehand on 4 January 1959. He is currently Production Manager at TVW7 and I asked him, ‘…what about sexual discrimination or harassment. Either observed or experienced?’ to which he replied,

J.C. Oh I see a bit of it around. Ah, would like to think that I’ve never been discriminate in any way myself…and if you’re talking about the gender part of it I’ve always said to people; I’ve clashed with a few people who were women, who didn’t have a problem with me but had an issue about men in general, particularly in this building and I’ve said, ‘Hey! You could be black, white, brown, brindle. bloody male, female, ah homosexual, lesbian, whatever you want to call it does not make any difference to me as you, I think you are the right person for the job. That’s how I’ve always felt. The same with racial discrimination. I don’t discriminate against anybody.

PH: You’ve been here a long time, has anybody ever come to you with problems of harassment?

JC: Yeah one in particular, but, unfounded as far as I was concerned and in that person’s case, she was a very strong willed woman that ah, but she turned, she used her female side of things to her advantage. She could turn it on when she wanted to and she did. And she accused everybody else of being bloody pigs or whatever else but she was exactly the same…I haven’t had a huge problem with it.

PH: It has become a lesser issue today than it was ten years ago?

JC: Yes, I think so…in this building alone we’ve got the three past Telethon Managers [who] have been women and very good solid businesswomen.

Peter Dean, former STW9 and TVW7 Presenter was a Junior Clerk in the Taxation Department aged fifteen in 1955. After five years of auditioning he was given a job on Radio 6VA Albany. He was hired by STW9 as Booth Announcer and News-reader in late 1965. He later joined TVW7 and remained with them till 1996.

PH: Women and the ‘glass ceiling’?

PD: I think it’s a myth. Women in the media, the women I’ve seen in the media, if they want to do something they can do it…No, there’s no holding them back…I know in those very early days you had Audrey Barnaby. Very good, very pleasant, but if you stood in front of her she’d bowl you over! And the same with Stephanie Quinlan and with Jenny Clemesha…they would, they’d walk over you.

Peter Duncan was a P.M.G. trained technician who joined GTV9 Melbourne as a Trainee Technician in 1960 aged seventeen. He was a Director at STW9 for many years before setting up a successful private company making television commercials. He sees that there were always opportunities for the right people in any capacity.

On-air Entertainer Max Kay said, ‘True talent will out anyway. There are not many truly talented women – or barristers for that matter – sitting at home nursing babies! For instance Oprah Winfrey contradicts the whole theory!’ and ‘[there is]…discrimination of Scottish accent and other ethnic sounding accents.’ Former STW9 audio technician Graeme Greenwood had not heard the expression ‘the glass ceiling’ and in regard to sexual harassment he said, ‘Never! We were a happy family.’

Women in the News, Sports and Weather Departments:

News is one area where the physical and cultural isolation of Western Australia can be seen to have been instrumental in the early entry of women into this facet of Australian television. It is claimed that TVW Channel 7 was the first in the nation to employ a female reader of the general nightly News bulletin. Resistance to such change was examined by Janet Thumin who wrote, ‘By the mid-60s…the institution [in Great Britain] necessarily addressed an audience including women…yet at the same time the female presence on screen was carefully contained.’ and ‘I find in the later 1950s many careful interventions intended to raise the profile of women on television. But more often than not these foundered on the rocks of convention and prejudice…’

The question of acceptance of women’s role as journalists in British television whereby gender ostracism prevailed was exemplified thus, ‘Women in this environment she [Linda Steiner] suggests had to struggle for their definition as professionals, since their male colleagues defined them first as women and only second as journalists, typically inviting them to write as women.’ However, Cruthers states that this was not the case in Western Australian television due to the fact that senior management came from a local newspaper industry where women had long been accepted in their own right. Women were ‘Graded’ according to length of service and experience under the auspices of the Australian Journalists Association. During World War II, James Edward Macartney (although on active military service) maintained his position as Managing Editor of the Perth Daily News. He instituted a policy of employing women as general reporters. Prior to that their activities had been restricted to the coverage of social events. Although Schudson said that,

Eleanor Roosevelt had a devout following of women reporters who tried to protect her. In 1933 Mrs. Roosevelt leaked to four women reporters the news that President Roosevelt had refused to sign a joint proclamation by Herbert Hoover to close the banks the day before the inauguration.

the situation in the United States was still much the same after World War II for women journalists.

Before the 1960s, women journalists wrote about fashion and society – and rarely anything else. The National Press Club only admitted women in 1971. In 1966, the Chicago bureau chief for Newsweek could turn down a woman reporter from UPI for a job, explaining that “I need someone I can send anywhere, like to riots. And besides, what would you do if someone you were covering ducked into the men’s room?” That would be hard to get away with today.

In the years following the cessation of hostilities in World War II, women maintained their positions reporting on the Police Courts and other matters formerly the domains of the male journalists, as well as performing the duties of sub-editors. The initial impetus of hiring women journalists did not have its roots in equality. The reason was the same one that impelled females to replace absent male servicemen in many industries. At West Australian Newspapers the practice was accepted and in the Editorial Department the policy of equal opportunity was maintained. However, women who were contemplating marriage were required to resign their occupations and this custom was carried through with the establishment of TVW 7.

With the exception of one female, Cornelia Francis, at STW Channel 9 the news-readers were all male for at least six years after the start of transmissions in 1965 and female journalists were always given the ‘fluffier’ assignments. In this, STW9 was more closely identifiable with then prevailing world attitudes. Mellencamp observed that in the United States of America, ‘Given commercial Tvs…[four deficiencies are noted, then] (5) dominance of white male characters on the news in particular but also in entertainment…’

It is an incontrovertible fact that there exists to the present time a differentiation in acceptability (in chronological terms) between the outward appearances of male and female presenters. A fifty-plus years of age man has always been seen in the light of maturity and reliability, whilst a woman of the same age is assessed by her photogeneity. Jenny Dunstan said, ‘When I was working out at Ten [NEW10, 1998] Channel Ten in News…comments were made to me about age, you know, there is only so long in the industry as a female. And you know it really peeves me and still does to this day.’ In the USA, women TV journalists have been fired because, according to their management, they were getting too old to appear on screen. In Australia reference to discrimination was made as early as 1976, when TV presenter Pat Lovell, guest-speaking at a Women’s Symposium said, ‘My part in today’s discussion is to outline sex discrimination in television.’ In 2003 Dixie Marshall who is half of the STW9 female news-reading team said:

There’s no doubt it [the glass ceiling] exists, but that is partly due to nature…women have to step out of the industry to have their children, and often it is difficult, if not impossible to step back in. The industry, therefore, loses a huge well of amazing talent…and management remains a club for middle-aged, middle-classed men…whose thoughts and beliefs are not always representative of the community.

On discrimination and harassment she answered, ‘Not personally…but given there are no women in npsoitions of power in stations around the country, it would seem discrimination is alive and kicking.’ Current [2003] television journalist Rex Haw views the subject from a different perspective:

I have some issue with the ‘glass ceiling’ in the TV news industry. It’s been my experience in various news rooms across Australia that most women who come into the industry have stars in their eyes. They’re determined to become newsreaders without doing the legwork as journalists. Others are into the power game and gravitate towards positions as news producers where they quite often unfairly, and certainly unprofessionally exert power and authority over male staff members, many of far more experience, qualifications and ability than the woman concerned. I find that most men in the industry simply want to do the best job they can do on the day. Women are more obsessed with their image and power. I have not encountered this in any other industry.

Concerning discrimination and harassment Haw said:

Yes, there is a prevailing form of ‘reverse’ discrimination in our industry. People, mostly men, who are good at their jobs, and deliver the goods daily etc., are the most unlikely to get promoted. Their managers prefer to keep them down, keep them on the road because they are delivering a good product. It’s quite common for totally incompetent people, even people with no experience at all, to be given the top jobs as news producers, and in some case news directors. Age discrimination is another factor. Highly experienced people, mostly men are overlooked in favour of someone much younger, who has nothing going for them other than a pretty face.

Former STW9 newsreader (when that station was on at least equal terms with TVW7) Russell Goodrick wrote:

I never really believed it was a glass ceiling/ just a mates ceiling. These days they call it the grey ceiling. In the three year that followed my leaving Channel 9 News in 1985 I tried unsuccessfully to find a new news position in Perth. I felt and heard that the word had been put out not to employ me. I was a loyal servant who went out of his way to make a success of whatever we did. After Terry Spence left the position [New Director] a former producer wasn’t interested in my ability calling me yesterday’s man. And on another occasion too old. Too old? Hell I wasn’t even 45. In most countries age is respected. Why couldn’t I, a Logie Award Winner with 6 years being number one get another job reading news. It certainly wasn’t my attitude or ability, or a demand for high wages.

In recent years Goodrick has conducted a successful business producing ‘infomercial’ programs for STW9. He noted:

And certainly in future years within my own company women had great opportunity. My Production Manager, Field Manager, Office and Administration managers were all women. Ninety per cent of presenters were also women. In fact, to try to make our shows more balanced I went out of my way to invite men into studio screen tests.

Former TVW7 News Director Darcy Farrell remembered that the first woman news-reader (Pam Leuba) was not an anomaly. Her contemporaries were Katherine Lavam and Pamela Robinson. ‘Three good women, very good women’ He also noted the changes to employment ratios, ‘…in public relations and journalism now there is a preponderance of women.’ Peter Waltham, a former long time news-reader on both TVW7 and STW9 said ‘…there was no chauvinism.’

Former STW9 News Director Terry Spence in answer to the question ‘What do you recall about women in the work-force in 1966?’ said, ‘In News a minority – a rarity…our first female reporter…between ’66 and ’71…was a lady called Kit Harding…would have been not only the first woman journalist employed there but the only one for quite some years.’

She did general reporting but let me say and I don’t mind admitting it now, this is all retrospective, there’s no doubt about it, women were pointed in the direction of certain stories. ‘That’s a woman’s story’ You wouldn’t obviously today – you’d be at some risk by suggesting it today! That’s discriminatory you know. Well with some reservations! There are naturally some stories that women bring a different touch to and can often gain the confidence in fact of people in distress – women in distress. No, she was a general reporter but obviously steered in the direction of stories which might suit a woman.

Frances Foster was the one woman in the STW News Department in 1965, who not only acted as personal secretary to the News Editor, but was also required to type the actual scripts to be read as bulletins. She was also called upon to splice film for News items, operate back-lit ‘primitive’ weather-maps, and operate the Auto-Cue machine. Channel Nine’s first main bulletin woman news-reader Valerie Davies was not employed until 1973. She was a newspaper journalist before becoming a newsreader, reporter and current affairs host at STW9 and said, ‘Many issues surround people achieving to their highest potential – women like men will continually need to assess goals in light of seeking a balanced life.’ and had no recollection of discrimination.

At TVW7 it would seem that a real sense of acceptance (if not equality existed) and was necessary for smooth functionality in television news-rooms. In reply to a question on the ‘glass ceiling’, a long time News-room Secretary 1974- said, ‘[it] doesn’t bother me.’ and concerning sexual discrimination or harassment answered, ‘No. Not offended by any remarks. How could I be with a nickname of Boobs?’. To the same question, concurrent [2001] TVW7 News Director noted, ‘Every day in a News-Room!’ A former newsreader wrote that in the 80s, ‘…On the subject of indecency one management figure would constantly ask new women if they wanted a —-. He believed it was a percentage game and didn’t care if he offended anyone.’ As in most walks of life, the perception of and acceptance or rejection of facets of life experiences is a personal thing. It can concluded that women were offered the chance to be ‘one of the boys’ and those who fell in with that position became just that. In 1994 Catherine Lumby wrote,

Female journalists in training are often amused by the macho rhetoric which permeates newsrooms. Good news is ‘hard’ news rather than ‘soft’ news, reporters talk about ‘getting a good story up’ and feature writing is often maligned as slightly effeminate ‘fluffy’ practice. There is no question that traditional news values split both format and content along traditional masculine and feminine lines. Facts, objectivity and the public sphere belong to men. Women line up with feature writing, subjectivity or domestic issues. It’s a rhetoric, however, which is entirely contradicted by contemporary practice.

Susan Contos, former female prime time news-reader (1976-78) agreed that the newsroom was not a place for the easily offended. ‘Everybody outside the station always thought there was [glamour in working at a TV Station] and I would imagine they still do…but within the walls out come the insecurities of so-called ‘talent’, backstabbing, kissing ‘arse’ and down right sleaze.’ On the ‘glass ceiling’ she said ‘Unaware of this expression’ and in regard to sexual discrimination or harassment, ‘Besides the little innuendos and station gossip not much to report….If you call only giving the ‘female’ soft soapy stories, no hard hitting news items…..then yes, saw, experienced, did and suffered.’

Alison Fan, a current long time journalist (1970 -) said of the ‘glass ceiling’, ‘It’s there to be crashed through by any woman who is competent; ambitious and is willing to sacrifice family, personal life and happiness.’ On ‘Sexual discrimination or harassment’ she observed, ‘Yes – but I handled it myself.’ Fan’s attitudes can be seen in the context of her employment. The television news-room reflects individuality and toughness. She has the reputation of being as ‘hard’ as any man and as evidence of that, she was the one chosen by the perpetrators of the ‘Great Mint Robbery’ (for which the Michelberg brothers were incarcerated) to handle the story of the return of the gold. It can be reasonably assumed that the female wishing to succeed in the environment was required to assume the demeanour of her male counterparts.

Mario D-Orazio, is presently the Chief-of-Staff for TVW7’s Today Tonight, considered that there still is a glass ceiling despite the fact that at the time of interview a woman was Managing Director of the Seven Network. He said that the ‘’casting couch’ disappeared about fifteen years ago. D’Orazio said that today there is a preponderance of women in television News and Current Affairs. ‘These days most applicants for jobs are women, and, just in my own department most of the people are women. The Host is a woman! The highest paid people are women…I think that the glass ceiling is breaking down.’ He also considers that the public want women on television,

Throughout history, of our medium, women have always been prominent and powerful…today I believe it’s being driven very much by the universities. I’m actually critical of some of the university policies here. I think they’re actually training too many kids for the wrong jobs…I think there are a bit removed from the industrial reality or the commercial reality of the world. What we’re finding is that fewer men want to go into the industry. So when you advertise for a researcher or a chief-of-staff or a production assistant or a reporter…and this is anecdotal…the last two or three years female applicants have outstripped male applicants two to one…In my area which is specialized but it’s an important niche in current affairs.

When asked if the morality of those women applying for jobs in charge and/or those in charge of allocating them had changed, he said, ‘What I’m saying is that the f……. law has changed! , [laughs] O.K. The law has changed and social values have changed.’

In contrast, according to van Zoonen, in the Netherlands old ill-manners persist and ‘…many female journalists feel that they are primarily judged as women; they are subject to ongoing comments on their looks and they have to regularly confront friendly heterosexual invitations or unfriendly sexual harassment.’ although ‘…number of women in journalism is steadily rising…It must come as no surprise, then, that the transformation of Dutch TV news coincided with a remarkably high number of female anchors: in fact they form a majority.’ Great Britain might well be lagging, as in 1997 Brent MacGregor reported,

I asked a female news anchor with a wide range of experience in several British news organisations if she found her profession to be male-dominated. She deflected the question.

I think I’ve always felt an outsider anyway, and I think it’s a very useful thing to be, I think most journalists feel – by the nature of what they are – that they’re outsiders, because they are standing on the side-lines looking on.

He also said that ‘…Gender factors are certainly under-researched in news organisations, which are clearly ruled by a male-dominated ethos. D’Orazio suggests that such is not the case in Western Australia.

Ex-soldier Terry Willessee joined TVW7 as a Journalist in 1969. He also firmly believes that there was a ‘glass ceiling’.

PH: Ah, yes. Women in the workforce. You just mentioned Tricia Duffield. Is she the only one that leaps to mind as being a prominent reporter at that stage?

TW: Um. Gaynor Thomas also worked with us, former ABC.

PH: And women’s actual place in the workplace. It’s only twenty odd years ago but is there a visible difference there?

TW: Absolutely. I’ve worked on shows that have been produced by women; the executive-producer was a woman. The producer was a woman. A hell of a turnaround.

PH: That didn’t happen then?

TW: No.

PH: There was a ‘glass ceiling’ at Nine?

TW: Well everywhere I think. Not so much at Nine but everywhere I think.

PH: It might sound a bit ‘left-fieldish’ but sexual harassment. Have you got any memories of that?

TW: No. No such luck.

PH: Were there any occasions when people –

TW: No. It never raised its head. It was not an issue then.

PH: General decency prevailed? There were general standards?

TW: Yes.

Women and TV Sport:

In commercial television sports reporting has always been dominated by men. General coverage of women’s sport is usually fleeting in bulletins with the main emphasis always being on Australian Rules Football, Cricket and Men’s Basketball. There was a token woman presenter on Channel Seven’s Sunday Footy Show in 1998 Karen Letica rose to prominence in the TVW7 Sports area and contemporary Jenny Seaton said, ‘…[she] did a great job there in Sport. She had a bit of frustration I think…She’s now gone on and has been a producer for the Olympics in Sydney last year and I think she might go on and do the next two.’

Former journalist with The West Australian, ABC and STW9 on-air sports presenter Wally Foreman said,

The Glass Ceiling. It was more evident in commercial TV than at the ABC. At the ABC women were promoted into positions prematurely to try and address perceived discrimination. I haven’t experienced sexual harassment in the industry. There is no doubt that women have found it difficult to make their way in the sport section of the industry.

This is in part attributable to their lack of familiarity with the sports that are mainly broadcast (eg: cricket, football), However, I think there has been a “blokey” attitude in most organisations that has counted against women. There was also a distinct imbalance in the number of women in senior positions in the industry during my first 20 years. That has improved in the past decade.

Former TVW7 Sports Presenter 1968-1997 John Rogers said,

[The glass ceiling]…must have existed then as there were no women involved in any program I did. They were typists etc. but none were involved in production etc. Sexual

discrimination and or harassment probably occurred on a regular basis, but in those days didn’t have a name & were accepted as the norm.

Women and Weather Reporting:

An early British comment on women and weather reporting said,

Audience Research report in December 1959 floated the question of

Weatherwomen , noting carefully and (typically) the range and percentage of

responses before concluding that, on balance, it seemed an unwelcome idea,

though not one that elicited very strong feelings on either side.’

It would appear that TVW7 followed that line of thought as its early weather presentation was performed by Vin Walsh, a knowledgeable male with sound academic qualifications, who was regarded as something of an expert on the subject. By 1966 both commercial channels had very personable female presenters, one known for her ‘wink’ and the other for leather boots, a mini-skirt and a feathered head-band. During the years 1971-72 TVW7 Director of News Darcy Farrell instituted a system of three young women on a rotating basis. ‘As weather “girls” we were chosen purely to add a touch of glamour – we knew nothing about the weather so I supposed there’s a touch of sexism there…’

Following the preference for women presenters, the gender choice swung back to the males with Seven’s (the late) Sam Kronja introducing a more flippant approach during the years 1973 to 1982. This was copied at STW9 by ex-Sydney TV actor Barrie Barkla. In 2003 the presenters ranged from a young ex-rock musician, through a serious ABC trained late baby-boomer to a mature local television icon. All are males. Their styles and appeal are all linked to the demographic intentions of each particular commercial channel.

Women in Tonight Shows:

Although a number of ‘Tonight’ type Shows and Quiz Shows programmes have come and gone during the years, there is no remembered instance of a woman being made the ‘anchor’ person. The low cultural value ascribed to much broadcast material by the self-appointed arbiters of the day was expressed in such terms as ‘frivolous, light, distracting mindless – terms aligned with the ‘feminine’ rather than the ‘masculine’ in the parlance of the day.’ Although the writer was not referring to Australian television, the comment might not be far off the mark in regard to certain of our male comperes!

‘[Australian television has] produced no female culture hero – our only two female figures are transvestites: Aunty Jack and Edna Everage.’ Quiz Shows have traditionally been the domain of male hosts and pretty little quasi-anonymous ‘barrel-girls’ were always on hand to lead on the contestants and point to the prizes. Western Australia did not produce a ‘Denise Drysdale’ although Stephanie Quinlan and Jenny (Clemesha) Seaton dominated the women’s programs for many years.

Women in Advertising:

Television Advertising was another area dominated by males at both commercial television stations. Women’s work was mainly typing scripts, running-sheets and preparing traffic logs. Mostly the work was prepared and overseen by men. Female sales persons were unknown in the first ten years. In the early days of television, many of the commercial advertisements went to air ‘live’. This was usually produced by a male facilitator from the particular advertising agency. Many ‘office-girls’ were seconded to model shoes, hand-bags and hats, or to point alluringly to a new washing machine or vacuum cleaner and enjoyed the experience! Glamorous young women, hired as ‘Presenters’ and ‘On-Camera Personalities’ found that they were expected to also fill a normal office-hours job doing typing or clerical work, not necessarily in the actual Production Department. ‘At the time, [1959-1970] there were no full-time women on air, and everyone (women) had to do secretarial work to work ‘full time’ at TVW7, and had to leave when you married.’ Ex-Seven Network El Supremo Maureen Pavlic started her career in advertising.

Former STW9 Advertising Executive Milton Francis (1965-1987) said that Channel Nine was much like any other business in the 1960s and ‘…that in those days women had their place.’ but added that ‘If the ability is there the equality should follow.’ Women who made a real mark in TV Advertising are few but one such was [deleted] during the 1970s. Channel 9 head Paul Bowen who commenced work there as a Direct Sales Representative in 1973 said,

…an absolute tyrant…she worked in Sales Department as assistant to

Mick Mendelowitz. Chain-smoking Alpines, gruff voiced, didn’t take

any rubbish from anybody; a tough lady and an absolute gem of a person.

Just fantastic…and dedicated to her job.’

When asked to recall other outstanding women, the informant found difficulty but was personally assured that there was no ‘glass ceiling’. Bowen’s views reflect a contemporary viewpoint from one still employed at a high level in local commercial television. Current [2003] NEW10 C.E.O. David Fare recalled that when he started at TVW7 in 1984 there were no female sales representatives, but today at his station, two of the four are women.

Women in Film Processing:

Before the advent of videotape, film was the only means of recording outside events for transmission. In 1959 there was no 16mm film processing unit in Western Australia. Film had to be sent to South Australia. This was an impossible situation so Channel 7 set up a suitable enterprise. In 1965 this move was copied by Channel 9 who ‘stole’ Film Editor Geoff Wallace from Channel 7 along with a young operator named Carol. When they subsequently married, she had to resign her position!

Geoff and myself became engaged in 1965. We set a wedding date for April 19^th 1966. A few weeks before the big day Geoff and myself were called into Bob Mercer’s office and told they didn’t want married couple working there and one of us would have to leave. We considered Geoff leaving but as he was Chief Film Editor. Now they were assured it would be me. They were right.’

At Channel 9 there were five young women and a seventeen year old male. This gender imbalance led to the ‘girls’ being in charge of their work environment. In reply to a question regarding sexual discrimination or harassment it was said, ‘Yes, but only in the “Film Room Girls” favour, we used to get away with murder at both stations. (only joking) But yes we were allowed to do pretty much what we liked in a male dominated area of television.’ An instance of this was described,

I remember Pearl (my twin sister) Olive Shearer and myself, soaking our film cleaning pads in Freon (a film cleaner which was hydro-carbons) and putting the pads over our noses and inhaling the fumes. It had a pleasant clean smell and it used to give us the giggles. Couldn’t understand Bob Pennell’s shock when he discovered us doing this.’

With a shortage of casual staff, in 1959 Channel 7 recruited (by door-knock) women living nearby the Mt. Yokine studios. They were employed to check cinema-type feature films before transmission, primarily to find faults which may lead to film breakages which would cause ‘on-air’ stoppages. As previously observed, this use of married women during school hours was quite revolutionary in the context of the times, when in most situations; marriage for women meant socially enforced retirement from the work-force. All News was shot on film until the advent of portable video cameras and associated equipment in the early 1980s, when the Film Departments became redundant.

Women in the ‘Technical’ Area:

For many years the work of cameramen [specifically designated], lighting and sound engineers, central control and transmission technicians, was absolutely male gender specific. At STW9 in 1965 there was a female secretary (Helen Mumme) and three female assistants who carried out duties such as loading film and slide projectors. Formerly a legal secretary, Helen joined STW9 aged 20 before they went on-air. She commented :

I was Secretary to the Chief Engineer. Because of the way things happened at the very outset of transmission many of us were asked to do things which we had no idea of doing. So much was produced in the studio and many staff were asked to ‘just fill in’ doing whatever was required. This was anything from ‘vision switching’ to a bit of modelling, or just part of an ‘audience’.

said in regard to the ‘glass ceiling’, ‘It would be nice if it had disappeared but mostly it has only been ‘raised’ a little.’ Concerning the second question she said, ‘Nothing that was not usual for the era. I do remember being told that women could not be studio camera operators. There were very few females in the Engineering area or in positions of power and authority in Production generally. Former telecine and tape operator Bevan Long agreed. ‘There were no females in positions of power or influence that I was aware of.’ and ‘Very much a status hierarchy by management team. I was always taken by the down to earth attitude of the on-air talent.’ One of the other females in Engineering was Wendy Weir, a twenty year old supermarket worker who met STW9 engineers Vic Kitney and Cedric Woods when they came to purchase milk. A visit to the transmitter led to an offer of work and she was appointed to the position of Telecine Operator, with absolutely no experience. She said that,

I have never had a problem with the “Glass Ceiling”. All should have the opportunity to achieve.’ During my time at Channel Nine…quite often being the only female in our Dept, there would be jokes played out – but it was all in fun and meant that way (these days it would be called harassment – I had no complaints then or now) I only came across one man who wasn’t too happy having females in engineering…The engineering gang named me Bessy Broad-bum.’

In the sixties at TVW7 the Engineering Department didn’t want women and this created a problem. There main contention was that ‘…women have difficulty in handling weighty equipment.’ A former Chief Engineer did not correlate the term ‘glass ceiling’ with women. He said, ‘During my lengthy time [1960-1990] in the industry, if you were capable you were promoted.’

Bill Bowen, a former Station Manager recalled the situation differently and claimed that at one stage he had to ‘force’ the acceptance of a female ‘boss’ in the Technical Area. In the early 1980s, Bill Bowen wanted to appoint a woman to control a new computerised section, above her fellow male tape-operators. Objections were raised along the lines that she might get married and leave. Bowen said ‘She might be here till sixty-five too!’ When the woman was appointed Duty Director of the Central Control Area, an engineer said that she was ‘…not a good team leader…the crew won’t take direction from a woman!

I think she sorted them out in the first twelve hours. She went up to everyone of them and said, “I don’t give a f… what you say, I’m the boss, you do as you’re told, we’re here to do a shift. But they all knew what she was like and they respected her because she was a highly competent Operator. So, the guys had no real problem. So Gwen was then, I think the first Duty Director, female. In Australia. This was really before women started to wave their arms and move their arse around and what-have-you to demand equal opportunity.

Bill Bowen also gave a reason for the late entry of women into the technical area as being to do with the weight of technical equipment. With the miniaturization of cameras, this was no longer an obstacle to change. The incumbent [2003] Chief Engineer (who started as an audio operator at STW9 in 1967) said,

The whole “gender balance” initiative is nonsense in my opinion. In this industry I’ve never doubted that if you could do the job, you got the job and that’s been my policy as an employer as well. It’s fair to say, however, that in 1967 there was less initiative from females to take command.’

Former STW9 Master Controller Eddie Townsend said about sexual harassment, ‘There was none then, not by us. By some members of the staff I suppose but (laughs)…’

Women in Other Roles:

In June 1965 when STW9 first went to air, their Publicity and Public Relations Department was placed in the capable hands of two women. One of these was June Filmer (later Holmes) who eventually became Programme Manager. She had a background in advertising and sales promotion with West Australian Newspapers. Her initial duties including the preparation of a weekly program book for dissemination to the print medium and looking after visiting ‘stars’ ‘…I don’t think it was an uncommon thing for women to be publicity managers. Or they used to be called Publicity Officer.’ After twelve months she was seconded to the position ‘…secretary come General Assistant to the Program Manager.’ Although still employed and active in the business world, June Holmes replied to the question ‘What does the phrase ‘glass ceiling mean to you?’ ‘Nothing, never heard of it.’ The explanation ‘…It’s a feminist phrase used for the fact that women can’t aspire to be ‘the top’ because in all lines of business there’s a ‘glass ceiling’ that they can’t get through.’ Holmes replied, ‘No. Never heard that term.’ She described how General Manager Laurie Kiernan (1970-1984) ‘…made a very special effort to make the senior women feel and play an important part in the managing of the Station…the first thing he did when he came in was ensure that we had superannuation and that I believe was ahead of its time.’

PH: So were you paid the same as the men for the same job?

JH: Very hard to say ‘the same job’ because as I said I was assistant to Tom [Warne]. I was not involved in any production. Essentially I was just a ‘senior’ office administrator. SO. Men in those days were not called office administrators. They were either a Tape Operator or a Director’s Assistant or a Director or you know, Chief Engineer – they all had titles. Whereas in my case I was given the title of Assistant of the Program Manager but it never put me into a level the men were and no, I certainly wasn’t paid the same as what, you know, another man of the same talents was paid.

Her starting salary was thirty-five dollars per week. On sexual harassment in the early

years she said, ‘Not that I suffered any sexual harassment. I believe – I know that there

has occurred in the nineties, there have been harassment cases…in television…on the

East Coast as well as on the West Coast. And some of them went to court.’ When asked ‘Did you ever hear of any cases involving getting jobs as far as sexual favours are concerned? Particularly ‘on-air’ones?’ Holmes replied, ‘Not at Channel Nine. No.’

Ruth Huckstep, the woman in charge of the STW9 Publicity Department was also

responsible for Continuity. It was her responsibility for collating the advertisements, commercial continuity, in other words making sure that the scripts that arrived from the agencies or the sales people, because in those days there were a lot of graphics and voice-overs for commercials. ‘In the early days she did everything! So her task was to make sure that they had, they were lined up with the Log.’ At Channel 7 the canteen staff was predominantly female but at certain times a male was Manager. In 1968 Lorraine Shaw was a 33 year old ‘housewife’ when she started working in the TVW7 ‘cafeteria’. She remained there until 1991 and for the last six years ‘was in charge.’ It was a ‘good place for working, all friends.’ She had no comment to make on the ‘glass ceiling’ and her observed or experienced encounters with sexual discrimination or harassment were ‘None!’ In the 1960s at Channel 9 the canteen staff was all female. Secretaries and typists in administration and accounts were always females. Former STW9 secretary Joyce Leigh reflected a more old-fashioned attitude in saying, ‘Did not realise women these days were kept down. Personally do not like women in power, prefer males in charge.’ Other assistants in those departments and ‘Sales’ were usually males.

Conclusion:

In conclusion, it has been shown that in the field of local ‘live’ production there was a greater degree of gender equality than in other areas of commercial television and the general business community. This was a combination of the fact that women had attained a greater degree of individuality in the world of theatre and that an attitude of acceptance had been carried forward from the newspaper world by the new management of commercial television. It has also been revealed that there were many women employed in local ‘live’ production at the start of commercial television, but very few rose to a departmental managerial position. Opinions on the phenomenon termed the ‘Glass Ceiling’ varied greatly. However, the evidence suggests that advancement in areas of control were more likely to happen to men.

Discrimination in the form of inequality in remuneration was evident when women were paid less for doing certain ‘men’s’ jobs. Regimentation in the matter of dress, strictly applied by management has a certain amount of un-believability today, but this certainly occurred. Married women were not employable, except where it suited the needs of the stations. Memories of sexual harassment varied from those who experienced it and those who were adamant that it did not occur. As doubtless occurred in most fields of endeavour where the two sexes were brought into close constant contact, it can be safely concluded that in the television industry, improper overtures depended on individual assessments by men as to whether or not their advances had any chance of success.

Women were absent from the field of advertising sales, occupying the positions of secretaries and typists for many years. Women were accepted to a greater degree in the News area and female presenters were part of the television scene on TVW7 from shortly after its inception. The following chapter will examine the last remaining bastion of local ‘live’ production, the News.

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This page forms part of Dr Peter Harries’ first PhD thesis submission entitled: “From Local ‘Live’ Production Houses to Relay Stations: A History of Commercial Television in Perth, Western Australia 1958-1990″. This contained much additional material.

Chapter Six

‘This is The News!’ An analysis of the statement, ‘News has long been considered the flagship of any T.V. Station…’

Introduction

The News is virtually the last area of local ‘live’ production still surviving in Western Australian commercial television, although today, the NEW10 News emanates from their Sydney studios. Although the News has always been a separate area of production, in terms of ‘entertainment’ it cannot be considered as a separate entity. Despite that truism, the News is important enough on its own, to warrant a separate specific chapter.

Like other television stations in the Eastern States, TVW7 was ‘calved’ from a newspaper group. Although some oral history contributors have maintained that there was even-handed treatment of all departments, others recall that ‘special’ emphasis was always placed on the importance of the News. There was a continuation of that emphasis at STW9. This chapter will look at reasons for this having been so.

There is examination of various facets of news collection including paid-for content (both written and pictorial) from local newspapers sources. There was also a need for extended film coverage of local happenings due to time delays in acquiring from the Eastern States (and overseas) suitable imported material for daily transmission . The chapter looks at the changes over the years with the introduction of satellites and ‘live’ crosses to occurring events. The impact of the Internet and the extensive news coverage by that medium is also a factor considered.

Censorship and perceived moral standards are commented upon, along with the subject of audience sensitivities, as is the 1970s saying ‘If it bleeds it leads!’ This dictum inherited from the newspaper world refers to the viewing audiences’ voyeuristic impulse to consume news material that is based on disasters occasioning suffering and hardship. The ‘nearer to home’ factor is important in news dissemination. News of the many thousands of dead Africans slaughtered in Rwanda in 1994 did not have the same impact or appeal for viewing the sensational, as did several thousand dead Americans, as evidenced at the time of the World Trade Centre demolition in September 2001.

What is television news and what does it do?

In answer to such a basic question as this, MacGregor provides a succinct description by saying, ‘News is by definition a volatile, time-critical medium where the constant changes in content which constitute its very essence are very often paralleled by changes in form.’ An un-named writer for the Glasgow University Media Group described television news thus:

For television news is a cultural artefact; it is a consequence of socially manufactured messages which carry many of the culturally dominant assumptions of our society. From the accents of the newscasters to the vocabulary of camera angles; from who gets on and what questions they are asked, via selection of stories to presentation of bulletins, the new is a highly mediated product.

However, the GUMG invariably suggested the ‘…hypothesis that televised news systematically favoured dominant groups…’ Les Brown, looking at television news in the United States observed,

The mission of the news is not to preserve the status quo but to document change. News is a subhistory. To select for coverage only the stories that do not threaten the power structure, or to report fact out of the context of truth, is a blasphemy against the public’s right to know which brings news perilously close to propaganda.

According to Pierre Bourdieu, there can be little doubt that television news provides information to those who would otherwise not be well informed.

If I stress this point , it’s because everyone knows that a high proportion of the population reads no newspaper at all and is dependent on television as there sole source of news. Television enjoys a de facto monopoly on what goes into the heads of a significant part of the population and what they think.

Putnis said, ‘Television news is unquestionably important. It plays a dominant role in telling people what is occurring and, perhaps even more importantly, ‘what the issues are’ in their region, nation and in the world.’ and Dahlgren reinforces that proposition with, ‘Defenders posit that since the emergence of television journalism, more people have become more informed about national and international questions’ and ‘Television journalism does – with many qualifications – foster forms of awareness and public knowledge conducive to the democratic character of society’ However, Martin Esslin warned of the dangers inherent in taking everything the television provides at face value:

The social ideology implicit in most of the programs broadcast on TV does not, I believe, express a true view of our own culture, but what is in fact a distorted one. The effects of having this image constantly before us rather than a truer reflection of our basic social ethos and philosophy, as I have noted previously, must give cause for some apprehension.

It has been argued that every television station and network heads its evening program line-up with an evening News. In 1987 Fiske maintained that the prime reason is to entangle the senior male among the resident members of a specific television audience, although he did quote from Tulloch and Moran, who gave their source as an Australian program manager who said, “Get the kids in at 6, 7 or 7.30 and the parents will watch too. Older people will watch shows for younger people, but not vice versa”. Sixteen years later there would be argument raised by some, that the titular ‘head of the house’ does indeed still occupy that position. Fiske also notes that the ‘…national news is primarily masculine culture…’ but often concluded with “softer” stories having a more feminine appeal. Spence said that ‘…there’s no doubt about it, women were pointed in the direction of certain stories. That is, a woman’s story. You wouldn’t obviously today [1999] – you’d be at some risk by suggesting it today.’

In general, Turner asserts that Australian Television News and Current Affairs, display similar levels of ‘ethical standards and professional ideologies’ as their counter parts in other media. Fiske places even greater trust in journalists by stating that, ‘News professionals in particular and broadcasters in general are keen to separate news from fiction…’ However, the additional power which lies in the visual component of television news does provide an advantage especially in the coverage of ‘live or ‘breaking events.’ Analysing Fiske, Dahlgren provides this outline of television news:

Fiske distinguishes between official, alternative and popular news. Official news is ‘serious’ and essentially speaks with the voice of the power bloc. Alternative news is the small minority of outlets, offering left radical perspectives. Popular news is the staple of the majority, the people…TV news must meet the key criteria of popular taste, those of relevance and pleasurable productivity.

Fiske also said, ‘… [broadcast news] needs…to balance popular tastes and pleasures with educational, socially responsible criteria’.

In 1997, Brent MacGregor quoted McQuail’s summary of the television news media content as being another useful tool that can be used when considering the general function of television news systems.

* Content reflects social reality (mirror metaphor).

* Content is influenced by media workers’ socialization and attitudes.

* Content is influenced by media-organisational routines.

* Content is influenced by wider social institutions and forces.

*Content is a function of ideological positions and maintains the status quo.

As might be expected, John Hartley appears to have a slightly tongue-in-cheek definition of television journalism when stating:

Journalism is a terra nullius of epistemology, deemed by anyone who wanders by to be an uninhabited territory of knowledge, fit to be colonized by anyone who’s interested…Social scientists exploit news stories as evidence of something real (beyond the stories) which will prove their case.

However, there is another function to be considered when examining television news and that is its value as entertainment. John H. McManus in 1994 wrote ‘Television Is Inherently an Entertainment Medium…When people sit down in front of a television, they are conditioned to expect entertainment. Van Zoonen, quoted the Dutch News Director Brusse as having said, ‘…emphasise its entertainment and emotional qualities instead. ‘One tear on TV tells you so much more than ever so well described tears in a newspaper. Television made us communicate and participate in world affairs with tears. A news bulletin without a tear is not a really good one and that is what they have to learn here’ Martin Esslin said, ‘Television is perceived by its viewers as a form of relaxation, of entertainment.’ and ‘TV therefore is perceived by its audience primarily as a medium of entertainment and all programming – including the news, documentaries and political broadcasts – is ultimately judged for its entertainment value.’ Casting some doubt on the validity of the close association between the news and entertainment, in 1998 John Langer said ‘According to Clements. We are ‘lulled by the entertainment values which often replace news values’ and ‘are left contentedly confused’ Dahlgren appears to support Langer in referring to Postman, ‘Postman (1985) in his broadside against television, asserts that everything the medium touches turns into show business, including new and politics: entertainment automatically overwhelms serious information.’

In recent years the term ‘infotainment’ has come into the unofficial lexicon and is qualified thus by Jock Given. ‘Although Tony Branigan, from the Federation of Australian Commercial Television Stations (FACTS) stresses that ‘infotainment’ in Australia is not a single ‘it’ – there are reality shows, documentaries, docu-dramas…and others in what is only a ‘loosely-connected range of genres’, on the local news-front, Darcy Farrell asserts that modern-day news has lost its direction and puts today’s bulletins in the category of ‘infotainment’ Journalist Brian Coulter agreed, with emphasis:

Money hungry television stations have proven that the power of television can be used to drip feed the public with crap (including what I call newfotainment) to the point where the viewing public now accepts this rubbish as ‘normal’. News services are now totally driven by ratings, not real news information and accuracy. This year I rang a television station with an idea for an exclusive story which had major implications for Perth’s water supply. All the necessary vision had been professionally shot – it was the only vision available because the event had passed. The entire story had an enormous additional visual potential and other angles. I was told: “Mate until you can convince me how to sell the story to Joe Wooduck and Betty Balga, I’m not interested.” The story subsequently was the second lead story on another television station some weeks later.

McQueen appears to support that view:

Definitions of news are constantly shifting: much that is regarded as news in television newsrooms today would have been rejected without hesitation 30 years ago, and vice versa. Not only has the criteria by which what is regarded as ‘important and interesting’ changed dramatically but also the way such information is packaged has evolved over the years into the format we recognize today. The dictionary defines news as a recent event:

However, Dahlgren counters that contention with:

Defenders of traditional news values have been engaged in what Langer calls a ‘lament’ over tabloid news, attacking its triviality, its deflection of attention from more serious matters, its pandering to basic instincts, and so on. Yet we should be clear that, ultimately, there is not a difference of kind, only one of degree, between tabloid news and the more traditional news format. All television news contains tabloid elements.

and then quotes Langer (1992)

What may distinguish unworthy news, however, are its excesses, its flamboyant gestures: It takes some of the codes and conventions of news in general and inflates, exaggerates and displays them more directly. The unworthy news may get its bad name, not because of the popularity or its shameless persistence in bulletins, but because it is unruly, more openly acknowledging and flaunting devices and constructions which the serious news suppresses and hides. Perhaps, in the end, this is why the lament is so harsh on this kind of news, because it is what news is, only more so.

John Fiske says

News is negative. What is news is what disrupts the normal. What is absent from the text of the news, but present as a powerful force in its reading, are the unspoken assumptions that life is ordinarily smooth-running, rule- and law-abiding, and harmonious. [and]

The common complaint that our news is always “bad” ignores the fact that “the bad” is treated and read as a deviation from the norm, which is therefore constructed as “good”, and that this normative assumption is all the more powerful for being unspoken.

In 1998, John Langer said,

It has been argued, more in popular than in scholarly terms, that news is, and must be, obsessively ‘bad (negative) news’. This claim is reinforced by examples of ‘good news’ newspapers or television programmes failing miserably in the market-place. However, this argument is misplaced. On closer examination it can be seen that bad news may in fact be good news: the mediation of the contradiction between permanence and change in the ‘other news’ seems to provide as occasion to engage with a ‘philosophical treatise’ every night of the week. For those lamenting over television journalism having lost its way, these sorts of opportunities could hold out renewed hope, even if the news which does offer regular excursions into metaphysics is considered mostly ‘bad’ (negative and unworthy).

Langer wrote the foregoing twelve years after his following assessment of British television news had evidenced this scathing attitude:

• Television news is primarily a commodity enterprise run by market-oriented managers who place outflanking the ‘competition’ above journalistic responsibility and integrity.
• Television is in the business of entertainment, like any other television product, attempting to pull audiences for commercial not journalistic reasons
• Television news has set aside values of professional journalism in order to indulge in the presentation of gratuitous spectacles.
• Television news is overly dependent on filmed images which create superficiality and lack information content.
• Television news traffics in trivialities and deals in dubious emotionalism
• Television news is exploitive.

If these points do in fact still represent the current state of British television news and by implication that same area in Western Australia, the basic structures have indeed changed greatly since 1959. Former Perth television journalist Rex Haw agrees with Langer’s 1986 Assessment:

Commercial Television news organisations have much lower professional standards than ever. Very few journalists and camera operators belong to a professional organisation such as the Australian Journalists Association. Therefore they are not publicly accountable as far as ethics are concerned (members are bound by a Code of Ethics). Wages are much lower so the more competent, more qualified and more experienced are not encouraged to come into the industry. News bosses tend to chase and broadcast “third tier” Police and crime stories simply because they are easy to get. (Minor crime car crashes etc.) and no longer have the resources to investigate really important issues. (The ABC’s Four Corners program is one exception). The WA Inc scandal involving the Rothwells merchant bank etc. during the 1980s would never have done as much community damage had the WA news media being doing its job properly. We live in a one newspaper town with no competitors. Most people get their news fed to them by mediocre TV news coverage that finds it easier and cheaper to chase stories that come in the mail. News releases created by faceless spin doctors who have something to sell. It’s not really news is it?

Recent Australian writers Phillips and Lindgren have redrawn attention to the parenting role in Australian television. ‘In the mid-1950s, as now, television was an expensive business. This meant potential players needed substantial cash-flow, and it was the local press barons with their print cash cows who became the pioneers in the budding television sector.’ Evolving from a newspaper background, as did most Australian television stations, TVW7 had no trouble in agreeing with the proposition that their evening News was of the utmost importance. The night before that station officially went on-air in 1959, the News, as part of a complete dress rehearsal for the first night was subject to a meticulously prepared dummy-run. On-air hosting, program films and all other ‘live’ production were included. However, Sir James Cruthers, while admitting that TVW7News was extremely important, said that it would not be right to consider that it had top priority. He remembered that all facets of local production received equal treatment and ‘…I don’t think our News was treated as the Number One…’ This was backed up by the first News Editor Darcy Farrell, who continued in that capacity for seventeen years, having started six months before the station began transmissions. While Cruthers said they did not give specific economic preference to TVW7 News in comparison to other areas of production, Farrell said ‘It was well balanced.’ Because of his newspaper background, Cruthers’ philosophical favour tended to be in that direction. Long time STW9 News Director Terry Spence, when asked if it appeared that TVW7 management favoured News said, ‘

Yes! Particularly so because of the culture of Channel Seven which came out of West Australian Newspapers, headed by a very successful and senior newspaperman in James Cruthers, so that the culture was News and it was one local and very effective means of establishing real identity in the community…

The TVW7 News-room under Darcy Farrell comprised one other journalist from The West Australian, a young man name Ross Cusack, whom Farrell described as ‘…an outstanding interviewer.’ Cusack stayed with television for three years before returning to W.A. Newspapers Limited. There were two cinematographers in Keith (Dig) Milner and Tom Hall. They both came from the photographic area of The West and two cadets were hired to assist them and learn the business. Darcy and Farrell did most of the journalistic work with help from ‘casuals’ once again brought in from The West. Two of Farrell’s protégés went on to excel in their profession. One was Peter Meakin, who, in 1999 was Head of News at the Channel Nine Network and formerly the Producer of 60 Minutes ‘…for years.’ And the other Bruce Buchanan, ‘…an excellent reporter…’ who went on to work as a journalist on A Current Affair at TCN9 Sydney and the ABC’s This Day Tonight.

Farrell also spoke highly of another local identity named Bob Cribb, whom he described as a reporter with a flair for the sensational. Farrell recalled that in 1962 a man named Brian William Robinson shot and killed a young couple in a car in Belmont, before murdering a policeman named Noel Iles. Robinson commandeered a taxi to take him north to the Gnangara pine plantation. Cribb was dispatched with technician Colin Gorey in the Outside Broadcast Van to cover the story. An Inspector Freddy Douglas, the Deputy Chief of the CIB mentioned that it would be good to have public assistance and Cribb broadcast that information. Cribb was reported as saying something like ‘…we want you to come out and sort of help us catch the Mad Dog Killer!’

Within a short time a great many citizens arrived; some on motor-cycles with shot-guns slung over their shoulders; some riding horses and armed with rifles and one elderly person with what appeared to be a blunderbuss. Williams was wounded by police, arrested, tried, found guilty of murder and ultimately hanged in Fremantle Prison. There being no recording facilities at that time, it became a matter of legal argument at Robinson’s court hearing as to whether what Cribb was reported to have said ‘live’ on-air prejudiced Williams’ trial. Subsequently, television stations stressed the importance of always using the word ‘alleged’ when referring to criminal activities. On the same Saturday night as the Williams’ incident, John Button was arrested for allegedly running down his girl-friend with a car in Shenton Park. The multi-murderer Eric Edgar Cooke subsequently claimed responsibility for that crime and in 2003 Button was absolved of the crime.

In 1984 the Department of Communications examined the function of News in the ‘local’ setting. The conclusion was that items of ‘immediate relevance and importance’ would generally be of greater interest to the ‘local’ viewer, thus in a city such as Perth, the concurrent happenings would be of more interest than those events in Eastern States capitals. This is perhaps in the category ‘the world is not flat’ but nevertheless, true. As in all other areas of their operation, those who were employed by TVW7 in News reinforced the notion of being ‘your local station’ at every opportunity.

When they first aired, TVW7 bulletins were of fifteen minutes duration and there was a News Review on Sundays. The main source of information was of course the parent company and picture-grams which they received from overseas and interstate would be used to illustrate news stories. There was no way of wireless transmission locally, so these pictures had to be copied then physically obtained and transported by road from the W.A. Newspapers offices to the studios of TVW7. All News and photographic material was charged for by W.A. Newspapers Limited. According to Farrell, the advent of television had a very bad effect upon the sales of the Daily News and a certain animosity grew between the staff at W.A. Newspapers and TVW7. The Daily News people resented the expected collaboration because ‘…the Boards were intermingled and they were a subsidiary…it continued…but not with good grace.’ Farrell said the West Photographic Department was an exception with full co-operation from Doug Burton, Max Holten and other senior people. This was probably because photographic people saw themselves to be in a similar medium as those in television, as both relied heavily on visual impact. Farrell said that in those days he went to work as early as 7 a.m., and was always there till dark, seven days a week.

By the time that STW9 went on-air in 1965 the television news industry was serviced by a London organisation called Vis-News which provided news film and news footage. Each day a box of film clips would arrive and be distributed to each of the three stations. They would all receive the same selection. In 1967, STW9 discontinued its subscription because of costs, and apart from their own local filmed content, showed very little except for some Army Public Relations Handouts. Vis-News (which later became Reuters) was an independent news service which serviced both sides of the Iron Curtain. As well as the East/West divide, Vis-News also provided for the Middle East and Asia. It was owned by a consortium including the BBC, NBC America, ABC Australia, Canadian Broadcasting Corporation and Reuters also participated. STW9’s first News Editor was Graham Walsh who continued in that capacity until 1968 when he left to take up a senior News position in Melbourne. His staff at STW9 included Alan MacIntosh from the Daily News, former 6IX breakfast announcer Terry Spence, and two English journalists, Kit Harding and David Gladwell. The News-cameramen were Brian Hooper and Bill Nelson. In 1967 one of the studio cameramen, David Green was co-opted to News and Scotsman Dave Gordon was also employed. As described in Chapter Five, there was one female secretary. The first newsreader was Sydney radio actor and producer Walter Pym who was quickly replaced by Alan Graham. In 1966 actress Cornelia Frances was employed for a short time as a Presentation Announcer and there were some experimental News bulletin readings by her. In 1968 the Production Manager Denzil Howson decided on a dual presentation by Lloyd Lawson and Peter Dean. One of Howson’s ideas was to build a News Desk Set which was the correct height for the presenters to stand to read the News. As an old actor, he reckoned that they would have better ‘diaphragm control’. Soon after, Howson was replaced as Production Manager and the practice lapsed.

Although commentary from the Eastern States suggests that, ‘Commercial television is very quick to punish presenters for low rating for news. Constant research, and the necessity of finding blameworthy people to take responsibility for failures, provide a battery of means for sacking people.’, because of their dominance as the sole commercial outlet in Western Australia TVW7 kept many of their newsreaders for long periods. However, at STW9, poor ratings saw regular changes in the first six or seven years. Among those who enjoyed a longer tenure were Lloyd Lawson, Gordon Leed, Trevor Sutton and Peter Barlowe. In the mid 1970s STW9 experimented with the ‘mixed double’ of Valerie Davies and Greg Pearce. Russell Goodrick and ex-ABC newsreader Anne Conti were also successful.

In 2003, TVW7 have had the same main team of Susannah Carr and Ric Ardon for twenty years. In the same year at STW9, Peter Holland (changing allegiance after many years as an ABC News presenter) failed to attract a bigger audience than management had hoped for and on week nights was replaced by two women. They are former sports journalist and weekend news-reader Dixie Marshall and radio journalist Sonia Vinci. Holland continues to read the weekend STW9 News.

The selection of news presenters has always been an industry ‘art’. The personality and appearance of the newsreader (whether female or male) must embody an attractive but believably dignified figure, as the ‘trust-worthiness of the particular station is always at stake’. McQueen said, ‘As the newscaster became known to viewers, his professional grasp of his material, and his lively interest in it would make the news more authoritative and entertaining.’ Bonner confirms this with a qualification, ‘What the viewer sees is the presenting persona not the person.’ And Esslin extends that concept:

The TV screen is both a frame, like Duchamp’s pedestal, and a stage. Even when the news an announcer reads has been forgotten, the character he creates, his personality, will remain in the viewer’s memory. The news changes from night to night, but the character of the newscaster persists in the public eye and the public imagination…The final result is a dramatic performance, which moreover, filmed or videotaped, is definitely repeatable.

Let Turner have the final word on this: ‘The importance of the newsreader or presenter, for instance, is related to their embodiment of the trust-worthiness of the news service; the selection of the right personality for this task is a critical decision in both the production and the promotion of the news.’ When newsreader Peter Holland left the Perth ABC Newsroom for STW9, hoped-for results in the ratings were not immediately forthcoming and management decided that the removal of his ‘trademark’ moustache might help. In fact it made no difference.

At TVW7 the first newsreaders were chosen by Coralie Condon and were David Farr, Garry Meadows, Geoff Walker and Philip Edgely. Eric Walters followed and Farrell rated him as the best in the voice department. In terms of ‘…functional and practical approach [Peter] Waltham was terrific.’ Farrell (who employed him) said that Waltham was very quick to pick up on problems and could cover them before the viewer knew that anything untoward had happened. The newsreader with the best presentation memory was the late Garry Meadows who did not have the need for the auto-cue reading device. ‘If it was a six-paragraph story he would memorise four of them and look straight in the camera and you’d believe he was using an idiot sheet. A very talented man.’ Waltham remained at TVW7 until 1982. Meadows went to Melbourne, but after meeting with little success returned to Perth in 1977 to work as a radio announcer and resume casual newsreading at TVW7. To emphasise the disappearance of other on-air personalities, when the Logies are allocated for Western Australia it is usual for the recipients to be on-air news presenters.

In these days of ‘…the fax, the laptop computer, the digital palmcorder, non-linear editing, the edit suite in a suit case and the multi-skilled practices they are bringing with them…’ Farrell sees the biggest changes in the area of technology, having been to the detriment of human endeavour. ‘What it has bred…is probably some inadequacies in the energy and enthusiasm of the players.’ Farrell said that it was fact that a small group of employees had to film, process, edit and cut the stories. Although this had the effect of curtailing comprehensive coverage, it did engender more personal attention to the task in hand. He finds it amazing that News alone has survived in the area of local (live) production. Locally, NEW10 has ceased to have a Production Department as such for local consumption and its News bulletins originate in Sydney, TVW7 and STW9 still have large and enthusiastic departments. However, technological advances now mean that on the studio-floor the cameramen have disappeared. At TVW7, the news cameras are mounted on tracks and remote controlled from the control-room with one person replacing three. This means that the floor-manager is redundant. The actual presentation of the News is controlled by one person with an auto-cue operator in the studio.

Farrell is of the opinion that in regard to News, the facility in Australia is over-catered, particularly by the A.B.C., trying to sustain too large a volume of current affairs and talks programs. He gives as an analogy that at 18 million population, we are 12 million less than California but try to sustain the same level as ‘…an entire American network covering 260 million people.’ Current CNN anchor Michael Holmes refutes this contention and considers that the size of Australia’s news representation is its strength. Former STW9 newsreader Russell Goodrick said,

[In the 1980s] Along with main news, management introduced more and more bulletins. Presumably to get sponsorship dollars. In those days I thought it was too repetitive. We’d read the same headlines over and over. Unlike today without the communications facilities, the satellites and we b links little would change. We were saturated, which I believe impacted on the main news. In the 70s and 80s I would sit in studio by myself waiting for the cue to read a one minute bulletin. Today most are pre-recorded…Today I look at most of the reports and think only the reporter, name and address have changed. The news is regurgitated to such an extent about the same old stories. Car crashes, rip-offs, disasters, parliament etc.

John C. Merrill includes Australia within his examination of Asian news services and says that ‘The existence of myriad news services in Asia holds both hope for better information availability and the spectre of managed news flows’. The latter part of that statement referred to the growth of government news agencies in Asia proper. In matters of overseas information, Farrell said that there was still a hang-over from the old days of newspaper monopoly where items of interest were sat on ‘for two or three days.’ He pointed out that stories that can be now read on the Internet when they happen, sometimes do not turn up here in The West [or on television] until five days later.

In remarking on television audiences in general, Langer uses a definition by Westerguard, in that they are ‘ “…a mass of ordinary people of ‘ordinary common sense”, men and women with their feet on the ground who take the world as it is’ There are arguably variations, as when asked to comment on the difference between the American and Australian public in political matters, Farrell said that the former ‘…have always been far more nationalistic in their approach to politics…and sharper generally. Australians have always been notorious for being apathetic.’ Langer also defines a difference between Australian and British audiences when saying, ‘The production of ‘news’ holds a strategic position in debates about television for its presumed, and often feared, influence on public life, a concern that has been heightened by the emergence of global cross-border television.’ Farrell said that while some Australians would subsequently only query the introduction of a policy briefly mentioned during an election as being unknown to them, Americans ‘know’ what is going to happen and the Government would not be elected if its policies were not understood or open to misinterpretation. Farrell maintained that while the Australian electorate might ‘grizzle’ about changes by an incumbent Government in avowed policy, an American government would not dare such tactics, as a more politically orientated populace in the USA would not accept such changes.

Morality, Censorship and Common Decency:

In 1995 Colin Shaw addressed the latter of the above and concluded that:

Taste is essentially an ephemeral matter, changing according to changes of fashion…Decency however strikes deeper chords…It includes respect for the dead…It extends to protection for children and regard for the cherished beliefs of other people…Standards in broadcasting reflect a blend of the two…Offences against taste are acceptable…The World Council of Churches once declared that a television service without offence was itself offensive…Offences against decency are of a different order, carrying…the concept of some actual damage among members of the audience. However they too may be justified by the nature of the subject-matter and the quality of its treatment by the programme makers.

Darcy Farrell said that the generally accepted societal standards of morality, censorship and common decency were those adopted by television in Western Australia at the inception of the medium and continued without much change until the late seventies and early eighties. Former STW9 News Director Terry Spence who started with the station in 1966 and at the time of the interview in 1999 was still producing weekend bulletins said,

On the standard of morals, we were certainly less intrusive as journalists in a news organisation than we are today. You know, the foot in the door type journalism I’m talking about. People confronted with [others] wearing cameras without being given the chance to say ‘I don’t want to be talked to’, so, that just happened to be a standard at the times I think, it wasn’t necessarily imposed overtly, it was just you know, we just weren’t as aggressive. We would have been far more cautious about invasion of privacy or invasion of grief for argument’s sake. Just another example, coincidentally or strangely it has gone back to that now, it’s moved full circle. There is more concern taken now about barging in on funerals, well in fact you can’t any more; you have to seek permission from cemeteries to go in. Permission from relatives to film funerals. That’s an example you know?

Graeme Turner sees Australian journalism in a favourable light when saying, ‘News and current affairs on television share much the same ethical standards and professional ideologies as other forms of journalism; a commitment to impartiality and a clear differentiation between news and comment.’

The De-sensitizing Effects of Televised Disaster, Accident and Personal Mishap:

Spence was reminded of a telephone conversation in 1984 between him and me. An old woman, the victim of a house fire in Perth, had been shown being carried on a stretcher, with one bare foot protruding from a blanket covering the rest of her body. On being told that it was the station’s ‘duty’ to report the news, I asked Spence the question that if the victim had been the mother of Alan Bond [then STW9 Boss] would she have been shown on television in the same manner. At the time Spence would not concede that incident was wrong, but in 1999 he said that ‘…now, we have very strict rules about blood on the pavement.’ John Langer commented upon this aspect of news thus.

As Hartley (1982:83) explains, when journalists are accused, as they frequently are, of ‘rough handling’ of events, it is the result not of personal factors which is the easily assimilable explanation but of ‘the impersonal social process of newsmaking itself, as a professional practice…the routine mental orientations shared in a necessarily unreflecting way by ‘busy’ people.

Spence went on to explain that the responsibility is that of the News Director, governed by the broad policy guidelines on violence and intrusion as promulgated by FACTS (Federation of Commercial Television Stations). When asked about the changing standards in regard to such things as birth control, condoms, sanitary napkins and such he replied

I don’t think we necessarily impose controls upon them, because they weren’t as talked about as they are today. If we had done, speaking of news, mentioned those things or concentrated on them or had items on them, there would have been at some point a criticism of us as being distasteful…

On the matter of audience sensitivity, in regard to such changes in the 1960s concerning abortion, the contraceptive pill and the up-surge in the voice of youth, Farrell contends that it was the Kennedy political era with its changes to ‘The Establishment’ which previously had projected a moral face whilst misbehaving as it thought fit behind the scenes. In the 1950s and 1960s Ministers of the Crown were not considered to be ‘fair game’. When questioned about viewer sensitivities and the showing of dead and burned bodies on television towards the end of the 1970s Farrell answered,

We already used those a lot. We used them in the 60s…We’d warn people and we’d actually – we’d even fade to black for 5 to 10 seconds to give people – ‘…if you wish to take your children out of the room please do so.’ Showing stuff like the Kennedy assassination and things like that. I mean a world stunning event but then, pretty wary about using dead bodies on the ground around Perth.

Farrell maintains that television has indeed had a desensitising effect on viewers and said,

Kids in particular who watch, not just News, but a range of programs where bodies are bodies. And I think they’ve actually just shown in …the Colorado shootings that the kids with all the videos they watched are suddenly pinging people and it’s almost make believe. I’m very much against it. I think television…motion pictures have become more violent, more dramatic, more everything. Once upon a time you used to go and see a movie to just totally relax and get away from it all and want a fun afternoon, or want an emotional afternoon watching Mrs. Miniver [laughs] or whatever it might have been or a fun thing with Jerry Lewis or something.

Farrell did not consider that the voyeuristic aspect of television news equated with the enjoyment and ‘gloating’ of the public execution audience of by-gone days, but said that the ‘chivalry of a fine society’ had become less civilised since the introduction of television. When asked if it was television which directed society or vice versa, he said that in regard to television program content, controllers are not always acting in the best interests of society and in some cases directed its course. Farrell equates the careless presentation of violence and overt sexuality with drug pushers.

Maybe you could view some of the people who dispense the material as, and they wouldn’t like the comparison and maybe you don’t like the comparison but maybe and I’m not saying there is that, maybe you might be able to equate them to the drug pushers. It’s the same sort of thing.

PH: Would you?

DF: In some of the most violent things I’ve seen and some of the most suggestive things I’ve seen, ah, they are certainly peddling material which has got to have a deleterious effect on young people. I put that in sex too you know.

When asked if there was a possibility that the trend towards the further breakdown of moral codes could be reversed, Farrell answered,

…one would always hope and the hope that there will be a generation that will. I mean, I used to get very excited about things that I considered were wrong with society and felt we’ve got to do something and I used to go to Jim Cruthers and we used to do quite a few things. I think we were responsible for changing a few directions here, because remember we were virtually the only commercial television station. Nine didn’t come on for five years and then it went down the sink with all sorts of economic problems. We were by far the most influential television station and we tried to make our mark on things that we thought was the right thing to do. Now maybe, I don’t know, maybe there is going to be somebody but I think they are going to need a Government made of very tough people, men of steel or people of steel. Women and men who are going to say, ‘I’m sorry, Australia is going to adopt the same policy as Malaysia. We will execute drug pushers.’ Poomph! People will say, ‘My God this is uncivilised!’ But the drug pushers are uncivilised.

Mario D’Orazio who (at the time of the interview) was Editor of Today Tonight on TVW7 maintains that there has been a cycle of acceptability in the forty years of television News. His opening comment can be examined in light of an observation by Edwin Diamond. ‘In terms of reader [viewer] interest, “10,000 deaths in Nepal equals 100 deaths in Wales [or Oklahoma City] equals 10 deaths in West Virginia [or Queensland] equals one death next door.’

MD: Like they say, ‘If it bleeds, it leads!’ [laughs] When we, when I first started in TV without the word of a lie, you could put a dead body on the News, guts hanging out, you wouldn’t have a problem. O.K? Not a problem. If you do it today, the audience goes crazy. In fact, News and current affairs have really cleaned up. They’ve become a lot more, ah, cautious. Ah, if there’s a dead body on the News these days it’s by accident rather than by design.

D’Orazio continued ‘…in the seventies and early eighties the television companies were out to shock.’ and Langer confirmed this, saying ‘Disaster, accident and personal mishap reportage has a long, if inglorious, history in journalism.’ Now, according to D’Orazio there was a backlash from viewers, the baby-boomers who have adolescent children of their own do not want those children viewing such disturbing material.

So, the companies have, the stations have actually reflected that. I know

for example in 1987 we could bare tits to air at half past six at night. We don’t today. We used to put pubic hair to air. We don’t today. We used to put dead bodies to air. We don’t today. Wouldn’t even dream of it.

D’Orazio maintains that the fear twenty years ago that the audience would be de-sensitised has actually worked in reverse and said, ‘What’s happened is that the baby-boomers have become de-sensitized to it, but they have genuine fears for their kids. He claims that today’s audience has become sensitised through previous de-sensitisation. D’Orazio continued,

You know, I can look at dead bodies on TV and it doesn’t worry me because I’m a professional. My brother who is roughly my age looks at that and cares. Our vision of it all was shaped by those amazingly powerful images from the Vietnam War for example. Throughout the sixties and seventies when we saw those pictures, so that when we saw blood and guts, yeah, but my brother now has three daughters. He doesn’t want his kids seeing that kind of stuff on TV at dinner-time and to me all of that’s been reflected in the growth in the Code of Practice which is voluntary and taken very seriously. I know it is.

D’Orazio said that he constantly ‘censors’ material to avoid viewer complaints regarding ‘nudity or violence’ on the News. ‘I look at a picture coming in from interstate or overseas or even locally and I say, “Do you see a drop of blood on that?’ phht, cut it!’ When asked to define ‘good news’, D’Orazio said that generally speaking, in television ‘bad news’ was ‘good news’ and vice versa. Langer confirms this concept:

It has been argued, more in popular than in scholarly terms, that news is, and must be, obsessively ‘bad (negative) news’. This claim is reinforced by examples of ‘good news’ newspapers or television programmes failing miserably in the market-place. However, this argument is misplaced. On closer examination it can be seen that bad news may in fact be good news: the mediation of the contradiction between permanence and change in the ‘other news’ seems to provide an occasion to engage with a ‘philosophical treatise’ every night of the week. For those lamenting over television journalism having lost its way, these sorts of opportunities could hold out renewed hope, even if the news which does offer regular excursions into metaphysics is considered mostly ‘bad’ (negative and unworthy).

Former Perth radio journalist Katy Cronin, who went on to a television career with Four Corners and then was a reporter for Lateline on the ABC said,

I think you have to exercise judgement about what’s appropriate to be shown in particular contexts and particular times of the day. If you’re a witness to a horrible massacre, then it is a difficult thing to show that and remain within the bounds of what is acceptable, particularly in prime-time news, but at the same time, I think you have to endeavour to explain it, because those sorts of events are what makes our world, and makes what is news, and people should know about it, and if it’s shocking, well it is shocking – that’s the fact of it.

It’s then a fine matter of judgement, and views will differ about what’s acceptable and what’s not. But I believe that news is there to tell what’s happened and not to make people feel good, or to offer entertainment.

In 1989, psychologist John Condry wrote how both arousal and desensitization were ‘positively’ related to aggression. ‘That is, the more aroused, the greater the potential for violence and the more desensitized, the more violence will likely to be tolerated.’ He stated that,

Television not only exposes us to arousing, violent material, but it does so repeatedly, night after night, month after month, year after year…An obvious consequence is that one could become in a sense, “callous” and so accustomed to the constant parade of violence, that with each presentation one becomes less and less aroused, less and less interested.

However, when the pictures of actual warfare became part of the nightly viewing, the audience perceived them in a different sense to that which accompanied the watching of movies… ‘by the mid 1960s when the images of war in Vietnam began to be presented on the evening news every night. These real images of war were quite different from the images in the movies. ‘Rather than being romantic and heroic, war was shown to be horrifying, painful and tragic.’ Condry lamented that it was too late to investigate the actual feelings of those who were exposed in the 1960s but ‘…it would be possible to study the degree to which people who were used to television violence were either more or less sensitive to portrayals of actual (real) violence.’ Condry concluded ‘Maybe television violence desensitized us to fantasy or imaginary violence, but not to the real thing. It might even make us more sensitive to the real thing. This is a potentially interesting question for research.’ In that, he was forecasting an attitude which we have seen espoused by D’Orazio. As far back as 1982, Martin Esslin offered the following:

[regarding]…the impact of sex and violence on the viewing audience…The frequent attempts by psychologists, sociologists, government committees, and others to devise experimental procedures by which this impact might be measured and qualified have, on the whole, produced no decisive conclusions.

In 1994, McManus said, ‘When news departments follow market logic their primary purpose is selling consumer attention rather than informing the public. Society may be harmed when news routines designed for selling conflict with those required for informing.’ At TVW7, clashes between News purity and commercialism were not unknown. Advertising management sometimes wanted to hide commercial content in the News. Farrell stated that whilst Cruthers said ‘You’ll make the News judgement and I believe in what you’re doing, so do it!’ he had ‘…some mighty clashes.’ with TVW7 Sales Manager Brian Treasure, when news which might have a bearing on loss of advertising revenue for the station, was aired. McManus observed, ‘The simple fact is that the interests of advertisers and those of journalists diverge as much or more than they overlap.’ but Hartley was bold enough to state:

Like journalism advertising has a vested interest in constructing and instructing readership, and like advertising, journalism has to work on the basis of Lotmanesque mutual attraction to get its readers to look at its copy…Advertising and journalism have lived together since the outset of both and have come up with the same techniques for attracting readers, techniques of course which include the use of pictures.

Despite this inference of collusion to exploit the consumers of television, the conclusion can be safely drawn that in the early years at TVW7 at least, such was not the case.

The biggest and most extended disagreement between Farrell and Treasure was over the relative rates of pay between Journalists and Advertising Salesmen. Treasure’s argument was ‘I’ve got a sales guy who is capable of generating X number of hundreds of thousands of pounds…for the station. Your News bloke, he’s a writer and he’s paid twice as much as the sales guy!’ Farrell’s answer was ‘It’s a very legitimate point. I’d like to see your sales guy paid more but at the same time I think I can convert a journalist to become a salesman but can your fellow come down and write a script?’ Cruthers settled that by telling Treasure, ‘Sorry, that is the way it is. We can’t alter it. That’s the AJA, the Australian Journalists’ Association system and these people are paid that way. You can’t avoid it. You’ll have the Union down, or they’ll shut the station down if necessary!’

Farrell said that while Australians have followed America in most areas of news presentation , one example of exception is that in the U.S., programs will be interrupted for major news breaks or a Presidential address, but for this to happen in Australia the story would have to be ‘…aliens have just been discovered on the Moon.’ During his tenure at TVW7, Farrell remembered the two biggest stories of the early years as being the assassination of John F. Kennedy and the Landing of Men on the Moon. He said that because the television transmission was via Parkes in N.S.W. Australian viewers saw the latter a second or two before the Americans did at Cape Canaveral. .

Former TV Journalist Brian Coulter perceives that the world of television news has lost its way and was scathing in these comments:

I in no way regret my years in television – they were fantastic and among the most exciting in my life but you pay a high price on your family life. After leaving the television news industry, the biggest shock was to realise that we were not the ‘eyes and ears’ of the community. We were oblivious to what was happening in the real world (as opposed to the ‘reality’ world of today’s television). It may be best summed up by my observation while driving up Flinders Street (the news van highway) some years after leaving television news. Coming the other way was a news van heading off on a job. The cameraman (who I knew) was at the wheel and the reporter was in the passenger seat with feet up on the dashboard having a sleep. I thought to myself: “How is that stupid prick ever going to see a news story.”

Sport:

Undeniably, sport on television has always been part of the News, although David Rowe records, ‘It is almost impossible to imagine today, but the intimate relationship between television and sport was once very tentative and based on a high level of mutual suspicion’ It has been noted that ‘Sport and television are naturals together. They are both popular, both artistically damned, and both politically assaulted.’ Generally speaking, the public enjoys sport, as the recent 2003 Rugby Union World Cup proved. The final attracted the biggest viewing audience since the opening of the 2000 Olympic Games in Sydney. Indeed, as Rowe says, ‘Watching sport on television is a complex and diverse social activity, ranging from ‘default’ activity when no better leisure options are available to greatly relished rituals of social engagement with family and friends.

‘Television in Australia was fathered by sport. And television in many ways over the past quarter century has mothered sport from a faltering, colorless tot into a well-fed, thriving technicolor giant. [a rare American spelling in Australian academic literature!] and ‘Sport and the media ‘got together like bacon and eggs…Like algae and fungi in moss’ Although the latter simile may reflect a ‘toffee-nosed’ attitude by some to the whole concept of sport on television, in Western Australia the viewing public was amply catered for with various programs, more so than in the Eastern States where ‘…the ABC dominated the TV treatment of Australian sport in the mould of the BBC.’ There were programs which forecast (in the main) Australian Rules Football matches, their actual playing and subsequent Sunday dissections, particularly in the early years of TVW7. The high rating Walsh’s Football Teams run-down on TVW7 with ex-players Jack Sheedy and the late Austin Robinson was a ‘must-view’ on Thursday nights. Football Preview was aired at 9.30 p.m. on Fridays, Sport at Seven at 7 p.m. was in the main about the local game on Saturdays and at noon on Sundays, a panel of ‘experts’ attracted a large viewing audience. Affectionately known as ‘Dad’s Army’ (after the BBC comedy program of that name) the presenters included chairmen the late Brian Thirley, Ross Elliott (journalist and later Member of Parliament), champion footballer the late Frank Sparrow and Perth television’s ‘Mr. Everything’ Gary Carvolth. The panellists included ex-jockey Frank Flannery (a jocular man with a sharp wit – Perth television’s answer to Melbourne character Lou Richards); ex-umpires Freddy Woods and Mick Cronin; and retired footballers Marty McDonnell, Steve Marsh and John Rogers. Although they tried to emulate the formula, STW9 had little success in this area and shortly after their opening, did not persist for long with studio based programs, although they did include general sporting activities in their nightly News bulletins. Horse-racing, (both pacing and galloping) both received extensive coverage on TVW7 and at one time the Trots from Gloucester Park were televised ‘live’ as part of a Saturday night show called Anything Goes.

Former international jockey Jimmy Chadwick was a regular presenter on television for 17 years combining ‘on-camera’ work with producing and directing. He appeared on TVW7 News for 15 years, their Sunday World of Sport ‘…races, trots and dogs.’ and then on STW9 News for a further two year period. Rogers gave high credit to the late Harry Kelly for his dedication to televised sport, saying that ‘…he was an exceptional producer/director and because of his skill with helping ‘on-air’ people we called him The Coach.’ Former Aussie Rules League footballer John Rogers had a 29 year career at TVW7 commentating on football, baseball, golf ‘…and anything else that was required.’ He also produced his own one-hour baseball replay program in the early 1990s. STW9’s ‘face of sport’ in the 1970s was the very popular personality, the late Frank Bird, who conducted regular sessions with the assistance of well known footballers Graham ‘Polly’ Farmer and Bob Shields. No less so was that station’s long-time Sport Director the late Bruce Walker, who was also recognised as Mr. Appealathon. After a journalism cadetship with The West Australian, Wally Foreman was employed as a sporting journalist with ‘on-air’ duties at the ABC and then moved to STW9 in the early 1980s. Foreman rose to be one of the most recognisable commentators on television, along with perennial ABC presenter Trevor Jenkins who also had several stints on commercial stations.

Television News Audience Survey Ratings:

The ratings surveys show that TVW7 were overwhelmingly successful from 1965 till 1971 and in 1972 STW9 won a News rating for one particular night. It was not until 1977 that STW9 finally won a survey overall. Fortunes varied after that with a most competitive and constantly changing set of results until 1990, when after two years of operation, the newcomer NEW10 had then as yet failed to evenly split the market. In 2003, TVW7 remained the dominant News station, being the only Seven Network capital city station to consistently win the ratings. In the face of changing formats, it would appear that Western Australian viewers still prefer what they perceive to be the ‘local’ product. Further chronological analysis of these ratings results is to be found in Chapters Seven, Eight and Nine

Conclusion:

Because of the long-held belief that the station which leads in the News area has the ability to hold the greater share of audience for ensuing programs, News has always had a focus of pre-eminence. TVW7s introduction of this service to Western Australian audiences was meticulous in presentation and they have gone on to exhibit superiority over the years . STW9 had great problems in trying to catch up and lack of funds at one stage prevented the use of overseas pictorial content.

TVW7 were the front-runners in the area of female newsreaders while their counterpart STW9 did not use women on the News bench for many years. The advancement of technology has been seen to be at the expense of human endeavour and there is a claim that generally speaking, News services are over-catered for in Australia.

The question of censorship, morals and public standards of acceptance have changed greatly since 1958, but the claim is made that the insensitive use of graphic pictorial content in the 1970s has led to a greater responsibility today by the commercial television stations and an increase in community sensitivity. News continues to be the only regularly produced program on TVW7 and STW9 while that of NEW10 is transmitted from Sydney to Perth via satellite. Robotic cameras have replaced ‘live’ camera personnel and it would seem that the future for News, this last representative of local ‘live’ production could also be doomed to extinction.

Peter Harries March 2004

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This page forms part of Dr Peter Harries’ first PhD thesis submission entitled: “From Local ‘Live’ Production Houses to Relay Stations: A History of Commercial Television in Perth, Western Australia 1958-1990″. This contained much additional material.

Chapter Seven:

The Main Event – Round One – 1958-1970

The Contest for Supremacy in Western Australian Commercial Television TVW7 versus STW9.

The actual correlation of Local (Live) Production, Financial Returns and Survey Ratings.

Introduction:

Examination of the relationship between local (live) production, financial returns and audience survey ratings presented two possible main methods. These were ‘thematic’ or ‘chronologic’. I decided to use the latter method, as it made for easier comparison of the three elements, as they influenced each other during specific periods. The comprehensive record of audience survey ratings may prove valuable to future scholars, wanting to pursue other avenues in regard to the various imported (mainly American) fare which found favour with the viewers. Possibly the only complete set of Western Australian ratings survey books to survive intact were lodged with Government Archives in Sydney by the A.C. Nielsen company. The company retrieved them for my examination in September 2000.

During the five years of research for this thesis, no evidence has been uncovered that a similar investigation has taken place. The research commenced from a different starting point, adopting a new slant, in that this work is believed to be the first systematic analysis of three main factors which occurred in Western Australian commercial television, each having a deep relationship to the other. These were the actual programs, both local ‘live’ and outsourced, financial returns as shown in the Annual Reports of the Companies concerned and the regular Television Audience Ratings Surveys. Through their correlation it has been possible to trace the evolution of local ‘live’ production in Perth. This is most probably the first time that an analysis of television has moved from programming and audience to an examination of its structure as an industry. In Australia, prior published work appears in the main to have concentrated on various aspects of actual historical occurrence and theoretical sociological circumstance and in that, almost entirely to the exclusion of Western Australia.

In the first five to six years of commercial television competition in Western Australia TVW7 maintained audience domination over STW9. There was one factor that had to be overcome before competition on an equal footing could be a reality. TVW7 had secured a special place in the lives of the viewing audience. Viewers had adopted a position of local loyalty and regarded TVW7 as ‘their’ local station and they had assumed a sense of imaginative ownership. As can be seen in the first Audience Ratings Survey of 1960 the viewing community had virtually almost immediately adopted TVW7 as their property. This was a natural flow-on effect from the fact that the Station had as its main shareholder, the more than one-hundred-year-old press bastion, whose claim to localism was embodied in its main product banner The West Australian. Since its inception TVW7 have always promoted this idea of themselves, which has led to Western Australia’s Channel 7 being the only one of the entire Australian SEVEN Network stations that regularly wins in the News ratings. In other States the winner of news ratings is predominantly the Nine Network. Still trying to counter this concept, in January 2003 STW9 adopted a station promotion exercise, in which they actually call themselves ‘Your Local Station’. This was a belated attempt to attack the alternative institutionalized concept.

Initially, local ‘live’ production was regarded by management as not only being necessary for daily program content, but as integral to the obligations of holding a commercial television licence. Local production both video-taped, filmed or ‘live’ to air was considered as part of what can be termed ‘community responsibility’ and was an accepted expense, without having to show obvious monetary returns. However, as times changed, local ‘live’ production ( and its opponent in the form of imported programs) became subject to this theorem.

The substance of this and the following two chapters is a detailed comparison of the ensuing 23 year contest for superiority between the two commercial stations, as revealed by analysis of their programs (both local and imported film or video-tape), their annual reports (including financial statements) and television audience survey ratings. This shows how the fortunes of each affected the amount of money available for local production and imported programs. It also shows the financial returns to shareholders and the way in which Swan Television Limited [the rival Channel 9] eventually became a viable Western Australian operation. It reveals the general philosophy of management and how this was conveyed to shareholders and staff. It describes how TVW Limited maintained an attitude in regard to local production (which it was able to do because of financial superiority) as opposed to Swan Television Limited who, because they didn’t have the money to spend, in the early years were forced to constantly change policy on local programming It explains how the new-comer had great expectations of early equality but underestimated the powerful way in which the viewing community had assumed imaginative ownership of the station and its programming. The facts were that TVW7 had been established for almost seven years and the Western Australian viewing audience looked on them as being ‘their’ station, while STW9 could be readily characterised as an interloper. It will be shown how local production on TVW7 was, during those early years, always better received by the viewing audience than the efforts on STW9. There is suggestion that better production people were the reason, but this is a simplification In reality, many of the staff for STW9 were ‘head-hunted’ from TVW7 and were totally familiar with their method of operation in all areas. Most of STW9 local productions mirrored those at TVW7 but initially suffered from shortage of financial input.

These chapters describe how in the 1960s and 1970s, STW9 gradually caught up with its opponent and finally surpassed TVW7 at certain times in the television survey ratings, even in the sought after area of News domination. Eventually there was an observable sustained levelling between the two commercial telecasters in the ratings. It explains how some respondents thought this to be due to in-house methods of self-promotion by using saturation messages in a high-rating telecast to ‘sell’ another specific program. Others viewed the passage of time as the leveller. In the end it was very likely a combination of both. Another important consideration is that of the evolving youth audience. The ten year-old of 1965 doing what he was told was a totally different twenty year-old with his hand on the channel controller in 1975.

The chapters conclude by describing the events that led to the demise of TVW Enterprises Ltd., which disappeared from public ownership when subsumed by the corporate activities of Robert Holmes a Court. Similarly, it will be shown how in 1984 Swan Television and Radio Broadcasters was swallowed by the Bond Corporation and how the failure of both those corporate giants returned the two channels respectively to public and private ownership. Although in line with general trends towards a more global economy, these challenges to local ownership were mounted by local entrepreneurs. Following these developments there was an observable diminution of both local ‘live’ production and community responsibility.

It will be found that the earlier Annual Reports of both companies made good use of photographs to promote station personalities and the various local productions with which they were associated. Photo-copies of the original material can be examined in the Appendices to this work. The format continued till the late 1970s, after which time there was a discernable swing towards the promotion of station executives and technical equipment. In the 1980s, station ‘personalities’ all but disappeared and the ‘Logie’ presentations for ‘most popular’ thenceforth went to newsreaders, the only remaining representatives of local ‘live’ production. News was left as the last bastion of local production and indications are that this too will become ‘national’, sourced in the Eastern Sates, with a small local input.

Investigation and analysis of annual reports and balance sheets has provided much historical information and the following illustrates the progress of TVW Limited in the first seven years of their monopoly operation. The Annual Directors’ reports grew from a typical company balance sheet, to a booklet which made use of photographs to promote the activities and station personalities. The first report was written and edited by James Cruthers. They were specifically designed to impress some three hundred shareholders who were invited to attend the Annual General Meetings. They were treated to tours, entertainment and refreshments. They were always attended by the greater number of those invited.

TVW Limited First Annual Report:

The first annual report and balance sheet was delivered on Monday 7 September 1959. TVW Limited had purchased 10 acres of land on Yokine Hill and the building of the studios was proceeding. 4 acres of land was purchased at Bickley Hill and the transmitting tower was expected to be finished during September 1959. The anticipated opening date was 16 October 1959. On 13 October 1958 the company was granted Western Australia’s first commercial TV licence. Tenders for equipping the station were invited from the world’s six major suppliers; three British; one United States; one German and one Dutch. The British company Pye Limited of Cambridge was successful and most of the required equipment was on hand and being installed. The accounts covered a period of development without trading and consequently there was a reported loss of £39,405.

Although being the sole commercial outlet, the management of TVW7 supported McNair (the company who conducted ratings surveys in the Eastern States) in providing a survey service for Western Australia. The main reason for this was to be able to check the popularity of certain programs. A little known fact concerning this area of TVW7’s activities is that James Cruthers personally controlled the placement of programs and station promotions. This happened from the instigation of transmission until his resignation in 1982. The ratings surveys were a useful guide for advertisers in deciding the placement of commercial content. The first survey was conducted in June 1960, when TVW7 was the only commercial station opposed to the National Televiser ABW2. In all areas including local ‘live’ production, the commercial station was dominant. The survey produced these highlights:

The above classification of viewers was graded by the survey companies and accordingly placement of the ratings booklets in various areas. Grade AB included such suburbs Nedlands, Dalkeith, Claremont and Peppermint Grove. Grade C was headed by the new areas of Floreat Park, City Beach, Mt. Yokine and Mount Pleasant. Grade D included the older areas such as Victoria Park, Subiaco and Mt. Lawley. Grade E included the even older areas of East Perth, North Perth, parts of Fremantle and Midland Junction.

Almost all television sets were manufactured in Australia and other major brands were AWA (which were also sold as Westinghouse) and Astor.

Leading programs Sunday Theatre (TVW7); Leave It To Beaver; Sea Hunt

As TVW7 had the air-waves to themselves until 5.15 pm and considering the short time that television had existed, their management was pleased with the viewing audience for the women’s program Televisit and highly delighted with the figures for what was considered to be the children’s hour. ABW2 had a hosted program with a ‘live’ audience segment but suffered badly in comparison.

As in other areas, the commercial station dominated in similar types of sporting programs. The ‘old’ perception of the ABC being for a particular type of listener persisted with the introduction of the visual medium.

The ABW2 program Six O’Clock Rock starring Johnny O’Keefe was very popular in Eastern States, but was out-rated by a factor of four by the locally produced ‘live’-to-air Teenbeat. This program was variously hosted by various station employees including David Farr, Gary Meadows and Gary Carvolth. The program featured local bands and performers. Both programs were similar in content with an audience ‘jiving’ and being featured on-camera. It produced such well known Australian artists as Johnny Young and Jeff Phillips.

In 1960 the second Directors’ Report, TVW7 recorded a loss of £65,221 including £36,265 provided for depreciation. The cumulative loss was therefore £104,626 and the total revenue was £305,489.

This was for 8.5 months which was the length of time that the station had been on air for the financial year. In January or February 1960 the Board of TVW7 seriously considered ‘handing back the licence’ due to these adverse results. It was reported that technical equipment and plant (which consumed a large amount of investment capital before transmissions began) at both the studios and transmitter had ‘…proved to be both adequate and functional.’ There was no comment on studio activities and TVW7 was content to let their ratings speak for themselves. The ratings indicated that no matter what the commercial station put to air, the public watched and accepted it without question. Even commercial content (much of it ‘live’ from TVW7’s studios) was viewed with enjoyment.

In 1961 the Directors were ‘pleased’ to announce a net operating profit of £22,384, subject to the deduction of a 5% interim dividend to shareholders on 21 June 1961 of £18,749 and a final dividend of the same amount. This left £84,886 to be applied to accumulated losses, reducing them to £19,740. It was reported that before television started in Western Australia the projection of numbers of sets in operation after 2 years was 50,000. However, within that time frame 70,000 sets were licensed and more than half of metropolitan homes had television. It was necessary to purchase a licence from the Post Master General’s Department to legally view television of any kind and the cost for this privilege was £5. Hire Purchase had become increasingly popular with the advent of television and sets ranged from about £180 upwards. With average weekly wages at about £22, nine weeks pay translates into current (2003) terms of more than four thousand dollars for a black and white television set. Television in Western Australia was proving to be more than a status symbol. It was a necessity for most of the population.

The first acknowledgement of the importance of local ‘live’ production was the last page of the TVW7 1961 report, a black and white photograph of Station Presenter Lloyd Lawson in Studio 3. As with the rest of the Annual Reports content, the photographs were chosen by James Cruthers. This was the first pictorial evidence of station self-promotion and chosen because of its interesting and ‘glamourous’ appeal. There was always a ‘stand-by’ personality in a special studio, ready to ‘go to air’ immediately in the event of a film breaking or other technical fault. Such presenters would refer to programs still to come for that day or evening; possibly read some News items or give out a weather forecast. When the emergency was rectified it was a simple case of ‘We now return you to our normal program.’

In 1962 TVW7 had a net profit of £120,868 after income tax and working expenses. It wrote off the previous carried forward loss of £19,740 and an intangible asset (preliminary expenses) of £5,648. An interim dividend of 6% was paid on 5 March 1962 being £32,276, and £48,414 was appropriated for a final dividend of 9%. The shareholders would have been more than pleased with their return of 15% per annum. This was at a time when bank savings interest rates were at about 3.5% and W.A. Newspapers Limited were returning about 8% to shareholders. It was noted that the influence of the ‘…national economic situation…’ had had a negative effect but business was improving. Nationally there had been a slight rise in inflation and there were Government concerns expressed about increases in unemployment.

During the year it had been announced by the Commonwealth Government that a public hearing would be held in Perth in late 1962, to consider applications for a second Commercial Television Station. At TVW7 plans were being formed to counter this contingency.

The TVW7 contribution to daily local ‘live’ production in the form of Childrens Channel Seven continued to attract good ratings figures. The Annual Report’s back page was a photograph of compere Carolyn Noble talking to children in a studio setting. The picture was carefully composed to show her remarkable face which reflected the expressions of adulation so evident on the countenances of the entranced children in a studio audience. The careful placement of a large television camera provided an element of glamour and excitement. James Cruthers recalled choosing that particular photograph because it embodied all of the wonder of ‘live’ television production.

In 1963 the fifth Directors’ Report of TVW7 showed that during the year the hours of transmission were increased from 60 to 68 hours. About one quarter of all TVW7’s programs came from their own studios. This was a major contribution to low-cost program content and also the policy of management to promote the station as being first and foremost as being Western Australian in character. A further 27% was Australian content from the Eastern States and this was claimed to be one of the highest percentages in all of Australia. The biggest project for the year was the successful ‘…coverage of the 7^th British Empire & Commonwealth Games.’ For the first time TVW7 conducted an Outside Broadcast of a major sporting event. The signal was transmitted from the purpose built stadium at Floreat Park back to the station at Tuart Hill. The Games were recorded on kinescope film, processed and edited at TVW7 studios for overseas dissemination.

According to Howson, Hudson, Noble and others (and to my personal knowledge) in Western Australia, the general promotion of particular ‘personalities’ was considered by management of both commercial stations to be undesirable. Such people had shown in the Eastern States that they could wield power (through their fans and celebrity status) leading to demands for higher remuneration and conditions. It had been accepted in Sydney and Melbourne in particular as a ‘Star’ thing in terms of its local audience and the creation of local allegiances through the identification with station personalities. Eastern States management saw this as similar to Hollywood and as being good for the particular station’s public image. Perhaps it was part of the observable overall conservatism of Western Australia that a different view of personalities was taken. While making very good use of these ‘on-camera’ employees for their own station promotion, the ‘Star’ concept was usually discouraged. Coincidentally, the back-page photograph this year was of technicians in the Telecine Department. The use of this photograph was intended to convey to the shareholders that TVW7 was constantly upgrading its technical facilities and the picture of a ‘huge film projection unit’ was meant to impress the beholder with this fact.

Net profit for the year had increased to £173,439 plus profit brought forward of £14,790 and overprovision for tax 61/62 of P£5,426. An interim dividend of 7.5% was paid on 6 March 1963, £50,000 was retained for General Reserve and the balance of £79,733 was appropriated for a final dividend of 12.5%, an annual return to shareholders of 20%. This was an excellent dividend for those who bought the original shares at their par value of ten shillings but it should be looked at in the light of TVW7 shares being valued at 34/- on the Stock Exchange. At that time the Commercial Bank of Australasia was offering 4.25% interest on money invested for 19 to 24 months. The Western Australian finance firm Norman L Payton was offering 8% at 7 days call. Such good results ensured that there was fiscal provision for televised content which contributed to the wider community. .

In 1964 the staid look of the Directors’ Report was changed to show a photograph of ‘TVW produces a Hootenanny’, and on the second page the ‘TVW News prepares for an assignment’ and ‘Art Linkletter and Lloyd Lawson’ photographs. Linkletter was a high-profile American television personality and one of his shows Kids Say The Darndest Things was shown on TVW7. He had extensive investments in the agricultural development at Esperance and visited Western Australia several times. A one-hour live production entitled Invitation to The Dance was sold to Melbourne and Sydney. The Station’s News Department won the Television Society Award for its ‘…on the spot coverage of the events surrounding the Robinson murder case.’ The Channel introduced a claimed first in electing a female newsreader to present a lunch-time news session. There were two pages of photographs at the back of the report. ‘Miss Googie Withers and Keith Michell talk with Hew Roberts; Captain Jim aboard his “ship” ’; ‘Carolyn talks with the children’; ‘Newsreader Pam Leuba awaits her cue’; ‘Crane camera shot during Invitation To The Dance’ and ‘Scene from dream sequence in Nutcracker Suite’. Sir James Cruthers explained that the advent of a new commercial station in 1965 may have been an impetus to increased local production, but he was more inclined to think that the very good financial results being enjoyed by the station were responsible for pursuing the policy of ‘giving back to the community.’ TVW7 management already saw the importance and benefits of stressing their ‘local’ identity by promoting the local ‘live’ productions but not intentionally as vehicles for station ‘personalities’.

Directing money towards production did not pose any problem when the station showed a total profit for the year of £188,009, which provided another 20% return to investors and £54,873 transferred to General Reserve. In February it was announced by the Postmaster General that

Swan Television Limited had gained the second licence and would begin transmitting in June 1965. By now there were 110,000 television sets operating in roughly 75% of houses covered by transmissions. TVW7 was still telecasting 68 hours and the Anderson Analysis showed that they had 83.6% of the viewing audience.

There is a gap in the survey records until June 1964 but there was little change in results. By then the format had changed. A sampling of programs showed:

Ratings surveys showed that the TVW7 local ‘live’ program for women Televisit, shown mid-afternoon, attracted a modest viewing audience but it was considered to be a necessary service and part of community responsibility. It must be remembered that at that time there were not great numbers of women in the work-force. The provision of a television program which informed women in matters of education, health and family care, as well as general entertainment segments was reckoned to be part of the duty of a telecast licence holder. It would not have been a popular time-slot for advertising. The children’s ‘live’ which followed boosted the percentage of sets in operation by a factor of four, which would also have boosted revenue. Likewise, the late night Football Preview showed good viewing figures and there would have been no trouble in finding a willing main advertiser. For many years that sponsor was Walsh’s Clothing Stores. The dominance of parochialism (as contained in the viewing audience’s sense of proprietorship) demonstrated by Teenbeat the TVW7 local ‘live’ program for teenagers, which continued to attract four times as many viewers as its counterpart, the Sydney produced Six O’Clock Rock on ABC Television. The longevity of both programs is notable. In the case of the ABC program, Six O’Clock Rock survived locally in Western Australia because of national programming. With Teenbeat it was a simple matter of popularity. The performers were available to the local audience by way of concert performances and appearances in hotels. The legal drinking age was still 21 but acceptance and acknowledgement of this law was under threat. Younger viewers were part of the world-wide emancipation of teenagers, although it occurred a few years later in Western Australia than in the rest of the western world. TVW7 News, Weather and Sport were absolutely dominant over ABW2 and contained the maximum permissible amount of advertising.

With the prospect of competition in 1965, TVW7 maintained its self-promotion. ‘TVW invites Mavis Bramston to Perth’ was the picture on the front of this year’s report. The Mavis Branston Show was a Sydney program produced by Channel Ten. It contained satirical and risqué comment in sketches and songs, aimed at government and society in general. The ‘stars’ were Gordon Chater, June Salter, Carol Raye and Barry Creighton. The inside cover had three more photographs with the captions ‘This large set was built in Studio 1 for the TVW production THE GOOD OIL’ which was a musical play based on the discovery of that commodity at North-West Cape in 1953. It was written and produced by Coralie Condon TVW7’s un-named original Production Manager.‘Back in Perth on Holiday, Rolf Harris appears on TVW’ and ‘At a dinner in TVW’s Studio 1, Eric McKenzie talks with his son, Sportsman of The Year Graham McKenzie, in the West Indies’. Rolf Harris had enjoyed continued success on his return to London and Graham McKenzie was an international cricketer of high repute. Both were pioneers in the promotion of Western Australia on the world stage. The back page showed photographs entitled ‘Eartha Kitt appears on VIEWPOINT’ [a regular local feature with highly respected journalist, the late Syd Donovan as moderator] and ‘Bonanza star Lorne Greene visits Channel 7’. Both of these big stars had been visiting the Eastern States as part of promotional tours. TVW7 paid for them to make short trips to Perth. There was also a drawing of ‘TVW’s newest personality – Uncle Otto’, a cartoon character based on a television vacuum tube.

For their last year as a monopoly the Board reported a net profit of £231,197 and once again paid a total dividend for the year of 20%. By comparison Home Building Society was offering 4.25% interest on pass-book deposits; The Commonwealth Bank of Australia’s rate for 12 months fixed deposit was the same amount; Industrial Acceptance Corporation was advertising 5.75% for 12 months; Rural and Industries Bank’s rate was 4.5% for the same period and Esanda was offering 6% for a three year investment. On the Stock Market the shares of TVW7 were quoted at thirty shillings, while W.A. Newspapers Limited were thirty-three shillings and eight pence. £87,874 was transferred to general reserve. In November 1964 the Postmaster-General indicated that licences for two country areas would become available and TVW7 intended to make application for the one covering the Central Agricultural Area. The number of licensed sets had now risen to 120,000. A Staff Pension Scheme was inaugurated and an amount of £18,400 was contributed by the Company. Returns to the shareholders were described as being ‘more than satisfactory’ and whilst the Directors did not draw attention to the fact, the era of the monopoly was past.

In 1966, TVW7 was telecasting about 80 hours per week and more than 50% of programs were made in Australia. This appears to be at variance with the Eastern States experience, as Turner said, ‘In prime time up to 1963, virtually all program material was of foreign origin, of which 83 per cent was American and the rest British.’

Unfortunately, no breakdown of local ‘live’ production was given although the established pattern was evident by photographic representation of various activities in that field. The inside cover this year showed photographs of ‘Famous cricketers make a TVW Viewpoint From left: Mike Smith, Billy Griffiths, Richie Benaud and Sir Donald Bradman’; ‘Coles $6000 Quiz personalities Roland Strong and Beverley Robbins at TVW’ reflected the high ratings of this ‘imported’ production and ‘Billy Walker gets his 1965 Sandover Medal at TVW Studios’ Inside the back cover were two more photographs. One was ‘The Stock Exchange of Perth conducts a dummy decimal call at TVW7’s studios’ and the other ‘TVW’s new one-camera outside broadcast unit’. All of the photographs had an emphasis on local [Western Australian] production. An innovation of note was the provision of an Outside-Broadcast Van fitted with a portable videotape unit, ‘to be used for on-the-spot programmes and commercials.’ This was again an encouraging development for local ‘live’ production and a worthwhile investment. TVW7 ratings were excellent and there was plenty of money to spend without depriving the shareholders.

After one full year of competition the Channel 7 directors reported a net profit after tax of £300,928 plus £22,097 over-provision for taxation 1964-65. Once again they were in the position to pay a dividend of 20% and transfer £53,032 to general reserve. Comparative interest rates being offered were Mercantile Credits, 6.5% for twelve months. Treasury Notes for three months were paying 4.58%. On the Stock Exchange TVW Limited shares were $2.57 and W.A. Newspapers Limited were $3.22. The sound financial situation ensured a continuance of expenditure on local ‘live’ production. It was reported that although some income had been lost to STW9, this had been made up in part by a reduction in operating costs. The licence application for the central agricultural area was withdrawn as research had indicated that the potential income would not cover the costs. The number of licensed television sets was up by 30,000 for the year to 150,000, which meant that about 83% of homes in the TVW7 viewing area were so equipped. That meant that on any typical night of viewing approximately 76,500 Western Australian households would be watching TVW7. On 29 April 1966 the Board appointed Mr. J.W. Cruthers managing director of the company and Mr. B.S. Treasure was appointed General Manager. The latter was also proposed to be elected as a director of the company. By this time both men had built up substantial share-holdings. Cruthers was the absolute ‘boss’ and Treasure continued in his role controlling the area of advertising and outside expansion into various fields of private enterprise.

As noted by Tunstall every television station has an audience goal, which stressed raising the sales of total attending audience size. In the case of TVW7, as there was no commercial opposition for almost six years the audience did not have to be wooed nor won. However, the original commercial station had adopted the role of the caring parent, with a continuing policy of looking after their audience. It worked and the community responded by considering TVW7 to be then (and still in 2003 in the case of TVW7 News) ‘our station’.

With an estimate that there would be 50,000 sets in use after two years, the actual number was 70,000 and by 1965 when the second Western Australian commercial station went on-air the number had risen to 120,000. Prior to the introduction of STW9 the Anderson Analysis showed the TVW7 audience to be 83.6 % of the viewing public. Before the start of transmission by STW9 the feeling at that station was that the audience would begin to equalize after the new station had gained an advantage through novelty value. However this did not occur when STW Channel 9 went on air, 12 June 1965. One month later, ratings survey results were devastating for the new station. Despite the competition TVW7 maintained its commanding position.

Two months later the next survey from 8 – 21 September offered no more encouragement to the fledgling station, especially in the critical News area. The leading program was TVW7 News on Monday night, which attracted 50,000 viewers, 54% of the available audience.

Monday Average 13 & 20 Sept.

These results had an immediate effect upon local ‘live’ production at STW9. As a direct result of these ratings the Saturday afternoon teenage show Pad 9 hosted by Jeff Newman was cancelled, as was the adult satirical program All My Eye and Betty Martin Too, hosted by Buddy Clarke. Under The Coolabah Tree, a live production for children with a studio audience hosted by Peter Harries was struggling, but as production costs were minimal the weekly program survived.

Permanent staff ‘casualties’ included Margaret Hammond (Children’s and All My Eye cast); Bill Barber (floor manager) whose duties were allocated to the set-maker and painter Chaz Broughton; Walter Pym (live presenter and All My Eye cast member), Graham Bowra (live presenter)and George Manning (live presenter). Former administration secretary said that her worst experience was ‘Having to stay back on Friday nights to make out redundancy cheques for sacked TV personal, and the shock to their systems, as no warning was given.’ The rostered ‘on-air’ duties of these last three were then shared by the station’s news-reader Alan Graham, Jeff Newman and Peter Harries; The Production Manager Geoffrey Stephenson and his secretary Colleen McDougall were both dismissed as well as three cameramen. In all the staff of STW9 was reduced by about thirty to about eighty-five persons.

The first ‘operating year’ Annual report of Swan Television Limited in 1966 was a glossy quarto booklet featuring on the front cover a photograph of the daily Channel Niners Club. Wednesday being ‘dress-up’ day for the cast and the sixty children who comprised the studio audience, they were dressed in Japanese costume. The participants were musician Peter Piccini, Veronica Overton, Station News-reader Alan Graham (Useless Eustace) host Peter Harries, Pixie Hale and RonBlaskett with ventriloquist doll Gerry Gee. Cameramen Bob Finkle and Kevin Mohen were also in the photo with Floor Manager Chaz Broughton. The back cover had three photographs. ‘Jeff Newman – Star of the “Jeff Newman Show”, Ron Blaskett and Gerry Gee in “The Channel Niners” and “Peter Harries Channel Niners Compere and Veronica Overton in a scene from the pantomime “The Golden Hind” ’. In 1966 STW9 became BIG CHIEF CHANNEL NINE. All logos were adorned with a feathered head-dress. It was a bit of fun, but after a particularly bad Ratings Survey for STW9, TVW7 Management took out a full-page advertisement that stated HOW THE WEST WAS WON! It showed dozens of ‘dead’ 9s complete with feathers, pierced with ‘7’ shaped arrows. The head-dress disappeared!

Despite claims that STW9 was operating in a ‘loss’ situation, in this period the station Manager Bob Mercer was optimistic that there would be a sudden turn-around in rating survey results. He had a liking for ‘show business’ and on many occasions I was summoned to the Boardroom to participate in some liquid refreshment and entertain the ‘boss’ and his guests, playing the piano and singing. In the early days Mercer was at times keen to promote its local personalities and ‘live’ productions. In 1965 TV Times said that ‘Peter Harries was working under the watchful eye of his personal manager Bob Mercer and could be the next international star to emerge from Western Australia’, but at a later time he distanced himself from any such intentions or likelihood. In 1967 there was talk of a special ‘personal’ caravan for Jeff Newman and once again promised ‘stardom’ akin to that experienced by Melbourne’s Graham Kennedy. It remained as only talk! ‘Stars’ of television, or ‘personalities’ as they were known, were at the time more than ‘celebrities’, ‘…the objects of an interest over which they have no control.’ In 1969 I had enough self-control to remove myself from a sphere which had, because of public pressure, become intolerable. Few others did!

The result for the twelve months for STW9 was a loss of $327,200 after providing $139,182 for depreciation. Company shares with a par value of one dollar were quoted on the Stock Market at $1.20. The Annual Report said that the directors considered ‘this result to be satisfactory for the first year of telecasting’ and that ‘the Station’s share of the estimated State Television Revenue increased significantly during the year. The Industry revenue growth rate in Western Australia was also most encouraging and it is anticipated that this trend will continue during the current financial year.’ The Chairman (Dennis M. Cullity) recorded his appreciation for the enthusiasm and interest shown by ‘…the General Manager, Mr. R.J. Mercer, and Staff,…’ It was noted that of a ‘…total of 2,000 shareholders, 1962 resided in Western Australia, 34 in the Eastern States and 8 overseas.’ Despite the shaky start, there was a general air of enthusiasm and optimism throughout the whole station building and there was a strong sense that it would be only a short time before the viewing public realised what a great alternative the new station was offering. This view was strongly expressed in the Chairman’s 1966 report,

Channel Nine continues to provide a comprehensive range of programme material. Favourable comment on the programmes has been received from many viewers while

growing support is being registered by the younger age groups for the children’s programmes and teenage series. The Station is currently transmitting an average of 78 hours per week and an increasing proportion of the Station’s telecasting consists of Australian programmes. It is considered that the increase of approximately 15% in licensed sets in Western Australia during the year is largely attributable to the advent of Channel Nine and the wider choice of programmes now available to viewers.

The 1966 STW9 Balance Sheet showed:

The first Anderson Analysis of 1966 showed that the Top Ten rating programs were all on TVW7.

[The variance in percentages to people depended upon total audience]

Apart from News these were all imported programs and predominantly sourced from the United States of America.

In 1966 (having existed in the Eastern States since 1957) there were two systems of ratings in Australia. They were the Anderson Analysis and McNair TV Audience Surveys Pty. Ltd., of 40 Miller Street North Sydney. The latter produced a list of the leading twenty programs which was at variance with the Anderson Analysis which examined ten programs.

All programs not designated were those of TVW7. The highest rating show was BP Pick A Box produced in Sydney and headed by ex-American comic Bob Dyer who had made the successful transition from radio to television. A situation-comedy produced in Sydney, My Name’s McGooley starring Gordon Chater and John Meillon provided a welcome representation for the struggling STW9. Showcase was still doing well and the new station had success with a Sunday movie and a new American series in the James Bond genre, The Man From Uncle.

STW9 Rating Success for Local Production:

One surprise at No 20, was a local production featuring the folk-singing group ‘The Twilighters’, female folk-singer Patsie Biscoe and Peter Harries compering as Entertainment Host. [I still use that appellation thirty-seven years later.] This program was the only example of local ‘live’ to get into the Top Twenty. The success of this particular program illustrates that the viewing public was not unaware of the programs offered by STW9. The press advertising and station promotion resulted in the ratings support. Because ‘The Twilighters’ were Western Australian with a big following, the same phenomenon which successfully rated Showcase was evident. In this case the television viewing community recognised that the program was local content. The viewer would not be able to differentiate between ‘live’ and ‘taped’. The figures showed that in a majority of instances, after choosing to view certain specific programs, the audience returned to TVW7 offerings.

TVW7 still mounted a daily Childrens Channel Seven ‘live’ show with Captain Jim Atkinson, Taffy the Lion and Seaman O’Dougherty. They had a daily studio audience of about 60 children as did STW9.

Children’s Channel Seven: Cartoons and Films with live links and studio

audience 20,21,23,24,33,32,35,35,20,17,17,20,20,28,27,29,30

Peter Harries Presents: Live linking of Cartoons and Films with The Channel Niners Club and studio audience 19,19,19,21,21,21,21,21,18,22,20,16,16,-17,18,16,19

This survey showed an improvement of the figures for STW9’s afternoon programs. The above figures represent quarter hour breakdowns with closely contested first and third hours. However, whereas the STW9 results remain constant for about three hours for no apparent reason, the second and fourth hours both showed big increases in TVW7’s viewing audience.

In terms of photographic station promotion in the Ninth Directors’ Report TVW7 1967

the majority of attention was still focussed on local ‘live’ production. The front and inside cover depicted a close-up of TVW7 News Cameraman Dave Gordon, ‘Tommy Hanlon takes part in TVW’s seventh anniversary programme’, ‘Miss Claire, compere of TVW’s kindergarten programme Romper Room’ and ‘Beauty and The Beast panellist Maggie Tabberer receives a warm welcome at Perth Airport.’ Sometimes ‘Bad Boy’ Bon Maguire, the advertising ‘face’ of Tom the Cheap Grocer , [who dressed as a convict character, much the same as the present day W.A. Salvage character Luigi Savadamony.] met her but was not named in the caption. The back cover had photographs of ‘Children’s Channel 7 compere Taffy The Lion with several small Taffys.’ and ‘cameras close in on a performer during production of TVW’s teenage programme Club Seventeen’

Shareholders would have been elated to learn that the net profit for the year after providing for income tax and working expenses was $452,061 plus $2,143 for over-provision of 1965/66 tax. Of this amount the Directors paid a dividend of 20% after providing $10,000 for long service leave and placing an amount of $174,211 into General Reserve. At that time Custom Credit was offering 7.5% for a five year investment; Industrial Acceptance Corporation 6% for twelve months; Payton Finance was still offering 8% at 7 days call; Home Building Society 6.5% for 24 months and Perth Building Society 5.5% for 12 Months. TVW Limited shares were $3.90 and W.A. Newspapers Limited shares were $3.52. Bearing in mind that the parent company shares had a par value of $2, the television venture was showing a superior return.

There was an important development in October 1966 when TVW7 proposed to the Australian Broadcasting Control Board that it be permitted to establish commercial package stations at Kalgoorlie and Geraldton on the basis that neither would constitute a second licence under the provisions of the Broadcasting and Television Act. The Control Board would not accept that provision and the proposal was allowed to lapse. The motivation for the application came from West Australian Newspapers Limited boss James Macartney. He was interested in providing the television services because of traditional attitudes to looking after country Western Australia. Fear of the ‘new’ commercial station was not a consideration. The number of TV sets licensed in Western Australia had increased to 158,000 and the first country station BTW3 had started up in Bunbury in 1967 under the direction of ex-American business entrepreneur Jack Bendat. This did not cause TVW7 Directors any concern as ‘…about 145,000 of the sets licensed in WA can receive TVW7.’ TVW7 was telecasting for 90 hours per week and acknowledged a 60/40 split of the commercial viewing audience in that station’s favour. One respondent alleged that Cruthers had said that he would be happy with such a result and strove to maintain that imbalance for many years. Cruthers himself said that his intention was always to remain ahead by the greatest possible margin.

This Report contained a current breakdown of Company assets. These figures are of course based on methods of accounting for taxation purposes. Whereas full benefits for depreciation had been claimed, in actuality the investment in both building and equipment remained as tangible assets.

The third Annual Directors’ Report STW9 Limited 1967 reported that the station was transmitting an average of 85 hour per week and was fulfilling its obligations to Australian content. STW9 had continued to provide opportunities for local ‘live’ programming with beneficial results to local artists and sponsors had been supportive. Although not supported by ratings surveys it was stated that [STW] ‘News Service has continued to receive favourable comment.’ There was no qualification of this statement and it might have come from a remark made in the Press or just been concocted. News-readers Lloyd Lawson and Peter Dean at the News-desk graced the cover. Photographs of Station personalities were used to illustrate the inner pages including ‘Keith Smith and Perth Friend in “the Pied Piper” and ‘Lloyd Lawson and Veronica Overton meet a contestant in “The Money Machine”. A photo of the STW9 News-van in operation at Perth Airport adorned the back cover. An acknowledgement was given to Station Graphic Artist George Liddle and Station Photographer Michael Goodall for their work in compiling the report. This can be interpreted as gratuitous reward – acceptable, but easy to bestow as it costs nothing.

The Chairman announced STW9’s first profit of $12,783 after providing $144,093 for depreciation. There was still no dividend and the Company shares were selling for $1.60. Although the close-knit circle of owner/investors would have preferred a return on their investments, there was now confidence that the company’s financial situation would continue to improve. It was noted that there was difficulty in procuring suitable programs and there was an upward trend of expenses. Licensed TV sets were up 11% to 159,000. This was in no small way attributable to the introduction of ‘choice’ which came with the second commercial station.

The third ratings of 1967 produce a slightly better result for STW9 when the Showcase ’67 program, produced in Melbourne by Crawford Productions [Producer Natalie Raine] appeared at No. 5. Another Crawford production, Homicide [ a cops and robbers series] on TVW7 was No. 1.

Showcase went to air at 7.30 p.m. on Monday evenings against Voyage to the Bottom of the Sea on TVW7 which rated 27-28 and The Magic of Music or Eric Sykes on ABW2 which rated 14-15. This indicated that the public was totally aware of the newcomer but as soon as Showcase had ended, many switched back to TVW7. By the next ratings period Showcase had risen to No.4 with 41% of the audience at 164,000. STW9 now had two programs with The Andy Griffith Show at No.10 with 37% audience. Once again the other nine programs were all on TVW7. The final ratings for 1967 showed that STW9’s Showcase was No.1 with 46%. It was a particularly well produced show with the best that Australia had to offer by way of singers, dancers and novelty acts and always had one act from Western Australia. This essence of representing ‘localism’ contributed to the program’s popularity. However, STW9 management could not work out why the viewers did not stay tuned for following programs. The McNair Television Audience Survey of 1967 showed the twenty top programs as being,

With In Perth Tonight rating very well and appearing in the Top Twenty, STW9 ventured into world of local ‘live’ studio production with a ‘Tonight’ styled variety program, The Jeff Newman Show. It was aired at 9.30 p.m. on Thursdays for about four months. It featured pianist/arranger Peter Piccini with a four piece band, ‘advertainment’ segments, local guest artists and studio audience participation. The show made great use of station personalities Veronica Overton, Lloyd Lawson and Peter Dean who appeared in situation sketches produced by Denzil Howson. The notable exception was myself, as I ‘spat the dummy’ refusing to appear, considering that I should have been the co-host of an extended version of Shoes and Ships and Sealing Wax, the afternoon program which I had formerly been conducting with Newman. The Anderson Analysis for 9-29 August showed the quarter hour breakdown of the Jeff Newman Show to be 17,16,13,12,9,7 against movies on TVW7 which showed figures of 30,29,25,24,24,16. One of the movies was The Old Man of The Sea with Spencer Tracey. ABW2 showed My Brother Jack for a rating of 7,6 and Z-Cars for 5,5,3,1. A ‘running sheet’ of The Jeff Newman Show is included in the Appendices. The Jeff Newman Show was produced by Ron Blaskett and amounted to being not much more than an evening version of The Channel Niners Club. The budget was restricted to $800 per show. A kinescope copy of the Jeff Newman Show indicates that after about three months there was only one sponsor, Tom the Cheap Grocer. Lack of advertising income forced the cancellation of the program after about four months.

Early in August 1967, the Production Manager at STW9 Denzil Howson instructed me to produce and host a ‘pilot’ program not to exceed $500 in costs, to be aired at 9.30 p.m. on Tuesday nights. The budget included provision for studio crew wages, lighting costs, musicians, guests, design and construction of sets. I employed three friends in pianist Terry Ingram, bass-player Brian Bursey and drummer Bill Tattersall at minimal cost; ‘conned’ other entertainment associates into performing with promises of ‘stardom’ and greater things to come; ‘scrounged’ prizes for competitions from potential advertisers and with the aid of other STW9 personalities including Jeff Newman (to do voice-over announcements) announcer Peter Dean and News Editor Terry Spence (panellists on a ‘Who Am I?’ segment, to find out by twenty questions the identity of a visiting celebrity). Sunday Times journalist Peter Finn provided an ironic comment on three items of public interest. He later went on to become a leading News reporter for TVW7. On 17 August 1967 the ‘pilot’ was video-taped. It was accepted for transmission, but then along with the Jeff Newman Show, the program was ‘canned’. The reason was given as ‘financial losses’ but the next Annual Report does not support this as the station made a profit. It is more likely that the concept of Community Responsibility in providing local ‘live’ productions was beaten by the Ratings Survey evidence recorded above, that cheaper to buy, older American films would rate just as well.

In 1967, Swan Television recorded the status of assets as:

In the Tenth Directors’ Report TVW7 1968 the importance of local ‘live’ was again acknowledged in photographs. The cover depicted the studios of TVW7 much the same as they are today and within the booklet pictures of ‘Humphrey B. Bear and Taffy the Lion visit the South Perth Zoo’ and ‘During a Perth visit, Ena Sharples [British Actress] calls at another Coronation Street’. Back cover pictures were ‘Walsh’s Miss West Coast 1968 finalists parading through the city’, ‘Caltex Sports Star of the Year award winner, Miss Lynne Watson, at Channel 7’s studios.’ And ‘Rothman’s State Manager, E.Burgoyne presents a TVW film of last year’s football grand final to WANFL President K. Miller’.

The Company had another good financial year and paid another two dividends totalling 20% to the shareholders as well as retaining $5,000 for long service leave and $169,191 for General Reserve. Comparative investment rates were Perth Building Society 6% for 12 months; Home Building Society 5% for pass-book savings and The W.A. Building Society was paying 4.5%.TVW Limited shares had risen to $6.10 and W.A. Newspapers Limited were $4.30. Although expenditure rose, so did profit to $498,183. During the year the studio buildings were enlarged to provide a separate studio for news telecasts, a new master control area, additional outside broadcast equipment storage and a larger staff cafeteria. ‘Technical facilities have been improved by the installation of telecine, videotape and switching equipment designed for semi-automated operation. Transmitter remote control equipment is being installed to release operational staff for other duties.’ Continued expansion meant that there were requirements for additional studio staff and advances in technology had not yet led to redundancy.

The company offered to purchase all of the issued shares in the Whitford Broadcasting Network which included 6PM Perth, 6AM Northam, 6KG Kalgoorlie and a controlling interest in 6GE Geraldton. The deal was pending approval from the Postmaster-General. Licensed sets were now 170,000 and it was estimated that 89% of homes in the TVW7 viewing area had T.V. The transmission time was 90 hours per week and they claimed a 50% Australian content.

Local ‘live’ production was ignored in a more frugal edition of the Fourth Annual Directors’ Report STW9 Limited 1968. Restriction of expenditure on local ‘live’ became more evident with a reduction in the content of local product, although Children’s and Women’s areas survived. Expenditure had been reigned in and it was disclosed that the result for the year was ‘pleasing’. This pleasure would have been mainly enjoyed by the shareholders as the Production staff had become more pessimistic regarding the future. The station’s graphic artist saw more opportunity for advancement and resigned to take a position at the ABC station ABW2.

In the third year of operation the STW9 had made a net profit of $327,200 after providing $139,182 for depreciation. The Station’s share of the estimated State Television Revenue increased significantly during the year and ‘Industry revenue growth was expected to continue to grow in the following year, reflecting the generally buoyant conditions of the State.’ Swan TV shares were now priced at $2.23.

The claim was that STW9’s share of the market was improving and an independent survey in April/May showed that ‘…91.2% of all television families in the viewing area saw one or more programmes on Channel 9.’ This claim was arrived at by a detailed examination of the ratings figures which gave the individual percentage of viewers (by station designation) for each time zone and program. STW9 was transmitting for an average of 87 hours per week and claimed to be using 50% Australian content including “Showcase”, “Skippy”, “Pied Piper”, “Blind Date” and “Hunter”. Unfortunately these programmes were all produced in the Eastern States.

The prospect of colour television was already occupying the thoughts of management and it was recorded that the Post-Master General had implied that plenty of warning would be given for that change-over. The Station was making contingency plans for this happening. This was by way of overseas investigation of equipment and operational procedures, as well as budgetary considerations.

The McNair TV Audience Survey Perth No.1 May 1968 saw Children’s Channel Seven still leading The Channel Niner’s Club 19,19 to 7,8, with ABW2 Cartoons and Adventure Island matching the latter with ratings of 7,8. In the 5.30 p.m. spot STW9’s Sydney produced game show Blind Date with Graham Webb was showing 20,19 to Sword of Freedom on TVW7 with 20,19. Hey! Presto It’s Rolf on ABW2 was performing creditably with 10,19. On some nights the latter program was dominant with 23. On Saturday afternoons from 2-6 p.m. the figures showed:

These figures were almost disastrous for the future of STW9 and certainly meant that apart from maintaining a presence in the children’s afternoon time-spots, there would be no money available for other local ‘live’ programming. The most unusual outcome of this survey was that ABW2 had No.1 on the Top Twenty with the British comedy Till Death Us Do Part on Monday night scoring 43% of TV Homes,

The acceptance of local ‘live’ programs which appeared on TVW7 was again demonstrated when the Coralie Condon produced talent quest Reach For The Stars was equal Number 13 reaching a high percentage of the advertising-ratings public. The executives at STW9 could only scratch their heads and wonder why? Once again the reason appeared to be that TVW7 was widely accepted as ‘our local station’. In the 4 p.m. timeslot Peter Harries Presents was showing 18 against Children’s Channel Seven with 25. Superman on TVW7 with 30 was beating Blind Date with 21.

Despite STW9 having eight of the Top Twenty in the McNair survey, the advertisers favoured the results produced by the Anderson Survey and this anomaly is discussed in Chapter Nine. By June 1968, the Anderson Survey showed that Showcase was once again the only STW9 program in the Top Ten. It was running No.7 with 35% and 128,000 viewers. By survey No.4 it had disappeared from the Top Ten. leaving the field to TVW7. Survey No.5 saw the return of STW9’s Mission Impossible to No.5 with 35% and 132,000 viewers.

Local ‘live’ was still of paramount interest at TVW7 as evidenced by the Eleventh Directors’ Report TVW7. For the first time the front cover bore a full-page colour photograph. This was a foretaste of things to come, when Australian television would change from monochrome to colour in 1975. The photograph was of the first Telethon with presenter Gary Meadows at the anchor-desk. The inside cover depicted ‘Car No 12, the TVW-Daily News entry, which finished 11^th in the London-Sydney car rally’; Garry Meadows with Miss West Coast 1969 finalists.’ and ‘A high camera pictures some of the 10,000 people who attended a charity day at the TVW studios in March.’ The back inside cover showed a picture of rock-star Johnny O’Keefe in the Telethon phone-room and another of the State Premier Sir David Brand, who was Telethon Patron, on-camera with O’Keefe, Graham Kennedy, Bobby Limb and Stuart Wagstaff. These photographs once again subtly (albeit very strongly) conveyed the impression that TVW7 was a supporter of events which openly displayed their commitment to Community Responsibility. The back cover showed American golfer Arnold Palmer ‘swinging’ at the TVW7 sponsored Australian Open Golf Championship at Karrinyup. It was recorded that this was the first time that this sponsorship had occurred. There were two photographs of the new master control and central technical area in Tuart Hill and the operating centre at Mount Goldsworthy. Compere Jeff Newman was shown with the St. Louis School team which won the first series of It’s Academic.

A major advance in ‘outside broadcasting’ occurred in June 1969 when TVW7 was commissioned to produce a record of the official opening of the $200 million iron ore development at Mt. Whaleback near the township of Mt. Newman. Chief Engineer John Quicke took a ten-man Outside Broadcast crew to the Pilbara and the project was recorded by director Keith McKenzie on videotape. The finished product was air freighted to Adelaide for transmission to Sydney by landline then sent to London, New York and Tokyo by satellite. In a rare display of joint co-operation between STW9 and TVW7, a local ‘wired’ television service was provided to the townspeople of Mount Goldsworthy. The content was provided on videotape by both stations for viewing throughout the company town. This was done at the request of the iron-ore mining company who paid for the infrastructure. It was the first example of ‘cable’ television in Australia.

Net profit was $499,506 after realisation of some investments for $64,679 and providing for income tax and working expenses. Shares prices were down a little on last year to $5.56. TVW7 transmission time was now up to 120 hours per week and there were 179,000 licensed TV sets in operation.

The Fifth Annual Directors’ Report STW9 Limited 1969 showed that there had been a return to local ‘live’ production, mainly through an association by Station Manager Bob Mercer with N.L.T. Productions from Sydney and the newly imported ‘personalities’ were given prominence. The back cover of the Annual Report was entitled 9’s “Live” Highlights and were photographs of ‘Don Spencer – from the “Tonight” show.’, “Bruce Allan doing his famous mime act’, ‘Veronica Overton and Tim Connor – “Today” and “Anything Goes” shows’, and ‘A winner with the compere and panel from “Spotlight” ’. A further analysis of these programs is given following the Ratings Survey results for this period.

Although a net profit of $170,186 came from the fourth year after depreciating $164,069 (up only $34,023 on 1968) the directors held back on a dividend until the accumulated loss had been wiped out. Swan TV shares were recorded as Last Sale 54cents. Lack of returns meant an unwillingness by investors to support the Company.

In 1969 the Program Manager Tom Warne and the Chief Engineer Tom Provan were sent on an investigative trip overseas to investigate colour television. It was noted the Commonwealth Government considered that the enormous expense of conversion ‘…should not be imposed on the Australian economy.’ At that time the executive make-up of STW9 was,

By April 1969 the McNair Survey Top Twenty was,

This was a bad result for STW9 with rating Showcase badly and only one other program represented in the Top Twenty. Local ‘live’ production was still doing well at TVW7 with talent quest Perth’s New Faces at Number 5 and It’s Academic at Number 6.

In 1969 during a three week tour of India I filmed (in black and white, colour being too expensive) enough material to produce a one-hour studio recorded program called Magic Carpet which I scripted, produced, narrated and presented. Although it received very good newspaper critiques, station management could not see their way clear to finance a series of such programs. They were of the opinion that it was too much like the James Fitzpatrick cinema travelogues. Today of course, such programs are featured on all commercial channels but are mainly produced in the Eastern States. It was a case of ‘Experimental programming, when it exists, is relegated to educational departments which we know are little regarded by general management.’ As a result of this decision (and being co-opted to NLT Productions to help produce the Tonight programs) I terminated my full-time employment with STW9 but continued to appear in various local ‘live’ productions thereafter, including a Welcome to 1970 filmed in La Tenda Nightclub, Victoria Park.

The 1969 Anderson results for STW9 were much the same, with only one of their programs appearing in the Top Ten.

As noted earlier, a galling part of these figures for STW9 was the fact that New Faces, a local talent search program at 5.30 p.m. on Sundays was being produced by Jeff Newman who resigned from STW9 in September after being replaced as host of his own show by Peter Dean. To make things worse, he was the presenter of the new high ranking High School Quiz Program It’s Academic on TVW7.

In an attempt to change their fortunes, STW9 General Manager Bob Mercer invited the Sydney production firm N.L.T., to produce two Tonight shows and a talent show with the generic name Spotlight on a weekly contract basis. The Executive Producer was Peter Benardos, who returned to Sydney and three years later produced ‘Cash-Harmon’s ‘sex serial’ Number 96 made for Ten in 1972’ The first of these rated (on a quarter hour basis) 17,18,18,17,16,13 against TVW7’s Ragtrade 29,20 and Close-Up 15,10,6,5; ABW2 showed Review and F.A. Cup for 14,13,9,7,6,6. The following week saw Tonight with 26,26,24,24,23,24, pitted against The Academy Awards on TVW7 with 42,441,42,45,33,31,31. TVW7’s local talent quest Reach For The Stars rated 29 in its early Thursday evening spot. Spotlight which went to air on Sunday evenings rated 20 as compared to TVW7’s Perth’s New Faces at 38.

The following survey saw STW9 un-represented in the Top Ten. TVW7 had another huge winner in the locally produced (by Max Bostock) Spellbound starring Western Australian born stage hypnotist Martin St. James. With a studio audience and some willing participants, it rated No.2 with 48% and 175,000 viewers. Perth’s New Faces with 41 and It’s Academic with 37 were still strong at Nos.4 and 9 and 200,000 and 159,00 viewers. Spotlight was performing creditably with 29,29,27,27. STW9 tried a 7 a.m. breakfast program called Today (compered by Tim Connor, an Irish comedian) which did best figures of 5,6 against Earlybirds, a hosted cartoon parade aimed at children with 9,10. By the following survey in Sept/Oct., these programs were only being shown on Saturday mornings and Earlybirds was supreme at 8,10 against Today’s 1,1. In the afternoon slots for children TVW7 were showing Broken Arrow, 11,12, Bugs Bunny 14,17, Superman 18,21 and McHale’s Navy 21 repeats against STW9’s Bomba the Jungle Boy, 6,6, Top Cat, 5,7, Blind Date (a game show from Sydney) 12,13. ABW2 had Adventure Island and Playschool 4,5, Kimba the White Lion, and Forest Rangers 5,5.

By the first survey of 1970, daily studio production of both Children’s Channel Seven and The Channel Niner’s Club had stopped although the session still carried those designations. This was caused because, for the first time, it cost more to produce local ‘live’ than it did to purchase from interstate and overseas. As well, the ratings demonstrated that children were choosing to watch the imported programs. This can be seen as a greater degree of sophistication amongst viewers, produced by them having had five years of choice and exposure to programs that were previously ‘put to air’ during adult viewing times. TVW7 News at 6.30 p.m., was still leading with top figures of 33 against STW9’s 27 at 6 p.m. ABW2 was doing 23 at 7 p.m., followed by This Day Tonight (locally produced) at 7.30 p.m., with figures of 22,21. The McNair Television Audience Survey was still being conducted and their comparative leading programs list numbered twenty. If anything, in this period it consolidated the accuracy of the Anderson Survey.

It was a case of ‘no contest’ when STW9’s new Spotlight rated 24,24,23,23 against TVW7’s Disneyland with 54,54,53,54. It was not that Perth audiences didn’t like talent quests, as the program before Disneyland was local ‘live’ Perth’s New Faces which rated 46,47. TVW7’s self-claimed position of being the Local Station was still proving to be un-assailable. However, the same survey conducted for July/August 1969 threw up some anomalies, particularly regarding ABW2 with their This Day Tonight and News. Coming in at Number 11 and watched by 32% of available homes it surprised the commercial station managements.

In the following survey, the hypnotism phenomenon Spellbound rated 58,59,58,57,40 against Tonight with 12,14,13,12,12,14. The next McNair Survey for Feb/March 1970 still showed ABW2 News at No.8 with 31% of TV Homes watching. This Day Tonight was also strong with 26%. STW9 Sunday Movie was No.9 with 28%, Showcase was No.16 with 25% and Julia on TVW7 was No.18 with 23%.

STW9 and ABW2 both had only one representation. However, the previous Anderson Analysis 6-26 May and 3-9 June 1970 showed a clean sweep of the Top Ten by TVW7, and 14 Oct-10 Nov. period was no different.

The Twelfth Directors’ Report TVW7 1970 recorded the ‘birth’ of a new Station mascot. With the ‘retirement’ of Taffy the Lion, James Cruthers ordered a new ‘animal’ to be created. He stipulated that it must not talk and its face had to be part of the costume. This was to obviate the degree of leverage that a ‘live’ faced animal could exert in regard to continuity of employment. James Cruthers said that Taffy the Lion was the only ‘personality’ who ever gave him any trouble. The character had adopted the attitude that he was indispensable and would be not removable due to his high public profile. This demeanour and demands for greater remuneration brought about his demise. The new ‘animal’ was Fat Cat and it was soon joined by Percy Penguin, originally played by dancer Kevan Johnston. Fat Cat’s photograph with a large TVW7 pedestal camera occupied a full page, whilst the back cover advertised ‘DEPARTMENTS star Peter Wyngarde at the studios with Peta Maitland, Miss Australian Beach Girl for 1970.’, ‘Garry Meadows looks on apprehensively as Graham Kennedy judges PERTH’S NEW FACES’ and ‘Maggie Tabberer with Channel 7 compere Jeff Newman’. Rolf Harris who was the original producer and compere of Children’s Channel Seven revisited the studios and his photograph appeared on the page which recorded the directors and executives of the Station as being,

The Directors reported a net profit of $841,024 (including realisation of investments and all working expenses) and subsequently contributed $11,000 to the TVW Staff Benefit Fund. A transfer from General Reserve saw the Station sitting on $1,255,991 out of which they paid a 20% dividend and transferred to Capital Reserve $900,000 and provided a further $5,000 for long service leave entitlements. At that time both Perth Building Society and W.A. Building Society were both offering 7% on cash deposits at call. The Bank of NSW was at 5% and Finance Corporation of Australia 8.5% for a 4 year investment. TVW Limited shares were quoted at $4.90 on the Stock Market.

The acquisition of all of the issued ordinary capital of West Australian Newspapers Limited by The Herald and Weekly Times Limited made it necessary for West Australian Newspapers Limited to substantially reduce its shareholding in TVW7 Limited in order to avoid contravening the ownership and control provision of the Broadcasting and Television Act. Herald and Weekly Times had a controlling interest in HSV7 in Melbourne. With the influence of James Macartney removed, this meant that the position of James Cruthers as ‘El Supremo’ of TVW7 was absolute. With the 45% holding formerly maintained by West Australian Newspapers spread throughout the shareholders of TVW Limited, this great local company was now totally independent of direction by any major shareholder.

A big event was the purchase of the licenses of 6IX, 6WB, 6MD and 6BY as of 1 July 1970 and that 6IX was to be moved to Tuart Hill. It was also noted that TVW7 had extended its activities during the year to other matters associated with entertainment. They were involved in theatrical productions, outdoor entertainment and sporting events, which all added to the Company’s income. The number of licensed TV sets was at 179,000. The appropriate persons were studying an eventual transition to colour but it was not considered imminent. The Channel was now transmitting for 104 hours per week with Australian content at 50% and the claim was made that Channel Seven News and Weather at 6.30 p.m. ranked fourth among all programmes and was a clear leader over its opposition.

In the Sixth Annual Directors’ Report STW9 Limited 1970, once again pictorial content stressed the station’s involvement in local ‘live’ production. The back cover pictures were ‘Tony Howes, Jenny Clemesha and Kingsley Koala [STW9’s answer to Fat Cat] at Princess Margaret Hospital’; ‘Clive Robertson’; ‘Barry Crocker being interviewed on Woman’s World by Jenny and John’; ‘Recording ‘Spotlight’ Studio ‘C’; ‘Graham Webb Compere of Spotlight’ and ‘Ray Victor and Renee Piazza’, an American couple originally brought to Perth at my instigation for La Tenda Night Club.

This report brought some joy with a ‘maiden’ dividend for STW9 Shareholders:

Profit for the year was $142,751 (170,186) after providing $179,619 (164,069) for depreciation. Excess provision for cost of $30,492 from previous years was written back making $173,243 available for appropriation. Allowing $128,000 for dividend, the balance of $45,243 has been used to reduce the accumulated loss to $19,329. No provision for income tax was necessary…Your directors recommend the payment of a maiden dividend of 8% to $128,000 payable on 16^th October.

Swan Television Limited shares were quoted on the Stock Market at $1.96. Sales revenues had increased but higher costs offset this. Major items of equipment purchased included a microwave link system and another videotape machine, capable of handling transition to colour. In February the General Manager Bob Mercer was given the sack although the report said that ‘… [he] resigned and went into business on his own account.’

L.J. Kiernan was appointed Chief Executive and the Board was very complimentary of Mercer’s ‘untiring efforts on behalf of the Company during a vital stage of its development.’ Laurie Kiernan was the head of a very successful transport business and had taken shares in STW9 at the request of Dennis Cullity. They had been individually the Head Prefects of Guildford Grammar School and Aquinas College at the same time. With the fortunes of STW9 still not rising enough for the satisfaction of the Board of Directors, Cullity asked Kiernan to take a job riding shot-gun as Resident Director. Eventually Bob Mercer was replaced by Kiernan as Executive Director a title which he did not like and changed it to Managing Director and Chief Executive.

When questioned regarding the state of STW9 when the changeover happened, Kiernan said,

Peter it was a mess! I don’t want to go into details but financially it was a disaster! And I’d never been associated with anything that lost money. But, you know, in January you could lose a hundred to a hundred and fifty thousand dollars and as I say, I’d never been associated with a company that hadn’t made money.

Kiernan said that the arrangement with N.L.T. Productions was a disappointment ‘…as they didn’t deliver the people that they said they would and I had to terminate that…anyway I finished Neery up because it wasn’t working and we were paying a lot of money’ By his own admission Kiernan knew nothing about television generally, let alone local ‘live’ production. His intention was to make money and his special talent was in delegating authority. One such example was former General Manager of STW9 Bill Bowen who commenced his television career as a cameraman with ABN2 Sydney in 1956. He became Production Manager of NBN3 Newcastle. He had also done work for N.L.T. Productions in Sydney, producing The Don Lane Show, At Home With Hazel [Philips] and Dita Cobb. He was hired from there to be STW9 Production Manager at the beginning of 1969. One of his conditions was that he alone would hire and fire the Production Staff. Bowen’s first meeting with his new boss was embarrassing.

…so in waltzes Bob [Mercer] one day with this other guy in tow and says ‘I’d like you to meet Laurie Kiernan who’s our new director.’ And I said, ‘You can un-direct him Bob ’cause I told you I will hire the directors and you can un-hire him! You hired him and I told you not to and you can un-hire him!’ and Laurie sort of pulled himself up to his full six foot two and said, ‘Director of the Board!’ I said, ‘Oh! That’s different!’

The first McNair Survey for 1970 by total numbers of persons viewing gave TVW7 the first seven of the Top Twenty. Homicide was still on top with 156,000 viewers and a newcomer Greenacres was No.2 with 139,000 STW9’s Sunday Movie was at No.8 with 117,000 viewers, ABW2 News was at No.12 with 111,000 viewers. The Sydney produced Skippy was No.19 for STW9 with 91,000 viewers.

The McNair Survey of August 1970 credited only two programs to STW9. Skippy No.9 with 134,000 viewers and Hogan’s Heroes at No.18 with 117,000. The British comedy Steptoe and Son was holding No.13 with 122,000 viewers. The afternoons 4-6 p.m. showed some evenness.

For the first time, TVW7’s dominance in the children’s area was threatened. The time-slot 4.30 to 5.30 p.m. showed TVW7’s Children’s Channel Seven live studio production of Starnight trailing 12,13,13,14 to STW9’s Flipper at 11,12 and Land of The Giants 16,18 encroaching on the TVW7’s previous stranglehold. In 1970/71 children under the age of 15 years represented 30.28% of the population in W.A. They were selecting the imported American shows against the local ‘live’ programs, indicating that the entrenched position of TVW7 was starting to break down due to the passage of time. ABW2 trailed with Playschool, Adventure Island and Space Patrol all rated 2. A precursor to eventual change was that the STW9 News was now rating well with 24,25 against TVW7’s The Rifleman at 21,23. This provided a good springboard for the programs which followed, I Dream of Jeannie with 20,21 and H.R. Puff’n’Stuff with 24,25. However, they were eclipsed by TVW7 News 34,34 and Pick-a Box with 34,33.

Conclusion:

This chapter has provided the framework for comparison of the correlation of programs (both local ‘live’ and imported) with audience acceptance through the ratings system and financial returns to the two television companies. It has shown that STW9 had high hopes of immediate success, which did not happen. They had to overcome the engendered acceptance of TVW7 as being the ‘local’ station. By the end of 1970 this handicap was starting to weaken.

During the period 1958 to 1970, TVW7 was successfully established by management’s careful attention to promoting a community feeling that this television outlet was indeed ‘their’ station. One of the most important aspects of this policy was the instigation of a highly successful annual Telethon which management cleverly tied to the future fortunes of the State’s specialising Children’s Hospital.

In 1965 STW9 established competition, but endured several years of financial loss and although they enjoyed some individual successes, they failed to catch up on TVW7 in the Audience Ratings Surveys. During the first few years at STW9, financial structures brought about regular cutting to the Production Department and local ‘live’ programs. In 1968, the first indications of a change-over to colour television were recorded by Station Management. A major change during this period ending in 1970 was the cessation of both daily ‘live’ children’s shows with studio audiences and regular studio produced women’s programs. It was not until that year that STW9 returned a dividend to shareholders.

Peter Harries March 2004

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This page forms part of Dr Peter Harries’ first PhD thesis submission entitled: “From Local ‘Live’ Production Houses to Relay Stations: A History of Commercial Television in Perth, Western Australia 1958-1990″. This contained much additional material.

Chapter Eight:

The Main Event – Round Two – 1971-1980:

Introduction:

This chapter continues where Chapter Two concluded and includes the period 1971- 1980. It continues the story of The Main Event, showing how the impediment was eventually overcome and virtual parity between TVW7 and STW9 was finally achieved.

Once again the chapter correlates the relationship between Local ‘Live’ Production, Station Finances and Audience Survey Ratings. 1971 to 1980 were arguably the best years for local production, both in the studio and in the field. TVW7 and STW9 were both enjoying good financial returns and this was reflected in the amount of money available for local ‘live’ production. Ratings started to even out, so now, not only did Community Responsibility foster this area, but a spirit of true rivalry arose, with both commercials stations wanting to be ‘seen’ as the best. It should be remembered that while the reports and comments in the Ratings Surveys areas apply to the calendar year, those on local ‘live’ production taken from Annual Reports apply to the fiscal year. This places some of them in the six months previous to those examined from the ratings. During this period 1971-1980 both commercial stations would expand into business areas other than television and TVW7 would acquire the South Australian station SAS10.

A major innovation was the introduction by Federal Government regulation of a new Australian Content ‘Points’ System. Although designed to protect a substantial percentage of Australian content (dubbed ‘local’) in effect the regulations eventually worked to the detriment of the smaller populated States by bringing about cessation of regional local ‘live’ programming. Another major change to be examined in 1979 was in the area Children’s Television Regulation.

The most important single change to Australian television was to take place during the middle period of these years with the introduction of the colour system throughout the Commonwealth. The Federal Government had previously promised a lengthy run-up time to the changeover and eventually the announcement was made in 1972 of a commencement date approximately three years later.

It will be found that during the time-span covered by this chapter, both of the commercial television stations diversified into other business areas with generally beneficial results for the shareholders. Comparisons continue to be provided between monetary returns from television company investments and other forms of fiscal involvement.

The Thirteenth Directors’ Report TVW7 1971 reported that in association with Michael Edgely International Pty. Ltd., and Bullen Bros., TVW7 arranged to present Disney on Parade. As a promotional exercise Snow White together with Mickey Mouse, Goofy and Pluto were photographed at TVW7 studios. TVW7 was the major investor in The Nickel Queen, the first colour feature film to be produced in Western Australia. This was done in conjunction with a production company headed by British film personality John McCallum and featured his wife Googie Withers in the title role. They also invested in Napoleon Bonaparte, a colour television series being produced in South Australia. Bullen’s African Lion Safari Park was established at Wanneroo with TVW7 participating as a partner in the venture. Most of the wheeling and dealing in these ventures was done for TVW7 by Brian Treasure, whom station boss James Cruthers described in a complimentary manner as ‘the mouthpiece’

The annual net profit for TVW7 was $967,086, not as good as the previous year as it included realized investments of $343,790. Profit from 6IX rose and TVW7 acquired the issued shares in South Australian Telecasters which operated SAS10 in Adelaide. The reason for this expansion was to foil any attempt by Rupert Murdoch to acquire TVW7. Cruthers worked out that if TVW7 had control of a television licence in Adelaide, then Murdoch would not be able to own TVW7 because of the Broadcasting Act 1942 rules which prevented control of more than one commercial television licence in Australia. Murdoch’s News Limited owned

Adelaide’s Channel Nine. SAS10 was owned by the Adelaide ‘Establishment’ referred to as ‘The Top Ten’ and although the station was said to be the most modern in Australia, it was at the bottom of the ratings share. The SAS10 Board headed by Moxham Simpson (Simpson washing machines) and a solicitor named Arnold Moulden were only to happy to recommend that control of the station pass to the Western Australian company. The takeover was completed after TVW had received acceptances for 96% of the SAS shares and compulsorily acquired the balance of the issued capital. The offer was one share in TVW Limited plus $5.60 in cash for every 15 shares in SAS. As a result, 199,289 ordinary $1 shares were issued to former SAS shareholders at a premium of $3.90, thereby increasing the issued and paid-up capital of the company to $1,549,257. This created a share premium account of $777,227. The cash consideration for an acquisition of the SAS shares, which amounted to $1,123,484, was financed from the proceeds of the sale of investments and by a fixed term loan from a merchant bank. The whole procedure only took between two and three months.

During the year the basis of accounting for television programmes for SAS10 was changed to bring it into line with the method used by the parent company. This increased the cost of television programmes written off during the year by $142,191.This abnormal item of expenditure had a material effect on the trading results of the subsidiary company, which otherwise would have achieved a profit of $111,822 for the full year. This figure compared with a profit of $66,284 for the previous year.

It was reported that the executive staff were to benefit from share grants. During the year ended June 1971 options in respect of 46,500 shares of TVW Limited were granted to James Winter Cruthers, managing director of TVW Limited (7,000 options) Brian Sydney Treasure, general manager (7,000) and senior staff members – Frank Archer Cecil Moss (7,000) Leslie Darcy Farrell (3,000) Maxwell Arthur Bostock (3,000) John Richard Quicke (3,000) William Hugh McKenzie (3,000) Gregory Vincent Byrne (3,000) Alfred Wesley Binks (3,000) Stanley Frederick Fildes (3,000) Geoffrey Raymond Mortlock (1,500) Ernest Gerald Taylor (1,000) Kenneth Newland Kemp (1,000) and Bernard John Roddy (1,000).These options expired on December 4, 1975 and could be exercised at a price of four dollars ten cents per share at any time between December 4, 1972 and December 3, 1975. There was an over-rider which stated that if the recipients left the employ of TVW7 the offers would lapse, excluding death, or retirement due to age or ill-health. The decision to reward the participants was made by an appreciative Board and further cemented the loyalty and endeavours of those who benefited.

On the cover of the Eighth Annual Directors’ Report STW9 Limited 1971 promotion of station personalities (the back-bone of local ‘live’ production) was again featured. There was a back cover montage of six photographs. ‘Jenny Clemesha and Trevor Sutton on an O.B.’ ‘Graham Farmer. Frank Bird and Bob Shields – 9’s sporting team’, ‘Lloyd Lawson’, ‘Gordon Leed and Terry Spence Current Affairs and News Editors’ and ‘Jenny Clemesha and Kingsley with the children’

Although not yet in the league of their older relation ‘up the hill’, STW9 returned a profit of $320,671 after providing for depreciation of $211,067 and taxation of just $500. The advertising revenue increased on a monthly basis and costs were kept under control.

In order to make sure that the Company was in a position to vigorously service viewers, the opportunity was taken to purchase extra studio equipment at most advantageous prices…Micro-wave links, Videotape machines, news cameras, studio cameras and control equipment. During the year the Company’s large outside broadcasting van came into operation. It has been given extensive use. It is a most versatile piece of equipment and has substantially assisted your Company in giving a full television service to the metropolitan area.

The first survey of 1971 brought a little joy for STW9 with two programs at No.14 and No.15.

STW9 had introduced a children’s talent search program called Junior Spotlight which, at 9 a.m. on Saturday rated a disappointing 4,4 against TVW7’s Football Replay at 3,2. STW9’s Woman’s World at 3.15 p.m. on Friday rated 5,4,4, against the recorded Sydney program on TVW7 Beauty and The Beast 9,9,8. At TVW7 Perth’s New Faces was now returning 20,20. STW9 News was doing better at 22,22 to challenge ABW2 on 24,24 but still trailing TVW7 at 31,31. The survey conducted in July-August 1971 showed TVW7 to have the Top Ten including Letterbox a new ‘live’ local production which was aired on Sunday evenings. It was a quiz show which rated 36 with 169,000 viewers. Stars of the Future was No.10 with 34 and 152,000 viewers. It’s Academic was still successful over four weeks with 34,31,38,32. These results were further consolidation of the proposition that viewers still saw TVW7 as their ‘local’ station and accepted their offerings of local production.

The three News sessions (TVW7 had by then joined STW9 for a 6 p.m., transmission.) were showing a quite distinct degree of levelling. These are very important comparisons as News is considered by all television stations to be ‘the flagship’ and the main measuring device for advertisers.

As an illustration of the way in which STW9 was gaining ground on its rival TVW7, it is interesting to note that when Gilligan’s Island was first shown on STW9 in June 1967 its ratings were 17,17. When the same series (not a new version) followed STW9 News at 6.30 p.m., four years later, it scored 27,26,28,27 over the four week period. This demonstrates the advantage of having good News ratings, as a ‘sling-shot’ effect is created for the following programs. The theory was that viewing audiences tended to stay with a particular station following its News presentation. This was evidence that STW9 was gaining acceptance in the wider viewing community. Despite this improvement the Top Ten for the following six Anderson Surveys were all on TVW7. However, McNair’s survey for August 1970 showed one ABW2 program at No. 9 with 31% of TV Homes. STW9 was doing better in the afternoons with Archie, Adams Family, Time Tunnel, Star Trek returning figures of 43,45,53,48 against TVW7’s Children’s Channel 7, Rin Tin Tin, Superman and Sea Hunt with 48,47,43,47. ABW2 were showing Adventure Island, Cartoons, Captain Fathom and Life of Riley with 9,8,6,6. The final survey period of 1971 showed that all of the Top Ten had returned to the TVW7 fold. Two of the new programs were British comedy. On The Buses which rated well at No.3 with 40% and 161,000 viewers and Please Sir! Was No.6 with 36% and 158,000 viewers. Bad news for STW9’s Junior Spotlight which had been moved to 4 p.m. on Saturday but was trounced by movies on TVW7, 2,3,3,3 to 14,15,15,14. The STW9 News was still gaining ground and Wednesday figures were their best,

Telethon, the epitome of local ‘live’ production was programmed to occur in a ratings period and returned the highest survey figures of 42 at 9.45 p.m. on Friday 23 October 1971. On Saturday the average was 30. Another local production on TVW7 was Miss Western Australia which rated 38. The next survey showed that Please Sir! and On the Buses were now No.s 2 and 3 with 41% each and 190,000 and 185,000 viewers respectively.

The Fourteenth Directors’ Report TVW7 1972 still featured the production side of television with photographs of ‘The Mannequin of the Year Final is presented in TVW’s Studio 1’, ‘About 20,000 people visited TVW’s Fashion Festival at Perry Lakes [stadium] in April 1972’ and ‘Beatty Park is transformed into a tropic isle for the final of Miss West Coast 1972’ In a full-page photograph Children’s host Sandy Palmer was shown holding hands with Fat Cat, while ‘John Fryer, Peter Dean and helpers present the top-rating programme Can We Help You.’

The Stations operating profit exceeded the previous year by $210,219 and a dividend was paid amounting to 24% for the term. TVW7’s outside ventures now contributed about 30% of this profit. TVW7 shares were now $5.20 and consequently returning about 5% to purchasers at that time. For comparison, National Bank shares were selling at $4.20. Of course, those who held the original $1 par shares were reaping an enormous return on their investment. Perth Building Society was paying 6.5% at call, the Atlas Investment Fund 11% on debentures and Norman L. Payton was still offering 8% at call. The Company’s issued capital was increased from $1,549,257 to $1,948,196 by the issue of 398,939 ordinary $1 shares in a one-for-four premium issue. It was recorded that Mr. R.A. Long, one of the original Directors of the Board died.

TVW7 stated that the Station still attracted ‘…more than half the total television viewing audience in Perth.’ This was an admission that STW9 was making inroads. Radio Station 6IX had moved to Tuart Hill and had consolidated its position as Number 1 in Western Australia. SAS10 in Adelaide returned a small profit for the year. The Company purchased a controlling interest in Group Color (WA) Pty. Ltd., a local colour processing laboratory. Disney on Parade throughout Australasia was a great success with over one million attending. The Nickel Queen did well locally but ‘died’ in the Eastern States. Investment was made in Fauna Productions for the production of a 13 part colour series called Boney which was based on the popular novels of Neville Shute.

In the Ninth Annual Directors’ Report STW9 Limited 1972 it was noted that increased Australian programme content had been introduced during the year and local ‘live’ production programs were increasing. These home-grown products included, “Junior World” a morning show for children, “Woman’s World” a magazine type program, “I’ve Got A Secret” a panel-type quiz program, “Spotlight” an adult talent quest, “What’s The Score” a sports panel show, “Cooking with Gas” a sponsored recipe presentation program, “Tell the Truth” another panel quiz show and the current affairs programme “The World This Week”. As well, “Down to Earth” (an agricultural programme) was produced each Sunday. Accompanying photographs were ‘Fashion Parade for Cinderella Quest (in aid of Civilian Maimed and Limbless Association)., ‘Terry Spence, David O’Brien, Tony Clack – Part of News Team.’ ‘Young Exhibitors- Pal Pets Day at Studios’, Jenny Clemesha with her ‘Logie’- voted Most Popular FEMALE PERSONALITY 1971.’ and ‘Peter Barlowe with guest Cilla Black during an appearance on ‘9’.’ STW9 had definitely ‘arrived’ and their support of local ‘live’ was in the ascendancy. The Chairman, Dennis Cullity was pleased to announce,

The financial situation of STW9 continued to improve with a net profit of $269,402 and a dividend of 12.5% was paid to shareholders. The Board acknowledged the introduction of colour in 1975 and stated, ‘Colour will bring a new dimension to television entertainment.

News, sporting events and current affairs will come alive and give the viewer a sense of involvement and personal participation lacking in monochrome.’

During this year the Swan Television Board decided to follow a popular trend by changing their share structure to the effect of creating two 50cent shares for each par value one dollar share. Cruthers thought that one reason for this move was to make a share purchase more attractive to small investors, by increasing the actual number of shares to be held by simply halving their value. Of course, those with the one dollar share holdings immediately had their holding doubled so the returns were the same. The process also had the effect of halving future dividends percentages as will be seen in the following years. Swan Television shares were quoted at $1.18 on the reported Stock Exchange figures.

Ratings – 1972 showed that on a Sunday both ABW2 and TVW7 were telecasting the Sheffield Shield Cricket for 15 and 8 respectively against the STW9’s 8 to 14 but on Tuesday the figures dropped to 12 against TVW7’s 9 and STW9’s 12,14,19,21. This improvement to the latter’s figures was no doubt caused by children deciding what to watch and led to the cessation by TVW7 of their participation. However, the following Saturday ABW2 was 15, TVW7 10 and STW9’s Junior Spotlight 7,4,3.

The long hoped for ‘turn-around’ in viewers’ habits at last occurred when a Tuesday night showed , STW9 News 30,30,25,26 TVW7 News 29,27,29,25 ABW2 News 26,27,24,24

The program which followed on TVW7, It’s Academic, suffered a fall to 25 against the ABW2 News. This Day Tonight was still performing strongly on ABW2 with 22,25,17,24. Six months later It’s Academic with 26,32,32,32 was back at No.9 with viewer numbers of 141,000.

Telethon performed well again with a pre-midnight average of 26 and from 12-6a.m.,

the very good figures (based on each half-hour period) of 14,15,15,15,16,15,15,15,15,14,16,16.

On a Sunday night the STW9 News at 6 p.m. outscored Reach For The Stars 19,25,24,25 to 7,20,21,19. TVW7 had a new live local production with Anything Goes, a variety show hosted by John Fryer and Peter Dean. It went to air at 9.30 p.m. on Saturday nights with a small orchestra conducted by Terry Ingram, interviews, plus visiting and local guest artists. The ratings were only fair with 18,15,11 against imported movies on STW9 with 18,16,18 and The Forsythe Saga repeated on ABW2 with 8,4,7. Peter Dean said that the biggest problem with the show was continuity, as the transmission was interrupted by ‘crossing live’ to Gloucester Park for each trotting race. However, as will be later reported, a ‘special’ with Barry Crocker on STW9 did not draw away the TVW7 audience.

The Fifteenth Directors’ Report TVW7 1973 recorded that in December 1972 TVW7 mounted the first Christmas Pageant, a parade through the streets of Perth, and a monster local ‘live’ production to be video-taped and shown in prime time. It attracted a huge crowd and this report featured a full-page photograph of the first floats which included a large ‘paddle-steamer’ carrying ‘the caption ‘Ship Ahoy! With “Captain’ Sandy and her crew, Fat Cat and Percy Penguin.’ Other pages featured ‘6IX technicians at work during the top-rating programme Can We Help You.’, “Outside broadcast units at SAS Channel 10, Adelaide.’ And ‘Group Color (W.A.) Pty. Ltd sales and business manager Adrian Orchard inspects colour aerial prints process for the Hong Kong Lands Department’. Between the Notice of Meeting and the Directors’ Report was a page featuring seven bikini clad girls with ‘Popular entertainer Johnny Farnham and Jeff Newman…Miss 1973 Australasian Beach Girl winner Sue Kay and other finalists at Beatty Park.’ and ‘On the set of Telethon, 1972.’

Consolidated net profit for the year was $1,305,761 but bearing in mind the costs coming up in association with the change to colour, a total dividend of 13% was declared. This return was reflected on the Stock Exchange where TVW Limited shares were quoted at $2.55. It should be remembered that the year before both TVW Limited and Swan Television changed their share

structures so that basic par values for both Companies was now 50cents per share. This meant that TVW7 shares in real terms were maintaining their value. Rates of interest being offered in other investments were, Intercontinental Development Corporation Pty. Ltd. 16% warranted; Mutual Acceptance 9.5% for 3 years, Mercantile Credits 9% for 3 years with 7.5% at call; R & I Bank 6% at call; Home Building Society 7.5% at call, 8% for 6 months; Aust. G’tee Corp. 9% for 4 years and Cambridge Credit 9.255% for 5 years. General inflation associated with the change of Government after 24 years brought the comments that although revenue had increased 17%, the profit was only marginally better than the previous year. This could be sheeted home to rising wages and the cost of programs.

The Company no longer claimed a major percentage in the ratings surveys but said that they were ‘…being well operated by a keen and efficient staff.’ 6IX continued to perform well and contribute to profits. SAS10 in Adelaide had increased its viewing audience and thereby picked up on advertising revenue. TVW7 acquired total ownership of Group Color (W.A.) Pty. Ltd., a company involved in producing large bill-board posters etc. TVW7 had also invested in the City Theatre group. It was estimated that the changeover to colour would cost both Stations (Perth and Adelaide) $2.3 million each.

The Tenth Annual Directors’ Report STW9 Limited 1973 noted that with 52% of programs being Australian-made, the station was on-air for 100 hours per week. Local ‘live’ production was still flourishing with,

Woman’s World, Wonder World, Cooking with Gas, Cartoon Club, Wanneroo Car Racing, Junior Spotlight, Spotlight, What’s The Score, Topline Basketball and the specials Time Capsule at Three Fathoms, Bazza McKenzie in Perth, Quest of Quests, Miss Crowning Glory and the Beautiful Baby Show.

The Outside Broadcast Van had been busy covering such events as,

Winter Surf Lifesaving Championships, W.A. vs S.A. Basketball, Ampol Night Soccer, Offshore Powerboat Championships, State Surf Lifesaving Championships, Golden Gloves Awards, Australian Squash Championships, Rugby- France vs W.A. and 20^th Annual Water Ski Championships.

Final photographs were ‘Ray Shaw operating our latest colour video tape machine’, “Kevin Cantelo (Chief Engineer) and Graham Cherry (Programme Manager) of 6KY’, ‘News and Weather Team’, ‘Peter Barlowe and assistants during vintage car drive for funds to aid Slow Learning Children’s Group.’, and Lloyd Lawson and Jenny Clemesha admiring latest colour control desk’. This held pointers to a future time when matters of technical interest would be considered more important than station ‘personalities’.

Operating profit was $622,500 (last year $510,369) after providing $252,455 depreciation ($233,975). Taxation absorbed $272,622 ($241,067) leaving $349,878 ($269,402) available. A small capital profit of $7,896 was not included. A dividend of 12.5% was paid for the year. Swan Television shares were selling for $1.35, so their return was twice as good as those of TVW Limited.

STW9 purchased radio stations 6KY and 6NA for the sum of $1,101,018 during the year and although they incurred a trading loss, future benefits were expected to accrue. The move into the associated medium was prompted by TVW7’s acquisition of the 6IX group. STW9 was also part of the consortium which took over City Theatres Group. The company operated the Skyline, Starline, Riverline, Beechline, Daleline, and Parkline drive-in theatres plus the Piccadilly, Grand and Royal city theatres. Once again this can be seen as copy-cat behaviour by STW9 and a wish to ‘match-it’ with their competition.

It was estimated that 224,000 families in Perth viewed television, up from 168,000 in 1970. There were approximately 3,450,000 homes in Australia with TV sets and 11.1 million radio receivers, equal to one set for every Australian over the age of six. 75% of new cars were equipped with radios. And portable TV sets were beginning to make their appearance. It was recorded that STW9 repaid a large loan from the A.M.P. Society which stood in the books as $547,844. This was an indication of the new liquidity gained by the Company.

Introduction of Australian Production ‘Points Scoring System’:

It was during this period that the Federal Government introduced a new ‘Points System’ which was intended to boost Australian production. Types of programs were rated as scoring certain points depending upon classification and viewing times. The initial formula required the stations to score one point for each hour on air. In practice this worked to the detriment of Western Australian local ‘live’ production as it became cheaper to purchase an Eastern States syndicated program which fulfilled the provisions of the Act. This development in Government regulation would have been better if it had called for a certain amount of ‘local’ production in each State of the Commonwealth.

The introduction of the Points System was another of the continuing addendums to the Broadcasting and Television Act 1942. When television commenced in 1956 it was regulated by section 114(1) which instructed operators to employ Australians to the greatest degree in production and presentation areas. After three years of operation the first Government instructions regarding programming were promulgated, requiring Australian content of at least 40% which rose to 50% in 1965. Stations had to telecast one hour weekly (rising to 2 hours after 1962) of material produced in Australia, between 7.30 and 9.30 p.m. The regulatory body was the Australian Broadcasting Control Board which became the object of criticism following a Senate Select Committee in 1963. This, the Vincent Committee criticised the small percentage of Australian production content on commercial television and the deleterious effects on Australian culture. An adjunct was the lack of opportunity for local talent in all creative spheres. By 1971, televised content had to be 45% (increasing to 50% in 1972) during prime time. A minimum of six hours of Australian produced drama was to be aired during each four week period. As well, in the same period the stations were required to show four hours of Australian content during viewing times for children of school age.

With an incumbent Labor Government in 1973 (greatly assisted in its election by the representatives of theatre and television production) there was a major change to the controlling body’s attitude to the control and encouragement of local (Australian) content. This led to the withdrawal of ‘quotas’ and introduction of a ‘points system’. Australian programs attracted ‘points’ varying from 0.5 to 10, the degree of which were assigned according to a complicated measuring system which took into consideration the amount of specialist input, money expended, work created for all sorts of people from carpenters to actors and the specific timing of the transmissions. The number of hours that the station was on-air between 6 in the morning and midnight required at least a matching number of ‘points’ for a 28 day period. Another requirement was to telecast ‘six hours of first release drama each 28 days during prime time (subsequently increased to 104 hours plus four ‘big budget specials’ per year).’ There was no points allocation for programs sourced from outside Australia. O’Regan said that while others had alleged that the Government’s control was mostly symbolic, at least the television stations were forced to use 30% of Australian drama content. In 1996 a Federal Government publication reported criticism of Government functionaries,

In the 1970s, the bodies set up to regulate commercial television have increasingly been the targets of criticism. The critics hold that the stations have not been adequately supervised by these reluctant regulators. At the same time, the TV stations suggest that the Australian Broadcasting Control Board, and its successor, the Australian Broadcasting Tribunal, have tended to intrude too much into the conduct of the stations and have threatened the full and adequate development of the system.

Cunningham and Jacka reconciled the intrusion of Government policy with the impending pressures of sustained economic rationalism.

Until the late 1980s, there was very little public discussion on the costs of television content regulation and little disturbance to agreement on the cultural benefits of a local industry…However the winds of economic rationalism, which originated in the Thatcherite-Reaganite politics of the Northern Hemisphere began to blow strongly in Canberra. P.66

The points allocation for various types of programs were:

Drama one-shot – Indigenous and other forms of very high quality TV specials 20

Indigenous means drama written, performed and produced by Australians.

Indigenous Drama series and Cinema films 5

   “ “ Drama serials ½

Drama part indigenous

As above but allowing a ‘foreign’ element. from 3 to19

The arts, education

Fine music, ballet, literature, classical drama. Serious reviews and criticis

of art forms. Education not specific to a course of study. 10

Light Entertainment

Variety, Tonight Shows, Quiz and Panel Shows. 10

Current Affairs

Social, Economic examination of newsworthy items.

Documentary – Past, Present and Future aspects of a particular subject. 5

Children’s C

Classified ‘C’ by the Children’s Program Committee 5

Kindergarten 3

Pre-school.

Other than above for children. 2

Information

Cooking, Physical culture, Gardening, Direct Sporting , from ½ to 5 [source ABT 1981, pp.178-180]

In Western Australia the points system had little impact and both commercial stations easily fulfilled the demands of the regulation as evidenced by,

Quota Hrs. Target Actual ‘Specials’ Australian 0600-2400 1800-2200 1600-2200

. Drama.   Points Points      Content %

SWTW9 141.15 6552 16578 17 57.7 48.3 51,8

TVW7 273.30 6541 12995 11 46.9     50.4 56.9

The 1973 Ratings saw a ‘new kid on the block’ in a program produced in Sydney by Peter Bernados (former Producer of the unsuccessful Tonight Shows at STW9 in 1969/70) for ATN7. It was the all conquering Number 96 which showed survey figures at No.1 of 42% with 191,000 viewers. The rest of the Top Ten were still with TVW7. As a new attempt at a local ‘live’ women’s program on Tuesday early afternoons STW9 introduced Cooking With Josephine Farley a new program for women sponsored by a gas company. It languished with 5,6,5,5, against Days Of Our Lives on TVW7 with 16,18,23,20. On Thursdays STW9 tried an Entertainment Guide but it also failed at 5,5,5,5, against the same opposition with 15,14,20,20. Anything Goes was still going to air with 14,13,12,12 against the STW9 movies 19,10,11,8. The second ratings survey of that year showed a big increase in the number of viewers, probably accountable by the change in seasons.

All ten programs were on TVW7. New programs on STW9 included the Melbourne produced children’s show Young Talent Time with Western Australian export Johnny Young as Producer and Compere. It rated poorly 14,17,11,12 against the TVW7 News with 40,42,42,39. B.P. Showcase returned to STW9 on Monday nights and TVW7 mounted big specials against that show with the winning results of 40,39,42,41 to 21,24,23,19. The viewer’s tastes had changed since the initial success of Showcase.

STW9 put on a locally produced program called Bazza McKenzie in Perth which rated 15,15 against Anything Goes with 21,19. The reason for this is a little difficult to fathom as Barry Crocker was well known in Perth through the movie The Adventures of Bazza McKenzie, appearances at local cabarets and Telethon. However, the viewers stuck with TVW7 and this was probably due to the fact that Anything Goes was a regular program as opposed to Bazza McKenzie being a ‘one-off’ special. It can also be surmised that the viewers of the TVW7 program did indeed follow the trotting telecasts.

The last survey of 1973 still showed TVW7 with the Top Ten including a locally produced ‘live’ special Miss Western Australia shown on a Wednesday night which scored 36% with 183,000 viewers. On Sunday evening Telethon scored 34 against STW9 News with 11 and ABW2 News on the same figure. At 7.30 the Telethon figure had swollen to 53! TVW7 instituted a new current affairs program late at night, 10.30 p.m., which rated 6,8,8,9 against STW9 movies of 5,6,8 and the end of a Royal Variety Concert which rated 25. At 8 p.m. on Thursday the ABW2 ‘cult-followed’ show Aunty Jack did not have much appeal with 8, against TVW7’s On The Buses with 42 and STW9’s The Persuaders with 22.

The fact that all of the programs on commercial television came from a common ‘pool’ does nothing to supply the answer as to why, generally speaking, at this time they rated better on TVW7. In 1966, to obviate an auction system whereby the Distributors could exact the best price for their wares, the two commercial stations had formed a buying cartel. This meant that they negotiated the best price for programs then chose which they would have by ballot, with a simple coin-toss deciding first choice. However, the system had always favoured TVW7, as when it was instigated, James Cruthers insisted that his station should retain the rights to their already well established programs such as Disneyland, Gunsmoke, and 77 Sunset Strip etc. There was also the phenomenon that local productions always seemed to rate better on TVW7 than STW9. As mentioned on p.145, Jeff Newman claims that it was a matter of ‘better production people’ but even that seems to be a simplification. On many occasion I was approached by members of the public who would say ‘We see you sometimes on the telly, but we wish you were on our channel!’ This ‘built-in’ advantage persisted for at least six years.

The cover of Sixteenth Directors’ Report TVW7 1974 had eleven small photographs of Humphrey B. Bear, Fat Cat and Percy Penguin trying for a Hole-in-One; Rolf Harris viewing a model of the proposed Entertainment Centre; The Christmas Pageant; Dorrie Evans from Number 96 with Peter Dean and John Fryer, Stuart Wagstaff and friend, the Prime Minister Gough Whitlam, Barry Crocker; Sandy Palmer; the racing yacht ‘Southern Cross and Lionel Yorke and guest on Telethon. Page 4 was a full colour photograph of Jeff Newman with newly crowned Miss Australia, Miss Western Australia Randy Baker. Newman was now TVW7 Production Manager and the direct telecast from Perth Concert Hall was seen around Australia.

Consolidated net profit for the year was up a little to $1,326,222 but the Board bemoaned the fact that ‘…the rate of wage escalation is increasing rather than decreasing.’ With the cost of colour conversion estimated to be $2.5 million and ‘…increases in the cost of costly Australian programming we are required to telecast…’ The Company was described as ‘…operating in an adverse economic climate.’ However, this did not stop the Directors from declaring a total

dividend of 17% to the shareholders. The Stock Market showed that TVW Limited shares had dropped to $1.57 and their return to new investors had consequently risen. By comparison shares in the National Bank had fallen to $1.40. Money was ‘tight’ and other offerings were from General Motors Acceptance Corporation 12% for 180 days; Australian Guarantee Corporation 12% for 2-4 years; W.A. Building Society 10% at call, Norman L. Payton 12% at call. On 4 October 1974 the front-page headline was an announcement from the Federal Treasurer. Mr. Crean said ‘The Credit Squeeze To Be Eased ’to restore business confidence. There was to be no bonus dividend as there had been in the past five years because of the need to conserve funds and the shareholders were asked to remember that those were paid from capital gains. A special item of business was to pass a resolution to grant 20,000 ordinary 50 cent share options to Joint Managing Directors J.W. Cruthers and B.S. Treasure. This was instigated by the Board as recognition for the work done by the two executives in maintaining the position and profitability of TVW7 Limited. They now occupied equality in the Company structure.

Expenditure on Australian content increased by 69% in the year. The TVW7 Report said that wage increases amounted to a startling 45% over the past two years and there were no signs of this pattern changing. Over ten years the salaries and wages bill had risen 320%, program costs increased by 144% and overall operating costs had risen 226%. This was a reflection of the enormous blow-out in inflationary pressures brought about by the changes and reforms promoted by the Whitlam Labor Government, which was elected in 1972. Because of liquidity problems and a fear of the future, a proposal to extend the studios at a cost of $500,000 was deferred. 6IX continued to earn money but SAS10 in Adelaide reported less profit. Group Color (W.A.) continued to trade profitably.

The big news of the year was that a new venue was to be built in Wellington Street Perth, to be known as the Channel 7- Edgely Entertainment Centre. Two new subsidiaries were registered to build and operate the complex which would include cinemas and a tavern. They were Academy Entertainment Pty. Ltd., and Academy Tavern and Restaurant Pty. Ltd. With a projected opening in December 1974 the first attraction would be The Russian Gymnasts followed by Disney on Parade with an official opening on Boxing Day 1975. The total cost was expected to be about $6.5 million and the Centre had a loss of $45,953 in preliminary costs for the financial year under review. Other involvement with other enterprises not directly related to television included film distribution, management and promotion of stage productions and concerts, and merchandising. Group income rose by 68% in the period. Most of this entrepreneurial activity was due to Brian Treasure, although he was against the take-over of SAS10 in Adelaide and strongly opposed the introduction of Telethon.

STW9’s first use of colour photographs was made in the Eleventh Annual Directors’ Report STW9 Limited 1974 but promotion of local ‘live’ or personalities was not in evidence. Management had a fear of ‘creating monsters’ who would want to be in proportion to their Eastern States counterparts. When I was getting $70 a week for being a television ‘star’, Geoff Corke ‘King of the Kids’ in Melbourne was receiving at least five times that figure in Melbourne. The pictorial content was of Station vehicles, Sports Staff and a smiling Gough Whitlam on local production Newsday. Comment was directed at a new Government measure. In August 1973, the Australian Broadcasting Control Board introduced the first stage of the “points system”. Management saw that it was a threat to local production.

In June 1974, the second stage commenced and we were disappointed that due recognition was not given to our efforts. It is the policy of the Government to encourage Australian production, and it was with this in mind, that STW9 produced twenty-two episodes of a half hour Australian Drama series called “the Drifter”. At the same time we commenced a Current Affairs programme “Newsday” on a regular basis.

These programmes are extremely expensive and if we are to produce them in our small market and generate local employment, the points system must recognise this special effort which is proportionately greater in comparison to our maximum achievable revenue than a similar effort in a larger market. Unfortunately this argument has not been recognised by the Broadcasting Control Board and we have discontinued the drama series.

The net profit was $366,160 and a total dividend of 12.5% was made to the shareholders. Swan Television shares were trading at 90 cents. The rising operating costs were echoed by the Board and salaries and wages increased by 30%. There were one hundred and seventy people employed at STW9 and the total wages bill was more than $1.1 million.

The number of Outside Telecasts rose against the previous year and a number of colour ‘specials’ were produced and sold overseas. STW9 was on-air for 100 hours per week and Radio 6KY for 168 per week. The Station conducted a successful experimental colour transmission on 6 July 1974.

An STW9 Editorial was directed at the Australian Broadcasting Control Board and the Federal Govt:

We have not been successful in having the costs of the east/west broadband reduced, particularly for random access for News and Current Affairs and the benefits from this

Commonwealth facility are not being made available to our viewers as much as we think it ought to be. Again our argument here is that given our small market, the cost of this service on a per viewer basis is much higher in Perth than in the Eastern States markets, and recognition must be made of this point if viewers in this State are to have the same access to News programmes as is possible in Sydney and Melbourne because of their larger populations. We believe that our argument is in harmony with the Government’s policy of Urban and Regional Development. Two stages of the points scheme have been implemented and a third stage has been foreshadowed by the Australian Broadcasting Control Board. If this places further burdens on your station, they will be most difficult to bear. Television must first absorb the cost burdens of the color era.

The ‘broadband’ referred to was the facility operated by the Postmaster General’s Department, which allowed the ‘live’ transmission of programs from the Eastern States to Perth. It was a limited service because there was only one channel of communication and this had to be ‘booked’ by television stations well in advance. Because of cost, it only catered to important events. The first of these was a ‘live’ telecast of the 1973 F.A.Cup Final from England.

It was recorded that Foundation Director David Bell O.B.E. had died in November 1973.

The McNair Television Audience Survey No.1 1974 10 March-6 April showed only one of twenty Top Shows to be on STW9. They had one Sunday night viewing audience of 147,000. Tuesday nights showed,

The second survey showed that Number 96 was placed Nos.1,2 and 3 with 225,000 viewers on Monday, 217,000 on Tuesday and 202,000 on Wednesday. By the third survey of 1974 two STW9 programs were doing well. Showcase was at No.13 with 152,000 viewers and their Sunday Movies No.14 with 152,000 viewers. The remainder were all on TVW7. In the fourth survey Disneyland replaced Number 96 in first place with 218,000 viewers. Showcase was

No 9. The new program at 6.30 p.m. on TVW7, The Brady Bunch was No.13 with 138,000. Their News was back at 6 p.m. and beating that of STW9 27,26,26,20 to 15,13,11,11.

In 1992, Muir noted that ‘Most stations and networks promote their programmes through the press in both paid advertising and editorially, through billboards and the radio. The most powerful and common form is, however, on television “promos”.’ Bill Bowen claims that the turn around was eventually accomplished by a magic formula whereby one ‘strong’ rating program was saturated with promotions for other shows. While the contribution of STW9 executive Len Downs was significant, the passage of time had eased the second station into a more acceptable position as far as the audience was concerned.

For the first time, in the Seventeenth Directors’ Report TVW7 1975 there was a complete absence of photographic material but the following information evidences the first implications of economic rationalism. Emphasising as it does the necessity for the shareholders to profit, it opens the way for consideration of curtailing expenditure. One of the first areas to eventually fall victim to the ‘eco.rats’ would be local ‘live’ production.

The proclaimed socialist policies of the incumbent Labor Government drew the following blatant editorializing, a new trend in the television annual reports. It was argued that the general thrust of the Federal Government ‘…must be resisted and, if not destroyed, at least controlled to the greatest possible degree.’ It was implied that the projected attack on economic difficulties and unemployment would have to start with revitalisation of the private sector. Public perception that ‘profits, investments – and even shareholders’ were unacceptable components of society had to be changed. The writer claimed an ally in the Treasurer Mr. Crean, who had said publicly in 1974 that company profits were contiguous with higher rates of employment and that the higher rates of wages were a threat to both.

However, one year later there was a generally stagnant Australian business economy, unemployment had doubled to 225,000 ‘…and profits, dividends, and shareholders, apparently are still regarded as undesirable.’ The editorial then made the point that in the case of TVW7, most of the shareholders were,

what might fondly be referred to as “ordinary people”, most of them holding only a few hundred shares. They rely on their dividends. This is particularly so of retired people – and many of our shareholders are retired – who need their dividends to bolster fixed incomes which are diminishing in value almost daily.

It was noted that ‘ordinary wage earners’ had enjoyed increases in their remuneration, some as much as a doubling of their wages, while shareholders were receiving less than they had three years previously and their capital base was eroding. The conclusion said that ‘current value accounting’ measures would add to investor’s woes and unless ‘…something more significant is attempted soon to reduce the inflationary pressures and improve the earning capacity of the private sector, investment in private industry will continue to face a serious crisis.’

To consolidate the above complaints the TVW7 Annual Report said that because of the adverse economic climate and the costs of colour conversion, the net profit was down 9% for the year to $1,207,284. However the Directors considered this to be a ‘sound performance’ in spite of their foregoing Prophet of Doom pronouncement. The dividend was set at 11%. TVW Limited shares were at $1.30 down 27c on last year. The National Bank had recovered to $2.40 while the Bank of NSW shares were high at $6.42 and the ANZ Bank was $6.00. Despite the promises from the Whitlam Labor Government, Australia’s financial situation had worsened and credit was still ‘squeezed’. Chrysler Corporation was offering 13.5% interest on money invested for 3 years; Finance Corporation of Australia 12.75% for 5 years and the W.A. Building Society 9% at call. Housing loans from Perth Building Society were being offered at 10.5%, while Town and Country Building Society was charging 11%. TVW7 continued as the cornerstone of the Group’s activities. SAS10 had a disappointing year with interest on loan funds from the parent company for colour equipment being a major reason. Unused black and white programs to the value of $80,003 were written off, but because the station’s audience ratings improved they received a higher share of Adelaide’s advertising expenditure. In June 1972 TVW7 purchased an investment company with big tax losses and transferred their Radio 6IX interests to it with the view of offsetting profits against accumulated losses. Shortly afterwards the Federal Government changed the taxation laws and submitted a revised tax bill for $140,720. This information made the former bleating regarding loss of profits ring a little hollow. Group Color moved into new premises build adjoining the TVW7 studios at Tuart Hill and only achieved ‘modest profits’.

The Entertainment Centre was completed and opened as planned after the contract building price of $3,071,000, fit-out at $1,745,000 and establishment costs of $184,000 ( a total of $5 million) blew out to almost $8 million. Both Federal and State Governments provided loan funds ‘at reasonable rates’ but the added interest costs would off-set profit returns for a long time. The Centre was not alone in suffering costs blow-outs and many other large capital works had met a similar fate during the preceding two years. There was a relatively smooth transition to colour with the estimated cost of $2.5 million for TVW7 proving to be correct. Surveys showed that colour TV sets were selling at a faster proportional rate in Perth than anywhere else with the exception of Sydney. TVW7 followed the lead by STW9 in their last annual report and gave themselves an extended pat on the back for community activities.

The Ninth Annual Directors’ Report STW9 Limited 1975. sported photographs promoting both technical areas and non-studio local ‘live’ production. ‘One of the station’s new colour cameras’, ‘Part of new master control centre’, ‘Appealathon telephone room’, ‘Laurie Kiernan (Managing Director) announces final figure at end of Appealathon telecast.’, ‘6KY on air’, ‘Part of huge crowd at Ascot for “Colorfest” marking start of colour outside broadcasting’, ‘White Water classic- The Avon Descent’, ‘Filing of documentary on Bishop Salvado of New Norcia, “Outside the Walls’ and ‘Early stage of this year’s Fun Run’. Station ‘personalities’ were nowhere to be seen!

Although the net profit was only up $21,678 on last year to $357,938, the Directors considered the result to be a good one as ‘colourisation’ increased both depreciation and interest charges on borrowings. The dividend for the year was 14% being 7.5 cents for each 50 cent share. Swan Television shares were at 80cents. The cost to change to colour was $2.1 million which would spread over a number of years. The Report made this fairly obvious and non-arguable announcement, ‘ “Once you have seen colour transmission it is pretty hard to go back to the old black and white” seems to be the universal attitude.” ’. In contrast to the start of television in Western Australia when most people purchased their sets on Hire Purchase, large retailers estimated that 95% were paying cash for their colour sets, a fair indication of the improvement in Australian standards of living. The penetration was reckoned to be already 12.5%. The Australian Broadcasting Control Board received a bouquet for choosing the PAL 625 line colour system for Australia.

At STW9, Director’s fees which had stood at $7,000 for ten years were increased to $15,000. Through their subsidiary companies D.M. Cullity, W.J. Hughes, W.J. Hughes (Junr.), L.J. Kiernan, B.F. Prindiville, P.B. Young and G.R. Young had full control of the Company.

The first audience survey of 1975 showed that six of the Top Twenty programs had been aired by STW9. They were Hogan’s Heroes at No.8 with 125,000 viewers, Thursday News at No.12 with 120,000 viewers. The Streets of San Francisco and The Box (set in an Eastern States television station, one of the stars was Barrie Barkla, who later worked with STW9) at No.14 with 116,000 viewers, Matlock Police (a Crawford Production) at No.15 with 114,000, Saturday Movies at No.17 with 109,000 and Adam 12 at No.19 with 106,000. Despite the fact that with one exception they were all in the lower Ten, the overall picture was surely changing. In the afternoon time slot the perennial Bugs Bunny Show had finally been overtaken by STW9’s Land of the Giants 9,8,9,10 to 9,4,5,5. The older Dobie Gillis on TVW7 8,5,8,8 was being beaten by Gilligan’s Island on STW9 with 12,11,15,12. The second survey provided another upset when STW9 for the first time rated No.1 with the Monday movie Planet of The Apes with 213,000 viewers. One of their Sunday movies was No.2 with 191,000 viewers.

There was an important change to the status quo when It’s Academic lost its superiority to an American comedy set in a German Prisoner of War Camp – Stalag 13. It lost 24,21,21,23 to Hogan’s Heroes with 29,29,36,30.126 The third survey for 1975 showed that Cooking with Josephine Farley was still on air but only rating 4,4,3,2. Gilligan’s Island [see 1967 comparison] was being repeated again at 5.30 p.m. out-rating TVW7’s Tarzan, 22,19,17,20 to 16,16,16,16. It’s Academic had been returned to its time-slot of 7 p.m. and with 31,25,21,19 was close to the ABW2 News figures of 17,23,21,19. On one Thursday the latter program, following Test Cricket rated 36 ,31 and the following night This Day Tonight enjoyed similar figures of 31 and 36.

Australia’s Change to Colour Transmissions:

The biggest change since the start of television transmissions in 1956 was the 1972 announcement by the Federal Government that colour TV would commence in 1975. Jones and Bednall commented that ‘In 1974 there was a development that seemed destined to make all of the former content of television obsolete at a stroke. That was the coming of colour.’ The essence of this cannot be overstated. In 1990, Tom O’Regan described the introduction of colour television as ‘…a clear technical marker…’ of ‘… the third phase…’ of Australian television. O’Regan stated that ‘Colour television provided a new burst of interest in the medium. A second marker of this third phase was a great leap forward of the social, cultural and industrial importance of local product.’ It was also said that ‘This change (to colour] was in its own way as profound a change as the coming of sound to the movies in the late 1920s’ Without doubt these observations are correct and the change to colour provided a clear sign-post which still can be read. It says, Australia Went That A’Way! Australian viewers in 1974 were quite enthralled with the impending novelty of colour television When the change took place, surveys showed that people with colour sets watched more television than those with monochrome. By the late 1970s there were few homes in Australia without colour television.

In Martin Koffel’s 1970 report entitled The Impact of Colour Television in Australia, Committee for Economic Development of Australia, Sydney, 1970, the Foreword was written by Charles Moses, the former General Manager of the Australian Broadcasting Commission said,

If I were asked my opinion today I would be inclined to say that we will have colour TV before the Sydney Opera House is completed. Martin Koffel’s paper “The Impact of Colour Television in Australia”, sets out forcefully the reasons why the Government are not likely to hold back the introduction of this exciting development very far into 1972, a year in which the Opera House is not likely to be in operation.

Colour TV in the US commenced in 1953. ‘It had a slow and painful start, taking 10 years to achieve 3% of home saturation’ After 4 years it had risen to 30%. In Australia it was decided to adopt the Phase Alternating Line system (PAL) and the McMahon Government had promised an eighteen months’ notice of a starting date. This timing was expected to coincide with an anticipated upswing in the economy in 1971/72.

Koffel was optimistic about the introduction of colour television but noted, ‘On the other hand, poor colour or poor programmes, unreliable receivers, lack of skilled servicemen or uninterested retailers could keep demand depressed.’ His association with the medium was made clear in the statement, ‘Obviously we in the advertising agency business are vitally interested in the health of the medium but the most direct effect colour television will have on us will be on our creative talent – the writers and producers who make the television commercials.

The availability of colour would open up new areas in the field of advertising and considerable changes would be observed in forms of packaging and the choice of their colours. They would of necessity have to be compatible with public acceptance and changes would have to be made to the presentation of many items already advertised on monochrome television. Koffel concluded his report with, ‘Speaking subjectively, I believe that most of us want colour television and given a firm date by the Government, we could all work to a concrete goal for providing a first class, well-rounded, technically expert colour service months after the announcement.

Two years later the Australian Broadcasting Control Board brought out a report on colour television. The scope of the study was to look at the future demand for both colour and television receivers in Australia. Market saturation by black and white television had almost been reached and many sets, of upwards of nineteen years were due for replacement. TV receiver prices have shown a downward trend. Between 1956-57 and 1971-72 average weekly earnings rose 143.5 % being an annual increase of 6.1 %. Consumer prices rose by just 2.75 % p.a. The price of TV receivers dropped from over $500 to less than $100. Whereas the price of a TV equalled 10 weeks’ work in 1956/57, by 1970 only it was only 3 weeks. It was expected that Hire Purchase would be the winner if sets cost more than $550 but in fact, when the time came, most people paid cash. In general terms it was supposed that, ‘The main effect of the introduction of colour television will be to depress sales of other electrical goods. This effect will be greater the lower the price of colour television receivers.’

It was correctly prophesied that the introduction of colour television would increase the profitability of stations brought about by larger audiences, leading to an upturn in advertising revenue. On 15 February 1972 the Federal Government announced a starting date for colour television in Australia of 1 March 1975 and TVW7 ordered a complete colour Outside Broadcast Van.

In the Eighteenth Directors’ Report TVW7 1976 the Company limited photographs to just one, when its only ‘star’ depiction was a full-page colour picture of Fat Cat. Local ‘live’ production was losing its ‘face’!

With The Entertainment Centre still having been a financial problem, the Group’s net profit was down $51,671 on the year before at $1,155,613. The dividend was set at 11%. TVW Limited shares were quoted at $1.73. The Bank of NSW was at $6.08 and the National Bank was $2.90. A Telecom Loan was offering 10.6% interest for a 15 year term; Perth Building Society was paying 10% on pass-book savings; Statewide Building Society 11% and Australian Guarantee Corp., 12% for 4 years. It was recorded that the Entertainment Centre had been sold to the State Government but TVW7 had retained the operating rights for five years.

There was a further homily directed at inflation.

Investors have been warned over the past year or two of the effect of inflation and what it means to the community. In the past five years Australia has suffered more than 70% inflation and there seems little doubt this is crippling some businesses. As mentioned earlier it has distorted the relevance of the conventional historical cost accounting basis

which does not enable sufficient funds to be retained through depreciation charges to adequately provide for the replacement of plant and other assets used for business purposes.

This was fair comment for the times in regard to the relatively small proportion of the community with shares in industry. It must be recognised that in general, ‘ordinary’ people were better off than they had been previously. I was fortunate in early 1972 to open a Theatre Restaurant based on a low-cost/high-turnover formula. Most of the customers were experiencing their first taste of a dinner-dance situation at affordable cost. The greatest asset that I possessed was the fact that I was well known from television appearances. Previously, ‘night clubs’ had been pretty much the domain of the more affluent members of society. The Labor Government not only brought a bigger share of the nation’s wealth to the workers, but it gave them the confidence to go out and spend it. This major change in the perception by the working people of Australia as to their ‘place’ in the overall structure of the nation persisted after the removal of the Whitlam Government and remains the same today.

TVW Enterprises sold its interests in the Lion Parks. The expectations for sales of colour TV sets had exceeded the most optimistic estimates with about 35% of Perth homes now so equipped. With two other Perth Radio Station following the 6IX lead in ‘middle-of-the-road’ music formats, the competition was much stronger. 6MD was sold to a syndicate of Merredin businessmen. Executive Management at TVW7 had decided that their business was indeed local broadcasting and where they could do so fairly easily, they divested their interests in peripheral businesses. It had nothing to do with the arrival of colour, but the basic reason was to provide a retention of cash funds above the effects of depreciation.

The Thirteenth Annual Directors’ Report STW9 Limited 1976 reported that a number of news-type documentaries were produced including “Darwin City in Limbo”, and “Earthquake- the Italian Tragedy” which involved travel by a News team to both places. Also there were “Outside the Walls”, “Jawsmania”, “Supernatural Influence” and “Avon Descent” and a series of historical productions regarding this State. Photographic contributions were ‘Program Team selecting programs’, ‘Entrance- Television and Radio Studios.’, ‘Channel 9 News Desk with Peter Barlow.’, ‘Mini O.B. Unit – a recent acquisition’, ‘Anxious moment – Avon descent’, ‘Jenny Clemesha – a last minute touch’ and ‘Ampex A.C.R. 25 Video Cassette machine’.

STW9 Net profit was $497,000 and a dividend of 15% was declared. Share prices for Swan Television had increased to $1.32. Staff numbers had risen to in excess of 200 persons. The

Station was transmitting 100 hours per week and the News coverage had been increased through greater use of satellite and broadband facilities.

The first survey of 1976 showed that TVW7 had again taken the No.1 position with the introduction of Six Million Dollar Man which attracted 213,000 viewers and The Brady Bunch No.2 with 187,000. These were followed by,

Although TVW7 was an overall winner of this survey with twelve programs in the Top Twenty, there was one notable victory for their commercial competitor.STW9 now had eight of the Top Twenty and most importantly their News was leading TVW7. The absence of local ‘live’ programs is due to the fact that they were ‘seasonal’ and in summer nothing additional to News was produced. There was disappointment at STW9 when the second survey gave them only five of the Top Twenty. The American productions of Police Woman, The Rookies and Beverley Hillbillies were all doing well for TVW7 and the Sydney program Bandstand was No.13 with 142,000 viewers on a Saturday afternoon. A live coverage of the Anzac Day March on the same channel only rated 3,9. The third survey showed that TVW7 once more led with the six top programs. The Sydney based A Current Affair was following the STW9 News,

The fourth survey brought no surprises. STW9 maintained its challenge with eight of the Top Twenty including a new panel show from Sydney called Celebrity Squares. Hosted by Graham Kennedy it immediately went to No.7 with 166,00 viewers. In the next survey it had dropped to No.12 with 146,000 viewers. In the 6^th Survey TVW7 News regained supremacy and commanded No.5 with a Monday audience of 196,000. The big surprise of the round was the success of the British comedy on ABW2 George and Mildred.

Apart from News there was no local ‘live’ production in the Top Twenty. Emulating the famous Beatles’ White Album, the cover of the Nineteenth Directors’ Report TVW7 1977 was unadorned but the inside revealed many small shots depicting various local productions, ‘The world’s biggest tent pitched on Perth’s Esplanade to house the 1977 Western Australia Week.’, ‘The inaugural meeting (of the board) of the Telethon Foundation’, ‘Breathing fire, a dragon delights children during the annual Christmas Pageant through central city streets.’ and ‘The road to international success began here for our Miss West Coast winner Karen Pini’. [Jeff Newman pictured supporting two of the bikini-clad girls was not named.] There was a acknowledgement of local production in the claim that TVW7 had increased its local programming significantly and the long running children’s’ program What In The World won the award for the best such program on Australian television. It was a general interest half hour which looked mainly at the natural world and its effect on the lives of juveniles. The format was extended in the 1980’s by the Sydney based Simon Townsend’s Wonderworld. Other local productions included Hey! Jude a teenage program hosted by newcomer Judy Thompson, It’s Academic, children’s participation program Zippadeedoodah and holiday mornings’ Earlybirds Show. The locally produced Family Feud hosted by Tony Barber had been produced in the Eastern States but ‘canned’ due to poor ratings. Max Bostock of TVW7 picked up the rights to relocate the production to Perth and after two years it was being shown in three States. It was so successful that TVW7 on-sold the production to the Grundy Organisation and it shifted back ‘East’ to give the program a more ‘national’ feel. As well as receiving a cash settlement, TVW7 had a no-cost arrangement to retain showing rights in Perth and Adelaide. The circumstances reflected the production capabilities of TVW7 in a good light. The increase in activities had necessitated an expansion program and $3.7 million dollars was to be spent on capital works. Since 1970 the Company had invested more than $500,000 in Australian movie-making ventures. The participation in The Young Film Makers’ Awards and Young Artists Awards continued with prizes to the value of $2,000. TVW7 conducted the final of Youth Speaks for Australia national debating competition. Earlier perceptions of cut-backs had not eventuated and the future of local ‘live’ production looked good.

TVW Limited changed its corporate name to TVW Enterprises Ltd. It was the idea of James Cruthers and although they were cutting back involvement in some non-related to TV areas, he thought that it better expressed the standing of the Company. The Annual Report said that ‘The introduction of color television in March 1975 sparked a recovery in commercial television revenues around Australia…’ An understatement as net profit jumped from $1,374,000 to $2,482,000 and the shareholders received a dividend of 24%. TVW shares were up 36cents to $2.09. Investments in other areas showed that Lensworth Finance was offering 12.5% for 4 years; Home Building Society 10.5% for 12 months; Bank of NSW 9% for term deposits of six months; Lombard 12.75 for 3 years and General Credits 12% for the same term. TVW7 purchased the remaining 66% of City Theatres Group on 2 June 1977 and also what was purported to be the biggest tent in the world to be used as a venue for huge stage spectaculars in the Eastern States, as unlike Perth with The Entertainment Centre ‘…the Eastern States are devoid of venues suitable for such…’ There was room for some self congratulation.

Channel 7, with its policy of public service and community involvement, is a clear leader in Perth television and support from viewers and advertisers continues to be strong. The most recent audience survey (at the time of the printing of this report) shows that TVW7 had almost 50% of the total audience, with the other two stations [STW9 and ABW2] sharing the remaining 50%.

In the Fourteenth Annual Directors’ Report STW9 Limited 1977 production, revenue, and ratings results were all considered successful. 650 hours of local product was created including 180 hours of children’s Zoom and Magicat. A woman’s program entitled Open House went to air ‘live’ one hour each day. The Station boasted three different production units in John Izzard’s Film Unit One, Guy Baskin’s Special Program Unit and Terry Willessee’s Unit. Some of the shows produced were The Land We Love, Speck in The Sky, Deepwater, The Great Air Race, Karen Pini – loser or winner, The West Exposed, Conflict, Supernatural Influence, Irongloves, and Twenty Five Steps. They were also producing the first of a mini-series entitled The Newman Shame with former TVW7 Women’s Presenter Joan Bruce. An EDM-1 electronic computer editing system, the first in Australia, was installed for producing high-quality commercials with special effects. Despite the foregoing, Station ‘personalities’ appeared to be on the ‘outer’ this year with the frontispiece portraying the STW9 Board of Directors seated at a large oval table. Other scattered photographs were ‘Joan Bruce and Robert Bruning on location during production of “The Newman Shame” ’, ‘A break from shooting of ‘A Land Looking West’ for Peter Cushing and Film Unit One Producer/Writer John Izzard.’, ‘The EDM-1 Electronic Computer Editing machine in action.’, and ‘6KY Master Control.’ Although there had been an upsurge in production, this year the machines were now the ‘stars’.

STW9 followed in their main opposition’s footsteps when they reported a net profit $706,000, up 42% from last year. Initially the profit was reported as $747,000 but the Federal Government increased company tax to 46%. The dividend was declared at 16%. Swan Television shares were at $1.65cents. Total company sales from all operations realised $10,442,000 an increase of 48%.

The Company decided to do some serious editorializing in regard to self-regulation and the effect of television on children. The Annual Report spelled out how Company representatives had gone to the March Perth Hearings of an inquiry into the Australian Broadcasting System, This followed the ‘Green Report’ of September 1976 that was set up by the Prime Minister Malcolm Fraser through the Post and Telecommunications Department. The main topic was the concept of self-regulation by the television stations. STW9 spoke to three points being (1) Program Standards, (2) Public access in each State to a body to listen to complaints and views and (3) The need for a special body to oversee the problems with children’s programs, a Children’s Program Committee as recommended by the Australian Broadcasting Tribunal.

The article concluded with ‘This report will shortly be debated in Federal Parliament and any new legislation or ministerial determinations will have a great bearing on the future of the industry and your company.’ It was also reported that in June a public enquiry was held in Perth by the Senate Standing Committee on Education and the Arts to study the effect of television on children and STW9 gave evidence. A report on their findings had not yet been published but the Directors said that,

Your Directors believe there must always be very clear and precise standards, covering general program standards, family programs, programs for children, religious matters, political broadcasts, Australian content and advertising content. We have stated these views strongly at the three enquiries and in our written submissions.

It was reported that a large number of witnesses in every State gave evidence at these inquiries and demonstrated the growing awareness and concern of the public for the future of television and radio broadcasting. Social changes in all areas meant greatly increased responsibilities and accountability of licensees which in the view of the STW9 Board ‘…was a forward step.’ With the advances made in the fields of electronic news gathering, satellite news services and all technical areas necessitating such action, STW9 instituted a scheme to train apprentices in the commercial television, production and broadcasting fields. The first six [all men] had already been selected.

1977 Ratings showed that a new local ‘live’ production featuring STW9 News-reader Peter Barlowe, Travel failed in its 1.45 p.m. spot with ratings of 2,2,2,2, against the Soap Opera Another World on TVW7 with 18,16,16,16. The Sydney based noon program The Mike Walsh Show was being shown on TVW7 with ratings of 11,11,9,9, against STW9’s movies with 10,8,6,8. The American sit-com Happy Days reflecting the 1950’s was very successful in its first ratings period with 31,33,37,35 on Tuesday evenings at 7.30 p.m. The survey TV6 of 1976 showed that while TVW7 had the first six positions, STW9 had half of the Top Twenty at Nos. 7,8,9,13,and 15 through 20. By April-May 1977 Happy Days was on top with 257,000 viewers. Sunday afternoon figures were interesting, The TVW7 locally produced It’s Academic was certainly no longer a dominant force and in fact had succumbed to the Melbourne produced program, compered by former TVW7 teenage personality Johnny Young.

Survey 3 of 1977 produced the long awaited triumph for STW9 over TVW7 in the News area. For the first time STW9 won the ratings for every night [bar one] of each week, including one night up against the test cricket on ABW2.

The 1966 movie The Fall of the Roman Empire rated 33,31, Happy Days and M*A*S*H were still Nos. 1 and 2 while new show TVW7’s Welcome Back Kotter was at No.6 with 196,000 viewers. TVW7 had introduced Hawaii Five 0, which was No.11 with 175,000 viewers. A Current Affair was doing an ‘in-off’ the News with an audience of 158,000 at No.16. ABW2 got onto the charts at No.19 with former TVW7 Naturalist Harry Butler’s Call of the Wild with 142,000 viewers. TVW7 had No.20 with 141,000 viewers of Here’s Lucy. TV4 Survey showed that Happy Days was the highest rating show ever and its audience had jumped to 325,000. STW9 News was at No.11 with 180,000 and ABW2 had one Monday evening News which surprisingly returned a figure of 146,000 at No.20. ABW2 also had the No.18 spot with In The Wild and Test Cricket attracting 155,000 viewers. The final survey for 1977 held produced these results with Telethon still attracting a big audience. TVW7 introduced a new current affairs program at 6 p.m. produced and presented by former Western Australian journalist Mike Willessee. Its first outing scored 21,25,24,27. TVW7 was locally producing a new game show Family Feud with host Tony Barber attracting a very good following with four week ratings in the 7 p.m. spot of 32,33,40,36. At 5.30 p.m. on TVW7 repeats of Lost in Space 24,27,22,23 were beating STW9’s Get Smart with 8,13,11,15. This was probably an anomaly, but it belied the belief that the previous program always acted as the stepping stone to the next as STW9 News followed with 34,32,34,29 against TVW7 News with 32,37,34,32. A Tuesday night audience passed up the opportunity to watch the crowning of Miss Western Australia on TVW7 which rated only 23, in favour of the movie Spartacus on STW9 with 30. ABW2 had the Sydney produced period drama Rush with a rating of 10.On TVW7 the annual Telethon at 8.15 p.m. on Saturday night rated 48 against a movie on STW9 at 27.

According to the Twentieth Directors’ Report TVW7 1978 the biggest local ‘live’ television event of 1978 was the staging of Bob Hope Down Under at the Perth Entertainment Centre, ‘recognised by the Guiness Book of Records as the largest proscenium theatre on earth…’ The show was jointly produced by NBC-TVW and shown to an estimated North American audience of 80 million, providing them with a ‘…never to be forgotten performance…[in which] our customs became the target for the inimitable style of the King of Comedy.’ Long time TVW7 Floor Manager Jeff Thomas has insightful memories of the occasion. American Producer Chris Bearde said, ‘ “Australian technical facilities and crews, particularly those of TVW7 in Perth, are world class and could produce quality variety shows for global distribution” ’ There was a large photograph covering both front and back of the Report, that showed Bob Hope on stage with Florence Henderson, Barbara Eden [I Dream of Jeannie], Charo [the ‘outrageous’ singing wife of Latin-American band-leader Jose Iturbi], Kamahl and The Four Kinsmen. The program was an excellent advertisement for Western Australia in general and included film coverage of our habitat and lifestyle. Another full-page photograph of Fat Cat with M*A*S*H star Loretta Swit, a night picture of the Entertainment Centre, ‘inside action in one of four Radio 6IX studios.’ And ‘The recently acquired Rank Cintel telecine chain has greatly enhanced the quality of on-air transmission.’ Film was still being used, whereas today everything is stored on tapes or discs. TVW7 also staged the Australian Beauty Pageant which was touted as a dress rehearsal for the big event of the Western Australian 150^th Anniversary Celebrations, Miss Universe 1979 to be seen by ‘…more than 700 million people in 50 countries.’ It was the hey-day of television production and TVW7 listed their output as Fat Cat and Friends, A Touch of Elegance [a one hour women’s program telecast daily Monday to Friday] Junior Jury, [a national school-age children’s quota program], Earlybirds and Crackerjack [hosted local children shows with guests and cartoons], It’s Academic and covered the sports of football, soccer, netball, tennis, horse-racing, and motor cycle and motor car racing.

In conjunction with the Australian Film Commission, TVW7 produced the first telefeature made in Western Australia, The Scalp Merchant which created a lot of employment in the industry and was highly rated by local TV audiences. They also entered into a production agreement with Philip Adams in regard to an animated film Grendel, Grendel, Grendel., a major documentary about Northern Australia Learn Fast or Die Young by Richard Oxenburgh was also produced. TVW7 was also offering assistance to the newly formed Western Australian Film Council. Production of historical features to be aired during 1979 was under way. Local production was indeed ‘live’ and ‘well’! The back-cover bore the photographs of the Birdman Rally, ‘South Australian Premier Don Dunstan who is no stranger to the footlights, “hams-it-up” with veteran Keith Michell in an SAS10 television production from Adelaide’, ‘Channel 7 personality, Tony Barber, hosts the popular “Family Feud” National Quiz program. This is produced in TVW’s Perth studios.’, ‘During 1978, Channel 7 introduced to Perth viewers the top rating English series Edward VII, which featured Timothy West in the title role’, ‘Telethon 1977 host, Jeff Newman, introduces Susan Seaforth-Jones and Bill Hayes, stars of “Days of Our Lives”, at the star studded non-stop, 24 hour telecast. Australian and local artists assisted in creating a record Telethon fund raising total.’, and ‘International character actor, Cameron Mitchell, in a scene from “The Scalp Merchant” a TVW telemovie which was shot on location in Western Australia’s timber country and Stirling Ranges’. In terms of promotion of Western Australia both nationally and overseas, these developments had special significance for the future of tourism and provided a window to the rest of the world.

The Group’s operating profit before tax was $5,810,000 an increase of $1,121,000 on the previous year. The shareholders dividend was up 2% to 26%. Taking the good with the bad, it was stated:

Dividend increases have more than matched the rate of inflation over the past few years, with inflation averaging 11.7% a year, and annual dividend increases averaging 18.3% compound. It is perhaps worth noting that the company’s total dividend payout has more than doubled in five years.

TVW shares were selling at $2.50, up 41cents in the past year. By comparison, a new Telecom Loan was offering 9.3% interest on investments for 10 years; the W.A. Trustees 12.22% for 3

years; Lombard 11% at call and G.M.A.C. 9.25% for 3 months. Australian overseas exchange rates were $A equalled $US1.58 and .58 of an British pound.

After taxation the Entertainment Centre returned a profit of $63,138 for the period, with an average of 2.5 performances per week. The Company had purchased the corner property opposite the Perth Town Hall and planned to build a four-cinema complex on the site with an estimated outlay of $12 million, to be funded from cash flows and loans over a period of four years. An analysis of McNair Anderson No.2 of 1985 – Perth was included in the report. It is also interesting to compare the valuation of fixed assets with those of 1966:

The Fifteenth Annual Directors’ Report STW9 Limited 1978 recorded that during the year an excellent new facility in the form of a studio, separate from the main building was completed and local ‘live’ production was still ‘full-steam-ahead’ at STW9 with the News team producing special programs on Middle East – The Last Thread, and Bali – The Shame of it All. An arrangement was concluded with South Western Telecasters to carry the STW News by relay to BTW3 Bunbury, GSW9 Mount Barker, BTW6 Narrogin, GSW110 Albany, BTW6 Katanning and BTW11 Wagin. Film Unit One produced a series on the flora and fauna of Western Australia and Koala- A Vanishing Australian The Special Programs Unit produced records of historical events and Death Cell, UFO’s Are Here and The Mitchell Plateau. The Willessee Unit produced a documentary on the local drug scene, First You Get The Habit, a program on different life-styles, The Alternatives and Models and Mannequins. Peter and The Wolf was produced as ‘…a pictorial description of a symphony orchestra with a fairy-tale story line…an excellent long playing record was made.’ The pursuit of sporting events was carried out with the O.B. Van and coverage included cricket, golf, football, racing, equestrian, boxing, basketball and squash. A team also went to the America’s Cup in Newport and produced a program called Newport’s Under Sail. A Coverage of the World Powerlifting Championships in Perth was produced for N.B.C. of America. A wonderful future for the ‘…skills and expertise by an enthusiastic staff.’ was predicted although a prophetic rider was added, ‘We emphasis however, that the level of local production will be directly proportional to the prevailing economic conditions of our industry.’ The Federal Government had accepted the recommendations of the Australian Broadcasting Tribunal with regard to Australian Content, Children’s Television programs and Advertising Content and intended to set up a Broadcasting Information Office with a committee to look at the Children’s area. The report said that all of these measures were those put forward by STW9 in their submission. Pictorial records showed ‘Channel 9 Media Exhibition’, ‘Terry Willessee receiving “TV Week” Logie’, ‘STW9’s new studio’, and ‘ “Helping Hand” – a continuing community project. As well there were photographs of a televised golf event, Sir Charles Court with L.J. Kiernan, Appealathon and the Champion Footballer Awards. Reflecting the changing trend in who was of most importance to the station, one whole page of photographs was devoted to senior staff, fifteen in all but including only three ‘personalities’. Finally there were promotional shots of The Sullivans and Young Doctors.

Operating profit for the year increased by 21% to $855,459 after providing $921,654 for depreciation and increased cost of asset replacement, and $627,511 for income [company] tax. The dividend was declared at 24%. Despite this, it was noted that ‘…the trading results were not really satisfactory.’ Swan Television shares were trading at $1.80.

It was stated that the STW9 overall survey ratings showed them to be 38.2 which equates to 44.6% (commercial audience) and 36.3 being 44.4% at night. The viewing area was reckoned to have 270,000 TV homes with 893,000 people. Colour sets had been purchased for 74% of these dwellings and 22% had more than one set. Growth of television revenue had fallen to 17% as compared with the colour-driven 54% in the previous period. It was also said that in regard to the 150^th Anniversary Celebration ‘Swan [Television] will be seen and known to be exercising its responsibility to the State as an independent Western Australian public company’ A public enquiry to examine the feasibility of licences for the Eastern Wheatbelt was forecast and another inquiry was held regarding the establishment of Public Broadcasting Licenses for ethnic and special interest groups. STW9 was in favour and offered to provide facilities.

Speculation on Third Commercial Licence for Perth:

Following speculation that there might be another commercial television issued for Perth, the Company decried this on the grounds that it would harm profit levels to the extent that their Local Production would suffer and STW9 would then be unable to ‘…discharge their social responsibilities to the community.’ Both of these prophecies would eventually prove to be correct.

Proposed Communications Satellite:

The investigation into providing a national communications satellite system was under way. STW9 made these points,

• The system should serve to link the country but not to centralise the industry. [My italics]
• The responsibility for transmitted material must always remain with the local licensee.
• The system should not be used to change the intentions of the Broadcasting & Television Act or allow it to be ‘weakened or circumvented’

The practice of training six young men each year for the industry was continuing.

Although STW9 out-rated TVW7 in the News with 191,000 viewers on a Wednesday evening to 187,000 viewers on a Monday, the former had only seven of the Top Twenty in the April-May 1978 survey. On Sundays TVW7 replayed local football from 11 a.m. to 1.30 p.m. for 13,15,10,12 against the same material on ABW2 which yielded 3,4,2,2. TVW7 did a live coverage of the Anzac Day March improving their other Monday morning figures of 4,2,4 to 12 thereby. The local live production of Today with Stephanie Quinlan returned the poor figures of 3,3,2,3.

The third annual Appealathon appeared in the ratings for the first time and rated 26,33 on Saturday evening and Sunday morning 29. STW9 introduced a movie revue program called Clapperboard with ex A.B.C. Presenter Michael Brock which rated 9,11,8,8 at 10.30 p.m. The most noteworthy occurrence during Survey TV2 1978 was the scheduling changes made by TVW7 in the news and current affairs area. Mike Willessee was mounted at 6 p.m. for 20,20,24,26 against the STW9 News with 38,34,26,27. On Friday nights the TVW7 News which followed rated 28,27,31,33. The immediate impact is obvious. On Tuesday nights the figures were,

One month later TVW7 had regained their News crown and held No.5 position on the Top Twenty with a Monday audience of 227,000. STW9 had slipped to position No.12 with 175,000 viewers. TVW7 maintained their lead throughout the rest of 1978 and in the final survey their News was No.3 with 225,000 whilst STW9 was down to No.14 with 180,000 viewers. Within six months there had been a reversal once again and STW9 News on Monday had the best returns at No.3 with 271,000 viewers while TVW7 News had slipped to No.9 with 214,000 on Tuesday night. However, on Sundays, TVW7 was dominant over three weeks with 30,33,29,23 against STW9’s 22,21,27,28. In the current affairs department the newly introduced Terry Willessee’s Perth was an immediate success at No.8 with 218,000 audience.

The final survey of 1978 showed good results for TVW7. Telethon with 233,000 viewers was third behind M*A*S*H and Happy Days. At No.15 the A.B.C. had struck a blow with another British comedy, Are You Being Served.

In the Twenty First Directors’ Report TVW7 1979 the main focus of the year was on the production Miss Universe. It was relayed to 46 countries. The directors believed, ‘…the success of the event was a credit to all those involved’. This was excepting the carpenters who constructed the stage at the Entertainment Centre. Seconds after going ‘off-air’ an invasion of photographers over-loaded the structure which collapsed. Luckily nobody was seriously injured but it took the shine off the event. The Annual Report did not mention this. The front cover of this Report was a beautiful photograph of Miss Venezuela, Maritza Sayalero, after she was crowned Miss Universe 1979, on a TVW produced telecast estimated to have been seen by 600 million viewers world-wide.

The 1979 Report was an expensive looking product but thoroughly justified by the Group’s net profit for the year of $3,939,000. Along with its Financial Highlights, the first page was devoted to The Objectives of the Company.

Entertainment, communication and information are the pillars on which the company has been built. Its activities include television, radio, cinema exhibition, theatrical entrepreneuring, live theatre management, and other activities associated with entertainment and information. Broadly, the company’s objectives are to provide television, radio, live entertainment, and associated services for as wide an Australian audience as possible.

The company also aims to involve itself with its community and provide services aimed at improving their enjoyment and life-style. For this reason the company assists numerous charitable organisations, conducts appeals for medical research, provides awards for young people in many spheres, and assists in numerous community endeavours.

Other objectives are to keep abreast of changes in social structures and technology to ensure the financial viability and strength of the company for the benefit of the shareholders.

The company also continues to look for opportunities to extend its activities in compatible fields.

TVW7 recorded a decade of record profits with an 18.9% increase in the Group’s revenue reflecting the buoyant conditions prevailing in the economy. The net profit was up by 17.4% at $3,939,078 and ‘…the directors consider this a sound result’. The dividend was declared to be 30%. TVW shares were selling at $3.18. The National Bank had recovered to $2.75; Bank of NSW were $3.90 and the ANZ Bank $3.96. The Bell Group which would rise to prominence in a few years was quoted at $2.35. Comparative returns for invested money were Esplanade Finance 17.5% for 3 years; Westrail Loan 10.5% for 10 years; City Building Society 10.75% for 9 months and General Credits 9.5% for 3 months. TVW7 boasted:

It was stated that TVW7 ‘…has won every industry rating over the past 20 years.’

Radio 6IX provided a profit of $168,010 but the Entertainment Centre had the meagre return of $7,590. The Group’s breakdown of earned profits showed,

One of the more noteworthy occurrences at this time was the termination of the joint-buying program which had been in effect between the two commercial stations since 1965. This was instigated by STW9, the other partner in Television Facilities (WA). TVW7 deplored the move, saying that it would increase the cost of programming which would have to be off-set by a reduction in local programming and the money previously saved by the buying cartel would go to the Eastern States suppliers. Of course, their other problem was that STW9 would now be able to form an affiliation with the Nine Network and consequently would be able to ‘poach’ the good rating programs that would be available.

The sixteenth Annual Directors’ Report STW9 Limited 1979 said that local ‘live’ programs being regularly produced included the children’s Flapper’s Factory which went to air each week-day but was videotaped at one session. Dr. Featherweather’s Wonderful Workshop during school holidays and This Monday Live for women, with hostess Jenny Seaton, Will Upson’s Orchestra and a studio audience. Film Unit One completed Land Looking West and The Golden Series a follow-up to the previous flora and fauna programs. The Guy Baskin Unit made The Million Dollar Tree about the former sandalwood trade with Singapore. Answer To Your Problems filled the religion niche on Sunday mornings and several musical and ‘quest’ specials were also aired during the year. The Outside Broadcast Unit was put to work covering World Series Cricket, W.A. Open Tennis, P.G.A. Nedlands Masters, Channel 9 Championship, Mandurah Open, Golden Gloves, and The Narrogin Three Day Equestrian Event. Two specials, Only One Can Win and The World’s Fastest Bowler were produced locally. Live telecasts included W.A. Sportsman of the Year, Coca-Cola Junior Sports Star of the Year, Rothmans Gold Medal Soccer Award and the Swan Brewery/6PM Champion Footballer Awards. The importance of sporting events as low-cost local production was evident. Noting the fact that more than $500,000 was collected by the Federal Government in license fees, the report thought that the money could be used to encourage a ‘…firm, viable production industry.’

Terry Willessee produced Family at Risk, Meet Mary Whitehouse and Wanted – the Killer of Andrew Pea. Long time STW9 journalist David Gladwell produced two documentaries on location, China – The Open Door and The New Invasion. Another dealt with Middle East– The Last Thread. The National Communications Satellite System was re-visited almost word for word as last year but with the addition that, ‘In Western Australia we are well aware of the shortcomings and inadequacies of the present terrestrial system when required for the relay of programs to and from the Eastern States. This has been highlighted during the past year.’ The value of good News ratings was also high-lighted,

NEWS has long been considered the flagship of any T.V. Station and in this regard we are particularly well served by a very efficient, professional and dedicated staff. On a daily average basis 225,000 viewers watch the Channel 9 News at 6 o’clock, whereas less that 200,000 watch any other news service. This has recently been supported by the current affairs program – Terry Willessee’s Perth. This program achieved remarkable success with an average nightly viewing audience of 218,000 and has continued to do so. The Channel 9 News and Terry Willessee’s Perth are two Western Australian originated programs. These two programs are shown throughout the area covered by The Golden West Network to a potential audience of 185,000.

Pictorials included Perth by night, the STW9 O.B. fleet, Appealathon, The Fun Run, Prince Charles with Lord Mayor Cheney, Youth Week performers, golf and cricket pics, Sir Charles Court presenting a trophy with Sports Presenter Bruce Walker, the Avon Descent, Land Looking West , Flapper with children and two small photographs of Terry Willessee and News-reader Russell Goodrick. One more was of Terry Spence (News Director), Bruce Walker, John Crilly (Production Manager), Vance Lothringer (General Sales Manager), Tom Provan, (Director of Engineering and Planning), Terry Willessee, Len Downs (Executive Program Manager) and David Aspinall (Chief Operating Officer)

Operating profit increased by 26.8% to $1,168,536 and the annual dividend was 16%. Costs increased by 21.4%. It was noted that 94% of shareholders resided in Western Australia, about 5% in the rest of Australia and less than 1% overseas. On the Stock Market Swan Television shares were selling at $1.80. The claim was made that in the area of ‘quality and range of equipment’ STW9 was a ‘clear leader’ Additional land was being purchased adjacent to the Dianella studio complex. [The address had changed from Tuart Hill.] As if in answer to their rival’s claims, rating figures were given.

Our OVERALL rating (6am to 12mn) was 39.3 %(33.9%) [previously] giving a commercial viewing share of 45.6%, while the night rating (6pm to 12mn) was 41.7% (34.1%) giving a commercial viewing audience share of 49.6% (43%) A further breakdown of the important night viewing audience share reveals a rating of 40.4% (32.6%) during 6pm to 9pm with a commercial viewing audience share of 50.2% (42.7%)and during 6pm to 7pm a rating of 47.9% achieving a commercial viewing audience share of 55.3% (45.1%).

Statistics are wonderful things, no less than their possible interpretations. By the second survey of 1979, TVW7 had regained their News crown and held No.5 position on the Top Twenty with a Monday audience of 227,000. STW9 had slipped to No.12 with 175,000. The Sullivans, a new Australian drama series from Crawford Productions in Melbourne produced a good result for STW9 coming into No.13 with 174,000 viewers. Charlie’s Angels was new on TVW7 with 166,000, while American import Wonder Woman rated No.18 with 164,000 on STW9 on Saturday nights. 9 July-5 August showed that TVW7 had the top six programs in the Top Twenty and STW9 only seven of the remainder. STW9 News was at No.14 with 180,000.

TVW7 experimented with State File an alternate current affairs program at 6 p.m. It rated 17 as compared to three weeks of Willessee on Seven with 26,21,22. A local ‘live’ late night production of the Swan Brewery Footy Awards recorded 15 against Clapperboard’s 5. A month later TVW7 News was No.3 with 225,000 viewers. The Sullivans was at No.5 with 220,000 viewers; The Young Doctors was No.9 with 204,000; The Rockford Files appeared on TVW7 occupying No.14 with 177,000 viewers. The next survey showed that M*A*SH was still on top for TVW7 with 270,000 viewers. The Sullivans had moved up to No.3 with 255,000. Cop Shop had started on TVW7 with 197,000 at No.7 and a locally produced sports show called Football Inquest was No.16 with 170,000. The new series Love Boat was performing well for STW9 at No.18 and 160,000. However, the big surprise was ABW2 which now had four programs in the Top Twenty. They were #13 – Are You Being Served with 184,000 viewers; #14 – The Two Ronnies 180,000; #19 George and Mildred 156,000 and #20 – Some Mothers Do Have ‘Em 156,000 Appealathon did not appear in the Top Twenty, rating 34 for the 24 hours of local live production. The Elephant Productions Group had moved from TVW7 to STW9 and were producing Doctor Featherweather’s Workshop, a 7 a.m. Saturday program for children, which rated 5,3,3,4 against TVW7’s Fat Cat’s Fun-Time with 6,8,8,7.From 10-12 noon Hey! Jude, at 4,5,5,4 was trailing the Eastern States import Sounds Unlimited with 6,7,7,7. Perth TV3 1979 Top Twenty, STW9 had four in the first ten and six in the last ten,

The big program of this survey was the introduction and immediate success of STW9’s Terry Willessee’s Perth. At 6.30 on Monday evening it produced 38,33,39. His brother Mike’s program from Sydney on the same nights at 7 p.m. had 36,32,31. The Willessees were current affairs ‘Kings’! On Sundays STW9’s VFL Football was rating 7,5,6,6 to TVW7’s Racing with 2,6,3,4. The Flintstones on TVW7 with 13,13,13,12 compared to Young Talent Time with 14,13,20,12 and STW9 News with 22,21,27,28 compared to TVW7 News with 30,33,29,23. ABW2 at the same time showed VFL Winners for 19,13,14,17. Although a strong audience draw Disneyland with 26,26,27,24 had succumbed to Little House on The Prairie with 33,28,33,34. TV5 1979 showed the Top Twenty as TVW7 and STW9 as having eleven and nine respectively and the same for TV6. Although Willessee at Seven was still No.9 with 206,000, Terry Willessee’s Perth had slipped to No.16 with 167,000 viewers. Telethon once again rated highly at equal fifth with 243,000, the Muppets on TVW7 was No.11 with 204,000 and their new Rich Man Poor Man was No.19 with 158,000. At 9.30 a.m. Here’s Humphrey on TVW7 was doing 5,5,4 against Flapper [a new local ‘elephant’ costume character] on STW9 with 1,1,2.

According to the Twenty-Second Directors’ Report TVW7 1980 this was a very good year for local ‘live’ production. In 1980 TVW7 introduced the first of its helicopters to Perth, equipped with portable electronic camera/recorders and the ability to transmit local ‘live’ to the studios. The front and back covers pictured this machine hovering over the city. On the inside was a scene from the 1980 Australian Beauty Pageant. Two more full-page photos followed, one being a scene from the stage musical Evita and the other the wreck of the ‘Anitra’ which ran aground at Rottnest during the Parmelia Yacht Race. The TVW7 helicopter was once again in evidence. There was a photograph of Sir James Cruthers, recently named in the Queen’s Birthday Honours in recognition of ‘…his services to television, the arts and the community’.

Advertising revenue increased by 6% and the building extensions were completed at the studios. A new children’s program The Underground Video Show was produced in line with ‘C classification requirements’, Fat Cat’s Funtime Show was shown on Saturday mornings and Stars of the Future was resurrected. Another ‘old-timer’ saw the light of day in Letterbox with Eastern States, current affairs ‘funny-man’ Paul Makin as the compere. Televised events included Miss Universe Pageant, Parmelia Yacht Race, Anniversary Year Closing Concert, 1979 Anniversary Air Pageant, and the Miss Australia Quest. It was recorded that TVW7 was co-producing Cop Shop and Skyways [not in Western Australia] with the 7 Network and Punishment with the 10 Network. The date for the introduction of the domestic communications satellite had been nominated as 1984. There was bad news for local production with the statement that economic strictures would result in the majority of expenditure being henceforth directed to that purpose.

The TVW7 net operating profit for the year 1980 had increased 8.1% to $4,600,000 and a dividend of 30%. TVW shares could be purchased at $3.30, so buyers at that time were looking at about a 5% return on their money. Of course those who bought the original shares were still ‘laughing all the way to the bank’. Comparative returns investments were Perth Building Society 11.5% for 12 months; Rural & Industries Bank 9% at call; Home Building Society 10% for 30 days, ditto Bonds 13% for 3 years; Perpetual Trustees 10% at call or 13% for 3 years. Share prices included ANZ Bank $4.50; Bank of NSW $3.05; National Bank $2.70 and Bell Group were on the rise at $4.50. The returns for 1980 had interceded to thwart the dire predictions of just a few years earlier. This was because of the introduction of colour, which was now in 80% of homes. It was noted that the revenue increases were starting to level out. First mention was made of the prospective advent of cable and pay television which along with satellite systems would bring new challenges. There followed a full-page photograph of the new Cinema City.

In the Seventeenth Annual Directors’ Report STW9 Limited 1980: a photograph of a beaming Board of Directors introduced the happy news that company profits had increased 24.3% to $1,348,000 returning a dividend of 17.7%. The Company shares were almost equal to those of TVW Enterprises Limited at $3.15.As a large of majority shares were controlled by the six men pictured, they had every reason to look happy. Advertising sales were up by 24.8% and the local market grew by 13.5% as compared to 19.6% in the previous term. This was good news for local ‘live’ production. Clapperboard, a film review program was continued, as was The Squirrels Club (sponsored by the Perth Building Society). A local talent quest The Entertainers was also being produced on a weekly basis and STW9 contributed financially and with facility use to the Perth Institute of Film and Television’s production of Falcon Island. However, the swing to accepting the inevitable incursion of out-of-State programs was evident in the promotion of ‘…The Sullivans, The Young Doctors, The Prisoner, The Mike Walsh Show, The Don Lane Show, Young Talent Time, and Simon Townsend’s Wonder World. World Series Cricketand night cricket, along with Wimbledon tennis and golf proved popular. Pictorial promotion in this report was a mixture of local ‘live’ promotion and the other facets of the company’s business. Russell Goodrick, Bruce Walker and Barrie Barkla on the News and Weather set; Terry Willessee talking to Prime Minister Malcolm Fraser; Radio 6KY’s Vern Stone (General Manager), Graham Lorrigan (Sales Manager), Ern Street (Marketing Manager), Alan Aitken (Music Director) Warren Gillespie Operations Manager); Swanline Hauliers’ Michael Kiernan (General Manager), Ken Walker (North West Manager) and Terry Kelly (Transport Supervisor); The Entertainers set; Elephant Productions Company, Flapper and Lynne Crozier with Chris Woodlands on Flapper’s Super Heroes.

A page of publicity shots showed various aspects of the 150^th Anniversary Celebrations; the same for the imported productions listed above; a page of sporting photographs; Tony Barrett, the Commercial Production Manager; two pictures from Appealathon; two 1980 FACTS (Federation of Commercial Television Stations) Awards for music and animation and two pages devoted to the executive staff, technician apprentices and graduates.

With the Chief Executive of the Company having come from a trucking industry background, the establishment of Swanline Hauliers (which occurred unheralded in 1978) was acknowledged along with the information that they offered scheduled services to Karratha, Port Hedland, Mount Goldsworthy, Broome, Derby, Halls Creek, Kununnurra and Darwin. There was a flavour of nepotism about the move as one of the boss’s sons (Michael Kiernan) was appointed manager of the new division. The business was set up from scratch with the purchase of a new fleet of heavy vehicles. Laurie Kiernan could see no incongruity in the move and said that it proved to be a sound venture. This Annual Report said that Radio 6KY was proving to be a good sales platform for the Station, rating second overall and Number One with the ‘housewife category’. STW9 Programs could be promoted on radio during the day and ‘contra’ advertisements on night-time television sold the idea of listening to 6KY during the day.

The new decade’s first survey showed, TVW7 News 28,21,25,25 STW9 News 19,21,12,20 (ABW2 Countdown 15,16,18,19) By April-May STW9 News was No.3 with 247,000 and TVW7 News was No.15 with 197,000, both on Monday. There was more joy in the next ratings period when STW9 News attained No.2 with 248,000 with TVW7 News at No.13 with 206,000. In the Aug-Sept. 1980 survey, the locally produced quiz game show Letterbox scored on a Monday evening 28,31,28 against the STW9 News with 37,29,36. Terry Willessee’s Perth rating on the same night 33,31,24,36 against the TVW7 News with 31,36,32,32. At 7 p.m. Willessee at Seven was rating 40,36,35,34 against the ABW2 News with 15,18,19,12.

The new decade dawned brightly for STW9 with eleven programs in the Top Twenty, which TVW7 discounted by pointing out that they had seven of the first ten. In the local ‘live’ area Terry Willessee’s Perth was down to No.20 with 141,000 viewers. His brother Michael’s Sydney based program was not in the survey. At noon on Monday’s ‘live’ [by broadband and held for two hours] from Sydney, The Mike Walsh Show was rating well with 19,20,13,19 against the soap opera Days of Our Lives on TVW7 with 17,19,14,15. On the News front it was TVW7 28,21,25,25, against STW9 19,21,12,20 and the ABW2 Rock Music program Countdown on 15,16,18,19. New programs were Prisoner at No.5 for STW9 with 247,000 viewers, Skyways at No.6 with 242,000 and Holocaust at No.7 with 228,000 viewers did well for TVW7. Mork and Mindy was at No.8 for STW9 with 225,000 and The Incredible Hulk was No.10 for TVW7 with 208,000 viewers. The formerly dominant Disney program had fallen to No.19 with 160,000 viewers. The best result ever for STW9 followed in April/May when they still had eleven of the Top Twenty but this time, eight of the first ten. The newly introduced 60 Minutes was huge but their Appealathon was disappointing with a best rating of 34 on Saturday night.

The second McNair Survey of 1980:

TV3 1980 showed an equal split with both channels holding five places in each section 1-10 and 11-20. The change in fortunes between TV2 and TV4 was remarkable.

In the following survey a local ‘live’ quiz show entitled $25,000 Letterbox came in at No.16, proving that well produced shows on TVW7 were still acceptable to the viewing audience of 188,000. It scored on a Monday evening 28,31,28 against the STW9 News with 37,29,36. Terry Wllessee’s Perth rating on the same night 33,31,24,36 against TVW7 News with 31,36,32,32. At 7 p.m. Willessee At Seven was rating 40,36,35,34 against the ABW2 News with 15,18,19,12. The new program Dallas entered the race at No.20 with 166,000 viewers.

Conclusion:

This decade marked the high point for local ‘live’ production on Western Australia Commercial Television. It saw the acceptance of STW9 by the wider viewing community, with a levelling out of the ratings and a profitable period for both stations.

Colour television was successfully introduced and enthusiastically adopted by the viewing public. It provided a big boost to consumer spending and showed that the Australian standard of living had risen substantially since 1956 when television was first transmitted in the Eastern States.

In 1973 TVW7 staged their first Christmas Pageant and continued their policy of extensive involvement in other community activities. The Company also invested in a theatre chain and were instrumental in the building of the Entertainment Centre in Wellington Street Perth. However financial difficulties concluded with the State Government of W.A. mounting a rescue package to acquire ownership of the project. Although enjoying good relations with the Court Liberal Government, in 1975 TVW7 management was very critical of the three years performance by the Whitlam Labor Government in the Federal arena.

The mid-1977 television audience ratings surveys produced the long awaited News triumph for STW9 when for the first time they won six of seven nights in one week. A follow-on from this was the cancellation (by STW9) of the joint program purchasing agreement. Western Australia received world-wide coverage in both 1978 and 1979 with a Bob Hope Special and the Miss Universe telecasts from the Entertainment Centre. Both commercial channels participated extensively in the 150^th State Anniversary Celebrations.

There was enough money made through advertising (and the diversification into other industries, including radio and a trucking business by STW9) to ensure that superiority was a priority in being seen as the top ‘local’ station. STW9 shares were trading on the Stock Market at an almost equal amount to those of TVW7.

Although there were new regulations regarding children’s programs, the effect was minimal in Western Australia, as production of daily programs of that type had ceased. The provision by both commercial stations of financial outlay to produce ‘entertaining’ local ‘live’ was starting to lose its dimension of being part of Community Responsibility. The following Chapter Nine concludes the examination of the period 1958-1990.

Peter Harries March 2004

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This page forms part of Dr Peter Harries’ first PhD thesis submission entitled: “From Local ‘Live’ Production Houses to Relay Stations: A History of Commercial Television in Perth, Western Australia 1958-1990″. This contained much additional material.

Chapter Nine:

The Main Event – Round Three – 1981-1990:

Introduction:

This chapter concludes the examination of the inextricable melding of Television Audience Survey Ratings, Financial Returns and Local ‘Live’ Production. While there was still intense rivalry between TVW7 and STW9, other forces were coming into operation in the succeeding period from 1981-1990. In this decade both TVW7 and STW9 were subsumed by much larger corporate entities. At the level of programming this led to a notable decline in local ‘live’ production, as a result of national networking and a corresponding diminution of community responsibility.

During this period there were to be big changes in the structure of what can be termed the era of the two ‘family television’ companies in Western Australia. The chapter examines the events that led to TVW7 becoming part of the Robert Holmes a’ Court Bell Group, the retirement of Sir James Cruthers (considered by many to be ‘the Father’ of Perth television) and the sale of STW9 to the Bond Corporation.

Another development, the introduction of the Aussat Satellite System was to have a huge impact on program transmission and in conjunction with Networking, perhaps deliver the mortal blow to the local ‘live’ television industry. The chapter concludes with the first two years of a three-station System in Western Australia’s capital city, when NEW10 went on air in 1988.

Examination of the correlation between audience ratings surveys and Company profitability continues and so are their combined deleterious effects upon the former showcases of the two original stations, their respective Production Departments and the wealth of output from their in-house studios.

In the Twenty-Third Directors’ Report TVW7 1981 full-page colour photographs were the order of the day and one showed Sir James Cruthers with Garry Meadows and others at the station’s 25^th Birthday Party, the TVW7 helicopter with the Newscruiser camera-crane truck, Sir Charles and Lady Court arriving to open Cinema City, Lionel Yorke on Yorkie a short-lived variety program. ‘Cop Shop stars John Orcsik and Paula Duncan with jockey Mick Gorham after he had won the $250,000 Channel 7 Australian Derby at Ascot Racecourse’, ‘Singer Normie Rowe on camera at SAS Channel 10’s Adelaide Studios’ and the TVW7 Hole-in-One day, shot from the air. Apart from the Yorkie photograph the promotion was for imported ‘stars’, station activities, pursuits outside of television production and acknowledgement of community service involvement.

One of the biggest television news events since the establishment of the medium was announced on page 3 of this report. Accompanied by a photograph of Mr. Robert Holmes a Court (the controller of the Bell Group of companies) as the new Chairman and Chief Executive of the Group it was announced that Sir James Cruthers had retired. Holmes a Court stated that, ‘TVW Enterprises has a long and proud history…it has a record of serving the communities in which it has operated…I am committed to continuing this record and to building on it.’

Net profit had risen by 6.5% to $4.53 million and the Group had acquired a 30% holding in the Albany Advertiser Moves were also announced to acquire all of the issued capital in Western Mail Ltd., while ‘significant strategic holdings’ were acquired in Herald and Weekly Times Ltd., and John Fairfax & Sons Ltd. The Group had also acquired a 21% interest in the giant UK media and entertainment conglomerate Associated Communications Corporation Limited.

In 1971 TVW7 Limited began an expansion program following on from when it became a truly independent Company. This followed the action of the Melbourne based Herald and Weekly Times Limited divesting itself of a long standing holding in TVW7 by West Australian Newspapers. Sir James Cruthers said that the holding was 44% representing the 3/7ths control of the original share issue. In 1971 James Macartney ‘retired’ as head of West Australian Newspapers Limited and Goss White took over as Managing Director. According to Cruthers, in 1971 the Board of TVW Limited became aware that the head of Sydney’s Consolidated Press, Sir Frank Packer was interested in taking over West Australian Newspapers Limited. Because of the Broadcasting Act 1942 ruling that no person could control more than one television station in Australia, the 44% holding would have to be divested by Packer and TVW7 would then be open to a control bid. To counter this contingency, the Board of TVW Limited proposed a reverse take-over of West Australian Newspapers Limited, endeavouring to ‘keep it all local’. This proved to be not acceptable to the newspaper group. Sir John Williams, the head of the Herald and Weekly Times Group in Melbourne had given an undertaking to the Board of W.A. Newspapers that he would protect them from Packer and to that end made an offer of $5 a share which was accepted. However, this placed the new owners (who also controlled HSV7 in Melbourne) at odds with the ‘two station’ rule and a controlled divestiture was formulated. With the connivance of a ‘friendly’ Melbourne stock-broking firm, the 44% was placed with a disparate group of institutional buyers such as the AMP Society and Colonial Mutual Assurance. The new shareholders were limited to about 5% each of the TVW shares. In the mid 1970s Robert Holmes a’ Court, operating through the Albany Woollen Mills started to build a small stake in TVW.

According to Binks, when this information became known to the TVW Limited Board of Directors they operated to thwart him in the market, with ‘friends’ acting to curtail Holmes a’ Court’s purchasing activities in TVW. Because of his reputation as a corporate predator he was not a welcome newcomer to the share list. Sir James Cruthers said that the first part of that information is arguable, as Binks did not attend TVW7 Board Meetings.At this time TVW shares were selling at $2.25. The ANZ Bank was at $5.10; Bank of NSW $2.90; National Bank $2.70 and Bell Group $4.20. The R & I Bank were offering interest rates of 6% at call, 12% for 30 days and 12.75% for 3 months; Perth Building Society 13.5% for 12 months; Resources Bank 15.75% for 10 years; General Credits 15.75% for 3 years and Perpetual Trustees 15% for 3 months.

At this time Rupert Murdoch (through News Limited) in the role of a ‘White Knight’ purchased a holding of about 5% in TVW7. At the same time Murdoch was making moves associated with Ansett Transport Industries (in which he held a 5% stake) to gain a greater stake in Melbourne’s Channel ATV10. As part of this he wished to acquire the Bell Group’s 10% interest in Ansett Transport Industries. Murdoch and Holmes a’ Court met in Melbourne in October 1979 for a weekend at Murdoch’s property Cavan. In a share swapping arrangement, Holmes a’ Court came away with Murdoch’s 10% interest in TVW and Murdoch acquired the Bell Group interest in A.T.I., subject to approval of the Australian Broadcasting control board. Although Binks said that many were surprised when Sir James invited Holmes a Court to join the board Cruthers said that this did not happen and that the Board had little choice as 15% is considered to be a ‘substantial’ holding in any company, and acceded to Homes a Court’s request for a seat on the Board.

Although it might be seen that Holmes a’ Court ‘pushed’ Cruthers out of TVW7, according to the latter person this was not so. Both Cruthers and his right-hand man Max Bostock had decided some years before that they would both retire at the age of fifty-five. That time arrived with Holmes a’ Court’s interest in acquiring control of TVW7 and as he baulked at losing the two top executives, Cruthers and Bostock agreed to stay on for a six months change-over period. Holmes a’ Court engineered several rights issues underwritten by the Bell Group and the later acquisition by TVW Enterprises Limited of the Western Mail newspaper then owned by the Bell Group in exchange for an issue of TVW7 shares . The net result of these corporate manipulations was that the Bell Group picked up a further significant parcel of shares in TVW. This placed the Bell Group in a position where it was able to make a full takeover for the Company. The takeover was achieved in a non-competitive environment by Bell Group offering a consideration largely comprised of Bell Group shares in exchange for shares of TVW7. Cruthers explained that shares are ‘simply created’ by a company, to be either sold on the market to raise capital or, as in this case, to amalgamate financial interests between companies. ‘Thus TVW Enterprises Ltd., a great Western Australian Company disappeared from public ownership.’

In March 1987 a Senate Select Committee recommended that the ‘two station’ rule be abolished as part of a total replacement of the old Broadcasting Act 1942 which had become a legal minefield. ‘The broadcasting Act 1942 was introduced to regulate radio services and was amended to include television services in the 1950s’ This would be replaced by the Government implementing its proposal to introduce a rule restricting the maximum permissible audience reach to 75% of the Australian viewing audience (para. 1.80). When the Law was changed the percentage of allowable market was reduced to 60%. The other major recommendation was that the Government should proceed with its plan to introduce rules limiting cross-media ownership. The legislation was introduced soon afterwards and the rules would prohibit the ownership of more than one commercial television licence, one radio licence or a daily (at least four publications per week) newspaper in the same licence area. Ownership of any Australian Commercial Television Station by foreigners was limited to 15% for a person and total foreign ownership in any particular station was limited to 20%.

Because of the changes to legislation, when the Bell Group acquired a majority holding in West Australian Newspapers in 1988, they were forced to divest themselves of TVW7. The new owner was the Christopher Skase Qintex organisation which had just purchased Channel Seven in Sydney, Melbourne and Brisbane, so a true network was created. Those three stations were sold to Quintex by John Fairfax Ltd in April 1987 for $780 million, a profit of more than $300 million within one year of their purchase When that structure imploded, control of the oldest and most profitable of Western Australia’s two commercial television stations was taken over by receivers for lending institutions (mainly Australian banks) and finally, in 1993, a consortium headed by Kerry Stokes became the operators of the national Seven Network.

Apart from Flapper’s Super Heroes on Saturday and a special called Kids on the Block, a puppet film designed to show the problems of handicapped children, there was little for STW9 to boast of concerning studio local ‘live’ in the Eighteenth Annual Directors’ Report STW9 Limited 1981. However, the station was busy in local live production of sporting events. There was a significant increase in the coverage of local sport including Australian events with Sheffield Shield Cricket, W.A. Open Tennis, The Nedlands Masters, The Halls Head Open Golf, W.A. Masters Ten Pin Bowling, The Narrogin Three Day Event, Golden Gloves Boxing, Champion Footballer of the Year Awards, W.A. Sportsman of the Year and the Rothmans Soccer Gold Medal Awards. The claim was made that STW9’s was the top rating News Bulletin at 6 o’clock each night. As well, although no ratings figures were claimed (except by inference) six bulletins went to air each from 10 a.m. to 8.30 p.m., with a half hour bulletin at 11.30 a.m. In April 1981 STW9 became partners with the publishing company established by Richard Keech and John Kershaw . They produced various Perth based magazines including ‘ “About Homes” and “Girl About Town”.

It was reported that ‘Company net profit after income tax and all provisions increased 24.3% to $1,675,000… maintaining an acceptable steady annual growth rate.’ The dividend for the year was 20%. Swan Television shares were trading at $2.90 and they had overtaken those of TVW Enterprises Limited for the first time The fact that overall operating costs had risen by 28.9% was attributed mainly to the rising cost of programs. TVW7 had forecast that this would happen with the abandoning of the buying cartel, but general inflation was also a contributory factor. Another major reason for increased expenditure was the use of the broadband link with the Eastern States, which had risen 1200% in four years.

An explanation of the station’s adherence to the Australian Broadcasting Tribunal’s directions was given.

Under the current ABT points system we are required to achieve 6288 points for the year, whereas the station achieved 12,136 points – almost twice the minimum requirement. Similarly we were required to telecast 104 hours of first run Australian drama during the year, whereas in practice 326 hours were put to air – over three times the minimum requirement.

The introduction of the Points System was another of the continuing addendums to the Broadcasting and Television Act 1942. When television commenced in 1956 it was regulated by section 114(1) which instructed operators to employ Australians to the greatest degree in production and presentation areas. After three years of operation the first Government instructions regarding programming were promulgated, requiring Australian content of at least 40% which rose to 50% in 1965. Stations had to telecast one hour weekly (rising to 2 hours after 1962) of material produced in Australia, between 7.30 and 9.30 p.m. The regulatory body was the Australian Broadcasting Control Board which became the object of criticism following a Senate Select Committee in 1963. This, the Vincent Committee criticised the small percentage of Australian production content on commercial television and the deleterious effects on Australian culture. An adjunct was the lack of opportunity for local talent in all creative spheres. By 1971, televised content had to be 45% (increasing to 50% in 1972) during prime time. A minimum of six hours of Australian produced drama was to be aired during each four week period. As well, in the same period the stations were required to show four hours of Australian content during viewing times for children of school age.

With an incumbent Labor Government in 1973 (greatly assisted in its election by the representatives of theatre and television production) Australian programs attracted ‘points’ varying from 0.5 to 10, the degree of which were assigned according to a complicated measuring system which took into consideration the amount of specialist input, money expended, work created for all sorts of people from carpenters to actors and the specific timing of the transmissions. The number of hours that the station was on-air between 6 in the morning and midnight required at least a matching number of ‘points’ for a 28 day period. Another requirement was to telecast ‘six hours of first release drama each 28 days during prime time (subsequently increased to 104 hours plus four ‘big budget specials’ per year).’

To illustrate that ‘Ratings have been very satisfactory’ STW9’s best of the year’s results showed:-

Radio 6KY and Swan Hauliers continued to provide profits to the Company.

The company once again repeated its forlorn hope that the eventual advent of National Communications Satellite System would not lead to centralism nor be to the detriment of local broadcasting. The wish was expressed that STW9 would have an equity participation in the company which eventually was formed to control it. The point was made that the Commonwealth Government would probably have a 51% controlling interest in the proposed satellite system. ‘We also stressed that statement that we were opposed to the U.S. style of networking and direct broadcasting into an area already served by an existing licensed operator.’ In this last at least, the eventual outcome was to their liking. On the subject of Cable and Subscription Television, the report said that these variations of the medium, ‘…are not an economic viability proposition at present and nor will they be for a long time – at least ten years – and that the premature introduction of pay systems would seriously jeopardise the economic viability of the existing free television enjoyed by the public.’

Perhaps in response to the momentous changes which had occurred at TVW7, the report closed with a virtual Philosophy which set out to consolidate and restore faith (in the perception of shareholders and staff) in the continuation of STW9 as an independent entity.

Our principal obligations and responsibilities remain the same and have not altered over the years. We must fulfil our obligations under the B & T Act and the licences granted to us by The Australian Broadcasting Tribunal. These include very precise responsibilities. We have always been very clear in our mind on these responsibilities to the community we are licensed to serve, our shareholders, out staff and our clients. We believe we are fulfilling and will continue to fulfil our obligations to the community and see our involvement always continuing. We hope to achieve the reasonable expectations of our shareholders and believe this has been done and will continue to be done. We have created and will maintain security for our employees and provide opportunities for them to fully develop their talents. We strive very hard to serve the interests of our clients and customers and to anticipate their future needs. We value and appreciate their support, without which the company could not progress. In short, we wish to remain a healthy, strong enterprise serving the needs of our community, shareholders, employees and customers. We go forward into the future with confidence.

The 1981 Annual Report recorded that the author of this statement, foundation (and still) Chairman of STW9, ‘…Mr. Denis Cullity was awarded the Companion of the Order of St. Michael & St. George in the Queen’s Birthday Honours list.’

With the era of ‘family’ television ended ‘up the hill’ at TVW7, it would not be long before the STW9 would be subsumed by corporate greed. The lofty ideals so eloquently expressed by the Annual Report would have to bow in the face of economic pressures. Excepting ‘passport’ photographs of executives David Aspinall, Len Downs, Vance Lothringer, Tony Barrett, Vern Stone, Michael Kiernan, Richard Keech and Bruce Walker the issue was devoid of illustration.

TV1 1981 would have brought great consternation to the TVW7 Boardroom when its opposition picked up the first seven places in the Top Twenty and a total score of thirteen! Seven’s only consolation was winning the News on Wednesday with 198,000 viewers at No.8. STW9’s new shows Sale of The Century was No.1 with 277,000, Paul Hogan at No.7 with 204,000, New Faces from GTV9 Melbourne was No.11 with 176,000, No.17 was The Dukes of Hazard with 149,000. M*A*S*H was waning at No.20 and 148,000 viewers. TV2 1981 still showed STW9 with thirteen of the Top Twenty with 60 Minutes back at No.1 with 311,000 viewers. Appealathon rated equal sixth place with New Faces on STW9 both with 211,000, while their new Buck Rogers in the 25^th Century gained No.7 with 202,000. ABW2 claimed No.16 with To The Manor Born and 172,000 viewers. STW9 consolidated its advantage in the next round of ratings where it recorded thirteen of the Top Twenty including the coveted No.1 position with their News and 312,000 viewers on a Monday. TV4 1981 increased the advantage of STW9 with fourteen of the top twenty and Nine’s News still holding No.1. Ford Superquiz coming in at No.9 with 216,000 viewers added to their success. TV5 1981 showed that TVW7 had clawed back three positions with new shows That’s Incredible at No.9 with 211,000, The Leyland Brothers at No.16 with 187,000 and Chopper Squad at No.20 with 185,000 viewers. TV6 1981 had both stations again on equal terms with TVW7’s M*A*S*H and Telethon sharing No.2 spot with 262,000 viewers, Seven’s News was back on top with No.4 and 246,000 Wednesday viewers and The New Price is Right coming in at No.13 with 201,000 viewers. Telethon rated 33. By TV7 1981 TVW7 had gained another place to be 11 to 9 in the Top Twenty. There were six new programs.

In the Twenty-Fourth Directors’ Report TVW7 1982 the only picture referring to local ‘live’ production was a photograph of Miss West Coast 1981 with TVW7 presenter Debra Allanson and compere Lionel Yorke. The frontispiece was a full-page colour photograph of the Telethon set with ‘The Chairman, Mr. M.R.H. Holmes a’ Court, at the opening of Telethon 1981.’ To illustrate that TVW7 was now out there with the big boys, the photographic content included pictures of Henry Fonda and Katherine Hepburn from the Associated Communications Corporation Limited’s film On Golden Pond; Kevin Kline and Meryl Streep from ACC’s film Sophie’s Choice; Michael Crawford in Barnum at the London Palladium; Dennis Waterman in Windy City at the Victoria Palace, a scene from Pirates of Penzance at the Theatre Royal, Drury Lane, and Perth’s Grand Theatre in the 1930s. On page 50 there was a picture of TVW Channel 7’s Logie Award winners, Newsreaders Rick Ardon and Ann Sanders’. This was a precursor to News on both commercial channels becoming the virtually the sole representation of local ‘live’ production.

The Report mentioned that, ‘The Channel 7 news team won the 1982 national Thorn and Penguin awards for the best news coverage of the bulk-ore carrier Co-op Marine, which ran aground off the coast at Port Hedland, W.A.’. Photographs in this issue were of ‘The winner of the Caltex Sports Star Award Terry Alderman with compere Gary Carvolth; TVW7 telecasts the Caltex Sports Star Awards.’; ‘Crowds at Channel 7’s fund raising Teddy Bears Picnic’ and a full-page picture of Miss Piggy from ACC’s Muppets Show.

The Group operating profit after tax was $4,676,000 and the dividend once again was 30%. TVW shares were trading at $2.30. The ANZ Bank was at $3.50; National Bank $2.55; the Bell Group were steady at $4.10 and the big mover of the time was the Kerry Stokes’ (eventually to control the Seven Network) Wigmores Limited with shares at $6.10. On the investment market, interest rates were being offered General Motors Acceptance Corp., 16.25% for 30 days and 17% for 4 years; United Credit (a Perth Savings Society) was 16.02% at call. Money was very dear and was to continue so until the market crash in 1987. ‘Although our new configuration is still developing and immature, our prospects for both earnings and growth for the year ahead are very favourable.’ The statement was illustrated with a montage of newspaper front pages, The Western Mail, the Albany Advertiser and the Great Southern Herald. The Director’s Review as it was now called, concentrated mainly on the overseas activities of the Group with reference to

TVW Channel 7 – Perth

The Perth market for commercial television experienced strong growth during the financial year and Channel 7’s rating performance improved very significantly from October 1, 1981 onwards. The average overall ratings achieved by TVW Channel 7 during the past 12 months was 44% of Perth’s viewers compared with 42.4% achieved by the channel’s commercial competitor. TVW 7’s locally produced news and sporting programs, and the Seven Network’s Australian production received strong and consistent viewer support.

While making mention of ‘locally produced news and sporting programs’ other Australian programming was attributed to out-of-State sources. Apart from a reference to the Today program, no mention was made of any other local ‘live’ production. By this time the effects of the ‘points’ system of regulation had decimated production of local programs in Perth. The requirements could be satisfied through the affiliated networks in the Eastern States.

Meanwhile, at STW9 the Eighteenth Annual Directors’ Report STW9 Limited 1981

Said that local ‘live’ had one representation as The Young People’s Department was producing Perth Young Entertainers designed to give ‘…the experience of participating in a professional television program.’ The only other contribution to ‘in studio’ local ‘live’ production was Kids Cartoon Sundae a pre-recorded program shown on a weekly basis. However, in the area of ‘Specials’, STW9 was much more involved. Guy Baskin had produced The Wonders of Western Australia, two wildlife and natural attractions documentaries. The News Department was the busiest at the station with the 6 p.m. bulletin with Russell Goodrick, the 11.30 a.m. News Report, Greg Pearce and Valerie Davies and a half hour late news session The World Tonight with Terry Willessee. Film Unit One under John Izzard was making a 10 part children’s series called The Little Outcasts. As well, the unit had completed two wildlife programs. One dealing with the migratory Siberian wader birds and the other a study of the Rowley shoals, 160 miles off the North West coast near Broome. Channel Nine Management was very amenable to requests for funds to spend on programs which had the potential to be sold interstate or overseas.

Sport was well catered for with coverage of the Sheffield Shield and International cricket, W.A. Golf Championships, The Nedlands Masters Golf, The Halls Head Western Open, The W.A. Amateur Ladies Amateur Golf Championships, W.A. Open Tennis Championships, Golden Gloves boxing, Ten Pin Bowling Championships, Coca-Cola Junior Sports Star of the Year Awards, Channel 9 Golden Nugget Pacing Championship, N.B. League Basketball, Narrogin 3-Day Horse Trials and the Australasian Polo Championships. Overseas contributions were Wimbledon Tennis, The U.S. Open Tennis, The British Open Golf, The U.S. Open Golf, The U.S. Masters Golf and Formula One Grand Prix Racing amongst others.

STW9 reported that the points total required for the year in regard to Australian content was 6,544 and they achieved 14,429. In the area of first-run drama, 315 hours was telecast, in excess of the 104 hours required. The 4.75 hours of pre-school programming was more than the statutory 2.5 hours. The ‘C’ classification requirement covering the 4-5 p.m. timeslot for children aged 6-13 was met with 5 hours per week. With the necessity to produce four ‘one-off’ high budget drama or variety specials, the station achieved a total of six. . The illustrations in the report were a two-page colour spread featuring four of the events named above as having been direct involvements; a studio shot of Perth Young Entertainers; STW9 News on-air team and a huge Swanline triple trailer road train en route to the North West.

The number of hours that the station was on-air for the year was 7,699. It was noted that Net Profit was up 23.2% to $2,063,000, ‘maintaining an acceptable growth rate.’ And a dividend of 20% was paid. Increased costs of 29% were a source of concern especially in the area of programs. It was noted that the additional costs had not been passed on to the advertisers by way of pricing increases. A breakdown of ratings for each four week survey showed:

It also was noted with some degree of satisfaction that the prospect of advertising on the A.B.C., which had been recommended by the Dix Report had been rejected by the Government. On the matter of pay television the company once again protected its position and urged the Government not to hurry into this area.

In the April-May 1982 Ratings, Appealathon rated 51 on Sunday evening but didn’t show up in the top twenty programs. A new local ‘live’ program, Perth’s Young Entertainers was introduced to Saturday audiences, rating 11,16 against TVW7’s 6 Million Dollar Man repeats with 11,15. Telethon did very well once again at No.2 with 258,000 viewers. Despite the continuation for a requirement to transmit Australian product, the preferred programs as shown by the ratings were in the main American. Nineteen eighty-two started well for ABW2 who had immediate success with the classic British comedy Faulty Towers coming in at No.6 with 237,000 viewers. They also had To The Manor Born at No.10 with 220,000 viewers. Two new shows were on STW9, Greatest American Hero at No.17 with 175,000 and Different Strokes at No.19 with 171,000 viewers.

TV3 1982 had STW9 with six of the Top Ten and the only new program was Sara Dane on TVW7 at No.12 with 211,000 viewers. TV4 showed that while 60 Minutes still held No.1, TVW7 News was No.2. Some Mothers Do ‘ave ‘em came in at No.11 for ABW2 with 213,000 and they also had A Fine Romance at No.17 with 195,000 viewers. TVW7 had The Professionals in at No.19 with 190,000. M*A*S*.H was at No.20 with 189,000. STW9 had seven of the Top Ten, ten in total, TVW7 had eight and ABW2 two of the Top Twenty. TV5 1982 showed TVW7 with ten, STW9 with nine and ABW2 with one of the Top Twenty. The final survey for that year had the commercial stations equal with ten each.

The TVW7 Annual Report 1983 had only one page devoted to TVW7 with a photograph ‘Production Control Room at Channel 7, Perth Western Australia’ showing long time Director Phil Booth and a small photograph taken at the close of Telethon. Local ‘live’ production was virtually a thing of the past. In 1983 the annual report was that of The Bell Group Ltd, their 61^st which revealed that the profit from television, radio and publishing was $3,991,000. TVW Enterprises Limited as a separate entity was no more. Bell Group shares were at $4.75 and the Bond Corporation was listed on the Stock Exchange with shares trading at $1.34. Other comparative shares were ANZ Bank at $3.46 and National Bank at $3.22. Interest on investments were still high with British Finance offering 14.25% debentures; the R & I Bank 8% at call and 12% for 3 years.

The Twentieth Annual Directors’ Report STW9 Limited 1983 recorded that during the year STW9 ‘…continued our strong commitment to locally produced programs.’ In contrast to the lack of participation by TVW7, this year had been a quite good one for local ‘live’ production on STW9. As well as continuing with Perth Young Entertainers the station also produced a juvenile game show called Clash of The Creatures and The Squirrels Club also provided an avenue for the participation by an audience. John Izzard’s Film Unit One was working on a Rottnest Special and his eight-part series Land Looking West had been completed and put to air. Guy Baskin produced two more specials on the Wonders of Western Australia plus the story of the North West Shelf Oil Development, a documentary entitled Born in Fire. Eight episodes of a senior talent quest The Entertainers were produced, plus a two-hour final, ‘…giving aspiring Western Australian talent the opportunity of gaining television exposure and experience.’ Lotto and major Lottery draws were telecast during the year, as were Mrs. Australia W.A. Quest, Summergirl, Rothman’s Soccer Gold Medal and the Coca-Cola Junior Sportstar and Sportsman of the Year Awards. A combined appeal for victims of the February 1983 South Australian Bushfires, between STW9, TVW7, the GWN Network plus the local newspapers raised $1,653,722 during a three-hour period. Sport continued to be the dominating area of telecasts.

This was to be the final annual report of Swan Television Limited as it had existed since its inception. Despite the fact that net profit was down 10.7% on the previous year, the shareholders still benefited to the extent of a 20% dividend. Swan Television shares had risen by 65cents in the twelve month period to $3.55.The profit figure was still $1,842,000. It was recorded that program costs had risen 59%.

TW9 was so sure of their position that they published these ratings figures in their Report.

Once again, in all departments STW9 exceeded the requirements for minimal Australian content as laid down by the A.B.T. Long time TVW7 News-reader Peter Waltham had been lured ‘down-the-hill’ to STW9 with a ‘six-figure sum’.

STW9 Fixed assets were shown as being:

In 1983 TVW7 tried a Late Late Breakfast Show with ex. A.B.C., announcer Ted Bull. At 10.15 to 11.15 a.m. it rated only 1 to 3. Despite these low ratings (they represented between 20,000 and 25,000 mainly female demographic) the program was an advertising success with purveyors of various items (electronic organs for instance) personally promoting their wares. They paid their money (with good results) to ‘get their heads on TV’. Late Late Breakfast Show was a magazine program with a ‘live’ audience of women, special guests [I appeared on it several times] and musicians willing to donate their services in return for the exposure. Against it Richard Simmons on STW9 showed 3,3,1,1 and the morning STW9 News rated 4,5,5,5. The results may have demonstrated to management that ‘live’ programming which showed no return was no longer viewable as a token of community responsibility. There were no figures recorded for Appealathon. In other areas 1983 brought little change with STW9 holding the top three positions and six others. There was one new program in TV2 1983, Fame on TVW7 was at No.14 with 188,000 viewers on a Friday night. STW9 had Nos.2 and 3 with their News and 60 Minutes. TVW7 News was at No.3. ABW2 had The Good Life at No.16. TV3 1983 had STW9 back on top with nine programs, TVW7 had nine and ABW2 had two. The Two Ronnies was No.13 with 190,000 on Friday nights and The Good Life was at No.15 with 182,000 on Monday nightsTV4 recorded only one newcomer being the Eastern States produced Towards 2000 on TVW7 which came in at No.20 with 179,000. Sunday comparisons showed

During the ratings survey TV6 1983, the America’s Cup Victory Parade was shown by all three channels with the surprising result of TVW7, 9, STW9, 11, and ABW2 victorious with 22. STW9 had begun televising the cricket and on that same Sunday it rated 15,18 against TVW7 movies at 5,6 brought a welcome change to the hierarchy of TVW7 when M*A*S*H and Telethon topped the ratings with 265,000 viewers. Once again the commercial rivals shared the Top Twenty with TVW7 and STW9 scoring eleven and nine respectively. TVW7 News was at No.2 and their main opponent was at No.3. New programs TV Censored Bloopers was at No.6 for STW9 with 227,000 viewers, All The Rivers Run an Australian mini-series was at No.9 for TVW7 with 212,000.

TVW7 Annual Report 1984 showed that profit contribution from television and radio was $4,176.000. [This was the only mention in the Bell Group’s publication for that year.] Bell Group shares were steady on the Stock Market at $4.70. The ANZ Bank had gained $1.50 to $4.82. Geneva Investments were offering 14% for 12 months; United Credit 11.35% at call and Beneficial Finance 13% for 3 years. It was a good time to have ready cash, but not many investors were in that position.

Swan Television & Radio Broadcasters Limited The Year in Review 1983/84

Welcome to the Bond Corporation:

On the first page of this glossy, photo-filled publication, a beaming Alan Bond welcomed STW9 to the Bond Corporation. The Chairman’s address acknowledged that the company was ‘…vigorous and innovative…’ Bond Corporation shares were at $1.45 on the Stock Exchange. It was indicated that the strong management already in place [David Aspinall had been appointed Managing Director] would continue. The first responsibility of the station was to bring the outside world to this State, one of the most isolated parts of it and the second intention was to take Perth to the outside world. This referred to the trigger which brought about the change of ownership of STW9, the America’s Cup which had been wrested from the Americans in September 1983.

Dennis Cullity remembered watching that event. Negotiations had been in progress since late in 1982 to dispose of the company and on the morning of the final race, when the puff of smoke signalled that ‘Australia II’ had won, ‘…my wife and I danced around our lounge room because I said, “He can’t afford not to buy it now! His ego will be such that he must buy it!” ’ Cullity was referring specifically to Alan Bond, one of those with whom he had been conducting overtures regarding a potential corporate take-over of STW9. The review was devoted to ‘selling’ Western Australia; dedicated to promoting Channel and Radio 6KY in text and pictures; outlined the technological capabilities of the system to be used in conjunction with the intended Aussat satellite and was totally devoid of any financial information regarding the parent company’s operation. There were pictorial representations of Perth, the North-West Oilfields, the Wheatbelt, local studio productions The Entertainers and Flapper’s Fun Factory, the local News Team, sporting events, Appealathon, videotape machines, a jubilant ‘Bondy’ with the Cup on Perth Esplanade, artists impression of the Aussat launch and the Executive Staff of STW9, Channel Nine Commercial Production and 6KY. With exception of ‘Julie Marr Sales’ the twenty-two persons were all male.

Federal Government Regulation of Children’s Classification Guidelines:

The following information published by the Australian Broadcasting Control Board indicates the way in which public acceptance of many social issues has changed since the 1960s.A survey was carried out in Sydney in 1968 It was part of a general inquiry survey into three aspects of Children’s Viewing : Adults opinions about television’s effect on kids behaviour; extent of adult control of viewing and suitability of programs telecast at certain times in the evening. According to Paterson, the English experience showed:

Television is in the control of the child audience with parents available intermittently until about 7.30 p.m. From this time the mother is thought to control the television, which functions for the next 90 minutes as a focus for the family. After 9 p.m. when the rules on content are strict, children’s viewing is seen as the responsibility of the parent. Control of the television set is shared between adults with the father assumed to take a much more central role in determining programme source.

Similarity would be found to exist in Australia. The inquiry in 1968 also surveyed adults in Sydney regarding programmes found to be embarrassing or in poor taste.

Federal Government regulation of requirements for ‘C’ Children’s Classifications was up-dated in 1983. The Television Program Standards, as part of the Broadcasting and Television Act (1942), were written for the introduction of the medium in 1956. In 1983 it was noted that only minor amendments had been made since then.

One of the regulations introduced during the period 1956-83 stipulated the showing of G – Unrestricted for Television, General Viewing program, within the hours of 6 a.m. to 8.30 a.m., and 4 p.m. to 7.30 p.m. on weekdays, and 6 a.m. to 7.30 p.m. on Saturdays and Sundays. The intention was to inform parents that their children could have unsupervised access to television during those times, without having to be concerned about content. Boundaries for ‘C’ classification included programs which were ‘wholesome and fresh in outlook’ and did not

encompass themes which might cause upset to children such as ‘horror, excessive violence, morbid sound effects etc.,’. To a large extent the television stations were expected to be self regulated and while particular content was not stipulated, ‘C’ programs were expected to be informative, educational and entertaining.

The second ratings period of 1984 included Appealathon which rated equal No.3 on STW9 with 244,000 viewers and a top of 45. TVW7 started State Affair, a new current affairs program which came in at No.18. STW9 were doing a one hour News against this which occupied No.5 position. TVW7 News was behind on No.8. Sharing No.20 were the ABW2 programs Yes! Minister and A Fine Romance both attracting 169,000 viewers. TV3 1984 showed another News swing with TVW7 back on top at No.5 with 241,000 followed at No.6 by STW9 with 230,000 viewers. State Affair had risen to No.15. TV4 1984 belied the theory that the ‘sling-shot’ effect of one program helped or hindered that which followed. STW9’s Different Strokes with 12,14,14,17 lost to TVW7’s The Price Is Right 24,19,23,22 but the following News programs showed 35,37,32,31 for STW9 to 36,32,38,21 for TVW7. A Torvill and Dean skating program returned a figure of 39 for STW9. On Saturdays Perth’s Young Entertainers was earning its spot on STW9 with 14,14,14,13 to TVW7’s TRAX with 6,9,7,9. The ‘sling-shot’ formula was apparent here with 29,28,27,29 to 16,22,17,16.

The final survey for 1984 showed,

The Annual Report ignored the activities of TVW7. Bell group shares were at a high of $11.40. ANZ Bank was also at $5.16 and National Bank were $4.80. Interest rates on investments included Ford Credit 14.75% for 2 years; Fremantle Credit Union 16.5% for one year and R & I Bank 14.67% at call.

One year later in the Swan Television & Radio Broadcasters Limited, The Year in Review 1985 Alan Bond congratulated the Station with ‘…pride and satisfaction…’ that this ‘…volatile and sometimes violent industry…’ had continued with its ‘high level of success…and…high level of technological excellence…to be recognised as one of the best equipped stations in the Southern Hemisphere.’ Bond was glad that the company was not suffering from ‘…a total technology phobia…[ but was]…extremely conscious of the diverse needs of those living within its license area and continues to cater for them not only through news, information and entertainment, but with direct service and community involvement.’ Bond Corporation shares were available on the Stock Market at $2.06 up 61cents in twelve months. In the Managing Director’s Report, David Aspinall applauded the company’s ‘crystal ball-gazing’ which had kept it up to date on the ‘techno’ front; claimed 50% of both the Commercial Market and the Commercial Audience; observed that the past twelve months had seen a ‘narrowing and a volatility’ in viewers’ tastes which should preclude the issuing of another Commercial License for Perth; concentrated on News services; devoted resources to telecasting sport and award nights [Aspinall did not mention other local productions except those instigated in past years] and established a subsidiary to buy and operate Airships. The Bond Corporation Holdings Limited Annual Report 1985 was a re-write of the STW9 report emphasising the opposition to a third licence, stating that they were the only 24-hour television service in the State. There were no specific claims of Community Service.

As a lonely representative of local ‘live’ production, Clapperboard was still being shown on STW9 for ratings of 6,8 but at an earlier spot following the Sunday movie. TV1 1985 leading programs by number of persons showed,

Packer World Series Cricket proved to be a winner for the Nine Network.

TV2 1985 showed that TVW7 had replaced their live morning production The Late, Late Breakfast Show and presenter Ted Bull, with Perth Today featuring Jenny Seaton the former STW9 Presenter. It fared badly with ratings of 1, 3 against The Streets of San Francisco on STW9 with 2, 5, but still attracted good advertising content. STW9 News which followed at 11 a.m. rated 3, 6 and TVW7’s Eleven A.M. showed figures of 2, 5. As already stated, although not many viewers wanted morning television, the advertising returns were good for TVW7, so they persisted with its presentation in various forms for about ten years. ABW2 had two new programs in the Top Twenty at Nos, 8 and 9. They were Mother and Son with 213,000 viewers on a Monday and the British series Minder with 209,000 on the same night. Webster was new on STW9 at No.17 with 168,000 0n Saturday evening. The News results varied with TVW7 dominant on Wednesdays and STW9 on Sundays. TVW7’s current affairs program was well accepted.

TV3 1985 saw Appealathon Sunday rating was only 21, a result which eventually led to its cessation as a 24 Hour local ‘live’ production event. STW9’s children’s talent show on Sunday showed

STW9 still held top position with 60 Minutes and 310,000 viewers; the next five places were TVW7’s. STW9 had eight places in total, TVW7 ten and ABW2 held two with Fawlty Towers still performing well at No.10 with 206,000 viewers and Fresh Fields with 169,000 on Monday nights. TV4 1985 posted a one place rise for STW9 with the introduction of The Cosby Show at No.4 with 280,000 viewers on Mondays, Family Ties at No.12 with 216,000 on Mondays also and Believe It Or Not! with 179,000 on Fridays. In TV5 1985 TVW7 had a new game show from Sydney called Perfect Match which returned to them No.10 with 234,000 viewers. The sixth survey of 1985 showed that while STW9 had an enormous winner with The Cosby Show at No.1 with 301,000 viewers, their total share was only eight of the Top Twenty with four programs in each ten. It’s A Knockout was proving popular on TVW7 at No.3 with 279,000 viewers on Sundays, Wonderful World of Disney still good at No.5 and 262,000 on the same night and The Scarecrow and Mrs. King in at No.17 with 188,000 on Fridays. Local live included TVW7’s Perth Today 1,2,3, STW9’s Clapperboard 17, 8, STW9 Lotto Draw 21,26,22,24

In the final survey for 1985 Telethon did well again at No.6 and 275,000 but The Cosby Show was still at No.1 for STW9 with 307,000 viewers. The News situation appeared to have changed a good deal since April/May survey,

This was not an anomaly as each night of the week showed comparable figures. Another peculiarity was the fall of 60 Minutes to No.10 with an audience of 242,000.

In the TVW7 Annual Report 1986: there was no reference to local ‘live’ production. The accompanying photographs were ‘Chris O’Mara, Station Manager, Jack Beverley, Managing Editor of The Western Mail, Dianne Sattler, Associate Editor The Western Mail, and Kevin Campbell, General Manager Television Operations’. There were also separate photos of Jenny Seaton, Television Hostess; Kevin Campbell, Television; and Jerry Leider, Film Production.

In 1986 the Review of Operations Media and Entertainment stated that TVW7 achieved an increase in both revenue and profitability, although program costs had risen sharply. The Bell Group shares were down to $9.70 while ANZ Bank was trading at $5.04 and National Bank $6.20. Interest rates offered were Esanda 15.5% for 3 years; Commonwealth Bank Finance Corporation 11.5% for 5 years and R & I Bank 16.5% at call. It said that TVW7 ‘…has won the last 14 overall television audience surveys.’ and credit was given to the ‘News-State Affair’ hour.

Aussat Satellite System:

As early as 1982 concern was registered by STW9 that provision for “national beam” broadcasting, made it possible for out of State programs to be telecast into the established market area. STW9 was opposed to such a contingency. In 1983 that company recorded that it was opposed to a proposal that a channel for R.S.TV. (Radiated Subscription Television) pay television might be included in the Aussat package. Once again it was said that the advent of the Space Shuttle launched satellite should not lead to centralism.

Aussatt was a privately owned company incorporated in the Australian Capital Territory. It was to operate the same as any other company, raising capital from lending institutions. The thing that set it apart from other private companies was that it was owned completely by the Federal Government of Australia. In 1984 the intention was to offer 25% of the shares to Telecom, but

as that organisation was then 100% Government controlled as well, the device was only for internal expediency.

Cunningham and Jacka described the advent of satellite communication as ‘The technology that presents us with the next large leap in space-binding and time-compressing capabilities is the satellite; it is the advent of satellite television, which can address a global community in real time…’ A 1984 Australian Broadcasting Tribunal report said that Aussat would increase networking ‘…which offers advantages for a more efficient service.’ and was to be encouraged for that reason. However, the danger of increasing control and influence by Sydney and Melbourne television operators was to be guarded against, as there could be an adverse effect upon culture and information.

In 1985 a Federal Government report stated that there was a great imbalance in Australian television, whereby Sydney and Melbourne stations covered 42% of Australian television homes and grossed 54.7% of advertising revenue. It concluded that the establishment of the satellite system would further worsen the imbalance. The report correctly prophesied that if the situation was ‘…not corrected soon, commercial television would inevitably become centred on Sydney and Melbourne, and would remain so indefinitely.’ The first Aussat was a 6.3 metre (deployed) communications satellite built by Hughes Communications International (now part of Boeing Satellite Systems, Inc.) in the United States. Aussat was placed in orbit after being launched by Space Shuttle from Cape Canaveral on 27 August 1985. In their next Annual Report TVW7 announced that,

The Group has built a mobile satellite earth station and two ground satellite earth stations situated in Perth and Adelaide to allow the direct transmission of programs and events all over Australia…The Group was the first in Australia to lease a high-powered transponder on the “Aussat” satellite system for commercial use.

Television networking in the Eastern States capital cities was a natural flow-on effect from the system existing in the United States of America. It was the logical way in which to share the costs of production. After the introduction of Broadband land-line services, an encroachment began upon Perth’s two commercial stations, but until they advent of Aussat they maintained their independence and were numbered with the most profitable TV companies in Australia. There was nothing to be gained by tying themselves completely to Eastern States networks and individual commercial stations in regional areas (with an amalgamated front by the two in Perth) used their independence to resist price increases for programming and raise a buffer against network takeover. After NEW10 began transmissions in 1988, the networks in encompassing Sydney, Melbourne, Brisbane and Adelaide adopted a more pronounced attitude aimed at making greater inroads into the Perth market. In 1991 the Australian Broadcasting Tribunal conducted an inquiry into Australian content on commercial television. Among the many submissions was this from Deakin University,

‘…the increased use of satellite material and the growth of network pose

the real fear that Australian TV will be disseminated from less centres

(Sydney only?) and will carry more and more imported and less and less

Australian Drama, variety, news and current affairs.

Between 1956 and 1986, three licenced television groups in Sydney and Melbourne were able to control 42 per cent of the total Australian television audience. In regulatory terms there was no separation of the stations and networks. The big boost to networking was brought about by changes to the regulations under the Hawke Labor Government. In November 1986, the rule

governing the ownership of no more than two television stations in the one viewing area was changed to limiting any one organisation to a 60 per cent coverage of ‘…the total Australian television audience.’ This led to an ability for the networks to acquire regional stations and then direct their programming. ‘Thus the seemingly intractable obstacles within commercial television to simultaneous networking were removed between November 1986 and 1990.’ Dunnett said, ‘The first net-work resulting from the new legislation was one put together by Alan Bond. This followed the 1986 legislation allowing the ownership of more than two stations’ Turner summarised the outcome of networking in Australia thus:

Consequently the great unofficial story of de facto networks: how they have evolved, despite their absence from the systems of regulation, and the way principles of localism and networking have competed, more and more to the detriment of localism (see O’Regan 1993).

The Swan Television & Radio Broadcasters Ltd Annual Report 1986 acknowledged the local production [not by STW9] and televising of the Albert Facey autobiography A Fortunate Life, the commitment to the coverage of the forthcoming America’s Cup in Fremantle, and that there was ‘…a large proportion of sport…’ in its 24-hour programming.

This report showed an annual operating profit after tax of $1,521,000 with unappropriated profits at 30 June 1986 being $16,840,000. Radio 6KY had been sold for $5,916,000 to an undisclosed buyer. Bond Corporation shares had gone up 84cents to $2.90. The company now had a commitment to Exploration and Development Expenditure for petroleum exploration with an expected expenditure of $2,007,000 over the life of the intended project. The Bond Corporation Holdings Limited Annual Report 1986 contained only a tiny coverage of STW9’s activities.

TV1 1986 McNair Anderson Television Survey Sunday 23 February to Saturday 22 March 1986,

Once again the vagaries of the viewing public would have been hard for the Program Managers to fathom. Perth Today was now Good Morning Perth but still only rating 1,3 against The Sullivans repeats on STW9 with 2,5. One morning a showing of The Davis Cup TVW7 returned a figure of only 5. The big success for TVW7 in News and Current Affairs programs continued as a result of their changing their format to join STW9 in transmitting their News at 6 p.m. Monday to Friday.

The trend was continued throughout the entire week. TV2 1986 showed little change with one new program in for STW9. It was Growing Pains at No.8 with 214,000 viewers. TVW3 1986 was not good for Appealathon when it rated just 23 on Sunday evening before closing against TVW7 News with 33. TVW7 had twelve of the Top Twenty to STW9’s eight. Perfect Match was killing repeats of Hogan’s Heroes on STW9 (which originally ended the good ‘run’ of It’s Academic on TVW7) with 29,35,32,27 to 11,12,14,12. TV4 1986 showed STW9 to have the first three in the Top Twenty but trailing nine to eleven programs overall. Perth’s Young Entertainers had returned on STW9 rating 10,13,13,15, against Disney on TVW7 with 12,15,18,22 and Countdown on ABW2 with 10,10,12,12. Except for Sundays TVW7 News won each night. The anomaly was STW9 24,27,25,32 to TVW7 24,23,25,28. TV6 1986 showed that TVW7’s World of Football was doing 4,7 against STW9’s Sydney program Sunday with 7,6. This was the Telethon survey once again and that program rated 25, falling to No.17 with 173,000 viewers on the Saturday night, however, TV7 1986 which started on the following day scored it 25, at No.5 with 236,000 viewers on Sunday evening.

This year the TVW7 Annual Report 1987 comments regarding the television activities of the Bell Group were even more miniscule,

The two television stations, TVW7 and SAS10, continued to perform well relative to their competitors in a period where operating costs for the industry as a whole have outstripped revenue. A third Perth television license has been granted but it is not expected to have an impact in the coming financial year.

Bell Group shares were steady for the past twelve months at $10. ANZ Bank was at $5.40 and National Bank were $5.86. Interest rates varied through Australian National Finance 14.25% for 12 months and 11.4% cash. Challenge Bank was lending money for homes at 14.5%.

On Saturday 3 October 1987, TVW7 took a full-page advertisement in the Perth West Australian. Huge print announced ‘ AFTER WINNING 21 SURVEYS SEVEN IS NO 1 IN PERTH’. There were two photographs, one of the TVW News team Susannah Carr with Ric Ardon and State Affair with Steve Taylor. The importance of winning the News’ ratings was still being used as the Station’s biggest selling point, consolidating their claim to be the ‘local’ station.

Local ‘live’ production was only acknowledged in photographs of ‘Anne Conti, Bruce Walker, Peter Waltham “National Nine News”, “Perth Young Entertainers”, 1987 America’s Cup and “Appealathon 1987” in the STW9 Annual Report 1987.

STW9 management recorded that in November 1986 the Federal Government announced measures ‘…freeing up the law governing television ownership in Australia.’ If adopted the proposals would permit one person, or group, to own any number of television stations up to a national audience reaching 75%. [Subsequently 60%]

It was a challenge that required one principal element – courage. Courage to act purely on the basis of ministerial statement of intent with legislation being in place. It was felt that in a country where democratically-elected government is strongly advocating change, then that government’s intentions deserve to be recognised and fulfilled.

In commerce there is the constant imperative to act decisively to seize and exploit opportunities. Bond Media did that. It acquired the electronic media interests of Consolidated Press Holdings Limited (C.P.H.).

The Bond Corporation purchased Packer’s TV Empire for $1.05 billion. It was re-purchased in June 1990 by the original owner for $485 million.

One sentence of the opening statement by Chairman and Managing Director Warren Jones said, ‘STW9 has at all times during the year been a wholly-owned subsidiary of Bond Media, and hence its results for the 12 months are reflected in the profits earned by the group.’ Bond shares were hovering at $2.75 on the Stock Exchange. Much of the report on STW9 was regarding the success of its coverage of the lost America’s Cup. It was stated that STW9 won the ‘vital prime-time zones’ in four of the seven ratings periods.

The New Year 1987 saw two new programs on STW9. Willing and Abel was No.13 with 198,000 on Wednesdays and The Two Ronnies (having switched from ABW2) was No.16 with 182,000 on Mondays. Clapperboard was still on STW9 at 10.30 p.m. scoring 9,2,16,5. TV3 1987 saw the introduction of a new No.1 with a record number of 381,000 viewers. It was ALF on TVW7, proving that people still loved puppets, even the grosser talking variety from outer space. Are You Being Served was now on TVW7 at No.10 and 229,000 viewers. New show Highway to Heaven was in at No.20 for TVW7 with 179,000.

This was the annual Appealathon survey but once again it did not appeal to the viewing public only rating 19 on Saturday night. TVW7 was still leading the News and Current Affairs. By TV5 1987 Neighbours on TVW7 was at No.9 with an audience of 245,000, whilst their Henderson Kids was No.19 with 190,000. Murder She Wrote was No.14 for STW9 with 214,000 on Mondays and they also had the new Flying Doctors at No.20 with 187,000.

The survey also recorded the introduction of Hey! Hey! It’s Saturday on STW9 at No.12 with 226,000 viewers. TV6 1987 saw Who’s The Boss on at No.5 on TVW7 with 236,000 and Valerie at No.20 on STW9 with 188,000. The final survey of 1987 was a bad result for STW9. With Cosby at No.5 with 254,000, 60 Minutes at No.9 with 225,000, and

TVW7 Management would have been jubilant when Telethon rated equal No.1 with Alf and 289,000 viewers, with Who’s The Boss at No.2 with 274,000 and with It’s a Knockout equal No.7 with 237,000, all on the Sunday. Early in 1988 the Bell Group acquired a controlling interest in West Australian Newspapers and this necessitated the divesting of TVW7 to the Christopher Skase Quintex Group.

STW9 Annual Report 1988 stated that the Ray Martin Midday Show, a nationally televised variety and talks show, was brought to Perth for a week of local production at the Burswood Resort, a Perth edition of Wide World of Sports was introduced and a six-part production of Teamworkz focussing on ‘…people, places and natural phenomena.’ was in the pipe-line. There was a ‘passport’ photograph of the Chief Executive and another of the Appealathon on-air panel. In the ‘News and Current Affairs’ of the Bond Media Limited Annual Report 1988, the introduction of a new local ‘live’ program was described,

Live At Five also explores a new dimension. Hosted by Terry Willessee and Jo Pearson, it is best characterised as a lifestyle program. In its late afternoon time slot it is a novel development in Australian television – a blend of news, views, trends and advice over a broad spectrum of matters concerning the whole family. Live at Five is innovative programming, designed for an audience dissatisfied with what has been available in the past in this particular time zone. The program has established itself solidly in its first months, and its prime time sophistication and production values are confidently expected to bring prime time ratings and revenue levels to Nine Network stations in this previously fringe-viewing area.

With the prospect of added opposition in 1988, Warren Jones said that the granting of the third commercial license presented STW9 with ‘…a unique challenge…’ This was an understatement, as the two existing commercial stations would each face the prospect of losing one sixth of their advertising income. The Chief Executive Ken Gannaway report that the station won the first ratings survey and the News was returned to ‘…a very competitive level.’ Meaning in TV –talk that it was not beaten so badly. Growth of revenue was 13.7%.

TV1 1988 showed that STW9 had improved its position marginally although TVW7 still had eleven of the Top Twenty including the first four places.

TV2 1988 showed a return to ten each of the Top Twenty but TVW7 had the first five places with A Country Practice No.1 with 278,000 viewers. TV3 1988 put TVW7 News back on top with 279,000 plus the next five places. Appealathon did better scoring 30 in this survey with position No.15 and 192,000 viewers.

The big change in the whole television scene in Western Australia was recorded in TV4 1988 when the establishment of NEW10 brought Western Australia into line with the other States. This was the only new licence issued in a mainland capital city since the early 1960s.

New10 joined the Ten Network proper as one result of these negotiations in the Eastern States.

In 1979, News Corporation acquired a controlling interest in Ten in Sydney and Melbourne until 1985 when it sold out to Network Ten Holdings Limited. In 1987, News Corp sold its shares in Network Ten Holdings to Westfield Capital Corp who already owned 20 per cent of Northern Star Holdings Limited. This was followed by Northern Star’s purchase of NEW Perth, ADS Adelaide and CTC Canberra, making the company Australia’s only five-metropolitan-city network. This put the Lowys in charge of the network…The Brisbane station TVQ was purchased in 1989 and all stations in the network changed their frequency signal from 0 to 10 by the same year.

The new channel made its first mark with a No.20 position for its Sunday Movies with an audience of 173,000. On Mondays at 2 p.m. they tried a local live program Our Town but it failed to draw with ratings of 1 against The Young and the Restless on TVW7 with 10,11,5,10 and STW9 Movies with 8,7,8,5.

The News analysis showed,

It was a rough welcome for the new challenger who did not score a place in the Top Twenty of the following survey. Habit is hard to overcome. There were two new programs, both on TVW7, The Golden Girls was in at No.11 with 212,000 viewers, and they had also picked up the popular To The Manor Born, at No.20 with 172,000. With NEW10 starting an early morning telecast, the others were forced to follow suit.

TEN was following the policy of that in the Eastern States and aiming for the youth market. Perth now saw a 7 a.m. start on Mondays which rated showing these results,

By 10.30 a.m. there were less viewers for all,

At 11.30 the offerings were,

Local ‘live’ production had virtually ceased to be a factor in Western Australian commercial television. The NEW10 incursion into the Sunday night movie audience was cause for concern at the other commercial stations. The TVW7 Monday Movie drew ratings of 13,34, against STW9’s Wimbledon Tennis with 17,15; NEW10’s Movies with 15,9. On Friday at 7.30 p.m. NEW10 started John Barnett’s Collection of movies [a brief introduction and conclusion by the long-time former ABW2 Weatherman] which scored 12,12,10,12 NEW10 did not score a place in the next survey but surprised the opposition in TV7 1988 When their Comedy Company moved up to No.11 with 204,000 viewers. Burke’s Back Yard had made its debut on STW9 at No.16 with 160,000 viewers but 60 Minutes had slipped to No.20 with 155,000. In TV8 1988 NEW10 achieved No.5 with their Sunday Movie and 216,000 audience. They also captured No.16 with Tuesday Movies and The Olympic Games (which showed 20,20 on a Sunday afternoon) with 152,000.

In the final survey for 1988 Telethon did not make the Top Twenty for the first time. It was in the ratings book four times, once at 8.30 with 23, at 7 a.m. on Sunday with a score of 17, at 11 a.m. with 17, and at 6.30 p.m. Sunday with 31. TVW7 and STW9 had nine of the programs each and NEW10 had two, the Comedy Company which rated 21,18,24,26 at No.7 with 194,000 viewersand Sunday Movies which rated 19,20,22,34 (Mask) at No.8 with 194,000. On NEW10, John Barnett’s Collection, 4,4,6 didn’t appeal to the viewers against Hey! Hey! With 15,26,24 on STW9 and the movie Willie Wonka’s Chocolate Factory on TVW7 with 21 and World Around Us with 18,17,16.

The STW9 Annual Report 1989 warned that high interest rates were a threat to the viability of Bond Corporation. Commencing with the statement that ‘Electronic Media are intensely personal. They rely wholly on a vast array of human expertise, on and off the air.’ , the Chairman’s Review held dire predictions for the future of Bond Media. There was notation that the huge amount of the loans from National Australia Bank to purchase the Nine Network had been borrowed at 13% interest. This had now risen to 19%. It recorded that STW9 had been sold as required by cross media ownership restrictions for $11 million less than the book price. Bond Corporation had acquired control of West Australian Newspapers Limited which meant that they had to divest themselves of STW9. The purchase of the station by Mrs. Eva Presser involved not only a monetary consideration, but also the ‘swapping’ of the licences for STW9 and STV9 Mildura. Only one other mention of STW9 was the claim that their News had won 7 out of 9 ratings surveys.

A New Owner – Channel 9 Perth Sunraysia Television Limited Annual Report 1989:

It was announced that ‘During the year the company acquired 100% of the issued capital of Swan Television & Radio Broadcaster Limited for a consideration of $95,747,535.’ This was financed by the sale/swap of their Mildura TV station to Bond Corp., and other real property. The list of Substantial Shareholders was restricted to one, being Sabtel Pty. Ltd., with 4,588,700 shares. Mrs. E. G. Presser has a beneficial interest in Sabtel Pty. Ltd. There were only another 152,000 shares in the company held by other interests. Mrs. Presser assumed the position of Managing Director with K.A. Gannaway General Manager, R.A. Nicholas Financial Controller and Company Secretary, P.R. Bowen National Sales Manager, J.L. Downs Program Manager, J.E. Rudd Director of News, A.D. Slater Chief Engineer and P.E. Dahl Production Manager. The first year operating profit of $2.096 million had little relationship to the revenue situation at STW9 as it was subject to certain extraordinary content occasioned by various business activities. The General Manager’s ‘Review of Operations’ was a lengthy run-down of current Eastern States programs being telecast by the station.

TV1 1989 showed that NEW10 had three programs in the Top Twenty. Comedy Company at No.5 with 197,000, Neighbours had risen to No.12 with 165,000 and their Sunday Movies was No.14 with 164,000 viewers. TVW7 held the top four places and Mission Impossible was on STW9 at No.15 and 160,000 viewers. By TV2 1989 The Comedy Company had gone to No.2 with 224,000 against TVW7’s A Country Practice at No.1 with 244,000. STW9 News had once again returned to the top at No.3 with 213,000 viewers on Monday. Australia’s Most Wanted on TVW7 had entered the fray at No.13 and 175,000 on Sundays. This was an Appealathon survey and on Sunday it only scored an 11. Finally, in TV6, The Comedy Company gave NEW10 the No.1 spot on the Top Twenty with 243,000 viewers, but only had one other place in Neighbours at No.15 and 174,000. Australia’s Most Wanted had tumbled to No.19 with 163,000. The public debating program of Hinch came into TV7 1989 at No.20 and 153,000. TVW7 was still persisting with Good Morning Perth which only rated 1,3 against General Hospital on STW9 with 1,2 and NEW10 News with 1,3. The Telethon survey returns showed that the former conqueror of local ‘live’ fame, though not in the Top Twenty still rated highly at 31 on Sunday evening.

In the Channel 9 Perth Sunraysia Television Limited Annual Report 1990 , The Review of Operation was once again based on the showings of imported, out-of-town productions although a new half-hour magazine at 11.30 a.m. was ‘…strongly supported by local advertisers.’ It is worth finishing this section with this farewell to local production as it once was.

The year was highlighted by another successful “Appealathon” which in May 1990 raised over two million dollars. It allowed Perth viewers to see Network personalities in close-up and, most importantly, gave local performers the chance to display their talents.

It was to be the last time that this happened, for although Appealathon continued as a charitable institution, the 24-hour telecast was abandoned. Pictorially, Annual Reports used to portray the era of ‘personalities’ as being ‘local’, but finally gave way to ‘imported’ representatives and finally disappeared, to be replaced by photographs of management and technical equipment. The Report announced that the station’s ‘…dominant sporting image was maintained.’ The STW9 Special Unit produced documentaries called Safari to the Centre, An Island Called Christmas and Journey To The South, the News department made The Bottom Line on environmental issues and the Production and Sports Department produced Margaret River Bodyglove Masters and The Avon Descent. Children’s, Women’s and other local ‘live’ had sunk without trace or recognition.

The second Sunraysia Report was a little more elaborate with a glossy cover showing various photographs of a cameraman, the O.B. Van, the mobile News gatherer, the News set and a silhouette of a camera crew on location on the front. The back cover was an outdoor shot of the station buildings and three photographs taken inside. The inside cover was a montage of newspaper articles acknowledging the $5.4 million net profit for the year. The Managing Director patted the company on the back for this and for having “WA’s most-watched news service” It was noted that debt had been reduced by $14 million and how pleasing it was that the Nine Network had returned to Mr. Kerry Packer.

The final year in which the A.G.B. McNair Anderson Confidential Television Survey was produced as a bound hard copy was 1990. After that it became an electronically controlled system. TV1 1990 showed that of the Top Twenty, TVW7 had nine, STW9 had eight and NEW10 had 3. ‘allo! ‘allo! on TVW7 was one new program, No.15 with 153,000 viewers and Ten’s Comedy Hour held No.18 with 150,000. Midday with Ray Martin had replaced The Mike Walsh Show on STW9 [see earlier entry for Midday] and returned ratings of 10,13,16,20 against Days of Our Lives on TVW7 with 3,4,6,6 and Santa Barbara on NEW10 with 6,8,5,3. News breakdowns revealed,

TV3 1990 recorded that STW9 had the first two top programs with Funniest Home Videos on Thursday with 261,000 viewers and 60 Minutes had had a resurgence with 227,000 viewers. There were no new programs and STW9 held eleven top places with TVW7 on eight and NEW10 with only one, which was Neighbours at No.16. Appealathon rated 17 on Saturday night. TV4 1990 showed that Hinch on TVW7 was gaining ground, being No.13 on Monday with 188,000 and their Wheel of Fortune was in at No.20 on Wednesday with 161,000. TV5 1990 showed that STW9’s Midday Show was rating 6,10,11,8 against TVW7 Movies with 6,4,3,6 and the NEW10 Santa Barbara soap-opera with 2,3,3,4. NEW10 had put their News back to 5.30 and it was rating 13,13,15,14 against TVW7’s Wheel of Fortune 16,20,16,18 on Monday. STW’s Bugs Bunny was third with 8,5,8,10. Monday at 7 p.m. displayed a more even field,

In the TV6 1990 survey STW9 News was back at No.4 with 236,000 viewers on Monday while TVW7 News was at No.5 with 235,000 on Tuesday. A Current Affair was at No.12 on Monday with 200,000 followed by Hinch at No.13 with 186,000 on the same night. TV7 1990 showed that the Magical World of Disney was still that, being the top rating program with 248,000 viewers. AFL Football made its first appearance for TVW7 at No.8 and 203,000 viewers on a Saturday. TV8 1990 showed that Telethon had slipped again, rating only 19 on the Saturday night against The Bill on ABW2 with 10, 21 Jump Street on STW9 with 9, and Movies on NEW10 at 5. On Sunday morning Telethon rated 13 and from 6 to 8 p.m. 28 with the final period against 60 Minutes on STW9 with 25, and Comedy Company on NEW10 with 10. The final TV9 disclosed,

Changes to Children’s Television Guidelines:

In 1990 the Australian Broadcasting Authority introduced more strict guidelines, especially in regard to Australian Children’s Drama (classified C Drama). The definition was ‘…a program which meets the requirements for Australian produced Children’s Television Drama in Children’s Television Standards 11.’ The guidelines were:

Children were designated as being under the age of fourteen years. Stations were required to transmit 390 hours per year of C and P (260 C and 130 P). Portion of the 130 hours of C Programs had to be aired each week-day of the year between the times specified above in the C Band, and the other 130 hours anytime at the station’s discretion.

Station ‘promotions’ for other G programs were limited to one minute in each 30 minutes, with a C, P or G restriction applying to promotions immediately before or after C programs. News flashed were permitted in C but not in P programs. Presenters of programs were forbidden to endorse products as prizes, mention their value, or describe products except in the most general terms.

Stations were obliged to telecast 32 hours of first release Australian children’s drama per year and repeat at least 8 hours of the same. There was to be no more than 5 minutes of G classification advertising in any 30 minute period. Children’s Australian drama shown between 6 and 8.30 p.m. could contain no more than 13 minutes of advertising in an hour and the same advertisement could only be repeated once.

The 1990 guide-lines included a ban on advertisements for alcohol; an upper limit of five minutes in each 30 minute period and no advertisement to be shown more than twice in that time; special attention not to mislead or deceive children; advertisements to be clearly distinguishable from the program itself; no program character or personality could present an advertisement immediately before or after the program; the price or value of a prize could not be mentioned; the presenter must not recommend or endorse a product as a prize; [In the period 1965-1968 children’s programs were ‘filled’ with give-aways and prizes which were in part contra and part paid advertising. In 1967 I objected to a range of plastic toys from Hong Kong that were absolute rubbish, both in use and longevity. I was told that my job was to ‘sell’ them and not to criticise!]; programs were not to demean any group on the basis of ethnicity, nationality, race, gender, sexual preference, religion, or mental or physical disability; [Once again in 1967, I objected to a ‘comedy’ segment on the STW9 Channel Niners Club that was based on the radio series Yes! What!. The setting was a class-room, in which ‘children’ (played by the station news-readers and the program producer) made a fool of the teacher (played by the Production Manager) and generally behaved badly. I considered that it certainly reflected upon the players, as judged by the requirement of the last of the foregoing qualifications!] images reckoned to be frightening or distressing should not be used and unsafe products or situations were not to be screened shown. As well, there was instruction regarding the avoidance of ‘pressure’ and the necessity for clarity.

Although at a conference in 1994 Andre Caron said that children’s programs ‘…cannot be solely viewed as a profit-making venture but rather should be seen as a responsibility…In order to ensure the presence of an abundance of high-quality television contents directed to children… Denis Fitzgerald went further and called for a total ban on advertising at certain times, quoting ‘…the example of Quebec which now prohibits any kind of advertising when children under 13 years comprise 15% or more of the audience.’ It is very doubtful whether such a regime could ever be instituted in Australia, as ‘…the child audience is regarded, on the one hand, as a profitable group of consumers and buyers, and, on the other, as a promising target for advertising.’

End of an Era for Western Australian Commercial Television:

1990 brought to end an era in Western Australian television. Those associated with the medium since 1958 had seen the introduction of videotape recording, cross-country ‘live’ telecasts; full

colour; the immediate multiple facility of the communications satellites; networking and miniaturisation of technical equipment. Unfortunately, the technological advances (along with misplaced Federal Government regulation, networking and a diminution of Community Responsibility) had been instrumental in the disappearance of local ‘live’ production in Western Australia. Throughout the 1980s, in the Eastern States, as ‘local’ meant centralised production, the subject of Australian Content rules was a contentious issue. In 1983 the Australian Broadcasting Tribunal commenced an inquiry which, after many decisions having to be made by the Courts, finished in 1989. The by then strongly established networks called for deregulation which was opposed by the entertainment unions.

The changes in ownership also brought an end to the ‘family’ ownership of TVW7 which was incorporated into the Bell Group, and STW9 which was taken into the Bond Corporation. However, the latter partly returned to that type of station when it was purchased in 1988 by

Sunraysia Television Limited, a Victorian company almost wholly owned by Mrs. E.G. Presser. It then operated as an independent station affiliated with the Nine Network in the Eastern States. This meant that STW9 had preferential access to the Nine Network programs, but would maintain the ability to place these programs to suit their ‘local’ format.

The following comparisons record the subsequent fortunes of the Bell Group Limited and Bond Corporation in line with others with whom they have been linked in this and preceding chapters. October 1988-90 showed that on the Stock Exchange the quotes were:

1988: Bell Group $7.00 Bond Corp.$2.75 Bond Media$1.10 ANZ$5.40 Nat, Bank.$6.86

1989: $0.49 $0.31 $0.23 $5.80 $6.90

1990: $0.04 gone gone $4.06 $5.76

The Stock Market crash of October 1987 had obliterated the two high-flyers in Western Australia, along with other big players in the Eastern States. This comment by Steve Cosser is pertinent:

… the rubbish, the capitalising of interest, the deferring of debt and so on, I think, had the Canadian press baron Lord Thompson, told Frank Lowy [Westfield Shopping Centres] Christophe Skase or Alan Bond – as he did tell his colleagues on winning the Scottish Television franchise – that this business is a licence to print money, they would have thrown him out of their boardrooms.

The winners seemed to be the big banks. Alan Bond said that there was no necessity for the Banks to destroy the Bond Corporation and that it was due to greed on their part. The assets that they seized in foreclosure were subsequently sold at highly inflated prices and much more than was necessary to cover the debt.

With the demise of the Bell Group, TVW7 became an integral part of the Seven Network. Nineteen-ninety saw a major change in the way that Ratings results were disseminated. The hard-copy books were replaced with electronic print-out which immediately delivered the daily results. The format was reduced to times and percentages with only primary word references to programme names. Analysis and guides such as the Top Twenty were left for the subscribers to ascertain. In the 1990s the progressive battle which occurred between TVW7 and STW9 was not duplicated with the introduction of NEW10. Because outside sourced programmes were now the accepted norm, there was no stigma of being a ‘foreign interloper’ to overcome, although indeed, with the sale of the station to the Ten Network that is indeed who they were.

Conclusion:

This chapter, along with Chapters Seven and Eight, has shown that the area of local ‘live’ production was, in the past, inexorably tied to the financial fortunes of the individual commercial television station. It not only relied on successful advertising policies for its existence, but also helped to create that success by making the station appealing to the viewing audience. This would, in theory, mean good results in the ‘ratings surveys’ and subsequently more advertising income. This in turn reflected the earning capacity of the station. Chapters Seven, Eight and Nine have demonstrated this theorem.

Viewer Ratings Surveys in 1981 showed that STW9 had assumed a place of equality alongside TVW7, financial returns were high and shareholders happy. There was enough surplus monetary growth to provide for investment in the social capital of local ‘live’ production. This all changed before the decade had passed. Both companies would be consumed by vast corporate entities, TVW7 would fall victim to criminal connivance and STW9 would be taken over by a Victorian dried fruit and juice company, owned by one woman. This was made necessary by cross-ownership regulations when Bond Corporation acquired control of the Bell Group which included The West Australian Newspaper. The introduction of a third commercial station NEW10 in 1988 saw limited local ‘live’ production and in 1990 their Production Department was closed completely.

An Analysis of Financial Results shows that in 1966 following twelve months of competitive operation TVW7 declared a dividend of 20%. STW9 had a loss situation (reflected in the chopping of local ‘live’ shows) and did not return to investors until 1970 when the maiden dividend was set at 8%.

In 1972 TVW7’s return rose to 24% and STW9’s to 12.5%. Due to the outlay on conversion to colour [TVW7 spent 2.5 million dollars] the following year TVW7 fell to 13%, while STW9 stayed at 12.5%. However this was related to the value of their shares having had their value reduced from one dollar to 50 cents. In 1974 the figures were 17% and 11% respectively. 1975 saw the former at 11% while STW9 paid 15%. 1977 saw TVW7 return to 24% and STW9 went up to 16%. 1978 the figures were 26% and 24%. income %. Colour had really boosted television viewing audiences and therefore advertising income and this corresponded with the period of greatest financial outlay on local ‘live’ production. TVW7 paid a dividend of 30% in 1979 and this was matched by STW9. It remained the same for TVW7 in 1980 but STW9 fell to 17.7%.

In 1981 TVW Enterprises Limited was taken over by the Bell Group. One of their first actions was to introduce ‘commercials’ to the previously advertisement-free, local ‘live’, 24-hour annual Telethon. Maximisation of profit was the new intention. Returns to shareholders stayed high and STW9 went on to pay 20% in that year. 1982 saw TVW7 still on 30% and STW9 20%. In 1983 the Bell Group did not disclose a dividend figure but profit was $3,991,000. STW9 were still paying 20%. 1984 showed that TVW7 profit was $4,176,000 but once again no other figures as the business was by then subsumed by the Bell Group. In 1984 a similar fate overtook STW9 which disappeared into the Bond Corporation. In 1989 that conglomerate went ‘bust’ and STW9 was purchased by the private ownership of Sunraysia Ltd. In 1988 TVW7 was taken over by the Christopher Skase Quintex group which was placed in receivership in 1989, leaving the station’s majority control in the hands of its major creditors, various Australian Banks. Control of the Seven Network was acquired by Kerry Stokes in 1995.With the advent of tight corporate control, economic rationalism became the controlling factor and money was no longer expended on anything which did not furnish a greater monetary return.

The information provided by analysis of the Annual Reports shows why resources for local ‘live’ production were rationed at STW9 during its first ten-year struggle for equality with TVW7. After that both stations fought to be recognized as the leader in all areas, but most importantly in local ‘live’ production, as that represented their attitude to Community Responsibility. Finally, the lessening of financial returns available for local ‘live’ production in the 1980s saw a decline in that area and eventually its almost total extinction.

Throughout the period 1965-1988 both television stations expanded into other fields and then eventually contracted. In 1971 TVW7 invested in a feature movie, a television series, a Lion Park, theatrical presentations, colour printing, movie theatres, radio, international ‘live’ productions, food processing and an ill-fated involvement with the Perth Entertainment Centre. STW9 contented themselves with the purchase of a radio station, Drive-In Theatre shares and setting up of a heavy haulage business.

The high profit margins were reflected in both stations being willing to spend on local ‘live’ production in many areas, both ‘in studio’ and series recorded on film in the field. The crowning highlights of both became 24 hour continuous ‘live’ local presentations by way of the fund-raising self-aggrandizement of Telethon and Appealathon. When those profit margins contracted, the first area to suffer was actual ‘in-house’ studio productions. While Telethon continued as a successful 24-hour fund-raising event with commercial advertising content, Appealathon was terminated.

If The Main Event is likened to a boxing match, then the Australian Broadcasting Control Board is the referee and the viewing audience are the judges. The judges’ verdict is given per medium of the survey ratings system. By 1979 TVW7 was feeling the pressure from STW9 and declared that they had won every industry ratings survey over their twenty years of operation. In 1981 STW9 said that their ‘commercial share’ was greatest in five out of six surveys and in both 1982 and 1983 the claimed four out of six wins. By the end of the decade the original two commercial stations would have another competitor, which would eventually lead to an almost identical three-way split of the viewing audience. The times they were a’changing!

Peter Harries March 2004

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This page forms part of Dr Peter Harries’ first PhD thesis submission entitled: “From Local ‘Live’ Production Houses to Relay Stations: A History of Commercial Television in Perth, Western Australia 1958-1990″. This contained much additional material.

Conclusion:

Winners and Losers

There are very few subjects of an historical nature which can be examined from their conception, through infancy, adolescence and maturity to their demise in the short space of thirty-odd years. This thesis has demonstrated that one of these is the story of commercial television in a localized setting, as occurred in Western Australia. In July 1958, when the first commercial television licence was issued for that State, the medium had been in existence in Sydney and Melbourne for almost two years. The fight for the first commercial licence was between TVW Ltd., and Western Television Services Limited, to a large degree representing the aspirations of Rupert Murdoch through the local Sunday Times as part of News Limited. The claim of being ‘local’ was eventually a key component of the TVW7 win and the most memorable line from the formal Hearing came from Murdoch, who, when asked how long he would ‘dominate’ the WTS Limited Board answered, ‘I will retire as soon as I possibly can…There is no attempt to build an empire or anything like that. It would not interest me.’

It was a further fifteen months before Perth, without question the most isolated ‘big town’ on Earth, became the Galapagos of the television world. Because current News (in the form of moving pictures) was upwards of a day away in the Eastern States and a week in the outside world, local happenings were of more importance to the Western Australian metropolitan viewers. Important events from overseas were covered with words and sometimes a still black and white photograph provided by the parent company of TVW7, West Australian Newspapers. Programmes were in the main American series, although it was claimed by TVW7 after six months on air that they were transmitting 39.9% Australian content. Much of this (of necessity) was locally produced and included Monday to Friday ‘live’ children’s shows; regular ‘live’ women’s shows; religious presentations on Sunday and a Christian Epilogue before close of transmission each night; local weekly sports (primarily Australian Rules Football) previews and autopsies; current affairs interview ‘specials'; both children’s and adult’s talent quests; general variety and Tonight style entertainment.

The immediate winners from the advent of the new medium were undoubtedly the hundreds of people who were required to make the whole thing work. Without former training, these fortunate people were inducted into a glamourous world which was itself the focus of hundreds of thousands of infatuated viewers. There was an immediate proliferation of television sets and those without could always find an accommodating neighbour or the window of the nearest electrical retailer, who also shared as a winner in the new commerciality along with the Hire Purchase companies. Whilst it had been observed that a television transmitting license was a license to print money, this view was not shared by the TV station proprietors in the first six months, who saw that their expenses in providing the wherewithal and the operators came at the cost of having to share the advertising income of their previously near-monopoly newspapers. However, this situation was soon remedied as the clamour to ‘sell’ on television exploded into a bonanza, as can be seen from the annual reports. In the second year of operation the shareholders received a dividend of 10%, which increased to 15% in the following year and 20% in 1963. The ‘losers’ included the proprietors and staff of movie theatres and drive-ins, live theatre (never strong in Western Australia) and to a certain extent local hotels.

In 1964 the Australian Broadcasting Control Board held a Hearing to determine who would be granted the second commercial licence for Western Australia. Once again Western Television Services Limited presented its case and for the second time were the losers, to Swan Television. Murdoch’s second disappointment was due in part to the active participation of TVW7’s Chief Executive James Cruthers in the application and as a consultant during the Hearing in Melbourne.

The viewers were the winners once again as they now had another choice. It is a peculiar fact that the majority of people prefer to watch programmes interrupted by advertising, than the alternative which is available on National stations. The losers included the shareholders of STW9 which reported an operating loss of $327,200 for its first year. TVW7 once again paid a dividend of 20%. One year later STW9 made a small profit of $12,783 which rose to $327,200 in 1968. ‘The license to print money’ maxim now had validity in Western Australia. By 1972 the TVW7 annual dividend had risen to 24% with ‘outside’ ventures providing 30% of the income. STW9 paid a dividend of 12.5%. By 1972 local production was flourishing and both TV stations’ studios were constantly employed. In 1974, big changes in the economy influenced decisions on expenditure, with a wage cost spiral of 45% and a 69% increase in the cost of Australian content. Nevertheless, TVW7 still paid a dividend of 17%. In the same year the company committed itself to build the Wellington Street Entertainment Centre.

In 1974 STW9’s profit was still capable of a 12.5% dividend. The following year TVW7 net profit was down (mainly due to the cost of colour conversion) and the dividend was declared at 11%. STW9 paid 14%, a reflection on the fact that the level of popularity for the two stations was levelling out. The Australian Broadcasting Control Board had implemented a new ‘points’ system for ‘local’ content, which was detrimental to Western Australian production as ‘local’ meant Australian.

By 1976 the Entertainment Centre was proving to be a burden to TVW7 and they were ‘bailed out’ by the State Government whilst retaining the operating rights for five years. The TVW7 dividend was 11% and STW9 15%. The following year the situation was reversed with figures of 24% and 16%. In 1978 the shareholders of TVW7 were definitely winners again with 26% with STW9 only just trailing with 24%. 1979 was even better for TVW7 which declared a dividend of 30% while STW9 dropped to 16%. The latter station was boasting that they were leading in the ratings OVERALL. Both stations were still producing a high number of local shows. In 1980 TVW7 achieved its eleventh successive annual record profit returning 15% and STW9 showed 17.7%.

The significant profits of these ‘cash cows’ could not escape the attention of the Corporate Raiders for long and in 1981 Robert Holmes a’ Court (through the Bell Group) was in charge of TVW7. The shareholders who sold out for $10 a share were certainly the winners. STW9 continued as a ‘family’ owned station paying itself 20% for the year on investment. The abandonment of the Program Buying Cartel (by which the two commercial stations chose programmes from a ‘pool’, (one for me- one for you) produced a big leap in the cost of imported shows, helping in the main to raise operating costs by 28.9%.

In 1982 the Bell Group claimed that TVW7 was leading the overall ratings race with 44% of the viewers as opposed to STW9’s 42.4%. It was a fairly level playing field. The latter station reported that net profit was up 23.2% and the dividend was to be 20%. While TVW7 profit

in 1983 was almost $4 million, STW9 still paid 20% once again. The winners were certainly grinners when Alan Bond made a successful bid for STW9 and the shareholders pocketed $7.50 for each of their one dollar share. At this stage there did not seem to be any losers.

With the profits of both stations now hidden within corporate reports in 1989 the Bond Corporation foreshadowed its demise by declaring that it had been forced by Government cross-media ownership regulations to sell STW9 for $11 million, considerably less than its book value. The winner in this deal was a woman from Victoria, the owner of Sunraysia. Ms. E. G. Presser was the controller of 4,588,700 shares in STW9 with 152,000 shares held by various executives of her Company. That situation still prevails. The losers were the ordinary shareholders in the Bond Corporation while the upper echelon of that organisation did not appear to suffer much by way of financial loss.

Subsequently, the Bell Group had to divest itself of TVW7 in accordance with cross-media rules. The company was purchased by the Christopher Skase controlled Quintex Group which subsequently failed. The big losers once again were the ordinary shareholders who still thought that a TV license was a license to print money. The winners on this roundabout were the owners of the conglomerate headed by the new media tycoon, Western Australian entrepreneur Kerry Stokes. Two years previously he had been a big winner after on-selling the license for Perth’s third commercial television station to the Sydney-based Channel Ten organisation. NEW10 took almost 14 years to achieve an almost equal third success rating in Western Australia.

The success or failure of any given television programme, either local or imported, always depended on the ‘bible’ of the industry, the Ratings Book. Averages compiled from a limited number of collecting sheets that were left in random selected households and then collated to ascertain what was watched by whom and when. The Ratings were then used as a yardstick by the advertising community as to where commercial content would be placed. The better the rating, the more money could be charged to advertise within its time zone. It has been shown that TVW7 held an advantage over its competitor for many years. Although various claims have been made as to the reasons for the eventual levelling, it came about through the passage of time and the acceptance of STW9 as being an alternative ‘local’ station. Initial reaction had been that they were foreign interlopers.

Apart from having the advantage of being ‘first’, the TVW7 executive had observed the necessity for the station to have community involvement and responsibility. They were close to the people and responded to their support by instituting and maintaining a bardic function by sometimes providing information and entertainment to the audience, not for monetary gain but just because it seemed to be the right thing to do. The unique fact of being the only commercial television station in a very large town was certainly no handicap to this attitude. After almost six years, when STW9 arrived on the scene, the ground rules were firmly in place and they had no choice but to follow suit. To satisfy the clamour for ‘free’ help with fund-raising from myriad sources, the concept of the Telethon was instituted in 1968 by TVW7. It was a further seven years before STW9 conducted an annual on-air Appealathon but in the interim they provided no-cost promotion for all sorts of charitable organizations. The most peculiar aspect of replies to a question regarding Community Responsibility was that most respondents reflected the foregoing. Very few related the question to matters of program content in regard to ethics, morality or censorship.

During the early 1980s various factors came into play which saw the eventual almost total cessation of the production of local ‘live’ programmes such as Children’s, Women’s Afternoon, Quiz, Talent and Tonight Shows. Whilst many respondents were of the opinion that it was the result of corporate greed, there were other influences at work. The broad-band link with the Eastern States provided a very limited link. The greatest innovation was the introduction of the Satellite for cross-country and around-the-world transmissions of television programs. Aussat added to this facility with lower costs and multiple availability of channels. Net-working was now possible without constraints, the ‘local family’ nature of ownership changed, with the result that corporations now ran television stations and the ‘bottom-line’ was not to spend money on anything that didn’t make money. All of the above types of programmes could be made in Sydney or Melbourne and shown at the same time in Perth (albeit two hours later), exactly as they went to air in New South Wales, Victoria, Queensland and Tasmania. The costs were minimized and shared between the various net-work stations. Local ‘heroes’ as television personalities became a thing of the past (with the Newsreaders winning the Logies for ‘Most Popular’) and the ‘stars’ appearing on Telethon (the only local live production of any note now) are the people who constitute the casts of the Soapies, Doctors and Nurses, Police and Life-Style programmes produced elsewhere. In the case of NEW10, even their nightly News is transmitted to Perth from Sydney. The logical outcome will be that both TVW7 and STW9 at some time in the future will do the same, with a ‘local’ insert garnered by a very small group of Perth based reporters and cameramen.

One area of societal change can be viewed in microcosm in regard to women in the workforce. Because of the acceptance of female journalists at West Australian Newspapers, in the first days at TVW7 most of the Production Department were women, although it must be noted that there was not parity in remuneration. The other female staff members were occupying the jobs of their sisters in the outside world, regimented by dress codes and subject to dismissal should they choose a course involving matrimony. The latter did not apply to those lucky enough to aspire to ‘stardom’, two of whom continued ‘on-air’ after marriage and pregnancy. By the time that STW9 commenced operations in 1965, some of the more stringent regulations were on the way out. Today the ‘glass ceiling’ has some very visible fractures and in 2002 we had the example of the Chief Executive of the Seven Network of Australia and the absolute owner of STW9 both being women.

Many people espouse the notion that it is the fate of Western Australian television stations to become mere relay facilities. Despite having its own culture as dictated by the local experience, the viewing public will of necessity be compelled to look upon themselves as Australian rather than Western Australian. The natural evolution of a corporate world and economic rationalism will mean that in this area Perth will remain the most isolated ‘big town’ in the world and therefore a social and cultural outpost. Those who are well trained in television participation, production and engineering will have to pursue their careers elsewhere. In this round there will be no ‘local’ winners.

It can be argued that television production people in the local setting are but a miniscule part of the population but so are actors, artists, authors, classical dancers and opera singers. Any suggestion that they are expendable in society would be greeted with derision, yet an industry, which particularly in the field of children’s entertainment and education with local emphasis that provided much, has been allowed to disappear. In the late 1960s approximately 25,000 children each year visited the two commercial television stations to participate in and enjoy the daily productions and likewise, large numbers of adults provided the audiences for Women’s, Quiz, Talent and Tonight shows. From this viewpoint, everybody in Western Australia is a potential loser. The public need personalities who represent a broader mainstream of society than the ‘heroes’ provided by Australian Rules Football, cricket and other minority sports.

Some of those who control the purse-strings say that local ‘live’ production disappeared because of lack of support from the viewing public. The success of It’s Academic in recent times shows that this is not true. It is more a matter of abrogation of community responsibility. It well may be too late to change the situation in these times of ‘free markets’ and it is too optimistic to believe that Governments could move to correct the mistakes of fiscal evolution. It will be most regrettable and to the detriment of following generations of Western Australian television viewers if ‘direction’ cannot be introduced to ensure that in this area of massive public interest, a certain amount of monetary capital is not directed towards the maintenance of social capital. The thesis has demonstrated the validity of this theorem.

Finally, this continuum was broken by managerial diminution in the area of community responsibility, misplaced Federal Government regulation, technological advances, networking and economic rationalism engendered by corporate greed, all of which contributed to the disappearance of local ‘live’ television production in Western Australia.

Peter Harries March 2004

Download this page as a PDF (PDF file)
	The page you are accessing is a downloadable PDF file. You may retrieve this document by clicking the following link: Download Chapter_Conclusion.pdf If this does not work, you may need to click and hold (Mac) or right click on the link (PC), then choose “Download to Disk,” “Save Target As…,” or the equivalent. If you do not have Adobe’s Acrobat Reader, you may download it by clicking the following link:

This page forms part of Dr Peter Harries’ first PhD thesis submission entitled: “From Local ‘Live’ Production Houses to Relay Stations: A History of Commercial Television in Perth, Western Australia 1958-1990″. This contained much additional material.

Index:

Appendix 1:

Analysis of Licence Application Hearings 1958 and 1964:

Appendix 2: Supportive Evidence for Chapter Three.

Community Responsibility as understood by a cross-section

of those involved in Commercial Television:

Appendix 3: Supportive Evidence for Chapter Four.

Respondents’ Comments on the disappearance of

Local ‘Live’ Production:

Appendix 4:

STW9 Production ‘Running Sheets’ from the 1960’s and 1970’s

with photographs by Michael Goodall reproduced with his

kind permission.

Appendix 5:

Photographic reproductions mainly sourced from the Annual

Reports of TVW7 and STW9, 1958 – 1990 reproduced with

their kind permission.

Appendix 1:

Licence Application Hearings 1958 and 1964:

Evidence in Chief of J.E. Macartney:

The first witness to be called was James Edward Macartney of Thomas St., Nedlands who had joined West Australian Newspapers on 23 April 1928. It was surprising that the first question by Ainslie Q.C. s legal counsel for TVW Limited exposed Macartney’s lack of knowledge about television when he asked, ‘I understand you are qualified to discuss television equipment?’ and Macartney replied ‘No, I am not.’ Ainslie immediately changed tack and after quoting the numbers in relation to Share and Note Applications, then asked who the three were who applied for numbers of notes in excess of AP5,000. Macartney replied, ‘The answer to that is the Roman Catholic Church, the Australian Workers’ Union through Radio 6KY in Perth, W.A. and the West Australian Broadcasters Ltd.’

[in some instances the actual Transcript of Proceedings method of recording question and answer will be used thus:-]

‘Of the funds invested in West Australian Newspapers Ltd., what percentage belongs to people who are resident in Western Australia?—[answer] 83%

And of the applications for shares or notes in TVW Ltd., what percentage are West Australians?—In excess of 99%.

It became evident that TVW Limited’s prime argument was based on the proposition that they were a ‘local’ company representing the interests of Western Australia and Western Australian investors. The four directors of TVW Ltd. were identified as Mr. Long, a Chartered Accountant of Australia; Chairman of Directors C.G. Friend, a former Director of Posts and Telegraphs in Western Australia and supporter of such ‘laudable’ activities as Torchbearers for Legacy, Boy Scouts and Rotary; M.L. Fry retired manager of The Bank of New South Wales in Perth ‘widely known for his financial wisdom’ and Macartney himself.

Western Television Services Limited lawyers argued that they should be granted the licence because if the board chose the application of TVW Limited it would create a situation where a monopoly controlled the media in Western Australia to an overwhelming extent. James Macartney would be placed in a position of great and potentially unassailable influence. The TVW Limited Lawyer argued that they should be granted the licence because they would be almost totally controlled by West Australian finance and were better positioned to provide a superior service. It was argued that Western Television Services Limited was just a front for the Adelaide based News Limited and its acquisitive owner Rupert Murdoch.

An option from the State Housing Commission to purchase a ten-acre site at Mt. Yokine was tendered as Exhibit 5. Ainslie asked as to the location of the land ‘Is it on the fringe of the developed area and only five miles from Perth?’ and was answered, ‘It is only five miles by road from Perth.’

Cross Examination of Macartney:

Counsel Negus then raised a problem in the fact that although he wished to cross-examine Macartney, his principal witness Sir. Alexander Reid had been summoned to Canberra for a Commonwealth Grants Commission meeting. Apparently he wanted Reid to personally hear Macartney’s answers. However, the Chairman instructed Negus to begin his cross-examination.

After two preliminary questions regarding the participation percentage of West Australian Newspapers in TVW7 Negus asked,

‘That will mean that, on the present issue, the “West’ will hold half the capital?— Ultimately it will hold 3/7ths of the capital.

‘But in the initial stages it will hold approximately one-half of the capital?— No.

‘Then what will it hold?— Approximately 3/7ths. It will hold 300,000 out of 370,000 shares, but it will not hold any notes and there will be about 330,000 of those.

It will hold 300,000 out of 370,000 shares?— My Company is not Western Australian Newspapers Ltd., but TVW Limited.’

After much toing and froing Negus said,

‘…so I put it to you that the West will have substantial and complete control of the TVW Company?— Yes

We are told that the Press is an organ or medium of communication which has very great power indeed. Do you agree with that?— Its power is over-rated by most people.

But do you agree it has very great power?… It has considerable power.

Mostly in the formation of opinion?… It has power in the formation of opinion. It has little or no political power.

It has great power in the formation of opinion?— Yes, in the education of the public – that is its purpose.

And of course the exercise of that power by a newspaper can be linked to good or ill, depending on the responsibility of the people in charge?— Yes.

Would you agree that television has great power for good or ill?— Not in quite the same way but certainly great power.

For instance, in the formation of opinion in matters such as music or art or literature, where it presents the sound as well as the sight, it would probably have a very substantial power indeed?— Yes, obviously.’

It is hard to imagine that J.E. Macartney really believed that the power of the press was not as significant as most people imagine. Although conventions have changed in the past fifty years it is difficult to reconcile such naivety with a person in his position. It appears that he was down-playing this power. Counsel Negus was trying to prove that granting W.A. Newspapers the television licence would place too much of that commodity in the hands of one organization.

There followed many questions as to the circulation penetration of The West Australian and Daily News and West Australian Newspapers’ perceived ‘control’ of the print media in W.A., then changing tack, Negus asked whether TVW management was to be staffed by employees of W.A. Newspapers. Macartney acknowledged that this was and would be so.

‘…perhaps you would place people there who would be amenable to the discipline of Mr. J.E. Macartney?— I should not imagine so.

Is Mr. Carruthers [sic] one of them?— He is a former employee of West Australian Newspapers Ltd.

And Mr. Treasure?— He is also a former employee of West Australian Newspapers Ltd.

They are spoken about in the press world as “Macartney’s boys”?— I don’t know.

Well, are they Macartney’s boys?— Certainly not. My boys are at school.

I was not suggesting anything about their parentage, Mr. Macartney…

It can be accepted that in terms of local vernacular Cruthers and Treasure were indeed ‘Macartney’s Boys’ and remained so until West Australian Newspapers no longer had a major financial stake in TVW Limited. In later years Sir James Cruthers acknowledged that he owed a great deal to ‘Jim Macartney’.

Macartney had already acknowledged that W.A. Newspapers would have total control of TVW Limited.

Now I put this to you Mr. Macartney: If TVW succeeds in its application here, what chance will there be of any other television station starting in Western Australia in the foreseeable future?— Our opinion is that there will be room in three, four or five years for a second TV station – more probably five years than in three – but of course we do think there will ultimately be room for two stations.’

Macartney’s forecast of five years before there would be room for a second commercial television licence in Perth was very close. Swan Television was granted that licence in 1964. By then population density and television penetration were known quantities, as was the degree of advertising money available. These statistics were easily ascertainable by reference to television audience ratings surveys and the published annual accounts of TVW Limited.

The next question from Negus exposed the argument upon which opposition to TVW7’s licence acquisition was based.

‘Do you think that it is a good thing that a newspaper should have control of a television station when there is a combination of power?— I think there could be no television station in Western Australia financed entirely by Western Australian people unless a company such as our instituted it.

Just think of the question I asked you. I am thinking of the public interest at the moment, and the question I asked was: Do you think that it is a good thing that the power of the press and the power of television should be combined in one or two individuals?— So long as those powers were exercised in a responsible fashion – yes.’

Macartney skirted the first question to amplify the point that West Australian Newspapers Limited and TVW Limited were the only logical contenders for the licence. In answering the same re-phrased question, Macartney acknowledged that media power would indeed be in the hands of ‘one or two individuals’. The belief that ‘The King can do no wrong!’ did not die along with King Charles the Second of England. In the world of commerce it is still a tenet of patriarchy. Old fashioned controllers had (and still have) a tendency to believe in their own infallibility.

After some questions regarding News Services Negus said, ‘I think I have broken the back of it now.’ To which the Chairman, obviously used to a more leisurely pace replied, ‘You are going too fast for us: we are not used to this speed.’

Evidence in Chief of Alexander Reid:

After lunch Alexander James Reid was sworn. He was Chairman of Directors of Western Television Services Ltd. In the preliminary questions he said that he was Under-Treasurer to the Western Australian Government for the 16 years prior to 1954, the Chancellor of the University of Western Australia, recently granted a Knighthood, Chairman of the State Electricity Commission, a member of the Board of Management of Royal Perth Hospital and held three other directorates. When asked who the other directors of W.T.S. Ltd., would be he answered,

‘…Mr. Frank Boan…one of our prominent businessmen; he has been very philanthropic; he is chairman of the board of management of the King Edward Memorial Hospital; he is chairman of Torchbearers of Legacy and he has done quite a lot of charitable work…Mr. John Thomson…has been associated with primary industry in this State for many years. I think he was chairman of the Australian Wheat Board. He has done a considerable amount of work for the Commonwealth Bank…he has been on the Commonwealth Bank Board…a lot of public service in this State.

Negus continued,

‘I think it was he who conceived and brought into being the Co-operative Bulk Handling Scheme, which was absolutely unique in the world? — Yes.

Do you know that he was the founder of 6WF in Western Australia?— I understand that is so

Mr. Steffanoni?— [Victor]…Mr. Steffanoni is I think the treasurer. He is associated with the Young Australia League…He is the Chief Valuer for the Taxation Department…in an honorary position has given a great deal of time looking after the investments of the University.’

Replying to a question about Mr. [Ernest] Shacklock, of Western press, Reid answered,

‘I believe he was in charge of their advertising…’

It is surprising that Reid was not more familiar with the fact that Shacklock was the Chairman of Western Press Limited and at the Sunday Times regarded as ‘The Boss’. Negus continued:

‘I think Mr. Murdoch is described as a temporary director. Will you explain the position? I do not think I need to say who Mr. Murdoch is, except to say that he is from News Limited of Adelaide.

What about his position?— Mr. Murdoch is the source of much of the information which is contained in this application. He has had considerable experience, or perhaps not experience, but he has observed the operation of television largely in the United States and

in England as well as in Australia. He has promised to give this company all the help that he can until we are able to stand on our own feet, after which he will retire.’

It appears that this answer was couched to support the idea that Western Television Services Limited would be an independent company and not susceptible to control by Rupert Murdoch.

Negus then asked about the background of J.F. Ledger and Reid answered,

‘Mr. J.F. Ledger…if the Company gets a licence he will be happy to be a Director…is President of the Employer’s Federation and a former President of the Chamber of Manufacturer.

And he runs one of the largest heavy engineering firms in this State?— Yes.

The next question from Negus was an enquiry regarding another prominent Perth citizen,

Who is Mr. Howard?—… Mr. Howard who, as the Lord Mayor was able to persuade the responsible body to allot the 1962 Empire Games to Perth…until recently the

Managing Director of a large retail electrical supply company here, Wyper Howard Ltd.

Counsel Negus was using his main witness Alexander Reid (a man of high public standing in Western Australia) to inform the hearing of the depth of industrial acumen, administrative skill and wealth which was represented by those who would control and direct the Board of Western Television Services. It was indeed an impressive array but in fact those named represented The Establishment in Western Australia as opposed to the broad shareholder base of West Australian Newspapers Limited and potential shareholders of TVW Limited.

It was then established that if Western Television Services Limited was granted the licence, the new TV Station would be situated on ‘…about five acres, close to the banks of the river…about two miles from Perth…when the new bridge is completed…’ Questions regarding the ownership of shares followed and it was ascertained that the capital of the company would be £600,000, half subscribed by the community and £300,000 funded by non-interest, non-voting debenture issue taken up by Western Press. Negus then struck his first blow to show that WTS Limited would not be subject to newspaper control.

‘Is there special provision in Article 71 of your Articles of Association that at no time can any shareholder exercise more than 10 per cent. Of the voting power?—Yes.’

A special provision in Articles was known as ‘the escalator voting system’ and is mentioned again during further questioning of Macartney. The argument would be that West Australian

Newspapers would hold a 3/7ths voting power in TVW Limited while News Limited through their subsidiary interests would only be able to exercise a 1/10^th voting power.

Cross Examination by Ainslie QC:

With Reid having given his evidence in chief, it was time for the cross-examination by Counsel Ainslie.

‘Can we give you the credit for preparing this document?— No, I wish you could.

To whom are we indebted for it?— It is the work of many people, such as Mr. Rupert Murdoch, and I think Mr. Negus had a hand in it, and the Board had discussion on it.

Do you think he would continue to be a driving force in the company?— I hope so, but he couldn’t be a dominating force. Under the constitution of the company, while he might give it inspiration he could not by way of votes influence the policy of the company.

He would be the dominating voice, if not the dominating force in the company?— I should think that when the company is established the answer would be, “no.”

But until that time he would be?— Yes.

In much the same way that Macartney had been portrayed as a potential controller of a new television station, Negus had finally made Reid admit that Murdoch would be in the position to exercise similar power.

Murdoch Portrayed as a Potential Controller of Western Television Services:

A former proprietor of the Sunday Times, J.J. Symons bequeathed a large share holding in what was now Western Press (purchased by News Limited in December 1954) to the Young Australia League. The League had committed to an investment of £60,000 in WST Limited. Ainslie pursued this line of questioning to establish internal links within WTS Limited between two potential major shareholders.

‘Do you know where it is getting the £60,000 from? Is it selling some investments?— Yes.

What investments are they?— Shares in Western Press.’

The circle had been joined and Ainslie had established that an entity with a tangible relationship to Rupert Murdoch could possibly combine with him to have a voting block of 20%. It was disclosed that undertakings from Perth firms and companies amounted to £50,500 including Aherns Ltd. Western Press agreed to underwrite the WST Ltd., venture with a further 25% (£150,000) by way of non-voting debentures for an agreed number of years, during which time they would be redeemable by monies from ordinary shares in the company being sold to the public. In turn the share issue would be underwritten by News Limited. This percentage of the capital was in addition to the 50% that News Limited had committed to debenture stock. Following more questions by Ainslie regarding the financial position of News Limited, many of which Reid could not answer, he was quizzed on the amount of time that he had available to such a responsible position.

‘Do you feel that you have bitten off a bit more than you can chew in becoming Chairman of Directors of this Company?— I hope not. I presume you mean the Grants Commission?

And your varied commitments— [no reply]’

Ainslie then led Reid through those obligations followed by questions regarding the other members of the WTS Limited Board. He went on to ask if the News Limited commitment would be sub-underwritten,

‘And there would be 50% of the capital of this company possibly held by large Eastern States interests?—Yes.

‘In other words you are not in a position today to say to this board: “This is a Western Australian company, and the majority, or large majority of the shares will be held by West Australians”?— No. We can only say we hope they will be.

‘I think you stated in the application that the original impetus in the formation of Western Television Services came from Western Press?— Yes.

‘And the original impetus so far as Western Press was concerned came from The News? And as far as The News was concerned no doubt came from Mr. Rupert Murdoch?…— Yes.

Counsel Negus was consolidating the idea that TVW Limited was to all intents and purposes a Western Australian company, to be run for Western Australians for Western Australians. It was the credo of West Australian Newspapers Limited and subsequently was incorporated into the general philosophy of TVW Limited. It still holds good in 2003 despite changes in corporate

structure and dictate. Reid’s final acknowledgement confirmed that Western Television Services Limited could not sustain the same claim. Some pedantic questioning followed, regarding

semantic interpretation of certain words in Reid’s replies and whether he was ‘telling the truth’ as sworn.

The subject of News Services to Radio 6IX was raised. It was established that although West Australian Newspapers had a large holding in that station the only way that the radio could obtain out-of-State news was to purchase a copy of the paper!

‘Why do you suggest that this application by Western Television Services Limited should e [p]referred to that of TVW?— I conscientiously and firmly believe it is better for an organisation which is televising information and entertainments to be free from an organisation which has a virtual monopoly on the Press side. The powers for good and evil which a television station has make it essential that it be impartial; not that I say your company would not be impartial, but you already have a virtual monopoly of the advertising medium through your papers and I think it is undesirable that that should extend to television.

Ainslie suggested that WTS Limited was a ‘front’ for Murdoch and refuted Reid’s conclusions. He then continued to prove by reference to statistics that The West Australian and Daily News both out-scored on a percentage basis the amount of actual column-inches of space devoted to foreign news, which was printed in every other major Australian newspaper. Reid said that these figures surprised him. At this stage Ainslie concluded and the cross-examination was taken up by Mr. Alderman,

Cross-Examination of Reid by Counsel Alderman:

Alderman first asked Reid if he had found Mr. Murdoch reliable. The reply was ‘truthful…and reliable’. Alderman then asked if WTS Ltd., would be willing to let West Australian Newspapers Ltd., come into the Company as shareholders. The answer was ‘I should imagine we would be delighted to have them.’

Negus then re-examined Reid and asked if in respect of the last question W.A. News would be subject to the 10% limitation of voting. The answer was yes and then Negus asked, ‘Other than that they could take whatever they like. They can have 300,000 shares if they like, provided they take 10 per cent voting power?’ to which the answer was again ‘Yes.’ There then followed some banter regarding some ‘slight trouble’ regarding the fact that The West Australian had a falling out with the University of W.A., over the former wishing to raise a charge for printing examination results.

Questions to Reid by the Chairman:

Reid was then asked several questions by the Chairman. The first was regarding the ability of Perth to support more than one commercial licence, to which Reid answered that it could not. [It should be remembered that TVW Limited was only interested in a licence if it was the only commercial one issued at that time.] He was then asked if the motive of WTS Ltd., was to stop the amalgamation of two forms of Western Australian communications, in the press and television [under W.A. Newspapers.]. His answer was ‘Yes. A company which has almost monopolistic control.’ At this point the Chairman asked if it was it true that Mr. Murdoch or ‘put more fairly’ Western Press was the promoter of Western Television? The answer again was ‘yes’. The Chairman then asked as to the influence of the fourteen country newspapers controlled by Western Press to which Negus replied that their circulation figures were ‘very unimpressive’ Alderman added, ‘I am wondering if anyone would take them off us.’ After a lot of discussion regarding the situation with the Y.A.L., the Chairman asked Reid,

Do you know anything about the operations of television stations either in Australia or overseas?— No.

Do you think that it would be right for a single television station operating in Perth to enter into an exclusive arrangement with a television station in Melbourne or Sydney?— I would think that is not right.

Do you think that it could properly be a condition of a licence – that no such exclusive arrangement should be entered into?—Do I think it would be fair and proper?

Yes?— Yes, I do not think the Board in this State would object.’

The Chairman’s line of questioning covered many aspects which Counsel had not deemed appropriate to raise, either in evidence in chief or cross-examination. Doubtless the reasons lay in the Board’s previous experience at other hearings and covered matters which would be important in the Board’s deliberations. The hearing continued on Tuesday 29 July 1958, when Mr Macartney was recalled to give his evidence. Mr. Negus started by qualifying some information regarding the 3/7ths of capital mentioned the day before, then sought to cast doubt on whether or not the monies which were to be provided were actually anymore Western Australian than those of News Limited,

We have been talking about Eastern States capital. I do not suppose the Bank of New South Wales is providing Eastern States money. I see that most of your £300,000 comes from your overdraft to the Bank of New South Wales?— Yes our overdraft is established purely on the basis of our assets in [W]estern Australia and so we regard it as local capital.

Mr. Alderman continued, antagonizing Macartney by inquiring as to whether they had considered an ‘escalator voting system’, (the inclusion in Company Articles of Association of a system which allowed a fixed maximum percentage of voting power, irrespective of actual proportional share ownership. In the case of Western Television Services the maximum was to be 10%). In reply Macartney mentioned that such a system which prevailed in Adelaide [presumably between New Limited and their associated television station] was ‘entirely different’. Alderman said.

‘We will come to that in due course. Do not rush your fences. When did you consider this? Before you sent out your note issue applications?— I have already said three times that we did not consider it.’

Mr. Alderman had provoked Macartney into constant declaral that West Australian Newspapers Limited had no intention the idea of limiting their superior voting power compared to other shareholders and continued ,

‘Is it not equally obvious that the company will exercise complete control over the organisation with a 3/7ths block vote?—That it could exercise complete control?

It has the power?— Yes.

Alderman had finally made Macartney admit that the parent company West Australian Newspapers Limited would be in a position to actually direct the progress and operations of

TVW Limited, should they be granted the licence.

Alderman questioned the contents of a letter and when Macartney answered brusquely said, ‘That is a measure of your candour is it? You need not answer that!’ When the Chairman intervened to ask, ‘Do you wish to answer it?’ Macartney replied ‘No!. Do I have to answer silly questions?’ and Alderman rejoined, ‘You do not have to be rude, Mr. Macartney, whatever your health may be like this morning…’ Alderman was inferring that at times, Mr. Macartney indulged in the consumption of more than a medicinal amount of alcoholic beverage. As a consequence, on occasion he might not have been particularly ‘well’ first thing in the morning. Cruthers cites this passage as being an important point and indicative of what he saw as low-level tactics by counsel. It was unfair and the incident sticks in his mind after more than forty years.

The matter of 6IX and its News Service was raised again,

‘And as it is, this radio station, of which you own half the shares, has to buy its newspaper in order to get its news?— A copy of the newspaper.

Yes. Do you by any chance send them around one, or do they go out into the street and get it?— I think we probably send them round one.

Mr. Negus interjected with, ‘That error will be promptly remedied’ but Alderman added, ‘No. Mr. Macartney can be generous to the extent of a newspaper per day, can’t you Mr. Macartney?’ He replied ‘Certainly!’ In comparison to other matters, this exchange has the proportions of pettiness. It seems to imply that the management of West Australian Newspapers Limited was not very interested in the affairs of an associated media outlet. The inference was that they might treat a television station in a similar fashion.

A lot of time was spent on arguing the propriety of TVW Limited having put an issue of shares and notes on the market before the Postmaster General had given notice of the Hearing and the possibility of having to return the money if their application was unsuccessful. This was another instance of raising a matter which possibly reflected upon the integrity of the opposition hierarchy.

A Matter of Control of a Television Station -– J.E. Macartney

The questions once again turned to control and Macartney provided proof of his personal domination of W.A. Newspapers through the power which was placed in his hands through the

Board of Directors. The same degree of control would therefore apply to the proposed TVW Limited. He was asked ‘What do you imagine a director of TVW Ltd., would do if he thought he were subjected to domination?’ and Macartney replied, ‘I suppose he could resign.’ Later in this chapter a similar attitude will later be found to reside with Rupert Murdoch.

At this stage the Chairman asked Macartney various questions including whether TVW Ltd., would form an association with one of the two existing networks in the Eastern States. He said that they would remain independent and provide outlets for both; having heard that WTS Ltd., would welcome TVW Ltd., as a shareholder, why would the opposite not be possible? The answer was to the effect that Western Australian Investment should be financed by Western Australian Capital. Macartney always reinforced the idea that TVW Limited would be a local television station for the benefit of local people.

For the first time Mr. Reilly re-examined Mr. Macartney. He asked if there were a possibility that Western Press would start a daily newspaper and received the answer that it would be most unlikely that they would before 1960. Regarding the diminution of the numbers of newspapers and if it was a local trend, the reply stated that the reduction was worldwide refs. On whether the existing monopoly here and in Tasmania led to higher advertising rates, Macartney said that ‘One newspaper may have much more value to advertisers than another has. “The London Times” for example, sells about 200,000 copies and the ‘London Daily Mirror” about 4,500,000 and the advertising rates for the “Times” are in some categories almost as high as those of the “Mirror”.’ It had been suggested that the duopoly system in W.A., was detrimental to a fair approach to the dissemination of the news; was this so? Macartney answered that on the contrary such an organization was best place to provide the best news service to the public. In reply to the query as to whether there was any family or other dominating interest in the shareholding of W.A. Newspapers the answer was ‘None whatever.’ The truth of that answer was to be found in the 31^st Annual Report and Balance Sheet of West Australian Newspapers Limited. The authorised

capital of the company was two million one pound shares and the report declared the following information:

Our Shareholders

20.1% hold 100 or less shares

26.2% hold between 100 and 250 shares

42.9% hold between 250 and 1000 shares.

10.2% hold between 1000 and 5000 shares

.6% hold more than 5000 shares.

85.3% or our shareholders are West Australians and they hold 83.3% of the total share issue.

The largest individual shareholder, a West Australian, holds 13,524 shares.

In 1957 the shareholders received a dividend of 5.6%.

The Evidence of Keith Rupert Murdoch:

Following more general leading questions, asked with the intention of bolstering the TVW Ltd., case, Keith Rupert Murdoch was sworn. After stating that he first considered the possibility of

obtaining a licence in Perth halfway through 1957, Murdoch continually used the Royal pronoun of ‘we’ and Mr. Reilly enquired,

‘Who is the “we” who spoke, is the question I think.’ Negus added,

‘Who did the speaking?— I did.’ Another question about speaking to Messrs. Boan and Ledger answered in a similar fashion, brought the response,

“When you say “we” you mean “I”?— I am sorry…’

Reilly continued,

‘When did you first have discussions with Dr. Reid as he then was?— I looked this up last night. It was on March 22, and the week end following that Dr. Reid and I spent a long week end together on Kangaroo Island in South Australia.’

He was then asked if the board of WTS Limited would keep on offering the under-written shares by Western Press and News Limited to the public. He said that was so and would apply until all the shares were taken up by the Western Australian public. This was obviously to counter the TVW Ltd., claim that their ‘money’ was all from local sources.

Possibility of a Combined Macartney-Murdoch Organisation:

Murdoch then volunteered the information that he had discussed the subject of television with Mr. Macartney ‘last November’ and told him that Western Press would be happy to join W.A. Newspapers in a 50-50 venture but not as a junior partner. Ainslie rose to say it was a pity that Mr. Macartney had not had the opportunity to comment on this and might have to be recalled.

The Chairman stepped in and after noting that this was very important, Negus asked where the meeting took place. The reply was ‘In the board room of West Australian Newspapers.’ When asked about a conversation with Tom Ahern, Murdoch said that he would be willing to

contribute ‘…up to £100,000 as long as he had free advertising and a seat on the board. I said it was pointless talking further.’

Murdoch’s Empire Statement:

A question regarding potential ‘domination’ by Murdoch was answered thus,

I will retire as soon as I possibly can. I only manage as it is to come over here 3 or 4

times a year. I hope I will have even less time to do so in the future. I certainly have not got the power or the inclination. There is no attempt to build an empire or anything like that. It would not interest me.

This must surely be one of the most notable recorded under-estimations of personal ambition and ability in all of history.

When Murdoch was cross examined by Mr. Ainslie as to whether or not he was the person who could claim credit for the application, Murdoch said that he was not, although Alexander Reid had earlier suggested that such was the case. Murdoch informed the hearing that it was the work of a Mr. Macartney, a research officer of News Limited from Adelaide, who had been

seconded to Western Television. Murdoch of course could have claimed much credit for the application as the instigator and formulator. It is apparent that the actual preparation was done by one of his employees but difficult to imagine that the preparation of the contents were not overseen by Murdoch himself.

A Matter of Control of a Television Station:

Asked as to whether he was in control of News Limited, Murdoch said that he was subject to his Board of Directors. Further questioned as to whether or not he had control of them,

Murdoch replied, in much the same way as had J.E. Macartney, ‘No, they can always resign.’ It can be concluded that both Macartney and Murdoch did indeed have absolute control of their fellow directors.

Relationship of News Limited to Western Television Services Limited:

Much time was spent in delving into the financial affairs of News Limited and its commitment to Southern Television in Adelaide; the position of the Y.A.L.; the expansion of News Limited in Sydney with the success of “TV Week” The question was then asked ‘Do you suggest that Western Television will not be subject to any interference or control from yourself or News Ltd.?’ And answered ‘Yes, definitely.’ Returning to the meeting between Murdoch and Macartney, Ainslie continued, by asking if he had called to discuss TV and Murdoch said that it was merely a courtesy call. Mr. Alderman interjected that, as it was a personal conversation it should not be subject to cross-examination. This was upheld and the questioning then turned to Murdoch’s status as a citizen of South Australia. He agreed that was correct but that he came here spasmodically to attend to his financial interests. Ainslie then attacked his observed stance in that he ‘…put himself forward as a champion…protecting the people of Western Australia from the domination of its television by a Newspaper Company. Please correct me if I am misrepresenting you?’ Murdoch replied that the concern of News Limited was not so much in the possible financial returns, but to protect their not inconsequential investments. In answer to the next question, ‘You do not disagree with the proposition put to you that you are, in fact, in the literal meaning of the word, the promoter of this Company?’ Murdoch said, ‘No, I do not disagree. I am very proud of it.’ It was disclosed that News Limited were the former owners of the Daily News in Perth.

The Hearing was re-convened on Wednesday, 30 July 1958. There was discussion between Counsel and the Chairman regarding errors in the transcript and then J.E. Macartney was recalled. When questioned about the November meeting with Murdoch he said that he recalled it clearly,

‘Mr. Burton [the West’s head photographer] …was showing me pictures we had just taken (I think this is relevant) of a wreck which had been found off Rottnest Island, and certain relics we had recovered from it. We looked at this for some time and had several drinks. Mr. Burton was present through-out the interview.’

Macartney went on to say that he told Murdoch that he would be welcome to invest with local money; that the station would cost £600,000 to £700,000 and that ‘the door was left wide open when he went out…’ in that ‘…We did not say we would insist on having him in on a junior basis, or we would not have him in.’ There followed the closing addresses from both Ainslie, Negus and Alderman. At 2.50 P.M. the Board adjourned sine die and the licence eventually was granted to TVW Limited. As in most other areas in Australia, granting of this licence depended upon how the Board saw the applicants in regard to local ownership and actual control. They acted in accordance with Government policy, which supposed that,

• local owners are more able and ready to interpret, appreciate and respond to the needs of their own community;
• Local ownership and control means that the station will have a strong local identity;
• Local ownership and control is an effective counter to concentration of media ownership generally;
• Possible financial benefits would accrue to local residents and
• Local ownership and control is more likely to facilitate the successful establishment of a station, because of the dedication and willingness expected from a community which wishes to receive a broadcasting service. This is seen to be most important in the initial, more difficult stage of operation, when profitability is not likely to occur for several years. A local community is more likely to persevere in the face of continuing difficulties and unprofitability, because of the social and economic importance attached to a local broadcasting service.

The truth of these concepts was to be ably demonstrated during the time of establishment and consolidation of TVW7 Perth.

Second Licence Hearings Melbourne 1964:

Despite extensive searching for a copy of the transcript of court hearings for the second commercial TV licence for Western Australia, the quest has been fruitless. The following analysis has been gleaned from the official report. The hearings were held in Melbourne in 1964 with Aitkin Q.C. representing Swan Television and ‘Red’ Burt [later Chief Justice of Western Australia] appearing for the Murdoch group Western Television Services. Lush Q.C. represented the Australian Broadcasting Control Board. Cullity made the point that ‘Murdoch had got a whole series of Knights of the Realm…Harry Howard…Frank Ledger…and they really thought that it was ‘The Establishment’ against us.’

He remembers that one of the members of ‘The Establishment’ lectured him (Cullity was only 35 years of age) by saying that ‘…really should, you know, pull my head in and not keep up this ridiculous attempt to get the licence!’ The architectural firm [responsible for the Perth Council Chambers] was approached to design the new studios. The Swan Television directors decided not to share their proposed bonanza with an underwriter and in fact, the issue was oversubscribed several times. This meant a savings in capital subscribed and a rock-solid foundation on which to build their application before the A.B.C. Board.

Cullity said that when at university he had the capacity to mentally ‘photograph’ and could ‘produce a chemical equation by turning pages in my mind and in my lecture notes.’ As proof of this, he recalled that after being examined initially by Aitkin and then some pallid questioning by Lush about children’s television, he, ‘…I said that I thought that it was very adequately set out in the Commission Rules and Regulations on page 2, the second and third paragraphs from the top of the page…I had the whole of the Commission’s Regulation of the A.B.C., photographed in my mind at that stage…’ Colourfully describing the onslaught of Burt, Cullity said, ‘I didn’t see the first ball! The next one whistled close to my ears! If I hadn’t ducked for the third one I might have been knocked out!’ After five hours of questioning Cullity had one of the most sleepless nights of his life, worrying about the next morning, but when Burt rose again he said simply ‘No more question Your Honour! No more questions Chairman!’ Cullity said he thought ‘You bastard!’ and sat down.

Burt then turned his attention to other directors of Swan Television in Bernie Prindiville, Fred Johnson and David Bell. The latter who had been ‘…smiling and grinning at Bernie’s discomfiture…’ was horrified when Burt brought up the fact that his trucks had been charged at least four times with overloading and did he think that a person who flouted the Law could be relied upon. Fred Johnston was a North Country English migrant who had not lost his accent. Before going to the witness stand he allegedly repeated several times to an old court attendant, who couldn’t understand him, ‘Have you got any bookets and brooooms?…because there’s going to be a lot of bloood on the flooor!’ Cullity recalls the great embarrassment of Burt when Aitkin produced a Minute Book of the Western Television Services meetings and forced (by examination) Sir Frank Ledger to admit that the Page 2 had been ‘cut and pasted’ in the true sense of the word.

Appendix 2: Supportive Evidence for Chapter Three.

Community Responsibility as understood by a cross-section of those involved in local Commercial Television:

Introduction:

This appendix examines the attitudes of respondents to the question ‘What differences do you notice in Community Responsibility by TV Stations to when you were associated with the industry…?’ An overwhelming majority of respondents saw the question as being directed to actual additional provision of service to the Community as against the few who viewed it as regarding actual program content in light of moral censorship.

The following demonstrates that there were those who saw an earlier ‘real’ intention to be of service to the community turned into another method of advertising the television station itself in the pursuit of good public relations. A number of respondents were concurrent in their recognition of the early days personal philosophy of TVW7’s James W. Cruthers in regard society at large. Most agree that his influence maintained standards of community responsibility at both commercial stations, that continued long after his departure from TVW7 in 1981.

There are those who see a co-relationship between lack of responsibility and lack of local content. This chapter draws attention to the fact that events of public participation were recorded and telecast as a major part of general programming. The loss of local ‘live’ production has meant the disappearance of local ‘live’ personalities, except for News and Sports people. The annual Telethon relies upon the importation of Soap Opera actors to present to the general public. [flesh this out some more] The face of television is now national instead of local. Unlike the mainly short responses to the disappearance of local ‘live’ production in Chapter Nine, the following contributors had much more to say about the subject. Because of the importance of recording the actual way in which some luminaries remembered their involvement with the medium, certain recollections are presented in their extended form.

It is an easily observable truism that much of history is subject to debate and conjecture because of the fact that in many instances, those who personally participated left this world without recording that, which in their eyes, did happen. It is important that the actual recollections of those who were party to the establishment, relatively short life and demise of local ‘live’ television in Western Australia during the first thirty-two years of its existence, are recorded for posterity. To that end, this chapter is directed.

Individual Comments

As this section of my work is based on responses to questions which I directed to the many television people who were my friends and acquaintances, this material, (supportive of my thesis) is presented in a ‘first person’ one-on-one context. I can claim to have been in an exceptional position to have carried out this research and believe that my informants would have been more spontaneous in their responses to me because of our mutual industry intimacy. During my nine years studying history at Curtin University, I have found that (especially in the Australian context) contention has been encouraged because participants in various happenings did not have the opportunity (or inclination)to leave behind their recorded knowledge of that which transpired. One of my main intentions in compiling the following record of recollection, was to redress this situation in regard to those who were actually ‘there’ when television was introduced to Western Australia. Certain answers are presented as absolute replies and occupy extended space so that the reader might appreciate the degree of personal expression which can be associated with the subject person.

I expected that Sir James Cruthers would support the concept that TVW7 (in particular) had always been aware of community responsibility. One interview conducted with Sir James surely reflects the now extinct philosophic intentions of social leadership. I asked this question – ‘Would you say that the philosophy of television being a service to the community (which it obviously was when you started) has disappeared? That ethic has gone?’ and he replied,

I think it’s very much gone! As you’re aware and as most people who have experienced it are aware, TVW and STW between them were involved in almost everything that occurred in Perth. Every charity got assistance. Everything that was done – we had all kinds of funny things like Birdman Rallies; these were all local. The station that’s surviving strongest in this city now is the station that is continuing to be as local as it possibly can, and in my

opinion to do that it has to fend off its Eastern States people a lot, and that’s Channel 7. I mean they are involved, they are still community, they are still involved with the community. Channel 9 isn’t and Channel 10 isn’t and it’s my believe that’s why Channel 7 is still so far in front. I mean, you go up to Kings Park and turn on lights in conjunction with the Electricity Department. Glenn flies over and they go and do a live program at 12.30 in the morning from Kings Park and incidentally got a higher rating than any day-time ratings ever got. That’s community involvement.

I then asked Sir James if he saw that as continuation of the solid foundation that was laid down in those first twenty-five years and he replied,

I don’t think there’s any doubt! And I’m quite sure, though I can’t speak for Kevin Campbell, I’m quite sure that he, having been brought up in the station, is as well aware of that as anyone else. I only have to assume that the reason he does continue to do community things, involve himself with the community, is because he’s been trained that way and he believes it’s the right way. Net-working, it kills, you know, real live productivity. Baby Boomers now, who wouldn’t remember Carolyn? Children’s programs – an enormous amount we put into it and sport; you know, the local football, anything and everything that was done in sport. I think we televised the first Sandover Medal for instance and of course we were the first to televise football. We had to go to special lengths to telecast the Empire Games in 1962 and go into outside broadcasting long before we might normally have done, because – no, I don’t think News was treated as the Number One but they were all given a priority – they were all very important.

When I asked if he could place any specific emphasis on why TVW7 was so orientated

towards local production, when having come from the newspapers it might have been

expected that News would have received preferential treatment Sir James said,

Well, for the very simple reason that I believed that’s what people wanted. First. O.K. You had your Dick Van Dyke shows and Lucys and all of those and they were paramount of course but I believed people wanted the mix. They wanted to be involved locally as well. Local participation. The community station. That’s what we tried to do and it wasn’t just me.

Long time former TVW7 News Editor Darcy Farrell was one of those who immediately associated community responsibility with Sir James Cruthers.

Duty to the community? Cruthers always had this. There was never any doubt about it. That was really the forte in his make-up – was that because we’d got the license we have a duty to the public. To do things for the public and that meant if we’ve got to put on current affairs to explain things to people, we do it. If it the right thing if we’re in the entertainment business then let’s do things of public note. That’s why the Entertainment Centre of course became the major tool in those earlier days. And other people came up with ideas like the Christmas Pageant, like the Beer Can Raft rallies and all those community things. The Red Cross or whatever it might be. He was very, very much dedicated to that.

A towering figure in Western Australia during the formational years of television was former Premier, Sir Charles Court. He was perhaps the first local politician to fully utilize the new medium. Although now a nonagenarian, time has not diminished his remarkable faculties and he was prompted to pay credit to the same person.

From the beginning it became obvious Jim Cruthers was going to concentrate on building up a station with a strong community background and involvement. It was clear to me the team he built around him was deliberately oriented towards this policy.

Over the years the number of special community projects TVW initiated or supported became very great indeed and the station became identified in the public mind as a community station – the people’s station. In my opinion this was Jim Cruthers’ strength and as a result the strength of the station.

I knew about projects TVW Channel 7 was involved with, because as a Minister and then as Premier I was invited to launch or open them, or become involved in other ways.

Kevin Campbell, who started as a TVW7 technician and went on head the entire Seven Network, was a protégé of Cruthers, told me that ‘Seven have built on community responsibility.’ He credited both Cruthers and Max Bostock as having been the architects of Telethon and other innovations such as the Young Writers’ Awards. As TVW7 General Manager, Campbell was responsible for the tree illuminations in Kings Park and directly invoked the influence of Cruthers in his decision to inaugurate the project in conjunction with the local power authority.

Former TVW7 Producer Coralie Condon also credited the long-time head of TVW7. In reply to my question she said,

They [TVW7] always had a fairly good approach to the community in that the people at the helm, I must say this again, were newspaper men, and the felt that that gave them an edge. I mean, Jim Cruthers career prior to that…he was really community minded.

When asked if she produced anything along those lines, Condon replied,

No, I really didn’t. I was pretty well on entertainment, except for ‘Televisit’. We used to have about five interviews with people per week, and it was also your typical magazine programme with a gardening segment, a sewing segment, and a cooking segment and things like that….

This response is more in keeping with those of a production person, as she applied the question more to televised content than to societal obligations.

Floor Manager/Producer (1969-ongoing) Jeff Thomas was made redundant in 2001, but is now working on a casual basis at TVW7. He is another ‘Cruthers’ disciple and remembers that,

Seven was very good in that way. Yes it definitely has changed. Um, in my day I was lucky because we had a boss like Cruthers. A very good boss, he’d do anything for you and we had a good camaraderie-ship, you know with the crews and nobody mattered what department you worked in, you know, remember them days we were trying new things, you know, different shows, we started the Christmas Pageant of course you know, which is still going today. Ah, it was one of those gamble things because you never know whether it’s going to take off or not.

When asked what he instantly recalled about ‘the good old days’ Thomas said,

Seven would try things. Have a go. I can remember Max [Bostock] said to me once, he said, ‘I’ve worked on a lot of shows. I’ve put a lot of shows together, I’ve never made money for Channel 7 but at least we had a go doing it, you know. I think there’s a lot in that. Today you can’t say that. Unless there’s a dollar in it, you’re not going to anybody to take a chance. You’ve got to have the money virtually up front before they’ll do anything.

I asked Jeff if the feeling of responsibility to the community could be called

‘social capital’ and answered,

Yep, yep. We worked again Pete, you’ve got to remember this, we were a commercial station and what pays our wages and what pays the station’s gains is commercials. So when you talk about doing shows, you’ve got to keep the people on your side you know, and Seven have been very good at that. Their sort of ‘in-house’ stuff like Telethon, The Xmas Pageant, The Birdman Rally we used to do. Anything, which used to involve the local community would help your ratings, because people would say ‘What a good station they are for doing this!’ you know. All these shows now have become very big business. In the embryo stage they were very hard to do because there was no money. You know, I think the first um, like in Bunbury for instance we used to do a show called Telehelp. I remember it made about eighty thousand dollars over the 24 hours which in its day, this would have been in the early seventies was a lot of money, you know. Today if you did a Telethon and only made eighty thousand dollars you’d say it isn’t worth it you know. Unless you make two million or two and a half million um, and that’s what it’s become, it’s become a big business um, the format of the show hasn’t changed that much, it’s still done the same, um, it’s done by a hell of a lot of volunteers but, without them you can’t do it.

Former STW9 General Manager Eric Fisher, exhibited a more acidic attitude towards the pioneering ‘fathers’ of television in Western Australia and postulates that perhaps the viewing audience will eventually reap that which their apathy has sown.

Community Responsibility? I think Brian Treasure believed in it; I even think Bob Mercer [STW9 General Manager 1965-1970] would liked to have been in a position to believe in it. I think LJK [Laurie Kiernan, STW9 Chief Executive 1979-1984] was interested in what kept the program agreement intact and Jim Cruthers and Brian Treasure from dumping on him if he stepped out of the line that they had established and commanded with such arrogance. [Today]…TV stations are not interested in people as an audience-to-which-a-service-is-owed, but rather in people as an advertising commodity, to be sold at a profit. However, viewers don’t seem to be aggrieved by their relegation in status. Why? Apathy is one reason; who’s going to listen should they complain? But more disappointingly, “localism” is no longer important. Viewers frankly don’t give a rat’s where their programming is coming from, so long as it is entertaining and doesn’t cost them anything. My belief, however is one day, too late, people here will realise that Western Australia has been marginalised out of any relevance to the social fabric of mainstream Australia, we’ll be a social and cultural outpost. And by that time there will not be a damned thing they can do about it.

Former STW9 Executive Bill Bowen at first saw the question as regarding content. He explained that the STW9 Board, which comprised the representatives of ‘third generation money like the Cullitys, the Kiernans and the Prendivilles and the Youngs and the Hughes…’ belonged to the same social grouping and that there was an understanding between them that the television

company would be kept in the family. If anybody wanted to sell their share, it would be to the others as a collective. Bowen said this ‘…meant that there was a very strong community feeling.’ between them, which sometimes surfaced as a moral directive in regard to that which should be televised. This resulted in programming which was ‘…constrained within a certain ethos of family entertainment.’ While Number 96 was providing very good ratings figures for TVW7 with its boundary testing, Bowen said that it was doubtful whether a similar show featuring ‘nudity…or even close to nudity’ would have been aired on STW9. Bowen went on to say that the Board was ‘…very conscious of returning something to the community, out of which they had made a great deal of money.’ There were discussions between senior executives and Bowen remembered a Board directive regarding ‘…offering air-time…’ to charitable groups. Current (2003) STW9 General Manager Paul Bowen.

Former STW9 Executive Norman G. Manners was another of the few who correlated

Community Responsibility with program content and said,

In the main TV stations today impart more information to the community upon day by day affairs and are not afraid to comment, or support, single persons, or minority groups. My only discontent is on the overall programme content today, filled with mindless American sit-coms and the deregulation of commercial content that has seen selected time zones blow out to ridiculous proportions. Once it was 13 minutes to the hour – now you expect that in a half hour.

Current [2002] Senior Vice President of 20^th Century Fox Film Corporation (Aust.) Tom Warne,was a STW9 Program Manager. He also sees community responsibility as relating specifically to program content.

While still in television I have been out of the actual broadcast business for over 10 years so it’s a bit hard to comment on the community responsibility aspect. All I can say for a lot of the 25 years I spent as a Program Director we had to go before a public hearing every three years to have our license renewed. The spectre of being confronted with everyone who had a ‘beef’ with the station along with batteries of lawyers certainly kept you on your toes. However it was a costly business both in executive time and money and we all learnt a lot so that when self regulation came in all stations knew what to do and each TV Network by then had a number of experts who continue to play “mini watchdog” roles to this day. I guess the public hearings was a natural phase in the progression towards self regulation. I am involved in television around the world now and I think Australia is amongst the best in responsibility.

The following excerpts contain a balance of attitudes towards responsibility and content. Starting as an audio technician co-opted from radio, Chief Engineer, STW9 (1967-) Angus (Gus) D. Slater said,

The basic difference today is that the broadcasters to what they are mandated to do by law. Where, in the old days we would have become involved with the community to enhance our standing (i.e. our popularity), today we wouldn’t make that investment unless we could predict a commercial return for the effort.

Former Chief Engineer STW9 Victor J. Kitney bemoans the lowering of social standards in saying,

Move towards cheaper American programmes. Also moral standards are not being maintained, particularly in family styled programmes. Basically in language and constant sexual themes. A constant bombardment of violence seems to be reflected in the younger society of our cities. “Copy Cat behaviour”.

Two current [2003] Television Engineers, requesting anonymity on the grounds that they wanted to keep their jobs said,

“Community Responsibility” is said to be a top priority by all three commercial stations, provided no money is spent. If money is spent, the ‘flagwaving’ promotion/publicity exercise has to cover this expense several times over. In short “Community Responsibility” is top priority if it costs nothing!

and,

Our community responsibility has not changed – but our Production Programme has changed with more international influences like “Big Brother” and Soaps etc., I think we should get back to localism and production such as “Postcards WA” “Just Add Water” which have proved without doubt that we need this type of content. – I am concerned for the next generation of TV employees who may have to seek employment on the East Coast – Production and engineering especially.

Current STW9 Engineer Gary McAllister was conciliatory towards his employers but still voiced an industry based concern for future employment prospects,

Our community responsibility has not changed – but our Production programming has changed with more international influences like “Big Brother” and soaps etc. – I think we should get back to localism and production such as “Postcards W.A.” “Just Add Water” which proved without doubt that we need this type of content. I am concerned for the next generation of TV employees who may have to seek employment on the East Coast – productions and engineering especially.

I have known Former War Hero and STW9 Presenter Jack Sue since 1965 when he produced a program on skin-diving and under-water activities in general. He was no less critical of the current

situation,

Responsibility of TV Stations? Excepting the ABC, I believe all commercials are too busy making dough to devote any thought to responsibilities these days Peter. In particular, I feel desperately for the lack of encouragement available – through our TV media – to the tremendous pool of Australian young talent, and I fervently believe that we, the parents and the community, will pay for it by seeing our youth seeking encouragement and outlets overseas. Apart from the film industry, little thought appears to have been given by the responsible authorities to other youth talents and activities.

Former STW9 Journalist David Gladwell was asked if he recalled any direction as far as

the station being a public forum with community orientation? He saw the question mainly

in light of political programs. He recalled the ‘…shoe-string type operation…’ that was an attempt to produce relevant current affairs shows and gave credit to Laurie Kiernan for his personal interest in production of those programs and said, ‘Laurie really encouraged documentaries as well…The biggest one I did was ‘Prospects for Peace in the Middle East’…I came back and went to China in ‘73. We went to China before Whitlam…’ Gladwell said that Kiernan’s dedication to programming which did not necessarily reflect a financial return to the station was appreciated by the production people because ‘…it really didn’t rate very well and they tend to be expensive in studio time and crews and those sorts of things.

Probably those most affected through personal contributions to community involvement were the on-air personalities. My interview with former Producer and On-Air Presenter Lloyd Lawson explains,

LL: We were supposed to go out as Public Relations Officers and do these things because it was good for the station to get out into the community.

PH: But did you get to do paid work as well?

LL: Now listen, that’s what I was going to tell you. They used to -eventually they charged, and they took – you only got a small amount of whatever they charged for your appearance. But then we used to do ‘live’ commercials. Now we never got paid for these and we presume that the station was charging for our services and so-forth, until one day Brian Treasure made the announcement to all the announcers that they didn’t think it was fair that we didn’t get paid for our commercials. So any commercials that was for a minute or more, we would get, how would you put it? You had to do it after 7 o’clock at night and it had to be for one minute or more and you received an additional pound.

Former Presenter Jim Atkinson, TVW7 could not remember being involved very much

with outside projects but recalled attending an Open Day at a boys’ home, he said, ‘Yes, I went to Clontarf once I think, but that was more a personality thing I think from memory. There was no camera and things like that. It was just go out and meet the kids and the people. Yes, there was a lot of that at that time you know.’ Like Lawson, Atkinson was aware of the reasons for community involvement exercises, but former TVW7 and STW9 Lighting Technician Colin Gorey when asked about the station’s relationship with the public replied, ‘I wasn’t aware of Public Relations in those days and being involved in the day to day running of the studios I never got out, but obviously with the type of opening [of TVW7] and everybody was interested in it.’ As in many other areas of human endeavour, on many occasions, only that which directly affects the participants is remembered. After 27 years in the service of TVW7, Presenter/Producer Keith Geary has been ‘offered redundancy’ – polite terminology for ‘your services are no longer required’. I think that his observations of 2001 are worthy of full texting,

In the case of Channel Seven I don’t think the company has significantly reduced it’s commitment to the wider community. Apart from the obvious things like Telethon and the Christmas Pageant there are other activities that the company has supported on an on-going basis for many years. One example is the Milk Carton regatta which has been running for 14 years. Another is the more recent Crabfest in Mandurah. These are not ‘television’ as such and while they do maintain the company’s profile they are not undertaken lightly or in a half-hearted manner. What has changed is the nature of the events but I think all that reflects is the changing nature of the society we live in the prevailing tastes of the day. Some things stay albeit in a modified form while others are replace. Similarly the pattern in programme production reflects changing tastes but there is still a place for tried and tested formats as the recent re-introduction of It’s Academic demonstrates. Not only has it stood the test of time but is winning the ratings, something that has always been important in this game.

In conclusion I’d like to say that the one constant there has been in my twenty-five years in broadcasting is change. Like many other areas in society the thing that is different now is the rate of change, but in that regard the question is as it’s always been, are we leading society or merely holding up a mirror?

I had an enlightening interview with former Producer TVW7 (1970s), STW9 (1980s) Keith Woodland and former Producer-Presenter STW9, (1980s). They represented the ‘new’ generation following my involvement in the 1960s and were party to the changes in instant communication systems and the conversion to colour. I asked them this question,

PH: So economic rationality must succeed over duty to the community?

J.D. Absolutely…

PH: There is still an observable ethic at Channel 7 that they have a duty to the community?

KW. Yes. Seven has always been stronger that way. I mean in fact going back to those very first early days, the reason that we were there was two-fold. One, to help with keep, obtaining and keeping the license and you had to have content of Local Production and a lot of our time was actually spent in writing reports for the Tribunal each year to say what we had done in the year. And secondly, to try and bring in the community into the station to ‘feel and touch’ so kids shows with live audiences were considered a ‘’good’ community spirited type of thing..

Current TVW7 News Secretary Lesley Bradford expressed the differing views of former

and present television employees when she commented, ‘No difference. Channel 7 Perth

is very community minded and always has been.’, and current TVW7 News Presenter (1970-) Alison Fan (Maclaurin) agrees by stating, ‘In News – community responsibility remains as dedicated if not more disciplined and stronger over years – particularly at TVW Channel 7 – where it is the governing factor with all reports.’ while current Presentation Co-ordinator TVW7 (1976-) Dave Allet thought that,

Community responsibility hasn’t changed from the 1970’s – 2000. We [TVW7] still tell the kids to eat well and go to sleep and healthy living. I feel we watch too much American rubbish compared to really good British shows that are around. I also think that there is too much sport on all the TV channels.

I consider that these replies fall into the category which covers those contributors who are still within the industry and consequently are more loath to ‘bite the hand that feeds’! Compare their attitudes to a former TVW7 News Cameraman (1969-1999) [who requested anonymity.] who said, ‘There is little difference between stations today. They do the minimum required. And STW9 Studio Cameraman ‘Minnie’ Monad, who also presented the other side of the coin by saying ‘These days they do it to promote themselves. Hence the loss of the fund raising 24 hour shows. TV is only doing it for themselves, like the Banks.’, and a former TVW7 Studio Cameraman (1967-1971) [request for anonymity.]

I like to think (maybe wrongly through rose coloured hindsight) that TV Execs actually thought about their audience and tried to give them a sense of being a part of their TV station as much as the station being part of the community. Now, I think that the TV stations only pay lip-service to that concept.

Former STW9 Production Assistant David Carlisle (1976-1980) said, ‘I had a feeling at STW9 that the audience was important only in their numbers (ratings) I moved to the ABC because I felt old at 26 compared to the rest of the crew. (My God!)’ and another former STW9 Presenter of programs 1968-1982 [request for anonymity], said

An obsequiousness on the part of the stations to “kiss the bottoms” of the local viewers who demand very, very low to poor standards only – i.e. The community is ecstatic when a news report includes 30 seconds of a vested interest. Simply – the community certainly deserves better and should demand it.

Viewer, Mrs. L. Stewart said, ‘ I think my children (now 18 & 14) missed out on local

television where they could be involved – go to the studio, enter competitions etc. while

former TVW7 Production Manager Marion Leyer (nee Greiling) recorded that now there was a

lack of local productions – in the 60’s and 70’s Channel 7 had a very strong commitment to fostering local talent – There seems to be a few attempts lately to revive local production but I don’t think viewers support is evident. Channel Ten’s extensive list of local programs promised during the “License Application” never came to fruition – In fact the whole production department was closed down after 2 years.

Former TVW7 Presenter Janet Prance (Gill) said, ‘Today, there is a feeling that, unless one can find a sponsor to cover the costs, the stations do seem to be interested, or see the real need to develop local talent, unless it is associated with sport. and former STW9 Technician Gerry Wild saw the situation as,

A great lack of responsibility and lack of local content. One of my main gripes is the “sameness” of News content. Most stations merely download material from satellite feeds to which all have access, and seem to miss out on the local happenings. Am exception would be GWN which has an exceptional state-wide News gathering service.

Former TVW7 On-Air Hostess Alison Carroll-Jung made this comment regarding current day self-promotion.

It has gone down hill, Channel 7 is still relatively active nowhere near as much now as in the 80’s. The others have a very low community profile hence different ratings in Perth compared to rest of country. I think they promote their responsibility more than they participate.

Generally speaking this type of general lament for that which has gone has proved to have been in the domain of those who were once (but are no longer) involved in the medium. They could be accused of selective memory and imagining that everything was better in retrospect. However, the preponderance of testimony is based on the reality of today and the indisputable fact that Western Australian commercial television establishments have indeed changed from Production Houses to Relay Stations. Television and general entertainer Max Kay supports this thesis and feels that a sense of Community Responsibility by current television stations is,

Almost totally lacking. I suppose that we still make those token gestures such as Telethon. In regard to local production and the fostering of local talent, this has become totally extinct. Moral content has been forced upon local TV by the actual programs which are produced elsewhere. Once control is relinquished by becoming a relay station nothing can be done about it.

Former ATN7 Sydney office boy, equipment duster, copper pipe cleaner, Telecine, Studios as cameraman (snr[?] crew cameraman in Sydney – rode the big camera crane ex Hollywood, very flashy), and lighting assistant. TVW7 floor manager, senior studio cameraman, station co-ordinator, Program Director, New Program Director and Cine-cameraman Gordon McColl, gave a considerable amount of thought to his reply in his reply. Because of the broad scope of experience and length of involvement, I consider that his contribution deserves inclusion in full.

I do believe that TV or radio in this country does a lot for the community. Give them bread and give them circuses, it is alleged, a Roman Caesar said. We have lots of circus in football and cricket, but very little bread, except the ABC and SBS, both of which are currently frigged by the Howard Governments approach to public broadcasting, and the insistence on programming soapies, instead of the more intellectual programs us ABC fans are used to.

The commercial channels have done very little over the years to offer any intellectual or educational programs. The emphasis has always been “entertainment”. This being cheap overseas import programs. I did Romper Room for two years which was an internationally syndicated program by Fremantle International. It had reasonable ducational content for pre school kindergarten aged children. I like it because it was the same, with inevitable language differences, wherever it was broadcast around the world. I saw the program being produced in Japan, and was surprised at the cultural differences in the children of both countries.

Another problem when TV first started was that every charity in the country expected them to give some time to promoting charity and its fundraising works. This was attempted and there were just too many charities, and then the complaints were very bitter about discrimination. I believe a certain church was a big shareholder in TVW7 and this was seen by some critics, as receiving favoured treatment…Having a TV license in the first 20 years was having a license to make money. As any shareholder of TV shares can advise you the increased number of licenses mean they have to work for their money now. There is still no doubt in my mind that they could lift Australian content and have a Tonight Show in each capital City and swap them. Mondays in Sydney you would watch “In Perth Tonight” Friday and Saturday it would be “In Sydney/Melbourne Tonight”.

Former TVW7 and STW9 Film Editor Geoff Wallace said, ‘TV stations now are more interested in ratings and plan their community based programmes to these ends.’, while former TVW7 [1960s] On-Camera Personality David Farr saw the situation thus,

Like any industry, television had to change over the years. However, it’s prime purpose continues to be the provision of entertainment and news to the population whose requirements have changed over the years. It would no longer be acceptable to provided the style of home-grown shows which were avidly consumed by an eager audience all those many years ago.

Former TVW7 [1960s] News-Reader, Susan Saleeba (nee Contos) said,

TV Stations appear to sponsor (though I doubt whether it is true sponsorship) perhaps “if you advertise with us we will discount your buying and call it ‘sponsorship’.

There is no doubt about it….I am a television and movie buff….I also have a life. With the quality of television programmes currently being dished up on commercial television; ‘Big Brother’, Soap Opera, Jerry Springer it’s no doubt I turn to Foxtel for in—house entertainment. Discovery Channel, National Geographic, History Channel, News and Current Affairs. Quality programs that only appear on commercial stations as a ‘Special Presentation’. As for the news now (though I am one to talk, I find it so full of local content that we can almost forget about the rest of the world. The ‘talent’ never changes, they may change over to different channels, the news readers and presenters appear to blasé …I suppose I am a little bored with commercial stations….perhaps its maturity!,

Former TVW7 [1960s] Weathergirl Merryl Bennett said ‘I think there’s an increasing tendency to cater for the lowest common denominator as in all forms of media especially regards sensationalism. ‘Ockerisms’ are often contrived and unattractive. Grammar and pronunciation (especially “haitch”) are often dreadful.’ and former TVW7 now STW9 Sports Presenter Dennis Cometti said, ‘Has virtually disappeared. But this doesn’t only apply to TV. It seems to be business in general’. Former TVW7 Presenter Ted Bull said, ‘Bottom line’ [finance] is what it is all about and a reluctance to give young people a go., former TV Musician Barry Cox said, ‘I think the responsibility of TV stations toward what children are exposed to is questionable at best.

Former STW9 News Secretary Frances Foster said, ‘People don’t seem to think they have a say any more. Very few “Polls” are conducted on content. Pay TV is now showing adverts. The reason many people took on Austar or similar was to get away from commercials’.; former TVW7 Carpenter Jim Gilbert said, ‘I personally think the apathetic viewers deserve the contemp which with TV stations treat them. An instance is the G-Code system available with almost all VCR’s is rendered useless by stations inability to run programmes to time.’, and former TVW7 News Presenter Bill Gill recalled,

Little has changed over the years. All stations pay lip service to local content. I remember in the early sixties when Seven would take their O.B. camera to Scarborough, televising 3 hours of waves crashing on the beach. This would bring up the required hours of local content. When the ownership of all W.A. commercial stations resides in the Eastern States the future of real local production will remain bleak!

Former TVW7 Presenter and Controversial Political Commentator, W. Robert Maumill,

The industry has abused self regulation. There are still too many American

shows promoting American values and views. Too many programming

decisions are made from network headquarters in the Eastern States.

Too many former sportsmen and women as presenters.

Former STW9 Studio Cameraman Phil May (1969-1970) now “Globe’ Coffee boss said,‘TV today is not a local community process. It is a global network. It makes money. Has little if no social conscience. while Former STW9 Studio Cameraman, GWN3 Chief Engineer (1969-2001) Kevin Mohen saw that there had been,

Huge changes, stations felt responsible to have close ties with the community generally in those days. My last move in the industry was to GWN (W.A. regional broadcaster) 15 years ago. What a flashback it was, lots of community involvement, Kids Show on the road etc., Management attending regional town functions, Fairs sponsored etc., Networking and ownership taken over by Eastern States network, result = no more Production and no more Community work!

An exception to those who requested anonymity for protection from repercussions was current STW9 Producer, Ray Pedretti, who stated, ‘Today they [W,A. TV stations] are owned by East Coast based companies so the ‘localism’ is only a perception. Channel 9 Perth for instance is more local than Channel 7, yet Seven is perceived as more local. A positive note in that management today are far more casual about [around] their employees. Former TV Musician Peter Piccini said, ‘In the early years we had live TV shows – musicians, entertainers and actors had employment, also there was far less violence.’

I asked former TVW7 On-Air Hostess (1961) and professional singer Maria Gianatti (nee Koomen),‘Do you think the industry should have more of an acknowledgment towards art and music and drama and talent, as part of society?’ answered ‘Absolutely. Absolutely. Oh gosh yes. I mean, what is it without that? What boredom without music. That’s part of the exciting part of life. I mean I never watch footie for a start [laughs] I’m not into that but I watch the ABC whenever there’s any programs on that I like’.

Former Female TVW7 Presenter (1959-198something) [request for anonymity]

There are huge differences again, probably partly due to the networking. I feel most of the TV Stations don’t care any more. In the “old days” Telethon really meant something. We also involved the community more with audiences in the studios and various outside broadcasts involving people. Now there seems to be very little in-house productions with almost everything farmed out to production houses/companies.

In the very early days it seemed that management actually cared about the viewer. At around the time I quit, it was a matter of pleasing management – the viewer was secondary.

Former Town Planner, STW9 and current Access 31 Presenter (1959-) Paul Ritter,

The Whitlam Era was followed by an eclipse of the evolution of Democracy in Australia. The inspiration of the people like Dunstan [w]ained. Warship of Hate, freedom to express hate-

To apply ‘competition’ to TV is just like having a painting competition of proven talents [and] rationing out the paint!!

To combine public communication, like public transport. With profiteering, is being proven stupid all over the world.

Variety is the spice of life and the richness of art (communication) – to get it we need several channels but not profit motivated. Relevance function programming.

Having studied the anatomy of stupidity for some twenty years, competition for public services, so some can make max. profit, is one of the crassest human stupidities that has flourished during the Era of “patriarchal plague” combined with endless power.

Former STW9 Engineer Richard Staffe observed ‘There seems to be very little control now compared to when TV started with number of commercials and types of programs pertaining to sexual matters and violence particularly during times when children are watching.’, andformer Newspaper TV Critic Barry Thornton, complained that, ‘There is less commitment or enthusiasm for community service obligations than there were 20-30 years ago. This could be the result of the continuing ratings battle and desire to run only programs that improve ratings and therefore revenue.’

Former STW9 Production Assistant (1967-1971) Marina Valmadre,

In the early days of television in Western Australia there was a genuine and shared sense of community; a desire for the wider community to have a ‘local’ connection with its ‘local’ personalities; and a willingness for business, industry and commerce to support the ‘aspirations’ of Western Australians. Today, with the proliferation of communication vehicles (including many glossy magazine) people gain some connection with ‘global personalities’ they “know” through media.,

and former STW9 Telecine Operator Wendy Weir said, ‘TV used more these days for

community information – eg. Cancer, no smoking etc. I would like to see more local

entertainment shows., and former TVW7 Singer (1960-1964) Ruth Atkinson attested,

There are very few avenues for local talent to explore in the T.V. industry. There is so much talent being produced by the Academy of Performing Arts that we should be able to utilize them in local productions here in Perth. This applies to both drama and music graduates. Remember “Mobil Quest”? Many famous singers were launched here – Joan Sutherland etc.

I worked with former STW9 Producer/Director Peter Duncan for many years. He exhibits a breadth of knowledge gained from a 35 year association with commercial television in Western Australia,,

Yeah, I think, that’s what kept Seven in front for so long. They had strong community involvement. They would be everywhere. They would have personalities there and er, it was a very hard thing to break for Nine, But their strength of involvement in the community was their strength on the screen, and you know, in the ratings books. Because they, they were out there. They were committed to that an um, having come from country television it became pretty obvious that that’s what their success was, because you know, we were always conscious that even if you covered some small basketball match it was not the people that, that were playing necessarily, it was the family and friends who said ‘Watch because we are on!” sort of thing and that was, that was how sort of family television grew and people I think were much more conscious of ‘Harries on screen, he was an influence on my kids.’ Lawson reading the News you know had a thing on that. There was a lot more contact, I don’t think now, I think stations are groping with this. They are trying to get some interaction between their personalities and the viewing public.

I think it’s a lot harder for them now because um, people know that they’re not just an homogenous family that’s around there, half of the personalities are coming in from Sydney and it’s all just stuff coming out of the Box.

Former STW9 Newsreader and Presenter Cornelia Frances was another who saw the

question as involving program content and said, ‘Catering drama or ‘soaps’ to younger

viewers, not considering wider spectrum.’ , while former STW9 Film and Tape Librarian Olive Barrett saw it as a morality and censorship issue in replying, ‘Bad language, nudity and vulgarity which would never have been permitted in my day is now common place. ,

Former STW9 Producer Director Tony Barrett said,

I remember being on ‘Master Control’ and having to carefully check the amount of ‘commercial content’ in each hour, plus no more than 4 commercials in a break and

ensuring there were no clashes. Now we have ‘self regulation’ there doesn’t appear

to be much control at all.

Former TVW7 Dancers Jan Urquhart and Jan Boyd made these replies,

I didn’t give it much thought then but now all stations offer a good variety of programs. I think with the ratings and TV watchdogs the TV stations are more aware of their responsibility and what the viewers want and expect and plus with the new technology of course TV of today is more professional and the training of staff is more hi-tec.

and

Television studios offer viewers of all ages a great choice of

programs early morning to late at night. Housewives need a

lot more intelligent shows to watch during the day, the so called

soapies” leave a lot to be desired.

Former STW9 Producer and On-air Presenter Ron Blaskett said, ‘There has been

less responsibility shown in regard to transmitting violence, language or social mores.’

Former journalist, ABC and STW9 Sports Presenter Wally Foreman wrote,

I don’t think there is any doubt that networks are a lot more committed to money making now than they were previously. Twenty years ago there was an attitude that a small profit was satisfactory and a strong local identity was also important. The goal now seems to be to maximise the profit. While there is still a lot of “off-air” community programs, the lack of live local programs detracts from their contribution to the community. There is less local sport being covered on television now than previously.

One of Foreman’s counterparts was John Rogers, a former TVW7 Sports Presenter said,

These days I believe T.V. stations pay lip service to Community Responsibility

whereas in our day it was an integral part of our role as T.V. people. Once upon

a time all monies raised went to Telethon now “parts proceeds aid Telethon”

That is the type of thing I mean.

Former TVW7 [1960s] On-air Presenter Katharine Biagi (nee Lavan)’

We were aware of what was appropriate viewing for children. There are more

informative & educational progs. Today (particularly on ABC and SBS).

Programs on medicine eg. Open heart surgery, used to be shown late at night

so as not to disturb viewers!

Former TVW7 On-air Presenter Dianne Moxham (nee Briggs) said, ‘…more

permissive…morally scraping the bottom of the barrel…Telethons etc., bring the

community together’., but former On-air Presenter and Performer Bon Maguire minced no words by saying, ‘Stinks!’, while former On-air Performer June Percival said, ‘It is all very American these days. Even in our “news” we don’t get told the interesting small ( & sometimes Happy) stories. One has to listen to the Radio – mainly the ABC National – to get the news from around the world as well as Australia.’, and former TVW7 On-air Personality John K. Watts said that it was the ‘…pace of life – fitting it all in!’ that has led to a diminution in Community responsibility. Former STW9 Advertising Executive Milton Francis wrote,

Always considered it sadly lacking. Have not seen any evidence to date that would change my mind.

Commercial content – breaks for too long (used to be 2 mins. Maximum) and frequent.

Same old – same old. – Advertisers still believe that viewers actually watch their commercials.

My first co-producer/director of children’s shows in 1965, Phil Booth said, ‘They are more active in charities as Telethon/Appealathon – all year round, plus many other commitments to public life – just another service that stations are committed to – helps with ratings.’ Former STW9 administration secretary saw the question in terms of televised content and said, ‘When TV first began everything was censored and most enjoyable…Today the foul language and violence puts one off, true, we can get videos like this, but it’s our choice, not thrust on one by every channel going.’ Former STW9 News Director Gordon Leed wrote,

All these programmes, and their counterparts in other states, went by the board – to be replaced by something out of a can – as managements began preaching the gospel of expense cutting in favour of greater profits for shareholders. “We have to think of our shareholders” became the management catch-cry. I always harboured some suspicion of this as most managements were themselves the hefty shareholders. Frankly I could accept the philosophy of cutting back on genuine waste, but the above was stealing the enjoyment of the folk who really made the industry profitable, the viewers who bought the advertiser’s products. No thought was spared for them. One sad result of the programme axing was the loss of employment sustained by people whose only fault had been to pour their heart and soul into television’s welfare. Today’s live shows consist only of News and Current Affairs, some cheap to produce (in comparison with the old Childrens and Tonight Shows) Games shows and renovation and real estate programmes.

Finally, this incisive comment was offered by former STW9 Newsreader Valerie Davies,

We live in changed times when there is access to many forms of communication with the community. Television today is only one form of contact with audiences. Responsibility can take many forms, with the public, shareholders, employees, advertisers etc. The climate varies according to dynamics across the board.

Current TVW7 Advertising Manager [2003] said that community responsibility was their, ‘…first consideration always.’ And quoted the Greening the Freeways project, Telethon and the Christmas Pageant. [The ten or now factor was evident in his reply.] Current [2003] NEW10 General Manager also defended his station’s position by quoting the support that they gave to the South Perth Zoo, Neighbourhood Watch and Sci-Tec. He said that their contribution to the community was valued at between three and five million dollars per year. Current STW9 news presenter Dixie Marshall wrote,

We still have a community focus, however, not to the level of the past…it’s so hard to put a ‘dollar value’ on the community involvement, and therefore the accountants who run the television stations dismiss its vale…very stupid really…because the good work in Appealathon oozes back into how people perceive our station.

Retired Network Ten CEO Bill McKenzie said that TVW7 had always been community minded having inherited that attitude from The West Australian.

Former TV Dentist’s assistant Pamela Neesham wrote, ‘Apart from “Appealathon” which benefits the needy of the community, the ordinary public don’t get much of a mention do they?’ Former STW9 public relations officer, secretary, production assistant Silvia Sillaots said, ‘There was always far more advertising and staff involvement out on the road promotong gatherings and fundraisers for the underprivileged etc. Former STW9 cameraman Bob Finkle wrote,

Once again when stations are controlled by people on the other side of the continent the local feel or community spirit of the Television Station is one of the first casualties. The local station becomes almost sterile with little or no direct contact with fellow West Australians outside of any legal obligations. Therefore children shows, light entertainment, sport & political telecasts are almost non existent – only a memory.

John Hayes, a former security guard and handyman at STW9 said that there are, ‘…less programs suitable for children, which in turn lowers family values. A greater promotion of sex and violence and the level of acceptance to bad language.’ Former TV sports commentator Jimmy Chadwick said that,

…only Telethon now has community responsibility. There was much more in the early days…it’s probably changes to commercial attitudes and life in general…today it’s bigger profits on capital investment…Jim Cruthers was the father of a big value…the good old days are gone forever.

Television producer Lyn Hancock wrote, ‘There doesn’t seem to be enough local programmes to keep the film industry viable in Perth. We need the local TV stations to produce more local shows.’ Former telecine and tape operator Bevan Long said,

I also think the Telethons and Appealathons have lost some of their sparkle. Is it the loss of those we knew and loved, the Peter Deans or Stuart Waggers? Perhaps it is the commercials now interspersed with the coverage. Whatever, it is not as uplifting and involved as it seems to have been.

Former STW9 Engineering Department secretary Helen Mumme said:

Again the ‘community’ response of TV stations is now much more ‘corporate’ and seems to be related to the high-profile corporate sponsor more than to something which could be ‘community’ without having the spin-off which comes with the ‘corporate’ ties. This may be something which is more common throughout our society and so th3e TV station is merely keeping up with what society expects, although my own feeling is that the community is very much ‘programmed’ by the TV station and there is a great deal less of the TV station ‘responding’ to what the community requires. This applies right across areas of the media (newspapers, radio etc.) and is probably a direct result of the media coming under the control of a very few powerful owners.

Former STW9 high-rating newsreader Russell Goodrick wrote:

I believe there was a time when individuals were happy to help. When it didn’t take the company to make you do something. I expected it of myself, no one else had to. In the eighties/nineties there grew an expectation by management for employees to undertake community responsibilities, to an extent that it seems to have back-fired, where employees now want to be paid for most things.

MRG [Goodrick’s company] still has a strong belief providing community opportunities, however we can only do so much because of the cost. Television stations are in the same position, only instead of having their house on the line, the have to answer to the shareholders and the ever increasing demand for higher and higher dividends. This demand has on on going whirlwind effect

The foregoing has demonstrated that while those who participated in local ‘live’ television

have definite opinions regarding the failure of the commercial stations to maintain acceptable levels of community responsibility, there is a resignation to the historic outcome and an attitude that the ‘good old days’ are gone forever. It can be seen that a certain amount of ‘political correctness’ was encountered from those who are still in the industry and of necessity might feel it prudent to express support for their employer. Nevertheless, there are exceptions and it is reiterated that most respondents saw Community Responsibility in regard to fund-raising exploits and not as concerns of standards of public morality or program content.

The policy of returning to the public, part of the proceeds of their being the buyers of the goods and services which provide the advertising income has passed. The contraction of scales of economy and the introduction of a third commercial station to Western Australia in 1988, reduced not only the size of the cake, but removed any icing which may have been left over to reward the viewing community for supporting the industry.

Appendix 3: Supportive Evidence for Chapter Four.

Comments on the disappearance of Local ‘Live’ Production:

Introduction:

Following on from Chapter Six, this appendix comprises a selection of answers from respondents to the question ‘To what do you attribute the disappearance of local ‘live’? (Kids- Talent- Tonight Shows etc.)’ The greater number of those associated with the Western Australian television industry answered the question in terms of economics and the introduction of networking. Only a few saw the question in terms of televised content. Once again, an observable tendency is noted in that those not currently engaged in the industry tend to be much more critical of its current systems of management.

Responses from Television Industry Employees:

TVW7 Presentation Co-ordinator Dave Allet was succinct in his reply, blaming ‘Networking. Local talent and popular chat shows rated well in their own community or State but the Big Boys from the East canned them. and a current News-reader who requested anonymity said, ‘Networking – everything is controlled from Sydney so economics mean that everything is now produced on the East Coast. E.g. Channel 10 News. Happy to see programmes have come part the way back with local shows like Postcards and Perth at Five.’ Former TV Actor, producer, weather-man etc., Barrie Barkla blamed,

Economics and networking. When I started in TV, every TV Station was independent and produced its own “live” content – but as the industry rationalized and joined networks, local production disappeared – fewer and bigger shows, with the costs spread over a network. The process continues . e.g. The ABC canned State by State “7.30 Report” years ago. Channel 10’s “Perth” News comes ex Sydney. WIN4 Produces all its Victorian News and Bulletins out of Ballarat.

Former ABC TV and now STW9 Presenter John Barnett said, ‘Too costly, too fraught with difficulty (imagined) Perception that can’t compete for audience with Yank crap. While former TVW7 and STW9 Film and Tape Librarian Olive Barrett answered, ‘The headquarters of the TV Networks are in the Eastern States and all major productions are undertaken there.’

The other half of this intra-station marriage, former STW9 Producer Director Tony Barrett stated,

Polarisation of major productions to major ‘Eastern State’ Network studios. This trend is continuing with movement of News production too. Ten has already gone and 7 in rumoured to be following. STW9 being privately owned will remain local, but if it too becomes a Network owned station the same will happen.

while TVW7 1960s’ Weather-girl Merryl Bennett thought that the fault lay with, ‘Probably “economic rationalism” which is so often disastrous. I think it’s a shame because I’m sure kids would get a kick out of knowing someone or perhaps participating themselves.’ All reasons were brought down to one word by former General Manager, Chief Executive TVW7 Max Bostock with ‘Money!’ Some respondents answers are so informative that they warrant examination in full. Former STW9 Station Manager Bill Bowen explained that there are complex reasons. He said that primarily ‘cost is one and it’s going to get worse before it gets better.’ The major changes had already happened at TVW7 with most of their programs being outsourced. Bowen said that if he was still in a managerial position at STW9, he would sell the valuable land and build a multi-level building in South Perth. With the ‘chroma-keying’ facilities now available (the ability to mix and merge people with digitally contrived backgrounds) the studios would be small, with automated pre-programmed cameras and virtually no crew. He would avoid locally produced programs, except for integrating portions which are important for Western Australian consumption. The exception to this would be the production of documentaries, in which the Perth industry excels. Bowen said that ‘Melbourne does the best variety programs (because of the long running In Melbourne Tonight factor), Sydney the best Current Affairs programs, ‘Adelaide used to do the best Kids’ programs, Brisbane used to do the best Quiz programs.’ To create and maintain a Perth ‘personality’ system, the presenters would be ‘flown in’ for the program productions, meaning that each centre could set-up and specialize in particular productions. ‘So you get the crème-de la-crème producing the local people who are flown over…’ The product would be imported to Western Australia, but the flavour would be local. Bowen said that the Station would only need two or three floors and if Pay-TV eventually triumphed, ‘Whack walls in and sell them off as condominiums!’

Another explanation by current [2003] STW9 General Manager Paul Bowen espouses a different understanding, coming from an incumbent executive’s point of view. He said that the standard of television has lifted to the degree that to Perth productions had to be up to Network standard. Which ‘…comes at considerable cost.’ Paul Bowen commented on the success of what was virtually their only current local production of Postcards. He said that no money was to made from it but, ‘…it is important because it does send very strong signals to the market about who we are, what sort of people we are, what sort of television station we are and it helps you bond more so I believe with the community.’

TVW7 Current (2002) Production Manager John Crilly said ‘Money! Money! Money!’ and much more. Former TVW7 Dancer Jan Boyd, part of the TVW7 entertainment team in the early 1960s said that she though that ‘live’ production was ‘Too expensive to run and too small a city to compete with the vast selection of channels and shows that are on offer these days. We have a lot of talent in Perth but nothing to offer them, most talented kids go East/Overseas to further careers.’ Current [2003] TVW7 News Room Secretary Lesley Bradford agreed on the expense but differed on ‘talent’, ‘Too expensive and not enough “talent” to have as Perth is so isolated. Staff cuts don’t help either.’ Former TVW7 Weathergirl Trina Brown (Williams) opted for the cynical approach; ‘Money can be made without the huge effort of live production. So why go to the trouble!!’ and former TVW7 and current ABC Presenter Ted Bull again offered the shortest reason, ‘Money.’ As might be expected, former TVW7 Journalist and W.A. State Premier Brian Burke introduced an element of politics by stating, ‘Concentration of ownership in the pursuit of profits. Poor and inefficient government regulation and the transfer of decision-making power to other States.’

Another respondent with a vast knowledge of the industry is former TVW7 Chief Executive Kevin Campbell, who also has understanding of the intricacies involved in local production. Campbell’s first reaction to the question was that all ‘genres’ wear out and there is a need for ‘refreshing’, but the continued by stating, ‘…what’s really happened since ’88 is, a contraction of spending in the, on the Licensees that are licensed to serve the community they are licensed to serve!…and also you’ve got the Sydney psychology that “We control Australia and therefore, if it don’t happen over here, no-one else does it!” and that’s a shame because there is still a place for local type programs.’ In particular Campbell would like to see programs such as It’s Academic [which has returned to TVW7, but outsourced for production] and young people’s talent searches, discussion programs etc., because, ‘…they’re our leaders of tomorrow…people like your Barry Jones…’ [Among many public service positions held, Campbell was at the time, Chairman of the Western Australian Academy of Performing Arts.] He thinks that there is always another ‘Graham Kennedy’ to be discovered and is trying to promote local production on Community Television. Campbell qualifies the attitudes of Corporate management thus:

And they’re all in to make a huge quid. In their defence, knowing what public company life is like now, you’re always in the hands of, you’ve got to perform for the shareholders, because they’re investing their funds, their deferred savings …and they’re expecting a return on it. So it’s a bit of a vexed question that one.’

Former Audio Technician David Carlisle answered the question with one word,

‘Networking.’, while former ABC and long-time and current [2003] TVW7 Newsreader Susannah Carr, was forthcoming with ‘Financial decisions. Very little local production now. Apart from Melbourne and Sydney, the other States have very little production work, mainly News and Current Affairs. Variety is making a comeback with people like Rove McManus. Former TVW7 Presenter Alison Carroll-Jung. who admits to being a little embittered by the system said, ‘Money! Lack of interest by those involved.’

One of the original stalwarts of television, former TVW7 Presenter Gary Carvolth is another person with views of multiplicity. He said,

I think what’s happened is, it’s purely business. I think that now the bottom line is saving dollars. Sadly saving jobs…certainly there won’t be and more production type programs here. I think that most of the programs will come out of Sydney and Melbourne regardless of the Network.

Carvolth commented on the fact that NEW10 News was now coming direct from Sydney, with Perth newsreader Greg Pearce commuting by air. He also considered that TVW7 would sell the very valuable real estate at Mount Yokine and move into Perth, [probably to the Entertainment Centre as it is now owned by the Seven Network.] Carvolth said that at the peak of local operations, TVW7 had,

…nearer to 500 people all up involved in carpentry sections and everything else. Today there’s less than 150 and there will be less still…it’s just sad that it’s not there, because this where…people learned their craft and that chance to work at what they do, whether they were a carpenter, a singer, an actor, an announcer or whatever. Cameraman.

Former TVW7, Current Sports Presenter STW9 Dennis Cometti, was direct and to the point when answering, ‘Cost. The desire to maximise profits for shareholders.’ while a former Female ABC and STW9 Newsreader (request for anonymity) said, ‘Network ownership. Economic efficiency of producing one show in Melbourne or Sydney and networking it to all States. This, I fear will be the fate of TV News – Produced nationally with perhaps a 5 minute State ‘window’ locally.’

Former W.A. State Premier Sir Charles Court, one of the first to recognise the political advantage of being able to handle the medium wrote,

Nothing remains the same and it was to be expected that with changing management, new policies would be introduced from time to time and would influence the way things were done, not only at Channel 77 but also at all the other television stations throughout Australia, including the ABC.

It’s well to remember the wide variety of those who made up the television industry and

former TV Musician Barry Cox offered, ‘Perhaps cost factors.’ Another informant who has been associated with television since 1956 is TVW7 and Former STW9 Production Manager John Crilly, whose answer was ‘Money! Money, and Money! And Money! Crilly said that ‘…Children’s shows suffer from the fact that they are only going to be watched by children…’ He blames the introduction of the ‘C’ Classification, formulated by those not closely associated with the realities of hands-on television. Crilly supposes that those people were well intentioned but out of touch with the children of the day.

…now I know when my kids were between that age range, [7-13] they wouldn’t watch any of that stuff because it was made by, dare I say the word, academics, who perhaps didn’t have a good childhood or something…but they just seemed to me to be totally uninteresting to kids who really want to fantasize, not have real-life issues in a lot of senses…we try to push on our kids, we try to make them grow up too quick.

In comparing the cost of children’s programs in the 1950s and 1960s, (produced on a daily basis ‘in-studio’ with a ‘live’ audience) Crilly said that today [2001] ‘…you’d be talking probably fifteen grand a day per show.’ In regard to a Talent Quest Show, Crilly placed the cost at about $10,000 per show, which ‘you’ve got to recoup out of your local market.’ Crilly also explained that the locally produced handy-man program Nuts and Bolts was completely outsourced with the private company covering all costs, using the TVW7 studios, then working out contra deals for air-time and payment by participating sponsors.

An interview with former TVW Chief Executive Sir James Cruthers recorded,

JC: Networking, it kills, you know, real live productivity.

PH: And you regret its passing obviously!

JC: Yes I think it’s a great pity…particularly in a State like Western Australia. I’m not being isolationist but we are a long way away and although [because of new technology] we don’t have the tyranny of distance, we are still different from the others.

After a career of some twenty-five years, former STW9 and TVW7 Presenter Peter Dean was harshly treated by the system, in being summarily dismissed for no other reason than ‘redundancy. His superannuation and other entitlements had disappeared along with Christopher Skase and the Quintex Group and he was given an ex gratia payment of $500 for each year of the twenty-three that he spent in the service of TVW7. In answer to the question he said,

Greed, money. Money hungry corporations, investors who want a bigger return on their capital that they’ve invested in television stations…It’s all about making money, cutting costs and by cutting costs they are also cutting programs and cutting a lot of production in Australia…I remember talking to Jim [Cruthers] back in the eighties…[and he] reminded us that in the early days of TVW they used to do something like thirty-one hours of ‘live’ television a week! Thirty-one hours a week! Now they wouldn’t do it in a year!

In recollecting the early years of television in Perth, Dean described the advances in techniques which could only come with experience on the job. This experience was for everybody from the technicians to the presenters. He described the gradual improvement in the product and how ‘…they did show a lot of Perth contemporary life…a lot of opportunity for Perth entertainers and

actors…a fantastic time to live through. Now of course there’s nothing on the entertainment side.’

Current [2003] TVW7 Today Tonight Chief of Staff Mario D’Orazio, as a working journalist also had extended views to express on the subject. He described how TVW7 for twenty years was a ‘..good entrepreneurial company with widespread interests that formed the basis of empires. Today it’s only a shadow of what it used to be, now part of an empire, it’s an outpost.’ D’Orazio pointed out that programs such as Blue Heelers costing four or five hundred thousand dollars an episode could not be made here for a small audience and the ‘…improvement in imported stuff…[has meant that] the sacrifice has been local production.’ The interview with D-Orazio continued thus when I asked, ‘So it’s economic rationalism? Always has been?’ He replied, ‘It’s commercial TV!’ I continued, ‘Which is economic rationalism?’ and he said, ‘Which is pure commerce.’

Having been in Western Australia and the local industry since 1966, former STW9 Producer/Director Peter Duncan is well qualified to express his experience and said that the loss of local production was initially the fault of the Control Board, who ‘…as you know, ran the industry.’ Duncan said that the ‘Points Scoring’ regime STW9 whereby ‘Australian’ meant ‘local’ made it easy for Perth stations to purchase their programs interstate. He also said …so that is economic rationalism and it’s born of the decision made in the late eighties…when I finished Americas Cup when Bond sold out and management actually flipped to Sydney…I realized there was nothing going to happen in television stations here.’

Current [2003] Producer/Director Peter Dunn was one person still working in the industry who was unafraid to say, ‘Greed – Take out as much as possible – give back the least possible.’ and another respected long-time current [2003] journalist TVW7’s Alison Fan added ‘A much more sophisticated and affluent audience who are exposed to a world-wide choice of entertainment via

Foxtel etc.’ Former TVW7 Presenter and TV Executive David Farr, who started with the Company in 1959 said, ‘Cost, need to improve profits, and networking.’

A former STW9 General Manager Eric Fisher did not pull punches in his criticism of the television industry. He said,

Why the disappearance of live? Simply because it is not an economic proposition, and nobody believes that “localism” defines a local service area. Now, “localism” means Australian. The only reason any local TV was done back in the 1960s and 1970s was because, in those days networking was not allowed, and one had to meet certain local content requirements. But, we didn’t have dedicated broadcasters running our TV stations then (I suppose Bob Mercer was dedicated, but didn’t have the background, nor, I believe, the full confidence and support of his board of directors. Although, I’m not really well

enough informed to state that with any certitude, Anyway, he was at the mercy of the program agreement, and therefore of Cruthers and Treasure).

Former STW9 Sales Executive now Drama Teacher John Foote, who was at STW9 with Fisher said,

The disappearance on live programmes was simply because television was seen as a money making business with few obligations to the general public. The “average” viewers were referred to as “Pie Eaters” by [Laurie] Kiernan and his prodigy David Aspinall, who emulated everything Kiernan did or said. The shareholders were far more important than the viewing public and I am sure that this is what motivates commercial television today.It seems to me that local television is far too dominated by material from Sydney and Melbourne. Surely we should expect to see a lot more of our cultural life shown on Perth screens given the size of our city now.

Former STW9 News Room Secretary Frances Foster, introduced a couple of new elements with, ‘Lack of good people to run them. Video games. Computers.’ But former STW9 Newsreader and Presenter Cornelia Frances, said ‘Hadn’t noticed at all!’ [This respondent lives and works in Sydney and Melbourne.] John Fryer, long-time radio and TVW7 television presenter said,

The lack of ‘live’ TV Shows, particularly in WA, is in a word money. Networking from the Eastern States has virtually spelt the end of our live shows. It is impossible to match the production, prizes, sets etc of these shows that are networked to so many stations around Australia. Stations buy these programs at a fraction of the money required for a local ‘live’ show.

TVW7 Presenter and Producer Keith Geary, (made redundant in June 2003 after thirty years service) displayed an amount of bitterness regarding policy,

Money, and the pursuit thereof. My own experience is not unique but it shows how the power of a network and the will to please of it’s underlings can bugger your career. After the collapse of Quintex, Christopher Skase’s holding company, and his hasty departure to foreign climes, there were a lot of changes. At the end of 1989 I went on holiday and on my return I was walking up the corridor when one of the floor managers told me they’d axed the kids show. After ten years on air they didn’t have the decency to let me know before hand. Some of these people have probably moved into managing football clubs. Essentially once control of the station had moved east it was far easier for the management to make decisions based solely on a narrow economic basis, when the people working for the company have been reduced to numbers on a spread sheet. These days you need a business plan to make a programme. It’s tougher now than it was but we’re still here and currently making as much product as we ever have.

Former TVW7 Presenter and Singer (1961) Marie Gianatti (nee Koomen), was another who saw the problem simply in terms of, ‘Money. Or lack of it I suppose. The greed of – even for a while the musicians priced themselves out of the market.’ and former TVW7 Carpenter Jimmy Gilbert added, ‘Greed. Local productions cost more than cheap American rubbish with the same end results. [presumably for the station].

Bill Gill, is another former [1960s] TVW7 Newsreader and Presenter, who considers that the decline of local ‘live’ production can be sheeted home to,

Networking and small budgets. Unless programs can be made for national audiences there is little interest by local stations. Our track record in W.A. is not good in producing highly rating programs. It is difficult to persuade sponsors to support local production when ratings do not support their investment. Unfortunately.

Current [2003] TVW7 News Head Cameraman Mike Goodall agreed that it was,

Cost. Television in the new century is quite different. Programmes are no longer transported across the Nullabor via in aircraft. Programmes are recorded live off air via Satellite or optical fibre from Sydney and replayed two hours later in Perth. The only programmes that are different are the news and a few locally made programmes.

Current [2003] TVW7 News Chief of Staff Bob Goodall, simply said, ‘Dollars!’ as did

former STW9 Audio Engineer Graeme Greenwood with, ‘Money!’ Denzil Howson, who has been associated with television since it first went to air in Melbourne in 1956 provided such a worthwhile answer that it should not be relegated to a footnote. He wrote,

Local variety, quiz programmes, children’s programmes and sporting panels. I remember those. With the exception of sporting panels which are cheap to produce, technically undemanding and personnel-wise require no more than a group of three or four alleged experts all suffering from verbal diarrhoea, many other programme formats seem to have disappeared, or become just a shadow of their former selves. So people like Gary Carvolth, Jenny Clemesha, Sandra McNab, John Cousins, Bon Maguire, Peter Harries, Max Kay, Veronica Overton, Gerry Gibson, Peter Piccini and his Group, Lloyd Lawson, Carolyn Noble, Johnny Rohan, Cornelia Francis, Ron Blaskett and Gerry Gee are no longer working, well not in Perth television anyway. Those people were all performers but what about the back-stage crew who backed the up? The producers, the directors, the graphic artists, the designers? None of those are now needed nor employed any longer, or anyhow not many of them. The same situation, with a few notable exceptions exists all over Australia. It doesn’t take long for Phase 2 ‘The Dawning’ in the television station to emerge and take over control. Initially even top management were under the misapprehension that they were in charge of an enterprise devoted to the production and presentation of entertainment for the masses. Then they realised just how wrong they could be. There sole purpose in life, obviously, was to make money for their shareholders. To make sure that their Company lives up to the much quoted aphorism, ‘A station licence is a licence to print money!’. Television, despite the glamorous public relations hype is a business, like any other business, it is a ruthless money making juggernaut. Above all, you must not allow any local programme production to get in the way of that. There is of course an annoying set of rules concerning a percentage of Australian content that must be followed, but I think that rule is honoured more in the breach than in the observance. (Thanks William Shakespeare, I couldn’t have said it better myself!) Sport of course is manna for heaven, or manna from heaven for television programmers. You see it counts as Australian content and there’s a lot of it. It costs virtually nothing to produce. It happens at somebody else’s expense and there is a lot of it, enough to satisfy the demands of several television networks. Above all, it’s popular with a large percentage of the viewers, so it rates well, and TV station can up their advertising rates, because sponsors will be willing to pay more to advertise their whares on a high-rating programme. Of course there are TV rights which must be paid to the sporting bodies, but with no performers or staff to pay the TV stations still come out on the right side of the ledger, or so I believe.

Former STW9 Presenter of religious programs and current [2003] journalist John Hudson said,‘Expense and the fear of creating performers who would ask for too much money nd stardom. i.e. local Seven and Nine slaughtered many first class TV people for fear of their popularity.’ Entertainer and former TV On Air Personality Max Kay offered,

We have become satellite stations of the big Eastern States conglomerates. It is probably much cheaper to bring in American series – re-runs particularly – than to locally produce shows. Despite this the Western Australian Academy of Performing Arts has supplied much talent to the Global TV industry – Heath Ledger, Hugh Jackman, Rove McManus etc. ,

and former TVW7 and STW9 Production Assistant Liz Kirkham recalled,

Since returning to work (after kids) in 1978, I have been involved in advertising, local production (with Taimac, Barron Films etc.) plus many features and mini-series, which have been produced locally. Apart from “ Fortunate Life” I can’t think of one that returned investment, or was a commercial success. So therein lies the problem. It is far cheaper and safer to buy product in.

Former and original STW9 Chief Engineer Victor J. Kitney, saw the problem in much the same way as most and offered, ‘Economics, plus domination by larger production companies.’while former TVW7 Production Manager Marion Leyer, also agreed with ‘Cost – Producing “good” local productions is very expensive and unfortunately it is very difficult to sell local programs interstate. Nowadays with “networking” all major production companies are located in E.S.’,Former STW9 and ABC Set Designer and Graphic Artist George Liddle concurred.‘I guess it all boils down to money and market.

Former TVW7 Lighting Technician Steve Lumsdaine, still working in the industry [2003] at Community Television Access 31 said, ‘Changes in technology, public taste, economic rationalisation, globalisation? And former STW9 Production Manager Norm Manners wrote,

Production cost – including talent, crews, studio, set, lighting, etc. etc. I is less costly for a station to simply buy product on the market. This gives a better dollar return from advertisers. Production money is very difficult to obtain from sponsors, especially in this State, unless syndicated for network release.

Former controversial TV and current radio Presenter Robert Maumill said that ‘Stations buy packages of American trash and re runs. It’s cheap and it’s easy.’ Former STW9 Studio Cameraman [21^st Century Coffee King] Phil May, acknowledges the inevitable with, ‘It’s all to do with “Globalisation” of the medium – Networks – easier to buy than produce. – By the way, we will watch what you give us “Big Brother”, “Pop Stars” – I suspect we will see more!’ May’s contemporaries, former STW9 Studio Cameraman and GWN3 Chief Engineer Kevin Mohen and former STW9 Studio Cameraman ‘Minnie’ Monad, both concluded that the problem was ‘‘Networking’ it’s killed the local stations period! ‘Downsizing Production is first to go in this area. ‘Cheap imported programs’ creates no incentive or economic rational for networks to locally produce – even worse for smaller stations. and ‘Basically the stations are run from the east coast and they got rid of the (25% or thereabouts) policy of locally produced programs.’

Former TVW7 Secretary Frank Moss answered the question thus,

FM: Well I guess that the stations take everything on-line from Sydney. The equipment has been established which means we don’t have to produce programmes in Perth. The main reason for that is cost savings which had been [considerable?]

PH: For which today they use the catch phrase ‘economic rationalism’…but economic rationalism is not a new thing is it?

FM: No. No, we were as economical as we could be right from the start. But we produced, we built the best studios. We had our own workshop, our own facilities for producing.

and current TV Engineer Gary McAllister said,

Costs – The networking of Australian television started the demise of many local productions – It was seen to be more cost effective to produce one show for networking via the economy of scale. I think then we lost a lot of localism and production/engineering creativeness – usually to the East Coast Sydney or Melbourne.

Former TVW7 Producer etc., Gordon McColl said,

I think it is to do with cost, and 2) the acceptance by the community that if it is the economically rationale then it must be obeyed i.e. the new religion.. Early on it could be seen that if each new station in the corporate circuits in Australia produced one program and swapped it with one other station in the circuit they would go a long way towards meeting their “Live” Australian content at greatly reduced costs. Each station produces a program and sells it to several others, priced just to regain costs of production. Profits are made from the advertising revenue, and maybe the advertiser foot some of the bill for the program but basically it costs the station nothing to produce it. It is cheaper to buy from someone else, using this type of economic pattern. With the growth of the world market it is far cheaper to buy from overseas. You can buy reruns from elsewhere for virtually nothing.

When TV started in this country, each station in each city did their own programs. It was lucky for us that the original legislation required news programs, or they would have been cut. As corporate links developed between the capital city TV stations they did swaps on programs. In Sydney ATN7 co-operated with a Melbourne station to produce the Shell Dramas. They did one, one month, we did one the next month. Shell footed the bill for 1-2 years.

In the 1980’s I tried to re-enter TV by applying for a job with the ABC in Perth. My original TV boss, John O-Callaghan was hiring at the ABC and interviewed me. He told me, at that interview, after I had sworn secrecy that he could not offer me a job, because the satellite communication was going to be fully operational in a few months time and all ABC TV stations would be reducing staff in vast numbers and most programs would come live out of Sydney and Melbourne, direct, and that would be the local Australian content for each station in each city.

Former STW9 and Current [2003] TVW7 Presenter Jeff Newman offered, ‘Costs. Budgets. Networks. All of these! The networks now, there is no room, it’s all networked.’ The interview continued thus:

PH: And of course the immediate satellite communications?

JN: That had a heck of lot to do with it didn’t it? You know, stuff used to come across the broad-band and it was pretty expensive; and the satellites now are so inexpensive. Those two down there, they come from London. They pick up all our stuff out of London and then go across to the network…I have no doubt that in future it will be world-wide and we won’t operate at all.

PH: Yes, do you regret that Jeff?

JN: I would if I was as young as I was then!

PH: But what about the point of view of today. There must be lots of talented people available, who have no opportunity of becoming?

JN: Well they do. They go to the Eastern States and that’s where it all happens. They get parts in Home and Away or they end up compering [other] shows.

PH: So it’s part of the Global Village?

JN: But you see. With satellites and everything like that it’s sport. It’s an incredibly vital part of television. Like it or not, sport is very important.

PH: What is Australian content percentage today, do you know?

JN: No, I don’t. When you think about it you’d have to say that sport employs local people. You’d have to say that.

PH: So there are still camera-men, and audio-men and lighting-men.

JN: In my day it costs ten thousand dollars to drive the O.B. Van outside the building. NowI don’t know. The Grand Final that we televise, there’s thirty-five cameras! The M.C.G., 7’s coverage of the Grand Final with thirty-five cameras! That’s quite – well, you

know! A lot of those are slaved into their own V.C.R’s so you’ve got that instant replay. There are seven or eight cameras into their own V.C.R’ so you’ve got that straight replay. That’s huge money!

In 2002 Jeff Newman remained as ‘the anchor’ of Telethon and in 2003 still presented the nightly Weather bulletins.

Current STW9 Station Manager Ric Nicholas, restricted his answer to ‘Legislation change to ownership.’ and former TVW7 Children’s Show Presenter Colm O’Doherty said ‘Money!’ A not much longer answer came from STW9 Producer Michael Padgett, who stated, ‘Economics pure and simple.’ Former TVW7 Studio Cameraman Ernie Oxwell said,

Money! I guess and my ‘Pet Hobby Horse’ – When it is all boiled down to it,

the viewing public were just basically stupid, they would rather have crap

   served up than have to think! Also, our basic production skills were not as

‘slick’ as imported TV.

Current [2003] STW9 Producer/Director Ray Pedretti,had some hopeful thoughts in saying,

As I produce Postcards and Just Add Water I see local TV as essential.

Would love to do ‘live’ but now it is a “global” world. We see ‘live’ everyday.

No longer a mystique to it. I can see a future for it – a new generation will

tire of globalization.

One of the few television workers who requested anonymity was a Current [2003] TV Engineer and it is understandable, in view of his reply, that he would not want to be identified by management! He said, ‘People want American produced crap. (Ratings tell us this). This crap comes cheap, if it rates what’’ the point of spending money on local productions?’ Current [June 2003] NEW10 Newsreader Greg Pearce seems to have been mindful of his present job in saying,

Technology and the cost of producing good quality programmes, have been the death knell for local programmes. With satellite, immediate link-ups now available, people have become used to slick, expensive productions, and won’t put up with “perceived” inferior local programmes. [Greg Pearce commutes between Perth and Sydney to present the daily News on Channel 10 in Western Australia.]

Another ‘short answer’ came from former STW9 Musical Director Peter Piccini, who saw that it was “Money” and former TVW7 Presenter Janet Prance (Gill) said the same, ‘Money = the cost of running them today – it would be ratings and money.’ A former TVW7 female Presenter, with a request for anonymity said, ‘Networking mainly and perhaps a change in the attitudes of audiences who want a lot of action in their TV (USA?) or the intrusive ‘reality’ TV which is currently so popular.’ Always willing to contribute to the public forum, former STW9 and current Access 31 Presenter Paul Ritter maintained that, ‘Economic Rationalism as introduced by Keating, centralization and the subsequent virtual disfunctional Local Govt. by E. Rationalism as it is continuing today, destroying “The Sensitive Future” see my next series on TV31 starting August, my books etc.’ and former [1960s] TVW7 Newsreader Susan Saleeba said, ‘Lack of known talent in Perth. Budgetary constraints.’

Former STW9 and TVW7 Presenter Jenny Seaton (formerly Clemesha) contributed,

It was just huge and you’d have performers on. You’d pay; you couldn’t afford to do that today. That’s why there’s a demise of programmes like that…

P.H: Today the catch-cry is ‘economic rationalism’.

J.S: That’s right! And that’s fair enough because there are shareholders involved.

Former TVW7 Cafeteria Manager Lorraine Shaw bemoaned the passing of ‘live’ television with, ‘We should still have them. I suppose gone to[o] commercial so doesn’t pay.’ Former TVW7 Football Presenter Jack Sheedy agreed that it was ‘Probably production costs.’ And current [2003] STW9 Chief Engineer Gus Slater said,

Simply cost. The cost of labour to manufacture material for one market will always be more per station than shows produced for national distribution. If we could make something that no-one else could do and it had national appeal, WA might have a chance but even selling our exclusive tourism (e.g. “Postcards”) is difficult in our national market.

Former TVW7 and STW9 Makeup Artist Nola Smith maintained the consensus with ‘Mainly expense – cost of local production incorporates high costs in equipment, production resources and qualified talent. “Live To Air” Production although risky is also the most challenging and the most fun.’ and former STW9 Engineer Richard Staffe also agreed in his reply of ‘Mainly the cost of productions for the size of the audience reached. STW9 Film Assistant Dawn Stocker viewed the changes from the children’s point of view and said, ‘We should still have them. The kids are the world’s future.’ War Hero, Journalist, Author and former STW9 Presenter Jack Sue offered his thoughts on that which had gone, ‘Live? Soapies, liberalization of sex shows and sexuality, and shows with emphasis on female bodies, boobs etc., plus the endless saga of the rates race.

Rightly or wrongly, these I believe, are the reasons for lack of live shows on our stations.’ , while former TVW7 Presenter Carolyn Noble (Tannock) saw it simply as ‘American programs.’

   The background to TVW7 Floor Manager (1969-current [2003]) Jeff Thomas’ television knowledge is extensive. He nominates ‘networking’ as the prime cause. Thomas no longer works for TVW7 full-time, but said that he is regularly ‘called’ in to work on various shows and earns more money now free-lance, than he did previously. Former Newspaper TV Critic Barry Thornton considered that the demise of local ‘live’ programming was due to ‘Cost to networks and reluctance by ABT [Australian Broadcasting Tribunal] to regulate for stations to comply with ocal production requirements.’ while former TV Talent Show Judge and Theatrical Entrepreneur John Thornton wrote,

I think the loss of local ‘live’ shows can be equated with the gradual loss of the TV Imperative. Remember the Mavis Bramston Show when you could not run anything against it on Thursday evenings? The whole town stopped. There is nothing on TV that can do that now. Not even the Olympics. Local TV can’t justify the costs when put up against the overwhelmingly addictive internet/games/computer age not to mention the endless quantities of Elephant Dung Beatle doco’s on cable. And then there’s video, Mega movie screens, Playstation ll, and a handful of cult TV shows – all from overseas; e.g. South Park, Buffy, Sex and The City have any chance with the younger generations and even they battle the ratings against each other.

Former STW9 Presentation Co-ordinator (Master Control) Eddie Townsend said,

It’s all Eastern States now. The Perth station is just a little sub-station for the Network. What’s live out at Channel 9? There’s only the News. In the old days they had a Midday Show and that [Don] Spencer night-time show. They were going to have it every night of the week. Busy times then. They had the big artists. Yes it was quite good, Well, I went back there Peter. It’s the same building – just computerised. It isn’t the same place at all.

Former TV Clerical employee John Toyne did not hold back with, ‘If they have vanished it would be a matter of cost-savings by companies and replacement by syndicated “rubbish” mass produced to fill vacuums. Out with nurturing local talent and intelligence – in with the Big Mac fix!’ while former TVW7 Dancer [1960s] Jan Urquhart argued, ‘I really think it is too expensive to have live shows. We don’t have the volume of people (viewers) to keep a show going for any length of time. But we do have talent in our State to be proud of, but viewers are drawn to big names and overseas shows and artists.’ and former Production Assistant and Personal Assistant to Managing Director, Marina Valmadre said,

A changing community focus; increased entertainment avenues; Tired formats and lack of creativity in producing new responses to meet our segmented markets. New opportunities lie in crafting entertainment to speak to the aspirations of the viewers(e.g. Seniors being seen as multifaceted personalities rather than an age group; mother/parents being understood for all their roles – not just one etc.

Former TVW7 and STW9 Film Room Assistant Carol Wallace and former TVW7 and STW9 Film Editor Geoff Wallace, (still together after a Company in 1966 romance which ended Carol’s career) said separately, ‘I would think it would be cost.’ and ‘Money/ National programmes.’

Former TVW7 and STW9 Newsreader Peter Waltham said ‘The true buzz-word of the nineties is ‘relay stations’…I mean if you want to be truthful about the media that’’ it. They are repeater stations.’ He first noted economic rationalism ‘…within two days of Eva Presser buying Channel 9.’ Waltham also contends that all of the News services will eventually be sourced from Melbourne or Sydney. Former STW9 Program Manager now Senior Vice President 20^th Century Fox Film Corporation (Aust.) Tom Warne, written communication, 1 February 2002.

Live kids shows – well, you are talking to an old kids man here. It is sad to see these programs disappear. The reason of course is ratings and central networking.

I was talking to a senior executive in our group about this very matter. He had spent a lot of time in the TV business in the US and his observation was that in America there are no kids. There are only big adults and little adults. And you know I think he’s right. Maybe Australia has caught up with the US. Sad, because what a wonderful platform it was for kids to express themselves and learn the basics of TV. I recall we had a sensational local children’s program at STW9 which fostered young talent and rated well. Then there were other more expensive National shows particularly programs like Young Talent Time which gave Australia some of its greatest performers.

In many ways then television was more personal with the ability to program for local school holidays, people arriving home early in the smaller cities like Perth and late in the larger cities like Melbourne and Sydney, along with tailored programming to fit with various daylight savings requirements in each state. That’s all gone now – programmes go out at set times and to hell with local requirements. Sadly things change, usually forced by economics. Networking saw the demise of most of the local children’s production and other shows as well. It also eliminated a great training ground which is only just now being replaced by the various Pay TV channels. However, these are mainly not the same, they are mainly niche and not broad enough to give proper training. However, it’s all we have got.

Former STW9 Telecine Operator Wendy Weir thoughts that the reason for the absence of ‘live’ programming was due to, ‘Financial expenditure! It is a pity there aren’t more of these shows. There are very few shows where our local talent can be seen or heard. Where can they get a start? and former Electronics Engineer Gerry Wild noted that, ‘The development of video tape as opposed to 16mm film use and networking, especially when the broadband microwave system became operative throughout Australia. It became cheaper to put on American “sit-coms”.

Considered by his contemporaries as an ‘icon’ of the industry, former TVW7 Producer/Director Brian K. Williams observed the passing of local ‘live’ production as being caused by,

Network consolidation and the consequent “national” or network programme decision making. In the ‘80’s television channels were seen to be high-flyers of the period to be almost limitless cash cows which could finance their entrepreneurial exuberance – hence the take-overs. The subsequent demise of these latter day robber barons left network management in the hands of economic rationalist accountants with little or no interest in the original “show business” culture of the industry and an all-consuming passion for “bottom lines”. The original promises made in respect of local production development and exposure of local talent, in Television licence applications were reiterated at licence renewal hearings – but alas, ignored by the licencees once the rubber stamp had been applied to the renewal – and the relentless cost cutting regimes were applied again. The succeeding Federal Government agencies responsible for policing the industry shrank from any confrontation with the media heavyweights because their political masters depended on media support for re-election. Thus, less and less local output was produced and centralisation of programme decision making and therefore production, increased unabated. This, together with self regulation through the Federation of Commercial Television Stations made regional production wither on the vine. Unfortunately for the industry and the viewing public the term “local” has all but disappeared from the vocabulary. The demise began in the “80’s so the current station managements were but children in the days of an active local industry. After hearing some weeks ago a brief media exchange about which W.A. Channel had the current superior “local” content record, I felt only pity for the participant spokespeople; they are perhaps either too young and inexperienced to know, or too determined to toe the line of their Eastern States commissars in order to climb an executive ladder, rather than take up the cause of local production. Allowing for inflation a comparison between the distribution of revenue and ratings in the 50’s, 60’s and 70’s and today might make interesting reading and the negative results cannot be blamed entirely on video, electronic games and the Internet. I think the truth is that while an emaciated body exists, the soul departed some 20 years odd ago.

Pioneer cameraman, producer/director at both TVW7 and STW9 Phil Booth listed these three reasons,

• Cost of production – too expensive.
• National Shows stop locals doing programs as all stations are networked now.
• Local stations cutting down on staff.

Former TVW7 [1960s] Singers Ruth and Eric Young, All policies seem to be made in the Eastern States and anything local seems to be “not good enough”. Do we need more assertive management to show confidence in local productions?

Journalist Rex Haw wrote, ‘Production costs, and the increasingly important ‘bottom line’, advertising profits with lowest overheads. Talent costs money. These days network bossees don’t want quality on the screen, they just want images, preferably paid advertising. They openly admit this.’ Former STW9 cameraman Bob Finkle said that it’s due to, ‘…National Network Stations, satellite relay status not allowing local “windows” for local productions. Producer Lyn Hancock said ‘Cost!’ and retired sports commentator Jimmy Chadwick said ‘Networking!’ Current [2003] NEW10 General Manager David Fare replied with one word, ‘Cost!’ Former STW9 interstate advertising manager Milton Francis who has lived in Victoria since 1967 said ‘…not really aware of the situation.’

Current [2003] TVW7 Advertising Manager John Wright said that it was cost. When Good Morning Perth was being put to air in the mid-nineties it cost $10,000 per week and only had 20,000 viewers. Advertising could not sustain the production. Former TVW7 continuity assistant in 1959 finished as CEO of Network Ten in 1987 and then was General Manager of NEW10 Perth for seven years, said that ‘Networking’ was to blame. He bemoaned the passing of local ‘live’ production as they were essential training grounds. Former STW9 Channel Niners Club TV Dentist’s assistant Pam Neesham (nee Kidd) listed:

*Lack of faith in the general public by management.

*Cost of production of local ‘live’ shows.

*So many overseas and interstate programs have taken over – to the detriment of

local content –W.A.

Former STW9 Security and handy-man John Hayes, who became a telecine operator said, ‘Lack of local sponsorship. Centralizing of programming on a national basis to minimize costs. Globalization. Current [2003] STW9 News presenter Dixie Marshall offered that, ‘The argument is that they are not cost effective…although that seems to be very short sighted, given that the local programs we do have – Postcards, gardening gurus etc. rate extremely well.’ Former STW9 telecine and tape operator Bevan Long said, ‘Possibly cost motivated, but not within the inner circle so could not say.’ Former Chief Engineer’s Secretary Helen Mumme wrote:

Production of ‘live’ shows requires creative, organisational and technical expertise. Staff who are good at their job and equipped to carry out these functions are expensive and can be difficult to manage from a corporate point of view. Television seems to have moved very much from the ‘creative’ to the ‘corporate’. The business of ‘live’ shows also requires the company to be a ‘risk-taker’ because the opportunity for things to go wrong is always there. Everything pre-recorded gives a more ‘dependable out-put in a more timely fashion’. Unfortunately the opportunity is also lost for that chance of brilliance which often rises in ‘live’ production.

Former STW9 newsreader Russell Goodrick wrote:

In regard to television programmes, with more and more product bought as part of network or overseas packages there has been a significant impact on local product. Nationally in general the commercial networks are not interested in interstate product even if it’s of similar quality, but cheaper. Locally, programmers have to decide on showing no more cost pre-paid programmes or initiating local ones at an additional cost. The only reason our company has been so successful for so long is that we have a major client paying large fees for air space and production facilities. [Goodrick’s company’s main product is a Western Australian real estate sales vehicle.] I sincerely believe that we have underwritten other local productions and that competing programmes on other stations have been given more support in that they counter our influence on perceived local content and opportunities.

One of my lines for many years was: When the accountants move in, the creatives move out. And that’s basically it/. There’s no room for local production if it’s going to cost the stations money without the ratings and generally the perception is “That no one wants to gamble their job away”.

The short answer to why local ‘live’ production practically disappeared from the television studios of Western Australia has been ‘money’. ‘Money’ as in the lack of it to sustain a viable local industry. ‘Money’ as in the dictum that it has to be preserved as dividends to shareholders. ‘Money’ as in the belief that expenditure in the interests of Community, which does not return a dividend, is a redundant concept. ‘Money’ as in the reality that networking from centralised production units is cheaper than ‘local’ production. No matter the classification, reiteration cements the theory that local ‘live’ production was a victim of technological advances, networking misplaced Federal Government regulation and corporate greed.

Appendix 4:

STW9 Production ‘Running Sheets’ from the 1960’s and 1970’s

The relevant photographs, are in the main the creative

work of former Station Photographer Michael Goodall,

and reproduced with his kind permission.

Appendix 5:

Photographic reproductions mainly sourced from the Annual

Reports of TVW7 and STW9 1958 – 1990

By kind permission of Management of both Stations:

Peter Harries March 2004

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