Herb Schmertz

Herbert Schmertz
Herbert Schmertz in 2015
Born	(1930-03-22) March 22, 1930 (age 87) Yonkers, NY
Education	Union College Columbia University School of Law
Children	5
Relatives	Eric Schmertz (brother)

Herbert "Herb" Schmertz (born March 22, 1930) was a vice president of public affairs for the Mobil Corporation whose advocacy for sponsoring programs on PBS significantly influenced the relationship between PBS and major corporations.

Schmertz was born in Yonkers, New York on March 22, 1930. He received a Bachelor of Arts from Union College in 1952 and a Bachelor of Laws from Columbia University in 1955.

Schmertz was first employed by Mobil as "manager of the corporate labor relations department" in 1966. He was later promoted to "manager of corporate planning coordination" in 1968, then to "vice president for public affairs" in 1969 and "president of Mobil Shipping and Transportation Co." in 1973, before choosing to return to his previous vice president position in 1974. He first joined the Mobil company board after his promotion in 1969 and was also elected to the Mobile Oil company board in 1976.

From the initial joining of Mobil in 1966 to his leaving of the company in 1988, Schmertz oversaw a number of advertisements placed into the Op-ed section of the New York Times, beginning in 1970. These were used to explain Mobil's position on issues concerning the United States and the company, along with criticism of Mobil's opponents.

In 1970, Stan Calderwood of WGBH-TV approached Mobil to see if the company was interested in funding a production of The Forsyte Saga on PBS. Schmertz supported the idea, as it would allow Mobil to buy 39 hours of television on PBS for a far cheaper price than it would otherwise cost. This continued for further programs and led to the use of what Schmertz called "affinity-of-purpose marketing", where audiences began associating successful television shows with the companies sponsoring them.

The sponsorship of Masterpiece Theatre in 1971 was a major public relations success for Mobil, and it allowed Schmertz, as an underwriter for the show, to build relations with various artists and media executives, even those opposed to Mobil's views.