High-quality television news presentation

For 45+ years, Lowell Thomas was the voice of the radio news industry.

A year before Pearl Harbour, Lowell Thomas had delivered the first regularly-scheduled newscast on television in the United States over W2XBS (now WNBC).

Lowell Thomas' radio newscast was simulcast over W2XBS.

On July 1, 1941, as commercially-licensed WNBT, Lowell Thomas had the first regular newscast on commercial television.

Besides radio and television, Lowell Thomas was the narrator for Fox Movietone News.

For Lowell Thomas, his sign-on was "Good evening, everybody," and his sign-off was "So long, until tomorrow," or for his Friday night broadcasts "So long, until Monday."

The iconic catchphrase during Walter Winchell's career as a radio newscaster is "Good evening Mr. and Mrs. North America, and all the ships at sea," often followed by "Let's go to press."

Other variations of this Walter Winchell phrase include adding "and South America" or "from border to border and coast to coast."

For years, Walter Winchell, known for his fast-paced delivery, has begun each newscast with the iconic phrase set to the teletype sounder.

By assembling an eponymous group of professional broadcast journalists, Edward R. Murrow has set standards for modern broadcast journalism.

William L. Shirer is the first of the original Murrow Boys.

Howard K. Smith, Charles Collingwood, Eric Sevareid, Bill Downs and Richard C. Hottelet are some other Murrow Boys.

Daniel Schorr, Alexander Kendrick, George Polk and Marvin Kalb are some members of the second generation Murrow Boys.

For its first edition in March 1938 as a one-time special in response to growing tensions in Europe, the CBS World News Roundup presented, for the first time, Edward R. Murrow's voice to the world.

I Can Hear It Now 1933-1945 (1948) is the first documentary record to become widely popular, which Edward R. Murrow narrated and co-produced with Fred W. Friendly.

With the huge success of this first I Can Hear It Now record and two follow-ups in 1949 and 1950, the Edward R. Murrow and Fred W. Friendly pair parlayed them into a weekly program for CBS.

Hear It Now, which used a magazine format, was originally known as Report to the Nation, but had its name changed to capitalize on the high popularity of the albums from Edward R. Murrow.

Every week, Hear It Now was a radio documentary on CBS.

See It Now, which is the television answer to Hear It Now, is one of the earliest documentary series on television, but also the program setting standards in broadcast journalism via Edward R. Murrow.

Both Edward R. Murrow and Fred W. Friendly made an arrangement with the Hearst Metrotone News series from MGM for technical services and film library footage as needed for See It Now.

Unlike other news programs using newsreel companies to record events, See It Now utilized its own camera crews to coordinate filming on location.

Plus, See It Now had no rehearsed interviews, plus no background music to accompany the visuals.

Although See It Now relied on news correspondents from around the world, the first autonomous news unit was organized by Edward R. Murrow and Fred W. Friendly.

Don Hewitt, Joseph Wershba and Palmer Williams were involved in the first autonomous news unit for See It Now, which Edward R. Murrow and Fred W. Friendly organized.

For its debut, See It Now presented the first simultaneous live transmission from both the Atlantic and Pacific Oceans on a commercial television program.

Before Edward R. Murrow, television news was divided into (and heavily influenced by) three separate components: newsreels, documentaries and radio news.

Newsreels are short segments that are pre-recorded, often curated or staged, and being shown in movie theatres.

Documentaries, on film or on radio, take an in-depth look at controversial or inspirational subjects.

Radio news are early television newscasts, with anchors delivering news reports simply in audio, with limited, often static, visuals.

However, due to Edward R. Murrow, the newsreel, documentary and radio news components forged television news.

See It Now blended on-location filming (inspired by newsreels), investigative reporting (inspired by documentaries on film or radio) and an authoritative anchor delivery (refined in radio).

Person to Person, which Edward R. Murrow had also hosted, features celebrities in their homes from a comfortable chair in his New York studio, pioneering the celebrity interview concept.

One of the noted guests on the original Person to Person version is the sex icon Marilyn Monroe.

John Facenda, who earned fame as the primary narrator for NFL Films, also served as the primary news anchor for WCAU-TV from 1948 to 1973.

Under John Facenda, for most of his run, WCAU-TV was the ratings leader in the Delaware Valley.

Both WCAU-TV and John Facenda pioneered the usual concept still being practiced in television news across the United States and around the world: news-sports-weather.

Some of the innovations that shaped the modern local television news concept being pioneered by John Facenda at WCAU-TV include the 11 p.m. news, a four-person news team and .

Besides John Facenda doing WCAU-TV's 6 p.m. news, others include Phil Sheridan doing the weather, Jack Whitaker doing sports and Ed McMahon as the announcer.

Charles Shaw, who worked with Edward R. Murrow as a CBS reporter in London during World War II, served as the news director at WCAU-TV under John Facenda from 1948 to the early-1960's.

The sign-off for John Facenda on WCAU-TV's newscasts is "Have a nice night tonight, and a good day tomorrow. Good night all."

Initially, WSAZ-TV operated from its primary headquarters in Huntington without its secondary one in Charleston.

Following the opening of its secondary studios in Charleston in August 1954, WSAZ-TV pioneered the concept of having the newscast from two different cities.

This dual-city newscast concept that WSAZ-TV had pioneered is also still being practiced in television news across the United States and around the world

Nick Basso was WSAZ-TV's first news anchor when its news department was set up two years after its launch in November 1949.

Bos Johnson was the first Charleston-based news anchor for WSAZ-TV when its secondary Charleston studio opened in August 1954.

Having succeeded Nick Basso as the Huntington-based news anchor for WSAZ in 1960, Bos Johnson's replacement as its Charleston-based anchor was Charles Ryan.

Meanwhile, in Los Angeles, KNXT pioneered the concept of a local newscast that would last for over a quarter-hour: The Big News.

For the Big News, KNXT offered stories in longer and in-depth manners.

Sam Zelman and Pete Noyes are some individuals who masterminded The Big News on KNXT.

Jerry Dunphy was the main anchor of The Big News on KNXT from 1960 to 1975.

Having been in Los Angeles from 1960 to 2002, Jerry Dunphy's iconic and famous sign-on: "From the desert to the sea, to all of Southern California, a good evening" opened his newscasts.

Prior to The Big News on KNXT, local television newscasts were typically short summaries.

However, The Big News on KNXT proved that local television news, in a format that means lasting for over a quarter-hour, offered longer and in-depth stories.

To the South, WTVT pioneered Pulse, an hour-long news block like The Big News on KNXT.

Whereas WTVT pioneered the concept of the hour-long news block with Pulse, KNXT popularized this one with The Big News.

CBS was a model for the hour-long news block via both WTVT and KNXT, in addition to the half-hour news format that Walter Cronkite had pioneered on a national level.

John Cameron Swayze was the off-camera narrator of the NBC Television Newsreel

The NBC Television Newsreel started airing in February 1948 on most stations in the Eastern United States as television's first regular evening news on a network basis.

When he made the transition from radio to television in May 1948, Douglas Edwards became the first newscaster to appear on network television.

In February 1949, 9 months later, both NBC and John Cameron Swayze followed in the footsteps that both CBS and Douglas Edwards have made with the Camel News Caravan for NBC.

Douglas Edwards' live and on-camera presence was an innovation for television news, offering a more personal and engaging experience than simple newsreel narration.

Renamed Douglas Edwards with the News in 1950, it then became the first television news program to simultaneously be broadcast on both the East and West Coasts in September of the next year.

Coaxial cable bridged the gap between the East and West Coasts for Douglas Edwards with the News.

Before coaxial cable, Douglas Edwards with the News was seen on a handful of stations all across the Northeast Corridor.

Using coaxial cable, Douglas Edwards started the flagship CBS television newscast with the updated phrase: "Good evening everyone, coast to coast."

Five years after coaxial cable, Douglas Edwards with the News made another first: using videotape to delay the broadcast (from New York) for the Western United States.

Having started in May 1948, Douglas Edwards with the News provided a stylistic contrast to the NBC Television Newsreel, which simply used filmed footage with voice narration.

The Huntley-Brinkley Report was America's top-rated television newscast for most of the 1960's.

Using the two-city news format that WSAZ pioneered when its Charleston branch opened its doors, the Huntley-Brinkley Report had become a cultural landmark.

Reuven Frank, born in Canada, was behind the success of the Huntley-Brinkley Report.

Chet Huntley offered the national and international news from 30 Rockefeller Plaza in New York, and David Brinkley read the news from Washington, both for the Huntley-Brinkley Report on NBC.

In addition, for the Huntley-Brinkley Report on NBC, Chet Huntley often acted as the straight man to David Brinkley's witty style.

Each edition of the Huntley-Brinkley Report ended with the catchy sign-off: "Good night, Chet. Good night, David. And good night for NBC News."

Some of the key aspects for the success of the Huntley-Brinkley Report include its innovative dual-city concept on a national network basis, its contributions by Reuven Frank and its high viewership.

Bill McAndrew suggested using the dual-city news format, which WSAZ had pioneered earlier, for the Huntley-Brinkley Report on NBC, which Reuven Frank implemented.

Due to the chemistry of both Chet Huntley and David Brinkley, plus its dual-city newscast concept, the Huntley-Brinkley Report was a popular and successful news institution in the US and the world.

From 1962 to 1981, Walter Cronkite led the CBS Evening News to ratings success and popularity.

Until March 6, 1981, Walter Cronkite famously ended each edition of the CBS Evening News with the catchy sign-off: "And that's the way it is," followed by the date of the broadcast.

Sometimes, Walter Cronkite omitted the sign-off if he ended with an opinion or commentary piece.

Initially, since April 1962, Walter Cronkite with the News lasted a quarter-hour.

Just one year after Walter Cronkite's 1962 arrival, the flagship CBS television newscast expanded to 30 minutes or a half-hour, the first weeknight newscast on American network television to do so.

With this half-hour expansion, the newscast was renamed the CBS Evening News.

At first, the flagship quarter-hour CBS television newscast was a short summary of the day's news.

But the CBS Evening News, in a half-hour format, offered stories in longer and in-depth manners.

Meanwhile, both NBC and the Huntley-Brinkley Report followed in the footsteps that both CBS and Walter Cronkite have made one week later.

Harry Kramer was the main announcer for the CBS Evening News for 9 years since 1962.

As the first CBS Evening News announcer under Walter Cronkite, Harry Kramer said: Direct from our newsroom in New York, this is the CBS Evening News with Walter Cronkite.

Plus, Harry Kramer announced a roll call of reporters, during Walter Cronkite's early run with the CBS Evening News, often emphasizing their names and locations with "And," then a slight pause.

Bob Hite was the second announcer for the CBS Evening News under Walter Cronkite; he said: From CBS News headquarters in New York, this is the CBS Evening News with Walter Cronkite.

In addition, Bob Hite also announced a roll call of reporters under Walter Cronkite, like Harry Kramer, starting them with "And," but in a smooth delivery and without a pause.

From 1962 to 1981, the CBS Evening News with Walter Cronkite was a popular and successful news institution in the US and the world.

Dan Rather anchored the CBS Evening News from March 9, 1981 to March 9, 2005.

Incidentally, Dan Rather became the main anchor for (and departed from) the CBS Evening News on March 9 of both 1981 and 2005, both years of the Rooster zodiac.

Al Primo created the Eyewitness News format for KYW-TV in Philadelphia, forever changing the way television news is being made.

Prior to the Eyewitness News format that Al Primo created, television news relied on one person doing news stories (for example, Walter Cronkite, Chet Huntley, David Brinkley and John Facenda).

However, Eyewitness News changed television news by using reporters on the scene.

Vince Leonard was the evening news anchor for KYW-TV when Al Primo's Eyewitness News concept started; he used a traditional approach.

Tom Snyder had a hard-hitting approach for the noon news for KYW-TV when Al Primo's Eyewitness News concept began.

Marciarose Shestack joined Tom Snyder for KYW-TV's noon edition of Eyewitness News.

Due to the success of his own Eyewitness News format on KYW-TV, Al Primo moved to New York to perfect this one for WABC-TV.

Roger Grimsby and Bill Beutel served as the primary anchors for the WABC-TV version of Eyewitness News until 1986.

For Roger Grimsby, he had a hard-hitting approach, whereas Bill Beutel used a laid-back style, both for the WABC-TV version of Eyewitness News.

Back in Philadelphia, the success of this Eyewitness News format on KYW-TV prompted its own rival WFIL-TV to pioneer a news format of its own called Action News.

Influenced by the top forty concept of its sister radio station WFIL-AM, WFIL-TV's own Action News format was faster-paced and more youth-focused than KYW-TV's Eyewitness News.

Jim O'Brien, who was a DJ on WFIL-AM, also served as the primary weatherman for Action News on WFIL-TV/WPVI-TV.

Larry Kane, who covered The Beatles at WFUN-AM, was the first Action News anchor.

WNEW-TV has earned its reputation for airing the first regular primetime television newscast in New York City called The Ten O'Clock News.

John Corporon and Ted Kavanau shaped The Ten O'Clock News on WNEW-TV.

Under Ted Kavanau, WNEW-TV made a fast-paced style for The Ten O'Clock News, often featuring tabloid focus and quick reports from field teams.

Prior to WNEW-TV, John Corporon worked at WDSU from the late-1950's to the late-1960's, during which he was news director during the Civil Rights movement.

Having came to WNEW-TV, due to his experience at WDSU-TV, John Corporon began the first ever television newscast in New York to air at 10 p.m.

Due to the success and popularity of The Ten O'Clock News on WNEW-TV, John Corporon supervised the news operations for all Metromedia stations in the late-1960's as well.

WTOP-TV was where John Corporon served as General Manager until 1972, when he returned to New York City to serve as news director for WPIX, a rival of his former station WNEW-TV.

As for Ted Kavanau, prior to his equally-innovative career at WNEW-TV, he worked at WBZ-TV and WBBM-TV, both of which shaped his fast-paced and investigative reporting approach.

In 1974, Ted Kavanau left WNEW-TV and went to WPIX, reuniting with John Corporon.

Ted Kavanau's reunion with John Corporon at WPIX lasted briefly from 1974 to 1975.

Despite their brief reunion from 1974 to 1975, both John Corporon and Ted Kavanau did make the first steps to revamp WPIX from a traditional news format into a fast-paced, reporter-driven one.

The climax of these steps made by both John Corporon and Ted Kavanau was the Action News concept pioneered by WFIL/WPVI, brought to New York by WPIX in 1977.

Mark Monsky replaced Ted Kavanau in 1974, lasting until the mid-1980's, when John Parsons Peditto replaced him.

Earlier on, in 1966, WNEW-TV's sister station WTTG started the first 10 p.m. newscast on a non-Big Three station in the United States.

Launching the 10 p.m. news model on a non-Big Three television station in the United States through WTTG was Ed Turner, who also worked at KWTV (where he grew up with 10 p.m. newscasts).

Before the 10 p.m. newscast model pioneered by WNEW/WTTG, America's non-Big Three television stations focused on general entertainment, like reruns or films, at this time slot.

The 10 p.m. newscast format that WNEW/WTTG pioneered was deemed a huge success, proving that America's non-Big Three stations could produce/sustain newscasts.

WTTG started America's first 10 p.m. newscast in 1966 under Ed Turner, but WNEW-TV adopted and refined its formula a few months later due to Ted Kavanau's work.

So successful was this 10 p.m. newscast concept that WNEW/WTTG pioneered that the other non-Big Three stations across the United States followed its trend. 

Initially airing for a half-hour, the success of The Ten O'Clock News on WNEW-TV prompted its own expansion to 60 minutes, not long after its launch.

For years, The Ten O'Clock News on WNEW-TV has begun with an iconic and famous public service announcement: "It's 10 p.m. Do you know where your children are?"

Mel Epstein, who was WNEW-TV's on-air promotions director, coined this iconic and famous "Do you know where your children are?" phrase for The Ten O'Clock News.

However, Tom Gregory, best known as the WNEW-TV staff announcer, became mostly associated with this "Do you know where your children are?" phrase for The Ten O'Clock News.

Bill Jorgensen was the first main anchor for The Ten O'Clock News on WNEW-TV.

Known for his authoritative approach à la Walter Cronkite, Bill Jorgensen anchored The Ten O'Clock News on WNEW-TV with success, popularity and acclaim.

During its first 12 years, Bill Jorgensen ended The Ten O'Clock News on WNEW-TV with the catchy sign-off: "I'm Bill Jorgensen, thanking you very much for your time this time, until next time."

After 12 years as the first anchor of the Ten O'Clock News, Bill Jorgensen left WNEW-TV for its rival WPIX, where he reunited with John Corporon, with whom he once worked at WNEW-TV.

John Roland replaced Bill Jorgensen as the main anchor for The Ten O'Clock News on WNEW-TV, 12 years after its launch.

Besides both WNEW-TV and WTTG, KTLA and KPLR-TV were pioneering non-Big Three stations having a functioning news department

Klaus Landsberg was KTLA's general manager and its engineering mastermind.

During Klaus Landsberg's nine-year tenure, KTLA pioneered noted trends in television news, including continuous breaking news and a nuclear bomb telecast presented live.

Even after Klaus Landsberg's death, KTLA still pioneered the helicopter as a trend for live television.

Dave Garroway, who used to be a radio disc jockey on WMAQ-AM in Chicago, moved to the nascent television industry with his eponymous program called Garroway at Large in 1949.

Garroway at Large notably revolutionized television presentation under Dave Garroway.

Saturday is the usual day on which Garroway at Large, which Dave Garroway hosted, was seen on the NBC television network (and later, on Sundays and Fridays).

When regular commercial television operations began in New York, many programs have incorporated theatrical proscenium concepts, separating the stage from the audience area.

After WWII, some programs came from Chicago, where Dave Garroway was a DJ on WMAQ-AM.

For his own Garroway at Large television program, Dave Garroway defied television's early theatrical conventions for a more casual approach in which the reality of the studio was acknowledged.

Using one camera, Dave Garroway walked around large studios and simple abstract sets as he directly talked to guests and television viewers for Garroway at Large.

Having originated from Chicago, Dave Garroway's eponymous Garroway at Large television program pioneered an informal presentation style, which was at odds with New York-centric programs.

After the end of his eponymous Garroway at Large television program emanating from Chicago, in the early-1950's, Dave Garroway brought his innovations from Chicago to New York City.

From there, Dave Garroway hosted his equally-innovative program Today (NBC).

Sylvester "Pat" Weaver, whose daughter is iconic and world-famous actress Sigourney Weaver, created Today (NBC).

During its first 6 years, Today (NBC) emanated from the RCA Exhibition Hall.

In the first studio used for Today (NBC) from the RCA Exhibition Hall was an ultramodern open-plan working area with teletypes, wall clocks and workstations all visible (and audible) on the air.

The official name of this working area included in this first studio ever used for Today (NBC) from the RCA Exhibition Hall was the World Communications Centre.

Many people all around the United States described this open-plan working area in the first studio ever utilized for Today (NBC) from the RCA Exhibition Hall as television's command centre.

Plus, this open-plan working area in the first studio ever used for NBC's Today program from the RCA Exhibition Hall was described by Dave Garroway as "the nerve centre of the world."

For the open newsroom included in the first ever studio being utilized for Today (NBC) from the RCA Exhibition Hall, it bridged the gap between backstage and on-stage.

Based at Rockefeller Plaza and West 49th Street in New York's Midtown Manhattan portion, the RCA Exhibition Hall was down the block from the current studio used for Today (NBC).

Over the years, this working area in the first studio for NBC's Today program emanating from the RCA Exhibition Hall has become working newsrooms, though not as immersive as its original space.

Instead, working television newsrooms are usually placed directly behind the news anchor desk, with a physical or a imaginary divider between the studio and newsroom area.

Layouts for working television newsrooms include glass separating them from the broadcast area.

However, designs placing news anchors in the middle of the newsroom have been used by numerous programs over the years - in varying degrees.

In addition, numerous other news studios include smaller, scaled down work areas seen on camera.

TV stations also feature camera positions placed inside newsrooms named flash cams; they are used for live reports/updates, as well as prerecorded teases and promos.

Newsrooms are used by television stations as temporary news sets, because enclosed and isolated news studios are being renovated or updated with a new set or equipment.

A similar idea is also often used for working weather centres in modern television studio sets.

When NBC's Today program started in the 1950's, weather centres did not utilize chroma key, since it requires, by definition, colour cameras.

Upon its debut in early-1950's, NBC's Today program utilized panels, with printed maps, handwritten notations and movable cutout pieces to symbolize weather conditions.

On many local news studio sets, the weather team works in the studio from built-in workstations and video panels, while usually starting/ending their weather reports from in front of a working area.

Many weather centres use a desk or pod allowing weather forecasters to appear on screen (facing the camera) while also viewing computer monitors and manipulating graphics/maps in real-time.

Street-level and windowed studios, meanwhile, are still used from now on.

Technically, all Big Three networks have their morning newscasts from street-level studio sets.

Local US television stations also have street-level and windowed studios, though they often serve as secondary sets or double as a satellite operation for the station's main newsroom.

In many ways, however, street-side studios are public showcases for local television stations.

Many street-side and windowed studios feature sets, built inside of a traditional windowless studio and having looked much indifferent for all intents and purposes.

Besides, modern and efficient news tickers seen on television were not launched until 1993, nor fully popularized until September 2001.

The news ticker being used when Today (NBC) began was an actual piece of paper with typewritten headlines superimposed on the lower third of the screen.

For Dave Garroway, his tenure as the first Today (NBC) host meant that the New York-based national network television scene embraced the innovations from Chicago.

In the mid-1990's or after 1993, Today moved to a street-level location at Rockefeller Plaza, which is known as the Window on the World or Studio 1A, recalling the program's early-1950's origins.

Garroway at Large, which Dave Garroway hosted, was one of the notable programs hailing from the innovative Chicago School of Television.

Ernie Kovacs presented a program on WPTZ called Three to Get Ready, which began in 1950.

Three to Get Ready, which aired in the early mornings with a format mixing news, weather, music and humour, was Ernie Kovacs' innovative television project.

In addition, Ernie Kovacs' Three to Get Ready program, produced specifically for WPTZ, was the first television program to be aired in the early mornings in a major US market.

Some notable innovations for Ernie Kovacs' Three to Get Ready program on WPTZ included his zany manner with comedy sketches, impromptu gags and audience participation.

Fran Allison and Studs Terkel are some namesakes of the other innovative programs coming from the Chicago School of Television: Kukla, Fran and Ollie and Studs' Place.

Before Today (NBC), television news was radio with pictures, a man sitting at a desk reading the news stories.

Today (NBC) took television news from radio with pictures and used the medium more effectively.

During its first 48 years, Today (NBC) lasted two hours from 7 a.m. to 9 a.m. Eastern Time.

After 48 years, Today (NBC) began having an additional hour, ending at 10 a.m. Eastern Time.

Seven years after its extension to an additional hour, Today (NBC) also extended to another additional hour, ending at 11 a.m. Eastern Time.

J. Fred Muggs, a chimpanzee, is a mascot for Today (NBC) from 1953 to 1957.

Although his tenure as a mascot of NBC's Today program was short-lived, J. Fred Muggs was deemed popular amongst its viewers, especially children.

Having revived the initially struggling ratings (and poor viewership) of NBC's Today program, J. Fred Muggs was often paired with Lee Meriwether.

In spite of his on-air success on Today (NBC), J. Fred Muggs also endured his difficult and sometimes aggressive approach.

Wide Wide World, which Dave Garroway hosted and Pat Weaver conceived, took events from various locations to the homes of viewers, pioneering live television outside studios and network specials.

For Wide Wide World (NBC), it served as the inspiration for ABC's Wide World of Sports.

Prior to ABC's Wide World of Sports, ABC had already aired sports, including college football, which Roone Arledge co-produced, plus the NFL, the AFL and Major League Baseball.

Ideas for ABC's sports programs besides autumn sports were conceptualized by Roone Arledge.

ABC developed its own response to Wide Wide World (NBC), which Dave Garroway hosted, but this time, focusing on sports, which Roone Arledge was tapped to produce.

Jim McKay, who came from CBS, was tapped to become the iconic and famous host for ABC's Wide World of Sports, lasting from 1961 to 1997.

Many currently-standard techniques for which ABC's Wide World of Sports served as a testing ground include camera techniques, instant replay, slow-motion, aerial footage, etc.

These techniques for ABC's Wide World of Sports elevated sports television to a cinematic level.

For ABC's Wide World of Sports, it is well-known for its iconic mantra: "The thrill of victory, and the agony of defeat; the human drama of athletic competition."

NFL Monday Night Football used the same techniques popularized by ABC's Wide World of Sports.

Both ABC's Wide World of Sports and Monday Night Football were the catalysts for other networks to adapt.

Frank Gifford, Howard Cosell and Don Meredith formed the iconic and famous three-person Monday Night Football announcing team, elevating this live sports program into a cultural phenomenon.

With Frank Gifford being Monday Night Football's steady play-by-play man, Howard Cosell used his theatrical and verbose style and Don Meredith was the laid-back, humorous country boy.

Keith Jackson was the play-by-play man in Monday Night Football's first season.

During Don Meredith's interval break from the Monday Night Football announcing team, Alex Karras replaced him.

Al Michaels joined the Monday Night Football broadcast team as play-by-play announcer in 1986, with Frank Gifford doing colour commentary, joined by Dan Dierdorf a year later.

The team of Al Michaels, Frank Gifford and Dan Dierdorf formed the longest-running team on Monday Night Football on a continuing basis.

Some of the noted personnel working with Roone Arledge include Don Ohlmeyer, Dick Ebersol, Chet Forte, Dennis Lewin, Chuck Howard, Edgar Scherick, Chet Simmons and Bob Goodrich.

Roone Arledge, who led ABC Sports from the late-1960's to 1986, also became the president of ABC News in 1977, surprising many as he had no formal journalistic experience.

Before Roone Arledge, ABC News was not competitive and suffered an failing situation.

Under Roone Arledge, who built on his success in sports, including ABC's Wide World of Sports and Monday Night Football, ABC News made both its turnaround and its facelift.

Due to Roone Arledge's sports-rooted influence that turned its failing fortunes around, ABC News took network television news (look/feel) to a modern, cinematic and visually-engaging level.

Plus, under Roone Arledge, ABC News focused on journalists being known as star celebrities, but also bridged the gap between news and entertainment.

During its first 5 years, Frank Reynolds, Max Robinson and Peter Jennings were the main anchors for ABC World News Tonight.

Frank Reynolds did news from Washington, Max Robinson did national news from Chicago, and Peter Jennings did world news from London.

Barbara Walters, Ted Koppel and Sam Donaldson are some of the other personnel of ABC News under Roone Arledge.

In addition, Charles Gibson, Barry Serafin, Bernard Shaw, Don Farmer and Charles Bierbauer are the other ABC News personnel under Roone Arledge.

The Morning Exchange is a former locally-produced morning program for WEWS.

Created in 1972 by Donald L. Perris and William F. Baker for WEWS, The Morning Exchange is a pioneer in the early-morning television landscape.

Some noted innovations for WEWS' The Morning Exchange include a studio set made in the form of a living room and news and weather updates at the top and bottom of the hour.

During its first 26 years, The Morning Exchange on WEWS lasted two hours from 7 a.m. to 9 a.m.

Upon its launch in January 1972, WEWS' The Morning Exchange used a news desk set, but in August 1972, it was replaced by a set resembling a living room.

Alan Douglas is the first ever host of The Morning Exchange, which, under him, was called The Alan Douglas Morning Exchange, on WEWS.

Joel Rose was also on The Morning Exchange on WEWS from 1972 to 1984, and again from 1986 to 1990; in his first stint, he served as the news anchor.

Liz Richards replaced Don Webster as co-host of The Morning Exchange on WEWS in March 1972.

July 1972 was when Alan Douglas left WEWS' The Morning Exchange, and Fred Griffith assumed his place.

WCVB-TV, meanwhile, is a pioneer in early-morning television as well through its locally-produced morning program called Good Day!

Having begun its run on September 24, 1973 as Good Morning!, and utilizing a similar format to The Morning Exchange on WEWS, WCVB's Good Day! used a living room with a kitchen.

For WCVB's Good Day!, it focused more on arts and entertainment than news and weather.

Good Day! on WCVB also broke ground by taking its production on the road and broadcasting from different places outside Boston and around the world.

In addition, WBRC-TV is likewise a pioneer in early-morning television through its locally-produced morning program called The Morning Show.

From its 1957 inception to its 1989 end, Tom York hosted The Morning Show on WBRC-TV.

The Morning Show on WBRC-TV is Birmingham's former answer to Today (NBC).

AM Los Angeles is KABC-TV's former locally-produced morning program.

Ralph Story and Stephanie Edwards hosted AM Los Angeles on KABC-TV, which was the basis for its national version called AM America.

Having been ABC's first ever early-morning program on a national level, AM America failed to find an audience against Today (NBC) and the combo of the CBS Morning News and Captain Kangaroo.

Plus, AM America on ABC earned harsh reviews from critics who saw it as a news-heavy program.

Some ABC stations opted not to carry AM America, including WEWS (The Morning Exchange) and WBRC-TV (The Morning Show).

The Morning Exchange on WEWS, Good Day! on WCVB and The Morning Show on WBRC serve as models for Good Morning America on ABC.

In fact, when GMA began in 1975, WCVB station manager Bob Bennett accused ABC entertainment president Fred Silverman of stealing the Good Morning! title being used by WCVB-TV.

With GMA's 1975 debut, WCVB's morning program became Good Day! to avoid confusion.

Having blended the concepts of both WEWS' The Morning Exchange and WCVB's Good Day!, Good Morning America successfully broke the long-standing dominance held by Today (NBC).

David Hartman, an actor, was Good Morning America's main host, until being replaced by ABC News reporter Charles Gibson.

Nancy Dussault, Sandy Hill and Joan Lunden served as David Hartman's sidekicks on Good Morning America, the latter taking on a more equal footing in 1986. 

In 1996, Joan Lunden decided to have her own series known as Behind Closed Doors, leaving GMA in September 1997, with Charles Gibson doing the same in May 1998.

But Charles Gibson was reinstated not long after on GMA, this time, with a different co-host.

Diane Sawyer, who was with PrimeTime Live, was paired with Charles Gibson on GMA, resulting in increased viewership.

Not long after, GMA moved to Times Square.

The AM format is still utilized by ABC, most notably in Chicago, where Oprah Winfrey took her own program on a national level as the Oprah Winfrey Show.

From 1986 to the early-2010's, the Oprah Winfrey Show has influenced many future young stars, and many of its themes are pivotal in American pop culture.

Having launched its operations on Halloween 1960, CHAN-TV had officially been known as British Columbia Television (BCTV) from 1973 to 2001.

Plus, BCTV (CHAN-TV) had a long affiliation with CTV from 1961 to 2001.

Until 2001, despite its CTV affiliation, BCTV (CHAN-TV) used its distinctive presentation.

Some key drivers that pushed BCTV towards its distinctive identity despite its CTV network affiliation included its home-grown ownership and its conflict with CFTO-TV in Toronto.

Western International Communications (WIC) was a media company based in Vancouver, under which BCTV prioritized regional interests over national network mandates.

For BCTV, BCTV (CHAN-TV) operated in the form of an independent station affiliated with the CTV network.

The Pacific Dogwood flower (which serves as British Columbia's provincial flower) also served as an iconic and famous symbol for BCTV from 1973 to 2001, refined in the mid-1990's.

From its rebrand in the mid-1990's to 2001, the slogan for BCTV was TV for BC with some variants.

When it began on Halloween 1960, BCTV emanated from its studios, based at the corner of Davie and Richards Streets in downtown Vancouver.

Not long after its launch on Halloween 1960, BCTV made its move to its permanent and purpose-built studios at Enterprise Street in the Lake City Industrial Park in 1961, fully opened in 1962.

Although it was no longer officially used after the 2001 realignment, the BCTV name is respected and known in BC on CHAN-TV.

Ray Peters was the powerhouse behind BCTV from around its 1960 launch to January 1990.

Having begun in the sales portion, Ray Peters made his ascent to the BCTV (CHAN-TV) leadership in 1961, when it began to carry some programs from CTV, which it formally joined not long after.

Not confined to BCTV, Ray Peters also served as WIC's President and CEO from 1978 to 1989.

When Ray Peters joined in 1960, BCTV (CHAN-TV) was in debt and had a struggling situation.

But by the time Ray Peters retired in January 1990, BCTV (CHAN-TV) had turned into a financial and ratings success.

From 1975 to December 2009, Tony Parsons was the main news anchor for BCTV, delivering its 6 p.m. newscast called the News Hour, doubling as news and public affairs VP since 1998.

Cameron Bell was BCTV's news director from the late-1960's to 1989.

Under Cameron Bell, BCTV pioneered a tabloid news approach that revolutionized television news in British Columbia and helped this station dethrone the CBC's ratings crown.

Robert Malcolm anchored the News Hour Final on BCTV from 1972 to the early-1990's.

Linden Soles anchored the News Hour Final on BCTV until being replaced by Ted Chernecki, who did this one from the early-1990's to 2001.

Jill Krop anchored the News Hour Final on Global BC from September 2001 to the early-2010's, when Global News BC1 was about to launch in 2013.

During Robert Malcolm's tenure as its anchor, the late-night newscast on BCTV was the News Hour Final; under his successors, it was simply News Hour Final.

Pamela Martin delivered the news as well on BCTV from 1977 to 2001.

In addition, Tony Parsons anchored Canada Tonight, produced by BCTV for WIC television stations outside British Columbia, from its 1993 inception to its 2001 demise.

Bill Good anchored Canada Tonight in its local BCTV version from its 1993 launch to its 2001 end.

Norm Grohmann was the primary weatherman for BCTV (CHAN-TV), lasting in separate stints until 1998.

For his humorous approach/wit doing the weather on BCTV, Norm Grohmann had earned popularity.

Between Norm Grohmann's departure and return, Fred Latremouille filled in his shoes.

Wayne Cox carried on the legacy begun by Norm Grohmann and Fred Latremouille.

Until 1997, Bernie Pascall, John McKeachie and Barry Houllihan alternated doing sports for BCTV's newscasts.

Squire Barnes, Barry Deley, Keith Wells and Jay Janower replaced the sports team comprising Bernie Pascall, John McKeachie and Barry Houllihan on BCTV in 1997.

Jim Conrad, who was rooted in Canadian radio, served as the primary announcer for BCTV, doing its promos, tags and news intros from the early-1990's to August 2001.

From 1996 to 2001, Jim Conrad famously opened BCTV's newscasts (especially the News Hour) with these words: "Live, from BCTV, here are tonight's...top stories."

After three main news headlines were summarized live on BCTV, Jim Conrad also delivered a famous hand-off with: "Right now, the News Hour, with Tony Parsons."

When its promos end, Jim Conrad announced the words: "on BCTV," "TV for BC" or "BCTV."

The huge success/popularity of the News Hour on BCTV stemmed from its formula being made by its collective trio of architects.

Ray Peters' management, Cameron Bell's editorial direction and Tony Parsons' on-air presence are just some factors in the formula that made the News Hour on BCTV a profound success.

Jack Webster, well-known as the king of the Vancouver airwaves, is the host of the eponymous BCTV current affairs program called Webster!

Having aired at 9 a.m. from its October 1978 inception to 1986 (during Expo 86), Webster! discusses issues important to British Columbians.

The signature catchphrase for Jack Webster on BCTV's Webster! program is "9 a.m. precisely."

A Current Affair came from WNYW, which featured both Mark Monsky and John Parsons Peditto.

Mark Monsky and John Parsons Peditto also created Hard Copy for Paramount Domestic Television.

Prior to ITN, the BBC's television news program was simply film with voice narration.

ITN countered the BBC's television news formula with on-camera anchors, on-the-scene reporters and more human interest stories.

Launched in the late-1960's, News at Ten (ITV) is the United Kingdom's first daily half-hour television newscast on a permanent basis, but also the ratings leader in British television news in its first run.

Despite a trial run lasting 13 weeks, News at Ten (ITV) quickly became a huge success.

Before News at Ten (ITV), short newscasts, with a man-on-camera format, lasted a quarter-hour.

With News at Ten (ITV), half-hour newscasts became a fixture in British television news; a two-person news team taking turns to bring flexibility and personality to the news desk became firm as well.

Some of the innovations that made News at Ten (ITV) successful include a more in-depth and detailed outlook on hard news, populist stories and issues and on-the-scene reports.

The "...And Finally" story is an often humorous end piece to send the viewing audience to bed after 30 minutes of dramatic news at the end of each and every News at Ten (ITV) broadcast.

Just before the "...And Finally" story on News at Ten (ITV), the anchor recaps the day's headlines.

When the "...And Finally" story on News at Ten (ITV) ended, the anchor signed off with the catchy and simple farewell: "And that's the news tonight. Good night."

The person, who is mostly associated with this original News at Ten (ITV) version, doubled as the main political voice for ITV; his first name was Alastair.

Aside from the news anchor mostly being associated with this original News at Ten (ITV) version (who was also ITV's political voice) named Alastair, other faces became known through this program.

Reginald Bosanquet, Andrew Gardner, Sandy Gail, Anna Ford, John Suchet and Trevor McDonald are some of the other ITN faces who became known through News at Ten (ITV).

The other Alastair for ITN anchoring News at Ten (ITV) is Alastair Stewart.

From 1972 to 1977, Andrew Gardner and Reginald Bosanquet formed one of the most well-liked news teams on British television through News at Ten (ITV).

Known as the Morecambe and Wise of television news, the news team comprising the likes of Andrew Gardner and Reginald Bosanquet won popularity for their chemistry on News at Ten (ITV).

During their run as a respected duo on News at Ten (ITV), which lasted from 1972 until 1977, Andrew Gardner acted as the straight man to Reginald Bosanquet's flamboyant style.

Plus, the team of Andrew Gardner and Reginald Bosanquet on News at Ten (ITV) pioneered a chatting approach used at the end of each and every newscast.

Both Andrew Gardner and Reginald Bosanquet have transfomed News at Ten (ITV) into a popular and successful news instiution in the UK and the world with their chemistry.

The news team of Andrew Gardner and Reginald Bosanquet on News at Ten (ITV) ended in 1977, the latter remaining for another two years, pairing with Anna Ford, who joined in February 1978.

Geoffrey Cox, who was born in New Zealand (and who had served as the news editor for ITN since the mid-1950's), created News at Ten (ITV).

Initially, Panorama (BBC) used a magazine format.

But with Richard Dimbleby being installed as its primary anchor, Panorama (BBC) changed its format from a magazine to a harder-hitting investigative documentary.

Tonight (BBC), which began in February 1957 to fill in the Toddlers' Truce between 6 p.m. and 7 p.m., pioneered an informal presentation style, which was at odds with the BBC's reputation.

Cliff Michelmore presented Tonight (BBC) from its 1957 inception to its mid-1960's end.

For Tonight (BBC), it blended serious items with light-hearted ones; its format influenced many other early-evening programs, like Nationwide.

Brian Henderson served as the primary anchor for National Nine News at 6 p.m. in Sydney/New South Wales, and Brian Naylor did the same for this newscast in Melbourne/Victoria.

Together, both Brian Henderson and Brian Naylor dominated National Nine News in their markets.

Incidentally, due to the success of the two Brians (Brian Henderson and Brian Naylor), National Nine News was the ratings leader for many years until the 21st century.

Chuck Faulkner was the first news anchor on Australian television, whereas Alan Wilkie was the first weather forecaster in this field.

Since its debut in the mid-1950's, Chuck Faulkner was the weeknight news anchor for TCN-9.

Meanwhile, Brian Henderson did the weekend newscasts for TCN-9 since 1957.

In the mid-1960's, Brian Henderson replaced Chuck Faulkner as the primary anchor for National Nine News in Sydney/New South Wales, staying until 2002.

Alan Wilkie was the primary meteorologist for National Nine News in Sydney/New South Wales from 1977 to 2001, often working with Brian Henderson.

Mike Gibson and Ken Sutcliffe respectively did sports during Brian Henderson's tenure for TCN-9.

Eric Pearce was the primary anchor for National Nine News in Melbourne/Victoria in separate periods until 1978, when Brian Naylor replaced him.

During Brian Naylor's later tenure, Rob Gell did the weather forecasts, whereas Tony Jones did sports, forging an iconic news team on National Nine News in Melbourne/Victoria.

The successful two Brians (Brian Henderson and Brian Naylor) on National Nine News, both serving Sydney/New South Wales and Melbourne/Victoria, retired in 1998 and 2002, both in November.

Peter Hitchener, who anchored the weekend newscasts for National Nine News in Melbourne/Victoria, replaced Brian Naylor on weeknights on November 30, 1998.

Since November 30, 1998, in his first 5 years as the main weeknight anchor for National Nine News in Melbourne/Victoria, Peter Hitchener's tenure had earned ratings success.

Ian Ross, who was an anchor for National Nine News in Sydney/New South Wales, went to Seven with David Leckie, Peter Meakin and John Stephens, in an effort to make its turnaround.

Eventually, by 2005, Seven's turnaround, spearheaded by the efforts made by former Nine stalwarts Ian Ross, David Leckie, Peter Meakin and John Stephens, paid off.

Dougal Stevenson, Philip Sherry and Bill Toft are the first news anchors on New Zealand television.

In 1986, the traditional single-anchor news format being used by TVNZ was replaced by a two-person news team taking turns to bring flexibility and personality to the news desk.

Neil Billington and Judy Bailey were the first anchors in this new two-person news format for TVNZ.

Richard Long replaced Neil Billington to join Judy Bailey, starting a long-lasting partnership.

From its launch in November 1989 to February 1998, 3 National News used the single-anchor concept being formerly used by TVNZ from 1969 to 1986.

Tagesschau (ARD) and Heute (ZDF) are the main newscasts in Germany's public television sector.

For years, both Tagesschau (ARD) and Heute (ZDF) have used the traditional single-anchor format.

Karl Heinz-Koepcke, known as Mr. Tagesschau for his longevity, had set standards for television news presentation in Germany, Switzerland and Austria.

Gerhard Klarner, known as Mr. Heute, loves American culture, especially jazz, city life and literature.

While Sat.1 aired short newscasts, in cooperation with the FAZ newspaper, upon its 1984 launch, RTL Plus aired 7 Vor 7, the first full-length newscast within Germany's private television sector.

Upon its 1984 launch, 7 Vor 7 was an unconventional news program on RTL Plus, providing a stylistic contrast to both Tagesschau (ARD) and Heute (ZDF) on a national basis.

One of the innovations for 7 Vor 7 (RTL Plus) was an American-influenced news format.

Due to the fast-paced, tabloid and aggressive approach in its American-influenced format, 7 Vor 7 (RTL Plus) established news programming in Germany's private television sector.

Plus, 7 Vor 7 (RTL Plus) broke the duopoly held by both Tagesschau (ARD) and Heute (ZDF).

Luxembourg was the first location for 7 Vor 7 (RTL Plus); four years after its 1984 launch, it moved to Cologne, prompted by the need to offer better terrestrial broadcast reception.

A few months after moving to Cologne, 7 Vor 7 became RTL Aktuell.

Hans Meiser was the first main anchor for 7 Vor 7/RTL Aktuell for 8 years since its 1984 launch.

Peter Kloeppel was the main anchor/managing editor for RTL Aktuell from the 1990's to the 2020's.

Ulrike von der Groeben served as the sports anchor for RTL Aktuell, having usually worked with Peter Kloeppel from the early-1990's until the 2020's.

With the strategy being made by Peter Kloeppel, RTL Aktuell has become a ratings success.

RTL Nachtjournal is the first late-night television newscast in Germany.

The success created by RTL Nachtjournal led to other late-night television newscasts in Germany, like Nachtmagazin (ARD), Heute Nacht (ZDF) and Die Nacht - Sat.1 Nachrichten.

Jacobo Zabludovsky was the main anchor for 24 Horas (Televisa) for 26+ years.

As Mexico's first television news program entirely produced by a dedicated news team from the same network without articles from newspapers, 24 Horas (Televisa) was the most-watched ever.

For its own news coverage, 24 Horas (Televisa) favoured the then-ruling PRI party, having been biased towards the government.

Plus, 24 Horas (Televisa) incorporated interviews and direct telephone calls from reporters.

In the 1990's decade, in response to criticisms surrounding Televisa and limited freedom of expression being introduced, changes came to the Mexican media landscape.

Ricardo Salinas Pliego, a businessman, purchased most of the assets held by Imevision to become TV Azteca in 1993; months later, its own newscast Hechos began.

Emilio Azcarraga Milmo, who served as Televisa's president since 1972, died in April 1997 in Miami, Florida; his younger son Emilio Azcarraga Jean ascended to the post.

Modernizing Televisa is what Emilio Azcarraga Jean did through many aspects, one of which was to cancel 24 Horas.

With those changes to Mexican media in the 1990's, 24 Horas (Televisa) came to an end with Jacobo Zabludovsky leaving this program.

Federico Wilkins had developed the fast-paced, tabloid and aggressive approach at rival TV Azteca's Hechos, which was carried over to Televisa.

Teletrece was once the ratings leader in Chilean television news, having used a more independent and professional approach than the pro-government newscast 60 Minutos (TVN).

24 Horas (TVN) has been the ratings leader in Chilean television news since the mid-1990's.

Bernardo de la Maza and Cecilia Serrano were the first faces of 24 Horas (TVN), which started at the dawn of the democratic era for Chile in October 1990.

Meanwhile, 24 Horas (Panamericana) had been the ratings leader in Peruvian television news until the late-1990's.

Humberto Martinez Morosini was the face of 24 Horas (Panamericana) from its 1973 debut to 1997.

QAP Noticias (or QAP) is a former news program produced by TV13 (or TV-13) and backed by Nobel Prize in Literature recipient Gabriel Garcia Marquez.

Maria Elvira Samper and Maria Isabel Rueda are journalists who created QAP.

Before QAP, television news in Colombia had a staid approach: it was state-run and tied to political or economic corporations.

However, QAP had earned its reputation for its independent, often critical, investigative journalism.

For QAP, it broke the mold for Colombian television news: the nation's first television news service to come from its purpose-built studios and to use microwave equipment.

What led to the launch of QAP was the licensing reforms in the early-1990's.

Despite being short-lived, QAP was one of the most innovative television news programs in Colombia, helping to modernize this field.

Canal A (Inravision) aired QAP from the early-1990's until December 1997.

TV Patrol (ABS-CBN) and 24 Oras (GMA Network) have been the main forces in the television news scene in the Philippines since the dawn of its democratic era in 1986.

What distinguished TV Patrol from other Filipino newscasts in the past was its tabloid approach.

Pennsylvania is the birthplace of the cable television business, active in both the United States and the world.

John Walson, Milton J. Shapp, Bill Daniels, Robert Rosencrans and Hubert Schlafly are notable cable television pioneers.

Charles Dolan, Ted Turner, Kay Koplovitz and Joseph M. Cohen are likewise notable cable television pioneers.

Bob Tarlton, Bob Magness, John C. Malone and Ken Gunter are also noted cable television pioneers.

For years until the 1980's, cable television had relied on microwave relays, local antennas and coaxial cables to improve reception in remote areas.

In fact, until the 1980's, cable TV was on a regional and rural basis.

Newsrooms, as regular studio backdrops, convey urgency, immediacy, authenticity and transparency.

Plus, regularly-used newsroom studio set backdrops could provide a busy and fast-paced working news environment, where news is breaking and being processed, with off-camera staff seen inside.

Multi-monitor control rooms, which are regularly used as news studio backdrops, convey technological sophistication and a sense of constant monitoring and control over information flow.

For years, many television stations have used traditional, enclosed and isolated news studio sets with backdrops that typically include world maps, skylines or news/station logos.

These traditional and isolated news sets create a sense of formality and authority.

Switching to both the newsroom and multi-monitor backdrops from isolated news studio sets provide urgency, immediacy, transparency and a behind-the-scenes feel.

Blending the newsroom and multi-monitor backdrops is something to do in an equally-dynamic way.

For Dave Garroway, his own television programs, notably Garroway at Large, Today and Wide Wide World, have developed many innovations that reshaped television.

The Merchandise Mart and the RCA Exhibition Hall are building relics.

Chicago's wholesome goods industry is the primary focus of the Merchandise Mart, whereas RCA's technology is the primary focus of the RCA Exhibition Hall, based in New York.

With television gaining early popularity, both the Merchandise Mart and the RCA Exhibition Hall also became testing grounds for Dave Garroway's innovations that abandoned television's rigid past.

Dave Garroway's relaxed style, which had its roots in radio, was adapted for television.

Plus, the first studio for Today (NBC) from the RCA Exhibition Hall served as an influence on modern broadcast design, like the newsroom and the windowed concept in downtown cores.

In its initial years, the windowed concept included in the first ever studio for Today (NBC) under Dave Garroway was the fishbowl.

Just before its expansion to a half-hour in the mid-1960's, both Douglas Edwards and Walter Cronkite delivered the news on CBS Television, using an isolated and enclosed soundstage.

However, the expansion to a half-hour for CBS' flagship television newscast came in the mid-1960's.

This half-hour expansion of the flagship televison newscast on CBS in the mid-1960's resulted in the change of its name to the CBS Evening News.

During the Walter Cronkite era, the studio set used by the CBS Evening News featured a desk that was being made in the form of a fishbowl, plus the newsroom and a world map.

WBBM-TV pioneered the concept to present the news regularly from the newsroom in 1973.

McClurg Court, a rink, became a television studio in the mid-1950's, but also a testing ground for the regular newsroom-as-set trend that WBBM-TV had pioneered in 1973 until the early-1990's.

Fred Harpman designed the NewsCentre for NBC in the form of a space-age control room, specifically the bridge of the USS Enterprise, which is used in Star Trek, in 1974.

Banks of monitors that were visible behind the anchors for the NewsCentre, designed for NBC by Fred Harpman, create a sense of being in the middle of a working, technological hub.

As one of the designs by Fred Harpman, NBC's NewsCentre, made à la space-age control room, used a more open, high-tech and futuristic look and was made to have a working newsroom feel.

NBC's NewsCentre, which Fred Harpman designed, revolutionized television news set design, moving away from traditional, isolated and enclosed news sets with the anchor desk behind the curtain.

For Fred Harpman, his NewsCentre for NBC paralleled the open area used in the first studio for Today (NBC) under Dave Garroway.

Dave Garroway was a radio disc jockey and television personality in Chicago, where he pioneered the Chicago Style for his Garroway at Large program, brought to New York through Today (NBC).

Also in Chicago, WBBM-TV pioneered the regular newsroom-as-set trend, based on the working area being used in the first studio for Today (NBC) under Dave Garroway, in 1973.

Studio 6B at 30 Rockefeller Plaza was a testing ground for Fred Harpman's NewsCentre for NBC.

In 1974, Studio 6B at 30 Rock was used for WNBC-TV's NewsCentre 4, but also for the national NBC News broadcasts during the height of the Watergate scandal.

Ever since its 1974 inception, elements of the NewsCentre, designed for NBC by Fred Harpman, have usually been used in the US, but also around the world.

Global, which began its operations in January 1974 as a regional network, with CIII-TV as its flagship station, broke from tradition by using the newsroom-as-set trend, the first of its kind in Canada.

Upon its launch in January 1974, Global used a news studio using elements of the Walter Cronkite-era studio set of the CBS Evening News, including a fishbowl-like desk and a world map backdrop.

81 Barber Greene Road, a factory, became a television studio in 1974, but also a testing ground for the newsroom studio combo for Global, which lasted until 1998.

Also in Canada, BCTV (CHAN-TV) used the newsroom-as-set trend being synonymous with the Tony Parsons era from 1975 to October 4, 2010.

Enterprise Street, which is located in the Lake City Industrial Park, housed a purpose-built building for BCTV, and served as a testing ground for its own innovative newsroom-as-set trend.

Some of the local television stations based in North America often converted existing studio spaces into testing grounds for newsroom-as-set trends, but BCTV built one from scratch.

BCTV's Enterprise Street studios, built from scratch in 1961 and officially opened in 1962, also built its newsroom-as-set trend from scratch in 1975, 13 years after its official 1962 move.

Whereas stations with converted studios as testing grounds for newsroom-as-set trends represented the past, like WBBM-TV and Global (CIII-TV), BCTV's purpose-built one represented the future.

Early adopters of this newsroom-as-set trend, like WBBM-TV and Global (CIII-TV), usually retrofitted older studio spaces.

Those conversions by WBBM-TV and Global (CIII-TV) required squeezing newsrooms into spaces not designed originally for cameras, leading to cramped, noisy or compromise-filled enviroments.

CBS was a model for the newsroom-as-set ttrend by both WBBM-TV and Global (CIII-TV), the latter using the set derivative of the CBS Evening News fishbowl that Walter Cronkite used. 

Purpose-built adopters of the newsroom-as-set trend, such as BCTV, allowed designers to integrate the studio and newsroom from the ground up.

BCTV's specially-made newsroom-as-set trend offered better and more open-concept visuals, improved lighting, superior acoustics and a smoother flow between on-air personnel and journalists.

The newsroom-as-set trend, specially-designed for BCTV (CHAN-TV), made the news studio look less conventional and more like a high-functioning, authentic and professional newsroom.

Cameron Bell, who was formerly the news director for BCTV, was the genius behind the creation of its purpose-built newsroom-as-set trend being synonymous with the Tony Parsons era.

Ray Peters led BCTV through Cameron Bell's creation of its newsroom-as-set trend being synonymous with the Tony Parsons era.

Having been a purpose-built concept, this BCTV newsroom-as-set trend being synonymous with Tony Parsons was unique, as it mixed the newsroom backdrop with multi-monitor control rooms.

For BCTV's purpose-built newsroom set, it felt like a room with desks, but also the nerve centre of the entire British Columbia, indeed BC's command centre.

During the Expo 86 world's fair, BCTV operated a broadcast pavilion.

As the fishbowl version of its own newsroom set, the BCTV pavilion at Expo 86 allowed the public to watch a live newsroom and control room in action through glass.

BCTV's pavilion at Expo 86 further emphasized this newsroom-as-set trend.

For the first years when Tony Parsons was its main news anchor, BCTV used an isolated and enclosed studio set with a blue backdrop, but most of this was concentrated on the newsroom-as-set trend.

In the early-1990's, the BCTV newsroom-as-set trend that Cameron Bell masterminded was rebuilt by moving the news desk out of the studio, but it kept the newsroom as its main backdrop.

Since its longstanding owner WIC was purchased by Canwest Global, BCTV (CHAN-TV) remade this newsroom-as-set trend twice, firstly in September 2001.

While WBBM-TV and Global (CIII-TV) pioneered newsroom-as-set trends in both the US and Canada from converted spaces, BCTV (CHAN-TV) perfected it with its purpose-built one.

Before Roone Arledge turned around the ailing ABC News, both NBC and CBS have maintained more traditional formats in their news presentation, while not entirely plain.

During its first 30 years/3 decades, Cable News Network (CNN) had used the newsroom as its primary studio backdrop from its two primary headquarters in Atlanta.

Just before CNN's June 1980 debut, co-founders Ted Turner and Reese Schonfeld were trying to find a model for the newsroom-as-set trend.

BCTV (CHAN-TV), which used its newsroom-as-set trend at its purpose-built studios during the Tony Parsons era, was the closest model to the vision of CNN's Ted Turner and Reese Schonfeld.

Cameron Bell, supported by Ray Peters, masterminded the creation of the newsroom-as-set trend being purpose-built for BCTV during the Tony Parsons era, which was the basis for CNN's.

Using the Tony Parsons-era BCTV (CHAN-TV) newsroom-as-set trend for CNN, Turner Broadcasting System took over a country club at Techwood Drive in Atlanta called the Progressive Club.

Established in 1913, the Progressive Club is a red brick structure with white columns; its ballroom was renovated to become the first set for CNN, doubling as television's first newsroom to go 24 hours.

Carl "Bunky" Helfrich, who was one of the friends of Ted Turner, adapted many of the elements being used in the Tony Parsons-era BCTV (CHAN-TV) newsroom-as-set trend for CNN.

The Three Musketeers, a group of broadcast technicians coming to SuperStation WTBS from the other Atlanta television stations, were named after the French adventure novel by Alexandre Dumas

For the Three Musketeers group working at SuperStation WTBS, Gene Wright, Jack Ormand and Jack Verner served as their members.

Whilst the Three Musketeers from WTBS built the technical infrastructure for the newsroom-as-set for CNN, Carl "Bunky" Helfrich adapted BCTV's elements under Reese Schonfeld's direction.

Playfully referred to as Kosher Kolumns or the "news kibbutz," the Progressive Club was CNN's first headquarters.

By 1985, years after its June 1, 1980 launch, CNN had outgrown its original Techwood Drive hub, and Ted Turner acquired the Omni International complex in downtown Atlanta from Tom Cousins.

With Ted Turner acquiring this Omni complex, CNN incorporated its BCTV-inspired newsroom-as-set aesthetic on a larger scale.

Seven years after its June 1, 1980 launch, CNN officially completed its relocation to the former Omni complex, which became known as CNN Centre.

Mirroring his earlier feat of turning the Atlanta country club into the BCTV-inspired newsroom-as-set trend for CNN, Carl "Bunky" Helfrich turned the former Omni complex into CNN Centre.

By turning the Omni complex into CNN Centre, Ted Turner revived Atlanta's ailing downtown core.

In 1993, the colours of some of the elements being used in CNN's newsroom set based on BCTV were changed from red to blue.

Just 11 years after its official move to the former Omni complex, CNN renovated its own set in October 1998, still incorporating its BCTV-inspired newsroom-as-set trend.

Rene Lagler supervised the scenic design for this renovated CNN newsroom-as-set trend, whilst Robert Dickinson did its lighting construction.

This October 1998 renovation of CNN's BCTV-inspired newsroom set design was the final pre-digital revolution of its aesthetic before LED-heavy studios came along in May 2010.

For Linden Soles, he bridged the gap between the two channels that shared the same newsroom-as-set trends: BCTV (under Tony Parsons) and CNN (under Tom Johnson).

Studio 7, introduced in May 2010, marked the end of CNN's long-standing signature newsroom-as-set aesthetic.

This setup for CNN's Studio 7 in Atlanta influenced its Washington studio in the early-2010's.

Clickspring Design designed Studio 7 for CNN.

By 2014, as production shifted to New York and Washington, CNN's real Studio 7 was dormant, and it utilized virtual backdrops before abandoning the use for daytime programs.

Jeff Zucker masterminded the brief reinstatement of the newsroom-as-set trends for CNN before Chris Licht removed them permanently.

During the early-to-mid-2020's, both CNN and HLN moved away from CNN Centre and went back to their origins at Techwood Drive.

In June 2025, The Source with Kaitlan Collins moved to Washington D.C. with the newsroom-as-set trend, reinstating CNN's iconic aesthetic.

From its launch in the early-1980's (which came 19 months after the original CNN started), to February 2005, CNN Headline News used a multi-monitor control room-like set.

In 1993, CNN Headline News introduced its constant SportsTicker, and 6 years later, in the late-1990's, CNN Headline News introduced a newsroom-as-set trend to facilitate four watches.

On August 6, 2001, a revamp for CNN Headline News came with an internet-inspired presentation.

Similarly, both BCTV (CHAN-TV) and CNN made obsolete their iconic and famous newsroom-as-set trends in 2010 after the late-2009 departures of both Tony Parsons and Lou Dobbs.

Lou Dobbs left CNN in November 2009, and Tony Parsons later left BCTV (CHAN-TV) in December 2009.

For CNN, its newsroom-as-set trend at its two main Atlanta hubs, inspired by BCTV (CHAN-TV), has become the DNA for 24-hour global television news channels since its 1980 inception.

Roone Arledge and Reese Schonfeld served as masterminds in bringing newsroom-as-set trends to the world through ABC News and CNN.

Studio 33 at the CBS Broadcast Centre served as a testing ground for the Walter Cronkite-era studio set being used for the CBS Evening News until 1986, when it moved 14 studio numbers up.

The Graybar Building, adjoining Grand Central, was the testing ground for the CBS Evening News, the first half-hour evening newscast on network television.

In 1981, after Dan Rather took over the anchor position, the studio set used by Walter Cronkite for the CBS Evening News at Studio 33 was revamped with a world map backdrop.

After moving 14 studios up from 33 in August 1986, the CBS Evening News set was revamped with a world map backdrop recoloured and a deeper blue background.

For the 1990 midterm elections, the CBS Evening News introduced the newsroom-as-set trend, which became permanent during the Gulf War and was revamped in 1996 by BDI.

Plus, the BDI-designed newsroom-as-set trend for the CBS Evening News was similar to CNN.

In South Florida, WSVN has two news studio sets, both built a few months before its 1989 switch: one with a control room backdrop, the other featuring the newsroom.

Not long after, WSVN began building the Newsplex project, bringing two of its 1989 sets together.

Using the CNN-style newsroom-as-set trend, based on BCTV, the WSVN Newsplex is one of the most influential news sets in the world.

Sister station WHDH began using the WSVN format in 1993.

Upon its relocation to 299, CityPulse changed its format to a desk-less open working newsroom.

This desk-less CityPulse newsroom was based on the open-plan area for Today (NBC) from the RCA Exhibition Hall, in turn, the basis for CHUM-City's entire 299 Queen Street West headquarters.

By late-March 1993, when the new Canadian Broadcasting Centre became fully operational, the CBC started using a newsroom-as-set trend for its English-language television assets.

Radio-Canada, the CBC's French-language answer, has used the newsroom trend since the noughties.

However, this newsroom-as-set trend was not new for Radio-Canada, as it was already being used from the mid-1980's to 1989, and in the mid-1990's until 1997.

In Quebec, TVA used a newsroom-as-set trend at Studio N, based on CNN, from the late-1980's to the early-2010's, when it was replaced by an isolated studio designed by AKA Creative Group.

For BCTV, its newsroom-as-set trend became so successful that other television stations across British Columbia began using this format.

CHEK-TV, a sister station to BCTV (CHAN-TV), used the newsroom-as-set trend from 1984 to 1997.

780 Kings Road was a testing ground for CHEK-TV's newsroom-as-set trend from 1984 to 1997.

However, the CHEK-TV newsroom-as-set trend from 1984 to 1997 never reached the similar theatrical scale to BCTV's at Enterprise Street, which is located in the Lake City Industrial Park.

For example, CIVT, CKVU and CIVI are independent-style television stations in British Columbia that used the edgy, flashy and youth-oriented CityPulse newsroom-as-set trend.

Monika Deol, who hosted music-themed programs on CityTV/MuchMusic, was also a news anchor for both CIVT and CKVU, bridging the two stations that shared the same CityPulse trend.

Initially, the New VI (CIVI) used the CityPulse format until Hudson Mack from CHEK-TV came.

Under Hudson Mack, the New VI (CIVI) abandoned the informal CityPulse style and made changes to attract a broader audience, like adding a news anchor desk and a more traditional approach.

Since his arrival, Hudson Mack has revived the credibility and reputation of the New VI (CIVI).

CBUT has also used the newsroom-as-set trend since 2009.

However, the newsroom-as-set trend being used by BCTV (CHAN-TV) from 1975 to 2010 is the gold standard for television news in British Columbia.

Meanwhile, by completing of the March 2013 move of its news operations from Television Centre to Broadcasting House, the BBC began using a newsroom-as-set trend.

However, this newsroom-as-set trend was not new for the BBC's news operation, since it was already being used from the late-1980's until 1993 physically for the Nine O'Clock News.

Some of the complaints for the BBC's late-1980s attempt to do the newsroom-as-set trend for the Nine O'Clock News include flashing computer screens, walking news staff and ringing telephones.

Virtually, the newsroom backdrop was used for the domestic BBC News programs for four years since 1972, and again from the late-1990's to 2013.

During its initial years, ITN was based at Television House at Kingsway in London, which also housed Associated-Rediffusion's administrative headquarters and transmission facilities.

In 1969, ITN relocated to its new headquarters at 48 Wells Street in London's West End.

As for Associated-Rediffusion's successor Thames, it moved to its purpose-built studios and offices at Euston Road.

Upon its move to its new hub at 200 Grays Inn Road designed by Norman Foster, ITN used a working newsroom for its newscasts on ITV until the mid-1990's.

Whereas some news programs from ITN emanated from 200 Grays Inn Road, others like News at Ten (ITV) still emanated from ITN House, based at 48 Wells Street, for a period after its move.

Sky News had used the newsroom-as-set trend from its February 1989 debut to the late-2010's.

John O'Loan masterminded this newsroom-as-set trend for Sky News upon its 1989 launch.

In contrast to the complaints that the BBC had in using the newsroom-as-set trend for the Nine O'Clock News, John O'Loan's Sky News set was slicker, more professional and more polished.

Plus, Sky News used the American-style happy talk format.

October 24, 2005 was when the Sky News Centre, a newsroom-as-set trend that was designed by Jack Morton Worldwide and built by the Janson Design Group and PDG, was introduced.

The newsroom-as-trend for Sky News upon its 1989 launch was influenced by global broadcasters like CNN.

For Australia's three commercial television services, their news operations have enclosed and isolated studio sets comprising of a world map backdrop with a blue hue until the late-1990's.

In late-1985, National Nine News in Melbourne/Victoria broke from tradition with the newsroom-as-set trend, the first of its kind in Australia.

Similar to the newsroom-as-set trend that ABC World News Tonight used during its initial years in New York as its main hub, this trend for National Nine News in Melbourne/Victoria lasted until 1993.

National Nine News in Brisbane/Queensland also began using the newsroom set in the late-1980's.

In 1996, a revamped studio set for National Nine News in Brisbane/Queensland was first used, being similar to the Dan Rather-era CBS Evening News studio designed by BDI, also since 1996.

With the relocation to its new headquarters in Pyrmont in 1997, Ten News in Sydney/New South Wales began using the newsroom-as-set trend.

However, the newsroom-as-set trend was not new for Ten News in Sydney/New South Wales, as it was already being used in the late-1980's as the last one from North Ryde.

During Brisbane's World Expo, Ten News in Brisbane/Queensland used the newsroom-as-set trend.

From the mid-noughties to the mid-2020's, Seven News in Sydney/New South Wales used a street-side studio at Martin Place, based on Studio 1A in Rockefeller Plaza used by Today (NBC).

Televisa began using the newsroom-as-set trend designed by BDI in the mid-noughties.

Based on CNN (and in turn, BCTV), Televisa's own newsroom-as-set trend was part of the newly-built expansion of its Chapultepec headquarters.

However, the newsroom-as-set trend was not new for Televisa, as it was already used shortly after the April 1997 death of Emilio Azcarraga Milmo until 1998 for 24 Horas with Jacobo Zabludovsky.

Plus, Televisa's local stations, like XEWT and XHBC, use the newsroom-as-set trend.

Rival TV Azteca used the newsroom-as-set trend for some Hechos editions from the late-1990's to the noughties.

ECO, which is television's first all-news service in both Latin America and the Hispanic world, used a multi-monitor control room set similar to CNN Headline News.

During the Carlos Menem presidency, newsroom-as-set trends were introduced to Argentina in a more modern and professional manner.

For example, Telenoche (Canal 13), from 1990 to the mid-2010's, used a set featuring a multi-monitor control room as its main backdrop, designed to have a working newsroom feel.

From 1990 to 2002, 24 Horas (TVN) utilized a small newsroom-as-set trend.

Teletrece (UCTV) used the newsroom-as-set trend from the 1990's to the noughties.

However, the newsroom-as-set trend was not new for Teletrece (UCTV), as it was already used for its secondary editions (afternoons/late-nights) during the 1980's.

QAP broke from tradition by using a newsroom-as-set trend, the first of its kind in Colombia.

Based on one for CNN (and in turn, BCTV), the newsroom-as-set trend for QAP conveyed urgency and transparency that other newscasts in Colombia have not.

Since QAP, this newsroom-as-set trend has been used by Colombia's private television services, such as RCN, Caracol and CityTV, the latter being based on the original Toronto version.

From the early-1990's to 2017, Uruguay's Canal 4 used the newsroom-as-set trend called the Centro Monte Carlo de Noticias, translated into English as the Monte Carlo News Centre.

The Centro Monte Carlo De Noticias was based on one for CNN, and in turn, BCTV.

Also in Uruguay, Teledoce utilized newsroom-as-set trends, including the one being based upon CNN International from the late-1990's to the mid-2010's.

Meanwhile, the Portuguese-language answer to Mexico's Televisa, run by Silvio Santos, pioneered the working newsroom-as-set trend through its newscast by Boris Casoy in the late-1980's.

For the newsroom studio set used by the Portuguese-language answer to Televisa, which Silvio Santos owned, it was based on ABC News' Washington hub, with the Walter Cronkite-era news desk.

Earlier on, a national television channel, owned by Jewish businessman Adolpho Bloch, pioneered the physical news studio set featuring a multi-monitor control room as its main backdrop.

The multi-monitor control room set used for Adolpho Bloch's television network was the first in Latin America's largest nation to have a working newsroom feel, made à la CNN.

Oscar Niemayer's modern structure served as the testing ground for the working newsroom feel (which Adolpho Bloch's own television network pioneered).

Vila Guilherme was the testing ground for the newsroom-as-set trend that Silvio Santos' own television network had pioneered.

Incidentally, the two national television networks arose from the first television network in both South America and the Potuguese-speaking world.

TROS Aktua (formerly Aktua-TV) used a newsroom-as-set trend, which was one of the first to do so in Europe, upon its debut in 1974 until 1985.

VTM used newsroom-as-set trends, including one designed by BDI from 1996 to the mid-noughties. 

Until 1984, both Tagesschau (ARD) and Heute (ZDF) held a national duopoly on the German television news landscape.

However, PKS/Sat.1 broke from tradition by using the newsroom-as-set trend made in cooperation with Frankfurter Allgemeine Zeitung (FAZ).

Sat.1, which began in 1984 as the first private television station in Germany on a national basis, put the newsroom-as-set trend on the television map of the DACH region.

Zeit Im Bild (ORF) and Tagesschau (SF DRS) have both used studio sets with the open newsroom as a backdrop during the mid-1980's, the earlier starting in 1984, the latter in 1985.

Whilst Sat.1 aired short newscasts, in cooperation with the FAZ newspaper, upon its 1984 launch, RTL Plus aired 7 Vor 7, the first long-form newscast within Germany's private television sector.

ProSieben utilized the newsroom-as-set trend based on WSVN (and in turn, CNN and BCTV) for three years since 1996.

In August 1986, Aktuellt (SVT) began using the newsroom-as-set trend, the first to do so in the Nordic region (but on a temporary basis).

Nyhetshuset was a testing ground for the newsroom-as-set trend for Aktuellt (SVT).

This newsroom-as-set trend for Aktuellt (SVT) became a permanent one with the debut of ABC, which formerly used to be a regional newscast covering Stockholm and Uppsala.

For Aktuellt (SVT), the permanent newsroom-as-set trend setup lasted until September 2001.

Since its debut in September 1990, TV4 (Sweden) had used the newsroom as a studio backdrop from its two primary headquarters in Stockholm, influenced by global news like CNN and BCTV.

A property based in Storangsbotten in Stockholm became a television studio, but also served as a testing ground for the first ever newsroom studio set for TV4 from September 1990 to May 1996.

Besides, TV2 (Denmark), TV2 (Norway) and MTV3 (Finland) are the other privately-owned television channels in the Nordics that use the newsroom-as-set trends.

For TV2 (Denmark), its newsroom-as-set trend has been consistent since its late-1980's launch. 

Meanwhile, TV2 (Norway) used the newsroom-as-set trend briefly upon its launch, but was covered in 1993 and returned physically in the mid-noughties, virtually in 2013 and physically in 2017.

On the other hand, MTV3 (Finland) used the real newsroom-as-set trend from 1993 to the late-2010's.

Rediffusion (Hong Kong) was a pioneering broadcaster, and used a newsroom-as-set trend, styled after American networks (specifically ABC), the first in East Asia.

In the mid-1980's era, NHK General TV began using the newsroom-as-set trend for News Centre 9, the first of its kind in Japan, which lasted until its demise in the late-1980's.

This newsroom-as-set trend for NHK's NC9 program was styled after American networks.

During this period, Taro Kimura, born in the United States, and Midori Miyazaki, who formerly did the weather forecasts for this program, anchored NC9 from the newsroom.

Meanwhile, in 1985, All-Nippon News Network (ANN) began using the newsroom-as-set trend, which was based on one for CNN (and in turn, BCTV).

The Ark Broadcasting Centre, to which ANN moved in 1985, was the testing ground for the innovative newsroom-as-set trend within Japan's commercial television sector.

Even with its move to Roppongi Hills, ANN still used the CNN-style newsroom-as-set trend.

Whereas NHK was a pioneer in using the newsroom-as-set trend for News Centre 9, TV Asahi's News Station did the same, but within the commercial television sector.

News Station's launch stemmed from Japan Cable Television, which TV Asahi partly owned, striking a deal with CNN, back in the early-1980's.

JCTV's deal with CNN led to the latter's official introduction to Japan in 1984.

In 1998, a year after its relocation to Odaiba in March 1997, Fuji News Network (FNN) began to use a CNN-style newsroom-as-set trend, lasting until 2013.

Kenzo Tange's ultramodern building served as the testing ground for the newsroom-as-set trend, which FNN used.

Meanwhile, Nippon News Network (NNN) used the CNN-style newsroom-as-set trend, not simply for Plus 1 in its last years, but also for its Real Time program in its first years.

NHK Japan-World opened its headquarters in New York in spring 2021, utilizing the newsroom-as-set trend that Provost Design had created.

Also in the 1980's, with colour, KBS' news division began using newsroom-as-set trends.

Still in South Korea, MBC used the newsroom-as-set trend similar to the BDI-designed CBS Evening News set, which lasted during the first half of the noughties.

In the Philippines, ABS-CBN has earned its reputation for offering TV Patrol, a tabloid-like newscast revolutionizing Filipino television news.

Before TV Patrol, Filipino television news had English-language newscasts in a broadsheet format.

With TV Patrol, Filipino television news was in Tagalog in a sensationalized tabloid manner, similar to tabloid newspapers and radio news (specifically Radyo Patrol).

iTV, which was the first television service to be operated independently on the UHF band in Thailand, broke from tradition by adopting the CNN-style newsroom-as-set trend upon its 1996 launch.

Central European Media Enterprises (CME) is a media company initially using American roots.

Led by former US ambassadors Ronald Lauder and Mark Palmer, CME has been a pioneer in bringing Western-influenced (Western European and American) media principles to the Eastern Bloc.

For CME, it facilitates the Eastern Bloc's television modernization by mixing Western-style television presentation (specifically American and Hollywood) with local Eastern content.

Plus, CME exports Western management and marketing strategies to the Eastern Bloc.

Since 2020, CME has been run by the PFF Group, a multinational investment group founded by Czech businessman Petr Kellner, breaking from its American ties.

The Middle East Broadcasting Centre (MBC) is the first and leading private television channel in the Arabic-speaking world.

Initially based in London, MBC has been a pioneer in bringing Western-style (Western European and American) media principles to the Arab world.

MBC facilitates the modernization of television in the Arab world by mixing Western-style television presentation (specifically American and Hollywood) with local Arab content, similar to CME.

Plus, like CME, MBC exports Western management and marketing strategies to the Arab world.

Waleed bin Ibrahim Al Ibrahim, a Saudi businessman who was educated in the United States, launched MBC as part of his ARAvision group.

London had freedom of press and a neutral and independent territory, so it was MBC's first location.

Both CME and MBC are pioneers in bringing Western media principles to the two emerging markets in Eurasia, turning them into pluralistic, commercially-driven media economies.

Sam Barnett, who worked at MBC Group from 2002 to 2025 (14 as its CEO), also works at CME.

For Sam Barnett, he bridges both the CME and MBC companies, which, from their early period in the 1990's, facilitated television's modernization in both the Eastern Bloc and the Arab world.

During the Cold War, television in Eastern Europe was staid.

With the television channels held by CME, television in Eastern Europe was modernized by adopting newsroom-as-set trends based on CNN.

Ronald Lauder and Mark Palmer were CME's American-born co-founders who utilized Western-made broadcast technology, infrastructure and expertise previously unused in Eastern Europe.

Prior to CNN's innovative coverage of the first Gulf War, television stations across the Arab world have used isolated and enclosed news studio sets.

Spurred by CNN's coverage of the first Gulf War, private television channels in the Arab world, such as MBC, adopted newsroom-as-set trends based on CNN.

Waleed bin Ibrahim Al Ibrahim, a Saudi businessman educated in the United States, to begin MBC as part of his ARAvision group.

London had freedom of press and a neutral and independent territory, so it was MBC's first location.

London, which served as the primary base for MBC until 2002, was a testing ground for Western-made broadcast technology, infrastructure and expertise previously unused in the Arab world.

Dubai Media City was MBC's second base from 2002 to 2022, with Saudi Arabia as its third base.

For most of its run at Dubai Media City, MBC used the CNN-style newsroom-as-set trend.

Al-Arabiya, which is MBC's sister channel, also used the similar CNN-style newsroom-as-set trend as MBC from its launch around the Iraqi War until 2020.

Clickspring Design renovated MBC's CNN-style newsroom-as-set trend at Dubai Media City in 2017, which blended Islamic-inspired design elements with modern technology.

Meanwhile, Clickspring Design made Al-Arabiya's studio in 2020.

This newsroom-as-set trend was not new for MBC, however, as it was already being used, while at its London studios, starting in the mid-1990's.

Robert Wiener and Eason Jordan installed a link from Baghdad to CNN during the first Gulf War.

The trio that comprised Bernard Shaw, Peter Arnett and John Holliman brought CNN to unprecedented success and popularity during Operation Desert Storm, due to Robert Wiener's telephone link.

Peter Arnett was the sole CNN voice from Al-Rashid after Bernard Shaw and John Holliman left.

Beyond North America, CNN International distributed the American counterpart's coverage of the first Gulf War to many other countries around the world.

Besides, Al-Jazeera, in its original Arabic iteration, used newsroom-as-set trends for news updates; its main studio was isolated.

During the mid-2010's, Al-Jazeera's original version began using the newsroom as its main backdrop at Studio 5; Veech x Veech designed this one for Al-Jazeera's original version.

For its 25th anniversary, in 2021, Al-Jazeera's Studio 5 was renovated by Clickspring Design.

In its English-language version, Al-Jazeera has consistently used the newsroom-as-set trend from its primary Doha headquarters since its launch.

BBC Arabic Television used the newsroom-as-set trend physically from 2008 to 2013.

Sky News Arabia, like its original British version, has used the newsroom-as-set trend for most of the 2010's decade, which BDA designed.

The Abu Dhabi Media Centre at its twofour54 SEZ was the testing ground for Sky News Arabia.

Dubai Media Inc. had its own Dubai News Centre at Dubai Media City, which BDI designed.

For the Dubai News Centre at Dubai Media City, it is one of the most sophisticated newsrooms in the Middle East, based on one for CNN.

Abu Dhabi TV used a newsroom-as-set trend being designed by British-based Shaun Moore Design during the mid-noughties.

Meanwhile, in Lebanon, Future News and Murr Television (MTV) used CNN-style newsroom-as-set trends, both starting in the late-noughties.

During its initial years, Vesti on RTR/Russia-1 came from the Ostankino Technical Centre, featuring an enclosed and isolated studio set with a world map backdrop.

However, Ostankino suffered damage, which meant that Vesti (Russia-1) came from a makeshift studio with a plain backdrop, during the 1993 events.

Even after the 1993 events, and even with a new look, featuring its high-end opening sequence and its different backdrop, Vesti on RTR/Russia-1 still came from Ostankino.

Some months after the 1993 events, Vesti (Russia-1) moved from Ostankino to a different location.

At Yamskoye Pole, Vesti (Russia-1) had a newsroom-as-set trend, the first of its kind in Russia.

In joint cooperation with the Dutch, this newsroom-as-set trend for Vesti (Russia-1) demonstrated a worldwide influence on its design.

Based on one for CNN, and in turn, BCTV, this newsroom-as-set trend for Vesti (Russia-1) conveyed urgency and transparency that other newscasts in post-Soviet Russia have not.

Tele-Scena remodeled the Vesti newsroom-as-set trend in the mid-noughties.

Khreshchatyk Street, based in central Kyiv, once housed a radio and television studio during the Soviet period from the early-1950's to the early-1990's, when public television moved to the Pencil.

During its post-Soviet era, the Pencil housed public television in the Ukraine (with Khreshchatyk as its secondary hub).

March 9, 1996, which was the birthday of Taras Shevenchenko and the day after International Women's Day, was when a fire broke out at a radio and television studio at Khreshchatyk.

In late-2021, even before the break-out of the Russo-Ukrainian war in February 2022, Suspilne revived and modernized Khreshchatyk by introducing a modern newsroom-as-set trend.

This newsroom-as-set trend being developed for Suspilne at Khreshchatyk Street (influenced by global broadcasters like CNN) is called NewsHouse 2.0.

Housing the main television studio for NewsHouse 2.0 for Suspilne at Khreshchatyk is a glass cube.

Designing NewsHouse 2.0 for Suspilne at Khreshchatyk was a design team led by Slava Balbek.

With NewsHouse 2.0, Suspilne became the Ukraine's main source for accurate and unbiased news and information during the Russo-Ukrainian war.

NewsHouse 2.0, developed for Suspilne, serves as a collaboration between partners, like BBC Media Action and DW Akademie with funding from the European Union.

Having started at the dawn of the nation's post-communist and democratic era, Panorama (TVP2) had utilized the newsroom-as-set trend, the first of its kind in Poland, but via chroma key.

Not long after, Wiadomosci (TVP1) used the newsroom-as-set trend on a physical level.

Earlier on, Teleexpress used a multi-monitor control room set, emphasizing its fast-paced approach.

RCTI, as Indonesia's first private television channel, countered TVRI's state-run news formula with its dynamic, American-style news aesthetic.

Some elements shaping RCTI's American-influenced news style included a news set, which featured a multi-monitor control room backdrop, plus live reports, dynamic graphics and modern music.

Having lasted from late-August 1993 to around 2005, the RCTI news set, with a multi-monitor control room backdrop, was the first in Indonesia to have a working newsroom feel, made à la CNN.

Kebon Jeruk was a testing ground for this working newsroom feel, which RCTI had pioneered.

Initially, Seputar Indonesia used a studio set with a blue backdrop and the name, whilst Buletin Malam used a skyline backdrop via chroma key.

The late-August 1993 revamp led to the launch of the multi-monitor control room news set for RCTI.

What shaped RCTI's American-influenced approach as a counterweight to TVRI was the strategy being honed by Pete Langlois, who, for 11 years, was the news director at KCRA-TV.

SCTV, with its 2008 move to the SCTV Tower, located in the Senayan City complex, started using the newsroom-as-set trend on a larger physical level.

Plus, NET. has used the physical CNN-style newsroom-as-set trend, which BDI designed, since 2013.

Before RCTI and other private channels, TVRI had used enclosed and isolated news studio sets, with a world map backdrop as a authoritative symbol, either via chroma key or physically.

Not until the post-1998 reform period did Indonesian television, including TVRI, undertake significant restructuring towards true editorial independence.

On December 14, 2017, VTC broke from tradition by introducing a real and physical newsroom-as-set trend, which was the first of its kind in Vietnam.

Many Vietnamese television services, like VTV, have utilized traditional and enclosed news sets, either physical or virtual, for years.

This physical VTC newsroom set, inspired by global news broadcasters, like CNN and the BBC, lasted from December 2017 until the January 2025 shutdown of its digital television services.

Whether on ABC Sports, ABC News, CNN, ESPN or many other TV channels all over the world, the innovations by Roone Arledge take news and sports to a cinematic level.

Until the 1980's, the intro sequences for Eyewitness News had a simple wide shot of the studio as the news team walked onto the studio set.

Ever since its inception, Action News has used its fast-paced cinematic intro montage, which includes quick cuts, bold graphics and driving music.

The fast-paced intro sequence for Action News differs from the static intro for Eyewitness News.

Some stations that use the Eyewitness News format have their intro sequences made in the style of an Action News intro to reflect a more fast-paced and modern presentation.

Between the 1960's and the 1980's, the structure and graphics of television news changed.

For newscasts, a presentation style in which scrolling graphics or video consuming the solo screen has evoled into smaller text-to-picture composite graphics positioned alongside the anchor.

During the 1980's, television news presentation changed again (mainly due to advances in production technology and increased competition).

Many of the news studio sets have incorporated elements resembling a command centre, in particular since the 1980's, including video monitors and displays.

HBO's first logo during its national era was introduced on May 1, 1975, when it was still regional.

Betty Brugger, who was the art director for HBO's owner Time-Life, created the HBO logo using ITC Avant Garde Bold as its font.

Nevertheless, the O in the 1975 HBO logo overlapped the B, leading some viewers to call it HEO.

In April 1980, Gerald Huerta refined Betty Brugger's 1975 HBO logo, with letters trimmed and spaces widened.

For HBO's logo, it consists of a bold and uppercase "HBO" text.

A bullseye mark, which represents the camera lens or the projector reels in both filmmaking and film production, based inside the cylindrical O, is incorporated in the HBO logo.

What the O in HBO's logo means is that it suggests that filmmaking takes place, conveys the idea of a home cinema experience and functions as an icon for high-quality film and television content.

Plus, the 1980 version of the 1975 HBO logo is a long-lasting and iconic one with minimal changes.

Stanley J. Beck and Ed Feldman serve as the namesakes of the defunct motion graphics firm known as Edstan, which produced the titles for network television, but also for emerging cable giants.

Using film-based techniques, including slit-scan and backlit cel, Edstan offered a network feel that put aside the low-budget aesthetic by which early cable TV was plagued.

For Edstan, during its peak, its designs served a wide variety of clients, including the iconic Big Three networks (ABC, CBS, NBC), Metromedia, HBO, Star Channel (QUBE), etc.

Bill Feigenbaum often collaborated with Edstan.

Just before Edstan, cable television branding was flat and amateurish.

However, Edstan countered cable television's low-budget perception with the same production values being applied to the Big Three networks and Metromedia.

Incidentally, Edstan bridged the gap between high-end, film-based traditional animation being seen on network television and early cable TV, which was low-budget and low-quality.

Television by Design (TVbD) is a former broadcast graphic design firm from the Turner Broadcasting System graphics department.

During most of the 1980's, TVbD used Ampex ADO, the Quantel Paintbox and Abekas A-62 for their early and influential work.

In the 1990's, TVbD shifted to 3D computer graphics, employing SGI and Wavefront technologies.

Before TVbD was founded, graphic designers from Turner Broadcasting System also used the Quantel DPE-5000, Chyron and Grass Valley systems.

Many designs that TVbD had made were characterized by many hallmarks, such as multiple layers and heavily-used gradients, which eventually became more sophisticated with CGI.

For TVbD, its designs served a wide variety of clients, including local television stations and corporate media companies, like Gannett, Scripps and Post-Newsweek.

Just before Turner-rooted TVbD, television branding used static slides for promos and station IDs.

However, TVbD countered static slides with dynamic, brand-centric animation.

In the late-1980's, jcbD left TVbD to form his own broadcast design firm; his younger brother, whose given name was James, worked at both TVbD and Turner as a graphic designer.

Besides jcbD, Melanie Goux, Jay Antzakas and Jay Cordova are TVbD's other co-founders.

John Sewell, Bernard Lodge and Martin Lambie-Nairn are also trailblazers in broadcast design.

Hired by the BBC as its first graphic designer after his graduation from the Royal School of Art, John Sewell established and managed the department that created television graphics.

Under John Sewell, the BBC's graphics department pioneered the early on-air design aesthetic.

For Bernard Lodge, he pioneered rostrum cameras controlled by computers for title sequences.

Martin Lambie-Nairn revolutionized television graphics with 3D animation and cinematic live-action sequences for station identifications.

Electric Image (EI), Digital Pictures and Infiynity are former high-end British 3D computer graphics companies.

John Paul Docherty left Molinare to start Electric Image, which then struck an agreement in the US to outsource software from Abel Image Research from Robert Abel & Associates.

For its film work, John Paul Docherty's Electric Image used an Oxberry Matrix camera.

Chris Briscoe founded Digital Pictures in the early-1980's era as Britain's first 3D computer graphics facility.

Infynity is a former high-end British 3D computer graphics firm based at Great Marlborough Street in London, which former BBC designers Chris Fynes and John Spiers founded/led.

Novocom/GRFX, which was later rebranded as Via Worldwide, is also a broadcast design firm, notably working with Paramount and various worldwide television services.

Like Turner-rooted TVbD, Novocom/GRFX had a modern and slick aesthetic in television graphics.

Just as TVbD grew out of the Turner empire in Atlanta, Novocom grew out of the Hollywood boom.

During most of the 1980's, Novocom/GRFX used the Quantel Paintbox, the Cubicomp Vertigo and the Oxberry film stand.

In the 1990's, Novocom/GRFX used the Quantel Paintbox and Henry, Alias|Wavefront, Discreet Logic Flame, Abekas A-60 and A-66 and Grass Valley Kaleidoscope.

Many Novocom/GRFX works in the 1990's have characteristics, like heavily-used gradients, glowing borders, abstract shapes, tech-inspired elements, floating 3D text and so on, like TVbD.

Unlike the jerky animations being made in the 1980's, Novocom/GRFX, in the 1990's, had pioneered smooth and sweeping camera paths with a cinematic feel, like Lambie-Nairn.

Billy Pittard and Ed Sullivan are the namesakes of an influential broadcast design firm, which rivalled Novocom/GRFX and Turner-rooted Television by Design (TVbD).

Like Lambie-Nairn, Pittard Sullivan often used cinematic live-action for station IDs and titles.

For Billy Pittard, his career as a broadcast designer began at WNGE-TV in Nashville, developing new digital techniques, which drew Hollywood's attention.

Crawford Media Services had its own motion graphics/visual effects division called DesignEFX.

During the 1990's, Crawford DesignEFX utilized the Quantel Henry, Alias|Wavefront, Discreet Logic Flame, DigiBeta and D-1 (Sony).

Similar to TVbD, rooted in Atlanta, plus Novocom/GRFX and Pittard Sullivan, both using Hollywood roots, Crawford DesignEFX had a modern and slick aesthetic in television graphics.

Novocom/GRFX defined the network television look in both the United States and the world, whereas Crawford DesignEFX branded the emerging cable giants.

During the 1990's decade, both Pittard Sullivan and 3 Ring Circus created the designs, with Helium Productions doing the animation.

Studio Productions (Flip Your Lid Animation) is a former CGI company owned by Jay Jacoby, with Wendell Wiggins as its other personnel.

Alex Broadbent is a 3D animator and graphic designer for Turner Broadcasting System from 1993 to 1997, using Quantel, Alias|Wavefront, Softimage and SGI technologies.

Suzanne H. Smith is CNN's former Head of 3D Animation, producing, designing and executing 3D opening sequences made for this network using Alias|Wavefront and SGI technologies.

Daniel Barber, who studied graphic design and made a short movie at St. Martin's School of Art, is a former employee at Lambie-Nairn.

Having worked at Lambie-Nairn, Daniel Barber's work advanced this motion graphics scene beyond traditional 3D logos with live-action elements in a filmic quality.

Synchronized Sound, 11th Street Post and IMG Graphics are former companies based in Atlanta.

James Klotz, an Atlanta native, founded Synchronized Sound in 1993

Having been originally influenced by classic rock, new wave and punk, James Klotz began working for Turner Broadcasting System in 1989 as the industry was shifting from analog to digital.

L. David McCollum and Harold Sellers are James Klotz's longtime friends, the earlier of whom joined Turner in 1989.

Ever since its inception in 1993, Synchronized Sound has produced sounds for Turner networks.

Initially, Bob Woodhead worked at HBO in its digital graphics department in New York.

While in Atlanta, Bob Woodhead worked at 11th Street Communications (doing many of the animated sequences for Turner networks).

Having moved to Atlanta in 1998 in the wake of the 1996 TimeWarner-Turner merger, Bob Woodhead bridged the gap between TimeWarner and Turner.

Alexander Grinke is the German-born motion graphic designer working for MBC.

Born in Nuremberg, Alexander Grinke has worked for MBC, first as its creative director and then its remote worker in Singapore.

Television stations in the Western Bloc utilize a modern and contemporary look/feel, with a loose and energetic presentation, modern graphics and modern production techniques.

Furthermore, television stations in some neutral nations use the same values as the Western Bloc.

Incidentally, many of the television properties in the Western Bloc have high production values, as do many others in neutral nations.

NTSC, PAL and SECAM are the Big Three colour television standards during the analog era.

The NTSC standard is the first ever colour television system in the world; it operates at 30 frames per second (60 Hz), resulting in smoother motion, good for fast-paced content like sports.

PAL has a higher resolution and improved colour stability, making it better than NTSC.

SECAM prevents the errors that plague NTSC, similar to PAL.

For average television viewers watching all over the world, PAL is the most robust and reliable of the three colour television standards during the analog era.

During the Cold War era, television in the Eastern Bloc used a lower production quality than Western counterparts overall, and news came under strict communist control.

Incidentally, during the Cold War, television in the Eastern Bloc used a basic and archaic feel.

Global television stations have been influenced for years by public and private television broadcasters hailing from core Anglosphere nations, Latin America and mainland Europe.

For the three primary commercial metropolitan-based television networks in Australia, especially since colour, they have usually adopted a presentation style from their American counterparts.

Metropolitan places in Australia have three commercial television channels, plus the ABC and SBS.

Regional television stations in Australia operated under the solus system, where most viewers provided access to one local commercial station, the ABC and SBS.

Under the solus system, commercial television stations in Australia's rural/regional places were fiercely independent and were not affiliated with any metro-based network.

This solus system meant allowing Australia's rural/regional television outlets to offer programs from all metro-based networks, as well as local programs.

During the era of the solus system, regional television in Australia endured a localized and independent approach (unique logos, locally-produced programs and low-budget presentation).

With aggregation, regional television in Australia became equal to their metropolitan counterparts.

For the solus system, it means that television stations located in Australia's rural/regional places have a basic and archaic look.

However, aggregation means using the high-gloss and metro-based look for Australia's regional areas.

Conversely, aggregation in Australia's regional television scene leads to a decline in localism.

Southern New South Wales/ACT was the first Australian region to have television be affected by the aggregation process, which came in late-March 1989.

Queensland was the second Australian region affected by aggregation on New Year's Eve 1990.

Northern New South Wales, Victoria and Tasmania came around in the early-to-mid-1990's.

Western Australia, South Australia and the Northern Territory are the regions that were not affected by aggregation.

This aggregation process was made possible through the Aussat system, which was the first domestic communications satellite system in Australia.

With its first two satellites launched in 1985 via NASA's Space Shuttle, plus a third one by an Ariane rocket, Aussat changed telecommunications down under.

Australia's aggregation model is studied and referenced by other countries seeking to modernize their television landscapes in a Western-like approach, especially in the post-Cold War era.

Some of the regions seeking to modernize television in a Western-like approach in the post-Cold War period include the Eastern Bloc, the Arab world and South and Southeast Asia.

Besides, Australia's regional TV aggregation model recalls America's cable television channels, which started on a low-budget and regional basis, then scaled nationally via satellite.

Noted US cable channels recalling Australia's regional television scene in this post-aggregation period include HBO, TBS and CBN.

Incidentally, both HBO and TBS are cable TV pioneers being held by TimeWarner, the latter of which spawned its sisters like CNN, the first 24-hour television news in the world.

Glasnost and perestroika, which are policies that Mikhail Gorbachev spearheaded, led many television services in the Eastern Bloc to modernize themselves, along with Solidarity, led by Lech Walesa.

The first Gulf War, as covered by CNN, modernized the technology and speed of television journalism around the world, moving towards continuous, live 24-hour news reports.

Due to television's early success and popularity, William Golden and Kurt Weihs created a symbol to separate CBS Television from radio.

For William Golden, his logo for CBS Television features the eye, symbolizing this medium.

Often paired with a high-contrast Didot/Bodoni typeface, the iconic and world-famous CBS eye logo, which William Golden created, has since been a part of its corporate identity.

Hex signs on Shaker barns in Pennsylvania Dutch farms inspired William Golden's CBS eye logo.

Lou Dorfsman took over as CBS' creative director upon William Golden's death, making architecture, interiors and cafeteria menus.

Frank Stanton protected and championed William Golden's CBS eye logo.

In 1969, ABC commissioned Harry Marks to design an opening title sequence for its own Movie of the Week series, with Douglas Trumbull doing the animation using the slit-scan process.

The innovation for the ABC Movie of the Week intro sequence is the use of the slit-scan technique.

During its first years as a regional service, HBO had a basic, low-budget and archaic on-air look.

When its feed was uplinked nationwide via satellite on September 30, 1975, HBO's on-air look was created by Computer Image Corporation using Scanimate.

Using its slogan The Great Entertainment Alternative, HBO transitioned to film-based animation.

Orest Woronewych was a pioneer in adapting computer technology for on-air looks while at HBO; his innovative work led to much of the bold and distinctive graphics used by HBO and Cinemax.

Having worked at HBO from 1978 to 1996, Orest Woronewych's innovations have since been used by many other television networks in the US and the world.

Edstan Studio did the animation for HBO's station identifications from 1977 to 1981.

Robert Abel & Associates did the animation for HBO's feature presentation intro sequences during the early-1980's.

Liberty Studios created the iconic and famous HBO in Space sequence, which is regarded as one of the most beloved opening bumpers of the 1980's.

For HBO in Space, a model city is built in three sections, filmed with a computer-controlled camera.

Plus, the big and shiny HBO logo used for this HBO in Space sequence is a physical model made from chromed-plated brass, also filmed with a computer-controlled camera.

Visual effects for the HBO in Space sequence include a Stargate effect, star field and swirling colours.

Smoke is used for the HBO in Space sequence to give an atmospheric sense of distance.

James A. Kowalski served as the Director of Special Effects for the iconic and famous HBO in Space sequence, and David Bruce did the Stargate animation.

Blending live-action, backlit cel animation, fiber optics, motors, gears and pulleys, this HBO in Space sequence was impressive.

Incidentally, this HBO in Space sequence made its first usage at a transitional period between practical optical effects and computer-generated animation.

Until November 1, 1986, the HBO in Space sequence was used before most programs.

On November 1, 1986, the HBO in Space sequence was reduced to be aired before big-ticket primetime movies and special events to prevent it from the process of getting outdated.

Also on November 1, 1986, the HBO Movie sequence was introduced, used before most general movie presentations, with Pacific Data Images doing the animation.

This HBO Movie sequence lasted until October 31, 1997.

For this HBO Movie sequence, it starts with the heliotrope logo positioned across a filmstrip (with light rays shooting through it), then zooms out from CGI squares glowing in neon colours.

Lights shoot out from the final square, illuminating a group of small, rainbow-coloured dots; they zoom out to form a purple HBO logo with the Movie word was made in a script font on a black backdrop.

November 1, 1997 was when HBO embarked on a new era called It's On Now, with its own on-air look being made by Telezign, tied to its own famous slogan: "It's Not TV. It's HBO."

For Telezign's 1997 work, HBO went through phases of trying to figure out their identity.

During its initial years as a regional cable TV service, HBO's on-air look recalls regional television in Australia in the pre-aggregation era.

Since its national era, HBO's on-air look recalls regional television in Australia after aggregation.

During its first 12 years, 9 under Ted Turner, even after its national superstation status started, WTCG utilized a low-budget and archaic on-air look.

However, with the change of its calls (some years after its national superstation status started), WTBS made its facelift in both graphics and production values through its graphics department.

For the first on-air look being created after the change of its calls, WTBS started using the SuperStation symbol that resembled the Star Wars logo, giving it a futuristic and cinematic feel.

In turn, this first on-air look for WTBS after its call change was based upon the equally-futuristic visual effects in the first Star Wars film (1977).

All in all, the first on-air look being made for WTBS after the change of its calls from WTCG gave the station a facelift in quality in both graphics and production values.

Until 1981, SuperStation WTBS used a futuristic Star Wars-like font.

From July 1980 to April 1981, the colourful polyhedron-like icon was used for SuperStation WTBS in both its local and national feeds during the era informally known as Rising Star.

The graphics package being created in 1981 for the WTBS national feed had an exclusive focus on the SuperStation WTBS identity, further professionalizing its national presentation.

Using state-of-the-art Quantel Paintbox technology, the 1981 graphics package for the WTBS national signal featured slick animated graphics, emphasizing its national reach and identity.

Helvetica Black Oblique and Helvetica Medium Oblique were notable fonts being utilized in the 1981 SuperStation WTBS logo.

Plus, the image of the CNN satellites was used for the 1981 SuperStation WTBS graphics package.

Informally known as the Satellite Dishes era, this on-air look for SuperStation WTBS lasted from May 1981 to July 1984, mainly associated with the start of its unique Turner Time format.

Not long after, the 1984 graphics package for this WTBS national signal used a sophisticated 3D logo design using cutting-edge CGI technology, with Digital Productions doing the animation.

The Marble era for SuperStation WTBS began in July 1984.

Studio Productions (Flip Your Lid Animation) designed an on-air look for both SuperStation TBS and TBS SuperStation until the early-1990's, further enhancing CGI techniques.

A graphics design company by jcbD's brother designed the on-air look for TBS in the early-1990's.

Garmond Bold Italic is a font used in some SuperStation WTBS logos from 1984 to the mid-1990's.

In the mid-1990's or after 1993, PMcD Design modified the TBS logo with the letters being recoloured yellow and italics removed.

Plus, in December 1996, TBS reincorporated the Superstation moniker into its name (this time with the second "s" rendered in lowercase) with a spiral/swirl shape.

AFCG did the animation for PMcD Design's 1996 TBS Superstation graphics package.

Bodoni Condensed is a font used in some TBS logos made by PMcD Design from the mid-1990's until New Year's Eve 2002.

The Superstation font in this 1996 TBS Superstation logo is Zurich Light Extra Condensed, with Super coloured in yellow on-air.

Jim Parkins designed the TBS Superstation logo after 2002.

Emphasizing its new focus on comedy, TBS introduced its new symbol before 2005, with a half-circle resembling a smiling mouth and the slogan Very Funny.

Sean Heisler designed the TBS logo in the mid-2010's or after 2014; Trollback & Company refined this one in 2020.

The iconic and world-famous CNN logo is inspired by a Yagi Double font.

From 1980 to 1984, CNN used a station ID consisting of an ivory logo sliding into a red-outlined black rectangle, then displaying the text "The News Channel" in a serif font over a live video feed.

Eventually, CNN began using individual logos for its programs.

Besides the Marble look for SuperStation WTBS, Digital Productions also did the animation for Night Tracks and the Cable Music Channel.

For its movie intros starting in late-September 1989, the renamed TBS SuperStation commissioned the newly-opened Disney-MGM Studios at Walt Disney World to be used as a shooting location.

The New York Street backlot at Disney-MGM was specifically used for the 1989 TBS movie intros.

What fitted the 1989 TBS movie intros is the fact that it was filmed on the New York Street backlot at Disney-MGM and shot on thirty-five mm film, giving them a cinematic quality.

During its first 12 years (9 of them under Ted Turner's ownership), even after its status as a national superstation began, the WTCG on-air look recalled pre-aggregation regional TV in Australia.

Upon the change of its calls from WTCG to WTBS, as well as the use of the futuristic SuperStation symbol à la Star Wars, the WTBS on-air look became high-end and sophisicated.

Since July 1984, when Digital Productions did the animation for its national feed, using cutting-edge computer graphics for WTBS has improved its on-air look even further.

From 1984 to 2009, Etienne Robial was the general artistic director for Canal+.

At a time when European television used a staid presentation, Etienne Robial's work for Canal+ altered this landscape with the concept of habillage.

Made in the form of a mathematical geometric grid based on squares, Etienne Robial's work for Canal+ was successfully exported to 11 countries.

Les Enfants Du Rock, a music program on Antenne 2, was a direct precusor to Canal+.

Often working with Etienne Robial is Mathias Ledoux.

Etienne Robial's work for Canal+, which changed European television presentation, can recall regional television in Australia in the post-aggregation era.

In France, until Etienne Robial, television used low production values for a capitalist country, while in Britain, this medium used more advanced production values.

By the 1990's, both France and Britain used similar production values in television.

Frans Lases, Carlo Delbosq and Ron van Roon masterminded VARA's relaunch, including its own logo with its exclamation mark, in the mid-1980's, also changing European TV presentation.

During the Cold War, East German residents usually watched their Western German counterparts, which were more popular than local channels.

Hungary and Yugoslavia are noted exceptions to Eastern Bloc television during the Cold War.

MTV, while operating under a communist regime, used a more innovative and progressive presentation than the other Eastern Bloc broadcasters during the Cold War.

JRT used a presentation aligned with Western broadcasters during the Cold War.

A modern feel all over the Eastern Bloc sparked by the reformist policies made by Mikhail Gorbachev recalls regional television in Australia in the post-aggregation era.

Meanwhile, before the 1990's, television assets in Yugoslavia used a basic and archaic feel.

After the Yugoslav Wars, television stations in Yugoslavia began having a more contemporary feel by being exposed to global media and Western technologies.

Yugoslav television has younger and sexier personalities who use modern and casual clothes, more modern graphics and a looser, more energetic presentation in an era after the Yugoslav Wars.

Some other elements for Yugoslav television in this period after the Yugoslav Wars include modern production techniques eventually used and more field reports with visible anchors/staff.

Plus, the influx of the high-end 3D computer graphics formula for Yugoslav television was after the Yugoslav Wars period.

Many of the Yugoslav television broadcasters in the period after the Yugoslav Wars spiffed up their presentation to be on par with their Western counterparts.

A modern feel in the former Yugoslavia countries after the Yugoslav Wars would recall the regional television scene in Australia in the post-aggregation era.

Huge changes/improvements for Yugoslav television after the Yugoslav Wars made production values become more in line with Western broadcasters and more appealing to younger viewers.

Prior to the 1990's, Argentina's television stations have a basic and archaic on-air look.

In the 1990's, television stations across Argentina began having a more contemporary feel by being exposed to global media and Western technologies.

A modern feel in Argentina since the 1990's recalls regional television in Australia after aggregation.

Whereas Ireland, South Africa, Taiwan and Singapore have later starts for television than some other countries, their programming and presentation are on par with others in the First World.

Filipino television broadcasters in the post-EDSA era use younger and sexier personalities donning modern and casual clothes, more modern graphics and a looser, more energetic presentation.

Some of the other elements for many Filipino television broadcasters in the post-EDSA era include modern production techniques and more field reports with visible anchors/staff.

In the Arab world, just before CNN's coverage of the first Gulf War, television assets have a basic and archaic on-air look.

However, partly due to CNN's Gulf War coverage, television assets in Arab countries started having a modern feel by being exposed to global media and Western technologies.

A modern and contemporary feel for television in the Arab world, partly due to CNN's first Gulf War coverage, recalls regional television in Australia in the post-aggregation era.

CNN's coverage of the first Gulf War has led to broader changes in the content and style of television programming in media across the Arab world, but also spurred cosmetic modern graphics.

The second news opening sequence for MBC was designed by Richard Norley of ITN, with Infynity doing the animation.

Mark Jones led the creative direction for Sky News Arabia upon its debut.

In mainland China, under Mao Zedong, television stations have a basic and archaic on-air look.

But under Deng Xiaoping as its paramount leader, television outlets in mainland China began having a modern feel by being exposed to global media and Western technologies.

Since Deng Xiaoping, using modern graphics has been a cosmetic task, but it has also brought broader changes in the content and style of television programming in mainland China.

A modern feel in mainland China since the 1990's decade recalls regional televisionin Australia in the post-aggregation era.

On the other hand, in Vietnam, during the first years after the 1975 reunification as a fully-communist country, many television stations have a basic and archaic on-air look.

However, with Doi Moi, television assets in Vietnam began having a modern feel by being exposed to global media and Western technologies.

Like other nations formerly having an archaic on-air look, a modern look in Vietnam recalls regional television in Australia after aggregation.

For Singaporean television, ever since colour made its arrival, television graphics have improved and evolved.

During the Cold War, India's television presentation was staid, since Doordarshan held a monopoly.

Upon the economic reforms made by P.V. Narasimha Rao and Manmohan Singh, the Indian television landscape began shaking up.

Like other nations formerly having an archaic on-air look, a modern look in India can recall regional television in Australia after aggregation.

Since TRT had held a monopoly before 1990, Turkey's television presentation was staid.

Ever since Star TV began in 1990, television stations in Turkey have begun utilizing modern high-end graphics.

A modern feel in Turkey since Star TV recalls regional television in Australia in the post-aggregation period.

BS Graphics is a pioneering motion graphics studio during Russia's early post-Soviet era.

Having used high production values at a time when other motion graphic studios in post-Soviet Russia used none, BS Graphics used the Quantel HAL system, plus SGI and Softimage technologies.

Founded in 1993, BS Graphics modernized Russia's motion graphics and broadcast design by bringing Western production standards to post-Soviet Russia.

Sergey Bazhenov, whose BS Graphics came form hits initials, changed the way television graphics are being made in post-Soviet Russia.

Prior to BS Graphics, Russian television relied on analog transitions or character generators.

However, BS Graphics earned fledging Russian channels a corporate look, but also elevated television commercials from video to cinematic and acted as a school for younger digital artists.

Incidentally, BS Graphics' influence in modernizing the motion graphics and broadcast design field in post-Soviet Russia recalls regional television in Australia after aggregation.

The computer graphics division of the ITC company was one of the first private companies located in post-1989 Poland to produce high-end 3D computer animation in graphics and post-production.

Driving the vision for ITC's computer graphics division was Pawel Dzierwa.

For ITC's computer graphics division, which Pawel Dzierwa had led, it recalls regional television in Australia after aggregation.

The BBC won the Queen's Award on numerous occasions for its worldwide achievements.

Large foreign sales by ITC during the 1960's and beyond led to ACC winning the Queen's Award for Export on numerous occasions.

Quantel won the Queen's Award on numerous occasions for its innovative software being utilized on motion pictures and television.

EMI won the Queen's Award on numerous occasions for its work in the music industry.

Balls and Walls is a generic news graphics package made by Television by Design (TVbD).

For the Balls and Walls news graphics package, the city and county name circling in orbit around the geosphere depends on a local area.

Going across the pond, for News at Ten (ITV), the face of the Big Ben clock tower is its most famous symbol in the opening sequence.

A quick zoom into the Big Ben clock face is followed by the News at Ten name appearing on screen

News music features the rhythm of a teletype machine or Morse code, together with two of the loudest instrumental groups in the Western orchestra: brass and percussion.

During the 20th century, teletypes and Morse code are major methods being used to transmit news and information, especially in newsrooms before computers and telephones become widespread.

The trend of having music being sourced from films as news themes was Al Primo's innovation, which effectively took news music to a cinematic level.

Many modern news music packages incorporate music techniques frequently utilized in film scores to enhance the emotional impact and storytelling of the news.

The Tar Sequence, an orchestral music cue from the late-1960's prison drama film Cool Hand Luke by Lalo Schifrin, is one of the cues specifically used through newscasts.

For Cool Hand Luke: The Tar Sequence, what makes it a fitting music cue for newscasts, in particular television news, is a staccato rhythm resembling the teletype.

WABC-TV is the first television station in the world to use Cool Hand Luke: The Tar Sequence as the Eyewitness News theme when Al Primo arrived from Philadelphia.

Lalo Schifrin, who has roots in Western classical music, jazz and pop, made Cool Hand Luke: The Tar Sequence the most recognizable news theme in the world.

During the pre-CHL era, news music had neutral orchestral music, specifically fanfares and marches.

In addition, the teletype and Morse code were simple news sounders with no music to play in.

Marches/fanfares, plus the teletype and Morse code, lacked the dynamic music energy and emotional resonance of a full orchestral theme in television news during the pre-CHL era.

Cool Hand Luke: The Tar Sequence mixes the teletype sounder with cinematic orchestral, jazz and pop elements to pioneer the modern and urgent news music sound.

In order to make its sound fitting for newscasts, Al Primo selected and edited Cool Hand Luke: The Tar Sequence as the theme tune for Eyewitness News, removing its non-news elements.

The elements in Cool Hand Luke: The Tar Sequence is adopted and adapted in modern news themes.

Many television stations in the United States and the world have either used Cool Hand Luke: The Tar Sequence or made their own news music packages mirroring its modern cinematic sound.

Having been an iconic and famous news music cue, CHL: The Tar Sequence bridged the gap between teletype sounders and a cinematic orchestral feel with jazz and pop influences.

Plus, Cool Hand Luke: The Tar Sequence is more famous as a news theme than the film.

In the mid-1980's, Frank Gari updated Cool Hand Luke: The Tar Sequence into News Series 2000.

Whereas previous news music packages created by Frank Gari featured vocal-driven campaigns, News Series 2000 broke from tradition with its continuously instrumental style.

News Series 2000 updated the CHL motif by Lalo Schifrin with contemporary orchestration.

Frank Gari's News Series 2000 solidified CHL as a news music package.

The 1990's version of the News Series 2000 package by Frank Gari was News Series 2000 Plus.

Eyewitness News, which Frank Gari made after Lalo Schifrin raised the royalties, is also iconic.

For the WABC-TV version of Eyewitness News Series 1, Frank Gari created a news package without a teletype sound.

KABC-TV's Eyewitness News Series 1 version by Frank Gari featured a teletype sound based on CHL.

Besides News Series 2000, News Series 2000 Plus and Eyewitness News, all derived from Cool Hand Luke: The Tar Sequence, Frank Gari also made other instrumental news music packages.

The Great News Package, which Frank Gari had commissioned for WXIA, has a similar style to News Series 2000.

Advantage, a news music package specially commissioned for WFSB by Frank Gari and introduced in 1989, has a distinctive and upbeat style.

Eyewiness News, The Great News Package and Advantage have also earned a presence outside the United States.

In the UK, The Great News Package was used by Sky News as its first news music package from its February 1989 launch until September 1993 rebrand.

Meanwhile, in the Arab world, Advantage was used by MBC as its first news music package upon its launch spurred by CNN's Gulf War coverage, and again since its fifteenth year.

For MBC, Advantage, a theme that Frank Gari had commissioned in the US, introduced Western-like news themes to the private television sector in the Arab world.

Besides Advantage, Gari Communications composed a news theme for MBC in 1997.

Eyewitness News (by Gari Commmunications) was used in Eastern European nations, notably Poland, Romania and Slovenia.

Pro TV, for instance, used Eyewitness News (by Gari) upon its launch, introducing Western-like news themes to the private television sector in Romania.

Aujourd'hui C'est Toi from A Man and a Woman by Francis Lai (in its instrumental iteration) is also utilized through newscasts and current affairs.

In the UK, the BBC's Panorama, which is the longest-running television current affairs program in the world, uses an adaptation of Francis Lai's Aujourd'hui C'est Toi as its theme tune.

For Francis Lai's Aujourd'hui C'est Toi piece, what makes it a fitting one for both television news and current affairs is its timpani drums, its strings and its French flavour.

The use of timpani drums in Francis Lai's Aujourd'hui C'est Toi piece can convey drama, urgency and importance, all being suited qualities for a news and current affairs program.

Strings in Francis Lai's Aujourd'hui C'est Toi piece convey gravity and significance.

Move Closer to Your World is an iconic and famous television news music package that is based on a jingle and still used by WPVI-TV and WNEP-TV.

Before MCTYW, The Action News Theme was the first theme used for the Action News format.

Tom Sellers, a student of Temple University, which also uses his fellow classmates and students Daryl Hall and John Oates (Hall and Oates), wrote The Action News Theme.

Al Ham, who was a session musician in pop music, wrote Move Closer to Your World.

Similarly, both Tom Sellers' The Action News Theme and Al Ham's Move Closer to Your World are centered around a trumpet lead and a timpani-driven finish; they also play in the same key.

Plus, both The Action News Theme and Move Closer to Your World have a soul-pop sound.

The first station to use Move Closer to Your World is WNAC-TV, which is one of the first television stations in the United States to use a jingle-based news music package as well.

For years, WPVI-TV and WNEP-TV, both of which are ABC stations in Pennsylvania, have used Move Closer to Your World, doubling as the only US stations to use this music package.

WPXI, though not an ABC station, is another Pennsylvania station using Move Closer to Your World.

Outside Pennsylvania, WKBW-TV, a former sister station of WPVI-TV, notably used Move Closer to Your World, as did other Capital Cities/ABC stations like WTVD, WTNH, KTRK and KFSN.

Good Evening Mr. & Mrs. America and All the Ships, performed by Tom Scott & the L.A. Express, is a music cue fittingly being used for news, which pays tribute to Walter Winchell.

What makes the music tribute to Walter Winchell called Good Evening Mr. & Mrs. America and All the Ships by Tom Scott and the L.A. Express a fitting news cue is that it has a teletype melody.

Score Productions, based in New York and founded by Bob Israel, has been responsible for the music packages being made for both ABC News and ABC Sports under Roone Arledge.

Edd Kalehoff, who is a freelancer at Score Productions, is the go-to man for ABC music.

VideoHelper, a music company co-led by former ABC News promo producer Stewart Winter, likewise creates music for ABC News.

Joseph Saba, who was a major label artist, usually works with Stewart Winter at VideoHelper.

DreamArtists Studios, founded by Matthew Kajcienski, is also responsible for the ABC News music.

From its July 10, 1978 debut to March 1980, World News Tonight had a teletype theme tune, made for ABC News by Score Productions, innovative for Moog synthesizers on network television.

Later, an orchestral incarnation of the Moog-based teletype theme tune, made for ABC News by Score Productions, was used for World News Tonight until 1990.

A remixed incarnation of the orchestral version of the Moog-based teletype theme tune, made for ABC News by Score Productions, was used from 1990 to 1996.

Edd Kalehoff created his own World News Tonight theme tune in 1996, and revived the 1978 theme in January 1998, at the turn of the 21st century until the early-2010's and in 2020 in three remixes.

The 4-note fanfare, created for World News Tonight by Score Productions, has been rearranged and reintroduced, becoming a sonic signature for ABC News.

VideoHelper and DreamArtists Music also created other themes for ABC News.

Score Productions also did music for the Satellite News Channel, which ABC co-owned.

The title track from The Electric Horseman, an orchestral music cue by Dave Grusin, is used through newscasts and current affairs programs worldwide.

Mixing orchestral elements with disco, the title track from The Electric Horseman has a dramatic and sweeping sound.

Dave Grusin, who, like Lalo Schifrin, worked with Quincy Jones, also composed Montage.

What makes Dave Grusin's Montage cue a fitting newscast theme is a staccato melody resembling the teletype.

Classical Gas by Mason Williams is one of the pop music tunes also being used through newscasts.

For Classical Gas, what makes it a fitting music piece for newscasts, in particular television news, is a distinctive and unique classical and pop combination, its driving rhythm and its upbeat feel.

Like Move Closer to Your World, Classical Gas is being used for Action News.

Fool's Overture by Supertramp is one of the pop music tunes also being used through current affairs programs.

CTV's W5 notably used a synth-heavy instrumental portion of Fool's Overture by Supertramp.

Dancing in the Stars by Mannheim Steamroller is likewise a pop music piece also being used through newscasts.

What makes Mannheim Steamroller's Dancing in the Stars a fitting music cue for television news is a combination of pop and orchestral elements.

The Mission is an orchestral suite, composed by world-famous Hollywood film music composer John Williams as a television news music package for NBC News.

Having consisted of four movements, The Mission altered the news music sound by moving from the conventional fanfare-based themes towards a symphonic and nuanced approach.

Stock music, also known as production music or library music, is recorded music licensed for use in various media forms, including (but not limited to) film, television and radio.

The main engines of the global stock music market are the United Kingdom and the United States.

Britain has endured significant influence for stock music, with the US as a dominant force.

Ever since the late-1920's advent of talkies, many stock music labels have used recorded music from different eras and genres.

For the corporate/industrial genre, especially in news and current affairs, stock music incorporates the sounds of technology like the teletype or Morse code.

Plus, the corporate/industrial genre in stock music uses a modern and cinematic orchestral feel, which combines grand orchestral arrangements with industrial and corporate settings in a modern age.

In compact discs, stock music albums provide many advantages, including improved audio quality and durability, compared to previous formats, like vinyl, LPs and magnetic tapes.

Fast Action, composed for the De Wolfe label and performed by the Laurence Stephen Orchestra, is a stock music cue notably being used for television news.

What makes Fast Action, composed for De Wolfe Music, a fitting music cue for television news is its dynamic and urgent sound, punctuated by brass and strings.

The Awakening, written for the KPM label in the late-1960's by Johnny Pearson, is a stock music cue notably used for News at Ten (ITV) and, since the mid-1990's, other ITN newscasts.

By employing a brass and string section, snare drums and orchestral percussion, Johnny Pearson's The Awakening piece for KPM creates a powerful and serious mood for newscasts.

Famously, the Big Ben chimes is heard to punctuate the headlines for News at Ten (ITV) and others.

Non-Stop, a music composition by Malcolm Batt (John Malcolm), is the first news theme for ITN.

Initially made as a piano piece as a teenager, John Malcolm's Non-Stop composition was accepted by Francis, Day and Hunter and made in an orchestral arrangement by Ivor Slaney.

With Ivor Slaney's orchestral arrangement being conducted by Georges Devereaux, and performed by L'Orchestre Devereaux, John Malcolm's Non-Stop was by ITN from the 1950's to the 1980's.

Belgium and Switzerland are nations where John Malcolm's Non-Stop cue was reportedly recorded.

For ITN, the Non-Stop music piece by John Malcolm uses a cheery and upbeat sound, which offers a stylistic contrast to the more serious tone of the BBC's news music sound.

In the late-1960's, Johnny Pearson's more dramatic The Awakening cue meant that Non-Stop by John Malcolm was limited to shorter and weekend newscasts for ITN.

However, the Falklands War led to John Malcolm's Non-Stop being unused as a main ITN theme.

Removing Non-Stop, in the wake of the Falklands War, meant that many ITN news themes use a more serious sound, though Non-Stop was used occassionally.

Bill "Troll" Tullis was the music director for Turner Broadcasting System, bur also one of the longtime voices for SuperStation WTBS, CNN and CNN Headline News until 2002.

Having been the music director for Turner Broadcasting System, Bill "Troll" Tullis was responsible for many of its unique and innovative music, notably for TBS, CNN and CNN Headline News.

Just before moving to television, Bill "Troll" Tullis worked in radio, having served as the first program director for WVVS-FM.

As the student-run radio station of Valdosta State College, WVVS-FM introduced heavy rock and prog rock bands to regional audiences under Bill "Troll" Tullis.

Leaving Turner in 2002, Bill "Troll" Tullis founded All TV Music.

John Young, Don Harrison and James Earl Jones, besides Bill "Troll" Tullis, are some other longtime voices for Turner Broadcasting System, the latter for CNN.

The iconic and famous phrase delivered by James Earl Jones is "This...is CNN."

During the 1980's, CNN used stock music cues from many labels, including De Wolfe, KPM, Bruton, Sonoton, Killer Tracks, FirstCom, MusicHouse, Atmosphere, Match, Parry, Omni, etc.

Plus, during the 1980's, CNN contracted Score Productions to create custom music for its station IDs.

In 1990, its 10th year, CNN again contracted Score Productions to create custom music.

For Score Productions, it also made music for CNN Headline News since its merger with the Satellite News Channel, partly-run by ABC News, the latter for which it also did music.

Incidentally, Score Productions created the music for ABC News, including World News Tonight, the Satellite News Channel, CNN and CNN Headline News.

Herb Avery, a jazz musician based in Atlanta, has made orchestral and jazz-inspired cues on both the domestic and worldwide feeds of CNN, plus Headline News, during the 1990's and beyond.

The music cues being created for CNN by both Score Productions and Herb Avery are also stored as stock music cues in the Turner Broadcast Music Library by Sound Ideas.

Plus, Sound Ideas formerly distributed De Wolfe Music and Beatbox Music in Canada.

During the Cold War, news music in the Eastern Bloc had a neutral orchestral sound.

After the Cold War, news music in the Eastern Bloc used a more modern uniform sound influenced by Western-style (Western European and American) music principles.

Meanwhile, in both mainland China and Vietnam, many news music themes utilize a modern Western sound, whereas some others sound traditional.

Some Chinese composers also do television news music in a modern Western sound.