Television headquarters

30 Rockefeller Plaza, the centrepiece of the Rockefeller Centre complex, which is located in New York City's Midtown Manhattan portion, is also one of the most famous attractions in the world.

For 30 Rockefeller Plaza, it is an iconic and world-famous skyscraper made in Art Deco.

Raymond Hood designed Rockefeller Centre in 1933; this included 30 Rockefeller Plaza, whose main tenant is the Radio Corporation of America (RCA).

General Electric (GE) is the former anchor tenant of 30 Rockefeller Plaza until the mid-2010's.

Likewise, 30 Rockefeller Plaza also houses NBC's worldwide headquarters and New York studios.

In general, both RCA and GE, as well as Westinghouse, are the original corporate owners of NBC.

NBC Colour City Studios is the first television structure specially built for both the origination and the production of colour television.

The Merchandise Mart is a retail structure being located in Chicago's downtown core, once the world's largest.

Having opened its doors in 1930, the Merchandise Mart has retails and wholesale goods in Chicago.

Graham, Anderson, Probst & White designed the iconic and famous Merchandise Mart building, with Alfred P. Shaw, hailing from this firm, as its primary architect.

Marshall Field & Co. built and originally owned the Merchandise Mart, which the Kennedys later ran during the second half of the 20th century, especially 50+ years.

Beyond the retail and goods industries, the Merchandise Mart is also a former broadcast centre, having housed NBC's Chicago studios for nearly 60 years, from 1930 to 1989.

Plus, the Merchandise Mart was a testing ground for television's currently-enduring innovations.

In its television section, both the 19th and 20th floors of the Merchandise Mart housed NBC's Chicago headquarters.

The RCA Exhibition Hall, another structure located at Rockefeller Centre in New York City's Midtown Manhattan portion, is a former place depicting RCA's cutting-edge consumer electronics.

Having been described as a World's Fair for miniature electronics, the RCA Exhibition Hall, a structure being made in post-war modernism and enclosed in glass, has borderless transparency.

Plus, the RCA Exhibition Hall is a feature of this Rockefeller Centre complex, but also located directly across from the building held by the Associated Press at 50 Rockefeller Plaza.

Distant from the 50 Rock headquarers of the Associated Press (representing print journalism), the RCA Exhibition Hall represented electronic media's fluid and transparent future.

Likewise, Rockefeller Centre also housed 1 Rockefeller Plaza, which, from 1938 to 1960, served as the former base for Time Inc.

The presence of both the Associated Press and Time Inc. transformed Rockefeller Centre's scope from a strictly radio-communications complex into a centre of the radio and print media sectors.

For the public, the RCA Exhibition Hall served as their first introduction to television technology and experimental electronic colour reception.

Beyond the consumer marketing area, the high-traffic space of the RCA Exhibition Hall was likewise directly integrated eventually into NBC's broadcast infrastructure.

Due to RCA's deep connection to NBC, the RCA Exhibition Hall was a fitting choice.

One person who designed the RCA Exhibition Hall was industrial/interior designer Tom Lee, who also worked at Bonwit Teller, where he advocated his friend Salvador Dali's window displays.

Made by Tom Lee, the RCA Exhibition Hall opened its doors to the public in the early post-war era.

The Trans-Lux Building, which is located one block away from the White House (the main base for US Presidents), formerly houses NBC's headquarters in the US capital.

In its television section, the Trans-Lux Building housed WNBW from its inception until its move to the Wardman Park Hotel.

West 57th Street, which is based in New York City's Midtown Manhattan portion, houses a former milk depot/distribution centre for Sheffield Farms, opened in 1937.

In the early-1950's era, CBS purchased the Sheffield Farms milk depot being based at West 57th, which eventually transformed itself into the CBS Broadcast Centre in the mid-1960's.

For the CBS Broadcast Centre, it is one of the most advanced television facilities in the world.

Grand Central Terminal, also based in New York City's Midtown Manhattan portion, is a commuter rail terminal, also one of the world's most famous attractions, similar to 30 Rock.

Made in Beaux-Arts, Grand Central attracts tourists.

Vanderbilt Hall is an event space on Grand Central Terminal's south side; the Vanderbilt Tennis Club is named after the hall based below.

In its television section, Grand Central Terminal's 3rd floor (located above Vanderbilt Hall) housed the East Coast headquarters of CBS Television from the 1930's to the 1960's.

Besides, Grand Central's 7th floor housed one of the world's first major videotape facilities via CBS.

Madison Avenue is the first corporate headquarters for CBS from 1929 to the mid-1960's, but also the former radio centre for this network and its main news centre.

Liederkranz Hall is an early studio venue for CBS Television News before Grand Central.

The Graybar Building, which stands next to Grand Central, is likewise an early studio venue for CBS Television News.

However, in the mid-1960's, CBS consolidated its East Coast operations into West 57th.

Black Rock is the nickname for the official corporate headquarters of CBS, which doubles as the first skyscraper in New York City to be built with a concrete superstructure in the post-war era.

Eero Saarinen designed Black Rock (CBS).

Still in New York, the Kaufman Astoria Studios is also a major film and television studio location.

The Chicago Arena is a 4-story and 62,000-square-foot building being based in Chicago's Streeterville portion, built in 1924 as a horse stable, later converted into an ice rink/bowling alley.

In its television section, the Chicago Arena housed CBS' Chicago headquarters from the mid-1950's to September 2008.

North McClurg Court houses the Chicago Arena.

The world's first television production centre on a regular basis via the BBC is Alexandra Palace.

John Johnson, Owen Jones and Alfred Meeson are individuals who co-designed Alexandra Palace.

Likewise, Alexandra Palace has the world's first regular television transmitter/antenna.

Designing the antenna, which is from this iconic and famous Alexandra Palace television transmission station for the BBC, was Charles Samuel Franklin.

In mid-December 1949, the BBC Television Service began its expansion beyond London and the Home Counties with Sutton Coldfield, bringing this service to the Midlands.

Holme Moss brought BBC Television to the North in the early-1950's, continuing the expansion outside London and the Home Counties, nearly 2 years after Sutton Coldfield in late-1949.

Kirk O'Shotts and Wenvoe brought BBC Television to both Scotland and Wales in the early-1950's.

Upon its November 2, 1936 debut from Alexandra Palace, the BBC Television Service used 2 systems running this station.

Issac Shoenberg developed the Marconi-EMI system, and John Logie Baird developed his eponymous television system.

Whereas John Logie Baird's eponymous system was the earliest to run the BBC Television Service, the Marconi-EMI system prevailed in early-1937 as the chosen one, lasting until January 1985.

The BBC Television Centre, designed by Graham Dawbarn and undertaken by both Higgs and Hill and George Wimpey, with Marmaduke T. Tudsbery as its engineer, is an iconic television structure.

Known for its distinct question mark or donut-shaped circular design, the BBC Television Centre is the former primary hub of the BBC's television section from 1960 to 2013.

Higgs and Hill also undertook the London Studios on the South Bank of the River Thames.

Designed by Elsom, Pack and Roberts, the London Studios, which is located on the South Bank of the River Thames, housed LWT since 1972, with operations since 1974.

Granada Television came from its purpose-built studios at Quay Street in Manchester city centre.

Having built the iconic Granada Television studios at Quay Street in Manchester was Ralph Tubbs.

Before Granada Television's Quay Street site, British broadcasters came from sites being retrofitted for television production from previous uses, like movie theatres, churches and film studios.

For Granada Television's Quay Street site, it conceptually led to the BBC Television Centre.

Yorkshire Television emanated from its purpose-built colour studios at Kirkstall Road in Leeds.

Whereas Granada Television's Quay Street site was the first purpose-built one of its kind in the United Kingdom, Yorkshire Television's Kirkstall Road site was the first one for colour in Europe.

Barber-Greene Canada Ltd. has a former industrial plant based in Toronto's Don Mills portion, which opened its doors in 1954.

Designed by John A. Layng, Barber-Greene Canada's Don Mills plant has post-war modernism.

In its television section, this Don Mills industrial plant for Barber-Greene Canada also houses the main headquarters of the Global Television Network since its 1974 inception.

Enterprise Street, which is located in the Lake City Industrial Park, houses a purpose-built building for BCTV.

When its first broadcast was held in 1960, BCTV came from its temporary studio facilities, which were located at the corner of Davie and Richards Streets in downtown Vancouver.

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

The Progressive Club is a country club based at Techwood Drive in Atlanta, Georgia.

Established in 1913, the Progressive Club is a red brick building with white columns.

In its television section, the Progressive Club houses the primary headquarters of Turner Broadcasting System, especially CNN upon its June 1, 1980 inception.

CNN Centre is the former main headquarters of CNN from the late-1980's to the mid-2020's.

For the downtown Omni International Complex, it housed The World of Sid and Marty Krofft, the first indoor theme park in the United States.

Juxtaposing indoor amusement parks with television news, CNN Centre, housed at the Omni complex, formerly focused on the urgency of television news rather than fun rides.

Sports television

Roone Arledge started his television career in the early-1950's as a production assistant at the defunct DuMont Television Network.

With his DuMont contacts proven to be successful, Roone Arledge took on the job of becoming stage manager at WNBT/WRCA-TV/WNBC-TV.

Eventually, Roone Arledge's NBC work include producing/directing skills.

One of the first assignments for Roone Arledge was producing/directing children's programs that Shari Lewis hosted, with her friend Lamb-Chop, for WNBT/WRCA-TV/WNBC-TV.

Hi Mom and Kartoon Klub are local programs via Shari Lewis (and Lamb-Chop) for NBC.

In addition, Roone Arledge directed Ask the Camera, a quarter-hour children's program being made for WNBT/WRCA-TV/WNBC-TV, which future colleague Barbara Walters produced.

Besides, Roone Arledge also used Playboy as a key model for a pilot program called For Men Only on WNBT/WRCA-TV/WNBC-TV.

Pat Hernon hosted the pilot edition of the Playboy-like magazine For Men Only, which Roone Arledge developed for WNBT/WRCA-TV/WNBC-TV.

Although NBC superiors liked the pilot, which Roone Arledge pitched/filmed, they did not pick up For Men Only for a full series, due to uncertainty involving when it would be aired.

Nevertheless, this pilot edition of the Playboy-like magazine For Men Only, which Roone Arledge had pitched/filmed, did impress Edgar J. Scherick.

Coming from Dancer Fitzgerald Sample (DFS), as well as CBS Television, where he served as a sports specialist in network sales, Edgar J. Scherick had his company called Sports Programs, Inc.

Founded in 1957, Sports Programs, Inc. is the sports division of DFS for ABC.

Via both Edgar J. Scherick and Roone Arledge, ABC won the rights to air NCAA College Football in September 1960, using a 14-page memo.

Both Edgar J. Scherick and Roone Arledge also pitched ABC's Wide World of Sports in April 1961.

Plus, Roone Arledge solo pitched ABC's televised NFL coverage every Monday night named Monday Night Football at the start of the first official season after the NFL-AFL merger.

Bill MacPhail headed CBS Sports for 17 years from the mid-1950's until 1973, during whose tenure he pioneered, championed and endured many innovations in sports television.

Having joined CBS Sports after Edgar J. Scherick left the network to begin Sports Programs, Inc., with whom Roone Arledge worked and which ABC later acquired, Bill MacPhail has similarities.

September 1961 is when CBS launched the first program seen on network television to cover news just before sports games called Pro Football Kickoff, renamed NFL Kickoff and The NFL Today.

For the second NFL season with the Super Bowl (the season leading up to the second Super Bowl), The NFL Today (CBS) expanded its length to 30 minutes or a half-hour.

In the 1973 NFL season, The NFL Today (CBS) began using its centralized New York studios.

During the 1973 season of The NFL Today (CBS), the pre-game studio copied a control room based at Studio 41 in Grand Central Terminal, used by Edward R. Murrow in See It Now.

Rejecting the trend of having pre-game shows come from sports venues, centralized television studios housed them due the 1973 season of The NFL Today (CBS).

By the 1974 NFL season, innovations for The NFL Today (CBS) were pioneered.

Some notable innovations for the 1974 season of The NFL Today (CBS) included a live basis, halftime highlights of the other games and post-game wrap-ups.

Incidentally, the innovations being honed in the 1974 season of The NFL Today (CBS) led to the 1975 season, the structual blueprint that almost all modern network pre-game shows use.

Ever since the 1975 season of The NFL Today (CBS), pre-game, halftime and post-game shows in this sports television genre have often used a multi-monitor control room as a command centre.

During the first two seasons since its September 1975 relaunch, The NFL Today (CBS) emanated from Studio 45 at the CBS Broadcast Centre in New York, evoking a control room.

For Studio 45, which housed The NFL Today (CBS), it used blue and silver colour palettes

Tony Verna invented instant replay for the first Army-Navy Game being held in the post-JFK era.

In 1977, The NFL Today (CBS) made its relocation 2 studio numbers down from Studio 45; it utilized brown and khaki palettes.

Horizontal Hold, which Jan Stoeckart, under the pseudonym Jack Trombey, had made for a music label founded by fellow Dutchman Meyer De Wolfe in 1973, is used for The NFL Today (CBS).

Super Bowl X is when Horizontal Hold was first used for CBS' NFL coverage.

The 1981 NFL season is when Horizontal Hold was remixed in a punchier iteration, and again in Super Bowl XVIII in January 1984 and lastly in the 1989 season.

For the 1993 NFL season (the final one prior to a brief hiatus, ending in 1998), CBS Sports restored the second remixed Horizontal Hold, first used in Super Bowl XVIII in January 1984.

With CBS returning to NFL coverage in 1998, the second remixed Horizontal Hold, first used in Super Bowl XVIII in January 1984, was again remixed, unused in the next 3, and lastly used in 2002.

ABC News, under the sports-heavy Roone Arledge, incorporated the newsroom/bullpen, not as a usual centrepiece via national CBS, but as a usual backdrop via local CBS.

Under Roone Arledge, ABC News hired individuals from two of the other Big Three networks.

Among the noted ABC News individuals being hired by Roone Arledge were David Brinkley, Bernard Shaw, Barry Serafin, Sander Vanocur, Sylvia Chase and Catherine Mackin.

These hires by Roone Arledge from two of the Big Three networks helped ABC News earn success.

Chet Simmons also started his career at DFS and ABC Sports, similar to Edgar J. Scherick and Roone Arledge.

In the mid-1960's era, Chet Simmons moved to the sports division of the NBC network, where Roone Arledge worked during the 1950's.

At NBC Sports, Chet Simmons masterminded the 1975 World Series with Scotty Connal.

The 6th game of the 1975 World Series is best known for a walk-off home run by Carlton Fisk, during which he waved fair.

NBC cameraman Lou Gerard was told to follow the ball during Carlton Fisk's walk-off home run in Game 6 of the 1975 World Series, but the rat accidentally distracted him.

With Lou Gerard being distracted by the rat, the focus was on Carlton Fisk reacting to his iconic and famous walk-off home run in Game 6 of the 1975 World Series by waving fair.

Carlton Fisk's walk-off home run in Game 6 of the 1975 World Series is its best-known moment.

Due to the successful 6th game of the 1975 World Series being capped off by Carlton Fisk's iconic and famous fair-waving walk-off home run; television's interest in baseball made its revival.

In the past 3 World Series before 1975, weekday matches in the middle were played under the lights at night, whereas weekend ones were played in the afternoon.

Heavy rain, which covered New England, delayed Game 6 of the 1975 World Series, building national anticipation before the primetime match.

Game 6 of the 1975 World Series was played at night.

Incidentally, NBC's exclusive coverage of the 6th game of the 1975 World Series popularized dynamic camera angles, primetime schedules and raw emotional reaction shots.

ABC earned the rights to televise Major League Baseball in March 1975, just 7 months prior to Carlton Fisk's famous walk-off home run in Game 6 of the 1975 World Series.

Robert Wussler and Bill MacPhail, both of whom were executives being involved with CBS, were also some original executives involved with CNN upon its launch on June 1, 1980.

Hockey Night in Canada (HNIC) is the CBC's former presentation of games from the NHL.

Sam Spence is the primary music composer for NFL Films for 24 years from 1966 to 1990.

Cinematic Hollywood orchestral music is the basis for Sam Spence's music work for NFL Films.

Munich, Germany is the adopted base for Sam Spence and his music work with NFL Films.

During the era prior to both NFL Films and Sam Spence, sports television music frequently sounded ceremonial, specifically fanfares and marches.

Under Sam Spence's influence, NFL Films used cinematic Hollywood-like orchestral music.

In his NFL Films music work, Sam Spence's influence derives from many world-famous Hollywood music composers, like Miklos Rozsa and Dimitri Tiomkin.

Phillip Spieller creates a process in which he juxtaposes music cues composed by NFL Films' in-house composers, like Sam Spence, with pre-recorded tracks from stock music labels.

NFL Films uses its cinematic Hollywood-like orchestral sound due to Phillip Spieller's work.

The Hockey Theme is the signature theme tune for Hockey Night in Canada, but also Canada's second national anthem, which the CBC used from the season ending in 1969 to 2008.

Dolores Claman composed The Hockey Theme, which serves as the iconic and famous clarion call for Hockey Night in Canada, with Jerry Toth doing the arrangement/orchestration.

Marcel Aymar, John Doerr and Marc Cholette serve as the namesakes of their own music production company called Majoma Music.

In addition to Majoma Music, both Marcel Aymar and John Doerr are involved with progressive rock groups CANO and Masque.

Bryan Adams does backup vocals for CANO, whose members are John Doerr and Marcel Aymar.

Jim Vallance produces an album for CANO, with John Doerr and Marcel Aymar as members.

The CBC also commissioned a special theme theme for its Olympic coverage by Majoma Music.

Starting with the Summer Olympic Games in Seoul, South Korea, this theme tune, which Majoma had composed for the CBC's Olympic coverage, has been as iconic as Hockey Night in Canada.

Ever since the Summer Olympic Games in Athens, Greece, this theme tune, which Majoma Music had composed for the CBC's Olympic coverage, has also had unique arangements.

Due to CBC Television's successful coverage of the Seoul Summer Olympic Games, Majoma was also tasked with doing the rock/big band rearrangement for Hockey Night in Canada.

Just 4 years after Game 6 of the 1975 World Series, both Chet Simmons and Scotty Connal became the masterminds of a new cable service called ESPN.

Bill Rasmussen, who was a Chicago-born individual, initially ran ESPN.

Having been involved with sports broadcasting in New England, Bill Rasmussen left the New England Whalers of the WHA at the end of the 1977-1978 season.

Getty Oil ran a majority stake in ESPN until 1984, when ABC purchased this channel.

Playboy, incidentally, has its first cover girl/centrefold in Marilyn Monroe, though she never posed.

Changes in cable television recalling Australia's post-aggregation regional TV era

During its first years as a regional service, HBO used a basic, austere and archaic on-air look.

But with its imminent national satellite distribution in 1975, HBO's on-air look was given a facelift.

The Computer Image Corporation had created the first graphics package to use the HBO logo that Betty Brugger had designed in May 1975, while on a regional basis.

HBO's first graphics package with its Betty Brugger-designed logo was made using Scanimate.

Due to the Thrilla in Manila via Westar 1, HBO's first graphics package being created by CIC, with its Scanimate use and its logo by Betty Brugger, marked its first national on-air presence.

Not long after the Thrilla in Manila and its satellite change to Satcom 1, HBO shifted its graphics from video-based to film-based.

Edstan Studio did the animation for HBO's station IDs, like Earth and Colour Trails, from May 1978 to June 1981, using cel animation.

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Robert Abel & Associates did the animation for the HBO Feature Presentation sequences, the first such occasions, using slit-scan and backlit animation.

Prior to these HBO Feature Presentation sequences animated by Robert Abel & Associates, HBO began Hollywood films with a station ID and then ratings bumper.

Kabel is a font being used by HBO in its on-air text, menus and bumpers starting in 1977.

ITC Avant Garde Gothic Bold replaced Kabel as a font being used by HBO in its on-air text, menus and bumpers, which remained from its 10th year since 1972 until 1985.

Tim Landry did secondary branding for both HBO and Cinemax during the early-to-mid-1980's: on-air station IDs, bumpers and promotional graphics, all using high-end film-based-animation.

Celebrating its first decade on-air since its debut on November 4, 1972, HBO commissioned its Feature Presentation sequence, created/produced by Liberty Studios (based in New York).

Anthony Lover, who held Liberty Studios, directed this HBO Feature Presentation sequence, one of the most famous and ambitious opening sequences in television history.

For the iconic and famous HBO Feature Presentation sequence by Liberty Studios, it features the HBO symbol flying in space, made in the form of a futuristic spacecraft.

The usual name for Liberty's iconic and famous HBO Feature Presentation sequence is HBO in Space.

Liberty's HBO in Space sequence was shot on thirty-five mm film, giving it a cinematic quality.

For the iconic HBO in Space sequence, it uses a model city being divided into 3 sections: the city, the outskirts and the countryside, 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.

Computer-controlled motion control cameras, popularized by the Star Wars franchise, are being used to film Liberty's HBO in Space sequence.

The miniature movie theatre features a marquee reading HBO Theatre in the city section of this HBO in Space sequence, making this network a cinematic experience within the viewer's home.

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.

The Stargate effect, inspired by 2001: A Space Odyssey, is in Liberty's HBO in Space sequence.

Mixing live-action with backlit cel animation and others, this HBO in Space sequence is known as an impressive piece of the motion graphics scene.

Ferdinand J. Smith is the composer of the music cue being made for the HBO in Space sequence.

Cinematic Hollywood orchestral music is the basis for Ferdinand J. Smith's HBO in Space cue.

Recorded with a 65-piece orchestra, this HBO in Space cue, which Ferdinand J. Smith composed, was being done by Score Productions, led by Robert A. Israel.

The iconic and famous HBO in Space piece, composed by Ferdinand J. Smith (and produced by Score Productions), features a 12-note motif.

Most TV themes were played by small ensembles or using synths, but the HBO in Space piece (which Ferdinand J. Smith created and Score Productions produced) was a complete opposite.

This iconic HBO in Space piece, written by Ferdinand J. Smith, has a cinematic Hollywood orchestral sound recalling the blockbuster sound of such composers as John Williams and Jerry Goldsmith.

Several variants of the HBO in Space piece were made, but the main theme is the most famous of all.

All in all, the HBO in Space sequence is designed to symbolize HBO's national reach across the United States, but also bridges the gap between high-end Hollywood standards and low-budget cable TV.

Plus, the HBO in Space music cue, recorded with a 65-piece orchestra typically reserved for major film soundtracks, bridges the gap between high-end cinematic orchestral music and low-budget cable.

With Liberty's HBO in Space sequence moving from a local place to outer space, HBO was not a local service, but a national film theatre on television delivered from the stars (Satcom).

Likewise, to celebrate its 10th anniversary since its debut on November 4, 1972, HBO changed the font used in bumpers and text from Kabel to ITC Avant Garde Gothic Bold.

ITC Avant Garde Gothic Bold is an on-air font for HBO, used until 1985.

The first rating bumpers for HBO are made using slides, which consisted of segmented lines forming a diagonal corner at the centre of the screen, starting in 1975, its first national year, until 1978.

Resting by the corner in HBO's first rating bumpers until 1978 is a 3D rating with text under it.

Starting in April 1978, HBO's second rating bumpers consist of a blue MPAA rating logo being located near the top-left corner of the screen on a black background.

Below the blue MPAA rating symbol, white text to describe the rating in HBO's second rating bumpers scrolls up from the bottom of the screen and disappears into below the MPAA rating symbol.

The white text to describe the MPAA rating in HBO's second rating bumpers was made using Chyron.

HBO's third rating bumpers, which began in its 10th year since its 1972 debut, consist of a red-orange MPAA rating logo on the top-left corner of the screen on a black-blue gradient background.

Usually paired with the iconic and famous HBO in Space sequence, HBO's third rating bumpers were created on film rather than video.

In 1985, HBO's rating bumpers expanded to include the new PG-13 rating being introduced in 1984; a gradient was updated to include diagonal rows of embossed HBO logos across it.

The gradient in HBO's fourth rating bumpers was made using the Quantel Paintbox system.

Meanwhile, the bumpers being used to tease upcoming programs (specifically films) were made using primitive video-based Chyron text in HBO's first national years until May 1, 1980.

For HBO's teases of upcoming programs (especially films), lasting until May 1, 1980, the Coming Up Next text scrolls up on a black background.

Underneath this Coming Up Next text being used in HBO's teases of upcoming programs until May 1, 1980 is a line, a film title and a brief description of the film; the airing time then cuts in.

On May 2, 1980, after Gerald Huerta's refinement of the HBO symbol created by Betty Brugger (and in preparation for Cinemax's debut), HBO's teases and bumeprs underwent a facelift.

The HBO teases starting on May 2, 1980 features a neon-esque sign, with Next On written against three gray lines, positioning to the top as it shines.

Below, the title of the film and some of its actors fade in for HBO's teases starting on May 2, 1980, with the text in a light blue-ish colour.

A few seconds later, the title of the film and some of its actors in HBO's teases starting on May 2, 1980 disappear, and a similar sign, this time with HBO on it, positions right below Next On.

For the HBO teases starting on May 2, 1980, the elements are made on a black background.

HBO's teases starting on May 2, 1980 were being created using film-based motion graphics rather than simple video-based Chyron text, a watershed that elevated HBO into a polished identity.

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.

In celebration of its silver anniversary since its 1972 launch, HBO introduced a new era called It's On Now, with its own on-air look being made by Telezign, 

For Telezign's 1997 work, HBO went through phases of trying to figure out their identity.

Clyde Beamer and Mike Cushny of Telezign made the HBO package during the It's On Now era, which was criticized for its B-star branding and antics (compared to Cinemax).

The 12-note motif for the HBO in Space cue by Ferdinand J. Smith was also used in its station IDs and bumpers with its 1997 rebrand.

Pittard Sullivan designed the 1990's iteration of this HBO in Space sequence, with Mark Johnston as its director and Cafe FX doing the animation.

The late-1990's version of the HBO Feature Presentation sequence made its debut prior to the exclusive HBO premiere of the Steven Spielberg film Saving Private Ryan, aired in the late-1990's.

Used to rectify the problems caused by the It's On Now era, the Pittard Sullivan-designed HBO Feature Presentation sequence lasted nearly 12 years until the early-2010's.

The first HBO Special Presentation sequence was made by the Computer Image Corporation using the Scanimate system, ending with the Betty Brugger-designed logo.

In the 1980's, the more cinematic HBO in Space sequence for specials replaced the Scanimate one.

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

This HBO Movie sequence lasted until October 31, 1997.

For this HBO Movie sequence, it begins with a heliotrope HBO 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.

Plus, from 1986 to 1998, the HBO Special Presentation sequence featured the hot pink HBO logo and ended on a slight angle (à la 20th Century-Fox).

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.

Cranston/Csuri created the intro sequences for HBO Sports programs, including World Championship Boxing, Inside the NFL and Wimbledon, from 1986 to 1990.

Rhythm & Hues did the similar pattern to Cranston/Csuri for HBO Sports from 1990 to 1993.

Hammerhead Graphics designed the graphics for HBO Sports since 1997.

Novocom/GRFX and HBO Studio Productions did the animation for the intro sequence and graphics package for HBO's Inside the NFL during the 1997 season.

On March 4, 2017, HBO commissioned its US-exclusive Feature Presentation sequence by Imaginary Forces, featuring Liberty's HBO in Space sequence.

Plus, in mid-April 1996, HBO introduced its production logo idealized by Bruce Richmond, informally known as the Static Angel.

During its initial years as a regional cable TV service, HBO's on-air look recalled regional television in Australia under the solus system.

Since its national era, HBO's on-air look has recalled regional television in Australia after aggregation.

Incidentally, HBO's first years as a regional channel featured flat, 2D and static graphics, which, in its national era, became 3D, chrome and motion.

Plus, during the solus era, HBO used generic stock music or local jingles, but in its national era, it has featured cinematic Hollywood-like orchestral music.

For its first 11 years, 8 under Ted Turner, even after its national superstation status started, WTCG had a low-budget and archaic on-air look.

With the use of the symbol inspired by the Suzy Rice/Joe Johnston Star Wars aesthetic, WTCG was not simply a local station, but a SuperStation delivered from the stars (Satcom 1).

Even after its call change, just a year after this August 1978 introduction of the Suzy Rice/Joe Johnston Star Wars-like logo, SuperStation WTBS still had a similar Star Wars-like on-air look to WTCG.

jcbD led the highly-influential Turner Broadcasting System graphics department.

For jcbD, his in-house work at Turner Broadcasting System began a year after the Star Wars-inspired aesthetic also began in August 1978, lasting until the mid-1980's or before 1984.

Plus, SuperStation WTBS maintained this Star Wars-like typeface, first used by its precursor WTCG in August 1978, but in a modified ITC Bolt version and with a star icon, lasting until May 1981.

During his 4 years at Turner Broadcasting System, jcbD utilized the Quantel DPE-5000, Chyron, Grass Valley, Ampex ADO and Quantel Paintbox systems.

Notably, the Suzy Rice/Joe Johnston Star Wars-style aesthetic for SuperStation WTBS, which began in August 1978 under WTCG, happened right as Turner launched CNN.

In 1981, as cable television became a household staple other than a high-tech novelty, WTBS began to phase out its futuristic Star Wars-like feel in favour of a more polished and corporate one.

This 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.

Besides, the image of the CNN satellite collection was used for the 1981 SuperStation WTBS graphics package to emphasize its national reach and identity.

Regarded as the Satellite Dishes era, this SuperStation WTBS on-air look lasted from May 1981 to July 1984, mainly associated with the start of its unique Turner Time format.

In July 1984, the WTBS national feed started using a sophisticated 3D logo design using cutting-edge computer graphics, with Digital Productions doing the animation.

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.

DesignEFX and a firm by jcbD's brother did the on-air look for TBS in the early-1990's.

AFCG did the animation for PMcD Design's 1996 TBS Superstation graphics package.

From 1986 to 1989, the NYIT Computer Graphics Lab did the 3D animations for both CNN and CNN Headline News, the first instance to use 3D CGI for both of them.

Studio Productions (Flip Your Lid) did the 3D animation for CNN's station ID during the late-1980's.

3 Ring Circus also designed CNN's station ID, with Helium Productions doing the 3D animation.

Besides the Marble look for SuperStation WTBS, Digital Productions also did the animation for Night Tracks and the Cable Music Channel.

When MTV began on August 1, 1981, it used footage of the landing of the first humans on the moon in Apollo 11 (plus its liftoff), held in July 1969, swapping the American flag for the MTV logo.

MTV's usage of the Apollo 11 moon landing reinforced this "satellite/space" theme (present in the logo inspired by Star Wars for TBS in 1978, plus the HBO in Space sequence until 1997).

The countdown sequence before MTV's August 1, 1981 launch came from the Space Shuttle Columbia launch countdown, held on April 12, 1981.

For MTV, with apologies to humans landing on the moon, like Neil Armstrong, it made viewers realize that the music video industry is one small step for music, one giant leap for television.

Plus, MTV's usage of this 1969 Apollo 11 moon landing for its station IDs cemented the idea that cable television had become a high-tech, futuristic alternative to the Big Three networks.

In addition, MTV reframed music videos from being mere promotional clips into a real medium that dominates the 1980's and beyond.

MTV's Fred Seibert and Alan Goodman planned to use Neil Armstrong's One Small Step quotation, but because he ran his name and likeness, it replaced his quote with a beeping sound.

Using the footage from the countdown to the Space Shuttle Columbia launch in 1981 and the Apollo 11 liftoff in 1969, MTV launched itself into space (and into homes across America).

NASA's public domain footage from two historic missions, held in both 1969 and 1981, were known as being symbolic of MTV's own liftoff.

Coincidentally, both the year when humans land on the moon (1969) and the year of the launch of the Space Shuttle Columbia/MTV (1981) fall under the Rooster year.

Scott Miller & Associates made the graphics for TNT, its theme being the cosmos, upon its debut in the late-1980's, with Pacific Data Images doing the high-end animation.

The first TNT graphics package, with its theme being cosmic, proved that it was a TV station delivered from the stars, similar to HBO, SuperStation WTBS and MTV.

Plus, Shelton Leigh Palmer (Shelly Palmer) created TNT's first ever music package.

The first music package for TNT, created by Shelly Palmer and produced by Bill "Troll" Tullis, has a cinematic orchestral sound, laden with rock drums and synths.

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.

All the 1989 TBS movie intros were being filmed on the New York Street backlot at Disney-MGM and likewise being shot on thirty-five mm film, giving them a cinematic quality.

In addition, Disney-MGM is the location for WCW in 1993, but also WCW Monday Nitro.

During its first 11 years (9 of them that Ted Turner ran, even after its status as a national superstation started), the WTCG on-air look recalled Australia's regional TV under the solus system.

By using its SuperStation logo à la Star Wars and changing its calls from WTCG, as well as CGI, the SuperStation WTBS on-air look recalled Australia's post-aggregation regional TV era.

With apologies to the Cinderella fairy tale, the on-air looks of the early cable television services were locally banished and isolated servants.

Plus, with apologies to one of Aesop's Fables, cable television had been a slow-paced local tortoise in contrast to the nationally fast-paced Big Three hares.

The national satellite delivery of the early cable TV services, with apologies to Cinderella, was a Fairy Godmother that elevated them from servants into princesses in cinematic graphics/visuals.

By the same token, with apologies to Cinderella, early cable television's national satellite uplinks were glass slippers for princesses in ball gowns to marry the charming Big Three princes.

Plus, with apologies to Cinderella, the stroke of midnight marked the magical demise of the staid local cable television presentation with a national satellite-fed one in in cinematic graphics/visuals.

Using the national satellite delivery process, with apologies to this Cinderella fairy tale, the early cable television services turned themselves from a regional pumpkin into a national carriage.

Likewise, with apologies to Cinderella, the stroke of midnight meant that the absolute monopoly being controlled by the Big Three networks was magically threatened by national satellite-fed cable TV.

In addition, with apologies to one of Aesop's Fables, the national satellite uplinks of the early cable TV services made the tortoises run at the same speed as the Big Three hares.

HBO's iconic logo features the O that represents filmmaking, home cinema and high-quality films; the bullseye within the O represents the camera lens or the projector reels.

As for WTCG/WTBS, its SuperStation logo, introduced in 1978, has a cinematic feel à la Star Wars.

Not confined to doing the animations for network television, film studio logos and commercials, Edstan Studio did the same for cable TV, which was once low-resolution and localized.

Edstan, for example, did the animations for the early HBO station identifications, like Earth and Colour Trails, from May 1978 to June 1981, using cel animation.

Robert Abel & Associates did the animation for the HBO Feature Presentation sequences, which lasted until its 10th year since 1972, when it was replaced by Liberty's famous HBO in Space sequence.

Liberty's HBO in Space sequence has a cinematic look, feel and sound.

Incidentally, Robert Abel & Associates carried on the traditions in motion graphics for TV, which both Douglas Trumbull and Harry Marks have pioneered at ABC, like slit-scan and backlit.

The WTCG/WTBS national feed started using the cinematic Star Wars-style logo in August 1978, just nearly 2 years after its uplink via Satcom 1.

Not long after, jcbD joined the in-house TBS graphics department.

jcbD made animations (using the Quantel DPE-5000, Chyron, Grass Valley, Ampex ADO and Quantel Paintbox systems) while at the SuperStation WTBS graphics department for 4 years.

Besides making film title sequences, R/GA did the animations for television, as well as cable.

For example, R/GA did the animation for QUBE, an early cable television system being run by Warner Communications, using slit-scan and cel animation.

Edstan, Robert Abel, R/GA and jcbD were figures in introducing high-end, high-quality and cinematic motion graphics seen on network television to low-resolution and low-quality cable television.

What makes cable television graphics on par with cinematic network-quality television graphics made through Edstan, Robert Abel, R/GA and jcbD is national satellite-delivered transmission.

Harry Marks did to network television what Edstan, Robert Abel, R/GA and jcbD did to cable.

30 Ngay Yeu by Dong Nhi has a music video, which has an upbeat, yet emotional feel.

This music video for 30 Ngay Yeu by Dong Nhi features scenes of her singing in the rain behind a rock band and dancing in the rain with dancing girls.

Plus, the scenes for Dong Nhi's 30 Ngay Yeu music video has her doing the same, but not in the rain.

Quang Huy is the director for Dong Nhi's 30 Ngay Yeu music video.

For Dong Nhi, the rain scenes for her 30 Ngay Yeu music video leaves her wet from head to toe.

Mirroring human tears, rain uses water droplets, and this holds true to Dong Nhi's 30 Ngay Yeu music video.

Known as Bup Be (The Doll), Thanh Thao has fresh and modern music genres, such as dance-pop and electronic dance music (EDM), but also Eurodance, hip-hop and urban elements.

Bup Be Dep Xinh (2002)

Anh Da Quen Em (2002) has a low-budget music video that is notable for interspersing Thanh Thao's performance shots with animated footage from Disney's Aladdin film.

Plus, Thanh Thao's cover of the Britney Spears tune ...Baby One More Time is in Anaheim.

What makes Thanh Thao's cover version of the Britney Spears tune ...Baby One More Time a fitting choice for the 25th year of her career in the late-2010's is that Anaheim houses Disneyland.

Disneyland serves as the West Coast answer to Walt Disney World.

In fact, Walt Disney World features Disney-MGM Studios, which, in turn, serves as the launchpad for Britney Spears' career.

Bup Be Biet Yeu is an upbeat dance-pop Eurodance tune by Thanh Thao, featuring a rapper.

The first iteration of the Bup Be Biet Yeu music video has its second and final portion being set in the pouring rain, in which Thanh Thao conveys a soulful, yet joyouys performance.

Niu Keo La Don Dau is a slow and soulful ballad by Thanh Thao.

Plus, Niu Keo La Don Dau is accompanied by an emotional music video, which features the climactic finale being set in the rain, in which Thanh Thao sings in a soulful and emotional manner.

The Niu Keo La Don Dau music video leaves Thanh Thao with wet hair in a sultry way in this soulful rain-drenched finale.

Mirroring human tears, rain has water drops, true to Thanh Thao's Niu Keo La Don Dau music video.

Election studio sets

Election studios are specialized television sets made by media networks to analyze the results.

Many televised election studio sets include a newsroom/bullpen, which serves as an office workspace being packed with computers, analysts and experts, all processing the results.

Plus, election studios use the anchor desk overlooking, next to, or above the newsroom/bullpen.

Studios 41 and 42 in Grand Central Terminal were unified for CBS Television's 3 election nights, both being held in the 1950's, and lastly in 1960, with the wall being taken down.

The CBS Broadcast Centre was the venue for CBS Television's subsequent presidential election nights from the mid-1960's to the mid-2010's.

Paying homage/tribute to GCT, Studios 41 and 42 were named for the CBS Broadcast Centre.

Conversely, Studio 3A or 3B, which were based at 30 Rockefeller Plaza, served as the main venue for NBC's nationally-televised coverage of the early-1950's US presidential election.

In addition, Studio 8H, which has housed Saturday Night Live (SNL) since its 1975 inception, was the venue for NBC's US presidential election coverage from the early-1950's to the early-1990's

Democracy Plaza, the temporary election venue being based at the iconic 30 Rockefeller Plaza, houses NBC's televised presidential elections and has an ice rink, doubling as electoral map.

Complementing the ice rink's map, NBC hoists vertical red and blue banners up 30 Rockefeller Plaza's facade to visually track each nominee's climb toward the necessary electoral votes.

The Chicago School of Television is a creative television philosophy being rooted in its namesake; its purpose is to counter New York's theatrical/radio grandeur and Hollywood's cinematic glamour.

Such noted techniques involving television's Chicago School include walking personalities, addresses directly to viewers, fluid/moving camerawork and studio sets as three-dimensional/3D canvases.

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

In other words, the early studio set designs used by many programs coming from the New York-centric television scene were like a cardboard box, but also two-dimensional/2D canvases.

Besides, New York-centric television also used fixed/static shots, together with loud talkers.

However, the Chicago School circumvented the traditions of the New York-centric television scene.

During the early years of the era after the Second World War, some television programs emanated from Chicago, where Dave Garroway was a radio disc jockey on WMAQ-AM.

Using his laid-back and soft-spoken delivery, radio was Dave Garroway's early passion.

Television came calling for the radio-friendly Dave Garroway in 1949; his eponymous program called Garroway at Large was a key component of the Chicago School.

April 1949 is when Dave Garroway's Garroway at Large program started its run as a local program on WNBQ, before airing on a national basis on NBC, starting in June 1949.

For his eponymous Garroway at Large program, Dave Garroway broke television's old traditions 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 his eponymous Garroway at Large program.

Just over 2 years after NBC started Dave Garroway's eponymous Garroway at Large program, its rival CBS responded by launching See It Now with Edward R. Murrow in November.

Hear It Now, which served as a former weekly radio adaptation of the I Can Hear It Now spoken-word album series, is, in turn, the basis for Edward R. Murrow's See It Now (CBS).

The CBS Television control room at Studio 41 in Grand Central Terminal houses Edward R. Murrow's innovative and groundbreaking See It Now television program.

Dave Garroway's Garroway at Large (NBC) used moving cameras and unpainted studio walls, whereas Edward R. Murrow's See It Now (CBS) featured a control room with monitors.

Plus, whereas programs from New York-centric TV were like a cardboard box, the See It Now program being helmed by Edward R. Murrow had a control room.

Both Dave Garroway's Garroway at Large (NBC) and Edward R. Murrow's See It Now (CBS) rejected cardboard box-like sets and exposed real technical television production.

NBC also pioneered a new formula of television: early-morning television, which is being offered via Today (NBC), initially coming from the RCA Exhibition Hall.

Situated in the Rockefeller Centre complex, the RCA Exhibition Hall is based directly across from the iconic and famous headquarters of the Associated Press at 50 Rockefeller Plaza.

Contrasting to the iconic headquarters of the Associated Press, which represented print journalism, the RCA Exhibition Hall represented electronic media's fluid and transparent future.

Inside the RCA Exhibition Hall, parts of which were converted into the first Today (NBC) studio, was a newsroom/bullpen being adapted from the Associated Press at 50 Rockefeller Plaza.

Juxtaposing print journalism's industrial past, via the AP at 50 Rock, with electronic media's transparent future, via the RCA Exhibition Hall, the Today (NBC) bullpen was a television innovation.

Next to the Today (NBC) bullpen at the RCA Exhibition Hall was a desk, based behind a backdrop with clocks and television monitors.

Besides, Today (NBC) featured pedestrians on the street looking through the glass windows of the RCA Exhibition Hall to watch this program.

Plus, teletypes that came from the Associated Press (AP), United Press (UP) and the International News Service (INS) were used inside the Today (NBC) newsroom/bullpen at the RCA Exhibition Hall.

The on-screen ticker being adapted from the wire services in the Today (NBC) newsroom/bullpen at the RCA Exhibition Hall, featuring a clock display being adapted from clocks, was used.

Due to technical difficulties and having lacked viewer traction, this on-screen ticker being adapted from wire feeds for Today (NBC) was dropped after just a few months.

Undoing the past, Today (NBC) under Dave Garroway births modern broadcast design elements.

Some of the innovations surrounding the RCA Exhibition Hall for Today (NBC) under Dave Garroway include a newsroom/bullpen, a street-side studio, a news ticker and a clock display.

This borderless room, located at the RCA Exhibition Hall for Today (NBC) under Dave Garroway, was made in-house by NBC's engineering units and RCA's corporate exhibition teams.

With the RCA Exhibition Hall as its first base, Today (NBC) doubled down on the Chicago Style being honed at Dave Garroway's eponymous Garroway at Large program.

Likewise, with Dave Garroway at the helm for Today (NBC), the RCA Exhibition Hall bridged the gap between the Chicago Style, the AP newsroom/bullpen and the See It Now control room.

For Today (NBC), under Dave Garroway, the RCA Exhibition Hall mixed Chicago's creativity with the industrial newsroom/bullpen (AP) and the technical network news nerve centre (CBS).

The early-1950's US presidential election, the second one being held during the Cold War period, was likewise the first to offer television coverage on a massive and multi-faceted level.

For the early-1950's US presidential election, the newly-completed microwave/coaxial system via the American Telephone & Telegraph Company solved the issues of the past televised ones.

Chicago, in which Dave Garroway pioneered a casual television style being brought to New York, also hosted the political conventions in the early-1950's at the International Amphitheatre.

For the Republican National Convention in this early-1950's era, it was the first to be presented live on television on a national level.

Whereas past conventions, including the 1948 gatherings, were simply being televised all over the East Coast, Chicago's political conventions in the early-1950's were televised nationwide.

Using the air conditioning process being installed at the International Amphitheatre, Chicago's political conventions, held in the early-1950's, were the first to do so.

Just before Chicago's major political conventions in the early-1950's era, summer political conventions notoriously suffered heat in venues without A/C, making citizens sweaty.

However, the addition of the A/C process and the American Telephone & Telegraph Company's coaxial television uplink for Chicago's early-1950's political conventions helped modernize these rituals.

For these early-1950's political rituals, held at the International Amphitheatre in Chicago, the major US television networks erected makeshift broadcast booths inside the convention halls.

The television service with the most notice to cover Chicago's political conventions in this early-1950's period was CBS, which brought Walter Cronkite to national prominence.

Echoing Dave Garroway taking Chicago's techniques with him to New York for Today (NBC) upon its launch in the early-1950's, the Chicago political conventions led to the New York election nights.

Similar to the newsroom/bullpen being adapted from the print field by Today (NBC) for television, the major US television networks used this print-style trend for their early-1950's elections.

Due to Walter Cronkite at the desk, CBS' nationally-televised coverage of these early-1950's American political events had a print-style newsroom/bullpen, which he adapted from the UP wire service.

For Walter Cronkite, he worked with producer Don Hewitt to put the newsroom/bullpen on television's political map, but also on the traditional windowless television studio map, via CBS.

Plus, this nationally-televised coverage of the early-1950's US presidential election was the first to be driven by computers.

One of the computers being utilized for this nationally-televised early-1950's US presidential election coverage was the UNIVAC I.

Standing for the Universal Automatic Computer I, the UNIVAC I was innovative in that it was the first American-made general-purpose commercial electronic digital computer.

Magnetic tape was for mass storage and mercury delay lines for memory, both for the UNIVAC I.

The Eckert-Mauchly Computer Corporation (EMCC), founded by its namesakes J. Presper Eckert and John Mauchly and based in Philadelphia, built the UNIVAC I.

Remington Rand purchased EMCC in 1950, under which the UNIVAC I was completed.

Having used the UNIVAC I for its televised early-1950's US presidential election coverage was CBS.

With the real UNIVAC 1 iteration being deemed too heavy to carry from Philadelphia to New York, its mock-up prop was installed at CBS' unified Studios 41/42 in New York's Grand Central Terminal.

For this mock-up UNIVAC I prop, it featured blinking Christmas tree lights to create a futuristic visual effect for CBS' nationally-televised early-1950's US presidential election coverage.

At half past 8 p.m., this UNIVAC I computer from the Remington Rand hub in Philadelphia accurately predicted that Dwight D. Eisenhower could win the US presidency; this was via CBS Television.

NBC adapted the newsroom/bullpen from the print scene for television under Dave Garroway.

CBS adapted this newsroom/bullpen element from NBC as a studio set feature being placed in a usual windowless room for television journalism under Walter Cronkite and Don Hewitt.

In the early-1950's, CBS Television innovated the newsroom/bullpen trend for televised election night coverage, in the mid-1960's with an evening news twist, and in March 1973 with a local twist.

Search (1972-1973) is a sci-fi television series produced by Warner Bros. Television for NBC, with its basis being a 2-hour television film Probe (1972).

For Search/Probe (1972-1973), the Probe Control Centre is a fictional room based on NASA's Mission Control Centre.

What describes the Probe Control Centre for Search/Probe (1972-1973) is the fact that it uses a similar monitor matrix to the real-life NASA Mission Control Centre.

Designing the Probe Control Centre for Search/Probe (1972-1973) is Fred Harpman.

Besides, the Probe Control Centre, which Fred Harpman made for Search/Probe (1972-1973), directly inspires his television studio design called the NewsCentre.

Using architectural geometry, angled desks and glass partitions, Fred Harpman's NewsCentre set design contrasts with traditional ones whose framing was flat, shallow and two-dimensional.

Besides, the NewsCentre design by Fred Harpman features NASA-like banks of active video feeds/data monitors.

In addition, mezzanine/stairs also add to Fred Harpman's NewsCentre design.

Rooted in Hollywood's science fiction genre, Fred Harpman's high-tech and cinematic NewsCentre set design was made to have a working newsroom feel.

Plus, Fred Harpman's high-tech and cinematic NewsCentre studio design mirrored the boundless room inside the RCA Exhibition Hall for Today (NBC) under Dave Garroway.

Fred Harpman's NewsCentre is also based on Edward R. Murrow's See It Now (CBS) control room.

Chicago, in which Dave Garroway pioneered a casual television style being brought to New York, also housed WCIU-TV, which pioneered financial news on television.

In the West Coast, KWHY-TV pioneered financial news on television like WCIU-TV.

Both KWHY-TV and WCIU-TV are pioneers in offering financial and business news to television.

November 14, 1966 is when KWHY-TV was the first television station in both the US and the world to deliver financial and business news, with WCIU-TV following suit later.

The Financial News Network (FNN) started in November 1981, with the Consumer News and Business Channel (CNBC) in April 1989, both merging in the early-1990's.

Quotron, a financial device being made in 1960 by John Scantlin and his eponymous company Scantlin Electronics, is the first to directly stream real-time stock market data to an electronic screen.

Scantlin's Quotron system replaced traditional, slow and mechanical ticker tape machines.

NASDAQ is the world's first fully electronic stock market, which evolved from Quotron.

The 1977 Trinity and the 1981 IBM Personal Computer are the blueprints for personal computers being included in the newsroom/bullpen for television in the modern era.

For the Financial News Network (FNN), some of its original personnel were from KWHY-TV, such as Rodney Buscher and Eugene Inger.

Both the Financial News Network (FNN) and KWHY-TV originated in Los Angeles.

Upon its 1981 launch, the Financial News Network (FNN) pioneered the scrolling digital stock market ticker being based across the lower third of the television screen.

In general, the FNN ticker had the top white band for stocks and the bottom blue band for index.

Mirroring the short-lived ticker being adapted from teletypes in the Today (NBC) bullpen under Dave Garroway, FNN's digital ticker is the first continuous on-screen ticker for cable television.

Locally, this on-screen stock market ticker being created for both KWHY-TV and WCIU-TV featured scrolling text from bottom to top (vertical).

FNN's ticker featured scrolling text moving from right to left (horizontal).

Conversely, upon its mid-April 1989 launch, CNBC used a different ticker from FNN.

With the young and upstart CNBC merging with the iconic and famous, yet scandal-ridden FNN in the early-1990's, CNBC adopted/modernized FNN's scrolling 2-band digital stock market ticker.

Just prior to the Financial News Network (FNN), continuous financial and business tickers were being restricted to local TV stations for several hours.

However, FNN's true breakthrough was to make the stock market ticker a 24-hour standard

Just before both Dave Garroway and Edward R. Murrow, television news studio sets were divided into three separate formulas:

• News anchors sitting at one desk in a studio with a cardboard box feel behind blank walls

• Journalists working in a newsroom/bullpen being filled with teletype machines and noises

• Technical staff operating in a dark and windowless control room, featuring monitor banks

However, both Dave Garroway and Edward R. Murrow broke down the cardboard box-like television studio set walls, turning television news studio sets into three-dimensional/3D canvases.

By the mid-1950's period, the Chicago School of Television had started to fade, as television network production had become a centralized duopoly between New York and Los Angeles.

The East Coast (New York) houses American television's corporate/news operations.

Due to its proximity to Wall Street, plus its political corridors, the East Coast (New York) houses live broadcast journalism, morning news and late-night satire involving current events.

Incidentally, New York is American broadcasting's main financial and executive command centre.

As for the West Coast (Los Angeles), it uses the television industry's entertainment, variety and filmed sectors, capitalizing on.Hollywood's infrastructure and cinematic pool.

Still, the DNA of the Chicago School has had an impact on television.

The casual delivery and open-plan studio sets being rooted in television's Chicago School lead to those being used by national newscasts, nationally-televised elections and 24-hour cable news channels.

Plus, the Chicago School DNA is in sports, and most notably, social media, like YouTube and TikTok.

Expanded formats beyond the quarter-hour serve as modern blueprints for global television news.

For the nationally-televised early-1950's US presidential election, it serves as the modern blueprint for nationally-televised election broadcasts from democracies around the world.

Mirroring the host city of the early-1950's political conventions (coupled with its innovative television philosophy), the box-like election studio sets were torn down for the newsroom/bullpen trend.

21st-century television news studio set designs endure a pivot away from the newsroom/bullpen trend being driven by computers (inspired by print and the UNIVAC I), but others bring it back.

Juxtaposed with the newsroom/bullpen being adapted from print for television by Today (NBC) under Dave Garroway, the UNIVAC I also changed election nights on television.

Whereas 21st-century television election studio designs pivot away from this newsroom/bullpen trend being driven by computers (inspired by print and the UNIVAC I), others bring it back.

Modern 21st-century news studio designs cannot leave behind Dave Garroway's television traits; they instead use digital technology to merge and evolve them into flexible ecosystems.

Some of the innovative Dave Garroway traits that modern 21st-century news studio designs can never leave behind include a newsroom/bullpen, a street-side studio and a news ticker/clock display.

In addition, modern 21st-century televised election studio set designs could not also leave behind these similar Dave Garroway traits to those being used in the television news business.

Likewise, modern 21st-century business/financial news studio set designs cannot also leave the similar Dave Garroway traits behind to those being used in television news.

Milestones of the female soul singers

I Never Loved a Man the Way I Loved You is Aretha Franklin's 9th studio album, doubling as her first released through Atlantic Records; it reached number 2 on the Billboard Hot 100.

Just prior to her I Never Loved a Man the Way I Loved You album, Aretha Franklin's 8 studio albums were released under Columbia Records, all of which used jazz, yet flopped.

However, Aretha Franklin's I Never Loved a Man the Way I Loved You album is her breakout album.

The title track of the I Never Loved a Man the Way I Loved You album serves as Aretha Franklin's first major success, peaking at number 9 on the Billboard Hot 100.

On the other side of the border, Aretha Franklin's I Never Loved a Man the Way I Loved You peaked at number 5 on the Canadian pop music charts, marking her first major Canadian success.

Respect is Aretha Franklin's signature tune, but also a music landmark, having been covered by female musicians with soul.

Whereas the original Respect version focuses on a plea from a working man, Aretha Franklin's version focuses on confidence and fierce independence for girls/women.

Using the letter-by-letter spelling "R-E-S-P-E-C-T" and the playful refrain "Sock it to me," this Aretha Franklin version of Respect is an anthem for both civil rights and second-wave feminism.

The Aretha Franklin version of Respect topped the Billboard Hot 100 and rhythm & blues charts.

Meanwhile, on the other side of the border, Aretha Franklin's Respect version reached number 3 on the Canadian pop music charts.

Beyond its North American success, the Aretha Franklin iteration of Respect also won success in other parts of the world, notably Europe and the Asia-Pacific region.

Aretha Franklin's iconic iteration of Respect reached number 10 in Britain, number 14 in Australia and number 7 in the Netherlands, establishing her as a global music icon.

Plus, Aretha Franklin's Respect version won 2 Grammy Awards; it was also inducted into the Grammy Hall of Fame and the National Recording Registry.

For Aretha Franklin's version of Respect, it is one of the best, greatest most famous songs ever.

Whereas Aretha Franklin's I Never Loved a Man the Way I Loved You tune achieves success in North America (but not worldwide), Respect earns truly successful global dominance.

Incidentally, Aretha Franklin's version of Respect is her worldwide breakthrough.

During the pre-Aretha Franklin era, female vocals in mainstream pop music comprised girl groups or smooth and conversational pop.

The worldwide success of the Aretha Franklin version of Respect proves that female music singers in mainstream pop music could use powerful, soulful and emotional gospel techniques.

Crazy Blues, which Mamie Smith performed, is innovative in that it is the first commercial tune in the blues genre featuring lead vocals by an African-American singer to earn major success.

Timi Yuro's 1961 cover of the soulful ballad Hurt is her breakthrough, but also establishes her as a rare female presence in blue-eyed soul, before this term was popularized.

What's a Matter Baby (Is It Hurting You?) is another Timi Yuro hit with this hurting theme, but using a more upbeat tone.

Health issues and music shifts ironically make Timi Yuro hurt, mirroring the titles of her tunes with the theme of this physical, mental and emotional breakdown that she feels.

Despite her own struggles, Timi Yuro's influence in bridging the gap between black music (specifically rhythm & blues and soul) and mainstream pop music is profound.

Beyond the United States, Timi Yuro is also popular in the United Kingdom as a figure of the Northern soul scene, but also the Netherlands, as well as Asian nations, including the Philippines.

Love to Love You Baby is Donna Summer's breakthrough tune.

Marilyn Monroe is the muse behind Donna Summer's breathy, sexy and sultry vocals for Love to Love You Baby.

Four Seasons of Love, the fourth studio album by Donna Summer, features herself channeling Marilyn Monroe's most famous pose being used in The Seven Year Itch.

I Feel Love by Donna Summer represents the future with a completely synthesized backing track.

Donna Summer's I Feel Love is the blueprint for electronic dance music (EDM), which features many genres, including dance-pop, techno, trance and synth-pop.

The Walt Disney Company is one of Whitney Houston's involvements.

BrownHouse Productions is Whitney Houston's production company, in partnership with Disney.

You Give Good Love is the first top ten hit on the Billboard Hot 100 for Whitney Houston.

Whitney Houston's iteration of Saving All My Love for You is her first ever number one hit on the Hot 100 chart, but also her worldwide breakthrough.

How Will I Know is Whitney Houston's first upbeat tune.

The music video for How Will I Know serves as Whitney Houston's first to receive heavy rotation on MTV, which gave her exposure to teenagers and made her the first black woman to do so.

I Wanna Dance with Somebody (Who Loves Me) is a shift for Whitney Houston by reaching a wider audience with a more pop-oriented music sound after hits with ballads on her debut album.

George Merrill, Shannon Rubicam and Narada Michael Walden are the masterminds behind Whitney Houston's upbeat tunes: How Will I Know and I Wanna Dance with Somebody (Who Loves Me).

The soulful rendition of the Dolly Parton song I Will Always Love You serves as Whitney Houston's signature tune, but also a cultural phenomenon.

Control is Janet Jackson's commercial and artistic breakthrough.

What Have You Done For Me Lately, Nasty, When I Think of You, Control's title track and Let's Wait Awhile are five Janet Jackson tunes reaching the top five on the Billboard Hot 100

For Janet Jackson, she is the first female artist to earn five of the top five hits in one album.

Paula Abdul was the choreographer for the music videos accompanying some upbeat tunes from Janet Jackson's breakthrough album Control.

Blending rhythm & blues with hip-hop undertones and dance-pop, Janet Jackson's Control album is a precursor to the new jack swing genre and the pop sound of the late-1980's and the 1990's.

In addition to earning independence from her own brother Michael Jackson's influence, Janet Jackson's Control album established her as a preeminent female pop music artist, rivalling Madonna.

So successful was Janet Jackson's Control that Paula Abdul decided to launch her own career.

Janet Jackson's Rhythm Nation 1814 is the fourth studio album, scoring worldwide hits like Miss You Much, Rhythm Nation, Escapade, Black Cat and Love Will Never Do (Without You).

Vision of Love is Mariah Carey's debut single, but also popularized riffs, runs, melisma and the whistle register in mainstream pop music.

Mariah Carey's Vision of Love tune is also the blueprint for future female singers using her techniques.

During the climax of her own Vision of Love song, Mariah Carey uses her whistle register, which she popularized; the inspiration for Mariah Carey's whistle register is Minnie Riperton.

Someday is Mariah Carey's first upbeat tune.

Emotions is Mariah Carey's second studio album, which, besides its title track, features others, such as Can't Let Go, Make It Happen, etc.

For the title track of her second album, Emotions features Mariah Carey's upper range and her whistle register.

Unconfined to Mariah Carey's whistle register, Emotions also has disco, rhythm & blues and gospel.

What's the 411? is Mary J. Blige's first album, innovative in that it fuses rhythm & blues and hip-hop to create hip-hop soul.

The remix of What's the 411? is also innovative, as it is the first album to feature a rapper in each tune.

Incidentally, the remix of What's the 411? popularized rap as a featured act in mainstream music.

Music Box features such songs as Dreamlover, Hero, Without You and Anytime You Need a Friend.

Dreamlover is Mariah Carey's first attempt to incorporate hip-hop into her songs, influenced by Dave Hall's work with fellow New Yorker Mary J. Blige.

Blind Alley by The Emotions samples Mariah Carey's Dreamlover tune.

Hero is deemed by many to be Mariah Carey's signature song, known for its message of finding inner strength and self-empowerment.

Without You is Mariah Carey's soulful cover version of the 1972 tune of the same name.

The music video for Anytime You Need a Friend marks Mariah Carey's first image change.

All I Want for Christmas is You is a modern Christmas anthem for Mariah Carey, which blends various music genres, like pop, rhythm & blues, soul and gospel.

Furthermore, Mariah Carey's All I Want for Christmas is You also mixes 1960's rock and Phil Spector's Wall of Sound, especially in its structure and instrumentation.

With Dreamlover being Mariah Carey's first attempt to have the hip-hop genre, Fantasy solidified this direction; its remix, featuring ODB, is produced by Puff Diddy, who worked with Mary J. Blige.

Puff Diddy's remix of Mariah Carey's Fantasy popularizes the trend of rap verses in pop tunes.

Genius of Love by Tom Tom Club samples Mariah Carey's Fantasy.

From 1993 to 1997, Mariah Carey had a marriage with her manager Tommy Mottola, during which the latter controlled her image, making her feel like a prisoner or child bride.

Honey's music video marks a step up for Mariah Carey to embrace a more liberated and overtly sexual image, in contrast to the traditional and demure persona she has cultivated.

The main reason Mariah Carey started to utilize a more sexual image for her Honey music video is the break-up of her husband Tommy Mottola.

Butterfly's title track features Mariah Carey, for the first time, delivering a whispery tone that is high in pitch, yet soft in sound.

Mariah Carey and Whitney Houston have their pop rendition of the Stephen Schwartz song When You Believe from The Prince of Egypt.

Kenneth "Babyface" Edmonds made When You Believe a success for both Mariah Carey and Whitney Houston.

What fits When You Believe as a collaboration between both Whitney Houston and Mariah Carey is a smooth blend of their soulful voices and their backgrounds in faith and gospel music.

Plus, for both Whitney Houston and Mariah Carey, When You Believe dispelled rivalry rumours.

The cover version of the late-1980's Brenda K. Starr tune I Still Believe, for whose original version she does backup, is a moderate worldwide success for Mariah Carey.

Incidentally, singing backup for Brenda K. Starr is Mariah Carey's first major professional gig.

For Mariah Carey, she delivers her version of the Brenda K. Starr song I Still Believe as a tribute and a way to say thanks to her former collaborator.

Heartbreaker is Mariah Carey's 14th Billboard Hot 100 chart-topper.

We Belong Together is Mariah Carey's historic commercial comeback, coming after her debacle being caused by her own widely-publicized breakdown and 9/11.

During her long career, Mariah Carey has endured connecttions to Old Hollywood, especially Marilyn Monroe, with whom she has been obsessed since childhood.

The music video for Mariah Carey's own cover version of I Still Believe is based upon the 1954 visit to South Korea for a USO tour by her idol Marilyn Monroe.

Plus, the music video for Mariah Carey's Butterfly takes inspiration from the 1950's film Baby Doll, in which Marilyn Monroe's friends Elia Kazan and Carroll Baker were involved.

At the curtain call of the musical version of the 1950's comedy film Some Like It Hot, starring her idol Marilyn Monroe, Mariah Carey has a surprise appearance and narrates the instructions.

What motivated Mariah Carey to be a co-producer for this musical iteration of Some Like It Hot is her passion for the leading star of the original film version named Marilyn Monroe.

Plus, Mariah Carey, a lifelong fan of Marilyn Monroe, has the latter's white baby grand piano.

Gladys Pearl Baker, who is Marilyn Monroe's mother, first used the baby grand piano.

Having been institutionalized, Gladys Pearl Baker's baby grand piano is lost until her young daughter Marilyn Monroe tracks this instrument down, using a white colour to match her decor.

It Isn't, It Wasn't, It Ain't Never Gonna Be is a duet between Aretha Franklin and Whitney Houston.

What makes It Isn't, It Wasn't, It Ain't Never Gonna Be something of an appropriate duet is that Aretha Franklin symbolizes the old generation, while Whitney Houston symbolizes the new.

Aretha Franklin, incidentally, is Whitney Houston's honorary aunt; Cissy Houston is one of the backup singers for Aretha Franklin, but also Whitney Houston's mother.

Long Distance has a music video, during which bridge (and final chorus) Brandy Norwood sings in the pouring rain with slicked-back wet hair.

Directed by Chris Robinson, this music video for Long Distance (Brandy) was filmed at the Park Plaza Hotel in Los Angeles, California.

Firstly shot in monochrome (black-and-white) in order to reflect the emotional sadness, loneliness and isolation, Brandy's Long Distance music video shifts to colour for the bridge/final chorus.

Mirroring human tears, Brandy's Long Distance music video features water drops, used to enhance the emotional weight of this tune and true to her sob-choked, soulful and emotional singing voice.

Too Little Too Late is JoJo's signature tune.

Directed by Chris Robinson, this music video for Too Little Too Late (JoJo) emphasizes on soccer (or association football).

Mirroring human tears, JoJo's Too Little Too Late music video has water droplets, used to intensify the emotional weight of this tune and true to her sob-choked, soulful and emotional singing voice.

Chris Robinson directed both the Too Little Too Late (JoJo) and Long Distance (Brandy) music videos featuring a rainy climax via sob-choked, soulful and emotive singing girls.

Since the 1990's, pop music has used instrumental intros being accompanied by soulful ad-lib vocalise before the main melody, based on Whitney Houston, Mariah Carey and Celine Dion.

Backlash against the over-singing trend forces a return to the pre-Aretha Franklin era, in which female vocals use whisper-pop.