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.

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).

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.

Alexandra Palace is a building based in Haringley in North London.

In its television section, Alexandra Palace also housed the first headquarters for television on a regular basis in the world through the BBC, lasting (except WWII and relocations) from 1936 to 1981.

Television Centre, which is based at Shepherd's Bush in London, is the BBC's former main television headquarters from 1960 to 2013, doubling as one of the world's most famous attractions

Graham Dawbarn designed the BBC Television Centre in London.

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.

Twisting the national satellite-fed cable television timeline across fairy tales

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 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.

Sports television

Roone Arledge

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.

Wednesday, which is the day that has the highest letter count (9), is when 1969 began on January 1 and ended on December 31 as a Gregorian year.

In addition, 1969 is with the Earth Rooster (12), the Chinese zodiac with the most letters in English.

Thursday, which the day that is tied with Saturday for the second-highest letter count (8), is when 1981 started on January 1 and ended on December 31 as a Gregorian year.

Besides, 1981 is also with the Metal Rooster (12), the Chinese zodiac with the most letters in English.

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 version of the Bup Be Biet Yeu music video has a finale set in the 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

Lowell Thomas delivered the television broadcast of the Republican National Convention, which was being held over 9 months after the Second World War began, via NBC.

With the Philadelphia Convention Hall in Philadelphia being its main venue, the Republican National Convention during WWII was the first live television coverage of its kind.

Conversely, the televised coverage of the US presidential election, held over a year after World War II started, was on an experimental/local basis and radio-friendly, as television was not yet popular.

Besides, the studio set designs for the TV coverage of the US presidential election, over one year after WWII started, used theatrical trends being austere, flat and claustrophobic like a cardboard box.

Unusually, Lowell Thomas delivered this telecast of the GOP convention, 9 months after World War II started, from NBC's headquarters at 30 Rockefeller Plaza in New York, not Philadelphia.

The 1948 US presidential election was the first to use television for politics in the post-war era.

Plus, the 1948 US presidential election marked the first divisions in American's main political parties during the Cold War.

Aside from the firsts, the summer 1948 Philadelphia political conventions were the first on TV in the period after the Second World War.

During the summer 1948 Philadelphia political conventions, coaxial cable was the link for television stations in the East Coast, the first to offer gavel-to-gavel coverage live on television.

Nevertheless, the television coverage of the 1948 US presidential election was being presented on a regional level.

Similarly, the 1948 US presidential election was radio-friendly, as television was not yet popular.

Having lacked air conditioning, the summer 1948 political conventions, all of which were being taken place in Philadelphia, suffered heat exhaustion.

Incidentally, the set designs for the TV coverage of the 1948 US presidential election utilized box-like theatrical trends, just like the previous 2 of them.

Just 4 years after the televised 1948 US presidential election coverage, the early-1950's US presidential election was the first television coverage from coast to coast and on a prominent level.

Besides, this TV coverage of the early-1950's US presidential election also featured the first computer.

For the early-1950's US presidential election, the newly-completed microwave/coaxial system via the American Telephone & Telegraph Company helped solve the 1948 issues.

Nearly 10 months before the early-1950's US presidential election, Today (NBC) started its successful tenure from the RCA Exhibition Hall.

Just before Dave Garroway, television news featured anchors who delivered the day's stories in a studio resembling a claustrophobic box/theatrical stage with journalists backstage in a bullpen.

However, Dave Garroway's innovations, including Garroway at Large and Today (NBC), tore down the walls, juxtaposing the main stage in the news studio with the backstage workspace bullpen.

CBS Television, for its early-1950's US presidential election coverage, used the UNIVAC I, accurately predicting that the GOP presidential nominee would win by a landslide.

Standing for the Universal Automatic Computer I, the UNIVAC I was innovative in that it was the first general-purpose electronic digital computer for business applications produced in the US.

Walter Cronkite delivered the nationally-televised coverage of the early-1950's US presidential election campaign through CBS.

At the time of this US presidential election in the early-1950's period, Walter Cronkite was also the first newscaster for a CBS station in the nation's capital, which was WTOP-TV (now WUSA)

Furthermore, CBS Television covered the summer political conventions, taken place in Chicago, in the early-1950's era; its main face/voice was Walter Cronkite.

The word anchor is utilized in the sports world to describe the final and most crucial segment in a relay competition, getting the baton from the starting point to the finish line.

Sig Mickelson popularized the anchor word to coordinate TV news in the same start-to-finish road.

Using the UNIVAC I computer, the bullpen for the nationally-televised coverage of the early-1950's US presidential elections became a usual election feature in the television scene.

For the nationally-televised coverage of the early-1950's US presidential election campaign, the studio designs were more dynamic, influenced by Dave Garroway and using the UNIVAC.

Meanwhile, the last 2 British general elections being held under King George VI were presented by the BBC Television Service, also the first ones on television.

Housing the television coverage of the last 2 British general elections being held under the King on the BBC Television Service was Alexandra Palace.

A few years later, the first British general election being taken place under Queen Elizabeth II was also regarded as the first to provide television coverage on a prominent and a comprehensive level.

Nevertheless, the television coverage of the first British general election under Queen Elizabeth II was being presented on an almost national level.

Plus, the tally boards were used in the first British general election under Queen Elizabeth II.

Incidentally, the studio set designs for the first British general elections on television utilized theatrical trends being austere, flat and claustrophobic like a cardboard box, during the early-to-mid-1950's.

For the television coverage of the second British general election under the Queen, it was also the first general election being presented on a completely national basis.

Plus, for the second British general election under the Queen, some changes to televised election night coverage were being made.

Besides the new American-style and ad-supported ITV network ending the BBC's long monopoly, the Swingometer became national and an informal presentation by Cliff Michelmore was used.

During the second British general election under the Queen, ITN used the DEUCE computer, while the BBC used the Elliott one, renamed Ella.

Utilizing both the DEUCE and Ella computers, the second British general election being held under the Queen also marked the first computer-driven general election coverage on British television.

Like the early-1950's American presidential election, the studio set designs for this nationally-televised coverage of the second British general election under the Queen were more dynamic.

To put it another way, the studio set designs for this nationally-televised coverage of the second British general election under the Queen were influenced by Dave Garroway and the UNIVAC.

Whereas BBC Television's coverage of the first British general election under the Queen did not use a bullpen as a centrepiece, BBC Television's coverage of the second one made usage.

Grand Central Terminal was the studio location for the first telecasts that covered the US presidential election via CBS until 1960.

Studio 41, which is at the CBS Broadcast Centre (located at West 57th Street), was the nerve centre for election night coverage for 24 years from the mid-1960's to the late-1980's.

Besides, Studio 41 at the CBS Broadcast Centre was also CBS News Election Headquarters.

The studio venue for BBC Television's coverage of the first 2 British general elections being held under Queen Elizabeth II was Lime Grove.

Conversely, the studio for ITN's first 4 British general election broadcasts was Television House.

From the mid-1960's era to 2010, the studio location for BBC Television's election night coverage was Television Centre in London, especially Studio TC1.

ITN House was the studio location for ITN's coverage of the remaining British general elections being taken place under Queen Elizabeth II from 1974 to the late-1980's.

Grays Inn Road was the studio venue for ITN's last British general election telecasts under the Queen.

The television coverage of the 1989 Indian general election was innovative for many reasons.

For one reason, the television coverage of the 1989 Indian general election was the first of its kind to be offered on a live basis.

Plus, the live television coverage of the 1989 Indian general election was co-produced by NDTV, which marked the first time a private news broadcaster did election broadcasts.

In addition, this televised coverage of the 1989 Indian general election, co-produced by NDTV, featured hotlines across India, polling analysts and technical innovations, like dynamic visuals.

Besides, the bullpen was used as a studio feature for the television coverage of the 1989 Indian general election, co-produced by NDTV.

Unusually, the bullpen was at the back of the studio for NDTV's 1989 Indian general election telecast.

Just a year before the 1989 general election, NDTV produced The World This Week.

For its debut, The World This Week used a studio set design, which was made on a physical level with monitor banks, in contrast to Doordarshan's staid design.

Due to NDTV and the 1990's satellite boom, coupled with India's economic reforms, television news in South Asia became dynamic.

Milestones of the female soul singers

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.

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 of R-E-S-P-E-C-T and the playful refrain "Sock it to me," the 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.

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.

You Give Good Love is Whitney Houston's first major success.

For Whitney Houston's You Give Good Love, it reached number 9 on the Billboard Hot 100.

On the other side of the border, Whitney Houston's You Give Good Love tune reached number 5 on the Canadian pop music charts, marking her first major Canadian success.

Saving All My Love for You is Whitney Houston's first tune to top the Billboard Hot 100, 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).

Originally written and performed by Dolly Parton, Whitney Houston's soulful version of I Will Always Love You is her signature tune, but also a cultural phenomenon.

The soulful Whitney Houston version of I Will Always Love You puts melisma on a global level.

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.

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.

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

Marilyn Monroe's noted films

Niagara, Gentlemen Prefer Blondes and How to Marry a Millionaire are Marilyn Monroe's films being released in 1953, all doubling as her breakthrough films.

All About Eve and The Asphalt Jungle are Marilyn Monroe's early films released in 1950.

The Seven Year Itch is one of Marilyn Monroe's best and most famous films, which is set in a summer heatwave in New York.

Marilyn Monroe wears a white dress being used in the best-known scene of The Seven Year Itch.

In the best-known scene of The Seven Year Itch, Marilyn Monroe's white skirt is being blown up by a subway grate wind, conveying a hot, sexy and charismatic side.

Ever since her 1962 death, the iconic and famous white skirt in Marilyn Monroe's The Seven Year Itch motion picture, where it's blown by a subway grate, has been depicted, represented and imitated.

September 1954 is when Marilyn Monroe's iconic and famous scene, in which her white dress is being blown by a subway grate, was originally shot in New York for The Seven Year Itch.

For Marilyn Monroe's flying white skirt scene in The Seven Year Itch, its location is outside the former Trans-Lux Theatre on Lexington Avenue in New York.

Likewise, in September 1954, Marilyn Monroe also makes 2 kisses being blown to the cameras for The Seven Year Itch, the first using the palm of her hand, and then the puckering of her lips.

Idlewild Airport houses Marilyn Monroe's 2 kisses to the cameras for The Seven Year Itch in 1954.

Ever since her 1962 death, the iconic and famous 2 Idlewild kisses to the cameras in Marilyn Monroe's The Seven Year Itch film has also been depicted, represented and imitated, like her white dress.

Marilyn Monroe's flying white dress scene and her 2 Idlewild kisses being blown to the cameras, both behind the scenes for The Seven Year Itch in 1954, are two of her most enduring and sexiest pics.

In addition, Marilyn Monroe's flying white skirt and her 2 Idlewild kisses to the cameras, both for The Seven Year Itch, are two of the most famous pop culture pics ever, also sexy ones.

Overall, mid-September 1954 (late-summer 1954) is when Marilyn Monroe's white dress scene and her kisses being blown to the cameras, both for The Seven Year Itch, convey hot, sexy youth.

Representing summer is the heat of both the fire and the sun, which rings true to Marilyn Monroe's Fire Tiger birth element, her hot and sexy summer girl image/persona and The Seven Year Itch.

Using both fire and air, Marilyn Monroe's flying dress and her 2 Idlewild kisses, which are promotional traits in September 1954 for The Seven Year Itch, make her a hot, sexy and charismatic girl.

The Seven Year Itch, using water, has Marilyn Monroe in a bubble bath, feeling soulful and emotional with charisma.

For Gentlemen Prefer Blondes, Marilyn Monroe performs Diamonds Are a Girl's Best Friend.

Marilyn Monroe dons a pink dress, which is used during her iconic Diamonds Are a Girl's Best Friend number from Gentlemen Prefer Blondes.

Likewise, ever since her death, Marilyn Monroe's pink dress, which is utilized during Diamonds Are a Girl's Best Friend from Gentlemen Prefer Blondes, has been depicted, represented and imitated.

William Travilla made two of Marilyn Monroe's iconic and famous outfits: the white dress used in The Seven Year Itch and the pink dress used in Gentlemen Prefer Blondes.

How to Marry a Millionaire is the first Fox film shot on CinemaScope (and second released).

Marilyn Monroe, having been born in a Fire Tiger year, is not just the ultimate pop culture/sex icon in Hollywood and pop culture history, but an eternal flame.

The Fire element also represents Marilyn Monroe in her vibrant beauty, warmth, genius and inner star power, but also her energy, her charisma and as a spark of the global sexual revolution.

Furthermore, Marilyn Monroe's birth on June 1, 1926 also coincides with the first day of summer in the Northern Hemisphere under the weather system, with the astronomical one on the 20th or 21st.

In the Northern Hemisphere, summer uses high heat and extended daylight, which rings true to Marilyn Monroe as pop culture's ultimate summer girl.

Representing summer is the heat of both the fire and the sun, which is true to Marilyn Monroe as a Fire Tiger and her hot, sexy, sultry and fiery summer girl image/persona.

Summer also reflects the hot, sexy, sultry and fiery heat of Marilyn Monroe's public image.

Besides, Marilyn Monroe's August 4, 1962 death is in summer in the Northern Hemisphere.

In addition, Marilyn Monroe's soft and breathy voice and slow movements mirror the heavy and humid haze of a mid-summer afternoon.

Plus, Marilyn Monroe's blonde hair is a visual solar flare.

The Fire element is also tied into Marilyn Monroe's iconic and world-famous flying white dress scene being held in a summer heatwave.

Overall, summer represents Marilyn Monroe (birth/death) in her hot, sexy, sultry and fiery summer girl image/persona.

Like a fiery summer wildfire, Marilyn Monroe sets the world on sexual fire; she has a hot, sexy, sultry, charismatic and emotional persona with a high-energy summer vibe.

Decades after her death, Marilyn Monroe's fiery and summery hot and sexy legacy is unextinguished.

Having died in a Water Tiger year, Marilyn Monroe melts herself from a living flesh-and-blood person into a fluidly adapted figure, whose legacy/mystique flows through generations like the river.

Besides, the Water element also represents Marilyn Monroe in her soul, emotion and youth.

Standing exposed in the pouring rain means that Marilyn Monroe has the intense personal scrutiny, the hidden trauma and the pressures behind the scenes, all affecting her life.

For Marilyn Monroe, a rainfall, mirroring human tears, symbolizes issues that evoke emotion.

However, standing in the pouring rain, not to mention splashing water at the beach, also gives Marilyn Monroe slicked-back wet hair in photoshoots that are soulful, sexy and youthful.

The Water element represents the lowest and the deepest frequencies, but also the dark and mysterious depths of the ocean; this holds true for Marilyn Monroe.

A husky, sultry voice like Marilyn Monroe's mirrors moving water's fluid, echoing quality.

Plus, films and photoshoots depict Marilyn Monroe's water imagery, including her early-1953 film, her beach photoshoots and her unfinished film.

Using water imagery, Marilyn Monroe's 1962 beach photoshoot is her last professional one prior to her death, for instance.

Marilyn Monroe's 1962 beach photoshoot is fittingly emotional.

Splashing in the water in her summer 1957 photoshoot, Marilyn Monroe has a hot summer vibe and is feeling and looking hot, sexy and charismatic in wet hair

With water extinguishing the fire to create steam, Marilyn Monroe's physical body is cut short, moving from a living flame into an elusive, misty, spiritual and atmospheric icon.

Even the heavy rain/water droplets cannot dim/extinguish Marilyn Monroe's fire.

In addition, as a girl/woman being born on a day with the Gemini Sun sign, Marilyn Monroe is a witty, youthful and sparkling icon with a breathy voice and a love for books.

Marilyn Monroe's death on a day with the Leo Sun sign cements her status as a sexy icon.

Plus, the air represents the pressures and scrutiny surrounding Marilyn Monroe.

Conversely, the Air element is tied into Marilyn Monroe's iconic and world-famous flying white dress subway scene.

Lacking the Earth element makes Marilyn Monroe a complex girl, feeling detatched from the physical world.

Using the water and air elements, Marilyn Monroe is a sex icon using a breathy, whispery and airy, yet husky, soulful, sulltry and emotional on-screen/off-screen voice.

The Gemini Sun represents Marilyn Monroe in her intellect, her communication and her famous dual identity; the Leo Sun has her magnetic physical presence and her Hollywood royalty.

Besides, the Aquarius Moon represents Marilyn Monroe's progressive and inner emotional world.

Having been a girl born at the start of summer weather in a year of the Fire element, Marilyn Monroe delivers a hot, sexy and high-energy summer vibe.

Three dimensions define Marilyn Monroe's hot, sexy and youthful persona echoing the title of her own early-1950's film being released after her breakthrough in 1950:

• As young as she feels: Timeless, hot, sexy, youthful, playful, dynamic and energetic

• As young as she looks: Hot, sexy, sultry, beautiful, charismatic, charming, gorgeous and graceful visuals

• As young as she sounds: Breathy, whispery, sexy, hot, sultry, steamy, seductive, soulful, soft and deeply emotional voice

Plus, echoing the name of her late-1950's film, as well as the Fire element that represents her birth year 1926 and her birthday/death in summer, many publicly like Marilyn Monroe hot, sexy and sultry.

Conversely, echoing the Water element representing her death year 1962, her usually tragic life and her water-centric films/shoots, Marilyn Monroe privately has youthful, soulful and emotional traits.

Using the fire, air and water elements, Marilyn Monroe is a multi-dimensional Hollywood star: young, hot, sexy, sultry, vibrant, dynamic, energetic, soulful and emotional.

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.

Eddie Fenech Adami is an influential Maltese politician. He changed Malta for the better.