Made-up Disney princess film in a rhythm & blues/soul twist

Blessed Princess is a fictional Disney princess film about a young girl/woman singing in a powerful and emotional rhythm & blues/soul-inspired voice.

Princess Nina is the fictional main protagonist of the fictional Disney film Blessed Princess (despite her European heritage)

Sob-choked, tearful deliveries define Princess Nina's rhythm & blues/soul voice in Blessed Princess.

The soulful theme tune for the fictional Disney film Blessed Princess is Blessed.

In this Blessed tune for the fictional Disney film Blessed Princess, Princess Nina sings soulfully using riffs, runs and melisma while crying on her knees and lying down in the rain.

Mirroring human tears, rain uses water droplets, true to Princess Nina's blue-eyed soul singing voice in Blessed Princess, a made-up Disney film.

Lyrics:

[Intro]

Hooooohh-ooohhhh, oh, yeah-eah-eah....

Oh-whoaaaauhhh....

Yeah-eah-eah, hey, yeah....

I feel blessed to be a princess, baby... (aspirate offset)

I feel blessed to be a princess... (aspirate offset)

Uh-huh.

Huh-huuuuhhhh....

[Verse 1]

Once upon a time, I was a girl with my father

But tragedy struck me with the loss that I suffer

I scrubbed the floor and I was crying in tears (aspirate offset)

Baby, I can't do anything right out of fear (sob-choked)

[Pre-Chorus] 

But in the dark of night, a light begins to shine 

A voice inside my spirit says that I will be just fine 

I close my weary eyes and wash away the pain 

Knowing that tomorrow I will rise up once again

[Chorus]

I feel blessed to be a princess (Telephone effect: Oh, yes, I do...)

And I'm never gonna do anything in excess

I'm gonna try to climb up the hill

Cuz I know that I always will (sob-choked)

[Ad-lib]

Ooooh-hooo, yeah...

Baby, baby, baby, I always will...

Uhhhh-huuuhhh...

[Verse 2]

I was getting ready for the ball

But my dress was torn at all

I fled to the garden and began to cry

Crying out made me wanna die (sob-choked)

[Pre-Chorus] 

But in the dark of night, a light begins to shine 

A voice inside my spirit says that I will be just fine 

I close my weary eyes and wash away the pain 

Knowing that tomorrow I will rise up once again

[Chorus]

I feel blessed to be a princess (Telephone effect: Oh, yes, I do...)

And I'm never gonna do anything in excess

I'm gonna try to climb up the hill

Cuz I know that I always will (sob-choked)

[Bridge]

I got myself locked in my room

Trying to set me free

Something inside in my soul

Says I want to be me  (sob-choked)

[Ad-lib]

Hooooooo-whoaaaauuhh...  (Whistle register)

Hey, yeah....  (sob-choked)

I feel blessed to be a princessssssssss!!!!!!  (sob-choked)

[Final Chorus 2x]

I feel blessed to be a princess (Oh, yes, I do...)

And I'm never gonna do anything in excess

I'm gonna try to climb up the hill

Cuz I know that I always will

(Whistle register: Whoaaaaaauhhhhh, baabbbbyyy....)

I feel blessed to be a princess (Telephone effect: Oh, yes, I do...)

And I'm never gonna do anything in excess

I'm gonna try to climb up the hill

Cuz I know that I always will

(sob-choked: Hoouuhhhh, yeah-eah-eah)

[Outro]

I feel blessed... (sob-choked)

to be...

a princess.... (sob-choked)

(Oh, yes, I do, baby...)

One Hundred and One Dalmatians/101 Dalmatians (1961)

One Hundred and One Dalmatians/101 Dalmatians (1961) is the first full-length Disney animated film using the xerography process.

In addition, One Hundred and One Dalmatians (1961) is also a diversion from the previous full-length Disney animated films in that it has a dynamic title sequence made à la Saul Bass.

Plus, 101 Dalmatians (1961) is a rare full-length Disney animated film set in an urban place.

With the Disney empire being called into question after Sleeping Beauty, 101 Dalmatians (1961) is a solution.

Diamonds Are a Girl's Best Friend, popularized by Marilyn Monroe in Gentlemen Prefer Blondes, is on Paris by Night - Den Ba, but with a modern and upbeat arrangement.

Lynda Trang Dai, using both Marilyn Monroe and Madonna, sings Diamonds Are a Girl's Best Friend.

For Lynda Trang Dai's version of Marilyn Monroe's iconic Diamonds Are a Girl's Best Friend tune on Paris by Night, it is being recorded at the Canadian Broadcasting Centre in Toronto, Ontario.

Ontario features Niagara Falls, the main filming location for Marilyn Monroe's film Niagara.

Mung Tan The Ky is a tune, part-English/part-Vietnamese, for the Vietnamese diaspora.

Written by Randy Petersen and Tim Heintz, both of whom usually collaborate with Kevin Quinn from Disney, Nhu Mung Tan The Ky is a celebration of the new century.

Khuc Lan does the Vietnamese lyrics for Mung Tan The Ky.

Anh Thi Khong by Minh Tuyet is on Paris by Night 72 - Tieng Hat Tu Nhip Tim, for which she uses a sexy Britney Spears-like crop top and dances.

Incidentally, Minh Tuyet's Anh Thi Khong is also her first upbeat dance routine on Paris by Night.

For Anh Thi Khong, it is a departure from Minh Tuyet's oft-used soulful and emotive tunes on Paris by Night in that she has a more upbeat dance routine.

Just as Lynda Trang Dai sings Marilyn Monroe's Diamonds Are a Girl's Best Friend, Minh Tuyet's Anh Thi Khong on PBN 72 is being recorded at the Canadian Broadcasting Centre in Toronto.

Ontario features Niagara Falls, the main filming location for Marilyn Monroe's film Niagara.

Britney Spears and Beyoncé, both of whom have Madonna (and in turn, Marilyn Monroe) as their key influences, are noted key idols for Minh Tuyet. 

Minh Mat Nhau Bao Gio and Dung Hua Voi Em are dance-pop tunes by Minh Tuyet, donning her sexy Britney Spears-like crop top/dances, both on Paris by Night in the late-noughties.

For Minh Mat Nhau Bao Gio, Minh Tuyet uses her sexy Britney Spears-like crop top/dances.

Plus, a wink is used by Minh Tuyet for Minh Mat Nhau Bao Gio.

Incidentally, Minh Mat Nhau Bao Gio by Minh Tuyet on Paris by Night is held in Houston, which also births Beyoncé, Alexis Bledel and Shannon Elizabeth.

Dung Hua Voi Em by Minh Tuyet is the opening act on Paris by Night 89 - In Korea.

By blending rhythm & blues, hip-hop and dance-pop with the English raps by Thaifoon, Dung Hua Voi Em by Minh Tuyet on Paris by Night 89 is a sexy and sultry performance.

Minh Tuyet's Dung Hua Voi Em tune also has the Y2K teen pop sound, notably for Britney Spears.

Like Minh Mat Nhau Bao Gio, Minh Tuyet uses her sexy Britney Spears-like crop top/dances for Dung Hua Voi Em and winks on Paris by Night 89 - In Korea.

South Korea, which Marilyn Monroe visited, hosts Dung Hua Voi Em by Minh Tuyet on PBN 89.

Incidentally, Marilyn Monroe serves as a key idol for Madonna, Britney Spears and Beyoncé (the three primary idols for Minh Tuyet in turn).

Neu Anh La Em, used in Vietnam's answer to Sisters Who Make Waves, features a sound being infused with rhythm & blues/soul.

For the rhythm & blues/soul-infused Neu Anh La Em tune, Minh Tuyet sings the soulful and emotional lyrics in English: Baby, baby, baby, listen to me.

Can't Give You Up by Nhu Loan is an English-language tune for the Vietnamese diaspora.

Written by Randy Petersen and Tim Heintz, both of whom usually collaborate with Kevin Quinn from Disney, Nhu Loan's Can't Give You Up is on the Paris by Night - Nua Vang Trang program.

Unlike many foreign tunes covered in Vietnamese, Can't Give You Up by Nhu Loan is unique for Thuy Nga's Paris by Night series in that it is an original English-language piece.

For Can't Give You Up by Nhu Loan, the "Yeah" ad-lib used throughout this tune resembles one in the Britney Spears tune Oops!... I Did It Again.

Nhu Loan's Can't Give You Up tune also has the Y2K teen pop sound, notably for Britney Spears.

Donning Britney Spears-like crop tops means that Minh Tuyet is hot and sexy in the MTV-style music videos for Ve Cuoi Duong Tinh and Xa Nhau, Ta Xa Nhau, both featuring Gen One.

In the Hay Hua Nghe Anh music video, Minh Tuyet is sexy for using her Britney Spears-like crop top trend, but also has actors playing rock band members.

Like the Hay Hua Nghe Anh clip, Minh Tuyet is sexy for her Britney Spears-like crop top trend in the MTV-like music video for her Anh Da Ra Di version (originally sung by Ho Ngoc Ha).

Ngai Nam Van Doi by Nhu Loan has Thaifoon's English rap verses.

Plus, the MTV-like music video for Nhu Loan's Ngai Nam Van Doi, with Thaifoon delivering the rap verses in English, is sexy for her Britney Spears-like crop top trend.

Under Marie To Ngoc Thuy, Thuy Nga has trappings being associated with the Disney empire.

Besides Disney, the Randy Petersen, Kevin Quinn and Tim Heintz trio make songs for Thuy Nga.

Whilst at Thuy Nga, the trio comprising Randy Petersen, Kevin Quinn and Tim Heintz usually provide modern Western-style music arrangements and original compositions for Vietnamese artists.

This Western pop sound being honed at the Disney stable by the Randy Petersen, Kevin Quinn and Tim Heintz trio was used at Thuy Nga, modernizing the overseas Vietnamese pop music sound.

Plus, the Thuy Nga script logo is similar to the iconic and world-famous script logo for the Walt Disney Company, inspired by Walt Disney's signature in a stylized version.

Since its 24th edition (1993), its anniversary special, the first filmed outside Thuy Nga's original France base, the Randy Petersen, Kevin Quinn and Tim Heintz trio has made songs for Paris by Night.

Noted Thuy Nga artists in collaboration with this Disney-rooted Randy Petersen, Kevin Quinn and Tim Heintz trio are Minh Tuyet and Nhu Loan.

For Lynda Trang Dai, Minh Tuyet and Nhu Loan, their Western-like aesthetics are sexy.

Juxtaposing Vietnamese trends with Western influences, Lynda Trang Dai, Minh Tuyet and Nhu Loan cultivate a sexy aesthetic at a time when Vietnamese girls are modest.

Altogether, Lynda Trang Dai, Minh Tuyet and Nhu Loan are unofficially Disney princesses, but with a modern and sexy Vietnamese pop music twist.

Ever since the 2020's, Minh Tuyet has used the English vocal ad-libs.

These ad-libs, which have been used by Minh Tuyet since the 2020's era, come from her main Western idols Madonna, Britney Spears and Beyoncé, all inspired by Marilyn Monroe.

Minh Tuyet uses the sexy English ad-libs "Baby," "Oh, baby," "Baby, baby, baby" and "Uh-huh."

Incidentally, ever since this 2020's decade, Minh Tuyet's English vocal ad-libs have been described as being hot, sexy, sultry, soulful and emotive.

For California State University (Fullerton), it houses Danielle Fishel (who uses similar Maltese roots to Britney Spears), born on Cinco de Mayo 1981 like Allie Nicole (Allison Nicole Noriega).

Plus, California State University (Fullerton) houses Nhu Loan, who was also born in 1981, like Britney Spears, Beyoncé, Danielle Fishel and Allie Nicole (indie-soul singer).

April 20, 1981 is when Nhu Loan was born, just 18 years before Columbine.

Rachel Joy Scott and Cassie Bernal are 1981-born girls having lost their lives at Columbine.

In addition, April 20, 1981 is when Carmen Electra, a 1972-born sex icon, turned 9 years old.

Carmen Electra is sexy in Baywatch.

Judy Garland and Barbra Streisand are early vocal idols for Allie Nicole.

Whitney Houston and Mariah Carey, both inspired by the earlier's honorary aunt Aretha Franklin, are some other vocal idols for Allie Nicole.

Plus, Allie Nicole is inspired by Mariah Carey, whose key idol, in turn, is Marilyn Monroe.

Incidentally, both Britney Spears and Danielle Fishel are 1981-born girls/women having used Maltese ancestry, the latter being born on Cinco de Mayo.

Allie Nicole (Allison Nicole Noriega) is a Nashville-based singer born on Cinco de Mayo 1981.

Louisiana, in which Britney Spears was raised, also births Ali Landry, both earning fame in 1998.

Whereas Ali Landry earned fame as the Doritos Girl, Britney Spears became world-famous.

Randy Petersen and Kevin Quinn (both usually working with Tim Heintz) co-wrote Bop to the Top for Disney's High School Musical franchise.

For HSM: The Musical: The Series, Marco Marinangeli produced/mixed Bop to the Top, which Randy Petersen and Kevin Quinn created.

One of the involvements for Allie Nicole is with Disney, which has its iconic and world-famous theme parks (Disneyland, WDW, Disneyland Paris and Tokyo Disneyland).

Using her sob-choked and soulful singing voice and her work with the Disney ecosystem, Allie Nicole (indie-soul singer) is a crying Disney princess, but with a modern rhythm & blues/soul twist.

Marco Marinangeli, besides Disney, works with Allie Nicole (Nashville-based indie-soul singer).

Allie Nicole (Nashville-based indie-soul singer) covers A Sunday Kind of Love (notably sung by Etta James) in a soulful singing voice, released on YouTube via TheAllieNicole.

For her cover of A Sunday Kind of Love, Allie Nicole (Nashville-based indie-soul singer) sings with emotion, soul and a tearful quality.

The YouTube link for Allie Nicole (indie-soul singer) doing a soulful and emotive cover iteration of A Sunday Kind of Love is: https://www.youtube.com/watch?v=RVbS5TEzy84.

Louis Prima, who co-wrote A Sunday Kind of Love (notably sung by Etta James and covered by Allie Nicole), also voices King Louie and sings I Wan'na Be Like You for Disney's The Jungle Book.

Disney aside, Louis Prima is also one of the individuals who popularized the jump blues genre.

Big-band/swing music declined after WWII, so Louis Prima stripped down the orchestral sound into a smaller, hard-hitting combo that is jump blues, directly evolving into rock music.

101 Dalmatians (1961), released 6 years just prior to The Jungle Book, features a bluesy tune named Cruella De Vil by Mel Leven.

Mel Leven, besides Disney, works with Peggy Lee and the Andrews Sisters.

Peggy Lee's own cover version of the rhythm & blues tune Fever, co-written by Eddie Cooley and Otis Blackwell for Little Willie John, is her signature tune.

Boogie Woogie Bugle Boy by the Andrews Sisters is an early example of the jump blues genre.

As for her Disney work, Peggy Lee is in Lady and the Tramp.

Charles Wolcott is also a rock music pioneer associated with Disney.

Though he didn't work at Disney directly, Charles Wolcott introduced the rhythm & blues-rooted rock music genre to the mainstream through Blackboard Jungle.

For Blackboard Jungle, Charles Wolcott made the revolutionary decision to include Rock Around the Clock by Bill Haley & His Comets over its opening credits.

Annette Funicello, Charles Wolcott, Mel Leven and Louis Prima are just some of the individuals who juxtapose Disney with rhythm & blues/rock/soul music.

In addition, Allie Nicole (indie-soul singer) covers Sometimes by Britney Spears in a piano version.

Britney Spears, Danielle Fishel and Allie Nicole (Nashville-based indie-soul singer), incidentally, are 1981-born girls, the earlier 2 having Maltese roots. the latter 2 born on Cinco de Mayo.

Incidentally, Britney Spears, who serves as an idol for both Minh Tuyet and Nhu Loan, has been in the Disney ecosystem, especially through MMC; she has similarities to Marilyn Monroe.

For Halloween 2020, Minh Tuyet recalls Britney Spears by using a blue flight attendant uniform being utilized in the music video for Toxic.

Nhu Loan uses a crop top trend, a lower-back tattoo and repeated "Yeah" ad-libs (all being based upon Britney Spears)

Danielle Fishel and Nhu Loan both attend CSU (Fullerton), the earlier with Maltese roots, like Britney Spears, and born on Cinco de Mayo 1981, like Allie Nicole (indie-soul singer).

1981 is the year of the Rooster, which, using 7 letters, has the most letters of any Chinese zodiac being written in English.

The Rooster, using 7 letters, is tied with the Buffalo for having the longest letter count of a Vietnamese zodiac being written in English.

If Water is added, the Water Buffalo has 12 letters, the longest of a Vietnamese zodiac in English.

Using a space, the Water Buffalo has 13 characters, the longest of a Vietnamese zodiac in English.

1973 is the year of the Ox, which, using 2 letters, has the shortest letter count of any Chinese zodiac in English.

The Buffalo, using 7 letters, is tied with the Rooster for the longest letter count of a Vietnamese zodiac being written in English.

If Water is added, the Water Buffalo has 12 letters, the longest of a Vietnamese zodiac in English.

Using the format "nineteen seventy three," 1973 has 20 letters, tied with 1977 and 1978 for having the most letters of any year name of the 20th century (excluding spaces/hyphens).

In spaces/hyphens, 1973 has 22 characters, tied with 1977 and 1978 for a record in the 20th century.

Britney Spears, Beyoncé, Alexis Bledel, Danielle Fishel and Allie Nicole (indie-soul singer) are female figures born in 1981.

Shannon Elizabeth Fadal and Ali Landry are females.

Set to jazz and big-band music, Marilyn Monroe delivers sexy, sultry and steamy performances.

Females based on Marilyn Monroe, like Madonna, Mariah Carey and Britney Spears, use hot, sexy and sultry aesthetics set to modern music, like rhythm & blues/soul, dance-pop/EDM, etc.

Made-up Disney princess anthem in a rhythm & blues/soul twist

The made-up Disney princess anthem in a rhythm & blues/soul twist is called Deep Inside My Soul.

Filled up with sob-choked, soulful and emotive gospel-like vocals, Deep Inside My Soul is a fictional rhythm & blues/soul-inspired Disney princess tune sung by Ariel from the Little Mermaid.

Sobs, cries, riffs, runs, melisma, vocal fry and whistle registers define Deep Inside My Soul, a fictional Disney princess anthem.

The final chorus features the lead doing ad-libs with the multi-track vocals harmonizing the lyrics.

Aretha Franklin, Whitney Houston and Mariah Carey are key idols for Ariel's singing voice for Deep Inside My Soul, a made-up Disney princess anthem.

Lyrics:

[Intro]

(sob-choked onset)

Ooh, hey, yeah...

Yeah-eah-eah...

Whoaaauuhhh...

Hey, yeah....

I need you deep inside my soul (Spoken: Oh, yes, I do...)

Whoaaauuhhh, yeah....

Oh, baby, baby...

(Spoken: Listen)

[Verse 1]

[Pre-Chorus] 

I'm standing at the edge of the crashing waves 

Breaking out of the silence that kept me enslaved (Gasping for air, crying out) 

Oh, I feel a change coming over me now! 

I've gotta scream it out loud, somehow!

[Chorus]

(Full band crashes in, heavy driving rhythm) 

Deep inside my soul, there’s a brand new voice! 

(Choir: Brand new voice!) Deep inside my soul, I am making my choice! 

I won’t let the tide wash my spirit away 

I'm finding the strength to stand up and say— (Sobs quickly, then belts) 

I am whole! 

Deep inside my soul!

[Ad-lib]

Ooh-whoaaaauhhhh...

Yeah, baby, baby...

(telephone effect Spoken: All I want is you, baby...)

[Verse 2]

[Pre-Chorus] 

I'm standing at the edge of the crashing waves 

Breaking out of the silence that kept me enslaved (Gasping for air, crying out) 

Oh, I feel a change coming over me now! 

I've gotta scream it out loud, somehow!

[Chorus]

(Full band crashes in, heavy driving rhythm) 

Deep inside my soul, there’s a brand new voice! 

(Choir: Brand new voice!) Deep inside my soul, I am making my choice! 

I won’t let the tide wash my spirit away 

I'm finding the strength to stand up and say— (Sobs quickly, then belts) 

I am whole! 

Deep inside my soul!

[Bridge]

[Ad-lib]

Ohhhhhhh-whoaaaaaaa-ohhh....

Hey, yeah....

(whistle register)

Deep inside my soulllllllllllllll...

[Final Chorus 2x]

Deep inside my soul, there’s a brand new voice! 

(Choir: Brand new voice!) Deep inside my soul, I am making my choice! 

I won’t let the tide wash my spirit away 

I'm finding the strength to stand up and say— (Sobs quickly, then belts) 

I am whole! 

Deep inside my soul!

Deep inside my soul, there’s a brand new voice! 

(Choir: Brand new voice!) Deep inside my soul, I am making my choice! 

I won’t let the tide wash my spirit away 

I'm finding the strength to stand up and say— (Sobs quickly, then belts) 

I am whole! 

Deep inside my soul!

[Outro]

Deep... inside... (Sobs) 

My soul...

(Choir hums a final, warm gospel chord) 

Yeah, baby... (Fades out on a soft sob)

Made-up Disney princess film with an action film twist/stock music

The made-up non-musical Disney princess film with an action film twist is Princess of the Future.

Alicia is the main protagonist of the fictional Disney princess film Princess of the Future.

Michelle is the main antagonist of the fictional Disney princess film Princess of the Future.

Julie is Alicia's sidekick in the fictional Disney princess film Princess of the Future.

Greg is Alicia's love interest in the fictional Disney princess film Princess of the Future.

For Alicia, she is a Disney princess with an futuristic armour and fighting techniques, plus soul and emotion.

One of Alicia's catchphrases in Disney's Princess of the Future is "Baby, I'm always your girl."

Baby is an emotional ad-lib/term of endearment used by Alicia

Set in a futuristic city called Metro City, Princess of the Future blends Disney with modernity.

The theme tune for Princess of the Future, a made-up Disney princess film, is Survival by Anthony Hobson for De Wolfe Music.

Landscapes by Paul Lawler for De Wolfe Music is an I Want tune in Princess of the Future.

Escape from the Atmosphere by Mannheim Steamroller is used for a cinematic escape.

Survival by Anthony Hobson for De Wolfe is used in Princess of the Future for a rain-soaked climactic battle between Alicia and Michelle.

The High Seas by Gene Ober for Sound Ideas is a victory cue in Princess of the Future.

Set to Landscapes by Paul Lawler for De Wolfe Music in Disney's made up Princess of the Future film, Alicia tearfully stands, walks and sits down alone in the rain, conveying soul and emotion.

Alicia, sitting alone in the rain, says "In my dreams, in my soul, and in my heart, I will always be with you, baby, forever and ever."

Besides Alicia says "Oh, baby, never before have I felt so deeply emotional."

In the rain-soaked climax set in a city, Alicia defeats Michelle with soul, emotion and strength, with the words "It's all over for you, baby. It's all over for you."

Current affairs on television

See It Now, which is the television answer to Hear It Now, is one of the earliest documentary series on television and a trailblazer for modern broadcast journalism via Edward R. Murrow.

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

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

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

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

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

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

Prior to Edward R. Murrow, television news was split into (and heavily influenced by) three separate formulas:

• Newsreels are short snippets of the news events from around the world which are pre-recorded (often curated or staged) and being offered to movie theatres.

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

• Radio news are early television newscasts, with anchors delivering the day's news stories in an unseen audio form, with limited (and often static) visuals.

Due to Edward R. Murrow, newsreels, documentaries and radio newscasts forged television news.

Edward R. Murrow's See It Now forges on-location visuals (newsreels) with investigative and in-depth reports (documentaries) and an authoritative anchor delivery (refined from radio).

Studio 41, which was at Grand Central Terminal, housed the CBS Television control room, which was being used for Edward R. Murrow's See It Now.

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

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

Marilyn Monroe was on Edward R. Murrow's original Person to Person version, the broadcast of which emanated from the home of her business partner and photographer Milton Greene.

During this Person to Person broadcast, Marilyn Monroe promoted her mid-1950's film The Seven Year Itch, which is one of her best and most famous films.

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, using the hand first, then her lips, with hot and sexy charisma.

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 to the cameras, both for The Seven Year Itch, convey hot and sexy youth.

Edward R. Murrow starts his London reports with "This is London," with an emphasis on "This."

The iconic sign-off for Edward R. Murrow is "Good night, and good luck."

60 Minutes (CBS) is the spiritual (and professional) heir to two of the innovative and groundbreaking television programs being hosted by Edward R. Murrow: See It Now and Person to Person.

20/20 is ABC's answer to 60 Minutes (CBS), doubling as the first news-oriented program being made under the sports-heavy visionary Roone Arledge.

Despite its unsuccessful first edition, 20/20 (ABC) became a success by pairing the Hugh Downs and Barbara Walters duo, both from Today (NBC), as its hosts.

PrimeTime Live (ABC) is a companion along with 20/20 (ABC), the last news-oriented program being created by Roone Arledge.

Roone Arledge, incidentally, created both 20/20 (ABC) and PrimeTime Live (ABC) in 1978 and 1989.

Hugh Downs, incidentally, was part of the Chicago School of Television, along with Dave Garroway.

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

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

Early-morning television was Pat Weaver's innovative, but controversial dream for a few years, and he tapped Dave Garroway from Chicago to make this dream real.

Pat Weaver's successful dream of an early-morning television program was called Today (NBC).

When Today (NBC) began, television was completely absent from the early-morning hours, and critics believed that no one watched TV while getting ready for work.

Just before Today (NBC), Pat Weaver was also trying to find a location for its studio.

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.

Likewise, Rockefeller Centre housed 1 Rockefeller Plaza, which was 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.

With the RCA Exhibition Hall as Pat Weaver's choice, Today (NBC) was unconventional.

During the early-1950's era, parts of the floor of the RCA Exhibition Hall were being converted into an early studio space for Today (NBC).

Inside the RCA Exhibition Hall, parts of which were converted into the first Today (NBC) studio, was a borderless room evoking the Associated Press bullpen at 50 Rock.

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 innovative.

Undoing the past, the blueprint of this unique room in the RCA Exhibition Hall for Today (NBC) under Dave Garroway/Pat Weaver birthed modern broadcast design elements.

Elements of this first Today (NBC) studio under Dave Garroway/Pat Weaver included newsroom-as-set trends, street-side studios, news tickers and clock displays.

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.

Dave Garroway's iconic and famous sign-off occurs when he raises the palm of his hand and utters the simple word: Peace.

Responding to the bullpen being located inside the RCA Exhibition Hall for Today (NBC) under Dave Garroway, CBS adapted the bullpen for its early-1950's election coverage.

In similar fashion to what Today (NBC) innovated the use of a bullpen as a usual studio feature for the television news scene, CBS did the same as a usual studio feature for televised elections.

Besides, this national television coverage of the early-1950's US presidential election was also the first driven by computers, notably the UNIVAC I.

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.

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.

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).

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.

Incidentally, the real UNIVAC I was based at the Remington Rand factory in Philadelphia, whereas the mock-up terminal with blinking Christmas lights was at CBS News in New York.

Both Don Hewitt and Sig Mickelson masterminded CBS Television Election Headquarters, which was located at Grand Central Terminal, for its election coverage in the early-1950's.

NBC pioneered the format of using the newsroom as a regular studio feature (either as a backdrop or a centrepiece), with CBS putting this for elections.

Just prior to Dave Garroway, Don Hewitt and Sig Mickelson, television news/election studio sets have typically comprised three separate formulas:

• News anchors sitting at one desk in a studio with a claustrophobic 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, Dave Garroway's innovations, including Garroway at Large and Today (NBC), tore down the walls, mixing the main stage (news desk) with the backstage workspace (bullpen/control room).

Plus, both Don Hewitt and Sig Mickelson adapted Dave Garroway's approach for election results.

Whereas Studio 41's control room at Grand Central for Edward R. Murrow's See It Now (CBS) had an isolated and enclosed approach, the RCA Exhibition Hall for Today (NBC) was more dynamic.

Ever since, 60 Minutes (CBS) has usually used chroma key technology to place its signature black and open-magazine graphics behind journalists during intros and story transitions.

Journalists stand/sit in front of a blue/green backdrop in the studio for 60 Minutes (CBS).

Control room equipment digitally replaces the solid chroma key colour background with the iconic and famous branding for 60 Minutes (CBS), graphics and story previews.

20/20 (ABC), during the Roone Arledge era, used a multi-monitor control room, similar to Studio 41's control room at Grand Central Terminal for Edward R. Murrow's See It Now (CBS).

Plus, the studio set for 20/20 (ABC), under Roone Arledge, had a working newsroom feel.

Dateline is NBC's response to both 60 Minutes (CBS) and 20/20 (ABC).

For Dateline NBC, during its early years (and its peak), it incorporated trappings being associated with ABC News under Roone Arledge, like Stone Phillips, Jeff Diamond and Neal Shapiro.

Stone Phillips, Jeff Diamond and Neal Shapiro came from Roone Arledge's news magazines: 2020 and PrimeTime Live, both from ABC News, to mastermind Dateline NBC.

In addition, Dateline NBC has David Rummel from 60 Minutes (CBS).

Panorama is the longest-running television news magazine/current affairs program in the world.

The BBC is the main incubator for Panorama.

Having begun its run in 1953, Panorama (BBC) initially had breakdowns.

Under Grace Wyndham Goldie, Panormaa (BBC) was relaunched, with Richard Dimbleby as its main anchor.

Heidi Klum and Tyra Banks in a seasonal/astronomical twist

Heidi Klum's birth on June 1, 1973 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 proves true to Heidi Klum as a summer girl.

Representing summer is the heat of both the fire and the sun, which is proven true to Heidi Klum, not simply in her birth, but her hot, sexy, sultry and fiery summer girl image/persona.

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

Like a wildfire held in the summer, Heidi Klum sets the world on sexual fire; she is indeed a hot, sexy, sultry, charismatic and emotional girl with a high-energy summer vibe.

Decades after her breakthrough, Heidi Klum's hot and sexy legacy is unextinguished.

Besides, the Water element represents Heidi Klum in her soul, emotion and youth.

Mirroring human tears, rain uses water drops, which holds true to Heidi Klum as a water girl. 

Using wet hair for Heidi Klum conveys soul, emotion and youth.

Water represents the lowest and the deepest frequencies, but also the dark and mysterious depths of the ocean; this holds true for Heidi Klum.

A husky, sultry voice like Heidi Klum's mirrors moving water's fluid, echoing quality.

Likewise, Heidi Klum is also a female figure born just 20 days before the end of spring in the Northern Hemisphere under the astronomical system.

Spring has the Wood element symbolizing youth, true to Heidi Klum as a youthful icon.

Having been aligned with the fixed Wood element, the spring season also represents Heidi Klum in her creativity, energy and growth.

Like a tree being cut down for wood, Heidi Klum chops down the traditional female mold.

Rain also acts as a bridge between the sky (air) and earth (ground) elements, which proves to be true to Heidi Klum's status/reputation as a youthful spring girl.

1973 is also aligned with the Water element, true to Heidi Klum as a soulful Ox/Buffalo girl.

Besides, as a girl/woman born on a day with the Gemini Sun sign, Heidi Klum is a witty, youthful and sparkling female icon with a breathy voice.

Conversely, the Air element is tied into Heidi Klum's iconic and world-famous flying dress scene, but represents her voice as having a sexy and gentle breeze as well.

The Ox, having the nature of the Earth, also represents Heidi Klum in her resilience. 

Sagittarius, which uses a fiery nature, represents Tyra Banks in her vibrant beauty, warmth, genius and inner star power, but also in her energy and as a spark of the global sexual revolution.

Using the fiery nature of the Sagittarius zodiac, Tyra Banks sets the world on sexual fire; in fact, she is deemed hot, sexy and sultry with charisma, charm, energy, passion and raw emotions.

Plus, the Sagittarius, having a fiery nature, fits Tyra Banks as Hollywood's summer girl.

Likewise, the December 4, 1973 birth of Tyra Banks coincides with winter's fourth day in the Northern Hemisphere under the weather system, with the astronomical one on the 20th or 21st.

In the Northern Hemisphere, winter is cold, despite Tyra Banks as Hollywood's summer girl.

For Tyra Banks, despite the cold winter, she sets the world on sexual fire; indeed, she has a hot, sexy, sultry, charismatic and emotional persona with a high-energy summer vibe.

Ever since her breakthrough, Tyra Banks' fiery hot and sexy legacy has been unextinguished.

December is a month synonymous with the winter season being aligned with the Water element, which represents Tyra Banks in her soul, emotion and youth.

Standing in the pouring rain gives Tyra Banks soulful performances.

1973 is also aligned with the Water element, true to Tyra Banks as a soulful Ox/Buffalo girl.

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

A husky, sultry voice like Tyra Banks' mirrors moving water's fluid, echoing quality.

Three dimensions define Tyra Banks' work that echoes the title of Marilyn Monroe's early-1950's film being released after her breakthrough in 1950:

• As young as she feels: Young, hot, sexy, sultry, dynamic, energetic, classy, emotive, passionate, beautiful, vibrant, soulful, fierce/fiery, smouldering, gut-wrenching and poignant

• As young as she looks: Young, hot, sexy, sultry, steamy, seductive, beautiful, charismatic, kind, charming, fierce/fiery, gorgeous, smouldering and emotive

• As young as she sounds: Young, hot, sexy, sultry, beautiful, smooth, steamy, seductive, soulful, fierce/fiery, soft, soothing, breathy, cooing, smouldering, gut-wrenching and emotive

Similarly, both Heidi Klum and Tyra Banks are iconic and world-famous 1973-born models, but also former Victoria's Secret Angels and close friends for 20+ years.

Plus, both Heidi Klum and Tyra Banks are sexy, soulful and emotive 1973-born girls.

1973 is the year of the Ox, which, using 2 letters, has the shortest letter count of any Chinese zodiac in English, when both Heidi Klum and Tyra Banks were born.

The Buffalo, using 7 letters, is tied with the Rooster for the longest letter count of a Vietnamese zodiac being written in English.

If Water is added, the Water Buffalo has 12 letters, the longest of a Vietnamese zodiac in English.

Using the format "nineteen seventy three," 1973 has 20 letters, tied with 1977 and 1978 for having the most letters of any year name of the 20th century (excluding spaces and hyphens).

Tia Texada

Tia Texada is an actress having Hispanic ancestry.

December 14 is when Tia Texada was born.

Louisiana is Tia Texada's birthplace.

Sagittarius, which uses a fiery nature, represents Tia Texada in her vibrant beauty, warmth, genius and inner star power, but also in her energy and as a spark of the global sexual revolution.

Using the fiery nature of the Sagittarius zodiac, Tia Texada sets the world on sexual fire; in fact, she is deemed hot, sexy and sultry with charisma, charm, energy, passion and raw emotions.

Plus, the Sagittarius, having a fiery nature, fits Tia Texada as Hollywood's invisible summer girl.

For Tia Texada, despite the cold winter, she sets the world on sexual fire; indeed, she has a hot, sexy, sultry, charismatic and emotional persona with a high-energy summer vibe.

Plus, Tia Texada's fiery hot and sexy legacy has been unextinguished.

December is a month synonymous with the winter season being aligned with the Water element, which represents Tia Texada in her soul, emotion and youth.

Water represents the lowest and the deepest frequencies, but also the dark and mysterious depths of the ocean; this holds true for Tia Texada.

A husky, sultry voice like Tia Texada's mirrors moving water's fluid, echoing quality.

The Pig, having a watery nature, also represents Tia Texada in her soul, emotion and youth.

With the water mixed with the fire to create steam, Tia Texada's sexy and sultry appeal is an elusive, misty and atmospheric icon.

Even the heavy rain/water droplets cannot dim/extinguish Tia Texada's fire.

Using the steam, Tia Texada delivers sexy, sultry and steamy performances.

Three dimensions define Tia Texada's work that echoes the title of Marilyn Monroe's early-1950's film being released after her breakthrough in 1950:

• As young as she feels: Young, hot, sexy, sultry, dynamic, energetic, classy, emotive, passionate, beautiful, vibrant, soulful, fierce/fiery, smouldering, gut-wrenching and poignant

• As young as she looks: Young, hot, sexy, sultry, steamy, seductive, beautiful, charismatic, kind, charming, fierce/fiery, gorgeous, smouldering and emotive

• As young as she sounds: Young, hot, sexy, sultry, beautiful, smooth, steamy, seductive, soulful, fierce/fiery, soft, soothing, breathy, cooing, smouldering, gut-wrenching and emotive

In her VO work, Tia Texada has a hot, sexy, sultry, husky and emotional tone with vocal fry and a sexy Hispanic approach.

During the Tia Texada era, Maybelline's iconic and famous slogan is divided into two parts.

The first half of the Maybelline slogan (Maybe she's born with it) utilizes a spoken Y2K-like telephone effect for a sexy, sultry and emotional effect.

Plus, the second half of the Maybelline slogan (Maybe it's Maybelline) has a melodic musical jingle.

In addition to the iconic and famous Maybelline slogan, the telephone effect is applied to deliver action verbs/product name, also with a sexy, sultry and emotional effect and mirroring Y2K pop music.

Also adding to Tia Texada's sexy, sultry and emotive voice for Maybelline is a Y2K-like vocal fry.

Besides, an aspirate offset is also used at the end of the famous Maybe it's Maybelline jingle to give it a sexy, sultry and emotional, Y2K-like effect during the Tia Texada era.

Maybelline's iconic and world-famous "Maybe she's born with it. Maybe it's Maybelline" slogan has 12 syllables in pronunciation, notably during the Tia Texada era.

Plus, during the Tia Texada era, Maybelline New York used music, ranging from dance-pop to EDM to rhythm & blues/soul to jazz to rock to classical.

Overall, during the Tia Texada era, the sonic branding for Maybelline New York is often described as a modern, sexy, sultry and intimate, yet emotional, Y2K-like aesthetic.

Tila Tequila

Regular news studio set designs on a local basis inspired by Dave Garroway

The Chicago School of Television is an influential philosophy rooted in its namesake; its strategy is to counter the television industry of the East Coast, specifically New York.

Having fewer resources than New York, the Chicago School of Television is an inventive source.

WNBQ/WMAQ-TV (NBC) is the main incubator for the innovations of the Chicago School.

Some innovative techniques of the Chicago School philosophy include walking hosts, direct-to-viewer addresses, fluid and moving camerawork and the studio as a third-dimensional canvas.

Dave Garroway, a noted individual being involved in the Chicago School of Television, innovated the Chicago Style for his eponymous program Garroway at Large, plus Today (NBC).

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

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

Early-morning television was Pat Weaver's innovative, but controversial dream for a few years, and he tapped Dave Garroway from Chicago to make this dream real.

Pat Weaver's successful dream of an early-morning television program was called Today (NBC).

When Today (NBC) began, television was completely absent from the early-morning hours, and critics believed that no one watched TV while getting ready for work.

Just before Today (NBC), Pat Weaver was also trying to find a location for its studio.

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.

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 has the television industry's entertainment, variety and filmed sectors, capitalizing on.Hollywood's infrastructure and cinematic pool.

Still, the DNA of the Chicago School impacts television.

The casual delivery and open-plan studio sets rooted in the Chicago School paved the way for national morning/late-night programs and 24-hour news channels, plus nationally-televised elections.

NBC pioneered the newsroom/bullpen as a usual studio set feature under Dave Garroway.

CBS popularized the newsroom/bullpen as a usual television studio set feature being used for both the political and the evening news broadcasts, both under Walter Cronkite.

Local CBS stations also introduced the newsroom/bullpen as a usual studio feature in 1973.

This newsroom/bullpen was adapted from Today (NBC) for CBS Television's US presidential election coverage in the early-1950's.

Due to its half-hour expansion in the mid-1960's, the CBS Evening News with Walter Cronkite started using the newsroom/bullpen, also used for election coverage since the 1950's.

Under Walter Cronkite, the CBS Evening News used a studio set being created by Hugh Raisky, which featured the newsroom/bullpen, from Studio 33 at the CBS Broadcast Centre in New York.

In addition to Studio 33, housing the CBS Evening News, Hugh Raisky also designed a set for election coverage from Studio 41 at the same location.

Just before West 57th, the CBS Evening News with Walter Cronkite briefly emanated from the Graybar Building, based adjacent to GCT, also featuring the newsroom/bullpen.

During the brief Graybar era, the studio set of the CBS Evening News had a chalkboard.

However, its move to the CBS Broadcast Centre, located at West 57th Street, meant that the chalkboard being included in the CBS Evening News set was replaced by a wall with teletypes

Victor Paganuzzi, responding to Fred Harpman's cinematic NewsCentre, remade Studio 41 at the CBS Broadcast Centre in New York for its election coverage from the bicentennial to the late-1980's.

In the pre-Watergate era, Studio 41 at the CBS Broadcast Centre, housing its election coverage, used a plain backdrop with the bullpen feature.

However, Watergate caused Studio 41 at the CBS Broadcast Centre to be recreated: by adding monitor banks and plexiglass.

WBBM-TV, WJW-TV and WCCO-TV are some local television stations in the Midwestern region that changed television news studio set designs, all connected to CBS.

Evoking a raw, gritty and unpolished newspaper feel, the WBBM-TV news studio, featuring a regular bullpen backdrop, has a mantra: It's not pretty, but it's real news.

Incidentally, WBBM-TV is the first commercially-licensed television station located outside America's Eastern Time Zone; it began as WBKB, run by Balaban & Katz/Paramount.

For WBKB, receiving a commercial license made it the first outside the Eastern Time Zone (and sixth overall); it was also the first in the Central Time Zone.

Besides, the calls for WBKB stood for Balaban and Katz, run by Paramount Pictures Corporation.

Having been the first commercially-licensed television station located outside America's Eastern Time Zone, WBKB was an alternative to the New York-centric television scene.

Just before the innovative news desks, made in the 1960's by both WJW-TV and WCCO-TV, television newscasts featured one anchor in one desk and three separate segments (news-sports-weather).

However, in this 1960's era, both WJW-TV and WCCO-TV built wider and unified news desks to bring anchors/segments (news-sports-weather) together in one desk and one program.

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.

WNBC-TV is the first station in the world to use Fred Harpman's high-tech and cinematic NewsCentre design, coinciding with arrival of its main anchor Chuck Scarborough, both in 1974.

Having been described by many as an industrial factory workshop being created for the television news scene, Fred Harpman's NewsCentre design, which NBC commissioned in 1974, has 5 areas:

• The main anchor desk: The main presentation area in which the main news anchors offer nightly and breaking news

• The weather centre: A dedicated station filled/equipped with meteorology skills, maps and radar systems for reporting on a local level

• The sports desk: A specialized area for sportscasters to offer highlights and athletic scores

• The mini-studio/interview area: A secondary (and flexible) place used for live one-on-one guest segments and specialized feature reports

• The active newsroom (Assignment Desk): An exposed backdrop with working journalists, wire machines and editors, emphasizing transparency and a flow of real-time information

So successful was the NewsCentre philosophy (in branding, visuals and design), which WNBC-TV had originated, that NBC's other owned-and-operated television stations began using this one.

NBC commissioned modular and scaled-down structural clones of this original NewsCentre incarnation that WNBC-TV originated in New York.

Plus, Fred Harpman's NewsCentre design paralleled the borderless room being located inside the RCA Exhibition Hall for Today (NBC) under Dave Garroway.

Upon its June 1, 1980 launch, CNN used its BCTV-inspired hybrid newsroom-control room studio set design, which serves as the DNA for 24-hour television news.

BCTV, incidentally, juxtaposed CBS (bullpen, Robert Wussler, Daniel Schorr, Bernard Shaw and Sam Zelman) with NBC (NewsCentre, Mary Alice Williams and Jim Kitchell), all used by CNN.

Sound Ideas/Westar

De Wolfe Music, formerly known as Music De Wolfe, is one of the best, greatest and most iconic and influential companies specializing in stock music.

Unconfined to music, De Wolfe Music also has sound effects.

Wardour Street, based at Soho in London, was De Wolfe's longtime headquarters until its relocation to Shropshire House on Capper Street in the late-1990's.

Queens House at Tottenham Court Road houses De Wolfe Music.

Angel Recording Studios, which is a former De Wolfe property being based at the Islington Chapel in London, is a location being used for orchestral recording purposes.

Meyer De Wolfe, born in the Netherlands, arrived in Britain after the turn of the 20th century.

By setting foot on the British map, Meyer De Wolfe founded his own company in 1909.

In the late-1920's, with sound entering cinema, De Wolfe Music had sound-on-disc and sound-on-film technology to create the world's first commercial recorded music library.

James De Wolfe is Meyer De Wolfe's younger son, taking over his father's music label after WWII.

Having been in the Royal Air Force for 5 years starting in 1942 during WWII, James De Wolfe was a member of the Dutch Squadron, marked by resilience and bravery.

Not long after the Allies won World War II in 1945, James De Wolfe returned to his roots at the music label that his father Meyer De Wolfe had founded in 1909.

Returning from RAF service after WWII ended, James De Wolfe injected fresh energy into this music publishing business, especially the label that his father Meyer De Wolfe had begun.

Carrying on the legacy of his father Meyer De Wolfe, after World War II, James De Wolfe has greatly expanded De Wolfe Music's reach beyond its original British borders.

Plus, James De Wolfe spearheaded the development of the Angel Recording Studios complex.

KPM/EMI is, besides De Wolfe Music, one of the best, greatest and most iconic and influential stock music labels.

Denmark Street, located near Wardour Street, where De Wolfe was located, had also been the longtime headquarters for KPM/EMI until its move to Charing Cross the late-1980's.

Soho bridges both Wardour Street and Denmark Street, where De Wolfe and KPM/EMI were based.

For Robert William Keith, he was a composer and an instrument maker; he opened up a music shop in London in the late-18th century.

In the early-19th century, Robert William Keith met fellow instrument maker William Prowse.

Keith Prowse & Co. was the result of a partnership forged between Robert William Keith and William Prowse.

Having had both ticket and music publishing, Keith Prowse & Co. spun-off the latter in the mid-1950's period to focus on the earlier.

The owners of the first independent television station in Britain called Associated-Rediffusion acquired Keith Prowse Music Publishing, starting the latter's stock music label.

Peter Maurice Music was run by John Turner (James Phillips), with its lyricist Geoffrey Parsons.

In the late-1950's, Associated-Rediffusion also purchased Peter Maurice Music, merging it with Keith Prowse Music Publishing to form Keith-Prowse-Maurice (KPM).

Via Independent Television (ITV) and Associated-Rediffusion, stock music has been an integral and a crucial portion of the music scene in both the television and broadcast industries.

Associated-Rediffusion (then Rediffusion London) was outbid in the late-1960's, as was the other Big Four ITV station called ABC Weekend Television.

Rediffusion London and ABC Weekend Television merged to form Thames Television.

In 1969, EMI acquired Associated British Picture Corporation (ABPC), which partly owned Thames Television.

Separately, in 1969, EMI acquired the KPM stock music label from Rediffusion London.

Warner Bros. partly owned Associated British Picture Corporation (ABPC) until 1969.

Robin Phillips headed KPM through its 1000 Series, which he created in May 1966.

Incidentally, Robin Phillips' father John Turner (James Phillips) had owned Peter Maurice Music (now KPM) since 1930, with his older brother Peter joining in 1954.

1930, 1942, 1954 and 1966 are respectively years of the Chinese zodiac Horse.

Adrian Kerridge, a veteran engineer in the pop and rock music scenes, is also an engineer of the KPM 1000 Series, under whom it has a crisp sound.

For the KPM 1000 Series, co-envisioned by Robin Phillips and Adrian Kerridge, it blended traditional orchestration with modern pop instrumentation.

KPM also shifted from 10-inch 78 rpm shellac discs into 12-inch 33 rpm LPs with its 1000 Series.

78 rpm shellac discs use faster playback speed, whereas 33 rpm LPs have slower speed and finer, more densely packed microgrooves, giving music a more storage space.

Both Robin Phillips and Adrian Kerridge enlisted musicians and composers from pop, jazz and rock to create a fresh, dynamic sound for film and television for the KPM 1000 Series.

Green is the main colour of the album covers of the KPM 1000 Series, which both Robin Phillips and Adrian Kerridge have envisioned.

Nicknamed Greensleeves, the KPM 1000 Series forever changed stock music (and music overall).

Since the 1960's, stock music labels have used a modern and contemporary sound, pioneered by both Robin Phillips and Adrian Kerridge.

KPM/EMI and De Wolfe are noted labels with the modern Robin Phillips/Adrian Kerridge sound.

Jan Stoeckart, Frans Mijts, Hugo De Groot and Els van Epen are some Dutch people working with De Wolfe Music, besides its namesake (and fellow Dutchman) Meyer De Wolfe.

Many De Wolfe Music LPs were physically pressed at the Dureco factory in Weesp in the Netherlands before being shipped to the UK.

Indeed, for years, De Wolfe Music has had deep operations and artistic relations with the Dutch music business.

Alfonso Corelli and Fred Jacobs, both of whom were film editors rooted in the United States, founded their eponymous music company called Corelli-Jacobs, Inc., based in New York City.

For Corelli-Jacobs, Inc., it acquired the American distribution rights to the music label, driven by both Meyer De Wolfe and his younger son James De Wolfe, in 1953.

Emil Ascher founded his eponymous company in New York City in the late-19th century; his sons took over after his death in the early-1920's.

Like Corelli-Jacobs, Emil Ascher, Inc. is a former company distributing European stock music labels.

The longtime main headquarters of Corelli-Jacobs Recording, which distributed De Wolfe Music in the United States, was based at West 45th Street in Midtown Manhattan in New York City.

Before moving to its iconic West 45th headquarters, Corelli-Jacobs, distributing De Wolfe Music in the United States, was at Madison Avenue, Broadway and 7th Avenue.

Germany is where Emil Ascher (namesake of the stock music distributor) was born, with its neighbour Austria being where Alfonso Corelli (Corelli-Jacobs/De Wolfe) was born.

Before both Corelli-Jacobs and Emil Ascher, America's Big Three networks used live orchestras.

The iconic Big Three networks provided custom compositions for primetime programs, whereas local stations/daytime syndications have low budgets before both Corelli-Jacobs and Emil Ascher.

Likewise, before both Corelli-Jacobs and Emil Ascher, America's Big Three networks took too long to require theme music and transition cues to fit highly rigid commercial broadcast slots.

On August 1, 1942, the American Federation of Musicians (AFM), which was led at the time by James Petrillo, began a 2-year strike over disagreements, rendering US music tracking to a stop.

The second AFM strike under James Petrillo lasted from January 1, 1948 to December 14, 1948.

However, both Corelli-Jacobs and Emil Ascher pitched a revolutionary alternative: pre-recorded music compositions being specialized by atmospheric emotion.

Both Corelli-Jacobs and Emil Ascher also made stock music bridge the local-network budget divide.

In addition, both Corelli-Jacobs and Emil Ascher pitched the structure of the stock music labels:

• Tracks were specially arranged with buttons (clean and non-fading end stingers)

• Composers made tracks that were easily edited into standard radio/television lengths: 60-second themes, 30-second commercial beds and 5-to-10-second transitional stingers

Furthermore, both Corelli-Jacobs and Emil Ascher also pitched a vital loophole: stock music cues were being recorded in European studios using session musicians from around the world.

With both Corelli-Jacobs and Emil Ascher, the Big Three broadcasters in the United States have shared many of the recorded music cues on a legal and continuous manner, bypassing the AFM strikes.

Through this systemized curation, both Corelli-Jacobs and Emil Ascher transformed stock music into a invisible soundscape of the American pop culture scene.

Still in New York City, Major Records is an innovative label being owned by an Italian-born American businessman, among the first to gather recorded SFX/music.

Having begun his career as a piano and organ tuner for Wurlitzer on trans-Atlantic steamers docking in New York, an Italian-born US businessman created live SFX for Broadway in the 1930's.

In the early-1930's, an Italian-born US businessman founded his eponymous company.

The sound effects by an Italian-born American businessman were being used, not simply via Broadway productions (made live), but also via 78 rpm records, which were sold to radio stations.

With television, the sound effects from an Italian-born US businessman were marketed under his Major Records label, being the main source for recorded SFX in the broadcasting business.

Unconfined to sound effects, Major Records also dabbled in the music industry.

Canadian Music Sales Corporation (CMS) was De Wolfe Music's first Canadian distributor.

For CMS, it started operations in the late-1920's era in Toronto as the former Canadian affiliate of the Warner Bros. Music Sales Corporation.

However, the 1929 financial crash (causing the Great Depression) led to Warner Bros. declaring CMS bankrupt.

Warner Bros. hired William St. Clair Low as its paid trustee; he managed CMS for 14 years.

Thomas St. Clair Low, who joined CMS in 1933, managed it for 24 years from the early post-WWII period until his sale to Terry Regan, who ran CMS until 1974

An investment group, led by Douglas Chesebrough and Paul Chesebrough, took CMS in 1974.

Simultaneous with CMS, De Wolfe Music also had its own Canadian branch until the 1980's.

Sonoton is a company that brings stock music to Germany and endures innovations in this field.

Gerhard Narholz, an Austrian film and television composer and a pop songwriter, is the driving force behind Sonoton and its innovations.

In 1969, Sonoton struck a deal with Berry Music, exposing its catalogue to a global audience.

With Berry Music being purchased in 1973 by KPM/EMI, which was led by Robin Phillips, Sonoton underwent its further worldwide expansion, also marking the birth of its own record label.

The underscore is one of the stock music trends created by Sonoton.

NFL Films is the film and television production company of the National Football League.

Initially known as Blair Motion Pictures, NFL Films has revolutionized the sports filming world.

Ed Sabol and his son Steve Sabol are the NFL Films figureheads, both of whom make this company a success story.

John Facenda, who first earned recognition as the primary news anchor for WCAU-TV from 1948 until 1973, is also the first and most iconic narrator for NFL Films until his September 1984 death.

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

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

Phillip Spieller is the former music director for NFL Films from the late-1960's era to 1984; during his NFL Films, he mixes and curates music for its sports documentaries.

Together, Ed Sabol, Steve Sabol, John Facenda, Sam Spence and Phillip Spieller create the NFL Films hallmarks.

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 combines music cues composed by NFL Films' in-house composers, like Sam Spence, with pre-recorded tracks from stock music labels.

Due to Phillip Spieller's process, NFL Films uses its cinematic Hollywood-like orchestral sound.

Network Music, FirstCom and Killer Tracks are stock music labels from radio jingle makers.

The Network Music/FirstCom/Killer Tracks trio revolutionized the stock music scene by adapting the dynamic and high-energy sensibilities being created by radio jingles.

De Wolfe Music (founded by Meyer De Wolfe) pioneered the stock music scene, while KPM/EMI and Bruton (both via Robin Phillips) pioneered a more modern and contemporary sound.

Network/FirstCom/Killer Tracks (rooted in radio jingles) changed stock music.

For the Network Music/FirstCom/Killer Tracks trio, their innovations in the stock music business are being rooted in business models, technology and production standards.

Craig Palmer is the principal composer of the Network Music Ensemble, indeed its catalogue.

For Network Music, it pioneered the buyout music format, but also elements, like alt-mixes, stings and 30/60-second cutdowns.

Meanwhile, FirstCom is one of the first stock music labels to release albums on CDs.

Likewise, Killer Tracks pushed stock music into the digital CD era.

All in all, the commercial model by the Network Music/FirstCom/Killer Tracks trio was such a success that it laid the groundwork for massive consolidation by major record labels.

Sound Ideas is one of the world's best, greatest and most successful companies specializing in both the audio and sound effects industries.

Not confined to sound effects, Sound Ideas branches into stock music in the royalty-free model.

Brian Nimens is the guiding spirit of the Sound Ideas company.

Upon its March 1978 inception, Sound Ideas, under Brian Nimens, was based at a basement on Church Street in downtown Toronto.

In the early-1980's, Sound Ideas made its relocation to McGill Street, also in its downtown area.

July 1989 is when Sound Ideas made its move from its downtown Toronto roots since its March 1978 inception to West Beaver Creek Road in Richmond Hill.

When it was founded in March 1978 at a Church Street basement, Sound Ideas was a 4-track recording studio that recorded dialogue for commercials, adding music and layering SFX.

Just one year after its March 1978 launch, Sound Ideas introduced its first SFX library called the Series 1000, well-known for its high-quality sound, using reel-to-reel tape.

Philips Corporation, a major multinational Dutch empire, partnered with Sound Ideas to re-release the Series 1000 on compact disc in 1985.

Incidentally, the Netherlands houses Philips Corporation, but is also the place where Meyer De Wolfe, whose namesake has stock music, with Sound Ideas/Westar as Canada's gateway, was born.

Via Philips Corporation, the Series 1000 from Sound Ideas is the first SFX library on CD.

Likewise, the Series 2000 from Sound Ideas, released in the late-1980's era, is the first sound effects collection being made in full digital.

The Series 6000, a.k.a. The General, is Sound Ideas' flagship (and most well-known) SFX library.

Released in the early-1990's, this Series 6000/the General collection from Sound Ideas provides sound effects for film, television and game design, being the definitive industry standard for audio.

In January 1990, nearly 12 years after its own inception in March 1978, Sound Ideas collaborated with Skywalker Sound to release the Lucasfilm Sound Effects Library.

The Lucasfilm Sound Effects Library.is the first SFX collection from a major Hollywood film studio.

Before the Lucasfilm Sound Effects Library (released through Sound Ideas in 1990), the custom sound effects in Hollywood blockbusters were locked in tight studio vaults.

However, the 1990 release of the Lucasfilm Sound Effects Library unlocked the SFX vaults, leading to Sound Ideas securing exclusive licensing arrangements with other major Hollywood studios.

With both Sound Ideas and Westar making their arrival via Brian Nimens, they position themselves as Canada's modern and official distributors of the historic De Wolfe Music label.

In the sound effects section, De Wolfe Music has its SFX library that Sound Ideas distributes.

Since 2005, Westar Music has been the Canadian gateway to the De Wolfe Music label, which its sister company Sound Ideas had distributed from the 1980's to 2005.

Echoing the Canadian distribution rights to De Wolfe by CMS, both Sound Ideas and Westar have both Warner Bros. and De Wolfe Music.

Both Sound Ideas and Westar are the modern spiritual successors to CMS (WB).

Home Box Office (HBO) is the first television broadcaster in the United States to be designed from the outset for cable systems, but also its oldest and longest-running pay television service.

Charles Dolan, who founded HBO, was born in Cleveland, a major Ohio city with C as its first letter.

Not confined to HBO, Charles Dolan also founded/led Cablevision.

Ted Turner is also a visionary peer and titan of the cable television industry, similar to Charles Dolan.

For Charles Dolan, he has innovated cable infrastructure in urban areas, plus non-commercial premium television (films/sports) and regional sports.

Ted Turner has innovated basic cable, 24-hour news channels and cartoon services.

Ohio is where both Charles Dolan and Ted Turner were born in the autumn season of the Tiger years.

Whereas Charles Dolan was born in Cleveland, Ted Turner was born in Cincinnati.

Plus, New York is Charles Dolan's main base, whereas Atlanta, Georgia is Ted Turner's main base.

On March 4, 1989, Time and Warner Communications announced their merger into TimeWarner.

Some years after this January 1990 merger, in the early-1990's era, TimeWarner transferred most of its television, film production, music and cable assets to TimeWarner Entertainment Company.

Echoing Warner's 1973 transaction in acquiring Time's stake in Sterling Communications, this January 1990 merger between Time and Warner successfully united WB and HBO under one umbrella.

TimeWarner, which held both WB and HBO, merged with Turner Broadcasting System in 1996.

Not confined to Ted Turner, Cincinnati also houses Taft Broadcasting, which, for 24 years, also owned Hanna-Barbera, a property being sold in the 1990's, first to Turner, and in turn, to Warner Bros.

Sound Ideas distributed the SFX labels being run by TimeWarner, including WB and Turner.

Ruby-Spears is another Taft property, which was founded by (and named after) former Hanna-Barbera writers Joe Ruby and Ken Spears.

For Ruby-Spears, it was run by Filmways since its 1977 inception, plus Taft for a decade since 1981.

Mitchel Greenspan is the former executive Vice-President of Corelli-Jacobs/De Wolfe.

Having launched his creative career as a professional miniature set model maker and designer, Mitchel Greenspan later transitioned to audio production/corporate administration.

American Music Company, which Mitchel Greenspan began after leaving Corelli-Jacobs/De Wolfe, is distributed by Westar, which, in turn, distributes De Wolfe Music in Canada.

Gary Anderson, who worked for Score Productions (held by Robert A. Israel), also works for Westar's American Music Company, founded by Mitchel Greenspan of Corelli-Jacobs/De Wolfe.

Edd Kalehoff, who likewise worked for Score Productions under Bob Israel, also owns his own music company called the Suite 4 Music Collection.

Westar has Edd Kalehoff and Gary Anderson (both from Bob Israel's Score Productions) via American Music Company (started by Mitchel Greenspan of Corelli-Jacobs/De Wolfe) and Suite 4.

Sound Ideas, which is Westar Music's sister label, distributes the Turner Broadcast Music Library.

In the Turner Broadcast Music Library, both Edd Kalehoff and Gary Anderson, together with the other composers working for Score Productions under Bob Israel, are involved.

Jack Waldenmaier, whose secondary base Cincinnati births both the Tafts and Ted Turner, has his label called The Music Bakery.

Amblin Entertainment is Steven Spielberg's production company.

Plus, Southern California has WB/Hanna-Barbera, Network Music, Killer Tracks and SmartSound.

Kevin Killinger composed cues for Killer Tracks, but also his own SmartSound company.

Steven Wenger is also a musician in the Southern US region.

Having lived in Nashville, Memphis and Charlotte, Steven Wenger had his own company called River City Sound Productions (RSCP).

Cascom and Digital Juice are defunct companies for royalty-free animation, both of which were being rooted in the Southern United States.

For RSCP, it has created in-house cues, but also stock music in the royalty-free model.

RSCP's stock music cues were resourced by Digital Juice for its BackTraxx section in 2001.

Incidentally, Taft Broadcasting is located in Cincinnati, which also births Ted Turner (CNN).

Tennessee also houses Ted Turner (CNN), Pat Robertson (CBN), Cascom and Steven Wenger.

For The Music Bakery, it is a royalty-free stock music label being founded in 1990, just 12 years after Sound Ideas began in March 1978.

Stock music largely used traditional music, notably orchestral and jazz, before the KPM 1000 Series.

From the mid-1960's to the early-1980's, some of the typical styles being used in the stock music scene included cinematic Hollywood, top forty, laid-back and electronica.

In addition to specially-composed tunes, stock music composers also made soundalikes of the top forty songs à la funk and Hollywood-like film scores used in low-budget films/television.

Network Music/FirstCom/Killer Tracks turned stock music into a network television sound.

Besides this stock music scene via Corelli-Jacobs/De Wolfe, Alfonso Corelli also worked with Shirley Temple Black, Mitzi Gaynor and Eva Gabor.

Incidentally, both Shirley Temple Black and Mitzi Gaynor have a connection to 20th Century-Fox.

20th Century-Fox also has iconic sex symbol Marilyn Monroe, with whom Mitzi Gaynor worked.

Eva Gabor worked with the Walt Disney Company, which, in the late-2010's era, merged with the 20th Century Fox film studio.

The Disney-Fox merger, announced on December 14, 2017, creates a unique contrast between Disney's traditional magical approach and Marilyn Monroe's sex figure status.

Yet, the Disney-Fox merger did place Marilyn Monroe's Fox film catalog under the Disney umbrella.

Plus, the Disney-Fox merger placed the 20th Century-Fox movie catalog being utilized by both Shirley Temple Black and Mitzi Gaynor under Disney, as well as Eva Gabor's Disney catalog.

Chip Davis and Jackson Berkey formed Mannheim Steamroller in 1974.

Omaha, Nebraska is the home base for both Chip Davis and Mannheim Steamroller.

Named after a German city based in Baden-Wurttemberg, Mannheim Steamroller combines European classical music with modern pop trends.

Whereas Meyer de Wolfe built his independent network of composers to own and license music, Chip Davis founded his own label.

Besides, Meyer de Wolfe avoided relying on standard commercial sheet music publishers with his own label, and Chip Davis circumvented major labels trying to apply classical-rock fusion.

Pamela Anderson is in Scooby-Doo (2002), the live-action film iteration of the franchise created by Joe Ruby and Ken Spears.

Ken Spears, with whom Joe Ruby worked, is not related to Britney Spears, an iconic and world-famous figure with whose surname is being shared.

Britney Spears makes a cameo appearance in Austin Powers in Goldmember (2002), similar to Pamela Anderson making a cameo appearance in Scooby-Doo (2002).

Marilyn Monroe is a key idol for Britney Spears and Pamela Anderson.

Incidentally, Marilyn Monroe, Britney Spears and Pamela Anderson are blonde girls whose natural hair colour is brown.

Similarly, both Britney Spears and Pamela Anderson make cameos in the intro sequences of the Warner Bros films being released in 2002: Austin Powers in Goldmember and Scooby-Doo.

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

Industrial Gallop, a.k.a. inds_01 or inds_01.mid, is a MIDI tune in Corel WordPerfect 7.

For Industrial Gallop (inds_01/inds_01.mid), it resembles Nadia's Theme, an iconic and famous theme tune having been used for The Young and the Restless since its March 1973 inception.

Incidentally, Nadia's Theme was co-written by Barry DeVorzon and Perry Botkin Jr.

Plus, Industrial Gallop (inds_01/inds_01.mid) uses a similar emotional texture to Nadia's Theme (and themes being used on news broadcast intros).

Ode d'Cronkite, a.k.a. inds_07 or inds_07.mid, is also a MIDI tune in Corel WordPerfect 7.

Named after the legendary news anchor Walter Cronkite, Ode d'Cronkite (inds_07/inds_07.mid) has a similar sound to a theme tune being used on a news broadcast intro.