DNA of the Chicago School of Television for the news business

Dave Garroway, an individual involved in the Chicago School of Television, used (and exploited) the Chicago Style technique, further developed in New York via Today (NBC).

For Today (NBC), the RCA Exhibition Hall, directly across from the Associated Press building at the Rockefeller Plaza complex, was a non-traditional choice.

Inside the RCA Exhibition Hall floor, portions of which were converted into the first studio location for Today (NBC), was a room with the layout of a large open newspaper office.

Blending print journalism's industrial past (via the 50 Rock hub of the Associated Press) with electronic media's transparent future (via the RCA Exhibition Hall), the Today (NBC) bullpen is innovative.

Specifically, the blueprint being created by the borderless room being based inside the RCA Exhibition Hall for Today (NBC) under Dave Garroway birthed modern broadcast design elements.

Noted elements of the boundless room being based in the RCA Exhibition Hall for Today (NBC) under Dave Garroway include newsroom sets, street-side studios, news tickers and clock displays.

Just before Dave Garroway, television news featured anchors who delivered the day's stories in a studio resembling a claustrophobic box, 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.

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

Even so, the DNA of the Chicago School of Television remains across the US and around the world.

Returning to the Midwestern United States, innovative concepts (which were built on Dave Garroway's television aspects) also metamorphosed the way television news was presented.

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

In television's early years, the studio and the newsroom were separate.

News anchors delivered the day's stories from an isolated and enclosed studio, while journalists in the bullpen physically sprinted across a high catwalk to deliver scripts to them.

This frantic setup was impossible to maintain for a longer, fast-paced newscast.

For television newscasts extending beyond the quarter-hour time limit, however, news anchors sat in a bullpen, surrounded by busy journalists, plus the teletype and its clattering sound.

Silent computers replaced the teletype and its clattering sound in the newsroom.

Hugh Raisky, who was involved with CBS, designed the WBBM-TV news studio, featuring a regular backdrop evoking the gritty bullpen of the East Coast, introduced in March 1973.

During the first of the 1960 presidential debates, a total of 380 reporters were inside Studios 3 and 4 at WBBM-TV's headquarters in the former Chicago Arena.

The pre-1973 era for the WBBM-TV news operation was a gap between the anchors in an isolated and enclosed news studio and the journalists in the bullpen hand-delivering stories.

Robert Wussler and Van Gordon Sauter, both involved with WBBM-TV, were the geniuses behind the creation of its regular newsroom-as-set trend in 1973.

For the regular newsroom-as-set trend that WBBM-TV had made, under both Robert Wussler and Van Gordon Sauter, it shattered the rigid and isolated television news studio set trends.

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.

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.

Fred Harpman, a science fiction designer in Hollywood, is involved with his work on NBC's sci-fi spy television series Search and its 1972 pilot television film Probe.

Both Search and Probe use the Probe Control Centre, a high-tech, NASA-like nerve centre.

The Probe Control Centre, which Fred Harpman had created for both Search and Probe on NBC, is the direct inspiration for his studio set design for this network called the NewsCentre.

Plus, Fred Harpman's NewsCentre design is based upon his nerve centre design being used in the 1966 science fiction adventure film Fantastic Voyage, for which he is assistant art director.

CMDF's nerve centre uses its high-tech and futuristic feel for Fantastic Voyage (1966).

With its roots in the cinematic Hollywood sci-fi scene, Fred Harpman's NewsCentre design serves as a radical departure from the austere news set designs, like WBBM-TV's bullpen studio.

Fred Harpman's NewsCentre design is being created to have a working newsroom feel (doubling as an industrial factory for television news and information).

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

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.

Lee Hanna and Earl Ubell, both news executives involved with WNBC-TV, are the geniuses behind the creation of its NewsCentre, featuring Fred Harpman's futurist, high-tech and cinematic design.

What inspired Lee Hanna to envision the NewsCentre (NBC) is an episode of Search that he saw on his home television, featuring Fred Harpman's high-tech Probe Control design.

Jim Kitchell is the mastermind behind NBC's space broadcast unit to cover NASA events.

Due to his interest in NASA's nerve centres, Jim Kitchell managed the futurist, space-age and high-tech NASA-like aesthetics at NBC News, specifically Fred Harpman's NewsCentre design.

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 the original NewsCentre incarnation that WNBC-TV originated in New York.

KNBC adopted the NewsCentre to capture the same cinematic energy as WNBC.

Given its proximity to Hollywood, KNBC utilized the multi-angle geometry and workstations banks for bringing the NewsCentre to this place, which is Fred Harpman's primary base.

In Chicago, in a poetic twist of television history, this NewsCentre traces back to Dave Garroway's old stomping grounds: the Merchandise Mart, from which Garroway at Large was presented.

WMAQ-TV used the NewsCentre as a multi-tiered and active newsroom atmosphere that proved news reporting in the Midwest in an industrial and fast-paced nature.

This NewsCentre design by Fred Harpman served as a futurist, high-tech and cinematic upgrade to the gritty and unpolished newsroom set that WMAQ-TV's rival WBBM-TV used.

Having been introduced in 1975, WMAQ-TV's NewsCentre used Floyd Kalber and Jane Pauley.

Still in the Midwest, non-NBC stations used undertones of the NewsCentre design that Fred Harpman created, notably WJKW-TV and WTHR.

WJKW-TV's NewsCentre design, which its art director Hilton Murray created, used undertones of the NewsCentre design, which had NBC commissioned and which Fred Harpman had created.

Meanwhile, during its initial years under the ownership of the Columbus Dispatch newspaper, WTHR utilized Fred Harpman's NewsCentre design, mixed with Al Primo's Eyewitness News format.

Besides WTHR, WLW used a street-side place called the Communications Exchange (COMEX).

For COMEX, it housed WLW's radio operations (and television news facility) for about 20 years from 1957 to America's bicentennial year.

Paralleling the RCA Exhibition Hall in New York's Rockefeller Plaza, COMEX comprised pedestrians looking through windows to see WLWT's newscasts or radio programs on WLW radio.

Ever since its 1974 inception, NBC's NewsCentre philosophy (as being emphasized by Fred Harpman's cinematic design) has led to copycats, similar to WBBM-TV's studio with a bullpen backdrop.

In addition, since its 1974 inception, the NewsCentre (for NBC) has also divided North America's local television news scene into two camps.

For one camp, local television outlets in the United States that retrofitted studio spaces with faux-wood panels, extra monitors and a chroma key backdrop represented the old guard.

Local CBS television stations, many featuring the newsroom/bullpen as a regular studio backdrop, also represented the old guard (w/wo chroma key), evoking the gritty newspaper feel of the East Coast.

Conversely, advanced and forward-thinking television stations used the NewsCentre model under Fred Harpman, Lee Hanna, Earl Ubell and Jim Kitchell (for NBC), representing the new guard.

This NewsCentre concept (for NBC) evoked the NASA-like nerve centres of Hollywood.

Just like the bullpen news studio via local CBS stations, Fred Harpman's NewsCentre design via local NBC stations was a radical departure from the austere news studio set designs.

Using its innovative hybrid newsroom-control room set, BCTV fuses the old and the new guards of the local/regional television news industry across North America, influencing CNN.

For Ray Peters, BCTV's innovative hybrid newsroom-control room studio, which he co-conceived with Cameron Bell and Ernie Rose, paralelled the open area for Today (NBC) under Dave Garroway.

Incidentally, Today (NBC) is the television program of which BCTV's Ray Peters was an avid viewer.

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.

WMAQ-TV's NewsCentre, in a poetic twist of television history, traces back to Dave Garroway's old stomping grounds: the Merchandise Mart.

Rival WBBM-TV pioneered the news studio with a regular bullpen backdrop.

The battle between WBBM-TV's gritty newsroom and WMAQ-TV's futurist, high-tech, space-age and cinematic NewsCentre paved the way for the Chicago news proxy war via set design.

Putting aside the differences in the Chicago news proxy war via set design was BCTV/CNN.

Echoing the title of a monster film, for the hybrid newsroom-control room set design that BCTV/CNN created, the bullpen of the East Coast meets the NASA-like nerve centres of Hollywood.

Specifically, the hybrid layout made by BCTV/CNN is a bustling, print-style bullpen operating inside a massive, high-tech monitor matrix.

Eyewitness NewsCentre 13 is a unique, hybrid and innovative television news formula that WTHR had created, in which anchors walked around the studio and talked to anchors and reporters.

Plus, this Eyewitness NewsCentre 13 format, during the last ABC years for WTHR, paralelled the open working area based in the RCA Exhibition Hall for Today (NBC) under Dave Garroway.

Upon its relocation from 99 Queen Street East to 299 Queen Street West, CityTV began to use a unique formula for its CityPulse newscasts similar to Eyewitness NewsCentre 13 (via WTHR).

Moses Znaimer, who masterminded CityTV since its debut in September 1972, is the genius behind the creation of its CityPulse newsroom-as-set trend upon its move to 299.

During its first decade starting in 1977, CityTV's CityPulse newscast used anchors sitting at a desk in a studio with 2 orange-red-black striped beams and a television monitor between the anchors.

Incidentally, during its 99 Queen Street East era, this CityPulse studio (for CityTV) had an isolated and claustrophobic box-like look and feel.

News reporting on the field, conversely, was a more innovative approach in CityTV's CityPulse, whilst sticking around at 99 Queen Street East during its first decade starting in 1977.

Using videographers - lone wolf reporters shooting, editing and reporting their own stories (rather than multi-person technial crews - is CityPulse's innovation for CityTV.

With its move to CityTV's new headquarters at 299 Queen Street West, the CityPulse walls were being torn down, as was the desk.

For CityTV, its CityPulse format paralelled the open working area based in the RCA Exhibition Hall for Today (NBC) under Dave Garroway, but also Eyewitness NewsCentre 13.

299 Queen Street West (which famously both housed CityTV and MuchMusic) also paralelled the RCA Exhibition Hall for Today (NBC) under Dave Garroway

Respectively, both CityTV and MuchMusic perfected (and expanded) the unique and unconventional Eyewitness NewsCentre 13 formula made by WTHR in its last ABC years.

Canada's two national television giants - the public CBC and the private CTV - were opponents of the newsroom-as-set trend that BCTV, CNN and CityTV during the 1980's.

In the 1990's, both the CBC and CTV networks embraced the newsroom-as-set trend.

The Newsroom Computer System (NRCS), satellite distribution, video display terminals (VDTs) and digital character generators silence the teletype sound in newsroom-as-set trends.

Newscoop is by ITN, Baysis by CNN.

Lin Bolen's DNA for game shows

Lin Bolen is an individual woman, who, as NBC's Vice President of Daytime Programming, broke with tradition inside the television scene.

Having started her television career in New York in 1961 by producing commercials, Lin Bolen moved from New York to Hollywood in the mid-1960's

While in Hollywood, Lin Bolen worked on cultural documentaries, which included a special on British fashion icon Twiggy, who, at the time, was a youthful figure.

Plus, Lin Bolen worked at Metromedia.

In 1972, Lin Bolen made her relocation to NBC, where she was appointed Vice President of Daytime Programming, the first woman to do so.

Using youth-oriented cultural documentaries as her primary inspiration, Lin Bolen turned television's successful, yet staid game show genre upside down.

Baffle, Jackpot! and Wheel of Fortune are some of the innovative television game shows on NBC, for which Lin Bolen commissioned.

The Wizard of Odds and High Rollers are game shows also commissioned for NBC by Lin Bolen.

Jeopardy!, Sale of the Century and Concentration are some of the established NBC game shows being ordered by Lin Bolen to cancel.

Some innovative elements in this game show genre via Lin Bolen include Vegas-style neon lights, less claustrophobic studio sets, young and sexy hosts and a young female demographic.

Conceived as a game show on television being created à la Hangman, featuring a colourful wheel being equally-made à la roulette, Wheel of Fortune is a successful franchise.

For Wheel of Fortune, its formula is that the host asks the contestants to choose letters at random, either vowels or consontants, and the co-host turns them on a puzzleboard.

The original Wheel of Fortune iteration started on January 6, 1975 as a replacement for Jeopardy!, both created by Merv Griffin.

Chuck Woolery and Susan Stafford are the first hosts for the original Wheel of Fortune version.

December 1981 was a period when Chuck Woolery left the original Wheel of Fortune version and was succeeded by former AFN/AFRTS radio DJ and KNBC weather forecaster Pat Sajak.

Just a year after Pat Sajak began hosting Wheel of Fortune in December 1981, Vanna White succeeded Susan Stafford as its co-host/puzzleboard letter-turner.

KingWorld distributed the syndicated nighttime Wheel of Fortune version (featuring the chemistry that involved both Pat Sajak and Vanna White).

Success came for this syndicated nighttime Wheel of Fortune iteration, prompting KingWorld to revive Jeopardy! in 1984.

The Wizard of Odds was the first American television game show to be hosted by Alex Trebek (coming from Canada), who also hosted its replacement High Rollers.

With its name being a parody of a classic film called The Wizard of Oz, Alan Thicke (also coming from Canada) created The Wizard of Odds, which fellow Canadian individual Alex Trebek hosted.

Lucille Ball, who was an avid viewer of the daytime game show genre, also appeared as a guest on the original Alex Trebek-hosted High Rollers version.

Just prior to the beginning of the 1984 Jeopardy! revival, its original host Art Fleming declined, due to creative differences regarded its new direction.

Merv Griffin gave his friend Lucille Ball a phone call for advice on what viewers wanted for this 1984 Jeopardy! revival.

Backed by Lucille Ball, Alex Trebek was given the host for this 1984 Jeopardy! revival.

Whereas the original Jeopardy! iteration was rooted in New York (which conveyed an intellectual and high-brow atmosphere, the 1984 Jeopardy! revival was in Hollywood, with a futurist feel.

The 1978 Jeopardy! revival had radical and controversial changes that led to its cancellation; it was not revived until 1984.

Like its earlier versions, Jeopardy! has its formula, in which the host provides the answers used in the 6 categories and the contestants can ask questions.

For the 1984 Jeopardy! revival, the board had digital screens to reveal trivia clues, but it also integrated electronic contestant podiums.

Earlier, the original Jeopardy! iteration featured a board with manually pulled pull-cards to reveal trivia clues.

The pairing that comprises the syndicated nighttime Wheel of Fortune iteration and the 1984 Jeopardy! revival is one of the best in the television scene.

On February 24, 1997, the iconic and famous Wheel of Fortune puzzleboard had its upgrade by ending mechanical spinning trilon tiles and using the electronically-digital touchscreen system.

With apologies to Cinderella, before Lin Bolen, the game show genre on television was a banished and isolated servant (in pace, studio sets, male hosts and demographics).

Lin Bolen, with apologies to Cinderella, served as a Fairy Godmother elevating television's game show genre fron a servant into a princess, inspired by youth-oriented documentaries.

Plus, with apologies to Cinderella, the stroke of midnight marked the magical demise of the early staid game show genre on television with Lin Bolen's influence.

Rival networks responded to Lin Bolen's successful modernization of television's game show genre by abandoning their older programming formulas.

Besides game shows, Lin Bolen also expanded the time limit for television's soap opera genre from 30 minutes to an entire hour.

In spite of the era's pushback against her methods, the glitzy production vales and demographic-driven programming pioneered by Lin Bolen will be steadfast for television.

For Lin Bolen, she is one of television's innovators, competing against the traditionalists/purists.

Some other innovators include Fred Silverman, Robert Wood and Norman Lear

Traditional television in the United States have key elements:

• Broad and old viewing audience

• Safe and rural fantasy places

• Avoided social issues

• Slow and traditional pace

Innovator television in the United States have key elements:

• Young and urban viewing audience

• Realistic, city places

• Tackled social issues

• Fast and high-energy pace

Decisively, television's innovators being active in a decade between the 1960's and the 1980's won the cultural war over the traditionalists/purists.

DNA of Cool Hand Luke: The Tar Sequence for television news themes

The Tar Sequence, a cue written especially for the late-1960's Hollywood prison drama film Cool Hand Luke, has a second life as a news theme eclipsing its original purpose.

What makes Cool Hand Luke: The Tar Sequence a fitting music cue for broadcast journalism/television news is a staccato rhythm resembling the teletype.

During the era prior to Cool Hand Luke: The Tar Sequence, television news music frequently sounded ceremonial, specifically fanfares and marches.

Plus, the teletype and Morse code were simple news sounders with no music to play in.

Cool Hand Luke: The Tar Sequence juxtaposes cinematic orchestral elements, notably Aaron Copland's influence, with the teletype sound and the modern jazz/pop influences by Lalo Schifrin.

In order to make its sound fitting for newscasts, Al Primo selected and edited Cool Hand Luke: The Tar Sequence as the theme tune for Eyewitness News, removing its non-news elements.

Plus, Cool Hand Luke: The Tar Sequence is more famous as a news theme than the film.

Frank Gari updated Cool Hand Luke: The Tar Sequence into News Series 2000.

Whereas previous news music packages created by Frank Gari featured vocal-driven campaigns, News Series 2000 broke from tradition with its continuously and completely instrumental approach.

News Series 2000 updated this CHL motif made by Lalo Schifrin with contemporary orchestration and solidified Lalo Schifrin's CHL motif as a news music package.

The 1990's version of the NS2000 package by Frank Gari was News Series 2000 Plus.

Eyewitness News, which Frank Gari made after Lalo Schifrin raised the royalties, is also iconic.

For the WABC-TV version of Eyewitness News Series 1, Frank Gari created a news package without a teletype sound.

KABC-TV's Eyewitness News Series 1 version by Frank Gari featured a teletype sound based on CHL.

By the 1990's, Cool Hand Luke: The Tar Sequence had started to fade from US prominence.

Even so, the DNA of the Cool Hand Luke: The Tar Sequence cue for news themes remains across the Unitedd States and around the world.

With apologies to Cinderella, just before the Chicago School of Television, early studio set designs via programs from the New York television scene were banished and isolated theatrical servants.

The Chicago School of Television, with apologies to this Cinderella fairy tale, was a low-budget Fairy Godmother that elevated studio sets from servants into princesses in dynamic visuals.

Plus, with apologies to Cinderella, the stroke of midnight marked the magical demise of the early staid studio set designs in the New York television scene with the Chicago School of Television.

Lowell Thomas delivered the first television news broadcast on a commercial basis on July 1, 1941 via WNBT (and NBC), which Sunoco sponsored, at fifteen minutes to 7 p.m. (or a quarter to 7).

Richard Hubbell delivered the second commercial television news broadcast at 8 p.m. via WCBW (and CBS) after the Sunoco-sponsored news by Lowell Thomas via WNBT, also on July 1, 1941.

In the days after July 1, 1941, Richard Hubbell competed against Lowell Thomas on WNBT by airing visual-heavy newscasts on WCBW at 30 minutes past 2 p.m. and 7:30 p.m.

May 1948 is when Douglas Edwards took over the visual-heavy mantle that Richard Hubbell had left behind, but backed by a larger corporate budget in the post-war era, via WCBS-TV.

Contrasting to Richard Hubbell, who relied on studio maps and grease pencils, Douglas Edwards used rapidly developing newsreel footage, live interviews and professional graphic overlays.

Douglas Edwards is the first individual on television to be delivering the news stories of the day, on a national basis, coast-to-coast, and on an appear routine.

In addition, Douglas Edwards is also the first person on television to have a broadcast on videotape.

John Facenda is the main news anchor for WCAU-TV from 1948 to 1973, during which it became the ratings leader in the Delaware Valley.

Some notable innovations shaping the modern local television news concept, which John Facenda had pioneered at WCAU-TV, include the 11 p.m. news and a four-person news team.

Plus, WCAU-TV is a pioneer of the format being used in television news: news-sports-weather.

Altogether, both Douglas Edwards and John Facenda are the first individuals to be presenting the news stories of the day on television in front of the camera on both a national and a local level.

Whereas early newscasts relied on newsreels, audio-over-slides or behind the camera readers à la radio news, both Douglas Edwards and John Facenda were telegenic newsreaders.

Lowell Thomas and Richard Hubbell were pioneering, yet unseen newsreaders on television.

CBS, through both Douglas Edwards and John Facenda, pioneered elevating newsreaders from unseen individuals to telegenic ones.

Soulful and emotional vocal techniques being used by female singers

Riffs, runs and melisma are vocal techniques being laden with soft and breathy whispers, vocal fry and trembling sobs (breaks/cracks/sighs), all belonging to female singers with soul and emotion.

Generally, aspirate offsets have a breathy sigh at the end of each lyric, conveying soul and emotion.

In addition, soft and breathy whispers are used by female singers to provide a intimate feel.

Furthermore, trembling notes, like sobs, vocal fry and cracks/flips, belong to female singers in order to provide them with a soulful, sexy and emotional effect.

Ad-libs, frequently featured in pop, rhythm & blues, soul and hip-hop, are improvised and spontaneous vocal additions that enhance the emotional delivery and energy of a music performance.

Likewise, the trend for multitrack vocal harmonies for soulful and emotional gospel-like effect is being utilized by female musicians doing soulful voices.

Besides, call-and-response backing vocals, chords and moans, all coming from gospel, are also used in mainstream pop/soul music.

Standard ad-libs being utilized in the pop/rhythm & blues/soul music lyrics include "Yeah," "Oh/Ooh," "Whoa/Woah," "Mmm/hmm," "Uh/Huh," "Ah/Ahh," "Hey!," "Oww!"/"Ow!" and "Woo!"

Meanwhile, the romantic/emotional ad-libs in the pop music lyrics include "Baby," "Oh, baby," "Baby, baby," "Oh, baby, baby," "Baby, baby, baby," "Ooh, baby" and "Ooh, baby, baby."

Plus, the negative/distressed ad-libs are "No," "No, no," "Oh, no" and "No, baby."

Besides, the hype/command ad-libs include "Come on," "Let's go," "Get it," "Listen" and "Tell me."

Ad-libs surrounding sexuality are "That's hot," "I'm hot," "I'm sexy," "Get sexy" and "Make it sexy."

Variant ad-libs in the pop music lyrics include "Hey, yeah," "Oh, whoa-oh, baby," "Oh, whoa-oh, hey, yeah," "Yeah, yeah, yeah," "Yeah, baby," "Whoa-oh, yeah" and "Oh, whoa-ooh, hey, yeah."

Furthermore, the other variant ad-libs are  "Mmm, yeah" and "Woah, yeah, uh-huh."

Plus, in pop music, melismatic styles, specifically vocal riffs and runs, are common ad-libs.

Incidentally, female singers in pop music utilize riffs, runs, melisma and aspirate gradual/abrupt offsets with ad-libs, all with a soulful, emotional and sexy rhythm & blues-like delivery.

Modern pop tunes also feature spoken parts, sometimes with a telephone effect, to offer female music artists a sexy, yet emotional effect.

Usual rhythm & blues/soul vocal types include the riffer, the extra one, the quiet one, the ad-libber, the whistler and the emotional one.

Girls/women use wet hair in either music videos seen on/made à la MTV or live performances through actual water (rain/splashing, sweat from intense performances or styling gel/products.

Wet hair for girls/women creates sexiness, raw emotion and intense energy.

The wet hair look for girls/women in music videos or live concerts is the visual answer to the soulful, emotional and sexy vocal riffs, runs, melisma, belting, aspirate offsets and ad-libs.

Using wet hair for girls/women (either in music videos or in live performances) translates the physical effort of a soulful performance into a visual language of sweat, rain and raw intensity.

Incidentally, for female music artists, this wet hair and ad-lib combo could turn them into visceral/real performers leaving behind the polished star image.

For female singers, they utilize their voices to offer the intimacy (ad-libs, whispers and sighs) and their styling to provide the intensity (wet hair, rain and sweat) in either music videos or live events.

Generally, females are hot, sexy and emotional with soulful singing voices and slicked-back wet hair.

Riffs, runs, melsima, aspirate offsets and trembling notes are for singing girls using a deep and soulful texture, a gusty and raw delivery and a thick and resonant tone, all overcome with emotion.

To make a long story short, soulful singing girls using wet hair are like stormy weather.

Aretha Franklin, Whitney Houston and Mariah Carey are just some of the greatest and most influential figures in both pop culture and music for using soulful vocal techniques.

Ma Rainey, Bessie Smith, Mamie Smith and Mahalia Jackson are some of the notably influential icons paving the way for Aretha Franklin, Whitney Houston and Mariah Carey.

During the pre-Aretha Franklin era, female vocals being used in the mainstream pop music scene being heavily controlled, smooth and polished, dominated the pop charts, in girl groups or standards.

With Aretha Franklin, female vocals in mainstream pop music incorporate raw and emotional gospel.

Indeed, Aretha Franklin is a cultural figure, proving that raw and emotional gospel-like riffs, runs and melisma techniques could dominate the pop music charts.

American Bandstand and Top of the Pops serve as television's flagship sources for top forty pop/rock music on both sides of the Atlantic during the second half of the 20th century.

Soul Train is being described as American Bandstand for African-Americans.

The Idol franchise serves as a platform for young and upcoming singers, male and female alike, many doing pop, but also others like rhythm & blues, soul, rock, etc.

One of the best and most successful Idol versions is American Idol, which features a vocal school.

Popstars is the precursor of the Idol franchise, both made in the nations of the former British Empire.

New Zealand is where Popstars originated, the UK for the Idol franchise.

Some of the elements from Popstars, including a panel of judges in auditions and audience voting, are being adopted by the Idol franchise.

Whereas Popstars is made in the form of a documentary with a focus on producing ready-made music groups, the Idol franchise, especially American Idol, focuses on individuals.

Plus, the Idol franchise has a policy in which solo artists are restricted to younger age brackets.

Similarly, both the Popstars and Idol franchises have commercial pop music, judge reviews and viewer votes.

The X Factor is another iconic and world-famous television competition, besides the Popstars and Idol franchises.

Unlike the Popstars and Idol franchises, The X Factor focuses on both groups and individuals.

In addition, unlike the Popstars and Idol franchises, The X Factor has an unlimited upper age policy.

For The X Factor, it bridges the gap between groups (Popstars) and individuals (Idol).

Star Academy and The Voice are the other reality singing franchises, similar to the Popstars, Idol and X Factor franchises, all having originated in the nations of the British Empire.

Having been developed in the Netherlands as Starmaker by Edenmol in 2001, the core creative concept being used for the entire Star Academy franchise was directly developed in Spain.

The precursor of the Popstars, Idol, X Factor, Star Academy and Voice franchises is Star Search.

During its original tenure, Star Search proved that television served as a launching pad for iconic and world-famous celebrities.

Claudia Rosencrantz served as the Controller of Entertainment for ITV for over a decade starting in the mid-1990's.

During her tenure as ITV's entertainment controller, Claudia Rosencrantz greenlit some of the concepts achieving success beyond British borders, including the Popstars, Idol and X Factor franchises.

Eyewitness News

Al Primo, a noted innovator in television news born in the Appalachian region, created the innovative Eyewitness News concept at KYW-TV in Philadelphia in the mid-1960's.

Just prior to Al Primo's Eyewitness News, news reporters were being used behind the cameras to avoid paying extra fees; this was the format of a radio-style newscast.

Due to Al Primo's Eyewitness News, news reporters made their appearances with their own story.

By relocating from Philadelphia to New York City, Al Primo's Eyewitness News concept innovated the happy talk trait, in which anchors and reporters have a light-hearted conversation.

In addition, the New York version of the Eyewitness News concept via Al Primo opened new doors for female and minority journalists in major markets.

Happy talk is a trait being used in television news, in which, instead of a simple handoff to some news personnel, anchors can use informal ad-libbed humour.

Even so, the Eyewitness News title originated in Cleveland, which is another place using the KYW-TV letters, but also a place near the Appalachian region.

Styaing in Cleveland, Dorothy Fuldheim is American television's first female newscaster.

Responding to Al Primo's Eyewitness News format, network newscasts changed formats.

For instance, in America's bicentennial year, Barbara Walters was named the first female evening news anchor on network television in the United States.

In 1978, Max Robinson became US network television's first minority evening news anchor.

Christine Craft stopped anchoring the news at KMBC-TV in 1981, because station executives said she deemed herself "too old, too unattractive and wouldn't defer to men."

Due to Christine Craft, television news was sued for how it treated women's appearance and authority.

With separate juries being found in Christine Craft's favour, girls/women in television news (not just in their appearance, but their authority) made changes.