JohnnyHoang

Saturday, September 26, 2026

Blue-eyed soul/pop rock music with rhythm & blues/soul vocal techniques

Pop rock music, mixed with rhythm & blues/soul vocal techniques, creates an emotionally-intense and high-energy paradox: catchy pop rock hooks with gospel-like vocals.

Blue-eyed soul is a term coined in the mid-1960's to describe this paradox.

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

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

Both Hurt and What's a Matter Baby (Is It Hurting You?) are noted 1960's tunes, featuring Timi Yuro's choked-back, sob-choked, weeping, soulful and emotional singing voice.

For Timi Yuro, she is unofficially a crying Disney princess. but with a rhythm & blues/soul twist.

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

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

Not confined to the United States, Timi Yuro is also popular in the United Kingdom as a Northern soul figure, but also the Netherlands, as well as Asian nations, including the Philippines.

Brianna Moles (b. 1984) is a female individual notably involved in television news, but also a singer.

For Brianna Moles, her cinematic singing alter-ego is Brea Ferrar.

The Walt Disney Company is one of the involvements for Brianna Moles (Brea Ferrar).

Whitney Houston and Mariah Carey, both inspired by the earlier's honorary aunt Aretha Franklin, are some other vocal idols for Brianna Moles (Brea Ferrar).

July 12, 1984 is when Brianna Moles (Brea Ferrar) was born.

The middle name for Brianna Moles (Brea Ferrar) is Kailey.

In the Northern Hemisphere, summer uses high heat and extended daylight, which rings true to Brianna Moles (Brea Ferrar) as a summer girl.

Representing summer is the heat of the fire, which fits Brianna Moles (Brea Ferrar) in her birth and her summer girl persona.

As a summer girl, Brianna Moles (Brea Ferrar) has a sexy and high-energy summer vibe.

Besides, the Fire element also represents Brianna Moles (Brea Ferrar) in her energy, charisma and raw emotion.

The Rat and Cancer zodiacs, both using a watery nature, represent Brianna Moles (Brea Ferrar) in her youth, soul and emotion.

Echoing the watery nature of both the Rat and Cancer zodiacs, Brianna Moles (Brea Ferrar) sings like shedding tears to cry.

Having been involved in the Disney ecosystem, Brianna Moles (Brea Ferrar) is described as a crying Disney princess, but with a indie-soul twist.

Similarly, both Britney Spears and Brianna Moles (Brea Ferrar) have B, R and I as the first, second and third letters (with N as the fifth) in their given names, and S as the last letter of their surnames.

Plus, both Britney Spears and Brianna Moles (Brea Ferrar) have ties to the Disney brand.

As a Mouseketeer, Britney Spears was in the 1990's version of the Mickey Mouse Club.

Meanwhile, Brianna Moles (Brea Ferrar) was in the Walt Disney World College Program.

For Brianna Moles (Brea Ferrar), she is known as Britney Spears with an indie-soul music twist.

The first brush for Brianna Moles (Brea Ferrar) is an online singing contest in partnership with AOL to promote American Dreamz, a film that parodies American Idol and politics rolled into one.

In addition to her work as a singer, Brianna Moles (Brea Ferrar) has Disney via the Walt Disney World College Program.

For Brianna Moles (Brea Ferrar), she has brown hair with a red hue, like Ariel in the 1989 Disney film called The Little Mermaid.

Philadelphia is the home base for Brianna Moles (Brea Ferrar), with others like New Jersey, Miami and Coral Gables.

At Last is an indie EP by Brianna Moles (Brea Ferrar).

Missing Me is the opening track for this At Last EP by Brianna Moles (Brea Ferrar) with a paradox: an upbeat tone with a soulful, emotive and crying singing voice.

Take Me Away is the second track of the At Last EP by Brianna Moles (Brea Ferrar).

For Take Me Away by Brianna Moles (Brea Ferrar), it has a paradox: Latin pop music being paired with choked-back, sob-choked, soulful and emotional singing vocals that cires tears.

Plus, Falling is the third track of the At Last EP by Brianna Moles (Brea Ferrar); its lyrics describe the theme of losing control, with her emotional singing voice crying tears.

Hazy Skies is the fourth track of her At Last EP by Brianna Moles (Brea Ferrar).

The first part of this Hazy Skies tune by Brianna Moles (Brea Ferrar) comprises a melancholic piano arrangement, with the second half comprising pop rock.

Plus, Hazy Skies by Brianna Moles (Brea Ferrar) has her sob-choked, soulful, weeping and emotional singing voice.

Eggshells by Brianna Moles (Brea Ferrar), the fifth track of this At Last EP, uses choked-back, crying, weeping and souflul singing vocals.

In Eggshells, an acoustic guitar opens this tune by Brianna Moles (Brea Ferrar) from her At Last EP.

Being the penultimate track of her At Last EP, Wasted has Brianna Moles (Brea Ferrar) doing a singing voice crying tears, with its lyrics recalling the personal downs.

Likewise, Wasted by Brianna Moles (Brea Ferrar) also uses a Disney-like cinematic arrangement using minimal instruments: piano and strings.

Guard Down, which is the closer for the At Last EP by Brianna Moles (Brea Ferrar), has a paradox: an upbeat pop rock tone being paired with sad lyrics about a girl left behind.

Plus, Guard Down by Brianna Moles (Brea Ferrar) has a singing voice that is soulful and cires tears.

The 7-track At Last EP by Brianna Moles (Brea Ferrar) has her sob-choked, choked-back, soulful and emotional vocals overall, plus multitrack vocal harmonies

Missing Me, Take Me Away, Eggshells and Wasted are tunes in the At Last EP by Brianna Moles (Brea Ferrar) with instrumental intros laden with soulful and crying ad-libs.

Kleptomaniac and Love on the Dance Floor are dance-pop tunes by Brianna Moles (Brea Ferrar).

Virtual Breality is a 2-track EP by Brianna Moles (Brea Ferrar), released under Noizetrip.

For her Virtual Breality EP, both Kleptomaniac and Love on the Dance Floor are tunes being sung by Brianna Moles (Brea Ferrar), featuring her sob-choked, crying, soulful and tearful vocals.

Fang Banger, Rockstar, Fire Me Up, Love Roulette and Love Somebody New are the other upbeat and dance-pop tunes by Brianna Moles (Brea Ferrar) with her choked-back, tearful and soulful vocals.

Love Roulette by Brianna Moles (Brea Ferrar) has a paradox: choked-back, tearful and soulful vocals being paired with a upbeat tone inspired by vintage swing music.

Conversely, Lost in Love is a rhythm & blues/soul ballad by Brianna Moles (Brea Ferrar).

Driven by a piano, Lost in Love by Brianna Moles (Brea Ferrar) has a singing voice crying tears

The Love Somebody New tune by Brianna Moles (Brea Ferrar) is similar in sound to When Love Takes Over by David Guetta featuring Kelly Rowland (Destiny's Child).

In turn, When Love Takes Over has a piano riff/opener that is similar to Clocks by Coldplay.

Besides, Love Somebody New by Brianna Moles (Brea Ferrar) has a singing voice that cries tears with aspirate offsets being paired with dance-pop/EDM.

Fang Banger by Brianna Moles (Brea Ferrar) has a paradox: an upbeat pop tune, but with a Halloween twist, paired with her raw, sob-choked, weeping, soulful and emotional singing vocals.

Hard Up by Samantha Lombardi has her choked-back, tearful soulful and emotive singing voice

Black Hole is a power ballad by Samantha Lombardi with her sob-choked, soulful and emotive singing voice.

Samantha Lombardi is unofficially a crying Disney princess in Australia, but with a pop rock twist.

Eva LaRue

Having been born in a Fire Horse year, Eva LaRue is an eternal flame.

The Fire element likewise represents Eva LaRue in her beauty, energy, charisma and as a spark of the sexual revolution.

In addition, the Horse, which has a fiery nature, also represents Eva LaRue in her hot, sexy, raw and emotional persona.

Using the Horse's fiery nature, Eva LaRue sets soap operas on fire; in fact, she uses charisma, charm, energy, sex appeal, passion and raw emotions.

Years after her breakthrough, Eva LaRue's sexy legacy as an announcer is unextinguished.

December is a month being synonymous with the winter season in the Northern Hemisphere, which is aligned with the Water element, representing Eva LaRue in her soul, emotion and youth.

Mirroring human tears, rain has water drops, true to Eva LaRue's soulful and emotive voice.

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

A husky, sultry voice like Eva LaRue's mirrors moving water's fluid, echoing quality.

With the water being mixed with the fire to create steam, Eva LaRue's legacy is an elusive, misty and atmospheric icon.

Even the heavy rain/water droplets cannot dim/extinguish Eva LaRue's fire.

Dabbling in music, Eva LaRue's album is Only You.

Iguales and I'll Remember You are tunes with an upbeat tone and Eva LaRue's raw, soulful and emotive singing voice.

Sucks to Be You

Sucks to Be You is a song by Prozzak; it is about being feeling sad and emotional after being hurt.

Tamara does the smooth, sexy and sultry spoken word-ad-lib for Sucks to Be You (Prozzak), using her aspirate offsets/onsets, as a vocal foil to Simon's remoseful lyrics in his British accent.

One dimension defines Tamara for Sucks to Be You (Prozzak) that echoes the title of Marilyn Monroe's early-1950's film being released after her breakthrough in 1950:

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

DNA of the Chicago School of Television for business news

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

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

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

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

Besides, New York-centric television had fixed/static shots.

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

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

Radio belonged to Dave Garroway since World War II, and his laid-back delivery defined his career.

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

For his eponymous Garroway at Large program, Dave Garroway broke television's old traditions for a more casual approach, in which the reality of the studio was acknowledged.

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

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

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

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

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

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

Both Dave Garroway's Garroway at Large (NBC) and Edward R. Murrow's See It Now (CBS) rejected claustrophobic sets and exposed a real technical environment of television production.

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.

Inside the RCA Exhibition Hall, parts of which were converted into the first Today (NBC) studio, was a newsroom/bullpen being adapted from the print field, like the AP 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 a television innovation.

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

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

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

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

For this Today (NBC) ticker, the Gary Telop Horizontal Tape Scroll was used.

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

Undoing the past, 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.

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

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

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

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

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

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

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

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

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

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

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

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

Ed Taylor, an associate of Ted Turner, launched the Satellite Program Network (SPN), later known as Tempo Television, which NBC purchased in the late-1980's to become CNBC.

Bill Griffeth, Ron Insana, Allan Chernoff, Joe Kernan and Sue Herera are some of the on-screen FNN personnel also being involved with CNBC.

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

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

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

Locally, the on-screen ticker for KWHY-TV and WCIU-TV

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

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

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

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

Since FNN and CNBC, financial and business news studio sets feature a newsroom/bullpen.

Brianna Moles (Brea Ferrar) in a seasonal/astronomical twist