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 for Garroway at Large, further developed in New York via 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.

Some noted individuals of the production staff behind Dave Garroway's innovative Garroway at Large program include Bob Banner, Bill Hobin, Ted Mills, Jan Scott and Charlie Andrews.

As its co-directors, both Bob Banner and Bill Hobin pioneered a television style, comprising fluid and moving camerawork for Dave Garroway's Garroway at Large program.

The floor in the studio for Dave Garroway's Garroway at Large had no bounds, as treated by both Bob Banner and Bill Hobin.

Having arrived in Chicago from New York, Ted Mills presented Dave Garroway's Garroway at Large program with its unique approach.

Classic Chinese theatre (or Xiqu) is a theatrical art form, which means music, dance, martial arts and acrobats rolled inro one.

Plus, xiqu is where props, stagehands and fluid movements maintain the scenic reality.

Utilizing classic Chinese theatre as its inspiration, Ted Mills structured Dave Garroway's eponymous Garroway at Large program around the pure television idea.

Due to Dave Garroway being dis with a standard performance form being done before a live theatre audience), Ted Mills courageously decided to ditch this form for Garroway at Large.

Jan Scott, who was the woman with the most Emmy Awards, designed the abstract studio sets for Dave Garroway's eponymous and innovative Garroway at Large program.

For Charlie Andrews, he was Dave Garroway's best friend (and favourite writer) on the eponymous and innovative Garroway at Large program, doing material that was unscripted and ad-libbed.

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 cardboard box (in theatres or radio), 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.

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.

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

For the regular newsroom-as-set trend that WBBM-TV had made, under both Robert Wussler and Van Gordon Sauter (and made by Hugh Raisky), it shattered the box-like television news set trends.

Evoking a raw, gritty and unpolished newspaper feel, the WBBM-TV news studio, featuring a regular bullpen backdrop, made by Hugh Raisky, 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).

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.

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.

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.

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.

Still in the Midwest, non-NBC stations used undertones of this 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.

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 name of a crossover film, for this hybrid newsroom-control room set that BCTV/CNN had created, the East Coast bullpen meets Hollywood's high-tech NASA-like nerve centres.

Specifically, this hybrid layout used 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

Both CityTV and MuchMusic perfected (and expanded) the non-traditional Eyewitness NewsCentre 13 formula made by WTHR in its last ABC years.

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.

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.

ABC had become the top-rated television network in the United States by 1978, and wanted a stronger Charlotte station.

On July 1, 1978, WSOC-TV broke with the stodgy NBC and instead joined the higher-rated ABC.

WSOC-TV is one of the two television stations held by Cox Enterprises in the Southern United States making the switch from NBC to ABC, along with its flagship station in Atlanta.

Still in Charlotte, NBC went to former indie WRET-TV, which Ted Turner ran, in July 1978.

For WRET-TV, it was unique and rare in Ted Turner's portfolio to be affiliated with a major Big Three television network (NBC).

Turner Broadcasting System sold WRET-TV, which used NBC, to Group W/Westinghouse to raise the capital needed for its new venture CNN.

Under Group W, WRET-TV became WPCQ-TV on September 29, 1980.

Starting in 1984, WPCQ-TV, which Ted Turner ran as WRET-TV, was sold to different owners.

Group W sold WPCQ-TV to New York-based Odyssey Partners in 1984; 4 years later, the Providence Journal Company acquired WPCQ-TV, which became WCNC-TV on September 3, 1989.

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.

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

News music features the rhythm of a teletype machine or Morse code, together with two of the loudest instrumental groups in the Western orchestra: brass and percussion.

During the 20th century, teletypes and Morse code are major methods being used to transmit news and information, especially in newsrooms before computers and telephones become widespread.

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

What makes CHL a fitting music cue for broadcast journalism/television news is the teletype.

Just before CHL, television news music had a ceremonial sound, specifically fanfares and marches.

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

CHL juxtaposes cinematic orchestral elements, including 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, CHL is more famous as a news theme than the film.

By the 1990's, CHL 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 United States and around the world.

Modern news music packages incorporate music techniques being used in film scores to enhance the emotional impact/storytelling of the news (since CHL).

Score Productions is a music production house, which specializes in background music and themes for television programs.

Based in New York City, Score Productions has many iconic and world-famous music cues for the Big Three networks (NBC, CBS and ABC), plus Goodson-Todman, CTV (Canada), etc.

Robert A. Israel (Bob Israel) is the driving force behind Score Productions.

Edd Kalehoff, Charles Fox, Gary Anderson, Walt Levinsky and Chuck Loeb are some of the notable composers under Score Productions, besides Robert A. Israel (Bob Israel).

The signature music cue for ABC News, written for World News Tonight in 1978 by Robert A. Israel (Score Productions) under Roone Arledge, has a sound à la CHL: The Tar Sequence.

Using its iconic 4-note motif (C-F-C-G), the signature cue for ABC News

From its July 10, 1978 debut to March 1980, World News Tonight had a teletype theme tune, made for ABC News by Score Productions, innovative for Moog synthesizers on network television.

Later, an orchestral incarnation of the Moog-based teletype theme tune, made for ABC News by Score Productions, was used for World News Tonight until 1990.

A remixed incarnation of this orchestral version of the Moog-based teletype theme tune, made for ABC News by Score Productions, was used from 1990 to 1996.

Edd Kalehoff created his own World News Tonight theme song in 1996, and revived the 1978 theme in January 1998, at the turn of the 21st century, and in 2020, all in three remixes.

The Mission is a music package for NBC News.

John Williams, an iconic and world-famous film score composer, is the composer for The Mission (for NBC News).

Recorded with an 80-piece orchestra, The Mission (for NBC News) changed the news music sound by moving towards fully-orchestral cinematic Hollywood film music.

During the periods in which Douglas Edwards, Walter Cronkite and Dan Rather were the anchors of the CBS Evening News, no music was heard in its intros/outros and bumpers.

In fact, the sound heard on the CBS Evening News in its opening and ending sequences, during the eras when Douglas Edwards, Walter Cronkite and early Dan Rather ruled, was the teletype.

Walter Levinsky (Score Productions) created a teletype-like cue being used for the bumpers of the CBS Evening News with Dan Rather (and its ending sequences) during the 1980's.

CBS News, in response to the success and popularity of The Mission for NBC Nightly News with Tom Brokaw, commissioned a special theme tune for the CBS Evening News with Dan Rather.

John Trivers, Elizabeth Meyers and Alan Pasqua serve as the three co-composers of the orchestral CBS Evening News theme tune.

This theme tune that John Trivers, Elizabeth Meyers and Alan Pasqua have made for the CBS Evening News with Dan Rather had a sound à la Aaron Copland's Fanfare for the Common Man.

Recorded with a full orchestra at a 20th Century-Fox soundstage, the modern-sounding theme by John Trivers, Elizabeth Meyers and Alan Pasqua put the music on the CBS Evening News map.

Hawaii Five-O has a fast-paced and quick-cut intro sequence made by Reza Badiyi, set to rock-infused orchestral music by Morton Stevens.

In turn, Action News (in intros and music) applies the same techniques as Hawaii Five-O.

Move Closer to Your World (MCTYW) is an orchestral news music package for Action News.

Al Ham, whose company is Mayhom Music, made the iconic Move Closer to Your World piece being synonymous with Philadelphia.

Staying in Philadelpha, Tom Sellers, who was a student at Temple University, wrote The Action News Theme, which has similarities to MCTYW.

Likewise, Philadelphia also houses the Rocky sports media franchise, which focuses on the life of an eponymous boxing champion.

The Rocky franchise has its brass-heavy and soul-infused theme tune called Gonna Fly Now.

Bill Conti is the composer of the Gonna Fly Now theme tune for the Rocky media franchise, with Ayn Robbins and Carol Connors doing the lyrics.

For the Gonna Fly Now tune, it is as synonymous with Philadelphia as the MCTYW tune, both of them infused with soul.

Maynard Ferguson, a Canadian trumpeter, created his own version of the Gonna Fly Now tune from the Rocky media franchise, used for his 1977 album Conquistador.

Besides, Maynard Ferguson's Conquistador (1977) has the Theme from Star Trek cue.

Jay Chattaway, who arranged and conducted many of the tunes being included in Maynard Ferguson's Conquistador (1977), later became synonymous with the Star Trek franchise.

Gari Communications, as well as a Nashville jingle company (with its area code) and Stephen Arnold Music, famously used a synth timpani sound in the 1990's.

Plus, Gari (along with a Nashville jingle company with its area code and Stephen Arnold Music) used samplers/synths, like those from E-mu, Roland and Kurzweil, to make orchestral news themes.

Samplers/synths give composers like Frank Gari, Randy Wachtler and Stephen Arnold a chance to mix traditional orchestral elements with modern electronic precision to create sonic news brands.

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

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

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

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

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

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

WRET-TV, a rare and unique major Big Three television station owned by Ted Turner, used Maynard Ferguson's Gonna Fly Now (Rocky) tune for Action News 36.

Under Ted Turner, WRET-TV's Action News 36 blended Action News (via WPVI-TV) with Maynard Ferguson's Gonna Fly Now tune (notably used by CityTV's CityPulse).

Philadelphia houses Action News (via WPVI-TV) and Gonna Fly Now (Rocky) with WRET-TV.

For WRET-TV, it was unique and rare in Ted Turner's portfolio to be affiliated with a major Big Three television network (NBC), lasting a year since July 1978.

Due to its use of the Philadelphia trappings, notably Action News (via WPVI-TV) and Gonna Fly Now (Rocky), WRET-TV's Action News 36 laid the foundation for Ted Turner's CNN.

Initially, no music was heard on CNN (in intros/outros, IDs and bumpers) overall.

However, Ronald Reagan's March 1981 attempted assassination caused CNN to make its permanent transition from a plain teletype sounder to dramatic music.

Stock music defined CNN's music in intros/outros and bumpers until the 1990's, when it started to use music that is specially commissioned for this network.

De Wolfe (with sub-labels like Rouge), KPM, Bruton, Sonoton, FirstCom, Killer Tracks, Atmosphere, Chappell, MusicHouse, Carlin and others are labels doing CNN's music until the 1990's.

Through stock music labels, like De Wolfe Music, CNN's dynamic and urgent sound is punctuated by brass and strings, plus rock-style drums, for a cinematic orchestral news music sound.

In 1990, in celebration of its first decade since its June 1, 1980 launch, CNN had commissioned Score Productions to create an iconic 4-note motif (C-D-A-G), similar to ABC News.

CNN worked with Score Productions to make a cinematic orchestral news music sound that was being maintained during its stock music era during the 1990's.

Many music cues being commissioned for CNN by Score Productions are also in stock music through Sound Ideas with the Turner Broadcast Music Library.

The stock cues made for CNN are used via Sound Ideas, omitting its iconic 4-note motif (C-D-A-G).

In Canada, since the 1980's era, Brian Nimens' stock music/sound effects companies, Sound Ideas and Westar, have distributed De Wolfe Music, the world's oldest stock music label.

Charlotte, which housed WRET-TV via Ted Turner, also houses composer Steven Wegner.

Before his relocation to Charlotte, Steven Wegner also held River City Sound Productions (RSCP), a Memphis music company, making in-house cues, also doing stock music.

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

Just like De Wolfe, KPM/EMI, Bruton, Sonoton, Killer Tracks, FirstCom and Sound Ideas/Westar, plus other stock libraries, Backtraxx (from Digital Juice) is a stock music empire.

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.