JohnnyHoang

Saturday, September 26, 2026

Caucasian singers 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.

August 4 is when Timi Yuro was born, but also marks Marilyn Monroe's 1962 death at 36.

Similarly, both Marilyn Monroe and Timi Yuro are unofficially real-life Disney princesses, but with a modern and emotional twist.

Both Marilyn Monroe and Timi Yuro are also unofficially crying Disney princesses

Vision of Love is Mariah Carey's debut single, but also popularized riffs, runs, melisma and the whistle register in mainstream pop music.

Mariah Carey's Vision of Love tune is also the blueprint for future female singers using her techniques.

During the climax of her own Vision of Love tune, Mariah Carey uses her whistle register, which she popularized; the inspiration for Mariah Carey's whistle register is Minnie Riperton.

In general, for Mariah Carey, Vision of Love emphasizes a crying Disney princess with a modern twist.

Genie in a Bottle serves as a breakthrough success for Christina Aguilera as a musician.

For Christina Aguilera, Genie in a Bottle sets her apart from her rival Britney Spears and others (using a soulful and emotional singing voice and sexual lyrics, traits being rare for a teen).

Incidentally, Genie in a Bottle by Christina Aguilera has set a new vocal standard in teen pop music.

What A Girl Wants, I Turn to You and Come On Over Baby (All I Want is You) are Christina Aguilera's other early hits.

Dirrty is the tune that turned Christina Aguilera from a bubblegum pop symbol into a more mature and sexualized one.

Beautiful by Christina Aguilera is another example of a crying Disney princess with a soulful twist; its sound is an cinematic Disney-like arrangement.

I Will Love Again, a pre-fame tune being performed at the 1997 Golden Stag Music Festival, features Christina Aguilera doing soulful vocalise during its second half.

For Christina Aguilera, I Will Love Again emphasizes a crying Disney princess with a modern twist.

Mihal Alexandru, from Romania/Eastern Europe, wrote I Will Love Again by Christina Aguilera.

What makes Christina Aguilera's I Will Love Again tune unusual is the fact that it is created in Eastern Europe with American vocals.

Hurt by Christina Aguilera is just another example of a crying Disney princess with a soulful twist; its sound is an cinematic Disney-like arrangement.

Brianna Moles has her cinematic singing alter-ego named Brea Ferrar.

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.

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

For Brianna Moles (Brea Ferrar), her choked-back, soulful and emotive singing vocals are inspired by Mariah Carey, whose peer Whitney Houston is an honorary aunt of Aretha Franklin.

Plus, the singing voice involving Brianna Moles (Brea Ferrar) is sexy and sultry.

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

Likewise, the Walt Disney Company also roots Britney Spears, who has influenced the 1990's teen pop music sound and has inspired future singing girls, like Brianna Moles (Brea Ferrar).

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

Aretha Franklin, Whitney Houston, Mariah Carey, Xtina and Brianna Moles (Brea Ferrar) are crying Disney princesses, but with a modern pop/rhythm & blues/soul twist.

Plus, Brianna Moles (Brea Ferrar) is a modern Annette Funicello, but with a soulful twist.

In fact, Marilyn Monroe, Aretha Franklin and Annette Funicello have all smiles for Madonna, Mariah Carey, Britney Spears, Xtina, Beyoncé and Brianna Moles (Brea Ferrar).

Marilyn Monroe attended University High School (Uni) from February to June 1942, just a few months before Annette Funicello's October 1942 birth.

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

Brianna Moles (Brea Ferrar) is also Aretha Franklin and Mariah Carey with an indie music twist.

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

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

One of the educational institutions for Brianna Moles (Brea Ferrar) is TCNJ, which started to attend in September 2002.

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.

In addition, the Water element represents the lowest and the deepest frequencies, but also the dark and mysterious depths of the ocean; this holds true for Brianna Moles (Brea Ferrar).

A husky, sultry voice like Brianna Moles (Brea Ferrar) mirrors moving water's fluid, echoing quality.

With the water being mixed with the fire to create steam, both the soulfulness and sex appeal involving Brianna Moles (Brea Ferrar) is an elusive, misty and atmospheric icon.

Even the heavy rain/water drops cannot dim/extinguish the fire felt by Brianna Moles (Brea Ferrar)

Three dimensions define Brianna Moles (Brea Ferrar) in her sexy, soulful singing persona echoing the name of Marilyn Monroe's early-1950's film being released after her breakthrough in 1950:

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

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

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

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.

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) of 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.

Having been 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.

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

At Last is an independent demo EP release by Brianna Moles (Brea Ferrar) via Myspace.

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

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

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 a power ballad.

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 with aspirate offsets and a low register.

An acoustic guitar opens Eggshells by Brianna Moles (Brea Ferrar) from her At Last EP.

Going into pop rock in the pre-chorus and full-blown in the chorus and bridge, Eggshells by Brianna Moles (Brea Ferrar) has a paradox: emotive lyrics and vocals with an upbeat pop rock tone.

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

Likewise, Wasted by Brianna Moles (Brea Ferrar) also uses a Disney-like cinematic arrangement using minimal instruments: piano and strings, plus no multitrack vocal harmonies.

Notable lyrics in Wasted by Brianna Moles (Brea Ferrar) include the changes from major to minor and recapturing the happy days she misses so much, plus transparent and empty kisses.

The start of this Wasted tune by Brianna Moles (Brea Ferrar) has a telephone effect, in which she sings about vivid imagery of decay without music.

For Wasted by Brianna Moles (Brea Ferrar), in this introductory decay segment, she sings about fading colours, withering flowers, dying sparks, melting hearts and dreams being dashed.

In addition, Wasted by Brianna Moles (Brea Ferrar) has her singing about being romanticized.

Wasted by Brianna Moles (Brea Ferrar) is a demo tune being described as a cinematic Disney Princess anthem, but with a rhythm & blues/soul ballad twist.

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 cries tears.

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 rhythm & blues-like ad-lib vocalise.

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.

In Love Roulette, 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.

Love Somebody New by Brianna Moles (Brea Ferrar) has a paradox, a soulful, sob-choked and crying singing voice with aspirate offsets being paired with dance-pop/EDM.

When Love Takes Over, with vocals by Kelly Rowland, one of the notable 1981-born Destiny's Child members with Beyoncé, inspires Love Somebody New by Brianna Moles (Brea Ferrar)

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

Generally, Love Somebody New by Brianna Moles (Brea Ferrar) has a crying-in-the-club aesthetic.

Fang Banger by Brianna Moles (Brea Ferrar) has a paradox: an upbeat rhythm & blues tune, but with a Halloween twist, paired with her singing vocals crying tears.

Rockstar by Brianna Moles (Brea Ferrar) uses a paradox: an upbeat tune using hip-hop beats with lyrics about being ready to rock and roll, paired with her singing vocals crying tears.

Likewise, Fire Me Up by Brianna Moles (Brea Ferrar) is a high-energy dance-pop tune.

Plus, Fire Me Up by Brianna Moles (Brea Ferrar) has its paradox: her fiery summery persona using her watery, soulful, emotional, crying, choked-back and sob-choked singing voice.

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 (Prozzak)

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

Tamara, voiced by Anna Goodman, has smooth, breathy, whispery, sexy and sultry spoken ad-libs à la Marilyn Monroe for Sucks to Be You (Prozzak), with aspirate onsets/offsets for emotion.

For Tamara in Sucks to Be You (Prozzak), she is a vocal foil to Simon's sad British-accented lyrics.

In Sucks to Be You (Prozzak), Tamara performs the title lyric in a smooth, breathy, whispery, sexy and sultry Marilyn Monroe-esque spoken word delivery.

Plus, Sucks to Be You (Prozzak) has female backups going "Ooh-ooh-ooh" in an emotional manner.

One dimension defines Tamara for Sucks to Be You (Prozzak) echoing the name of Marilyn Monroe's early-1950's film As Young as she sounds, released after her 1950 breakthrough:

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

Deana Carter

Deana Carter (b. 1966)

January 4, 1966 is when Deana Carter was born.

For Deana Carter, she is a girl born in a period of transition from the Snake to the Horse.

Both the Snake and the Horse are Chinese zodiacs tied to the Fire element.

Incidentally, the Fire element represnts Deana Carter as a spark of the sexual revolution.

Plus, Deana Carter's birth is in a Wood Snake year.

The Wood element symbolizes youth, true to Deana Carter as a youthful icon.

Besides, the Wood element also represents Deana Carter in her creativity, energy and growth.

Like a tree being cut down for wood, Deana Carter chops down the traditional female mold.

January is a month synonymous with the winter season in the Northern Hemisphere, aligned with the Water element, representing Deana Carter in her soul, emotion and youth.

There's No Limit by Deana Carter has the sexy music video featuring her close-ups and her under the bedsheets.

Randee St. Nicholas directed the sexy There's No Limit music video for Deana Carter, premiering in December 2002 when she was 36 years old.

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 also used fixed/static shots, together with loud talkers.

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.

Using his laid-back and soft-spoken delivery, radio was Dave Garroway's early passion.

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.

April 1949 is when Dave Garroway's Garroway at Large program started its run as a local program on WNBQ, before airing on a national basis on NBC, starting in June 1949.

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 Edward R. Murrow in November.

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 houses 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 cardboard box-like sets and exposed real technical television production.

NBC also pioneered a new formula of television: early-morning television, which is being offered via Today (NBC), initially coming from the RCA Exhibition Hall.

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 Associated Press at 50 Rockefeller Plaza.

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.

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

Undoing the past, Today (NBC) under Dave Garroway births modern broadcast design elements.

Some of the innovations surrounding the RCA Exhibition Hall for Today (NBC) under Dave Garroway include a newsroom/bullpen, a street-side studio, a news ticker and a clock display.

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 (AP) and the technical network news nerve centre (CBS).

The early-1950's US presidential election, the second one being held during the Cold War period, was likewise the first to offer television coverage on a massive and multi-faceted level.

For the early-1950's US presidential election, the newly-completed microwave/coaxial system via the American Telephone & Telegraph Company solved the issues of the past televised ones.

Chicago, in which Dave Garroway pioneered a casual television style being brought to New York, also hosted the political conventions in the early-1950's at the International Amphitheatre.

For the Republican National Convention in this early-1950's era, it was the first to be presented live on television on a national level.

Whereas past conventions, including the 1948 gatherings, were simply being televised all over the East Coast, Chicago's political conventions in the early-1950's were televised nationwide.

Using the air conditioning process being installed at the International Amphitheatre, Chicago's political conventions, held in the early-1950's, were the first to do so.

Just before Chicago's major political conventions in the early-1950's era, summer political conventions notoriously suffered heat in venues without A/C, making citizens sweaty.

However, the addition of the A/C process and the American Telephone & Telegraph Company's coaxial television uplink for Chicago's early-1950's political conventions helped modernize these rituals.

For these early-1950's political rituals, held at the International Amphitheatre in Chicago, the major US television networks erected makeshift broadcast booths inside the convention halls.

The television service with the most notice to cover Chicago's political conventions in this early-1950's period was CBS, which brought Walter Cronkite to national prominence.

Echoing Dave Garroway taking Chicago's techniques with him to New York for Today (NBC) upon its launch in the early-1950's, the Chicago political conventions led to the New York election nights.

Similar to the newsroom/bullpen being adapted from the print field by Today (NBC) for television, the major US television networks used this print-style trend for their early-1950's elections.

Due to Walter Cronkite at the desk, CBS' nationally-televised coverage of these early-1950's American political events had a print-style newsroom/bullpen, which he adapted from the UP wire service.

For Walter Cronkite, he worked with producer Don Hewitt to put the newsroom/bullpen on television's political map, but also on the traditional windowless television studio map, via CBS.

Plus, this nationally-televised coverage of the early-1950's US presidential election was the first to be driven by computers.

One of the computers being utilized for this nationally-televised early-1950's US presidential election coverage was the UNIVAC I.

Standing for the Universal Automatic Computer I, the UNIVAC I was innovative in that it was the first American-made general-purpose commercial electronic digital computer.

Magnetic tape was for mass storage and mercury delay lines for memory, both for the UNIVAC I.

The Eckert-Mauchly Computer Corporation (EMCC), founded by its namesakes J. Presper Eckert and John Mauchly and based in Philadelphia, built the UNIVAC I.

Remington Rand purchased EMCC in 1950, under which the UNIVAC I was completed.

Having used the UNIVAC I for its televised early-1950's US presidential election coverage was CBS.

With the real UNIVAC 1 iteration being deemed too heavy to carry from Philadelphia to New York, its mock-up prop was installed at CBS' unified Studios 41/42 in New York's Grand Central Terminal.

For this mock-up UNIVAC I prop, it featured blinking Christmas tree lights to create a futuristic visual effect for CBS' nationally-televised early-1950's US presidential election coverage.

At half past 8 p.m., this UNIVAC I computer from the Remington Rand hub in Philadelphia accurately predicted that Dwight D. Eisenhower could win the US presidency; this was via CBS Television.

NBC adapted the newsroom/bullpen from the print scene for television under Dave Garroway.

CBS adapted this newsroom/bullpen element from NBC as a studio set feature being placed in a usual windowless room for television journalism under Walter Cronkite and Don Hewitt.

In the early-1950's, CBS Television innovated the newsroom/bullpen trend for televised election night coverage, in the mid-1960's with an evening news twist, and in March 1973 with a local twist.

Search (1972-1973) is a sci-fi television series produced by Warner Bros. Television for NBC, with its basis being a 2-hour television film Probe (1972).

For Search/Probe (1972-1973), the Probe Control Centre is a fictional room based on NASA's Mission Control Centre.

What describes the Probe Control Centre for Search/Probe (1972-1973) is the fact that it uses a similar monitor matrix to the real-life NASA Mission Control Centre.

Designing the Probe Control Centre for Search/Probe (1972-1973) is Fred Harpman.

Besides, the Probe Control Centre, which Fred Harpman made for Search/Probe (1972-1973), directly inspires his television studio design called the NewsCentre.

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.

Rooted in Hollywood's science fiction genre, Fred Harpman's high-tech and cinematic NewsCentre set design was made to have a working newsroom feel.

Plus, Fred Harpman's high-tech and cinematic NewsCentre studio design mirrored the boundless room inside the RCA Exhibition Hall for Today (NBC) under Dave Garroway.

Fred Harpman's NewsCentre is also based on Edward R. Murrow's See It Now (CBS) control room.

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.

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.

NASDAQ is the world's first fully electronic stock market, which evolved from Quotron.

The 1977 Trinity and the 1981 IBM Personal Computer are the blueprints for personal computers being included in the newsroom/bullpen for television in the modern era.

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.

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 on a national level.

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 ticker is television's first continuous on-screen ticker on a national level.

Locally, this on-screen stock market ticker being created for both KWHY-TV and WCIU-TV featured scrolling text from bottom to top (vertical).

FNN's ticker featured scrolling text moving from right to left (horizontal).

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

Expanded formats beyond the quarter-hour serve as modern blueprints for global television news.

For the nationally-televised early-1950's US presidential election, it serves as the modern blueprint for nationally-televised election broadcasts from democracies around the world.

Mirroring the host city of the early-1950's political conventions (coupled with its innovative television philosophy), the box-like election studio sets were torn down for the newsroom/bullpen trend.

21st-century television news studio set designs endure a pivot away from the newsroom/bullpen trend being driven by computers (inspired by print and the UNIVAC I), but others bring it back.

Juxtaposed with the newsroom/bullpen being adapted from print for television by Today (NBC) under Dave Garroway, the UNIVAC I also changed election nights on television.

Whereas 21st-century television election studio designs pivot away from this newsroom/bullpen trend being driven by computers (inspired by print and the UNIVAC I), others bring it back.

Modern 21st-century news studio designs cannot leave behind Dave Garroway's television traits; they instead use digital technology to merge and evolve them into flexible ecosystems.

Some of the innovative Dave Garroway traits that modern 21st-century news studio designs can never leave behind include a newsroom/bullpen, a street-side studio and a news ticker/clock display.

In addition, modern 21st-century televised election studio set designs could not also leave behind these similar Dave Garroway traits to those being used in the television news business.

Likewise, modern 21st-century business/financial news studio set designs cannot also leave the similar Dave Garroway traits behind to those being used in television news.

Just before both Dave Garroway and Edward R. Murrow, television news studio sets were divided into three separate formulas:

News anchors sitting at one desk in a studio with a cardboard box feel behind blank walls

Journalists working in a newsroom/bullpen being filled with teletype machines and noises

Technical staff operating in a dark and windowless control room, featuring monitor banks

However, both Dave Garroway and Edward R. Murrow broke down the cardboard box-like television studio set walls, turning television news studio sets into three-dimensional/3D canvases.

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

The East Coast (New York) houses American television's corporate/news operations.

Due to its proximity to Wall Street, plus its political corridors, the East Coast (New York) houses live broadcast journalism, morning news and late-night satire involving current events.

Incidentally, New York is American broadcasting's main financial and executive command centre.

As for the West Coast (Los Angeles), it uses the television industry's entertainment, variety and filmed sectors, capitalizing on.Hollywood's infrastructure and cinematic pool.

Still, the DNA of the Chicago School has had an impact on television.

The casual delivery and open-plan studio sets being rooted in television's Chicago School lead to those being used by national newscasts, nationally-televised elections and 24-hour cable news channels.

Plus, the Chicago School DNA is in sports, and most notably, social media, like YouTube and TikTok.

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

Brianna Moles has her cinematic singing alter-ego named Brea Ferrar.

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.

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

For Brianna Moles (Brea Ferrar), her choked-back, soulful and emotive singing vocals are inspired by Mariah Carey, whose peer Whitney Houston is a label-mate of Aretha Franklin.

Similarly, both Allie Nicole (Allison Nicole Noriega) and Brianna Moles (Brea Ferrar) are described as indie-soul singers with Disney traits and moles/beauty marks on their necks.