Overseas TV History

Sticking with Boston 7, here’s how its successor, WNEV, launched on May 21, 1982, plus a closer look at the transition:

WNEV was the result of a legal challenge against WNAC and owners RKO General, who were accused of having illegally abused of corporate misconduct. Alongside the Boston licenses, stations in New York (WOR) and Los Angeles (KHJ) were also on target for closure, but these were sold in parts or fully (WOR to Cox Media Group and MCA/Universal Pictures, KHJ to Disney, becoming WWOR and KCAL), but a Supreme Court ruling dismissed these closures. However, WNAC was still in the process of closing, and the FCC had just tendered a construction permit to launch a new station on the frequency to the New England Television Corporation, a joint consortium of local interests led by grocery magnate David Mugar and Patriots owner Robert Kraft.

After settling out with RKO General, Mugar and Kraft took over all WNAC non-license property, including most staff, the CBS affiliation and all syndicated program contracts, allowing them to launch the new station in just under four months’ time. The new station became led by Winthrop “Win” Baker, who had last worked at Westinghouse Broadcasting and WBZ-TV, which imitated the programming style of rival WCVB, by producing a massive number of locally produced shows. News programming was led by Bill Applegate, who would later be known for his controversial stints at WBBM and WOIO, and, with the support of Mugar, pairing up veteran WCVB anchor Tom Ellis with PM Magazine Boston presenter Robin Young, forming a heavily promoted “dream team”.

Although the first days of the new station were heavily anticipated and promoted, they quickly fell back into the ratings cellar, leading to Mugar firing Baker and Applegate, and hiring another WBZ veteran, Sy Yanoff, who in turn hired former news director Jeff Rosser. Both fired many of the many “dream team” hires, the Ellis/Young pairing was disbanded after being mismatched, and the urgent NEWSEVEN presentation and “A New Day Dawning” was replaced by a increasingly spartan presentation which used chroma key backdrops; the station, although it had a period of momentum after hiring ATV anchor Dave Wright away from the Maritimes, failed to take the competition by storm until a takeover by Ed Ansin and Sunbeam Television, which brought the WSVN tabloid news model (albeit lighter, toned down and more focused on human interest content); although it was shocking in comparison with the other traditional formats of its rivals, and even generated resignations from high profile staff, it revived the laggard station and it is now generally in second place, behind WCVB, mainly in the evenings, but often it fights with WBZ and WFXT at other times as part of a three-way race for 2nd place in the ratings, particularly during sweeps.

3 Likes

Here’s the first-ever newscast after the switch:

And here’s a newscast after the tweaks you describe–Ellis was still there (for the time being), but the look had changed dramatically:

3 Likes

Another portion of a vintage newscast: this time from Cincinnati’s WCPO in the late 1950s, with legendary local anchorman Al Schottelkotte reading the news.

2 Likes

With an interesting commercial for Zenith radios at the 1:44 mark!

2 Likes

Canal 13 fully established its news department in May 1964 with three daily newscasts: one at lunchtime and two in the evening, that ran for around 15 minutes each. In those early years, it used this animation (featuring its adorable mascot Telepibe answering the phone at the newsroom) to kick off the bulletins.

On the second half of the '60s, the news operation expanded. Telenoche was instated, and an early morning edition was added to the lineup. Noticiero 13’s slogan was “Su ojo en la noticia” (Your eye on the news), and appropiately, had a moving eye and groovy music as part of the intro.

2 Likes

With Phoenix TV now landed on Hong Kong FTA television, let’s take a look at them expanding in Europe through taking over another channel back in the 1990s…

CNE (Chinese News & Entertainment Channel) was a British satellite TV channel founded by leftist Hong Kong businessman Tsui Tsin-tong in 1992. Catering for the Chinese diaspora, it time-shared with the Sky multichannels in midnights. While their programming was mixed from Putonghua CCTV news and Cantonese ATV shows (the latter perhaps because TVB had their own overseas channel), their language in continuity announcements was largely in Cantonese, as heard in this 1997 sign-on:

Aside from the satellite ident and simple backdrop, there was also some other stings and styles, as seen in this 1996 recording:

By 1997, Tsui was affected by the Asian Financial Crisis, and couldn’t secure funding for CNE. This was when former PLA officer Liu Changle’s Phoenix TV stepped in, who bought the station under liaison from Chinese authorities in August 1999.

Led by former Chinese diplomat Shao Wenguang (lit. trans.), the channel was renamed to Phoenix CNE, switched to fully Putonghua programming, and expanded to 24-hour broadcasting by 2002. This was their ident in 2001, with quite a hint of StarTV as both came from the same design agency (interestingly, Murdoch was a minority shareholder in Phoenix then):


TVB also had their own overseas channel: The Chinese Channel was founded by a Shaw family member in 1994, but was initially not directly associated with the Hong Kong broadcaster. Like CNE, it also broadcast during early hours in Cantonese, with its programmes largely sourced from TVB. This was the sign-on and their news report (plus community announcements at the end) in 1994:

TVB became TCC’s major shareholder in 1995, and renamed the channel to TVB Satellite Channel (lit. trans.) 2 years later. This channel continuity in 1997 featured pre-launch promos for the new channel (at 2:54), including one that promotes digital satellite broadcasting. You can also see how much more polished the TVB channel’s identity was going to be, compared to TCC’s:

The channel later evolved into a range of channels simulcasting with Hong Kong’s pay TV counterparts in mid-2000s, which were closed down in 2014 in favour of OTT boxsets.

3 Likes

ABC, Let Us Be the One! (1976-77)

YouTube: BTC

3 Likes

As most of you know, BBC Two celebrated its 60th birthday on April 20, and, for the occasion, it aired a series of compilation shows, rebroadcasting selected episodes of some of its historically relevant programming and unearthed some of its classic idents from years before (as aired on their short-lived Afternoon Classics block) instead of the curved 2s.

Recently, the BBC Archive has unearthed longer footage of what was supposed to be BBC2’s opening night, which was going to air live from Television Centre, and would be a variety show with the presence of higher-brow international acts, but it would be eventually postponed for the next evening, as a fire at Battersea Power Station had caused a blackout in most of West London. After a gesture by ITV franchisee Rediffusion was turned down by the BBC, transmission was rerouted to Alexandra Palace, still the headquarters of BBC1 and TV news, with newsreader Gerald Priestland taking over from a newsroom flash cam setup. Short updates on the situation were provided during the evening, interspersed with breakdown slides saying “BBC2 will start shortly” before switching to “Major power failure”. The footage of the eventual “soft” launch was rediscovered in 2003, after previous indications of being lost.

Eventually, as I said, the network would formally launch the following morning, with a short continuity announcement by Irish presenter Denis Tuohy, carrying out a lit candle, which was then sarcastically blown out. The network’s launch night was fully broadcast as planned, albeit with minor scheduling alterations.

The network was different from BBC1 in style and content: the network had a more direct orientation to arts and culture programming, sophisticated scripted series, high-budgeted lavish dramas, non-mainstream and world movies and and a wide range of documentaries, educational and factual content. Its presentation was more contemporary than that of BBC1, using moving symbols and an informal language compared to the stilted style of its sister. It also included some in vision continuity during its first years, something that the BBC had dispensed from its main network for most of the day, retaining them during primetime.

Under Alan Yentob and more particularly since the digital TV roll out and the launch of BBC Four, most of the serious programming moved to the new channel; since then, BBC Two programming has become more mainstream, although it mostly focuses on more experimental and untested programming that can’t fit into BBC One (although many of these shows have moved to One after their success on Two). Nevertheless, the network has still some semblance of its original remit, with a strong emphasis on news and current affairs (particularly during daytime), and retaining a daily slot for signed programming (known as the Sign Zone).

5 Likes

A classic station ID from Universidad Catolica de Chile Television (UCTV) and an excerpt of its nightly newscast Teletrece in early September 1994. Respected announcer Javier Miranda was the presenter.

2 Likes

To add to BBC2’s opening night woes, the first few minutes of Gerald Priestland’s first news bulletin aired without any audio.

The first words heard on the new channel? A story about a bus conductress in Yorkshire who had been sacked for using racist slurs towards passengers (which has been edited out of the above video, but can be found in an another YouTube video)

4 Likes

https://x.com/russty_russ/status/1783754132022767976

A promo from when the original Sky Channel relaunched as a four-channel pay-TV service:

4 Likes

UCTV’s main rival Television Nacional de Chile (TVN) used this amazing IDs for a couple of years in the 1980s. The logo’s colours and design resembled LWT.

Those times were particularly somber for the public network, especially when it came to news coverage.

3 Likes

The famous BBC News “pips” turn 25 on May 10th! David Lowe’s 1999 theme revolutionised TV news, not only in Britain, but around the globe. Here are highlights from the day where it all began…

In this video, David Lowe explains how he composed the recognisable tune:

2 Likes

May 6, 2011: Portuguese network TVI launches Jornal das 8, its new main evening newscast. Here are excerpts of its first edition:

The private broadcaster hired experienced journalists Jose Alberto Carvalho and Judite Sousa away from rival RTP to front this new program: they also doubled as news director and deputy news director respectively. Judite resigned from TVI in 2019 (returning briefly in 2021 for the start of CNN Portugal) and Carvalho continues as anchor and special correspondent. Jornal das 8 ended its run in February 2023, when it was renamed Jornal Nacional.

2 Likes

A 1980 newscast from Laredo, Texas–interesting in part because the station was a dual affiliate and featured both NBC and ABC logos in the ID at the start of the news:

2 Likes

Moving forward to September 1987, here’s an afternoon newsbrief presented by a very young Luis Otero, one of the greatest names of the station. The studio looks extremely outdated for 1987!

Luis joined Canal 13 in December 1983 at the age of 21 as an announcer. Just a few years later, he became a permanent anchorman of the channel’s various news programs. Otero, who is also a lawyer, retired from 13 in March 2019 to pursue a political career, but made a comeback in March 2022 to read the lunchtime news.

2 Likes

An edition of Fox News’ former flagship evening bulletin, The Fox Report with Shepard Smith, from November 4, 2005. This was Fox News at its peak: now stiffly more conservative and pro-Iraq War (but still not as pro-Trump and pro-conspiracy as currently), but also with its flashy, attention-grabbing presentation, high-energy and sometimes dramatic theme music from Scott Schreer and directly menacing voice-over work from Greg O’Neill.

In particular, the Fox Report was known for its tabloid-leaning approach to content (although still covering major political and world stories), plus Smith’s histrionic presenting, a fast-paced high story count, and a tight, casual writing style (including liberally using participles and implicit humor, and a full “kicker” block dedicated to entertainment and celebrity news). With the Obama administration, the Fox Report became more serious in tone and increasingly focused on breaking news.

3 Likes

In Greece at the moment, TV is very interesting over here. A lot of on-screen advertising, watermarks don’t stop for advertising .

Trust me we have nothing to complain about :joy:

2 Likes

Almost similiar to the Indonesian TV (yes, that’s me), except during commercials, the logo bug become grayscale.

1 Like

Today, 38 years ago, NBC debuted its current Peacock logo at the tail end of the NBC 60th Anniversary Celebration, a three-hour long spectacular mixing documentary, musical and sitcom elements homaging the entire history of NBC, from the Golden Age of Radio to the entire history of the television network, going from late-night to daytime programming, earlier entertainment, comedy, drama, sitcoms, specials, movies, sports, and news shows.

The logo was designed by Steff Geissbühler of Chermayeff & Geismar in 1980. The new brand was commissioned by then-new NBC president Fred Silverman, who had commissioned the Proud N from Lippincott & Marguiles the year before; however, a 1977 study by Peter H. Kliegman saw the Peacock’s value in identifying NBC-TV as key, with the “Proud N” seen as a stopgap measure.

Geissbühler pared down the 11 feathers of the Proud N to six, encompassing each of the primary and secondary colors in the RYB color palette and also representing NBC’s six divisions: News (Yellow), Sports (Orange), Entertainment (Red), Stations (Purple), Network (Blue), and Productions (Green). Additionally, the peacock’s head was flipped to right and simplified, becoming more vertical and on the negative space. The word marks were done in a custom typeface, NBC Futura, which takes cues from the Proud N logo and the art deco style of 30 Rock.

However, NBC management decided to freeze the new logo until further notice: NBC was ranked last among the Big Three television networks in ratings at the time, and wanted to hold off on the expense of rebranding until it had returned to the number one spot. The network was all over the place with Silverman, with bad management, poorly received programming and controversial moves made during his tenure, plus losing major affiliation deals to ABC. It was until Grant Tinker and Brandon Tartikoff took over that the network gradually went back to the top with a strong lineup of family sitcoms and grittier, quality dramas.

By 1986, things were already well better, and, to commemorate the anniversary, the new logo went on-air. Its adoption was slow, and was not completed until 1988. When the new logo launched, the network launched a glitzy new campaign, “Come Home to NBC”, with new idents and graphics designed by Pacific Data Images.

The new logo is still in use today: suffering minor adaptations and alterations to reflect the changing times of broadcasting, a major revision was recently done by LA agency Sibling Rivalry in 2022; the revision was designed to make the Peacock look better in smaller screens, with shorter, brighter and balanced feathers (with color hues in line with the Peacock logo) and a bigger “beak”.

This post is dedicated to prolific contributor @south_97, whose birthday is today!

3 Likes