Ku Klux Klan in Oregon

The Ku Klux Klan arrived in Oregon in the early 1920s during the second Klan, and quickly spread throughout the state, aided by a mostly white, Protestant population as well as racist and anti-immigrant sentiments already embedded in the region. The Klan succeeded in electing their members in local and state government, which allowed them to pass legislation that furthered their agenda. Ultimately, the decline of the Klan in Oregon came with its struggle in other states as well as nationally, and activity faded in the 1930s.
Background.
Racism in Oregon.
Starting when it was still a territory, Oregon had several laws prohibiting both enslaved and free African Americans from living in the state. The first, in 1843, outlawed slavery except as part of a sentence for a crime. It was amended in 1844 to set a restriction on how long slave owners had to move their slaves out of state before the state would free them. However, free blacks were also not allowed to remain in the state, the punishment for staying being a lashing, although this provision was repealed before ever being enforced. A second law was passed in 1848 that barred African Americans from migrating into Oregon but allowed those already residing in the state to stay; this law was overturned in 1854. When Oregon was admitted into the Union in 1859, there was an exclusionary law included in its constitution that prohibited blacks from living in the state, owning property, or entering into contracts. The 14th Amendment effectively overrode this law, but it was not officially repealed until 1926.
Operations.
Ku Klux Klan Expansion into Oregon.
With similar views of racism, white supremacy and anti-Catholic, anti-Semitic, and anti-immigrant stances, it was easy for the Klan to move in to Oregon. The first member of the Ku Klux Klan was sworn in by Major Luther I. Powell in 1921 in Medford. During the same time, other members of the Klan were at work searching for new recruits across the state to add to their numbers and organize local chapters and klaverns.
Eugene.
Early recruitment in Eugene was led by Powell, with help from local members and other associates of Powell, who would speak to the public alongside showings of the D. W. Griffith film "The Birth of a Nation." In tandem with a religious revival in the area, they appealed to residents' concern for keeping foreign influences out as well as their desires for patriotism and morality. There were already over 80 members when a local newspaper wrote about the Klan arriving in town, and shortly thereafter the group would be formally organized under Exalted Cyclops Frederick S. Dunn, who was employed at the University of Oregon as department head of Latin studies. Members of Eugene Klan No. 3 quickly became involved in local politics, voicing not only moral stances against alcohol and prostitution, but anti-Catholic views as well, that resulted, directly and indirectly, in the ouster of several teachers and local leaders, which also coincided with the sudden resignation of Mayor O. C. Peterson, Chief of Police Chris Christensen, and City Attorney O. H. Foster. Additionally, many candidates endorsed by the Eugene Klan obtained local office in the fall of 1922. However, efforts to include the University of Oregon in their sphere of influence did not succeed, due to opposition from students, graduates, and faculty and administration, though this did not mean that there was no Klan presence on campus. The Klan was able to keep speakers and activities contrary to their values to a minimum; several members had business ties to campus life, a few were alumni, a few more faculty and students. Even the football graduate manager Jack Benefiel and coach, C.A. "Shy" Huntington were klansmen. When the state legislature passed the Compulsory Education Act in 1922, the Klan's presence put Lane county among the 14 counties in the state where voters were in support of the measure. In March 1924, the Klan joined forces with the local post of the American Legion (which at the time was led by klansman George Love) to oppose Peter Vasillevich Verigin announcing that he would send around 10,000 of his Doukhobor followers from British Columbia to settle in the Willamette Valley. Ultimately, after a rally against the Doukhobor in Junction City in August, not much else would be done due to the murder of Verigin and very few Doukhobor actually moving, and their eventual return to Canada. Other than the Doukhobor incident, one of the last notable activities of Eugene Klan No. 3 was June 27, 1924 at the Lane County Fairgrounds. They held a parade through downtown, with participants and spectators from all over Oregon and from various Klan-related organizations, joined also by the city band and another local organization's band. There were fireworks and a burning cross above them on Skinner's Butte, and they gathered afterwards at the fairgrounds for an initiation ceremony, lit by cross covered in red lights instead of fire. Eventually, after the resignation of Fred L. Gifford from his post as Grand Dragon, in addition to national issues within the Klan, Klan No. 3 died out in the 1930s, although the exact time is not clear.
Tillamook.
In 1922-1925, the Ku Klux Klan saw unlikely growth in Tillamook, a small county found on the northern Oregon coast. Soon after the rise of the Klan's presence in Portland, Oregon, the Klan was established in Tillamook. the Klan found lots of success in Tillamook. The KKK also offered recognition of many native-born Protestants who were not previously accepted in their society. The KKK was originally drawn to Tillamook because of the lack of external opposition and threats. While no klansmen were directly involved with local political occupations, becoming allies with the KKK was essential for any politician to succeed and get re-elected.
Portland.
The Ku Klux Klan's development and growth across America was widely known as the "Middle-Class Movement". Initial growth in Portland, Oregon was fundamentally founded on this principle. The traditions of the middle class, as well as their populist beliefs, complimented the black exclusion laws that existed in the mid-1800s. In addition, there were anti-Chinese and anti-Japanese sentiments present because of the populations of such groups in Portland and the surrounding areas. Portland was not fully made up of middle-class citizens, however, and its political activity was often anti-populist. The Klan had a very deep and complex presence in Portland, and no membership records exist of Klan members in the early 1900s. During the months of February and April of 1922, over two thousand klansmen participated in induction ceremonies; the specific number of Portland klansmen is still unknown, but the state was estimated to contain more than 50,000 members. Members of the KKK in Portland came from a variety of backgrounds including doctors, lawyers, businessmen, clerks, and many other professions. Mount Tabor was home to many cross burnings.
The 1924 bidding process for the replacement of the Burnside Bridge ended with a suspicious winning bid; the public would later learn that the 1924 contract was given for $500,000 more than the lowest bid. Having moved the bridge location to profit by selling their land, three Multnomah County commissioners were recalled as a result of the scandal, and a new engineering company assumed control of the project. The KKK had backed the commissioners and the enabled their system of kickbacks and grafts; the ensuing "rotten bridge scandal" removed much of their clout even by 1924.
Policies.
Black Exclusion Laws.
Around 1840 to 1850, residents of Oregon generally did not support slavery, however, they also did not want to live alongside African Americans. As a result, section four of article XVII was amended to prohibit slavery in Oregon, and force slave owners to remove slaves from the state. Once in effect, freed male slaves could not stay in Oregon for more than two years, and a female slave could not stay longer than three years. Any free African American who refused to leave would be subject to lashings and beatings. Eventually, the lashings were prohibited in 1845.
The Territorial Legislature enacted the second exclusion law on September 21, 1849. This law specified that "it shall not be lawful for any negro or mulatto to enter into, or reside" in Oregon. This law targeted African American seamen who could be tempted to jump overboard and swim to the coast to escape. Lawmakers were concerned that blacks would "intermix with Indians, instilling into their minds feelings of hostility toward the white race". The second exclusion act was later rescinded in 1854.
Notable figure.
Walter M. Pierce.
Walter M. Pierce was an Oregonian politician from 1886 to 1942. During those years, he served in elected offices such as county recorder, state legislator, governor, and U.S. congressman. Pierce was an active participant in social movements such as populism and progressivism. Eventually, Pierce was elected to the Oregon state senate, placing him at the forefront of these social and political reforms. His views on social reform mirrored those of the middle class, and at the time, the Klan perfectly fit the contradicting social and political values held by the middle class. Pierce was a supporter of both radical populism and democratic populism, which led to his eventual support and partnership with the Ku Klux Klan. After an unsuccessful run in 1918, Pierce was elected Governor of Oregon in 1922, while the political power of the Ku Klux Klan simultaneously emerged in Oregon. The Klan supported Pierce during his campaign for governor and was in close communication with Pierce as he was in office. After his retirement from political office in Oregon, Pierce would go on to be elected to Congress in 1932.


Crush on Obama

"Crush on Obama" is an Internet viral video, first posted on YouTube in June 2007 featuring a young woman seductively singing of her love for then-U.S. Senator (later President) Barack Obama.
Background.
The video was produced by BarelyPolitical.com, was lip-synched for the video by actress and model Amber Lee Ettinger, and Leah Kauffman (of "My Box in a Box" fame) provided the vocals.
The concept was the brainchild of 32-year-old advertising executive Ben Relles. "Crush on Obama" was co-written and produced by Rick Friedrich. The creators sold two shirts and the red shorts used in the video in an eBay auction. One of the shirts garnered $1,000. Proceeds from the auction were donated to the Philadelphia Committee to End Homelessness. On May 25, 2007 Ben Relles placed an ad on the online classified website, Craigslist, seeking a music video director. The ad was answered by filmmakers Kevin Arbouet and Larry Strong. Filming began later that same day in and around various New York City landmarks. Arbouet and Strong co-directed and shot the entire video in about six hours. The whole film project took approximately two to three weeks.
On June 13, 2007 the video was posted to the video sharing website YouTube and garnered over one thousand views within the first five hours of its posting. By the second day the American news media had taken notice of the video's growing popularity. Relles, Ettinger and Kauffman appeared on many television news programs. The video was nominated in the Politics category in the 2007 YouTube Awards.
Obama's response.
When asked about the video by the "Des Moines Register" on June 18, 2007, Obama said, "It's just one more example of the fertile imagination of the Internet. More stuff like this will be popping up all the time." Obama told the Associated Press that the Obama Girl video had upset his daughters and said, "You do wish people would think about what impact their actions have on kids and families."
Obama's campaign stated they had nothing to do with the video's creation. Kauffman and Ettinger confirmed this during their June 15, 2007 appearance on "Fox & Friends", where they said that the video was not made to support Barack Obama in his campaign but rather for fun. They also expressed interest in making more videos of the same genre for other candidates of other parties as well.


King Country Radio

King Country Radio was a radio station in Taumarunui broadcasting on 1512AM. The station was first started in 1966 broadcasting 1520AM with the call sign 1ZU. The station moved to 1512AM in 1978 after the AM frequency spacing in New Zealand was adjusted from 10 kHz to 9 kHz. Local content on the station was limited to mornings only outside this time the station broadcast 1ZH from Hamilton or National Radio. During the late 1980s and 1990s the station shared air time with Radio Waitomo and on air the station was announced as "King Country Radio and Radio Waitomo" all programming originated from King Country studios.
In July 1996 the New Zealand Government sold off the commercial arm of Radio New Zealand, the sale included King Country Radio. The new owner was The Radio Network, a subsidiary of APN News & Media and Clear Channel Communications, which operated as a division of the Australian Radio Network.
In 1998 King Country Radio became part of the Community Radio Network with all programming outside of the breakfast show being fed from a central studio originally based in Taupo.
In 2001 all Community Radio Network stations became part of the Classic Hits FM network with programming outside of the breakfast show based from Auckland. At this point the station became known as "Classic Hits King Country Radio."
In 2003 the station began broadcasting on 99.9FM from a transmitter located on the stations Huia Street premises as a result the station on FM was limited to Taumarunui listeners. In 2006 the station began broadcasting at full power on 92.7FM with coverage to listeners in all of King Country.
In 2009 the local breakfast show was dropped and replaced by a newly established network breakfast from Classic Hits studios in Auckland, the show is hosted by Jason Tikao (J.T.) and features one localised voice break for the King Country Listeners as well as local weather.
On 8 February 2010, it was announced the station would close at the end of March, due to declining commercial revenues. The stations frequencies were sold to Peak FM and at midnight on 31 March 2010 Classic Hits King Country Radio went off the air and was replaced with Raetihi-based Peak FM.


BBC News presentation

The presentation and the identities of the BBC News Channel, the international counterpart BBC World News and the BBC Parliament coverage channel use specific identities that demonstrate their remit and purpose.
BBC News Channel.
1997 "Flags and Drums".
BBC News 24 was launched at 5.30pm on 9 November 1997 as a 24-hour domestic news channel. It acted as a sister channel to BBC World which had launched two years earlier. As a result of this partnership between the two channels, they shared some overnight programming and the same identity consisting of flags designed by Lambie-Nairn. The rippling flags were mostly fictitious, but included the Flag of St. George, the Flag of St. Andrew, the Catalan flag and the Pakistani flag, accompanied by an orchestral soundtrack comprised most noticeably of percussion instruments.<ref name="BBC News 21/4/08"></ref>
The channel logo consisted of the BBC logo followed by uppercase 'News 24' text to the right. The white logo was located at the bottom of the screen and as a Digital on-screen graphic (DOG) in the top left of the screen. A digital clock was also used with the look and was located in a translucent grey stripe to the bottom left of the screen. Other graphics including Astons, information graphics located at the bottom of the screen, were written on a two toned translucent purple and yellow background that merged into the picture. If a broadcast was live, an additional orange stripe with 'LIVE' inside was added on top of the clock to denote this fact.
Promotions for the channel followed the style used by the rest of the BBC Television network, consisting of the channel logo located at the bottom of the screen throughout the promotion, with information being added on top of the logo at the end. The channel font was Gill Sans, also used by the BBC as a whole.
Due to the rolling news nature of the channel, in the final few minutes to the top of the hour, a filler sequence was used which featured one of the flags waving while the music built up, with flag and music linking seamlessly into the ident at the top of the hour. This filler would often be overlaid with a programme schedule for upcoming programmes or promoting the BBC News Website.
The new look BBC News 24 was deliberately meant to look more open and friendly to new audiences and to look less authoritative. As a result, the newsreaders didn't wear jackets and were filmed in the BBC Newsroom at the time, which was the studio for BBC News 24. The walls of this newsroom were decorated with panels featuring the bold colours and shapes such as stars, semicircles and numerous lines seen in the idents. Separating the newsroom from the desk was a simple metal barrier. Behind and left of the desk was a special weather station featuring a computer and weather graphic monitor.
Following the move to the new BBC News Centre, located in BBC Television Centre, of all television and radio bulletins, the backdrop to BBC News 24 was changed to include a camera view of the new newsroom with a coloured panel featuring the BBC News logo over a flag.
On the channel some overnight bulletins were simulcast on BBC World, and as a result the logo on the ident was changed to the generic BBC News logo, increased in size and placed in the centre of the screen. Another logo variation also existed which became prominent on bulletins around 1998, featuring a two-line logo where the 'News 24' appeared below and of equal length to the BBC logo itself.
1999 Cream look.
By 1999 a problem had become apparent with BBC News, something noticed by Lambie-Nairn. Despite an attempt in 1993 to unite all the news bulletins under a single brand, the news brand overall had fragmented with different looks for BBC News bulletins, "Breakfast News", regional news, BBC News 24 and BBC World. As a result, Lambie-Nairn introduced a new brand that would encompass all of the BBC News output, with the exception of "Breakfast News" which would relaunch in 2000 as "BBC Breakfast" with the new style. Regional news would get a slight variation of the look but with several elements retained.
This style involved a new cream and red colour scheme and a numeral to represent the time of day of the bulletin. In the case of News 24, a large '24' was used instead. The ident designed featured a cream background with red pulsating rings and scenes; throughout the idents, place names would appear as anagrams and systematically flick through letters to form the place name, while a map of the UK could be seen at the beginning of the sequence and various styles of clock faces could be seen in the red ellipse with the hands passing a '24' mark on the clock face. The sequence ended with a large white '24' seen from the front left against a red ellipse on a cream background with the one-line BBC News logo overlaid the numeral in the centre of the screen. The music for the ident and for the whole of BBC News was composed by David Lowe and incorporated elements such as the BBC Pips, used on BBC Radio to mark the hour. This score was vastly different from the orchestral scores used by other news producers ITN and Sky News. The music was considered bold and different.
The graphics used by the channel were changed; the DOG remained the same, the background colour of the clock was changed to purple, and the box no longer extended off to the left of the screen. When a live broadcast occurred, a graphic was added on top of the clock, however the colour was changed to red. Equally, the channel astons were changed so the main body text, stating details about the story, shared the same translucent purple colour as the clock while the headline strip was a solid cream colour with bold red text. This strip changed colour in the event of a breaking news story, when it became red with white text, or when the channel reported the death of a notable public figure, such as Princess Margaret, when the heading became black with white text.
Promotional style remained the same as from launch with the BBC News 24 logo being used and the generic BBC style used. However, more adventurous styles were being tested with the one-line logo often being dropped in favour of the large 24 numeral. Gill Sans was retained as the font on the channel.
For the re-launch, the idea of a filler was extended further to a full countdown. This consisted of world continents rotating on the left hand side of the screen which overlapped two large numerals filling the right side of the screen counting down until the top of the hour. The soundtrack used an extended version of David Lowe's soundtrack for the main titles. The beeps in the soundtrack, similar to the BBC Pips, corresponded to the seconds changing and became louder and more noticeable from 10 seconds. This countdown came with and without the BBC News 24 one-line logo at the bottom and also had programming details overlaid on some junctions.
On the occasions that BBC News 24 simulcast with BBC World, a generic BBC News graphic featuring a world at the centre was used - this graphic was also used for the generic bulletins on BBC Television.
There was also a change in the BBC News 24 set. Upon re-launch in 1999, the newsroom feel was retained but smartened up with beige and red walls. To either side of the long desk were two flat screen televisions for linking into sport, weather and to partake in interviews; a large curved half wall went around the rear of the desk separating it from the newsroom. The newsroom featured numerous televisions embedded into the far back wall and attached to a circular display behind the desk suspended from the ceiling. Weather was now presented from the main weather studio used by the terrestrial bulletins and Sport was now presented from its own studio featuring a small desk against a background of ten small televisions embedded into the wall.
In April 2002 some small changes were made to the studio and graphics. The astons were changed to a shaded area beneath a red line containing all the information; for breaking news this remained on screen throughout. The studio was also changed: the suspended circular television display was removed in favour of a bank of televisions at the very back of the studio, and television screens were arranged around the two pillars behind the desk.
One final change of the look occurred in January 2003 when the countdown sequence was replaced by four sequences showing peoples busy lives, combining a mix of ordinary footage and time-lapse photography. These scenes were counted down by the David Lowe theme and an italicised second counter in the bottom right corner.
2003 Clamshell.
In 2003, BBC News 24 dropped the cream look from 1999 and adopted a new look, designed in house, and featuring a black and red globe. The look had been a result of a government report carried out by Richard Lambert which had investigated whether BBC News 24 had been fulfilling its remit.<ref name="BBC News 27/11/03"></ref><ref name="Guardian 5/9/03"></ref><ref name="Guardian 12/3/02"></ref> It praised the improvements made by the channel in April 2002 but stated the BBC needed to become more "distinct" and needed a "clearer sense of direction".<ref name="BBC News 5/12/02"></ref><ref name="BBC News 16/6/03"></ref> This new presentation package aimed to respond to these suggestions.
Nicknamed the 'clamshell' in reference to the finishing position of the red segments, the ident began with the rapid expansion of a red sphere with a disc intersecting it to reveal a globe before the disc segments reform together as the background to the globe in the familiar clamshell design. Overlaid the globe, and formed at the conclusion by the formation of five lines, is a large numeral '24'. Below the ident at the bottom of the screen is a white BBC News logo. The composed by David Lowe was altered by him for the new look. A key part of the look was the inclusion of the top headline into a ribbon which orbited the globe for a time before retracting back; other ribbons of this nature were present in the background, but featured the BBC News logo. The 24 numeral was originally a creamy yellow in colour before becoming silver in colour in 2004 when the identity was subsequently adopted across the television news output. The '24' numeral was dropped when the titles are used in BBC News bulletins on BBC One.
The graphics of the re-launch were different from those of the last look in many ways. The BBC News 24 channel identification was moved from the upper left corner of the screen to become part of the Aston; the News 24 has been brought down below the BBC logo and is contained along with the clock in a red box with the red and black globe visible in the background. The remainder of the aston featured a red heading with black information box with white text with no specific colour used for breaking news. For live broadcasts, a red box containing 'LIVE' was added to the top left corner of the screen, usually with the location written to the right in a black box. Originally no ticker, a device used to scroll news and information across the bottom of the screen, was used consistently on the channel, however one was adopted c.2004. This ticker ran from below the clock across to the right of the screen; the topic of the ticker was shown in a black box below the clock with the news rolling by in black on a white background separated by the BBC logo.
Promotions for the channel changed with the new look, with the channel adopting a box logo of a dark red colour with an upper case 'News 24' below the BBC logo in white inside. The box is located throughout the promotion to the lower right corner of the screen. The channel also began to change their font, making greater use of the Arial font alongside the Gill Sans logo.
The previous countdown style was retained, with images of everyday life alongside time-lapse photography being used. The numerals were moved to the bottom left corner and straightened up. The bottom of the screen was now shaded black, containing the numerals and a small programme menu placed to the right of the numeral. The menu and shading would often fade out at five and ten seconds to the hour respectively.
For bulletins simulcast with BBC World, no numeral was seen over the clamshell, and for some programmes such as "The World Today" the programme title replaced the numeral, leaving only the BBC News logo at the bottom of the screen.
For the re-launch, the studio was completely redesigned. The newsroom in the background was laid out and separated from the studio by glass panels that were slightly frosted. The studio was split into three sections to allow a more flexible presentation style; the middle section contained the main desk and flanked by two screens behind the desk to the left and right; the left hand segment featured a small round standing studio for delivering headlines and news roundups while the right hand segment featured a round standing set with a screen behind, usually used for sports, business and in depth review. The whole set was designed by Simon Jago.
In 2005, the countdown was changed following a test on BBC World. The new sequence showed the elements involved in bringing news to the air, including footage of BBC journalists, cameramen and production staff around the UK and the world. The new sequences were the brainchild of Mark Chaudoir of BBC Broadcast and were specially shot on DV to give the shots a gritty look. Overlaid on the footage are red bars representing the news being broadcast between satellite transmitters worldwide. A red translucent bar extended from the left hand side of the screen containing the countdown clock featuring the seconds and marking every frame (PAL timecode).
2007 Clamshell.
In 2007, the play-out systems for BBC World and BBC News 24 were upgraded and replaced. As a result, the channels presentation was upgraded to keep the look fresh on 22 January 2007. This new look was subsequently rolled out to the other BBC News bulletins the same year.
The new idents had the same theme as the previous look, but the whole look had been upgraded with new 3D glossy graphics. The new ident began with a close up of the rotating red and black globe over Europe, South Asia and Australia while the strands of news seen in the countdown circle the world. The ident then pulls out to a full view of the globe as a single 'BBC News' ribbon moves backwards across the globe and the red segments form the clamshell shape. The numeral appears last, appearing from the background outwards. The numeral is now pure white and has a small reflection immediately below the numeral. The BBC News one-line logo is still present at the bottom of the ident. The numeral would be removed prior to programming simulcast on BBC World.
The channel graphics changed quite considerably for this new look. The channel name was returned to the one-line variation seen previously and placed at the bottom left of the screen just inside the safe zone of the widescreen picture; the white logo was contained inside a dark red box that extended to the far left of the screen. To the right of the logo was a white bar containing a, now fully adopted, news ticker. News stories appeared in black and were separated by the BBC logo as previous. The clock was originally located to the left of the BBC News 24 logo, however in February 2007, due to complaints from viewers that the clock was cut off a 4:3 screen, it was moved and contained within a black box at the very left of the white news ticker. Above the logo and ticker was the information about the story and the people involved. The headline itself was contained within an opaque dark red stripe crossing the entire picture, while the further information was added below in a translucent black section. The design of the live broadcast tag remained the same with the exception of a darker colour red used.
Promotions for the channel remained relatively the same as previously with two main differences: the BBC News 24 box logo was moved to the left hand corner of the screen and any information given at the end of the promotion was added at the bottom above and below a red line that extended from the logo across the screen.
The countdown was retained in its entirety upon its launch in January 2007, but was tweaked slightly in 2008 when the BBC News 24 logo was overlaid on the sequence and the time was moved to the bottom right corner of the screen and overlaid directly onto the image. It was about this time that the sequences were updated with new images of the BBC journalists and production staff.
The studio set was retained from the last look with no major modifications made. The furniture was a slightly deeper shade of red to match the new graphics, but apart from this the three section set was retained.
2008 White look.
In April 2008, the entire BBC News department was reorganised at a cost of £550,000.<ref name="Telegraph 15/4/08"></ref> As part of this, a new look was commissioned by Mark Byford, designed by Lambie-Nairn and the BBC News designers,<ref name="Editors blog 21/4/08"></ref> featured a new remix of the theme by David Lowe and was subsequently applied to the whole BBC News output. The result of this was that BBC News 24 was renamed as BBC News and referred to on air as the BBC News Channel. This was as a result of a survey which revealed that the majority of the population referred to the channel as News 24 and saw the channel as inferior to the main news bulletins.
The new titles feature an abstract globe made out of the continents and given shape by pulsating rings of a red colour; the ident itself features the globe coming together from many different angles and ending with the globe fully formed on the right of the screen.<ref name="BBC News 21/4/08 (2)"></ref> The new BBC News box logo was also added to the bottom left corner of the screen and featured the word 'News' below the BBC logo. The box look fits with the other brands of the BBC and allows cross promotion of the channel. In addition to the main ident a second short animation, called a sting, was used. Stings had been used previously by the channel, however mainly as a break between headlines. In the current look, the red globe is used only at the beginning of bulletins themselves whereas the sting is to identify the channel or to introduce news related programming into the schedule, such as "Click". This sting involves each of the continents appearing in the centre of the screen as each pulsating ring passes over it, ending up with a full grey and white globe overlaid with the BBC News logo in the centre of the screen.
The re-launch also saw a modification in the channels DOG and Aston design. The one-line BBC News logo was now used as the channel DOG and remained at the bottom left of the screen, however inside the 4:3 safe zone, inside a deep red box matching the same colour as the box logo design. To the immediate right, the channel clock was encased in a black box with white text and running from there to the far right of the screen is the news ticker, now grey in colour with white text. The ticker subject would rotate up from the far left side of the ticker and dissolved out once the news began to scroll across, separated by large dots. Above all this would be a double thickness white box containing any information, headlines or people identification, in which case the person's name or headline would appear in bold in the top of the box. If a live broadcast occurred, then this would be denoted by a red 'LIVE' identification in the top left corner of the screen with the location of the broadcast listed in a black box to the right. In the case of breaking news, the Aston would change colour accordingly. If breaking news appears on the ticker, then the ticker box would become red, as would the main aston itself which would switch to a red box with white text. Also in these occasions, another smaller box would be added on top of the main aston and aligned left to indicate the story was breaking; this smaller box was white with bold red text.
Promotions for the channel used a similar style to that used previously, with the BBC News box logo appearing in the bottom left corner of the screen throughout, with end boards frequently over the white globe background. However, promotions for the channel itself have become less frequent as the adoption of the same logo and idents for all news bulletins causes confusion when promoting the service as to which bulletin or service the promotion is referring to. At the same time, BBC News as a whole organisation, systematically adopted Gill Sans as the typeface for all graphics and logos, following the use of other typefaces in previous years.
The countdown style was retained for the new look. The countdown still featured journalists and production crew filming the reports, with the red News beams still seen being broadcast from transmitters and satellite dishes. The timer has remained in the bottom right corner and still records frame (PAL timecode), but changed to use the Gill Sans font in line with the rest of the channel, and also adopted the BBC News box logo in the bottom left corner of the screen instead of the DOG used in the previous look. The countdown concluded by linking directly into the sting animation.
One of the most dramatic changes was as a result of the set change. Following the feedback stating that BBC News 24 was less authoritative than the main news bulletins, the newsroom was abandoned. The channel moved into Studio N6 in Television Centre; the set there had been in use for approximately a year, and featured a single desk on a raised platform in the middle of the rectangular studio, with video walls running round the centre of all the walls. As a result, an image or graphic could appear anywhere on the many screens behind the presenters, allowing a great deal of flexibility in the arrangement of the channel and the presentation of news stories and of business and sports news.
2013 White look.
Following BBC News' move to Broadcasting House on 18 March 2013, the on-screen presentation of BBC News was refreshed. The main titles remained the same however the channel logo was made smaller and stayed on screen for a few seconds after the titles. The channel's astons were altered and the font was changed from Gill Sans to Helvetica Neue. Also, a new countdown sequence was used, this time featured more red beams and report filming, and the countdown and opening title music is slightly modified.
Channel production was changed to HD, although this was only visible during BBC TWO HD simulcasts prior to the 10 December 2013 launch of BBC News HD.
2019 Reith redesign.
On 15 July 2019, the BBC rolled out its new on-air look replacing the layout seen since 2013, unifying the presentation used online and on other BBC on-air properties across news bulletins, the BBC News Channel, BBC Breakfast and local news bulletins. The new layout makes use of the BBC Reith typeface extensively, much like that used on other BBC channels, for example BBC Two. Text is generally larger, notably with headlines, with containing boxes strongly contrasting with the background, taking up more space on the screen, something that has drawn criticism for often obscuring the content behind. The BBC cites these changes as improving readability, making content easier to read on smartphones and tablets, for example on the BBC's official YouTube channels where content is often ripped straight from TV. As part of this redesign, the BBC replaced the long-used headline 'ticker', replacing it with headlines that scroll from the bottom individually, one at a time.
BBC Parliament.
1998 Water look.
BBC Parliament took over from the cable-only "Parliamentary Channel" on 23 September 1998, transmitting sessions of the House of Commons, House of Lords, Scottish Parliament, Welsh National Assembly, and the Northern Ireland Assembly among other programmes of political interest. Upon launch, the channel was available on cable, satellite and on digital terrestrial television, however the latter platform had insufficient bandwidth to allow the channel to transmit pictures, and it was restricted to sound-only transmissions with a fixed caption identifying the channel.
The channel's launch identity featured the channel logo in the centre of the screen over a background similar in style to water and accompanied by an orchestral musical score. The channel logo consisted of the BBC logo with the channel name 'Parliament' written to the right in white upper case text, as common with all other BBC channels at the time.
The BBC Parliament logo would also appear as a Digital on-screen graphic (DOG), located in the top left hand corner of the screen and present for all programmes. Accompanying coverage were Astons, graphics at the bottom of the screen, that provided information on the speakers in the coverage. These astons consisted of a black bar, upon which information such as the speakers name and party affiliation would be shown at opposite ends of the bar, and a box beneath for additional information related to the speech or to state the constituency depending on which house was being broadcast. This large box would be colour-coded according to house - green for the House of Commons, red for the House of Lords and additional colours for other committees and coverage. On the occasion that the broadcast scenes were not live and instead recorded, a 'R' would appear encased in a circle in the top right corner of the screen.
Prior to channel programmes, short idents known as 'stings' were used to introduce the programme. These featured the BBC Parliament logo at the bottom of the screen with the programme title in the centre against the water background of the ident. This same background was used over programme menus and other generic channel information, however in these cases the channel broke with common BBC style by aligning the text right and by not including the channel logo at the bottom of the screen, although the logo was present through the channel DOG. The channel did adhere to common practice with promotions however, with the BBC Parliament logo present throughout the promotion at the bottom of the screen and with programme details appearing centred above the logo at the end of the promotion. The typeface used by the channel was Gill Sans, in line with the rest of the corporation.
2002 spiral.
In 2002, BBC Parliament underwent several changes. On the DTT platform, the channel's bandwidth was increased enough to allow a quarter-screen picture to be broadcast, with the remaining screen space taken up by commentary of the channel. The channel's output was also upgraded to 16:9 widescreen, one of the last BBC channels to do so. As a result of these changes, a stronger presentational package was adopted. Created in house by BBC News, the new ident would represent the "inner workings of Parliament", through the depiction of the mechanisms of Big Ben and the design inspirations of the Palace of Westminster.
The new ident featured a rotating coil of metal, with teeth cut into the outside edges of the spiralled coil. Pulsating rings would also be emitted from the coil as it spun, reflecting the BBC News style at the time, and the camera angle would often change position throughout the ident. The ident ended with the one-line BBC Parliament logo appearing in the centre of the screen. The ident itself was a filmed model, built and shot at Pirate by Martin Godward and lit by Tony May with post production by SVC. The soundtrack was by David Lowe and was similar to the BBC News theme of the time and reflected the similarity between the channel and the BBC News service.
The channel DOG survived in the same one-line form and in the same location in the top left of the screen. The channel graphics were advanced upon the re-launch from the original designs. The astons featured a red box crossing the screen with a translucent shaded area below, with both intersected by a vertical box on the left-hand side of the screen and running between both regions. The red box at the top would contain the motion being passed or the event itself, such as Prime Ministers Question Time, while the area below would feature information about the act or the session or the names of the people speaking; in these cases their name would feature in bold with their party and seat below. The cross section box would feature the date of the debate on the top line in an orange box with a pictorial reference below, usually the logo, to represent the house, assembly or parliament being broadcast. In the case of an outside address, such as to a press conference or another country's parliament, then a pictorial camera was used instead.
Channel promotions originally featured the generic BBC style featuring the BBC Parliament one-line logo present during the whole promotion, with further information appearing centred at the end. However, after some time the promotional style changed to a box style, where the 'Parliament' name was shown below a BBC logo and contained inside a box of a deep red colour to match BBC News 24 at the time. This box would remain present throughout the promotion in the bottom left corner of the screen. Programme menus were frequently used and originally consisted with the same styling as previous, with the menu moved towards the centre of the screen. However, this was later changed so that the programme names were located in a shaded box and that the date was made smaller and located in a red bar running across the upper screen. Often, pictures representing the titles of the programmes were used as inserts against the spiral background as 'Next' graphics. The channel font was originally Gill Sans, as used previously, however some elements of the channel began to use different fonts, such as Arial - mainly for aston graphics and menus; the logo and promotion font remained Gill Sans.
2009 Cogs.
In April 2009, BBC Parliament was rebranded and brought up to date and more into line with BBC News output. The new design was by Lambie-Nairn and the music was by David Lowe.
The new ident featured the idea of cogs, with numerous cogs inside each other turning and twisting as viewed on screen from different angles; the centre cog is solid and features an 'X' cut out of the centre. The whole sequence represented the inner workings of Parliament itself, with the centre cog used to mark an individual vote at the centre of government. The cogs were shown on a white background, with red elements integrated into the sequence with the cogs being lit red at the end of the sequence. The cogs would form together to the right of the screen at the end of the sequence, mirroring the location of the globe in the 2008 BBC News sequences. The channel name would appear in the final seconds of the ident with the name 'Parliament' written below a BBC logo in grey and bold; the logo was aligned left, rather than centred, and was placed in the middle left of the screen. Also present throughout the idents were geographical place names linked together by thin grey lines; this reflects back to the BBC News look who use place names in their opening titles but also to BBC Parliament's field of operation as all place names are locations of government the channel covers: Westminster, Holyrood, Cardiff Bay, Stormont, Strasbourg and Brussels.
The channel aston and DOG changed significantly with the latest re-launch, with a new style similar to the BBC News Channel in use. The BBC Parliament DOG retained its one-line format, however the 'Parliament' name was made bold, and was moved to the bottom of the screen; located to the left of the screen in a red box, it formed an integral part of the aston graphics. To the right of this box another black box of the same height contained the date of the debate. A grey box then extended to the right of the screen in which the debating location was placed, such as House of Commons, in upper case. Above this lower bar, a translucent white box would contain information about the debate and the members speaking, with the members name in bold and their party affiliation and seat listed below. On top of this, a red translucent box, aligned to the left of the white box, would name the debate or event in progress. In the event of a live broadcast, a red box will be displayed in the top left corner of the screen containing 'Live'. In some instances, a grey box containing 'Recorded' is displayed in cases of old debated being broadcast.
Channel menus would take place over the cog graphic, with the cog rotating in the centre of the screen, while the menu is displayed on the right side of the screen against a shaded white area with the BBC Parliament DOG in the red box present at the bottom. This centralised cog graphic would also link into live coverage of a debate, with the name appearing in the centre of the cog and the BBC Parliament logo present at the centre bottom of the screen without the red box surround. The look also reasserted Gill Sans as the only typeface used on the channel, in line with the internal BBC corporate style and that of BBC News. This package last appeared on 10 October 2016 prior to the launch of the current look.
2016 "Cogs and colours".
On 10 October 2016, the BBC News red and gears look gave way to a new on-screen imaging package with colourful idents and softer, orchestral music led by an oboe soloist with plucked strings, percussion and elements of a chorus. Here, the cogs from the previous look are re-imagined as free-wheeling, less-clock-like, spinning on an invisible axis in a layered formation, overlaid on blocks of translucent colours, flipping over with a mix of 3-D cog wheels and line-drawn cogs. The main ident between shows is now silent, with the cogs flipping over and spinning not unlike the former ITV Rediffusion logo. The effect is less mechanical and less bombastic than the previous ident, more pastel-shaded and includes images of the parliaments of the UK home nations and the EU parliament. The transition to the new look was marked by a presenter sitting in the editing suite throwing a fader, to reveal the new look which was played out in full. The BBC Parliament identity is different from the previous one, with upper and lower case lettering and a softer, grey look similar to the main BBC News. The transition to the new package did not coincide with the beginning of the British conference season, which meant that coverage of the SDP Conference of October 2016 had the visuals of the 2009 look overlaid with the new 2016 music.
The on-screen graphics for live and recorded sittings remained unchanged, similar to the BBC News channel look.
BBC World News.
1995 Flags.
The channel originally launched as BBC World on 16 January 1995 at 19:00 GMT. The new channel was formed following the split of BBC World Service Television into the international news and current affairs channel BBC World and the entertainment channel BBC Prime.
The channel's launch identity was designed by Lambie-Nairn and consisted of various elements of flags and of fictitious flags themselves. The ident consisted of various elements of flag designs, such as coloured stars, crosses, parallel lines and rectangular coloured flag segments moving off the screen in all directions to reveal the BBC World logo against a blue flag background. The BBC World logo at the time featured the BBC logo over the channel name 'World' written in the typeface Twentieth Century, the typeface used by the entire channel at the time. To give the impression of the logo floating atop the flag, a shadow of the logo was added below. The music featured an orchestral score heavy on Brass instruments. The introduction of the news programmes themselves also consisted of similar elements, with the flag segments seen moving across the globe before forming behind the channel name in a translucent rectangle with the BBC logo on top. This was deliberately intended to give the titles and the ident a similar look and to link between them.
The channel logo featured as the channel Digital on-screen graphic (DOG) also, which was located in the top left corner of the screen and identified the channel. The channel didn't use any astons, or graphics present at the bottom of the screen to provide information, that were permanently placed there. Graphics consisted solely of a bar running across the bottom of the page which was multi-coloured to match the flag designs, but muted by a translucent finish to appear more appropriate for the bulletins.
The channel promotional style was consistent with the remainder of BBC Television output, consisting of a sidebar that appeared at the end of the ident containing an image from the BBC World flags ident. The programme name would appear at the bottom of the screen, aligned left, while the programme times were placed in the sidebar to reflect different world areas. Various other channel continuity elements also used the flags, such as 'Coming up' and 'Next' graphics, as well as break bumpers and break fillers. In addition, some promotion stings were also used which revolved around people in a colour filtered environment before the promotion ran.
The studio set at the time featured an extended computer generated set used by the BBC domestic news at the time. This featured a desk which was extended by computer graphics in wide shots of the studio, and featured an artificial studio environment.
1997 Flags.
To coincide with the launch of BBC News 24 and the BBC's corporate rebrand as a whole, BBC World refreshed its identity. Designed by Lambie-Nairn, the new look kept the flags theme but updated it and brought it into line with BBC News 24. The ident transitioned between different fictitious flag designs against an orchestral soundtrack, composed and produced by Joe Glasman of HUM music production, as part of a suite of music for BBC World, which was different from BBC News 24 and slightly more subdued than the previous look.
BBC World's logo now followed the corporation logo guidelines, which consisted of the new BBC logo followed by the channel name 'World' in upper case to the right of the logo. This same logo was also used as the channel DOG, located in the top left corner of the screen throughout all programming. The channel uses few on screen graphics and astons for news coverage; this is partly a result of the differing time zones across the broadcast area so the use of a clock is inaccurate and impractical. When introducing people, or for a summary of the headlines, a single box was used which features one of the flag designs in the far right of the box and a background of a combined blue design.
The channel promotions for upcoming programmes followed the same guidelines as the rest of the television network and consisted of the BBC World logo located at the bottom of the screen throughout the promotion, with information being added on top of the logo at the end. The channel font was changed to Gill Sans, also used by the BBC as a whole. Also used between breaks in programmes, when adverts were not inserted by some operators, were break fillers consisting a white flag background and a stripe across the top in a bright colour containing the information topic.
Some bulletins on the channel were also simulcast on BBC News 24, often during the overnight GMT slot, and in these cases the bulletin used a generic 'BBC News' one-line logo placed in the centre of the screen. In these cases, the idents played with the BBC News 24 music version and were presented from the BBC News 24 studio.
2000 Cream and Red look.
On 3 April 2000, BBC World was given a look that was based upon those being used by the rest of the BBC domestic news bulletins. Lambie-Nairn designed the new look which differentiated between the ident used on the channel and the titles for the bulletins.
The ident used prior to programmes on the channel featured a rotating ellipse shape against a rotating globe background upon which the BBC World logo appears on top in white. In contrast, the news bulletins used the same cream and red colour scheme used by the rest of the BBC News network, with the exception of "Breakfast News". These titles features pulsating rings moving over a small cream-and-red spinning globe in the centre of the screen from various angles while place names of various cities appear around. The globe finished inside two intersecting red ellipses, before the BBC News one-line logo appears in the centre of the screen and the BBC World one-line logo appears at the bottom of the screen. The music was composed by David Lowe and was used on the rest of the BBC News network.
The channel used a DOG in the form of the channel logo in the top left of the screen. Beneath this, a red box with 'Live' inside would be added in the event of a live broadcast on the station. The aston graphics would only appear with certain information and featured a translucent purple colour box, extending from the right to the centre left of the screen, while the headline strip was a solid cream colour with bold red text.
Promotions for the channel still used the BBC World one-line logo at the centre bottom of the screen throughout. The break filler used the same background as the ident as well as a similar music remix to the ident itself. Each item was separated by a line of scrolling letters moving right across the screen, leaving behind the name of the upcoming strand such as Business, Coming up, Sport, before the scrolling letters move across the screen again removing the small word. The strand name would be placed in the top right corner of the screen with the information centred in the screen. Gill Sans was retained as the font on the channel.
In addition to the filler, a countdown was used by the channel for the first time. The countdown included a rotating globe in the left side of the screen, while a large italic numeral counted down the seconds until the hour. The soundtrack accompanied the seconds and was a remixed variation of the news theme. As the countdown reached five seconds, a beep accompanied each second in a similar fashion to the BBC Pips; this was used as an inspiration to the news theme.
On the occasions that BBC World simulcast with BBC News 24, a generic BBC News graphic, used for the generic bulletins on BBC Television, was used instead of the normal news graphic.
To accompany the new look, BBC World swapped sets with BBC News 24, so that BBC World now used thusemall newsroom that had been used previously by News 24. The set featured the front desk with two flat screen televisions to either side of the desk, mounted on pillars. Immediately behind the presenters and only separated by a railing was the live newsroom set, complete with televisions embedded in the back wall and given a red makeover.
2003 Orange clamshell.
Introduced on 8 December 2003, a new in house designed look was launched on BBC World. This new look brought back a similarity between the idents of the channel and the news graphics. The news ident was exactly the same as on BBC News 24 and consisted of a globe surrounded by orange segments and the movement of a stream containing the main headline around the globe, before the globe gets smaller and moves into the familiar 'clamshell' design. At the end, the BBC World one-line logo is added at the bottom of the screen, while a larger BBC News one-line logo is overlaid onto the globe in the centre of the screen. The ident consists of the globe up close surrounded on all sides by the orange segments and "BBC News" ribbons; the globe then shrinks back into the animated clamshell design before a large BBC World logo is added at the bottom of the screen along with the station tag line 'Putting News First'.
The channel DOG for the look was relocated during news bulletins to a two-line logo, set within a red box with a spinning globe in the background. At the bottom of this box, the BBC World news URL was added. Astons consisted of a black box extending from the bottom of the channel logo box to the right of the screen with a red ending to the box. In the event of breaking news, a thick red box would be added above this other aston, containing the headline story. Later on, a ticker was added below the box in white with the news theme box in black and with the headlines separated by the BBC logo.
The break filler was again changed with the look; an area to the left of the screen was devoted to news headlines or promotions for upcoming programmes while to the right small boxes contained promotions for online information and the latest stock market figures. The bottom of the screen showcased the next two programmes and their air times, while the background featured panning shots over orange global continents. As seen on the domestic channel, BBC World began to change their font, making greater use of the Arial font with the Gill Sans logo.
A new countdown was also introduced with the look, featuring an orange globe rotating while the orange logo segments rise and fall around the globe, with the countdown seconds viewed on the globe itself as shaded numerals. After five seconds, the numerals disappear from the globe as the globe shrinks back into the BBC World ident, providing a seamless link. The music used is another variation of David Lowe's theme, however with more exotic themes inserted into the music and a greater emphasis on the second markers also. The set for the look was retained unchanged until 2006.
In 2005, the countdown was changed to a new sequence that showed the elements involved in bringing news to the air. These mainly involves footage, specially shot on DV for a gritty texture, of BBC journalists, cameramen and production staff around the UK and the world collecting news, while red beams are seen around the sky as that news is being broadcast. The new sequences were envisioned by Mark Chaudoir of BBC Broadcast. A red translucent box extended from the right hand side of the screen containing the countdown clock featuring the seconds and marking frame (PAL timecode).
In 2006, the graphics were updated to a glossier news ident package, and the colours were updated so the orange was replaced with red. In addition, the ending of the news ident was amended so that a large BBC World one-line logo was placed in the middle of the screen, while a small BBC News logo was placed at the bottom of the screen. The astons remained the same for the look however. The biggest changes were to the set, which now featured a large oval desk with one screen behind and to the left and separated from the newsroom by a frosted glass railing.
2007 Clamshell.
In 2007, a new play out system for BBC World and BBC News 24 was installed and as a result the graphics were again altered. 3D glossy graphics were now used to depict the whole globe package.
The news ident consisted of the clamshell look as before, but began with close up globe shots over Europe, South Asia and Australia as news light beams traverse round the globe, before pulling out to see the globe spinning rapidly into place within the clamshell graphic and the BBC World one-line logo appearing at the bottom of the screen. Meanwhile, the generic channel ident consisted of a close-up of the globe, before panning left until the globe is located on the right side of the screen. A large BBC World one-line logo and tagline follow on the left side of the screen.
The astons were changed as part of the new look, with the BBC World logo returned to one-line form and placed in a red box at the very bottom of the screen within the 4:3 safe zone, with the box extending to the left of the screen. The remainder of the bottom of the screen is taken up by a white news ticker, separated by BBC logos. Above this, shaded black areas are used for information with glossy dark red boxes added on top in the case of some programmes and breaking news.
Channel promotions now featured a BBC World box logo in dark red that was slightly elongated to either side so that the box was wider than on other BBC channels. This box, alongside the station tagline below, could be seen in the bottom right corner of the screen throughout. The promotion ended with no particular style and instead used the programme title sequence in place of the programme name. The break filler originally retained the style as used previously with updated channel logos, however it was changed around 2008 to a new style. This new layout featured two boxes adjacent to each other extending of each side of the screen. Where they meet in the centre left of the screen, the corners of the boxes curve with a slight gap between the two. The left hand box contains the topic of the information, e.g. News or Markets, placed sideways towards the right, while the right contains the information itself. Promotions included in the break filler took up the whole of the screen and shrank back as a smaller screen into a widened left hand box. The BBC World one-line logo in these occasions was located in the left hand corner of the screen. The background to each item varied and featured an image faded into a red toned background in the top and right sides.
The countdown remained the same following the new look with no logo present on screen and only appeared when the final red bar engulfed the screen at the end of the countdown. The studio set also remained the same, albeit with slight colour modifications to make the reds deeper.
2008 White look.
As part of the April 2008 changes that rebranded BBC News 24 as the BBC News channel, BBC World was renamed BBC World News. This gave the channel a closer link with the main news bulletins of the same name and firmly focused the channel on that aspect of broadcasting. The new look matched the domestic BBC News output while also mirroring the looks soon to be applied to the BBC Persian and BBC Arabic television stations.
The titles featured exactly the same on screen look as BBC News channel and featured an abstract globe of red pulsating rings against a white background with interconnected place names. The change of name also resulted in a new box logo for BBC World News; this featured the 'World News' name on a separate line for each word below the BBC logo in a red box, matching the colour of the BBC News department logo as a whole, and of the same size as the other BBC box logos used domestically. The new logo was placed in the bottom corner on the ident. For junctions into non news programming, an ident featuring the globe and box logo appearing in the centre of the screen as each pulsating ring pass over it, was used. The David Lowe music was retained, sharing a similarity with the domestic channel while appealing to more multicultural audiences.
The channel DOG and aston was also changed in line with the BBC News channel, consisting of a one-line BBC World News logo inside a red box in the bottom left of the screen, within the 4:3 safe zone, with a grey news ticker from right of the logo through to the right of the screen. On top of both, a large white box would appear with headlines and additional information, including the name of the reporter or interview subject. In the case of breaking news, this large box would become red, and a smaller white box with bold red text would be added to the top left of this box declaring the news as such. The ticker would also become red if it was scrolling through breaking news stories. In the case of a live broadcast, the red 'Live' box would be added to the top left of the screen, occasionally accompanied by the local time in an adjacent black box.
In addition to the generic news bulletins, other programmes with specific audiences were launched such as "GMT", "The Hub" and "World News Today" which broadcast news live but to a different audience. The programmes all had distinct opening titles featuring the BBC World News box logo in the bottom left of the screen, mirroring the main titles for the bulletins. While these live programmes were on air, a box containing the programme name in bold white and a background based from the programmes' opening titles, was placed above the BBC World News logo in the aston design. Also, the usual astons for headlines and information were suspended with breaking news appearing in the ticker only.
Promotions for the channel usually consisted of the BBC World News logo located in the bottom right of the screen throughout. Break fillers retained the existing design with a few modifications; the unique background image was moved from the very background to inside the boxes with the information and was replaced in the screen background by a white and light grey version of the pulsating rings globe. The BBC World News box logo is also present in the bottom right of the screen throughout. Along with the rest of the BBC News organisation, the channel adopted the font Gill Sans for all on and off screen use.
The channel still used the countdown as before, but the red box containing the numerals was removed and the numerals were changed to type Gill Sans. In contrast with the BBC News channel, BBC World News doesn't feature the channel logo until the end of the promotion, when the channel ident and sting is linked into instead.
Following the repositioning of the domestic BBC News channel, the channel moved from its newsroom set to N6 at BBC Television Centre, freeing the way for BBC World News to move into the old newsroom in N8. The change occurred shortly after the rebrand, allowing time for N8 to be altered. The new set was rectangular and featured a desk with a frosted glass screen behind, imprinted with the BBC News abstract globe design and separating the newsroom, and had a large screen taking up the entire left side of the studio. This studio was primarily used, however another set was used, featuring a circular set with a small desk and a frosted glass screen behind. This screen displayed coverage of other channels in the newsroom, but due to the frosted glass was indistinguishable.
2013 White look.
Following BBC News' move to Broadcasting House, the on-screen presentation of BBC World News was refreshed in January 2013. The main titles remained similar after production moved to HD whilst the channel's astons were altered and the typeface was changed from Gill Sans to Helvetica. The BBC World News box logo is shown throughout the countdown, similar to BBC News. In 2014, the countdown has been redesigned again, with the BBC World News box logo showing its slogan, "Live the Story," at the bottom left of the screen.
In 2019, alongside the BBC News channel, World News received a Reith Refresh. The changes were almost identical, apart from the missing clock on this channel. The "Live the Story" slogan was removed from the countdown.


Maurice Rossel

Maurice Rossel ( – after 1997) was a Swiss doctor and International Committee of the Red Cross (ICRC) official during the Holocaust. He is best known for visiting Theresienstadt concentration camp on 23 June 1944; he erroneously reported that Theresienstadt was the final destination for Jewish deportees and that their lives were "almost normal". His report, which is considered "emblematic of the failure of the ICRC" during the Holocaust, undermined the credibility of the more accurate Vrba-Wetzler Report and misled the ICRC about the Final Solution. Rossel later visited Auschwitz concentration camp. In 1979, he was interviewed by Claude Lanzmann; based on this footage, the 1997 film "A Visitor from the Living" was produced.
Early life.
Information on Rossel's biography is limited. He was born in . He was born in Tramelan, a village in the French speaking part of the Canton of Bern. Until his retirement in the early 1980 decade he was a very appreciated generalist in his home village. His background was typical of International Committee of the Red Cross (ICRC) representatives at the time, as he was a young man, a Swiss Army officer, a doctor, and a Protestant. He later said that his main motivation to join the Red Cross was to avoid a posting to the Swiss border guard.
ICRC career.
Between 12 April 1944 and 1 January 1945, Rossel was based in Berlin, a posting he obtained because of his fluent German. During this period, Rossel participated in seventeen missions, each time visiting several prisoner of war camps. Four of these missions were to camps in the Sudetenland, which, along with his good relationship with Dr. Roland Marti, the head of the Berlin Red Cross delegation, may have influenced his selection for the Theresienstadt visit, despite his inexperience. According to the United States Holocaust Memorial Museum, his visits to camps in Upper Silesia put him into contact with prisoners who were aware of the gassing of prisoners at Auschwitz concentration camp, but Rossel later said that he had no knowledge of that.
Theresienstadt visit.
In 1943, the ICRC came under increasing pressure from Jewish organizations and the Czechoslovak government-in-exile to intervene in favor of Jews, in light of accumulating reports of the extermination of Jews by the Nazi regime. In an attempt to preserve its credibility and preeminence as a humanitarian organization, the ICRC requested to visit Theresienstadt concentration camp in November 1943. The visit was also part of a larger program of verification that packages sent by the ICRC to concentration camp prisoners were not being diverted by the German military. It is unclear to what extent the ICRC valued making an accurate report on Theresienstadt, given that it had access to independent information confirming that prisoners were transported to Auschwitz and murdered there. The Danish government also pressured the Nazis to allow a visit, because of the Danish Jews who had been deported there in late 1943. Theresienstadt, a hybrid concentration camp and ghetto, was used as a temporary holding camp for Jews whose final destination was extermination camps, especially Auschwitz. During the camp's existence, 33,000 prisoners died of starvation and illness. The camp had been prepared for the visit by deporting 7,500 of its inhabitants to Auschwitz in order to ease overcrowding. Other prisoners had been forced to work on construction projects to superficially "beautify" the ghetto, including changing all the street names and building a fake school and other sham institutions that never operated. On the day of the visit, war veterans and other disabled Jews were forbidden from going out onto the streets.
On 22 June 1944, Rossel left Berlin with Eigil Juel Hennigsen, head of the Danish Ministry of Health, and Frants Hvass, director general of the Danish Foreign Ministry. The foreigners were chaperoned by several senior "Schutzstaffel" (SS) officials, most of them dressed in civilian clothes. The next day, they spent eight hours inside Theresienstadt, led on a predetermined path. The visitors were only allowed to speak with Danish Jews and selected representatives, including Paul Eppstein, head of the Council of Elders. Driven in a limousine by an SS officer posing as his driver, Eppstein was forced to describe Theresienstadt as "a normal country town" of which he was "mayor", and to give the visitors fabricated statistical data on the camp. Rossel and the other representatives accepted the SS restrictions and made no attempt to investigate further, for example by investigating the stables, basements, and other unsuitable dwellings where most Theresienstadt prisoners were forced to live, or by asking questions of detainees. Signs that Theresienstadt was not what the SS wanted to make it seem included a bruise underneath Eppstein's eye from when he had been beaten by Karl Rahm, the commandant of the camp, a few days earlier. During a brief opportunity to speak with Rossel alone, Eppstein tried to tip him off about the true situation. When asked about the ultimate fate of the prisoners, Eppstein said that there was "no way out" for them. After the visit, the three foreigners were invited to dine with the Higher SS and Police Leader for the Protectorate of Bohemia and Moravia, Karl Hermann Frank.
Rossel's report.
All three visitors wrote reports, although as a condition of the visit, agreed not to distribute them. While the Hennigsen and Hvass reports "did not uncover the Nazi lies", they expressed sympathy for the Jews. Rossel's report was noted for its uncritical acceptance of Nazi propaganda. He stated that Jews were not deported from Theresienstadt; in fact, 68,000 people had already been deported and most murdered. Rossel also said that the camp was a town whose inhabitants had "the freedom to organise their administration as they see fit". Rossel claimed that the residents were adequately nourished, and even better fed than non-Jews in the Protectorate. He wrote that the inhabitants were fashionably dressed and that their health was "carefully looked after"; life in the "town" was "almost normal". It has been noted that he described the inhabitants of the ghetto as "Israelites" () instead of "Jews" (). Echoing Nazi propaganda which depicted a Judeo-Bolshevist conspiracy, Rossel described the ghetto as a "communist society" and Eppstein as a "Little Stalin". At the end of his report, Rossel casts doubt on the Final Solution:
It is unclear what Rossel's true impressions of Theresienstadt were; he said that he was expected to file a factual report, not speculate about what the Nazis might be hiding from him. Some authors have suggested that Rossel knew that the tour of Theresienstadt was a sham, but others disagree. Rossel took 36 photographs during his visit, attaching sixteen to his report. All but one were taken outside, and most portrayed festive scenes staged by the SS, such as the picture of children playing (above). It appears that Rossel was not allowed to photograph hospitals, sanitary installations, or work sites. According to Swiss historians Sébastien Farré and Yan Schubert, the photographs were viewed by the ICRC as neutral statements of fact, even though they were in fact highly staged, not accurately representing the daily life of Theresienstadt prisoners. The ICRC did not release the report from its archives until 1992.
Auschwitz visit.
According to Rossel, it was forbidden both by the Nazi regime and the Red Cross to visit Auschwitz. Nevertheless, Rossel became the first Swiss person to visit the camp and spoke to the commandant of Auschwitz I. According to Czech historian Miroslav Kárný, the visit was on 29 September 1944, when more than 1,000 Theresienstadt prisoners were gassed and cremated at the nearby Auschwitz II-Birkenau. Rossel said that he did not notice any sign of mass murder. The ICRC states that the visit took place two days earlier, on 27 September. He later said that he did not see much of the camp, but did observe emaciated prisoners ("Muselmänner") whose appearance greatly shocked him.
Impact and assessment.
Rossel's report is considered so important to the study of Theresienstadt and the Holocaust in the Czech lands that the full text was published in the first edition of "Terezínské studie a dokumenty", an academic journal sponsored by the Terezín Initiative.
According to Kárný, Rossel's report, particularly his insistence that Jews were not deported from Theresienstadt, had the effect of diminishing the credibility of the Vrba-Wetzler Report. Written by two Auschwitz escapees, Rudolf Vrba and Alfred Wetzler, the latter report accurately described the fate of Jews deported from Theresienstadt to Auschwitz—most were murdered. Rossel's statement that Jews were not deported from Theresienstadt caused the ICRC to cancel a planned visit to the Theresienstadt family camp at Auschwitz II-Birkenau, to which Heinrich Himmler had already given his permission. Kárný and Israeli historian Otto Dov Kulka draw a direct connection between the report and the liquidation of the family camp in July, in which 6,500 people were murdered. Rossel sent his photographs to , an official in the Ministry of Foreign Affairs. In a press conference, von Thadden showed copies of the photographs in an attempt to disprove reports on the Holocaust.
The Red Cross' response to the Holocaust has been the subject of significant controversy and criticism. The choice of the young and inexperienced Rossel for the Theresienstadt visit has been interpreted as indicative of his organization's indifference to the "Jewish problem". His report has been described as "emblematic of the failure of the ICRC" to advocate for Jews during the Holocaust. Survivors accused the Red Cross representatives of seeing only what they wanted to see. One wrote that "a serious commission which really wanted to investigate our living conditions... would have gone independently into the stables and attics". However, an April 1945 report on Theresienstadt by a Red Cross delegation led by Otto Lehner was described as "even more unconscionable".
"A Visitor from the Living".
In 1979, Claude Lanzmann interviewed Rossel as part of his Shoah documentary project. Instead of asking Rossel's permission and scheduling an interview, Lanzmann showed up on Rossel's doorstep with a film crew, intending to "[tease] out the structure of self-deception that Rossel has constructed in order to be able to live with himself". In the interview, Rossel discusses both the Theresienstadt and Auschwitz visits. He blames the inaccuracy of his report on the Jews, who did not attempt to pass notes or covertly advise him that the visit was a sham. Rossel states that he therefore had no choice but to report what the SS allowed him to see.
Lanzmann provides facts about the camp and the deceptive tactics used by the Germans, stating that the Jews were unable to tell the truth because they lived in fear of deportation to extermination camps. Despite being informed about the true nature of the camp, Rossel did not express regret or embarrassment over the report. When asked if he stood behind his findings, Rossel answered that he did. Pressed by Lanzmann, Rossel stated that he remembered the color of the Auschwitz commandant's eyes (blue) but nothing about Paul Eppstein. Professor Brad Prager identified a sense of disconnection and othering between Rossel and the Jewish prisoners, which may have led to Rossel's inability to notice nonverbal cues that belied the SS' deception. In 1997, Lanzmann contacted Rossel again for permission to use the interview in a documentary about the Red Cross visit, titled "A Visitor from the Living" (). Rossel expressed concern that the interview portrayed him in a negative light.
Later life.
After World War II, Rossel left the Red Cross and tried to bury his wartime memories, not even telling his own children what he had seen. Later in his life, he was reported to spend half of each year alone in the mountains. In 1997, he was reported to be in poor health due to palsy.


National Press Club (Australia)

The National Press Club is an association of primarily news journalists, but also includes academics, business people and members of the public service, and is based in Canberra, Australia.
History.
The National Press Club was founded in 1963 as the National Press Luncheon Club by a few journalists with the backing of the Canberra Press Gallery. The founding president was Tony Eggleton.
It was renamed the National Press Club in 1968, and established official premises in 1976.
Since its inception, the club's reputation has steadily grown, attracting parliamentarians, scientists, diplomats, sporting personalities and other prominent figures to address its weekly luncheons. Guests have included heads of government and ministers of Australia and other countries, including Richard Nixon, Margaret Thatcher and Indira Gandhi.
Activities and format.
, the National Press Club address is a weekly formal speech of approximately one hour, which includes time for questions from members of the press. The president introduces the speaker and moderates the questions. The addresses are broadcast on the ABC Network at 12:30 pm.
2007 federal election leaders' debate controversy.
On 21 October 2007 a debate between Prime Minister John Howard and Opposition Leader Kevin Rudd was hosted by the National Press Club from the Great Hall of Parliament in Canberra. The debate was televised live by the Australian Broadcasting Corporation, Channel Nine and Sky News. A controversial decision was taken during the debate to interrupt the provision of the live transmission signal to the Channel Nine network because of the inclusion by Channel Nine within its broadcast picture of a real-time line chart of the aggregate studio audience reaction to the debate.
This type of chart is referred to as the 'Worm', after the form in which it is rendered and an approximately 'worm-like' movement of the display within the area of the screen in which it appears. The decision by the National Press Club to interrupt the provision of the live transmission signal to the Channel Nine network has been heavily criticised as contrary to the principles of free speech that are a part of the journalistic tradition.
On 22 October 2007, Greens Senator Bob Brown called for a Senate inquiry into the circumstances in which the transmission signal had been cut.


Naomi Oreskes

Naomi Oreskes (born November 25, 1958) is an American historian of science. She became Professor of the History of Science and Affiliated Professor of Earth and Planetary Sciences at Harvard University in 2013, after 15 years as Professor of History and Science Studies at the University of California, San Diego. She has worked on studies of geophysics, environmental issues such as global warming, and the history of science. In 2010, Oreskes co-authored "Merchants of Doubt" which identified some parallels between the climate change debate and earlier public controversies, notably the tobacco industry's campaign to obscure the link between smoking and serious disease.
Background.
Oreskes is the daughter of Susan Eileen (née Nagin), a teacher, and Irwin Oreskes, a professor of medical laboratory sciences and former dean of the School of Health Sciences at Hunter College in New York. She has three siblings: Michael Oreskes, a journalist; Daniel Oreskes, an actor; and Rebecca Oreskes, a writer and former U.S. Forest Service ranger.
She has worked as a consultant for the United States Environmental Protection Agency and US National Academy of Sciences, and has also taught at Dartmouth, NYU, UCSD and Harvard. She is the author of or has contributed to a number of essays and technical reports in economic geology and history of science in addition to several books.
Since 2017, Oreskes has been listed on the Board of Directors of the National Center for Science Education.
Oreskes is on the Board of Directors of the Climate Science Legal Defense Fund.
Academic career.
Oreskes' academic career started in geology, then broadened into history and philosophy of science. Her work was concerned with scientific methods, model validation, consensus, dissent, as in 2 books on the often-misunderstood history of continental drift and plate tectonics. She later focused on climate change science and studied the doubt-creation industry opposing it.
She received her Bachelor of Science in mining geology from the Royal School of Mines of Imperial College, University of London in 1981. She then worked as a mining geologist for WMC (Western Mining Company) in outback South Australia, based in Adelaide, SA.
Starting in 1984, she returned to academe as a research assistant in the Geology Department and as a teaching assistant in the departments of Geology, Philosophy and Applied Earth Sciences at Stanford University. She received her PhD degree in the Graduate Special Program in Geological Research and History of Science at Stanford in 1990.
The 1992 Hitzman-Oreskes-Einaudi paper on Cu-U-Au-REE ("Olympic Dam") deposits has been cited more than 700 times, according to Google Scholar.
She received a National Science Foundation's Young Investigator Award in 1994.
During 1991-1996 she was Assistant Professor of Earth Sciences and Adjunct Asst. Professor of History Dartmouth College, Hanover, New Hampshire. She spent 1996-1998 as Associate Professor, History and Philosophy of Science, Gallatin School of Individualized Study, New York University.
As an example of studying scientific methods, she wrote on model validation in the Earth sciences, cited more than 3200 times according to Google Scholar.
She moved to University of California, San Diego in 1998 as Associate Professor, Department of History and Program in Science Studies, then as Professor in that department 2005–2013, as well as Adjunct Professor of Geosciences (from 2007). She was named Provost of the Sixth College 2008–2011.
In 1999 she participated as a consultant to the US Nuclear Waste Technical Review Board for developing a repository safety strategy for the Yucca Mountain project, with special attention to model validation.
Since 2013, Oreskes has served as a Professor at Harvard University in the Department of the History of Science and Department of Earth and Planetary Sciences (by courtesy).
Science and society essay.
Oreskes wrote an essay "The Scientific Consensus on Climate Change", published in the science and society section of the journal "Science" in December 2004.
In the essay she reported an analysis of "928 abstracts, published in refereed scientific journals between 1993 and 2003 and published in the ISI database with the keywords 'global climate change'". The essay stated the analysis was to test the hypothesis that the drafting of reports and statements by societies such as the Intergovernmental Panel on Climate Change, American Association for the Advancement of Science and National Academy of Sciences might downplay legitimate dissenting opinions on anthropogenic climate change. After the analysis, she concluded that 75 percent of the examined abstracts either explicitly or implicitly backed the consensus view, while none directly dissented from it. The essay received a great deal of media attention from around the world and has been cited by many prominent persons such as Al Gore in the movie "An Inconvenient Truth".
In 2007, Oreskes expanded her analysis, stating that approximately 20 percent of abstracts explicitly endorsed the consensus on climate change that: "Earth's climate is being affected by human activities". In addition, 55 percent of abstracts "implicitly" endorsed the consensus by engaging in research to characterize the ongoing and/or future impact of climate change (50 percent of abstracts) or to mitigate predicted changes (5 percent). The remaining 25 percent focused on either paleoclimate (10%) or developing measurement techniques (15%); Oreskes did not classify these as taking a position on contemporary global climate change.
"Merchants of Doubt".
"Merchants of Doubt" is a 2010 book by Naomi Oreskes and Erik M. Conway. Oreskes and Conway, both American historians of science, identify some remarkable parallels between the climate change debate and earlier controversies over tobacco smoking, acid rain, and the hole in the ozone layer. They argue that spreading doubt and confusion was the basic strategy of those opposing action in each case. In particular, Fred Seitz, Fred Singer, and a few other contrarian scientists joined forces with conservative think tanks and private corporations to challenge the scientific consensus on many contemporary issues.
Most reviewers received it "enthusiastically". One reviewer said that "Merchants of Doubt" is exhaustively researched and documented and may be one of the most important books of 2010. Another reviewer saw the book as his choice for best science book of the year.
A film with the same name, inspired by the book, was released in 2015.
Controversies.
Oreskes' 2004 "Beyond the Ivory Tower" essay was challenged by British social anthropologist Benny Peiser, who eventually retracted his challenge, admitting he had only found one paper rejecting anthropogenic climate change, published by American Association of Petroleum Geologists (see also ).
Together with Erik Conway and Matthew Shindell, in 2008, Oreskes wrote the paper "From Chicken Little to Dr. Pangloss: William Nierenberg, Global Warming, and the Social Deconstruction of Scientific Knowledge" which argued that William Nierenberg as chairman reframed a National Academy of Sciences committee report on climate change in 1983 into economic terms to avoid action on the topic. Nierenberg died in 2000 but a rebuttal was published in 2010 in the same journal which said the paper contradicted the historical report and there was no evidence that any committee members disagreed with the report; the evidence was that the report reflected the consensus at the time.
In 2015 Oreskes published an opinion piece in "The Guardian", titled "There is a New Form of Climate Denialism to Look Out For – So Don't Celebrate Yet", in which she said scientists who call for a continued use of nuclear energy are renewable-energy "deniers" and "myth" makers. She cited an article by four prominent climate scientists (James Hansen, Ken Caldeira, Kerry Emanuel and Tom Wigley) saying nuclear power must be used to combat climate change. An opinion piece by Michael Specter in "The New Yorker" said she branded these four scientists as "climate deniers", and that her characterization was absurd, as they were among those who had done the most to push people to combat climate change.
In 2015 news outlets published stories about how ExxonMobil scientists had found evidence for climate change but the same company cast doubt on climate change, a conclusion echoed by Oreskes. The company criticized Oreskes and invited her and the public to read approximately 187 documents written between 1977 and 2014. She and Geoffrey Supran did so and supported the original stories in the peer-reviewed journal "Environmental Research Letters" in 2017, as reported by the "Washington Post".


Sadruddin Hashwani

Sadruddin Hashwani is a Pakistani billionaire at Rimpa Plaza business tycoon, billionaire and author. He is the founder and chairman of Hashoo Group, a conglomerate best known for Pearl-Continental Hotels & Resorts. As of 2020, Hashwani is the seventh-wealthiest Pakistani with an estimated net worth of billion dollars according to "Forbes".
Life.
Born in Karachi, British India into a Sindhi Khoja
Shia family. Hashwanis had migrated with the third Ismaili Imam Agha Khan from Persia in the early 1900s and settled in Lasbela, Balochistan. Hashwani studied at the University of Karachi and in 1960 founded the Hassan Ali Company along with his brother Mujtaba Trunkwala. By 1970s, it had become Pakistan's largest cotton trading company. However, the company was nationalised in 1973. In 1978, he launched the Holiday Inn hotel in Karachi in 1981 and later in Islamabad. Both of the hotels were converted into Marriott brand in 1990s. In 1985, Hashwani made a successful bid for the majority shares of Pakistan Services Limited, which then owned four Inter-Continental Hotels across Pakistan, the hotels were re-branded as Pearl-Continental Hotels.
In 2014, Hashwani published his best-selling memoir "Truth Always Prevails".
In May 2011 in a press conference, he expressed his support for Pakistan and its institutions, particularly military and expressed confidence in the abilities of Pakistanis.
In April 2016, he and his son, Murtaza Hashwani, were named in the Panama Papers.
Awards.
Sadruddin Hashwani has become the first businessman to receive Pakistan's top civilian award: Nishan-e-Imtiaz.
Nishan-e-Imtiaz (Order of Excellence) is the highest honour given to any civilian in Pakistan to recognise their achievements and outstanding services for the country. President of Pakistan Arif Alvi conferred the award upon Hashwani at the Pakistan National Day ceremony on March 23, 2019 at the President's House in Islamabad.
Net worth.
Hashwani is a billionaire. In 2008, he was named 5th-richest person in Pakistan with net worth of billion.