"Triple bond A triple bond in chemistry is a chemical bond between two atoms involving six bonding electrons instead of the usual two in a covalent single bond. The most common triple bond, that between two carbon atoms, can be found in alkynes. Other functional groups containing a triple bond are cyanides and isocyanides. Some diatomic molecules, such as dinitrogen and carbon monoxide, are also triple bonded. In skeletal formula the triple bond is drawn as three parallel lines (≡) between the two connected atoms. Triple bonds are stronger than the equivalent single bonds or double bonds, with a bond"
"by Nielsen Media Research. (*) From December 1951 to June 1952, these shows were 30 minutes, 10pm to 10:30pm ET <nowiki>*</nowiki>formerly ""Four Star Revue"" 1951–52 United States network television schedule The 1951–52 United States network television schedule began in September of 1951 and ended in the spring of 1952. This was the first television season of national network interconnection by coaxial cable and microwave, meaning programming could be transmitted live coast-to-coast (or in the case of filmed programs, distributed simultaneously across the country) if needed. On Sunday nights, NBC experimented with airing its new comedy-variety program ""Chesterfield Sound-off Time"" (featuring"
"production, increased leisure time, and additional disposable income. While only 0.5% of U.S. households had a television in 1946, 55.7% had one in 1954, and 90% by 1962. In Britain, there were 15,000 television households in 1947, 1.4 million in 1952, and 15.1 million by 1968. By the late 1960s and early 1970s, color television had come into wide use. In Britain, BBC1, BBC2 and ITV were regularly broadcasting in color by 1969. By the late 2000s, CRT display technology was largely supplanted worldwide by flat-panel displays such as LCD. Flat-panel television, especially LCD, has become the dominant form of"
"1952–53 United States network television schedule The 1952–53 United States network television schedule began in September of 1952 and ended in the spring of 1953. According to television historians Castleman and Podrazik (1982), fall of 1953 marked a change in television when the networks began filling their schedules with ""grade B"" material. The networks' ""need to fill so many hours of broadcasting each day put the networks and local programmers into the same position that Hollywood had been in years before with its theatrical features."" In between big-budget productions, the networks had to keep the public occupied. As the number"
"sets and the paucity of advertisers willing to spend money on them. UHF stations fell quickly behind the VHF stations. UHF station profits in 1953 reached a loss of $10,500,000. More stations left the air than opened. Sixty percent of industry losses were by UHF stations from 1953 to 1956. TV network affiliations were difficult to get in many locations; the UHF stations with major-network affiliation would often lose these affiliations in favor of any viable new VHF TV station that entered the same market. Of the 82 new UHF-TV stations in the United States broadcasting as of June 1954,"
"the Paramount Television Network was distributing five television series a week to over 40 affiliated television stations. Most Paramount stations were in the United States, but at least two were Canadian stations. During this era, American television programs were either broadcast live to local television stations via microwave relay and AT&T's coaxial cable service or were recorded on kinescope and delivered through the mail to local stations. The live broadcast method was expensive, but was preferred by executives at each of the four major U.S. television networks (ABC, NBC, CBS and DuMont); in 1954, DuMont alone spent $3 million on"
"Fourth television network In American television terminology, a fourth network is a reference to a fourth broadcast (over-the-air) television network, as opposed to the Big Three television networks that dominated U.S. television from the 1950s to the 1990s: ABC, CBS and NBC. When the U.S. television industry was in its infancy in the 1940s, there were four major full-time television networks that operated across the country: ABC, CBS, NBC and the DuMont Television Network. Never able to find solid financial ground, DuMont ceased broadcasting in August 1956. Many companies later began to operate television networks which aspired to compete against"
"number of TV channels being available to cover all of the United States. With 106 VHF stations broadcasting by the end of the 1940s in the U.S., interference arose due to overcrowding in densely populated areas such as the eastern mid-Atlantic states. In 1949, the Federal Communications Commission stopped accepting applications for new stations (a freeze that lasted until 1952) in order to address questions such as the allocation of additional channel frequencies, and also the selection of a color television. Allocating more of the VHF band (30 to 300 MHz) by moving existing radio communication users off seemed to"
"1953–54 United States network television schedule The 1953–54 United States network television schedule began in September of 1953 and ended in the spring of 1954. Despite hit filmed programs such as ""I Love Lucy"", both William S. Paley of CBS and David Sarnoff of NBC were said to be determined to keep most programming on their networks live. Filmed programs were said to be inferior to the spontaneous nature of live television. Thus, NBC and CBS continued to schedule many live programs, including two new 1953 fall NBC series ""The Dave Garroway Show"" and ""Bonino"". According to Brooks and Marsh"
"20% in 1953 to 9.0% by 1958, a drop that was only partially compensated for by field upgrades or the availability of UHF converters for separate purchase. By 1961, with 83 commercial UHF stations still on-air, the number of new TVs capable of receiving UHF as well as VHF channels had fallen to a record low of 5.5% with a small number of viable stations situated in localities where a lack of available VHF frequencies had forced early expansion onto UHF. While public educational television was available from 105 US stations by 1965, many of them in the already-crowded VHF"
"or to stations that wished to show a program at a time different than the network broadcast. Although the quality was less than desirable, television programs of all types from prestigious dramas to regular news shows were handled in this manner. NBC, CBS, and DuMont set up their main kinescope recording facilities in New York City, while ABC chose Chicago. By 1951, NBC and CBS were each shipping out some 1,000 16mm kinescope prints each week to their affiliates across the United States, and by 1955 that number had increased to 2,500 per week for CBS. By 1954 the television"
"were 40 million radios in the U.S., there were about 44,000 television sets (with probably 30,000 in the New York area). Regular network television broadcasts began on NBC on a three-station network linking New York with the Capital District and Philadelphia in 1944; on the DuMont Television Network in 1946, and on CBS and ABC in 1948. Following the rapid rise of television after the war, the Federal Communications Commission was flooded with applications for television station licenses. With more applications than available television channels, the FCC ordered a freeze on processing station applications in 1948 that remained in effect"
"apart due to inadequate TV receiver manufacture. Technical problems with the design of vacuum tubes for operation at high UHF frequencies were beginning to be addressed in 1954. These shortcomings led to ""UHF taboos"", which in effect limited each metropolitan area to only moderately more UHF stations than VHF ones, despite the much higher number of channels. When the Freeze ended in 1952, the television industry grew from the 108 pre-Freeze stations to more than 530 in 1960. These stations were established on the UHF band despite the fact it did not have near the coverage of their VHF competitors."
"local stations of the 1950s were limited by the range their signals could supposedly travel, the lack of UHF tuners in most TV sets and difficulties in finding advertisers and TV network affiliations. Of the 82 new UHF TV stations in the United States broadcasting as of June 1954, only 24 remained on the air a year later. Fourth-network operators such as the DuMont Television Network, forced to expand using UHF affiliates due to a lack of available VHF channels, were not viable and soon folded. The fraction of new TV receivers that were factory-equipped with all-channel tuners dropped from"
"these companies withdrew from television after the first few years. The FCC's ""freeze,"" as it was called, was supposed to last for six months. When it was lifted after four years in 1952, there were only four full-time television networks. The FCC would only license three local VHF stations in most U.S. television markets. A fourth station, the FCC ruled, would have to broadcast on the UHF band. Hundreds of new UHF stations began operations, but many of these stations quickly folded because television set manufacturers were not required to include a UHF tuner until 1964 as part of the"
"advances, the drop in television prices caused by mass production, increased leisure time, and additional disposable income. While only 0.5% of U.S. households had a television in 1946, 55.7% had one in 1954, and 90% by 1962. In Britain, there were 15,000 television households in 1947, 1.4 million in 1952, and 15.1 million by 1968. By the late 1960s and early 1970s, color television had come into wide use. In Britain, BBC1, BBC2 and ITV were regularly broadcasting in colour by 1969. During the first decade of the 21st century, CRT ""picture tube"" display technology was almost entirely supplanted worldwide"
"example, after 25 million American televisions tuned to a musical version of ""Cinderella"" in 1957, executives calculated that had the network received 25¢ for each television tuned to the show, it would have earned more than $6 million without distribution costs. However, due to many legal, regulatory and technological obstacles, cable television in the United States in its first 24 years was used almost exclusively to relay over-the-air commercial television stations to remote and inaccessible areas. It also became popular in other areas in which mountainous terrain caused poor reception over the air. Original programming over cable came in 1972"
"use in most large TV markets by the mid-1950s. Two TV stations on the same channel needed to be 160 or more miles apart, and two TV stations on adjacent channels needed to be 60 or more miles apart. Exceptions to this rule occurred with VHF channels 4 and 5, and VHF channels 6 and 7, because additional ""guard bands"" between these two pairs are allocated to other uses. Thus, the channel pair 4 and 5 was found in New York City, Washington, D.C., St. Louis, Los Angeles, San Francisco, and many other places, including along the Canada–US border with"
"a 23.8 share in 1949 to 5.4 in 1953. By 1952, ""death seemed imminent for network radio"" in its familiar form; most telling of all, the big sponsors were eager for the switch. Gradually, as the television network took shape, radio stars began to migrate to the new medium. Many programs ran on both media while making the transition. The radio soap opera ""The Guiding Light"" moved to television in 1952 and would run for another 57 years; Burns & Allen, back ""home"" from NBC, made the move in 1950; Lucille Ball a year later; ""Our Miss Brooks"" in 1952"
"reach a majority of cities until 1954. In time, cable television was widely established to carry available Canadian stations as well as import American stations, which constituted the vast majority of signals on systems (usually only one or two Canadian stations, while some systems had duplicate or even triplicate coverage of American networks). During the 1970s, a growing number of Canadian stations pushed American channels off the systems, forcing several to expand beyond the original 12-channel system configurations. At the same time, the advent of fiber-optic technology enabled companies to extend their systems to nearby towns and villages that by"
"of ABC, funded by UPT, becoming a viable and competitive third television network. On February 9, 1953, the FCC approved UPT's purchase of ABC in exchange for $25 million in shares. The merged company, renamed American Broadcasting-Paramount Theatres, Inc. and headquartered in the Paramount Building at 1501 Broadway in Manhattan, owned six AM and several FM radio stations, five television stations and 644 cinemas in 300 U.S. cities. To comply with FCC ownership restrictions in effect at the time that barred common ownership of two television stations in the same market, UPT sold its Chicago television station, WBKB-TV, to CBS"
"of sports broadcasts because they were desperately in need of special attractions to bring in viewers"". Each of the 30 highest-rated shows is listed with its rank and rating as determined by Nielsen Media Research. (*) Formerly ""Texaco Star Theater"" 1953–54 United States network television schedule The 1953–54 United States network television schedule began in September of 1953 and ended in the spring of 1954. Despite hit filmed programs such as ""I Love Lucy"", both William S. Paley of CBS and David Sarnoff of NBC were said to be determined to keep most programming on their networks live. Filmed programs"
"only 24 of them remained a year later. The fraction of new TV receivers that were factory-equipped with all-channel tuners dropped from 35% in early 1953 to 9% by 1958, a drop that was only partially compensated for by field upgrades or the availability of UHF converters for separate purchase. The majority of the 165 UHF stations to begin telecasting between 1952 and 1959 did not survive. Under the All-Channel Receiver Act, FCC regulations by 1965 required all new TV sets sold in the U.S. to have built-in UHF tuners that could receive channels 14–83. In spite of this, by"
"this portion of Resnick's findings, restricting Paramount and DuMont to a total of five stations. The commissioners had not forgotten Paramount's previous anti-trust violations, and believed Paramount executives were attempting to control television by operating two television networks. According to White, the FCC's ruling ""ensured that television broadcasting would be controlled by the same three companies that had dominated radio broadcasting, thus fostering a lack of diversity in both station and network ownership"". The February 1953 merger of ABC and United Paramount Theatres lead to the divestiture of WBKB (now WBBM-TV), which was sold to CBS. Paramount retained KTLA and"
"programs such as ""Police Call"" (1955), ""How to Marry a Millionaire"" (1957-1959), ""The Passerby"", ""Man Without a Gun"" (1957-1959), and ""This is Alice"" (1958). The venture lasted five years and closed down in 1961. By the late 1960s, a ""de facto"" two-tiered system had developed in the United States, with the major network affiliates (usually on longer-range VHF stations) consistently were drawing more viewers than their UHF, independent counterparts; syndicators thus hoped to get their programs onto the major network stations, where spots in the lineup were far more scarce. FCC rulings in 1971 curtailed the U.S. networks' ability to"
"CBS system because it was incompatible with RCA's; that, and the fact that CBS had moved to secure many UHF, not VHF, television licenses, left CBS flatfooted in the early television age. In 1946, only 6,000 television sets were in operation, most in greater New York City where there were already three stations; by 1949, the number had increased to 3 million sets, and by 1951, had risen to 12 million. 64 American cities had television stations, though most of them only had one. Radio continued to be the backbone of the company, at least in the ""early"" 1950s, but"
"United States by the late 1950s. Several of these stations affiliated with all three major networks and DuMont, or some combination of the four, in markets where only one or two television stations operated in the early years of commercial television; this resulted in several network shows, often those with lower national viewership, receiving scattershot market clearances, since in addition to maintaining limited broadcast schedules early on, affiliates that shoehorned programming from multiple networks had to also make room for locally produced content. As other stations signed on in larger cities, ABC, NBC, and CBS were eventually able to carry"
"1951–52 United States network television schedule The 1951–52 United States network television schedule began in September of 1951 and ended in the spring of 1952. This was the first television season of national network interconnection by coaxial cable and microwave, meaning programming could be transmitted live coast-to-coast (or in the case of filmed programs, distributed simultaneously across the country) if needed. On Sunday nights, NBC experimented with airing its new comedy-variety program ""Chesterfield Sound-off Time"" (featuring Bob Hope, Fred Allen and Jerry Lester as rotating hosts) in an early evening timeslot, 7:00–7:30. Previously, network TV variety programs had only been"
"Commission (FCC) had reserved almost 250 channel frequencies for educational stations in 1953, although, seven years later, only 44 such stations were in operation. However, by 1969, the number of stations had climbed to 175. Each week, the National Education Television and Radio Center (renamed in 1963 to National Educational Television) aired a few hours of relatively inexpensive programs to educational stations across the country. These programs were produced by a plethora of stations across the nation, such as WGBH in Boston, WTTW in Chicago, and KQED in San Francisco. Unfortunately, with the growth of commercial radio and television, the"
"opened the UHF band in 1952, it devised a plan for allocating VHF licenses. Under this plan, almost all of the country would be able to receive two commercial VHF channels plus one noncommercial channel. Most of the rest of the country (""1/2"") would be able to receive a third VHF channel. Other areas would be designated as ""UHF islands"" since they were too close to larger cities for VHF service. The ""2"" networks became CBS and NBC, ""+1"" represented non-commercial educational stations, and ""1/2"" became ABC (which was the weakest network then usually winding up with the UHF allocation"
"subject to greater regulation than other media. This Blue Network network became the American Broadcasting Company (ABC). Around 1946, ABC, NBC, and CBS began regular television broadcasts. Another TV network, the DuMont Television Network, was founded earlier, but was disbanded in 1956. Television began to replace radio as the chief source of revenue for broadcasting networks. Although many radio programs continued through this decade, including Gunsmoke and The Guiding Light, by 1960 networks had ceased producing entertainment programs. As radio stopped producing formal fifteen-minute to hourly programs, a new format developed. ""Top 40"" was based on a continuous rotation of"
"on television in 1946, with a still picture of Big Ben. Televised bulletins began on 5 July 1954, broadcast from leased studios within Alexandra Palace in London. The public's interest in television and live events was stimulated by Elizabeth II's coronation in 1953. It is estimated that up to 27 million people viewed the programme in the UK, overtaking radio's audience of 12 million for the first time. Those live pictures were fed from 21 cameras in central London to Alexandra Palace for transmission, and then on to other UK transmitters opened in time for the event. That year, there"
"by nine primary affiliates. ABC also had a radio network (it was descended from NBC's Blue Network) from which to draw talent, affiliate loyalty and a profit stream to subsidize television operations. However, ABC had only 14 primary stations, while CBS and NBC had over 40 each. By 1951, ABC was badly overextended and on the verge of bankruptcy. That year, the company announced a merger with United Paramount Theaters (the former theater division of Paramount Pictures, which was spun off as a result of the ""United States v. Paramount Pictures, Inc."" antitrust decision), but it was not until 1953"