document_title: Wild 'n Out

question_text: when does wild n out season 11 come out

question_tokens: when does wild n out season 11 come out

text: Wild 'n Out

text: Premise[edit]

text: This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (April 2013) (Learn how and when to remove this template message)

text: Similar in premise to shows such as Whose Line Is It Anyway?, the series puts two teams of comedians against each other in a series of Wild 'n Out games which are all basically "improvisational" comedy games. The Teams are the "Red Squad", which was the team name until season 5 where they became the "Platinum Squad" and were permanently captained by Cannon; and the "Black Squad", led by a celebrity guest until season 7 where the situation was reversed with Cannon becoming the Black Squad team captain and the celebrity guest leading the Platinum Squad. For season 8, the colors were revamped once again with the Gold Squad replacing the Black Squad. The Gold Squad is led by Cannon while the celebrity guest remains captain of the Platinum Squad. However starting in Season 9, Nick returned to leading his original Red Squad team color while the Black Squad team color returned also.

text: After three such games, the two teams square off against each other in the final round of the game called 'WildStyle', in which they must deliver a punchline directed at their opponent's team member(s) within a freestyle rap. The comedians "beef" with each other; however, some are impersonal jokes. Although similar to Whose Line, the "points don't matter", the teams score one point per round victory during the normal rounds, plus one point per favorably judged punchline during 'Wild Style', which makes it similar in format to the improv show ComedySportz.[6]

text: Each episode also includes a musical performance, occasionally by the guest captain for the Black/Platinum Squad (Nick Cannon performed with Migos in Season 6 in the episode featuring Chanel Iman). At times, the musical guest comes out just before 'Wild Style' as the judge for the beefs. Major changes were implemented for the second season including shifting the show location to Hollywood and the teams now compete for a "Wild 'n Out" Championship belt which if the Black Squad wins, the team captain gets to take home.

text: Production[edit]

text: For the first four seasons, the show filmed from Los Angeles/Hollywood and aired on MTV. The first run episodes were suspended as Mr. Renaissance Entertainment became Ncredible Entertainment in 2012. Upon being revived in 2012, the show was produced in New York City and aired on MTV2 during Seasons 5–7, it also returned to that location for Season 9. In 2016, the show returned to airing new episodes on MTV and also for the first time since Season 4, production is in Los Angeles.

text: The "Wild 'n Out Theme Song" for Seasons 1–4 was produced by Fatman Scoop. The theme music for Season 5 onward was created by Cannon himself, with a new remixed version made for Season 8.

text: Cast[edit]

text: Season 1–4[edit]

text:
Nick Cannon
DJ D-Wrek
Affion Crockett
Alanna Ubach
Biz Markie
Brandon T. Jackson
Cameron Goodman
Carlos "Spanky" Hayes
Christine Lakin
Clinton Sparks
Corey Holcomb
Darrel Heath
Deon Cole
DeRay Davis
Dominique
Earthquake
Gene Hong
Guy Torry
Jackie Long
John Brown
Joshua Funk
Katt Williams
Kevin Hart
Leonard Robinson
Loni Love
Luenell
Marques Ray
Mikey Day
Nic Nac
Nyima Funk
Randall Park
N. Shiver
Rasika Mathur
Rob Hoffman
Scruncho
$hamrock
Taran Killam

text: Seasons 5–7[edit]

text:
Nick Cannon
DJ D-Wrek
Aarona Lopez
Akaash Singh
Anthony "Chico" Bean
B-Daht
Blair Christian
Carlos "Spanky" Hayes
Chaunte Wayans
Conceited
Corey Holcomb
Darren Brand
DC Young Fly
DeRay Davis
DoBoy
Emmanuel Hudson
Esther Ku
Hitman Holla
Hunter Steibel
Jack Thriller
Jacob Williams
James Davis
Jon Gabrus
Jess Hilarious
Karlous Miller
King Bach
Kojo
Lauren Flans
Matt Rife
Mikey Day
Natasha Rothwell
Pete Davidson
Rasika Mathur
Rip Micheals
Rosa Acosta
Shak Standley
Shawty
TattooManPaige
Timothy DeLaGhetto
Will "Spank" Horton
LuiFromDaRock

text: Season 8-present[edit]

text:
Nick Cannon
DJ D-Wrek
Chico Bean
B-Daht
Becky "Pickles" Robinson
Sharha Daganta
B.Simone
Blair Christian
Royce Bell
Charlie Clips
Corey Charron
Cristian Oliveras
Conceited (rapper)
Corey Holcomb
Julia Young
Cynthia LuCiette
Darren Brand
DC Young Fly
DeRay Davis
Dewayne Perkins
DoBoy
Elgin "Davisito" David
Emmanuel Hudson
Funny Mike
Hitman Holla
Jack Thriller
Jacob Williams
Jess Hilarious
Burpie
Jon Gabrus
Justina Valentine
Karlous Miller
Matt Rife
Michael Blackson
Nate Jackson
Rip Micheals
Ross Bryant
Teddy Ray
Timothy DeLaGhetto
Tonio Skits
Watts Homiequan
Vena E
Zoie[disambiguation needed]

text: Games[edit]

text:
World's Worst: a game where the world best goes wrong; introduced in Season 1 in an episode featuring SNL comedian, Kenan Thompson.
You Can't Say That: A game where the most inappropriate thing is said on live TV; this game was first introduced in Season 1 in an episode featuring Wu-Tang Clan member, Method Man.
Let Me Holla: Members from each team use a pick up line on a Wild'n Out girl. If it's funny, it gets a bell; if it's unfunny, it gets a buzzer. The team with the most points wins.
The Interrogation Game: an improv comedy game of interrogating an unknown suspect and the suspect must give out a clue of who they are. This was used in Season 1 by Christina Milian.
The Hating Game: a comedic version of the Dating Game with bad intentions heard about the bachelors. Used in Season 1 featuring guest team captain, Fonzworth Bentley.
Before and After: A game where one person from each team is giving a category as he/she must act out a person or thing before and after.
Tore Up from the Floor Up: A game where people from the audience are called to walk the runway as the teams clown about the outfits. the team with funny lines, earn bells. Buzzers for non-funny jokes.
Celebrity Death Battle: an improv game where two people rhyme as the celebrities shown in a picture.
Turn Up For What: A member from each team shout "Turn up......" The audience then ask "Turn up for what?" If the reply is funny, music is played; if it's unfunny, they get crickets. The team with the most points wins.
Got Props: Each team is given a prop and has to use it in a scenario. If it's funny, it gets a bell; if it's unfunny, it gets a buzzer. The team with the most points wins.
That's My Dog: A game where two people of the same team (one the owner of the dog and the other as the dog) must come to an understanding of clues DJ D-Wrek gives out. First introduced in Season 1 by principal cast member (later guest team captain), Kevin Hart.
Unhappily Ever After: A funny take on fairy tales with bad endings. Used in Season 1 by guest team captain, Kanye West.
Remix: Each team has to remix a nursery rhyme or a song of some sort. The audience decides the winner after.
Trap N Out: an alternative version of Remix first introduced in Wild N' Out Season 8 when Migos were team captains/performers.
R and Beef: Each team has to make a R&B song from audience suggestions or problems. The audience decides the winner after.
Rock N Beef: An alternative version of R & Beef used in an episode featuring Pete Wentz of Fall Out Boy.
Pie or Die: Each member is given a word and has to use it correctly in a freestyle rap. If they use it correctly, they gain a bell. If they don't use it correctly, screw up the rap by forgetting what to say next, they get a pie to the face. The team with the most bells wins.
Talking Spit: The team captains sit down and fill their mouth with water. Opposite members of each team try to make them laugh. The team that has the most spits loses.
Pillow Talk: An alternative version of Talkin' Spit using pillows in substitution of water bottles and a bucket. This concept was used in an episode featuring Victoria's Secret model Chanel Iman.
Family Reunion: Each member of each team have to introduce a member of the audience as their "family member" and if the introduction is funny they get a bell, if it's unfunny they get a buzzer. The team with the most points wins.
Eat Dat Ass Up: Each team is given a random dance to do. The team that does it the best wins.
Plead the Fifth: The team captain of both teams sit in a cage and are asked questions by the opposing members. The captains have to answer the questions truthfully. The only way to get out of answering the question is saying "I plead the fifth". The team who pleads the fifth the most loses.
Now You Wild Out: Each team is given a place to rap a description about what to do at the place and end with punchline "Now You Wild Out" and its keep going until one team can't think of a rhyme. The team with the most points wins.
Pick up and Kill it: One person from each team is rap battling about a specific topic. The team with most points wins.
Flow Job: One member of each team must freestyle rap about the occupation they are given to a Wild 'n Out girl. If she gets it, they earn a bell, and if she doesn't, they get a buzzer.
Twerk Work: Teams make up twerk songs based on occupation suggestions from twitter. The audience decides the winner after.
Breaking Up Is Hard to Do: Members from each team use their best breaking up technique on a wild'n out girl. If it's funny, it gets a bell; if it's unfunny, it gets a buzzer. The team with the most points wins.
So Fly: Members from each team compliment their captain. If it's funny, it gets a bell; if it's unfunny, it gets a buzzer. The team with the most points wins.
So Ballin': an alternative version of So Fly used in Season 4 by rap artist, Jim Jones.
Late Night Questions: A game were one person ask a question in bed causing the other to be uncomfortable.
Star Sightings: Members from each team go out and find people in the audience that look like stars. If it's funny, it gets a bell; if it's unfunny, it gets a buzzer. The team with the most points wins.
Who's On The Pole: Members from each team can say jokes about audience members who go up on stage and dance on the pole. If it's funny, it gets a bell; if it's not funny, you get nothing. The team with the most points wins.
Bail Me Out: Members from each team try to get their captain to say which celebrity they are trying to be. The team that gets the most right wins.
Wildagram: DJ D-Wrek will give each team a celebrity name and they got 15 seconds to act out their "Wildagram" post. If it's funny, it gets a bell; if it's unfunny, it gets a buzzer. The team with the most points wins.
Instaham: Photo of a celebrity will be shown on the screen and the cast members have to explain what happened with a funny punchline. If it's funny, it gets a bell; if it's unfunny, it gets a buzzer. The team with the most points wins. This game was introduced in Season 1 as Snap on the Shots with guest team captain, Eva Pigford.
Hood Jeopardy: Jeopardy with a twist, each team member can go up and say the answer to whats on screen. If it's funny, it gets a bell; if it's unfunny, it gets a buzzer. The team with the most points wins.

text: Broadcast history[edit]

text: Season 1[edit]

text:
No.
Team captain
Writer
Performer/guest
Original airdate
No. in total

1

"Orlando Jones"
Nick Cannon
Cassidy/Biz Markie
July 28, 2005

1

The first episode sets up the whole season. The start off the show by playing "The Questions Game", in which the Black and Red team can only ask each other questions. Orlando Jones comes up with a funny question, "Did Yo Mamma tell you?", and wins it for the Black Team. The second game they play is "Tore up from the Floor Up". They bring people out of the audience that they think look funny and make fun of them. During this game Robert Hoffman strips nearly all the way down, leaving his underwear and his long, white, grey-on-the-tip socks. Robert Hoffman seems to love being in his socks, and leaves his shoes off for a while. Hoffman's team wins that round. The 3rd game is a game called "I’m On the List!", wherein the Black Team and the Red Team have to act out celebrity personalities and the team captains have to figure out who the impression is of, then let that "celebrity" into the club. The Red Team wins the 3rd game. And the last game is called "Wild Style". The cast has to go head to head free styling each other and making punch lines. Who ever is the funniest wins the whole game. The Red Team Wins the whole thing! Cassidy comes through and plays "I'm A Hustla" from his album I'm A Hustla.

2

"Christina Milian"
Nick Cannon
Common
August 4, 2005

2

Nick Cannon on the Red Team goes against Christina Millian on the Black Team to see who can win. Christina Millian tries to take Nick Cannon's comedy crown. They play "Talkin' Spit", "The Interrogation Game", "R&Beef" and "Wild Style" like they do at the end of the show every night. Nick Cannon's Red Team wins at the end of the show. Common Performs "Go" from his album BE and break dances on the floor with Affion Crockett, one of the stars off "Nick Cannon Presents: Wild N' Out".

3

"Ying Yang Twins"
Nick Cannon
Ying Yang Twins
August 11, 2005

3

In this episode the Ying Yang Twins are the captain of the Black Team. In the first game called "Got Props?" the team members get a prop and use them to do funny things. The Black Team wins that round. In the next round called "Star Sightings" the two teams have to go out in the audience and find people that look like celebrities, but do it in a funny way. The Red Team wins that round. Up next is funny game called "That's My Dog", 1 person from each team has to be a dog, they only can bark and act out things, but they can’t speak. And the other person from each team has to find out what the dog is saying. The Black Team wins that game. In the last round called "Wild Style", the teams go head to head and do funny punch lines. The Red team wins that round, so that means they win the whole thing. Afterwards the Ying Yang Twins perform their hit song "Wait (The Whisper Song)" from their CD USA (United States of Atlanta).

4

"Kanye West"
Nick Cannon
Kanye West/Tracee Ellis Ross
August 18, 2005

4

This week's episode is with Kanye West, he is the captain of the Black Team. The first game is called "Tore up from the Floor Up", the teammates go out into the audience and get people that they think looks funny and sends them on stage and make punch lines about them. The Black Team wins that round. Next up is a game called "The Hating Game", it's like the dating game but the woman picks the guy that she hates the most by their lines. Tracee Ross plays the lady that pick between two guys that she hates the most. The Red Team wins that one. In this round they play a game called the "Unhappily Ever After" game, the audience comes up with a story that the cast comes up with that doesn’t end "Happily Ever After". The Red Team wins that. In the "Wildstyle" round Kanye West and Nick Cannon's team goes against each other making punch lines as they go along. Kanye's Black Team wins the whole thing. At the end Kanye hypes the crowd with a song from his "Late Registration" album called "Diamonds of Sierra Leone".

5

"Eva Pigford"
Nick Cannon
T.I. & P$C
August 25, 2005

5

This time the Black Team captain is Eva Pigford. She was along her protege Chynna Terrell. In the first game "Snap on the Shots", the team members off each team make jokes of pictures that come up on a screen: if it's funny, they get a ding; if it's not they get a buzzer. The Black Team wins that round. The 2nd game 1 person from each team has to sit in a chair and put water in his or her mouth, one of the people from each team and has to say something funny so that the other person can spit the water out of their mouth and win a point. The Red Team takes that round. The 3rd game is "60 Second Sequel" where the audience screams out a movie so that the team members can make a sequel to it. If the audience screams loud for a team that team wins. The Red team wins that round. In the last round "Wildstyle" the two teams go head to head making punch lines; the Red Team wins the last round. At the end T.I. and P$C perform "Set It Out".

6

"Kenan Thompson"
Nick Cannon
The Pussycat Dolls
September 1, 2005

6

This episode Kenan Thompson comes through and is the captain of the Black Team. In the 1st game "World's Worst" the team members have to do a skit and make fun of things that a person can do the worst of. The Red Team wins that round. The next game is called "Star Sightings": the two teams go out and find people in the audience that look like stars. In the 3rd game called "Unhappily Ever After", the team members make a skit of stories that end happily ever after, but the team has to make their ending unhappy and funny. The Red Team wins. In the last game "Wildstyle" they go against each other making funny punch lines. The Red Team wins it all. At the end The Pussycat Dolls perform their hit single "Don’t Cha".

7

"Fonzworth Bentley"
Nick Cannon
Trillville/Vanessa Minnillo
September 8, 2005

7

In this episode Farnsworth Bentley is the captain of the Black Team. In the first game called "Got Props?" the Wild N’ Out members have to do something funny with the props that are given to them. The Black Team takes that round. In the next game "Tore up from the Floor Up" the cast goes out and finds people they think are funny and send them on stage to make fun of them and how they are dressed. The Black Team wins that one. TRL’S host Vanessa Minnillo selects the Red Team as she plays the game "The Hating Game"; the Red Team wins that round. In the last round "Wildstyle" the Black Team wins overall. After the show Trillville plays a hit song from their album Some Cut.

8

"Omarion"
Nick Cannon
Lil Wayne
September 15, 2005

8

In the 8th episode Omarion is the captain of the Black Team. In the first game "World's Worst" the members do things that people can be the worst at; the Red Team wins the 1st round. In the 2nd round they play a game called "Do Dat Dance". DJ D-Wrek has to come up with a new dance move and the cast has to create it.  The Red Team wins again. In the next game called "Deaf Jam" they have to play out a song without saying any words, and their teammate has to figure it out. The Red Team wins this round too. In the last game "Wildstyle" everyone pitches in and goes against others. The Black team wins overall. Lil’ Wayne performs "Earthquake" after the show.

9

"Kevin Hart"
Nick Cannon
David Banner
September 22, 2005

9

Kevin Hart joins his black team crew in a game called "That's My Dog". That's where one teammate has to be a dog and the other has to be a person who tries to figure out what the person is saying. The Black Team wins that round. The next round DJ D-Wrek explains "The Questions Game" where a Red teammate and a Black teammate have to keep asking questions, and if one teammate doesn't know a question to ask the other team wins the point. The Red Team wins the round. In the next game "60 Second Sequel" both of the teams are giving a movie to make a sequel to. The Black Team wins that round. In the last round "WildStyle", at the end the black team wins. David Banner gets the crowd hyped with a song.

10

"Method Man"
Nick Cannon
Lil Scrappy
September 29, 2005

10

Method Man comes through, captain of the Black Team. They start it off playing the game "You Can't Say That Shit" were you can say bad things but not make it obvious you are saying it. The Black Team wins that. The next game they play is called "Star Sighting" where the person has to find an audience member that looks like a celebrity. The Black Team wins. Next up is the "R&Beef Game"; you have to sings songs that are really funny. The Black Team wins that one. At the end they play the "WildStyle" game. The Red Team wins the whole thing. Lil' Scrappy then performs "No Problem".

text: Season 2[edit]

text: The 2nd season contains a total of 10 episodes which were broadcast from February 2 to April 6, 2006 on MTV.

text:
Lil Jon (Team Captain & Performer)
Tyra Banks (Team Captain)
Cedric the Entertainer (Team Captain)
Marques Houston (Team Captain)
Rev Run (Team Captain)
Kelly Rowland (Team Captain)
Mike Jones (Team Captain & Performer)
Charlie Murphy (Team Captain)
Wayne Brady (Team Captain)
Mike Epps (Team Captain)
Ne-Yo     (Performer)
Sean Paul (Performer and special referee for WildStyle)
Three 6 Mafia (Performers)
Dem Franchize Boyz with Jermaine Dupri & Da Brat (Performers)
Young Jeezy with Akon (Performers)
Rhymefest (Performer for WildStyle)
Bobby Brown (Joined Red Squad for the game R & Beef in the Marques Houston episode)
Joy Bryant (Bachelorette for The Hating Game in the Mike Epps episode)
Rich Boy (Performer)
Busta Rhymes (Performer)
Paul Wall (Performer)
Pitbull (Performer)

text: Season 3[edit]

text: The 3rd season contains a total of 8 episodes which were broadcast from August 10 to October 5, 2006 on MTV.

text:
Big Boi (Team Captain & Performer)
Fat Joe (Team Captain)
Andy Milonakis (Team Captain)
Warren Sapp (Team Captain)
Jamie Kennedy (Team Captain)
E-40 (Team Captain & Performer)
Ray J (Team Captain)
Talib Kweli (Team Captain)
Purple Ribbon All-Stars (Performers; member Killer Mike was a guest judge for WildStyle)
Chamillionaire with Krayzie Bone (Performers)
Method Man (Performer)
Lupe Fiasco (Performer)
Field Mob (Performers)
Clipse and Pharrell (Performers)
Yung Joc (Performer)
Lil Jon (Judge for Remix in the Big Boi episode)
Nicole "Hoopz" Alexander (Judge for Let Me Holla in the E-40 episode)

text: Season 4[edit]

text: The 4th season contains a total of 20 episodes which were broadcast from May 12 to September 6, 2007 on MTV.

text:
Snoop Dogg (Team Captain & Performer)
Ne-Yo (Team Captain & Performer)
Lloyd (Team Captain & Performer)
Steve-O (Team Captain)
Fabolous (Team Captain & Performer)
Brooke Hogan (Team Captain)
Redman (Team Captain & Performer)
Swizz Beatz (Team Captain & Performer)
Tara Reid (Team Captain)
Young Buck (Team Captain & Performer)
Pauly Shore (Team Captain)
Jim Jones (Team Captain & Performer)
Serena Williams (Team Captain)
Common (Team Captain & Performer)
Terry Crews (Team Captain)
Paula DeAnda (Team Captain)
Big Boy (Team Captain)
Sommore (Team Captain)
Bruce Bruce (Team Captain)
Katt Williams (Team Captain)
Big Daddy Kane (Performer)
Three 6 Mafia (Performers)
Izzy Battle (Performer)
Nate Dogg (Performer)
The Fixxers (Performers & Judges for Wildstyle in the Pauly Shore episode)
Crime Mob (Performers)
Pretty Ricky (Performers)
Baby Boy da Prince (Performer & Judge for Wildstyle in the Paula DeAnda episode)
Unk (Performer)
Mike Jones (Performer)
Paul Wall (Performer)
Huey (Performer)
Lil Jon (Special Guest in the Common episode)
Liz Hernandez (bachelorette for the Hating Game in the Big Boy episode)

text: Season 5[edit]

text: The 5th season contains a total of 12 episodes which were broadcast from July 9 to September 24, 2013 on MTV2.

text:
Kevin Hart (Team Captain )
Mac Miller (Team Captain & Performer)
2 Chainz (Team Captain & Performer)
Vinny Guadagnino (Team Captain)
French Montana (Team Captain & Performer)
A$AP Rocky (Team Captain & Performer)
Amar'e Stoudemire (Team Captain)
Lil Duval (Team Captain)
Chanel West Coast (Team Captain)
Joe Budden (Team Captain & Performer)
Machine Gun Kelly (Team Captain & Performer)
DJ Khaled (Performer)
Talib Kweli (Performer)
Macklemore & Ryan Lewis (Performers)
Joey Badass (Performer)
Pusha T (Performer)
Kirko Bangz (Performer)
Mike Epps (Special Guest)
Cast of Guy Code (Special Guests)
Mariah Carey (Special Guest)
Big Boi (Special Guest)
Styles P (Special Guest)

text: Season 6[edit]

text: The 6th season contains a total of 16 episodes which were broadcast from July 2, 2014 to February 4, 2015 on MTV2.

text:
Rick Ross (Team Captain & Performer)
Nelly (Team Captain & Performer)
Skylar Diggins (Team Captain)
Bow Wow (Team Captain)
Chrissy Teigen (Team Captain)
Austin Mahone (Team Captain & Performer)
Riff Raff (Team Captain & Performer)
Asher Roth (Team Captain)
Tech N9ne (Team Captain & Performer)
Amber Rose (Team Captain)
Brandon T. Jackson (Team Captain)
Maino (Team Captain)
Chanel Iman (Team Captain)
Peter Gunz (Team Captain)
Sage The Gemini (Team Captain & Performer)
Adrian Broner (Team Captain)
Meek Mill (Performer)
Vic Mensa (Performer)
Que (Performer)
PWD (Performers)
Troy Ave (Performer)
Krizz Kaliko (Performer)
Wiz Khalifa (Performer)
Wonder Broz (Performers)
Yo Gotti (Performer)
Rich Homie Quan (Performer)
Migos (Performers)
Angel Haze (Performer)
Michael Strahan (Special Guest)
Drita D'Avanzo (Special Guest)
MURS (Special Guest)
Jim Jones (Special Guest)
Jessica White (Special Guest)

text: Season 7[edit]

text: The 7th season contains a total of 16 episodes which were broadcast from June 10, 2015 to January 6, 2016 on MTV2. There are also stand up specials after the episodes in this season are finished.

text:
Fabolous (Team Captain & Performer)
Rae Sremmurd (Team Captains & Performers)
T-Pain (Team Captain & Performer)
Pete Wentz (Team Captain)
Zendaya (Team Captain)
Ne-Yo (Team Co-Captain & Performer)
Nick Young (Team Captain)
Ty Dolla $ign (Team Captain & Performer)
Mack Wilds (Team Captain)
DJ Drama (Team Co-Captain)
DeJ Loaf (Team Captain & Performer)
A$AP Ferg (Team Captain & Performer)
Jordin Sparks (Team Captain)
Snoop Dogg (Team Co-Captain & Performer)
Shaquille O'Neal (Team Captain)
Ray J (Team Captain)
Remy Ma (Team Captain)
Tiny Lister, Jr. (Team Captain)
Fat Joe (Team Captain & Performer)
Fetty Wap (Performer)
French Montana (Performer)
O.T. Genasis (Performer)
Migos (Performers)
K Camp (Performer)
Hitman Holla & Conceited (Performers)
Kevin Hart (Special Guest)
Safaree Samuels (Special Guest)
A-Town & Snacks (Special Guests)
IceJJFish (Special Guest)
Hailey Clauson (Special Guest)
Arsonal Da Rebel (Special Guest)
Lil Duval (Special Guest & Performer)
The Breakfast Club (Special Guests)
The Kid Mero & Desus (Special Guests)

text: Season 8[edit]

text: The 8th season contains a total of 21 episodes which were broadcast from August 4, 2016 to April 20, 2017 on MTV, marking the first time in almost a decade that the show aired new episodes on its original network.

text:
Tyga (Team Captain & Performer)
Iggy Azalea (Team Captain & Performer)
Waka Flocka Flame (Team Captain)
Travis Scott (Team Captain & Performer)
Bella Thorne (Team Captain)
Jadakiss (Team Co-Captain & Performer)
T.I. (Team Captain & Performer)
Young Dro (Team Co-Captain)
Lil Dicky (Team Captain & Performer)
Keke Palmer (Team Captain)
Erykah Badu (Team Co-Captain)
Timbaland (Team Captain)
Stevie J & Joseline Hernandez (Team Captains)
2 Chainz (Team Captain & Performer)
K. Michelle (Team Captain)
Flo Rida (Team Co-Captain & Performer)
Trevor Jackson (Team Captain)
Chris Paul (Team Captain)
Samantha Hoopes (Team Captain)
Trina (Team Captain & Performer)
Lil Bibby (Team Captain)
Migos (Team Captains & Performers)
Faizon Love (Team Captain)
Deontay Wilder (Team Captain)
Omarion (Team Captain & Performer)
Tate Kobang (Performer)
Curren$y (Performer)
Kehlani (Performer)
Yo Gotti (Performer)
DRAM (rapper) (Performer)
ILoveMemphis (Performer)
Jeremih (Performer)
Dreezy (Performer)
2 Milly (Performer)
Tory Lanez (Performer)
Scott Disick (Special Guest)
Travis Mills (Special Guest)
Erica Mena (Special Guest)
DJ Whoo Kid (Special Guest)
Russell Simmons (Special Guest)
Rachel Hilbert (Special Guest)
Mack Wilds (Special Guest)
Too $hort (Special Guest)
Lyfe Jennings (Special Guest)
Les Twins (Special Guests)
Jay Leno (Special Guest)
Antonio Cromartie (Special Guest)
Lance Stephenson (Special Guest)
Don Benjamin (Special Guest)
Russell Peters (Special Guest)
Ta'Rhonda Jones (Special Guest)
Safaree Samuels (Special Guest)

text: Season 9[edit]

text: The 9th season contains a total of 16 episodes which were broadcast from June 29 to October 5, 2017 on MTV.

text:
Chance the Rapper (Team Captain & Performer)
Vic Mensa (Team Captain & Performer)
Dave East (Team Captain & Performer)
Nev Schulman (Team Co-Captain)
Lil Yachty  (Team Captain & Performer)
Blac Chyna (Team Captain)
The Cast of The New Edition Story (Team Captains)
Tami Roman (Team Captain)
Remy Ma (Team Captain)
Papoose (Team Co-Captain)
Killer Mike (Team Captain)
Young M.A (Team Captain & Performer)
Rick Ross  (Team Captain & Performer)
Jake Miller (Team Captain & Performer)
Lil Rel Howery (Team Captain)
LeSean McCoy (Team Captain)
DJ Self (Team Captain)
Wendy Williams (Team Captain)
Saba (Performer)
It's A Movie (Performer)
Nick Grant (Performer)
Lecrae (Performer)
Hitman Holla & Conceited (Performers)
Run the Jewels (Performers)
Ayo & Teo (Performers)
Kid the Wiz, SNS & The Waffle Crew (Performers)
Kodie Shane (Performer)
Blac Youngsta (Performer)
Terrence Jenkins (Special Guest)
Method Man (Special Guest)
Dick Gregory (Special Guest)
Naturi Naughton (Special Guest)
YesJulz (Special Guest)
Shameik Moore (Special Guest)
Mia Kang (Special Guest)
Todrick Hall (Special Guest)
Demaris Lewis (Special Guest)
Cipha Sounds (Special Guest)

text: Season 10[edit]

text: The 10th season contains a total of 16 episodes which were broadcast from November 30, 2017 to March 1, 2018 on MTV.

text:
Desiigner (Team Captain & Performer)
Wu-Tang Clan (Team Captains & Performers)
Serayah (Team Captain & Performer)
Santa Claus (Team Captain)
Pete Davidson (Team Captain)
PnB Rock (Team Co-Captain & Performer)
Machine Gun Kelly (Team Captain & Performer)
Ayo & Teo (Team Captains & Performers)
Keyshia Cole (Team Captain & Performer)
Fabolous (Team Captain & Performer)
Elijah Kelley (Team Co-Captain)
The Combs Brothers (Team Captains & Performers)
Tee Grizzley (Team Captain & Performer)
Wyclef Jean (Team Captain & Performer)
Kyle (Team Captain & Performer)
Gary Owen (Team Captain)
A Boogie wit da Hoodie (Team Captain & Performer)
Don Q (Team Co-Captain & Performer)
A$AP Mob (Team Captains & Performers)
Jacquees (Performer)
21 Savage (Performer)
Kranium (Special Guest)
Sommer Ray (Special Guest)
Fatboy SSE (Special Guest)
Slick Woods (Special Guest)
DeRay Davis (Special Guest)
Smokepurpp (Special Guest)
Sara Sampaio (Special Guest)
Sky (Special Guest)
Kid The Wiz (Special Guest)
Yvng Swag (Special Guest)
CyHi The Prynce (Special Guest)

text: Season 11[edit]

text: The 11th season will consist of 22 episodes and premiered on March 15, 2018 on MTV, two weeks after the end of Season 10. The season resumed on July 12, 2018.

text:
Angela Rye (Red Team - IWD special)
Tameka Cottle (Red Team - IWD special)
Ally Brooke (Black Team/Performer - IWD special)
Dreezy (Black Team - IWD special)
Rasika Mathur (Black Team - IWD special)
Tami Roman (Black Team - IWD special)
The Cast of All That (Team Captains)
PRETTYMUCH (Team Captains & Performers)
Laurie Hernandez (Team Captain)
Rick Ross (Team Captain & Performer)
Tyga (Team Captain & Performer)
T.I. (Team Captain & Performer)
Tokyo Jetz (Team Co-Captain & Performer)
K Dub (Team Co-Captain)
Keke Palmer (Team Captain & Performer)
Baby Ariel (Team Captain)
Dolph Ziggler (Team Captain)
Prince Royce (Team Captain & Performer)
Amara La Negra (Team Captain)
Bobby Lytes (Team Co-Captain)
Blac Youngsta (Team Captain & Performer)
Winnie Harlow (Team Captain)
Rachel Lindsay (Team Captain)
DreamDoll (Team Captain)
Matt Barnes (Team Captain)
Mariahlynn (Team Co-Captain)
Justine Skye (Team Captain & Performer)
Affion Crockett (Team Captain)
Mikey Day (Team Captain)
Trick Daddy (Team Captain)
Topic (Performer - IWD special)
SOB X RBE (Performer)
Yvng Swag (Performer)
BJ The Chicago Kid (Performer)
Rich the Kid (Performer)
Derez Deshon (Performer)
Rapsody (Performer)
Kent Jones (Performer)
Roy Woods (Performer)
Kap G (Performer)
Jack & Jack (Performer)
Famous Dex (Performer)
Maino (Performer)
Shameik Moore (Recurring Guest)
Vic Mensa (Recurring Guest & Performer)
MC Lyte (Special Guest - IWD special)
Nafessa Williams (Special Guest)
Zaytoven (Special Guest)
Slab[disambiguation needed] (Special Guest)
Cordell Broadus (Special Guest)
Bryan Abasolo (Special Guest)
Caroline Lowe (Special Guest)
Tyreek Hill (Special Guest)
Karlie Redd (Special Guest)

text: Season 12[edit]

text: The 12th season had been filmed in Atlanta from June 30 to July 14, 2018 and will premiere on August 17, 2018 on MTV.

text:
24Hrs
Andre Drummond
Angel McCoughtry
Ayo & Teo
Azealia Banks
Big Tigger
BlocBoy JB
Bow Wow
Brett Gray
Chance the Rapper
Chloe x Halle
Da Brat
Denzel Curry
Deon Cole
Dwight Howard
Eric Bellinger
HoodCelebrityy
Jacquees
Jermaine Dupri
Josephine Skriver
Kandi Burruss
Kountry Wayne
Lais Ribeiro
Lil Baby
Lil Durk
Lil Yachty
Ludacris
MadeinTYO
Marvin Bagley III
Matt Triplett
Michael Blackson
Momma Dee
Ne-Yo
O.T. Genasis
Rae Sremmurd
Rasheeda
Sasha Banks
Savannah Jordan
Scrappy
Shaun T
Stevie J
Tameka Cottle
Tiffany Hayes
Tokyo Vanity
Trae the Truth
Trevor Jackson
Trinidad Cardona
Tyron Woodley
Young M.A
Yung Joc
Zonnique


document_title: Aunt Phatso vs. Jack Donaghy

question_text: who plays jack donaghy in the tv movie

question_tokens: who plays jack donaghy in the tv movie

root

text: Aunt Phatso vs. Jack Donaghy

text: Plot[edit]

text: Jack Donaghy (Alec Baldwin) suddenly becomes the laughing stock of New York City and he doesn't know why. He finally realizes that people are laughing at him because Tracy Jordan (Tracy Morgan) has made him a villain in his new "Aunt Phatso" movie. Jack confronts Tracy about the movie, and Tracy is furious because Jack doesn't give him enough respect. Tracy then donates a large amount of money to the New York Philharmonic to have them play the Sanford and Son theme ("The Streetbeater") for four hours straight, ruining the concert for Jack, who attends the concert that night. The next morning, Jack threatens to sue Tracy, but Tracy shows him that every action and line Jack is portrayed as performing in the movie has been done in real life by Jack himself, except for the scene where Jack closes an orphanage. Jack finally realizes that he can't shut down the movie without shutting down a real orphanage, because the movie's funding is linked to that of a real orphanage. Jack gives up and Tracy wins.

tag: p

text: Meanwhile, Liz Lemon (Tina Fey) needs foot surgery, but she can't take time off, because without her in charge everything will fall apart. Hazel (Kristen Schaal) offers to become Liz's personal assistant, to which Liz agrees so she can have the surgery. Unbeknownst to Liz, Hazel is using this position to get a spot on TV. Jenna (Jane Krakowski), who knows of Hazel's manipulative nature, asks Kenneth (Jack McBrayer) why he is still attached to Hazel. Kenneth answers her question, but Jenna is too self-absorbed and doesn't pay attention to Kenneth's answer.

text: Hazel tells Liz to just relax in her office while she helps Pete (Scott Adsit) prepare the show. To make sure that nothing goes wrong, Hazel sets up a video feed in Liz's office so that she can monitor the show from there. Liz realizes something is wrong when she sees herself in the video feed, and it turns out that the "feed" was a recording of a previous show. Hazel tricks Pete into giving her a spot on the show. Liz rushes to the set (ruining her carefully protected post-surgery foot in the process) and fires Hazel on the spot. Kenneth is mad because Jenna didn't listen to him and Liz fired his girlfriend, which prompts him to tell them that from now on he is no longer friends with any of them.

text: Reception[edit]

text: "Aunt Phatso vs. Jack Donaghy" was watched by 3.34 million viewers and earned a 1.2 rating/4 share in the 18–49 demographic.[1] This means that it was seen by 1.2 percent of all 18- to 49-year-olds, and 4 percent of all 18- to 49-year-olds watching television at the time of the broadcast. This was a decrease from the previous episode "There's No I in America" (3.38 million).[2]

text: "Aunt Phatso vs. Jack Donaghy" received a positive response from critics. Pilot Viruet of The A.V. Club gave the episode a "B+" and praised the Hazel elements of the story, despite having been critical of the character's execution in past episodes.[3] IGN's Roth Cornet also gave the episode a positive review, stating "... though this wasn't my favorite episode, as it approaches its swan song, 30 Rock feels something like a cross between a human-Muppet caper, the irreverent and rapid fire free-association of Family Guy and the hilarious social commentary of Eddie Izzard's stand-up. In a word: awesome."[4]


document_title: Color television

question_text: what was the first television show in color

question_tokens: what was the first television show in color

text: Color television

text: Development[edit]

text: The human eye's detection system in the retina consists primarily of two types of light detectors, rod cells that capture light, dark, and shapes/figures, and the cone cells that detect color. A typical retina contains 120 million rods and 4.5 million to 6 million cones, which are divided among three groups that are sensitive to red, green, and blue light. This means that the eye has far more resolution in brightness, or "luminance", than in color. However, post-processing in the optic nerve and other portions of the human visual system combine the information from the rods and cones to re-create what appears to be a high-resolution color image.

text: The eye has limited bandwidth to the rest of the visual system, estimated at just under 8 Mbit/s.[1] This manifests itself in a number of ways, but the most important in terms of producing moving images is the way that a series of still images displayed in quick succession will appear to be continuous smooth motion. This illusion starts to work at about 16 frame/s, and common motion pictures use 24 frame/s. Television, using power from the electrical grid, tunes its rate in order to avoid interference with the alternating current being supplied – in North America, some Central and South American countries, Taiwan, Korea, part of Japan, the Philippines, and a few other countries, this is 60 video fields per second to match the 60 Hz power, while in most other countries it is 50 fields per second to match the 50 Hz power.

text: In its most basic form, a color broadcast can be created by broadcasting three monochrome images, one each in the three colors of red, green, and blue (RGB). When displayed together or in rapid succession, these images will blend together to produce a full-color image as seen by the viewer. One of the great technical challenges of introducing color broadcast television was the desire to conserve bandwidth, potentially three times that of the existing black-and-white standards, and not use an excessive amount of radio spectrum. In the United States, after considerable research, the National Television Systems Committee[2] approved an all-electronic system developed by RCA which encoded the color information separately from the brightness information and greatly reduced the resolution of the color information in order to conserve bandwidth. The brightness image remained compatible with existing black-and-white television sets at slightly reduced resolution, while color televisions could decode the extra information in the signal and produce a limited-resolution color display. The higher resolution black-and-white and lower resolution color images combine in the eye to produce a seemingly high-resolution color image. The NTSC standard represented a major technical achievement.

text: Early television[edit]

text: Experiments in television systems using radio broadcasts date to the 19th century, but it was not until the 20th century that advances in electronics and light detectors made development practical. A key problem was the need to convert a 2D image into a "1D" radio signal; some form of image scanning was needed to make this work. Early systems generally used a device known as a "Nipkow disk", which was a spinning disk with a series of holes punched in it that caused a spot to scan across and down the image. A single photodetector behind the disk captured the image brightness at any given spot, which was converted into a radio signal and broadcast. A similar disk was used at the receiver side, with a light source behind the disk instead of a detector.

text: A number of such systems were being used experimentally in the 1920s. The best-known was John Logie Baird's, which was actually used for regular public broadcasting in Britain for several years. Indeed, Baird's system was demonstrated to members of the Royal Society in London in 1926 in what is generally recognized as the first demonstration of a true, working television system. In spite of these early successes, all mechanical television systems shared a number of serious problems. Being mechanically driven, perfect synchronization of the sending and receiving discs was not easy to ensure, and irregularities could result in major image distortion. Another problem was that the image was scanned within a small, roughly rectangular area of the disk's surface, so that larger, higher-resolution displays required increasingly unwieldy disks and smaller holes that produced increasingly dim images. Rotating drums bearing small mirrors set at progressively greater angles proved more practical than Nipkow discs for high-resolution mechanical scanning, allowing images of 240 lines and more to be produced, but such delicate, high-precision optical components were not commercially practical for home receivers.[citation needed]

text: It was clear to a number of developers that a completely electronic scanning system would be superior, and that the scanning could be achieved in a vacuum tube via electrostatic or magnetic means. Converting this concept into a usable system took years of development and several independent advances. The two key advances were Philo Farnsworth's electronic scanning system, and Vladimir Zworykin's Iconoscope camera. The Iconoscope, based on Kálmán Tihanyi's early patents, superseded the Farnsworth-system. With these systems, the BBC began regularly scheduled black-and-white television broadcasts in 1936, but these were shut down again with the start of World War II in 1939. In this time thousands of television sets had been sold. The receivers developed for this program, notably those from Pye Ltd., played a key role in the development of radar.

text: By 22 March 1935, 108-line black-and-white television programs were being broadcast from the Paul Nipkow TV transmitter in Berlin. In 1936, under the guidance of "Minister of Public Enlightenment and Propaganda" Joseph Goebbels, direct transmissions from fifteen mobile units at the Olympic Games in Berlin were transmitted to selected small television houses (Fernsehstuben) in Berlin and Hamburg.

text: In 1941 the first NTSC meetings produced a single standard for US broadcasts. US television broadcasts began in earnest in the immediate post-war era, and by 1950 there were 6 million televisions in the United States.[3]

text: All-mechanical color[edit]

text: The basic idea of using three monochrome images to produce a color image had been experimented with almost as soon as black-and-white televisions had first been built.

text: Among the earliest published proposals for television was one by Maurice Le Blanc in 1880 for a color system, including the first mentions in television literature of line and frame scanning, although he gave no practical details.[4] Polish inventor Jan Szczepanik patented a color television system in 1897, using a selenium photoelectric cell at the transmitter and an electromagnet controlling an oscillating mirror and a moving prism at the receiver. But his system contained no means of analyzing the spectrum of colors at the transmitting end, and could not have worked as he described it.[5] An Armenian inventor, Hovannes Adamian, also experimented with color television as early as 1907. The first color television project is claimed by him,[6] and was patented in Germany on March 31, 1908, patent № 197183, then in Britain, on April 1, 1908, patent № 7219,[7] in France (patent № 390326) and in Russia in 1910 (patent № 17912).[8]

text: Scottish inventor John Logie Baird demonstrated the world's first color transmission on July 3, 1928, using scanning discs at the transmitting and receiving ends with three spirals of apertures, each spiral with filters of a different primary color; and three light sources, controlled by the signal, at the receiving end, with a commutator to alternate their illumination.[9] The demonstration was of a young girl wearing different colored hats. Noele Gordon went on to become a successful TV actress, famous for the soap opera Crossroads. Baird also made the world's first color broadcast on February 4, 1938, sending a mechanically scanned 120-line image from Baird's Crystal Palace studios to a projection screen at London's Dominion Theatre.[10]

text: Mechanically scanned color television was also demonstrated by Bell Laboratories in June 1929 using three complete systems of photoelectric cells, amplifiers, glow-tubes, and color filters, with a series of mirrors to superimpose the red, green, and blue images into one full color image.

text: Hybrid systems[edit]

text: This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (September 2012) (Learn how and when to remove this template message)

tag: table

text: As was the case with black-and-white television, an electronic means of scanning would be superior to the mechanical systems like Baird's. The obvious solution on the broadcast end would be to use three conventional Iconoscopes with colored filters in front of them to produce an RGB signal. Using three separate tubes each looking at the same scene would produce slight differences in parallax between the frames, so in practice a single lens was used with a mirror or prism system to separate the colors for the separate tubes. Each tube captured a complete frame and the signal was converted into radio in a fashion essentially identical to the existing black-and-white systems.

text: The problem with this approach was there was no simple way to recombine them on the receiver end. If each image was sent at the same time on different frequencies, the images would have to be "stacked" somehow on the display, in real time. The simplest way to do this would be to reverse the system used in the camera; arrange three separate black-and-white displays behind colored filters and then optically combine their images using mirrors or prisms onto a suitable screen, like frosted glass. RCA built just such a system in order to present the first electronically scanned color television demonstration on February 5, 1940, privately shown to members of the US Federal Communications Commission at the RCA plant in Camden, New Jersey.[11] This system, however, suffered from the twin problems of costing at least three times as much as a conventional black-and-white set, as well as having very dim pictures, the result of the fairly low illumination given off by tubes of the era. Projection systems of this sort would become common decades later, however, with improvements in technology.

text: Another solution would be to use a single screen, but break it up into a pattern of closely spaced colored phosphors instead of an even coating of white. Three receivers would be used, each sending its output to a separate electron gun, aimed at its colored phosphor. Although obvious, this solution was not practical. The electron guns used in monochrome televisions had limited resolution, and if one wanted to retain the resolution of existing monochrome displays, the guns would have to focus on individual dots three times smaller. This was beyond the state of the art at the time.

text: Instead, a number of hybrid solutions were developed that combined a conventional monochrome display with a colored disk or mirror. In these systems the three colored images were sent one after each other, in either complete frames in the "field-sequential color system", or for each line in the "line-sequential" system. In both cases a colored filter was rotated in front of the display in sync with the broadcast. Since three separate images were being sent in sequence, if they used existing monochrome radio signaling standards they would have an effective refresh rate of only 20 fields, or 10 frames, a second, well into the region where flicker would become visible. In order to avoid this, these systems increased the frame rate considerably, making the signal incompatible with existing monochrome standards.

text: The first practical example of this sort of system was again pioneered by John Logie Baird. In 1940 he publicly demonstrated a color television combining a traditional black-and-white display with a rotating colored disk. This device was very "deep", but was later improved with a mirror folding the light path into an entirely practical device resembling a large conventional console.[12] However, Baird was not happy with the design, and as early as 1944 had commented to a British government committee that a fully electronic device would be better.

text: In 1939, Hungarian engineer Peter Carl Goldmark introduced an electro-mechanical system while at CBS, which contained an Iconoscope sensor. The CBS field-sequential color system was partly mechanical, with a disc made of red, blue, and green filters spinning inside the television camera at 1,200 rpm, and a similar disc spinning in synchronization in front of the cathode ray tube inside the receiver set.[13] The system was first demonstrated to the Federal Communications Commission (FCC) on August 29, 1940, and shown to the press on September 4.[14][15][16][17]

text: CBS began experimental color field tests using film as early as August 28, 1940, and live cameras by November 12.[18] NBC (owned by RCA) made its first field test of color television on February 20, 1941. CBS began daily color field tests on June 1, 1941.[19] These color systems were not compatible with existing black-and-white television sets, and as no color television sets were available to the public at this time, viewing of the color field tests was restricted to RCA and CBS engineers and the invited press. The War Production Board halted the manufacture of television and radio equipment for civilian use from April 22, 1942 to August 20, 1945, limiting any opportunity to introduce color television to the general public.[20][21]

text: Fully electronic[edit]

text: As early as 1940, Baird had started work on a fully electronic system he called the "Telechrome". Early Telechrome devices used two electron guns aimed at either side of a phosphor plate. The phosphor was patterned so the electrons from the guns only fell on one side of the patterning or the other. Using cyan and magenta phosphors, a reasonable limited-color image could be obtained. He also demonstrated the same system using monochrome signals to produce a 3D image (called "stereoscopic" at the time). Baird's demonstration on August 16, 1944 was the first example of a practical color television system.[22] Work on the Telechrome continued and plans were made to introduce a three-gun version for full color. However, Baird's untimely death in 1946 ended development of the Telechrome system.[23][24]

text: Similar concepts were common through the 1940s and 50s, differing primarily in the way they re-combined the colors generated by the three guns. The Geer tube was similar to Baird's concept, but used small pyramids with the phosphors deposited on their outside faces, instead of Baird's 3D patterning on a flat surface. The Penetron used three layers of phosphor on top of each other and increased the power of the beam to reach the upper layers when drawing those colors. The Chromatron used a set of focusing wires to select the colored phosphors arranged in vertical stripes on the tube.

text: FCC color[edit]

text: In the immediate post-war era the Federal Communications Commission (FCC) was inundated with requests to set up new television stations. Worrying about congestion of the limited number of channels available, the FCC put a moratorium on all new licenses in 1948 while considering the problem. A solution was immediately forthcoming; rapid development of radio receiver electronics during the war had opened a wide band of higher frequencies to practical use, and the FCC set aside a large section of these new UHF bands for television broadcast. At the time, black and white television broadcasting was still in its infancy in the U.S., and the FCC started to look at ways of using this newly available bandwidth for color broadcasts. Since no existing television would be able to tune in these stations, they were free to pick an incompatible system and allow the older VHF channels to die off over time.

text: The FCC called for technical demonstrations of color systems in 1948, and the Joint Technical Advisory Committee (JTAC) was formed to study them. CBS displayed improved versions of its original design, now using a single 6 MHz channel (like the existing black-and-white signals) at 144 fields per second and 405 lines of resolution. Color Television Inc. demonstrated its line-sequential system, while Philco demonstrated a dot-sequential system based on its beam-index tube-based "Apple" tube technology. Of the entrants, the CBS system was by far the best-developed, and won head-to-head testing every time.

text: While the meetings were taking place it was widely known within the industry that RCA was working on a dot-sequential system that was compatible with existing black-and-white broadcasts, but RCA declined to demonstrate it during the first series of meetings. Just before the JTAC presented its findings, on August 25, 1949, RCA broke its silence and introduced its system as well. The JTAC still recommended the CBS system, and after the resolution of an ensuing RCA lawsuit, color broadcasts using the CBS system started on June 25, 1951. By this point the market had changed dramatically; when color was first being considered in 1948 there were fewer than a million television sets in the U.S., but by 1951 there were well over 10 million. The idea that the VHF band could be allowed to "die" was no longer practical.

text: During its campaign for FCC approval, CBS gave the first demonstrations of color television to the general public, showing an hour of color programs daily Mondays through Saturdays, beginning January 12, 1950, and running for the remainder of the month, over WOIC in Washington, D.C., where the programs could be viewed on eight 16-inch color receivers in a public building.[25] Due to high public demand, the broadcasts were resumed February 13–21, with several evening programs added.[26] CBS initiated a limited schedule of color broadcasts from its New York station WCBS-TV Mondays to Saturdays beginning November 14, 1950, making ten color receivers available for the viewing public.[27][28] All were broadcast using the single color camera that CBS owned.[29] The New York broadcasts were extended by coaxial cable to Philadelphia's WCAU-TV beginning December 13,[30] and to Chicago on January 10,[31][32] making them the first network color broadcasts.

text: After a series of hearings beginning in September 1949, the FCC found the RCA and CTI systems fraught with technical problems, inaccurate color reproduction, and expensive equipment, and so formally approved the CBS system as the U.S. color broadcasting standard on October 11, 1950. An unsuccessful lawsuit by RCA delayed the first commercial network broadcast in color until June 25, 1951, when a musical variety special titled simply Premiere was shown over a network of five East Coast CBS affiliates.[33] Viewing was again restricted: the program could not be seen on black-and-white sets, and Variety estimated that only thirty prototype color receivers were available in the New York area.[34] Regular color broadcasts began that same week with the daytime series The World Is Yours and Modern Homemakers.

text: While the CBS color broadcasting schedule gradually expanded to twelve hours per week (but never into prime time),[35] and the color network expanded to eleven affiliates as far west as Chicago,[36] its commercial success was doomed by the lack of color receivers necessary to watch the programs, the refusal of television manufacturers to create adapter mechanisms for their existing black-and-white sets,[37] and the unwillingness of advertisers to sponsor broadcasts seen by almost no one. CBS had bought a television manufacturer in April,[38] and in September 1951, production began on the only CBS-Columbia color television model, with the first color sets reaching retail stores on September 28.[39][40] But it was too little, too late. Only 200 sets had been shipped, and only 100 sold, when CBS discontinued its color television system on October 20, 1951, ostensibly by request of the National Production Authority for the duration of the Korean War, and bought back all the CBS color sets it could to prevent lawsuits by disappointed customers.[41][42] RCA chairman David Sarnoff later charged that the NPA's order had come "out of a situation artificially created by one company to solve its own perplexing problems" because CBS had been unsuccessful in its color venture.[43]

text: Compatible color[edit]

text: While the FCC was holding its JTAC meetings, development was taking place on a number of systems allowing true simultaneous color broadcasts, "dot-sequential color systems". Unlike the hybrid systems, dot-sequential televisions used a signal very similar to existing black-and-white broadcasts, with the intensity of every dot on the screen being sent in succession.

text: In 1938 Georges Valensi demonstrated an encoding scheme that would allow color broadcasts to be encoded so they could be picked up on existing black-and-white sets as well. In his system the output of the three camera tubes were re-combined to produce a single "luminance" value that was very similar to a monochrome signal and could be broadcast on the existing VHF frequencies. The color information was encoded in a separate "chrominance" signal, consisting of two separate signals, the original blue signal minus the luminance (B'–Y'), and red-luma (R'–Y'). These signals could then be broadcast separately on a different frequency; a monochrome set would tune in only the luminance signal on the VHF band, while color televisions would tune in both the luminance and chrominance on two different frequencies, and apply the reverse transforms to retrieve the original RGB signal. The downside to this approach is that it required a major boost in bandwidth use, something the FCC was interested in avoiding.

text: RCA used Valensi's concept as the basis of all of its developments, believing it to be the only proper solution to the broadcast problem. However, RCA's early sets using mirrors and other projection systems all suffered from image and color quality problems, and were easily bested by CBS's hybrid system. But solutions to these problems were in the pipeline, and RCA in particular was investing massive sums (later estimated at $100 million) to develop a usable dot-sequential tube. RCA was beaten to the punch by the Geer tube, which used three B&W tubes aimed at different faces of colored pyramids to produce a color image. All-electronic systems included the Chromatron, Penetron and beam-index tube that were being developed by various companies. While investigating all of these, RCA's teams quickly started focusing on the shadow mask system.

text: In July 1938 the shadow mask color television was patented by Werner Flechsig (1900–1981) in Germany, and was demonstrated at the International radio exhibition Berlin in 1939. Most CRT color televisions used today are based on this technology. His solution to the problem of focusing the electron guns on the tiny colored dots was one of brute-force; a metal sheet with holes punched in it allowed the beams to reach the screen only when they were properly aligned over the dots. Three separate guns were aimed at the holes from slightly different angles, and when their beams passed through the holes the angles caused them to separate again and hit the individual spots a short distance away on the back of the screen. The downside to this approach was that the mask cut off the vast majority of the beam energy, allowing it to hit the screen only 15% of the time, requiring a massive increase in beam power to produce acceptable image brightness.

text: In spite of these problems in both the broadcast and display systems, RCA pressed ahead with development and was ready for a second assault on the standards by 1950.

text: Second NTSC[edit]

text: The possibility of a compatible color broadcast system was so compelling that the NTSC decided to re-form, and held a second series of meetings starting in January 1950. Having only recently selected the CBS system, the FCC heavily opposed the NTSC's efforts. One of the FCC Commissioners, R. F. Jones, went so far as to assert that the engineers testifying in favor of a compatible system were "in a conspiracy against the public interest".

text: Unlike the FCC approach where a standard was simply selected from the existing candidates, the NTSC would produce a board that was considerably more pro-active in development.

text: Starting before CBS color even got on the air, the U.S. television industry, represented by the National Television System Committee, worked in 1950–1953 to develop a color system that was compatible with existing black-and-white sets and would pass FCC quality standards, with RCA developing the hardware elements. ("Compatible color," a phrase from advertisements for early sets, appears in the song "America" of West Side Story, 1957.) RCA first made publicly announced field tests of the dot sequential color system over its New York station WNBT in July 1951.[44] When CBS testified before Congress in March 1953 that it had no further plans for its own color system,[45] the National Production Authority dropped its ban on the manufacture of color television receivers,[46] and the path was open for the NTSC to submit its petition for FCC approval in July 1953, which was granted on December 17.[47] The first publicly announced network demonstration of a program using the NTSC "compatible color" system was an episode of NBC's Kukla, Fran and Ollie on August 30, 1953, although it was viewable in color only at the network's headquarters.[48] The first network broadcast to go out over the air in NTSC color was a performance of the opera Carmen on October 31, 1953.[49][50]

text: Adoption[edit]

text: North America[edit]

text: Canada[edit]

text: Color broadcasts from the United States were available to Canadian population centers near the border since the mid-1950s.[51] At the time that NTSC color broadcasting was officially introduced into Canada in 1966, less than one percent of Canadian households had a color television set.[51] Color television in Canada was launched on the Canadian Broadcasting Corporation's (CBC) English language TV service on September 1, 1966.[51] Private television broadcaster CTV also started colorcasts in early September 1966.[52] Full-time color transmissions started in 1974 on the CBC, with other private sector broadcasters doing so by the end of the 1970s.[51]

text: Cuba[edit]

text: Cuba in 1958 became the second country in the world to introduce color television broadcasting, with Havana's Channel 12 using standards established by the NTSC Committee of United States Federal Communications Commission in 1940, and American technology patented by the American electronics company RCA, or Radio Corporation of America. But the color transmissions ended when broadcasting stations were seized in the Cuban Revolution in 1959, and did not return until 1975, using equipment acquired from Japan's NEC Corporation, and SECAM equipment from the Soviet Union, adapted for the American NTSC standard.[53]

text: Mexico[edit]

text: Guillermo González Camarena independently invented and developed a field-sequential tricolor disk system in México in the late 1930s, for which he requested a patent in México on August 19 of 1940 and in the USA in 1941.[54] González Camarena produced his color television system in his laboratory Gon-Cam for the Mexican market and exported it to the Columbia College of Chicago, who regarded it as the best system in the world.[55][56] Goldmark actually applied patent for the same field-sequential tricolor system in USA on September 7 of 1940;[13] while González Camarena made his application in México nineteen days before, on August 19 of 1940.

text: On August 31, 1946 González Camarena sent his first color transmission from his lab in the offices of The Mexican League of Radio Experiments at Lucerna St. No. 1, in Mexico City. The video signal was transmitted at a frequency of 115 MHz. and the audio in the 40 metre band. He obtained authorization to make the first publicly announced color broadcast in Mexico, on February 8, 1963, of the program Paraíso Infantil on Mexico City's XHGC-TV, using the NTSC system which had by now been adopted as the standard for color programming.

text: González Camarena also invented the Simplified Mexican Color TV system as a much more simpler and cheaper alternative to the NTSC system.[57] Due to its simplicity, NASA used a modified version of the Simplified Mexican Color TV system in his Voyager mission of 1979, to take pictures and video of Jupiter.[58]

text: United States[edit]

text: Although all-electronic color was introduced in the U.S. in 1953,[59] high prices and the scarcity of color programming greatly slowed its acceptance in the marketplace. The first national color broadcast (the 1954 Tournament of Roses Parade) occurred on January 1, 1954, but over the next dozen years most network broadcasts, and nearly all local programming, continued to be in black-and-white. In 1956 NBC's The Perry Como Show became the first live network television series to present a majority of episodes in color. CBS's The Big Record, starring pop vocalist Patti Page, was the first television show broadcast in color for the entire 1957-1958 season; its production costs were greater than most movies were at the time not only because of all the stars featured on the hour-long extravaganza but the extremely high-intensity lighting and electronics required for the new RCA TK-41 cameras. It was not until the mid-1960s that color sets started selling in large numbers, due in part to the color transition of 1965 in which it was announced that over half of all network prime-time programming would be broadcast in color that autumn. The first all-color prime-time season came just one year later.

text: NBC made the first coast-to-coast color broadcast when it telecast the Tournament of Roses Parade on January 1, 1954, with public demonstrations given across the United States on prototype color receivers by manufacturers RCA, General Electric, Philco, Raytheon, Hallicrafters, Hoffman, Pacific Mercury, and others.[60] A color model from Westinghouse H840CK15 ($1,295, or equivalent to $11,549 in 2016) became available in the New York area on February 28, 1954 and is generally agreed to be the first production receiver using NTSC color offered to the public;[61] a less expensive color model from RCA (CT-100) reached dealers in April 1954.[62] Television's first prime time network color series was The Marriage, a situation comedy broadcast live by NBC in the summer of 1954.[63] NBC's anthology series Ford Theatre became the first network color filmed series that October.[64]

text: Early color telecasts could be preserved only on the black-and-white kinescope process introduced in 1947. It was not until September 1956 that NBC began using color film to time-delay and preserve some of its live color telecasts.[65] Ampex introduced a color videotape recorder in 1958, which NBC used to tape An Evening With Fred Astaire, the oldest surviving network color videotape. This system was also used to unveil a demonstration of color television for the press. On May 22, 1958, President Dwight D. Eisenhower visited the WRC-TV NBC studios in Washington, D.C. and gave a speech touting the new technology's merits. His speech was recorded in color, and a copy of this videotape was given to the Library of Congress for posterity.

text: Several syndicated shows had episodes filmed in color during the 1950s, including The Cisco Kid, The Lone Ranger, My Friend Flicka, and Adventures of Superman. The first two were carried by some stations equipped for color telecasts well before NBC began its regular weekly color dramas in 1959, beginning with the Western series Bonanza.

text: NBC was at the forefront of color programming because its parent company RCA manufactured the most successful line of color sets in the 1950s, and by 1959 RCA was the only remaining major manufacturer of color sets.[66] CBS and ABC, which were not affiliated with set manufacturers and were not eager to promote their competitor's product, dragged their feet into color.[67][68] CBS broadcast color specials and sometimes aired its big weekly variety shows in color, but it offered no regularly scheduled color programming until the fall of 1965. At least one CBS show, The Lucy Show, was filmed in color beginning in 1963 but continued to be telecast in black and white through the end of the 1964–65 season. ABC delayed its first color programs until 1962, but these were initially only broadcasts of the cartoon shows The Flintstones, The Jetsons and Beany and Cecil.[69] The DuMont network, although it did have a television-manufacturing parent company, was in financial decline by 1954 and was dissolved two years later.[70]

text: The relatively small amount of network color programming, combined with the high cost of color television sets, meant that as late as 1964 only 3.1 percent of television households in the U.S. had a color set. But by the mid-1960s, the subject of color programming turned into a ratings war. A 1965 ARB study that proposed an emerging trend in color television set sales convinced NBC that a full shift to color would gain a ratings advantage over its two competitors.[71] As a result, NBC provided the catalyst for rapid color expansion by announcing that its prime time schedule for fall 1965 would be almost entirely in color.[72] ABC and CBS followed suit and over half of their combined prime-time programming also was in color that season, but they were still reluctant to telecast all their programming in color due to production costs.[71] All three broadcast networks were airing full color prime time schedules by the 1966–67 broadcast season, and ABC aired its last new black-and-white daytime programming in December 1967.[73] Public broadcasting networks like NET, however, did not use color for a majority of their programming until 1968. The number of color television sets sold in the U.S. did not exceed black-and-white sales until 1972, which was also the first year that more than fifty percent of television households in the U.S. had a color set.[74] This was also the year that "in color" notices before color television programs ended[citation needed], due to the rise in color television set sales, and color programming having become the norm.

text: In a display of foresight, Disney had filmed many of its earlier shows in color so they were able to be repeated on NBC, and since most of Disney's feature-length films were also made in color, they could now also be telecast in that format. To emphasize the new feature, the series was re-dubbed Walt Disney's Wonderful World of Color, which premiered in September 1961, and retained that moniker until 1969.[75]

text: By the mid-1970s the only stations broadcasting in black-and-white were a few high-numbered UHF stations in small markets, and a handful of low-power repeater stations in even smaller markets such as vacation spots. By 1979, even the last of these had converted to color and by the early 1980s, B&W sets had been pushed into niche markets, notably low-power uses, small portable sets, or use as video monitor screens in lower-cost consumer equipment. By the late 1980s, even those areas switched to color sets.

text: Color broadcasting in Hawaii started in September 1965, and in Alaska a year later.[citation needed] One of the last television stations in North America to convert to color, WQEX (now WINP-TV) in Pittsburgh, started broadcasting in color on October 16, 1986 after its black-and-white transmitter, which dated from the 1950s, broke down in February 1985 and the parts required to fix it were no longer available. The then-owner of WQEX, PBS member station WQED, diverted some of its pledge money into getting a color transmitter for WQEX.

text: Early color sets were either floor-standing console models or tabletop versions nearly as bulky and heavy, so in practice, they remained firmly anchored in one place. The introduction of GE's relatively compact and lightweight Porta-Color set in the spring of 1966 made watching color television a more flexible and convenient proposition. In 1972, sales of color sets finally surpassed sales of black-and-white sets. Also in 1972, the last holdout among daytime network programs converted to color, resulting in the first completely all-color network season.

text: Europe[edit]

text: The first regular color broadcasts in Europe were by the United Kingdom's BBC2 beginning on July 1, 1967 (PAL). West Germany's first broadcast occurred in August (PAL), followed by the Netherlands in September (PAL), and by France in October (SECAM). Norway, Sweden, Finland, Austria, East Germany, Czechoslovakia, and Hungary all started regular color broadcasts before the end of 1969. Ireland's national TV station RTÉ began using color in 1968 for recorded programmes; the first outside broadcast made in color for RTÉ Television was when Ireland hosted the Eurovision Song Contest in Dublin in 1971.[76] The PAL system spread through most of Western Europe.

text: More European countries introduced color television using the PAL system in the 1970s and early 1980s; examples include Denmark (1970), Belgium (1971), Yugoslavia/Serbia (1971), Spain (1972, but not fully implemented until 1978), Iceland (1973), Portugal (1976, but not fully implemented until 1980), Albania (1981), and Turkey (1981) and Romania (1983, but not fully implemented until 1990). In Italy there were debates to adopt a national color television system, the ISA, developed by Indesit, but that idea was scrapped. As a result, Italy was one of the last European countries to officially adopt the PAL system in 1977.[77]

text: France, Luxembourg, and most of the Eastern Bloc along with their overseas territories opted for SECAM. SECAM was a popular choice in countries with a lot of hilly terrain, and technologically backward countries with a very large installed base of monochrome equipment, since the greater ruggedness of the SECAM signal could cope much better with poorly maintained equipment. However, for many countries the decision was more down to politics than technical merit.

text: A drawback of SECAM for production is that, unlike PAL or NTSC, certain post-production operations of encoded SECAM signals are not really possible without a significant drop in quality. As an example, a simple fade to black is trivial in NTSC and PAL: you just reduce the signal level until it is zero. However, in SECAM the color difference signals, which are frequency modulated, need first to be decoded to e.g. RGB, then the fade-to-black is applied, and finally the resulting signal is re-encoded into SECAM. Because of this, much SECAM video editing was actually done using PAL equipment, then the resultant signal was converted to SECAM. Another drawback of SECAM is that comb filtering, allowing better color separation, is not possible in TV receivers. This was not, however, much of a drawback in the early days of SECAM as such filters did not become readily available in high-end TV sets before the 1990s.

text: The first regular color broadcasts in SECAM were started on October 1, 1967, on France's Second Channel (ORTF 2e chaîne). In France and the UK color broadcasts were made on UHF frequencies, the VHF band being used for legacy black and white, 405 lines in UK or 819 lines in France, until the beginning of the 1980s. Countries elsewhere that were already broadcasting 625-line monochrome on VHF and UHF, simply transmitted color programs on the same channels.

text: Some British television programs, particularly those made by or for ITC Entertainment, were shot on color film before the introduction of color television to the UK, for the purpose of sales to U.S. networks. The first British show to be made in color was the drama series The Adventures of Sir Lancelot (1956–57), which was initially made in black and white but later shot in color for sale to the NBC network in the United States. Other British color television programs include Stingray (1964–1965), which was the first British TV show to be filmed entirely in color, Thunderbirds (1965–1966) and Captain Scarlet and the Mysterons (1967–1968). However, most UK series predominantly made using videotape, such as Doctor Who (1963–89; 2005–present) did not begin color production until later, with the first color Doctor Who episodes not airing until 1970.

text: Asia and the Pacific[edit]

text: In Japan, NHK and NTV introduced color television, using a variation of the NTSC system (called NTSC-J) on September 10, 1960, making it the first country in Asia to introduce color television. The Philippines (1966) and Taiwan (1969) also adopted the NTSC system.

text: Other countries in the region instead used the PAL system, starting with Australia (1967, but not fully implemented until 1975), and then Thailand (1969; this country converted from a 525-line system to 625 lines), Hong Kong (1970), the People's Republic of China (1971), New Zealand (1973), North Korea (1974), Singapore (1974), Pakistan (1976, but not fully implemented until 1982), Kazakhstan (1978), Vietnam (1978), Malaysia (1978, but not fully implemented until 1980), Indonesia (1979), India (1979, but not fully implemented until 1982), and Bangladesh (1980). South Korea did not introduce color television (using NTSC) until 1980 (full-time color transmissions began in 1981), although it was already manufacturing color television sets for export. Cambodia was the last country in Asia to introduce color television, officially introduced in 1981 using the PAL system, with full-time color transmissions since 1985.

text: Middle East[edit]

text: Nearly all of the countries in the Middle East use PAL. The first country in the Middle East to introduce color television was Iraq in 1967. Saudi Arabia, the United Arab Emirates, Kuwait, Bahrain, and Qatar followed in the mid-1970s, but Israel, Lebanon, and Cyprus continued to broadcast in black and white until the early 1980s. Israeli television even erased the color signals using a device called the mekhikon.

text: Africa[edit]

text: The first color television service in Africa was introduced on the Tanzanian island of Zanzibar, in 1973, using PAL.[78] In 1973 also, MBC of Mauritius broadcast the OCAMM Conference, in color, using SECAM. At the time, South Africa did not have a television service at all, owing to opposition from the apartheid regime, but in 1976, one was finally launched.[79] Nigeria adopted PAL for color transmissions in 1974 in the then Benue Plateau state in the north central region of the country, but countries such as Ghana and Zimbabwe continued with black and white until 1984.[80] The Sierra Leone Broadcasting Service (SLBS) started television broadcasting in 1963 as a cooperation between the SLBS and commercial interests; coverage was extended to all districts in 1978 when the service was also upgraded to color.[81]

text: South America[edit]

text: In contrast to most other countries in the Americas, which had adopted NTSC, Brazil began broadcasting in color using PAL-M. Its first color transmission was on February 19, 1972. However Ecuador was the first South American country to use NTSC color. Its first color transmission was on November 5, 1974. In 1978, Argentina started broadcasting in color using PAL-N in connection with the country's hosting of the FIFA World Cup. Some countries in South America, including Bolivia, Chile, Paraguay, Peru, and Uruguay, continued to broadcast in black and white until the early 1980s.

text: Cor Dillen, director and later CEO of the South American branch of Philips, was responsible for bringing color television to South America.[citation needed]

text: Color standards[edit]

text: There are three main analog broadcast television systems in use around the world, PAL (Phase Alternating Line), NTSC (National Television System Committee), and SECAM (Séquentiel Couleur à Mémoire—Sequential Color with Memory).

text: The system used in The Americas and much of the Far East is NTSC. Western Europe, Australia, Africa, and Eastern South America use PAL (though Brazil uses a hybrid PAL-M system). Eastern Europe and France uses SECAM.[82] Generally, a device (such as a television) can only read or display video encoded to a standard which the device is designed to support; otherwise, the source must be converted (such as when European programs are broadcast in North America or vice versa).

text: This table illustrates the differences:

text:
NTSC M
PAL B,G,H
PAL I
PAL N
PAL M
SECAM B,G,H
SECAM D,K,K',L

Lines/Fields
525/60
625/50
625/50
625/50
525/60
625/50
625/50

Horizontal Frequency
15.734 kHz
15.625 kHz
15.625 kHz
15.625 kHz
15.750 kHz
15.625 kHz
15.625 kHz

Vertical Frequency
60 Hz
50 Hz
50 Hz
50 Hz
60 Hz
50 Hz
50 Hz

Color Subcarrier Frequency
3.579545 MHz
4.43361875 MHz
4.43361875 MHz
3.582056 MHz
3.575611 MHz

Video Bandwidth
4.2 MHz
5.0 MHz
5.5 MHz
4.2 MHz
4.2 MHz
5.0 MHz
6.0 MHz

Sound Carrier
4.5 MHz
5.5 MHz
5.9996 MHz
4.5 MHz
4.5 MHz
5.5 MHz
6.5 MHz

text: Digital television broadcasting standards, such as ATSC, DVB-T, DVB-T2, and ISDB, have superseded these analog transmission standards in many countries.