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CBS

CBS Broadcasting Inc., commonly shortened to CBS (an abbreviation of its original name, Columbia Broadcasting System), is an American commercial broadcast television and radio network serving as the flagship property of the CBS Entertainment Group division of Paramount Global and is one of the company's three flagship subsidiaries, along with namesake Paramount Pictures and MTV.

Headquartered at the CBS Building in New York City and being part of the "Big Three" television networks, CBS has major production facilities and operations at the CBS Broadcast Center and the headquarters of owner Paramount at One Astor Plaza (both also in that city) and Television City and the CBS Studio Center in Los Angeles. It is sometimes referred to as the Eye Network, after the company's trademark symbol of an eye (which has been in use since October 20, 1951), and also the Tiffany Network, which alludes to the perceived high quality of its programming during the tenure of William S. Paley (and can also refer to some of CBS's first demonstrations of color television, which were held in the former Tiffany and Company Building in New York City in 1950).

History
The network has its origins in United Independent Broadcasters, Inc., a radio network founded in Chicago by New York City talent agent Arthur Judson in January 1927. In April of that year, the Columbia Phonograph Company, parent of Columbia Records' record label, invested in the network, resulting in its rebranding as the Columbia Phonographic Broadcasting System (CPBS). In early 1928, Judson and Columbia sold the network to Isaac and Leon Levy, two brothers who owned WCAU, the network's Philadelphia affiliate, as well as their partner Jerome Louchheim. They installed William S. Paley, an in-law of the Levys, as president of the network. With the Columbia record label out of ownership, Paley rebranded the network as the Columbia Broadcasting System. By September 1928, Paley became the network's majority owner with 51 percent of the business. Paramount Pictures then acquired the other 49 percent of CBS in 1929, but the Great Depression eventually forced the studio to sell its shares back to the network in 1932. CBS would then remain primarily an independent company throughout the next 63 years. Under Paley's guidance, CBS would first become one of the largest radio networks in the United States and eventually one of the Big Three American broadcast television networks. CBS ventured and expanded its horizons through television starting in the 1940s, spinning off its broadcast syndication division Viacom to a separate company in 1971. In 1974, CBS dropped its original full name and became known simply as CBS, Inc. The Westinghouse Electric Corporation acquired the network in 1994, renaming its legal name to the current CBS Broadcasting Inc. two years later, and in 1997 adopted the name of the company it had acquired to become CBS Corporation. In 1999, CBS came under the control of the original incarnation of Viacom, which was formed as a spin-off of CBS in 1971. In 2005, Viacom split itself into two separate companies and re-established CBS Corporation through the spin-off of its broadcast television, radio and select cable television and non-broadcasting assets, with the CBS network at its core. CBS Corporation was controlled by Sumner Redstone through National Amusements, which also controlled the second incarnation of Viacom until December 4, 2019, when the two separated companies agreed to re-merge to become ViacomCBS (now known as Paramount Global). Following the sale, CBS and its other broadcasting and entertainment assets were reorganized into a new division, CBS Entertainment Group.

CBS operated the CBS Radio network until 2017 when it sold its radio division to Entercom (now known as Audacy, Inc. since 2021). Before this, CBS Radio mainly provided news and feature content for its portfolio of owned-and-operated radio stations in large and mid-sized markets, as well as its affiliated radio stations in various other markets. While CBS Corporation common shareholders (i.e. not the multiple-voting shares held by National Amusements) were given a 72% stake in the combined Entercom, CBS no longer owns or operates any radio stations directly; however, it still provides radio news broadcasts to its radio affiliates and the new owners of its former radio stations, and licenses the rights to use CBS trademarks under a long-term contract. The television network has over 240 owned-and-operated and affiliated television stations throughout the United States, some also available in Canada via pay-television providers or in border areas over-the-air.

Programming
, CBS provides $87 1/2$ hours of regularly scheduled network programming each week. The network provides 22 hours of primetime programming to affiliated stations Monday through Saturday from 8:00 p.m. to 11:00 p.m. and Sunday from 7:00 p.m. to 11:00 p.m. Eastern and Pacific time (7:00 p.m. to 10:00 p.m. Monday through Saturday and 6:00 p.m. to 10:00 p.m. on Sunday in Central/Mountain time).

The network also provides daytime programming from 11:00 a.m. to 4:00 p.m. Eastern and Pacific weekdays (subtract 1 hour for all other time zones), including a half-hour break for local news and features the game shows The Price Is Right and Let's Make a Deal, soap operas The Young and the Restless and The Bold and the Beautiful, and talk show The Talk.

CBS News programming includes CBS Mornings from 7:00 a.m. to 9:00 a.m. weekdays and CBS Saturday Morning in the same period on Saturdays; nightly editions of CBS Evening News; the Sunday political talk show Face the Nation; early morning news program CBS Morning News; and the newsmagazines 60 Minutes, CBS News Sunday Morning, and 48 Hours. On weeknights, CBS airs the talk shows The Late Show with Stephen Colbert and The Late Late Show with James Corden (until 2023, which is now replaced by game show After Midnight).

CBS Sports programming is also provided most weekend afternoons. Due to the unpredictable length of sporting events, CBS occasionally delays scheduled primetime programs to allow the programs to air in their entirety, a practice most commonly seen with the NFL on CBS. In addition to rights to sports events from major sports organizations such as the NFL, PGA, and NCAA, CBS broadcasts the CBS Sports Spectacular, a sports anthology series that fills certain weekend afternoon time slots before (or in some cases, in place of) a major sporting event.

Daytime
CBS' daytime schedule is the longest among the major networks at $4 1/2$ hours. It is the home of the long-running game show The Price Is Right, which began production in 1972 and is the longest continuously running daytime game show on network television. After being hosted by Bob Barker for 35 years, the show has been hosted since 2007 by actor and comedian Drew Carey. The network is also home to the current incarnation of Let's Make a Deal, hosted by singer and comedian Wayne Brady.

CBS is the only commercial broadcast network that continues to broadcast daytime game shows. Notable game shows that once aired as part of the network's daytime lineup include Match Game, Tattletales, The $10/25,000 Pyramid, Press Your Luck, Card Sharks, Family Feud, and Wheel of Fortune. Past game shows that have had both daytime and prime time runs on the network include Beat the Clock and To Tell the Truth. Two long-running primetime-only games were the panel shows What's My Line? and I've Got a Secret.

The network is also home to The Talk, a panel talk show similar in format to ABC's The View. It debuted in October 2010. As of the show's thirteenth season, the panel features Sheryl Underwood, Amanda Kloots, Jerry O'Connell, Akbar Gbajabiamila, and Natalie Morales who serves as moderator.

CBS Daytime airs two daytime soap operas each weekday: the hour-long series The Young and the Restless, which debuted in 1973, and the half-hour series The Bold and the Beautiful, which debuted in 1987. CBS has long aired the most soap operas out of the Big Three networks, carrying $3 1/2$ hours of soaps on its daytime lineup from 1977 to 2009, and still retains the longest daily schedule. Other than Guiding Light, notable daytime soap operas that once aired on CBS include As the World Turns, Love of Life, Search for Tomorrow, The Secret Storm, The Edge of Night, and Capitol.

Children's programming
CBS broadcast the live-action series Captain Kangaroo on weekday mornings from 1955 to 1982, and on Saturdays until 1984. From 1971 to 1986, CBS News produced a series of one-minute segments titled In the News, which aired between other Saturday morning programs. Otherwise, CBS's children's programming has mostly focused on animated series such as reruns of Mighty Mouse, Looney Tunes, and Tom and Jerry cartoons, as well as Scooby-Doo, Fat Albert and the Cosby Kids, Jim Henson's Muppet Babies, Garfield and Friends, and Teenage Mutant Ninja Turtles. In 1997, CBS premiered Wheel 2000, a children's version of the syndicated game show Wheel of Fortune which aired simultaneously on the Game Show Network.

In September 1998, CBS began contracting the time out to other companies to provide programming and material for its Saturday morning schedule. The first of these outsourced blocks was the CBS Kidshow, which ran until 2000 and featured programming from Canadian studio Nelvana such as Anatole, Mythic Warriors, Rescue Heroes, and Flying Rhino Junior High.

After its agreement with Nelvana ended, the network then entered into a deal with Nickelodeon to air programming from its Nick Jr. block beginning in September 2000, under the banner Nick Jr. on CBS. By the time of the deal, Nickelodeon and CBS were corporate sisters through the latter's then parent company Viacom as a result of its 2000 merger with CBS Corporation. From 2002 to 2005, live-action and animated Nickelodeon series aimed at older children also aired as part of the block under the name Nick on CBS.

Following the Viacom-CBS split, the network decided to discontinue the Nickelodeon content deal. In March 2006, CBS entered into a three-year agreement with DIC Entertainment, which was acquired later that year by the Cookie Jar Group, to program the Saturday morning time slot as part of a deal that included distribution of select tape-delayed Formula One auto races. The KOL Secret Slumber Party on CBS replaced Nick Jr. on CBS that September, with the inaugural lineup featuring two new first-run live-action programs, one animated series that originally aired in syndication in 2005, and three shows produced before 2006. In mid-2007, KOL, the children's service of AOL, withdrew sponsorship from CBS' Saturday morning block, which was subsequently renamed KEWLopolis. Complementing CBS's 2007 lineup were Care Bears, Strawberry Shortcake, and Sushi Pack. On February 24, 2009, it was announced that CBS would renew its contract with Cookie Jar for another three seasons through 2012. On September 19, 2009, KEWLopolis was renamed Cookie Jar TV.

On July 24, 2013, CBS agreed with Litton Entertainment, which already programmed a syndicated Saturday morning block exclusive to ABC stations and later produced a block for CBS' sister network The CW that received its debut the following year, to launch a new Saturday morning block featuring live-action reality-based lifestyle, wildlife, and sports series. The Litton-produced CBS Dream Team block, aimed at teenagers 13 to 16 years old, began broadcasting on September 28, 2013, replacing Cookie Jar TV. The block was renamed CBS WKND in 2023.

Animated primetime holiday specials
CBS was the original broadcast network home of the animated primetime holiday specials based on the Peanuts comic strip, beginning with A Charlie Brown Christmas in 1965. Over 30 holiday Peanuts specials (each for a specific holiday such as Halloween) were broadcast on CBS until 2000 when the broadcast rights were acquired by ABC. CBS also aired several primetime animated specials based on the works of Dr. Seuss (Theodor Geisel), beginning with How the Grinch Stole Christmas in 1966, as well as several specials based on the Garfield comic strip during the 1980s (which led to Garfield getting his Saturday-morning cartoon on the network, Garfield and Friends, which ran from 1988 to 1995). Rudolph the Red-Nosed Reindeer, produced in stop motion by Rankin/Bass, has been another annual holiday staple of CBS; however, that special first aired on NBC in 1964. , Rudolph and Frosty the Snowman are the only two pre-1990 animated specials remaining on CBS; the broadcast rights to the Charlie Brown specials are now held by Apple, The Grinch rights by NBC, and the rights to the Garfield specials by Boomerang.

All of these animated specials, from 1973 to 1990, began with a fondly remembered seven-second animated opening sequence, in which the words "A CBS Special Presentation" were displayed in colorful lettering (the ITC Avant Garde typeface, widely used in the 1970s, was used for the title logo). The word "SPECIAL", in all caps and repeated multiple times in multiple colors, slowly zoomed out from the frame in a spinning counterclockwise motion against a black background, and rapidly zoomed back into frame as a single word, in white, at the end; the sequence was accompanied by a jazzy though majestic up-tempo fanfare with dramatic horns and percussion (which was edited incidental music from the CBS crime drama Hawaii Five-O, titled "Call to Danger" on the Capitol Records soundtrack LP). This opening sequence appeared immediately before all CBS specials of the period (such as the Miss USA pageants and the annual presentation of the Kennedy Center Honors), in addition to animated specials.

Classical music specials
CBS was also responsible for airing the series of Young People's Concerts, conducted by Leonard Bernstein. Telecast every few months between 1958 and 1972, first in black-and-white and then in color beginning in 1966, these programs introduced millions of children to classical music through the eloquent commentaries of Bernstein. The specials were nominated for several Emmy Awards, including two wins in 1961 and later in 1966, and were among the first programs ever broadcast from the Lincoln Center for the Performing Arts.

Over the years, CBS has broadcast three different productions of Tchaikovsky's ballet The Nutcracker – two live telecasts of the George Balanchine New York City Ballet production in 1957 and 1958 respectively, a little-known German-American filmed production in 1965 (which was subsequently repeated three times and starred Edward Villella, Patricia McBride and Melissa Hayden), and beginning in 1977, the Mikhail Baryshnikov staging of the ballet, starring the Russian dancer along with Gelsey Kirkland – a version that would become a television classic, and remains so today (the broadcast of this production later moved to PBS).

In April 1986, CBS presented a slightly abbreviated version of Horowitz in Moscow, a live piano recital by pianist Vladimir Horowitz, which marked his return to Russia after over 60 years. The recital was televised as an episode of CBS News Sunday Morning (televised at 9:00 a.m. Eastern Time in the U.S., as the recital was performed simultaneously at 4:00 p.m. in Russia). It was so successful that CBS repeated it a mere two months later by popular demand, this time on videotape, rather than live. In later years, the program was shown as a standalone special on PBS; the current DVD of the telecast omits the commentary by Charles Kuralt but includes additional selections not heard on the CBS telecast.

In 1986, CBS telecast Carnegie Hall: The Grand Reopening in primetime, in what was then a rare move for a commercial broadcast network, since most primetime classical music specials were relegated to PBS and A&E by this time. The program was a concert commemorating the re-opening of Carnegie Hall after its complete renovation. A range of artists were featured, from classical conductor Leonard Bernstein to popular music singer Frank Sinatra.

Cinderella
To compete with NBC, which produced the televised version of the Mary Martin Broadway production of Peter Pan, CBS responded with a musical production of Cinderella, with music by Richard Rodgers and lyrics by Oscar Hammerstein II. Based upon the classic Charles Perrault fairy tale, it is the only Rodgers and Hammerstein musical to have been written for television. It was originally broadcast live in color on CBS on March 31, 1957, as a vehicle for Julie Andrews, who played the title role; that broadcast was seen by over 100 million people. It was subsequently remade by CBS in 1965, with Lesley Ann Warren, Stuart Damon, Ginger Rogers, and Walter Pidgeon among its stars; the remake also included the new song "Loneliness of Evening", which was originally composed in 1949 for South Pacific but was not performed in that musical. This version was rebroadcast several times on CBS into the early 1970s, and is occasionally broadcast on various cable networks to this day; both versions are available on DVD.

National Geographic
CBS was also the original broadcast home for the primetime specials produced by the National Geographic Society. The Geographic series in the U.S. started on CBS in 1964, before moving to ABC in 1973 (the specials subsequently moved to PBS – under the production of Pittsburgh member station WQED – in 1975 and NBC in 1995, before returning to PBS in 2000). The specials have featured stories on many scientific figures such as Louis Leakey, Jacques Cousteau, and Jane Goodall, that not only featured their work but helped make them internationally known and accessible to millions. A majority of the specials were narrated by various actors, notably Alexander Scourby during the CBS run. The success of the specials led in part to the creation of the National Geographic Channel, a cable channel launched in January 2001 as a joint venture between the National Geographic Society and Fox Cable Networks. The specials' distinctive theme music, by Elmer Bernstein, was also adopted by the National Geographic Channel.

Other notable specials
From 1949 to 2002, the Pillsbury Bake-Off, an annual national cooking contest, was broadcast on CBS as a special. Hosts for the broadcast included Arthur Godfrey, Art Linkletter, Bob Barker, Gary Collins, Willard Scott (although under contract with CBS' rival NBC), and Alex Trebek.

The Miss USA beauty pageant aired on CBS from 1963 to 2002; during a large portion of that period, the telecast was often emceed by the host of one of the network's game shows. John Charles Daly hosted the show from 1963 to 1966, succeeded by Bob Barker from 1967 to 1987 (at which point Barker, an animal rights activist who eventually convinced producers of The Price Is Right to cease offering fur coats as prizes on the program, quit in a dispute over their use), Alan Thicke in 1988, Dick Clark from 1989 to 1993, and Bob Goen from 1994 to 1996. The pageant's highest viewership was recorded in the early 1980s when it regularly topped the Nielsen ratings on the week of its broadcast. Viewership dropped sharply throughout the 1990s and 2000s, from an estimated viewership of 20 million to an average of 7 million from 2000 to 2001. In 2002, Donald Trump (owner of the Miss USA pageant's governing body, the Miss Universe Organization) brokered a new deal with NBC, giving it half-ownership of the Miss USA, Miss Universe and Miss Teen USA pageants and moving them to that network as part of an initial five-year contract, which began in 2003 and ended in 2015 after 12 years amid Trump's controversial remarks about Mexican immigrants during the launch of his 2016 campaign for the Republican presidential nomination.

On June 1, 1977, it was announced that Elvis Presley had signed a deal with CBS to appear in a new television special. Under the agreement, CBS would videotape Presley's concerts during the summer of 1977; the special was filmed during Presley's final tour at stops in Omaha, Nebraska (on June 19) and Rapid City, South Dakota (on June 21 of that year). CBS aired the special, Elvis in Concert, on October 3, 1977, nearly two months after Presley died in his Graceland mansion on August 16.

Since its inception in 1978, CBS has been the sole broadcaster of The Kennedy Center Honors, a two-hour performing arts tribute typically taped and edited in December for later broadcast during the holiday season.

Stations
CBS has 15 owned-and-operated stations, and current and pending affiliation agreements with 228 additional television stations encompassing 50 states, the District of Columbia, two U.S. possessions (Guam and the U.S. Virgin Islands) and Bermuda and St. Vincent and the Grenadines. The network has a national reach of 95.96% of all households in the United States (or 299,861,665 Americans with at least one television set). Currently, New Jersey, New Hampshire and Delaware are the only U.S. states where CBS does not have a locally licensed affiliate (New Jersey is served by New York City O&O WCBS-TV and Philadelphia O&O KYW-TV; Delaware is served by KYW and Salisbury, Maryland, affiliate WBOC-TV; and New Hampshire is served by Boston O&O WBZ-TV and Burlington, Vermont, affiliate WCAX-TV).

CBS maintains affiliations with low-power stations (broadcasting either in analog or digital) in a few markets, such as Harrisonburg, Virginia (WSVF-CD), Palm Springs, California (KPSP-CD), and Parkersburg, West Virginia (WIYE-LD). In some markets, including both of those mentioned, these stations also maintain digital simulcasts on a subchannel of a co-owned/co-managed full-power television station. CBS also maintains a sizeable number of subchannel-only affiliations, the majority of which are with stations in cities located outside of the 50 largest Nielsen-designated markets; the largest CBS subchannel affiliate by market size is KOGG in Wailuku, Hawaii, which serves as a repeater of Honolulu affiliate KGMB (the sister station of KOGG parent KHNL).

Nexstar Media Group is the largest operator of CBS stations by numerical total, owning 49 CBS affiliates (counting satellites); Tegna Media is the largest operator of CBS stations in terms of overall market reach, owning 15 CBS-affiliated stations (including affiliates in the larger markets in Houston, Tampa and Washington, D.C.) that reach 8.9% of the country.

Video-on-demand services
CBS provides video-on-demand access for delayed viewing of the network's programming through various means, including via its website at CBS.com; the network's apps for iOS, Android, and newer version Windows devices; a traditional VOD service called CBS on Demand available on most traditional cable and IPTV providers; and through content deals with Amazon Video (which holds exclusive streaming rights to the CBS drama series Extant and Under the Dome) and Netflix. Notably, however, CBS is the only major broadcast network that does not provide recent episodes of its programming on Hulu (sister network The CW does offer its programming on the streaming service, albeit on a one-week delay after becoming available on the network's website on Hulu's free service, with users of its subscription service being granted access to newer episodes of CW series eight hours after their initial broadcast), due to concerns over cannibalizing viewership of some of the network's most prominent programs; however, episode back catalogs of certain past and present CBS series are available on the service through an agreement with CBS Television Distribution.

Upon the release of the app in March 2013, CBS restricted streaming of the most recent episode of any of the network's programs on its streaming app for Apple iOS devices until eight days after their initial broadcast to encourage live or same-week (via both DVR and cable on demand) viewing; programming selections on the app were limited until the release of its Google Play and Windows 8 apps in October 2013, expanded the selections to include full episodes of all CBS series to which the network does not license the streaming rights to other services.

Paramount+ (formerly CBS All Access)
On October 28, 2014, CBS launched CBS All Access, an over-the-top subscription streaming service – priced at $5.99 per month ($9.99 with the no commercials option) – which allows users to view past and present episodes of CBS shows. Announced on October 16, 2014 (one day after HBO announced the launch of its over-the-top service HBO Now) as the first OTT offering by a USA broadcast television network, the service initially encompassed the network's existing streaming portal at CBS.com and its mobile app for smartphones and tablet computers; CBS All Access became available on Roku on April 7, 2015, and on Chromecast on May 14, 2015. In addition to providing full-length episodes of CBS programs, the service allows live programming streams of local CBS affiliates in 124 markets reaching 75% of the United States.

CBS All Access offered the most recent episodes of the network's shows the day after their original broadcast, as well as complete back catalogs of most of its current series and a wide selection of episodes of classic series from the CBS Television Distribution and ViacomCBS Domestic Media Networks program library to subscribers of the service. CBS All Access also carried behind-the-scenes features from CBS programs and special events.

Original programs aired on CBS All Access included Star Trek: Discovery, The Good Fight, and Big Brother: Over the Top.

In December 2018, the service was launched in Australia under the name 10 All Access, due to its affiliation with CBS-owned free-to-air broadcaster Network 10. Due to local programming rights, not all content is shared with its U.S. counterpart, whilst the Australian version also features numerous full seasons of local Network 10 shows, all commercial-free.

It was announced in September 2020 that the service would be rebranded as Paramount+ in early 2021, and would feature content from the wider ViacomCBS library following the re-merger between CBS and Viacom. The name was also extended to international markets and services such as 10 All Access. The rebrand to Paramount+ took place on March 4, 2021.

CBS HD
CBS' master feed is transmitted in 1080i high definition, the native resolution format for CBS Corporation's television properties. However, seven of its affiliates transmit the network's programming in 720p HD, while seven others carry the network feed in 480i standard definition either due to technical considerations for affiliates of other major networks that carry CBS programming on a digital subchannel or because a primary feed CBS affiliate has not yet upgraded their transmission equipment to allow content to be presented in HD. A small number of CBS stations and affiliates are also currently broadcasting at 1080p via an ATSC 3.0 multiplex station to simulcast a station's programming such as WNCN through WRDC in Durham, North Carolina, WTVF through WUXP-TV in Nashville, and KLAS-TV through KVCW in Las Vegas, Nevada.

CBS began its conversion to high definition with the launch of its simulcast feed CBS HD in September 1998, at the start of the 1998–99 season. That year, the network aired the first NFL game broadcast in high-definition, with the telecast of the New York Jets–Buffalo Bills game on November 8. The network gradually converted much of its existing programming from standard definition to high definition beginning with the 2000–01 season, with select shows among that season's slate of freshmen scripted series being broadcast in HD starting with their debuts. The Young and the Restless became the first daytime soap opera to broadcast in HD on June 27, 2001.

CBS' 14-year conversion to an entirely high-definition schedule ended in 2014, with Big Brother and Let's Make a Deal becoming the final two series to convert from 4:3 standard definition to HD (in contrast, NBC, Fox, and The CW were already airing their entire programming schedules – outside of Saturday mornings – in high definition by the 2010–11 season, while ABC was broadcasting its entire schedule in HD by the 2011–12 midseason). All of the network's programming has been presented in full HD since then (except for certain holiday specials produced before 2005 – such as the Rankin-Bass specials – which continue to be presented in 4:3 SD, although some have been remastered for HD broadcast).

On September 1, 2016, when ABC converted to a 16:9 widescreen presentation, CBS and The CW were the only remaining networks that framed their promotions and on-screen graphical elements for a 4:3 presentation, though with CBS Sports' de facto 16:9 conversion with Super Bowl 50 and their new graphical presentation designed for 16:9 framing, in practice, most CBS affiliates ask pay-TV providers to pass down a 16:9 widescreen presentation by default over their standard definition channels. This continued for CBS until September 24, 2018, when the network converted its on-screen graphical elements to a 16:9 widescreen presentation for all non-news and sports programs. Litton Entertainment continues to frame the graphical elements in their programs for Dream Team within a 4:3 frame due to them being positioned for future syndicated sales, though all of its programming has been in high definition.

Logos

The CBS television network's initial logo, used from the 1940s to 1951, consisted of an oval spotlight which shone on the block letters "CBS". The present-day Eye device was conceived by William Golden, based on a Pennsylvania Dutch hex sign and a Shaker drawing. While the logo is commonly attributed to Golden, some design work may have been done by CBS staff designer Georg Olden, one of the first African-Americans to attract some attention in the postwar graphic design field. The Eye device made its broadcast debut on October 20, 1951. The following season, as Golden prepared a new "ident", CBS President Frank Stanton insisted on keeping the Eye device and using it as much as possible. Golden died unexpectedly in 1959, and was replaced by Lou Dorfsman, one of his top assistants, who would go on to oversee all print and on-air graphics for CBS for the next 30 years.

The CBS eye has since become a widely recognized symbol. While the logo has been used in different ways, the Eye device itself has not been redesigned in its history. As part of a new graphical identity created by Trollbäck + Company that was introduced by the network in 2006, the eye was placed in a "trademark" position on show titles, days of the week and descriptive words, an approach highly respecting the value of the design. The logo is alternately known as the "Eyemark", a branding used for CBS' domestic television syndication division, under the Eyemark Entertainment name, in the mid-to-late 1990s after Westinghouse Electric bought CBS, but before the King World acquisition (which Eyemark was folded into), and subsequent merger with Viacom; Eyemark Entertainment was the result of the merger of MaXaM Entertainment (an independent television syndication firm which Westinghouse acquired shortly after its merger with CBS in 1996), Group W Productions (Westinghouse Broadcasting's own syndication division), & CBS Enterprises (CBS's syndication arm from the late 1960s to the early 1970s).

The eye logo has served as inspiration for the logos of Associated Television (ATV) in the United Kingdom, Canal 4 in El Salvador, Televisa in Mexico, France 3, Latina Televisión in Peru, Fuji Television in Japan, Rede Bandeirantes and TV Globo in Brazil, and Canal 10 in Uruguay.

In October 2011, the network celebrated the 60th anniversary of the introduction of the Eye logo, featuring special IDs of logo versions from previous CBS image campaigns being shown during the network's primetime lineup.

CBS historically used a specially-commissioned variant of Didot, a close relative to Bodoni, as its corporate font until 2021.

1980s
CBS has developed several notable image campaigns, and several of the network's most well-known slogans were introduced in the 1980s. The "Reach for the Stars" campaign used during the 1981–82 season features a space theme to capitalize on both CBS's stellar improvement in the ratings and the historic launch of the space shuttle Columbia. 1982's "Great Moments" juxtaposed scenes from classic CBS programs such as I Love Lucy with scenes from the network's then-current classics such as Dallas and M*A*S*H. From 1983 to 1986, CBS (by now firmly atop the ratings) featured a campaign based on the slogan "We've Got the Touch". Vocals for the campaign's jingle were contributed by Richie Havens (1983–84; one occasion in 1984–85) and Kenny Rogers (1985–86).

The 1986–87 season ushered in the "Share the Spirit of CBS" campaign, the network's first to completely use computer graphics and digital video effects. Unlike most network campaign promos, the full-length version of "Share the Spirit" not only showed a brief clip preview of each new fall series but also utilized CGI effects to map out the entire fall schedule by night. The success of that campaign led to the 1987–88 "CBS Spirit" (or "CBSPIRIT") campaign. Like its predecessor, most "CBSpirit" promos utilized a procession of clips from the network's programs. However, the new graphic motif was a swirling (or "swishing") blue line that was used to represent "the spirit". The full-length promo, like the previous year, had a special portion that identified new fall shows, but the mapped-out fall schedule shot was abandoned.

For the 1988–89 season, CBS unveiled a new image campaign officially known as "Television You Can Feel", but more commonly identified as "You Can Feel It On CBS". The goal was to convey a more sensual, new-age image through distinguished, advanced-looking computer graphics and soothing music, backgrounding images, and clips of emotionally powerful scenes and characters. However, it was this season in which CBS saw its ratings freefall, the deepest in the network's history. CBS ended the decade with "Get Ready for CBS", introduced with the 1989–90 season. The initial version was an ambitious campaign that attempted to elevate CBS out of last place (among the major networks); the motif centered around network stars interacting with each other in a remote studio set, getting ready for photo and television shoots, as well as for the new season on CBS. The high-energy promo song and the campaign's practices saw many customized variations by all of CBS's owned-and-operated stations and affiliates, which participated in the campaign per a network mandate. In addition, for the first time in history, CBS became the first broadcast network to partner with a national retailer (in this case, Kmart) to encourage viewership, with the "CBS/Kmart Get Ready Giveaway".

1990s
For the 1990–91 season, the campaign featured a new jingle performed by the Temptations, which featured an altered version of their hit "Get Ready". The early 1990s featured less-than-memorable campaigns, with simplified taglines such as "This is CBS" (1992) and "You're on CBS" (1995). Eventually, the promotions department gained momentum again late in the decade with "Welcome Home to a CBS Night" (1996–1997), simplified to "Welcome Home" (1997–1999), and succeeded by the spin-off campaign "The Address is CBS" (1999–2000), whose history can be traced back to a CBS slogan from the radio era of the 1940s, "The Stars' Address is CBS". During the 1992 season for the end-of-show network identification sequence, a four-note sound mark was introduced, which was eventually adapted into the network's IDs and production company vanity cards following the closing credits of most of its programs during the "Welcome Home" era.

2000s
Throughout the 2000s, CBS' rating resurgence was backed by the network's "It's All Here" campaign (which introduced updated versions of the 1992 sound mark used during certain promotions and production company vanity cards during the closing credits of programs); in 2005 campaign introduced the slogan "Everybody's Watching", the network's strategy led to the proclamation that it was "America's Most Watched Network". The network's 2006 campaign introduced the slogan "We Are CBS", with Don LaFontaine providing the voiceover for the IDs (as well as certain network promos) during this period. In 2009, the network introduced a campaign entitled "Only CBS", in which network promotions proclaim several unique qualities it has (the slogan was also used in program promotions following the announcement of the timeslot of a particular program). The "America's Most Watched Network" was re-introduced by CBS in 2011, used alongside the "Only CBS" slogan.

2020s
In October 2020, CBS announced that it would begin to employ a more unified branding between the network and its divisions to strengthen brand awareness across platforms. The two main components of the rebranding are a "deconstructed eye" motif using the individual shapes of the eyemark (such as an animated station ID), and a five-note sonic branding developed by the audio design agency Antfood, phonetically resembling the "This is CBS" slogan.

Alongside the rebranding, CBS Television Studios was renamed CBS Studios, and CBS Television Distribution was renamed CBS Media Ventures. The network also dropped the "America's Most Watched Network" and "Only CBS" taglines, with chief marketing officer Michael Benson explaining that they aimed to "be something where people feel like they are part of the family. It's tough to unify if you're bragging about yourself."

As part of the rebranding, CBS News and CBS Sports also introduced new logos and imaging incorporating the deconstructed eye motif and sonic branding, with CBS News initially using it for coverage of the 2020 presidential election, and CBS Sports launching its rebrand ahead of Super Bowl LV in 2021. In December 2022, CBS News and Stations began to deploy the rebranding on the local news operations of CBS's owned-and-operated stations, with most now being branded as "CBS News (region)" to align themselves with its chain of local streaming news channels and the national CBS News division, and adopting new graphics and music incorporating the eye motif and sonic branding (replacing Frank Gari's "Enforcer" music package, which was based on a theme historically used by WBBM-TV).

International broadcasts
CBS programs are shown outside the United States: through various Paramount Global international networks and/or content agreements, and in two North American countries, through U.S.-based CBS stations. Sky News broadcasts the CBS Evening News on its channels serving the United Kingdom, Ireland, Australia, New Zealand, and Italy.

Canada
In Canada, CBS network programming is carried on cable, satellite, and IPTV providers through affiliates and owned-and-operated stations of the network that are located within proximity to the Canada–United States border (such as KIRO-TV in Seattle; KBJR-DT2 in Duluth, Minnesota: WWJ-TV in Detroit; WIVB-TV in Buffalo, New York; and WCAX-TV in Burlington, Vermont), some of which may also be receivable over-the-air in parts of southern Canada depending on the signal coverage of the station. Most programming is generally the same as it airs in the United States; however, some CBS programming on U.S.-based affiliates permitted for carriage by the Canadian Radio-television and Telecommunications Commission by Canadian cable and satellite providers are subject to simultaneous substitutions, a practice in which a pay television provider supplants an American station's signal with a feed from a Canadian station/network airing a particular program in the same time slot to protect domestic advertising revenue.

Bermuda
In Bermuda, CBS maintains an affiliation with Hamilton-based ZBM-TV, locally owned by Bermuda Broadcasting Company.

Mexico
CBS programming is available in Mexico through affiliates in markets located within proximity to the Mexico–United States border (such as KYMA-DT/Yuma, Arizona; KVTV/Laredo, Texas; KDBC-TV/El Paso, Texas; KVEO-DT2/Brownsville/Harlingen/McAllen, Texas; and KFMB-TV/San Diego), whose signals are readily receivable over-the-air in border areas of northern Mexico.

Guam
In the U.S. territory of Guam, the network is affiliated with low-power station KUAM-LP in Hagåtña. Entertainment and non-breaking news programming is shown day and date on a one-day broadcast delay, as Guam is located on the west side of the International Date Line (for example, NCIS, which airs on Tuesday nights, is carried on Wednesdays on KUAM-LP, and is advertised by the station as airing on the latter night in on-air promotions), with live programming and breaking news coverage airing as scheduled, meaning live sports coverage often airs early in the morning.

Puerto Rico
In the U.S. territory of Puerto Rico, CBS is carried through a special feed of Erie, Pennsylvania affiliate WSEE-TV, relayed via Mayagüez-based translator W22FA-D.

United Kingdom
On September 14, 2009, the international arm of CBS, CBS Studios International, reached a joint venture deal with Chellomedia to launch six CBS-branded channels in the United Kingdom – which would respectively replace Zone Romantica, Zone Thriller, Zone Horror, and Zone Reality, as well as timeshift services Zone Horror +1 and Zone Reality +1 – during the fourth quarter of that year. On October 1, 2009, it was announced that the first four channels, CBS Reality, CBS Reality +1, CBS Drama, and CBS Action (later CBS Justice), would launch on November 16 respectively replacing Zone Reality, Zone Reality +1, Zone Romantica and Zone Thriller. On April 5, 2010, Zone Horror and Zone Horror +1 were rebranded as Horror Channel and Horror Channel +1.

CBS News and BBC News have maintained a news-sharing agreement since 2017, replacing the BBC's longtime agreement with ABC News and CBS' with Sky News (which would have ended in any event in 2018 due to that entity's purchase by NBCUniversal).

As of the close of the Viacom merger on December 4, 2019, Channel 5 is now a sister operation to CBS, though no major changes to CBS' relationship with the BBC are expected shortly, as Channel 5 sub-contracts its news programming obligations to ITN.

Australia
Australian free-to-air broadcaster Ten Network Holdings has been owned by CBS Corporation since 2017 (and subsequently, Paramount Global). Network Ten's channels, 10, 10 Peach, 10 Bold, and Nickelodeon, all carry CBS programming, with the latter drawing extensively from the wider Paramount Global library including MTV and Nickelodeon. Before the acquisition, CBS had long been a major supplier of international programs to the network. The cost of maintaining program supply agreements with CBS and 21st Century Fox was a major factor in the network's unprofitability during the mid-2010s. Network Ten entered voluntary administration in June 2017. CBS Corporation was the network's largest creditor. CBS Corporation chose to acquire the network, completing the transaction in November 2017.

Hong Kong
In Hong Kong, the CBS Evening News was broadcast live during the early morning hours on ATV; networks in that country maintain an agreement to rebroadcast portions of the program 12 hours after the initial broadcast to provide additional content in case their affiliates have insufficient news content to fill time during their local news programs.

Philippines
In the Philippines, CBS Evening News is broadcast on satellite network Q (a sister channel of GMA Network which is now GTV), while CBS This Morning is shown in that country on Lifestyle (now Metro Channel). Several CBS entertainment programs such as CSI, Late Show with David Letterman, and Survivor Series are broadcast by Studio 23 (now S+A) and Maxxx, which are both owned by ABS-CBN Corporation. 60 Minutes is currently broadcast on CNN Philippines as a part of their Stories block, which includes documentaries and is broadcast on Wednesday at 8:00 p.m. before CNN Philippines Nightly News with replays in a capacity as a stand-alone program on Saturdays at 8:00 a.m. & 5:00 pm and Sundays at 6:00 a.m, all in local time (UTC + 8).

India
In India, CBS maintained a brand licensing agreement with Reliance Broadcast Network Ltd. for three CBS-branded channels: Big CBS Prime, Big CBS Spark, and Big CBS Love. These channels were shut down in late November 2013. Following the CBS-Viacom merger, the Hindi-language general entertainment channel Colors TV became a sister network to CBS through the Viacom18 joint venture with TV18.

Israel
In Israel, in 2012 the channels Zone Reality and Zone Romantica were rebranded as CBS Reality and CBS Drama, respectively. The channels were carried by Israeli television providers Yes and Hot, although they both only carry CBS Reality.

Brown & Williamson interview
In 1995, CBS refused to air a 60 Minutes segment that featured an interview with a former president of research and development for Brown & Williamson, the U.S.'s third largest tobacco company. The controversy raised questions about the legal roles in decision-making and whether journalistic standards should be compromised despite legal pressures and threats. The decision nevertheless sent shockwaves throughout the television industry, the journalism community, and the country. This incident was the basis for the 1999 Michael Mann-directed drama film, The Insider.

Super Bowl XXXVIII halftime show controversy
In 2004, the Federal Communications Commission imposed a record $550,000 fine, the largest fine ever for a violation of federal decency laws, against CBS for an incident during its broadcast of Super Bowl XXXVIII in which singer Janet Jackson's right breast (which was partially covered by a piece of nipple jewelry) was briefly and accidentally exposed by guest performer Justin Timberlake at the end of a duet performance of Timberlake's 2003 single "Rock Your Body" during the halftime show (produced by then sister cable network MTV). Following the incident, CBS apologized to its viewers and denied foreknowledge of the incident, which was televised live. The incident resulted in a period of increased regulation of broadcast television and radio outlets (including self-imposed content regulation by networks and syndicators), which raised concerns surrounding censorship and freedom of speech, and resulted in the FCC voting to increase its maximum fine for indecency violations from US$27,500 to US$325,000. In 2008, a Philadelphia federal court annulled the fine imposed on CBS, labeling it "arbitrary and capricious".

Killian documents controversy
On September 8, 2004, less than two months before the Presidential election in which he defeated Democratic candidate John Kerry, CBS aired a controversial episode of 60 Minutes Wednesday, which questioned then-President George W. Bush's service in the Air National Guard in 1972 and 1973. Following allegations of forgery, CBS News admitted that four of the documents used in the story had not been properly authenticated and admitted that their source, Bill Burkett, had admitted to having "deliberately misled" a CBS News producer who worked on the report, about the documents' origins out of a confidentiality promise to the actual source. The following January, CBS fired four people connected to the preparation of the segment. Former CBS news anchor Dan Rather filed a $70 million lawsuit against CBS and former corporate parent Viacom in September 2007, contending the story, and his termination (he resigned as CBS News chief anchor in 2005), were mishandled. Parts of the suit were dismissed in 2008; subsequently in 2010, the entire suit was dismissed and Rather's motion to appeal was denied.

Hopper controversy
In January 2013, CNET named Dish Network's "Hopper with Sling" digital video recorder as a nominee for the CES "Best in Show" award (which is decided by CNET on behalf of its organizers, the Consumer Electronics Association), and named it the winner in a vote by the site's staff. However, CBS division CBS Interactive disqualified the Hopper and vetoed the results as CBS was in active litigation with Dish Network over its AutoHop technology (which allows users to skip commercial advertisements during recorded programs). CNET announced that it would no longer review any product or service provided by companies that CBS Corporation was in litigation with. The "Best in Show" award was instead given to the Razer Edge tablet. On January 14, 2013, CNET editor-in-chief Lindsey Turrentine said in a statement that its staff was in an "impossible" situation due to the conflict of interest posed by the lawsuit, and promised to prevent a similar incident from occurring again. The conflict also prompted the resignation of CNET senior writer Greg Sandoval. As a result of the controversy, the CEA announced on January 31, 2013, that CNET will no longer decide the CES Best in Show award winner due to the interference of CBS (with the position being offered to other technology publications), and the "Best in Show" award was jointly awarded to both the Hopper with Sling and Razer Edge.

Harassment allegations
In July 2018, an article by Ronan Farrow in The New Yorker claimed that thirty "current and former CBS employees described harassment, gender discrimination, or retaliation" at CBS and six women accused Les Moonves of harassment and intimidation. Following these allegations, it was reported on September 6, 2018, that CBS board members were negotiating Les Moonves's departure from the company.

On September 9, 2018, The New Yorker reported that six additional women (in addition to the six original women reported in July) had raised accusations against Moonves, going back to the 1980s. Following this, Moonves resigned the same day as chief executive of CBS.

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Owl

Owls are birds from the order Strigiformes, which includes over 200 species of mostly solitary and nocturnal birds of prey typified by an upright stance, a large, broad head, binocular vision, binaural hearing, sharp talons, and feathers adapted for silent flight. Exceptions include the diurnal northern hawk-owl and the gregarious burrowing owl.

Owls are divided into two families: the true (or typical) owl family, Strigidae, and the barn-owl family, Tytonidae. Owls hunt mostly small mammals, insects, and other birds, although a few species specialize in hunting fish. They are found in all regions of the Earth except the polar ice caps and some remote islands.

A group of owls is called a "parliament".

Anatomy

Owls possess large, forward-facing eyes and ear-holes, a hawk-like beak, a flat face, and usually a conspicuous circle of feathers, a facial disc, around each eye. The feathers making up this disc can be adjusted to sharply focus sounds from varying distances onto the owls' asymmetrically placed ear cavities. Most birds of prey have eyes on the sides of their heads, but the stereoscopic nature of the owl's forward-facing eyes permits the greater sense of depth perception necessary for low-light hunting. Owls have binocular vision, but they must rotate their entire heads to change the focus of their view because, like most birds, their eyes are fixed in their sockets. Owls are farsighted and cannot clearly see anything nearer than a few centimetres of their eyes. Caught prey can be felt by owls with the use of filoplumes—hairlike feathers on the beak and feet that act as "feelers". Their far vision, particularly in low light, is exceptionally good.

Owls can rotate their heads and necks as much as 270°. Owls have 14 neck vertebrae — humans have only seven — and their vertebral circulatory systems are adapted to allow them to rotate their heads without cutting off blood to the brain. Specifically, the foramina in their vertebrae through which the vertebral arteries pass are about 10 times the diameter of the artery, instead of about the same size as the artery, as is the case in humans; the vertebral arteries enter the cervical vertebrae higher than in other birds, giving the vessels some slack, and the carotid arteries unite in a very large anastomosis or junction, the largest of any bird's, preventing blood supply from being cut off while they rotate their necks. Other anastomoses between the carotid and vertebral arteries support this effect.

The smallest owl—weighing as little as 31 g and measuring some 13.5 cm—is the elf owl (Micrathene whitneyi). Around the same diminutive length, although slightly heavier, are the lesser known long-whiskered owlet (Xenoglaux loweryi) and Tamaulipas pygmy owl (Glaucidium sanchezi). The largest owls are two similarly sized eagle owls; the Eurasian eagle-owl (Bubo bubo) and Blakiston's fish owl (Bubo blakistoni). The largest females of these species are 71 cm long, have a 190 cm wing span, and weigh 4.2 kg.

Different species of owls produce different sounds; this distribution of calls aids owls in finding mates or announcing their presence to potential competitors, and also aids ornithologists and birders in locating these birds and distinguishing species. As noted above, their facial discs help owls to funnel the sound of prey to their ears. In many species, these discs are placed asymmetrically, for better directional location.

Owl plumage is generally cryptic, although several species have facial and head markings, including face masks, ear tufts, and brightly colored irises. These markings are generally more common in species inhabiting open habitats, and are thought to be used in signaling with other owls in low-light conditions.

Sexual dimorphism
Sexual dimorphism is a physical difference between males and females of a species. Female owls are typically larger than the males. The degree of size dimorphism varies across multiple populations and species, and is measured through various traits, such as wing span and body mass.

One theory suggests that selection has led males to be smaller because it allows them to be efficient foragers. The ability to obtain more food is advantageous during breeding season. In some species, female owls stay at their nest with their eggs while it is the responsibility of the male to bring back food to the nest. If food is scarce, the male first feeds himself before feeding the female. Small birds, which are agile, are an important source of food for owls. Male burrowing owls have been observed to have longer wing chords than females, despite being smaller than females. Furthermore, owls have been observed to be roughly the same size as their prey. This has also been observed in other predatory birds, which suggests that owls with smaller bodies and long wing chords have been selected for because of the increased agility and speed that allows them to catch their prey.

Another popular theory suggests that females have not been selected to be smaller like male owls because of their sexual roles. In many species, female owls may not leave the nest. Therefore, females may have a larger mass to allow them to go for a longer period of time without starving. For example, one hypothesized sexual role is that larger females are more capable of dismembering prey and feeding it to their young, hence female owls are larger than their male counterparts.

A different theory suggests that the size difference between male and females is due to sexual selection: since large females can choose their mate and may violently reject a male's sexual advances, smaller male owls that have the ability to escape unreceptive females are more likely to have been selected.

If the character is stable, there can be different optimums for both sexes. Selection operates on both sexes at the same time; therefore it is necessary to explain not only why one of the sexes is relatively bigger, but also why the other sex is smaller. If owls are still evolving toward smaller bodies and longer wing chords, according to V. Geodakyan's Evolutionary Theory of Sex, males should be more advanced on these characters. Males are viewed as an evolutionary vanguard of a population, and sexual dimorphism on the character, as an evolutionary "distance" between the sexes. "Phylogenetic rule of sexual dimorphism" states that if there exists a sexual dimorphism on any character, then the evolution of this trait goes from the female form toward the male one.

Hunting adaptations
All owls are carnivorous birds of prey and live on diets of insects, small rodents and lagomorphs. Some owls are also specifically adapted to hunt fish. They are very adept in hunting in their respective environments. Since owls can be found in nearly all parts of the world and across a multitude of ecosystems, their hunting skills and characteristics vary slightly from species to species, though most characteristics are shared among all species.

Flight and feathers
Most owls share an innate ability to fly almost silently and also more slowly in comparison to other birds of prey. Most owls live a mainly nocturnal lifestyle and being able to fly without making any noise gives them a strong advantage over prey alert to the slightest sound in the night. A silent, slow flight is not as necessary for diurnal and crepuscular owls given that prey can usually see an owl approaching. Owls' feathers are generally larger than the average birds' feathers, have fewer radiates, longer pennulum, and achieve smooth edges with different rachis structures. Serrated edges along the owl's remiges bring the flapping of the wing down to a nearly silent mechanism. The serrations are more likely reducing aerodynamic disturbances, rather than simply reducing noise. The surface of the flight feathers is covered with a velvety structure that absorbs the sound of the wing moving. These unique structures reduce noise frequencies above 2 kHz, making the sound level emitted drop below the typical hearing spectrum of the owl's usual prey and also within the owl's own best hearing range. This optimizes the owl's ability to silently fly to capture prey without the prey hearing the owl first as it flies, and to hear any noise the prey makes. It also allows the owl to monitor the sound output from its flight pattern.

The disadvantage of such feather adaptations for barn owls is that their feathers are not waterproof. The adaptations mean that barn owls do not use the uropygial gland, informally the "preen" or "oil" gland, as most birds do, to spread oils across their plumage through preening. This makes them highly vulnerable to heavy rain when they are unable to hunt. Historically, they would switch to hunting indoors in wet weather, using barns and other agricultural buildings, but the decline in the numbers of these structures in the 20th and 21st centuries has reduced such opportunities. The lack of waterproofing means that barn owls are also susceptible to drowning, in drinking troughs and other structures with smooth sides. The Barn Owl Trust provides advice on how this can be mitigated, by the installation of floats.

Vision
Eyesight is a particular characteristic of the owl that aids in nocturnal prey capture. Owls are part of a small group of birds that live nocturnally, but do not use echolocation to guide them in flight in low-light situations. Owls are known for their disproportionally large eyes in comparison to their skulls. An apparent consequence of the evolution of an absolutely large eye in a relatively small skull is that the eye of the owl has become tubular in shape. This shape is found in other so-called nocturnal eyes, such as the eyes of strepsirrhine primates and bathypelagic fishes. Since the eyes are fixed into these sclerotic tubes, they are unable to move the eyes in any direction. Instead of moving their eyes, owls swivel their heads to view their surroundings. Owls' heads are capable of swiveling through an angle of roughly 270°, easily enabling them to see behind them without relocating the torso. This ability keeps bodily movement at a minimum, thus reduces the amount of sound the owl makes as it waits for its prey. Owls are regarded as having the most frontally placed eyes among all avian groups, which gives them some of the largest binocular fields of vision. Owls are farsighted and cannot focus on objects within a few centimetres of their eyes. These mechanisms are only able to function due to the large-sized retinal image. Thus, the primary nocturnal function in the vision of the owl is due to its large posterior nodal distance; retinal image brightness is only maximized to the owl within secondary neural functions. These attributes of the owl cause its nocturnal eyesight to be far superior to that of its average prey.

Hearing

Owls exhibit specialized hearing functions and ear shapes that also aid in hunting. They are noted for asymmetrical ear placements on the skull in some genera. Owls can have either internal or external ears, both of which are asymmetrical. Asymmetry has not been reported to extend to the middle or internal ear of the owl. Asymmetrical ear placement on the skull allows the owl to pinpoint the location of its prey. This is especially true for strictly nocturnal species such as the barn owls Tyto or Tengmalm's owl. With ears set at different places on its skull, an owl is able to determine the direction from which the sound is coming by the minute difference in time that it takes for the sound waves to penetrate the left and right ears. The owl turns its head until the sound reaches both ears at the same time, at which point it is directly facing the source of the sound. This time difference between ears is about 30 microseconds. Behind the ear openings are modified, dense feathers, densely packed to form a facial ruff, which creates an anterior-facing, concave wall that cups the sound into the ear structure. This facial ruff is poorly defined in some species, and prominent, nearly encircling the face, in other species. The facial disk also acts to direct sound into the ears, and a downward-facing, sharply triangular beak minimizes sound reflection away from the face. The shape of the facial disk is adjustable at will to focus sounds more effectively.

The prominences above a great horned owl's head are commonly mistaken as its ears. This is not the case; they are merely feather tufts. The ears are on the sides of the head in the usual location (in two different locations as described above).

Talons
While the auditory and visual capabilities of the owl allow it to locate and pursue its prey, the talons and beak of the owl do the final work. The owl kills its prey using these talons to crush the skull and knead the body. The crushing power of an owl's talons varies according to prey size and type, and by the size of the owl. The burrowing owl (Athene cunicularia), a small, partly insectivorous owl, has a release force of only 5 N. The larger barn owl (Tyto alba) needs a force of 30 N to release its prey, and one of the largest owls, the great horned owl (Bubo virginianus), needs a force over 130 N to release prey in its talons. An owl's talons, like those of most birds of prey, can seem massive in comparison to the body size outside of flight. The Tasmanian masked owl has some of the proportionally longest talons of any bird of prey; they appear enormous in comparison to the body when fully extended to grasp prey. An owl's claws are sharp and curved. The family Tytonidae has inner and central toes of about equal length, while the family Strigidae has an inner toe that is distinctly shorter than the central one. These different morphologies allow efficiency in capturing prey specific to the different environments they inhabit.

Beak
The beak of the owl is short, curved, and downward-facing, and typically hooked at the tip for gripping and tearing its prey. Once prey is captured, the scissor motion of the top and lower bill is used to tear the tissue and kill. The sharp lower edge of the upper bill works in coordination with the sharp upper edge of the lower bill to deliver this motion. The downward-facing beak allows the owl's field of vision to be clear, as well as directing sound into the ears without deflecting sound waves away from the face.

Camouflage

The coloration of the owl's plumage plays a key role in its ability to sit still and blend into the environment, making it nearly invisible to prey. Owls tend to mimic the coloration and sometimes the texture patterns of their surroundings, the barn owl being an exception. The snowy owl (Bubo scandiacus) appears nearly bleach-white in color with a few flecks of black, mimicking their snowy surroundings perfectly, while the speckled brown plumage of the tawny owl (Strix aluco) allows it to lie in wait among the deciduous woodland it prefers for its habitat. Likewise, the mottled wood owl (Strix ocellata) displays shades of brown, tan, and black, making the owl nearly invisible in the surrounding trees, especially from behind. Usually, the only tell-tale sign of a perched owl is its vocalizations or its vividly colored eyes.

Behavior

Most owls are nocturnal, actively hunting their prey in darkness. Several types of owls are crepuscular—active during the twilight hours of dawn and dusk; one example is the pygmy owl (Glaucidium). A few owls are active during the day, also; examples are the burrowing owl (Speotyto cunicularia) and the short-eared owl (Asio flammeus).

Much of the owls' hunting strategy depends on stealth and surprise. Owls have at least two adaptations that aid them in achieving stealth. First, the dull coloration of their feathers can render them almost invisible under certain conditions. Secondly, serrated edges on the leading edge of owls' remiges muffle an owl's wing beats, allowing an owl's flight to be practically silent. Some fish-eating owls, for which silence has no evolutionary advantage, lack this adaptation.

An owl's sharp beak and powerful talons allow it to kill its prey before swallowing it whole (if it is not too big). Scientists studying the diets of owls are helped by their habit of regurgitating the indigestible parts of their prey (such as bones, scales, and fur) in the form of pellets. These "owl pellets" are plentiful and easy to interpret, and are often sold by companies to schools for dissection by students as a lesson in biology and ecology.

Breeding and reproduction
Owl eggs typically have a white color and an almost spherical shape, and range in number from a few to a dozen, depending on species and the particular season; for most, three or four is the more common number. In at least one species, female owls do not mate with the same male for a lifetime. Female burrowing owls commonly travel and find other mates, while the male stays in his territory and mates with other females.

Evolution and systematics
Recent phylogenetic studies place owls within the clade Telluraves, most closely related to the Accipitrimorphae and the Coraciimorphae, although the exact placement within Telluraves is disputed.

See below cladogram:

Cladogram of Telluraves relationships based on Braun & Kimball (2021)

Some 220 to 225 extant species of owls are known, subdivided into two families: 1. true owls or typical owls family (Strigidae) and 2. barn-owls family (Tytonidae). Some entirely extinct families have also been erected based on fossil remains; these differ much from modern owls in being less specialized or specialized in a very different way (such as the terrestrial Sophiornithidae). The Paleocene genera Berruornis and Ogygoptynx show that owls were already present as a distinct lineage some 60–57 million years ago (Mya), hence, possibly also some 5 million years earlier, at the extinction of the non-avian dinosaurs. This makes them one of the oldest known groups of non-Galloanserae landbirds. The supposed "Cretaceous owls" Bradycneme and Heptasteornis are apparently non-avialan maniraptors.

During the Paleogene, the Strigiformes radiated into ecological niches now mostly filled by other groups of birds. The owls as known today, though, evolved their characteristic morphology and adaptations during that time, too. By the early Neogene, the other lineages had been displaced by other bird orders, leaving only barn owls and typical owls. The latter at that time was usually a fairly generic type of (probably earless) owl similar to today's North American spotted owl or the European tawny owl; the diversity in size and ecology found in typical owls today developed only subsequently.

Around the Paleogene-Neogene boundary (some 25 Mya), barn owls were the dominant group of owls in southern Europe and adjacent Asia at least; the distribution of fossil and present-day owl lineages indicates that their decline is contemporary with the evolution of the different major lineages of true owls, which for the most part seems to have taken place in Eurasia. In the Americas, rather, an expansion of immigrant lineages of ancestral typical owls occurred.

The supposed fossil herons "Ardea" perplexa (Middle Miocene of Sansan, France) and "Ardea" lignitum (Late Pliocene of Germany) were more probably owls; the latter was apparently close to the modern genus Bubo. Judging from this, the Late Miocene remains from France described as "Ardea" aureliensis should also be restudied. The Messelasturidae, some of which were initially believed to be basal Strigiformes, are now generally accepted to be diurnal birds of prey showing some convergent evolution toward owls. The taxa often united under Strigogyps were formerly placed in part with the owls, specifically the Sophiornithidae; they appear to be Ameghinornithidae instead.

For fossil species and paleosubspecies of extant taxa, see the genus and species articles. For a full list of extant and recently extinct owls, see the article List of owl species.

Unresolved and basal forms (all fossil)
 * Berruornis (Late Paleocene of France) basal? Sophornithidae?
 * Strigiformes gen. et sp. indet. (Late Paleocene of Zhylga, Kazakhstan)
 * Primoptynx (Early Eocene of Wyoming, U.S.)
 * Palaeoglaux (Middle-Late Eocene of West-Central Europe) own family Palaeoglaucidae or Strigidae?
 * Palaeobyas (Late Eocene/Early Oligocene of Quercy, France) Tytonidae? Sophiornithidae?
 * Palaeotyto (Late Eocene/Early Oligocene of Quercy, France) Tytonidae? Sophiornithidae?
 * Strigiformes gen. et spp. indet. (Early Oligocene of Wyoming, U.S.)
 * Ypresiglaux (Early Eocene of Essex, United Kingdom and Virginia, U.S.)

Ogygoptyngidae

 * Ogygoptynx (Middle/Late Paleocene of Colorado, U.S.)

Protostrigidae

 * Eostrix (Early Eocene of United States, Europe, and Mongolia). E. gulottai is the smallest known fossil (or living) owl.
 * Minerva (Middle – Late Eocene of western U.S.) formerly Protostrix, includes "Aquila" ferox, "Aquila" lydekkeri, and "Bubo" leptosteus
 * Oligostrix (mid-Oligocene of Saxony, Germany)

Sophiornithidae

 * Sophiornis

Tytonidae

 * Genus Tyto – the barn owls, grass owls, and masked owls, stand up to 500 mm tall; some 15 extant species and possibly one recently extinct
 * Genus Phodilus – the bay owls, two to three extant species and possibly one recently extinct

Fossil genera Placement unresolved
 * Nocturnavis (Late Eocene/Early Oligocene) includes "Bubo" incertus
 * Selenornis (Late Eocene/Early Oligocene) – includes "Asio" henrici
 * Necrobyas (Late Eocene/Early Oligocene – Late Miocene) includes "Bubo" arvernensis and Paratyto
 * Prosybris (Early Oligocene? – Early Miocene)
 * Tytonidae gen. et sp. indet. "TMT 164" (Middle Miocene) – Prosybris?

Strigidae

Extinct genera
 * Genus Aegolius – the saw-whet owls, four species
 * Genus Asio – the eared owls, eight species
 * Genus Athene – two to four species (depending on whether the genera Speotyto and Heteroglaux are included or not)
 * Genus Bubo – the horned owls, eagle-owls and fish-owls; paraphyletic with the genera Nyctea, Ketupa, and Scotopelia, some 25 species
 * Genus Glaucidium – the pygmy owls, about 30–35 species
 * Genus Gymnasio – the Puerto Rican owl
 * Genus Gymnoglaux – the bare-legged owl or Cuban screech-owl
 * Genus Lophostrix – the crested owl
 * Genus Jubula – the maned owl
 * Genus Megascops – the screech owls, some 20 species
 * Genus Micrathene – the elf owl
 * Genus Ninox – the Australasian hawk-owls or boobooks, some 20 species
 * Genus Otus – the scops owls; probably paraphyletic, about 45 species
 * Genus Pseudoscops – the Jamaican owl
 * Genus Psiloscops – the flammulated owl
 * Genus Ptilopsis – the white-faced owls, two species
 * Genus Pulsatrix – the spectacled owls, three species
 * Genus Strix – the earless owls, about 15 species, including four previously assigned to Ciccaba
 * Genus Surnia – the northern hawk-owl
 * Genus Taenioptynx - the collared owlet
 * Genus Uroglaux – the Papuan hawk-owl
 * Genus Xenoglaux – the long-whiskered owlet
 * Genus Grallistrix – the stilt-owls, four species; prehistoric
 * Genus Ornimegalonyx – the Caribbean giant owls, one to two species; prehistoric

Fossil genera Placement unresolved
 * Mioglaux (Late Oligocene? – Early Miocene of West-Central Europe) – includes "Bubo" poirreiri
 * Intutula (Early/Middle – ?Late Miocene of Central Europe) – includes "Strix/Ninox" brevis
 * Alasio (Middle Miocene of Vieux-Collonges, France) – includes "Strix" collongensis
 * Oraristrix – the Brea owl (Late Pleistocene)
 * "Otus/Strix" wintershofensis: fossil (Early/Middle Miocene of Wintershof West, Germany) – may be close to extant genus Ninox
 * "Strix" edwardsi – fossil (Middle/Late? Miocene)
 * "Asio" pygmaeus – fossil (Early Pliocene of Odesa, Ukraine)
 * Strigidae gen. et sp. indet. UMMP V31030 (Late Pliocene) – Strix/Bubo?
 * the Ibizan owl, Strigidae gen. et sp. indet. – prehistoric

African cultures
Among the Kikuyu of Kenya, it was believed that owls were harbingers of death. If one saw an owl or heard its hoot, someone was going to die. In general, owls are viewed as harbingers of bad luck, ill health, or death. The belief is widespread even today.

Asia
In China, owls were traditionally considered to be omens of evil or misfortune. In Japan, owls are regarded as lucky, although in ancient times they were associated with death. In India, it is associated with bad luck. In Mongolia, the owl is regarded as a benign omen. In one story, Genghis Khan was hiding from enemies in a small coppice when an owl roosted in the tree above him, which caused his pursuers to think no man could be hidden there.

Hootum Pyanchar Naksha by Kaliprasanna Singha (1841–1870), first published in 1861, is a book of social commentaries influential in Bengali literature. The name literally means "Sketches by a Watching Owl".

Sumerian and ancient Semitic cultures
In Sumerian, Akkadian, and Babylonian culture, the owl was associated with Lilith. This association also occurs in the Bible (in some translations) in Isaiah 34:14.

Ancient European and modern Western culture
The modern West generally associates owls with wisdom and vigilance. This link goes back at least as far as Ancient Greece, where Athens, noted for art and scholarship, and Athena, Athens' patron goddess and the goddess of wisdom, had the owl as a symbol. Marija Gimbutas traces veneration of the owl as a goddess, among other birds, to the culture of Old Europe, long pre-dating Indo-European cultures.

T. F. Thiselton-Dyer, in his 1883 Folk-lore of Shakespeare, says that "from the earliest period it has been considered a bird of ill-omen," and Pliny tells us how, on one occasion, even Rome itself underwent a lustration, because one of them strayed into the Capitol. He represents it also as a funereal bird, a monster of the night, the very abomination of humankind. Virgil describes its death howl from the top of the temple by night, a circumstance introduced as a precursor of Dido's death. Ovid, too, constantly speaks of this bird's presence as an evil omen; and indeed the same notions respecting it may be found among the writings of most of the ancient poets." A list of "omens drear" in John Keats' Hyperion includes the "gloom-bird's hated screech." Pliny the Elder reports that owls' eggs were commonly used as a hangover cure.

One of the etymologies offered for the name of the German folk hero Till Eulenspiegel is that it means "Mirror for Owls".

Hinduism

In Hinduism, an owl is the vahana (mount) of the goddess Lakshmi, especially in the eastern region of India. Owls are considered a symbol of wealth, prosperity, wisdom, good luck, and fortune. This is the reason why Owls are seen with Lakshmi, who is also the goddess of fortune, wealth, and prosperity.

At the same time, owls are also associated with evil times in Hinduism. At times, Chamunda (fearsome form of Chandi) is depicted seated on an owl, her vahana (mount or vehicle). Hindus believe that owls are messengers of death.

Native American cultures
People often allude to the reputation of owls as bearers of supernatural danger when they tell misbehaving children, "the owls will get you", and in most Native American folklore, owls are a symbol of death.

According to the Apache and Seminole tribes, hearing owls hooting is considered the subject of numerous "bogeyman" stories told to warn children to remain indoors at night or not to cry too much, otherwise the owl may carry them away. In some tribal legends, owls are associated with spirits of the dead, and the bony circles around an owl's eyes are said to comprise the fingernails of apparitional humans. Sometimes owls are said to carry messages from beyond the grave or deliver supernatural warnings to people who have broken tribal taboos.

The Aztecs and the Maya, along with other natives of Mesoamerica, considered the owl a symbol of death and destruction. In fact, the Aztec god of death, Mictlantecuhtli, was often depicted with owls. There is an old saying in Mexico that is still in use: Cuando el tecolote canta, el indio muere ("When the owl cries/sings, the Indian dies"). The Popol Vuh, a Mayan religious text, describes owls as messengers of Xibalba (the Mayan "Place of Fright").

The belief that owls are messengers and harbingers of the dark powers is also found among the Hočągara (Winnebago) of Wisconsin. When in earlier days the Hočągara committed the sin of killing enemies while they were within the sanctuary of the chief's lodge, an owl appeared and spoke to them in the voice of a human, saying, "From now on, the Hočągara will have no luck." This marked the beginning of the decline of their tribe. An owl appeared to Glory of the Morning, the only female chief of the Hočąk nation, and uttered her name. Soon after, she died.

According to the culture of the Hopi, a Uto-Aztec tribe, taboos surround owls, which are associated with sorcery and other evils.

The Ojibwe tribes, as well as their Aboriginal Canadian counterparts, used an owl as a symbol for both evil and death. In addition, they used owls as a symbol of very high status of spiritual leaders of their spirituality.

The Pawnee tribes viewed owls as the symbol of protection from any danger within their realms.

The Puebloan peoples associated owls with Skeleton Man, the god of death and the spirit of fertility.

The Yakama tribes use an owl as a totem, to guide where and how forests and natural resources are useful with management.

Rodent control

Encouraging natural predators to control rodent population is a natural form of pest control, along with excluding food sources for rodents. Placing a nest box for owls on a property can help control rodent populations (one family of hungry barn owls can consume more than 3,000 rodents in a nesting season) while maintaining the naturally balanced food chain.

Attacks on humans
Although humans and owls frequently live together in harmony, there have been incidents when owls have attacked humans. For example, in January 2013, a man from Inverness, Scotland suffered heavy bleeding and went into shock after being attacked by an owl, which was likely a 50 cm eagle-owl. The photographer Eric Hosking lost his left eye after attempting to photograph a tawny owl, which inspired the title of his 1970 autobiography, An Eye for a Bird.

Conservation issues

Almost all owls are listed in Appendix II of the international CITES treaty (the Convention on Illegal Trade in Endangered Species of Wild Fauna and Flora) with four species listed in Appendix I. Although owls have long been hunted, a 2008 news story from Malaysia indicates that the magnitude of owl poaching may be on the rise. In November 2008, TRAFFIC reported the seizure of 900 plucked and "oven-ready" owls in Peninsular Malaysia. Said Chris Shepherd, Senior Programme Officer for TRAFFIC's Southeast Asia office, "This is the first time we know of where 'ready-prepared' owls have been seized in Malaysia, and it may mark the start of a new trend in wild meat from the region. We will be monitoring developments closely." TRAFFIC commended the Department of Wildlife and National Parks in Malaysia for the raid that exposed the huge haul of owls. Included in the seizure were dead and plucked barn owls, spotted wood owls, crested serpent eagles, barred eagles, and brown wood owls, as well as 7,000 live lizards.

In addition to hunting, other threats to owl populations are habitat loss, pesticides, viruses, and vehicle collisions.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Owl


text:
Concurrent Versions System

Concurrent Versions System (CVS, or Concurrent Versioning System) is a version control system originally developed by Dick Grune in July 1986.

CVS operates as a front end to Revision Control System (RCS), an earlier system which operates on single files. It expands upon RCS by adding support for repository-level change tracking, and a client-server model.

Released under the terms of the GNU General Public License, CVS is free software.

Design
CVS operates as a front end to Revision Control System (RCS), an older version control system that manages individual files but not whole projects. It expands upon RCS by adding support for repository-level change tracking, and a client-server model. Files are tracked using the same history format as in RCS, with a hidden directory containing a corresponding history file for each file in the repository.

CVS uses delta compression for efficient storage of different versions of the same file. This works well with large text files with few changes from one version to the next. This is usually the case for source code files. On the other hand, when CVS is told to store a file as binary, it will keep each individual version on the server. This is typically used for non-text files such as executable images where it is difficult to create compact deltas between versions.

CVS excludes symbolic links because when they are stored in a version control system they can pose a security risk. For instance, a symbolic link to a sensitive file can be stored in the repository, making the sensitive file accessible even when it is not checked in. In place of symbolic links, scripts that require certain privileges and conscious intervention to execute may be checked into CVS.

Operation
CVS labels a single project (set of related files) that it manages as a module. A CVS server stores the modules it manages in its repository. Programmers acquire copies of modules by checking out. The checked-out files serve as a working copy, sandbox or workspace. Changes to the working copy are reflected in the repository by committing them. To update is to acquire or merge the changes in the repository with the working copy.

CVS uses a client–server architecture: a server stores the current version(s) of a project and its history, and clients connect to the server in order to "check out" a complete copy of the project, work on this copy and then later "check in" their changes. CVS servers can allow "anonymous read access", wherein clients may check out and compare versions with either a blank or simple published password (e.g., "anoncvs"); only the check-in of changes requires a personal account and password in these scenarios. Several developers may work on the same project concurrently, each one editing files within their own "working copy" of the project, and sending (or checking in) their modifications to the server. To avoid conflicts, the server only accepts changes made to the most recent version of a file. Developers are therefore expected to keep their working copy up-to-date by incorporating other people's changes on a regular basis. This task is mostly handled automatically by the CVS client, requiring manual intervention only when an edit conflict arises between a checked-in modification and the yet-unchecked local version of a file. Clients can also use the "update" command to bring their local copies up-to-date with the newest version on the server. Clients can also compare versions, request a complete history of changes, or check out a historical snapshot of the project (e.g.: based on a given date). If the check-in operation succeeds, then the version numbers of all files involved automatically increment, and the server writes a user-supplied description line, the date and the author's name to its log files. CVS can also run external, user-specified log processing scripts following each commit. These scripts are installed by an entry in CVS's  file, which can trigger email notification or convert the log data into a Web-based format.

CVS can also maintain different "branches" of a project. For instance, a released version of the software project may form one branch, used for bug fixes, while a version under current development, with major changes and new features, can form a separate branch. CVS assumes that the majority of work takes place on the trunk, and that branches should generally be short-lived or historical. When used as designed, branches are easily managed and branch operations are efficient and fast.

Portability
The server software normally runs on Unix (although at least the CVSNT server also supports various flavors of Microsoft Windows), while CVS clients may run on any major operating system platform.

History
Grune recalled:

Grune publicly released the code on June 23, 1986.

The code that eventually evolved into the current version of CVS started with Brian Berliner in April 1989, with later input from Jeff Polk and many other contributors. Brian Berliner wrote a paper introducing his improvements to the CVS program—which describes how the tool was extended and used internally by Prisma, a third-party developer working on the SunOS kernel, and was released for the benefit of the community under the GPL. On November 19, 1990, CVS version 1.0 was submitted to the Free Software Foundation for development and distribution.

The latest version was released on 8 May 2008.

Adoption and successors
Over time, developers have created new version control systems based on CVS in order to add features, alter the operational model, and improve developers' productivity. CVS replacement projects include CVSNT and Subversion.

title: Concurrent Versions System


text:
CVS

CVS may refer to:

Organizations

 * CVS Health, a US pharmacy chain
 * CVS Pharmacy, a subsidiary of CVS Health (originally named the Consumer Value Stores from 1963–1969)
 * CVS Caremark, a prescription benefit management subsidiary
 * Council for Voluntary Service, England
 * Cable Video Store, former US pay-per-view service
 * CVS Ferrari, an Italian mobile handling equipment manufacturer
 * Chicago Vocational High School, US

Science

 * Cardiovascular system
 * Cyclic vomiting syndrome
 * Chorionic villus sampling, a form of prenatal testing
 * Computer vision syndrome, from excessive computer display use
 * CVS (enzyme), the enzyme responsible for the biosynthesis of valencene
 * Coversine, in mathematics

Technology

 * Computer-controlled Vehicle System, a personal rapid transit system developed in Japan
 * Concurrent Versions System, a revision control system for software development
 * Crankcase ventilation system, a system for allowing engine blow-by gases to escape

Other

 * Anti-submarine warfare carrier, US hull classification symbol CVS
 * C. V. S. Rao (1918–1993), a senior officer in the Indian police

title: CVS