When was cbc news created

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Effective Jan. CBC News uses labels as signals to help readers identify the status of different kinds of stories. It operates national radio AM and FM and television networks in English and French; provides regional and local radio and television programming in both official languages; broadcasts locally produced programs in English and native languages for people living in the far North; runs a multilingual shortwave service for listeners overseas; and provides closed captioning for the deaf.

It is funded primarily by federal statutory grants currently nearly 60 per cent of its budget , but also derives revenues from commercial sponsorship, advertising, and the sale of programs to other countries. While ultimately responsible to Parliament for its overall conduct, it is independent of government control in its day-to-day operations.

From its creation in the midst of the Great Depression to the present day, it has sought to provide Canadians with a broad range of high-quality indigenous information and entertainment programming, even as its critics continue to lobby the government to abolish its funding of the Crown Corporation and level the playing field for all broadcasters.

Its schedule included concerts, comic opera, school broadcasts and historical drama, though by the end of it was still providing only three hours of programming a week nationally. Together with the example of the British Broadcasting Corporation, however, the CNR radio stations helped to make the merits of public ownership more apparent to the Royal Commission on Radio Broadcasting appointed by Mackenzie King on 6 December , under the chairmanship of Sir John Aird.

The privately owned Canadian stations were not only beginning to fall into American hands but also seemed incapable at the time of providing an adequate Canadian alternative to the programming that was flooding across the border from the United States. The moving force within the Aird Commission was Charles Bowman, editor of the Ottawa Citizen , who was convinced that public ownership of broadcasting was necessary to protect Canada against American cultural penetration.

After receiving submissions from across the country and visiting other broadcasting systems, the Aird Commission submitted its report on 11 September , less than two months before the stock market crashed. It recommended the creation of a national broadcasting company with the status and duties of a public utility and a source of public funds to develop a service capable of "fostering a national spirit and interpreting national citizenship.

Because of the economic crisis, consideration of the Aird Report was delayed, and this enabled some of the more powerful private stations and their principal lobbying agency, the Canadian Association of Broadcasters, to launch a campaign against it. They prepared pamphlets stating the case for public ownership; recruited other voluntary organizations as well as representatives from business, banking, trade unions, the farming community and educational institutions; and sent a formal delegation to meet the minister of marine and fisheries, who held the responsibility for licensing radio operations at the time.

The newly elected Conservative government of R. It established a publicly owned Canadian Radio Broadcasting Commission CRBC with a mandate to provide programs and extend coverage to all settled parts of the country. Arthur Steel. The private stations, whose fate was left in the commission's hands, helped the CRBC to get some of its programs aired nationally, but did not cooperate fully. Nonetheless, the CRBC allowed them to continue and even expand and in the end most of them outlived the commission itself.

The CRBC suffered from underfunding, an uncertain mandate, inappropriate administrative arrangements and a series of tactless political broadcasts. But as a result of further lobbying by the CRL, the Liberal government of King was persuaded to replace it with a stronger public agency rather than abandon broadcasting to the private sector. The corporation assumed the assets, liabilities and principal functions of the CRBC, including responsibility for regulating the private stations and providing indigenous programs for all Canadians.

The board was responsible for the formulation of general policy and for regulating the private stations. Its first chairman was Leonard W. Brockington , a noted lawyer from Winnipeg. In , the Broadcasting Act was amended to provide for the appointment of a full-time salaried chairman for a term of three years. On 14 November A. Davidson Dunton , who had previously served as general manager of the Wartime Information Board , was appointed to the position and served as chairman until 1 July The board was also responsible for appointing a general manager and an assistant general manager to oversee the day-to-day operations of the corporation.

A technical survey authorized by the board of governors revealed that this network provided assured coverage for only half of Canada's 11 million inhabitants and mainly for those in urban communities. It also confirmed that residents in major cities suffered from constant interference from high-powered American stations.

To reach outlying areas, the broadcaster added kW transmitters in Saskatchewan and the Maritimes in and began building low-power relay transmitters in BC, Northern Ontario and parts of New Brunswick. After the war, additional kW stations were built in Manitoba and Alberta and the power of CJBC, its flagship station in Toronto, was increased to the same wattage.

The development of indigenous programming proceeded more slowly than the extension of coverage. Considerable use was made initially of entertainment, serious music and talk programs produced in the United States and the UK. Following a program survey to determine the extent and location of Canadian talent, the broadcaster gradually created its own distinctive service, including variety programs such as The Happy Gang ; regional farm broadcasts and Harry Boyle's National Farm Radio Forum for what was still a predominantly rural nation ; women's interests programs such as Femina , as well as daily morning talks by a network of women commentators; sports broadcasts, including NHL hockey on Saturday nights with Foster Hewitt ; children's programs such as Just Mary with Mary Grannan; and extensive coverage of events such as the coronation of King George VI and Queen Elizabeth in and the royal tour of Canada in On 1 January , the broadcaster ended its reliance on news bulletins prepared by the Canadian Press by inaugurating its own News Service under chief editor Dan McArthur.

Through the objective treatment of news on its national newscast, which was read by Charles Jennings father of long-time ABC news anchor Peter Jennings and later by Lorne Greene the famous "Voice of Doom" , the CBC News Service quickly established a reputation for impartiality and integrity.

In , the broadcaster's English-language network was divided into the Dominion network composed of one CBC station and 34 affiliates and the Trans-Canada network six CBC stations and 28 affiliates.

Public affairs programming did not initially receive much emphasis on CBC Radio. Shortly before his departure as chairman, Brockington took steps to change this situation by formulating a "White Paper" on political and controversial broadcasting.

Proposals by the CBC Talks Department for a series of forums on war-related issues were rejected by general manager Murray in favour of BBC rebroadcasts and one-man pep talks intended to inspire the war effort. Murray eventually approved a discussion program called Citizens All , but demanded personal approval of speakers and subjects. It was not until Murray was replaced by J. Thomson in August that the efforts of the Talks Department to promote serious discussion on matters of public concern began to bear fruit.

The further expansion of public affairs programming after the war was accompanied by programs on the arts, such as Critically Speaking , and a significant increase in the production of Canadian drama. But the heyday of Canadian radio drama came during the early post-war period.

A repertory company of young Canadian actors was formed and a major program was launched to train young Canadian writers. During the —48 season, there were radio drama productions in English, 97 per cent of which were by Canadian writers. By this time, however, the days of radio drama were already numbered as Canadians began mounting pressure for the introduction of television, which had become available in the United States after the war. Augustin Frigon, who had served on the Aird Commission and was head of the French network before replacing Thomson as general manager in , advised the parliamentary Radio Committee that "it would be a mistake to encourage the introduction of television in Canada without sufficient financial support and, therefore, taking the risk that unsatisfactory programs would, at the start, give a poor impression of this new means of communication.

Alphonse Ouimet , was largely responsible. Arguably the single most important figure in the history of Canadian broadcasting, Ouimet deserves much of the credit for the rapid introduction and expansion of television in Canada once the government finally decided to go ahead with television and allocated funds from an excise tax on television sets for its development. But by this had increased to 60 per cent and Canada ranked second in the world in live television program production.

The advent of television created major problems for the corporation's radio service. Its audience share plummeted as creative talent and capital funds were siphoned off by the new medium, and both commercial revenues and the supply of American entertainment programs were greatly reduced. Forced to compete against local information and American pop music formats on the private stations, the radio service became increasingly demoralized and out of touch with Canadian listeners.

During the s a few steps were taken to reclaim audience loyalty: some new current affairs programs were introduced and Canadian-produced drama and serious music was increased. But it was not until the outset of the s that the broadcaster's radio service underwent the revolution that made it the pride of the corporation. In , following the submission of an exhaustive radio study that year, the radio service made a fundamental shift in its priorities.

Substantial program resources were reallocated from the evenings when television is the main attraction to the morning and afternoon periods. Local information programs were developed, block program formats were devised, and national news and current affairs were strengthened through the introduction of programs such as This Country in the Morning and As It Happens. At the same time, the potential of FM radio was finally pursued in earnest after two decades of experimentation.

Eventually, as both AM and FM coverage were extended through the Accelerated Coverage Plan that began in , two networks emerged offering distinctive program services. The AM network concentrated on news, information, light entertainment and local community affairs, while the FM network focused on serious music, drama, documentaries and the arts and culture.

During the s, a new generation of producers responded to the challenge of developing programs for the medium with energy, enthusiasm, and great creativity. Nonetheless, the remarkable programming performance of the national broadcaster during the s did not eliminate the desire of Canadians for access to American entertainment programs.