Dina Asher-Smith

Dina Asher-Smith (born 4 December 1995) is a British sprinter. She is the fastest British woman in recorded history. Her parents, Julie and Winston, are both from Jamaica.She is the 2016 and 2018 European champion at 200 metres and the 2018 European champion at 100 metres. She has also won 2018 Commonwealth Games and European Championship gold medals, 2016 Olympic bronze, 2017 World Championship silver and 2013 World Championship bronze in the 4 × 100 metres relay. She holds the British records in the 100 and 200 metres, with 10.83 secs (2019) and 21.89 secs (2018).

Asher-Smith won the 2013 European Junior 200m title and the 2014 World Junior 100m title, and became the first British woman to legally run under 11 seconds for the 100 metres in July 2015.[1] She then broke Kathy Cook's 31-year-old British 200 metres record when finishing fifth at the 2015 World Championships. She also finished fifth in the 200 metres final at the 2016 Olympic Games and fourth in the 200 metres final at the 2017 World Championships.
Early life and education
Asher-Smith was born in Orpington, London, England and attended Perry Hall Primary School as a child – where she began her love for running in their weekly running club. From 2008 to 2014, she attended Newstead Wood School in Orpington.[2] In August 2014, Asher-Smith's A-Level exam results allowed her entry into King's College London to study history. Upon receiving the results, she called it "the best morning" of her life.[3][4] She graduated with a BA (Hons) in 2017.[5][6]

Asher-Smith is a member of Blackheath and Bromley Harriers Athletic Club and is coached by John Blackie. In 2009, she ran the 300 metres in 39.16 sec to set the current World age 13 best.[7] She has won the English Schools Championships 200 m title as an Under 15 (2010), U17 (2011) and U20 (2013). She won the 2013 event in a time of 23.63 seconds into a strong headwind.[7] At the 2012 World Junior Championships she finished 7th in the 200 m final in a then personal best time of 23.50. She said afterwards that "I am elated to have made the final and achieve a PB in the process, and I'm looking ahead to next year in Italy."

Junior competitions
In 2013, Asher-Smith won two gold medals at the European Junior Championships in Rieti, winning the 200 m in 23.29, before joining Yasmin Miller, Steffi Wilson and Desiree Henry to win the 4 × 100 m relay and break the UK junior record. The British squad originally finished fourth in the final but were promoted to the bronze medal after the disqualification of the French team. Asher-Smith was shortlisted for the 2013 BBC Young Sports Personality of the Year.[8] In 2014, Asher-Smith won the 100 metres at the World Junior Championships in Eugene, running 11.23 secs.

Professional athletics career
Asher-Smith was part of the winning Great Britain team for the 4 × 100 m relay at the London Grand Prix[9] and was the youngest athlete selected for the Great Britain and Northern Ireland Squad for the 2013 World Championships in Moscow. Along with teammates Annabelle Lewis, Ashleigh Nelson and Hayley Jones, she won the bronze medal in the 4 × 100 m relay.

At the 2014 European Athletics Championships in Zurich, Asher-Smith qualified for the 200 m final but pulled up with a hamstring injury on the bend.

Asher-Smith took the silver medal at the 2015 European Athletics Indoor Championships for the 60 m. It was the first time in 30 years that a British female won a medal in the event. In doing so, she equalled Jeanette Kwakye's British record of 7.08 s and, being 19 years old, became the fastest ever teenager at 60 m.[10] She first broke the British 100 metres record with 11.02 secs on 24 May 2015 in Hengelo, before becoming the first British woman to run a legal time under 11 seconds, with 10.99 secs on 24 July 2015 at the London Anniversary Games. She then finished fifth in the 2015 IAAF World Athletic Championships in Beijing with a time of 22.07, a new British record.

At the 2016 Olympic Games in Rio, Asher-Smith finished fifth in the 200 metres, in 22.31 seconds, before winning a bronze medal in the 4 x 100 metres relay in a British record of 41.77 seconds, along with her teammates Asha Philip, Desiree Henry and Daryll Neita.[11]

On 17 February 2017, Asher-Smith broke her foot in a training accident,[12] but still managed to secure fourth place in the women's 200m[13] and a silver medal as part of the Great Britain 4 × 100 m relay later that year at the 2017 IAAF World Athletics Championships in London.

Asher-Smith went to Australia early to train and get used to the conditions prior to the 2018 Commonwealth Games, Gold Coast, Australia. She qualified for the final, and came away with a Commonwealth bronze medal with a time off 22.29 seconds. England ladies (including Asher-Smith) qualified for the 4x100 m relay final, where they won gold in a time of 42.46 seconds, beating one of the favorites, Jamaica.[14]

At the 2018 European Championships in Berlin, Asher-Smith won both the 100m[15] and 200m metres titles, improving her British records to 10.85 and 21.89 secs, becoming the first British woman in history to run below 22 seconds for 200 metres, and moving to 22nd on the 200 metres world all-time list (35th at 100m). She won a third gold medal in the 4 × 100 metres relay[16]. Asher-Smith was named women's European Athlete of the Year for her success in October.[17] Asher-Smith was later hailed by IAAF president Sebastian Coe as the next sprint sensation in athletics

Davis Cup

The Davis Cup is the premier international team event in men's tennis. It is run by the International Tennis Federation (ITF) and is contested annually between teams from competing countries in a knock-out format. It is described by the organisers as the "World Cup of Tennis", and the winners are referred to as the World Champion team.[1] The competition began in 1900 as a challenge between Great Britain and the United States. By 2016, 135 nations entered teams into the competition.[2] The most successful countries over the history of the tournament are the United States (winning 32 tournaments and finishing as runners-up 29 times) and Australia (winning 28 times, including four occasions with New Zealand as Australasia, and finishing as runners-up 19 times). The present champions are Croatia, who beat France to win their second title in 2018.

The women's equivalent of the Davis Cup is the Fed Cup. Australia, the Czech Republic, and the United States are the only countries to have held both Davis Cup and Fed Cup titles in the same year.
History

The idea for a tournament pitting the best British and Americans in competition against one another was probably first conceived by James Dwight, the first president of the U.S. National Lawn Tennis Association when it formed in 1881. Desperate to assess the development of American players against the renowned British champions, he worked tirelessly to engage British officials in a properly sanctioned match, but failed to do so. He nevertheless tried to entice top international (particularly British) talent to the U.S. and sanctioned semi-official tours of the top American players to Great Britain.[3] Diplomatic relations between Great Britain and the United Stated on the tennis front had strengthened such that, by the mid 1890s, reciprocal tours were staged annually between players of the two nations, and an ensuing friendship between American William Larned and Irishman Harold Mahony spurred efforts to formalize an official team competition between the two nations.[4]

International competitions had been staged for some time before the first Davis Cup match in 1900. From 1892, England and Ireland had been competing in an annual national-team-based competition, similar to what would become the standard Davis Cup format, mixing single and doubles matches, and in 1895 England played against France in a national team competition.[5] During Larned's tour of the British Isles in 1896, where he competed in several tournaments including the Wimbledon Championships, he was also a spectator for the annual England vs. Ireland match. He returned to exclaim that Britain had agreed to send a group of three to the US the following summer, which would represent the first British lawn tennis "team" to compete in the U.S. Coincidentally, some weeks before Larned left for his British tour, the idea for an international competition was discussed also between leading figures in American lawn tennis - one of whom was tennis journalist E.P. Fischer - at a tournament in Niagara-on-the-Lake, Ontario. Dwight F. Davis was in attendance at this tournament, and was thought to have got wind of the idea as it was discussed in the tournament's popular magazine, and Davis's name was mentioned as someone who might 'do something for the game … put up some big prize, or cup'.[6] Larned and Fischer met on several occasions that summer and discussed the idea of an international match to be held in Chicago the following summer, pitting six of the best British players against six of the best Americans, in a mixture of singles and doubles matches. This was discussed openly in two articles in the Chicago Tribune, but did not come to fruition.[7][8]

Nevertheless, the following summer, Great Britain - though not under the official auspices of the Lawn Tennis Association - sent three of its best players to compete in several US tournaments. Their relative poor performances convinced Dwight and other leading officials and figures in American lawn tennis that the time was right for a properly sanctioned international competition. This was to be staged in Newcastle in July 1898,[9] but the event never took place as the Americans could not field a sufficiently strong team. A reciprocal tour to the U.S. in 1899 amounted to just a single British player travelling overseas, as many of the players were involved in overseas armed conflicts.

It was at this juncture, in the summer of 1899, that four members of the Harvard University tennis team - Dwight Davis included - travelled across the States to challenge the best west-coast talent, and upon his return, it apparently occurred to Davis that if teams representing regions could arouse such great feelings, then why wouldn't a tennis event that pitted national teams in competition be just as successful. He approached James Dwight with the idea, which was tentatively agreed, and he ordered an appropriate sterling silver punchbowl trophy from Shreve, Crump & Low, purchasing it from his own funds for about $1,000.[10] They in turn commissioned a classically styled design from William B. Durgin's of Concord, New Hampshire, crafted by the Englishman Rowland Rhodes.[11] Beyond donating a trophy for the competition, however, Davis's involvement in the incipient development of the tournament that came to bear his name was negligible, yet a persistent myth has emerged that Davis devised both the idea for an international tennis competition and its format of mixing singles and doubles matches. Research has shown this to be a myth,[12] similar in its exaggeration of a single individual's efforts within a highly complex long-term development to the myths of William Webb Ellis and Abner Doubleday, who have both been wrongly credited with inventing rugby and baseball, respectively. Davis nevertheless went on to become a prominent politician in the United States in the 1920s, serving as US Secretary of War from 1925 to 1929 and as Governor-General of the Philippines from 1929 to 1932.

The first match, between the United States and Britain (competing as the "British Isles"), was held at the Longwood Cricket Club in Boston, Massachusetts in 1900. The American team, of which Dwight Davis was a part, surprised the British by winning the first three matches. The following year the two countries did not compete, but the US won the match in 1902 and Britain won the following four matches. By 1905 the tournament expanded to include Belgium, Austria, France, and Australasia, a combined team from Australia and New Zealand that competed together until 1914.

The tournament was initially titled the International Lawn Tennis Challenge although it soon became known as the Davis Cup, after Dwight Davis' trophy. The Davis Cup competition was initially played as a challenge cup. All teams competed against one another for the right to face the previous year's champion in the final round.

Beginning in 1923, the world's teams were split into two zones: the "America Zone" and the "Europe Zone". The winners of the two zones met in the Inter-Zonal Zone ("INZ") to decide which national team would challenge the defending champion for the cup. In 1955 a third zone, the "Eastern Zone", was added. Because there were three zones, the winner of one of the three zones received a bye in the first round of the INZ challenger rounds. In 1966, the "Europe Zone" was split into two zones, "Europe Zone A" and "Europe Zone B", so the winners of the four zones competed in the INZ challenger rounds.

From 1950 to 1967, Australia dominated the competition, winning the Cup 15 times in 18 years.[13]

Beginning in 1972, the format was changed to a knockout tournament, so that the defending champion was required to compete in all rounds, and the Davis Cup was awarded to the tournament champion.

Up until 1973, the Davis Cup had only ever been won by the United States, Great Britain/British Isles, France and Australia/Australasia. Their domination was eventually broken in 1974 when South Africa and India made the final; however the final was scratched and South Africa awarded the cup after India refused to travel to South Africa in protest of South Africa's apartheid policies. The following year saw the first actual final between two "outsider" nations, when Sweden beat Czechoslovakia 3–2, and since then, many other countries have gone on to capture the trophy.

In 1981, a tiered system of competition was created, in which the 16 best national teams compete in the World Group and all other national teams compete in one of four groups in one of three regional zones. In 1989, the tiebreak was introduced into Davis Cup competition, and from 2016 it is used in all five sets.[14]

In 2018, the ITF voted to change the format of the competition from 2019 onwards, changing it to an 18-team event to happen at the end of the season, with 71% of ITF member federations voting in favour of the change. The new format, backed by footballer Gerard Pique and Japanese businessman Hiroshi Mikitani, was likened to a world cup of tennis and was designed to be more attractive to sponsors and broadcasters. Opposing federations included those from Australia, Germany, and Great Britain. Support for the reform was also mixed among current and former players, with some such as Novak Djokovic and Rafael Nadal being in favour of the new format, but others such as Rod Laver, Lucas Pouille and Roger Federer being opposed.[15][16][17][18]

Davis Cup games have been affected by political protests several times, especially in Sweden:

The match between Sweden and Rhodesia 1968 was supposed to be played in Båstad but was moved to Bandol, France, due to protests against the Rhodesian white minority government of Ian Smith.

The Swedish government tried to stop the match between Chile and Sweden in 1975 in Båstad, due to violations of human rights in Chile. The match was played, even while 7,000 people protested against it outside.

After the 2008–2009 Israel–Gaza conflict, 6,000 people protested against Israel outside the Malmö city Davis Cup match between Sweden and Israel in March 2009.[19] The Malmö Municipality politicians were concerned about extremists, and decided due to security reasons to only let a small audience in.[20]

Format

Tournament

The 16 best national teams are assigned to the World Group and compete annually for the Davis Cup. Nations which are not in the World Group compete in one of three regional zones (Americas, Asia/Oceania, and Europe/Africa). The competition is spread over four weekends during the year. Each elimination round between competing nations is held in one of the countries, and is played as the best of five matches (4 singles, 1 doubles). The ITF determines the host countries for all possible matchups before each year's tournament.

The World Group is the top group and includes the world's best 16 national teams. Teams in the World Group play a four-round elimination tournament. Teams are seeded based on a ranking system released by the ITF, taking into account previous years' results. The defending champion and runner-up are always the top two seeds in the tournament. The losers of the first-round matches are sent to the World Group playoff round, where they play along with winners from Group I of the regional zones. The playoff round winners play in the World Group for the next year's tournament, while the losers play in Group I of their respective regional zone.

Each of the three regional zones is divided into four groups. Groups I and II play elimination rounds, with the losing teams facing relegation to the next-lower group. The teams in Groups III and those in Group IV play a round-robin tournament with promotion and relegation.

s in other cup competitions tie is used in the Davis Cup to mean an elimination round. In the Davis Cup, the word rubber means an individual match.

In the annual World Group competition, 16 nations compete in eight first-round ties; the eight winners compete in four quarterfinal ties; the four winners compete in two semifinal ties; and the two winners compete in the final tie.

Each tie consists of five rubbers, which are played in three days (usually on Friday, Saturday, and Sunday). The winner of the tie is the nation which wins three or more of the five rubbers in the tie. On the first day, the first two rubbers are singles, which are generally played by each nation's two best available singles players. On the second day, the doubles rubber is played. On the third day, the final two rubbers are typically reverse singles, in which the first-day contestants usually play again, but they swap opponents from the first day's singles rubbers. However, in certain circumstances, the team captain may replace one or two of the players who played the singles on Friday by other players who were nominated for the tie. For example, if the tie has already been decided in favour of one of the teams, it is common for younger or lower-ranked team members to play the remaining dead rubbers in order for them to gain Davis Cup experience.

Since 2011, if a nation has a winning 3–1 lead after the first reverse single match and that match has gone to four sets or more, then the remaining reverse single match which is a dead rubber is not played. All five rubbers are played if one nation has a winning 3–0 lead after the doubles match.[21]

Ties are played at a venue chosen by one of the competing countries. The right of choice is given on an alternating basis. Therefore, countries play in the country where the last tie between the teams was not held. In case the two countries have not met since 1970, lots are drawn to determine the host country.[22]

Venues in the World Group must comply with certain minimum standards, including a minimum seating capacity as follows:[23]

World Group play-offs: 4,000

World Group first round: 4,000

World Group quarterfinals: 6,000

World Group semifinals: 8,000

World Group final: 12,000

Captain

Prior to each tie, the captain (non-playing coach appointed by the national association) nominates a squad of four players and decides who will compete in the tie. On the day before play starts, the order of play for the first day is drawn at random. In the past, teams could substitute final day singles players only in case of injury or illness, verified by a doctor, but current rules permit the captain to designate any player to play the last two singles rubbers, provided that no first day matchup is repeated. There is no restriction on which of the playing team members may play the doubles rubber: the two singles players, two other players (usually doubles specialists) or a combination.

Each rubber is normally played as best of five sets. Since 2016, all sets use a tiebreak at 6–6 if necessary (formerly, the fifth set usually had no tiebreaker, so play continued until one side won by two games e.g. 10–8). However, if a team has clinched the tie before all five rubbers have been completed, the remaining rubbers may be shortened to best of three sets, with a tiebreak if necessary to decide all three sets.

In Group III and Group IV competitions, each tie consists only of three rubbers, which include two singles and one doubles rubber, which is played in a single day. The rubbers are in the best of three sets format, with a tie breaker if necessary to decide all three sets.

Glossary

Only live matches earn points; dead rubbers earn no points. If a player does not compete in the singles of one or more rounds he will receive points from the previous round when playing singles at the next tie. This last rule also applies for playing in doubles matches.[26]

1 A player who wins a singles rubber in the first day of the tie is awarded 5 points, whereas a singles rubber win in tie's last day grants 10 points for a total of 15 available points.[26]

2 For the first round only, any player who competes in a live rubber, without a win, receives 10 ranking points for participation.[26]

3 Team bonus awarded to a singles player who wins 7 live matches in a calendar year and his team wins the competition.[26]

4 Performance bonus awarded to a singles player who wins 8 live matches in a calendar year. In this case, no Team bonus is awarded.[26]

5 Team bonus awarded to an unchanged doubles team who wins 4 matches in a calendar year and his team wins the competition

Hurricane Lorenzo

The name Lorenzo has been used for four tropical cyclones in the Atlantic Ocean, replacing the name Luis after its initial and only use in 1995:

Tropical Storm Lorenzo (2001), did not threaten land.
Hurricane Lorenzo (2007), struck Mexico as a Category 1 storm.
Tropical Storm Lorenzo (2013), did not threaten land.
Hurricane Lorenzo (2019), currently active major hurricane that briefly reached Category 5 strength.

World on Fire BBC

World on Fire is a war drama miniseries written by Peter Bowker
Cast
Helen Hunt as Nancy Campbell
Lesley Manville as Robina Chase
Sean Bean as Douglas Bennett
Jonah Hauer-King as Harry Chase
Julia Brown as Lois Bennett
Ewan Mitchell as Tom Bennett
Zofia Wichłacz as Kasia Tomaszeski
Mateusz Więcławek as Grzegorz Tomaszeski
Brian J. Smith as Webster O'Connor
Parker Sawyers as Albert Fallou
Blake Harrison as Stan Raddings
Eugénie Derouand as Henriette Guilbert
Yrsa Daley-Ward as Connie Knight[1]
Borys Szyc as Konrad[2]
Johannes Zeiler as Ewe Rossler[3]
Victoria Mayer as Claudia Rossler
Production
The 7 part miniseries was commissioned by the BBC in October 2017, with Peter Bowker writing.[7] Casting began in October 2018, with Helen Hunt and Lesley Manville amongst the first additions and filming beginning in Prague.[8] Sean Bean was cast in November.[9] Filming took place in Chester in November 2018, Liverpool in March 2019 and also included other locations such as Prague , Lytham St. Annes, Wigan[10][11] and Lyme Park.

CBS 60 minutes

60 Minutes is an American news magazine and television program broadcast on the CBS television network. Debuting in 1968, the program was created by Don Hewitt, who chose to set it apart from other news programs by using a unique style of reporter-centered investigation. In 2002, 60 Minutes was ranked at No. 6 on TV Guide's 50 Greatest TV Shows of All Time[3] and in 2013, it was ranked #24 on TV Guide's 60 Best Series of All Time.[4] The New York Times has called it "one of the most esteemed news magazines on American television
The program employed a magazine format, similar to that of the Canadian program W5, which had premiered two years earlier. It pioneered many of the most important investigative journalism procedures and techniques, including re-editing interviews, hidden cameras, and "gotcha journalism" visits to the home or office of an investigative subject.[7] Similar programs sprang up in Australia and Canada during the 1970s, as well as on local television news.[7]

Initially, 60 Minutes aired as a bi-weekly show hosted by Harry Reasoner and Mike Wallace, debuting on September 24, 1968, and alternating weeks with other CBS News productions on Tuesday evenings at 10:00 p.m. Eastern Time. The first edition, described by Reasoner in the opening as a "kind of a magazine for television," featured the following segments:

A look inside the headquarters suites of presidential candidates Richard Nixon and Hubert Humphrey during their respective parties' national conventions that summer;
Commentary by European writers Malcolm Muggeridge, Peter von Zahn, and Luigi Barzini, Jr. on the American electoral system;
A commentary by political columnist Art Buchwald;
An interview with then-Attorney General Ramsey Clark about police brutality;
"A Digression," a brief, scripted piece in which two silhouetted men (one of them Andy Rooney) discuss the presidential campaign;
An abbreviated version of an Academy Award-winning short film by Saul Bass, Why Man Creates; and
A meditation by Wallace and Reasoner on the relation between perception and reality. Wallace said that the show aimed to "reflect reality".
The first "magazine-cover" chroma key was a photo of two helmeted policemen (for the Clark interview segment). Wallace and Reasoner sat in chairs on opposite sides of the set, which had a cream-colored backdrop; the more famous black backdrop (which is still used as of 2017) did not appear until the following year. The logo was in Helvetica type with the word "Minutes" spelled in all lower-case letters; the logo most associated with the show (rendered in Eurostile type with "Minutes" spelled in uppercase) did not appear until about 1974. Further, to extend the magazine motif, the producers added a "Vol. xx, No. xx" to the title display on the chroma key; modeled after the volume and issue number identifications featured in print magazines, this was used until about 1971. The trademark stopwatch, however, did not appear on the inaugural broadcast; it would not debut until several episodes later. Alpo dog food was the sole sponsor of the first program.[2]

Don Hewitt, who had been a producer of the CBS Evening News with Walter Cronkite, sought out Wallace as a stylistic contrast to Reasoner.[8] According to one historian of the show, the idea of the format was to make the hosts the reporters, to always feature stories that were of national importance but focused upon individuals involved with, or in conflict with, those issues, and to limit the reports' airtime to around 13 minutes.[8] However, the initial season was troubled by lack of network confidence, as the program did not garner ratings much higher than that of other CBS News documentaries. As a rule, during that era, news programming during prime time lost money; networks mainly scheduled public affairs programs in prime time in order to bolster the prestige of their news departments, and thus boost ratings for the regular evening newscasts, which were seen by far more people than documentaries and the like. 60 Minutes struggled under that stigma during its first three years.

Changes to 60 Minutes came fairly early in the program's history. When Reasoner left CBS to co-anchor ABC's evening newscast (he would return to CBS and 60 Minutes in 1978), Morley Safer joined the team in 1970, and he took over Reasoner's duties of reporting less aggressive stories. However, when Richard Nixon began targeting press access and reporting, even Safer, formerly the CBS News bureau chief in Saigon and London, began to do "hard" investigative reports, and during the 1970–1971 season alone 60 Minutes reported on cluster bombs, the South Vietnamese Army, draft dodgers, Nigeria, the Middle East, and Northern Ireland.[9]

Effects from the Prime Time Access Rule
By 1971, the Federal Communications Commission (FCC) introduced the Prime Time Access Rule, which freed local network affiliates in the top 50 markets (in practice, the entire network) to take a half-hour of prime time from the networks on Mondays through Saturdays and one full hour on Sundays. Because nearly all affiliates found production costs for the FCC's intended goal of increased public affairs programming very high and the ratings (and by association, advertising revenues) low, making it mostly unprofitable, the FCC created an exception for network-authored news and public affairs shows. After a six-month hiatus in late 1971, CBS found a prime place for 60 Minutes in a portion of that displaced time, 6:00 p.m. to 7:00 p.m. Eastern (5:00 p.m. to 6:00 p.m. Central Time) on Sundays in January 1972.[9]

This proved somewhat less than satisfactory, however, because in order to accommodate CBS' telecasts of late afternoon National Football League (NFL) football games, 60 Minutes went on hiatus during the fall from 1972 to 1975 (and the summer of 1972). This took place because football telecasts were protected contractually from interruptions in the wake of the infamous "Heidi Bowl" incident on NBC in November 1968. Despite the irregular scheduling, the program's hard-hitting reports attracted a steadily growing audience, particularly during the waning days of the Vietnam War and the gripping events of the Watergate scandal; at that time, few if any other major network news shows did in-depth investigative reporting to the degree carried out by 60 Minutes. Eventually, during the summers of 1973 through 1975, CBS did allow the program back onto the prime time schedule proper, on Fridays in 1973 and Sundays the two years thereafter, as a replacement for programs aired during the regular television season.

It was only when the FCC returned an hour to the networks on Sundays (for news or family programming), which had been taken away from them four years earlier, in a 1975 amendment to the Access Rule, that CBS finally found a viable permanent timeslot for 60 Minutes. When a family-oriented drama, Three for the Road, ended after a 12-week run in the fall, the newsmagazine took its place at 7:00 p.m. Eastern Time (6:00 p.m. Central) on December 7, 1975. It has aired at that time since for 42 years as of 2017, making 60 Minutes not only the longest-running prime time program currently in production, but also the television program (excluding daily programs such as evening newscasts or morning news-talk shows) broadcasting for the longest length of time at a single time period each week in U.S. television history.[citation needed]

This move, and the addition of then-White House correspondent Dan Rather to the reporting team, made the program into a strong ratings hit and, eventually, a general cultural phenomenon. This was no less than a stunning reversal of the historically poor ratings performances of documentary programs on network television. By 1976, 60 Minutes became the top-rated program on Sunday nights in the U.S. By 1979, it had achieved the #1 spot among all television programs in the Nielsen ratings, unheard of before for a news broadcast in prime time. This success translated into great profits for CBS, advertising rates went from $17,000 per 30-second spot in 1975 to $175,000 in 1982.[10]

The program sometimes does not start until after 7:00 p.m. Eastern, due largely to CBS' live broadcast of NFL games. At the conclusion of an NFL game, 60 Minutes will air in its entirety. However, on the West Coast (and all of the Mountain Time Zone), because the actual end of the live games is much earlier in the afternoon in comparison to the Eastern and Central time zones, 60 Minutes is always able to start at its normal start time of 7:00 p.m. Pacific Time, leaving affiliates free to broadcast local news, the CBS Evening News, and other local or syndicated programming leading up to 60 Minutes. The program's success has also led CBS Sports to schedule events (such as the final round of the Masters Tournament and the second round and regional final games of the NCAA Men's Basketball Tournament) leading into 60 Minutes and the rest of the network's primetime lineup, thus (again, except on the West Coast) pre-empting the Sunday editions of the CBS Evening News and affiliates' local newscasts.

Starting in the 2012–2013 season, in order to accompany a new NFL rule that the second game of an NFL doubleheader start at 4:25 p.m., CBS officially changed the start time of 60 Minutes to 7:30 p.m. Eastern time on Sundays in Eastern and Central Time Zone markets when there is an NFL doubleheader scheduled to air (there are nine doubleheaders during the NFL season – eight during the first 16 weeks of the season, and the final week) to protect against overruns. The start time remains at 7:00 p.m. Eastern time in markets where only a single game is set to air (markets that have only a 1:00 p.m. Eastern time game on single game weeks, and in markets where a home team's NFL game is on Fox at 4:05 p.m., meaning CBS cannot air a doubleheader because of restrictions imposed by the NFL).[11]

Pre-emptions since 1978
The program has rarely been pre-empted since 1978. Two notable pre-emptions occurred in 1976 and 1977, to make room for the annual telecast of The Wizard of Oz, which had recently returned to CBS after having been shown on NBC for eight years. However, CBS would, in later years, schedule the film so that it would no longer pre-empt 60 Minutes. Another exception is on years when CBS airs the Super Bowl or since 2003, alternating, odd-numbered years where the AFC Championship Game has the 6:30 p.m. Eastern start time, which is played into prime-time and followed by a special lead-out program.[citation needed]

On September 22, 2013, CBS chose to pre-empt 60 Minutes as a result of carrying the 65th Primetime Emmy Awards after an NFL doubleheader.[12]

Radio broadcast and Internet distribution
60 Minutes is also simulcast on several former CBS Radio flagship stations now owned by Entercom (such as KYW in Philadelphia, WCBS in New York City, WBBM in Chicago, WWJ in Detroit and KCBS in San Francisco) when it airs locally on their sister CBS Television Network affiliate; even in the Central and Eastern time zones, the show is aired at the top of the hour at 7:00 p.m./6:00 p.m. Central (barring local sports play-by-play pre-emptions and breaking news coverage) no matter how long the show is delayed on CBS Television, resulting in radio listeners often hearing the show on those stations ahead of the television broadcast. An audio version of each broadcast without advertising began to be distributed via podcast and the iTunes Store, starting with the September 23, 2007 broadcast.[13] Video from 60 Minutes (including full episodes) is also made available for streaming several hours after the program's initial broadcast on CBSNews.com and CBS All Access.

Format
60 Minutes consists of three long-form news stories, without superimposed graphics. There is a commercial break between two stories. Each story is introduced from a set with a backdrop resembling pages from a magazine story on the same topic. The program undertakes its own investigations and follows up on investigations instigated by national newspapers and other sources. Unlike its most famous competitor 20/20 as well as traditional local and national news programs, the 60 Minutes journalists never share the screen with (or speak to) other 60 Minutes journalists on camera at any time. This creates a strong psychological sense of intimacy between the journalist and the television viewer.

Reporting tone
60 Minutes blends the probing journalism of the seminal 1950s CBS series See It Now with Edward R. Murrow (a show for which Hewitt served as the director for its first few years) and the personality profiles of another Murrow program, Person to Person. In Hewitt's own words, 60 Minutes blends "higher Murrow" and "lower Murrow".[14]

"Point/Counterpoint" segment
For most of the 1970s, the program included Point/Counterpoint, in which a liberal and a conservative commentator debated a particular issue. This segment originally featured James J. Kilpatrick representing the conservative side and Nicholas von Hoffman[15] for the liberal, with Shana Alexander[16] taking over for von Hoffman after he departed in 1974.[15] The segment was an innovation that caught the public imagination as a live version of competing editorials. In 1979, Alexander asked Hewitt to raise the pay of $350 a week, Hewitt declined, and the segment ended.[15]

Point/Counterpoint was also lampooned by the NBC comedy series Saturday Night Live, which featured Jane Curtin and Dan Aykroyd as debaters, with Aykroyd announcing the topic, Curtin making an opening statement, then Aykroyd typically retorting with, "Jane, you ignorant slut" and Curtin with "Dan, you pompous ass".[17][18][19][20][21][22][23][24] In the 1980 film Airplane!, in which the faux Kilpatrick argues in favor of the plane crashing stating "they bought their tickets, they knew what they were getting into"; and in the earlier sketch comedy film, The Kentucky Fried Movie, where the segment was called "Count/Pointercount".

A similar concept was revived briefly in March 2003, this time featuring Bob Dole and Bill Clinton, former opponents in the 1996 presidential election. The pair agreed to do ten segments, called "Clinton/Dole" and "Dole/Clinton" in alternating weeks, but did not continue into the 2003–2004 fall television season. Reports indicated that the segments were considered too gentlemanly, in the style of the earlier "Point/Counterpoint", and lacked the feistiness of Crossfire.[25]

Andy Rooney segment
From 1978 to 2011, the program usually ended with a (usually light-hearted and humorous) commentary by Andy Rooney expounding on topics of wildly varying import, ranging from international politics, to economics, and to personal philosophy on everyday life. One recurring topic was measuring the amount of coffee in coffee cans.[26]

Rooney's pieces, particularly one in which he referred to actor Mel Gibson as a "wacko", on occasion led to complaints from viewers. In 1990, Rooney was suspended without pay for three months by then-CBS News President David Burke, because of the negative publicity around his saying that "too much alcohol, too much food, drugs, homosexual unions, cigarettes [are] all known to lead to premature death."[27] He wrote an explanatory letter to a gay organization after being ordered not to do so. After only four weeks without Rooney, 60 Minutes lost 20% of its audience. CBS management then decided that it was in the best interest of the network to have Rooney return immediately.[28]

Rooney published several books documenting his contributions to the program, including Years Of Minutes and A Few Minutes With Andy Rooney. Rooney retired from 60 Minutes, delivering his final commentary on October 2, 2011, it was his 1,097th commentary over his 34-year career on the program. He died one month later on November 4, 2011. The November 13, 2011 edition of 60 Minutes featured an hour-long tribute to Rooney and his career, and included a rebroadcast of his final commentary segment.

Opening sequence
The opening sequence features a 60 Minutes "magazine cover" with the show's trademark, an Aristo stopwatch, intercut with preview clips of the episode's stories. The sequence ends with each of the current correspondents and hosts introducing themselves. The last host who appears (currently Bill Whitaker) then says, "Those stories tonight on 60 Minutes". When Rooney was a prominent fixture, the final line was "Those stories and Andy Rooney, tonight on 60 Minutes". Before that, and whenever Rooney did not appear, the final line was "Those stories and more, tonight on 60 Minutes".

60 Minutes was the first, and remains the only, regularly scheduled program in the U.S. to never have used theme music.[citation needed] The only "theme" is the ticking of the stopwatch, which counts off each of the broadcast's titular 60 minutes, starting from zero at the beginning of each show. It is seen during the opening title sequence, before each commercial break, and at the tail-end of the closing credits, and each time it appears it displays (within reasonable accuracy) the elapsed time of the episode to that point.

On October 29, 2006, the opening sequence changed from a black background, which had been used for over a decade, to white. Also, the gray background for the Aristo stopwatch in the "cover" changed to red, the color for the title text changed to white, and the stopwatch itself changed from the diagonal position it had been oriented in for 31 years to an upright position.[citation needed]

Web content
Videos and transcripts of 60 Minutes editions, as well as clips that were not included in the broadcast are available on the program's website. In September 2010, the program launched a website called "60 Minutes Overtime", in which stories broadcast on-air are discussed in further detail.[29]

iPad content
CBS Interactive released a mobile app in 2013, "60 Minutes for iPad", which allows users to watch 60 Minutes on iPad devices and access some of the show's archival footage.

Correspondents and hosts
Current correspondents and commentators
Current hosts
Lesley Stahl (host, 1991–present, co-editor)
Scott Pelley (host, 2003–present)
Bill Whitaker (host, 2014–present)
John Dickerson (2019–present)
Current part-time correspondents
Anderson Cooper (2006–present) (also at CNN)
Norah O'Donnell (2015–present)
Sharyn Alfonsi (2015–present)
Jon Wertheim (2017–present)
Former correspondents and hosts
Former hosts
Harry Reasoner † (host, 1968–1970 and 1978–1991)
Mike Wallace † (host, 1968–2006; correspondent emeritus 2006–2008)
Morley Safer † (part-time correspondent, 1968–1970; host, 1970–2016)[30]
Dan Rather (part-time correspondent, 1968–1975; host, 1975–1981 and 2005–2006) (now at AXS TV)
Ed Bradley † (part-time correspondent, 1976–1981; host, 1981–2006)[31]
Diane Sawyer (part-time correspondent, 1981–1984; host, 1984–1989) (now at ABC News)
Meredith Vieira (part-time correspondent, 1982–1985 and 1991–1993; host, 1990–1991)
Bob Simon † (1996–2015)[32]
Christiane Amanpour (part-time correspondent, 1996–2000; host, 2000–2005)
Lara Logan (part-time correspondent, 2005–2012; host, 2012–2018)[33]
Steve Kroft (host, 1989–2019; co-editor, 2019)[34]
Former part-time correspondents
Walter Cronkite † (1968–1981)
Charles Kuralt † (1968–1979)
Roger Mudd (1968–1980) (retired)
Bill Plante (1968–1995) (retired)
Eric Sevareid † (1968–1969)
John Hart (1969–1975) (retired)
Bob Schieffer (1973–1996)
Morton Dean (1975–1979) (retired)
Marlene Sanders † (1978–1987)
Charles Osgood (1981–1994) (retired)
Forrest Sawyer (1985–1987)
Connie Chung (1990–1993) (retired)
Paula Zahn (1990–1999)
John Roberts (1992–2005) (now at Fox News Channel)
Russ Mitchell (1995–1998) (now at WKYC in Cleveland)
Carol Marin (1997–2002)[35]
Bryant Gumbel (1998–2002)
Katie Couric (2006–2011)
Charlie Rose (2008–2017)
Byron Pitts (2009–2013)[36] (now at ABC News)
Alison Stewart (2012)
Sanjay Gupta (2011–2014)
Oprah Winfrey (2017–2018)
Commentators
Commentators for 60 Minutes have included:

James J. Kilpatrick † (conservative debater, 1971–1979)
Nicholas von Hoffman † (liberal debater, 1971–1974)
Shana Alexander † (liberal debater, 1975–1979)
Andy Rooney † (commentator, 1978–2011)
Stanley Crouch (commentator, 1996)
Molly Ivins † (liberal commentator, 1996)
P. J. O'Rourke (conservative commentator, 1996)
Bill Clinton (liberal debater, 2003)
Bob Dole (conservative debater, 2003)

مؤسسة النقد

مؤسسة النقد العربي السعودي (المصرف المركزي للمملكة العربية السعودية) أنشئت في 1952. وتعرف أيضا باسم ساما (SAMA) اختصارا لـ(Saudi Arabian Monetary Authority) وهو المصرف المركزي للسعودية، وهو جهاز التنظيم الأكثر جديّة ومهنية في القطاع المصرفي في منطقة الخليج. وأفضل مدير للمخاطر على مستوى البنوك المركزية في العالم للعام 2018 ـ 2019 بحسب لجنة البنوك المركزية. محافظ المؤسسة الحالي هو أحمد بن عبد الكريم الخليفي منذ 30 رجب 1437 هـ الموافق 7 مايو 2016
تاريخ
عندما أنشئت ساما لم يكن للمملكة أي نظام مالي خاص بها. وكانت العملات الأجنبية تستعمل في التعاملات التجارية بالإضافة إلى العملة السعودية الفضية. لذلك كانت أولى مهام ساما بعد إنشائها استحداث نظام مصرفي واستصدار عملة وطنية ورقية. قامت ساما أيضا بتنمية العمل المصرفي واستصدار نظام للمصارف وتنظيم عملها. في مارس 1961 تم التحول إلى الريال السعودي. في السبعينيات والثمانينيات ركزت ساما على السيطرة على التضخم إذ إن الاقتصاد السعودي نما نموا مطردا.

نبذة تاريخية
صدر أول نظام سعودي للنقد في عام 1346 هـ (1928 م) تحت اسم (نظام النقد الحجازي النجدي) وسك بموجبه الريال العربي بحجم ووزن وعيار الريـال العثماني المجيدي الفضي الواسع التداول آنذاك ليحل محله اعتباراً من الأول من شهر شعبان عام 1346 هـ. وفي عام 1354 هـ (1935 م) قررت الحكومة سك ريال فضي جديد يحمل اسم المملكة العربية السعودية بحجم ووزن وعيار الروبية الهندية الفضية.
أنشئت مؤسسة النقد العربي السعودي في عهد جلالة الملك عبدالعزيز طيب الله ثراه بموجب مرسومين ملكيين صدرا بتاريخ 25/7/1371 هـ الموافق 20/4/1952 م الأول برقم 30/4/1/1046 وقضى بإنشاء مؤسسة النقد العربي السعودي وأن تكون مدينة جدة مقراً لها وتفتح لها فروعاً في المدن والأماكن التي تدعو إليها الحاجة. والثاني برقم 30/4/1/1047 باعتماد وثيقة النظام الأساسي لمؤسسة النقد العربي السعودي الملحقة بالمرسوم والأمر بوضعها موضع التنفيذ. وعين في 23/10/1371 هـ (15/7/1952 م) الأستاذ راسم الخالدي نائباً للمحافظ. وفي 14/11/1371 هـ (5/8/1952 م) صدر المرسومان الملكيان رقم 30/4/1/1743 ورقم 30/4/1/1744 بتعيين السيد جورج بلوارز (George A. Blowers) (أمريكي الجنسية) أول محافظ لمؤسسة النقد، والثاني بتشكيل أول مجلس إدارة للمؤسسة. وبدأت مؤسسة النقد العربي السعودي مزاولة عملها في مدينة جدة بتاريخ 14/1/1372 هـ (الموافق 4/10/1952 م).
في 26/1/1372 هـ (16/10/1952 م) صدر مرسوم ملكي باعتماد جنيه الذهب السعودي عملة رسمية للمملكة. وصدرت أول عملة ذهبية سعودية بإسم الملك عبدالعزيز في 3/2/1372 هـ (22/10/1952 م).
أفتتحت المؤسسة فرعاً في مكة المكرمة في 10/7/1372 هـ (26/3/1953 م)، وأفتتحت فرعاً في المدينة المنورة في15/12/1372 هـ (19/8/1953 م).
استقال الأستاذ راسم الخالدي من منصبه نائباً المحافظ اعتباراً من 17/9/1373 هـ (20/5/1954 م)، وعين السيد رالف ستاندش (Ralph Standish) نائباً للمحافظ اعتباراً من 10/1/1374 هـ (7/9/1954 م).
بهدف التيسير على الراغبين في أداء فريضة الحج من عناء حمل عملات معدنية ثقيلة الوزن أصدرت المؤسسة إيصالات الحجاج (الإصدار الأول) من فئة عشرة ريالات في 14/11/1372 هـ (25/7/1953 م)، وفي 15/9/1373 هـ (18/5/1954 م) طُرح الإصدار الثاني من الفئة نفسها, وفي 13/10/1373 هـ (14/6/1954 م) طُرح الإصدار الأول من فئة خمسة ريالات، وفي 23/11/1375 هـ (2/7/1956 م) طُرح الإصدار الأول من فئة ريال واحد.
صدور مرسوم ملكي في 22/2/1374 هـ (20/10/1954 م) بالموافقة على استقالة المحافظ السيد جورج بلوارز (George A. Blowers) وتعيين السيد رالف ستاندش (Ralph Standish) محافظاً للمؤسسة، وعين في 1/3/1374 هـ (29/10/1954 م) السيد معتوق حسنين نائباً للمحافظ.
أفتتحت المؤسسة فرعاً في الدمام في 10/3/ 1374 هـ (7/11/1954 م)، وفرعاً في الطائف في 8/6/1374 هـ (31/1/1955 م)، وفرعاً في الرياض في 16/6/1374 هـ (8/2/1955 م).
صدر نظام النقد الثاني ونظام مراقبة النقد في 18/12/1376 هـ (16/7/1957 م).
أصدرت مؤسسة النقد العربي السعودي عام 1376 هـ أول مسكوكات لها من فئات القرش والقرشين والأربعة قروش.
نتيجة للازمة النقدية والمالية التي واجهتها المملكة خلال الفترة 1375 هـ - 1377 هـ عدل نظام مؤسسة النقد العربي السعودي حيث صدر المرسوم الملكي رقم 23 وتاريخ 23/5/1377 هـ (الموافق 15/11/1957 م) الذي أكد على استقلالية المؤسسة وأوكل إدارتها لمجلس إدارة يشرف على عملها وأناط به مسؤولية حسن سير الإدارة وكفاية المؤسسة ومنحه كافة الصلاحيات اللازمة والملائمة لتحقيق هذا الغرض.
صدور نظام النقد الثالث في 23/5/1377 هـ (15/12/1957 م).
في عام 1377 هـ (1958 م) صدر الجنيه الذهبي السعودي باسم الملك سعود.
صدر مرسوم ملكي في 26/7/1377 هـ (15/2/1958 م) بتعيين الأستاذ عابد محمد صالح شيخ نائباً للمحافظ، وفي 28/7/1377 هـ (17/2/1958 م) صدرت موافقة جلالة الملك سعود على استقالة المحافظ رالف ستاندش (Ralph Standish).
صدر مرسوم ملكي في 29/2/1378 هـ (14/9/1958 م) بتعيين السيد أنور علي محافظاً لمؤسسة النقد اعتباراً من 12/9/1377 هـ (1/4/1958 م).
صدر نظام النقد السعودي الرابع (الحالي) في 1/7/1379 هـ (31/12/1959 م) الذي أجاز إصدار العملة الورقية الرسمية المتمتعة بصفة التداول القانوني والإبراء الكامل للديون والمدفوعات الخاصة والعامة، وحصر امتياز طبع وسك وإصدار النقد السعودي في المؤسسة وفرض تغطية كاملة للعملة المصدرة من الذهب والعملات الأجنبية القابلة للتحويل. وادخل النظام العشري للعملة بحيث قسم الريال إلى عشرين قرشاً بدلاً من اثنين وعشرين قرشاً. وأبطل نظام النقد الجديد التعامل بالجنيه السعودي والذهب وإيصالات الحجاج والريالات المعدنية.
طرحت في 1/1/1381 هـ (14/6/1961 م) أوراق نقدية رسمية من فئة ريال، وخمسة وعشرة وخمسين ومئة ريال.
صدر في عام 1381 هـ أو تقرير سنوي للمؤسسة عن عام 1380 هـ والنصف الأول من عام 1381 هـ.
في 4/12/1382 هـ (27/4/1963 م) صدر مرسوم ملكي بتعيين السيد جنيد عبد القادر باجنيد نائباً للمحافظ.
في عام 1385 هـ إنشأ المعهد المصرفي التابع للمؤسسة ومقره في جده ثم انتقل للرياض عام 1399 هـ.
صدر نظام مراقبة البنوك بالمرسوم الملكي رقم م/5 وتاريخ 22/2/1386 هـ (11/6/1966 م).
صدر قرار مجلس الوزراء في 8/1/1392 هـ (23/2/1972 م) بالموافقة على إصدار مسكوكات معدنية.
صدر مرسوم ملكي في 1/8/1392 هـ (09/9/1972 م) بتعيين معالي الأستاذ خالد القصيبي نائباً للمحافظ.
في 13/7/1394 هـ (1/8/1984 م) صدر قرار مجلس الوزراء بعدم إصدار سجلات تجارية لمزاولة مهنة الصرافة لتتمكن اللجان المختصة من دراسة وضع الصرافة. وفي 16/2/1402 هـ (12/12/1981 م) صدر قرار معالي وزير المالية بتنظيم أعمال مهنة الصرافة وإسناد مهمة الرقابة والأشراف عليها إلى مؤسسة النقد، وتضمن القرار التوقف كلياً عن إصدار تراخيص جديدة بمزاولة أعمال الصرافة، وأن يقتصر حق مزاولة أعمال الصرافة على من سبق له الحصول على ترخيص بها من مؤسسة النقد أو على سجل تجاري يسمح له بهذه الأعمال. ونظراً لحاجة السوق السعودي إلى محلات صرافة لبيع وشراء العملات الأجنبية وكذلك حاجة الورثة للاستمرار في مزاولة نشاط الصيرفة بعد وفاة والدهم، صدر قرار مجلس الوزراء في 8/1/1430 هـ (5/1/2009 م) بإلغاء الفقرة رقم (1) من قرار مجلس الوزراء الصادر في 13/7/1394 هـ المتضمن عدم إصدار تراخيص جديدة.
صدر مرسوم ملكي في 12/11/1394 هـ (26/11/1974 م) بتعيين معالي الأستاذ عبدالعزيز القريشي محافظاً للمؤسسة أول سعودي يتبوأ هذا المنصب.
في أواخر عام 1398 هـ انتقل المركز الرئيسي للمؤسسة من جدة إلى الرياض.
أُحيل معالي الأستاذ خالد القصيبي على التقاعد بموجب مرسوم ملكي صدر في 8/5/1400 هـ (25/3/1980 م). وعين معالي الأستاذ حمد بن سعود السياري نائباً للمحافظ بموجب مرسوم ملكي صدر في اليوم نفسه.
صدر أمر ملكي في 14/6/1403 هـ (28/3/1983 م) بالموافقة على إعفاء معالي الأستاذ عبد العزيز القريشي من منصبه بناء على طلبه اعتباراً من الأول من رجب 1403 هـ. وصدر مرسوم ملكي في اليوم نفسه بتكليف الأستاذ حمد السياري القيام بأعمال المحافظ إضافة إلى عمله.
كونت في عام 1405 هـ (1984 م) لجنة وزارية من وزارة المالية والاقتصاد الوطني ووزارة التجارة ومؤسسة النقد العربي السعودي بهدف تنظيم وتطوير سوق الأسهم. وأوكل لمؤسسة النقد العربي السعودي مهمة تشغيل وتنظيم أعمال السوق اليومية. وفي العام نفسه أسست البنوك العاملة في المملكة وبمبادرة من مؤسسة النقد شركة تسجيل الأسهم السعودية بهدف تسوية المعاملات المتعلقة بالأسهم.
بدء العمل رسمياً بالمبنى الجديد للمركز الرئيسي للمؤسسة بتاريخ 16/12/1405 هـ (1/9/1985 م).
صدر أمر ملكي في 16/1/1406 هـ (30/9/1985 م) بتعيين معالي الأستاذ حمد السياري محافظاً لمؤسسة النقد.
صدر في 1/7/1407 هـ (1/3/1987 م) أمر ملكي بتشكيل لجنة في مؤسسة النقد من ثلاثة أشخاص من ذوي الاختصاص لدراسة القضايا بين البنوك وعملائها باسم لجنة تسوية المنازعات المصرفية.
في 22/10/1408 هـ (6/6/1988 م) صدر أمر ملكي بتعيين معالي الدكتور احمد بن عبد الله المالك نائباً للمحافظ.
في رمضان 1410 هـ (أبريل 1990 م) أنشأت مؤسسة النقد شبكة المدفوعات السعودية (SPAN) بهدف تشجيع التعامل الإلكتروني مع النظام المصرفي.
صدر أمر ملكي في 28/2/1416 هـ (26/7/1995 م) بتعيين معالي الدكتور إبراهيم بن عبد العزيز العساف نائباً للمحافظ، وبقي معاليه في هذا المنصب حتى25/5/1416 هـ (19/10/1995 م) حيث عين معاليه وزير دولة وعضو في مجلس الوزراء.
صدر أمر ملكي في 22/6/1416 هـ (15/11/1995 م) بتعيين معالي الدكتور محمد بن سليمان الجاسر نائباً للمحافظ.
في 18/1/1418 هـ (14/5/1997 م) بدأ تشغيل النظام السعودي للتحويلات المالية السريعة المعروف باسم "سريع".
في 21/7/1420 هـ (30/10/1999 م) صدر قرار معالي وزير المالية الذي أوكل لمؤسسة النقد العربي السعودي مهمة الترخيص لشركات التأجير التمويلي وكذلك مراقبتها والإشراف عليها.
أُسندت مهمة الإشراف على قطاع التأمين إلى مؤسسة النقد بموجب المرسوم الملكي الصادر بتاريخ 2/6/1424 هـ (31/7/2003 م) القاضي بالموافقة على نظام مراقبة شركات التأمين التعاوني.
انتقل الإشراف على سوق الأسهم من مؤسسة النقد إلى هيئة السوق المالية اعتباراً من13/5/1425 هـ (1/7/2004 م) بعد صدور المرسوم الملكي بتكوين مجلس هيئة السوق المالية في 1/7/2004 م.
في 19/8/1425 هـ (3/10/2004 م) تم البدء بتشغيل نظام سداد للمدفوعات، وهو نظام يعمل وسيطاً بين الجهات المفوترة والمصارف المحلية، مما يسهل ويسرع عملية الدفع الإلكتروني عبر جميع القنوات المصرفية بالمملكة، بما في ذلك أجهزة الصرف الآلي، والهاتف المصرفي، والإنترنت المصرفية.
صدر أمر ملكي في 19/2/1430 هـ (14/2/2009) بتعيين معالي الدكتور محمد بن سليمان الجاسر محافظاً لمؤسسة النقد اعتباراً من 3/3/1430 هـ (28/2/2009 م).
صدر أمر ملكي في 9/9/1430 هـ (30/8/2009 م) بتعيين معالي الدكتور عبد الرحمن بن عبدالله الحميدي نائباً للمحافظ.
صدر أمر ملكي في 18/1/1433 ه (13/12/2011 م) بتعيين معالي الدكتور فهد بن عبدالله المبارك محافظاً لمؤسسة النقد العربي السعودي.
صدر أمر ملكي في 22/9/1435 هـ (20/7/2014 ) بتعيين معالي الأستاذ عبدالعزيز بن صالح الفريح نائباً للمحافظ على المرتبة الممتازة.
أطلقت مؤسسة النقد في فبراير 2019، برنامج "تنفيذ" وهو يهدف إلى الربط الإلكتروني المباشر بين الأنظمة التقنية للجهات الحكومية، والأنظمة التقنية للبنوك في المملكة.
مهام
القيام بأعمال مصرف الحكومة.
سك وطبع العملة الوطنية الريال السعودي ودعم النقد السعودي وتثبيت قيمته الداخلية والخارجية وتقوية غطاء النقد.
إدارة احتياطيات المملكة من النقد الأجنبي.
إدارة السياسة النقدية للمحافظة على استقرار الأسعار وأسعار الصرف. 
تشجيع نمو النظام المالي وضمان سلامته.
مراقبة المصارف التجارية وأعمال مبادلة العملات.
مراقبة شركات التأمين التعاوني وشركات المهن الحرة المتعلقة بالتأمين. 
مراقبة شركات التمويل.
مراقبة شركات المعلومات الائتمانية.
محافظو المؤسسة
معالي السيد جورج أ. بلوارز (1952 - 1954)
معالي السيد رالف ستانديش (1954 – 1958)
معالي السيد أنور علي (1958 - 1974)
معالي الأستاذ عبد العزيز القريشي (1974 - 1983)
معالي الأستاذ حمد بن سعود السياري (1984 - 2009)
معالي الدكتور محمد بن سليمان الجاسر (2009 - 2011)
معالي الدكتور فهد بن عبد الله المبارك (2011 - 2016)
معالي الدكتور أحمد بن عبد الكريم الخليفي (2016 - الآن)
نواب محافظو المؤسسة
معالي الأستاذ راسم الخالدي (1952-1954)
معالي السيد رالف ستاندش (9/1954-10/1954)
معالي السيد معتوق حسنين (1954-1958)
معالي الأستاذ عابد محمد صالح شيخ (1958-1963)
معالي السيد جنيد عبد القادر باجنيد (1963-1972)
معالي الأستاذ خالد القصيبي (1972–1980)
معالي الأستاذ حمد بن سعود السياري نائباً للمحافظ (1980-1985): ظل المنصب شاغرامن 1985 إلى 1988
معالي الدكتور احمد بن عبد الله المالك (1988-1995)
معالي الدكتور إبراهيم بن عبد العزيز العساف (7/1995-10/1995):لتعيينه وزير دولة وعضو مجلس الوزراء
معالي الدكتور محمد بن سليمان الجاسر (1995-2009)
معالي الدكتور عبد الرحمن بن عبد الله الحميدي (2009-2013)
معالي الأستاذ عبدالعزيز بن صالح الفريح (2014-2018)

Cbs

CBS (an initialism of the network's former name, the Columbia Broadcasting System) is an American English language commercial broadcast television and radio network that is a flagship property of CBS Corporation. The company is headquartered at the CBS Building in New York City with major production facilities and operations in New York City (at the CBS Broadcast Center) and Los Angeles (at CBS Television City and the CBS Studio Center).

CBS is sometimes referred to as the Eye Network, in reference to the company's iconic symbol, in use since 1951. It has also been called the "Tiffany Network", alluding to the perceived high quality of CBS programming during the tenure of William S. Paley.[1] It can also refer to some of CBS's first demonstrations of color television, which were held in a former Tiffany & Co. building in New York City in 1950.[2]

The network has its origins in United Independent Broadcasters Inc., a collection of 16 radio stations purchased by Paley in 1928 and renamed the Columbia Broadcasting System.[3] 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. In 1974 CBS dropped its former full name and became known simply as CBS, Inc. The Westinghouse Electric Corporation acquired the network in 1995, renamed its corporate entity to the current CBS Broadcasting, Inc. in 1997, and eventually adopted the name of the company it had acquired to become CBS Corporation. In 2000 CBS came under the control of Viacom, which was formed as a spin-off of CBS in 1971. In late 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 television network at its core. CBS Corporation is controlled by Sumner Redstone through National Amusements, which also controls the current Viacom.

CBS formerly operated the CBS Radio network until 2017, when it merged its radio division with Entercom. Prior to then, CBS Radio mainly provided news and features content for its portfolio owned-and-operated radio stations in large and mid-sized markets, and affiliated radio stations in various other markets. While CBS Corporation shareholders own a 72% stake in Entercom, CBS no longer owns or operates any radio stations directly, though CBS 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 more than 240 owned-and-operated, and affiliated television stations throughout the United States; some of them are also available in Canada via pay-television providers or in border areas over-the-air. The company ranked 197th on the 2018 Fortune 500 of the largest United States corporations by revenue.[4] On August 13, 2019, CEO Shari Redstone announced that Viacom and CBS have agreed to a merger, reuniting the two media giants after 14 years
Early radio years
The origins of CBS date back to January 27, 1927, with the creation of the "United Independent Broadcasters" network in Chicago by New York City talent-agent Arthur Judson. The fledgling network soon needed additional investors though, and the Columbia Phonograph Company, manufacturers of Columbia Records, rescued it in April 1927; as a result, the network was renamed the "Columbia Phonographic Broadcasting System" on September 18 of that year. Columbia Phonographic went on the air on September 18, 1927, with a presentation by the Howard L. Barlow Orchestra[6] from flagship station WOR in Newark, New Jersey, and fifteen affiliates.[7]

Operational costs were steep, particularly the payments to AT&T for use of its land lines, and by the end of 1927, Columbia Phonograph wanted out.[8] In early 1928 Judson sold the network to brothers Isaac and Leon Levy, owners of the network's Philadelphia affiliate WCAU, and their partner Jerome Louchheim. None of the three were interested in assuming day-to-day management of the network, so they installed wealthy 26-year-old William S. Paley, son of a Philadelphia cigar family and in-law of the Levys, as president. With the record company out of the picture, Paley quickly streamlined the corporate name to "Columbia Broadcasting System".[8] He believed in the power of radio advertising since his family's "La Palina" cigars had doubled their sales after young William convinced his elders to advertise on radio.[9] By September 1928, Paley bought out the Louchhheim share of CBS and became its majority owner with 51% of the business.[10]

Turnaround: Paley's first year
During Louchheim's brief regime, Columbia paid $410,000 to A.H. Grebe's Atlantic Broadcasting Company for a small Brooklyn station, WABC (no relation to the current WABC), which would become the network's flagship station. WABC was quickly upgraded, and the signal relocated to 860 kHz.[11] The physical plant was relocated also – to Steinway Hall on West 57th Street in Manhattan, where much of CBS's programming would originate. By the turn of 1929, the network could boast to sponsors of having 47 affiliates.[10]

Paley moved right away to put his network on a firmer financial footing. In the fall of 1928 he entered into talks with Adolph Zukor of Paramount Pictures, who planned to move into radio in response to RCA's forays into motion pictures with the advent of talkies.[12] The deal came to fruition in September 1929: Paramount acquired 49% of CBS in return for a block of its stock worth $3.8 million at the time.[9] The agreement specified that Paramount would buy that same stock back by March 1, 1932, for a flat $5 million, provided CBS had earned $2 million during 1931 and 1932.[12] For a brief time there was talk that the network might be renamed "Paramount Radio", but it only lasted a month – the 1929 stock market crash sent all stock value tumbling. It galvanized Paley and his troops, who "had no alternative but to turn the network around and earn the $2,000,000 in two years.... This is the atmosphere in which the CBS of today was born."[12] The near-bankrupt movie studio sold its CBS shares back to CBS in 1932.[13] In the first year of Paley's watch, CBS's gross earnings more than tripled, going from $1.4 million to $4.7 million.
Much of the increase was a result of Paley's second upgrade to the CBS business plan – improved affiliate relations. There were two types of program at the time: sponsored and sustaining, i.e., unsponsored. Rival NBC paid affiliates for every sponsored show they carried and charged them for every sustaining show they ran.[15] It was onerous for small and medium stations, and resulted in both unhappy affiliates and limited carriage of sustaining programs. Paley had a different idea, designed to get CBS programs emanating from as many radio sets as possible:[14] he would give the sustaining programs away for free, provided the station would run every sponsored show, and accept CBS's check for doing so.[15] CBS soon had more affiliates than either NBC Red or NBC Blue.[16]

Paley was a man who valued style and taste,[17] and in 1929, once he had his affiliates happy and his company's creditworthiness on the mend, he relocated his concern to sleek, new 485 Madison Avenue, the "heart of the advertising community, right where Paley wanted his company to be"[18] and where it would stay until its move to its own Eero Saarinen-designed headquarters, the CBS Building, in 1965. When his new landlords expressed skepticism about the network and its fly-by-night reputation, Paley overcame their qualms by inking a lease for $1.5 million.[18]

CBS takes on the Red and the Blue (1930s)
Since NBC was the broadcast arm of radio set manufacturer RCA, its chief David Sarnoff approached his decisions as both a broadcaster and as a hardware executive; NBC's affiliates had the latest RCA equipment, and were often the best-established stations, or were on "clear channel" frequencies. Yet Sarnoff's affiliates were mistrustful of him. Paley had no such split loyalties: his – and his affiliates' – success rose and fell with the quality of CBS programming.[14]

Paley had an innate, pitch-perfect, sense of entertainment, "a gift of the gods, an ear totally pure",[19] wrote David Halberstam. "[He] knew what was good and would sell, what was bad and would sell, and what was good and would not sell, and he never confused one with another."[20] As the 1930s loomed, Paley set about building the CBS talent stable. The network became the home of many popular musical and comedy stars, among them Jack Benny, ("Your Canada Dry Humorist"), Al Jolson, George Burns & Gracie Allen, and Kate Smith, whom Paley personally selected for his family's La Palina Hour because she was not the type of woman to provoke jealousy in American wives.[21] When, on a mid-ocean voyage, Paley heard a phonograph record of a young unknown crooner, he rushed to the ship's radio room and "cabled" New York to sign Bing Crosby immediately to a contract for a daily radio show.[22]

While the CBS prime-time lineup featured music, comedy and variety shows, the daytime schedule was a direct conduit into American homes – and into the hearts and minds of American women; for many, it was the bulk of their adult human contact during the course of the day. CBS time salesmen recognized early on that this intimate connection could be a bonanza for advertisers of female-interest products.[23] Starting in 1930, astrologer Evangeline Adams would consult the heavens on behalf of listeners who sent in their birthdays, a description of their problems – and a box-top from sponsor Forhan's toothpaste.[24] The low-key murmuring of smooth-voiced Tony Wons, backed by a tender violin, "made him a soul mate to millions of women"[25] on behalf of the R. J. Reynolds tobacco company, whose cellophane-wrapped Camel cigarettes were "as fresh as the dew that dawn spills on a field of clover".[26] The most popular radio-friend of all was M. Sayle Taylor, The Voice Of Experience, though his name was never uttered on air.[26] Women mailed descriptions of the most intimate of relationship problems to The Voice in the tens of thousands per week; sponsors Musterole ointment and Haley's M–O laxative enjoyed sales increases of several hundred percent in just the first month of The Voice Of Experience's run
As the decade progressed, a new genre joined the daytime lineup: serial dramas – soap operas, so named for the products that sponsored them, by way of the ad agencies that actually produced them. Although the form, usually in quarter-hour episodes, proliferated widely in the mid- and late 1930s, they all had the same basic premise: that characters "fell into two categories: 1) those in trouble and 2) those who helped people in trouble. The helping-hand figures were usually older."[28] At CBS, Just Plain Bill brought human insight and Anacin pain reliever into households; Your Family and Mine came courtesy of Sealtest Dairy products; Bachelor's Children first hawked Old Dutch Cleanser, then Wonder Bread; Aunt Jenny's Real Life Stories was sponsored by Spry Vegetable Shortening. Our Gal Sunday (Anacin again), The Romance of Helen Trent (Angélus cosmetics), Big Sister (Rinso laundry soap) and many others filled the daytime ether.
Thanks to its daytime and primetime schedules, CBS prospered in the 1930s. In 1935 gross sales were $19.3 million, yielding a profit of $2.27 million.[30] By 1937 the network took in $28.7 million and had 114 affiliates,[14] almost all of which cleared 100% of network-fed programming, thus keeping ratings, and revenue, high. In 1938 CBS even acquired the American Record Corporation, parent of its one-time investor Columbia Records.[31]

In 1938 NBC and CBS each opened studios in Hollywood to attract the entertainment industry's top talent to their networks – NBC at Radio City on Sunset Boulevard and Vine Street, CBS two blocks away at Columbia Square.[32]

CBS launches an independent news division
The extraordinary potential of radio news showed itself in 1930, when CBS suddenly found itself with a live telephone connection to a prisoner called "The Deacon" who described, from the inside and in real time, a riot and conflagration at the Ohio Penitentiary; for CBS, it was "a shocking journalistic coup".[33] Yet as late as 1934, there was still no regularly scheduled newscast on network radio: "Most sponsors did not want network news programming; those that did were inclined to expect veto rights over it."[34] There had been a longstanding wariness between radio and the newspapers as well; the papers had rightly concluded that the upstart radio business would compete with them on two counts – advertising dollars and news coverage. By 1933 they fought back, many no longer publishing radio schedules for readers' convenience, or allowing "their" news to be read on the air for radio's profit.[35] Radio, in turn, pushed back when urban department stores, newspapers' largest advertisers and themselves owners of many radio stations, threatened to withhold their ads from print.[36] A short-lived attempted truce in 1933 even saw the papers proposing that radio be forbidden from running news before 9:30 a.m., and then only after 9:00 p.m. – and that no news story could air until it was 12 hours old
It was in this climate that Paley set out to "enhance the prestige of CBS, to make it seem in the public mind the more advanced, dignified and socially aware network".[38] He did it through sustaining programming like the New York Philharmonic, the thoughtful drama of Norman Corwin – and an in-house news division to gather and present news, free of fickle suppliers like newspapers and wire services.[38] In the fall of 1934, CBS launched an independent news division, shaped in its first years by Paley's vice-president, former New York Times columnist Ed Klauber, and news director Paul White. Since there was no blueprint or precedent for real-time news coverage, early efforts of the new division used the shortwave link-up CBS had been using for five years[39] to bring live feeds of European events to its American air.

A key early hire was Edward R. Murrow in 1935; his first corporate title was Director of Talks. He was mentored in microphone technique by Robert Trout, the lone full-time member of the News Division, and quickly found himself in a growing rivalry with boss White.[40] Murrow was glad to "leave the hothouse atmosphere of the New York office behind"[41] when he was dispatched to London as CBS's European Director in 1937, a time when the growing Hitler menace underscored the need for a robust European Bureau. Halberstam described Murrow in London as "the right man in the right place in the right era".[42] Murrow began assembling the staff of broadcast journalists – including William L. Shirer, Charles Collingwood, Bill Downs, and Eric Sevareid – who would become known as the "Murrow Boys". They were "in [Murrow's] own image, sartorially impeccable, literate, often liberal, and prima donnas all".[43] They covered history in the making, and sometimes made it themselves: on March 12, 1938, Hitler boldly annexed nearby Austria and Murrow and Boys quickly assembled coverage with Shirer in London, Edgar Ansel Mowrer in Paris, Pierre Huss in Berlin, Frank Gervasi in Rome and Trout in New York.[44] This bore the News Round-Up format, which is still ubiquitous today in broadcast news.

Murrow's nightly reports from the rooftops during the dark days of the London Blitz galvanized American listeners: even before Pearl Harbor, the conflict became "the story of the survival of Western civilization, the most heroic of all possible wars and stories. He was indeed reporting on the survival of the English-speaking peoples."[45] With his "manly, tormented voice",[46] Murrow contained and mastered the panic and danger he felt, thereby communicating it all the more effectively to his audience.[46] Using his trademark self-reference "This reporter",[47] he did not so much report news as interpret it, combining simplicity of expression with subtlety of nuance.[46] Murrow himself said he tried "to describe things in terms that make sense to the truck driver without insulting the intelligence of the professor".[46] When he returned home for a visit late in 1941, Paley threw an "extraordinarily elaborate reception"[48] for Murrow at the Waldorf-Astoria. Of course, its goal was more than just honoring CBS's latest "star" – it was an announcement to the world that Mr. Paley's network was finally more than just a pipeline carrying other people's programming: it had now become a cultural force in its own right.[49]

Once the war was over and Murrow returned for good, it was as "a superstar with prestige and freedom and respect within his profession and within his company".[50] He possessed enormous capital within that company, and as the unknown form of television news loomed large, he would spend it freely, first in radio news, then in television, taking on Senator Joseph McCarthy first, then eventually William S. Paley himself,[51] and with a foe that formidable, even the vast Murrow account would soon run dry.

Panic: The War of the Worlds radio broadcast
On October 30, 1938, CBS gained a taste of infamy when The Mercury Theatre on the Air broadcast a radio adaptation of H. G. Wells's The War of the Worlds, performed by Orson Welles. Its unique format, a contemporary version of the story in the form of faux news broadcasts, had panicked many listeners into believing invaders from Mars were actually invading and devastating Grover's Mill, New Jersey, despite three disclaimers during the broadcast that it was a work of fiction. The flood of publicity after the broadcast had two effects: an FCC ban on faux news bulletins within dramatic programming, and sponsorship for The Mercury Theatre on the Air – the former sustaining program became The Campbell Playhouse to sell soup.[52] Welles, for his part, summarized the episode as "the Mercury Theatre's own radio version of dressing up in a sheet and jumping out of a bush and saying 'Boo!'"[53]

CBS recruits Edmund A. Chester
Before the United States joined World War II, in 1940, CBS recruited Edmund A. Chester from his position as Bureau Chief for Latin America at the Associated Press to serve as Director of Latin American Relations and Director of Short Wave Broadcasts for the CBS radio network. In this capacity, Chester coordinated the development of the Network of the Americas (La Cadena de las Americas) with the Department of State, the Office for Inter-American Affairs (as chaired by Nelson Rockefeller) and Voice of America as part of President Roosevelt's support for Pan-Americanism during World War II.[54] This network provided vital news and cultural programming throughout South America and Central America during the crucial World War II era and fostered diplomatic relations between the United States and the less developed nations of the continent. It featured such popular radio broadcasts as Viva América[55] which showcased leading musical talent from both North and South America including John Serry Sr., as accompanied by the CBS Pan American Orchestra under the musical direction of Alfredo Antonini.[56] The post-war era also marked the beginning of CBS's dominance in the field of radio as well.[57]

Zenith of network radio (1940s)
As 1939 wound down, Bill Paley announced that 1940 would "be the greatest year in the history of radio in the United States."[58] He turned out to be right by more than anyone could imagine: the decade of the 1940s would indeed be the apogee of network radio by every gauge. Nearly 100% of the advertisers who made sponsorship deals in 1939 renewed their contracts for 1940; manufacturers of farm tractors made radios standard equipment on their machines.[59] Wartime rationing of paper limited the size of newspapers – and effectively advertisements – and when papers turned them away, they migrated to radio sponsorship.[60] A 1942 act by Congress made advertising expenses a tax benefit[60] and that sent even automobile and tire manufacturers – who had no products to sell since they had been converted to war production – scurrying to sponsor symphony orchestras and serious drama on radio.[61] In 1940, only one-third of radio programs were sponsored, while two-thirds were sustaining; by the middle of the decade, the statistics had swapped – two out of three shows now had cash-paying sponsors and only one-third were sustaining.[62]

The CBS of the 1940s was vastly different from that of the early days; many of the old guard veterans had died, retired or simply left the network.[63] No change was greater than that in Paley himself: he had become difficult to work for, and had "gradually shifted from leader to despot".[63] He spent much of his time seeking social connections and in cultural pursuits; his "hope was that CBS could somehow learn to run itself".[63] His brief to an interior designer remodeling his townhouse included a requirement for closets that would accommodate 300 suits, 100 shirts and had special racks for a hundred neckties
As Paley grew more remote, he installed a series of buffer executives who sequentially assumed more and more power at CBS: first Ed Klauber, then Paul Kesten, and finally Frank Stanton. Second only to Paley as the author of CBS's style and ambitions in its first half-century, Stanton was "a magnificent mandarin who functioned as company superintendent, spokesman, and image-maker".[65] He had come to the network in 1933 after sending copies of his Ph.D. thesis "A Critique Of Present Methods and a New Plan for Studying Radio Listening Behavior" to CBS top brass and they responded with a job offer.[66] He scored an early hit with his study "Memory for Advertising Copy Presented Visually vs. Orally," which CBS salesmen used to great effect bringing in new sponsors.[66] In 1946, Paley appointed Stanton as President of CBS and promoted himself to Chairman. Stanton's colorful, but impeccable, wardrobe – slate-blue pinstripe suit, ecru shirt, robin's egg blue necktie with splashes of saffron – made him, in the mind of one sardonic CBS vice-president, "the greatest argument we have for color television".[67]

Despite the influx of advertisers and their cash, or perhaps because of them, the 1940s were not without bumps for the radio networks. The biggest challenge came in the form of the FCC's chain broadcasting investigation – the "monopoly probe", as it was often called.[68] Though it started in 1938, the investigation only gathered steam in 1940 under new-broom chairman James L. Fly.[69] By the time the smoke had cleared in 1943, NBC had already spun off its Blue Network, which became the American Broadcasting Company (ABC). CBS was also hit, though not as severely: Paley's brilliant 1928 affiliate contract which had given CBS first claim on local stations' air during sponsored time – the network option – came under attack as being restrictive to local programming.[70] The final compromise permitted the network option for three out of four hours during certain dayparts, but the new regulations had virtually no practical effect, since most all stations accepted the network feed, especially the sponsored hours that earned them money.[70] Fly's panel also forbade networks from owning artists' representation bureaus, so CBS sold its bureau to Music Corporation of America and it became Management Corporation of America
On the air, the war affected almost every show. Variety shows wove patriotism through their comedy and music segments; dramas and soaps had characters join the service and go off to fight. Even before hostilities commenced in Europe, one of the most played songs on radio was Irving Berlin's "God Bless America", popularized by CBS personality Kate Smith.[72] Although an Office of Censorship sprang up within days of Pearl Harbor, censorship would be totally voluntary. A few shows submitted scripts for review; most did not.[73] The guidelines that the Office did issue banned weather reports (including announcement of sports rainouts), news about troop, ship or plane movements, war production and live man-on-the-street interviews. The ban on ad-libbing caused quizzes, game shows and amateur hours to wither for the duration.[73]

Surprising was "the granite permanence" of the shows at the top of the ratings.[74] The vaudevillians and musicians who were hugely popular after the war were the same stars who had been huge in the 1930s: Jack Benny, Bing Crosby, Burns and Allen, and Edgar Bergen all had been on the radio almost as long as there had been network radio.[75] A notable exception to this was relative newcomer Arthur Godfrey who, as late as 1942, was still doing a local morning show in Washington, D.C.[76] Godfrey, who had been a cemetery-lot salesman and a cab driver, pioneered the style of talking directly to the listener as an individual, with a singular "you" rather than phrases like "Now, folks..." or "Yes, friends...".[77] His combined shows contributed as much as 12% of all CBS revenues; by 1948, he was pulling down $500,000 a year.[76]

In 1947, Paley, still the undisputed "head talent scout" of CBS,[65] led a much-publicized "talent raid" on NBC. One day, while Freeman Gosden and Charles Correll were hard at work at NBC writing their venerable Amos and Andy show, a knock came on the door; it was Paley himself, with an astonishing offer: "Whatever you are getting now I will give you twice as much."[78] Capturing NBC's cornerstone show was enough of a coup, but Paley repeated in 1948 with longtime NBC stars Edgar Bergen, Charlie McCarthy and Red Skelton, as well as former CBS defectors Jack Benny, radio's top-rated comedian, and Burns and Allen. Paley achieved this rout with a legal agreement reminiscent of his 1928 contract that caused some NBC radio affiliates to jump ship and join CBS.[78] CBS would buy the stars' names as a property, in exchange for a large lump sum and a salary.[79] The plan relied on the vastly different tax rates between income and capital gains, so not only would the stars enjoy more than twice their income after taxes, but CBS would preclude any NBC counterattack because CBS owned the performers' names.[78]

As a result of this, Paley got in 1949 something he had sought for 20 years: CBS finally beat NBC in the ratings.[80] But it was not just to one-up rival Sarnoff that Paley led his talent raid; he, and all of radio, had their eye on the coming force that threw a shadow over radio throughout the 1940s – television.

Prime time radio gives way to television (1950s)
In the spring of 1940, CBS staff engineer Peter Goldmark devised a system for color television that CBS management hoped would leapfrog the network over NBC and its existing black-and-white RCA system.[81][82] The CBS system "gave brilliant and stable colors", while NBC's was "crude and unstable but 'compatible'".[83] Ultimately, the FCC rejected the CBS system because it was incompatible with RCA's; that, and the fact that CBS had moved to secure many UHF, not VHF, television licenses, left CBS flatfooted in the early television age.[84] In 1946, only 6,000 television sets were in operation, most in greater New York City where there were already three stations; by 1949, the number had increased to 3 million sets, and by 1951, had risen to 12 million.[85] 64 American cities had television stations, though most of them only had one.[86]

Radio continued to be the backbone of the company, at least in the early 1950s, but it was "a strange, twilight period" where some cities had often multiple television stations which siphoned the audience from radio, while other cities (such as Denver and Portland, Oregon) had no television stations at all. In those areas, as well as rural areas and some entire states, network radio remained the sole, nationally broadcast service.[75] NBC's venerable Fred Allen saw his ratings plummet when he was pitted against upstart ABC's game show Stop The Music!; within weeks, he was dropped by longtime sponsor Ford Motor Company and was shortly gone from the scene.[87] Radio powerhouse Bob Hope's ratings plunged from a 23.8 share in 1949 to 5.4 in 1953.[88] By 1952, "death seemed imminent for network radio" in its familiar form;[89] most telling of all, the big sponsors were eager for the switch.

Gradually, as the television network took shape, radio stars began to migrate to the new medium. Many programs ran on both media while making the transition. The radio soap opera The Guiding Light moved to television in 1952 and would run for another 57 years; Burns & Allen, back "home" from NBC, made the move in 1950; Lucille Ball a year later; Our Miss Brooks in 1952 (though it continued simultaneously on radio for its full television life). The high-rated Jack Benny Program ended its radio run in 1955, and Edgar Bergen's Sunday night show went off the air in 1957. When CBS announced in 1956 that its radio operations had lost money, while the television network had made money,[90] it was clear where the future lay. When the soap opera Ma Perkins went off the air on November 25, 1960, only eight, relatively minor series remained. Prime time radio ended on September 30, 1962, when Yours Truly, Johnny Dollar and Suspense aired for the final time.[91]

CBS's radio programming after 1972
The retirement of Arthur Godfrey in April 1972 marked the end of long-form programming on CBS radio; programming thereafter consisted of hourly news summaries and news features, known in the 1970s as Dimension, and commentaries, including the Spectrum series that evolved into the "Point/Counterpoint" feature on the television network's 60 Minutes and First Line Report, a news and analysis feature delivered by CBS correspondents. The network also continued to offer traditional radio programming through its weeknightly CBS Radio Mystery Theater, the lone sustained holdout of dramatic programming, from 1974 to 1982, though shorter runs were given to the General Mills Radio Adventure Theater and the Sears Radio Theater in the 1970s; otherwise, most new dramatic radio was carried on public and to some extent religious stations.[92] The CBS Radio Network continues to this day, offering hourly newscasts, including its centerpiece CBS World News Roundup in the morning and evening, weekend sister program CBS News Weekend Roundup, the news-related feature segment The Osgood File, What's In the News, a one-minute summary of one story, and various other segments such as commentary from Seattle radio personality Dave Ross, tip segments from various other sources, and technology coverage from CBS Interactive property CNET.

On November 17, 2017 CBS Radio was sold to Entercom becoming the last of the original Big Four radio network to be owned by its founding company.[93] Although the CBS parent itself ceased to exist when it was acquired by Westinghouse Electric in 1995, CBS Radio continued to be run by CBS until its sale to Entercom. Prior to its acquisition, ABC Radio was sold to Citadel Broadcasting in 2007 (and is now a part of Cumulus Media) while Mutual (now defunct) and NBC Radio were acquired by Westwood One in the 1980s (Westwood One and CBS were under common ownership from 1993 to 2007; the former would be acquired outright by Dial Global in October 2011).

Television years: expansion and growth