TORONTO, ONTARIO and DENVER, COLORADO - Cineplex Entertainment, Canada's largest motion picture exhibition company, and National CineMedia LLC (NCM), a venture of AMC Entertainment Inc., Cinemark USA, Inc. and Regal Entertainment Group, have entered into an exclusive agreement wherein Cineplex will be included in NCM's digital cinema technology design and procurement initiative.

Currently, NCM is in the process of developing a digital cinema system design and acquisition program that will address the functional requirements of exhibitors and create efficiencies in the implementation of the system. Cineplex will enter into this association for the purpose of investigating implementation of digital cinema in its theatres across Canada.

"Cineplex Entertainment strives to provide an exceptional entertainment experience to our guests, and this arrangement is mutually beneficial for investigating the implementation of digital cinema in Canada," said Ellis Jacob, President and Chief Executive Officer, Cineplex Entertainment. "We are looking forward to working with NCM and what the future will bring for digital cinema."

"System interoperability will be the key to the successful implementation of digital cinema in North America," said Tom Galley, chief operations and technology officer of National CineMedia. "As the largest exhibitor in Canada, Cineplex is a significant addition to NCM's team as we work towards developing a system that meets the technical and operational needs of exhibitors and is interoperable across international borders."

Also,

BCE announces completion of Bell Globemedia transaction

MONTREAL, Québec - On August 30, BCE Inc. announced that following receipt of all regulatory approvals, the transaction involving Bell Globemedia (BGM) announced on December 2, 2005 has been completed. Consistent with the ownership structure outlined at that time, BCE will continue to be an important shareholder, holding a 20% interest in BGM, down from 68.5%. As part of the transaction, BCE retains certain important rights and has entered into a commercial agreement with BGM to have access to existing and future content.

As a result of the sale of shares to The Woodbridge Company Limited, Ontario Teachers' Pension Plan and Torstar Corporation, BCE has received proceeds of approximately $685 million from its partners in BGM. BCE also received $607 million as a return of capital stemming from the recapitalization of BGM in January 2006, bringing the total cash proceeds received by BCE from this transaction to approximately $1.3 billion.

2004/2005Previous releaseCanadians showed a growing interest in watching movies at the cinema rather than in their living rooms in 2004/2005, according to data for the film distribution and video wholesaling industry.

Revenues from distributions to cinemas rose sharply, while revenues from sales of DVDs and videocassettes levelled off after surging since 2000.

At the same time, overall spending by the industry grew slightly after declining the year before. Exports of Canadian films and videos expanded, but at a much lower rate than in the previous year.

Total industry revenues climbed to more than $3.5 billion in 2004/2005, up 3.0% from the previous year. While this increase was less than the 4.8% revenue gain the year before, the profit margin improved to 22.7% from 21.8% in 2003/2004.

Revenue from distribution to movie theatres grew 16.6% to $446.3 million, while revenue from the wholesaling of DVDs and videocassettes remained unchanged at just over $1.8 billion.

Data from the Motion Picture Theatres Survey, released in The Daily on July 14, 2006, showed that movie attendance increased in 2004/2005. This was mainly because of a 20.4% rise in attendance at drive-in theatres. In addition, Canadian households spent an average of $112 on movies at the cinema in 2004/2005, up from $106 in 2003/2004, according to the Survey of Household Spending.

Foreign sales of Canadian-content films and videos reached $331.9 million in 2004/2005, up 3.4% from the previous year. (This figure excludes productions distributed directly to foreign clients by producers.)

Sales of pre-recorded videos slowing down

Sales of pre-recorded videos may have slowed down in 2004/2005, but Canadians have not given up watching their favourite movie videos at home. Sales of pre-recorded videos still account for more than half of the total revenues for distributors.

In 2004/2005, 51% of the $3.5 billion in total revenue of film and video distributors came from the wholesaling of pre-recorded videos, especially from DVDs. That was down from 53% in the previous year, but more than the 49% reported in 2002/2003.

DVDs, the favourite format in Canada, accounted for 77% of the video wholesaling market, up from 71% in 2003/2004.

In 2001, the earliest year for which data are available, less than 20% of Canadian households had DVD players, according to the Survey of Household Spending. By 2003, this proportion had surpassed the 50% mark, and by 2004 it was approaching 70%.

Products with Canadian content maintain market share with revenue growth

Canadian content products continued to show improved revenues in 2004/2005, especially in the movie theatre and the pay-TV markets. This growth in revenue was just enough to maintain their overall share of the domestic market at 11%, the same as in 2003/2004.

In the pay-TV market, Canadian content accounted for 24% of revenues, the same as in the previous year, but up from less than 22% in 2002/2003. The same was true at movie theatres where Canadian content maintained its 4% share of the market, up from 3% in 2002/2003.

In the conventional television market, Canadian content share fell from 17% in 2003/2004 to 16%, but up from the 14% share in 2002/2003.

Improved levels of profitability

Film and video distributors and video wholesalers reported total spending of more than $2.7 billion in 2004/2005, 2% higher than in 2003/2004.

The modest increase in expenses did not affect the bottom line of the industry as profits rose to $802.1 million dollars. This represented 22.7% of total revenue, up from 21.8% in 2003/2004, and a significant increase over profits of 13.4% reported in 2002/2003.

Licensing and royalty payments rose marginally from the previous year. Of the $847 million in total licensing fees and royalties paid out, 17% were for Canadian products, up from 11% in the previous year.

Available on CANSIM: tables 501-0001 to 501-0004.

Definitions, data sources and methods: survey number 2414.

Selected details from the Film, Video and Audio-visual Distribution and Videocassette Wholesaling Survey in table format (87F0010XIE, free) are now available from the Publications module of our website.

Data from the survey are also available by province and territory. Users can request special tabulations on a cost-recovery basis.

For general information, contact Client Services (toll-free 1-800-307-3382; culture@statcan.ca). To order special tables or to enquire about the concepts, methods or data quality of this release, contact Fidel Ifedi (

Film, video and audio-visual distribution and videocassette and DVD wholesaling by primary market1
	2000/2001	2003/2004	2004/2005	2003/2004 to 2004/2005
	$ million			% change
Revenue
Domestic distribution	1,070.9	1,194.5	1,256.8	5.2
Movie theatres	390.6	382.7	446.3	16.6
Pay TV	81.2	105.6	134.6	27.5
Conventional TV	409.6	433.6	404.4	-6.7
Home video	165.8	244.9	246.6	0.7
Other (educational institutions, governments, etc.)	23.7	27.7	24.9	-10.1
Foreign distribution	222.3	321.0	331.9	3.4
Total distribution revenue	1,293.1	1,515.5	1,588.7	4.8
Wholesaling videocassettes and DVDs	1,399.4	1,816.1	1,817.1	0.1
Other revenue	120.6	106.1	133.8	26.1
Total revenue	2,813.1	3,437.6	3,539.6	3.0
Expenses
Licensing costs (rights, royalties and other fees)	806.7	838.8	847.0	1.0
Videocassette and DVD wholesaling costs	660.7	745.1	673.6	-9.6
Salaries and benefits	144.6	153.2	166.9	8.9
Other costs	853.9	950.0	1,050.0	10.5
Total expenses	2,465.9	2,687.1	2,737.5	1.9
Profit (% of total revenue)	12.3	21.8	22.7
1. Figures may not add to total due to rounding

Canadian and foreign content share of revenue in the domestic market1
	2003/2004		2004/2005
	Canadian content	Foreign content	Canadian content	Foreign content
Domestic distribution	11.1	88.9	10.7	89.3
Movie theatres	4.2	95.8	4.3	95.7
Pay TV	24.0	76.0	24.0	76.0
Conventional TV	17.2	82.8	16.4	83.6
Home video	3.3	96.7	3.7	96.3
Other (educational institutions, governments, etc.)	30.3	69.7	32.7	67.3
Domestic wholesaling of videocassetes and DVDs	2.4	97.6	4.2	95.8
1. Figures may not add to total due to rounding.

Granada agrees to sell its stake, completion expected August 31

    WINNIPEG - CanWest Global Communications Corp. today
announced that Granada Media Group Limited has agreed to waive its pre-emption
right and sell its securities of CanWest Granada Media Holdings Limited
(CGMH), which owns and operates the TV3 television network in Ireland, to
funds managed by Doughty Hanson & Co. The transaction is currently expected to
be completed on or about August 31, 2006.
    CanWest had previously announced the sale of CGMH and its Irish sales
arm, CanWest Ireland Sales Limited, for an aggregate price of (euro)265.0
million (approximately C$382.8 million at current foreign currency exchange
rates, subject to certain customary price adjustments based upon the
companies' financial positions at the completion date). CanWest owns 45% of
CGMH and 100% of CanWest Ireland Sales Limited. CanWest expects to receive
approximately (euro)133.4 million (approximately C$192.7 million at current
foreign currency exchange rates) of the (euro)265 million sale proceeds
(before adjustments), which upon completion of the transaction will be used to
reduce debt and further strengthen CanWest's financial position.

    This news release contains certain comments or forward-looking statements
that are based largely upon the Company's current expectations and are subject
to certain risks, trends and uncertainties. These factors could cause actual
future performance to vary materially from current expectations. The Company
disclaims any intention or obligation to update any forward-looking statement
even if new information becomes available as a result of future events or for
any other reason.

Canada's film, video and audio-visual post-production companies posted a record $1.0 billion in operating revenues in 2004, but their profitability continued a long-term decline as rising expenses outpaced growth in revenues.

As a result, their profit margin fell from 7.3% in 2001 to only 4.3% in 2004. Profitability has been on the decline since 1999 when it peaked at 17.9%.

Exports were the sole driver of revenue growth, rising to $523 million in 2004 from $401 million in 2001.

This information comes from a 2004 census of film, video and audio-visual post production facilities in Canada. To be included, a company had to be a motion picture laboratory or post-production facility engaged in production or post-production services in 2004. These facilities performed work on a film after production was complete, such as film printing, editing, and adding subtitles or visual effects.

Revenue earned from duplication and transcoding was one of the largest streams for post-production facilities, but it fell 28.0% over this period. This compares to the 10.4% increase in total operating revenue.

Although full-time employees constituted almost 9 out of every 10 employees in 2004, their number grew by only 2.5% from 2001. Meanwhile the number of part-timers fell by 19.9%, while 23.6% fewer freelancers were hired by Canadian post-production firms.

Total wages and salaries rose 7.0% for post-production employees from 2001 to 2004. This compares with a 4.9% increase in the average weekly wage for workers in the information, culture and recreation industries combined, from December 2001 to December 2004, according to data from the Labour Force Survey.

Money paid out for interest and all other operating expenses also rose over this period, leading to a 14.1% increase in operating expenses.

Ontario firms dominated Canadian post-production, earning 60.3% of total operating revenue in 2004. Quebec firms, however, experienced the greatest growth in revenues from 2001 to 2004 (+42.1%) compared with just 0.4% growth for Ontario.

Together these two provinces earned 95.2% of total national post-production revenue. British Columbian firms earned 3.8%.

Quebec post-production firms were among the most profitable in the country in 2004 with a profit margin of 14.9%. Ontario firms had an operating loss of 1.3%.

2005Previous releaseAirtime sales by private radio broadcasters jumped by 8.7% in 2005, to $1.3 billion, the largest annual increase since 1988.

In 2005, the industry also achieved its highest profits in recent history. For each dollar of revenue, private radio stations recorded profits of 20.6 cents, before interest and taxes. Comparatively, profits had been 17.7 cents on average since the start of the current decade, and 6.6 cents during the previous decade.

Large market radio stations remained more profitable than small market radio stations. The profit margin before interest and taxes for all stations in the five main census metropolitan areas (CMA) reached 26.9% in 2005, compared to 15.1% for stations in other metropolitan areas, and 14.6% for stations operating outside metropolitan areas. In the large markets, Calgary (31.2%) and Ottawa–Gatineau (31.1%) were the most profitable, followed closely by Toronto (30.5%).

The rationalization of AM radio that started in the early 1990s continued in 2005. The number of stations and networks stood at 182, 8 less than in 2004. Despite the loss of stations, advertising revenue edged up 0.7% to $302.6 million. The AM radio segment posted profits before interest and taxes for a third consecutive year in 2005, following losses from 1990 to 2002.

The trend is quite the opposite for FM radio. The number of stations is constantly progressing, from 369 in 2004 to 393 in 2005.

For many years now, FM radio has been at the head of the industry, and 2005 was no exception to the rule. This segment's advertising revenue climbed 11.3% from the previous year to break the $1-billion mark. The profit margin before interest and taxes, at 25.4% in 2005, is similar to what was recorded over the previous five years.

The profitability of radio broadcasters varied widely depending on the broadcast language. Ethnic stations had a higher rate of growth of their air time sales (+11.9%) than their English language (+9.0%) and French language counterparts (+6.7%). Anglophone stations, however, recorded the highest profit margin (22.8%), followed by francophone stations (11.0%), and ethnic stations (9.7%). This ranking has remained unchanged in the last five years. The main comparative advantage of English language stations is that they spend a smaller proportion of their revenues on programming and administration.

MARKHAM, ON - Osprey Media Income Fund announced today that it has sold its business consisting of the publication of telephone directories to Canadian Phone Directories Inc. of Coquitlam, British Columbia. The business consists of the publication of 27 independent telephone directories under the Helpful Pages and Leader brands in selected markets across Ontario.

Michael Sifton, President and CEO of the Fund, said that the Fund had been pleased with the growth and development of its telephone publishing business but that the transaction would allow Fund management to focus on its core newspaper publishing, magazine publishing and new media interests. Terms of the transaction were not disclosed. CIBC World Markets advised Osprey with respect to this transaction.

Osprey Media Income Fund is one of Canada's leading publishers of daily and weekly newspapers, magazines and specialty publications. Its publications include 21 daily newspapers and 37 non-daily newspapers together with shopping
guides, magazines and other publications.

Michel Frappier, Chief Executive Officer of Ontario Media Development Corporation since 2002, has been seconded to the Toronto 2015 World Fair Corporation as Chief Operating Officer. He started his new duties on August 1.

Frappier stated that he leaves the OMDC well-positioned as a key growth engine for the cultural industries. During his recent tenure, OMDC received a one-time $23 million award to be allocated over a period of several years to develop strategic programs and services in support of all six sectors in Ontario's entertainment and creative cluster.

Of his new responsibilities Frappier noted, "This is a very exciting mandate and a big challenge for Toronto, as we will be competing for the bid against Moscow and Izmir, Turkey."

Kristine Murphy, Director, will serve as acting CEO.

Overall, revenue from live performances accounted for almost one-half (49%) of total revenues for for-profit and not-for-profit performing arts companies in 2004. This proportion was unchanged from 2001.

Grants, subsidies and donations from various government and private sector sources made up 27% of total revenue, down slightly from 28% three years earlier.

In total, revenues generated by both sectors surpassed an estimated $1.2 billion in 2004, up 4.2% over 2003 and 25.5% higher than in 2001. For-profit companies generated just over one-half of the total.

Theatre, the predominant industry, accounted for 28% of total revenue, followed by music groups (everything from orchestras to rock groups), which accounted for 25%. The remaining 47% was split among musical theatre including opera, dance, and a miscellaneous category that includes circuses and ice skating shows.

Distribution of revenue for performing arts by source, (survey portion only), Canada, 2004
Type of establishment	Performance revenue	Public sector	Private sector	Other revenue	Operating revenue
	%
For-profit	57	2	1	40	100
Not-for-profit	42	29	21	8	100

The nation's performing arts industries reported before-tax profits of $49.2 million in 2004, more than double the level of $21.0 million three years earlier. Their profit margin of 4.1% in 2004 was up from 2.2% in 2001.

Unless otherwise indicated, the survey data presented in the rest of this release are based on establishments whose combined revenues account for approximately 95% of the industry's total revenues. This survey portion represents just under 1,000 for-profit and almost 500 not-for-profit performing arts companies.

The relative importance of revenue sources differed greatly between the for-profit and not-for-profit sectors.

For for-profit companies, virtually all operating revenues came from earned revenues. Of every $100 in revenues, $57 came from ticket sales and $40 from sources such as merchandise sales, royalties, and rentals. But only $2 came from government funding, and only $1 from private sector donations.

In contrast, earned revenue was much lower for not-for-profit companies. Of every $100 in revenue, ticket sales generated $42 and merchandising, royalties and rentals another $8. But governments provided $29, while the private sector donated the remaining $21.

By far the greatest expenditure by for-profit and not-for-profit performing arts companies is on personnel. In 2004, payments made to performing and creative artists and all other personnel accounted for 48% of operating expenses. Nevertheless, volunteers were also key players contributing to the on-going strength of the not-for-profit performing arts in Canada. Almost 41% of the work force of those companies surveyed were volunteers.

The top 20 companies accounted for nearly half of all revenue

In 2004, the 20 top performing arts companies (both for-profit and not-for-profit) reported revenues of $554.1 million, which accounted for 46% of total revenue for the industry.

These companies reported a profit margin of 1.6%. Their ticket sales amounted to $262.9 million, or 47% of their total revenue.

Other earned revenue such as merchandise sales accounted for 38% of total revenue, while public and private sector funding accounted for 6% and 8%, respectively.

These companies had 7,724 paid personnel in 2004, and their salary, wages and benefits costs accounted for 46% of their total expenses.

Not-for-profit sector posts deficit

This sector, which cover around 500 establishments reported revenues estimated at $575.6 million, up 6.4% from 2003. Proceeds from performances, which accounted for 42% of this revenue, increased at virtually the same pace.

These companies produced 43,730 performances at home and abroad in 2004, attracting an estimated 14.2 million spectators.

But while revenue increased 6.4%, expenditures for these companies rose even more, resulting in a before-tax profit margin of negative 1.2%. All disciplines registered deficits in 2004. This loss reversed a small surplus the year before, but was still lower than the deficit of $7.5 million in 2001.

Public, private subsidies growing for not-for-profit companies

Proportionally, grants, subsidies and donations from governments and the private sector combined accounted for 49% of operating revenues for not-for-profit companies in 2004.

In total, these grants, subsidies and donations increased 5.5% over 2003. Contributions from the government sector increased 7.2%, more than twice the rate of growth of 3.2% in donations from the private sector.

Provincial governments were the biggest backers of not-for-profit companies in 2004. They accounted for $75 million in revenue, or 46% of total public sector support.

The relative shares of provincial and federal funding varied from province to province. Provincial funding was highest in Quebec, where 26% of total operating revenue came from provincial government sources, twice the national average of 13%.

On the other hand, companies from British Columbia obtained only 7% of their operating revenue from provincial sources.

Theatre largest industry in not-for-profit sector

Theatres comprise the largest segment of the not-for-profit sector, attracting over half of the total attendance. They generated revenues of $277.9 million, up 6.3% over 2003. This was 48% of the total revenues of the surveyed not-for-profit companies.

Contributing to this growth was a 4.6% increase in revenues from live performances, as their number rose 3.1%. Over three-quarters of all performances were performed at "home," with the others on tour, or at other venues.

Not-for-profit music, the second largest segment, consists primarily of orchestras, but also includes other musical groups such as chamber and choral.

These companies generated revenue of $134.7 million, down 1.7% from 2003. Even though expenses also fell 2.2%, the companies in total reported a deficit of $1.8 million in 2004.

This was significantly lower than a loss of $2.5 million in 2003 and $4.7 million in 2001. Hence, profit margins improved from a deficit of 3.8% in 2001 to a deficit of 1.3% in 2004.

Provinces: Ontario largest player

The majority (42%) of not-for-profit performing arts revenue was generated in Ontario, followed by Quebec at 27%.

Surveyed establishments in Ontario derived the largest share of their revenue from live performances and other earnings (55.8%) and relied less on revenue from private and public sector funding (44%) than did establishments in other provinces. Of all the provinces, Ontario attracted the largest audience share, with 36% of the nearly 14.2 million spectators at live performances in 2004.

These establishments also registered the highest number of performances, almost 13,400, as well as the most operating revenues. Even so, Ontario companies recorded the largest operating deficit, estimated at $6.9 million, for a profit margin of negative 2.9%. Ontario contributed the most to the national deficit of $5.7 million.

Conversely, Alberta boasted the highest profit margin of almost 2.3%. Performance revenue and other earnings generated almost 49% of the operating revenue of the performing arts companies in that province. Public and private sector support contributed the remaining 51% of total operating revenue.

For-profit sector: Profit margin improves

Total revenue in 2004 for the surveyed establishments in the for-profit sector amounted to $552.3 million, up 2.0% from the year before. Ticket sales from performances accounted for over half of these revenues.

These for-profit companies generated before-tax profits of $44.6 million in 2004 for a profit margin of 8.1%, up from 6.5% in 2003 and 4.9% in 2001.

Nearly half (48%) of their performance revenue came from touring, followed by single ticket sales at home (34%).

While theatre represented the largest component of the not-for-profit sector (as measured by revenue), it was the smallest industry of the for-profit sector at 5% of total revenues. Multi-disciplinary and other performing arts groups including circuses, variety shows, ice skating shows, and magic shows represented the largest industry group in the for-profit sector. This latter group generated 42% of the total revenues of the for-profit sector.

Rogers' 6.2 million wireless customers among more than 2 billion GSM subscribers worldwide

TORONTO - Rogers Wireless today announced that this month marks the five year anniversary of the launch of its GSM (Global System for Mobile Communications) network in Canada. Since Rogers launched the service in July 2001, the global GSM subscriber base has quadrupled from approximately 500 million to more than two billion subscribers, while the Rogers Wireless subscriber base has increased from 2.7 million to more than 6.2 million wireless voice and data customers.

The Rogers Wireless network currently reaches 94 per cent of Canada's population - offering extensive coverage in both urban centres and connecting corridors - and Rogers is the only telecommunications service provider in Canada operating on the GSM family of technologies.

"Five years on, Rogers pivotal decision to switch to GSM has served us well, especially in light of the explosive growth of GSM technology across the globe," said Rob Bruce, President of Rogers Wireless Inc. "The telecommunication business is extremely competitive, and we believe the quality and clarity of the GSM network, combined with the selection and sophistication of GSM phones and devices, provides Rogers with a very compelling competitive advantage."

Today GSM is the most widely used wireless technology in the world, with at least 690 mobile network operators offering service in 213 countries. Currently, more than 82 per cent of the world's wireless subscribers use the GSM platform, and recent statistics from Informa Telecoms and Media indicate that subscribers are picking GSM over other wireless network options at a rate of 10 to 1.

"The overwhelming majority of wireless customers are choosing GSM because it offers access to superior services as well as handsets supported by a global ecosystem of manufacturers," said Chris Pearson, President of 3G Americas. "In addition, carriers the world over continue to deploy next-generation GSM wireless data technologies such as EDGE and UMTS/HSDPA for a variety of reasons, including spectral efficiency, global roaming and the opportunity for additional revenue generation from 3G services."

Following trials earlier this year, Rogers announced that it will start to offer its HSDPA network in the Fall of 2006. This launch will make Rogers the fastest mobile wireless data network in Canada, extending its leadership as the nation's largest supplier of wireless data services to include real-time 3G voice and video calling as well as real-time video sharing.

"With our changeover to GSM, Rogers signalled its dedication to provide Canadians with a world-class wireless network replete with the most innovative handsets and voice and data services," said Bob Berner, Executive Vice President and Chief Technology Officer, Rogers Communications. "Our investment in HSDPA reinforces our continuing commitment to offer Canadians a superior network and access to some of the most innovative wireless products and services available in the world."

The results show that the CBC captured a share of only 8.8% of the total audience during this period after holding steady at around 11% during the past four years.

The decline pushed the public broadcaster from third place in overall format ranking, where it had been for three straight years, to fifth place. It was leapfrogged by country music and talk radio.

This year's survey will also be conducted during September and October, so it is not known yet whether the CBC has recouped its losses.

On the whole, radio listening remained stable in 2005 for the third straight year. Canadians on average tuned in for 19.1 hours a week last fall, over an hour below the peak of 20.5 hours in the autumn of 1999.

Residents of Prince Edward Island were the most avid listeners at 21.2 hours a week, four more hours a week than their counterparts in British Columbia, where listening was lowest.

CBC listening declined in all provinces except Quebec

Public radio's audience declined in all provinces except Quebec, where its share remained stable. That is likely because the lockout did not apply to employees in Quebec or at the Moncton office.

This entire loss was made up by commercial radio, which captured nearly 85% of the total listening time compared to 82% in 2004.

The steepest drop was registered by listeners in Prince Edward Island, who devoted 9.6% of their listening time to public radio, down substantially from 25.1% in 2004. Country music largely benefited from this situation, capturing nearly half (47.6%) of the total listening time in Prince Edward Island.

The lockout's impact was also clearly reflected along linguistic lines. The entire decrease was registered by English-language public radio.

The share for French-language public radio remained stable at 2.7% compared to 2004, while English-language public radio's share was 6.0%, down from 8.5% in 2004.

Among age groups, the oldest, aged 65 and over, posted the steepest drop in the time spent listening to the CBC. Among senior men aged 65 and over, the time spent listening to public radio went from 21.5% in 2004 to 17.2% in 2005. Among senior women, it fell from 22.9% to 18.3%.

By education level, the largest decline in CBC listening time occurred among respondents who had completed a university degree, going from 28.2% in 2004 to 22.4% in 2005. Even so, it is still clear that public radio's audience share increases with age and education level.

Adult contemporary music captured one-quarter of nation's listening time

Overall, adult contemporary music was still the first choice of Canadians on the radio. In the fall of 2005, this station format captured one-quarter of Canadians' listening time, followed by gold/oldies/rock (14.9%).

Country music and talk radio were tied for third place at just over 10% each. Third spot had been occupied since 2002 by the CBC, which fell to fifth.

Public radio's decline enabled the contemporary music format to slip into fourth place. It captured 9.5% of Canadians' listening time, up from 8.5% a year earlier.

The choice of station format also varied from province to province. Country music was first choice in Prince Edward Island, Nova Scotia, Manitoba, Saskatchewan and Alberta.

In New Brunswick, Quebec, Ontario and British Columbia, adult contemporary music was number one. Talk radio stations were the most popular among listeners in Newfoundland and Labrador.

Teen listening stable after several years of decline

Among the various groups based on age and sex, teenage males aged 12 to 17 reduced their listening time the most during the past five years.

In the fall of 2005, they reported listening for an average of 8.6 hours per week, down from 10.1 hours per week in 2001. However, their listening time appears to have stabilized in the past three years.

Alberta teens listened to radio for 10 hours a week, the highest of any province.

Contemporary music remained the first choice of teens, whose listening time for this format was unchanged (26%) compared to 2004. As a result, the increase in the listening time for this format was wholly attributable to adults aged 18 and over.

This stability was also observed among both men and women aged 18 and over. The gap between adult and teen listening times remains very wide (adult listening is more than double teen listening), but it has stopped expanding.

Average hours per week of radio listening, fall 2005
	Canada	Nfld.–Lab	P.E.I.	N.S.	N.B.	Que.			Ont.	Man.	Sask.	Alta.	B.C.
						English	French	Total
Total population	19.1	19.2	21.2	19.0	18.3	20.5	19.7	19.7	19.2	18.5	20.0	19.3	17.2
Men
18+	20.3	19.9	23.3	20.5	19.6	20.7	21.0	20.9	20.3	19.4	21.9	21.4	18.2
18 to 24	15.1	14.4	29.5	13.3	13.7	14.0	15.9	15.7	14.9	15.6	17.4	16.1	13.8
25 to 34	19.4	20.7	9.1	21.1	19.9	15.9	21.1	20.3	18.9	18.8	22.4	20.4	17.4
35 to 49	21.5	19.2	24.6	22.6	20.5	23.6	22.8	22.8	20.8	19.4	25.7	24.1	19.0
50 to 64	21.9	21.1	28.7	21.8	20.4	22.0	22.0	22.0	22.6	20.7	22.4	22.6	19.4
65+	20.3	21.7	23.4	17.8	19.7	24.0	19.0	19.6	21.6	20.9	18.1	19.5	18.9
Woman
18+	20.0	20.6	22.4	19.7	18.8	22.6	20.7	20.8	20.3	20.1	20.8	19.4	17.9
18 to 24	15.4	17.1	23.6	13.7	15.2	16.1	14.8	14.8	15.8	16.6	13.8	15.1	15.0
25 to 34	16.9	18.1	18.5	17.8	17.4	19.4	17.5	17.6	17.1	15.4	18.6	16.8	14.4
35 to 49	20.5	19.0	22.9	21.6	20.1	23.6	22.4	22.4	20.4	19.6	20.7	19.9	18.4
50 to 64	21.6	22.2	19.3	21.0	19.0	22.3	22.3	22.3	22.9	21.3	23.1	20.5	17.9
65+	22.6	26.5	28.0	19.0	19.7	26.9	22.1	22.5	22.5	25.7	23.6	23.6	22.1
Teens
12 to 17	8.6	8.1	6.2	8.2	8.3	8.6	7.3	7.5	9.1	8.2	8.5	10.0	8.5
Note: For Quebec, the language classification is based on the language spoken at home. The total column includes those respondents who did not reply to this question or who indicated a language other than English or French.

Percentage share of radio listening by format, fall 2005
	Canada	Nfld.-Lab.	P.E.I.	N.S.	N.B.	Que.	Ont.	Man.	Sask.	Alta.	B.C.
Adult contemporary	24.0	14.0	6.6	19.7	32.6	30.1	26.6	9.9	22.4	10.0	20.6
Album oriented rock	5.8	17.3	0.0	9.2	0.0	2.1	6.8	8.1	5.6	8.7	5.9
Canadian Broadcasting Corporation	8.8	5.5	9.6	11.9	10.4	11.6	6.6	7.7	7.7	6.5	12.2
Contemporary	9.5	11.7	26.3	18.9	5.1