introduction, policy and procedure manual

INTRODUCTION, POLICY AND
PROCEDURE MANUAL
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ABOUT THIS MANUAL
This manual provides an introduction, plus guidance and direction to
staff and volunteers on appropriate procedures with respect to:
94.9 CHRW (Radio Western)
Last updated July 29, 2013
As a broadcaster it is your responsibility to be aware of the
policies and procedures contained herein.
The manual has been put together over a number of years by a variety of people
and applies to a number of different circumstances. So when you read the word
“host” or “volunteer”, please apply the meaning liberally. For example, if you
work in “Production”, assume information regarding “fire alarm procedures” would
be applicable to you whether or not “Producers” are mentioned. If you are in
doubt, ask one of the staff for clarification.
CHRW Mission, Principles and Vision Statements
94.9 CHRW Mission Statement
To provide a comprehensive training program for volunteers from Western and the
greater London area to deliver high quality campus/community radio programming,
production and broadcasting.
94.9 CHRW Principles
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Provide an alternative to music and in-depth spoken word programming from that
heard on other local radio stations.
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Champion such values as freedom of expression, fairness, respect and
accountability with regards to participation and programming.
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Support, promote and create linkages amongst students, the University Students’
Council, Western and the London community.
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Create and deliver programming by the most appropriate and efficient means and
technologies possible.
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Pursue alternative sources of revenue to reduce the financial burden on students.
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Be a positive force for social change in the community.
94.9 CHRW Vision Statement
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94.9 CHRW envisions a future where it will become an organization whose
volunteers will develop the skills and experience to fully participate in the training of
volunteers, the management of aspects of the radio station and the development of
programming, in order to better reflect their community and its place in the World.
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94.9 CHRW is an outlet for the creative skills and energies of its communities.
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94.9 CHRW will create and distribute public news and information that is accurate,
balanced and trustworthy.
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94.9 CHRW will become a place where the World can hear the people and the
stories of the people and communities that contribute to the make up of London,
Ontario.
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INTRODUCTION TO CHRW
History of CHRW
Radio Western – CHRW 94.9 FM is a community-based campus radio station licensed
by the Canadian Radio-television and Telecommunications Commission (CRTC). Its
origins date from 1959 when student politicians suggested that a student-run radio
station would be a good idea. In 1971, a group of students began broadcasting for six
hours every Sunday night on CFPL-AM 980. This encouraged the University Students’
Council (USC) to give financial support for a closed-circuit station to be set up first in
Somerville House and later at the new (at that time) University Community Centre. In
1979 the USC held a referendum asking students if they would support a radio station.
The referendum passed by a 4-to-1 margin. The CRTC granted a low-power license (50
watts) in June 1981 for broadcasts on public airwaves. The power increase to the
present 3000 watts was granted and implemented in October 1990, allowing coverage of
the surrounding area from Chatham to Woodstock. A further power increase to 6000
watts and a change of frequency to 94.9 FM, happened on November 28, 2003. In
August 2007, CHRW’s licence was renewed by the CRTC until 2014. For more details
on CHRW’s history check out: http://chrwradio.ca/content/history
CHRW Objectives
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To produce and provide an opportunity for high-quality programming by UWO
students and the community of London and its immediate area.
To maintain the integrity as a community-based campus radio station and adhere to
CRTC regulations and the Broadcast Act.
Maintain a commitment to new artistic and musical expressions with a special focus
on local and Canadian talent.
Maintain a commitment to the equality of all people, regardless of gender, physical
challenges, sexual orientation, race, religion, or age.
Maintain a commitment to being on the leading edge of social and political issues
ignored by the other area media.
Station Responsibilities
94.9 CHRW has a responsibility to:
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our audience, both UWO students and alumni, and members of the London
community and surrounding area.
the CHRW Board of Directors.
the USC (University Students’ Council). The USC holds the broadcast license and
through a student levy CHRW receives most of it’s funding from the undergraduate
students of the University of Western Ontario.
the CRTC (Canadian Radio-television and Telecommunications Commission). The
Commission regulates all broadcasting in Canada.
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Volunteer Responsibilities
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Be sure you have the time and the inclination to do the job to the best of your ability.
Be dependable; do what you have agreed to do. Do not make promises you cannot
keep.
Give management sufficient notice when you are unable to come in.
Be willing to learn: training is essential to any job well done. Take advantage of
feedback.
Welcome supervision, direction, and guidance from management; you will do a
better job and enjoy it more.
Implement new policies and procedures as directed by management.
Be a team player; respect the function of the paid staff and fellow volunteers.
Be tolerant of all opinions carried by CHRW, volunteers, and paid staff.
Remember the overall goals and needs of the station as a whole, not just your own.
Attend meetings as scheduled by staff.
Keep the station aware of current local events of interest.
Educate the public on the role of a community-based campus radio station.
Represent the station to the public in a professional manner.
Volunteer Rights
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The right to be treated respectfully as a colleague and not just as free help.
The right to know as much about the organisation as possible: its policies, its people,
its programs.
The right to express opinions to management in an appropriate manner.
The right to continuing training in other areas after the initial training has been
completed.
The right to sound guidance and direction by someone that is experienced and well
informed.
Management/Organization Rights
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The right to expect acceptance of responsibilities such as promptness, reliability and
good performance.
The right to expect enthusiasm and belief in the work the organisation is doing.
The right to make a decision as to where the volunteer would best fit.
The right to express opinions about poor volunteer effort in a diplomatic way and to
take remedial action as necessary.
The right to expect clear and open communication from volunteers at all times.
The right to execute job duties as directed by the CHRW Board of Directors.
The right to arrange the programming and change policies as necessary.
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DEPARTMENTAL ORGANIZATION
Music Programming Department
The Music Programming Department is responsible for co-ordinating all broadcast
programming. Specific coordination of information programming is the responsibility of
the News, Sports & Spoken Word Department. The Program Director oversees the onair studio, schedules all shows, and produces daily log sheets. These log sheets detail
each item that is to be broadcast. On-air hosts are expected to follow the programming
log sheets to the best of their ability. The programming department is also responsible
for evaluating shows and making changes to the schedule.
News, Sports & Spoken Word Department
The News, Sports & Spoken Word Department are responsible for the information
programming broadcast on CHRW. This includes news, sports, and spoken word
programs. The News, Sports & Spoken Word Department coordinates coverage of
campus and London news and sports events by volunteers, through live coverage,
interviews, and filed reports. The News, Sports & Spoken Word Director oversees this
department.
Music Department
The station procures and catalogues music under the direction of the Music Department.
The department also maintains the new release library in the on-air studio and the
back-catalogue library. The Music Coordinator utilises the expertise of the volunteer
programmers to find music that fits the sound the station is trying to project. In addition
the department compiles and files music charts with various trade publications and for
general distribution.
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Volunteers in good standing are permitted to sign out CDs and vinyl records from the
Music Library for personal use. Sign out privileges are for a maximum of three (3)
items and for a maximum of seven (7) days. All sign out requests must be a
approved by a member of the CHRW staff. Sign-out of recorded material is simply a
courtesy for Radio Western volunteers and does not include material in the on-air
studio.
Promotions Department
The Promotions Department is responsible for letting everyone know what is happening
at CHRW regarding CHRW sponsored events, on-air giveaways, etc. The interaction
between the hosts of programs, the communities they represent and the station as a
whole is reflected in the events that are sponsored and supported by the station. The
promotion department co-ordinates events with individual areas of CHRW and ensures
the station is involved with as many events, both on and off campus as possible and
wherever appropriate. The Marketing Director oversees the promotions department.
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Production Department
This department is responsible for creating the recordings that are used at various times
throughout the week. Responsibilities include producing ads, show promos, station
identifications, and other special projects as they come up such as Canadian
Productions.
All production studio booking is to be made through the Production Coordinator. Booking
request forms are available outside the studio and must be completed fully before
approval. No one is permitted to use the production studio without the express consent
of the Production Director, management, or a designate.
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TRAINING
All volunteers must be trained to the standard required by the relevant department(s)
before being permitted to participate in any on-air programming. Management in
consultation with the volunteer reserves the right to decide when a volunteer is ready for
on-air experience.
Volunteers must take CHRW 100 – Intro to CHRW and should then pick one
department to specialize in. Once training in that department is completed, volunteers
may complete training in other departments – in fact, volunteers are encouraged to seek
additional training in multiple areas throughout their time at CHRW. Volunteers-intraining should carry their CHRW Training Card (see Appendix A) with them at all times
while on station premises so they can track their training progress.
The CHRW Training Flow is represented in the diagram below. For further information
on each departments training, see the appropriate Department Head.
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OVERALL PROGRAMMING STYLE
CHRW attempts to maintain a consistent schedule based on programming genre blocks
of time. Programs are expected to be consistent with the genre time scheduled.
However, management reserves the right to pre-empt regularly scheduled programming
at any time. For foreseeable pre-emptions, reasonable attempts will be made to give
adequate notice to regular programming to allow audiences to be informed.
CHRW Strengths Lie In Our Unique Programming
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Alternative & Unique music shows
Multi-cultural programming
Documentaries (spoken word)
Canadian and local productions
Special interest music shows
Campus/community news and sports coverage
Each of the areas of strength is vital to the station's operating successfully. When
everyone works in harmony to the common goal of providing quality broadcasting to the
community, the station and its members can consider the results of their efforts as
successful. As a volunteer you have the privilege to work in any or all of the different
areas and the obligation to encourage and support others through awareness and
knowledge.
MUSIC PROGRAMMING
CHRW Music Shows are music-based programs with intelligent and informative spoken
word material which add colour to the music being played but remains brief in
duration...not more than 2 to 3 minutes. The content should be well researched and
presented such that it reflects the intuition and intelligence of the announcer. Music
however, is the dominant feature, with a special focus on Canadian Content and New
Releases. The CRTC has created different categories of music, spoken word and
production and CHRW programming is somewhat defined by those categories.
You can find that list of content definitions at:
http://www.crtc.gc.ca/eng/archive/2010/2010-819.htm
See detailed information and criteria regarding Canadian Content and the MAPL system,
below.
NOTE: A well-researched and planned show is simply better than a show, which is
haphazard in preparation.
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Category 2 Music Shows – Pop/Rock/Rock/Hip Hop/Electronica/
Country - as defined by the CRTC.
A Category 2 show is a music-based program with intelligent and informative spoken
word material (mosaic or background) which adds colour to the music being played but
remains brief in duration. Brief is described as not longer than 3 to 5 minutes. The
content needs to be well researched and presented such that it reflects the intuition and
intelligence of the announcer. Music however, is the dominant feature in Category 2
programs with a special focus on Canadian Content (40%) and New Release music
(40%). For detailed information and criteria on Canadian Content and the MAPL
system, see below. The musical styles during a Category 2 show may vary but it’s
usually best to focus on one style and it’s subgenres, such as Alternative Rock, HipHop,
Electronica, Metal, etc…
Category 2 programming constitutes the greatest number of hours of our broadcast
week and should extend the radio station to the largest part of the student body and the
London community. Overall the music programs should be constructed to please fans of
the various styles of music and should include a mix of known bands, new bands,
Canadian band and local bands. As music programmers, you will need to be informed
of many music activities and be willing to devote a good portion of time reviewing and
analysing music for radio play.
Category 3 “Special Interest Music Shows” – Jazz, Blues,
Experimental etc… - as defined by the CRTC.
Special interest shows focus on a particular style such as jazz, blues, folk or classical
music. The hosts of these shows are recognised as authorities in their respective
genres and have dedicated themselves to educating and entertaining the listener so as
to get a better appreciation of the genre. Special Interest shows or Speciality shows
are required to program 15% Canadian content and 15% new release as defined by the
CRTC being six (6) months or newer.
Multicultural Music Programming
CHRW is committed to representing languages other than English. For many groups, it
is the only way that they can talk in their native language to their community members.
CHRW is fortunate to have so many different groups involved. Multi-cultural programs
are those that are conducted in languages other than the two (2) official languages or a
First Nations language. Multicultural shows are required to program 7% Canadian
content.
The Music Department is here to help procure this material so that we may meet
CRTC requirements.
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CANADIAN CONTENT – AS PER THE CRTC
http://www.crtc.gc.ca/eng/INFO_SHT/R1.HTM
The MAPL system - defining a Canadian song
What makes a song Canadian? The CRTC defines a Canadian musical selection in its
Radio Regulations. Within these regulations, four elements are used to qualify songs as
being Canadian: Music, Artist, Performance and Lyrics (MAPL).
The MAPL system is designed primarily to increase exposure of Canadian musical
performers, lyricists and composers to Canadian audiences. It also strives to strengthen
the Canadian music industry, including the creative and production components.
While it stimulates all components of the Canadian music industry, the MAPL system is
also very simple for the industry to implement and regulate.
How does the MAPL system work?
To qualify as Canadian content, a musical selection must generally fulfill at least two of
the following conditions:
 M (music): the music is composed entirely by a Canadian
 A (artist): the music is, or the lyrics are, performed principally by a Canadian
 P (performance): the musical selection consists of a live performance that is
o recorded wholly in Canada, or
o performed wholly in Canada and broadcast live in Canada
 L (lyrics): the lyrics are written entirely by a Canadian
There are four special cases where a musical selection may also qualify as Canadian
content:
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it was recorded before January 1972 and meets one of the above conditions
it is an instrumental performance of a musical composition written or composed by a
Canadian
it is a performance of a musical composition that a Canadian has composed for
instruments only
it was performed live or recorded after September 1, 1991 and, in addition to meeting
the criterion for either artist or production, a Canadian who has collaborated with a
non-Canadian receives at least half of the credit for both music and lyrics –
according to the records of a recognized performing rights society, such as SOCAN
(Canada) or Broadcast Music Inc. (BMI), American Society of Composers, Authors
and Publishers (ASCAP) and SESAC (United States)
Who qualifies as Canadian in the MAPL system?
For the purposes of the MAPL system, the CRTC’s Radio Regulations define a
Canadian as being one of the following:
 a Canadian citizen
 a permanent resident as defined by the Immigration Act, 1976
 a person whose ordinary place of residence was Canada for the six months
immediately preceding their contribution to a musical composition, performance or
concert
 a licensee, i.e. a person licensed to operate a radio station
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INFORMATION PROGRAMMING
News and Sports
One of the original intents of CHRW as decreed by the CRTC is to provide information
about campus activities. CHRW provides this information through news updates,
background reports and documentaries concerning students' lives, academic
developments, current events, and other related activities. Mustang sports also receive
attention though comprehensive coverage such as live broadcasts, sports reports, and
live-phone in shows. These features are co-ordinated through the News, Sports &
Spoken Word Director and his/her editorial staff.
Spoken Word Programs (Documentaries)
CHRW also has a commitment to do in-depth information documentaries. These shows
are generally thirty minutes in length and provide concentrated information on a
particular topic while providing balanced reporting. Spoken word shows focus on student
issues and issues not otherwise covered by mainstream media. All shows are produced
from the premise of fairness and accuracy.
Please consult the News, Sports & Spoken Word Department Policy Manual for
further detail.
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CRTC REGULATIONS: THE LAW AND WHAT CAN BE
SAID ON-AIR
Introduction
Despite allusions in the Broadcast Act to freedom of expression, there are many CRTC
regulations and laws which restrict what can and cannot be said over the air. Time of
day, intent of the announcer, and context are all considerations for the CRTC and thus
are considerations for all CHRW volunteers. The CRTC bases regulation on a case-bycase occurrence. Playing profanity-laden material simply for shock value is
unacceptable to CHRW and the CRTC.
CHRW Policy on Obscene Language / Explicit Material / Time of Day
1. Between the hours of 6am and 9pm it is CHRW policy that we will not play
music containing profanity. This is a time when children may be listening. As a
programmer you must always listen to any programming use in your show before you
put it on the air (music, voice clips etc.). If possible, you should play clean versions of
songs (they often exist for commercial music) or consider making your own as many
CHRW programmers do. If there is music on-air that has swearing (f-bombs etc…) then
you must use the cut-button which is located on the right of the on-air console. This will
eliminate 7 seconds of material – so as long as you press the button with 7 seconds of
the offending material, it will be replaced with 7 seconds of silence or some pre-recorded
material that we have put into the delay system.
2. Playing material that may be perceived as racist, sexist or otherwise
demeaning will not be tolerated at any time. CHRW is responsible for ALL material
broadcast, which includes comments made by guests. In all cases of infraction not only
will the person who makes remarks over the air be subject to legal action, but in all
cases the radio station, Radio Western (CHRW-FM) will also be threatened.
3. If an occasion arises that material aired may conflict with generally accepted
audience values regarding such matters as vulgarity, profanity or sexual
behaviour, the material shall only be broadcast if it is in the proper context, is
integral to the theme of the program, and has worthwhile educational value. If the
material is deemed to satisfy these requirements then it can be aired only if the following
warning sequence is followed:
a. warning messages must be aired one week before a special program containing
sexually explicit material goes to air;
b. a warning messages must be aired at the top of the hour for two hours before
such a program; and
c. every hour on the hour during the program.
Volunteer broadcasters will be informed if a specific complaint has been received
concerning material broadcast during a show. If such a complaint is received, the
complaint and the material aired will be reviewed by station management and if it is
found to contravene CHRW policy, action will be taken. For minor or first-time offenses,
penalties can range from verbal and written warnings. For additional or more serious
violations of CHRW policy, penalties will be greater and can include temporary or even
permanent suspension of volunteer status.
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The above section applies to all speech on CHRW. Obscene, indecent, or profane
language spoken or recorded for on-air play by a volunteer broadcaster will bring
immediate action, especially when deliberate, wilful or malicious. As a CHRW host, you
are NEVER allowed to use profanity on the air.
In Canada, air waves (radio and television) are owned by the public and therefore
community standard is the driving force – what could be considered obscene in one
community may not be considered obscene in another.
CHRW Policy is based upon the following CRTC policies on the airing of explicit
material:
All broadcasters are required under the Act to provide programming of “high standard”.
High standard cannot be defined differently for different sectors of the broadcasting
system.
In assessing complaints involving explicit programming, the Commission considers a
number of criteria. These include:
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the time the program aired and whether children might be listening;
the context of the material;
whether warning messages or advisories were provided;
the amount (if any) of editing to remove objectionable material;
the licensee's own guidelines and whether it conformed to them; and,
the level of discretion of the programming service in question (for example, pay
television services are more discretionary than over-the-air broadcasting services).
The time of day is only one factor among others to be considered. While children may
generally be considered as more likely to be listening before 9 p.m., this is not the only
or the determinative factor the Commission considers in assessing complaints.
Depending on the other factors described above, explicit programming broadcast before
9 p.m. does not necessarily violate the "high standard" requirement of the Act.
While a licensee's mandate and the target audience of a particular program are not
criteria used in considering complaints, these factors may form part of the context of the
programming in question, which is one of the criteria used to assess complaints.
The Commission recognizes that the mandate of campus stations to provide alternative
programming and programming targeted to specialized groups may mean that these
stations are more likely than others to broadcast controversial programming. While each
complaint will be assessed against the criteria set out above, the Commission
emphasizes that a station's propensity to generate complaints is not in itself problematic.
At license renewal time, the Commission will consider only those complaints that were
substantiated or where the Commission was not satisfied with the licensee's response.
Warning messages or advisories need not be negative in tone. They may be positive
factual statements describing the nature of the programming, provided that they clearly
provide listeners with the opportunity to make an informed choice as to whether the
programming is suitable for them or their children.
Any questions regarding material that could be considered to violate CHRW or
CRTC polices should be raised with the Station Manager, Program Director or
News, Sports & Spoken Word Director well before it goes to air.
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Blasphemous Libel
The Broadcast Regulations prohibit the use of "obscene, indecent, or profane language."
While the use of swearing in artistic programming can be exempt from such censorship,
be aware that the words "obscene" and "indecent" may have very broad interpretations.
For example, there still exists a law in the Canada Criminal Code (Sec. 296), which
provides for a penalty of no more than two years imprisonment for the utterance of
"blasphemous libel" statements (derogatory remarks about God)! This law excludes any
remark made in good faith as an opinion on a religious subject providing it was made in
"decent" language.
Politics
The Broadcast Act makes certain guarantees to ensure candidates for public office can
get access to the airwaves. However, there are restrictions. Nothing can be said
concerning a referendum or election (municipal, provincial, or federal) either on the day
of the election, or on the day immediately preceding the election. Fines for violation are
exceedingly stiff. For any political broadcast, the sponsor of the broadcast, and the
political party or an individual on whose behalf the program is being broadcast must be
announced before and after the broadcast. University Students' Council elections may
have additional rules and regulations that should be consulted each year.
Soliciting Money Over The Air
Under the terms of the CRTC Regulations, it is not permissible to ask for money over the
air in any form unless the organisation that is soliciting the money fits into one of the
following categories:
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Church or religious bodies (Note: the organisation generally must be a formally
established church: permanently established in Canada, AND serving the area
covered by the station.
A recognised charity (recognised charities are issued an income tax number by the
Canada Customs & Revenue Agency).
A university or college: CHRW (Radio Western)
Certain other non-profit organisations, which must either, be musical or artistic
organisations.
CHRW conducts an annual fundraising campaign to raise operating funds for the station.
All volunteers are expected to promote CHRW fundraising efforts and encourage public
support.
Anti-government remarks
It is illegal to broadcast any remark, which advocates or teaches the use of force to
change the Government of Canada (Criminal Code, section 59-4). The "seditious libel"
law has been rarely used in recent history with the notable exception of 1970 in Quebec,
and does not apply for any sort of criticism whatsoever of the existing system of law,
courts, constitution, or whatever, as long as violent ("without lawful authority") overthrow
is not mentioned.
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Race, religious, or sexist remarks
The Broadcast Regulations prohibit "abusive" comments about race, religion, gender or
sexual orientation. CHRW will not tolerate any such comments.
Defamation (Libel and Slander)
Defamation of character is covered both by Ontario provincial statutes and the Criminal
Code of Canada. Not only is the person who made a "defamatory remark" liable to be
sued for damages, the broadcast outlet can also be named in the legal suit under the
Libel and Slander Act of Ontario. If the libel was particularly malicious, criminal charges
(with penalties of up to 5 years imprisonment) may be laid.
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The Criminal Code (section 298) defines libel as an attempt to injure the reputation of
an individual by exposure or contempt, hatred or ridicule, or comments designed to
insult. Insinuations are just as deadly as allegation (section 298-2) meaning that
parodies or satires, which point directly to one person, may be libellous. The
presentation of false information in any case will always make things worse.
In light of the serious nature of “libel” and “slander” volunteer broadcasters are not
permitted to broadcast ANY material which may be construed as a “commentary”
or “editorial”. Volunteers are encouraged to make personal views or opinions public via
the 94.9 FM signal BUT these views must be “fair” and “accurate”. Commentaries will
only be permitted with express permission from the Station Manager or the News, Sports
& Spoken Word Director.
For a more complete explanation of “fairness” & “accuracy” go to http://www.rtnda.org.
The RTNDA (The Association of Electronic Journalists) Code of Ethics has been
adopted by 94.9 CHRW. We expect all hosts who host a show on the 94.9 CHRW to
follow them.
THE ASSOCIATION OF ELECTRONIC JOURNALISTS:
CODE OF ETHICS
The Standard for Canadian Broadcasting Excellence
Free speech and an informed public are vital to a democratic society. The members of
RTNDA Canada recognize the responsibility of broadcast journalists to promote and to
protect the freedom to report independently about matters of public interest and to
present a wide range of expressions, opinions and ideas.
ARTICLE ONE (Accuracy)
Broadcast journalists will inform the public in an accurate, comprehensive and fair
manner about events and issues of importance.
ARTICLE TWO (Equality)
Broadcast journalists will report factors such as race, national or ethnic origin, colour,
religion, sexual orientation, marital status or physical or mental disability only when they
are relevant.
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ARTICLE THREE (Authenticity)
Broadcast journalists will present news and public affairs without distortion. Interviews
may be edited provided that the meaning is not changed or misrepresented. Broadcast
journalists will not present news that is rehearsed or re-enacted without informing the
audience. Newsrooms should take steps to ensure the authenticity of amateur video and
audiotape before broadcasting it. Editorials and commentary will be identified as such.
ARTICLE FOUR (Privacy)
Broadcast journalists will respect the dignity, privacy and well being of everyone with
whom they deal, and will make every effort to ensure that newsgathering and reporting
does not unreasonably infringe privacy except when necessary in the public interest.
Hidden audio and video recording devices should only be used when it is necessary to
the credibility or accuracy of a story in the public interest.
ARTICLE FIVE (Independence)
Independence is a fundamental value and we will resist any attempts at censorship that
would erode it. Broadcast journalists will resist pressures to change or alter the news.
Intrusion into content, real or apparent should be resisted.
ARTICLE SIX (Integrity)
Producers of news broadcasts will not pay subjects or sources that have a vested
interest in a story. Commentators or contracted experts are exempted. Broadcast
journalists will not accept financial compensation from those who seek to influence news
coverage thereby compromising journalistic integrity and independence.
ARTICLE SEVEN (Conflict of Interest)
Broadcast journalists will govern themselves on and off the job in such a way as to avoid
conflict of interest, real or apparent.
ARTICLE EIGHT (Corrections)
Errors will be quickly acknowledged and publicly corrected.
ARTICLE NINE (Decency and Conduct)
Broadcast journalists will treat people who are subjects and sources with decency. They
will use special sensitivity when dealing with children. They will strive to conduct
themselves in a courteous and considerate manner, keeping broadcast equipment as
unobtrusive as possible. They will strive to prevent their presence from distorting the
character or importance of events.
ARTICLE TEN (Fair Trial)
In reporting matters that are or may be before the courts, broadcast journalists will
ensure that their reporting does not interfere with the rights of an individual to a fair trial.
ARTICLE ELEVEN (Covering Violent Situations)
Reporting on criminal activities such as hostage takings, prison uprisings or terrorist acts
will be done in a fashion that does not knowingly endanger lives, offer comfort and
support or provide vital information to the perpetrator(s). RTNDA members will contact
neither victims nor perpetrators of a criminal activity during the course of the event for
the purpose of conducting an interview that would interfere with a peaceful resolution.
ARTICLE TWELVE (Intellectual Property)
Plagiarism is unacceptable. Broadcast journalists will strive to honour the intellectual
property of others, including video and audio materials.
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ARTICLE THIRTEEN (Impediments)
Broadcast journalists will seek to remove any impediments to or bans on the gathering
or reporting of news in the public interest.
ARTICLE FOURTEEN (Sources)
Broadcast journalists will make every effort to attribute news on the record. Confidential
sources should be used only when it is clearly in the public interest to gather or convey
important information or when a person providing information might be harmed.
ARTICLE FIFTEEN (Respect and Enforcement)
Members of the RTNDA will respect the provisions of this Code and the RTNDA itself
will take all reasonable steps to encourage that all broadcast journalists in Canada are
aware of and observe the Code, even if they are not themselves members of the
RTNDA.
Medicines, drugs, and cures for diseases / Abortion, venereal disease, birth control:
Although you can make mention of these topics as a matter of discussion, you may not
make suggestions for listeners or advise on how to deal with these issues as you are not
licensed physicians. If you are a licensed physician or you have a licensed physician as
a guest, tell the Station Manager so we can discuss how these issues will be
approached.
INTERVIEWS OR MEDIA ACCREDITATION POLICY
CHRW encourages hosts (everyone) to gain interview experience and conduct
interviews for their shows. Great interviews make music, news or sports shows sound
more interesting and timely. There are generally 3 ways in which interviews are set up:
1. subjects, or their representatives, may contact shows hosts (or vice-versa) for
telephone or at-stations interviews,
2. subjects, or their representatives, may contact an appropriate station department or
Department Head (or vice-versa), to arrange telephone or at-station interviews,
3. show hosts may contact subjects, or their representatives, with in-person interview
requests while they are in London or outside of London if the host is travelling.
It is CHRW policy that full-time Staff be sent advance notice of interview or media
accreditation proposals via email to:
(a) allow CHRW Staff to set up the interview when it is desirable or possible.
(b) ensure no more than one person is requesting interviews from a given subject.
(c) ensure CHRW looks professional. CHRW often receives phone calls or emails
regarding interviews as “negotiations” continue, but no one is sure what is
happening. Publicists often represent more than one client, some more than
one record label etc…burn one bridge, and we burn many.
(d) if something negative happens during an interview, the subject or their
representative, will be able to inform station staff.
17
As CHRW provides hosts with training with regards to interview and microphone
technique, it is also CHRW policy that when an interview is granted the content will be
recorded, edited and aired on CHRW and/or posted on the website as part of a blog
post.
ON-AIR PROCEDURES
Arrival Times
All on-air announcers are required to report a minimum of fifteen (15) minutes prior to
airtime. Arriving early ensures smooth transition between shows and permits each
announcer to select play material in a timely fashion. Showing up early allows a smooth
transfer of responsibility between announcers, time to finish up preparation for the show,
time to check the previous announcer's play-list, check for messages and to peruse the
logs before going on. Arriving announcers should check in with the current announcer
before making any preparations within the on-air studio.
Announcers are expected to co-operate to ensure that all programming elements begin
and end at the scheduled times. It is unfair not only to the next host, but to our listeners
when one host cuts into another host's time. Not following the schedule makes the
station appear amateur and turns off listeners. Both arriving and departing announcers
should attempt to accommodate each other's needs throughout the transition. The
arriving host has the right to be prepared to go to air by the scheduled time. The
departing host has the right to finish his/her show without unnecessary interference.
Announcer telephone numbers are available on the program logs in the event that
subsequent hosts need to be telephoned.
DO NOT give out volunteer or management telephone numbers to members of the
general public. Instead, take a message and forward it to the appropriate person.
In Case Of Absent Show Staff
It is very important that you follow the steps described below so CHRW can continue
broadcasting in a professional manner. Failure to abide by these rules can lead to
warnings and even suspension. If you are a host and you do not show up for shift
without previously notifying the Program Director, you are also subject to warnings and
even suspension. Please see the CHRW Policy & Procedure Manual for complete
details.
If the host(s) who is relieving you fail to arrive, these are the STEPS YOU MUST TAKE:
1. Telephone each of the host(s) who should be here; their number will be on the
program logs. If they are on their way, please wait for them.
2. If that avenue proves fruitless, phone the Program Director. He/she might be able
to find replacement staff.
3. If that proves fruitless, phone the host(s) who is scheduled after the absent hosts
and see how soon they can come in.
4. If that proves fruitless, put one of the “suggested CDs” on continuous & repeat play.
[Hit PLAY MODE on CD player to get it into CONTINUOUS, then REPEAT]
18
5. If there is no staff available, call campus police at 83300 (just dial it) to get the
station locked up. Never leave the on-air facilities unattended.
6. Post the laminated sign indicating that the station is locked on the outside of the
main CHRW doors.
Guest Sign-In
Volunteers in good standing are permitted to have a maximum of two guests per show
during the duration of their time slot. Guest sign-in must be confirmed with a staff
member twenty-four (24) hours prior to the show. The guests names will then appear on
the station's program logs. The volunteer broadcaster is responsible for all actions of
their guest.
Food & Drink In The Studios
In order to keep equipment clean and working, no food or drink is allowed in the on-air
studio, the production studio, or on the computer-side of the newsroom production suite
at CHRW.
Legal Documents
All on-air music host volunteers are required to complete the front and back of a
Playsheet (see Appendix B) and to sign and verify elements of the Program Log (see
Appendix C). Completing and signing program logs is a requirement of the CRTC.
Failure to comply with playsheet and program log requirements will result in disciplinary
action.
As part of his/her responsibilities, each announcer is required to conduct a bag check of
the out-going announcer and sign the back of their playsheet. This is to deter theft. It is
the responsibility of each announcer to conduct this process conscientiously.
Filling out playsheets is covered in Programming Training and Music Department
training – once you have a show your sheets will be reviewed periodically and you can
expect to receive a White Sheet (see sample on next page) for any shortcomings – this
is used to keep track and determine if there are any areas that require you to take
additional training or if further disciplinary action is required.
19
Sample White Sheet
Warnings and Suspensions
No one likes to give out warnings or suspensions and the vast majority of CHRW
volunteers won’t receive either. If you receive 3 “White Sheets” in a year, you can
expect to receive a Warning. You will also receive a Warning if you violate one or more
of the more major rules at CHRW. CHRW has a 3 Warning system which can include
suspension or even termination of volunteer privileges and participation at CHRW.
20
Sample Warning (Longer version is in Appendix H)
First Warning
To:
____________________________________________
From: ____________________________________________
Date: ____________________________________________
As discussed in CHRW’s Session 100, and acknowledged when you signed the CHRW
Volunteer Agreement, you have been trained in and are aware of the information
contained in the CHRW Policy & Procedure Manual.
The circumstances for this warning are:
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
____________________________
If you disagree with the warning, you can follow the steps described in the CHRW
Resolution Procedure in the CHRW Policy & Procedure Manual.
Further steps include Second Warning which can be accompanied by a suspension from
CHRW, and Third Warning which can be accompanied by dismissal from CHRW.
Volunteer Signature: ___________________________________________
Staff Signature: ________________________________________________
21
Live vs. Pre-recorded Shows
All shows on CHRW are to be done live except Spoken Word shows as scheduled by
the News, Sports & Spoken Word Director – these can be done live if approved but they
are usually taped in advance because of interview and production requirements. If a
Spoken Word host cannot do his or her show they should contact the News, Sports &
Spoken Word Director for alternate arrangements to be made. Other show hosts should
contact the Program Director as soon as possible to make alternate host
arrangements. The Program Director will contact alternate hosts who have a similar
music taste as the regular host; however, if none can be found in a timely manner any
suitable host will be substituted. Only under exceptional circumstances will pre-recorded
shows (other than those monitored by the News Sports & Spoken Word Director) be
allowed to run on CHRW.
Training New Volunteers
From time to time you will be expected to train new volunteers – do not expect to be
contacted regarding trainees – when you come it for your show look at the Sign Up
Board and see if anyone is scheduled to come in during your show. They will be doing
Session 2, 3 or 4 and should have the Programming Training Guide and their
Temporary ID Card with them. Please check off the sheets to acknowledge that you
have instructed the material that is required. If someone is clearly not capable of what
is being asked you should recommend that they redo a session or tell the Program
Director so their training can be cleared up.
HOW TO APPLY FOR A SHOW ON CHRW
Music shows:





Complete the required training (see http://chrwradio.ca/training/ for details)
Complete fill in shows until you feel confident to apply for your own show
Complete a CHRW New Show Application (Appendix D)
Review the application and demo with the Program Director
Email a sample hour and your New Show Application to
[email protected]
Spoken Word shows:





Complete the required training (see http://chrwradio.ca/training/ for details)
Complete a mock show (if approved this can be the first episode of your show)
Complete a CHRW New Show Application form (see Appendix D)
Review the application and demo with the News, Sports and Spoken Word Director
Email a complete mock show and your New Show Application to
[email protected]
22
PROGRAMMING COMMITTEE
The CHRW Programming Committee (PC) assesses and approves or denies new show
applications. The PC is made up of 1 chairperson and up to 6 voting members. The
chairperson is the Station Manager. The 6 voting members include the Program
Director, the News, Sports & Spoken Word Director and up to 4 CHRW volunteers or
staff. The PC will also be involved in further developing CHRW’s programming policies.
Decisions will be reached by voting after all members have been given sufficient time to
review and discuss the applications. In the event of a tied vote, the chairperson will cast
the deciding vote. Once a show is approved the NSSWD and/or the PD will determine its
on-air placement in conjunction with the Station Manager. The show will be subject to a
3-month probation period during which time it will be reviewed at least once by the
Spoken Word Review Committee or the Music Show Review Committee.
The Programming Committee will assess show applications based on the
following criteria:
Program Quality: The program must be of sufficient technical and editorial quality. This
means; consistent levels, well-structured, solid presentation, well prepared and
interesting content presented.
Content: The content of the program must be in line with the principles laid out in the
Policy and Procedure Manual. The content must be original and provide an alternative to
programs heard on other radio stations in London.
Relevance: The program must be relevant to CHRW’s audience. The program must
also fit into the programming style of CHRW. It should offer a unique perspective on your
chosen topic/genre not currently heard on CHRW.
Once a show has been accepted to air on CHRW, all show hosts must fill out a 94.9
CHRW Host Agreement indicating they have been trained and will follow CHRW
Policies & Procedures (see Appendix E).
Once a host has attained a regularly scheduled show on CHRW, it is his/her
responsibility to create a 45-second (maximum length) promo. The promo should be
voiced by the host(s) involved and can focus on the music played and/or a particular
feature within the show. It must include the day and time of the show and end with an
appropriate station slogan, call-letters and frequency. This promo must be updated 2
times per year (it can be updated more often if desired)
PROGRAM EVALUATION
All shows will be periodically evaluated by the Spoken Word Review Committee or the
Music Show Review Committee. Hosts will also be asked to complete a self-review
and a review will be performed by a member of the appropriate Review Committee in
conjunction with the Program Director or News, Sports and Spoken Word
Director. Hosts will be given notes on areas to be improved; however, if a show
consistently receives poor reviews without improving its performance, it may be
cancelled.
23
ADDITIONAL REGULATIONS
Fire Alarms
Both the on-air studio and the production studio are equipped with fire alarm strobe
lights, which will flash when the fire alarm has been activated. When the alarm is
sounded, the scheduled on-air announcer will set a CD on continuous-play mode to
ensure that the station doesn’t broadcast dead air. The announcer and all others
present will then leave the on-air studio.
Fire Alarms During Business Hours
In the event of a fire alarm it is management’s responsibility to clear the station. All
individuals must leave the station and the UCC building immediately. During normal
business hours (Monday to Friday 9:00 am to 5:00 p.m.), a staff member will usually be
present to facilitate a quick and orderly exit from the station and building. However, in
the event that the fire alarm is activated during non-business hours the individual
charged with on-air duty will ensure that the station is cleared of all people.
Fire Alarms Non-Business Hours
In the event of a fire alarm during non-business hours, the on-air announcer will follow
these steps in the order listed:
1.
2.
3.
4.
Set CD on continuous-play mode.
Close door to the on-air studio.
Ensure that no person is present in the CD library, studio floor and isolation booth.
After ensuring that the on-air studio, CD library, isolation booth and studio floor are
clear, close the door to the CD library.
5. Check the remaining areas of the station in a quick and orderly fashion to ensure that
all individuals present at the time of the alarm have left the station.
6. After the station is cleared of all individuals, ensure that the main doors to Room 250
are closed.
7. In most cases of a fire alarm, the fire department will attend the UCC building. Once
they have determined the situation, people will be informed as to whether they may
return inside. Do not return until advised to do so.
Theft
Anyone caught stealing music, equipment, or other station property will be immediately
suspended and face possible criminal charges.
Holiday & Off-hour Access Procedure
It is routine that during the summer, statutory holidays and off-hours the UCC building
will be locked down. CHRW however, broadcasts 24 hours a day, 365 days a year and
station volunteers and staff require access around the clock. Overnight and holiday
scheduled individuals may have to use the telephone ahead procedure: in the event all
doors are locked, the next announcer should telephone the on-air studio (519-661-3600)
to gain admittance to the building.
24
Main Doors to CHRW Lobby
The main doors to the CHRW Lobby can be locked from the inside. Hosts are able to
lock these doors for security, especially overnight shows and weekends. It is important
to remember to unlock the doors when arrangements are made for the next host. Use
the peephole to determine if the person on the other side is who it should be.
Emergency Phone Numbers
In case of emergency the following phone numbers can be called:



Campus Police – ext. 83333 (or 519-661-3333 from a non-CHRW telephone, such
as a cell-phone).
911 – in case of emergency such as threat of violence, medical emergency or fire.
Staff phone numbers – staff and other phone numbers are posted near or on
telephones around the office and studios.
Use of Radio Station Equipment
Volunteers in good standing are permitted to book hand-held tape recorders for interview
purposes. Misuse or reckless use of any CHRW equipment will result in disciplinary
action. All use must be coordinated through station management using the designated
sign-out methods. Abuse or failure to return CHRW equipment will result in immediate
suspension.
Website
All CHRW programs have the right to develop a program website and have it linked from
the Program Guide on http://chrwradio.ca. All content must conform to CHRW, USC,
and University of Western Ontario regulations. For more information, see
http://www.uwo.ca/IP/policies.html.
Advertising on CHRW
All advertising on CHRW is done through the management team and Gazette
Advertising. Performing any act, verbal notice, or service explicitly designed to act as
free advertising for a venue, service, event, or product is cause for immediate action, as
well as a violation of the station’s relationship with its legitimate, paid sponsors. Any
person expressing interest in advertising on CHRW should be directed to The Gazette
Advertising Bureau, at (519) 661-3579. Any independently arranged and paid system, in
cash or goods, will result in disciplinary action.
25
Quick Rules:








Food or drink is not to be consumed in the on-air or productions studios.
Smoking in the UCC is illegal and chargeable under city by-laws. Smoking in the
on-air studio harm the equipment and other people.
Consumption of alcohol is prohibited in the UCC (except in licensed areas) and is a
chargeable offense.
It is illegal for you to be under the influence of alcohol whole on public airwaves.
You, as the host, are responsible for your guests as well.
Falling short on minimum music requirements (i.e. Canadian content and new
releases) are cause for reprimand. After two reprimands there will be a suspension
of on-air privileges.
Breaking CRTC or Canadian laws/rules will be cause for immediate suspension of
on-air privileges.
Improperly filling out program logs and playsheets will be cause for immediate
suspension of privileges.
Food or drink is not to be consumed in the on-air or productions studios (repeat).
26
HIRING PROCEDURES
Honourarium Positions
In order to ensure the internal CHRW hiring process is as fair and open as possible, the
following procedure must be followed:
1. A job description must be created.
2. The position should be posted via email to all volunteers and posted in the station for
at least 5 days.
3. All applicants must submit at minimum a cover letter and resume – if desired the
posting may request audio samples of past work etc…
4. A hiring committee of at least 3 people must be created, including the staff member
who the proposed part-timer must report to.
5. The committee must meet, discuss the applicants, and ask at least 2 of them to
come forward for an interview.
6. Once an offer has been accepted, the applicant must submit paperwork as
established the by the USC HR Generalist.
* Full-time members are hired through the process established by the USC Human
Resources (HR) Generalist and Work Study students are hired through the process
below:
Work Study Positions
1. Staff will discuss Work Study prospects with the Station Manager.
2. Once the student is approved, their name, student number and position will be
submitted to the Station Manager.
3. Station Manager will forward that info to the USC HR Generalist with the request
that they be hired.
4. USC HR Generalist will forward that info to her contact at UWO Work Study.
5. Assuming the job description has been posted and the student has been approved
for Work Study, the UWO Work Study contact will approve the hire. If any required
info has not been submitted, the Station Manager will submit it at this point.
6. The USC HR Generalist will inform the Station Manager that the hire has been
approved, and Station Manager will create the Hours Submission Document
through Google Docs, and share it with the student, all Staff, and USC HR
Generalist.
7. The USC HR Generalist will submit the hours from then on every Monday afternoon.
Pay Questions For Part-time, Work Study, or Honourarium
All pay questions or other issues (outside the student's regular work questions) are to be
forwarded to the Station Manager, who will address them with the USC HR Generalist.
27
CHRW RESOLUTION INFORMATION
All employees and volunteers have a responsibility to respect the dignity and human
rights of their co-workers, fellow volunteers and customers. All employees and
volunteers are responsible for conducting themselves in a way that ensures others are
able to work in an atmosphere free from ill treatment and unresolved work related
disputes. Employees and volunteers are encouraged to first discuss all of their
workplace concerns with their immediate supervisor or manager. In the event that an
employee or volunteer feels their concerns surrounding work-related concerns or ill
treatment involve their manager, you are encouraged to discuss your concerns with
another member of the CHRW management team. It is expected that a normal amount
of conflict, difference of opinion or disputes are normal in every work environment. In
fact, healthy conflict tends to lead to some of the most creative and effective solutions.
Respectful conflict and difference of opinion should not be confused with ill treatment.
There will, however, be occasions when volunteers will feel they have been treated
unfairly by a staff member, fellow volunteer or person associated with the workplace.
Not everyone will agree with all decisions and in some cases individuals may feel they
have been treated unfairly. While informal discussions will resolve the majority of
differences or hurt feelings, it is important that volunteers and employees have a means
to express their concerns in a way that differences can be settled before they affect dayto-day operations or long-term relations between individuals. It is also important that
volunteers are confident that their concerns will be addressed in a fair and consistent
manner, without fear of being treated unfairly or with bias.
If satisfactory outcomes can’t be achieved during informal discussions with your
supervisor or manager, CHRW volunteers and employees are welcome to utilize the
CHRW Resolution Process to resolve disputes such as:




Work-related disputes between volunteers, or between volunteers and paid staff
Clarifying the nature of volunteers’ roles, for example the boundaries of volunteer
roles vs. staff roles
Any perceived or actual difference in treatment between groups of volunteers or
individual volunteers (or perceptions of such differing treatment)
Addressing any instance where a volunteer or group of volunteers has a complaint or
dispute with another volunteer, group of volunteers, other worker or CHRW more
broadly
In the event that any concern, issue or problem may be of a criminal nature, it may be
necessary to notify police services.
In the event that any concern, issue or problem may be of a discriminatory, harassing, or
violent nature, it will be referred directly to the USC DISCRIMINATION HARASSMENT
AND VIOLENCE PREVENTION POLICY.
Once aware of incidents of unjust of ill treatment, management is responsible for
intervening and dealing with the actions of their staff. Ignoring such behaviour could be
viewed as condoning it and will be subject to disciplinary action.
An individual subjected to any ill treatment should:
Tell the offender to stop. Inform the alleged offender that her behaviour is unwelcome,
that you find it uncomfortable. An individual may not realize that he/she is being
28
offensive. An open and frank conversation may resolve the problem. Ask the person to
immediately stop this behaviour or action.
If the person refuses to cooperate, or the above action cannot be taken:
Refer to the CHRW Resolution Procedure below.
Make a written record of all incidents. Include the nature of the behaviour, the times and
dates of each event, what you said to the offender to bring the matter to her attention
and to get him/her to stop, and the names of any witnesses.
CHRW Resolution Procedure
This section of the CHRW Introduction, Policy and Procedure Manual outlines the
procedure by which volunteers can expect their concerns regarding ill treatment to be
addressed.
At any stage a volunteer can either express their satisfaction with the resolution
proposed at that stage or they may continue to the next stage if they aren’t happy with
the proposed resolution. Throughout the process every volunteer may expect a fair
resolution of their concern without fear of jeopardizing their volunteer status.
Step 1 – Informal Discussion Stage: Most complaints and concerns can be resolved
when they are brought to the attention of the staff or volunteer member who is perceived
as being the source of the comments or actions that are causing a volunteer to feel they
are being treated unfairly or unjustly. For the vast majority of differences between
individuals, there will be no need to utilize the formal resolution procedure. When
differences can’t be settled at this informal level, Step 2 can be taken. *
Step 2 - Supervisor Stage: The complainant will submit a written description of the
events and circumstances that surround the complaint to their immediate supervisor who
will attempt to resolve it. The supervisor will write a brief report, take notes, and address
the situation with the other party. The supervisor will attempt to create a solution within
15 days of receiving the concern. Once a solution has been found, the supervisor will
notify the Station Manager of the concern and the agreed upon resolution. If a resolution
cannot be attained, Step 3 can be taken. *
Step 3 - Station Manager Stage: If the supervisor cannot resolve the concern, the
supervisor will notify the Station Manager. The Station Manager shall consult with both
parties and arrange a meeting that includes all appropriate parties. The purpose of this
meeting is to provide a setting in which the two parties can discuss their issues and
hopefully come to an understanding of each other’s position and a resolution of the
conflict. The Station Manager will attempt to resolve the situation. If the complaint
cannot be resolved, The USC HR Generalist will be notified of the outstanding concern.
* RESOLUTION & ACTIONS: If a resolution is agreed to at any stage, the person or
committee who attained the resolution will submit a written report (to be included on or
attached to the Resolution Form) detailing the resolution and any action to be taken.
Actions should include a review of any existing policies, which should be clarified or
changed to reduce additional grievances.
* FULL-TIME STAFF: If the complaint is against a full-time or part-time staff member,
the Committee Stage will be replaced with a process as created by the USC HR
Generalist.
29
If it is determined that the concern is unsubstantiated, notes of the allegation do not
appear in the alleged offender’s file. No information concerning the complaint will be
placed on the file of any witness. CHRW will make every effort to help the parties
reconcile their differences. In the event that it is determined that the concern is
determined to be of a frivolous, vindictive or vexatious nature, action will be taken
against the complainant and/or appropriate parties.
30
RESOLUTION FORM
If speaking to your Supervisor (Informal Discussion Stage) has not been successful in
resolving a work related issue, then the next step is to fill out this form, attach a written
description of the concern, and submit it to the supervisor of the department in which the
issue arose.
This is a confidential process and parties to any concern can expect their confidence
and privacy will be respected and preserved. Documentation resulting from any concern
will be stored in a secure place.
Name: ______________________________________
Email Address: _______________________________
Telephone: __________________________________
Attach a written explanation of the concern or complaint, being as specific as possible
including dates, times, places and people when necessary.
Number of pages attached: ____________
Action taken to resolve concern, to be filled out by supervisor:
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
Resolution Accepted:
Complainant Signature: __________________________ Date: _______________
Supervisor Signature: ____________________________ Date: _______________
31
NOTES
This manual has been developed over the years to guide and assist all staff and
volunteers and to ensure the harmonious and efficient operation of the radio station.
CHRW Radio Western has the right to update or amend this manual at any time.
This manual has been compiled by:
Adrienne Arsenault, Michael Brown, Mario Circelli, Kaarlo Koskiala, Casey Lessard,
David Lewis, James McMillan, Mike Mitchell, Kelly Mulvey, Bryan Oliver, James Rocchi,
Grant Stein, Robert Sweeny, Robert Svilpa, Earl Veale, Karen White, Barrie Woodey
The following appendices are examples of training cards, music playsheets, program
logs, a variety of forms commonly used at CHRW and CRTC documentation.
32
APPENDIX A:
Example of Properly Completed Training Card
NOTE: Volunteers in training are required to carry the Training Card whenever attending
CHRW.
33
APPENDIX B:
Example of Properly Filled Out Playsheet – Front Page
34
Example of Properly Filled Out Playsheet – Back Page
35
APPENDIX C:
Example of Program Log Sheet
Any corrections/changes/missing items should be noted on the program log by the
announcer.
36
APPENDIX D: New Show Application
NEW SHOW APPLICATION
This application is for trained host(s) wishing to apply for new shows on CHRW. It is
possible for hosts who complete CHRW training to join existing shows without
completing this application.
PROCEDURE
Applications for new shows can be made at any time; however, show applications will
only be reviewed AFTER the host(s) completes all applicable training and orientation
sessions and becomes a full-fledged volunteer. These sessions are posted on the
CHRW Training and Signup Board at the station.
The application must be submitted to the CHRW Program Director via email
([email protected]) or the CHRW News, Sports & Spoken Word Director
([email protected]). All applications will be reviewed by the CHRW Programming
Committee.
Applicants should generally receive a response to their applications within four weeks of
submission. Applicants who are denied shows will be encouraged to submit alternate
applications or join existing shows.
CONDITIONS OF SHOW APPLICATION ACCEPTANCE:
All volunteers at CHRW are expected to follow all CHRW and CRTC policies and
regulations while conducting their show. These regulations are included in the 94.9
CHRW Introduction, Policy and Procedures Manual, which will be made available to you
during CHRW training. Before any new show goes on the air the host(s) must also sign
the CHRW Volunteer Agreement in which you agree to abide by all CRTC and CHRW
policies and regulations.
New shows will be subject to department reviews (with either Program Director or News,
Sports & Spoken Word Director) immediately and a formal show review after a period of
4-6 weeks. This review is an opportunity for the CHRW Programming Committee to help
new hosts improve their skills and provide an opportunity for new hosts to ask any
questions they may have. Of course, all volunteers are encouraged to ask questions at
any time.
37
Please be aware that CHRW prohibits broadcasting any material that tends to relegate
or subject a group, individual or class of individuals to hatred or contempt on the basis of
race, religion, gender, national or ethnic origin, age, physical ability, appearance, or
sexual orientation. Material of this sort may ONLY be broadcast within the explicit
context of discussing the issue itself and when its use is necessary for the listening
public’s understanding of the issue.
CONTACT INFORMATION
If you need more space to respond to any of the questions, you can continue on a
separate piece of paper.
First Name, Last Name:
Phone Number (London):
Phone Number (Cell):
E-mail:
___________________________________________
___________________________________________
___________________________________________
___________________________________________
Co-Applicants:
Name:
Phone Number:
E-mail:
__________________________________________________
__________________________________________________
__________________________________________________
Name:
Phone Number:
E-mail:
__________________________________________________
__________________________________________________
__________________________________________________
Proposed Show Information
Name of Show:__________________________________________________________
Show Description:
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
Show Format:
Music
Spoken Word
Ethnic
Length of Show:
30min 60min 90min 120min
Language: _____________________________________________________________
38
What knowledge, previous experience, background, or skills will you bring to this show?
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
Do you belong to any organizations that are related to the show you propose? Yes No
If the answer to the above question is yes, what organizations are you involved in and
what position (if any) do you hold?
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
What materials will you use to prepare for your show? (i.e. magazines, Internet, live
interviews etc…). Please give specific examples.
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
How will you promote your show?
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
39
If you’d like to do a music show, please list at least ten Canadian artists that you would
play on it:
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
If you propose to produce an issue-oriented show, please list 5 examples of topics,
issues, stories and ideas that you wish to cover or discuss:
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
If you propose to do an ethnic show, please describe how you would ensure that the
show is meeting the needs and interests of your community:
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
In your opinion, why is it important for CHRW to broadcast this show?
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
Thank you for your application.
Today’s Date: ___________________________________________
Signature:
___________________________________________
40
SHOW REVIEW COMMITTEE NOTES REGARDING:
(Not to be filled out by applicant)
Proposed Show Information
Committee Notes Regarding: Name of Show:
______________________________________________________________________
Committee Notes Regarding: Show Description:
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
Show Format:
Music
Spoken Word
Multicultural
Length of Show:
30min 60min 90min 120min
Language: ________________________________________
Committee Notes Regarding:
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
Committee Notes Regarding: What knowledge, previous experience, background, or
skills will you bring to this show?
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
41
Committee Notes Regarding: Do you belong to any organizations that are related to
the show you propose? Yes No
Committee Notes Regarding: If the answer to the above question is yes, what
organizations are you involved in and what position (if any) do you hold?
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
Committee Notes Regarding: What materials will you use to prepare for your show?
(i.e. magazines, Internet, live interviews etc…). Please give specific examples.
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
Committee Notes Regarding: How will you promote your show?
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
Committee Notes Regarding: If you’d like to do a music show, please list at ten
Canadian artists that you would play on it:
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
42
Committee Notes Regarding: If you propose to produce an issue-oriented show,
please list 5 examples of topics, issues, stories or ideas that you wish to cover or
discuss:
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
Committee Notes Regarding: If you propose to do an ethnic show, please describe
how you would ensure that the show is meeting the needs and interests of your
community:
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
Committee Notes Regarding: In your opinion, why is it important for CHRW to
broadcast this show?
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
43
Committee Notes Regarding: Overall application notes. Does the show being
proposed satisfy CHRW goals? Are there concerns about the proposal or the host?
Does the host have the skills to make it a successful show? Is the show being proposed
original in nature or duplicate existing shows?
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
COMMITTEE RECOMMENDATION
Yes
No
What improvements could the applicant make to move towards having a successful
show application or to ensure the show is successful?
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
44
APPENDIX E: Host/Volunteer Agreement
Host/Volunteer Agreement
Name:
_____________________________
Date:
_____________________________
Email:
_____________________________
Phone
_____________________________
INTRODUCTION
Now that you’ve completed training in one area on CHRW you’re now considered to be
“a volunteer in good standing”. This document is not an exhaustive list of rights &
responsibilities you have as a volunteer at CHRW, but is simply intended to highlight a
number of them and encourage you to ensure you read and find out information that you
might need to conduct yourself at CHRW.
94.9 CHRW POLICY AND PROCEDURE MANUAL
1. I have received, read, and understand the 94.9 CHRW Policy and Procedure Manual
which is located at the following web page http://chrwradio.ca/training/. I agree to
abide by it in letter and spirit and agree to obtain the most recent update when
necessary.
TRAINING & MEETINGS
2. I have received formal training in all 94.9 CHRW departments that are relevant to my
involvement at CHRW. If I am going to be involved in new areas I will seek out the
relevant training sessions to ensure I am capable and trained. I realize this is
important to ensure the work I do is of high quality and that it is conducted safely.
3. I will attend all meetings appropriate to my area. If I cannot attend the meeting I will
give notice and endeavour to find out the results of the missed meeting.
4. I understand that part of my responsibility is to train new volunteers. To find if a
trainee signed up to train during my show I will look on the Training Board, located to
the right of the News Room as I walk into the station. I am aware that the 94.9
CHRW training manual is located at http://chrwradio.ca/training/. If I need refresher
training on any aspects I will be proactive and do so.
5. I will read and observe all posted notices, check my show mailbox on a weekly basis
and will ensure my contact information (email and phone number) is current.
CONDUCTING A SHOW, INTERVIEW, PROMOTIONAL EVENT ETC…
6. I will not miss a shift without advance notice. Replacements for my show are to be
approved by the Program Director or News, Sports & Spoken Word Director. If I am
pro-active and find a fill in I must get approval of the replacement host by the
Program Director. Email will be accepted only outside of a 7-day period. Within a
7-day period I will call the Program Director directly at 519-661-2111 ext 84708.
7. I will be in 30 minutes before my show. If I am running late I will call Master Control
519-661-3600 to let the previous show host know that I am on my way.
45
8. I will not arrange giveaways or interviews without the express knowledge or
authorization of the Music & Promotions Director.
9. If I’m doing a music show, I understand specific CRTC & CHRW requirements for the
amount of Canadian Content, New and Local releases are specified on the Program
Log (CC / N / L) and it is my responsibility to ensure they are met. If I fill in for a
show I will abide by the Canadian Content, New and Local requirements for the show
I am filling in for. If this information is missing from the Program Log, I will ask ahead
of time and not guess.
10. Any programming conducted during my show or by me will abide the appropriate
policies and procedures regarding CHRW policy on Obscene Language / Explicit
Material / Time of Day. I will ensure guests follow the same policies.
11. For every music show, fill-in show or specialty show (i.e. Top 30), I will fill out all
Playsheets and SOCAN sheets in full, and write the times and initial all elements of
the Program Log.
12. As a show host, I will keep the Program or NS&SW Director informed of any changes
or additions to show staff and will ensure new staff are formally integrated and
trained in the approved manner.
USING CHRW EQUIPMENT
13. When using any CHRW equipment, I will ensure that I have been trained on the
proper and safe use of such equipment. If I’m unsure of how to safely use
equipment, I will ask the applicable Department Head.
14. I will not unplug any equipment or turn the delay system off without the authorization
from the Program Director or General Manager. If this occurs I understand that there
will be an immediate suspension of my show until further notice.
REPRESENTATION OUTSIDE OF CHRW STUDIOS
15. I will not misrepresent my status as a host/volunteer at 94.9 CHRW for personal gain
such as access to services, goods, external events or financial gain.
16. Whether representing CHRW in public, using the CHRW website or social media
accounts or when representing CHRW on my own website and social media
accounts, I will endeavour to conduct myself in a professional manner in keeping
with the spirit of the CHRW Policy & Procedure Manual.
WARNINGS & SUSPENSIONS
17. I understand that signing this document does not guarantee me a shift, nor does the
assignment exist in perpetuity when awarded.
18. I understand that failure to adhere to 94.9 CHRW Policies & Procedures can result in
warnings and other consequences. All warnings will be written warnings.
Suspensions may be issued with any warning depending upon the circumstances;
however, after receiving 3 written warnings a suspension will be included. The
length of any suspension will be up to the discretion of the Program Director in
consultation with the Station Manager.
CONGRATULATIONS!
19. Finally, I understand that being a CHRW volunteer does come with advantages and
can be a lot fun, so I agree to maximize those aspects as much as possible!
Date:
Volunteer Signature:
_________________________________________
_________________________________________
46
(signature also indicates I have received a copy of this document)
Department Head
_________________________________________
& Title:
______________________________________
47
APPENDIX F:
CHRW Promotion Proforma
PROMOTION PROFORMA
Ad Name:
Organization:
Contact Info:
Instructions:
Engineer:
Script Writer:
Date Produced:
Production Location:
On-Air Location:
Youtube Video. (Y/N)
Start Date:
End Date:
WRITE YOUR SCRIPT IN HERE
(40 second ad = approx. 100 words - more writing tips on other side of page)
OTHER PROMOTIONAL OPPORTUNITIES TO CONSIDER
CHRW Ad
Wake Up Western
Interview on CHRW
InfoSource (posters and ticket sales)
Poster & Poster Patrol (Inprint)
Western Web
Facebook, Twitter
Western Film Graphic
Western News Story
Gazette Story
USC Website
London Free Press Story
48
Promotion & Writing Tips
1 - Get your promotion plan together now. On the other side of this page is a list of a number of
ways you can promote your event or group. If you can, find 2 or 3 people to help you and get
them to take two or three of each.
2 - Don’t wait to create the ad and bring it into CHRW. Try to get it in so you have at least 3
weeks of on-air promotion. The better the ad, the more likely that CHRW listeners will react and
CHRW hosts will talk about your event as part of their show prep. About 60% of CHRW hosts are
Western students and come from all faculties so there is a good chance a few will pump up your
event by discussing it with other hosts or guests.
3 - Know your audience; think about who you want to target. A commercial promoting a social
justice event will definitely be different from promoting a fashion event. Do use technical terms or
slang if you know your audience is familiar with it – they will respond to your message.
4 - Formulate your idea. Bounce a few creative ideas off at least one other writer and preferably
two. The commercial will be 40 seconds maximum in length, so pick one idea and stick to it. Don't
use lots of empty adjectives and adverbs. Writing radio commercials is a visual exercise. People
can see nouns and verbs. Use enthusiastic testimonials. Get your customers to write radio
commercials for you! Record verbatim comments then edit out the ahs and ers. Don't make
customers re-read lawyer-approved copy. It always sounds forced and fake.
5 - Mention the event name at least twice and preferably three times into your first draft. Do be
clear. Do use short sentences. Even partials. Do entertain.
6 - Read the draft out loud with a stopwatch. Read at an even, realistic pace, and time how long
the script runs. Add or delete words to get the commercial to the right length. Do not try to read
faster, just read it as you would any script. Don't scream. Be enthusiastic but don't try to shove
your message down people's ears. They'll gag. Don't lie. Don't weasel. If you have legal
disclaimers, state them clearly.
7 - Let the script sit for a while, take a break, and then return to it with fresh eyes. Edit it as
necessary, but remember to time it again by reading it out loud once you are done.
8 - Present the script to your contact at CHRW for final approval and production (printed or
emailed). Ensure you have someone from your organization on hand to voice the ad.
49
APPENDIX G
Appendix to Broadcasting Regulatory Policy 2010-819
Content categories and subcategories for radio
Content Category 1 - Spoken Word
This category includes the following two subcategories:
Content Subcategory 11: News
The recounting and reporting of local, regional, national and international events of the day or
recent days, with particular emphasis on the topicality of the events or situations selected, or on the
constant updating of information, or both as well as background material about current events when
included in newscasts but excluding weather, traffic and sports and entertainment reports.
Content Subcategory 12: Spoken word-other
All programming with the exception of material falling under subcategory 11-News and categories 2,
3, 4 and 5 (Popular Music, Special Interest Music, Musical Production and Advertising).
Content Category 2 - Popular Music
This encompasses musical selections in the genres or groups of genres set out below:
Content Subcategory 21: Pop, rock and dance
This refers to music from the entire pop, rock and dance music spectrum. Examples include all types
of rock music, including soft rock, hard rock, classic rock, heavy metal, modern rock, alternative
rock, jazz rock, folk rock, and blues rock. It also includes pop, rock & roll, rhythm & blues from the
fifties and sixties, soul, dance, techno, rap, hiphop, urban, and contemporary rhythm & blues. This
includes musical selections listed in charts such as AC (Adult Contemporary), Hot AC, Pop Adult,
AOR (Album-Oriented Rock), CHR (Contemporary Hit Radio), Alternative, Modern, Adult Alternative,
Active Rock, Dance, R&B, Urban, and Techno, compiled and published by music trade publications.
Content Subcategory 22: Country and country-oriented
This includes country & western, country music recorded since the 1950s, new country, and other
country-oriented styles. It includes musical selections listed in Country charts compiled and
published by music trade publications.
Content Subcategory 23: Acoustic
This refers to music performed in an acoustic style that draws largely from Category 2 Popular
music genres.
Content Subcategory 24: Easy listening
Easy listening includes easy listening instrumentals, adult standards, middle-of-the-road and
beautiful music.
Content Category 3 - Special Interest Music
This encompasses musical selections in the genres or groups of genres set out below:
Content Subcategory 31: Concert
Concert music includes the whole spectrum of the “classical” music traditions, including opera and
operetta. It also includes extended dramatic excerpts of popular musical theatre when performed in
a full-cast version. It does not include orchestrations of “popular music,” however classical in form.
50
Content Subcategory 32: Folk and folk-oriented
This genre includes authentic, traditional folk music, as well as contemporary folk-oriented music,
that draw substantially on traditional folk music in style and performance. It includes old-time
country music recorded before the 1950s, and traditional bluegrass.
Content Subcategory 33: World beat and international
This genre includes world beat music that draws heavily from the traditional music styles of
countries throughout the world. It also includes music from the popular, folk and classical music
traditions of countries throughout the world that are played in instrumental form or sung in
languages other than English and French.
Content Subcategory 34: Jazz and blues
This includes both historic and contemporary music in the jazz and blues traditions. Examples of
music in the jazz tradition include ragtime, Dixieland, “golden age” swing, modern swing, bebop,
“cool” jazz, modern, avant-garde, Latin-oriented jazz, jazz-funk, soft contemporary jazz,
contemporary jazz fusion and other contemporary and emerging jazz styles. Examples of music in
the blues tradition include classic blues, delta blues, Chicago blues, and contemporary blues music.
Content Subcategory 35: Non-classic religious
This refers to music of religious faiths. It also includes gospel music, hymns, and contemporary
Christian music.
Content Subcategory 36: Experimental Music
The unconventional and non-traditional uses of instruments and sound equipment to create new
sounds and an orchestration of these sounds. This includes audio-art, turntablism, musique actuelle,
electro acoustic and sound ecology. While it may involve the use of previously recorded sounds to
create new sounds and orchestrations, it does not include spinning or beat mixing where the
alterations of previously recorded tracks are limited to mixes between two or more pieces or
samples.
Content Category 4 - Musical Production
Musical matter broadcast by a station to identify itself or any of the components of its programming,
including musical linking devices used to highlight elements of the broadcast service. For greater
particularity, this category includes the following five subcategories:
Content Subcategory 41: Musical themes, bridges and stingers
Musical selections used to identify particular program segments, or to extend programming
segments to the end of their allotted time as well as applause, brief musical and other sound effects
intended to punctuate the presentation of other broadcast matter, where this matter is less than
one minute in duration.
Content Subcategory 42: Technical tests
Broadcast matter intended to be used for the purposes of technical tests by the station or its
listeners.
Content Subcategory 43: Musical station identification
Short musical selections designed to identify the station by call letters or frequency.
Content Subcategory 44: Musical identification of announcers, programs
Musical material identifying and accompanying the use of specific announcers, programs or
programming elements.
Content Subcategory 45: Musical promotion of announcers, programs
Musical material promoting increased listening to specific announcers, programs or programming
elements.
51
Content Category 5 - Advertising
Broadcast matter intended to promote services or products offered to the public by persons
normally advertising in the course of their business. For greater particularity, this category includes
the following three subcategories:
Content Subcategory 51: Commercial announcement
A commercial announcement for a business, product or service, presented in return for
consideration.
Content Subcategory 52: Sponsor identification
Identification of the sponsor of a program or program segment other than under subcategories 51
and 53.
Content Subcategory 53: Promotion with sponsor mention:
Verbal or musical material promoting increased listening to the station or to specific announcers,
programs or programming elements, when accompanied by the identification of a sponsor.
52
APPENDIX H
First Warning
To:
____________________________________________
From: _____________________________________________
Date: ____________________________________________
As discussed in CHRW’s Session 100, and acknowledged when you signed the CHRW
Volunteer Agreement, you have been trained in and are aware of the information
contained in the CHRW Policy & Procedure Manual.
The circumstances for this warning are:
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
If you disagree with the warning, you can follow the steps described in the CHRW
Resolution Procedure in the CHRW Policy & Procedure Manual.
Further steps include Second Warning which can be accompanied by a suspension from
CHRW, and Third Warning which can be accompanied by dismissal from CHRW.
Volunteer Signature: ___________________________________________
Staff Signature: ________________________________________________
53
Updates:
July 29, 2013 – updated White Sheet
54