For weeks now, Canada’s national broadcaster – the Canadian Broadcasting Corporation (CBC) – has been running ads bragging about how they’ve completely made-over their all news channel, Newsworld. They even took their flagship weekly nightly national news show “The National” and revised it too with a new set, new logo, and now it also airs on weekends.
When I was a journalist, I watched “The National” and CBCNewsworld religiously – what Canadian newshound doesn’t? But back then your choices among the news networks were limited to CNN, CBCNewsworld, CTVNewsn
I still tune into the CBC every so often, but find myself more drawn to BBC World and occasionally CNN. CBC – although an excellent news outfit – just wasn’t all that interesting anymore. The reporters always covered their stories in the same style, anything innovative usually being a documentary done by an independent person and bought by the CBC.
That’s probably why they recently did a complete rebranding of their news coverage, I’m obviously not the only person who they’ve lost as a regular viewer over the years.
So, when I recently tuned into the newly revamped “The National” I was eager to see what changes the executives at CBC made to win me back.
What a disappointment – aside from the set, and on-screen graphics, e
verything was good old fashioned chisel chinned CBC. All the stories were reported in the exact same, cardboard-cut-out, textbook journalism method they have always been.
That’s great if you’re using the CBC to train wanna-be journalists, but not so good if you’re trying to win back lost viewers.
I was expecting new and innovative ways to report on the things happening in the world around us. Instead, I got the same boring cookie cutter stuff the CBC has been dishing out for over 20-years.
CBC anchor Peter Mansbridge – a great Canadian journalist – continues to host the flagship “The National” just as he always has, from behind an anchor desk. He’s standing behind the desk, and occasionally they bring in a reporter standing across from him to provide some “live” dialogue – but other news stations have been doing this for years.
The news pieces still tell the basic story – but they don’t dive deeper. In fact, some were already out of date. They had a story about what happens to your digital life when you die – your facebook, Twitter, blog and other social networking sites. This story broke on many of those social networks three-weeks earlier, and CNN and the BBC had already run stories on this at least two-weeks earlier.
Where was CBC three-weeks ago?
It was a Thursday night, and that meant they had their regular poli
tical panel, which also hasn’t changed in several years – same people, same topics, same opinions. They are interesting to watch, they’ve been doing this political panel for so long, and everyone has chemistry between and among them. But it’s all the same song and dance.
Then they had their editorialist Rex Murphy – he’s an amazing writer, but despite the zillion years he’s been doing the same thing on the same television show, you’d figure he’d learn to write for television. He doesn’t sound like he’s reading, but his dialogue is clearly written for the printed page – he went on to emphasize bullet points about what the Canadian Liberal leader needs to do to be the leader. Bullets work well in print – in broadcast they sound crass, elitist, and academic.
Actually much of Rex Murphy’s commentary would read well, but was too long winded and wordy for television. In print, you can take your time, re-read sections if you want to – can’t do that on TV or radio. Well I suppose you can thanks to PVRs/Tivoli – but that’s no excuse. It is just as important to write for your intended audience as it is to write for your intended media in this multimedia world. And Rex Murphy isn’t new to broadcasting, he’s been doing the same thing, for the same network forever.
For a rebranding of their news outfit, CBC didn’t do much more than slap a new coat of paint onto an old wall. Essentially it was nothing more than a patch job, using new computer-generated graphics. And that is really too bad, because I only saw one show, and already could see the paint peeling and falling off.
Ah, Pagemaker, that takes me back to days long before computers were popular for layout and design. Incidentally, Adobe Pagemaker was morphed into Adobe’s Creative Suite (CS) and became Adobe Indesign.
But my mind began to wander, as I described the old days of layout and design. Back then, the tools of the trade were anything but high tech. Cork cutting boards, Xacto knives, rulers, scissors, rollers and burning, BURNING hot
Many times I’d burn myself on the hot wax, rushing to paste together a story in time for a print run. Luckily it was like a candle burn, nothing major.
Back then, printed pages were literally cut and pasted together on long wax coated pages called “proofs.” Hot wax was rolled onto these proofs, and each story was cut into pieces, and each piece was coated in this hot wax. The wax would allow you to slide each bit into the perfect spot in the layout, creating a page in the newspaper. Then the pages were hung like freshly washed clothes to dry.
It was a time consuming process, requiring steady hands, and a solid eye for being able to see when things were aligned just right. The most skilled at this could eyeball a single line of type (say a headline) without a ruler, and just know when it was perfectly straight on the page.
Though each proof came with pastel pink and blue grid lines, showing you the way.
time consuming process, layout designers kept many common elements on the side of their desks ready to go. The “paste-up board” as it was often called, because it had elements (such as page identifiers, logos, staff by-lines, datelines, place lines and so on) were all lying there, pre-sized and waiting to be pasted-up onto the page.
The area surrounding your pages in most desktop layout design applications is still called the paste-up board today, and is used to story common elements which can be copied into place.
These completed waxed pages would then be sent to the printers, where they would take them and create plates which they’d use for a print run.
When breaking news occurred, the poor layout designer literally had to start from scratch, because nothing was electronically designed, so the page or pages affected by the new story had to be recreated.
This was why deadlines were so very important back in those days, as a breaking news story could delay the print run of a newspaper for hours.
Once a print run begins, it takes some time to get started again, because of the way inks are printed in layers at different stages to achieve different colors and effects. So it still takes time to stop and start the actual production of a paper.
That’s why most major daily papers have two or three print runs, say a morning, afternoon and evening run. Some even have different edition runs, say one for the city, and one for distribution outside the city in the suburbs. If a breaking story changes the paper, they will toss the revised story into the next print run, instead of stopping the presses completely.
Which is partially why newspapers are in the so-called dying medium of print. Often, by the time they have hit newsstands, many of the stories are already out of date.
With 24-hour, seven-day-per-week news channels on television and radio, and with the global reach of the always on Internet, developing news stories change constantly. Newspapers can’t change once printed.
The always on electronic media also has driven us to expect news to be new the second we see it. When you read something in a newspaper, it was current at the time it was written.
And newspapers take so much time to read, while television, radio, even the Internet can broadcast the news to us, while we are making dinner, doing house cleaning, or even while working the very same computers broadcasting all this stuff.
Although newspapers are a dying breed, I miss the old days of the hot wax, Xacto Knives, and paste-up boards. Back then, laying out a page was a much more hands-on process, because you physically placed stories on the page. These days, you usually right-click on “place into frame” to put a story on the page.
Jordan H. Green began his never-ending journey for life-long learning while writing for the campus paper in university.
From student protests, to student politics, he eventually discovered his passion for knowledge -- and even more importantly, that he could write.
And write he did, for major big city dailies, small town weeklies, monthly magazines, even doing on-air work in television and radio -- Jordan mastered the media.
Jokingly calling this blog his place to "bitch and moan" he's once again mastering the media -- this time that new fangled thing called "the net."
Enjoy.
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