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Saturday, December 19, 2009

The London Free Press sets the tone, Paul

Paul Berton, editor-in-chief of The London Free Press, addressed the troublesome tone of some of the comments appearing on lfpress.com.

Dan Brown, the senior online editor at the paper, singled out those with the "worst spelling, grammar. . ." as being among the worst offenders.

Berton is right. I have seen some comments on The London Free Press/Sun Media site that I have found appalling. I thought the following warranted being pulled:

"So the key (to having a positive attitude) is for me to start smoking, pull my pants down and impregnate a teen girl?"

I e-mailed the paper suggesting this comment should be taken down. I did not get a reply, and the comment is still to be found proudly archived for posterity by the LFP. (Scroll down to: 2009-09-18 11:09:38)

I assume this means the paper did not find this comment distasteful; If it had been considered distasteful, Berton implies in his Saturday column, it would have been removed.

Maybe Paul will see this blog and reconsider. Maybe he can have Dan Brown, the senior online editor, remove it. This would be fitting as the comment is Dan Brown's.

. . . well, so much for the worst spelling, worst grammar theory.
__________________________________________________

 A few months ago lfpress.com, like all Sun Media websites, began allowing unmoderated comments on all local stories and many national ones. Comments are posted immediately without first being vetted by a Free Press employee.

The Free Press expects its readers to do the vetting, flagging inappropriate or offensive comments. Many of the questionable comments are racist, sexist and down on minorities, according to Berton.

Many contain, "a tone and language that would make a construction worker cringe." (Why pick on construction workers? I can name a few editors who, when given some truly bad copy right on deadline used to, shall we say, turn the newsroom air blue." Berton tells us that it's discouraging and depressing, and I agree.

To think The Free Press, a large paper in its own right and owned by the giant Sun Media / Quebecor group cannot afford to hire the staff necessary to vet comments. Instead they choose to give these verbal graffiti vandals a platform. Rather than hiring staff the media would prefer to risk being "sued for libel" or turning "off too many readers. . ." These are Paul's words.

Brilliant? No. But it is cheap. Please do not insult us by telling us that it is a way to "democratize the news."

During the day readers police lfpress.com for free; Then in the evenings and overnight the ability to comment is simply turned off. It is hard to believe, but come evening there are not enough bodies at the paper to remove the few flagged comments.

Do the math on the number of flagged London Transit strike comments as reported in Berton's column and you may be as surprised as I was:

950 comments related to the strike last week with from five to 10 percent of them flagged. (950 * 7.5% = 71 flagged comments last week.) As last week does not include Saturday, the column is in the Saturday paper, the average was about 12 flagged comments a day. How many of those would occur during the evening? One? Two? Three? And because of those numbers the mighty Free Press must turn off the comment mode.

Yes, it is all so discouraging and depressing.

Friday, December 18, 2009

Keeping and respecting the past

I love the States, but I worry about those 48 states to the south of me. When I was young I travelled throughout the U.S. First, by motorcycle and later by Volvo and finally by Morgan. I loved that country. And I loved the people - for the most part.

One difference between Canada, at least the Canada with which I was familiar, and the States was the look of their small towns. Their small towns had ego; They had pride.

Their small towns had downtown's lined with buildings that still looked pretty much as they looked when built. I used to stay in small, family run hotels for $1.50 and at night I would wander the halls and investigate the lobbies; I'd talk to the night clerk to learn the hotel's history.

I stayed in a hotel once in which Abraham Lincoln had stayed. In fact, the desk clerk claimed the bed in which he slept was still in use. I believe the story could have been true from the look of the iron and brass beds in the rooms furnished with old, old stuff. In more upscale hotels such furnishings would be called antiques.

Americans seemed to be happy with their old buildings in a way that southwestern Ontario folk weren't. I recall a beautiful corner drugstore in Windsor, Ontario, which was built in solid, red clay brick. It was a classy 1920s structure.

It was a corner store but the building itself did not have a sharp corner; the corner was cut at a diagonal, and I don't mean it had been removed. It always had a diagonal treatment with a beautiful square canopy hanging from two large chains over the impressive wooden entry door. The bottom edge of the canopy was completely trimmed with leaded, beveled glass.

Above the drugstore there were two apartments. A girl with whom I went to public school lived in one. It was small but beautiful, much nicer than my home. It had lots of original, varnished wood trim, wooden doors and original tiling in the bathroom. It looked old, but stately and elegant, too. I loved it.

When the drugstore went out of business, driven out by the arrival of the chains, the simple, painted sign came down and a cheesy, large, white illuminated plastic box went up. Giant, garish letters screamed the store's new name. You couldn't miss the sign as it wrapped right around the building. The fancy canopy was removed to make way for the sign.

The windows and the doors were all replaced with clean, modern aluminum stuff. And the apartments were gutted and rebuilt as four bachelor units. No children would be living above the store in the future. And the elegant brick? Large aluminum panels now covered the bottom half of the building and the top was painted to match the colour of the aluminum. 

I like to think that old buildings are a lot like old people. Leave them wearing their original duds and don't tart them up. It just draws attention to their age, makes them look even older and more decrepit. It makes them look ashamed of their age.

I've seen this sad story repeated over and over again in Southwestern Ontario.

But in the States I used to find old neighbourhoods that had been allowed to age gracefully. Oh, they looked a little worse for wear but it is not a crime to look old - especially if you are. These buildings had painted signs when built in the 1920s, or earlier, and now decades later, at the worst, they had simple neon ones. There were no plastic illuminated boxes to be seen - and no aluminum cladding or cheesy vinyl siding.

Now, these observations were made some decades ago. Things aren't as positive in the States as they once were. The Yanks are still are not as big on heaping indignities on their old buildings as we are here in Canada; Fewer buildings in the States must endure the painful humiliation inflicted by aluminum and plastic instruments of architectural torture. Americans prefer to put old buildings out of their misery quickly. One day they are old and a bit derelict and the next they are gone. Poof!

The advantage of this approach, compared to the one I noticed in Southwestern Ontario, is that if the building should be appreciated again, breathing life back into the old bones is not all that difficult. Often all the old stuff is still in place and with a little spit and polish the old building takes on the look of a proud old building.

Take the little town of Clayton, New Mexico, on the historic Santa Fe Trail. Clayton has gone through some rough times, like so many little western towns.

First, few folk live there. Ten years ago it only had a total population of about 2500. This can make things tough right from the get-go. The per capita income was under $14,000 with the median household income only $25,600. The town was once a livestock shipping center for herds from the Pecos River and the Texas Panhandle but that too is in the past.

Yet, I talked to some residents and they liked living in Clayton. The little town holds a parade each Independence Day and hosts two museums. And one, The Herzstein Memorial Museum, run by the Union County Historical Society, is open without charge Tuesdays through Saturdays, according to Wikipedia.

Today Clayton is marketing its look; Its age. Its community pride. Some of the businesses, like the old Eklund Hotel, pre-date 1900 but many others are much younger. Visiting Clayton is like visiting the States that I knew in the '60s and the '70s. The States that I loved in my youth.

I think of Carbondale, Colorado, and sitting on a stool at the long soda fountain counter in the town drugstore and sipping iced Green River soda. I recall watching My Fair Lady in the old movie theatre in Glenwood Springs and later enjoying a 3.2 beer with my date.

I'm going to revisit Clayton, N.M., this summer. Spend a few days there if I can arrange it. My Morgan will be quite comfortable there. And maybe I'll be able to buy Judy, my wife, a Green River soda.


You can still see a film at the Luna Theatre when you visit Clayton. Opened in 1916 as the Mission Theatre, with just under 400 seats, it once had a grand ballroom in the basement, later a roller rink, now also long-gone. The Luna won the New Mexico Heritage Preservation Award in 2001. Credit: Rockinon, May 2005

The little English roadsters shown in these pictures are all Morgans on the Morgans Over America 2005 tour. Morgans are still being made, making Morgan the oldest automobile manufacturer in the world. The little company is now in its second century of operation.

Sure glad GM didn't buy them like they did Saab. --- Cheers, Rockinon .

Thursday, December 17, 2009

Judy's Olive Bread

Some years ago, my wife and I spent a week in Venice. I'm cheap so it wasn't a lavish vacation. It was a cheap week in the off-season. For lunch one day we stopped at a small bakery and bought some fresh olive bread.

Wow! Eureka! This stuff was good! No, it was great!

The Venetian olive bread was a very small loaf which released oodles of green olive flavour when one took a bite. You see, the loaf had an inside cavity lined with mozzarella and filled with juicy, green olives.

A bottle of Prosecco, a popular white in Venice, a loaf of freshly baked olive bread and a Venetian piazza - ah, what more could one ask for? I found that the olive bread and wine made Venice glow even in the off-season. Well, maybe it was not the bread.

It is said that Prosecco is the "perfect compliment to the small sandwiches and finger foods that compose the Venetian lunch."

Judy has tried to make Venetian olive bread, and at one point came close, but she lost the recipe. The following is her second attempt. It's good but I think she has some work ahead of her if she wants to duplicate our Venetian experience.

If you'd like to try Judy's olive bread, make some bread dough - a bread making machine makes this easy - and make the dough for a two pound loaf. This is the perfect amount. When the dough is done, remove it from the machine and punch it down; Let it rest for ten minutes. Then divide it in half and flatten each half into a rectangle.

This post adds to an older one, improving upon the original recipe.

Cover half of one rectangle (lengthwise) with mozzarella cheese. Use good quality deli mozzarella. Spread drained olives on top of the cheese. Cover with more mozzarella and fold the bread over, sealing by dampening the dough with a little water.

Now, make the second loaf using the remaining dough and preparing it as above. Let both loaves rest for 45 minutes, giving the yeast time to work and the loaves time to rise.

Slash both loaves three times on top to allow the release of steam and place the loaves on a cookie tray lined with parchment paper. Bake for 25 minutes at 400 degrees.

Enjoy. And oh, remember to uncork some wine; A crisp, flinty Chardonnay is a good choice. The wine is important, very important.

Dreadnought Effect May Doom Newspaper Chains like Quebecor

As she slid down the slipway on February 10, 1906, few realized the role the British battleship HMS Dreadnought was to play in the shaping the position of Great Britain on the world stage.

The Dreadnought was designed to make all existing battleships obsolete overnight. And she did. She could outfight and outrun every other ship afloat – including those in her own navy, whose previous large numerical advantage she wiped out with one stroke, or launch.

Of course, if Great Britain had not launched the Dreadnought some other world power would have. Both the Imperial Japanese Navy and the United States were also building all-big-gun battleships. Naval technology was changing. Great Britain's massive navy was sunk no matter what Great Britain did.

In the end, rapidly evolving technology doomed the dreadnought class of battleships itself. The oldest remaining dreadnought, the USS Texas, launched in 1912 is now a floating museum.

The Dreadnought has given its name to a technological event of such game changing magnitude that the development levels the playing field, rendering all competitors equal. This is the Dreadnought effect.

Today newspapers are locked in a Dreadnought effect technological problem, but unlike the original Brits they have taken a different approach; the news organizations are stripping their companies of their big guns – jettisoning some of their heaviest artillery – reporters, photographers and editors.

You need look no further than Dave Chidley, one of the best photographers in the business, who was given his layoff papers about four years ago during a Sun Media-wide slashing of jobs. If Chidley should ever be picked up by a competing online news outfit and the Chidley talents are aimed against his former employer, smart money would bet on Chidley.

Paul Berton, the editor-in-chief of The London Free Press wrote:
"It is not too wild a guess (and this is really just that) that newsprint could be dead in five years, or perhaps less."
Wow! Five years and print could be gone. And what is Quebecor doing in its wisdom to ensure that it remains a major player in the news game in Canada? The amazing answer: Quebecor under the leadership of Pierre Karl Peladeau is locking out staff.


Credit: Benoit, Rue Frontenac Facebook photo

Nearly a year ago, Quebecor media locked out 253 employees. The response, according to this Magazine, "Le Journal de Montreal's journalists and other employees banded together to form the online news site Rue Frontenac.

The site’s name, cannon logo and tag line, "Par la bouche de nos crayons!" are a play on Governor Frontenac’s retort, memorialized in a Historic Minute,  that he would respond from the mouth of his cannons. A healthy union strike fund is estimated to be enough to pay employees 76 per cent of their salary for two full years—at which point Rue Frontenac may have enough advertisers to  stand on its own feet.

As Paul Berton has correctly pointed out:
"The ability to set up a website (the modern electronic equivalent of the printing press) and populate it with entries, photographs and links does not automatically make one an authority . . . "
Very true, Mr. Berton. If a news organization locks out its editorial staff what authority does it retain?



Credit: Benoit, Rue Frontenac Facebook photo

According to the National Post: Rue Frontenac "competes with the Journal now for revenue and attention. It is attracting advertisers, like TD Canada Trust and Telus. It's delivering scoops quoted by other media."

But Rue Frontenac cannot take all the credit for its successful online operation. They really should give some credit to PKP himself. PKP locked-out his staff in Quebec City and the experience gained in that labour battle is serving the fighting workers in Montreal very well.

Tuesday, December 15, 2009

Attention news folk;This is for you.

Since I broke the story about the layoffs at The London Free Press, I have taken hundreds and hundreds of hits. I have fun blogging but there is no promise that I will tackle stuff of interest to those working in the news industry. Here is a link to a man whom I am sure you will find interesting and thought provoking.

Reflections of a Newsosaur

This blog is now in its 6th year. An accomplishment in itself. Here is a little about the author of Newsosaur straight from his blog.

Alan D. Mutter is perhaps the only CEO in Silicon Valley who knows how to set type one letter at a time, just like his hero, Benjamin Franklin. Mutter began his career as a newspaper columnist and editor in Chicago, starting at the Chicago Daily News and later rising to City Editor of the Chicago Sun-Times. In 1984, he became the No. 2 editor of the San Francisco Chronicle. He left the newspaper business in 1988 to join InterMedia Partners, a start-up company that became one of the largest cable-TV companies in the U.S. Mutter was the COO of InterMedia when he moved to Silicon Valley in 1996 to lead the first of the three start-up companies he led as CEO . . . He also is on the adjunct faculty of the Graduate School of Journalism at the University of California- Berkeley, where he teaches a class entitled "Journalism in an Age of Disruption."

This is another good link, Fading to Black.

Cheers,
Rockinon

London lost its theatre district to the 'burbs

The destruction of the Capitol Theatre in London, Ontario, has taken me deep into the realm of "Welcome to the Third World". There are just so many better ways to use an essentially abandoned movie theatre than demolishing it for a parking lot.

When I moved to London there were three downtown movie theatres. Today there are actually more when you count all the screens at the Rainbow Cinema on the second floor of the Citi Plaza. Yet, I feel, and I think accurately that as a community we are poorer for the loss of those three Dundas Street movie palaces.

But, and this is the frightening idea, maybe we are not poorer. Maybe the reason they are gone is that we, as a community, are poor, and getting poorer with every passing year.

Maybe we lost them because we could not afford to keep them. Maybe we need to stem the economic bleeding in our community, return Londoners to a firm financial footing and then maybe we can then consider building a new and gorgeous performing arts centre.

If saving the Bowles facade taught us anything, it is that beautiful buildings are just that, beautiful buildings. We built 'em, we tear 'em down, and we can build 'em again if we want. We just have to have the bucks and the will.

This is the Hippodrome Theatre in Baltimore. It has a bit of the feel of London Ontario's Grand Theatre, yes? This is but one of many old movie theatres across North America truly saved from the wrecker's ball.

So many places have saved their theatres. It is time to stop taking such deep bows for saving a facade, and not even all of that.

More brick-a-brac from readers

Attention: Rockinon

Was reading your "Irreplaceable Buildings. Can't be made today" blog. Actually the title should be "Irreplaceable FACADES" and in the case of the Bowles facade maybe not so irreplaceable since not much of the skin seems to have been saved.

Anonymous


Toshtensen send this comment and I added the art:

In Indianapolis the Indiana Theatre was remodelled into multiple stages for the Indianapolis Repertory Theater and the Circle Theater is being use as a concert hall for the Indianapolis Symphony Orchestra.





On non-performance dates Circle Theatre is available for meetings, seminars, receptions, concerts, or other functions.

Photo credit (left): Jason Young












What happened in Lansing is unfortunate, because the office building destroyed the theater portion of the building and the arcade of shops that was inside the entrance.


The State Theater in Ann Arbor was made into a clothing store, while the Michigan Theater is still operating.



(My add: The Michigan Theatre has a good Internet site complete with a photo tour of the theatre today. It is interesting to note that the Michigan has only a few hundred more seats than London's now demolished Capitol Theatre.

The State Theatre in Ann Arbor was designed by the same architect who designed the Capitol Theatre in London, Ontario, of which only the facade minus the marquee canopy remains.

In 1979 the State was chopped into four separate screening room with two on the main floor and another two sharing the balcony space. Not ten years later, Urban Outfitters took over the main floor of the theatre and gutted it for a clothing store.

According to Wikipedia, the two balcony theatres are still in use. Remnants of the original architecture are still visible throughout the building.