A single source has logjammed CBC’s Access to Information office. Of the 500 ATI requests received since September 1, a whopping 450 came from a single source.

This volume means that CBC now has to bring in a  consultant to enhance workflows and hire more people to work in its ATI office.

The CBC had not anticipated this kind of volume, having based its estimate on the volume of ATI requests received by organizations about its size and with a similar scope. (For instance, 500 requests are more than the number of requests typically received by the Department of Industry. For an entire year.)

But clearly, nobody could have forseen that a single person or group has filed 90% of the requests, causing this logjam.

Under ATI law, the Corp can not release any identifying information about the requester.

Had this individual or group not filed 450 requests in the first three months, the volume would have been equivalent to what other Crown Corporations have been receiving.

Meg Angevine, the CBC’s Access to Information Coordinator, says as a result of the requests, the CBC can not meet its goal of providing responses within 30 days.

The CBC has hired an ATI consultant to give advice on reorganizing its office and workflow. In the interim, it is actively trying to hire for more positions in the office.

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		Posted at 3:38 pm (28 Dec 2007)

I grew up on AM Radio. I had a Fisher Price turntable/AM radio combo. I would slip it under my pillow every night and listen to Jack Webster and Pat Burns on CJOR.

Burns used to place his horse bets with Hastings Racecourse live on air.

Somehow, it was endearing.

I lit a candle for Burns when he died.

Listening to AM radio as a kid convinced me. I had to go into radio. I wanted desperately to be one of those people.

Technically speaking, the AM signal is the true ambassador of radio. It can snake around buildings and hills (FM is primarily line-of-sight) and bounce off the ionosphere. I can still occasionally pick up San Fransisco superstation KGO just with a regular AM Radio. You could even rock the dial slightly off-frequency to improve the treble response of the signal.

Sadly, though, over the years AM radio has become the bastard child of, well, all broadcast media. It’s resigned to primarily talk formats — hard to argue considering music sounds awful on AM, and it’s mono only (unless you count the crazy-ass attempt at AM Stereo some years ago).

But even some AM stations, notably the ones past about AM 1000, sound okay. Everything below that sounds like it’s been scrubbed in mud before being aired.

And that’s where CBC Radio One in Vancouver languishes. We’ve been at AM 690 since the Stone Age. And, despite excellent work from our technicians and engineers, the transmitter’s signal just sounds… well, muddy. There’s no treble at all and for many people in apartment or condo building, they can’t even pick up much of the signal at all, owing to AM’s hate of cement and steel.

But now, CBC Radio in Vancouver is trying to change that. CBC Radio has asked the CRTC for permission to move its signal to the FM band. And we need your help.

We’ve asked the CRTC to broadcast at 88.1 FM in the Vancouver area. Like most other FM stations, we’d put our transmitter on Mt. Seymour. Hell, Radio One is currently available on FM in every major city in Canada except Vancouver. This transition to FM is loooong overdue.

Here’s why we want to do it:

• We asked Radio One listeners in Vancouver (Foundation Research, 2004) if they had problems picking up our AM signal — nearly 40% of respondents had problems picking up the signal at home, at work or in their car. Not cool.
• Tuning to the AM band is in decline and has been for years. Four out of ten Vancouver radio listeners do not listen to the AM band at all. Making the move to FM is an investment in Radio One’s future.

But we need your help to make this happen. We can’t just string up a transmitter. We have to get permission of the CRTC which regulates (for good reason) the public airwaves.

How You Can Help

Tell the CRTC you want to listen to CBC Radio Vancouver on the FM band. The easiest way to do this is through their web site.

1. Go here.

2. Click on the button that reads

3. Put a checkmark in the box at then click “Next” at the bottom of the screen. Make sure you’re putting a checkmark beside 200714239. (Hey, they’re the CRTC’s rules, not ours! {grin} )

4. Pull down the menu and select “Support”:

5. Type your comments into the form below and click Next. You can click Next through the next three screens if you don’t want to appear before the CRTC.

If you want, you can also write a letter and fax it to the Secretary General at 819-994-0218, or mail it to CRTC, Ottawa, Ontario, K1A 0N2.

Whatever you do, please copy us on your intervention by email at REGULATORYAFFAIRS@CBC.CA.

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	CBC Radio 1, Transmission, Vancouver	Posted at 8:18 pm (27 Dec 2007)

Over the holidays, public broadcasting blogger Justin Beach said he thinks it should be legally banned against the law for Canadian programs to ignore their Canadian settings in order to make the show more ‘sellable’ to American audiences.

He notes that while the first line of the CBC’s mandate says all CBC shows should “be predominantly and distinctively Canadian,” the popular sit-com Little Mosque on the Prairie deliberately excludes any references to Saskatchewan, where the show is filmed.

Justin quotes from an interview in the Regina Leader Post in which LMOTP producer Zarqa Nawaz tells an NPR reporter that they write out any Canadian references because “they hope an American audience will reference it as taking place in North Dakota and because ‘sales are important.’ ”

Just feels this practice should be banned. “No program that receives tax subsidies should be able to do alternate takes to disguise the fact that it is Canadian.”

The issue, I think, is whether or not Canadians are seeing programming that references Canada. I don’t have a problem if the show shoots different takes for different audiences (“That’s why it’s always cold in Saskatchewan” for the Canadian version; “That’s why it’s always cold here” for the American version).

I would have a problem if the show shoots one version sans Canadiana then airs it here. Does anyone know which way it is?

What do you think?

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	Little Mosque on the Prairie, Our Mandate, Saskatooon	Posted at 1:17 pm (27 Dec 2007)

Today in 1928, the first regularly scheduled, coast-to-coast network program aired on CN (rail) radio.

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	Asides, Today In CBC History	Posted at 12:58 pm (27 Dec 2007)

The CBC was fined $7,500 yesterday for being in criminal contempt of court after it posted the name of an undercover police officer on its web site. It occurred during coverage of the infamous serial murder trial of Robert (“Willie”) Pickton trial in B.C.

The officer’s name was ordered to be kept off the record by a Supreme Court judge last October. But in February, the CBC inadvertently posted transcripts of a conversation between the officer and Pickton while in jail.

The CBC apologized, saying one of its employees didn’t realize that the “operator” referred to meant an undercover officer — rather, they thought it referred to the person who transcribed the cell-plant conversation with Pickton.

While the officer’s name was published online, it was not broadcast. The transcripts were taken offline as soon as the mistake was discovered.

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		Posted at 12:29 pm (21 Dec 2007)

On today’s date in 1902, the first transatlantic wireless message was exchanged between Canada and England, via Signal Hill in Newfoundland. Contrary to popular belief, the first words spoken were not: ” ‘Allo? Is this the 1XB line? Winnipeg? Are you there? “

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	Archives/Vintage Media, Asides, Today In CBC History	Posted at 10:56 am (21 Dec 2007)

In case you’ve ever wanted your online work showcased to a much wider audience, have I got an opportunity for you.

CBC is now soliciting proposals for original online content. This is an open call, so you don’t have to work at the CBC to submit a proposal. Here are some of the factors you should think about when putting together your pitch:

• Potential impact – There is much competition for limited resources and success in the new media area is uncertain; it’s important, therefore, that we concentrate our efforts on fewer projects that have larger potential impact, while offering public value.
• New business models/approaches – We’re interested in proposals that help us understand different business models and relationships or technological approaches-our goal is to create “low-to-no cost” alternative distribution “channels.”
• Audience appeal – Audiences are faced with an ever-growing array of programming choices, on an expanding number of platforms, including the Internet, specialty television, satellite radio, gaming, and podcasts. To compete in this world, we’re interested in ideas that resonate with and attract a large number of viewers/audiences in genres we already serve well via radio and television.
• Content – We have particular interest in shorter form video or audio-in either comedy or music-that can be delivered to broadband or wireless.

Proposals will be evaluated against the following criteria:

• Cost – Is the approach of the project in line with resource realities? Be sure to evaluate ongoing hosting and service requirements. Since we are looking for interesting partnerships, what is the bottom-line cost to the CBC to approve this project?
• Building community or audience – Does the project have the potential to attract a significant audience or build our online community?
• Use of the medium – Does the project make full use of the unique characteristics of the online world?
• Innovation – Does this project take us somewhere new? Is it an innovative idea or concept? Does it help us understand the medium better?
• Revenue potential – What is the potential to generate revenue? Is the proposal creative in the way it looks at potential revenue sources or partners?
• Reflection of Canada – How does the project further our mandate as the nation’s public broadcaster?
• Rights – Is the project feasible within CBC’s current rights framework? Is it possible to complete the project using our existing talent agreements? Are there limitations on distribution?

Your proposal should outline the full scope of your proposed project, including the creative approach. Identify your intended audience, as well as the tone, perspective and style for how you intend to reach them.

As for rights and branding issues, CBC will consider those on a case-by-case basis. So mention what you’d like for rights and what you’re willing to part with.

We also need to know your perspective on the next step in the development of the project, e.g., a pilot, a more detailed business model, further research, sample scripts, design mockup. All proposals should include a plan outlining how and when the development work will be done, as well as a proposed budget and audience and revenue estimates.

Finally, be sure to mention how learned about this (i.e. “InsideTheCBC.com employee blog”).

Once it’s ready, send it off to originaldigital@cbc.ca

For more information, contact Ted.Brunt@cbc.ca (Senior Director, Digital Entertainment) or Chris.Boyce@cbc.ca (Director of Program Development).

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		Posted at 10:40 am (21 Dec 2007)

It’s official. CanWest’s $2.3-billion takeover of Alliance Atlantis was officially approved by the CRTC. The takeover — first announced in January — was controversial from the start, because of the substantial financial involvement of Wall Street’s Goldman Sachs in the deal. Under the terms, Goldman Sachs would get a third of the voting shares, but almost two-thirds of the equity in CanWest Investments, a CanWest subsidiary that will acquire the Alliance Atlantis assets. More from cbc.ca

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	Asides, The Media Landscape	Posted at 6:47 pm (20 Dec 2007)

Forecasting the looming death of the MotherCorp seems to be something of a pastime among Canadian pundits.

Check out this issue of TV Guide about 20 years ago.

Little could they know, we’re still alive.

In case you want to buy this classic issue, it’s available on eBay for $5.

Maybe make a poster out of it?…

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	Archives/Vintage Media	Posted at 6:41 pm (20 Dec 2007)

Word is leaking out that Canada’s Peace Arch Entertainment is considering a takeover bid for ContentFilm. The CBC plans to sell its entire international sales catalog to ContentFilm’s subsidiary, Fireworks International.

Variety is reporting this morning that ContentFilm might be an attractive takeover target — the firm announced half-year net profits down 76% to $896,000, and sales down 5% to $20.3 million.

ContentFilm says the poor performance is because of  “challenging” market conditions for another subsidiary, Allumination, and a “quiet” half-year for ContentFilm.

Sales at Fireworks, the firm to which CBC is negotiating to sell its international sales catalog, is healthy — “in excess of expectations” says the company.

The potential bid from Peace Arch would offer investors a 25% increase over its opening price just a year ago on London’s “Alternative Investment Market.”

The former Tristar and CBS head and the former chairman of Paramount TV Group are both pivotal investors in both Peace Arch and ContentFilm.

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		Posted at 1:33 pm (20 Dec 2007)

Okay, this is shameless promotion, but for those of you not CBC employees who follow the blog, here are some highlights from CBC Radio One’s winter schedule:

• Dr. Brian Goldman will be back with new episodes of White Coat, Black Art, which was one of our most popular programs this past summer. The show takes listeners inside the health care system, demystifying the world of medicine, as healthcare professionals explain how the system really works, with a refreshing dose of honesty. The series will air Monday mornings at 11:30 a.m. and Friday evenings at 8 p.m.
• Advertising guru Terry O’Reilly will be back with Age of Persuasion. Every week, he will explore how advertising and marketing have come to permeate almost every aspect of 21st century life.  It airs Saturday mornings at 11:30 a.m.
• We’ll also be taking an off-kilter look at Canada – U.S. relations with our comedy series Canadia 2056. The show follows the adventures of the crew of the spaceship Canadia, the lone Canadian ship on a mission with the U.S. Space fleet as they set out on a pre-emptive strike against the planet Ipampilash. Canadia 2056 will air Wednesday nights at 11 p.m. and Friday mornings at 11:30 a.m.
• January also sees the debut of a new host for The Debaters. Steve Patterson takes over from Sean Majumder on the show that takes Canada’s best comic talent, gives them a topic, and lets the sparks fly. Steve has toured the world as a standup comedian.  He’s also made multiple appearances at Montreal’s Just for Laughs Festival, and was a finalist for top male standup at this year’s Canadian Comedy Awards.
• CBC Radio has extended the runs of two series that debuted in the fall–Spark and Search Engine. Spark is your guide to the Next Big Thing.  Every week, Nora Young looks at technology, trends and fresh ideas. It airs Wednesdays at 11:30 a.m. and Saturday afternoon at 4 p.m. On Search Engine, Jesse Brown looks at the surprising and significant ways the Internet is transforming our world. You can hear Search Engine Thursdays at 11:30 a.m. and Tuesdays at 3:30 p.m. (in select markets).

Apologies for the lack of links, but show links on the CBC.ca Program Guide aren’t working right now.

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	CBC Radio 1	Posted at 3:03 pm (19 Dec 2007)

Beth worked as a radio reporter with CBC News in Vancouver in the early 90′s. She later worked as a communications officer with the BC government and BC Ferries, and then started up her own communications company. Beth died Dec 9th at the Victoria Hospice and left behind her husband and two young boys, eight and ten.

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	Asides, Obits	Posted at 2:55 pm (19 Dec 2007)

I used to like taking holidays on cruise ships. And if your port-of-call was in a different time zone than the ship’s time, the crew always implored you to “Stay on ship time” while you were ashore, lest the boat sail away without you.

Sometimes, I think we need an official “CBC time.”

This morning I had scheduled an exit interview with outgoing CBC president Robert Rabinovitch, to post on this blog. He was prepared to go into a studio and everything. It was scheduled for 12:30 p.m. ET. And in my crazy brain, I added three hours (I’m in Vancouver) instead of subtracting three hours. Since I’m on the air all Wednesday mornings, I missed the interview. Of course, I realized this just hours before the scheduled time.

Crap.

It’s surprising, though, how often stuff like this seems to happen around here. Toronto people (sorry) often don’t even put the time zone in their emails/instructions, I guess assuming everyone in “the regions” would just adopt ET.

With five six time zones in this country, maybe we need to adopt an official “CBC time?”

The watch manufacturer Swatch introduced a concept known as Internet time some years ago. Essentially, the day is divided into 1,000 “beats.” Each beat is equal to one minute and 26.4 seconds. This way, you could say “The conference call will be at 885 beats,” a measure of time shared across all time zones.

I dunno. But there’s got to be something better.

What accidents have happened on your watch thanks to the time zones?

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		Posted at 2:44 pm (19 Dec 2007)

The CBC plans to sell the rights to distribute its progamming internationally. Currently, those titles are sold through the CBC’s international sales division.

If the deal goes through, expected in the New Year, Fireworks International will get the rights to sell 135 of the CBC’s shows and films to international broadcasters. Fireworks, owned by a British film called ContentFilm International, would also pick up any liabilities and receivables associated with the catalog.

The agreement would not affect any of the CBC’s broadcasting rights nor its archives.

Neither CBC nor Fireworks would say how much the deal was worth. A list of the 135 programs isn’t available until after the deal is concluded.

“The way this business works is it requires ready access to large sums of capital,” CBC’s head of business development Steve Billinger told me. “There’s a high cost of selling to international markets — large booths, lots of staff on site, and you’re competing against major studios like MGM and Fox, and major independent distributors. You are truly competing with them. [And since] we have no formal relationship with any of the independent producers, we either outbid or lose the business.”

Billinger says the the sale is permanent; it’s not a multi-year licencing agreement. “We were trying to maintain the level of scale and resources required to compete internationally… We just weren’t able to sustain that on any kind of go-forward basis.” After all, the money trying to sustain this business would have to come from programming. In a funny way, it was like one half of the CBC investing in the other half.”

Staff Impact
Currently, 13 people work in the CBC’s international sales department. Asked how this would affect those people, Billinger said “I’m not sure what the impact is going to be. We haven’t issued any [layoff] notifications. I understand ContentFilms is interested in talking to all of those people in regards to how they go forward.”

About Fireworks
Fireworks was originally a Canadian firm with two arms: A production arm and an international distribution arm. The firm was bought out by CanWest Global which shut the production arm down and sold its library to ContentFilm. ContentFilm will establish a Canadian office to handle the CBC business. Billinger says other distribution firms were not considered: “We were really not shopping the business around at all.”

ContentFilm did more than $16 million worth of license agreements last year for shows and films, including the Emmy Awards, Andromeda, and Relic Hunter.

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		Posted at 2:14 pm (19 Dec 2007)