BROADCAST Dialogue The Voice of Broadcasting in Canada

Canadian Exhibitors at NAB2010AldeaVision Solutions, Algolith, Audio Video Metals,Autodesk, AVP Manufacturing & Supply, Broadview Software,Burli Software, Communications Research Centre Canada,DAVICOM, a division of Comlab, Digital Rapids, DSCLaboratories, Eckel Noise Control, Evertz, Eyeon Software,FileCatalyst, Gennum, HaiVision Network Video, Image Video,International Datacasting, MaestroVision, Masstech Group,Matrox Electronic Systems, Miranda Technologies, MiraVid,Nautel, Norpak, Norsat, OMT Technologies, Optocore NorthAmerica, Plasticase, Pleora Technologies, Quantum5X Systems,Radian Communication Services, Ross Video, SHAPE WLB,Kylark Technology, Sound Ideas, Soundminer, SportsDirect,Stratos, Telesat, Tiger Technology, Unique Broadband Systems,VeriCorder Technology, Vimsoft, Ward-Beck Systems andWinmedia.Hot Trends. Cool Tools.3D • Broadband • Mobile DTV/Video • 2K to 4K to 8K • InteractiveMedia • HD Audio • Multiplatform Distribution • Content Monetization• File-based Workflow • D.A.M./Storage • Gaming • Digital NewsGathering • Video for Military Apps • Social Media • Brand Integration.SessionsThe new “Anytime, Anywhere” entertainment industry is creatingopportunities and challenges for content creators, producers anddistributors.Digital technology continues to transform how content is producedand re-purposed—breaking down the walls between pre-production,production and post, creating new jobs and redefining old ones. Manynew device technologies are being developed that will make personalentertainment portable and ubiquitous—as common a utility as e-mail.Today’s dynamic and converging media landscape is forcing contentowners and distributors to stay on top of changing business and advertisingmodels.Broadcast Management ConferenceThe digital era has brought with it a wealth of growth opportunitiesfor broadcasters, and has evolved how they touch their audiences andhow they make money.The Broadcast Management Conference intends to delve into the policiesand regulations that are going to govern greater expansion into the digitalrealm; realize the power of technological advancements such as mobileapplications and broadband integration; and discover how to furthermonetize and manage digital products.BROADCAST DIALOGUE—The Voice of Broadcasting in Canada MARCH 2010 7

Broadcast Engineering ConferenceBroadcast engineers, technicians and media professionals from around the worldlook to this event for comprehensive coverage of technologies and issues. From workflowsto facilities to asset management and quality control, the Broadcast EngineeringConference aims to target the developments that affect you on the job. Delegates willhave the opportunity to meet and network with peers from local and network radioand television, production and post-production, cable, satellite, systems integration,software and IT companies, as well as equipment manufacturers and distributionproviders.Broader-casting ConferenceAs dozens of new technology trendstouch the content system—from creationto consumption, across multipleplatforms, broadcast and commercialapplications—this conference gathersmedia executives, content creatorsand technicians for an examinationof the intersection where creativity,technology and developing businessmodels meet.Three programming streams drill down into specific areas…The Business of Media Track offers keynotes, topic-driven panels and case studiesthat uncover the strategies and business of digital media.The Creative Track provides a sampling of curricula provided by NAB Show partnersand is designed for professionals from the entertainment industry.The Technology Track aims to cover most recent developments in standards intechnologies driving the broadcast entertainmentand information media industries,focusing on IPTV and broadband.Digital Cinema Summit3D: Camera to Living RoomProduced in partnership with SMPTE,the Entertainment Technology Centreat USC and the European BroadcastingUnion, this event is for cinematographers,technologists and media professionals engagedin the creation and delivery of digitalmedia.The Summit offers an examinationof the 3D workflow from acquisition,through post-production, distributionand display. Panels and workshops willreview techniques and lessons learnedwith real equipment demos and fullvisual demonstrations.Highlights:• 3D perception viewing demonstrationswhere participants discover the limitationsof their visual systems.• A dive into display technologies revealingthe benefits and shortcomings ofstereoscopic displays.• A glimpse into the R&D labs wherethe future of stereoscopic display isbeing created.• Demonstrations of multiple techniquesin packaging and distributing compressed3D images for satellite, overthe-air,IP download and packagemedia such as BluRay Disc.The finale of the 2009 48 Hour FilmProject (48HFP) will take place during theshow. Titled Filmapalooza, the three-dayevent will honour the winning films submittedby 48HFP participants in 2009.A new Super Session titled Faith inFilm: A Roadmap for Success in Hollywoodwill be on Wednesday’s calendar. Producedby 168 Film Project, the session will exploreopportunities in Hollywood forfilms of faith, drawing from examplessuch as Blind Side and Fireproof.RTDNA will produce a day of programmingthat will focus on training fornews managers to help them improve theirnews-gathering, decision-making, leadershipand digital skills. RTDNA@ NAB isa multi-day convention held in conjunctionwith the NAB. Visit RTDNA.org formore information.8 BROADCAST DIALOGUE—The Voice of Broadcasting in Canada MARCH 2010

Harris Corporation Chairman, Presidentand Chief Executive Officer HowardLance will be a keynotespeaker on theWednesday in a morningsession titled DualUtilization of BroadcastTechnology for Industryand Government. He’lldiscuss how the integrationof governmentand commercial technologies can createcross-over applications that benefit bothsectors.CSI creator Anthony E. Zuiker, alsothe executive producer of the CSI franchise,will be featured in a Super Sessionon the Wednesday called “Multiplatform:Taking Content to the Next Level.” Zuikerwill discuss the growing entertainmenttrend of creating original and re-purposedcontent for cross-platforms, fromTV to the Internet to mobile devices.Syndicated radio host and satirist PhilHendrie will be the keynote speaker at theRadio Luncheon April13. Hendrie, whose careerincludes both TVand motion pictures,“will demonstrate therole of radio as an entertainmentplatform”.On his radio show,Hendrie’s cast of fictionalcharacters, all of whom he plays,provides listeners with humorous andsometimes controversial political perspectives.In addition to radio, film and TV,Hendrie regularly voices characters onFOX’s animated series King of the Hill andFuturama. An example of Henrie’s characterizationsoccurred during the GulfWar. He introduced his first fictionalcharacter on air—an Iraqi, Raj Feenan,who vociferously defended SaddamHussein. Listeners, thinking Feenan wasa real person, went ballistic and thephones lit up.The Telly Awards Hall of Fame event onApril 14 will see three past Telly Awardwinners honoured and inducted into theTelly Awards HallFame. The threehave consistentlycreated outstandingvideo content“that exemplifiesexcellence andthe spirit of the awards”. The awards willcelebrate more than 30 years of Tellyexcellence that have honoured outstandingvideo content made for a variety ofmediums including TV, non-broadcastand the Web.BROADCAST DIALOGUE—The Voice of Broadcasting in Canada MARCH 2010 9

Ron Chapman, the legendary Texas radiopersonality, will be inducted into the NABBroadcasting Hall of Fame during the RadioLuncheon on Tuesday, April 13. Chapmanhas been heard on the airwaves in the Dallas/Fort Worth area since the 1950s. He retiredin 2005, but was summoned back to radio afew years later when ABC asked him to becomethe regular substitute for Paul Harvey News. Also featuredwill be the annual presentation of the NAB Crystal Radio Awards.NAB president and CEO Gordon Smith will participate in akeynote session launching DigitalVision 2010, a free virtual tradeshow presented for digital content creation professionals.Actor Michael J. Fox, also an author andan advocate for increased funding forParkinson’s disease research, will receivethe NAB Distinguished Service Award. Foxwill be honoured for the impact his careerhas had on the television industry, as wellas his commitment to raising awareness forParkinson’s disease through The Michael J.Fox Foundation for Parkinson’s Research, established in 2000.Previous award recipients include Mary Tyler Moore, PresidentRonald Reagan, Edward R. Murrow, Bob Hope, Walter Cronkite,Oprah Winfrey and Charles Osgoode, among others.Jim Parsons, Emmy nominee and star onthe critically acclaimed CBS comedy seriesThe Big Bang Theory will receive the 2010NAB Television Chairman’s Award duringthe Television Luncheon on the Monday.Established to recognize individuals for asignificant breakthrough in one or morespecific art disciplines in TV, the TelevisionChairman’s Award first debuted last year with four-time Emmyand two-time Golden Globe-winning actor Kelsey Grammaraccepting the award.The Canadian SuiteThe Canadian Suite will be, as it has been the last few years,located at the Flamingo Hotel in the Twilight/Scenic Room thefirst two evenings—Monday and Tuesday—and in the ElDorado Ballroom Wednesday evening. It opens at 6 p.m. allthree evenings andcloses at 8 p.m.This annualevent, begun aVERY long timeago, is the go-tospot for Canadianslooking to winddown after a longday on the exhibitfloors or attendingthe various sessions.It’s important to note that the convivial atmosphere—and allthe drinks —are courtesy of about 100 suppliers who chippedin to make this “the happening place” before you go out forsupper.─ BD10 BROADCAST DIALOGUE—The Voice of Broadcasting in Canada MARCH 2010

JOHN McGRATHBranding Internationally ─What is your local market?Many say the future of televisionis in serving your local marketand identifying with it, andthere is truth to making sure you relateto your local audience.But it does beg the question, whatis my local audience? It seems like aneasy enough question to answer. Youmay be tempted to say where you arelocated is your local community. Thatmay have been the answer 20 years ago,but now local really has a new meaning.You’re local to whoever is watching you.Successful broadcasters have always spokento their audience and new technologyhasn’t changed that.A great example of reinventing thenotion of local is border PBS stations suchas KCTS Seattle or WNED Buffalo-Toronto.That’s right, Buffalo-Toronto. That’s howthey brand themselves. They’re an internationalLOCAL station. It’s not uncommonfor someone in southern Ontario torefer to the “local PBS station”, which happensto be physically based in Buffalo.“The signal goes north just as itgoes south,” says Ron Santora, Vice President,Broadcasting/Station Manager,WNED. “About 12 years ago, we lookedat the Canadian (ratings) we were gettingin southern Ontario and we realized wewere really a bi-national organization. Westarted identifying ourselves as just that.”It was a matter of being local to whowas watching. Santora says it becamequickly apparent that hanging on to theconcept that they were just a Buffalo stationwas out of date.“It’s an old fashioned way of lookingat things,” he says. “You need to look atwhere you reach. It doesn’t make any differenceof where you are really. Take forexample Minneapolis and St. Paul. They’reright next to each other. You’re not goingto cut one off from the other because youhappen to be licensed in one city or theother.”But identifying yourself to a largedemographic area spread over two countriesdoes have its challenges. WNED offerssome good examples of how to dealwith those.“We pay attention to the differencesin the markets,” says Santora. “One ofthe ways we do that is through our membermagazine. It publishes on a monthlybasis and it goes out to all members. Wewill look at the scheduleand see what’scoming up. Often wewill change the coveror the feature story toreflect the two different markets. If wehave a uniquely U.S. story that we wantpeople in Western New York to be awareof, we’ll do something on the cover forthat. Then we’ll find something that’smore market appropriate for the Canadianversion.”So they are cognizant, for example, ofhow they talk about things like finances,where in the U.S. they talk about 401ksvs. RRSPs. But for the most part, saysSantora, branding and promotions arebased on content that people are tuninginto watch, regardless of where they are.When it comes to station imaging,there is no border.“We don’t brand our promos for U.S.or Canada. But the one thing we do do isBURLI. NEWSROOM SYSTEM.Canada’s leading choice for radio news unveilsthe next generation in newsroom systems.April 12-15—come and see usat NAB 2010 in Las Vegas!Booth #C2343TO FIND OUT HOW BURLI CAN WORK FOR YOU…www.burli.comat the conclusion of every program, thefirst bumper that comes up at the stationbreak is the WNED logo. If you look atour logo, we have WNED written out withBuffalo-Toronto underneath it. And youalso see in animation the U.S. flag and theCanadian flag flying behind it.“When we have our IDs, and we havevarying versions, we start at our Buffalostudio, then you take a journey from thatbuilding to Ontario. Then (it cuts to ashot) looking back from Toronto,Hamilton across thelake to Buffalo. Andat the very end of thatanimation, you havestreams of light comingout like spokes in a wheel that notonly says that we reach Batavia and differentareas of Western New York, butwe also reach different areas of SouthernOntario like Toronto, Barrie andHamilton.”That’s their local audience.“It’s a matter of whose living room amI in,” concludes Santora. “That’s the mentalityyou have to have. You’re having aconversation with someone. No matterwhere they live, you are with them.”John McGrath is a Toronto-based writer andvoice-over actor, specializing in promos,imaging, commercials and animation. Hemay be reached at 416-876-3945 or atinfo@johnsvoice.com.BROADCAST DIALOGUE—The Voice of Broadcasting in Canada MARCH 2010 11

JEFF VIDLERPPM changing conversationwith the audienceAll consumer research is essentiallya conversation whether you speakto listeners on the phone, hire aresearch company to ask some structuredquestions, or dissect the results ofa BBM survey, you’re engaging in a conversation.Listeners speak through theirwords or actions and programmers respond.Programmers make changes andthe listeners in turn provide the necessaryfeedback. And so it goes.I was reminded of the importance ofthis conversation a few months ago whenI was speaking with Nicole Jolly, VPOperations at Flow 93.5 Toronto. Nicolewas urging BBM to include ethnicity withintheir PPM sampling parameters toensure that the diverse population ofCanada’s largest markets are included inwhat she describes as the conversationbetween radio programmers and theirlisteners. This is a social as well as a businessissue. Only those who are part ofthe conversation can expect to have theirinterests and culture reflected on radio.Since speaking with Nicole, I’ve beenobserving how PPM is changing the conversationthat programmers have withtheir listeners. And, as big a believer as Iam in PPM and its ability to paint a moreaccurate picture of tuning, I am concernedabout the nature of some of those earlyconversations with listeners.I have three concerns.The first is what I see as an unhealthyobsession with listener tune-out, whilepaying little attention to what makes listenerstune in. Or, for that matter, whatmakes them tune in to the radio mediumin general. PPM is very good at identifyingthose places or those personalities thatgenerate tune-out. But it tells you virtuallynothing about why listeners come backto the same station. It doesn’t even do avery good job of explaining why they tuneout of that host or feature.By way of analogy, think of a shortstaffedStarbucks location. It draws a bigcrowd who feels that Starbucks has thebest coffee, but it has low sales figuresbecause customers have to wait too long.Do you close the location, or do you addsome counter help? Likewise, a morningshow may be serving up the most entertainingradio in a market, but may not begetting to their prime content fast enough,with the result that listeners often losetheir patience and the show under-performson a minute-by-minute basis. Doyou fire the morning show, or re-structuretheir breaks so listeners get what theycame for without having to wait so long?My second concern has to do with“PPM panic”. In most markets, we’re stillin the very early days of PPM. Sample sizesare smaller than they were in diary days.Compliance levels are still below targetin many of the younger demo cells, resultingin even less reliability. Meanwhile,cellphone-only households are not fullyrepresented and ethnicity is not etchedinto the sample frame. Yet, some stationsare preparing to change format withoutdigging into the diagnostics to seewhether they are just getting a bad breakin the early panel results or if they in facthave a broken format.Finally, the biggest concern is whetherwe are simply spending too much timeand energy on the PPM conversation, andignoring other more relevant conversations.We know that PPM is important toagencies who want more accurate measuresto calculate GRPs and CPPs, but isthat where the advertisers themselves arefocusing their attention?The amount of dollars going to traditionalabove-the-line ad expenditures—the kind measured by GRPs and CPPs andbooked by buyers—is declining in favourof social media, digital media and otherbelow-the-line marketing. Advertisers areincreasingly looking for engagement fromtheir marketing partners.And there’s no reason that radio can’tbe a partner in delivering. Yet, by strippingradio of the talent and the other glue thatdraw listeners to the medium in order toincrease its exposure counts in PPM, someradio companies may be cutting themselvesout of the one slice of the revenuepie that is growing.Maybe it’s time to have some conversationswith advertisers as well.Jeff Vidler is Senior VP & Managing Director,Radio for Vision Critical in Toronto. He maybe reached at jeff.vidler@visioncritical.comBROADCAST DIALOGUE—The Voice of Broadcasting in Canada MARCH 2010 15

With games, short- and long-form video, TV schedulesand features, contests and a strong brand, family.cais among a handful of Canadian media websitesnow in their “tween” years. The first version, launched in May1997, was, according to Barbara Bailie, Director, Interactive forthe Astral TV Networks, “just a website”.Today the site attracts thousands of young Canadians weeklyand features an interactive community, the FAMCLUB, withover 200,000 active members. Technically advanced and visuallyimpressive, the site’s broadband video player won a 2009BDA award.Bailie has been with Family since the channel launched in1988. She oversaw the creation of that first family.ca and isintimate with each version launched since. She understandsand appreciates the business challenges faced by interactivedepartments in Canadian media companies.At the helm of four major site redesigns since 1997, Bailiefeels the reasons behind each of the changes varied. They includedlogo changes, network rebranding, reflecting Family’snever-a-dull-moment strategy, and her belief that family.cashould be fully refreshed every couple of years.Technology changes, such as consumers moving to wider computermonitors, and business decisions (incorporating banner advertising ina non-intrusive manner) have also affected the designs of family.ca overthe last decade.On an ongoing basis, Bailie says, “the real challenge is to create acohesive look online and on air.” Her team works closely with the network’screative services group to ensure their audience has a seamlessbrand experience.Targeting TweensFamily, the channel, and family.ca are destinations for Canada’s8-14 year olds, referred to as MAKs (Middle Aged Kids) by Astral TV’sbrand strategists.Online, they’re a tough target to reach. No other group in history has,since birth, had such an extensive variety of media content and platformoptions available to them. Today’s tweens expect that their media, andall forms of entertainment, be available on demand.BY BARBARA JONES16 BROADCAST DIALOGUE—The Voice of Broadcasting in Canada MARCH 2010

Tweens’ site is atween itself –changing allthe timeWhen family.ca began targeting strictly tweens in1998, Bailie notes, “the traffic started to grow up. Wewere a little ahead of things online (in) experimentingwith content.”They quickly learned games, activities, unique programs,brand extensions (including network promotions),drew the attention of their target, which todayskews slightly female.According to Bailie, the secret to attracting trafficto their site, and keeping the tweens coming back, isresearch.The channel’s internal research team monitorsboth television viewership and online statistics miningco-relationships. Essentially, on-air drives onlineand vice versa.The research department uses data from Nielsen,Omniture, comScore, proprietary custom studies andsite traffic. They focus group test their television programmingand are regularly fine tuning their customer’smovements and experience—in, around andbetween Family platforms.Interactive ActionA recent Omniture study (Measuring the Impact ofBROADCAST DIALOGUE—The Voice of Broadcasting in Canada MARCH 2010 17

Kevin Haggith & Ty Trainor, Airtime Television Sales, Toronto; Geoff Thrasher, CHCH-TV Hamilton;and Mike Gibson, Airtime Television Sales, TorontoRob Reaume, Association ofCanadian Advertisers, TorontoMike Fenton, NABS TorontoTheresa Treutler, Television Bureauof Canada, TorontoPierre Dion, TVA MontrealPaul Robertson, Corus Entertainment, TorontoRichard Stursberg, CBC Toronto; Ken Lydford, CTV Toronto; andSandra Hammond, CBC Toronto20 BROADCAST DIALOGUE—The Voice of Broadcasting in Canada MARCH 2010

Leonard Asper, Canwest Global Communications andErrol Da-Ré, Canwest Broadcasting, TorontoLiz Faria, M2 Universal Toronto and John Talbot, Wendy’s TorontoImagesfrom theTelevisionBureau’sTV Day inTorontoKathy Gardner,Canwest Broadcasting, TorontoLeslie Sole, Rogers Television, Toronto David Adjey, The Opener, Food Network Cal Millar, Channel Zero, TorontoBROADCAST DIALOGUE—The Voice of Broadcasting in Canada MARCH 2010 21

BARBARA BREBNERGlad to be backI’ve missed this gracious opportunityto offer my opinions, my suggestionsand, sometimes, my rants. I’m stillnever going to get on the “Be in your owncommercials” train. And I’ll still neverunderstand why local TV stations think“BREAKING NEWS” is something thathappened yesterday afternoon.I look forward to contributing toBroadcast Dialogue again, to keep thepiece of my heart that will always be inthe business of broadcasting. The greatmystery of broadcasting for me has alwaysbeen the depth and duration of friendshipsand relationships it has given me.I am grateful for this forum, and I amgrateful for the people who taught me somuch.That said, I have to remind theCanadian reader of how things are a littledifferent here in the States. We havelocal free television, a choice of two satellitevendors and local/regional cable players.Among the locals, we have a strongtax-and-donation supported WisconsinPublic Broadcasting Network. Plenty tochoose from, for the most part, but somethinghas happened to TV here that seemsso wrong.For years, paid half-hour commercialshave crept into afternoon and late nighthours. I can choose from an enjoyablehalf hour of “making money in foreclosedreal estate”, or how to “start yourown business” material that isn’t anyreal programming at all. Years ago, theseads filled a late night gap from time totime and also filled the coffers of stationsthat needed extra revenue to make thebottom line.Now that many of us are paying forcable or satellite television, and thosechannel providers are being paid hugesums to create programming (and promiseprogramming), why aren’t consumersactually getting programs?Mind you, I can take 30-second commercials…and plenty of them. I have beenproducing them for 30 years. But, when Iam viewing the Travel Channel I want tosee travel programming around the stinkingclock! What about the guy who getsoff shift work at 1 a.m., doesn’t he deserveto get a full plate of TV when he getshome?And now even worse—the half-hourcommercials are being disguised as realprograms when you turn to your channellistings. Names like “Make Money In YourTown” or “Revenue Frontier” slip into theline-up so it isn’t obvious. I venture a lotof us would drop cable or satellite if weknew how many hours were really devotedto this creepy programming.But wait. How can we drop it when wehave become so accustomed to instantlyclicking on the Weather Channel for forecasts,ESPN for sports news and CNNwhen there’s a world crisis?I couldn’t imagine being without CNNwhile the Haiti earthquake coverage wastruly breaking. Do I expect that the networkwill break away from this to go topaid programming at midnight?NO.So, why do these other networks thinkit is okay to do this at night? The shiftguy pays the same price as me and shouldget hours of programming he can enjoy,right?Part of my difficulty with these paidadvertisements is that they are often sellingget-rich-quick schemes and promise-themoon products that can sap lifesavings and ruin lives. Is there a moralor ethical rule suggesting maybe wedon’t want to provide venues for suchadvertisers?I certainly don’t want to support themwith my user fees.Neither does “shift worker guy”.I suggest a simple solution. Why notoffer a double deal to advertisers and letthem buy spots with a slightly higher ratebut know that those same commercialswould be run in a rebroadcast of the day’sprogramming. The entire daytime line-upcould be repeated at night, the spots airtwice, the shows air twice and you’ve generatedthe income that allegedly supportsthe whole industry in the process.Is it like this in Canada?If not, don’t let it happen.It really sucks.Barbara Brebner is a freelance televisionproducer based in Green Bay, WI. Shemay be reached by e-mail atbarbara@oriolefeeders.com.22 BROADCAST DIALOGUE—The Voice of Broadcasting in Canada MARCH 2010

STEPHANIE MacKENDRICKStrange bedfellows:Leadership and self doubtIt’s tempting to believe that strong leadershipis a question of making decisionswith certainty, knowing what isright without doubt. A strong leader inspiresand motivates others to follow, tomake the whole greater than the sum ofits parts, whether leading a nation, a town,a company or a kids’ hockey team.Often all we see is the finished product—from strong leaders it’s a clear vision ofwhere they want to go and how they wantto get there.The process is the messy part, wherewrestling with conflicting priorities occurs,trade-offs are whittled into place andsometimes the only way forward is to takea leap of faith, especially in rapidly changingenvironments. There is seldom an obviousright choice.This is especially true in our industry,where every leader of every team, group,division and company is facing unprecedentedeconomic challenge, technologyaccelerating the tempo of business bythe minute and a wholesale change inconsumer expectations and habits. It requirescreativity through constant reinventionand visionary thinking. Yet it alsodemands an almost surgical ability to sliceand dice the onslaught of data and trendswhile near-military precision is requiredto execute plans that have been pluckedfrom the chaos.Whoever said leading was easy?Leadership development is a vital partof CWC’s mission and we’ve given muchthought as to how best to equip membersto lead in this challenging environment.While the requirements of leading are thesame for women and men, attitudes toleadership are often quite different, thusbringing disparate challenges to the task.Confidence is an ongoing issue for womenand thus is its flip side, self doubt.Do women have more self doubt thanmen, or is their sensitivity to it greater? Domen ignore self doubt, or do they just hideit better? I suspect women are more likelyto interpret it as a sign that they maynot be up to the task but, regardless, it’san important topic to cover in the pursuitof leadership development for women.I was reminded of this when I was invitedin December to participate at a meetingof the American Democracy Institutein Washington to launch a mentoring programto groom young women for publicleadership roles. As a “power mentor”, myrole was to facilitate a group discussionon leadership.I was honoured to participate andhumbled by the task. After reading a fewof the CVs, I wondered what possible value-addcould I provide in the way of wisdomor guidance to these amazing youngwomen. They were Rhodes scholars, WestPoint graduates, founders and leaders oforganizations, senior political advisers,White House staffers.In short, I was assailed with self doubt.I desperately tried to recall the nuggetsof wisdom I’ve heard about how to listento doubt without letting its insistent voicesilence your own; how to move forwardyet avoid over compensating with hubris.So I sought out one of the menteeswhose academic and professionalThe popular Canadian Suitewill be staged at the Flamingo Hotel.qualifications made me dizzy just to readthem. Still shy of 30, she had accomplishedthings that anyone would begrateful to have accomplished in an entirecareer. Now she had a young child andwas pondering what next. She felt adrift,unsure what direction to take without thehighly-structured environment that hadthus far been such a part of her careerpath. She wanted to hear how other womenmanaged, what paths they chose, howthey made their decisions.I shouldn’t have been surprised thatself doubt was probably the biggest challengeshe faced at that moment. And as Iwas mentally kicking myself for not pickingup on it sooner, we moved to anotherhighlight of the agenda.Madeleine Albright, former U.S.Secretary of State, gave an entertaining,insightful, humorous and meaningful accountof her path to power before takingquestions. I had to ask. “What has beenthe biggest challenge in your career?”I shouldn’t have been surprised by theanswer. “Self doubt.”What a relief to confirm that we are insuch good company with our self doubtand, more important, that it needn’t sabotageour ambitions and achievements.Stephanie MacKendrick is president ofCanadian Women in Communications. Shemay be reached at mackend@cwc-afc.comor (416) 363-1880, extension 302. Refreshments, including beer, wineand soft drinks, will be served. Phone: 905.625.4321 ext. 2222 Fax: 905.625.4333 Email: rpatey@appliedelectronics.comBROADCAST DIALOGUE—The Voice of Broadcasting in Canada MARCH 2010 23

The broadcast world today is in turmoil at best and threatened with survivalat worst. The application of digital technology to conventional over-theairbroadcasting, distribution, production and archiving have destroyedmany of the premises of television of the not too distant analog past.Twenty years ago a few major over-the-air networks dominated their national landscapes,often-delivering market shares in excess of 85%. Satellite delivery was not a factor until digitalizationmade it economic in the mid-’90s. And while cable was established in many nationalmarkets, the delivery of multiple pay and specialty services was hampered by the bandwidthrequired for analog delivery. Network brands dominated viewer interest and in most casesdefined what we watched.The business model for these network goliaths was based on advertising (or public fundsand/or advertising for public broadcasters). Subscription revenue from cable and the early daysof satellite was modest and their advertising revenue even more modest. The advertising businessmodel has its roots in early radio days and really had not fundamentally changed in 70 years.Suppliers of equipment and services to broadcasters understood their market and operated in astable environment (although one could say it was a mature market with little growth).So what happened in 20 years that essentially destroyed this stable and successful businessmodel?In a nutshell, the development of digital technology and its applications to broadcast and distributed media.And, of course. the Internet, mobile and packaged media are only beginning to realize their distributionpotential. Cable has jumped from 50 or so analog channels to the 500-plus channel universe. Satellite hasdone the same from a standing start in the mid-’90s.Pay and specialty services available only on cable and satellite have grown from 10 or 20 services in theanalog world to hundreds in the digital world. And these offerings have persuaded subscribers to buy theirservices from distributors, both providing an ever increasing subscription revenue base while fracturing conventionalviewing audiences and markets.Today in some developed national markets, subscription revenue is higher than what is spent on advertisingover conventional television. And these large networks often have trouble getting over 30% of the combinedviewing audience.Yet through the ’90s and into the middle of this decade advertising revenues continued to grow, even as24 BROADCAST DIALOGUE—The Voice of Broadcasting in Canada MARCH 2010

Broadcastingin crisis;Aglobalmel tBY MICHAEL McEWENBROADCAST DIALOGUE—The Voice of Broadcasting in Canada MARCH 2010 25

subscription revenue became the elephant in the room—and audiencesabandoned conventional over-the-air broadcasters.This all ended in the economic catastrophe of 2008; advertising plummetedbut, interestingly, subscription revenue held its own. It is now commonwisdom that while advertising is expected to rebound it will never bethe same for conventional over-the-air broadcasters. The old business modelis gone but the transition to a new model is both tortured and painfully slow.Interestingly, suppliers of equipment and services had a pretty good 20years. The conversion to digital throughout the broadcast and distributionfood chain—along with the growth of new pay and specialty services andthe introduction of HD in several markets—have provided many businessopportunities. But their prime customers were always the big conventionalbroadcasters with production centres, regional and local services and largenews operations. Today these networks face uncertain and difficult times,creating an unstable market environment for these suppliers.Constituencies that rarely get a mention in this meltdown of conventionalbroadcasting are the national governments and broadcast regulators whocreate the broadcasting/communications legislation and enforce it. Centralto this legislation and regulation is the availability of free over-the-air signalswhich the citizen can access to be informed, enlightened and entertainedin the context of their local, regional and national communities. A sharednational experience has always been a fundamental premise to governmentpolicy and legislation.Content The Key To The FutureToday, with networks struggling to have a combined share of 30% ofthe national audience—and in many national circumstances less than 10%of the viewers actually get their signal from a transmitter—how long will itbe before large networks abandon their expensive transmitter systems andtry to just sell their product on a subscription basis through distributors?How will governments and their regulators resolve the goals of maintainingan informed civil society in which the gatekeepers are in charge?National interests are a huge stakeholder in this transition—and mustbe part of the solution.The pace of the above-described situation varies in the national marketsof the developed world, but this is a global phenomenon and will requireboth national and global solutions. Emerging markets in the Middle East,Asia and South America are all subject to elements of this transition, andHD-SDI / HDMI conversionThe HD Spigot S/H for HD-SDI toHDMI or the HD Spigot H/S forHDMI to HD-SDI• Supports S/PDIF audio• Supports 1080i or 720p HD• HD Input/Output compatiblewith SMPTE 292M• Interfaces with inexpensiveHD cameras via HDMI (Spigot H/S)• Interfaces with inexpensive monitors (Spigot S/H)• See us at NAB 2010, booth SU2709, April 12-15visit us at www.linsys.caLinear Systems Canada Ltd.Unit 1, 1717 Dublin Ave., Winnipeg, MB, Canada R3H 0H2Tel: 204 - 632-4300 • Fax 204 - 697-2417Michael McEwen, former SecretaryGeneral at NABA and former Presidentof CDTV and Chair of the Task Force onImplementation of Digital Television inCanada, currently is a Director at UKbasedconsultancy Media Asset Capital.He may be contacted atmmcewen@xplornet.com.while the developing world struggles toprovide basic services what will be theirpotential models?While the challenges are enormous allis not doom, gloom and disaster.The viewer now has more choice thanever before.The When I Want It, Where I Want Itand How I Want It consumer mantra isan extraordinarily liberating phenomenon.There are more channels available,more content than ever before being producedand more money available to fundit all from a combination of advertising,subscription fees, direct consumer sales(DVDs) and potential new sources suchas the Internet and mobile services.One would think with the media businessawash with both advertising andsubscription revenue that all the playerswould be doing well, even conventionalbroadcasters. But much of this new revenuegenerated over the last two decadeshas gone into distribution infrastructure,new channel creation and operations, andprofits for all these new players.The result for conventional broadcastingis similar to newspapers—less resourcesavailable for local and regionalcoverage and reflection forcing them tomaximize their national (and global)product creation and distribution.Content—its creation, ownership anddistribution—will be the key to the future.26 1BROADCAST DIALOGUE—The Voice of Broadcasting in Canada MARCH 2010

And large network broadcasters are uniquely positioned to take leadership in this area—after allthey are the largest creators of content, either directly producing it or acquiring it. Multi platformstrategies are obviously the route for conventional broadcasters in the future.Yet it is difficult to see whether this will enable broadcasters to maintain healthy and productivelocal/ regional services, which they are directed to do by licences from government and enforced bythe regulator.Futurist Marshall McLuhan noted that in a global media world one “should think globally and actlocally”. That message seems to be lost in the scramble to save the media conglomerates that havegrown from traditional conventional broadcasting.It is probably fair to ask whether conventionalbroadcasting really is a business andlicensed service as originally conceived by policymakers. Perhaps it is a descriptive phrase,which means the creation and distributionof content. Are the network brands dead andthe content brands King? In answering thesequestions broadcasters, distributors, regulators,legislators and suppliers will begin tofind the new media paradigm for conventionalbroadcast services and suitable publicpolicy to meet citizen’s needs in the post digitalworld.While there has been a lot of talk over thepast years about the changes in the industry—and a lot of angst about what to do andwhat will be the successful strategies for thefuture—there has been little hard research ofcomparative national and global experiences laying the foundation for strategicdiscussions and debate.The industry, government and the regulator all need to come together to gatherinformation and ideas which will lead to solutions. And while each nationalexperience is unique there is much similarity around the world which needs tobe shared.A good beginning for Canada and other countries would be the task forceapproach on these issues in the context of individual national communities.Principle amongst the issues would be the future of freely accessible over-the-airbroadcast services for all citizens/viewers.At the very least this work should lead to recommendations for a more relevantbroadcasting legislative framework and consequent new regulatory practices.Without some initiative similar to this, most legislation and regulation in thedeveloped world will remain out of date and a barrier to successful broadcastand content production operations and business success, particularly in anational context.New business practices are very difficult to develop in the highly regulatedbroadcast industry. While the industry needs to adapt and innovate, it also needsa relevant legislative and regulatory framework from which broadcasters can creativelyaddress their future.Inspiring images...remarkable value.D I G I T A LHD lenses for every production...every budget.• Optimized optics• Two times extender• Value priced• Widest angle• Full feature control• RS-232 InterfaceZA22X7.6BERMZA17x7.6BERMBroadcast and Communications Products DivisionFUJINON INC. 10 High Point Dr., Wayne, NJ 07470-7434 Phone: (973) 633-5600, FAX: (973) 633-5216FUJINON INC. 12-6715 Yonge St., Suite 203, Newmarket, Ontario, Canada, L3X 1X4 Phone: (905) 898-1382, FAX: (905) 898-3350FUJINON CORPORATION 1-324 Uetake, Kita-Ku, Saitama City, Saitama 331-9624 Japan Phone: 81-48-668-2152ZA12X4.5BERMwww.fujinon.comBROADCAST DIALOGUE—The Voice of Broadcasting in Canada MARCH 2010 27

DOUG THOMPSONRobbie Lane:Rockin’ on the radioWeeknights, just after the 6 p.m.news on Toronto’s AM740 (alsoknown as Zoomer Radio),Robbie Lane launches into his hour-longprogram, The Sixties At Six.It’s a subject he knows quite well. Longbefore Cancon regulations came into effectin 1971, Robbie Lane was not onlyan established recording artist with hitson the charts, but he was also featured onthe successful CTV television series, It’sHappening. But we’re getting slightly aheadof ourselves.Robbie grew up in Toronto and, likemost teens, turned to the radio for musiclittle realizing how important radio wouldbecome in his future. Again, like manymale teens, Robbie formed a band (alongwith guitarist and future Canadian MusicHall of Fame member Domenic Troiano)and began playing around Toronto, whichis where he hooked up with the legendaryRompin’ Ronnie Hawkins.“Ronnie was playing a Saturday afternoonmatinee at the Concord Tavern.Kids, and we were kids, were allowed inif you ordered food. One Saturday, afriend of mine went up to Ronnie andsaid, ‘There’s a guy here who’d really liketo get up and sing’. This was all unbeknownstto me, so there I was drinkingmy pop and eating my chips when Ronnieintroduced me. I got up and sang a coupleof numbers. I can’t tell you what a thrillthat was playing with Robbie (Robertson),Levon (Helm) and those guys.”Hawkins, realizing that Robbie’s wholeband was with him at the club, told themto come back the following week and he’dput everyone on stage.Robbie grins as he recalls: “Little didI know that Ronnie and the Hawks wereusually hung over Saturday afternoonsand they could hardly wait for anybodyelse to perform, so they wouldn’t have to.”In 1963, Hawkins hired Robbie & TheDisciples as an insurance policy for theday that his long-time back up group, TheHawks, would leave. The Hawks eventuallydid leave to work with Bob Dylan,changing their name to The Band in theprocess. That’s when Robbie Lane & TheDisciples became Hawkins “A” team.Although the group had hits onHawkins’ record label, Robbie remembers:“It was very difficult to get yourrecords played on the radio. What wasn’tdifficult, was actually working. There wereso many places where a band like ourscould play, like high school dances, concerthalls, clubs, bars, you name it, thatwe worked all the time.”After Ronnie Hawkins, Robbie foundhimself on TV. CTV in fact, with the seriesIt’s Happening. The Canadian recordindustry, still in its infancy in the early’60s, was also paying attention. CapitolRecords was more than willing to signthe group to a contract, but only undercertain conditions.“The A&R guy saw us, liked us andwanted to sign us. But he said Capitol hadno money, so if we wanted to be onCapitol Records we’d have to pay for therecording sessions ourselves, which is whatwe did. How naïve we all were back then.”Robbie moved from performing to thebusiness side of music in the 1970s, butjumped back over the desk in 1982. He’sbeen singing regularly ever since.These days, Robbie Lane & TheDisciples still perform on a regular basis.I recently attended two of their weeklySunday gigs at the Chick’N’Deli inToronto where Robbie and his eightpiece ensemble regularly pack the placeand, believe me, that joint was jumpin’.Five years ago, 1050 CHUM ProgramDirector Brad Jones gave Robbie a shotat becoming a disc jockey for the thenoldies station. Radio novice Robbie quicklywarmed to the microphone and listenerswarmed to him.In 2009, when CTV turned 1050CHUM into the audio for CP24, Robbiepacked up his rock’n’roll knowledgealong with his warm, friendly sound andbrought it over to Zoomer Radio, AM740.It’s been a long, successful career forRobbie Lane, although there were a fewtwists and turns he didn’t see coming. Abrain aneurysm, along with the loss ofhis daughter to cancer, have definitelychanged him.As Robbie put it, after a brief pause:“Those things have to change you. Andthey absolutely have.”Robbie Lane & The Disciples officialwebsite is www.robbielane.com.Doug Thompson is an award-winningwriter/director/producer for radio. He maybe reached at doug.t@rogers.com.BROADCAST DIALOGUE—The Voice of Broadcasting in Canada MARCH 2010 29

NANCY SMITHSonny Bono’s giftto Palm SpringsThe story behind the Palm SpringsInternational Film Festival is almostas interesting as the films it showcasesannually.The Festival was founded by SonnyBono 21 years ago to revitalize the oldtown of Palm Springs and bring the starsback to the desert. After his career inpop music ended Bono moved to PalmSprings, owned a popular restaurant, becamemayor of the city and then waselected to Congress.Bono wanted to put the sizzle backin Palm Springs, bring back some of theHollywood glamour of days gone by andcreate an attraction that would draw peopleto the desert. He had a grand visionto create a truly international film festival,but it was an uphill struggle to turnhis dream into a reality. Still he persistedand laid the foundation for today’s PSIFF,but his early death threatened to scuttlethe Festival. Nothing short of a miraclewas going to save it.Palm Springs is an unusual city. It ispopulated by a large group of “super volunteers”,people who are prepared to puttheir time and money behind cultural andcharitable events in a big way. Jackie LeeHouston, who owns the local CBS affiliatein Palm Springs, stepped in to take a leadershiprole, as did current Festival ChairmanHarold Matzner and many others,most of whom still serve on the boardtoday.They knew it wasn’t enough just togive time and expertise to the Festival.Nothing short of a large infusion of cashwould allow it to prosper, so they personallyfunded it as well. In 2010 PSIFF Boardmembers gave more than $1,000,000 infinancial support to the Palm SpringsFilm Society and the Festival, along withthe City of Palm Springs and the AquaCaliente Band of Cahuilla Indians.Even Sonny Bono couldn’t have imaginedthe extraordinary success of today’sPSIFF.In 2010 the Festival attracted morethan 130,000 attendees and scheduled450 screenings of 190 films from over 70countries. A highlight of the Festival isthe awards show gala featuring some ofthe biggest stars and directors in the worldincluding Helen Mirren, Jeff Bridges, BradPitt, Morgan Freeman, Clint Eastwood,Quentin Tarantino and more.The positioning line for the 2010Festival was Vision and Persistence becausewithout an abundance of both the Festivalnever would have made it this far.Festival Director Darryl Macdonald andDirector of Programming Helen du Toit,both Canadians, get a lot of credit forthe programming and operational successof the Festival. In a media releaseMacdonald said “record attendance,supremely smooth operations and enormouslypositive audience and industryfeedback made this year’s Festival anunqualified success on every level. In ayear when so many festivals worldwideare reeling from the double whammy offalling ticket sales and diminishing sponsorships,it’s hugely heartening to see PalmSprings reverse that trend and enlivenaudiences into the bargain.”The Festival programmed 67 films byfirst-time directors. One of my favouritefilms by a first-time director was a Frenchfilm, Queen to Play. The film voted bestof the Festival, and awarded the JohnSchlesinger Award, was The Girl With TheDragon Tattoo from Sweden, Denmark andGermany based on the best-selling novelof the same name.Canada had a high profile at theFestival with nine films, all of which werewell received. The two Canadian productionsthat gained the most favourable responsewere Inside Hana’s Suitcase andFathers and Guns.Each year I buy an affordable passthat allows me to see virtually all of theFestival’s films as well as added attractionssuch as “Talking Pictures” featuringsome of the best directors in the industryand their films. PSIFF has managed tokeep the Festival accessible and affordableeven as it grows and makes a pointof showcasing films produced by localdesert producers including two of myfriends from Women In Film and TV.The Festival allows me to stay on topof what’s happening in the industry locally,regionally and internationally. It is afeast for my senses, an education and anevent I look forward to every year.Nancy Smith is Chair/CEO of NextMedia,a Toronto-based business consultingand marketing company. She may bereached at (905) 468-7774 or atnsmith@nextmediacompany.com.30 BROADCAST DIALOGUE—The Voice of Broadcasting in Canada MARCH 2010

Chaseyour dreamBY STEVE KOWCHWhenever I speak to broadcast students at colleges or universities theywant to know what kinds of jobs are available in the media and how canthey be stars!Talent takes on many forms, it is what you have the passion for. Nomatter your talent, strive to be the best and stand out in your chosenfield.Not everyone wants—or can be—in front of a microphone or camera,and that’s a good thing. Without the talent behind the scenes there canbe no stars.You can be part of the excitement of radio and television by bringingyour talent to the team. We all have a role to play.Many of us get into the media to chase our dream. When you chaseyour dream you rise above the crowd of those who go through life dreamingof what might be but never invest the time to make those dreams areality.Chasing one’s dream is like running a marathon. It takes a long timeto accomplish the goals you set out at the start of the journey. It’s not asprint, because your career is a lifetime commitment. Along the way thereare all kinds of twists and turns with good things, bad things and excitingthings that will affect your career.People come into the media with all kinds of baggage. Some are lazy.Some have bad attitudes. Some are negative. Some are unhappy all thetime. Some just have bad work ethics. Others have no ambition in life.Still others have a sense of entitlement that gets in the way of standingabove the crowd. Others let their egos get in the way and refuse to takedirection.Many of these people were destined from the start to be lost in thecrowd. For them it was never a career. It was only a job. Only a paycheque. It doesn’t mean they’re bad at what they do. In fact most peopledo a good job. It’s just that their priorities are different from those whowant to stand out and are willing to put more into their career.But you can’t get ahead working an ordinaryeight-hour day in the media. If that is how you’regoing to do the job then go work in a bank andcount other people’s money.There is only one way to move your career forwardand that is to be great every day at what youdo. Beat the competition every time. If you have abad day, or just a routine day, you won’t be noticed.You need to have a better day than everyone else.Someone who can give you your next job is listeningto you on radio or watching you on TV. Andthey are comparing you to everyone else in yourmarket as they look for new talent to hire. It is whatprogram directors, news directors, general managersand consultants do.Today, thanks to the Internet, we can check outtalent in markets across the country from ouroffices or homes.You have to be better than everyone else. It’sthat simple. It’s hard work to be better. It’s easier toblend in and get lost in the crowd without evenknowing it.If okay is good enough, if not putting in theextra time to make what you’re doing the best, iftaking the easy route is your way of working, if youlet spin masters or publicists shape your shows orstories, then there is no hope for you.You can’t stand out if you’re not the best atwhat you do in your own station. If you’re lost inthe crowd where you work how will a prospectiveemployer even know you exist?Steve Kowch is former Operations Manager at CFRBToronto. He is the author of 99 Things you Wish youKnew Before Making It Big In Media. For more informationgo to www.99-series.com. Kowch may be reachedat skowch@gmail.com.BROADCAST DIALOGUE—The Voice of Broadcasting in Canada MARCH 2010 31

MAUREEN BULLEYBigger, faster, better!If your station is writing and producingcommercials for direct advertisers,in the last 12 to 14 months you’vewritten and produced even more than theyear before. And you’re doing it with thesame or fewer resources.The nature of the business haschanged in all market sizes. Buys areshorter in nature, come with smaller leadtime and bigger expectations. Advertisersdemand instant gratification from theirinvestment, so we find ourselves strivingfor enhanced effectiveness while creatingmore commercials, more quickly.The key to success in today’s environmentis more efficient management ofresources. Here are a few ideas to helpyou with that.Simplify. Minimize the complexity ofthe scripts you write by relying less onhigh production values and more onclever word-smithing. Complex productionadds to already-taxed production resourcesand creates a bottleneck in theprovision of top drawer client service.Highly demanding, anxious clients won’ttolerate anything less than stellar service.Radio has always been sold on thebasis of its immediacy and as such wemust deliver it. Let that be your guidingprinciple in the creation of well-craftedscripts.There are two writing styles that lendthemselves to better, faster customer service.They are the narrative writing style,and the storytelling style.Write a narrative as though you werewriting a letter to a friend, or speaking tosomeone on the telephone. Economizewith your words, and write the way peopletalk. People don’t talk in completesentences, and they do use slang. This willhelp you fit the entire thought in to theallotted 30- or 60-second time period.Another key to a good narrative is toknow the skills and personality of yourvoice talent. If you write with a particularvoice talent in mind, it becomes easierto develop the script to make it soundlike something they would actually say.Commercials that fit your programmingstyle are much more effective. If yourstation is high-energy, fast-paced radio, aproperly written narrative can mirror thatprogramming without becoming tuneout.Think about how your listener wouldtell a story to another listener. Check outthe classic Ortho Fire Ant Killer fromthe 1999 Mercury Awards. Or somethingmore current at www.bearmountain.com/snowboard/2010/01/07/funny-radio-ad/.Storytelling is a form of narrative witha little more depth. It can be done withone voice; modest, well-placed sound effectsand cleverly chosen music. It is oneof the most powerful writing techniquesbecause it gives us the opportunity to conveythe story, and have the listener developtheir own images about its details.Because listeners play an active role incompleting the storyline, they tend to rememberit longer. They may also be ableto relate personally to the story, or knowsomeone who can. This allows us to verbalizefewer details because the listenercan contribute them on their own.When you work on your storytellingskills, edit thoughts to two words insteadof four. Then look for thoughts or ideasyou can establish or convey with thesound effects or music. Even the voicereading your commercial will add to thestory’s overall texture. Work with the scriptuntil it is within the 30- or 60-second timelimit. Be sure to allow the talent time totell the story at the appropriate pace.Asking them to rush through the commercialto include all the copy defeatsthe purpose of telling the story.Better writing requires better concentration.Minimize interruptions by creating alist of answers to FAQs about commercialsfrom listeners. You know the typesof commercials that will stimulate callsfor more details, so create it on the goand share it with your receptionist.Recycle good, unsold ideas and modifythem for use with a different advertiser.Track your volume by knowing howmuch you are writing and producing.You can assign a numeric value to theircomplexity: “one” representing a simplenarrative commercial and “five” representinga complex, production-intense piece.Know how long each style takes to executeand work backwards, based on availabletime and resources, to know andunderstand your overall capacity.Anyone can be bigger and faster. To bebigger, faster and better is, well, better!Maureen Bulley is president of THE RADIOSTORE. She may be reached at 1-888-DORADIO or at doradio@total.net.32 BROADCAST DIALOGUE—The Voice of Broadcasting in Canada MARCH 2010

CBC Radio One Metro MorningHost Andy Barrie, 65, retiredMarch 1. It was in2007 that Barrie revealedthat he hasParkinson’s disease. Bornin the U.S. but fleeing to Canada during theVietnam war era, Barrie workedfirst at CJAD Montreal, thensister station CFRB Toronto beforemoving to CBC Radio...Former Global BC Anchor TonyParsons, who retired from thatAndy Barrielong-time position (34 years),has made it official: He not only will join CHEK-TV Victoria March 16 as an Anchor but has alsomade a personal investment in the employeeownedstation.The new GM at Rogers Radio Victoria is JimTony Parsons Schneider, transferring to Vancouver Island fromCountry 93.3 (CJOK)/Rock 97.9 (CKYX) Fort McMurray. He succeedsKim Hesketh in leading The Ocean and Jack FM. Schneidersucceeded Kelly Boyd at Rogers Fort McMurray (CJOK/KYX 98)where he had been Ass’t GM/GSM. Coincidental to Schneider’spromotion were the departures of Gorde Edlund and Dawn Kaysoe.Edlund was PD at Jack FM while Kaysoe was PD at The Ocean.Tom Scott is the new GM at Rogers-owned CKY-FM/CITI-FMWinnipeg, moving from Citytv (CHMI-TV) Winnipeg where heremains GM until a successor can be found. Scott moved toCitytv in Oct. 2008 after working at MTS TVServices and at Global Specialty Services inWinnipeg. Former CKY/CITI GM Greg Letawskyis now with the Rogers Radio cluster in Vancouverfull-time as Market Sales Manager... FormerSound Source Toronto President/GM Jean-MarieHeimrath has joined SparkNetworks as ExecutiveVP, based in Toronto. SparkNetworks, a newlyformed content development and syndicationdivision of radio services company SparkNetCommunications, officially opened its doorsMarch 1. Most recently, Heimrath was an internationalmedia services consultant... KerryFrench is now the Director, Research at RogersRadio in Toronto. French has been doing quiteMake sure that BroadcastDialogue has your peoplechanges. E-mail stationnews to howard@broadcastdialogue.comJean-MarieHeimrathKerry Frencha bit of contract work of late (FACTOR,Rogers) but perhaps is best known for heryears at CHUM Toronto... Ron Hewat, after51 years in the radio business, retiredDec. 31 from his Specialty SalesManager’s job at CFRB Toronto. Hewat haddone play-by-play for the Maple Leafs and theCanada Cup, helped build the Toronto BlueJays’ first radio network and hired play-by-playAnnouncer Tom Cheek. He got his start in1958, when Foster Hewitt (no relation) hiredhim to work 12-hour weekend shifts. Shortlyafterwards, Hewat began doing intermissioninterviews at Leafs and Marlies games andeventually became the colour man on Leafs radio broadcasts.But the big break was in 1968 when he was handed the playby-playjob... Jim McKenny is no longer with Citytv Toronto. Theformer Toronto Maple Leaf had been the long-time SportsDirector... Dave Kelly, the long-time co-Host of Citytv Calgary’sBreakfast Television, left the station after his last show the Thursdayafter Christmas. He’d been doing mornings since the programoriginated as The Big Breakfast on the old A-Channel 12 yearsago. He moved to Kelly Brothers Productions, a film and liveproduction company begun with his brother.Two changes in the world of broadcast education. The first isAssociate Dean Brian Antonson, the 33-year veteran of Broadcastand Media Communications at the BritishColumbia Institute of Technology (BCIT) inBurnaby. BCIT is dealing with significant budgetchallenges and, as a result, 80 positions arebeing eliminated, including Antonson’s. Hislast day is March 31. Laura Davie will assumethe position of Associate Dean for both Brian AntonsonBroadcast and Digital Arts... Jed DeCory, after11+ years at the helm, has stepped down fromthe Chair’s position at the Seneca School ofCommArts in Toronto. He’s credited as beingthe architect of the school’s Radio/TV programresurgence... Denise Wong has been appointedVP/GM of Toronto-based MacLaren McCann. Denise WongMost recently, she was VP/GM at Grey Canada... Anne Myers hasbeen promoted to President of Toronto-based MediaVestCanada and SMG Performance Marketing Canada. It’s a bumpup from her Exec VP/Managing Director position of StarcomMediaVest Group Canada... Alex Panousis has been promoted toBROADCAST DIALOGUE—The Voice of Broadcasting in Canada MARCH 2010 33

David WiwcharPresident of Starcom Canada. She had been Sr.VP/Group Media Director... David Wiwchar isthe new Operations/Sales Manager at 93.3 ThePeak (CJAV-FM) Port Alberni. He is a journalistwith 25+ years of experience and had been theA News British Columbia videographer for theAlberni Valley/West Coast... Operations SupervisorFrancis Law has resigned from FairchildRadio Richmond Hill… Karen Black, ex Middays/MD at QX 104 FM Winnipeg, is the new DriveHome Personality at CJOB 68 Winnipeg.Peter Warth, the Manager of Engineering atKaren Black TVO Toronto, will retire March 31 after 16 yearswith the organization. Upon retirement, Warthintends to work in a consulting capacity. BeforeTVO, Warth was with Imagineering, RyersonPolytechnical school in Toronto and with theBBC in England... Shawn Basha will becomeChief Engineer at Steele Communications inPeter Warth Newfoundland & Labrador March 1. Basha iscurrently the Director of Engineering at CHUMHalifax. He steps into his new job to succeedHarold Steele, who retired Dec. 31 after 35 yearswith Steele Communicationsand the stations’ previous owners...P.J. Stock, a former NHLShawn Basha player, filled the CHOM-FMMontreal spot vacated by Ted Bird. His shift,however, is shorter: 7 to 9, Monday throughThursday. Stock joined co-Hosts Chantal Ernie BlumkeDesjardins and Pete Marier. Birdresigned from CHOM because ofwhat he called “philosophical and creativedifferences” with station management...Carissa Donaldson, GM/GSM at CJAT-FM/CKKC/CFKC Trail,is now in Sales with Rawlco Radio Crash & MarsSaskatoon. Succeeding her in Trail is ErnieBlumke, who has 33 years experience in radio/TV sales, programming and management inthe Okanagan Valley. He moved to Astral MediaRadio from the Jim Pattison Broadcast Group...The new Rawlco Edmonton station’s line-up ofpersonalities includes Crash & Mars from Z99 Adam McKaleRegina, Adam McKale from The Bounce Edmonton; Cory Kimm,courtesy Silvia Pecota © 2009 Max Taylor Photographyex CHUM-FM Toronto and AmiAmato from K-97 Edmonton; andChris Love, ex Joe FM Edmonto… RobCrocker is the new CFO at TVO inToronto. He had been VP OnlineBackup and Sharing at Radialpoint...Cory Kimm and Ami Amato Regan Tate has returned to GlobalRegina as Assignment Editor.When she left, she had beenSenior Reporter/Anchor.ND Marlow Weldon at theChris LoveRob CrockerIsland Radio Division of theJim Pattison Broadcast Groupstations Nanaimo has movedto become the Sports Directorat the Jim Pattison Red Deercluster… Eric Baptiste is the newCEO of SOCAN, the Society ofComposers, Authors and MusicPublishers of Canada. He willRegan TateMarlow Weldonsucceed André LeBel May 16. LeBel is retiring...New arrivals at NBRS/The Accessible Channel(TACtv) in Toronto are Paul Campbell, VP, NewMedia and Chris Tapanila, Director of Operations.Campbell was most recentlyProject Leader in partnershipEric Baptistewith Quincy Jones Jr.at Los Angeles while Tapanilawas most recently with TheFight Network and, before that,CTV... New GSM at MBS Radio Chris Tapanila(CHNS/CHFX-FM) Halifax isPreston Pardy. His last stop wasAndré LeBel in sales management at AMLC o m m u n i c a t i o n s / Ro g e r sWireless… Chris McLeod, MiddayHost at FM 96 London hasleft the station and joined 94.3 Preston PardyCKSY Chatham as MorningShow Co-host, teaming upPaul Campbell with Katy Uher. PD Jay Poole,who had held the morning show shift, hasmoved to middays… Lisa Daigneault, MorningShow Host at The MIX 560 AM (CHTK) PrinceRupert has moved to 101.3 The River (CKKN- Chris McLeodLOOKING FOR A JOB?Check the CAREERS section atwww.broadcastdialogue.com34 BROADCAST DIALOGUE—The Voice of Broadcasting in Canada MARCH 2010

FM) Prince George as co-Host of the morningshow with Mike Benny… Arbitron President/CEOMichael Skarzynski suddenly resigned those positions,and from the company board, apparentlyover allegations that he gave false or misleadingtestimony before the U.S. Congress. SucceedingLisa Daigneault him is William Kerr, Chairman of the board ofMeredith Corp... Brent Preston, exNorthwoods Broadcasting GM at MIXFM (CJRL) Kenora, has been promotedto GM at the company’sCJUK-FM/CKTG-FM Thunder Bay,previously owned by Newcap. PrestonBob Magee and remains Group Sales Manager forCorrie Millerthe Northwoods properties. In theSpring of 2007, he succeeded Hugh Syrja asGM/GSM at MIX FM. His previous broadcastbackground included being GM at CFAN-FMMiramichi... Corus Radio Hamilton’s GreatestHits station (recently flipped from Country),Vinyl 95.3, has Bob Magee and Corrie Miller inJohn Novakmorning drive. Magee built his career at CHUMToronto and was most recently at CHFI Toronto.Miller moved across the hall from sister stationY108. John Novak, who was part of CKOCHamilton’s lineup during the ’70s and ’80s,does middays, and Gord James is afternoonDriver. James spent five yearsGord Jamesat CKOC before moving toCHUM, where he spent thenext 23 years. Derek Rivers doesevenings... Dave Hopkins hasbecome GSM at K-ROCK/KIXCountry/The LAKE Kingston. Dave WarawaHopkins moved from CorusDerek RiversLondon where he was RetailSales Manager.Dave Warawa is now GSM atNewcap Edmonton. It was apromotion from his RetailSales Manager’s position. KellyDave HopkinsWalter, ex of Rawlco’s Magic99.9 Edmonton, is now Newcap RSM... Alan Darkis the new Executive Director, Sales & Marketingat CBC in Toronto. For the past three years, hewas Director of Sales for CTV Digital Media inToronto... Q99 Grande Prairie PD Paul Ouellettehas added morning show duties, succeedingKent Schumaker who moved to YL/KIX PeaceRiver as Ops Manager... CKNW VancouverPromotions Director Jamie Hunt took earlyretirement Feb. 1. Hunt had been with CKNWfor over 30 years, beginning his career as theEye in the Sky pilot. That’s where he met hisKelly WalterPaul OuelletteJamie HuntBROADCAST DIALOGUE—The Voice of Broadcasting in Canada MARCH 2010 35

wife, Traffic Reporter Cathy Robertson. Huntwas the BCAB’s 2007 Broadcaster of the Year...Andy Leblanc has left his CTV (CKCO-TVKitchener) Southern Ontario ND’s job to moveto Fredericton where his wife is pursuing a newcareer opportunity. Before he took that positionin 2005, Leblanc was Assignment EditorLarry Roseand Assistant ND at ATV Halifax... Larry Roseof CTV’s Canada AM retired Feb. 11 after 49 yearsin broadcasting. Rose, a News Producer at CTV’smorning show, began as a 16-year old at CJATTrail. Stops along the way included CBC-TVVancouver, BCIT in Vancouver, Global TelevisionJC Coutts and as ND at CKCO-TV Kitchener. He is workingon a book called Canada in a Mad World—The Second World War: why was Canada sounprepared in 1939? to be published in 2011...JC Coutts has returned to The ONE Winghamafter three months as morning show co-Host at103.9 MAX FM Moncton. Coutts joined theONE morning show... Karen Touma is the new Corey TremereTeletoon Director of Marketing in Toronto. She’sworked at Armstong Partnership LP and servedas Marketing Director for Alliance Atlantis...Ocean 100 Charlottetown’s new PD is CoreyTremere. Gerard Murphy continues as MD aswell as taking on Promotions and Marketing.Gerard MurphySIGN-OFFS:Red Alix, 83, in Winnipeg’s Grace Hospital. The 30-year Host ofCJOB Winnipeg’s morning show—at the show’s peak in the ’70s—was said to attract one-in-three area listeners. Born on aSaskatchewan farm as John Joseph Alix, he got his nicknamefor his shock of red hair.D.E.M (Doug) Allen, 86, in a Winnipeg hospitalof complications related to cancer. In the ’50s,he joined RCA in Montreal and, in 1958, hewas sent home to Winnipeg where he becameRCA’s Regional Sales Manager. As such, he soldsome of the first TV equipment and helpedestablish some of the first TV and radio stationsin western Canada. In 1965, Allen founded D.E.M. Allen &Associates, Consulting Engineers, based in Winnipeg.Jacqueline (Jacquie) Loney, 74, of cancer in Toronto. Loney,with husband Doug, founded, launched, owned and operatedBroadcast + Technology (BT) magazine beginning in 1975. Themagazine’s successes have been attributed to her for what’sdescribed as her business acumen and her popular Ad Lib column.BT was closed when the Loneys retired in 1998.Charlie White, 84, at the Saanich Peninsula Hospital after sufferinga stroke. White was a broadcast pioneer who was a founderof both C-FAX Victoria and CHEK TV Victoria. He was also along-time director of BC TV (now Global).Barry Drake, in Saskatoon. For the last 17 years, he was a highly-regardedbroadcast instructor at Saskatoon’s WesternAcademy. Before that, Drake worked for radio and TV stationsin B.C., Calgary and at 102 FM Saskatoon.Donald B. Williamson, 82, in Ottawa. At one time, Williamsonowned CHUC/CFMX Cobourg and, as an engineer, was responsiblefor the design of many of Canada’s transmission towers.Hal “The Bear” Lee, 71 at the Carleton Place Hospital. WhenCKBY-FM Ottawa went country in 1972, “The Bear” crossedover as morning Newscaster and Senior News Editor, a post heheld until 1987.36 BROADCAST DIALOGUE—The Voice of Broadcasting in Canada MARCH 2010

ANDREW CARDOZOCBSC – Twenty yearsof recognized successCHOI-FM, Mighty Morphin PowerRangers, Howard Stern, AndréArthur! Monikers for the workof the CBSC.And to be sure, the Canadian BroadcastStandards Council is a model for self regulationin the broadcasting industry thatother countries come to check out on aregular basis.The reason? It works, and it workswell.Established 20 years ago by the CABat the instruction of the CRTC, the councilhas the responsibility to deal with complaintsagainst private sector radio andTV in Canada. To date, the CBC/RadioCanada has its own complaints system.The industry created a voluntary systemof codes and regulation that set highstandards for all programming accordingto an agreed upon set of codes, eachof which have been approved by theregulator.Through these codes, private broadcasterscommit to respect the interests andsensitivities of listeners and viewers acrossCanada, while ensuring programming creative,editorial and journalistic freedom.And don’t kid yourself, this stuff is notsimple to deal with.The five key objectives of the CBSC are:• to assist in the effective application ofspecific broadcast standards developedby the CAB and the RTNDA;• to inform the public of the existenceof such standards and the self-regulatorysystem;• to provide a recourse for the public regardingthe application of these standardsthrough an effective complaintsprocedure;• where such complaint resolution is notpossible, to render independent andobjective decisions (adjudicated bypanels made up of community and broadcaster representatives) and to ensureaccessibility to the public of the decisions;• to inform broadcasters of emerging social trends (including developments in thecodes and their administration) and to suggest ways to deal with them.The chart, provided by the CBSC, shows the complaint levels at the CBSC overtime. The first line shows total complaints received. The second shows the numberthey kept (i.e. did not send to the CRTC or Advertising Standards Canada). The thirdshows the number that were specific enough (date, time, broadcaster identified andrelevant to some part of the codes). The last line shows the number of decisionsissued (panel/summary decisions).Of note in 2008-2009 is that the volume was at a record high.2004-5 2005-6 2006-7 2007-8 2008-9Complaint Files 1,924 1,917 1,426 1,747 2,140Dealt With 1,526 1,651 1,138 1,498 1,781CR&S 940 1,092 689 875 998Decisions issued 35/89 27/90 19/61 23/65 23/52The CBSC’s membership stands at 736 radio and TV broadcasters, up from 704at the end of the previous fiscal year. Several codes comprise the council’s terms ofreference:• CAB Code of Ethics (Revised in 2002)• 1988 version of Code• CAB Violence Code• CAB Equitable Portrayal Code• Sex Role Portrayal Code for Television and Radio Programming (1990)• RTNDA Code of (Journalistic) Ethics (Revised in 2000)• 1986 version of Code• Journalistic Independence Code• Industry Code of Programming Standards and Practices Governing Pay, Pay-Per-View and Video-On-Demand Services• The Pay Television and Pay-Per-View Programming Code Regarding Violence.For all the output, there is a very small staff. Ron Cohen is Chair, John MacNab isExecutive Director, Teisha Gaylard is Director of Policy and Solange Courteau isCommunications Coordinator.Some 70 people from across the country make up the roster of adjudicators, someregionally based to deal with local complaints and some national to deal with nationalnetworks and specialty services. About half are broadcasters while the others arefrom a wide cross-section of society. Out of this group is drawn the national executivewhich acts as the Board of Directors (of which I am one).While citizens sometimes question whether a broadcaster-created body can monitoritself—the fox watching the hen house—the record shows an amazing history ofsuccess, especially with all the one-time offences. The problems arise with the ongoingoffences, such as Howard Stern and CHOI-FM, where broadcasters might fix a problembut then the offensive content carries on—a trend that is usually quite stronglydisapproved of in the broader broadcast community.There is always need to evaluate and further build the Council, a task whichbecomes more important as the CAB evolves. (For more information: www.cbsc.ca).Andrew Cardozo, a CRTC Commissioner from 1997 through 2003, chairs the New CanadaInstitute. He may be reached at andrew.cardozo@sympatico.ca.BROADCAST DIALOGUE—The Voice of Broadcasting in Canada MARCH 2010 37

ENGINEERINGMonitoring surroundsound audio for broadcastBY DAN ROACHMany of us noted through theNTSC era that the quality ofthe audio always played secondfiddle to the pretty pictures. As a consequence,so long as the sound channelwas more-or-less intelligible, 99% of theeffort and expense went into the video.Surprisingly, it proved to be pretty easyto manage one mono channel of audio.Now that we’re entering the age ofATSC, these audio problems, rather thangoing away, are coming home to greet us,but in a new, expanded, much more complexform. It has become clear that anyworkable solutions are going to requirenew thinking as well.So let’s look at what’s being bruitedabout by the great minds just to be ableto monitor and detect ATSC audio problems.Presumably detection will lead tounderstanding and, eventually, correction!The good news here is that we nolonger have to worry about deteriorationof audio through transport, dubbing andtransmission processes. The absoluteaudio levels are now effectively set “atthe factory” in production, and shouldn’tchange unless we purposely adjust them.The bad news is that in an environmentwhere the standards are left subjective,audio from different sources is goingto lack consistency.In the past, radio stations faced a similarproblem, which was often controlledby limiting the “carting” of audio to onlya few staff that understood the problemand practiced in-house discipline, to keeplevels and tightness the same from cart tocart—in effect, they developed tighter inhousestandards. That system broke downwhen CDs came along, and music stoppedbeing carted before on-air use.Level consistency did come back toradio when audio once again had to be“carted” into automation systems. Andwas at least partially lost again with thepurchase of complete music libraries onhard drive from vendors that lack thosetight in-house standards.In the beginning, there was the VUmeter. For this discussion, I don’t think weneed to go farther back than the 1920s.Carefully specified ballistics, that more orless mimicked the human ear’s notion ofloudness, and two zones colourfully laidout in black and red. You could give a newoperator a notion of correct operating levelby simply stating that they should keepthe needle from going into the red.Intuitive and easy to understand; lookhow long the VU meter has reigned supreme,despite attempts to improve uponit in the 1970s with the ill-fated PPMmeters that briefly became fashionable.I think the main problem with thePPM was that, once again, the referencelevel and consequent use became subjective.The meter’s response was tightly specified,but there was not one obvious wayto use the meter. And there was more thanone PPM standard out there.Mike Dorrough entered the scene witha creative LED display that simultaneouslyshowed peak and VU levels, but itcertainly didn’t get the industry-wide acceptanceof the VU meter.Then along came stereo, and suddenlylevel control of two related channelswasn’t enough—we had to keep an eyeon the phase relation between left andright as well. The classic way to do thiswas with an oscilloscope lissajous figure,with left driving horizontal and right vertical.L+R represented by a +45 degreeline, and L-R by the -45 degree axis.Some folks (notably Tektronix) rotatedthe whole display by 45 degrees, sonow you had a sort of view of the soundfield, with L+R forward and back, and L-R left to right. Which was a bit better.But while the lissajous remained thestandard viewer for phase information, itdidn’t really catch on with studios orbroadcasters. Not like the VU meter.Today’s ATSC supports Surround 5.1audio, which increases the demands formonitoring many fold. First of all, weneed to monitor left, right, centre, leftsurround and right surround channels,and the low frequency channel. Then weneed to keep an eye on the relationshipsbetween them. And, as we’ll see, there’seven more than that.Our VU meters just aren’t going tocut it for this problem!Dan Roach works at S.W. Davis BroadcastTechnical Services Ltd., a contract engineeringfirm based in Vancouver. He may bereached at dan@broadcasttechnical.com.38 BROADCAST DIALOGUE—The Voice of Broadcasting in Canada MARCH 2010

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