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Vidar Ekehaug's Friends
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Six Archetypes of Youth Change Makers
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Since the founding of TakingITGlobal in 1999, I have been incredibly inspired by my interactions with thousands of young change makers from all around the world. Through my Masters Research on youth-led action in an international context along with exposure to other studies and international conferences examining the role of today's generation of youth as change agents, I have gained an important observation. My observation is that I have seen the emergence of Six Archetypes of Youth Change Makers, which provide a glance at the roles young people are taking on in the process of creating change.
The Dreamer
The Dreamer is the driver behind new ideas. Dreamers are often the first to articulate a long-term vision for the future and think big. It is the sense of aspiration, optimism and imagination of dreamers that drive progress, innovation and change.
The Megaphone
The Megaphone is a vocal advocate for change. Megaphones are very focused on delivering the message and will campaign tirelessly and work hard to lobby for a message to be heard. They inspire action through their words and help to shift priorities on the agenda.
The Spark Plug
The Spark Plug is a catalyst and has a gift for networking and connecting people. The Spark Plug is able to foster collaborations and bring many different organizations and individuals together in dialogue, convincing diverse interest groups to come together for a common goal.
The Task Master
The Task Master is often behind the scenes making things happen and is sometimes the under-rated player within a group or organization. Often, it is the Task Master who literally keeps things together by turning ideas into manageable tasks with actionable timelines. Task Masters are practical, objective-oriented individuals.
The Sherpa
The Sherpa serves as a guide who provides mentorship, insight and training through peer education. Sherpas are natural educators with a strong interest in learning and sharing knowledge. Sherpas value hands on experiences and are able to draw upon the expertise and resources of those they encounter.
The Storyteller
The Storyteller is often the documenter of an organization and its projects, preparing short stories, interviews, blogs, webcasts newsletters and more. Storytellers become a vehicle for spreading inspiration and sharing of best practices through identifying patterns and strengthening movements through recognizing exceptional individuals.
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A Cappella Group Jukebox Make Good on Own
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Like all popular music groups, the Jukebox Trio has its own successful formula. Presenting a rich mix of classic covers and original material in an open, friendly, accessible style – with two singers and a human beatbox – it’s hard not to enjoy the experience of seeing them play. “I don’t know any other a cappella bands with only three people,” says lead singer Vladimir Ivanov. “Usually they have six, but we cut it down to the main things: bass, rhythm and melody. And actually, that’s all you really need in music.” Clever live sampling techniques are also often used to create layered, harmonised soundscapes that give the impression of more voices. The group formed in 2004, when brothers Vladimir and Ilya Ivanov met Kirill Sharafutdinov at a vocal studio where they learned jazz and funk fundamentals. “We had mutual interests, we were listening to a lot of the same music – Bobby McFerrin, Take 6, Queen, The Beatles. It’s different music but we like it all,” explains Vladimir. At live shows, this diversity is evident. Re-worked Elvis Presley hits, silky Bossa Nova ballads and sermonising soulful serenades are all on the agenda. The penultimate track on the Trio’s debut album, Acappellipsis, features a list of influential artists: names as varied as Ozzy Ozbourne, John Coltrane, Jimi Hendrix and the Chemical Brothers are recited in comically exaggerated Russian accents. However, copies of the CD are somewhat hard to come by. “We decided not to sell the album in shops, it’s only available at our concerts,” says Vladimir. Why? “It’s a big problem to make a good production with Russian record labels. They are really down now.” He also cites the mercenary nature of the country’s music industry as something the group wants to avoid. “Radio stations and TV channels play everything just for money, apart from maybe Western musicians – mainstream stuff. If you want to be big in Russia, you have to pay. “The most important thing with Jukebox Trio is that, at first, it wasn’t for money – simply for pleasure. When we started to earn money with the music, it was a bonus. And that’s still the order of priorities.” The fickle nature of the scene in their home city, Kazan, was another obstacle the group strove to overcome. “The funny thing about Kazan is that, as it’s the capital of Tatarstan, the Tatar public tend to like mostly Tatar singers. We were like some kind of circus for them. Breaking onto Moscow stages in 2006 was a really big step for us – people started to say we were musicians and not just a circus, we were getting real respect,” says Vladimir. A subsequent string of gigs around Russia earned Jukebox many fine reviews, as well as a prize from pop heroine Alla Pugacheva and the chance to open Elton John’s show in Rostov-on-Don. They are already writing for a third CD, which will come after an album comprising cover versions of well-known Russian rock songs. Ilya Ivanov, the Trio’s rhythmic engine, is optimistic about future prospects. “We’re hoping to collaborate with a suitable record label, which can help us produce great albums.” And in the long term, he makes no secret of lofty ambitions: “We want to become famous and be like rock stars all over the world – at least like The Beatles! I want to travel and perform in many different countries. And I think it is really possible, because I believe in the power of music.” The Jukebox Trio take music down to its basic elements, focusing on the purity and versatility of the human voice – no instruments required. An online video for their song ‘So… Let Me Know’ emphatically illustrates this concept, as the group are shown smashing guitars into splinters at the tune’s climax. Don’t expect that to happen at every show, but, as Vladimir says, “you’ll be put in a good mood”. Published in The Moscow Times, 9/6/09 - click here for original.
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Why the average american hates the idea of "universal access" to anything
About this category: Health
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I think I’ve figured it out. There’s something in public health called the “prevention paradox”: measures of disease prevention that offer great benefits to populations at large (such as fluoridation of water sources, wearing seatbelts, lifestyle changes, smallpox vaccinations, etc) offer little benefit or personal incentive to individuals.
But research shows that health education geared toward individuals (counseling on reducing salt intake for hypertension, exercise for diabetes, etc) are less effective when geared only toward individuals and/or used in a short-term approach. People are motivated to act for immediate gain and substantial personal benefits, but “the medical motivation for health education is inherently weak. Their health next year is not likely to be much better if they accept our advice or if they reject it. Much more powerful as motivators for health education are the social rewards of enhanced self-esteem and social approval.” (Geoffrey Rose, Sick Individuals and Sick Populations.)
Physicians also prefer individualized health education because with population interventions (such as anti-smoking campaigns), their success rates are low and results take a long time to achieve.
The US is such an individual-centric society that people have no cultural reason to care about population health as a whole. Most Americans do not see that universal access to healthcare means that problems are detected and treated early (which is less costly), and that sometimes preventive medicine can encourage life-saving behavior change. That the person going into the ER for stomach pain because s/he does not have health insurance is costing the taxpayer literally thousands more dollars than s/he would if s/he’d gone to a primary care physician.
Nor do they understand the concept of herd immunity- if a large proportion of a population is immune to or vaccinated against a particular disease, the likelihood that one individual will get that disease is far less.
The focus on the individual and the apathy toward the well-being of communities and populations is by no means restricted to health alone. The same can be said about the current financial crisis. Individuals who borrowed more than they could pay back, and their unscrupulous lenders have created a global downward spiral of hundreds of economies, with the bottom billion hit the hardest.
I find it ironic and deeply saddening that 30 million more people have been pushed into starvation thus far due to the financial crisis while bankers are taking hefty bonuses and governments are bailing out businesses that were failing even before the crash (GM, Chrysler, etc…)
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Earth Patriot
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 “I always wanted to be a cosmonaut,” states Fyodor Yurchikhin without hesitation. “When I was a small boy, I jumped from a second floor balcony because I thought I was Gagarin! My father jumped after me, it all happened very fast, and luckily we were both OK.” Born in January 1959, Yurchikhin grew up during the heyday of the Soviet space programme. Yuri Gagarin’s maiden flight in 1961 held mythical significance: “When we played in our yard, we would pretend to be Russian cosmonauts,” he recounts. “We knew all their names and I can’t tell you how much it meant to us. Gagarin was more than a name. For us, what he did was something like the impossible. He was an icon, a symbol – ‘Wow, Gagarin!’” Yurchikhin’s face still glows with childlike enthusiasm as he talks, springing up to illustrate the balcony scenario or act out the process of spacewalking. His two missions to the International Space Station, in 2002 and 2007, amount to over 200 days, with nearly 19 hours working in open space. “My first time on the ISS, the biggest problem was orientation. There’s no gravity, everything is floating around; until you adjust to that, you have to move very slowly, holding onto things.” “When I first looked down out at the earth, I realised it’s impossible to understand this view from pictures. It’s black of course, but when you get there you see it’s not a normal black – it has infinite depth. I wanted to touch the colours, they are so bright and clear. No photos can convey the beauty of that sight.” Nevertheless, Yurchikhin keenly uses orbital photography to spread his ideals for the future of humanity. His work has been exhibited around Russia[?]. “The name of my gallery is ‘Our House on Earth,’ because everybody should understand it’s very small. Yes, very big for us, but in reality very small. You need to keep your house clean and beautiful, we need to understand this; otherwise, we may destroy the house. It’s terrible.” He applies this approach to both environmental and social concerns, as well as international relations. “People need to understand each other. We need to stop settling problems with weapons and war. It’s quite probable there is life on other planets. I think contact could be valuable for both sides if we understand and respect each other. But this doesn’t happen on earth, a planet where people have been living together for thousands of years.” “I think the international space programme can be used as a model for the future: many different countries, different languages and different levels of technology all working together. America and Russia in particular have very different ways of thinking. For example, there’s an old joke that when the Americans found it was a problem to write in space, they spent a million dollars to invent a special space pen. The Russians used pencils!” Yurchikhin picks a potent analogy to look at these varying national standards. In the first class at school, children arrive knowing different things. Even if some start off being able to count higher numbers, for example, this doesn’t mean they’ll finish in first place. “I don’t know how we will graduate the ISS school. Russia and America too should understand we are all still in school, we must continue and share knowledge.” “If we’re doing complex work in a difficult area, like cosmic research, it is very useful to work with others. Views can become clouded. Including different people can bring new perspectives to old problems.” Looking to the future, Yurchikhin believes the next step is colonisation. “We should go to a planet, build something and live there. The moon should come first, then possibly Mars. We should also continue developing ideas for a new spacecraft.” On April 12, Russian Cosmonauts’ Day, the Memorial Museum of Cosmonautics opened its refurbished doors in northeast Moscow. It is situated beneath a towering, angular monument with a soaring rocket at the peak. More than 3,000 exhibits include a life-size replica of the space station Mir, Gagarin’s legendary orange spacesuit and all kinds of lunar vehicles – in short, a fascinating stroll through Russian space history. “It’s a good idea,” says Yurchikhin. “I hope lots of kids will go. I love meeting children who have this dream, just like I did. Maybe now more people will talk about cosmonautics as well – it’s not as popular as it used to be.” Again emphasising the spirit of unity he so desires, Yurchikhin remains an optimist at heart. “For a while I wanted the Russian space programme to be number one, but perhaps now we should change our minds now. It’s better if our national programme is part of a wider international project. Being first isn’t important. We’re all going to fly into space together.” “Going to space, every one of us went as a patriot of our own country. But we came back as patriots of our earth.” RIR Dossier
Fyodor Nikolaevich Yurchikhin was born on 3/1/1959 in the autonomous Republic of Ajara, Georgia. On graduating high school in 1976, he entered the Moscow Aviation Institute. He qualified as a mechanical engineer in 1983 and joined Energia, the Russian Space Corporation, where he rose to the position of lead engineer. In November 1999 he completed his basic cosmonaut training course. In January 2000, he started training for the ISS programme. In October 2002, Yurchikhin flew aboard STS-112; his first space flight logged a total of 10 days, 19 hours, and 58 minutes. His second flight, in April 2007, was a 197-day tour of duty commanding the Expedition-15 mission aboard the ISS. He was honoured as a Hero of Russia on October 23, 2008. Yurchikhin also holds a PhD in economics and enjoys reading, sports, stamp-collecting and space history.Published in Russia Now / Russia & India Report, March 2009, with The Economic Times (India)...
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Moscow: the new home of jazz
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 From hard bop to the new school, jazz has found a haven in post-communist Russia.Moscow's jazz scene is a creature of many faces. Take the comical shenanigans of one big band in a dive of an expat bar, with all members clad in matching mustard-yellow tassled jackets and an old hippy guitarist who looks (and probably thinks) like he's still in the Swinging 60s, or a pastiche Cuban group belting out Santana covers to an empty room. Contrast that with heavy-hitters like saxophonist Igor Butman, a popular figure who cut his teeth in the US for a decade, or Alex Rostotsky, an electric bass player whose latest CD features adventurous adaptations of works by Modest Mussorgsky. Right down to a highly flamboyant yet equally creative acapella vocal trio called Jukebox, it's all here. According to Cyril Moshkov, editor of jazz.ru, Russia's only jazz magazine, there are about 1,000 jazz players in the city (official population 10.5 million – in reality it's more). They fall into three generations: the old guard, who favour austere hard bop and other mainstream styles; the middlemen, now in their 30s and 40s, 80% of whom left Russia to pursue careers abroad (interestingly, many went to Israel); and, finally, the young cats, still paying their dues and finding a way into the murky world of jazz music. Russia's first jazz concert took place in October 1922 at the behest of Valentin Parnakh, an enigmatic all-rounder who wrote poetry, choreographed ballet and played piano. He brought the first jazz records and instruments to the country from Paris. The music was thereafter repressed in various ways throughout the Soviet Union – including the period of Butman's emergence in the 70s and 80s, when non-state-sanctioned concerts could see musicians or promoters locked up. During jam sessions with visiting American groups, Russians played with their foreign peers but were not allowed to exchange words. Government inspectors would ensure two violations resulted in dismissal from the state booking agency, which provided musicians with all their work. Much has changed since those dark days. One look at the monthly gig listings on jazz.ru's information portal will show abundant choices any given night – and not only local groups, but a host of international names as well. Tessa Souter, a British vocalist who lives in New York, recently played a couple of dates at the Union of Composers and was happy to sing the praises of her Russian backing band: "They were great. There's something different about the way Russians swing, it's wonderful. Musicians have a lot of soul like the Russian people." Financial woe may have hit the country hard, but that hasn't stopped a new jazz club from popping up right in the historic centre of Moscow – the V&J, situated on Old Arbat, a popular tourist promenade. "People are becoming more interested in music and art, not material things, so I don't think the crisis makes a difference" says Victor Voitov, the V half of "V&J". "We wanted to open a place where Moscow's high-level musicians can let new people into jazz music." Even after three months of pretty solid concertgoing, there's still a lot left for me to see. Published @ guardian.co.uk, 29/4/09 - click here for original.
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| April 29, 2009 | 10:04 AM |
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New blog!
About this category: Human Rights
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Hi everyone,
I won't be writing too much on TIG anymore, but have moved my blog over to my new domain!
Please check out my new blog - Justice for all - to read my latest posts:
http://akhilak.com/blog
Thanks!
-Akhila
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Do you think blogs are dead?
About this category: Technology
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I was talking with Fran today i and I'm saying that between having my twitter and tumblr accounts i don't feel like i need to have blog... i had a wordpress for a couple years and all i used it for was uploading my avatars and posting lyrics of songs that i liked...
Maybe i never really liked them to begin with.. what do you think
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Adrenaline, stat!
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It starts in the gut, quickly radiating outwards, down your legs and along your arms at the same time. Creeping up your neck, you hold you breath in anticipation, waiting for the rush. A momentary pause, time stands still, and then like the Norwegian Blue, voom!
Listening to the hockey game on the radio, I’m completely absorbed in a surreal experiment that engages my imagination. Names and described action fill my imaginary rink as the team wins and loses. It’s not quite synaesthesia, but the sounds create a different reality that exists outside of television.
But live, now there’s the rub. The adrenaline takes you higher when the roar of the crowd shakes your very core. The amplifiers thunderous, the mosh pit energetic, the light show fantastic, the body electric. The ringing in your ears echo the experience, keep you coasting just a little bit longer.
Or perhaps you prefer your excitement in a more subdued doses, like an IV drip that sustains a romanticized vision of the perfect relationship, the perfect job, the perfect world. Layer upon layer, we follow the yellow brick road to our deepest desire, constructing the rationale that lets you sleep better at night. This is living, you mutter to yourself.
Live for those moments where you revel in joy. Moments where you’re left awestruck by fantasy, where you can genuinely smile, for the company of good friends. And live for those moments, where like Icarus, you come crashing down. Cause it’ll make the trip back to the top, that much more satisfying.
     
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Serial Madness
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And so it came to pass that two of the greatest modern pieces of popular art came to an end in the first few months of 2009. Accuse me of hyperbole, but that’s the bottom line with Battlestar Galactica and 100 Bullets. I stand before you accused of being a nerd, evidenced by my consumption of comic books and sci-fi. I humbly plead guilty.
To quickly catch up those in the dark: BSG is a sci-fi TV show that starts off with humanity facing extinction at the hands of their robotic creations. When looking into the deep dark eyes of Despair, how would we respond? The show has been heralded for its commentary on contemporary polarizing issues – the motivations of suicide bombers, the uneasy alliance between religion, military and government, or the hatred that fuels blatant racial discrimination. Producer Ron D. Moore presented such a nuanced view on what drives people to act in desperate situations that he (along with some of the cast) recently shared their opinions at the United Nations.
100 Bullets is a comic book series that began with a simple premise: if you’ve been wronged and have irrefutable proof that someone was responsible, what would you do with a gun, 100 rounds of ammunition and carte blanche? If a mysterious man gave you absolute power and control over someone’s life, what would you do? Writer Brian Azzarello and artist Eduardo Risso takes this concept and sends the reader spiralling into a shady world of conspiracies, crime families and shifting morals. A hundred issues later, a complicated story leaves me wondering about responsibility, the consequences of your actions and the notion the true colour of society is grey.
I really wanted to write about how sinking your teeth into either of these long-running serials will shatter your perceptions on the potential of sci-fi and comic books, about the unique ability of a storyteller to create fictional worlds that exist on the edge of reality, of the communities that sprout and inject new layers of understanding and knowledge. I’ve got pages of half-started thoughts and unfinished sentences as I struggle to extract some deeper meaning about the media that I have spent days of my life reading, watching and analyzing.
But you know what, sometimes a TV show about a rag-tag space fleet and a comic book about revenge just entertains, allowing you to escape into the mindscape of master craftsmen. At the end of the day, it’s really about losing yourself in some serious storytelling.
     
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| March 27, 2009 | 11:03 AM |
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Igor Butman: A Jazz Leader for the New Era
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 Hailed by none other than Bill Clinton as one of the world’s greatest living saxophone players, Igor Butman is an icon of Russian musical life. Born in St Petersburg in 1961, he took up the instrument at 15 with encouragement from his jazz aficionado father, a keen musician who worked by day and gigged by night. “My father told me about jazz. I hadn’t actually heard much, because I’d been listening mostly to Soviet pop, but my dad was an amateur drummer and singer who often played at weddings and in restaurants,” Butman explains. “He was really the person who got me into jazz music, and music itself.” Jazz in Russia goes back to the 1920s. According to Butman, it has been through various blurry periods of development, as well as confusion with classical music. The Soviet regime’s strict control of artistic liberty presented both opportunities and challenges: “As soon as I started playing sax, I was able to perform in jazz clubs around St Petersburg. I travelled with different groups to places like Moscow, Latvia, Lithuania and Ukraine, but I wasn’t allowed to go abroad because they thought I might escape.” “In Soviet times, the state-owned booking agency would provide you with concerts – it didn’t matter if you sold out or had two people in the audience, they would still get you 14 concerts a month,” says Butman. However, despite supplying a steady stream of work, this closed system placed considerable constraints on creativity. “I put together my own band, but I couldn’t get a job because I wasn’t in the state booking agency. It wasn’t easy to get professional status and be able to travel. So I decided to go to the United States and try the normal way.” In 1987, Butman arrived in Boston to study at the renowned Berklee College of Music. “I was already the best in the Soviet Union and I knew my limitations,” recalls the saxophonist. “I had to study, play and be in competition with the best in the world. After graduating, I moved to New York for a few years, before coming back to Russia permanently in 1997.” It was on his return to Moscow that Butman’s career really took off. He began to establish himself as the leading light in Russian jazz, recording several CDs – including his most recent release, Magic Land, which features theme tunes from Soviet cartoons and an elite group of American players. Russia’s jazz scene today is a far cry from its state in the former USSR, when you could be thrown in jail for holding unauthorised concerts. Butman is quick to acknowledge how “everything has changed,” especially in terms of healthy competition in the musical world. “It’s a harder life for us in a way. There’s a lot of competition between orchestras and groups, which I like. You have to keep improving and really provide something interesting and unique; you have to think about what you can give to venues or concert halls.” “Now there are a lot more good young musicians. A lot of things are happening all around Russia – every town has its own interesting scene. It’s not only Moscow, but Novosibirsk, St Petersburg, Vladivostok, Rostov-on-Don, Yaroslavl. There are also a lot more jazz clubs competing with each other, and they are able to bring in the best musicians from all over the world.” The sense of anticipation when a big act hits town is exciting for Butman, who has been organising his own jazz festival for nine years. “It’s called Triumph of Jazz. I’m trying to find new names and give them the opportunity of playing here, as well as bringing old stars who made a revolution in jazz.” “I think there’s a big market for that in Russia. People are interested in jazz, and they’ve heard about me – a lot of people know me, so they can place trust in what I’m going to play or the people I’m going to bring, even if they don’t know who it is. There’s a big sense of curiosity, because it’s not every day we have something so special. A lot of different people come to the concerts.” Butman’s status as something of a jazz celebrity in Russia has built up from numerous angles, not least his powerful and distinctive voice on tenor saxophone. In addition to running a club and the Triumph festival, he also hosted the show ‘Jazzophrenia’ on national television. Most recently, he embarked on an ambitious eight-concert US tour with the Crossover Concerto, a collaboration featuring classical maestro Yuri Bashmet and the composer Igor Raykhelson. “We have my big band and a chamber orchestra, the Moscow Soloists, conducted by Yuri Bashmet. It’s a combination of different music: they play classical pieces, with a little jazz influence, and we play some classical in our jazz way. It’s challenging, but it sounds so good – for us it’s just incredible.” The current vitality of Russian jazz receives no better endorsement than the fact Butman does not see a reason for returning to America: “I don’t have to live there. Of course I really liked it, but I like to live in Russia just as much.” Habitually sold-out gigs indicate this feeling is mutual. Published in Russia Now, March 2009, w/ Washington Post (USA) & Daily Telegraph (UK).
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And the beat goes on…
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My previous post ended with the question “So what does the digital medium give us?” Based on the continuum Okrent proposes, I believe it gives you a pulse on reality.
I think this becomes clearer when we try to answer the other question cited, “What’s the definition of the news they want?”
Basically, news is recent historical information that contains two components: facts and analysis. The facts are descriptions of events: gang violence leaves 4 dead, Les Habs win the Cup, President speaks at global forum etc. Facts are the basic ingredients; analysis is what gives each recipe its unique flavour. Analysis addresses the age-old question: “Why?” Connections between the facts uncovers a deeper meaning. Motivations of the actors involved laid bare provides perspective.
The traditional model to deliver news relied on a broadcast system where the flow of information went from the select few to the mass public. The newspapers & magazines, TV & radio stations controlled the information we consumed. They provide just one perspective - their analysis of the facts.
What’s important to understand is that analysis is the means to comprehend reality. Facts + Analysis = Understanding; understanding of the world, of the way people are, of what makes us tick. And the very act of consuming the “news” is an act of analysis itself. By accepting their analysis as another piece of information, it transforms into a fact, which becomes a part of my personal analysis. I can draw my conclusions based on the conclusions of the reporter.
Furthermore, what the Internet and digital media has done is eliminated the barrier between the few who possessed the means to provide news, and the many who wanted to consume. All of sudden, the facts are being collected via cellphone cameras, Twitter, and Google Earth, while anyone can provide analysis (this blog is proof enough).
Consequently, there’s a smorgasbord of information available for each of us to paint a picture of how we perceive reality. I’m continually constructing a paradigm to understand the world, modifying my equation with new pieces of information that challenge or confirm. Each of us doing this: creating our understanding of reality. Mine is no more right than yours, because my analysis is based on all of the facts I have encountered, which are different from all of the facts you have encountered.
Reality is the collective analysis that we’re conducting. Information is the blood that circulates the system of human experience, capturing our knowledge and understanding, and when digitized is stored in the ether of the Internet.
That’s the pulse of reality. It’s the heartbeat of the system called society.
     
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We want information… information… information.
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So here’s the scene: I’m sitting in a cafe in Kuala Lumpur’s airport last summer, waiting for my flight to Bangkok, and I’m reading William Powers’ essay Hamlet’s Blackberry: Why Paper is Eternal which dives into the numerous reasons why paper continues to have a firm grip on how we experience information. Of course, I’m flipping through this 75-page PDF on my laptop. Go figure.
Fast forward to a couple of days ago, I’m scanning the CBC mobile site on my iPod Touch when this headline pops out: “Print industry to worsen before any improvements: experts.” The train of thought that Powers had started in his piece continues here: while the tangible nature of paper is what allows us to focus solely on the information presented to us, it is fast becoming a less viable medium for newspapers, whose struggles are only more exacerbated with the overall economic downturn we’re experiencing. The death knells are tolling louder.
A comment that stuck out for me came from Toronto Star publisher John Cruickshank who asks “The issue, it seems to me, is not so much ‘Do people want newspapers?’ as ‘Do they want news?’ and ‘What’s the definition of the news they want?’” A similar sentiment was echoed in David Carr’s column in the New York Times in January, as he calls for an iTunes for news. Which is what Amazon’s Kindle 2 is supposed to achieve…eventually.
But I want to dig deeper into the 2 questions that Cruickshank raises, which I think are central to the existential dilemma that the media (used in its broadest sense) faces every morning as it stares with haggard eyes into the bathroom mirror. The first is easy to answer in my opinion: yes, people want news. We’ve been collectively fed a steady diet of what’s the latest breaking thing to hit the airwaves and streets. We’ve accustomed ourselves to accept this idea that with tomorrow’s dawn, something new will be waiting for us - shoes, video games, news.
Essentially what we’re craving for is information - in whatever shape, size or colour it arrives in. And that’s why the second question is a tougher nut to crack, and deserves a blog post all of its own. But I’ll leave you with a beautiful line to ponder from Daniel Okrent’s Digital Journalist editorial from February 200, titled The Death of Print?:
“A newspaper gives you timeliness, a magazine perspective, a book lasting value. “
So what does the digital medium give us?
     
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