July 2008

Newspapers and reader commenting: A love/hate relationship

Gawker today posted a missive calling on newspapers to stop allowing readers to comment on their stories (as opposed to those papers’ blogs, which for reasons not quite fully explained, are different). The argument:

Comments are thought to be an added value to a newspaper’s site — providing another reason to read. You come for the article, and stay for the interesting discussion. The only problem is, there is no interesting discussion. Almost never. Not even from the mythical supersmart New York Times readers.

At the Camera, I’d say this is somewhat true. There certainly are an abundance of pointless, often unnecessarily mean-spirited comments left on our stories; discussion, even when it starts out on-topic, often degenerates into name-calling and personal attacks. Our most frequent and identifiable commenters are almost exclusively defined by their constant negativity, complaining and attacks. (As I write this, a reader-flagged comment hits my inbox; the commenter called the subject of one our news stories “the wicked witch of the west,” then added, “She sucks!!!”)

Yet I will defend reader commenting on one key point: In many ways, it can turn the process of reporting the news into a conversation, one that the reader can weigh in on, and even help out with. I encourage our reporters to always keep tabs on the comments left on their stories, particularly if they’ve just posted a first run-through of a story that will be updated later that evening with additional reporting. On many occasions, readers have pointed out where we’re wrong, suggested fresh angles for follow-up, noted holes in the reporting and — most importantly — even come forward as sources. Sure, it’s often done in snarky or even condescendingly rude tones, but the important part, if journalists can be a bit more thick-skinned, is that it ultimately makes the reporting better. In a small way, it’s a way to crowdsource the news, or at least part of that process.

So as nasty and negative as reader comments can be and usually are, the pros ultimately outweigh the cons, at least for us.

Journalism

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Own your own piece of Red Rocks history

This may be too good to pass up: The city of Denver is auctioning off 28 of the original wooden benches from the storied Red Rocks Amphitheatre in Morrison. According to a city news release:

Original benches at Red Rocks Amphitheatre, installed for the venue’s opening in 1941, have deteriorated over the course of the last 60 years. Made of old-growth Redwood lumber, it is impossible to replace the benches using the same material, and the old benches are being replaced with a Brazilian lumber called Ipé (“ē-pay”), a pest and fire-resistant type of wood that is grown and harvested through the ecologically-friendly practice of sustainable yield forestry. Many of the old Redwood benches can be reused and are currently available to the public through a City and County of Denver surplus property online auction, similar to those held on eBay.

They’re being sold in lots of two-to-four 10-foot-long benches. Unfortunately, word’s gotten out; yesterday, the lots were going for $7 or $8. High bids currently are hovering around $160 to $200, and bidding continues until 5 p.m. Saturday. Too bad they didn’t slice ‘em up into smaller lots; Denver probably could make even more cash that way, given then vast number of fans who parked themselves on those planks over the years. To bid, go here and scroll down past the iPods and other electronic gear to get to the benches.

Music

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Nick Rhodes and the cult of vinyl

Now, I’ve never been much of a Duran Duran fan — although I’ll cop to having once owned a well-worn cassette of Notorious — but I very much enjoyed Nick Rhodes’ recent paean to the so-called vinyl resurgence, which has become something of a topic du jour among journos at increasingly mainstream publications. On the band’s site, Rhodes recounts the transformation of Duran Duran’s pre-gig ritual, thanks to the introduction of a turntable:

As if drawn by magnetism, we each made our approach to the deck, rifled through the slim pile of 12” discs on offer and slowly lowered the needle into the grooves to bring the sound of the vinyl experience to our room. We were overwhelmed with joy, what was this mysterious feeling gatecrashing the backstage area? It was far reaching and highly contagious, the crew were smiling uncontrollably, our tour manager had new spring in his step, something had happened, could it possibly be a serious outbreak of nostalgia? Maybe, but why was it so uplifting? Why did we all feel the same? This outmoded apparatus had completely transformed our pre-show routine. The simple truth is that the records sounded amazing, they created a real mood, it was deeply satisfying, the crackles and hisses only served to enhance the atmosphere.

So well put. Having collected vinyl myself, on and off, since the late-’80s, I find myself drawn more and more, once again, to the format. In many ways, the ease of acquiring, cataloging and transporting mp3s — which I do listen to, and have tens of thousands of on my computers and iPod — has muted much of the joy of music collecting. There’s still something much more satisfying about finding a near-pristine copy of Superchunk’s Tossing Seeds in the used bin at Twist & Shout, bringing it home and giving it a spin on the turntable than just grabbing the same tracks off Soulseek. For me, the more I listen to digital music, the more I also gravitate back to vinyl.

It’s a strange dichotomy.

(Of course, without mp3s, I’d have never heard this killer live set of Sonic Youth covers — including all-time faves “100%” and “The Diamond Sea” — by Dead Confederate, which my friend John recently brought to my attention.)

Music

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Using Twitter to cover the iPhone 3G release

Continued my newspaper’s dabbling with Twitter yesterday, figuring the supremely hyped release of Apple’s iPhone 3G would be a good opportunity to use the service for some live coverage. I’d set up Twitter accounts for the Camera (as well as our sister sites BuffZone, Broomfield Enterprise and Colorado Daily) a few months ago, but so far have used it mostly to push headlines and links via RSS. After live-Tweeting Denver-area campaign stops by John McCain and Barack Obama, I figured we’d give it a try again with the iPhone.

We had a reporter, photographer and video team at Boulder’s Twenty Ninth Street mall beginning at 7 a.m. Friday, by which time the line at the Apple Store already was 100 to 200 people long. My reporter started out e-mailing multiple postings at a time for a live blog I was updating on dailycamera.com; I then parsed those updates into 140-word bursts and Tweeted them. As the morning progressed, the reporter stashed his laptop and went old-school, just phoning in short reports that I then typed up for the blog and Twitter.

To push for some interactivity, I sent out a Tweet asking the Camera’s followers (we have about 140) whether any of them were in line in Boulder or Broomfield and, if so, to send us photos and reports. I asked a few times, but only got one response, from Dan Pacheco, whose photo of the line outside the Broomfield AT&T Store we posted on our live blog. (Speaking of Dan, he used the iPhone/Twitter experience to demonstrate how to aggregate conversations geographically.)

Anyway, I’d hoped for a little better interactivity yesterday — among the people I follow from my personal Twitter feed, a number were Tweeting reports from the Boulder and Broomfield lines. But this was a good start, and something we’ll build on.

Later, one of my co-workers — himself a Twitter user — asked why I just didn’t have the reporter Tweeting himself, either from his laptop or via his cellphone. A good question, and one I’d considered beforehand. Ultimately, I felt it was easier to keep things simple for the reporter on scene; if he was going to Tweet, it would still need to be edited and compiled into more narrative posts for the blog on the Camera’s site. While short bursts of information are the norm on Twitter, that’s just one way to tell a story — and I’m not sure it’s always the best. By having our reporter blog, then cutting that up and sending it out via Twitter, I think we hit on the best of both worlds.

Journalism
Tech

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Village Voice’s ‘Pazz & Jop’ largely MIA online

With an institution as revered, at least among rock geeks, as the annual Pazz & Jop poll, you’d think Village Voice would make an effort to market its vast archive of critic ballots, annual lists and essays. For a lot of us, this is rock history. Instead, though, the venerable alt-weekly has some years’ results still online, while others have vanished… and that’s just from the modern, Internet age. Setting up an archival site (something a little more comprehensive and interactive than the abbreviated lists on founder Robert Christgau’s page) that collects roughly 35 years’ worth of material would be a great Web resource, and maybe even present a revenue opportunity for the Voice.

I only noticed Pazz & Jop’s haphazard Web presence when I tried to hunt down my own ballots (I’ve voted each year since 2003), only to come up with three. While I found old links to the 2005 and 2006 lists and ballots (mainly through Glenn McDonald’s old critical alignments), it appears the Voice has scrubbed those from the Web. (Of course, I suspect the online neglect of the Voice’s rock-critic institution could have a lot to with the departures in 2006 of Christgau and Chuck Eddy.)

Interestingly enough, I can also no longer find my ballots to Idolator’s rival 2006 and 2007 Jackin’ Pop polls; those, too, gave gone AWOL (although the ’06 master list is still up). [Update: Thanks to Maura at Idolator, I've located my '07 ballot.]

For the record, here’s how I voted. I still agree with most of it, although I have to wonder about my No. 1 placement for U2′s How to Dismantle an Atomic Bomb. Still a fine, even underrated album (especially when compared to the lesser All That You Can’t Leave Behind). Yet it hasn’t quite held up.

Anyway, the lists:

Journalism
Music

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Did reader comments force Alex Midyette’s change of venue?

This happened a few weeks ago, but still worth mentioning: A Boulder judge last month ordered the fatal child-abuse trial of Alex Midyette moved out of Boulder County because of excessive pre-trial publicity. While rare, changes of venue based on press coverage aren’t that unusual. Here’s the kicker, though: Midyette’s defense complained not so much about my paper’s coverage, but, rather, feedback from the community, in the form of comments posted on our stories at dailycamera.com.

From John Aguilar’s coverage:

Finding an unbiased local jury would be impossible, defense attorneys said, not only because of traditional media coverage but because of interactive forums that reflect — and further influence — community opinion.

In the Camera, “Alex Midyette is described in posts by online readers and investigators as ‘murderer,’ ‘monster,’ ‘baby killer,’ or ‘scum’ who deserves to ‘get the needle,’” defense attorneys wrote in their motion to change venue.

In checking with legal experts, we found this was new territory for the press and the courts, at least in Colorado. Denver’s First Amendment pro, Tom Kelley, told reporter Zak Brown, “It’s an interesting move, and I think it’s a step in the right direction. It’s better than subpoenaing newspapers to establish prejudice. But as with anything involved with the Internet, it hasn’t been happening long.”

So what’s this mean for newspapers? Do we have some kind of extra obligation to patrol reader comments to tamper publicity prior to a defendant’s trial? No, of course not, considering most journalists would agree that a newspaper’s duty is to report events fairly and honestly, not in a manner designed to make it easier for lawyers to select jurors. (Back when I covered courts, prosecutors and defense attorneys used to ask me not to write about their cases in the days leading up to trial, because, they said, it would just make it harder to seat a jury. Our response: The press’ job is to inform the public, not make it easier to find jurors who haven’t read about your case.)

The issue of policing Web comments, however, is a tricky one, and one that readers don’t always seem to understand. The Camera’s policy is fairly straightforward, and a short summary is posted at the end of each story, above the box where readers may leave comments:

Comments are the sole responsibility of the person posting them. You agree not to post comments that are off topic, defamatory, obscene, abusive, threatening or an invasion of privacy. Violators may be banned.

That’s the condensed version, though. If you click on our Privacy Policy & Agreement, you’ll see more specific rules governing what the Camera won’t allow to be posted. Among them:

(C) You will not submit any User Content that:

(i) violates or infringes in any way upon the rights of others, including, but not limited to, any copyright, trademark, patent, trade secret, moral right, or other intellectual property or proprietary right of any person or entity;

(ii) impersonates another or is unlawful, threatening, abusive, libelous, defamatory, invasive of privacy or publicity rights, vulgar, obscene, profane, pornographic, or otherwise objectionable;

(iii) encourages conduct that would constitute a criminal offense, give rise to civil liability or otherwise violate any law;

(iv) is an advertisement for goods or services or a solicitation of funds;

(v) includes personal information such as messages which identify phone numbers, social security numbers, account numbers, addresses, or employer references;

(vi) contains a formula, instruction, or advice that could cause harm or injury; or

(vii) is a chain letter of any kind.

The Site does not tolerate sock puppeting – controlling multiple accounts with intent to mislead.

Moreover, any conduct by a user that in our sole discretion restricts or inhibits any other user from using or enjoying the Website will not be permitted.

We at the Camera don’t actively monitor comments, something our readers don’t always believe. We rely on those readers to flag objectionable comments, and, when that happens, editors review the comments, decide whether they violate the user agreement, and, if they do, delete them. After a user’s comments have been deleted repeatedly, that person may see their account disabled.

But because we don’t monitor the comments ourselves, what gets removed is, at least in part, up to the readers, since they must alert us to objectionable material. This often leads to offensive comments being left on one story but deleted from another, not because the Camera isn’t consistent — quite the opposite, actually. We’re being entirely consistent by not actively monitoring user comments and instead relying on readers to alert us.

The Midyette case is an interesting example. During Molly Midyette’s trial last December, her supporters were quick to flag offensive comments posted on our coverage of the case — and we removed those comments that were inappropriate. But that hasn’t happened nearly as much when it comes to stories about Molly’s husband, Alex.

Could that have been deliberate? I have no idea, but, if anything, this case might make lawyers who ultimately hope to secure a change of venue think twice about flagging — or having someone monitor — reader comments posted to newspaper Web sites. When it comes to pre-trial publicity, there traditionally hasn’t been a lot that a defense lawyer could control; either they open up and talk to the press or they don’t. The rest, barring some kind of judicial gag order is out of their hands.

Now, though, they’ve got a bit more power, at least when it comes to seeking removal of potentially prejudicial comments from newspaper Web sites. It’ll be interesting to see how they use it.

Journalism

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Are Denver’s days as a two-newspaper town numbered?

David Milstead, business columnist at the Rocky Mountain News, chimes in with another report on the relative fortunes of the E.W. Scripps Co., the Rocky’s owner, and Denver’s MediaNews Group, owner of The Denver Post, which is locked in a federally-approved joint operating agreement with its rival. (Disclosure: My employer, the Daily Camera, is published by Prairie Mountain Publishing, which is owned jointly by Scripps and MediaNews.)

This time, Milstead gets right to the point:

In essence, all the financial promise of the JOA is gone. The best way to make Denver a profitable market for the two companies is to close one of the newspapers.

So which paper should get the ax? Milstead argues that the Rocky sells more papers, while the Post gets better traffic online.

His solution?

The two companies could bet it all on one of the brands. Or, oddly enough, the two partners’ best position for the future might be a newspaper called the Rocky Mountain News and a Web site called The Denver Post.

To truly save money, though, that would mean the elimination of one of the two newsrooms. A lot of journalists would be out of work (a not-too-uncommon situation these days, unfortunately), but, more importantly, Denver would lose a competing source of news and information. And that’s the truly scary part when it comes to all this talk of ending the JOA and killing off one of the dailies.

Unfortunately, Denver may just not be able to support two metro newspapers much longer.

Journalism

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Neil Young’s ‘Day in the Life’

This is fantastic: Neil Young’s on tour in Europe at the moment, and he’s been encoring with a rough-and-tumble cover of the Beatles‘ beloved “A Day in the Life.” Here’s a version filmed in Dublin a couple nights ago. Quality’s not great, but you get the picture:

Music
Video

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Local newspapers and the 24-hour news cycle

So much teeth-gnashing lately about the future of newspapers — presuming there is to be one — yet some of it is so contradictory or off-base. Take this missive from Colin McEnroe, a columnist at the about-to-be-downsized Hartford Courant. McEnroe fires off a few ideas on how the paper should revamp itself to survive a drastic reduction in staffing, starting off with a plea for a regained sense of urgency. OK, good start, but this makes no sense:

If you’re a morning newspaper and there aren’t a hell of a lot of reporters and editors in the building at 11 p.m., something is wrong. The building should be damn near empty until 2 p.m. and full until 11.

What, so news only happens after 2 p.m.? (Not to mention the fact that reporters are better off out on their beats, digging up news, than spending their days in the newsroom.) The problem today isn’t that reporters don’t start their days late enough, it’s getting journalists on the beat earlier. Like crack-of-dawn early. News is always happening, and now that newspapers are fully online, we’ve got the same 24-hour news cycle as TV. At the Camera we’re addressing this by having news editors updating our Web site at 5 a.m. and our first reporters starting their days at 7 a.m. And that may not be early enough, frankly.

While McEnroe goes on to address the Web later in his list — half of which is double-posted, making for a confusing read — his thinking here is firmly old-school. Yeah, staffing a newsroom so that you’re able to gather the most up-to-date news up until your late-night presstime is great for your print edition. But it’s ignoring the broader picture.

Local newspapers needs to be ‘always on,’ delivering news when their readers want it (i.e., when they visit the paper’s Web site), not just when the powers-that-be decide to deliver it (that 6 a.m. thump on the doorstep). Sure, the Web’s been a curse to newspapers financially, but from a purely news-oriented standpoint, it’s the best thing that’s happened to the industry.

Unfortunately, to focus both on being a 24-hour news machine and prepping a smart, engaging morning print edition requires manpower… and that’s becoming more and more scarce in today’s newsrooms. We’re attempting to straddle these worlds in Boulder by having a reporter and editor starting early and a different pair staying late, with most of the rest of the staff staggered in between. Is the right mix? Maybe, maybe not — we’re still working on it.

Journalism

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