UNDP Mongolia Communications Coordinator (1997-1999):David South
I launched this portal in 1997, in the middle of a major economic crisis in Mongolia. This award-winning (winner in 1998 of the People’s Choice WebSite 500 award and the CyberTeddy Top 500 Website award) and pioneering United Nations Mongolia development web portal was singled out by UN headquarters as an example of what a country office website should be like.
At this time, Mongolia was still recovering from the chaotic and turbulent transition from Communism to free markets and democracy begun at the start of the 1990s, called by some “one of the biggest peacetime economic collapses ever” (Mongolia’s Economic Reforms: Background, Content and Prospects, Richard Pomfret, University of Adelaide, 1994). There was a thirst for information: access to the Internet was still limited and access to mobile phones was just the preserve of the rich. As a legacy of the past, information, especially that about the outside world and the country’s true economic and social conditions, was restricted. During the years of Communism, even simple travel from one place to the next was strictly regulated.
While today we can take it for granted that the Internet, and mobile and smart phones, deliver the world’s information in seconds, this just was not the case in the late 1990s in Mongolia.
The UN/UNDP Mongolia development web portal addressed the urgent need to communicate what was happening in the country during a major crisis, and to transparently show what the UN was doing to address the crisis. It made critical data on the country’s development easy to find, and informed the wider world about the country and its people and culture. While the Internet had only just arrived in Mongolia, from the start the UNDP Mongolia Communications Office was experimenting with this powerful new technology to reach a global audience. This included Mongolia’s first web magazine, Ger (launched in 1998).After the http://www.un-mongolia.mn website launched in 1997, a media campaign began to inform readers of its presence. This ad appeared regularly in magazines, newsletters and newspapers.
Ger Magazine was launched on September 9, 1998 (Ger is the Mongolian word for both the traditional tent dwelling and home). The theme of youth in the transition was explored by a combined team of Mongolian and foreign journalists. The Ger Magazine project had basically three goals: first, raise the quality of journalism in the country, secondly, introduce the country to a wider global audience and, thirdly, by being the country’s first online magazine, prove the Internet was an effective way to communicate.
Issue 1 of the magazine investigated what life was like for youth during the transition years (post-1989). Stories tackled the struggle to find work in the free market, the booming pop music scene and how it is leading the way in business entrepreneurship, reproductive health, the basics on Mongolian culture, and vox pop views from Mongolian youth.Issue 2 of the magazine investigated modern life in Mongolia during transition. The team of journalists were hitting their stride by this issue. Stories probed the proliferation of bars and the problem of alcoholism, corrupt banking practices and the loss of savings, how the young were the country’s leading entrepreneurs, Mongolia’s meat and milk diet, “girl power” and the strong role played by women, the burgeoning new media, the rise and rise of Buddhism, and Mongolia’s dynamic fashion designers (this article inspired foreign fashion designers to embrace the Mongolian ‘look’ in the next season’s designs).
The UN/UNDP Mongolia homepage quickly became the top resource for development news on Mongolia in the late 1990s.“A UN System site. A very nice, complete, professional site. Lots of information, easily accessible and well laid out. The information is comprehensive and up-to-date. This is a model of what a UNDP CO web site should be.”
In 2000, the Kiev-based UN Ukraine team had to improve the design and capability of the mission website to handle new content and online services. There was a strong demand for information on country conditions and how to support the UN’s work (for example, on HIV/AIDS). It was a dangerous time to be involved in any online communications and the media and online communicators were routinely threatened with violence and even death.Whilst with a UK-based international development consultancy, I worked on the drafting and online launch in 2000 of the World Bank’s Task Force on Higher Education and Society report, Higher Education in Developing Countries: Peril and Promise. At the time, it was still rare to see reports made user friendly for the world’s web audience. As a survey in 2014 discovered, a shocking third of the Bank’s publications are never downloaded, 40 per cent were downloaded just 100 times, and only 13 per cent were downloaded more than 250 times in their lifetime (The Washington Post).As the Millennium Development Goals (MDGs) were being communicated, the link between the powerful new digital and mobile/information technologies and development goals became explicit in information materials. The cleaner and more modern design introduced with Mongolia’s first human development report in 1997, continued in future publications and online, as can be seen in this screen grab from 2003 and that year’s human development report. The first use of infographics was also introduced in a report on the MDGs for UNDP Mongolia in 2005. Importantly, a country that had been isolated from the non-Communist world for decades, was now routinely using the Internet to tell its stories and post development data.Human Development Infographics: Infographics have proven a useful visual aid for communicating human development concepts. This example was created for a UNDP Mongolia report during missions undertaken in 2005.Five years prior to the MDGs deadline in 2015, the David South Consulting website went live (2010). Featuring a new branding and design, it signaled a new design phase more comfortable with developments in social media and online and mobile content sharing. Designed by Solveig Rolfsdottir, one of Iceland’s top graphic designers and illustrators, the website’s design was intentially made compatible with the new global magazine, Southern Innovator (also designed by Solveig Rolfsdottir).The online story archive for Southern Innovator was launched by the United Nations Office for South-South Cooperation (UNOSSC) in 2011. Organized by theme, the stories were cited in blogs, books and reports around the world.The new template for the United Nations e-newsletter Development Challenges, South-South Solutions was launched in 2011 and designed by Solveig Rolfsdottir. It included a QR code for mobile and smartphone users to connect to the Southern Innovator website.In 2016 the mobile-friendly version of the David South Consulting website was launched.
Launched in May 2011, the new global magazine Southern Innovator (ISSN 2222-9280) is about the people across the global South shaping our new world, eradicating poverty and working towards the achievement of the Millennium Development Goals (MDGs).
The screensaver on an Undercurrents researcher’s computer terminal bears a maxim that might strike a chord in a lot of CBC units these days: “Only the paranoid survive.”
The quirky media and technology show will fade to black at the end of March. Its cancellation raises a host of issues for a CBC deeply troubled by budget cuts, an ageing audience, a dearth of alternative programme concepts and an inability to plan for a future.
In the show’s pilot, Wendy Mesley – Undercurrents’ host and progenitor – set the tone for this accessible look at the relationship among technology, media and society: “Like it or not we are living in a wired world where OJ Simpson, Big Brother, even your bank machine, all converge … we’ll explore all the issues, the undercurrents of the information age.”
To those who loved it, Undercurrents was a program that satisfied a vital public need, and an ambitious concept for a public broadcaster that some say had grown a little musty. The show promised avant-garde production and investigative journalism that critically explored today’s new media and technology culture. Youngish researchers and producers were hired from outside the CBC. They brought with them experience and new ideas from specialty channels, TV Ontario and CTV. Some came straight out of journalism school.
Critical reaction to the first programs was mixed. John Doyle, a critic with the Globe and Mail’s Broadcast Week, lauded Undercurrents when it launched, calling it “a superb example of solid CBC-TV journalism and original reporting.” Others were less flattering. The Toronto Star’s Greg Quill accused the show of “flirting with infotainment.” At the Vancouver Sun, Alex Strachan wasn’t impressed by a report on a weekend conclave of computer geeks in the California desert for a kind of Hackerstock. “It sounds interesting,” he wrote, “but it isn’t.”
What hurt more was schedulers playing musicial chairs with the show’s slot. Switching Undercurrents from Tuesday at 7 pm to Friday at 7 pm midway through its life left viewers confused and sent ratings plummeting just as network programmers were casting about for places to apply a whopping 30 percent budget cut. As a result, some feel the show never had a fighting chance.
In the end, it was the show’s precarious financial arrangement that killed it. Undercurrents was never funded from the general current affairs budget. Instead, it drew on a special reserve of cash created by the network. When it came time to mete out the cuts in December, the special funding bubble burst. Rather than cut further into the budgets of flagship current affairs programs, executives chose to drop Undercurrents.
Executive producer Frances Mary (FM) Morrison acknowledges that gratitude for her program’s special funding obscured a recognition of its fragility. “That was really our Achilles heel,” she says. “We were just this little orphan that didn’t have its own money. We weren’t adopted into the larger family.”
With the network funding gone, Undercurrents’ budget (rumoured to be over a million dollars per season) was nowhere to be found. Discussions about chasing a corporate sponsor went nowhere because the show needed more money than any sponsor could have provided. “It was never an issue of $100,000 or $200,000,” says Morrison. “It was the issue of our entire budget. [CBC] would still have had to come up with the rest of it.”
CBC TV’s news, current affairs and Newsworld director Bob Culbert and former current affairs head Norm Bolen both say they wanted the show to stay on the air but couldn’t find a way to fund it withou seriously hurting programs like The Fifth Estate, Marketplace and Venture.
Bolen, now VP of programming at the History and Entertainment Network, says it came down to choosing between The Health Show and Undercurrents. The Health Show won because it had a “bigger audience, a broader demographic and was bringing in revenue from sales of programming to the specialty channels.”
Mesley has another theory. “The majority of people who worked on this programme are not traditional CBCers… They can’t bump, they don’t get huge severance packages. Of course, if you want a future, those are the wrong reasons for letting people go.”
With its intensive focus on issues like the abuse of computer-morphed images, surreptitious “data-mining” of consumer purchase records, or media “freebies,” there’s no question that Undercurrents has met a need in this media-saturated world. But controversy over the cancellation centres on the age-old question of CBC and the youth audience.
Morrison and Mesley both say they intended the show to appeal to a younger-than-usual CBC audience. But CBC executives weren’t convinced it was an audience the network could, or should, go after. According to Culbert, a youth mandate was something the production team brought to Undercurrents. “It started as a media ethics show targeted at a classic CBC audience. Nobody sat around one day and said ‘let’s invent the show that will go after younger viewers.’”
Bolen expresses a profound lack of faith in the under-30 audience. “People under 30 don’t watch information programming, okay? Let’s get that straight. I sure wouldn’t spend the rest of my life trying to get an audience that doesn’t watch a certain genre of programming. This is a business where you pay attention to reality. People under 30 watch trashy American sitcoms, which I’m not in the business of doing, and which the CBC isn’t in the business of doing.”
“I think that’s bullshit,” says Reid Willis, producer and director of CityTV’s Media Television. “People under 30 are interested in what’s going on in the media. The 20 to 30 group is more media savvy than the generation that preceded them.” But Willis thinks the lack of information programming pitched at a young audience is down to a lack of interest from advertisers.
Mesley and Morrison remain convinced Undercurrents did appeal to a younger audience, but felt it was sabotaged by the schedule shuffling. In the show’s first slot, Tuesdays at 7 pm, its average audience was 499,000. The biggest night came on Sunday, October 22, 1995 when a repeat aired at 9:30 pm got an audience of 865,000. But Undercurrents’ debut in the 96/97 season in its new 7 pm slot on Fridays was demoralizing for the crew. Morrison reports the audience for the season opener at 438,000 and 434,000 for a strong programme the following week.
She says the numbers built as audiences found the programme’s new location, peaking at 678,000 on December 6. According to CBC audience research figures, average minute audience for the 96/97 season to February 2 stood at 518,000 viewers.
“Friday at seven was not a good place for Undercurrents,” claims Morrison. “It’s an older audience. In fact the audience for Air Farce [which followed Undercurrents at 7:30] is quite old, surprisingly old. I was actually astonished to find out how old that audience was.”
CBC audience research bears Morrison out, reporting that the 18-34 demographic for both Air Farce and Undercurrents has been identical this season – a mere 14 percent of the total audience.
Fridays at seven is also a heavily competitive slot packed with overhyped American tabloid TV shows like Entertainment Tonight, Inside Edition, Hard Copy and A Current Affair. Morrison says focus groups told her that audiences in that time period surf around looking for stories they like and then switch around with no loyalty to a particular programme.
“People build a menu. We took a leaf out of the tabloid book in terms of our presentation in order to survive in the seven o’clock environment.”
Undercurrents’ jerky camera work and flashy graphics didn’t endear itself to everyone, a fact the show’s producers recognized early on. “I can point to stories where we sabotaged ourselves with stylistic extremes,” admits Morrison.
But Mesley bristles at accusations the show was all style and no content, or a clone of Media Television. “We are the antithesis of Media Television. Obviously everyone has adopted their style from rock videos. But they get nearly all their video as handouts. We are not saying, ‘This is hip.’ We are not saying, ‘This is the latest consumer thing you can add to your collection.’ We are saying ‘Think about this.’”
Undercurrents’producers express pride in the show’s innovations. They cite its lead role in web page design at the corporation., its efforts at promoting a more playful visual presentation, and its success in promoting an acceptance of media stories elsewhere in news and current affairs. But what seemed to enliven everyone interviewed for this story was a love of the public broadcasting ethos, where stories are told because they are important, not because advertisers say they are important. Many of the young researchers and producers at Undercurrents had done time at the privates, and appreciated the freedom and extensive resources offered by the CBC. But they felt they had come to a CBC whose values were in peril.
“It will be like C-SPAN here,” quipped an Undercurrents freelancer who has done time at the specialty channels.
Others who thrived in the upbeat atmosphere at Undercurrents say they’re not too keen to look for work elsewhere in the CBC. One such is 25-year-old researcher Bret Dawson. “It’s not a happy place,” he says.
It’s not clear what, if any, programming will replace Undercurrents. If the current trend prevails, it looks like any new programming will have to survive on a smaller budget, generate outside income and prove it can draw in viewers in short order. Under those conditions, people at Undercurrents and elsewhere wonder how long CBC’s commitment to innovative new programming can hold out.
CBC TV’s Undercurrents host Wendy Mesley. Scan Magazine was published in the 1990s for Canadian media professionals.
In 2021 Wendy Mesley commented on the story in a Tweet.
Publication: Southern Innovator Issue 4: Cities and Urbanization
Publisher: United Nations Office for South-South Cooperation (UNOSSC)
Date: 2013
Smart Cities Up Close in Southern Innovator Issue 4.An infographic from Issue 4. Southern Innovator Issue 4 contents.Meet Southern Innovator.Southern Innovator Issue 4: Cities and Urbanization is published by the United Nations Office for South-South Cooperation (UNOSSC). Editor and Writer, David South. Graphic Designer and Illustrator, Solveig Rolfsdottir.
David South Consulting 
You must be logged in to post a comment.