HORSEPLAY: MY TIME UNDERCOVER ON THE GRANVILLE STRIP BY NORM BOUCHER

I didn’t have any expectations when I picked out this book. It seemed like it might be an interesting look back at Vancouver in the 1980s. This memoir by former RCMP undercover Staff-Sergeant Norm Boucher, delves into an eight-month undercover heroin operation in Vancouver, specifically around the Granville strip in 1983. Boucher befriends several local heroin users and sets them up in order to gain access to those higher up the drug supply chain. Unfortunately, there is very little that is interesting in this 269-page memoir.

Book Review of Horseplay: My Time Undercover on the Granville Strip

After settling in and trying to gain the trust of his new friends, Boucher gives us some detail on his daily routine, the challenges he faced, a little bit of what he was experiencing emotionally as he tries to sell himself as a heroin user. But there is very little insight, introspection, or self-reflection in this – it’s just the same thing day in and day out. Once we establish a few bits and pieces about the folks he meets and begins to do business with, there is very little else. Does he ever get the bigger guys up the chain? Not really sure – and it hardly seems that some that the operation may have got, weren’t all that far up that chain anyway.

Reading about this time – 1983 – and the drug scene with today’s deeper understanding of the nightmare situation that is occurring on the streets of this city, and applying that to a time 40 years ago, may be a bit unfair, but this book really raises questions about the time, money, and usefulness of such an operation. Boucher doesn’t seem to want to touch on this. He discusses addiction, in a rather small and simplistic way near the end of the book. But he doesn’t challenge his own understanding or the role of the police, public policy and strategy in this situation. He simply tells us what he did, day-to-day. And that gets tedious pretty quickly.

I’m sure he worked from his own notes and had some help with remembering the events that went on during this operation. He talks very little about the investigative team and what they were doing during most of this eight-month indulgence. I’m also rather suspicious of the endless quoted conversations that he had with his various new drug buddies in the beer parlours at the various hotels. He regularly mentions how certain people are suspicious of him – they think he might be a cop. This goes on throughout the book and simply feels like a dramatic device to lead us to believe he was possibly on the verge of having his cover blown. Keep the reader in suspense, somehow, because the basic description of his routine certainly doesn’t.

So this was, even without any expectations one way or another, a disappointing book. While there are bits and pieces that carry you along in places, and this may be enough for some people, it certainly did not have enough to hold me throughout the 269 pages.

Norm Boucher, Horseplay: My Time Undercover on the Granville Strip (Edmonton, Alberta: New West Press, 2020)

TVTV: VIDEO REVOLUTIONARIES (2018-DOCUMENTARY)

In 1972, Television was nothing like it is today. Well, for the most part. The three US networks were straight-laced, clean-cut, very white, and a good decade or more behind reflecting the changing culture that began to emerge in the 1960s. The Public Broadcasting System was just a collection of stations that shared program content and was in its infancy. In Canada, there were two networks, CBC and CTV, and Cable TV, which offered a number of primarily US channels to subscribers in smaller and remote communities, was in its early expansion years. In both countries, news and events coverage followed similar approaches. Nineteen Seventy-two saw something new. Not only did colour TV sales exceed black and white sets but colour sets were now in half of all homes with TVs. But it was another technological advancement that set a group of youngsters to take on the stodgy old networks and present people with a new way of viewing the modern world.

True Value Television, or TVTV, was formed by Allen Rucker, Michael Shamberg, Tom Weinberg, Hudson Marquez, and Megan Williams. This collective set out to approach and present tv journalism in a new and revolution manner. Using the new technology of the Sony “portapak,” a portable video recording system released in 1968, this young group of social activists set out to change the mainstream three-channel commercial networks with documentary films and coverage of major American events that aired on community access and PBS channels. This was the New Journalism-guerrilla TV style.

Paul Goldsmith, a member of the collective, put together this documentary, TVTV: Video Revolutionaries, using fascinating footage and interviews with members some of those founding members. And there are many a famous, and to be famous faces among those who took part in this endeavour. Bill Murray, just before his SNL debut, Christopher Guess, John Belushi, and Harold Ramis, were all part of this new voice. There were many events like Super Bowl, the 1972 Republican and Democratic conventions, the Cajun Show, and later, after their move from San Fransico to Los Angeles, a failed comedy pilot that NBC never aired. By 1979, the group went their separate ways with little to show.

But this documentary offers a wealth of history, a history not well known, and highlights their attempts at new journalism, satire, comedy with a desire to open up the rather flat and stale mainstream media, to reflect more diverse perspectives and approaches to changing society. Today’s vast media landscape – from top-level networks and film companies, reality TV, independent productions, cheap cameras and computers, multiple viewing platforms, to the millions of YouTubers, TVTV offers a glimpse at the path that was taken, for good and ill, to where we are now.

https://www.imdb.com/title/tt9150206/

DIGITAL PHOTOGRAPHY

Photojournalism, digital photography, and the Vancouver Sun Newspaper

Digital photography isn’t anything we give much thought to these days. After all, everything is digital, everyone has a cell phone, everyone, therefore, has a camera. Taking pictures, sending them to friends and family, or posting them on some social media site is an everyday practice. But such instant and easy access to photographs is fairly new, little more than twenty-five years, and The Vancouver Sun found itself on the leading edge of this significant evolution.

The Origins of Digital Photography – 1960s and ’70s

The origins of the digital camera go back to the 1960s where image enhancement was being used and developed by the American space program. The interest in finding a means of capturing images electronically came from the evolution of video recording technology. By the 1970s, Kodak, Canon, and RCA were exploring how to develop an electronic image capturing camera. Steve Sasson, an engineer at Kodak, was researching the use of the charge-couple device (CCD) for image creation and in 1975 presented the first digital camera. He could hold it with both his hands and take a picture and so considered it, amusingly, a hand-held creation. The images would record onto a cassette tape that could then be played back and seen on a TV. The company, however, was not as impressed with this new creation when told that it would likely take 15-20 years before this would be ready for the consumer market.

Kodak’s 1975 digital camera/photo: George Eastman House

Sony, Fuji, Apple, Floppy Disks, and the 1980s

Other companies were also researching and developing digital cameras. Sony’s Mavica non-film electronic camera was seen as the beginning of a new road ahead in 1981. It too had to playback to a TV or monitor from the stored media on a two-inch floppy disk. By the mid-1980s photojournalists were experimenting with early digital cameras and recognizing that it would lead to dramatic changes in how photos were stored, edited, and transmitted for publications. This would also have major implications for the average consumer, professional photographers, and photography buffs. Fuji presented a camera that recorded images to an SRAM card in 1988 but it wasn’t really until the debut of Apple’s QuickTake in 1994 that we see the first mainstream digital camera. Kodak developed it and sold it for around $1000.

Apple QuickTake 100 Photo by Carl Berkeley

The Kodak NC2000 and the first newspaper to transition to all-digital

Kodak introduced its digital camera system (DCS) with a 1.3-megapixel sensor in a Nikon F3 camera in 1991. The system was aimed at photojournalists. But it wasn’t until 1994 that Kodak teamed up with the Associated Press to offer its members the Kodak NC2000. It was this camera that The Vancouver Sun, the first newspaper to transition to all-digital photography, along with The Province and The Calgary Harold, purchased in its switch to all-digital photography in 1995. Discounted for AP members to $16,950 from its listed $17,950 price, the camera was highly unpopular, as was the transition to digital. But as the ability to transfer pictures quickly and easily improved and the images and functions of the camera technology got better, virtually everyone saw and supported this new technological change. They had no desire to return to the old ways.

Kodak/AP NC2000 / photo: George Eastman House

Sources:
http://digitaljournalist.org/issue0602/dunleavy.html

https://indianexpress.com/article/technology/gadgets/the-evolution-of-digital-cameras-from-kodaks-1975-digital-camera-prototype-to-iphone-5727036/

https://www.cnet.com/news/photos-the-history-of-the-digital-camera/

“Unsung Cameras Of Yesteryear: The Kodak NC2000 (Featuring Rob Galbraith),” YouTube uploaded by The Camera Store, 22 May, 2016. https://www.youtube.com/watch?v=0BwQ9jS1xKc

Fralic, Shelley. Making Headlines: 100 Years of the Vancouver Sun. Vancouver: Vancouver Sun, 2012.