The brief and impactful adventure of the newspaper Le Jour

The day after the elections of October 29, 1973, René Lévesque, Jacques Parizeau and Yves Michaud, leaders of the Parti Québécois, ate at the Bouvillon restaurant. They try to analyze their disappointing results. Paule Beaugrand-Champagne is seated at the next table. Like a good journalist, she listens.

“I heard them say they wanted to start a newspaper because they said a lack of information had hurt the campaign. I was quick to offer my services. »

Thus is born the brief but impactful adventure of everyday life The day, the first issue of which was published 50 years ago, on February 28, 1974. This newspaper only existed for two and a half years, but the echoes of its legend still resonate. Because it is a bubbling creativity and an irrepressible desire to shake things up that this crazy project was set up thanks to the support of 500 shareholders and a share capital of $175,000.

In addition to Paule Beaugrand-Champagne, Yves Michaud, who inherits the role of editor-in-chief, also recruits Evelyn Dumas, Pierre Godin, Jacques Guay, Gisèle Tremblay, Gil Courtemanche, Alain Pontaut, the photographer Antoine Desilets and the caricaturist Berthio. Later, Jacques Keable, Jean-François Lisée, Michel C. Auger, Robert Lévesque, Louis Fournier and many others will join this company called SODEP (Press Company).

Among the headlines in the first issue is the “break” that the PQ made among non-Francophones during previous elections. Paule Beaugrand-Champagne would like to clarify one thing: The day was not the newspaper of the Parti Québécois.

The daily was, however, created to give an editorial voice to the Quebec independence project.

“From the start, journalists wanted to know whether they should produce activist or journalistic information,” she says. It was determined that the pro-independence position would be in the editorial page. »

The arrival of Day disturbed. All the major dailies, French and English, wondered what this intruder was doing in the landscape. “I think it was especially disturbing The duty, says Paule Beaugrand-Champagne. They found our presence very annoying for two and a half years. »

It has often been said that The day offered competition which was fatal for the weekly Quebec-Press, another independence newspaper (1969-1974). Louis Fournier, who collaborated on both publications, does not agree with this. “These journals were complementary. That said, they were targeting the same advertisers. »

The model of Day was based on a form of self-management which offered journalists great involvement in the content. We even created a space on the front page of the newspaper (Daily point) that reporters grouped under the Society of Editors could use to express an opinion. However, this text had to be submitted to management.

With a resolutely social-democratic framework, The day brought together ultra-passionate people who didn’t count their hours. They wanted to practice their profession and do it differently, even if their conditions were not ideal.

During the second year of activity, a wave of new journalists arrived. A core of activists was created. Quickly, a unionization project was set in motion. Additionally, journalists demanded ‘total control’ over space Daily point. “There were a lot of new ideas in this journal,” says Paule Beaugrand-Champagne. Unfortunately, two visions clashed. There were terrible debates. »

Seeing the rug slip out from under their feet, the founders of Day then attempted to regain control of the newspaper. “It was very difficult for them,” explains Louis Fournier. I looked at that and said to myself that it didn’t make any sense. »

During a particularly stormy general meeting which brought together shareholders, management and journalists, the fate of Day was sealed. “We found ourselves faced with two proposals,” says Louis Fournier. Either there was a strike, or the newspaper had to be published under the control of the Society of Editors. It was a kind of headlong rush. »

The day published its last issue on August 24, 1976. In a text published on page 2, it was explained that the Society of Editors of the Day had “taken charge of the editorial staff” while pointing the finger at “the management’s failure to ensure the functioning of the editorial staff”. Louis Fournier sums it up this way: “It was a real coup. »

Three days later, faced with this impasse, the director of the newspaper, Yves Michaud, who described the adventure as Day of the “most bruising years” of his life, resigned. Inhabited by anger, the president of the board of directors, Jacques Parizeau, did the same.

For Paule Beaugrand-Champagne, this end was tragic.

Louis Fournier agrees. “It was a great event. As Quebec-Press, this journal was a spark plug. »

While the ashes of the Day in order to revive it in a weekly format, the PQ was brought to power on November 15, 1976. This newspaper played a capital role in this victory, Paule Beaugrand-Champagne firmly believes. “Quebec society was in turmoil. It is clear that The day contributed to this momentum. »

Riopelle in immersion

The festivities surrounding the centenary of Jean Paul Riopelle end with the very beautiful show Full-scale of the 7 Fingers. Before the performances, spectators can see a very interesting exhibition of works from various origins. But you should know that by visiting this exhibition during the day, you are entitled to an interactive and immersive experience of great beauty which takes place in the studio where the show is presented. And it’s worth the trip.

Work by Samuel Tétrault, the Picture box tells Riopelle’s journey in around thirty minutes. Thanks to the presence of infrared cameras, visitors are asked to create a painting in the style of the artist’s famous mosaics.

There is also an interactive component which was imagined by Marion Mouturier. Every day, groups of children or adults come to create a painting using techniques used by Riopelle. Ultimately, 25 panels will form a gigantic fresco. There are still intergenerational places left for these workshops during spring break.

Ottawa, Quebec, La Malbaie, Mont-Saint-Hilaire and Baie-Saint-Paul have had great exhibitions of Riopelle’s works in recent months. We cannot say that Montreal museums have made a lot of effort in this direction. Fortunately, we can count on Les 7 Doigts.

Visit the exhibition page