Posts in Journalism (20 found)
Rik Huijzer Yesterday

Is Jonathan Shelley A False Teacher?

Thanks to the following interaction, it seems to me Jonathan Shelly is a false teacher ![bannedpastor.jpg](/files/d46b244676374587) For example, _1 Timothy 3_, "This is a true saying, if a man desire the office of a bishop, he desireth a good work. A bishop then must be blameless, the husband of one wife, vigilant, sober, of good behaviour, given to hospitality, apt to teach; Not given to wine, no striker, not greedy of filthy lucre; but patient, not a brawler, not covetous;" Even if I was wrong on my "false teacher" claim, calling another pastor "lame" seems not to be an example of "good b...

0 views

Premium: The Hater's Guide to OpenAI

Soundtrack: The Dillinger Escape Plan — Setting Fire To Sleeping Giants In what The New Yorker’s Andrew Marantz and Ronan Farrow called a “tense call” after his brief ouster from OpenAI in 2023, Sam Altman seemed unable to reckon with a “pattern of deception” across his time at the company:  No, he cannot. Sam Altman is a deeply-untrustworthy individual, and like OpenAI lives on the fringes of truth, using a complaint media to launder statements that are, for legal reasons, difficult to call “lies” but certainly resemble them. For example, back in November 2025, Altman told venture capitalist Brad Gerstner that OpenAI was doing “well more” than $13 billion in annual revenue when the company would do — and this is assuming you believe CNBC’s source — $13.1 billion for the entire year . I guarantee you that, if pressed, Altman would say that OpenAI was doing “well more than” $13 billion of annualized revenue at the time, which was likely true based on OpenAI’s stylized math, which works out as so (per The Information): This means that, per CNBC’s reporting, OpenAI barely scratched $10 billion in revenue in 2025, and that every single story about OpenAI’s revenue other than my own reporting (which came directly from Azure) massively overinflates its sales. The Information’s piece about OpenAI hitting $4.3 billion in revenue in the first half of 2025 should really say “$3.44 billion,” but even then, my own reporting suggests that OpenAI likely made a mere $2.27 billion in the first half of last year, meaning that even that $10 billion number is questionable. It’s also genuinely insane to me that more people aren’t concerned about OpenAI, not as a creator of software, but as a business entity continually misleading its partners, the media, and the general public. To put it far more bluntly, the media has failed to hold OpenAI accountable, enabling and rationalizing a company built on deception, rationalizing and normalizing ridiculous and impossible ideas just because Sam Altman said them. Let me give you a very obvious example. About a month ago, per CNBC , “...OpenAI reset spending expectations, telling investors its compute target was around $600 billion by 2030.” This is, on its face, a completely fucking insane thing to say, even if OpenAI was a profitable company. Microsoft, a company with hundreds of billions of dollars of annual revenue, has about $42 billion in quarterly operating expenses .  OpenAI cannot afford to pay these agreements. At all. Hell, I don’t think any company can! And instead of saying that, or acknowledging the problem, CNBC simply repeats the statement of “$600 billion in compute spend,” laundering Altman and OpenAI’s reputation as it did (with many of the same writers and TV hosts) with Sam Bankman-Fried . CNBC claimed mere months before the collapse of FTX that it had grown revenue by 1,000% “during the crypto craze,” with its chief executive having “ ...survived the market wreckage and still expanded his empire .” You might say “how could we possibly know?” and the answer is “read CNBC’s own reporting that said that Bankman-Fried intentionally kept FTX in the Bahamas ,” which said that Bankman-Fried had intentionally reduced his stake in Canadian finance firm Voyager ( which eventually collapsed on similar terms to FTX ) to avoid regulatory disclosures around (Bankman-Fried’s investment vehicle) Alameda’s finances. This piece was written by a reporter that has helped launder the reputation of Stargate Abilene , claiming it was “online” despite only a fraction of its capacity actually existing.  The same goes for OpenAI’s $300 billion deal with Oracle that OpenAI cannot afford and Oracle does not have the capacity to serve . These deals do not make any logical sense, the money does not exist, and the utter ridiculousness of reporting them as objective truths rather than ludicrous overpromises allowed Oracle’s stock to pump and OpenAI to continue pretending it could actually ever have hundreds of billions of dollars to spend. OpenAI now claims it makes $2 billion a month , but even then I have serious questions about how much of that is real money considering the proliferation of discounted subscriptions (such as ones that pop up when you cancel that offer you three months of discounted access to ChatGPT Plus ) and free compute deals, such as the $2500 given to Ramp customers , millions of tokens in exchange for sharing your data , the $100,000 token grants given to AI policy researchers , and the OpenAI For Startups program that appears to offer thousands (or even tens of thousands) of dollars of tokens to startups . While I don’t have proof, I would bet that OpenAI likely includes these free tokens in its revenues and then counts them as part of its billions of dollars of sales and market spend . I also think that revenue growth is a little too convenient, accelerating only to match Anthropic, which recently “hit” $30 billion in annualized revenue under suspicious circumstances . I can only imagine OpenAI will soon announce that it’s actually hit $35 billion in annualized revenue , or perhaps $40 billion in annualized revenue , and if that happens, you know that OpenAI is just making shit up.  Regardless, even if OpenAI is actually making $2 billion a month in revenue, it’s likely losing anywhere from $4 billion to $10 billion to make that revenue. Per my own reporting from last year, OpenAI spent $8.67 billion on inference to make $4.329 billion in revenue , and that’s not including training costs that I was unable to dig up — and those numbers were before OpenAI spent tens of millions of dollars in inference costs propping up its doomed Sora video generation product , or launched its Codex coding environment. In simpler terms, OpenAI’s costs have likely accelerated dramatically with its supposed revenue growth. And all of this is happening before OpenAI has to spend the majority of its capital. Oracle has, per my sources in Abilene, only managed to successfully build and generate revenue from two buildings out of the eight that are meant to be done by the end of the year, which means that OpenAI is only paying a small fraction of the final costs of one Stargate data center. Its $138 billion deal with Amazon Web Services is only in its early stages, and as I explained a few months ago in the Hater’s Guide To Microsoft , Redmond’s Remaining Performance Obligations that it expects to make revenue from in the next 12 months have remained flat for multiple quarters, meaning that OpenAI’s supposed purchase of “ an incremental $250 billion in Azure compute ” are yet to commence. In practice, this means that OpenAI’s expenses are likely to massively increase in the coming months. And while the “ $122 billion ” funding round it raised — with $35 billion of it contingent on either AGI or going public (Amazon), and $60 billion of it paid in tranches by SoftBank and NVIDIA — may seem like a lot, keep in mind that OpenAI had received $22.5 billion from SoftBank on December 31 2025 , a little under four months ago.  This suggests that either OpenAI is running out of capital, or has significant up-front commitments it needs to fulfil, requiring massive amounts of cash to be sent to Amazon, Microsoft, CoreWeave ( which it pays on net 360 terms ) and Oracle.  And if I’m honest, I think the entire goal of the funding round was to plug OpenAI’s leaky finances long enough to take it public, against the advice of CFO Sarah Friar. One under-discussed part of Farrow and Marantz’s piece was a quote about OpenAI’s overall finances, emphasis mine : As I wrote up earlier in the week , OpenAI CFO Sarah Friar does not believe, per The Information , that OpenAI is ready to go public, and is concerned about both revenue growth slowing and OpenAI’s ability to pay its bills: To make matters worse, Friar also no longer reports to Altman — and god is it strange that the CFO doesn’t report to the CEO! — and it’s actually unclear who it is she reports to at all, as her current report, Fiji Simo, has taken an indeterminately-long leave of medical absence . Friar has also, per The Information, been left out of conversations around financial planning for data center capacity. These are the big, flashing warning signs of a company with serious financial and accounting issues, run by Sam Altman, a CEO with a vastly-documented pattern of lies and deceit. Altman is sidelining his CFO, rushing the company to go public so that his investors can cash out and the larger con of OpenAI can be dumped onto public investors. And beneath the surface, the raw economics of OpenAI do not make sense. You’ll notice I haven’t talked much about OpenAI’s products yet, and that’s because I do not believe they can exist without venture capital funding them and the customers that buy them. These products only have market share as long as other parties continue to build capacity or throw money into the furnace. To explain: While OpenAI is not systemically necessary , the continued enabling and normalization of its egregious and impossible promises has created an existential threat to multiple parties named above. Its continued existence requires more money than anybody has ever raised for a company — private or public — and in the event it’s allowed to go public, I believe that both retail investors and large equity investors like SoftBank will be left holding the bag. OpenAI has a fundamental lack of focus as a business, despite how many articles have claimed over the last year that it’s working on a “SuperApp” and has some sort of renewed plan to take on whoever it is that OpenAI perceives as the competition in any given calendar month.  Everything OpenAI does is a reaction to somebody else. Its Atlas browser was a response to Perplexity’s Comet browser , its first ( of multiple! ) Code Reds in 2025 was a reaction to Google’s Gemini 3, and its rapid deployment of its Codex model and platform was to compete with Anthropic’s Claude Code . I’ve read about this company and the surrounding industry for hours a day for several years, and I can’t think of a single product that OpenAI has launched first . Even its video-generating social network app Sora was beaten to market by five days by Meta’s putrid and irrelevant “Vibes.” Actually, that’s not true. OpenAI did have one original idea in 2025 — the launch of GPT-5, a much-anticipated new model launch that included a “model router” to make it “more efficient,” except it turned out that it boofed on benchmarks and that the model router actually made it (as I reported last year) more expensive , which led to the router being retired in December 2025 .  I tend to be pretty light-hearted in what I write, but please take me seriously when I say I have genuine concerns about the dangers posed by OpenAI. I believe that OpenAI is an incredibly risky entity, not due to the power of its models or its underlying assets, but due to Sam Altman’s ability to con people and find others that will con in his stead. Those responsible for rooting out con artists — regulators, investors, and the media — have not simply failed , but actively assisted Altman in this con. Here’re the crucial elements of the con: Sam Altman is a dull, mediocre man that loves money and power. He appears to be superficially charming, but his actual skill is ingratiating himself with others and having them owe him favors, or feel somehow indebted to him otherwise. He remembers people’s names and where he met them, and is very good at emailing people, writing checks, or finding reasons for somebody else to write a check. He is not technical — he can barely code and misunderstands basic machine learning ( to quote Futurism ) — but is very good at making the noises that people want to hear, be they big scary statements that confirm their biases or massive promises of unlimited revenue that don’t really make any rational sense. While OpenAI might have started on noble terms, it has since morphed into a massive con led by the Valley’s most-notable con artist.  I realize that those who like AI might find this offensive, but what else do you call somebody who makes promises they can’t keep ($300 billion to Oracle, $200 billion of revenue by 2030), spreads nonsensical financials (promises to spend $600 billion in compute), makes announcements of deals that don’t exist (see: NVIDIA’s $100 billion funding and the entire Stargate project), and speaks in hyperbolic terms to pump the value of his stock (such as basically every time he talks about Superintelligence). Altman has taken advantage of a tech and business media that wants to see him win, a market divorced from true fundamentals, desperate venture capitalists at the end of their rope , hyperscalers that have run out of hypergrowth ideas , and multiple large companies like Oracle and SoftBank that are run by people that can’t do maths. OpenAI is a psuedo-company that can only exist with infinite resources, its software sold on lies, its infrastructure built and paid for by other parties, and its entire existence fueled by compounding layers of leverage and risk.  OpenAI has never made sense, and was only rationalized through a network of co-conspirators. OpenAI has never had a path to profitability, and never had a product that was worthy of the actual cost of selling it. The ascension of this company has only been possible as part of an exploitation of ignorance and desperation, and its collapse will be dangerous for the entire tech industry. Today I’ll explain in great detail the sheer scale of Sam Altman’s con, how it was exacted, the danger it poses to its associated parties, and how it might eventually collapse. This is the Hater’s Guide To OpenAI, or Sam Altman, Freed.  OpenAI’s ChatGPT Subscriptions are, like every LLM product, deeply unprofitable, which means that OpenAI needs constant funding to keep providing them. I have found users of OpenAI Codex who have been able to burn between $1,000 and $2,000 in the space of a week on a $200-a-month subscription, and OpenAI just reset rate limits for the second time in a month. This isn’t a real business. OpenAI’s API customers (the ones paying for access to its models) are, for the most part, venture-backed startups providing services like Cursor and Perplexity that are powered by these models. These startups are all incredibly unprofitable, requiring them to raise hundreds of millions of dollars every few months ( as is the case with Harvey , Lovable, and many other big-name AI firms), which means that a large chunk — some estimate around 27% of its revenue — is dependent on customers that stop existing the moment that venture capital slows down. OpenAI’s infrastructure partners like CoreWeave and Oracle are taking on anywhere from a few billion to over a hundred billion dollars’ worth of debt to build data centers for OpenAI, putting both companies in material jeopardy in the event of OpenAI’s failure to pay or overall collapse. 67% of CoreWeave’s 2025 revenue came from Microsoft renting capacity to rent to OpenAI , and $22 billion (32%) of of CoreWeave’s $66.8 billion in revenue backlog , which requires it to build more capacity to fill.  Oracle took on $38 billion in debt in 2025 , and is in the process of raising another $50 billion more as it lays off thousands of people , with said debt’s only purpose being building data center capacity for OpenAI. OpenAI’s lead investor SoftBank is putting its company in dire straits to fund the company, with over $60 billion invested in the company so far, existentially tying SoftBank’s overall financial health to both OpenAI’s stock price and SoftBank’s ability to continue paying (or refinancing) its loans. SoftBank took on a year-long $15 billion bridge loan in 2025 , had to sell its entire stake in NVIDIA , and expand its ARM-stock-backed margin loan to over $11 billion to give OpenAI $30 billion in 2025, and then took on another $40 billion bridge loan a few weeks ago to fund the $30 billion it promised for OpenAI’s latest funding round . Creating a halo of uncertainty around the actual efficacies of LLMs, to the point that a cult of personality grew around a technology that obfuscated its actual outcomes and efficacies to the point that it could be sold based on what it might do rather than what it actually does . Creating a halo of “genius” around Altman himself, aided by constant and vague threats of human destruction with the suggestion that only Altman could solve them. Normalizing the idea that it’s both necessary and important to let a company burn billions of dollars. Normalizing the idea that it’s okay that a company has perpetual losses, and perpetuating the idea that these losses are necessary for innovation to continue at large.

0 views
Stratechery 6 days ago

An Interview with New York Times CEO Meredith Kopit Levien About Betting on Humans With Expertise

Listen to this post: Good morning, This week’s Stratechery Interview is with New York Times Company CEO Meredith Kopit Levien . Levien became CEO in 2020, after previously serving as Chief Operating Officer, Chief Revenue Officer, and Head of Advertising. I previously interviewed Kopit Levien in August 2022 . The New York Times editorial team always elicits strong reactions, both in the political realm and also in tech, but that’s not what this interview is about; what is indisputable is that the New York Times as a business is both incredibly interesting and incredibly successful. Over the last decade the newspaper has gone from strength to strength, building a thriving subscription business, expanding its bundle from news to Games to Sports to Cooking and more, and now — to take things full circle — has a rapidly growing advertising business. We discuss all of that in this interview, starting with the Games and Sports categories, why the bundle is about expanding the New York Times brand, and the company’s recent push into vertical video. Then we discuss what it means to be a destination site, while also using Aggregators to acquire customers. We spend time on AI, including the New York Times lawsuit against OpenAI, why Kopit Levien sees humans as the moat against AI content, and how the company is using AI on both the business and editorial sides. Finally we discuss the potential for building communities, why advertising is working, and how surviving in an Aggregator and AI world is about fighting entropy. As a reminder, all Stratechery content, including interviews, is available as a podcast; click the link at the top of this email to add Stratechery to your podcast player. On to the Interview: This interview is lightly edited for clarity. Meredith Kopit Levien, welcome back to Stratechery. MKL: Hi Ben, thanks for having me, so happy to be here. It’s hard to believe, but it has been four-and-a-half years since you last came on — I was thinking two or three years ago — nope, it’s almost half a decade. I was actually shocked that I’ve been doing interviews for that long, but apparently I’ve been doing them for like six, six-and-a-half years. MKL: You have, and I’ve listened to a lot of them! I appreciate it. Well, we already did the whole background conversation then, we both worked for the student newspaper, lots of commonality there. So let’s fast forward to the time of that interview. It was August 2022, and speaking of mind-blowing lengths of time, you had bought Wordle earlier that year, it’s hard to believe it’s been that long and then you had just purchased The Athletic . How do you feel about those acquisitions five years on? MKL: That’s such a fun place to start. We acquired both of them, if I remember correctly, within a week of each other, and I would say we feel great about both of them and both of them have exceeded our expectations in so many ways. Is Wordle the greatest media acquisition of all time? MKL: You know what I tell people? That New York Times Games is the most up-and-to-the-right thing I’ve experienced in my career in terms of just people’s attention to it and the way it kind of touched culture and still touches culture every day, and the ability for Wordle to be like a megaphone for these other incredible games that we already had that most people didn’t know about. And then what’s so amazing to me is we now have, I think 11 games — half of them are free, half of them are paid games, tens of millions of people play our games every day. And we have made the vast majority, we’ve made those games. And before Wordle and after Wordle, Wordle in and of itself is extraordinary, but before and after, we’ve made other extraordinary games, it’s so awesome. Is it a bit of like annoying that’s like everyone thinks about Wordle, “Oh, you bought Wordle”, and you’re like, “Look, we made most of these, give us more credit here!”? MKL: Listen, credit to Josh Wardle , it’s an awesome game, and it just touched culture like nothing else. But it has served us so brilliantly — it has just shined this huge light on all these other games and it’s given us a chance to prove our chops as a game studio and we just keep making hits. I am so proud of our games team, Jonathan Knight and the whole team around him, they have done such good work and they are still hard, hard at it, that team works so hard. I’m a Connections player , so Wyna Liu is my hero , but they’re all amazing and they put out really good work. Games, it’s going swimmingly, I hope we get to talk even more about it. As long as we’re here, like how has your – because we were talking a bit about, Wordle sort of came out of the blue — it was this game that popped up, you snapped it up, super smart — and we were talking in our interview about it being an in-point to the New York Times broadly. MKL: Yeah. Has that evolved as you expected or has it evolved in different ways? In the context of not just Games being a property but also it tying into the whole thing. MKL: What a great question. To answer that, let me step back for a minute and say our strategy is for the whole of the New York Times and all the different parts of the portfolio to be an essential subscription for curious people everywhere who want to understand the world and make the most of their lives. We’ve got three pillars to that, 1) be, and become even more every day, the world’s best news destination 2) have these leading lifestyle products, including Games, but also Sports, Recipes, shopping advice, that really help people do their passion more deeply or better or enjoy it even more and then put those two things together, news and the lifestyle products, in an interconnected experience so that the New York Times is incredibly relevant to you every single day, whatever is going on in the world or your world. Right. This is a point you made before, is you wanted the New York Times to not just be — sometimes the news is slow, or sometimes stuff’s happening you don’t care about, and you wanted to have other stuff for people along the way. MKL: Listen, I want to be really clear. We are first and foremost a high quality independent news journalism company, that is our mission, it is the most value-creating thing we do for society and economically, and that is by miles. And to your original question, it’s just amazing to have all these other points of introduction to people and point all these other ways to bring people into the Times ecosystem and to get them to form a habit with us. Once we do that, once we can engage them in something, our bet is that we can engage them in more and more, and there’s lots of examples of that. You mentioned you had three things, you had the news, you had the lifestyle, what was the third one? MKL: Yeah, so news, news is such a small word for such a big idea. You mentioned that sports is a lifestyle so is sports not news? Is that lifestyle? It’s kind of interesting where that fits. MKL: We do sports news, we do sports journalism, we do news journalism. But let me stay on the news thing for a minute because we’re often even trying ourselves in how we articulate it to not let it be this small idea. We do high quality, original, independent journalism, which means we are unearthing new and important information through reporting and also providing often deeply reported commentary and analysis on the really big topics that are going on in the world and also on things that just matter at the level of relevance of people’s daily lives. You could read us today for what is happening with this fragile ceasefire in Iran and you could also read us today for health advice or for what movie to go see or what restaurant people are eating in in New York City right now. News is this very broad thing at The New York Times, and we’ve got these four lifestyle products. I would say to you what we’re doing with The Athletic is absolutely journalism, often it is like news journalism, but make no mistake, and we are doing it with the rigor and the independence that The Times does. It’s journalism, but we are doing it for fans, we are doing that journalism. Right. It never occurred to me until you sort of mentioned it — it’s not wrong to say that sports is a lifestyle category. MKL: Totally. That intersection is actually kind of interesting to think about. MKL: Let me tell you something — I have an almost 15-year-old, he is an athlete, and he is a giant sports fan and when I think, “What are his lifestyle pursuits?”, when I fill out the parent statement in the school applications, first he’s a sports fan, and The Athletic is serving that fandom. Do you think there’s a bit where some of this sports journalism has been caught up in, “We are journalists”, bit and has missed the fact that people watch sports in many cases as a pastime to relax. I look forward to turning on the baseball game at night, I don’t want the perils of the world, this is supposed to be an escape. It’s also most helpful to put it in this lifestyle category because that’s actually meeting people where they are. MKL: I think that’s a great point. What I will say is The Athletic often does very hard-hitting sports journalism, it is certainly covering the important topics and the tough topics across the major leagues and teams in the United States and European football and a bunch of other things, so it is doing that, hard stop. But if you look at the multiplicity of things they’re doing and you look in a day’s time, it’s probably well over 100 stories that get published every day, an enormous amount of that is beat reporting on what happened to your team in the league that you most likely watch and it is literally meant to make you closer to the team, the fan, the game. I think all high quality information is — consumers of information want uncompromised information and so The Athletic is just like uncompromised the way The Times is uncompromised, it’s going to pursue the truth wherever it may lead, even when that’s to uncomfortable places. But the whole purpose of the broad set of things we do at The Athletic is to make you a better fan, and we know that. Whereas the purpose, and again, that does not mean we don’t do hard-hitting journalism, we absolutely do, but we are independent of anyone’s interest in that journalism but the sports fan. And for the Times, we’re not writing or producing our work for any particular audience, we’re doing it in service to the public’s interest. Is that a value of keeping The Athletic brand separate from the New York Times? MKL: We are absolutely committed to building the brand The Athletic, it was a deliberate choice, I’m very invested in that choice and we’ve still got a lot of running room to build it. I say the biggest opportunity with The Athletic is just to make more sports fans. We’re making real progress with it and let me tell you, you asked me at the beginning, “How’s it going?”, we bought a company that was losing a ton of money because they were investing into a huge sports newsroom, it’s like a giant newsroom with a little business. We said it would take some time, but then it would be accretive to the Times — it is absolutely that. We got there in many ways earlier and better than we expected and today we’ve got well over 500 journalists at The Athletic. So it’s an even bigger journalistic proposition and it’s really contributing as a business to The Times and we’re thrilled about that, and I want to say we’re only four years and a few months in, we’re just getting started on all the ways we can support fandom of the major sports. I think we were nailing the journalism thing, you’re always going to get better and better at that, they were good at it before we acquired them, we’ve helped them be even better at it, do it more robustly, do it in a more edited way and add like a layer of national, and in some cases global, sports coverage. But there’s just a lot of stuff that there’s a lot of white space in the market to serve fans deeply reported, uncompromised information and we’re going to do that. You have such a good product organization and you have the whole Games initiative, how much do you think about the prospects for games in the context of sports? Whether this be fantasy sports or sort of a whole host of like daily pick-ems — it’s interesting because there’s obviously a huge gambling angle to this but how many of those sort of offerings are possible without necessarily being gambling or whatever it might be? MKL: Yeah, great question. We think there’s real opportunity for Puzzles/Games, and Sports, we think we’re good at both of those things. We already have our first collab, I think it’s about a year old, we launched a Sports Connections puzzle , it is super fun. We did some great marketing for it with famous athletes, which was hilarious, and it’s played a lot, so people love it, and I would say that is early. We’re building out the team, we just hired a new Chief Product Officer at The Athletic , he comes following years of building communities at Facebook. We took one of the guys from the Times newsroom who’d been a leader of the Upshot, who’s incredible at building interactive work, and he’s now leading interactive work at The Athletic, so we think there’s real opportunity for that. And I’ll tell you just this week, it might even be today, I’m losing track of my dates, we are launching something called The Beast . I don’t know if you’re an NFL fan, but it is the most comprehensive guide I think that exists on the planet to the NFL draft class and it includes literally information on thousands of players who are draft hopefuls and then very deep profiles of 400 of them. Before we owned The Athletic, and actually until a year ago, we’d publish it like as a book, a physical book, it’s this like monster book because there’s so much information in it and teams use it, there’s nothing else like it. Now you’ll see as it launches this week, it’s got all these incredible interactive features now on the individual player profiles and if you’re someone, if you love an NFL team and you really care, you’re going to pay attention to The Beast. So I think we’re just getting started on features that may be games and also other things that support a fan who’s super passionate about their team. I keep interrupting you, but you mentioned three things, so we’ve got to get that third thing. What was the third thing in addition to news and lifestyle? MKL: World’s best news destination, leading lifestyle products, and put those two things together in an interconnected product experience for a bundle that makes The Times relevant for whatever is going on in your world, or the bigger world, every single day. That’s the idea. Got it. We talked a lot about bundling last time and obviously that’s really the core of your strategy, how though has that evolved in the last five years? Is this really a most people are coming in the door through these lifestyle brands and you’re bringing them to the news, whereas it used to be the other way before? I’m throwing that out there as a hypothesis, how does that actually work? MKL: I actually think the essence of it is about having this portfolio of world-class news coverage, news broadly defined, and then not just products, but these products that either are or are becoming the leaders in their category. These categories are giant spaces where tens of millions, in some cases hundreds of millions, of people spend a lot of time. It’s the fact that we have rare and valuable news coverage and lifestyle products in these huge spaces that’s really working. So to me, the word “bundle” can mean — the low common denominator version of it is, “It’s a marketing concept or merchandising concept” — in our experience, we’ve got this singular idea of being essential in meeting a lot of different kinds of information and experience needs in a person’s life. Rather than it be this idea of, “We’ve got one big important thing” — I’m going to come back to news in a minute because news is central to all of it — but you’ve got this one major hero thing and then you append a bunch of other stuff so the consumer thinks there’s some other value there, we have invested and built these products out in such a way where each thing should be deeply valuable to the person who cares about buying the right products and is going to deeply research them, and therefore they use Wirecutter. You talked about expanding the brand, is this what you mean? Where you hear “New York Times”, it’s not, of course news is always the most important, I know you’re going to say that, so I’ll say that for you. MKL: I’m going to say that again and again, because it’s true. It’s also the most economic-value creating thing we do. Right. But you want people to think that, “New York Times, that’s the best games”, or, “That’s the best cooking”. MKL: New York Times makes the best puzzles, it has the best recipes, and by the way, just advice for home cooks who want to cook, it’s where I go if I’m a sports fan, and it’s absolutely going to give me the best uncompromised shopping advice — that’s sort of the spirit of it. It’s not just a news indicator it’s like a “stamp of quality” indicator. MKL: It’s a stamp of rigor and quality, and I’m going to keep using this word, “uncompromised”. Really high quality information that’s done in an uncompromised way and therefore has value at real scale. And the “uncompromised” comes from the business model? MKL: Uncompromised comes from the idea that at our core what we do is independent journalism. You could even say every bit of it, even the games are like journalistic in that they are sort of planned in a very deliberate way and thought out. Right. They’re not randomly generated, someone is actually editing every puzzle. MKL: That’s right. Humans with expertise are making these things and in some cases harnessing technology to do that even better. It’s really working, and I want to say to you, I wouldn’t have had these words four-and-a-half years ago, but at the core what we’re trying to do in a very complex information ecosystem, really shaped and controlled by a small number of dominant tech platforms, we are trying to make news coverage and products that are so good that people seek them out and ask for them by name. A destination site . MKL: Seek them out, ask for them by name, make room in their lives. The destination site has been — there’s a few companies that I always feel very pleased about, I feel like they’re like my children in a way. MKL: Are we one of your kids? You are one of my kids! MKL: I appreciate that, we could use all the parents, we could use it. That’s why I loved that, I’ve mentioned it multiple times, but the strategy document that you guys, it’s been like a decade now — I’m like, “This is beautiful”, and I think it really was on this point of destination sites, this idea that the way around a world of Aggregators that just commoditizes everything is people have to seek you out directly. Google will say a competition is only a click away and no one seems to take that seriously, people can actually click on you and go there. MKL: My answer, we all read your Aggregation Theory and all the updates you’ve done to Aggregation Theory. The way I think about it is for more than a decade, we have had these like four D’s that we’re obsessed with. Ready? So what do I mean by that? We know we exist in an ecosystem shaped by these dominant tech platforms and so and we have to have a wide free layer for our work, we have to, otherwise you can’t bring in the next subscribers. So we are very deliberate where we can be about how we go about doing that and the idea is we need to be able to get you to sample our stuff and fall in love with it and we’ve got to give you enough time and space to make a habit of it so that ultimately you subscribe. Yeah, that’s really interesting. I was going to ask this towards the end, but that’s a good lead into it. You’ve had a big focus on video recently, and it’s super interesting – actually, I have a few questions about this. One is it’s pretty weird to go to the video tab on the desktop and all the videos are vertical. Was that very controversial? MKL: There’s video all over the site now so you’re gonna see it in a lot of places. When we say destination, we know a lot of people during the workday are reading us or watching us or listening to us on the desktop web, but we are so kind of first to that phone. Our bet is the ability to watch a video on a phone, you are going to want it in vertical and we now have a home for it in this tab. I encourage everybody, download our app, and you get the best version of what we’re doing. Download your app and make sure you register your user account and get the experience. It’s really interesting because I’ve noticed with Stratechery actually, a huge portion of my audience now is just audio, I think more than half my subscribers listen instead of read. You mentioned you mostly listen, which is fine. But as far as the reading goes, actually, I still have a huge amount of people reading on the desktop as compared to mobile. MKL: By the way, I listen when I run because all my other media time is reading. MKL: And now I’m forcing myself to watch. Right, you’ve got to dogfood it . MKL: I’m like listening to YouTube when I run. Just talking shop, is there a bit where, as you look back on the evolution of media, there’s a thing where actually it turned out that the browser ended up being a text medium, and then the phone was actually the multimedia platform? MKL: That’s such a great question, that’s so well put and I need to take that in for a minute and think about it. What I’ll say that I think that’s related to that in a web world, we needed a website that people would type in and then like pin and always be able to go back to, that worked and the Times has been very good at that. In an iOS and Android world, we need an app, and we’re very, very good at that. I would actually say to you, we’re still pretty early in really getting more and more people to use our app. Today, the majority of people who use our app are subscribers, the engagement is enormous, but it’s like mostly the people who subscribe. We have not made the app a really important place for prospects and we’re starting to do that, the Watch tab is part of that. I think it remains to be seen in a world where the Times is as preferred a brand and a source for watching as it is for reading and listening. Which, by the way, I want to say to you, those things are not going to go away, we’ve been at this for 175 years. MKL: The old media doesn’t go away, the people who do it still do it. They vary it a bit, but many of them still do it. To your point, this is a big part of your approach is you have this huge reporting base, which the medium, that’s all ones and zeros, they can write an article, and they can be on a podcast, and they can show up in video. MKL: And they can put a camera, they can literally hold a camera in front of them from somewhere on the edges of Iran and describe what they’re seeing. So I think it remains to be seen, I think the market is still kind of forming and structuring. We regard video as doing three really important things for us. One is it helps us engage the people we already have, and anything that helps us engage the people we already have is very good for business. Churn mitigation is always a win if you’re a subscription business. MKL: It’s good for business, and I would argue it’s good for journalistic impact and everything. Good for society, but very good for business. We also think there is an enormous number of people in all generations of life, but especially young people, who spend time watching, and they’re either watching news or they’re watching things that are in a zone adjacent. We are the only generation that really just maximized text, it’s been all downhill ever since. We got all the text in the world, we read it all, and then now everyone’s just watching video. MKL: I could do a whole other episode on that and fight to get my very intelligent kid to just like sit back and read and how important I think that is to brain development. But we think video will help us engage whole new audiences, that is a big bet we’re making, we’re already starting to see some of that, we are very excited about it. And then the third thing that video does for us, and I think that’s really important, I think we all know that trust in all institutions is at an all-time low, trust in media is at an all-time low, I hate the word “media” because it lumps in journalism and a bunch of other things, but trust in all of it is low. And the more we can show you the work, the more we believe you will come to understand what an independent journalistic process to pursue the truth wherever it may leave looks like. Interesting. So it’s like brand-enhancing for what you’re going for overall. MKL: Totally, and trust building. I’ll just tell you, we are much more aggressive today than we’ve been. One of the formats that we’ve scaled the most and there’s still so much room to go is just a reporter on camera describing the story. Which by the way then your production is vertical anyway so it ties right in. MKL: But there are times you go into a studio and explain something, so it doesn’t have to only be vertical, it goes a really long way. And we have made a very deliberate choice where we’ve said, we don’t particularly have a business model on TikTok or Instagram or YouTube Shorts, but we’ve got to be in those places. I wanted to ask you about that because when you think about podcasts, for example, there’s a huge push in general to be on YouTube and I think it’s pretty obvious because podcasts are incredible for audience retention. I’ve talked about for my business, all these people listening to Stratechery don’t go anywhere. Whereas people would have emails build up before that, and they’re like, “I have too many emails, I should just unsubscribe”, the problem is I get much less sharing because it’s much easier to forward an email and the podcast, you just go to the next podcast and then it’s sort of done. So you have podcasts in general going to YouTube because they feel like the algorithm is the way to acquire new users. The reason to bring this up is I go to the New York Times YouTube page right now, your last main video is from seven days ago. Your last Short is more recent, but it’s about Trump escalates threats to destroy Iran. Well, there’s been some news development since those threats. MKL: You think? Consult top of app. But the point is clearly it’s not a priority for you. How does that tie into the balance of destination site versus customer acquisition and all those sorts of things? MKL: It’s a great question. Let me start by saying our general thesis, and I’ve been here a long time now, so I’ve got enough reps to say it bears out. If we make great work that should scale because it’s unlike anything else out there, and it’s important, it will. I want to say that, that is our bet. And so I will say to you, we’re still at. That’s my bet too. MKL: I listened to enough of your work to know you think that too. It’s a really important principle that we’ve just like hit again and again and again as a business. First, we have to make like the best stuff there is, and it’s got to be done in an independent way and it’s got to be done with rigor into a high standard of quality. So the chapter we’re in now with video is very much scaling production, which is like, “What are we making?”, “What is it?”, “What is the New York Times if you can watch it?”. We are early in that and we’re going to admit that all over the place. We are, as I started to say, putting a lot of that work. The best place to experience it is come to our app, go to the website, even if you have to, you know, even if on the site, some of it is shot for vertical, best place to experience it is our destinations. But we need to be in the places where huge numbers of people are. So the work is also on TikTok and Instagram, it’s on YouTube both in short form and on YouTube, we’re starting to put our longer form stuff there. And the truth is, it’s a place where we can see, you are right, a lot of it is dictated by algorithms, but also you get a sense of what is a hit. I’m going to name a few things that are just like unequivocally hits at the New York Times as video. The Ezra Klein show was only a podcast, it’s now a video show too — that guy is so brilliant, he has such an incredible following, we are so excited about that show. Right around the time we were putting him on video, we launched, to the extent that Ezra is examining the biggest ideas on the left, Ross Douthat is examining the biggest ideas that are animating the right. Ross has been a longtime columnist at the Times, we launched a show, I think we launched the pod and video at the same time it was one of the first ones where we said, we’re going out. You say they’re going huge, are they going huge on your properties, or are they going huge on the RSS feeds and the other platforms? MKL: Out in the ecosystem. And when I say huge, we were early in all of this, they’re building audiences and growing. The Daily is huge, The Morning , we have the largest general interest news newsletter I think on the Internet in terms of readership, five or six million people open it every day. And do you see very tangible, measurable, people are finding this other platforms and coming back to the Times and subscribing? Or is this more ethereal, this is enhancing the brand, in the long run this will pay off? MKL: It’s a great question. The broad answer I’m going to give you, and I ran the subscription business for a long time, I was on top of the product organization, I was accountable for it, the thing I’m sure is that we have to make stuff that is so good that it’s worth paying for even in the presence of free and less expensive alternatives, and we also have to have many tens of millions of people who do not yet pay, who are regularly engaging with our work. We do believe we have to be sort of out there in the ecosystem — of course, you and I both know, you know, we see a receding link-based economy. Did you see that discussion between Nate Silver and Nikita Bier the other day? MKL: Oh, I haven’t seen it yet. They were talking about, because Nate Silver did some sort of article about who’s getting prominence on X and things along those lines, and one of Nikita’s pushback about The New York Times not having prominence, not just on X but on all social platforms, is you do what I do , which is we’re old and lazy and just post an article with a link and Twitter doesn’t feature links anymore. Fine, it is what it is, I have my built-in audience, it’s okay. And it’s like, well, if you actually want to grow, you have to do the whole thread thing like, “This is what’s in this article”, and at the end there’s a link. And Nikita pointed out that the New York Times does the bare minimum, it’s basically like an RSS feed for links, of course they’re not getting featured. Is that something where, I’m telling you now, you didn’t read it, you’re like, “Oh yeah, we should fix that”, or is that a, “Well, you know what? We’re not a social media company, we are a destination site, and that’s just the way it’s going to be”. MKL: It’s a fair question, I think you should regard us as first and most importantly trying to make the best stuff that can and should scale because it’s amazing. And remind me, I’m going to mention two other video shows to you that are so different. And then we are also looking to always master the evolving audience ecosystem. And I think if you followed us, it’s interesting on YouTube, we’re doing more now show by show to build audience so just like you mentioned, the New York Times channel, but like Ezra’s feed is surely updated, Ross Douthat’s feed is updated. I’ll mention these two other shows. We launched our cooking team, launched a show maybe six months ago called The Pizza Interview , we have this amazing test kitchen on the west side of Manhattan and like every major celebrity with something important to say can come on that show now, they make a pizza and they talk about their work. So the cast of Stranger Things came with the finale, Ariana Grande came. That’s a great concept. MKL: It’s amazing. And that show is building so much momentum, so different than what you would expect. It is fun, it’s really working. We’ve had a show, I don’t know if you’re a music fan, Ben, but we’ve got a music critic and a music reporter, Jon Caramanica and Joe Coscarelli, they have had a podcast on The Times for like a decade called Popcast , where they talk about music. It was sort of made at the edges of the enterprise, these guys are so talented, and we’ve just brought them to video and kind of prime time and man is that scaling. They actually did a live show at an all-company meeting with Lizzo, it was unbelievable. They’re getting everybody, it’s so, so great. What you see is we are just in the early days of saying, “How and where should we build the big audience for this?”. The Daily, which is nine years in still in the top podcasts, there is I think it’s the largest general interest news podcast, most people do not listen on The New York Times, they listen on Apple or Spotify. MKL: And you know that because of what you do for a living. So we’re open-minded about that and also pushing really hard on the companies that shape the ecosystem to make it so that great stuff can scale. Yeah, I’ve had plenty of discussions with YouTube. MKL: I’m sure we’re going to talk about that too. Well, we’ve actually gone quite long, I do need to ask you about – there’s this technology called AI you may have heard of, I do have a few questions for you on that. Just to get it out of the bag, you’re in ongoing litigation with OpenAI. Obviously, I’m sure that constrains what you can talk about to a certain extent. But sort of big picture, what’s the point of this? What do you want to accomplish? MKL: We’re in ongoing litigation, two-and-a-half years now with OpenAI and Microsoft, we’ve also sued Perplexity . Why? They stole our stuff, they used it without permission, without fair value exchange, copyright infringement and they build products that compete with us, so that’s why. Let me just say, why did the Times do this? You know, we have spent over 175 years, an enormous amount of resources on high-quality independent journalism, and I want to say this, we’re fighting here, obviously, for the Times, but for the industry writ large for high quality journalism and content creation writ large and for the public to have high quality information and content. We have made an enormous investment, we’ve been doing it for a very long time, and we have a huge number of works. Is your biggest concern the training or the output? MKL: We believe that there should be sustainable fair value exchange for our work used in any way, number one, so fair value exchange sustainably. Number two, we believe we should have control and the law says we should have control over how our work is used, and I would say those are kind of for everyone. And for the Times very specifically, by the way, we’re not just suing, we have a deal with Amazon , we choose to deal, these things are of a piece enforcement of our rights in court and dealing is all to put a stake in the ground to say high quality journalism deserves to be paid for and it should be. And, by the way, the LLMs are only going to be as good as the information that courses through them. The third bit is can we do a deal that’s consistent with our long-term strategy, which involves ultimately having direct relationships with our consumer. Do you worry about — you’ve had this huge growth in terms of these lifestyle verticals, things like recommendations, things like cooking. Some of those AI is really, really good and useful at, do you feel a threat there? Have you seen an impact there? MKL: We’re enforcing our rights in court for very specific reasons. I want to do a number of AI categories so let’s set aside the court case. Let’s just say in terms of NYT Cooking, super compelling. Also, I go to ChatGPT, I ask for a recipe and it will give me one. MKL: Totally fair question. I want to say to you first, we’re also using AI like assertively in our product. Right, my next question is how you’re actually using it. MKL: Let’s come back to that. The most important part of our strategy, and maybe to the extent there’s a theme from this conversation, is that The New York Times creates human-led high quality news journalism and all this other stuff, including recipes that are better because of the humanity, the expertise, the professional process that goes into them. And I want to say, because you asked about cooking specifically, every one of those recipes, we have 25,000 recipes and counting in a database, every one of them, human-tasted, human-tested, they’re better. People say to me all the time, “Your recipes are just better”, yes! Because professional chefs and cooks are using them and it doesn’t get published until we’ve done that. We think that’s going to have enduring value, we think in an information ecosystem where it’s harder and harder to find quality stuff, brands are going to matter more and human-made content is going to matter more. The week you filed the lawsuit, when I wrote about it, I entitled it The New York Times’ AI Opportunity . MKL: I remember what you wrote about it. In this world of everyone getting individualized content and actually that makes you more valuable, not less. MKL: Listen, society needs a shared fact base. People need high quality, uncompromised information and they need to be able to find it with ease and they need to be able to know what is true and worth their time and we think the Times and each of our portfolio brands, each of our lifestyle brands is like a signal to that. So we are obviously investing enormously into all that. Has that been validated in the numbers? MKL: Look at our business results. It’s been a strong period for our business results, I can’t tell you what will happen in the future, but I can tell you we are very, very focused on two things. One, making our products even more kind of rare and valuable at real scale to people, and we are also incredibly focused, part of how I got into this chair, we are incredibly focused on harnessing technology to make the journalism richer where it can help us do that, make our journalists able to get to more things or get to the things more deeply. We are incredibly focused on using technology, and this includes AI, to make the work more accessible. I told you earlier, I’m a runner, you can listen to almost every article now. You can’t listen to the live journalism, but everything else you can listen to in an automated voice and I think we’re on the third generation of that voice, it’s so much better. It’s still like, we’ll mispronounce one or two things, but it’s great. See, I read my own articles and I still mispronounce things, so maybe that’s actually the human component. The moment it starts pronouncing things perfectly, I’ll know it’s a robot. MKL: We we’ve been aggressive with that. Let me give you an example in the journalism that the Epstein Files , I think it was like three-and-a-half million pages, they came out like late in the day on a Friday and we’ve got a whole AI Initiatives team in the newsroom and they like built a tool to be able to comb those documents and the magic of what we were able to do from them was the fact that we could create this tool that said like, there’s all these different story angles to get to, how do you get at it with ease? And then the beat reporters and the editors who have the expertise and the kind of rigor to say, “What should the public know from this?”, it’s the combination of those things that made it awesome. I’m going to give you one more example that I just kind of said immediately, “Oh, there’s a real interesting opportunity here”. Remember the Sydney Sweeney jeans/genes thing? MKL: So the early of read on that was that the left was up in arms about this Sydney Sweeney ad and we had journalists who basically did a story using AI to comb social media to sort of say, “How did this happen?”, and what they found was it was actually construction on the right, started as a construction. Like the idea that there was kind of fury about it started as a construction on the right and then became like a bigger thing. So I think any new technology, it is our job, it is my job, to see that people are not afraid of it, and are using it in responsible and appropriate ways. We’ve just rolled out Claude Code to our product engineering team, so they can prototype faster and do all kinds of things. So The Times is not anti-AI or any other tech, we have laid a stake in the ground to say this next chapter of the ecosystem has got to be shaped in a way that allows high quality journalism organizations and other high quality creative content organizations to do their work in a way where they can earn the living they should from that work but we are certainly not anti-tech. Just to go back to this AI bit and The New York Times AI Opportunity idea. You just touched on the, This is a trusted brand, it’s validated by humans”, it’s leaning into the humanity of it. I’ve expanded that bit a little bit as well as I’ve been thinking about this thesis , and I have this concept that I’ve been thinking about called totem content , where if everyone is reading AI content, everyone’s reading different stuff. The idea of having one piece that, “Did you read the Stratechery article today?”, or whatever it might be, is actually going to be more valuable, not less. I’ve been thinking about this in the context of community, it feels like no content company has ever solved community. You have a thriving comment section, but you’re not making friends in the comment section, it’s sort of a performative bit. MKL: We’re not introducing friends to one another, not necessarily yet. If I know someone who is interested in the same sports team or is interested in Wordle or Connections or whatever it might be or is interested in a particular facet of the world and I knew who they were, there’s something there and there’s a continual trigger for us to talk about it. Where’s your thinking about this? You do this all the time, there’s lots of group chats with New York Times articles shared it, is that something, though, that you want to or you see an opportunity to lean more into? MKL: My very short answer is yes, with like a double underline. Yes, yes, yes. At the core of the mission’s role is to help society make sense of itself in a way that serves the common interest, the public interest, “common” is the main word in community. So yes, and I agree with you, I don’t think it’s been solved in any way yet by us or anybody else in the sort of publishing or journalism industry, but we’re beginning to focus on it much more earnestly. I want to say two other things. Within the news report, we do a ton of culture and lifestyle journalism, and going back a couple of years, we launched the 100 Best Books , and we launched it with a bunch of input from experts beyond the Times, but of course, all coalescing around our books experts and we launched it with a bunch of features, because it was like an inherently shareable idea, “I read these books, Ben, you should read these books, what’s on your book list?”, and then we did it for movies . We’re just at the beginning of it, I think it’s a huge opportunity, I am super interested in it. And the last thing I want to say, and it kind of brings us back to where you started with me. I will never forget, I was with my son and his friend, on the ferry to the Vineyard, and his friend was like, “Oh my gosh, I play Wordle every day and then after that, I go and I play…”, and he named four rip offs because he liked the game so much. Point being, we need to make more games, we have, we did, we’re still making more. But none of those games, you know, have like the competitors, people may play them, but like you don’t hear about them the way you hear about Wordle, they haven’t broken through. Why is that? There is one puzzle a day from a company whose brand ethos is it makes you smarter that you do with the people you love and by the way, it’s true for Wordle and Connections and Strands. Everyone’s playing the exact same puzzle. MKL: And it is a shared experience. Just to go back, you asked me about sports, fandom is a shared experience, and we’re thinking very hard about how we support that game moment in a way that I think The Athletic has a very big opportunity here. And I think in news, what we want, journalism can’t solve society’s big problems, and there are many big problems, but society’s problems cannot be solved without high quality independent journalism. So the idea of, “Can we get more people engaged with one another?”, on really big, important, weighty topics that need independent journalism, I think that’s a big idea and a big opportunity for The Times, for journalism, for the country, for the world. Has the New York Times fully crossed the Valley of Despair in terms of advertising? Part of all this was you had to like build a subscription business but now that you’re known as a subscription business, advertising is suddenly a growth opportunity instead of a decline to manage? MKL: I came to run the ad business, the woman who runs the ad business now, Joy Robins , she’s an extraordinary leader. The ad business I joke all the time is going so much better under her than it ever went many years ago. I think that we have really found a formula that works. What is that formula? MKL: We are a, and I bet, long after I’m here, we are a subscription-first business, meaning we make things that are meant to be extraordinary to consumers at great scale. So many of our ads are shown to subscribers because so much of our engagement is from subscribers and we’re obsessed, especially in a changing ecosystem, with getting the next group, the prospects, really, really, really engaged with our work and our obsession with engagement and with quality products in giant spaces that marketers want to be near, news broadly defined, but on the authority of news. Marketers want to be next to other healthy, thriving brands, and I think The Times is that today, but they also want to be in sports and they want to be next to our games, which are cultural sensations, and by the way, do you think marketers like shopping? Quality shopping and cooking, there’s so many marketers want to do stuff with that. I do think we’ve arrived, I’ve been more optimistic and excited about our ad business over the last year than I’ve been at any other point and I think given the scale that we have achieved — Ben, you and I both grew up on the web, just think about the number of page views the New York Times has, like, all that engagement. And we’ve spent half a decade, longer than that, building very sophisticated first-party data. So we’re never going to have the scale of a platform or the targetability of a platform, but we are certainly well above what I would suspect any other kind of publisher can do. That’s the question — is there anything actually generalizable from the New York Times? Like you’ve done it, you’ve won it, can anyone actually replicate this? MKL: First of all, we have not won anything, I want to say that very clearly. We have so much more to do, to grow, to make sure. Relative to basically every other newspaper, I’m going to declare you a winner. MKL: Let me tell you the few things that I think are absolutely extensible. I often say we’ve spent so much of our time wanting to make a market and then support a market for digital subscriptions to journalism, and journalism being something of value that is worth paying for. We believe that a thriving, healthy ecosystem with lots of competitors who we’re fighting every day with is actually better, it’s certainly better for society, we think it’s just better generally. And I want to say there are you, Puck, there are so many other things that have been invented since I came to The New York Times. So in some ways, there are aspects of the information ecosystem and journalism that that are thriving, certainly not local journalism, certainly not deeply reported journalism and that’s very unfortunate. The things that I think are extensible, one, when I get asked, “Why has the Times succeeded?”, if I can only give one short answer, it is we kept investing in journalism, that’s it. Good times, bad times, we kept investing in the journalism. There was something there that actually was worth paying for, one. And two, we stuck to our values. So the Times can’t be bought, the journalism is never compromised, we can’t be cowed, we can be hated in lots of places, and people know they’re still going to get our best understanding, they’re going to get the results of a pursuit of truth wherever it will lead, even when that’s to uncomfortable places. If I had to boil it down to like two short things, I’m ripping off a line from our publisher, AG Sulzberger , that I think does it so beautifully, he says, “It’s value and values”, we kept investing to make sure the product was still really valuable and then we just never let go of our values, I think that those are ideas that are extensible to everyone. The other thing I’ll say to you, and this is maybe my contribution, we clocked early on, 9 or 10 years ago, we are competing for engagement with the most powerful companies, information companies the world has ever known, who are so much richer than us, so dominant, and we’ve got to get really good at engagement. We’ve got to get really good at making people want to come back, and we’ve also believed in the power of brands as signals to get people to ask for us. I say all the time, they’ve got to ask for us by name. The New York Times, Wordle, Connections, Strands, The Athletic, Cooking, Wirecutter, people have to ask for us by name, and we’ve invested into all those things, I think those are all extensible ideas. Well that’s why I say you’re one of my idea children, destination site, I write about Aggregators and my personal strategy is to do everything the exact opposite as them because why would I want to even compete in that game? So that certainly resonates. MKL: And you have so many readers and listeners at The New York Times, we’ve been reading you as long as you have felt like a parent of us. Well, I appreciate it. You are, for the record, older than, The New York Times I should say. 175 years this year, very exciting, congratulations. MKL: (laughing) Very exciting. Can I say one thing? If we can do anything with like a 175th — Is it a birthday? Is it an anniversary? — if we can do anything in this moment, the most important thing we want to accomplish is just raising people’s consciousness for the idea of what high quality independent journalism is and does. It is human beings with a professional process and real expertise going out into the world and unearthing new information, following a very honed professional process to do so, so that the public can know what’s happening. We are spending a lot of our energy this year at 175 years old, just trying to remind people what that is and there’s so many other things you can do in media now. You know, I listen to a bunch of stuff, there’s so many things that are like adjacent to news. Oh, I appreciate it. I’m not a reporter, so I need someone to actually go out and unearth facts. MKL: But it is not that, most of it is not that and I think as local journalism has been in such dire straits for so long, and there’s so few local newspapers and fewer journalists and as people get more and more of their media diet fed to them by an algorithm that’s meant to match the things they already think and as leaders work to discredit independent journalism with all those forces going on in the world, I think the public has a — I think it’s just harder to know or remember or be conscious of the importance of the thing our journalists are doing every single day. There’s one thing, I know we’ve gone slightly long, but when you say that, what I find inspiring and why I like to talk to you and write about the New York Times is, I’m sure it’s a relief to you, I’m just completely independent of any partisanship or political angle. MKL: Totally, you’re not compromised. I find it so interesting from a business perspective and what you’re articulating there is what is inspiring is it’s a fight against entropy, where the easiest path for people and for publications is to just give in to the algorithm, as it were. And it’s kind of nice to go to YouTube and not see any of your videos there, because it’s sort of like an assertion that that’s not the path we’re going to go, and I certainly can relate to that and find that inspiring and that’s why I enjoyed talking to you. MKL: I enjoyed talking to you, this was a lot of fun, thank you. This Daily Update Interview is also available as a podcast. To receive it in your podcast player, visit Stratechery . The Daily Update is intended for a single recipient, but occasional forwarding is totally fine! If you would like to order multiple subscriptions for your team with a group discount (minimum 5), please contact me directly. Thanks for being a supporter, and have a great day! We have to be a daily habit We have to have direct relationships with people We have to be a destination and let me say to you, by destination, I mean, we do most of the economic value creation and we also give the best experience if you actually come to us in the whole of the experience. Then I say the fourth D is we only do drive-bys if they’re deliberate.

0 views
Manuel Moreale 1 weeks ago

Anthony Nelzin-Santos

This week on the People and Blogs series we have an interview with Anthony Nelzin-Santos, whose blog can be found at z1nz0l1n.com . Tired of RSS? Read this in your browser or sign up for the newsletter . People and Blogs is supported by the "One a Month" club members. If you enjoy P&B, consider becoming one for as little as 1 dollar a month. Bonjour ! I’m a militant wayfarer, budding typographer, pathological reader, slow cyclist, obsessive tinkerer, dangerous cook, amateur bookbinder, homicidal gardener, mediocre sewist, and fanatical melomaniac living in Lyon (France). I was a technology journalist and journalism teacher for sixteen years, but i now work in instructional design. In my spare time, i take photos of old storefronts to preserve a rapidly fading typographical tradition. One of these days, i’ll finally finish the typefaces i’ve been working on forever. And my novel. And the painting of the bathroom. (My wife is a saint.) I was born a few years before the web was invented and grew up at this fascinating time when everybody wanted to do something with it, but nobody knew quite what yet. We were still supposed to learn Logo and Pascal in technology class, but most of the teachers understood the importance of the web and taught us the basics of HTML and CSS. I built my first website in 2000… as a school assignment! By 2007, i was one of those insufferable tech bloggers who made enough money to feel entitled, but not enough to feel safe. (I moonlighted as a graphic designer.) When more established outlets came knocking at my door, i shut down my blog and became one of those insufferable tech journalists who make enough money to feel entitled, but not enough to feel safe. (I moonlighted as a journalism teacher.) I kept a personal blog under the “zinzolin” moniker. This shade of purple is my favourite colour, partly because it sounds a bit like my name. Over the years, it became more and more difficult to find the energy to write recreationally after having spent the day writing professionally. In 2025, feeling more than a little burnt out, i rebooted my blog and switched from French to English. Fortunately, the name is equally weird in both languages. I don’t have a process so much as a way of managing the incessant chatter in my head. I write to give myself the permission to forget, and i publish to gift myself the ability to remember. You’ll never catch me without some way to capture those little “brain itches” — a notebook, the Bloom app, a digital recorder, the back of my hand… (I wrote part of this interview as a long series of text messages to myself!) In the middle of the week, i start reviewing my notes to find a common theme or extract the strongest idea. When an incomplete thought keeps coming back, i don’t try to force it by staring at a blinking cursor. I take a long walk, and usually, i have to stop part way to write. Most of the actual blogging is done long before i sit down to properly draft my weekly note. I have this romantic notion that the more comfortable i am, the more i can edit, the worse my writing tends to get. If i could, i’d write everything longhand in a rickety train, stream-of-consciousness style, and publish the raw scans of my notebooks. You wouldn’t be able to read half of it, but i can assure you the illegible half would be Nobel-prize worthy. But then, some things only happen after a few hours of diligent editing. If i give myself enough time, i can stop transcribing my notes and start conversing with them. There’s always something worth exploring in the gap between our past and present selves – even if the past was two days ago – but that delicate work requires a conducive environment. Judging by my recent output, it looks like this environment comprises a good chair , a MacBook Air on one of those ugly lap desks, my custom international QWERTY layout , iA Writer for writing and Antidote for proofreading, cosy lighting, just the right amount of background noise, and most important of all, a pot of delicious coffee. I’ve tried pretty much every CMS and SSG under the sun, but i’ve always come back to WordPress, until Matt Mullenweg reminded us that a benevolent dictator still is a dictator . Z1NZ0L1N is now built on Ghost and hosted by Magic Pages . I used to use Tinylytics and Buttondown , but i’m now using Ghost’s integrated analytics and newsletter features. My other websites are hosted on a VPS with Infomaniak , which is also where i get my domain names, e-mail, and assorted cloud services. That’s a question i had to ask myself when i rebooted Z1NZ0L1N last year. I switched to English in a bid to better separate my professional output from my recreational output. I jettisoned most of my audience, but i found a new community around the IndieWeb Carnival and quickly rebuilt a readership on my own merits. I get excited each time i get an e-mail from someone i don’t know from a country on the other side of the globe. I wanted to find a way to publish regularly without turning Z1NZ0L1N into the umpteenth link blog. After a few experiments, i’ve settled on a weekly note that’s part “what i’m doing”, part “what the rest of the world is doing”. This is old-school blogging meets recommendation algorithms — and i love it. Some things haven’t changed, though, and will never change. I use an open-source CMS that i could host myself, not a proprietary platform that i can’t control. I designed my theme myself. I don’t play the SEO/GEO game. I pay a little less than €10/month for Magic Pages’ starter plan with the custom themes add-on. Considering that it saves me €15/month in third-party services, i’d say it’s a fair price. I pay €12/year for the domain, but i also registered a few variations, including , which was first registered in 1999! Blogging is my least expensive hobby — by far. As someone who’s worked a lot on the economics of independent publishing, i’m happily subscribed to a few news outlets and magazines. I like the idea of $1/month memberships for blogs, but in practice, i find it hard to track multiple micro-subscriptions on top of my existing (and frankly far too numerous) digital subscriptions. I wonder if we should create blogging collectives, almost like unions and coops, to collect and redistribute a single subscription in between members. In the meantime, i’ll continue not talking about my Ko-Fi page . The Forest and Ye Olde Blogroll are fantastic discovery tools. A lot of my favourite bloggers have already been featured in People and blogs : VH Belvadi, BSAG, Frank Chimero, Keenan, Piper Haywood, Nick Heer, Tom McWright, Riccardo Mori, Jim Nielsen, Kev Quirk, Arun Venkatesan, Zinzy… I’d love to see how Rob Weychert , Chris Glass , Josh Ginter or Melanie Richards would answer. Their approach to blogging couldn’t be more different, but they each informed mine in their own way. Since 2008, i’ve taken thousands of photos of old storefronts. It began as a way to inform my typographical practice, but it rapidly became an excuse to go out and pay attention – really pay attention – to the world around me. You wouldn’t believe the things i’ve discovered in side streets, the number of conversations i’ve struck after taking a picture of a once-beloved shop, and how my way of looking at the evolution of cities has entirely changed. If you’re up for a little challenge, find your own collection. It might be cool doors, weird postboxes, triangular things, every bookshop in Nova Scotia , sewer manholes, purple things, number signs… It’ll give you another perspective not only when travelling in foreign places, but also on your (not so) familiar surroundings. It doesn’t cost a penny, but it’ll pay off immensely. Now that you're done reading the interview, go check the blog and subscribe to the RSS feed . If you're looking for more content, go read one of the previous 135 interviews . People and Blogs is possible because kind people support it.

0 views
neilzone 2 weeks ago

Three months of not reading the news

Three months ago, I stopped reading the news . I made a note to force myself to reflect on it, after three months, and this is that reflection. I still read lots of RSS feeds of people’s blogs. I love this. I still read industry-specific news sites (mainly law-related stuff), and other sources of information which are often the basis of news coverage (e.g. government or regulator press releases and updates). I still read local news, but wow is that a rubbish experience. I get that local news needs funding to survive, but making the product so unappetising makes selling me a subscription a very hard sell indeed. Frankly, I could probably just not read the local news and keep an eye on the local council’s roadworks website instead. I still have my 404Media subscription although, to be honest, I am a bit on the fence about it. I am not sure if I will renew it or not at this point. No slight to the quality of their journalism. What I have basically stopped doing is reading the BBC, the FT, the Guardian etc. I had not appreciated just how conditioned I was to reading the news when I had a spare moment. It took me quite a while to get used to the idea of not opening the BBC website, in particular. I did not go to the extent of blocking news sites, so this was just based on self-control / choosing not to do it. Curiously, what I found hard was that almost instinctive “fingers move to open a news site” behaviour, rather than actually missing reading the news. I had to train myself out of it, and now, it doesn’t cross my mind. I have not managed to avoid general news entirely, nor was I really intended to do so. This was about lessening my exposure, rather than doing all that I can to avoid it. I still see people posting news-related stories in the fediverse, and I just scroll on by. In some cases, I can filter by keywords, and so no If someone posts news too much (or, in particular, posts party political stuff), I either unfollow them or mute them. I’ve no temptation to click the links. Yes, and that is by design! Before, I was informed about a whole load of things, in a way, and to an extent, that I didn’t find helpful or healthy. Now, I am aware, in broad terms, of major stuff going on around the world, but I am far less familiar with the minutiae, or the endless “up to the minute” reporting. That feels like a good level of awareness for me. I am also far less exposed to stuff that I never cared about in the first place, especially “celebrity” news, of which I remain blissfully ignorant, sport, and so on. To each, their own. For now, anyway, I don’t miss reading the news. I’ve overcome that reflex of opening a news site. I have not - as far as I know, anyway, which I appreciate is quite a caveat - missed anything which, had I known about it, would have made a significant difference to anything important. I read far more books (and buying the tiny, pocketable, X4 ereader was an attempt to distract me from my phone more often, letting me read even more). So I am going to carry on with this experiment for now, and see how I get on. I can’t prove that this experiment has been good for my mental health, but it certainly feels that way. Even though I do not want to read the news, I wonder if a monthly, edited, one-or-two page kind of approach, of key / important news stories, might be welcome. Of course, there would be complexity in determining what is “key” or “important”, as that is subjective.

2 views
Stone Tools 2 weeks ago

Aldus PageMaker on the Apple Macintosh

In life, there are love affairs and there are marriages. Deluxe Paint was (and is) an amazing, beautiful piece of software. It taught me so much about color, texture, and painting with light, but more specifically it opened my eyes to the possibilities of digital art as a medium. Yet, as much fun as I had, I never became a digital painter, I don't really do any pixel art these days, and over time the passion faded, never truly gone, but certainly diminished. A love affair. In college, with a declared major in electrical engineering, I took a chance at writing for the school newspaper, at the urging of my English professor. I was hooked from the jump, caught the reporting bug, and learned the ins and outs of journalism. Over the next four years, I became adept at Aldus PageMaker , the heart of our student media production process, fascinated by its ability to amplify the written word. It was because of PageMaker I switched majors to graphic design; we stuck together well into my professional career. A marriage. Sometimes these retrospectives are fun peeks into the past, opportunities to understand computing history a little better. Other times, I'm revisiting a condemned old house I used to live in, in a town I abandoned, finding and dusting off a forgotten jewelry box, inside which sits a tarnished wedding ring. What we had was beautiful, once. With this exploration, I'm honestly not expecting to rekindle any deep love for PageMaker. It taught me much in my youth, lessons I've taken to heart over the years and carry with me to this day. Still, you never know, maybe there's something yet to learn. Only one way to to find out. This was the last version released under the Aldus label. Soon thereafter, Aldus merged with Adobe, and this was re-released as Adobe PageMaker 5.0a. I have a very specific project in mind this time around. No, "project" is not quite the right word. It's not a project, it's a calling . Many years ago, one Mr. Robert Charles Joseph Edward Sabatini Guccione had a dream. That dream? : to compete against Hugh Hefner's Playboy magazine for dominance in the adult erotica print landscape. His dream expanded into a hotel staffed by Penthouse Pets and visited by Saddam Hussein. The dream grew further still into an X-rated box-office bomb starring Malcolm McDowell, Helen Mirren, and Peter O'Toole. Good times. Guccione's eventual wife, Kathy Keeton, had her own dream: a kind of Penthouse magazine, but for the mind . It was to be a heady packaging of art, literature, and investigations into science and the paranormal, presented on high-gloss paper, with a design sensibility that promised intellectual value well beyond the $2.00 cover price. Heck, the liberal use of spot-color metallic ink in every issue was itself worth the $2.00. Edited by Frank Kendig, with Art Direction by Frank Devino, issue one of OMNI Magazine hit newsstands with the October 1978 issue, around the time of the debuts of the Speak & Spell, Intel's 8086 processor, and Space Invaders. As Bob Guccione wrote in the premiere issue's "First Word" publisher's column, "This then, is the editorial promise of OMNI - an original if not controversial mixture of science fact, fiction, fantasy, and the paranormal." The first issue set the table neatly. A story about scientific advances in age-defiance, fiction from Isaac Asimov, an interview with Freeman Dyson (he of the Dyson Sphere joke ), and artistic photography of soap bubbles all combined to take the reader on a magical journey of enlightenment. It worked on me at any rate. OMNI's print run ended in 1995, with flaccid attempts to reanimate its corpse over the years. A new issue appeared on newsstands in 2017 with a cover design I will charitably call, "I guess they tried." That was a cheap shot, and I need to be cautious throwing stones here, as I am about to make my own attempt at designing OMNI Magazine . My name isn't Christopher Hubris Drum for nothing. Launching into PageMaker brings back a tidal wave of memories. Good lord, the volume of Diet Coke I drank during long production nights back in the 90s! Even now, to place an image is as reflexive as breathing. If I mentally prod at the inner crevices of my brain matter, the rest of the expert knowledge appears to be long gone. Considering PageMaker from a digital native's perspective, its tools and way of thinking can be quite anachronistic. Today, we enjoy a kind of fluidity in page design, worrying about things like "reactive design" with flexible, auto-adjusting layouts. That was not such a concern to early desktop publishers, except in coarse-grained measures. What they really needed was a bridge for the mental divide between manual paste-up and the new digital hotness. Consider the tools of the trade at the time: X-Acto blades, point tape, light tables, non-reproducible pens, rubylith/amberlith, vellum, wax machines, PMT machines, photo typesetters, and just so much paper. All but the paper were replaced with a mouse. A fantastic video showing someone doing manual paste-up, just to give you a sense of the dramatic sea change desktop publishing introduced. PageMaker provides a digital equivalence to a physical pasteboard. Much like other software I've looked at, especially in the word processing arena, the "Don't worry! Yes it's on a computer but we've reproduced a metaphor you understand" approach informs a lot of decisions behind its interface and tool-set. Everything you do is "manually digital" if that makes any sense? User actions are similar to the pre-digital workflow, it just happens on a screen instead of a light table. For example, there are no tools to assist with positioning elements relative to one another. There is no real concept of "layers." There is no such thing as "grouping." If you want text in columns, you must manually lay those down, one at a time. So here's our blank page in PageMaker and the palettes which are ready to assist. We have a Letter-sized page, outlined in black, with default margins in pink and purple. In the bottom left are and icons for the left and right "master pages" (elements that will be included on every left or right page, respectively) and a little page icon showing that this is a 1-page document and we are on page 1. I really love the cute little pages in the scroll area; it's so easy to immediately jump to a specific page or spread. It's all so simple, it's kind of impossible to forget how to use it. Toolbox does what it says, offering the selection arrow, lines, text, object rotation, boxes, circles, and image cropping. Styles has pre-built paragraph styles, which can be modified to meet your design spec, and which can "cascade" by basing styles on other styles. Colors are of your own mixing, or can be pulled from licensed libraries, like Pantone, Toyo, Trumatch, and others. There is also a Library palette, for storing reusable objects in your publication, and which utterly failed me in my tests. It might be hard to wrap a modern mind around it, but that's basically it for the palettes. They don't dock with one another (that would come in the Adobe era). There are no hidden sub-palettes. There's just what you see: tools, styles, colors, and the one at the bottom, a context-sensitive "control palette." This is either a merciful culling of modern palette madness, or a frustrating barrier to artistic expression, depending on which side of 2000 you were born on. Interestingly to me during my early poking around in the tools, it isn't so much that I find myself wishing for more palettes, so much as I just want a refinement of these. As a simple example, notice what is not inside the palettes? There's no method for creating new colors or styles, for example. Those are separate options under the Element and Type menus, respectively. A little button would be nice. While re-familiarizing myself with the forgotten contours of the program, I'm remembering how great the control palette is. It debuted with PageMaker 4 and completely changed the usability of the program. In the image above you can see how the control palette morphs itself to show a core set of commonly used functions specific to the currently selected tool, represented by the left-most icon: box, text, line, and image (top to bottom). The palette gives live stats and mathematically precise control over most aspects of each tool. I find the control palette so adept at handling 90% of what I need to do, I basically don't touch the menus of the program. If color selection could be worked into the palette in some fashion, that would handle another 9.9% of what I need. The controls for numeric positioning are not just useful, they're basically required. Trying to position anything with precision by hand is futile, which reveals a letdown. The palette shows in real-time a dragged item's position on the page. When dragging out a guideline from the ruler, we can see where that guideline will fall when released. However, I just said that positioning by hand is futile, and guidelines need high precision. Yet guidelines in PageMaker are special, delicate creatures treated with unique rules. Unlike everything else, guidelines are not page objects and so, they cannot be selected for editing. We can grab them and move them around, but we cannot just click-select one. If we can't select it, we can't fine-tune it with the control palette. It's the one thing we need precision for, but it's the one we're denied. This blank page is driving me crazy. Let's get a masthead on there, so I can at least pretend like I'm a real designer for a moment. 0:00 / 0:40 1× Using the control palette to set the masthead. (measurements derived from here ) Continuing to think of PageMaker as just a big area for building collages out of raw material, this means it also doesn't have any concept of layers. Things are layered, but to find something in a stack means sifting through the stack item by item to reach the desired element. This is PageMaker's biggest flaw, and proves frustrating time and again. To be completely fair, when Aldus PageMaker 5 released in 1993, Adobe Photoshop was at version 2.5 and didn't have layers either. Photoshop wouldn't get layers until version 3, in 1994. It's particularly frustrating because the simple act of clicking on elements can bring them to the front automatically, as with the main cover image. Once I have it in place, I often find it is obscuring the masthead. So I have to over and over and over again, with every accidental click. That happens a lot, because PageMaker misunderstands my click intent quite frequently, clicking "through" my desired object into the background image. That jumps the image to the front, and here we go again. This brings up another issue, which is there is no way to "lock" objects into position. Everything is loosey-goosey and free-form, again mimicking old-school paste-up methodology (I recall dropping paste-up boards and losing a carefully arranged layout or two back in the day). That adherence to the old ways makes sense to me for PageMaker 1 and 2. By version 3, I think the digital nature could have been better explored. By version 4, it absolutely should have been. By version 5, it feels like weaponized incompetence. There is a clear reason QuarkXPress enjoyed a reported 90%+ market dominance in desktop publishing by the time PageMaker 6 came around. Simply put, they embraced the future of layout, not the past. Until they didn't, but that's a story for another day. Now to flesh out this cover a bit more. One thing that takes getting used to is how much of the design occurs in our imaginations. The screen is simply too small and too low-resolution to know with 100% certainty that what we see is what we want. That's one reason the control palette is so invaluable, is because we can know with mathematical certainty that an object is where we intend, despite what we see on screen when zoomed out. Like EA developing the IFF file format for the Amiga community, Aldus likewise developed TIFF (tagged image file format) to unify image handling on the Macintosh. TIFF was the image standard for continuous tone images in publishing on the Mac, bar none. Of course, images fit for print were pretty heavy objects for the RAM restricted Macintoshes of old. Lightweight 72dpi images might have been fine for the screen, but 300dpi was needed for output to Linotype for final camera-ready artwork. Here's a dpi vs. lpi explanation , in case a digital-only workflow has shielded you from learning of it. The cover will need a 9" x 11.5" image at 300dpi in CMYK. Using the only PageMaker -recognized compression method LZW, that's a 20MB file and PageMaker only requires 3MB to run. It's efficient at what it does, but something's gotta give. In PageMaker we can link to TIFF files (embedding is also an option), with three on-screen preview options: greyed out, normal, and high resolution. Your choice will depend on your system and complexity of layout. If things are chugging too hard, step down. Turn on high to get it right, then turn back to grey to avoid the ulcers of slow screen redraw on your Mac SE. This may still be taxing to early systems, but we have another option. A common practice in the day was to use FPOs, "For Position Only" images. Those were low-resolution proxies, good enough for a designer to marry text and graphics with some degree of confidence without stressing her computer. After delivering digital files to the printer (oftentimes literally handing over floppies, SyQuest , or Zip disks in person), a process for swapping FPOs with print-ready high resolution versions of the same images was available to the prepress team. Design in low-rez, output in high-rez. For OMNI , the only printer I have available is the coin-operated color laser copier at the convenience store, so I'm not overly concerning myself with "press ready" on this. However, I don't want to make things artificially easy on myself either. There is no art without pain, as they say. In reading about the origins of PageMaker , and interviews with and about Aldus's founding by Paul Brainerd, it seems he was a real stickler for typography. Of note, he pushed hard for things like typographer's quotes (curly vs. straight), and so within PageMaker there are quite a few options for setting type "just so." Typographer's quotes can be toggled on a document as the default. Text tracking, leading, baseline shift, and kerning are all settable in precise increments by the control palette. Letter-by-letter kerning is also easily achievable through to set nice, tight TA pairs (a little Guccione callback joke for you there). Despite Brainerd's self-professed love for good type, the Quark crowd lamented PageMaker's typographical controls. One area in which QuarkXPress and Ventura Publisher had innovated were the tools for laying down columns of text. Those used a "text box" methodology, which is pretty much the standard today. A box could be drawn, delineating an area of the page which should hold text. That box could then be set up to contain columns, gutters, insets, a frame and so on, and the text would flow within accordingly. Move the box and the internal formatting moves with it. It makes too much sense, and so PageMaker doesn't do that. PageMaker kicks it old-school, forcing us to put down guidelines on the page that show where columns of text should fall, nay where they could fall if one were so inclined. They're mere suggestions, really, and it is up to the designer to place the text within those guidelines, or not. This kind of adheres to the concept of using a grid structure for a page, where the grid can be used rigidly or fluidly, as the designer may choose. Using an OMNI scan for measurements, I've set up a template for two-page spreads. Notice how column guides fill the page top to bottom. Left and right can have different column counts, but a single page cannot. With the box layout methods of Quark and company, if we want to split the layout into 4 columns on top and 3 on the bottom, we can draw two text boxes and assign respective column counts. To do the same thing in PageMaker , we have to set the page to 4 columns, lay out the 4 columns, then change to 3 columns, and lay those out. This kind of futzing about is the drum-beat of using PageMaker , a rhythm of "set a value, do a thing, change that value, do the next thing, reset the value, do another thing" which my muscles have remembered long before my brain does. PageMaker offers a few tools for wrangling long-form publications. The story editor is a lightweight, built-in word processor, with spell check and find-and-replace. Styles can be applied in its stripped down text view, which aren't visible until exiting the story editor, but are annotated in the margin. It's nice not having to jump out of PageMaker just to do a quick edit. Throwing everything together into a monolithic document can be unwieldy. It's a far sight better to break the publication into separate documents for work by various contributors simultaneously. will let us link multiple individual documents into one larger, logical construct. Select a set of files, reorder them into their book order, and away you go. Once those document relations are set, we have a number of tools for helping our reader navigate the tome. A table of contents can be auto-generated, thanks to paragraph styles. Turn on the "Include in table of contents" flag for any given style to get table of contents coalescing for free. The formatting options will probably get you about 60% of the way toward a final layout. 0:00 / 0:30 1× Setting a "next style" for each paragraph style lets me simply type to automatically receive a perfect column header. This exists in page layout software even today; see, we weren't completely hopeless back then! I can't one-shot an " OMNI perfect" table of contents, but it's a good starting point and saves me from annoying minutiae, like laying down 1-point rules. Automatic page numbering is also available, by positioning page number placeholders on our master pages. When collated, each document will receive the appropriate page numbering relative to that document's position in the complete book. How about a nifty end-of-book index? It, too, can be auto-generated, though it requires good planning and forethought. Highlight a piece of text and promote it to an index entry with gives you an opportunity to tweak the data which drives the index layout, and will generate a text block containing a neatly formatted index. Such an index might need alphabetical ordering, or perhaps some kind of topical ordering, and both are possible. Tools for setting up index topics, and the rules for PageMaker to follow when extracting that data, are available to ease the pain. It takes some playing around, testing the waters, to really get how the pieces fit together into a final index, but proves to be a fairly robust, data-driven solution to a logistical nightmare. PageMaker accepts a wide variety of content types. Various word processor formats, graphic formats in both raster and vector (in EPS format), and even Lotus 1-2-3 and dBase data can be imported, for those worried I wouldn't tie things neatly back into previous posts. With all of the various pieces on the page, we need to be able to make sure they're linked to the right source documents and stay up to date as our team makes changes. For a while, there was a publish/subscribe mechanism on the Mac, which danced on the edge of OpenDoc ideas (but was not related, to my knowledge). PageMaker supports this, functioning as a "subscriber," and it is up to other applications to function as data "publishers." If you know OLE on Windows, you know what I'm describing here. Once subscribed to a component, which could be as hyper-specific as a single word from a Microsoft Word document (I tried it before I claimed it!), PageMaker will sense changes to the source data and prompt the designer to keep it up to date. This won't help if the change alters the length of the text and forces a reflow, or if the shape and dimensions of the graphic require a new text wrap. Also, any styling previously applied to the subscribed element will be lost, and will need to be re-styled to match as before, after an update. "Technically, this all works," he said with a shrug. Honestly, I find it annoying, both to set up and to utilize. PageMaker interrupts right in the middle of working on something else to announce updates to subscribed elements. The Links panel already lists everything placed into the project with each link's update status. It also lets me one-click update all links globally, on my own time, at my own pace, when I'm ready. It's unobtrusive and puts the control back into my hands. Publish/subscribe? More like PUNISH/subscribe, am I right folks? the audience boos, pelting me with unopened copies of Microsoft BOB I don't need to dig into this too much, because it's very much a "going to press" feature, and a vigorous interrogation of pre-press technologies falls far outside the scope of this article. In the context of the desktop publishing wars, it is important to note PageMaker 's constant catch-up to Quark in the professional arena. Where Aldus was initially content to appeal to a "making flyers at home for church fund-raising bake sales" kind of crowd, Quark had gone for the professional jugular. Generating separations, the component cyan, magenta, yellow, and black layers that, when combined in ink on paper build our final image, was a major missing component of a robust publishing strategy. Or at least that was true until QuarkXPress 2 in 1989, itself contemporaneous with PageMaker 3. Around 1992, Aldus attempted to staunch the bleeding of users to Quark. PageMaker 4.2 came bundled with a standalone application for generating color separations, called Aldus PrePrint . As one review said , "It does the job." I can hear the yawn that accompanied the sentiment. Finally, four years after QuarkXPress 2, PageMaker 5 integrated color separation generation into the application proper. CMYK and spot color plates can intermingle, plate order can be assigned, colors can be set to overprint/knockout, and line screen/angle are all adjustable. It's all pretty coarse-grained though. For example, adjusting for dot gain on uncoated paper stock, removing color cast, grey color removal, adjusting plate levels and curves to compensate for a finicky press; situations like those are far more suited to sophisticated tools like Letraset ColorStudio or even Adobe Photoshop, after it gained CMYK control. For simple, basic, day-to-day separation needs, especially for those on a budget, PageMaker 5 does a fine job; an assertion I can illustrate with a clever video. 0:00 / 0:14 1× I brought the PDF into Affinity 3, tinted each separation and set those to "multiply". Dragging them together simulates the final printing effect. I'd say those separations look accurate. Having made the effort to catch up to QuarkXPress with its color separation utilities, Aldus had further catching up to do with Quark's plug-in architecture. What Lotus 1-2-3 "add-ins" did for spreadsheets, Quark Xtensions did for desktop publishing. Aldus had to keep their ball in play, and so introduced Aldus Additions with version 4, expanding the breadth of bundled tools in version 5. In practice, using the tools reveals how weak Aldus's retort to Quark was. For example, PageMaker 5 adds the ability to "group items" through an Addition. Hooray! "PS Group It" and "PS Ungroup It" kind of do what they state, except all selected items must be completely contained within the current page boundaries. If anything sticks off into the pasteboard, it cannot be grouped. Additions are, put simply, a mess of a solution to a real problem. MacWorld PageMaker 5 Bible concurs. Where Aldus kind of dropped the ball, third-party Additions didn't do much to make up the slack. The biggest package, and one I remember using, was Extensis PageTools for about $100 in 1994. A visually heavy, kinda Microsoft Word 5 -esque toolbar with lots of geegaws and whoozits, character-level styles ( PageMaker only did paragraph-level), find and replace colors, visual thumbnail document navigator, and more formed a grab bag of solutions to a variety of random PageMaker annoyances. It's not nothin '. While I was researching the history of desktop publishing, one word came up again and again: democratization . Desktop computers would ostensibly simplify formerly specialized skills into tools so simple anyone could use them. This would drive down production costs, opening print publishing to a wider audience. It occurred to me to do a Google N-Gram search and this graph in particular got me thinking about democratization a little more. I wasn't doubting the truth of it all, per se, but the chart gave me a "this needs further investigation" itch I needed to scratch. Searching for "social impact of desktop publishing" turns up surprisingly little, at least in the way that I mean it. There is a good amount of information on the technical side of the discussion, extolling the virtues of PostScript and the cost/time savings gained by the new desktop tools. But we see in the chart that talk of the "digital divide" followed desktop publishing's hype cycle. Those two didn't seem to get a lot of time to chat with one another. The birth of desktop publishing, the rise of personal laser printers, and the rapidly lowering costs of powerful personal computers all converged to lower the barrier to entry into publishing. There's no denying that. There are many stories talking about production times being cut in half, or typesetting costs being cut by up to 90%. PageMaker: Desktop Publishing on the Macintosh , by Kevin Strehlo, noted that traditional typesetting could run up to US$400/page in 1989, about US$1,000/page in 2026 dollars. 90% off ain't 50% bad. "Cheaper than ever before" doesn't necessarily mean "cheap." In 1985, a Macintosh 512K ($3,195; $9,700 in 2026) + LaserWriter ($6,995; $21,000) + PageMaker v1.2 (w/PostScript printer font support, $495; $1500) cost over US$30,000, in 2026 money. Even without the LaserWriter, that's $10K. I can appreciate the dramatic reduction in costs, but personally I would still be priced out of joining that revolution, even if I "acquired" certain tools through "alternative means." Everything I read about the impact on publishing seems to be from the point of view of publishing elites, and the CEOs of the companies involved. Brainerd would often recount a story about a church that was able to do print runs of 600,000 units thanks to PageMaker . Dan Putnam, Adobe employee #2, called out a risqué lesbian newsletter, and a fundamentalist Christian newsletter as examples representing the breadth of materials PostScript helped enable. If we're talking about empowerment and democratization, I don't particularly want to get that information secondhand from corporate execs. Join me then, won't you, on a small audit of desktop publishing's impact on the rest of us, and let's try to get a sense of how the "revolution" was seen by those who fought in the streets. Sometimes, the revolutionary street fighting was literal. In 1991, Communist Party of the Soviet Union hardliners attempted to wrest control of the country away from Mikhail Gorbachev and newly-elected president Boris Yeltsin. During the coup attempt, Gorbachev was stolen away and newspaper presses were locked down. According to Brainerd's obituary in GeekWire , Aldus PageMaker played a role in defanging the "Gang of Eight," the core hardliners who staged the coup. As an alternative way to get the pro-democracy word out, flyers carrying Yeltsin's message were created in PageMaker (the story goes) and photocopied for mass distribution. "During the coup in Moscow all the presses had been shut down. Boris Yeltsin commandeered an HP printer, a PC, and a copy machine. There were pictures of Yeltsin surrounded by people with their hands outreached, trying to get copies of documents that were all produced in PageMaker . Its really a powerful image. It made me very proud," Brainerd said in Inside the Publishing Revolution: The Adobe Story , by Pamela Pfiffner. Brainerd's obituary states that Aldus later ran an ad with the tagline "We helped create a revolution." That ad ran in the... in the... huh, where did that ad run, anyway? Its existence is corroborated by ex-Aldus employee Gabi Clayton in a Facebook post after Brainerd's death. She recalls having a copy by her desk, but doesn't have it any longer. I looked high and low for the tagline and couldn't find it in archive.org, Google Books, nor the internet at large. My best current guess is that it ran in Aldus Magazine , whose digital archives are almost non-existent. 20 years ago, Computer History Museum did an interview with Brainerd in which he mentioned neither the event nor the ad whatsoever, which was a strange omission, in my opinion. At the end of the interview, he's asked if he has materials to donate to the CHM, which he affirmed. I checked the CHM online archive and found nothing, so I reached out to see if Brainerd ever followed through on that donation. CHM responded saying that he had indeed done so and they would scan the materials at my request. I have no idea if the ad is amongst those items, and am waiting for the results. I will update this article if new information comes to light. In the meantime, I thought I'd look through print materials associated with the coup, looking for some tell-tale sign of desktop publishing's involvement in the production of revolutionary materials. That would be a quite literal "democratization" artifact; democracy was precisely what they were fighting for! Harvard keeps a small selection of coup-related materials online for perusal; you can check that stuff out here . I may have found something that matches the story. I cannot say "this was done in PageMaker. " However, if translation tools are to be trusted, this is a celebration of the failure of the coup attempt, including a mocking piece about "How not to stage a coup d'etat." If you've ever tried to do manual text wrap, you'll know that what we see in that sample could only be done digitally. Full text justification with hyphenation, and the slightly staggered baselines (probably shifted due to subhead leading) feels very PageMaker , especially since I encountered the same issue in my OMNI project. It also appears to be a photocopied handout, which matches the publishing methodology of the resistance. It doesn't prove PageMaker , per se, but it definitely tingles my spider senses. Sometimes its very easy to see the before and after of desktop publishing on a publication. A typical layout in smaller publications was a literal typewritten page published as-is, like this example from an early issue of Azania Worker . Columns? Bah, who needs stupid columns! (please don't make us manually type out columns!) Later, Azania Worker explicitly called out their transition to desktop publishing for tightening up the layouts for their anti-apartheid publication. Bob Symes is credited with handling that, and a hallmark of early struggles with digital typesetting tools, and over-trusting of "forced justification" is evident. I remember distinctly playing around with kerning and leading to make articles fit into given spaces in the student newspaper. If an article were a few lines too short, that was nothing an increase in font size or leading by 0.1 points couldn't fix. The overly-tight tracking in the example suggests that cutting text was not a consideration. They were determined to fit every important word into the limited space available, evenifitmeantmakingeverythingruntogether. A desire to join the desktop publishing revolution was expressed across a few publications I peeked through. As I suggested earlier, pricing still shut some groups out of enjoying the new tools of the trade. It would take more time yet for prices to fall enough to open the doors wider and let more people join in the fun. Lesbian Connection struggled to figure out how to afford to give the people what they wanted, nay demanded: COLUMNS!!! The author then lays out the costs and is excited to deliver. Let's look at the next issue and see those beautiful, highly-demanded columns at work. Oh, well, maybe next issue? I won't drag this gag on any longer. Over the next two years no transition occurred. The reason for this is explained to their column-desiring audience: it was still too expensive. Even budgeting for a PC over a Mac, and with laser printer costs having cut in half or more over the years, the savings still weren't enough. This publication continues to this day, and as they're on the web they clearly made the transition to digital production. But when? Online archives of the print edition stop before that happened. I need closure on this story! I reached out to the editors and tried to make a case for helping me learn when the transition occurred. It seems to me that it would have had a big hullabaloo, something like, "You demanded it for 20 years, so we're proud to bring you columns!" Unfortunately, my journalistic persuasion skills seem to have atrophied, and I didn't get a response. Maybe someday I'll find out how and when their readers received the columnar layouts they so craved, nay deserved . Zines, "blogs in print form" I suppose I'd call them today, were and still are an interesting subculture of the publishing scene. Unapologetically hand-crafted, sometimes constructed as literal collage on the kitchen floor, topics ranged from personal ramblings to the adventures of a man who wanted to wash dishes in every state. I defy you to tell me that story wouldn't trend on Hacker News today. In Notes From Underground: Zines & the Politics of Alternative Culture, author Stephen Duncombe noted a tension for zine makers trying to incorporate desktop publishing into their workflows. The editor of William Wants a Doll , Arielle Greenberg, struggled to use desktop publishing "in a way that didn't dehumanize her zine." Lizzard Amazon, editor of Slut Utopia , wrote, "it is not so hard to use pagemaker," but, "i am still going to write all over this thing in pen at the last minute." and apparently she did. The zine ethos is one steeped in anti-establishment, rejecting utterly the trappings of mass produced media. It is supposed to be an antidote, a vaccine against anything that smacks of corporate influence. The tools of desktop publishing offer democratization of professional layout tools, yet the author suggests that very democratization runs counter to zine-culture ethos. When the tools are democratized, and by extension homogenized, maintaining the expression of authenticity becomes harder, if not impossible. Duncombe concludes that the internet and web publishing, more so than any of the print desktop publishing tools before, actually fulfilled the original promise of democratization. But, at what cost? "In the zine scene we preach the ethics of DIY and democratic creation but the experience of self-publishing on the Internet demonstrates that when everyone begins to express themselves then there isn't the scale or coherence that encourages the formation of an alternative world-view." Every technology has its naysayers. Some, like the anti-generative-AI crowd, are right, and just, and 100% correct to fight the dumb AI companies and not let them turn everything we love into room-temperature mayonnaise like the flat-out wrong information that keeps turning up in search results when I'm just a guy trying to do his best to inform his readership about ancient publishing practices and the history of those technologies and is it so terrible to want real information and.... Ahem, excuse me. Let's start again. In the HyperCard article I noted Sheldon Leemon's reactionary stance to all things hyperlinked, "Do we really want to give hypertext to young school children, who already have plenty of distractions?" Similar naysaying naturally accompanied the advent of desktop publishing. Even those who acknowledged the benefits still felt some sense of loss. As the editor of Tradeswomen said, "we don't have nearly as much fun." It is hard to impress upon a digital-native, remote-only workforce just how fun physical production was. The late nights, the mishaps, the heartaches, the triumphs, of a team united around putting an issue to bed, all felt earned . In the end, when real newspapers hit the newsstands and students and faculty were reading it over lunch, every person on staff could point to something specific in every tangible artifact and state, "I did that." Before I close, it's important to acknowledge font handling vis-a-vis desktop publishing back in the day. Font management, printing, and on-screen rendering could be a real struggle at times, so it needs at least a little discussion. I will do this by way of confession. Woz forgive me, for I have sinned, I cheated throughout this post. I used... ah, I'm almost too embarrassed to admit this... I used TrueType fonts. Hold your comments until I've made my case! John Warnock, don't pout! Fonts for the original Macintosh started life as font "suitcases," a special folder which held system resources and a collection of hand drawn bitmap fonts at various sizes. Susan Kare kept it real. If a font wasn't explicitly drawn at the size you wanted, it would scale to match your desire, which could result in ugly, chunky, pixelated on-screen text. PostScript fonts could, at the very least, print nicely even when the on-screen representations were ugly. PostScript had two commonly-used font types: Type 1 and Type 3. Type 1 was Adobe's crown jewel, the font standard that included what we know today as font hinting , as well as a coveted secret recipe which Adobe refused to share at the time (see the timeline for more details). Type 3 was a more open, but inferior standard, and didn't include Type 1's secret sauce. For a time, it was the only option to font vendors who didn't want a licensing agreement with Adobe. Put simply, Type 1 fonts looked better in print. The gulf between on-screen representations and printer output was vast, and TrueType promised to fix that. Announced at Seybold 1989, it's core selling point was a single font file that could provide both a clean on-screen representation at any size, as well as sharp printer output. Inside the Publishing Revolution says, "Gates claimed that TrueType's quadratic splines were far superior to PostScript's Bezier curves." Warnock was beside himself, calling it on stage, "the biggest bunch of garbage and mumbo jumbo," and " on the verge of tears , he said, 'What those people are selling you is snake oil!'" Adobe's immediate response was two-fold: one, open up their proprietary Type 1 spec for all to use, license-free, and two, the development of Adobe Type Manager , a system control panel that used PostScript Type 1 font definitions to generate crisp, clean on-screen representations. Once more from Inside the Publishing Revolution , "David Lemon recalls the "manic" pace of (ATM) development (after the Seybold shock), "They'd look at me and say, 'It's not life or death if we get this out. It's only the future of the company.'" Working at a breakneck pace, Adobe brought ATM to market at least a year before any TrueType fonts from Apple or Microsoft appeared. "If we hadn't gotten ATM out then, we would be living in an all-TrueType world now."" Their beachhead fortified, ATM became the must-have extension for every Macintosh I ever touched; TrueType fonts were kind of snubbed by the Mac design community, is my recollection of those times. All of that said, when sending modern fonts back in time onto older Macs, TrueType has proven to be the path of least resistance by far. I feel irrational shame for using TrueType in this project, eschewing ATM. Forgive me for taking the coward's path! Alright, it's time to make this OMNI dream a reality, and get these ideas out of the computer and onto paper. I'm excited! Everything you see was generated as PDFs by Adobe Acrobat Distiller 3.1 from PostScript generated by Aldus PageMaker 5.0a. I copied those PDFs over, untouched and unedited, and printed them as-is to the convenience store copier. First, I need to explain the chill that ran down my spine when I held those prints in my hands for the first time. Here was something tangible, something I crafted myself made physically manifest. I have done this in the past hundreds of times, but I'd forgotten the rush. It was a great feeling. I think this makes the case that design work can be done with PageMaker. Of course it can. It was used in the past, so why wouldn't it be able to continue to do what it was built to do? With Acrobat Distiller , we can generate PDFs that print perfectly on modern systems. Done and done. Would I choose to use it today? No way. The text workflow is too much of a PITA to do anything longer than a few pages; I almost can't believe I used to lay out 80-page magazines in it. The Additions are a fumbling mess. Guideline management is bumpy, although an Extensis Addition can smooth that a little. While I love the Control palette, the palettes in general need yet more refinement to become truly useful, time-saving features. Clicking on images and having them automatically pop to the top of the stack, without having any control over layering, is one annoyance too many. This is a case where you really can't go home again. I mean you can, but you're going to wonder, "Were the walls always this greasy? Did the toilet always back up like this?" PageMaker literally altered the course of my life, steering me from electrical engineering into graphic design. It was fun at the time, being new and exciting, but offers little today except as an exploration of the opposing forces at work during the "desktop publishing revolution." I am struck by one curiosity, however. I've been working as a professional software engineer for 20 years. With one exception, everything I've built professionally is gone. The companies folded, the apps were discontinued, contracts were ceased, the products the apps promoted were killed, and so on. There are any number of reasons, but they all converge at the same result: my professional digital legacy has been, will be, erased. Everything I published with PageMaker still exists. It's physically in the archives at UNC-Charlotte. It's framed on a business owner's wall when she was featured on the cover of Business Leader Magazine. It's sitting in a box in someone's attic waiting to be rediscovered. It is often said that what goes on the internet is forever. Yet every digital work I produce lives in someone else's infrastructure, subject to someone else's decisions about what is worth keeping. The work I produced on "bird cage liner" remains free to this day, and no popped stock bubble, no digital decay, no coup d'etat, can stop those ideas from propagating, once let loose in the world. Looks like PageMaker had one more lesson to teach me, after all. Thanks for reading all the way through. I have a reward for your effort. You may have noticed the OMNI font I used in the layouts, Continuum. Its possible the web crawlers have found it by now, but most likely you won't find it easily until then. It is, in fact, my gift to you. Before I started this blog, I built it from scratch in Affinity and FontForge , using OMNI Magazine as the sole source of truth for all shapes, default leading, and kerning pairs. It was just a for-fun project, to learn how fonts are created and to see if I could get it working on the machines of my youth. There's no point to my gatekeeping it any longer; it's time to set it free. You can grab Continuum on my personal GitHub. I accept bug reports and pull-requests, so long as they are backed by real, in-print proof that a change is warranted. Be aware, the goal is not to make a font "inspired by" OMNI , it is to be the OMNI font, full stop. Maybe you can help me get it there. https://github.com/christopherdrum/continuum PageMaker native files are not compatible with anything that exists these days. However, the PostScript PageMaker generates works fine with Distiller on classic Mac and Ghostscript on modern systems. The resultant PDF files in either case printed perfectly on a Sharp MX-3631DS color copier. There may be a conversion path by opening PageMaker 5 files in PageMaker 7 , then finding a copy of InDesign CS6 or prior . CS6 should be able to open the PM7 document, thereby converting it to InDesign format. It should technically be possible to open that converted file in a more modern copy of InDesign . This setup requires access to software I simply don't have, so this is my best, educated guess. Affinity 3 could open the PageMaker PDFs as well, but exhibited a text rendering bug that wasn't found in any other PDF viewer, modern or classic, nor in the final print. I have reported it to the developers. Basilisk II v1.1 on Windows 11 Mac IIci w/68040 CPU, 64MB RAM 1024 x 768 24-bit color Macintosh System 7.5.5 StickyClick v1.2 Suitcase 3.0 Adobe Acrobat 3.01 Microsoft Word 5.1a StuffIt Deluxe 5.0 GraphicConverter 2.2 TTConverter 1.5 Aldus PageMaker 5.0a Everything you see was generated as PDFs by Adobe Acrobat Distiller 3.1 from PostScript generated by Aldus PageMaker 5.0a. I copied those PDFs over, untouched and unedited, and printed them as-is to the convenience store copier. First, I need to explain the chill that ran down my spine when I held those prints in my hands for the first time. Here was something tangible, something I crafted myself made physically manifest. I have done this in the past hundreds of times, but I'd forgotten the rush. It was a great feeling. I think this makes the case that design work can be done with PageMaker. Of course it can. It was used in the past, so why wouldn't it be able to continue to do what it was built to do? With Acrobat Distiller , we can generate PDFs that print perfectly on modern systems. Done and done. Would I choose to use it today? No way. The text workflow is too much of a PITA to do anything longer than a few pages; I almost can't believe I used to lay out 80-page magazines in it. The Additions are a fumbling mess. Guideline management is bumpy, although an Extensis Addition can smooth that a little. While I love the Control palette, the palettes in general need yet more refinement to become truly useful, time-saving features. Clicking on images and having them automatically pop to the top of the stack, without having any control over layering, is one annoyance too many. This is a case where you really can't go home again. I mean you can, but you're going to wonder, "Were the walls always this greasy? Did the toilet always back up like this?" PageMaker literally altered the course of my life, steering me from electrical engineering into graphic design. It was fun at the time, being new and exciting, but offers little today except as an exploration of the opposing forces at work during the "desktop publishing revolution." I am struck by one curiosity, however. I've been working as a professional software engineer for 20 years. With one exception, everything I've built professionally is gone. The companies folded, the apps were discontinued, contracts were ceased, the products the apps promoted were killed, and so on. There are any number of reasons, but they all converge at the same result: my professional digital legacy has been, will be, erased. Everything I published with PageMaker still exists. It's physically in the archives at UNC-Charlotte. It's framed on a business owner's wall when she was featured on the cover of Business Leader Magazine. It's sitting in a box in someone's attic waiting to be rediscovered. It is often said that what goes on the internet is forever. Yet every digital work I produce lives in someone else's infrastructure, subject to someone else's decisions about what is worth keeping. The work I produced on "bird cage liner" remains free to this day, and no popped stock bubble, no digital decay, no coup d'etat, can stop those ideas from propagating, once let loose in the world. Looks like PageMaker had one more lesson to teach me, after all. The literal copier I used is inexplicably viewable on Google Maps. A gift! A gift comes! Thanks for reading all the way through. I have a reward for your effort. You may have noticed the OMNI font I used in the layouts, Continuum. Its possible the web crawlers have found it by now, but most likely you won't find it easily until then. It is, in fact, my gift to you. Before I started this blog, I built it from scratch in Affinity and FontForge , using OMNI Magazine as the sole source of truth for all shapes, default leading, and kerning pairs. It was just a for-fun project, to learn how fonts are created and to see if I could get it working on the machines of my youth. There's no point to my gatekeeping it any longer; it's time to set it free. You can grab Continuum on my personal GitHub. I accept bug reports and pull-requests, so long as they are backed by real, in-print proof that a change is warranted. Be aware, the goal is not to make a font "inspired by" OMNI , it is to be the OMNI font, full stop. Maybe you can help me get it there. https://github.com/christopherdrum/continuum Sharpening the Stone Emulator improvements The Basilisk II emulator itself is solid and I don't have any real issues with it, once I had it set up following precisely the Emaculation instructions . Getting the emulator set up this time around was quite frustrating. Some of it was inadvertently a quagmire of my own creation. Some was just easy to overlook. Some was just plain craziness. Unless you really understand Classic Macintosh systems and how they work, I would recommend building a new VM hard drive from scratch for your DTP work. My disk image carried over from the Hypercard article, and I was rather cavalier with my installs on top of that. This caused nothing but pain, including crashing apps, odd PostScript generation, and more. A full reinstall of System 7.5.5 was step one. That gave me a base system, which I backed up as a "pristine" starting point for the future. Then, installing apps one by one with testing at each phase helped establish pristine "checkpoint" images I could use as starting points for future projects. If you go for a PageMaker 5.0a installation, be absolutely certain to install the "RSRC patch" files. They are easy to overlook, but are absolutely critical. They fixed my PostScript rendering offset bugs. I don't recommend installing Distiller 3.01 on top of 3.0. I did that and something went wrong, resulting in a flaky application. A pristine install of Distiller 3.01 worked great. This is the biggest frustration with Basilisk II on Windows (apparently other platforms don't have this issue). Once installed, PageMaker wouldn't copy anything. I could copy from any other application, and I could paste into every application, including PageMaker . But I couldn't copy anything while in PageMaker . The helpful experts at the Macintosh Garden forums got me straightened out. It seems that on Windows, the system clipboard ( ) must be flushed for copy/paste to work properly in Basilisk II . You'll have to do this again and again while using the program, if you jump out of Basilisk II into Windows and back again. Very annoying.

0 views
iDiallo 2 weeks ago

How we get radicalized in America

Be healthy, be young, fall ill. You have a great job of course, you have insurance. It would be ok if the worst thing about health insurance in America was it is hard to navigate. No! The actual problem is that your insurance is incentivized not to cover you at your most vulnerable moment. You pay them every month. That's money that goes from your paycheck, into their pockets. Now if they cover you, that's money that leaves their pocket, and go into your treatment. There are two ways they can make money. 1. You continue paying every month, and never fall ill. 2. You fall ill, and they deny you care. Only the second option is an active option. Health Insurance is a scam that we have normalized in the United States. It helps no one, it makes healthcare unaffordable, and you have to fight tooth and nail to get any sort of care. When Luigi was in the headlines, and news anchors were asking how such a young man can get radicalized, I shook my head. In America, it is our tradition to get 2 jobs. It is our tradition to live paycheck to paycheck. And it is our tradition to get radicalized the moment we get sick. When you get sick, the healthcare industry tries to charge much as they can get away with and the insurance industry tries to deny as much as it can.

1 views

Reformed

We are, once again and inexplicably, seeing a conversation unfold about reforming the military force in our streets, with body cameras and training standing in for a moral reckoning about the kind of world we want to live in, the kind of world that is livable for more than the wealthy few. We know what such “reforms” accomplish, because we’ve seen this many times before: an armed, unaccountable force with body cameras is no less deadly or immoral than an armed, unaccountable force without. A trained secret police is still the secret police. A short walk from where I write this is the old Walnut Street Jail , the first penitentiary built in the US, a precursor to the more infamous Eastern State Penitentiary, which was designed and operated by the Quakers. The Quakers advocated for reforms to the old prison systems, in which deprivation and corporal punishment were the norm, arguing that solitude, cleanliness, and discipline were better methods for rehabilitation. More than 200 years after those “reforms,” our prisons remain locations of intense deprivation, physical violence, coerced labor, and, frequently, inhumane solitary confinement—the “penitence” the Quakers were after still in short supply. Reports from the detention centers built today to house people pulled from the streets without due process shows that even those minimal standards are anything but: inedible food, overcrowding, lights on twenty-four hours a day, refusal of medical care, rape, and murder are all regular occurrences in these new prisons. This is the process that reform takes: the system is modified around the edges, often in ways that seem to cushion or obscure its real purpose, but the underlying conditions that maintain it remain unchanged. The old ways resurface, eventually. But if not reform, then what? What else can we do? André Gorz proposes a concept of “non-reformist reforms,” reforms which bring the future into the present…[that] make power tangible now by means of actions which demonstrate to the workers their positive strength. For Gorz, a reform is non-reformist if it both exercises the power and agency of workers acting together and foreshadows the future world in the present. That is, a non-reformist reform requires both concrete, bottoms-up action and the reflection of a different world within that action, the way a small fractal prefigures the large. Body cameras promise increased surveillance with no attendant increase in accountability, while training maintains the distribution of money and resources away from care and towards cops and prisons; both reforms represent business as usual, not a remade world. Only abolitionist demands—to defund militarized police forces in all their many forms, to invest instead in schools, libraries, homes, healthcare, childcare, and more—can both exercise that power and foreshadow a world where care overcomes criminalization. To put this another way: a reform maintains the old world, often under cover. While a non-reformist reform demands that we build a new world, one in which all humans and the more-than-human world can thrive. We must take small steps towards the future we want; there is no other way. But each step must point the way toward that future, a drop of water that heralds the wave. View this post on the web , subscribe to the newsletter , or reply via email .

0 views
matduggan.com 1 months ago

Boy I was wrong about the Fediverse

I have never been an "online community first" person. The internet is how I stay in touch with people I met in real life. I'm not a "tweet comments at celebrities" guy. I was never funny enough to be the funniest person on Twitter. So when Twitter was accidentally purchased by a fascist high on ketamine, I moved to Mastodon mostly because it seemed to be “Twitter without the bullshit”. No recommended for you feed, no ads, it was broken in a way I find charming. Of course search was broken because all OSS social tools must have one glaring lack of functionality. In a nightmare world full of constant change it’s good to have a few constants to hold on to. A lot of the narrative at the time was “this is our flag in the ground in the fight against The Man”. It wasn’t clear in this context if they meant corporations or the media or the weird pseudo celebrity that had taken over social media where people would breathlessly tell me about shit like “Chris-Chan” and “Logan Paul bought a Pokemon card”. We all need pointless hobbies, but I care about YouTube stars like I care about distant stars dying. It’s interesting to someone somewhere but those people don’t talk to me. I mostly use social media as a place to waste time, not a platform to form para-social relationships to narcissists. I prefer my narcissism farm to table. I’d rather dig a grave with a rusty spoon than watch a Twitch “star”. Anyway, I watched mostly apathetically as the internet tried to rally itself to another cause. I read my news at the normal newspapers, watched my normal television and put social media off into its own silo. Then Trump effectively shut down the entire free press in the US in a series of bullshit lawsuits. See I had forgotten the one golden rule of capitalism. To thrive in capitalism one must be amoral. Now you can be wildly sickeningly successful with morals but you cannot reach that absolute zenith of shareholder value. Either you accept a lower share price and don’t commit atrocities or you become evil. There is no third option. So of course media corporations became bargaining chips for the oligarchs' actual businesses. Why fight a defamation suit when you can settle it by running favorable coverage and maybe bankrupting the media outlet you bought as a stocking stuffer? Suddenly I couldn’t find any reliable reporting about anything in the US. My beloved Washington Post became straight-up propaganda and desperate attempts to cope. "Best winter stews to make while you watch your neighbors get kidnapped at gunpoint." Twelve dollars a month for that. Threads was worthless because it’s the most boring social media website ever imagined. It’s a social media network designed by brands for brands, like if someone made a cable channel that was just advertisements and meta commentary about the advertisements you just saw. Billions of dollars at their disposal and Meta made a hot new social media network with the appeal of junk mail. Bluesky had a bunch of “stuff” but they’re trying to capture that 2008 Twitter lightning in a bottle which is a giant waste of time. We’re never going to go back to pretending that tweeting at politicians does anything and everyone there is desperately trying to build a “brand” as the funny one or whatever. I want news I don’t want your endless meta commentary on the news. People talk a lot about the protocols that power Bluesky vs. ActivityPub, because we're nerds and we believe deep in our hearts that the superior protocol will win. This is adorable. It flies in the face of literally all of human history, where the more convenient thing always wins regardless of technical merit. VHS beat Betamax. USB-C took twenty years. The protocol fight is interesting the way medieval siege warfare is interesting — I'm glad someone's into it, but it has no bearing on my life. There's no actual plan to self-host Bluesky. Their protocol makes it easier to scale their service. That's why it was written and that's what it does. End of story. Now EU news remained reliable, but sending European reporters into the madness of the US and trying to get a “report” out of it is an exercise in frustration. This became especially relevant for me when Trump threatened to invade Greenland and suddenly there was a distinct possibility that there might be an armed conflict between Denmark and the US. Danish reporters weren’t getting meetings with the right people and it was just endless rumors and Truth Social nonsense. If the American press had given me 20 minutes of airtime I could have convinced everyone they don’t want to get involved with Greenland. We’re not tough enough as a people to survive in Greenland, much less “take it over”. Greenlandic people shrug off horrific injuries hundreds of kilometers from medical help with a smile. I watched a Greenlandic toddler munch meat from the spine of a seal with its head very much intact. We aren’t equipped to fuck with these people, they are the real deal. So in this complete breakdown of the press came in the Fediverse. It became the only reliable source of information I had. People posted links with a minimal amount of commentary, picking and choosing the best content from other social media networks. They’re not doing it to “build a brand” because that’s not a thing in the Fediverse. It’s too disjointed to be a place to build a newsletter subscription base. Instead it became the only place consistently posting trustworthy information I could actually access. This became personally relevant when Trump threatened to invade Greenland, which is the kind of sentence I never expected to type and yet here we are. It would be funny if I wasn't a tiny bit concerned that my new home was going to get a CIA overnight regime change special in the middle of the night. It was somewhere in the middle of DMing with someone who had forgotten more about Greenland than I would ever know and someone who lived close to an RAF base in the UK that it clicked. This was what they had been talking about. Actual human beings were able to find each other and ask direct questions without this giant mountain of bullshit engagement piled on top of it. Meta or Oracle or whoever owns TikTok this week couldn't stop me. I never expected to find my news from strangers on a federated social network that half the internet has never heard of. I never expected a lot of things. But there's something quietly beautiful about a place where people just... share what they know. No brand deals, no engagement metrics, no algorithm nudging you toward rage. Just someone who spent twenty years studying Arctic policy posting a thread at 2 AM because they think you should understand what's happening. It's the internet I was promised in 1996. It only took thirty years and the complete collapse of American journalism to get here. Find me at: https://c.im/@matdevdug

0 views
Heather Burns 1 months ago

I, Sisyphus

I spoke with New Scientist about a handful of clauses in the Children’s Wellbeing and Schools Bill, which is currently reaching the finish line of the Parliamentary process.

0 views
The Jolly Teapot 1 months ago

February 2026 blend of links

Some links don’t call for a full blog post, but sometimes I still want to share the good stuff I encounter on the web. World’s largest spider web – Be warned — especially if spiders make you uncomfortable — because you won’t be able to forget this video if you decide to watch it. You’ll learn something, sure, but you may end up having nightmares. LLMs and Software Development Roundup (Michael Tsai) – Fascinating collection of thoughts and reactions (as always with Michael Tsai’s blog) on how A.I. can be as useful as frustrating. Something tells me that this post, updated regularly, will age like good wine. Pure Blog – Kev has built his own CMS for his blog, and made it a brilliant tool available to everyone. If I were starting a blog today, this is the CMS I would use, as it’s just about pitch perfect as to what is needed for a proper blog. If you are reading this and don’t have a blog of your own yet, you know what to do. News Tower – “ Step into the bustling world of 1930s New York as an ambitious publisher. In News Tower, you’ll manage a growing newsroom during the Great Depression, Prohibition, and beyond. Send your reporters across the globe chasing breaking stories, hard-hitting news or scandalous gossip, it’s up to you. But beware: the mafia, the mayor, and other factions are ready to sway your headlines for their gain. ” (via Nieman Journalism Lab ) Life before social media – Precious perspective from Loren in this post, with which it’s difficult to not agree wholeheartedly. I don’t think I have lost much of my beloved online experience when I deleted my social media accounts: Facebook, then Instagram, then Twitter , and finally LinkedIn. I may miss the occasional “moment” and the ability to answer directly to posts, but I still follow most of my favourite accounts via RSS. I still catch myself doomscrolling from time to time, but nothing I can’t escape. Only using an RSS reader on my Mac also helps. Pandoc in the browser – The power of Pandoc without the hassle of having to operate it via the Terminal. Bookmarked. Shared. Praised. (via Rodrigo Ghedin ) AI Chatbot That Only Responds ‘Huh’ Valued At $200 Billion – “ … if you don’t incorporate HmmAI into your company’s workflow right now, you’re going to be left behind. ” Ferrari Luce – I’m not sure if I’m a big fan of the whole aluminium and glass finish for the inside of a car; I’d think that warmer materials like carbon fibre, leather, or even wood would feel better, but I do love the retro and functional layout of commands. This Jony Ive guy looks like an adequate designer, doesn’t he? The webpage itself is very well-made too, and not something I would have expected from a car company like Ferrari. São Paulo names new law after dog that stayed by owner’s grave for 10 years – “ Bob’s former owner died in 2011. After her burial, the brown long-haired mixed-breed dog reportedly refused to leave her side at a cemetery in Taboão da Serra […] Relatives are said to have tried several times to take the dog away, but he always returned and was eventually adopted by cemetery staff. ” Peter Falk and Lee Grant in The Prisoner of Second Avenue, 1971 – One of my grandmothers was in love with Peter Falk, and I must have inherited these genes from her. This picture must be framed somewhere in my flat. (via Daniel Benneworth-Gray ) More “Blend of links” posts

0 views
Rik Huijzer 2 months ago

Jesse Strang in 2019

At a shooting on a high school in Tumbler Ridge, Canada, 10 people were shot, as reported at 03:30 in Dutch national media. There are two suspect names going around, however. For example, on Feb 11, 2026, 7:25 PM IST the _Hindustan Times_ reported the name Jesse Strang. A few hours later, however, the name was suddenly reported as Jesse Van Rootselaar without mention of the previous name. For Jesse Strang, there is the following YouTube video posted on the 18th of March 2019. Screensh...

0 views
A Working Library 2 months ago

Pseudo-culture

Our present-day realm of state terror operates through abductions, murders, and content farms. ICE workers raise their cameras as often as they raise their guns, decked out in military gear like a kid trying on mom’s heels, camo stark against the snow, while their bosses confuse retweets for votes, likes for being liked. Don Moynihan dubs this a “ clicktatorship ,” a cursed word if there ever was one, no less for being accurate. André Gorz, writing more than half a century earlier, terms this “pseudo-culture,” a counterfeit culture that does not arise out of ways of living but seeks to impose itself upon it. Mass pseudo-culture, while producing passive and stupefying entertainments, amusements, and pastimes, does not and cannot satisfy the needs arising out of dispersion, solitude, and boredom. This pseudo-culture is less a consequence than a cause of the passivity and the impotence of the individual in a mass society. It is a device invented by monopoly capital to facilitate dictatorship over a mystified, docile, debased humanity, whose impulse of real violence must be redirected into imaginary channels. That is, the tractable audience does not give rise to the clictatorshop so much as the reverse; The Apprentice precedes the presidency. The programming creates a subject whose anger at billionaires who dominate and oppress is redirected towards immigrants who do neither. Fantastical stories are projected onto real bodies as they are dragged out of their homes. The placated, brainrotted viewer is expected to see only the projection, to imagine themselves into the role of kevlar-swaddled goon, even as they flop onto the couch in cheap sweats, furiously tapping buttons, the only muscles getting exercised the ones in their thumbs. Mass culture, a byproduct of commercial propaganda, has as implicit content a mass ethic: playing on, maintaining, and flattering ignorance, it encourages the ignorant to resent those who “know,” persuades them that the latter despises them, and encourages or provokes their contempt. This abject demagogy, one of whose elements—contempt for “intellectuals,” (a term which has become an insult not only in the US) and for culture—can be found in all fascist movements, professes no respect for exceptional individuals except insofar as their superiority can be accounted for by what they are, not by what they do : athletes, beauty queens, princely personages. This is because the superiority of being, physical or hereditary, can be taken as a product of the nature—of the soil, the race, the people, the nation—from which all individuals derive, and can thus reflect to them a natural bond of community with the hero, their own vicarious aristocracy, their original identity, reproclaimed in chauvinism. Into this model is planted the vacuous chatbot, which both further denigrates knowing (why bother knowing anything when it can know things for you) and pumps out nonsense on the regular and at such a scale that both knowledge and the skill of knowing are drowned out. What’s left are the signals of superiority, cast in both skin and hip, recast with fillers and leg-lengthening surgeries, because nature can’t be trusted either (she’s a woman, after all). All in service to chauvinism, a word whose original meaning was an absurd devotion to a fallen leader. The observers who bravely record a different perspective, not only a different camera angle, but a different intention and context, show us that there are other ways of seeing, other ways of being. They dash through the fourth wall, make plain that we are not merely audience but actor, as much able to take up space on stage as the masked extras parading before them. It’s not their cameras that do this work, although those are useful, but their minds, their spirits, their fierce hearts. Their belief that they can see and know what is before them, that they don’t need to be told what is happening but—when they lift their gaze away from their screens—can trust their own eyes. View this post on the web , subscribe to the newsletter , or reply via email .

0 views
Krebs on Security 2 months ago

Please Don’t Feed the Scattered Lapsus ShinyHunters

A prolific data ransom gang that calls itself Scattered Lapsus ShinyHunters (SLSH) has a distinctive playbook when it seeks to extort payment from victim firms: Harassing, threatening and even swatting executives and their families, all while notifying journalists and regulators about the extent of the intrusion. Some victims reportedly are paying — perhaps as much to contain the stolen data as to stop the escalating personal attacks. But a top SLSH expert warns that engaging at all beyond a “We’re not paying” response only encourages further harassment, noting that the group’s fractious and unreliable history means the only winning move is not to pay. Image: Shutterstock.com, @Mungujakisa Unlike traditional, highly regimented Russia-based ransomware affiliate groups, SLSH is an unruly and somewhat fluid English-language extortion gang that appears uninterested in building a reputation of consistent behavior whereby victims might have some measure of confidence that the criminals will keep their word if paid. That’s according to Allison Nixon , director of research at the New York City based security consultancy Unit 221 . Nixon has been closely tracking the criminal group and individual members as they bounce between various Telegram channels used to extort and harass victims, and she said SLSH differs from traditional data ransom groups in other important ways that argue against trusting them to do anything they say they’ll do — such as destroying stolen data. Like SLSH, many traditional Russian ransomware groups have employed high-pressure tactics to force payment in exchange for a decryption key and/or a promise to delete stolen data, such as publishing a dark web shaming blog with samples of stolen data next to a countdown clock, or notifying journalists and board members of the victim company. But Nixon said the extortion from SLSH quickly escalates way beyond that — to threats of physical violence against executives and their families, DDoS attacks on the victim’s website, and repeated email-flooding campaigns. SLSH is known for breaking into companies by phishing employees over the phone, and using the purloined access to steal sensitive internal data. In a January 30 blog post , Google’s security forensics firm Mandiant said SLSH’s most recent extortion attacks stem from incidents spanning early to mid-January 2026, when SLSH members pretended to be IT staff and called employees at targeted victim organizations claiming that the company was updating MFA settings. “The threat actor directed the employees to victim-branded credential harvesting sites to capture their SSO credentials and MFA codes, and then registered their own device for MFA,” the blog post explained. Victims often first learn of the breach when their brand name is uttered on whatever ephemeral new public Telegram group chat SLSH is using to threaten, extort and harass their prey. According to Nixon, the coordinated harassment on the SLSH Telegram channels is part of a well-orchestrated strategy to overwhelm the victim organization by manufacturing humiliation that pushes them over the threshold to pay. Nixon said multiple executives at targeted organizations have been subject to “swatting” attacks, wherein SLSH communicated a phony bomb threat or hostage situation at the target’s address in the hopes of eliciting a heavily armed police response at their home or place of work. “A big part of what they’re doing to victims is the psychological aspect of it, like harassing executives’ kids and threatening the board of the company,” Nixon told KrebsOnSecurity. “And while these victims are getting extortion demands, they’re simultaneously getting outreach from media outlets saying, ‘Hey, do you have any comments on the bad things we’re going to write about you.” Nixon argues that no one should negotiate with SLSH because the group has demonstrated a willingness to extort victims based on promises that it has no intention to keep. Nixon points out that all of SLSH’s known members hail from The Com , shorthand for a constellation of cybercrime-focused Discord and Telegram communities which serve as a kind of distributed social network that facilitates instant collaboration . Nixon said Com-based extortion groups tend to instigate feuds and drama between group members, leading to lying, betrayals, credibility destroying behavior, backstabbing, and sabotaging each other. “With this type of ongoing dysfunction, often compounding by substance abuse, these threat actors often aren’t able to act with the core goal in mind of completing a successful, strategic ransom operation,” Nixon said. “They continually lose control with outbursts that put their strategy and operational security at risk, which severely limits their ability to build a professional, scalable, and sophisticated criminal organization network for continued successful ransoms – unlike other, more tenured and professional criminal organizations focused on ransomware alone.” Intrusions from established ransomware groups typically center around encryption/decryption malware that mostly stays on the affected machine. In contrast, Nixon said, ransom from a Com group is often structured the same as violent sextortion schemes against minors, wherein members of The Com will steal damaging information, threaten to release it, and “promise” to delete it if the victim complies without any guarantee or technical proof point that they will keep their word. She writes: The SLSH group steals a significant amount of corporate data, and on the day of issuing the ransom notification, they line up a number of harassment attacks to be delivered simultaneously with the ransom. This can include swatting, DDOS, email/SMS/call floods, negative PR, complaints sent to authority figures in and above the company, and so on. Then, during the negotiation process, they lay on the pressure with more harassment- never allowing too much time to pass before a new harassment attack. What they negotiate for is the promise to not leak the data if you pay the ransom. This promise places a lot of trust in the extorter, because they cannot prove they deleted the data, and we believe they don’t intend to delete the data. Paying provides them vital information about the value of the stolen dataset which we believe will be useful for fraud operations after this wave is complete. A key component of SLSH’s efforts to convince victims to pay, Nixon said, involves manipulating the media into hyping the threat posed by this group. This approach also borrows a page from the playbook of sextortion attacks, she said, which encourages predators to keep targets continuously engaged and worrying about the consequences of non-compliance. “On days where SLSH had no substantial criminal ‘win’ to announce, they focused on announcing death threats and harassment to keep law enforcement, journalists, and cybercrime industry professionals focused on this group,” she said. An excerpt from a sextortion tutorial from a Com-based Telegram channel. Image: Unit 221B. Nixon knows a thing or two about being threatened by SLSH: For the past several months, the group’s Telegram channels have been replete with threats of physical violence against her, against Yours Truly, and against other security researchers. These threats, she said, are just another way the group seeks to generate media attention and achieve a veneer of credibility, but they are useful as indicators of compromise because SLSH members tend to name drop and malign security researchers even in their communications with victims. “Watch for the following behaviors in their communications to you or their public statements,” Nixon said. “Repeated abusive mentions of Allison Nixon (or “A.N”), Unit 221B, or cybersecurity journalists—especially Brian Krebs—or any other cybersecurity employee, or cybersecurity company. Any threats to kill, or commit terrorism, or violence against internal employees, cybersecurity employees, investigators, and journalists.” Unit 221B says that while the pressure campaign during an extortion attempt may be traumatizing to employees, executives, and their family members, entering into drawn-out negotiations with SLSH incentivizes the group to increase the level of harm and risk, which could include the physical safety of employees and their families. “The breached data will never go back to the way it was, but we can assure you that the harassment will end,” Nixon said. “So, your decision to pay should be a separate issue from the harassment. We believe that when you separate these issues, you will objectively see that the best course of action to protect your interests, in both the short and long term, is to refuse payment.”

0 views
Manuel Moreale 2 months ago

Yancey Strickler

This week on the People and Blogs series we have an interview with Yancey Strickler, whose blog can be found at ystrickler.com . Tired of RSS? Read this in your browser or sign up for the newsletter . The People and Blogs series is supported by Silvano Stralla and the other 130 members of my "One a Month" club. If you enjoy P&B, consider becoming one for as little as 1 dollar a month. My name is Yancey Strickler. I'm a writer and entrepreneur who lives in New York City. I write about the internet, creativity, and my creative practice. My projects— cofounding Kickstarter , The Creative Independent , Metalabel , Dark Forest Collective , Artist Corporations , and Dark Forest Operating System — bridge those worlds. I started blogging in 2003. Just before the "MP3 Blogs" era. I was a music journalist and had more opinions to share than places that would print them, so I started an online space as an outlet. The blogging community was very small then. You felt like you knew everyone else who had one. I kept that going until Kickstarter took over my life in 2009. I no longer had the excess energy to publish — everything went into the project. When I stepped down as Kickstarter's CEO in 2017, I started blogging again. For the first five months I did it without telling anyone. No one had the URL but me. I wanted the feeling of a public writing practice with no one else looking. Eventually I started to share, and that space evolved into my blog and homepage where I've expressed thoughts ever since. The blog in 2003 was called Get Up Stand Up. I chose The Ideaspace when it returned. This is a phrase Alan Moore uses to talk about the dimension where ideas come from that I learned about in John Higgs' amazing KLF book. I've used pretty much every platform: Blogspot, Wordpress, Tumblr, TinyLetter, Mailchimp, Substack, and now Ghost. I'm thankful of the import/export norms that developed around blogging from the very beginning. That's what makes portability between writing homes possible. Calling what I do a "process" gives it too much credit. All of my writing tends to start with a feeling inside of me. That feeling is often one of agitation combined with curiosity. Something I can't quite figure out or I'm having a hard time putting my finger on. Writing is how I work through that. The first drafts of what I write come out quickly. A mix of prose, outline, even poetry. I let the wider consciousness flow through the scope of the idea before filling things out too precisely. The more you let yourself detach while doing this, the more appears that you didn't expect. Many of my most "successful" posts, in that people gravitate towards them, are what I think of as "idea sandwiches." You bring together two ideas that are unrelated and smoosh them together. This can lead you to discover something new that people will immediately understand. " The Dark Forest Theory of the Internet ", my most-read piece to date, is an example. It came from putting two separate thoughts together: my own feelings of alienation and anxiety online, combined with the Dark Forest Theory that I was reading about in Cixin Liu's "The Dark Forest" book (part of "The Three Body Problem" trilogy) on how and why societies might hide from one another. I smushed together that feeling with that idea and something new popped out. In terms of tools, I use a variety of things. When I'm working on a book I use Scrivener. I love the folder/doc structure of the program, the way you can compile your writing into a cohesive whole. If I need to get an idea down quickly I default to opening a Google Doc. I journal every morning in a notebook or in Obsidian. At Metalabel we created our own blogging tool/culture using Notion. We call it " metablogging ": internally public blogs where we think through things together. Our collective brain built organically over time. If I'm writing something that goes deep into a specific subject matter, I'll seek out people I respect and get their perspective. Some of my most impactful work from the past few years came when I wrote something and chose not to publicly publish it. Instead I shared a private Google Doc with specific people who I was thinking of. The results from this form of non-publishing have been remarkable. The ideas behind Metalabel, Artist Corporations, the Dark Forest OS, the Bento, and other projects happened this way. By not rushing to publish an idea in seek of validation, and instead thinking more precisely about who I was most interested in hearing from, those seeds manifested as actual projects and collaborations in the wider world rather than just ideas of them. I like blank spaces. Empty rooms. White walls. Metalabel has a studio where I go everyday. Mostly empty. Lots of plants. Always some sort of meditative music. A very womb-like vibe. A de-dopamined zone. This isn't 100% necessary. I wrote " What's the difference between an artist and a creator " on two Amtrak trips between NYC and DC. You don't need perfection. But having a place where I feel comfortable to explore and know I won't be interrupted is my favorite luxury as a creative person. While writing my first book, " This Could Be Our Future ", I wrote in several different spaces that were hugely helpful. At the beginning I got a Craigslist sublet for an empty apartment with no internet. I took it for a few months and covered all the walls with post-its and index cards outlining the book. A year later when I was deep in the writing mode, I borrowed a spare bedroom from an 89-year-old friend in LA and wrote there each day while hanging out with her and watching her fix up her house (true story). During another period I took a few 48 hour trips out to 29 Palms, near Joshua Tree, where I spent days doing nothing but alternating between writing and jumping in the motel pool to cool off. Being able to immerse yourself in a project like that, even if just for an afternoon, is always a gift. These were not always easy times at all. That's part of the reason for the separation. You really have to put all of yourself into the thing to get to the layers of clarity where real wisdom lives. But to have those challenges and eventual breakthroughs so closely associated with specific places that are not your normal everyday creates a very rich, contextual memory of the process. The blog is hosted on Ghost. Have tried lots of other places, but ultimately like the decentralized nature of Ghost combined with a strong toolkit. I use Umami for analytics, which is free and excellent. I still use Substack as another front page, and often alternate between which service I send emails from. My own personal website and blog are most important to me, but I'll sometimes find myself thirsty for network effects. Ugh. We're getting too close to my anxiety zones. Let's move on :) Funny, but my first instinct is I wouldn't want to have readers. Of course that's not actually true, but when I think about the things that limit my sense of freedom or play from writing and publishing, asking for the audience's time most holds me back. Because of my own relationship with email and newsletters, I've come to think of posting something (that also sends an email) as an ask or imposition on someone else's time. I'm saying to them, "Hey pay attention to me. Stop what you're doing and look at me." Which in no way is what my writing or output are about. This is my own internal non-logic, I realize. People did sign-up. People tell me that my writing is meaningful to them. But this is something I've long carried. We even got pencils made at Metalabel that say: "Love to write. Hate to publish." I have one sitting in front of me right now. Now this is not my advice to others, but it is where my first thought went. Because when I think about the goals of writing and blogging, it's to be free, it's to explore without limits. Audiences can be affirming for that. And it's generous and important to share whatever wisdom you experience in life. Blogging to me is a specific kind of writing — a personal practice and discipline that makes what's inward outward. Whatever it is that's in you, blogs are what comes out. My personal feeling is that I don't like doing that if I know people are watching. I get self-conscious. I worry about bothering people. A place and attitude where I know I need to grow. Trying to do a better job of thinking about all the people that do want to hear from me rather than the people who don't. It does cost. I have about 10,000 subscribers, which means I'm paying Ghost about $1,000 a year to maintain a site with them. There are cheaper ways to do this. I could make a site with Wordpress or Squarespace. I could use Substack. I could go the whole Craig Mod/Robin Sloan routes and make my own universes. Probably one day when I have time I'll do this and go all the way. But I like the combo of things Ghost gives (and that they started on Kickstarter). I don't have paid subscriptions for my writing, but in the past 18 months I did experiment with releasing my work as collectible .zip files that people could pay what they wanted for. First was a long essay called " The Post Individual " that I'd spent several years working on. I published it on my blog and released a limited edition Director's Cut zip file containing a PDF, video file, audio file, and all my research notes on Metalabel at the same time. There have now been 750 editions of these collected, with 400 people doing it for free, and another 350 contributing more than $1,000 for the work. That has felt like a very successful experiment. I pay for a few people's Substacks and buy lots of zines, both on Metalabel and off. I enjoy directly supporting people whose work is meaningful to me. These days most of my attention goes to my projects, my family, or to books. But I'm always interested in Nadia Asparhouva , Jason Kottke , Ben Davis , Toby Shorin ( read Toby's interview ), Reggie James . People who I think could be good to talk to: Laurel Schwulst , Kimberly Drew . Sure here's my Soundcloud :) This book that Josh Citarella and I made together on our creative practices is something people might like: On the Creative Life . Antimemetics by Nadia Asparhouva, a book I edited and published with the Dark Forest Collective, is highly recommended. A video I made that shares nine reflections from my creative career. Now that you're done reading the interview, go check the blog and subscribe to the RSS feed . If you're looking for more content, go read one of the previous 124 interviews . Make sure to also say thank you to Piet Terheyden and the other 130 supporters for making this series possible.

0 views
Heather Burns 2 months ago

The Darnella test of social media and smartphone regulation

Young people, using smartphones, film journalistic content in the public interest. Anti-social media and anti-smartphone regulations threaten that.

0 views
A Working Library 3 months ago

Sisters of the Yam

bell hooks explores notions of self-care among communities of Black women, locating it alongside the work of grief, testimony, and reconciliation. Where so much of the self-care discourse is oriented around personal solutions to personal problems, hooks looks instead to practices of collective care and truth-telling that work to dismantle systems of oppression and domination. This is a communal, political, and radical approach to self-care, a corrective to the consumerized discourse of self-care that brings little relief and leaves the world unchanged. View this post on the web , subscribe to the newsletter , or reply via email .

0 views
W. Jason Gilmore 3 months ago

Books I Read In 2025

Author: Steve Coll Genre: Non-fiction Verdict: What an amazing book. This is the sequel to Coll's 2005 Pulitzer Prize-winning book Ghost Wars. Author: Ruth Ware Genre: Fiction Verdict: This book was sitting on the bookshelf at our post-Christmas Airbnb. I had heard of the author referenced as being the next Agatha Christie. Very happy to have serendipitiously found the book, read it in like 24 hours. Author: Ben H. Winters Genre: Science Fiction Verdict: This book fits nicely into one of my favorite genres which is science fiction meets noir detective meets apocalypse. Loved it, but lost interest reading the sequels. Author: Ernest Hemingway Genre: Fiction Verdict: Love Hemingway and the Sun Also Rises is unquestionably my favorite book of all time. I've even read it in multiple languages (Italian title is Fiesta). But this particular compendium was boring. Author: Ben H. Winters Genre: Science Fiction Verdict: The sequel to the Last Policeman (above). Good but not as good as the first. Author: Alexander C. Karp Genre: Non-fiction Verdict: Great, great book. Author: Blake Mycoskie Genre: Business Verdict: Great book written by somebody who seems to have figured out life. Author: Henry Kissinger Genre: Non-fiction Verdict: Good book but a few chapters too long. Author: Sylvain Neuvel Genre: Science Fiction Verdict: Really loved this book, wildly creative. Author: Anupreeta Das Genre: Biography Verdict: This was a wildly repetitive hit piece. Is Bill Gates an opportunistic genius? Yes. Did Bill Gates change the world? Yes. Is he human and did he sometimes do human things? Also yes. I'm really not sure why people grind axes to the extent this author does. Author: Andrew Cockburn Genre: Non-fiction Verdict: Interesting book about the future of warfare. Author: Ronan Farrow Genre: Crime / Non-fiction Verdict: Had heard of Ronan Farrow before, so picked up this book on a whim at local bookstore. He's one hell of a writer and journalist. Author: Raj Shah Genre: Non-fiction Verdict: Akin to Kill Chain, a great book if you want to understand where the whole war thing is going. Author: Mary Elise Sarotte Genre: Non-fiction Verdict: If I wasn't so into software I'd probably have been a history professor. One related question I've often wondered about lately is why is Russia so obsessed with Ukraine? This book answers that question. Author: Tess Gerritsen Genre: Thriller Verdict: A fun book along the lines of the aforementioned One Perfect Couple . Author: William Gibson Genre: Science Fiction Verdict: Neuromancer will forever be my favorite science fiction book of all time. It also happens to be, by far, his pinnacle of achievement because everything else he's written since has been practically incoherent. Not sure I can add anything more to this summary. Author: David Downing Genre: Fiction Verdict: Amazing historical fiction book! Loved it. Author: George Orwell Genre: Fiction Verdict: The only reason this book is on this list is because I finally finished it after reading it for several years. A terrible slog and I'm sorry I ever started it. That said I love everything else Orwell has written. Author: Chris Nashawaty Genre: Non-fiction Verdict: If you grew up in the 80's you will love this book! Chronicles the making of Tron, E.T., Poltergeist, The Thing, Road Warrior, Blade Runner, Star Trek II, and Conan the Barbarian, all classic movies which came in within a few months of each other in 1982. Author: Reed Albergotti Genre: Non-fiction Verdict: I've always followed the Tour, particularly when guys like Armstrong were competing. This book explains just how deep the rabbithole went with regards to doping. Wow. Author: Will McGough Genre: Non-fiction Verdict: As my 10,000 pushups post explains, in 2025 I got really interested in becoming physically fit and as part of the process read this book. Very funny and informative. Author: James S.A. Corey Genre: Science Fiction Verdict: Wonderful science fiction book. Author: Benjamin Wallace Genre: Non-fiction Verdict: I feel like I've read everything that can be read about attempts to figure out who created Bitcoin and after reading this book have concluded I should stop wasting my time. There is nothing else to be said about the topic; nobody can figure it out and I'm not sure they ever will. Author: Joe Girard Genre: Business Verdict: Picked up this book at some used book store and it is now my favorite business book. I love it because despite what the title says it has very little to do with sales and everything to do with organizing a professional network. The author died a few years ago and for that reason I regret not having read this book earlier because I would have loved to have met him. Author: Arkady Strugatsky Genre: Science Fiction Verdict: This is a famous science fiction book which is little known to Westerners. Written by a citizen of the Soviet Union. I loved it! Author: Ramez Naam Genre: Science Fiction Verdict: Good book, enjoyed it. Author: Blake Crouch Genre: Science Fiction / Apocalyptic Verdict: WOW! One of my favorite books of the year. Terrifying. Read it over Thanksgiving in maybe 48 hours. Author: Robert Harris Genre: Science Fiction Verdict: Great book, I'm surprised this wasn't turned into a TV show. Author: Blake Crouch Genre: Science Fiction Verdict: Another terrifying book by Blake Crouch, who also write Run (above). Loved it! Author: Atul Gawande Genre: Non-fiction Verdict: Interesting book, I've applied some of what I learned from it to my own life in the weeks since. Let's see if it sticks. Author: Lincoln Child Genre: Science Fiction Verdict: Fun book about a deep sea discovery gone wrong. I will have to check out what else Lincoln Child has written.

2 views
Heather Burns 3 months ago

Resistance honeypots

Journos: if you are advising your readers on counter-surveillance measures but not dropping the adtech, you are not helping your readers. You are building a honeypot to trap them.

0 views
A Working Library 3 months ago

Tyrannies and servilities

In an effort to understand the then-present state of women in the workplace, Virginia Woolf goes looking to the newspapers, where she finds a number of letters and articles declaiming that women have too much liberty, that they are taking jobs that men could do, and that they are neglecting their domestic duties in the process. She finds an immediate parallel to those complaints in other events of the day: There, in those quotations, is the egg of the very same work that we know under other names in other countries. There we have in embryo the creature, Dictator as we call him when he is Italian or German, who believes that he has the right whether given by God, Nature, sex or race is immaterial, to dictate to other human beings how they shall live; what they shall do. Let us quote again: “Homes are the real places of the women who are now compelling men to be idle. It is time the Government insisted upon giving work to more men, thus enabling them to marry the women they cannot now approach.” Place it beside another quotation: “There are two worlds in the life of the nation, the world of men and the world of women. Nature has done well to entrust the man with the care of his family and the nation. The woman’s world is her family, her husband, her children, and her home.” One is written in English, the other German. But where is the difference? Are they not both saying the same thing? Are they not both the voices of Dictators, whether they speak English or German, and are we not all agreed that the dictator when we meet him abroad is a very dangerous as well as a very ugly animal? And he is here among us, raising his ugly head, spitting his poison, small still, curled up like a caterpillar on a leaf, but in the heart of England. Is it not from this egg, to quote Mr Wells again, that “the practical obliteration of [our] freedom by Fascists or Nazis” will spring? The first quotation is from the Daily Telegraph ; the second is Hitler. (I would draw comparisons to the present moment, but they seem to draw themselves.) Woolf later concludes: It suggests that the public and the private worlds are inseparably connected; that the tyrannies and servilities of the one are the tyrannies and servilities of the other. That is, the tyranny of government is the tyranny of the workplace is the tyranny of the home. Each begets and creates the other. But perhaps that also suggests the reverse: pull the thread on one, and watch as they all come undone. View this post on the web , subscribe to the newsletter , or reply via email .

0 views