This is a test. This is only a test. I’m using WordLand to write this post to my WordPress website. It’s a new, stripped-down writer’s tool for bloggers. Think of it as a frill-free writer’s frontend to the majesty of WordPress. The essential features (and some advanced ones, even) in a distraction-free, scribbler-friendly environment.
## An H2 subhead, my liege.
WordLand supports Markdown, I understand. It also supports direct bolding and links, of course. An overview of the features is available at the link I shared in the opening paragraph. For your convenience, here it is again: https://this.how/wordland/
WordLand doesn’t yet seem to include an affordance for ALT text. Either that, or I couldn’t find the affordance. Pretty likely that that will be corrected soon, as ALT text is a bottom-line basic necessity. (And, again, I may have simply overlooked an existing affordance.)
### An H3 subhead, your worships.
Hmm. More to come. WordLand is a creation of Dave Winer, one of the first bloggers, who also gave us RSS and lots more. Read more about Dave Winer on Wikipedia.
Okay, this was easy enough. For bloggers who mostly *write*, it’s a clean, distraction-free interface with strong basic features that lets you offload CMS duties to WordPress.
Noting that my subheads showed up as text with raw Markdown syntax also presenting as text. This was true even when I stopped writing *##* and replaced it with *h2*, for example. No doubt I’m doing something wrong, and that’s … okay.
I’ve updated this post six or seven times within the WordLand page itself, and the updates flowed seamlessly to the live site.
Update: Make that eight updates I’ve made to this post. 😉 Apparently the editor is WYSIWYG and stores the content in Markdown. I misunderstood the function of Markdown in the app (but I also didn’t carefully read every word of the support docs). Also, there’s supposedly built-in category support using a checkbox system. But I could not find the checkbox widget while using WordLand. That doesn’t mean there isn’t one—but if such an affordance does exist, it would benefit from being made more discoverable.
Many designers still think in px first when creating baseline styles. But we know intellectually that various relative typography approaches are better suited to our medium in all its complexity. Better for accessibility. Better for avoiding bizarre typographic disasters linked to user preference settings, device limitations, and the unforeseen ways our overwrought styles can interact with one another.
As I contemplate a long-overdue redesign of my own site, it’s worth taking a refreshing dip into what we’ve learned about web typography over the past 20+ years. From the pages of (where else?) A List Apart:
Bojan Mihelac: “Power to the People: Relative Font Sizes” (2004)
An early and simple creative solution for text resizing that respects users’ choices and also gives them an additional option for resizing despite the limitations of some of the most popular browsers of the day. Presented for its historical importance, and not as a how-to for today. https://alistapart.com/article/relafont/
Lawrence Carvalho & Christian Heilmann: “Text-Resize Detection” (2006)
Detect your visitors’ initial font size setting, and find out when they increase or decrease the font size. With this knowledge, you can create a set of stylesheets that adapt your pages to the users’ chosen font sizes, preventing overlapping elements and other usability and design disasters. Presented for its historical importance as an insight into the complex dancing we’ve done in the past to ensure readability. https://alistapart.com/article/fontresizing/
Richard Rutter: “How to Size Text in CSS“ (2007)
Sizing text and line-height in ems, with a percentage specified on the body (and an optional caveat for Safari 2), provides accurate, resizable text across all browsers in common use today. An early move toward more responsive type and away from the accessibility problems created by setting text sizes in px in some browsers and devices. https://alistapart.com/article/howtosizetextincss/
Wilson Miner: Setting Type on the Web to a Baseline Grid
The main principle of the baseline grid is that the bottom of every line of text (the baseline) falls on a vertical grid set in even increments all the way down the page. The magical end result is that all the text on your page lines up across all the columns, creating a harmonious vertical rhythm. https://alistapart.com/article/settingtypeontheweb/
“We must now practice a universal typography that strives to work for everyone. To start, we need to acknowledge that typography is multidimensional, relative to each reader, and unequivocally optional.” https://alistapart.com/article/flexible-typesetting/
Keep going…
For more web design community wisdom and web typography history, see Typography & Web Fonts in A List Apart, for people who make websites.
And in the Comments below, please share your favorite resources for creating websites that look great and read beautifully, no matter what technical and human capabilities get thrown at them.
My father, Maurice Zeldman, was a giant in the field of project management, though I suspect few in my world of web standards and design would recognize his name. Dad consulted for over 180 organizations and led seminars around the world. Project managers everywhere used his techniques to create realistic estimates and timelines that actually worked—a rare skill in any technical field, then and now.
Before founding EMZEE Associates (the name a play on his initials, M.Z.), Dad was Corporate Director of Technical Development for Rockwell International’s Industrial & Marine Divisions. He designed, built, and staffed their entire Engineering Development Center. Earlier in his career, he worked with Perkin Elmer developing an Atomic Absorption Spectrometer and with American Machine & Foundry as Chief Engineer of their Versatran Robot division. His robotics knowledge led to his book Robotics: What Every Engineer Should Know, published by CRC Press in 1984, followed by Keeping Technical Projects on Target, an AMA management briefing.
EMZEE Associates, Dad’s consulting and training company, specialized in project management and technology implementation. While I was designing websites and campaigning for web standards in the mid-90s, Dad was already running a successful business teaching Fortune 500 companies how to bring their complex technical projects in on time and under budget.
Then there was ZGANTT, his DOS-based project management software from the late 80s/early 90s. The name combined “Zeldman” with “Gantt chart—those horizontal bar charts showing project schedules that are still used today. While I was learning to code and finding my path, Dad had already created specialized software implementing his project management methodologies. This was during the first wave of specialized project management tools, before Microsoft Project took over the market.
Looking back, I realize my obsession with systems, standards, and improving how people work together didn’t come from nowhere. While I applied these principles to web design, Dad had been applying similar thinking to the complex world of project management decades earlier. His ZGANTT software and EMZEE Associates consultancy were direct expressions of his belief that the right methods, correctly implemented, could bring order and success to even the most complex technical challenges.
Beloved reader, I spent 90 minutes on hold with Con Edison yesterday, getting my power turned back on after a billing contretemps.
The whole 90 minutes, my brain’s shrieking, “You’re having a panic attack!”
And maybe I was.
I could rattle off my diagnoses, but the simplest way to state it is that the ordinary setbacks of life fill me with dread. Always have. For over a decade, I self-medicated daily. And nightly. And afternoonly. In 1993, with help from others, I changed my life’s trajectory. But removing the booze didn’t make me “normal.” Step work healed some old wounds, but I’m still deeply anxious on my best days. And this was not shaping up to be one of them.
Look, if recovering from alcoholism during the Clinton years didn’t magically cure me of the rest of my problems, you can imagine what it feels like, being me during these dark days of fascist overreach. And, hey, maybe you don’t need to imagine. Maybe every blank unholy news day feels scary, wrong, and depressing to you, too. No need to apologize. Some days, just showing up takes courage.
Even the positive things, like the kick-ass job my daughter did applying to colleges, come with deluxe boxed sets of anxiety for folks like me. Then factor in an IRS audit, medical debt, and various friend and family traumas unrelated to the ongoing assault on decency.
Got all that?
Now, take away my electricity (and therefore my internet access), sit me down in the dark beside an iPhone with a low battery (Will it die before I finish this call? I can’t charge it, I have no electricity!), and tell me to get on the phone with the utility company that just shut off my power.
You may expect me to show up, but not to glide serenely through.
Look, I wasn’t abducted by ICE or fired without cause after years of dedicated civic service. But, for Mrs Zeldman’s little boy, loss of light and power and 90 minutes of antipatterns are grounds enough for a panic attack. (Besides, nobody tells you it will take 90 minutes to speak for 60 seconds to a human being who’ll take your debit card number over the phone. It might have taken longer. In another timeline, I might still be on hold.)
Yes, they have a “pay your bill online” website. No, it doesn’t work on my phone. Yes, it semi-works on my desktop. But a desktop needs electricity to run and to access the web. And they had cut off my electricity. It was call them or stay without power.
(Footnote: Later, when everything was resolved, I discovered that their website also doesn’t work. I use Google’s Auth app for two-factor ID, which signs me in. But when I try to see my bill, the Con Ed website asks me to sign in again, and rejects the two-factor ID. Instead it needs to send a different code to my cell phone. Why a different code? Why not the Auth code? I assume because the developers worked in siloes and were forbidden to speak to each other when creating the website. So I give it permission to send the code to my phone, and then it never sends it. I tried four times. And yes, they had my correct phone number on file. It also says, if it keeps failing to send a code to my phone (so they obviously know they have a problem), I can have it send a code to my email address instead. Except that there is no affordance to do so. It’s like if I said you could win a prize by touching this sentence. Heckuva UX, Brownie. It’s almost like they want you to have to call their overworked, underpaid, understaffed support staff. Because you can’t use their site. To rub it in, every five minutes the bot that thanks you for being a customer is interrupted by a bot that tells you to use their website to pay your bill online, which, as I just explained, you can’t. But I digress.)
As the Muzak ground on, during the better moments when I was able to focus on breathing, I pushed down the panic by telling myself I’d take a personal day as soon as the call ended and my lights came back on. Why take a personal day? I love my job. But I honestly didn’t think I’d be able to put in a day’s work after 5400 seconds of “your call is important to us, please stay on the line.” I reckoned I’d be wrecked.
But here’s the thing, and it’s why I bothered tell you this: the instant the lights came back on, I was fine. Utterly, totally, calmly, and completely.
More than that: when the modem connected and told the router the news, I pounced on my desk and got back to work, a happy cog. As if I hadn’t just spent 90 minutes in the stench of my own fear and gloom.
Geisha With Walkman is something I tried to draw 40 years ago, but my rendering skills were simply too poor. The Reve Image 1.0 preview allowed me to do it instantly this morning with a single, basic prompt.
P.S. I retro-updated the Walkman with an iPod to “modernize” the concept.
Here’s a fact: “Opt-in” is great for programs a platform controls, but meaningless when that platform has no control.
Take, for example, oh, I don’t know, let’s say AI companies scraping web content without your permission. The heart wants to make content scraping permissions “opt-in,” so people who post content online are protected by default.
Except we won’t be. Smaller, “good” AI companies may comply with “opt-out” notices; big ones surely won’t. Scrapers gonna scrape.
So why even bother with an “opt-out” setting? Because companies that continue to scrape opted-out content may find themselves on the losing end of major lawsuits.
Of course there’s no telling how these lawsuits will work out—not with ketamine supervillains and their GOP enablers willfully violating consumer, worker, and climate protection laws here in the benighted States of America. But even so, an opt-out notice is a red line, and most corporate legal teams are cautious and sober—at least during working hours.
An opt-out notice is *something.* It smells funky, but has a chance of working.
Of course opt-in feels better. It’s how we’d do things if we had control over third-party scrapers. But we don’t have that control.
Which makes opt-in for AI scraping a feel-good but basically performative gesture. And we don’t have time for those.
However pretty it might be to think otherwise, something imperfect that might work beats something pure that won’t. Don’t hate me ’cause I’m beautiful. I’m only here to tell you what we both know in our souls.
A whinnying horse. A blaxploitation sample. A female instructor saying Chinese is the easiest language to learn. These three brief audio samples regularly interrupt my late-night headphone music listening.
I’m not tripping or having a medical episode. My bedroom faces the rear of the Chinese Mission to the UN. I can’t be certain that these unwelcome late-night audio interruptions come from there, but it’s a theory. If you’ve never fallen gently asleep to a bespoke playlist of jazz ballads, only to sit bolt upright in terror an hour later because a horse is shrilly whinnying in your ears, you should try it some time.
Two Jews are standing in an open cattle car en route to Auschwitz. The train pauses on a bridge overlooking a river. Directly below them is a transport ship.
“Look!” the first Jew excitedly tells his friend. “Now’s our chance! That ship down there is delivering war supplies to the port city of Kaiserberg. If we jump down to the deck now and hide in one of those tanks, maybe we can avoid Auschwitz and ride things out in Kaiserberg!”
The second Jew thinks a moment.
“What if Kaiserberg’s worse?” he asks.
Disclaimer (only read if offended):
I don’t like to explain jokes, but if this one offends you, consider that I’m Jewish myself. The joke came to me fully formed while I was chatting with a friend about something unrelated. It felt like a perfect distillation of Jewish pessimism. Not that Judaism as a religion is pessimistic, but after two thousand years of, you know, we can be a bit touchy. I’m sorry if this disclaimer ruined the joke for you. I did say not to read it unless you were offended.
The bullies who beat and mocked me in eighth grade were cruel and stupid. They despised intelligence and worshipped violence, although they would settle for athletic ability. The school blessed their thuggery by scheduling dodgeball. It was good preparation for Viet Nam, the country where I expected to be blown apart if I managed to survive to eighteen.
If you were smart in eighth grade, you were also a fag. I don’t even think they meant you were actually queer. I think it was just one of the worst things a bully could call you before pounding on you. Indeed, it lent an aura of righteousness and inevitability to the beatings that got doled out to you. Surely all red-blooded American boys would want to beat up fags! And who could blame them? Not the schools. Not the churches. And certainly not the cops. Why, it was practically a young man’s duty to rid the world of insufficiently macho peers. A kind of post-birth eugenics, if you will.
The other word the bullies used for me was pussy, because they could imagine nothing lower than a woman, I suppose. They even called me Zeldwoman.
I’d been picked on in the seventh grade, in Connecticut, too, but that was mostly by my pals, who were possibly just busting balls, something they’d have learned to do (and I had not) over the previous year’s summer break. My friends’ taunts once made me cry in school, which was unforgivable in a boy, so I would have been destroyed had we stayed in Connecticut, anyway. But we moved.
And the Pittsburgh of those years was worse for me. In the end, I survived eighth grade in Pittsburgh because I could crack jokes and write and draw what were called underground or head comics at the time, and one of the toughest kids in the school thought I was funny and let me hang out with his gang. They were called the Garage Gang, and they probably had roots in preadolescent group onanism, but by the time I joined as a sort of amusing mascot, they were mostly about smoking, shoplifting, stealing beer, making out with girls, and buying and selling pot and psychedelics. Eventually I would become a dealer myself, and hang with the freaks instead—smart kids who made art and got high a lot. This enabled me to survive until I was old enough to go college and reinvent myself.
I don’t know why I’m thinking about these things again lately. It’s not like America’s most vulnerable citizens are being targeted by a hostile, mentally retrograde government. Not like bullies, racists, and homophobes everywhere have been set free to revert to their ugliest selves by a mentally deficient ringleader who knows how to whip up a crowd and feed their hunger for violence as a screen behind which he robs us all. Of our money, of course. But more importantly of our rights, our dignity, our ability to accept one another and celebrate our differences instead of masking them. Most of all, the bullying crowd is robbing us of the more perfect union many of us hoped America was beginning to achieve. But, hey. How ’bout that Gulf of America. Winning.
It’s Sunday; I’m playing with my music collection, content as a fed-and-burped babe. Allow me to explain.
I realized last night that, in tracking my shifting musical tastes via my Last.fm Pro account, I’m basically remaking “Pardon My Icons,” the creative project I launched on this very website in 1995, back when it was still at a tilde address (it did not become zeldman.com until ’96), and which first brought my work to the attention of other creatives who were also discovering the early web and making it their own.
Me, collage, and music
Although I was not serious about it, I started making collage art when I lived in Washington DC in my 20s.
Back then I was serious about composing and producing. I used an Akai 12-track recorder, a rack of synth modules commanded by my Yamaha DX7 with a custom E! card, and a PC running Personal Composer MIDI, arranging, and composition software. I also had an old Selmer Bundy flute, an African reed instrument whose name I forget (and whose “reed” turned out to be a dried locust carcass, as I would discover, to my horror, when the instrument broke), Fender amps, mics, and a variety of percussion instruments with which I made music in my Washington, DC-based recording studio. But that’s a whole ’nother story.
I did not expect to earn a living as a composer, and in that negative expectation I was more than amply fulfilled.
The paper’s arts section editor in those days was named Richard. I’d gotten his attention without soliciting it after creating “Khz” for City Paper. Khz was my weekly music column. I covered the emerging go-go and hardcore scenes, as they were what was happening in DC, and the whole country would soon be listening. Naturally, the Post made me stop writing about that interesting and relevant stuff, and instead paid me $40 per to crank out anodyne concert reviews of mainstream artists like Kenny Rogers when their tours came through DC. (I was comped to the ticket but paid my own travel and gas out of the 40 bucks.)
I typically had 30 minutes from the time the headliner started to call in my review, which meant I had to write it in my head while watching the beginning of the performance, then run to a pay phone booth (kids, ask your parents) and dictate it aloud to someone on the copy desk, before the concert had even begun to build up a head of steam. This wasn’t fair to the artists. I did the best job I could under the circumstances, taking pride in how quickly I could structure and ship a news story. Richard fired me before I could quit, but that, too, is another story.
Most importantly at that time, I lived with a girlfriend. She was an artist and architect who had left that career to study computer programming. We were social (many friends, drinking was often involved), and serious about our art—which, in my case, was music, even if I earned my living writing concert reviews and crafting passable but hardly brilliant ads.
Through all of those ups and downs, and to the side of those major efforts, I kept at the collage for years, putting in several hours a night making the things. When each was finished—and deciding that any art product was finished was damned tough for my restless young mind—I would carefully frame it behind glass, and mount it on the walls of our apartment.
Was it art? Just a hobby? Who knows? It made me happy.
And then gradually, as I put more effort into my music and ad careers, I set the collage-making aside, for a time.
New career in a new town
Ten years later, I was a New York art director and copywriter, two years sober, and no longer in that same romantic relationship. That’s okay, I was in a new one.
I’d packed my music studio equipment—now obsolete because Akai stopped making the proprietary multitrack tape format that their 12-track unit ran on—in a storage unit. Eventually I’d give away all that music and recording equipment (keeping only the multitrack masters), but that, too, is another story.
The client was Warner Bros., the project was “Batman Forever,” our visionary client was Donald Buckley, my partners were Steve McCarron, Alec Pollak, and Doug Rice, and the website was a huge hit, attracting half the people who visited the early web. (Alec’s “Flashback 1995: batmanforever” shares screenshots, which are great, although they cannot convey what a breakthrough the site was in March, 1995.)
With 3 million people using the web in 1995, the site got 1.5 million visits a day for over a year. Not bad.
Pardon my icons (1995)
I immediately set to work creating a personal site (this one), and Pardon My Icons was one of its first “entertainments.”
As is often the case with my creative efforts, I made these tiny, Warhol-inflected bits of art as a protest against what I saw as the mediocrity of the icons in general use on that early, early web.
(Similarly, my friends and I would later start The Web Standards Projectin protest against the dumb ways most folks were being told to create websites, e.g. using proprietary tags instead of W3C and ECMA standards, because browsers didn’t properly support those. Having lost access to my musical master tapes because I’d invested in Akai’s non-standard and eventually discontinued tape format, I was kind of keen on not letting the internet fall victim to the same kind of nonstandard f*ckery. But that, too, is another story. We are gathered here to talk about icons and collage. So let’s do that:)
A mental break
I track my music on Last.fm Pro. Here’s my account. (But don’t look unless you, too, have a Pro account. I’ll explain why in a moment.)
Some of the artists I listen to, as shown on last.fm Pro.
Last.fm lists the artists you play, arranging them by the number of plays. Thus, if you were to play three tracks by Freddie Gibbs and two by Bill Evans, you’d have a collage featuring those two artists, with Freddie preceding Bill because he has one more play than Bill.
But if you play three tracks each of Freddie Gibbs and Bill Evans, then Bill will come first, because Bill comes before Freddie alphabetically.
Through such moves, over time, an ever-shifting collage unfolds. But only in Last.fm Pro.
In regular, free old last.fm, you can see other people’s artists as a list, arranged by number of plays, interrupted by an ugly barrage of ads. This is a useful free service for those who are curious about what their friends listen to. But it is a list, not an artful collage, of course.
Collage for days
In Pro, you can see their artists and yours as an ad-free collage that goes on for pages and pages. Plus, as a Pro user, you can choose which photo represents which artist—and even upload your own. When viewing your collection, you and your visitors will see a collage of your favorite artists, in descending order of plays (and with the English alphabet deciding who at each play count precedes whom), using artwork you not only select, but you can also create and upload to the service.
I like Pro. And even though the product isn’t exactly in what you’d call hyper active development—even though the server isn’t always fast, even though there are a few bugs that will probably never get fixed, even though new features are introduced rarely, and the company’s customer service department isn’t exactly the most active help desk in tech—despite those minor drawbacks, the site does things no other website can do. And at US $3, the Pro account isn’t exactly priced out of reach for most customers. (If you can afford a computer, internet access, a music collection and/or a music streaming service, you can probably scratch the 3 bucks together as well.)
How to collage on last.fm
By controlling what I listen to, and the order in which I listen, I’m slowly building an infinite collage of my evolving musical tastes.
By choosing or finding the artist photos (often post-producing them in Photoshop), I create my mood, my rhythm, and my shifting color palettes.
There are design rules governing where portraits should be placed. For instance, people whose face or gaze points rightward get placed on the left of the grid, so they lead the viewer’s eye from left to right, into the composition, whereas those who gaze to my left belong on the right side, leading the viewer’s eye back in.
To reposition someone, I may listen to a few extra plays of them. Or use last.fm’s Pro Admin to subtract a few plays.
When I started using Last.fm, I merely wanted a visual record of what I was listening to, and when I listened. But as you may have inferred, an accurate count of everything I’ve listened to over the past years is no longer my goal in using last.fm; the goal is now the endless collage.
It’s kinda spiritual.
(Reminder: the only way to see it is to be a Pro member of last.fm, which turns off ads and enables you to view your own and other people’s collections in a grid format instead of a list. If you’re a non-member, you see a list jammed with ads.)
If a tree falls, is it art?
Unlike the real-world collages I made in my 20s (which could be mounted on a wall), and unlike 1995’s “Pardon My Icons” (which could be viewed in any browser connected to the web), my current art-making/hobby activity is not publicly viewable except by last.fm Pro users. And that’s okay. ’Cause I’m not designing this for anyone besides myself to enjoy. I mean, if you see it, cool. But if nobody ever sees it, engaging with it will still make me happy.
Which makes this collage business—what? Therapy? Gaming? (Just of a different sort than anybody else?) A form of stimming? It definitely helps lower my general anxiety, providing a space where I can make pretty pictures while listening to my favorite music, which, driven in part by the desire to expand the collage, is widely inclusive and always expanding.
The hunt for fresh collage material also helps keep me interested in new music. (Readers who feel stuck, take note.) And my collage-making, however unimportant it may be, also provides a needed mental health break during these hellish times.
I do this activity every weekend when my more normal friends are biking or baking or dancing.
Is this activity, into which I’ve now poured many hours of my life, artistry or autism? Who cares? The point is that it’s escapist and harmless and we all need some of that in our lives, however we can grab it.
However you grab your moments of calm, meditation, and happiness, never be ashamed of taking care of yourself.
See also…
Rediscovering music: If Spotify exposes you to new music other people are listening to, Last.fm helps remind you of great music in your existing collection that may have slipped your mind.
For love of pixels: Stroll with us down memory lane as we celebrate the pearl anniversary of pixel art creation’s primary progenitor, and some of the many artists and design languages it inspired.
I started using Twitter before the dawn of the iPhone. Back then, in 2006, it was a fun, funky, fully functional (if barebones) beta messaging service used mainly by The People of the Web™—the kind of folks who attended the SXSW Interactive conference and probably spoke on the panels.
You know. You were there. You were one of us: Designers. Developers. Pioneers. Writers of blog posts, trade books, and all the little guide texts that websites depended on to attract and serve their users. People who, in casual conversation, might use words like “digerati” unironically and without intending to be pretentious.
We believed in the power of the web to highlight unheard voices and evolve a more just society. If we were naive, and we surely were, at least we were on the side of the angels. Turns out, not everybody was.
A new skill
Years before Slack, the early 140-character Twitter served as a kind of private pre-Slack for the digitally awake and aware.
Back in those days, if you’d asked me or my conference-going fellow bloggers and designers who that first, rudimentary Twitter was for, we’d have said it was for us. For people like us, who’d spent years mastering all manner of skills and technologies simply to communicate online. Who saw value in the act of putting words together, so long as there were people to read and react to those words.
(After expressing our feelings of pride and ownership in the Twitter community, of course, the more Ted-talk-y among us early users would have waxed rhapsodic about microblogging and its potential to improve the world. More about that in a moment.)
With the birth of Twitter, when we wanted to pin down something that was twitching about in our heads and transmit it to other heads, the skill we needed wasn’t CSS or HTML or art direction or back-end wrangling. It was the ability to edit our thoughts down to a glittering trophy built with 140 characters or less. A new skill to master!
How much do people like us love showing the world what we’ve learned! This much: Even after Twitter no longer relied on wireless carriers’ text messaging services, so that the permitted character count was consequently doubled, many of us would-be Oscar Wildes continued to whittle away at our tweets, limiting them to 140 characters or fewer on principle.
Years later, with a huge international user base, the idea persisted that a globally connected free and open messaging network like Twitter could help humanity do less evil and more good.
If you wanted proof, you could look to the first Arab Spring, to Me Too, to Occupy Wall Street and Black Lives Matter—movements that were greatly abetted by the busy, worldwide network.
Of course, while many cheered and participated in these activist-driven movements, others saw them as threatening. Some felt the world was changing too fast, and that their views on social issues, like their once-good jobs, had no champion among the ruling classes. We all know how that turned out.
And now a brief digression about power and megaphones:
How I got over
Nearly two decades before Bluesky and its sweet starter packs, Twitter hired creatives to recommend selected users to newcomers. Some of the coolest people I know did that work.
Web design was at its peak, so quite naturally the in-house team put together a list of influential designers, developers, and writers for new users to follow. And for a variety of reasons, I was among those early recommended follows. (I may still be listed there, if the current X still welcomes newcomers with follow recommendations.) Which is how, at my Twitter peak, I ended up with a blue checkmark and 355,000 followers.
Even now, on wretched “X,” where I no longer post, I still retain 305,000 followers. At least, that’s what the stats told me when I popped in just now to find out. But are there really that many folks following me there?
How many of my current Twitter/X “followers” used to participate but have since quit quietly, without bothering to close their accounts? Lots, I reckon.
Some may avoid the site but keep their accounts open for strategic reasons, such as preventing someone else from hijacking their name (not that the owner can’t take over your account whenever he feels like it—but I digress).
Mainly, I’m guessing a lot of folks lost interest in the site but forgot to close their accounts. In other words, the data says 305K, but it’s probably less than half that many active users at most, few of whom would even see my tweets if I still posted there, as the algorithm throttles texts from folks like me.
Who cares, besides me? Nobody. Nor should they. And, besides, except as a temptation to stay, my follower count is beside the point.
Come play with us, Danny
The point is that the former Twitter has become a hateful cesspool, not simply mirroring but amplifying its owner’s profound insecurities, god-awful beliefs, and self-serving lies, and forcing that insanity into the public consciousness, whether we avoid X or not.
Thus, millions of Americans who don’t use Twitter/X nevertheless believe conspiracies that the owner and his favorite acolytes use the site to broadcast.
If you have a website that gets steady but diminishing traffic, and whose domain registration dates back at least a decade, you may encounter offers to buy your domain. These used to come mainly from pornographers, on the premise that your readers, upon encountering nudity instead of the morning farm report in their web browsers, would be momentarily confused—but at least a few of them would stick around to become customers.
Over the years, tricking people into seeing unexpected content and converting a small percentage of them into customers has proven to be an effective business tactic. Mindless, sure. Depressing, you bet. But effective. If all you want to do is make money, this is a way to do it. See also the penny rounding error crime from Office Space (by way of Superman III). It’s a numbers game. Make an infinitesimal profit a gazillion times, and it becomes a healthy profit. Buy skrillions of popular domains at a low enough cost, and rake in double your money in subscription fees and paid downloads.
These days, of course, the lowball domain harvesters are not limited to pornographers or even human beings, but the point of the transaction has ever been the same: to ambush your community and convert at least some of them into customers.
What I’m working up to is that, for some reason, this morning I woke up recognizing that Elon Musk’s purchase of Twitter was a far more expensive—and destructive—version of that same old grift. It was conversion en masse. To seize a public commons shared by 600 million readers, writers, and keyboard adrenalin addicts, and to profoundly change the conversations they were having. A digital takeover with historic and deeply tragic real-world consequences.
For sale: personal, imperial power
Musk’s “folly,” it turns out, wasn’t the ego-fueled, soon regretted impulse purchase it looked like. At least, if it was that, it was not only that. It was also, as we can see now, a plan to buy not merely a U.S. presidential election outcome, but, with it, personal, imperial power. Whether that was always the plan, or only became the plan after Musk found himself stuck with the $44B Twitter deal and decided to make the best of it, the consequences for our world are the same. And, from Musk’s point of view—at least until he and the man he helped put in the White House have their inevitable supervillain falling out—the plan worked.
A psychological detail here is that, in contrast to the lowballing sleaze merchants whose tactics he otherwise emulated, Musk appeared to have wildly overpaid for his prize. How could he be so stupid, we grinned at each other—and put him out of our minds. Which gave him that much more freedom to make his moves. Which, although evil, were not stupid.
As an unelected U.S. co-president in an administration in which two-fisted self-dealing will be expected, and will go unreported by a weak and cowering press, Musk will become his own Treasury Department in his role as a cutter of “government waste.” (End Medicare. Get a job, Grandma! Launch Medicare dollars into SpaceX. While we’re at it, let’s stop pampering our military veterans with health care. And so on, ad nauseum.) And if that’s not enough—and somehow it never is enough for these people—he’ll also rule over economic realms in which his companies compete for astronomical government contracts. Gee, I wonder how that will go?
Either Musk deliberately spent enough to make his enemies think he was an idiot, and stop paying attention to him. Which is evil-genius-level chess-mastery if it was, in fact, planned that way. Or else he overspent as a bluff, got tripped up in his own hubris, ended up stuck with Twitter, decided to wreck it while high on Ketamine, and somehow blundered his way into a revenge plan for the history books—if we’ll still be allowed to have those. Either way, the rest of us are in the same bad trouble.
All things considered, the Titanic sank quickly. Our democracy has just a tad more time. What can good people do today to give non-billionaires a fighting chance?
Just as nobody who marries spends their wedding day planning their divorce, almost nobody starts a business contemplating what rocks it will eventually splinter and break upon, and how to build a life raft for themselves.
I take that back. Some folks I know, who played pivotal roles in the evolution of the web, actually started their businesses with a clear goal of selling them to somebody bigger. Like Typekit was designed to sell to Adobe. Or Blogger was designed to sell to Google.
Such folks, several of whom are now post-economy wealthy, lived in the Bay Area in the 1990s and early 2000s, where building to flip was widely discussed and accepted.
Meanwhile, in NYC…
I, on the other hand, live in New York. So I started my web businesses (like Happy Cog™ design studio) to serve clients, as NYC creatives have always done, and with no understanding that I would one day need to leave the company and should have an exit plan. Why would I exit? Why would I ever stop doing work that brought excitement and meaning to my life?
Similarly, I started my personal site with its “Ask Dr. Web” tutorials in 1995, and co-founded my web design publication, A List Apart, in 1997, for the sheer joy of sharing knowledge, with no concept of making money, let alone of one day selling the business.
Eventually, despite my naivete, and mostly thanks to Jim Coudal and Jason Fried, A List Apart began making money by running one carefully screened ad per page. I used that money, as you will expect, to pay our writers, editors, and producers. And when it came time to stop running ads, I slowed our publication schedule, paid writers out of my own pocket, and worked with a small crew of fellow volunteers, who published ALA because we believed in the mission. (Still do.)
If I had come of business age in San Francisco, I likely would have sold A List Apart to somebody like O’Reilly, but that was never my plan because I make toys to play with, not to give away.
We published HTML5 For Web Designers the day after Steve Jobs, waving an iPhone on the world’s biggest stage (okay, sitting at his desk), announced that Flash was dead because HTML5 would bring app-like dynamism to the web using open standards instead of proprietary code. It (our first book, I mean) sold brilliantly. “Gee, publishing isn’t that hard” I naively told myself. (No, I knew it was hard. My favorite publishers had been laying off my favorite editors for ten years before my partners and I took the plunge. But the early success did make me think the books we published about web design would always find a large, eager audience. In time, I would learn otherwise.)
And while we began the publishing house by relying on the best writers we knew personally to write about the topics they were most passionate about, I’m proud to say that, as we went along, we also discovered brilliant first-time book authors, helping them create perfectly polished, fluff-free manuscripts that made genuine contributions to our readers’ understanding of UX and all it entails. (And not just to our readers. The insights they brought to their work after digesting our books rubbed off on their colleagues.)
In giving these brilliant writers a platform, we not only helped them take their careers to the next level, we also helped people who create web content think and work better, which in turn helped the people who used the websites, applications, and products our readers designed and built. Of that, I am proud.
Stay hungry
An Event Apart (RIP) was also a damned fine early success. Web designers liked our innovation of a multi-day, single-track conference, with a holistic approach to web design, code, and content, and unifying themes between the individual talks. Our freaking-amazing speakers debuted Huge Ideas including Mobile First and Responsive Web Design—ideas which, like perfect contextual menus in UX, arrived at the very moment designers needed them.
Not only that, but these humble geniuses also sat in the auditorium with our audience for all three days of each conference event: listening to each other’s presentations, and updating their own presentations to better bounce off each other’s ideas and the evolving themes of that particular show.
I could spend hours telling you how our producer Toby M. made miracles happen at every show, or how person-in-charge Marci E. brought joy to our community. How many of our speakers became authors. How some “graduated” from An Event Apart as newcomers replaced them. How the diversity of our speaking line-up, which wasn’t terrific in 2008, improved greatly each year. (Not that we ever said, “We need another black speaker” or “We need a trans speaker” or what-have-you. Just that we learned to swim outside the pool we came from, and discover great talent everywhere.) Our speakers were also almost uniformly Just Nice Good People, which doesn’t always happen when you’re collecting the greatest minds in an industry.
That’s not even to mention the incredible people who attended our shows, some of whom became lifetime friends for me.
So why, given the joy these businesses brought to everyone connected to them, including me, would my partners and I have even conceived of an exit strategy? We wanted the Good Times to roll on forever.
But of course they never do.
Things end
COVID did in An Event Apart. Some conferences survived, of course. Different priorities, different overheads, different business models. Some that survived do not pay their speakers. Others, where the conference is an adjunct to a bigger business, laid off or reassigned conference staff while the pandemic made live events impossible. Others that survived mostly rely on volunteer labor, whereas we had paid staff. They were worth their weight in platinum, and we’d have paid them more (because they were worth more) if the pandemic and six-figure hotel contracts hadn’t made continuing the show impossible. My partner and I earned nothing during the business’s last five years, and got personally stuck with a six-figure debt when the event closed. It is what it is.
Although books should be COVID-proof, multiple financial problems eventually beset our publishing house as well. For most of the run of the business, my partner and I earned nothing beyond the glow of contributing to our community’s knowledge. We paid our CEO, authors, and editors, kept nothing for ourselves, and tried, oh how we tried, to keep the business going as its revenues tanked.
Speaking only for myself, I’ve learned that I am good at starting businesses and keeping them going creatively, as long as somebody else figures out the money. I suck at that, and I’m obsessed with the notions of fairness and self-sacrifice that were drummed into me by a narcissistic family that valued me for taking on the roles they were emotionally incapable of handling—such as bringing up my baby brother in my father’s absence, which no child is equipped or should be asked to do, and yet it happens all the time. Growing up this way made me put my own self-interest last. Which is also why it never occurred to me to plan an exit. And by the time I needed to do so, the businesses were not in shape to sell.
Closing a conference is bad, but attendees can go to other conferences, and speakers can speak at other conferences; closing a conference doesn’t end a community. It sucks for the business but doesn’t strand participants.
But closing a publishing house hurts like hell, and you feel you let everybody down. I know how much our closing hurt some of our authors, and I think about that, instead of the good we achieved, when I look back.
No doubt when my partner and I write the large personal checks to cover our deceased business’s outstanding debts, we’ll be regretting the harm our closing caused, not basking in the warm glow of how many careers we changed for the better. Like the standup comedian who obsesses about the guy who’s frowning at table 3, and doesn’t hear the laughter of the rest of the crowd. We also, hopefully, won’t focus too closely on our financial wreckage. Just pay the bill, and move on.
Anyway, I hadn’t publicly addressed the endings of these businesses, so I figured it was time to do so. I’m sharing my experience only. If you ask any of the people I worked with on these projects, they might have a different story to tell. And that would be their story, and it would be every bit as valid as anything I’ve said here.
I also didn’t ask permission of my partners, speakers, or authors before sharing these thoughts. Probably I should have. But, hey. As I’ve said. I’m speaking here only for myself.
So, anyway.
Parting gift
Is it worth the risk of starting a web-related business that isn’t a venture-backed startup? I still think it is, and I applaud all who try. Heck, I might even do so myself someday. If you’re doubtful because of (((gestures at everything))), it might be worth noting that I started Happy Cog™ during the dot-com crash, when studios were closing all around me. And we launched A Book Apart during the world financial crisis of late 2008. Don’t let (((all this))) deter you from trying something bold. Let me know when you do. I’ll keep watching the skies.
P.S. Under swell third-party ownership and management, Happy Cog is still going strong. Check it out!
Blue Beanie Day is everywhere! Here astronaut Bowman from 2001: A Space Oddysey flaunts his basic blue toque, couresty of Kevin Cornell (illustration) and Douglas Vos (inventor of the holiday).
Saturday, 30 November 2024, marks the 17th annual Blue Beanie Day celebration. It’s hard to believe, but web standards fan Douglas Vos conceived of this holiday way back in ’07:
The origin of the name of the holiday is the image of Jeffrey Zeldman on the cover of his book wearing a blue knit cap.[7][8][9] Over the years, the Blue Beanie Day also became an action day for web accessibility, for which the correct use of web standards is a basic requirement.[8] — Wikipedia
How can you join this year’s fun? That’s easy! Snap a self-portrait wearing a blue beanie and post your Blue Beanie Day photo to Bluesky, Threads, Instagram, Tumblr, LinkedIn, Facebook, your blog (you’ve still got one, right?), and whatevs. Hashtag: #BlueBeanieDay.
