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Of Books and Conferences Past

Some of A Book Apart’s 50-odd primary paperbacks, arranged like a color spectrum, and photographed against a piece of wood.

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.

An ecosystem apart

In spite of A List Apart’s running at a loss, in the early 2010s I co-founded two businesses that spun out of it: An Event Apart design conference with Eric Meyer, and A Book Apart with Mandy Brown (later replaced by CEO Katel LeDu) and Jason Santa Maria. And during those first years, business was great.

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!

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A List Apart contributors list on Bluesky

I’ve started a Bluesky list featuring some of the brilliant writers, designers, coders, editors, and others who’ve contributed to A List Apart “for people who make websites” from the magazine’s first dawning back in the 19(mumbles). Bluesky fans, grab the list here:

https://bsky.app/profile/did:plc:pgjpl4opnmqxxpb74n4vuabv/lists/3lbozpqe2kq2t

Why only *some* of the contributors? Simple. Several are, sadly, deceased. Many others are likely alive and well but not yet on Bluesky. We can’t unmake death, but we can offer the living networked comradeship and a wee increase in visibility.

So if you’re an A List Apart contributor who’s been thinking of joining Bluesky, consider this an incentive. Note: I’m not a partner in Bluesky, and have nothing to gain from inviting you, beyond the pleasure of your company—be it salty or sweet.

Once you join and have started a profile, ping me and I’ll add you to the list. (I’m zeldman.bsky.social on Bluesky.)

And, hey, if you haven’t yet contributed to A List Apart, your ideas are always welcome.

Online since 1998, A List Apart (ISSN: 1534-0295) explores the design, development, and meaning of web content, with a special focus on web standards and best practices. About the magazine. | Complete list of Authors. | Style Guide. Cheers!

Open-source moderation

“Our online experience doesn’t have to depend on billionaires unilaterally making decisions over what we see.”

Category: A List Apart

From pixels to prose, coding to content.

In search of a digital town square

A personal assessment from February, 2024 of the fractured social network landscape.

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Web Design Inspiration

If you’re finding today a bit stressful for some reason, grab a respite by sinking into any of these web design inspiration websites.

Gathered from conversations on Reddit and elsewhere, each site offers a collection of other sites’ designs, chosen for impact, originality, and innovation. Each collection should offer at least a few designs that will inspire your own ideas and creativity—and most contain more than a few. Lots more.

We make no claims as to usability, accessibility, or appropriateness of design. Which doesn’t mean that the chosen websites are unusable, inaccessible, or inappropriate to the brand, subject matter, or needs of the audience. Indeed, from the care devoted to the graphical interface, we assume that many of these sites are as good under the hood as they are on the surface. But it’s just an assumption; we haven’t tested, and the point of this post is purely to share visual and creative inspiration. Enjoy!

And for dessert…

Enjoy https://betteroff.studio/, an individual studio’s rhythmically organized, sensory-appealing design.

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Just add water.

Quick, before everyone else thinks of it. Set the word “SUCCESSION” in Engravers Gothic and export it to a transparent PNG. Download photos of confederate general Mitch McConnell and Republican Johns Thune (R-S.D.), Cornyn (R-Texas), and Barrasso (R-Wyo.). Grab and burn Nicholas Britell’s main title theme from Succession. Import all files into Final Cut Pro or Adobe After Effects. Add dissolves, fades, and film scratch overlays. Export. Upload to YouTube or Vimeo. Embed and amplify via all 500 social media networks. Sit back, relax, and bask in your 15 seconds of glory.

“Succession” is copyright HBO. Mitch McConnell is a wholly owned subsidiary of the NRA.

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Acclaim Best practices Career creativity Design Publishing

First, be kind.

In my earliest 20s, I wrote a novel. Make that three. The first two were garbage—a kind of literary throat clearing. I shelved the manuscripts and moved on. But my third draft novel, “Sugar and Snow,” seemed to have something. 

My Uncle George connected me to his friend, a famous writer. She read my manuscript and shared it with her daughter, who also thought there was something to it. 

The famous writer asked if she could share my manuscript with her publisher. I, of course, said yes. Then I phoned all my friends to tell them I would soon be a published author. 

After three months of silence, the publishing company returned my manuscript, untouched. No word of explanation. Not even the courtesy of a boilerplate rejection letter.

Unless you count a few fibs on the resumes I submitted to potential employers, I never wrote another line of fiction. 

I drank my way through the next decade, and did not exercise my writing ability for nearly ten years.

The power to help… or hurt

I should not have been so sensitive at age 20, I suppose. Older writers had told me that rejection was part of the life. John Casey, an early writing mentor, survived the Korean War, wrote a novel about his experiences, and submitted it to two dozen publishers who weren’t interested. Eventually he siphoned a short story out of one of the chapters of his rejected novel, and found a little magazine to publish it.

John Casey became an award-winning novelist, but first he slogged through years of rejection, as all writers must. He’d told me that was the game, but my heart wasn’t ready for it. At 20, I wasn’t strong enough.

Perhaps as a partial consequence of how badly a single rejection spun me out of control, when I sometimes have to deliver tough news to a creative colleague, I’ve always striven to be kind about it. Maybe I’m excessively careful about not hurting people. But is that a bad thing? After all, I don’t know which people whose work I need to criticize or even reject are strong enough to take it, and which aren’t. 

And neither do you.

Happy endings

Being kind as well as clear becomes a moral mandate when you realize the power your feedback has to encourage another person to do their best work … or to shut them down creatively, possibly forever.

In “Wild Strawberries,” Professor Isak Borg is told in a dream, “A doctor’s first duty is to ask forgiveness.” We never know whom we may harm, or how deeply.

I told you a sad story, now here’s a happy one. I’m part of a small publishing company. Evaluating book proposals is where our process starts. Being clear compassionately is our mandate—we recognize the tremendous emotional risks folks take when they submit their ideas for review. 

Last year an author approached us with a proposal that wasn’t quite right for us. We responded with detailed feedback about what would have made it the right fit for us … and we chose our words carefully to avoid inadvertently causing harm.

This year that author returned with a spectacular proposal that we’ve accepted gratefully and with real joy. 

I thanked the author for having had the courage to come back—after all, I’d lacked that courage myself after my brush with rejection. The author thanked us for the feedback and the way we’d presented it, saying they would never have had the willingness to come back if not for the quality of our feedback. 

As a result of an author’s determination and our compassionate clarity, our readers and this industry will benefit from an author’s brilliance.

Creators, never give up.

Gatekeepers, first be kind.


Photo by Kimberly Farmer on Unsplash

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Digital newspaper design challenge: a report from Poynter, part 1

CAN design create a better user experience that engages readers and drives revenue? Can it fight fake news and help save real journalism at a time when news organizations large and small are underfinanced and under attack?

These questions drove the Poynter Design Challenge, “a project to create new visual models for digital news publications” sponsored by William R. Hearst III, hosted by the Poynter Institute, and directed by publication designer Roger Black.

The challenge began October 17–18 in New York, with five pundits and five designers, of whom I was honored to be one, workshopping a project brief during a two-day conference event at the Columbia Journalism School. (You can watch videos of all these sessions courtesy of Fora.tv.)

The next phase took place yesterday in St. Petersburg, Florida, as the four other designers and I presented our work to a live audience. In this short piece, I’ll talk about the designs my colleagues presented; in the next, I’ll discuss my own.

Reconnecting with the people: the challenge for digital news

Roger Black described the difficulties facing digital news publications:

The challenge is serious. Fake news crowds real news. Numbers no longer add up for publishers. Readers jump from site to site without knowing where they are, or staying for long. You can see the brief for this project here.

Can design help? Well, as a I designer, I think it can. I mean, the design of most news pages is not what you’d call attractive. But the solutions proposed at Poynter will be much more strategic than cosmetic. And they’re strategies that can be combined.
Five design answers that add up, Roger Black, January 20, 2017

“A news publication might think a bit more like Fitbit”

News prototype by Kat Downs Mulder, Graphics director at The Washington Post.

Between us, we designers had about a century of experience designing digital publications—internally, as consultants, or both. This means that, even though an open “design challenge” brief necessarily omits an unknown number of the specific requirements any actual publication design assignment would include, all of us were aware of, and to some degree addressed, typical news publication requirements not included in our brief.

Kat Downs Mulder, Graphics Director at The Washington Post, shared a prototype for a big-brand news site. Kat had just given birth to a healthy baby boy (congratulations!), so her work was presented by two of her colleagues from The Post. Kat did not design with the avid, committed news reader in mind (since those folks are not the problem for most publications). Instead, she pondered how to engage the typically fragmented attention of today’s distracted and passive news reader:

“A big-brand news site [should be] aware that people have a lot more to do in their lives than read the news,” Kat posited. Thus, “A news publication might think a bit more like Fitbit. That is, it should make you feel like it’s working for you. A reader should say, ‘I’m reading everything I need to know.’”

Keep that dopamine pumping

Kat presented a multi-paned prototype. The wider pane on the right contained news content; the narrower pane at left was navigation. As I’ve just described it, this isn’t much different from the current Post website, but Kat’s prototype was very different, because it prized reader control over editorial director control; kept track of what you read; encouraged extra reading the way Fitbit encourages extra steps, and rewarded it the same way Fitbit does, with an accumulation of points that give the reader dopamine hits and create the perception that the “news app” is working for her—as a rewarding part of her busy lifestyle.

An Operating System for your city

Mike Swartz, Partner at Upstatement, a design and engineering studio in Boston, took on the challenge to smaller publications (such as his original hometown paper, the Pittsburgh Post-Gazette) which lack the resources of a Washington Post or New York Times.

Mike’s presentation, “information OS for a city: redefining the opportunity for local media,” turned the journalistic prowess of a good local paper into a superpower, connecting readers to their city the way the “terrible towel” stunt concocted in desperation by radio announcer Myron Cope in 1975 reconnected Pittsburghers to their hometown football team, and helped the Steelers win Super Bowl X over the Dallas Cowboys.

There’s a potential for an operation like the [Post Gazette] to rebrand itself as more of an “informational operating system” for its city. With different types of products that are focused and useful and not necessarily bundled into a traditional news format, we can create more enjoyable experiences and more useful products readers will love.

Building reader interest and finding a way to pay for it all

Lucie Lacava designed an app targeted at millennials.

Where the rest of us avoided the elephant in the room, in her design Lucie Lacava, president of Lacava Design Inc., boldly confronted the challenges of advertising and monetization. Algorithm-driven advertising frustrates users, who, in desperation, block it. Choked for income as a result, publications and advertisers create more and more intrusive forms of unwanted advertising. Nobody wins.

And while subscription models have worked, at least partly, for some of the very top news publications, such models are not likely to help most news publications in the near term.

Digital publication as digital application

Lucie’s design addressed these challenges by recasting the news as a hyper-customized application targeted at younger users, who get to choose news streams and ads that are relevant to them. “The elusive millennial” was Lucie’s target. I cannot do her idea justice with a couple of paragraphs and a single screen shot.

Affordable, immersive VR is here

Jared Cocken, brand and product designer for hire and co-founder of STYLSH.co., approached the “attention war” by showing how any size publication could create “video or VR driven stories that enrich a user’s understanding of the world around them.”

Because VR video is immersive, it holds viewer attention. Because it is reality-based, it fights fake news. (It’s hard to call bullshit on a scene you can explore from any angle.) VR also, potentially, builds compassion. It’s one thing to read about conditions in a Syrian refugee camp, another to visually experience them in VR.

Until now VR and video have been cost-prohibitive, but, working (and co-presenting) with VR startup founder Anna Rose and Hollywood producer/actor Banks Boutté, Jared showed how even woefully under-financed newsrooms can use newly designed, super-affordable tools to create “video or VR-driven stories that enrich a user’s understanding of the world around them.”

(For more on VR and the web, see webvr.info and VR Gets Real with WebVR by studio.zeldman’s Roland Dubois.)

Parting thought for now

Blogging about a conference is like tweeting about a sexual experience. You had to be there. I wanted to record and share the outlines of what my fellow designers presented, but these few paragraphs should in no way be considered authentically representative of the deep thinking and work that went into every presentation.

You may see holes in some of the arguments presented here. In some cases, I might agree with you—some ideas, while dazzlingly creative, did not seem to me like the right way to save news. But in most cases, if an idea seems wrong, blame my telling. If you had been there and heard and seen everything, the value of the proposal would have far more apparent than it can be here.

I love that each of us took on a quite different aspect of the problem, and addressed it using very different tools. I’ll be back soon with a short write-up of the design approach I took. Meanwhile, I want to thank all the pundits, designers, and attendees in New York and St. Petersburg—and the Poynter Institute, Roger Black, and William R. Hearst III for making it all possible.

 

Also published in Track Changes.

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A Book Apart Acclaim Advocacy Appearances Design Publications Publisher's Note Publishing

Lara Hogan at Postlight

Lara Hogan, Rich Smartt, and Rich Ziade at Postlight.

LARA HOGAN kicked ass at the Lara Hogan Demystifies Public Speaking event sponsored by Postlight and A Book Apart, and held last night in Postlight’s big beautiful public space on Fifth Avenue, around the corner from NYC’s famous Union Square Park. Speaking coach Bill Smartt led the smartly paced Q&A session. Postlight co-founder and event host Rich Ziade introduced the event, and, as publisher of her new book, I had the honor and pleasure of introducing Lara.

Lara Hogan and Rich Smartt at Postlight.

When I first met Lara, she was touring behind her excellent O’Reilly book Designing For Performance, a topic she brought to life at An Event Apart in 2016. But, as important as performance is, I was even more excited to publish her new A Book Apart book, Demystifying Public Speaking, because, for nearly 20 years, I’ve impressed on my design/development colleagues and students the vital importance of public speaking to the success of their projects and careers—and now there’s finally a book that tells them how to do it.

I believe in public speaking (and writing) because a person who is comfortable sharing ideas and communicating to groups can evangelize designs, principles, and best practices. This in turn helps build consensus, support collaboration, and keep everyone’s eyes focused on what’s best for users—instead of, say, which colors a powerful committee member dislikes, or how much bigger we could make a button or logo.

Those who communicate comfortably, even when opinions vary and the subject is contentious, spread reassurance, which means the project not only focuses on the right things, but does so in a positive and supportive environment. Effective communicators inspire their groups to dig deeper and try more things—to work, and ponder, harder. This generally leads to more successful iterations (and, ultimately, projects), spreading good work in the community and leading as well to greater career success and longevity. Whew!

That’s why I speak. And why I strongly encourage my students and work mates to speak. Thanks to Postlight and to everyone who attended last night’s event.


Also published on Medium.

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Shopify Partners Program wants you—and so do I!

Partner Studio

AS MUCH as I love reading (and writing and publishing) books and articles about design, I’ve never learned as much from a book as I’ve picked up over time while rubbing shoulders with colleagues who share my work space.

It’s why, even though NYC office rents are ludicrously expensive, I opened a shared design studio space in gently trending NoMad, Manhattan in January of 2012. And why, just three short months ago, I leaped at the chance to help launch the Shopify Partners Studio Program—a coworking space and casual mentoring program for exceptionally talented freelance ecommerce designers and developers.

The first six participants included a web developer and social media consultant; a visual experience designer; a freelance web developer and blogger; two freelance designer/developers; and a copywriter/marketing consultant. Three of them sought feedback from me on exciting business and product ideas they’d come up with; two asked me for career guidance and business advice. All taught me more than I taught them, and inspired me to look at my own work and career with fresh eyes.

Most or all of these lovely and talented people will be moving on soon, as the next phase of Shopify Partner Studio begins. Which brings us to you.

Apply now to join the next round of Shopify Partner Studio! If selected for residency, you’ll gain access to a suite of opportunities to kickstart your business, including:

  • Free rent and high-speed Internet for three months in my studio on lower Madison Avenue.
  • Mentorship from your humble narrator, Shopify executives, and “other industry icons.” (I put the quotations around Shopify’s phrase to not sound like a complete egomaniac.)
  • Fast-tracked access to the Shopify Experts Marketplace, where Shopify sends its 243,000 merchants looking for help with store, theme, and app builds.
  • A free Shopify store to build your portfolio website.
  • A free ticket to Smashing Conference NYC.

So what are you waiting for? Join me and some of your smartest colleagues in an experience that just might help make your career. Apply now to the Shopify Partners Studio Program.

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Acclaim Announcements creativity music people Pete Zeldman Zeldman

My Brother is a Monster

MY MOTHER played piano and cello. My father draws, paints, and sculpts; plays trumpet and guitar; and led an advanced R&D lab in the 1970s, developing robotics and rocket parts. You know what I do, but I also play keyboards and other instruments, studied music theory, and composed and produced music in my own studio before failing up into my present career. We Zeldmans go our own way, bring our own juice, and leave a trail of tears and gold. But my brother Pete Zeldman is the real talent in the family.

My brother Pete spontaneously composes and performs music of such rhythmic complexity that Edgard Varèse and Frank Zappa would be proud. Even with an advanced music degree, you’d have a tough time following the music analytically. But you don’t have to, because it grooves. That’s the crazy surprise of it. My brother plays 17 in the time of 16 in the time of 15 in the time of 14, with cross rhythms in simultaneous 3/4 and 7/8, and you could dance to it. Admittedly, you couldn’t pogo, but it doesn’t pretend to be punk. Musically it is probably the exact opposite of punk, but spiritually it is punk because it is pure affirmation.

My brother made two CDs before releasing his new video, Enigma, this week. I listen to these CDs a lot. Although I’ve watched my brother develop his unique rhythmic musical theories over the past 20 years, I don’t attempt to “follow” the music in any analytical fashion while listening. I just let it wash over me. So can you.

New art is rarely understood. New music is rarely what the people want. They threw tomatoes at Debussy and Stravinsky, and now their compositions are gentle backgrounds for dentist’s offices. White people laughed at rock and roll and their children danced to it. Those rockers laughed at hip hop and their kids dance to it. My brother’s music is like that. It is something new. It’s not going to be a movement because it takes a certain kind of twisted genius to conceive of and play it. But you might like it. And if you’re a drummer, you probably need to hear it.

I am proud of my brother and delighted to share his genius with you. Samples from his new video are available at pete-zeldman.com. His CDs are also available.

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PBS Off Book video: The Art of Web Design

Whitney Hess, Jason Santa Maria, and I discuss the past two decades of design history, framing the web’s emergence and explaining the transition from a print-based world to a digital one.

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Insites: The Book Honors Web Design, Designers

“INSITES: THE BOOK is a beautiful, limited edition, 256-page book presented in a numbered, foil-blocked presentation box. This very special publication features no code snippets and no design tips; instead, 20 deeply personal conversations with the biggest names in the web community.

“Over the course of six months, we travelled the US and the UK to meet with Tina Roth Eisenberg, Jason Santa Maria, Cameron Moll, Ethan Marcotte, Alex Hunter, Brendan Dawes, Simon Collison, Dan Rubin, Andy McGloughlin, Kevin Rose and Daniel Burka, Josh Brewer, Ron Richards, Trent Walton, Ian Coyle, Mandy Brown, Sarah Parmenter, Jim Coudal, Jeffrey Zeldman, Tim Van Damme, and Jon Hicks.

“We delved into their personal journeys, big wins, and lessons learned, along with the kind of tales you’ll never hear on a conference stage. Each and every person we spoke to has an amazing story to tell?—?a story we can all relate to, because even the biggest successes have the smallest, most humble of beginnings.” — Insites: The Book


I am honored to be among those interviewed in this beautiful publication.


Insites: The Book is published by Viewport Industries in association with MailChimp.

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Mike Monteiro’s “Design Is A Job” is finally available to buy or preview.

CO-FOUNDER of Mule Design and raconteur Mike Monteiro wants to help you do your job better. From contracts to selling design, from working with clients to working with each other, his brief book Design Is A Job is packed with knowledge you need to know. This is one of the most in-demand titles we at A Book Apart have yet published, and the long, long wait for its release (and yours) is finally over!

— Enjoy an exclusive Preview of Design Is A Job in Issue No. 348 of A List Apart, for people who make websites.

Buy Design Is A Job directly from the makers at A Book Apart.

Also of interest:

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Acclaim events Hall of Fame photography SXSW Zeldman

Post-Induction Party Pix by Annie Ray | SXSWi 2012

SXSW Interactive 2012, Hall of Fame, Post-Induction Party

I THREW A PARTY on the last night of SXSW Interactive 2012 to celebrate my induction in the Hall of Fame. Photos © Annie Ray, annieray.net. The entire photo gallery is available for your viewing pleasure at http://cog.gd/3m0.

Also at Flickr and on Facebook.

Pardon My Linkage

For more about this year’s SXSW Interactive, my induction in the Hall of Fame, and “Go Forth & Make Awesomeness,” my session with Leslie Jensen-Inman, see:

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A List Apart Acclaim Appearances Design events Hall of Fame SXSW Zeldman

Behind The Music: The Jeffrey Zeldman Dolls

Jeffrey was looking for us to do a more tailored, short run of the doll we had initially designed of him-215 to be exact. They were to be given away as gifts at the Hall of Fame after party being held at South by Southwest (right about now is where you can hear our jaws drop to the floor).

Here was the opportunity to put handmade work into the hands of 215 web designers and industry gurus at one of the largest interactive design conferences in the world-South by Southwest. Are we interested? Hells, please! So, after hashing out the details and specifics we set into work on the very complicated and detailed project. Below are just a few of the pictures we took documenting the process…

Of Austin Fame and Marches | Dolls for Friends.

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"Found Objects" Acclaim Appearances Hall of Fame links photography Publications SXSW Zeldman

The Impossible Year | Jeffrey Zeldman with Mini-Zeldman Doll Polaroid…

The Impossible Year | Jeffrey Zeldman with Mini-Zeldman Doll Polaroid...

JOHN MORRISON:

Jeffrey Zeldman with Mini-Zeldman Doll

Polaroid SLR 680SE / Impossible PX-680 Color Shade

Jeffrey became the first person inducted into the SXSW Interactive Hall of Fame. Afterwards there was a party with mini-Zeldman dolls.

The Impossible Year | Jeffrey Zeldman with Mini-Zeldman Doll Polaroid…