This kind of real journalism is something that I didn't think existed any more, at least not in the tech world. But after watching him work, and seeing his process, I think it's just a damn shame how rare his kind of journalism is.
Didn't mean for this to turn into a puff comment, but I have to admit the whole production was quite impressive.
The feeling was very similar. Having experienced all of the time he put into it, how he listened to all of our seemingly pedestrian stories and masterfully wove an eloquent story line out of mere tidbits -- it's a pretty awesome experience.
He's one of the best writers around and one of the last bastions of true, old-fashioned journalism in the tech world.
The whole "it's a damn shame how rare his kind of journalism is" sentiment comes up fairly often here on HN and always bugs me a little bit. This is a community where people heap praise on folks who create things like Instapaper and Readability, link to the printer-formatted version long articles, complain about pay walls, and generally take an extremely liberal view toward copyright infringement and content monetization subversion.
Those are all fine things, but I think it's important to understand that we can't have it both ways. Online ads pay for the great journalism people on HN claim to want more of.
I think you're mistaken about that. I'm not 100% sure, but I suspect copyright is a (mostly) obsolete concept, and that gleeful copyright subverters are just the people who are already living in the future.
A lot of musicians have already given up on the idea of making money from selling recorded music, and expect to make it from concerts instead. I suspect we will see similar displacements in writing.
This future everyone is living in may be one where artists start recording only 5 song EPs and playing a lot of shows, which I would consider a major loss. There will be many albums that don't get recorded because there's no financial incentive. I already know some great musicians who have given up on albums because they're not willing to pay $20k to record something nobody will pay for, despite the fact that there is plenty of "demand" for the content.
You get worse content when you don't pay people for creating content you like. If that's the future people are accelerating toward by taking things without paying for it, then they're just going to get the crappy music they deserve.
To be fair, as it gets harder and harder for publishers to support longform content like this, the stuff that does get funded will be better and better.
It seems like a key to understanding the future of copyright heavy industries will be to understand how people like Vivaldi (or any artist up until the 1950s) made art that persists to this day without the benefit of recorded media.
I was quite amazed how involved he was with the research for the story.
This is something I'll email my dad, who when I mentioned I mentioned I applied for an incubator asked "What do you need office space for?"
Growth is the lifeblood of the industry.
To get that, you have to make something people want.
Everything else is pretty insignificant.
Simple, but not easy.
Maybe I'm just too naive. Thanks for that lesson.
But hey. That was the result I expected and I happily pay the price.
1. A comparison between two things, typically on the basis of their structure and for the purpose of explanation or clarification.
Should the readers of Wired not be familiar with Y Combinator, the analogy implied in the article's title should actually give them a good idea of what YC is all about.
I don't think anyone (or at least many) will take the analogy literally and expect to see photos of YC founders going through the rigors of military boot camp. Instead, I bet most people who read that title will get the comparison right off the bat: Y Combinator is a short, intensive, exhaustive program focused on preparing new founders to be more successful in the business world. Just as military boot camp is a short, intensive, exhaustive program focused on preparing new recruits to be more successful on the battlefield.