Peter Jennings Dies at 67

Peter JenningsOf the three network news operations, I’ve always found ABC’s to be the most serious and comprehensive: I’ll never forget watching former “World News Tonight” anchor Frank Reynolds during the confusion that immediately followed the failed attempt on President Reagan’s life in 1981. His mix of command and empathetic frustration was a model of adulthood for me; for a long time, well before the advent of cable and the sham of Fox News, I thought television anchors were men of honor, that they earned a level of respect on a nightly basis to which young people should aspire.

I felt that way about Reynolds’s successor, Peter Jennings, as well. He took over the nightly news duties in our household at about the time that I first started understanding that there was a world out there and that it worked in peculiar, foreign ways. My father and I would watch Jennings together every night, and as the anchor revealed the names of new countries and people to me, my father would explain their hidden back stories. I learned a lot from those evenings, both about what lay beyond our shores and what was so important about what lay within them. As a result, I always preferred Jennings’s urbane, worldly delivery over his rival broadcasters, by far. It didn’t bother me much when Tom Brokaw or Dan Rather left their posts earlier this year, but I felt heartbroken and despondent last night when I learned that Peter Jennings had died of lung cancer.

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Try Before You Buy Fonts

There’s something broken about the way typeface licenses work. First, in my dozen or so years of working in professional design studios, I would say that most of those digital environments have habitually ‘pirated’ typefaces — or at least regularly violated licensing agreements — by more or less copying and distributing fonts wantonly. Everyone knows this.

For better or worse, the type industry has chosen not to crack down on this behavior by imposing unwieldy digital rights management or other draconian schemes on the market. Compared to the increasingly onerous anti-piracy measures for traditional application software, little attention is paid to preventing the proliferation of unlicensed typefaces, and by and large most designers enjoy the benefits of such a lax approach. But that rampant piracy has a negative effect: it keeps prices for quality typefaces high, or at least high enough to inhibit frequent designer adoption of new ones.

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