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What Musk's Twitter takeover could tell us about a possible government appointment

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What Musk's Twitter takeover could tell us about a possible government appointment

After buying Twitter in 2022, Elon Musk changed the company’s name to X.

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Former President Donald Trump has said that if reelected, he will appoint Elon Musk to head up a new efficiency commission with the mission of conducting an audit of the entire federal government and making recommendations for drastic reforms.

But New York Times tech reporter Ryan Mac points out that the appointment would raise a host of potential conflicts of interest: “I mean, [Musk] is a man who runs multiple companies who are under investigation from various government agencies,” Mac says.

Musk’s SpaceX, for instance, is facing off with the National Labor Relations Board over allegations of sexual harassment. And the Department of Justice is investigating Tesla for comments Musk has made about the company’s self-driving technology.

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In their new book, Character Limit: How Elon Musk Destroyed Twitter, Mac and fellow reporter Kate Conger take a closer look at Musk’s takeover of the social media platform now known as X. Since buying the platform in 2022, Musk has laid off or fired about 75% of the staff; eliminated rules banning hate speech and disinformation; alienated many advertisers and users and lost money.

“There’s almost no part of the company that was left untouched,” Conger says the Twitter takeover. “We saw Musk make serious cuts to management, to engineering teams, to teams that worked on content moderation, advertising salespeople, security, janitorial services. Every part of the company was reduced in some way.”

Mac says the cuts were so deep that some employees in the New York office were left without toilet paper — they had to bring their own from home. At one point, Conger says, Musk got so frustrated that Twitter was not saving more money that he called the staff into weekend conference call. During the course of the hours-long call, he went through the company’s budget, line item by line item, asking employees to explain why they were spending money.

“It’s a scene that I keep coming back to, thinking about this efficiency platform,” Conger says. “And if [Musk] will try to hold a conference call with all of the Office of Management and Budget and run through the government spending with them or how that’s going to work.”

Character Limit

Character Limit

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Interview highlights

On the debt Musk carries because of Twitter

Ryan Mac: I think he would be the first person to admit that he overspent on Twitter. It became a central point for him to try and get out of the deal. And, you know, there were attempts to renegotiate the price. This price of $44 billion, or $54.20 a share, that he committed to long before buying the company, he tried to get out. In that acquisition itself, you know, he did have investors, but he also raised a lot of debt. And that debt came with pretty onerous terms. He’s paying, I think, more than $1 billion on interest alone a year. And that didn’t exist on Twitter’s books before. And so he’s not only having to operate a business that was sometimes in the red, sometimes in the black, but now he’s layered this debt on top of it. And he’s also depressed the revenue from advertising by scaring a lot of the advertisers away.

So it made this kind of maelstrom of issues for him that the only kind of reasonable tactic was to cut and to cut severely, to kind of head off some of these costs. And it’s still not going very well for him. The company has lost more than half its valuation. I think internally it’s worth, I think $19 billion now. And some investors have even marked that down further. So it’s been a bit of a disaster from that standpoint.

On the impact Musk’s takeover had on advertisers

Kate Conger: Elon made a lot of changes to the kinds of content that was and was not allowed on Twitter. He brought back accounts that had been banned by the previous management for spreading misinformation, for inciting harassment, for spreading lies about the outcome of the election in the United States and elections abroad. And so there is this whole swath of new content that came on to the platform as a result of his takeover that was within the bounds of the law, certainly, but the kinds of content that advertisers did not want to see their brands standing next to. And so that resulted in a lot of advertisers pulling back their spending or pausing their spending altogether so that they could wait and see how Elon would address those issues. And instead of addressing them, he sort of turned on advertisers and it became a very contentious relationship where now he has sort of told some advertisers not to spend on the platform at all and sued major advertising groups that have questioned these policies that he’s put into place.

On a chaotic tactic Musk used to fire staff

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Mac: He sends out this email, which includes a Google form that asks people to opt-in to staying at the company and being “hardcore.” Like, you have to dedicate yourself to this company. You have to work long hours. And I think folks had less than 48 hours to opt into this choice. It could have even been shorter than that. … This is not a quick decision. Some people said the email went to spam as well, so they never saw it. And this is like literally an opt-in email to keep your job and so people that didn’t click were essentially let go.

It was so chaotic that on the day of the decision that it’s supposed to happen, Elon Musk and some of his executives are holding these meetings to convince people to stay. They’re pitching them on why they should stay: “You’re going to make a lot of money. You’re going to make a huge impact. [Musk] is a generational entrepreneur.” … I think thousands of people left at that point.

Conger: You can tell that it’s something that he just decided to do sort of on a whim, as he does so many things in this story. But the option for employees who wanted to stay was to click “Yes, I consent to the new hardcore version of Twitter.”

Mac: It was totally a loyalty oath. You have to bear in mind, someone like Musk, he sells people on missions, right? SpaceX: You’re trying to get humans to Mars. At Tesla, you’re saving the environment and you are electrifying fleets of cars. But at Twitter, people didn’t have a mission to be sold on. Like, they weren’t sold on this idea of free speech. They had seen him go back and forth on the actual acquisition, not want it and want it again and really jerked them around. And now he’s asking for their full and total commitment, their loyalty pledge. And I think by that point, people had just kind of had it with him. …

 Conger: He asked people to say, “Yes, I want to stay,” but he didn’t ask for people to click another option if they wanted to leave. And so it set off this real scramble within the remaining people employed on Twitter’s human resources team to figure out who had actually resigned from the company and whose access they needed to cut off from internal systems.

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On the changing the platform so that users can pay to be verified

Mac: It was a major change to the app. There are a lot of criticisms of these verification badges, but they also had a lot of utility. Think of an emergency service announcing a tornado warning, for example, or an election official talking about voting results. And he wanted this change to the service to happen before the midterm elections in 2022, [at] this very crucial voting period. And that struck a lot of people in the company as irresponsible, rolling out this significant change to the platform. And it worried folks like the FBI, who reached out to Twitter at the time and asked him what was going on and what their plans were heading into the midterms. …

To his credit, he did delay it to the day after the election. But even so, the rollout was immensely chaotic. I mean, those impersonations that people thought would happen very much did happen. And there were parody accounts or, you know, imitations of things like Eli Lilly, for example, the drug company, saying things like insulin is now free. There were kind of mocking tweets about Nintendo and the famous Mario character flipping the bird from what looked like a verified Nintendo account. So Twitter employees’ worst fears were playing out in real time as this thing was being launched.

On how COVID-19 changed Musk’s politics

Mac: I would say 2020 is a shift for him. He gets very upset with how California is handling COVID. And a large part of that is because Tesla, which is largely based in California and has manufacturing operations, can’t manufacture its cars. And so he lashes out at the state of California at its policies during the time as we’re trying to stop the spread. And he downplays the seriousness of COVID. He makes some pretty awful projections about the virus itself. And he just seems to go more and more to the right on that issue. …

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He has a trans daughter who seems to change his view on liberals and the progressive left. And this hatred of “wokeness” essentially, which is kind of an indefinable term. But he makes this this kind of boogeyman that he believes Democrats are supporting and that the Republican Party is the party for him, that this is the party that’s going to push back on those things. And it creates this kind of cocktail for him to kind of link up with Trump in 2024.

On the leadership styles of Musk and Trump

Conger: I think that there are a lot of similarities between these two men. I mean, the demand for loyalty above all else. Wanting people around them who are deeply, deeply loyal and committed to the mission. There’s also, I think, parallels in the impulsivity and recklessness with which they conduct business. We’ve seen similarities as well in the way that they run their businesses and some of the legal challenges that they’ve run into. …

Mac: I think going through lawyers is a common trait for both of them. As well as their addiction to social media. They are very online individuals.

On the disconnect between Tesla and SpaceX and X (formerly Twitter)

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Conger: Musk’s achievements in engineering are pretty undeniable. The things that he’s been able to build at Tesla and SpaceX really bolster that reputation as a best-in-class engineer. What we’ve seen with Twitter is that Twitter is not really a technical problem. It’s a people problem, right? It’s a communication problem. You have to figure out how to bring the world together into the same place and allow constructive conversation. And it’s not something that Musk has a lot of experience with, nor has he excelled at in his own personal life. He’s often talked about his struggles to communicate and to find common ground with people. And so I think in Twitter, he’s really come up against a unique challenge that he was not equipped to take on.

One of the ways he has been able to succeed at Tesla and SpaceX is to just really bang his head against the wall, force himself to work these really long hours and kind of just force his way through these technical issues. And he’s tried the same approach with Twitter with less positive effect, trying to just kind of force the platform along, force these sort of rogue policy decisions where he’s deciding to ban people he doesn’t like. And it hasn’t worked out as well. And it has been quite damaging to his reputation.

Sam Briger and Joel Wolfram produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper, Julia Redpath and Bobby Allyn adapted it for the web.

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Bet on Anything, Everywhere, All at Once : Up First from NPR

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Bet on Anything, Everywhere, All at Once : Up First from NPR

Online prediction market platforms allow people to place bets on wide-ranging subjects such as sports, finance, politics and currents events.

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Photo Illustration by Scott Olson/Getty Images

The rise of prediction markets means you can now bet on just about anything, right from your phone. Apps like Kalshi and Polymarket have grown exponentially in President Trump’s second term, as his administration has rolled back regulations designed to keep the industry in check. Billions of dollars have flooded in, and users are placing bets on everything from whether it will rain in Seattle today to whether the US will take over control of Greenland. Who’s winning big on these apps? And who is losing? NPR correspondent Bobby Allyn joins The Sunday Story to explain how these markets came to be and where they are going.

This episode was produced by Andrew Mambo. It was edited by Liana Simstrom and Brett Neely. Fact-checking by Barclay Walsh and Susie Cummings. It was engineered by Robert Rodriguez. 

We’d love to hear from you. Send us an email at TheSundayStory@npr.org.

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Listen to Up First on Apple Podcasts and Spotify.

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A secret-ish Japanese-style listening lounge just opened inside the Hollywood Palladium

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A secret-ish Japanese-style listening lounge just opened inside the Hollywood Palladium

Now you can pair your big show with dinner and a more intimate listening experience. The Hollywood Palladium, an Art Deco music venue graced by performers like Frank Sinatra, Richard Pryor, Jimi Hendrix, Lady Gaga and Jay-Z since 1940, has debuted a swanky lounge known as Vinyl Room.

Inspired by 1970s Japanese high-fidelity (hi-fi for short) listening rooms and operated by entertainment company Live Nation, it’s a space where concertgoers can have dinner, grab drinks and catch a vinyl DJ set before, during or after their ticketed event in the same venue.

With a name like Vinyl Room, you can expect to see vinyl records everywhere.

“You’re in [for] a whole night of music,” says Geni Lincoln, president of the California region for Live Nation, adding that her team put “so much thought” into the sound and design of the space, which was in development for more than two years.

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“I’ve been coming to the Palladium since I was a teenager, so it’s really special to see,” she says.

Entering Vinyl Room feels like you’re stepping into a secret speakeasy for music lovers, one with iconic music memorabilia, a thoughtful food menu and premium sound quality. Want to check it out? Here are five things to know.

Two people play cards at Vinyl Room.

Everything inside of Vinyl Room is inspired by the sounds and the musicians who’ve played at the Hollywood Palladium since 1940.

1. Vinyl Room is exclusively open to members and concertgoers with an upgraded ticket

Vinyl Room is open only on Hollywood Palladium show nights, starting 90 minutes before doors open, and remains open one hour after the concert. Admission is limited to concertgoers who purchase a ticket upgrade, which starts at $35. Early reservations are recommended.

Vinyl Room also offers annual membership packages, which start at $2,000 and come with various benefits such as complimentary guest passes to Vinyl Room, access to an exclusive menu, valet parking, table reservations inside the lounge, a dedicated private entry, complimentary coat check and concert ticket credits.

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Tip Dunn, also known as DJ tenSpeed, plays music at Vinyl Room.

Tip Dunn, also known as DJ tenSpeed, played records during opening night at Vinyl Room at the Hollywood Palladium.

2. Hi-fi is having a moment in Los Angeles — and Vinyl Room delivers on sound quality

From Common Wave Hi-Fi in Boyle Heights to Slow Jamz Gallery in the Arts District and Gold Line bar in Highland Park, hi-fi — a 1950s term used to describe the high-quality reproduction of sound — venues and experiences have been slowly popping up around L.A. over the last few years. Vinyl Room joins a short list of places where audiophiles can go to listen to music on hi-fi equipment, which many argue is the best way to experience it.

Much like the Hollywood Palladium, which is known for its top-tier sound, Vinyl Room also makes sound a priority. The lounge utilizes hi-fi sound equipment including Master Sounds Clarity-M speakers to ensure that the records sound as crisp as possible. Live DJs spin records on a set of turntables, which helps to create a richer and more analog sound that is closer to the original track than compressed versions such as MP3s.

Vintage concert posters decorate the walls at Vinyl Room.

Ruthie Embry, vice president of architecture and design at Live Nation, says the records and other memorabilia inside the space “connects you directly to the venue’s history the second you walk in the door.”

3. All of the decor ties back to music and the Hollywood Palladium’s rich history

With a name like Vinyl Room, you can expect to see vinyls everywhere. Records line most of the walls and shelves, drinks are served on vinyl-shaped coasters and tables and light fixtures are designed to the theme. There’s even vinyl wallpaper in the photo booth. In one corner of the lounge, you can dig through records under a neon sign that reads, “But have you heard it on vinyl?”

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Ruthie Embry, vice president of architecture and design at Live Nation, says the records and other memorabilia inside the space “connects you directly to the venue’s history the second you walk in the door.”

Some standout items include a Red Hot Chili Peppers show flier, a Hollywood Palladium postcard signed by late musician and host Lawrence Welk and a photo of late singers Bonnie Baker and Orrin Tucker at the venue. Even the bathroom creates a memorable photo moment: The stalls are filled with photos of musicians and an “on air” studio sign lights up when a stall is occupied.

Food served at Vinyl Room in Hollywood.

Vinyl Room’s menu, created by Chef Ryan DeRieux, is inspired by Asian flavors and includes items like the “Vinyl Roll,” which is made with spicy tuna.

4. Don’t worry about dinner plans before or after the show. Vinyl Room has got you covered

Eliminating the need to find a pre- or post-show restaurant, Vinyl Room has a full Asian-inspired menu created by Chef Ryan DeRieux.

Think sushi tots (like crispy tuna but with tater tots instead of rice), tuna poke nachos, chili crunch chicken wings and shiitake tempura burgers. There’s also a mouth-watering 10-ounce American wagyu skirt steak served with shishito peppers, pickles and charred carrots. For dessert, try the taiyaki, a popular fish-shaped Japanese street food, which is served with a delicious passion fruit cream that I wanted to take to go because I liked it so much.

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Cocktails at Vinyl Room

Signature cocktails at Vinyl Room, inspired by popular songs, include the Superfly, Escape (if you like piña coladas) and Smoke on the Water.

5. The craft cocktails aren’t just delicious — they each have a story

Vinyl Room's old-fashioned is made with Nikka Yoichi whisky, which is made in Japan.

Vinyl Room’s old-fashioned is made with Nikka Yoichi whisky, which is made in Japan.

The cocktail program, developed by third-generation bartender Sean Kenyon, is inspired by the songs created by musicians who’ve graced the Hollywood Palladium stage. A nod to the 1970s, the Superfly is a fizzy, citrus-forward play on Curtis Mayfield’s 1972 track and is made with Roku Gin and yuzu and sencha syrup. Other signature drinks include the rum-based Escape (if you like piña coladas) with coconut oolong syrup, pineapple juice and miso, and the tart yet sweet Smoke on the Water, which is reminiscent of Deep Purple’s 1972 song. The bar also offers an espresso martini (called the MT Joy), a signature old-fashioned (made with Nikka Yoichi whisky) and a Japanese whiskey highball (made with Hibiki Harmony whisky). The bar offers a number of non-alcoholic options as well.

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Found: The 19th century silent film that first captured a robot attack

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Found: The 19th century silent film that first captured a robot attack

A screenshot from George Mélière’s Gugusse et l’Automate. The pioneering French filmmaker’s 1897 short, which likely features the first known depiction of a robot on film, was thought lost until it was found among a box of old reels that had belonged to a family in Michigan and restored by the Library of Congress.

The Frisbee Collection/Library of Congress


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The Frisbee Collection/Library of Congress

The Library of Congress has found and restored a long-lost silent film by Georges Méliès.

The famed 19th century French filmmaker is best known for his groundbreaking 1902 science fiction adventure masterpiece Le Voyage dans la Lune (A Trip to the Moon).

The 45-second-long, one-reel short Gugusse et l’AutomateGugusse and the Automaton – was made nearly 130 years ago. But the subject matter still feels timely. The film, which can be viewed on the Library of Congress’ website, depicts a child-sized robot clown who grows to the size of an adult and then attacks a human clown with a stick. The human then decimates the machine with a hammer.

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In an Instagram post, Library of Congress moving image curator Jason Evans Groth said the film represents, “probably the first instance of a robot ever captured in a moving image.” (The word “robot” didn’t appear until 1921, when Czech dramatist Karel Čapek coined it in his science fiction play R.U.R..)

“Today, many of us are worried about AI and robots,” said archivist and filmmaker Rick Prelinger, in an email to NPR. “Well, people were thinking about robots in 1897. Very little is new.”

A long journey

Groth said the film arrived in a box last September from a donor in Michigan, Bill McFarland. “Bill’s great grandfather, William Frisbee, was a person who loved technology,” Groth said. “And in the late 19th century, must have bought a projector and a bunch of films and decided to drive them around in his buggy to share them with folks in Pennsylvania, Ohio, New York.”

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McFarland didn’t know what was on the 10 rusty reels he dropped off at the Library of Congress’ National Audio-Visual Conservation Center in Culpeper, Va. A Library article about the discovery describes the battered, pre-World War I artifacts as having been, “shuttled around from basements to barns to garages,” and that they, “could no longer be safely run through a projector,” owing to their delicate condition. “The nitrate film stock had crumbled to bits on some; other strips were stuck together,” the article said. It was a lab technician in Michigan who suggested McFarland contact the Library of Congress.

“The moment we set our eyes on this box of film, we knew it was something special,” said George Willeman, who heads up the Library’s nitrate film vault, in the article.

Willeman’s team carefully inspected the trove of footage, which also contained another well-known Méliès film, Nouvelles Luttes extravagantes (The Fat and Lean Wrestling Match) and parts of The Burning Stable, an early Thomas Edison work. With the help of an external expert, they identified the reel as having been created by Méliès because it features a star painted on a pedestal in the center of the screen – the logo for Méliès Star Film Company.

A pioneering filmmaker

Méliès was one of the great pioneers of cinema. The scene in which a rocket lands playfully in the eye of Méliès’ anthropomorphic moon in Le Voyage dans la Lune is one of the most famous moments in cinematic history. And he helped to popularize such special effects as multiple exposures and time-lapse photography.

This moment from George Méliès' Le Voyage dans la Lune (A Trip to the Moon) is considered to be one of the most famous in cinematic history.

This moment from George Méliès’ Le Voyage dans la Lune (A Trip to the Moon) is considered to be one of the most famous in cinematic history.

George Méliès/Public Domain

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Presumed lost until the Library of Congress’s discovery, Gugusse et L’Automate loomed large in the imaginations of science fiction and early cinema buffs for more than a century. In their 1977 book Things to Come: An Illustrated History of the Science Fiction Film, authors Douglas Menville and R. Reginald described Gugusse as possibly being, “the first true SF [science fiction] film.”

“While it may seem that no more discoveries remain to be made, that’s not the case,” said Prelinger of the work’s reappearance. “Here’s a genuine discovery from the early days of film that no one anticipated.”

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