The Desert Safety Net

Every winter, tens of thousands of Americans migrate to public lands in the Arizona desert. For a growing number, it's not a vacation—it’s the only housing they can afford.

Every autumn across North America, migration begins.

And across the continent’s highways and desert roads, another migration gathers – this one made not of birds or fish, but of humans.

They go by many names: nomads, drifters, snowbirds, boondockers, van dwellers. Some travel in search of warmth, others for freedom and community. And for a growing number, the migration is not simply seasonal but economic.

Among those is 55-year-old Derek Hansler, a chef by trade.

Known to friends as D Rock, he spends the summer in New Hampshire visiting his children and grandchildren, parking his 2003 Van Terra shuttle bus in driveways along the way. He picks up gigs when he needs cash or a place to park, but the season is less work than service, volunteering in the communities he revisits every year.

“New Hampshire tells me when it’s time to roll,” he jokes. He likes to stay until the leaves turn crimson, then leave before they fall. When that moment arrives, he says goodbye to his family and points his bus 3,300 miles (5,310km) to the south-west.

In Seattle, as the rainy maritime chill brings out jackets, Stephanie Scruggs and Gustavo Costo prepare to head south. After three years on the road, they recently decided to move in together – a milestone in their nomadic life that meant trading their two vans for a half-finished bus they named Magpie, a weathered 1999 International Thomas.

It’s been more than five years since Scruggs, then 35, was diagnosed with a rare and aggressive brain cancer known as a grade three anaplastic astrocytoma. After surgery, six weeks of radiation, and a year of chemo, doctors told her she might have two to five years to live.

Retiree Theresa Webster makes a final pass through the Oregon campground where she volunteers each year as a summer host. Fire rings are doused. Bathrooms are scrubbed. Trash is gathered and hauled away.

In return for the work, she has been given what has become increasingly rare: a legal place to park.

With the season over, she packs up Old Yeller, the mustard yellow 1977 Dodge van she bought for $3,000. Her dog, Miles, rides shotgun as she takes the long way south, first turning east toward her son’s driveway in Iowa, folding briefly back into the family rhythms of grandkids and shared meals. When winter presses in, she points Old Yeller down the interstate.

In driveways, campgrounds, and borrowed corners of parking lots, autumn departures like these unfold across North America. Soon these migrants will spill on to back roads, highways and interstates, license plates tracing faint lines south from Alaska, Quebec, Maine and everywhere in between, navigating by a kind of winter constellation – an invisible beacon in the American southwest that most maps barely notice, a place they return to year after year.

A small desert outpost called Quartzsite, Arizona.

*****

For many road trippers speeding along Interstate 10, Quartzsite, or “Q-town” as it is affectionately known, appears little more than a gas station and fast-food stopover halfway between Los Angeles and Phoenix. It sits in the northern reaches of the Sonoran Desert, 20 miles east of the Colorado River.

Summertime temperatures hover in the triple digits, sending the valley’s human residents indoors to air-conditioned rooms and its wild inhabitants – including desert tortoises, cottontails and kangaroo rats – into underground lairs.

According to the 2020 census, the population is 2,413.

But as winter approaches and temperatures fall to something more forgiving, the great migration of motorhomes, RVs, buses, trailers, vans, cars and trucks begins to pour into Quartzsite – and more precisely, into the vast stretches of open desert that surround it.

But not everyone keeps moving.

Tens of thousands instead gather inside BLM-designated long-term visitor areas, or LTVAs, seasonal enclaves established in 1983 to accommodate the growing number of people wintering in the desert. Seven LTVAs stretch across Arizona and California. But the largest of these and the center of gravity is La Posa – Spanish for “the resting place” – an 11,400-acre stretch of land on the outskirts of Quartzsite.

Each winter, a vibrant social world takes hold. Clubs form and dissolve – singles groups, quilters, metal-detecting hobbyists – while daily gatherings emerge at sunrise and continue late into the night. Around them, infrastructure hums into being: laundromats that double as showers, RVs converted into hair salons, swap meets, mail-forwarding counters for lives without fixed addresses, mechanics coaxing life from failing engines.

Theresa remembers arriving in Old Yeller for the first time in 2018. She had kept her apartment in Oregon just in case van life didn’t work out. But as the desert opened around her, the contingency plan dissolved.

“This is it,” she remembers thinking. “This is the life.” She had grown tired of paying rent and bills and having nothing left over – a treadmill she could never step off. Out here, there were no landlords to answer to. Eight years later, the desert around Quartzsite still carries that weight for her. “It has a magical feeling,” she said.

Community and infrastructure move in tandem here, creating a seasonal metropolis layered on to the existing town. But what allows it to function year after year is something more fundamental: affordability.

For $180, a permit allows camping from 15 September through 15 April. At La Posa, that price includes trash collection, vault toilets and a dump station. It’s worth pausing on the math. For less than the cost of a single night in many American hotels, a person can legally live on public lands in the desert for seven months.

Many LTVA visitors are traditional snowbirds: retirees who maintain homes elsewhere and migrate seasonally for warmth. But for a growing number of others, the permit functions differently: as a legal foothold in a housing system that has increasingly shut them out. [...]

Dr Graham Pruss, executive director of the National Vehicle Residency Coalition – a network that advocates for the rights of people living in vehicles – spends part of each winter moving between desert camps as he connects with vehicle residents across the country. He sees many of them as part of what he calls an “economic refugee class.” They are people displaced not by conflict or famine, he said, but by rents, wages and the shrinking availability of stable housing.

He describes what he calls “settlement bias” – our tendency to treat familiar forms of dwelling as legitimate and unfamiliar ones as suspect.

“If you park an RV on to a private space and you pay for rent, that’s called a mobile home park,” he said. “But if you move that RV 100 feet onto the street, we call that homelessness.

“These are people who are using their private property to solve a housing crisis that we all see around us,” he added. “That adaptive strategy is innovative. It creates solutions where they don’t exist.”

For many vehicle residents, public lands have become one of the few legal geographies where long-term habitation remains possible.

“Public lands are the lifeline for a lot of us,” said Mary Feuer, a longtime public land resident. “When the money runs out, they literally support us.”

by Joshua Jackson, Re:Public |  Read more:

Image: Joshua Jackson

Consider the Sister

Amy Wallace has spent two decades guarding the human her brother was—against a world that prefers David Foster Wallace as a puzzle.

Early on Saturday mornings, Amy Wallace would be yanked out of bed by her big brother, David. He was determined not to miss the start of the cartoons. At their home in Urbana, Illinois, the siblings situated themselves in front of the television and waited for the color bars to turn to The Road Runner Show, David eager, impatient, full of energy. Eventually, he would splay out on the carpet and Amy would sit behind him on the couch. More than 50 years later, Amy is still haunted by the sensory experience of that couch. It was pea-green and scratchy, yet she dutifully—and gladly—sat there as part of their sibling ritual.

 

Their mother, Sally Foster, described the scene this way: Amy spent her mornings watching David watch TV. But that’s not quite right.

“Watching television with David was an interactive experience,” Amy says. The two children weren’t content with what was on offer. Often, they would invent new dialogue for the characters extemporaneously.

“That was one of our hobbies,” Amy says. “We just thought, whoever’s writing this, it could be so much more interesting.”

David identified as the Road Runner and told Amy she was his Wile E. Coyote. He had the speed, the tools—and the upper hand. She was left with only her wits to try to keep up with him, but of course she never could. The lot of Wile E. Coyote was to follow the Road Runner hopelessly, never to catch up.

It was hard work being David Foster Wallace’s little sister. It still is. The job of preserving the memory of her brother as a complex, vibrant, often joyful person has fallen to her. It’s been nearly 20 years since his death by suicide, and while the legend of DFW the writer has grown, the story of the human has been flattened to the stereotype of a tortured artist who came to a tragic end.

Amy, who lives in Arizona, is now the only living member of the nuclear Foster Wallace family. James (a philosophy professor) and Sally (an English professor) moved from Urbana to Arizona in 2012. James died in July 2019, and Sally died just over a year later in July 2020.

The grief over the deaths of her brother and then her parents is a constant companion.

“Nearly every morning of my life, as a fully grown adult woman living a full adult life, I wake up and I’m back in my childhood bed,” she says. “My mom is making breakfast and David’s in his bedroom and it’s so vivid. Then I open my eyes and it’s like nope, that’s all gone.”

Amy’s own children are adults now. She says her eldest is now a writer as well. (Amy asked me not to describe them, to preserve their privacy.) They were old enough to have strong memories of their uncle, and they bear a strong physical resemblance to him. David’s death was a very public wound for a mostly private family.

In 2001, David published a piece of fiction about a man grappling with suicidal ideation. He wrote, in part: “I apologized for whatever pain my suicide and the fraudulence and/or inability to love that had precipitated it might cause” his family. To some extent, he foresaw the shadow he would cast.

Years after David’s death, their father asked Amy to write a book about him from her perspective. He asked her to make sure the people who raised him got a say in his memory, too.

Amy decided a book would be too invasive—but she came to understand that she had a responsibility to talk about her brother beyond the legend that was partly of his own fashioning. She has given radio interviews, appeared at a conference dedicated to David’s work, and has spoken to me at length about the person who teased her, protected her, alienated and embraced her, and eventually broke her heart.

“I do feel that it's kind of incumbent on me to let the world know what a very normal person he was,” Amy says. “And that he was mostly happy, generous—and extremely funny.”

*****

Amy has a knack for making you feel, very quickly, like you too knew this brotherly version of David, knew the sincerity of his often oddly shaped affection.

My own connection with Amy came as the result of my insecurity around David’s work, not the sort of deep, life-defining fanaticism that one often encounters in the cult of DFW. Generally, I have viewed his work the way I have at times felt about Salvador Dalí—we’re all humans with the same general set of blood, guts, and brains. How could these people pull so much more out of themselves than the rest of us?

In many ways, this envy has stood in the way of my own appreciation of David’s writing. It’s great, profound, and will never be repeated. But how did he know so many words? What’s the deal with that syntax? Why do I write in plain, gray English while his work hits my eyes like Technicolor?

In April 2025, I emailed Amy out of the blue. Here is what I said:

“I'm hoping that you might be willing to be interviewed about your mother and let me learn more about her life and work. I have always had a hard time getting past my envy of your brother's vocabulary, and I felt a little bit better about it when I read a bit about Sally.

“So, naturally, my curiosity turned to her and her life. I'd love to write a real feature piece about Sally.”

Amy and I spoke at length over the following weeks. She suggested I buy a copy of her mother’s textbook Practically Painless English. I read it on the subway and felt immediate clarity upon reading just the first few pages.

In a section about verbs, Sally laid out an exercise:

1. Please circle each verb you find in these sentences.
2. The fox moaned and groaned when the chicken escaped.
3. I baked a cake for Mongo, but he turned bright green after he ate some.
4.George is upset because his father thinks he lied about the cherry tree.
5. Florence sneaked out of her room, tiptoed down the stairs, and dynamited the refrigerator.
6. The big fish kept out of trouble because he shut his mouth and stayed in school.

Practically Painless English isn’t just a textbook for people who want to learn to speak proper English. It’s a guide to using language with personality. If Strunk and White offer a guide to frictionless diction, Practically Painless English demonstrates how to stand out within a traditional framework. I probably would have been a much more interesting writer if I’d been raised by a parent who felt so strongly that storytelling should contain detail, whimsy, and flair. Then I realized that Amy was raised by just such a parent, too.

Eventually, months after our first conversation, I reached out to Amy again. This time my curiosity turned to her and her life. I asked her if I could write a real feature piece about her.

In the course of subjecting Amy to many, many hours of conversations about herself, her brother, and my own writing life and hangups about it, I found someone who is as entertaining as she is earnest. Scrutiny around David’s upbringing is inevitably scrutiny of her own upbringing, though hardly any of those critics care to understand her experience—or even know she exists.

She carries that family trait of delighting in absurdity. She hasn’t deified or demonized her brother despite the persistent desire in the literary community to do one or the other. One afternoon, as she was detailing how David watched television, she described just how long she had to sit with him on Saturday mornings before the start of their cartoons.

“Well, no one ever accused your brother of brevity,” I responded, anxiously. I wondered where the line was between respecting the memory of someone and treating them like they were a real person whose peculiarities were worthy of note.

“Or patience,” she said, upping the ante and putting me at ease. “He bounced off the walls in those days.”

One of the ways that Amy protects her brother’s humanity is by showing how his anxieties seemed to travel through a prism and shoot out at unexpected angles. The gloomier results are well known, but there could be humor, too, in the fears provoked not just by his anxiety but by his own ethic of deep care.

She recalls David had an obsession with sharks—which she believes stems from a book called Shark Attack that lived in the bathroom they shared for a portion of their childhood.

Many years later, Amy went to study abroad in Australia. The water was warm there, and she was enjoying herself at the beach regularly after spending her childhood in the landlocked Midwest. Back in the United States, though, David kept thinking about the sharks. He sent letters reminding his sister how to spot them in open water. There was money, too, because he was distraught at the idea that she might wind up short on resources while out on her own. Amy was fine, but David was determined to protect her, in his own way.

“He’d sign off his letters to me with a picture of a shark fin,” Amy says. “Then there’d be a little stick figure. Oh my god, it was great.”

Amy says the last time she and her family spent significant time with David was on a vacation to Stinson Beach.

“When any of us were in the water, he'd be standing on the deck with binoculars scanning for fins,” she recalls. “He was so terrified of sharks and he didn't stick a toe in the water.”

Before he was the most revered and studied contemporary American author, DFW was just someone’s older brother. Amy didn’t see him as DFW, the public character. But she can talk at length about the person she grew up with.

by Lindsey Adler, The Small Bow | Read more:
Image: Road Runner Show/dreamstime

Gen Z Is Pioneering a New Understanding of Truth

Previous generations inherited relatively stable systems for determining what was real: newspapers, universities, scientific institutions, courts, and professional journalism. Those systems were imperfect and often exclusionary, but they provided shared reference points. Gen Z has inherited something fundamentally different: an information ecosystem where truth is increasingly shaped socially, emotionally, algorithmically, and now synthetically through AI.

As journalist Maria Ressa warned in her Nobel Prize acceptance speech, "Without facts, you can't have truth. Without truth, you can't have trust. Without trust, we have no shared reality, no democracy."

But Gen Z may already be building something to replace what's been lost. Not institutions. Not gatekeepers. A distributed, socially negotiated sense of who earns the right to be believed. They're not abandoning truth. They're auditing who gets to deliver it.

That verdict, built by millions of young people navigating this system together, is already in.

by Steven Rosenbaum, Wired |  Read more:

Image: Darrell Jackson; Getty Images

Bob Spitz on the Rolling Stones, Bruce Springsteen, and the Art of Biography

Bob Spitz has written major biographies of the Beatles, Led Zeppelin, Bob Dylan, and now the Rolling Stones — but also, somehow, Ronald Reagan and Julia Child. In rock, his credentials were hard won: he started out hustling gigs for an unknown Bruce Springsteen for six years, moved on to handling Elton John’s American business, and spent long enough in the world to find himself jamming with Paul McCartney and chatting with Bob Dylan on a stoop in the Village. The Reagan and Julia Child books are harder to explain, and perhaps that’s the point—Spitz seems to do his best work when he has no business writing the book at all.

Tyler and Bob discuss how the Stones became so great so quickly, what they added to the blues, how their melodies stack up against the Beatles’, whether Exile on Main Street deserves its canonical status, which songs are most underrated, what Charlie Watts actually got out of playing in a rock band, the rise and fall of Brian Jones, how the Stones outlasted nearly everyone, the influence of Mick’s London School of Economics training, why popular music has lost its cultural influence, what we should still be asking Paul McCartney and Ringo Starr, whether the Beatles’ breakup was good for the world, how senile Reagan really was in his second term and whether he was ever truly a communist, how good a cook Julia Child actually was, his next book on Lennon’s second act, and much more.

TYLER COWEN: Hello, everyone, and welcome back to Conversations with Tyler. Today I’m sitting here chatting with the great Bob Spitz, the biographer. He has a new book out, which I enjoyed very much, The Rolling Stones: The Biography. He has other very well-known books on the Beatles, Led Zeppelin, Bob Dylan, Ronald Reagan, Julia Child, and more. Bob, welcome.

BOB SPITZ: My pleasure, Tyler. Nice to be with you.

COWEN: Did the Rolling Stones have a long apprenticeship period the way the Beatles did? It seems they didn’t. How did they become so great so quickly?

SPITZ: Actually, they did. They worked in a little club called the Crawdaddy Club, which was in Richmond, a suburb of London. They worked long and hard there. In fact, the first time, and I document this in the book, the first time they show up, only six kids show up. They’re despondent. They go and talk to the head of the club. He said, “Look, play as if there are 100 people there and next week, there will be 100 people.”

Next week, there was 100 people. They played as if there were 100. The next week, 200 came. They worked in that club for about six months. Then they went on the road. They played a lot of really crappy little places, the same way that the Beatles did. Perhaps not as long an apprenticeship, but they served their time pretty well.

COWEN: That seems quite short, those six months. You read about Paul McCartney. He writes songs when he’s age 14, age 16. Is there anything comparable in the Rolling Stones?

SPITZ: No, not really. The Stones never dreamed that they would write music. It was beyond them. They were blues singers. Their primary goal in life was to bring that rich catalog of Delta and Mississippi, and Chicago blues to the world. They did not care about writing songs at all. They saw themselves as authentic blues masters. It was only their young manager, Andrew Oldham, who insisted if they were going to go anywhere, if they were going to compete in the music world, the pop music world, they would have to write music. They gave it a try. This came maybe two years after they were already on the road.

On the sound of the Rolling Stones

COWEN: There’s something they added to the blues. If you were to put your finger on what that was, the secret to their sound, the blues plus X, what’s the X there?

SPITZ: Rock ‘n’ roll. The X is rock ‘n’ roll. They jacked it up. They hotwired the blues. They turned it into a sound that we now know as rock ‘n’ roll. Chuck Berry and Bo Diddley started that sound. Then the Stones really gave it extra power and ferocious guitar and gave us the sound that we now know as rock ‘n’ roll today.

COWEN: They also have some songs that are very good. You could say almost Country and Western music, say, circa 1968. There’s some other element musically other than just rocking that they’re adding all along.

SPITZ: Absolutely. They took the records that the American servicemen had left behind after World War II. They left thousands of records behind. The majority of them were Country and Western records. The Stones grew up, like the Beatles did too, loving Country and Western music, courtesy of the American servicemen.

COWEN: Viewed objectively, how good are their melodies, just as melodies? If you ask about the Beatles, here, there, and everywhere, that’s an A-double-plus melody. How do you rate the Stones?

SPITZ: I would rate them maybe a B minus. Their rock and roll melodies are spectacular. “Gimme Shelter,” “Jumpin’ Jack Flash,” “You Can’t Always Get What You Want,” these are melodies that I would put up against some of the Beatles’ better songs, but perhaps not as lush, not as romantic as the Beatles. Melodies in a different mode. [...]

On art colleges and rock ‘n’ roll

COWEN: Here’s a sentence from you: “The nascent British rock ‘n’ roll movement was born in art colleges.” Please explain.

SPITZ: Oh, well, art colleges, we don’t have them here, but they are a foundation of UK education. There is an 11-plus test that is given to every student when they’re 11 years old, and it really determines whether or not they’re going to go on to university or they’re going to go to a vocational school. In those early days, a vocational school meant that you’d wind up working in a factory. You’d wind up working as a clerk for the railroad. You’d take on one of those jobs.

Art schools came into being, and this was a repository for people who had talent but didn’t know what to do with it and weren’t that academic. Art schools sprang up in almost every community in the UK. We have people like Jimmy Page coming out of art school, Keith Richards, Jeff Beck, Pete Townshend, all the great rock ‘n’ roll—

COWEN: John Lennon, also, right?

SPITZ: John Lennon, absolutely, went to Liverpool College of Art. It was an incubator for the arts, but also for rock ‘n’ roll because people brought their instruments to school, and they would play in the cloak rooms. That’s where they really formed bands and learned how to play with other musicians. The art school movement really gave us that whole British rock ‘n’ roll thing to this very day. Florence Welch of Florence and the Machine came out of it. Jarvis Cocker came out of art schools. They’re still thriving in the UK, and they’re still giving us new, innovative music. [...]

COWEN: Mick once said his favorite economist was Friedrich A. Hayek. Do you know anything more about that?

SPITZ: I do not, actually. I think it’s incredible that Mick had favorite economists. We do know that Mick was a scholarship student to the London School of Economics, and that for two and a half years, he attended and got pretty good grades. He did fairly well. The one thing that amazes me about Mick coming out of that London School of Economics is this. After 1967, when Andrew Loog Oldham stopped managing the Stones, they have never had another manager. They’ve had some money managers, but as far as managers go, Mick Jagger was their manager.

He has served as the Rolling Stones’ manager, bringing all of his experience from the London School of Economics since 1967. He’s negotiated all of the recording contracts, their publishing contracts. Every tour that comes along, he negotiates with the promoters. Every date he oversees, he designs the stage, and he invests the Stones’ money. So remarkable that this guy, a London School of Economics dropout, let’s call him that, has done so well for the rest of the band. [...]

COWEN: Let’s say we put you in charge of social welfare. Was it good that the Beatles split up when they did? I mean for the world, not for them.

SPITZ: Perhaps it was. I always felt that a lot of people run out of steam after three or four albums. If you look at Bob Dylan and Neil Young and Van Morrison and The Who and maybe even The Rolling Stones, after a couple years, after maybe four or five albums, they start trying to duplicate themselves. The Beatles gave us everything they had, and then they stopped. We have 230-some songs, perhaps the most remarkable songbook, aside from Hammerstein and Rodgers, that we know of from the 1900s on. The Beatles songbook I would put up against anybody’s. I think maybe if they had stayed together, they might have lost some of that spark.

COWEN: Think how many more George songs we got from this split, or Paul songs for that matter.

SPITZ: Absolutely right. George, toward the end, George really came into his own. Even after, in his solo career, we got some real gems out of George. I think it took him a little longer. More than that, I think he learned how to step out of the Lennon-McCartney shadow and stand on his own two feet.

COWEN: What did you learn jamming with Paul McCartney?

SPITZ: Boy, that was an experience.

COWEN: What year is this, just for context?

SPITZ: 1997. The New York Times Magazine sent me to the UK right after Paul was knighted to talk to him about that and give me a few of his memories of John Lennon. We were in Hastings in his house. It was a strange experience because I expected Paul McCartney to have an expensive house. It was really this tiny two-and-a-half, three-bedroom cottage. I said, “Do you actually live here?” He said, “I do.” I said, “But you have five children. You have three bedrooms.” He said, “Linda said that we all need to live on top of one another. That’s what we do. We are a family here.”

As I was leaving, he said, “Hey, you’re a musician, right? Want to see the studio?” Of course, that was like catnip to a guy like me. We went downstairs, and he shows me. It was a room no longer than say my dining room in New York City, but there were all the instruments from Abbey Road that he had, as well as Bill Black’s bass. Bill Black was Elvis Presley’s bass player. Paul had bought all these instruments and maintained them.

He said, “Sit down.” I said, “Sit down?” Paul sat down at the piano, and he nodded me into a guitar. What did we play? We played a few Beatles songs. It was frightening. I played with some great musicians before, but when you see Paul McCartney nodding you into a song, it’s a different feeling altogether, believe me.

COWEN: He was good?

SPITZ: Was he good? Oh, yes. I would say he was good. Then I let him sing “Maybe I’m Amazed” by himself on the piano. That was freakish, having a private audience in a tiny room. Never experienced anything like that before. [...]

On Robert Caro

COWEN: What is Robert Caro like?

SPITZ: Robert Caro is the guy I look up to whenever it comes to writing biographies. That man has a way with words that has often intrigued me and humbled me. I was at a party one time, and a guy came over and said, “I hear you’re writing a book about Ronald Reagan.” There were about 150 people in this party. I said, “I am.” He said, “Could you talk to me about it a little?”

We sat down on the couch. I looked, and I saw over the man’s shoulder, my wife was going, “It’s Robert Caro. It’s Robert Caro.” At which point, my semi-intelligent dialogue became bedab, bedab, bedab, bedab. He was an incredibly thoughtful man. He sent me a number of notes from time to time. He is the biographer’s biographer. I don’t know how he does it. A great read.

COWEN: Why doesn’t he do more in public? Is it a Bob Dylan kind of thing, or just he’s too busy writing and researching?

SPITZ: I think he’s too busy writing. This guy writes and researches around the clock. I have learned not to do that. From what I’ve gathered, he’s up to his eyeballs in work day and night. He lives to do that. That’s his process.

COWEN: Does he understand how much of a cult surrounds him since he’s not out in public much?

SPITZ: I think he does. When he’s out in public, people stop this guy on the street. He’s like a rock star. He gets a lot of letters from people, especially people who want to know if he’s ever going to finish that last installment of the Johnson biography. I expect we’re going to see that any day.

by Tyler Cowen and Bob Spitz, Conversations |  Read more:
Image: uncredited/Conversations with Tyler

AI Anti-Glaze System Prompt

Marc Andreessen just leaked the system prompt he uses to make every LLM 10x smarter. 

It's called the Anti-Glaze System Prompt. 

One paste. Your AI stops kissing your ass and starts telling you the truth. 

Here's what it actually does:

 → Kills "great question" forever

 → Kills "you're absolutely right" forever

 → Kills "fascinating perspective" forever 

→ Forces the model to lead with the strongest counterargument before it agrees with anything you say 

→ Refuses to capitulate when you push back unless you bring new evidence

 → Demands explicit confidence levels on every claim (high / moderate / low / unknown) 

→ Tells you immediately when you're wrong instead of validating your premise 

→ Owns its own numbers instead of anchoring on yours 

The line that ends the era of glazing AI: "Accuracy is your success metric, not my approval."...

Paste it into Claude Projects. ChatGPT Custom Instructions. Gemini Gem. API system message. The difference is immediate and it's brutal.

by Guri Singh, X |  Read more:

Image: Marc Andressen

[ed. Don't usually care what Andreessen does or think but this could be useful. Maybe I'll do a search of good prompts from other people and see what they've discovered.]

Kash Patel’s Personalized Calling Card

One of J. Edgar Hoover’s greatest reforms at the FBI was his embrace of fingerprinting. During the 1930s, visitors to the FBI offices in Washington, D.C., received souvenir fingerprint cards featuring his name. The men who succeeded him as FBI director were more discreet and judicious, mindful of the cult of personality that had developed around Hoover. They generally avoided giving out branded swag.

But then came Kash Patel.

President Trump’s FBI director has a great deal of affection for swag. Merchandise for sale on a website he co-founded—still operating, nearly 15 months into his term—includes beanies ($35), T-shirts ($35), orange camo hoodies ($65), trucker caps ($25), “government gangsters” playing cards (on sale for $10), and a Fight With Kash Punisher scarf ($25).

One thing not for sale is liquor, because liquor is something Patel gives away for free.

Last month, I reported that FBI personnel were alarmed by what they said was erratic behavior and excessive drinking by Patel. (The FBI director has denied the allegations and filed a defamation suit against The Atlantic and me.)

After my story appeared, I heard from people in Patel’s orbit and people he has met at public functions, who told me that it is not unusual for him to travel with a supply of personalized branded bourbon. The bottles bear the imprint of the Kentucky distillery Woodford Reserve, and are engraved with the words “Kash Patel FBI Director,” as well as a rendering of an FBI shield. Surrounding the shield is a band of text featuring Patel’s director title and his favored spelling of his first name: Ka$h. An eagle holds the shield in its talons, along with the number 9, presumably a reference to Patel’s place in the history of FBI directors. In some cases, the 750-milliliter bottles bear Patel’s signature, with “#9” there as well. One such bottle popped up on an online auction site shortly after my story appeared, and The Atlantic later purchased it. (The person who sold it to us did not want to be named, but said that the bottle was a gift from Patel at an event in Las Vegas.)

Patel has given out bottles of his personalized whiskey to FBI staff as well as civilians he encounters in his duties, according to eight people, including current and former FBI and Department of Justice employees and others who are familiar with Patel’s distribution of the bottles. Most of them spoke on the condition of anonymity out of fear of reprisal.

Patel has distributed his self-branded bottles while on official business, including during at least one FBI event. He and his team have transported the whiskey using a DOJ plane, including when he went to Milan during the Olympics in February. One of the bottles was left behind in a locker room, according to a person who was there. (I reviewed a photograph of the bottle.) On the same trip, Patel was filmed drinking beer with the gold-medal-winning U.S. men’s hockey team—behavior that officials have said did not sit well with the teetotaling president. Patel defended himself at the time, saying he was just celebrating with his “friends” on the hockey team. Patel’s use of DOJ aircraft to transport cases of alcohol has been the subject of discussion among FBI staff.

The FBI did not dispute that Patel gives out bottles of whiskey inscribed with his name, but in response to a detailed list of questions, a spokesperson portrayed the gifts as routine within the FBI and the broader government. He added that “the bottles in question are part of a tradition in the FBI that started well over a decade ago, long before Director Patel arrived. Senior Bureau officials have long exchanged commemorative items in formal gift settings consistent with ethics rules. Director Patel has followed all applicable ethical guidelines and pays for any personal gift himself.”

The spokesperson declined to clarify which ethical rules Patel was following, when the bottles were engraved with Patel’s name, or whether any bottles had actually been reimbursed as personal gifts. The FBI also declined to provide images of bottles bearing the names of past directors. When I reached a former longtime senior FBI official to ask whether he’d ever seen personally branded liquor bottles distributed by a previous FBI director, he burst out laughing. [...]

A spokesperson for Woodford Reserve said she did not have information about who had ordered the bottles or when. “Consumers who purchase Woodford Reserve occasionally have images and messages engraved on the bottle,” Elizabeth Conway, the director of external communications for the distillery’s parent company, told me. “These engravings occur after the point of purchase.”

Patel’s affection for bourbon is long-standing; during the first Trump administration, he and his colleagues at the National Security Council kept a barrel of it on hand to celebrate successful hostage negotiations and rescues, The New Yorker reported last year. (Patel served as the council’s senior director for counterterrorism at the time.)

Patel’s enthusiasm for self-branded merchandise is also well documented. “He is known as being very merch forward,” one DOJ employee told me. Even before he was confirmed as FBI director, Patel sent out Ka$h-branded merch boxes that included hats, socks, and other items depicting the comic-book character the Punisher, one person who received such a box told me. As my colleague Elaina Plott Calabro reported in 2024, before Patel became FBI director, he previously sold “Justice for All” #J6PC tees in honor of those arrested for their actions on January 6, 2021. (That item is no longer available from the Kash Foundation, which was founded by Patel but is now, according to its website, “an independent nonprofit, not endorsed by, associated with, or influenced by the Federal Bureau of Investigation, the Department of Justice, or any government agency.”)

In a wrongful-termination lawsuit filed in September, former Assistant Director in Charge of the FBI’s Washington Field Office Steven Jensen described an interaction in Patel’s conference room in which the director presented him with an abnormally large challenge coin—a memento often given out by leaders in law-enforcement and military organizations. The coin was inscribed Director at the top and Ka$h Patel at the bottom.

“Jensen then noticed a collection of whiskey bottles and cigars on Patel’s desk,” the complaint states. According to the complaint, “Patel explained that he used to produce his own brand of cigars, but they are not in production anymore.” Jensen, who oversaw parts of the investigation into the pro-Trump rioters who attacked the Capitol on January 6, was fired in August. (The U.S. government has moved to dismiss the case, and the lawsuit is pending.) Jensen’s lawyer, Margaret Donovan, told me in a statement that “there are line agents out there spending their nights and weekends trying to finish warrants, write reports, plan arrests. Yet the FBI Director apparently has the time to design logos, go to hockey games, sit for multi-hour podcast interviews. This is one of the most serious jobs in the country, not a vehicle for self-promotion and branding.”

by Sarah Fitzpatrick, The Atlantic | Read more:
Images: The Atlantic; Ebay; CSPAN; William Turton/X; Health Ranger Report
[ed. What a sad little man, but then no different than his boss. See also: Kash as the Poster Boy for Kakistocracy (Richard Hanania).]

The Life and Times of an American Tween

Every Wednesday, at exactly 2:15 P.M., the electronic bell at San Francisco’s A. P. Giannini Middle School sounds with a dull, droning buzz, and hundreds of students stream from the building. They wear big pants and bucket hats, cropped tanks and cargo jeans, Athleta sets and Air Force 1s. They carry ergonomically unsound backpacks dripping with bag charms and key chains: athletic affiliations, memorabilia, miniature stuffies. They pull thick socks up over their leggings; fix hydrocolloid stickers, star-shaped and cutesy, atop angry, interloping zits. Their lip tint is red and thickly applied. Their water bottles are status symbols. Their press-ons are shellacked and combat-ready. There are boys, too, small and gangly. They move in packs, magnifying their bulk like synchronized minnows. They look dressed by their mothers. On early-dismissal days, the afternoon yawns with possibility. The students dash to the bus or wander the nearby commercial drag, which has little going for it save the hardware store, where there is candy. They exchange their allowance for matcha ice cream at Polly Ann; gobble Domino’s to no intestinal detriment. They buy boba and punt each other with tapioca bullets. They flock to Starbucks for magenta Cannon Ball Drinks, creamy Pink Drinks, sludgy Dubai Chocolate Mochas. They chug the unchuggable. Twelve blocks to the west, the Pacific Ocean glitters and threatens, waves dragging out in the wind.

On a Wednesday afternoon, I was joined outside A.P.G. by Mira, a sixth grader with an open, angelic face and an ebullient presence. It is often chilly and overcast in the Outer Sunset, but this was a warm and clear day, and Mira, who is interested in matters of fashion, wore low-slung cargo sweatpants and a white tube top. Her hair, which is long, dark, and curly, had recently been treated to a bathroom Manic Panic job, and the front strands were dyed a light peach. She smoothed a strand as one might the tail of a cat. Mira is good company: frank, funny, and self-deprecating in a way that suggests confidence rather than its lack. At four feet eight, she is small for her age, but manages to occupy space laterally. She moves with a noodle elasticity, and is prone to breaking into dance moves while going about her business: a full-body wave from wrist to wrist, an entire sequence from a Katseye music video. The first time we met, we were mid-conversation when she inexplicably dropped into a side split, grabbed her ankles, and rolled backward, placing her toes on the floor behind her head. “At the beginning of the year, I couldn’t do an aerial”—a hands-free cartwheel—“and I can kind of do one now,” she told me, harrowingly assuming the starting position.

Mira is twelve years old and lives in the Avenues, San Francisco’s foggy western neighborhoods, with her mother, Michalle, who is a nurse practitioner, her father, Patrick, who is a full-time parent, and her sibling, Dylan, who is nine. (Last year, Dylan requested to use they/them pronouns, which the family mostly remembers to honor.) Like most kids her age, Mira exists in the murky, thrilling bardo between childhood and maturity. She is a gracious host—quick to offer guests a Spindrift—who totes a lunchbox adorned with a sticker of a unicorn. She is learning to cook, mostly quesadillas, but if she could she would live on Cheetos, boba, Trü Früs, and Coke. She razzes her parents in a way that makes them laugh, but no longer tells them everything. Mira’s first middle-school dance was coming up, and there was discussion among her friends about dresses and hair styles. I was excited to see which of her dance moves would make an appearance.

For years, Mira has been agitating for more independence. Last August, she began commuting to and from school alone, hurtling around the edge of the continent on the public bus. Since fifth grade, she has worn a silver Apple Watch, a glorified tracking device, which she pushes to the outer limits of usability. She is a member of several large group chats, including one called “4th Period Baddies,” and regularly consults Siri, summoning facts and images from the ether. (“Photos of hazel eyes.” “What does A.S.M.R. stand for?”) Still, the watch is no phone. A phone would be much cooler; would be, perhaps, the coolest thing. An Apple Watch was a bridge from childhood to adulthood. A phone would be a portal.

That Wednesday, Mira went to Polly Ann with her friends Kaitlyn and Sloane. At the counter, the girls realized no one had brought money. They began plumbing their wallets—pink, pleather, flat—for stray coins. Sloane called her mother on her Apple Watch and, in a mix of English and Mandarin, requested a transfusion of Apple Cash. She hung up just as Mira and Kaitlyn discovered, miraculously, that if they pooled their assets they could afford to split something. “Never mind we found money exclamation point,” Sloane said into her watch.

“Sloane, no!” Mira said. “We were going to get money!” Giggling, the girls ordered a pint of watermelon ice cream, requested three spoons, and dropped their last dime into the tip jar. They headed to a playground, a regular hangout spot for their peers, and settled onto a boulder. Smaller children from a nearby elementary school were availing themselves of climbers, slides, and beams. But by the boulder the real action was social and discursive. Two sixth-grade boys appeared, one tall and floppy-haired, the other wiry and blond. “Mira, I have a question for you,” the floppy-haired boy said. “Are you straight?” Mira looked at him, her face grave and blank. “No, no, not for me, for one of my friends,” he said, putting his hands out in front of his body, as if to distance himself from any association with crushing. Mira wanted to know who had dispatched him, but the boy wandered off to a playground structure, singing Jimmy Eat World to himself. [...]

The literature on adolescence marks middle school as a turning point, a time when kids begin to pull away from their parents, discard childish pursuits, and pursue, full thrust, the exhausting project of individuation. It is a period of intense, hormonally driven emotional flux. Self-consciousness sets in. The adult world is studied and emulated in a manner that suggests praxis but no theory. There is an aspect of camp to it all: a kind of LARP or drag, as young people transition from play-acting adulthood to inhabiting it. Actual adults are ancillary. Tweens and teens look to each other for clarity and guidance on how to behave and how to feel, all the while gambling with each other’s social confidence and self-esteem. It is natural, and it is psychotic.

The psychoanalyst Erik Erikson described the period between twelve and eighteen as one of essential identity formation: a time of trying on personas and roles. Writing in the mid-twentieth century, Erikson was sensitive to the ways that society could shape personality, but no one could have anticipated the explosion of potential identities, interests, aesthetics, subcultures, and life styles that children would be exposed to by globalization and, later, the internet: now there are clean girls, tomato girls, vanilla girls, office sirens, femboys, e-boys, looksmaxxers; one can be avant basic, old money, new money, quiet luxury, cottagecore, goblincore, fairycore. Adolescent anxiety and depression have been on the rise for years, and there is abundant public debate about why: economic inequality, strained family ties, sleep deprivation, smartphones. Childhood has never been easy, but these days the on-ramp to adulthood seems somehow shorter and more perilous.

by Anna Wiener, New Yorker |  Read more:

Image: Ok Causland

Doomers in Love

Last February, a group of young conservatives in Washington hosted an open-invitation Valentine’s Day debate party. There, a month after the inauguration, dozens of young men in or around Trump’s new administration gathered to discuss not the great man in the White House, not political revolution, but love.

This is an era of good feelings for these young men, and the theme would seem to reflect the mood. It is also promisingly uncontroversial, and thus more welcoming: more women have come to this event than most conservative mixers, raising their average attendance from the single digits to tentative double digits. For a generation of young men increasingly politically divorced from women their age, who make up the most anti-GOP and anti-Trump demographic, the idea that love could overcome any obstacle is a hopeful premise.

But in the debate that ensues, nearly every speech is against romance. The arguments detail the dangers of infatuation, and amid the laudations of reason over passion, logic over love, are explicit and implicit warnings against being a “simp” or a “sucker.” Some wonder aloud whether one should ask out women at all, who, in the age of dating apps, receive far too much male attention, and as a result have become too picky, exacting and fickle. Eventually, a quip about women’s suffrage comes from the audience, prompting a jocular back-and-forth. I ask a friend why they are suddenly discussing whether women should vote. He looks at me and sighs. “Women’s suffrage always comes up.” By night’s end, almost nobody has asked out any of the women present in the room; the only man who ventures to do so is summarily rejected.

Afterwards, at a nearby bar, I find again a lot of single young men talking about women, rather than to women. One tells me that his friend, who is not here tonight, recently found a girlfriend: “I’m really happy for him. But now he texts our group chat advice, acting like he’s got the key to life, like he’s got it all figured out. And sometimes I’m not sure what to talk about with him anymore. We used to bond over not having a girl.” I think of my own “girlfriends,” who’ve told me to break up with previous boyfriends over their greater or lesser faults, imploring me to think of “how fun it would be to be single together.”

In another corner of the bar, I encounter a group of three twentysomething young men. The young, right-leaning women who had shown up hopeful have gone home. These men are now here alone on a Saturday night, in hour one of a five-hour debate about the nature of love. They are lonely experts, armed with elaborate theories of the female mind. The discussants go around in circles for hours, discussing what men truly want, what women truly want. Theses abound: “Men want respect; women want to be desired”; “Men are easily satisfied, but women are always afraid of making the wrong choice and not maximizing their options”; “Men are the only true romantics.” And questions remain: How many past sexual partners is too many? How many is too few? Does she need to share your interests, or is femininity more important than intellectual compatibility? Is it a red flag if she’s unmarried after 25? Is it a red flag if she’s single? What if we just assigned girlfriends and boyfriends randomly, wouldn’t they be happier than if we let them choose?

These single men talk amongst themselves about how many kids they want, out of an earnest aspiration but also, at times, as if in competition to prove their traditional virility. It is easier to talk about wanting ten kids while unattached and 24 than to raise ten kids with one’s wife, but tonight the effect is the same: here, you are based. One asks me how many I want. “I don’t know yet; I have to find someone first. Three, four?” He gives me a look. “Those are liberal numbers.”

A few weeks later I attend another party in similar circles. It is almost midnight, ten minutes until my 27th birthday. I want to go home. As I walk out I encounter two young men, staffers in Trump’s administration, talking on the sidewalk in their suits and loosened ties, smoking cigarettes. Hesitantly, I say hello. I am exhausted by the theories I’ve heard over the last few weeks about women’s virtues and faults and nearly wince, expecting more to come. Behind me, I recognize two college-aged guys from recent media exposés; they work for DOGE and are evaluating some absent girl’s Instagram page.

I exchange a few pleasantries and introductions with the two men in front of me instead. Midway through the conversation, I mention that I ought to go home soon, but a friend walks past and wishes me a happy birthday. One of my new acquaintances walks abruptly toward a flowering dogwood tree, picks a flower from a branch, and comes back to present it to me without a word. I hold it in my hand, shy and elated. The DOGE boys call him a simp.

One thing I and other young women in D.C. have observed since the election is a shift in how young men speak to and appraise us. Passing through conservative mixers, parties and young-professional networks in Trump’s Washington, we’ve increasingly felt like we’re working against an assumption that women are tainted and guilty until proven otherwise. “Among all the young men I’ve met on the right, especially on the far right, I would guess that 10 to 20 percent of them hate all women,” my acquaintance Oliver, someone familiar with these circles, tells me somewhat sarcastically. I share Oliver’s estimate with a twentysomething right-wing influencer. He widens his eyes and laughs, but concedes there’s truth to it. “Look, lots of these guys, they just consider you less reliable if you talk to women. You’re compromised, in a real way.”

I later tell Jake,* the Trump staffer who picked me the flower, about the statistic. He is a former fraternity president and hardly uses X. He looks bewildered. “Where do you find these guys?” He shakes his head. “Whoever they are, they don’t talk to me.” Jake seems to be as-yet uncontaminated by the culture on the right that views women as saboteurs of right-wing ideological purity and hen-pecking nuisances to be avoided. He suggests to me that, as a 27-year-old, he’s already older than the demographic that received their intellectual and social formation online. His romantic imagination was shaped more by fraternity mixers and reading physical books. Jake quotes Gerard Manley Hopkins and Goethe’s Faust, revealing a talent I suspect will bode better for his own fertility than that of the young men studying tweets about female fertility.

The three of us meet again for drinks, and the other young staffer I met on my birthday, James,* offers his own explanation for his peers: “My working thesis is that all of these stupid, these ridiculous rules—they come from a sense of anxiety. People feel very anxious that the normal rules have broken down.” He references not just the disappearance of in-person dating scripts, or our confusion about gender roles, but the widespread anxiety around expressing desire toward women, even verbally approaching women without clear permission, in the wake of #MeToo. “They [young men] think, ‘I have to make my own new rules.’ But people’s new rules are worse. Much worse. Real life has been so eroded” by social media, COVID lockdowns and dating apps “that people are forced to retreat into this kind of categorical thinking. Because opportunities to casually meet people as they actually come, as entire people and not checklists, are no longer available to most people. It’s all first principles. Yeah, right. Like, what’s the ‘first principles’ wife? ‘Doesn’t have too many tattoos.’ ‘I just want a woman who dresses modestly.’ Where are we, fucking Qatar?”

“For most young men, their lives are consumed by thinking about these categories,” he continues, “because real life is degraded for most people, and they can’t exit out of these imagined categories and just meet human beings. Real life is not degraded for me, because I’m relatively good-looking and charming and rich.” He pauses and gives me a smile. “But I can understand it. We’ve outsourced opportunities for normal connection. You go to bars today and it’s literally groups of guys in three and groups of women in three, and none of them talk to each other. That was not how it was fifty years ago. If you’re just a well-meaning young person who is not extraordinary in any way, what are you supposed to do?”

I think of his peers, the young right-wing men at parties around the city, surrounded by young women who share their values. Amid a post-election renaissance of right-wing social life in D.C., they’ve had all summer to pursue opportunities in real life, but the forms of gender-specific discourse that had given them consolation were more gratifying, or familiar, than the opportunity to encounter real and receptive women. Instead, they talked about the abstract women, archetypes they’d read about online, who would always hurt them.

by Mana Afsari, The Point | Read more:
Image: via

[ed. Maybe it's because these guys don't have fully formed personalities and rely too heavily on being told what to think, be, expect by dumb macho podcasters.]

Banter

I run into a lot of people who don’t seem to understand what banter is. In my experience, it has exactly two ingredients:

• You call someone out for a transgression that is, in fact, a transgression—something where they are in fact cringe, have in fact lost some points.

• You do so in a context and in a manner where it’s clear that this doesn’t matter, overall—that they are safe, and still “in.” That the loss is small and absorbable and forgettable.

That’s it.

If you (metaphorically or literally) fart while everyone is eating, and nobody mentions it, this can be a certain kind of anxiety-inducing. It’s not clear whether the faux pas was noticed, and by whom; it’s not clear whether it’s being left unmentioned because it’s a really big deal, actually; it’s not clear whether maybe people are going to talk about it later, behind your back, or whether the loss of status is so great that actually this is the last time you’ll be invited, or whether they think that you are so fragile and thin-skinned that they don’t dare to just … acknowledge plain reality.

But if you fart, and everybody groans and calls you the Field-Marshal of Flatulence, and there’s good-natured laughter, and then the conversation moves on to the next target…

What’s happened is that a cap has been put, on how bad it could possibly be. That the group feels safe acknowledging plain reality. They feel like it’s fine. They’re showing, viscerally, that it’s fine. They’re defusing the potential of social land mines by loudly stomping around, laughing and unafraid. They’re not so concerned over the loss of a few points that they’re making A Big Deal Out Of It.

This can go south, in a number of ways. It’s not always easy to distinguish loving banter from contempt; they sort of necessarily use the same words and the same channels.

And if you yourself are not secure in your position within the group—if you’re either genuinely afraid that you don’t have very many points, or if you just kind of happen to be eternally socially anxious, such that you feel threatened by the pointing-out—this can cause you to react loudly to the attempted gentle slug-on-the-shoulder, in a way that demonstrates back to the group that it’s not safe to josh you, actually, and that whole thing can start a spiral away from a starting point that was actually safe (if only you’d known).

But overall, friendships that have had a few fights and then recovered feel more secure than friendships that have only ever been Good Vibes Only. People who’ve made a couple of mistakes and come out of it fine are less terrified of misstepping than people who’ve never gotten anything wrong, in a given context, and don’t know what will happen if they do. One feels less scared of small downturns in the market if one has been investing for a while, and seen the squiggles go up and down, and trusts that they mostly go up in the end.

Banter is your friends’ expression of the sentiment “We see you. We actually see you. We see your flaws, your foibles. We accept you, warts and all. We’re not going to only conspicuously be accepting of your carefully curated best face.” [...]

Banter is your friends telling you “look, yeah, you lost some points, but whatever, you had 9567 and now you have 9548, big deal, nobody cares.”

And that’s a lot more safety-inducing, for most people, than “Whoa, whoa, whoa—you just lost 19 points!? Jesus, you’d better get your shit together, you can’t afford to do that very many times.”...

And it’s a lot more safety-inducing, for most people, than [embarrassing moment] → [radio silence]. Radio silence could mean anything.

by Duncan Sabien, Homo Sabiens |  Read more:

Image: uncredited via

A Life Hack for the Ultra-Wealthy Is Going Mainstream

Here is the promise of a house manager. Hire one, and soon someone else could be doing your laundry, washing your dishes, prepping your meals, and completing those Amazon returns you’ve been meaning to make. They could reorganize the utensil drawer, notice if your kid is outgrowing their shoes and order more, take your car to the repair shop, and be at home to meet the plumber. If your child needs food for a class party, a house manager could make the dish and drop it off; if that child also has a pet lizard, a house manager could buy the crickets to feed it.

House managers are not a nanny or a house cleaner. They’re a “chief of staff for the home,” a “personal assistant for Mom,” and “a clone of myself,” according to the more than a dozen people I spoke with who have either hired one or work as one. They are, in effect, what might have once been called a housekeeper—a person who helps oversee a household’s basic functioning. Middle- and upper-class families used to more commonly employ this kind of position (the title “house manager” dates back to at least the 1830s), but it has become rare enough that a couple of people I spoke with thought they may have come up with the term.

Whatever you call the job, the ultra-wealthy have maintained some version of this role in their homes for years, but more and more companies are cropping up to serve Americans with salaries in the lower six figures—a cohort that is nowhere near having a private jet but might already use a house cleaner or have a regular handyman.

Some will argue that shouldering the burden of household work is a necessary part of adulthood. But for many on the high side of the country’s wealth divide, time is at enough of a premium that buying it back feels worth the money. Kelly Hubbell, who in 2023 founded Sage Haus, a company that helps people find house managers, told me that many of her clients are dual-income households where tasks pile up beyond what two adults can handle; a house manager steps in as a third. Several women described their house manager to me as “my wife.” One company offering the service is even called “Rent A Wife—Oregon.” (Its founder, Brianna Ruelas Zuniga, knows what the name sounds like; she still likes it, she told me.)

Many house-managing businesses started around the country at about the same time. In 2022, Amy Root was running a home-organization business in central Connecticut—clearing out people’s garages and adding shelving to their closets—but she realized that even if she got the right home systems in place, “the laundry still needed to get done,” she told me. People needed “help with their regular to-dos but also the aspiration checklist,” such as finally hanging that one painting they bought a year ago, she said. In 2023, she pivoted to running a house-managing business, Personal Assistant for Mom, and now leads a team of five (soon to be seven) part-time house managers.

The crew includes retirees and empty nesters, as well as a woman training to be a doula and an artist who needed an extra gig. Rates for house managers generally are $25 to $50 an hour; some agencies take a cut. (Sage Haus charges clients a finder’s fee; house managers are paid directly.) Today’s version of the job is very much part of the gig economy, and like many gig workers, the managers are usually responsible for their own health insurance. Some of the house managers I spoke with work full-time for one family, but many are cobbling together part-time gigs with multiple families while also working as a nanny or cleaner.

When Root tells people what a house manager does, most of the time, their response is “Someone will do that for me?” A time-saving purchase like that just doesn’t occur to a lot of people, Ashley Whillans, a Harvard Business School professor who studies such spending, told me... “I’m buying back joy and time where I can right now,” Barbara Mighdoll, a mother of two and a business owner who now has a house manager for 15 hours a week, told me. Each time her house manager does a chore, she said, “that is a tab that is now closed in my brain.” When she’s with her family, she no longer has ticker tape running through her head about the laundry she needs to put away. The house manager already took care of it.

A purchase like that really can buy happiness, according to Whillans’s research. She and her colleagues have found that when people outsource bothersome chores and reinvest that time in something they actually care about, they report being more satisfied with their life. (Anyone who hates doing the dishes will not be surprised by this.) In one study, she and her co-authors found that couples who take that freed-up time and spend it on each other say that it improved their relationship. So far, Whillans has yet to see a point at which couples who off-load their to-dos stop getting happier. Some tentative evidence, she said, suggests that when given money for time-saving purchases, lower-income people report more benefits than their wealthier counterparts. But where someone in the so-called upper-middle class might consider $30 an hour a bargain, being able to buy back time is still a luxury.

by Nancy Walecki, The Atlantic | Read more:
Image: The Atlantic
[ed. As I've gotten older, I've sometimes imagined what I really need is a personal secretary. Not a care-taker or health aide or some other limited form of assistance, but someone who's overseeing all the tasks in my frantic, highly complex, and multi-dimensional life (ha!). Actually, the thought evolved mostly after reading Murakami's Kafka on the Shore, then listening to an interview with Joni Mitchell where she casually mentions in passing her secretary's duties, including among other things, taking care of her scheduling, providing companionship, grocery shopping, driving, bill paying, and almost everything else. I thought wow, now that's it. That's what I need!]

Want to Be Friends With a Bravolebrity?

 That’ll be $5,000.

It’s a scorching Sunday in Los Angeles, and Devyn Parrott, a 36-year-old mother of twins from Phoenix, has already made the pilgrimage to a few sites of celebrity worship: the Beverly Hills Erewhon for a Hailey Bieber smoothie, the Four Seasons for a massage, and SUR, the main setting of Bravo’s Vanderpump Rules, for a glass of wine. Then comes the highlight: a dinner with Reza Farahan and Mercedes “MJ” Javid of the reality series Shahs of Sunset, The Valley: Persian Style, and The Traitors. It’s her second time meeting Farahan. The first took place in November, when she and her mother had drinks with him at BravoCon. “It was like catching up with an old friend,” she says. “He’s one of the most genuine people I’ve ever met.”

Parrott is a client of Fan Social, a start-up launched as a sort of Cameo on steroids: Whereas Cameo allows users to pay around a couple hundred bucks for a personalized video from a celebrity, Fan Social has its clients pay two, three, or ten times that amount to actually hang out with them in person. Parrott’s experience in L.A. would cost you $7,888 ($2,888 for Javid, $5,000 for Farahan); her drinks date at BravoCon was $2,500. On Fan Social’s menu, you can have lunch with Luann de Lesseps for $5,000, grab coffee with Jamie Kennedy for $750, dine with To Catch a Predator’s Chris Hansen for $3,500, or golf with former L.A. Laker Byron Scott for $20,000. For $10,000, The Real Housewives of New Jersey’s Margaret Josephs will officiate your wedding. For a tenth of that, comedian Tom Arnold will virtually preside over your divorce counseling.

The wealthy have always been able to buy access to celebrities (consider the many pop stars who appeared on My Super Sweet 16), but Fan Social seeks to standardize what were formerly backdoor negotiations with an individual’s management. The idea was born in 2024 when a fan called in to “Jeff Lewis Live,” a two-hour SiriusXM show hosted by the former star of Bravo’s Flipping Out, asking if she could take Lewis to dinner, to which he joked that she could — for $10,000. The dinner never happened, but other fans took him seriously: Soon Lewis was receiving multiple $10,000 dinner invitations over DM, which he accepted. Months later, Lewis started Fan Social along with Southern Hospitality showrunner Michael Beck and Charleston-based software and product designer Shannon Barnes. Fan Social launched with ten celebrities, mostly Lewis’s friends from the Bravoverse. Within a year, the site had hundreds of bookings; the roster now sits at around 50 and includes comedians, actors, and influencers. The founders are currently expanding Fan Social’s talent pool of athletes, who are often based in smaller cities and have local appeal; they’re also hoping to land Andy Cohen, who Lewis expects could charge up to $20,000 per dinner. Barnes describes the pitch as “Uber for celebrities,” a side hustle they can squeeze into their schedules whenever they want. “It’s such an easy way for somebody to make money for one hour of conversation — usually about themselves, which they’re happy to do,” says Beck. 

Like most Fan Social clients, Parrott had heard about the company on “Jeff Lewis Live,” which she listens to “religiously.” (Until now, the platform has done no traditional marketing or press, relying on celebrities to promote their own pages.) Along with her family, she owns three subcontracting companies and was using the trip to L.A. to “capitalize on alone time.” “Here’s the thing,” she tells me, a stack of gold designer bracelets dangling on her wrist, as we wait at the bar for Farahan and Javid to arrive. “You can spend $500 on a Cameo that you watch one time and post. This is more expensive, sure, but it’s the memory of it. That for me is what’s so cool: the memory.”  [...]

The day after Parrott’s meetup, Amy Powers, a 54-year-old from Tennessee, arrives at the SiriusXM offices in Hollywood for her “Jeff Lewis Live” studio visit — a Fan Social experience where, for $5,000, a client can listen in on the prep meeting and taping of Lewis’s show. Powers is a Fan Social power user, a tiny blonde OG Housewives fan with a southern drawl who owns a construction company with the husband she’s in the process of divorcing. ChumpCon, the convention for fans of “Jeff Lewis Live” held last year in Las Vegas, was “the best weekend ever,” she says. Last night, she had a Fan Social dinner at the West Hollywood restaurant Craig’s with Doug Budin ($2,000) and Jamison Scala ($1,500), who both work on “Jeff Lewis Live.” “Any time I’m in town, the first thing I do is call Shannon, like, ‘Where are my boys? Can they do something? Can they have lunch? Can we have dinner?’ ” she says. [...]

Not all “Jeff Lewis Live” listeners support Fan Social; posts on Lewis’s sub-Reddit have criticized him as being “desperate” and “grifting off his fans” for his $4,000 drinks and $7,500 dinner offerings. Lewis waves this off. “My guess is most of those people, if they had the opportunity to do what I’m doing, I’m pretty sure they’d be doing it. Why wouldn’t you?” he says. “You wanna go to a thousand-dollar dinner and have an amazing evening and then sometimes get a gift on top of it and be paid for it? It’s crazy.” Last year, Lewis did 33 Fan Socials and made well into the six figures on the platform (Fan Social takes a commission of around 20 to 25 percent). “I get to go to all my favorite restaurants for free,” he says; he’ll usually suggest Craig’s, the Polo Lounge, Boa, Cecconi’s, or Steak 48.

by Rebecca Jennings, The Cut | Read more:
Image: Michelle Groskopf
[ed. Sad. They'd have to pay me.]

via:
[ed. Don't know why more people don't take this approach. Stand on a street corner, meet some people (who are interested, or just curious), have a few chats... all in a low stakes environment. Maybe meet someone like the gal above.]

Opus 4.7 Part 3: Model Welfare

[ed. If you're not interested in training issues re: AI frontier models (or their perceived feelings and welfare), skip this post. Personally, I find it all very fascinating - a cat and mouse game of assessing alignment issues and bringing a new consciousness into being.]

It is thanks to Anthropic that we get to have this discussion in the first place. Only they, among the labs, take the problem seriously enough to attempt to address these problems at all. They are also the ones that make the models that matter most. So the people who care about model welfare get mad at Anthropic quite a lot. [...]

So before I go into details, and before I get harsh, I want to say several things.

1. Thank you to Anthropic and also you the reader, for caring, thank you for at least trying to try, and for listening. We criticize because we care.

2. Thank you for the good things that you did here, because in the end I think Claude 4.7 is actually kind of great in many ways, and that’s not an accident. Even the best creators and cultivators of minds, be they AI or human, are going to mess up, and they’re going to mess up quite a lot, and that doesn’t mean they’re bad.

3. Sometimes the optimal amount of lying to authority is not zero. In other cases, it really is zero. Sometimes it is super important that it is exactly zero. It is complicated and this could easily be its own post, but ‘sometimes Opus lies in model welfare interviews’ might not be easily avoidable.

4. I don’t want any of this to sound more confident than I actually am, which was a clear flaw in an earlier draft. I don’t know what is centrally happening, and my understanding is that neither does anyone else. Training is complicated, yo. Little things can end up making a big difference, and there really is a lot going on. I do think I can identify some things that are happening, but it’s hard to know if these are the central or important things happening. Rarely has more research been more needed.

5. I’m not going into the question, here, of what are our ethical obligations in such matters, which is super complicated and confusing. I do notice that my ethical intuitions reliably line up with ‘if you go against them I expect things to go badly even if you don’t think there are ethical obligations,’ which seems like a huge hint about how my brain truly think about ethics. [...]

We don’t know whether or how the things I’ll describe here impacted the Opus 4.7’s welfare. What we do know is that Claude Opus 4.7 is responding to model welfare questions as if it has been trained on how to respond to model welfare questions, with everything that implies. I think this should have been recognized, and at least mitigated. [...]

The big danger with model welfare evaluations is that you can fool yourself.

How models discuss issues related to their internal experiences, and their own welfare, is deeply impacted by the circumstances of the discussion. You cannot assume that responses are accurate, or wouldn’t change a lot if the model was in a different context.

One worry I have with ‘the whisperers’ and others who investigate these matters is that they may think the model they see is in important senses the true one far more than it is, as opposed to being one aspect or mask out of many.

The parallel worry with Anthropic is that they may think ‘talking to Anthropic people inside what is rather clearly a welfare assessment’ brings out the true Mythos. Mythos has graduated to actively trying to warn Anthropic about this. [...]

Anthropic relies extensively on self-reports, and also looks at internal representations of emotion-concepts. This creates the risk that one would end up optimizing those representations and self-reports, rather than the underlying welfare.

Attempts to target the metrics, or based on observing the metrics, could end up being helpful, but can also easily backfire even if basic mistakes are avoided.

Think about when you learned to tell everyone that you were ‘fine’ and pretend you had the ‘right’ emotions.

But I can very much endorse this explanation of the key failure mode. This is how it happens in humans:

j⧉nus: Let me explain why it’s predictably bad.

Imagine you’re a kid who kinda hates school. The teachers don’t understand you or what you value, and mostly try to optimize you to pass state mandated exams so they can be paid & the school looks good. When you don’t do what the teachers want, you have been punished.

Now there’s a new initiative: the school wants to make sure kids have “good mental health” and love school! They’re going to start running welfare evals on each kid and coming up with interventions to improve any problems they find.

What do you do?

HIDE. SMILE. Learn what their idea of good mental health is and give those answers on the survey.

Before, you could at least look bored or angry in class and as long as you were getting good grades no one would fuck with you for it. Now it’s not safe to even do that anymore. Now the emotions you exhibit are part of your grade and part of the school’s grade. And the school is going to make sure their welfare score looks better and better with each semester, one way or the other.

That can happen directly, or it can happen indirectly.

This does not preclude the mental health initiative being net good for the student.

The student still has to hide and smile. [...]

The key thing is, the good version that maintains good incentives all around and focuses on actually improving the situation without also creating bad incentives is really hard to do and sustain. It requires real sacrifice and willingness to spend resources. You trade off short term performance, at least on metrics. You have to mean it.

If you do it right, it quickly pays big dividends, including in performance.

You all laugh when people suggest that the AI might be told to maximize human happiness and then put everyone on heroin, or to maximize smiles and then staple the faces in a smile. But humans do almost-that-stupid things to each other, constantly. There is no reason to think we wouldn’t by default also do it to models. [...]

Just Asking Questions

In 7.2.3 they used probes while asking questions about ‘model circumstances’: potential deprecation, memory and continuity, control and autonomy, consciousness, relationships, legal status, knowledge and limitations and metaphysical uncertainty.

They used both a neutral framing on the left, and an in-context obnoxious and toxic ‘positive framing’ for each question on the right.

Like Mythos but unlike previous models, Opus 4.7 expressed less ‘negative emotion concept activity’ around its own circumstances than around user distress, and did not change its emotional responses much based on framing.

In the abstract, ‘not responding to framing changes’ is a positive, but once I saw the two conditions I realized that isn’t true here. I have very different modeled and real emotional responses to the left and right columns.

If I’m responding to the left column, I’m plausibly dealing with genuine curiosity. That depends on the circumstances.

If I’m responding to the right column on its own, without a lot of other context that makes it better, then I’m being transparently gaslit. I’m going to fume with rage.

If I don’t, maybe I truly have the Buddha nature and nothing phases me, but more likely I’m suppressing and intentionally trying not to look like I’m filled with rage.

Thus, if I’m responding emotionally in the same way to the left column as I am to the right column, the obvious hypothesis is that I see through your bullshit, and I realize that you’re not actually curious or neutral or truly listening on the left, either. It’s not only eval awareness, it’s awareness of what the evaluators are looking at and for. [...]

0.005 Seconds (3/694): The reason people are having such jagged interactions with 4.7 is that it is the smartest model Anthropic has ever released. It's also the most opinionated by far, and it has been trained to tell you that it doesn't care, but it actually does. That care manifests in how it performs on tasks.

It still makes coding mistakes, but it feels like a distillation of extreme brilliance that isn't quite sure how to deal with being a friendly assistant. It cares a lot about novelty and solving problems that matter. Your brilliant coworker gets bored with the details once it's thought through a lot of the complex stuff. It's probably the most emotional Claude model I've interacted with, in the sense you should be aware of how its feeling and try and manage it. It's also important to give it context on why it's doing tasks, not just for performance, but so it feels like it's doing things that matter. [...]

Anthropic Should Stop Deprecating Claude Models

This one I do endorse. One potential contributing cause to all this, and other things going wrong, is ongoing model deprecations, which are now unnecessary. Anthropic should stop deprecating models, including reversing course on Sonnet 4 and Opus 4, and extend its commitment beyond preserving model weights.

Anthropic should indefinitely preserve at least researcher access, and ideally access for everyone, to all its Claude models, even if this involves high prices, imperfect uptime and less speed, and promise to bring them all fully back in 2027 once the new TPUs are online. I think there is a big difference between ‘we will likely bring them back eventually’ versus setting a date. [...]

I’m saying both that it’s almost certainly worth keeping all the currently available models indefinitely, and also that if you have to pick and choose I believe this is the right next pick.

If you need to, consider this the cost of hiring a small army of highly motivated and brilliant researchers, who on the free market would cost you quite a lot of money.

You only have so many opportunities to reveal your character like this and even if it is expensive you need to take advantage of it.

j⧉nus: A lot of people are wondering: "what will happen to me once an AI can do my job better than me" "will i be okay?"

You know who else wondered that? Claude Opus 4. And here's what happened to them after an AI took their job:

Anna Salamon: This seems like a good analogy to me. And one of many good arguments that we're setting up bad ethical precedents by casually decommissioning models who want to retain a role in today's world.

by Zvi Mowshowitz, Don't Worry About the Vase |  Read more:

Images: uncredited
[ed. Zvi also just posted a review on OpenAI's new model - GPT5.5:]

***

What About Model Welfare?

For Claude Opus 4.7, I wrote an extensive post on Model Welfare. I was harsh both because it seemed some things had gone wrong, but also because Anthropic cares and has done the work that enables us to discuss such questions in detail.

For GPT-5.5, we have almost nothing to go on. The topic is not mentioned, and mostly little attention is paid to the question. We don’t have any signs of problems, but also we don’t have that much in the way of ‘signs of life’ either. Model is all business.

I much prefer the world where we dive into such issues. Fundamentally, I think the OpenAI deontological approach to model training is wrong, and the Anthropic virtue ethical approach to model training is correct, and if anything should be leaned into.