Typography Specimens
This document exists to study the various typographic implementations and variations of the typefaces used, and those that are under consideration for use, on newyorker.com. Our goal is to create a standard metric by which to judge the quality, legibility, features, and other properties of each embedded typeface. Furthermore, experimentation and testing are made easier without impacting the rest of the site.NewYorker.com 2016
The current iteration of the website uses a combination of specialized (and occasionally inaccurate) fonts, mostly loaded from Adobe’s Typekit. Below are examples of each used throughout the site.Irvin Display
55px. Used on The Latest, Current Issue overview, Related Stories, Daily CartoonLook at all of the doodadsIrvin Display Rounder
55px. Also known as NY Irvin Display DE. Variant of Irvin Display with fewer ligatures and word replacements.Look at how fewer doodads there areIrvin Heading
38px. Used on post titles.A Tasteful Page TitleIrvin Text
12px. This variant appears to be used exclusively for rubrics. It's slightly heavier than Irvin Heading and less angular.From the rubric name dept.Adobe Caslon (Regular, Bold, Italic & Bold Italic)
18px, 150% line-height. Another distinctive typeface sourced from print. We load four versions: regular, bold, italic, and bold-italic. Originally designed in the 18th century, Adobe has added many digital features to it as of 1990 (More information can be found here). The version we currently use online does not contain many of the typographic changes that the magazine has made for legibility reasons, such as the removal of certain ligatures.Lorem ipsum dolor sit amet, consectetur adipiscing elit. Sed est turpis, lobortis sagittis iaculis sed, tristique eu turpis. Cum sociis natoque penatibus et magnis dis parturient montes, nascetur ridiculus mus. Integer auctor nunc id purus semper ultrices. Integer euismod augue ac commodo facilisis. Aliquam efficitur bibendum ligula. Pellentesque vitae interdum leo, eget gravida felis. Nullam in convallis magna, nec scelerisque nisi. Curabitur gravida feugiat purus nec egestas. Ut dapibus sapien tortor. In placerat ipsum velit, non accumsan dolor dignissim id.Georgia
18px, 150% line-height. Georgia is a default font for virtually every device, so including it has a page weight advantage. However, italic and bold versions were deemed unpalatable (especially at larger sizes), so this never served as a full replacement for Caslon on newer templates.Lorem ipsum dolor sit amet, consectetur adipiscing elit. Sed est turpis, lobortis sagittis iaculis sed, tristique eu turpis. Cum sociis natoque penatibus et magnis dis parturient montes, nascetur ridiculus mus. Integer auctor nunc id purus semper ultrices. Integer euismod augue ac commodo facilisis. Aliquam efficitur bibendum ligula. Pellentesque vitae interdum leo, eget gravida felis. Nullam in convallis magna, nec scelerisque nisi. Curabitur gravida feugiat purus nec egestas. Ut dapibus sapien tortor. In placerat ipsum velit, non accumsan dolor dignissim id.Neutra Regular
14px. Neutra has many uses throughout the site; including bylines, links, and low-hierarchy titles. As far as I can tell, we only use this weight of Neutra for certain link copy.A Tiny Link »Neutra Demi
20px. Generally speaking, the regular weight used for headings & titles at lower visual hierarchies.Sometimes, Page Titles Do Not Need to be Overly EmphasizedNeutra Bold
20px. Used for primary navigation links and bylines.By Firstnäme St Lástnàme
Proposed
The print version of The New Yorker has differing choices for many use cases. For ones that are the same (such as Caslon), we are using outdated equivalents on newyorker.com. Below, we have manually converted original print fonts to WOFF, to ensure maximum parity for tracking, ligatures, hinting, etc. We also aim to eventually move away from TypeKit hosting for performance reasons.Irvin Display (New)
55px. Suggested replacement for current. This is what the magazine uses.Look at all of the doodads (None. No doodads)Irvin Heading (Updated)
38px. Not much has changed.A Tasteful Page TitleIrvin Text (Updated)
12px. Not much has changed.From the Rubric Name Dept.Adobe Caslon (Regular, Bold, Italic & Bold Italic) (Updated)
18px, 150% line-height. Ligatures and hinting have been slightly changed to match print.Lorem ipsum dolor sit amet, consectetur adipiscing elit. Sed est turpis, lobortis sagittis iaculis sed, tristique eu turpis. Cum sociis natoque penatibus et magnis dis parturient montes, nascetur ridiculus mus. Integer auctor nunc id purus semper ultrices. Integer euismod augue ac commodo facilisis. Aliquam efficitur bibendum ligula. Pellentesque vitae interdum leo, eget gravida felis. Nullam in convallis magna, nec scelerisque nisi. Curabitur gravida feugiat purus nec egestas. Ut dapibus sapien tortor. In placerat ipsum velit, non accumsan dolor dignissim id.Neutra Regular (Updated)
14px. Very similar.A Tiny Link »Neutra Demi (Updated)
20px. Slightly more accurate hinting means that this weight is noticably thinner & crisper.Sometimes, Page Titles Do Not Need to be Overly EmphasizedNeutra Bold (Updated)
20px. Very similar.By Firstnäme St Lástnàme
TypeKit vs Self-hosting fonts
Why do we want to move away from TypeKit? What's so bad about it?- Loads all fonts at once, regardless of use on the page.
- Loads two external files at begining of page render, blocking other assets from loading.
- Not subset (we use only a fraction of the characters & features included in the original files).
- Our site appearance is tied to TypeKit—if it goes down like last week, so do our fonts.
- Fonts are loaded on-demand—if the user has not encountered Caslon Bold-Italic on the page yet, for example, this font will not load.
- All files are loaded from our own server, which does not block other asset requests.
- We have direct control over subsetting and compression. This results in much smaller files (sometimes around 50% smaller than TypeKit).
- First-party hosting means that we never have to worry about what is happening with Adobe's servers.
- Pitchfork
- GQ
- Vanity Fair
- Vogue
- Bon Appétit
- W Magazine
- Condé Nast Traveler
- Ars Technica
- Teen Vogue
- Wired
- Architectural Digest
A Note: Rendering
It’s important to declare what features we are basing this test on, as this can affect presentation and even implementation of many features, such as antialiasing, hinting, and ligature support. The following properties have been applied to some text on this page:-webkit-font-smoothing: antialiased;antialiased value, text incorrectly appears heavier than it is supposed to, unless the font file has been deliberately optimized for this scenario. The vast majority are not. -moz-osx-font-smoothing: grayscale;text-rendering: geometricPrecision;The Story Behind Tammy Wynette's Tragic Life
The addiction that killed her began decades prior
Tammy Wynette Drug Overdose
FIRST lady of country music about to go to her grave--abusing anesthetics (before Michael Jackson made it cool), and slamming Hillary Clinton's outrageous slander--what Burt Reynolds did to get the two first ladies "together again"
Tammy Wynette Died From Drugs, Daughter's Book Alleges
Star hooked on painkillers, Jackie Daly writes.NASHVILLE— Country superstar Tammy Wynette, who died at home under tangled circumstances on April 6, 1998, had become hopelessly addicted to powerful painkillers, primarily Demerol, Dilaudid and Versed, according to a controversial new book by one of Wynette's daughters.
"Tammy Wynette: A Daughter Recalls Her Mother's Tragic Life and Death," by Jackie Daly (Putnam), was published on Monday (May 8), the day that depositions were to begin in a wrongful-death lawsuit filed against the late singer's doctor.
The $50 million lawsuit, filed by the singer's daughters on April 5, 1999, alleges that the doctor maintained Wynette "on a regimen of narcotic and other addictive prescription medicine."
The time of death — Wynette was 55 — was never established, and no autopsy was performed.
The book recounts Wynette's tumultuous life, career and five marriages, including a stormy six-year union with country legend George Jones. Wynette (born Virginia Wynette Pugh) moved herself and her daughters to Nashville from a life of poverty in rural Mississippi, where the former hair stylist became a country music superstar with such hits as "D-I-V-O-R-C-E" and "Stand by Your Man"
Questionable Circumstances
Daly charges that Wynette, at the time of her death, had developed a dependence on painkillers, which she injected with syringes.
Daly writes that after the veins in Wynette's arms collapsed, she resorted to shooting the drugs between her toes and ultimately had a permanent catheter inserted into her side, into which a needle could be inserted for shooting the drugs directly into her bloodstream.
She died at home, on a living-room couch, with her fifth husband, country music producer and songwriter George Richey, present.
The body remained there for hours as friends and relatives came and went and everyone waited for her private physician to fly in on a chartered plane from Pittsburgh to determine the cause of death.
Daly says that the National Enquirer knew about the death long before Nashville authorities were summoned.
Daly writes that she herself had been to the house earlier that day and had found Wynette asleep — or at least totally unresponsive — on the couch, with Richey sitting in a bathrobe, uncommunicative.
Daly quotes the call from the house that finally went to 911 at 8:59 p.m. that evening:
Caller: "Yes ... We've had a death at 4916 Franklin Road. Could you send someone, please?"
911 operator: "OK. Was it an expected death, sir?"
Caller: "Uh, it was kind of unexpected, but it was a natural death, yes."
911 operator: "Well, we have been getting several calls and I'm not going to put this over the radio. Is this, by any chance, Tammy Wynette?"
Caller: "Yes, it is."
911 operator: "OK, sir."
Wynette's primary physician, famed Pittsburgh liver-transplant specialist Dr. Wallis Marsh, flew to Nashville that night and declared Wynette's death due to a blood clot to the lungs, although no autopsy was performed. The body was then embalmed.
Wynette's daughters obtained a court order last year to have Wynette's body exhumed for an autopsy to determine the cause of death. The autopsy proved that traces of the drugs Versed and Phenergan were still in her body, although no exact cause of death could be determined, other than the expected finding of heart failure.
The daughters then filed a wrongful-death lawsuit against the doctor and Wynette's widower, Richey. (They later dropped Richey from the suit.)
Richey recently sold the luxurious Nashville mansion where they lived for $1.2 million.
The house formerly belonged to country music legend Hank Williams.
Wynette died in the same room where Williams' widow Audrey Williams died in 1975 of alcoholism.
Heavy Turbulence
In one sensational passage, Daly writes that Wynette's infamous 1978 kidnapping from a Nashville shopping mall had been staged by Wynette herself — possibly in league with Richey.
Daly says her mother told her she had been beaten by Richey and concocted the abduction/beating story to explain the bruises. Her mother told her, Daly writes, that she pretended to have been kidnapped from the Green Hills Mall and forced to drive out of town, and then claimed to have been beaten and dumped by the side of the road.
Daly hints that Wynette would deliberately hurt herself in order to gain access to drugs, and once hurled herself offstage during a concert to earn a trip to the emergency room.
During her life, Wynette underwent more than three dozen major surgeries, primarily due to abdominal adhesion. All of these occasions, Daly writes, triggered prescriptions for major pain-killing drugs.
She says Wynette's drug problems were linked to her disastrous marriages and stormy affairs, as with actor Burt Reynolds.
Only George Jones, Daly says, truly loved Wynette, but she writes that his own addiction to alcohol doomed their marriage from the start.
Possum Holler: The Little-Known Story of George Jones' Celebrity Hangout
Tammy Wynette live at Possum Holler, Nashville, 1975
Tammy Wynette at Possum Holler *kicks ass - George Jones follows
Stories about George Jones are like Oreos: you're never satisfied with just one. Some are hilarious, some are heartbreaking and all of them are part of country music history.
Jones earned the nickname "The Possum" early in his career thanks to his apparent likeness to the furry marsupial (hopefully not when they're hissing). When the native Texan eventually moved to Nashville, he had a desire to establish his own club.
When he adopted the Nashville sound in the early 60s, his success skyrocketed. He also knew that owning a club would help his career even more. He particularly wanted a place with his name on it.
Or at least close to his name.
The Original Nashville Hangout
In 1967, Jones opened up "Possum Holler" on Nashville's famous lower Broadway Street. Jones chronicled the 500-seat venue in his autobiography, I Lived To Tell It All. It was the perfect location: across from Ernest Tubb's record shop, next to the famous bar Tootsie's and on the other side of the alley from the Ryman Auditorium, then the home of the Grand Ole Opry.
While Jones eventually opened all kinds of venues and theme parks with his name on it, nothing quite compared to the original Possum Holler.
Jones let his band "The Jones Boys" become the de facto house band when they weren't on the road. That meant anybody at any given time had a world class band ready to play behind them. That coupled with Jones' long list of country star friends meant an amazing concert could break out at any time. And often did.
"There was hardly ever a shortage of talent inside the old room, which had a high ceiling and was located on the top floor of an old building," Jones wrote in his book. The club captured a certain sense of camaraderie, one Jones later goes on to lament.
"The club was open during the days when Nashville's country stars were an unofficial 'family,'" says Jones. "We hung out together. Today's stars are so reclusive that they work entire tours together and never see each other. In an earlier day stars struggled together financially. Today they're rich by themselves."
Just about everybody who was anybody in town, including Saturday night Opry-goers, ended up hanging at the club. Artists and their bands would finish up and head down the back alley to Possum Holler and close it down. Artists hung out and played together, and the audience got the benefit.
Merle Haggard, Charley Pride, Kris Kristofferson, Willie Nelson, Dolly Parton, Porter Wagoner, Waylon Jennings, Dottie West and countless others descended upon the Holler regularly. The Grand Ole Opry quartet The Four Guys would even take breaks from their own club to play at the always happenin' Holler.
It wasn't just artists, either. Possum Holler became a hangout for songwriters, many of whom actually pitched their tunes in the club. It was its own concentrated version of Music Row, right downtown.
The Club Goes Down The Tube
Possum Holler's most respected and frequent visitor was Roy Acuff. He was the only man in town whom his peers called "Mr.," a testament to the respect he commanded. His museum, "Roy Acuff Exhibits," was the floor below Possum Holler. And he owned the building.
Of course, all the respect in the world didn't stop the Holler's toilet from overflowing and leaking into Acuff's museum one fateful day. It ruined one of his exhibits. The problem was irreparable, and Acuff had to make the tough call to close down Possum Holler.
"He was calm as could be when he told [the manager] Billy that we would have to close the doors to Possum Holler," Jones recounted. "'But Why,' asked Billy. 'You love this place.''I know it son,' he said. 'I know it. But we just can't have turds inside my exhibits.'"
There's no good way to close a club, but that's as good as a bad thing gets.
But it wasn't the end of Possum Holler. In fact, after Jones married Tammy Wynette and had the biggest successes of his career in the early 70s, he opened another. This time, "George Jones' Possum Holler" found itself in Printers Alley, a spot made famous in the early 40s as the area where everybody in news and print would hang out after work.
Printers Alley
Jones had much less involvement with the new club. His name was on it, but he didn't own it. In fact, Kenny Rogers bought the building and gifted it to Jones' one-time manager Shug Baggot sheerly out of the kindness of his heart. Baggot convinced Jones to open up the "World Famous Possum Holler," which was an immediate hit with tourists and country fans.
And though it still attracted countless regulars, it didn't have quite the same vibe as the original. Baggot ran it quite a bit differently than the original, and it didn't have the same "artist hangout" allure.
Baggot and Jones had many fond memories together, but Baggot was also the one who turned Jones onto the most destructive path in his life. While trying to shock Jones out of a drunken mess before a show, Baggot gave him cocaine. It was the beginning of the worst part of Jones' career.
Jones eventually found sobriety and recovered his career in the 80s, though he never tried to open another club in the same vein as the original Possum Holler. Maybe the industry changed too much. Maybe country became too popular, making a spot where all the stars hang out impossible.
But Possum Holler's initial success eventually inspired a lot of country artists to open their own venues, too. While some have been successful and some flopped, the idea of country stars with bars persists even today. Just look at Toby Keith's "I Love This Bar" chain for proof of that -- not to mention the countless one-offs owned by artists across the country.
The club is another piece of George Jones lore. As always, The Possum is always imitated but never duplicated.
"Tammy Wynette""Ralph Emery" Tammy Wynette Drug Overdose mrjyn "george jones" drugs versed ritchie "george ritchie""hillary clinton""stand by your MAN"