Monthly Archives: August 2026

The Prompt Ate the Menu Bar

On October 1, 2026, Microsoft retires Publisher. The easy headline is “AI killed Microsoft Publisher.” It’s catchy, and it’s wrong — at least literally. But the real story underneath it is bigger than one app, and I recognized it immediately, because I’d just lived a smaller version of it myself.

What actually happened

Microsoft’s retirement notice doesn’t mention AI once. Publisher was born in 1991, never made it to Mac or the web, and had been quietly shrinking for years. This is consolidation and neglect — Microsoft trimming a limb that stopped growing. If you stop the story there, it’s a footnote, not a thesis.

What’s actually happening

Here’s the more interesting truth: cause of death and time of death are different questions. The low end of desktop publishing — flyers, newsletters, invitations, event posters — is exactly what you now get by typing a sentence into Canva or Microsoft Designer. Designer, Microsoft’s own spiritual successor to Publisher, is AI-first by construction: there’s no ribbon to learn, no template gallery to dig through — you describe the flyer and it makes one.

Microsoft didn’t kill Publisher with AI. It built the replacement as an AI tool and let the old one starve. The neglect was real. So was the substitution. Both stories are true, at different layers.

I built the same experiment without meaning to

A few months ago I shipped a full drag-and-drop layout designer inside a platform I work on — the kind of thing that’s genuinely satisfying to build. An anchor-and-grid positioning model, percentage-based responsive widths, alignment and distribution helpers, layer locking, nudge-by-pixel controls, clone/duplicate, rubber-band multi-select. Composition presets so people wouldn’t have to hand-place every widget. It was, feature for feature, a miniature Publisher: a real canvas, real precision, real power — if you were willing to learn it.

Almost nobody used it.

Around the same time, separately, I wired an AI agent into the same platform so it could build dashboards from a plain-language prompt: describe the metrics you want, and it assembles a live, multi-widget dashboard — charts, filters, KPI cards — without anyone touching a canvas. That’s the one people actually adopted. Not “adopted more” — adopted instead. The elaborate designer I’d spent weeks on became a ghost feature while the thing built almost as an afterthought became the default way people made dashboards.

I didn’t connect it to anything at the time. I just filed it under “well, that’s a little deflating.” Then I read the Publisher retirement notice and it rang a very specific bell.

The generalization — the actual point

The moat of a productivity app used to be two things bundled together: its feature set, and the muscle memory required to wield that feature set. Learn the anchors, learn the alignment tools, learn where the layer lock lives, and eventually you can build anything. That learning curve was the product. It’s why power users defend Publisher, or Photoshop, or Excel macros, so fiercely — the investment they made in the tool became a skill, and the skill became an identity.

AI collapses both halves of that moat at once. Not by being smarter than the feature set — my drag-and-drop designer could do things the prompt-based dashboard couldn’t (and still can’t) do. It collapses the moat by changing what the interface is. When “describe what you want” is an available option, a dense menu of precise tools stops being an asset and becomes friction — one more thing standing between the person and the artifact they actually wanted. Nobody wants to learn an anchor grid. They wanted a dashboard.

This is also why the two truths about Publisher aren’t in tension. My designer didn’t sit unused because of anything Microsoft did — it sat unused for the same reason Publisher did. The shift was underneath both of us. Once a prompt can produce a “good enough” flyer, or a “good enough” dashboard, the app that requires you to become good at it first is fighting a losing battle for attention, not features.

Which apps are next, and which survive

The apps most exposed are the ones whose primary value proposition was always “we give you the tools; you supply the skill and the judgment” — for outputs where “good enough, instantly” beats “exactly right, eventually.” Flyers, slide decks, simple dashboards, form-fill documents, basic photo edits, boilerplate code scaffolding. If the thing you’re making is common enough that a model has seen ten thousand of them, the tool that requires you to build it by hand is on borrowed time.

The apps that survive are the ones where the judgment is the product, not the interface — where an expert’s taste, constraints, or domain knowledge can’t be fully specified in a sentence, and where the cost of being subtly wrong is high. A senior designer opinionated about brand systems. A financial analyst who needs to know why a number moved, not just a chart of it. A compliance-heavy dashboard where the query logic has to be provably correct. These don’t disappear — but their tools change shape too: less “here are a thousand buttons,” more “here’s a fast way to inspect, correct, and approve what the model proposed.” The craft moves from making to reviewing.

Where this leaves the builder

I’m not going to rip out the drag-and-drop designer — some of that precision is still genuinely useful, and a handful of people do reach for it. But I stopped pitching it as the future of the product. The lesson wasn’t “AI is better than my UI.” It was that I’d built the moat exactly backwards: I made the tool more powerful when the market wanted it to disappear.

We won’t mourn Publisher. But it’s worth noticing exactly how it went — because if you’re building a productivity tool right now, the honest question isn’t “what feature should I add next.” It’s “does this feature make the interface something you have to learn, or something you can just ask for.” Publisher is the canary. It won’t be the last one down the shaft.

A Small Shortwave Adventure, Without Leaving the Browser

Radio diary · 7 August 2026

A Small Shortwave Adventure, Without Leaving the Browser

Today I discovered that exploring the radio spectrum no longer requires a receiver, a long wire antenna, or even stepping away from the computer.

Listening location: a WebSDR receiver at the University of Twente, Enschede, Netherlands

It began with a simple thought: I wanted to listen to shortwave radio over the internet. A few moments later, I had a live spectrum display open in my browser and was tuning a real radio receiver located hundreds of kilometres away.

The website was the University of Twente WebSDR. Unlike an ordinary audio stream, this is a remotely controlled software-defined radio. I could enter a frequency, choose AM or USB, watch signals appear on the waterfall, and hear whatever the antenna in Enschede was receiving at that moment.

The best part was the uncertainty. A frequency might contain music, speech, a mysterious mechanical sound—or nothing at all.

First stop: The Buzzer

We started on 4625 kHz USB, home of the famous Russian utility signal commonly called UVB-76 or The Buzzer. Most of the time it produces a monotonous repeating buzz. Very occasionally, the pattern is interrupted by a spoken Russian message.

It was an appropriately strange introduction to shortwave: less like selecting a radio station and more like opening a tiny audio window onto an unexplained corner of the world.

Finding music in the noise

Next, we moved to the broadcast bands. On 6070 kHz AM, music and speech emerged clearly enough to make the whole experiment feel real. We tried 6160 kHz too, but heard nothing useful. That failure was part of the fun: shortwave reception changes with time, daylight, distance, transmitter schedules, and the state of the ionosphere.

Then came the best signal of the session: 9670 kHz AM. My verdict was simple: 9670 was the cleanest music. The frequency is used by Channel 292, transmitted from Rohrbach/Waal in Bavaria, Germany. Channel 292 carries a rotating collection of independently produced music and spoken-word programmes, so the content can change throughout the day.

Our listening log from the session
Frequency Mode What we found Reception
1008 kHz AM / MW Radio Twente Gold, Netherlands Clear “German Hour”
4625 kHz USB UVB-76, “The Buzzer” Distinct utility signal
6070 kHz AM European music and speech Good
6160 kHz AM Broadcast candidate Silent or too weak
9670 kHz AM Channel 292 Clearest music
6085 kHz AM Radio Mi Amigo International Friday music programme
7280 kHz AM Likely Radio Dynamite, Tilburg Music; slightly disturbed
13720 kHz AM China Radio International Long-distance experiment
27465 kHz AM / CB Italian “Canale 45” Confirmed Italian operators

A medium-wave bonus

Not every discovery was technically shortwave. On 1008 kHz AM, in the medium-wave band, we clearly received Radio Twente Gold’s German Hour. The station broadcasts from Hengelo in the Netherlands, very close to the WebSDR receiver. Its programming leans into radio nostalgia, including music from the 1920s through the 1940s, historic announcements, and old commercials. Radio Twente Gold’s own reception guide even recommends using the University of Twente WebSDR for that authentic medium-wave sound.

An Italian CB surprise

At the opposite end of the receiver’s range, 27465 kHz AM—or 27.465 MHz—produced another confirmed catch. The frequency is widely known among listeners as Italian Canale 45 or the Italian Superbowl. It is associated with lively, often high-powered CB and freeband conversations, including Italian truck drivers and so-called “big radio” operators. The signals can feature forceful modulation and conspicuous echo effects.

This was not a scheduled broadcaster at all, but two-way radio traffic carried over an unusually good 11-metre propagation path. “Pirate” and “freeband” are common listener labels for this activity; from reception alone, we cannot determine the equipment, power, or legal status of any individual operator.

A quick visit to China

To finish, we looked for something transmitted from China. The current schedule pointed us to 13720 kHz AM: an English-language China Radio International broadcast from Xi’an. Its transmitter runs at a formidable 500 kW, but shortwave is never simply about power. The signal still has to make the long journey to the Netherlands, bouncing through the ionosphere and fading along the way.

Correcting a mistaken identity

A later experiment on 7280 kHz AM taught us why a schedule is only a guide. A database lookup initially suggested a Chinese CNR1/Firedrake signal, and our first listening guess was Radio Europe. Closer listening caught the spoken identification “Dynamite”, making the most likely source Radio Dynamite from Tilburg in the Netherlands. The station’s music came through with slightly disturbed reception. Because no current published schedule we found documents Radio Dynamite on 7280 kHz, the identification remains carefully qualified—but the audible ID is much stronger evidence than the original database match.

That is the peculiar magic of shortwave. The sound may be scratchy and unstable, yet it has travelled through the atmosphere from a physical transmitter somewhere else on Earth. It is not a podcast selected from a server. It is a signal caught in flight.

How to try it yourself

Open the WebSDR, enter a frequency in kilohertz, and select the appropriate mode. International broadcast stations normally use AM; utility and amateur voice signals often use USB or LSB. If a frequency is empty, try another one—or return later. Reception can be completely different after sunset.

Open the University of Twente WebSDR

There are also schedules such as Short-Wave.Info and the HFCC broadcast listings, which help identify what should be on air at a particular UTC time.

Ten countries for the next listening session

Our first afternoon only scratched the surface. Here is a ten-country itinerary for the same receiver, based on the current A26 summer schedules. Every frequency uses AM. The reception rating is a practical expectation from the Netherlands—not a promise—because shortwave propagation can turn a strong scheduled transmission into silence.

Scheduled targets valid during the A26 season; all times are UTC
Country Station and frequency When to try Why it is interesting From Twente
🇩🇪 Germany Channel 292
9670 kHz
Programming varies throughout the day Independent music, oldies, specialist shows, and delightfully unpredictable radio. Good
🇷🇴 Romania Radio Romania International
15320 kHz
1100–1200 daily
Alternative: 15130
English news and Romanian culture, often with folk, classical, or contemporary music. Good
🇹🇷 Türkiye Voice of Türkiye
15320 kHz
1400–1500 daily Turkish-language programming that frequently includes distinctive Turkish music. Good
🇪🇸 Spain Radio Exterior de España
17715 kHz
1400–2200 Mon–Fri Spanish news, sport, culture, and music from a 200 kW transmitter at Noblejas. Fair
🇨🇳 China China Radio International
9535 kHz
1600–1800 daily A German-language service sent from Baoji toward Europe—China heard through an unexpected linguistic lens. Fair–good
🇰🇷 South Korea KBS World Radio
9785 kHz
1400–1600 daily English programmes from Seoul, with Korean current affairs, culture, and K-pop features. DX challenge
🇰🇵 North Korea Voice of Korea
13760 kHz
1300–1357 daily English broadcasts to Europe, usually opening with an unmistakable interval signal and highly formal presentation. Fair
🇻🇳 Vietnam Voice of Vietnam
9835 kHz
Try 1900–1930 daily English news and cultural features; weekend editions can include contemporary Vietnamese music. Fair–good
🇩🇿 Algeria Ifrikya FM
15140 kHz
0700–1900 daily A pan-African mix of Arabic presentation, news, and regional music from a powerful Algerian transmitter. Fair
🇮🇳 India Akashvani External Service
9620 kHz
1730–1930 daily
English “Spotlight” around 1835
Arabic service from Bengaluru with a short English feature—and the possibility of Indian music between spoken segments. DX challenge

Live test, 7 August 2026 at about 11:00 UTC: all ten itinerary frequencies were tuned successfully on the Twente receiver. Channel 292 on 9670 kHz was clearly received. Radio Romania International on 15320 kHz produced no useful reception. Ifrikya FM on 15140 kHz carried a weak voice signal that needed synchronous AM and a wider filter to improve intelligibility. A separate test of 7280 kHz carried music with slightly disturbed reception and an audible “Dynamite” identification, pointing to Radio Dynamite in Tilburg. The remaining services were outside their listed broadcast windows, so any signal on those frequencies could not be honestly attributed to the named station. They remain targets for timed follow-up listening.

These targets come from broadcaster notices and the coordinated A26 listings: Radio Romania International, KBS World Radio, Voice of Vietnam, Akashvani, and the HFCC A26 database. Frequencies and programmes may change, so it is worth checking the schedule again before tuning.

What surprised me

I expected an online radio directory. What I found was much more tactile: a shared scientific instrument, a live waterfall of signals, and the small thrill of not knowing what the next frequency would contain. In less than an hour we encountered a mysterious Russian buzzer, music from Germany, an empty patch of spectrum, and a broadcast from China.

It felt less like browsing the web and more like turning a dial across the world.

Listening note: Frequencies are shared and schedules change. A station heard on a particular frequency today may be absent—or replaced by another broadcaster—at a different time. All broadcast times are normally listed in UTC.