Here's a story about the history of the Like button that you might like
SAN FRANCISCO (AP) — The internet wouldn't be the same without the Like button, the thumbs-up icon that Facebook and other online services turned into digital catnip.
Like it or not, the button has served as a creative catalyst, a dopamine delivery system and an emotional battering ram. It also became an international tourist attraction after Facebook plastered the symbol on a giant sign on that stood outside its Silicon Valley headquarters until the company rebranded itself as Meta Platforms in 2021.
A new book, 'Like: The Button That Changed The World," delves into the convoluted story behind a symbol that's become both the manna and bane of a digitally driven society.
It's a tale that traces back to gladiator battles for survival during the Roman empire before fast-forwarding to the early 21st century when technology trailblazers such as Yelp co-founder Russ Simmons, Twitter co-founder Biz Stone, PayPal co-founder Max Levchin, YouTube co-founder Steve Chen, and Gmail inventor Paul Buchheit were experimenting with different ways using the currency of recognition to prod people to post compelling content online for free.
As part of that noodling, a Yelp employee named Bob Goodson sat down on May 18, 2005, and drew a crude sketch of thumbs up and thumbs down gesture as a way for people to express their opinions about restaurant reviews posted on the site. Yelp passed on adopting Goodson's suggested symbol and, instead, adopted the 'useful,' 'funny' and 'cool' buttons conceived by Simmons. But the discovery of that old sketch inspired Goodson to team up with Martin Reeves to explore how the Like button came to be in their new book.
'It's something simple and also elegant because the Like button says, 'I like you, I like your content. And I am like you. I like you because I am like you, I am part of your tribe,' ' Reeves said during an interview with The Associated Press. 'But it's very hard to answer the simple question, 'Well, who invented the Like button?' '
The social wellspring behind a social symbol
Although Facebook is the main reason the Like button became so ubiquitous, the company didn't invent it and almost discarded it as drivel. It took Facebook nearly two years to overcome the staunch resistance by CEO Mark Zuckerberg before finally introducing the symbol on its service on February 9, 2009 — five years after the social network's creation in a Harvard University dorm room.
As happens with many innovations, the Like button was born out of necessity but it wasn't the brainchild of a single person. The concept percolated for more than a decade in a Silicon Valley before Facebook finally embraced it.
'Innovation is often social and Silicon Valley was the right place for all this happen because it has a culture of meet-ups, although it's less so now,' Reeves said. 'Everyone was getting together to talk about what they were working on at that time and it turned out a lot of them were working on the same stuff.'
The effort to create a simple mechanism to digitally express approval or dismay sprouted from a wellspring of online services such as Yelp and YouTube whose success would hinge on their ability to post commentary or video that would help make their sites even more popular without forcing them to spend a lot of money for content. That effort required a feedback loop that wouldn't require a lot of hoops to navigate.
Hollywood's role in the Like button's saga
And when Goodson was noodling around with his thumbs-up and thumbs-down gesture, it didn't come out of a vacuum. Those techniques of signaling approval and disapproval had been ushered into the 21st century zeitgeist by the Academy Award-winning movie, 'Gladiator,' where Emperor Commodus — portrayed by actor Joaquin Phoenix — used the gestures to either spare or slay combatants in the arena.
But the positive feelings conjured by a thumbs up date even further back in popular culture, thanks to the 1950s-era character Fonzie played by Henry Winkler in the top-rated 1970s TV series, 'Happy Days.' The gesture later became a way of expressing delight with a program via a remote control button for the digital video recorders made by TiVO during the early 2000s. Around the same time, Hot or Not — a site that solicited feedback on the looks of people who shared photos of themselves — began playing around with ideas that helped inspire the Like button, based on the book's research.
Others that contributed to the pool of helpful ideas included the pioneering news service Digg, the blogging platform Xanga, YouTube and another early video site, Vimeo.
The button's big breakthrough
But Facebook unquestionably turned the Like button into a universally understood symbol, while also profiting the most from its entrance into the mainstream. And it almost didn't happen.
By 2007, Facebook engineers had been tinkering with a Like button, but Zuckerberg opposed it because he feared the social network was already getting too cluttered and, Reeves said, 'is he didn't actually want to do something that would be seen as trivial, that would cheapen the service.'
But FriendFeed, a rival social network created by Buchheit and now OpenAI Chairman Bret Taylor, had no such qualms, and unveiled its own Like button in October 2007.
But the button wasn't successful enough to keep the lights on at FriendFeed, and the service ended up being acquired by Facebook. By the time that deal was completed, Facebook had already introduced a Like button — only after Zuckerberg rebuffed the original idea of calling it an Awesome button 'because nothing is more awesome than awesome,' according to the book's research.
Once Zuckerberg relented, Facebook quickly saw that the Like button not only helped keep its audience engaged on its social network but also made it easier to divine people's individual interests and gather the insights required to sell the targeted advertising that accounted for most of Meta Platform's $165 billion in revenue last year. The button's success encouraged Facebook to take things even further by allowing other digital services to ingrain it into their feedback loops and then, in 2016, added six more types of emotions — 'love,' 'care,' 'haha,' 'wow,' 'sad,' and 'angry.'
Facebook hasn't publicly disclosed how many responses it has accumulated from the Like button and its other related options, but Levchin told the book's authors that he believes the company has probably logged trillions of them. 'What content is liked by humans...is probably one of the singularly most valuable things on the internet,' Levchin said in the book.
The Like button also has created an epidemic of emotional problems, especially among adolescents, who feel forlorn if their posts are ignored and narcissists whose egos feast on the positive feedback. Reeves views those issues as part of the unintentional consequences that inevitably happen because 'if you can't even predict the beneficial effects of a technological innovation how could you possibly forecast the side effects and the interventions?'
Even so, Reeves believes the Like button and the forces that coalesced to create it tapped into something uniquely human.
'We thought serendipity of the innovation was part of the point,' Reeves said. 'And I don't think we can get bored with liking or having our capacity to compliment taken away so easily because it's the product of 100,000 years of evolution.'
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NEW YORK (AP) — It's one of the largest repositories of Black history in the country — and its most devoted supporters say not enough people know about it. The Schomburg Center for Research in Black Culture hopes to change that Saturday, as it celebrates its centennial with a festival combining two of its marquee annual events. The Black Comic Book Festival and the Schomburg Literary Festival will run across a full day and will feature readings, panel discussions, workshops, children's story times, and cosplay, as well as a vendor marketplace. Saturday's celebration takes over 135th Street in Manhattan between Malcom X and Adam Clayton Powell boulevards. Founded in New York City during the height of the Harlem Renaissance, the Schomburg Center will spend the next year exhibiting signature objects curated from its massive catalog of Black literature, art, recordings and films. 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For the centennial, the Schomburg's leaders have curated more than 100 items for an exhibition that tells the center's story through the objects, people, and the place — the historically Black neighborhood of Harlem — that shaped it. Those objects include a visitor register log from 1925-1940 featuring the signatures of Black literary icons and thought leaders, such as Zora Neale Hurston and Langston Hughes; materials from the Fab 5 Freddy collection, documenting the earliest days of hip hop; and actor and director Ossie Davis's copy of the 'Purlie Victorious' stage play script. An audio guide to the exhibition has been narrated by actor and literacy advocate LeVar Burton, the former host of the long-running TV show 'Reading Rainbow.' Whether they are new to the center or devoted supporters, visitors to the centennial exhibition will get a broader understanding of the Schomburg's history, the communities it has served, and the people who made it possible, said Joy Bivins, the Director of the Schomburg Center, who curated the centennial collection. 'Visitors will understand how the purposeful preservation of the cultural heritage of people of African descent has generated and fueled creativity across time and disciplines,' Bivins said. Novella Ford, associate director of public programs and exhibitions, said the Schomburg Center approaches its work through a Black lens, focusing on Black being and Black aliveness as it addresses current events, theories, or issues. 'We're constantly connecting the present to the past, always looking back to move forward, and vice versa,' Ford said. Still, many people outside the Schomburg community remain unaware of the center's existence — a concerning reality at a time when the Harlem neighborhood continues to gentrify around it and when the Trump administration is actively working to restrict the kind of race-conscious education and initiatives embedded in the center's mission. 'We amplify scholars of color,' Ford said. 'It's about reawakening. It gives us the tools and the voice to push back by affirming the beauty, complexity, and presence of Black identity.' Founder's donation seeds center's legacy The Schomburg Center has 11 million items in one of the oldest and largest collections of materials documenting the history and culture of people of African descent. That's a credit to founder Arturo Schomburg, an Afro-Latino historian born to a German father and African mother in Santurce, Puerto Rico. He was inspired to collect materials on Afro-Latin Americans and African American culture after a teacher told him that Black people lacked major figures and a noteworthy history. Schomburg moved to New York in 1891 and, during the height of the Harlem Renaissance in 1926, sold his collection of approximately 4,000 books and pamphlets to the New York Public Library. Selections from Schomburg's personal holdings, known as the seed library, are part of the centennial exhibition. Ernestine Rose, who was the head librarian at the 135th Street branch, and Catherine Latimer, the New York Public Library's first Black librarian, built on Schomburg's donation by documenting Black culture to reflect the neighborhoods around the library. Today, the library serves as a research archive of art, artifacts, manuscripts, rare books, photos, moving images, and recorded sound. 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Youth scholars seen as key to center's future For years, the Schomburg aimed to uplift New York's Black community through its Junior Scholars Program, a tuition-free program that awards dozens of youth from 6th through 12th grade. The scholars gain access to the center's repository and use it to create a multimedia showcase reflecting the richness, achievements, and struggles of today's Black experience. It's a lesser-known aspect of the Schomburg Center's legacy. That's in part because some in the Harlem community felt a divide between the institution and the neighborhood it purports to serve, said Damond Haynes, a former coordinator of interpretive programs at the center, who also worked with the Junior Scholars Program. But Harlem has changed since Haynes started working for the program about two decades ago. 'The Schomburg was like a castle,' Haynes said. "It was like a church, you know what I mean? Only the members go in. You admire the building.' For those who are exposed to the center's collections, the impact on their sense of self is undeniable, Haynes said. Kids are learning about themselves like Black history scholars, and it's like many families are passing the torch in a right of passage, he said. 'A lot of the teens, the avenues that they pick during the program, media, dance, poetry, visual art, they end up going into those programs,' Haynes said. 'A lot the teens actually find their identity within the program.'
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The home of one of the largest catalogs of Black history turns 100 in New York
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Artists, writers and community leaders have gone the center to be inspired, root their work in a deep understanding of the vastness of the African diaspora, and spread word of the global accomplishments of Black people. It's also the kind of place that, in an era of backlash against race-conscious education and diversity, equity and inclusion initiatives, exists as a free and accessible branch of the New York Public Library system. It's open to the public during regular business hours, but its acclaimed research division requires an appointment. 'The longevity the Schomburg has invested in preserving the traditions of the Black literary arts is worth celebrating, especially in how it sits in the canon of all the great writers that came beforehand,' said Mahogany Brown, an author and poet-in-residence at the Lincoln Center, who will participate in Saturday's literary festival. For the centennial, the Schomburg's leaders have curated more than 100 items for an exhibition that tells the center's story through the objects, people, and the place — the historically Black neighborhood of Harlem — that shaped it. Those objects include a visitor register log from 1925-1940 featuring the signatures of Black literary icons and thought leaders, such as Zora Neale Hurston and Langston Hughes; materials from the Fab 5 Freddy collection, documenting the earliest days of hip hop; and actor and director Ossie Davis's copy of the 'Purlie Victorious' stage play script. An audio guide to the exhibition has been narrated by actor and literacy advocate LeVar Burton, the former host of the long-running TV show 'Reading Rainbow.' Whether they are new to the center or devoted supporters, visitors to the centennial exhibition will get a broader understanding of the Schomburg's history, the communities it has served, and the people who made it possible, said Joy Bivins, the Director of the Schomburg Center, who curated the centennial collection. 'Visitors will understand how the purposeful preservation of the cultural heritage of people of African descent has generated and fueled creativity across time and disciplines,' Bivins said. Novella Ford, associate director of public programs and exhibitions, said the Schomburg Center approaches its work through a Black lens, focusing on Black being and Black aliveness as it addresses current events, theories, or issues. 'We're constantly connecting the present to the past, always looking back to move forward, and vice versa,' Ford said. Still, many people outside the Schomburg community remain unaware of the center's existence — a concerning reality at a time when the Harlem neighborhood continues to gentrify around it and when the Trump administration is actively working to restrict the kind of race-conscious education and initiatives embedded in the center's mission. 'We amplify scholars of color,' Ford said. 'It's about reawakening. It gives us the tools and the voice to push back by affirming the beauty, complexity, and presence of Black identity.' Founder's donation seeds center's legacy The Schomburg Center has 11 million items in one of the oldest and largest collections of materials documenting the history and culture of people of African descent. That's a credit to founder Arturo Schomburg, an Afro-Latino historian born to a German father and African mother in Santurce, Puerto Rico. 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Over the years, it has grown in size, from a reading room on the third floor to three buildings that include a small theater and an auditorium for public programs, performances and movie screenings. Tammi Lawson, who has been visiting the Schomburg Center for over 40 years, recently noticed the absence of Black women artists in the center's permanent collection. Now, as the curator of the arts and artifacts division, she is focused on acquiring works by Black women artists from around the world, adding to an already impressive catalog at the center. 'Preserving Black art and artifacts affirms our creativity and our cultural contributions to the world,' Lawson said. 'What makes the Schomburg Center's arts and artifacts division so unique and rare is that we started collecting 50 years before anyone else thought to do it. Therefore, we have the most comprehensive collection of Black art in a public institution.' 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For those who are exposed to the center's collections, the impact on their sense of self is undeniable, Haynes said. Kids are learning about themselves like Black history scholars, and it's like many families are passing the torch in a right of passage, he said. 'A lot of the teens, the avenues that they pick during the program, media, dance, poetry, visual art, they end up going into those programs,' Haynes said. 'A lot the teens actually find their identity within the program.' Error! Sorry, there was an error processing your request. There was a problem with the recaptcha. Please try again. You may unsubscribe at any time. By signing up, you agree to our terms of use and privacy policy . This site is protected by reCAPTCHA and the Google privacy policy and terms of service apply. Want more of the latest from us? Sign up for more at our newsletter page .
New York Post
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Ananda Lewis' sister reveals former MTV VJ's dying wish
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