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In April 2024, Yahoo acquired Artifact, a tool that uses AI to recommend news to readers. Yahoo folded Artifactswhich was cofounded by Instagram cofounders Mike Krieger and Kevin Systrominto its revamped news app to help surface and curate content for readers. Yahoo CEO Jim Lanzone came on the Most Innovative Companies podcast to talk about the acquisition, the companys approach to news curation, and what the future could hold for the private equity-owned company. This interview has been edited and condensed. Yahoo acquired news discovery platform Artifact last year. Now, the technology is used in Yahoos revamped news app. Why did you acquire the platform? Artifact had come up as a startup founded by the Instagram cofounders. It used AI and advanced algorithms to pull in really great content and also do a great job of surfacing it. When we read that they were going to shut it down, I reached out to Kevin Systrom immediately to say we should talk about acquiring it. We basically took the backbone of the Artifact app and made it the Yahoo News app. We look to acquire companies if they can fill a gap for us. We’re not in the game of acquihires. It has to be a product fit. We’re the No. 1 news publication in the U.S. in terms of total traffic. We got to that point by being an aggregator. Were aggregating thousands of sources and then using algorithms to surface the right ones for each of our millions of users. With Artifact, how are you using AI to personalize a users newsfeed? We hope the end user doesnt think about it at all. It’s just about the Yahoo News app getting smarter at delivering the right content to you at the right time. We’re very pro publisher and we are a big part of the ecosystem. We send them traffic and give them revenue as part of it. We’ve been doing that for over 20 years. That is, in some ways, pro publisher, but AI summaries come up on search and articles get summarized via bullet points. That means users may not actually read the articles, and media companies will get fewer page views. I would think about it a little bit differently. If you go back to the beginning of how Yahoo has always worked with publishers, we’re a huge part of the ecosystem in sending traffic out. It’s very important to us to keep the ecosystem very healthy, at least how it historically was. I understand your point, and certainly that’s a new factor for publishers to worry about in terms of AI companies sucking in all their data. Everything we do is with the publisher. We brought all of our publisher relationships to Artifact. Even when there’s a summary, it’s not trying to [stop people looking at] the article, it is trying to pull out the highlights of [the article]. We will also summarize a topic across publishers just for helpful understanding. But again, it all goes back to sending people down the funnel to [media] properties. But they would only go down that funnel if they want to learn more, right? I don’t know how much time youve spent with any of these apps, but I’d say they’re bullet points, short tidbits at the top. They’re really not summarizing the whole article. A news algorithm designed for people can contribute to their biases. Yahoo’s role is nonpartisan, but how do you think about balancing the goal of providing a customer service with preventing the information that only reinforces a reader’s beliefs? We think a lot about it. We try to be very nonpartisan. It’s a hard job. One of the signs we’re getting it right is I get nasty emails from people on both sides. Part of our job with the algorithm is to make sure readers don’t go too [far] into the rabbit hole and that [they] actually can continue to see a balance of things. At the same time, our job is to customize for them as an individual, so the algorithms take that into account. But there are a couple other things happening. We also balance [AI curation with] human curation, which is part of Yahoo being the trusted guide for all these years. Then of course, we are working with trusted publishers that we have long standing relationships withnot sharing user generated content. How does the app fit into Yahoos business strategy? In any given month, we are usually the No. 2 ranked property on comScore in the US multiplatform or in the top five across desktop and mobile. We’re in the top five with Gen Z, and 90% of internet users in the US touch Yahoo in any given month. So monetization of one property is not our issue. We monetize very well. Most of it’s through advertising, like with any major freemium publisher or product. A certain percentage of our users subscribe to our more premium offerings in given categories like sports or finance or email. News is just a part of that. You’ve said job No. 1 is making every one of these products and brands under Yahoo superstrong on their own within the categories in which they operate. There’ve been news reports saying you might want to spin off different products and take them public. There’ve been other reports saying you might want to take the company public as a whole. I guess I’m trying to get a sense of what you think the future is for Yahoo. I would answer that maybe two ways. It’s our job to create value and grow the business, which 30 years old. But for those who don’t know, we were spun out of Verizon by Apollo, the world’s largest private equity firm in September 2021, then I came in as CEO. Most private equity firms want returns. There are two ways to get a return. If you’re a private equity firm, you could go public or you can sell. It is also possible that your investors feel that they have a tiger by the tail and want to hold out longer. I’ve founded startups, I’ve worked at big public companies. It doesn’t matter the size of your company, the name of the game is growth either way. That’s also a sign of a healthy company. It’s a sign that you’re delivering for users. We’ll create a very valuable company, whether it’s us stand-alone going public, or it’s someone acquiring the company. That said, we definitely have inbounds all the time, especially because it is owned by private equity of people trying to pick off part of our pieces of our company. Part of the private equity game is probably to listen to everybody and understand what your options are. Every search engine tech company that puts out any kind of content or that aggregates content is partnering with LLMs like Open AI or Anthropic. Who are you partnering with? Going back to the late 2000s, Yahoo has had a longstanding relationship with Microsoft, which led to an easy relationship with Microsoft copilot. We have the second largest email platform after Gmail, it’s in the hundreds of millions of users. Even a year before Apple announced this Apple Intelligence series of products that would show up in their mail product, we announced AI in Yahoo Mail, helping you serch mail, summarize it, write, edit, and more. That partnership was done with OpenAI. We also are partners with Anthropic, with Google, and others on other products that we have. We work with everybody so far and we’ll continue to do so. Were also internally building a bunch of our own AI products. I think it’s too important to leave it purely to third parties. We have to have our own expertise there.
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E-Commerce
Burnout is a pervasive issue that can be damaging to individuals and costly to organizations. As Fast Company has reported previously, 82% of workers feel at risk for burnout and could be costing companies an average of $21,000 per year in lost productivity. And while theres no shortage of advice about how to prevent burnout, prevention isnt always a level playing field. Here are some situations that may leave you more prone to burnout than others: 1. If youre in the wrong work environment Kandi Wiens, senior fellow at the University of Pennsylvania and director of the universitys masters in medical education program, says that some people may be more at risk for burnout than othersespecially those who are working in environments that arent compatible with their personality or temperament. Wiens, author of Burnout Immunity: How Emotional Intelligence Can Help You Build Resilience and Heal Relationships at Work, says that burnout, especially in the workplace, ultimately comes down to a misalignment, or sometimes referred to as a mismatch, between someone’s personality or temperament and the environment that they are in. So if you are an extrovert and were working from home during the COVID-19 pandemic, that might have led to burnout, while your more introverted colleagues may have thrived. If youre curious and open-minded and your workplace shuts down that kind of inquiry or experimentation, you may burn out faster. Clues that you might be in the wrong work environment include feeling resistance to the companys work style or ideas. Wiens suggests people pay attention to that resistance and check themselves. Practice vocalizing your concerns about that resistance with someone you really trust. What would that look like, and how can you do that in a way that is healthy for you? she says. 2. If youre prone to fawning Those who are constantly overextending themselves in an effort to please others in the workplace and are unable to set healthy boundaries are fawners, says clinical psychologist Ingrid Clayton, author of Fawning: Why the Need to Please Makes Us Lose Ourselvesand How to Find Our Way Back. This chronic people-pleasing is a hybrid response to trauma, Clayton says, noting that its an alternative to traditional fight, flight, or freeze responses. Its this hyper-attunement and managing other peopleappeasing other people in a hyperarousal kind of way, she says. But its also hypoarousal, where there is a disconnect from ourselves, so we dont know were fawning. In her book, Clayton cites the example of a Harvard-educated law firm partner who was suffering signs of burnout. Through working with him, she helped him realize that the external validation he was seeking, as well as his inability to set boundaries, was leading to burnout. Such extreme people-pleasing can cause us to overwork and take on too much, ultimately leading to burnout. Our worth is tied to these external markers rather than a connection with ourselves, Clayton explains. So, burnout is not just about outputthe exhaustion of overdoingbut our loss of autonomy, authenticity, and knowing who we are at all. This is survival mode, and we are not meant to live there 24/7. Something has to give. 3. If you lack self-awareness and self-advocacy skills When youre encountering challenges in the workplace, whether theyre related to the culture being out of alignment with your personality and traits, or if youre slipping into people-pleasing behavior, advocating for yourself is an important part of burnout protection. However, Wiens says that self-awareness is essential to understanding the issues that are causing friction with your personality or temperament and then being able to address them. Once you identify the issue, you can begin to take steps to mitigate it. For example, if youre isolated and extroverted, you can purposefully design other ways to get the interaction you need. If your creativity is being stifled, you may be able to find other outlets for it. Wiens suggests thinking of it this way: What is it in the environment that is a mismatch or misalignment with that thing that is triggered in me, and then what can I do to either change it or change the way I think about [it]? She notes that people who lack self-awareness and the ability to examine their feelings face a fundamental hurdle in addressing the issues that could lead to burnout. Clayton notes that if youre unable to advocate for yourselfincluding asking for what you need and setting boundaries when necessaryyou may be more prone to burnout. Fighting burnout The good news, Clayton says, is that boundary-setting can be practiced and built like a muscle. Start by asking for what you need when the stakes are lowin a restaurant order, for exampleto get in the habit. Some people can kind of laugh this off if they don’t have this experience, but it’s very real that if you don’t have an experience of speaking up or setting a boundary where it felt safe and it was successful, you have to start to build that experience, she says. While several factors may contribute to burnout, these three issues may accelerate it. However, through awareness and practice in mitigating these factors, workers can find a measure of protection from a pervasive malady.
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E-Commerce
Artists and cultural workers are falling through the cracks of our economy at a time when their work has never been more needed in society. Their ability to exist and thrive is threatened by the cost of living and housing affordability crisis, our increasingly precarious economy, and cuts to grant funding under the new administration. Many exist in a structural grey area between independent gig workers and small business owners. Their work is often episodic, making them easily left out of safety net programs like unemployment and healthcarethis is especially true for artists from historically marginalized communities. To address these challenges, we need new systems and solutions to increase economic equity and ensure that our communities have access to creativity and culture. One such area weve seen a wave of interest and experimentation around the potential of in recent years is guaranteed income. What is guaranteed income? It refers to unrestricted recurring cash payments that people can use however they see fit to cover their basic needs and reach their personal and professional goals. Guaranteed income programs can be focused geographically on specific cities, on specific communitiesfor example young people, entrepreneurs, or parentsor a mix of both. Springboard Executive Director Laura Zabel announces Guaranteed Income Pilot for Artists Expansion, 2025. [Photo: Thai Phan-Quang /courtesy Springboard for the Arts] At Springboard for the Arts, weve been delivering one of the longest running guaranteed income programs in the country since 2021, focusing on both urban and rural artists and creative workers in Minnesota. Our 100 recipients to date include painters, sculptors, hiphop artists, singers, composers, teaching artists, performers, and writers who are receiving $500 a month over a five-year period. This has given us the opportunity to reflect on what we’ve learned and what insights we can offer to others thinking about doing this work. Artwork by Alicia Thao, Artists Respond: People, Place, and Prosperity Cohort Member. [Image: courtesy Springboard for the Arts] Adapt each program to the historical, cultural, and economic extractions in that community At its best and most effective, guaranteed income is a tool for justice and repair by supporting populations who have been exploited by social, cultural, and economic systems in America. These programs should be tailored to a communitys needs by considering the connection points between the economics, culture, and physical design of our cities and the impact of policy and planning harms from the past. Both cities and rural places bear the generational impact of economies based on the extraction of natural or cultural resources including redlining, land theft, the interstate highway system, and placement of industrial infrastructure, like trash burners, that has caused generations of environmental harm and adverse health impacts. The results of these policy decisions fall disproportionately on American BIPOC communities and neighborhoods, particularly Native and Black communities. Artists Respond Cohort Member Briuana Williams live drawing at Basic Income Week 2025. [Photo: Thai Phan-Quang /courtesy Springboard for the Arts] For our work in Saint Paul, weve focused our efforts in Frogtown and Rondotwo neighborhoods that are culturally vibrant, resilient, and community oriented, yet that continue to be disproportionately impacted by historical disinvestment, discrimination, and extraction. Rondo, for example, is a historically Black neighborhood whose cultural and business corridor was destroyed in the 1950s and ’60s by highway construction, causing generational economic and cultural harm that residents deal with to this day. Our rural work is focused in Otter Tail County, in West Central Minnesota. This community, like many rural areas across the U.S., is in the midst of economic transformation, including the loss of major employers, lack of affordable housing, and increase in predatory businesses like dollar stores and payday lending. Here, guaranteed income can be a tool for attracting and retaining the creative people these communities will need to imagine a different future. The focus on artists and creative workers is rooted in the idea that, like caregiving and community work, cultural work is a form of labor that communities depend on to be healthy but is not adequately valued by our current economy. Artists Talk in rural Minnesota by Kandace Creel Falcón. [Photo: Brittanni Smith/courtesy Springboard for the Arts] Use artists to help change the narrative about guaranteed income programs While the idea of guaranteed income is gaining traction across the country, there are still embedded cultural and political beliefs that limit how far economic justice policy change can go. These are often harmful tropes like: Do people deserve it? How do they spend the money? Why dont they just get a job? One of the most effective ways of countering these questions is for people to experience the stories of these programs on a human level, which can transform pervasive narratives about inequality and poverty into belief systems of belonging, deservedness, and inherent selfworth. In this way, artistsparticularly those participating in guaranteed income programs and who are locally rooted in their communitieshave a unique role to play in guiding and delivering a narrative shift around guaranteed income. With this in mind, we created a project within our wider guaranteed income work, collaborating with a cohort of artists on Artists Respond: People, Place, and Prosperity. In this program, artists created public projects highlighting the root causes that lead to the need for guaranteed income, and its impact on families and communities. (These projects were supported separately and outside of artists’ participation as guaranteed income recipients.) Guaranteed Income is the G.O.A.T billboard by Kandace Creel Falcón. [Photo: Brittanni Smith/courtesy Springboard for the Arts] Artists have designed projects that range from podcasts and coloring books, to postcards, a public installation, and a collaborative performance/dance meditation made available on YouTube, all of which use messages that are reflective of their local communities. A billboard on rural Highway 210 by artist Kandace Creel Falcón looked at guaranteed incomes connection to rural values, with the message In Rural We Tend to the Herd as a way to root messaging in the collective values of that community and counter individualistic narratives that attempt to malign safety net programs. Artist and GI Pilot participant Mickey Breeze speaks during Basic Income Week at Springboard for the Arts, 2025. [Photo: Thai Phan-Quang /courtesy Springboard for the Arts] Cross-sector investment and collaboration are key Our original pilot was a cross-sector partnershipdesigned in collaboration with the City of Saint Pauls Peoples Prosperity Pilot guaranteed income program and supported by local and national funders including the McKnight, Bush, Surdna, and Ford Foundations. We recently announced the expansion of this work, which includes extending the Saint Paul pilot and adding additional participants to the pilot in Otter Tail County, Minnesota, totaling 100 artists across both locations and committing to five years. The majority of the pilots taking place across America have been 12 to 18 months, in part because that’s the amount of time that cities were able to raise and access relief funds during the pandemic. These are a great start, but to have the kind of longevity that will allow us to make a meaningfulnot just temporaryimpact requires bringing more and different kinds of partners on board and moving from pilots to policy. This is an area where philanthropy has an opportunity to be a true partner by seeding longer-term pilots in more geographies and by supporting advocacy and policy work. Artists Respond Cohort Member Kashimana performs during Basic Income Week 2025. [Photo: Thai Phan-Quang /courtesy Springboard for the Arts] Research and evidence matters When it comes to expanding the reach and impact of guaranteed income, research and evidence matters. Groups like Mayors for a Guaranteed Income, led by Saint Paul Mayor Melvin Carter, are integrating learning and research from local pilots into state and federal policy recommendations. Springboard for the Arts is working with the University of Pennsylvania Center for Guaranteed Income Research to collect data through community-led participatory research in both rural and urban locations, allowing us to understand whats working and how people are using these funds. Emergent themes from this research are compelling, with monthly income contributing to general financial stability; participants’ ability to do longer term planning toward healthcare, savings, business ownership and housing; and increasing financial security so artists can generate creative work for their community and stay in their neighborhoods. This money is going toward rent and supplies but its also being put to everyday expenses like fixing a car so that an artist can get to their job or buying snow boots for their children. Being able to point to these tangible impacts allows us to bring in more partners and more effectively advocate for policy. Even if it feels tedious, having a growing body of data will bolster all of our efforts for both individual programs and the movement as a whole. The experience with our pilot has shown us that guaranteed income works as a tool for supporting both an individuals economic security and their ability to contribute to their communities in creative ways. As our economy becomes even more stratified, there is an urgent need to advocate for policy innovations, like guaranteed income, that offer more Americans the freedom to take care of their families and communities and imagine and build a better future. The article was adapted from the chapter Artists as Allies in Economic Justice in the recently released Routledge Handbook of Urban Cultural Planning.
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E-Commerce
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