article | Chris Aldrich

Book Club: Yuval Noah Harari’s Nexus: A Brief History of Information Networks from the Stone Age to AI

Coming up for the next few weeks, the Dan Allosso Book Club will focus on Harari, Yuval Noah. Nexus: A Brief History of Information Networks from the Stone Age to AI. New York: Random House, 2024.

The first session will be on Saturday, March 14, 2026, and will recur weekly from 8:00 AM – 10:00 Pacific. Our meetings are welcoming and casual conversations over Zoom with the optional beverage of your choice. We’ll cover chapters 1-4 in Part I in the first meeting.

To join and get access to the Zoom links and the shared Obsidian vault we use for notes and community communication, ping Dan Allosso with your email address.

Happy reading!

Olympia SG1 Standard Typewriter Clean, Oil, and Adjust

Over the weekend I stripped down my 1956 Olympia SG1 and cleaned all the body panels thoroughly. I had taken out all the old foam, but I also removed the remaining loosened felt pieces.

I flushed the internals out with lacquer thinner and blew everything out with the air compressor the following day. I replaced the rubber body bushings and replaced two missing washers on the feet. Then I put everything back together making the appropriate adjustments as I went.

Remaining servicing

Sometime in the near future I still need to replace the feet (they’re reasonably passable), the platen (rock hard), and the felt/foam. I’ll polish up the keys, chrome, and brights. I still need to polish up the keylevers and typebars which I decided not to remove and put through an ultrasonic cleaner.

It still needs a replacement set screw for the tab clear lever on the right hand side. I’ll also eventually need to replace the underlying metal connection on the right hand side card guide—it’s missing the connecting pin and part of the left metal arm. I’ve remediated most of the minimal rust, but there are a few remaining internal blemishes that could be polished up (low priority). I’ll also need to weld back on the curved, flat “spring” on the left end of the bottom of the paper table that shore itself off at some point. The tabulator can also use a bit of additional love and attention.

For historical purposes, I left the tiniest hint of “brown nicotine stain” on the right side of the carriage where a smoker apparently kept their ash tray. That side of the machine almost appeared to be a chimney based on the discoloration which was otherwise remediated.

Beyond this, it’s ready to be in the regular rotation, but will be my primary desk machine for the near future.

Replacing the Body Shell Rubber Bushings on an Olympia SG1 Typewriter

Over the weekend I made a major push on beginning restoration of the Olympia SG1 standard typewriter I picked up this past month.

One of the small issues I encountered was finding four crushed rubber bushings between the exterior typewriter shell and the main chassis at the four corners on the bottom of the machine.

View of the back corner underneath an Olympia SG1 typewriter featuring a crushed rubber washer between the body shell and the solid steel chassis of the typewriter. It look like it's less than a millimeter thick. — This black rubber bushing is so smashed you almost can’t see it above the silver screw head at the bottom of the typewriter frame. The typewriter’s foot has been removed from the vacant screw hole just to the left of the bushing screw to provide better visibility.

This is a common repair issue for the Olympia SM3 machines and one which can dramatically impair that typewriter’s functionality after several decades. I expected this would be a common enough problem, so I searched a few fora, YouTube, and some specialty Facebook Groups to see how others had done the replacement and find the specs for the original part. Sadly none were forthcoming. Has no one written this up before? Perhaps because the issue isn’t a huge problem from a functional perspective, no one has bothered?

But when you’re doing a thorough restoration on a machine you plan to put into daily use, you go the extra mile. To that end, I thought I’d write up a few notes for those who encounter this in the future, particularly as I couldn’t find quick sources on it the way one can for the SM3.

My crushed rubber husks (now more like a brittle, friable plastic) were approximately 16mmOD x 4mm ID x 2 mm, but I wanted to do better than guessing the appropriate replacement. Fortunately our friend Richard Polt has a downloadable .pdf copy of the Olympia Spare Parts Catalog and Price List for Standard Typewriters Model SG1 (Jan. 1, 1961 edition) from the Ames Supply Company on his website. Pulling it up very quickly provided a diagram of the appropriate part on page 12 and indicated it to be part number 34280-5x.6. Scrolling ahead to page 61, one discovers that the part is called a “spacing washer (rubber)” whose original specs are listed as 5⌀12⌀x4mm which originally listed for 11¢. On a German manufactured machine this is indicating a 5mm inner diameter, 12 mm outer diameter, and thickness of 4mm.

A quick spin over to the local Ace Hardware store and I was able to find a variety of Hillman rubber bushings on offer as potential replacements.

I selected Hillman part number 405784-E as the closest bushing with dimensions 1/4″ overall length; 3/16″ ID, 9/16″ major dia.; 3/8″ min. dia. and 1/8″ Hd. thickness. I picked up 4 of them for $0.95 each. Depending on availability, others might find luck ordering something of similar size and dimension from purveyors like McMaster-Carr or Grainger.

Comparison of the old bushings on the left with the new rubber bushings on the right separated by the shoulder bolts and washers in the middle. — The old (left) and the new (right).

Back at home I inserted the smaller end into the hole of the frame and screwed the shoulder bolt and washer back in to hold the frame onto the typewriter chassis. It seemed an excellent fit and this part of the machine should be in good shape for the next few decades.

If this is the only repair you’re making to your machine, I suggest you replace each one, one-at-a-time in turn. This will prevent you from needing to take apart more of the machine or removing the entire body shell to get them on and will speed up the replacement process. If you’re doing it as a larger restoration, then just install them when you re-attach the body shell. For me, loosely attaching the two rear ones followed by the two at the front and then tightening/adjusting them all seemed to be the easier way to go.

If you’re restoring your own SG1, I hope these details make your work and research a bit quicker and easier.

The Deluxe Steelcase Field Notes Notebooks Archive

This nearly indestructible black and gray powder-coated 20 gauge steel constructed 8 drawer cabinet with art deco flourishes has 36 linear feet of storage space for over 2,000 Field Notes notebooks.

This is enough space for over 83 years’ worth of subscription to the quarterly notebooks. Literally enough space for a lifetime of notes.

Staple Day, eat your heart out! We’re stalking down the elusive 4 Drawer Day!

Rubber Grommet Repair on Remington Super-Riters and Standards

As rubber replacement is one of the necessary and sometimes more finnicky parts of typewriter restoration, I thought it would be useful to write up the details of a small recent repair for others as well as my future self.

Late last May, I did a full clean, oil, and adjust (COA) on my 1951 Remington Super-Riter . One of the few restorations steps I didn’t carry out at the time was the replacement of the rubber grommets on the two side panels and the rear panel. The rubber was so hard and brittle on most of them that they crumbled off leaving only the brass inserts. Some of them also left a sludgy black residue on the metal.

Two rows of rubber grommets and brass eyelets. — The top left is an original brass eyelet/new rubber grommet assembly next to three new rubber grommets. The bottom row features a desiccated rubber grommet next to three original brass eyelets.

This weekend, I went foraging at the local Ace Hardware store to find some replacements for the originals.

I took a reasonable guess and for 27 cents each I picked up six grommets which were the perfect size. If you’re in the market for your own replacement rubber grommets, they were Hillman part number 55051-A with the following specifications: ID: 1/8″; OD: 11/32″; Thickness: 3/16″; Grove Diameter: 1/4″; Groove width: 1/16″ .

When I went to install them, I discovered that I was able to wiggle them into the holes in the side panels. I could also get the brass grommets back in with a bit of work. However, I couldn’t discern for the life of me why they included the brass grommets from an engineering perspective. Leaving them off seems to allow a nice friction fit of the panels on the appropriate metal pins against the rubber. Further, without the brass grommets one seems to get not only a better fit, but the vibration dampening of the panels seems to work better. I also suspect the grommet life of the rubber will be better this way in the long run.

I notice that my later 1956 Remington Standard has a similar design for the side and rear panels, but in that case they’d switched to a single center pin and put two bare rubber grommets on each side of it, choosing to leave off the brass internal eyelets by this time—apparently they came to the same conclusion I had. This means that this same rubber grommet repair can be done on a variety of Remington standard typewriters made after World War II.

Editor’s Note: If you’re cleaning or repairing your own Remington Standard from this era, be sure to check and see if it’s got the Fold-A-Matic feature for making your job much easier.

If for historical or consistency reasons, you insist on the brass gromets as part of the repair of your personal machine, you can certainly manage to use the originals with some care, however, if you’ve got your own eyelet tool (which many typewriter repair people may have for inserting eyelets into ribbon for the auto-reverse functionality of Smith-Corona typewriters) you can use it in combination with new 3/16″ (or slightly smaller) metal eyelets to more permanently seat your rubber grommets into your metal panels.

Have you tried this restoration trick before? What did you use for replacements?

Book Club: César Hidalgo’s The Infinite Alphabet and the Laws of Knowledge

Coming up for the next few weeks, the Dan Allosso Book Club will focus on Cesar Hidalgo’s new book, out this month in the United States:

Hidalgo, César A. 2026. The Infinite Alphabet: And the Laws of Knowledge. New York: Penguin.

The first session will be on Saturday, February 21, 2026, and will recur weekly from 8:00 AM – 10:00 Pacific. Our meetings are welcoming and casual conversations over Zoom with the optional beverage of your choice. We’ll cover the first two parts in the first meeting.

To join and get access to the Zoom links and the shared Obsidian vault we use for notes and community communication, ping Dan Allosso with your email address.

Happy reading!

Grand Opening of Typewriter Muse

For about 7 years Typewriter Muse has been operating out of a home-like space, but this weekend they opened a lovely brick and mortar location in Riverside, CA in a nice sized business park with plenty of Doris Day parking right out front.

Their Instagram account has been documenting some of the move and set up over the past month, but Bob and the gang have unveiled their new space on Saturday, January 31, 2026.

Bob’s shop is one of the few I’m aware of with a multitude of people (at least six by my count on Saturday) working at any given time. (Most modern shops are one or possibly two person operations.) This means that the cleaning, repairs, oiling, and adjusting can be set up in an assembly line fashion. Machines come into the front of the shop on the left hand side, then move down the left to the rear where they do power washing and platen work in the back room. From there they move back into the main portion of the shop where the segments and internals are cleaned using isopropyl alcohol and long stick q-tips. (This generally means less health and safety issues by not using mineral spirits, lacquer thinner, or other caustic chemicals which require better ventilation.) From there they stage on a long desk before they go to one of two mechanic’s stations where repairs and adjustments are made before being stored for pick up or placed in the “showroom” The overall layout is quite well designed for moving machines in and out of the shop.

Unique for many shops, the front reception space has community room for a handful of small desks and typewriters to accommodate 8-10 people for small classes, demonstrations, or a small type-in. The room has been dedicated to local journalist Dan Bernstein. (If you’re in the So-Cal area and are interested, Bob has kindly offered the writing space for small type-in events.)

I drove out in the late morning from Altadena. As a typewriter enthusiast I naturally chose the apropos 71 S Corona route (California State Route 71 towards Corona) before turning off toward Riverside, which is about an hour from my house near Pasadena.

Five lane highway featuring a massive sign over the road announcing the split between the 71 South to Corona and the 60 East to Riverside. — Who’d have thought the great typewriters were in Riverside and not in Corona?

Bob Marshall and Bryan Mahoney discussing a custom painted Royal P.

Typewriter Muse's typewriter showroom with 4 wire shelving units covered with about two dozen typewriters of various makes and models. Underneath the shelving is a row of typewriter cases. On the side of the room opposite the shelving is a table with space for three typewriters for typing tests. — Try out a machine or twenty while you’re here!

Rest in Peace: Typewriter Repair Legend Duane Jensen (August 21, 1961-January 25,2026)

Just a few hours ago, Faye shared some sad news.

Most of us might only be able to recognize his voice, his patient hands, and his preference for lacquer thinner, but all of us are richer in typewriter knowledge because of Duane Jensen’s kind sharing of his craft by way of his spectacularly helpful Phoenix Typewriter YouTube channel.

A bunch of us both watch and provide links to his library of typewriter repair videos on a daily basis. Many of us know how to tear down and build up a typewriter because of his tutorials and years of work. Once you attempt to repair a typewriter for yourself, you’ll realize how skilled he was to be able to simultaneously film his work while he did it. (I swear he had six hands….) He also patiently dispensed (and still asked for his own repair advice) on a regular basis on Facebook.

Thousands of his repaired machines will continue to give people joy every day. He’ll be missed terribly in the typewriter community, but fortunately some of his work and his spirit will continue live on online.

For those who don’t know him as well (yet), here’s an article about Duane from last year: Meet one of the few people in America who knows how to fix manual typewriters, and an excellent podcast from September 2024: Charm Type Repair podcast w/ Duane Jensen of Phoenix Typewriter.

Because it was his usual sign off, I feel obligated to quote him:

Phoenix Typewriter, Good Day!
—Duane Jensen

Golden Globes: Nominees for Best Typewriter in a Movie or Television Series?

As I’m watching the Golden Globes, it’s painfully obvious that it is missing some important analog representation. In an effort to remedy the error, shall we collect the nominations for Best Typewriter in a Movie or Television Series? (The only requirement for nomination is that the movie or television show was released in the 2025 calendar year. Bonus points if you include a photo of the typewriter from the show with your nomination.)

I’ll start with a first nominee:

The 1930s Juwel 3 from the Netflix series WEDNESDAY.

What other machines deserve a nomination?

On Purchasing Typewriters: Condition is King; Context is Queen

New typewriter enthusiasts will very often post to Reddit, one of the Facebook typewriter groups or other similar fora, something along the lines of: “I spotted this typewriter at an antique store. Good condition to buy?” and include a picture of some generic typewriter.

It bears mentioning and thoroughly understanding that even an expert typewriter collector or professional repair person can only tell very little of the condition of a typewriter by photos. Does it look generally clean? Are the decals in tact? Does the segment look clean (a vague proxy for the potential condition of the internals)? Is anything obvious missing (knobs, return lever, keys)? Does it look cared for or has it been neglected in a barn for half a century? If it has a case, how beat up, dirty, and water-stained is it?

Most modern typewriters made after 1930 in unknown condition are worth about $5-25 and they peak at about $500 when purchased from a solid repair shop unless some Herculean additional restoration has taken place, they’ve got a rarer typeface, or are inherently actually rare. Hint: unless it’s a pro repair shop or very high end collector with lots of experience, don’t trust anyone saying that a typewriter is “rare”—run the other direction. Run faster if they say it “works, but just needs a new ribbon” as—even at the most expensive—new ribbon is only $15 and their “rare” $600+ machine should have fresh, wet ribbon. The rule of thumb I use is that almost no one online selling a typewriter knows anything about it, including if it actually works. Worse, they’ve probably priced it at professional repair shop prices because they don’t know that in the secondary typewriter market: condition is king.

The least experienced typist will know far more about the condition of a machine by putting their hands on it and trying it out. Does it generally work? Does the carriage move the full length of its travel? Can you set the margins at the extremes and space reliably from one end to another? Does it skip? Is the inside clean or full of decades of dried oil, dust, correction tape, white-out splatter, and eraser crumbs? Does the margin release work? Does it backspace properly? When typing “HHHhhhHHH” are the letters all printed well and on the same baseline?

Presumably a typewriter at an antique store will meet these minimum conditions (though be aware that many don’t as their proprietors have no idea about typewriters other than that if they wait long enough, some sucker will spend $150 on almost anything). They’ve done the work of finding a machine that (barely) works, housing it, and presenting it to the public for sale. This time and effort is worth something to the beginning typewriter enthusiast, but worth much, much less to the longer term practiced collector.

If everything is present and at least generally limping along, you’ve got yourself a $30 typewriter. Most people can spend a few hours watching YouTube videos and then manage to clean and lubricate a typewriter to get it functioning reasonably. You can always learn to do the adjustments from YouTube videos. (Or just take it to a typewriter repair shop and fork over $200-400 to get things squared.)

If you’re getting into collecting, you’ll make some useful mistakes by overpaying in the beginning and those mistakes will teach you a lot.

Maybe you’re a tinkerer and looking for a project? If so, then find the cheapest machine you can get your hands on (maybe a Royal KMM for $9 at thrift) and work your way through a home study course.

Otherwise, if you’re just buying one or two machines to use—by far—the best value you’ll find is to purchase a cleaned, oiled, and well-adjusted machine from a repair shop. Sure it might cost $350-600, but what you’ll save in time, effort, heartache, searching, repair, etc. will more than outweigh the difference. Additionally you’ll have a range of machines to choose from aesthetically and you can test out their feel to find something that works best for you.

Or, you could buy a reasonable machine like the one typically asked about for $40-70 and find out it needs cleaning, oiling, and adjusting and potentially a few repairs. The repair tab might run you an additional $450. Is it worth it when a repair shop would have sold you the same, a very similar, or an even better machine in excellent condition for $350? It also doesn’t take much work to realize the god-send that a properly packaged and shipped typewriter is worth.

Why Context is Queen

Remember in asking about the cost and value/worth of a typewriter, you’re actually attempting to maximize a wide variety of unstated variables including, but not limited to:

upfront price and value,
information about the current state of the market,
information/knowledge about the machine itself, its history, desirability/popularity, and how often it’s encountered in the wild,
information about how to clean it,
information about oiling it,
information about adjusting,
information about repairing it,
cost and availability of tools and repair parts,
and the time involved for both learning and doing all of the above.

The more time you’ve spent learning and doing all of these, the better “deals” you’ll find, but gaining this expertise is going to cost you a few years of life. What is all this “worth” when you just want to type on a machine that actually works as well as it was meant to?

Most of the prognostication you’ll find in online typewriter fora will be generally useless to you because you’re not readily aware of the context and background of the respondents with respect to all of the variables above. Similarly they’re working with no context about you, your situation, where you live, what’s available in your area, your level of typewriter knowledge, your aesthetic, or your budget. You don’t know what you don’t know. At the end of the day, you’re assuredly just as well off to use a bit of your intuition and putting your hands on a machine and trying it out. Then ask: “What is it worth to you?”

If you find yourself asking this question online, but you’re really asking: “Is this $50 typewriter highway robbery?”, the answer is generally: “no”. Alternately if the question is: “Is this $1,000 typewriter really this valuable?”, the vast majority of the time the answer is also probably also “no”.

More resources (and some of my own context) if you need them: https://boffosocko.com/research/typewriter-collection/

Happy typing.

A clever affordance of card index filing cabinet drawers

Someone recently mentioned to me that the small, portable 1,000 index card capacity cardboard box with lid that they use as a zettelkasten felt more like it was for deep storage rather than daily use. Perhaps it’s a result of the fact that this is how most people have been using these cheaper cardboard boxes for the last 30+ years? They said they’d prefer to have a drawer or a box with an attached lid.

It dawns on me that I’ve never mentioned one of the great affordances of many of the older card index cabinets is that they’re designed to be able to completely remove one or more drawers at a time and use at your desk. On an almost daily basis, I pull out at least one drawer from my cabinet and place it on my desk and it allows me to actively work with collections of over 7,000 cards at a time. This means that while the cabinet itself may seem like deep or “cold” storage, it’s really ongoing active storage that I can quickly and easily interact with depending on the range of projects I may be dealing with on a given day. Working on a different project for a bit? Put one drawer away and pull another…

Several of my cabinets have not only pull handles on the front of the drawers, but also have cut-out handles in the rear to be able to easily pull them out and move them around. This feature was also the reason many cabinets also had card rods. The cards could be physically held into the drawers to prevent the user from accidentally tipping the drawer and loosing all the cards into a random pile on the floor. Robert Pirsig describes a sad affair similar to this in his book Lila: An Inquiry into Morals (Bantam Books, 1991).

Of course at the end of the day I can quickly slot the drawer right back into the cabinet for that clean desk look. And because today is the one year anniversary of the Eaton Fire, I’ll mention that it’s also pretty easy to pull a few of your favorite drawers out of the filing cabinet for fleeing your home office, evacuating your town, and being able to work for four months remotely. (Just remember to seat belt those drawers into the back seat if you don’t have card rods!)

Book Club: Steven Pinker’s When Everyone Knows That Everyone Knows

Dan Allosso has been hosting a regular book club since Autumn 2021, centered around sense making, note taking, and topics like economics, history, sociology, and anthropology. (See our list of past books to get an idea of topic coverage.) Our next iteration over the coming month or so will focus on Steven Pinker’s most recent book on knowledge:

Pinker, Steven. 2025. When Everyone Knows That Everyone Knows . . .: Common Knowledge and the Mysteries of Money, Power, and Everyday Life. New York: Scribner.

The first session will be on Saturday, January 10, 2026, and will recur weekly from 8:00 AM – 10:00 Pacific. Our meetings are welcoming and casual conversations over Zoom with the optional beverage of your choice. We’ll cover the first three chapters in the first meeting and the book will likely consume three meetings in all over the coming month.

To join and get access to the Zoom links and the shared Obsidian vault we use for notes and community communication, ping Dan Allosso with your email address.

Happy reading!

Niklas Luhmann’s Zettelkasten Method One Pager (1968)

The internet is now rife with what I call “zettelkasten method one pagers” that describe what many people rightly (or very often wrongly) think that Niklas Luhmann’s zettelkasten method entails.

While doing some research about Luhmann’s numbering system’s antecedents, I recently came across a “one pager” (typescript) written by Luhmann himself in the form of some lecture notes from 1968 that folks may appreciate.

Luhmann, Niklas. 1968-01-13. “Ms. 2906: Technik des Zettelkastens.” Münster, Germany. Lecture Notes. Niklas Luhmann Archiv, https://niklas-luhmann-archiv.de/bestand/manuskripte/manuskript/MS_2906_0001.

Seemingly everyone with a blog that ran across the idea of Zettelkasten in the last decade or so wrote up their own description of what it is. If you know of other blog posts about zettelkasten, let me know for my collection.

Of special note to those who are still under the misapprehension that Luhmann “invented the zettelkasten”, in the closing section of his 1968 notes he writes “In conclusion: from personal experience, others work differently” by which one understands that he’s aware of others who use similar systems and admits that they’re all idiosyncratic to their individual users. I would suspect that he gave this lecture while at Sozialforschungsstelle an der Universität Münster (Social Research Centre of the University of Münster) to students about how to arrange and do their own sociology research work.

Filing Index Cards with a C-Line Document Sorter

Not surprisingly, I don’t always file away my index cards as quickly as I probably ought to. Every now and then I go through my deck of unfiled cards and try to sort them into my card index/zettelkasten. The end of the year seems like a pretty good time to clear the decks.

Because I haven’t documented some of this portion of my process before, I thought I’d take a few photos of my C-Line document sorter which I use to do a fast sort of cards before filing into my card index. I bought it a while back from Brodart Library supplies and it comes in quite handy for sorting and filing documents. It’s got sections for sorting by alphabet, days of a month, months of the year, days of the week, and numbers up to 30,000 (which I primarily co-opt for Dewey Decimal sorting). The days of the month and month sections come in handy for use with my Memindex work, and the months of the year are useful for sorting receipts for expenses and at tax preparation time. In all, it’s fairly flexible analog office tool.

As I go through my stack of index cards, I use a Mitsubishi No. 772 pencil (the vermillion side) to underline topics for filing and cross-referencing purposes. This allows me to cross-index topics quickly as well.

I went through several hundred cards the other day and only had about 150-200 left for filing into the commonplace book section of my card index. Most of these cards were from 2025, but some dated into 2024 with a handful from as far back as 2023.

Over the coming days, I’m hoping to finish cleaning up some of the notes from this year’s reading work.

Product	Sheet width (inches)	Sheet height (inches)	pages	price	Area sq. ft.	$/sq. ft.
Hobonichi A5 Graph	5.8	8.3	288	$23.00	96.3	$0.24
Leuchtturm 1917 A5	5.8	8.3	251	$25.95	83.9	$0.31
Moleskine Hard Cover	5	8.25	192	$20.00	55.0	$0.36
Travelers Notebook	4.3	8.3	128	$11.90	31.7	$0.38

Product	Sheet width (inches)	Sheet height (inches)	sheets	price	Area sq. ft.	$/sq. ft.
Amazon Basics 4×6 Index Cards	4	6	500	$7.30	166.7	$0.04
Oxford 4×6	6	4	1000	$16.49	333.3	$0.05
Stockroom Plus 4×6 (grid)	6	4	300	$13.67	100.0	$0.14
Exacompta 4×6	6	4	100	$15.77	33.3	$0.47
Notsu 4×6	6	4	50	$14.99	16.7	$0.90

Remaining servicing

Why Context is Queen

Notebooks

4 x 6 inch index cards