1、The most important structural conclusion is that The Denver Post cannot be understood as a newspaper founded by one individual and continuously owned by one family. Its history has passed through at least four fundamentally different systems of control.

The first was the political-newspaper phase beginning in 1892. The paper’s predecessor, The Evening Post, was founded in 1892 and is generally described in historical accounts as having been created by supporters of Democratic presidential candidate Grover Cleveland. The newspaper suspended publication during the economic crisis that followed the collapse of Colorado’s silver economy in 1893 and was revived in 1894.

The second was the commercial reinvention by Frederick G. Bonfils and Harry H. Tammen. They were not, strictly speaking, the original 1892 founders. They purchased the Evening Post in 1895 for $12,500 and transformed a weak newspaper through sensational “yellow journalism,” aggressive circulation, promotion and advertising competition. History Colorado sometimes describes Bonfils simply as the founder of The Denver Post; the more precise formulation is that Bonfils and Tammen were the joint owners, publishers and commercial founders of the modern Denver Post.

The third was the corporate newspaper-chain era. After the Bonfils family period ended, The Denver Post was sold to Times Mirror in 1980 for approximately $95 million. Times Mirror sold it in 1987, again for roughly $95 million, to MediaNews Group, created by William Dean Singleton and Richard Scudder.

The fourth—and most relevant today—is the financial-capital era. After MediaNews’s holding company went through a Chapter 11 restructuring in 2010, creditors received equity and an investor group led by Alden Global Capital steadily gained influence over the board and the company. By 2016, an SEC filing explicitly described MediaNews Group as “a company controlled by Alden Global Capital LLC.”

The most accurate current ownership chain is therefore:

Alden Global Capital → control of MNG Enterprises / MediaNews Group → MediaNews Group ownership and operation of The Denver Post.

Understanding who controls The Denver Post consequently requires studying not one founder, but several generations of power: Bonfils and Tammen → Singleton and Scudder → Randall D. Smith and Heath Freeman.

2、The 1892–1895 origin story was less a conventional journalism startup than a failed political communications project that was subsequently taken over by two unusually aggressive commercial personalities.

The Evening Post began in 1892 with close ties to Democratic political mobilization. Colorado was heavily dependent on silver, while Cleveland’s position on silver made him unpopular with many people in the state. The collapse of silver prices and the broader depression of 1893 further damaged the newspaper, which stopped publishing before being revived by new investors in 1894.

The decisive event came on October 28, 1895, when Bonfils and Tammen acquired it for $12,500. The University of Nebraska’s Encyclopedia of the Great Plains records that they then launched an intense circulation war against Denver’s competing dailies, relying on red headlines, lurid stories and an openly sensational style. Rival papers eventually disappeared or merged.

This established the earliest commercial DNA of The Denver Post: it did not first become powerful through elite notions of neutral professional journalism. It first won attention, circulation, local power and advertising leverage, and professionalized later.

That tension—between journalism as a public institution and a newspaper as a valuable commercial asset—has remained central to its history.

People, family backgrounds and career paths

3、Frederick Gilmer Bonfils was the capital-oriented founding figure of the modern Denver Post. His professional roots lay not in journalism but in speculation, land and business.

Bonfils was born in Troy, Missouri, in 1860. History Colorado records that he entered the United States Military Academy in 1878 and resigned in 1881. He subsequently became involved in land speculation and other business activities before moving to Denver and purchasing the newspaper with Tammen in 1895.

Common biographical accounts identify him as the second of eight children and describe his father, Eugene Napoleon Bonfils, as a lawyer and judge. His background therefore does not appear to have been that of an impoverished outsider, although detailed evidence concerning his family wealth and childhood environment is limited.

He did not follow the conventional path of journalism school, reporter, editor and publisher. His path ran instead through military education, land dealing, real estate and speculative business, followed only later by newspapers. History Colorado preserves financial ledgers from 1908–1923 associated with Bonfils, another reminder that he should be understood as an owner-capitalist as much as an editor or publisher.

The significance of this background is substantial. Bonfils understood a newspaper not merely as a journalistic enterprise but as a platform combining cash flow, political leverage, public attention and commercial bargaining power.

That logic extended into other assets. Bonfils and Tammen were involved in the Sells-Floto Circus; History Colorado records explicitly describe the circus as owned by Bonfils, Tammen and The Denver Post. They were practicing a primitive form of cross-media promotion long before the phrase existed.

4、Harry Heye Tammen was the complementary partner: more closely associated with marketing, circulation, popular entertainment and consumer psychology.

Tammen was born in Baltimore in 1856. Biographical accounts generally identify his parents as German immigrants and his father as a pharmacist. Rather than emerging from an elite journalistic education, Tammen worked in hospitality and bartending before moving to Denver and developing ventures such as the H. H. Tammen Curio Company, which sold souvenirs, postcards and related goods.

History Colorado’s research into the century-long rivalry between The Denver Post and the Rocky Mountain News adds an especially revealing detail: before acquiring the newspaper, Tammen had developed audiences through the Great Divide magazine, his curio and postcard businesses, and a mailing list reportedly numbering about 30,000.

In modern business language, Tammen already understood the value of owning distribution and a customer database before monetizing that audience with content and products.

There is no well-established public record of a university degree for Tammen. 公开资料有限 / 暂无法确认 — Public information is limited / cannot currently be confirmed.

His formative education appears to have come less from academic journalism than from bars, tourism, souvenirs, mail-order commerce, print promotion and entertainment.

Denver Public Library historical material records a revealing description of his editorial philosophy: he wanted a newspaper to contain the emotional variety of a vaudeville show—humor, tragedy, wonder, excitement and melodrama. The underlying idea was clear: the newspaper was an attention product as well as an information product.

5、The Bonfils–Tammen era created more than a newspaper; it created a local media-and-power machine.

After taking control in 1895, they built circulation through sensational journalism while using the newspaper’s promotional power in entertainment ventures such as the Sells-Floto Circus and, for a period, other newspaper properties including the Kansas City Post.

Their roles therefore overlapped: owners, publishers, editorial decision-makers, advertising gatekeepers, political actors, entertainment investors and network builders.

This was very different from a modern professionally managed newspaper corporation. The personal identities and reputations of Bonfils and Tammen were inseparable from the Denver Post brand.

Tammen died in 1924 and Bonfils in 1933. Bonfils’s daughters, Helen Bonfils and May Bonfils Stanton, became important owners, giving the newspaper a genuine family-enterprise phase. Wealth originating in The Denver Post later played a major role in Denver philanthropy and cultural institutions.

The Denver Post Community Foundation’s institutional history states that after Helen Bonfils died in 1972, Donald Seawell became a central steward of the related institutions. When the newspaper was sold to Times Mirror in 1980, proceeds went into the Bonfils Foundation and helped secure the financial base of institutions including the Denver Center for the Performing Arts.

The Bonfils legacy therefore consisted of two different forms of assets: historically, direct newspaper equity and accumulated wealth; over the longer term, cultural and philanthropic influence assets that outlived family control of the paper.

6、William Dean Singleton was the pivotal figure in moving The Denver Post from local-family ownership into a national newspaper-chain structure.

Singleton was born in Graham, Texas, in 1951 and began working as a part-time reporter at age 15. A 1987 Los Angeles Times profile described him as entering newspaper ownership at an unusually young age.

Accounts conflict over whether he completed his studies at the University of Texas. The 1987 Los Angeles Times profile places his early acquisitions after graduation, while other corporate-history accounts say he left college before completing a degree. 说法不一 / 暂无法确认 — Accounts differ / cannot currently be confirmed.

Singleton later worked in the orbit of Texas financier and media owner Joe Albritton, developing expertise in newspaper acquisitions and operations. He and Richard Scudder began acquiring newspapers together in 1983; some sources date MediaNews Group’s founding to 1983, while formal incorporation or organizational accounts commonly use 1985.

Singleton’s distinctive skill was not primarily reporting. It was acquiring troubled newspapers, cutting expenses and combining operations across regional clusters.

His “clustering” approach centralized functions such as production, page design, administration, advertising and sometimes editorial work across multiple local newspapers, reducing the fixed cost of operating each individual publication.

In that sense, Singleton represents an important predecessor to Alden. The difference is that Singleton was fundamentally a newspaper operator who used aggressive financial discipline, whereas Alden’s principals were fundamentally distressed-asset investors who came to control newspapers.

7、Richard B. Scudder provided the other half of MediaNews Group’s founding partnership and came from a traditional American newspaper family rather than Singleton’s entrepreneurial Texas background.

Scudder was born in Newark, New Jersey, in 1913. His grandfather founded the Newark Evening News. Princeton Alumni Weekly described him as “born into the Fourth Estate,” accurately capturing a childhood embedded in newspaper ownership and publishing.

He majored in economics at Princeton and graduated in 1935. During World War II he served in the Army and participated in German-language psychological-warfare broadcasting. He also became an innovator in newsprint recycling and related industrial operations.

The Singleton–Scudder partnership combined different resources. Scudder brought traditional newspaper capital, institutional credibility and financing capacity; Singleton provided operational intensity, acquisitions and cost restructuring. Historical corporate accounts characterize Scudder as leaning more toward capital support while Singleton drove day-to-day expansion.

MediaNews’s $95 million acquisition of The Denver Post in 1987 was the transaction that moved this partnership into the top tier of metropolitan American newspaper ownership. At the time, The Post’s daily circulation was about 230,000 versus roughly 346,000 for the rival Rocky Mountain News—exactly the sort of underperforming competitive position Singleton believed could be turned around.

8、Randall D. Smith is the most important intellectual source of the investment logic behind The Denver Post’s present ownership. He was never fundamentally a newspaper publisher; he was a veteran distressed investor.

Smith was born in 1942. SEC filings confirm that he graduated from Cornell University and received an MBA from the Wharton School; other professional biographies specify 1965 and 1967 respectively.

He became a partner at Bear Stearns, where he headed convertible arbitrage and later focused on distressed investing. He subsequently established R.D. Smith & Co., which SEC materials describe as having become one of the major businesses devoted exclusively to financially distressed companies, acting both as a principal investor and a broker-dealer in distressed securities. Smith exited that business in 1991 to concentrate on managing capital for himself and affiliated entities.

This history explains Alden’s approach better than any newspaper-industry biography does. Smith’s professional framework concerned:

pricing troubled assets; entering capital structures through debt; restructuring obligations; controlling cash flows; and extracting value from undervalued securities, real estate and corporate reorganizations.

Alden Global Capital was established in 2007, with Smith as a founding member and Chief of Investments. SEC filings from 2025–2026 still identify him in that capacity.

The Atlantic has reported an unusually revealing origin story: Smith and his first wife Kathryn appeared on the television game show Dream House when they were young, took approximately $20,000 in cash winnings, and that money helped seed Smith’s early investment business. His route to wealth was therefore capital allocation and distressed investing—not media ownership.

9、Heath Freeman became Alden’s principal newspaper strategist and its most visible public face.

Freeman was born around 1979–1980 and grew up in Short Hills, New Jersey. A Washington Post profile describes him attending the private Pingry School in an environment populated by children of corporate executives and Wall Street families. His parents later became major supporters of Duke University’s Jewish-life center.

His father, Brian Freeman, had worked at the U.S. Treasury Department during the Carter administration and later became an investment banker involved in advising around troubled companies and potential buyers. Freeman therefore grew up unusually close to the intersection of corporate restructuring, finance and labor relations.

Freeman attended Duke University, where he was a football place-kicker, and earned his undergraduate degree in 2002. He then joined boutique investment bank Peter J. Solomon Company, working from 2003 to 2006 on M&A, restructuring and refinancing assignments. He moved to Randall Smith’s Smith Management in 2006, became a founding member of Alden in 2007 and has served as Alden’s President since 2014.

That path almost perfectly explains his role in newspapers. His professional training was built around M&A, restructuring, refinancing, deeply undervalued companies and special situations.

Freeman’s public defense of Alden, presented in his 2020 Washington Post profile, is that after the financial crisis he saw a newspaper business model that was broken and believed disciplined investors could repair it. Alden therefore rejects the characterization that its objective is to destroy newspapers; its position is that cost discipline and consolidation keep otherwise declining local papers economically viable.

Journalists, unions and media scholars have argued that this form of survival is achieved by reducing reporting capacity too aggressively. That clash defines the modern Denver Post story.

Assets, business model, turning points and controversies

10、Alden did not enter The Denver Post through a simple conventional cash acquisition. The critical mechanism was MediaNews’s debt crisis and restructuring.

During the 2000s, MediaNews expanded through acquisitions while accumulating substantial debt. In 2010 its holding company, Affiliated Media Inc., entered a prearranged Chapter 11 process designed to reduce approximately $930 million of debt to about $165 million, with senior lenders exchanging debt claims for equity.

This was one of the most consequential capital events in the history of The Denver Post. Entrepreneurial newspaper owners lost relative power while creditor capital became equity capital.

After restructuring, the Singleton–Scudder group’s ownership and board influence declined, while directors representing the new shareholder base took greater control. Heath Freeman joined MediaNews’s board in 2011, and by 2016 SEC documents explicitly characterized MNG as controlled by Alden.

It is therefore convenient but not entirely precise to say that “Alden bought The Denver Post in 2010.” The more accurate mechanism was:

MediaNews debt was converted into equity → Alden used distressed-debt/equity positions and board influence to gain control → The Denver Post became part of the Alden-controlled system through MediaNews.

This is exactly the type of distressed-capital transaction in which Randall Smith had spent decades specializing.

The current percentage ownership at every intermediate Alden/MNG entity, the identities of all Alden fund limited partners, and stand-alone annual profit and cash-flow data for The Denver Post are 公开资料有限 / 暂无法确认 — publicly limited / cannot currently be confirmed. The broader fact that Alden controls MediaNews, however, is directly supported by SEC filings.

11、From 1895 to the Alden era, The Denver Post’s business model evolved through four distinct forms.

First: attention economics. Bonfils and Tammen converted lurid stories, sensational headlines and aggressive local coverage into circulation, and circulation into advertising leverage. They also linked the newspaper to entertainment holdings such as the Sells-Floto Circus, using one property to promote another.

Second: the classic metropolitan-newspaper two-sided market. For much of the twentieth century, readers paid for the newspaper while advertisers paid for access to a large local audience. The brand itself also generated political and cultural influence.

Third: Singleton’s chain consolidation. MediaNews treated newspapers less as completely independent companies and more as nodes in a network. Acquisition plus clustering allowed printing, administration, advertising, production and some editorial functions to be shared across properties.

Fourth: Alden’s cash-flow and asset-efficiency model. As print advertising declined, the goal increasingly became to preserve subscription, digital, print, advertising and other media revenues while aggressively controlling labor, real-estate and overhead expenses. Nieman Lab reported that Digital First Media produced an operating margin of roughly 17% in 2017, with operating profit approaching $160 million, unusually strong numbers for the newspaper industry at the time.

That produces the central paradox of the Alden model: from an investor-return perspective, it demonstrates that declining newspapers can remain highly profitable; from the public-interest perspective, critics ask whether those profits are being generated by consuming the institution’s long-term reporting capacity.

12、The Denver Post’s assets today should be separated into operating assets, network assets and influence assets.

The first category consists of media operating assets: the Denver Post brand, denverpost.com, mobile products, copyrights and archives, subscriber relationships, advertising relationships and the institutional ability to produce local journalism.

The second is the MediaNews Group network effect. MediaNews currently says its multiplatform portfolio contains more than 235 local media publications reaching more than 47.2 million readers each month. Its portfolio includes The Denver Post along with major local brands such as the Mercury News, Orange County Register, Boston Herald and San Diego Union-Tribune.

The Denver Post is therefore not an isolated newspaper business. It is one node inside a national system in which technology, subscription infrastructure, distribution, advertising, management and some production resources can be shared.

The third category is historical influence capital. More than a century of archives, Pulitzer recognition and institutional participation in Colorado political and civic life constitute intangible value that cannot be fully represented on a balance sheet.

The fourth is the broader cultural and philanthropic legacy generated by historical newspaper wealth. Bonfils-era wealth helped finance Denver cultural institutions, while the Denver Post Community Foundation’s institutional history says a philanthropic partnership beginning in 1992 distributed more than $69 million locally before ending in 2017. Those resources are not all corporate assets available to Alden today; they are better understood as social-influence assets produced by the newspaper’s history.

The former downtown Denver Post headquarters should no longer be viewed as a core newspaper-owned real-estate asset. Editorial staff left the building in 2018, the City of Denver purchased it in 2024, and a newspaper-affiliated entity, DP Media Network, settled a master-lease dispute with the city in 2026.

13、Reduced to its decisive turning points, the institution’s 130-plus-year history looks like this.

1892: the Evening Post is established, initially as a politically oriented newspaper.

1895: Bonfils and Tammen acquire it for $12,500 and build an aggressive mass-market newspaper. This is the first transformative decision.

1901: “Evening” disappears from the title and the brand becomes The Denver Post. The Library of Congress catalogs The Denver Post (Denver, Colo.) 1901-Current.

1924 / 1933: Tammen and Bonfils die, shifting control from the founding entrepreneurs toward Bonfils family ownership.

1980: the paper is sold for approximately $95 million to Times Mirror, effectively ending the locally controlled family era.

1987: MediaNews Group acquires it for roughly $95 million, making The Denver Post a flagship metropolitan property in Singleton’s national newspaper chain.

2001: MediaNews and E.W. Scripps receive approval for a Joint Operating Agreement between The Denver Post and the Rocky Mountain News. Printing and business functions are combined while editorial operations remain independent, consistent with the framework of the Newspaper Preservation Act.

2009: the Rocky Mountain News closes, ending the century-long Denver newspaper war and leaving The Denver Post as the principal survivor.

2010: MediaNews restructures its debt, moving the ultimate logic of control from entrepreneurial newspaper capital toward creditor and hedge-fund capital.

2011: Heath Freeman joins the MNG board and the Digital First management model gains influence.

2018: newsroom cuts trigger an extraordinary public rebellion by Denver Post journalists against Alden, making the newspaper a national case study in hedge-fund ownership of local news.

2026: a dispute over the former downtown headquarters ends in a $13.5 million settlement, with the old Denver Post signage required to come down—another symbolic separation from the era of the giant downtown newspaper institution.

14、The Denver Post’s greatest achievement was not a particular acquisition or financial return. It was building a newsroom capable of defining Colorado’s news agenda and repeatedly producing nationally recognized journalism.

The clearest evidence is the Pulitzer record.

In 2000, The Denver Post staff won the Pulitzer Prize for Breaking News Reporting for its coverage of the Columbine High School massacre.

In 2010, photographer Craig F. Walker won the Feature Photography Pulitzer for his intimate project following a teenager who entered the Army during the Iraq War.

In 2011, Denver Post editorial cartoonist Mike Keefe won the Pulitzer Prize for Editorial Cartooning.

In 2012, Walker won Feature Photography again, this time for a project about an Iraq veteran struggling with severe PTSD after returning home.

In 2013, the Denver Post staff won Breaking News Reporting for its coverage of the Aurora movie-theater mass shooting. The Pulitzer citation specifically highlighted its integrated use of conventional reporting, Twitter, Facebook, video and written updates, demonstrating that an old metropolitan newspaper had successfully built sophisticated digital breaking-news capabilities.

This is crucial to understanding the 2018 controversy. The newsroom being cut was not an institution that had simply ceased producing serious journalism; only a few years earlier, it had repeatedly won the profession’s most prestigious awards.

UNC’s research on news deserts notes that The Denver Post had approximately 184 journalists in 2012, when it produced the Aurora coverage that won the Pulitzer. Following the 2018 cuts, the newsroom fell to about 66 journalists, responsible for covering a metropolitan area of more than two million people.

That contrast became one of the most powerful symbols in the national debate over Alden.

15、The controversies and failures differ sharply by era: Bonfils and Tammen raise questions about abuse of media power; the Singleton period includes aggressive consolidation and a failed copyright-enforcement strategy; the Alden period centers on financialization and newsroom depletion.

During the Bonfils–Tammen period, sensational “yellow journalism” and forceful use of newspaper influence were integral to the business. History Colorado research documents episodes in which the proprietors used their publication’s power in highly controversial dealings with businesses and public actors.

The most serious historical shadow is associated with Teapot Dome. Contemporary reporting from 1924 records Bonfils acknowledging a secret oil agreement under which Harry Sinclair had already paid him $250,000. A modern historical reconstruction by The Colorado Sun describes Bonfils and associates using information about the scandal to pressure Sinclair, eventually securing $250,000 plus valuable land rights. Because historical accounts differ over legal characterization, it would be inaccurate to describe this simply as a criminal bribery conviction. It nevertheless represents one of the darkest ethical episodes associated with the paper’s early ownership.

Bonfils and Tammen were also shot in their offices in 1899 by attorney W.W. Anderson in a conflict associated with coverage surrounding the Alfred Packer case. The episode illustrates how the early Denver Post operated in a world where journalism, private conflict, law and local power were unusually intertwined.

During the Singleton/MediaNews period, a notable digital-era failure was the partnership with copyright-enforcement company Righthaven. The Electronic Frontier Foundation records 57 lawsuits in the Denver Post-related campaign. In 2011, new MediaNews CEO John Paton declined to renew the relationship and publicly characterized the decision to use Righthaven as fundamentally misguided.

The concept was to monetize and defend journalistic copyright. In practice, Righthaven’s mass-litigation tactics, choice of defendants and copyright-assignment structure attracted heavy criticism.

The defining controversy of the Alden era is newsroom reduction. After another order to eliminate roughly 30 positions in 2018, Denver Post journalists openly criticized their owner. PBS, Columbia Journalism Review and the NewsGuild all treated the episode as an extraordinary revolt by journalists against the financial owner of their own newspaper.

UNC’s study found that the 2018 reductions took the newsroom from roughly 100 employees to about 66, compared with approximately 184 journalists in 2012.

Alden’s counterargument should nevertheless be included. Freeman has argued that the historical newspaper business model was broken and that cost reductions, consolidation and financial discipline were required for newspapers to remain viable. Digital First’s comparatively strong operating margin demonstrates that the strategy did produce financial profitability. The underlying dispute is therefore not whether the papers generated profits; it is whether those profits represented successful restructuring or an unsustainable drawdown of the institutions’ future journalistic capacity.

There was also a major corporate-governance controversy involving pensions. A U.S. Department of Labor investigation concluded that Alden probably violated federal pension protections by placing approximately $294 million in newspaper employees’ retirement assets into Alden-managed funds. Alden admitted no wrongdoing but agreed to remove the assets from its own funds and pay approximately $20.7 million under the resolution.

That was an Alden/MediaNews governance issue; it should not be confused with any journalistic misconduct by The Denver Post newsroom.

16、As of 2026, The Denver Post still exists and remains influential, but its real-world position has fundamentally changed.

It remains inside the Alden → MediaNews Group → Denver Post control structure. MediaNews says its current network consists of more than 235 local publications reaching more than 47.2 million readers monthly, demonstrating that Alden has not exited journalism. Rather, local media remain part of a national investment and operating portfolio.

Alden’s principal investment figures also remain active. SEC filings from 2025–2026 continue to identify Randall D. Smith as Alden’s Chief of Investments and a founding member, while Heath Freeman remains described as a founding member, longtime President and key executive in related investment entities. Control has therefore not reverted to a Denver family, nonprofit foundation or journalist-owned structure.

Capital control should be distinguished from editorial management. Lee Ann Colacioppo has served as editor/executive editor of The Denver Post since 2016. She joined the newspaper in 1999 and previously held roles including city editor, investigations editor and news director. Colorado News Collaborative and the Colorado Press Association continue to identify her as the paper’s editorial leader.

Nor have the newsroom cuts erased all professional standing. Publicly reported Colorado Press Association results show The Denver Post continuing to receive General Excellence and investigative-reporting recognition in recent competitions.

What has disappeared is much of the physical scale associated with the old industrial newspaper model. Editorial employees left the downtown headquarters in 2018. The City of Denver purchased the building for $88.5 million in 2024. DP Media Network remained responsible for a master lease but stopped making roughly $650,000 monthly rent payments in 2025. In June 2026, the parties agreed to a $13.5 million settlement, the lease ended June 30, and the agreement called for removal of The Denver Post signage.

The symbolism is difficult to miss: an institution that once embodied the industrial model of a metropolitan newspaper—with a major downtown building, printing infrastructure and hundreds of journalists—now functions primarily as a news, subscription, advertising and digital-content brand within a national investment-controlled network.

The Denver Post has therefore represented three successive models of American media power.

Under Bonfils and Tammen, it represented the age when local newspaper proprietors could accumulate enormous civic, political and commercial power.

Under Singleton, it represented the age when national newspaper chains believed scale and operational consolidation could rescue struggling local papers.

Under Alden, it has become one of the clearest examples of what happens when local journalism becomes a distressed financial asset and investors seek to preserve or maximize cash flows from a structurally declining industry.

The 2018 revolt produced one final, unintended legacy. A group of journalists who left The Denver Post subsequently helped create The Colorado Sun. The Colorado Sun’s own retrospectives state that 10 former Denver Post journalists were involved in launching the new organization. Thus Alden’s reductions did more than shrink The Denver Post; they indirectly helped produce a new generation of alternative Colorado local-news institutions.

The clearest description of The Denver Post’s position today is therefore this:

It remains one of Colorado’s most historically important media brands, but the decisive power behind it no longer belongs to Denver newspaper families, traditional publishers or local civic institutions. It sits inside a distressed-investment system associated above all with Randall Smith and Heath Freeman. The newsroom still performs a public journalistic function, while the ownership structure treats the institution fundamentally as an investment asset whose economics must satisfy the logic of capital.