When Apple introduced the fourth version of Apple Watch, which they called Series 3, I was excited about upgrading my first-generation Apple Watch, but I wanted to wait until either Apple began to sell certified refurbished watches or I received one as a gift.
Since late February, I have been using a Series 3 GPS (the non-LTE) model that replaced my nearly three year-old, first-generation Apple Watch, which we nerds derisively call “Series 0” because it did almost nothing. As for how I got this shiny new watch, I was able to scoop up a refurbished 42mm, Series 3 in Space Black when Apple began stocking them in late February.
The new (refurbished) watch is a significant upgrade over my first-generation Apple Watch for three key reasons:
It is much faster. As friends and strangers alike asked me whether I would recommend an Apple Watch, I usually said no. Its best feature, I noted, was that it could tell time. But I was hoping for something like an iPhone for my writst. The Series 0 did not offer that, but the Series 3 works like I wish Apple Watch did back in 2015.
It is much more useful. The faster processor and the dual-core architecture of the Series 3 offers much more utility over the single-core processor of the Series 0. Most of it is because of speed. I can use my Apple Watch almost like I can use my iPhone. Even Siri has become useful. Not only does it talk, when I bark the command “start a cycling workout,” it will really start a launch the Activity app and start a Cycling Workout. And it will actually start recording my bike ride before I’ve ridden at least two miles, as used to happen with my Series 0.
The battery lasts a lot longer. Nearly three years of daily charging cycles had taken its toll on my Series 0 battery. Whereas the Series 0 would get through about a day and a half between charge cycles when it was new, the aging battery had noticeably degraded. I could barely get through my waking day between charges.
The new battery on my Series 3, on the other hand (pun alert!), has gone as long as two full days between charges. And the battery also appears to charge a lot faster. The new battery allows me to wear my watch to sleep, and despite my skepticism of the quantified life, I have been enjoying monitoring my sleep.
The display is noticeably brighter and with better color. It’s funny how Apple continually ups the ante with displays, even when the previous ones were more than adequate. I didn’t think the display on my iPhone 3G was deficient, but when iPhone 4 introduced us to Retina displays in 2010, there was no going back. The same has been true for iPad Pro’s ProMotion, True Tone display over whatever display my previous iPad, the 2013 iPad Air, was sporting.
The display on the Apple Watch Series 3 is much clearer and peering at it is a significantly nicer experience. Who knew?
Overall, I’m happy to have upgraded. The Series 3 is significantly more useful than my first-generation Series 0, and the Watch has become a bigger part of my day-to-day activities. The only downside I noticed is that the Series 3 is thicker than a Series 0. MacTracker reports that indeed the newer Apple Watch is 0.45 inches thick compared to 0.41 inches thick for the older one. But it doesn’t feel any heavier so who cares?
If my cousin, who once came to this site to gauge my opinion of the then-new iPhone 7, is reading this, I say this: Apple Watch Series 3 is the Apple Watch I’ve been expecting since they were announced in 2014. It’s about time!
It’s because of Jack in the Box that I know how to pronounce gyro. It’s the first syllable that throws off most people. They pronounce gyro as in “shy” instead of pronouncing gyro like “jesus.” And, in the early 1990s, when the fast-food chain introduced their version of the venerable Greek sandwich to the Jumbo Jack faithful, they gave everyone a lesson on the proper pronunciation. A gyro is pronounced yeero.
Apparently, some New Yorkers didn’t get the same lesson from Jack. I saw the confusion firsthand and when a California friend came to visit me here in late-2002, he said, “I’m going to order a yeero.” I told him that he needs to order a chai-ro because nobody is going to know what he is trying to order. He didn’t believe me… until it happened to him. The confused guy at the counter didn’t understand what a yeero was until he changed his order to a chai-ro. He then got a gyro. With extra white sauce.
I hadn’t noticed until today that New Yorkers might be finally coming around to learning the proper pronunciation of gyro. A sign I spotted off Saint Mark’s Place today tried to explain that a yeero is a gyro.
No word if they’re going to each us how to pronounce white sauce.
It’s the Ides of March (BEWARE!), and over the last week, it’s come out that Farhad Manjoo’s two-months of only getting his news from print, which I discussed last week on this site, might not have quite the digital diet he led us to believe. In his column, Manjoo indicates that he “unplugged from Twitter,” but as Dan Mitchell and Joshua Benton reported since the column’s publishing, he was very active on Twitter.
It seems likely that Manjoo isn’t lying, and that he really believes he had unplugged, and really believes that his weak-sauce explanations don’t belie the point of his column. It could be that Manjoo’s column really does serve as a warning about the pernicious effects of social media. Just not in the way he meant it.
Manjoo did use Twitter less during his “diet” period, beginning in mid-January.
During Manjoo’s two-month print news diet, Manjoo posts from Nuzzel, a news curation tool for Twitter. Nuzzel might have allowed Manjoo to “slow jam the news,” as he describes the purpose of his experiment. However, Benton describes Nuzzel as “a nicotine patch,” reinforcing the notion that Manjoo acts like an addict-in-denial.
Benton notes that Manjoo didn’t just post and repost article from Twitter, but he also liked a lot of other people’s posts. This suggests that Manjoo was spending a lot of time scrolling through his Twitter feed.
In all, Benton concludes that “to say Manjoo ‘unplugged from Twitter’ really isn’t accurate.”
Bob Garfield, on WNYC’s On the Media, called out Manjoo’s claim that he “unplugged from Twitter.” In a special episode podcast episode released this week, Garfield says, “Farhad spent most of his 48-day diet sneaking into the fridge. In the time that he was supposedly “unplugged” from Twitter news, he had tweeted hundreds and hundreds of times. Not the crime of the century — but still, oops.”
Garfield interviews Manjoo, and it’s certainly awkward hearing Manjoo offer qualifications and exceptions to what he meant by being “unplugged.” Garfield appears unmoved, unconvinced, and even disappointed in Manjoo.
Of course, while using Twitter is not a crime and from what we know, he did really “slow jam the news” by subscribing to print newspapers and magazines, reading books, listening to podcasts and subscribing to newsletters, Manjoo undercut his credibility by continuing to use Twitter during this period. There was one line that really spoke to me and respect his noble experiment. At the end of his column, Manjoo reassures his readers that “you don’t have to read a print newspaper to get a better relationship with the news. But, for goodness’ sake, please stop getting your news mainly from Twitter and Facebook.”
Manjoo, who is well-educated and an experienced journalist, should have heeded his own advice… for at least for a couple of months.
On March 1, 2018, Comcast customers could not reach the Germany-based encrypted email service, Tutanota, using their Comcast broadband connections. According to Zack Whittaker, writing for Zero Day at ZDNet…
Starting in the afternoon on March 1, people weren’t sure if the site was offline or if it had been attacked. Reddit threads speculated about the outage. Some said that Comcast was actively blocking the site, while others dismissed the claims altogether. Several tweets alerted the Hanover, Germany-based encrypted messaging provider to the alleged blockade, which showed a “connection timed out” message to Comcast users.
It was as if to hundreds of Comcast customers, Tutanota didn’t exist.
But as soon as users switched to another non-Comcast internet connection, the site appeared as normal
The outage is activating advocates for net neutrality because it seems like Comcast was blocking a website that it didn’t like. Or it could be a technical glitch between Comcast and Tutanota. This happened in 2015 when HBO launched HBO Now, the standalone service that does not require a multichannel video (“cable-TV”) subscription. (Comcast is the largest multichannel video provider and distributor in the United States.) The outage prompted an outrage from Comcast customers who could not access HBO Now’s and accused Comcast of acting in bad faith. It turned out to be a technical glitch involving DNS.
That 2014 HBO Now incident and this recent Tutanota outage underscores the reasons why we need net neutrality. Without it, the Internet can’t operate as a bona fide communications network and can block whatever site they see unfit. In the United States, broadband Internet is monopolized by a small number of companies, and the broadband oligopoly creates distrust between consumers and Internet service providers. Net neutrality is not just good for the broadband customers but also the companies who run these networks.
The tech columnist at the New York Times, Farhad Manjoo, spent the first two months of 2018 only getting his news from print sources. The experiment seems a bit counter intuitive to what a technology reporter should do. Why would someone surrounded by high-tech gadgets want to get his news in this low-tech, antiquated way?
The experiment seems to have yielded two conclusions. The first, which he readily acknowledges, is that it allowed him to get news at a slower rate, or “slow jam the news,” as he calls it. This allowed him to spend his time doing other things, rather than react to each news alert and post on social media. The results, he admits were quite dramatic: “I’m embarrassed about how much free time I have — in two months, I managed to read half a dozen books, took up pottery and (I think) became a more attentive husband and father.”
This is a common theme in the discourse of “being disconnected” from our digital devices. Disconnecting, the thinking goes, will allow us to live life at a more human (and humane?) pace, one more naturally attuned to our physiology and our psychology. Perhaps, there is a truth to that, but we humans are quite adaptable. These same arguments were made when newspapers were around: “how can anyone process so much news that fast?” Today, we make those same arguments to digital news.
The second conclusion he reaches is that he now gets higher-quality news. His new print-only news diet directed him to “looking to formats that prized depth and accuracy over speed.” He lists New York Times, The Wall Street Journal, The San Francisco Chronicle, and the weekly newsmagazine, The Economist as the ones he chose to subscribe to and read regularly. The result was that he felt better informed.
I don’t doubt that Manjoo is getting better news through these sources, but it’s not their print-first format that makes them so reputable: it’s the professional journalists who write for them. Being a journalist is like being a physician in that both professions train intensively and are both committed to the truth. A journalist learns methods for investigating and adheres to practices to present information in a responsible way, not unlike the physician’s long program of study prepares her to follow a proper course of treatment and adhere to a patient’s well-being.
Perhaps, it’s no coincidence that the Internet and born-digital “news” outlets have brought us so much junk news (or “fake news,” in the parlance of our times) over the years, as well as the junk science that feeds the anti-vaxxers and the anti-medicine crowd. The barriers of entry to start propagandistic and fraudulent websites are pretty low. In a way, this is why digital news is so polluted. Those who start and write for these junk news and junk science sites are usually the same know-nothings that rail against professional journalism (derisively calling it “fake news” or the “mainstream media”) and also against medicine. And don’t get me started on the anti-scientific bozos who drink “raw water,” or where Louis Pasteur meets Charles Darwin.
Social media has only amplified and expanded the reach of these junk dealers. Manjoo concludes, “you don’t have to read a print newspaper to get a better relationship with the news. But, for goodness’ sake, please stop getting your news mainly from Twitter and Facebook.” That is because, as we have seen, social media treats all “news” the same, and that has helped spark the disinformation that we’ve seen over the last twenty years. But that is not to say that the news a print journalist reports can’t be shared responsibly online.
And vice-versa: print is not immune to disinformation. As early as the nineteenth century, we had all kinds of salacious news, hoaxes, and outright frauds printed in newspapers. It took newspaper publishers a lot of soul searching and the field of journalism to establish professional training programs to make print the gold-standard of news and information.
Update: Apparently Manjoo couldn’t lay off the Twitter, much in the same way I can’t lay off those buttery Tate’s cookies.
It’s not just Americans that like American craft beer. The world has caught on, according to a recent PRI news item by Jason Margolis, and they want our tasty beer.
However, the growth of sales has been slowing because shipping beers across an ocean is complicated. As quoted in the Margolis’s story, Casey Kjolhede from New Belgium Brewery says:
The biggest challenge is quality. Our beer tastes best—all beer tastes best—fresh. So you’ve already got time against you going across the ocean.
The whole story is worth a listen, or you can read the transcript if you prefer silence. It’s also worth noting that “craft beer” refers to the “second wave” craft brews, those made by long-established breweries that have not yet been acquired by a global conglomerate. Those beers, I presume, are already available, as they were at this bar where Londoners watched the returns from the 2016 Brexit vote.
In the top left of Andrew Testa’s photograph for the New York Times, you’ll see a menu of American beers, most of which are of the “craft” variety that you might find at American airports: whatever “Kentucky Bourbon Barrel” beer is, Flying Dog, Goose Island, Rogue, and Blue Moon. I’m not sure what to think of Pabst being in this group. I guess it was “craft” when it earned its Blue Ribbons in 1882 and in 1916.
My takeaway from this story is a version of something I’ve said before on this site: enjoy this golden age of craft beer before it ends.
I’ll also add that you should definitely try beers from your local craft brewery rather than chasing down some exotic beer from a faraway, trendy brewery.
Sure, that beer that you’ve been “ISO” might be a better brew, but if it’s been traveling some distance for a significant amount of time, it might not taste like what the brewer intended.
That happened when a group of Australians drank a Brooklyn beer that was brewed in Australia, not one shipped across the North American continent and the Pacific Ocean. Eric Ottaway with Brooklyn responded to the Aussies’ criticisms, by informing them that “now it tastes like it actually should as opposed to beer that’s been sitting on the water for six weeks.”
As I get older, I forget about some of the things I’ve done that not many others have. Case in point: I took two pornographic film classes as part of the my film studies curriculum.
The first was as an undergraduate at UCSB that was taught by Constance Penley, who Rolling Stone called a notorious professor in 1998. By the time I took the class, it had been taught several times and was not the hot-topic around campus as much as it was when it was first offered. Nonetheless, Penley ran the class as an historical survey of pornographic film, no different than any other professor would teach a survey of animation, documentary, or French cinema.
The second class was as graduate student at NYU, although our instructors were a bit sly about the subject matter of the class. They called it Explicitly Independent, insisting that we were studying experimental, independent film that pushed the boundaries of representing sexuality. This class was not meant as a broad survey of explicit film, as my undergraduate class was, but instead was meant to address a number of topics that our instructors were studying.
Both classes made clear a couple of facts about pornographic film:
it has been around a long time: about as long as motion pictures themselves have been around.
more people consume pornography than you think: it’s pretty much close to 100% of film viewers.
a stylistic history of pornography tracks closely to the stylistic history of cinema at large: the golden age of pornographic film is in the 1970s, which is the same decade as the golden age of New Hollywood.
Light Industry is presenting nine short films on Tuesday, February 20, beginning at 7:30 PM: a program they call The Smoker: A Brief History of the Stag Film. The term “smoker” refers to the smoke-filled rooms where men—and only men—would watch sex on film as part of some weird homosocial ritual to prove that each guy wasn’t “a homo.” If you ever wondered what your grandfather did with his buddies at an Elks Lodge meeting on a Saturday night, it was probably watching these films.
As someone who watched a lot of these kinds of films with an audience that isn’t there for sexual gratification, I will tell you will initially feel a bit awkward when you recognize the situation of watching porn while sitting next to strangers.
Light Industry seems to recognize this. They will screen the films silent in the spirit of historically accuracy. It was common for men to hoot-and-holler while these films played, and indeed, Light Industry’s website notes “in the spirit of smokers past, we encourage attendees to provide their own soundtracks.”
I would go a step further and encourage you to provide your own beverage, too. But, remember that this is the twenty-first century: there no smoking during these smokers.
Longtime readers of this site know that I am almost universally appreciative of everything that Apple does. But over the last few years, there was one thing about Apple that has bugged me: their taste in music—and now TV shows—is pretty lame. I think this casts a shadow over their otherwise nifty products, which reflect a refined sense of taste in their hardware and software design that is unmatched. And now that they’re getting involved in TV and movie production, I worry about what they’ll produce.
iTunes Podcast Directory
Back in the summer of 2005, Apple first entered the podcasting game by integrating it into iTunes. Up until that point, listening to podcasts was an exclusive domain for nerds. It required third-party software: I used iPodder. It required some understanding of RSS and how it worked, and it required expertise in knowing where to find podcasts in the first place. I vaguely remember listening to a subscribing to a few podcasts back then. Some related to “budget rock” music, some to news and politics, and a bunch other nerdy fare. Suffice to say, these reflected my own personal tastes.
Apple's Podcast Directory, July 2005
Apple sought to introduce podcasts to the masses when it integrated podcasts into iTunes 4.9, making it easier to add podcasts to your IPod. They also added Podcasts Directory to the iTunes Store, a feature that remains to this day. However, I disliked the store because it highlighted the podcasts of the big media companies, especially Disney, a media conglomerate that Apple has had a close relationship by virtue of Steve Jobs and Pixar. I wrote as much on the old, Moveable Type version of this site:
But what is most significantly different from all the various podcasting directories and the new iTunes is that its podcast directory spotlights the podcasts from large content producers. When you first open the directory, you’ll note the presence of the big media companies. When I opened the directory this afternoon, I got a podcast for ABC News and one for ESPN. Clearly, there’s an arrangement with Disney. But the other partnerships seem a bit more tailored for the iPod crowd’s tastes, according to Madison Avenue. There’s NPR affiliates (KCRW, WGBH), CBC, and Bravo’s Queer Eye. If you dig a little deeper, you can find a large number of independent podcasts, but it’s like finding that rare imported beer at your supermarket. You’re going to have to dig past all the Bud, Miller, and Coors to find it.
The popularity and variety of podcasts has exploded since 2005, although its rise has been uneven. While there have been podcasting stars, such as Adam Carolla and Serial and now Bill Simmons and The Daily, podcasting remains a relatively open platform with an wide variety of choices for every possible taste. Podcasting in 2018 is not wholly determined by the Podcast Directory of 2005.
Keep Music Personal
Another example of my distaste for Apple’s taste is the live musical performances integrated into many keynotes.1 I relish each and every keynote address and product launch Apple does. These are not just well-produced media events; they’re often studies in great theater. But I cringed, for example, when John Mayer came on at the end of the iPhone’s introduction at the 2007 Macworld Expo.
John Mayer playing at the Macworld 2007 keynote where the iPhone was announced / Photo by Derrick Story
It’s understandable if no one remembers Mayer playing this keynote. After all, he followed the introduction of what would become the most influential computing device in a generation, and no one can really tell you what else Apple also announced that day. I don’t have anything against John Mayer. I hear he’s a fine musician, and I feel bad that he had to follow the iPhone in the same way I feel bad that the Rolling Stones followed James Brown in The T.A.M.I. Show. But having these performances felt like Apple was trying to shove some middle-of-the-road rock music into our iPods and, later, our iPhones. Apple has continued this tradition with having Coldplay’s Chris Martin perform in 2010 and Sia take the stage in 2016. Neither is music that I would ever listen to on my own. And when these performances start, I always stop watching the keynote.
The public seemed most upset about Apple’s middle-of-the-road tastes in 2014 when they “bought” U2’s new album, Songs of Experience, and added it to everyone’s iTunes account. Undoubtedly there must have been some U2 fans who appreciated getting this album on their iPhones, but I think Apple overestimated the breadth of U2’s appeal. A lot of people were angry about this unwanted gift. Even if U2 was the most popular living rock band in the world, which they arguably were, I understand the backlash because, for years, Apple has marketed their devices as personal and adding U2 to everyone’s device seemed invasive.
I initially feared that Apple Music would turn out to be a disaster because they focused so heavily on the Beats Music aspect of it. I watched the June 2015 WWDC keynote with great interest, and the Apple Music introduction was by far the least impressive of all their announcements that day. Not only that, the Beats Radio stations and programs reminded me a lot of what we saw featured in the iTunes Podcasts Directory: a bunch of middle-of-the-road offerings that betrayed why I liked podcasts and streaming music versus terrestrial and satellite radio, and why I liked buying CDs online instead of the limited selection at the local music store.
If you watch the video of the Apple Music introduction, there’s something off-putting about watching Eddy Cue make playlists. His personal, eclectic taste isn’t mine. Did you just tell me to listen to Loren Kramar? Kramar, by the way, hasn’t released anything since the 2015 single that Cue demos.
There’s no way for me to prove this, but I think that Apple Music is succeeding despite Beats Radio not because of it. Apple Music is doing well because it lets users stream music in much the same way Spotify does, although I suspect Spotify’s recommendation algorithm is better than Apple Music because Apple kinda sucks at AI.
All Apple Music had to do to succeed was flawlessly allow subscribers to find and play whatever music they want, reflecting each user’s personal taste, not the middle-of-the-road taste that Apple seems to espouse.
Of course, nobody except Fuller really knows the exact “creative differences” that led him to leave the series, and Snell and Hurley indicate as much. But their reasonable speculative explanation shows that Apple has established a specific taste for content, and it’s not necessarily as groundbreaking as they might think it is.
There’s also the comedic bits at the beginning of recent keynotes. While I normally like James Corden, I’d much rather listen to Craig Federighi tell some dad jokes about macOS than watch Carpool Karaoke with Tim Cook and Pharrell. ↩
Venerable repertory film theater Film Forum has been operating in New York since 1970. That’s no small feat when you consider the various challenges such an institution faces, including new technologies—from VHS to streaming—that compete for cinephiles’ attention and the commercial real estate market in New York, where the life of a business is largely determined by the length of its lease. As an example of the latter, two movie theaters closed last month in Manhattan because the landlords did not renew their leases: the Landmark Sunshine will be demolished and converted to office space, and the Lincoln Plaza Cinemas will undergo some kind of structural renovation to the building—and may again house a movie theater.
Film Forum’s Director of Publicity, Adam Walker, gave a presentation in Utah at Art House Convergence, a gathering of film distributors and exhibitors, about the history of Film Forum. Film Forum posted the presentation on their website The presentation describes several milestones: the various moves that Film Forum undertook that culminated in their current home on West Houston Street, their expansion from one screen to two screen and ultimately to three screens, and the addition of personnel that has shaped their history. The presentation also explains why you often have to sit behind a column when watching a movie there and the origins of their distinct printed calendars.
If you prefer experiencing the presentation in a slideshow format, you can also see it as a slideshow on Indiewire’s website.
Spoiler alert: There was one happy note at the end of the presentation that I am happy to relay. Film Forum recently extended their lease to 2035. This means they’ll likely be around for another generation. And because of this newfound security, they have begun renovating their current space and plan to open a fourth screen.
I’m about two weeks late in posting about Rob Bliss’s attempt to raise awareness about net neutrality. Bliss rode his bike and set up traffic cones to throttle automobile traffic outside the offices of the Federal Communications Commission. Like the Burger King commercial I posted about last month, the metaphor of the bicyclist causing artificial congestion isn’t the best way to explain what is wrong, even if it makes motorists angry because they can’t go as fast as they want without first paying a toll or running-down the pesky cyclist.
Allow me to offer a better metaphor of what driving would be like without a “net neutrality” for roadways. Say, for example, that Ford built all the roads in your town. Ford allows all Ford cars and trucks to drive on these roads as often as they want at no cost. However, if you own a Toyota and want to drive to the grocery store, either Toyota the automaker or Toyota drivers will have to pay a toll of some type. Perhaps, Ford has a deal with Honda, allowing Honda drivers to also use the Ford roads for no cost. But it comes with certain restrictions: anyone driving an Accord can only drive with two passengers and no cargo. Otherwise, those drivers will have to pay an additional toll or subscribe to an expensive unlimited driving and carriage plan. And what about Tesla? Would those cars ever get to even use these roads? Probably not. So everyone in your town will basically own only a Ford because it’s cheaper and simpler to just do that. And because there’s no competition for Fords in your town, everyone will have same set of crappy Ford cars and trucks, and Ford will have no incentive to ever make anything other than those same crappy cars and trucks.
I should note that Ford has actually been making better cars and trucks than it did over the last half-century, but that’s partly because they don’t enjoy the kind of dominance they once had and because they responded to competition from Asian and European automakers.
As is becoming clear, raising awareness of net neutrality is not as crucial as it was just a few years ago. It’s clearly a hot political topic. What we need to do is to act: to do whatever it takes—through legislation or litigation—to ensure the Internet remains an open platform for communication. The Internet belongs to no one, but in the United States, the final mile belongs to one of a few corporations, usually your cable provider or an incumbent telephone company. We must insure that the infrastructure owners do not get to regulate or dictate what content can be carried over that final mile. Otherwise, we’ll all be driving metaphorical Ford Pintos on the Internet.
Home | TripMode | Your mobile data savior.2017/03/01 MacSparky suggested this to help you save data transfer when tethering. Looks reasonable for those of us considering switching to an unlimited plan with tethering.