One bug that creeps up at unpredictable intervals with InShotâs Music Playerâthough it is not as severe as the bug on Muzio Playerâis that after a while, it forgets that it should shuffle the tracks and resorts to alphabetical order, starting from the top.
Considering this isnât something that has affected any other music player, I find this very surprising.
These four screenshots were taken between July and August of the recent tracks. Thereâs no rhyme or reason the player would suddenly go to the top of the list, but when I begin hearing the same sequence of tracks, I know somethingâs not right. And it has been happening since I installed the player, though the first couple of times I didnât realize it was a bug.
I would tell Inshot directly but my last (highly positive) email went unanswered, so a public blog post is the next best thing, in case others have come across this bug.
With how forgetful computer programs are all the time, including the player I had on my phone prior to this, I wonder: should I invent the ini or preference file? It seems that in this universe, these havenât been invented yet!
On a side note, Meizu’s native music player has also forgotten to show the list of tracks, which remain linked after my herculean effort earlier this year. Its search still fails to scan the SD card.
There is something quite elegant about title typography from the turn of the decade as the 1960s become the 1970s.
There is 1971âs Diamonds Are Forever by Maurice Binder, which apparently is one of Steven Spielbergâs favourites, but Iâm thinking of slightly humbler fare from the year before.
I got thinking about it when watching Kevin Billingtonâs The Rise and Rise of Michael Rimmer, which has Futura Demi tightly set (it is the 1970s) but arranged in an orderly, modernist fashion, aligned to the left on a grid. Nothing centred here; this is all about a sense of modernity as we entered a new decade.
It certainly didnât stay like thisâas the decade wore on I canât think of type being so prominent in title design on the silver screen. Great title design is also something we seem to lack today in film. I helped out in a minor way on the titles for the documentary Rescued from Hell, also using Futura, though I donât know how much was retained; given the chance it would be nice to revisit the large geometric type of 1970.
If youâre around my age with a similar interest in model cars, this mural, Re-collection, by Leon Keer on a block of flats in Grenoble, France, will appeal.
Leon has Tweets with the before and after, and one about the process.
Itâs sad that Lesney (Matchbox) went down the fantasy route to compete with Hot Wheels, whereas the 1970s Corgi and Majorette castings that are represented here are so much better, in my opinion. I had a good childhood; I certainly couldnât complain about the model collection that my parents and grandparents indulged. And what great work from Leon to bring back this sense of nostalgia.
After 13 years, it was time to facelift the Lucire licensing website.
Itâs a very familiar template, similar to what we used for JY&A Consultinga few months back. The home page copy we already had from a flier that we created late last year that Susan Ninan and I worked on; and the âAboutâ pageâs text was mostly carried over (though it still needs 13 years of updates).
I am surprised the old site still netted us enquiries but it was looking extremely dated. The 2008 design was positively archĂŠological in internet terms. However, Iâm not sure if the new one is particularly interesting, because the web design convention is to do something very simple at the moment.
The old one was created with consideration for those who didnât have mouse wheels, whereas these days it seems to be all right, even fashionable, to scroll away.
Hopefully everything is more fit for purpose though, and the links are more useful. Weâve kept the code very light.
And if you do want to license an international fashion magazine with an independent, authentic and engaged firm, you know where to come.
Above: The old and the new Lucire licensing sitesâto my eyes, the old appears more creative, even in 2021.
I havenât been able to find anything on this bug online, but itâs very common.
As far as I can recall, all of our online publications that use Wordpress have themes designed or modified by yours truly. However, Lucire Rouge has a mostly bought-in theme, where my changes have been limited to a couple of CSS rules. The theme developer actually came in and helped us with a few modifications, which shows the extent to which he does follow-up for paying customers.
But there was one thing he was never able to crack, and I donât think itâs his fault, since it happens on a lot of websites, including Medinge Groupâs (also a theme I did not design, though I did earlier ones). On both these sites, there were no bolds and italics. There still arenât on Medingeâs.
There are <strong> and <em> codes in there, but the bolding and obliquing are done by the browser. The font files actually arenât loaded, so what we see are false bolds (the browser attempts to âoverprintâ the roman, duplicating the outline and shifting it marginally to give the illusion of a heavier typeface) and obliques, not italics (itâs the roman file pushed over 15 degrees or so). The former is particularly bad, as the outlines clash, and the result can be hollow glyphs, something that any font developer will know when one outline winds up accidentally on top of another in Fontographer or Fontlab.
These Wordpress themes rely on Google Fonts (another sin, in my opinion) so I donât know if the fault lies with Google or Wordpress, or the developer. If Wordpress does indeed power 70 per cent of websites, then I have to say the bug is awfully common, and I probably do see it on a very high percentage of visited sites.
The themes allow us to select the font family, but the selection only calls a single font file from the family.
Above: A graphic clipping text from Lucire Rouge that I sent to the developer.
The solution, as I discovered after months of toing and froing with Lucire Rougeâs theme dev, was to do your own font-linking rules in the CSS file and upload the fonts themselves to the relevant directory on the server. I must note publicly the âmonthsâ were not his fault, but due to my own delay. I should not expect computer programmers to be typographers, either.
It is something that one needs to watch out for, as the fake bolds and italics are horrible to look at, and must look amateur, even to the non-professional.
Iâm not a comedian by any stretch of the imagination (neither are a lot of the people on comedy programmes here in Aotearoa) but every now and then my mind goes to funny places. Such as this:
Since Coming 2 America was so uniformly awful (the best bits are in the trailer), this was another terrible sequel idea that came to mind today. Non-antipodeans who donât know of Eric Banaâs past might not think his fictional casting here being terribly funny, but for a lot of us he was a comedic actor before he was the Hulk or the Time Traveler (one l, just this time, for the movie). But I couldnât think of another funny 40-something Australian who had done some action.
I always felt the way Vernon Wells played Bennett in the original was campy, as though he could see the conceit behind the whole thing of being in a Schwarzenegger movie in the mid-1980s. He wasnât above parodying himself when he appeared in Weird Science in a role that recalled Wez in Mad Max 2.
In case this comes up in a search while a Hollywood exec is looking up Commando II, please be advised that this would be a rotten idea.
Forgetful Muzio Player has been replaced by a program (or app) called Music Player, which isnât the best brand name considering the many other apps out there with the same name. This oneâs version 2.5.6.74 and its maker is InShot Inc., so if all goes well, this is the one Meizu users should go for.
First, a good bit: it picks up the directories on the SD card, which, till Meizu upgraded its Music app, I thought I could take for granted.
The not-so-good bits. It doesnât pick up the album artwork, so you have to link each cover yourself. The disadvantage is that you have to search for the cover by image, and thereâs no option to search by name. Mind you, it was the same story with Meizu Music, and provided you have a rough idea of when you downloaded the album (as it displays the covers in reverse chronological order), it isnât impossible.
It did, however, pick up the graphics from the songs where the cover image was embedded and used them for the album covers ⊠at least it did till today, when it forgot all about those and I spent more time relinking the dozen or so that the app forgot.
What is it about forgetful software, or at least software that operates differently every day? Do I need to invent the dot-ini file (since it doesnât seem to exist in this universe) or radically suggest that software follows a set of instructions, line by line, that do not vary each time?
Above: InShot’s Music Player displayed an album cover for Gone with the Wave yesterday, but today it appears to have forgotten what it was.
Nevertheless, Music Player does âshareâ the chosen album cover with the individual tracks, so when theyâre played, the image appears on the player screen, something that Muzio was loathe to do.
In other words, Music Player does what Meizu Music used to do before it became a lemon and, providing it doesnât forget all the linked album covers (all 280 of them), itâll stay on my phone for the foreseeable future. Since it didnât come from an app store, it wonât be âupgradedâ to something inferior, either, which appears to be the path of a lot of cellphone software.
It doesnât look too bad, though admittedly Muzio Playerâs interface remains superior.
Linking 280 covers with each album over the course of a day and a bit sure beats linking over 1,000 of them with each song on Muzio Player, and to have three weeksâ worth of labour vanish despite the program saying, âChanges savedâ.
If InShotâs Music Player keeps things as they are, then itâs the replacement Iâve sought for some time. Since I didnât hear back from Muzio Player, Iâve deleted the app.
One program I can say is a genuine waste of time is Ăber, if you happen to use a Meizu M6 Note like me. Iâve always resisted it, on principle. If they didnât play silly buggers on tax, I might be more inclined to have supported them, but Iâve remained very faithful to public transport and taxis all these years.
Because of timing and circumstances that I wonât go into here, and having had a virus all of last week that I havenât fully shaken off (one symptom being short of breath), Ăber was suggested again today. My first choice was driving to the station, catching the train (being careful not to spread any of my germs about), then either a bus or cab, to pick up a press car from town. That would mean after returning home, I would have to walk to the station while not feeling 100 per cent to get my own car. I know first-hand that a cab from here in the northern suburbs can be priceyâand thatâs when one even shows up, as my partnerâs faced ridiculously long waits for them during the daytime. So Ăber was a realistic choice and Iâd be suckered into helping to concentrate wealth in the hands of the few milliardaires high up at these tech firms at the expense of working people.
Never fear, for Ăber is a half-baked app that cost me two missed trains and I could have been typing this an hour earlier than I am now. Thanks to the full factory reset that PB did last year on my phone, and my installation of Meizuâs far more advanced Chinese OS afterwards, I was able to create an account this time and log in. It didnât keep returning the message that I had attempted too many log-ins, even after a single attempt.
After that, it takes about half an hour to read the terms and conditions and the privacy policy on a cellphone. You can opt out of promo messages, or so they claim (to be on the safe side, Iâve done it thrice: once when reading the T&Cs before I accepted them, once after I read them, and once more from the desktop when an email with an unsubscribe link arrived).
And thatâs really about all it does. You canât type in any destination; I later checked their instructions on a proper computer and I was doing exactly what was asked. I could feed in my home address (it came up after I began feeding in the basics), and I could feed in some favourites, but I canât actually go to them.
Naturally, it will take your credit card details: Ăber made sure that that part worked.
Having saved the Railway Station as a destination, and attempted to order a ride to there, I got to a screen to tell me that Ăber isnât available in my area. Whether that means Tawa, or Wellington, or New Zealand, I donât know.
Above: It’s impossible to feed in a destination in Ăber, but it’s probably because it’s not available in Tawa.
I have map software on my phoneâboth Here Maps and Baidu Maps. And my partner does successfully use Ăber from time to time, on a Huawei phone which, like my Meizu, is Google-free. She has no Google Maps, so I know that isnât a prerequisite for Ăber. I also know Google Services arenât, either. At least these are points in their favour. I canât be bothered troubleshooting beyond that, since theyâll just deny everything and pass the buck.
Eventually, when I realized Ăber is a monumental waste of time, I carried out plan A, and took a train an hour after the one I could have taken had I not attempted to get an Ăbercab. And walked in the wintry air to collect my car.
It was an easy decision to delete my account and the app soon after. Just as well, really. Big Tech loses once again. To think, the little music player made by a small company is more reliable than the milliards behind Ăber.
Above: Relieved to be on a desktop computerâand hopefully I won’t need to have any connection with Ăber ever again.
