Iâve had both Firefox and Opera GX running as replacements for Vivaldi, which still crashes when I click in form fields, though not 100 per cent of the time. Itâs running at about 50 per cent, so the fix they employed to deal with this issue is only half-effective.
I see Firefox still doesnât render type as well. This is a matter of taste, of course, but hereâs one thing I really dislike, where Iâm sure thereâs more agreement among typophiles:
No, not the hyphenation, but the fact the f has been butchered in the process.
The majority of people wonât care about this, but itâs the sort of thing that makes me choose Opera GX over Firefox.
Due to a temporary lapse in good judgement, I attempted to install Ăber again, this time on my Xiaomi. Here are the Tweets relating to that:
Got talked into trying @Uber again with my new phone. Still useless as always. If you read the terms and conditions and privacy policy, you have to feed in your email, details and confirmation code again after each read! ThatÊŒs three times in total! Does no one test this crap? pic.twitter.com/dyzOs4fjGr
Evidently no one at Ăber has ever considered what it would be like if someone actually read the terms and conditions and followed through with some of the instructions in the clauses.
After getting through that, this is the welcome screen:
That was a rhetorical question as the answer is clearly no. Even if you get past all of that, this is all I see on a modern phone. Greyed out with nothing to click. pic.twitter.com/fFr64xjOEU
This is all it does. There’s nothing to click on, and you never move past this screen.
This is less than what I was able to achieve on my Meizu M6 Note when I tried Ăber on thatâat least there it was able to tell me that Ăber is not available in my area (Tawaâand yes, I know Ăber is lying).
This has nothing to do with not having Google Services as my other half has a non-Google Huawei and is able to get the program working.
For me, it’s three out of three phones over six years where this program does not workâand frankly I’m quite happy taking public transport rather than waste my time with this lemon. Maybe one day they will get it working for all Android phones, but I won’t hold my breath.
Top: Decent enough specs for the Xiaomi Redmi Note 9 5G. Above: Very respectable download speeds (in the header) as the phone updates 71 apps.
My Xiaomi Redmi Note 9 5G is here, and itâs proved better than the reviews suggested.
First up, kudos to the seller, YouGeek on Aliexpress, who not only double-checked to see that I wanted the Chinese version, but was considerate enough to send me, without any prompting, a New Zealand power adapter. The wrapping was the most secure Iâve ever seen from any Aliexpress vendor, like a hefty transparent Michelin man.
DHL did the delivery two days ahead of schedule, which pleased me no end.
The phone itself surprised me. I imagined 6·53 inches would be too big and 199 g too heavy, but neither has come to pass. Itâs marginally taller than the outgoing Meizus but not ridiculously so, and as I have large hands, the width is fine. I havenât noticed the weight increase, either. The blue finish, which isnât available on the export Note 9T 5G, is probably the best colour of the three on offer, and frankly I donât care if the back is plastic or metal. As long as it keeps the bits inside, itâs fine.
What also isnât on offer for export is precisely these specs: MediaTek Dimensity 800U running at a maximum of 2·4 GHz, 6 Gbyte of RAM, and 128 Gbyte of internal storage. The model code is M2007J22C.
Other surprises: itâs Android 11 (security update, October 1, 2021) running MIUI 12·5. Now, whether it was straight out of the box, I canât swear to, since it prompted me to do an update not too long after I switched on and logged in.
It did try to get me to give a voice print to unlock its features by saying four Chinese words. Naturally I said them, but it seems Xiaomi doesnât recognize Cantonese! The fingerprint scanner wasnât that easy to set upâit took numerous attempts before it recognized my fingerâbut I got there, and now itâs programmed, the home screen does launch quickly.
The first order of business was to take myself off ad personalization (so easy, they even take you to the screen during set-up), then download Bromite as the browser, to stop using the clumsy default; and replace Sogou keyboard with Microsoft Swiftkey. The rest was getting the apps to mirror the old phonesâ, which was pretty simple thanks to various APK sites such as APK Pure. The only one that did not function at all (a blank screen after the logo) was Instagram, but you expect Facebook, Inc. products to be buggy. An Uptodown download of a version from June 2021 solved that.
Despite what other reviewers found, I discovered that the watermark on the photos was switched off by default. Iâve seen the grand total of one advertisement on the default apps, so the notion that Xiaomi is heavily ad-driven doesnât seem to be the case with mine. There is a possibility that the combination of Chinese spec, English language, and a New Zealand IP address isnât one that advertisers want to reach. There are far fewer app notifications than I got on the Meizus.
After updating the OS, there were 71 apps that also needed the same treatment. Those came down at lightning speeds, even on wifi, at over 20 Mbyte/s.
Iâve synced my messages, call logs and contacts, though surprisingly the phone could not work out that the New Zealand 02 numbers were the same as +64 2, and those had to be manually added. The old Meizu M2 Note had no such trouble back in 2016.
The default typeface choice in MIUI is much easier on the eyes than the default Android fonts.
Interestingly, the default music player here also fails to pick up local music on an SD card, rendering it useless, much like Meizuâs (are they copying one another, to have the same bug?). Once again, it was InShotâs Music Player to the rescue, and it works fine here. Sadly, I do have to relink a lot of the album covers.
Screenshots arenât as intuitive, as the volume control invariably appears if you do the powerâvolume switchesâ combination, but a screenshot feature in the pull-down menu does the job.
The battery life is interesting, as Iâve used it for about six hours since it was charged up to 100 per cent, and it fell to 65 per cent in that time. That tells me the 5,000 mAh is good for 18 hours of sustained usage, which included setting up, Bluetooth-linking it to the car and the M2 Note, running apps, using Here Maps for some navigation, and using some mobile data. I havenât viewed any videos yet, and I donât play any games. Iâll be interested to see how it fares on a more regular day: earlier reviews had led me to believe it could last over a day. Iâm sure it can without the heavy use Iâve put it through in its first six hours.
I understand that with the pace of change in China, this phone, launched this week one year ago, is already obsolete, but as far as Iâm concerned, I hope Iâm future-proofed for another six yearsâthatâs how long the M2 lasted before things like its short battery life and inability to receive some calls became an issue. (And this was despite the M6 Note having come into service from 2018 with a short break to get serviced at PB.) Itâs been a very pleasing first six hours, without the stress of having to put on a Chinese OS myself, and continuing to be Google-free.
Notes
Chrysler’s finest? The 300M rates as one of my favourites.
The original cast of Hustle, one of my favourite 2000s series.
Boris Johnson ‘wage growth’ quotationâwhat matters to a eugenicist isn’t human life, after all. Reposted from Twitter.
For our wonderful niece Esme, a Lego airport set. It is an uncle and aunt’s duty to get decent Lego. My parents got me a great set (Lego 40) when I was six, so getting one at four is a real treat!
Publicity still of Barbara Bach in The Spy Who Loved Me. Reposted from Twitter.
Koala reposted from Twitter.
Photostat of an advertisement in a 1989 issue of the London Review of Books, which my friend Philip’s father lent me. I copied a bunch of pages for some homework. I have since reused a lot of the backs of those pages, but for some reason this 1989 layout intrigued me. It’s very period.
Fiat brochure for Belgium, 1970, with the 128 taking pride of place, and looking far more modern than lesser models in the range.
John Lewis Christmas 2016 parody ad still, reposted from Twitter.
More on the Triumph Mk II at Autocade. Reposted from Car Brochure Addict on Twitter.
The origins of the Lucire trade mark, as told to Amanda’s cousin in an email.
More on the Kenmeri Nissan Skyline at Autocade. Renault Talisman interior and exterior for the facelifted model.
The original 1971 Lamborghini Countach LP500 by Bertone show car. Read more in Lucire.
More on the Audi A2 in Autocade.
With the French edition of Lucire KSA now out, weâve been hard at work on the second issue. The first was typeset by our colleagues in Cairo (with the copy subbed by me), but this time it falls on us, and I had to do a lot of research on French composition.
There are pages all over the web on this, but nothing that seems to gather it all into one location. I guess Iâm adding to the din, but at least itâs somewhere where I can find it.
The issue we had today was spacing punctuation. I always knew the French space out question marks, exclamation marks, colons, and semicolons; as well as their guillemets. But by how much? And what happens to guillemets when you have a speaker who you are quoting for more than one paragraph?
The following, which will appear in the next issue of Lucire KSA in French, and also online, is demonstrative:
In online forums, it appears the spaces after opening guillemets and before closing guillemets, question marks, exclamation marks and semicolons are eighth ones. The one before the colon, however, is a full space, but a non-breaking one.
I should note that the 1938 edition of Hartâs Rules, which was my first one, suggests a full space around the guillemets.
When quoting a large passage of text, rather than put guillemets at the start of each line (which would be hard to set), the French do something similar to us. However, if a quotation continues on to a new paragraph, it doesnât start with the usual opening guillemets («), but with the closing ones (»). That 1938 Hartâs disagrees, and doesnât make this point, other than one should begin the new paragraph with guillemets, which I deduce are opening ones.
If the full stop is part of the quotation then it appears within the guillemets; the full stop is suppressed if a comma follows in the sentence, e.g. (Hartâs example):
« Câest par le sang et par le fer que les Ătats grandissent », a dit Bismarck.
Sadly for us, newer Hartâs Rules (e.g. 2010) donât go into any depth for non-English settings. Hartâs in 1938 also says there apparently is no space before the points de suspension (ellipses), which I notice French writers observe.
Looking at competitorsâ magazines gives no clarity. I happened to have two Vogue Paris issues in the office, from 1990 and 1995. The former adopts the same quotation marks as English, while the latter appears to have been typeset by different people who disagree on the house style.
This is my fourth language so Iâm happy to read corrections from more experienced professional compositors.
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.
When you see the utter dog’s dinner the British government has made of COVID-19, namely turning their country into a petri dish for mutations while they plunder the place with impunity, you have to wonder why many there still prefer these current Tories, when even Max Hastings and Sir Nicholas Soames don’t. Is it because Labour has no direction? That they don’t like Sir Phony Blair? The latest balls-up is this, by the Cabinet’s own Karl Pilkington, (now former) health secretary Matt Hancock:
I jokingly Tweeted (italics added): ‘Terrible casting in the Hancockâs Half-Hour remake. I can deal with the sidekick now being a woman called Sydney James but you never saw scenes like this with Tony and the original Sid.’ Not many liked the post so I assume I am getting a bit on the old side for the mainstream to get these references. And I thought I was doing so well matching the grey from the original titles and the Clarendon type.
The answer of why Boris Johnson still appears to be their preferred prime minister, how he can constantly fall upwards (reference below), appears to lie in Hancock, too, specifically Tony Hancock.
For those of us old enough to remember Tony Hancock’s sitcoms (note: I saw them as repeats), he played a version of himself, but one who was poorer, more outspoken and exaggerated. (Surely as he was voted Britain’s greatest comedian this side of the 21st century, enough of you must know what I am talking about.) But most of all, he lived in a world of self-delusion, that he was the cleverest man around and if only the right people would just see his genius. This is part of the same British comedy tradition as Alan Partridge and David Brent. As I said in a Toot on Mastodon tonight (inter alia): ‘Audiences sympathize with failures, and none have failed as much as this PM.’
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.
