the candler blog

Sleeping With My Apple Watch

Apple Watch, Technology

I liked reading about how Stephen Hackett uses his Apple Watch at night. Here’s how I use mine.

Some time before I go to bed I put my Apple Watch on the charger next to my bed. I only do this if I’ve filled all my Activity rings. How long before I go to bed do I charge my watch? I just sort of decide, “Well, the day’s over” and I take it off.

The goal is to get it charged enough so I can track my sleep with David Smith’s excellent Sleep++ and have enough juice to go on a run the following morning. Ideally when I go to bed it will be at 100%, but anything above 50% charge will do.

Okay so I pass out on the couch watching Colbert and amble into the bedroom after brushing my teeth. I plug in my phone and put my Apple Watch back on, placing it in Airplane Mode as Smith suggests. If I haven’t already, I change the watch face to this customized Modular face:

Midnight Blue with complications for Sleep++ and Alarm. The blue is the most muted color to my eye. I wish Apple offered up the shade of green they use for “Nightstand Mode,” but I work with what they give me.

The complications serve dual purposes. They make it quick and easy to get to the only apps I need before sleep envelops me and they also give me info I kinda like having access to should I wake up in the middle of the night. I tap the alarm complication and set my alarm. One press of the digital crown and I’m back on the watch face.1 Whatever time my alarm is set for appears under the clock icon on the watch face.

From there I tap the Sleep++ complication. When the app loads I click “Start Sleeping” and go back to the watch face. In the morning, Sleep++ will “analyze” my sleep and tell me how restless I was throughout the night. During the evening, it will display how much time has elapsed since I started sleeping. This is novel and sometimes even useful, as in when I doze off and think it must be 3:00 am but it’s only been 8 minutes. Do I need that info? Not really. But it’s pretty neat.

My Apple Watch taps my wrist to wake me up, which my girlfriend appreciates. I still wake her up when I trudge out of bed like an elephant, but at least the bedroom doesn’t sound like a diving submarine come sunrise anymore.

I’ll usually lose about 8% charge from a night’s sleep. When I wake up, I’ll keep my watch on to get a standing hour (or two, if I time it right) or go for a run with it. Once it’s clear I’m heading into the shower, I’ll put it back on the charger to reload from the night before. It’ll usually make it all the way to 100% when I leave for work.

I honestly don’t know if sleep tracking is a crock or not. I don’t really care, either. Strange as it may seem, I prefer charging my watch twice a day to charging it once overnight. The effect is that the watch feels like it’s always charged.

And that’s how I sleep with my watch.

  1. I don’t hear people mention it much, but this one touch return to watch face is one of my favorite features of watchOS 2. Navigation just makes so much more sense now.

Listening Recommendation: John Hicks’s Troika

Music, Podcast

Most of the podcasts I listen to involve people talking to one another. A casual observer wouldn’t be off base to assume that this is the preferred format, but there really are so many other ways to make a podcast.

One of my favorite deviations so far comes from British designer (and cyclist and Doctor Who fan) Jon Hicks. His show is called Troika, and I’ve been an avid fan since it launched in March. Here’s how he described the concept in an introductory post:

The idea is that I’ll present a set of just three songs, connected by some sort of link – either by genre, artist, songs that were important to a particular time in my life or just some other odd notion that happens to take my fancy. Sometimes I might have guests on board to choose their trio of music. Talking from me will be minimal – just a short introduction, and then the music!

It’s an excellent idea, impeccably executed. Hicks not only picks so many wonderful tunes and artists I’d never heard of prior to listening, he also brings a childlike excitement to sharing this music with the listener. Even when it’s music I would otherwise never even try listening to, Jon finds a way to get me interested and give it a chance. And since the show is only three songs short, I actually take the time to really consider each song as I listen, as opposed to letting it wash over me as I do when I listen to, say, Beats 1.

So go give Troika a listen. I don’t think you’ll regret it.

In the spirit of the thing, here are three of my favorite episodes so far, the ones that really solidified it in my listening queue. Enjoy.

Family Photos Brought to You By These Sponsors

Photography, Publishing

Sydney Ember and Rachel Abrams for The New York Times:

Shereen Way did not think twice about posting a photo on Instagram of her 4-year-old daughter wearing a green dress and pink Crocs sandals.

Crocs, which Ms. Way had identified with a hashtag, pulled the snapshot from Instagram and featured it in a gallery of user-generated photographs on its website. The company had not asked Ms. Way for permission, and she was not aware that Crocs had used the photo until a reporter contacted her on Instagram.

“No one reached out to me,” Ms. Way, 37, of Pearl River, N.Y., said in a phone interview. “I feel a little weirded out.”

I’m shocked brands would capitalize on the free content available to them on Instagram.

Me, three years ago, when I quit Instagram:

I don’t know what Instagram under the new terms will be like. Maybe I’m being irrational, but I don’t think so. The truth is I don’t want to have to worry about whether my photos will be used to sell products. That is unless I’m getting a cut.

As the Times piece points out, some users whose photos are being used to sell products are being compensated:

“I’m always really excited,” said Liza Day Penney, a 23-year-old from Dayton, Tenn., whose photo appears on American Eagle Outfitter’s website. She estimated that the company has used more than half-a-dozen of her photos, and even once sent her a $25 gift card.

American Eagle Outfitters has a market capitalization of $3.22 billion. But it’s not like that $25 wasn’t well spent:

“That was one of the things, too, that really encouraged me to continue to post and continue to tag and hashtag them as I wear the clothes,” she said.

I’ve been inching closer to returning to Instagram in the past year, but stories like this remind me why I left. This sort of marketing just feels gross to me. I understand that people love brands and love sharing photos to show off their latest looks. Where it starts to feel weird is when companies capitalize on that without compensating the people who are helping sell their wares.

Stranger still is that an industry of companies like Olapic ($15 million in venture capital announced this past June) and Piqora ($7.7 million in venture capital last year, revenue in the millions), mentioned in the linked article, have cropped up around seeking out photos for brands to feature. Everyone is getting paid except the people whose work moves product. It just feels wrong.

Related to the recent conversation on the ethics of content blocking, this tidbit from Ember and Abrams’ article is illuminating (emphasis mine):

Clothing and retail brands say that featuring user-generated photos on their websites and in their Instagram feeds is an effective way to connect with consumers, who are increasingly skipping commercials, blocking online ads and generally ignoring anything that resembles traditional advertising. Taking photos from social media accounts is also often cheaper and faster than creating a traditional marketing campaign.

Like I said last week: “Advertising isn’t going anywhere.”

On The New York Times’ Push Notifications

Journalism, Link, Media

Margaret Sullivan, The New York Times’ public editor:

In recent months, The Times has greatly increased the use of push alerts to let readers know about investigative projects, feature stories and other journalism that isn’t breaking news. Since then, I’ve been hearing from readers who aren’t happy with some of those choices, including an alert that spoiled the end of the HBO series “The Jinx.”

I’ve certainly noticed the uptick, especially since the notifications go to my watch now. That said, it hasn’t reached the point where I’m ready to turn them off. The Times’ alerts are some of the best I’ve seen, obviously chosen in a well thought out manner designed not to inundate subscribers.

This bit from editor Cliff Levy is important, though:

“If you bother and annoy people, they will turn it off, and it’s hard to get them to turn alerts back on,” he said.

Exactly. If I decide to turn them off, I don’t think I’ll ever turn them back on.

Exploring The Abandoned Shaw Brothers Studios (and Learning About a Career and a Logo)

Cinema, Movies, Photography

Hong Kong Free Press Lens Urban Exploring went poking around an abandoned movie studio:

Although unbeknownst to most, up on a windy hill on the eastern shore of Hong Kong is a site which played a pivotal role in the development of Hong Kong’s film industry. Built in 1961 by the Shaw Brothers, this massive moldering movie studio complex was operated by the Shaw Brothers under the guidance of the late Sir Run Run Shaw.

Stunning photographs and a great accompanying video. I know almost nothing about Hong Kong cinema and, until today, had never heard of Run Run Shaw. As Variety’s obituary for Shaw from last year notes, the Shaw Brothers Studios logo can be seen in the opening of Quentin Tarantino’s Kill Bill: Vol. 1.

His most prominent western credit on IMDb is Blade Runner, though curiously he’s listed as both “co-executive producer - uncredited” and “presenter.” Shaw is credited in the opening logo for “The Ladd Company”. A special line was added below the computerized tree, “in Association with Sir Run Run Shaw.”

I’d be curious to learn more about Shaw’s involvement with the film, which has been variously released, re-released, re-mastered, re-cut and re-distributed over the years. If there’s any one film it’s hard to get a handle on, it’s Blade Runner.

The Ladd Company logo was apparently scored by John Williams, which is a neat factoid that plunged me further down the rabbit hole. Some home video versions of Blade Runner eschew Shaw’s name under The Ladd Company tree and give him his own title card. Meanwhile, I totally didn’t start watching Ladd Company logos from various films like Police Academy and Once Upon a Time in America after learning this. Nope not me.

I’d love to know which of the Hong Kong films produced at the now dilapidated Shaw Brothers Studios to seek out first. As far as Hollywood sci-fi goes, though, I just added the Shaw produced the 1979 disaster film Meteor to my watchlist. Sean Connery, Natalie Wood, Martin Landau and Henry Fonda (!) try to stop a meteor from colliding with Earth? Sign me up. Just look at this trailer.

Blocking Ads Isn’t Stealing

Publishing, Writing

With iOS 9, released yesterday, Apple allows developers to create content (read: ad) blockers on their incredibly popular and influential mobile and tablet platforms. A few have shot up the lists of best-selling apps after only a day of availibility, which has ignited a conversation about the ethics of turning off advertising. Here’s my take.

Advertising is built on the idea that your life is lacking. It’s not as bad as it sounds. We all need help surviving and working toward a more perfect version of ourselves. We need clothes and food and shelter and the like. Advertising helps us exist. It shows us our potential; it points us toward the things we need to build a life. Advertising isn’t going anywhere. It needs no defenders, no moralists to speak up for its right to exist.

So I don’t understand all the hand-wringing over ad blockers. The first thing I did after installing the updated operating system on my iPhone was install Crystal, a free (for now) and basic ad blocker. Websites started loading faster and looking better. Surfing on my iPhone suddenly felt great. Then I moved on to Marco Arment’s Peace, which adds the ability to whitelist certain sites so I can see their ads.1 It seems to load sites even faster. Nice!

Last night on Twitter, Zac Cichy and @eric_analytics2 tried to goad me into admitting ad blocking is stealing. Zac’s tweet in particular was pretty darn annoying:

Zac’s a smart guy but that’s just plain stupid. “Breaking a car” is nowhere near related to what we’re talking about here. I’m not breaking anyone’s website. The analogy would only work if I accessed a site’s server and turned off the ads from there, and then went through their content and changed every instance of the word “Internet” to “frothy cheese-like poo garden.”3

Ad blocking is not stealing. Full stop.

When I block ads, all I’m doing is taking control of what my browser loads and how it loads it. I have an excellent browser extension installed on my Macs called User CSS by Kridsada Thanabulpong. It lets me change the layout and design of any site I please, kind of like Greasemonkey or Stylish. For something like a decade now I’ve been using extensions like these to make sites look and act the way I want them to on my computers. Brett Terpstra’s long-ago redesign of Pinboard is a great example of what you can accomplish with CSS in a browser.4 That’s not stealing. It’s also, technologically, no different from blocking ads and trackers.

For the sake of argument, though, let’s walk down the road of those who would say that controlling what content loads in your browser is stealing. I think it goes something like this:

  1. Publishers put content on the web for free
  2. Advertisers pay publishers for access to their audience
  3. If the ads don’t load, advertisers will stop paying publishers
  4. Content read without ads is therefore stolen

If you go for a drive and don’t look at the billboards, did you steal the highway? If you leave the room to get a snack when commercials play on television (or Hulu or whatever) did you steal the program? If you read a magazine and ignore the ads, did you steal the article?

No, no and no.

But, Jon! In those cases the ad still got delivered! Well, sort of. Maybe it had more of a fighting chance, but it still didn’t actually work.

Online ads have gotten out of control. They’re heavy, they’re invasive, and they make browsing the web worse. There are many, many outlets that will be crushed when content blocking takes off in a big way. Here’s the thing, though: web advertising is already a shitty bargain for publishers to make.

The reason you see so many ads load at once on so many sites is because they don’t pay very well. Publishers seem to think the answer to diminishing returns on ads is…more ads! I’m no economist but that sounds a lot like publishers are driving down the value of their own content big time. The value of those ads is already approaching zero.

On top of that they’re aggressively user-hostile. They gray out the page or take you to a splash screen. They cover up huge swaths of content or even paper over every image on the page. Worst of all they flip you out from the browser and into the App Store to buy something. And yes I have seen sites load all of these at once. Enough.

Browsing with ad blockers on mobile is a breath of fresh air. Sites load fast and take me right to the content I want to see. No bullshit. That publishers made a Faustian bargain to peddle terrible, obtrusive content isn’t my problem.

Now, Zac and Eric argue that I should simply not visit the sites that are bad actors. The logic doesn’t hold up: it assumes the audience is there to load ads first, not to read content. There are ways to count visitors besides running ads, and I having an audience can still hold a huge amount of value for publishers.

I think suggesting people not visit sites with terrible ads gets it backwards. Those sites shouldn’t publish their sites in a way that turns away readers. I get that this is a touchy subject. It suggests a scorched-earth, Darwinian outlook toward the Internet. But the fact is the web puts incredible technological tools into the hands of readers. Sites will have to adapt. And if we’re honest we know they won’t all survive.

We, as readers, are free to load whatever aspects of a site we choose. The web is developed in public; every last piece of content created, from words to images to CSS, can be viewed, dissected, hidden and even copied. This environment has its drawbacks, but it is also fundamental to the explosion of the Internet. It’s what the web is.

As to this site… Over the years I’ve tried a few different forms of advertising. I’ve sold sponsored posts, I’ve been in multiple ad networks and I’ve used affiliate links.5 These tended to cover most (but usually not all) of my meager costs.6

The truth is the candler blog isn’t my full-time job, so I can afford to let it float along without content (or ads) for stretches of time. No ad network has ever paid me well enough to turn this into a career, and I’ve always been opposed to weighing down the site with multiple ads that get between readers and my words. Does that mean my writing has no value? I don’t think so.

Advertising will be fine. It has beaten back threats before and it will come through ad blockers too, probably even better than it was before. As long as people need stuff, they need to be advertised to. That’s why it’s such a huge business.

As John Gruber said back in July, “A reckoning is coming.” Reckoning is one word; humbling is another. Whatever you call it, it’s here.

Oh and if you use my affiliate link to buy Peace I’ll get a little something. Much appreciated.

  1. Marco has a recent piece on the ethics of ad blocking, but he’s been talking about advertising for years.

  2. Honestly I don’t know what his name is past Eric but he’s good Twitter people (usually). Funny how you strike up relationships with people whose identities you only partially know. Also, why always so late at night, guys? I was too tired to get into it.

  3. Heh.

  4. Here’s my own Pinboard mod.

  5. For more on this site’s history with advertising, see here and here.

  6. This past March, Carbon Ads dropped me as a publisher because I wasn’t pushing enough traffic. I got a form letter telling me as much, which was a little annoying since, when I joined Carbon it was still called Fusion, and they were very transparent and, well, human. I didn’t fight the change; I just removed their ad block from the site and have been running the site ad-free ever since.

Blogging About My Age


One year ago today I wrote about turning 30. I challenged myself to be less cynical (still working on it) and recounted how strange the previous year had been. At the time I thought it was one of the few instances I had blogged about my age, and I thought well worth it given the pseudo-momentousness of ending my twenties. Going through some old pieces, though, I found I had written about my age before.

Before the candler blog, almost all of my writing was done at And before that I kept a blog on MySpace. Most of those pieces, including the one I’m writing about here, got transferred over to my site, thankfully, since MySpace’s blogs have disappeared from the web.

Those early pieces are what I would call more bloggy blogging. I’ve always tried to treat the candler blog like an outlet for published articles as opposed to an ongoing personal journal.1 I’m proud to call this site a blog; the writing, I hope, speaks for itself.

That I’ve held this site back from going fully diaristic came to mind when I found a piece from June of 2007, “Tired of my age.” Now this is some bloggy blog writing. Here it is in full:

I’m tired of peo­ple ask­ing my age. I rec­og­nize that I’m a kid. People hear 22 they think I should be doing keg­stands between exams. Professionally, this is becom­ing an issue, but only when peo­ple ask. I’ve been blessed with a thick beard so the ques­tion rarely comes up. But the most annoy­ing iter­a­tion of this con­fu­sion, the absolute worst, is when women ask. Should I start lying? I tend to hang out with 30somethings, which is fine, and they like hang­ing out with me, until the issue of years comes up. They’ll ask my age or they’ll ref­er­ence things I know noth­ing of, base­ball play­ers from “when we were kids” only “when we were kids” hap­pens to be 10 years apart. Ah well, I guess every­one thinks they were born 10 or 20 years late. Anyhow, who cares about those peo­ple any­way. Next time they ask me my age I’ll just have to say I’ve got a bet­ter shot of see­ing 2060 than you, babe.

Pretty sure I wrote that after a thirty-something rejected me at a rooftop party.

I would never publish something like that now, anywhere. Why is that, though? Sure, that last line kinda makes me cringe, but so what? It’s out there and I’m not going to scrub it from the web.

I wonder how much of my reticence to publish anything like that piece has to do with my growing older and how much has to do with the web growing up. Maybe it’s not just that my years have made a bit more hesitant to fling every last idea out there; maybe it’s that there are so many things on the web nowadays it feels silly to throw my little fit into the mix. At best it will get lost; at worst I’ll be harangued by mobs of commenters rubbed the wrong way by my words. And so while pondering the question “What’s the point?” I’d write nothing.

I’m reminded of something Kanye West said last year when Steve McQueen asked him how he was able to express himself in the way that he does:

I just close my eyes and act like I’m a 3-year-old. [laughs] I try to get as close to a childlike level as possible because we were all artists back then. So you just close your eyes and think back to when you were as young as you can remember and had the least barriers to your creativity.

Now that I’m 31, I kind of wish I had the fool-hardiness of my 22 year-old self, whining about my age because my site gave me the opportunity to vent. And when I think back to being even younger, when the world seemed so huge and anything seemed possible…2 that’s something I’d like to bring to my writing. To all of my work, really.

But now I’m just some guy, blogging about his age. And it kinda feels great.

  1. That “blog” is right there in the name is only because I couldn’t get the other “candler” URLs I wanted, so I appended “blog” and started writing.

  2. In elementary school I was active in the after-school program, Young Astronauts. I wanted to be an astronaut and believed that one day we’d all go to the moon and bring back rocks to show our friends, as if on vacation.

Marco Arment and Context

Technology, Writing

Marco Arment is many things to many people. He’s a podcaster of great energy, one of the current best in the business. He’s an independent iOS developer who made Instapaper, an early hit on the iPhone and then the iPad, and currently develops the popular podcasting client, Overcast. He helped build Tumblr, which would ultimately be bought by Yahoo for over $1 billion.

Marco is a tech success story. He is a celebrity. When the media treats him like one, though, it catches him off guard. I don’t understand why.

On Sunday, Marco published “Don’t order the fish,” a piece that takes Apple to task for Apple Music. I’m going to quote Marco here directly. This bit comes after praising Apple’s rock-solid sync services, like push notifications and iCloud Photo Library. Then this:

But the iTunes Store back-end is a toxic hellstew of unreliability. Everything that touches the iTunes Store has a spotty record for me and almost every Mac owner I know.

And the iTunes app itself is the toxic hellstew. iTunes has an impossible combination of tasks on its plate that cannot be done well. iTunes is the definition of cruft and technical debt.

And later:

With the introduction of Apple Music, Apple confusingly introduced a confusing service backed by the iTunes Store that’s confusingly integrated into iTunes and the iOS Music app (don’t even get me started on that) and partially, maybe, mostly replaces the also very confusing and historically unreliable iTunes Match.

So iTunes is a toxic hellstew of technical cruft and a toxic hellstew of UI design, in the middle of a transition between two partly redundant cloud services, both of which are confusing and vague to most people about which songs of theirs are in the cloud, which are safe to delete, and which ones they actually have.

One could argue that the above takes Marco out of context; that the only way to get the full impact of Marco’s piece is to read it in full. That’s only sort of true, because context often runs deeper than a single article.

Today, CNBC’s Squawk Alley did a segment on Marco’s piece, attributing “toxic hellstew” to him. This seems to be bugging Marco.

Marco has updated his article to include a link to a catchy song by Jonathan Mann about the 2014 WWDC keynote. One line Mann picked up on was Tim Cook quoting the headline of a ZDNet article by Adrian Kingsley-Hughes: “Android fragmentation turning devices into a toxic hellstew of vulnerabilities.” Cook saying the line became something of a meme for a short while, most popularly in Mann’s song.

I follow Apple nerd stuff pretty closely, so I understood the reference. The thing is: it doesn’t much matter who invented the term, Marco absolutely just tied it to both Apple and himself. “iTunes is a toxic hellstew of technical cruft and a toxic hellstew of UI design” is absolutely something Marco Arment said. It sounds like he meant it and anyone, in any form of media, can pick up his words and run with them.

This isn’t the first time Marco’s words have taken on extra meaning. Back in January he published “Apple has lost the functional high ground,” a piece that blew up overnight and resulted in a mea culpa the following day. That piece, turns out, offers some great advice for Marco today:

I now need to write everything with the fear that any hastily written article might end up on TV, with the most extreme word in the article singled out with my name on it forever.


I understand Marco’s dilemma. He’s opinionated and loves blogging. But he sometimes acts oblivious to his standing in the tech community. His success has bred him an audience; his words hold more weight because of his status. I have trouble believing he didn’t know there would be an “Influential iOS developer Marco Arment says…” narrative thread others would pick up on from his post.

Back when the “functional high ground” thing flared up, I recall Marco discussing on his podcast, ATP, the idea that people who listen to the show and have been reading him for years have a better understanding of what that article was about. That’s true, but it’s irrelevant. The written word is amazing because it can be so easily quoted. Authors can be held accountable on a fairly even playing field. No inflection, no body language; just words.

It would be nice if everyone had the context they needed to understand the author’s intent, but that’s not reasonable. I know Marco’s work extremely well, but that’s years worth of material that I’ve slowly incorporated into my own knowledge. I’ve peppered this piece with a few tiny zingers that only those who follow Apple and/or Marco may understand, but that context doesn’t form the bedrock of this piece.

I love reading and listening to Marco. I hope he never slows down his creative output. I just think he shouldn’t be surprised when people take his words at face value, which is ultimately all they’re worth.

#buysmall Newsletter


#buysmall is a very cool new newsletter from the folks behind Cotton Bureau. The idea is to spotlight the wares of some pretty neat small businesses. Here’s how they describe it in the first edition:

#buysmall is our way of shining a light on the interesting, clever, and/or exceptional folks who are in this fight, too. Business isn’t a zero-sum game. It’s a great big world out there, room enough for all of us, and when we help each other, we help ourselves.

I love the pennants they showed off from Oxford Pennant, and I’m kind of lusting after this Grovemade Walnut Monitor Stand. This is a no-brainer instant subscribe for me.

Apple Music is My Dream Streaming Service

Music, Technology

Jim Dalrymple, yesterday, in a post titled “Apple Music is a nightmare and I’m done with it”:

I had high hopes for Apple Music. I really wanted it to work and become my default music streaming service, but after the problems I’ve experienced over the last couple of weeks, I’m disabling it altogether.

His piece is a scathing indictment of the service. Dalrymple says he is “missing about 4,700 songs from my library with little hope of getting them back.” That sucks big time. My heart goes out to him.

I have tried to replicate Jim’s problems, but I can’t. My guess is that the culprit is his transitioning from Beats Music to Apple Music, which I never did. So maybe I dodged a bullet there.

As to where his 4,700 songs went: that’s scary and I want to know more about it. I understand that Jim is a bit beleaguered at this point, but I really wish he would go into more detail about how he experienced his songs going missing. Here’s what he tells us:

Over the weekend, I turned off Apple Music and it took large chunks of my purchased music with it. Sadly, many of the songs were added from CDs years ago that I no longer have access to. Looking at my old iTunes Match library, before Apple Music, I’m missing about 4,700 songs.

It’s Apple’s fault that these services are so difficult to talk about, but I don’t get what Jim’s iTunes Match library is in this context. Is he looking at a smart playlist? Are they still in his library but showing up with dreaded exclamation points? What I think is important for Apple Music and iTunes users to learn from Jim’s troubles is how to know what you don’t have. Unless I knew which tracks to look for, I don’t know that I’d know what I was missing. Right now, though, I think this should give us all huge pause before turning off Apple Music. I hope Jim (or anyone) can shed some light on what went wrong and how to prevent it.1

Now, all that said, I do want to share my experience with Apple Music. I absolutely love it. If Apple Music is Jim’s nightmare, it’s my dream. For me it’s the perfect mix of my own musical tastes (my 98+ GB library that I’ve been building since at least 2002) and an infinite library of songs brought to my attention by others. That integration with my own library is crucial, and it’s really what I missed with Spotify and Rdio, the only other streaming services I ever really tried.

I’ll concede that there is a learning curve to using Apple Music in conjunction with your own library. The highest point of friction for me is search, which is basically the only tool I use to get to music I want. You can search either Apple Music or My Music. It takes some getting used to, but I think of it like this:

  • My Music is your iTunes library
  • Apple Music is all2 other music; it’s the streaming service

There are things in my library3 that I know will never be available in Apple Music, like my single track of the entirety of Radiohead’s OK Computer that I sometimes like to listen to even though I have the full album as tracks and it sounds just fine. I should mention that I’ve been an iTunes Match subscriber since February 2013, so my entire library was already in Apple’s cloud. Flipping on Apple Music created zero friction for me.

Since subscribing to the streaming service, I’ve been adding music to my library left and right, mostly while listening to Beats 1 (sometimes by way of Connect). I hear something I like and I either add it to “My Music” or put it into a playlist. That last part, adding songs from the Apple Music to my playlists, is pretty amazing. I have a playlist for running4 that went stagnant for months. Now I add music to it a few times a week. I love that I didn’t have to recreate that playlist in Apple Music with matched tracks or anything; I get to have the best of both worlds.

Jim Dalrymple is one of the most respected writers in the Apple and tech communities. A one-word blog post from him (usually “Nope.” or “Yep.”) holds more weight than the sum total of all Apple “analysis” out there, so a blistering takedown from him is not something to be dismissed. I hope Apple does right by him and other users affected by any bugginess.

I just want to put it out there that Apple Music is the best streaming service I have ever used. My guess is that there are a lot of people out there who have used it without any issues. But that’s not much of a story.

  1. Back up your libraries, folks. I use Backblaze. Use this link to sign up for it and I get a little kickback.

  2. I know it’s not all music ever. I’m being hyperbolic, but the massiveness of streaming libraries feels like every song ever to me. Pulling the hyperbole back and saying something like “most other music” feels inaccurate too.

  3. Ahem, My Music, see above where I said Apple doesn’t make it easy to talk about this stuff.

  4. I really don’t mean to talk about running this much. It just happens…