Hasta La Gadget!

Condensed explanation: Digital rights management is a corporate pain in the ass that stops you from doing whatever you want with music and movies in the name of fighting piracy. But there’s more to it.

Straight up, you run into DRM pretty much every day. Bought music from three of the four major labels or any TV show from iTunes? Played a game on Steam? Watched a Blu-ray movie? Hello, DRM. If you wanna get technical about it, digital rights management and copy protection are two different, if similar things. Digital rights management is copy protection’s sniveling, more invasive cousin—it isn’t designed simply to make it harder to steal content like straightforward copy protection—you thieving bastard you—but to control exactly how and when you use media. We’re going to cover both here, since they both refer to technologies that restrict what you do with music, movies and more.

There are, approximately, 10,742,489 kinds of DRM and copy protection. Almost every company or format has its own flavor that works in a slightly different way from everyone else—Apple’s iTunes-smothering FairPlay, Blu-ray’s BD+, the restrictions built into every gaming console. They’ve gotten more complex and nuanced over time, too, as content delivery has evolved. For instance, elementary-school DRM would simply keep you from copying or converting or doing other unseemly things to a file, like playing it on a non-sanctioned device. Or you might remember old-school CD keys, before the days of online activation. Today’s DRM, like for movie rentals, music subscriptions or software, constructs more elaborate obstacle courses, nuking videos 24 hours after you press play, or allowing a certain number of copies.

Many of these work in similar ways—files are encrypted with the DRM flavor of the day, and they’re unlocked or decrypted for your use by authorized programs and devices. Think of it like a secret handshake that only certain programs or pieces of hardware know. Often, they’re tied to an account like on Steam or iTunes. This makes it easy for the Man to keep track of and manage what you’re doing with stuff—how many copies you’ve made, how many machines you’ve authorized to play your content, whether your monthly all-you-can-eat music subscription is still active, that kind of thing. DRM-busting cracks look for ways to strip that encryption out to allow free usage, copying or modification of the file.

So, aside from the fact that DRM keeps you copying or modifying content, and playing it on whatever damn player you wanna play it on, and maybe limits your time with a movie to a fleeting window, it doesn’t sound so bad. Okay, it does. But it can get worse—like when DRM breaks. For instance, Valve’s Steam network had a hiccup in 2004 that meant people were locked out of the game they paid to play. Or when Windows cocks up and tells users their OS isn’t genuine. Or Sony’s infamous rootkit CDs. Or when DRM servers are shut down, rendering music useless. The list goes on.

But wait, haven’t you heard that DRM’s dead? Or has a cold? Weeellll, yes and no. Sure, some music stores sell DRM-free MP3s—Amazon is unrivaled in that has ’em from every major label, and iTunes sells DRM-free music from EMI. And CDs have never had ’em, except for that aforementioned BS copy protection from Sony and a few other short-lived misguided attempts. So, it’s sort of going away for pay-to-own music, but it’s still fairly ubiquitous, in all-you-can-eat subscription music, in movies and in software, and it’s not going away anytime soon. The emergence of streaming serious video content, like with Hulu in particular, sort of challenges this on the video front—there’s no DRM, but then again, it’s not as easy to rip a stream for Joe Blow as it is to share a file over Limewire. Harder questions, though, like whether DRM means you ever really own anything anymore, we’ll leave to the lawyers.

Here’s a list an quick blurb on every major kind of DRM you’re likely to run into, and why it sucks (beyond the whole keeping-you-from-sharing-it-with-all-your-friends business):

Audio
• FairPlay is Apple’s flavor of DRM that’s baked right into iTunes, iPods, QuickTime and iEverything else—most music from the iTunes store is lojacked with it, with exceptions from EMI and some indie labels. It allows for unlimited copies of music files, but only five computers at a time can be authorized. FairPlay files only play on Apple’s own iThings. Like every other DRM scheme, it’s been cracked.

• PlaysForSure (now simply “Certified for Vista,” which is confusing since not all “Certified for Vista” stuff will play PlaysForSure, like Microsoft’s own Zune) was Microsoft’s attempt to get everyone in the portable player industry on the same Windows Media DRM. Even though Microsoft has basically ditched it, it’s successful in that a bunch of services, like Rhapsody and Napster, and players—essentially everyone Apple, from Sony to Toshiba to SanDisk—have used or supported it. It’s fairly generic copy protection that keeps you from sending it to all of your friends, though it works with and enforces subscriptions, with the biggest bitch being that it restricts you to Windows and to PlaysForSure devices. (Read: Not iPods.)

• Zune uses a totally different DRM tech than PlaysForSure and is incompatible with it. It allows you to share DRM’d subscription content with up to three other Zunes, though it won’t let you burn songs unless you buy ’em. And if subscriptions die, it nukes your songs. It also manages the Zune’s “squirt” feature, making sure you don’t play beamed songs more than a few times and other annoying restrictions.

• PlayReady: Hey lookie, another Microsoft DRM scheme. This one’s different from the similar-sounding PlaysForSure in that while it’s backward compatible with Windows Media DRM, it works with more than just Windows Media audio or video files, like AAC and MPEG, and is meant to cover a broader range of devices, like mobile phones.

Video
• FairPlay for video is a lot like the audio version, but adds a couple tricks like nuking rental videos 24 hours after pressing play and presenting a slightly more complicated obstacle course to sync them to portable iThings.

• High-Bandwidth Digital Copy Protection prevents video from being copied as it moves across certain digital video interfaces like HDMI, DisplayPort and DVI, which sounds innocent enough, until you try to watch something on a non-HDCP compliant display—and you can’t.

• Content Scrambling System (CSS) was DVD’s piddly encryption scheme, long ago busted open like a rotten watermelon.

• AACS (Advanced Access Content System) is one layer of copy protection that’s part of the spec of both HD DVD and Blu-ray. It’s way stronger than DVD’s CSS setup with several components involved in the encryption/decryption process, and allows for blocking specific players that have their keys compromised. Plus it can allow specific numbers of DRM’d copies of content, like for portable players. Also cracked, rather explosively.

• BD+ is Blu-ray’s secret sauce DRM that’s actually a virtual machine, allowing it to do stuff like make sure the hardware and keys are kosher, and execute code. It’s been cracked, twice actually, but part of the appeal is that it can be updated—the last version is at least three months away from being cracked again, though it totally will be. BD+ was the main reason some studios supported Blu-ray over the AACS-only HD DVD, and you can see why.

• Macrovision VHS, yep, that old chestnut: copy protection on VHS tapes that made everything squiggly when you tried to run two VCRs together. Why include it in a digital roundup? Well, besides nostalgia, if you want to convert your original 1986 Star Wars VHS tape to digital, this will make your life difficult—fortunately, a quick Google search turns up ways around it.

• TV and cable—there’s a lot going on there to keep you from stealing cable’s goods, so you need a box or a CableCard to take the encrypted feed and make it watchable. The industry didn’t even really get behind the plug-n-play CableCard, either—it was more or less forced on them. There’s also this thing called a broadcast flag that stations like ABC or NBC or HBO can embed in shows at will so you can’t record them.

• Tivo uses DRM from Macrovision that can slap you with all kinds of restrictions, ranging from no copying at all to automatic expiration, limiting copies or managed transfers to PCs, or even not allowing you to view certain football games outside of a designated region. Its TivoToGo, for porting stuff to portable devices, actually uses Windows Media DRM though.

• Windows Media DRM, speaking of it, is one of the more popular off-the-shelf DRM kits, used by everyone from Netflix for its streaming service to Amazon’s defunct Unbox downloads (now Video on Demand downloads) to Walmart’s old video store, that’s somewhat flexible it what it allows or doesn’t, depending on the service’s wants—from no copying to nothing but Windows Media compatible devices (i.e., no iPods). It only runs on Windows, naturally.

• Even Adobe Flash has DRM now. If you’ve used the streaming part of Amazon’s Video on Demand service, you’ve run into Flash DRM (which had a lovely Antarctica-sized hole allowing you to rip movie streams until a couple months ago). Two bad things about this DRM, notes the EFF: First, with an unencrypted stream it’s “unlikely that tools to download, edit, or remix them are illegal.” That changes if it’s locked up with DRM. Also, it means you’ll have to use Adobe’s own Flash player to video Flash videos. Lame.

• PlayReady is another Microsoft DRM flavor, aimed mostly at portable devices, but it also powers the DRM in Microsoft’s Silverlight, which is what just brought Netflix streaming to Macs.

Software
• Windows Genuine Advantage is what makes sure you’re not using a pirated copy of Windows. It phones home occasionally, which can cause bad things if the servers go down. If your copy is legit and it says you’re a pirate, you’re not the first person it’s falsely accused.

• Valve’s Steam is one of the most elegant, integrated DRM solutions we’ve seen in a physical-media-be-damned world (except for its two infamous outages). Unlimited copies of games on unlimited computers, but only one can play on an account at a time. It’s fairly seamless, like good DRM should be.

• EA’s copy protection system got real famous, real fast thanks to Spore, and nefariously restricts game installations to three computers—in its lifetime, not just at one time like some media DRMs.

• Pretty much every console has varying levels of DRM and copy protection (duh, it’s a closed system), but DRM issues are coming more brightly into focus as we download games from stores, like on the Xbox 360 and Wii, where games are tied to your original system, so you’re screwed if you get a replacement—it’ll take some decent footwork to get your games back, at the very least.

• Not software DRM per se, but Windows Vista has a ton of DRM technologies baked right into it.

Any DRM schemes we missed, feel free to complain about how they make your life more miserable in the comments.

Something you still wanna know? Send any questions about DRM, rights, McDonald’s managers or Taiko Drum Master to tips@gizmodo.com, with “Giz Explains” in the subject line.

The new IBM ThinkPad W700 has an integrated secondary display. Foldable, 10.6 inches of it, with 768 x 1,280 pixels and LED backlight. Color us impressed. The amazing feature list doesn’t stop there.

Not only you won’t have to wait to get that tri-screen MacBook Pro—ok, you will have to wait for that, because this one only has two displays—but the IBM ThinkPad W700 feature list is absolutely impressive:

• Intel® Core 2 Duo, Core 2 Extreme, and Core 2 Quad Core Q9100 processors
• Main 17-inch 1,920 x 1,200 display, CCFL backlight
• NVIDIA Quadro Express graphics technology
• Intel Turbo Memory 4GB module support
• 4 GB memory DIMM
• Integrated color calibration
• Wacom onboard palm rest digitizer and pen
• Integrated 10.6-inch 768 x 1,280 secondary display, LED backlight
• 64 GB solid state drive
• DisplayPort
• Dual Link DVI
• Integrated camera
• Dual RAID HDD high-speed storage (250GB max, one could be 64GB SSD)
• Wireless LAN Intel WiFi Link 5300
• ThinkVantage® technologies
• Trusted ThinkPad layered security

Yes, expect it to be big: 10.9 pounds with one hard drive installed. [IBM via NoteBook Review—Thanks Leo]

I’ve spent more than a month working with Adobe Creative Suite 4 Master Collection. I’m impressed. It pushes the envelope again with new tools and enhancements that will save a lot of time.

Apart from using a text editor, I spend most of my work time in Facebook Illustrator and Photoshop, which I’ve been using since I was in college back in 1748 or 1994—I can’t remember. Until a month ago, I was happy with both programs in their Creative Suite 3 incarnation. Sure, they aren’t perfect, but they are fast in my 24-inch iMac, and they have all the features I wanted. Or so I thought. I didn’t find myself wanting anything more than a few fixes here and there, maybe just enhancements to this or that other tool, like transparent gradients in Illustrator.

I thought that CS3 was pretty much unbeatable for most of the bread-and-butter stuff that I or any other illustrator or photographer can do. As it turns out, CS4 adds enough feature punch to make the upgrade worth it.

The damn tabs

Let’s get this one out of the way now. There’s nothing fundamentally wrong with any of the programs in CS4 except for one thing: The new absolutely horrible tabbed user interface, an idea full of good intentions but poorly executed, to the point of being bad for your workflow.

How Adobe engineers thought this was going to be useful to anyone, I don’t know. Every person I’ve seen working in Photoshop has different windows open, at different sizes, in different places and even spawned across multiple monitors. This is needed to move things around from one document to another, to clone, or just compare images. Sometimes I end up having ten or twenty different documents open because I keep working with several projects at the same time. If you look at my workspace, it may seem anarchic to you, but it’s not for me. Mentally, I organize things how I like them to be, optimized for my workflow. And then, I surf through all of this windows melee at lightning speed using Exposé on the Mac.

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The new tabbed interface—which is similar to the tabs in programs like Firefox or Safari—screws all this. Sure, they try to provide tools to emulate the anarchy described above. You can even drag and drop objects using spring-loaded tabs. But when you have a lot of documents open and you run out of tab space, the thing stops working well, giving you a useless chevron pop-up to the left of the tabs (like it does in web browsers). It does a bad job with tiling too—although I don’t use tiling—since it will split the image in whichever way it wants, leaving some images grouped with others if the number of tiles is shorter than the number of documents.

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And then, on top of it being a mess in both Windows and Mac OS X, there’s an extra problem for Mac users: Photoshop doesn’t respect Exposé, which allows me to change work documents in a fraction of a second in the clearest and most instinctive way possible. So why try to fix what didn’t need to be fixed? Simply put, you can’t organize images in the same way that you organize linear web pages. The fact is that the tabbed interface doesn’t work well and, in the Macintosh, it doesn’t solve any problem that wasn’t already solved with the Mac OS X interface.

Fortunately, this complaint has an easy solution: You can turn the tab feature off. In Illustrator CS4 too, which suffers from exactly the same problem. I exclaimed “So long, sucker!” after twenty minutes of using it and, quite frankly, I don’t know why the hell it comes turned on by default—specially for people with previous versions of the Creative Suite.

Deep changes

I love Photoshop. I know that newbies get pale at the sheer enormity of this program, but it has grown with me during more than a decade and using it is like breathing—even while there are aspects of it I never touch. The new Photoshop CS4 tries to make things a little bit simpler by reorganizing the menus a bit, cleaning house and making them neater. It also provides new palettes, like the masks and adjustments palette. All the little changes will make sense to the experts and make it a little bit easier to those who are not so experienced.

But the changes in Photoshop CS4 go deeper than this. To start with, the Windows version has full 64-bit support. For many users this won’t provide any big performance advantage (although any second saved counts when it comes to image editing). But for anyone using really big images for print, the 64-bit support will bring a clear performance advantage because of the larger memory space CS4 provides on Windows. If you just work with images out of professional DSLR cameras, however, don’t worry much about this. All the benchmarks I’ve seen only show a performance advantage with extremely large images.

The other deep change, one that will be noticed by everyone, is the OpenGL support in Photoshop. Everyone with any decent video card, that is. I don’t mean a 1GB monster GPU. The humble 256MB ATI Radeon HD2600 included in my 24-inch iMac does an amazing job at keeping things smooth as hot butter. The bigger and more badass your graphic card is, however, the more documents you will be able to keep accelerated in OpenGL. In my iMac, the limit is seven images.

New pixel magic

The GPU acceleration results in some nice tricks. When you zoom deep in an image you now get a pixel overlay—which oddly reminds me of the old school programs like the old PC Paintbrush. The panning is animated, so when you use the hand to move the image, accelerating and lifting your finger from the mouse, the image will sightly hover with the inertia until it stops. But the coolest thing is rotating the image for painting. If you have used Painter, you know that the canvas can be rotated to adjust the image to your drawing angle, much like you do with a piece of paper.

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The rotating is not a real rotate command. You just do it as you need it, on screen. When you invoke it, a compass appears on the screen. Since OpenGL treats the image as a texture on a 2D plane, the rotation is non-destructive and the image quality is amazingly good, as nice as a real rotate. I wish this rotate view feature was also available in Illustrator.

Both Photoshop CS4 and Illustrator CS4 offer new ways to access old things in a more streamlined way.

In Photoshop, new tool palettes give access to adjustment layers and masks functionality. The new “save to web” is good too, with a refreshed, more condensed interface. There are also new options for old tools that would be very useful in day-to-day operations, like the localized cluster option when you make a color range selection. This allows you to select areas in an image not only by hue similarity but also taking into account the distance from the place in which you click to sample the color. Or the quick and dirty Vibrance tool, which will allow Dick Tracy-lovers like me to boost the punch of every single image without having to go through a playing with levels, saturation fiddling in selected areas and color curves.

However, perhaps the most spectacular of the new Photoshop tools is the content-aware scale, which will be a great timesaver, especially when you have to modify images to fit a particular layout and you don’t have a lot of room to play at cropping. This tool is simple: Make a selection you want to protect, select the image, scale in any direction you want (vertical, horizontal, or both axis) and watch as the image scales leaving the protected area (almost) intact. Here’s an example:

Original image, 763 x 463 pixels

The image associated with this post is best viewed using a browser.Scaled image, 1026 x 463 pixels.

As you can see, the furniture is left untouched, while the rest of the image scales horizontally. Everything is smoothed out and looks good. At least, good enough to only require a few retouches and, certainly, good enough to fit into your layout. Previously, you had to make a selection, scale the background as good as you can, carefully fill in the blanks with the clone stamp tool, fix the artifact with more cloning, and lose some hair in the process. With the content scaling, you’ll be able to save a lot of time, only requiring a bit of retouching to make things look great.

3D painting

This part is completely new to Photoshop. 3D painting is nice. In fact, it’s fun. While it’s not as sophisticated as other tools I remember (it has been a long time since my Maya and Bodypaint days), it’s easy and straightforward. The 3D rendering engine, on the other side, is bad. Very bad. Horrible. There’s no way anyone can use this to include 3D graphics in your 2D work. So if you are looking to render anything in 3D with Photoshop CS4, look elsewhere.

New vector voodoo

In Illustrator CS4, the changes are also many and worth the upgrade, at least for me. There are small ones—like the clean-up program’s interface has been cleaned up. Things that bothered me before, like the filter menus with duplicated personality, are gone, all merged into one neat Effect menu—to the big ones, like the new Blob tool (a godsend for anyone who likes to draw, rather than pull and push vector lines), the transparent gradients (oh yes!), and the long-awaited (but old Freehand trick) multiple artboards (YES! YES! YES!).

All these are extremely useful and will save a lot of time to any Illustrator user. Actually, the transparent gradients are a fundamental element to create more complex artwork more easily. They basically allow you to treat vector gradients as you treat them in Photoshop, including transparency. In fact, they are better than Photoshop because the interface allows you to change them on the art itself, without having to use a panel.

The Blob tool is great too. It’s basically a brush that unifies all strokes as one single object. Previously, using the normal brush, if you tried to draw freehand you will end with a huge spaghetti monster. This was almost impossible to manage, requiring you to either make groups or outline strokes and then merge them—which obviously is a pain in the ass. With the Blob brush, however, Illustrator CS4 will automagically outline and join all brush strokes into a single, easy to manipulate object.

I would buy this upgrade for the gradients and the blob tool alone. But the final touch that makes this worth it to me is the support for multiple artboards, perhaps the most awaited Illustrator feature of all time. I still remember Freehand fans telling me how they hated Illustrator because it didn’t support multiple pages like Freehand did. I wouldn’t go as far as “hating” but I felt the pain every time I had to do a multiple-page layout, having to jump to Quark (argh) or PageMaker (the horror). This is not needed with the new artboards feature. You can create up to one hundred pages, which is more than enough to manage any brochure or multiple-page art you can imagine.

The icing on the cake is the new smart guides and alignment, which basically allows you to precisely set the position of objects in relation to other objects and any of their elements, without having to set guides manually. Paraphrasing Alice, the new guides are intelligenter and intelligenter than the previous ones.

Verdict

I can’t try the rest of the applications in the Adobe Creative Suite 4 Master Collection with the depth I can use both Photoshop and Illustrator, but if these two—and Bridge CS4—are any sign of what to expect from the other ten apps in the package—and from what I’ve been able to read in reviews of After Effects, Premiere, InDesign, or Flash, it seems they are as good—the collection is completely worth the $2,500 it costs. And definitely worth the $900 of the upgrade. If you are a Photoshop and Illustrator maverick, go for the Design Collection upgrade. If you use these programs professionally, the investment will returned very quickly on saved time alone.

Steve Jobs is not going to deliver this year’s Macworld keynote. We suspected this was coming. But there’s more: Apple has confirmed that this is their last Macworld ever.

Instead of Jobs, delivering this year’s supposedly final Macworld keynote is Phil Schiller, Apple’s senior VP of worldwide product marketing.

While we have confirmed this information with Apple, what this means for WWDC or town halls is unknown. We had predicted that Steve Jobs was preparing his farewell following his highly de-centered introduction of the new MacBooks. At the very, very best, this is another step in that direction, preparing the world for an Apple without Steve. We don’t really want to think about the worst.

But we have to. This sudden, dramatic announcement says to some, loudly and unfortunately clearly, that Jobs’ health has taken a significant dive since his appearance introducing the new MacBooks. One theory might be that Jobs had to step down one day, and while we noticed a transition towards other execs at Apple events, starting this fall, a true control freak would want to step down on his own terms before something like health required them to do it without any say in the matter. That’s one theory. But there are far better ways to do this. The best way being Jobs finishing his long career of on stage presentations by giving the last and final Macworld Keynote presentation in person. There’s not really any reason why they wouldn’t have planned it this way. At least a brief, headlining appearance Jobs, followed by a team effort announcing new products—if for no other reason than to dispel the alarm that’s already shaking the internet, but also to make the transition even smoother.

What’s Wrong With Macworld?
There are other possibilities besides illness, we suppose. Is it a decline in the confidence and importance of Macworld? Also possible, but let’s remember this is where Apple launched the iPhone, its most important product since the iPod, and this past year, the MacBook Air, which set the tone for its notebooks for the rest of the year. True, this year’s rumored products—an updated Mac mini (plausible), iPhone nano (stupid) and tablet/netbook (dream on) aren’t mind-blowing, but still. What we have seen happen in the last few years is Apple use the internet and their marketing dollars to reach the mainstream without the mainstream press. They probably don’t need Macworld or that major expense, even if Apple can afford it. Apple’s launched plenty of product at Cupertino HQ recently and they’ve all done well, and on Apple’s own timetable. (Macworld is in January, at the slump of the retail world’s cycle.)

Money, Money, Money
So why not announce a full retirement, if he is too ill to continue—a possibility if he’s too ill to show up on stage? This opaque announcement is more mysterious, and uncertainties tend to be more troubling than truths, even hard ones. Apple stock hasn’t quite felt the impact, only down 5 points in after hours trading, but if Steve really is worth $20 billion to Apple’s market cap, once the news spreads, expect it to plummet further, faster. An iPhone delay rumor might knock off a few billion, but the suddenly realer than ever possibility Apple’s wizard-in-chief really is about to fade into the night—something that spooked traders even when Jobs actually did make an appearance—is an even more drastic event. In the long run, Jobs handing over the reigns is a GOOD thing to start doing now, to reduce dependence of the stock price on one man alone. If Steve leaves the day to day entirely, the only way any one is going to have confidence in the company is if they see and feel other executives have been in place for awhile. Like Ballmer taking over for Gates, a transition that took years upon years, Apple would be dumb to start this process late. And incredibly dumb to do so on the leader’s deathbed, as the world is now speculating.

Who’s Next?
And why Phil Schiller? Why not the man most likely to wear the crown, Chief Operating Officer Tim Cook, who resembles Jobs more than anyone else at Apple? If Steve Jobs was retiring, why wouldn’t he announce his retirement himself? Or have his immediate successor do it? All questions we’ll have to wait until Macworld to get answers to, unless Apple’s iron secrecy dissolves in this apparent crisis moment. Another one: If a transition isn’t what’s happening here, but Steve is too ill to appear in public, how is he possibly well enough run Apple from behind the scenes? Why wouldn’t he make the transition more smooth if at all possible, gradually transferring power to his chosen successor. An opaque announcement—that Apple had to have known would spark this speculative frenzy is NOT the optimal way to do this.

Timing
The timing of this whole thing is really off, too, in more ways than one. News that you want buried, you drop on Friday, not Tuesday, which is actually the optimal day for the MOST coverage. Also, if Steve Jobs is in fact retiring, the best, most controlling way to do announce this would be at Macworld, Apple’s final Macworld, without this back-handed press release sending the press (us) into a frenzy before the fact. This seems like the worst way, but there are other paths that even crappier, which is likely why they’re doing it this way: him appearing seriously ill on stage, or worst of worsts, dying before Macworld. Which if the latter were the tragic case, it’s unlikely, given how (very rightly) guarded he is about his health, that Steve would announce its imminence. Maybe burying news would have seemed weak, and so Apple launched this on Tuesday in an unflinching message of bravado. Crazy, but this is a cult we’re talking about.

The Next iThingies?
Even supposing the worst of all possible scenarios, we don’t think this will change Apple’s roadmap, at least not for the immediate future—products have to be designed and engineered way in advance, so 2009’s slate is likely already completely mapped out, so even if Jobs does leave Apple soon, his direct hand will be felt in Apple products for at least the next year, if not longer. (That’s even assuming too much; just because he’s not presenting doesn’t mean he’s actually stepping down day to day.) And undoubtedly, his impact and legacy will endure far beyond that. Lack of product is a possible but unlikely thing to happen in the near future, specifically Macworld. Maybe the fact they have an uberproduct in the wings is a good counterbalance to losing Steve’s presentation skills? But then again, one way to look at it is that the Macworld cycle is, again, broken, and Apple has nothing to present this year and Jobs won’t get on stage for that. So, just as likely, if not more so than health issues, is that Apple simply has no amazing product to present at Macworld, so they’re sending the B-team to present it, conveniently broadcasting the irrelevance of Macworld at the same time. The possibilities are endless.

Apple spokesman Steve Dowling reiterates the irrelevance of Macworld as the rationale for their pullout, saying that “”It doesn’t make sense for us to make a major investment in a trade show we will no longer be attending.” But it still doesn’t address why Steve won’t speak at the final big show.

The End of an Era
So maybe this is the real announcement at this year’s Macworld, the one everyone knew would come one day, though it doesn’t make any less shocking.

More on this very topic:

• Steve Jobs Skipping Final Macworld Apple Keynote
• How the News of a Job-less Keynote Was Forced Out
• Valleywag: Control freak Steve Jobs’s chaotic Macworld no-show news
• Will Trade Shows Survive?
• On Steve Jobs-less Keynote: Sometimes I Hate It When I’m Right
• Do You Think Steve Jobs Is Retiring Very Soon?
• Is Steve Jobs Preparing His Farewell?
• The Quiet Man Who May Become Apple King

Apple Announces Its Last Year at Macworld

CUPERTINO, Calif., Dec. 16 /PRNewswire-FirstCall/ — Apple(R) today announced that this year is the last year the company will exhibit at Macworld Expo. Philip Schiller, Apple’s senior vice president of Worldwide Product Marketing, will deliver the opening keynote for this year’s Macworld Conference & Expo, and it will be Apple’s last keynote at the show. The keynote address will be held at Moscone West on Tuesday, January 6, 2009 at 9:00 a.m. Macworld will be held at San Francisco’s Moscone Center January 5-9, 2009.
Apple is reaching more people in more ways than ever before, so like many companies, trade shows have become a very minor part of how Apple reaches its customers. The increasing popularity of Apple’s Retail Stores, which more than 3.5 million people visit every week, and the Apple.com website enable Apple to directly reach more than a hundred million customers around the world in innovative new ways.
Apple has been steadily scaling back on trade shows in recent years, including NAB, Macworld New York, Macworld Tokyo and Apple Expo in Paris.

Apple ignited the personal computer revolution in the 1970s with the Apple II and reinvented the personal computer in the 1980s with the Macintosh. Today, Apple continues to lead the industry in innovation with its
award-winning computers, OS X operating system and iLife and professional applications. Apple is also spearheading the digital media revolution with its iPod portable music and video players and iTunes online store, and has entered the mobile phone market with its revolutionary iPhone.

(C) 2008 Apple Inc. All rights reserved. Apple, the Apple logo, Mac, Mac OS and Macintosh are trademarks of Apple. Other company and product names may be trademarks of their respective owners.

Externally, the new MacBook Air hasn’t changed at all since launch. Internally, however, it’s significantly more powerful. This latest update shows the difference between being thin by starvation and being thin through exercise.

To recap: the latest MacBook Air has the same display as before (one step up from the standard MacBook displays since the Air is somewhat of a “Pro” machine), the same form factor and the same exact feel as the one released in early 2008. On the inside, however, Apple increased both the solid state hard drive and the standard SATA hard drive storage to 128GB and 120GB, respectively. There’s also a Mini DisplayPort port connection for the revamped 24-inch Cinema Display, a faster CPU and faster front side bus, plus that Nvidia 9400 graphics chipset that’s in the MacBook and MacBook Pros. Here’s how the machine stacks up.

Benchmark: The most important thing to measure in this incremental upgrade is the performance comparison vs. other MacBooks. I’ve updated the chart from the MacBook and MacBook Pro graphics deathmatch (performed with 3DMark 06 under Windows XP) to include the MacBook Air, and it performs about as well as you’d expect in most departments. Since the MacBook Air and the Macbook now have the same GeForce 9400M integrated graphics chip, it makes sense that they’re fairly close in score, with the Air falling behind due to the wimpier processor. It is quite a surprise that the CPU test has the Air so far below the MacBook, scoring at only 56% of its cheaper, but fatter, brother. It’s still the slowest MacBook you can currently buy.

Battery: In regular blogging use (Wi-Fi on, screen 3/4 brightness, music on, lots of web browsing and webapps), we got a respectable 2.5 hours with the Air. That’s about what we got with the MacBook and MacBook Pro when they were playing back movies, something that’s more taxing on the system. But on the other hand, when you compare this version to the original MBA when rendering movies, the updated 9400M GeForce graphics actually lowers CPU usage, which helps to extend battery a bit.

Screen: Since it has the same screen as the old MacBook Air, it’s going to be just as good—which is to say, better than the MacBook’s screen. You get clearer blacks and no color distortion with wider viewing angles off to the side. It’s LED-backed and glossy, so those of you who work outside (a light laptop would mean more of you do) may have difficulty finding a good angle to sit at to not get an annoying glare.

Monitor: One very interesting use case with the MacBook Air is to drive the newly released 24-inch Cinema Display. Apple’s 24-inch monitor is very much made with the Air in mind, with its USB, Mini DisplayPort and MacBook Air-style slim MagSafe adapter. The good news is that the Air drives this display very well in either mirror mode (lid closed is optional) or as a separate display, proving that the GeForce 9400M is more than enough to run 1920×1200 sans slowdowns. The bad news is that the the laptop’s USB and Mini DisplayPort is on the right, but the power is on the left, meaning that the three built-in connectors from the monitor are able to connect, but you get a weird forking thing going on behind the display. Not as elegant as when you plug in the display to a MacBook or a MacBook Pro where all the ports are on one side. But, it’s a minor quibble.

General Usage: It’s essentially the same laptop but improved, so all of our caveats from our first review apply now. You still need to either use the external USB optical drive or “borrow” one from another machine. It’s not a fast laptop when compared to its bigger brothers, but it’s not a slug either. People who just want a thin, portable and light machine—mainstream folks—are the primary target. But, at $1799 and $2499 for the 1.6GHz and 1.86GHz versions, the Air still lands somewhere, in both price and features, between the pro user and the casual user, meaning that you should think twice and see if either the MacBook or the Pro would be better suited for you. [Apple]