During its “Hello Again” keynote in Cupertino today, Apple debuted its newest MacBook Pro as well as an overhaul of Final Cut Pro X and an all-in-one video entertainment app simply titled, TV. But surprisingly, there was not a word spoken about iPads.
First, a quick recap: The iPad Air and iPad Mini 2 were both released in 2013. They then both received updates the following year with the release of the Air 2 and the tepidly received Mini 3. But in less than a year, Apple had already moved on to something newer, bigger and more expensive. The iPad Pro 12.9-inch dropped in September 2015, along with the iPad Mini 4, and was joined by a retina-enabled 9.7-inch Pro this past March.
That means we haven’t seen a new iPad Air in two years. And while the older models are still receiving OS updates, their A8 processors are decidedly pokey when facing the Pro’s A9x. In fact, benchmark tests indicate that the A9, which is really a desktop chip crammed into a tablet, performs nearly twice as well as the previous version.
So if Thursday’s event is any indication, it would appear that Apple is far more focused on its Pro models than the rest of its products. Just as today’s announcement of three new MacBook Pros — the base model of which offers similar specs to the existing MacBook Air at a slightly higher price — likely spells the eventual end of the MacBook Air line, Apple’s recent release of the 9.7- and 12.9-inch iPad Pros could be bad news for the older iPads.
This timing — release, update within a year, then nothing for the next two — does not bode well for the iPad Air line, especially with the more recent release of the Pros. What’s more, the 9.7-inch iPad Pro offers superior performance in the same form factor as the Air 2 for just $ 200 more. So why would Apple keep the Air 2 around when it could simply eliminate the model and force consumers to shell out an extra two bills for the Pro? Remember this is a company that recently eliminated the iPhone 7’s headphone jack in favor of selling us $ 180 wireless AirPods and just today rolled out a series of laptops that can’t connect to any peripheral you already own without an adapter.
In the end, there’s no way to confirm that this is the end of the line for the iPad Air. Apple is notoriously secretive when it comes to upcoming product announcements. There are some unsubstantiated rumors that the next Mini could be announced in the spring of 2017, and maybe the Air will be brought along, but we’ll have to wait for March to find out.
Click here to catch all the latest news from Apple’s “Hello Again” event.
The rumored TV guide app for Apple TV is here, just unveiled at the company’s event. It brings TV and movies from the box’s various apps into one browsable location. As demonstrated on stage by designer Jen Folse, pressing play within the guide can immediately start a video stream in an app like HBO Now, without any intervening menus. The main “Watch Now” menu knows which apps you’ve signed into with its unified login feature, and will show options that you have access to. “TV” isn’t just for Apple TV either, as the app is also accessible from iPhone and iPad.
Another new wrinkle for Apple TV, is the ability for Siri to tune into live video streaming apps, and control third-party apps. Live tune-in with Siri is available now, while single sign-on and the TV app will arrive through a software update in December.
Key Features Within the TV App Include:
• Watch Now: Watch Now is where viewers will see their collection of available shows and movies from iTunes® and apps. From Watch Now, viewers can then go to Up Next or Recommended to choose what to watch.
• Up Next: Users can enjoy the shows and movies they are currently watching, including recent iTunes rentals and purchases — all presented in the order they are most likely to watch first. For example, when viewers finish an episode, the next one will automatically appear at the start of the Up Next queue, as will any new episodes as they become available. At any time, users can simply ask Siri to continue watching a show and immediately pick up where they left off.
• Recommended: Viewers can explore a great selection of curated and trending shows and movies, including collections handpicked by Apple’s curators, and dedicated categories and genres such as kids, sci-fi and comedy.
• Library: Viewers can access their entire collection of iTunes movies and TV shows that they have rented or purchased on iTunes.
• Store: If users are looking for something new, they can check out the Store to discover great new content across video services that they have not yet downloaded or are not yet subscribed to, along with the latest releases on iTunes.
Click here to catch all the latest news from Apple’s “Hello again” event.
If you’re reading this, chances are you’re a gadget freak and may need to recharge multiple devices on a daily basis. That’s when you’re greeted by a pile of messy cables plugged into a dull-looking and maybe under-powered USB hub. Cable boxes may hide the ugliness, but they’re bulky and don’t actually solve the issue. Not one to admit defeat, Native Union — the mad folks behind the marble iPhone case — came up with the ultimate solution: a stylish, cylindrical USB hub dubbed Eclipse. On the outside, it looks like a piece of home decor thanks to its wooden top, but it’s really the inside that got our attention: as you touch the top gently, the main body slowly rises up to let you uncoil the cables tucked inside, while the base emits a subtle halo for night-time usage. It’s rather mesmerizing to watch.
The Eclipse offers three standard USB ports — one of which can be flipped to USB-C — which total up to 7.8A of current, and each standard port can go up to 2.4A while the USB-C port maxes out at 3A. There’s no Quick Charge 2.0 or 3.0 magic here (so the voltage stays at 5V), but the high current output is already plentiful for office hour or night time charging. And don’t worry, all the essential electrical protection mechanisms are in place. The device itself supports 110-240V variable voltage input so you can use it anywhere around the world, and it’s attached to a 4-foot long power cable with an electrical plug of your choice in the Kickstarter campaign.
While Native Union makes its own USB cables, the Eclipse is designed to house any cable that are up to 8-foot long. All you have to do is plug one end into the ports on the inside, then wrap each cable around one of the three slots on the cable management part, pop the part back into the cylinder and you’re good to go. To grab a cable, simply tap the top, let the body rise (powered by a motor), unwind your desired cable, and then tap the top again to let it slowly sink back down. This works even if you choose to hang the Eclipse on the wall — because it’s that good-looking — using the bundled wall mount. There’s a 4mm gap between the outer case and the wooden top, which should let most types of USB cables go through.
The Eclipse is already proving to be quite popular on Kickstarter, as it reached its $ 50,000 goal within the first couple of hours after launch. For those who don’t mind waiting until April 2017 for delivery, early birds can grab an Eclipse for $ 49 while everyone else will have to pay $ 50 — which is still a bargain considering that it’ll retail for $ 80 next year.
Mobile payments are all the rage among tech companies, but how successful have they been, really? Quite successful, if you ask Apple. While discussing its latest earnings, the Cupertino firm revealed that Apple Pay purchases were up 500 percent year-over-year in the third quarter. In fact, there were more transactions this September than in all of Apple’s fiscal 2015 — not bad for a tap-to-pay service that’s still unavailable in many parts of the world, not to mention many stores. Apple didn’t say what prompted the spike, but there are a handful of factors beyond any increases in popularity.
One major component: regional expansion. The launch of Apple Pay in China may have played the biggest role, but there was also a steady stream of expansions to key markets like Australia, Canada and swaths of Asia and Europe. Also, there were simply more people with Apple Pay-capable devices. You had to buy one of two high-end iPhones (the 6 and 6 Plus) to use Apple Pay throughout most of fiscal 2015, but the service was an option across all of Apple’s phone lineup by the time the iPhone SE arrived in March of this year. That’s also excluding those people who may have an iPhone 5 or 5s and are using an Apple Watch for their payments.
Whatever is involved, it’s likely that Apple Pay will see continued growth for at least a while. The payment system reached both Japan (as of iOS 10.1) and Russia in October, and there’s still room for both more countries as well as additional cards and stores in existing regions.
The question is whether or not Apple still has a lead in this fledgling industry. The company hasn’t divulged its latest transaction numbers, you see. Samsung was quick to boast about having 100 million transactions for its own service in August, but the lack of context makes it difficult to say whether it’s catching up (Apple is estimated to have racked up $ 10.9 billion in purchases in 2015) or trailing behind. About the only certainty is that Google’s Android Pay will need to grow faster if it’s going to latch on. It only just reached the UK in May, and card support isn’t as broad as you get with its rivals.
Not content with a simple navigation app, Google has updated Maps for iOS with a handy food delivery shortcut. So when you tap on a nearby restaurant, perhaps to see its opening times, you’ll soon see a button titled “Place an Order.” Tapping this will give you a few different options (these will vary depending on your country and the business in question) such as Grubhub, Seamless and Eat 24 in the US. Select your preferred service and you’ll be thrown across to the relevant iPhone app. It’s a small addition, sure, but one that could make ordering dinner just a little faster at night.
The Portrait mode for Apple’s iPhone 7 Plus has been in the works for months, and now it’s ready for the masses… sort of. People with the 7 Plus who are running beta software have been able to shoot photos full of artificial bokeh for over a month now, but Apple just pushed out its iOS 10.1 update, which means Portrait mode is here (along with a bunch of bugfixes and support for transit directions in Japan).
Now, here’s the thing: Even though you don’t need to be enrolled in the iOS beta program to use the feature anymore, the feature itself still isn’t completely done. Once the update is installed, the camera app asks if you’d like to “try the beta” when you swipe into the new Portrait position.
Our professional recommendation? Dive right in. Portrait mode might not be completely complete, but it’s still capable of producing seriously nice headshots. In case you missed it the first time around, the feature uses the iPhone 7 Plus’s two cameras in tandem; the primary 12-megapixel sensor captures the image as normal, but the second, wide-angle sensor is used to determine how far away the subject is.
All of that data gets mashed up into a nine-layer depth map, providing the context needed to artfully blur out backgrounds while keeping faces and subjects closer to the phone remain crisp and intact. Apple’s goal was to build a dead-simple photography experience that yields pictures that look like they were shot on expensive SLR cameras, and for the most part, Apple did an impressive job.
This photo represents well the sort of quality you can expect out of Portrait mode. The focus stays locked on the face and hands, and the windows in the background are blurred pretty dramatically. Thanks to that nine-layer depth map, you can see areas where blurring is very subtle, like the top of the subject’s head and the bottom of her scarf.
You don’t need to take photos of people to get some mileage out of Portrait mode either. Have cats prancing around? Or a sweet new mug you need to share? In my experience, as long as you’re within proper range (the app tells you when you are) and there’s enough contrast between the foreground and background, you’ll get that pleasant background blurring.
It’s when you’re in well-lit environments with lots of similar colors that Portrait mode seems to have trouble — that’s often when you’ll see edges blurred when they shouldn’t be. Just check out this photo of a cactus precariously perched on a railing. The camera didn’t have trouble differentiating between the cool blue of the pot and the trees in the background, but it obviously had some difficulty telling where the cactus ended and the trees began.
These disappointments are rare, though, and will probably become less frequent as people continue to put Portrait mode through its paces. Most of the big problems have been solved — now Apple has to focus on the fine-tuning (which is obviously easier said than done). At this point, Portrait mode is still imperfect, but there’s nonetheless a lot to like about it, starting with how simple it is to use. It’s fast, it’s impressive and it’s only going to get better with time. Interested in taking it for a spin? Jump into your iPhone 7 Plus’s settings and hit that software update button. It’ll show up sooner or later.
If you’re a gadget fan of a certain age (cough), you’re about to feel ancient: Apple’s iPod just turned 15 years old. Steve Jobs unveiled the first version of the media player at an event on Apple’s campus on October 23rd, 2001. To say that it had a wild ride after that would be an understatement. Many credit the iPod as the device that took Apple from niche PC maker to one of the largest companies on the planet, only to fade away as smartphones took over. But how did it get to where it is now? And is there any room left for the iPod 15 years later? Let’s take a quick look back at how the iPod has evolved through the years.
We like to think of the iPod’s 2001 introduction as a watershed moment these days, but at the time it left many scratching their heads. This was a risky side project for a company that had been on the brink of oblivion just a few years earlier, and the number of caveats seemed to be a mile long. Mac-only, a $ 399 price and ‘just’ 5GB of storage? Many didn’t expect it to sell well… and for the first couple of years, it didn’t. While the iPod found an audience among the faithful, those steep initial requirements ruled out both Windows users (even the 2002 model’s Windows support was a kludge) and many casual Mac listeners. Competitors like Creative and Rio had little to fear at first. Still, it was a glimpse at a future where you could quickly and easily sync your whole music collection in a device that fits in your pocket. Existing MP3 players like the Creative Nomad series or Rio’s PMP300 tended to be huge, slow or both, with software that made syncing a challenge.
But then something happened. In 2003, Apple not only released an iPod built with Windows users in mind, but launched both iTunes for Windows and the iTunes Music Store. It was as if a puzzle had been solved. Suddenly, most computer users could buy whatever songs they liked, sync them with an iPod, and start listening within a few minutes — no CD ripping or dodgy peer-to-peer sites required. It’s easy to complain about how unwieldy iTunes can be today, but it was a minor revelation at a time when most MP3 players had truly clunky sync processes and few (if any) ways to integrate with digital music services.
And for the next few years, it seemed as if Apple could do no wrong. iPod sales exploded, helped in no small part by falling prices and more accessible models. The iPod mini, shuffle and nano transformed the device from a near-luxury item into something virtually anyone could own. Apple grabbed such a dominant foothold in the market that no competitors posed more than a temporary threat. Even Microsoft’s Zune, with its iPod-like software integration and gobs of marketing money, couldn’t loosen Apple’s grip. The iPod’s white earbuds (and the matching silhouette ads) became iconic. With the help of iTunes, it ushered in an era where digital music was an everyday fact of life instead of a novelty. Podcasts owe both their success and very name to Apple’s pocket player — you wouldn’t be listening to Serial otherwise.
All technology has a finite lifespan, though, and Apple took the relatively radical step of hastening the iPod’s demise itself. When Jobs unveiled the iPhone in January 2007, he wasn’t shy about treating it as a do-it-all device that could help you avoid buying an iPod. Why get something separate when all your music can live on the phone you’re already carrying? The media player soldiered on for a while, in part thanks to the iPod touch (which satisfied the urge if you couldn’t buy an iPhone), but its days were clearly numbered. It’s telling that Apple unveiled the first iPod classic mere months after the iPhone arrived, indicating that the days of music-first hardware were coming to an end.
You may well know what happened next. Modern smartphones, including the iPhone, rendered dedicated players almost obsolete within just a few years. Apple increasingly shifted the iPod toward niche uses like fitness (the current iPod nano and shuffle are practically designed for runners) and away from the mainstream. Sales fell from nearly 55 million iPods per year in 2008 to a number so low that Apple no longer breaks them out in its fiscal results. To compound matters, streaming music has practically eliminated the need for a tiny jukebox. You don’t need capacious storage when you can listen to seemingly everything on services like Spotify or Apple Music. The death of the iPod classic in 2014 was less of a tragedy and more a sign of progress, when you think about it.
As such, the iPod at 15 is really in its twilight years. There’s just not much room for it. Unless you need a mountain of offline music without paying a premium, you’re usually better off using your phone. It can access a wide array of services, and you don’t have to sync it with a computer. Even the iPod nano and shuffle are facing pressure from smartwatches, which can hold or stream enough music to last your whole run.
This isn’t to say that the iPod is a footnote in history, however. In hindsight, it was a stepping stone — a way of leaving CD players and record stores behind in favor of a world where any song you want is just a heartbeat away, wherever you are. You can also see it as ushering in the mobile revolution, since the iPod’s success helped drum up interest in the iPhone and other smartphones that weren’t just about checking email or making calls. As sad as it is to see the iPod treated like an afterthought today, there’s no question that its legacy will last well beyond the day the last units leave store shelves.
Image credits: Reuters/Mike Blake; AP Photo/Eric Risberg
Sony really wants to clarify a few things about the PlayStation 4 Pro:
First, the Pro doesn’t signal the end of video game console generations, even though its specs and launch window fit a pattern that resembles PC or smartphone upgrade cycles more than traditional console releases. Second, the Pro is valuable even if you don’t have a 4K TV. Third, though most games on the Pro won’t actually be rendered in true 4K, they’re still much improved over the standard PS4.
Sony probably feels the need to clarify these points because after it revealed the PS4 Pro in September, there was some confusion over the capabilities and identity of the new console. It was pitched as a mid-generation upgrade that would usher in an era of 4K gaming, but after the scripted presentation, it became obvious that 4K was still out of reach for most developers. At the launch event, we found just one game on the demo floor that actually ran in 4K (that would be Elder Scrolls Online), while others took advantage of the Pro’s upgraded guts in other ways. Impressive ways, but not 4K.
After the reveal, it was unclear who the PS4 Pro was built for and what it signaled for the future of gaming consoles. It joined Microsoft’s Project Scorpio in blurring the generational divide, and with all of this talk about 4K, its benefits for HDTV owners were uncertain.
This is where Mark Cerny steps in.
Cerny is the architect of the PS4 and a highly respected veteran of the gaming industry. He introduced the Pro at Sony’s September event, and he followed that presentation with a behind-closed-doors meeting this week, diving deep into the console’s technical aspects. In other words, Cerny is Sony’s cleanup crew.
“PS4 Pro is not the start of a new generation and that is a very good thing,” he said. “We don’t believe that generations are going away. They are truly healthy for the industry and for the gaming community. It’s just that the objectives for PS4 Pro are going to be different.”
Cerny is adamant that console generations are a useful, necessary aspect of the video game industry. He repeated the line “generations are a good thing” throughout the meeting, reciting it like a mantra.
However, the definition of a console generation is changing, and, right now the PS4 Pro is leading the charge. It isn’t a traditional, expected “slim” model with slightly upgraded specs and a fresh look — in fact, Sony just released one of these consoles as well. The Pro is bulkier and significantly more powerful than the standard PS4 or the new and improved slim version. Plus, the Pro costs $ 400 compared with the slim’s launch price of $ 300.
The Pro is a dividing line. The PS4 is not Sony’s latest and greatest piece of gaming hardware anymore — that distinction belongs to the PS4 Pro. When the console hits store shelves on Nov. 10th, there will be haves and have-nots, just like there are people who got the iPhone 6S Plus the day it came out, if only to show off to anyone who owned the suddenly outdated iPhone 6 Plus.
Cerny sees it differently. For him, from a technical standpoint, there are at least two necessary features that signal a new console generation: significantly more memory and a new CPU.
“For me, one of the hallmarks of a new console generation is the use of significantly more memory,” he said. “By contrast, the PS4 Pro is definitely part of the PS4 generation, so we took a different direction with the console. We felt games needed a little more memory, about 10 percent more, so we added about a gigabyte of slow, conventional DRAM to the console.”
The PS4 Pro uses this memory differently than the standard PS4. On the PS4, if you open Netflix and then swap to a game, Netflix remains resonant in system memory, allowing for fast swapping between the two apps: Nothing needs to be loaded. The Pro, however, allocates background tasks to the 1GB of slow, conventional DRAM, freeing up more memory for the active apps (and allowing the home screen to resolve in 4K rather than the standard model’s 1080p).
Additionally, the PS4 Pro features an 8-core AMD Jaguar CPU, just like the standard model. This means it doesn’t use a brand new CPU — another aspect that would herald an entirely new console generation, in Cerny’s eyes.
“With PS4 Pro, one of the primary targets is flawless interoperability between two consoles,” Cery said. “We chose a different path [than a new CPU], keeping Jaguar as the CPU and boosting the frequency as much as possible.”
So there’s the technical definition of a new generation and then there’s the social distinction. Regardless of whether players view the Pro as a more powerful, generation-skipping console, Cerny is adamant that the hardware itself is not upgraded enough to be a new generation.
But that’s just hardware. Games on the PS4 Pro will also use new software tricks to beef up their graphics and gameplay across SD, HD and 4K TVs. The newest, most game-changing technique is called checkerboard rendering, a process that was first used in Rainbow Six Siege.
Checkerboard rendering changes the shape of pixels; they’re no longer square. Instead, this process relies on delineated horizontal rectangles that each include one color, one Z value and one ID buffer (the building blocks of game graphics). Using data from previous frames to fill in information gaps, checkerboard rendering enables developers to build a more complete, crisp image that, according to Cerny, is nearly identical to native 4K.
He’s not exaggerating here either. In a demo this week, he pulled up a scene in Days Gone on two separate Pros and 4K televisions, one of them natively rendered and the other checkerboard upscaled. The images were nearly indistinguishable: The native game was slightly more saturated and the textures in the grass were clearly resolved, while the checkerboard grass shimmered slightly in the breeze. However, from three or four feet away, it was nigh impossible to see a difference.
Of course, not all games on the PS4 Pro will use checkerboard rendering or even attempt to hit 2160p. Even games that do support 4K won’t always reach their full potential, considering not all players own a 4K TV. For those without a 4K set, Pro games will automatically scale down to the TV’s maximum display settings.
“Requiring all titles to run at 2160p on PS4 Pro makes no more sense than requiring all titles to run at 1080p on the standard PS4,” Cerny said. “The titles are going to use the increased graphical power in a number of ways. Some developers will favor quality over resolution, some will favor resolution over quality. We don’t want to have any sort of rules that have to be followed.”
Cerny listed a handful of AAA games that prepared for the Pro via various techniques, though nine of the 13 titles on display used some form of checkerboard rendering. Days Gone, Call of Duty: Infinite Warfare, Rise of the Tomb Raider and Horizon Zero Dawn all use 2160p checkerboard upscaling, and most of these titles rely on 1080p super-sampling for HDTVs. Meanwhile Watch Dogs 2, Killing Floor 2, Infamous First Light and Mass Effect: Andromeda use 1080p checkerboard rendering. Deus Ex: Mankind Divided takes advantage of checkerboard rendering to hit variable 1080p and 2160p resolutions, while Spider-Man hits 2160p via a post-checkerboard process called temporal injection and For Honor gets there via a similar version of temporal anti-aliasing.
Middle-earth: Shadow of Mordor and Paragon are special cases too. Shadow of Mordor uses native rendering at dynamic resolution, meaning the resolution “can vary broadly,” Cerny said, “but typically it’s at 80 percent to 90 percent of 4K.” Paragon features a mode for HDTVs with 1080p native rendering and enhanced visuals, and there’s no direct 4K version of the game: On 4K TVs, the upgraded graphics will simply be enhanced even further.
“We know that when game creators are making the decisions on how to best use the technology we provide, the result is almost invariably better for the gaming community,” Cerny said.
Near the end of the meeting, Cerny pulled up Knack, his PS4 launch title, side by side on two HDTVs. One game was running on a PS4 Pro and the other on a standard PS4. The differences were obvious: The PS4 Pro resolved cleaner lines and animations while the standard PS4 scene had more noise, particularly in detailed areas and backgrounds.
Cerny started with the Pro, picking up the controller and saying, “So if we look at the scene, again, it’s very clean, smooth. But if I were to do this on — ” he switched to the PS4 TV and sighed. “Look at all the moiré, or all of the shimmery noise in the distance. And this is what we see when we play games on an HDTV and we’ve learned to ignore it.”
Noticeably improved graphics and new standards for developing games certainly sound like hallmarks of a new generation — at least from the player’s perspective. Technically, Cerny might be right that the Pro is a mid-generational upgrade, but it is clearly a significant improvement over the standard console (even for people without 4K TVs). It’s significant enough to cost $ 100 more than the new and improved slim PS4, at least.
It’s been a very, very long time since Apple has updated its Mac lineup — the new Macbook is the only computer that Apple has seen fit to upgrade in 2016. That should all change next week, though: We just received an invite to an event in Cupertino on Thursday, October 27th. With the yearly iPhone refresh in the rearview mirror and macOS Sierra out in the wild, it’s time — well past time, in fact — for some new Mac computers. The event’s tagline — “Hello again” — is a pretty clear nod to the Mac, which debuted with a big old “hello” on its screen way back in 1984.
Headlining the event should be a totally redesigned MacBook Pro, which has existed in its current form for a good four years now. Rumors point to a touch-capable OLED strip on the keyboard above the number row that can adapt to whatever app you’re using. Touch ID might be making its way to the Mac for the first time, as well. Of course, the computers will likely be thinner and lighter and will probably see many of the innovations Apple first rolled out in the MacBook in 2015. The butterfly keyboard mechanism, tiered battery design and reliance on USB-C all seem likely to come on board at this point. We’re hoping the MacBook Pro will be available in a variety of colors for the first time, too.
Beyond that, spec bumps for the iMac and MacBook Air seem like good bets, as does the inclusion of USB-C on those models as well. Looking beyond the Mac line, it’s also possible the iPad will get some love. The iPad Air 2, while still a very capable tablet, is now two years old. And the 12.9-inch iPad Pro is just about a year old and lags behind the smaller iPad Pro in a few key ways. It wouldn’t surprise us to see both of those devices get some updates.
Whatever Apple has to show off, we’ll be there live to bring you all the news as it happens when the event starts at 10AM PT.
One of the nuggets of information to come from the Podesta emails leaked by Wikileaks is a correspondence that lists business and tech leaders as potential running mates for presidential candidate Hillary Clinton. If you’re running against a business man, you might as well fight commerce with commerce.
CNN reports that on March 17th, Podesta sent an email filled with political figures and business leaders that were considered by top Clinton campaign staffers. In a odd choice of separating those individuals, Podesta organized the names into “food groups.”
One of those groups included Apple CEO, Tim Cook, Microsoft founder Bill Gates, and cofounder of the Bill & Melinda Gates Foundation Melinda Gates. The email also contains GM CEO, Mary Barra and Starbucks CEO, Howard Shultz. But in the end, Clinton decided to stick with a politician like herself and picked Tim Kaine killing our dreams of an iPhone in every pocket and an Apple car in every garage.