Every steak you cook will come out perfect if you use this $69 device

Best Meat Thermometer 2019

There’s only one way to know when your steak or any other meat is cooked perfectly: you stick in your meat thermometer and check out the internal temperature. If it’s too cold, you keep cooking it. If it’s within a few degrees of your target temperature, you remove it from the heat and let it rest. If it’s too hot, well, you’re too late and your steak won’t taste as good as it should. If you want to make sure that never happens again, get yourself a MEATER True Wireless Smart Meat Thermometer. It sticks in your steak, chicken, or anything else you’re cooking and stays there while you cook and connects wirelessly to your smartphone the entire time. Once your meat comes to temperature, you get an alert and you’re good to go!

MEATER Up to 33 Feet Original True Wireless Smart Meat Thermometer for the Oven Grill Kitchen B…: $ 69.00

Here’s some more info from the Amazon page:

  • ► 100% Wire-Free: No wires. No fuss. The first truly wireless smart meat thermometer. Monitor your cook using the FREE app available for iOS (10.3 and later) / Android (5.0 and later) smart phones and tablets.
  • ► 2 Sensors, 1 Probe: Dual temperature sensors can monitor internal meat temperature up to 212°F and ambient / external temperature up to 527°F simultaneously.
  • ► Guided Cook System: Walks you through every step of the cooking process to guarantee perfect and consistent results. You can also set up custom alerts / notifications based on temperature and/or time.
  • ► Advanced Estimator Algorithm: Can estimate how long to cook and rest your food to help plan your meal and manage your time.
  • ► Connectivity Suite: Monitor your cook from a phone or tablet over Bluetooth. Extend your wireless range using MEATER Link WiFi and the MEATER Cloud to use Alexa and monitor your cook from a computer.

MEATER Up to 33 Feet Original True Wireless Smart Meat Thermometer for the Oven Grill Kitchen B…: $ 69.00

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Every steak you cook will come out perfect if you use this $ 69 device originally appeared on BGR.com on Sun, 16 Jun 2019 at 12:06:44 EDT. Please see our terms for use of feeds.


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WWDC Preview: How Tim Cook Plans to Keep Apple Watch Healthy for Business and Consumers

Apple has been the top seller of wearable computing devices for the past few years, thanks to the popularity of its smartwatches and AirPod wireless earbuds. But with competitors like Fitbit, Samsung, and Garmin adding new features to their competing devices, Apple can’t afford to stand still.

The fifth generation update of the Apple Watch isn’t expected until the fall, but this week Apple holds its annual World Wide Developer Conference, known as WWDC, where it will debut the sixth generation of the software that runs on the watch. And, as it has done for the past few years, Apple will offer users some enticing new features, especially around health and wellness, analysts say.

“Health and fitness has to be the primary focus for the smart watch,” says Ramon Llamas, research director for mobile devices at IDC. “It’s the one feature that people can wrap their brains around and use on a regular basis.”

Last year, Apple added an ECG measuring feature and fall detection. According to leaks, this year will see the addition of an Apple app to help users organize and remember when to take their medications and another that will help women track their menstrual cycles. Third party developers have offered similar apps, but Apple will build in the capabilities for all users. Apple could also leverage the heart rate studies it has participated in by adding further hearth health detection features, Llamas says.

Some more significant new health features in development, like measuring blood pressure or glucose levels for diabetes patients, aren’t ready yet for 2019 but could be coming in a few more years, analysts say.

Another recent priority at Apple


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has been helping customers be less addicted to their smartphones. Adding more well-thought-out apps to the watch as a replacement for using the iPhone could further the “screen detox” effort, Creative Strategies analyst Carolina Milanesi says. “I have been using it as such since it came out, but it could be doing so much more if apps were developed with that in mind,” she says.

Apple itself doesn’t disclose sales of its wearable devices, but the company captured 27% of the wearable market last year, according to estimates from IDC. The category now goes beyond smartwatches and fitness trackers to include earpods and headphones that connect to digital assistants. Chinese gadget maker Xiaomi ranked second at 14%, and Fitbit, which once dominated the category, slipped to third place with 8%. Huawei and Samsung closed out the top five, as some top 2017 manufacturers, like Garmin


grmn



and Fossil


fosl



, which aren’t big in the headphone space, got pushed out of the rankings.

Still, the competition has been trying to match or exceed the Apple Watch’s capabilities, keeping the pressure on Apple.

Garmin’s vivoactive 3 Music smartwatch, which can connect to wireless networks on its own (without a linked smartphone), went on sale at the end of March, matching the cellular feature that Apple added two years ago. Garmin has also introduced a high-end line of luxury smartwatches starting at $ 1,500 under the MARQ brand name, designed perhaps to steal some of Apple’s more status-hungry watch wearers.

Fitbit has focused on beating some of Apple’s health and fitness features while offering much lower prices. The company’s Versa Lite watch costs just $ 160 versus $ 400 for the cheapest of Apple’s Series 4 watches. Fitbit


fit



also introduced a period and birth control tracking app a year ago and claims 10 million users have already tried it. It’s also long offered in-depth sleep tracking, a feature that’s only available on the Apple Watch via third party apps that aren’t as seamless.

Apple remains well ahead of the competition in terms of the total number of available watch apps. The sixth version of Apple watch software is rumored to be taking a further step to encourage developers to keep Apple’s platform foremost in mind, with a separate app store right on the watch. Currently, Apple watch users, as well as users of rival devices, generally select and manage watch apps on their phones. The new Apple watch on-wrist app store could encourage developers to be more creative and makes the watch less dependent on a user’s phone, but the usability may be a concern, says IDC’s Llamas.

“I like this as a way to move the watch away from the iPhone and make it a more standalone device,” he says. “However, the practicality of discovering apps on a watch can be challenging.”

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Call collect: artist Mark Vessey’s new non-traditional portrait of Norman Cook

The Brighton-based photographer and the international DJ have collaborated on a limited edition artwork.

Back in 2015, the Barbican gallery in London hosted an exhibition titled Magnificent Obsessions: The Artist As Collector, the premise of which was looking at the personal objects and ideas accumulated by contemporary artists, and how they were used by to inspire their work. Artists’ archives were laid bare for us to see, giving us an idea of the motifs and influences of the likes of Andy Warhol, Sol Le Witt, Damien Hirst and Peter Blake. Seen together, and in isolation, the exhibition was eye-opening. Unlikely objects gave us the opportunity to view a highly personal (and in some cases impersonal) side to some of the art world’s most famous figures. Something that occurred to me before I met Brighton-based photographer Mark Vessey for a chat about his upcoming print release at artrepublic – a limited edition collaboration with local (and global) legend Fatboy Slim/ Norman Cook. The link between Vessey and this past exhibition is pretty direct: the local artist’s work has a very clear focus on collections. You could say he is a collector of collections.

'Norman' limited edition print by Mark Vessey ‘Norman’ limited edition print by Mark Vessey

From his first stack, taking Attitude magazine as its subject matter, through The Face, Vogue and Playboy to Penguin books, Absolut vodka and Chanel perfume, Vessey has explored the ideas and aesthetics created by combining thoughtfully curated and carefully grouped objects. There is nothing accidental about these stacks and arrangements – they are all purposeful, considered, layered. But this latest collection is a slight sideways step from previous works. Because, while all his works have been based around an individual’s unique collection, this one feels more personal; very much like a portrait in fact. Perhaps that has something to do with the fact that the figure at its heart is very well known. Rather than an anonymous (to us, at least) collector, this latest exclusive print offers an insight into DJ and producer Norman Cook aka Fatboy Slim, via his archive of vinyl. We wanted to know more about Vessey’s latest project, which launches at the Brighton gallery on 28 November, so we tracked him down between shoots to ask him a few questions.

 

Mark, your work is all about collections – it’s the thread running through your work…

After I finished university, I photographed my collection of Attitude magazine – it felt like a timeline of my own history, coming out, and independence from home – and after that, people started suggesting projects. Like my dad’s friend sent his Playboy magazines to me from New York, then that led on to me shooting stacks of The Face, then Vogue, and then I decided to collect every edition of British Vogue where Kate Moss had been on the cover…

 

Those works seem to be more general, rather than about specific individuals. Can you tell us how this particular piece ‘Norman’ came about?

Basically, ever since I’ve been in Brighton I’ve had an interest in people’s collections. I have a hit list of people whose collections I want to shoot. There are always people that you’re drawn to, and Norman Cook was one of those people. I love music and how it ties into everything culturally, so the whole premise for this was to take a look at Norman’s influences and his collection. I asked him through Lawrence [Alkin, CEO of artrepublic] if he’d like to do a piece, and he came back and said yes. It was 20 years since the original release of ‘You’ve Come A Long Way Baby’ this year, but the collaboration wasn’t about that. It’s not about trying to hype my name up with someone else – this is very much my work. It just happened that the timing was right.

 

The image features a selection of vinyl from Norman Cook’s archive. How much input did he have in the records that are part of the stack?

I went to his house – initially I was going to photograph it there, but then I thought ‘you know what, this is going to be a nightmare’ so I asked him if he minded me taking the vinyl to my studio, shooting it there and then bringing it back, and he didn’t; he’s not precious, which I love. I’d asked him if he would select three boxes of vinyl, and he thought that was quite a lot. But then he spent about two hours going through it and, by the time we finished all the shelves, it was more or less three boxes. It was perfect. It was interesting because when Norman was choosing the records I was peering over his shoulder, going ‘I feel really out of control. Are you picking the right things?’. And Norman was saying ‘That’s the whole point of me picking them Mark!’.

 

Were you surprised by the selection?

It’s was quite an eclectic mix. It’s not just House music: there’s blues, Beastie Boys, The Clash, Donna Summer… It’s not one genre of music, and that’s why I find it interesting. It’s quite a curveball, because normally I shoot very specific groups of things.

 

But the photograph doesn’t show all three boxes that Norman selected, so how did you decide what made the cut? Were you looking at it in terms of the music itself or was it more about aesthetics?

After he gave me the vinyl, I sat there for a week! (A week and a half probably) I turned it into a drama because I’m so emotionally connected to what I’m doing. My friends were telling me to just get the vinyl out and start. When I did, I was looking at what the spines said, how they fit together, how the colour moves throughout the piece of work and then it kind of came together. So, there’s the original ‘You’ve Come A Long Way Baby’ that Norman mixed his version from. He did give me the original ‘Praise You’ but it had nothing on the spine, which was frustrating. I put it in, thinking ‘it needs to be in there’, but then rethought it because no one would know what it was. There are a couple of doubles in there… The Ultimate Breaks & Beats / Various Artists and Bob James. That’s because when Norman was selecting them he told me: ‘When I’ve put in two of them, it means when I was DJing I had them both spinning at the same time.’ I think it was important to respect details like that.

 

Were you tempted to swipe any of the vinyl that Norman selected for you?

I would love to have one of the Donna Summer records, or Prince… but I would never have taken them. My friends all wanted me to open up the boxes for them and play the records, but I wouldn’t let them near it – I don’t think Norman would have been precious about it, but for me, it’s just not respectful to do that.

 

Your typical subject matter – vinyl, books and magazines for example – are analogue products in an increasingly digital world. Norman, as Fatboy Slim, switched over to using digital technology for his DJ sets a few years back. How do you prefer to work?

All my stuff is shot on film, medium format film. I do use a digital camera for my commercial work, but for my artwork it’s all film-based, developed and then scanned. I have friends who have cameras and they treat them like these precious things; mine is pretty bashed around, but then it’s used. It’s such a big camera it makes the work feel really special, more considered; you have to compose it, so the image is not so throwaway.

 

You’re a big fan of documentaries – do you think your work is a form of documentary?  

I love documentaries. I realised recently that my prints are starting to talk to each other. I can have a shot of a stack of House music and one of The Face magazine, and culturally they are part of the same era and time. All of a sudden they are starting to communicate with each other. It’s a thread of our time. I hadn’t really thought about it before, but it’s all about tapping in to a period of time, or a magazine or movement and what it represented. It makes people see it in different way – like how Pop Art enlarges things and they take on a new meaning. An everyday object can be transformed into something that holds emotion; it stirs up memories. This print is kind of like a collision of sounds – it’s got blues, there’s funk in there, House. I suppose that’s what Norman created from. It’s part of his story. I love that they’re talking pieces.

 

Interview by Alanna Freeman

 

For more news stories and events visit our Brighton Gallery page

 

The post Call collect: artist Mark Vessey’s new non-traditional portrait of Norman Cook appeared first on artrepublic blog.

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