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Apple sold fewer than 1 million iPhones in India in the first half of 2018: report

Apple has traditionally had trouble with sales in India. While the company started manufacturing iPhones in the country to lower the price locally, it seems that it has a long road ahead of it, according to a report from Bloomberg: it’s sold fewer than a million devices in the first half of 2018.

Bloomberg reports that three Apple sales executives left the company as it restructures its operations there. It only has a 2 percent marketshare in India, and in 2017, it sold 3.2 million iPhones, according to a report by Counterpoint Research.

But those sales appear to have slowed: the same report estimates that Apple has moved “fewer than a million devices,” and even with strong sales, it’ll have trouble catching up to last year’s numbers.

India is the world’s third largest market for smartphones, but its high tariffs — adding between 15 to 20 percent to the price — has pushed consumers towards cheaper alternatives, like Samsung. Earlier this summer, Apple began to build the iPhone 6S and the iPhone SE in the country — a tactic that the company hopes will help reduce the price of its phones. But it’ll take a while before Apple’s operations there get up and running at full capacity, and in the meantime, Apple is lagging further behind its competitors.

India could be a huge opportunity for Apple, and CEO Tim Cook has indicated that it’s going to move aggressively into the country. The country has expanded its 4G network and has a growing middle class, which could mean that more people will be willing adopt Apple’s products.

Despite those low sales numbers, however, Cook said in May that the company’s revenue from India has grown, setting a record for the first half of 2018.

Updated July 15th 2018, 2:50PM: An earlier headline accidentally omitted “in India.” We regret the error.

Motorola is launching an Android Oreo Go version of its E5 Play phone

Motorola only announced its new Moto E5 Play and E5 Plus in April, but this week the company unveiled a new version of that E5 Play that’ll run Android Oreo Go edition. It’ll include fewer pre-installed apps, as well as apps that are optimized to run on devices with less storage. It’s only available in the UK starting on July 14th and starts at GBP69 for pre-pay or GBP89 for SIM-only. (That’s between £91 and £117.) This is similar pricing to the E5 Play in the US currently.

The E5 Play is still one of the first Go devices.

The first Go phone, the Alcatel 1X, launched in February. Nokia and ZTE also developed Go phones.

All these phones are designed to create a more pleasant budget phone experience.

The E5 includes some more premium features, including a fingerprint sensor and a 5.3-inch display with an 18:9 aspect ratio.

Review: 'Doctor Atomic' Brings the Bomb Home to New Mexico

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Review: ‘Doctor Atomic’ Brings the Bomb Home to New Mexico

ImageRyan McKinny as J. Robert Oppenheimer in “Doctor Atomic” at Santa Fe Opera, with a gigantic sphere representing nuclear weapons and the desert visible beyond the stage.CreditKen Howard

Doctor Atomic NYT Critic’s Pick

By Zachary Woolfe

  • July 15, 2018

SANTA FE, N.M. — “We must first devise a demonstration,” a nuclear scientist sings in the opera “Doctor Atomic.” “Where there won’t be any people. Not on a city.

Or a demonstration right here in the desert.”

As he delivered the line on Saturday evening at Santa Fe Opera, the tenor Ben Bliss gestured toward the vast landscape beyond the stage, still visible to the audience as the sun set. And for the first time in the opera’s history, there was no need to suspend disbelief.

We were, indeed, right here in the desert where “Doctor Atomic” — a turbulent reflection on J. Robert Oppenheimer and the lead-up to the first test of the bomb developed at Los Alamos, a short drive from Santa Fe — takes place.

After its premiere in San Francisco in 2005, a Metropolitan Opera run in 2008, performances all over the world, and the release just weeks ago of a ferocious recording conducted by its composer, John Adams, the work had come home.

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Superbly performed (it runs through Aug.

16), it struck me as both clearer and stranger than it had when I last saw it, a decade ago in New York. Peter Sellars — who compiled the libretto from a collage of primary sources and poetic texts, and who directed the San Francisco premiere — has returned to “Doctor Atomic” in a spare state of mind.

Gone are many of the trappings of that elaborate, 1940s-noirish first production (to say nothing of the positively steroidal Met presentation, staged by Penny Woolcock), including hordes of dancers and a scale replica of the explosive “gadget.” Here in Santa Fe, the costumes are contemporary street clothes, with the youthful physicists looking like engineers at a Silicon Valley start-up; just a handful of dancers thrust and wriggle to Emily Johnson’s choreography.

There’s almost no set except a gigantic silver sphere hanging a few feet above the stage. Bomb, globe, Christmas tree ornament, disco ball: Its surface shined to a mirror, this orb can be anything you project onto it.

ImageMr.

Sellars, who directed the opera’s original production, has returned to “Doctor Atomic” in a spare state of mind.CreditKen Howard

Mr. Sellars has been at pains to flesh out the opera’s rather sketchy connection to its setting. As much a community organizer and consciousness-raiser as a director, he has brought into the staging indigenous people from the region and a group of so-called downwinders, whose families lived not far from the test site and say they suffered health problems from the resulting radiation.

The group of natives performed a steady, rhythmic sacred corn dance a few minutes before the performance began, and returned for a surreal reprise, to Mr.

Adams’s roiling music, during the fraught, chaotic countdown to the test. The downwinders stood, in silent rebuke, as scientists and an Army general argued about whether to notify the communities that might be affected by the blast. (I’ll let you guess which side won.)

Moving and palpably real, these interventions further pulled the opera from the naturalism of its early stagings, and felt of a piece with the terse weather reports and dense, dreamlike poetry — Donne, Baudelaire, Muriel Rukeyser, the Bhagavad Gita — in which the characters attempt to express themselves.

To Mr. Sellars’s credit, the involvement of these local communities is stirring but not exactly uplifting.

It was presumably unintentional, but telling, that the solemn preperformance corn dance, a ritual rarely given outside the dancers’ pueblos, took place as much of the audience noisily took its seats, air-kissed, and chatted: thousands of rich white people, ignoring the natives as they always have.

ImageJulia Bullock, her voice warm and her presence daringly prickly, is a richly complex Kitty Oppenheimer.CreditKen Howard

The work is, frankly, less boring than I remembered — those weather reports feel tighter here than at the Met — though the passionately precise new recording is also a revelation in this regard. With so much pared away in the staging, the weird intensity of the libretto’s poetry is stronger and less jarring, its tumble of eroticism and morbidity more evocative; the sense that the bomb has contaminated these characters and their relationships is more explicit. Mr.

Adams’s score now comes across as a steady knotting of the stomach, gradually ratcheting tension by alternating lush, ominous sensuality and pummeling intensity.

And it is well served by the conductor Matthew Aucoin — his orchestra committed, if less rivetingly rigorous than the recording’s — and an excellent cast. While Ryan McKinny’s extremes aren’t as epic as those of Gerald Finley, who originated the role with a uniquely wounded authority, he is a handsomely frustrated Oppie. Julia Bullock, her voice warm and her presence daringly prickly, is a richly complex Kitty Oppenheimer.

Mr. Bliss, Andrew Harris, Daniel Okulitch and Meredith Arwady make vigorous impressions in smaller roles; the Santa Fe chorus, drawn from the company’s young artist program and directed by Susanne Sheston, is as always a wonder.

Yet a certain emptiness remains at the work’s core. “Doctor Atomic” was commissioned as an American “Faust,” but the opera’s Oppie, who’s never as thrilled about the bomb as the man himself was, doesn’t get to revel in Faust-like triumph. And our sense that he’s surrendered his integrity for personal gain is, as the critic Daniel Mendelsohn wrote in 2009, contingent on particular assumptions — debatable, at least — about the morality of the bomb.

Nor is this Oppenheimer the Prometheus figure he styled himself in real life.

To revive that legend, of a life-giver punished for his hubris, the opera would have needed to push into the decades beyond World War II, into Oppenheimer’s outspoken, complicated regrets and the disgrace of the stripping of his security clearance.

“Doctor Atomic” embraces one thing opera does do well: spectacle. (There’s the disco-ball bomb, everyone dancing beneath it.) But focusing entirely on “will it explode?” — the only real question of the long second act — stints the human, the deeper work opera can do.

Now a teenager, “Doctor Atomic” still conveys a feeling of grief — here in Santa Fe a very local variety — rather than telling a story.

Follow Zachary Woolfe on Twitter: @zwoolfe.

Doctor AtomicThrough Aug.

16 at Santa Fe Opera; santafeopera.org.

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