Xero Amuri Z-Trek Sport Sandals Review

I reached an epiphany a while back when I realized how badly my feet had been weakened by wearing the kinds of shoes I wore and by walking the way I did (very fast and with a great deal of heel strike).

The first thing I did was to fight the instinct to pretty much always wear shoes, even when I’m inside. Within only a few days my feet (and especially my toes) felt better, stronger and more flexible.

The next thing I did was to look for a shoe that would allow as much of this feeling as possible when I’m outside on hard surfaces. It didn’t take long for me to find Xero. Whether this is because the Xero brand is so popular or whether it’s because shoes minimalist shoes like theirs are so unpopular I cannot say.

My eye went directly to their new Z-Trek Sport Sandal. My thought was that the Xero could take over from my Birkenstocks which pretty much represent the opposite philosophy when it comes to designing shoes that are good for the feet. In fact, the Birkenstock website goes so far as to advise people suffering from Plantar Fasciitis (like me) to avoid walking barefoot.

Contradictory advice is seldom helpful…

The Xero shoe philosophy is simple. A shoe should protect the bottom of the foot from unkind surfaces while allowing it to flex and function as in as close to a barefoot way as possible. To accomplish this Xero uses a 5mm thick rubber sole that feels a little like a Michelin. The Sport sandals are not especially light and it’s mostly the density of the rubber that’s used that accounts for their mass.

ZeroThe webbing used for the straps is very high quality and smooth feeling on the skin. I find that the webbing used by some other sandal companies (Teva) to be quite harsh feeling. A video on the Xero website advises adjusting the straps somewhat loose and that’s what I did. I’m getting a little bit of lateral foot movement but looser feels better than tighter with my Xeros so far.

Before they arrived, I was a little concerned that the Xeros might look a little too goofy but they actually look just fine up close and personal. I am compelled that Xero uses something like a heel cup. It causes a slight amount of pressure at the back inside of my heel but my guess is they elected to use it to promote just a smidge of stability in the heel area.

Walking in the Xeros is indeed pretty much like walking barefoot. Still, the rubber sole is excellent when it comes to insulation from radiant heat, like the heat that rises from a San Fernando Valley parking lot when it’s 100 degrees. More than anything, I find the Xeros to be instructive, just like walking barefoot.

Both barefoot walking and walking in the Xeros teach us how to walk in a way that minimizes heel strike and that’s a very good thing. The Xeros make me wonder where the practice of raising the heel of a shoe came from? Was it for the sake of the stylishness of the shoe or the vanity of the wearer? I still own some shoes with a bit of padding and a bit of heel lift but I am convinced that my feet will be healthier the more time I spend in the Xeros.

Talk about money well spent…

I have to admit that I love small companies like Xero. They saw a need for a product, refined it as well as they could, and brought it to the market.

I am very glad they did.

Xero Amuri Z-Trek Sport Sandals Review

3rd Generation Mini Cooper review through the eyes of a 1st Generation 2006 Copper Owner/Lover

I put off driving a new Mini Cooper for years.

The fact is that I’ve driven a 2nd Generation Cooper S but the only Cooper I’ve driven is my own 2006 Cooper named Titan.

I’ve liked Titan since the day I took custody of him on January 7, 2007. He was a Late Build 2006; the best of the 1st Gen Minis. Initially, I found the gearbox lackluster and the engine, well, trending toward the average.

But now, after 7 years, I have grown to love this car.

Now, Titan sits in the garage with 143,000 miles on the clock. The gearbox, clutch & engine all work the very same way they did when I drove him off the lot at Bob Smith Mini back i 2007. There are no door dings, only a few rock chips on the hood to mar his rare beauty.

Still, time stand still for no car; not even the Titan.

Last Sunday I went to the new home of Bob Smith Mini to drive a new 2015 Mini Cooper. I knew there would be no manual transmission cars on the lot so I decided to drive an auto, just to get a feel for the new 3 cylinder engine and the driving dynamics of the new, bigger Mini.

Size matters.

The new Cooper is a larger and more buttoned down car, of these facts there is no doubt. The engine is cool and collected and the transmission is pretty slick. Handling is a huge question mark. My 2006 Cooper handles (to this day) with deft aplomb and near-surgical precision. The 2015 Cooper more glides over the road more than it carves it up. Turn in is controlled but it’s also more than a touch toward the languid. In the few turns that I took the chassis felt stout enough but the suspension was meant to please another kind of driver; dare I say, a driver used to driving lesser cars.

For whom is the 2015 Cooper intended? I think it’s intended for someone who likes their idea of a Mini. They like the idea of the Mini’s kind of cool. They like that the new Mini is said to be larger and more comfortable. When they actually get around to driving the 2015 they’ll be driving a car that will drive pretty much like what they’re used to. When the goal is to sell more cars, this makes sense.

But, it’s not really in keeping with the spirit that Mini has established. Writing about a car’s soul is tricky. BMW owned the MIni brand for a very long time before they came out with the Cooper. I’m sure they spent a lot of time looking at the original Mini and wondering about its translation into a contemporary car. The succeeded beyond anyone’s expectation and they did so by building a pure car; a car with soul.

My 2006 Cooper begs me to swing it hard into corners. The 2015 is a little numb on center and quick movements of the steering wheel bring a sense of lift before the car changes direction. The new Cooper needs to be convinced to turn while the older Cooper seemed almost to anticipate turns and curves.

The longer wheelbase of the 2015 is a good thing, though. The 2006 is solid and predictable until you really get it going and start to push it. It never feels light, but sudden changes of direction at speed reveal the stability limitations of a such a short wheeelbase.

I cannot promise that I will not buy a 2015 Mini Cooper. My plan is to find a manual transmission version to test drive. Many a car has had its personality changed with the simple presence of that third pedal. A touch more soul just might do it.

3rd Generation Mini Cooper review through the eyes of a 1st Generation 2006 Copper Owner/Lover

The best major championship in golf?

US Open: Tour players are seldom embarrassed and I enjoy it when the USGA’s motive over four days is to do just that. A little humility is a good thing especially when you’re driving courtesy cars every week. I find must-make par putts far more interesting than a procession of makable putts for birdie and eagle.

The Open Championship: The R&A doesn’t have the same flair for penal setups as the USGA and their rota is a bit tiring. Still, I love the spectacle, the weather and the galleries. Bring on the wind and rain, preferably both at the same time.

The Masters: As much as I admire Jones, I despise the patrician and elitist nature of AN. But, the back 9 is an amazingly good theater every year. If I had been Rickie Fowler and some AN clown told me to turn my hat around I would have told him to pack sand.

The PGA: The PGA is has no identity. It’s just another event that’s called a major. Many of the courses are ho-hum and so are a lot of the winners. I think they should make it back into a match play event but the potential loss of TV money means that will never happen. They could have two days of stroke play and take the top guys and play 18 hole matches on Saturday and have a 36 hole championship match just to maximize the suffering.

The best major championship in golf?

Bowers & Wilkins A5 review

Back in the old days high end audio products had funny little niggles. Preamps would pop when you changed inputs. Volume potentiometers often miss-tracked until they hit their sweet spot somewhere around of after noon. When I was young and foolish I asked a designer why this was true. He told me that high end products were designed to sound good. Then, once a design sounded good a little grudging attention could be paid to getting rid of niggles, at least those niggles that could be corrected without affecting the sound.
This 20th century preamble is needed to discuss the 21st century Bowers & Wilkins A5 AirPlay speaker. The A5 is quite small (a little larger than a toaster) and very stylish looking. Once out of the box I found it looking quite at home perched on a shelf that is just a little higher than ear level when I’m seated on the sofa. Bowers & Wilkins has a set-up app that got the A5 integrated into my wireless system without delay.
The Good: The good thing about the A5 is how it sounds. It is nothing short of amazing in terms of its ability to generate significant and relatively effortless sounding SPLs. I’m sure matching drivers and enclosures to amplifiers has proven to be a genuine boon to the designers at Bowers & Wilkins. Vocals are especially good, significantly better than other Wi-Fi speakers I have used of similar size. Anyone who expects more fundamental musicality than the A5 can create has unreasonable expectations. The A5 sounds superb with all kinds of music.
The Not Quite as Good: Using the A5 ties you to AirPlay and that’s being tied to a work in progress that may never get much better. AirPlay is designed to allow disparate playback systems (TVs, speakers, etc.) to function with iTunes. Now, iTunes is the 800 pound gorilla and even though I have all of my music cataloged there, as a playback manager, iTunes is lacking. 
For example, if I start a track playing on my MacBook Pro and decide to play the selection through the Bowers & Wilkins A5 I need to be very careful. Why? Because AirPlay may decide to ramp up the volume to maximum when I select the A5 for playback. Interestingly, when I use AirPlay on an isomething  (iPod? iPhone? iPad?) it always wisely reduces the volume when it connects to the A5. Worse, and everyone is free to blame this on my Wi-Fi system, the system momentarily cuts out when the MacBook or the iPhone is engaged in any other processor-intense activity (like checking my email). Lastly, and this should be taken as evidence of AirPlay’s work in progress status, when my phone rings the music stops (whether I want it to or not) and does not resume at the end of the call.
When I first learned Bowers & Wilkins was going to be making products like the A5 I was excited. I knew B&W would be willing to do the engineering heavy lifting needed to make a product that brought high end sound to 21st century expectations of convenience and interconnection. I expected Bowers & Wilkins to build something that would go head to head with Sonos and do them one better. But, while the A5 betters Sonos in musical fidelity it is significantly less advanced than Sonos when it comes to control and convenience. That’s a problem because by its nature the A5 is a convenience product. I’m sure designing and executing a Sonos-like interface would have been a huge undertaking for Bowers & Wilkins. Then again, they are a company with a unique capacity (among high end companies) for such an effort.
That’s my challenge to Bowers & Wilkins: Keep everything that’s great about the A5 but develop your own interface and do it better than Sonos.
The A5 is worth the effort.
Bowers & Wilkins A5 review

Bower & Wilkins P7 Headphone Review

I really thought my long term reference headphones were safe from the new kid on the block, the Bowers & Wilkins P7. Sometimes safety is an illusion.
 
I was prepared to be impressed by the P7, don’t get me wrong. The truth is I’ve never heard a B&W product that wasn’t impressive. But, headphones can be very tricky. Those little drivers are just so dang close to the ears. Plus, you’re literally wearing an entire speaker system on your head.
 
Face it. There’s a lot that can go wrong. It’s easy to build headphones that sound impressive, but it’s very difficult to create headphones that sound musical. Impressive is easy because headphones always enjoy two advantages. First, the amount of air the transducers have to move is very small. Second, that small air space is defined by the designers of the headphones who know if the resulting product will be an open, closed or in-ear design. Contrast this with the designer of a speaker system who has no idea about the size, shape or construction of the room where the system will be used. All of this makes it easy to build headphones that sound impressive.
 
The problem is that it’s music that we’re after. And, because the system is on our heads, comfort. At first, the P7 reminded me the sport seats in a BMW M3. They felt snug and a little constricting. After a while they became more comfortable as the leather ear cups broke in. I do wish the cable were longer (without the extension), that it didn’t have controls wired into it, and was based soley on a quarter inch TRS connector (or something even better…hint). Indeed, reviewers are always wanting more and better. It’s a universal constant.
The musical presentation of the P7 is exceptionally tidy. They are stunningly and totally neutral from top to bottom and this can create an initial impression that they’re slightly airless. They’re not. They are dazzlingly revealing of source material which makes them as musical as any headphone I’ve ever heard. They are part reviewer’s reference and part trusted friend to music lovers. Let’s get down to some examples. “I feel like going home” is an old Charlie Rich song (yes, Charlie Rich). The song got new life and a superb treatment by Brendan Croker on the 1990cult-favorite, Missing…Presumed Having a Good Time. It is a classic country song with the vocal front and center. The P7 conveys the fullness of Croker’s strong yet plaintive voice and retrieves every detail of Mark Knopfler’s superb guitar accompaniment. Songs like these that are not too densely produced and feature a voice and a single guitar yet have a powerful bass line can sound congested. The P7 let the track breathe effortlessly; with the lingering sound of both voice and guitar so clearly and delicately captured. The bass is tight, pitch-perfect and wonderfully extended.
Again, simply dazzling.
 
Recreation of acoustic space is always a challenge for headphone simply because there’s so little space inside the ear pieces. Of course, acoustic space is actually a product of the recording process and it’s something that is not always there to be retrieved. Many times analog recordings of days gone by captured more of that space and sometimes the magic survived the transfer to CD. That is surely the case with Celedonio Romero’s sublime version of “Recuerdos de la Alhambra” from his CD An Evening of Guitar Music. This hard-to-find Delos CD was recorded in analog in 1986. The last days of analog lead to some very good CD transfers. The analog recordists knew the room was a part of the music and so they made sure the listener could experience it. Acoustic space is fragile and easy lost. The P7s convey that sense of space perfectly and it can be heard in the transients that come with the plucking of the strings and the sustained, woody resonance of the guitar. As an aside, I always advise listeners to choose one recording that features a solo stringed instrument as their first evaluation tool. Choose music you love and that’s recorded sensibly and learn its sound and magic. There’s no better way to check for essential musicality and essential musicality is what the Bowers & Wilkins P7 are all about. 

I confess I had my doubts B&W could hit the ball out of the park especially at such a modest price point, but they have. Ever the audiophile, I can’t help but wonder if they have their sights on something even more ambitious, that perhaps the P7 is a kind of warning shot for something even better? While I await for that inspiration to take hold at B&W, I’ll be enjoying my P7s. It’s quite hard for me to imagine headphones I would enjoy more than the P7 but I still hope Bowers & Wilkins is busy working on it.
Bower & Wilkins P7 Headphone Review

Golf’s technogurus & losing the elegance of self discovery

When Jon Fitzgerald reached the age of 40 he embarked on an all-too common quest; to make his golf game as good as possible. His film, The Back Nine, chronicles his project. The story starts with a brief personal history of Fitzgerald, his life with his father and stepfather, and a look back at his youthful athleticism.

Like most of us, Fitzgerald has to keep a lot of plates spinning in his life. He has a wife, a job and, at the start of the film, one child. I was interested to see what Fitzgerlad’s effort at the age of 40 would look like compared to mine at nearly 50.

It was quite impressive if at the same time more than a little dismaying.

Fitzgerald started out, as do so many golfers (myself included) by seeking the help of a professional. Now, seeing a golf teacher is far from odd, but what Fitzgerald did went far beyond working with a pro. Rather than just a golf teacher, Fitzgerald started out with a visit to a Yoga/Golf guru in Arizona. She then referred him to a strength coach, who referred him to a swing coach, who referred him to a guy who uses a battery of imaging devices, including a vest with embedded sensors, that would allow Fitzgerald to have his progress monitored via the internet.

There is a part of me who envies the resources Fitzgerald employed, but there’s a bigger part of me who finds it all rather sad. Every player thinks he should be better. They think they should hit it further, straighter, and they should make more putts than they do. There’s something about the attempted blending of golf and technology that suggests to average players that they really can be better if they have all of the information they need. Of course, this is nothing new. Ben Hogan started a good deal of the madness with his now ubiquitous references to pronation and supination in his classic, Five Lessons: The Modern Fundamentals of Golf.

I can’t prove it but my guess is that Hogan, with his undeniably modest education, didn’t know what either word meant until his co-writer, Herbert Warren Wind, told Hogan what they meant. I also can’t prove that Hogan’s use of those two words caused far more confusion than they did understanding over the last few decades. But, they surely have caused a lot of confusion.

Wrapped up in nearly every technological breakthrough in golf instruction is a basic fallacy; that knowing will always make you better. Knowing begs the question of knowing what? In Fitzgerald’s case (and mine, too) the most profound if sobering knowledge is that we’ll never be all that good. We lack the basic ability to be very much better than we are. Fitzgerald’s swing at the end of the films looks pretty much like his swing at the start. He has rather a notchy backswing and can’t quite clear his hips coming through impact. I have the same problems and lots of others.

Do I seem pessimistic? Or, do I seem envious?

No matter what I am I will admit some players get better, I’ll even allow they get better because of solid instruction. But it seems to me there’s a difference between one on one instruction and the technological phalanx Fitzgerald subjected himself to. Players who get better in golf usually do it through a series of hard-won self discoveries. The purveyors of technogolf would have us believe that they know what we might never discover on our own. Fitzgerald discovers he needs orthotics since his left foot pronates (there’s that word again).

Really?

I’m glad some great players with somewhat unusual swings didn’t live in an era when the technogurus could have screwed them up. Honestly, what would these guys have done with Lee Trevino’s self-discovered practice of aiming left while swinging right? If he were young enough, he would have probably listened to them, adjusted his stance so that it looked and measured parallel to his intended line of flight. They would have also shown him that his head dropped 6″ from address to impact and they would have fixed that, too.

And, Lee Trevino would have vanished into golf’s abyss, never to be seen again.

For already accomplished players technogurus may not do too much harm, then again maybe they do. At age 35, Tiger Woods is rebuilding his swing for the third time. I am certain that each time a technoguro convinced him, arguably the best player ever to play golf, that technology proved that his swing needed a substantive change.

Of course, no swing stays the same, and even golf’s old timers sought help in formal and some not so formal ways. But, it’s my contention that one of the reasons contemporary players can fall so fast and so far is from their growing reliance on the certitude technogurus offer. Think of the declines of Chris Riley, Ty Tryon and David Gossett to name only three. Did their games really decline or were they let down by the relentless analysis of technogurus?

At UCLA’s Royce Hall there is a quote from Plato that goes something like this: Education is learning to use the tools which the race has found to be indispensable. The tools championed by the technogurus are genuinely impressive but whether they are indispensable, or even truly helpful, to players is far from certain.

I’m busy writing an golf book for women. In it, I use this phrase: You will also never master this game. You will, however, go from discovery to discovery for the rest of your life.

Golf is a solitary game of self discovery. The congregation of golf’s technogurus may honestly believe in what they do. But, that’s not really what matters here. What matters is that the elegance of self discovery remains at the heart of golf.

Golf’s technogurus & losing the elegance of self discovery