The Hulu video service -- which really, really wants you to pay them money instead of watching for free -- is not easy to watch in Linux.
They require the HAL library, something Linux hasn't used in years.
There are plenty of tutorials on how to get Hulu working in Ubuntu, but fewer for Fedora.
It's pretty easy to get it so you can watch Hulu in Fedora (version 22 in my case).
You do this:
fakehalpackage available here
It's as easy as that. Video quality was good on Firefox. Now that I can watch Hulu successfully in Fedora, I am more inclined to subscribe.
Netflix: While Netflix doesn't have this problem, on Linux you have to watch in Chrome and not Firefox. Call it #confusing.
Do search and social-media links to content tucked behind paywalls represent a form of bait-and-switch, "tricking" users of those services into clicking links for content they cannot see without a subscription or paying a one-time fee?
Do words like (nonfree), (fee to read) or (subscribers only) make it more acceptable to promote non-universally available content via search engines like Google and social-media sites like Twitter and Facebook?
My quick answer is that creators of content are able to use the "open" Internet network to distribute their content and restrict access via software. It's a form of privacy.
But I do not like when links to that content appear on my social-media feeds without a warning that the content isn't accessible with payment. Give me an appropriate warning about the nature of the transaction ($ for content) and I can decide whether to click, ignore or remove from my feed altogether.
After years of using flatwounds (generally D'Addario Chromes beginning with a .012) on my Fender Lead I guitar, I decided to go light(er) and roundwound with a set of Ernie Ball Power Slinky nickel-wound strings (.011, .014, .018p, .028, .038, .048).
And I'm liking the sound and playability very much. While I like the feel of really heavy strings (I use D'Addario Chromes, the .013 set, with an .014 subbed for the high E and a .018 for the B string), I think those strings overwhelm the solidbody Fender guitar. Or least that's how I feel for the way I play it.
I really like the plain 3rd string, which contributes to the overall evenness of volume and tone.
Even with only a bridge humbucking pickup, the Lead I has a very wide tonal range, and I can easily dial in a good jazz sound.
So much depends on the way you have everything set up -- the knobs on the amp and guitar, the way you play it. I generally use a heavier touch and keep the volume lower.
As I say above, I've gravitated to really heavy strings, but now I'm thinking differently, and I really like this Ernie Ball set. The lower strings, and the low end of the instrument in general, have a lot less muddiness (and a lot more definition).
The guitar, which I've had since I bought it new in what I think was 1979 (but the serial number indicates 1980) is a nice, heavy instrument.
I've pondered "converting" it to a Lead II with two single-coil pickups. I even have a Lead II pickguard ready to go, but I've just never gotten around to that mod (I would need the pickups, pots and tone capacitor, and then I'd have to figure out the wiring).
I'm using the orange Roland Cube 60 amp that, like pretty much every electric guitar I've ever had, I purchased when I was in high school.
About the only guitar I've "let go" over the years was the nice handmade classical that I used during my time in the music program at CSUN. I can't even remember the name of the company, but it was a nice guitar. It had a cedar top -- you could really smell it. I'm more of a spruce-top person, so I'm not all that sorry I don't have it, but it was a very, very nice instrument, and I think I'd enjoy playing a well-made classical guitar built with really good wood.
Takeaway: Players of different kinds of music on the guitar think that they need a certain type of instrument, strings and amplifier to credibly make a certain kind of music. For jazz that seems to be an archtop guitar, heavy flatwound string and amps with a whole lot of headroom so you don't have to drive it too hard to get the volume you need. While I agree with the amp requirement, and I absolutely love the sound of an archtop guitar (both electric and acoustic), when it comes to strings (light, heavy, flatwound, roundwound) and even type of guitar (solidbody, flattop, classical, full archtop, archtop with bridge in a block of wood), there are plenty of viable, sonically rich options.
Note: The Ernie Ball strings image came from the Musician's Friend site. I used an iPod Touch to take the Fender Lead I and Roland Cube 60 photos. The sweet case that Ilene sewed for the iPod Touch can be seen next to the guitar.
I like options. And contingency plans.
So I've been adding development tools to my Windows partition (currently stuck on Windows 8 since the 8.1 upgrade won't play nicely with my Win 8/Fedora dual boot).
I upgraded Strawberry Perl, added Ruby and Node, made sure I had the full JDK 8 and removed an older version of Python. I downloaded a new Python but haven't installed it yet (mostly because I'm not using Python at the moment).
I also have Netbeans ready to install, and I'm thinking of giving Geany a try in Windows. I use it a lot, especially these days for Java because I can compile and run in the editor. Otherwise I use Notepad++ for my editing.
That's me on an ADM-3A terminal at UC Santa Cruz some time in the late '80s. I'm using whatever version of Unix the university had at the time. I can see from the screen that I'm running the
talk program with one of my friends on UCSC's Unix B system.
Unlike the other Unix machines (all named with various letters), Unix B was open to anybody who wanted to start an account.
With the help of a photocopied manual called "Unix for Luddites,"available for a couple bucks at the campus' Bay Tree Bookstore, you could learn
vi for writing,
nroff for formatting and a smattering of shell commands to get your papers printed on a mysterious, before-its-time laser printer somewhere deep in the campus computer center. Your work would eventually end up in cubby holes for later pickup.
While the ADM-3A was the coolest, most retro-looking terminal, even back then you were a little lucky if a DEC VT100 (or similar) was available. Its screen was green and clearer, its keyboard less mushy.
You were really lucky if one of the even-newer Wyse (unsure of model numbers) terminals was in your college's computer room (or the college next to yours; though a Porter student, I gravitated toward Kresge's much better computer lab/room). The Wyse terminals had amber screens that were even clearer than those of the DECs and (more importantly) featured nice, clicky keyboards.
But for sheer design, the ADM-3A was (and is) a classic.
44 degrees at 5:30 a.m. in Van Nuys
Facebook vs. Tsu -- it's complicated http://www.wired.com/2015/11/facebook-banning-tsu-rival-social-network