Sorry about that! I checked and the cookies are hardcoded to last 7 days, so it's weird that you're getting logged out more often than that.
beto
joined 1 year ago
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We've refederated! :)
Done!
Yeah, let me do it.
Anyone else using the Woovebox?
I received mine last year, and I'm slowly starting to explore it. It's a full groovebox, with samples, live mode, song mode, multiple synth engines. So small!
Ok, I played with it and it seems like the recognition only works in the "Notes" app. It doesn't work as a general text input for applications.
It works pretty well, though. You select the text with the pen by circling it, and then you can copy it to the clipboard or replace the drawing with the actual text.
Battery life is good, I use it with the wifi off and only had to charge it once, and I read a full book on it.
I haven't played with the handwriting recognition yet, let me take a look and I'll report back.
I bought a Mobiscribe recently, for the same reasons. It's an eReader with an eink display, but it's an Android tablet. I installed F-Droid, and then NextCloud (to access my ebooks) and Librera Reader. I also use it for listening to podcasts (via Bluetooth, since it's an Android tablet) and taking notes with the stylus.
This is amazing advice! Saving it for when I have a kid.
Staying true to the centuries-old library concept, only one patron at a time can rent a digital copy of a physical book for a limited period.
So sad that we solved the problem of knowledge scarcity, and because of greed we need to add it back artificially.
cross-posted from: https://lemmy.studio/post/488779
Out of all the legendary albums on this list, I doubt many of them had their origins as an abandoned rock opera. Many arrangements and scraps of Pete Townshend’s abandoned Lifehouse project became the basis for Who’s Next, an album that has no underlying theme or storyline. This sense of freedom allowed The Who to focus on making great individual songs rather than an overarching story.
The result is The Who growing up in public. The songs combine the hard-hitting energy of the band in their youth with the more experimental elements explored on Tommy. The most noticeable improvement is Roger Daltrey’s voice, reaching heights that were only hinted at in the past. Keith Moon’s drum solo followed by Daltrey’s scream at the end of “Won’t Get Fooled Again” remains as one of rock’s greatest moments.
While everyone knows about the singles, from the opening keyboard of “Baba O’Riley” to the building acoustics of “Behind Blue Eyes,” every song on this record is a potential hit. Listen to the explosive chorus of “Bargain.” Check out a rare lead vocal from bassist John Entwistle on “My Wife.” With tracks like these, it’s easy to see why Who’s Next moved The Who from a great band of the ’60s to a rock superpower in the ’70s. — Joe Marvilli (2010)
Out of all the legendary albums on this list, I doubt many of them had their origins as an abandoned rock opera. Many arrangements and scraps of Pete Townshend’s abandoned Lifehouse project became the basis for Who’s Next, an album that has no underlying theme or storyline. This sense of freedom allowed The Who to focus on making great individual songs rather than an overarching story.
The result is The Who growing up in public. The songs combine the hard-hitting energy of the band in their youth with the more experimental elements explored on Tommy. The most noticeable improvement is Roger Daltrey’s voice, reaching heights that were only hinted at in the past. Keith Moon’s drum solo followed by Daltrey’s scream at the end of “Won’t Get Fooled Again” remains as one of rock’s greatest moments.
While everyone knows about the singles, from the opening keyboard of “Baba O’Riley” to the building acoustics of “Behind Blue Eyes,” every song on this record is a potential hit. Listen to the explosive chorus of “Bargain.” Check out a rare lead vocal from bassist John Entwistle on “My Wife.” With tracks like these, it’s easy to see why Who’s Next moved The Who from a great band of the ’60s to a rock superpower in the ’70s. — Joe Marvilli (2010)
Who would have thought four twenty-somethings from Minneapolis could produce something so timeless, so vital, and so vivid? Back in 1984, when The Replacements dished out their magnum opus, Let It Be, nobody did. While all eyes were on Prince at the time, Paul Westerberg, Tommy Stinson, Chris Mars, and Bob Stinson were creating pure, unadulterated rock and roll. With his heart on his sleeve, Westerberg poured his love, his loss, and his inhibitions into each and every lyric, note, chord, and yelp.
On “Androgynous,” the first hit of the piano strikes your nerves, tugging at your eyes, and by the time Westerberg sings, “Future outcasts, they don’t last,” you’re right there beside him — in the dusty bar, within the late hours of a week night, and with nobody to hold onto but the music. That’s everything The Replacements were meant to be; here they do that in every note, over 11 tracks, and for 33 minutes and 31 seconds. It’s not an album, it’s a life preserver. — Michael Roffman (2010)
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It's also not really a nice belt, at most 3 stars.