Now close your terminal and open your Downloads folder. Double click the jondo_all.deb file. The Ubuntu Software Center will open up, with a button to install the app. After clicking Install, you will be prompted for your password, and JonDo will install. Do the same for the jondofox-en_all.deb file. Once complete, both apps can be found in your Launcher by typing JonDo or navigating through the installed applications menu.
Open up a separate Firefox window by clicking the Firefox icon in the dock. You will be presented with a profile chooser. Choose Default to load up a normal web browsing session, which will not route any of your web traffic through the proxy servers. Run the anonymity testand compare results between the two browser windows. Your JonDoFox window should have green boxes all the way down, and your vanilla Firefox window should have mostly red and orange boxes, showing the difference between anonymous browsing and normal browsing.
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the microphone mode can use any windows input as long as it's set to 16bit 48kHz quality (it's quite literally the only requirement) but that will indeed disable ingame tone because it was designed primarly with acoustic in mind and having effect could possibly create unwanted feedback that could damage the user hearing or the monitor themself.
I have a new Windows 11 computer, and want my username and user folder to be the same username I use on all my computers "fubar1". However the name my Microsoft account is under is "Jon Doe". Windows created my user folder as "jondo". WHY is there no way to control my username / user folder? This is really really frustrating. I can control my username on older Windows versions and in Linux. Microsoft is really frustrating a lot of people by not letting them have control over something as simple as their username. Please provide an EASY way to do this that works. Even if the instructions you provided did work (they do not, and moreover they don't even match the menus that show up in Windows 11) we should not have to go through such a long and convoluted process. Too many steps. That do not work. Please fix.
The name cante jondo is given to a category of Andalucian song, of which the perfect and genuine prototype is the Gipsy siguiriya, from which derive other songs preserved by the people, such as polos, martinetes, carceleras, and soleares. Those called malagueas, granadinas, rondeas, peteneras etc., should be considered as merely offshoots of those mentioned, since they differ from them in their architecture as much as their rhythm. They are those grouped as flamenco song.
The essential difference between cante jondo and flamenco is that the origin of the former must be sought in the primitive musical systems of India, that is, in the first manifestations of song, while the latter, a consequence of the first, cannot be said to acquire its definitive form until the eighteenth century.
That is to say that, cante jondo, like the primitive musical systems of India, is merely a stammer, an emission, higher or lower in pitch, of the voice, a marvelous buccal undulation, that breaks out of the echoing prison of our tempered scale, will not suffer the cold rigid pentagram of our modern music, and makes the hermetic flowers of semitones open in a thousand petals.
In this manner cante jondo, especially the siguiriya creates the impression of sung prose, destroying all sense of rhythmic metre, though in reality its literary texts are assonant tercets and quatrains.
And it is these songs, gentlemen, that for more than fifty years we have tried to confine to foul-smelling taverns and brothels. That dreadful, doubting era of the Spanish lyric-drama, the zarzuela, the era of Antonio Grilo, and of historical painting, is to blame. While the Russians were burning with love of folklore, a unique source, as Robert Schumann said, of all true and characteristic art, while in France the gilded wave of Impression quivered, in Spain, a country almost unique in its tradition of popular beauty, the guitar and cante jondo were things for the lower classes.
Cante jondo has been cultivated since time immemorial, and every illustrious traveller who has ventured to journey over our surprising and varied landscapes, has been affected by this profound psalmody which has traversed and defined our complex and unique Andalusia, from the peaks of the Sierra Nevada to the thirsty olive-groves of Crdoba, from the Sierra de Cazorla to the joyful mouth of the Guadalquivir.
Yet we most readily recognize the extraordinary importance of cante jondo in its well-nigh decisive influence on the formation of the modern Russian school and by the high esteem in which it was held by Claude Debussy, that lyrical Argonaut and discoverer of a new musical world.
In the Spanish Pavilion, at the great Paris Exhibition of 1900, a group of Gypsies sang cante jondo in all its purity. They attracted the attention of the whole city, but especially of one young musician who was engaged in the struggle all young artists must undertake, the struggle for the new, for the unforeseen, the search through the seas of thought for un-tarnished emotion.
But he reveals the precise extent of the influence of cante jondo on his work, in the marvellous prelude entitled La Puerta del Vino and in the vague, tender Soire en Grenade, where are found, in my judgment, all the emotional themes of the Granadan night, the blue remoteness of the Vega, the sierra saluting the tremulous Mediterranean, the enormous teeth of cloud sunk in the distance, the admirable rubato of the city and the hallucinatory play of its subterranean waters.
Note the transcendence of cante jondo, gentlemen, and how right our people are in describing it as such. It is deep, truly deep, more so than any well, more so than all the seas that bathe the world, deeper than the present spirit that creates it or the voice that sings it, because it is well nigh infinite. It arises from remote peoples, traversing the graveyard of the years, and the fronds of parched winds. It comes from the first cry and the first kiss.
True poems of cante jondo are attributable to no one at all but float on the wind like golden thistledown and each generation clothes them in its own distinctive colour, in releasing them to the future.
All the poems of cante jondo are full of a magnificent pantheism, consulting with earth, air, moon and seas, with things as simple as rosemary, violets; some bird or other. All external objects take on precise personality, and even play an active part in the lyrical action:
Just as in the siguiriya and its offspring the oldest elements of the Orient are found, so in many of the poems employed by cante jondo their affinity with the most ancient eastern songs is noticeable.
The same obsession with hair is found in many of the songs of our own unique cante jondo filled with allusions to tresses preserved in reliquaries, the lock of hair on the brow that provokes a whole tragedy.
Cante jondo, then, Gentlemen is, as much for its melody as its words, one of the most powerful creations of popular art in the world and to your hands fall the tasks of preserving and dignifying it to the honour of Andalusia and its people.
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You can also save your windows session as a snapshot to disk, which means next time you start youre back at where you were last without going through bootup, login, etc... Incidentally the normal boot operation is only a few seconds, roughly 7sec or so to the login screen, which is a lot faster than my last dedicated windows machine i had.
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