This isn’t new. Check out Yasha Levine’s Surveillance Valley. It’s a nice primer. Most of our internet tech was built for the military or funded by the military for military ideas (no matter what MIT or Berkeley theoreticians might try to convince you of).
thesmokingman
joined 1 year ago
At least 50% of the bands I’ve seen, toured with, or heard don’t record music to make money. There’s just too much music for it to be dependable income. They do it because they wanna share something neat with their friends. They upload it to sites like Spotify or a decade ago MySpace or a decade before that zines so other people can find cool shit. If they get lucky, that stumble upon nets a shirt sale which actually nets the band some income.
The sweeping generalizations you’re making do not apply. Stop trying to make music about money.
Edit: mailing tapes was a thing a few decades ago. Are you saying I ripped off those folks because I wanted friends on one coast to hear shit friends on the other coast recorded? That’s a really fucking hard DIY tour to build. You’re fucking Skinner saying all us kids are wrong.
So you’ve bought every album from every artist you’ve ever listened to? Or, like the rest of us, do you have a limited amount of resources and have made strategic decisions about who to support? Because if you’re not dropping $20 in the tip jar of the next busker you see, you’re a huge fucking hypocrite.
I have not devalued music at all. You have, multiple times. You’ve also said that music has to be about money which is pretty fucking capitalistic. I’ve highlighted it’s about fun multiple times. You keep advocating for labels and ignore DIY which means you’ve already established a class system in music. You’ve provided no quantitative evidence to show you support any music and seem to hype up record labels whose business is built on licensing.
Should everyone get paid for all their music? Fuck yeah. Can I afford to pay every band? Fuck no. Did Spotify or streaming or even the fucking radio do that? Nope. Sure fucking didn’t. The market saturation did because music isn’t about money, it’s about fun. If you want it to be your job, good fucking luck. That’s just simple commerce. Not capitalism. If everyone on the commune is just making bead necklaces and there’s only one customer looking to buy one necklace, is that customer fucking all the people on the commune except the person they bought from?
Who the fuck has a label? Do you know anything about music that isn’t already incredibly corporate? When was the last time you went to a DIY show and bought handmade merch off a band touring in their minivan? Compare that to the last time you bought a record from a label or merch from an online store run through not the band.
There are more than likely 300+ bands in a 20 to 50 mile radius around you. Do you support all of them as much as you’re pushing people on the internet to support all music? What about the really bad cover bands? Them too?
Your statements paint a picture that you have no idea what I meant by “levels of fame” because fucking no one makes money off music unless you get lucky. There’s just too much because music is fun.
The thread you linked says what I said.
I’ve been doing DIY music since I was a kid. The vast majority of bands are never going to make any money ever. Spotify didn’t change that. Streaming didn’t cause that. The reality of every kid with a guitar thinking music is about making money not having fun is what did that.
Walk me through this.
Before Spotify, I’d buy a record (physical or digital) and listen to that. I pay the artist once. After Spotify, I buy a record and listen to it on Spotify. I pay the artist the normal record price and there’s a long tail from stream payouts (unless they don’t reach the payout threshold).
Before Spotify, if someone heard a song and didn’t buy the record, they didn’t pay the artist. After Spotify, if they still don’t buy a record, the artist now earns from stream payouts.
Finally, before Spotify, if someone bought a record but stopped buying after Spotify, the artist loses that record purchase. This is definitely bad. Was Spotify the real reason? Would something other than Spotify have pulled them away? What levels of fame are materially affected by this?
Do artists have to pay to be on Spotify? Is that the issue?
This headline was incredibly confusing to me because, as an American, I’d never heard of “mobes” as slang for mobile phones. The article does open with “phone motherboards” so I thought it was either a typo’d “mobos” or someone had changed the slang for motherboard when I wasn’t looking.
I think that’s a fair point. Trying to build a new virtualization company today would have huge initial investment and a steep path to the companies that run their data centers.
WSL is also shit for any kind of containerization and HyperV fucks up everything else. If you’re not doing any DevOps/SRE stuff WSL 2.0 is fine provided you don’t mix the filesystems. I have been so frustrated with their claims on release for 1.0 and 2.0 that I haven’t evaluated the recent systemd release for WSL. I provision WSL for people that don’t know why they should care and Linux VMs for people that need to work with CI tooling.
In general if you use a Microsoft tool you have to use the Microsoft ecosystem. Sometimes that’s not a huge deal, eg VS Code just adds a ton of telemetry and GitHub reads all your public code. Sometimes it’s a huge deal, eg you want to do literally anything beyond Docker Desktop defaults in the container world.
For someone opposed to capitalism, you sure seem to think everything should be a grind mindset.
You’re underpaying all of us for our labor in interacting with you. You’re late on your “pay everyone on the fediverse” invoice. Don’t forget to pay your family for their “putting up with insufferable bullshit” time.