You need pictures to really understand this.

I mostly browse on my phone using its reader mode so it’s basically just text. I forget that’s a thing.

The lede is in paragraph four. What the fuck. Why did I have to read three meaningless paragraphs to get to the headline.

I really struggle with the justification present in the article. “I need to emulate to do my job as an academic” is pretty hollow. “I want to emulate because I want to learn” is the real reason and, as an academic myself, I don’t feel like there’s a higher ground that gives me access to literally anything I want just because I want to learn.

If the argument was “the copyright system is fucked and knowledge needs to be more open” I would be 100% behind that. I feel that way. I just don’t think someone should get to say “show me your secrets because I’ve arbitrarily decided to make my next publication about your secrets.”

I’ve seen some misinformation that doesn’t address the question and no answers.

First the misinformation: if you live in the US and work in an at-will state, your employee handbook will dictate what company can or cannot do. In most cases, especially for larger companies, there will be explicit language allowing the company to do whatever they on anything that uses their software or tech they’ve provided (eg your phone you use for company email). Two-party consent doesn’t apply in these cases because you signed the employee handbook or were informed it was a condition of your employment. Since it’s at-will too bad. However, even with these power, most companies aren’t doing shit unless you’re fucking up. Give someone a reason to throw IT or security at you and it could happen. Chances of this are higher at either larger companies or small companies with power-hungry idiots running the show. I have worked at all kinds and see all sides. If you are not in the US or live in a state with employment contracts (not at-will), this might not apply unless you signed away those rights and there is nothing getting them back. It’s always a good idea to be friendly with IT and security to learn what they do and do not do.

As to your question, do companies fingerprint employee voices, most likely not. In the US I’m at-will states you don’t need to go through all the trouble of tracking voices for termination or legal action. In the private world, this is a very secrecy-oriented problem (eg Apple trying to keep the lid on surprise and delight) so it wouldn’t happen except for very large scale. In the public sector, you genuinely should be afraid of this because government agencies are sucking down all the data they can. This is true around the world. More importantly, they’re all incompetent as fuck and being sold shitty software that doesn’t work so they’re misusing data like this for incorrect identifications.

In general, if you want to be anonymous, practice good operational security. Changing your voice never hurts. It’s not a bad idea to be safer (unless you’ve chosen a tool that can be easily reversed). You should also use phone numbers and hardware that can’t be traced back, which is a bit harder.

And if you didn’t know it was for “Howard E Butt” now you know and can enjoy them even more.

I fucking miss HEB.

This is the first unpopular opinion I’ve seen that’s truly an unpopular one. Through this lens, I’ve been a personal army for Victoria, people that think Alexis Ohanian is an idiot, people that think transparency to unpaid moderators is important, and people that think API pricing matters. I didn’t realize I was such a troll.

Radio station/playlist? No. Radio play might have paid for major artists back in the day; now this model is just advertisement for merch.

Full album streaming? Bandcamp is currently the best spot for this. It won’t be forever.

Dungeons is really fun. I played it on GamePass when it first came out. I don’t know if it has staying power. I’m on the fence about buying it even at this price.

Legends seems to be panned universally.

Given how much of a glass cannon a Myra deck is in Commander, I don’t think it needs a ban. I think mine is like at 25% win rate.

So are Attractions banned in Commander or just Brawl? Gatherer says no; the article is unclear.

In case you want to fact check this post, I highly recommend Glyn Moody’s Rebel Code. It’s a nice, fast read and covers all sorts of cool shit. I’d love to see a sequel covering newer events.

(Edit: OP is facetious; mine is only facetious in that it references OP)

I like how simple it is. It’s made distrohopping very, very simple for me over the years. The only pet machines I have are my actual dev boxes. The rest are cattle I manage with other tools. Galaxy has also made it much simpler to consume other Ansible which used to be really annoying.

I’m on the fence about Nix. When I first saw years ago it was yet another package management system. I’ve seen enough interesting things with it now that I’ll probably try it out the next time I want to rebuild my configs from scratch.

I really like Ansible and have used it for my personal dotfiles for years. I don’t think it’s a silver bullet and I’m aware of a lot of the criticism. Containerization or immutable infra solves more production problems so I don’t really use it much at work.

At least in the devops/SRE circles I work in, we know there are different tools for different jobs. While we might fight about which is the best, I haven’t seen the ossification you’re describing.

You missed the market saturation. Again. You addressed everything except the last part of the sentence there. Music is a lottery, like most jobs, because there are too many people trying to do music. Streaming, radio, labels, exposure, these aren’t the problems at all. The number of people who are good at a thing and enjoy it are.

I follow maybe 30 artists fairly closely. I regularly listen to maybe 200. Across the genres I hit each month (way down from my music heyday), there’s probably 500 in regular rotation. I work in tech and make decent money. I can’t afford to support all of these amazing people. Sharing their music gets them more exposure which might lead to merch sales which is how they actually make money. If I had to sell their music every time I shared it, that would go away. Samplers, mix tapes, music videos, all of that is to drive merch sales. I buy on Bandcamp and still stream, meaning artists are getting more money from my consumption than back in the day when me buying a cassette was the final sale.

Unless you’re going to put some sort of barrier to entry in front of music, this problem does not go away. You’re advocating for the shitty cover band making the same amount of money as the original artist putting blood, sweat, and tears into a long career. That just doesn’t work. And, unfortunately, there are too many killer artists out there for all of them to earn a living doing music. Even if I could support all the artists I love in my country, there are that many or more in other countries.

Not everyone gets to do their dream job. Decent analysis if a bit scathing. My dream as a kid was writing. Turns out that dream was held by a ton of kids like me and none of can survive on that.

I said multiple times “lots of folks do music for fun.” You said “you’re undervaluing their labor.” That’s why everyone thinks you think money is the point.

You also seem to not understand market saturation. If a fair value for a recording is $20 (just pretend for a minute), consumers are happy to pay $20, and artists sell for $20, why aren’t musicians getting rich? It’s because there are more musicians producing an incredible volume of work than the consumers can completely support. Nowhere in that statement is an attack on the value of that labor just an acknowledgment that there’s too much to consume.

In addition, you seem to fail to understand the difference between value to the artist and value to the consumer. Physical and digital radio provide incredible value to the consumer. They don’t really provide value to the artist unless you have an incredible amount of fame. A very good question to ask is “how do we create a solution that’s good for the consumer and the artist?” I have no idea. Making music about money (like you continue to do) instead of about fun (like a good number of artists who aren’t topping charts do) makes it very difficult to balance what an artist should get paid against what consumers can afford to pay (assuming we remove all middle layers).

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.

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).

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?