> It sucks too. The way folks discover music is important. The convenience of streaming has lead to some interesting outcomes.
I think carefully curating music was something we did when music was a scarce commodity. Our collection was limited by how much we could afford to acquire. As such, acquiring the right stuff become a valued skill, not only for DJs, but for music enthusiasts just playing music at home.
Streaming killed all that. For 99.9% of the people out there, streaming has all they need and will ever need, at a fixed cost. It's absolutely abundance.
So the skill of curating music as a human activity went out the window as well, because there's no cost in playing the wrong track and deciding you didn't like it, before moving to the next item in your AI-generated playlist.
Put bluntly: How people discover music isn't important. At least not anymore.
> What.CD [0] was widely considered to be the music library of Alexandria, unparalleled in both its high quality standard and it's depth.
It was quality in technical quality of the audio in the files, but also in the organization and sourcing of the material, the QA-process of the encoding - down the the specific release the audio-file was from.
There was quantity, sure, but that was secondary to the quality. The quantity was just a side-effect of the place being known for quality, making it an attractive arena to participate in.
And it also had all the "weird"/non-standard things you don't find on mainstream streaming-services precisely because that is what independent curators are good at and often driven by.
This Anna's release... While in itself impressive in many ways does not compare to the things What.CD represented. It's almost the exact opposite:
- focus on most popular content - niche content (even by mainstream Spotify-standards) is not included
- quality is 160kbps ogg files, which is far from lossless, it's not tightly coupled to a release and even as so far the audio-grading goes, there's no transparent QA process for the content, nor is it available in audiophile fidelity.
It seems very politically convenient to be able to hide that one number behind the other. To obfuscate something highly controversial by making it artificially conflated with something everyone would agree on with.
This is what governments do when they want to avoid public scrutiny. This is not the win you are looking for.
It would indeed be better to have the separate counts. It's also wrong to attribute to only one case what is a actually a larger category, unless there is actual evidence that it's the overwhelming majority anyways. Both can be true at the same time.
I'm not trying to win anything, and I do support privacy. I just think any argument, especially those citing specific numbers, should be based on an accurate description of reality.
> mass surveillance comes from the European Council, the thing is that literally are "just" the locally elected leaders...
Factually incorrect.
The European Parliament is elected. The Council is appointed, so there is no direct democratic incentive for the council to act on and no direct electorate to please.
On top of that the actually elected European Parliament can only approve (or turn down) directives authored by the Council. They have no authority to draft policies on their own.
To make matters even worse the European Council, which drafts the policies, has no public minutes to inspect. Which obviously makes it ripe for corruption. Which evidently there is a lot of!
Looking at the complete picture, the EU looks like a construct designed intentionally to superficially appear democratic while in reality being the opposite. The more you look at how it actually works, the worse it looks. Sadly.
In short, there are three core institutions, the "technocratic" European Commission, the European Parliament elected by direct popular vote, and the Council ("of the EU"/"of ministers") made up of the relevant (in terms of subject matter) ministers of the standing national govs. The law-making procedures depend on policy areas etc. but usually in the policy areas where EU is fully competent, the Commission — the democratically least accountable of the three bodies — by default makes the initiatives and negotiates/mediates them further along with the Parliament and Council, but only the last two together really have the power to finally approve actual legislation, usually either Regulations (directly applicable in member states as such — so an increasingly preferred instrument of near-full harmonisation), or Directives (requiring separate national transposition / implementation and usually leaving more room for national-level discretion otherwise as well).
While not fully comparable to nation-state parliaments, the powers of the EU Parliament have been strengthened vis-à-vis both the Commission and the Council, and it's certainly long been a misrepresentation to say that they, e.g., only have the power to "approve or turn down" proposals of the Commission and/or the Council.
No. Not all vendors are equal. We can treat ProtonMail differently then Gmail, for example. Looking at what's gone down with VMware, definitely don't get in bed with Broadcom.
AirPods noise cancellation can be controlled by holding the AirPod stalk.
And that’s not an excuse or a workaround: That’s how I always do it. I’ve never bothered doing it through software on my iDevices, because that’s much more cumbersome.
I think the parent was being sarcastic, because while you can trigger some function on the AirPods themselves, a large list of features are unavailable, not documented and purposefully concealed (as the main post describes in detail). AirPods don't even report their battery life to third party devices (as normal Bluetooth accessories can)
Yes it does. I have Airpod 4 ANC connected to a Samsung Galaxy S24 as we speak and I cycle between ANC and Transparency mode frequently by squeezing the stalk.
This is misinformation. I change anc modes using the air pod while connected to my non root android device. The anc works identically when connected to an Apple device
I think carefully curating music was something we did when music was a scarce commodity. Our collection was limited by how much we could afford to acquire. As such, acquiring the right stuff become a valued skill, not only for DJs, but for music enthusiasts just playing music at home.
Streaming killed all that. For 99.9% of the people out there, streaming has all they need and will ever need, at a fixed cost. It's absolutely abundance.
So the skill of curating music as a human activity went out the window as well, because there's no cost in playing the wrong track and deciding you didn't like it, before moving to the next item in your AI-generated playlist.
Put bluntly: How people discover music isn't important. At least not anymore.
(And I say this as a music enthusiast myself)
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