I just bought a bicycle foot pump. Sure it’s slightly inconvenient and requires some leg work. But, I’ve gone through one about every other decade. Also, I’m not tethered to a car with a working battery.

My related hot take: If I’m going to be subjected to Ads, I’d actually prefer to see relevant Ads (generally demographically, geographically, etc. while retaining some anonymity) than ads for products and services I’m never going to care about.

Semi-related, on my language learning journey I’ve discovered that as I watch more things in the language I’m learning via YouTube, Netflix, and other ad supported streaming services I see more and more ads in the language I’m trying to learn. And surprisingly (even to myself) I genuinely enjoy these ads because the language is usually simple and without much idiomatic use, it’s all clearly enunciated, and it’s directly related to the action on screen. Of course, everyone else in my household is now also getting those kinds of ads and I can’t help but be amused.

Ads in real life spaces though? Unless it’s telling me about some specific local thing or place, it is just ugly clutter on the scenery and architecture.

Could they not think of an original name? Calling it YouTube-dl is just unnecessarily lazy and confusing. This appears to be mostly a docker image of yt-dlp, which is itself a fork of youtube-dl.

For normal albums: Artist/Year - Album [release ID if necessary for ambiguity for various versions of an album]/Disc-track - title.extension . Compilations (soundtracks, promo mixes from shows, etc.) get “Various Artist” as the album artist and sorted under “Various Artists” of the top level of my albums directory. Stuff from other sources would sometimes get their own special directory at the top level outside “albums”.

Tags are everything, that’s where the in-depth data is. album folders hold extra art, inserts, metadata, etc.

I don’t really make manual playlists using relatively pathed m3u anymore because support is inconsistent across the apps I’ve used to listen to my library. These days Plex, jellyfin, ncmpcpp (tui front-end for mpd) all handle their own playlists. Those are mostly just spontaneous groupings or automated shuffles I don’t really keep track of.

Back in the day I made mixtapes on actual cassettes, recorded from the radio, my CDs, and later tracks I found on Napster and soulseek. Later I moved on to making tons of playlists in foobar2000. Some of those playlists probably still litter my hard drive (now dead text because the files having long since been reorganized and moved). For the really good tight playlists I made of that era, I’d make physical mix CDs that I would master with sound forge. Had a few people that would trade these around. Make a mix, master, make many copies, distribute. Those CDs often died in cars and turned into coasters, so I’d keep the bin and cue files of the masters to make replacements. Those tracks would ultimately get turned back into mp3 or flac depending on quality and tagged with my own title, cover art, etc. and get filed away in the Various Artist folder. Then I got an mp3 player and it’s been either full album listening or dynamic playlists for me ever since.

I still make yearly playlists in Spotify as I discover new stuff or rediscover old stuff, like a musical diary. Those playlists inspire library additions via the artist directly, Bandcamp flac files, or other means.

Dead or damaged media can repurposed and sold as an new thing. Art and craft items using old vinyl, cassettes, floppy disks, etc. as a medium to create something new is growing in popularity too. If you can find someone making that kind of art at a show, I’m sure some kind of mutually beneficial arrangement could be made so that you both can profit off that dead media.

So much safer to go one album at a time using Picard. Picard makes it easy to go down the list of a disorganized directory, identify most things automatically, allow in depth review and modifications to what Picard came up with, and standardize file naming. I’ve tried to let programs like Lidarr and beets automate it, but they always ends up causing more and more complex problems to discover and solve after awhile. Music releases are complex and sources are diverse, using distinct standards of form and format. It’s not a problem that can realistically be solved for my entire music library without the guiding hand of a librarian. I could listen to my library for over six months without repeating, even 1 album out of a 100 mis-tagged or misidentifyied could take me years to discover.

I do like to automate the less critical and more machine oriented library tasks like adding genres tags, replaygain, and lyrics as you do. Just not things like the metadata tags, file naming, or album art (embedded or otherwise).

I don’t want to know about Sam Neill’s controveries.

These days I try to buy either DRM free flax files. If I really like the art or the artist in addition to wanting to regularly actually listen to as an album, then I may try to buy vinyl + flac files. If it’s at a show I’ll buy whatever is available that I can play because at that point it’s more about the merch than music. I’m probably going to pass on the wax cylinders and I may think long and hard before buying a cassette.

Wow, if the demo was too much for the developers to maintain that doesn’t inspire confidence in my patience to maintain it on my machine.

If you haven’t grown up drinking it, coconut water tastes a bit funky the first time you try it. The first time I tried it, it was kind of funky and I didn’t care much for it. The second time I tried coconut water was after hiking several miles in high heat, sunshine, and high humidity, it still tasted a bit funky. It tasted exactly the same actually, but this time, being quite dehydrated and nearing heat exhaustion, it tasted fucking amazing. Now I love that sweet coconut water umami, so much better than Gatorade or any other sports drink.

If I encountered someone I thought was bullshitting me about some Gen alpha Internet micro genre, I’d probably just roll with it too while admiring the improv.

Not OP, but I have similar feelings and they have nothing to do with the client or plugins. If I can’t easily and securely share my Jellyfin with the Internet beyond my LAN without resorting to a VPN, then Jellyfish is not going to come close to replacing Plex. Sharing my library securely with tech illiterate family and any browser I have access to, without modification, was the one and only reason I moved away from XBMC/Kodi and installed Plex in the first place. Jellyfin is fine inside my LAN and for my personal use, totally fails at hosting.

If you smell shit everywhere you go, check your shoes.

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Tasker can still automate almost all of this for you.

I setup some tasker automations so that I can leave my phone entirely in my pocket. When my phone connects to my car Bluetooth it: turns up media volume, sets the phone to “do not disturb”, opens and starts playing the last music player I was using (podcast, Spotify, Plexamp, or your media player of choice. Notably mine never switches to things that play video by default), initiates lockdown on my phone in case of fascists, etc. If I want to navigate somewhere or choose something different to listen to, that is something I start before I start the car. I get all my navigation cues via voice guidance, but the quality of that guidance can suffer from vagueness in general and confusion specifically in the midst of construction. I used to have it automatically read text messages aloud, but between reaction emojis, photos, gifs, and links that became super annoying. You can also setup an auto-reply to incoming texts that just say, “I’m driving and I’ll get back to you later.” That turned out to be annoying to, so I just silence them all. When my phone disconnects from my car Bluetooth, tasker sets everything back to the way it was before with the exception of lockdown mode.

Using voice commands kind of requires relaxing your privacy requirements, so I left those options out of this discussion.

In order to keep printers working properly they require regular blood sacrifices, tears are also acceptable. Most printers get these by accident as people clear paper jams, refill ink or toner cartridges, etc. Some printers clearly behave and perform better long term than others. More complexity (colors, 2 sided printing, large format, etc.) usually correlates to a larger thirst for blood/stress/anxiety. Remember Colin Robinson, the psychic vampire from “What We Do in the Shadows”? I’m pretty sure his spirit animal would be a color inkjet printer/scanner combo from late 90’s.

Gutenberg.org

Translated by Cyril Scott (1909).

They are named after the show that started it, Candid Camera.

Maybe you’re referring to the inprov spin-off of this idea, where even the “prankster” doesn’t know what’s going to happen until they receive secret instructions. Probably still called a Candid Camera type show, but I’m sure that’s not the name of the specific show.

The boring answer is that the “victims” sign a release after the prank. People that start throwing punches are probably unlikely to sign that release. Also, back in the day these things were done by professionals, harmless, and a well known phenomena. Imagine Dick Clark types, not Johnny Somali.

I’d like to see ideas like this make a comeback, hopefully with some modifications this time around to protect our privacy and resist corporate exploitation.

We used to use del.icio.us and other variants to do exactly this before browsers had profiles. Back then, its primary draw was that you could take your bookmarks with you anywhere to any machine (this being before that function was baked into browsers and before web browsers could be carried in your pocket). The secondary effect was that you’d share and tag those websites with your own categories/descriptors, thus crowdsourcing a new version of the old web’s link directories using Web 2.0. You could browse through symantic tag clouds to discover new things. Del.icio.us was for websites, but people were tagging and logging all of their favorite stuff and sharing it online so that like minded strangers could filled the gaps in their cultural awareness. We tagged our books with librarything. We tagged recipes with recipe thing. Audioscrobbler (later known as last.fm) logged our music listening to automate the tagging, not by direct symantic tagging, but by relational/temporal coincidence. If other people that listened to a lot of the stuff you listened to and they also listened to some other stuff you didn’t, those became recommendations for you. That kind of relational algorithm would survive the slow death of Web2.0 to become the backbone of recommendation services like Spotify and probably even TikTok.