I worked with Elixir/Phoenix for over 3 years, and I recently started to learn Crystal, mostly to create CLI apps or other programs where I want to create a simple executable binary. I wanted a more expressive language than Go, and easier than Rust.
Out of curiosity, I took a quick look at some of the web frameworks available, they are interesting.
Lucky's Components looks pretty good, but I still prefer Phoenix's Components because the syntax make it very close to raw HTML.
Compilation is not incremental and is single threaded which means I have to wait at least 5 seconds every time I make a change (this was on a minimal project). It's not that bad, but compared to Elixir/Phoenix where it's almost instantaneous, it makes a difference.
Still, Crystal is an awesome language, and if for one reason Elixir was not a choice for a web project, I would definitely consider a Crystal framework.
> In particular, your project automatically gets a bug tracker – and you don’t get a choice about what bug tracker to use, or what it looks like. If you use Gitlab, you’re using the Gitlab bug tracker. The same goes for the pull request / merge request system.
With Forgejo (Codeberg) you can toggle features such as pull requests, issues, etc.
You can also configure any external issue tracker or wiki apparently, though I've never tried it, because those included with the forge are good enough for me.
It does solve that problem, but then creates a huge spam problem. Over at gitlab.xfce.org we are constantly fighting new spam accounts that get created daily. We've done all the recommended/paranoid things, like not allowing new accounts to fork or create repos until we manually give them permission (among other things), and we have a script that runs hourly to shut down suspicious accounts. But it's still nuts.
If anyone with an account on any other gitlab instance could automatically do things on our gitlab instance, it would be a nightmare. We'd probably disable federation if gitlab offered it.
> If anyone with an account on any other gitlab instance could automatically do things on our gitlab instance
I think the idea is the exact opposite, no? People wouldn't be able to do anything on your forge. They would only initiate actions on their own server and then send you notifications of PR requests to the ActivityPub inbox of your repository, and spammers would have no incentive to do this because nothing would end up in public view.
Actually, all the cases you mentioned does not necessitate any consent from European users as long as you don't send these data to any third party. The only thing is, if you plan to store logs over time, it should be anonymized after 25 months. It's not that bad.
A few years ago I also switched from VSCodium to a simpler code editor called Helix (helix-editor.com).
I chose it over Neovim because I think it has better default parameters and I found it was easier to configure.
You say that it is better to pay 90$ for 1000$ worth of goods than to pay nothing.
This is a false dilemma, there is a third choice that is paying only what you can afford.
Paying only 9% of a physical good wouldn't make anyone less of a robber.
A lot of people here would rather blame those who steal better than they do, than question the industry that allows artists work to be sold off.
Furthermore, I would say that most people using Spotify and alike services do it only for convenience, but certainly not to "support the artists".
These aren't physical goods, and (my issues with the categorization of piracy as theft aside) given that we're talking about legally listening to music you have access to through a service you pay for, I don't even know how to engage with the suggestion that this is theft (on the part of the consumers anyway).
If you have the means and inclination to pay more I strongly urge people to pay more also. There are issues with the intermediaries, but there is no practical way for people who can't afford $1000/yr to support the artists they like legally, while still being able to listen to them.
So if your suggestion is that someone who can afford $90/year should only have access to the albums they can afford to purchase through bandcamp because those support the artists more directly, I strongly disagree. This just further creates a wedge between the wealthy and regular working class people.
Are you suggesting poor people make do with the few albums they can purchase from bandcamp and then whatever they can listen to on the radio? On youtube? Because I fail to see how those are any less 'theft' than just paying spotify and listening there.
edit: I'm actually legitimately confused about what your idea is here and I'd like to understand. It seems like we're both coming at this from an anti-capitalist perspective, but your idea that poor people should have reduced access to the arts doesn't seem to align with any anti-capitalist ideology I'm aware of.
Or are you just opposed to the consolidation of the distribution channels which exploit the working class (artists in this case) but somehow haven't drawn the connection that this is a condition of late-stage capitalism?
If so, I'd recommend listening to some content by the wonderful Cory Doctorow
Also, if, once a year, every spotify listener picked one band they liked at random, and paid them the amount of an annual Spotify subscription ($132), there'd be a hell of a lot more money in artist's pockets than there is currently.
There are 8 million artists on Spotify, and 551 million monthly active users. That's $9000 per band on average per year. The 99.9th percentile band on Spotify makes $50K, and the 80th percentile artist makes $0. If we split the money across the 20% currently making any money at all, that's $45K per year per band. Therefore, the "pirate + directly pay one band at random" strategy would fund ~100 times more artists then Spotify does.
Also, if Spotify went bankrupt tomorrow and 100% of their users switched to pure piracy, we'd only lose roughly 15K below-minimum-wage jobs globally. There are currently 36,000 Spotify listeners for every band being paid what would be a median income for one person. If a tiny fraction of them decided to go to concerts or donate to appropriate non-profits, etc, it'd be a net gain of jobs for artists.
Note: There are only 220M premium subscriptions, so my numbers are a bit inflated. Ignoring the 330M ad supported listeners would lead to numbers that are too low. Also, I assumed people would pay for a spotify subscription which is more than the assumed $90.
An annual spotify subscription in the U.S. is $99 (possibly less with boxing day deals and such), but I'd assume the majority of subscribers are outside the U.S. where prices are lower across the board.
But 6M of those artists may be AI-generated filler content, possibly published by bots. I don't think the correct idea is to divide the potential money people can spend by the number of artists. There should be some connection with what people are actually choosing to listen to, anything else would reward opportunistic publishers of low-effort, uninspired music (and encourage people to do even more of this).
Which then brings up the problem: If people were to fund one artist they listen to (lets say an artist they choose to listen to rather than an artist they accidentally listened to a song by once), are they going to choose at random from their list of such artists? How do they then get that list to pick from? How do they discover new music to potentially listen to more of in the first place
Apps like Spotify, (or OSS like YouSpot that piggybacks on Spotify) are both valid answers to those questions.
Then you have the dilemma of who's paying the cost of the bandwidth, and the development costs.
If you want to be fair, I think people should be encouraged to pay what they comfortably can with their budgets. They're using the infrastructure and platform of spotify (or similar) for discovery, so Spotify or similar should reasonably expect some money to cover costs and pay their devs. Then they can also pay any number of random artists whenever the mood strikes them.
If they can't afford spotify, they can still use YouSpot, kick the YouSpot devs one or several dollar per year, and then purchase music from their preferred artists up to the amount comfortable for them.
Using YouSpot is the closest actual thing to 'stealing' btw, because they're actually consuming a resource (bandwidth and server time) that's intended for subscribers, from a company that pays for it. Add to that, by using their software (and spotify's upstream), if they're not financially supporting the YouSpot devs and the Spotify devs for the work they're consuming then we're back to the initial claim (which I already said I disagree with) that consuming something that can be 'copied' ad infinitum without paying the producer is theft.
But I think any of the above are reasonable options for people who want to maximize the support of creators of the things they consume while staying within their means
I mostly listen to long-tail artists, so if I were to pick one at random, it would probably be in the 80-99.9th percentile group. (Assuming 80% of Spotify's catalog is spam -- that could be, but I don't use Spotify, and have never encountered spam any of their competitors).
This would pull some revenue away from the > 99.9th percentile artists, but that's OK with me.
I'm more worried that, even if we count jobs that are way below minimum wage, Spotify is only supporting 15K bands worldwide. That rounds to zero when compared to their listener base and their revenue.
Anyway, I pay more than just a streaming subscription annually, but I went with an estimate of what's going into just Spotify for my calculations. I'm not convinced there'd be much societal impact (in terms of artists not being paid) if they disappeared tomorrow.
Then you're probably the rare exception who would likely benefit independent artists more by just randomly picking a few every year.
If everyone just pirated and picked a few musicians to support directly every year, the overwhelming majority of people would pick from the 16,000 in the 99.8th percentile on spotify, and the majority of the hundreds of thousands of artists in the 80th - 99.8th percentiles would see no income whatsoever from digital distribution.
> These aren't physical goods, and (my issues with the categorization of piracy as theft aside) given that we're talking about legally listening to music you have access to through a service you pay for, I don't even know how to engage with the suggestion that this is theft.
It being legal doesn't do much about its unfairness.
> For the average person who can maybe comfortably afford $90 per year, a subscription service is a much more viable way to support the musicians they listen to than buying 4-9 albums
The option that you describe as the best for people who can't put more than 90$ a year on music (which is perfectly fine), is going through a subscription service, because even if a lesser amount of that money goes directly to artists, more of them get to see a bit of it.
I disagree with that, because you don't know for sure where your money is going, as all of this distribution system around streaming services is pretty opaque. As far as I know, the money from subscriptions on Spotify is not equally distributed among the artists that a user listens to. Bigger artists tend to get more per play than smaller ones.
The other option would be to spend that same amount on buying albums each year on a service like Bandcamp, which is known to distribute the money in a more direct and transparent way, and where artists actually have more control over what and how they want to sell.
It definitely means making a choice about what to buy, but it is still better than letting an obscure algorithm make that choice for you.
We should also consider that we can favor artists who are in need over those who are already earning large amounts. This is the opposite of what streaming services seems to be doing.
> your idea that poor people should have reduced access to the arts
This is not my idea and I didn't say that. I criticize those who waste their time chasing the "theft", who they blame for being the origin of the artists being poorly paid, when the subscription model being proposed as the best solution is actually far from it and could also be considered as theft when you put out the numbers of how much artists are asking for their work.
> This is not my idea and I didn't say that. I criticize those who waste their time chasing the "theft", who they blame for being the origin of the artists being poorly paid,
Oh well if this is truly the point you wanted to make, then we're in agreement.
Earlier I was responding to:
> > jsnell: In the plan where you buy music and only listen to the music you bought you don't need [YouSpot] at all.
> drewdevault: I feel like pretending that you're supporting your favorite artists by listening them on Spotify is a bit more of an appropriate comparison [to not supporting the artists]
I wasn't saying either of these things are better, simply pointing out that paying for spotify is going to support a broad selection of artists a little bit, while paying through bandcamp is going to support a narrow selection of artists a lot, and that both are desirable:
> You're supporting the artists you listen to more uniformly (via spotify) though ... you could support all the artists you listen to by paying for a spotify/itunes/whatever subscription and using that as your primary listening service, while also purchasing their music via bandcamp.
Aka both is better than just buying the music of a few artists through bandcamp while listening to everyone through piracy or YouSpot. That doesn't mean I disagree with anyone choosing to go the piracy + focused bandcamp patronage route.
You jumped in with:
> Paying only 9% of a physical good wouldn't make anyone less of a robber.
Which I took to mean "no actually, just paying Spotify is theft".
If the 80% of people with a limited entertainment budget pick their top 5 artists to support every year, the virtuosos of music are going to benefit, while the "B-tier" and "C-tier" artists who people still like to listen to are going to suffer a lot more.
Paying for Spotify, or more aptly, Tidal (which seemingly pays artists the most) is probably the most realistic way that's accessible to a lot of people, to support the artists they listen to in a way that tracks their actual listening preferences. Yes, buy music in addition to that if you can, but if everyone chooses a few artists to support directly, it's still going to result in many musicians getting unfairly compensated despite lots of people enjoying their music, so I disagree with the idea that it's better to spend $90 on bandcamp in a year vs. $90 on spotify in a year, if it is a choice of one or the other.
Better in some ways sure, because you're disintermediating the streaming platforms, but worse in equitable distribution, which will disproportionately impact artists who are liked by many but "top-10"ed by few
I would say that most people think of Android as the complete operating system experience that comes preinstalled on most Android phones, and that experience depends a lot on proprietary parts, especially Google Mobile Services that are apparently deeply integrated with the OS (could it be considered part of it at this point?). Plus, these proprietary parts are not fully nor easily replaceable as you almost certainly have to wipe the whole operating system to do so.
So, in my opinion, calling Android an Open Source OS is kind of misleading, but it's a matter of how you interpret what Android is. I would rather refer to Android as the final product (which relies on proprietary software), and to AOSP as the open source project which Android is built on.
Plus, I think that AOSP and Android are considered two different entities and I doubt that AOSP is under the trademark of Android.
To me Android is like freedesktop or GNU. It's a platform that apps target. Some of those apps may also be open source, but some of those may be closed sourced. There are a ton of different distributions for these operating systems and each one gives it it's own twist.
Throwing out intellectual property absolutely would stop the vast majority of the art made today from being made. We've had an explosion of art once we entered into an understanding that the creators of a work have control over how that work is used. Getting rid of that would kill film, television, and music. Would people still make these things? Yes. But not nearly at the quality or quantity we see today.
No, that's not an interesting point because the obvious answer is yes, more art is generally better than less art.
Either way, it's not up to you to decide utility arbitrarily. Besides, if the art is bad, why are you pirating it in the first place? The problem is that people want the art too much, and are willing to break the social contract in order to obtain it.
I worked with both for years and one of the reason who made me switch from Chrome to Firefox between 2016-2018 was the devtools. I found the Firefox's ones were way better and Mozilla implemented new features way faster than Google for some reasons.
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