Hard to argue against it when you get memory holed by playlist entry removals by a cloud service. Much easier living having everything at `.config/mpd/playlists` with git history.
I can't believe the operators of what.cd would choose to delete everything without at least a warning, or letting people back it up. So much music and metadata just lost!
Not to mention the crime of law enforcement prioritising private profit over a cultural milestone. It really is like they burned the library of Alexandria because it hadn't paid the copyright fee.
I can vouch for OiNK and What.cd being magical places, unlikely to ever come back. There was also Waffles which was a little more like OiNK in spirit, but What had a much bigger selection and discovery was second to none.
The owner of OiNK did nothing wrong and was cleared in court, but the music industry was still able to hire thugs (the police) to raid his home in the early morning and ruin years of his life. He understandable went under the radar but I hope everything is ok now.
I still think about the users of those sites to this day. The internet just isn't what it was any more.
Edited to add first: nice article covering an important couple of critical pieces of the Internet's history.
Concerning the "Joy" element:
Someone at my workplace started a Music League, with a select few music aficionados and hangers on joining, and it has been _the best_ team bonding exercise I've ever been involved with. We have covered a broad spectrum of topics that have challenged pretty much everyone at some point. Music League has a bunch of default Themes that range from boring to OK, so we've been coming up with our own suggestions, and over the course of about 12 months we've had some great ones - but it relies on the participants allowing themselves to be vulnerable when the occasion suits.
This has provided joy amongst all participants in, I think, a similar way to the sharing / discovery of the golden age of music piracy. We even setup our own Slack channel un-affiliated with our workplace because a couple of people have left the company, but wanted to stay in the League.
If I have time tonight, I'll list the Themes we've covered as a reply or edit of this comment.
Concerning the "Music Piracy" element:
I don't really pirate, unless it's some incredibly obscure thing that can only be found on slsk (are we allowed to even mention it's name?).
I use a streaming service, but I also buy the really good shit from Bandcamp, since most streaming services are pretty scummy with their royalties back to artists, and I want them to keep doing what they're doing cough AdP cough.
I also run my own instance of LMS[0] so my FLAC collection is always available to me wherever I am (which kinda feels like piracy, but the collection is almost all legit).
MusicBrainz[1] is also doing god's work.
King Gizzard and the Lizard Wizard took their discography off Spotify for ideological reasons, and I support their decision to follow their morality in doing so, but it does put me in a conundrum due to the phenomenal size of their catalogue. I've bought some, but definitely not all. Just gonna have to grind through it, although they seem to put new music out faster than my monthly purchase quota.
Any amount of joy you lost is a fraction of joy lost from people blatantly stealing the fruits of other people's's labor. Communities do not have to be parasites to exist. Similar amounts of joy could be created over a different interest that didn't require stealing and hurting others.
Music piracy is alive and well if you know where to look. Some places has been mentioned in this thread already. Of course there is no replacing the magic of early 2000-2010's p2p sites like OiNK, What and Waffles - but well curated sites still exist.
What a cool article. I have good memories of being 13 and my cousin telling me about limewire. Between random pornography titles there was an artist called burial, which I downloaded cause I thought it sounded edgy. How lucky was I!
I don't call it piracy. I call it a human right. Besides, yt-dlp made music "piracy" irrelevant. But, even aside from this, I noticed that I rarely add new music locally. Right now I have 764 songs I collected over almost 30 years; while I may add new music I enjoy, I mostly just listen to semi-random music on youtube these days, just as background noise. So I don't quite have a strong use case, comparing this to the napster era.
I've tried all the streaming services, I've regularly bought physical copies of music even in recent years, but nothing has exposed me to such a wide range of music and such a range of artists as a well curated blogspot. Whether that be a wide range of excellent bootlegs or music that has not been moved from cassette to digital, it just provides me with so much more joy. Especially easy to do now iPods are back in vogue
Very fond memories of using Audiogalaxy, and also soulseek.
Soulseek especially had a community where you found someone who was into the same kind of music as you (obscure breakcore! japanese garage punk!) and could browse their collections, and chat to them also! What a wonderful way to make music friends and get good recommendations.
I remember when MySpace had this silly flash player that would stream MP3s from users' profiles. This was the main way to find indie and local bands' tracks, but every major artist had a profile too. Looking at the browser requests you could easily see the request format for downloading tracks listed on profiles. And what was worse, they all followed a standard enumerated naming convention, so you could literally download every track on MySpace by simple iteration. There was no rate limit, no cookies, nothing to stop it. The result was great: not only did you get the music you were interested in, you got a lot more you'd never heard of. And you could listen to it all on any device at any time; burn it to a CD, record to cassette tape, put it on a WinAmp playlist, whatever. For a kid with a hard time growing up, that music was an escape to a better world. The freedom to listen to what you wanted, when you wanted, how you wanted, felt like a gift deserved. You'd still go to their shows when you could, pay for albums when you could, but what kid has tons of free cash to spend?
About a year later, the download method was so well known that MySpace changed to a multipart chunked streaming system and randomized the request IDs. It now required complex custom code to stream from their player alone. Access to your favorite local bands' music was now closed. The internet continued to birth to new ways to obtain music, so you could continue to get Nine Inch Nails and Infected Mushroom; but the local bands lost out on valuable word of mouth.
It's important to remember that to this day, streaming sites do not have a full archive of the music out there. There is still a need for music piracy
Even albums mentioned in the Norwegian business magazine D2 can be impossible to find in legit channels. Your only option is to buy used CDs on Discogs for 50-100 USD, or know your way around the successors of these sites
These CDs weren’t even on Oink or What (or did not survive the transitions)
One thing I miss about the iPod era is that Apple knew they were selling a device to play pirated music. It doesn't take much look at how much music an iPod could store, how much music cost, and how much people had in disposable income to spend on music to realize that music had to come from other means. The iPod and P2P file sharing were incredibly synergistic in a way that makes me giggle. The iTunes store is just as much about getting the record companies on board as it is about running a legitimate music store. I don't know I guess it reminds me of a time when tech disruption was in the consumer's favor and it was frustrating exploitive companies.
I still have my invitation email to What.CD and cherish the stuff I found and downloaded on it. After it went away I didn't do the reasonable thing and migrate to RED/OPS immediately, though I've joined OPS in recent years. It does not feel the same, but that's probably more me being older and less optimistic than during the What.CD days. I have fond memories of reading the forum threads about jazz when I was getting into it, or looking at all the weird collections people made (I vividly remember laughing at the "albums with feet on the cover"-collection) or finding really obscure, local artists you couldn't find anywhere else or going to the public library to rent CD's to rip and upload for credits. Fun times.
> Most people didn't have the same kind of experience, they got the LimeWire version which was the equivalent of wading through a dollar store that’s just been ransacked and shit’s all over the floor.
Heh, I often went a step down and recorded internet radio using RadioSure. This little utility split each track into its own file which was pretty neat and handy to a younger me. Shoutout to Ryan Seacrests' AT40 for the weekly charts on the weekends, it kept my "collection" fresh ;-) Although, it was mostly 128-256kbps mp3 but it didn't matter to me, it was fun.
I loved OiNK (and had the t-shirt), but neither What.cd nor waffles ever were a proper replacement for me.
What got me that feeling of discovery again, decades later, and even surpassed it, was doing release Fridays and just listening.
I mostly know what (sub)-genres I like, I go through upcoming release lists for the next week, open every bandcamp link in a new tab (or for those that don’t have bandcamp, I see if I care about the genre enough to search for a single on YouTube), and then I have maybe a hundred links, I sample everything for a few seconds and decide on yay or nay, and about 10 - 20 % go onto my excel sheet. Then on Fridays (up to Sunday, depending on how busy the release day is) I start listening to all those albums to see which of those I’ll buy (usually 1-2).
It’s some effort, but my appreciation for music was never this high.
120 comments
[ 3.1 ms ] story [ 65.0 ms ] threadNot to mention the crime of law enforcement prioritising private profit over a cultural milestone. It really is like they burned the library of Alexandria because it hadn't paid the copyright fee.
Equivalent of what.cd today is RED.
But, TBH, most of the pirated music today is on YouTube anyway.
The owner of OiNK did nothing wrong and was cleared in court, but the music industry was still able to hire thugs (the police) to raid his home in the early morning and ruin years of his life. He understandable went under the radar but I hope everything is ok now.
I still think about the users of those sites to this day. The internet just isn't what it was any more.
Concerning the "Joy" element:
Someone at my workplace started a Music League, with a select few music aficionados and hangers on joining, and it has been _the best_ team bonding exercise I've ever been involved with. We have covered a broad spectrum of topics that have challenged pretty much everyone at some point. Music League has a bunch of default Themes that range from boring to OK, so we've been coming up with our own suggestions, and over the course of about 12 months we've had some great ones - but it relies on the participants allowing themselves to be vulnerable when the occasion suits.
This has provided joy amongst all participants in, I think, a similar way to the sharing / discovery of the golden age of music piracy. We even setup our own Slack channel un-affiliated with our workplace because a couple of people have left the company, but wanted to stay in the League.
If I have time tonight, I'll list the Themes we've covered as a reply or edit of this comment.
Concerning the "Music Piracy" element:
I don't really pirate, unless it's some incredibly obscure thing that can only be found on slsk (are we allowed to even mention it's name?).
I use a streaming service, but I also buy the really good shit from Bandcamp, since most streaming services are pretty scummy with their royalties back to artists, and I want them to keep doing what they're doing cough AdP cough.
I also run my own instance of LMS[0] so my FLAC collection is always available to me wherever I am (which kinda feels like piracy, but the collection is almost all legit).
MusicBrainz[1] is also doing god's work.
King Gizzard and the Lizard Wizard took their discography off Spotify for ideological reasons, and I support their decision to follow their morality in doing so, but it does put me in a conundrum due to the phenomenal size of their catalogue. I've bought some, but definitely not all. Just gonna have to grind through it, although they seem to put new music out faster than my monthly purchase quota.
[0]: https://github.com/epoupon/lms (cheers @epoupon, I'm pretty sure you're on HN)
[1]: https://musicbrainz.org/
https://bash-org-archive.com/?104052
Soulseek especially had a community where you found someone who was into the same kind of music as you (obscure breakcore! japanese garage punk!) and could browse their collections, and chat to them also! What a wonderful way to make music friends and get good recommendations.
I remember when MySpace had this silly flash player that would stream MP3s from users' profiles. This was the main way to find indie and local bands' tracks, but every major artist had a profile too. Looking at the browser requests you could easily see the request format for downloading tracks listed on profiles. And what was worse, they all followed a standard enumerated naming convention, so you could literally download every track on MySpace by simple iteration. There was no rate limit, no cookies, nothing to stop it. The result was great: not only did you get the music you were interested in, you got a lot more you'd never heard of. And you could listen to it all on any device at any time; burn it to a CD, record to cassette tape, put it on a WinAmp playlist, whatever. For a kid with a hard time growing up, that music was an escape to a better world. The freedom to listen to what you wanted, when you wanted, how you wanted, felt like a gift deserved. You'd still go to their shows when you could, pay for albums when you could, but what kid has tons of free cash to spend?
About a year later, the download method was so well known that MySpace changed to a multipart chunked streaming system and randomized the request IDs. It now required complex custom code to stream from their player alone. Access to your favorite local bands' music was now closed. The internet continued to birth to new ways to obtain music, so you could continue to get Nine Inch Nails and Infected Mushroom; but the local bands lost out on valuable word of mouth.
Years later it was uncovered that it was never System of a Down, but one Joe Pleiman
https://kotaku.com/no-system-of-a-down-did-not-make-a-zelda-...
Even albums mentioned in the Norwegian business magazine D2 can be impossible to find in legit channels. Your only option is to buy used CDs on Discogs for 50-100 USD, or know your way around the successors of these sites
These CDs weren’t even on Oink or What (or did not survive the transitions)
https://www.dn.no/d2/musikk/stena-line/lars-holte/spotify/ha...
Ripping CD's for personal usage and storage is perfectly legal everywhere
Heh, I often went a step down and recorded internet radio using RadioSure. This little utility split each track into its own file which was pretty neat and handy to a younger me. Shoutout to Ryan Seacrests' AT40 for the weekly charts on the weekends, it kept my "collection" fresh ;-) Although, it was mostly 128-256kbps mp3 but it didn't matter to me, it was fun.
What got me that feeling of discovery again, decades later, and even surpassed it, was doing release Fridays and just listening.
I mostly know what (sub)-genres I like, I go through upcoming release lists for the next week, open every bandcamp link in a new tab (or for those that don’t have bandcamp, I see if I care about the genre enough to search for a single on YouTube), and then I have maybe a hundred links, I sample everything for a few seconds and decide on yay or nay, and about 10 - 20 % go onto my excel sheet. Then on Fridays (up to Sunday, depending on how busy the release day is) I start listening to all those albums to see which of those I’ll buy (usually 1-2).
It’s some effort, but my appreciation for music was never this high.