This worked fine in Google services and some of the many work applications using Google for auth, but some of them were using the email address as a global identifier in a way that broke down when I changed my name. The services that migrated successfully were using a more stable identifier that persisted despite the address change.

Especially when you start talking about a single person company, it could be as simple as the founder being sentimentally attached to the company and continuing it despite making less than they could with other opportunities, but that doesn't mean that if the founder gets hit by a bus someone else will also be willing to take a sub-optimal gig. Or a company might currently be barely worth running with $20k a month in revenue, but if there is a period of turmoil and lost customers in the process of open-sourcing/founder getting hit by a bus/whatever that now the customer base would only bring in $10k a month, it's no longer profitable, and the market fails to find someone to run the company.

For the US, I found it helpful (and fun) to download the social security data on frequency of names for each year, so that I could then plot the popularity of a given name over time. This was also helpful for considering how unisex a name is or isn't.

I checked with the wayback machine, and it looks like my guess is correct. I clicked randomly into an archive a few years old, and here's 2016 website looking a lot more like what you describe http://web.archive.org/web/20160303191156/http://www.portuga... .

I guess an audience that you left out in your description is people appreciating the experience of looking at the website or the artist themselves wanting to make a statement. I think the band has thoroughly "made it" so to speak, and doesn't have to worry too much about most of what you mentioned. They do list tour dates in their google sheet and also can sell out pretty large venues easily, and I don't think there are any festival planners who don't know who Portugal, the Man who have any chance of nabbing them for their festival.

I think it's more than what you've described. I think it's that a lot of folks actually prefer dangerously loud volumes, and this contributes to a positive feedback loop of expectations for loud concerts. I wish most concerts were quieter, but I may be in a minority.

My comment isn't anything about you personally, and I've had similar reactions to even cheaper software. But it still find it striking when I think about it more.

I could easily see giving very different advice to a friend with less scam awareness, though (like an older friend with limited knowledge of technology).

Regardless, the previous commenter's point stands that the title could be a lot more informative.

I think it would take a lot of deflation for most salons to lower prices versus just delay future increases, but prices regularly fluctuate up and down at the grocery store or used car lot.

Why do harpsichords need to be tuned so much more frequently? How long did they take to tune (and how does that compare to tuning a piano)? How was the pricing structured with such a regular need? Were most of the harpsichords you were tuning in academic institutions, arts institutions, private use, et cetera? And not a question but another thought, I'm surprised there were even a handful of people tuning them in your metro area!

I have to ask out of curiosity, does this mean you worked full-time tuning harpsichords or rather that you did a lot of e.g. piano tuning and also occasionally tuned harpsichords? I'm hoping the former but expecting the latter.