jaime brooks

Stella Carlson said that before the shooting, the man was helping vehicle traffic get around the area where ICE agents and observers had started to gather. "The gentleman I was standing next to was focused on helping people who were coming into Nicollet Avenue understand that they needed to take it slow and helping them get through. The ICE agents approached us, told us to back up, back up. I'm not even sure why we were helping them, if anything. And I got on the snow bank, and next thing I knew, they shot him," Carlson said.

"The gentleman I was standing next to was focused on helping people who were coming into Nicollet Avenue understand that they needed to take it slow and helping them get through. ...

"Next thing I knew, they shot him." www.mprnews.org/story/2026/0...

For this, the state decided to execute him.

People are nervous about watching video, but this one is not of the murder, it's of the lead up, and people need to see it before the spin takes over.

Should Condé Nast Subsidize Pitchfork? On paywalls and competition in music journalism.

wrote about how maybe it makes more sense to be mad at conde nast for insulating pitchfork from market forces for so many years in the name of prestige than it does to be mad at them for instituting a paywall open.substack.com/pub/jaimebro...

who you let in is part of the creative process, too

feels so much like the ashlee simpson SNL discourse in the 00s. a narrative that "real music" will win out over "fake music" that proliferates within echo chambers in defiance of overwhelming evidence to the contrary. people want to feel good about their own habits more than they want to understand

Creation: Building DNA into music from the start It all starts at the moment of creation. Right now, producers work in DAWs disconnected from rights databases, collaborate through voice notes, and hope everyone remembers who contributed what. But what if we could embed “music DNA” right from the beginning? Picture this: you open your DAW and it already knows who you are through a universal artist identifier - one ID that works across every platform, every territory, every use case. Like having an artist passport that’s recognised everywhere. As you drag in that vocal sample, the system logs the contribution. When you bounce the final mix, it’s more than a WAV file. It’s a complete package with all the necessary metadata embedded. This ID would capture everything: who made what, who owns what percentage, what samples were used, and what the splits should be. And with a good use of AI, we can now separate stems and create unique identifiers for each component of a track. So when your beat gets sampled, remixed, then sampled again, the trail always remains alive. Technology alone won’t fix this. We need regulatory frameworks, whether through governments or CMOs, to ensure these standards are actually adopted.

this post on the musicx substack illustrates what it would actually take to track and regulate AI-generated music at scale: a surveillance panopticon that observes and logs every step of the creative process. to me, this sounds like a fucking nightmare

Comic book panel. Prince Namor, the sub-mariner, holds an amulet up as a quartet of monstrous fish-creatures menace him. He says "Sthigr Noiotroba Ecicoh Snmeow!" And in a thought bubble he thinks "The old man gave me this incantation -- a message to his friends in a language I don't understand. But the meaning of the words seem to echo in my soul!"

[x salvage]
An odd moment in 1990: apropos of nothing the Sub-Mariner chants an anagram of "Abortion Rights Womens Choice" to calm angry fish-creatures.

2025: The Year Filk Broke The past, present, and future of fandom.

wrote about the passing of filk singer leslie fish and the ways in which fan culture has transformed in the years since she first started writing kirk/spock slash fiction in the 70s, including today's announcement of a licensing deal between disney and openAI jaimebrooks.substack.com/p/2025-the-y...

The Seat of Loss Holiday Gift Guide What to do with money if you have enough of it not to know.

ostensibly this is a gift guide, but it also contains some thoughts about the ongoing spotify boycotts that some artists are engaging in, the notion of switching from spotify to apple music, and the value of participating in music vs. consuming it jaimebrooks.substack.com/p/the-seat-o...

i don’t know. i think maybe people are better in real life

What Will Happen With AI Music? Only a copyright claim from a major label could stop an AI-generated pop song from breaching the Hot 100. What now?

wrote about suno and udio and xania monet and "i run" by haven. and what we can learn from all of it about what kind of impact AI is going to have on music production and the record industry jaimebrooks.substack.com/p/what-will-...

It's Probably Good That Pitchfork Is Doing Comments And Reader Scores Thoughts on forums, criticism, and competition.

here’s what i think about pitchfork doing a comments section and reader scores open.substack.com/pub/jaimebro...

What Does Bill Ackman Want With Universal Music Group? Critics don't matter unless they own ten percent of the company.

8000 words about who owns the biggest record label in the world, what that means for music, and why the tiktok boycott of 2024 actually happened open.substack.com/pub/jaimebro...

what on earth do prof jiang's students tell their parents when they get home from those classes

answer probably has something to do with that year being near the peak of tumblr’s popularity/influence

doesn’t even feel like the right framing to me. the taylor swift masters saga began not with a decision of hers but with private equity getting involved in the music business. the real story is about capital’s influence on music, not artists influencing each other

The Story of Rockism How much influence do music critics really have?

you're either the kind of person who wants to read something like this or you're not. if you are, i think you will find a lot to chew on here

The Story of Rockism How much influence do music critics really have?

you're either the kind of person who wants to read something like this or you're not. if you are, i think you will find a lot to chew on here

What Caused The Current Country Boom? | Defector In 2018, Mitski released her fifth album, Be the Cowboy. She had been putting out music that was as critically acclaimed as anything in the American indie world, and promoting it in the only way that ...

wrote about the 2020s country music boom over at defector, which i think is happening because of the way that tiktok's fyp curation foregrounds regional, bottom-up culture more than the follow-based feeds of the 2010s did

The Cultural Shale Revolution Maybe you've been fracking, too.

i wrote about how everything is fracking now open.substack.com/pub/jaimebro...

MEARSHEIMER: I don't make the rules, Mr. Lehnsherr. I just describe them. Would you prefer I lie about human nature? Pretend that states act altruistically when all evidence suggests otherwise? MAGNETO: No. But I would prefer you acknowledge that your "natural laws" have consequences. They create worlds where children must choose between hiding who they are or facing extermination. Where survival requires building walls instead of bridges. MEARSHEIMER: Yet you've built those walls, and they work. Krakoa is safer than mutants have ever been. Your people thrive. Your culture flourishes. Isn't that worth the moral compromises? MAGNETO: [stopping, looking directly at Mearsheimer] Safe, yes. But at what cost? We've become everything Charles feared we would become. We've accepted that coexistence is impossible. We've embraced separation as the only solution. MEARSHEIMER: But it IS the only solution that works. Look at your results compared to Xavier's decades of attempted integration. Which approach actually saved mutant lives?

Thoughts on "Careless People" by Sarah Wynn-Williams What can we learn from a new tell-all memoir by Facebook's former Director of Global Public Policy?

wrote a bunch of stuff about facebook and track II diplomacy and community intranets, tap in or don’t jaimebrooks.substack.com/p/thoughts-o...

i want to read this

Notes on the Canzukian Schism Is America ghosting the rest of the anglosphere?

i wrote a big thing on substack about tariffs and deglobalization jaimebrooks.substack.com/p/notes-on-t...

screenshot of a twitter post by mat dryhurst

everything out of this guy's mouth is just "remember when red bull gave bleep bloop knob twiddlers like me money to make art? maybe if we all try really hard to get big corporations to like us, they'll start doing that again"

Prime Minister (Margaret Thatcher) What is wrong with the deterioration? I think we have gone through a period when too many children and people have been given to understand “I have a problem, it is the Government's job to cope with it!” or “I have a problem, I will go and get a grant to cope with it!” “I am homeless, the Government must house me!” and so they are casting their problems on society and who is society? There is no such thing! There are individual men and women and there are families and no government can do anything except through people and people look to themselves first.

I’m asking whether the music we have, today, not the music we used to have or the music we imagine, continues to offer up, as it actually is, something we might look to as a prophecy of being different in blackness, some impossible writing on the air like thought balloons. It is my hope that thinking moves over and past this iteration of our music like a tongue, its serious and interior disturbance, its delicious threat, in order to sense the future. For this to happen, we must agree to think about the work we have asked the Music to do, whether it is still able to do that work, and how that work might be done elsewhere.

"dear angel of death" by simone white, 2018