If you want to jump straight to the conclusion, I’d say go for Gemini 2.5 Pro, it’s better at coding, has one million in context window as compared to Claude’s 200k, and you can get it for free (a big plus). However, Claude’s 3.7 Sonnet is not that far behind. Though at this point there’s no point using it over Gemini 2.5 Pro.

We also have a ton of projects on our GitHub, including the web framework we developed for our API that I’m alluding to above. Of course, that’s not the core product, but you can see what we’ve got going on.

I worked in the industry for almost a decade, had 2 record labels, and signed a number of bands that became famous (for some definition of that) as well as worked with bands that were famous (for any definition of that)... so I have some experience here even though that experience has aged a bit.

Artists are balancing revenue now, with future growth, with record sales, with drawing in new fans, with taking the tour to as wide a representation of their fanbase as possible... and it really truly isn't as simple as "charge the highest price possible".

Far better models can be seen in sales of things like the Glastonbury Music Festival (real identity required, but administered by See Tickets) and Dice ( https://dice.fm/ which allows fan to fan resale ).

Those are better because 1) they limit the ability of scalpers, and 2) the fan-to-fan resale also allows flexibility (less need for thundering herd, as there are always people who cannot attend and now they can safely and respectfully sell to their peers).

Both processes generate a vast amount of data on the sales process, as well as the resale process - which better informs promoters of venue sizing and ticket pricing in the future. Both are good platforms for future evolution of fan-to-fan resale in a way that can enable more of the value to be returned to the artist whilst balancing the other criteria well. What they do is provide promoters with richer data, which allows promoters to make better sizing and venue decisions earlier.

To the separate questions elsewhere in the thread as to how to tackle Ticketmaster, the answer is to not fight them in their space... i.e. to not sell tickets for venues under their exclusive control. Here you see Dice succeeding as they focused on major nightclubs, including Ibiza super clubs... they're selling larger venues than most rock venues, on a daily or weekly basis... outside of Ticketmaster... with more revenue going to the venue, artist and promoters despite the ticket price only having increased a few % points. Ticketmaster control some large venues... but think of festivals, smaller venues, theatres, nightclubs... Ticketmaster really only are present for a small number of super-sized venues, more of the industry exists outside the Ticketmaster venues than in it. Don't go for the red ocean market, go for the blue ocean market ( https://www.blueoceanstrategy.com/tools/red-ocean-vs-blue-oc... ).

Data and time create a fairer market... not exclusive venue control or making people pay as high a price as possible.

Someone who cannot safely be in normal society still deserves basic dignity

Our media and politicians are quick to portray deplorable conditions in Russia et al, but it happens right here all the time.

I've had a couple family members and friend experience such treatment, including losing employment while it was getting sorted out. It's awful and needs more attention to change this.

(Scandinavia is as close to an ideal that I can imagine, though I know American society is so focused on antiquated notions of revenge and punishment that it's going to be a long time coming to view these as places of rehabilitation and reintegration than of violent, dehumanizing retribution. The state has a duty to ensure humane and dignified treatment for everyone in its care.)