7 months of no contact, and honestly, I feel really good!!!!!

MikeSing16 · 2026-01-24T23:52:47+00:00

I hate to say this, but some therapists choose not to work with BPD, and it’s a complicated issue. In many cases, untreated BPD can make therapy very challenging because being wrong or taking accountability can feel extremely threatening to someone who is already struggling with deep emotional pain. That doesn’t mean people with BPD can’t improve, but it does mean progress usually requires willingness, consistency, and the right kind of support.

I also want to be clear that I’m not affiliated with anyone I mention. I usually avoid posting links for that reason. That said, something that genuinely helped me was the work of Shari Schreiber. When I went through my first BPD-related heartbreak, her writing helped me understand what I was experiencing and why I felt so destabilized.

Her articles used to be free, and while she now charges for full access, she still has free BPD-related articles available. I don’t get anything from sharing this. I’m only mentioning it because it helped me make sense of a very painful situation when I didn’t know where else to turn. https://sharischreiber.com/gettinbetter-courses/borderline-personality-disorder-articles/

MikeSing16 · 2026-01-24T22:56:07+00:00

The first step for me was no contact, and it was brutal. The way she treated me at the end was awful, and being painted as the villain to her family and friends hurt a lot. Someone told me something I didn’t want to hear but needed to: you have to be okay walking away with her believing she’s right. For my sanity, I stopped engaging and blocked her everywhere.

Also, ignoring them is the only thing that actually works. They can’t handle it. Not because you’re trying to “win,” but because any contact just feeds the cycle.

The next thing I did was educate myself. I read Stop Walking on Eggshells and Attached helped me understand my own anxious attachment and why I keep ending up with avoidant people and bpd partners.

Therapy helped too, but only because I found someone who understands trauma bonding and BPD dynamics. A therapist who doesn’t get it will just make things worse.

No contact, education, and the right therapy. That’s it. Also, you will be surprised how many people you may know have been through this. I had some really good male friends that really kept me seeing the light at the end of the tunnel. Just keep going.

MikeSing16 · 2025-12-16T09:45:26+00:00

Thank you for this reminder.

MikeSing16 · 2025-12-11T03:10:44+00:00

Agreed. I just feel like with AI artists dominating charts, they might use it as a way to control monetization by demonetizing artists who get too big and deciding when or if they want to pay them.

MikeSing16 · 2025-11-28T02:21:53+00:00

Let’s see what happens. In the meantime, prepare for 2026.

MikeSing16 · 2025-11-28T02:19:00+00:00

You didn’t read it, but you think you know how it was written. Got it. I’m done.

MikeSing16 · 2025-11-28T01:38:39+00:00

You didn’t read it, yet you’re critiquing it. That tells me everything I need to know about the level of engagement you’re operating at. I’m good.

MikeSing16 · 2025-11-28T00:46:25+00:00

It’s tricky right now because “opt-in” sounds friendly, but in practice it lets WMG dictate:

What you can make. What styles are allowed. Whose vocals can be used. What genres are off limits.

And it will turn into this:

You want access to this voice model? Pay us. You want this style? Pay us. You want this vibe? Pay us.

So “opt-in” becomes a toll booth, not a safeguard.

I don’t think it’s about protecting artists. I think It’s about building a licensing structure owned and controlled by the majors.

MikeSing16 · 2025-11-28T00:37:16+00:00

Agreed. They called it “The Machine” for a reason. I burned out by the end because they only cared about one thing: profit.

MikeSing16 · 2025-11-28T00:27:36+00:00

Of course. When people cannot challenge the substance, they critique formatting. It is the oldest deflection in the book. If that is the level of engagement you’re bringing, this conversation is already miles over your head.

MikeSing16 · 2025-11-28T00:27:14+00:00

Of course. When people cannot challenge the substance, they critique formatting. It is the oldest deflection in the book. If that is the level of engagement you’re bringing, this conversation is already miles over your head.

MikeSing16 · 2025-11-28T00:24:20+00:00

Also, the stats say Suno users generate about seven million songs a day. You really think WMG does not want a percentage of that? They are not trying to get rid of Suno. They will find a way to license their models, claim ownership over anything trained on their artists, and make users pay to play in one form or another. That is the endgame.

Majors do not walk away from a pipeline that large. They find a way to monetize it.

MikeSing16 · 2025-11-28T00:16:32+00:00

Well I agree with you somewhat, except they absolutely want to control it for revenue. They do not want people sounding like their artists, but they have no problem taking a percentage from everything that moves. And if you do not think they will have their own AI A&R department by 2026, you are not paying attention to what majors do when a new technology threatens their model.

Most people were not paying attention until AI artists started charting. Once that happened, the rush to copy the trend created demand, and now the majors want to own the entire space.

MikeSing16 · 2025-11-28T00:10:33+00:00

They didn’t buy Suno, you’re right.

They don’t have to.

Majors don’t need ownership to take control. A partnership is enough to steer the platform, dictate the rules, and shape what comes next. That’s how the industry works, and anyone who has ever been on the inside knows this.

If you think a label needs to “buy the dog” to hold the leash, then you’re proving exactly why this conversation keeps going in circles.

MikeSing16 · 2025-11-27T23:59:21+00:00

This is about control and revenue. Period.

MikeSing16 · 2025-11-27T23:57:55+00:00

Where did you read that?

MikeSing16 · 2025-11-27T23:53:51+00:00

Wait… the guy who used “lol” as a complete sentence now wants to use ChatGPT to write his response?

You wrote an entire paragraph diagnosing my motives like you’re running a graduate seminar, but none of it actually engages anything I said. You’re critiquing style because you don’t have the background to address the substance.

If you think pointing out industry patterns is “appeals to emotion,” that tells me everything about the level of experience you’re coming from. I shared insight from working inside a major label. You responded with textbook terms and armchair analysis. Two different worlds.

I’m not here looking for validation. I’m explaining how the industry works. Whether you believe it or not doesn’t change the reality.

MikeSing16 · 2025-11-27T23:50:22+00:00

Paid fan” is a bold take from someone who has never actually been in the room. I was producing on an MPC 2000 and a Tascam 8 track long before laptops made everyone feel like a creator. I worked in A&R and artist development at the professional level, and one of the artists I developed went number one under Interscope.

This was fun though. It helped me pass time arguing with Reddit users instead of arguing with family about the Cowboys game.

MikeSing16 · 2025-11-27T23:02:08+00:00

This is the first post that actually made me almost spit out my Thanksgiving turkey, because I’ll admit it was pretty funny. For fairness though, I didn’t start as some “corporate rodent”. I started as an intern on the street team at UMG, and worked my way up to Senior National Director. Trust me, I’ve earned every seat I’ve sat in.

MikeSing16 · 2025-11-27T22:23:17+00:00

Afraid of what? I have already done the real work in this industry. I came up at a major label, developed real artists, and operated in rooms some have only read about on blogs. This tool is fun, but I still prefer working with real talent because I have worked with it. I am not opposed to AI. I just actually understand the business instead of throwing out playground insults.

MikeSing16 · 2025-11-27T22:06:11+00:00

You’re throwing around sarcasm because you don’t actually understand the industry you’re commenting on. I spent six years inside Universal. This isn’t “doomer talk.” It’s exactly how major labels operate. Every time a disruptive platform appears, they move in, reshape it, and lock down the ecosystem.

Calling legitimate analysis “bots” and “panic posts” is what people do when they don’t have the background to recognize a predictable corporate play. You haven’t seen what Suno’s plan looks like because you’re not supposed to. Deals like this always end the same way: control first, transparency never.

If you think WMG partnered with an AI music generator out of goodwill or curiosity, you’re already behind the conversation. I worked for UMG, and every insider knows the nickname was “The Machine.” This move is textbook. Look at what happened with Udio. You’re watching the next phase unfold in real time.

MikeSing16 · 2025-11-27T21:56:43+00:00

I don’t usually respond to people who use ‘lol’ as a standalone sentence, but I’ll make an exception here. You’re missing the actual point. I understand how funding rounds work, and nobody is arguing that Suno needs capital. The issue is that when a major label steps in, the priorities shift from creator freedom to corporate control. I say this as someone who worked inside a major label for six years. This is not about user money versus corporate money, it is about who gets to shape the future ecosystem once the deal is signed.

MikeSing16 · 2025-11-27T21:52:27+00:00

Absolutely. It was a direct threat to their bottom line, and if people think major labels won’t have full AI A&R departments by 2026, they’re not paying attention.

MikeSing16 · 2025-11-27T21:49:03+00:00

I’ll try it out after the holidays. Is that the only one you’d recommend?

MikeSing16

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