If you are in control of the domain of your email address, enable SPF and DKIM for that domain, together with strict policies that mail servers should reject spoofed mails claiming to come from that domain. If your own mail server supports validating SPF and DKIM, you would no longer receive such forged mails, nor anyone else behind a mail server supporting SPF and DKIM.
If you aren't in control... just ignore it like any other spam mail.
The thing that enforces the existence of either SPF or DKIM is called DMARC, setting that to "reject" or "quarantine" is the most critical step for preventing forgeries like that.
1. Artists / labels can pull releases from streaming services, so an album may completely disappear from one day to another. They won't come to your house and rip the CD out of your CD player.
2. They can also replace one version of a song for another, like a remastered version. Especially remasters from the "loudness war" era are often worse in quality than original releases. On a streaming service, you often don't have the choice of which version you can listen to (and if you have the choice, point 1 is still a danger). This is also a problem with songs that contain explicit lyrics. The streaming version may force you to listen to the version with those lyrics removed (e.g. US release vs. EU release). Again, you are not affected by this if you have the physical media or a copy on your computer.
Having a copy of the music that noone can take away from you is important. Tons of music keeps disappearing from streaming services. This is not just a made-up scenario. Yes, technically speaking you only "own" a license to the music. The important thing is that this license is practically irrevocable.
ASIO was just one of the first audio APIs to provide high-quality, low-latency audio. Many people haven't realized that native audio APIs have moved on since then.
macOS has proper audio APIs out of the box, and arguably since the introduction of WASAPI exclusive mode and WaveRT in Windows Vista, Windows has all the needed tools as well. But most of the more "professional" DAW products (in particular those by Steinberg, the author of ASIO) seem to ignore the existence of those. REAPER is one of the exceptions. Even WASAPI shared mode latency is really usable (below 30ms), but not low enough for tightly synchronized real-time recording.
Linux audio can be set up to provide low-latency audio as well, but I cannot comment on the details there as I'm not using it for that purpose.
Your average networked game these days is probably a bazillion times more secure than one from 20 years ago. It was super common that there were cheat tools to crash all game clients in a match. It was super annoying, we can just be glad that it was usually not used for anything more nefarious.
On every. single. video. again. and. again. They don't remember your choice.
And it keeps the auto-translated video title, so if that one is garbage there is extra work involved in figuring out what the original title meant to say, too.
Yep, it's a terrible materialization of a theoretically awesome idea. Both because of these details and because of the robotic tone of the voice compared to the demos they had released.
If the font contains the missing emojis, sure. Emoji fonts tend to be huge though. The base Roboto font doesn't contain the emojis IIRC, there's a separate Roboto Emoji font for this reason (it's several dozen MBs).
It's absolutely infuriating. It could be such an awesome accessibility feature if it wasn't force-enabled by default. But what we get instead is YouTube engineers assuming that everyone just speaks a single language and needs auto-translations on every video. For every channel where this feature is enabled, I have to keep switching back to the original English audio track on every single video because YouTube knows that just because my primary browser language is set to German (the secondary language being English, btw), I am incapable of understanding the original audio track, of course.
This affects all digital stores. Many labels appear to have lost their uncompressed masters, especially for stuff that was released on the internet in the early 2000s. I regularly catch them pants down when trying to buy something through digital music stores as lossless and I receive a FLAC file that shows clear signs of MP3 compression. It usually results in a refund from the store in question. For this reason I'm buying less and less through those stores, and try to hunt down cheap used CD copies instead, if at all possible.
If you aren't in control... just ignore it like any other spam mail.