I actually practice quite a bit of dodging and burning. Even with perfect negatives, ones that look good as a straight print.
To me it's a tool to enhance and improve the final print. It's not about fixing errors (like others I just don't make mistakes ), it's about giving the photograph the attention I think it deserves. In a particular scene, despite using all kinds of filtration, waiting for the right moment, etc, there are always going to be values that would look better if they were contrasted against each other more (or less), or elements in the frame that need to be toned down or accentuated. To me that's just making the photograph the best it can be.
I'll challenge the wise ones here and ask how you can have the stance that dodging and burning is a tool intended to fix geometrical problems with the enlarger.
Bruce Barnbaum, for instance. You may, or may not like his photography, but nobody can ever deny that he's a true master printer. Out of the hundreds of exhibition prints that are in his books and exhibits, he says himself he only has 3 straight prints, which he believes he cannot improve with dodging/burning.
I'm hardly Bruce Barnbaum, or have his skill, but I dodge here and burn there to balance tonal relationships in the scene. On every print I make but a few.
To me that takes nothing away from the importance of lighting technique and composition.