YouTube has launched its first-ever "Recap" for videos watched on the main platform, giving users personalized cards that showcase their top channels, interests, and a personality type based on their watch habits. The feature rolls out across North America today and globally this week. TechCrunch reports: Users can find their Recap directly on the YouTube homepage or under the "You" tab. Recaps are accessible on mobile devices and desktop. YouTube says the new feature was requested by users and that it conducted over 50 different concept tests before landing on the final product. Alongside the launch of Recap, YouTube also released trend charts showcasing the top creators, podcasts, and songs of the year.

An EDM song by the British group Haven ran into trouble in October after it shared clips of upcoming song "I Run" on TikTok.

The song "was an overnight viral sensation online," writes Digital Music News — racking up millions of plays "even before it hit streaming services." (Although the Washington Post notes that "Record labels and TikTok users began questioning whether 'I Run' used an AI deepfake, modeled off British R&B singer Jorja Smith, for the vocals.")

Digital Music News picks up the story: The artist says he used his own voice to record the vocals, and then ran it through layers of processing and filtering to turn it into the female-sounding voice heard in the track. However, that filtering also included the use of the controversial genAI platform Suno — and that's what complicates things... [The article says later that Suno "is currently in the middle of a blockbuster lawsuit with the Big Three major labels over allegations of widespread copyright infringement of sound recordings used during the AI model training process."]

Meanwhile, the song was rapidly amassing listenership. It soared to #11 on the U.S. Spotify chart and #25 on Spotify globally. Videos using the song continued going viral on TikTok and Instagram, including one in which rapper Offset had apparently played the song during a Boiler Room set, which later turned out to be falsified. And then, as quickly as it appeared, "I Run" was taken down from streaming services, including Spotify and Apple Music. That was due, in part, to numerous takedown notices from The Orchard, the label to which Jorja Smith is signed, as well as the RIAA and IFPI. The takedown notices alleged various issues with the track, including the "misrepresentation" of another artist, as well as copyright infringement.

As a result, the song has also been withheld from the Billboard charts, including the Hot 100, on which it had been predicted to debut this week before the controversy. Billboard points out that it "reserves the right to withhold or remove titles from appearing on the charts that are known to be involved in active legal disputes related to copyright infringement that may extend to the deletion of such content on digital service providers."
The song itself has now been re-released with an all-human vocal track. But going forward will the music industry ever work with AI platforms? The Washington Post reports: "I Run" has taken off as record labels remain unsure of the extent to which they should welcome generative AI programs such as Suno or Udio into the industry. After the two AI music companies began growing in popularity, the three major labels — Sony Music, Warner Music Group and Universal Music Group — filed lawsuits against Suno and Udio, claiming that the AI companies have used the labels' sound recordings to train their model.

Since then, UMG and Warnerhave reached agreementsto work with Udio, ending their litigation... It comes shortly after all three major labels licensed their catalogue to Klay, a music streaming start-up that allows users to adjust songs using artificial intelligence. Major licensing organizations such as ASCAP and BMI shared that they would register songs that were partially AI-generated — but not fully generated ones.

Haven appears to present an uncomfortable edge case. While some AI-generated songs that sound broadly like other artists have been allowed to remain on streaming platforms, the voice in "I Run" appears to have been deemed too duplicative for comfort.

Warner Music Group has reached a licensing deal with Suno that will let users create AI-generated music using the voices and likenesses of artists who opt in. WMG says participating artists will have "full control" over how their likeness and music are used. "These will be new creation experiences from artists who do opt in, which will open up new revenue streams for them and allow you to interact with them in new ways," Suno says, adding that users will be able to "build around" an artist's sounds "and ensure they get compensated." WMG is also dropping its previous lawsuit accusing Suno of scraping copyrighted material.

"Along with the licensing agreement, Suno is planning to use licensed music from WMG to build next-gen music generation models that it claims will surpass its flagship v5 model," adds The Verge. "It will also start requiring users to have a paid account to download songs starting next year, with each tier providing a specific number of downloads each month."

Further reading: First 'AI Music Creator' Signed by Record Label. More Ahead, or Just a Copyright Quandry?

An anonymous reader quotes a report from Bloomberg: The world's largest music companies have licensed their works to a music startup called Klay, which is building a streaming service that will allow users to remake songs using artificial intelligence tools. Klay is the first music AI service to reach a deal with all three major record labels, Universal Music Group NV, Sony Music and Warner Music Group Corp., according to people familiar with the deals. Klay plans to announce its agreements in the coming days, said the people, who asked not to be identified discussing confidential plans.

Klay is building a product that will offer the features of a streaming service like Spotify, amplified by AI technology that will let users remake songs in different styles. Klay has licensed the rights to thousands of hit songs so that it can train its large language model. The company has positioned itself as a friend of the industry, offering assurances that the artists and labels will have some control over how their work is used. Klay is led by music producer Ary Attie and also employs former executives from Sony Music and Google's DeepMind, an AI laboratory.

Slashdot readers Tablizer and fjo3 share news that an AI-generated country song has topped the U.S. sales chart for the first time this week. ABC News reports: The new country tune, "Walk my Walk" by Breaking Rust, recently hit No. 1 on Billboard's Country Digital Song Sales chart, reaching over 3 million streams on Spotify in less than a month. That success has garnered mixed reactions from music fans and artists alike, particularly on TikTok, where hundreds of users have posted videos addressing the tune and others discussing the music in the comments.

Billboard has acknowledged Breaking Rust is an AI act and said it is one of at least six to chart in the past few months alone. "Ultimately, this feels like an experiment to see just how far something like this can go and what happens in the future and in other disciplines of art as well," senior entertainment reporter Kelley L. Carter told ABC News. "AI artists won't require things that a real human artist will require, and once companies start considering it and looking at bottom lines, I think that's when artists should rightly be concerned about it," she added.

A Munich court ruled that OpenAI violated German copyright law by training its models on lyrics from nine songs and allowing ChatGPT to reproduce them. OpenAI now faces damages as it considers an appeal. Reuters reports: The regional court in Munich found that the company trained its AI on protected content from nine German songs, including Groenemeyer's hits "Maenner" and "Bochum." The case was brought by German music rights society GEMA, whose members include composers, lyricists and publishers, in another sign of artists around the world fighting back against data scraping by AI.

Presiding judge Elke Schwager ordered OpenAI to pay damages for the use of copyrighted material, without disclosing a figure. GEMA legal advisor Kai Welp said GEMA hoped discussions could now take place with OpenAI on how copyright holders can be remunerated. OpenAI had argued that its language models did not store or copy specific training data but, rather, reflected what they had learned based on the entire training data set.

Since the output would only be generated as a result of user inputs known as prompts, it was not the defendants, but the respective user who would be liable for it, OpenAI had argued. However, the court found that both the memorization in the language models and the reproduction of the song lyrics in the chatbot's outputs constitute infringements of copyright exploitation rights, according to a statement on the ruling.

An anonymous reader shares a report: Spotify is the most popular music streaming service in the world. While its algorithmic recommendations aren't necessarily the reason, its reach has meant that hundreds of millions of people are being fed a steady diet of music curated by a machine. Spotify's goal is to keep you listening no matter what. In her book Mood Machine, journalist Liz Pelly recounts a story told to her by a former Spotify employee in which Daniel Ek said, "our only competitor is silence."

According to this employee, Spotify leadership didn't see themselves as a music company, but as a time filler. The employee explained that, "the vast majority of music listeners, they're not really interested in listening to music per se. They just need a soundtrack to a moment in their day." Simply providing a soundtrack to your day might seem innocent enough, but it informs how Spotify's algorithm works. Its goal isn't to help you discover new music, its goal is simply to keep you listening for as long as possible. It serves up the safest songs possible to keep you from pressing stop.

The company even went so far as to partner with music library services and production companies under a program called Perfect Fit Content, or PFC. This saw the creation of fake or "ghost" artists that flooded Spotify with songs that were specifically designed to be pleasant and ignorable. It's music as content, not art. [...] Artists, especially new ones trying to break through, actually started changing how they composed to play better in the algorithmically driven streaming era. Songs got shorter, albums got longer, and intros went away. The hook got pushed to the front of the song to try to grab listeners' attention immediately, and things like guitar solos all but disappeared from pop music. The palette of sounds artists pulled from got smaller, arrangements became more simplified, pop music flattened.

The nonprofit Dust-to-Digital Foundation is making thousands of historic songs accessible to the public for free through a new partnership with the University of California, Santa Barbara. The songs represent "some of the rarest and most uniquely American music borne from the Jazz Age and the Great Depression," according to the university, and classic blues recordings or tracks by Fiddlin' John Carson and his daughter Moonshine Kate "would have likely been lost to landfills and faded from memory."

Launched in 1999 by Lance and April Ledbetter, Dust-to-Digital focused on preserving hard-to-find music. Originally a commercial label producing high-quality box sets (along with CDs, records, and books), it established a nonprofit foundation in 2010, working closely with collectors to digitize and preserve record collections. And there's an interesting story about how they became familiar with library curator David Seubert... Once a relationship is established, Dust-to-Digital sets up special turntables and laptops in a collector's home, with paid technicians painstakingly digitizing and labeling each record, one song at a time. Depending on the size of the collection, the process can take months, even years... In 2006, they heard about Seubert's Cylinder Preservation and Digitization Project getting "slashdotted," a term that describes when a website crashes or receives a sudden and debilitating spike in traffic after being mentioned in an article on Slashdot.
Here in 2025, the university's library already has over 50,000 songs in a Special Research Collections, which they've been uploading it to a Discography of American Historical Recordings (DAHR) database. ("Recordings in the public domain are also available for free download, in keeping with the UCSB Library's mission for open access.") Over 5,000 more songs from Dust-to-Digital have already been added, says library curator Seubert, and "Thousands more are in the pipeline."

One interest detail? The bulk of the new songs come from Joe Bussard, a man whose 75-year obsession with record collecting earned him the name "the king of the record collectors and "the saint of 78s".

A new class-action lawsuit accuses Spotify of allowing billions of fraudulent Drake streams generated by bots between 2022 and 2025, allegedly inflating his royalties at the expense of other artists. "Spotify pays streaming royalties using a 'pro-rata' model based on an artist's market share," notes Consequence. "Each month, revenue from subscriptions and ads is collected into a single, fixed 'pot' of money, which is then distributed to rights holders based on their percentage of the platform's total streams. Because this pot is fixed, an artist who artificially inflates their numbers through bots would dilute the value of every legitimate stream. This allows them to take a larger share of the pot than they earned, effectively siphoning royalties that should have gone to other artists." From the report: According to Rolling Stone, the lawsuit alleges bot use is a widespread problem on Spotify. However, Drake is the only example named, based on "voluminous information" which the company "knows or should know" that proves a "substantial, non-trivial percentage" of his approximately 37 billion streams were "inauthentic and appeared to be the work of a sprawling network of Bot Accounts."

The complaint claims this alleged fraudulent activity took place between "January 2022 and September 2025," with an examination of "abnormal VPN usage" revealing at least 250,000 streams of Drake's song "No Face" during a four-day period in 2024 were actually from Turkey "but were falsely geomapped through the coordinated use of VPNs to the United Kingdom in [an] attempt to obscure their origins." Other notable allegations in the lawsuit are that "a large percentage" of accounts were concentrated in areas where the population could not support such a high volume of streams, including those with "zero residential addresses." The suit also points to "significant and irregular uptick months" for Drake's songs long after their release, as well as a "slower and less dramatic" downtick in streams compared to other artists.

Noting a "staggering and irregular" streaming of Drake's music by individuals, the suit also claims there are a "massive amount of accounts" listening to his songs "23 hours a day." Less than 2% of those users account for "roughly 15 percent" of his streams. "Drake's music accumulated far higher total streams compared to other highly streamed artists, even though those artists had far more 'users' than Drake," the lawsuit concludes.

Universal Music Group has settled its copyright lawsuit with AI music startup Udio and struck a licensing deal to launch a new AI-powered music platform next year. The Verge reports: The deal includes some form of compensation and "will provide further revenue opportunities for UMG artists and songwriters," Universal says. Udio, the company behind "BBL Drizzy," will launch the platform as a subscription service next year. Universal, alongside other industry giants Sony and Warner, sued Udio and another startup Suno for "en masse" copyright infringement last year.

Universal -- whose roster includes some of the world's biggest performers like Taylor Swift, Bad Bunny, and Ariana Grande -- says the new tool will "transform the user engagement experience" and let creators customize, stream, and share music. There's no indication of how much it will cost yet. Udio's existing music maker, which lets you create new songs with a few words, will remain available during the transition, though content will be held "within a walled garden" and security measures like fingerprinting will be added.

An anonymous reader quotes a report from Ars Technica: Record labels Sony, Warner, and Universal yesterday asked the Supreme Court to help it boot pirates off the Internet. Sony and the other labels filed their brief (PDF) in Cox Communications v. Sony Music Entertainment, a case involving the cable Internet service provider that rebuffed labels' demands for mass terminations of broadband subscribers accused of repeat copyright infringement. The Supreme Court's eventual decision in the case may determine whether Internet service providers must terminate the accounts of alleged pirates in order to avoid massive financial liability.

Cox has argued (PDF) that copyright-infringement notices -- which are generated by bots and flag users based on their IP addresses -- sent by record labels are unreliable. Cox said ISPs can't verify whether the notices are accurate and that terminating an account would punish every user in a household where only one person may have illegally downloaded copyrighted files. Record labels urged the Supreme Court to reject this argument.

"While Cox waxes poetic about the centrality of Internet access to modern life, it neglects to mention that it had no qualms about terminating 619,711 subscribers for nonpayment over the same period that it terminated just 32 for serial copyright abuse," the labels' brief said. "And while Cox stokes fears of innocent grandmothers and hospitals being tossed off the Internet for someone else's infringement, Cox put on zero evidence that any subscriber here fit that bill. By its own admission, the subscribers here were 'habitual offenders' Cox chose to retain because, unlike the vast multitude cut off for late payment, they contributed to Cox's bottom line." Record labels were referring to a portion of Cox's brief that said, "Grandma will be thrown off the Internet because Junior illegally downloaded a few songs on a visit."

An anonymous reader quotes a report from Ars Technica: For millions of Spotify users, the "Wrapped" feature -- which crunches the numbers on their annual listening habits -- is a highlight of every year's end, ever since it debuted in 2015. NPR once broke down exactly why our brains find the feature so "irresistible," while Cosmopolitan last year declared that sharing Wrapped screenshots of top artists and songs had by now become "the ultimate status symbol" for tens of millions of music fans. It's no surprise then that, after a decade, some Spotify users who are especially eager to see Wrapped evolve are no longer willing to wait to see if Spotify will ever deliver the more creative streaming insights they crave.

With the help of AI, these users expect that their data can be more quickly analyzed to potentially uncover overlooked or never-considered patterns that could offer even more insights into what their listening habits say about them. Imagine, for example, accessing a music recap that encapsulates a user's full listening history -- not just their top songs and artists. With that unlocked, users could track emotional patterns, analyzing how their music tastes reflected their moods over time and perhaps helping them adjust their listening habits to better cope with stress or major life events. And for users particularly intrigued by their own data, there's even the potential to use AI to cross data streams from different platforms and perhaps understand even more about how their music choices impact their lives and tastes more broadly.

Likely just as appealing as gleaning deeper personal insights, though, users could also potentially build AI tools to compare listening habits with their friends. That could lead to nearly endless fun for the most invested music fans, where AI could be tapped to assess all kinds of random data points, like whose breakup playlists are more intense or who really spends the most time listening to a shared favorite artist. In pursuit of supporting developers offering novel insights like these, more than 18,000 Spotify users have joined "Unwrapped," a collective launched in February that allows them to pool and monetize their data.

Voting as a group through the decentralized data platform Vana -- which Wired profiled earlier this year -- these users can elect to sell their dataset to developers who are building AI tools offering fresh ways for users to analyze streaming data in ways that Spotify likely couldn't or wouldn't. In June, the group made its first sale, with 99.5 percent of members voting yes. Vana co-founder Anna Kazlauskas told Ars that the collective -- at the time about 10,000 members strong -- sold a "small portion" of its data (users' artist preferences) for $55,000 to Solo AI. While each Spotify user only earned about $5 in cryptocurrency tokens -- which Kazlauskas suggested was not "ideal," wishing the users had earned about "a hundred times" more -- she said the deal was "meaningful" in showing Spotify users that their data "is actually worth something." Spotify responded to the collective by citing both trademark and policy violations. The company sent a letter to Unwrapped developers, warning that the project's name may infringe on Spotify's Wrapped branding, and that Unwrapped breaches developer terms. Specifically, Spotify objects to Unwrapped's use of platform data for AI/ML training and facilitating user data sales.

"Spotify honors our users' privacy rights, including the right of portability," Spotify's spokesperson said. "All of our users can receive a copy of their personal data to use as they see fit. That said, UnwrappedData.org is in violation of our Developer Terms which prohibit the collection, aggregation, and sale of Spotify user data to third parties."

Unwrapped says it plans to defend users' right to "access, control, and benefit from their own data," while providing reassurances that it will "respect Spotify's position as a global music leader."

Researchers in China have developed a "DNA cassette," a retro-styled plastic tape embedded with synthetic DNA strands that can store up to 36 petabytes of digital data -- enough to hold every song ever recorded. New Scientist reports: Xingyu Jiang at the Southern University of Science and Technology in Guangdong, China, and his colleagues created the cassette by printing synthetic DNA molecules on to a plastic tape. "We can design its sequence so that the order of the DNA bases (A, T, C, G) represents digital information, just like 0s and 1s in a computer," he says. This means it can store any type of digital file, whether text, image, audio or video.

One problem with previous DNA storage techniques is the difficulty in accessing data, so the team then overlaid a series of barcodes on the tape to assist with retrieval. "This process is like finding a book in the library," says Jiang. "We first need to find the shelf corresponding to the book, then find the book on the corresponding shelf."

The tape is also coated in what the researchers describe as "crystal armor" made of zeolitic imidazolate, which prevents the DNA bonds from breaking down. That means the cassette could store data for centuries without deteriorating. While a traditional cassette tape could boast around 12 songs on each side, 100 meters of the new DNA cassette tape can hold more than 3 billion pieces of music, at 10 megabytes a song. The total data storage capacity is 36 petabytes of data -- equivalent to 36,000 terabyte hard drives. The research has been published in the journal Science Advances.

"I have no musical talent at all," says Oliver McCann. "I can't sing, I can't play instruments, and I have no musical background at all!"

But the Associated Press describes 37-year-old McCann as a British "AI music creator" — and last month McCann signed with an independent record label "after one of his tracks racked up 3 million streams, in what's billed as the first time a music label has inked a contract with an AI music creator." McCann is an example of how ChatGPT-style AI song generation tools like Suno and Udio have spawned a wave of synthetic music, a movement most notably highlighted by a fictitious group, Velvet Sundown, that went viral even though all its songs, lyrics and album art were created by AI. Experts say generative AI is set to transform the music world. However, there are scant details, so far, on how it's impacting the $29.6 billion global recorded music market, which includes about $20 billion from streaming.

The most reliable figures come from music streaming service Deezer, which estimates that 18% of songs uploaded to its platform every day are purely AI generated, though they only account for a tiny amount of total streams, hinting that few people are actually listening. Other, bigger streaming platforms like Spotify haven't released any figures on AI music... "It's a total boom. It's a tsunami," said Josh Antonuccio, director of Ohio University's School of Media Arts and Studies. The amount of AI generated music "is just going to only exponentially increase" as young people grow up with AI and become more comfortable with it, he said. [Antonuccio says later the cost of making a hit record "just keeps winnowing down from a major studio to a laptop to a bedroom. And now it's like a text prompt — several text prompts." Though there's a lack of legal clarity over copyright issues.]

Generative AI, with its ability to spit out seemingly unique content, has divided the music world, with musicians and industry groups complaining that recorded works are being exploited to train AI models that power song generation tools... Three major record companies, Sony Music Entertainment, Universal Music Group and Warner Records, filed lawsuits last year against Suno and Udio for copyright infringement. In June, the two sides also reportedly entered negotiations that could go beyond settling the lawsuits and set rules for how artists are paid when AI is used to remix their songs.

GEMA, a German royalty collection society, has sued Suno, accusing it of generating music similar to songs like "Mambo No. 5" by Lou Bega and "Forever Young" by Alphaville. More than 1,000 musicians, including Kate Bush, Annie Lennox and Damon Albarn, released a silent album to protest proposed changes to U.K. laws on AI they fear would erode their creative control.

Meanwhile, other artists, such as will.i.am, Timbaland and Imogen Heap, have embraced the technology. Some users say the debate is just a rehash of old arguments about once-new technology that eventually became widely used, such as AutoTune, drum machines and synthesizers.

The BBC reports a growing trend in music: "for established (but not superstar) artists to be targeted by fake albums or songs that suddenly appear on their pages on Spotify and other streaming services." Even dead musicians have had AI-generated "new" material added to their catalogues... According to music industry analysts Luminate, about 99,000 songs are uploaded to streaming services every day, usually via dozens of distribution services, which ask the uploader to submit the artist's details. If that information is incorrect, and a song wrongly gets listed under an existing artist's name, it's down to them or their label to complain and get it removed.
Spotify took three weeks to remove fakes of folk singer/songwriter Emily Portman, according to the article, "and she still hasn't regained control of her Spotify artist profile... Considering how the streaming era has already made a big dent in many artists' incomes, Emily Portman says this affair has felt like a "very low blow"... She suspects independent artists are being targeted because star names have more protection and more power to get fraudulent releases removed swiftly."

But it's also happened to "a number of Americana and folk-rock artists who have had fake tracks posted using their names in recent weeks — apparently all from the same source," including Wilco frontman Jeff Tweedy, J Tillman (now known as Father John Misty), Sam Beam (aka Iron & Wine), Teddy Thompson and Jakob Dylan: All the releases used the same style of AI artwork and were credited to three record labels, two with apparently Indonesian names. Many listed the same name as a songwriter — Zyan Maliq Mahardika. That name has also been credited on other songs mimicking real US Christian musicians and metalcore bands. Spotify said it had flagged the issue with the distributor and removed these tracks as they "violated our policy against impersonating another person or brand." It added it would "remove any distributor who repeatedly allows this type of content on our platform"....

Tatiana Cirisano from media and technology analysis company Midia Research says AI is "making it easier for fraudsters" to fool listeners, who are also more "passive" in the algorithmic age. She thinks bad actors posing as real-life artists are hoping their fraudulent tracks will "rack up enough streams" — hundreds of thousands — to earn them a nice payday. "I would think that the AI fakes are targeting lesser-known artists in the hopes that their schemes fly under the radar, compared to if they were to target a superstar who could immediately get Spotify on the line," she notes.

But streaming services and distributors are "working hard" and getting better at spotting it, she stresses, "ironically, also by using AI and machine learning!

Light pollution extends the active hours of birds worldwide by nearly an hour, fundamentally altering the natural rhythms of over 500 species across multiple continents. Analysis of 60 million bird call recordings reveals that artificial lighting causes birds to begin vocalizing 20 minutes earlier each morning and continue 30 minutes later each evening. The effect varies significantly by species anatomy and behavior.

Birds with proportionally larger eyes experience the strongest responses, with American Robins in highly illuminated areas beginning their songs up to two hours before sunrise. Species nesting in tree cavities or enclosed spaces show minimal changes, as opaque barriers shield them from artificial light. The research, drawing from BirdWeather devices deployed globally by birdwatchers, is the largest analysis of light pollution's biological impacts to date.

An anonymous reader quotes a report from TechCrunch: Amazon CEO Andy Jassy sees an opportunity to deliver ads to users during their conversations with the company's AI-powered digital assistant, Alexa+, he said during Amazon's second-quarter earnings call Thursday. "People are excited about the devices that they can buy from us that has Alexa+ enabled in it. People do a lot of shopping [with Alexa+]; it's a delightful shopping experience that will keep getting better," said Jassy on the call with investors and Wall Street analysts. "I think over time, there will be opportunities, as people are engaging in more multi-turn conversations, to have advertising play a role to help people find discovery, and also as a lever to drive revenue."

[...] Amazon has made Alexa+ free for Prime customers (who pay $14.99 a month) and added a $20-a-month subscription tier for Alexa+ on its own. Jassy suggested on Thursday that Alexa+ could eventually include subscription tiers beyond what's available today -- perhaps an ad-free tier. Up until now, ads have only appeared in Alexa in limited ways. Users may occasionally see a visual ad on Amazon's smart display device, the Echo Show, or hear a pre-recorded ad in between songs on one of Alexa's smart speakers. But Jassy's description of an AI-generated ad that Alexa+ delivers in a multistep conversation, which could help users find new products, is uncharted territory for Amazon and the broader tech industry. Marketers have expressed interest in advertising in AI chatbots, and specifically Alexa+, but exactly how remains unclear. [...] Jassy is betting that users will talk to Alexa+ more than Alexa, which could drive more advertising and more shopping on Amazon.com. However, early reviews of Alexa+ have been mixed. Amazon has reportedly struggled to ship some of Alexa+'s more complicated features, and the rollout has been slower than many expected.

There's a lot to figure out before Amazon puts ads in Alexa+. Like most AI models, Alexa+ is not immune to hallucinations. Before advertisers agree to make Alexa+ a spokesperson for their products, Amazon may have to come up with some ways to ensure that its AI will not offer false advertising for a product. Jassy seems enthusiastic about making advertising a larger part of Amazon business. Amazon's advertising revenue went up 22% in the second quarter, compared to the same period last year. Delivering ads in AI chatbot conversations may also raise privacy concerns. People tend to talk more with AI chatbots compared to deterministic assistants, like the traditional Alexa and Siri products. As a result, generative AI chatbots tend to collect more information on users. Some users might be unsettled by having that information sold to advertisers and having ads appear in their natural language conversations with AI.

Satirical singer-songwriter Tom Lehrer died Saturday at age 97. The Associated Press notes Lehrer had long ago "largely abandoned his music career to return to teaching math at Harvard and other universities." Lehrer had remained on the math faculty of the University of California at Santa Cruz well into his late 70s. In 2020, he even turned away from his own copyright, granting the public permission to use his lyrics in any format without any fee in return.

A Harvard prodigy (he had earned a math degree from the institution at age 18), Lehrer soon turned his very sharp mind to old traditions and current events... He'd gotten into performing accidentally when he began to compose songs in the early 1950s to amuse his friends. Soon he was performing them at coffeehouses around Cambridge, Massachusetts, while he remained at Harvard to teach and obtain a master's degree in math. [Lehrer also "spent several years unsuccessfully pursuing a doctorate..."]

He cut his first record in 1953, "Songs by Tom Lehrer"... After a two-year stint in the Army, Lehrer began to perform concerts of his material in venues around the world. In 1959, he released another LP called "More of Tom Lehrer" and a live recording called "An Evening Wasted with Tom Lehrer," nominated for a Grammy for best comedy performance (musical) in 1960. But around the same time, he largely quit touring and returned to teaching math, though he did some writing and performing on the side. Lehrer said he was never comfortable appearing in public...

He did produce a political satire song each week for the 1964 television show "That Was the Week That Was," a groundbreaking topical comedy show that anticipated "Saturday Night Live" a decade later. He released the songs the following year in an album titled "That Was the Year That Was"... [Lehrer's body of work "was actually quite small," the article notes, "amounting to about three dozen songs."] He also wrote songs for the 1970s educational children's show "The Electric Company." He told AP in 2000 that hearing from people who had benefited from them gave him far more satisfaction than praise for any of his satirical works...

He began to teach part-time at Santa Cruz in the 1970s, mainly to escape the harsh New England winters. From time to time, he acknowledged, a student would enroll in one of his classes based on knowledge of his songs. "But it's a real math class," he said at the time. "I don't do any funny theorems. So those people go away pretty quickly."

Spotify was found publishing AI-generated songs on the official pages of deceased artists like Blaze Foley and Guy Clark -- without permission from their estates or labels. The tracks, flagged for deceptive content and now removed, were uploaded via TikTok's SoundOn distribution platform. "We've flagged the issue to SoundOn, the distributor of the content in question, and it has been removed for violating our Deceptive Content policy," a Spotify spokesperson told 404 Media. From the report: McDonald, who decided to originally upload Foley's music to Spotify in order to share it with more people, told me he never thought that an AI-generated track could appear on Foley's page without his permission. "It's harmful to Blaze's standing that this happened," he said. "It's kind of surprising that Spotify doesn't have a security fix for this type of action, and I think the responsibility is all on Spotify. They could fix this problem. One of their talented software engineers could stop this fraudulent practice in its tracks, if they had the will to do so. And I think they should take that responsibility and do something quickly."

McDonald's suggested fix is not allowing any track to appear on an artist's official Spotify page without allowing the page owner to sign off on it first. "Any real Blaze fan would know, I think, pretty instantly, that this is not Blaze or a Blaze recording," he said. "Then the harm is that the people who don't know Blaze go to the site thinking, maybe this is part of Blaze, when clearly it's not. So again, I think Spotify could easily change some practices. I'm not an engineer, but I think it's pretty easy to stop this from happening in the future."

"I vibe coded a little game called Coldplay Canoodlers," reads the X.com post by gaming enthusiast/songwriter Jonathan Mann. "You're the camera operator and you have to find the CEO and HR lady canoodling. 10 points every time you find them."

Mann's post includes a 30-second clip from the game, which is playable here.

Forbes notes that the TikTok video of the couple's reaction has drawn more than 100 million views — and that the married-to-someone-else CEO has now tendered his resignation from his dataops company Astronomer (which was accepted). The company is now searching for a new chief executive, according to a statement posted on LinkedIn. ("Comments have been turned off on this post...")

"Our leaders are expected to set the standard in both conduct and accountability, and recently, that standard was not met."

But songwriter Mann saw a chance to have some fun, writes Forbes: Mann used ChatGPT to make the "Coldplay Canoodlers" game, inputting such prompts as: "Can you generate an 8-bit pixel image of a stadium concert viewed from the stage" and "there should be a large jumbotron somewhere up in the stadium seats." He also entered rough drawings of the visual style he envisioned... The response to the game, Mann said in an interview, has been unexpected. "I have gone viral many times with my songs," he said. It's "very strange to have it happen with a game I made in four hours."
Songwriter Mann has been sharing an original song online every day for over 17 years. Last summer Slashdot also covered Mann's attempts to sell NFTs of his songs, and his concerns about SEC regulations. (This led him to file a real-world legal challenge — and to write a song titled "I'm Suing the SEC".) So with all the attention this weekend to his instant game, there was nothing to do but... write a new song about it.

And minutes ago on X.com, Mann also posted a new update about his game.

"I turned it into an NFT."

"Took some time," Mann explained later. "But I vibe coded my own ERC-721 contract and minted the game as a playable NFT. (Plays great on OpenSea)."