A group of record labels including the big three -- Universal Music Group (UMG), Sony Music Entertainment, and Warner Records -- are suing two of the top names in generative AI music making, alleging the companies violated their copyright "en masse." From a report: The two AI companies, Suno and Udio, use text prompts to churn out original songs. Both companies have enjoyed a level of success: Suno is available for use in Microsoft Copilot though a partnership with the tech giant. Udio was used to create "BBL Drizzy," one of the more notable examples of AI music going viral.

The case against Suno was filed in Boston federal court, and the Udio case was filed in New York. The labels say artists across genres and eras had their work used without consent. The lawsuits were brought by the Recording Industry Association of America (RIAA), the powerful group representing major players in the music industry, and a group of labels. The RIAA is seeking damages of up to $150,000 per work, along with other fees.

OpenAI CEO Sam Altman gave an hour-long interview to the "All-In" podcast (hosted by Chamath Palihapitiya, Jason Calacanis, David Sacks and David Friedberg). And speaking on technology's advance, Altman said "Phones are unbelievably good.... I personally think the iPhone is like the greatest piece of technology humanity has ever made. It's really a wonderful product."


Q: What comes after it?

Altman: I don't know. I mean, that was what I was saying. It's so good, that to get beyond it, I think the bar is quite high.

Q: You've been working with Jony Ive on something, right?

Altman: We've been discussing ideas, but I don't — like, if I knew...


Altman said later he thought voice interaction "feels like a different way to use a computer."

But the conversation turned to Apple in another way. It happened in a larger conversation where Altman said OpenAI has "currently made the decision not to do music, and partly because exactly these questions of where you draw the lines..."

Altman: Even the world in which — if we went and, let's say we paid 10,000 musicians to create a bunch of music, just to make a great training set, where the music model could learn everything about song structure and what makes a good, catchy beat and everything else, and only trained on that — let's say we could still make a great music model, which maybe we could. I was posing that as a thought experiment to musicians, and they were like, "Well, I can't object to that on any principle basis at that point — and yet there's still something I don't like about it." Now, that's not a reason not to do it, um, necessarily, but it is — did you see that ad that Apple put out... of like squishing all of human creativity down into one really iPad...?

There's something about — I'm obviously hugely positive on AI — but there is something that I think is beautiful about human creativity and human artistic expression. And, you know, for an AI that just does better science, like, "Great. Bring that on." But an AI that is going to do this deeply beautiful human creative expression? I think we should figure out — it's going to happen. It's going to be a tool that will lead us to greater creative heights. But I think we should figure out how to do it in a way that preserves the spirit of what we all care about here.
What about creators whose copyrighted materials are used for training data? Altman had a ready answer — but also some predictions for the future. "On fair use, I think we have a very reasonable position under the current law. But I think AI is so different that for things like art, we'll need to think about them in different ways..." Altman:I think the conversation has been historically very caught up on training data, but it will increasingly become more about what happens at inference time, as training data becomes less valuable and what the system does accessing information in context, in real-time... what happens at inference time will become more debated, and what the new economic model is there.
Altman gave the example of an AI which was never trained on any Taylor Swift songs — but could still respond to a prompt requesting a song in her style. Altman: And then the question is, should that model, even if it were never trained on any Taylor Swift song whatsoever, be allowed to do that? And if so, how should Taylor get paid? So I think there's an opt-in, opt-out in that case, first of all — and then there's an economic model.
Altman also wondered if there's lessons in the history and economics of music sampling...

Carl Zimmer reports via the New York Times: Ever since the discovery of whale songs almost 60 years ago, scientists have been trying to decipher their lyrics. Are the animals producing complex messages akin to human language? Or sharing simpler pieces of information, like dancing bees do? Or are they communicating something else we don't yet understand? In 2020, a team of marine biologists and computer scientists joined forces to analyze the click-clacking songs of sperm whales, the gray, block-shaped leviathans that swim in most of the world's oceans. On Tuesday, the scientists reported that the whales use a much richer set of sounds than previously known, which they called a "sperm whale phonetic alphabet." In the study published in the journal Nature Communications, researchers found that sperm whales communicate using sequences of clicks, called codas, that exhibit contextual and combinatorial structure. MIT News reports: The researchers identified something of a "sperm whale phonetic alphabet," where various elements that researchers call "rhythm," "tempo," "rubato," and "ornamentation" interplay to form a vast array of distinguishable codas. For example, the whales would systematically modulate certain aspects of their codas based on the conversational context, such as smoothly varying the duration of the calls -- rubato -- or adding extra ornamental clicks. But even more remarkably, they found that the basic building blocks of these codas could be combined in a combinatorial fashion, allowing the whales to construct a vast repertoire of distinct vocalizations.

[...] By developing new visualization and data analysis techniques, the CSAIL researchers found that individual sperm whales could emit various coda patterns in long exchanges, not just repeats of the same coda. These patterns, they say, are nuanced, and include fine-grained variations that other whales also produce and recognize. "One of the intriguing aspects of our research is that it parallels the hypothetical scenario of contacting alien species. It's about understanding a species with a completely different environment and communication protocols, where their interactions are distinctly different from human norms," says Pratyusha Sharma, an MIT PhD student in EECS, CSAIL affiliate, and the study's lead author. "We're exploring how to interpret the basic units of meaning in their communication. This isn't just about teaching animals a subset of human language, but decoding a naturally evolved communication system within their unique biological and environmental constraints. Essentially, our work could lay the groundwork for deciphering how an 'alien civilization' might communicate, providing insights into creating algorithms or systems to understand entirely unfamiliar forms of communication."

Several users on Reddit have noticed that Spotify has started hiding song lyrics behind a paywall. "This means you won't be able to sing along unless you know the lyrics already, or are willing to look them up in another app," reports Android Police. From the report: Still, you lose the convenience of real-time sync with the track and automatic scrolling. Like skips per hour, it appears Spotify will implement a limit system and accessing lyrics will count against the user's limit, which should ideally reset after a stipulated time.

Spotify usually requests lyrics from songwriters, publishers, and independent artists. However, in most other cases, the company has a working relationship with MusixMatch to provide lyrics, and perhaps Spotify isn't willing to absorb the costs of this partnership. That would explain why lyrics are now paywalled, but as a free-tier user, such changes are chipping away at the service's appeal.

It's another speech-recognizing, AI-powered handheld device "about half the size of a phone," writes CNET. (Though the $199 device comes with a keyboard and a tiny 2.8-inch screen.) "The Rabbit R1 can identify items in its environment. Point it at a plant, and it can tell you what kind it is. Aim it at your lunch, and it can tell you what's in it.

"it also feels a bit like a novelty so far...." It can call an Uber, order dinner from Doordash, translate conversations, record voice memos, play songs from Spotify and more. Your phone can already do all of those things, but [CEO and founder Jesse] Lyu is promoting the Rabbit R1 as a faster and more natural way to do so... So far, the Rabbit R1 feels fun, fresh and interesting, but also frustrating at times. It intrigues me, but it also hasn't convinced me yet that there's room for another gadget in my life.... Many of the things it can do today feel smartphone-esque, like asking for the weather or playing songs on Spotify...

Visual search is the most interesting feature so far... It's pretty accurate for the most part so far. When I pointed it at my salad during lunch, it was able to tell me most of the ingredients. That's not what I asked. After all, who orders a dish without knowing what's in it? I asked the Rabbit R1 to tell me how many calories were in my lunch. While it couldn't provide the answer I wanted, I was impressed with its response... Overall, Rabbit R1's visual analysis worked pretty well for identifying things like plants and characters from pop culture. When describing my colleague's sneakers, the Rabbit R1 got the brand wrong...

So far, I've used the Rabbit R1 to take voice memos, translate speech from Spanish to English, and answer basic questions about things like weather forecasts. These features work as expected for the most part.
The article points out that Ray-Ban Meta Smart Glasses "also have multimodal AI, meaning the eyewear can 'see' what you see and tell you about it," and "you can already do something like this on your phone through Google's Gemini assistant on Android phones (or the Gemini section of the Google app for the iPhone).

"It's also very reminiscent of Google Lens, which has been around for years..."

Noise pollution from traffic stunts growth in baby birds, even while inside the egg, research has found. From a report: Unhatched birds and hatchlings that are exposed to noise from city traffic experience long-term negative effects on their health, growth and reproduction, the study found. "Sound has a much stronger and more direct impact on bird development than we knew before," said Dr Mylene Mariette, a bird communication expert at Deakin University in Australia and a co-author of the study, published in the journal Science. "It would be wise to work more to reduce noise pollution."

A growing body of research has suggested that noise pollution causes stress to birds and makes communication harder for them. But whether birds are already distressed at a young age because they are affected by noise, or by how noise disrupts their environment and parental care, was still unclear. Mariette's team routinely exposed zebra finch eggs for five days to either silence, soothing playbacks of zebra finch songs, or recordings of city traffic noises such as revving motors and cars driving past. They did the same with newborn chicks for about four hours a night for up to 13 nights, without exposing the birds' parents to the sounds.

Today is Record Store Day, which according to Wikipedia is happening in the U.S., the UK, Ireland, Mexico, Europe, Japan and Australia.

An anonymous reader shared this report from The Los Angeles Times: 420 isn't just for stoners. This year, Record Store Day — the worldwide celebration for independent record shops that typically happens every third Saturday of April — falls on the storied day... [A]udiophiles and vinyl collectors will converge at participating stores to search for one-of-a-kind wax and CD releases by artists new and old, along with other one-of-a-kind items....

This year's event brings in roughly 400 anticipated titles including a live recording of Talking Heads from a 1977 performance (featuring seven previously unheard songs), a 12-inch vinyl release of Daft Punk's "Something About Us (Love Theme From Interstella 5555)", an unreleased live solo recording of "The Godmother of Rock n' Roll" by Sister Rosetta Tharpe (from 1966) and a 10-year anniversary edition of Freddie Gibbs & Madlib's "Piñata." Also, this year's Record Store Day ambassador, Paramore, will release a remix version of its 2023 album, "This Is Why" and Cheech and Chong will reissue the soundtrack for their 1978 film, "Up in Smoke," on smoky green vinyl just in time for 4/20...

[E]ven if you're not interested in copping a special release, it's still worth checking out what your favorite record store has to offer on April 20. You'll find events like in-store DJ sets, pop-up shopping experiences and in-store performances.
The event features Record Store Day exclusives (not otherwise available), as well as specially-pressed commemorative editions (which will see a later release on plain black vinyl). American Songwriter lists some of the highlights:

• A special limited edition "miniature turntable" and four 3-inch singles of the Beatles' songs played 60 years ago on the Ed Sullivan show.

• A four-LP set of a 1989 Grateful Dead concert

• A limited edition "expanded" edition of Elton John's album Caribou with a disc of bonus tracks.

• A 12-inch EP previewing the upcoming box set edition of John Lennon's Mind Games album, including a song Lennon wrote for a 1973 Ringo Starr album which also featured George Harrison.

• A white-vinyl pressing of seven Rolling Stones tracks recorded last October — including the live debut of four songs later released on their new album Hackney Diamonds. (One track is a duet with Lady Gaga)

You can see the full list here.

Film data researcher Stepehen, writing on his blog: This may surprise some, but since 2000, just over half of all movies released have been original screenplays. The most common source for adapted screenplays was real-life events, accounting for almost a fifth of movies made between 2000 and 2023. (Typically, in these cases, the filmmakers will have paid for the rights to a nonfiction book or two that covered those events, but we will classify that as 'based on real-life events' in this analysis.) Other sources include fictional books/articles (8.9%), previous movies (11.8%), stage productions (including plays, musicals, and dance performances) (1.5%), and TV/Web shows (0.9%). In the chart below, 'Other' includes myths, legends, poems, songs, games, toys, and more.

How has this changed over the years? Forty years ago, about the same proportion of movies being made were original screenplays as they are today. That's quite surprising -- both because I assume that many people expected it to be lower in recent years, but also because little stays the same in the film industry over such a long period of time. But when we look at a time series by year, we can see that it hadn't plateaued. During the late 1990s and 2000s, original screenplays declined markedly and only rose again in the 2010s.

Abstract of a paper on Nature: Music is ubiquitous in our everyday lives, and lyrics play an integral role when we listen to music. The complex relationships between lyrical content, its temporal evolution over the last decades, and genre-specific variations, however, are yet to be fully understood. In this work, we investigate the dynamics of English lyrics of Western, popular music over five decades and five genres, using a wide set of lyrics descriptors, including lyrical complexity, structure, emotion, and popularity.

We find that pop music lyrics have become simpler and easier to comprehend over time: not only does the lexical complexity of lyrics decrease (for instance, captured by vocabulary richness or readability of lyrics), but we also observe that the structural complexity (for instance, the repetitiveness of lyrics) has decreased. In addition, we confirm previous analyses showing that the emotion described by lyrics has become more negative and that lyrics have become more personal over the last five decades. Finally, a comparison of lyrics view counts and listening counts shows that when it comes to the listeners' interest in lyrics, for instance, rock fans mostly enjoy lyrics from older songs; country fans are more interested in new songs' lyrics.

Rachel Treisman reports via NPR: Authorities in the Russian republic of Chechnya are banning music they consider either too fast or too slow, effectively criminalizing many genres. The Chechen Ministry of Culture announced the ban on its website last week, by the order of Culture Minister Musa Dadayev and with the agreement of Chechen leader Ramzan Kadyrov. "Musical, vocal and choreographic" works will be limited to a tempo of 80 to 116 beats per minute (BPM) to "conform to the Chechen mentality and sense of rhythm," said Dadayev, according to the Russian state-run news agency TASS.

"Borrowing musical culture from other peoples is inadmissible," Dadayev said, per a translation by The Guardian. "We must bring to the people and to the future of our children the cultural heritage of the Chechen people. This includes the entire spectrum of moral and ethical standards of life for Chechens." Russian media report that artists have until June 1 to rewrite any music that doesn't conform to the new rule, though it's not clear how it will be enforced. [...]

The government's crackdown on certain musical tempos would silence most modern music genres. Electronic styles of music like house, techno and dubstep all tend to have BPMs of over 116, says the audio tech company Izotope, while the average tempo of 2020's best-selling pop songs was 122 BPM, according to the BBC. The independent Russian news outlet Meduza said the tempo of the Russian national anthem would be considered too slow under the new limit, reports RadioFreeEurope/RadioLiberty. But it would seem to permit hip-hop music, which generally has a BPM of 85 to 95. "Chechnya is a roughly 6,700-square-mile autonomous republic situated in the North Caucasus of southern Russia and home to some 1.5 million people, the vast majority of whom are Muslim," notes NPR. "The U.S. Commission on International Religious Freedom has said Kadyrov's regime 'maintains hegemony through the imposition of a purported 'traditional' version of Islam, which falsely claims to defend local belief and culture, and combat violent extremism.'"

"'In reality, Kadyrov has [co-opted] Chechen religion and culture to support his brutal regime, which violates the secular constitution of the Russian Federation and international standards of freedom of religion or belief,' it added."

A bill introduced in the US Congress on Tuesday intends to force AI companies to reveal the copyrighted material they use to make their generative AI models. From a report: The legislation adds to a growing number of attempts from lawmakers, news outlets and artists to establish how AI firms use creative works like songs, visual art, books and movies to train their software-and whether those companies are illegally building their tools off copyrighted content.

The California Democratic congressman Adam Schiff introduced the bill, the Generative AI Copyright Disclosure Act, which would require that AI companies submit any copyrighted works in their training datasets to the Register of Copyrights before releasing new generative AI systems, which create text, images, music or video in response to users' prompts. The bill would need companies to file such documents at least 30 days before publicly debuting their AI tools, or face a financial penalty. Such datasets encompass billions of lines of text and images or millions of hours of music and movies.

"AI has the disruptive potential of changing our economy, our political system, and our day-to-day lives. We must balance the immense potential of AI with the crucial need for ethical guidelines and protections," Schiff said in a statement. Whether major AI companies worth billions have made illegal use of copyrighted works is increasingly the source of litigation and government investigation. Schiff's bill would not ban AI from training on copyrighted material, but would put a sizable onus on companies to list the massive swath of works that they use to build tools like ChatGPT -- data that is usually kept private.

It's the 50th anniversary of Devo, the geek-friendly, dystopia-themed band that combined synthesizers with showmanship, first founded in 1973.

As a new documentary about the group celebrates its Sundance world premiere, the Los Angeles Times explores how the band made innovative use of the technology of its time: With their yellow radiation suits, red "energy dome" hats and manic energy, part playful and part angry, the band Devo combined the futuristic glamour of new wave with atomic-age anxieties and post-'60s disillusionment.... Uniquely, the band developed a fully formed, intricate internal philosophy and mythology built around the idea that humans were "de-evolving" by becoming dumber and less sophisticated. The mascot of the band, known as "Booji Boy," was an infantile urchin in a rubber mask...

Was there an idea to document the band right from the very start? It's incredible that there's footage of the very first show in 1973.

GERALD CASALE: We were that delusional, yes. And we were trying to document ourselves when nobody was interested in doing that. And when it was quite expensive and clumsy to do it. You're dealing with Sony U-matic reel-to-reel recorders and big heavy cameras and a scarcity of equipment and very little interest. I mean, my God, if a Devo of now existed like we did, then clearly, there'd be a million cellphone videos.

MARK MOTHERSBAUGH: [...] Bob was the first of us to direct a video, back when he was in high school. Bob and me, our dad, starting when we were like babies, like 1 year old, he'd bring out an 8-millimeter camera that didn't have sound, and so he shot hundreds and hundreds of these films through the years, just family stuff. So we always kind of liked that. And Jerry was doing films at Kent State with Chuck Statler before Chuck said, "Hey, let's do a film with a couple of the songs in it." So we were always audio-visual. We were always thinking in both worlds...

[DOCUMENTARY DIRECTOR] CHRIS SMITH: One of my favorite details in looking through the old footage is, there's an early show that was recorded in black-and-white, and they have such limited materials to work with, yet they do this thing where the light goes on and off on both sides of the stage. And to me it was so emblematic of where they were going because they were making something that you hadn't seen before that was super creative and visually distinctive and interesting out of something we all had to work with... You could see in that footage, the inventiveness that wasn't a result of means — it was something that was just created out of what they had to work with at that time.

MARK MOTHERSBAUGH: [...] Sonically, a lot of what we did was just related to the fact that Bob Mothersbaugh bought a four-track TEAC. So we had this machine that could record four little skinny channels on a quarter-inch tape. It was an amateur home-tape machine, but it made us think about our parts, because we thought, well, OK, you're only going to get to do the bass on one track, and the guitar on one track and the drums on one track and the synth. You're not going to do all these overdubs. We had to think about it, what was an essential part. So we'd work on the song till you could play it just in one pass. Everything essential. I think it really made the early stuff sound really strong because of that.
You really get a sense of that on their 1978 song "Mongoloid." But the 2023 documentary's director doesn't see his film as an ending bookmark for the band. "They're still touring. They're all still actively creatively pursuing many different things, as I hope that you would expect after seeing the film."

And speaking specifically about the documentary, Mark Mothersbaugh says Booji Boy "describes it as a halfway point to the year of 2073, where we'll celebrate the 100-year anniversary." Booji Boy also says the next 50 years will be more about action. "And it'll be about positive mutation. Mutate, don't stagnate."

Since launching in 2007, Harmonix's Rock Band has released over 2,800 DLC songs to keep its rhythm game fresh. Now, Harmonix has announced the last of the series' releases will arrive on January 25, "marking the end of a nearly 16-year era in music gaming history," reports Ars Technica. From the report: Previously purchased DLC songs will still be playable in Rock Band 4, Harmonix's Daniel Sussman writes in an announcement post. Rock Band 4 live services, including online play, will also continue as normal, after online game modes for earlier Rock Band games were finally shut down in late 2022. "Taking a longer look back, I see the Rock Band DLC catalog as a huge achievement in persistence and commitment," Sussman writes. "Over the years we've cleared, authored and released nearly 3,000 songs as DLC and well over 3,000 if you include all the game soundtracks. That's wild." [...]

While official support for Rock Band DLC is finally ending, the community behind Clone Hero just recently hit an official Version 1.0 release for their PC-based rhythm game that's compatible with many guitars, drums, keyboards, gamepads, and adapters used in Rock Band and other console rhythm games (microphones excluded). While that game doesn't come with anything like Rock Band's list of officially licensed song content, it's not hard to find a bevy of downloadable, fan-made custom Clone Hero tracks with a little bit of searching.

Since shortly after its acquisition by Epic in 2021, Harmonix has been working on "Fortnite Festival," the incredibly Rock Band-esque mini-game embedded in Epic's Fortnite "metaverse." Sussman writes that a "rotating selection" of free-to-play songs will continue to cycle through that game mode, and that support for Rock Band 4 instruments will be coming to Fortnite in the future as well (peripheral-maker PDP looks like it will be getting in on the Fortnite guitar act as well). As for the last few weeks of Rock Band DLC offerings, Sussman writes that Harmonix is planning "some tear jerkers that sum up our feelings about this moment."

The global music industry surpassed 4 trillion streams in 2023, a new single-year record, Luminate's 2023 Year-End Report found. Global streams were also up 34% from last year, reflective of an increasingly international music marketplace. From a report: Stateside, three genres saw the biggest growth in 2023: country (23.7%), Latin (which encompasses all Latin musical genres, up 24.1%) and world (a catchall that includes J-pop, K-pop and Afrobeats, up 26.2%.) It seems that more Americans are listening to non-English music. By the end of 2023, Luminate found that Spanish-language music's share of the top 10,000 songs streamed in the U.S. grew 3.8%, and English-language music's share dropped 3.8%.

Elvis Presley "will be stepping into his blue suede shoes once again..." according to an article in TheStreet, "thanks to the power of artificial intelligence." The legendary singer from Tupelo, Mississippi, is set to thrill audiences in "Elvis Evolution," an "immersive concert experience" that uses AI and holographic projection. The show will debut in London in November. But if you can't make it to England, that's all right, mama, that's all right for you, because additional shows are slated for Berlin, Tokyo and Las Vegas, where Presley had a seven-year residency from 1969 to 1976.

"Man, I really like Vegas," he once reportedly said. The British immersive entertainment company Layered Reality partnered with Authentic Brands Group, which owns the rights to Elvis' image, to create the event.

"The show peaks with a concert experience that will recreate the seismic impact of seeing Elvis live for a whole new generation of fans, blurring the lines between reality and fantasy," Layered Reality said on its website. "A life-sized digital Elvis will share his most iconic songs and moves for the very first time on a UK stage." The company previously made immersive experiences based on the Gunpowder Plot of 1605 and "The War of The Worlds."

Once a dominant force in music discovery, Spotify's famed playlists like RapCaviar, which significantly influenced mainstream music and artist visibility, are losing ground. As the music industry shifts towards algorithmic suggestions and TikTok emerges as a major music promoter, Spotify's strategy evolves with more automated music discovery and less emphasis on human-curated playlists, signaling a potential end to the era where a few key playlists could make a star overnight. Bloomberg reports: Enter TikTok. In the late 2010s, as the algorithmic controlled, short-form video app emerged as a growing force in music promotion, Spotify took notice. On an earnings call in 2020, Spotify Chief Executive Officer Daniel Ek noted that users were increasingly opting for algorithmic suggestions and that Spotify would be leaning into the trend. "As we're getting better and better at personalization, we're serving better and better content and more and more of our users are choosing that," he said. From there, Spotify began implementing a number of changes that over time significantly altered the fundamental dynamics of how playlists get composed. Among other things, the company had already introduced a standardized pitching form that all artists and managers must use to submit tracks for playlist consideration. One former employee says the tool was created to foster a more merit-based system with a greater emphasis on data -- and less focus on the taste of individual curators. The goal, in part, was to give independent and smaller artists without the resources to personally court key playlist editors a better chance at placements. It was also a way to better protect the public-facing editors who in the early days were sometimes subjected to harassment from people disgruntled over their musical choices.

As the automated submission system took hold, the editors gradually grew more anonymous and less associated with particular playlists. In a handbook for the editorial team, Spotify instructed curators not to claim ownership of any one playlist. At the same time, Spotify began introducing multiple splashy features meant to encourage algorithm-driven listening, including an AI DJ and Daylist, two features that constantly change to fit listeners' habits and interests. (Spotify says "human expertise" guides the AI DJ.) Last year, Spotify laid off members of the teams involved in making playlists as part of its various cuts. And over time, the shift in emphasis has had consequences outside the company as well. These days, the same music industry sources who in the late 2010s learned to obsess over what was included and excluded from key Spotify playlists have started noticing something else -- it no longer seems to matter as much. Employees at different major labels say they've seen streams coming from RapCaviar drop anywhere from 30% to 50%.

The trend towards automated music discovery at Spotify shows no sign of slowing down. One internal presentation titled "Recapturing the Zeitgeist" encourages editorial curators to better utilize data. According to the people who have seen the plan, in addition to putting together a playlist, editorial curators would tag songs to help the algorithm accurately place them on relevant playlists that are automatically personalized for individual subscribers. The company has also shifted some human-curated playlists to personalized versions, including selections with seven-figure followings, like Housewerk and Indie Pop. These days, Spotify is also promoting something called Discovery Mode, wherein labels and artist teams can submit songs for additional algorithm pushes in exchange for a lower royalty rate. These tracks can only surface on personalized listening sessions, a former employee said, meaning Spotify would have a financial incentive to push people to them over editorially curated playlists. (For now, Discovery Mode songs only surface in radio or autoplay listening sessions.) The shift toward algorithmic distribution isn't necessarily a bad thing, says Dan Smith, US general manager at Armada, an independent dance label. "The way fans discovered new music was radio back in the day, then Spotify editorial playlists, then there were a few years where people only discovered new music through TikTok," Brad said. "All those things still work ... we're all just trying different ways to make sure songs get to the right people."

"The events of 2023 showed that A.I. doesn't need to be that good in order to do damage," argues novelist Lincoln Michel in the New Republic: This March, news broke that the latest artificial intelligence models could pass the LSAT, SAT, and AP exams. It sparked another round of A.I. panic. The machines, it seemed, were already at peak human ability. Around that time, I conducted my own, more modest test. I asked a couple of A.I. programs to "write a six-word story about baby shoes," riffing on the famous (if apocryphal) Hemingway story. They failed but not in the way I expected. Bard gave me five words, and ChatGPT produced eight. I tried again, specifying "exactly six words," and received eight and then four words. What did it mean that A.I. could best top-tier lawyers yet fail preschool math?

A year since the launch of ChatGPT, I wonder if the answer isn't just what it seems: A.I. is simultaneously impressive and pretty dumb. Maybe not as dumb as the NFT apes or Zuckerberg's Metaverse cubicle simulator, which Silicon Valley also promised would revolutionize all aspects of life. But at least half-dumb. One day A.I. passes the bar exam, and the next, lawyers are being fined for citing A.I.-invented laws. One second it's "the end of writing," the next it's recommending recipes for "mosquito-repellant roast potatoes." At best, A.I. is a mixed bag. (Since "artificial intelligence" is an intentionally vague term, I should specify I'm discussing "generative A.I." programs like ChatGPT and MidJourney that create text, images, and audio. Credit where credit is due: Branding unthinking, error-prone algorithms as "artificial intelligence" was a brilliant marketing coup)....

The legal questions will be settled in court, and the discourse tends to get bogged down in semantic debates about "plagiarism" and "originality," but the essential truth of A.I. is clear: The largest corporations on earth ripped off generations of artists without permission or compensation to produce programs meant to rip us off even more. I believe A.I. defenders know this is unethical, which is why they distract us with fan fiction about the future. If A.I. is the key to a gleaming utopia or else robot-induced extinction, what does it matter if a few poets and painters got bilked along the way? It's possible a souped-up Microsoft Clippy will morph into SkyNet in a couple of years. It's also possible the technology plateaus, like how self-driving cars are perpetually a few years away from taking over our roads. Even if the technology advances, A.I. costs lots of money, and once investors stop subsidizing its use, A.I. — or at least quality A.I. — may prove cost-prohibitive for most tasks....

A year into ChatGPT, I'm less concerned A.I. will replace human artists anytime soon. Some enjoy using A.I. themselves, but I'm not sure many want to consume (much less pay for) A.I. "art" generated by others. The much-hyped A.I.-authored books have been flops, and few readers are flocking to websites that pivoted to A.I. Last month, Sports Illustrated was so embarrassed by a report they published A.I. articles that they apologized and promised to investigate. Say what you want about NFTs, but at least people were willing to pay for them.
"A.I. can write book reviews no one reads of A.I. novels no one buys, generate playlists no one listens to of A.I. songs no one hears, and create A.I. images no one looks at for websites no one visits.

"This seems to be the future A.I. promises. Endless content generated by robots, enjoyed by no one, clogging up everything, and wasting everyone's time."

Long-time tech entrepreneur Anil Dash predicts a big shift in the digital landscape in 2024. And "regular internet users — not just the world's tech tycoons — may be the ones who decide how it goes." The first thing to understand about this new era of the internet is that power is, undoubtedly, shifting. For example, regulators are now part of the story — an ironic shift for anyone who was around in the dot com days. In the E.U., tech giants like Apple are being forced to hold their noses and embrace mandated changes like opening up their devices to allow alternate app stores to provide apps to consumers. This could be good news, increasing consumer choice and possibly enabling different business models — how about mobile games that aren't constantly pestering gamers for in-app purchases? Back in the U.S., a shocking judgment in Epic Games' (that's the Fortnite folks') lawsuit against Google leaves us with the promise that Android phones might open up in a similar way.

That's not just good news for the billions of people who own smartphones. It's part of a sea change for the coders and designers who build the apps, sites, and games we all use. For an entire generation, the imagination of people making the web has been hemmed in by the control of a handful of giant companies that have had enormous control over things like search results, or app stores, or ad platforms, or payment systems. Going back to the more free-for-all nature of the Nineties internet could mean we see a proliferation of unexpected, strange new products and services. Back then, a lot of technology was created by local communities or people with a shared interest, and it was as likely that cool things would be invented by universities and non-profits and eccentric lone creators as they were to be made by giant corporations....

In that era, people could even make their own little social networks, so the conversations and content you found on an online forum or discussion were as likely to have been hosted by the efforts of one lone creator than to have come from some giant corporate conglomerate. It was a more democratized internet, and while the world can't return to that level of simplicity, we're seeing signs of a modern revisiting of some of those ideas.
Dash's article (published in Rolling Stone) ends with examples of "people who had been quietly keeping the spirit of the human, personal, creative internet alive...seeing a resurgence now that the web is up for grabs again. "

• Digital artist Everest Pipkin

• The School for Poetic Computation (which Dash describes as "an eccentric, deeply charming, self-organized school for people who want to combine art and technology and a social conscience.")

• Mask On Zone, "a collaboration with the artist and coder Ritu Ghiya, which gives demonstrators and protesters in-context guidance on how to avoid surveillance."

• There's projects and tools from makers like Stefan Bohacek, Darius Kazemi, and Elan Kiderman Ullendorff (including Youtune ("a stream of relatively unviewed original songs posted to YouTube.")

Dash concludes that "We're seeing the biggest return to that human-run, personal-scale web that we've witnessed since the turn of the millennium, with enough momentum that it's likely that 2024 is the first year since then that many people have the experience of making a new connection or seeing something go viral on a platform that's being run by a regular person instead of a commercial entity.

"It's going to make a lot of new things possible..."

A big thank-you for submitting the article to long-time Slashdot reader, DrunkenTerror.

"Millions of Star Wars fans get nostalgia pangs during the holiday season," reports the Washington Post, "when they are accustomed to seeing broadcasts of their beloved movies.... FX, now owned by Disney, has multiple Star Wars marathons on tap this month, including a marathon on December 23 and 24." The program-planning director at Disney's Freedom channel even calls Star Wars a "Christmas-adjacent" franchise.

And now, long-time Slashdot reader H_Fisher writes... Call it a Life Day miracle, even if nobody was asking for it. YouTube historian and retro-tech enthusiast Perifractic uploaded a restored, mostly-complete 4K upscale of the "infamous" Star Wars Holiday Special to his channel on Wednesday. From the video summary: "Using Topaz Labs [Video AI] with a few other techniques we've meticulously upscaled & restored the infamous Star Wars Holiday Special to 5120x3840, with stereo elements, to the best quality the technology currently allows."

Jokingly labeling the resulting file "5K" (8K video height, but tagged "4K" by YouTube due to its original 4:3 aspect ratio), the upscaled version unfortunately (or fortunately, depending on your point of view) replaces some songs and omits some segments that were flagged by YouTube's copyright watchdog.

Microsoft Copilot, Microsoft's AI-powered chatbot, can now compose songs thanks to an integration with GenAI music app Suno. From a report: Users can enter prompts into Copilot like "Create a pop song about adventures with your family" and have Suno, via a plug-in, bring their musical ideas to life. From a single sentence, Suno can generate complete songs -- including lyrics, instrumentals and singing voices.

Copilot users can access the Suno integration by launching Microsoft Edge, visiting Copilot.Microsoft.com, logging in with their Microsoft account and enabling the Suno plug-in or clicking on the Suno logo that says "Make music with Suno." [...] AI algorithms "learn" from existing music to produce similar effects, a fact with which not all artists -- or GenAI users -- are comfortable, especially in cases where artists don't consent to having an AI algorithm train on their music and didn't receive compensation for it.