Long-time Slashdot reader theodp writes: For the soundtracks to their 2023 holiday season ads, both Amazon and Apple turned to music by members of The Beatles. Amazon's Joy Ride, which stars three older women reliving their youthful joy at a sledding hill, is set to a cover of The Beatles' In My Life. Apple's Fuzzy Feelings, which tells the story of a young woman with a grumpy boss, is set to George Harrison's Isn't It a Pity.

Product placement is present in both ads — Amazon features padded seat cushions that protect the seniors' tushes and the Amazon app used to order them, while Apple showcases the iPhone 15 Pro Max used to capture the ad's stop-motion animation scenes and the MacBook Air used to edit them.

Amazon's 60-second ad has 542K views on YouTube, while Apple's 4-minute ad has 16+ million views.

The Economist reports: "Shake, shake, shake, shake," Taylor Swift sings from the stage of Lumen Field in Seattle at 10.35 in the evening on July 22nd. The fans respond, enthusiastically; the stadium duly shakes; a nearby seismometer takes note. To pop aficionados "Shake it off" is an empowering up-tempo anthem played at 160 beats per minute. To the Pacific Northwest Seismic Network, which is designed to monitor earthquakes, it is a 2.6 hertz signal in which the amplitude of the acceleration was as large as one centimetre per second, per second.

The well-situated seismometer first came to public attention in January 2011, when it recorded the response of fans of the Seattle Seahawks, an American football team, to a magnificent touchdown by Marshawn Lynch, a running back known as "Beast Mode." The "Beast Quake" went down in local sporting history. When Ms Swift came to town for two nights of her Eras tour, Jacqueline Caplan-Auerbach, a geology professor at Western Washington University, used the opportunity to learn more about how events in the stadium shake its surroundings. On December 11th she presented some of her conclusions at the American Geophysical Union's autumn meeting in San Francisco.

[...] Dr Caplan-Auerbach wanted to see whether such resonant amplification might also be at play elsewhere, and to distinguish between the effect of the music itself and the audience's response. Her concert-night data showed two distinct sets of signals, one in higher frequencies (30-80hz), one in lower frequencies (1-8hz). The higher-frequency signals were present during the sound check, when the band were on stage but the stadium empty, and absent during the concerts' "surprise songs," played without the band by Ms Swift alone. The lower frequencies were absent when the audience had yet to arrive. Clearly those higher frequencies were from the music itself.

Universal Music has filed a copyright infringement lawsuit against artificial intelligence start-up Anthropic, as the world's largest music group battles against chatbots that churn out its artists' lyrics. From a report: Universal and two other music companies allege that Anthropic scrapes their songs without permission and uses them to generate "identical or nearly identical copies of those lyrics" via Claude, its rival to ChatGPT. When Claude is asked for lyrics to the song "I Will Survive" by Gloria Gaynor, for example, it responds with "a nearly word-for-word copy of those lyrics," Universal, Concord, and ABKCO said in a filing with a US court in Nashville, Tennessee.

"This copyrighted material is not free for the taking simply because it can be found on the Internet," the music companies said, while claiming that Anthropic had "never even attempted" to license their copyrighted work. The lawsuit comes as the music industry is grappling with the rise of AI technology that can produce "deepfake" songs that mimic the voices, lyrics, or sound of established musicians. The issue drew attention earlier this year after an AI-produced song that mimicked the voices of Drake and The Weeknd spread online.

"If we carry on the way we're going, we're going to have to concrete the whole planet just to store the data that we're generating," explains a deputy lab director at Microsoft Research Cambridge in a new video.

Fortunately, "A small sheet of glass can now hold several terabytes of data, enough to store approximately 1.75 million songs or 13 years' worth of music," explains a Microsoft Research web page about "Project Silica". (Data is retrieved by a high-speed, computer-controlled microscope from a library of glass disks storing data in three-dimensional pixels called voxels): Magnetic storage, although prevalent, is problematic. Its limited lifespan necessitates frequent re-copying, increasing energy consumption and operational costs over time. "Magnetic technology has a finite lifetime," says Ant Rowstron, Distinguished Engineer, Project Silica. "You must keep copying it over to new generations of media. A hard disk drive might last five years. A tape, well, if you're brave, it might last ten years. But once that lifetime is up, you've got to copy it over. And that, frankly, is both difficult and tremendously unsustainable if you think of all that energy and resource we're using."

Project Silica aims to break this cycle. Developed under the aegis of Microsoft Research, it can store massive amounts of data in glass plates roughly the size of a drink coaster and preserve the data for thousands of years. Richard Black, Research Director, Project Silica, adds, "This technology allows us to write data knowing it will remain unchanged and secure, which is a significant step forward in sustainable data storage." Project Silica's goal is to write data in a piece of glass and store it on a shelf until it is needed. Once written, the data inside the glass is impossible to change.

Project Silica is focused on pioneering data storage in quartz glass in partnership with the Microsoft Azure team, seeking more sustainable ways to archive data. This relationship is symbiotic, as Project Silica uses Azure AI to decode data stored in glass, making reading and writing faster and allowing more data storage... The library is passive, with no electricity in any of the storage units. The complexity is within the robots that charge as they idle inside the lab, awakening when data is needed... Initially, the laser writing process was inefficient, but after years of refinement, the team can now store several TB in a single glass plate that could last 10,000 years. For a sense of scale, each plate could store around 3,500 movies. Or enough non-stop movies to play for over half a year without repeating. A glass plate could hold the entire text of War and Peace — one of the longest novels ever written — about 875,000 times.
And most importantly, it can store data in a fraction of the space of a datacenter...

Thanks to long-time Slashdot reader Kirschey for sharing the article.

U2's inaugural performance at the opening of Las Vegas's Sphere included a generative AI video collage projected hundreds of feet into the air — showing hundreds of surreal renderings of Elvis Presley.

An anonymous reader shares this report from Time magazine: The video collage is the creation of the artist Marco Brambilla, the director of Demolition Man and Kanye West's "Power" music video, among many other art projects. Brambilla fed hours of footage from Presley's movies and performances into the AI model Stable Diffusion to create an easily searchable library to pull from, and then created surreal new images by prompting the AI model Midjourney with questions like: "What would Elvis look like if he were sculpted by the artist who made the Statue of Liberty...?"

While Brambilla's Elvises prance across the Sphere's screen — which is four times the size of IMAX — the band U2 will perform their song "Even Better Than The Real Thing," as part of their three-month residency at the Sphere celebrating their 1991 album Achtung Baby... Earlier this year, U2 commissioned several artists, including Brambilla and Jenny Holzer, to create visual works that would accompany their performances of specific songs. Given U2's love for the singer and the lavish setting of the Sphere, Brambilla thought a tribute to Elvis would be extremely fitting. He wanted to create a maximalist work that encapsulated both the ecstatic highs and grimy lows of not only Elvis, but the city of Las Vegas itself. "The piece is about excess, spectacle, the tipping point for the American Dream," Brambilla said in a phone interview.

Brambilla was only given three-and-a-half months to execute his vision, less than half the time that he normally spends on video collages. So he turned to AI tools for both efficiency and extravagance. "AI can exaggerate with no end; there's no limit to the density or production value," Brambilla says. And this seemed perfect for this project, because Elvis became a myth; a larger-than-life character..." Brambilla transplanted his MidJourney-created images into CG (computer graphics) software, where he could better manipulate them, and left some of the Stable Diffusion Elvis incarnations as they were. The result is a kaleidoscopic and overwhelming video collage filled with video clips both historical and AI-generated, that will soon stretch hundreds of feet above the audience at each of U2's concerts.

"I wanted to create the feeling that by the end of it," Brambilla says, "We're in a place that is so hyper-saturated and so dense with information that it's either exhilarating or terrifying, or both."
Brambilla created an exclusive video excerpting from the larger collage for TIME. The magazine reports that one of the exact prompts he entered was:

"Elvis Presley in attire inspired by the extravagance of ancient Egypt and fabled lost civilizations in a blissful state. Encircling him, a brigade of Las Vegas sorceresses, twisted and warped mid-chant, reflect the influence of Damien Hirst and Andrei Riabovitchev, creating an atmosphere of otherworldly realism, mirroring the decadence and illusion of consumption."

Criminal gangs behind a rise in bombings and shootings in Sweden in recent years are using fake Spotify streams to launder money, a Swedish newspaper reported earlier this month. From a report: Criminal networks have for several years been using money from drug deals, robberies, fraud and contract killings to pay for false Spotify streams of songs published by artists with ties to the gangs, an investigative report in Svenska Dagbladet claimed. They then get paid by the platform for the high number of streams, thereby laundering the money. The newspaper said its information had been confirmed by four gang members from separate criminal networks in Stockholm, as well as an anonymous police investigator.

Long-time Slashdot reader bshell shared this announcement from the Internet Archive: Some of the world's largest record labels, including Sony and Universal Music Group, filed a lawsuit against the Internet Archive and others for the Great 78 Project, a community effort for the preservation, research and discovery of 78 rpm records that are 70 to 120 years old.

The project has been in operation since 2006 to bring free public access to a largely forgotten but culturally important medium. Through the efforts of dedicated librarians, archivists and sound engineers, we have preserved hundreds of thousands of recordings that are stored on shellac resin, an obsolete and brittle medium. The resulting preserved recordings retain the scratch and pop sounds that are present in the analog artifacts; noise that modern remastering techniques remove.
"The labels' lawsuit said the project includes thousands of their copyright-protected recordings," reports Reuters, including Bing Crosby's "White Christmas" and Chuck Berry's "Roll Over Beethoven."

"The lawsuit said the recordings are all available on authorized streaming services and 'face no danger of being lost, forgotten, or destroyed.'" The labels' lawsuit filed in a federal court in Manhattan said the Archive's "Great 78 Project" functions as an "illegal record store" for songs by musicians including Frank Sinatra, Ella Fitzgerald, Miles Davis and Billie Holiday. They named 2,749 sound-recording copyrights that the Archive allegedly infringed. The labels said their damages in the case could be as high as $412 million.

An anonymous reader quotes a report from the New York Times: Scientists have trained a computer to analyze the brain activity of someone listening to music and, based only on those neuronal patterns, recreate the song. The research, published on Tuesday, produced a recognizable, if muffled version of Pink Floyd's 1979 song, "Another Brick in the Wall (Part 1)." [...] To collect the data for the study, the researchers recorded from the brains of 29 epilepsy patients at Albany Medical Center in New York State from 2009 to 2015. As part of their epilepsy treatment, the patients had a net of nail-like electrodes implanted in their brains. This created a rare opportunity for the neuroscientists to record from their brain activity while they listened to music. The team chose the Pink Floyd song partly because older patients liked it. "If they said, 'I can't listen to this garbage,'" then the data would have been terrible, Dr. Schalk said. Plus, the song features 41 seconds of lyrics and two-and-a-half minutes of moody instrumentals, a combination that was useful for teasing out how the brain processes words versus melody.

Robert Knight, a neuroscientist at the University of California, Berkeley, and the leader of the team, asked one of his postdoctoral fellows, Ludovic Bellier, to try to use the data set to reconstruct the music "because he was in a band," Dr. Knight said. The lab had already done similar work reconstructing words. By analyzing data from every patient, Dr. Bellier identified what parts of the brain lit up during the song and what frequencies these areas were reacting to. Much like how the resolution of an image depends on its number of pixels, the quality of an audio recording depends on the number of frequencies it can represent. To legibly reconstruct "Another Brick in the Wall," the researchers used 128 frequency bands. That meant training 128 computer models, which collectively brought the song into focus. The researchers then ran the output from four individual brains through the model. The resulting recreations were all recognizably the Pink Floyd song but had noticeable differences. Patient electrode placement probably explains most of the variance, the researchers said, but personal characteristics, like whether a person was a musician, also matter.

The data captured fine-grained patterns from individual clusters of brain cells. But the approach was also limited: Scientists could see brain activity only where doctors had placed electrodes to search for seizures. That's part of why the recreated songs sound like they are being played underwater. [...] The researchers also found a spot in the brain's temporal lobe that reacted when volunteers heard the 16th notes of the song's guitar groove. They proposed that this particular area might be involved in our perception of rhythm. The findings offer a first step toward creating more expressive devices to assist people who can't speak. Over the past few years, scientists have made major breakthroughs in extracting words from the electrical signals produced by the brains of people with muscle paralysis when they attempt to speak.

The Original High-C writes: Dear Commander Taco,

I hope you are well, as the world is increasingly 'mid', as the kids say. I am the guy whose story you published 17 years ago about a nerd rap compilation. We had a wild ride, as documented in this, um, documentary on Amazon Prime.

Long after anyone stopped caring, I finally released my first free-as-in-beer album. This song tells the story of the ultimate demise of the scene, and I felt it was a fitting bookend for our first chapter. Maybe 2.0 will be better? Thanks for all you did for us, if no one ever told you before.

Sincerely,

The Original High-C

A husband and wife cyber-crime team have pleaded guilty to trying to launder $4.5bn of Bitcoin that he had stolen in a hack in 2016. From a report: Heather Morgan and Ilya Lichtenstein were arrested last year in New York after police traced their riches back to the crypto heist. While evading police, Morgan masqueraded as a rapper and tech entrepreneur. As part of a plea deal, Lichtenstein admitted he was behind the hack. The couple both pleaded guilty to money laundering, but Morgan pleaded guilty to an additional count of conspiracy to defraud the United States. In spite of attempting to cover up her crimes, Morgan published dozens of expletive-filled music videos and rap songs filmed in locations around New York, under the name Razzlekhan. In her lyrics she called herself a "bad-ass money maker" and "the crocodile of Wall Street."

In articles published in Forbes, Morgan also claimed to be a successful tech businesswoman, calling herself an "economist, serial entrepreneur, software investor and rapper." But while developing her rapping and tech persona, she and her computer programmer husband were attempting to cash out their fortune stolen from the crypto firm Bitfinex. The couple now face prison sentences with Lichtenstein in line for a possible maximum 20 years in prison and Morgan a possible 10. At the time of their arrest in February 2022, the stash of 119,000 Bitcoins was worth about $4.5bn -- making it the US Department of Justice's largest single financial seizure in its history. When the hack was carried out, the Bitcoins were worth about $71m.

An anonymous reader quotes a report from the New York Times: The hush at the end of the musical performance. The pause in a dramatic speech. The muted moment when you turn off the car. What is it that we hear when we hear nothing at all? Are we detecting silence? Or are we just hearing nothing and interpreting that absence as silence? The "Sound of Silence" is a philosophical question that made for one of Simon & Garfunkel's most enduring songs, but it's also a subject that can be tested by psychologists. In a paper published Monday in the Proceedings of the National Academy of Sciences, researchers used a series of sonic illusions to show that people perceive silences much as they hear sounds. While the study offers no insight into how our brains might be processing silence, the results suggest that people perceive silence as its own type of "sound," not just as a gap between noises.

The researchers tested people recruited online with a series of sound illusions. The first test compared a single longer sound with two shorter sounds. The two shorter sounds together added up to the same amount of time as the longer sound. But when people listened to them, they perceived the single sound as lasting longer. To apply that illusion to silence, [Rui Zhe Goh, a graduate student in cognitive science and philosophy at Johns Hopkins University] and colleagues inverted the test. The scientists used sounds of restaurants, busy marketplaces, trains or playgrounds, and inserted chunks of silence for participants to compare.

The researchers supposed that if people perceive silences as their own type of sound, then silences should be subject to the same illusion as the sounds. One long silence should be perceived as longer than the total of two shorter silences. But if people perceive silence as a lack of sound, the illusion might not exist. Other tests placed silence in different contexts to produce more sonic illusions. In every case they tested, listeners perceived the illusion of a period of silence being longer just as they would have perceived an illusion of a longer sound. [...] Although the researchers did not study how people's brains responded to silence, Mr. Goh suggested that existing research supported the idea that some neurons and neural processes were involved in the perception of silence. And knowing that we do perceive silence makes silence that much, er, louder: "Silence is a real experience," Mr. Goh said. Maybe we'll all pay more attention to moments of quiet once we know we can hear the "sounds" of silence.

An anonymous reader quotes a report from TorrentFreak: By pretending to be legitimate music rightsholders, two men managed to extract over $23 million in revenue from YouTube's content-ID system. Both were arrested, pleaded guilty (PDF), and now face multi-year prison terms. This week, the U.S. requested a 70-month sentence against the 'number two' of the operation, in part to deter future fraud. [...] Last year, one of the defendants confessed to his part in the copyright swindle by pleading guilty. Webster Batista admitted it was a simple scheme: find Latin American music that wasn't yet monetized on YouTube and claim the content as their own. In February of this year, the second defendant pleaded guilty. Jose Teran signed a plea agreement admitting that he was part of the conspiracy, engaging in wire fraud and money laundering.

The Content ID scam was straightforward, Teran's plea agreement revealed. The defendants simply identified unmonetized music and uploaded those songs to YouTube. [W]e discovered there were recorded songs of musicians and bands on the internet that were not being monetized. We began searching and downloading these songs. Once songs were downloaded, Batista would then upload them to Y.T. as mp3 files." "We falsely claimed legal ownership over these songs to receive royalty payments," Teran adds, noting that the scheme brought in millions. To collect these payments Batista launched the company MediaMuv, which became a trusted YouTube Content ID member through a third-party company referred to by the initials A.R. As the scheme grew, more employees were hired and tasked with finding more unmonetized tracks.

Despite pleading guilty, both defendants face a multi-year stint in prison. Teran will be the first to be sentenced and this week, the defendant and the prosecution announced their respective positions. According to the defense, Teran wasn't the lead of the operation. As an aspiring musician he looked up to his co-defendant, who is portrayed as the brains behind the operation. [...] Teran and Batista at one point had between five and eight people working for them. These employees used special software to find unmonetized music which they would then add to their catalog, to exploit YouTube's Content ID system. "Defendant, Jose Teran, engaged in a concerted effort -- over nearly five years -- to steal royalty proceeds from approximately 50,000 song titles, causing a loss of more than $23,000,000.00," the prosecution writes (PDF). "A 70-month sentence is undoubtedly substantial but given Mr. Teran's conduct and the need to deter future fraud, it is entirely warranted," the Government's sentencing memorandum concludes.

Two men who helped run the once wildly popular pirating website Megaupload were each sentenced by a New Zealand court on Thursday to more than two years in prison. From a report: The sentencing of Mathias Ortmann and Bram van der Kolk ended an 11-year legal battle by the men to avoid extradition to the United States on more serious charges that included racketeering. The men last year struck a deal with prosecutors from New Zealand and the U.S. in which they pleaded guilty to being part of a criminal group and causing artists to lose money by deception. Meanwhile Kim Dotcom, the founder of Megaupload, is continuing to fight the U.S. charges and threat of extradition. He has said he expects his former colleagues to testify against him as part of the deal they struck.

U.S. prosecutors say Megaupload raked in at least $175 million -- mainly from people who used the site to illegally download songs, television shows and movies -- before the FBI shut it down in early 2012 and arrested Dotcom and other company officers. Ortmann was sentenced to 2 years and 7 months while van der Kolk was sentenced to 2 years and 6 months. Each had faced a maximum sentence of 10 years in prison but argued they should be allowed to serve their sentences in home detention.

TechCrunch's Kyle Wiggers writes: Not to be outdone by Google, Meta has released its own AI-powered music generator -- and, unlike Google, open-sourced it. Called MusicGen, Meta's music-generating tool, a demo of which can be found here, can turn a text description (e.g. "An '80s driving pop song with heavy drums and synth pads in the background") into about 12 seconds of audio, give or take. MusicGen can optionally be "steered" with reference audio, like an existing song, in which case it'll try to follow both the description and melody.

Meta says that MusicGen was trained on 20,000 hours of music, including 10,000 "high-quality" licensed music tracks and 390,000 instrument-only tracks from ShutterStock and Pond5, a large stock media library. The company hasn't provided the code it used to train the model, but it has made available pre-trained models that anyone with the right hardware -- chiefly a GPU with around 16GB of memory -- can run.

So how does MusicGen perform? Well, I'd say -- though certainly not well enough to put human musicians out of a job. Its songs are reasonably melodic, at least for basic prompts like "ambient chiptunes music," and -- to my ears -- on par (if not slightly better) with the results from Google's AI music generator, MusicLM. But they won't win any awards.

Sir Paul McCartney says he has employed AI to help create what he calls "the final Beatles record." From a report: He told BBC Radio 4's Today programme the technology had been used to "extricate" John Lennon's voice from an old demo so he could complete the song. "We just finished it up and it'll be released this year," he explained.

Sir Paul did not name the song, but it is likely to be a 1978 Lennon composition called Now And Then. It had already been considered as a possible "reunion song" for the Beatles in 1995, as they were compiling their career-spanning Anthology series. Sir Paul had received the demo a year earlier from Lennon's widow, Yoko Ono. It was one of several songs on a cassette labelled "For Paul" that Lennon had made shortly before his death in 1980. Lo-fi and embryonic, the tracks were largely recorded onto a boombox as the musician sat at a piano in his New York apartment.

An anonymous reader quotes a report from TechCrunch: Google [on Wednesday] released MusicLM, a new experimental AI tool that can turn text descriptions into music. Available in the AI Test Kitchen app on the web, Android or iOS, MusicLM lets users type in a prompt like "soulful jazz for a dinner party" or "create an industrial techno sound that is hypnotic" and have the tool create several versions of the song. Users can specify instruments like "electronic" or "classical," as well as the "vibe, mood, or emotion" they're aiming for, as they refine their MusicLM-generated creations.

When Google previewed MusicLM in an academic paper in January, it said that it had "no immediate plans" to release it. The coauthors of the paper noted the many ethical challenges posed by a system like MusicLM, including a tendency to incorporate copyrighted material from training data into the generated songs. But in the intervening months, Google says it's been working with musicians and hosting workshops to "see how [the] technology can empower the creative process." One of the outcomes? The version of MusicLM in AI Test Kitchen won't generate music with specific artists or vocals. Make of that what you will. It seems unlikely, in any case, that the broader challenges around generative music will be easily remedied. You can sign up to try MusicLM here.

Spotify has removed tens of thousands of songs from artificial intelligence music start-up Boomy, ramping up policing of its platform amid complaints of fraud and clutter across streaming services. From a report: In recent months the music industry has been confronting the rise of AI-generated songs and, more broadly, the growing number of tracks inundating streaming platforms daily. Spotify, the largest audio streaming business, recently took down about 7 per cent of the tracks that had been uploaded by Boomy, the equivalent of "tens of thousands" of songs, according to a person familiar with the matter. Recording giant Universal Music had flagged to all the main streaming platforms that it saw suspicious streaming activity on Boomy tracks, according to another person close to the situation.

The Boomy songs were removed because of suspected "artificial streaming" -- online bots posing as human listeners to inflate the audience numbers for certain songs. AI has made this type of activity easier because it allows someone to instantly generate many music tracks, which can then be uploaded online and streamed. Boomy, which was launched two years ago, allows users to choose various styles or descriptors, such as "rap beats" or "rainy nights," to create a machine-generated track. Users can then release the music to streaming services, where they will generate royalty payments. California-based Boomy says its users have created more than 14mn songs.

Canadian singer-songwriter Grimes went viral late last month when she invited her fans to create music using her voice, stating that should would split 50% of royalties for any successful AI-generated song. Now, the artist has unveiled an AI voice software, called Elf.Tech, to make it even easier for users to deepfake her voice for their own AI songs. Pitchfork reports: Artists can commercially release the results in exchange for half of any master-recording royalties. Grimes announced a pair of new songs, "Music for Machines" and "I Wanna Be Software," in tandem with the launch, though their release date has not been set. In a Twitter thread about the software, Grimes asked users to "be tasteful" but said she would only block extreme uses, such as an AI Grimes "Nazi anthem" ("unless it's somehow in jest a la The Producers I guess"). "Baby murder songs" are also off the menu.

Through Elf.Tech, Grimes has also shared a demo of her collaborative remake of Richie Hawtin's Plastikman track "Passage (Out)." Find it in the "Bounces" folder on the website. You can also access stems to train your own Grimes AI. The project is powered by the generative AI Triniti.

The stock market, real estate and cryptocurrencies did poorly in 2022, but the global luxury goods market grew 20 percent. People may have had less, but they spent more on fine arts and collectibles that serve no function except to provide pleasure. From a report: The culture is bursting with new material -- every day, thousands of new books are published and 100,000 new songs are released on Spotify -- but the old stuff offers a sweeter emotional payoff for many. It could be tapes or posters or pictures or comics or coins or sports cards or memorabilia. It might be from their childhood or the childhood they never had, or it might merely express a longing to be anywhere but 2023. The common element is this: People like to own a thing from a thing they love. For Mr. Carlson and millions like him, the nostalgia factory is working overtime.

When Mr. Carlson first began to look for sealed VHS cassettes, they were considered so much plastic trash. "Back to the Future," "The Goonies," "Blade Runner," were about $20 each on eBay. He put them on a shelf, little windows into his past, and started an Instagram account called Rare and Sealed. Then tapes began to get scarcer and much more expensive. People trapped at home had lots of money to spend during the pandemic. But it was more than that. Objects with a bit of history have an obvious attraction in a high-tech world. The current cultural tumult, with its boom in fake images, endless arguments over everything and now the debut of imperious A.I. chatbots, increases the appeal of things that can't be plugged in. At the same time, advances in technology mean it is ever easier to buy expensive things online. Bids at auctions routinely reach tens, even hundreds, of thousands of dollars.

The world's largest music company, Universal Music Group, is asking major streaming services like Spotify and Apple Music to block artificial intelligence companies from using its music to "train" their technology, according to a recent report in Financial Times. Variety reports: Confirming the report, a UMG spokesperson told the FT: "We have a moral and commercial responsibility to our artists to work to prevent the unauthorized use of their music and to stop platforms from ingesting content that violates the rights of artists and other creators. We expect our platform partners will want to prevent their services from being used in ways that harm artists." The process involves the AI companies uploading copyrighted music from the platforms into their technology and thus enabling the bots to digest the lyrics and music and then essentially create songs or melodies in those styles. [...]

UMG has been sending takedown requests to the streamers "left and right," FT quoted an unnamed source as saying. "We have become aware that certain AI systems might have been trained on copyrighted content without obtaining the required consents from, or paying compensation to, the rightsholders who own or produce the content," the company said in an email from last month, according to the report. "We will not hesitate to take steps to protect our rights and those of our artists." The website drayk.it delivered users a custom Drake song, although it has since been shut down.