State Champ Radio tech
Over the past week, the feud between Kendrick Lamar and Drake has entered into a new, more modern realm than any rap beef before it: AI.
As the back and forth has escalated, and fans wait to see what each of the hip-hop heavyweights will say next, a number of fan-fabricated diss tracks began circulating on social media using AI voices to mimic the emcees. And while some were obviously not real — and, thankfully, were voluntarily labeled AI by their authors — others were more convincing, leading to widespread confusion.
People questioned if Drake’s “Push Ups” was real (it was), and if Lamar’s supposed reply, “1 Shot 1 Kill” was real, too (it wasn’t). YouTube is rife with more AI replications, and some are amassing big audiences, including one called “To Kill A Butterfly,” which has amassed 508,000 views to date. To make matters even more convoluted, Drake himself took part in the trend, employing AI to replicate the voices of West Coast legends Tupac Shakur and Snoop Dogg on his diss “Taylor Made,” released on X and Instagram on Friday without their permission, prompting Shakur’s estate to send Drake a cease-and-desist letter.
The phenomenon has illustrated the sizable impact that AI has already had on modern fandom, as impatient fans use generative AI tools to fill in gaps in the conversation and imagine further storylines with a type of uncanny accuracy that was never before possible. And for better or for worse, it has become the most prominent use-case of generative AI in the music industry to date.
Trending on Billboard
This trend in AI use has its origins with Ghostwriter, the controversial TikTok user who deepfaked Drake and The Weeknd’s voices on his song “Heart On My Sleeve” one year ago, in April 2023. In a cover story for Billboard, Ghostwriter and his manager first compared AI voice filters to a form of “fan fiction — a fan-generated genre of music,” as the manager put it.
Traditional, written fan fiction has been a way for fans to engage with their favorite media for decades — whether that’s franchises like Star Wars, Marvel or Twilight, or the music of stars like Drake and Lamar. In it, fans can expand on details that were never fully fleshed out in the original work and write their own storylines and endings. AI fan creations inspired by Drake and Lamar’s beef are doing something similar, letting music fans imagine the artist’s next move and picture collaborations that haven’t happened yet.
Historically, fan fiction is great for the original artist from a marketing point of view. It is one of many forms of user-generated content (UGC) on the internet today that can engage superfans further with the original project without its author having to lift a finger.
But with traditional fan fiction, fans could easily tell where the official canon started and ended, and the writing was often relegated to superfan hot spots like Watt Pad, Discord, Reddit or fan zines. This new form of ‘AI fan fiction’ makes this distinction a lot less obvious and spreads it much wider. For now, trained ears can still tell when AI voices are used like this today, given the slight glitchiness still found in the audio quality, but soon these models will be so good that discerning AI from reality will be virtually impossible.
There is still not a good way to confidently figure out which songs use AI and which do not, and to make matters worse, these fan-made songs are more commonly posted to general social media platforms than written fan-fiction. In a search about this rap beef on X or YouTube, listeners are likely to run into a few AI fan tracks along the way, and many lack the expertise of a superfan to sniff out and differentiate what’s real and what’s fake.
In a time when fans demand nonstop connection to and content from their favorite talents, it is especially common for fans of elusive artists to take matters into their own hands with AI tools — including voices as well as other generative works like images, videos and text. In the absence of a Kendrick response to Drake last week, for example, “1 Shot 1 Kill” was produced by a 23-year-old fan who goes by Sy The Rapper. In an interview with Complex, Sy said he used the tool Voicify to imagine Lamar on the track. (Notably, the RIAA recently reported Voicify to the U.S. government’s piracy watch list).
Followers of famously elusive artist Frank Ocean also had fun with generative AI in the last year, with one fan, @tannerchauct, showing others on X how to create their own alternative forms of Ocean’s album artwork using DALLE-2, an image generator. A Cardi B fan, @iYagamiLight, even dreamed up the creative direction for an entirely fictional Cardi B project with AI, earning them thousands of retweets in October. The user’s cover art rendered Cardi B in a bedazzled corset and posing in a clawfoot bathtub, peacock feathers fanning out around her. They also created a fake tracklist and release date.
The downside of fan-made works has always been the same: they have the tendency to infringe on the artist’s copyrights, to use an artist’s name, image, voice or likeness without permission, or to generally profit from the artist’s work without sharing the spoils. This new age of AI fan fiction and UGC makes all of these pre-existing problems exponentially harder to police.
The Cardi B fan, for example, did not disclose that their work was AI-generated or fictional, and instead paired their creative direction with the misleading caption “Cardi B just announced her long awaited sophomore album “Mayura” coming out Friday 12th January 2024!”
In a recent music law conference at Vanderbilt University, Colin Rushing, general counsel of the Digital Media Association (DiMA) downplayed the commercial impact of AI in music so far, saying that, since Ghostwriter, “one of the things we really haven’t seen in the [last] year is an epidemic of ‘fake-Drakes’ climbing the charts. We’re not seeing popular examples of this in the commercial marketplace.”
Rushing is right — that hasn’t happened yet. Even Drake’s own AI-assisted song is not on streaming services, and thus is not eligible for the charts. (and if the lawyer for Tupac’s estate has his way, it will soon be removed from the internet entirely.) But this rap feud has revealed that while it hasn’t impacted the charts or the “commercial marketplace” all that much, it has impacted something possibly even more important to an artist today: fandoms.
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Source: Reloop / Reloop
Change is inevitable. For DJ’s, the switch from analog (think: heavy…very heavy vinyl) to digital mixing has been a godsend to everyone in their orbit—except their chiropractors.
However, high-end DJ equipment has always been known for lasting for years, which presents a problem when you have a cherished mixer you ain’t trying to give up. (My Technics mixer used to be top of the line, damn it). Enter the Reloop Flux which basically allows any OG mixer the ability to use Serato to your heart’s content. In tech speak, it’s the “next-generation USB-C interface for using Serato DJ Pro with turntables, CDJs or other media players.”
Source: aqua / Hip-Hop Wired
For background, this mission started when I was tasked with DJ’ing at my college reunion weekend (shout out to UVA’s Black Alumni Weekend, Wahoowa!) and figured it would behoove me to get really acquainted with Serato in advance. Since my essential retirement from DJ’ing (more years than I’ll admit) years ago, I was always curious about that little device you would see connected to the back of mixers that connected to a laptop and pretty much deaded the necessity to lug around crates filled with records. Any skepticism of this new DJ paradigm was eventually and essentially dismissed when the great DJ Jazzy Jeff embraced the tech that made telling the difference between a DJ rocking a party with vinyl versus digital music files an impossibility.
But doing my Googles to see what was available to get back in the DJ saddle quickly turned into information overload. There are what seems like hundreds of products on the market that include mixers, turntables, CDJs and all types of hardware that make the old “two turntables and a mic” (and a mixer) look like a history museum installation.
Source: aqua / Hip-Hop Wired
So with no desire to drop hundreds of dollars on one of those pricey, Serato-ready mixers—for now—I figured that mixer thing-a-ma-jig (called an interface) that connected to a laptop would be easy, right? Not really. It turns out all the previous models (the RANE SL range, the Denon DS1, etc.) have gone the way of the Dodo bird and were discontinued. But, what is still on the market—and is actually relatively new since it was only released in 2023—is the Reloop Flux, and it makes for a clutch hub for a Digital Vinyl System (DVS) interface.
The good folks at Reloop were kind enough to provide a review model to Hip-Hop Wired, and the Flux checks all the boxes needed to get an old DJ back in the mix. Installation was relatively simple, and if you know your way around phono, line jacks and RCA chords, getting connected is a breeze. And even if you don’t, the instructions are right there on YouTube.
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Once you’re set up and Serato DJ Pro is running, the intuitiveness of the hardware and software combo is evident. The hardware is bus-powered, so once you plug it into your laptop, it lights up—there are signal flow LEDs for all inputs and outputs as well as a thru status indicator. It also has an AUX outlet to let you record your mixes, and there are three stereo inputs and outlets, which let you run a third turntable or media player if you’re nice like that. And if you want to get extra technical, it features 24-bit/96 kHz, high-quality digital/analog converters and ultra-low latency, which makes for club-quality sound.
Source: aqua / Hip-Hop Wired
The true beauty of the product is that after it’s plugged in, you can forget about it since it’s doing everything it needs to do. If your music collection is legit, you now have access to all your tunes via Serato DJ Pro, without having to rifle through your crates to get to that piece of wax; a simple search will suffice. And even if you don’t have that deep cut on MP3, you can click a passthrough button on the Flux that will let you play your conventional vinyl as well. Or, if you have a Tidal account, Serato lets you access the app’s entire music library—that’s just cheating.
With that in mind, the Reloop Flux is buttery smooth gateway for anyone trying to dip back into the DJ waters without breaking the bank. It retails for $449 and is a worthy investment that bridges the gap between the past and the future for you to get busy right now.
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Source: NurPhoto / Getty / Apple Vision Pro
Not even Apple could make a big splash in the VR/AR space. According to reports, the company Steve Jobs built is slashing shipments of its latest product, the Apple Vision Pro.
Reliable Apple analyst Ming-Chi Kuo claims that the tech giant is cutting Vision Pro shipments to 400,000-450,000 units while the market predicts 700,000–800,000 units or more.
Apple’s headset allegedly flopping signals that the demand for the $3,500 headset was not as high despite viral photos showing people using it while walking the streets and celebrities boasting about it.
The decision to cut sales comes as Apple preps to release the headset overseas.
If you are one of the Apple fanatics hoping that a cheaper model will come, according to Kuo, Apple is considering ditching a more affordable version of the Vision Pro in 2025 as the company reviews the roadmap for the device.
In more Apple Vision Pro news, Frank Casanova, Apple Inc.’s senior director, who was leading the product-marketing efforts for Vision Pro, has retired.
Per Bloomberg:
Frank Casanova, who worked at Apple for 36 years in various roles, including helping to lead the expansion of the iPhone to new carriers, departed last week, according to his LinkedIn page. In 2019, he was named Apple’s first head of marketing for augmented reality before being tapped to lead the headset effort.
X Users React To The Vision Pro Reportedly Flopping
The news of the Apple Vision Pro reportedly flopping isn’t shocking to many people, especially because of the headset’s price and lack of comfort.
One user on X, formerly Twitter, wrote, “why are they surprised people don’t wanna spend 3.5k on VR ski goggles to avoid human interactions.”
Another person added, “Apple when they find out niggas don’t wanna spend 3 and a half K on some i robot goggles, when they can buy different ones for a quarter the price.”
Welp.
There’s always the Meta Quest 3; it’s affordable and does many of the same things the Apple Vision Pro does. I’m just saying.
More reactions to the Vision Pro flopping are in the gallery below.
2. Everyone’s reaction basically
3. According to the report they were very serious
4. That plan is reportedly in danger as well.
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Source: Anadolu / Getty / TikTok
Congress hasn’t agreed on much lately, but one they seem to be locked in on is TikTok’s threat to national security, so it’s no surprise the bill that could potentially lead to its banning passed.
Congress passed the bill on Tuesday, April 23. It calls for a national ban on TikTok if its Chinese parent company, ByteDance, can’t find a buyer.
As promised, President Joe Biden signed the bill into law on Wednesday, April 24. This gives the company nine months with a three-month grace period to secure a deal for the platform.
The U.S. government has been wary of the app since the Trump administration because of potential national security concerns related to its Chinese ties.
Security experts and lawmakers have been raising the red flag about the popular app kids use to partake in viral dance choreography and share hilarious videos because they feel the Chinese government can use ByteDance to access the 170 million U.S. users’ private information or spread propaganda.
It Will Be An Uphill Battle To “Ban” TikTok
While many are reacting to the news with the inclination that the ban will go into effect immediately, the new law could take months, possibly years, to get TikTok up outta here.
Per The New York Times:
The law would allow TikTok to continue to operate in the United States if ByteDance sold it within 270 days, or about nine months, a time frame that the president could extend to a year.
The measure is likely to face legal challenges, as well as possible resistance from Beijing, which could block the sale or export of the technology. It’s also unclear who has the resources to buy TikTok, since it will carry a hefty price tag.
The issue could take months or even years to settle, during which the app would probably continue to function for U.S. consumers.
TikTok Vows To Fight The Ban
Of course, TikTok vows to fight. Chief executive Shou Chew said in a video, “Rest assured, we aren’t going anywhere. We are confident, and we will keep fighting for your rights in the courts.”
We shall see.
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TikTok announced “the ultimate Taylor Swift in-app experience” on Friday (April 19), a way to “connect Swifties with exclusive and first-of-its-kind features.”
TikTok is certainly not the only platform to join with Swift in her promoting her new release, The Tortured Poets Department. Many iHeartRadio stations played the whole album the moment it came out (plus a song from it at the top of every hour), for example, while Spotify launched a three-day “library-themed art installation” to celebrate the album in Los Angeles.
What’s different about TikTok’s announcement: The platform is embroiled in an ongoing licensing dispute with Universal Music Group, Swift’s distribution partner. Because the two sides have been unable to reach an agreement, official recordings from UMG’s artists have (mostly) been removed from TikTok. Swift’s music was absent for a time, but a large chunk of it reappeared on the platform last week.
Trending on Billboard
Now, not only is the superstar able to circumvent UMG’s TikTok embargo, she is also getting additional promotional help from the platform. “With multiple first-of-its-kind features, fans can dive into the album with playlists to create with, as well as challenges to unlock exclusive artwork for their profiles, and the opportunity to be featured in a Fan Spotlight carousel,” TikTok’s announcement notes.
This is all but guaranteed to make some UMG artists — those who have developed devoted TikTok followings, or had success marketing music on the platform in the past — jealous. “TikTok is mostly used as a new-music discovery tool — discover a clip on TikTok, listen to it on a DSP,” a music lawyer told Billboard last week. “So those who are trying to get their music discovered are the most concerned” about being unable to promote new songs on the app.
Due to that concern, some artists with viral hits are trying to come up with workarounds to allow their songs to remain on TikTok.
Swift’s TikTok partnership, despite the UMG ban, was a display of her power in the music business, as an artist who moves as many units in a year as some entire label divisions. There had been significant speculation about what her return to the service meant — whether it implied a carve out in her contract allowing her to do a direct deal with the social platform, or whether her original contract had always contained such a provision. With today’s news, some of the parameters of that agreement have come more into focus, in terms of the promotion and marketing push that TikTok is providing for the new album.
TikTok has returned to the bargaining table with Universal Music Group (UMG), but a fast-tracked Congressional bill that could result in the platform being sold, or, as a last result, banned in the United States may reach President Joe Biden’s desk before those negotiations are finished.
A source familiar with the talks says Bytedance — the Chinese company that owns TikTok — has returned to the bargaining table with UMG after the label group pulled its music from the social media platform at the end of January citing its refusal to address three “critical” issues: “appropriate compensation for our artists and songwriters,” “protecting human artists from the harmful effects of AI” and “online safety for TikTok’s users.”
It’s unclear whether any progress has resulted — neither UMG nor TikTok will comment — but ByteDance currently faces a more urgent, existential issue now that the Speaker of the House of Representatives has attached what’s being called the TikTok national security bill to the foreign aid package for Ukraine and Israel that is expected to move quickly through Congress. The House may vote on it as early this weekend and the Senate is expected to act quickly. If it passes in both houses, President Biden has promised to sign it immediately.
Trending on Billboard
Officially titled The Protecting Americans From Foreign Adversary Controlled Applications Act, the proposed legislation was drawn up after White House national security and intelligence leaders briefed House lawmakers on the potential dangers that TikTok, which is used by 170 million Americans, poses to the nation.
What the TikTok National Security Bill Does
If Biden signs the bill into law, ByteDance will have approximately a year from its enactment — the original bill gave it just 90 days — to sell TikTok to a buyer in a country that the United States does not consider a foreign adversary. If ByteDance, which has ties to the Chinese Communist Party and is subject to its government, refuses to divest itself of TikTok or does not meet the deadline, then the app could be banned from being downloaded or used in the United States.
Rick Lane, TikTok Coalition.org leader and child safety advocate, says the TikTok bill “is moving forward very quickly. The language between the House and Senate is so close — they are millimeters apart, and I think agreements are being made to bring them together. Unless something drastic happens, I don’t see this bill’s momentum slowing down, no matter who’s on the other side. That is why adding it to the foreign aid bill makes sense.”
At a time when Congress is mired in ideological infighting, particularly among Republicans, the House of Representatives moved with remarkable speed to mark up and pass the bill and send it to the Senate.
Despite a deluge of calls and messages from TikTok users protesting the legislation, the House passed it, 352 votes to 65, on March 13 — less than a week after national security and intelligence officials held a classified briefing for an executive session of the House Energy and Commerce Committee. A music industry source familiar with activity on Capitol Hill tells Billboard that, before the briefing started, “members and staffers devices were taken away, and the committee room’s AV systems and the like were removed.” Following the morning briefing, the committee marked up the bill that afternoon and voted unanimously to advance it to the full House of Representatives.
A classified intelligence briefing was also held in the Senate and prompted similar remarks of concern. Republican senator from Missouri Eric Schmitt told Axios that the Chinese-controlled platform’s “ability to spy is shocking.”
“We don’t know exactly what was briefed,” says the music industry source. “But what is absolutely crystal clear is that whatever has been presented to Congress members by the intelligence community is clearly driving this. You don’t see — particularly Congress members — reacting with that kind of dispatch and unanimity.”
A ‘Once-in-a-Lifetime’ Alarm
“This is really a once-in-a-lifetime kind of alarm,” the source adds. “People who have been around the Hill for decades don’t remember there ever being this level of concern.”
An unclassified 2024 Annual Threat Assessment issued by the Office of the Director of National Intelligence (ODNI) in February may offer a glimpse of these security concerns. The assessment reported that “China is demonstrating a higher degree of sophistication in its influence activity, including experimenting with generative AI. TikTok accounts run by a [People’s Republic of China] propaganda arm reportedly targeted candidates from both political parties during the U.S. midterm election cycle in 2022.”
In response, a TikTok spokesperson referred Billboard to its written response to the ODNI, dated March 15, which asserts that the social media platform “regularly takes action against deceptive behavior, including covert influence networks throughout the world, and has been transparent in reporting them publicly. TikTok has protected our platform through more than 150 elections globally,” the response continues, “and is continuing to work with electoral commissions, experts, and fact-checkers to safeguard our community during this historic election year.”
In addition to the intelligence briefings, Billboard obtained a slide presentation that one Capitol Hill source says has been shown to staffers for over 40 senators. The presentation cobbles together previously published articles, analyses and reports about TikTok’s alleged dissemination of disinformation and propaganda to much of the same demographic that uses the app for music discovery. (According to a 2024 Pew Research Center report, 56% of U.S. adults 18 to 34 use the platform and 52% of the users in this age group have posted a video to the platform.)
‘TikTok Is a News Organization‘
As one tech policy expert says, “TikTok is a news organization. Trends are indicating that up to 40% of adults 18-to-29 will be getting their news from TikTok in 2024. It’s their CNN or Fox News or MSNBC.”
One of the first slides, titled “TikTok Has Rapidly Evolved From an Entertainment to a News Platform, Enormously Expanding Its Influence on The U.S. Population,” includes a graph built from Pew Research Center data that shows 43% of TikTok users regularly got their news from the platform in 2023, nearly double the 22% that did so in 2020. Only X (59%) and Facebook (54%) were higher. And nearly a third of that 43% were adults under 30 years of age.
Although music’s role in TikTok’s alleged dispersal of disinformation is not examined in the presentation, the tech policy expert says it’s definitely a factor. A 2023 report released by the rights management startup Pex in February revealed that 85% of TikTok videos contain music, more than YouTube (84%), Instagram (58%) and Facebook (49%), and the tech policy expert says that music played on the platform often functions as an emotional gateway to propaganda.
“The power of music is what draws people to social interaction,” the source says. “They’re taking music that gets people excited and, for instance, following them with horrific videos — and the interaction of those data points creates this powerful tool to affect policy.” The expert adds that TikTok’s algorithm enables the platform to essentially tailor its approach to each user. “It’s no longer just one size fits all; the ability now is to take visual cues, music and sound and target each individual with what sets them off — and they can do that on a massive scale.
“The argument in favor of TikTok is that Meta and Alphabet are collecting data from even more people, but they are not based in an adversarial country,” the expert continues. “There’s another key difference as well. TikTok sends you videos that they think you are interested in no matter what. Most young people want to be influencers. In order to be an influencer on TikTok, you have to follow what’s trending, so your video is blasted to more people. You tag along with feeds. In the policy realm, if they want to influence public policy, your view is going to be whatever direction that feed is going in.”
A TikTok spokesperson responds: “There is absolutely no evidence to these assertions. We have clear rules prohibiting deceptive behaviors.”
‘They Deserve It’
The music industry’s view of the proceedings in Washington is mixed. The perspective of artists and songwriters is arguably best expressed by David Lowery, the artist rights activist and frontman for the bands Cracker and Camper Van Beethoven, who also was one of more than 200 creators that, in early April, signed an open letter to tech platforms urging them to stop using AI “to infringe upon and devalue the rights of human artists.”
“The rates TikTok pays artists are extremely low, and it has a history — at least with me — of using my catalog with no licenses,” Lowery says. “I just checked to make sure and there are plenty of songs that I wrote on TikTok, and I have no idea how they have a license for those songs.”
As a result, Lowery says that while “I’m kind of neutral as to whether TikTok needs to be sold to a U.S. owner, the bill pleases me in a general way because I feel that they’ve gotten away with abusing artists for so long that they deserve it. I realize the bill doesn’t punish them for doing that,” he continues, “but that’s why a lot of musicians feel they really deserve it.”
The consensus among label executives is that TikTok is not going anywhere, but were the app banned in the United States, they wouldn’t spill many tears. In early April, Billboard reported that two months after UMG pulled its music from TikTok, its market share and chart appearances had not been greatly affected. And though numerous UMG artists have devised workarounds to maintain a presence on TikTok, one senior label executive says, “When you’re looking at the competitive set for TikTok, you see a migration to YouTube, Instagram and Snap. And those platforms see a real opportunity, so they’re starting to lean in. The absence of TikTok would just mean migration to other platforms and, frankly, because those platforms monetize better, even if you lose a significant chunk of your audience, you’re still going to make more money.”
$8.7 Million For Lobbyists
Capitol Hill sources say ByteDance has enlisted a small army of lobbyists to keep TikTok on U.S. mobile devices. In 2023, ByteDance spent $8.7 million on lobbyists, according to the nonprofit government transparency organization OpenSecrets. That’s almost double the $4.9 million it dropped in 2022, although a TikTok spokesperson attributes the year-to-year increase to “a unique, one-time higher expenditure in the third quarter of 2023 that reflects the vesting of Restricted Stock Units related to the launch of our U.S. buyback program.” (Data for 2024 lobbyist expenditures were not available at publication time.)
That 2023 outlay was the fourth-highest amount spent on lobbyists by a tech company that year, behind Meta ($19.3 million); Amazon.com (nearly $19.3 million) and Alphabet (almost $12.4 million). In 2019, ByteDance spent less than $1 million on lobbyists.
Lobbyists hired by ByteDance include Rosemary Gutierrez, the former deputy chief of staff for Democratic Senator Maria Cantwell of Washington, who chairs the Senate Commerce Committee — which will review the TikTok legislation before a floor vote is taken — and Kellyanne Conway, former senior counselor to President Donald Trump. Conway is reportedly considering joining Trump’s reelection campaign, but last month, Politico reported that she was working for the conservative Club for Growth to lobby on TikTok’s behalf.
One of the Club for Growth’s biggest donors is billionaire Jeffrey Yass, who owns 15% of ByteDance, which is reportedly worth roughly $40 billion. Yass’ trading firm, Susquehanna International Group, is also the largest institutional shareholder — 2% — of Digital World Acquisition Corporation, which merged with Trump Media & Technology Group, the parent company of the former president’s Truth Social app, and took it public in late March. (The New York Times reported that it’s unclear if Susquehanna still owned the shares at the time of the IPO.)
Given Yass’ support of Trump, it’s not shocking that, after attempting to ban TikTok during his time in office, Trump has said on social media and in interviews that though he still considers TikTok a national security risk, he has reconsidered banning the platform. One reason he has cited is that such a move would benefit Meta and its social media app Facebook. Trump has made no secret of his enmity for Meta’s chairman/CEO Mark Zuckerberg and Facebook, which banned him in 2021. (Trump was reinstated in 2023.)
The Taylor Factor
The news last week that Taylor Swift had restored her Taylor’s Version songs to TikTok in the run-up to the April 19 release of her new album The Tortured Poets Department led to speculation that the superstar singer-songwriter — who has often spoken out for artists’ rights — could be weaponized by TikTok in its standoff with UMG. In Washington, however, TikTok Coalition leader Lane says, “Taylor Swift being or not being on TikTok has never come up in any meeting I’ve been in on Capitol Hill.” He sees Swift’s return to the app as “a business decision” that’s no different than President Biden’s and Congress members’ presence on the app, or even UMG’s continued talks with TikTok. “It doesn’t diminish the strong bipartisan/bicameral support within Congress and the White House that TikTok is a clear and present danger to the U.S. national security and needs to be divested from ByteDance,” he says.
Trump’s sway over the GOP has some on Capitol Hill predicting that passage of the TikTok National Security bill in concert with the foreign aid package is not a slam dunk. “It’s hard to say how it’s going to play on the Republican side,” says the music industry source familiar with the Capitol Hill proceedings. “Because while they’re feeling pressure from the former President on one hand to oppose the bill, they are also feeling heat from their constituents to support it.”
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Source: NurPhoto / Getty / Take-Two
Even with games like Grand Theft Auto V, the forthcoming GTA 6, and the NBA 2K franchise under its belt, Take-Two Interactive is the latest video game publisher that will reduce its workforce and drop projects.
Spotted on The Verge, Take-Two announced it will lay off “approximately five percent” of its global workforce and scrap several projects already in development.
In an SEC filing published Tuesday, the company said it was “streamlining its organizational structure, which will eliminate headcount and reduce future hiring needs.”
Take-Two says that its “cost reduction program” will see the company be subject to charges up to $200 million, hoping to save $165 million a year.
The website reports that Take-Two’s downsizing efforts should be “largely completed” by December 31st, 2024.
As for the workers, a 5% reduction in the workforce would amount to around 579 out of the company’s 11,580 employees, which Take-Two disclosed in a previous impact report.
There is no word on what departments the layoffs will happen in or what projects Take-Two will be cutting. GTA 6 will feel the sting of these cost-cutting measures.
Of course, the news is not sitting well with gamers who tire of hearing about layoffs in an incredibly profitable industry.
Oh, and we can’t forget that Take-Two Interactive is still working on purchasing Borderlands developer Gearbox from The Embracer Group for $460 million.
“They’re doing this a year out from releasing the sequel to the most commercially successful game of all time,” one user on X, formerly Twitter, said.
You can see more reactions in the gallery below.
2. Follow his lead
9. It better not
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Source: Ramsey Cardy / Getty / MKBHD
YouTuber Marques Brownlee, aka MKBHD, has caused quite a stir with his recent review of Humane’s AI Pin.
Regarding reviews on your favorite tech items, the newest smartphones, smart cars, electric vehicles, and other new gadgets, no one is more revered than MKBHD. The tech enthusiast has become the go-to for all things tech, and his YouTube page has become the premiere destination for reviews, boasting over 18 million followers.
So it’s no surprise that his opinions can make or break an item’s reception by the masses; Brownlee’s latest review is a case in point.
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Humane’s new AI Pin arrived, and it’s not receiving any glowing reviews from anyone. However, MKBD’s in-depth analysis, in which he said it was the “worst product I’ve ever reviewed…for now,” has caused quite a stir on X, formerly Twitter.
In the video, Brownlee ripped the wearable tech, slamming it for being “too much of a pain to use” and noting that it was “bad at almost everything it does.”
The popular YouTuber said the device’s responses to commands were often slow and incorrect because the generative AI chatbot technology was not up to snuff.
He slammed the device’s battery life, pointing out that in his review, it could only last a couple of hours during heavy use.
His thoughts on the camera were no better, adding that photos taken by the Ai Pin “look pretty bad” and videos “look even worse.”
He Did Have Some Positive Things To Say
But his review was all negative; he did like the Ai Pins’ ability to save notes quickly and how it could be used for first-person videos, adding, “As a brand new product and a team trying to make something new — that I respect, I respect the attempt.”
But in the same breath, he also said the device has “a long way to go” before it hits the usable stage and that “never buy a product based on the future promise of updates to it.”
The Backlash From His Review
Following the release of his review, there was some backlash, most notably from internet personality Daniel Vassallo. In a post on X, Vassallo called out Brownlee, saying, “I find it distasteful, almost unethical, to say this when you have 18 million subscribers. It’s hard to explain why, but with great reach comes great responsibility.”
“Potentially killing someone else’s nascent project reeks of carelessness. First, do no harm.”
In response to Vassallo’s assertions, Brownlee wrote, “We disagree on what my job is.”
Of course, Vassallo’s comments opened up a discourse. Some pointed out the power of MKBHD’s opinion, and one person alluded to how he “bankrupted a company in 41 seconds.”
Some defended Brownlee. Philip DeFranco said in a YouTube video that Vassallo’s post on X was “one of the dumbest, braindead takes” he had ever seen.
MoistCr1TiKaL said Vassallo’s response to MKBHD’s review was “dogsh*t” and helped potential buyers steer clear of a “turbo ass” product.
It definitely sounds like Vassallo is a hater.
You can see more reactions in the gallery below.
1. Just saying
3. Exactly, is this where we are at now?
The Rights, a synch licensing clearance platform, launched publicly on Tuesday (April 16) following a beta test period that involved participation from two major music companies, Kobalt Music Group and Believe. Founded by a team of synch and licensing veterans with funding from a motley cast of investors, executives and entrepreneurs, the company is trying to build a better mousetrap that simplifies a time-consuming process and, possibly, reduces the threat from emerging technology.
Created in partnership with Dequency, a blockchain-based synch licensing company, The Rights purports to be a useful tool to handle the increasingly high volume of synch licensing requests from small productions like limited-release films, podcasts, content creation and concert footage. The goal is to make the process easier at scale by allowing a track with multiple rights holders to be cleared in a single transaction.
“We can match the agility of production music libraries and one-stop catalogs, yet offer the pricing flexibility, consent rights and customized terms required to maintain the premium value of commercial music,” said Tres Williams, founder/CEO of The Rights, in a statement.
Trending on Billboard
Williams is a former executive vp of business affairs at iHeartMedia who had similar duties at Thumbplay, a subscription music streaming service acquired by Clear Channel — later renamed iHeartMedia — in 2011. Williams is joined at The Rights by president Keatly Haldeman, who is founder/CEO of Dequency as well as co-founder/CEO of Riptide Music Group; and chief business officer Scott Marshall, another former executive at both iHeartMedia and Thumbplay.
The Rights has raised $7.5 million to date from the likes of film and TV production company Spyglass Media Group; Endeavor Entertainment; venture capital firm Borderless Capital; blockchain developer Algorand; Grit Capital Partners; iHeartMedia chairman/CEO Bob Pittman; and Elon Musk’s siblings: entrepreneur Kimbal Musk and Tosca Musk, the latter a filmmaker and co-founder of video streaming platform Passionflix.
Despite an explosion in opportunities for placement in streaming content, synch license revenue has grown at a slower rate than subscription streaming royalties. The global synch license market, as measured by the IFPI, grew 4.7% to $632 million in 2023 — a figure that covers recorded music only, not music publishing, and excludes production music libraries. That’s less than half the 11.2% growth in subscription revenue. In the United States, synch revenue grew 7.4% to $411 million last year, according to the RIAA, well behind the 10.6% growth in subscription revenue.
Now, synch licensing faces a threat from the sudden rise of artificial intelligence-created music. The Rights warns that AI-created music could grow into a multi-billion-dollar business in less than a decade, “siphoning revenue away from the artists and writers of the world’s most-desired songs,” it said in a press release. While technology has transformed everything from music distribution to marketing, the process of clearing synch licenses remains “untouched by tech efficiencies,” Haldeman said in a statement. “Our goal is to create infrastructure for the industry to make the clearance process smooth for both rights holders and licensees.”
