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Source: NurPhoto / Getty / Elon Musk
X is scrambling to defend itself after its owner, Elon Musk, got caught out there endorsing an antisemitic post.
Elon Musty has seriously stepped in it.
On his sh*tty platform X, a user pushed the false narrative that Jews are pushing the hatred of white people, writing in a post, “deeply disinterested in giving the tiniest s— now about western Jewish populations,” adding that he realizes “minorities that support flooding their country don’t exactly like them too much.”
Musk couldn’t help himself and responded to the headass post by writing, “You have said the actual truth,” which garnered 6 million views.
The fallout from Musk’s endorsement of the antisemitic post was swift. Spotted on Raw Story, IBM immediately pulled ads off the struggling platform due to a lack of companies willing to advertise on it.
Per Raw Story:
Nonprofit Media Matters on Thursday reported that it found Apple, Oracle, and IBM ads displayed next to posts touting Hitler and the Nazi Party on X.
“IBM has zero tolerance for hate speech and discrimination, and we have immediately suspended all advertising on X while we investigate this entirely unacceptable situation,” the New York-based tech firm said in response to an AFP inquiry.
The White House Condemned Elon Musk
Musk’s endorsement of an unfounded antisemitic conspiracy drew an immediate response from the White House.
“We condemn this abhorrent promotion of Antisemitic and racist hate in the strongest terms, which runs against our core values as Americans,” White House spokesperson Andrew Bates said in a statement. “We all have a responsibility to bring people together against hate and an obligation to speak out against anyone who attacks the dignity of their fellow Americans and compromises the safety of our communities.”
X’s “CEO,” Linda Yaccarino, issued a statement asserting that X’s perspective is always to condemn discrimination. Does she know her boss doesn’t know that?
X users have also been condemning Phony Stark on his platform. You can see those reactions in the gallery below.
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Photo: NurPhoto / Getty
2. Well damn
Vault Music — a platform created by the co-founders of online sports betting company FanDuel that allows artists to create exclusive, limited-edition music releases — has launched a new game that lets players create and manage their own fantasy roster of musicians for cash prizes.
Dubbed Fantasy Record Label, the game — launched by Nigel Eccles and Rob Jones — is designed to create a new revenue stream for emerging musicians while simultaneously giving music fans a way to invest in artists.
To play, users are invited to “sign” five artists on Vault Music by purchasing a “vault” — a digital music collectible built using NFT technology — from the artists they see as having growth potential. Rosters are scored on the change in artists’ Spotify monthly listeners count, a metric that’s updated daily. Final standings are calculated by adding all five artists’ Spotify monthly listener gains and losses over a one-week period, after which the top 10 fantasy record labels win cash prizes.
As an artist becomes more successful, demand increases for their vaults, thereby raising the price of those assets and benefitting players who have “signed” them to their rosters. Players can buy, sell or trade vaults each week. Artists receive 70% of each sale, with 15% percent taken in processing costs and Vault Music taking an additional 15%. Each time one of their vaults is resold, artists receive 7% of the resale price.
“Think fantasy sports but for the music industry,” said Eccles, co-founder/CEO of Vault Music, in a statement. “I believe that unlike the sports and gaming industries, music has failed to energize top fans and embrace new formats. Streaming has been great for the music industry’s bottom line, but it serves passive listeners, not diehard fans. Our goal is to bring joy, pride, and competition back to collecting music, and create upside for both fans and artists in the process.”
Successful players also receive “Vault points,” which are airdropped each week based on performance and which are designed to encourage roster optimization and long-term strategy. “Over the next few months we plan to reveal more about the value of points,” Eccles tells Billboard. “Our first players are helping build the ecosystem so we want to use points as a way to track that so we can give back to them when the product is more developed.”
According to Eccles, nearly all artists on Vault Music will be available for players to “sign.” Some of the more prominent artists on Vault Music currently include BLÜ EYES, Jordan Hart, Naika, Telescreens and FLETCHER.
“The best part about this game is that we’re using fandom to put more money in artists’ pockets at the time when they need it most,” added Kara Burney, chief marketing officer at Vault Music. “Already we’ve seen artists earn more with a single release on Vault Music than they’ve earned from streaming in a year. That’s because in our game, just as with real record labels, up-and-coming artists have the most potential upside. Our players are incentivized to discover, collect releases, and sign the next music stars to their fantasy label before their big break. It’s a music economy where everybody wins.”
At launch, Fantasy Record Label is only available in the United States, though Vault hopes to extend it to other markets soon.
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Source: Sony / PlayStation Portal
When the PlayStation Portal was officially unveiled, there were more skeptics than believers about the latest PlayStation accessory. Now that people have tried it, surprisingly, it is being well-received by many.
The PlayStation Portal is an unusual device. For $200, you’re basically getting the perfect PS5 companion device that truly puts the console’s Remote Play option to use better.
Of course, there are caveats; it doesn’t allow for cloud streaming, even though there are reports that the feature could be coming eventually. Another complaint is the lack of Bluetooth functionality.
Plenty of people have said you don’t need this device, given that you could use Remote Play on your smartphones and even connect your DualSense controller. Still, after using the PlayStation Portal leading up to its release, some reviewers are much more optimistic about the device than initially.
What Are The Critics Saying About The PlayStation Portal
Tech Radar’s Rob Dwiar had nothing but glowing words for the PlayStation Portal, giving it a perfect score in his review:
“Offering superb ergonomics as well as excellent design and build quality with all those exquisite DualSense controller features on top, this Remote Play beaut and its bright and sharp 8-inch LCD screen present a wonderful portable PS5 experience. … The Portal is not pretending to be anything else apart from a quality remote-play device for your PS5, and it absolutely nails its brief. As long as you come to it knowing what it does and what it can offer you, then it wholeheartedly, unabashedly, spectacularly succeeds.”
Surprising Skeptics
IGN’s Seth G. Macy had his issues with the device but overall was surprised by the PlayStation Portal after initially being skeptical about it, writing in his review:
“The PlayStation Portal is the most surprising device I’ve ever come away from loving after going in loaded with skepticism. It’s such a better experience than using your phone with a slap-on controller, and it works so much better than I was anticipating. I really love the freedom it gives me to play my PS5 from anywhere with decent WiFi coverage … The biggest things keeping the Portal from being a truly amazing device are its current lack of a way to access WiFi that requires a web browser to log in, and its lack of Bluetooth support for audio. [Grade: 8/10]”
A Perfect Gift For Gamers, But There Is Room For Improvement
Kotaku’s Jen Glennon praised the PlayStation Portal’s battery life, calling it “a solid sub-$200 gift option,” but also noted in her review that there is room for improvement with the Portal.
“While there are tweaks I’d like to see in the weeks and months ahead, I’ve been quite impressed with the time I’ve spent with Portal so far. I’ve played for about six hours on a single charge and still have a bar of battery life left to go. It’s a solid sub-$200 gift option for the gamer in your life who’s always hogging the TV when you’re trying to watch Vanderpump Rules or Monday Night Football.”
Some Are Meh On The PlayStation Portal
With the good, some people were always left feeling meh about the PlayStation Portal experience.
The Loadout’s Callum Self described his experience with PlayStation Portal as “enjoyable and disappointing” but noted in his review that it is the best way to use Remote Play.
“My overall time with the PlayStation Portal was both more enjoyable and disappointing than I expected. It’s certainly the best way to use Remote Play currently, by a long shot, and I’m sure I’ll be using it frequently in the future. But the washed-out screen, lack of cloud gaming support, and so-so battery life make me wish for a better, but unlikely, PlayStation Portal 2. [Grade: 5/10]”
No Reasonable Use For The PlayStation Portal
Then, of course, some just feel PlayStation swung and missed with the Portal. PC Mag’s Will Greenwald calls the Portal “just a screen sandwiched between a controller” and not worth the $200 price point.
“The screen works as intended, but the 1080p resolution looks fuzzier than most modern mobile devices. … The most baffling aspect of the Portal is its fundamental limitation. … I can’t see a reasonable use case for the Portal that wouldn’t be served more economically, and with a better screen, with many other devices. Ultimately, the Portal is just a screen sandwiched between a controller, and for $200, it should be more than that. [Grade: 2.5/5]”
Well, for the most part, people are high on the PlayStation Portal, but it sounds like this is a device for a very niche group of people, and those are the gamers who love Remote Play and hate using their smartphones to utilize it.
Will you be buying a PlayStation Portal? Let us know in the comment section below.
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Photo: Sony / PlayStation Portal
Universal Music Group (UMG) wants a federal judge to immediately block artificial intelligence company Anthropic PBC from using copyrighted music to train future AI models, warning that the “damage will be done” by the time the case is over.
A month after UMG sued Anthropic for infringement over its use of copyrighted music to train its AI models, the music giant on Thursday demanded a preliminary injunction that will prohibit the AI firm from continuing to use its songs while the case plays out in court.
The music giant warned that denying its request would allow Anthropic “to continue using the Works as inputs, this time to train a more-powerful Claude, magnifying the already-massive harm to Publishers and songwriters.”
“Anthropic must not be allowed to flout copyright law,” UMG’s lawyers wrote. “If the Court waits until this litigation ends to address what is already clear—that Anthropic is improperly using Publishers’ copyrighted works—then the damage will be done.”
“Anthropic has already usurped Publishers’ and songwriters’ control over the use of their works, denied them credit, and jeopardized their reputations,” the company wrote. “If unchecked, Anthropic’s wanton copying will also irreversibly harm the licensing market for lyrics, Publishers’ relationships with licensees, and their goodwill with the songwriters they represent.”
UMG filed its lawsuit Oct 18, marking the first major case in what is expected to be a key legal battle over the future of AI music. Joined by Concord Music Group, ABKCO and other music companies, UMG claims that Anthropic – valued at $4.1 billion earlier this year — is violating copyrights en masse by using songs without authorization to teach its AI models learn how to spit out new lyrics.
“In the process of building and operating AI models, Anthropic unlawfully copies and disseminates vast amounts of copyrighted works,” lawyers for the music companies wrote. “Publishers embrace innovation and recognize the great promise of AI when used ethically and responsibly. But Anthropic violates these principles on a systematic and widespread basis.”
AI models like the popular ChatGPT are “trained” to produce new content by feeding them vast quantities of existing works known as “inputs.” Whether doing so infringes the copyrights to that underlying material is something of an existential question for the booming sector, since depriving AI models of new inputs could limit their abilities. Content owners in many sectors – including book authors, comedians and visual artists – have all filed similar lawsuits over training.
Anthropic and other AI firms believe that such training is protected by copyright’s fair use doctrine — an important rule that allows people to reuse protected works without breaking the law. In a filing at the Copyright Office last month, Anthropic previewed how it might make such argument in UMG’s lawsuit.
“The copying is merely an intermediate step, extracting unprotectable elements about the entire corpus of works, in order to create new outputs,” the company wrote in that filing. “This sort of transformative use has been recognized as lawful in the past and should continue to be considered lawful in this case.”
But in Thursday’s motion for the injunction, UMG and the music companies sharply disputed such a notion, saying plainly: “Anthropic’s infringement is not fair use”
“Anthropic … may argue that generative AI companies can facilitate immense value to society and should be excused from complying with copyright law to foster their rapid growth,” UMG wrote. “Undisputedly, Anthropic will be a more valuable company if it can avoid paying for the content on which it admittedly relies, but that should hardly compel the Court to provide it a get-out-of-jail-free card for its wholesale theft of copyrighted content.”
A spokesperson for Anthropic did not immediately return a request for comment on Friday.
CreateSafe, a music technology studio known best for its work on Grimes’ AI voice model, has raised $4.6 million in seed round funding for its new AI music creation toolkit, TRINITI.
Offering a “full creative stack” for musicians from the inception of songwriting to its release, TRINITI’s round was led by Polychain Capital, a cryptocurrency and blockchain tech investment firm, as well as Crush Ventures, Anthony Saleh (manager of Kendrick Lamar, Nas and Gunna), Paris Hilton’s 11:11 Media, MoonPay, Chaac Ventures, Unified Music Group and Dan Weisman (vp at Bernstein Private Wealth Management).
Grimes has also joined CreateSafe’s advisory board to continue to collaborate with the brand.
Starting today, TRINITI will offer five tools:
Voice transformation and cloning: make your own voice model and offer it up for licensing, transform your voice into someone else’s
Sample Generation: create audio samples from text-based prompts
Chat: ask questions to a chat bot trained on music industry knowledge
Distribution: share music on streaming services
Management: manage rights to songs and records
“Music is the core of humankind,” said CreateSafe founder/CEO Daouda Leonard. “However, the story of music as a profession has been corrupted by middle men, who have misguided the industry while taking money from artists. For a few years, we’ve been saying that we are building the operating system for the new music business. With AI, it’s possible to fulfill that promise. We want to pioneer the age of exponential creativity and give power back to creators. With TRINITI, you can turn inspiration into a song and set of visuals. That music gets distributed to DSPs, a marketing plan can be generated, and all of the business on the backend can be easily managed. This whole process takes seconds.”
“As a team we’d always discussed finding novel ways of wealth redistribution via art,” added Grimes. “We immediately hopped onto blockchain tech because of the new possibilities for distribution, cutting out middle men, etc. Throwing generative music into the picture and removing all our label strings so we can reward derivative music — combined with everything we’d been working towards the last few years with blockchain — allowed a unique approach to distribution.
“I’m really proud of the team that they were able to execute this so fast and with such vision,” Grimes continued. “There’s a lot to talk about but ultimately, art generates so much money as an industry and artists see so little of it. A lot of people talk about abundance as one of the main end goals of tech, acceleration, AI, etc… for us the first step is actually figuring out how to remove friction from the process of getting resources into artists’ hands.”
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Source: Anadolu Agency / Getty / Instagram Threads
Hey, Elon Musk, do you hear those footsteps? Mark Zuckerberg and Instagram Threads are coming to put X out to pasture.
Slowly, Instagram Threads is becoming a legitimate replacement for Elon Musk’s awful platform X. Mark Zuckerberg has revealed that Meta’s answer to X is now testing hashtags and trending topics, two features Thread users have requested.
According to The Verge, hashtags on Threads don’t work exactly like those on other social media platforms. Using a hashtag on Threads creates or contributes to a conversation, but Threads converts it to a blue-text hyperlink instead of being a hashtag.
Before Threads launches the feature globally, Australia will be the first to try them out during a “limited test.”
When you type “#” into the post text field, a window containing the trending topic you’re looking for or others will appear. Underneath each topic, there will be a post count.
Post by @zuck
View on Threads
https://www.threads.net/embed.js
The website also notes that you can only add a single “hashtag” at a time, which is probably Thread’s way of stopping people from spamming posts with multiple hashtags for a better reach.
Meta notes it will continue to work on the feature, so the ability to add more than one hashtag can eventually be available.
This latest feature is one of the many improvements Meta has brought to Threads, like the ability to keep your Threads posts off of Facebook and Instagram plus pinned posts.
There is also a dedicated GIF button as well.
The casket is almost at the bottom for X.
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Photo: Anadolu Agency / Getty
Robert Kyncl, CEO of Warner Music Group, praised YouTube’s AI-powered voice generation experiment, which launched this week with the participation of several Warner acts, including Charlie Puth and Charli XCX, during a call with financial analysts on Thursday (Nov. 16).
Kyncl proposed a thought experiment: “Imagine in the early 2000s, if the file-sharing companies came to the music industry, and said, ‘would you like to experiment with this new tool that we built and see how it impacts the industry and how we can work together?’ It would have been incredible.”
While it’s hard to imagine the tech-averse music industry of the early 2000s would’ve jumped at this opportunity, Kyncl described the YouTube’s effort as “the first time that a large platform at a massive scale that has new tools at its disposal is proactively reaching out to its [music] partners to test and learn.” “I just want to underscore the significance of this kind of engagement,” he added. (He used to work as chief business office at YouTube.)
For the benefit of analysts, Kyncl also outlined the company’s three-pronged approach to managing the rapid emergence of AI-powered technologies. First, he said it was important to pay attention to “generative AI engines,” ensuring that they are “licensing content for training” models, “keeping records of inputs so that provenance can be tracked,” and using a “watermarking” system so that outputs can be tracked.
The next area of focus for Warner: The platforms — Spotify, TikTok, YouTube, Instagram, and more — where, as Kyncl put it, “most of the content… will end up because people who are creating want views or streams.” To manage the proliferation of AI-generated music on these services, Kyncl hoped to build on the blueprint the music industry has developed around monitoring and monetizing user-generated content, especially on YouTube, and “write the fine print for the AI age.”
Last but certainly not least, Kyncl said he was meeting with both politicians and regulators “to make sure that regulation around AI respects the creative industries.” He suggested two key goals in this arena: That “licensing for training [AI models] is required,” and that “name, image, likeness, and voice is afforded the same protection as copyright.”
YouTube is launching an experimental feature Thursday (Nov. 16) that will create artificial intelligence-generated voices of well-known artists for use in clips on YouTube shorts. The initial selection of acts participating in the program includes Charlie Puth, John Legend, Sia, T-Pain, Demi Lovato, Troye Sivan, Charli XCX, Alec Benjamin and Papoose.
YouTube’s feature, called Dream Track, creates pieces of music — voice along with musical accompaniment — based on text prompts that are up to 30 seconds in length. For now, around 100 U.S.-based creators will have Dream Track access.
“At this initial phase, the experiment is designed to help explore how the technology could be used to create deeper connections between artists and creators, and ultimately, their fans,” according to a blog post from Lyor Cohen, global head of music, and Toni Reid, vp of emerging experiences and community.
The music industry has been wary of AI this year, but several prominent executives voiced their support for Dream Track. “In this dynamic and rapidly evolving market, artists gain most when together we engage with our technology partners to work towards an environment in which responsible AI can take root and grow,” Universal Music Group chairman and CEO Lucian Grainge said in a statement. “Only with active, constructive and deep engagement can we build a mutually successful future together.”
“YouTube is taking a collaborative approach with this Beta,” Robert Kyncl, CEO of Warner Music Group, said in a statement of his own. “These artists are being offered the choice to lean in, and we’re pleased to experiment and find out what the creators come up with.”
YouTube emphasized that Dream Track is an experiment. The artists involved are “excited to help us shape the future,” Cohen said in an interview. “Being part of this experiment allows them to do it.” That also means that, for now, some of the underlying details — how is the AI tech trained? how might this feature be monetized at scale? — remain fuzzy.
While the lawyers figure all that out, the artists involved in Dream Track sounded enthusiastic. Demi Lovato: “I am open minded and hopeful that this experiment with Google and YouTube will be a positive and enlightening experience.” John Legend: “I am happy to have a seat at the table, and I look forward to seeing what the creators dream up during this period.” Sia: “I can’t wait to hear what kinds of recipes all you creators out there come up with.”
While YouTube’s AI-generated voices are likely to get the most attention, the platform also announced the release of new AI music tools. These build on lessons learned from the “AI Music Incubator” the platform announced in August, according to Demis Hassabis, CEO of Google Deepmind. Through that program, “some of the world’s most famous musicians have given feedback on what they would like to see, and we’ve been inspired by that to build out the technology and the tools in certain ways so that it would be useful for them,” Hassabis explained in an interview.
He ticked off a handful of examples: An artist can hum something and AI-powered technology will create an instrumental based on the tune; a songwriter can pen two musical phrases on their own and rely on the tools to help craft a transition between them; a singer can come in with a fully fledged vocal melody and ask the tech to come up with musical accompaniment.
Finally, YouTube is rolling out another feature called SynthID, which will watermark any of the AI-generated audio it produces so it can be identified as such. Earlier this week, the platform announced that it would provide labels and others music rights holders the ability “to request the removal of AI-generated music content that mimics an artist’s unique singing or rapping voice.”
Moises, an AI music and audio start-up, has partnered with HYPERREAL, a visual effects company, to create a “proprietary digital human asset” called Hypermodel. This will allow artists to create their digital versions of themselves for marketing, creative and fan engagement purposes.
HYPERREAL has already been collaborating with musicians since 2021, when he worked with Paul McCartney and Beck on their music video for “Find My Way.” In the video, Beck went undercover as a younger version of 81-year-old McCartney, using HYPERREAL to swap and de-age their faces.
Moises is a popular AI music and audio company that provides a suite of tools for musicians, including stem separation, lyric transcription, and voice synthesis.
According to the press release, Moises and HYPERREAL believe this collaboration will especially help the estates of legacy artists to bring the artist’s legacy “to life” and will allow artists to sing or speak in another language using AI voice modeling provided by Moises, helping to localize songs and marketing content to specific regions.
Translations and estate or legacy artist marketing are seen as two of the most sought after new applications of AI for musicians. Last week, pop artist Lauv collaborated with AI voice start-up Hooky to translate his song “Love U Like That” into Korean as a thank you to his steadfast fanbase in the region. This is not the first time AI has been used to translate an artist’s voice — it was first employed in May by MIDNATT, a Korean artist who used the HYBE-owned voice synthesis company Supertone to translate his debut single into six languages — but Lauv’s use of the technology was the first popular Western artist to try it.
Estates are starting to leverage AI as well to essentially bring a late artist back to life. On Tuesday, Nov 14, Warner Music announced plans to use AI to recreate the voice and image of legendary “La Vie En Rose” singer, Edith Piaf, for an upcoming biopic about her life and career. Over in Korea, Supertone remade the voice of late South Korean folk artist Kim Kwang-seok, and Tencent’s Lingyin Engine made headlines for developing “synthetic voices in memory of legendary artists,” like Teresa Teng and Anita Mui as a way to revive interest in their catalogs.
“Moises and HYPERREAL are each best-in-class players with a history of pushing creative boundaries enabled by technology while fully respecting the choices of artists and rights holders,” says Moises CEO Geraldo Ramos. “As their preferred partner, we’re looking forward to seeing the ways HYPERREAL, can leverage Moises’s voice modeling capabilities to add incredibly realistic voices to their productions.”
“We have set the industry standard and exceeded the expectations of the most demanding directors and producers time and time again,” says Remington Scott, founder and CEO of HYPERREAL. “In addition to Moises’s artist-first approach, the quality of their voice models is the best we’ve heard.”
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Source: Sascha Schuermann / Getty / Amazon Games
While gamers are enjoying what might be the most remarkable year in gaming history, the people behind the scenes are enduring massive layoffs. Amazon is the latest company to let workers go.
Spotted on The Verge, Amazon announced, via a memo sent to employees by the VP of Amazon Games, Christoph Hartmann, that it would cut 180 jobs in its gaming division and make “some” changes to its games initiative.
The changes will see Amazon shut down its Crown Twitch channel and shutter its Game Growth effort, which helps game developers market their products, while “refocusing” its work with the free games it offers through its Prime Gaming service.
“We are proud of the work the teams have been doing, pushing into new areas with weekly content on Crown Channel and finding more ways to help publishers reach new audiences with Game Growth,” Hartmann said in the memo. “But after further evaluation of our businesses, it became clear that we need to focus our resources and efforts to deliver great games to players now and in the future.”
Speaking on the free games that are a beloved benefit to Amazon Prime subscribers, “We’ve listened to our customers, and we know delivering free games every month is what they want most, so we are refining our Prime benefit to increase our focus there,” Harmin added.
It’s A Spooky Time To Work In The Video Games Industry
These changes came after Amazon announced in April that over 100 staffers in Amazon’s games organization were let go.
This news joins the list of layoffs in the world of video games. Destiny 2 developer Bungie laid off dozens of staff, The Last of Us developer Naughty Dog cut developers in October, and Humble Games was also affected recently by layoffs.
Our thoughts are with all of the workers affected by these layoffs.
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Photo: Sascha Schuermann / Getty