tech
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TikTok COO V. Pappas is stepping down to “move on and refocus on my entrepreneurial passions,” they announced on Thursday (June 22nd) in an email to the company they subsequently shared on Twitter.
“To our amazing community of creators, employees, and people who have made TikTok ‘the last sunny spot on the internet,’ it has been an absolute privilege to serve you all and to be a part of this once in a lifetime journey,” they tweeted.
TikTok’s chief of staff, Adam Presser, will take over operations, according to a staff email from CEO Shou Chew. “He will seek to further develop the voices of TikTok’s vibrant and diverse ecosystem and drive closer cross-divisional strategic planning and collaboration, in an effort to bring to life our mission of inspiring creativity and bringing joy to people by nurturing and supporting creators, users, and partners worldwide,” Chew wrote.
In addition, Zenia Mucha will join the company as chief brand and communications officer. Mucha previously served for two decades at Disney before departing the company in 2021. She “will focus on advancing the strategic vision of our brand and advising key businesses,” Chew explained. “It is essential that we widen the aperture of our marketing and communications functions to further fortify TikTok as a beloved brand and one of the most trusted entertainment platforms in the world,” he added. “With Zenia’s vast expertise and deep experience, we are well positioned to do so effectively.”
Pappas, a former YouTube executive — the company’s first audience development lead, the author of The YouTube Creator Playbook, and the developer of YouTube’s Creator Academy and channel certification program — initially joined TikTok in 2018.
“Five years ago when I was first approached by TikTok, I was incredibly inspired by the product vision to be a new mobile-first video experience that serves as a canvas, bridge and window for everyone,” they wrote in their goodbye letter. “The pitch was to take on a role to transform and grow the product and broaden its appeal through developing diverse communities and content… I took a gamble on what was then a completely unknown company and product.”
Pappas then stepped into the interim global CEO role after Kevin Mayer departed suddenly in 2020.
The days of TikTok being “unknown” are of course long gone; much of the music industry now focuses on the platform to market artists and find new ones to sign.
“Five years later, we have grown to a global team of thousands of people and I believe we have achieved our goal to innovate and define an entirely new experience for people to share, create, and be entertained,” Pappas noted. “Today I stand proud that we deliver a product that resonates with over 1 billion people around the world. TikTok is now a household name.”
According to Pappas’ letter, they will be “taking on an advisory role” during the transition period.
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Source: MANDEL NGAN / Getty / Mark Zuckerberg / Elon Musk
I don’t think anyone had this possible PPV event on their digital bingo cards.
Twitter’s incompetent owner, Elon Musk, and Meta’s chief, Mark Zuckerberg, have been virtually jabbing each other for months. Now it seems the two tech giants could square off in a cage match, and we’re not talking virtually either.
This all stemmed from Twitter users and Musk responding to a report about Instagram’s “Twitter-like” platform, Threads.
“I’m sure Earth can’t wait to be exclusively under Zuck’s thumb with no other options,” Musk cheekily tweeted.
In response to Musk’s tweet, a user warned the Tesla chief that Zuckerberg is trained in Ju Jitsu, with Musk responding, “I’m up for a cage match if he is, lol.”
Musk might have been joking with his comment, but apparently, Zuckerberg is not, and he let the Phony Stark know he wants all the smoke by responding via his Instagram Stories, “Send me the location.”
Musk continued to egg on the situation by tweeting out a possible venue for the match, the “Vegas Octagon,” of course, and letting off a fire emoji when someone suggested that UFC’s Joe Rogan could be a referee.
He also claims he has a great move called “the walrus,” whatever the hell that means.
Tale of The Tape
Elon Musk, on paper, is the bigger person, but he also admits he “almost never” goes to the gym, and the only exercise he gets is “picking up my kids and throwing them in the air.”
It’s an entirely different story for Zuckerberg. Per ESPN, he won a no-gi white belt in the 149-pound division at a Silicon Valley tournament and placed second in a gi category on the same day.
The Zuck has also trained BJJ for about a year under Dave Camarillo who has also mentored former UFC titleholders like Cain Velasquez, Jon Fitch, and Josh Koscheck.
Camarillo had high praise for the Meta CEO, telling ESPN:
“He’s amazing. He is an extremely hard worker, as everybody knows. But a lot of people have a business, and they’re successful, and they have that side of their life, and rarely do they dip into the physical side, especially with something like jiu-jitsu and MMA, and have the same amount of success or even go past Day 1 or Month 1.”
Twitter, of course, has thoughts about this possible fight between the tech titans. You can see them in the gallery below.
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Photo: MANDEL NGAN / Getty
1. LOL, accurate
Calling the rapid growth of artificial intelligence tools a “moment of revolution,” Senate Majority Leader Chuck Schumer said Wednesday that the government must act quickly to regulate companies that are developing it.
The New York Democrat said he is working on what he calls “exceedingly ambitious” bipartisan legislation to maximize the technology’s benefits and mitigate significant risks.
While Schumer did not lay out details of such legislation, he offered some key goals: protect U.S. elections from AI-generated misinformation or interference, shield U.S. workers and intellectual property, prevent exploitation by AI algorithms and create new guardrails to ward off bad actors.
AI legislation also should promote American innovation, Schumer said in a speech at the Center for Strategic and International Studies, a Washington think tank.
“If applied correctly, AI promises to transform life on Earth for the better,” Schumer said. “It will reshape how we fight disease, tackle hunger, manage our lives, enrich our minds and ensure peace. But there are real dangers that present themselves as well: job displacement, misinformation, a new age of weaponry and the risk of being unable to manage this new technology altogether.”
Schumer’s declaration of urgency comes weeks after scientists and tech industry leaders, including high-level executives at Microsoft and Google, issued a warning about the perils that artificial intelligence could pose to humankind.
“Mitigating the risk of extinction from AI should be a global priority alongside other societal-scale risks such as pandemics and nuclear war,” their statement said.
Worries about artificial intelligence systems outsmarting humans and running wild have intensified in recent months with the rise of a new generation of highly capable AI chatbots such as ChatGPT. It has sent countries around the world scrambling to come up with regulations for the developing technology, with the European Union blazing the trail with its AI Act expected to be approved later this year.
On Tuesday, President Joe Biden convened a group of technology leaders in San Francisco to debate what he called the “risks and enormous promises” of artificial intelligence. In May, the administration brought together tech CEOs at the White House to discuss these issues, with the Democratic president telling them, “What you’re doing has enormous potential and enormous danger.”
“We’ll see more technological change in the next 10 years that we saw in the last 50 years,” Biden said.
White House chief of staff Jeff Zients’ office is developing a set of actions the federal government can take over the coming weeks regarding AI, according to the White House.
Schumer’s hands-on involvement in crafting AI legislation is unusual, as Senate leaders usually leave the task to individual senators or committees. But he has taken a personal interest in regulating the development of artificial intelligence, arguing that it is urgent as companies have already introduced human-like chatbots and other products that could alter life as we know it. He is working with another Democrat, Sen. Martin Heinrich of New Mexico, and Republican Sens. Mike Rounds of South Dakota and Todd Young of Indiana to speak with experts, educate colleagues and write the legislation.
It’s an unexpected role for Schumer, in particular, who famously carries a low-tech flip phone, and for the Senate as a whole, where the pace of legislation is often glacial.
Senators average around retirement age and aren’t known for their mastery of high-tech. They’ve been mocked in recent years for basic questions at hearings — asking Facebook founder Mark Zuckerberg simple questions about how his platform works at a 2018 hearing on Russian interference, for example — and for a bipartisan reluctance to regulate the technology industry at all.
Schumer, along with several Republican colleagues, say the federal government can no longer afford to be laissez-faire with tech companies.
“If the government doesn’t step in, who will fill its place?” Schumer asked. “Individuals and the private sector can’t do the work of protecting our country. Even if many developers have good intentions, there will always be rogue actors, unscrupulous companies, and foreign adversaries that seek to harm us. And companies may not be willing to insert guardrails on their own, certainly if their competitors are not required to insert them as well.”
Attempting to regulate AI, Schumer said, “is unlike anything Congress has dealt with before.”
It is unclear if Schumer will be able to accomplish his goals. The effort is in its earliest stages, with the bipartisan working group just starting a series of briefings for all 100 senators to get them up to speed. In the House, legislation to regulate or oversee artificial intelligence has been more scattershot, and Republican leaders have not laid out any ambitious goals.
Schumer acknowledged that there are more questions than answers about the technology.
“It’s not like labor or healthcare or defense where Congress has a long history we can work off of,” Schumer said. “In fact, experts admit nobody is even sure which questions policymakers should be asking. In many ways, we’re starting from scratch.”
The first time Ashley Elzinga, a 33-year-old DJ from Traverse City, Mich., heard her doppelgänger’s voice, she was not happy. Not because the sound of an artificial-intelligence imposter was so eerie. Not because AI technology portends robots might someday replace her. She didn’t like the way AI Ashley pronounced “news.” “I was like, ‘Why are they saying nooooose?’” recalls Elzinga in her flat Midwestern accent. “I was so embarrassed.”
It took a few tries for the engineers at Futuri Media, a Cleveland-based AI specialist, to find the right vocal balance between flat and sharp, deadpan and excited. “Now she’s ironing out…,” says Elzinga, a midday host for Portland Top 40 station Live 95.5, then corrects herself: “Now it’s ironing out…. She, or it, is starting to have more emotion and be a bit more accurate resemblance.”
AI Ashley, as Live 95.5 refers to the cloned voice on the air, made “her” debut on the air last Friday, delivering news, introducing songs and hyping station promotions in alternating speaking segments with the real Ashley Z, as Elzinga is known. Live 95.5 hasn’t received any listener complaints, says Dylan Salisbury, the station’s content director: “I don’t even know if they realize it yet.”
Alpha Media, owner of Live 95.5, started experimenting with AI voice technology last fall, according to Phil Becker, the company’s executive vp of content. When company execs learned Elzinga was about to take the full-time job in Traverse City, potentially reducing her hours on Live 95.5, they saw her as a “perfect storm” case study for an on-air test, he says: “The line in Moneyball is ‘the first guy through the wall always gets bloodied.’ That’s where we are right now. We’re OK playing some Moneyball-style radio, because it wins championships.”
Elzinga and Salisbury see AI as an efficiency tool, a way of stretching DJs’ hours so listeners can hear their voices even when they’re not physically present. For Elzinga, who multi-tasks her way through a full-time morning-show gig at her hometown Top 40 station WKHQ, then “tracks” her voice remotely for Live 95.5 and another station in Seattle every day, AI Ashley allows her to work even more. She owns the rights to her voice, approves every on-air AI usage and, Salisbury says, “We have increased her fee.”
“If she says stop, we have to stop,” Salisbury adds. “We’re trying to be respectful during the wild West of AI and go where we think the law is going to go.”
We made history as the world’s first radio station with an AI DJ! Our midday host Ashley has become AI Ashley! We can’t wait for you to meet Ashley, the world’s first artificially intelligent DJ. As to the intelligence of our other DJ’s…we’ll save that for another post 😉 pic.twitter.com/CtlMhYU0IO
— Live 95.5 (@live955) June 13, 2023
Of course, what is a neat, little, high-tech, mostly risk-free magic trick for Elzinga, Salisbury and Alpha Media, the Portland broadcast company that owns Live 95.5 and 205 other stations, is a terrifying prospect for much of the radio industry. When the station posted excitedly about AI Ashley last week, Twitter erupted: An NPR host tweeted an “everyone disliked that” meme, a freelance writer wanted to know, “Why would you participate in the very public elimination of your job?” and even J. Smith-Cameron, who plays Gerri on HBO’s Succession, wondered if Elzinga was “worried you’ll have ALL the days off now that they cloned you?”
For the past three decades, the broadcast industry has faced consolidation and extreme cost-cutting that has oftentimes meant layoffs of on-air talent. Over the past few years, DJs for local radio shows have been outsourced from other markets — much like Elzinga does in Portland and Seattle from her home in Michigan.
“They are eagerly stripping away, as fast as they can, the thing that makes radio unique,” says former radio host and station manager Michele Coppola, who’s now a Portland copywriter.
“My fear is there will be some owners that will [say], ‘This is an efficiency, this is a way for us to save money — that will further deplete the body of truly talented radio people,” adds Steve Reynolds, a Raleigh, N.C., talent coach for radio personalities.
“Futuri claims it’s going to be a tool, just like any other tool, to make a job easier,” says Lance Venta, owner and publisher of Radio Insight. “Voice-tracking, when used properly, is a tool. When it’s used to have a talent voice 35 stations to save money, it’s no longer a tool — it’s a weapon.”
Radio Waits
So far, the rest of the U.S. broadcast industry has yet to plunge into on-air AI voices as aggressively as Live 95.5. But radio stations around the world, and their digital competitors, have tinkered with the technology – and have suggested they may expand. In April, a Swiss station used AI to clone five human presenters on the air; comedian Drew Carey used an AI-generated approximation of his voice on his SiriusXM show in March; and in February, Spotify launched a (voiceless) AI-curated, personalized broadcast called “DJ.” During an April conference call about a soft advertising market, Bob Pittman, chairman and CEO of top broadcaster iHeartMedia, told investors after a 3.8% drop in revenue, “We and every other company are looking at how to use AI. I think AI can fundamentally change the cost structure of the company.”
At Audacy, the second-biggest broadcaster, execs have done a “fair bit of experimentation” with AI tools, from voice applications to ChatGPT-style generative text that helps produce drafts of advertising scripts, according to Jeff Sottolano, executive vp and head of programming. But he’s not convinced an AI Ashley-style experiment has “value it creates for the consumer,” because Alpha Media had to expend “up-front investment” on training, reviewing, post-production and editing — all of which, at least for now, contradict the company’s efforts for greater efficiency and cost-cutting.
“All that said, I expect it will continue to get better and easier and faster,” he says. “We don’t look at this as something that’s finished, but something that’s going to continue to evolve. Just because we haven’t done it today doesn’t mean we might not do it tomorrow.”
The human Ashley is happy with the AI arrangement as long as she and her robot counterpart are clearly identified as “Ashley Z” or “AI Ashley” every time she — or it — appears on the air. “You just need to make sure integrity comes first,” she says.
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Source: JOSEPH PREZIOSO / Getty / Oceangate Expeditions
News of an OceanGate Expeditions submersible containing some prominent passengers going missing during an underwater expedition tour to survey the Titanic took over timelines over the weekend. Some recent developments around the company and the makeshift sub’s design have Twitter reacting.
If you didn’t hear about the story, OceanGate’s Titanic tourism submarine with five people onboard has gone missing. Per the New York Times, among those missing are the submarine’s pilot, British billionaire explorer Hamish Harding, Paul-Henri Nargeolet, one of Pakistan’s wealthiest men, Shahzada Dawood, 48, and his son Sulaiman Dawood, 19.
According to recent reports, time is critical as a search is underway to find the sub that went missing around the Titanic wreckage site in the North Atlantic on Sunday, with experts saying there is enough oxygen to last the crew until Wednesday.
As the story continues to own headlines, a CBS News story on OceanGate’s missing Titan story has gone viral after it showed how makeshift the sub is.
If you signed onto Twitter, you might see that Xbox Controller is trending, and it has nothing to do with the video game company dropping a new Xbox Design Lab custom controller. It’s the fact a cheap knockoff controller controls the $1 million makeshift submersible.
Twitter Is Flabbergasted
As you can imagine, Twitter is reacting to the news. One user sharing a clip from the story wrote in a tweet, “Y’all please watch this. It’s a CBS story that aired a while back about that submarine that is now missing. The creators of that missing submarine are DEEPLY unserious.”
“N****s really went into the deepest depths of the ocean in a DIY submarine controlled by an Xbox controller the size of a coat closet. If that isn’t natural selection idk bro,” another Twitter user wrote.
Bruh.
We hope the missing submarine is found and everyone onboard is alive and well.
You can peep more reactions to these recent developments in the gallery below.
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Photo: JOSEPH PREZIOSO / Getty
Motown Records is motoring into the metaverse.
The fabled label and its artists will take the leap into the virtual world for the first time, through a partnership with Linden Lab’s Second Life and music integration platform STYNGR, which boasts a pre-cleared catalog of more than 100 million tracks.
Through the arrangement, which Billboard exclusively reveals today (June 20), Second Life will host an immersive Motown venue, where gamers can explore the label’s music and roster, and take a piece for the virtual road.
The digital experience is facilitated by STYNGR, whose licensing, technology, and platform specializes in imports curated music from music companies, and has recently struck deals with Warner Music Group, Merlin, Luminate and ICE Services.
Founded in Detroit in 1959 by Berry Gordy, Jr., Motown is, of course, home to such legendary acts as Diana Ross & The Supremes, Marvin Gaye, Stevie Wonder, The Temptations, Martha & The Vandellas, The Four Tops, and The Jackson 5. Its contemporary signings include YoungBoy Never Broke Again, KEM and Ne-Yo.
Alvaro Velilla, senior VP, new business, Universal Music Group, describes the partnership as “unprecedented,” one that provides Motown fans “with an unparalleled immersive experience.”
Visitors to the Motown hub can also nab so-called “Styngs,” which enables Second Life residents to attach music snippets to their avatars, like a digital badge.
Also, the new space is home to a dedicated Motown Records radio station, curated by Motown and STYNGR, with more experiences and music to roll out in the months ahead.
“Motown Records has always been at the forefront of culture and innovation, expanding the perceptions of what is to what could be,” comments Alex Williams, VP gaming strategy and business development, Motown Records, part of UMG. “As the convergence of music, culture, and tech continue to redefine the way fans experience music, partnerships like this enhance that connection building an even greater community among music lovers.”
Opening the doors to its virtual universe in 2003, Second Life was early on the scene. It has since seen nearly two billion user creations, according to San Francisco-based Linden Lab, which formed earlier, in 1999.
Music played a part in its early success, with the likes of Suzanne Vega, Duran Duran and Talib Kweli performing in-game gigs during its formative years.
Through partnerships and collaborations such as this Motown alliance, notes Brad Oberwager, executive chairman of Linden Lab, the tech specialist is keen to “improve, enhance, and enrich the in-world experiences” of the virtual world’s residents. Working with Motown Records and STYNGR on this campaign, adds Oberwager, is an “extraordinary opportunity” for Second Life.
All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes. Taking your music on the go has never been this easy — or this portable — thanks to this mini Bluetooth […]
All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes. Xbox wants to take your gaming experience to the next level with an Xbox Series X mini fridge, which is back […]
Elon Musk dances to the beat of his own drummer. The Twitter/Tesla boss hardly ever does what you expect and almost always goes for the boldest, most outrageous move, whether in technology or when dipping his toe into the music biz. So far he’s kept his billions firmly focused on land (Tesla, Boring Co.), air […]
All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes.
Normani is entering her next chapter. The singer teamed with Bose to give fans a preview of her new single “Candy Paint” in a dance-themed commercial dropping Thursday (June 15).
“I’m really excited to partner with Bose, especially going into this new chapter,” Normani told Billboard during a phone interview on Wednesday (June 14). “In terms of my career and my music, I know the wait has been extensive but it’s definitely going to be worth it, and I just feel like the partnership couldn’t have come at a better time.
“It just felt like it was so in alignment with where I am musically and creatively,” she explained. “The Bose team [were] really hands on and allowed me to be hands on and take leadership in terms of the creativity. It just felt authentic and enjoyable, honestly. It was probably one of the most seamless experiences [for a partnership] thus far. It was fun! The energy was great the day of [the shoot] and it just felt easy.”
The Bose visual takes viewers on a trip through Normani’s creative process, from jotting down lyrics to recording and coming up with choreography — all while sporting Bose Quiet Comfort headphones and Quiet Comfort earbuds. In some of the more personal moments, Normani opens up about misconceptions people have about her and striving to be her most “authentic” self.
The visual will appear on Bose.com and the brand’s social media accounts.
“At Bose, we’re a community of music lovers, and we partner with artists to help showcase the power of sound during the moments in their career that matter the most,” said Jack Daley, VP, global media & partnerships at Bose. “Like her music, Normani is a force in the industry — we’re excited to premiere this track with her and for what our relationship will hold in the year ahead.”
Normani spoke further with Billboard about what she enjoyed most about the Bose collaboration, the inspiration behind “Candy Paint,” and what the next chapter looks like.
Billboard: What inspired ‘Candy Paint?’
Normani: It’s Texas, all the way! I really wanted to create a record that allowed me to show my personality. I feel like there’s a misconception; it probably has everything to do with my social media. [Laughs] I think that people think I’m so serious, which is the complete opposite [of me]. Anybody that really knows me knows that I’m really funny. I’m a goofball! I love to twerk. [Laughs] I’m just regular. I really wanted to create a record that encompassed that and allowed my personality to shine. It’s a performance record first, which I know my fans have been waiting for, for a very long time. It’s fun, energetic, bossy. It’s bold. It’s sassy but assertive, and yeah, I’m really excited to shoot the music video.
How long did it take to put together?
I would say it came pretty quickly. I had been working with Starrah, who I’ve been working very closely with just on the project overall, I feel like she knows me better than anybody. And the cool thing is we’re able to push each other. The idea came organically. I remember playing it at an event — my family and friends were there, and [my choreographer] was like, “Should we play it?” We ended up teasing it, and it was undeniable! We were like, “OK, this is it! This is the one!”
Normani
Bose
What I love about the Bose spot is that it feels very authentic to who you are.
I’m really grateful that that’s how it was captured. Shout-out to the creative team, because you really get a peek into who I am — not only as the artist, but also me being able to wear so many different hats. I feel like a lot of people still know very little about me, and I think that through the [Bose] spot you get to know a little bit more.
I learned that you moved from New Orleans to Houston after Hurricane Katrina. I didn’t know that!
Yeah, I was 9 years old at the time. I was a baby.
It really speaks to your resilience.
Thank you. I’ve been through a lot, just in my personal life, you know? Even just talking about my parents and what they’ve been through on top of COVID and trying to get the project out I’ve just – I’ve had a lot up against me, but I always manage somehow to pull through as best as I can, and honestly that’s by the grace of God and him just giving me the strength to endure and persevere.
You also mention trusting yourself. How has that shaped your career thus far?
I started in a girl group [Fifth Harmony] when I was 15. I remember that being one of the lowest points for me in terms of my confidence. We’re young, we’re trying to figure out who we are on top of having to do that in front of the rest of the world, while they pit us against each other, and then the things that people project on you, you kind of start to believe. Not just musically, but in my personal life, it’s easy to let those things creep in and for you to allow everybody’s perception to become your identity. But I’ve worked so hard in my adult life [over] the last two to three years. It’s a daily fight. I can’t say that every day is the same, but I’m just really intentional. I speak words of affirmation to myself. I’ve gotten a lot closer to God and I know that through that I’m able to know who I am and who I’m called to be versus the things that people put on me.
I’ve been really intentional with my time. Spending a lot more time with myself and getting to know myself and doing things anyway — even if I’m afraid. I can wholeheartedly say that through a lot of my career I know that I’ve been afraid. And that’s a vulnerable moment for me to even be honest with you and express, but yeah, just leaning into it and doing it anyway and knowing that God has a plan and it’s all going to work for my good. It’s the moments that you feel uncomfortable, the moments that you’re unsure or maybe even moments of chaos that he’s able to do what he does best and make something out of nothing.
What would you title this next chapter?
“Transformative.” In the season of actually stepping into who I am called to be.
Check out a preview video below.